tag:blogger.com,1999:blog-28381962998180949502024-02-06T18:32:51.731-08:00Muffin Eats Dragon: A Boston Theatre ReviewChristian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-2838196299818094950.post-43087271703468842013-05-05T11:56:00.003-07:002013-05-05T12:07:58.138-07:00One Night In Cambridge Makes A Great Night of Theatre: The Longwood Players Present: "Chess"<a href="http://www.longwoodplayers.com/IMAGES/Current_posters/Chess_small.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://www.longwoodplayers.com/IMAGES/Current_posters/Chess_small.jpg" width="208" /></a> "Chess"<br />
Music by Benny Andersson and Bjorn Ulvaeu<br />
Lyrics by Tim Rice<br />
Book by Richard Nelson<br />
<br />
Directed by Kaitlyn Chantry<br />
Music Directed by Stephen Peters <br />
<br />
"Chess" is an incredibly well-know show in the musical theatre arena, with its setting, overall tone and musicality. Developed by lyricist Tim Rice, ABBA band members Benny Andersson and Björn Ulvaeu, it was initially created as a concept album. Rice had done the same with his previous works "Joseph and the Amazing Technicolor Dreamcoat" and "Jesus Christ Superstar". Later, the show premiered in the mid 80s with the book written by Richard Nelson. Now a full-fledged production, many theatre companies acorss the world have produced this famed show. More recently, The Longwood Players in Cambridge opened their production so it was definitely worth checking out.<br />
<br />
Taking place during the Cold War Era, "Chess" examines the story of the character simply know as the "The American" defending his championship world Chess title against another, known as "The Russian". The American brings his number 2, Florence, with him to his match, but along the way, certain events occur and like pieces on a Chess board, moves and machinations are made that culminate in an unexpected turn of events, where love, anger and pride come to a head.<br />
<br />
The score by Andersson and Ulvaeu is strong, as it contains the tone and feel of their past work in ABBA. However, it's more over-the-top and powerful, specifically in the opening number "Merano". Despite its power in some parts, its uneven and inconsistent. As the music was initially part of a concept album, it truly feels disjointed and lacks cohesion in certain areas. Despite a few missteps, the score is astounding and powerful. The lyrics and book are on the weaker side, as the dialogue could have easily replaced the singing exposition. The story is difficult to follow and to have the subject material examining Chess, it's hard to stay with the show. The story seems very much like a "paint by numbers" plot, and feels like it goes through the motions of a generic story. Even though the music and plot had some questionable moments, Longwood does manage to make the most of it and put on a great production and kept it engaging.<br />
<br />
The performances across the board were incredibly strong. Kevin Hanley's American is full of wonderful swagger and carries himself with such astounding confidence. His pipes dominate and his charisma is astounding, specifically in "Pity the Child 2", he simply owns it, bringing new levels to the character. Rachel Savage is wonderfully strong and powerful as Florence. She rocks her song "Nobody's Side" as her voice carries through the space. She brings wonderfully tender yet deep moments to the show. Athan Mantalos' Russian is excellent as well. With such a strong voice, specifically in "Where I Want To Be", he not only has a wonderful grasp on the character, but moments of quiet vulnerability shine through, giving some great depth to his journey. The ensemble, as well as the other characters embroiled in the story, give solid performances. With a choral and epic feel, they are simply wonderous in their moments, continuously bringing the production to new heights. "One Night in Bangkok" is of course a winner for all as well, enabling a rocking good time.<br />
<br />
The technical aspects of the production were good in some moments, but it never really added or took away from everything. It didn't hurt the show, but it did contribute all that much. The set was black and white, as it should be, but there were pieces that never really functioned beyond assisting in lighting and setting a few places throughout the show. The lighting was the same, but in some scenes it did have great tones and warm colors that made many things pop. Kaitlyn Chantry's direction was executed well enough, having the orchestra lifted above as well as some strong movements that really gave the production some unique flavor. Like the set, however, some sections did not necessarily hurt anything, but was difficult to get on board with. Having the Conductor towards upstage was distracting sometimes, especially during deeper moments in scenes. However, the placement was a strong choice, as orchestra and music direction were great, and didn't overpower anyone. In staging, some minor issues were scattered throughout, but one moment, "Embassy Lament", gave off a Monty Python-esque feel, thus bringing forth a marvelous display of humor and character. Again, nothing hurt the show, and overall, everything worked well. It was cohesive and it was an incredibly well-put together show. <br />
<br />
"Chess" is quite the musical, as it deals with interesting subject material, which is fairly poignant. Its score and book were uneven, but it still offers the opportunity to put on a great show. The Longwood Players did a fantastic job in performances and with the overall production. There a few minor issues, but it did not dim the wonderful work and display of great theatre. Kudos to cast and crew for an excellent show. It is definitely worth checking out.<br />
<br />Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-37013722319192271872013-04-14T10:51:00.003-07:002013-04-14T10:55:49.220-07:00Unsure And Aching To Be More: Wakefield Repertory Theatre Presents: Lucky Stiff<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvdmg6M54IxQreYGi-ELOqUbvpPwsqO3p5zQVwnuMlR7tQVdyp7cx6940YqFPOzgcjHsyE-D_Qj_hVU9i_Ukkf4r8I0RUNDXqdu2cmiP604ZkFaF4WENmf-QIHocmVt9VSx_LWg36ziI/s1600/LuckyStiff-fp.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDvdmg6M54IxQreYGi-ELOqUbvpPwsqO3p5zQVwnuMlR7tQVdyp7cx6940YqFPOzgcjHsyE-D_Qj_hVU9i_Ukkf4r8I0RUNDXqdu2cmiP604ZkFaF4WENmf-QIHocmVt9VSx_LWg36ziI/s320/LuckyStiff-fp.jpg" width="320" /></a>Lucky Stiff<br />
<br />
Director<b>: </b>Samantha Gambaccini<br />
Music Director<b>: </b>Shawn Gelzleichter<br />
Choreographer: Marissa Geller <br />
<br />
Music: Stephen Flaherty<br />
Book and Lyrics: Lynn Ahrens<br />
<br />
"Lucky Stiff", based on the book "The Man Who Broke the Bank at Monte Carlo" by Michael Butterworth, is the first musical coming from lyricist Lynn Ahrens and composer Stephen Flaherty. Both have collaborated on a array of shows since this one, each more different then the last. "Ragtime", "Seussical" and "A Man of No Importance" are just a few of the shows they have cranked out. Wakefield Repertory Theatre recently opened their production of "Lucky Stiff", so a night of theatre was in order to experience the show that started it all.<br />
<br />
The show follows the journey of the meek Harry Witherspoon, an English shoe salesman, as he gets wrapped in an unexpected series of events. His long-lost Uncle Anthony's will dictates that Harry will inherit 6 million dollars if he takes the corpse in a wheelchair of said relative to Monte Carlo to experience the sights and sounds in this post-mortem state. As if this premise is not enough, Uncle Anthony's jilted nearsighted lover Rita, who he abandoned before he died, hears of the inheritance and convinces her optometrist brother Vinnie to accompany her to Monte Carlo to steal back the money. As another piece to this crazy adventure, Ms. Annabel Glick, a representative of a home for dogs, follows him to make sure he meets the demands of the will or the money will be donated to her cause. Along the way, a cast of zany characters are thrown in, thus culminating in twists and turns in this ridiculous plot.<br />
<br />
The score is by no means spectacular but it is solid. As the show is meant to take place in the 80s, Ahrens and Flaherty don't go for the cheap, synthy pop music, but rather present a tamer and rather catchy alternative. The music is good and creates a nice atmosphere.<br />
<br />
Performance wise, not a lot of the actors really stood out. Whether it was a combination of the lack of energy, or the material itself, it felt that much of the cast was going through the motions. Adam Shuler's Witherspoon had a few fun comedic moments, but it didn't seem as though he could carry the show and his character arc as well as he could have. Annabell Glick, played by AnneMarie Alvarez was a little more engaging, but her performance at times felt flat and one dimensional. Granted, much of the book could contribute to that, but their interaction with each other was thin and not very exciting. On the flip side, Greg Cushing's Vinne and Susan Austin's Rita had many more strong comedic bits that worked very well. Their chemistry and onstage relationship was good and it was nice to see them have a little fun in their roles. Austin does a great job with the song "Fancy Meeting You Hear", hamming it up a bit, giving a nice high point to the show. Combined with a few bold and funny bits with the ensemble, performances were quite uneven. It is also possible the actors desired to do more on stage as well, as it felt that they could have pushed some performances a bit further.<br />
<br />
