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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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
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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

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

Lucifer Descending

MBS Productions’ LUCIFER DESCENDING, Addison

*Reviewed 10-21-2010 Performance

Reviewed by Laura L. Watson


______________LUCIFER DESCENDING______________
Reviewed by Laura L. Watson

“All sins have logic… All sins come from truth… All sins come from love.”

MBS Production’s thought provoking and creepy original work LUCIFER DESCENDING had its world premiere just in time for Halloween at the Stone Cottage Theatre in Addison.

Lucifer has kidnapped Seth, the third son of Adam and Eve, and gives him not only a tour but an explanation of hell. The ten levels of hell correlate to the ten commandments which are recited in the original Vulgate Latin as written in the first completed Christian Bible from 382 AD, and each commandment has a rather notorious sinner who broke that commandment and has a torture derived from the crime. For example, Jezebel was guilty of idol worship and her punishment is to be a frozen statue for all eternity. During the tour, Seth meets these sinners, and the sinners are allowed a moment of relief from their torture in order to explain why they did what they did.

Director, Choreographer, and Writer Mark-Brian Sonna explains in the program that this is meant to be a modern day Morality Play. For many centuries, morality plays were written and performed with the intention of teaching the illiterate masses Bible stories. Each scene has its own lesson, with monologues at the beginning and end of the show that ties them all together with a greater lesson presented. Sonna writes he uses “the Bible itself, and the words written within it to propose a different understanding and view of the morality of Lucifer.”

While it was thought provoking (and creepy and scary and horrifying as hell should be), Sonna also wrote he targeted human emotions. This might be the one miss of LUCIFER DESCENDING. I did not feel for these sinners, and I did not fear the tortures of hell as presented in this play. I could not relate to any of it. I think this may have been because each scene was so quick, the audience didn’t have time to build a relationship with this person (on top of preconceived bias we had before we met them.) However, I was able to relate to their logic and reasoning behind their disobedience, which left me thinking at the end of the night. Some of the sinners are VERY well known, including Nero and Delilah, but others are more obscure, in the case of Elizabeth Bathory and Torquemada. There was an assumption that all of the sinners, and their crimes, were common knowledge, and so I spent time during a few monologues trying to piece together what they had done along with their explanation of why they did it. Also, I questioned why certain people were chosen to represent that particular sin. Some are no brainers, such as Elizabeth Bathory for murder, but others were a bit of a stretch. Salome’s greatest crime was lying? However, there is a limitless supply of sinners to represent each and every sin, and I enjoyed learning some history alongside being challenged in my long held beliefs of right and wrong. It would be nice to hear from some “modern day” sinners, such as Hitler or Stalin, too. At the end of most scenes, I agreed both with Lucifer that the sinner is clearly guilty of breaking the commandment and yet they are unjustly punished because they had good reasons for their sins. It’s a paradox.

The greatest triumph of the script, though, is the alternative view of Lucifer that it offers and the justification “big sinners” have for their crimes that is eerily similar to my personal reasoning when I feel I must disobey. I won’t give away the revelation of Lucifer, but it is sufficient to say that Sonna’s Lucifer is not entirely the traditional Judeo-Christian one. This Lucifer wants to explain things, wants to justify, and he wants to keep mankind on the straight and narrow. He is not out to torture, scare, or do other monster things. As someone who was practically born asking “why”, I thoroughly enjoyed an evening of plausible “because” answers that left me thinking.

Similar to interpretive dance, MBS Productions enjoys pushing the artistic envelope with their “choreographed” plays. The seven actors portray over 20 characters/creatures while also using fabric to create the set, represent the torturous flames, and combine their voices to sound like hundreds calling out from the pits of hell. It is an artistic representation of hell, not a literal. I particularly enjoyed the transitions through the levels of hell as Lucifer guided a semi-drugged Seth without a word. They moved like experienced ballet dancers, though no dance credits were listed. Some of the actors need to be more sure of the steps, though. There were times it felt more like a rehearsal. Actors need to take that step, fall, or wrap up in the fabric with confidence and without sneaking a peek at their cast mates to check their position.

