A Christmas Story

I never get many chances to see the wonderful work at Georgia Shakespeare. Thus, I was delighted when a friend of mine offered to take me to see "A Christmas Story." For those familiar with the TV movie, this is an adaptation that is just as funny. It has everything: a narrator, a kid with glasses, a bully, a pole for sticking one's tongue on and a leg-lamp. Truly, where did they find that thing?
At any rate, an excellent directing job by Drew Fracher. The set design, amazing with the rotating stage, is a complement to Kat Conley. And it was a good idea, too: the living room, the class room and the slide. How were they gonna do Santa? It was a beautiful set-up. And the suspension of disbelief with the outdoors - we, the audience, didn't need to see a fence or see the outdoors - oh no - the lighting designer did all that for us. And without really messing up anything. Mad props to Mike Post for working on that for us.
I was most impressed with the kids in the show: Ralphie, Randy, Flick, Schawrtz, Ester Jane, Helen and Scut - usually when I see shows with kids in them, there's always a kid or two not focused or waving at his parents in the audience or just not really feelin' like being there. But this cast? Their parents did a great job! And props to the SM, Margo, for keeping things together. And notably, only starting 5 minutes after 7p.m. Well-done!
All in all, this is a show I'm so glad they'll re-mount next year. It's not sappy love and Christmasy, and that's what appealed to my Grinch-like friend who was with me. He laughed more than I did. And for GA Shakes to touch the lives of the Grinches and make them sit back and relax - well, that's what Christmas is all about.

Christina Darling

There really isn't anything Topher Payne can't do. He writes. He directs. He acts. He sings. He juggles. He conducts orchestras.
I might be stretching a bit, but he is really multi-talented. And "Christina Darling" is no exception. Directed by DeWayne Morgan, produced by The Process Theatre Company and housed at Onstage Atlanta, this wonderfully funny drama was a delightful mix of multi-media, stage and history. Joan Crawford is and always will be an American icon. Many know very little about her, truly, and this story brings her, her mother and her daughter to light. Great performances all around: Barbara Cole Uterhardt as Christina, Betty Mitchell as the grandmother, Anna, Kristin Kalbli as Lucille, or as the audience knew her, "Joan Crawford" in her early years, and Topher Payne as Joan herself. Bob Smith was wonderful as a myriad of characters, both gay and straight, through-out the play. Bob has been seen at many theaters in town and it's good to see him getting out to different venues. Doug Graham was very "on-point" as Billy, the man who loved his "Cranberry" no matter what the circumstances. Scott Gannon, with all his style and wig changes, was very hysterical throughout the show. And Rose Bianco, most notably as Sister Mary Benigma, played her supporting roles well.
After sitting at the reading of this show years ago, it is now nice to see the changes and word that has been made on the script. Everything flowed story-wise: a bit confusing for the audience when Grandmom Anna interrupted in a part of the history a year early, but the words played well and included her into that time perfectly. The ending was perfect - leaving the future of the 2nd book and the life of Christina on a positive note. Props to Harley Gould for his lighting design: well-played shadows, on-time changes and nothing confusing at all with time, place and season. Jane B. Kroessig did a phenomenal job on costumes: outstanding in every time period! Nadia Morgan designed a very functional set for both blocking and multi-media use. And George Deavours, of course, with his magnificent touch and style on the wigs - beautiful! It's always good to see a technical team doing their research to a "T" and helping to bring a story to life. When the only concern in a show is the light reflecting off the iron used by Anna in the beginning of the show (would have liked to have see that turned towards the downstage-right wall every time she had to set it up instead of flashing the audience with light reflection), then ya know you have a great show!
Well done, Process Theatre!

