tag:blogger.com,1999:blog-20613529153912710632024-03-18T20:40:38.788-07:00Critiques by Laura L. WatsonI am an artist -actor, writer, director, producer and now CRITIC. I hate the word CRITIC because everyone thinks of the word criticize. However, when I say critic, I mean I give a critique. A critique, by my own definition, is when I tell you what I liked and why, what I didn't like and why and how to do it differently. I love and support the arts with all my heart and money. I WANT them to do well. I write reviews to help the production do better and to help YOU decide what shows to see.Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.comBlogger32125tag:blogger.com,1999:blog-2061352915391271063.post-2665367677117579652013-09-21T13:46:00.002-07:002013-09-21T23:09:54.626-07:00Romeo and Juliet, Artes de la Rosa, 9-13-13<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-line-height-alt: .75pt;">
<b><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Romeo and Juliet<o:p></o:p></span></b></div>
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<b><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Artes de la Rosa Cultural Center for the Arts<o:p></o:p></span></b></div>
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<b><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Friday September 13, 2013<o:p></o:p></span></b></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Artes de la Rosa’s
production of Shakespeare’s <i>Romeo and
Juliet</i> is a musical romantic comedy until the big fight scene, and then it
becomes a disjointed but achingly beautiful romantic tragedy.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">“The world’s most famous
story of an impossible ‘star-crossed’ love told against a scene of violence in
the streets of Havana, 1958. It is the story about a place for pleasure, power,
and passion wrapped in the loving words of the world’s greatest poet, William
Shakespeare. Behind this dazzling world of nightlife, glamour and romance, the
country is fraught with corruption. Feel the heat and desire from the winds in
Havana. Fall in love with the passion of <i>Romeo
and Juliet.</i>” (taken from ADLR’s press kit.)<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">William Shakespeare
borrowed heavily from other works for his infamous romantic tragedy about a
pair of lovers from feuding families, and it remains one of the most popular of
his plays. I had forgotten how many good lines are from Romeo and Juliet. It is
one of those plays “everyone” has read, knows, and feels like an expert on, but
I’ll be the first to admit it has been years since I read it. (And I may or may
not have skimmed through a cliff notes version the day before a certain exam...)
It is NOT my favorite of Shakespeare’s. In fact, it is my least favorite for a
variety of reasons, not the least of which was my overexposure to the storyline
prior to actually reading it. ADLR’s production, especially the actors’ handle
on the classical language, inspired me to read it and truly savor the words as
if reading them for the first time. Still not my favorite, but they gave me a
new appreciation for the story and the characters’ journeys.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Director Adam Adolfo has
been my favorite director in the DFW metroplex for nearly the last four years.
That being said, this production was not without its flaws. He set the tale in Havana
Cuba just as Fidel Castro was poised to take over in 1958. The best part of
historical fiction is watching true events crop up in the midst of the fictional
storyline. Though the authentic flavor of Cuba was ever present, the political
turmoil was not. As the country was dividing, I expected the families to
demonstrate their division along political lines. This could have been easily
accomplished through costume choices: the Montagues favoring Castro in clothing
with the Capulets favoring Batista (the president Castro eventually overthrew,
who had welcomed American organized crime and had paved the way for Cuba to
become America’s glitzy yet illicit playground.) Instead, they all looked as if
they shopped at the same department store. Another solution would be the simple
addition of flags or symbols hung as part of the set
décor, signifying allegiances, but the stage remained impartial. The audience
needed intimate and detailed knowledge of Cuba pre-Castro, which most did not
have, in order to draw the parallels themselves. Though “Two
households, both alike in dignity, in fair Havana where we lay our scene…” has
a lovely rhythm to it, the intent of the historical placement was lost on the
audience and thereby the audience did not understand why the two families
hated each other. The forbidden love of all time does not seem so forbidden if
the audience cannot grasp the depth and the scope of the consequences. *SPOILER
ALERT* <i>Romeo and Juliet kill themselves in
dramatic fashion when they both think they can’t be together.</i>
Unfortunately, the death scene in the tomb needs the most work. It came across
as campy and uncommitted, like a line-thru rehearsal of a junior high
production. I saw the intention of the director, with a nice moment between the
two I’ve never seen brought out before, but the execution was horridly flawed.
There were also occasional blocking issues, such as the Apothecary’s entrance
into the family tomb. It upstaged the Priest’s heartfelt eulogy of the lovers,
placed at upstage center, and for no purpose that I could see. Entrances and
exits should not detract from the focus. Finally, the first act was much
stronger than the second, with actors looking a bit lost in the second act (and
dropping their volume below audible levels), odd choices in blocking and a
sense of frenzied ‘just get to the death scene’ desperation. For example, at
one point, set pieces were being cleared and daggers left from a fight were
picked up as a dramatic and information packed scene took place downstage. I
wanted to tell everyone to stop moving so I could focus! I found out after the show that the simple
reason for this was because the mechanized curtain jammed. The curtains were
not fully opened and could not be shut for the transitions as rehearsed. Though
I knew ‘something’ felt a bit off, I hardly noticed. I wouldn’t have at all if
I hadn’t been there to review. Knowing, though, that entire scenes had to be
altered as they went, I am all the more impressed with the experience. I will
be seeing it again on closing weekend, and I am excited to watch it grow and
smooth out, curtain permitting. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Despite all this,
though, Adolfo worked his trademark magic to create an original <i>Romeo and Juliet</i> with characters as new
and fresh as though they had never before been heard. This adaptation runs just
under two and one half hours, and every cut was needed and every addition
perfectly in sync with the original intentions of the playwright. FINALLY a Romeo and a Juliet we WANT to fall in
love and we root for them to ‘defy the stars’ and live happily ever after. Heck,
it is often a given in most productions that they just ‘fall in love’ whereas
in this one, Romeo and Juliet had to work at their relationship, however brief
it was. Hopefully without giving too much away, the Act I closing scene was
innocent, pure passion and perfectly executed. Adolfo did justice for the story
without being sensational, and because of what was and wasn’t shown, it was
even more sensual. In his Note from the Director, Adolfo said, “Our hope was to
deliver on the joy and hope of <i>Romeo and Juliet</i>
and celebrate the innocence, exuberance, and joy of falling in love!” Mission:
ACCOMPLISHED. The story and this production take a turn from the musical
romantic comedy to serious drama in the fight between Mercutio and Tybalt. It
is a pivotal scene for every character, and it is one of the few scenes with a
lot of action. This puts the pressure on the stage combat choreographer (Adolfo and his assistant director Joshua Sherman). This fight scene was the highlight of the show for
me. Hand to hand, daggers, guns- it was believable, it was fast, and it left me
breathless. Thrilling. The triumph of the production is the transformation of
the minor character Balthasar into a balladeer who sings us through much of the
narration in a mixture of English and Spanish. This addition made the Cuban Shakespeare in a
nightclub vision work, and it worked like magic.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">The historic Rose-Marine
Theater in Fort Worth’s Northside is transformed into a Cuban nightclub
complete with slot machines, scantily dressed showgirls and high stake card
games. The large stage and even the house are used to the fullest extent.
Sarahi Salazar, scenic designer, received the loudest cheers of those
individually introduced to the crowd at the after-party for a reason: her set
is a work of Cuban art. She used simple lines, natural wood and linens to
create the island atmosphere with the exquisite chandelier adding the glam. The
stage was extended to include a small platform with stairs out into the house,
nicely expanding the playing space for actors and creating levels in which to work.
You will notice the lack of a balcony in the description, but it is not missed
in this production! Lighting design by Juan Gonzalez and Costume design by
Marcus Lopez complete the look of the time period and locale to a T. Adolfo, in
addition to directing and producing, was the Sound Designer for the production,
though one would have thought a high paid professional had been brought in.
Levels mixed nicely between effects, recorded tracts, live singing via a body
microphone and spoken dialogue from actors without microphones- giving the
effect that this live stage play had a soundtrack layered underneath. Sherman, Stage Manager and Assistant Director, ran lights and sound from the booth
in the back of the theater with nary a misstep. Choreography by Rebekah Ruiz
and Austin Ray Beck was appropriate to the music, the time period and the
storyline, though the execution of the dances needed a lot of work. The male
dancers, Michael Alonzo, Eduardo Aguilar, and Austin Ray Beck were ten times
better than the female (Rebekah Ruiz and Kimberly Butler)- secure in their
steps and with high energy. The ladies were less self- assured and often faltered,
which registered on their faces and sucked the energy expected from them for
the remainder of the performance. One could blame their large showgirl
headdresses and the perilous high heels up and down the stairs, but this marked
difference between male and female dancers occurred no matter the costume. It was most obvious in dances that required partnering. The
opening dance number needed the most polishing, while the strongest was when
the men were featured in a trio. As the Balladeer sang, he started to dance. He
was joined by two ensemble dancers and together they created an electrifying
and downright SEXY number incorporating the dance styles jazz, hip hop, paso
doble, and merengue to the 1950s Latin nightclub music. They did all this while
mixing in Shakespeare’s lines that kept the storyline going. Truth be told, I
was left a little flushed and breathless while the rest of the audience
thundered their applause.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">As the paramount star of
the production, even more so than the titular characters, Michael Alonzo as
Balthasar turned Balladeer carried the entire production securely on his
shoulders. Alonzo’s singing is angelic, like a Latino Josh Groban, and he sang
everything from Latin jazz to pop to classical opera sensationally well. Alonzo
opened the show with singing and dancing (and a Shakespearean prologue) and
continued to guide the scene transitions. The audience was putty in his hand
after he sang and danced as part of the male trio mentioned above, and he used
that momentum to propel us further into the story. Overall, when it came to the
acting, the comedy was better than the drama, but Alonzo delivered all the
drama anyone needed-particularly in the final scene. The young lovers lost me
at the end, but Alonzo made me care about them retrospectively. Did I mention
the singing? He made me wish ADLR produced cast recordings.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Juliet was played by high
school senior Courtney Reid Harris. Her big, expressive eyes and petite frame were
reminiscent of a young Audrey Hepburn (though with the play set in 1958 Cuba,
it is doubtful this Juliet was purposefully mimicking her.) She was light and
airy, and believably in love. She made you want to protect her innocent heart.
The prose dripped from her tongue and came as natural as ‘um, yeah, like’ does
to other teenagers. When the story took its dramatic turn, she continued to
deliver on all levels, eliciting tears from the audience along with hers. Her
only sin was in the final death scene, which I previously discussed. It was
hurried and without commitment, which was a shame considering the powerhouse
performance she delivered up to that point. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Kevin Acosta as Romeo
was suave yet boyish, amplifying his charm. A perfect match to Harris’ Juliet,
Acosta demonstrated the transformation of Romeo from playboy to protective and
sincere lover convincingly. Though he too grasped the classical language well,
he was often so soft spoken, the lines were lost. The emotions on his face,
though, read to the back row throughout every scene. And it never hurts when
Romeo is a bonafide hunk.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Veteran classical actor
Adrian Godinez took on the role of Mercutio, and well-played Romeo’s friend as
part bodyguard, part fraternity brother. Godinez handles the language best and
his voice reverberates to the highest rafter so that every nuance, every joke,
every syllable was laid upon the audience’s ears with the care and impudence
Mercutio required. Jule Nelson Duac as
Lady Capulet shined in the dramatic scenes of Act II, but did not exude the
confidence of the social elitist by day, cougar by night character she was
supposed to be in Act I. She seemed
awkward, almost jerky, and was far, far too young. Playing Tybalt as the sullen
and troublemaking cousin of Juliet, Parker Fitzgerald brought the macho and
male-dominated force women had to contend with, both in Shakespeare’s time and
in 1950’s Cuba. He was impressive both in his commitment to the lines and in
his physicalization of the character. Though he is shorter in stature than that
of his cast mates, Fitzgerald’s broad shoulders, muscular arms and fierce stare gave the impression of a raging bull on
a thinning leash. Juliet’s Nurse was hilariously and yet touchingly played by
Kristi Taylor. Her physical comedy broke up the lover’s scenes before they
crossed into sappy melodrama just right, and she gave the most credence to
Juliet’s young albeit mature character. She had a mother’s love for the young
woman, and her devastation at the magnitude of the loss of both lovers was
palpable and genuine. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Lorens Portalatin
returned to the ADLR stage first as a nightclub singer, thankfully, where she
shined alongside Alonzo in a hauntingly beautiful duet. In Act II, she became
the Apothecary who doles out the poison to Romeo. In costume and movement,
Portalatin embodies the spirit of an island voodoo priestess, but all her lines
were lost in the accent she affected. As choreographer and dancer, Austin Ray
Beck commanded the stage with ease. Anyone who has seen him perform knows and
expects this. Surprisingly, he can also deliver Shakespeare on ALL levels- from
the comedic to the dramatic. He was the unforeseen triple threat when he
emerged as Benvolio. Clyde Berry as an
island version of the Catholic priest Father Laurence was accurate, funny and
poignant. Eduardo Aguilar as Sampson (one of Romeo’s friends) was obviously
more comfortable moving than acting, and his moving more than made up for the
acting. Kyle R. Trentham as the Prince Escalus (the most difficult character to
fit into the Cuban political scene with its lack of royal governance) had an
excellent voice and mannerism for Shakespeare when he wasn’t tripping over the
lines. Rounding out the cast was Cameron Allsup as Abraham (a Capulet), Jacob
Harris as Paris (the man Lady Capulet picks for Juliet to marry) and Stephen
Madrid as Romeo’s father, Montague. All three were rarely seen on stage, but
when present, they were in the moment and delivered subtle, powerful
performances.<span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">After the shaky but
breathtaking opening night performance, the audience adjourned to the Artes
Gallery for the VIP After Party presented by Artistic Director Adam Adolfo, with
a virtual who’s who of hip, hot theatre being produced today in attendance. It
was classy with fantastic food catered from On the Boarder and an open bar. The
event was complete with red carpet photos and interviews. As guests interacted, they enjoyed the intriguing
work by Race Street Artists, curated by Carter Riverside High School educator
Mary Boswell, and a slide show of production photos on projector. Production
photos from Artes de la Rosa are often works of art in their own right, and
this was no exception. Photos can be found on the company’s Facebook page</span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">, <a href="http://www.facebook.com/RoseMarineTheater"><span style="color: black; mso-themecolor: text1; text-decoration: none; text-underline: none;">www.Facebook.com/RoseMarineTheater</span></a></span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"> and their YouTube video </span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"><a href="http://youtu.be/yGghokZJMJI"><span style="color: black; mso-themecolor: text1; text-decoration: none; text-underline: none;">http://youtu.be/yGghokZJMJI</span></a></span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">. <i><o:p></o:p></i></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Artes de la Rosa’s
current production of <i>Romeo and Juliet</i>
resonated with me long after the lights dimmed and it left me despondent that
such beautiful lovers didn’t get what they richly deserved. Add in the sexy
singers and dancers with fierce talent, and I am left longing for this Cuban
romance extinguished far too early.<o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 14pt;">And to the lady who <u>rudely</u>
texted throughout the show up until the end of the ‘balcony’ scene (when I
not-so-politely told her to put it up), I hope you will return and enjoy the
experience without your phone. And bring some friends and family- this is a
production any musical, culture, Shakespeare, romantic comedy, sexy dancer, action
sequence loving human being needs to see distraction free with an open mind and
willing heart. <o:p></o:p></span></div>
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<i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">Romeo and Juliet </span></i><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">runs through October 6 with shows Friday and Saturday evenings at
7:30 and Sunday matinees at 3pm. (ONE DAY they will push the curtain time to 8pm,
a more convenient time for audience members fighting traffic, getting off work
late, or who desire to eat dinner BEFORE the show.) Tickets are $18 for adults,
$14 for students and senior citizens and available online at </span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;"><a href="http://www.artesdelarosa.org/"><span style="color: black; mso-themecolor: text1; text-decoration: none; text-underline: none;">www.artesdelarosa.org</span></a></span><span style="font-family: 'Times New Roman', serif; font-size: 14pt;">, calling 817-624-8333 or in person 30 minutes
prior to curtain. <o:p></o:p></span></div>
Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-59590996757310556962013-05-22T09:08:00.003-07:002013-05-22T09:10:00.703-07:00In the Heights, Artes de la Rosa, 5-17-13<br />
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<span style="font-size: 14.0pt;">In the Heights<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Artes de la Rosa Cultural Center for the Arts <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">May 17, 2013<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">When a close friend tells you that in one year he is
directing his dream musical as a regional premiere, then after auditions
announces the cast that includes several of your other friends and acting
acquaintances in their dream lead and supporting roles, and finally the
production company asks you to review the show: you spend the week leading up
to opening night a quiet nervous wreck. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">On one hand, I wanted to give my friends a good
review; on the other hand, I needed to be fair and unbiased; and, oh yeah, I
don’t review musicals because they are not my area of expertise! <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">For nine weeks, I avoided these friends- their
Facebooks, blogs, even social functions- because I wanted to come to the
opening night performance as clear of all bias as possible. To top it all off,
I had seen the Tony-award winning Broadway production with the original cast as
well as the Broadway tour that came through Dallas last year, and I struggled
to grasp that a 250 seat theater with no fly space was attempting this
production.<o:p></o:p></span></div>
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<b><span style="font-size: 14.0pt;"><br /></span></b></div>
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<b><span style="font-size: 14.0pt;">It is with
great relief that I tell you I was in joyful tears by the third song/scene because of the theatrical
feat Artes de la Rosa Cultural Center for the Arts had accomplished with their
regional premiere of <i>In the Heights. <o:p></o:p></i></span></b></div>
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<span style="font-size: 14pt;">Conceived by
Lin-Manuel Miranda, who also wrote the music and lyrics, and the book written
by Quiara Alegria Hudes, “<i>In the Heights</i>
<span style="background: #FFFCF3;">tells the universal story of a vibrant
community in New York’s Washington Heights neighborhood – a place where the
coffee from the corner bodega is light and sweet, the windows are always open
and the breeze carries the rhythm of three generations of music. It’s a
community on the brink of change, full of hopes, dreams and pressures, where
the biggest struggles can be deciding which traditions you take with you, and
which ones you leave behind. <i>In the Heights</i> is the winner of the 2008
Tony Awards for Best Musical, Score, Choreography and Orchestrations.<span class="apple-converted-space">” (taken from ADLR’s publicity materials.) The
script and the lyrics were full of wit and charm, and I was easily moved from
laughter to tears as the story went along. The music was a mixture of Latino
and hip hop beats- a truly unique sound for a full length musical. There are
several lines sung or spoken in Spanish, so yet again those of us who are
bilingual are treated to extra jokes and insights. However, an English-only
speaking audience can easily grasp their meaning so to enjoy the story as well.<o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background-color: #fffcf3; background-position: initial initial; background-repeat: initial initial; font-size: 14pt;">I first met Artistic Director Adam
Adolfo when I was assigned to review a show at Artes de la Rosa in September
2010. Since then, he and I have worked together professionally several times
and grown close personally. After our first show together, I met a woman (who later
turned out to be his mother), and I told her, “He has a unique gift. There are
good directors, there are great directors, and then there are a few in every
generation who are classified as brilliant directors. Adam is one of those
brilliant directors. There is a light that emanates from him, and he sees the
world and creates new worlds like no one else I know.” His direction of <i>In the Heights </i>lives up to my long held professional
opinion of my now friend. Blocking is organic, the ENTIRE theater space is used
with ease and creativity, and all the elements of design are united to tell the
story of a group of people living along a city block in Washington Heights.
Adolfo elicits truthful acting in the midst of belting out dynamic notes from
his cast, and he supports them with an ensemble of dancers and singers who are
allowed to shine in their disciplines without detracting. Adolfo found stories in subtext and movement
that the original and touring shows somehow missed, and his take on the script
and music was a rare experience that rivals- and in many instances surpassed-
the experience I had when viewing the original Broadway cast. One of the songs
asks what would you do if you won $96,000? Well, i</span></span><span style="font-size: 14pt;">f I had $96,000, I’d
give it to Adam Adolfo to produce more work like this. Until then, I hope
producers both local and far away hear me as I quote the show </span><span style="font-size: 14.0pt;">“You have to commission a great artist while his rate
is still good.”<o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Adolfo was obviously well supported by Musical
Director Kristin Spires and Choreographer Elise Lavallee. Spires conducted the
tight band who created a fantastic sound. There are those in the audience who
claimed the band was too loud. As the critic in the last row, I heard every
word out of the mouth of every actor/singer (when their mics were working
properly.) However, I recognize there are those of a certain generation who are
unaccustomed to following sing/speak or rap lyrics which are prevalent
throughout <i>In the Heights. </i>Another
feather in Spires’ cap, and the cap of Associate Music Director Mark Howard, is
the stunning, pitch perfect, powerful, and moving vocals coming from the stage.
Yes, a lot of the amazing vocal performances were a result of the dynamic
talent assembled; however, their ability to blend and play off one another is
to Spires’ credit. Lavallee’s
choreography, with help from Associate Choreographer Maegan Marie Stewart and
Assistant Choreographer and cast member Michael Anthony Sylvester, was crisp,
original, and believable. It’s hard to make a sudden burst into song and dance
look organic, but the moves were in styles found in <i>el barrio</i>, so it worked for both performers and the audience. At
times the choreography was SO BUSY I didn’t know where to look. (I heard this
from other audience members, too.) And, given the set design, sometimes the
dancing upstaged the action and dialogue actually driving the storyline by its
simple placement at downstage center. This upstaging was rare, though, and the
movements and pictures created were a worthy distraction when it did. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">As I previously stated, ADLR is a small theater with 250
seats, no fly space, a proscenium arch
and three aisles in the house. The live band was on the floor in front of the
stage, behind a low wall constructed specifically for this show, giving the
appearance of a sunken orchestra pit. Somehow, scenic designer Sarahi Salazar
made ADLR into an authentic looking New York City block, complete with levels,
multiple entrances and exits, and plenty of play space for the cast to work
within all of which was covered in a fair amount of “artistic graffiti” - presumably
from local tagger (character) Graffiti Pete. Little touches, including a fire
hydrant, completed the street look, though the hydrant was hidden for most of
the show behind a musician. Salazar was assisted in her endeavor by Assistant
Scenic Designer and Technical Director Bradley Gray, Scenic Charge Artist
Jessica LaVilla, and Master Carpenter Jonathan Jones. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Lighting and projection design by Aaron Sanchez and
music design and engineering by Jordana Abrenica, though phenomenal and
supportive of the overall storytelling, were not without their opening night
glitches. While I tend to frown upon giving a theatre an “opening night”
excuse, I have decided to let this one slide upon hearing that this performance
was their first and only tech rehearsal. Sanchez’s design left parts of the
stage in shadow with the intention of illuminating the performers in a specific
section. However, if you leave a shadow anywhere on the stage, an actor will
always manage to find it. I am confident the actors have learned to find their
light, and the other bobble of the houselights suddenly coming up during
“Carnival del Barrio” has been rectified. Abrenica had her work cut out for her
with 12 miced actors/singers and a live band, plus the occasional sound effect.
Except for one malfunctioning microphone, feedback during one song, and the
occasional delay in turning a microphone up as an actor entered and began
speaking or singing, sound was unnoticed- as it should be. Unfortunately, I was
seated near the back, and due to the (still daylight) 7:30pm start time of the
show and the venue utilizing curtains instead of doors into the lobby, lights
and sounds from the street at times interfere with the production. Between audience
members coming in late and the multiple entrances and exits by the cast via the
house, those curtains did not remain shut enough to block intruding light and
sound. The simply solution is to be early and grab a seat closer to the center.
However, when the show is sold out, as opening night was, a later start time <u>and</u>
an investment in thicker curtains and maybe even sliding doors would have been
appreciated so to block the lights from the lobby and the sounds from the
street. <o:p></o:p></span></div>
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<span style="font-size: 14.0pt;">Prop design was unaccredited, but the props master
should have provided water in the </span><span style="font-size: 14pt; text-indent: 0.5in;">various coffee cups, glasses, and shot
glasses used throughout the show. One of my biggest pet peeves on the stage is
props that are “fake.” An empty prop looks empty and is treated as such by an actor.
Also, there is a scene where the national pride of the various Latino cultures
is displayed via the flags of such countries as Puerto Rico, Mexico, and
Venezuela. Sadly, the flags at times touch the floor. Actors and dancers
should, to the very best of their ability, treat each flag with absolute
respect and keep them off the floor. Despite these two instances, every
character had what he or she needed to move the storyline along without
cluttering the working space. The best addition was the dispatch microphone on
the counter at Rosario’s Car Service, one of the businesses on the block.</span></div>
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<span style="font-size: 14.0pt;"><br /></span></div>
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<span style="font-size: 14.0pt;">Costume design by Marcus Lopez was stunning in its
colorful simplicity and dedication to revealing each character beyond their
text. For example, during “Alabanza” which in this production became a funeral
of sorts for Abuela Claudia, each character wore the traditional black and yet
maintained who they were and where they were in their emotional storyline. Even
down to details such as shoes and messenger bags completed the feel of The
Heights. (Vanessa, played by Sarah Dickerson, performs the entire show in a
variety of heels and wedges that never once measured less than three inches
tall. She handled them with seasoned skill.)<o:p></o:p></span></div>
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<span style="font-size: large;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">In the Heights</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;"> boasts a large cast, with arguably four leading characters, eight
supporting characters, and in this production, 14 ensemble members. There is
not a weak link in the cast, and each performer deserves individual attention
and praise.<o:p></o:p></span></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">As the narrator Usnavi,
local actor Matt Ransdell Jr simply shines. He embodies the character heart and
soul to the point you forget he is an actor putting on a performance. I saw
Lin-Manuel Miranda originate the role and his successor, Corbin Bleu both
perform Usnavi on Broadway. Ransdell surpassed those two performances. His
mastery of the fluid language and the transitions he made between narrator,
responsible shop owner and loving family member were as natural and believable
as breathing is for you and I. He also has enviable comedic timing, and though Usnavi is not a
dancer, Ransdell knew how to use movement to tell a story. This young man was
born to play this role, and I am deeply grateful I was there to experience his profoundly
memorable realization of a dream.<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Lorens Portalatin is no
stranger to the ADLR stage, but in the role of Nina, a star was born.
