the nashville theatre lost and found
SUMMER
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WINTER
2007 reviews
"The Garden or The Forest?"
Bad Apples
Oracle Productions
11 July, 2007
When I was a child, my father used to sit me in his lap and read story after story to me from our leather-bound collection of Mother Goose and fairytales. As each page turned, a new lesson was learned and I fell in love with handsome princes, fell down rabbit holes chasing after Alice, and wandered through haunted forests, hoping to find seven little dwarves who would teach me how to whistle. Magical moments from childhood.
How I miss the innocence of those times, sitting with my father, letting my imagination run free as I’d drift off to sleep; visions of sugarplums dancing in my head.
Recently I stumbled upon an advert. "Bad Apples: an original fairytale by Scott Crain". Intrigued, I planned a Saturday night adventure to Neverland right here in Nashville.
I take my seat in the third row. The theater is quite cold, and I wish I had known to bring a sweater or a quilt! The curtains are drawn, and darkness rises into a picture of lighted halos circling ‘round a peppermint chimney and a gumdrop trimmed gingerbread house. Frosting and over-sized sprinkles decorate the roof while giant; peppermint columns stand guard at the chocolate door. Tiny whispers and deepened breaths are heard throughout the darkened theater as the audience retreats into a magical fairytale of a runaway princess bride, Hansel & Gretel, creatures from a fantasy world, fairies from the Winter Mountains, and a singing dwarf who brings malevolent mischief throughout the land.
Lauren Atkins portrays “Zora Greenleaf”, the protagonist and heroine of this story. She’s somewhat of a “Bad Apple” herself, but we fall in love with her persistence as she stumbles through the front door of the gingerbread house in a medieval wedding dress, wearing a single glass slipper, and she spends the opening scene interrogating Hansel & Gretel of the whereabouts of her absent mother. Lauren has impeccable comedic timing, yet a distinct flare for the dramatic.
Tony Wakefield plays “Fitzwidget”, a wandering minstrel, and truly encapsulates the magic associated with mythological creatures - such as a wide-eyed, mischievous dwarf. He lights up the stage with his presence and brings a heightened energy each time he steps into the spotlight. Erin O’Barr’s performance as “Hagatha” (Zora’s mother and somewhat crazy apothecary who is deemed an evil witch on the account of Hansel & Gretel) gives an accurate portrayal of the witch most children fear throughout their childhood years. Phil Brady kept me laughing as he successfully took on a character who is half boar, half human – a protector of the king’s men, a Razorback Guard – and Ara Vito helps us remember the innocent banter of a brother/sister rivalry as she pulls off innocent sarcasm while poking fun at her brother who is constantly nibbling the house.
To get lost in a fairytale and forget about a life so heavily laden with duties and grown-up responsibilities is a wonderful way to spend an evening amidst such a hectic whirlwind of a world in which we live. If you take some time to put down your evening chores and forget about tomorrow’s woes, you can let the magic entrance your heart as you venture into the fantasy world of Bad Apples at the Shamblin Theatre.
TRUDY'S TRUTH IN THEATRE:
There are many things to take home from this delightful story, but there was one line in particular that stood out in my memory. Hagatha tells a story of a kingdom which has lost everything, its flowers, its colour, and life which is draining out of the world. She reminds us of a choice that each person must make throughout their life. You can “choose to live in a dark forest instead of a beautiful garden” but “terrible things are stored up for those who refuse to be happy.”
One can choose? Oh yes, it is my life, isn't it? Fairytales do tell the truth, in jest or in tragedy. And the truth of Bad Apples happens to all of us at one time or another. I nodded and smiled at this reminder, and tucked it away for later, for that moment I am at a crossroads, trying to decide between the garden and the forest.
I think I should make my decision now.
"All In This Together"
High School Musical
Circle Players
22 July, 2007
"All our dreams have no limitations; that's what it's all about . . . " It began as a random Disney TV Movie and quickly became a cult following, this young generation’s Grease. Teens can’t stop themselves from singing the catchy music; some even memorize the choreography from the movie. No, there is not much one can say about High School Musical that hasn’t already been said, but I’m going to do it anyway, for the purpose of a point.
1. “It’s stupid.”
2. “I felt silly for watching it.”
3. “It’s cheesy.”
4. “It is kinda like Saved by the Bell on crack.
Oh, yes, they are all true. And yes, I did make up the fourth one; I've seen enough American TV to say it. And . . . . even Nashville’s own Circle Players’ rendition made sure to hit all four! But that doesn’t mean one shouldn’t see it. Oh no; buy your tickets for the last weekend. Those reasons above made me want to see it.
Sara Youngblood-Ochoa and husband, Jose, should be dubbed the Dream Team of Nashville Community Theatre. With their extensive theatre experience combined, Sara’s tight direction and Jose’s complicated, brilliant choreography choices made this a show in which one would be hard-pressed to frown. Now, if you go expecting out-of-this-world talent, you won’t get it. There are a few jewels that shine brightly above the rest – Taylor Casey, Chris Campbell, Tosha Schmidt, Molly Hoekstra and Rachel Carrozziere. Some of their stage choices were clever and cute; the “adorability” factor was clearly evident and they are all very talented actors and/or singers. But the handful of talent didn’t carry the show; the Dream Team did.
What do you get when you take a bunch of energetic teenagers, go through an audition process for community theatre, hoist them into one space, and then attempt to put on a show bigger than the talent that is in it? Well, you usually get an awful mess of forced acting and a whole lot less than the bang-up, romping, production I saw. Sure, I contorted my face a bit at some desperate gasps for that high note which may still be hiding out behind a light in the catwalk at The Looby Theatre, there were multiple times I couldn’t hear the dialogue at all (though I did hear some from backstage!), and I did see some terribly obvious references to one Will & Grace character, but thanks to Sara’s direction choices for her clearly well-lead team of younguns and Jose’s ingenious and thankfully original choreography, and Thom Garrison's musical guidance, I left with an ear-to-ear smile. I honestly couldn’t believe they pulled it off. I'm still giggling about the hip-hop girl.
And folks, if you wished Disney had cut the sexual tension and let them snog in the movie . . . well . . . I'm not telling.
TRUDY'S TRUTH IN THEATRE:
Is there a moment like this in a shallow show about jocks, scallies, brainiacs, cheerleaders, thespians and skaters?Absolutely. With a brief hello to the two adults in the show, being a good theatre director OR being a high-quality basketball coach means that leader is concerned with creating an environment for learning, development, exploration, and discovery
There is no way Sara and Jose could have pulled this off without bringing a strong vision to the table, even if it is about a cheesy musical. When you’re coaching someone, you are guiding him or her to do things in a different and new way. It appeared to me, theDream Team did just that. The musical was not done like it was in the movie, the characters were not copies of the firsts, and the dance numbers were completely imaginative - though I did glimpse some creative nods to Bob Fosse, which were well-crafted, brief and appropriate. What impressed me most of all, was that it was very clear the kids were enjoying themselves and truly believed they were, pardon the reference, I can’t help myself, all in this together. If you don't believe me, wait around for the "big ending" following the curtain call; the energy was off the charts!
If your dreams have no limitations . . .
Who is Your Hannah Mae?
A Coupla White Chicks Sitting Around Talking
Lakewood Theatre Company
13 August, 2007
What do you get when you put two stellar actors on a tiny community theatre stage with a low show budget and dreadful press? You get A Coupla White Chicks Sitting around Talking at Lakewood Theatre.
This little theatre created a wonderful set around their minimal space. Maude’s living room was eye candy for my weary Sunday afternoon drowsies. But the set was put to shame by the actors set upon it. Elizabeth Hayes (Maude) and Lauren Atkins (Hannah Mae) gave new life to this old off Broadway success; they were bright stars that far outweighed their surroundings. Not only did these gals have a superb chemistry, their individual comic timing was spot on. The cat fight in the living room certainly didn’t seem choreographed and I thought I was going to lose my mind giggling as Hannah Mae contorted her body while standing on the couch and came very near humping the wall. With no offense meant to their director, Joel Meriwether, the performances were so creative yet solid, I felt almost certain the girls may be the ones who truly directed the show! Yes, that was a compliment. The comedy concert these ladies delivered deserves a loud applause and much better PR from their supporting theatre.
Trudy's Truth in Theatre:
I say again, this blog is not primarily about reviews. It is about truth in theatre. About finding the moments where the actors rise above the stage and scream something inaudible to the audience that makes our insides jump with surprise. That moment for me came at the very end of the show, when Maude, weeping in her living room, retells the entire emotion of the play. No, she doesn’t say a word; she just cries. And these well-rehearsed, yet very natural, tears recap the fear she has hidden, the wounds from a wayward husband, the realization that her new hick friend wasn’t as clueless as she had assumed, and the ensuing friendship that surprised and comforted her. Through Maude’s first tears and Hannah Mae’s pestering charm, the audience can understand clearly why Ralph Waldo Emerson said that “the glory of friendship is not the outstretched hand, nor the kindly smile, nor the joy of companionship; it is the spiritual inspiration that comes to one when he discovers that someone believes in him and is willing to trust him with his friendship.” Ms. Atkins and Ms. Hayes created a space that elucidates his words. I walked out with a grin, picked up my cell phone . . . and dialed my own Hannah Mae to say thanks.
“Are you God, Mr. McMurphy?”
One Flew Over the Cuckoo's Nest
Street Theatre Company
14 August, 2007
My goal as a theatre critic/reviewer is to watch and listen – and to find those precious moments in theatre when truth is portrayed, when the human condition is brought to light in profound ways, and to hear the author’s intended message.
Last weekend, Street Theatre Company, through an exceptional production of One Flew over the Cuckoo’s Nest, challenged me to think differently today. Why? Because the entire show transcended the bonds of a simple theater building and lifted its viewers to a higher place; but not so high that we couldn’t distinguish a sad reality with our birds’ eye view. There were many “moments,” and some of the subtle stage choices made my jaw drop from how gently, but clearly they called for reflection.
To begin, I would like to throw a big thank you toward Shane Bridges, who does not, by any means, try to reproduce yet another copy of the award-winning movie actor. It is a relief to see someone so confident and believable in this role that is not simply mimicking a famous bigshot. Even Shane’s wily, but charming laugh is original in his portrayal of the self-destructive, yet compassionate and insightful Randle P. McMurphy. Kay Ayers-Sowell makes me loathe Nurse Ratched in an entirely different way than in other productions this show (Kay’s perfectly patronizing looks and false benevolence made my eyes cross). Not many characters entice me to want to march up on stage myself and say, “Excuse me, ma’am, but can I also have a go at ripping your uniform?” One word that comes to mind to explicate Jerry Sanders’ portrayal of quiet Chief Bromden is nobility. He is a strong, stately man, who well-depicts Bromden’s fierce inner battle to be bigger. His gentle monologues powerfully illustrate that struggle as he wonders why he hears things he hasn’t heard in a long time, and the audience can clearly see that what he is hearing anew is opening up that path to “bigness.” This is not only the author’s intended aim, but the actor’s success. And folks, brace yourselves, Elijah Die’s Billy Bibbitt will break your heart. This sweet, but suicidal virgin is adorable and perceptive; even the laughter that follows his exclamation that his first word, “Mama” was a stutter, peppers the audience with its bittersweet echo that she is the origin of his lifelong difficulties. And now too is the “Big Nurse.” As McMurphy says, “Sometimes ya gotta laugh when things ain’t funny.”
The rest of the patients are simply remarkable. Watch every one of them carefully. Brad Oxnam, Clay Hilwig, Lane Wright, Alex Murray, and even catatonic Drew Phillips were men fighting their own confidential conflicts that manifested themselves in ticks and delusions and screams and denial. It isn’t easy to maintain a tick for two hours; these men are actors extraordinaire. All of the aids and the doctor were very solid characters, well-done portrayals of rats trapped in Ratched’s manipulative monarchy maze. Now, I must say, although I liked the prostitutes, I wouldn’t have known they were hookers had I not known the show. Though modesty does not a call-girl make, I did so enjoy their energy.
TRUDY'S TRUTH IN THEATRE:
There were many moments that either twisted my heart, made me gasp, or laugh at my own humanity. And it is not just the show; it is Street’s show, and the way it was reproduced. I will end with one small, but honest example; I trust you will find the others. McMurphy is arguing with Patient Harding, while quietly but obviously, Bibbitt and Martini play games behind them. At Harding’s defining, and quite humourous, moment of realization that he is being manipulated, one of the game players tips the dominoes behind them and they all fall down – not too obviously, but just enough for an exclamation point. Brilliant. Some viewers may not catch it; but such is the way of most exploitation.
Maybe you can perceive current situations emotionally, politically, globally, personally . . . circumstances where you see manipulation, false strength, emasculation, or dehumanization. Maybe you know someone who acts like “an angel of mercy” while at the same time shame people into compliance; someone who knows weak spots and exactly where to peck.
