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.
Sunday, December 12, 2010
Saturday, May 1, 2010
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!
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!
Saturday, April 3, 2010
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!
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!
Saturday, February 27, 2010
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.
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.
Thursday, November 12, 2009
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 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.
Monday, October 12, 2009
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!
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!
Sunday, October 11, 2009
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.)
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.)
Friday, July 31, 2009
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 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..."
Monday, July 27, 2009
"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!
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!
Friday, June 12, 2009
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!
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!
Monday, February 9, 2009
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.
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.
Sunday, February 1, 2009
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.
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.
Friday, December 5, 2008
A Christmas Carol
Wow. And let me just say again, wow.
The Alliance Theatre has done it again. This was my first year seeing this well-talked-about performance and it did not disappoint. From the setting to the singing to the acting to the lights to the effects...everything told this timeless story perfectly.
Much props to Mr. Michael Fauss for his flawless musical direction. Everything was superb.
Elizabeth Wells Berkes was stunning as Belle, the love-interest of Scrooge. Je Nie Fleming was delightful with words and movement as Mrs. Cratchit. It was wonderful to see Bernardine Mitchell on stage with her melodious voice and comedic timing. She really did make the piece. Thomas Piper was absolutely believable as the young Mr. Scrooge. The audience could tell in his performance the change in temperament that Scrooge went through. Minka Wilt was a doll with her excellent soprano voice and character talent as Bess and in the ensemble. Neal A. Ghant was hysterical as Bob Cratchit. In particular was his side movement when Scrooge offered him triple his salary. It was subtle, but it was hysterical! David Howard was absolutely lovely as Topper and did lend his vocal talents very nicely to the ensemble. Chris Kayser, of course, my favorite actor in Atlanta, did a smashing job as Ebenezer Scrooge. All of the children were quite well-behaved in the production and very serious about their role and having fun.
All in all, the show as very entertaining. Much applause to D. Martyn Bookwalter for the set design. This wasn't an easy show to set and prop, but they have pulled it off very well. The fog effect for the spirits was never too much and added to the mystery of the show. The flying actors made everything believable and the pulley system for the entrances and exits was amazing.
Well done to them all and God Bless Them, everyone!
The Alliance Theatre has done it again. This was my first year seeing this well-talked-about performance and it did not disappoint. From the setting to the singing to the acting to the lights to the effects...everything told this timeless story perfectly.
Much props to Mr. Michael Fauss for his flawless musical direction. Everything was superb.
Elizabeth Wells Berkes was stunning as Belle, the love-interest of Scrooge. Je Nie Fleming was delightful with words and movement as Mrs. Cratchit. It was wonderful to see Bernardine Mitchell on stage with her melodious voice and comedic timing. She really did make the piece. Thomas Piper was absolutely believable as the young Mr. Scrooge. The audience could tell in his performance the change in temperament that Scrooge went through. Minka Wilt was a doll with her excellent soprano voice and character talent as Bess and in the ensemble. Neal A. Ghant was hysterical as Bob Cratchit. In particular was his side movement when Scrooge offered him triple his salary. It was subtle, but it was hysterical! David Howard was absolutely lovely as Topper and did lend his vocal talents very nicely to the ensemble. Chris Kayser, of course, my favorite actor in Atlanta, did a smashing job as Ebenezer Scrooge. All of the children were quite well-behaved in the production and very serious about their role and having fun.
All in all, the show as very entertaining. Much applause to D. Martyn Bookwalter for the set design. This wasn't an easy show to set and prop, but they have pulled it off very well. The fog effect for the spirits was never too much and added to the mystery of the show. The flying actors made everything believable and the pulley system for the entrances and exits was amazing.
Well done to them all and God Bless Them, everyone!
Friday, November 14, 2008
The Weir
You know...there's nothing like a bunch of guys sitting around telling stories. And I was reminded of this wonderful past-time tonight at Onstage Atlanta with their production of "The Weir."
Nicely directed by Barry West. The blocking had purpose, the stage business when the actors were not the focus was superb, and the characters were real. Most notably, Mr. Darrell Wolfford, portraying the fun-loving, drinking-several-guiness-per-show character named Jack. He definitely livened the bar scene. Very heart-felt stories by everyone on stage.
