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.