Samantha Gambaccini's direction was a bit underwhelming. There was a severe lack of decent blocking during the production. In several moments, perhaps mostly in the first act, there was not a lot happening on stage. There were awkward moments as the actors could have been doing more. The choreography by Marissa Geller fell short as well, as there was no real stand out moments. Granted, the show probably doesn't need a lot of choreography, but the movement was lacking in real imagination. The space the production was in was small, so in the respect of using it well, both Gambacini and Geller deserve strong marks. Music Director Shawn Gelzleichter and his pit sounded strong, though, peeking through as a good moment for the show. Despite a few sound issues, they sounded clean and in tandem. There was a fairly straight forward set, lighting and costume design, therefore technically it was good in some parts and uneven in others. Some moments it was unclear where people were in different scenes, but with others, whether in an apartment or on a subway, it worked well. Creatively and technically, it was hit and miss.<br />
<br />
The show was on the brink of being a bit more, especially with a few performances and direction. There was a great deal of weaker moments that plagued the production, but a few smaller bits that managed to help the show move along. Wakefield Repertory Theatre's production of "Lucky Stiff" had some heart, but it could have easily been pushed futher.<br />
<br />Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-50028324331811946582013-01-19T11:19:00.002-08:002013-01-19T20:26:31.687-08:00Aching and Dreaming to be More: Next Door Theater Presents: Sunset BoulevardSunset Boulevard<br />
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Book and lyrics by Don Black and Christopher Hampton <br />
Music by Andrew Lloyd Webber <br />
<br />
Directed by James Tallach<br />
Designed by Brian Milauskas<br />
Music Directed by Maria Duaime<br />
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<br />
<br />
Andrew Lloyd Webber strikes again with a massive musical, this time taking
on Hollywood during the 40s and 50s. Based on the film "Sunset
Boulevard", the story focuses Norma Desmond, a faded star of the silent
film era living in her decaying mansion where in Hollywood, "talkies"
are gaining traction. She accidentally crosses paths with Joe Gillis, a young
screenwriter whose career is nearly on the rocks as well. She seizes an
opportunity to use him to bring her screenplay based on the story of Salome to
the screen, marking her great return. Along the way, twists, turns, tragedy and
of course, unexpected events result in this culmination of colliding
characters. Next Door presented their production on a much smaller scale, when
the show usually is done in a larger capacity. It would be interesting
and worthwhile to see a new and ambitious choice.<br />
<br />
Webber's score is a memorable one, and with many of his shows, most of it is
sung through with very little dialogue. It has strong notes throughout
and still maintains a seedy and complicated view into this world.
However, as it is sung through, many of the lines sung could have easily been
spoken. The lines that were spoken were far and few in between, therefore the
strong difference was noticeable. Though noticing the potential of the
massive scale of the music, as it seems in this production, a larger orchestra
and an especially larger space could have been better. The story and music
ached for a larger outing. As for the story itself, despite its presence in the
space, is tragic, terrifying, chock full of plot twist and unexpectedly
beautiful.<br />
<br />
The show is presented in a smaller space that took away from the overall
feel of the show sometimes. The grandeur of Hollywood was begging to come
out. The show didn't necessarily work for the space, but a strong effort
was made, which was commendable. James Tallach's direction was a tad on the
muddled side. Granted, he used the space as best as he could, but keeping
the actors at bay and not allowing them to explore the space as much as they
could weakened the production. The quintessential "park and
bark" technique was used constantly, perhaps too much, causing the some
performances to fall short. Even the musical direction could have been
stronger. Aside from the lack of real meat behind the orchestra pit, severe
sound issues plagued the production. Again, the size space and lack of
grandeur contributed of the majority of issues.<br />
<br />
The performances in the show were somewhat uneven. Kevin Cirone's Joe
Gillis, the screenwriter thrown into Shana Dirik's Norma Desmond's world, acted
and sung the part well enough, but did not have the charisma to carry his arc
as the character. He did not have the qualities of the leading man and
lacked the muddled and subconscious desperation that plagued Joe. Shonna Cirone's Betty had the pipes to carry the role, but whether it be due to
poor writing on the book's part, she was by no means as engaging as she could
be. Moments between her and Joe lacked real chemistry and when they performed
"Too Much in Love to Care", they appeared to be incredibly
disinterested in each other. They did have cute moments earlier in the
show with "Girl Meets Boy", but their eventual union was disappointing.
The ensemble did not bring nearly as much as they could to the production. Individually,
none of them necessarily stood out, but as a whole they all seemed like they
were going through the motions. However, when the men performed "The
Lady's Paying" they were having fun with it and really showed off a great
combined talent. The women also go to show off in "Eternal Youth Is Worth
a Little Suffering", they all carried the number together incredibly well.
The winners of the evening were Shana Dirik's Norma and Pete Adams' Max. Shana
gives an astounding performance as the fading starlet, giving true moments as
"tragically beautiful". She not only channeled the grandeur of
the character, but sang everything beautifully, especially during "New
Ways to Dream". Adams carries his role equally well, with subtle
love and dedication to his Norma. His moment with "The Greatest Star
of All" is heartbreaking and wonderful at the same time. They each carried
the show strongly.<br />
<br />
Technically, the show had a nice feel. <span class="style6">Brian Milauskas'</span>
design gave a great sense of the degradation and lost relic feel that mirrored
Norma's current state. However, some tinges of the old days of Hollywood,
i.e. bits of Art Deco could have been splashed in. However, the look
worked in the space. Even the lighting design was strong, with great
colors and tones that gave a nice look to the overall production. One issue
was the use of strobe light. The thought to use it for transitional
pieces to emulate an old projector was a good one, but it did not necessarily
work. It was distracting and felt more like a party than a theatrical
production. The costumes were quite impressive, though specifically Norma seemed that she received the bulk of the attention. Her impressive gowns and furs were the centerpiece, but as she is the star, it makes sense to have her appear that grand. <br />
<br />
Lacking the potential size and feel of what the show could be really
effected this particular production. Choosing such a naturally large and
grand show for a smaller space was a questionable choice. Granted, it was
a strong and incredibly ambitious choice for Next Door to make, which they
deserve full marks for. But again, a handful of great performances and uneven
moments make this a weak and somewhat disappointing version of the show.<br />
<br />
<br />
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<br />Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-90301803900843688942012-11-19T05:59:00.000-08:002012-11-23T07:04:14.275-08:00Great Modern Flair and Ensuing Hilarity: The Footlight Club Presents "Joseph and the Amazing Technicolor Dreamcoat"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgomOc8ya0ROOt9KUS1lkdUDTWbnPyC9wjCLPqsH2ryDJkNjeu04nlGgKOaRsfwTWfYmVbROvYaD3F7f1xMC2XszwU0OvRp8Q1_j9_70v_Z6_q_aYq74-qbpzT_pkKpCNn2moYIheiwBJM/s1600/joseph_title.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgomOc8ya0ROOt9KUS1lkdUDTWbnPyC9wjCLPqsH2ryDJkNjeu04nlGgKOaRsfwTWfYmVbROvYaD3F7f1xMC2XszwU0OvRp8Q1_j9_70v_Z6_q_aYq74-qbpzT_pkKpCNn2moYIheiwBJM/s320/joseph_title.png" width="249" /> </a><br />
Joseph and the Amazing Technicolor Dreamcoat<br />
<br />
Music by Andrew Lloyd Webber<br />
Lyrics by Tim Rice<br />
Director and Choreography: Steve Borowk<br />
Musical Director: Shawn Gelzleichter<br />
<br />
The Footlight Club has consistently put on strong productions. Their most recent production, "Joseph and the Amazing Technicolor Dream Coat" had their final two shows this past weekend. Having seen this show before, I was curious to see a different interpretation. The music of the show itself is strong, being developed by two musical theatre greats, Andrew Lloyd Weber and Tim Rice.<br />
<br />
"Joseph and the Amazing Technicolor Dreamcoat" is taken from a story in Genesis. The story focuses on one of the twelve sons of Jacob: Joseph. Joseph had the ability to interpret dreams, however it is soon realized that he is meant to rule over his 11 brothers. He receives a coat from his father, marking his favoritism among his siblings. Shortly after, due to their jealousy, the brothers
sell him into slavery in Egypt. He uses his skills, wits and gifts to find his way, but ends up on his own unexpected journey that takes him to places he never imagined and meets people that would change his life forever.<br />
<br />
The show is predominantly music and singing. Despite the little dialogue, it didn't take away from the overall story at all. The music and lyrics were catchy, smart and incredibly fun. Shawn Gelzleichter's music direction takes full advantage of this and creates a great sound. The energy was upbeat and it created a solid feel for the production. Even the direction and choreography by Director Steve Borowka were very well put together. He doesn't have major congestion going on and utilizes the space incredibly well with placement and song moments The choreography is simple and fun as well, and its not trying hard to impress us, only to add to the overall joy in the better parts of the story. Borowka also created a modern feel, but with tones of rock and roll that gave the show some nice flavor.<br />
<br />
