My Best of 2010 List

I don’t distinguish between Equity and Non-Equity, professional or community theatre. The only distinction is play or musical, and that’s only in certain categories. I now understand why some critics don’t write “favorite lists”: THIS WAS REALLY HARD. I based my picks upon my own reviews, and luckily, I've reviewed EVERY show I've seen the last year on this website.

In my humble opinion, which I respect very much, here is what I consider to be the BEST OF 2010:

Best NEW Play:
DREAM CAFE by Alejandro de la Costa, produced by MBS Productions.
"The audience decides the order of the scenes each night, resulting in a brand new storyline... 720 options total!...Gay or straight, a prude or promiscuous, DREAM CAFÉ reaches inside every audience member and pulls out something very real and universal. It leaves the audience thinking about their own “love scenes” and how if they had happened exactly the same way, but in a different order, how very different our lives would be. I know I sat in my car for 20 minutes just thinking."- from my review for The Column "IT WAS STUNNING. It drew gasps and tears from not only me but the entire audience. In addition to the genius that is the script, this particular night, there wasn't a single missed beat by the actors... It wasn't until it was over and I was contemplating (and comparing notes) in my car did I truly begin to understand the different story I had experienced. Only then was I beginning to truly grasp all the stories within this script and the power of each and every one of them."- from my (second) review of DREAM CAFE, this one for Critiques

Honorable mention for Best NEW Play:
HALF EMPTY by Melanie Welch, produced by Fight Boy Theatre as part of the Feast of Plays, One Act Play festival.
"Brilliantly closing out the evening after a second intermission was Half Empty by Melanie Welch. Ann and Valerie were best friends, “soul mates,” when they were 13, and are reunited during the college years. The tale of their special bond and how it shaped the rest of their lives and relationships is both gut wrenching and poignant. Above all, it is a story that anyone who has had a ‘forever friend’ can relate to... I was left breathless and speechless when Half Empty ended. In shaking hands with the cast and crew, the only immediate feedback I was able to offer to Director Caleb J. Creel, Prati (as Ann), and Black (as Valerie) was “bloody brilliant!”... Even if the relationship with your best friend wasn’t sexual- or if the situation with your first love was under different circumstances- we can all relate to the pain when “forever together” promises are broken."- from my review for Critiques.






Best Play Production:
CAT ON A HOT TIN ROOF produced by Artes de la Rosa
“Artes de la Rosa, under the direction of Adam Adolfo, had the cojones to take Tennessee Williams’ Cat on a Hot Tin Roof-originally set on a plantation in Mississippi- and move it to Little Havana in Florida and give it a Cuban flair. The test if a work of art is indeed a true classic is to take it out of time and place and determine if the story still resonates. Any reinterpretation of a work will also test the talent and resources of the theatre company, especially its director. Both Williams and Artes de la Rosa passed with flying colors.” - from my review for The Column

Honorable Mentions for Best Play Production:
STEEL MAGNOLIAS produced by Plaza Theatre Company
"Plaza Theatre Company’s production of STEEL MAGNOLIAS on Saturday evening, April 17 was a funny yet poignant tear jerker- just as it should be... Plaza Theatre Company’s reputation of excellence is continued with their current production of STEEL MAGNOLIAS."- from my review for the Column.

BAREFOOT IN THE PARK produced by Contemporary Theatre of Dallas
"Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike... After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening." - from my review for The Column

DREAM CAFE produced by MBS Productions
"This is de la Costa’s (and MBS Productions’) finest work to date... It is a journey worth taking alongside them."- from my review for The Column. "I'll keep going until I either run out of money or get the ending to the story that I want. It's theatrical therapy for this love-sick and hopeless romantic of a critic!"- from my review for Critiques.




Best Play Festival:
FEAST OF PLAYS produced by Fight Boy Theatre
“Fight Boy Theatre’s Feast of Plays at Art6 in Denton is a collection of world premiere one act plays by Denton playwrights all of which left me wanting more, More MORE!!! I was AMAZED at what can be done by 3 local playwrights, an old house turned into a coffee shop turned into a theatre and about $100. Feast of Plays proves that good writing and truthful emotions are all anyone needs to tell a good story well.” – from my review for Critiques

Honorable Mentions for Best Play Festival:
STAGE BLACK produced by Jiles R. King, II at The Black Academy of Arts and Letters
"A festival spotlighting black playwrights as they sought to explore various avenues of black life- from the far past to the future to the what if. Though it wasn't perfect, and some acting, some directing, and some writing need more polish, I was entertained, moved, angered, and left hopeful. As the only white person in the audience of the show I saw, I was deeply saddened it wasn't seen by more races and cultures. We all could have learned, been touched, and moved by this powerful night of theatre." from my review for Critiques



Best Musical Production:
SWING produced by Artisan Center Theater
“An exhilarating night of singing and dancing, even if there was little storyline, left me breathless and energized all at once.” – from my review for Critiques



Best Director of a Musical:
Dave Schmidt with musical Direction by Pam Holcomb-McLain for TEN NIGHTS IN A BAR ROOM
I was informed after I posted my list that TEN NIGHTS IN A BAR ROOM is a play with songs added. I heard singing. There was a live band. It's a musical. They did it well.



Best Director of Play:
Joshua Scott Hancock for THE FROG PRINCE as part of Feast of Plays by Fight Boy Theatre
“From the choreographed transition of the set between the first play to the second, done in character and to music, to the retelling of a beloved classic in a new way that prompted self- reflection and more than a few belly laughs, (writer Jordan) Scott and Hancock proved they are a duo to keep an eye on for future masterpieces. Hancock made excellent use of the space, believably presenting it as the found space of a traveling acting troupe. The precise choreography of the entire cast throughout the performance was by far the most impressive I have seen in a long time at any theatre.”-from my review for Critiques by Laura L. Watson

Honorable Mention for Best Director of Play:
Adam Adolfo for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"Director Adam Adolfo and assistant director Katreeva Phillips assembled a fine cast and united all elements of design behind his vision for a Cuban Cat on a Hot Tin Roof...Adolfo gave his actors just enough blocking to keep the energy up without detracting from the text. He made great use of set levels and used the entire stage with ease. He even made use of the theatre building, letting sounds and action from outside the stage penetrate into the story as if the entire building was Big Daddy’s house and we were in just one room of it. Part of the Cuban flair was the occasional lines in Spanish. Williams’ scripts have a lot of repetition, and Adolfo took advantage of those repetitions as opportunities... That is the true mastery of the writing, directing and acting- the emotions and story comes through no matter what language is being spoken or understood...Adolfo came with his own, original subtext (for the Brick, Skipper and Maggie relationship and the paternity of her child). I won’t give away his choices as they are part of the climax, but they are both shocking and appropriate to these characters." -from my review for The Column.

Danielle Beacham for STEEL MAGNOLIAS produced by Plaza Theatre Company
"Director Danielle Beacham pulled double duty as she also played Shelby. Normally, I loathe a production where a lead character is self directed, but Beacham caused me to forsake this preconceived bias within 10 minutes of the curtain going up. Though only her third show to direct-EVER- she expertly blocked the action in the round and guided a cast of actors, with varying levels of experience, to giving all out truthful performances. A director’s job is meant to be invisible. If you can see it, it probably means they didn’t do it well. I find I am struggling to describe her directing talent because while I KNOW it is ever present, I simply can’t see it. The play in its entirety flowed as one unified force- from set design to costumes to the blocking, it was all centered on the telling of this story... Beacham is one to watch- she has an incredible directing future ahead. Her bio states she will attend Bible school in California in the fall. Let us all pray we get her back to Texas theatres as fast as she can." -from my review for The Column.

Dennis Canright for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
"Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears... It was an exceptional work of art."- from my review for The Column.

Tashina Richardson for NO EXIT, produced by Sundown Collaborative Theatre
"Director Tashina Richardson knew the heavy weight of the material she presented her young troupe of actors and fellow collaborators with, and she did not shy away from bold, artistic choices... I, like (the character) Garcin, want answers and specifics to basic questions. Who, what, when, where, why, and how. This play, nor this production of it, answers those questions, and it is maddening. Then again, I was sitting in hell, so it works...By the end of the one hour and forty minute show- without an intermission, though I only checked my watch once- you realize you have been sitting in hell with Garcin, Inez, and Estelle. They have been torturing you, and you have probably been torturing them. Torture isn’t always physical- it’s done with words, with revelations, with loud breathing, with squeaky chairs, and with a heat that the actors weren’t faking. It does get hot in that studio room! It is a true experience as only live theatre can give and it helps to carry both the storyline and the performances."- from my review for The Column.



Best Actress in a Play:
Hannah Black as Narrator in THE FROG PRINCE and Valerie in HALF EMPTY in Feast of Plays produced by Fight Boy Theatre.
“Hannah Black as the fairytale’s narrator (and troupe’s self-appointed leader) stole the show with her commanding voice, engaging eye contact and grounded stage presence… Black, having just 30 minutes before dazzled me with her comedy, turned around and delivered a stellar dramatic performance. It was complete with inner turmoil, anguish and denial of her past which leads to a heartbreaking end.”- from my review for Critiques by Laura L. Watson



Best Actor in a Play:
Zach Leyva as Jem Finch in TO KILL A MOCKINGBIRD, produced by Artisan Center Theater
“Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father.” -from my review for The Column

Honorable Mention for Best Actor in a Play:
Mike Schraeder as Teach in AMERICAN BUFFALO, produced by Broken Gears Project Theatre.
"Schraeder was extremely good at what I like to call “detail acting”- the little things that clue us into the character such as repetitive yet specific gestures."- from my review for The Column. I had to edit my review down- don't you just HATE long winded critics- so I left out a few other thoughts on Schraeder's performance. "He was completely and totally Teach- from voice, to movement, to emotions, I never once saw an actor. I want to meet Mike Schraeder as himself. I think then, I could truly appreciate the mastery of his craft."