Portalatin and I have worked together before, and she has become akin to a kid
sister to me. I have experienced her talent as an actor and a singer in
previous productions, but not until she emerged as Nina did I appreciate the
depth and scope of her abilities. Nina is el barrio’s college success story,
and the pressure threatens to crush her. Portalatin conveyed her fear, her
doubt, her anger, and her disappointment in herself before she ever uttered a
word- and THEN she SANG. Her voice was simultaneously powerful and vulnerable,
silvery and velvety, and she glided through her extensive range as a seasoned
concert professional- all without losing the emotional context of the moment. Portalatin
is coming into her own, much as Nina was.<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Vanessa was played by the
dynamic Sarah Dickerson. Vanessa wants out of el barrio, but she just can’t
catch a break. There is also an unspoken romantic connection between her and
Usnavi. As previously mentioned, Dickerson handled her three inch heels and
miniskirts with ease along with the songs and the acting. Dickerson was a
powerhouse on the stage and force to be reckoned with vocally. It also helped
that she was believably cast as the “hot chica next door.”<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Joshua Sherman is another
actor friend of mine, and this time he took on the role of Benny, the white kid
working for Nina’s parents. Sherman rapped, sang, danced, acted and he even
spoke Spanish to the point where my ginger-headed friend semi-disappeared and
Benny was born. Benny is the romantic interest of Nina, but he has to fight for
her because her father is less than approving. The song I started to shed tears
of joy in was Sherman’s performance of “Benny’s Dispatch.” Later, he had me
shedding tears of coinciding angst and hope as his character completed his
journey and new dreams were made in “The Sun Goes Down.”<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Sonny, the goofy younger
cousin of Usnavi, was delightfully portrayed by Rashaun Sibley. Sibley provided
a lot of the laughs and gave Ransdell the contrast within which to play. Given
the caliber of the rest of the cast, it came as no surprise when Sibley
revealed he too can sing and dance, and at times, he even showcased his
emotional depth as an actor.<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Pilar Ortiz as Abuela
(Grandmother) Claudia was gentle and humble as the long standing matriarch of
the block. As she made her way on and off the stage with some difficulty, I
wanted to scream at the boys in the bodega, “Ayuda tu Abuelita!” Both as young
actors and as their characters of young Latino men, they should not have left her
to maneuver stairs and ramps unassisted. Ortiz wrapped the neighborhood and the
audience in the warm love only a Grandma can offer. She was hard to understand
at times due to her accent and possibly a malfunctioning mic. When she sang, she was occasionally off key or
flat, and I saw her watching the musical director for pickup cues rather than
exuding confidence. But the audience loved her gentle and wise delivery, and
when she got the notes right (which was most of the times) it was beautiful. <span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">The owners of Rosario’s Car
Service (across the street from Usnavi’s bodega) are Kevin and Camila Rosario,
played by Martin Antonio Guerra and Pamela Garcia Lanton. I ached for Mr. Rosario
during his agonizing song “Inutil (Useless).” He was believable as the
hardworking father who set high standards for himself and his family while
withholding his emotions until they threatened to consume him. Lanton as the
mom was a little stiff and jerky in the beginning, but she smoothed out and
later matched her husband (who was also a bit of a stuffed shirt.) The scenes
when they fought (as married couples do) over money and their daughter were
electrifying. <o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Amanda Williams was cast as
Daniela, the beauty salon owner and neighborhood gossip. Apparently, no one
told Williams Daniela is a minor character because she owned the stage and made
every word, every note and every movement count. She never once stepped out of
character as Daniela and was intriguing to watch, even when she was just “part of
the crowd” in a scene. Williams also found levels to Daniela who may at first
appear to be shallow, but in the end, she’s the beautician with a heart of
gold. And when Williams sang, she was seductively playful which wrapped the
audience around her voluptuous curves. <o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Carla is Daniela’s assistant
in the salon, and she was quirkily played by Natalie Coca. Sadly, we couldn’t
hear her over the band until the 2<sup>nd</sup> act when her microphone was
fixed or replaced. However, even without sound, she lit up the stage with
youthful exuberance and played well against the neighborhood diva Williams made
Daniela to be.<span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">My favorite character in <i>In the Heights</i> is Piragua Guy, and so I
was surprised to see Michael Alonzo cast given his age. Piragua Guy is often
played by an older gentleman, but Adolfo went with a younger actor because, as
he later told me, he could hit the High A required in his song “Piragua” and it
allowed him to create a subtext storyline between he and Daniela. Piragua is a
frozen Puerto Rican dessert sold in a push cart, and so Piragua Guy must
compete with Mr. Softee, the mega ice cream truck chain found on every street
corner of New York. (I think these jokes were lost on the Fort Worth audience.)
Alonzo mastered his musical requirements with ease and added a light-hearted
vibe to the streets of Washington Heights.<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Opening the show and giving
one of the more memorable moments at its conclusion was Michael Anthony
Sylvester as Graffiti Pete, and his solo in the shadows of early dawn with cans
of spray paint was some of the finest dancing I have seen on ANY stage in
Dallas in the last three years. Added to this was his high energy and total
commitment to the antics and reactions as the resident hoodlum. He lit the
stage on fire every time he stepped onto it and even <a href="http://www.blogger.com/blogger.g?blogID=2061352915391271063" name="_GoBack"></a>the
audience when the choreography took him there.<o:p></o:p></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;">Ensemble members, both
dancers and singers, include: Kevin Acosta, Austin Ray Beck, Jeremy Coca,
Jordan Ghanbari, Benicka Janae Grant, Gina Gwodz, Courtney Harris, Aigner
Mathis, Darren McElroy, Addie Morales, Mark Quach, Rebekah Ruiz, Maegan Marie
Stewart, and Rashard Turley. During intermission, I started making notes in my
program. I wrote the following: “Dancers- Whoa. Wow. Ow.” As previously
mentioned, they were allowed to shine without distracting, but if any audience
member found their eye or ear wondering, the ensemble did not disappoint. The
ensemble members were always in a specific character with their own story and
emotional arc. In addition, the dancing and singing sounded like a Broadway
cast, only with a little more heart- like underdogs fighting for what they
really want- and fewer equity points.
The partnering work in various songs was particularly exceptional. If
this seven (plus) page review has not convinced you to run see this show, allow
me to say this: “Carnival del Barrio” has sexy, hot and half- dressed male and
female dancers giving it their all as the sweat drips from their excess of
muscles. Audience members were seen dancing in their seats from the first row
to the last. I have purchased tickets to two additional shows with the express
intent of giving total focus to the storylines and actions of the ensemble for
which there is a wealth to absorb and appreciate.<span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<span style="font-size: large; mso-bidi-font-size: 11.0pt;"><br /></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-size: large;">Before the show even ended,
the opening night audience had jumped to its feet and was showering <i>In the Heights </i>with the<i> </i>loudest standing ovation ever heard at
Artes de la Rosa, perhaps the loudest I’ve ever heard in Fort Worth. As I made
my rounds during intermission and the after-party, audience members were not
just praising the production: they were gushing as they wiped away tears and fidgeted
with unexpressed physical excitement over the show. Accolades on social media
and texts continue to pour into Artes de la Rosa. There are a lot of local
shows getting good to great reviews right now, and good for them. But you gotta
get home to<i> In the Heights</i> before
it’s too late.</span><o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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On a personal note: A few
years ago, I was cast in my VERY FIRST production as an actor. I was an
un-named ensemble member in a cast of 110. (I am fairly certain I was number 97
on the call sheet.) Guiding me through the process and explain some of the
interworking’s of the local theatre politics was Mrs. Ana Coca. During the
rehearsal process for that show, I announced I had been selected for a
conservatory program in New York. Mrs. Coca pulled me aside and told me about
this new musical that was winning all kinds of awards in New York. Something
about Heights. I will never forget what she said about the show. “You need to
see this show not just because it’s great but because of what it means for the
future of Latino and bilingual actors everywhere. It is going to change
Broadway. As a bilingual actor and as someone who works closely with Latino
theatres, this show needs you in the audience. I cannot wait for it to come
here on tour one day. Our Latinos need a show like this. Oh! And there are NO
maids or construction workers!” Needless to say, I bought a ticket as soon as I
got my student ID. (No, I’m not a Latino actor, just the resident gringa at a
few local Latino theatres.) Ever since, I have repeated her words to Latino
actors as opportunities to see or even just hear the musical have arisen. By
“coincidence”, I was chatting with my friend at the sensational opening night VIP
After Party for <i>In the Heights </i>when I
turned and saw Mrs. Coca wrangling some actors into a group shot. That’s when
it hit me- the two Cocas in the show were her children I had seen running
around the theater a few years earlier. The musical that meant so much to her
had finally found its way Home. So, should we sing “It’s a Small World After
All” or “Circle of Life?”<span style="font-size: medium;"><o:p></o:p></span></div>
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_______________________________________________________________________________</div>
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<span style="font-size: large;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">In the Heights</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;"> runs through June 9<sup>th</sup>,
Fridays and Saturdays at 7:30 and Sundays at 3pm. $14-$25, general seating.<o:p></o:p></span></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Tickets are available by calling 817-624-8333,
online at </span><a href="http://www.artesdelarosa.org/"><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">www.artesdelarosa.org</span></a><span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">, or in person at the box
office.<o:p></o:p></span></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-size: large;">Artes de la Rosa Cultural Center for the Arts
is located at 1440 North Main Street, Fort Worth, TX 76164.</span><o:p></o:p></span></div>
Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-40491642892830450142013-02-17T18:17:00.003-08:002013-02-17T18:31:26.630-08:00The Lucky Chance, Echo Theatre, 2-15-2013<br />
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">The
Lucky Chance or, The Alderman’s Bargain</span></span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Echo
Theatre</span></span></div>
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<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">2-15-2013</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3JSU6cOSTbw9t7iYhA9YVQTWIfPal42AL3ymWKhdZdoV5vNycLMoARIL9J0k6MBLzYQ4KdECCUD2y-Bg-IyzsJ9IiWfy1ZKMneXGn_viyJhVuNUOpZaW41MTj00eWNn_dtMnq52iqm8/s1600/echo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS3JSU6cOSTbw9t7iYhA9YVQTWIfPal42AL3ymWKhdZdoV5vNycLMoARIL9J0k6MBLzYQ4KdECCUD2y-Bg-IyzsJ9IiWfy1ZKMneXGn_viyJhVuNUOpZaW41MTj00eWNn_dtMnq52iqm8/s320/echo.jpg" width="320" /></a></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">Echo
Theatre’s production of </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>The
Lucky Chance or, The Alderman’s Bargain</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">
by Aphra Behn currently running at the Bath House Cultural Center was
an evening of highly entertaining and well executed spectacle, but
the spectacle unfortunately overshadowed the story, resulting in
amused confusion. </span></span>
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“<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>The
Lucky Chance, Or The Alderman's Bargain</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">
embraces the classic theme of innocent, young women who are betrothed
to self-serving, lustful men and is an indictment of the arranged
marriage system of Behn’s society. The self-important old roué Sir
Feeble Fainwood uses his wealth to gain lovely Leticia Bredwell as
his bride. Feeble's friend, Sir Cautious Fulbank, also bought a
bride, Julia who - like Leticia - is in love with another younger,
poorer man. The young lovers vow to end this tradition of marital
servitude before Leticia must consummate her marriage and Feeble's
daughter, Diana, becomes the next victim. Echo's streamlined new
adaptation toys with the parallels between the English Restoration
and the Sexual Revolution by setting the play in 1960’s Swinging
London. Behn's classic language collides with commedia dell' arte
style, the musical interludes of The Singing Detective and the 1960’s
sound of Hullabaloo! It’s a 1680's play done in 1960's style! The
Lucky Chance features explosive physicality and a sizzling sexuality
and requires a dozen actors playing 20+ characters.” (taken from
Echo Theatre’s publication materials)</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Aphra
Behn is credited as the first published female playwright of the
English language, so it is clear why she easily fits in with Echo’s
mission. The classical text was full of wit and charm, and the
storyline is a tried and true one. It is a lesser known text, so the
plot twists were fairly surprising. Once the audience was in the
groove of the language, the jokes and the comebacks become
predictable. This doesn’t make them any less funny, though.
Director René Moreno adapted the script. Given the time period in
which it was written, one can assume he did a lot of cutting in
consideration of a modern audience’s attention span. It is doubtful
the audience experienced a tragic loss as the flow of the story, and
especially the lines, gave no hint to any cuts or rewrites.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><span style="line-height: 100%;">The
Bath House Cultural Center, home of Echo Theatre’s productions, is
a small venue with seating for about 50. The proscenium stage was
painted with a giant Union Jack and had two doors for entrances on
the far upstage. A psychedelic painting of the Queen adorned one
wall. Entrances and exits were also made from the far left and right
curtains, and there was a surprise window revealed in a comedic bit
late in the first act. Other surprises are also hidden throughout the
design, but to critique them here would ruin the joke for a future
audience. It is a long space that is not very deep, but scenic
designer Clare Floyd DeVries was still able to carve out many useable
levels for the director and actors to play within. One distraction of
the design is that the doors were not flush with the floor, so
movement offstage was visible, and the all wood set made for at times
thunderous backstage travel, especially for those in high heels.
Linda Blasé’s lighting design was simple but effective: dimming
for night and no part of the stage left unseen. When it comes to the
costumes, Ryan Matthieu Smith showcased the fashion of the 1960s in
ALL its splendor. From wedding attire to bedroom lounge wear and
everything in between, I honestly don’t think a single trend of the
entire decade was left out. A well fitted and character appropriate
lime green suit was the costume highlight for me, though Leticia’s
shoes had me resisting the urge to ask the actor what size she wore
and where the shoes were procured. Props Design, shared by Rebekka
Koepke and Lynn Mauldin, was minimalistic. A few bottles of perfume,
letters, coin purses and so forth were excellent in their unobtrusive
detailed accuracy. The use of wigs was </span><span style="line-height: 16px;">unaccredited</span><span style="line-height: 100%;"> but they were </span><span style="line-height: 18px;">appropriately</span><span style="line-height: 100%;"> styled for the time period. However, there was a noticeable color difference between the actors' hair and the wigs that I found to be distracting.</span></span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> </span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Moreno
successfully unites the farcical design elements with his more than
capable actors to create a fun and colorful world. The juxtaposition
of the belletristic text with the music, clothes, and general
attitudes of the 1960s somehow worked. The blocking was always
organic and clearly motivated, and with some help from Sara
Romersberger, who was credited with Choreography and Movement, even
the scene changes proved to be a source of entertainment.</span></span><br />
<span style="font-family: Times New Roman, serif; text-indent: 0.5in;"><span style="font-size: medium;"><span style="line-height: 100%;"><br /></span></span></span>
<span style="font-family: Times New Roman, serif; text-indent: 0.5in;"><span style="font-size: medium;"><span style="line-height: 100%;">The
standout directing choice by Moreno in this production was the use of
a variety of 1960s music that the actors lip </span>synced<span style="line-height: 100%;"> while remaining
in character. I lost track of how many performances there were after
seven such musical interludes. Though each number was performed with
absolute dedication and the finesse of trained dancers in a Broadway
musical, the joke got old after a while. And they didn’t just sing
the chorus or a verse of the song. No, they often sang the entire
thing. The first number, as much from shock value as for delivery,
was met with laughter and applause. The only other number greeted
with such enthusiasm was Adrian Spencer Churchill’s rendition of Ol’ Blue
Eyes’ </span></span></span><span style="font-family: Times New Roman, serif; line-height: 100%; text-indent: 0.5in;"><span style="font-size: medium;"><i>I
Did it My Way </i></span></span><span style="font-family: Times New Roman, serif; text-indent: 0.5in;"><span style="font-size: medium;"><span style="line-height: 100%;">at
the end. Before I criticize the bold choice, let me stress that the
songs were well performed, and the audience found them to be
entertaining. If such a category existed, they would be nominated for
best lip </span><span style="line-height: 18px;">synced</span><span style="line-height: 100%;"> musical. However, the songs did not add to the story
and in many ways detracted from it. Part of the detraction was the
flip from classical to contemporary language. It jarred the audience
and left our ear out of tune when the dialogue picked back up. Also,
the songs added to the run time of the show which clocked in at just
over two and a half hours with one intermission. (This show could
have </span><span style="line-height: 18px;">benefited</span><span style="line-height: 100%;"> from a second intermission or just more cuts.) Once
the music started, I often stopped paying attention to the story and
instead became the person in the audience who noticed things like my
neighbor’s beautiful watch, wondering when the show could get on. It was entertaining, and I did my
best to have fun with the actors, but in the end, I was fed just too
many lip </span>synced<span style="line-height: 100%;"> exhibitions.</span></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=2061352915391271063" name="_GoBack"></a>
<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> The 12 member cast
devoured the classical language and offered it to the audience
without the pretention often associated with other classical works.
Comedic bits were played off with ease, and their energy and
dedication to the moment oozed off the stage. They gave it their all,
and the audience responded in kind. I laughed even when something
wasn’t funny because I was trying to reciprocate, sending positive
audience energy back to the actors. Of particular note was the use of
London accents- each character with his or her own class distinction
that every single actor performed admirably. </span></span>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Opening
the show with a monologue chalk full of expose the audience needed
was Austin Tindle as Mr. Bellmour. He was one of the young men whose
lover had been arranged into marriage with a much older man. He
schemed his way into the home of the bride and began an elaborate
plot to win her back. With ease, perfect diction and a willingness to
connect directly with his audience, Tindle carried the audience into
the show as easily as he might invite us into his own home. Playing
the other jilted lover, Charles Gayman, was Brandon Sterrett. In the
opening scene, he seemed tripped up by the dialogue, but this was
remedied by the second scene and was never a problem again. His
shining moment came in a would-be steamy scene with his much older
landlady (played by Kateri Cale) in which he fights the urge to
vomit.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Laurel
Alons as Lady Julia Fulbank and Martha Harms as Leticia were the
young women suffering from arranged marriages to much older men.
Harms was most believable in her angst and broken heart. I also felt
she and Tindle were better matched as a couple. Alons was a strong
actress who brought a lot of fire to her character, but I felt a
genuine passion was missing during her encounters with Sterrett. It’s
almost as if they were telling the audience “We are in love, we are
in love” only to leave us doubting the statements once they finally
shared the stage. Her most truthful moment was when she seductively,
silently gestured “come hither” while lying on a bed.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Sir
Feeble Fainwood and Sir Cautious Fulbank are played by Bradley
Campbell and Adrian Spencer Churchill, respectively. Campbell relished in
playing the biggest kid on the stage with over the top physicality,
facial expressions and vocalizations. He really sparked to life
during the second act, and I found myself anxiously awaiting his
return to a scene. The biggest laugh of the entire evening for me
came when he talked about the scary ghosts. Churchill, as mentioned
before, had his standout moment during </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>I
Did it My Way</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">,
but it was not his only time to shine. While debating the loss of his
wife verses the loss of 300£, he had the audience in stitches. </span></span>
</div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Carissa
Jade Olsen as Diana (Fainwood’s daughter who also had her
engagement arranged) was appropriately wide eyed and utilized her
long hair and slender frame to woe not only her intended but the
audience as well. She handled the emotional context with relative
ease- easily portraying a ditzy young woman in love, but what seemed
to be a slight speech impediment made it difficult to understand her
at times. Dan Schmoker as Mr. Bredwell- another poor servant in love,
was able to truly shine in both voice and physicalization when he
donned the cape, top hat, and mask of Satan himself. The switch from
Mr. Bredwell to Mr. Bredwell as Satan was so complete and highly
entertaining that I applaud him for creating a character within a
character. Ian Ferguson as Mr. Bearjest appeared to be a minor
comedic character who helped open the first Act, but gave a surprise
turn by the end of Act II. Ferguson was engaged in every scene and
was the quintessential smarmy rich kid. </span></span>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> An
actor who plays multiple roles in a single production with acute
attention to details such as voice, accent and physical
characterization along with the added design elements such as
costuming deserve special recognition. Lauren Davis, Kateri Cale and
Nathan Autrey played at least nine characters. Each time he or she
entered the stage, a complete transformation had occurred to the
point I had to double check it was only a cast of 12. Davis used her
deep voice and slow walk to seduce characters and was able to flip
comedically from an English accent to a French accent with ease.