The cast in this production overall is very solid. Nate Haywood's Joseph has the pipes to carry the role, but doesn't really find his bearings and level of comfort until the second act. However, that might be the issue of the story itself, especially since we don't see much growth until later. Despite the later immersion in the role, he had a strong presence and charisma, as well as a few hints of strong comedic timing. He clearly has fun with the role. Needless to say, once he gets his golden chariot, it is by far one of the funniest moments of the show. The Narrator, played by Madeline McCord, carried the vocal demands of the part well enough, but lacks the maturity and strength of the role. At times, it seems like she feels out of place. Her performance had strong moments and her interaction and chemistry with everyone else was great, especially the children, but overall falls short when it comes to the character. The Children's Chorus are incredibly engaged, as are the Women's Ensemble. Both groups have fun and they mesh together strongly in tandem. The big winners of the night were Joseph's father and brothers. Each didn't overwhelm or upstage each other. They were all brilliant in their character creation and didn't go over the edge with their performances. Many hilarious moments from them were the highlights of the production, especially during "Those Canaan Days" and "Benjamin Calypso". There were many great moments with them, but those two songs were their show-stoppers. Even when they get to play other roles throughout the show, they each gave hilarious performances. Again, the entire cast was full of energy, comedic flair, all giving fun performances across the board.<br />
<br />
The set, lighting and costume designs were yet another strong addition to the show. Even though the story happened in many different places, the simple usage of steps and wooden climbing area really gave the production some character. It was a nice jungle-gym, playground feel. There didn't have to be a lot of set changes. Levels are key the design had that in spades. The lighting design is by no means overwhelming or over the top, but really utilizes some great color that presented some really memorable and warm moments throughout. The costumes were updated to a more contemporary feel, with jeans, tee shirts and suits. Joseph's coat was a colored leather jacket which actually was a great centerpiece, considering the name of this show. The brothers all carried colored scarves, dressed a certain way with each of their costumes, adding a nice touch and connection to the story. <br />
<br />
The Footlight Club does a wonderful job with "Joseph and the Amazing Technicolor Dreamcoat". With great direction, fantastic cast and playful design, this production had a fun and warm feel to it. It had welcoming and touching vibe that solidified a strong and incredibly well put together show. Footlight does it again, as they know their audiences love, as they create a great theatrical and adorable experience.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-6755413875529171142012-07-19T05:25:00.002-07:002012-07-19T08:11:27.278-07:00Comically Creative and Cleverly Constructed: Vagabond Theatre Group Presents True Believers<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6q-4LxAM8wuw70u5z2-Iy3Sco1rsko9FJGMSjrLtu8Z8D3U2pK9qpbvmhX74CtLIwXYzs_aZC1bHHlupSasAN0khSm8jSNTkB2RlpG2ZPCh5xaQNf_HoLDC4FDnVMcDnUrAwgbJmH2g8/s1600/tbpostcardfront.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6q-4LxAM8wuw70u5z2-Iy3Sco1rsko9FJGMSjrLtu8Z8D3U2pK9qpbvmhX74CtLIwXYzs_aZC1bHHlupSasAN0khSm8jSNTkB2RlpG2ZPCh5xaQNf_HoLDC4FDnVMcDnUrAwgbJmH2g8/s320/tbpostcardfront.jpg" width="246" /></a>"True Believers"<br />
Written by Thom Dunn<br />
Directed by James Peter Sotis<br />
<br />
Comic Con is a fantastical world, overwhelming, yet a sight to behold. Cosplay enthusiasts run rampant with gusto. Geeks and nerds becoming partners in an ultimate Venn diagram. The worlds of movies, TV, comic books, fantasy, sci fi and everything in between come and play. Bringing all of that on stage within a theatrical production? Executed masterfully by the clever and passionate minds of Vagabond Theatre Group. They recently opened their production "True Believers" by local playwright Thom Dunn at the Factory Theatre. It was quite the fun experience. Last year, I participated in their production of "The Unfortunate Cutthroats", so putting on a reviewer hat was lot of fun, especially being on the other side.<br />
<br />
"True Believers" is quite the apt name, as it applies to so much more than expected in this production. There was such an interesting intertwining of different characters. Comic book writer Chad Mailer comes to hopefully get his career jump started after a series of setbacks. His former partner, artist and aspiring writer Kt Watts, is on the rise as she hits big after completing their previous story they had worked on together years before. Ted Thompson, an editor of DC Comics and one of Chad's friends struggles to keep sane while his online girlfriend, Chloe, is on her way to meet him for the first time. Ultimate fanboy and writer Box, is over the top and philosophical, spreading his joy and love for the world of comics. Neurotic fan and video blogger Billy Horowitz comes to confront Chad for his recent depiction of a famed comic book character. He is accompanied by his best friend, aspiring artist, Calvin, who is also trying to become a crime fighter, Avenger. All their stories come together, and its Chad story that takes the driver seat and we see his journey, though we get a taste of everyone's story slowly seep their way in. <br />
<br />
Dunn's script is smart and sharply written. He creates memorable and believable characters set in this world who many of us can either relate to, or just be familiar with. The comedic moments are great and chock full of fantastic one liners. He also is able to create strong and powerful dramatic moments that help balance the comedy. It doesn't become a parody, but a snap shot of what this world could very well be like. James Peter Sotis directed the piece, cleverly dropping in geeky and nerdy references here and there, pulling the audience into this world. As a director he accomplishes to not only give us complexity to these characters, but doesn't keep the audience outside. He wants us to be a part of everything on a much larger scale. Its almost as though he has created a microcosm of sorts, and he executes everything fanastically. The Factory Theatre is a small space, and Sotis uses it every bit of it incredibly well. The set by Josh Friedensohn, lights by Lucas Garrity, sound by Sam Sewell all come together wonderfully and work in tandem, as they are put more than 100% into this world of Comic Con. The props and costumes deserve high marks as well for the originality and construction. Each tech aspect fell into place perfectly. We even get a taste of an online RPG that seemed like it was created specifically for this show, as as video clips, peppered throughout. They both gave some wonderful flavor to the production. Tech wise, this show sits on high, while still keeping the audience invested in everything around them and still steeped in the world of theatre.<br />
<br />
The actors, Ryan Edlinger, Zach Winston, Jeff Marcus, Rachel Katherine Alexander, Michael Avellar, Jim Remmes, Caitlyn Conley, Anne Colpitts and Steve Marois all bring their A-game. From the neurotic to the cavalier, they are all give great performances who would in any other production, could become parodies of themselves. In this production, however, they could easily be real people with doubts, insecurities, confidence and attitudes. Edlinger plays Chad Mailer with ease and levels of complexity as well as managing to give us a strong sense of an arc, making us all root for him. We have all been there with ourselves. Zach Winston is the conniving and committed Billy Horowitz, and steals many scenes with his over the top grandeur and brilliantly timed one-liners. Jeff Marcus gives us a sweet turn as Calvin, who himself is loyal to his friend to a fault, but we see there is much more underneath the layers of his calm. Rachel Katherine Alexander plays the innocent Chloe very well, but like everyone else, has more to her than we realize, growing a great deal during the piece. Michael Avallar's Ted rides the line between confidence and anger strongly, giving us a sense of what kind of person he was before the man he was today. Its great to see. The odd and philosophical Box, played by Jim Remmes, is hilariously impish and wonderfully theatrical in his representation of the character. Again, with everyone else, gives us something much deeper than what we see in many moments. Caitlyn Conley's Kt is wonderfully brash, confident and incredibly comfortable, as she gives us several helpings of well-placed snark. She is, in a word, awesome. Anne Colpitts and Steve Marois give strong performances as the Ensemble, as they play different characters throughout, and have funny moments but not taking away from the main scenes at hand. Everyone in this cast shines.<br />
<br />
What else can be said about this show except only more praise? The writing, actors, tech, direction and everything in between masterfully and beautifully clashed together. Vagabond Theatre Group has put so much effort, attention and above all, utter geek and nerdy love into this production. Yes, we get a taste of Comic Con, but we see that even in an environment that feeds off of fantasy, there is truth and faith under all those layers. "True Believers", again, seems like not just a clever title, but rather something within, something we maintain as we latch onto something bigger. Even though we might lose faith in ourselves, we realize that we are more much more capable then we first thought. We just need someone to help us, or in this case, believe in the world of "superheroes, cyborgs and slave Leias" to help give us that extra push. Kudos to Vagabond for wonderfully bringing it all together, culminating in a great night of theatre. Check it out!Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-52833558273303489312012-06-08T17:17:00.000-07:002012-06-08T17:17:08.558-07:00Raunchy, Rude and Rocking: Lyric Stage Company Presents "Avenue Q"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTcfZ-gD8wGMaDNNkcmjhdEL0070h65x13BAICTjY6mjAjND7gxwBr7hU5TCmcLa839XRK3AhOc6QFVrF336dt3Afz2f0qNnpxQ_GYQhVq6rAGvgi7PTtajZuONJq0ezzq1wQ9PNGlDkY/s1600/avenueQ.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTcfZ-gD8wGMaDNNkcmjhdEL0070h65x13BAICTjY6mjAjND7gxwBr7hU5TCmcLa839XRK3AhOc6QFVrF336dt3Afz2f0qNnpxQ_GYQhVq6rAGvgi7PTtajZuONJq0ezzq1wQ9PNGlDkY/s320/avenueQ.jpg" width="228" /></a>In 2004, Broadway brought forth a new comedy musical that was a familiar take on reality that explored the post-college adventures and lives of several unique individuals. However, these individuals were mostly made up of the furry and fluffy sort. This show of course, was "Avenue Q". Viewed as an almost R-rated "Sesame Street" this hilarious musical garnered several Tonys for not only its raunchy humor, fun characters and plot, but the more rambunctious songs peppered throughout, including "Everyone's A Little Bit Racist" and "It Sucks To Be Me". The Lyric Stage in Boston is currently running their production of "Avenue Q". <br />
