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