Servant Gammer Grime and Landlady Pert were played to perfection by
Kateri Cale, an Echo producing partner. Autrey and I attended college
together, and so it was a joy to see him onstage once again in a
highly comedic role. His transformations between characters (playing
four in total) was a constant source of entertainment for the entire
audience. </span></span>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"> Overall,
Echo Theatre’s production of Aphra Behn’s </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><i>The
Lucky Chance Or, The Alderman’s Bargain</i></span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">
was an high energy and commendable spectacle that left the audience
perplexingly charmed.</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;">_______________________________________________________</span></span></div>
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<span style="font-family: Times New Roman, serif;"><span style="font-size: medium;"><br /></span></span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;">Runs Thursdays, Fridays, and Saturdays at 8pm and Sundays at 2pm through February 23.</span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;">Tickets are available by calling 214-904-0500 or online at www.echotheatre.org </span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;">Bath House Cultural Center</span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;">521 E. Lawther Drive</span></div>
<div style="line-height: 100%; margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif;">Dallas, TX 75218</span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: medium; line-height: 100%;"><br /></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Director: </span></span><span style="font-family: 'Times New Roman', serif; font-size: medium; line-height: 16px;">René</span><span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;"> Moreno</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Choreography and Movement: Sara Romersberger</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Set Design: Clare Floyd DeVries</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Sound Design: Pam Myers-Morgan</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Stage Manager: Kelsey Ervi</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Lighting Design: Linda Blase</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Costume Design: Ryan Matthieu Smith</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Props Design: Lynn Mauldin and Rebekka Koepke</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;"><br /></span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Sir Feeble Fainwood: Bradlley Campbell</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Sir Cautious Fulbank: Adrian Spencer Churchill</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Mr. Gayman: Brandon Sterrett</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Mr. Bellmour: Austin Tindle</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Mr. Bredwell: Dan Schmoker</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Mr. Bearjest: Ian Ferguson</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Ralph, Captain Noisey, Dick, Shepardess: Nathan Autrey</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Lady Julia Fulbank: Laurel Alons</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Leticia: Martha Harms</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Diana: Carissa Jade Olsen</span></span></div>
<div style="margin-bottom: 0in;">
<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Phillis, Postwoman, Rag: Lauren Davis</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Gammer Grime, Pert: Kateri Cale</span></span></div>
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<span style="font-family: Times New Roman, serif; font-size: medium;"><span style="line-height: 18px;">Board Operator: Rebecca Brooks</span></span></div>
Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-71041187026913220822012-09-10T08:13:00.000-07:002012-09-10T08:22:14.760-07:00Two Rooms at Runway Theater August 2012<div class="separator" style="clear: both; text-align: center;">
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<i>My blog was down the day I originally wanted to post this (August 13, 2012), so it was originally published on Facebook. But, I wanted to get the word out about a GREAT show, even if it's after the fact. Two Rooms was a must see EXPERIENCE!</i><br />
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Runway Theatre’s current production of <i>Two Rooms</i> is an enlightening, heart wrenching and an absolute must see production.<br />
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<i>Two Rooms</i> by Lee Blessing is a play that takes place, as the title suggests, in two rooms. One is a cell in Lebanon where Michael Wells is being held hostage by terrorists. The other is a room in his home in Washington D.C., which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal. In fact, the same room serves for both and is also the locale for imaginary conversations between the hostage and his wife, plus the setting for the real talks she has with a reporter and a State Department official. The former, an overly ambitious sort who hopes to develop the situation into a major personal accomplishment, tries to prod the wife into taking umbrage at what he labels government ineptitude and inaction. The State Department representative is coolly efficient, and even dispassionate, in her attempt to treat the matter with professional detachment. It is her job to try to make the wife aware of the larger equation of which the taking of a hostage is only one element, but as the months inch by it becomes increasingly difficult to remain patient. The play deals with the subjects of the terrorism and the government, the media, and the love of a husband and wife. Blessing’s play is poignant, thought provoking, and a masterpiece in and of itself.<br />
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Runway Theatre is a small, 100 seat theater in Grapevine, and the converted proscenium stage in conjunction with the intimate space is the perfect set for this production. Set designer Jordana Abrenica creates the walls of the room with sheer gauze-like curtains that can be opened or shut, creating feelings of isolation or openness as the scene requires. There are four chairs placed on the diagonals outside of this “room” where the actors sit and watch the scenes in which they have no dialogue. Within the room, there is only a simple mat and an occasional ottoman is brought in for the State Department official to sit on. The (appropriate) starkness of the stage allows the actors to fill the space with emotions and witty dialogue that will long ring in the audience’s hearts and ears. Michael Wells is an amateur photographer, and some of his images are displayed on these curtains in the form of a slideshow. Sadly, holes are appearing in the curtains, so from my vantage point on the right, most of the faces of his subjects were obliterated. The overall drama captured in the images was not lost, though.<br />
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Adam Adolfo wore many hats as director, costume designer, lighting designer and sound designer. Though no doubt it was a considerable time commitment, he unified the design elements with his overall directing vision to support the story as completely as any design I’ve seen on stage this year. The pacing of the show never once drags, and though the material is definitely meaty, he prohibits his actors from “milking” certain scenes too long while allowing silent moments to feaster. There are no costume changes for the characters, and they are in an array of tans and chocolate browns suitable to the role within the show. The lights were soft at times and with a subtle shift, the room would become harshly bright- and he even had them illuminate or conceal the actors in their four chairs as needed. Finally, as sound designer he was aided by the pre-recorded original music by Joshua Bradford. As music should, it underscores the story without detracting from it. It is also hauntingly eerie.<br />
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With only four characters played by four actors, everyone is a lead, but in this production, Alden Bowers Price as Lainie is the standout star. Never once in the two hour production did her emotion seem forced or the dialogue anything less than organic. Her expressive eyes and voice lent themselves to her innocence and heartbreak. When she cried, I cried- as did my theater companion. Playing her husband Michael is Sean-Michael Cohn. Though every bit as invested in his character, Cohn faced very different challenges- including spending most of the first act blindfolded. He walks with a limp and is handcuffed- all of which he plays subtly and effectively without over-emphasizing them. The story is not about his physical journey- it’s an emotional one. There are times when the emotions seemed force or a dramatic pause was just slightly too long, but overall, you begin to genuinely fear for his safety and want, more than anything, for him and Lainie to be reunited.<br />
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Melanie Swenson as The State Department rep, Ellen, uses her tall stature and deep voice to project an air of authority. As the story progresses, though, she expertly balances between being both a stone wall and a woman obviously caught between her duty and her empathy. Parker Fitzgerald is Walker, the journalist who wants an exclusive interview with the wife of this hostage- a wife who has been strangely silent throughout the ordeal. She allows him into her home, but does not grant him the interview he seeks for months. Fitzgerald plays Walker as kind but with a driving mission. IF, and let me emphasize IF, IF there is a weak link in the cast, it is Fitzgerald. I needed to see more variations, both physically and vocally as Walker arcs throughout the story. His anger seemed too subdued and his triumphant joy seemed forced. I wanted him to stretch to the far extremes while still remaining a believable journalist (level headed, observant, and determined.) This is a nitpicky criticism that disappears by the middle of the second act. As he and Lainie become closer, as they forge the “us against the world, to save Michael” bond, Fitzgerald completely embodies the role of Walker- to the point my theater companion and I were both vocal in our emotional responses as if he could really hear us. He is both a fully professional, detached journalist and yet a compassionate human being- not an easy trait in real life much more on stage.<br />
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Though the drama <i>Two Rooms</i> is currently competing with area feel good musicals and other typical summer comedies, it is the production I encourage local audiences to make the greatest effort to see. You will be a better husband/wife, American and most importantly, human being.<br />
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<i>Two Rooms</i> runs at Runway Theatre (215 North Dooley Street Grapevine, TX 76051) August 10-19. Shows are Fridays and Saturdays at 8 with a Sunday matinee at 3pm. Tickets range in price from $12-$15 and can be purchased at www.runwaytheatre.com or by calling 817-488-4842.<br />
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<i>Two Rooms</i> by Lee Blessing<br />
Director: Adam Adolfo<br />
Assistant Director/Dramaturg: Jeremy Jackson<br />
Stage Manager: Kristi Taylor<br />
Scenic and Property Design: Jordana Abrenica<br />
Lighting Design: Adam Adolfo<br />
Costume Design: Adam Adolfo<br />
Sound Design: Adam Adolfo<br />
Original Music: Joshua Bradford<br />
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Cast<br />
Michael: Sean-Michael Cohn<br />
Lainie: Alden Bowers Price<br />
Walker: Parker Fitzgerald<br />
Ellen: Melanie SwensonLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-964398584491830212012-02-22T15:05:00.000-08:002012-02-22T15:09:43.806-08:00The Early Education of Conrad Eppler<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37BfmuNYlZnDD9uZBKM_4_WcAMjbQal5-eD1pIdMokmf1Rle4r9MqZpCJkStv6WyO8vHjLs9mBQl5Z7qWBhcIhHAY871CFbLG4seLuQycf8tvSXOBYIaRDeKaCcAFO4MgnqYYHMZrll8/s1600/conrad.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 205px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37BfmuNYlZnDD9uZBKM_4_WcAMjbQal5-eD1pIdMokmf1Rle4r9MqZpCJkStv6WyO8vHjLs9mBQl5Z7qWBhcIhHAY871CFbLG4seLuQycf8tvSXOBYIaRDeKaCcAFO4MgnqYYHMZrll8/s320/conrad.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5712101105221566498" /></a><br /><em>The Early Education of Conrad Eppler </em>Echo Theatre<br /><br /><br /><br />Echo Theatre’s production of <em>The Early Education of Conrad Eppler </em>currently running at the Bath House Cultural Center is a show I enjoyed very much and recommended it to all my friends, but can only seem to tell you all the reasons I didn’t like it or the parts that stood out as odd. Regardless, this show is an experience that will leave you spinning long after it is over.<br /> <br />“Three adolescent angels make an unlicensed appearance on Earth, triggering reactions on three planes: the material planet Earth (where Conrad resides with the Sisters of Sorrow), the celestial planet Grace (where angels are cultured), and the transitional Moon (where the Joyous Mystery Sisters abide). There is a revolution in progress in the heavens, but Heaven knows that Earth is the future. Eden will no longer be just some has-been, burned-out tear-down, but rather a vision unrealized, a Garden yet-to-be. Throw the lever in reverse! There’s still time! Conrad's the key; the Apocalyptic future can be rewritten!”- (taken from Echo Theatre’s website.) Conrad Eppler is a young boy who was left on the front steps of a convent when he was just an infant. He is taken care of by some less than normal nuns. One night, three angels hear his prayer for parents, and they appear to him. One of the angels loves him and promises him parents, and the journey thus begins. <br /> <br /> The fact that I need to write an explanation of their synopsis is indicative of the entire play. Take a friend or two to see this show- you’ll need help explaining it to each other. Playwright Isabella Russell-Ides was one of three winners of Echo Theatre’s Big Shout Out contest, and the last of the winning plays to be staged this season. If one were to close his eyes and just listen to the script, the sing-songy rhymes of the witty one liners is soothing and quite poetic. But poetry is not always meant to be understood, and this is a downfall of some of the dialogue. At no fault to the actors, I at times had no idea what was being said nor could I assimilate all the rapid fire information into the storyline fast enough to keep up. Early on, though, I realized this is a play to be enjoyed on two levels. The first way is to sit back and enjoy the ride and don’t think about it. Laugh when it’s funny, which thankfully it often is, and sit quietly during the parts you don’t understand. The other way is to get a copy of the script and read it, taking time to research on the internet or in the religion section of the library all of the references and allegories drawn from multiple belief systems so to best understand the writer’s deepest meaning. For the purpose of this review, I opted for the first way, but don’t think I won’t be asking for a copy of that script. I’m more than ready to enjoy <em>The Early Education of Conrad Eppler </em>on all its levels. <br /> <br /> The Bath House Cultural Center in Dallas is a small but charming venue which seats about 50 people in the audience. The director, Pam Myers-Morgan, let those of us who were new to the Bath House know that this production required the audience and the stage to flip sides, so the audience members entered almost onto the stage before reaching our seats. Several chairs had signs on them as well that said partial view seats. Being an invited critic, I was given the best seat in the house- dead center of the third row. This is definitely a show where partial view is going to be a let- down.<br /> <br /> Above everything else, one could assume director Pam Myers-Morgan had fun with this production. She allowed the designers of the set, costumes, lights and sound to run to the farthest reaches of their childhood imaginations and then carefully crafted them into a bright spectacle that supports the storyline in total unison. Unfortunately, the blocking at times became stagnant, usually when all the actors were on stage at the same time. A small stage fills up quickly with 10 or so people on it, so we were left to watch them stand in a semi circle and talk. Though, at other times, very inventive uses of the space proved to be the over the top entertainment we had come to expect (especially the parts that involved the scooters.) For the most part, the blocking was fast paced and matched the style of the show. One drawback that, in the end became an advantage, was the very young cast- if young only in appearance. The lead angel is herself only a high school student, and though all were good choices, their youthfulness added a “junior high play production” campiness feel to the performance.<br /> <br /> Christopher Jenkins’ set design at first appears to be very simple, even cartoonish with large cloud like swirls and several doors and curtains for entrances scattered on the far left and right and within the seat itself. As Jaymes Gregory’s lighting design is added to the set design, though, we see that the audience’s right is the convent where Conrad lives and the left side is used for the “other worlds” the story takes us to. Gregory’s lights also differentiate between our reality and other planes and allow for some over the top entrances and exits for the various characters. Sound design by M. Graeme Bice was spot on, both in quality and in the timing of the delivery done by Board Operators Bryan Douglas and Lisa Robb.<br /> <br /> Costumes by Ryan Matthieu Smith were, depending on your opinion of the show, either the highlight or the downfall of the production. From zebra print leggings to pink nun habits to a space cowboy- no character was untouched- and this includes the stuffed monkey Conrad carries with him wherever he goes. All costumes were well fit, and once the shock of them wore off, somehow matched the writing and the actors’ characterizations perfectly. The props, designed by Lynn Mauldin and Rebekka Koepke, were very similar to children’s toys, and once the play concludes, it is evident as to why. As the play progresses to this ending, though, the use of the props by the adult actors in total seriousness adds to the laughter of the evening.<br /> <br /> The title character was bravely and whole heartedly embodied in that of 6th grader Jennings Humphries. He is a self confidant and fully involved actor who is also a child without being that pretentious “child actor.” At times, his line delivery was a little fast and certain lines came across as unmotivated, but this was rare. As he grows and develops his craft, he will learn that performances are not line tests- neither in getting them all out word for word nor in speed. Ellen Locy as Mother Mary Extraordinary and the High Consul was the mean nun with an interesting secret to play and then, a few scenes later, would emerge as the gracious and nearly omniscient High Consul. As a nun, she was the character I was able to relate to most easily in a believable way and is what drew me into the story of Conrad Eppler and made me care about him.<br /> <br /> Supporting Mother Mary Extraordinary was Kateri Cale as Sister Merry Berry and LisaAnne Haram as Sister Subordinary. Nothing is funnier than women dressed in nun habits doing very un-nun like things. But, aside from the easy jokes there, these two actresses also had quiet moments with Conrad and one another that let the audience know that their world was the “our reality.” Berry was the “happy” nun, very reminiscent of the Sister Mary Patrick in the movie <em>Sister Act</em>. Haram also appears later as Sister Omega Omicron the Oracle, and she not only changed her costume (if only in color, not in style) and her eyelashes, she also changed her voice and her physical movements so that NO ONE would be confused as to who she was at any given time. It’s not hard for me to say that Haram was my favorite nun and she lit up the stage with every entrance.<br /> <br /> Kylie Zeko as the angel Alethia (or is she a reincarnation of the first woman Eve?) had the difficult task of carrying much of the emotional journey of the show, and giving a lot of expose to the audience. For the most part, her performance was truthful- making use of her young age and big expressive eyes, but there were times when she did not go far enough or relax enough to convey only the character. Her inexperience in these very adult themes at times did show through, but were later forgiven as she drew us in with her honest emotions. Alethia’s angelic friends, Epiphany and Honeycomb, are played by Tatum Zeko and Wendy Blackburn respectively. They are giggly school girls who only begin to grasp the events they have set in motion. Later, when they emerge as Sisters Delta Delta, the work in unison, often speaking and moving as one. Though minor roles, their presence and performances added to the setting of the storyline.<br /> <br /> As Aletheia’s love interest Roica, Matthew Clark is tall, handsome, and delivers his lines in earnest, though much of his purpose in the storyline itself was lost on me. Also, his eye make- up was extremely heavy and distracting.<br /> <br /> Stealing the show was David Lugo as Luce, the chief of the Angel Police (and possibly that fallen antagonist, Lucifer.) He was the creepy, smarmy, self confidant slime ball the devil should be- and he put all of Luce in the deep booming “radio” voice and his cheesy grins to the audience. He was finally able to flex some of his comedic timing and wealth of vocal acting experience in Act 2 as he quickly shifted from accent to accent, character voice to character voice, but all the while we saw Luce hiding underneath in disguise. At his right hand was David Meglino as Lieutenant Kilowatt, the bumbling minion of Luce. Meglino had some of the best lines of the night, and though his character had some of the most off the wall reactions (physically and emotionally) to the happenings on stage, he sold every single one as believable simply because he was fully committed to it.<br /> <br /> As Miss Demeanor and later Sister Rho Zeta, Miller Pyke seemed confidant in her purpose in the story and uncertain of what she was doing all at the same time. Her four inch heels and incessant use of an inhaler as Miss Demeanor, Conrad’s social worker, did not aid her at all, but got the formulated laughs they were intended to. <br /> <br /> Finally, Stephanie Butler and Tamitha Curiel as the Wing Sergeants to the High Consul moved in such unison and were so well cast as identical angels, I honestly don’t know who was who- and this is as it should be. <br /> <br /> <em>The Early Education of Conrad Eppler </em>might offend some of the religious fundamentalists, might annoy those who prefer a linear story told in traditional ways and be full of predictable one liners and physical comedy, but for the most part, this “deeply religious, ‘don’t mess with a good thing’ theater critic” laughed a lot at this very weird and oddly impressive show. Don’t miss this production- it’s a very rare treat for our theater community.<br /><br /><br /><br /><br /><br />The Early Education of Conrad Eppler<br />Echo Theatre<br />at the Bath House Cultural Center <br />521 East Lawther Drive, Dallas, TX 75218<br /><br />Reviewed performance on Saturday February 18, 2012.<br />Runs through February 25th. <br /><br /><br />Performances are Thursdays, Fridays and Saturdays @ 8:00 pm and Saturday Matinee at 2pm.<br /><br />Tickets for evening performances are $20 online, $25 at the door, and matinees are $15. Students and seniors are $10 for any performance. Tickets can be purchased online at www.echotheatre.org or by calling (214) 904-0500. <br /><br />Directed by Pam Myers-Morgan<br />Assistant Directed by Reis Myers McCormick<br />Written by Isabella Russell-Ides<br />Stage Managed by Jordan Willis<br />Assistant Stage Managed by Alett Gray<br />Scenic Design by Christopher Jenkins<br />Lighting Design by Jaymes Gregory<br />Costume Design by Ryan Matthieu Smith<br />Props Design by Lynn Mauldin and Rebekka Koepke<br />Sound Design by M. Graeme Bice<br />Technical Director: Bryan Douglas<br />Production Assistant: James Stroman<br />Publicity: Kateri Cale<br /><br />CAST <br />Alethia- Kylie Zeko<br />Epiphany- Tatum Zeko<br />Honeycomb- Wendy Blackburn<br />Conrad Eppler- Jennings Humphries<br />Sister Merry Berry-Kateri Cale<br />Sister Subordinary- LisaAnne Haram<br />Mother Mary Extraordinary- Ellen Locy<br />Luce- David Lugo<br />Lieutenant Kilowatt- David Meglino<br />High Consul- Ellen Lucy<br />Wing Sergeant I- Tamitha Curiel<br />Wing Sergeant II- Stephanie Butler<br />Roica- Matthew Clark<br />Miss Demeanor- Miller Pyke<br />Sister Omega Omicron, Oracle- LisaAnne Haram<br />Sisters Delta Delta- Tatum Zeko, Wendy Blackburn<br />Sister Rho Zeta- Miller Pyke<br />Skipper the Gospel Monkey- Tommy Myers-MorganLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-90980157023989908572011-12-11T19:49:00.000-08:002011-12-11T20:09:35.212-08:00Nuestral Pastorela, Cara Mia<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWCF2UaM3M8q_tYimiQgyaYv5NMAZ-x6rd7zHSmNefarSZvFWij7w4HaZoqGHR5QdI9K3b8mjJEQX6AoE7Us2rNW4f0SIuGvHYA275JsLg7t0llDSQ6dKZbMuT9Kg1d5TAJLM-8TlEkg/s1600/pastorela.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWCF2UaM3M8q_tYimiQgyaYv5NMAZ-x6rd7zHSmNefarSZvFWij7w4HaZoqGHR5QdI9K3b8mjJEQX6AoE7Us2rNW4f0SIuGvHYA275JsLg7t0llDSQ6dKZbMuT9Kg1d5TAJLM-8TlEkg/s320/pastorela.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5685087565021624466" /></a><br /><br /> <br /><em><strong>Nuestra Pastorela </strong></em><br />Cara Mia Theatre Co.<br /> <br /> <br /><br /><br />Cara Mia’s retelling of the Christmas story via <em>Nuestra Pastorela </em>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.<br /> <br />“Performed in English, Spanish and Spanglish, <em>Nuestra Pastorela </em>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.)<br /> <br />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 <em>Nuestra Pastorela</em>.<br /> <br />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.<br /> <br />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. <br /> <br />One of the highlights of <em>Nuestra Pastorela </em>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. <br /> <br />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. <br /> <br />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.<br /> <br />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.<br /> <br />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.<br /> <br />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. <br /> <br />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.<br /> <br />Though from Christian roots and a Mexican tradition, Cara Mia’s <em>Nuestra Pastorela </em>can easily become a new family tradition for people from all backgrounds- and it should.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvzA1x3o108vaNJjaIc0hAPZrfty5-MGEiuKTxSzUGcGv_CJvBkIOB7nVwAGQoJgPEHo0ZVWcsyBJ0qlywUoFKKCv9W7irwnDvp8RztM_eU4QLe2vHGNAhg-oaSZPI1vHxXs6FOv4xbo/s1600/pastorela+2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicvzA1x3o108vaNJjaIc0hAPZrfty5-MGEiuKTxSzUGcGv_CJvBkIOB7nVwAGQoJgPEHo0ZVWcsyBJ0qlywUoFKKCv9W7irwnDvp8RztM_eU4QLe2vHGNAhg-oaSZPI1vHxXs6FOv4xbo/s320/pastorela+2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5685087460536084290" /></a><br /><br />____________________________________________ <br /><br /><em><strong>Nuestra Pastorela</strong></em><br />Cara Mia Theatre Co. <br />at the Latino Cultural Center <br />2600 Live Oak<br />Dallas, Texas 75204<br /><br />Reviewed performance on Friday December 10, 2011.<br />Runs through December 17th. <br /><br /><br />Performances are Thursdays, Fridays and Saturdays @ 7:30 pm. <br /><br />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. <br /><br />Directed by Jeffry Farrell<br />Written by Jeffry Farrell and David Lozano<br />Stage Managed by Robert Walsh<br />Scenic Design was unaccredited<br />Lighting Design by Amanda West<br />Costume Design by Kristin Moore<br />Props Design by Frida Espinosa-Muller<br />Musical Accompaniment- Erin McGrew<br /><br />CAST <br />Nina- Frida Espinosa-Muller<br />Nino-David Lozano<br />Luzbel- Rodney Garza<br />Angel Gabriel- J.R. Bradford<br />Pingo- Ivan Jasso<br />Estrellita- Stephanie Cleghorn<br />Maria-Ana Gonzalez<br />Jose- Sergio Liibo Rodriguez<br />Mama- Pricilla Rice <br /><br /><em>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. </em>Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-1296384435496089672011-12-07T18:53:00.000-08:002011-12-08T15:00:57.330-08:00ART by QLive, 12-7-11<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghbablAQesNkWTqeuNtvxujd7PS8b5-pKh98fKKPBy25na-Ly8Mwok-LzSVjyA-xTCoIzr3YtSRbWc7UVvyU3Pdu33Jm0EZifVhJT8VkN1bgqw1BjGpWfGZntPxfOxYcDqTgqvHsfJVx0/s1600/art.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 1px; height: 1px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghbablAQesNkWTqeuNtvxujd7PS8b5-pKh98fKKPBy25na-Ly8Mwok-LzSVjyA-xTCoIzr3YtSRbWc7UVvyU3Pdu33Jm0EZifVhJT8VkN1bgqw1BjGpWfGZntPxfOxYcDqTgqvHsfJVx0/s320/art.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5683896380862944866" /></a><br />ART <br />by Yasmina Reza <br /><br /><br /><br />QLive! <br /><br />__________________ART_________________ <br /> <br /><br />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.<br /> <br /> <br /><br />“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).<br /><br /> <br /><br />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.<br /><br /> <br /><br />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. <br /><br /> <br /><br />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.<br /><br /> <br /><br />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. <br /><br /> <br /><br />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.<br /><br /> <br /><br />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.<br /><br /> <br /><br />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.<br /><br /> <br /><br />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.<br /><br /> <br /><br />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.<br /><br /> <br /><br /><em>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.</em><br /><br />___________________________________________ <br /><br />ART <br />by Yasmina Reza<br /><br /> <br /><br />Directed by Adam Adolfo<br /><br /><br />CAST <br />Marc- Jerry Downey<br /><br />Serge- Scott Allan Moffitt<br /><br />Yvan- Dylan Peck <br /><br />Reviewed performance on Thursday November 17th, 2011<br /><br /><br /><br />QLive! <br />at the Firehouse Gallery <br />4147 Meadowbrook Dr. Fort Worth, Texas 76103<br /><br />November 17-26, 2011 <br /><br />More information can be found online at www.QCinema.org.Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-76759071180551510842011-12-06T16:33:00.000-08:002011-12-06T17:06:00.098-08:0026 Miles at Artes de la Rosa, 12-2-11<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuVAP6XWRVmKxOYc2iQeAV-JvVyj9x4iCxpILu4A1caCVKqaEQjIvDULKb3K1fKD_Bf1H0SIXplD2-L3Ip3BNpsT430KVBHI5g7PGrIpV747QYpfB2qmHM04VH0TTlU5GVkBkAy3Isas/s1600/26miles.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 106px; height: 100px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuVAP6XWRVmKxOYc2iQeAV-JvVyj9x4iCxpILu4A1caCVKqaEQjIvDULKb3K1fKD_Bf1H0SIXplD2-L3Ip3BNpsT430KVBHI5g7PGrIpV747QYpfB2qmHM04VH0TTlU5GVkBkAy3Isas/s320/26miles.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5683182870718607874" /></a><br />26 MILES <br />Artes de la Rosa <br /><br />____________26 MILES____________<br /><br /><br />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.<br /><br />“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).<br /> <br />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.<br /> <br />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. <br /> <br />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. <br /> <br />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. <br /> <br />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.<br /> <br />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.<br /> <br />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!”<br /><br />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. <br /> <br />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. <br /> <br />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.<br /> <br />Reviewed by Laura L. Watson, Associate Theater Critic <br />for John Garcia's THE COLUMN<br />____________________________________________ <br /><br />26 MILES<br />Artes de la Rosa <br />at the Rose Marine Theater <br />1440 North Main Street <br />Fort Worth, Texas 76164<br /><br />Runs through December 18th <br /><br />Performances are Friday and Saturday @ 7:30 pm, Sunday matinee @ 2:30 pm. <br /><br />Tickets are $18 general admission and $12 for students and seniors. <br />Tickets can be purchased online at www.rosemarinetheater.com or by calling (817) 624-8333. <br /><br />Directed by Adam Adolfo<br />Stage Managed by Oliver Luke<br />Scenic Design by Oliver Luke<br />Lighting Design by Juan Gonzalez<br />Sound Design by Adam Adolfo<br />Costume Design by Adam Adolfo<br /><br /><br />CAST <br />Olivia- Georgia Marshelle Phillips<br />Beatriz- DeAnna Gonzales<br />Aaron/Attendant/Reader 2- David Johnson<br />Manuel/Tamale Seller/Uemura/ Reader 1- Carlos Iruegas <br /><br /><br />Reviewed performance on Friday December 2nd, 2011<br /><br />Reviewed by Laura L. Watson, Associate Theater Critic <br />for John Garcia's THE COLUMN<br /><br />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.Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-32072690526501186692011-12-04T20:16:00.000-08:002011-12-04T20:19:17.017-08:00Joseph and the Amazing Technicolor Dreamcoat, Artisan Center Theater 10-10-2011<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF7MyMCoo-ReTILo_2l1QJHt3aUzAKYZruWY-f-b-W82njgH7LaupoagdqbJx1eklTj30uSsxQMeHeWaqio2ZfMZ_qY6xKgpB6kXgSmEwvwXxDpju5FMCjuf3ChWizdgEj-2KL3E4scyo/s1600/joseph+review+image.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF7MyMCoo-ReTILo_2l1QJHt3aUzAKYZruWY-f-b-W82njgH7LaupoagdqbJx1eklTj30uSsxQMeHeWaqio2ZfMZ_qY6xKgpB6kXgSmEwvwXxDpju5FMCjuf3ChWizdgEj-2KL3E4scyo/s320/joseph+review+image.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5682494045812167282" /></a><br />JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT<br />Artisan Center Theatre<br />--------------------------------------------------------------------------------<br /><br />Reviewed Performance 10/10/2011<br /><br />Reviewed by Laura L. Watson, Associate Critic for John Garcia's THE COLUMN<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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. <br /><br />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.<br /><br />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.<br /><br />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.<br /><br />Musical Direction by Richard Gwozdz produced a chorus that sounded amazing together, hitting all the right notes.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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. <br /><br />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. <br /><br />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.<br /><br />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.<br /><br /><br /><br />--------------------------------------------------------------------------------<br /> <br /><br />JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT<br />Artisan Center Theater<br />418 E. Pipeline Road, Hurst, Texas 76053.<br />Runs through November 12th<br /><br />Mondays, Tuesdays, Thursdays, Fridays and Saturdays at 7:30pm<br />with Saturday matinees at 3:00 pm<br /><br />Tickets are priced $12 - $16 for adults, with discounts for seniors, students and children 12 and under.<br /><br />Tickets are available online at www.artisanct.com or by calling 817-284-1200.<br /><br />Lyrics by Tim Rice, Music by Andrew Lloyd Webber<br />Directed by Dennis Canright<br />Produced by Dee Ann Blair<br />Stage Managed by Lindsay Hardisty<br />Assistant Stage Managed by Michael Williams<br />Musical Direction by Richard Gwozdz<br />Choreography by Eddie Floresca<br />Props by Tammie Phillips<br />Costumes by Nita and Jennifer Cadenhead<br />Set Design by Jason Leyva and Dennis Canright<br />Lighting Design by Branson White<br />Sound designed and operated by Tori Smith and Phyllis Huaute<br /><br /><br />CAST-NOTE: This show is double cast. Critic the cast which<br />performed 10-10-11<br /><br />Narrator- Jennifer Cadenhead<br />Joseph- Andrew Guzman<br />Jacob/Potiphar- James Lash<br />Reuben- Michael Alger<br />Simeon- David Cook<br />Levi- Zeke Branim<br />Naphtali/Pharaoh- Kyle Holt<br />Issachar/Butler- Colton Hess<br />Asher/ Baker- Daniel Curl<br />Zebulon- Robert Molina<br />Gad- Tevin Cates<br />Judah- Jeff Carr<br />Benjamin- David Rodriguez<br />Dan- David Phillips<br />Naphtali's Wife/Mrs. Potiphar- Jamie Ecklund<br />Levi's Wife- Tamera Miller<br />Reuben's Wife-Gina Gwozdz<br />Zebulon's Wife-Morgan Gerdes<br />Benjamin's Wife-Tyler Vaden<br />Dan's Wife- Bethany Stanelle<br />Asher's Wife- Kim Wray<br />Issachar's Wife- Kristina Bain<br />Judah's Wife- Tasia Robinson<br />Simeon's Wife- Libby Hawkins<br />Gad's Wife- Christina FaresLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-74323063562196776822011-08-09T11:18:00.000-07:002011-08-09T11:23:36.586-07:00Seven's a Crowd 8-6-11<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBG8T8pKMOXvuhyphenhyphenCKaCK_kE3g4GbE30btu31lUIVbHp2P9roq5bwaGFOcCRkvHSb5AVJ5YQAu3N5JgydE0rY7N8XPrrNv717Myp-jXJtQOjHy_quogEvcPlx5PDXbuEmdSJp26vUtt14/s1600/review+seven%2527s+a+crowd.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 235px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBG8T8pKMOXvuhyphenhyphenCKaCK_kE3g4GbE30btu31lUIVbHp2P9roq5bwaGFOcCRkvHSb5AVJ5YQAu3N5JgydE0rY7N8XPrrNv717Myp-jXJtQOjHy_quogEvcPlx5PDXbuEmdSJp26vUtt14/s320/review+seven%2527s+a+crowd.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5638923573983429138" /></a>
<br />SEVEN’S A CROWD
<br />by Jon Christie
<br />Triple J Productions
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<br />CAST
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<br />Dan- Sri Chilukuri
<br />Mom- Holly Nuckels
<br />Mike- Josh Jacobs
<br />Sloth- Jake Shanahan
<br />Gluttony- Mark Quach
<br />Pride-Fabian Lopez
<br />Envy- Cherami Leigh
<br />Greed- Richard Sharkey
<br />Amy- Rachel Brownjohn
<br />Lust- Amanda Carson Green
<br />Wrath- Jacob Valle
<br />
<br />
<br />Reviewed performance Saturday August 7, 2011, at 8pm
<br />
<br />Reviewed by Laura L. Watson, Associate Theater Critic
<br />for John Garcia's THE COLUMN
<br />
<br />
<br />__________________SEVEN’S A CROWD_________________
<br />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.