<br />
"Avenue Q" tells the story of young college graduate Princeton, fresh-faced and out to find his purpose in life. After moving to New York, he ends up finding a nice little neighborhood, a bit of the run-down side, but full of heart called Avenue Q. There he meets all sorts of interesting characters, puppet and human alike, and their own stories intertwine with his as they deal with their own issues. We see the reality that their adult lives were not all full of promise and hope they dreamed of when they were kids. Also, Gary Coleman happened to be the Superintendent, which of course, adds to the levels of hilarity.<br />
<br />
The music composed Robert Lopez and Jeff Marx is without a doubt, clever, witty and above all, extremely funny. With tones of sing songy children's tunes, the content is far from something for a child. Most of the score is made up of ridiculous and funny songs, but within it, there are few sweet ones, that really give the show true heart. However, there were a few in there, including "I Wish I Could Go Back to College" that in content, quietly lamented about the things we all miss about about college, good and bad, that had no real set up. It has no place in the story, but it doesn't mean it wasn't a great song. It felt all across the board that the songs were written first, with a somewhat relatable story built around it. Despite the shortcomings of book and song, everything was extremely solid.<br />
<br />
The cast was a truly a talented bunch. Each gave wonderful performances that shined in each of their individual moments and scenes. From the relationships they created, touching to tumultuous, they all shared a strong chemistry. The scene-stealer of the night had to be Phil Tayler, as he portrayed the loud and net surfing Trekkie Monster, fun-loving and well-meaning Nicky and one half the cute yet manipulative Bad Idea Bears. With his songs and his puppets, they were in sync with plenty servings of hilarity. His moments did not upstage anyone else in the cast, of course, as everyone in the whole cast not only were expert in their usage of puppets, but all played well off each other. They were again, a very funny and enjoyable ensemble.<br />
<br />
Spiro Veloudos' direction was solid, especially in the space for the Lyric. The stage was center between three audience seating areas, therefore this particular stadium setting had to be used carefully. Veloudos had everyone play to the audience as much as possible on all sides, though not nearly enough to house right. It was distracting, especially between moments where listening to the lyrics helped feed a particular funny song. The space worked against it, but it was a strong attempt to use every bit of it, especially because of the design. Kathryn Kawecki's set design perfectly captured a down-trodden neighborhood and managed to cram it all in the space. It was full of heart and character and reflected the uniqueness of the residents. Frank Meissner's lighting was not a super complex design, as nothing over the top would be suited for this particular show. He did give us a great use of a disco ball that when the light hit it just right, it created wonderful moods and moments. <br />
<br />
There is not denying that bringing such a great such to Boston was a perfect move by the Lyric. The show reflected a lot of what of people knew and felt as they either came right out of school, or found themselves at a difficult point. Masked in catchy numbers and fun moments, this production "Avenue Q" was of full of heaps of heart and hilarity, and reminding that even though things sometimes don't turn out the way we want, life goes on and its okay to laugh about certain things once in a while. The Lyric Stage Company presented a great show with a talented cast, human and puppet alike, showing us that in life, good and bad, everything is only "For Now".<br />
<br /><br />Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-40339228588120930952012-06-04T06:05:00.001-07:002012-06-04T06:05:15.407-07:00Witty and Silly, Very Smart and Full of Heart: The Huntington Theatre Presents "Private Lives""Private Lives"<br />
<br />
Written by Noel Coward<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7Hdc7MJHkdUQvkDm-slCQHZFCXFmtfMy3zAnyXzn19Jar2nYgEqcwz3zfKtIfnkasO1joKV6sC7hQFeBQMRc_81cDvTHhCQvjqmloM2W-pPyAM20FmzLnLOZR1ntukOp4Y2xBYLemZg/s1600/154812261_275_275.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7Hdc7MJHkdUQvkDm-slCQHZFCXFmtfMy3zAnyXzn19Jar2nYgEqcwz3zfKtIfnkasO1joKV6sC7hQFeBQMRc_81cDvTHhCQvjqmloM2W-pPyAM20FmzLnLOZR1ntukOp4Y2xBYLemZg/s320/154812261_275_275.jpg" width="256" /></a></div>
Directed by Maria Aitken<br />
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The Huntington Theatre brings so many interesting pieces to their stage and has had a very strong track record in their theatrical endeavors. Playwright and songwriter Noel Coward's "Private Lives" recently opened and there was plenty of buzz surrounding it that it was evident that this one was going to be a lot of fun.<br />
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"Private Lives" tells the story of divorcés Amanda and Elyot, having divorced each other five years early, starting fresh with their new respective spouses, Victor and Sybl, on their honeymoons. By unfortunate chance, they both end up running into each other as they both are staying at the same place. However, unexpectedly, they soon find themselves still harboring feelings for one another and their spark is once again reignited.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz7Hdc7MJHkdUQvkDm-slCQHZFCXFmtfMy3zAnyXzn19Jar2nYgEqcwz3zfKtIfnkasO1joKV6sC7hQFeBQMRc_81cDvTHhCQvjqmloM2W-pPyAM20FmzLnLOZR1ntukOp4Y2xBYLemZg/s1600/154812261_275_275.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>Coward's play is made up of three acts, but the structure feels like a miniseries in some ways. In the sense of how it was presented, it could be very well adapted into a TV show, as we are constantly given the typical "cliffhanger" after each act. Granted, the first act could have been a standalone show because of how much was developed in a short amount of time. The second act felt unnecessary, as it might have filled in gaps, but instead, it drew certain things out way too long. Very little was developed and watching the third act, it was a wonder why it was not shortened a bit. All three could have been edited down to a two-act show. However, despite its length, there was a great deal of clever wit and sharp dialogue within the piece. Combined with the clever timing and energy of the performances, the words flourished. It was quite the riot.<br />
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Across the board, each actor gave a great performance. Seeing Bianco Amato's Amanda and James Waterston's Elyot play off each was a lot of fun to watch, as their chemistry fired away like pistons. They were in sync and not only worked well with one another, but their individual performances were strong and extremely, joyously energetic. Biano's Amanda was hilariously sassy and poised, giving a fiery performance. Waterston's wiry movements and reactions mixed with his wonderful comedic timing was quite enjoyable. The show was quite the marathon and those two never let up for a second. Their humorous presences helped carry the piece. Far from being just the spouses, Autumn Hurlbert's Sybl was sweet yet sharp in her performance, and Jeremy Webb's Victor was confident and firm, always the protector. It was a great bonus to see those two play off each other as they got their moments to shine together. Though she was only on stage for a few minutes, Paula Plum's servant Louise stole some scenes with her overly ridiculous French attitude and constant sneezing. It was very fun. Everyone gave strong performances as expected and all contributed to develop fantastic moments.<br />
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Maria Aitken's direction was simple, yet she gave us nice scene pictures throughout the show. Much of the time, there were several silent moments in the play that were sprinkled throughout ended up being quite hilarious. The choices that were made during said moments were clever and fun, never becoming awkward. There were also intricate physical and emotional distances that were created on stage, giving a bold statement on the relationship of Amanda and Elyot. It was very strong.<br />
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The set design was beautiful. <strong><span style="font-weight: normal;">Allen Moyer's design was not only meticulous and extremely detailed in presentation, but it also transported the audience back in time, drawing all of us in. </span></strong>Philip S. Rosenberg's lighting design deserves a great deal of praise as well, as his beautifully creates the afterglow of the evening and early morning sunshine. The colors were simple, but they were perfect choices for setting the moods of each scene. <strong><span style="font-weight: normal;">Tech wise, everything came together well and never upstaged each other. They worked in tandem. Overall, everything in presentation was very classy.</span></strong><br />
