the nashville theatre lost and found
2008 reviews
SPRING
SUMMER
FALL
WINTER
"Dirty Rotten Trudy?"
DIRTY ROTTEN SCOUNDRELS
TPAC
I would like to pat Nashville theatre on the back as my New Year’s gift. Oh, I am completely aware that Nashville is not waiting breathlessly for my approval – I am only one avid theatre-goer-crazy-lady who uses her gift to babble on as (hopefully) a vice to get good the word out. But I do get pleasure from theatre of all kinds, and in particular local theatre. I also do know that sometimes it is nice to recognize that your patrons appreciate you – and I do. Here is some proof!
When I heard Dirty Rotten Scoundrels was coming to TPAC I made sure I was home from holiday early enough to see it (and not be jet-lagged or sick!). I thought I would like to go see if those out-of-towners could compete with the local Nashville theatre scene. What I found, in this production at least, is that . . . well . . . they really can’t!
Based on the movie of the same name, Dirty Rotten Scoundrels opened on Broadway in 2005 with John Lithgow, Norbert Leo Butz and Sherie Rene Scott. The show received an impressive 11 Tony nominations, but Norbert Leo Butz was the only winner for his role as American conman Freddy Benson.
Because of the star power in the original Broadway production and the numerous nominations, I went into the show with high expectations. Of course, I do not expect the stars to shine in the same manner as the originals, but I do expect them to glimmer. It is, after all, “Travelling Broadway.” As the show began I was excited to see bright, colourful sets and costumes. The stage was creative eye candy and fun to watch. Regrettably, and I say this with caution, the story was never as exciting as the sets and costumes. The interpretation of the plot was predictable, the choreography just all right, and despite a hard-working cast the lacklustre performances kept me from ever caring about the characters. A couple of the lead characters seemed either forcibly recreating a movie actor or still stuck in a character role they had finished at another time, not associated with this production. I was more impressed with the side characters and was often relieved to see them come on stage.
I have since heard many comments about the young cast in the show. Now youth is not exactly a good argument for adequate performance, but as I read through the playbill, bio after bio said something along the lines of “So-and-so is excited to be in his/her first tour.” A whole cast of newbies! Interesting. Now, I realize that I can’t really blame the young cast for the uninspired production. They are working hard, doing their job, but they just don’t have the experience yet to carry the show through. These issues lie in direction, in administrative and creative decisions, and in vision for a show.
I left the theatre with quite a fuss going on in my head. Were major changes made to the script before it got to Nashville? Did the star power of John Lithgow and Norbert Leo Butz make that much of a difference? Would it have been different if there were older, veteran actors to guide this young cast, who could keep things on track? I don’t know the answer, but I do know that I have been much more entertained at many of the local, community productions I’ve seen recently than I was with the supposed professional group at TPAC.
TRUDY'S TRUTH IN THEATRE:
I wasn’t even planning on mentioning the show, since it is not technically a “local” production. But I will bring it up anyway – not as a review, but a wee gift for you, Nashville theatre community.
As I sat in the very full Jackson Hall I wondered how many of the audience members frequent local theatre productions. I am sure a good number of them do visit our local companies; but I am willing to bet many of them do not. They came to TPAC because Dirty Rotten Scoundrels was a professional show with ties to New York. What I would like to say to all of them is professional or not, New York does not have a thing on Nashville. From community theatre to our professional companies in town, Nashville has a wonderful theatre scene. I am only sorry to say that it took a mediocre touring production to confirm that!
"JOY" de Vivre!
DON'T DRINK THE WATER
ACT I
28 January, 2008
Woody Allen challenged himself to write an indisputably improbable love story and it worked. His plan was to develop a farce surrounding a mushrooming romance between the world's most incompetent emissary and a young lady trapped by crazy situations in his embassy-of-residence.
Act I’s production of Allen’s Don’t Drink the Water, performed in the Darkhorse Theatre, is set behind the Iron Curtain and based on Sixties Soviets with a penchant to mistake a camera-sporting tourists for a spy. The theatre company's set was lovely, interpreted perfectly as a politician’s office in the U.S. Embassy in Soviet Russia. Though the “bombs” and “protestors” were not very believable, most everything else about the show pushed the technical difficulties aside considering the audience was laughing so uproariously.
J Spurlock recreated excellent card tricks as Father Drobney; he quite surprised the audience! Tony Correro and Rachel Sorteburg were nothing short of hysterical as Walter Hollander, a caterer from New Jersey, and his wife. Their accents were as perfect as their joie de vivre was contagious. John Michnya, who played Woody’s Axel Magee, managed to get his style without copying him completely – an impressive task for any actor. I am not sure that everyone was well-suited for their part. Though energetic, articulate, and darn cute, the Susan Hollander character fell a bit flat at times; her arms were stiff on stage and her costuming was not particularly flattering to her character.
I must say, in any other political climate, it may not have been as controversial to maintain the “Sultan and his wife bit,” but they did – and they handled it well, not to mention bravely. If anyone who saw it was concerned, it would be helpful to remember -- this IS Woody Allen –- and he would probably be just as apt to write that now, even in the given current political climate. That being said . . .
TRUDY'S TRUTH IN THEATRE:
I know it sounds terrible, but one humorously brilliant moment was when poor Jill Braddock-Watson’s Kilroy character gets shot and has a concussion and she thinks she is both of the Wright Brothers. You see, beds are at a minimum in this overcrowded Embassy. But then, when someone says, “Get her in bed!” and Walter mumbles, “Better make it twin beds,” most might recognize this as a throw away line, but Woody Allen aficionados would think it is a great line, because it is indicative of the immense understated humour of Woody Allen - in your face one minute and behind your back the next.
When a theatre company can pull off his droll sense of humour and tackle his insane scripts with fervour, passion, and yes, JOY, they have done the theatre patrons a great service of not only bowing to their audience, but giving homage to one of the great script writer’s of the century. My applause, Act I.
Is it Cupid? (or just frostbite?)
ALMOST, MAINE
Tennesee Women’s Theatre Project
06 February, 2007
If you are the cynical type then Tennessee Women’s Theatre Project’s (TWTP) Almost, Maine is not for you. If, however, you believe in love and all the magic power that comes with it, then run, don’t walk, to this delightful play. A comedy of almost a dozen two-character vignettes, Almost, Maine is about the highs and lows of love in the unincorporated town of – yes, Almost, Maine.
With Almost, Maine, TWTP continues their successful run of smaller, lesser-known shows. With every TWTP show I have been to I have seen new talent, new faces and new works. Even with Almost, Maine where the actors are fairly well-known, they are not actors I have had the pleasure of seeing work together before. It is also quite evident that the founders of TWTP (as well as the actors and crew) really believe in and care about what they are doing. Sadly every time I have seen a TWTP show the house has been extremely small. It is a shame that more people do not take advantage of this wonderful, unique company. Obviously the folks who work on TWTP shows are not doing it for the huge audiences; I believe it is a labour of love . . . which makes Almost, Maine a love letter to love itself, the perfect show for this group.
On a wintry Friday night, people fall in and out of love – and the lovelorn citizens of Almost, Maine are brought to life by only four actors. These quirky characters played by Shane Bridges, Nettie Kraft, Patrick Kramer and Keri Pisapia are also funny, sad, and well – weird. But they are never artificial. Each actor made the variety of characters very sympathetic and likable -- and I found myself rooting for all of them to make that connection or find that lost love.
A simple, but creative set transported the audience to the snowy landscape of Northern Maine. Costumes of snowsuits, sweaters and scarves completed the experience with an almost-Maine-like chill. I do believe one funny and endearing scene, where Bridges and Pisapia started removing those layers, was so charming because it was in that moment we are reminded that even in the frozen north there can be a lot of heat.
TRUDY'S TRUTH IN THEATRE:
Almost, Maine is not a “serious” show; it does not solve the problems of the world or ask deep, dark questions. But it does illustrate the different levels and types of love and it does that very well. As I sat in the dark next to my sweetheart I repeatedly felt the need to hug him or squeeze his hand between each scene. Could a theatre experience be any better?
If you are looking for a romantic Valentine’s Day date, look no further than TWTP’s Almost, Maine.
If the Slipper Fits...
CINDERELLA
Murfreesboro Center for the Arts
15 February, 2007
Murfreesboro Center for the Arts is just as it sounds; a retreat for actors and artists, dancers and singers, and a place with a venue that the theatre company has free reign to use at their leisure. I know that many of Nashville’s community theatre companies would revel in the ability to have a place to call home. Many companies scramble for rehearsal space and dream of having the resources that The Center for the Arts offers. Some theatre groups spend hours rehearsing in church basements or parish halls until the theatre space becomes available for use; many shows I have had the pleasure of seeing in this city have been performed in rented school auditoriums and dusty warehouses. Even so, the productions have proved themselves worthy of rave reviews.
I ventured to Murfreesboro with the expectations of the show living up to the quality of its space, knowing the standards that are upheld when a theatre group has the luxury of rehearsing and performing in its own venue. But Rodger's and Hammerstein's musical fairytale, Cinderella, directed by Andrew Ford, was mainly a delight for young children. The cast of characters contained Cali Moore as Cinderella, Kinsey Brewer as Prince Charming and Francine Berk as the Fairy Godmother. Others in the cast: Dixie Carlisle, Keshia Oliver, Adrian Marshall and Brandon Coomer.
Cinderella’s highlight was Christa Brown, who was truly engaging as the acrimonious Portia, one of the two mean-spirited stepsisters. She provided much comic relief for this musical and her comedic timing and quick-paced delivery added charm throughout the performance. Lena Welch and Adrian Marshall portrayed the Queen and King of their Prince Charming, and made quite the duo. Their voices were well suited for their parts and they captured the relationship of the “Royal Parents” with grace and dignity (minus a bit of elegance and pomp), and when they were off stage, I must say, I looked forward to their next appearance.
TRUDY'S TRUTH IN THEATRE:
Sometimes we find ourselves yearning to be entranced by glittering castles, beautiful ball gowns and grand theatres with comfortable stadium seating, and sometimes, it is those things that do prevail with great successes in the end. Other times though one can find success in a tiny black box theatre or a dirty warehouse with simple folding chairs.
If you look in the window and are tempted by the beautiful glass slippers, try it on for size because it might be too tight, or simply, not the right fit. Sometimes the people with the beautiful glass slippers have the most difficult time with blisters and are a wee bit wobbly on their legs, teetering on the verge of broken glass.
Continuing the metaphor, I do believe that most of the time it is the smudgy pair of old sneakers that ends up making your journey worth the dodgy appearance, and it is those sneakers that take you through most wonderful adventures.
Seuss & Shakespeare? Quite Decent Bedfellows.
MUCH ADO ABOUT NOTHING
Lamplighter's Theatre
20 February, 2007
Do not worry. I have not gone off the deep end. I am not endorsing a marriage of Seuss & Shakespeare - although now that I've started to think about it, if a company decides to hitch the two I would probably come to the wedding. But I digress. I am actually speaking here of the beauty of fancy language and how simply it can be understood and even cherished when delivered well.
This is my second review here in Nashville of Much Ado about Nothing, but, as it is one of my personal favourites, I had no quandaries about watching yet another theatre company open its arms to a Shakespearean endeavour.