Oh, and props to Darrell for the set as well. But, then again, when does he ever create a set less than spectacular?
The story was most definitely chilling in both acts and captures the audience in the very beginning. And it's always interesting to note when the title of the play is mentioned, and it was mentioned in Act I by Finbar, played by Kent Igleheart. 'The Weir", if I'm not mistaken, being a place where the water was refined or treated. There was a picture of it on the wall. So my only question, with all the wonderful stories in the bar...
...why was the play called "The Weir"?
Nicely directed by Barry West. The blocking had purpose, the stage business when the actors were not the focus was superb, and the characters were real. Most notably, Mr. Darrell Wolfford, portraying the fun-loving, drinking-several-guiness-per-show character named Jack. He definitely livened the bar scene. Very heart-felt stories by everyone on stage.
Oh, and props to Darrell for the set as well. But, then again, when does he ever create a set less than spectacular?
The story was most definitely chilling in both acts and captures the audience in the very beginning. And it's always interesting to note when the title of the play is mentioned, and it was mentioned in Act I by Finbar, played by Kent Igleheart. 'The Weir", if I'm not mistaken, being a place where the water was refined or treated. There was a picture of it on the wall. So my only question, with all the wonderful stories in the bar...
...why was the play called "The Weir"?
Monday, July 14, 2008
Hedwig and the Angry Inch
I saw the phenomenon....and it was Hedwig. And I have been corrected from a past assumption: I thought it was "Angry Itch", but it's "Angry Inch." And after seeing Actor's Express' delightful show - I can understand why: It's a wee bit part of the story.
Craig Waldrip plays the interesting transvestite/male/female/with-an-attitude named Hedwig. Anything Craig's in will be fabulous because of his acting talent. This was no exception. It was energetic, he was focused, and he was memorable. Angela Motter played Yitzhak, her/his husband. I'm pleased to see that Angela is Equity, as her performance deserves that calibre. Her voice was astonishing and I look forward to www.angleamott er.com to check out her music. It was good to see Dan Bauman on the Bass as one of the Angry Inch. He is a true musician with his own band, Acres. It was good to see him in character as well keeping the comedy and the seriousness of being in a band and dealing with Hedwig from Germany all in one night.
Over-all the show was incredible, but the songs - I would have liked to have heard more of the lyrics. Perhaps sitting next to someone who was singing verbatim throughout the night as some of the patrons were doing might have helped. Not sure if the band was too loud of Craig wasn't clear....not sure. But My guests and I didn't get to enjoy the songs as much as we should have. Craig's German accent was pure, consistent, and wonderful to hear.
Props to Emily Gill for finding a red, flowing robe to match the red, stylish shoes in the latter part of the show! Well done, Emily!
All and all, it was a wonderful night of music and laughs, seriousness and change, as Hedwig sang with the Angry Inch. It entertained us all and I look forward to the CD.
Craig Waldrip plays the interesting transvestite/male/female/with-an-attitude named Hedwig. Anything Craig's in will be fabulous because of his acting talent. This was no exception. It was energetic, he was focused, and he was memorable. Angela Motter played Yitzhak, her/his husband. I'm pleased to see that Angela is Equity, as her performance deserves that calibre. Her voice was astonishing and I look forward to www.angleamott er.com to check out her music. It was good to see Dan Bauman on the Bass as one of the Angry Inch. He is a true musician with his own band, Acres. It was good to see him in character as well keeping the comedy and the seriousness of being in a band and dealing with Hedwig from Germany all in one night.
Over-all the show was incredible, but the songs - I would have liked to have heard more of the lyrics. Perhaps sitting next to someone who was singing verbatim throughout the night as some of the patrons were doing might have helped. Not sure if the band was too loud of Craig wasn't clear....not sure. But My guests and I didn't get to enjoy the songs as much as we should have. Craig's German accent was pure, consistent, and wonderful to hear.
Props to Emily Gill for finding a red, flowing robe to match the red, stylish shoes in the latter part of the show! Well done, Emily!
All and all, it was a wonderful night of music and laughs, seriousness and change, as Hedwig sang with the Angry Inch. It entertained us all and I look forward to the CD.