Noises Off

It's been a while since I've seen a show in which the entire cast is just commendable - no flaws in acting, movement, set, lights, etc.
I'd like to break that silence.
The Rosewater Theatre presented the very hysterical play "Noises Off" this weekend. Lisa Sherouse Riley did an excellent job in directing this very funny cast. Poppy, played by Heather Yager, is to be commended immediately as the the Stage Manager that falls in love with the director and goes through emotions while trying to keep the show together. Kim Bennett as Dotty played a wonderful older actress in love with a younger man. David Lauby as Selsdon was just hysterical! Glad he had the key word to the entire show - "Sardines!"
Many sympathies went to Reggie Oldham as the director of this crew: it's not easy holding a ship down while romancing two women at once! Eileen Fulford played the all-knowing Belinda, and beautifully done trying to be the peace-maker and babysitter all at once.
Props to G. Scott Riley for his workable set design and keeping the feel of the theater behind-the-scenes, especially for audience members that have never lived that life.

All in all, a wonderful evening of comedy. Definitely worth seeing!

The Graduate

The Rosewater Theatre produced a very interesting play called "The Graduate." Directed by G. Scott Riley and staring a well-knit cast, the story that is well-known to audiences from the movie takes that story and condenses it somewhat. The evening flowed a lot quicker than the movie did. The set was made-up of a lot of huge acting blocks and other props and pieces. The space was in the round with the actors playing to the diagonal sides the entire night. The best idea of the night was the combination of the Sound and Light designer, Deryl Cape, with G. Scott Riley as the set designer, to create an elevator on a platform with just lights and sound. Loved that idea and it was really simple.

Nathaniel Collum played Benjamin Braddock, the focus of the show. And he was great. Good eye contact, good emotion, and portrayed the young man in confusion quite well. Jackie Estafen played Mrs. Robinson, and with a great deal of manipulation, this actress pulled out all the punches for her character: she's beautiful, she's focused, and when she has an agenda - it gets done, no matter who is in her way.
Linda Place played Mrs. Braddock and she was just the perfect mother for Benjamin. Her movements, her acting style, everything about her was perfect for her role. I, personally, would like to see her in another show and more as a lead character.
Elaine Robinson was played by Meghan Noonan and the wide-eyed, Doe-looking lady was cast perfectly. She did the character justice and will do well in the future, I'm sure.
It's always good to see Bob Smith on stage. Being a busy actor, Bob played Mr. Braddock in this piece. He looked good, held that 60s/70s- dad thing in tact, and carried things off well the entire time.

Props to the costumes chosen by the owners of Rosewater and the cast themselves. The ladies' dresses were phenomenal and the gentlemen looked good. The wedding dress on Ms. Noonan was gorgeous, and I may in the future steal that idea. Ms. Place's dresses were very well-suited for a stay-at-home mom. Ms. Estafen's dresses were just beautiful. Very sultry, very "i don't give a crap" attitude. Loved it.

Props to Deryl Cape for the music choices from the 60s - very appropriately placed.

Over-all, a good evening and I smiled the entire time. Wasn't impressed with Mr. Robinson, played by Jake McClain, as he studdered a bit on his lines in the first act and I could feel it for the other actors on stage as they scrambled to cover if he couldn't or didn't say the right thing. I also noticed he was a bit stiff in his movements and over-all wasn't very believable. My condolences to Ms. Crystal Watson who played the hotel clerk and the exotic dancer. Poor baby - that theater was cold and I know she could have used a robe! Lee Lasseter rounded out the cast as the psychiatrist and priest. He was the quiet man for the show.

All in all, a good evening and very fast-paced story.

Getting Out

On a peaceful Saturday night, I attended Georgia State University Player's production of "Getting Out." Not really knowing what I was in for, I walked into a theater space, sparce with audience members, and staring at a stage full of iron bars. I was listening to an attendant making announcements from time to time and didn't get to put all of it together until I read the program. I did note the program didn't have a synopsis of the play, telling the setting place, time period, etc. And there wasn't any intermission information - which would have helped out some of the guests who left at intermission.

