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