Nuestral Pastorela, Cara Mia

Nuestra Pastorela
Cara Mia Theatre Co.




Cara Mia’s retelling of the Christmas story via Nuestra Pastorela at the Latino Cultural Center is a charming, entertaining and nostalgic production at the exact right time of year for people of all faiths, cultures and languages.

“Performed in English, Spanish and Spanglish, Nuestra Pastorela returns to the Latino Cultural Center with its family-friendly spin on a Mexican holiday tradition. Written by Jeffry Farrell and Cara Mía's Executive Artistic Director David Lozano, this unique and zany adaptation of the Mexican shepherd's tale features all the usual suspects. The Angel Gabriel, the shepherds traveling to Bethlehem, and the bumbling devils, depicted in the playful style of the Mexican folk tradition, plotting the shepherds' doom by tempting them with the seven mortal sins. When the shepherds don the "smallest mask in the world" (the red clown nose), chaos ensues and hilarity abounds with broad physical comedy and slapstick. A one-of-a-kind production for anyone who is a child at heart!” (taken from Cara Mia’s publicity materials.)

The script is simple and yet brilliant in its blend of English and Spanish- the audience can speak either language (or neither!) and perfectly understand the intents and the message, and even the jokes. Comedy that appeals to both children and adults is also a rare find, but there is no age group left out of the fun of Cara Mia’s Nuestra Pastorela.

Cara Mia’s productions are performed at the Latino Cultural Center. With 300 seats in a raked audience and a deep stage with a proscenium arch, the designers and the actors have the task of taking their simple story and filling the space. The unaccredited set designer chose to place three rows of audience chairs on risers on each side of the playing space at center, and yes, unsuspecting audience members are seated on stage. Upstage center has a one foot tall wooden platform, about five feet deep by six feet long. Keeping with the theme of a traditional Pastorela, there is no other set design for this show, and while more set could be added to the space, it is not missed once the fun begins.

Lighting designer Amanda West makes use of colored lights (red for the devils and pure white for the angel), but otherwise keeps the lighting design simple. Personally, I would have preferred some stars for the night scenes, and maybe even some rapid light movements for the traveling scenes (of which there are many.) The lighting design kept with the overall theme of simplicity, but was one area I would like to see a more complex design unfold.

One of the highlights of Nuestra Pastorela is the musical accompaniment of Erin McGrew. She plays along with the Nino and Nina Clown Shepherds at the beginning of the show, and then from her spot in the upstage right corner, she uses a keyboard, some chimes, and various other objects to create the musical soundtrack and even sound effects for each of the scenes. As much of the Shepherds’ shenanigans are improvised, especially at the beginning of the play, it is a wondrous feat that her music stays perfectly in sync with the onstage action. Finally, towards the end of the play, McGrew is able to show off one of her other skills- singing- and the placement of her simple carol brings the entire evening into a sharp, sentimental and sweet focus.

Kristin Moore’s costumes were the predictable Biblical costumes for the Angel Gabriel, Maria and Jose, but she took more liberties with the Devils'. Luzbel wears an all red suit and tie with matching devil’s horns. Pingo and Estrellita, minor demons under the command of Luzbel, wear less sophisticated costumes. Pingo wears red long johns, furry knickers, a red mid-drift barring shirt, horns and a long red tail. Estrellita, the sexual temptation to most of the men on stage (and a few in the audience), wears red high heels and a red tutu over her skintight Star Trek-ish red leather unitard in addition to the requisite red horns and tail. She also adds a dark red wig and false red eyelashes to aide in her seductive moves. The “Mexican Shepherds/Clowns” are wearing Mexican peasant inspired costumes with more white fabrics than colorful ones used in order to convey their innocence and childlike faith. All the costumes are appropriate for the characters and are well fitted.

Props by Frida Espinosa-Muller were intentionally childlike- from the Star of Bethlehem on a fishing pole to the cap guns given to the Shepherds by Pingo as a means of tempting them away from their journey to see the Christ child. However, much of the cast effectively use pantomime to convey needed objects throughout the performance.

Director Jeffry Farrell never lets the onstage action become static or sappy- there is constant movement to keep the audience engaged. He also smartly makes use of the ENTIRE performance space, including the front of house area for the devils’ entrance from “down below”. One pitfall of the production (and possibly the venue) is that the dialogue that takes place in the upstage area is nearly impossible to hear (and I was in the fifth row). To his credit, Farrell places most of the essential dialogue in the downstage area and allows the Shepherds to speak their special “clown-speak” in the upstage area. One very important piece of information is lost, though, from the Angel Gabriel when he appears to the Shepherds while atop the platform. Perhaps a microphone or a pre-recording of his message would help. Finally, Farrell allows certain audience members seated on the stage to become part of the action in the final scene, directed by the Shepherds, and it is to his and the actors’ credit that this scene is a wild success during most performances.

The pre-show action involves David Lozano and Frida Espinosa-Muller posing as audience members. I know Lozano and Espinosa-Muller, so when they began their antics, I knew the show was starting. However, for those in the audience who don’t know their relation to Cara Mia, they at first appear to be a normal couple. However, as their improv progresses, their involvement in the show quickly becomes evident to all. And it is their involvement in the show that makes it such a success. As described in the director’s notes, this production turns the Shepherds into theatrical clowns (a distinction from circus clowns.) As mentioned, Lozano and Espinosa-Muller improv some pre-show dialogue and action that had me laughing the entire time (there are couples like them in every audience.) Once they transform into the Shepherd Clowns, their movements become more exaggerated and their facial expressions and diction more childlike. Espinosa-Muller is a shining light on the stage and makes audience members sit up and engage in the story along with her. Lozano keeps pace with her, matching her energy and enthusiasm with his own version of clown sarcasm and sensibility. Pricilla Rice plays the Mama (clown Shepherd), and though I never heard her speak a clear word, she completely conveys who she is, what she is doing and her thoughts and opinions of those around her with absolute clarity via her physical movements and facial expressions. All three use a lot of pantomime in their actions, all of which is expertly executed.

Luzbel is sinisterly and slimily played by Rodney Garza, who, according to the director’s notes, also made his lines rhyme. In Pastorela tradition, the devil and his minions are not supposed to be seriously taken as villains, and Luzbel walked that fine line between comedic and scary with precise tightrope skills. He also flipped easily between English and Spanish, producing most of the Spanglish listed in the promotional materials. Ivan Jasso makes total use of his impressive vocal range and long legs and arms to transform into Pingo (who adapts various disguises in failed attempts to stop the Shepherds while on their journey). His use of various accents and character voices aides in the story telling and continues to entertain not only the children but the adults in the audience as well. Estrellita is played by Stephanie Cleghorn, and though she has no audible lines, she utilizes her Peg Bundy style walk and high-pitched giggles to attract plenty of attention as she tries to assist Pingo in his evil plans.

J.R. Bradford as the Angel Gabriel is stoic and authoritative in his lines, when they can be heard. The highlight of his performance is when he does his “angel run” onto and off the stage. Maria is quietly and serenely played by Ana Gonzalez. She along with Sergio Liibo Rodriguez as Jose are required to portray the classic Christmas characters all without cracking a smile as chaos ensues around them nor becoming so stoic that no one cares about them. Both Rodriguez and Gonzalez accomplish this task, creating an endearing and believable picture of Jesus’ (the Spanish pronunciation) birth. Gonzalez could hold the infant Jesus (presumably a doll) with a little more care and realistic movements, though her walk as the very pregnant Maria seeking shelter on her journey is achingly real. Rodriguez’s work with a pantomimed mule is spot on, including unpacking the saddle bags and tying off the animal. He also returns at the end, accepting the gifts from the Magi with a sincere and humble “Gracias” as Maria rocks the baby. Above all, Rodriguez and Gonzalez look the parts of Maria and Jose.

Though from Christian roots and a Mexican tradition, Cara Mia’s Nuestra Pastorela can easily become a new family tradition for people from all backgrounds- and it should.



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Nuestra Pastorela
Cara Mia Theatre Co.
at the Latino Cultural Center
2600 Live Oak
Dallas, Texas 75204

Reviewed performance on Friday December 10, 2011.
Runs through December 17th.


Performances are Thursdays, Fridays and Saturdays @ 7:30 pm.

Tickets are $10 for everyone on Thursdays, and $15 for adults and $12 for children, students, and seniors on Fridays and Saturdays. Tickets can be purchased online at www.caramiatheatre.com or by calling (214) 717-5297.

Directed by Jeffry Farrell
Written by Jeffry Farrell and David Lozano
Stage Managed by Robert Walsh
Scenic Design was unaccredited
Lighting Design by Amanda West
Costume Design by Kristin Moore
Props Design by Frida Espinosa-Muller
Musical Accompaniment- Erin McGrew

CAST
Nina- Frida Espinosa-Muller
Nino-David Lozano
Luzbel- Rodney Garza
Angel Gabriel- J.R. Bradford
Pingo- Ivan Jasso
Estrellita- Stephanie Cleghorn
Maria-Ana Gonzalez
Jose- Sergio Liibo Rodriguez
Mama- Pricilla Rice

Bias- I am friends with all the cast members to varying degrees, having performed or spent time with all of them. In my opinion, this review does not reflect this bias and is in no way a result of our friendship.

ART by QLive, 12-7-11

ART
by Yasmina Reza



QLive!

__________________ART_________________


QLive’s debut production of Yazmina Reza’s Art was an intense emotional roller coaster that had the audience laughing in one moment and gasping in the next.