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<strong><span style="font-weight: normal;">Despite being lengthy in some parts, The Huntington's production of "Private Lives" hits it out of the park. The performances, direction and production value were all fantastic across the board. Witty and fun, its a true testament that certain things in life are full of unexpected chances and unusual consequences, and this production has it in spades. This show will most certainly leave you laughing and smiling. This is definitely a show to check out. </span></strong><br />
<strong><span style="font-weight: normal;"> </span></strong>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-52449496594044539652012-05-06T17:35:00.002-07:002012-05-06T17:44:11.291-07:00Overall Enduring and Subtle: The Burlington Players Present "A Man of No Importance"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkp-NHyCunIKCp5Z-t_ThI1kioexgfaY99-icyiizv3_1Gj1KzQGyX7192yMYCmL9JO9AsAIPMRy00UmPG5M-spAd16wqPvd2m1pjbhDe3kDBf7yta3oLaQ5O6o0Vv3fsTkOtGxWLqSk/s1600/image2547.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkp-NHyCunIKCp5Z-t_ThI1kioexgfaY99-icyiizv3_1Gj1KzQGyX7192yMYCmL9JO9AsAIPMRy00UmPG5M-spAd16wqPvd2m1pjbhDe3kDBf7yta3oLaQ5O6o0Vv3fsTkOtGxWLqSk/s320/image2547.jpg" width="320" /></a>"A Man of No Importance"<br />
Lyrics by Lynn Ahrens<br />
Music by Stephen Flaherty<br />
Book by Terrance McNally<br />
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Directed by Rachel Fennell<br />
Music Direction by Shawn Gelzleichter<br />
Choreography/ Asst. Directed by Kelly Murphy <br />
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In last several years, there have been many musicals adapted from movies. Some have been better than others, and some have made theatre-goers and performers alike wonder why they were even produced in the first place. I have seen many musicals based on movies, as well as the movies themselves, and I have enjoyed most of them. The Burlington Players recently opened their production of "A Man of No Importance", which was in fact based off of the movie of the same name, which I hadn't realized until I did a bit of research. I have not actually seen the movie, but I found myself enjoying the stage production quite a bit. I felt that I probably would enjoy the film as well. <br />
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"A Man of No Importance" takes us to Dublin in the 1960s and tells the story of bus conductor Alfie Byrne who is attempting with his local theatre troupe to put up a production of Oscar Wilde's "Salome" at the local church. Along the way, he examines and struggles with his own personal feelings and relationships in his life that soon start changing his day to day going-ons.<br />
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Playwright Terrance McNally, who wrote the book, was no stranger in adapting a movie into a stage shows. He done the same for "The Full Monty" quite successfully. The simple, yet powerful story was there, and McNally brought to a stage setting with ease. Stephen Flaherty and Lynn Ahrens, the composer and lyricist team behind "Ragtime" and the film "Anastasia", had weaved together a beautiful mishmash pf Celtic and modern scores. Everything about the story and music came together nicely. Specifically the 2nd act started a solid beat, but was soon overlapped with the hymn like number, "Our Father". The Celtic energy and solemn hymn worked very well in tandem. <br />
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The Burlington Players had staged the production in their own black box, which was had an L-Shaped stage. As it was an odd shape, it could very well work against any show that is presented in it. It created a challenge, as it seemed like director Rachel Fennell was willing to take it on. She left a bare stage within a minimal set, including a dozen chairs, a few tables and a moving door for creating different locations. In many aspects, it worked well, as it created an almost meta feeling, as the characters were mounting a very minimalist production on a stage with very few set pieces. However, there were some moments that were lost to the sight lines, specifically when two things were going on at once, but were on opposite sides of furthest parts of the stage. Moments like that could have been brought closer together. Also, there could've been more done with what actors were doing during the musical numbers. It almost seemed like there was more that each performer wanted to do, as they were trying to burst out. The lighting design by Hugh Thompson was good enough for certain moments, whether it was to use an appropriate window gobo for one scene or lighting a different location. It was simple, but there could've been more color as many vital and important songs were very flat and untextured. Shawn Gelzleichter's music direction was not at all overpowering and remains
behind the scenes and not in your face. The orchestra was small as for
this show, as you cannot have one that is overwhelming. He keeps his
crew simple and every instrument, specifically a memorable accordion,
comes and brings a nice sound for the production. Kelly Murphy's choreography was not at all overly complicated as it was, again, a simple show. Some great moments included "Going Up" with an obvious use for a fun little kick line, as well a quite a cute tap bit in "Art". <br />
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Robert Hallisey's Alfie was full of genuine kindness that really shined in several strong moments, but he lacked charisma and strength that needed to carry the show. It was very hard to connect with him. Emily Earle gave a sweet, grounded and innocent portrayal of Adele and combined with her impressive pipes, she created a lovely presence. The only thing she was lacking was the strong vulnerability in some scenes, but her rendition of "Love Who You Love (Reprise)" was quite touching. Jennifer Bubriski captured Alfie's sister Lily in a hilarious manner, full of the typical sibling love that we all are aware of, but is clearly masked with the "knowing what's best" vibe. Along with Mr. Carney, energetically played by Curt Fennell, adorably perform together "Books", believably becoming more and more inebriated and not forcing the moment as it was clearly developing naturally. Eric Lamrache's spunky performance as Robbie was quite good as well. He was full of energy and his friendship and chemistry with Hallisey's Alfie was a lot fun to watch. Sometimes, some of his numbers seemed a bit out of his vocal range, but his charisma and cavalier attitude were his strongest character aspects. The rest of the cast each gave solid performances and created very fun and silly characters, while avoiding the areas of caricature. Their numbers "Going Up", "The Streets of Dublin", and "Art" gave a chance for each character to shine and their passion for their creativity and love showed. They were very connected with the material. Another impressive aspect was the consistency of the Irish dialects not only in the dialogue but with the singing as well. However, though the community feel was there, some characters would try to stand out from others, sometimes for a laugh or an attempt to stand out, which became distracting from time to time. Overall, though, it was overshadowed by their connection to each other and their desire to genuinely create art. <br />
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With such a believable story and relatable characters, "A Man of No Importance" stands out as remarkable and memorable show. The Burlington Players brings this production to life quite well and doesn't hammer the audience over the head with its themes and moments. A few minor weak moments were there, but it did not take away too much from the show and the experience. The presentation of the subtle music and story is just another reminder that less is indeed more and you don't need to force anything. This production overall was in a few words, sweet and enduring.<br />
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<br />Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-81094683269209289222012-04-09T08:56:00.001-07:002012-07-20T05:50:10.946-07:00Full of Pizazz, Jazz and Sazz: The Footlight Club Presents "The Wild Party"Andrew Lippa's The Wild Party<br />
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Music, Lyrics and Book by Andrew Lippa<br />
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Based on a poem by Joseph Moncure March<br />
Directed & Choreographed by Chad Flahive<br />
Musical Directon by Mario Cruz <br />
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The Prohibition Era during the 1920s has often been a fascinating topic of discussion. It has been a part of our history that has been romanticized in all forms of media due to the decadent and care-free nature of fast living. On the flip side, we have also seen the dark side of this kind of living and how it affected the ones who truly embraced this era and its tempting offerings. "The Wild Party" is a musical that dives headfirst into this world, and gives us a sense of how sleazy and destructive this era was. Despite the negative, there is no denying its jazzy music and "wild" partiers gave us a different view on how to truly live, throwing regrets and doubts to the wind. This is the second version of this musical, the original written by Michael John LaChiusa, and it shares similarities with its predecessor, but examines and expands on some plot and character elements. The Footlight Club is currently running their production of "The Wild Party", so it was worth checking out to see how they presented this particular show.<br />