I read the "theatre quote" for August (top right) and thought how appropriate for this show. Maybe our challenge as human beings, if “all the world is a stage,” is to find a way to expose, to rip open the uniform of control and hypocrisy. Theatre is one way to do this. However, according to Street’s production, divulging those double standards could come at the risk of ending up somewhere dark – or somewhere over the rainbow. Is it worth that risk to find out? I do believe that, if people really matter to us in this mad, mad world, it is.
Are you God, Mr. McMurphy?
I Used to Strip for Money
Gypsy
Shalom Theatre at Gordon JCC
19 August, 2007
Made you look.
So, my poor boyfriend is waiting in my living room for a night at the movies and I say, “How about a show at the Jewish Community Center instead?” Knowing his reaction, I smile, “It’s a musical.” On cue, his shoulders slump, his head droops, and he sighs painfully, “What is it about?” I reply, “It’s about strippers.” Raising one enigmatic eyebrow, he says, “I’ll get my keys.”
Shalom Theater’s production of Gypsy was a delightful romp from start to finish. With a cast of 25 (including the dog), numerous set changes, and wardrobe requirements that would make even the heartiest costumer weep, this show was an immense undertaking. Yet the cast and crew were equal to the task. My only regrets – and they are slight - were that the stage was a little too dark at times (due to the number of lights available, not the placement), and a few singers had trouble carrying some notes over the band. Hopefully with the crowds they generated this weekend and next weekend as well, they will be able to add just a bit to their technical budget for the next show . . . which wasn't in the program. Anyone want to send me that information?
Every performer, young to old, was on the mark, full of energy and committed to the role. Those with multiple roles showed satisfying diversity, whether they were on stage for five minutes or five seconds. On the leading performers, they were very natural, believable, and enjoyable to watch. Cori Najarian’s blossoming transformation from mousy, insecure Louise to sexy starlet Gypsy Rose Lee. David Arnholter’s portrayal of the codependent Herbie, and his painful but noble declaration of independence. And of course, there were the strippers, whose performance of “Gotta Get a Gimmick” had the audience grinning with every bump and grind, and had my boyfriend waving dollar bills at them from his seat.
But the story isn’t about strippers, nor even about Gypsy herself. It’s about Mama Rose, whose indomitable spirit can conquer the world, yet she can’t keep the people she loves from leaving her. No question: this is a difficult role. You have to have a strong voice, a great memory, coordination, comedic and dramatic timing, and the ability to display about four different emotions at once. To say that Lynda Cameron Bayer is a “seasoned” or “experienced” actor is true, but trite. For two and a half hours, I watched this formidable woman command the stage with every step she took, and I truly forgot until the curtain call that she was not really Mama Rose. Lynda is one artist who really knows what she is doing. And it is evident that she loves it.
TRUDY'S TRUTH IN THEATRE:
Here’s the snippet of truth I found as I watched the last argument between Gypsy and Mama Rose, each vying for control. Every actor is a little bit of a Louise sometimes. You feel scared, awkward, pushed out of your comfort zone, not knowing if you will be noticed at all, or if you might as well be wearing the front end of a cow. And you have no idea how beautiful you are. But every actor is also a bit of a Mama Rose. You keep going, no matter what happens. You fight, you sacrifice, you take what you get and you go for more. Why? Because you must. Perhaps it is this struggle between your “Inner Louise and Mama Rose” that keeps audiences coming back for more. That makes your performances compelling and powerful. That makes them real.
Smoke Signals from Highway 100
Smoke on the Mountain
Chaffin's Barn Dinner Theatre
20 August, 2007
For the second time, Chaffin's Barn Dinner Theatre has revived the by-now regional classic production of Alan Bailey's Smoke on the Mountain. This much beloved show was last performed at the Barn in 2005, and the current revival is clear indication that producer John Chaffin has made a wise programming decision.
Briefly, SMOKE follows the happenings on the very first Saturday night sing-along at the "progressive" Mount Pleasant Baptist Church in North Carolina. (Well, the church does have a new light bulb to illuminate the sanctuary after all!) Through the course of the evening, we meet the featured entertainers of the night, the Sanctified Sander's Family Singers, and the audience is swept along with the strains of gospel music and sweetly rendered testimonials.
What truly distinguishes SMOKE, and gives the show its undeniable charm, is its underlying sincerity and simplicity. The stories of the various characters hearken the audience back to simpler times, filled with simpler pleasures. The awe of a motion picture show, the sweet tang of lemonade, the rapturous delight of listening to sweetly played music. To this end, Director Martha Wilkinson has deftly cast a superb company of players that stay true to the heart of their characters and thus the soul of the piece. That several in the cast distinguish themselves as highly adept musicians as well is undoubtedly a welcome bonus.
Several performers return to this production from the 2005 version. Anchoring the show are Barn stalwarts Adam Burnett and Daron Bruce. Burnett's Reverend Oglethorpe captures the very essence of the newly hired pastor, reaching out to embrace new ideas and ways while simultaneously sweating over the firm-set opinions and notions of the flock. Clearly an audience favourite, Burnett sometimes inadvertently veers into Don Knott-ish territory, but thankfully, he never takes that one step too far into caricature. Likewise, Bruce, easily and winningly inhabits the character of family patriarch Burl, while also providing a solid piano accompaniment for the singing. This is easily ranks as one of Bruce's best performances to date.
Also returning to this show are Amanda Lamb as Vera Sanders and Andrew Turner as Dennis. Lamb's portrayal of the quintessential doting, high-minded mother is priceless, her confidence and poise belying her unmistakably tender years. It's an obvious quibble to be sure, but luckily for Lamb she has all the proper ingredients in place now. One can only imagine how a little seasoning will improve her characterization in the future. Turner is the whirlwind in this show, playing fiddle, guitar, and mandolin (amoung other instruments), while also providing a sweet portrayal of twin brother Dennis. ("He's the boy!") Anyone who has had to speak before a crowd for the first time will easily and hilariously relate to Turner's "sermonette" in Act One.
Strongly rounding out this wonderful cast are Patrick Waller, Jaclyn Brown, and Keri Pisapia. Eschewing his normal young lead persona, Waller here plays Burl's brother Stanley with a strong and sometimes haunted fervor. His quiet, yet powerful revelation of Stanley's recent past in Act Two is an acting highlight of this particular production. Brown, as the other twin sibling Denise, sings with passion and clarity while also delivering with a slightly devilish, gleam-in-the-eye delight her character's monologue about traveling to Charlotte for a Gone with the Wind audition. Similarly, Pisapia engagingly plays "signing" Sister June to the hilt with a goofy and wide-eyed charm, revealing once more within her show closing testimonial the inherent charm and subtle power of Bailey's words throughout the piece.
Wilkinson properly and capably stages the proceedings with efficiency within the somewhat confined space that nearly a dozen musical instruments will allow. She notches up the comedy somewhat with this production but never allows the hilarity to undercut the sincere heart of the show. Special kudos must go out to Musical Director Timothy Fudge, whose work here is at times is beyond marvelous. From the beginning notes of the evening to the final strains of "I'll Fly Away" and "When the Roll is Called up Yonder", Fudge has skillfully blended this immensely talented company to capture musical heights of glory.
For any other show, a span of two years might seem a little too soon to consider such a re-mounting effort. But with the touchingly nostalgic content of the piece and the fun-filled and stellar performances given here, two years almost seems too long a wait. SMOKE ON THE MOUNTAIN runs until August 26th.
TRUDY'S TRUTH IN THEATRE:
The first time I went to see Smoke on the Mountain, I walked into a little theater that looked like an old time church and there was a pleasant little old lady that was playing hymns on the piano for the pre-show. Well, my friend looked at me, horrified. She is Catholic and here I was leading her into what looked like a Baptist Revival. I just said, "Trust me. You'll love it." She did! She hooted and cackled the entire time. This show is hard to explain . . . every time I try to enlighten people they are still surprised when they see it. One may find it challenging to find a gem in a show that has been produced so often in Nashville, Tennessee, the buckle of the Bible Belt. However, in this production, as I sat a “member” of the congregation I felt moved to sing along.
You see, my grandmother used to force us to stand and sing around the piano, generating a “moment” that wasn’t really a moment for anyone but her. Oh, she would sing at the top of her lungs; she could play the piano, but her voice was horrific, I promise you. None of us could wait for it to end. But that night at Chaffin’s Barn, my grandmother long gone, I craved those moments and thought how very comforting it would be to hear her crackled voice.
The Bayou is Mine Oyster
The Merry Wives of Windsor
Nashville Shakespeare Festival
27 August, 2007
The Nashville Shakespeare Festival opened their 20th season in rollicking fashion last week, presenting a sassy, Mardi Gras-flavoured take on The Merry Wives of Windsor. This annual highlight of Nashville's theatrical season is given a spirited, if somewhat uneven, treatment by a very gifted company of players.
The main storyline of MERRY WIVES concerns the gulling of the lascivious and bombastic knight, Sir John Falstaff by the aforementioned "merry" wives, Mistresses Page and Ford. Along the way, several other subplots are explored as well, including the wooing of Anne Page by a colourful variety of suitors and the oft-times apoplectic (and hilarious) jealous rages of Master Ford. Above it all, the frivolous and confusing nature of love is examined in all its whimsical and varied forms, from glimpses of young love to unrequited love, from lusty love to, of course, the maddening pangs of jealous love. While the show is roundly acknowledged as not being as lushly rich in romance as Love’s Labours Lost or with the over-all comedic depth of Twelfth Night, MERRY WIVES still manages to transport its viewers to another realm. And with the added flavour of 1940's New Orleans, that realm is an interesting and spicy place indeed.
Brenda Sparks helms the Director's chair this summer and puts her company through their paces in a brisk, almost break-neck fashion. She stages the sometimes problematic proceedings with a strong and very effective eye towards the physical, although occasionally giving us in the audience almost too much extraneous action to view at one sitting. Still, she manages to keep the various story lines cracking and bubbling while never letting the physical comedy she has instilled waver, no mean feat when you consider the current temperatures embroiling the city.
Thomas Ward takes on the role of the bullying Falstaff with gusty aplomb, capturing both the character's pomposity and his eventual comeuppance with equal alacrity. Ward physically fits Falstaff to a "t" but stumbles somewhat on giving us Sir John's rude and often over-bearing treatment of the other citizens of Windsor in the beginning of the show, an additional character aspect that would make his eventual downfall at play's end all the more satisfying. That said however, his angrily ruffled musings after being thrown into the river with a disgusting pile of laundry and his none-too-subtle wooing of Mistress Ford more than make up for any shortcomings.
The major plus in this year's production centers around an immensely talented triumvirate of some of Nashville's finest actresses. The superbly gifted Rona Carter plays Mistress Ford with gusto and a delightfully offbeat charm. Notably, her comic discomfort in the wooing scenes with Falstaff is delivered with exquisite and hilarious angst. Likewise, Festival veteran and company Artistic Director Denice Hicks gives one of her most appealing stage turns to date as the oh-so-beautifully coiffed Mistress Page. She plays this Windsor maven with a knowing gleam in her eye and a winning smile on her face, all the while setting up the errant knight for his fall with craftily feigned innocence. Rounding out this outstanding trio is the delightful whirlwind Nan Gurley as the ever-running, ever-plotting, ever-scheming Mistress Quickly. Add to that the fact that Festival audiences get to hear Carter and Gurley open their collectively magnificent pipes in song, and you get a fine evening's worth of entertainment indeed.
Not to be outdone, the men of this production make their significant contributions as well. Randall Lancaster's Master Ford comes across as the prototypical jealous husband when being baited by Falstaff's torturous taunts, ranting with wrongheadedly overwrought passion and turning his household upside down with an almost maniacal glee. Another Festival veteran, Matt Carlton, winningly and easily gives us a very laid back yet very life-loving Master Page. Pete Vann (Doctor Caius) proves to be the physical wonder of the evening, literally and energetically bounding across the vast stage as the amusingly hot-headed French physician and suitor to Page's daughter Anne. Rounding out the crew is Jon Royal's Host, an engagingly conniving and mischievous imp sparking many of the plot points of the show.
Less successful are the normally reliable Sam Whited and Herb Parker. Whited's Sir Hugh Evans, while a delightfully comedic physical presence during his scenes with Vann, is seemingly fettered by trying to sustain an understandably difficult Welsh dialect while also keeping up with the lightning-quick pacing demands of the show, leaving his words almost unintelligible at times. Likewise, Parker as Justice Shallow sadly offers little to distinguish himself above the pedestrian in this production. The remaining characters of this piece are fleshed out by this year's Apprentice Company members, distinguished here by Brad Burn's turn as the brash young romantic Master Fenton, Anna Millard's winsome Anne Page, and Zach McCann's delightfully geeky and flustered Slender. (Look for many of these same amazing young actors to further delight audiences in the Festival's co-production of Two Gentlemen of Verona.)