In Lamplighter's production of this the Bard's most famous romantic comedy, Nathan Owen steps into the lead character of Benedick, toying with charm, wit and clever pretension. He captivates the audience in his enactment of this much adored role.Many times I found myself holding my nose as not to snort outright at the hilarity of his amusing antics on stage.The role of Claudio, played by a delightful Wilhelm Peters, is not only natural and believable, but also fine tuned in his brief moments of comedy, which he so skilfully intertwines with dramatic flair, adding further depth to his character.Greg Wilson plays the waggish Dogberry who leads his troupe of moronic side-kicks up, down, all around and sideways across the stage, and keeps the audience doubled over in laughter because of his jocular facial expressions and impeccable comedic timing.An endearing Hero (Elaina McKnight) and altruistic Leonato (Darrell Fulton) have a wonderful father/daughter relationship and both succeed in developing believable characters with whom the audience can identify.Steve Burkett should also be noted as displaying finesse and charisma as the royal prince, Don Pedro, and though he portrays a truthful regal, with a well-bred nobility of his stature, he also possesses a flair for comedy, playing out his scenes true to the intent of the playwright.
The cast of Much Ado is clearly dominated by talented male actors who even somewhat overshadow their female counterparts, including the female lead, Beatrice (Valerie Meek), who seems to have lost a considerable amount of her speaking role due to the director’s cuts.Ms. Meek is a delight to watch and a beautifully spirited actress, who contributes sincere passion to the role, but seems to lack conviction in the understanding of her dialogue, and is to some extent overdramatic in her performance.
The show much resembles the 1993 Kenneth Branagh film in setting, costumes, general characterization, and overall tone.And, though the film hits the mark, I would still like to see a bit more unique choices in a local stage production.And, though truly my main protest is that he made far too many cuts to the script, overall director Ronnie Meek captures the essence of this Shakespearean novelty.One thing he seems most determined to do (as stated in his director's notes) is to send the audience out the door with a solid understanding of what the characters were saying, and I must affirm that he absolutely succeeds.
TRUDY'S TRUTH IN THEATRE:
When we think of Shakespeare, what comes to mind is an ornamented language that is heavily laden with metaphor and fanciful speech, decorated with extravagant rhetoric.We can expect witty banter and beautiful soliloquies, but do we understand what it means?The words are unusually placed within the composition of the lines, and his works contain set rhythm and sometimes rhyme.Some see it as a foreign language.If this is something to which you can relate, let me inform you that the cast of characters in Lamplighter’s Much Ado have made this show as understandable as Dr. Seuss.Yes, that is a compliment.One may still have the fancy speech and the oddly spoken lines, but when the stereotypical pretension associated with Shakespeare is taken away and the show focuses on delivery, the storyline surfaces quickly and the observer will be much entreated to start seeking out more of the Bard’s work.
When I reviewed Guys & Dolls back in September at Lamplighter’s Theatre in Smyrna, I was adamant that everyone do their best to get out there and indulge themselves with the same performance I so thoroughly enjoyed.Now I’m telling you, you have three performances left for their excellent production of Much Ado about Nothing.Sit back and enjoy an evening of the Bard’s beautiful poetry as it comes to life at Lamplighters.
Lessons from "The Cat"
SEUSSICAL THE MUSICAL
Steeple Players
25 February, 2007
“Young cat! If you keep your eyes open enough, oh the stuff you will learn! The most wonderful stuff!” (from I Can Read with My Eyes Shut by Dr. Seuss)
Last weekend I crossed the threshold into a magical world. It was not in a dream, through the telly, or a Disney movie. As I entered a charming little theatre off Gallatin Road in Hendersonille, Tennessee, I was immediately transported. The Steeple Players Theatre Group, currently showing "Seussical: The Musical" in Hendersonville, Tennessee are bringing the citizens of Whoville to life. I stepped into a roomful of balloons where a life-sized Cat in the Hat stood; young and old were shoving their faces in a hole for crazy snapshots. The enticing aroma of popcorn filled the air and there were children everywhere. Pre-show music got the audience smiling and the "wiggles" out of small theatre-goers, so a patron need not worry about being distracted by all of the youngsters. They were - and will be - mesmerized.
Kristina DeBoer deserves special regards for her Cat in the Hat. She is a strong singer and actress who truly takes command of the stage without stealing focus from everyone else. Little Macey Estes, as JoJo, a tremendous talent for a little girl, is radiant. Aaron Echols as Horton is very loveable, maintaining a high level of quality one rarely finds in an elephant! Tony Bernui and Jacki Estes as Mr. and Mrs. Mayor are perfectly cast. Lauren Sterban as Gertrude McFuzz, Giah Kress as Mayzie LaBird, and Stephanie Miller as Sour Kangaroo give strong performances. As General Genghis Kahn Schmitz, Sean Osbourne is a kooky personality, whose character desperately tries to be scary, yet illustrates that thinking too much of oneself looks silly. Tom Hicks and Cliff Buckosh playing Yertle the Turtle and the Grinch respectively are very entertaining to watch as well as a strong ensemble of jungle animals and “people” of Whoville.
So, Red-and-White-Striped Hats Off to directors Jill Dunlap and Cay Barton for bringing everyone together so well! One could see the affection and closeness of the actors, which is hard to come by in an adult production, let alone a children’s show! As for the young performers, they are delightful children, with first-rate facial expressions as well as pleasant voices. One small piece of advice, if I may, would be for the young people who have solo speaking and singing roles: Speak up! Enunciate! One must never depend too much on microphones to do the job. However, if that was the only thing this critic found lacking in the show, people should flock to see it. They close the first weekend in March. But call for reservations; folks have been turned back!
TRUDY'S TRUTH IN THEATRE:
When I was a small girl my favourite bedtime story was The Sneetches by Dr. Seuss. My mum used to read it to me using funny voices and bizarre gestures. Sneetches are a race of peculiar, yellow beings that live on a beach. Some Sneetches have a star on their bellies, and the presence or absence of a star is the basis for prejudice and inequity. However, it was not really until several years later, I comprehended that the underlying message of this book was about racism. I think she took great pains to make it memorable because the meaning contained in the Sneetch story was so important to her.
In Seussical, General Genghis Kahn Schmitz isn’t the only one who has little lessons to offer in this fun, but valuable show. Just as Seuss’ books teach with every page, there are titbits of poignant messages for the young and old in every scene. Here are just a few:
· Everyone is important, no matter how small.
· Respect others.
· War is silly.
· People who “think” too much could cause upheaval, but it just may be those very ones who aid humanity the most.
· Appreciate our differences; if we weren’t so different, we could not really help one another!
· Be happy with YOU. Doing things to try and make yourself “more attractive” (in whatever way) only leads to trouble.
It is refreshing to walk into a theatre company expecting a simply kids’ show, but then walk out not only with a carnival-esque experience, but to remember an important lesson - that when you find that you can just be who you are, it is then that you are happy and your dreams can come true . . . and probably in ways you least expect.
“Oh the thinks you can think up if only you try!”
Bawdy & Beautiful
THE FULL MONTY
Street Theatre Company
17 March, 2008
Sure, it is R-rated, but MY what fun such lewd behaviour can be!
Knowing Street Theatre Company has the propensity for distinctive and cutting edge shows that defy their audiences (while still packing crowds!), I travelled to the Gordon Jewish Community Center to see STC's production of The Full Monty. The centre is such a high-quality place to go for theatre, as well as a perfect space to perform. It has a lovely auditorium with a fine sound system. Easy access and plenty of parking help make this location a wonderful place whether one expects 50 guests or hundreds. Oh for a good performance space for this up-and-coming powerhouse of a company!
Based on the motion picture, Terrence McNalley’s The Full Monty has the best parts of the film and groovy music smartened up with David Yazbek’s hilarious and often touching lyrics. In STC’s production, Sara Youngblood-Ochoa did not cast one lead singer who does not live up to the expectations such a challenging show can generate.
Steven Steele's set is clever, simple and uncomplicated and, though Stage Managers do not often get the kudos they deserve, let me take a moment to mention Tyson Laemmel and his run crew, who dart effortlessly and quickly across the stage, limiting mishaps while not overpowering the actors. I do not believe these actors could have been overshadowed, however. While each of the six leading males is strong by himself, as an ensemble they are magnificent.
Ryan Hunt, a capable actor and singer, is “Jerry,” a single father trying to hang on to his son Nathan, played by Daniel Meyerowitz. Mr. Meyerowitz plays his part like a grown-up in a young boy's body, at times being the parent instead of the child, an important element for which this role demands.Dan McGeachy, one of Nashville’s most versatile actors, is loveable as “Dave,” who can dish it out but can’t take it when it comes to being called a bastard. But he also shows that tender vulnerability sitting on a toilet in boxer shorts, stomach swathed in plastic wrap, scarfing potato chips, and bottoming out emotionally about his personal appearance.He manages to make every woman in the audience clamour to sing his wife’s tender song to him too. All of the men in "Hot Metal" were first-rate, with special regards to Brian T. Hall, Elliott Winston Robinson, Daniel Vincent and Jeffrey K. Williams. Mr. Williams’ adorable “Malcolm” bares his soul in a deeply touching moment from which it personally took me some moments to recover. His heavenly voice floated like a soft touch through the crowd and formed a lump in my throat, then tears in my eyes when joined by Mr. Vincent’s melodic harmonies.
Max Desir as “Keno” gets the audience (cough) ‘going’ right off the bat as a Chippendale male stripper. He commands attention in (cough again) every way. The ladies of the show are a somewhat diverse group of enjoyable dancers and singers, specifically Lindsay Terrizzi and Sara Schoch who show their vocal and theatrical chops as disillusioned wives who can still handle truth from their men. Two musical highlights were "Big Black Man" by Elliott Robinson's character, Horse (who has some serious groove), and “Goods” by almost the entire cast when the men fantasize about how the women will judge their physical attributes. The men bring the house down as they vehemently curse - in barber shop form. Energy only flags a little when the men's accompanist, "Jeanette" (played by Susan Taylor) sings her piece. Her lines are funny and she has a lovely voice, however it would have been nice to have the performance turned up a bit to fit the character age and lyrics.
TRUDY'S TRUTH IN THEATRE:
Is it the wind there over my shoulder?
Is it your voice calling quietly?
Over the hilltop, down in the valley
Never alone for you walk with me.
Yes, this show is funny. In fact, it is SO funny my facial muscles are still sore. But in terms of the title's broader meaning, to go all the way in any endeavour, everyone involved with this musical has without a doubt gone all the way to give the audience a show that is not only fun, but has an extremely valuable message: there is no price too gigantic for real love and penalties should not be put on an authentic one. Whether it is a child, a spouse, a mother, or one’s first experience with real tenderness and commitment, a person will find within his or herself the inclination for great devotion and every desire to go “the full monty” for them. This is a dear story with SO much heart and some important lessons about true alliance, love, nerve, dependability, and self-worth. When an audience member watches this entertaining blast of a musical, he or she must also remember that they are witnessing something significant. That no one is alone, in the hilltops or the valleys, when there is someone who is faithful to walk with them.
Overall, I strongly recommend getting yourself down to Street Theatre Company's production of "The Full Monty" and make reservations now. It will be worth every penny! (Oh my goodness, did I forget to mention the NAKED MEN? Oops!)
"We Are You."
OUR TOWN
Encore Theatre Company
02 April, 2008
As I left Encore Theatre Company's production of OUR TOWN, I was reminded of something I said in an earlier review. Good theatre doesn't always have to start with a roar and end with a bang. It can be simple, heartwarming, "real" – bringing a smile to your lips and a tear to your eye. But with OUR TOWN, there is something more as well. An intensity of feeling, a connection to the human condition, as if the characters, or Grover's Corners - or even Thornton Wilder himself - is tapping gently at the window of your soul and saying, "Hey, I know you. "
The Stage Manager in OUR TOWN is not only the loom upon which the story is weaved, he is the weaver, and occasionally a few of the threads as well – a perfect role for the talents of Bobby Daniels. Mr. Daniels holds the audience spellbound as his manner smoothly shifts between the cool quietness of a Garrison Keillor, and the spirited certainty of a Baptist minister. Plus, when he enters the story to play a character, he becomes fully THAT character, not the Stage Manager standing in. I hung on his every word.