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"The Wild Party" takes us into the lives of Queenie, a show girl, and Burrs, a clown. Immediately attracted to each other due to their similar sleazy ways, we see them fall into crazy, fast and a lustful embrace and burning love, soon moving into an apartment together in Manhattan. However, after years of distrust and boredom, the feelings start to wear and tear. To top it off, Burrs become more violent and abusive towards Queenie. This sparks desire in Queenie to throw a party with all their friends to humiliate him, having enough of what he has been dishing out. With all their friends from all walks of life present, plus throwing into the mix Queenie's frenemy/rival Kate and her current beau, Mr. Black, the night is full of possibilities. Queenie and Mr. Black are immediately attracted to each other and Burrs is left to be tempted by Kate. Clearly, this is volatile situation.<br />
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"The Wild Party" is a show that is very dance heavy. Opening with a long and drawn-out exposition with dance and the song "Queenie Was a Blonde" we are given a taste of what's to come in movement and score. The songs and harmonies are complex, presenting great brassy, jazzy tunes. Reminiscent of the Jazz greats and a bit of show tune flair, the music is a lot of fun. However, it seemed like there was a bit of filler songs in the show. Eddie, a prizefighter and his wife Mae, give us a cute number, "Two of a Kind". It’s nice to see a non-destructive relationship for a change, but it feels out of place, overshadowed by the heavy group numbers. The amount of dance is a lot as well, as mentioned, but only because the score demands it. Can there be too much dance in a musical? Probably, especially when it’s the only driving force in the show and it dominates the story. It almost seems like dancing was used to hide the fact that the story was already stretched thin. Even being based on long and narrative poem, the fact that all the action takes place over the course of one night is extremely exhausting. It feels drawn out. Many characters and plots are introduced, but they stand in the foreground until it’s acceptable to use them, either for unusual or comic effect. They don't necessarily move the plot forward, but seem to only exist when it’s convenient. <br />
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Todd Yard's wonderful performance as Burrs was full of powerful angst, frustration and desperation that became a sight to behold. He gave a fantastic turn as a man who is grasping for a former time where things were simpler. He dominated the stage with his charismatic presence and wondrous voice. His rendition of "Let Me Drown" was the showstopper of the night and he carried it to a whole new level, with over-shot confidence and underlying desperation that were constantly battling each other. His escalation was remarkable. Taryn Cagnina's performance as Kate was flashy and sharp, boiling over with such cavalier confidence and sly manipulation. It was extremely enjoyable to watch, as we could not help but love her and love her some more. Her pipes soared and erupted with gusto with "Life of the Party", a testament that Cagnina's voice talent was another strong asset, along with her excellent creation of such a sassy character. Rebekah Turner's Queenie had a memorable and great voice, and a created a subtle calmness despite everything that was happening around her, but her connection with Burrs falls short. Even during their time together before everything went down, her chemistry with Yard is not as strong as it could be. The relationship felt very one sided, even before their trysts. By herself, her detachment is evident and is relatable, as it is captured extremely well, but it hardly goes beyond her one level. When it does, it almost could be more, reaching a point of serenity. When she first is introduced, very little about her captivates as much as it needs to in order carry the story. Nate Haywood’s Mr. Black gives a good performance as a sweet-natured and confident young man. He is soothing in voice and in presence, but we see no real depth with him, especially when some situations present opportunities, specifically with Kate and the others. His interaction and infatuation with Queenie is obvious, but the two share very little chemistry. There is little reason it seems for the two to be interested in each other. The ensemble gives a strong performance with plenty of sass and pizazz, as they never bat an eye when it comes to their choreography, interaction and movement. They were impressively in sync and deserve much praise for carrying on through such dance demanding show. There were moments where some numbers were more energetic than others and it felt like they were going through the motions, but again, with so much dance, everything seemed so exhaustive, which is understandable. The numbers that stood out as great pieces were "Raise the Roof" and "A Wild, Wild Party." Both had several helpings of sharp movement and excellent execution. As individuals, each stood out with such a great establishment of a silly, ridiculous or engaging character, and sometimes, without realizing, they end up stealing a scene. As a whole, everyone in this production gave solid performances across the board and was a truly talented bunch.<br />
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Chad Falhive's directing duties were split with choreography duties. He pulls off a well-staged setting for everyone, keeping the interaction between all consistent and a bit on the cramped side, which worked very well for this show. The apartment is meant to be small and Falhive gives us a nice little view into this world and era, almost creating confinement and escapism in one swoop. His choreography is seemingly complex at times, almost Fosse-esque, which is a given, considering the nature and era of this show. It seemed a bit much at times, even though the score demanded it, like more of a balance between stylized movement and choreography should have been enabled. Brian Crete's set was wonderfully dingy and simple, which worked extremely well. The muted colors, high walls and odd paintings on were nice touches, giving an almost twisted version of this reality, a reflection of what was happening. He knows how to create a specific world. The lighting design by Paul O'Shaughnessy and Coco Coviello also stood out as another great aspect of the production. The usage of so many colors really brought an interesting flavor to everything. There was a fantastic use of smoky lights used as well, and it created a cabaret/speakeasy feel, furthering the idea that this world is forever shrouded and hiding from everything else. We were not just a part of this story, but we were seeing the bigger picture. The combined efforts of the tech and direction brought forth, again, an underlying environment of escapism and at the same time a confinement for the people in the story.<br />
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Again, the show presented itself as a true musical; full of dance, music and a world for all of us to experience. The length was probably like any another show but again, it seemed like the dance was almost used to mask the fact that there was a stretched a story. It overshadowed much of the production as a whole. This is not necessarily a bad thing, but when slow action and a stretched plot are present but are dominated by a lot of dancing, it’s hard to view and invent in what’s happening. However, it is not a reflection on the specific production in question. The Footlight Club presented solid production of "The Wild Party". The era that was presented on stage seemed like the ultimate form escapism, a time where nothing mattered and losing yourself was the easiest thing to deal with. The show was this world, as well as challenging, musically and movement wise, and everyone, cast and crew alike, each showed the amount of work and effort that was put in to create such a large, brassy, decadent, dark, and sassy production. Kudos to the Footlight Club again for creating a fun and enjoyable theatrical experience</div>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-61722583255844524242012-03-20T06:08:00.001-07:002012-03-20T06:13:04.484-07:00A year already? Holy beejeezuses <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCIJ2plVSXlvUL1J7TQdpNHtb9FwKGAFj3AnFnFo1xVF1gGWXO-83QO2cXzAPNrT92EWUTD1g89l9oySYse0cEXN6hwouoRWNlmVbJrjrCLkllATLWAeYK8Z_bs-oWjqnEZGON7rvOktT/s1600/photo_20707_20100918.jpg" imageanchor="1" style="clear: right; cssfloat: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img aea="true" border="0" height="296px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCIJ2plVSXlvUL1J7TQdpNHtb9FwKGAFj3AnFnFo1xVF1gGWXO-83QO2cXzAPNrT92EWUTD1g89l9oySYse0cEXN6hwouoRWNlmVbJrjrCLkllATLWAeYK8Z_bs-oWjqnEZGON7rvOktT/s320/photo_20707_20100918.jpg" width="320px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I still don't know where I got the name of the blog. But hey, it sticks, right?</td></tr>
</tbody></table> That's right! One year! And a day! <br />
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One year ago plus a day, I started this little blog. Now it has become more than what I expected. Granted, I don't have a HUGE following, let alone any following, but I know people read it and tell me about it. That's enough for me. I never really expected it be just what it is now; just a little something to do on the side where I can not only share my thoughts, but hear what others have to say as well, whether about my posts or the show I review. It's been a great experience.<br />
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What I have gained is a ton of perspective and a new appreciation for theatre in general. As an actor, I felt that I never really understood what it was like to truly be a patron. I have seen a lot of shows, but writing about it has been fun, challenging, frustrated and above all, freaking wonderful. I admit, I haven't been keeping up with it lately, especially in the last few months. When I first started writing, it was 2 or 3 shows a month. Now it seems because of the craziness of my current schedule, I can really do once a month, or every few months. I feel that needs to change, or at least, I need to make more of an effort to see a show.<br />