Technically, the Festival's capacities seem to wonderfully grow year by year. Scott Boyd's evocative and impressively majestic set is a wonder of pastel splendor and French Quarter charm, though its placement on the Centennial Park band shell seems to somewhat limit the available playing space for the actors. Similarly, while the main setting seems almost overwhelming at times, the side setting of the Host's Garter Inn seems woefully underdone and frightfully small given the number of actors that have to eventually inhabit the space. The motley costuming by Arlita Ellis is masterfully done and a wonderful visual treat from top to bottom, highlighted by the purple zoot suit worn by the Host and the matching lilac ensembles of Shallow and Slender. The lights of Anne Willingham are effectively workmanlike in their design, coming across the best in Act Two's marvelously imagined and executed forest scene.
Tom McBryde, creator of the memorable sound scape for last season's Macbeth, returns in fine style this year, adding just the right amount of jazz-influenced flourishes to properly evoke the mood of this bayou Windsor. Along the same line, NSF is indeed fortunate to once again have Patrick Lake undertaking the daunting and almost Herculean task of getting the acting troupe heard above the noisy din coming from around and even above the park.
While the celebration of NSF's 20th season is not necessarily headlined by the cream of the playwright's canon, it still remains the seminal theatrical offering of the year in the city. When talking about the Festival, the "event" aspect should never be overlooked or under emphasized. Families which may not see theatre at any other time in the year come to the summer Shakespeare eager to breathe in the communal atmosphere and share in the language of the Bard. With this production of MERRY WIVES, audiences will get to delight in a great deal of fun and fast-paced comedy delivered by some of the region's finest actors as well.
TRUDY'S TRUTH IN THEATRE:
Each human being may, at one time in life, be on all too familiar terms with someone to whom they have given their friendship, their trust, and so often their love, only to be later convinced otherwise that trust, friendship, or love was never their true intent. Should we then, by looking at the situation comically, as did Shakespeare, be inspired to turn the tables on that kind of betrayal with a low-down plot as rebuttal? Do we desire that an entire community come together to insult and berate the person who humiliated us? Incredibly tempting, but no. While watching this upbeat and uproarious rendition, I was also reminded that those schemes actually came to nothing. What truly succeeds in Shakespeare’s/Spark’s play is the victory of true love over thin, selfish values. Knowing real love, not simply romance, is something that will give a person peaceful sleep. The latter only brings the materialistic and acquisitive person an empty heart and an unfulfillable relationships. That might be justice enough, don’t you think?
IT IS UNHEALTHY TO HOLD IT IN!
Urinetown: The Musical
Boiler Room Theatre
September 3, 2007
Scott Brown of Entertainment Weekly said it best concerning the Broadway production. "YOU'VE GOT TO GO! GET IT?"
You've heard someone say that they were "screaming with laughter," haven't you? It is a simple exaggerated description of someone who thinks something is exceptionally funny. But they usually aren't really screaming, right? Urinetown, the Musical, now showing at The Boiler Room Theatre in Franklin , Tennessee, is a saucy musical satire that is so uproariously funny, I promise you there will be shouting, screeching, and squealing from the audience. I know; I heard it all around me last weekend.
Potty jokes and bathroom euphemisms to make every sixth grade boy's dream come true, Urinetown delivers a spoof so bizarre, but still so very real. The over-the-top characters in this town that is taxed on every tinkle will grab your attention and drag you right down with them into their little version of Gotham . . . well, their brown and puce-coloured Gotham, that is.
Patrick Kramer, long-time BRT actor, but first-time director, wraps the audience around his finger as he manages a brilliantly bawdy performance from his gamboling cast. Cheyenne Nelson commands the stage as stubborn and inflexible Penelope Pennywise, custodian of the only public potty in town. Pennywise sings, with her sultry arrogance and fantastic strength, "If you've got to go, you've got to go through me!" Sally, played perfectly by Laura Marsh, is the resident urchin, who always carries her beat-up teddy bear. Sloan Yarborough's seasoned, sarcastic Officer Lockstock and his police partner, Mike Baum's droll Officer Barrel have little to do with the central plot, but everything to do with the chronicle of this miserable town. Sally keenly points out every preposterous reality of Urinetown using a recipe for good musical theatre. These transitional, yet hilarious scenes are the prime examples of the wit and spunk in every line of Greg Kotis' book. Sally doesn't give up on peeing freely. Looking longingly at the bathroom, she says, "When a little girl's been given as many lines as I have, there's still hope for dreams!"
Allen Lee revels brilliantly in the evilness of Caldwell B. Cladwell and his tight-fisted Scrooge-like omnipotence over the town. Daniel Vincent and Sara Schoch are ridiculously gushy Bobby Strong and Hope Cladwell. ("Of course she loves him," Lockstock chides Sally. "He's the hero of the show, she has to."). Their duet, "Follow Your Heart," may be absolutely corny, but a viewer will be hard-pressed not to giggle and hoot at the exaggerated harmonies. Of course, each number makes fun of every musical in theatre history, from Les Miserables to South Pacific. The most memorable song of the show, the one I am still humming, is "Run, Freedom, Run," an over-embroidered gospel number, hilariously, but skillfully sung by Vincent and the supporting ensemble. Schoch as Hope Cladwell gives an enthusiastic performance, with exceptionally strong atmosphere in the unnecessarily mirthful "I See a River." Jamey Green's strong arm leads all these musical numbers and more with generous pizazz.
The brilliance of the ensemble is not to be ignored. Matty Adams, Melodie Madden-Adams, Justin Bourdet, Terry McLemore, Jess Mercer, Sondra Morton-Chaffin, Megan Murphy, Scott Rice, and W. Scott Stewart, all usually leads and heavy-hitters, support the show with side-splitting, eye-rolling, caricatures of residents in the ill-fated town. Usually one might describe a set as "eye candy." And though Anthony Popolo's set was lovely, the true eye candy in this case was the ensemble! One strong factor that brings them to life is Billy Ditty. Typically brilliant on stage as well, he serves this production as Costume Designer and meets the remarkable challenge head-on of creating costumes that look filthy and colourful! His design choices for these poor characters bring them to life, though a few of those choices were quite ridiculous – thank God!
TRUDY'S TRUTH IN THEATRE:
The genius of Urinetown and cause of its attractiveness, despite the awful title, is this: Here we sit laughing at the horrible destiny that befalls almost everyone in the story (and hence at ourselves) because we too are dealing with a world that is running dry of natural resources. And what exactly are we doing about it? Thus the sermon in song by Kotis and Hollman. One can't help but enjoy everyone's gloom and doom in this production, and thus their main point that even though things get perfectly dismal (poor Schoch doesn't leave her chair for most of the second Act), infectious energy can prevail. "All in good satire," there's a thoughtful purpose loitering around in their script as fervently as the characters gather outside Amenity #9, in this case amounting to a satired reproach of American wastefulness, not to mention an homage to those who try to buck the system – and that part of the human condition, too, as one character sings, "to kill that bunny."
Urinetown runs through September 15 with two fabulous Twofer Tuesdays left; when you gotta go, you gotta go - we all know it is unhealthy to hold it in! Don’t miss this show, my friends, but more - don’t you dare miss the point.
APPLAUDING YOUTHFUL SPIRIT
Two Gentlemen of Verona
Nashville Shakespeare Festival
September 6, 2007
This year marks the Nashville Shakespeare Festival’s twentieth anniversary. From its humble beginnings when car headlights were used for illumination, this professional company has reconfigured itself several times in the succeeding twenty years to become a significant player in the city's cultural landscape. With The Two Gentlemen of Verona (which spotlights the amazingly talented and disciplined Byron and Beth Smith Apprentice Company), the Festival offers us an enticing glimpse into what excitement the future holds as well.
NSF Education and Outreach Coordinator Claire Syler offers up an intriguing concept, vividly re-imagining this early Shakespearean comedy into a circus piece. In a very significant shift from past productions, Director Syler's primary actors here are the members of this season's Apprentice Company -- high school theatre students who have undertaken two weeks of training with the Festival and who, under normal circumsances, would not necessarily be performing as the central figures of the play. Thus, with young actors in all the major roles and with Jane Kingsbury’s marvelously conceived costuming, Syler effectively transforms the band shell into a poor man's Ringling Brothers. In this vision of Verona, clowns and clowning take the top billing in the center ring, complete with the all the requisite pratfalls and slapstick. All that seems to be missing are stilt walkers and seltzer bottles.
Two Gentlemen of Verona follows the misadventures of a pair of Veronese friends, the love-sick Proteus, mooning over his beloved Julia, and the more adventurous Valentine, readying for a voyage to Milan. Though he chides Proteus in the beginning for his ridiculous behaviour while in the throes of love, Valentine will later himself fall headlong for the charms of Silvia, the Duke's beauteous daughter. The problem of the play arises when Proteus, after voyaging to meet with his childhood friend, becomes smitten by the lovely Silvia as well. Interestingly, Syler's clown concept actually seems to cover up several of the more glaring problems within the text, notably Proteus' seemingly instantaneous and somewhat nefarious betrayal of Valentine and the equally abrupt forgiveness for it which Valentine offers at play's end. Use of the company's younger actors as the romantic leads here seems somehow appropriate and true to the spirit of the piece.
From the opening pantomime to the cast-encompassing finale, the two title gentlemen (Steven Berryessa as Proteus and Sam Spanjian as Valentine) set a blazing standard of enthusiasm and pacing for their comrades to follow. Berryessa imbues his Proteus with amazing energy and an engagingly goofball charm -- his bouncy ballad "Who is Silvia?" in the second act is one of several highlight moments in the show. Matching him stride for energetic stride, Spanjian's Valentine shines throughout, from his first awkward declarations of love for his mistress to his "heroic" rescue of her in the final scene.
Their lady loves sparkle brightly in this production as well. Savannah Frazier's Silvia is an endearing charmer, beguiling in her playful love scenes with Valentine and winningly sympathetic when she speaks of "wronged" Julia to a near-at-hand and disguised Julia. In that role, Christy White shakes off a slow beginning to effectively win the crowd when, disguised as a boy page (with all the manly posturing and preening she can muster) she inadvertently and sadly learns of her love's change of heart. One need only hear the audience's quite audible reactions to know that she has garnered their sympathies in the end. Together with their male counterparts, this talented quartet portrays youthful love in all its awkwardness as well as its moments of utter confusion and true tenderness.
Shakespeare's early comedies are somewhat famous for their crowd-pleasing clowns, and in Two Gentlemen, we have two of his more notorious creations: the quick-witted Speed and the more colloquial Launce. Alex Speith's Speed deftly and delightfully portrays the crafty, ever-playful servant to Valentine with mental dexterity, physical agility, and an abundance of wit. As the undeniable audience favourite, Chris Baldwin's over-the-top Launce mines every nugget of comedy he can in his brief time on stage, but arguably has his most uproarious moments when accompanied by Shakespeare's most endearing movable prop, the "sour natured" dog Crab (here played with unflappable ease by one Mr. Biggles).
Other impressive standouts in this production include Anna Brown, a breezy delight as Julia's gently needling but ever-aware servant Lucetta; Ricardo Beaird, who plays the erstwhile suitor Thurio with a daffy elongated flamboyance and pomposity; and Zack McCann, as an officiously snooty Panthino. The remainder of the Apprentice Company (Cassie Tesauro, Caitlin Kelly, Anna Millard, Tommy Harless, and Brad Burns) not only capably fill in where needed (most notably as a rag tag band of outlaws), but also serve as a Spike Jones-inspired clown band of sorts, unobtrusively providing -- along with musicians Sandy Tipping and Josh Walter -- subtle and some not-so-subtle aural underpinnings and punctuations to the actions occurring on stage. Seamlessly rounding out this production, in a reversal of sorts, are members of the Professional Company, Denice Hicks, Jon Royal, and the wacky Randall Lancaster, who allow their younger fellow players to shine while contributing their own significant talents to the proceedings.
Scott Boyd's set for this piece is highlighted by drapes of blue and white fabric hung from atop the pinnacle of the band shell which work for the most part in "hiding" his earlier (and still ongoing) Merry Wives design. But while this masking of sorts does create the intended difference between the two shows, this secondary design seems to force the director's hand when it comes to blocking: most of the action is staged linearly along the fore stage platforming. One possible solution, and one in keeping with the theme of the show, might have been to allow the actors more of a chance to directly interact with audience members. But this is a small quibble to be sure when considering the production as a whole.
This season was one of celebration for the Shakespeare Festival, and with this smart and lively production, there is indeed plenty to be commended and applauded. Now, truth be told, there are certainly aspects of this production that the (hopefully) constructive critic should mention. There are times when the slapstick seems a bit haphazard and unfocused. There are also times when the verbal byplay occurring on stage needed a little more clarification to be truly understood. And to be blunt, there are times when screeching becomes a rather poor substitute for projection. But that's when it hits you that all of this theatrical magic is being performed, and magnificently so, by teenagers! To her credit, Syler has gotten her young charges to work tirelessly and with great discipline, painting a fresh face on this generally lightly-regarded Shakespearean comedy, all the while remaining faithful to their initial vision throughout the evening.