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<br />“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.
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<br />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.
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<br />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.
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<br />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.
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<br />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.
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<br />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.
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<br />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.
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<br />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.
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<br />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.
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<br />______________________________________________
<br />
<br />Seven’s a Crowd
<br />by Jon Christie
<br />Triple J Productions
<br />at the Addison Theatre Center
<br />15560 Addison Road, Addison, Texas
<br />
<br />Runs through August 13th
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<br />Performances are Thursday, Friday and Saturday @ 8:00 pm and Saturday matinee @ 2:30 pm.
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<br />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
<br />or by calling (469) 525- 3263. Their office is open Tuesday-Sunday noon – 6:00 pm.
<br />
<br />Director- Jon Christie
<br />Stage Manager/Assistant Director- Ana Diaz
<br />Lighting Designer- Joe Nagel
<br />Set Designer/Sound Designer- Josh Jacobs
<br />Assistant Sound Designer- Dalton Tindall
<br />Costume Designer- Jon Christie, Monnika Young
<br />Assistant Stage Manager/Props Master- Micah John Collin
<br />Box Office Manager- Monnika Young
<br />Box Office Assistant- Mark Crotzer
<br />
<br />
<br />
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<br />
<br />SENIOR CHIEF THEATER CRITIC: John Garcia
<br />
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<br />Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-76722062187658094322011-07-17T21:44:00.000-07:002011-07-23T07:44:53.355-07:00Stage Black: A Festival of New Plays, 7-17-11<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILjkaNurXXUxXpfq23EJuIWKoKqMc1nDeHvAUd5l9TPqnVlgszjzwF1qx1XV7YoAeQvioIh6I0HnocUGoGmSUymUpnDyf1IPINNlEoBE4zFTMJ7Zz5998I22pKi_snDvv5ONvbBTAfPE/s1600/7th_Stage_Flyer2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 243px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILjkaNurXXUxXpfq23EJuIWKoKqMc1nDeHvAUd5l9TPqnVlgszjzwF1qx1XV7YoAeQvioIh6I0HnocUGoGmSUymUpnDyf1IPINNlEoBE4zFTMJ7Zz5998I22pKi_snDvv5ONvbBTAfPE/s320/7th_Stage_Flyer2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5630550261085991970" /></a><br />STAGE BLACK: A Festival of New Plays<br />Produced by Jiles R. King, II of 7TH Stage Productions<br />Reviewed performance on Sunday July 17, 2011 <br /><br />____________Stage Black: A Festival of New Plays____________<br /><br />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.<br /><br />“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. <br /> <br /><em>Life-Death-Life </em>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. <br /><br />Everyone has a rough day at work. When this happens, the most common thing to do is to have a drink or two. In <em>Drinks on Me </em>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.<br /><br /> <em>The Liberation of Aunt Jo Mama </em>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?<br /><br /><em>The Ugly Truth </em>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. <em>The Ugly Truth </em>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.<br /><br /><em>The Wide Divide </em>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, <em>The Wide Divide </em>questions, “Is Race Still A Factor in 2011?”<br /><br />Closing out the evening with a powerful drama was <em>Breaking Vows at Midnight </em>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.)<br /><br />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.<br /><br />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.<br /><br />The first play, <em>Life-Death-Life</em>, 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.<br /><br /><em>Drinks on Me </em>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.<br /><br />Closing the first half of the festival was <em>The Liberation of Aunt Jo Mama</em>, 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. <br /><br />Admittedly, I was a few minutes late coming back from intermission. (I had to move my car to avoid being towed.) When I entered, <em>The Ugly Truth </em>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.<br /><br /><em>The Wide Divide </em>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…<br /><br /><em>Breaking Vows at Midnight </em>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.<br /><br />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.<br /><br /><br /><br />________________________________________________<br /><br />Stage Black: A Festival of New Plays<br />STAGE BLACK: A Festival of New Plays<br />Produced by Jiles R. King, II of 7TH Stage Productions<br />Performances ran July 15-17 at the Black Academy of Arts and Letters Clarence Muse Café Theater.<br />www.7thstageproductions.org or 214-743-2400Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com1tag:blogger.com,1999:blog-2061352915391271063.post-26737710761124508802011-07-15T21:16:00.000-07:002011-07-23T07:54:03.629-07:00Review: RED, WHITE, AND TUNA at FMPAT<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6sipFYL8_8Q_bJ9dUiKOA_DcRpuJdIa5w8cEoJBE9gbhI1mX6-y6ftMbfq3cs70Xz75zHw_CaUANUwvoi2co-rSg5N49ub7-rPJJpggIDCnxTs8BFzsYPZHdH2R-IkOAbbueAhspCYp4/s1600/FMPAT-GreaterTuna.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 250px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6sipFYL8_8Q_bJ9dUiKOA_DcRpuJdIa5w8cEoJBE9gbhI1mX6-y6ftMbfq3cs70Xz75zHw_CaUANUwvoi2co-rSg5N49ub7-rPJJpggIDCnxTs8BFzsYPZHdH2R-IkOAbbueAhspCYp4/s320/FMPAT-GreaterTuna.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5629800187388815330" /></a><br /><br />RED, WHITE, AND TUNA<br />by Jaston Williams, Joe Sears, and Ed Howard<br />Flower Mound Performing Arts Theatre<br /><br /> Reviewed by Laura L. Watson, Associate Theater Critic for John Garcia's THE COLUMN<br /><br />___________RED, WHITE, AND TUNA___________<br /><br /><br /><strong>"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!"</strong><br /><br />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.<br /><br />"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).<br /><br />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."<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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<br /><br />________________________________________________<br /><br />Restaged by Chris Robinson and Ryan Roach<br />Production Stage Manager - Scott Kirkham <br />Scenic Design - Scott Kirkham<br />Costume Design - Lyle Huchton<br />Sound Design - Scott Kirkham<br />Lighting Design - Scott Kirkham<br /><br />CAST<br /><br />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<br /><br />Chris Robinson - Amber Windchime, Arles Struvie, Didi Snavely, Petey Fisk, Momma Byrd, Charlene Bumiller, Stanley Bumiller, Vera Carp, Helen Bedd, Garland Poteet<br /><br />Reviewed performance Thursday June 16, 2011<br />________________________________________________<br /><br />RED, WHITE, AND TUNA<br />by Jaston Williams, Joe Sears and Ed Howard<br />Flower Mound Performing Arts Theatre<br />830 Parker Square, Flower Mound, Texas 75028<br /><br />Runs through June 26th<br /><br />All performances are Thursday @ 7:30pm, Friday and Saturday @ 8:00pm <br />and Sunday @ 2:30pm<br /> <br />Tickets can be purchased online at www.fmpat.org or by calling (972) 724- 2147.Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-85772164471554631692011-06-04T21:43:00.001-07:002011-06-04T22:37:26.227-07:00Outrageous, Sexy (Nekkid) Romp, MBS Productions June 4, 2011<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7uU0z72fzvPgVkHqrJnWMZ77fORC4rTGQO_0iHAGsnaxBQnO2HkDX-tmcoLBO6UOhdM3BNna6o7Cf84f1IwUEArUceLkc4gan2DMlg92TZyjDj3PUCvuCEKj1qvGDxJNipXAopdtXuw/s1600/nekkid.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 317px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7uU0z72fzvPgVkHqrJnWMZ77fORC4rTGQO_0iHAGsnaxBQnO2HkDX-tmcoLBO6UOhdM3BNna6o7Cf84f1IwUEArUceLkc4gan2DMlg92TZyjDj3PUCvuCEKj1qvGDxJNipXAopdtXuw/s320/nekkid.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5614604790827590050" /></a><br />Outrageous, Sexy, (nekkid) Romp by Alejandro de la Costa<br />MBS Productions<br />Addison's Stone Cottage Theatre <br />15650 Addison Rd, Addison TX 75001<br />214-477-4942<br />WWW.MBSPRODUCTIONS.NET<br />6-4-11 Performance<br /><br />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.<br /><br />I'd read the great reviews my friend had gotten and was really looking forward to it.<br /><br />'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.<br /><br />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.<br /><br />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 <em>To Wong Foo, Thanks for Everything! Julie Newmar</em>, 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.<br /><br />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. <br /><br />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.)Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-55076121151023823392011-02-13T19:54:00.000-08:002011-02-13T19:57:40.034-08:00FIRST BAPTIST OF IVY GAP<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3aBVdSmmUnZCdGfSemiiBUp3VwGoOWrJYOuMkEdmGttOwIpIWDz-LJrw7eOJlu3taouvJtDiZ3UUqSIp7UqshRbkM_7JLM9QPBO4mhDVr0zVJqiXTPYp0iqj1lFnplP2vjyTSF2-wlI/s1600/FirstBaptist-200x283.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 200px; height: 283px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN3aBVdSmmUnZCdGfSemiiBUp3VwGoOWrJYOuMkEdmGttOwIpIWDz-LJrw7eOJlu3taouvJtDiZ3UUqSIp7UqshRbkM_7JLM9QPBO4mhDVr0zVJqiXTPYp0iqj1lFnplP2vjyTSF2-wlI/s320/FirstBaptist-200x283.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5573389441255347362" /></a><br />*First Baptist of Ivy Gap<br />ICT<br /><br />Reviewed performance Friday, January 21, 2011<br /> <br /><br />Reviewed by Laura L. Watson, Associate Theatre Critic for The Column<br /><br />_______________FIRST BAPTIST OF IVY GAP_______________<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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. <br /><br />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.<br /><br />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. <br /><br />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.<br /><br />FIRST BAPTIST OF IVY GAP<br />by Ron Osborne <br />ICT<br />Runs through January 29th<br /> <br />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.<br /><br />Director- Dennis Yslas<br />Producers- Evelyn Hall, James West, and David Smith<br />Stage Manager- Tom Ortiz<br />Set Design and Master Carpenter- Jennye James<br />Lighting Design- Lisa Miller<br />Light Board Operator- Ian Garland<br />Costume Design- Karen Burks<br />Asst. Costumer- Elizabeth Warren<br />Sound Design- Rich Frohlich<br />Sound Board Operator- Tully Hall<br />Props- Louise Childs<br /><br /><br />Cast<br />Edith- Mary Tiner<br />Luby Moore-Dena Dunn<br />Mae Ellen- Jessica Kitchen- Wells<br />Olene Wiffer-Kris Walters<br />Sammy- Jessica Dahl-Colaw<br />Vera- Fritz KetchumLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-33101725702439139792011-01-21T00:18:00.000-08:002011-01-21T21:44:56.374-08:00Don't Dress for Dinner<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFyfIquhyphenhyphenosXJl6yprQWfmhh-fPEpMap8AobmSHfvGB7QyywWfTkEiLqZxbKfC_p6nicg-4dSmVjTGkLV09fJdCov3gAaadU5_fHX1pxLq4-xA3pCxaLaHcaDHZOUOQ2qATawpIADC1BQ/s1600/Dont-Dress-for-Dinner-Final-web.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 252px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFyfIquhyphenhyphenosXJl6yprQWfmhh-fPEpMap8AobmSHfvGB7QyywWfTkEiLqZxbKfC_p6nicg-4dSmVjTGkLV09fJdCov3gAaadU5_fHX1pxLq4-xA3pCxaLaHcaDHZOUOQ2qATawpIADC1BQ/s320/Dont-Dress-for-Dinner-Final-web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5564551320962313986" /></a><br /> ______________________DON’T DRESS FOR DINNER______________________________<br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN Saturday January 15,2011<br /><br />Theatre Arlington’s production of Don’t Dress for Dinner is a delightful tongue twisting sex farce - nothing more and nothing less.<br /><br />Written by Marc Camoletti, this upbeat, albeit slightly predictable, comedy begins with French (with posh British accents) couple Bernard and Jacqueline talking about their upcoming weekend that will be spent apart- her at her mother’s, he home alone. They appear happily married and content until he lets it slip that his old friend Robert is back in town and will be spending the weekend. Unbeknownst to him, Jacqueline has been having an affair with Robert. She immediately cancels her plans, announcing that her mother is sick, and that she will be happy to see Robert. Unbeknownst to Jacqueline or Robert, Bernard has begun an affair with a high fashion model, Suzanne who is his REAL guest for the weekend. Bernard tells Robert to pretend Suzanne is HIS girlfriend, and of course Suzanne will play along. The biggest monkey wrench is thrown in when Suzette arrives- the French accented cook Bernard hired to cater his romantic weekend. Robert mistakes Suzette as the girlfriend and introduces her as such to a jealous Jacqueline, and so when Suzanne arrives, she must pretend to be the cook. As a friend of mine summed it up, it’s one of those comedies where everyone is sleeping with the wrong person and there are lots of doors for the characters to go in and out of while playing silly games.<br /><br />Theatre Arlington is a classic, medium sized proscenium theatre. The play’s setting is a French farmhouse outside of Paris. The largest portion of the set, designed by Jack Hardaway with Jennye James as scenic artist and properties designer, is the living room with a long thin couch and small bar. Upstage center on a raised platform is the front door, to the left of that are the stairs leading to Bernard and Jacqueline’s master bedroom. On the far left is the door to one of the guest bedrooms, which becomes Suzanne/Suzette’s room. To the right of the front door is the swinging door to the kitchen and dining room. To the right of this door is the door that leads to the other guest bedroom, which is Robert’s room. An interesting factor of this set is that it is not attached- there are slits in between the doors where a realistic set would normally have a solid wall. This allows the audience to see actors make entrances and exits (always in character) and gives the audience a clue that this is an over the top farce. As if 4 doors within 20 feet of each other wasn’t a big enough clue of the impending shenanigans. <br /><br />While the set makes use of the entire space and gave many interesting angles (and all the white paint and furniture gave a sleek, ultra-modern feel to the couple), it needs some basic reinforcements. The set wobbles. This is particularly distracting because of all the doors being slammed and being knocked on, etc for the MULTIPLE entrances and exits. Its design looks great and is well suited to the story, but the construction of it needs a bit more.<br /><br />As the story progresses, - or multiplies in complication, if you will -, the costumes by Meredith Hinton (who played triple duty as the costume/hair/ and makeup designer) also tell quite a story. At the beginning of the play, everyone is in business casual clothes except for the eccentric cook, Suzanne who is wearing something resembling the concoction a toddler learning to dress herself might come up with. As dinner time nears, everyone spruces up a bit to make it a slightly formal evening with cocktail dresses. Without overpowering the work the actors are doing, the costumes are a window into who these characters are. Jacqueline with her softly elegant satin dress, Suzanne with her super tight hot pink strapless cocktail dress, and Suzette who, in a pinch, takes her cook’s uniform black pencil skirt and wears it as a short dress show us the dynamic differences in these three beautiful women. The men put on ties and jackets, though Bernard has trouble keeping his shirt clean and/or dry. After intermission, which is after dinner, everyone eventually changes into something “a little more comfortable.” Bernard appears in his silk pajamas, Robert in his tank and boxers, Jacqueline in a little nighty, and Suzanne in… stripper like apparel. Suzette has to miss out on this final costume change as her chef husband, complete with chef’s coat, arrives. The costumes are well constructed and fit the actors very well. For a show where each actor uses their natural hair and not a wig, it’s unusual that hair design even gets a mention, but here, it should. Jacqueline has GORGEOUS long, dark wavy hair that she wears pulled back in a proper bun until the final scene when she lets it all go. Suzanne has stick straight blonde hair with layers and bangs that give her an edgy, modern look. Suzette’s hair is dark red with big curls that is in a careless up-do at the beginning that is later let go so she can play the role of the sexy model girlfriend of Robert, or Robert’s niece, and possibly Bernard’s lover- depending on who you ask. These three very different types of beauty are all accented well with good hair and makeup design that allows the women to play off each other, and the men, in hilarious under tones.<br /><br />From a technical standpoint, the lights and sound are fairly simple. Lighting designer Michael B. Winters had no change in the lights’ intensity or colors once the dialogue began, and rightly so as the story just needs them to come on at the beginning, and be turned off once everyone has chosen their ultimate bedmate. The only sound design, by Andrea Allmond, that I recall is that of cell phones ringing with text messages. <br />It was simple but in no way lacking.<br /><br />Director Andy Baldwin uses creative and precise blocking throughout the entire space that challenges his actors to go for it and yet be spot on in timing and placement. This show is never for a moment stagnant. From awkward positions on the couch to playing with the different actors’ heights to the ingenious ON STAGE costume change for Suzette from the traditional maid’s uniform to sexy cocktail dress, this show keeps MOVING and was as visually interesting as it was to listen to. Considering the rapid fire dialogue that requires exact diction and straight faces that is hilarious to listen to, that is really saying something. The only questionable choice is to give four of the six characters upper-class British accents, while the cook and her husband have French accents. It is my understanding that they should all have French accents OR just use Standard American English. The British accents in NO WAY detract from the story, I was just confused as to the setting at first. Plus, I love hearing a variety of accents done well, and for the most part, this cast really delivered. <br /><br />All this innovative directing would be impossible to appreciate if it was not for masterful casting. This ensemble of actors fits together like a perfect puzzle with distinct, memorable pieces that equally shined and support all the others. Chase Burnett, as Bernard, is tall and lanky with a flair for the eccentric. He is the closest to being a realistic character, but just when you think he has to be the straight man, he hits the audience with a bit of physical comedy that proves he has zingers in him, too. Playing his lovely wife Jacqueline is Rachel Robertson. She holds onto her respect and place in society as a middle-upper-class woman who just so happens to enjoy some hanky-panky on the side. Just because she isn’t in super sexy clothes doesn’t stop Robertson from working her female seduction on both the men and the audience. She manages to do it all, though, with a touch of classy elegance. Amber Quinn’s Suzette, is originally hired to be the cook but is smart enough to make money any way she can, has a very thick French accent to go along with her tall stance and striking red curls. In the beginning, her line delivery is constantly full force and after a while, becomes a little grating. However, as the story continues to build, this becomes part of her comedic charm, and she eventually finds levels on which to communicate effectively. Morgan McClure, as Suzanne, is the blonde bombshell model/actress who has the timing and facial expressions to match the others, but her accent keeps failing her. Like Bernard, Jacqueline and Robert, she is given a British accent. I think. For the first few scenes in Act I, I actually thought she was American. Then, she has a British accent for a few scenes, and then it disappears again. Robert is played in a panicked deadpan hilariously well by Jeff Swearingen. He has an earnest energy about him that keeps the audience as nervous about who and how the secrets will all be discovered as he is. His angst over this possibility helps keep the audience anticipating the next reveal. Though only allowed a brief appearance in the end, Ben Phillips is George, Suzette’s chef husband. He is intended to be the big, burly man who comes for his wife and desires to set these men straight about who his wife is and what kind of woman she is. Though his presence is imposing, he comes across as a jolly teddy bear. I just don’tbelieve he is a powerhouse of strength that has the other men shaking in their boots and the three women trying to hold him back. However, he nails the French accent and works the funny bits to their maximum. This is an impressive cast who no doubt have spent countless years honing their craft to be able to nail performances like these night after night.<br /><br />Theatre Arlington’s Don’t Dress for Dinner is a good laugh for an older teen and adult audience that is soon forgotten after the curtain closes. It neither challenges the audience nor deeply affects them, though everyone in the audience leaves smiling. Sometimes, that’s all you need from an evening at the theatre. <br /><br /><br />DON’T DRESS FOR DINNER<br />by Marc Camoletti <br />Theatre Arlington<br />Runs through January 30th<br /> <br />Performed at Theatre Arlington, 305 W. Main Street, Arlington, Texas. <br />Tickets can be purchased online at www.theatrearlington.org or by calling (817)275-7661.<br /><br />www.thecolumnonline.com<br />www.thecolumnawards.org<br />www.talkinbroadway.com<br />www.pegasusnews.com<br />http://www.facebook.com/profile.php?id=504595304<br /><br />THE COLUMN STAFF:<br /><br />SENIOR CHIEF THEATER CRITIC: John Garcia<br /><br />ASSOCIATE THEATER CRITICS:<br /><br />Sten-Erik Armitage<br />Clyde Berry<br />Mary Clark<br />Cheryl Cory<br />Carol Anne Gordon<br />Kristopher A. Harrison<br />Lyle Huchton<br />Jason Kane<br />Laurie Lynn Lindemeier<br />Ashlea Palladino<br />Gina Robertson<br />Christopher Soden<br />Mark-Brian Sonna<br />Laura Watson<br />*THE COLUMN IS READ BY OVER 18,745 SUBSCRIBERS WORLDWIDE!!*<br /><br />Director: Andy Baldwin<br />Stage Manager: Anna Lard<br />Assistant Stage Manager: Jessica Cook<br />Set Designer: Jack Hardaway<br />Lighting Designer: Michael B. Winters<br />Costume/Hair/Makeup Designer: Meredith Hinton<br />Properties Designer/Scenic Artist: Jennye James<br />Sound Designer: Andrea Allmond<br /><br />Bernard: Chase Burnett<br />Suzanne: Morgan McClure<br />George: Ben Phillips<br />Suzette: Amber Quinn<br />Jacqueline: Rachel Robertson<br />Robert: Jeff SwearingenLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-59344440452185245842010-12-16T08:37:00.000-08:002010-12-16T11:10:46.291-08:00My Best of 2010 List<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ChK0g6QjA-U4zmIwT9okJ9vHm64lunPFXr3ed8Dk0on9SwcqJ4dm6iSnHkIBUNKIE-P_FfMf5TN-i4FfPDOLI6d1D2zNimhzqWEOQU-bQyf_LUgthLbYDGOVaAv91GT6JFGR9DwMl4E/s1600/tony-award-statue.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 206px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ChK0g6QjA-U4zmIwT9okJ9vHm64lunPFXr3ed8Dk0on9SwcqJ4dm6iSnHkIBUNKIE-P_FfMf5TN-i4FfPDOLI6d1D2zNimhzqWEOQU-bQyf_LUgthLbYDGOVaAv91GT6JFGR9DwMl4E/s320/tony-award-statue.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5551359059260788818" /></a><br /><br /><strong>I don’t distinguish between Equity and Non-Equity, professional or community theatre. The only distinction is play or musical, and that’s only in certain categories. I now understand why some critics don’t write “favorite lists”: THIS WAS REALLY HARD. I based my picks upon my own reviews, and luckily, I've reviewed EVERY show I've seen the last year on this website. </strong><br /><br />In my humble opinion, which I respect very much, here is what I consider to be the BEST OF 2010:<br /><br /><strong>Best NEW Play</strong>: <br />DREAM CAFE by Alejandro de la Costa, produced by MBS Productions.<br /><em>"The audience decides the order of the scenes each night, resulting in a brand new storyline... 720 options total!...Gay or straight, a prude or promiscuous, DREAM CAFÉ reaches inside every audience member and pulls out something very real and universal. It leaves the audience thinking about their own “love scenes” and how if they had happened exactly the same way, but in a different order, how very different our lives would be. I know I sat in my car for 20 minutes just thinking."</em>- from my review for The Column "<em>IT WAS STUNNING. It drew gasps and tears from not only me but the entire audience. In addition to the genius that is the script, this particular night, there wasn't a single missed beat by the actors... It wasn't until it was over and I was contemplating (and comparing notes) in my car did I truly begin to understand the different story I had experienced. Only then was I beginning to truly grasp all the stories within this script and the power of each and every one of them.</em>"- from my (second) review of DREAM CAFE, this one for Critiques<br /><br /><strong>Honorable mention for Best NEW Play</strong>: <br />HALF EMPTY by Melanie Welch, produced by Fight Boy Theatre as part of the Feast of Plays, One Act Play festival.<br />"<em>Brilliantly closing out the evening after a second intermission was Half Empty by Melanie Welch. Ann and Valerie were best friends, “soul mates,” when they were 13, and are reunited during the college years. The tale of their special bond and how it shaped the rest of their lives and relationships is both gut wrenching and poignant. Above all, it is a story that anyone who has had a ‘forever friend’ can relate to... I was left breathless and speechless when Half Empty ended. In shaking hands with the cast and crew, the only immediate feedback I was able to offer to Director Caleb J. Creel, Prati (as Ann), and Black (as Valerie) was “bloody brilliant!”... Even if the relationship with your best friend wasn’t sexual- or if the situation with your first love was under different circumstances- we can all relate to the pain when “forever together” promises are broken."</em>- from my review for Critiques.<br /><br /><br /><br /><br /><br /><br /><strong>Best Play Production</strong>: <br />CAT ON A HOT TIN ROOF produced by Artes de la Rosa<br /><em>“Artes de la Rosa, under the direction of Adam Adolfo, had the cojones to take Tennessee Williams’ Cat on a Hot Tin Roof-originally set on a plantation in Mississippi- and move it to Little Havana in Florida and give it a Cuban flair. The test if a work of art is indeed a true classic is to take it out of time and place and determine if the story still resonates. Any reinterpretation of a work will also test the talent and resources of the theatre company, especially its director. Both Williams and Artes de la Rosa passed with flying colors.”