“Art revolves around three friends — Serge, Marc and Yvan — who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The canvas is white with a few white lines. Serge is proud of his $200,000 acquisition, fully expecting the approval of his friends. Marc scornfully describes it as "a piece of white shit" but does the painting offend him or is it the uncharacteristic independence-of-thought that the purchase reveals in Serge? For the insecure Yvan, burdened by the problems of his impending doom, i.e. his wedding, and dissatisfaction at his job as a stationery salesman, their friendship is his sanctuary...but his attempts at peace-making backfire. Eager to please, he laughs about the painting with Marc but tells Serge he likes it. Pulled into the disagreement, his vacillations fuel the blazing row. Lines are drawn and they square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendship” (taken from Wikipedia).



No doubt the 1998 Tony Award Winner for Best Play was an excellent choice for a young theater company wanting to explode onto the scene. With snappy come backs and surprising revelations amongst friends, Art was a play that explored more than a person’s opinion of post-modern art, it explored the very reason why certain people are friends. The dialogue moved quickly and tensions steadily rose. By the end of the performance I wanted a copy of the script so to write down some of the most jaw-dropping and/or knee slapping quotes. The text in and of itself was a masterpiece - the ingenious directing and spot-on acting were just icing on the cake.



The Firehouse Gallery in Fort Worth is a house built in the 1920’s that was converted into a Firehouse and now into an art gallery. This performance took place in the “living room” portion of the gallery. The “kitchen” was the bar/concessions and backstage area, while the one bedroom served as the Gallery’s office. The garage was the Gallery’s art studio. The audience sat in a U-shape pattern focused on a blank white wall and a brown oversized ottoman. Actors entered either from the kitchen or the front door as needed. Pieces of art hung on the other three walls, real art for sale by the Firehouse Gallery (no designers were credited). Due to the venue, there was no lighting design other than all the lights of the gallery on, at full, the entire performance. There were many instances where a shift in lights would have demonstrated a shift in location and/or time but the lack of a true lighting design did not hinder the storytelling.



Costume design was also unaccredited in the program but the director told me after the show that he designed, bought, and altered the costumes for each actor. Marc wore a basic black suit with white dress shirt and skinny black tie - a very classic 1950’s businessman look, while Serge wore black dress pants and a bright royal blue dress shirt. Yvan’s costume revealed his character most obviously with his green bowtie, suspenders, big glasses, a two sizes too large green dress shirt and brown pants that were just a tad too short (i.e. floods). Though very subtle and understated, as the audience got to know the characters, the significance of their costume choice became more and more clear. Marc saw things in black and white while Serge was more emotional, and Yvan was an old-fashioned gentleman from another time, caught between the two. Without giving away too much, Yvan was also, smartly, given the opportunity to use his suspenders to make some very dramatic statements late in the play.



Director Adam Adolfo is known for his big spectacles and multi-thread storylines. However, with Art, he deviated from this as much because of the venue’s limitations as for his desire to let the “art” speak for itself. In this deviation, he proved that he was in fact a master storyteller. Adolfo utilized the entire space - literally from the kitchen off stage to the living room, to the front door and even outside. As soon as the play began, the audience forgot they were in a non-traditional theater and were able to sit back and fully immerse themselves into the story unfolding before them. With the small audience huddled tightly around the space, the blocking really needed to be conceived in the round and Adolfo did this. Though sightlines were occasionally blocked as one actor spoke near the actor doing the listening, the actor that was the obstruction never stopped actively listening and reacting, so though the audience might have missed the facial expressions of the speaker, they gained the reactions of the listener. In other words, there were pros and cons to every seat, and because of the directing, every audience member felt they had more pros than cons. Adolfo also chose to keep the pace of the show brisk, not even having an intermission, which allowed the actors to proceed full steam ahead with their emotional rises in a truthful and believable way.



QLive! is the theatrical arm of QCinema, a film society that supports the Gay, Lesbian, Bisexual and Transgendered community in Fort Worth. To be honest, I went to this production fully expecting a very homosexual themed retelling of Art. I was pleasantly surprised to discover Adolfo left the script alone. It was in very quiet moments, when the actors would look at each other, that maybe there was a subtle hint of a past romantic affair amongst these friends that was fueling these deeply held emotions. Then again, what friendship doesn’t have deep emotions that no one can accurately describe? As much as Brick in Tennessee Williams’ Cat on a Hot Tin Roof is debated, the true sexual orientation of these three married, once married, or almost married (to women) men was left to the audience to decide and/or argue about in the parking lot after the show.



Jerry Downey as Marc began the show with a monologue about his friend Serge’s new painting. Downey is a young actor with a lengthy resume and a long and prosperous future ahead of him. Marc was smarmy, intelligent and sarcastic - and Downey added a layer of vulnerability that was slowly revealed as the scenes escalated. Marc was also the character who had the most one-liners that had me diving for a pen to write down his observations about modern art, and “the people who buy this crap”. Eighty percent of his performance was dead-pan humor but the other twenty percent was so soul-grabbing dramatic it almost made you forget that moments before he had you in stitches. Though not having the typical look of a leading man, any director would be smart to put the weight of a show squarely on his shoulders.



Scott Alan Moffitt as Serge held the task of balancing opposite Downey, and because of their chemistry on stage the balancing act was successful the entire performance. Moffitt is reminiscent of a young Dylan McDermott with his dark hair and bright blue eyes. When Serge bought the white painting on white canvas, he expected his friends to praise his choice. While Marc was 80 percent humor and 20 percent drama, Serge was 80 percent drama and 20 percent humor - hence the reference to the balancing act. Like Downey, Moffitt squared off and addressed the audience, from time to time, in monologues, and he did so with total confidence - he made eye contact with audience members and conveyed his emotions as clearly as if he were experiencing them for the first time. Though I personally agreed with Marc’s assessment of Serge’s purchase, through Moffitt’s performance I also felt heartbroken over the lack of support he received from his friends. It was his visible struggle with his emotions that helped me to see his point of view and relate to a character so far the opposite of who I am personally. There could be no greater accomplishment for an actor, in my opinion, than to let me get to know him, care for him and root for him even though I disagree with his choices.



Playing the ping pong ball caught in the middle of the sparring sessions between Serge and Marc was Dylan Peck as Yvan. An inexperienced actor would fall prey to the temptation to make Yvan the “whiney nerd” and simply shuffle through the role, allowing the dynamic text to carry him through. Peck rose above this and truly created a three dimensional character. Though there were times when lines were shaky (opening night nerves mixed with a seven day migraine I happen to know Peck was struggling with can do that to even the best of actors), the emotions never once got off track. The dynamic intentions of Yvan, a man we knew little about and who seldom addressed the audience as the other two often did, were made more and more evident as he was tossed between his two friends. Without giving too much away, his final monologue during the climactic scene was hands-down the finest acting I had seen from Peck over the last year I have watched him work.



Though QLive’s debut production of Art has already closed, I often think back to the lines spoken in the play, the emotional journey it took me on and how very relatable the journey was, not only for me but for every audience member that joined me for that experience. For their next production, I will make sure to have not only pen and paper to take notes but a healthy stash of Kleenex, too.



Bias - I am friends with both Adam Adolfo and Dylan Peck, having performed in several shows with or under the direction of both of them. I attended the show strictly as their friend and was asked to write a review of the show after the fact to aide in publicity efforts for the young theater company QLive! with which I have no affiliation.

___________________________________________

ART
by Yasmina Reza



Directed by Adam Adolfo


CAST
Marc- Jerry Downey

Serge- Scott Allan Moffitt

Yvan- Dylan Peck

Reviewed performance on Thursday November 17th, 2011



QLive!
at the Firehouse Gallery
4147 Meadowbrook Dr. Fort Worth, Texas 76103

November 17-26, 2011

More information can be found online at www.QCinema.org.

26 Miles at Artes de la Rosa, 12-2-11

26 MILES
Artes de la Rosa

____________26 MILES____________


Attending Artes de la Rosa’s opening night Fort Worth premiere of Quiara Alegria Hudes’ 26 Miles is like jumping on board a high speed rail train to parts unknown- laughing almost the entire time and wiping away tears the rest.

“From the writer of the Tony Award winning musical, In the Heights, comes this tender family comedy about a Jewish American teenager and her estranged Cuban mother who drive cross-country in an '83 Buick Regal, exploring the relationships we have with our parents. 26 Miles reminds us that the best souvenirs on the road of life are the relationships we make along the way” (taken from Artes de la Rosa’s promotional materials).

Is 26 Miles in English or Spanish? Both. Is it a Jewish story or a Latino story? Both. Well, is it a comedy or drama? Both. Hudes’ writing is notably a mixture of languages, cultures and genres. She weaves the tale of these two women, and all their emotional baggage, with humor and explosive arguments, tears and laughter, and a lot of wisdom too. The storyline may seem improbable to some - a mother taking her daughter, for whom she has no visitation rights, on an extended road trip but once you get to know the characters involved, it is entirely plausible. For me, 90% of a successful production rests on a good text, and 26 Miles is one of my favorite plays because it is ingenious in its simplistic approach and deeply human emotions, told in a non- melodramatic way. This is also a play that has characters everyone can identify with on some level - Cuban, Jewish, or something else. It is no wonder Hudes has been nominated for not one but two Pulitzer Prizes and a slew of Tony Awards for her work.

Artes de la Rosa produces its shows in the historic Rose Marine Theater on North Main Street in Fort Worth. When one thinks of going to the “theater”, this is the type of venue that comes to mind - classic architecture, a raked audience, and a proscenium stage. Comfortably seating 250, it still manages to have an intimate feel, and the magic of the theater permeates the very air we breathe. For this production the normally conceptual and spectacle-driven director Adam Adolfo, along with Oliver Luke as the Scenic Designer, Technical Director, and Stage Manager, opt for simplicity, allowing the story to be simply told utilizing the talent of four very strong actors against a series of sheer white curtains and four white, wooden dining room chairs. They even go so far as to place the prop table behind these curtains at far upstage center, visible to the audience when the curtains are parted as actors enter and exit.