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I have written about 18 reviews, which is not so bad, considering how many things I have going on in my life. I think I can double that by the fall, if I really buckle down. I read some of my early work and I have to admit, I am improving little by little in my presentation of my thoughts and views. It's a little improvement, but it's enough to make me feel really proud of the work I put it. Yes, I realize that I am really patting myself on the back and yes, it sounds a bit self-serving, but to be honest, I never thought I would be keeping this going for a year, let alone a few months. I am just super happy that I came this far.<br />
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</div>It's been a lot of fun doing this and I think if I make more of an effort this year, I can get back to the point where I will be going to more shows and really experience what the Boston theatre scene has to offer, big and small.<br />
Stay tuned.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-45855494601939502142012-03-19T05:06:00.001-07:002012-03-19T07:26:30.285-07:00Lacking Grandeur and Real Go Go Go: Newton Country Players Present "Joseph and the Amazing Technicolor Dreamcoat"<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4WsNz_nNziLZnYsdSOn8OY0Ft-A7EBnlZisi-RHPTU1EzyrqbTJuvbaR9B3RH3-JsHq9VjWTQvybSmz4EfA-EMwjmWLLDdHx6VQR3mRC5HoWu1Gy5VS7Ro51u__V6d3BkJgsIzWQikKQ/s1600/joseph.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4WsNz_nNziLZnYsdSOn8OY0Ft-A7EBnlZisi-RHPTU1EzyrqbTJuvbaR9B3RH3-JsHq9VjWTQvybSmz4EfA-EMwjmWLLDdHx6VQR3mRC5HoWu1Gy5VS7Ro51u__V6d3BkJgsIzWQikKQ/s320/joseph.jpg" width="233px" /></a></div><div></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Joseph and the Amazing Technicolor Dreamcoat</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br />
</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Music by</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Andrew Lloyd Webber</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br />
</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Lyrics by</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Tim Rice</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br />
</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Director/Choreographer</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Michelle Leibowitz</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;"><br />
</span></div><div><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px;">Music Direction </span></div><div>Karen Winkler</div><div><br />
</div><div>Andrew Lloyd Webber and Tim Rice are household names in musical theatre, each having written and created the most fantastical and wonderful shows. Lloyd Webber has written music for some of the most recognizable shows, including "Evita" and "Phantom of the Opera." Rice has written lyrics for a few Disney movies, including "Aladdin" and "The Lion King." "Joseph and the Amazing Technicolor Dreamcoat" was a collaboration of the two in the 70s, having worked on "Jesus Christ Superstar" together as well. "Joseph" has been produced thousands of times since its inception by schools and theatre companies alike. Recently, Newton Country Players presented their production.</div><div><br />
</div><div>"Joseph and the Amazing Technicolor Dreamcoat" is based on a story from Genesis. It tells the tale of Joseph, who was the one of 12 sons of Jacob. Joseph had the ability to interpret dreams and soon discovers that he meant to rule over his brothers. He is also given a coat of many colors as a sign of his father's favoritism. Jealous, his siblings sell him into slavery in Egypt. He must rely on this wits and abilities to make the best of the situation, which ends up taking him on a most unexpected journey.</div><div><br />
</div><div>The show has little to no spoken dialogue, therefore having music and singing driving the show. The score is catchy and fun, but Newton Country Players does not take advantage of this as much as they could. Granted, they have created a very energetic and good times on the surface, but its not nearly as grand as it could've been. The production fell short as it lacked many key elements to really make a memorable theatrical experience. </div><div><br />
</div><div>Doug Hodge's Joseph never really stands out amongst the sizable cast. Needing to really carry the show, his Joseph was not at all engaging, and he almost feels detached from everything that is going on around him. He truly lacked the charisma needed for the character. The role of the Narrator had been split into three characters. Lisa Huntington, Kadie Greenfield and Cathy Merlo have shared duties of the character, which didn't really translate that well to the stage. Their performances were uneven, as some were stronger than others in some moments during the story. It really took away from the show as it never created a lasting, much needed, powerful impression. There was a significant lack of chemistry between many of the main characters as well. However, Joseph's 11 brothers did give a fun and enjoyable performance as a unit, especially during the big numbers, including "One More Angel In Heaven" and "Those Canaan Days". However, the rest of the cast, looked like they were just going through the motions. A few did look like they were having fun, but it was not enough to create a strong production. It had potential to be more. </div><div><br />
</div><div class="separator" style="clear: both; text-align: left;">Michelle Leibowitz had taken on the roles of director and choreographer, trying to balance both jobs. As a director, she had made unusual choices, including spliting the aforementioned Narrator into three characters. This potentailly bold choice, again, didn't work as it was inconsistent and hurt the production. Her choreography choices were repetitive and lacked real originality. Her staging was typical and she did manage to utilitize thespace appropriately. However, sometimes when something needed to be the focus of attention, ie the Phaorah, his placement raised the questions why he was not the main attraction and why was he not center stage? She also utitlized five featured dancers, but their placement and usage was often distracting, taking away focus during scenes. Karen Winkler's music direction was decent enough, but she and the orchestra would overpower the actors on the stage. This was in conjunction with many sound issues that plagued the production as well. This a rock musical, but there is no reason that the actors could be louder and the orchestra could pull back more. Liz Peer's costumes were clever in their presentation, having everyone in collage-like tee-shirts as a base, but there was no consistency. Many characters were given lavish and fun costumes, whilst others had jeans and dissimilar footwear. It was distracting. The set and lighting design lacked any real creativity. There were sandstone steps that were created, but the set almost looked unfinished. Granted, when Act 2 came along and the back pillars were switched from confusing stained glass windows to the Pharaoh's palace, the use of images from Boston and Massachusetts was very cute. However, the lighting design never went beyond lights on and lights off. The story and big dance numbers were begging for different colors and gobos, but nothing was used and the whole look of the show was very flat.</div><br />
<div>There was so much potential for this show, but it never went beyond what was presented on stage. With a few weak performances, low production value and confusing direction, this production fell short. The story and score offers so much and all the pieces were there, but the show never brought anything powerful or memorable. Newton Country Player's production of "Joseph and the Amazing Technicolor Dreamcoat" fails to bring a potentially colorful and magical experience.</div><div><br />
</div><div><br />
</div><div><br />
</div><div><br />
</div>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-12812152918397445562012-03-05T11:49:00.001-08:002012-03-05T11:52:44.648-08:00Musicals based on Movies: Is this the future of Broadway?How many of you have been to New York and seen a show? If you haven't and you find yourself making a much needed trip to the Big Apple, take some time to catch a Broadway musical or play. Seeing a live theatrical experience is a wonderful thing and the very memory of it, good or bad, will stick with you forever. I remember my first Broadway show: "Cats". Young me loved the dancing, singing and overall feel of the show. Mind you, I was 10 or 11 at the time, so at that point, anything and everything was pretty fantastic. Now, I look back and wondered what was so appealing about the show. Despite my reservations about it now, there is no denying that it stays with me. I have seen so many shows since then, but I will never forget the first time I got see a Broadway show. It was magical.<br />
<br />
How do you even pick a show? Broadway offers dozens and dozens of shows, some new, some revamped classics, some starring Hollywood actors, and of course, musicals based on movies. That's right. Hollywood, with all their reboots, remakes and re-whatevers have become a staple of Broadway. This is not a recent development, as this has been happening for several years. Decades even. Not all the time mind you, but enough to raise some eyebrows. In the last ten years, however, there have been several musicals, based on well-known movies that have been produced for the masses. Some better than others, but whether good or bad, it seems the main function of these shows is to bring in the new audiences. On the outside, it seems like a great business plan. Produce shows that are based on familiar movies and bring in the people and new generations of fans. But is that really what's happening? That raises another question.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAdB69oobxFeHQweS-dniXBJoSCd7kJL-QCKqHLb15PHMXeNEXAneLwQWt4oLgN5Zl2MoaTDnGHPyjZbSFboHGqOf_mMN-wo6ASIgq14d55k8i7JnlTuv9VUyAAtqC9btxf0m1JmmRw8/s1600/spidermn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAdB69oobxFeHQweS-dniXBJoSCd7kJL-QCKqHLb15PHMXeNEXAneLwQWt4oLgN5Zl2MoaTDnGHPyjZbSFboHGqOf_mMN-wo6ASIgq14d55k8i7JnlTuv9VUyAAtqC9btxf0m1JmmRw8/s320/spidermn.jpg" uda="true" width="178px" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Turning off original ideas? </td></tr>