</em> - from my review for The Column<br /><br /><strong>Honorable Mentions for Best Play Production</strong>:<br />STEEL MAGNOLIAS produced by Plaza Theatre Company<br />"<em>Plaza Theatre Company’s production of STEEL MAGNOLIAS on Saturday evening, April 17 was a funny yet poignant tear jerker- just as it should be... Plaza Theatre Company’s reputation of excellence is continued with their current production of STEEL MAGNOLIAS.</em>"- from my review for the Column.<br /><br />BAREFOOT IN THE PARK produced by Contemporary Theatre of Dallas <br /><em>"Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike... After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening."</em> - from my review for The Column<br /><br />DREAM CAFE produced by MBS Productions<br />"<em>This is de la Costa’s (and MBS Productions’) finest work to date... It is a journey worth taking alongside them.</em>"- from my review for The Column. <em>"I'll keep going until I either run out of money or get the ending to the story that I want. It's theatrical therapy for this love-sick and hopeless romantic of a critic!</em>"- from my review for Critiques.<br /><br /><br /><br /><br /><strong>Best Play Festival</strong>:<br />FEAST OF PLAYS produced by Fight Boy Theatre<br /><em>“Fight Boy Theatre’s Feast of Plays at Art6 in Denton is a collection of world premiere one act plays by Denton playwrights all of which left me wanting more, More MORE!!! I was AMAZED at what can be done by 3 local playwrights, an old house turned into a coffee shop turned into a theatre and about $100. Feast of Plays proves that good writing and truthful emotions are all anyone needs to tell a good story well.” </em>– from my review for Critiques<br /><br /><strong>Honorable Mentions for Best Play Festival</strong>:<br />STAGE BLACK produced by Jiles R. King, II at The Black Academy of Arts and Letters<br /><em>"A festival spotlighting black playwrights as they sought to explore various avenues of black life- from the far past to the future to the what if. Though it wasn't perfect, and some acting, some directing, and some writing need more polish, I was entertained, moved, angered, and left hopeful. As the only white person in the audience of the show I saw, I was deeply saddened it wasn't seen by more races and cultures. We all could have learned, been touched, and moved by this powerful night of theatre."</em> from my review for Critiques<br /><br /><br /><br /><strong>Best Musical Production</strong>:<br />SWING produced by Artisan Center Theater<br /><em>“An exhilarating night of singing and dancing, even if there was little storyline, left me breathless and energized all at once.” </em>– from my review for Critiques <br /><br /><br /><br /><strong>Best Director of a Musical</strong>:<br />Dave Schmidt with musical Direction by Pam Holcomb-McLain for TEN NIGHTS IN A BAR ROOM <br /><em>I was informed after I posted my list that TEN NIGHTS IN A BAR ROOM is a play with songs added. I heard singing. There was a live band. It's a musical. They did it well.</em><br /><br /><br /><br /><strong>Best Director of Play</strong>:<br />Joshua Scott Hancock for THE FROG PRINCE as part of Feast of Plays by Fight Boy Theatre<br /><em>“From the choreographed transition of the set between the first play to the second, done in character and to music, to the retelling of a beloved classic in a new way that prompted self- reflection and more than a few belly laughs, (writer Jordan) Scott and Hancock proved they are a duo to keep an eye on for future masterpieces. Hancock made excellent use of the space, believably presenting it as the found space of a traveling acting troupe. The precise choreography of the entire cast throughout the performance was by far the most impressive I have seen in a long time at any theatre.”</em>-from my review for Critiques by Laura L. Watson<br /><br /><strong>Honorable Mention for Best Director of Play</strong>:<br />Adam Adolfo for CAT ON A HOT TIN ROOF produced by Artes de la Rosa<br /><em>"Director Adam Adolfo and assistant director Katreeva Phillips assembled a fine cast and united all elements of design behind his vision for a Cuban Cat on a Hot Tin Roof...Adolfo gave his actors just enough blocking to keep the energy up without detracting from the text. He made great use of set levels and used the entire stage with ease. He even made use of the theatre building, letting sounds and action from outside the stage penetrate into the story as if the entire building was Big Daddy’s house and we were in just one room of it. Part of the Cuban flair was the occasional lines in Spanish. Williams’ scripts have a lot of repetition, and Adolfo took advantage of those repetitions as opportunities... That is the true mastery of the writing, directing and acting- the emotions and story comes through no matter what language is being spoken or understood...Adolfo came with his own, original subtext (for the Brick, Skipper and Maggie relationship and the paternity of her child). I won’t give away his choices as they are part of the climax, but they are both shocking and appropriate to these characters."</em> -from my review for The Column. <br /><br />Danielle Beacham for STEEL MAGNOLIAS produced by Plaza Theatre Company<br />"<em>Director Danielle Beacham pulled double duty as she also played Shelby. Normally, I loathe a production where a lead character is self directed, but Beacham caused me to forsake this preconceived bias within 10 minutes of the curtain going up. Though only her third show to direct-EVER- she expertly blocked the action in the round and guided a cast of actors, with varying levels of experience, to giving all out truthful performances. A director’s job is meant to be invisible. If you can see it, it probably means they didn’t do it well. I find I am struggling to describe her directing talent because while I KNOW it is ever present, I simply can’t see it. The play in its entirety flowed as one unified force- from set design to costumes to the blocking, it was all centered on the telling of this story... Beacham is one to watch- she has an incredible directing future ahead. Her bio states she will attend Bible school in California in the fall. Let us all pray we get her back to Texas theatres as fast as she can." </em>-from my review for The Column. <br /><br />Dennis Canright for TO KILL A MOCKINGBIRD produced by Artisan Center Theater<br />"<em>Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears... It was an exceptional work of art."- </em>from my review for The Column.<br /><br />Tashina Richardson for NO EXIT, produced by Sundown Collaborative Theatre<br />"<em>Director Tashina Richardson knew the heavy weight of the material she presented her young troupe of actors and fellow collaborators with, and she did not shy away from bold, artistic choices... I, like (the character) Garcin, want answers and specifics to basic questions. Who, what, when, where, why, and how. This play, nor this production of it, answers those questions, and it is maddening. Then again, I was sitting in hell, so it works...By the end of the one hour and forty minute show- without an intermission, though I only checked my watch once- you realize you have been sitting in hell with Garcin, Inez, and Estelle. They have been torturing you, and you have probably been torturing them. Torture isn’t always physical- it’s done with words, with revelations, with loud breathing, with squeaky chairs, and with a heat that the actors weren’t faking. It does get hot in that studio room! It is a true experience as only live theatre can give and it helps to carry both the storyline and the performances."- </em>from my review for The Column.<br /><br /><br /><br /><strong>Best Actress in a Play</strong>:<br />Hannah Black as Narrator in THE FROG PRINCE and Valerie in HALF EMPTY in Feast of Plays produced by Fight Boy Theatre. <br /><em>“Hannah Black as the fairytale’s narrator (and troupe’s self-appointed leader) stole the show with her commanding voice, engaging eye contact and grounded stage presence… Black, having just 30 minutes before dazzled me with her comedy, turned around and delivered a stellar dramatic performance. It was complete with inner turmoil, anguish and denial of her past which leads to a heartbreaking end.”- </em>from my review for Critiques by Laura L. Watson<br /><br /><br /><br /><strong>Best Actor in a Play</strong>:<br />Zach Leyva as Jem Finch in TO KILL A MOCKINGBIRD, produced by Artisan Center Theater <br /><em>“Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father.”</em> -from my review for The Column<br /><br /><strong>Honorable Mention for Best Actor in a Play:</strong><br />Mike Schraeder as Teach in AMERICAN BUFFALO, produced by Broken Gears Project Theatre.<br />"<em>Schraeder was extremely good at what I like to call “detail acting”- the little things that clue us into the character such as repetitive yet specific gestures</em>."- from my review for The Column. I had to edit my review down- don't you just HATE long winded critics- so I left out a few other thoughts on Schraeder's performance. "<em>He was completely and totally Teach- from voice, to movement, to emotions, I never once saw an actor. I want to meet Mike Schraeder as himself. I think then, I could truly appreciate the mastery of his craft."</em><br /><br /><br /><br /><strong>Best Actress in a Musical</strong>:<br />Natalie Berry in SWING, produced by Artisan Center Theater<br /><em>“Wow. Just… wow. She sings, she dances, she acts- there is NOTHING she has failed at. I doubt there is anything she can’t do on a stage.</em>” -from my January review for Critiques. Side note:having seen Ms. Berry several times this season, I stand by this review. There is NOTHING she can't do.<br /><br /><strong>Honorable Mention for Best Actress in a Musical</strong>:<br />Camille Shaw as June in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company<br />"<em>Camille Shaw as the oldest sister/ Pastor’s Wife June Oglethorpe was the (nearly) silent scene stealer and over-the-top star of the evening. She has more energy than anyone on stage as she runs, jumps, dances, and does “sign language” (more like bad mime) while the family sings. June doesn’t sing with the family. AND she’s really pregnant! ... June’s testimony about following God wherever He calls was truthfully and emotionally charged- and reached me on a very personal level."</em> - from my review for The Column. <br /><br /><br /><br /><strong>Best Actor in a Musical</strong>: <br />Andrew Guzman as Dennis in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company<br /><em>“Dennis, the boy twin, was sincerely and sweetly played by Andrew Guzman. Guzman is a tenor who sings like an angel… Guzman also had the most touching testimony about being a Marine in WWII… Guzman was not left out of the comedic bits, reenacting a number from his childhood with Denise and June called “The Royal Telephone” made all the more hilarious because they’re adults.”</em> –from my review for The Column.<br /><br /><br /><br /><strong>Best Ensemble Cast</strong>: <br />STEEL MAGNOLIAS produced by Plaza Theatre Company<br /><em>“All six of these women came together to form a believable friendship and support system. I know these women, I just happen to know and love them by different names. Wherever a woman is in her life, there is a character in Plaza’s STEEL MAGNOLIAS that will speak to them.”</em> –from my review for The Column<br /><br /><strong>Honorable Mention Best Ensemble</strong>: <br />DREAM CAFE, produced by MBS Productions<br />Remember, the actors find out the order the scenes will be played 3 minutes before they begin. This review is from the 2nd time I saw DREAM CAFE. "<em>Every scene began and ended with a total commitment to the moment by every actor, and the emotions were more real, more raw than I have experienced in a long time. The characters' journeys and the outcome of the story was almost opposite this time from my first experience, and I felt like I hadn't met these characters or heard any of these lines before. Not only had the scene order changed, so had the motivation and the underlying emotion of every single word uttered.</em>"- from my review for Critiques. "<em>Now, add to this the knowledge that every night the scenes change order and the line delivery must reflect the motivation that is spurned by the moment before and the actors must continue the arch of their character which might be a journey they had yet to conceive of and… oh my! What a stellar ensemble performance! This is a play where every actor must be thinking, must be listening and must be reacting truthfully in the moment on top of to the letter perfect line memorization and all that other actor technique stuff. This is not a play for beginners or amateurs</em>."- from my original review for The Column<br /><br />AMERICAN BUFFALO, produced by Broken Gears Project Theatre<br /><em>"Terry Yates as Don, Alex Worthington as Bob, and Mike Schraeder as Teach were all ridiculously believable and likable, faults and all. They each delivered the rapid, intense dialogue with precise diction and clearly had motivation for each line and all action. "</em> - from my review for The Column<br /><br />CAT ON A HOT TIN ROOF, produced by Artes de la Rosa.<br />"<em>In fact, the third act- which is the climax of how to tell Big Mama that Big Daddy is dying- was some of the finest ensemble acting I’ve seen in the last year.</em>"- from my review for The Column<br /><br /><br /><br /><br /><strong>Best Set Design</strong>:<br />Bruce R. Coleman for EQUUS produced by Uptown Players<br /><em>“I wanted to take a picture and hang in on my wall. It was beautiful, stunning, and haunting</em>.” - from my review for Critiques.<br /><br /><strong>Honorable Mention for Best Set Design</strong>:<br />Oliver Luke for CAT ON A HOT TIN ROOF produced by Artes de la Rosa<br /><em>"... the exquisite set designed by Oliver Lukach made the (20 minute opening night) delay more than bearable. Making use of the entire Rose Marine Theatre stage, the set was a work of art in itself and was the ideal backdrop to the dialogue. The set consisted of a large over sized four post king bed with white sheets, sitting furniture, bar, and windows leading to a terrace that was set far downstage and on the floor in front of the audience. Dark wood with white linens gave it a very Cuban feel on a hot and steamy night."- </em>from my review for The Column<br /><br /><br /><br /><strong>Best Choreographer</strong>:<br />Linda Leonard for SWING produced by Artisan Center Theatre<br /><em>“Whew. Full of intricate footwork and period accurate steps, SWING is a history, dance, romance, and how to have fun lesson all in one.”</em> –from my review for Critiques.<br /><br /><br /><br /><strong>Best Costume Design for a Play</strong>:<br />Suzi Cranford for EVERYTHING IN THE GARDEN, produced by Rover Dramawerks<br /><em>“From the dresses to the suits, from the shoes to the handbags and handkerchiefs, they were quirky, stylish, period appropriate, and a window into who these characters really were.” </em>– from my review for Critiques.<br /><br /><strong>Honorable Mentions for Best Costume Design for a Play:</strong><br />Justin Kailer for CAT ON A HOT TIN ROOF, produced by Artes de la Rosa<br />"<em>The cast was also costumed, by Justin Kailer, in a mixture of white and kahki as many islanders tend to dress. Though united in color and fabric, each character remained distinct from the others. Maggie’s simple white dress was both sexy and elegant while Mae’s maternity shirt was expensive yet frumpy."- </em>from my review for The Column<br /><br />Aaron Patrick Turner for BAREFOOT IN THE PARK, produced by Contemporary Theatre of Dallas<br />"<em>With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period."</em>- from my review for The Column<br /><br />Candace Cockerham for NO EXIT, produced by Sundown Collaborative Theatre<br />"<em>This is another one of those uncomfortable things: when is this play set? After death, there is no sense of time- it’s all just eternity, and the lack of time specific costumes, props, sets, or hints within the dialogue introduce the audience to this concept. The costumes could have been from the 1940s or today. They were appropriate in fit and color to each character and had the layers that each actor needed to physically reveal as they did so with their words."</em>- from my review for The Column<br /><br /><br /><br /><br /><strong>Best Costume Design for a Musical</strong>:<br />Robin Armstrong for LITTLE WOMEN produced by Collin Theatre Center<br /><em>“It was a lovely, old fashioned costume spectacle…truly a highlight of the production.” </em>–from my review for Critiques<br /><br /><strong>Honorable Mention for Best Costume Design for a Musical</strong>:<br />Tina Barrus for CINDERELLA, produced by Denton Community Theatre<br />"<em>Tina Barrus’ costumes were the epitome of over-the-top fairy tale. Lots of bright colors, hoop skirts, and men in knickers created the world in a visually stunning way. The children and adults alike were constantly mesmerized by the parade of colors.</em>"- from my review for The Column <br /><br />Nita Cadenhead for SWING, produced by Artisan Center Theatre<br />"<em>The costumes were flashy, they were adorable, they were sexy-they were everything the dancers, the singers and the stories needed them to be. And there were oh so many, I couldn't wait to see what the singers and the dancers came out wearing next!" </em>- from my review for Critiques.<br /><br /><br /><br /><br /><strong>Best Lighting Design</strong>:<br />Adam Livingston for TO KILL A MOCKINGBIRD produced by Artisan Center Theater.<br /><em>“Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm.”</em> – from my review for The Column.<br /><br /><strong>Honorable Mention for Best Lighting Design</strong>:<br />Jason Foster for EQUUS produced by Uptown Players<br />"<em>The lights complimented the set. Haunting, dark, yet I could see everything. They were sublte, yet as I disect the play afterwards, I see what Foster was doing and that the journey was enhanced by the design."- </em>from my review for Critiques.<br /><br /><br /><br /><strong>Best Sound Design</strong>:<br />Un-credited for TO KILL A MOCKINGBIRD produced by Artisan Center Theater<br /><em>“Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well.”</em> –from my review for The Column<br /><br /><strong>Honorable Mention for Best Sound Design</strong>:<br />Jason Rice for MORPHIC RESONANCE, produced by Rover Dramawerks<br />"<em>Though many of the choices were hit or miss, and the acting was a big off because there were only 4 people in the audience, the sound design by Jason Rice gave me a glimpse into all this show really held. It had many sound effects and musical transitions were helped everything to flow. Music added to the circus theme when needed, and then was used to bring us into reality. It underscored some of the most dramatic moments and would appropriately stop so that all we heard was breathing. Rarely do you see a play where the sound effects you so obviously- in a great way.</em>"- from my review for Critiques.<br /><br /><br /><br /><strong>So, those are my picks, for what they're worth. I saw a lot of GREAT theatre and some ho-hum theatre this year, and I cannot WAIT to see what all these great artists produce next year!</strong>Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-33466532828896121012010-11-03T00:03:00.000-07:002010-11-03T00:08:02.614-07:00BAREFOOT IN THE PARK<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvggs_3CZ6xa5znMCsOWDHYERQK59gwBy3snF-aY5SPl5l-23xmMVhrz_2UKf051WZW15T6A2D2Hz_hxMEXVKE3n9mPc17-xyj68xb2bwh2GiJD7Ysg7F4xTCKeC2NdPyPqqLkye_GPM0/s1600/barefoot+pic.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 262px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvggs_3CZ6xa5znMCsOWDHYERQK59gwBy3snF-aY5SPl5l-23xmMVhrz_2UKf051WZW15T6A2D2Hz_hxMEXVKE3n9mPc17-xyj68xb2bwh2GiJD7Ysg7F4xTCKeC2NdPyPqqLkye_GPM0/s320/barefoot+pic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5535216450101186834" /></a><br />Contemporary Theatre of Dallas’s BAREFOOT IN THE PARK, Dallas<br /> <br />*REVIEWED 10-29-2010 PERFORMANCE <br /> Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /> <br />Contemporary Theatre of Dallas’ production of BAREFOOT IN THE PARK is a charming, feel good night of theatre that can be enjoyed by lovers, friends, mothers and daughters alike.<br /><br />Neil Simon’s 1963 comedy centers on newlyweds Paul and Corie Bratter who, after six amazing honeymoon days at the Plaza, begin their marriage by trying to get to know one another in the TINY top floor apartment of a brownstone in New York City. Corie’s mother, Mrs. Banks, comes for regular inspections- uh-visits, and their rather eccentric new neighbor, Mr. Victor Velasco, seeks to keep things an interesting adventure for him and everyone around him. As Corie and Paul spend their first two weeks in this apartment, we see they have a lot of differences to overcome and must learn how to compromise. In the process, they throw a dinner party where they set up her mother and the neighbor, and they fight to make their young marriage last.<br /><br />Many completely agree with Producing Artistic Director Sue Loncar’s opening night curtain speech, that BAREFOOT IN THE PARK will be considered one of the great American classics 100 years from now. I personally can’t help but love this script. Technology may change and elevators may be required in apartment buildings these days, but newlyweds adjusting to married life is universal. It’s timeless. The dialogue is quick witted, and everyone knows a mother like Mrs. Banks (some of us have even lived with her). There’s just enough conflict to keep the audience interested, but mostly, you just wonder how it will all work out and how many crazy antics will transpire in the meantime. One of the highlights of the writing is when Corie attempts to describe the beauty of “total love” she discovered on her wedding night. Her mother is less than eager to talk about sex with her daughter. It had me laughing out loud and everyone relating a little too well. <br /><br />Contemporary Theatre of Dallas is a medium sized, semi-proscenium space where the audience sits markedly below the level of the stage and is raked up to the bar in the back. There is also a balcony audience section. Rodney Dobbs’ scenic design uses the entire space, allowing unique angles and wonderful sightlines, and yet gives the audience that cramped, barely functional dirt cheap apartment feeling. A giant skylight, with a broken windowpane through which snow falls, hangs center stage and offers a view of other rooftops. There is an authentic looking hallway with landing (for those needing to rest after climbing the five flights up) outside the front door at (house) left. The apartment has a couple of counters, stove, working sink and refrigerator for a kitchen. A step down lands guests in the living room that is just big enough to have two chairs and a small couch with built in bookshelves along the back wall. The tiny bathroom, that “doesn’t even have a tub”, is just right of up center, and then the door to the small one bedroom which we don’t see is at the far right. My guess would be that the apartment is supposed to be less than 650sq ft. <br /><br />At the start, the apartment is empty except for a few wedding gifts and Corie’s luggage. After intermission, we see what Corie was able to envision about her new home. Making use of hanging beads, a screen and tiny furniture gives it a quaint atmosphere. I won’t lie- I watched the apartment’s transformation by the crew with a sense of awe and wonder. Wondering- how ARE they going to get furniture in this room? Somehow they did and the layout and design made me want to live in a top floor brownstone, too!<br /><br /> With a 1960s setting, a costume designer could go all out. However, costumer designer Aaron Patrick Turner was smart to keep the costumes simple but not overly 60ish. This allowed the audience to relate in the here and now and forget the time period. The only nitpick on costumes was that Corie’s dress in act II seemed a little too big. This is not a prop heavy show, but there is a fair amount provided by props designer Jen Gilson-Gillian. Gilson-Gillian committed one of my all- time pet peeves though: empty purses and suitcases- especially ones that need to be rummaged through by the actors. Sound designer Richard Frohlich had a nice selection of period and mood appropriate music, especially for the top of the show when we meet Corie. Lighting design, done by Jaymes Gregory, was a little generic (all lights on or blackouts), though there was some nice timing with the entry light switch appearing to be functional. <br /><br />On opening night, every board operator’s nightmare occurred at the top of act II- the light board seemed to lose all of its intended cues OR there was some sort of delay with someone’s entrance. Either way, Carrie Slaughter-Whittlesey who played Corie took a few seconds to improvise a line or two as the lights fluctuated, and then simply gave herself an excuse to exit the apartment and the lights faded out. A few minutes later, she reentered and began the scene again. Though everyone wants a glitch free show, when it did occur, it was handled quickly and professionally. I have no doubt that whatever the problem was has been fixed for future shows.<br /><br />Director Cynthia Hestand united the design elements alongside a delightful cast that brought to life these characters without being too weighted or too campy. The blocking flowed naturally- especially the mother’s near trip when she first enters the apartment. It brought gasps from the entire audience. It was also great to see, via the skylight, Victor Velasco “crawl” across the ledge to get to his attic apartment. However, all the up the stair stuff, as person after person enters tired and out of breath (throughout the show as it’s an ongoing joke) just wasn’t believable for anyone.<br /><br />Slaughter-Whittlesey as Corie was charming and wide eyed, full of hope and joy as any newlywed should be. She has a very pretty, expressive face and moved across the stage with energetic grace. The show began with a music montage as Corie enters and begins unpacking from her honeymoon in her bare apartment. However, as we get to know Corie, it’s hard to believe she would do that in complete silence. Though there’s nothing in the script, perhaps she would squeal with glee or make “contemplating” sounds. Christoferson had a tendency to recite some of his lines at times, but was very good at keeping Paul a real man and not stiff or robotic. He does need to counter her free spirit a bit more at times and not just look so exhausted by her boundless thirst for life. I wanted to see why Paul fell in love with her so I could believe his struggle and desire to stay married to her. He was very charming, though, and likeable as the focused lawyer trying to win his first case. The final scene, as he and Corie grapple to stay together or divorce after less than two weeks, is both heartwarming and truthful. Engaged couples everywhere should be required to attend and take notes.<br /><br />Mrs. Banks, Corie’s mother, was the scene stealer and was well played by Marcia Carroll. “She’s my mother!” exclaimed more than one audience member. Her New Jersey accent was spot on, though they needed to age her face to match her wig/grey colored-hair. Her attempts to hide her first impressions, both about the apartment and the neighbor, had everyone laughing. Also, her tender moments as she hopes to help Corie reunite with Paul were touching. John S. Davies as Mr. Victor Velasco, the eccentric upstairs neighbor, was an appropriate mix of slimy and mischievous with a pinch of charm. The telephone repair man, played by Francis Henry, was funny as he played a rather sane counter- part to Corie’s neurosis. In the second act, when he makes a brief reappearance, he played a semi-fatherly figure as he attempted to advise the distraught couple. He was simple, to the point and yet subtle with his advice. I wanted him to have more lines at that moment.