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.

www.thecolumnonline.com
www.thecolumnawards.org
www.talkinbroadway.com
www.pegasusnews.com
http://www.facebook.com/profile.php?id=504595304

THE COLUMN STAFF:

SENIOR CHIEF THEATER CRITIC: John Garcia

ASSOCIATE THEATER CRITICS:

Sten-Erik Armitage
Clyde Berry
Mary Clark
Cheryl Cory
Carol Anne Gordon
Kristopher A. Harrison
Lyle Huchton
Jason Kane
Laurie Lynn Lindemeier
Ashlea Palladino
Gina Robertson
Christopher Soden
Mark-Brian Sonna
Laura Watson
*THE COLUMN IS READ BY OVER 18,745 SUBSCRIBERS WORLDWIDE!!*

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

My Best of 2010 List

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.

In my humble opinion, which I respect very much, here is what I consider to be the BEST OF 2010:

Best NEW Play:
DREAM CAFE by Alejandro de la Costa, produced by MBS Productions.
"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."- from my review for The Column "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."- from my (second) review of DREAM CAFE, this one for Critiques

Honorable mention for Best NEW Play:
HALF EMPTY by Melanie Welch, produced by Fight Boy Theatre as part of the Feast of Plays, One Act Play festival.
"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."- from my review for Critiques.






Best Play Production:
CAT ON A HOT TIN ROOF produced by Artes de la Rosa
“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.” - from my review for The Column

Honorable Mentions for Best Play Production:
STEEL MAGNOLIAS produced by Plaza Theatre Company
"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."- from my review for the Column.

BAREFOOT IN THE PARK produced by Contemporary Theatre of Dallas
"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." - from my review for The Column

DREAM CAFE produced by MBS Productions
"This is de la Costa’s (and MBS Productions’) finest work to date... It is a journey worth taking alongside them."- from my review for The Column. "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!"- from my review for Critiques.




Best Play Festival:
FEAST OF PLAYS produced by Fight Boy Theatre
“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.” – from my review for Critiques

Honorable Mentions for Best Play Festival:
STAGE BLACK produced by Jiles R. King, II at The Black Academy of Arts and Letters
"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." from my review for Critiques



Best Musical Production:
SWING produced by Artisan Center Theater
“An exhilarating night of singing and dancing, even if there was little storyline, left me breathless and energized all at once.” – from my review for Critiques



Best Director of a Musical:
Dave Schmidt with musical Direction by Pam Holcomb-McLain for TEN NIGHTS IN A BAR ROOM
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.



Best Director of Play:
Joshua Scott Hancock for THE FROG PRINCE as part of Feast of Plays by Fight Boy Theatre
“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.”-from my review for Critiques by Laura L. Watson

Honorable Mention for Best Director of Play:
Adam Adolfo for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"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." -from my review for The Column.

Danielle Beacham for STEEL MAGNOLIAS produced by Plaza Theatre Company
"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." -from my review for The Column.

Dennis Canright for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
"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."- from my review for The Column.

Tashina Richardson for NO EXIT, produced by Sundown Collaborative Theatre
"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."- from my review for The Column.



Best Actress in a Play:
Hannah Black as Narrator in THE FROG PRINCE and Valerie in HALF EMPTY in Feast of Plays produced by Fight Boy Theatre.
“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.”- from my review for Critiques by Laura L. Watson



Best Actor in a Play:
Zach Leyva as Jem Finch in TO KILL A MOCKINGBIRD, produced by Artisan Center Theater
“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.” -from my review for The Column

Honorable Mention for Best Actor in a Play:
Mike Schraeder as Teach in AMERICAN BUFFALO, produced by Broken Gears Project Theatre.
"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."- 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. "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."



Best Actress in a Musical:
Natalie Berry in SWING, produced by Artisan Center Theater
“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.” -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.

Honorable Mention for Best Actress in a Musical:
Camille Shaw as June in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
"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." - from my review for The Column.



Best Actor in a Musical:
Andrew Guzman as Dennis in SMOKE ON THE MOUNTAIN produced by Plaza Theatre Company
“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.” –from my review for The Column.