This is not a play with a lot of spectacle as the focus is on the text. As previously mentioned, there is no set. As the audience enters, there are black curtains on one end of the Stone Cottage and big bat wings splayed on the floor which Lucifer quickly puts on during the opening monologue. The actors make use of various colors of cloth to create flames, water, chains, and so forth. Costumes are minimal with chorus members being in black shirts and black pants, adding a Roman breastplate for Nero or allowing Salome to change into a Harem dancer’s outfit. Lucifer wears a simple loin cloth and bat wings, and twists his hair into horns. His body is covered in body paint and glitter. He resembles a gargoyle. Seth wears a simple, ordinary red skirt with sash. The Stone Cottage doesn’t allow for a lot of creative lighting, and such was the case with LUCIFER DESCENDING. It was a little bland, even having two actors sit on the floor and spotlight Lucifer as he hovered over the audience using flashlights. It is an “artsy” play- dance and movement, a little fabric are used to represent what is being described. As I told the cast after the show, I’d like to see this as a movie. The effects- wrapped in red fabric for flames, masks for twisted head, etc, didn’t scare or shock me, and a couple were hard to figure out what it’s supposed to be. I’d love to see it with some big budget special effects. That is my preference. As an artist, though, I can totally appreciate the representation and attempt to do something in a different way. The hard work and dedication of all involved is evident and I applaud it. You should experience it.

Ivan Jones as the title character Lucifer was a surprising choice since I had last seen him in MBS Productions’ A DREAM CAFÉ where he played a flamboyant and flippant gay waiter. Jones displays that he has a wide range and is capable of portraying more than one type. His long, lean, muscular body moved with ease and grace as he commanded the stage. His deep, resonating voice literally shook the rafters at times. I did want more fluid movements from him, though, especially when he hovered over the audience. He seemed to be second guessing his movements then. I also wanted to see Lucifer build in his justification argument, and at times felt Jones was relying on his monster image to scare the audience. After a while, a deep yell or a menacing stare just isn’t as terrifying as it was in the beginning, and it began to fall a little flat. Though, in the end, he got another spark and brought Lucifer roaring back to life.

Challenged with the task of being the “everyman” Seth was Rey Torres. As difficult as being a scary monster or tortured in hell is, playing the average, normal guy is equally challenging because he must still be believable and must be the one the audience relates to. Torres never once stops being Seth, but we also don’t get to know him very well because the text doesn’t focus on him for long at all. We, the audience, don’t know if we can relate to him or not. However, he asks the questions we all want answered (why) and his journey to understanding is ours as well. The difference, of course, is that he takes the journey ‘for the first time’ every night. As I mentioned before, he also moves like a trained dancer alongside Jones, creating some truly beautiful moments.

Charli Armstrong was both Cleopatra and Jezebel, and had a few lines as Salome’s mother. Armstrong has a strong voice, supported with lots of power even when being hung upside down. When she was acting as a member of the chorus, she continued to react to everything that was going on even though she wasn’t the focus. In contrast, some of her cast mates would become stoic when they thought no one was looking. Cleopatra, guilty of adultery, is sentenced to an eternity of rape, and she reacted to the rape powerfully. Sonna was smart not to limit her to just strong women- she also well played the tizzy bat-like creatures and became other set pieces or creatures as needed with no problem. I’m convinced there isn’t a role she can’t play.

Delilah and Elizabeth Bathory were played by Sara “Ragsy” Ragsdale. The vocal difference between Delilah and Elizabeth was astounding. It’s hard to believe they were the same person though she could have used some physical variations between the two. Like Armstrong, she played the strong woman sentenced to torture well, and she glided into chorus roles without a hitch. Her monologue as Delilah, a distraught woman in love who just wanted to keep her man safe, was the most emotionally truthful performance of the ending. In contrast, Elizabeth Bathory was a delusional serial killer who painted her body with the blood of her victims. This was less believable, but nonetheless creepy.

Dylan Peck was King John (stole money from his subjects), Torquemada (the man who killed thousands for not being good Christians in the name of God), and various chorus members. Peck has a good voice with lots of power. His portrayals of King John and Torquemada were similar-regal yet whiney-, but his other unnamed characters were all very distinct. Unlike some of his cast mates, he reacted realistically when he was tortured.

Alejandra Flores as Salome was the first sinner we met, guilty of lying to her father. (Salome was the one who danced for her father and then asked for the head of John the Baptist as payment.) Flores was a sympathetic Salome, and the audience truly felt she was being unjustly punished as she was a victim of incest and “just wanted to be free of her father.” Flores seemed nervous, though, and kept glancing at the audience as if for approval. She also seemed self-conscious in her costume- beaded bra-like top and low-rise harem pants. As the show progressed, and she became other characters including Pentaware (guilty of dishonoring his father, the Pharaoh Ramsey, by trying to kill him), she relaxed and her focus returned to her lines or choreography which resulted in a more convincing performance. This was her first professional production, and it asked a lot of her. Her immaturity at times showed, but for the most part, she kept up with her fellow actors. A bio would be much appreciated by the audience, though.