In the pre-show, red and blue lights by designer Juan Gonzalez are reflecting off and behind these curtains, creating a sea of pinks and purples. The sets and the lights create a simple yet elegantly magical atmosphere even before words are spoken. Throughout the performance the lights change slowly to shift us from scene to scene, and to spot the actors in the far down stage positions where they make phone calls or deliver monologues. Unfortunately, the “intelligent lights” are very loud as they shift position, even audible over the music and the actors. However this is minor and the lighting design, as with the set, is subtle and supportive of the storytelling.

The preshow music hints that this is set in 1986, and once the play begins, we see this is true, though the costumes are not over the top. It is subtly 1980’s. Also, there is a lot of white in the costumes - shades of white and different fabrics with various textures to reveal who the characters are underneath. Splashes of color are thrown into the costumes so as not to overwhelm the audience, such as Beatriz’s red shoes and Olivia’s black sweat pants. Costumes and sound are both designed by Adam Adolfo. The play is full of sound effects, most of which signal a shift in scenes, and a healthy dose of 80’s music from all genres pumps through the speakers. One sound effect was a bit much though. We don’t need to hear what Olivia is doing in the bathroom but we do. Other times, the sound effects are perfectly in sync with the action on the stage, and add the occasional much needed comedic relief, such as a classic “wha-wha-whaaa” for the Japanese mountain climber’s untimely end.

Though director Adam Adolfo departs from his normal style, he demonstrates he is very capable of simplistic storytelling, and it never once gets boring or drags in this 90 minute one act with no intermission. The blocking is interesting even though Adolfo only gives his actors the four chairs to create everything from a bed in the hotel room to the car they use on the road trip to Mount McKinley. As mentioned earlier, he goes one step too far in the sound design but otherwise the design elements unite in perfect harmony around the story. No great spectacle, but a great spectacle would detract from the storyline. Much of the onstage action requires pantomime, and the hours rehearsing is evident during these times as the actors drive, climb mountains, and talk on telephones. All of this places the entire success or downfall of the show squarely on the shoulders of the actors - and they carry this responsibility with ease.

Georgia Marshelle Philips, a college student, plays 15 year old Olivia as wide eyed, self confidant, and as emotionally high strung as a 15 year old should be. Olivia is not a normal 15 year old - she’s half Cuban, half Jewish, and has lived with her father with little to no contact with her mother since the age of six. She is also a writer, opening the show with a long monologue that serves as a Letter from the Editor to the readers of her self-published magazine. Philips embodies the entirety of this character, bringing maturity and immaturity into perfect balance. Though at times the emotions seem a bit forced, especially at the beginning of scenes because there is such a big swing between scenes, Philips eventually slides into a believable performance. After the opening monologue, Philips must turn and become a very sick, vomiting Olivia, and this is her least believable scene. One could chalk it up to opening night adrenaline or that she was directed to perform the scene in this manner, but someone who has vomited 16 times in an hour would not move so quickly and would be more prone to gagging sounds rather than coughing. This scene quickly passes though, and Philips is able to utilize that adrenaline rush to push her later scenes rather than fighting to hold it back. Above all, Philips acts not just with her body and voice but with her big brown eyes, looking into the eyes of audience members as she addresses them, and into our souls as the tears well in her eyes as she gazes off into the distance. I was seated in the middle of the audience, and it was her eyes that drew me into the performance. Given the heavy subjects the two women discuss, it is easy to forget that 26 Miles is a comedy. Philips has comedic timing well beyond her years and spouts her imperfect Spanish (leaving those who are bilingual in the audience in stitches) with absolute dedication.

Beatriz is played with fiery passion by DeAnna Gonzales. She takes on a thick Cuban accent for this role but never once do her words get lost in the accent. In fact, her performance would have been unbelievable without it - and it is significant that it is an accurate Cuban accent and not a generic Spanish accent. One pitfall of her performance is that Beatriz yells, and she yells a lot. For example, in the first scene she yells at Manuel and then gets excited about Olivia’s phone call, and all this yelling leaves her very little room to grow in intensity for the truly explosive outbursts. However, one can interpret that Beatriz is always fervent, from small things to big things. But Gonzales balances the yelling with the quieter moments, and is above all an active listener to those on stage with her. She is believable as the heartsick mother who will move heaven and earth for those she loves, and she delivers the witty one-liners with absolute seriousness. “You are my daughter. You have a spiritual ass!”

David Johnson along with Carlos Ireugas, though having multiple minor roles, hold their ground alongside the more dominant characters, and are in no way overshadowed. This was why the standing ovation on opening night began when Iruegas and Johnson took their bows and only grew in intensity when the entire cast came together for the final bows. Johnson is first seen as Reader 2 and is joyful and almost childlike in his all white stereotypical housepainter’s outfit. He does a complete 180 degree turn when in the next scene he is Aaron, Olivia’s low-key and sad father. As Aaron, we see his confliction between loving his daughter and wanting to take care of her, and the need to keep the peace with his current wife Deborah. We also learn later on that Aaron was once a pot-smoking, motorcycle riding hippie who had become a dull, boring and responsible adult, and he seems to be mourning all he has lost in his life. Later Johnson returns as a gas station attendant in Ohio, showing us he has yet a third layer to his acting skills. In all three roles Johnson uses his commanding voice and his stoic yet at the same time deeply expressive facial expressions to convey what is truly happening inside his character. Whatever is required of him, he delivers without inhibition and with total commitment to both the text and his blocking.

Iruegas as Reader 1 is also very childlike, and exudes an enthusiasm that made the audience laugh and clap with joy. Then, for Beatriz’s husband Manuel, he changes into a man full of conspiracy theories who loves his wife but is most definitely carrying a dark secret. His shining moment is as the Tamale Seller, who gives a lengthy monologue about how his wife makes the tamales. A few scenes later Iruegas flexes his comedic muscles as the mountain climber Uemura, climbing upon the four chairs placed back to back while wearing a huge white snow suit. He has no lines but must react to everything Olivia says about him, up to and including his death upon Mount McKinley. The audience roared with laughter at his facial expressions and less than enthusiastic thumbs up to the circling helicopter.

When the train comes to a final stop, the audience cannot help but feel the same exhaustive exhilaration the characters do. Artes de la Rosa’s 26 Miles is a journey that should not be missed.

Reviewed by Laura L. Watson, Associate Theater Critic
for John Garcia's THE COLUMN
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26 MILES
Artes de la Rosa
at the Rose Marine Theater
1440 North Main Street
Fort Worth, Texas 76164

Runs through December 18th

Performances are Friday and Saturday @ 7:30 pm, Sunday matinee @ 2:30 pm.

Tickets are $18 general admission and $12 for students and seniors.
Tickets can be purchased online at www.rosemarinetheater.com or by calling (817) 624-8333.

Directed by Adam Adolfo
Stage Managed by Oliver Luke
Scenic Design by Oliver Luke
Lighting Design by Juan Gonzalez
Sound Design by Adam Adolfo
Costume Design by Adam Adolfo


CAST
Olivia- Georgia Marshelle Phillips
Beatriz- DeAnna Gonzales
Aaron/Attendant/Reader 2- David Johnson
Manuel/Tamale Seller/Uemura/ Reader 1- Carlos Iruegas


Reviewed performance on Friday December 2nd, 2011

Reviewed by Laura L. Watson, Associate Theater Critic
for John Garcia's THE COLUMN

Bias- I am friends with the director, Adam Adolfo, and the cast members Georgia Marshelle Philips, David Johnson, and Carlos Iruegas having performed or been directed by all of them in the past. In my opinion, this review does not reflect this bias and is in no way a result of our friendship.

Joseph and the Amazing Technicolor Dreamcoat, Artisan Center Theater 10-10-2011

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Artisan Center Theatre
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Reviewed Performance 10/10/2011

Reviewed by Laura L. Watson, Associate Critic for John Garcia's THE COLUMN

Artisan Center Theater's current production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is a high energy night of impressive singing and dancing that excites the audience even if the cast is a little young to be believable.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is Andrew Lloyd Webber and Tim Rice's telling of the story of Joseph found in the Bible, entirely in song. Joseph is the 12th son of his father, Jacob, and is his father's favorite. Rather than working in the fields with his brothers, Joseph is taught to read and write and becomes a scholar. Joseph also has prophetic dreams and is able to interpret the dreams of others. Jacob gives Joseph a beautiful coat of many colors. Out of jealousy the brothers kidnap Joseph and ultimately sell him. They tell their father that he was killed, and Jacob is very distraught. Joseph is sold to Potiphar and quickly becomes a favored servant. However, Potiphar's wife also takes notice of Joseph, and when he rejects her seductive advances, she accuses him of trying to rape her. Joseph is sent to prison where he is eventually put in charge of all the prisoners.

When he interprets the dreams of some of the prisoners, word of his ability reaches Pharaoh who is having very disturbing recurrent dreams. Joseph tells the Pharaoh that after 7 years of prosperity there will be 7 years of famine for which they must prepare. Pharaoh is so impressed with Joseph he makes him the most powerful man in all of Egypt under Pharaoh. When the famine reaches Joseph's family in Canaan, his brothers come to Egypt and ask for food. Joseph hides a valuable cup in the youngest brother's bag and then accuses them of theft. As the brothers beg for the brother's life, Joseph's desire for revenge evaporates, and he asks for their father to come. Jacob sees Joseph, and Joseph quickly announces that all is forgiven and shares his wealth with his newly reunited family.

Dennis Canright wrote in his director notes that JOSEPH was one of his favorite musicals because it was fun. Fun was definitely the overwhelming theme of the show. Canright was able to bring together a relatively young cast with a wide range of stage experience, and united them with design elements that helped the audience suspend their disbelief and join in the fun.