As for the rest of the characters, it took me a few minutes to warm up to them, but their stories soon engaged me as well. Why the delay? Not the actors' talents, certainly; indeed, quite the opposite. Plus, it seemed a calculated risk taken by directors Kenn and Lori Stilger, who were willing to think outside of the predictable box for this theatrical work. After being lulled gently into the story by the Stage Manager's melodious voice, Grover's Corners becomes suddenly, shockingly alive when we meet its inhabitants. The characters are vibrant, complete, diverse - more so than I had expected. I believe I felt a little voyeuristic at first, being unceremoniously dumped into these people's lives. But that's the key; the characters were instantly alive for me. The result was well worth the risk.
Andrew Kanies plays the tongue-tied George Gibbs. A very honest portrayal; his awkwardness and earnestness vie for attention, and finally join as he grows into a man. Sarah Morgan plays Emily Webb, an intelligent, vivacious girl, who clings to life even when it is gone. This is a difficult, demanding role, and Sarah certainly did it justice. The Parents Gibb (David Reichert and Tammy Sutherland) and Webb (Richard Christensen and Emily Keys) were where most of the diversity lay. At first, one wonders how those couples ever made successful marriages, but then you see them alone with each other, and the questions fall away. Lastly, I cannot fail to mention Daniel Matthews who played Professor Willard, as well as Simon Stimpson, the choir director. When the latter appeared as the professor, he was quite humorous, bordering on caricature. At first I thought it almost irreverent, considering the nature of past performances I've seen, but then it struck me: it's okay to laugh. This is life, and life is laughable sometimes. Matthews later appeared as Mr. Stimpson, made me laugh again, and then promptly broke my heart.
OUR TOWN has been performed in countless venues over the years. Its power lies in the mirror it holds up to nature. The words the characters say may be outdated by a hundred years or more, but the souls of the characters speak the same language as we do today, as humans always will. The characters say, "We have hopes. We have fears. We are delighted. We are devastated. We are alive. We are YOU."
TRUDY'S TRUTH IN THEATRE:
Grover's Corners is the solidifying force in the lives of its residents; for many of them, it is their entire universe. We all need a place to call home, whether it is an ocean away from where we started, or the only place we've ever known. It is a way to connect, to belong. I think we go to theatre for the same reason. When we watch a show, especially one like OUR TOWN, we have a sense of belonging to the human race, of connecting with not only the characters, but the actors, the directors, the crew, the audience, the author, with everyone who has ever participated in that show. That's why – whether we're in TPAC's multimillion dollar facility, or Encore's charming converted warehouse - when the house lights dim and the stage lights begin to glow, we have that momentary surge in our hearts, as if we have just come home.
"Father Knows Blessed"
FATHER OF THE BRIDE
Bethlehem Players
07 April, 2008
Shame on me.
I hereby admit falling prey to the propensity critics often have to compare movies to live theatre. Though both have many distinctions and likenesses, all of which add to the individual success of each in conveying their central message, there are just too many variables in a stage play. In a film, scenes are added for dramatic effect, dialogue is handled differently, not to mention the advantages of movie making and technology. But above all, a critic must remember that most plays are nothing like the movies and stage artists should NEVER be compared to film celebrities. Please.
But (sigh), I admittedly watch FATHER OF THE BRIDE productions with some scepticism since I am an embarrassingly huge fan of the original and the most recent remake of the movie. I entered Bethlehem Players current production with limited expectations; what kind of a critic am I? I should be spanked. This production is an uplifting, comical, poignant tale of a father dealing with his only daughter suddenly announcing she is getting hitched. The family then deals with all the struggles and the roller-coaster that is the animal known as “planning a wedding.” At Bethlehem Players I was delighted to be transported back into the 1950’s, by way of the candy-coated pop songs of the time and the clever, retro set design, complete with aqua-coloured walls and 1950’s inspired vintage furniture created and constructed by Paul and Potay Gant.
The play takes place in 1958 and revolves around the family of Mr. And Mrs. Stanley Banks, played by Johnny Peppers and Debbie Robinson. Peppers displays the calm, even-tempered demeanour expected (almost Pleasantville-esque) of a good father and husband; the type of which every housewife and little princess dreams. Yet, the side that the audience gets to see is a man’s man, able to connect well with his sons, his future son-in-law, and the men of the audience. The casting for this character could not have been better! His comedic timing, stage presence and overall performance were top notch. His character’s internal sarcasm and external worries about money or numbers made him relatable and loveable. As Mrs. Banks, Robinson adequately portrayed a typical 50’s conservative housewife whose primary concern was supporting her daughters wedding planning efforts. However, though I realize that married couples behaved differently in 1958, I felt that there was a lack of chemistry between the husband and wife. As an audience member, I would have expected to see more of a spark.
Anne Meriwether was convincing in her portrayal of Kay Banks, the bride-to-be. She has a “sweet ‘n salty” attitude, putting on the charm when need be to coax her parents to her side of the argument, and salty when she needs to argue the more difficult issues. Her intended, Buckley Dunstan, portrayed by real life husband, Scott Meriwether, was arguably less convincing, providing the audience mainly a nice smile and a handsome set of shoulders, though the couple did have great chemistry during their more intimate moments.
Rounding out the immediate family are Drew Elmore and Miles McNulty, the Banks’ two sons, Ben and Tommy. I must congratulate Mr. McNulty on an outstanding premiere theatrical performance. This theatre veteran would have never guessed it was his first performance! He is the perfect younger, sometimes arrogant, often times under appreciated brother and is successful in delivering some of the most comical lines in the show. Elmore, playing the older (somewhat nerdy) brother, is most enjoyable while joined on stage by his extremely enthusiastic girlfriend Peggy Swift played by Laura Clark. Her exaggerated enthusiasm for the sacrament of marriage is terrific and provides the audience with a light-hearted change of pace. Commended as well is the noteworthy performance by Janie Varn as the quirky caterer who seemed to channel (forgive me, here it comes!) Martin Short’s wedding coordinator character from the most recent remake of the movie. The positive effect here is that she may take some cues from the noted comedian, but she clearly makes the character her own, and not a pale imitation, which can be a handicap of actors who assume what an audience should expect. Ginny Welles is also fine as the devoted, straightforward secretary of Mr. Banks.
The rest of the cast and crew come together successfully to create an entertaining night of theatre. The Direction by J. Dietz Osborne is clever, creative, and poignant. It’s difficult to take a dated play and make it appeal to the audience of today, however, Osborne succeeded in making this story relative and enjoyable.
TRUDY'S TRUTH IN THEATRE:
FATHER OF THE BRIDE will continue to be a classic story, regardless of what time period portrayed by each theatre. Women are still going to want to shop for new things and throw big elaborate weddings, and men are still not going to understand their need to do this. But, as an audience member, we want to relate to these characters. They are more like us then we know. Even though they live in a different time period, our ideals, values and issues are still quite similar. The way families come together to create an unbelievable experience for one of their own is a special and intimate experience that is essentially the same. And, beautifully stated in Osborne’s show, one of the most magical relationships is that of a father and a daughter. Whereas in real life most men often have a hard time getting a word in edgewise with we womenfolk chatting on, how wonderful that we finally get to hear this heart warming story from his side.
FATHER OF THE BRIDE at Bethlehem Players. Worth the trip to Franklin. Do it. Take a parent. Don't ignore that lump in your throat and take their hand on the way out the door. They are worth it too.
"The Luckiest People in the World" (thanks Barbra...)
NEVER TOO LATE
Steeple Players
12 May, 2008
This weekend I set out for Steeple Players Theatre to see NEVER TOO LATE, an old award-winner, revived for local audiences. The play is set in early 1950s Massachusetts, about the Lamberts, an older couple, and their daughter and son-in-law who are living with them. The mother, Edith, played by the divine Stephanie Love, is a quintessential June Cleaver; reminiscent of those old sitcoms some of us (ahem) watched when we were young.
The play is based on the stereotypes of men's and women's roles in the '50s - women didn't work outside of the home (for the most part) since the men had returned from WWII. They took care of the entire family's needs while the men went out to work and made the money. The Lamberts are particularly well-to-do, with the “head of the household,” Harry - played masterfully by Rick Ford - a successful lumber yard owner.
Khristina DeBoer is their spoiled daughter, Kate, is hilarious in her slow decline from elegant newlywed to harassed, grouchy haus frau with slippers and curlers as she began assuming the mother's role in the home. Her sweet, doltish husband Charlie is ably played by Daniel Shoemake.
From Scene I, the audience understands that, despite her age, Edith is carrying a baby. Normally a woman of her years would be expecting menopause, but Mother Nature had another surprise in mind for this prim couple. As the town hears the news, and jokes about Harry make their rounds through lumber yards, cafes and beauty parlors, we see Edith growing to a more capable, confident woman as Harry slips into a stunned lethargy, hiding from the world.
The comedic timing and chemistry between Stephanie Love and Rick Ford is a joy to see. Miss DeBoer is a sure attention-getter as well, although her character is not as likable as it could have been - a spoiled pampered only child would have been funnier if we had seen her just a little happier with her life before her descent into the housewife doldrums. Daniel Shoemake, while very capable, will learn with experience perhaps that playing drunk is always funnier when underplayed. His antics at times make Charlie seem dumber than he is, creating a mild confusion when a short time later he saves his father-in-law's business.
The play, whose storyline is well-deserving of a good production, also benefits from a fantastic ensemble. The set, prepared by Cori Blauw and Kym Syms establishes the ideal tone for the show. And the costumes! What treasure troves the Steeple Players' wardrobes must be!
There is no shocking climax to the show, so don't go in expecting it. It is a slice-of-life, a mirror into an earlier, comfortable world. Go see it, sit back with a bag of popcorn and soda, and snuggle into your seat expecting a funny, touching play that will make you yearn for the good ole days.
NEVER TOO LATE closes on May 4th. Give your mum an early Mother's Day gift and take her to see this. She will love you for it.
TRUDY'S TRUTH IN THEATRE:
Seeing a time in history when things were simpler, traditions were respected, and it was easier to expect what's coming next . . . it just made me wish those times were back. The importance of relationships seems to have been better understood. The more I thought about it though, I got to thinking of my life now, and as different as times are, I realized that society hasn't changed all that much. Of course, the gender roles have all but disappeared, and people are not as openly caring as they once were, but life itself will always be what it has always been: “people who need people.” It was refreshing to give myself a chance to remember that the family and friends I have are just what I need, even if lifestyles aren't what they used to be.
My Country 'tis of ME?
ASSASSINS
Boiler Room Theatre
12 May, 2008
"They say the highest form of flattery is shooting the president...” Wait...that doesn't sound right.
Ok, so maybe shooting the president doesn't achieve all that much, but the folks in Stephen Sondheim and John Weidman's early '90s off-broadway hit ASSASSINS sure think so. And for a show about misguided, depressed, smart killers, the Boiler Room Theatre has hit it on the head with their current production - it's misguided, depressing, smart, and killer.
Under the mediocre direction of a good vision from Jamey Green, the mostly stellar cast pulls out some fantastic performances and creates a fun, exciting, and entertaining show - at least as entertaining as possible, as this is anything but a feel-good musical.
The show is a series of vignettes that takes place in a time-free zone where well-known assassins and would-be assassins congregate and encourage each other toward their common goal - which is where the direction first goes slightly awry. Green gives us a much lighter show than "Assassins" really is, in that the characters - who did a great job without much help ("bless their hearts," as I believe you say down here) - are made to present their common goal to be killing the president, when what really makes this show effective is knowing that their common goal is self-fulfillment and personal satisfaction. The only other qualm I had with the direction was the one or two times when a number ended and the audience wasn't sure whether or not to clap - understandable with a show like this, but regular theatre-goers should always feel and know when applause is appropriate.