<br /><br />After the show, I was tempted to walk barefoot in a nearby park, just because both Corie and Paul made it sound like an enlightening way to spend an evening. Though they had a little shaky opening, Contemporary Theatre of Dallas’ BAREFOOT IN THE PARK is good for laughs and has an ensemble we all know and can relate to. <br /><br />Contemporary Theatre of Dallas presents Neil Simon’s BAREFOOT IN THE PARK through November 21.<br /> <br />Performed at Contemporary Theatre of Dallas, 5601 Sears Street, Dallas. Tickets can be purchased online at www.contemprarytheatreofdallas.com or by calling 214-828-0094.<br /><br /><br />Directed by Cynthia Hestand<br />Written by Neil Simon<br />Producing Artistic Director: Sue Loncar<br />Managing Director/Co-Producer: Russell K. Dyer<br />Scenic Design: Rodney Dobbs<br />Lighting Design: Jaymes Gregory<br />Sound Design: Richard Frohlich<br />Props Design: Jen Gilson-Gilliam<br />Costume Design: Aaron Patrick Turner<br />Production Stage Manager: Lindsay Anderson<br />Stage Manager: Maggie Belanger<br />Assistant Stage Manager: Grace Keller Scotch<br />Deck Crew/Delivery Man: Matt Cook<br />Scenic Construction: GPO Theatrical<br />Master Carpenter: Dave Tenney<br />Carpenter: Clint Ray<br /><br />CAST<br />Corie Bratter: Carrie Slaughter-Whittlesey<br />Paul Bratter: Will Christoferson<br />Mrs. Banks: Marcia Carroll<br />Victor Velasco: John S. Davies<br />Telephone Repair Man: Francis HenryLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-5790463282235267182010-10-25T18:54:00.000-07:002010-10-25T19:02:29.004-07:00Lucifer Descending<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeMZ0CFp0lunkaBxe1VmkCDkG3wQLT_GEANimxagtPV1309cl0EJvztbdGBD1wQ6RCkIJOeoFOrfIZ9QnFEyyA3E_kcb5dwbLOCAPCsLZ4akEan3SmB8hofAvxCW_vuOPbzfUCljWv5Co/s1600/lucifer+picture.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 239px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeMZ0CFp0lunkaBxe1VmkCDkG3wQLT_GEANimxagtPV1309cl0EJvztbdGBD1wQ6RCkIJOeoFOrfIZ9QnFEyyA3E_kcb5dwbLOCAPCsLZ4akEan3SmB8hofAvxCW_vuOPbzfUCljWv5Co/s320/lucifer+picture.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5532168066974714290" /></a><br />MBS Productions’ LUCIFER DESCENDING, Addison<br /><br />*Reviewed 10-21-2010 Performance <br /><br /> Reviewed by Laura L. Watson <br /><br /><br />______________LUCIFER DESCENDING______________<br />Reviewed by Laura L. Watson<br /><br />“All sins have logic… All sins come from truth… All sins come from love.”<br /><br /> MBS Production’s thought provoking and creepy original work LUCIFER DESCENDING had its world premiere just in time for Halloween at the Stone Cottage Theatre in Addison.<br /><br /> Lucifer has kidnapped Seth, the third son of Adam and Eve, and gives him not only a tour but an explanation of hell. The ten levels of hell correlate to the ten commandments which are recited in the original Vulgate Latin as written in the first completed Christian Bible from 382 AD, and each commandment has a rather notorious sinner who broke that commandment and has a torture derived from the crime. For example, Jezebel was guilty of idol worship and her punishment is to be a frozen statue for all eternity. During the tour, Seth meets these sinners, and the sinners are allowed a moment of relief from their torture in order to explain why they did what they did. <br /><br /> Director, Choreographer, and Writer Mark-Brian Sonna explains in the program that this is meant to be a modern day Morality Play. For many centuries, morality plays were written and performed with the intention of teaching the illiterate masses Bible stories. Each scene has its own lesson, with monologues at the beginning and end of the show that ties them all together with a greater lesson presented. Sonna writes he uses “the Bible itself, and the words written within it to propose a different understanding and view of the morality of Lucifer.” <br /><br /> While it was thought provoking (and creepy and scary and horrifying as hell should be), Sonna also wrote he targeted human emotions. This might be the one miss of LUCIFER DESCENDING. I did not feel for these sinners, and I did not fear the tortures of hell as presented in this play. I could not relate to any of it. I think this may have been because each scene was so quick, the audience didn’t have time to build a relationship with this person (on top of preconceived bias we had before we met them.) However, I was able to relate to their logic and reasoning behind their disobedience, which left me thinking at the end of the night. Some of the sinners are VERY well known, including Nero and Delilah, but others are more obscure, in the case of Elizabeth Bathory and Torquemada. There was an assumption that all of the sinners, and their crimes, were common knowledge, and so I spent time during a few monologues trying to piece together what they had done along with their explanation of why they did it. Also, I questioned why certain people were chosen to represent that particular sin. Some are no brainers, such as Elizabeth Bathory for murder, but others were a bit of a stretch. Salome’s greatest crime was lying? However, there is a limitless supply of sinners to represent each and every sin, and I enjoyed learning some history alongside being challenged in my long held beliefs of right and wrong. It would be nice to hear from some “modern day” sinners, such as Hitler or Stalin, too. At the end of most scenes, I agreed both with Lucifer that the sinner is clearly guilty of breaking the commandment and yet they are unjustly punished because they had good reasons for their sins. It’s a paradox.<br /><br /> The greatest triumph of the script, though, is the alternative view of Lucifer that it offers and the justification “big sinners” have for their crimes that is eerily similar to my personal reasoning when I feel I must disobey. I won’t give away the revelation of Lucifer, but it is sufficient to say that Sonna’s Lucifer is not entirely the traditional Judeo-Christian one. This Lucifer wants to explain things, wants to justify, and he wants to keep mankind on the straight and narrow. He is not out to torture, scare, or do other monster things. As someone who was practically born asking “why”, I thoroughly enjoyed an evening of plausible “because” answers that left me thinking. <br /> <br /> Similar to interpretive dance, MBS Productions enjoys pushing the artistic envelope with their “choreographed” plays. The seven actors portray over 20 characters/creatures while also using fabric to create the set, represent the torturous flames, and combine their voices to sound like hundreds calling out from the pits of hell. It is an artistic representation of hell, not a literal. I particularly enjoyed the transitions through the levels of hell as Lucifer guided a semi-drugged Seth without a word. They moved like experienced ballet dancers, though no dance credits were listed. Some of the actors need to be more sure of the steps, though. There were times it felt more like a rehearsal. Actors need to take that step, fall, or wrap up in the fabric with confidence and without sneaking a peek at their cast mates to check their position.<br /><br /> This is not a play with a lot of spectacle as the focus is on the text. As previously mentioned, there is no set. As the audience enters, there are black curtains on one end of the Stone Cottage and big bat wings splayed on the floor which Lucifer quickly puts on during the opening monologue. The actors make use of various colors of cloth to create flames, water, chains, and so forth. Costumes are minimal with chorus members being in black shirts and black pants, adding a Roman breastplate for Nero or allowing Salome to change into a Harem dancer’s outfit. Lucifer wears a simple loin cloth and bat wings, and twists his hair into horns. His body is covered in body paint and glitter. He resembles a gargoyle. Seth wears a simple, ordinary red skirt with sash. The Stone Cottage doesn’t allow for a lot of creative lighting, and such was the case with LUCIFER DESCENDING. It was a little bland, even having two actors sit on the floor and spotlight Lucifer as he hovered over the audience using flashlights. It is an “artsy” play- dance and movement, a little fabric are used to represent what is being described. As I told the cast after the show, I’d like to see this as a movie. The effects- wrapped in red fabric for flames, masks for twisted head, etc, didn’t scare or shock me, and a couple were hard to figure out what it’s supposed to be. I’d love to see it with some big budget special effects. That is my preference. As an artist, though, I can totally appreciate the representation and attempt to do something in a different way. The hard work and dedication of all involved is evident and I applaud it. You should experience it.<br /> <br /> Ivan Jones as the title character Lucifer was a surprising choice since I had last seen him in MBS Productions’ A DREAM CAFÉ where he played a flamboyant and flippant gay waiter. Jones displays that he has a wide range and is capable of portraying more than one type. His long, lean, muscular body moved with ease and grace as he commanded the stage. His deep, resonating voice literally shook the rafters at times. I did want more fluid movements from him, though, especially when he hovered over the audience. He seemed to be second guessing his movements then. I also wanted to see Lucifer build in his justification argument, and at times felt Jones was relying on his monster image to scare the audience. After a while, a deep yell or a menacing stare just isn’t as terrifying as it was in the beginning, and it began to fall a little flat. Though, in the end, he got another spark and brought Lucifer roaring back to life.<br /> <br /> Challenged with the task of being the “everyman” Seth was Rey Torres. As difficult as being a scary monster or tortured in hell is, playing the average, normal guy is equally challenging because he must still be believable and must be the one the audience relates to. Torres never once stops being Seth, but we also don’t get to know him very well because the text doesn’t focus on him for long at all. We, the audience, don’t know if we can relate to him or not. However, he asks the questions we all want answered (why) and his journey to understanding is ours as well. The difference, of course, is that he takes the journey ‘for the first time’ every night. As I mentioned before, he also moves like a trained dancer alongside Jones, creating some truly beautiful moments. <br /> <br /> Charli Armstrong was both Cleopatra and Jezebel, and had a few lines as Salome’s mother. Armstrong has a strong voice, supported with lots of power even when being hung upside down. When she was acting as a member of the chorus, she continued to react to everything that was going on even though she wasn’t the focus. In contrast, some of her cast mates would become stoic when they thought no one was looking. Cleopatra, guilty of adultery, is sentenced to an eternity of rape, and she reacted to the rape powerfully. Sonna was smart not to limit her to just strong women- she also well played the tizzy bat-like creatures and became other set pieces or creatures as needed with no problem. I’m convinced there isn’t a role she can’t play. <br /><br /> Delilah and Elizabeth Bathory were played by Sara “Ragsy” Ragsdale. The vocal difference between Delilah and Elizabeth was astounding. It’s hard to believe they were the same person though she could have used some physical variations between the two. Like Armstrong, she played the strong woman sentenced to torture well, and she glided into chorus roles without a hitch. Her monologue as Delilah, a distraught woman in love who just wanted to keep her man safe, was the most emotionally truthful performance of the ending. In contrast, Elizabeth Bathory was a delusional serial killer who painted her body with the blood of her victims. This was less believable, but nonetheless creepy.<br /> <br /> Dylan Peck was King John (stole money from his subjects), Torquemada (the man who killed thousands for not being good Christians in the name of God), and various chorus members. Peck has a good voice with lots of power. His portrayals of King John and Torquemada were similar-regal yet whiney-, but his other unnamed characters were all very distinct. Unlike some of his cast mates, he reacted realistically when he was tortured.<br /> <br /> Alejandra Flores as Salome was the first sinner we met, guilty of lying to her father. (Salome was the one who danced for her father and then asked for the head of John the Baptist as payment.) Flores was a sympathetic Salome, and the audience truly felt she was being unjustly punished as she was a victim of incest and “just wanted to be free of her father.” Flores seemed nervous, though, and kept glancing at the audience as if for approval. She also seemed self-conscious in her costume- beaded bra-like top and low-rise harem pants. As the show progressed, and she became other characters including Pentaware (guilty of dishonoring his father, the Pharaoh Ramsey, by trying to kill him), she relaxed and her focus returned to her lines or choreography which resulted in a more convincing performance. This was her first professional production, and it asked a lot of her. Her immaturity at times showed, but for the most part, she kept up with her fellow actors. A bio would be much appreciated by the audience, though.<br /> <br /> Nero, Severus, and Caligula were all played by David Gorman. He has a deep voice and a long, menacing stare, but he needed more physical differences between his characters. All his rulers were the same- they talked the same, they moved the same. Except for the torture they were sentenced to, they were nearly indistinguishable. The same could be said of his chorus characters. Gorman was a good choice, though, in that he brought a dark, strong presence to the cast that the others fed on.<br /> <br /> MBS Productions’ LUCIFER DESCENDING at Addison’s Stone Cottage Theatre, is for those who seek Halloween entertainment in the form of a psychological experience rather than a gory, scream filled horror. LUCIFER DESCENDING had some elements of low budget theatre and some scenes were hit or miss, but overall, I really enjoyed my journey through hell- enough that I’m going back on Halloween, in costume too!<br /><br />LUCIFER DESCENDING runs through November 7 at the Stone Cottage Theatre, 15650 Addison Circle, Addison.<br /><br />Tickets are available at www.mbsproductions.net or by calling 214-477-4942. Special Halloween performances, where the audience can come dressed in costume and will recieve a trick-or-treat bag full of candy and other prizes, will be Saturday October 30 and Sunday October 31. Ticket prices vary.<br /> <br /><br />Directed and Choreographed by Mark-Brian Sonna<br />Written by Mark-Brian Sonna<br />Stage and Production Manager: Korey-Elizabeth Parker<br />Costume Design: Larry E. Groseclose<br />Set and Lighting Design: Alejandro de la Costa<br />Lighting Technician: Justin Knox<br />Sound Design and Original Music: Mark-Brian Sonna<br />Box Office Management: Kim Wickware<br /> <br />CAST<br />Lucifer: Ivan Jones<br />Seth: Rey Torres<br />Nero/Severus/Caligula: David Gorman<br />Salome/Pentaware: Alejandra Flores<br />King John/Torquemada: Dylan Peck<br />Delilah/Elizabeth Bathory: Sara “Ragsy” Ragsdale<br />Cleopatra/Jezebel: Charli ArmstrongLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-64611910486127548122010-10-08T00:53:00.000-07:002010-10-08T01:05:43.679-07:00To Kill a Mockingbird<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPxjA7xv3VooWNAzRzCizBijwCPSeOoZexYzcUCwHXJM2eTTzr37cOI_usojP_XSdzSiN2FI_oJLgzUyGgl45rd9U7ff2QXZ7H2_bgsJyyJwlJ9W7XxYJlEvYLVTubszAncBY__L1bCk/s1600/mockingbird+pic.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPxjA7xv3VooWNAzRzCizBijwCPSeOoZexYzcUCwHXJM2eTTzr37cOI_usojP_XSdzSiN2FI_oJLgzUyGgl45rd9U7ff2QXZ7H2_bgsJyyJwlJ9W7XxYJlEvYLVTubszAncBY__L1bCk/s320/mockingbird+pic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5525580975660979634" /></a> Artisan Center Theater’s <em>To Kill a Mockingbird</em>, Hurst<br /> <br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />_______TO KILL A MOCKINGBIRD_________<br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /><br />It would be unfair to compare any stage production of TO KILL A MOCKINGBIRD to the Academy Award winning movie, but Artisan Center Theater’s version <strong>can</strong> be compared to Harper Lee’s great work because they told this story well. <br /> <br />Set in 1935 Maycomb, Alabama, the story is narrated by Jean Louise Finch, the adult Scout. She has returned to her childhood home to recall the year that changed her life, and she is trying to remember something her father wanted her to do. We are introduced to young Scout, her brother Jem and their friend Dill. Their father is attorney Atticus Finch who has been appointed to represent Tom Robinson, an African American man accused of rape and battery by the Ewells, a white trash girl and her father. Racial tensions are high, and the children are taunted by classmates and neighbors alike. Because of their young age, the children are rather naïve and innocent of the things going on round them. Their focus is on Boo Radley, the town’s secretive shut in and the treasures hidden in the hole of a tree. The climax of the story is the trial of Robinson and the lessons Atticus taught his children during it. It is considered one of the best novels in all of American literature and the stage adaptation by Christopher Sergel is accurate even within the limitations of the stage. From the program: “Artisan does not condone or approve of harsh language or racial slurs. In producing this important work, we decided to stay true to the novel, time period and situations therein. Please be warned that there is some harsh language, situations, and the use of a racial slur.” Though it is hard to hear and difficult to watch, these controversial points are much needed and handled well by all involved.<br /><br /> Artisan is a community theater in the round. Set designers Jason Leyva and Dennis Canright placed houses complete with porches and screen doors in the four diagonal corners with a rope swing in front of the Finch house and a realistic tree with a hole in front of the Radley house. By darkening the houses, removing the swing, and placing wooden railings in front of the audience, tables for the judge and opposing council, and building a courtroom balcony over the audience in one corner, they easily shifted from the neighborhood to the trail. (It is worth mentioning that they have done some renovations to the building that include new, very nice bathrooms with additional stalls so intermissions now run 15 minutes instead of 20 or longer as they often delayed the second act due to the long lines.) <br /><br />Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm. Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well, though the body microphones were sometimes slow in coming on as an actor started speaking. As sometimes happens, the AC came on and caused something in the rafter above me to rattle so loud it was sometimes hard to hear the quieter actors. Costumes, designed by Justin Kailer, Nita Cadenhead, and Jennifer Cadenhead were period appropriate and well fit, though Scout and Jem’s shoes were obviously new because the white parts were very bright. (Kids playing outside all summer wouldn’t have perfectly clean shoes.) <br /><br />Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears. The girl and the woman shared an understanding about their father in that moment. It was an exceptional work of art. Each actor had authentic sounding Alabama accents (not just Texas accents heightened) and he was able to coax very natural line deliveries from his actors, especially from the children. Act I was a little shaky, though, with some very pregnant pauses. All the actors could pick up their line cues a little faster in the first act. (It could have been opening weekend nerves, though.) <br /><br />The blocking makes use of the entire space without falling into trouble with sightlines- with exception of the mob scene. It was played in the Radley home’s corner, using a brick wall with a barred window and a single electric light. The “mob” was just 5 men who blocked Atticus and his children from ¾ of the audience’s view and never turned to show their reactions to Scout’s questions. It’s one of the greatest moments in the play, and while it was well conveyed vocally, it wasn’t so much visually. From my vantage point, all I saw was Tom Robinson’s arm sticking out of the jail window and the men’s silhouettes. The audience served as the courtroom audience, and one side served as the jury, receiving the majority of the closing statements and instructions from the judge. I was briefly taken out of the story when the set was changed, mostly by the actors themselves, from the neighborhood to the courtroom, and then I wondered why this was done when intermission was just a scene later. Why the intermission wasn’t put before the trail began, allowing the set change to occur then, might be a directing choice or how it was written in the script, but it did interrupt the experience briefly for me. <br /><br />I did question some of the casting choices. Age appropriate casting would have served the story better. For example, Link Deas, Robinson’s employer, was well played by Michael Williams, but Williams is just too young looking to have a line about Robinson working for him for 12 years. The same could be said of Bianca White as Helena Robinson and Laura Tolsma as Stephanie Crawford. They did well but needed to be aged with makeup or older actors cast. <br /><br /> Though actors always long to play the great roles in American literature, it is rather daunting to try and make iconic, award winning roles your own. Appropriately so, this show’s strongest actors were the Finch family, played by the real life Leyva family members. Jason Leyva was a quiet, contemplative Atticus without straining to imitate Gregory Peck’s movie version of Atticus. He was strong without overpowering, and he had an intense energy that never let up or allowed his quiet character to become dull. Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father. Sadie Leyva was Scout, and though at times she would simply recite lines, for the most part, she was in the moment and portrayed truthful emotions to the situation surrounding her in ways adult actors should take note. Her wide eyed innocence wasn’t faked, either, and underscored the evil acts adults were able to commit while children looked on. Natalie Berry as Jean Louise was calming, intuitive with a quiet energy that supported all those on stage well. Most importantly, she has a GREAT voice that enraptured her audience from the first monologue on. Though she was seen, and reacted as needed, it was her subtle vocal shifts that conveyed the adult interpretation of the events. <br /><br /> Dill, the comedic relief and source of most of the children’s antics, was charming and mischievously done by Isaac Jarrell. Calpurnia, the Finch’s motherly African American housekeeper, was truthfully played by Lyndee Boyland. Maudie Atkinson is the ever baking busybody who feels it is her duty to educate the children to Atticus’ past, though actress Chalea Blair is not nearly old enough looking to be a peer of Atticus. However, what she lacks in age, she makes up for in maternal instinct. Laura Tolsma was the rather active town snob Stephanie Crawford- again, someone too young in a role meant for an older woman. While I normally celebrate an actor who attempts to portray a character through unique physical and vocal choices, Tolsma’s over the top choices didn’t work for me here. While everyone else was natural and truthful, her performance felt like a caricature rather than a person. However, she was a source of comedy and everyone knows a Miss Stephanie. David Plybon was an appropriately disgusting, revolting Bob Ewell, the white trash father of Mayella. However, Plybon had no reaction during the trial to the other’s testimonies, much of which contradicted him. Tom Robinson, much like Atticus, is a strong yet quiet man whose life hangs in the balance. Sean Massey was subtle yet believable in his portrayal of Tom. Bianca White played Helen, Tom’s distraught wife, but she needed tears and to find her motivation for these outbursts. They felt very halfhearted and like a recitation of a script rather than a wife whose husband is taken from her. The Reverend Sykes is a source of comfort for Helen and reaches out to Atticus for help, but Ronnie Hunt was a little too subtle and soft spoken. Jennifer Cadenhead was Mayella, the woman who accuses Tom of rape. Mayella is a victim of her upbringing, but she is far from innocent. Cadenhead expertly brought out Mayella’s vulnerability and the sadness of her circumstances without excusing her choice to falsely accuse Robinson. With more than 20 cast members, it is impossible to critique each one. However, as a whole, the ensemble jelled well together and felt like a genuine small Alabama town in 1935.<br /><br /> Though no one could ever- or should ever even try to- copy the great movie TO KILL A MOCKINGBIRD, Artisan Center Theater’s stage production remained true to Harper Lee’s classic work and gives its audience an insightful experience. Fifty years after it was first published, men and women alike are asked to think back to that experience that brought a child into adulthood, we as a society remember the injustices that have occurred and are motivated to insure they are not repeated, and we are all reminded of why it really is a sin to kill a mockingbird. <br /><br />Artisan Center Theater presents Harper Lee’s TO KILL A MOCKINGBIRD through October 30 on Monday, Tuesday, Thursday, Friday and Saturday evenings and Saturday matinees.<br /> <br />Performed at the Artisan Center Theater, 418 E. Pipeline Road, Hurst. Tickets, $9-$16 depending on age and night of show, can be purchased online at www.artisanct.com or by calling 817-284-1200.<br /><br /><br />*REVIEWED 10-4-2010 PERFORMANCE <br /> Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /> <br />Directed by Dennis Canright<br />Produced by DeeAnn Blair<br />Based on the book by Harper Lee<br />Dramatized by Christopher Sergel<br />Stage Manager: Lindsay Hardisty<br />Set Design: Jason Leyva, Dennis Canright<br />Set Construction: Jason Leyva, Thurston Wells, Larry Dibler, Dan Nolen, Jr, Mike Shreve, <br />Jennifer Dooley, Michael Pandolfo, Matthew Pandolfo, Robert Molina, Ben Herbert, Branson White, cast and crews of SOUTH PACIFIC and TO KILL A MOCKINGBIRD<br />Scenic/Painting Design: Lily Stapp<br />Paint Crew: Baird Harbin, Bethany Jarrell, Bailey Jarrell, Kate Avery, Michael Williams<br />Props: Tammie Phillips<br />Costume Design: Justin Kailer, Nita Cadenhead, Jennifer Cadenhead<br />Lighting Design: Adam Livingston<br />Light Tech: Michael Blair, Michael Pandolfo<br />Sound Tech: Karen Woolley, Wendy Pandolfo<br /> <br />CAST- this show is double cast. I only listed those I saw perform on 10-4.<br />Jean Louise Finch: Natalie Berry<br />Atticus Finch: Jason Leyva<br />Scout: Sadie Leyva<br />Jem: Zach Leyva<br />Dill: Isaac Jarrell<br />Calpurnia: Lyndee Boyland<br />Maudie Atkinson: Chalea Blair<br />Stephanie Crawford: Laura Tolsma<br />Mrs. Dubose: Diann Wells<br />Nathan Radley: Leo Glass<br />Boo Radley: Cameron Potter<br />Heck Tate: Eric Maskell<br />Judge Taylor: Dan Nolen, Jr.