The play was set in a prison, and also in an apartment. The play was the life of one woman, her past, the prison guards, the pimp, the mother and the neighbor. Not a play that I would chose, myself, to go and see, but because this place is like "home" for me, I attended. The end of Act I left me in a different place, as the poor woman who just got out of jail and trying to start her life over was almost raped by the security guard that brought her to the new home. I would have had a comment for the guard, Bennie played by Patrick Donohue, but I knew his gentle nature as a person had to come to grips as an actor in order to play this kind of person. And, in the end, he wasn't bad - he just had his own issues. The girl in question, Arlene, has her ghosts to handle as well: being a former prostitute, it was hard for her to let go of her past that kept showing up, the pimp played by Cameron Cross. Cameron did an excellent job playing someone the audience loved to hate. The pimp, Carl, ended up being the father of Arlene's son who is in the care of someone else since Arlene was in jail. Good strong character in both Arlene played by Bailey Sessions, and Arlene's past, Arlie, played by Sofia Siraj.

The whole subject matter of a woman out of jail, starting her life over, knowing she has a son out in the world, dealing with her past that put her in jail in the first place...it's hard to watch. It's hard to hear. But it's a lesson for all of us: starting over can happen for anyone, even the neighbor, Ruby played by Sarah Briggs. It was a strong cast and if this is their performance in college, the real world is in for a treat when they graduate.

The Woman in Black

How creepy was that???
This was my first experience at Theatre in the Square and it proved itself well. The house was very interesting...you have to climb up stairs to get to the house and then walk down to your seat. But the seats were very comfortable. I chatted a while with one of the ushers and she was very knowledgeable theater in the Atlanta area. I read the program in full and knew that this play takes place in the present, in this theater. I know the show because I stage managed it before. But I was not prepared for what I experienced.
David Milford as Mr. Arthur Kipps was very well versed in his roles. The Actor, Gil Brady, very well-spoken in his passion for the arts and his role as well. The beginning took a lot of audience members by surprise as Mr. Brady started out in the audience and the house lights were still up. We followed the show quite well, even to the woman in black creeping around during the funeral scene. Now I know why late-seating is not an option.
The creepiest part of this show was the sound: every sound cue, every surprise, every horse and cart noise....just added to the senses and made the whole experience worth the several jumps out of my seat that startled others around me. Well-done to Christopher Bartelski for his work and the timing of every cue, executed, of course, by Robert Wright, the Stage Manager, in the booth. The lights were perfect for the mood, thanks to designer Rob Dillard, but I feared that the elderly audience that attended might drift off to sleep with the constant dimness. Good use of the stage, and well-done nods to Props Designer Megan Israel Gryder and Set Designer, Seamus M. Bourne. Creating the two levels on the stage and basic uses of the gravestones as the child's room - excellently done! Theatre in the Square lives up to its great reputation. Much thanks to Tracy Thomas for the invite - I'll be attending this theatre again!

Grey Gardens

Congrats to Actor's Express once again. It's always good to see something new, something funny, and something that tugs at the heart-strings: all in one show.
I'll have to admit, I liked first act better than second. First act was set in the 1940s, a woman, her best friend, a pianist, living in her father's home, and her daughter, about to get engaged. And what does the mom do? feeds true tales to the fiancee and he leaves her daughter. Wow. All to keep the daughter at Grey Gardens. Powerful.
Second act, 1970s, and Edie could leave. She could...but in the end, she stays. Her mother has that power over her. Drives her crazy, but needs her.
It's always good to see Jill Hames on stage. She did a great job as Edith. Kathleen McManus was wonderful as Edith Bouvier Beale. Her character, though, reminds me of Auntie Emm from "The Wizard of Oz." Props to David Howard for being the butler, Brooks, and playing himself and his own son. Very few words, but nicely done on stage.
Over-all the music was amazing, very catchy and well-tuned. Lights and set definitely talked to each other: nicely done, Phil Male and Joe Monaghan! It was interesting to see the orchestra up-stage left in the rafters, but what an excellent place to be! I've heard many good things about Mr. Clay Causey and I'm very pleased that his reputation is proven, once again, as one of the best musical directors in the south.

Well-done to the entire cast, and my heart-felt thanks to Jill Hames for ending the show with a plea to the audience to help out fellow Atlanta actor, Allan Hagler, who was diagnosed with cancer and doesn't have health insurance (much like many of our fellow artists in town.)