Best Ensemble Cast:
STEEL MAGNOLIAS produced by Plaza Theatre Company
“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.” –from my review for The Column

Honorable Mention Best Ensemble:
DREAM CAFE, produced by MBS Productions
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. "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."- from my review for Critiques. "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."- from my original review for The Column

AMERICAN BUFFALO, produced by Broken Gears Project Theatre
"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. " - from my review for The Column

CAT ON A HOT TIN ROOF, produced by Artes de la Rosa.
"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."- from my review for The Column




Best Set Design:
Bruce R. Coleman for EQUUS produced by Uptown Players
“I wanted to take a picture and hang in on my wall. It was beautiful, stunning, and haunting.” - from my review for Critiques.

Honorable Mention for Best Set Design:
Oliver Luke for CAT ON A HOT TIN ROOF produced by Artes de la Rosa
"... 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."- from my review for The Column



Best Choreographer:
Linda Leonard for SWING produced by Artisan Center Theatre
“Whew. Full of intricate footwork and period accurate steps, SWING is a history, dance, romance, and how to have fun lesson all in one.” –from my review for Critiques.



Best Costume Design for a Play:
Suzi Cranford for EVERYTHING IN THE GARDEN, produced by Rover Dramawerks
“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.” – from my review for Critiques.

Honorable Mentions for Best Costume Design for a Play:
Justin Kailer for CAT ON A HOT TIN ROOF, produced by Artes de la Rosa
"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."- from my review for The Column

Aaron Patrick Turner for BAREFOOT IN THE PARK, produced by Contemporary Theatre of Dallas
"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."- from my review for The Column

Candace Cockerham for NO EXIT, produced by Sundown Collaborative Theatre
"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."- from my review for The Column




Best Costume Design for a Musical:
Robin Armstrong for LITTLE WOMEN produced by Collin Theatre Center
“It was a lovely, old fashioned costume spectacle…truly a highlight of the production.” –from my review for Critiques

Honorable Mention for Best Costume Design for a Musical:
Tina Barrus for CINDERELLA, produced by Denton Community Theatre
"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."- from my review for The Column

Nita Cadenhead for SWING, produced by Artisan Center Theatre
"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!" - from my review for Critiques.




Best Lighting Design:
Adam Livingston for TO KILL A MOCKINGBIRD produced by Artisan Center Theater.
“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.” – from my review for The Column.

Honorable Mention for Best Lighting Design:
Jason Foster for EQUUS produced by Uptown Players
"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."- from my review for Critiques.



Best Sound Design:
Un-credited for TO KILL A MOCKINGBIRD produced by Artisan Center Theater
“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.” –from my review for The Column

Honorable Mention for Best Sound Design:
Jason Rice for MORPHIC RESONANCE, produced by Rover Dramawerks
"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."- from my review for Critiques.



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!

BAREFOOT IN THE PARK

Contemporary Theatre of Dallas’s BAREFOOT IN THE PARK, Dallas

*REVIEWED 10-29-2010 PERFORMANCE
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

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.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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.

Contemporary Theatre of Dallas presents Neil Simon’s BAREFOOT IN THE PARK through November 21.

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.


Directed by Cynthia Hestand
Written by Neil Simon
Producing Artistic Director: Sue Loncar
Managing Director/Co-Producer: Russell K. Dyer
Scenic Design: Rodney Dobbs
Lighting Design: Jaymes Gregory
Sound Design: Richard Frohlich
Props Design: Jen Gilson-Gilliam
Costume Design: Aaron Patrick Turner
Production Stage Manager: Lindsay Anderson
Stage Manager: Maggie Belanger
Assistant Stage Manager: Grace Keller Scotch
Deck Crew/Delivery Man: Matt Cook
Scenic Construction: GPO Theatrical
Master Carpenter: Dave Tenney
Carpenter: Clint Ray

CAST
Corie Bratter: Carrie Slaughter-Whittlesey
Paul Bratter: Will Christoferson
Mrs. Banks: Marcia Carroll
Victor Velasco: John S. Davies
Telephone Repair Man: Francis Henry