TRIDY'S TRUTH IN THEATRE:
Ah, but how inconstant is young love; it changes like the wind, does it not? I remember my first crush. It was intense and all-consuming – and it lasted about as long as it took me to walk down the hall to my next class. Similar to the truth found in Merry Wives, real love is loyal and sound while infatuation is flimsy and capricious. Valentine and Silvia never dither in their love for each other; neither does Julia in her love for Proteus. But Proteus, who is besotted with the passive romantic Silvia, hardly bats an eye when he ditches his pursuit of her to return to Julia. It was entertaining to witness these teenagers on stage act out something so ironically similar to their own age’s youthful foibles. Are these able teens apprenticing actors who may go on to long careers on stages in and out of Nashville? Or maybe, like young love, the stage is a passing fancy? Only time will tell. Regardless, if this performance represents the possibilities and hopes for the future of this company, then the future is indeed bright enough to wear sunglasses. Or in the case of Two Gentlemen, a big red nose and floppy shoes!
OBSTACLE SCHMOBSTACLE!
Lend Me a Tenor
Chaffin's Barn Dinner Theatre
September 18, 2007
When thinking of venues that you'd likely hear Verdi's opera Otello, the first places one would be drawn to in our fair city would likely to be downtown at TPAC or possibly even the newly-opened Schermerhorn Concert Hall. In all reality, Chaffin's Barn Dinner Theatre would probably be the last place you'd expect to hear music from this majestic piece, right? Well, surprise! With the recent opening of Lend Me a Tenor, which runs at the venerable theatre until October 6, you'd be pleasantly wrong.
Okay now granted, it only belts out select snippets from the opera, but it serves as the backdrop for Ken Ludwig's highly entertaining and very energetic farce. Set in a ritzy Cleveland hotel room, the show concerns the opening night of the fictitious Cleveland Opera Guild's tenth anniversary season, which will feature the world's finest tenor, Tito Morelli, singing the lead role of Otello. Opera impresario Henry Saunders has charged his young "factotum" Max with the care and handling (re: babysitting) of this internationally renowned star. The fun ensues when Morelli, accompanied by his fiery wife Maria, is unknowingly given a rather strong dosing of Phenobarbital to calm his nervous stomach and relax him by both his wife and by Max. When "Il Stupendo" is discovered out cold on his hotel room bed, frenzied panic, mistaken identities and hilarious hi jinx follow in no short supply.
Director Lydia Bushfield has assembled an interesting blend of veteran performers and Barn newcomers for this production. She keeps the action quick and lively, never letting the frenetic ball drop once the exposition is set. And in doing so, her actors manage to carry off the well-paced proceedings with high energy and style. To her credit, she manages to overcome some rather unique staging problems presented her by a diagonal splitting of the Barn's stage for TENOR, keeping most of her blocking, with all its requisite six doors slamming, from becoming too static, though the proceedings certainly get cramped somewhat at times.
The lead roles, the "tenors" for the night, are played by newcomers Matthew Frazier-Smith and Joseph Robinson, as Max and Tito respectively. Frazier-Smith winningly gives his reluctant hero Max all the expected dweebish likeability and harried resolve required, a determination that will quickly dissolve into hilarious, wide-eyed fear once Saunders announces that he will go on stage for Morelli as Othello. Likewise, Robinson (last seen on this stage as Johnny Guitar) shows a firm grasp of Tito's Italianate brashness, his suave charm and his utter befuddlement when things go completely awry. Though both actors are admittedly a tad youngish for their roles, they still manage to play with considerable poise and handle the farcical elements of the show with a confidence that belies their years.
The two standout performances of the evening come from Barn veteran Kim Nygren and relative newcomer Evelyn Brush. Nygren completely and delightfully inhabits the role of hot-tempered Maria, making the most of her time on stage without descending into the trap of playing a total harpy. But the real revelation in the show is Brush. Her Maggie Saunders, daughter to impresario Henry, is a wonderfully drawn naïf, sweetly played with a small quaver in the voice and a smoldering, albeit charmingly awkward sensuality. Both actresses maintain their energy and focus throughout, giving well thought out and consistently amusing characterizations in the process.
In the pivotal role of Henry, talented character actor Buddy Raper supplies his harried impresario with appropriate bluster and hilarious bouts of maniacal laughter. But what seems to be missing from his character is that showman's flair, that certain flamboyant bravura as the show's ringmaster which would have carried his Saunders and, by extension, more of the action to a higher level. Similarly, Chaffin's Artistic Director Martha Wilkinson seems to at times coast through all-too-familiar territory in her portrayal of opera diva Diana. Mind, she's got all the right moves of the sultry sex kitten, but sometimes lacks the high energy of her fellow players. Make no mistake - - both actors come across with moments of comedic inventiveness which only they can create, but when one sees talent of this high caliber on the playbill, one's expectations are set a little higher. The evening's cast is rounded out by Liz Kalota, playing her opera guild President Julia with a breathless Alice Ghostley-like dither, and Robin Daugherty, who eschews a pushier, more obnoxious reading of his meddling Bellhop for a more likable high-pitched average Joe.
High credit must be given to the technical elements of TENOR. The set, designed by Bushfield along with Technical Director Ray Ingram, is a visual delight with its rich scarlet carpeting and its equally lush fabrics covering the interior period furnishings. The design is so wonderfully executed on the main set, in fact, that it makes the two additional aisle-way wall units look rather shabby in comparison. But the star in this realm has to be the costume designs of Billy Ditty (most recently of Urinetown fame). With TENOR, Ditty has done some of his best and most eye-catching work to date at the Barn, most notably in the matching Shakespearean togs for the Othellos and the wonderfully conceived ensembles of Wilkinson's Diana, displaying in three gorgeous costume pieces a vivid palette in purple.
Lend Me a Tenor is a wonderfully rendered example of the sort of entertainment Chaffin's Barn has provided area theatre goers over the last forty years. It is especially pleasurable when it's a well-written, well-crafted and literate farce that is given such a terrific treatment. Bushfield and her actors hit all the right notes while staging this somewhat tricky piece of theatrical fare -- her faith in the veteran performers is to be expected, but it is her trust in her younger actors that is to be commended, seen and appreciated most in the operatic duet between Frazier-Smith and Robinson at the end of Act One. Chaffin's has always been considered a proving ground for upcoming talent in the area, and TENOR proves to be no exception.
TRUDY'S TRUTH IN THEATRE:
Short and sweet. When faced with an obstacle, Max overcomes it, even though he is nerdy and people treat him like a coat rack. What makes his character (and the ensuing chaos of deception and mistaken identity) so amusing is that though he is the average guy with everything going wrong for him, he overcomes his fears and tackles the very challenging role of Othello.
Beyond the veneer of normalcy is an extremely brave man; and through my giggles I considered what amazing things one person can do when faced with a hurdle or they feel there is something important on the line. I just hope that if there ever be any retelling of my panic stricken, terror-induced heroics, that they are as droll and entertaining as poor Max’s!
While not a spectacular show, Lend Me a Tenor is nonetheless a very, very good show, worth the price and worthy of the legacy.
X MARKS THE LOOBY
Treasure Island
Circle Players
September 16, 2007
The ship set sail. The cryptex was unlocked revealing a map directing me to another world; and I found the treasure where “x marked the spot” displayed before me as Circle Players’ production of Treasure Island came to life “in the light of the blood red moon.”
Before starting in with my critique of the show, I would be remiss without the mention of two very important characters who served as the platform for this outstanding production. They may not have spoken a single line, but their presence spoke volumes. The magnificence of the set played such a key role in allowing this story to be told by the leering pirates and lofty shipmates. Though I shall do my best to paint a visual, I cannot do it justice with mere words. The set was configured to turn and fasten into images ranging from the diminutive home of the Hawkins family, to a parlor room of Mr. Trelawny’s, to a ship of such magnitude, to a deserted island. I couldn’t believe how tremendously intricate these designs were and it was delightful simply to watch the scenes transform before my eyes. For the design of the ship, there were two large staircases leading up to the upper deck, with the helm that was finished off with brass handles. Hefty, coiled ropes lay draped about the lower deck, and large, wooden barrels were set toward the front of the stage. A sail was lowered into the scene toward the bow of the ship, and the net and rigging to the ship’s left was to such perfection in design that I really felt as if I was aboard Captain Smollet’s ship. Jim Manning, the director and set designer, really outdid himself in the construction of this masterpiece.
Another masterpiece was the beautiful score by Jeff Hall and Mark Beall, along with an unforgettable execution of amazing sound effects. A local music arranger scored the show with live and recorded music; it was a risky choice, but in this case, a very smart one. The music, the literally creaking ship and some other wonderful sounds surprises were each worth the price of admission. Next to point out must be the costumes designed by Andrew Drumheller. Everything from the tattered rags adorning some of the overzealous pirates, to the dress coats of Captain Smollet and Squire Trelawny, I was intrigued and impressed with the authenticity presented by his creative designs.
Amber Boyle took on the challenging role of young Jim Hawkins, the protagonist and narrator of the show. Her somewhat accurate portrayal provided a solid foundation for the forward movement of the show, and her boyish energy shined through to win over the hearts of the audience. Her strongest moments as an actor came during her narration monologues, though sometimes her scenes involving other characters lacked the chemistry that was present when she was addressing the audience. Ed Amatrudo portrayed Captain Smollet, and though I could ramble on for paragraphs in regards to his brilliance on stage, I will simply state, that he has accomplished something for what most actors strive. When he is on stage, his presence is truly captivating. No matter where he was, or what he was doing, he drew my attention and I was mesmerized by his performance. He could have sat on the side of the ship and peeled potatoes and I would have given him a standing ovation.
Other notable actors are Tim Bush as the notorious, one-legged Long John Silver. His looming presence and intimidating portrayal stabilized the show’s momentum, not to mention, his lack of leg was quite convincing. Veteran actor Danny Proctor elicited smiles and provoked a smattering of giggles from the audience throughout the production with his noted talent for comedic timing. There was also a smattering of Circle favourites, some of which were not convincing as pirates, but all of which were clearly having a jolly good time.
Perhaps my favourite character was Jack Hoke who assumed the role of Ben Gunn, the stranded pirate-turned-good-guy inhabiting the island where the ship docks. His performance was refreshing. Not only did he look the part with his Santa Claus meets “Castaway” appearance, but his face lit up the stage and he was a pleasure to watch. He stole the show with his multiple lines of inquiry about cheese, for practically the first line out of his mouth when Jim arrives on the island is “Do you have any cheese? What I wouldn’t give for a piece of cheese.” I doubled over in laughter at his delivery of these lines, and many of his lines thereafter. It may seem a silly thing to say, but he was so convincing with his love for cheese and his desire to have some at that particular moment that for a split second, I pondered whether or not there might be some cheese in my purse that I could offer him – and then I realized – he was just acting.
I found my thoughts meandering in and out of scenes as some were driven by objectives and the focus was clear and understood by the actors, while other scenes lacked focus and chemistry between characters, and caused scenes to drag without comprehension. Despite the lack of consistency amoungst actors from scene to scene, overall, it was quite spectacular.
Jim Manning wore several hats in this production and wore them well. Not only did he succeed in making this one of the most creative Circle Players show I have yet to see, but he succeeded with his set designs, and even his last minute role understudying “Black Dog.”
TRUDY'S TRUTH IN THEATRE:
I feel sure that many experienced theatre persons would agree how difficult it is to sit through any show and remain unbiased and fair without thinking how they would have done things as a director or how they would have cast some awkward characters differently or what they could have done to improve the blocking. I am not admitting whether or not I did this during Treasure Island; but with my background, it is just going to happen. However, regardless of any review this show may inspire, good or bad, the truth in theatre hit me as forcefully and surprisingly as the well-executed dagger thrown by character Israel Hands. But the target was not Jim Hawkins. It was me.
Two seats down from me sat a little boy, about 8 or 9 years old (I probably glanced over at him while bending down to check my purse for cheese). He was leaning forward, chin in hands, widened eyes locked to the stage. He was completely absorbed.
That child is why we do theatre. He had no preconceived ideas or opinions on the nuances of putting on a production. He was simply captivated by the show. I remember what it was like to see a show that way and lose myself in the story and the beauty of theatre; may it last for that child a bit longer. For there will come a time when he will look back and say, “…in that cold splash of an instant the innocence of childhood disappeared in me forever and the boy I was, was no more.”
I highly recommend setting aside time to see this show; so gather up your mateys and wenches, and set sail for Treasure Island.