The cast, including many regulars at BRT, really did a very fine job in presenting their characters' cases. Most notable were Erin Burns and Lisa Gillespie as Gerald Ford's would-be killers "Squeaky" Fromme and Sarah Jane Moore, respectively; Jack Chambers as Samuel Byck; Sloan Yarborough as Leon Colgosz; and Shane Bridges as Charles Guiteau. This grisly group of “poor, unfortunate souls” have not only fantastic interplay with each other, but really nailed their characters' motivations and it just almost makes sense, in a sad, illogical way, why they all had to kill a president. Scott Rice as Guiseppe Zangara, Douglas Goodman as Lee Harvey Oswald, and Mike Baum as John Hinckley were also very effective in their presentations, the latter especially zinging from the fact that ensemble member Sara Schoch, sitting near Hinckley's stage area and playing the french horn, looked shockingly like Jodie Foster. The small ensemble - BRT veterans Schoch, Dan McGeachy, Megan Murphy, and Alan Lee, along with wee Jake Cannon - were a joy every minute they were onstage. Their feature number "How I Saved Roosevelt" was simply wonderful. Ryan Hunt played the "Balladeer," a folk singer appearing now and then to tell the assassins' stories and comment on the action and insanity. The only miscasting I thought there was in the show was Corbin Green as the all-important ring leader, John Wilkes Booth. Granted he bears a striking resemblance to Booth, but his acting and singing didn't quite get the job done in my opinion.
The score is traditional Sondheim fare in that the melodies are often weird, and not the soaring "pretty music" many theatre patrons may want, but it is perfect for its subject matter. The most memorable musical moments are probably the "Ballads" of Booth, Guiteau, and Colgosz, sung very ably by Ryan Hunt and the characters each are respectively about, and the one "pretty" song, "Unworthy of Your Love," a duet between John Hinckley, singing to a photo of Jodie Foster and "Squeaky" Fromme, singing to Charles Manson far away in prison. Erin Burns's and Mike Baum's beautiful voices are perfect for the piece. However, the real point of the show is not vocal pyrotechnics - many fantastic singers got to use "Assassins" as a way of letting us know that they can act too.
The look of the production is almost perfect. Anthony Popolo's set is timeless and imaginative, including a very effective sequence of projections of historical photos on the walls. Katie Gant's lighting design is beautiful, if slightly too dark at one or two moments - I believe that was on purpose, but I personally would have liked to better seen a few particular facial expressions. The costumes by Melissa Cannon are great, each character belonging to his or her own time period, but not standing out from one another.
The big complaint I have with the show is the sound. There was nary a moment in the performance I attended when the band and the actors were appropriately balanced. Of course, this may have been a fluke, but quite disappointing anyway.
TRUDY’S TRUTH IN THEATRE:
It's a rare show that leaves one unsure how to feel at the end, even after seeing it numerous times. Assassins has long been a favourite of mine, with its colourful lyrics and strange songs, but I still leave with so many mixed feelings no matter how well the production is done - in fact, the more mixed feelings the better the performances. The irony of ASSASSINS is that it is truly a very patriotic show about living the "American Dream" and finding the truth in your own country, and even though I'm not a native here, I've been around long enough to understand that patriotism crosses the borders of countries themselves and is really all about respect for authority, reaching for united ideals, and pride in your personal history. While the pitiful people presented in ASSASSINS have a very skewed and upsetting grasp on how to achieve such patriotism, one can't help but leave empowered to find it for oneself.
Over all, I recommend this show to anyone who is interested in an offbeat, purposefully uncomfortable, and non-traditional night at the theatre. Prepare to be disturbed, perhaps frightened, and very entertained. Please go, and be inspired by some messed up people - not inspired to kill the president, but inspired to understand your own patriotism.
Fireworks of the Soul
YOU CAN'T TAKE IT WITH YOU
Murfreesboro Center for the Arts
14 June, 2008
What better way to spend some pre-fourth celebrations than with a couple of pyromaniacs and their nutty relations!? Those of you who didn't see the Murfreesboro Centre Players' production of YOU CAN’T TAKE IT WITH YOU missed a delightful romp – and I mean a literal "romp" through the lives of a very special household, what I'd consider the epitome of "extended family." One thing I have always liked about this classic is the message that we can all dare to be different - or not! - whichever makes us truly happy.
Donna Seage created an elaborate and beautiful set, with a plethora of diverse bric-a-brac to match the eccentricities of the family living there. Viewing the set before the show gives one an idea of the happy chaos about to ensue upon the stage. Once the lights are up, the chaos builds with the entrance of each new character. The complexities shown in each character are well developed and well played, and the sensory overload of action occurring on the stage is in the best tradition of farce.
Ginny Cavin plays Penelope Sycamore, the accidental playwright and matriarch of this eclectic group. Cavin’s line delivery is truly funny, but she keeps an audience member in stitches by simply her facial expressions. Her husband, Paul Mark Dixon, and his cohort, Robert Wilson’s Mr. DePinna, spend much of their time below stairs putting some "bang" into everyone's lives: they are firework manufacturers. Lauren Atkins plays Essie, the un-prima ballerina, while Brian Booth plays Ed, her orally-fixated husband. (Good thing Essie makes candy!) Mark Saltalamachia’s Boris Kolenkhov is Essie's Russian dancing coach and an unequivocal commentator on life. Cheryle Zachary Smith and Maurice Bullard play Rheba the maid and her boyfriend Donald. We are also graced with the brief appearances of Elyce Helford’s Gay Wellington, the drunken starlet, and (stand, please) the Grand Duchess Olga Katrina (Candilyn Ford) now turned waitress. And then there's Martin Vanderhoff (John Mack Green) whose Elwood P. Dowd-esque docility, though a bit too reminiscent of the show’s original Tony, sets him off as the proud ringleader of this circus of a family.
The only "normal" one in the family is Alice (Jaime Janiszewski). Her bent for keeping a 9-to-5 job, etc., doesn't seem at all out of place, because that's what makes her happy. But she is hindered by the idea that more conservative people cannot approve of her family's lifestyle. (My thought on that is – who cares? Tell them to shove off! But this play was written quite a few decades ago.) I feel, though, that this perception is her person handicap. Her fiancée, Tony Kirby (Bowd Beal) certainly longs for more freedom and bliss in his life – one thing that deeply attracts him to Alice. Janiszewski and Beal’s chemistry was evident and natural and kept the audience rooting for their romance. And his parents, Mr. and Mrs. Kirby (Todd Seage and Sarah Jones-Johnson), are as much caricatures as any of the rest of the characters – the Wall Street side of the eccentricity pendulum.
YOU CAN’T TAKE IT WITH YOU requires an incredible amount of energy from all of the actors involved, the director, the set designer, the crew, and the audience too. This production certainly delivered. At the end, the energy surging through the room was palpable – and so was the satisfaction. Well done.
TRUDY’S TRUTH IN THEATRE:
The plot of this play hinges upon the complete individuality of each character, and the joy each one experiences in his/her own eccentricities. Others in the household may recognize that their housemates are not as talented as they might think or hope, but they never discourage each other from doing what makes them happy. Drink that in: they never discourage each other. There are a lot of wonderful messages in this play, but if we could all put that one in our pockets and take it home - my, what a change we could make in this world! It would set off fireworks, wouldn't it?
'Til There Was TOO
THE MUSIC MAN
ACT TOO
20 June, 2008
“Now we’re going to have Janie sing a little song for all the parents!” That may be the type of showcase for which student productions often settle, but not so at The Boiler Room Theatre in Franklin; it was lovely to see the students get to do a full-fledged musical production at the end of their term! I must say that had a most delightful time when I attended Act Too Players’ one-weekend production of THE MUSIC MAN at this popular professional theatre company. Directed by Sondra Morton-Chaffin, with musical direction by Sloan Yarborough and choreography by Lauri Bright, THE MUSIC MAN was a charming production which allowed the young students of Jan Williams School of Music & Theatre to take their work beyond the classroom and into real, solid experience.
Devin Clevenger had marvellous presence as the iconic Harold Hill, and Grace Partin was wonderful as Marian the Librarian. Grace has a beautiful, lilting soprano, soulful eyes, and stage presence beyond her years. Both Devin and Grace will be attending college for the first time this fall and can be very proud of the body of work they have already accomplished. Also of note in the cast was young Cameron Gahagan, who displayed great comic timing as Charlie Cowell the anvil salesman. Ranging in ages from elementary school to high school, everyone in the ensemble gave their all, and we in the audience had every bit as much fun as they were obviously having on stage!
And how fine of Boiler Room regulars Ryan Hunt, Scott Stewart, Daniel Vincent, and Sloan Yarborough to lend their talent and expertise as the bickering barbershop quartet! Their voices blended as easily and naturally as if they’d been singing together for years. Their rendition of “Lida Rose,” juxtaposed with Grace Partin’s sweet counter-melody, was a moment of sheer delight worthy of any professional company.
TRUDY’S TRUTH IN THEATRE:
It may be a short & sweet review, but I didn’t want to fail to mention this short & sweet weekend which gave me a brief reminder about why I write about the truth in theatre. Act Too Players seeks to engage students with a good foundation of content in their program of study and attach them to the world around them by accessing what they already know and feel. This kind of theatre is fair, shared, participatory, innovative, and by all means, transformational. THE MUSIC MAN may be a light-hearted show, but it is by all means a connector, a fine beginning not just to introduce talented youngsters to musical theatre, but to give them a new sense of who they are – theatre does (or should) do that for everyone who participates, on and offstage. Thank you, Act Too, for sharing that with your Franklin audience. I hope the rest of Nashville will be able to enjoy that talent for years to come.
"Oh, Be Careful Little Eyes What You See . . . "
POPCORN
Street Theatre Company
21 June, 2008
As I sit to write this review, I am experiencing one of the strangest ironies in my life to date. There’s a show on the telly called “Psychic Investigators,” the concept of which is something like, “Let’s capitalize on the fact that someone was brutally murdered and see how many people we can get to watch with our many different investigative bents,” and I must say, it is quite intriguing. The irony is that this desire we all seem to have to enamour ourselves with the gruesome and gory is just what Street Theatre Company addresses in their current show, POPCORN, by Ben Elton – and, might I add, when I left the show, I felt quite guilty about it.
The play takes place in the home of Bruce Delamitri (played wonderfully by Bowd Beal), a successful Tarantino-esque Hollywood director whose extremely violent and action-packed movies have apparently “inspired” Wayne and Scout (Brad Oxnam and Vanessa Callahan respectively) – “The Mall Murderers” (duhn duhn DUHN!) – to embark on a senseless and wild killing spree across four states. Bruce, his soon-to-be-ex-wife, daughter, and guests are held up in his living room while the Mall Murderers (duhn duhn DUHN!) think up a plan to somehow justify to all of America what they have been doing.
Then end result, which I don’t want to give away because I highly recommend that you all go see it, is a point that sorely needs to be made in our current society: we are all voyeurs at heart and we create opportunities as often as possible to be involved in other people’s trouble, perhaps so that we can momentarily forget our own less imposing and difficult situations. “Psychic Investigators,” anyone?
Mr. Beal’s interpretation of a horse’s ass with a heart is spot on. He carries his portion of the show with distinction and admirable consistency, showing us the true colours of this necessarily egotistical and typical (read: typical in the public eye) hollywood idol. His mid-divorcée wife, played by Maria Pargh, is fabulously evil, in the vain of our favourite “Desperate Housewives.” Anna Sriram as Bruce’s one-night stand, and Matthew Montgomery in a surprisingly good drag turn as Bruce’s spoiled daughter Velvet are both very believable and perfectly cast. Noah Johnson, Don Berry, and Starina Johnson also give able performances in this delicious ensemble cast.
