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.)

24- Hour Plays 2009

What a fun night! Atlanta always does very well with these! 10p.m. on a Saturday night with the writers, then at some point the directors come in, then they choose their actors, and they rehearse, they tech - and a show at 8p.m. Sunday night, ending at 10p.m. Wow. Talk about your stress! But always something any professional can do!

"The Auction" by Nick Boretz and Sandra Sparks was kinda cute. It didn't have enough meat to keep it going and keep everyone interested as to what would happen next, but it was funny in its own right with Amanda Cucher as Linda, and Sarah Craig and auctionees at an auction Auctioneered by Aaron Gotlieb. Very impressed with Mr. Gotlieb: heard his name around but never saw him on stage.

"Art and Hope" - It was touching that the older sister, played by Judith L. Beasley, was paying for the younger sister's, played by Jaymee Vowell, wedding. Geoffrey M. Brown played the finacee, a lot younger than both of them. I wanted Judith to look up more when she was in the scene and we never got to see the facial expressions. Other than that, pretty decent.

'The Reality of Mother" - This could happen to anyone: crazy parent, sold the house, parent has to move. Very good twist though to find out sister Connie, played by Minnie Tee, is actually Joe's mom, played by Adam Archer. Was very impressed with Mr. Vince Canias who played Ben: nice voice and very good stance on stage.

"Peace in the Family" - Absolutely my favorite of the evening! Hysterical cat and dog conversation!! Go James Walsh and Brandon Lee on their collaboration of this piece! I would love to see the whole one-act play! They used a lot of dialogue that we, the pet owners, often think our pets would use when we're not in the room. It's just Hysterical! Well-done and well-played!

"Smothered and Covered" - What an excellent idea! Wedding morning, at IHOP, find out your dad is the server, and it's just too funny! Most notably is Daniel Burnley as Dwight, the server/father that left. Great thinking, Curt Shannon and Pamela Turner on this one! I'd love to see the whole thing!

"Remaking Elaine" - It was an interesting idea as a man is trying to fall in love with his ex-wife in another woman. His daughter and the ex-wife, Elaine, are the only two that see it's crazy. Especially since Elaine, played by Black Actress, Barbara Washington (dreads and all), makes the best lines to Stacy Sheets (playing Jaelyn, the fiancee?), as Stacy is White with short hair. Elaine's line: "She even looks like me!"

"The Untimely Passing of Sniffy Sherbert" - This might have gone a wee bit farther than it needed, but bending on the side of Monty Python. Teresa Harris played Delores Cul-de-Sac, who killed Sniffy Sherbert, the beloved cat of Ethan Scott who played Frank Sherbert. It was sad, it was cute, it was funny, but maybe a bit much for a mystery.

Oh yeah - and only Theater people would start singing scene-change music. Go the Turtles for that wonderful song that we all chanted: "When you're near me, baby the skies will be blue..."

"The Mousetrap"

Now, I like a good sleuth-style show. "The Mousetrap" is one I've stage managed in my past and I still enjoy it.

Button Theatre presented 'The Mousetrap" by Agatha Crhistie and I have to give props to Red Clay THeatre, where this was performed:

My God! What a gorgeous space and house!!! The seating was fantastic, the seats were comfortable, it wasn't too terribly hot or cold, the lighting was situated and hung perfectly, the lobby wasn't too small, nor too big - just lovely! The bathroom situation for the patrons is about the same as it is at 14th Street Playhouse: not enough stalls for the women. But hey, it is what it is.

My immediate props to Lighting Designer, Kelly Knowlton, for working well with Set Designer, Christopher Dills. Nicely done! The set was amazing and the attention to detail was superb. The lighting complimented the space very well, even helping with the darkness outside the windows to depict the winter and nighttime. My prayers to the crew for replacing the panel on the desk that came off in second act. SuperGlue, anyone?

Clint Horne, the Costume Designer, gets my praise on the dresses and suits. Very stylish, very classy, very fitting for every character. But Clint always does good work.

Caitlin Bruggeman played Mollie Ralston. Absolutely wonderful! Her performance was believable, was charming when it needed to be, and suspicious when the play called for it. She kept her British accent the entire show! Never faultered! Well done!

Mrs. Boyle, played very well by Parks Stamper, was a character the audience wished for dead and got their wish by the end of Act 1. Very well done by Ms. Stamper to be a character that played a very "negative Nancy" to the crew that resided in the Manor.

Major Metcalf, played by Bob Smith, was very believeable with the slight exception of the British accent that kept fading to a more American sound. But wow - well done on the costumes on him!

For Miss Casewell, played by Erin Leigh Bushko, the only problem was the cigarette: granted, most theaters do not permit live fire, but she kept puffing on it too often. In natural smoking, one doesn't puff on a cig that often. It was almost every other line. Best example would be any woman playing Sally in "Cabaret" - every actress that has played her has done a great job in mimicking the breaks in smoking a cig. Other than that, Miss Bushko did a great job being suspicious as well in this show.