Sunday, June 8, 2008
Urinetown: The Musical
Wow! What a wonderful ride this musical was! Is! Always will be! Onstage Atlanta has done a wonderful job bringing back this well deserved, possible "cash cow", called "Urinetown." Brilliantly written, expertly directed, and talently cast, this production has mixed good humor and politics in a "not your Hollywood Ending" musical that will have people leaving the theater and quoting from the show for days!
Major props to the following: Googie Uterhardt for his portrayal of Office Lockstock, the narrator. But then, again, Googie brings humor and poise to every character he plays in Atlanta theater;
Joey Ellington for his character, Office Barrel: the make-up alone was scary enough to make the audience cringe, but that voice! How hysterical was the Barney Fife-like sounds that came out of his mouth! Not only that, he kept it consistent throughout the show!;
Robert Wayne as Caldwell B. Cladwell will always be superb with his money and power-hungry character;
Scott Shelton Ebert as Senator Fipp, much better in this role than his character in "Love Johnny" a while back at GSU;
Jay Tryall - wow! That singing voice! Jay has done quite well with his character, Mr. McQueen - the suck-up that follows whatever alliance won't get him killed;
Charlie Miller as Old Man Strong and Hot Blades Harry - reprising the roles was an excellent idea in his case, very funny, very direct and very consistent as well;
and Laine Binder as Little Becky Two-Shoes and Mrs. Millenium- the costumes on her were much more flattering than the costumes she had for "Anything Goes" at the Lyric. Props to the Costume Designer, Toni Sunseri, for realizing that this woman needed to shine.
Above all, major, major props to Richardo Aponte, for working his dancers, creating a wonderfully fluid world, and showing, again, that he is one of the most talented choreographers of our age. The blocking was very unique in this show, and that's all thanks to Mrs. Barbara Cole Uterhardt. She took the space, a much different set than the one from last run of this show, and helped the audience see, feel and experience the world these characters lived in. All in all, what a wonderful show to take yourself out of your own worries, and care about a whole new society that reflects current events.
OSA - you've done good!
Major props to the following: Googie Uterhardt for his portrayal of Office Lockstock, the narrator. But then, again, Googie brings humor and poise to every character he plays in Atlanta theater;
Joey Ellington for his character, Office Barrel: the make-up alone was scary enough to make the audience cringe, but that voice! How hysterical was the Barney Fife-like sounds that came out of his mouth! Not only that, he kept it consistent throughout the show!;
Robert Wayne as Caldwell B. Cladwell will always be superb with his money and power-hungry character;
Scott Shelton Ebert as Senator Fipp, much better in this role than his character in "Love Johnny" a while back at GSU;
Jay Tryall - wow! That singing voice! Jay has done quite well with his character, Mr. McQueen - the suck-up that follows whatever alliance won't get him killed;
Charlie Miller as Old Man Strong and Hot Blades Harry - reprising the roles was an excellent idea in his case, very funny, very direct and very consistent as well;
and Laine Binder as Little Becky Two-Shoes and Mrs. Millenium- the costumes on her were much more flattering than the costumes she had for "Anything Goes" at the Lyric. Props to the Costume Designer, Toni Sunseri, for realizing that this woman needed to shine.
Above all, major, major props to Richardo Aponte, for working his dancers, creating a wonderfully fluid world, and showing, again, that he is one of the most talented choreographers of our age. The blocking was very unique in this show, and that's all thanks to Mrs. Barbara Cole Uterhardt. She took the space, a much different set than the one from last run of this show, and helped the audience see, feel and experience the world these characters lived in. All in all, what a wonderful show to take yourself out of your own worries, and care about a whole new society that reflects current events.
OSA - you've done good!
Monday, May 26, 2008
Rosencrantz and Guildenstern are Dead
And what a title for it. Let me explain:
Let me point out that in seeing the show, I was exhausted from an 8+ hour day already so sleep was begging to hit. But the Shakespeare Tavern has a very "homey" appeal, very comfortable, very personable. The food is much better than it was years ago when I attended shows there.