The real show-stealers, though, are Oxnam and Callahan in villainous roles that any actor in their right mind would kill for – pardon the pun. Callahan’s sweet-natured and overly-devoted Scout is a joy to watch in her interaction with the other characters. She is so completely Scout – never for a minute did I hesitate in believing each word she said. The same holds true for the supremely talented Brad Oxnam, who takes edge-of-your-seat to a whole new level with his intensity and commitment.
Director Jill Massie, apparently a prolific Nashville theatre presence from before my time here, very capably interpreted a wordy and difficult script to run smoothly and realistically on a stage that is extremely small. She also quite innovatively added a fourth dimension to the show by setting up the stage itself as if it were a movie set and we the audience are watching the action being filmed. This device only proved awkward a couple of times – you see, we still get involved in characters’ lives and emotions, and breaking it up with film set “stuff” momentarily pulls us away from that connection. Overall, it’s a good idea that usually translates. The running crew, led by Katherine Gray, were visibly used and did a great job keeping the show consistent and on track. Really the only weak link in my eyes was a less-than-believable set, which hinted at the ritzy lifestyle of a modern Hollywood icon…in a very 70s, plastic sort of way. But that was not nearly enough to take my eyes and mind off the amazing action taking place on it.
TRUDY’S TRUTH IN THEATRE:
Sometimes in the past I have had to scrape for a truth in theatre moment; they tend to be buried in some shows. Not so with POPCORN. Ben Elton, who holds it down for we Brits who try to write “Amuriken,” reveals that the entire play itself IS a truth in theatre: we as people living in a worldwide society obsessed with violence and sex and dealing every day with choices regarding what we let entertain us need to be aware of the effects our entertainment has on us and others. Now, I’m not one of those who believes that children should not be allowed to play video games or watch superhero movies, but I do believe it’s important that we keep ourselves in check as to what is really appropriate for ourselves – what do I personally let into my head and heart that isn’t healthy just for me? And what are the consequences of my unhealthy infatuations? Maybe nothing…maybe not. “You be the judge.” – only, will you really?
If You're Gonna Bang Your Bible, Do It with a Beat!
FOOTLOOSE: THE MUSICAL
Circle Players
03 August, 2008
Railroad tracks. A church. A school gym. They’re not the most normal of settings for a musical, but they all pop up in FOOTLOOSE: THE MUSICAL.
One of the great secrets of good theatre is when it is obvious to the audience that the cast is having fun. Three cheers to director Russell Grant who created a show with good energy, solid pacing, and a smiling cast. Kate Adams-Johnson’s choreography was energetic and fun, without being extremely technical, and it was nice (refreshing, rather) to hear an ensemble who was vocally as strong as the lead players. But let me just take a moment to mention the costumes, which were cringe-worthy at times. No, that is NOT an insult! It is a compliment to the costumer who knew how to make me remember the embarrassing things I wore in 1984. Great job there, and thanks a lot! Thank God no one found leg-warmers in the wardrobe search at Circle Players! But I digress; let’s get to the cast.
Not only is Deonté Warren’s singing voice beautiful, with excellent range and control, but he has great energy that moves you from scene to scene, believing completely his crusade to revitalize a small, rural town through dance. He carries the weight of the lead so skilfully; I had to remind myself I was going to write a review because as soon as this young man opened his mouth and moved across the stage, I knew I might have trouble keeping visual and aerial focus anywhere else!
Cali Moore as Ariel Moore had a nice voice and did a very good job portraying the sad sister who had suffered quite a profound loss which hence affected her relationship with dad. Hannah McGinnley as Rusty made me hoot with laughter several times with her quick, surprisingly insightful responses in flawless comic timing. She sings splendidly and with sunny energy. Jessica Morris makes the audience roar as the aged, slumped-shouldered Betty Blast on roller skates with her crooked beckoning finger, but her portrayal of Aunt Lulu is very solid as well.
Chad Webb as Willard Hewitt disguises his singing and dancing skills cleverly behind his backward, cowboy persona for most of the show. But when he finally lets them loose (one of my favourite numbers!), he is a joy to hear and see. The romantic chemistry between Willard and Rusty is always there and holds more interest than the romance between the leads, whose personal chemistry I had a difficult time believing. I think they like each other? Ed Amatrudo and Susan Taylor give nice performances with good energy as Reverend Shaw and Vi Moore. One can feel the genuine longing for the lost romance brought about by the loss of their son, though sometimes Reverend Moore comes across as almost too relaxed and settled in his decisions concerning the town and its proper behaviour. With minimal direction this actor would have easily portrayed the defiance and denial in his own soul that actually comes with mourning a loss.
Technicalities. Wireless microphones are a necessary evil when a musical is accompanied by live music. However, the sound mix was oftentimes excruciating – particularly with the character Rusty. Miss McGinley was featured for her ability to hit the high notes, and she hit them in full voice. That works well when you have a hand-held microphone and an experienced singer like McGinley who knows when to pull it away. However, the mic mounted on her cheek was not forgiving, and the high notes hurt. I did spend some time wishing the sound controllers would pull the slider down and save McGinley and the audience much discomfort!
TRUDY'S TRUTH IN THEATRE:
I have two today. The first one is the scene when Reverend Moore's daughter, Ariel, returns home late. He has been worried sick not knowing what to expect, possibly fearing the same thing could happen to her as to her brother. When she does return, all the hurt and sadness finally begins to come out. Reverend Moore has to face the fact that he has shut Ariel out because of his own grief - and not only her, but whole town. It was a touching, gripping moment played with honesty, and I was reminded that when I focus on my own losses too much, I push away the ones I love . . . the ones who are still there . . . the ones I see every day.
The second was also Ren’s scene with the Reverend. Ren had already stood before the town council with a somewhat “biblical” reason for dancing. Someone who does not already know the story may wonder if there is anything else up his sleeve, because that tactic sure didn’t work! However, a real, heart-to-heart conversation between the two stubborn men was what turned the tides. Sometimes we think we’re standing up for something important and we take too much time debating the issues instead of finding results in relationship and the real truth behind what we are debating in the first place. That’s a great lesson for anyone.
Footloose is a fun romp onstage, but it is mostly about relationships, about renewal, and about a great place to scream your sorrows. Excellent job, Circle Players and Russell Grant, in bringing those important truths to light at the Looby for me this weekend.
The Bitch is Back!
MISS GULCH RETURNS
Artist's Cooperative Theatre
03 August, 2008
Sooo . . . who the hell is Miss Gulch? She is the dog-pinching, bicycle-riding, bitch-next-door who had it in for Dorothy's wee Toto for doodling in her yard or whatever he did. She’s the irritable old maid, the bad-tempered battle-ax, the crabby curmudgeon who blames her lot in life on everyone and everything. She is the definitive Hollywood stereotype. Should we pity her? Nay! We should laugh! And snicker! And point our fingers at her as she lives forever in two-dimensional comic relief!
It is this old-fashioned Hollywood psychology that inspires MISS GULCH RETURNS and the sexually frustrated spinster to her new audience so she can share HER side of the story! If you’ve ever wondered what happened to dear Almira Gulch after Dorothy Gale was whizzed off to Oz and the wicked old lady screamed as a green thing in her subconscious, you can see her come to life in ACT 1’s MISS GULCH RETURNS starring Daniel Vincent as Almira and Jeffrey Williams at the grand piano.
MISS GULCH RETURNS originally premiered in 1983, when it acquired significant approval for first-class music and lyrics (not to mention an insane freshness and droll wit!). In a one-man-er-woman-um-something-show, Daniel Vincent takes the Darkhorse stage and bellows not only a plea for understanding of the old bat, but some damn sweet sounds coming from his incredible vocals. The show takes off with Mr. Vincent in a bar, trying to pick up the lackluster lady, and then, after a crazy onstage costume change, during a musical number to boot, he subsequently becomes her!
Thanks to Fred Barton's comic genius, Jeffrey Williams’ skilful tinkering of the ivories, Vincent’s impeccable timing with class-act vocals, and Brian T. Hill’s solid direction, one can easily visualize these wild cabaret numbers being performed at a Prohibition-era underground gay bar in the twenties, where Miss Gulch has apparently landed (with her broom?) in hopes to create a career for herself that silly Dorothy-girl stole from her! “Why if I had gotten to sing my big number in that Oz film, flamboyant men would be putting on dresses and impersonating me to this day!”
From “Pour Me a Man” to “I’m a Bitch,” Almira keeps us giggling at her unintentional wit and downright guffawing at her crass depiction of herself. MISS GULCH RETURNS is a blast and a billion snickers.
TRUDY’S TRUTH IN THEATRE:
Brace yourselves. This is the best one yet.
“Booze can keep you happy ‘til your six feet under grass.”
Any lives changed yet? I apologize; It had to be done. I can’t be accused of being predictable, now, can I? Good people of Nashville, I think I laughed so hard this weekend I might have choked on my tongue. Sometimes that’s all the truth in theatre one needs. Thank you muchly, Daniel, Jeffrey, Brian, and Act 1.
Mass Hysterium
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
Pull-Tight Players
10 September, 2008
Sooo…need a virgin? A slave? Aaaa. . . Eunch? Ancient Rome is the place for you - and Pull-Tight Players resurrects it in all it’s debauchery. But don’t take this beloved Sondheim comic musical seriously. Really. The play itself, not to mention each actor, does’t even take it seriously – - and that’s what makes it work! So do not be taken aback if characters address you directly while singing - or, um, physically harass you on their way in and out.
The plot tells of Pseudolus (veteran actor David Arnholter), a slave, attempting to buy his freedom from his owner, Hero (Jonathan Sawyer), who is the son of a dirty old man and a serious battle axe of a mum. Fortuitously for Pseudolus, Hero has fallen in love with the virgin Philia who is waiting for “Captain Miles Gloriosus” to come and claim her. Comedy and chaos ensue.
The lead role of Pseudolus is played by an actor more than capable of handling the large responsibility of carrying an entire show. David Arnholter's energy and charisma are the keys to setting and maintaining the pace for the entire production. And in the side-kick role of Hysterium, Dan McGeachy does an exceptional job in his humorous role. He is a well-tuned instrument who exudes emotion throughout his entire being - with fantastic facial expressions and humourous body language that enhance his line delivery. He steals the show in his portrayal of – yes - a young bride in “Lovely.” And this particular audience roared with laughter as he sang falsetto in a duet with Pseudolis. I can’t imagine that collective guffaw hasn’t been repeated every night. Blaine Pickett, playing Lycus, has countless facial expressions and a body language that do not mimic at all, but indeed seem to have graduated from the same training as McGeachy. Of note is Jonathan Sawyer, who portrays the romantic Hero wonderfully with his angelic voice and youthful grace while Anastasia Arnold gives a lively and spirited performance as Philia.
The costuming for the courtesans was simply delightful and most impressive, though poor Philia is sometimes over-staged by the impending threat of “wardrobe malfunction.” The courtesans were scantily clad but all were covered in a secure way that let the audience enjoy their sensuality without the threat of said feared malfunction, though some of them seemed a little less than comfortable with their levels of “exposure.” The set may come across to folks unfamiliar with the show as somewhat bland, but it is very well-made and does give off the Warner Bros. cartoon feel that the musical itself originally purposes.
Overall, FORUM was a spirited, raucous adventure that certainly “entertained” and was indeed “a comedy tonight.”