Nero, Severus, and Caligula were all played by David Gorman. He has a deep voice and a long, menacing stare, but he needed more physical differences between his characters. All his rulers were the same- they talked the same, they moved the same. Except for the torture they were sentenced to, they were nearly indistinguishable. The same could be said of his chorus characters. Gorman was a good choice, though, in that he brought a dark, strong presence to the cast that the others fed on.

MBS Productions’ LUCIFER DESCENDING at Addison’s Stone Cottage Theatre, is for those who seek Halloween entertainment in the form of a psychological experience rather than a gory, scream filled horror. LUCIFER DESCENDING had some elements of low budget theatre and some scenes were hit or miss, but overall, I really enjoyed my journey through hell- enough that I’m going back on Halloween, in costume too!

LUCIFER DESCENDING runs through November 7 at the Stone Cottage Theatre, 15650 Addison Circle, Addison.

Tickets are available at www.mbsproductions.net or by calling 214-477-4942. Special Halloween performances, where the audience can come dressed in costume and will recieve a trick-or-treat bag full of candy and other prizes, will be Saturday October 30 and Sunday October 31. Ticket prices vary.


Directed and Choreographed by Mark-Brian Sonna
Written by Mark-Brian Sonna
Stage and Production Manager: Korey-Elizabeth Parker
Costume Design: Larry E. Groseclose
Set and Lighting Design: Alejandro de la Costa
Lighting Technician: Justin Knox
Sound Design and Original Music: Mark-Brian Sonna
Box Office Management: Kim Wickware

CAST
Lucifer: Ivan Jones
Seth: Rey Torres
Nero/Severus/Caligula: David Gorman
Salome/Pentaware: Alejandra Flores
King John/Torquemada: Dylan Peck
Delilah/Elizabeth Bathory: Sara “Ragsy” Ragsdale
Cleopatra/Jezebel: Charli Armstrong

To Kill a Mockingbird

Artisan Center Theater’s To Kill a Mockingbird, Hurst











_______TO KILL A MOCKINGBIRD_________
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

It would be unfair to compare any stage production of TO KILL A MOCKINGBIRD to the Academy Award winning movie, but Artisan Center Theater’s version can be compared to Harper Lee’s great work because they told this story well.

Set in 1935 Maycomb, Alabama, the story is narrated by Jean Louise Finch, the adult Scout. She has returned to her childhood home to recall the year that changed her life, and she is trying to remember something her father wanted her to do. We are introduced to young Scout, her brother Jem and their friend Dill. Their father is attorney Atticus Finch who has been appointed to represent Tom Robinson, an African American man accused of rape and battery by the Ewells, a white trash girl and her father. Racial tensions are high, and the children are taunted by classmates and neighbors alike. Because of their young age, the children are rather naïve and innocent of the things going on round them. Their focus is on Boo Radley, the town’s secretive shut in and the treasures hidden in the hole of a tree. The climax of the story is the trial of Robinson and the lessons Atticus taught his children during it. It is considered one of the best novels in all of American literature and the stage adaptation by Christopher Sergel is accurate even within the limitations of the stage. From the program: “Artisan does not condone or approve of harsh language or racial slurs. In producing this important work, we decided to stay true to the novel, time period and situations therein. Please be warned that there is some harsh language, situations, and the use of a racial slur.” Though it is hard to hear and difficult to watch, these controversial points are much needed and handled well by all involved.

Artisan is a community theater in the round. Set designers Jason Leyva and Dennis Canright placed houses complete with porches and screen doors in the four diagonal corners with a rope swing in front of the Finch house and a realistic tree with a hole in front of the Radley house. By darkening the houses, removing the swing, and placing wooden railings in front of the audience, tables for the judge and opposing council, and building a courtroom balcony over the audience in one corner, they easily shifted from the neighborhood to the trail. (It is worth mentioning that they have done some renovations to the building that include new, very nice bathrooms with additional stalls so intermissions now run 15 minutes instead of 20 or longer as they often delayed the second act due to the long lines.)