REACH FOR THE "SKY"
Guys & Dolls
Lamplighter's Theatre
September 26, 2007
"Smyrna??? Is there really a theatre in Smyrna? Can they be any good? I don't know that I really want to drive all the way out there to watch community theatre." Yes there is and yes they most certainly are and yes you REALLY do and no it's not as far as you think and yes you'd better call and reserve your tickets for Guys and Dolls this weekend before they sell out which they will likely do soon so get to it right now – this means you. Do I make myself clear?
Now that I've caught my breath, let me continue raving about Lamplighter's Theatre and their production of Guys and Dolls. Lamplighter's is an outreach program of Smyrna Assembly – quite a successful outreach program, since they played to packed houses this weekend. From the outside, the church seems average, modest, and nondescript – no one would guess that inside is a professional-quality theatre space for which any Equity actor would salivate. Add to that a 14-piece orchestra, a sea of colourful costumes, around fifty talented performers, and you've got an evening of laugh-out-loud quality entertainment. At an extremely reasonable price, I might add.
Where to start? The music was masterful – beautifully blended voices carrying confidently over the supporting cushion of the orchestra. The male chorus alone was enough to knock your socks off . . . blow your hair back . . . whatever they say in Damon Runyon's New York. The soloists didn't merely have outstanding voices; they brought character and life to the songs. They, unlike many performers, used the songs to move through the plot, rather than stopping the action so they could sing for a while. Some of my favourite numbers in the show were "Adelaide's Lament," "I've Never Been in Love Before," "Sue Me," and of course, "Sit Down, You're Rockin' the Boat."
The chemistry between the leads was very natural, and the couples were good contrasts for each other. Nathan Owen (Sky Masterson) and Catherine Birdsong (Sgt. Sarah Brown) showed us the slow-simmering, quiet tension of falling in love. They brought home the director's note that "having an encounter with the right person can and will change our lives forever." Nathan was well able to walk the tightrope between the tough guy and the vulnerable man in love, and he knew the right times to wobble just a bit. Catherine's character begins stiffly, and then loosens as her adventures unfold. I think she was a bit too stiff, actually; I wasn't able to sympathize with her properly until after she had a few drinks in her. On the opposite end of the spectrum, Steve Burkett (Nathan Detroit) and Arwen Jones (Adelaide) displayed the comic, comfortable side of long-term love. Disagreeing, bickering, whining – all the while knowing they are meant for each other. Arwen created a formidable and consistent character in Adelaide; I believed her every moment. It was a joy to watch Steve struggle against the inevitable wedding day while clinging to the engagement. His dialogues with Arwen could have been a little tighter; this problem usually followed a laugh line, so perhaps he was merely pausing too long, not following the "laughter curve" closely enough.
There was another featured performer that was not listed as a lead, but deserves special note. Ron Alley as Nicely Nicely Johnson was purely delightful. The character himself is such a caricature of a New York gambler; it is difficult to avoid buffoonery. Ron's portrayal was comical and engaging, but always believable, always real (always eating!). And even with that grating Brooklyn accent, his solos were beyond impressive. Nicely, nicely done.
TRUDY'S TRUTH IN THEATRE:
Let me grab another snippet from the insightful director's notes, where he mentions that the guys and dolls "knew the difference between right and wrong but lacked the hope that changes for the better was possible . . .” This put me in mind of the contrast between Nathan Detroit and Sky Masterson. Nathan is led by his fate; he misses eloping with the doll of his dreams in order to gamble in a sewer, and lose. Sky Masterson is a man who sees what he wants and goes after it, even if it means sacrificing everything. But half the time, he doesn't seem to think he'll ever get it. Where do we fall into this picture? Do we ride the rapids, hoping not to get cut on the rocks? Or do we paddle strongly and steadily toward the goal, but forget to pull up the anchor that keeps us in one place?
Gambling on what you'll see this weekend? Don't leave it to chance. Go see Guys and Dolls – it's a sure bet. In our little corner of the world, Lamplighter's Theatre is certainly rocking the boat, and everyone should sit down and take notice.
SHADES OF KATRINA
The Desire
Shades of Black Theatre Festival
September 25, 2007
The Desire, written by New York actor, director and filmmaker Jackie Alexander had a successful premiere earlier this year at the Billie Holiday Theatre in New York.And history is made once again in Nashville Theatre with SistaStyle’s Southern premiere of The Desire for the Shades of Black Theatre Festival. To my knowledge, it is only the second production of this show and we were lucky to have it in Nashville.
The Now Playing Nashville website calls the festival “some of the best underground theater Middle Tennessee has to offer.” I concur that it is certainly some of Nashville’s best theatre but I do not agree that Black Theatre is underground! It is only the second year of the festival, and I believe the attendance and excitement of the house that night is an indication of the future of Black Theatre in Nashville.I expect Shades of Black Theatre Festival will one day be making Nashville a national centre for Black Theatre.According to Shades of Black, the goal of the festival is to “provide an artist outlet to Nashville and surrounding cities, as well as to provide a platform for actors, directors, producers, writers and theatre enthusiasts to network and learn.” I am proud and excited to live in a city with such a wonderful festival and I hope that next year many more people, the local Arts Commission, and the rest of the arts–particularly the theatre community--will support and attend this endeavour.
The creative and timely plot follows the reunion of two cousins shortly after the effects of hurricane Katrina destroyed much of New Orleans. A Katrina refugee, Willie Jenkins, seeks shelter at the East Hampton summer home of his successful cousin-turned-attorney, Tyrone. The two grew up together in “The Desire,” a drug- and crime-ridden housing development in the famous New Orleans' Ninth Ward.These men drifted apart over time because of a shared family secret and now their current lifestyles are poles apart.Ty has the picture-perfect Manhattan existence while Willie lives the reality of gritty urban American life. Willie’s arrival is the beginning of a rollercoaster weekend, not only for the characters but for the audience as they watch Ty juggle his fiancée and his on-and-off again girlfriend, the celebration of his new promotion as partner at his law firm and schmoozing with his boss and his wife.
The cast had a stellar team of actors including Sistastyle’s Artistic Director Mary McCallum, David Chattam, Amanda Bailey, and Molly Hoekstra. All of them were solid however I would have liked to have experienced a bit more of a sense of elite Manhattan socialites from all. Darius Willis, as the New Orleans refugee, was astounding. His comedic timing was wonderful and his dramatic moment at the end of the show was genuine and superb.
The most awkward moment of the show and probably one of the most awkward moments I have witnessed in theatre came from an actor I have not named. At first I thought his line bobbles were a part of the script- but they were not. It was evident from the actor's bio that this was his first theatrical production and his inexperience was evident. Now, as I have stated before, I am all in favour of using new talent but "talent" is the operative word. This poor chap noticeably did not know his lines or what to do with his part, which left me to wonder whether the multitude of truly worthy Nashville actors had not bothered to audition for this festival or if the director had made a crucial casting mistake.However, this show was wholly successful and intriguing despite these missteps.
TRUDY'S TRUTH IN THEATRE:
In a similar fashion, the heart of this script rests in the reservations many of us had two years ago when Katrina swept through the gulf coast. What makes this script so wonderful is that it forces us to have those discussions again.The Desire inspires questions as to why the government did not respond better or differently to this catastrophe or whether or not it was a matter of race.I certainly don’t claim to know the answers, but seeing The Desire made me think about this issue again.After the show, my friends and I discussed not only the play, but Hurricane Katrina.That’s what art should do—make us think, make us talk.
Shades of Black Theatre Festival continues this weekend at the Darkhorse with Sophie’s Edge September 27 – 29and I hope you will take advantage of this exciting festival.If Sophie’s Edge is anything like The Desire it will give you something to think about.
IT CAME FROM THE EAST SIDE OF "THE WALL"
Hedwig & The Angry Inch
People's Branch
September 24, 2007
Nashville’s self-proclaimed leading progressive theatre, People’s Branch, proved itself worthy of that title with its production of Hedwig and the Angry Inch. Though I had not seen HEDWIG, I had a general idea of the premise.However, I was under the impression that the production was primarily a comedic drag show.Now I enjoy a good comedy and drag show as much as the next gal, but in this case I was pleasantly surprised by the depth in the script.
HEDWIG tells the story of a gay East German boy named Hansel.Hansel’s life is not easy—father gone, distant mother—then when an American soldier wants to marry him and take him to America, Hansel undergoes a sex change operation to become the soldier’s wife, Hedwig.Despite the botched sex change (hence the angry inch), the soldier marries Hedwig and takes her to America only to divorce her a year later.Hedwig supports herself by forming a band with other Army wives and babysitting Army brats.One of those Army brats is a 17-year old wanna-be musician named Tommy.Hedwig falls for him and they begin writing and performing music together.When we meet Hedwig she is performing her opening night concert in Nashville while her now ex-boyfriend, Tommy, is performing across town to a sold-out crowd.Through her music and monologues we learn her history and get a glimpse of what the future holds for her.
The role of Hedwig is a challenging one and requires not only a talented actor but one with great stamina as he is in command from the moment the show starts until the very end.People’s Branch found that actor in Eric Tichenor.Despite some enunciation troubles in many of his songs, his character was clearly defined.Even with a face overloaded with makeup and glitter, a cheap blonde wig and a dress made out of what looked to be vinyl, Mr. Tichenor’s Hedwig was a real person in whom I quickly became invested.And his voice was reminiscent at times of Freddie Mercury, David Bowie and even Tina Turner.
Unfortunately the other two performances were not as believable.Hedwig’s husband Yitzhak is a former drag-queen-now-roadie for Hedwig and her band.In continuing with the turnabout theme, Yitzhak is played by a Brooke Bryant, a female actor.Sadly that seemed to be the characteristic that Ms. Bryant focused on the most.While she has a stunning singing voice, I quickly tired of an over-exaggerated, swaggering, John Wayne walk.She walked the way a woman thinks a man walks, not the way a man actually walks.In contrast to Mr. Tichenor’s believable interpretation, Ms. Bryant’s character was just that . . . a character.
The third performer is never seen live, but was often seen via very creative video sequences.In pivotal moments of the show, Hedwig’s ex-boyfriend, Tommy, appears in concert in front of screaming fans.Unnamed in the program, the performer playing Tommy is talented, but in this case lacked the look of the script’s true “rock star.”He was costumed appropriately, but from the neck up he resembled a kid playing dress up.Perhaps that was an artistic choice, but it was one that did not work for me.
I would be remiss if I didn’t mention three other of the “supporting cast” on the stage.Adam Moody, R. Alex Murray and Martin Lynds made up Hedwig’s band, The Angry Inch.They were completely involved and well-integrated into the production, and, as any fine band would do, they backed up their lead singer without ever overpowering her. Excellent musicians all.
It was not simply the band that made up the true atmosphere of a rock concert. I felt it from the first moment I stepped into the Belcourt Theatre.The space was hazy and smoky and the sounds of classic rock filled the room.Once the show began I was captivated by Hedwig, her story, and Mr. Tichenor’s singing.Overall I thoroughly enjoyed Hedwig and the Angry Inch.
TRUDY'S TRUTH IN THEATRE:
Underneath the gaudy hair and make-up and the trappings of a rock show is a real person searching for love.When Hedwig implores Tommy to “love her front” it is a cry to be fully known, fully accepted, and fully loved.Who amoung us hasn’t felt that need?
Although each of our stories is different, there’s a bit of Hedwig in all of us.We all experience the search for self and often have to muster up the courage to BE ourselves.It is a challenging task for any human being, but it is a real and necessary one.I, for one, think we should celebrate that!
I was unfortunately unable to see HEDWIG until right as it was closing, but I made a point to see and review the production of this fine script.I’m also eager to see People’s Branch next production, The Mystery of Irma Vep, a holiday murder mystery from Nashville’s leading progressive theatre.Make sure you mark your calendars as well!
Holding Out for a Hero
Much Ado About Nothing
Actor's Bridge Ensemble
03 October, 2007
For the smaller theatre companies of Nashville and for one temporarily homeless crew, the following news is certainly much ado over something - - the grand opening on September 20th of a sparkling new state-of-the-art theatre centre, located on the campus of BelmontUniversity. The recently christened Belmont Theatre Complex proudly features the Bill and Carole Troutt Theatre, a beautifully plush 350-seat proscenium venue and a highly versatile 150 seat black box facility as well. And for the fortunate theatre students of the university, they will now share their brand new digs and, in many cases, their talents at the theatre with - - for this year, at least - - no less than four professional theatre companies, including the home-standing Actor's Bridge Ensemble, the fledgling Naked Stages, the first ever full-scale winter production for the Nashville Shakespeare Festival and for one show this season, the venerable Nashville Children's Theatre.
That's the good news...
The bad news, unfortunately, is the somewhat tepid collaborative effort of A.B.E. and Belmont in the recently closed grand opening production of Shakespeare's Much Ado About Nothing. While the show was admittedly well received and well attended by its audiences, it was, in this particular critic's eye, certainly not much ado at all.