TRUDY’S TRUTH IN THEATRE:
Not at all “PC” and bound to offend someone in the audience, this show is pure and unadulterated ENTERTAINMENT. With the facade of light and fluffy it does have some philosophical ponderings that are eye-narrowingly subtle. If you plan to see the show, look for them. Then you can decide whether to take some tidbit of truth from their jest or simply slip it into your program and stuff it in the glove compartment of your car. Most choices or subtle advice are like that anyway, aren’t they?
A Bit Too Far from the Home I Love
Fiddler on the Roof
Murfreesboro Center for the Arts
19 September, 2008
Have you ever anticipated an exciting trip that was cancelled or never took place? It can be quite a disappointment. Recently I travelled to the Murfreesboro Center for the Arts to see one of my favourite musicals, FIDDLER ON THE ROOF. I waited with anticipation to be taken to a small village in Russia in 1905, but I must say, that journey did not happen, which was discouraging because I did so enjoy my travelling companions!
Anthony Cimino as Tevye is possibly the best actor I have ever seen in that part and I have seen more than eight world-wide. In addition, Kim Browers as Hodel and Jessica Theiss as Chava are spot-on in their roles and their individual scenes with Tevye are spell-binding. The performances of Sam Wright as Perchik and Spencer Ford as Fyedka are very enjoyable, and the chemistry with Kim and Jessica are palpable. Amy Berstein (Tzeitel) and Anderson Dodd (Motel) are both fine actors and good in their roles. I still cannot, however, wrap my mind around the pairing. There is a clear lack of chemistry there and I believe Motel’s character was directed to be childlike, which truly does not work in this story. It is difficult to see the softness of Golde as she discovers Chava has eloped with a Gentile Russian Cosack, or later, as they were being expelled from Russia altogether. Yet another challenge is comprehending why Tevye was intimated by Golde or how she and the daughters needed and leaned on Tevye's strength and love. It is very important in this story to make those characters much more than one-dimensional.
The voices of the cast are just lovely and their harmony fills one's soul as only good music can. And I will say there was laughter and tears like I expected with such a play as this. The stage is set well and is easily changed and well-lit. But again, I felt a bit like I had things ready to go . . . my passport, my bags packed, and my plane ticket at the ready . . . but I forgot to actually plan the trip. Some things that yank an audience member out of an anticipated journey, are props and business that are not well-utilized (such as a pot of invisible food and a magically over-stirring spoon), the misuse of period and age makeup, poorly glued beards, out-of-period soldier costumes, women soldiers (oi vey!) who did not take off their makeup, an obvious plastic baby doll in a crucial scene, and no decision as to who should use a Russian accent or who should keep theirs as sweet as Southern tea. All of these things can be avoided, even on a tight budget.
TRUDY'S TRUTH IN THEATRE:
When one makes a journey to another time it is important to know the period well. When one takes a voyage to another place, it is crucial to be familiar with your destination, or it will be easy to get lost, distracted, frustrated, and feel like you’ve misplaced your road map. When a traveller gambles on spontaneity, even if their travelling companions are above par (kudos to the cast), the journey can often be an unnecessary disaster.
Arabian Nights....Arabian "daze"
Arabian Nights
Actor's Bridge Ensemble and Belmont University
30 September, 2008
I did the math before I got there: in order to fit 1,001 stories into two hours (give or take), we have to hear somewhere right around 8 of them per minute (give or take). Excellent . . . a challenge.
A challenge that Actors Bridge Ensemble and the Belmont University Department of Theatre and Dance, jointly, do not take lightly with their production of ARABIAN NIGHTS by Mary Zimmerman. And they succeed, thanks to the expert direction of Bill Feehely, and a very capable melting pot of a cast. With professional actors and students working side by side, the classic tales of morality, wisdom, comedy, and tragedy (which I have never seen onstage - nor, I am embarrassed to admit, even read before) are very well-manipulated, one within another, to present the audience with a very entertaining evening. Zimmerman's treatment of the mythic tales shows a vast amount of research and an intimate knowledge of the legends held inside it; she weaves a fast-paced, multi-faceted yarn-full-of-yarns about the young virgin Scheherezade, whose father is forced to give her up to the evil Sharyar, a hard ruler whose plan is to kill Scheherezade at the break of dawn. The girl and her sister concoct a plan to keep her alive - at least for a little while - by using her impressive story-telling skills to intrigue the king and make him postpone her murder by way of keeping him in suspense as to how the story will end...tomorrow. After 1,001 nights of stories, Sharyar has fallen in love with Scheherezade, and she with him, and her life is spared. It's a harrowing task to attempt on the stage - how to make 1,001 nights fly by in an instant?
The actors took charge of the stage, and made a potentially grim task colourful, exuberant, and touching with their nearly classical presentation techniques. Daniella Mason as Scheherezade lit up the stage with her beautiful presence and a clear, resonant voice. Her sister, Dunyazade, played by Kristin McCalley was a meek, yet conniving character, played with youthful, quiet strength. Jon Royal treated us to a fierce, but not un-malleable Sharyar, as well as very appropriately appearing in one of Scheherezade's more passionate tales, as Aziz, an actor of sorts in his own right. "It is related" that Max Desir plays the mythical Harun Al-Rashid, around whom all of the stories centred, in one way or another. His character was consistent, and his lovely speaking voice made my heart melt just a little. Among the very versatile and talented ensemble of 12 others, most notable included the sensually fascinating Liz Young, the sweet and lively Maggie McDowell and Michael Rosenbaum, Mallory Gleason, Kanya Lai, and John Silvestro.
Not the least of the innovative approaches to the play, and perhaps the most memorable, is an almost entirely full score of original music by Pru Clearwater. It included many styles, keeping within the loose confines of Eastern musical traditions, and even gives the audience many songs sung by the actors - a very effective tool that makes all the difference in the show's pacing and entertainment value, not to mention its highlighting of the gorgeous voices belonging to those singing them. The lights, designed by Richard K. Davis, were beautiful, never taking attention from where it should be, and always adding to the ultimate effect of the moment. R. Paul Gatrell's amazing set draws the eye to many levels, with many visual focal points, and meshed perfectly with June Kingsbury's lovely modernized-classic costumes. I was very pleased that it was brought to the audience's attention (before the performance begins) credit to Mallory Gleason for choreographing some of the musical numbers (which was left out of the program) - I made a note of it in case it was of honourable mention, and by God, it was.
Overall, this play was a vibrant evening of well-crafted theatre. Sadly, its run has now reached its end, but to anyone who wonders whether seeing student productions at Belmont is worthwhile - it is, not to mention Actors Bridge's reputation - their partnership once a year is proving itself a very profitable one.
TRUDY'S TRUTH IN THEATRE:
There are many truths to find within these fascinating 1,001 stories, but the truth I've chosen to apply to this particular performance is the value of working with people "out of your league," in either direction. I know for me, some of the greatest times of learning I've had in my shows came first from working as a young lady with older, more experienced folk, but also from aging (quite a bit!) myself and being able to open my eyes and learn from the youth around me with so much to offer that they don't even know about yet. Kudos to the Actors Bridge and Belmont production teams for joining together and making such an effective and educational collaboration. It is sure to change lives for the better, from the people involved in production to us in the audience. That is a truth of which you should be very proud. Thank you.
To Truly Understand
OF MICE AND MEN
Encore Theatre Company
30 September, 2008
“I been around him so much, I never noticed how he stinks…”
I have a confession to make. Years ago I decided that I would never see another production of OF MICE AND MEN - that I would not again subject myself to the bleak, depression-based (and depression inducing) despair of Steinbeck's most famous work. Symbolism, foreshadowing, allusion, and allegory notwithstanding, when attending a play wherein dogs, people, hopes, dreams, and any number of mice (I always lose count) are slaughtered over the course of two hours, how do you leave the theatre without wanting to slit your wrists, or at least those of the playwright?
Steinbeck wrote in his journal, "In every bit of honest writing in the world there is a base theme. Try to understand men; if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. Try to understand each other." If that is Steinbeck's base theme, then the fate of Lennie and George would indicate that in this world it's an impossibility - that we can never truly understand each other or expect others to understand us. That, at any rate, is how I felt before I took a deep breath and literally forced myself to attend Encore Theatre Company's production in Mt. Juliet.
Stage Manager Anne-Geri΄Fann, in her program notes, states she believes the message to be that we need each other, and that no dream is worth anything without someone to share it somehow. This indeed is the predominate mood of each evening. Yes, I again came away a bit broken-hearted, but this time it was not a depressing story that left me despondent; it was the deep love and friendship of Lennie and George that stayed in my heart, for time it felt stronger and more vital than the environment which sought to destroy it.
There are two reasons why this is so - first is Jason Deathridge's cohesive and sensitive direction. He deftly avoids a heavy-handed, angst-ridden approach, and elicits strong, fluid, ensemble performance from a diverse cast, all working together for a common goal. Second is the brilliant performance of Bowd Beal as George, a man tied to a responsibility he thinks he doesn’t want. Too often George comes across as cynical, bitter, and defeated. Beal finds levels of humanity and depths of feeling in George that are exquisite, heart-breaking, and unlike any I have seen before in the character. His is a lyric and original portrayal, stunning in its truth. Observing the play through the eyes of this George, it is a fresh new work. William Crutcher as Lennie, also gives an excellent performance, touching in its simple sweetness and never moving into caricature. While ALL the actors hold their own in a tight, talented ensemble of a cast, performances of particular note come from Elliott Winston Robinson as the distant and self-contained Crooks, Jack Hoke as a comic and heart-breaking Candy, and Andrew Brooks as good-natured skinner Slim.
Everyone involved in the production is to be commended. The performances, the direction, the set, the lighting, and particularly the perfectly chosen music, all work beautifully together to give the audience an evening of depth and pathos, in a new and particularly loving rendition of a familiar piece. With this particular theatre patron’s experience with the show, you had your work cut out for you, but you touched this jaded theatre veteran in a way she'd never have dreamed possible.
TRUDY'S TRUTH IN THEATRE:
The character Crooks is the axis of the entire play. He shares the theme of the story in his one brief conversation with Lennie. “George can tell you screwy things, and it don’t matter. It’s just the talking. It’s just bein’ with another guy. That’s all.” Just as Candy defended his old dog, one can never put a price on the depth of a relationship, a best friend, a true companion . . . especially when a person has had them so long that . . . they would never notice how they stink. I do not mean this to be funny. Think about this today: Who provides you comfort? Who provides your sense of belonging? Those are roots you can believe in, a depth of truth far greater than anyone else’s story. I encourage you to bring your hankies, but don’t let fear of a heart-breaking experience deflect you from this important lesson, this “truth in theatre” that is playing at Encore Theatre Company in its last weekend.
Sometimes I find truth where I least expect it. And, as much as I love theatre, particularly amateur theatre (as in, those who do for the love of it; many of these actors are also professionals), I didn't expect that the love generated by actors and crew in mounting a production so cohesively that it could bring such a beautiful, deep, and fresh love out of one of the (formerly) saddest loves I've ever known. I thought I knew what the evening would hold, and what I would probably have to write, but then "the best laid schemes o' mice an' men gang aft agley."
ALL IN THE FAMILY
Little Shop of Horrors
Town Centre Theater
10 October, 2008
The name Himelrick isn't as familiar as perhaps, Baldwin, Arquette, or even Barrymore. But this family's name is all over Town Centre Theatre’s production of cult classic LITTLE SHOP OF HORRORS. The director is Jim Himelrick and the musical director is Karen Himelrick. I am unsure of their relation, but the role of "Seymour" is played by – indeed, you guessed it - Tadd Himelrick. “Crystal,” one of the three doo-wop girls is Briana Himelrick. Not surprisingly Karen and Jim Himelrick are also on the Town Centre Theatre’s board of directors.