Light Designer Adam Livingston helped create the mood for the story, shifting from past to present, day to night, and appropriate lightning strikes during the storm. Sound design was not credited, but Sound Techs Karen Woolley and Wendy Pandolfo, used fantastic music to underscore the touching moments and the dramatic climax well, though the body microphones were sometimes slow in coming on as an actor started speaking. As sometimes happens, the AC came on and caused something in the rafter above me to rattle so loud it was sometimes hard to hear the quieter actors. Costumes, designed by Justin Kailer, Nita Cadenhead, and Jennifer Cadenhead were period appropriate and well fit, though Scout and Jem’s shoes were obviously new because the white parts were very bright. (Kids playing outside all summer wouldn’t have perfectly clean shoes.)

Director Dennis Canright succeeds in directing both seasoned children and adults in their debut performances, and uniting the design elements around his vision. The final moment of the play, when Jean Louise and Scout are standing side by side, looking at Atticus, with the soft lights and haunting music, had my theatre companion and I choking back tears. The girl and the woman shared an understanding about their father in that moment. It was an exceptional work of art. Each actor had authentic sounding Alabama accents (not just Texas accents heightened) and he was able to coax very natural line deliveries from his actors, especially from the children. Act I was a little shaky, though, with some very pregnant pauses. All the actors could pick up their line cues a little faster in the first act. (It could have been opening weekend nerves, though.)

The blocking makes use of the entire space without falling into trouble with sightlines- with exception of the mob scene. It was played in the Radley home’s corner, using a brick wall with a barred window and a single electric light. The “mob” was just 5 men who blocked Atticus and his children from ¾ of the audience’s view and never turned to show their reactions to Scout’s questions. It’s one of the greatest moments in the play, and while it was well conveyed vocally, it wasn’t so much visually. From my vantage point, all I saw was Tom Robinson’s arm sticking out of the jail window and the men’s silhouettes. The audience served as the courtroom audience, and one side served as the jury, receiving the majority of the closing statements and instructions from the judge. I was briefly taken out of the story when the set was changed, mostly by the actors themselves, from the neighborhood to the courtroom, and then I wondered why this was done when intermission was just a scene later. Why the intermission wasn’t put before the trail began, allowing the set change to occur then, might be a directing choice or how it was written in the script, but it did interrupt the experience briefly for me.

I did question some of the casting choices. Age appropriate casting would have served the story better. For example, Link Deas, Robinson’s employer, was well played by Michael Williams, but Williams is just too young looking to have a line about Robinson working for him for 12 years. The same could be said of Bianca White as Helena Robinson and Laura Tolsma as Stephanie Crawford. They did well but needed to be aged with makeup or older actors cast.

Though actors always long to play the great roles in American literature, it is rather daunting to try and make iconic, award winning roles your own. Appropriately so, this show’s strongest actors were the Finch family, played by the real life Leyva family members. Jason Leyva was a quiet, contemplative Atticus without straining to imitate Gregory Peck’s movie version of Atticus. He was strong without overpowering, and he had an intense energy that never let up or allowed his quiet character to become dull. Zach Leyva played Jem to perfection, allowing himself to balance in that precarious place between childhood and manhood as he sought to understand his father. Sadie Leyva was Scout, and though at times she would simply recite lines, for the most part, she was in the moment and portrayed truthful emotions to the situation surrounding her in ways adult actors should take note. Her wide eyed innocence wasn’t faked, either, and underscored the evil acts adults were able to commit while children looked on. Natalie Berry as Jean Louise was calming, intuitive with a quiet energy that supported all those on stage well. Most importantly, she has a GREAT voice that enraptured her audience from the first monologue on. Though she was seen, and reacted as needed, it was her subtle vocal shifts that conveyed the adult interpretation of the events.