Best Actress in a Musical:
Natalie Berry in SWING, produced by Artisan Center Theater
“Wow. Just… wow. She sings, she dances, she acts- there is NOTHING she has failed at. I doubt there is anything she can’t do on a stage.” -from my January review for Critiques. Side note:having seen Ms. Berry several times this season, I stand by this review. There is NOTHING she can't do.

Honorable Mention for Best Actress in a Musical:
Camille Shaw as June in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
"Camille Shaw as the oldest sister/ Pastor’s Wife June Oglethorpe was the (nearly) silent scene stealer and over-the-top star of the evening. She has more energy than anyone on stage as she runs, jumps, dances, and does “sign language” (more like bad mime) while the family sings. June doesn’t sing with the family. AND she’s really pregnant! ... June’s testimony about following God wherever He calls was truthfully and emotionally charged- and reached me on a very personal level." - from my review for The Column.



Best Actor in a Musical:
Andrew Guzman as Dennis in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
“Dennis, the boy twin, was sincerely and sweetly played by Andrew Guzman. Guzman is a tenor who sings like an angel… Guzman also had the most touching testimony about being a Marine in WWII… Guzman was not left out of the comedic bits, reenacting a number from his childhood with Denise and June called “The Royal Telephone” made all the more hilarious because they’re adults.” –from my review for The Column.



Best Ensemble Cast:
STEEL MAGNOLIAS produced by Plaza Theatre Company
“All six of these women came together to form a believable friendship and support system. I know these women, I just happen to know and love them by different names. Wherever a woman is in her life, there is a character in Plaza’s STEEL MAGNOLIAS that will speak to them.” –from my review for The Column

Honorable Mention Best Ensemble:
DREAM CAFE, produced by MBS Productions
Remember, the actors find out the order the scenes will be played 3 minutes before they begin. This review is from the 2nd time I saw DREAM CAFE. "Every scene began and ended with a total commitment to the moment by every actor, and the emotions were more real, more raw than I have experienced in a long time. The characters' journeys and the outcome of the story was almost opposite this time from my first experience, and I felt like I hadn't met these characters or heard any of these lines before. Not only had the scene order changed, so had the motivation and the underlying emotion of every single word uttered."- from my review for Critiques. "Now, add to this the knowledge that every night the scenes change order and the line delivery must reflect the motivation that is spurned by the moment before and the actors must continue the arch of their character which might be a journey they had yet to conceive of and… oh my! What a stellar ensemble performance! This is a play where every actor must be thinking, must be listening and must be reacting truthfully in the moment on top of to the letter perfect line memorization and all that other actor technique stuff. This is not a play for beginners or amateurs."- from my original review for The Column

AMERICAN BUFFALO, produced by Broken Gears Project Theatre
"Terry Yates as Don, Alex Worthington as Bob, and Mike Schraeder as Teach were all ridiculously believable and likable, faults and all. They each delivered the rapid, intense dialogue with precise diction and clearly had motivation for each line and all action. " - from my review for The Column

CAT ON A HOT TIN ROOF, produced by Artes de la Rosa.
"In fact, the third act- which is the climax of how to tell Big Mama that Big Daddy is dying- was some of the finest ensemble acting I’ve seen in the last year."- from my review for The Column




Best Set Design:
Bruce R. Coleman for EQUUS produced by Uptown Players
“I wanted to take a picture and hang in on my wall. It was beautiful, stunning, and haunting.” - from my review for Critiques.

Honorable Mention for Best Set Design:
Oliver Luke for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"... the exquisite set designed by Oliver Lukach made the (20 minute opening night) delay more than bearable. Making use of the entire Rose Marine Theatre stage, the set was a work of art in itself and was the ideal backdrop to the dialogue. The set consisted of a large over sized four post king bed with white sheets, sitting furniture, bar, and windows leading to a terrace that was set far downstage and on the floor in front of the audience. Dark wood with white linens gave it a very Cuban feel on a hot and steamy night."- from my review for The Column



Best Choreographer:
Linda Leonard for SWING produced by Artisan Center Theatre
“Whew. Full of intricate footwork and period accurate steps, SWING is a history, dance, romance, and how to have fun lesson all in one.” –from my review for Critiques.



Best Costume Design for a Play:
Suzi Cranford for EVERYTHING IN THE GARDEN, produced by Rover Dramawerks
“From the dresses to the suits, from the shoes to the handbags and handkerchiefs, they were quirky, stylish, period appropriate, and a window into who these characters really were.” – from my review for Critiques.

Honorable Mentions for Best Costume Design for a Play:
Justin Kailer for CAT ON A HOT TIN ROOF, produced by Artes de la Rosa
"The cast was also costumed, by Justin Kailer, in a mixture of white and kahki as many islanders tend to dress. Though united in color and fabric, each character remained distinct from the others. Maggie’s simple white dress was both sexy and elegant while Mae’s maternity shirt was expensive yet frumpy."- from my review for The Column

Aaron Patrick Turner for BAREFOOT IN THE PARK, produced by Contemporary Theatre of Dallas
"With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period."- from my review for The Column

Candace Cockerham for NO EXIT, produced by Sundown Collaborative Theatre
"This is another one of those uncomfortable things: when is this play set? After death, there is no sense of time- it’s all just eternity, and the lack of time specific costumes, props, sets, or hints within the dialogue introduce the audience to this concept. The costumes could have been from the 1940s or today. They were appropriate in fit and color to each character and had the layers that each actor needed to physically reveal as they did so with their words."- from my review for The Column




Best Costume Design for a Musical:
Robin Armstrong for LITTLE WOMEN produced by Collin Theatre Center
“It was a lovely, old fashioned costume spectacle…truly a highlight of the production.” –from my review for Critiques

Honorable Mention for Best Costume Design for a Musical:
Tina Barrus for CINDERELLA, produced by Denton Community Theatre
"Tina Barrus’ costumes were the epitome of over-the-top fairy tale. Lots of bright colors, hoop skirts, and men in knickers created the world in a visually stunning way. The children and adults alike were constantly mesmerized by the parade of colors."- from my review for The Column

Nita Cadenhead for SWING, produced by Artisan Center Theatre
"The costumes were flashy, they were adorable, they were sexy-they were everything the dancers, the singers and the stories needed them to be. And there were oh so many, I couldn't wait to see what the singers and the dancers came out wearing next!" - from my review for Critiques.




Best Lighting Design:
Adam Livingston for TO KILL A MOCKINGBIRD produced by Artisan Center Theater.
“Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm.” – from my review for The Column.

Honorable Mention for Best Lighting Design:
Jason Foster for EQUUS produced by Uptown Players
"The lights complimented the set. Haunting, dark, yet I could see everything. They were sublte, yet as I disect the play afterwards, I see what Foster was doing and that the journey was enhanced by the design."- from my review for Critiques.



Best Sound Design:
Un-credited for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
“Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well.” –from my review for The Column

Honorable Mention for Best Sound Design:
Jason Rice for MORPHIC RESONANCE, produced by Rover Dramawerks
"Though many of the choices were hit or miss, and the acting was a big off because there were only 4 people in the audience, the sound design by Jason Rice gave me a glimpse into all this show really held. It had many sound effects and musical transitions were helped everything to flow. Music added to the circus theme when needed, and then was used to bring us into reality. It underscored some of the most dramatic moments and would appropriately stop so that all we heard was breathing. Rarely do you see a play where the sound effects you so obviously- in a great way."- from my review for Critiques.



So, those are my picks, for what they're worth. I saw a lot of GREAT theatre and some ho-hum theatre this year, and I cannot WAIT to see what all these great artists produce next year!

BAREFOOT IN THE PARK

Contemporary Theatre of Dallas’s BAREFOOT IN THE PARK, Dallas

*REVIEWED 10-29-2010 PERFORMANCE
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike.

Neil Simon’s 1963 comedy centers on newlyweds Paul and Corie Bratter who, after six amazing honeymoon days at the Plaza, begin their marriage by trying to get to know one another in the TINY top floor apartment of a brownstone in New York City. Corie’s mother, Mrs. Banks, comes for regular inspections- uh-visits, and their rather eccentric new neighbor, Mr. Victor Velasco, seeks to keep things an interesting adventure for him and everyone around him. As Corie and Paul spend their first two weeks in this apartment, we see they have a lot of differences to overcome and must learn how to compromise. In the process, they throw a dinner party where they set up her mother and the neighbor, and they fight to make their young marriage last.

Many completely agree with Producing Artistic Director Sue Loncar’s opening night curtain speech, that BAREFOOT IN THE PARK will be considered one of the great American classics 100 years from now. I personally can’t help but love this script. Technology may change and elevators may be required in apartment buildings these days, but newlyweds adjusting to married life is universal. It’s timeless. The dialogue is quick witted, and everyone knows a mother like Mrs. Banks (some of us have even lived with her). There’s just enough conflict to keep the audience interested, but mostly, you just wonder how it will all work out and how many crazy antics will transpire in the meantime. One of the highlights of the writing is when Corie attempts to describe the beauty of “total love” she discovered on her wedding night. Her mother is less than eager to talk about sex with her daughter. It had me laughing out loud and everyone relating a little too well.