In the grand tradition of the von Trapp family and perhaps even the Partridge family, these are indeed talented kin. I will admit I had my uncertainty with such obvious casting in a show and I found it even more ironic that in the director's notes, Mr. J. Himelrick said that he had "all the right actors miraculously show up at auditions." But the cast is comprised of more than those few, and whether or not nepotism came into play, it was the right combination of kissing cousins.
The spoof musical is nearly flawless from beginning to end. The numbers are well timed, the transitions are seamless, and nary can a foul note be heard. The cast should be proud of themselves for their hard work and even the subtle choreography never overshadows the colour and imagery of the production. The smaller cast fits well on the small stage and I believe no toes were damaged.
Stealing the show (and the hearts of most women in the audience) is Kacy Maxwell. Taking on several parts – most notably the sadistic dentist – he is fresh, honest, and comical without overacting. Another entertaining performance comes from Patrick Kramer who makes Mr Mushnik vibrant - with just the right amount of curmudgeon. As Audrey is the adorable Cali Moore, who perfects an appropriate mimic of Ellen Greene, who portrayed the bombshell on Broadway. Also of note is James Rudolph who soulfully voiced the killer plant, Audrey II.
The only performance I had a hard time wrapping my head around was that one of the family-tied “doo wop girls” had some unnecessary stage time and, though she is just radiant and has the pipes to sing her heart out, her facial expressions seemed a tad unnatural.
TRUDY’S TRUTH IN THEATRE:
Poor Seymour and Audrey were just searching for a place to belong, somewhere that's green. They were too wrapped up in their low self-images to see that they were already with the person to whom they belonged! These two were looking for a new life and a family. Yes – a family. Even without reading the program, it was still rather noticeable where relations came into this production. In theatre, the people in the show usually become your family, not the opposite. That having been said, although LITTLE SHOP OF HORRORS may have teetered on favouritism, it was not enough for this theatre patron to refrain from giving the show a standing ovation and encourage anyone who can to make time to see this show in its closing weekend.
FRIGHT NIGHT FRIDAY
Bell Witch Story
Tennessee Theatre Company
17 October, 2008
Perhaps if I had had my spot of milky tea before travelling to the Nashville Fairgrounds to see Tennessee Theatre Company's production of BELL WITCH STORY, I would have been in better spirits (no pun intended). But the show left me physically cold and fairly vacant. Had I at least known the production was taking place in a barn with no heat, I would have come prepared and bundled up. But as I saw the show after meeting friends for wine, and no tea to warm me up, I was dressed in my comfy jeans and heels.
My personal troubles aside, I settled in for an evening to be scared and frightened by a rather famous and legendary Tennessee ghost yarn. And what I got was a fright – but not in a positive way. Try as I may, I did my best to enjoy this show, but writer/director Ric White put together a production that was lacking in the story’s renowned frightful foreboding and more dubious than daunting.
Besides the haunting, eerie music and sound cues cutting off abruptly, the costumes are not period specific and speaking as an English native, the Welsh character in the production seems a bit foo foppish and feminine (no matter what 'they' say about the culture). And most importantly, though I have heard many more than good takes on accents from the Isles on our Nashville stages, he doesn’t use anything close Welsh accent. In fact, I am unsure if it is even European.
Perhaps what escalated my distaste was that many of the characters are overacted – especially with the director/writer as James Johnston who plays multiple characters and 'milks it' the entire time. I could have used that milk in my tea, actually. And the voice of the so-called terrifying spirit is arrogant and not at all believable. Many of these scenes only last two to three minutes at the most and both acts are filled with over ten of them.
The talented Chris Basso (who gave me such a chuckle in Act 1's THE CONSTANT WIFE to name one of several) is completely wasted in this production. As "Joe Edwards,” I am still trying to find out the actual point his character had in this show. He is a wonderful talent, but is forced to spout some truly nonsensical lines. Kellye Mitchell as "Lucy Bell" and Christopher Scott as "Frank Miles" were two of the brighter points in the production and Bettie Ann Britton provided much needed comic relief as the quirky and childish "Anky.”
I nearly ached for BELL WITCH STORY to give me goose bumps and make me want to grab the rather handsome lad sitting in front of me in fright. But it fell short of expectations and simply made me afraid of plays that were written, directed, and acted by the same person.
**note: this production is not to be confused with SPIRIT: The Authentic Story of The Bell Witch of Tennessee by Community SPIRIT Players.
WHERE IS LOVE?
OLIVER!
Circle Players
24 October, 2008
Just looking at the wonderful sets designed by Jim Manning in Circle Player's OLIVER! took me back to the early 1800's in the dirty alleys and streets of London's seedy underbelly.
Perhaps it’s because the production runs through Halloween that director Clay Hillwig took this production in a darker direction. I had heard the show was a little Tim Burton-esque, but that is only in the visual aspect – with many of the characters sporting grey or white face makeup with dark, haunting eyes. But the true look of the outcasts of London's society is betrayed well – with the exception of Rachael Bernard – who portrays the resilient prostitute Nancy. Rachael plays the role with real conviction and heart, but whoever costumes and dresses her for the show need not make her so clean cut. Though her character is outstanding, her pretty red dress is unsoiled and flawless, her appearance is not dirty or dishevelled like the other wenches in the barroom or on the streets, and not at all like the street walkers in 1830’s London.
In the lead role is young Wes Richardson who does a wonderful job at making Oliver a survivor, but also a boy lost in a world he is forced to understand. Other notable standouts include Macon Kimbrough as the fat brute Mr. Bumble, Victor Phelps as the Artful Dodger, and Megan Roddick as Nancy's ever-present sidekick Bet.
The musical numbers by the urchin children are most certainly the favourites, though Ms. Bernard and Mr. Richardson do bring me close to tears with their solos "As Long As He Needs Me" and "Where is Love,” respectively.
TRUDY’S TRUTH IN THEATRE:
I have often considered Dickens’ choice to make Oliver such a saint like character in the midst of his broken world. His angelic spirit and moral fibre almost seem unbelievably innate. But in the world to which Dickens spoke, using his stories as genuine life lessons for all humanity, it would have been considerably difficult to hear and recognize the story, or to challenge their own prejudices from say, the perspective of Nancy or Dodger. Just as Oliver Twist the novel was intended as social protest, so too the musical OLIVER!, under the direction of Clay Hilwig, brings to light not only the basic contrast between good and evil, but the social repercussions when charity and compassion fail.
Perfect for a night of Halloween fun and intensity, Circle Players' OLIVER! had me strapped to my seat for an evening of music and magic.
CHECK MATE or STALEMATE?
TITUS ANDRONICUS
Artist's Cooperative Theatre
05 November, 2008
Four marble columns and a chessboard floor set the stage for murder and revenge in ancient Rome.
The emperor is dead. When General Titus Andronicus returns from waging war with the Goths, his brother, Marcus, announces that the people choose Titus to be their new emperor. His first act in office is to sacrifice a son of the Goth queen, Tamora. That's when the blood begins to flow and continues to pour until the stage is littered with hands, heads, Goths and Romans.
After sitting through William Shakespeare’s TITUS ANDRONICUS, I should have left the Darkhorse Theater emotionally drained and a little sick to my stomach with the interminable “heebie-jeebies.” Instead, I left trying to decide what the director, Melissa Bedinger Hade, could have done to make it a show worthy of Shakespeare’s murderous language and most bloodthirsty play. The production is technically correct. The blocking makes sense and creates good visual pictures. However, I did not get the impression that all of the actors were committed to the gravity of the drama. Their worlds are crumbling, their family and friends are dying; yet many of them seem to just be waiting to deliver the next line or execute the next blocking assignment. For example, though Saturninus gives an energetic sleaziness that begs for some brave cast member to meet him, Marcus Andronicus is devoid of the passion and emotion that characterizes the role.
When it was all said and done, the story is told – and told clearly, with several performance highlights. Dave Thoreson delivers a strong performance as Titus; the sincerity in his voice and facial expressions make Shakespeare's words clear and believable. Lauren Atkins, a guru of physical comedy, was given the task playing Lavinia, Titus' daughter who is raped, has her tongue cut out, and her hands cut off. She makes strong, considered choices and had agonizing moments of helpless desperation. Kay Ayers-Sowell plays the vengeful, ruthless Goth queen, Tamora, with focus and passion. A fair portion of her passion is directed toward Aaron, the Moor, played by David Chattam who is truly eerie as he slinks from column to column, scene to scene, contriving evil. Markus McClain plays Young Lucius, and I give him much credit for staying focused and portraying the severity of the circumstances in his face. Several women play men's roles, but only Pat Rulon as Lucius convinced me. And Richard Sparkman, who gives a committed performance as Tamora’s son, Demetrius, bestows on him the bite - and slash - and claw he deserves. He and his small frame could have taken on the lot of them and walked away the victor.
TRUDY’S TRUTH IN THEATRE:
The game of chess has so many congruencies in our world that it is perhaps the most analogous board game ever invented. “Blindfold Chess” is a form of chess in which one or both players are not allowed to see the board. TITUS ANDRONICUS is the essence of a life size chess game of merciless hate and revenge. But it poses several questions innate of the human mind. For example, when someone we love is killed or mutilated, could we really we find it in ourselves to take the life of another person? Is there an inherent evil twin to each of us that can be drawn out if truly motivated to do so?
This story is a blindfold boardgame through hell and ACT 1 takes you there, very swiftly across the River Styx. For me, hell wasn't as bad as I anticipated that it could be in this classic play, but I still left considering the human condition. And the very fact that it is pondered at all is exactly why we do theatre.
For What Do YOU Save Time?
CHEAPER BY THE DOZEN
Encore Theatre Company
12 November, 2008
I walk into the warehouse where Encore Theatre Company performs, and chairs are being carried-in. A full house; that's good. There are no curtains to hide the stage. Instead, the curtains take the form of drop cloths draped across the furniture in the Gilbreth family's home. Enter Frank and Ernestine Gilbreth played by Jay Oziminski and Barbara DeHarde. They're adults now. Ignoring us, they captivate us as they slowly and methodically remove and fold the cloths . . . unveiling the dining table . . . the sofa . . . the piano . . . up-righting family photos as they go. I am so fascinated with this silent activity, it seems almost too soon when they finally speak and begin recounting the days of their youth, "I remember Dad -- he'd come bounding up the front steps . . . roaring into the living room, take out his stop watch and whistle assembly call. That meant -- come running." And they came running with a clamour of childlike enthusiasm - enthusiasm that drew me into the odd and wonderful workings of the Gilbreth household.
The children in this show are energetic and focused. You feel their joy in being on stage, and that joy engaged me in each moment. Looking back on this show, I think about other productions I've seen . . . especially ones with "experienced" actors, and I realize that when a show is flat, it's the joy that's missing. But this night, I watched Dad Gilbreth played by David Polk lead his family to become a well-oiled machine: learning foreign languages while bathing, setting-up a family counsel, or dividing the household chores by mutual consent. I observed Heather Alexander embody Mom as she led her children with profound moments of strength and tenderness. And when she wasn't leading, she was knitting - a true mother of 12. I also witnessed a revolt as Anne, the oldest, played by Alex Georgeadis bravely led her sisters into the new world of silk stockings and sodas with boys, boys like the fullback of the football team, Larry, played by Jonathan Burgess, and was sincere, strong and vulnerable; I knew exactly why Anne fell for him.
Sarah DeHarde with her sweet, insightful manner gives a strong performance as young Ernestine. She is unflinching in the face of the taunts of her brother, Frank, played by Cody Allen. Frank is playful and witty, and he carries the younger actors on his shoulders, both literally and by example, giving them a big target for their well-placed energy. If I had complaints, they would be that Dad lacked the high-energy personality of Frank Gilbreth, that Mrs. Brill could have been more of a cold &#$%* instead of the feisty, comic character played by Wendy O'Neil, and that silk stockings should have been actual stockings and not panty hose. But any minor criticisms were overshadowed by the committed actors on the stage that made me laugh and, yes, cry.