"R&G", as I'll shorten the title of the show, was very long. 40 minutes for Act I, an hour for Act II and 40 minutes for Act III. Go Stoppard. The main actors, Mr. Nicholas Faircloth and Mr. Paul Hester were quite on their mark: interacting with guests, with each other, concerned about their plights and situations...everything actors should be. But The complaint is not in the actors themselves (make note that Mr. Drew Reeves was absolutely hilarious), the complaint is in the writing. It was boring. There were humorous parts, of course, but over-all I just wanted it to be a 2 hour play and be done with it. It was hard trying to focus on the plot, the main concern of the two protagonists, and God forbid that the players stood on stage and said nothing at all - that was the moment to close ones eyes and bid sleep to take them away until words engulfed the stage again.
Over all it was not the best night of theater, but the Tavern has done better work.
Let me point out that in seeing the show, I was exhausted from an 8+ hour day already so sleep was begging to hit. But the Shakespeare Tavern has a very "homey" appeal, very comfortable, very personable. The food is much better than it was years ago when I attended shows there.
"R&G", as I'll shorten the title of the show, was very long. 40 minutes for Act I, an hour for Act II and 40 minutes for Act III. Go Stoppard. The main actors, Mr. Nicholas Faircloth and Mr. Paul Hester were quite on their mark: interacting with guests, with each other, concerned about their plights and situations...everything actors should be. But The complaint is not in the actors themselves (make note that Mr. Drew Reeves was absolutely hilarious), the complaint is in the writing. It was boring. There were humorous parts, of course, but over-all I just wanted it to be a 2 hour play and be done with it. It was hard trying to focus on the plot, the main concern of the two protagonists, and God forbid that the players stood on stage and said nothing at all - that was the moment to close ones eyes and bid sleep to take them away until words engulfed the stage again.
Over all it was not the best night of theater, but the Tavern has done better work.
Wednesday, May 7, 2008
Perfect Arrangement
Why in the world would anyone be truly surprised by anything Topher writes? Well, it just happens. One is never left un-satisfied from his shows. "Perfect Arrangement" is no exception. Directed by the bright and delightfully talented Barbara Cole-Uterhardt, this twisted story of two couples, an old college fling and working for "the man" leaves the audience on the edge of their seats by the middle of Act I. Granted, the show lasted close to 2 and 1/2 hours - but the time flies! The story tells of two married couples living next door to one another and sharing a door to each other's livingrooms. The husbands are really married to each other and the women are really married to each other. The wonderful fake smiles they put on when company is around is so Donna Reed it's sticky-sweet. And absolutely hilarious. But when a college fling enters in the mix and threatens to reveal the "Perfect Arrangement" - oh, that's where everything gets good! Topher's plots are always delicious to watch and heart-felt to learn about. He always mixes romance and humor and serious topics of the gay community into one lump sum. The stakes were high, every player was involved, the characters were real and the audience actually cared about them - it was perfect for any Drama class anywhere in the world! Sound Designers could learn something from Ms. Cole-Uterhardt's mix of old-time commercials during the brief scene changes. The jingles and commercials were just the right touch to catch the audience and keep them in the time of the story. The set was simple and Topher used everything sparingly and necessarily. Norma Baxter, played by Amanda Renee Baker, was divine in her costume changes as was Barbara Grant, played by Amanda Cucher. Props to Costume Designer Jane Kroessig for the gorgeous dresses, jewelry, and making sure the ladies knew how to sit and how to hold those hand-bags! Girls were different back then!
This story really needs to be on Broadway. Or in the West End. Or in Berlin. It needs to be performed around the world. Now, granted, it would shock the heck out of "conservative Middle-Class America" - but maybe they need to be shook up a bit!
This story really needs to be on Broadway. Or in the West End. Or in Berlin. It needs to be performed around the world. Now, granted, it would shock the heck out of "conservative Middle-Class America" - but maybe they need to be shook up a bit!
Tuesday, May 6, 2008
Anything Goes
The Lyric has done very, very well. The show, "Anything Goes", was performed at the Ferst Center for the Arts and artfully done. Parking was easy, the walk to the theater was very pleasant, the lobby is much to be desired with it's curves and turns, but oh...that theater. Wow. Not a bad seat in the house. And with a set so masterfully designed by Drew Monahan. Lighting and set definitely talked to one another on this one. Costume Designer, Joey Ellington, did a great job setting the glamorous 1930s. And "hot-damn" the choreography! You can always tell a Jen MacQueen show! She works her actors just like Mr. Aponte! Well-done to Jen, as usual!