<br />Rev. Sykes: Ronnie Hunt<br />Mayella: Jennifer Cadenhead<br />Bob Ewell: David Plybon<br />Walter Cunningham: Ron Staggs<br />Mr. Gilmer: Jerry Mayes<br />Tom Robinson: Sean Massey<br />Helen Robinson: Bianca White<br />Mrs. Perkins: Anne Farrell<br />Mrs. Merriweather: Sheila Mayo<br />Link Deas/Hawkings: Michael WilliamsLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-62100106490968167642010-09-21T15:25:00.000-07:002010-09-21T15:41:45.144-07:00SMOKE ON THE MOUNTAIN HOMECOMING<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKO0RDXkMPG1HyqY1SJmttjAQ0ZHo9isL9YXWl0oK-J0PAPUxfZLu3u4Sp6ise97-1oJwnqm1I1OTaRRtfSqhH6m6OvOWKsoqdzqIIyQLDV5zC9g6RiSzL5GfsCzSJXW_Jy_81UM6XWsM/s1600/smoke+picture.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 212px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKO0RDXkMPG1HyqY1SJmttjAQ0ZHo9isL9YXWl0oK-J0PAPUxfZLu3u4Sp6ise97-1oJwnqm1I1OTaRRtfSqhH6m6OvOWKsoqdzqIIyQLDV5zC9g6RiSzL5GfsCzSJXW_Jy_81UM6XWsM/s320/smoke+picture.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5519497768078148706" /></a><br /><br />Plaza Theatre Company's SMOKE ON THE MOUNTAIN HOMECOMING<br /><br /><br /><br /><br /><br /><br /><br /><br /><br />______SMOKE ON THE MOUNTAIN HOMECOMING_______<br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /><br /><br /> Plaza Theatre Company’s SMOKE ON THE MOUNTAIN HOMECOMING is a funny, touching night of wholesome entertainment that, though not everyone’s cup of tea, is a well done musical theatre production. It’s clear from this production why Plaza Theatre Company, at only three-and-a-half years old, needs to cap its season ticket holders at 1000 in the small city of Cleburne. <br /><br /> The Sanders family is a traveling Southern Gospel band that goes from church to church singing and giving testimony (stories) of God’s truth. HOMECOMING is the third and final story in the series as this is the family’s final show. “It's October, 1945, and the gospel-singing Sanders Family is back together again where it all started, at Mt. Pleasant Baptist Church, where the Reverend Oglethorpe is giving his last service. He's been called to preach in Texas, and has already bought his ten gallon hat and is ready to ride off into the sunset with his wife, June.” (taken from Plaza’s promotional material.) Add to it that June is nine months pregnant, and her mother is none-to-happy to see her daughter go while in this “delicate” condition. June’s younger brother Dennis (the boy twin) will be taking over the pulpit, Denise (the girl twin) is a working woman at the appliance store, and Ma and Pa are starting up the family farm again. The story of the family takes a backseat to the songs and testimonies that are the majority of the production. <br /> <br /> Plaza is a small theatre in the round. The set, designed by JaceSon Barrus, is simple- the audience is the church congregation the Sanders have come to sing for. One wall has chapel windows while all the others were wood paneling to make it feel like a small country church. Pews were placed on the diagonal. The Amen Sisters were placed in the pathway of one of the entrances, and the band and pulpit were placed in a small alcove on the East wall. Stools were moved in and out of center so the actors could sit and sing in a circle, facing the audience. This COULD have been awkward staging in the round as churches are not normally in the round, but they had no sightline problems from any seat, and I was tucked away in the top corner- a place one could consider the worst seat in the house, saved only by the staging of director G. Aaron Siler. The play is set October 6, 1945. World War II has just ended and soldiers are returning home to a now very prosperous country. The costumes, designed by Tina Barrus, were period appropriate and accurate for the farming community of Chatham County, North Carolina. June is nine months pregnant, and the actress, Camille Shaw is pregnant in real life, so that made her costuming a little easier. They only had to find some extra padding to make her look nine months and a 1940’s maternity shirt. Even the band, on stage the entire performance, were costumed to match. Lighting Designer Cameron Barrus, kept the lighting simple as well, dimming for the more serious songs and full up for the loud crowd pleasers. The one lone light bulb, donated by the Amen Sisters, hung at center stage and remained on throughout the show, though it cast very little light (which was part of the joke.)<br /> <br /> Musical Director Cheri Dee Mega was fortunate to have a cast who produced the most beautiful harmonies, many times a capella and almost always while moving or acting the sub-story plot line. SMOKE ON THE MOUNTAIN HOMECOMING has some of my favorite old Southern Gospel Songs, and I had to stop myself at times from singing along. In the beginning, the band overpowered the singers and the words were lost, but by the third or fourth number, it had balanced out and the singers were heard without a problem. Not everyone is a fan of old southern gospel hymns, as I am, but regardless of musical taste, one cannot help but respect the technique and blending required for this production. <br /> <br /> Camille Shaw as the oldest sister/ Pastor’s Wife June Oglethorpe was the (nearly) silent scene stealer and over-the-top star of the evening. She has more energy than anyone on stage as she runs, jumps, dances, and does “sign language” (more like bad mime) while the family sings. June doesn’t sing with the family. “I am called to sign for the deaf, and one day someone will understand.” AND she’s really pregnant! There is a funny ongoing joke about her needing help sitting down and bending over, too. Every upbeat song had her doing crazy antics. In the song “I’m going to Canaan” she danced with a cane and in “You Can Swim” she swam around the stage in a lifejacket. She wasn’t just limited to comedy, though. Shaw signed (in real sign language) as Denise (Jill Baker) sang “Children Talk to Angels”. It was a very touching moment between sisters and mothers. June’s testimony about following God wherever He calls was truthfully and emotionally charged- and reached me on a very personal level. “Where God is, there is home.” was my favorite line of the evening and has made it onto my top ten favorite lines of all time. <br /> <br /> Dennis, the boy twin, was sincerely and sweetly played by Andrew Guzman. Guzman is a tenor who sings like an angel. He could go to Broadway and be a real contender to play the next Phantom in “Phantom of the Opera.” Guzman also had the most touching testimony about being a Marine in WWII- which given his physical build and sympathetic nature was not quite believable. During the war, he had a buddy, Jessie Jenks, who prayed even when heckled by his fellow Marines. Jenks single handedly saved 49 of his buddies from the battlefield, over each praying “Just let me save one more, Lord.” Especially for the older crowd, but also for one teary eyed critique, it was the story that made time stand still during the show. I can recite his story word for word even now. Guzman was not left out of the comedic bits, reenacting a number from his childhood with Denise and June called “The Royal Telephone” made all the more hilarious because they’re adults running around with telephone wires, tangling up their sister June and tapping the bell strapped to her head.<br /> <br /> G. Aaron Siler had double duty as both director and playing the father, Burl Sanders. Using his size and physical presence he established himself as the head of this multi-generational family with ease. He also has a beautiful singing voice that blended well with the family as a whole. Siler had the first testimony of the evening about loving the farm he grew up on and deciding whether or not to borrow money to buy it. Siler needs to find the levels in his monologue. It was straight through the same and a little like a recitation. He needs to find the humor in his monologue and then find the touching moments. Though not perfect, it was still very touching and resonated with our current economic times. Playing the Mother, Vera Sanders was Darcy Farrington. She was very believable as the strong matriarchy of the family. The looks she shot at the Pastor for taking her daughter away from home could have killed him and wounded anyone within six feet. Her deep alto voice was soothing and melodic. She had a hilarious meltdown during her children’s sermon that was using toy airplanes to make a point about letting God fuel our lives. Uncle Stanley only sung during the first act, leaving me to wonder if he was ever going to have any lines. JaceSon Barrus has an amazing vocal range, going from bass when harmonizing to tenor in his solos with ease. In the second act, when pressed, he makes a surprising confession and allows his story to unfold. He is a prodigal returning to the family. His story was made an allegory to the life of Saint Peter- a man who stuck his foot in his mouth a lot but had a good heart.<br /> <br /> Denise, the girl twin, was funny but Jill Baker strained to hit those high notes at times. Her voice was soothing, though, and matched well with the rest of her family, especially her twin brother. Her tale of an overworked mother who has become a career woman with out of control twins was very reminiscent of Lynette on Desperate Housewives, even though this is set in 1945. It showed the timeless struggles of a working mother. Kyle Macy as Pastor Mervin Oglethorpe is SOOO funny in the opening as he sings way off key and is passed from family member to family member for coaching (while singing) in the different parts. He has an amazing range though the script demanded he be off key at times. For the rest of the show, except for his part in June’s testimony and when he turns the pulpit over to Dennis, he remained silent but actively listened to his fellow actors. He never once forgot he was on stage and seemed to genuinely enjoy the show he was watching- the show within the show. The Amen Sisters Maude and Myrtle were hilariously played by Priscilla Nix and Taffey Geisel. Geisel filled in just hours before curtain because the originally cast Judy Barnett had a family emergency. Geisel had performed the role in a previous SMOKE ON THE MOUNTAIN production for Plaza. This cast change announcement came during intermission. If they hadn’t said anything, I would have never known. The Amen Sisters got the show going by being the last minute arrivals who had to greet everyone and gossip on their way to “their” pews. They also stopped to admire “their” light bulb that they had donated to the church, which they later threaten to take with them if the pastor doesn’t straighten up. They called out members of the audience as Brother and Sister so-and-so and designated certain sides as visitors from other churches. Every church has ladies like them and these two actresses nailed the caricature perfectly. I wanted to hear more amens and commentary from them during the show, though. Amen Sisters are not content to be quiet and left out of the spotlight for very long.<br /> <br /> As with most series, you don’t miss much if you haven’t seen the other SMOKE ON THE MOUNTAIN plays, but it would, I’m sure, add to the experience and storyline. I and the audience members around me agreed- SMOKE ON THE MOUNTAIN HOMECOMING reminds us of churches and performances we’ve been to. It’s funnier if you know how true the characters are- how very realistic the setting is. Those who’ve never been to a sing along and testimony in a small country church don’t get just how funny it is but will laugh in the moment and might even be culturally educated. Folks won’t find this kind of show in too many churches in the metroplex today. SMOKE ON THE MOUNTAIN HOMECOMING is preserving an old tradition for future generations to enjoy.<br /><br />Plaza Theatre Company presents Connie Ray’s SMOKE ON THE MOUNTAIN HOMECOMING through October 23.<br /> <br />Performed at the Plaza Theatre Company, 111 South Main Street, Cleburne. Tickets can be purchased online at www.plaza-theatre.com or by calling 817-202-0600.<br /><br />Plaza Theatre Company’s Smoke on the Mountain Homecoming at the Plaza Theatre Company, Cleburne<br /> <br />*REVIEWED 9-18-2010 PERFORMANCE <br /> <br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /> <br />Directed by G. Aaron Siler<br />Written by Connie Ray<br />Conceived by Alan Bailey<br />Musical Arrangements by Mike Carver<br />Musical Director: Cheri Dee Mega<br />Technical Director: Cameron Barrus<br />Set Design: JaceSon Barrus<br />Costume Design: Tina Barrus<br />Lighting Design: Cameron Barrus<br />Sound Design: G. Aaron Siler<br />Props Design: Milette Siler, Parker Barrus, Rebecca Schoen<br />Scenic Painter: JaceSon Barrus<br />Set Construction and Dressing: JaceSon Barrus, Cody Vernon<br /> <br />CAST<br />Pastor Mervin Oglethorpe: Kyle Macy<br />Father Burl Sanders: G. Aaron Siler<br />Mother Vera Sanders: Darcy Farrington<br />Uncle Stanley Sanders: JaceSon Barrus<br />Twin Brother Dennis Sanders: Andrew Guzman<br />Twin Sister Denise Sanders: Jill Baker<br />Sister/Pastor’s Wife June Oglethorpe: Camille Shaw<br />Amen Sister Maude: Priscilla Nix<br />Amen Sister Myrtle: Taffey Geisel*<br /> *Last minute substitution for the originally cast Judy Barnett who had a family emergency the night of September 18.<br /><br />Band:<br />Piano/Cousin Melva: Cheri Dee Mega<br />Guitar: Bill Ware<br />Bass: *Mike Melody <br />Violin- Howard Geisel (9-18-2010 performance only)<br /> *other performances may feature Bob Gracey or J. Aaron Lett on BassLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-31361331574015242592010-09-16T10:48:00.000-07:002010-09-16T11:06:39.985-07:00Cat on a Hot Tin Roof<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNFl1Fm5XmtiLk6hfj36SPVd5BL4KevGspnNLw-G5NgXbj9IWcGc2ONHb274I2JcMVmL-DmsIb3YFnDXnUeJXDaeSwYr8mU_Z4snB0SJwdWRB-N2uJvnWKNCvnw4mfvx4SlbDpb_OMNQ/s1600/cat+review+pic.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNFl1Fm5XmtiLk6hfj36SPVd5BL4KevGspnNLw-G5NgXbj9IWcGc2ONHb274I2JcMVmL-DmsIb3YFnDXnUeJXDaeSwYr8mU_Z4snB0SJwdWRB-N2uJvnWKNCvnw4mfvx4SlbDpb_OMNQ/s320/cat+review+pic.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5517572524139472274" /></a><br />Artes de la Rosa’s CAT ON A HOT TIN ROOF at the Rose Marine Theater, Fort Worth<br /> <br /><br />_____________CAT ON A HOT TIN ROOF______________<br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson , John Garcia's THE COLUMN <br /><br /> <br /> Artes de la Rosa, under the direction of Adam Adolfo, had the cojones to take Tennessee Williams’ <em>Cat on a Hot Tin Roof</em>-originally set on a plantation in Mississippi- and move it to Little Havanah in Florida and give it a Cuban flair. The test if a work of art is indeed a true classic is to take it out of time and place and determine if the story still resonates. Any reinterpretation of a work will also test the talent and resources of the theatre company, especially its director. Both Williams and Artes de la Rosa passed with flying colors.<br /><br /><em>Cat on a Hot Tin Roof </em> was written in 1955- winning the Pulitzer Prize for Drama, and is Williams’ best known work. A little known fact, shared by the director in his opening speech, is that this play happens to be the favorite of Fidel Castro, President of Cuba. The story is set in the bedroom of a plantation home and examines the tormented relationships between Brick- a former star athlete turned drunk-, his wife Maggie- the cat, and Brick’s father and mother, Big Daddy and Big Mamma. Big Daddy is dying of cancer, Brick is mourning the death of his friend (or more than just friend) Skipper, and Maggie is fighting for Brick’s attention and everyone’s respect. Mae and Gooper, Brick’s brother and sister-in-law, are greedy and want Big Daddy’s fortune all to themselves- and their 6 children who they use to torment Brick and Maggie who have no children. Throw in a servant, a priest, and a doctor all there to help Big Mamma come to terms with Big Daddy’s illness, and it’s a recipe for a family show down- made all the more intense by their love and loyalty to one another because of the importance of “la familia.”<br /><br /> Director Adam Adolfo and assistant director Katreeva Phillips assembled a fine cast and united all elements of design behind his vision for a Cuban <em>Cat on a Hot Tin Roof</em>. There is no great spectacle, no huge action- the entire play is driven by dialogue- and thereby the blocking and pacing of the script becomes critical. Adolfo gave his actors just enough blocking to keep the energy up without detracting from the text. He made great use of set levels and used the entire stage with ease. He even made use of the theatre building, letting sounds and action from outside the stage penetrate into the story as if the entire building was Big Daddy’s house and we were in just one room of it. Part of the Cuban flair was the occasional lines in Spanish. Williams’ scripts have a lot of repetition, and Adolfo took advantage of those repetitions as opportunities much as in the same way Broadway’s <em>In the Heights</em> did with great success. (He used the sanctioned Spanish translation for these Spanish lines.) If the audience is bilingual, they are in for a double treat, but even the monolingual are not left out or confused. That is the true mastery of the writing, directing and acting- the emotions and story comes through no matter what language is being spoken or understood. <em>Cat on a Hot Tin Roof</em> has had many interpretations of Brick and Skipper’s relationship and the to-be-paternity of Maggie’s child. Adolfo came with his own, original subtext. I won’t give away his choices as they are part of the climax, but they are both shocking and appropriate to these characters. Adolfo gave a very empassioned opening night speech, letting the audience know that in the rehearsal process, he lost his own father. In grieving his loss, he turned to the script, which in Act II centers on a very volatile father-son relationship. The attention to this scene and the underlying emotions were palpable. Anyone with an imperfect family can relate to the relationships played out in this production of <em>Cat on a Hot Tin Roof.</em><br /><br /> Opening night had about a 15-20 minute delay as much of the audience was caught in a horrific Friday night traffic jam. The Cuban music chosen by Adolfo and the exquisite set designed by Oliver Lukach made the delay more than bearable. Making use of the entire Rose Marine Theater stage, the set was a work of art in itself and was the ideal backdrop to the dialogue. The set consisted of a large oversized four post king bed with white sheets, sitting furniture, bar, and windows leading to a terrace that was set far downstage and on the floor in front of the audience. Dark wood with white linens gave it a very Cuban feel on a hot and steamy night. The cast was also costumed, by Justin Kailer, in a mixture of white and kahki as many islanders tend to dress. Though united in color and fabric, each character remained distinct from the others. Maggie’s simple white dress was both sexy and elegant while Mae’s maternity shirt was expensive yet frumpy. Mae, who looks to be seven or eight months pregnant, needed a slightly better pregnancy suit. A pregnant woman is not identifiable only by her belly- and the suit needed to include her entire torso. Lighting Designer Matt Wasson used the soft lights of evening and the occasional flash of lightning from the oncoming storm to enhance the progression of the story.<br /> <br />Though not every member of the cast was Latino- and obviously not all were native Spanish speakers- the Cuban feel was present in their dialogue and attitudes. Stephanie Cleghorn Bluth was sultury hot as Maggie the Cat. She held an enraptured audience in her hand, and used her body to accentuate many of her lines. Though Maggie is extremely proud of her body and uses it to try to entice Brick back to her, she is more than that on the inside. Bluth brought that part out in a powerfully dramatic way. I wanted her to go even further and find levels within her sex appeal. Act I is almost all Maggie talking to a non-responsive Brick. At times, she lost the motivation for some of the lines and just recieted them to get through the scene. Maggie keeps talking and talking, for a reason, and Brick doesn’t talk- for a reason. Finding those levels and deep motivations for every single line will take her performance from great to phenomenal. In Act I, Brick was silent yet exceptionally portrayed by Joey Folsom. Though not talking, he is reacting to what she says, and his occasional one liners (usually a joke about his alcoholism), were spot on in timing and delivery. His Spanish pronunciations need a little work, and even his English accent was all over the map. It wasn’t deep South, it wasn’t Cuban. It had a little Brooklyn or Bronx to it at times. With a Cuban setting, it would have been nice to hear either a Cuban-American accent or Standard American English. Folsom and Bluth’s best moment was toward the end of Act I when she suddenly grabbed him and held on at center stage. The moment was so intense everyone in the audience held their breath. This moment was gradually lead up to in Maggie’s non stop talk and Brick’s nonchalant listening. There was also some great physical comedy when Brick, who has a broken ankle, “runs” out of the bathroom to rescue his liquor when his mother isn’t looking. Also worthy of note is that Folsom is wearing a cast the entire play- and never once did he forget nor over emphasize Brick’s broken ankle. He really paid attention to the physical requirements of this character. <br /><br />Folsom flexes his acting muscles in Act II as Brick and Big Daddy, played by Rob Bosquez, allow their volatile father-son relationship to ignite and explode. The fight over the crutch between father and son was slow and hesitant, but otherwise kept building and the audience engaged. The dialogue in this scene, amongst all the characters, drug a little and the energy dropped. If the actors would raise the emotional stakes and pick up the speed it would help the audience follow all the dialogue. Every word matters, and words are all they have, especially by the second act. Folsom comes full force at Bosquez who seemed to back down and falter at times. I wanted to see him match Folsom’s intensity. Bosquez grew in strength as the scene progressed. Though Bosquez well played the physical pains of a man dying of cancer and an old bull fighting to maintain control, it was this… “old man vibe” that was missing. Physically he was made to look like Big Daddy, but he doesn’t seem old enough to play him. As I talked with my theatre companion (okay, my mom), she and I both agreed yet couldn’t articulate it. People of a certain age carry themselves different than a young man does. They have an air of authority about them- and that attitude of “I’m old, so I’ll say whatever I want.” It’s not something an actor can imitate, they simply have it. However, his exit, which lead to the second intermission, was a powerful cliffhanger to the third act. You didn’t need to speak Spanish to understand what he was yelling. <br /><br />The second act opens in an intense fight between Big Daddy and Big Mamma (Danielle Reboli) which fell a little flat. It was forced and felt as if it came from nowhere. When opening an act in the midst of an emotionally charged scene, that ‘moment before’ becomes essential. Big Daddy is verbally abusive to Big Mamma, and she cowered as he called her fat and ugly. I had an intense dislike for Big Daddy after this scene. He was mean, callous, and insensitive- exactly as Williams wrote him. Reboli nailed it as Big Mamma in the third and final act. In fact, the third act- which is the climax of how to tell Big Mamma that Big Daddy is dying- was some of the finest ensemble acting I’ve seen in the last year.<br /><br /> Adrian Godinez as Gooper and Georgia Phillips as Mae were disgustingly loathsome and greedy. Phillips needs to really study pregnant woman and how they walk and sit. Her movements were forced and unnatural. But, her snarky stabs at Maggie and snakelike coiling around Big Mamma and Daddy were just what was needed. It was easy to believe she was a former beauty queen who had married for social status, and to watch her manipulate her children, two of which were seen (well played to an irksome annoyance by Hunter F. Hurt and Alexis Gutierrez) to try and ensure her inheritance was unsetteling. Godinez has few lines and is obviously not the one wearing the pants in his relationship with Mae, but his presence adds to the family dynamics. When he cries out to be loved like Brick, it was more than sibling rivalry and gave us a glimpse into why he is truly after the inheritance. Also, his lines did not come out of nowhere, but we saw it building through his physicalization of Gooper in those moments when he was seen but not heard. Of all the actors, Eddie Zertuche had the best Cuban accent. I wish Williams had given him more lines so we could hear him speak more. He well played his nervousness about telling Big Mamma the truth about the medical report, something they do teach- how to deliever bad news- in medical school, so I’m not sure why the doctor was so nervous. Perhaps it’s because of Big Mamma and Daddy’s imposing nature- no one wants to be on their bad side. The Priest, played by Abel Flores, Jr, used his physical stature to fuel his character’s easygoing motivation and lack of desire to rock the boat. The contrast between him and Big Daddy/Big Mama let Big Daddy establish who they are outside of the family and in the community. Add to it, the comedic relief between the Priest and Big Mamma, and he was a lighthearted delight to watch. Antonio Romero Jr as Sookey the servant is quiet and unimposing yet always present. He plays the backdrop to the family’s immense wealth- allowing them to be rich without having to say or do anything except in reaction to his lower class presence. A true mastery in playing a lesser role very well and fully, even though not given much to do or say. Pay attention to him <em>when</em> you go see this play. That’s all I can say about that. Pay attention to what he’s doing when everyone else is talking.<br /><br />Adolfo said it best: this production of <em>Cat on a Hot Tin Roof </em>may have a Latino cast and setting, but the story is for families of all cultures. With a strong handle on the script, the acting, and all elements of design, this Cuban <em>Cat on a Hot Tin Roof</em> sizzles and deeply affects all regardless of ethnicity.<br /><br /><br />Artes de la Rose presents Tennessee Williams’ CAT ON A HOT TIN ROOF through September 18.<br /> <br />Performed at the Rose Marine Theatre, 1440 North Main Street, in historic downtown Fort Worth. Tickets are $15, or $10 for students and seniors. Tickets can be purchased online at www.rosemarinetheater.com.<br /><br />*REVIEWED 9-10-2010 PERFORMANCE <br /> <br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, for JOHN GARCIA'S THE COLUMN <br /> <br />Directed by Adam Adolfo<br />Written by Tennessee Williams<br />Assistant Director and Stage Manager: Katreeva Phillips<br />Set Design: Oliver Luke<br />Costume Design: Justin Kailer<br />Lighting Design: Matt Wasson<br />Sound Design: Adam Adolfo<br />Props Design: Alex Krus<br />Assistant Technical Director: Scarlett Hunt<br />Scenic Painter: Travis Rice<br />Spanish Coach: Eddie Zertuche<br />Casting Assistant: Nicole Moreno<br />Artistic Associate: Yvonne Duque <br /> <br />CAST<br />Brick: Joey Folsom<br />Maggie: Stephanie Cleghorn Bluth<br />Big Daddy: Rob Bosquez<br />Big Mamma: Danielle Reboli<br />Gooper: Adrian Godinez<br />Mae: Georgia Phillips<br />Doc Baugh: Eddie Zertuche<br />Father Tooker: Abel Flores, Jr. <br />Sookey: Antonio Romero, Jr.<br /> Dixie: Alexis Gutierrez<br />Sonny: Hunter F. Hurt<br /> <br /><em>Cat on a Hot Tin Roof</em> YouTube trailer. Note, does not feature Joey Folsom as Brick.<br /><object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/eyjcqgDYOUA?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eyjcqgDYOUA?