Director John Carpenter did a lot of things right with his production of CHEAPER BY THE DOZEN, but, most certainly, the best thing he did was create an environment where the actors could tell a great story and have fun doing it.
TRUDY’S TRUTH IN THEATRE:
One of Frank Gilbreth's claims to fame was to establish the foundation for efficiency in the workplace (and in the home) by eliminating waste motion. Less waste motion equals more time saved. In the tender, final scene, as he is preparing to leave for Europe, Anne, asks him, "Dad, before you go, there is just one thing I don't understand; what do you want to save time for?" His answer cuts to the heart of why we spend time with our family, why we work, why we play, and why we do theatre. He says, "For . . ." No, I'm not going to tell you. This is something you'll want to hear for yourself. Take a trip to Encore Theatre Company's little warehouse in Mt. Juliet and hear what we save time for . . .
Give a Damn.
MOONLIGHT & MAGNOLIAS
Tennessee Repertory Theatre
Monday, 17 November, 2008
You’ve heard the expression, “Ya either love it or ya hate it.”
Gone with the Wind is often regarded as one of the most adored films that has stood the test of time and deemed a well-loved classic. According to Ron Hutchinson's MOONLIGHT & MAGNOLIAS these triumphs are all the more extraordinary because the timeless screenplay was whipped out in a measly five days! If you, like myself, are an avid fan of this 1939 box office hit, you will delight in the nostalgia of this production. If, however, you thought both Mitchell’s book and Selznick’s film were post-modern tripe, fraught with a soap opera storyline, a manipulative slut for a heroine, a contrived setting, and an ending that makes you fancy those hours of your life back, you will still be hooting loudly from your seat.
MOONLIGHT effectively tells an absurd yet entertaining backstage story of the legendary (yet in this case damn near psychotic) David O. Selznick, producer of the celebrated film. We sneak into the Hollywood mogul’s office, where his magnum opus yet-to-be is perforated with problems due to an impractical screenplay – and production is to begin in one week’s time! Madness ensues and the audience witnesses the chaos in his solution – to lock himself, screenwriter Ben Hecht (who hasn’t even read Mitchell’s book) and director Victor Fleming (yanked off the set of The Wizard of Oz) in said office for five days, with nothing but the clothes on their back, one bathroom, a typewriter, and only bananas and peanuts for sustenance.
Director Martha Wilkinson crafts a wonderful production team and cast for this harebrained, darling show. Gary Hoff’s jackpot set, Trish Clark’s wonderfully period costumes, and Michael Barnett’s light design create a superb environment to set the stage for talented actors Shane Bridges (Selznick), David Pasto-Crosby (Fleming), Pete Vann (Hecht), and Evelyn Blythe (Mrs. Poppenguhl)
Bridges is likable and convincing as Selznick, suggesting both the man's extreme anxiety and his legitimate wish to do the story justice in a comical and convincing give-a-damn performance. Vann’s smart aleck Hecht and Crosby’s all-arrogance Fleming effectively clash as they attack each other's film work and past professions. All three gentlemen, though possibly younger than the actual characters they portray, give a splendid slapstick performance, with Wilkinson’s excellently operated blocking and physical comedy takes to boot. These three actors embrace difficult, challenging, inventive, and illuminating material. Though Blythe’s Poppenguhl doesn’t necessarily steal her scenes, she does garner a few adorable moments with her period working woman compliance and subsequent other-side-of-the-door breakdown as evidenced by a downward spiralling appearance each time the office door swings open.
TRUDY’S TRUTH IN THEATRE:
I have always found Hutchinson’s dialogue about race in this script to be somewhat manufactured to make the story more sympathetic and give it a moment of seriousness it doesn’t really need. However, I did see something interesting as Hecht wrestles with the racial overtones in Gone with the Wind . . . and this is that Fleming and Selznick comedically wrestle each other while attempting to act out the story for him. Maybe I’m sounding a bit artificial myself, but it IS rather normal of many of us to “not see the forest for the trees” when it comes to that issue. I can admit that very possibly my doubt in the necessity of said dialogue was my own discomfort. Regardless of when the movie's script was written, it certainly wasn’t a comfortable issue in 1939 – a movie that briefly addresses racial relations in the south while many Jewish were fleeing Europe to save their lives. It’s easy to want to deflect from serious issues with comedy so that we don’t have to deal with it. Hutchinson didn’t do that; he "gave a damn" and dealt with it – and then brought us back with bananas, peanuts, a mess of an office, and the most unusual baby-birthin’ I know I’VE ever seen!
Go see MOONLIGHT & MAGNOLIAS in its last week at The Tennessee Repertory Theatre. Enjoy the excellent chemistry between three of Nashville’s funniest stage junkies – besides, isn’t it time you get out and laugh your head off a bit?
Dancing On Your Grave
A CHRISTMAS CAROL (a ghost story)
Community Players
Wednesday, 17 December, 2008
Ebenezer Scrooge ranks amoung the most famous of Christmas villains. And The Community Players team has a ten year track record in Christmas Carol creations which continues with David Hutson’s take on Dickens' festive cautionary tale in this production.
The Community Players venue has been dressed up by Hutson as a six tier stage to look as picturesque as a Christmas card, complete with lanterns, constant London fog, and almost a ghastly, deathly feeling in the air, which is, as some productions miss, very true to Dickens’ tale. The main donation to the atmosphere is an auditorium at such a Scrooge-like, though not uncomfortable, temperature that that many of us in the audience kept at least our scarves and mittens on throughout. That does wonders for the hot cider drinkers who could partake for free at the end of the production, and adds to the magic of the Christmas ambiance.
Phil Brady, who plays Scrooge, is most definitely a man who is as merry as a funeral in a wet graveyard. His transition to welcome happiness into his life and “give it a comfortable seat” as Mr Fezziwig once advised, is quite beautiful. Brady’s Scrooge seems positively giddy with generosity, drunk on goodwill to all men, and it is completely infectious.
Even the costume crew has done a lovely job in recreating the period down to the boots worn by the children. However, like Tiny Tim, this production does seem a wee bit undernourished. The oohs and ahhs aren’t about the injustice of the Cratchits’ plight or Ebenezer’s insolence; they’re about the set. Hutson's adaptation is tenaciously faithful and solid, and shares the narration between the famous ghosts who light their lanterns one-by-one to illuminate the narrative and ably carry the story in mammoth monologue. But though the carollers did a fair job of portraying an amateur street-carolling troupe, after a while the Christmas songs that intersperse the action all start to wear a little. And something is a wee bit wonky when one finds themselves worrying if the ghost of Christmas future is going to tumble off his stilts, if Ignorance forgot his costume, or if the fog machine will let up a bit so the audience can see the show. The set delivers the goods, and a few support it. A setting such as this one calls for an equally spectacular energy, most of which are carried by Phil Brady as Scrooge, John Carpenter as Bob Cratchitt, J. Spurlock as Old Joe, and Rachel Brooks as the Ghost of Christmas Past. This is an important, often reproduced tale that needs to completely demand the audience’s undivided attention, in a whiz-bang set and in the execution of good ideas.
With such a large production, one cannot mention all deserving moments. But flashes that stood out for this reviewer were, at times, tiny ones. For example, the pained look on old Scrooge’s face as he watched his beloved Belle walk away from his younger self, Old Joe’s wily, cunning laughter, and the nice change of pace in that the creepy streets ghosts from Dickens’ tale were not left out of the story! It is a ghost story, after all.
TRUDY’S TRUTH IN THEATRE:
A CHRISTMAS CAROL keeps reminding us how things could be — but only if we conquer the selfish Scrooge inside us all and open our hearts instead. The classic tale is an attractive vision of what Christmas should be. As for the final picture, with the ghostly narrators blowing out their lanterns, rousing music surrounding Scrooge’s upturned face, glowing with the infatuation of a man newly rehabilitated to compassion — those moments get me every time. Phil Brady's old Ebenezer figuratively dances on a grave that could have been his own, teaching us all a lesson about life, its brevity, and that it's not too late to live it.
One does not have to be a lover of theatre or of this story, or even an overanalyzing critic, to still have a good time and allow the message of this story to take you in — let yourself go, enjoy what is to be enjoyed, and by all means get over yourself! Happy Holidays to all.
"Pure Imagination"
CHARLIE & THE CHOCOLATE FACTORY
The Nahville Children's Theatre
Tuesday, 16 December, 2008
Roald Dahl was a brilliant, cracking author, a man whose books I devoured. As a pre-teen, my Nana took me to Hatchard’s bookshop for him to sign my copy of one of his books; I still consider this one of the greatest highlights of my life. I do believe Mr. Dahl was living in the U.S. at the time, which, if memory serves me correctly, is why we Brits had to twiddle our thumbs for a couple of years before Charlie or James’ adventures made it back across the waters. And, just as many of you who grew up with his gifted works, I hold a grand affection for any metamorphosis of his lovely, punchy, far-fetched, and often macabre stories.
Like the mind's eye of Mr. Dahl, the stage at Nashville Children's Theatre is a playground. It is where the imaginations of children and adults play, and under Julee Baber Brooks' direction of CHARLIE AND THE CHOCOLATE FACTORY, the actors play hard. They leap over an imaginary river of chocolate, dancing funky, funny dances from scene to scene, and accurately pantomime a magical elevator flight complete with technology obsessed Mike Teavee sliding limply down the imaginary glass wall to a squeaky, sliding-skin-on-glass sound effect.
Technical Director Mike Sanders pulls and pulls, in full view of the audience, from a big bag of theatre tricks to hold the audience’s focus on a story that, in even my Dahl-struck opinion, can be tedious at times. There are hand-puppet (and not shudder-inducing!) Oompa Loompas, confection covered walls, elaborate and colourful candy-making machines, a matrix of pawn shop TVs for news casts, a jumbo screen to monitor the parental holding area, and constant lighting queues or sound effects that are integral to the creation of the wonderful world of Willy Wonka's candy creations.
The performances are what one hopes to find in a professional production -- energetic and competent. Notables are Brooke Bryant as Veruca Salt with her mini-skirt and “jowsy” accent, Rona Carter as a strong and direct Mrs. Bucket, and Brian Webb Russell who is as “sweet” as a Never Ending Gob Stopper as Grandpa Joe. Russell is also focused and sincere whether he is consoling Charlie, doing a cartwheel, puppeteering an Oompa Loompa, or exhausting every move in his dance repertoire. Many of the actors have a similar energy and define the meaning of “ensemble” as they tell this famous tale. However, as utterly adorable as Charlie is, it is difficult to feel as sympathetic toward him as one might expect because even in his low moments there is the same raised-eyebrow energy as when he finds the last hidden prize. And Willy Wonka seems ... normal ... a happy normal, but normal. He is not Dahl’s quirky, moralistic genius who would create such a fantastic factory or would laugh openly at the loss of an annoying child to a fudge-sucking tube.
TRUDY’S TRUTH IN THEATRE:
Charlie Bucket discovers that life can be hard. He also discovers that when one has determination, a supportive family, and a little luck, life can be magical. Roald Dahl's CHARLIE AND THE CHOCOLATE FACTORY champions humility and hope and punishes pride, selfishness and greed (not to mention poor parenting skills). Though NCT's production does not have to examine these aspects with any detail, it does put on a creative and entertaining show that shouldn't be missed. And if one listens, those timeless truths are very definitely told.
Reviews below by Trudy S. Gordon