However, in those same notes, Canright highlighted the many facets of Joseph's story, and the emotions that fuel it, but the production seemed more focused on singing and dancing with energy than telling the story. And this led to any emotions that weren't joyful and happy but instead being just glossed over until the music picked up again. His notes concluded with a hope that the story would reach into the hearts and souls of audience members. Though it was an entertaining production, it was very two-dimensional, and the story got a bit lost in all the excitement. This was probably more the fault of the script, and Canright definitely did his best to draw out the story and its emotions in the actors as best he could.

The choreography by Eddie Floresca was energetic, full of variety and daring. I say daring because it required high level dancing for community theatre actors in a very small space. On this very crowded stage, one dancer's misstep could have been disastrous. But Floresca didn't settle for hand and arm choreography (a.k.a. show choir moves), but instead made sure that no one's feet ever stopped moving. I was exhausted just watching the show and do not fault the actors for being hot and sweaty, even gasping for breath, at the end. The Pharaoh's Elvis style number "Poor, Poor Pharaoh" highlighted Floresca's creative genius as he mixed dance styles of the 1950's with Egyptian poses that gave the audience one of the most tantalizing numbers of the evening.

However, the Tango in the "Those Canaan Days" was the show stopping dance number. It was listed as the Apache dance. According to Floresca, Apache (pronounced A-pas-shay) is a French street dance known for its brutality and passion. It was included by Webber and Rice to highlight the brother's grief and regret over what they had done to Joseph. David Phillips and Bethany Stanelle were bold, executed the difficult moves well, and were passionate. He partnered her well, and she twirled and was lifted without hesitation and in total control. I wanted to see this show again just to enjoy that particular number.

Musical Direction by Richard Gwozdz produced a chorus that sounded amazing together, hitting all the right notes.

Artisan is about a 100 seat community theater in the round, and even for a Monday night performance, they were nearly sold out. The set was designed by Artisan's technical director Jason Leyva and Dennis Canright. The north and south walls were painted with clouds on a blue sky. The east wall, the main focal point for entrances and exits, had Egyptian symbols and art, including the Eye of Ra, and stairs that came down the middle of the audience to the stage floor. The west wall was a series of mirrors designed like a bird in flight above the audience's heads. The floor had a large starburst design in tie-dye, but was rarely seen during the show as this was a very large cast in a small space.

Lighting Design by Branson White gave a rock concert effect with flashing lights and a very bright stage. However, during Joseph's heartfelt solo in prison, "Close Every Door", the lights were effectively dimmed and a simple single solo eerily lit Joseph as he prayed in his cell.

Sound techs Tori Smith and Phyllis Huaute had the challenging task of mixing all 25 actors, and blending their voices and balancing them with the music tracks. Opening weekend usually has several mistakes, such as mics not turning on in time, but there were only two or three sound mistakes that I noticed. However, MANY of the soloists' mics were too low and either the music or the chorus overpowered them. Unfortunately, this really isn't a musical, it's an opera. VERY little is ever spoken. Therefore, many of the soloists are telling the story of Joseph, and if the audience can't hear or understand them, then the story is lost on the audience.

The props for JOSEPH were purposefully designed by Tammie Phillips to be cartoonish, and were minimalist. In fact, the only props were in the songs describing Joseph's dreams of corn stalks and stars, and at the end when the brothers received bags of food. The show did not require a lot of props, and to add in any more would detract.

A show with a title referencing a specific costume needed to bring in an expert designer, and JOSEPH had that with Nita and Jennifer Cadenhead. In this production, simplicity was key as it was jam packed with multiple quick costume changes throughout the show for every actor. As the chorus moved from country and western Jews, to a modern day millionaire's minions, to Egyptian slaves, each character was distinct yet the chorus was unified as a whole. The narrator wore black pants with a gold sequence jacket, giving a very 70's feel to the production.

The narrator only played dress up with the chorus once, and I wanted to see her join in with the chorus more. Joseph's coat was a long overcoat with a rainbow of ribbons sewn together, and sequins and glitter stars on the collar. In spite of the title, the multicolor coat was not on stage very long before it was destroyed and never seen again. For much of the show, we saw Joseph in a simple white t-shirt and skirt, with a white sash around his waist, symbolic of both his innocence and poverty as he completed his journey. When Pharaoh promoted him, gold jewelry and a headpiece were added, but otherwise, he remained in the same costume throughout. Headpieces were a prominent component of the costume designs, from Pharaoh's "Elvis hair" to the Egyptian hair beads to the cowboy hats, rarely were heads left uncovered, and each completed the costume.

Andrew Guzman was the title character of Joseph. If there was such a thing as a perfect voice for a role, Guzman had it for Joseph. Webber and Rice were known for their wide musical range and power ballads, all of which Guzman delivered with ease and beauty. His young, boyish face lent well for the role, and he portrayed the feelings of loneliness, sadness, and despair. His arrogance as the favored son could have gone further, though, with a cockier posture and more confidence. I never saw any emotion as he planted the stolen cup on his youngest brother- no anger, jealousy, or revenge. The scene where he was sold fell a little flat. I needed the mixture of emotions to really pop-fear, anger, hurt, surprise, etc. Instead, they just melded into submissive apathy which read as shock only. Finally, Joseph had worked as a servant, then a slave, and then hard labor in prison. Guzman's arms and legs needed more muscle definition to fulfill this part of the character.

Narrating the show was Jennifer Cadenhead. She engaged the audience well, easily making eye contact and guiding us through the story. As everything was sung, she did her best when singing in the lower ranges, and she blended well with Guzman. However, her voice sounded strained and not as good in the higher ranges or in certain styles. At the beginning of the show, even though she was alone on the stage, she needed to command the audience, and then cast attention on the others as they entered. This would be easier for her to do if we could hear her over the music. She did not have a strong, belting voice, and those music levels simply must be lowered so we can hear her.

James Lash played double duty as Jacob, Joseph's father, and Potiphar, the rich man who buys Joseph. As Potiphar, Lash seemed to have trouble with his microphone being tangled in his long hair, but otherwise, he played the nonchalant millionaire mogul to a T. As Jacob, his opening solo was off-beat in the music but his later solos were delivered with finesse and the beauty that a trained tenor can bring to a song. His heartache when the brothers told him Joseph had died was genuine, but his joy at seeing Joseph alive at the end was the most emotionally believable and powerful moment in the show, such that many audience members went from laughing and clapping in the number before to quiet tears of joy as they embraced.

Playing Potiphar's wife was Jamie Ecklund. The role required a strong singer and dancer who could seduce the audience and almost seduce Joseph. As I watched her in this role (and in others as a member of the chorus), I thought she must be the star of her high school drill team, but she's just a little too young for this role. Low and behold, I read her bio and it turned out she's a Pharmacist! i.e. a grown up. Ecklund didn't miss a step in the very good choreography, but her girlish face and figure lacked a maturity that the role required. This scene was the most unbelievable, and I think it would aid in the telling of the story if we could believe that Joseph was put in a difficult position and stood up to temptation.

Naphtali and Pharaoh were both played by Kyle Holt. As Naphtali, one of Joseph's oldest brothers, he KNEW his choreography and delivered the dance steps with ease, like a seasoned Broadway dancer. His Elvis-ish Pharaoh was spot on vocally, but needed more pizzazz in the movements. He seemed tired, and some of the moves had lost their pop, especially in his upper body. This was another character that the music drowned out and the audience lost a lot of what he was saying.

A few of the chorus really stood out. Daniel Curl was the Baker whose dream Joseph interpreted while in prison, also brother Asher, and general chorus member. Curl was over the top with his high energy and exaggerated dance moves. Though he was dancing and singing from a place of pure joy, and that made me want to watch him, he needed to blend in with the rest of the chorus so that he could truly stand out in his solo as the Baker. Alongside Curl in many scenes was Colton Hess as Issachar and the Butler. Though he needed to hold his head up while dancing and be confident, he knew the moves, and had one of the strongest voices and most believable emotion of any in the chorus.

Tasia Robinson, another high school student, was a powerhouse singer that I clearly heard all the way to the back row when she was singing in front of me. It's mind boggling she didn't have any solos, but was a delight on stage and one to watch in the future. David Rodriguez was very small on the stage, playing the youngest brother of Joseph, and he tried to make up for it by being over the top and cheesy (think Barney and Friends) in the opening number. However, when he and Guzman locked eyes as the brothers begged for their youngest brother's life in "Benjamin Calypso", there was a genuinely tender moment between brothers that was spell binding and powerful in its simplicity. Rodriguez was another with a beautiful voice and talent to watch for in the years to come.

The unaccredited four guards neither sang nor danced but generally just stood there trying to look menacing to those under their control. Unfortunately these were four roles that should have gone to older actors who were seriously buff. These young men appeared to be either in middle school or early high school and did everything they could to fulfill the roles, but they were just too young.

Finally, as a whole, the chorus enjoyed what they were doing with passion. None of them ever looked bored or had low energy (and yes, I was watching, trying to catch someone letting their character down). Musically, they blended well and allowed the music to soar up and out to the audience, sending shivers down my spine.

Though the cast was young or at least appear young, giving the audience a feeling of seeing a fantastic high school production, Artisan Center Theater's current production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT was energetic, passionate, and above all fun.



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JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Artisan Center Theater
418 E. Pipeline Road, Hurst, Texas 76053.
Runs through November 12th

Mondays, Tuesdays, Thursdays, Fridays and Saturdays at 7:30pm
with Saturday matinees at 3:00 pm

Tickets are priced $12 - $16 for adults, with discounts for seniors, students and children 12 and under.

Tickets are available online at www.artisanct.com or by calling 817-284-1200.

Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed by Dennis Canright
Produced by Dee Ann Blair
Stage Managed by Lindsay Hardisty
Assistant Stage Managed by Michael Williams
Musical Direction by Richard Gwozdz
Choreography by Eddie Floresca
Props by Tammie Phillips
Costumes by Nita and Jennifer Cadenhead
Set Design by Jason Leyva and Dennis Canright
Lighting Design by Branson White
Sound designed and operated by Tori Smith and Phyllis Huaute


CAST-NOTE: This show is double cast. Critic the cast which
performed 10-10-11

Narrator- Jennifer Cadenhead
Joseph- Andrew Guzman
Jacob/Potiphar- James Lash
Reuben- Michael Alger
Simeon- David Cook
Levi- Zeke Branim
Naphtali/Pharaoh- Kyle Holt
Issachar/Butler- Colton Hess
Asher/ Baker- Daniel Curl
Zebulon- Robert Molina
Gad- Tevin Cates
Judah- Jeff Carr
Benjamin- David Rodriguez
Dan- David Phillips
Naphtali's Wife/Mrs. Potiphar- Jamie Ecklund
Levi's Wife- Tamera Miller
Reuben's Wife-Gina Gwozdz
Zebulon's Wife-Morgan Gerdes
Benjamin's Wife-Tyler Vaden
Dan's Wife- Bethany Stanelle
Asher's Wife- Kim Wray
Issachar's Wife- Kristina Bain
Judah's Wife- Tasia Robinson
Simeon's Wife- Libby Hawkins
Gad's Wife- Christina Fares

Seven's a Crowd 8-6-11

SEVEN’S A CROWD
by Jon Christie
Triple J Productions

CAST

Dan- Sri Chilukuri
Mom- Holly Nuckels
Mike- Josh Jacobs
Sloth- Jake Shanahan
Gluttony- Mark Quach
Pride-Fabian Lopez
Envy- Cherami Leigh
Greed- Richard Sharkey
Amy- Rachel Brownjohn
Lust- Amanda Carson Green
Wrath- Jacob Valle


Reviewed performance Saturday August 7, 2011, at 8pm

Reviewed by Laura L. Watson, Associate Theater Critic
for John Garcia's THE COLUMN


__________________SEVEN’S A CROWD_________________
With the above cast list and the tag line “You think one sin is bad? Wait ‘till you meet the whole family!” I knew I was in for a night of outside the box, thought provoking and laugh out loud entertainment. Though Triple J Production’s SEVEN’S A CROWD did deliver as I hoped, it wasn’t without its pitfalls and shortcomings common to young theatre companies.

“When college drop-out Dan discovers a stranger sleeping in his room, he is determined to get rid of him. But before long, the stranger’s whole family moves in and they waste little time exuding their influence on the poor mortal’s life. A comedic look at the seven deadly sins that encourages you to not waste life, to never quit, and to tell annoying house pests to get the hell out!” (taken from Triple J Productions’ promotional material). As the sins bicker amongst each other, as dysfunctional families will do, Dan tries to tune them out and really listen to Amy, deal with his brother Mike, and oblige his Mom as he is the only mortal in the room who can see and hear them.

The Addison Conference and Theatre Center’s small black box theatre is an apt venue for this new company’s second season. Seating only about 50 in the audience makes for an intimate evening. The entire play takes place in Dan’s bedroom- a room he spends entirely too much time in. He not only sleeps, showers, and dresses in there, he also eats, watches movies with his girlfriend, enjoys too many anime internet sites, and generally tries to hide from the world. As a result, his room is full of trash and dirty clothes, and anime posters line the walls. I had to resist the urge to “tidy up” during intermission.

Shortly after the establishing the first scene with Dan (Sri Chilukuri) and Mom (Holly Nuckels) we see the room is also inhabited by Sloth, the sin of laziness, which is well played by Jake Shanahan. Chilukuri is intense and maintains his focus, complete with more than 20 minutes of “surfing the internet” in the preshow as the audience enters. However he at times becomes tongue tied and falls into a common trap for young actors - what to do with my hands. His arms become glued by his side and gestures could at times be stiff and robotic. Nuckels, as the understanding and one could argue enabling mother, is soften spoken, kind and clear with her intents. When needed, her character shows an intriguing and believable arc as she is on her own journey and is trying to get her son to live up to his potential. The only downfall to her performance is that she is simply not old enough to be the mom of a 22 year old college student. She looks barely old enough to be the mom of an elementary student. Some simple makeup special effects are all that is needed. Nothing drastic such as grey hair or “an old lady walk”, she just needs to transform into a middle aged woman instead of a young college student. Shanahan, though exuding an air of nonchalance and semi-exhaustion, still has intense energy and drives his scenes with Dan.

Josh Jacobs (one of the J’s in Triple J Productions) plays Dan’s older brother Mike. He’s an arrogant and demanding big brother who picks on Dan. Jacobs is extremely stiff in his line delivery and not believable but he has some of the best one liners of the show (Some of his lines, though, will need to be updated with every production of this script as some are so culturally current they will be lost on future audiences). After Sloth makes contact with Dan, Gluttony arrives, and is played over the top by Mark Quach. He is hilarious but his character’s humor is, well, teenage boy bathroom humor- complete with belching and farts. However, Quach’s total commitment to becoming Gluttony in voice, facial expression and movement makes him a joy to watch. And yes, I laughed even when the girl in me wanted to say “Gross! Grow up!” (He was the favorite of my male theatre companion). Pride is the militaristic, order barking father of this sin family, and is played to full force by Fabian Lopez. The only time Lopez comes out of his drill sergeant routine is in a few sensual moments with his wife, Lust in Act II. My ear drums could have used a few more less intense moments. Stealing the show in acting abilities is Cherami Leigh as Envy, the youngest sin of the family who simply demands to have everything everyone else does, and annoys anyone into hell if they fail to oblige. Her vocal variations are impressive and she matches them with equally hilarious yet believable facial expressions. She finds the levels within her spoiled brat character type and maximizes every line AND reaction to others’ lines to their full comedic timing potential.

At the insistence of Envy, Uncle G arrives to stop people from being mean to her. My theatre companion and I both assumed he was Wrath (despite the name) because of his snarky and biting comments and hate-filled dialogue with every character- family or not. We were corrected when we closer inspected the actors’ bios which included pictures during intermission. Though he well performs a variety of mafia-like impressions, Richard Sharkey’s Greed is just too wrathful and not slimy enough to allure anyone to the riches with which Greed tempts people. In short, he is amusing and commands the stage, but he isn’t believable as Greed. At the end of Act I, Dan’s sweet, kind hearted girlfriend Amy (Rachel Brownjohn) arrives, with Lust right on her heels. Brownjohn is perfectly cast as a preschool teacher who thinks Dan is sweet but her patience is wearing thin. As he starts to put the moves on her she reacts that she’s just not ready. Lust, the mother of the family, is played to a boiling point by Amanda Carson Green and she’s working on Dan, not Amy. I have not seen Mrs. Carson Green on the stage since we attended college together, but she has always been a striking beauty with expressive eyes. In her red satin gown, she is reminiscent of a 1940’s pinup model. She is my companion’s other favorite. Unfortunately, her lines are predictable and her blocking and movement expected. She fulfills the typical Lust role to a T but I know, if given the chance, she can throw a surprise curveball to the audience. Audiences like unexpected surprises but this is reserved for Jacob Valle’s Wrath. He’s the puny cousin to the family, and technically he’s Wrath, Jr. However, when he sees that Amy is upset, he becomes unleashed. With a surprising vocal range and a comedic flourish beyond his years, Valle’s contrast to the usual stereotype of wrath is exactly what is needed at this point in the story, down to using an inhaler after arriving in a puff of smoke.

Director and writer Jon Christie has shining moments and moments that highlight that he is still growing into his role as writer/director. Some of the best acting is done when actors must speak in sync. Not a word is off, and the best acting occurs in these moments. It is a simplistic yet effective way of conveying how sin can enter and then take over our bodies. He also utilizes the space well with blocking- the play never feels stagnant, it uses the entire space, and yet never feels out of place in the bedroom setting. However, the characters are largely two dimensional and this leads to a “campy” overall production feeling.

I also would prefer a slightly different ending. Hopefully, without giving too much away, I want something other than a parade of good-byes/get outs. In fact, all the audience wants for Dan is for HIM to get out of the room and the rut he’s stuck in. That may make for a more interesting and climatic ending though the final image, illuminated only by the computer screen, is also highly effective.

Lighting design by Joe Nagel is well executed and makes use of colored lights for each sin as they enter, creating a nice atmosphere. Josh Jacobs, in addition to acting, is also the set designer and sound designer. All the sound effects are very appropriate and well executed, even the farts. The set design is extremely well thought out though not every inch well built. There is a door that allows an entrance from the hall, the closet door, where most of the sins enter, and the bathroom door all along the upstage wall of the playing space. The wall by the bathroom door at one point almost comes down during one of Dan’s anger outbursts, and the doorknob on the closet keeps falling off (smartly covered by Quach). Costume design is credited to both Christie and Monnika Young. Costumes are very unique to each character and for the most part fit very well, giving just a hint of who they might be even before they speak. The exception is Lust’s red dress. She makes it work but the lining is bunched up underneath it. I found it to be very distracting. It also seems Nuckels feels uncomfortable in her shirt and low rise jeans, making me wonder if she might need a better fit or if this is a character choice. At the times I saw it, it leads me to believe it is a fit problem.

With a lot of witty one-liners and a surprise twist or two, SEVEN’S A CROWD is an enjoyable, albeit imperfect low budget, night of theatre. If Triple J Productions wanted to take it on tour to youth camps or even to churches, all they need do is clean up a few choice words and they would be an instant hit with that crowd, but even the non-church goers will find something to enjoy and think about.

______________________________________________

Seven’s a Crowd
by Jon Christie
Triple J Productions
at the Addison Theatre Center
15560 Addison Road, Addison, Texas

Runs through August 13th

Performances are Thursday, Friday and Saturday @ 8:00 pm and Saturday matinee @ 2:30 pm.