Contemporary Theatre of Dallas is a medium sized, semi-proscenium space where the audience sits markedly below the level of the stage and is raked up to the bar in the back. There is also a balcony audience section. Rodney Dobbs’ scenic design uses the entire space, allowing unique angles and wonderful sightlines, and yet gives the audience that cramped, barely functional dirt cheap apartment feeling. A giant skylight, with a broken windowpane through which snow falls, hangs center stage and offers a view of other rooftops. There is an authentic looking hallway with landing (for those needing to rest after climbing the five flights up) outside the front door at (house) left. The apartment has a couple of counters, stove, working sink and refrigerator for a kitchen. A step down lands guests in the living room that is just big enough to have two chairs and a small couch with built in bookshelves along the back wall. The tiny bathroom, that “doesn’t even have a tub”, is just right of up center, and then the door to the small one bedroom which we don’t see is at the far right. My guess would be that the apartment is supposed to be less than 650sq ft.

At the start, the apartment is empty except for a few wedding gifts and Corie’s luggage. After intermission, we see what Corie was able to envision about her new home. Making use of hanging beads, a screen and tiny furniture gives it a quaint atmosphere. I won’t lie- I watched the apartment’s transformation by the crew with a sense of awe and wonder. Wondering- how ARE they going to get furniture in this room? Somehow they did and the layout and design made me want to live in a top floor brownstone, too!

With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period. The only nitpick on costumes was that Corie’s dress in act II seemed a little too big. This is not a prop heavy show, but there is a fair amount provided by props designer Jen Gilson-Gillian. Gilson-Gillian committed one of my all- time pet peeves though: empty purses and suitcases- especially ones that need to be rummaged through by the actors. Sound designer Richard Frohlich had a nice selection of period and mood appropriate music, especially for the top of the show when we meet Corie. Lighting design, done by Jaymes Gregory, was a little generic (all lights on or blackouts), though there was some nice timing with the entry light switch appearing to be functional.

On opening night, every board operator’s nightmare occurred at the top of act II- the light board seemed to lose all of its intended cues OR there was some sort of delay with someone’s entrance. Either way, Carrie Slaughter-Whittlesey who played Corie took a few seconds to improvise a line or two as the lights fluctuated, and then simply gave herself an excuse to exit the apartment and the lights faded out. A few minutes later, she reentered and began the scene again. Though everyone wants a glitch free show, when it did occur, it was handled quickly and professionally. I have no doubt that whatever the problem was has been fixed for future shows.

Director Cynthia Hestand united the design elements alongside a delightful cast that brought to life these characters without being too weighted or too campy. The blocking flowed naturally- especially the mother’s near trip when she first enters the apartment. It brought gasps from the entire audience. It was also great to see, via the skylight, Victor Velasco “crawl” across the ledge to get to his attic apartment. However, all the up the stair stuff, as person after person enters tired and out of breath (throughout the show as it’s an ongoing joke) just wasn’t believable for anyone.

Slaughter-Whittlesey as Corie was charming and wide eyed, full of hope and joy as any newlywed should be. She has a very pretty, expressive face and moved across the stage with energetic grace. The show began with a music montage as Corie enters and begins unpacking from her honeymoon in her bare apartment. However, as we get to know Corie, it’s hard to believe she would do that in complete silence. Though there’s nothing in the script, perhaps she would squeal with glee or make “contemplating” sounds. Christoferson had a tendency to recite some of his lines at times, but was very good at keeping Paul a real man and not stiff or robotic. He does need to counter her free spirit a bit more at times and not just look so exhausted by her boundless thirst for life. I wanted to see why Paul fell in love with her so I could believe his struggle and desire to stay married to her. He was very charming, though, and likeable as the focused lawyer trying to win his first case. The final scene, as he and Corie grapple to stay together or divorce after less than two weeks, is both heartwarming and truthful. Engaged couples everywhere should be required to attend and take notes.

Mrs. Banks, Corie’s mother, was the scene stealer and was well played by Marcia Carroll. “She’s my mother!” exclaimed more than one audience member. Her New Jersey accent was spot on, though they needed to age her face to match her wig/grey colored-hair. Her attempts to hide her first impressions, both about the apartment and the neighbor, had everyone laughing. Also, her tender moments as she hopes to help Corie reunite with Paul were touching. John S. Davies as Mr. Victor Velasco, the eccentric upstairs neighbor, was an appropriate mix of slimy and mischievous with a pinch of charm. The telephone repair man, played by Francis Henry, was funny as he played a rather sane counter- part to Corie’s neurosis. In the second act, when he makes a brief reappearance, he played a semi-fatherly figure as he attempted to advise the distraught couple. He was simple, to the point and yet subtle with his advice. I wanted him to have more lines at that moment.

After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening. Though they had a little shaky opening, Contemporary Theatre of Dallas’ BAREFOOT IN THE PARK is good for laughs and has an ensemble we all know and can relate to.

Contemporary Theatre of Dallas presents Neil Simon’s BAREFOOT IN THE PARK through November 21.

Performed at Contemporary Theatre of Dallas, 5601 Sears Street, Dallas. Tickets can be purchased online at www.contemprarytheatreofdallas.com or by calling 214-828-0094.


Directed by Cynthia Hestand
Written by Neil Simon
Producing Artistic Director: Sue Loncar
Managing Director/Co-Producer: Russell K. Dyer
Scenic Design: Rodney Dobbs
Lighting Design: Jaymes Gregory
Sound Design: Richard Frohlich
Props Design: Jen Gilson-Gilliam
Costume Design: Aaron Patrick Turner
Production Stage Manager: Lindsay Anderson
Stage Manager: Maggie Belanger
Assistant Stage Manager: Grace Keller Scotch
Deck Crew/Delivery Man: Matt Cook
Scenic Construction: GPO Theatrical
Master Carpenter: Dave Tenney
Carpenter: Clint Ray

CAST
Corie Bratter: Carrie Slaughter-Whittlesey
Paul Bratter: Will Christoferson
Mrs. Banks: Marcia Carroll
Victor Velasco: John S. Davies
Telephone Repair Man: Francis Henry

Lucifer Descending

MBS Productions’ LUCIFER DESCENDING, Addison

*Reviewed 10-21-2010 Performance

Reviewed by Laura L. Watson


______________LUCIFER DESCENDING______________
Reviewed by Laura L. Watson

“All sins have logic… All sins come from truth… All sins come from love.”

MBS Production’s thought provoking and creepy original work LUCIFER DESCENDING had its world premiere just in time for Halloween at the Stone Cottage Theatre in Addison.

Lucifer has kidnapped Seth, the third son of Adam and Eve, and gives him not only a tour but an explanation of hell. The ten levels of hell correlate to the ten commandments which are recited in the original Vulgate Latin as written in the first completed Christian Bible from 382 AD, and each commandment has a rather notorious sinner who broke that commandment and has a torture derived from the crime. For example, Jezebel was guilty of idol worship and her punishment is to be a frozen statue for all eternity. During the tour, Seth meets these sinners, and the sinners are allowed a moment of relief from their torture in order to explain why they did what they did.

Director, Choreographer, and Writer Mark-Brian Sonna explains in the program that this is meant to be a modern day Morality Play. For many centuries, morality plays were written and performed with the intention of teaching the illiterate masses Bible stories. Each scene has its own lesson, with monologues at the beginning and end of the show that ties them all together with a greater lesson presented. Sonna writes he uses “the Bible itself, and the words written within it to propose a different understanding and view of the morality of Lucifer.”

While it was thought provoking (and creepy and scary and horrifying as hell should be), Sonna also wrote he targeted human emotions. This might be the one miss of LUCIFER DESCENDING. I did not feel for these sinners, and I did not fear the tortures of hell as presented in this play. I could not relate to any of it. I think this may have been because each scene was so quick, the audience didn’t have time to build a relationship with this person (on top of preconceived bias we had before we met them.) However, I was able to relate to their logic and reasoning behind their disobedience, which left me thinking at the end of the night. Some of the sinners are VERY well known, including Nero and Delilah, but others are more obscure, in the case of Elizabeth Bathory and Torquemada. There was an assumption that all of the sinners, and their crimes, were common knowledge, and so I spent time during a few monologues trying to piece together what they had done along with their explanation of why they did it. Also, I questioned why certain people were chosen to represent that particular sin. Some are no brainers, such as Elizabeth Bathory for murder, but others were a bit of a stretch. Salome’s greatest crime was lying? However, there is a limitless supply of sinners to represent each and every sin, and I enjoyed learning some history alongside being challenged in my long held beliefs of right and wrong. It would be nice to hear from some “modern day” sinners, such as Hitler or Stalin, too. At the end of most scenes, I agreed both with Lucifer that the sinner is clearly guilty of breaking the commandment and yet they are unjustly punished because they had good reasons for their sins. It’s a paradox.

The greatest triumph of the script, though, is the alternative view of Lucifer that it offers and the justification “big sinners” have for their crimes that is eerily similar to my personal reasoning when I feel I must disobey. I won’t give away the revelation of Lucifer, but it is sufficient to say that Sonna’s Lucifer is not entirely the traditional Judeo-Christian one. This Lucifer wants to explain things, wants to justify, and he wants to keep mankind on the straight and narrow. He is not out to torture, scare, or do other monster things. As someone who was practically born asking “why”, I thoroughly enjoyed an evening of plausible “because” answers that left me thinking.