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-16256476527947891992010-06-24T00:56:00.001-07:002010-06-24T01:07:10.415-07:00Dream Cafe- Experience #2<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6UCpDmoc-NgFG5OIlbjZUtDiyVLFvrf_dFMNyXClKWalpgKXeanKreIew5u-zoKVu7-FLbpcNdevp1lgkeh9Xd-qP_oQOyoH4Inmh0GdJNCgHKAo5KXof0vMZYcHaS7Vk-viSROhQMaw/s1600/dream+cafe2.jpg"><img style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6UCpDmoc-NgFG5OIlbjZUtDiyVLFvrf_dFMNyXClKWalpgKXeanKreIew5u-zoKVu7-FLbpcNdevp1lgkeh9Xd-qP_oQOyoH4Inmh0GdJNCgHKAo5KXof0vMZYcHaS7Vk-viSROhQMaw/s320/dream+cafe2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5486248719676424946" /></a><br />This will be short and sweet, as I have already reviewed DREAM CAFE once. As I mentioned, though, I would be seeing it multiple times.<br /><br />In my second attendence, the scene order was: Dessert, Home, Strong Coffee, Slow Drip, Bitter, and Instant.<br /><br />Again- IT WAS STUNNING. It drew gasps and tears from not only me but the entire audience. In addition to the genious that is the script, this particular night, there wasn't a single missed beat by the actors. Every scene began and ended with a total commitment to the moment by every actor, and the emotions were more real, more raw than I have experienced in a long time. The characters' journies and the outcome of the story was almost opposite this time from my first experience, and I felt like I hadn't met these characters or heard any of these lines before. Not only had the scene order changed, so had the motivation and the underlying emotion of every single word uttered. It wasn't until it was over and I was contemplating (and comparing notes) in my car did I truly begin to understand the different story I had experienced. Only then was I beginning to truly grasp all the stories within this script and the power of each and every one of them.<br /><br />I told Mark-Brian I simply had to keep attending. I'll keep going until I either run out of money or get the ending to the story that I want. It's theatrical therapy for this love-sick and hopeless romantic of a critic!Laura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-85215688719406747702010-06-24T00:47:00.000-07:002010-06-24T00:51:03.832-07:00GOMMORAH GO GO<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8Uxh9F9Lu88IfHdJirV5ogxTN522h5CVOdBX-XpdIr0SthJQxWcuMRBb8RUIISnF9rWLs1ZmqlqnvYvkXrLWslHbDkcjgNPCa3w-mNnXjQVR2445_YsBGbzDQK0abankTOWxfVrGGCQ/s1600/FIGHTBOYTHEATRE.bmp"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 236px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd8Uxh9F9Lu88IfHdJirV5ogxTN522h5CVOdBX-XpdIr0SthJQxWcuMRBb8RUIISnF9rWLs1ZmqlqnvYvkXrLWslHbDkcjgNPCa3w-mNnXjQVR2445_YsBGbzDQK0abankTOWxfVrGGCQ/s320/FIGHTBOYTHEATRE.bmp" border="0" alt=""id="BLOGGER_PHOTO_ID_5486244510902690738" /></a><br />Fight Boy Theatre’s GOMMORAH GO GO at Art 6 Coffee House, Denton <br /> <br /><br />__________________________GOMMORAH GO GO__________________________ <br /><br /><br />Kevin Wickersham’s GOMMORAH GO GO as produced by Denton’s Fight Boy Theatre, is the type of play that comes about in a theatrical frat house at two o’clock in the morning after a night of drinking- funny, raunchy, a little thoughtful and an almost success.<br /><br />“Once upon a time in the Bible, there were two sister cities called Sodom and Gommorah. These two towns where the dirtiest, sexiest places on earth until one day God sent his two sexy dude angels to deliver his all mighty wrath. See what goes down- or up- in Sodom and Gommorah!” (from Fight Boy Theatre’s promotional materials.) Taken from the Biblical account found in Genesis 19, we see what happens when the sexy angels meet Lot (the only good man left), his horrible wife and his two daughters. And, oh yeah, God is a big drag queen and the arch angel isn’t all he appears to be either.<br /><br /> This is Wickersham’s first venture into both playwriting and directing, and his natural talent and rookie mistakes are both clearly evident. The play is well cast and blocked for the outdoor (aka backyard) playing space that is Art 6. The script itself, though humorous and shocking, only glazed the tip of all this story from the Bible could do. It could have been a political or even religious commentary. It could have been raunchier and funnier if some higher brow comedy had been incorporated, rather than a constant stream of jokes a 13 year old could concoct. It could have been taken to an even further extreme, on all levels, and then leaked to local churches to stir up a bit of a protest outside the fence- there truly is no such thing as bad publicity! Wickersham, nonetheless, guided his cast and crew into this fun production relatively well. For those who are willing to throw all seriousness to the wind, it was a good night of laughter.<br /><br /> Fight Boy Theatre makes a lot happen for very little money. (In the pre show speech, they even solicited donations on the basis of the need for fans to cool the audience on these hot summer nights.) The Biblical-ish costumes by Joshua Scott Hancock were pieced together from the closets of the actors, the local thrift stores and I even noticed an article or two recycled from last year’s production of LYSISTRATA. Set Designer Joshua Baker made heavy use of simplistic signs (heaven, Gommorah, and a street sign pointing to a variety of destinations including UNT and TWU). Sound Board Operator and Stage Manager Brandt Richey was even included in the storyline, but otherwise facilitated the sound effects and music the story required.<br /><br /> Pat Watson (no relation) as Lot gave a truly stunning and believable performance. I felt, given his talent, the story of Lot should have been extended. The second act was just too short, too choppy and too unfinished. There were a hundred places Watson could have taken his portrayal of Lot after leaving Sodom and Gommorah, given the dialogue. Lot’s Horrible Wife, who ends up turning into a pillar of salt (a trick a high budget theatre would have struggled with onstage, and Fight Boy Theatre’s creative tongue and cheek staging reminiscent of junior high productions worked), was loudly, aggressively, perfectly HORRIBLY played by Polly Maynard. She never gave up from belittling Lot, to the point you wondered why either of them married the other. As performed by Maynard, Lot’s wife was truly a bitch who no doubt deserved what she got. The two “virgin” daughters, Brittany Fowler and Ellaine Patman, only shined in the second act when they broke the fourth wall to discuss characterization and the plot synopsis. (A special ad-libbed line about giving up and going home to watch THE GOOD GUYS- Mondays on Fox at 8pm- was particularly funny.) The rather awkward portion of the story- when the daughters trick their father into sleeping with them in order to have children and carry on the bloodline, is a rather dark portion of Biblical history. This is where the script seemed to stall out, and the actors were left to fumble with motivation, any comedic relief, and even unclear blocking.<br /><br />David Wickersham as Archie, the angel who points out the sins of Sodom and Gommorah to a less than interested God (Joshua Scott Hancock) was straight laced and matter of fact. His deep voice and commanding stage presence correctly lead me to assume a surprise twist from him in the end. He assisted in narrating the action and kept the story moving along. A flamboyant, toe nail painting God could only have been pulled off by an actor fully committed to this portrayal, and Hancock nailed it. In addition, Hancock also timed his delivery of lines such as “JESUS CHRIST? “Who, sir?” “Never mind.” And “One testament at a time, people, one testament at a time.” with easy pizzazz that had the audience both thinking and laughing. The two sexy dudes, Joseph Coulter and Mickey Farmer, had less sex appeal than confidence, but they worked it in their cut off shorts and bandanas. <br /><br />The chorus was a hodgepodge of young college aged actors grinding each other and mouthing off sexual innuendos and perversions. They harmonized well consistently, though, as no one could utter Sodom and Gommorah without a gregorianesque chant erupting. The chorus was a blanket mass mob of sexual deviants. This was an area that more individual attention could have been paid to deepen the sac religiousness of the evening rather than skimming the top with predictable, albeit funny, stereotypes. As with any ensemble show, the chorus is full of the unsung heroes of theatre- those who know they aren’t being watched every second but nonetheless create a fully developed character and never once stop putting all their energy into conveying who and what this character is to any audience member willing to give them a few seconds of attention. I have no doubt, as my friend told me during his rehearsal period, that hips hurt from all the thrusting. I can’t say that he, nor the audience, really seemed to mind the pain though.<br /><br /> Art 6 even joined in the fun, offering Sodomizers to customers who dared for perverted pleasure. <br /><br />GOMMORAH GO GO could have been a lot of things, but what it was played out as a night of blushing giggles and shocked gasps. Not a wasted evening, but not all it could have been either. I would love to see it again if Wickersham dared to go even further in his mockery- so long as my pastor doesn’t find out!<br /><br />http://fightboytheatre.webs.com/<br /><br />*REVIEWED 06/06/10 PERFORMANCE <br /> <br />Directed by Kevin Wickersham<br />Written by Kevin Wickersham<br />Stage Manager and Sound Board Op: Brandt Richey<br />Assistant Stage Manager: Michele Cote<br />Set Designer: Joshua Baker<br />Costume Designer and Choreographer: Joshua Scott Hancock<br /><br /><br /><br />CAST<br />Lot: Pat Watson<br />Lot’s Horrible Wife: Polly Maynard<br />Daughter #1: Brittany Fowler<br />Daughter #2: Ellanie Patman<br />Archie: David Wickersham<br />God: Joshua Scott Hancock<br />Sexy Dude Angel #1: Joseph “Captain” Coulter<br />Sexy Dude Angel #2: Mickey Farmer<br />Chorus: Doug Arnold, Jonathan Adams, Caleb J. Creel, Kristina Lujan, Bryan Thomas Patrick, and Dara PratiLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-41293088562648257172010-06-14T19:26:00.000-07:002010-06-14T19:34:53.835-07:00American Buffalo<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQux0PtETP2I4wAH0zcLApv68IulO2L-A0SkEoSsphHwp0cQhvzTR-lz1pqrak97sMWwvc0WnkCNf7yTVSw4btPLjU5SOpSlpVztJczM-ThgoFXEerrV8xpCcjUj2unM5gqRClbE-YUTo/s1600/american+buffalo2.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQux0PtETP2I4wAH0zcLApv68IulO2L-A0SkEoSsphHwp0cQhvzTR-lz1pqrak97sMWwvc0WnkCNf7yTVSw4btPLjU5SOpSlpVztJczM-ThgoFXEerrV8xpCcjUj2unM5gqRClbE-YUTo/s320/american+buffalo2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5482823069912953906" /></a><br /><br />Broken Gears Project Theatre’s AMERICAN BUFFALO at the I.S.P. Studios Theatre, Irving<br /><br /><br />__________________________AMERICAN BUFFALO_________________________ <br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson , THE COLUMN <br /><br /> David Mamet’s AMERICAN BUFFALO as produced by Broken Gears Project Theatre is an amazing display of acting and design talent, though most of the story and point of AMERICAN BUFFALO was lost on me.<br /><br />“AMERICAN BUFFALO is David Mamet's engrossing, tragic take on the American Dream. Three men struggle in pursuit of their warped vision of success. Things take a violent turn in the end when corruption takes over and ideals are betrayed. At times cynical, humorous, and poignant American Buffalo is an emotionally charged, classic piece of American theater.” (taken from Broken Gears promotional materials.)<br /><br /> The play is set in Don’s junk store over the course of one day circa 1975. It opens with Don and Bobby cleaning up after a card game the night before. Through their conversation, we learn they have a job to do that night. Teach enters later and through the conversation we learn they plan to rob someone of his valuable coin collection. The second act begins about 12 hours later as they prepare for the robbery and end up turning on each other rather violently. There is a whole host of other characters who take on very real and defined personalities though we never see them. This play would EASILY be rated R for language alone. I dislike this play, very much, but was mesmerized by the performances being given. I got more from the actors than the storyline. Mamet seemed to be more about high emotions, yelling and swearing than anything of substance happening. The actors, though, with the assistance of the entire Broken Gears Project team, held my attention and kept me on the edge of my seat, waiting for the story to take off.<br /><br /> I.S.P. Studios in Irving is a very small space, allowing for only about 40 chairs, though the performance play space is quite ample. Set Designer/Dresser Cindy Ernst had the difficult task of outfitting the space with junk, yet junk that didn’t overpower the storyline and was period appropriate. I made a note in my program, even, that it looked like every prop the theatre company had ever used or had donated was placed on stage. I wanted to go shopping after the show was over- you never know what treasures are under the junk! The store itself was well constructed and felt very much like every junk store I’ve ever been in (and I’ve been in a lot.) The lighting was appropriately dark in the second act, but a little too dark for the daytime scene of act one. <br /><br /> AMERICAN BUFFALO was well cast and directed. Director Diana Gonzalez guided her actors to finding their inner motivation and creating wide character arcs where the dialogue hinted at nothing. The blocking never felt planned- always organic and well suited to the space. Terry Yates as Don, Alex Worthington as Bob, and Mike Schraeder as Teach were all ridiculously believable and likeable, faults and all. They each delivered the rapid, intense dialogue with precise diction and clearly had motivation for each line and all action (though I was never clued in). Schraeder was extremely good at what I like to call “detail acting”- the little things that clue us into the character such as repetitive yet specific gestures. Yates had the greatest discovery and the most layers to reveal- from the gentle, fatherly figure to his explosive anger in the second act. Worthington gave an extremely believable performance as the simple minded, good hearted, just wants to please “the guys” Bob. <br /><br />As I said before, I don’t like the play, but I’d see AMERICAN BUFFALO again and again to soak in the astonishing performances given by these three fine actors. I eagerly await the next production from Broken Gears Project Theatre because I know it will be “risky, accessible, progressive, and socially aware theatre that will challenge” me. <br /><br />Broken Gears Project David Mamet’s American Buffalo through June 19th.<br /><br />Performed at I.S.P. Studios located at 1957 East Irving Blvd. - Irving, Texas 75060. www.brokengearstheatre.com <br /><br /><br />*REVIEWED 06/12/10 PERFORMANCE <br /><br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /><br />Directed by Diana Gonzalez<br />Written by David Mamet<br />Stage Manager: James McKenzie<br />Asst. Stage Manager: Ben Schroth<br />Technical Director/Lighting Design: David McKee <br />Set Designer/Set Dresser: Cindy Ernst<br />Asst. Technical Director/Asst. Set Designer/Head Carpenter: Joe Truitt<br />Asst. Set Dresser: Clare Kapusta<br />Property Designer: Joel Frapart<br />Costume Designer: Justin Locklear<br />Scenic Painter Kaori Imai<br />Producers: Whitney Holotik, Andrew Aguilar, Joey Folsom<br /><br /><br />CAST<br />Don Dubrow: Terry Yates<br />Walter Cole aka Teach: Mike Schraeder<br />Bob: Alex WorthingtonLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0tag:blogger.com,1999:blog-2061352915391271063.post-63870043360661262312010-05-31T22:47:00.000-07:002010-05-31T22:54:25.913-07:00DREAM CAFE, MBS Productions<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeZDdU4n5IGBRZSqlZDtHo3W2BHNR-cbq3o60lUKVJz5jpb8RNCZ9DxesYCw0hGh0NRCLrof1bj381HO56SNrpOySumzv61_qP530oQ_UMF2QjlcTIEEuqjHmPuuKpATyFXPZ78-t3DA/s1600/dreamcafe.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfeZDdU4n5IGBRZSqlZDtHo3W2BHNR-cbq3o60lUKVJz5jpb8RNCZ9DxesYCw0hGh0NRCLrof1bj381HO56SNrpOySumzv61_qP530oQ_UMF2QjlcTIEEuqjHmPuuKpATyFXPZ78-t3DA/s320/dreamcafe.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477679429455452434" /></a><br />__________________________DREAM CAFÉ_________________________________ <br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson , THE COLUMN <br /><br /> MBS Productions’ DREAM CAFÉ by Alejandro de la Costa is a truly stunning and revolutionary experience for the audience, but a nightmare for a critic to review. You see, there are 720 stories asking to be reviewed in this one play. Regardless of my struggle to review it for you, this is de la Costa’s (and MBS Productions’) finest work to date. If I could, I’d see Dream Café every night, every show. <br /><br /> “Bryan is a single, middle aged man trying to find his perfect mate. He keeps running up against obstacles preventing him from falling in love. The problem? Men. Various scenes are presented in this man’s life. What makes the play unique is that each night the same six scenes will be presented in random order as picked by the audience. The result is a different play nightly depending on the order of the scenes, 720 options!” (taken from MBS Productions’ promotional material.)<br /><br /> After a little preshow audience interaction, which includes asking the members of the audience how they are doing, if he can get them anything and wiping down the chairs, Ivan Jones as Kent the waiter gives a brief curtain speech about cell phones, auditions and upcoming MBS shows. The preshow activity is fine, it adds to the feeling that you are indeed stepping into Dream Café. However, it would be better if the speech was written in the program and/or said by the box office prior to the show. Jones’ line delivery and flippant attitude is better suited in the play, not before it.<br /><br /> Mark-Brian Sonna as the character Bryan then enters and gives the opening monologue about how the defining moments of life will determine who a person is depending on when the moments happen. Sonna asks the audience to choose the scene order, knowing only the names of the scenes. The scenes the audience must choose are listed on the “menu” of Dream Café and are titled according to the coffee referenced in the scene: Slow Drip, Dessert Coffee, House Blend, Bitter, Instant, and Strong. Each scene runs, on average, 15 minutes with the entire evening being 1 hour 55 minutes with 1 intermission after the third scene. We are also formally introduced to the characters. Lila, played by Jana Edele is Bryan’s best gal pal (a.k.a. f-g hag). Micah John Collin is Michael (Sven)- Bryan’s online love interest who lives 1000 miles away. Kyle Roark portrays the sexy, <em>young</em>, freshly out of the closet fling Bryan has off and on (and then off and then on) again. Kent is the over-the-top waiter at Dream Café who flirts with Bryan, but otherwise serves to announce the coffee selections and check off the scenes once they are performed. Once the scenes are selected and the characters are introduced, the story chosen for that night begins.<br /> <br /> Slow Drip is about Bryan and Tony trying to have a drunken one night stand but it is interrupted by Bryan getting a text and then phone call from his online boyfriend, Sven who is having a crisis. Dessert Coffee is Sven and Bryan’s first face to face date as Sven is in town on business. The date is interrupted by Lila who gets Sven mixed up with Tony. House Blend is Bryan’s lunch date with Lila where we learn they, too had a one night stand once, but now Lila is dating Tyler. She divulges she is pregnant and asks for Bryan’s help. Kent also propositions Bryan for no strings attached sex. Bitter is the shortest scene because it is simply Bryan leaving a voice message for TM- his previous (a.k.a. ex-boyfriend, but he only calls him his “previous”)- about how he will attend the commitment ceremony.” However, we the audience see Bryan’s true feelings as he leaves this message. Instant is the most sexually charged scene as Tony and Bryan undress in a less than movie magic way (more realistically) and compare their bodies. Bryan is middle aged and Tony is young- and their opposite body types allow for a lot of physical comedy but it also raises the question- what do they see in each other? Strong Coffee is when Tony and Bryan meet at Dream Café, and Bryan confesses that he loves Tony. Depending on the order the scenes are portrayed determines who Bryan commits to, why certain relationships end and constructs the audience’s opinion of Bryan. At the end, Sonna returns as Bryan to give a final monologue about these moments in his life and how they made him the man he is today, though if the story had been told in a different order, he would be a different man. The audience is left to ponder this striking realization as the cast quietly comes out, takes one small bow, poses in their chairs in the Café, and then exit. <br /><br /> Sonna, MBS Productions’ artistic director, writes in his program note, “Enjoy this comedy where truth has been turned into fiction to point out the truth.” He says part of the play is biographical, but the characters are a mixture of real life people. It is rated NC-17 due to language and nudity, though I heard little “strong language” and only 1 brief moment of nudity (though there was plenty of guys in their underwear or a towel.) This play is truly driven by the characters and the story unfolding, not by dirty words or naked men. They are only there because the story necessitates them. It would be less than great without them- and I say that as someone most people consider to be a conservative old prude. Finally, it is billed as a comedy, but I think this is misleading. It’s a dramedy. It’s reality. Life is full of laughter in the midst of soul crushing and/or exhilarating drama- and this play holds all of that.<br /><br /> Addison’s Stone Cottage Theatre is SMALL, holding only about 60 seats which are in an L shape around the playing space, but de la Costa masterfully designed each corner of the space to tell the story. From the menu positioned over the fireplace to Tony’s bed in his apartment at the far downstage, no part of the set is left out and yet it is appropriately minimalistic. The same could be said for the lights and costume. Every character remains in about the same clothes throughout the play, with Sven in a bathrobe in one scene and dress shirt and tie for another. The play, with its lack of a timeline, doesn’t necessitate a costume change nor does it allow time for much of one. Sonna’s choice of music sets the mood of a delightful café in the beginning, and then, at the end, the same song becomes a haunting reminder of how time and love can pass by (or a cheery reminder of how great love is- depending on how your story ends!) Director Charles Ballinger expertly maneuvers the cast around and with the set pieces in organic blocking. I can only imagine the hours Ballinger spent guiding his actors on as many of the journeys this script proposed as time allowed. He blended all the elements- script, design and acting with ease- and I’m told this is true no matter what order the scenes are done.<br /><br /> As previously mentioned, Jones as Kent the waiter is flippant and flamboyant. Think of him as an African American Jack McFarland waiting tables in Dallas, Texas. We never once see him go deeper, and while I longed to see Kent be serious or less “flaming”, this is not who Kent is and it would be a disservice to the storyline and character if Jones tried to make him any deeper than he is. In short, he is annoying yet believable. Collin began each of his scenes a little stiff- as if he were only reciting lines, but he would build into something very real and powerful- often times pulling emotions from the gut of the audience as well as himself. Lila is a fast talking drama queen, and a bit of a ditz. At one point, we learn she is 38 and the audience can tell by looking at Edele that she is no where near this age, but she, in that moment, made me believe she was. During her most dramatic scene, though, I would have liked for her to slow down just a little so the audience could catch everything she said. Lila might want to blow off this major moment she created, but Edele needs to let the audience catch their breath as it hits us. Roark wrote in his bio that this was his first professional show, and his nerves (especially when he scanned the audience) definitely showed, but he took this nervous energy and poured it into the emotions and motivations of Tony. It doesn’t hurt that he is beautiful to look at and, well, a dream to watch move across the stage. Never once was there a moment when I saw him ‘acting.’ Roark need only find those moments of masculine strength to create a truly well rounded character. Sonna is an experienced stage and film actor whom I have worked with and seen perform multiple times over the last 6 years, and he had to use every once of training and experience to successfully become Bryan. My acting teacher once told me, “The most difficult thing about acting is being private in public.” I watched as Sonna was fully himself and yet fully this other character, Bryan. It was stage magic- a performance like none other in his MBS Productions’ career. <br /><br /> Now, add to this the knowledge that every night the scenes change order and the line delivery must reflect the motivation that is spurned by the moment before and the actors must continue the arch of their character which might be a journey they had yet to conceive of and… oh my! What a stellar ensemble performance! This is a play where every actor <em>must</em> be thinking, <em>must</em> be listening and <em>must</em> be reacting truthfully in the moment on top of to the letter perfect line memorization and all that other actor technique stuff. This is not a play for beginners or amateurs. At the beginning of each scene, it felt as if each actor needed a line or two to settle into the character and the story before they really took off. Perhaps it was opening weekend jitters or this is the result of being handed the script 3 minutes before you begin, I’m not sure. The performances were outstanding, nonetheless, and will only continue to improve as the actors discovery new layers to their characters each and every night. Though briefly shaky at times, it is a journey worth taking alongside them.<br /><br /> Gay or straight, a prude or promiscuous, DREAM CAFÉ reaches inside every audience member and pulls out something very real and universal. It leaves the audience thinking about their own “love scenes” and how if they had happened exactly the same way, but in a different order, how very different our lives would be. I know I sat in my car for 20 minutes just thinking. Just breathing. Just… experiencing. I have already reserved three tickets on three different nights just so I can return to this dream reality and have another experience unlike any other I will ever have again. <br /><br />MBS Productions presents Alejandro de la Costa’s DREAM CAFE through June 19th.<br /> <br />Performed at The Stone Cottage Theatre located at 15650 Addison Rd, Addison TX 75001 as part of the Addison Conference Center, under the water tower. www.mbsproductions.net <br /><br /><br />MBS Productions’ DREAM CAFE at the Stone Cottage Theatre, Addison<br /> <br />*REVIEWED 05/29/10 PERFORMANCE <br /> <br />Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN <br /> <br />Directed by Charles Ballinger<br />Written by Alejandro de la Costa<br />Assistant Director and Stage Manager: Lara Davison <br />Set and Costume Design: Alejandro de la Costa<br />Lighting and Sound Design: Mark-Brian Sonna <br /><br />CAST<br />Bryan: Mark-Brian Sonna<br />Tony: Kyle Roark<br />Kent: Ivan Jones<br />Lila: Jana Edele<br />Michael (Sven): Micah John CollinLaura L. Watsonhttp://www.blogger.com/profile/10590816919321798917noreply@blogger.com0