Dill, the comedic relief and source of most of the children’s antics, was charming and mischievously done by Isaac Jarrell. Calpurnia, the Finch’s motherly African American housekeeper, was truthfully played by Lyndee Boyland. Maudie Atkinson is the ever baking busybody who feels it is her duty to educate the children to Atticus’ past, though actress Chalea Blair is not nearly old enough looking to be a peer of Atticus. However, what she lacks in age, she makes up for in maternal instinct. Laura Tolsma was the rather active town snob Stephanie Crawford- again, someone too young in a role meant for an older woman. While I normally celebrate an actor who attempts to portray a character through unique physical and vocal choices, Tolsma’s over the top choices didn’t work for me here. While everyone else was natural and truthful, her performance felt like a caricature rather than a person. However, she was a source of comedy and everyone knows a Miss Stephanie. David Plybon was an appropriately disgusting, revolting Bob Ewell, the white trash father of Mayella. However, Plybon had no reaction during the trial to the other’s testimonies, much of which contradicted him. Tom Robinson, much like Atticus, is a strong yet quiet man whose life hangs in the balance. Sean Massey was subtle yet believable in his portrayal of Tom. Bianca White played Helen, Tom’s distraught wife, but she needed tears and to find her motivation for these outbursts. They felt very halfhearted and like a recitation of a script rather than a wife whose husband is taken from her. The Reverend Sykes is a source of comfort for Helen and reaches out to Atticus for help, but Ronnie Hunt was a little too subtle and soft spoken. Jennifer Cadenhead was Mayella, the woman who accuses Tom of rape. Mayella is a victim of her upbringing, but she is far from innocent. Cadenhead expertly brought out Mayella’s vulnerability and the sadness of her circumstances without excusing her choice to falsely accuse Robinson. With more than 20 cast members, it is impossible to critique each one. However, as a whole, the ensemble jelled well together and felt like a genuine small Alabama town in 1935.

Though no one could ever- or should ever even try to- copy the great movie TO KILL A MOCKINGBIRD, Artisan Center Theater’s stage production remained true to Harper Lee’s classic work and gives its audience an insightful experience. Fifty years after it was first published, men and women alike are asked to think back to that experience that brought a child into adulthood, we as a society remember the injustices that have occurred and are motivated to insure they are not repeated, and we are all reminded of why it really is a sin to kill a mockingbird.

Artisan Center Theater presents Harper Lee’s TO KILL A MOCKINGBIRD through October 30 on Monday, Tuesday, Thursday, Friday and Saturday evenings and Saturday matinees.

Performed at the Artisan Center Theater, 418 E. Pipeline Road, Hurst. Tickets, $9-$16 depending on age and night of show, can be purchased online at www.artisanct.com or by calling 817-284-1200.


*REVIEWED 10-4-2010 PERFORMANCE
Reviewed by ASSOCIATE THEATER CRITIC, Laura L. Watson, THE COLUMN

Directed by Dennis Canright
Produced by DeeAnn Blair
Based on the book by Harper Lee
Dramatized by Christopher Sergel
Stage Manager: Lindsay Hardisty
Set Design: Jason Leyva, Dennis Canright
Set Construction: Jason Leyva, Thurston Wells, Larry Dibler, Dan Nolen, Jr, Mike Shreve,
Jennifer Dooley, Michael Pandolfo, Matthew Pandolfo, Robert Molina, Ben Herbert, Branson White, cast and crews of SOUTH PACIFIC and TO KILL A MOCKINGBIRD
Scenic/Painting Design: Lily Stapp
Paint Crew: Baird Harbin, Bethany Jarrell, Bailey Jarrell, Kate Avery, Michael Williams
Props: Tammie Phillips
Costume Design: Justin Kailer, Nita Cadenhead, Jennifer Cadenhead
Lighting Design: Adam Livingston
Light Tech: Michael Blair, Michael Pandolfo
Sound Tech: Karen Woolley, Wendy Pandolfo

CAST- this show is double cast. I only listed those I saw perform on 10-4.
Jean Louise Finch: Natalie Berry
Atticus Finch: Jason Leyva
Scout: Sadie Leyva
Jem: Zach Leyva
Dill: Isaac Jarrell
Calpurnia: Lyndee Boyland
Maudie Atkinson: Chalea Blair
Stephanie Crawford: Laura Tolsma
Mrs. Dubose: Diann Wells
Nathan Radley: Leo Glass
Boo Radley: Cameron Potter
Heck Tate: Eric Maskell
Judge Taylor: Dan Nolen, Jr.
Rev. Sykes: Ronnie Hunt
Mayella: Jennifer Cadenhead
Bob Ewell: David Plybon
Walter Cunningham: Ron Staggs
Mr. Gilmer: Jerry Mayes
Tom Robinson: Sean Massey
Helen Robinson: Bianca White
Mrs. Perkins: Anne Farrell
Mrs. Merriweather: Sheila Mayo
Link Deas/Hawkings: Michael Williams