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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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

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


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

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

Seven's a Crowd 8-6-11

SEVEN’S A CROWD
by Jon Christie
Triple J Productions

CAST

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


Reviewed performance Saturday August 7, 2011, at 8pm

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


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

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

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

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

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

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

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

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

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

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

______________________________________________

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

Runs through August 13th

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

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

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



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

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

____________Stage Black: A Festival of New Plays____________

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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



________________________________________________

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

Review: RED, WHITE, AND TUNA at FMPAT

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

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

___________RED, WHITE, AND TUNA___________


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

________________________________________________

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

CAST

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

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

Reviewed performance Thursday June 16, 2011
________________________________________________

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

Runs through June 26th

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

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

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

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

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

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

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

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

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

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

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

FIRST BAPTIST OF IVY GAP

*First Baptist of Ivy Gap
ICT

Reviewed performance Friday, January 21, 2011


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

_______________FIRST BAPTIST OF IVY GAP_______________

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

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

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

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

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

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

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

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

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

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

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

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


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

Don't Dress for Dinner

______________________DON’T DRESS FOR DINNER______________________________
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN Saturday January 15,2011

Theatre Arlington’s production of Don’t Dress for Dinner is a delightful tongue twisting sex farce - nothing more and nothing less.

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.

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.

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.

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.

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.
It was simple but in no way lacking.

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.

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.

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.


DON’T DRESS FOR DINNER
by Marc Camoletti
Theatre Arlington
Runs through January 30th

Performed at Theatre Arlington, 305 W. Main Street, Arlington, Texas.
Tickets can be purchased online at www.theatrearlington.org or by calling (817)275-7661.

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Director: Andy Baldwin
Stage Manager: Anna Lard
Assistant Stage Manager: Jessica Cook
Set Designer: Jack Hardaway
Lighting Designer: Michael B. Winters
Costume/Hair/Makeup Designer: Meredith Hinton
Properties Designer/Scenic Artist: Jennye James
Sound Designer: Andrea Allmond

Bernard: Chase Burnett
Suzanne: Morgan McClure
George: Ben Phillips
Suzette: Amber Quinn
Jacqueline: Rachel Robertson
Robert: Jeff Swearingen