Similar to interpretive dance, MBS Productions enjoys pushing the artistic envelope with their “choreographed” plays. The seven actors portray over 20 characters/creatures while also using fabric to create the set, represent the torturous flames, and combine their voices to sound like hundreds calling out from the pits of hell. It is an artistic representation of hell, not a literal. I particularly enjoyed the transitions through the levels of hell as Lucifer guided a semi-drugged Seth without a word. They moved like experienced ballet dancers, though no dance credits were listed. Some of the actors need to be more sure of the steps, though. There were times it felt more like a rehearsal. Actors need to take that step, fall, or wrap up in the fabric with confidence and without sneaking a peek at their cast mates to check their position.

This is not a play with a lot of spectacle as the focus is on the text. As previously mentioned, there is no set. As the audience enters, there are black curtains on one end of the Stone Cottage and big bat wings splayed on the floor which Lucifer quickly puts on during the opening monologue. The actors make use of various colors of cloth to create flames, water, chains, and so forth. Costumes are minimal with chorus members being in black shirts and black pants, adding a Roman breastplate for Nero or allowing Salome to change into a Harem dancer’s outfit. Lucifer wears a simple loin cloth and bat wings, and twists his hair into horns. His body is covered in body paint and glitter. He resembles a gargoyle. Seth wears a simple, ordinary red skirt with sash. The Stone Cottage doesn’t allow for a lot of creative lighting, and such was the case with LUCIFER DESCENDING. It was a little bland, even having two actors sit on the floor and spotlight Lucifer as he hovered over the audience using flashlights. It is an “artsy” play- dance and movement, a little fabric are used to represent what is being described. As I told the cast after the show, I’d like to see this as a movie. The effects- wrapped in red fabric for flames, masks for twisted head, etc, didn’t scare or shock me, and a couple were hard to figure out what it’s supposed to be. I’d love to see it with some big budget special effects. That is my preference. As an artist, though, I can totally appreciate the representation and attempt to do something in a different way. The hard work and dedication of all involved is evident and I applaud it. You should experience it.

Ivan Jones as the title character Lucifer was a surprising choice since I had last seen him in MBS Productions’ A DREAM CAFÉ where he played a flamboyant and flippant gay waiter. Jones displays that he has a wide range and is capable of portraying more than one type. His long, lean, muscular body moved with ease and grace as he commanded the stage. His deep, resonating voice literally shook the rafters at times. I did want more fluid movements from him, though, especially when he hovered over the audience. He seemed to be second guessing his movements then. I also wanted to see Lucifer build in his justification argument, and at times felt Jones was relying on his monster image to scare the audience. After a while, a deep yell or a menacing stare just isn’t as terrifying as it was in the beginning, and it began to fall a little flat. Though, in the end, he got another spark and brought Lucifer roaring back to life.

Challenged with the task of being the “everyman” Seth was Rey Torres. As difficult as being a scary monster or tortured in hell is, playing the average, normal guy is equally challenging because he must still be believable and must be the one the audience relates to. Torres never once stops being Seth, but we also don’t get to know him very well because the text doesn’t focus on him for long at all. We, the audience, don’t know if we can relate to him or not. However, he asks the questions we all want answered (why) and his journey to understanding is ours as well. The difference, of course, is that he takes the journey ‘for the first time’ every night. As I mentioned before, he also moves like a trained dancer alongside Jones, creating some truly beautiful moments.

Charli Armstrong was both Cleopatra and Jezebel, and had a few lines as Salome’s mother. Armstrong has a strong voice, supported with lots of power even when being hung upside down. When she was acting as a member of the chorus, she continued to react to everything that was going on even though she wasn’t the focus. In contrast, some of her cast mates would become stoic when they thought no one was looking. Cleopatra, guilty of adultery, is sentenced to an eternity of rape, and she reacted to the rape powerfully. Sonna was smart not to limit her to just strong women- she also well played the tizzy bat-like creatures and became other set pieces or creatures as needed with no problem. I’m convinced there isn’t a role she can’t play.

Delilah and Elizabeth Bathory were played by Sara “Ragsy” Ragsdale. The vocal difference between Delilah and Elizabeth was astounding. It’s hard to believe they were the same person though she could have used some physical variations between the two. Like Armstrong, she played the strong woman sentenced to torture well, and she glided into chorus roles without a hitch. Her monologue as Delilah, a distraught woman in love who just wanted to keep her man safe, was the most emotionally truthful performance of the ending. In contrast, Elizabeth Bathory was a delusional serial killer who painted her body with the blood of her victims. This was less believable, but nonetheless creepy.

Dylan Peck was King John (stole money from his subjects), Torquemada (the man who killed thousands for not being good Christians in the name of God), and various chorus members. Peck has a good voice with lots of power. His portrayals of King John and Torquemada were similar-regal yet whiney-, but his other unnamed characters were all very distinct. Unlike some of his cast mates, he reacted realistically when he was tortured.

Alejandra Flores as Salome was the first sinner we met, guilty of lying to her father. (Salome was the one who danced for her father and then asked for the head of John the Baptist as payment.) Flores was a sympathetic Salome, and the audience truly felt she was being unjustly punished as she was a victim of incest and “just wanted to be free of her father.” Flores seemed nervous, though, and kept glancing at the audience as if for approval. She also seemed self-conscious in her costume- beaded bra-like top and low-rise harem pants. As the show progressed, and she became other characters including Pentaware (guilty of dishonoring his father, the Pharaoh Ramsey, by trying to kill him), she relaxed and her focus returned to her lines or choreography which resulted in a more convincing performance. This was her first professional production, and it asked a lot of her. Her immaturity at times showed, but for the most part, she kept up with her fellow actors. A bio would be much appreciated by the audience, though.

Nero, Severus, and Caligula were all played by David Gorman. He has a deep voice and a long, menacing stare, but he needed more physical differences between his characters. All his rulers were the same- they talked the same, they moved the same. Except for the torture they were sentenced to, they were nearly indistinguishable. The same could be said of his chorus characters. Gorman was a good choice, though, in that he brought a dark, strong presence to the cast that the others fed on.

MBS Productions’ LUCIFER DESCENDING at Addison’s Stone Cottage Theatre, is for those who seek Halloween entertainment in the form of a psychological experience rather than a gory, scream filled horror. LUCIFER DESCENDING had some elements of low budget theatre and some scenes were hit or miss, but overall, I really enjoyed my journey through hell- enough that I’m going back on Halloween, in costume too!

LUCIFER DESCENDING runs through November 7 at the Stone Cottage Theatre, 15650 Addison Circle, Addison.

Tickets are available at www.mbsproductions.net or by calling 214-477-4942. Special Halloween performances, where the audience can come dressed in costume and will recieve a trick-or-treat bag full of candy and other prizes, will be Saturday October 30 and Sunday October 31. Ticket prices vary.


Directed and Choreographed by Mark-Brian Sonna
Written by Mark-Brian Sonna
Stage and Production Manager: Korey-Elizabeth Parker
Costume Design: Larry E. Groseclose
Set and Lighting Design: Alejandro de la Costa
Lighting Technician: Justin Knox
Sound Design and Original Music: Mark-Brian Sonna
Box Office Management: Kim Wickware

CAST
Lucifer: Ivan Jones
Seth: Rey Torres
Nero/Severus/Caligula: David Gorman
Salome/Pentaware: Alejandra Flores
King John/Torquemada: Dylan Peck
Delilah/Elizabeth Bathory: Sara “Ragsy” Ragsdale
Cleopatra/Jezebel: Charli Armstrong

To Kill a Mockingbird

Artisan Center Theater’s To Kill a Mockingbird, Hurst











_______TO KILL A MOCKINGBIRD_________
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

It would be unfair to compare any stage production of TO KILL A MOCKINGBIRD to the Academy Award winning movie, but Artisan Center Theater’s version can be compared to Harper Lee’s great work because they told this story well.

Set in 1935 Maycomb, Alabama, the story is narrated by Jean Louise Finch, the adult Scout. She has returned to her childhood home to recall the year that changed her life, and she is trying to remember something her father wanted her to do. We are introduced to young Scout, her brother Jem and their friend Dill. Their father is attorney Atticus Finch who has been appointed to represent Tom Robinson, an African American man accused of rape and battery by the Ewells, a white trash girl and her father. Racial tensions are high, and the children are taunted by classmates and neighbors alike. Because of their young age, the children are rather naïve and innocent of the things going on round them. Their focus is on Boo Radley, the town’s secretive shut in and the treasures hidden in the hole of a tree. The climax of the story is the trial of Robinson and the lessons Atticus taught his children during it. It is considered one of the best novels in all of American literature and the stage adaptation by Christopher Sergel is accurate even within the limitations of the stage. From the program: “Artisan does not condone or approve of harsh language or racial slurs. In producing this important work, we decided to stay true to the novel, time period and situations therein. Please be warned that there is some harsh language, situations, and the use of a racial slur.” Though it is hard to hear and difficult to watch, these controversial points are much needed and handled well by all involved.

Artisan is a community theater in the round. Set designers Jason Leyva and Dennis Canright placed houses complete with porches and screen doors in the four diagonal corners with a rope swing in front of the Finch house and a realistic tree with a hole in front of the Radley house. By darkening the houses, removing the swing, and placing wooden railings in front of the audience, tables for the judge and opposing council, and building a courtroom balcony over the audience in one corner, they easily shifted from the neighborhood to the trail. (It is worth mentioning that they have done some renovations to the building that include new, very nice bathrooms with additional stalls so intermissions now run 15 minutes instead of 20 or longer as they often delayed the second act due to the long lines.)

Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm. Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well, though the body microphones were sometimes slow in coming on as an actor started speaking. As sometimes happens, the AC came on and caused something in the rafter above me to rattle so loud it was sometimes hard to hear the quieter actors. Costumes, designed by Justin Kailer, Nita Cadenhead, and Jennifer Cadenhead were period appropriate and well fit, though Scout and Jem’s shoes were obviously new because the white parts were very bright. (Kids playing outside all summer wouldn’t have perfectly clean shoes.)

Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears. The girl and the woman shared an understanding about their father in that moment. It was an exceptional work of art. Each actor had authentic sounding Alabama accents (not just Texas accents heightened) and he was able to coax very natural line deliveries from his actors, especially from the children. Act I was a little shaky, though, with some very pregnant pauses. All the actors could pick up their line cues a little faster in the first act. (It could have been opening weekend nerves, though.)

The blocking makes use of the entire space without falling into trouble with sightlines- with exception of the mob scene. It was played in the Radley home’s corner, using a brick wall with a barred window and a single electric light. The “mob” was just 5 men who blocked Atticus and his children from ¾ of the audience’s view and never turned to show their reactions to Scout’s questions. It’s one of the greatest moments in the play, and while it was well conveyed vocally, it wasn’t so much visually. From my vantage point, all I saw was Tom Robinson’s arm sticking out of the jail window and the men’s silhouettes. The audience served as the courtroom audience, and one side served as the jury, receiving the majority of the closing statements and instructions from the judge. I was briefly taken out of the story when the set was changed, mostly by the actors themselves, from the neighborhood to the courtroom, and then I wondered why this was done when intermission was just a scene later. Why the intermission wasn’t put before the trail began, allowing the set change to occur then, might be a directing choice or how it was written in the script, but it did interrupt the experience briefly for me.

I did question some of the casting choices. Age appropriate casting would have served the story better. For example, Link Deas, Robinson’s employer, was well played by Michael Williams, but Williams is just too young looking to have a line about Robinson working for him for 12 years. The same could be said of Bianca White as Helena Robinson and Laura Tolsma as Stephanie Crawford. They did well but needed to be aged with makeup or older actors cast.

Though actors always long to play the great roles in American literature, it is rather daunting to try and make iconic, award winning roles your own. Appropriately so, this show’s strongest actors were the Finch family, played by the real life Leyva family members. Jason Leyva was a quiet, contemplative Atticus without straining to imitate Gregory Peck’s movie version of Atticus. He was strong without overpowering, and he had an intense energy that never let up or allowed his quiet character to become dull. Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father. Sadie Leyva was Scout, and though at times she would simply recite lines, for the most part, she was in the moment and portrayed truthful emotions to the situation surrounding her in ways adult actors should take note. Her wide eyed innocence wasn’t faked, either, and underscored the evil acts adults were able to commit while children looked on. Natalie Berry as Jean Louise was calming, intuitive with a quiet energy that supported all those on stage well. Most importantly, she has a GREAT voice that enraptured her audience from the first monologue on. Though she was seen, and reacted as needed, it was her subtle vocal shifts that conveyed the adult interpretation of the events.

Dill, the comedic relief and source of most of the children’s antics, was charming and mischievously done by Isaac Jarrell. Calpurnia, the Finch’s motherly African American housekeeper, was truthfully played by Lyndee Boyland. Maudie Atkinson is the ever baking busybody who feels it is her duty to educate the children to Atticus’ past, though actress Chalea Blair is not nearly old enough looking to be a peer of Atticus. However, what she lacks in age, she makes up for in maternal instinct. Laura Tolsma was the rather active town snob Stephanie Crawford- again, someone too young in a role meant for an older woman. While I normally celebrate an actor who attempts to portray a character through unique physical and vocal choices, Tolsma’s over the top choices didn’t work for me here. While everyone else was natural and truthful, her performance felt like a caricature rather than a person. However, she was a source of comedy and everyone knows a Miss Stephanie. David Plybon was an appropriately disgusting, revolting Bob Ewell, the white trash father of Mayella. However, Plybon had no reaction during the trial to the other’s testimonies, much of which contradicted him. Tom Robinson, much like Atticus, is a strong yet quiet man whose life hangs in the balance. Sean Massey was subtle yet believable in his portrayal of Tom. Bianca White played Helen, Tom’s distraught wife, but she needed tears and to find her motivation for these outbursts. They felt very halfhearted and like a recitation of a script rather than a wife whose husband is taken from her. The Reverend Sykes is a source of comfort for Helen and reaches out to Atticus for help, but Ronnie Hunt was a little too subtle and soft spoken. Jennifer Cadenhead was Mayella, the woman who accuses Tom of rape. Mayella is a victim of her upbringing, but she is far from innocent. Cadenhead expertly brought out Mayella’s vulnerability and the sadness of her circumstances without excusing her choice to falsely accuse Robinson. With more than 20 cast members, it is impossible to critique each one. However, as a whole, the ensemble jelled well together and felt like a genuine small Alabama town in 1935.

Though no one could ever- or should ever even try to- copy the great movie TO KILL A MOCKINGBIRD, Artisan Center Theater’s stage production remained true to Harper Lee’s classic work and gives its audience an insightful experience. Fifty years after it was first published, men and women alike are asked to think back to that experience that brought a child into adulthood, we as a society remember the injustices that have occurred and are motivated to insure they are not repeated, and we are all reminded of why it really is a sin to kill a mockingbird.

Artisan Center Theater presents Harper Lee’s TO KILL A MOCKINGBIRD through October 30 on Monday, Tuesday, Thursday, Friday and Saturday evenings and Saturday matinees.

Performed at the Artisan Center Theater, 418 E. Pipeline Road, Hurst. Tickets, $9-$16 depending on age and night of show, can be purchased online at www.artisanct.com or by calling 817-284-1200.


*REVIEWED 10-4-2010 PERFORMANCE
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Directed by Dennis Canright
Produced by DeeAnn Blair
Based on the book by Harper Lee
Dramatized by Christopher Sergel
Stage Manager: Lindsay Hardisty
Set Design: Jason Leyva, Dennis Canright
Set Construction: Jason Leyva, Thurston Wells, Larry Dibler, Dan Nolen, Jr, Mike Shreve,
Jennifer Dooley, Michael Pandolfo, Matthew Pandolfo, Robert Molina, Ben Herbert, Branson White, cast and crews of SOUTH PACIFIC and TO KILL A MOCKINGBIRD
Scenic/Painting Design: Lily Stapp
Paint Crew: Baird Harbin, Bethany Jarrell, Bailey Jarrell, Kate Avery, Michael Williams
Props: Tammie Phillips
Costume Design: Justin Kailer, Nita Cadenhead, Jennifer Cadenhead
Lighting Design: Adam Livingston
Light Tech: Michael Blair, Michael Pandolfo
Sound Tech: Karen Woolley, Wendy Pandolfo

CAST- this show is double cast. I only listed those I saw perform on 10-4.
Jean Louise Finch: Natalie Berry
Atticus Finch: Jason Leyva
Scout: Sadie Leyva
Jem: Zach Leyva
Dill: Isaac Jarrell
Calpurnia: Lyndee Boyland
Maudie Atkinson: Chalea Blair
Stephanie Crawford: Laura Tolsma
Mrs. Dubose: Diann Wells
Nathan Radley: Leo Glass
Boo Radley: Cameron Potter
Heck Tate: Eric Maskell
Judge Taylor: Dan Nolen, Jr.
Rev. Sykes: Ronnie Hunt
Mayella: Jennifer Cadenhead
Bob Ewell: David Plybon
Walter Cunningham: Ron Staggs
Mr. Gilmer: Jerry Mayes
Tom Robinson: Sean Massey
Helen Robinson: Bianca White
Mrs. Perkins: Anne Farrell
Mrs. Merriweather: Sheila Mayo
Link Deas/Hawkings: Michael Williams

SMOKE ON THE MOUNTAIN HOMECOMING

Plaza Theatre Company's SMOKE ON THE MOUNTAIN HOMECOMING









______SMOKE ON THE MOUNTAIN HOMECOMING_______
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN


Plaza Theatre Company’s SMOKE ON THE MOUNTAIN HOMECOMING is a funny, touching night of wholesome entertainment that, though not everyone’s cup of tea, is a well done musical theatre production. It’s clear from this production why Plaza Theatre Company, at only three-and-a-half years old, needs to cap its season ticket holders at 1000 in the small city of Cleburne.

The Sanders family is a traveling Southern Gospel band that goes from church to church singing and giving testimony (stories) of God’s truth. HOMECOMING is the third and final story in the series as this is the family’s final show. “It's October, 1945, and the gospel-singing Sanders Family is back together again where it all started, at Mt. Pleasant Baptist Church, where the Reverend Oglethorpe is giving his last service. He's been called to preach in Texas, and has already bought his ten gallon hat and is ready to ride off into the sunset with his wife, June.” (taken from Plaza’s promotional material.) Add to it that June is nine months pregnant, and her mother is none-to-happy to see her daughter go while in this “delicate” condition. June’s younger brother Dennis (the boy twin) will be taking over the pulpit, Denise (the girl twin) is a working woman at the appliance store, and Ma and Pa are starting up the family farm again. The story of the family takes a backseat to the songs and testimonies that are the majority of the production.