Tickets are $15 general admission and $12 for students and seniors. Cash or check only please. Tickets can be purchased online at www.triplejpro.org
or by calling (469) 525- 3263. Their office is open Tuesday-Sunday noon – 6:00 pm.

Director- Jon Christie
Stage Manager/Assistant Director- Ana Diaz
Lighting Designer- Joe Nagel
Set Designer/Sound Designer- Josh Jacobs
Assistant Sound Designer- Dalton Tindall
Costume Designer- Jon Christie, Monnika Young
Assistant Stage Manager/Props Master- Micah John Collin
Box Office Manager- Monnika Young
Box Office Assistant- Mark Crotzer



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Stage Black: A Festival of New Plays, 7-17-11

STAGE BLACK: A Festival of New Plays
Produced by Jiles R. King, II of 7TH Stage Productions
Reviewed performance on Sunday July 17, 2011

____________Stage Black: A Festival of New Plays____________

Stage Black: A Festival of Plays, produced by 7th Stage Productions under the direction of Jiles R. King, II, is a four hour mixture of highs and lows, hits and misses, and a palpable desire by the actors and writers to reach something real inside their audience.

“Each play selected for the festival was chosen to reveal the depth and range of the human experience, filled with all its glory and its challenges, from an African American viewpoint.

Life-Death-Life by Paula Sanders is about renowned artist Trent, a survivor of a destructive, fast and glamorous life is finally on the right path with the right woman, Siesha. That is until his past comes calling with dreadful news. In one day, Trent must face the life he may lose and the one he has just created. Unfortunately, there may be no real choice in either matter.

Everyone has a rough day at work. When this happens, the most common thing to do is to have a drink or two. In Drinks on Me by Prince Duren, Gary has taken it upon himself to indulge in this recreational activity. Inside this bar, Gary finds more than just a drink and his life will never be the same again.

The Liberation of Aunt Jo Mama by Gregory Carr transports us deep into the south on the product slave owner General Malls’ Plantation. General Malls’ Plantation, a sprawling antebellum estate spawned the black product slaves Smokie, the clean white toothpaste slave; his woman, Aunt Jo Mama, the pancake mammy; Mr. and Mrs. Bitter Earth, the maple syrup slaves and the loyal Uncle Remy, the rice slave. Will Smokie be able to save Aunt Jo Mama from being just another face on the shelf?

The Ugly Truth by Catherine Montgomery is about Don and Michelle, who are both married to other people, and are making plans for a secret rendezvous when things take a drastic turn. The Ugly Truth takes you on a hilarious whirlwind ride that will have you questioning everything you knew about matters of the heart, honesty and a higher power.

The Wide Divide by Joe Feinstein centers on two 20’s something white couples who get into a racial confrontation in a most unusual way – One of them wants to change his white to black. With America having its first black president, The Wide Divide questions, “Is Race Still A Factor in 2011?”

Closing out the evening with a powerful drama was Breaking Vows at Midnight by Cherie’ Monique Williams. The Dodson family is just an ordinary family, living an ordinary life and dealing with ordinary problems. That is until a mysterious guest visits for the weekend and turns their world upside down. Breaking Vows at Midnight rips the covers off of not-so-ordinary issues such as Lies, Lust, Love and Loathing.” (All descriptions taken from 7th Stage Productions’ Press Materials.)

Overall, this was a very entertaining afternoon of theatre. The Black Academy of Arts and Letters Clarence Muse Café Theater is a small venue, made even more so by the fact that the audience sits at little café tables, complete with battery operated candle lighting. The stage sports one main playing space with archways running all along the wall with curtains hanging for multiple entrances and exits. It seemed, to me, there was an original stage built at the center arch and runway style platforms added on either side of it. I must admit, I often found myself worrying if the actors were going to trip over the two inch framing of the stage as they would cross (sometimes at the height of their emotions) from the original stage to the platforms. Not a single stumble. The set changes between plays were quick and choreographed, which helped keep the audience engaged.

The lighting was minimalistic, focusing on one part of the stage over another, but not really utilized to set atmosphere or give time of day. At the end of each play was a song that, every time, perfectly exemplified the message the audience had just experienced. The evening would have been aided by the entrance door being greased so not to screech whenever opened, and if the catering staff had not conversed so loudly in the bar area.

The first play, Life-Death-Life, could have been easily rated R for language and sexual content. “It takes only a moment to pack the bag you will carry the rest of your life.” This play was full of similar self- reflective statements, delivered with ease. The actors, J.R. Bradford as Trent the artist, Kenneisha Thompson as the ex-girlfriend Tofface, and Nadine Richard as Siesha, hit the stage with full emotions roaring to be let loose. The end of the play, though, became a mini sermon from Trent that was wholly unneeded. The rule of thumb in theatre is SNOTT- Show NOT Tell. I would be very interested to see this one act extended into a full production, mainly because of the character Tofface. She was a fascinating mixture of flippant and darkness. She saw goodness and joy in Trent and sought to destroy it in hopes he would take her with him.. Bradford was subtle and calm until time to explode. He also, as I have noticed in prior performances, has very precise stage business that comes across as natural movement. In this case, he was working at his easel until time to reveal. Richard moved many audience members to tears as her own tears flowed as a woman in the anguish of love. A powerful, powerful production.

Drinks on Me followed, and though well acted, I’m honestly not sure what happened to the characters in the end, or why I would care. Major kudos to Kenneisha Thompson for, in a matter of minutes, shifting from an international super model in the prior play to an old, slightly decrepit seductress from the deep south in this one. Sam Green’s giddiness as Gary was simply adorable. The audience could tell that he was a good man, almost childlike, and these two people in this bar (wearing red as a subtle hint) were not nearly so innocent. The bar tender, Jack, was calmly and powerfully played by K.D. Davis. Perhaps I missed the ending, or the message of the play, but until the very abrupt ending, it was a performance that held my attention without breaking. Was he the devil? Was she a temptress? Why did Gary like her, and what was the point of all the drinking and spiking of his drinks? These were my questions that I have not found the answer to, but because of the fully developed characters, I long to.

Closing the first half of the festival was The Liberation of Aunt Jo Mama, a farcical tale about black product mascots. A farce is written to give the audience, through laughter at themselves, insight to a situation or cultural norm. Though we as an audience laughed our heads off, I’m not sure what the play was a farce of- the portrayal of black people in product merchandising? Over- coming the strong and entrenched grip of the white man in business enterprises? It could have been a number of things, but I’m not sure which one. La-Netia Taylor as Aunt Jo Mama was fully committed to both the posture and the accent/voice required of her. Stefan Peterson and Allison Ostrander played Salisbury Flourchild and Becky Cracker (white actors), and played them over the top. Peterson’s accent choice, at first, came across as a type of speech impediment, and I often found him hard to follow. Ostrander, on the other hand, had a beautifully melodious voice and a wide eyed gaze that had the audience grinning along with her. K.D. Davis as Jet Black Jones, aka Smokie, and Me-Mei Monae as Mrs. Bitter Earth unfortunately came into the storyline at the height of my confusion. Though their performances were fine, I was more focused on figuring out what was happening and why. J.R. Bradford, as Uncle Remy the rice guy had his best acting moment of the evening: Flourchild and Smokie get into a kitchen dance- off, with Bradford in the middle. The look on his face- shame, horror, awe, surprise all in one- was priceless and is the reason most of the audience continued to laugh long after the dance numbers’ humor wore off.

Admittedly, I was a few minutes late coming back from intermission. (I had to move my car to avoid being towed.) When I entered, The Ugly Truth was in progress, and I am VERY sorry to have missed it. It was an engaging, thought provoking exchange of dialogue between J.R. Bradford as God (speaking through Don) and Don’s would be mistress Michelle, played by Nadine Richard. Richard and Bradford ignited the stage with their fast paced verbal jabs at one another and heart felt confessions of what truly motivated them in life. “Free will is mankind’s best friend and worst enemy.” and then later, “You are pretty sarcastic to be God.” My favorite line, coming towards the end, was God saying to Michelle, “Love yourself as I have loved you.” A powerful message for her and every person in the audience. However, and I blame that he was in three of the six plays, JR seemed to be tripping over his lines at times, or at the very least getting stuck. This play, unlike the others, is perfectly set as a short one act. Given more time to focus on it, the performances would have been golden.

The Wide Divide held such potential to be my favorite play of the evening. However, sloppy and at times incomprehensible accents and a desire to hit the punch line rather than tell a story overrode what could have been. It begins as the four white friends discuss what religion they are or would like to be- one saying she has a “Jewish stomach” because she loves Jewish food. One of the friends, Larry played by Stefan Peterson, confesses to his friends he would like to be black. To be a black man, listen to black music, watch black television- he knows he can’t change his skin, but he wants to try it out anyways. His wife, Deena (Allison Ostrander) is adamantly opposed to it and gives a hint that it might not just be ridiculous to her (as it is to the others) but also disgusting. Amy Baker as Maggie and Nik Hobson as Jess settled into their characters and became easier to understand as the play progressed. Larry admires his black friend at work and thinks that white just isn’t cool in comparison. I am unsure as to what any of this conversation had to do with our first black president as hinted at in the description in the press release, but the conversation itself held my attention. Though not well executed, it was very funny and very revealing of multiple white perceptions of black life. I would, however, question why they had to be rednecks? How powerful it could have been if they were anything but…

Breaking Vows at Midnight was the smart choice to end the festival with- on a bang! Making the best use of space and lighting, this play worked on many levels. House right was the living room, center stage was the kitchen, and house left was Vanessa’s (Jerrica Roy) radio studio for her nightly show. Roy played her many emotions subtly until she exploded at the end. I particularly found her “jolted” expression when she was kissed particularly believable. However, some of her slaps to her son and others were obviously pulled. Either go all out or, as an actor, refuse to try. Kenneth McDonald as her husband Kevin Dodson was a little too subtle, and he didn’t seem to know what to do with his hands (a common problem for actors). I wanted to see the shift from the picture perfect man, who gave truthful advice to his son, to the true man that was the center of their crashing world. Wesley Frazier as Malcolm James had my full attention from the first words he spoke. A deep, booming yet smooth voice erupted from him that made me wish it were a one man show. As the friend their son, Josh (Trevian Hall) brings home from college, he is at first awkward with the situation, then gradually gains control of it, until his ultimate motivations are revealed. London Calloway as Josh’s childhood friend Andre Kingston was rightfully juxtaposed to Malcolm’s educated and refined persona with his slang and constant references to “ladies with big booties.” Because of the need to keep it a one act, the ending felt sudden- as if pages of the script had been skipped, and thereby a little false. It didn’t help that a crucial sound cue misfired, though production value was so low, even if done correctly, it wouldn’t have aided in the storytelling. Sometimes, the best choice a director can make is to put action off stage and let the audience imagine it. This was another play I would gladly be first in line to see as a full, two act stage production. The material and the fantastic acting was there, forced into the limits of time. On a side note, NEVER EVER point a gun at your audience. Real or not, loaded or not, NEVER EVER do that, especially during curtain call.