Mr. Paracicini, played by Barry Hopkins, was a character I wanted dead at the get-go. A French accent for a man with an Italian last name? I wasn't buying it. Perhaps it's because I know the show, but come on - "non-discript" should not be immediately distinct. If he had combined a good bit of French and maybe two other dialects, that might have worked.

And Sgt. Trotter, played by John Stephen King, was right on point: kept his accent, kept his mannerisms and did a wonderful job of making everyone think everyone else was suspect. My props to Mr. King, not only for his eerie name, but to his performance.

In Act I.2, when Miss Casewell turned on the radio, there issued forth a really Asian or Indian sound from the radio cue. It was awful. I understand it was to chase Mrs. Boyle out of the room, but...ugh! Something more up-beat of the time would have been more appropriate. And leveling it out totally at some point would have been better, too.

All in all a good night at the theatre. I look forward to many more shows at the Red Clay's gorgeous theater!

Harvest '09

Tonight was a good night of theatre, despite the thunder and lightening and rain. In Norcross, GA there is housed a small theatre company called "Onion Man Productions." They did quite well with their "New Crop of 10 Minute Plays."

I came in near the end of "Harry's Celestial Journey" by Bill Wellborn. But from what I saw, I liked it. There was a lady filming it in the back row and I wasn't sure if she was permitted or not, but hey: maybe she was.

"Santas' Night Out" by David Allan Dodson - very cute. I loved the dresses, especially the one worn by Margaret, played by Diane Hallen. The young lady with the slit down the front of her dress, Ms. Sherry Ingbritsen, I believe, probably should not have sat the way she did in that dress. Let's just say one wrong move and perhaps the men in the audience would have moved for a better view.

"Looking Down" by James Beck - I understood the premise of the play and the emotion was definitely there. I was waiting for more physical struggle between the two step-siblings, played by Travis Young and Jessica Fowler (or it might have been Nicole Convis).

"Real Space" by Kelly A. Young - I was just waiting for Mary Saville who played Dana to just haul off and hit Jason Caldwell, who played Delroy. The tension was there and if this really was reality TV, she would have hit him and there would have been a fight. I wanted the eye contact to be stronger with Dana's character as she kept looking away or looking at the floor in tense moments.

"A.M. Session" by Neal R. Hazzard - I caught the interesting reference, Mr. Wendell, from the song by Arrested Development. Very cute. And it opened the eyes for that kind of situation: he's "homeless, not brainles." Wow. There are those out there that don't want charity, they want someone's time. But one rotten apple ruins it for the bunch - but I digress.

"Next of Kin" by Daphne Mintz - I wondered why Travis Young, who played Captain Br., his chair was so low in relation to his desk. *shrug* Still, a good play.

"Monologues" by Patrick Cuccaro - This hits on a spot for so many with aging parents. Not until the end of the play did I understand why Lynne Jenson, playing the daughter, was re-folding already folded laundry for Tamyan Sager-Gandert, who played the Mother.

"Saved in 17 Syllables" by Lisa Brathwaite - Very nicely played by all. My only concern for director Sheri Mann Stewart: they came to the therapists' office - the first to sit would be the client, then the therapist. It's like going to someone's house: the guest sits first, then the person who lives there.

"Death in the Rough" by David L. Fisher - Many props to Mr. Fisher for a wonderfully funny play! I can't imagine what 2 hours worth of his writing would be like! Very entertaining! Very captivating! Would like to see more of this kind of work! And as funny as the subject is of a dead body and a golf course, who's to say that judges and attorneys and the like don't over-look things like that on their "days off"?

Noting all the scene changes, I'd have to give props to the Stage Manager, Joyce White, for being the fastest moving thing on stage! She did her best with her crew to get everything done. THere were a lot of set pieces for plays later on in the evening so it had to be precise and safety had to be a concern. Thoughts about the transition music: one song, please, and then, perhaps, fade out and fade up into another song if A) the actors are ready to be in place or B) the first song is about to end and the scene change is still happening. It was really weird to have the music cut off short and then another song come on. Smooth transition for the ears would have been better.

Well-done over-all to the production company!

The Underpants

How do I start...
Well, ...back and forth, I guess:

Pro - The 80s music in pre, intermission, and post show...and scene changes...was awesome!!! And, they fit the show. In lyrics, most definitely! Props to Sound Designer Barbara Cole Uterhardt for her understanding of what needed to happen!

Con - Not really my kind of show. Humor-wise it was too much "in your face" like Benny Hill. Lots of sexual innuendo visually and verbally.

Pro - The audience, although small, loved it. It was funny, it was truly entertaining and it captured the audience's attention before the intermission.