Plaza is a small theatre in the round. The set, designed by JaceSon Barrus, is simple- the audience is the church congregation the Sanders have come to sing for. One wall has chapel windows while all the others were wood paneling to make it feel like a small country church. Pews were placed on the diagonal. The Amen Sisters were placed in the pathway of one of the entrances, and the band and pulpit were placed in a small alcove on the East wall. Stools were moved in and out of center so the actors could sit and sing in a circle, facing the audience. This COULD have been awkward staging in the round as churches are not normally in the round, but they had no sightline problems from any seat, and I was tucked away in the top corner- a place one could consider the worst seat in the house, saved only by the staging of director G. Aaron Siler. The play is set October 6, 1945. World War II has just ended and soldiers are returning home to a now very prosperous country. The costumes, designed by Tina Barrus, were period appropriate and accurate for the farming community of Chatham County, North Carolina. June is nine months pregnant, and the actress, Camille Shaw is pregnant in real life, so that made her costuming a little easier. They only had to find some extra padding to make her look nine months and a 1940’s maternity shirt. Even the band, on stage the entire performance, were costumed to match. Lighting Designer Cameron Barrus, kept the lighting simple as well, dimming for the more serious songs and full up for the loud crowd pleasers. The one lone light bulb, donated by the Amen Sisters, hung at center stage and remained on throughout the show, though it cast very little light (which was part of the joke.)

Musical Director Cheri Dee Mega was fortunate to have a cast who produced the most beautiful harmonies, many times a capella and almost always while moving or acting the sub-story plot line. SMOKE ON THE MOUNTAIN HOMECOMING has some of my favorite old Southern Gospel Songs, and I had to stop myself at times from singing along. In the beginning, the band overpowered the singers and the words were lost, but by the third or fourth number, it had balanced out and the singers were heard without a problem. Not everyone is a fan of old southern gospel hymns, as I am, but regardless of musical taste, one cannot help but respect the technique and blending required for this production.

Camille Shaw as the oldest sister/ Pastor’s Wife June Oglethorpe was the (nearly) silent scene stealer and over-the-top star of the evening. She has more energy than anyone on stage as she runs, jumps, dances, and does “sign language” (more like bad mime) while the family sings. June doesn’t sing with the family. “I am called to sign for the deaf, and one day someone will understand.” AND she’s really pregnant! There is a funny ongoing joke about her needing help sitting down and bending over, too. Every upbeat song had her doing crazy antics. In the song “I’m going to Canaan” she danced with a cane and in “You Can Swim” she swam around the stage in a lifejacket. She wasn’t just limited to comedy, though. Shaw signed (in real sign language) as Denise (Jill Baker) sang “Children Talk to Angels”. It was a very touching moment between sisters and mothers. June’s testimony about following God wherever He calls was truthfully and emotionally charged- and reached me on a very personal level. “Where God is, there is home.” was my favorite line of the evening and has made it onto my top ten favorite lines of all time.

Dennis, the boy twin, was sincerely and sweetly played by Andrew Guzman. Guzman is a tenor who sings like an angel. He could go to Broadway and be a real contender to play the next Phantom in “Phantom of the Opera.” Guzman also had the most touching testimony about being a Marine in WWII- which given his physical build and sympathetic nature was not quite believable. During the war, he had a buddy, Jessie Jenks, who prayed even when heckled by his fellow Marines. Jenks single handedly saved 49 of his buddies from the battlefield, over each praying “Just let me save one more, Lord.” Especially for the older crowd, but also for one teary eyed critique, it was the story that made time stand still during the show. I can recite his story word for word even now. Guzman was not left out of the comedic bits, reenacting a number from his childhood with Denise and June called “The Royal Telephone” made all the more hilarious because they’re adults running around with telephone wires, tangling up their sister June and tapping the bell strapped to her head.

G. Aaron Siler had double duty as both director and playing the father, Burl Sanders. Using his size and physical presence he established himself as the head of this multi-generational family with ease. He also has a beautiful singing voice that blended well with the family as a whole. Siler had the first testimony of the evening about loving the farm he grew up on and deciding whether or not to borrow money to buy it. Siler needs to find the levels in his monologue. It was straight through the same and a little like a recitation. He needs to find the humor in his monologue and then find the touching moments. Though not perfect, it was still very touching and resonated with our current economic times. Playing the Mother, Vera Sanders was Darcy Farrington. She was very believable as the strong matriarchy of the family. The looks she shot at the Pastor for taking her daughter away from home could have killed him and wounded anyone within six feet. Her deep alto voice was soothing and melodic. She had a hilarious meltdown during her children’s sermon that was using toy airplanes to make a point about letting God fuel our lives. Uncle Stanley only sung during the first act, leaving me to wonder if he was ever going to have any lines. JaceSon Barrus has an amazing vocal range, going from bass when harmonizing to tenor in his solos with ease. In the second act, when pressed, he makes a surprising confession and allows his story to unfold. He is a prodigal returning to the family. His story was made an allegory to the life of Saint Peter- a man who stuck his foot in his mouth a lot but had a good heart.

Denise, the girl twin, was funny but Jill Baker strained to hit those high notes at times. Her voice was soothing, though, and matched well with the rest of her family, especially her twin brother. Her tale of an overworked mother who has become a career woman with out of control twins was very reminiscent of Lynette on Desperate Housewives, even though this is set in 1945. It showed the timeless struggles of a working mother. Kyle Macy as Pastor Mervin Oglethorpe is SOOO funny in the opening as he sings way off key and is passed from family member to family member for coaching (while singing) in the different parts. He has an amazing range though the script demanded he be off key at times. For the rest of the show, except for his part in June’s testimony and when he turns the pulpit over to Dennis, he remained silent but actively listened to his fellow actors. He never once forgot he was on stage and seemed to genuinely enjoy the show he was watching- the show within the show. The Amen Sisters Maude and Myrtle were hilariously played by Priscilla Nix and Taffey Geisel. Geisel filled in just hours before curtain because the originally cast Judy Barnett had a family emergency. Geisel had performed the role in a previous SMOKE ON THE MOUNTAIN production for Plaza. This cast change announcement came during intermission. If they hadn’t said anything, I would have never known. The Amen Sisters got the show going by being the last minute arrivals who had to greet everyone and gossip on their way to “their” pews. They also stopped to admire “their” light bulb that they had donated to the church, which they later threaten to take with them if the pastor doesn’t straighten up. They called out members of the audience as Brother and Sister so-and-so and designated certain sides as visitors from other churches. Every church has ladies like them and these two actresses nailed the caricature perfectly. I wanted to hear more amens and commentary from them during the show, though. Amen Sisters are not content to be quiet and left out of the spotlight for very long.

As with most series, you don’t miss much if you haven’t seen the other SMOKE ON THE MOUNTAIN plays, but it would, I’m sure, add to the experience and storyline. I and the audience members around me agreed- SMOKE ON THE MOUNTAIN HOMECOMING reminds us of churches and performances we’ve been to. It’s funnier if you know how true the characters are- how very realistic the setting is. Those who’ve never been to a sing along and testimony in a small country church don’t get just how funny it is but will laugh in the moment and might even be culturally educated. Folks won’t find this kind of show in too many churches in the metroplex today. SMOKE ON THE MOUNTAIN HOMECOMING is preserving an old tradition for future generations to enjoy.

Plaza Theatre Company presents Connie Ray’s SMOKE ON THE MOUNTAIN HOMECOMING through October 23.

Performed at the Plaza Theatre Company, 111 South Main Street, Cleburne. Tickets can be purchased online at www.plaza-theatre.com or by calling 817-202-0600.

Plaza Theatre Company’s Smoke on the Mountain Homecoming at the Plaza Theatre Company, Cleburne

*REVIEWED 9-18-2010 PERFORMANCE

Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Directed by G. Aaron Siler
Written by Connie Ray
Conceived by Alan Bailey
Musical Arrangements by Mike Carver
Musical Director: Cheri Dee Mega
Technical Director: Cameron Barrus
Set Design: JaceSon Barrus
Costume Design: Tina Barrus
Lighting Design: Cameron Barrus
Sound Design: G. Aaron Siler
Props Design: Milette Siler, Parker Barrus, Rebecca Schoen
Scenic Painter: JaceSon Barrus
Set Construction and Dressing: JaceSon Barrus, Cody Vernon

CAST
Pastor Mervin Oglethorpe: Kyle Macy
Father Burl Sanders: G. Aaron Siler
Mother Vera Sanders: Darcy Farrington
Uncle Stanley Sanders: JaceSon Barrus
Twin Brother Dennis Sanders: Andrew Guzman
Twin Sister Denise Sanders: Jill Baker
Sister/Pastor’s Wife June Oglethorpe: Camille Shaw
Amen Sister Maude: Priscilla Nix
Amen Sister Myrtle: Taffey Geisel*
*Last minute substitution for the originally cast Judy Barnett who had a family emergency the night of September 18.

Band:
Piano/Cousin Melva: Cheri Dee Mega
Guitar: Bill Ware
Bass: *Mike Melody
Violin- Howard Geisel (9-18-2010 performance only)
*other performances may feature Bob Gracey or J. Aaron Lett on Bass

Cat on a Hot Tin Roof

Artes de la Rosa’s CAT ON A HOT TIN ROOF at the Rose Marine Theater, Fort Worth


_____________CAT ON A HOT TIN ROOF______________
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson , John Garcia's THE COLUMN


Artes de la Rosa, under the direction of Adam Adolfo, had the cojones to take Tennessee Williams’ Cat on a Hot Tin Roof-originally set on a plantation in Mississippi- and move it to Little Havanah in Florida and give it a Cuban flair. The test if a work of art is indeed a true classic is to take it out of time and place and determine if the story still resonates. Any reinterpretation of a work will also test the talent and resources of the theatre company, especially its director. Both Williams and Artes de la Rosa passed with flying colors.