No critique of this show can start without mention of the new building. And there is some good and some not so good to report about the Troutt. For audiences, the warm physical interior of the building has been splendidly realized, and there is simply not a bad seat anywhere on the orchestra level, though I can't say the same for some semi-obstructed seating on the balcony level. There is ample free parking available for theatre-goers and the pre- and post show ambiance of the Belmont area is easily within walking distance of the facility. And if the initial technical efforts of Paul Gattrell and staff are any indication, this is going to be a welcome and promising new venue for many area theatrephiles for some time to come. That's not to say that there aren't problems with the new space. First, there seemed to be an unfortunate design choice of aesthetics over acoustics, as the beautifully rounded ceiling literally kept onstage sound bouncing within the theatre walls. There is also a concern about adequate draping for the large windows of this former church sanctuary during afternoon matinée performances. With time, one is hopeful that these problems can and will be addressed and ironed out.
Sadly however, the same could not be said of MUCH ADO. A.B.E. Artistic Director Bill Feehely helmed this production, and despite the heroic efforts of his leads, the proceedings never really soared high enough to match the occasion of a grand opening. Feehely's staging was fairly engaging and well-paced during the first act of the show; however, the second act seemed to lose both much needed focus and steam leading to a rather blasé and uninspired ending. Luckily, the majority of the romantic fireworks of Shakespeare's play revolve around the high-styled wit and banter of Benedick and Beatrice, and here Feehely scored in a big way. Former Belmont alum Chris Brown was simply superb in his portrayal of the caustic bachelor Benedick, never flagging in his energy, always matching perfectly his verbal flares and barbs to the action around him and marvelously engaging the crowd as well. Keeping pace with Brown in their highly engaging sparring scenes together, the lovely Pru Clearwater as Beatrice proved a highly spirited and competent foil, though her clarity wavered somewhat in her scenes sans Benedick.
Clarity and textual comprehension seemed to be the ultimate downfall of this show. While veteran actor Marc Mazzone turned in a solid performance as the gregarious estate owner Leonato, the same could not be said for some of the other non-student actors. James Al-Shamma gave us a rather bloodless Don Pedro, while Jessika Malone was neither menacing nor manipulative as the Bastard Don John, seemingly substituting a furrowed brow and a perpetual pout for malevolence. Especially disappointing was David Berry, double cast in the roles of Dogberry and Antonio. Berry missed altogether the humorous verbal malapropisms of Dogberry, sadly seeming to toss them aside for a more wildly physical bravura style of acting and a sometimes unnecessarily loud braying voice for his constable clown. There was a wide variance of understanding and comprehension among the Belmont students as well. Performances here ranged from the accomplished (Benjamin Reed's lusty take on the excitable young lover Claudio) to the charming (Jaclyn R. Johnson's shyly beguiling Hero), from the curious (Mallory Gleason's wacky oddball servant Ursala) to the merely perplexing (Brittany Simmon's somewhat puzzling Harlequin-esque interpretation of "old" Verges).
Technically, Paul Gattrell's set, an Italianate villa resplendent with lush greenery, was a visual delight and, coupled with Rich Davis' evocative lighting, certainly showcased the new theatre's space and capabilities while pleasing the eye of the audience as well. Renowned costume designer Franne Lee managed to score on two-thirds of her effort here - - the soldier's outfits were classy and outstandingly rendered and the ladies dresses were light, airy and totally in touch with the surroundings. Sadly however, her townsfolk costumes made the actors wearing them look like misplaced refugees from "The Three Amigos." And on a passing side note, there was one very strange moment from the technical standpoint of things -- a curiously floating headstone viewed during Claudio's visit to Hero's monument that in retrospect could have been (and should have been) easily excised from the production.
Still in all, the great news for the local theatre community is that nomadic professional companies like Actor's Bridge now have a magnificent new home to perform and hopefully grow in. I do have one bit of concern in this regard however. History has proven A.B.E. to be a ground-breaking company in the city, provocative and edgy, always performing works with an aggressive drive and a gritty sensibility. One wonders if the successful producing organization of such past pieces as How I Learned to Drive, Metamorphoses, and most recently, Wonder of the World will still manage to thrive under the inherently strict and conservative eye of Belmont. I, for one, pray that A.B.E's level of performance and their level of daring will remain intact and will prove a great match indeed for their outstanding new surroundings.
A Peach of a Show
The Last Night of Ballyhoo
Lakewood Theatre Company
12 October, 2007
One thing that is so endearing about small town community theatre is the feeling like one is “coming home” upon stepping into the space.Such it has been with me the two times I have had the pleasure of driving over to Lakewood Theatre in historic Old Hickory.There is something about the atmosphere of Lakewood that is cosy and dear; it could be that during my visits I have been seated in an audience of many white-haired ladies who giggled and smiled their way through each show.I thought it clear that many were season ticket holders who surely planned each group gathering and probably never miss a show.
The Last Night at Ballyhoo, written by Alfred Uhry and directed by John Carpenter, is a treasure of a story of two very Jewish families, coming to grips with what it meant to be a Jew in Atlanta while Europe was in the throes of WWII.The story opens on premiere night of Gone with the Wind where we see Adolph Freitag, played skilfully by Doug Allen, an older brother who takes care of his widowed sisters and their two very different daughters.Comedy and chaos ensue as we watch the daughters find dates for the Southern Jewish traditional dance, “Ballyhoo,” listen to a young college drop-out decide that the heroes of a her unwritten novel should sound as Protestant as possible, and observe the ladies as they bicker over whether or not a star should be placed atop a Christmas tree.
I am starting to lose count of how many shows and theatre venues in which I have seen the face of actor Lauren Atkins, but I am never disappointed.Her portrayal of college girl, “Sunny” Freitag, was authentic and amusing.I especially enjoyed the chemistry between herself and young actor Lucas Hutson, who played Joe Farkas, her Uncle Adoph's employee with a bit of a bee in his bonnet about his heritage.They were both very genuine with one another and I found myself anxious to see their scenes together. Patty Carpenter (Reba Freitag) and Vickie Bailey (Boo Levy) were the two older sisters who, though very fond and patient with one another, are definitely cut from a different bolt of cloth.Although I was a bit distracted by their pacing and one of them was entirely too aware of the audience, I did so enjoy their playful banter and Reba’s dry, witty deliveries.Sam Mynhier’s portrayal of Lala’s annoying (but rich!) date, Peachy Weil, was sweet, but I when he was on stage I was preoccupied by his very, very bad wig – not to mention his age was not a believable one for the part.
One thing that niggled at me – a not uncommon director's choice of which I am not fond. Most of the actors, at some point during a long line, would move purposefully over to The Presentation Spot: a mark somewhere near downstage left, and would deliver the punch line directly to the audience. Used sparingly, this might be a nice device. In BALLYHOO it was used so often that I sometimes found it difficult to suspend my disbelief, although no one actually broke the fourth wall. The most notable culprit was Candace Carnell (Lala Levy) – who was delightful to watch, except for this little blocking peccadillo. This wonderful little actress was sent to no less than four Presentation Spots, and hammered incessantly at the fourth wall. Doug Allen softened these blocking directions. He too was sent to The Presentation Spot, but walked there more naturally, and delivered his lines without laying so much as a finger on the fourth wall.
TRUDY'S TRUTH IN THEATRE:
I look at Candace and think of the promise she holds, the energy and life she shows now, and the joy she obviously feels at being onstage. I consider how one day she'll be as polished and "complete" an actor as Doug, and I am excited about how fun it will be to watch her along the way.
When we think of "good shows" that we have watched, we often think of the splashy, spectacular ones with big musical numbers, lights, costumes, etc. Probably a mark of the world we live in today. But watching BALLYHOO reminded me that a good show doesn't have to start with a roar and end with a bang. It can be good just by being "normal" – warm and comfortable, filled with laughter and a little sadness as well. Not sensational, but just as satisfying.A lot like walking into a small community theatre and immediately feeling at home, as if you’ve just curled up on your Nana’s comfy couch with a cuppa on a lazy afternoon and your favourite quilt.
My Face & Yours
The Crucible
Tennessee Repertory Theatre
14 October, 2007
“Tragedy is a process of imitating an action which has serious implications, is complete, and possesses magnitude; by means of language which has been made sensuously attractive . . . ” ~Aristotle
In Salem Possessed, Paul Boyer and Stephen Nissenbaum comment about the important place the Salem witch trials have in America's consciousness. They remark, "for most Americans the episode ranks in familiarity somewhere between Plymouth Rock and Custer's last stand.” In addition, they observe that because of the trials' dramatic elements, "it is no coincidence that the Salem witch trials are best known today through the work of a playwright, not a historian . . . when Arthur Miller published The Crucible in the early 1950s, he simply outdid the historians at their own game.”
I was not much older than a toddler in another world when the United States was caught up in a grand grapple with Russia. With the memory of World War II still new, an understandable fear for further communist influence was instilled in the hearts of many. It was a menacing, unexpressed fear, endangering all aspects of American life. For this very reason, many were prey to the ludicrous accusations made by Senator Joseph McCarthy, who began a crusade using smear tactics and in order to cleanse communists in government and other walks of life. At one point, even a branch of the American Legion criticized the Girl Scouts, calling the "one world" ideas promoted in their pamphlets and other publications "un-American."
In 1953, Arthur Miller's play The Crucible ran on Broadway at the Martin Beck Theatre. It was a box office success that was congratulated by both critics and audiences. Many immediately witnessed the obvious analogies to the McCarthy hearings to the Salem witch trails. Anyone who contested the authority of the Salem judges was inevitably supposed of attempting to damage the court in the same way McCarthy charged anyone who opposed him of being Communist.
This very weekend I was transported to the Salem witch trials, to the McCarthy hearings, and in the journey actually transcended other pre-disposed interpretations of the story, seeing still modern-day implications. Director René Copeland, along with Tennessee Repertory Theatre, stunningly reminded me how well history can lend itself to art, and how Arthur Miller used history to create a play that continues to speak to audiences today. It wasn’t simply an outstanding set or the dark, beautifully ominous lighting; it was also the excellent casting of some of Nashville’s fine actors - with familiar faces, some new talent and a wonderful smattering of girls from the Nashville Metro schools. I was especially impressed with Brian Webb Russell’s and David Alford’s depictions of their characters, one a grudging proprietor and the other a conflicted husband who detests hypocrisy, but finds himself wrapped up the game.
But I am not writing this piece as a typical review. Today I want to write a little more about truth in theatre.
There is a difference between guilt-by-evidence as opposed to guilt-by-association. It is clear why Mr. Miller wrote this play; he wrote it for the same reason Hamlet wrote his! To convict not a king, but a nation. And was that nation moved? Yes. Did people see the palpable parallel? Yes. And fifty plus years later, was one audience member’s breath taken away because she was moved by John Proctor’s peace? Moved by a man who knew who he was and exactly what he was doing? That despite his significant shortcomings, his wife stood before him and declared him as a good man? (“God forbid I take it from him.”) Yes, yes and yes.
As Alford cried the words, “How may I live without my name?I have given you my soul; leave me my name!” I wondered what Proctor’s life would have been like gone if he had confessed?A crucible is a vessel made of material that does not melt easily. Though one character proclaims the fire is burned “to melt down all concealment,” Proctor was put to that burning test, and when under the fire he stood up for authenticity.No, this timeless show is not troubled with reliving times past or even with comparing modern events to past misdeeds. And I don’t think The Crucible is the playwright’s most recurrently done work because it tackles governmental issues or even because it tenders us a man who suffers to save his understanding of himself and humankind. I believe this is a moving play because audiences understand that the breaking of kindness is no less a reality in their own lives than it is an account of historical process.
What a show, Tennessee Rep! Thank you for taking the time to know this play the way you did in order to present it to us and for reminding us of the differences between moral law and worldly law, not to mention the consequences of combining the two.
“I hear the boot of Lucifer, I see his filthy face! And it is my face - and yours!”
Real Truth in Theatre
The Effect of Gamma Rays on Man-in-the-Moon Marigolds
Artist's Cooperative Theatre (ACT 1)
15 October, 2007
I was hoping this wouldn’t happen.
You know those times when life gets crazier than even normal-crazy? And you have to put things you would rather do off until the last minute and there’s nothing you can do about it? I couldn’t get to ACT I’s production of The Effects of Gamma Rays on Man-in-the-Moon Marigolds until its closing weekend – leaving me no time to tell everyone I know the importance of going to see it. It was a brilliant production. There are few words to find beyond that (although I’m sure I can manage to find plenty!).
Paul Zindel’s Pulitzer Prize-winning play about a single mother falling apart in the midst of her children’s ongoing lives has long been one of those plays that’s not only a favourite of mine, but goes on my list of plays that can’t help but deeply effect its audience-goers, or even its readers. The characters he created – Beatrice, a selfish white trash mom with social anxieties and dashed dreams; Ruth, an outgoing, popular teenage girl with severe psychoses; Tillie, her mousy, wallflower sister with a knack for science; the near-vegetable “Nanny,” whom Beatrice cares for in-home; and Janice, Tillie’s competition at the science fair – all work together to reveal undeniable truths in life that we often overlook as cliché and archaic. Truths like never make assumptions. Like every person is special. Like it doesn’t matter what people think about you – and yet, it does.