As with any play festival, there are hits and there are misses, but overall, 7th Stage Productions’ Stage Black: A Festival of New Plays was an intriguing, thought provoking, four hour marathon. It’s a shame if you missed it.



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Stage Black: A Festival of New Plays
STAGE BLACK: A Festival of New Plays
Produced by Jiles R. King, II of 7TH Stage Productions
Performances ran July 15-17 at the Black Academy of Arts and Letters Clarence Muse Café Theater.
www.7thstageproductions.org or 214-743-2400

Review: RED, WHITE, AND TUNA at FMPAT

RED, WHITE, AND TUNA
by Jaston Williams, Joe Sears, and Ed Howard
Flower Mound Performing Arts Theatre

Reviewed by Laura L. Watson, Associate Theater Critic for John Garcia's THE COLUMN

___________RED, WHITE, AND TUNA___________


"Firecrackers make a pop but firearms make a point!"… "I wasn't born in a blue state you know!" … "Rich kids don't go to reform school. They go to SMU!"

These are just a few of the Texas truths/absurdities the actors deliver with surefire confidence that make a trip to Flower Mound Performing Arts Theatre's current production of Red, White, and Tuna well worth it, even if the production is not perfect.

"The much anticipated third installment in the Tuna trilogy takes the audience through another satirical ride into the hearts and minds of the polyester-clad citizens of Texas' third smallest town. Along with Tuna's perennial favorites, some new Tuna denizens burst into the 4th of July Tuna High School Class Reunion. This sets the stage for a show full of fireworks and fun from the land where the Lion's Club is too liberal and Patsy Cline never dies" (taken from FMPAT's website).

The one thing that continues to draw audiences to Tuna performances, both professional and community, is that ALL the characters of Tuna are played by two men. Red, White, and Tuna draws a crowd as much for the quick changes and extreme character development by the actors as for the witty writing. And the writing alone should come with a warning label: "May cause you to bust a gut while laughing."

FMPAT, with only 75 seats on three sides of a fairly tiny playing space, is a small theatre. As Executive Producer Scott Kirkham said, "If you get up from your seat during a show, you're now in it." Lighting design also by Kirkham does its job to illuminate the set during the first act, and really begins to add levels of mood and time of day in the second.

Set design by Kirkham is minimalist and utilizes a simple kitchen table with chairs, wooden desk and two wooden stools which are used for everything from a bed to a car to a gun store. Central to the design is an old fashioned radio from which we hear pre-recorded broadcasts from Thurston and Arles's local radio news program. Intermission is their radio show, complete with music and station ads. So, grab a glass of wine and settle in. It's one of the more entertaining intermissions in town. These elements of design work in seamless unity to lie a backdrop for the citizens of Tuna.

One fault of the set though is that the curtain in the second act inside the catering booth is nearly see-through. The audience sees the costumes being prepped and even witnesses a few quick changes as they happen when we aren't supposed to see them. A thicker curtain and practice moving in and out of the small space without lifting the curtain will solve this problem and keep the magical illusion.

For whatever reason, this production opts not to use props but instead pantomimes everything from smoking cigarettes to breakfast. The pantomime by the actors is top rate, but I personally think just a few well-chosen props would have aided in the storytelling.

Costumes by Lyle Huchton and wigs by Eddie Floresca are very reminiscent of the ones creators and originators of the Greater Tuna series, Jaston Williams and Joe Sears, wear and make for a visual feast.

Another performance of note, though unseen by the audience, is by dressers Eddie Floresca and Hunter Johnson. With some changes happening in a matter of seconds while the actor is shouting lines as multiple characters from offstage, these two gentlemen work as hard offstage as the actors do on.

Charles Ryan Roach and Chris Robinson take on the challenge of 20 characters each with their own costume, wig, walk, talk, and place in the story. This show would still be a riot if a theatre opted to hire 20 actors, male and female, to play just one role each it's that well-written.

But the draw of Tuna is that we want to see those vocal shifts and quick costume changes, those slight physical variations as the actors slip from one character to the next.

Chris Robinson, who begins and ends the show as Arles completely delivers. Every character is as unique as a thumbprint and fully developed. As Didi the gun shop owner his comedic timing in between losing his voice at the snap of someone else's fingers and picking up EXACTLY in mid-sentence is spot on, leaving me in stitches. As Vera the pious and self-righteous socialite he manages to remain completely focused as he shouts at the audience through a small bullhorn "ATTENTION SINNERS, ATTENTION!" Luckily the audience does not have to fight to keep a straight face as he does. When something goes amiss, perhaps a delayed entrance or a quick change that takes too long, he continues to ad lib in character much to the amusement of the audience. It should also be noted, to his credit, that he has fabulous legs which we get to see in a variety of skirts and heels.

While Robinson delivers in every way a fan of Tuna would hope, Roach falters just slightly. Each of his characters has a different costume, wig, and physical movements but his voice never changes. The Reverend Sturgis Spikes and Pearl's voices have the same accent, the same inflection, and even the same rate of speed. Roach makes use of his body, with expert choices communicating who the character is with all their emotions and motivations through movement and facial expressions that are believable and truthful but the lack of vocal variety overall is disappointing.

A couple of scenes in Act I drag in pace, but only briefly. The snarky dialogue keeps the audience engaged until the actors pick up to full speed. There are notable line and cue stumbles by both actors, but those can be chalked up to forgivable opening night jitters. Both actors appear very comfortable in these roles, as if they have been playing them for months, and the ease with which they slip from one to the other makes the audience relax, sit back, and enjoy.

It's not perfect, but then again, we love the citizens of Tuna, imperfections and all. So, "Attention, sinners, attention!" Thou shalt see Red, White, and Tuna and thou shalt laugh as you realize, with a sense of awe and shame, that you know these people, that you live with some of them, and the rest are your neighbors

________________________________________________

Restaged by Chris Robinson and Ryan Roach
Production Stage Manager - Scott Kirkham
Scenic Design - Scott Kirkham
Costume Design - Lyle Huchton
Sound Design - Scott Kirkham
Lighting Design - Scott Kirkham

CAST

Charles Ryan Roach - Star Birdfeather, Thurston Wheelis, Elmer Watkins, Berthan Bumiller, Jo Bob Lipsey, Pearl Burras, RR. Snavely, Inita Goodwin, Leonard Childers, and Reverend Sturgis Spikes

Chris Robinson - Amber Windchime, Arles Struvie, Didi Snavely, Petey Fisk, Momma Byrd, Charlene Bumiller, Stanley Bumiller, Vera Carp, Helen Bedd, Garland Poteet

Reviewed performance Thursday June 16, 2011
________________________________________________

RED, WHITE, AND TUNA
by Jaston Williams, Joe Sears and Ed Howard
Flower Mound Performing Arts Theatre
830 Parker Square, Flower Mound, Texas 75028

Runs through June 26th

All performances are Thursday @ 7:30pm, Friday and Saturday @ 8:00pm
and Sunday @ 2:30pm

Tickets can be purchased online at www.fmpat.org or by calling (972) 724- 2147.

Outrageous, Sexy (Nekkid) Romp, MBS Productions June 4, 2011

Outrageous, Sexy, (nekkid) Romp by Alejandro de la Costa
MBS Productions
Addison's Stone Cottage Theatre
15650 Addison Rd, Addison TX 75001
214-477-4942
WWW.MBSPRODUCTIONS.NET
6-4-11 Performance

So, I went to see a friend's play because he came to see mine. I wasn't there in an "official" capacity- I really just wanted a night out at the theatre since I hadn't BEEN to a show since February (been in a show every weekend since my last post- PRAISE GOD.) So, in a way, parden the sloppy writing and out of character formatting. I'm not writing a real review here.

I'd read the great reviews my friend had gotten and was really looking forward to it.

'Casey and Keith are happily partnered gay couple. Their placid lives are turned upside down when their drag queen friend Lovely Uranus is forced to move in and when Lara, an ex-girlfriend of Casey’s, comes to visit. Things get even more complicated as Keith suddenly discovers he is secretly attracted to Lara and may not be gay after all, but a closeted straight man! Can Keith keep his heterosexuality a secret? Will Casey find out? And what does Lovely Uranus have to say about it all?' (taken from MBS Productions' website.) Due to nudity and language, it's only for those 18 and older.