Cat on a Hot Tin Roof was written in 1955- winning the Pulitzer Prize for Drama, and is Williams’ best known work. A little known fact, shared by the director in his opening speech, is that this play happens to be the favorite of Fidel Castro, President of Cuba. The story is set in the bedroom of a plantation home and examines the tormented relationships between Brick- a former star athlete turned drunk-, his wife Maggie- the cat, and Brick’s father and mother, Big Daddy and Big Mamma. Big Daddy is dying of cancer, Brick is mourning the death of his friend (or more than just friend) Skipper, and Maggie is fighting for Brick’s attention and everyone’s respect. Mae and Gooper, Brick’s brother and sister-in-law, are greedy and want Big Daddy’s fortune all to themselves- and their 6 children who they use to torment Brick and Maggie who have no children. Throw in a servant, a priest, and a doctor all there to help Big Mamma come to terms with Big Daddy’s illness, and it’s a recipe for a family show down- made all the more intense by their love and loyalty to one another because of the importance of “la familia.”

Director Adam Adolfo and assistant director Katreeva Phillips assembled a fine cast and united all elements of design behind his vision for a Cuban Cat on a Hot Tin Roof. There is no great spectacle, no huge action- the entire play is driven by dialogue- and thereby the blocking and pacing of the script becomes critical. Adolfo gave his actors just enough blocking to keep the energy up without detracting from the text. He made great use of set levels and used the entire stage with ease. He even made use of the theatre building, letting sounds and action from outside the stage penetrate into the story as if the entire building was Big Daddy’s house and we were in just one room of it. Part of the Cuban flair was the occasional lines in Spanish. Williams’ scripts have a lot of repetition, and Adolfo took advantage of those repetitions as opportunities much as in the same way Broadway’s In the Heights did with great success. (He used the sanctioned Spanish translation for these Spanish lines.) If the audience is bilingual, they are in for a double treat, but even the monolingual are not left out or confused. That is the true mastery of the writing, directing and acting- the emotions and story comes through no matter what language is being spoken or understood. Cat on a Hot Tin Roof has had many interpretations of Brick and Skipper’s relationship and the to-be-paternity of Maggie’s child. Adolfo came with his own, original subtext. I won’t give away his choices as they are part of the climax, but they are both shocking and appropriate to these characters. Adolfo gave a very empassioned opening night speech, letting the audience know that in the rehearsal process, he lost his own father. In grieving his loss, he turned to the script, which in Act II centers on a very volatile father-son relationship. The attention to this scene and the underlying emotions were palpable. Anyone with an imperfect family can relate to the relationships played out in this production of Cat on a Hot Tin Roof.

Opening night had about a 15-20 minute delay as much of the audience was caught in a horrific Friday night traffic jam. The Cuban music chosen by Adolfo and the exquisite set designed by Oliver Lukach made the delay more than bearable. Making use of the entire Rose Marine Theater stage, the set was a work of art in itself and was the ideal backdrop to the dialogue. The set consisted of a large oversized four post king bed with white sheets, sitting furniture, bar, and windows leading to a terrace that was set far downstage and on the floor in front of the audience. Dark wood with white linens gave it a very Cuban feel on a hot and steamy night. The cast was also costumed, by Justin Kailer, in a mixture of white and kahki as many islanders tend to dress. Though united in color and fabric, each character remained distinct from the others. Maggie’s simple white dress was both sexy and elegant while Mae’s maternity shirt was expensive yet frumpy. Mae, who looks to be seven or eight months pregnant, needed a slightly better pregnancy suit. A pregnant woman is not identifiable only by her belly- and the suit needed to include her entire torso. Lighting Designer Matt Wasson used the soft lights of evening and the occasional flash of lightning from the oncoming storm to enhance the progression of the story.

Though not every member of the cast was Latino- and obviously not all were native Spanish speakers- the Cuban feel was present in their dialogue and attitudes. Stephanie Cleghorn Bluth was sultury hot as Maggie the Cat. She held an enraptured audience in her hand, and used her body to accentuate many of her lines. Though Maggie is extremely proud of her body and uses it to try to entice Brick back to her, she is more than that on the inside. Bluth brought that part out in a powerfully dramatic way. I wanted her to go even further and find levels within her sex appeal. Act I is almost all Maggie talking to a non-responsive Brick. At times, she lost the motivation for some of the lines and just recieted them to get through the scene. Maggie keeps talking and talking, for a reason, and Brick doesn’t talk- for a reason. Finding those levels and deep motivations for every single line will take her performance from great to phenomenal. In Act I, Brick was silent yet exceptionally portrayed by Joey Folsom. Though not talking, he is reacting to what she says, and his occasional one liners (usually a joke about his alcoholism), were spot on in timing and delivery. His Spanish pronunciations need a little work, and even his English accent was all over the map. It wasn’t deep South, it wasn’t Cuban. It had a little Brooklyn or Bronx to it at times. With a Cuban setting, it would have been nice to hear either a Cuban-American accent or Standard American English. Folsom and Bluth’s best moment was toward the end of Act I when she suddenly grabbed him and held on at center stage. The moment was so intense everyone in the audience held their breath. This moment was gradually lead up to in Maggie’s non stop talk and Brick’s nonchalant listening. There was also some great physical comedy when Brick, who has a broken ankle, “runs” out of the bathroom to rescue his liquor when his mother isn’t looking. Also worthy of note is that Folsom is wearing a cast the entire play- and never once did he forget nor over emphasize Brick’s broken ankle. He really paid attention to the physical requirements of this character.

Folsom flexes his acting muscles in Act II as Brick and Big Daddy, played by Rob Bosquez, allow their volatile father-son relationship to ignite and explode. The fight over the crutch between father and son was slow and hesitant, but otherwise kept building and the audience engaged. The dialogue in this scene, amongst all the characters, drug a little and the energy dropped. If the actors would raise the emotional stakes and pick up the speed it would help the audience follow all the dialogue. Every word matters, and words are all they have, especially by the second act. Folsom comes full force at Bosquez who seemed to back down and falter at times. I wanted to see him match Folsom’s intensity. Bosquez grew in strength as the scene progressed. Though Bosquez well played the physical pains of a man dying of cancer and an old bull fighting to maintain control, it was this… “old man vibe” that was missing. Physically he was made to look like Big Daddy, but he doesn’t seem old enough to play him. As I talked with my theatre companion (okay, my mom), she and I both agreed yet couldn’t articulate it. People of a certain age carry themselves different than a young man does. They have an air of authority about them- and that attitude of “I’m old, so I’ll say whatever I want.” It’s not something an actor can imitate, they simply have it. However, his exit, which lead to the second intermission, was a powerful cliffhanger to the third act. You didn’t need to speak Spanish to understand what he was yelling.

The second act opens in an intense fight between Big Daddy and Big Mamma (Danielle Reboli) which fell a little flat. It was forced and felt as if it came from nowhere. When opening an act in the midst of an emotionally charged scene, that ‘moment before’ becomes essential. Big Daddy is verbally abusive to Big Mamma, and she cowered as he called her fat and ugly. I had an intense dislike for Big Daddy after this scene. He was mean, callous, and insensitive- exactly as Williams wrote him. Reboli nailed it as Big Mamma in the third and final act. In fact, the third act- which is the climax of how to tell Big Mamma that Big Daddy is dying- was some of the finest ensemble acting I’ve seen in the last year.

Adrian Godinez as Gooper and Georgia Phillips as Mae were disgustingly loathsome and greedy. Phillips needs to really study pregnant woman and how they walk and sit. Her movements were forced and unnatural. But, her snarky stabs at Maggie and snakelike coiling around Big Mamma and Daddy were just what was needed. It was easy to believe she was a former beauty queen who had married for social status, and to watch her manipulate her children, two of which were seen (well played to an irksome annoyance by Hunter F. Hurt and Alexis Gutierrez) to try and ensure her inheritance was unsetteling. Godinez has few lines and is obviously not the one wearing the pants in his relationship with Mae, but his presence adds to the family dynamics. When he cries out to be loved like Brick, it was more than sibling rivalry and gave us a glimpse into why he is truly after the inheritance. Also, his lines did not come out of nowhere, but we saw it building through his physicalization of Gooper in those moments when he was seen but not heard. Of all the actors, Eddie Zertuche had the best Cuban accent. I wish Williams had given him more lines so we could hear him speak more. He well played his nervousness about telling Big Mamma the truth about the medical report, something they do teach- how to deliever bad news- in medical school, so I’m not sure why the doctor was so nervous. Perhaps it’s because of Big Mamma and Daddy’s imposing nature- no one wants to be on their bad side. The Priest, played by Abel Flores, Jr, used his physical stature to fuel his character’s easygoing motivation and lack of desire to rock the boat. The contrast between him and Big Daddy/Big Mama let Big Daddy establish who they are outside of the family and in the community. Add to it, the comedic relief between the Priest and Big Mamma, and he was a lighthearted delight to watch. Antonio Romero Jr as Sookey the servant is quiet and unimposing yet always present. He plays the backdrop to the family’s immense wealth- allowing them to be rich without having to say or do anything except in reaction to his lower class presence. A true mastery in playing a lesser role very well and fully, even though not given much to do or say. Pay attention to him when you go see this play. That’s all I can say about that. Pay attention to what he’s doing when everyone else is talking.