Under the stunning direction of Deanna Glasser, we got to see what should be known as a family in one of probably daily episodes of selfish gain, ignorance to love, and the later remembrance of that love that has been so neglected.
Beatrice, played absolutely masterfully by Cinda McCain, tore my heart to shreds. As an actor, I must admire Ms. McCain’s beautiful, honest, and painful performance, and as an audience member, I admire her ability to get under my skin. Her tears were, as they should be, HER tears, her connection to the character unmistakable. And those tears turned from hers to mine, seeing the struggle of this mother, a failure in her own eyes who has lost sight of a daughter’s needs. She carried the show with expertise, delivering her monologues – often entire scenes by themselves – effectively and truthfully.
Tillie, played on alternating nights by young actresses Alwyn Mothershed and Alex Georgeadis, was characteristically sufficiently introverted, confident in her own way, but clearly not supported as necessary by her family, and the many facets of the character were beautifully unlocked to us in her reflective, informative monologues.
Ellie Sikes as Ruth was yet another beauty to watch. Her scenes as a bratty high school girl with social status to think about were wonderful, and her converse scenes as a frightened little girl were just painful enough to make me willing to wait for the pain to subside.
Shirl Maschinski, a veteran actor, gave the best walk-on performance I have ever seen. Her actions and reactions as Nanny, who says nothing, were brilliantly funny and poignant. One of my favourite moments in the show occurred when Tillie brought her pet rabbit, Peter (also a fine little actor, for a bunny!), to be petted in silence by Nanny. Also, Sofia Apuzzo’s goofy science dork, Janice, brought a needed lightness to the middle of a heavy second act.
In all, this might have been the best show I’ve seen since moving to Nashville. No promises on that, because there have been many, but it was certainly one of the best. I lost myself in laughter over and over again, mostly at the virtuosic McCain’s trashy tendencies and her sour personality, and in the same moments, found myself crying tears of understanding and reflection. Kudos to all involved with this wonderful production, including designers Pete Hiett, Phil Brady, Debi Shinners, and Daniel Mathews – I wish I had the opportunity to see it again and again.
TRUDY'S TRUTH IN THEATRE:
Sometimes it is impossible to pick a truth in theatre moment – for instance, when the entire show is a truth in theatre that cannot be denied. So here are the finalists:
*All an actor can do to make some roles as effective as necessary is to be vulnerably honest and unafraid.
*Sometimes we don’t need words to get us where we’re going in a play – McCain at one point stood for a goodly amount of time with her back to the audience, and, though it may technically be an actor’s no-no, it was one of the most captivating moments in theatre I have ever experienced.
*Who am I as a person, as a result of watching this play? Am I enlightened? Have I learned something about myself and the people I love? And most of all - am I willing to see what I’ve learned for what it is and live my life accordingly?
My answer is yes. I know things now – hard things, easy things – that I can take to the bank and invest in my relationships. I hope many of you reading had a chance to witness the beauty of this show – and to those of you who didn’t, I feel badly for your loss: go to Barnes and Noble and read it for your own good. I feel like I’m kidding, and yet, I’m not.
Coming Home
THE WIZ
Street Theatre Company
14 November, 2007
You know how it feels after being house-stricken for a number of days due to what feels like an “extraterrestrial death flu” – and you finally step out the door and breathe as if it’s the first time you’ve ever laid eyes on the sun? My first show after being on the Pat & Mick was Street Theatre Company’s production of The Wiz at The Looby Theatre.What a good choice!It brought a sparkle and a smile to my peelie-wallies.“Don’t nobody bring me no bad news!”(See, it’s still in my head!)
Bakari King’s charming production filled Jim Manning’s bright set with new and familiar faces – it was an ensemble of hip-hop munchkins, a be-bopping yellow brick road (big kudos to Andrew Drumheller's cunning costume designs), and a company of phenomenal voices - a clever debut of Nashville’s local talent.What I most enjoyed was that the actors looked as if they truly believed in what they were performing; for example, I couldn’t take my eyes off of James Rudolph as he executed King’s complicated choreography with the smooth moves of a professional dancer.And all the while Jeffrey K. Williams’ capable band was bouncing their brass from the streets of New Orleans to the sultry (ahem) “poppies” dens of the seventies.
As for the Fabulous Foursome we follow down the dancing yellow brick road: Kimberly Mont shined bright as Dorothy, with a voice like velvet and an enthusiasm for her character that made a green actress believable; Elliott Robinson, as the Scarecrow, was simply brilliant. His mellow singing voice and stage presence were a necessary break from all of the gigantic energy and the colours; the Tin Man, played by King, was a fun, goofy presence; and Dr. Joe Cornelius in the role of the Cowardly Lion has a stunning singing voice and some absolutely hilarious, dare I say “groovy,” dance moves. Also notable in the cast were Tyson Laemmel's take on the Wiz character, Jama Bowen’s soulful “He’s the Wiz” as Addaperle the Good Witch of the North, and Christina Woods’ show-stealing turn as Evillene, the Wicked Witch of the West.
Though I must say that I was somewhat nonplussed by the set, which had hints of a grand idea, but was dwarfed by the production itself, and the set changes seemed difficult and somewhat confusing, I do commend Street Theatre Company for developing a remarkable reputation for producing interesting shows that aren’t overdone and/or are quirky and unusual. Take a look at their next season and I guarantee you will giggle, smile, or raise an eyebrow.Kudos to their play selection committee for going against the grain.
TRUDY'S TRUTH IN THEATRE:
I have always appreciated the American holiday of Thanksgiving not only for the original history or the excuse for gluttonous eating (which I adore), but that this is a time of year when we focus on our blessings rather than our problems.From pre-meal prayers to providing holiday meals to the homeless, the holiday is truly a festivity of thankfulness.But apart from a traditional celebration, some people have to go on long journeys from home to discover this, don’t they?I know I did.King and Street offer the same thoughts of home in their program notes.
from Director Bakari King:“The story of THE WIZ is a universal story of a little girl that is much like all of us, a character on a journey of self-discovery . . . . there is no age limit to imagination.No matter where you are, or where you have been you can always escape into another world.And the end of the day, however, you always knew “Home” was the best place for you.”
from Artistic Director Cathy S. Street: “The themes of THE WIZ are universal no matter who you are.Home is where you can be comfortable in your own skin and express who you are.For many of us, theatre is that as well.”
Thank you, Street Theatre, for reminding us that plays are short but life is longer, we must live well and be thankful and that there is absolutely, without a doubt -no place like home.
And You're Nervous About Being in the Same Room with YOUR Family for the Holidays . . . ?
LION IN WINTER
Encore Theatre Company
4 December, 2007
“I can't live on glory when you’re bending both my arms . . . ”
Betrayal and intrigue. Scheming and conniving. Greed and blind ambition. Personal gain and political power. What more could one want for the Christmas holidays? These distinct and devilish characteristics are well-illustrated by seven royal players in Encore Theatre Company’s Lion in Winter, as directed by Elizabeth Hayes. And I may be "dating myself," but the quote above is from a Bee Gees tune of the same name. It's sentiments, though hippie pop in flavour, are reminiscent of the emotional stirrings of King Henry II during the Christmas court held in 1183, and consequently the theme of this play.
The story takes place in the South of France at King Henry's Chinon Castle. Once again, just for Christmas, the scorned queen mother, Eleanor of Aquitaine, is “let out” for the celebration – and into a throne room where rows over matters of land politics become the allegory for competition over family fondness. The crucial issue of who will follow the king then becomes the place for both a power struggle and emotional combat. Although the incident never happened, and is a figment of author James Goldman’s imagination, the characters' dialogue and situation are accurate to the historical events that followed. Lion in Winter is one of my favourites; I often feel apprehensive when I walk into a theatre to see it performed. But director Elizabeth Hayes was up to the challenge of Goldman’s brilliant script.
The cast performs well as an ensemble, specifically the Henry-Eleanor-Alais love triangle as portrayed by Phil Brady, Kathy Biggers, and Lauren Atkins. Brady does not disappoint as powerful King Henry II, and before one can wonder if he looks the part, he quickly convinces in several profound moments that the viewer is the presence of a royal man. Lauren Atkins gives a spirited and solid performance as Alais, Duchess of the Vexan. They all growl, wheedle, squabble, and love in ways that admirably demonstrate the strength of the actual characters that they portray. David Bayer’s performance as Geoffrey, the middle-child, always working to ensure his future in a family that considers him nearly worthless, is a fine performance and is certainly worth more attention from the audience than his character receives from his family.
I did leave feeling that some players may not have delivered these very important characters to the audience with the colour and depth the story mandates. Though Nathan Owens’ Richard is a somewhat monotone performance and Michael Sullivan's Lackland often comes across as overacted, as a part of the ensemble they work well. Paul Etheridge as King Phillip II of France seems a little awkward on stage at times, but still brings a decent performance as the boyish king.
The diamond in LION'S crown is most definitely Kathy Biggers as Eleanor of Aquitaine. Without her, though the show may be enjoyable, but it would not have the strength and truth she brings to it. She embodies both sides of Eleanor with great accuracy; the ruthless, plotting and heartless intertwined with the hurting, lonely and betrayed twice brought me to tears. She gives a truly inspired performance and does justice to this infamous Queen of England.
Hayes does an excellent job of showing the level of existence in the twelfth century with her set and her costuming, but most importantly, her direction; she allows the humour, sadness and irony to shine through the story. For a community theatre without a permanent venue, the lighting is adequate. The set is also very satisfactory if you are sitting house centre, but I do hope this roving company acquires a better place because I could see backstage as I entered and happened to catch the actors warming up; so much for the illusion of theatre!
TRUDY'S TRUTH IN THEATRE:
Lion in Winter forces the viewer to confront his or her humanity in a profound way. Innately we all have those basic needs such as shelter, food, and water. But the needs further up the hierarchy are the ones which define us – the need to be touched, to be loved, to feel needed, wanted and validated. Richard, while he schemes and plots for the throne, at the foundation, simply wants the love of his mother and father; Geoff does not want to be forgotten; John is afraid to be a man; Eleanor is lonely and still in love with Henry even though he blatantly loves another woman; Alais wants to marry the man she loves, but is the bargaining piece in the relationship with France; Phillip II wants to be the man he felt he never saw in his father.
What has always taken my breath away in this story, and what director Elizabeth Hayes shared most profoundly through her lovely creation, was that even the most powerful individuals in the world at that time were simply people who desired to be loved, cared for and not forgotten – people trying to make their way in a world that many times does not make sense.
“You're living in a cave, man,
upon your marble throne.
You think you own the heavens,
but you've got to be alone!”
“Lion in Winter” by The Bee Gees
In spite of the troubles I may have had with some character interpretation, I found this production of The Lion in Winter to be powerful and engaging. I recommend it to all of my readers. It is a good night at the theatre.
The Truth's Superb Surprise: Who decides what Beautiful is?
SOUVENIR
Naked Stages
09 December, 2007
“I’ve been told no one can sing the way I do.” Ah, the understatement of the century.
Souvenir, directed by Richard Northcutt, is Stephen Temperley’s fantasia on the legendary Florence Foster Jenkins (1868-1944), the true story of an eccentric socialite with an amazing enthusiasm for music who achieved incredible cult status by having money, rich friends, and no musical aptitude whatsoever. Narrated by Cosme McMoon, Souvenir commemorates the partnership of accompanist and “soprano” from beginning to end. It is the journey of an out-of-work composer, who, guided at first by simply the need to pay his rent, comes to esteem and even appreciate his patroness’ drive, her passion, and even her staggering lack of talent.
Since McMoon serves as narrator, accompanist and prudent sage to a happy fool, a shrewd, multi-faceted actor is needed. With deadpan-Jack-Benny-like-reactions and first-rate vocal talent to boot, newcomer Jeffrey K. Williams delivers a heart-warming performance of this financially struggling musician who can’t say no - and he tinkles the ivories with the skill of a musician twice his age. Veteran actor Ginger Newman’s delightful recital as the clueless, noteless diva is nothing short of astounding. Ms. Newman, who is a genuine singer, expertly “does it all wrong.” This artiste has dazzling characterization of “Madame Flo’s” overemphasized performance gazes and gestures. One may be able to stifle the laughter for a time, but when she walks out on stage to perform, ‘Praise the Lord and Pass the Ammunition,’ all bets are off. Newman also competently navigates the difficult but sweetly written territory where her character has to take some criticism; it is heart-wrenching.