Unfortunately, I was left disappointed. Maybe I'm too much of a prude. Maybe it's only funny if you're gay. Maybe I was just in one of my moods. I don't know. But this show just wasn't THAT funny. Sure, it had funny moments. Sure, it had comedic bits. But, I really only chuckled. It was too vulgar at times to be funny. There seemed to be something amiss in the cast tonight- there was almost no chemistry amongst ANY of them. And, as you can glean from the title, when the comedy didn't work there wasn't much of a story to fall back on. However, there were two monologues, both from Lovely, that just got a little too preachy and a little too serious. Well written, and thought provoking, but the emotions driving them seemed to come from no where and then were suddenly gone. It was off just enough that I see potential in the story- given a little re-write, a little recasting, and maybe some chocolate for me. Who knows? The folks on the other end of the aisle from me were laughing hysterically. The people on my right and behind me barely cracked a smile. It's one of those shows where I as an audience member didn't like it, but as a critic, I have to concede that there are those out there who would love it.

It's hard as an audience member to watch actors struggle. It's also hard to see them acting rather than just being. Andrew Bryan as Casey played the flamboyant well, but after a while, his line delivery stopped varying. Philip Gage as Keith was obviously trying to connect to some emotional journey, but with constant referrals to his erections, no one really watched his face. Emily Murphy as Lara was sultry when she needed to be, but the rest of her lines seemed to be punched out, or bitten off. It was very forceful. Towards the end, she reveals her motivations as she's leaving, and this monologue was absolutely flat. There was no anger, nor triumph in what one would presume was to be her moment. It came out exactly like her first monologue did. It should have been an explosive bombshell, as I didn't see that coming, but by the time we got there, I also didn't care. I just wanted her gone. The character of Lara should be a lot of fun to watch- from the nice, just dropped in ex girlfriend to the sexy seducer to the triumphant bitch. Instead, it was all on one level, all in the same voice, all with the same line delivery. I wanted more. Mark-Brian Sonna gave it his all, but being a Drag Queen is more than a man in a dress. According to Mrs. Vida in the movie To Wong Foo, Thanks for Everything! Julie Newmar, it's "the outrageous outlook and indomitable spirit" and "too much fashion sense for one gender" that makes someone a true Drag Queen. It's an essence, an attitude, and a way of carrying oneself. This was funny- crazy makeup, funny outfits, huge wigs... but it wasn't a Drag Queen. And for all the wisdom that Lovely needed to give these young kids (and the authority in which to give it) she needed to be a true Queen.

The costumes, designed by Larry E. Groseclose, were over the top or subtle as needed. I loved the set design (complete with framed posters of MBS's previous shows.) The lights and music did their job to support (including a well masked sex scene in a near blackout. I'd love to see that illusion in a serious romantic moment.) Lights and set were designed by Alejandro de la Costa, the music was mixed by Mark-Brian Sonna. Director Charles Ballinger made the blocking work for the space and for the storyline. This show's downfall really rests in the writing and the acting. That sounds a lot harsher than I want, but there's not a way to soften the blow.

Go see it. Decide for yourself. It didn't offend me, and I'm glad I went. I think you should see it for yourself. Comedy is unique. Everyone has a different taste. But only mine is right (at least, on this blog.)

FIRST BAPTIST OF IVY GAP

*First Baptist of Ivy Gap
ICT

Reviewed performance Friday, January 21, 2011


Reviewed by Laura L. Watson, Associate Theatre Critic for The Column

_______________FIRST BAPTIST OF IVY GAP_______________

ICT’s production of First Baptist Of Ivy Gap was a sweet play with many gentle pokes at life in the Bible belt that could have been a whole lot more.

Written by Ron Osborne, this play was about six women in the small, fictional town of Ivy Gap, Tennessee, who came together to roll bandages for the soldiers fighting World War II. As they opened up and shared their lives with one another, friendships were made and certain rivalries were established. The second act revealed that it is 25 years later, and the women are reunited for the church’s 100th birthday.

ICT is a large proscenium theatre which was nicely transformed into the basement of the First Baptist Church of Ivy Gap where all but one short scene took place- the other being the front porch of Luby, which was nicely alluded to with a simple rocking chair and shift in lighting. Set designer Jennye James made a beautiful and functional set, though I question why it wasn’t solid. There were breaks in the wall allowing the audience to see characters enter and exit. It had thin frames to suggest doors and windows and utilized only ½ of the stage’s width and depth. A mismatch of tables lined the walls, stacked with supplies sent by the American Red Cross. When I saw it, I immediately knew where the play would take place, but something as simple as closing the curtains to meet the set’s frame could have helped keep me in that story a little better. With sections of the wall detached from one another, it reminded me of my recent trip to Theatre Arlington to review Don’t Dress for Dinner. While the set design there aided in that farce, an unrealistic set here did not aide the more realistic storyline.

The costumes by Karen Burks, with assistance from Elizabeth Warren helped to convey not only time period but each individual character. Topping each clothing choice off was a period appropriate shoe, handbag, (for some) gloves, and hair style that made me wish the 1940s would come back into style- or at least that I could shop where they did. Though the 70’s were the wild fashion pinnacle for some, fashion was more subdued in Baptist churches, though the shift from 1944 to 1970 was clearly evident in this production. Most to be applauded, though, was that if the costumes were hanging on mannequins and I only had a copy of the script in my hand, I could have easily matched up both the 1940’s AND the 1970’s costumes to the right character. The subtle differences, such as outspoken Mae Ellen always being in pants to the slightly shorter skirts worn by star struck Olene, between the characters helped to display some of the brewing conflicts amongst them. Also, in the second act, it was easy to see that they are ultimately still the same women simply by what they wore to the church’s reunion celebration even though they have gone through a lifetime of heartaches and successes. The one criticism of design is the aging process. Twenty-five years had passed from Act I to Act II, and the makeup did not reflect this on some of the actors. The aging process needed to be a little more pronounced.

Lighting designer Lisa Miller utilized lights to show the passage of time from one scene to the next, and to one brief scene on a porch at dusk with ease. Sound design by Rich Frohlich was also subtle but ever present, from the organ Mae Ellen was always practicing “upstairs” to crickets chirping. In particular, the traditional Baptist hymns that played at scene changes were an extra nice touch, mainly because several of us found ourselves singing along. The music is ever much a part of the culture of this church as was the ladies’ choices in shoes, hair, or pot luck dish. Lights and sound never overpowered the production but simply helped to tell the story.

Director Dennis Yslas had an excellent cast and good designers, but the show overall lacked passion and energy. In part, this is due to stagnant blocking. For the most part, the play was written as six women talking as they roll bandages over the course of several months, and then talking as they prepare for the church’s 100th anniversary. However, the blocking never added much subtext or allowed the actors to build their onstage energy or chemistry with one another. As an acting teacher of mine once said, “Talking heads belong on film because talking heads on stage is boring.” There were brief moments of interest, such as Mae Ellen’s and Olene’s tongue and cheek dance numbers, but otherwise, the women stood or sat talking.

Another reason for the low energy and lack of interest was the text itself. It attempted to create a mystery where there was none. Those so-advertised secrets weren’t very secret and so they big reveal(s) fell a little flat. The saving grace of this show, and the hook that probably caused ICT to add it to their season, is the little charming, playful jabs it takes at Baptist life in the Bible belt. First Baptist of Ivy Gap may not have grabbed the audience with its drama, but we sure did chuckle at all the memories of our experiences (whatever they might have been) with sweet little Baptist church ladies.

Of all the plays I have seen in recent months, this cast had the most melodious voices ever assembled on one stage. They could have been reading the dictionary and I would have sat back, relaxed and been charmed by the tale they wove. Anchoring the show, and their friendships, was Mary Tiner as Edith, the pastor’s wife. Making brief yet memorable appearances as Vera, the ‘real power behind the pastor’, was Fritz Ketchum. She delivered those Baptist absurdities with absolute certainty, though Ketchum didn’t really get to flex her acting muscles in this role. Dena Dunn was the more serious, nearly always grief stricken mother of a deployed soldier, Luby who (because of before mentioned problems) had a difficult time truthfully making it to those deep lows and angry outbursts. Mae Ellen is the church’s organist who has high hopes of one day getting out of Ivy Gap, and Jessica Kitchen-Wells did well to show us both that this is her strength and her greatest fear. Sammy, the girl from a neighboring town, is quiet and a little secretive, and Jessica Dahl-Colaw’s soft voice portrayed this well. She also had a physical stance, hands clasped in front of her, shoulders raised, head slightly bowed, that also suggested she was trying to protect herself from those around her. Kris Walters as Olene, the one who thinks she is destined for stardom, had the most energy of the cast and truly displayed the greatest character arc in the play. Not only did she have the physical transformation that was aided by costumes from Act I to Act II, but her posture and voice also changed to suggest she had been through a lot in the last 25 years.

ICT’S First Baptist Ivy Gap is a good chuckle for a quietly charmed audience, but with more innovative directing and higher energy from the cast, I imagine it could have been a whole lot more. Regardless, I told my Pastor to go and enjoy it.

FIRST BAPTIST OF IVY GAP
by Ron Osborne
ICT
Runs through January 29th

Performed at the Dupree Theater, Irving Arts Center. 3333 N. MacArthur Blvd, Irving, Texas 75062. Tickets can be purchased online at www.irvingtheatre.org or by calling (972) 252- 2787.

Director- Dennis Yslas
Producers- Evelyn Hall, James West, and David Smith
Stage Manager- Tom Ortiz
Set Design and Master Carpenter- Jennye James
Lighting Design- Lisa Miller
Light Board Operator- Ian Garland
Costume Design- Karen Burks
Asst. Costumer- Elizabeth Warren
Sound Design- Rich Frohlich
Sound Board Operator- Tully Hall
Props- Louise Childs


Cast
Edith- Mary Tiner
Luby Moore-Dena Dunn
Mae Ellen- Jessica Kitchen- Wells
Olene Wiffer-Kris Walters
Sammy- Jessica Dahl-Colaw
Vera- Fritz Ketchum