Adolfo said it best: this production of Cat on a Hot Tin Roof may have a Latino cast and setting, but the story is for families of all cultures. With a strong handle on the script, the acting, and all elements of design, this Cuban Cat on a Hot Tin Roof sizzles and deeply affects all regardless of ethnicity.


Artes de la Rose presents Tennessee Williams’ CAT ON A HOT TIN ROOF through September 18.

Performed at the Rose Marine Theatre, 1440 North Main Street, in historic downtown Fort Worth. Tickets are $15, or $10 for students and seniors. Tickets can be purchased online at www.rosemarinetheater.com.

*REVIEWED 9-10-2010 PERFORMANCE

Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, for JOHN GARCIA'S THE COLUMN

Directed by Adam Adolfo
Written by Tennessee Williams
Assistant Director and Stage Manager: Katreeva Phillips
Set Design: Oliver Luke
Costume Design: Justin Kailer
Lighting Design: Matt Wasson
Sound Design: Adam Adolfo
Props Design: Alex Krus
Assistant Technical Director: Scarlett Hunt
Scenic Painter: Travis Rice
Spanish Coach: Eddie Zertuche
Casting Assistant: Nicole Moreno
Artistic Associate: Yvonne Duque

CAST
Brick: Joey Folsom
Maggie: Stephanie Cleghorn Bluth
Big Daddy: Rob Bosquez
Big Mamma: Danielle Reboli
Gooper: Adrian Godinez
Mae: Georgia Phillips
Doc Baugh: Eddie Zertuche
Father Tooker: Abel Flores, Jr.
Sookey: Antonio Romero, Jr.
Dixie: Alexis Gutierrez
Sonny: Hunter F. Hurt

Cat on a Hot Tin Roof YouTube trailer. Note, does not feature Joey Folsom as Brick.

Dream Cafe- Experience #2

This will be short and sweet, as I have already reviewed DREAM CAFE once. As I mentioned, though, I would be seeing it multiple times.

In my second attendence, the scene order was: Dessert, Home, Strong Coffee, Slow Drip, Bitter, and Instant.

Again- IT WAS STUNNING. It drew gasps and tears from not only me but the entire audience. In addition to the genious that is the script, this particular night, there wasn't a single missed beat by the actors. Every scene began and ended with a total commitment to the moment by every actor, and the emotions were more real, more raw than I have experienced in a long time. The characters' journies and the outcome of the story was almost opposite this time from my first experience, and I felt like I hadn't met these characters or heard any of these lines before. Not only had the scene order changed, so had the motivation and the underlying emotion of every single word uttered. It wasn't until it was over and I was contemplating (and comparing notes) in my car did I truly begin to understand the different story I had experienced. Only then was I beginning to truly grasp all the stories within this script and the power of each and every one of them.

I told Mark-Brian I simply had to keep attending. I'll keep going until I either run out of money or get the ending to the story that I want. It's theatrical therapy for this love-sick and hopeless romantic of a critic!

GOMMORAH GO GO

Fight Boy Theatre’s GOMMORAH GO GO at Art 6 Coffee House, Denton


__________________________GOMMORAH GO GO__________________________


Kevin Wickersham’s GOMMORAH GO GO as produced by Denton’s Fight Boy Theatre, is the type of play that comes about in a theatrical frat house at two o’clock in the morning after a night of drinking- funny, raunchy, a little thoughtful and an almost success.

“Once upon a time in the Bible, there were two sister cities called Sodom and Gommorah. These two towns where the dirtiest, sexiest places on earth until one day God sent his two sexy dude angels to deliver his all mighty wrath. See what goes down- or up- in Sodom and Gommorah!” (from Fight Boy Theatre’s promotional materials.) Taken from the Biblical account found in Genesis 19, we see what happens when the sexy angels meet Lot (the only good man left), his horrible wife and his two daughters. And, oh yeah, God is a big drag queen and the arch angel isn’t all he appears to be either.

This is Wickersham’s first venture into both playwriting and directing, and his natural talent and rookie mistakes are both clearly evident. The play is well cast and blocked for the outdoor (aka backyard) playing space that is Art 6. The script itself, though humorous and shocking, only glazed the tip of all this story from the Bible could do. It could have been a political or even religious commentary. It could have been raunchier and funnier if some higher brow comedy had been incorporated, rather than a constant stream of jokes a 13 year old could concoct. It could have been taken to an even further extreme, on all levels, and then leaked to local churches to stir up a bit of a protest outside the fence- there truly is no such thing as bad publicity! Wickersham, nonetheless, guided his cast and crew into this fun production relatively well. For those who are willing to throw all seriousness to the wind, it was a good night of laughter.

Fight Boy Theatre makes a lot happen for very little money. (In the pre show speech, they even solicited donations on the basis of the need for fans to cool the audience on these hot summer nights.) The Biblical-ish costumes by Joshua Scott Hancock were pieced together from the closets of the actors, the local thrift stores and I even noticed an article or two recycled from last year’s production of LYSISTRATA. Set Designer Joshua Baker made heavy use of simplistic signs (heaven, Gommorah, and a street sign pointing to a variety of destinations including UNT and TWU). Sound Board Operator and Stage Manager Brandt Richey was even included in the storyline, but otherwise facilitated the sound effects and music the story required.

Pat Watson (no relation) as Lot gave a truly stunning and believable performance. I felt, given his talent, the story of Lot should have been extended. The second act was just too short, too choppy and too unfinished. There were a hundred places Watson could have taken his portrayal of Lot after leaving Sodom and Gommorah, given the dialogue. Lot’s Horrible Wife, who ends up turning into a pillar of salt (a trick a high budget theatre would have struggled with onstage, and Fight Boy Theatre’s creative tongue and cheek staging reminiscent of junior high productions worked), was loudly, aggressively, perfectly HORRIBLY played by Polly Maynard. She never gave up from belittling Lot, to the point you wondered why either of them married the other. As performed by Maynard, Lot’s wife was truly a bitch who no doubt deserved what she got. The two “virgin” daughters, Brittany Fowler and Ellaine Patman, only shined in the second act when they broke the fourth wall to discuss characterization and the plot synopsis. (A special ad-libbed line about giving up and going home to watch THE GOOD GUYS- Mondays on Fox at 8pm- was particularly funny.) The rather awkward portion of the story- when the daughters trick their father into sleeping with them in order to have children and carry on the bloodline, is a rather dark portion of Biblical history. This is where the script seemed to stall out, and the actors were left to fumble with motivation, any comedic relief, and even unclear blocking.

David Wickersham as Archie, the angel who points out the sins of Sodom and Gommorah to a less than interested God (Joshua Scott Hancock) was straight laced and matter of fact. His deep voice and commanding stage presence correctly lead me to assume a surprise twist from him in the end. He assisted in narrating the action and kept the story moving along. A flamboyant, toe nail painting God could only have been pulled off by an actor fully committed to this portrayal, and Hancock nailed it. In addition, Hancock also timed his delivery of lines such as “JESUS CHRIST? “Who, sir?” “Never mind.” And “One testament at a time, people, one testament at a time.” with easy pizzazz that had the audience both thinking and laughing. The two sexy dudes, Joseph Coulter and Mickey Farmer, had less sex appeal than confidence, but they worked it in their cut off shorts and bandanas.

The chorus was a hodgepodge of young college aged actors grinding each other and mouthing off sexual innuendos and perversions. They harmonized well consistently, though, as no one could utter Sodom and Gommorah without a gregorianesque chant erupting. The chorus was a blanket mass mob of sexual deviants. This was an area that more individual attention could have been paid to deepen the sac religiousness of the evening rather than skimming the top with predictable, albeit funny, stereotypes. As with any ensemble show, the chorus is full of the unsung heroes of theatre- those who know they aren’t being watched every second but nonetheless create a fully developed character and never once stop putting all their energy into conveying who and what this character is to any audience member willing to give them a few seconds of attention. I have no doubt, as my friend told me during his rehearsal period, that hips hurt from all the thrusting. I can’t say that he, nor the audience, really seemed to mind the pain though.

Art 6 even joined in the fun, offering Sodomizers to customers who dared for perverted pleasure.

GOMMORAH GO GO could have been a lot of things, but what it was played out as a night of blushing giggles and shocked gasps. Not a wasted evening, but not all it could have been either. I would love to see it again if Wickersham dared to go even further in his mockery- so long as my pastor doesn’t find out!

http://fightboytheatre.webs.com/

*REVIEWED 06/06/10 PERFORMANCE

Directed by Kevin Wickersham
Written by Kevin Wickersham
Stage Manager and Sound Board Op: Brandt Richey
Assistant Stage Manager: Michele Cote
Set Designer: Joshua Baker
Costume Designer and Choreographer: Joshua Scott Hancock



CAST
Lot: Pat Watson
Lot’s Horrible Wife: Polly Maynard
Daughter #1: Brittany Fowler
Daughter #2: Ellanie Patman
Archie: David Wickersham
God: Joshua Scott Hancock
Sexy Dude Angel #1: Joseph “Captain” Coulter
Sexy Dude Angel #2: Mickey Farmer
Chorus: Doug Arnold, Jonathan Adams, Caleb J. Creel, Kristina Lujan, Bryan Thomas Patrick, and Dara Prati