Con - Versati, played by Antjuan Tobias Taylor, wore a suit that looked a wee bit big for him. The legs and the arms of the jacket made him look like a child wearing a "big man's suit."

Pro - Klinglehoff, played by David Klein, was the best thing in the play! From the time he popped in during Act I to the time he actually delivered lines to set his character, he was excellent. Very prompt, very straight-forward, very set and believable in all the chaos onstage. He was the "straight man" in all the tomfoolery.

Con - Usually, within the first, oh, 10-20 minutes of a show, you know the time period and the place and all the basic stuff. This time around, the setting was not quite clear. What time period was this? Where in the world were they? Only later on when one of the characters mentioned that it was Germany did the audience get that it was set in Germany. But when? 1800s? 1900s? The costumes didn't depict a lot, other than it might have been Victorian or later. And with a King instead of a Chancellor, that told us quite a bit. But that didn't happen until much later in the story.

Pro - The set was very, very believable and very well-proportioned. Many props to Set Designer Darrell Wofford (who also played Theo) for his work on reading and understanding the script and what was necessary to make the ease of movement on stage work for the actors.

Pro - Props to Costume Designer Toni Sunseri for the women's dresses. Very, very nicely done! Movement, color - everything!

Over-all, it was an entertaining show, but not sure if Steve Martin was trying to adapt something that would come off more Moliere than Benny Hill on stage. It would interesting to see what the original by Carl Sterheim would have looked like.

Jesus Christ Superstar Gospel

The Alliance has done it again. In a big way.
This show was phenomenal from start to finish. So let me start from the top:

The set design, graced to the audiences by Michael Yeargan, was a wonderful canvas of white, cream, and grey. The levels of the Alliance were used in surprising ways with, not only the stage, but the stairway built above it. The traditional wings were gone, replaced by space of hallways and panels. Much props to Mr. Yeargan for placing the band, conducted by Michael Mitchell, on the stage, up-stage center of the action. It helps for the actors to hear the music, the conductor to see the actors, and silent communication to commence for the show.

Great shows like this can only become "real" to the audience, if two things happen:
A. the designers have actually read the show, and
B. the designers have talked to each other.

And they did.

The "paint" for Michael Yeargan's "canvas" was created by lighting designer, Robert Wierzel. And may the heavens help me to see another one of his shows from the balcony level! Mr. Wierzel's lights danced on that stage and created every single mood for this show: sometimes adding very subtle hints and other times adding explosive colors and patterns. It was an amazing feast for the eyes as the actors told their story on stage.

And what a story they told! I know this story from Sunday School from the early days of St. Helen's. Granted, I knew nothing of the original musical, "Jesus Christ Superstar", but I let this play tell itself. By definition, it is truly a "musical": no dialogue, no monologues - everything told in song and dance and spirit. I was delighted to see the talents of Eugene Russell, Valerie Payton and Ms. Bernardine Mitchell on the stage. God bless working actors! The talented Ms. Nicole Long proved her worth with 'I Don't Know How to Love Him', but the song was a wee bit whiny. I would have enjoyed her pulling back just a tad on the elongated notes and continuing to let the emotion show. But her standing ovation was well deserved. Darius de Haas was exceptional as Jesus. He worked his entire body, mind and spirit for this role and did it justice. Eric Jordan Young was a powerhouse as Herod, with his dazzling costume and sly-pimp choreography: to the point, the man just didn't want to be bothered with Jesus! Destan Owens worked his set pieces very well as Pilate. He was the actor who introduced the audience to the moving staircase. His gentle, well-formed steps on and off the staircase let those of us who work in theater take a deep breath and know that he'll be ok. Darryl Jovan Williams played a Judas that will forevermore be hard to beat. The audience wanted to despise him so badly, and when he busted out in "Jesus Christ Superstar", the whole audience was with him, regardless of what he had done.

Much props to Paul Tazewell for his choice in costume design. It was, like Mr. Wierzel's work, a simple canvas: a cast of predominately black performers in white costumes against a marble background. And it worked marvelously. The dazzling colors of Herod in his bright purple and gold, contrasting to the black suit of Pilate and the deep, rich red colors of the priests helped to bring the story to its deeper meaning.

The opening of Act II with the Last Supper was so well-placed that it could be a painting all by itself. 'Gethesemane" would have brought the audience to their feet had there not been more numbers to follow. It was so incredibly moving that many tears were shed around me (minus the woman next to me who fell asleep during the softer songs all evening.) The crucifixion was an amazing combination of Mr. Yeargan, Mr. Wierzel and the actors all working together to let symbolization say the words that they couldn't express.

There is talk of this show going to Broadway. And why not? It has all the makings of a star-musical, as long as they keep the entire cast. This unit worked so well together - anything else would not have the same energy. It was a beautiful, religious and moving experience for a Sunday evening.