Now, the show itself, as far as storyline and song...the music was cleaver, and there were some great songs in it, but the relationships were something else. This is coming from someone who has never seen "Anything Goes" before and speaking as a pure audience member - I didn't get the relationship between Reno, played lovingly by Shea Johnson, and Billy Crocker, played by Joe Swaney, or Reno's relationship (or past) with Moonface Martin, played by Alan Kilpatrick. Was Billy really seeing Reno in Act I before getting on the ship? Were they just playing around as pals? What about Reno and Moonface? They talked briefly about the past in the beginning of the song "Friendship" but - so what was the history? Did the original writers say what it was? Movement-wise, Reno was a bit stiff at times and some notes here and there in different songs were questionable, but she was quite a believable "gal." The sailor quartet was so wonderful to my ears! Oh my goodness, the tones in those boys voices! I could hear their CD of Christmas music all year long if they made one! Didn't really get Billy and Hope Harcourt, played by Laura Floyd. They evidently romantically involved at one point, but where does the other engagement come in? What time had passed between them loving each other and her being with someone else? There was so much I wanted to know.
Best songs in the show: "Friendship" - fun with all the bells and whistles, including the fun choreography. - "There'll Always Be a Lady Fair" - ah the tones of the Sailors Quartet. - "Public Enemy Number One" with the Captain, Purser & Chorus - just a lot of fun and so obscure that it was enjoyable. - "Be Like the Blue Bird" was funny, sung by Moonface Martin. Act 2 showed a lot of Alan Kilpatrick's comedic timing and I seriously could watch him in any show anywhere in the world.
So all and all, not a wasted evening. And with that set and the 30 actors, may they bring this delight back again either next year or the year after to delight the crowd!
Now, the show itself, as far as storyline and song...the music was cleaver, and there were some great songs in it, but the relationships were something else. This is coming from someone who has never seen "Anything Goes" before and speaking as a pure audience member - I didn't get the relationship between Reno, played lovingly by Shea Johnson, and Billy Crocker, played by Joe Swaney, or Reno's relationship (or past) with Moonface Martin, played by Alan Kilpatrick. Was Billy really seeing Reno in Act I before getting on the ship? Were they just playing around as pals? What about Reno and Moonface? They talked briefly about the past in the beginning of the song "Friendship" but - so what was the history? Did the original writers say what it was? Movement-wise, Reno was a bit stiff at times and some notes here and there in different songs were questionable, but she was quite a believable "gal." The sailor quartet was so wonderful to my ears! Oh my goodness, the tones in those boys voices! I could hear their CD of Christmas music all year long if they made one! Didn't really get Billy and Hope Harcourt, played by Laura Floyd. They evidently romantically involved at one point, but where does the other engagement come in? What time had passed between them loving each other and her being with someone else? There was so much I wanted to know.
Best songs in the show: "Friendship" - fun with all the bells and whistles, including the fun choreography. - "There'll Always Be a Lady Fair" - ah the tones of the Sailors Quartet. - "Public Enemy Number One" with the Captain, Purser & Chorus - just a lot of fun and so obscure that it was enjoyable. - "Be Like the Blue Bird" was funny, sung by Moonface Martin. Act 2 showed a lot of Alan Kilpatrick's comedic timing and I seriously could watch him in any show anywhere in the world.
So all and all, not a wasted evening. And with that set and the 30 actors, may they bring this delight back again either next year or the year after to delight the crowd!
Saturday, April 26, 2008
Barbary Allen
In a word: wonderful. This play directed by Jim Hammond and produced at the Gainesville Theatre Alliance is, in a word, "wonderful." It was wonderfully directed and staged, the lighting designer and set designer obviously talked to one another and it was wonderfully written by Gay H. Hammond. The story is of a young girl, Barbary Allen, and the love of a man, Matthew MacTier, and all the Mountain-folk that live their lives around them. Then comes the stranger from the city - Nate Cullen. He just stirs up so much with these folks. But I tell you - the story flows and the hour and 55 minutes goes by so fast on this one! And props to the Stage Manager, Mallory London, for running a tight ship and making sure that intermission was exactly 12 minutes long. Well done to London and the House Managers. This theater has a wonderful season coming up in the fall - it's not one to be missed.
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