If performed by artists who are talented musically and comically, Souvenir could simply be an entertaining fare – a giggly night at the theatre. True the Newman/Williams duo clearly has comic chemistry and musical skill to make it work, but Northcutt’s direction emphasizes an insightful rapport between wise man and fool. And though the audience is hard-pressed to know which is the real fool, it is the profound relationship between the two which drives the show. McMoon could be a shallow character, but Williams sharply shows his heart in this friendly, protective ‘love affair’ with a woman who followed her North Star no matter what. And, performed as written, Madame Flo could easily be a one-dimensional creature. However, Newman doesn’t just make the audience shake their heads in dumbfounded wonder; she convinces them that there is something more beneath the surface, something profoundly sad that manifests itself in mirthful delusion. Both are stunning performances.
TRUDY'S TRUTH IN THEATRE:
“Too bright for our infirm Delight
The Truth’s superb surprise . . .
The Truth must dazzle gradually
Or every man be blind --”
“Tell all the Truth but tell it slant—,” said poet Emily Dickenson. Questions such as, “What is music and art?” in this play ebb as more universal ones come to the forefront like, “What is compassion and truth?” Just exactly how much candour is one obliged to his or her friends? Can we love others without being complicit in their illusions? What, in the end, is loyalty? What is the consequence of devotion? Are we to assume that the truth is too much for another individual and that "slant" be more acceptable?
These are questions that every human being must answer at one point in his or her life and become even more difficult when relationships are at stake. Florence Foster Jenkins was blinded - but by what? By her own folly? By arrogance? By lies? Dickinson entreats a person to tell the truth, but to give it a slant that makes it more toothsome to the receiver. Possibly McMoon believed that many individuals do not possess the ability to handle truth with grace. The truth hurts and his choice was that it was not worth it to hurt Madame Flo. Foolish? Maybe. Did she ever learn the truth? Did it dazzle gradually or all at once? Possibly we will never truly know; the complete truth may have been too powerful. McMoon, for whatever the real reason, was not interested in taking that risk.
Though guaranteed to produce abundant explosions of irreverent laughter, Souvenir is an absolutely respectful show as proven in the clever, lovely epiphany that closes the second act – it left me breathless. That truth was a superb surprise.
PENNY DELIGHTFUL!
THE MYSTERY OF IRMA VEP
People's Branch Theatre
10 December, 2007
Last night I dreamed I went to Mandercrest again . . . (I couldn’t resist!)
Frivolous, amusing, and unabashedly contrived, Ross Brooks’s production of The Mystery of Irma Vep is an out-and-out mishmash of Gothic drama and campiness over-dramatized in a most ridiculously self-aware script. Playwright Charles Ludlam preposterously references (and recycles) du Maurier, the Brontes, Poe, Shakespeare, silent movies, early horror flicks, "penny dreadful" serial stories and the Victorian Gothic in a convoluted spoof which includes mummies, werewolves, vampires - - and a laugh-out-loud set of false buck-vampire teeth. Whether a viewer is obsessed with the literary classics matters not; a play that makes fun of itself is almost always a success. IRMA is no exception.
Mike Sanders’ set of the drawing room in the family home at Mandercrest (creepy organ music here) is a rainbow of gothic colour, complete with an “eerie” portrait of the late Lady Irma, spooky masks, and a warped shape reminiscent of an almost Suessical crooked little house. Egyptologist Lord Edgar Hillcrest has just brought his new bride home, though the former lady is still mourned by Jane Twisden, the housekeeper, and Nicodemus Underwood, the prosthetic-ly challenged stable boy. The labyrinthine story, which one should not attempt to dissect - at all, is told, fourth-wall abandoned, by two expert performers who effectively make the assortment of characters well-defined, comical, and - - weird.
Brian Webb Russell (Jane-Edgar-Intruder) and Eric D. Pasto-Crosby (Nicodemus-Enid-Alcazar-Pev) split their personalities, don what seem like a million costumes at lightening speed, change accents, and quickly adjust their mannerisms while sprinkling contemporary jokes throughout the production and seemingly improvise a few hilarious asides. Russell and Crosby successfully clown it out with groan-y puns, dance through the audience, and perform those frenzied costume changes often in mid-sentence. Overall, these brilliant actors play their multiple parts with absurd, but skilled physical comedy.
In a show like IRMA, is it perfectly tolerable that the size of the key hole is twenty times larger than the key; it is acceptable that one can see the stage crew throw props on the set, push blood through a portrait, or hang bodiless puppets through a door. Who cares if wigs are whomperjawed and multi-layered costumes are obvious? These things are “okay” because IRMA makes fun of theatre and the audience is complicit in obvious theatricality.What fabulously good fun it is!
TRUDY'S TRUTH IN THEATRE:
Many know I make it a point to be somewhat anonymous when reviewing shows, but it is a trifle difficult when I draw attention to myself by suddenly screaming in laughter! So, I almost took this play’s lead and made fun of myself in this section. I always try to find a bit of truth in theatre and believe there is, as said in the NTLAF mission statement, “always something to learn from it. Something that makes us strive to be better than we were before.” But then of course there are those moments when I sit in a theater house, horse-laughing so hard I swear never to see a comedy with a drink in my hand again, and I say to myself, “Oh, get over it, Trudy. You don’t have to analyze every show to pieces.Just be happy with some delicious entertainment!” I felt this way about IRMA’S kick in the seat of good old-fashioned melodrama – so I thought about saying something silly here. And then . . .
I was keen to review this play because it has been hailed as such an outrageously theatrical farce, written for Ludlam's The Ridiculous Theatre Company in the early 1980s, and it is something of a cult classic. But I had no idea of its true origin until I read Brooks’ director’s notes. Apparently Ludlam created IRMA to showcase the talent he was convinced lay inside his beloved partner, Everrett Quinton, who had never been on stage. The two performed this piece to much acclaim by the New York Times and Quinton ran Ridiculous for years after Ludlam’s untimely death. It was a show created out of respect for the theatre, belief in an artist’s hidden talent, and love for another human being. And as Brooks states, this play was “an excuse for Ludlam to spend eternity onstage with the love of his life.Wearing a dress. And making people laugh.” Now THAT is a truth in theatre that makes this show “penny delightful.”
Good show, fellas. Thanks for the belly laugh. Ludlam and Quinton would be proud. But theatre goers, The Mystery of Irma Vep leaves no mystery that it is hilarious, so drink your beverage before the show or during intermission. I’ll have to send my best knickers to the cleaners this week.
IMAGINATION INSPIRATION
IT'S A WONDERFUL LIFE: A LIVE RADIO PLAY
Tennesse Rep
17 December, 2007
The “old time” radio shows are one of the most wonderful classic family entertainments. Storytelling can almost be thought of as a lost art. Some might even say that one’s imagination does a superior job of creating lovely heroines and menacing villains than any movie director ever could.My father still talks about The Shadow, Little Orphan Annie, and Sherlock Holmes – all of which play extensively in America and Britain.Some of the best actors and script writers could be found at the simple turn of the radio tuner.
The Tennessee Repertory Theatre pays excellent homage to these talented bygone artists with their stunning run of It’s a Wonderful Life:A Live Radio Play.Inspired by the classic American film, It's a Wonderful Life, Joe Landry reintroduces this timeless classic through the olden medium of radio stories.Five actors perform over sixty (?) speaking roles in a 1940s live radio broadcast in front of a studio audience in this dazzling little production filled with self-produced sound effects and multiple character voices.
David Alford, Matthew Carlton, Jenny Littleton, Marin Miller, and Todd Truly form a tight knit ensemble of radio actors performing the delightful BedfordFalls folk most Americans know and love. Under Alford’s direction, these actors dance around each other from mic to mic, playing the lovelorn, the crazy, the sweet & sure, the crowds, the children, street serenaders, and grumpy old men with perfect timing.No matter if the script is in hand, when an actor must study the blocking and timing of a radio script, he or she must draw on every aspect of theatre.Performing a radio show in front of a studio audience honours every aspect of the stage.I you have the chance to witness this lovely show, be sure to keep an eye on the game of musical chairs played at the piano bench – those antics will give you some of the best giggles of the evening.
TRUDY'S TRUTH IN THEATRE:
Though some might say it takes away from the story by seeing it played out, I believe it simply adds another dimension.Normally serious moments from the movie curve toward the humorous because the cast purposefully bumps about trying to make them happen.But to me, it was an amusing, witty insight into the stories that moved and comforted a nation while in the throes of war.True there may have been a few in my audience who had never seen this timeless Christmas miracle story – save for the Jimmy-Stewart-bellowing-Christmas-greetings-to-his-beloved-tow bit.However, my guess in that most seated in the “stage and auditorium of WTRT” knew every line by heart.The elderly bloke sitting next to me did indeed; he even interposed those standards he thought should have been included in the script.Once he leaned over to me, grinning for ear to ear, and whispered, “This takes me back.”I did not know this gentleman, but it was clear that wherever he was taken back, it was a place of sweet nostalgia, during a time when many needed to remember that each human being has a significant impact in this world.It is still a story that teaches us much about one of life's simple lessons, the value of friendship and the need for companionship.
There are only a few opportunities left to see the Rep perform this classic at the Johnson Theatre in the TennesseePerformingArtsCenter; this show closes Saturday, December 22.
"Beside Myself!"
Beside Yourself
Encore Theatre Company
4 July, 2007
It may be the worst pun for a review title about Nick Hall's Beside Yourself. Maybe others who are going to review it would try to refrain. But I can’t help it; it is just too easy.
A mate of mine told me there was a new dinner theatre in Mt. Juliet. I didn't plan on reviewing a community theatre for my first post, but I am "beside myself" with motivation to do so. I have always enjoyed dinner theatre; there is something about being satisfied on several levels that makes for a great evening of theatre - nutritional stuff for the mind and body. However, I admit I was a bit concerned when approaching the doors as I realized it was actually a cafeteria that was temporarily using their conference room as a stage. Well, shame on me, I succumbed to the sucker of first impressions. Beside Yourself, presented by Encore Theatre Company, was top notch. At first glimpse of the simple but beautfiul set, I felt warm and welcomed into the "beach resort" and immediately wanted to dip my toes into the ocean.
I can’t say decent and loving things about the food, which was adequate I suppose and way overpriced, but the show itself was a breath of fresh air. Jaime Janiszewski, in what I was told is shockingly her directorial debut, directed a brilliant little show about mistaken identity, false dreams, and real love. Her cast of four was tight, and they had to be, because they were each playing a twin of themselves. Despite some annoying technical glitches, the show moved fast, and I was laughing every moment. It is so refreshing to see simple truths in comedy and the actors rose to that challenge. As I write reviews, I generally don’t get the chance to focus in detail on every actor, so I am pleased to do so with this show, ensemble cast of only four, playing eight characters. I became somewhat suspicious that E.T.C. spent some money hiring professionals for their small community theatre debut.
During the second act there was a staged blackout scene so that both of Doug Allen’s characters could talk to one another “on stage.” It was hysterical to see a script make fun of itself by placing one actor in a blackout having a conversation between both characters. It may not be a monologue he could do for any audition without frightening a director, but it certainly was a show highlight.
Desperate drunkenness worked for Anne Geri Fann, who downed many “shots” of whatever her character found on the bar in order to make the script really shine in this scene. Hardened, needy, and quickly smashed Sue’s monologue about the “huge, optimistic bed” in her NYC studio apartment was well-timed and well-executed; watching her sober up was amusing too.
It is clear that Tiffany Poulose is a seasoned actress. She had to be to get on and off stage as entirely different characters so often, quickly and effectively I actually thought she did have a twin back there somewhere, wandering backstage. She generated clarity and chemistry with every actor and gave strong performances as she jumped between a mousy wallflower and a bitchy, unsatisfied wife.
James Rudolph is a charming diamond in the rough with wonderful comic timing and I can’t wait to see more of him on the Nashville stages. His initial reactions to Sue, during Act 1, when it was clear that he would have liked to have jumped in a black hole, were priceless. It was wonderful; I was beside myself!
TRUDY'S TRUTH IN THEATRE:
Again, I believe theatre should cause one to be moved by human nature and truth as I watch players take the challenge to remind me, be it comedy or tragedy. This show did just that. Amidst the laughter, these actors made me grin at the invisible twin we each have within us, that other person who is nothing like us, though no one who looked at us from the outside would know the difference. We all have a little Sue in us, someone who is wrapped up in a false dream, or maybe a little Jim and Pat, who just want people to want to talk to them. What we all need, and what I took away from this show, is a little Bill or Sally, completely satisfied with who they are, even if they know other people may find them boring. Happiness is a choice, folks - so kudos to Ms. Janiszewski and her stellar cast for reminding me.
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Trudy's Head's Up: Go see the Sunday show; it is only $15 for a dessert theatre. This company needs to rethink how they are pricing their shows when they do dinner theatre, especially in that venue.
"...sometimes it is impossible to pick a truth in theatre moment – for instance, when the entire show is a truth in theatre that cannot be denied..."
Reviews below by Trudy S. Gordon