</tbody></table>Is creativity is dead on Broadway? In the last 5 years, there have been new shows based on movies, including "Legally Blonde","Sister Act", "9 to 5", "Priscilla Queen of the Desert", "Catch Me If You Can", "The Adams Family", "Ghost" and now there is news for a musical based on "Animal House." The short answer? Yes. However, the long answer may actually be "Yes, but maybe there is a big plan to bring people back and tell them that even though there are shows like these out, maybe they should come and see the other original shows!" I really would like to think that. I am amazed, shocked, confused and above all annoyed with the dozens of attempts to bring Hollywood to Broadway. Then again, I am not completely against the idea. I feel torn and split on the matter because if you think about it, despite all the plot holes and annoying songs in "Legally Blonde" the first half hour actually felt like a real musical, something that maybe Stephen Schwartz might have thrown together after he wrote "Wicked". My apologies to Schwartz fans, but if not him, some other composer. Jason Robert Brown wrote "13" for goodness sakes. My point is that despite everything, it had the potential to be something more and make itself standout. In the long run, though, I can tell you it did not. It fell right on its pink, glittery face. On the other side we have "The Full Monty", a movie which I adore. They completely Americanized the show, departing from the cheeky and dry fun of the original British film. I was shocked and appalled when I heard about it and couldn't believe the very notion. I did end up seeing the show several years ago and I couldnt have been more wrong. Final verdict? It blew my mind. It had great music, great characters and it did a fantastic job sticking out as its own little production. Its by far one of my favorite shows. Years later, I even got to perform in a production of it. <br />
<br />
Is this Broadway's version of writer's block? Creativity may not be dead, but its in desperate need of something else. These are shows that will bring in audiences, but what about original shows that are waiting for their Broadway premieres?<br />
<br />
I guess my point in all of this is that I'm not sure where I stand on all this. Like I said. Torn. Part of me just boils up in anger and frustration because, how dare they? Whoever these producers and writers are, how dare they even try to capture the magic of its originator? Or, I just end up sighing and rolling my eyes. A lot of people I know feel the same way. I saw "Spider-Man: Turn off the Dark" last year, and despite its high-flying appeal, it was a terrible show, trying so hard to be something it wasn't. That's when I get angry. But again, on the flip side, I still try to convince myself that its a good idea, and Broadway is just biding their time, making money to hopefully produce a slew of new shows, giving young artists and writers a chance to share their projects and passions. I do love a handful of musicals based on movies, but I get frustrated when you hear how bad they were. Can we predict the outcome of how bad they really are? Maybe this will just be a moment in Broadway and theatre history where movie musicals will just be a way of life. Maybe in another few years, we will start seeing some originality. That is, if new artists are even given the chance.<br />
<br />
Final thoughts? I have no idea. Either way, I just don't want to see a musical based on "Ghost Rider." <br />
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What do you think?Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-27764648066959864502012-02-04T13:26:00.000-08:002012-02-04T13:29:07.351-08:00A Fun and Delightful Production: The Footlight Club Presents "Absurd Person Singular"<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwjYOhaRRrCshRWQcloL4G7H3v-AFtnboj2XbReYJLS-Wnubw_qE5EZ9R6lFUMOwpR6ZF-qPU7AeAOYOR9WOglPzxtGm1idJ4U-xOgYgJmPQLYJe1Ap910FJTesLvQVTSBxH5j6uNUaNo/s1600/Absurd.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwjYOhaRRrCshRWQcloL4G7H3v-AFtnboj2XbReYJLS-Wnubw_qE5EZ9R6lFUMOwpR6ZF-qPU7AeAOYOR9WOglPzxtGm1idJ4U-xOgYgJmPQLYJe1Ap910FJTesLvQVTSBxH5j6uNUaNo/s320/Absurd.jpg" width="208" /></a><br />
"Absurd Singular Person"<br />
<br />
Written by<br />
Alan Ackybourn<br />
<br />
Directed by<br />
Will Luera<br />
<br />
Sidney - Scott Colford<br />
Jane - Michelle Bonanno<br />
Geoffrey - Ted Batch<br />
Eva - Frances Vella<br />
Ronald - Stephen Peters<br />
Marion - Anne Colpitts<br />
<br />
The Footlight Club recently opened the play"Absurd Person Singular", written by Alan Ayckbourn. Originally written in the 70s, the play has been presented in London, New York and even adapted for TV. Bordering on British farce and comedy, the show sounded intriguing for a night of theatre.<br />
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The play examines three very different couples during their respective Christmas Eve parties, one year after the next. Each act establishes a different year, all taking place in their respectable kitchens. We come to view each couple, Sidney and Jane, Geoffrey and Eva, and finally Ronald and Marion. We see their interactions and marital hang ups, getting a sense of their relationships with each other and the other couples. Over the course of three years, we see their journeys reach some semblance of resolution.<br />
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Each actor does a wonderful job of establishing the typical archetypes in this production. The show called for the use of accents and the variety of dialects in the show was quite refreshing. Scot Colford's Sidney is wonderfully impish in delivery and attitude. He plays it delightfully and nearly steals the show. Frances Vella's Eva is captures the quirkiness of the character very well and in her non-speaking moments in quietly brilliant, adding a great flair of humor in what can seemingly be dark moments. She balances her dramatic and comedic moments with ease. Anne Colpits, gives us quite the performance as the regal and classic Marion, who is quite the liquor aficionado. We all want to have a drink with her and just want to absorb her presence. Michelle Bonanno's Jane is adorably naive we just want to give her a hug. Her evident excitement for the simplest of things is incredibly fun to watch. Geoffrey is played cooly by Ted Batch. He is so cavalier, and carries himself with heaps of confidence. Steve Peters' Ronald is full of experience and a noticeable calm. During the silliest moments of the show, he marvelously plays the straight man. The couples' relationships with each other is fun to watch as their chemistry speaks volumes about their characters' friendships over the years. They are all incredibly comfortable with each other.<br />
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</div>Though the performances were quite good, the play on the other hand is poorly written from start to finish. During many points of the play, the sequence of events seemed to be the result of a long improvisation sketch that just needed to end. Much of the play could have easily been cut as some of it dragged. As it with farces, the most ridiculous series of moments are constantly happening. With this play, moments seemed out of place. Some of bits of plot seemed disjointed and the relationships between the characters could change unnecessarily for one moment then not give us any strong or believable resolution. Also, the play couldn't decide whether it was a drama or comedy. With some weak comedic moments and over the top dramatic moments, the two did not mesh well. There was one scene that examined what seemed to be a serious interaction that ended up being played with a hint of humor that collapsed the entire moment. The writing broke the scene, not the performances. Though, the usage of the kitchens for each act was a good choice, as many charged conversations and some escapism from unwanted situations, in this place and in real life, find their way to that particular room. That felt real.<br />
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Will Luera's direction is finely put together. It is far from forced, as he chose to avoid the use of center stage from time to time therefore using the kitchen's many areas. He created beautiful stage pictures that perfectly reflected reality, really connecting with the audiences' own experiences. Cat Stramer's set and Sherilyn Levy's costume work come together well, establishing the 70s and its overall feel nicely. We are truly visually immersed in this world thanks to the fine work and effort put into creating this production. Even the simple lighting and sound design (with a great creation of lightning) deserves a thumbs up from making it actually look and sound real. Kudos to the produciton value of this show.<br />
<br />
The Footlight Club puts in great effort into this production, despite the weak script and story. Even with the many tropes that comedies and farces produce, it falls over itself many times throughout. However, the actors and production crew did a wonderful job to keep it fresh and full of energy. This show is a fun little romp presented by a premiere community theatre that has always and will continue to entertain and create memorable theatrical experiences for everyone.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com1tag:blogger.com,1999:blog-2838196299818094950.post-79790935098285933782011-10-10T10:29:00.001-07:002012-04-09T09:29:20.159-07:00Full of Heart and Love : The Wellesley Players Present "Little Women"<b>Little Women </b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL67pN_9DPfYJ3Qux7fD4m31K3ZiVBzQzgWLpMnl8zbBVJvGZEPR7eUgdYxZlHkNMjEGEhJPk7c81yQTfR0qhxYcLxf9VMiRX817aFQRYSp05BSrodQ0yzak6dRugE3Bk011KXXMtcKbs/s1600/lw.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL67pN_9DPfYJ3Qux7fD4m31K3ZiVBzQzgWLpMnl8zbBVJvGZEPR7eUgdYxZlHkNMjEGEhJPk7c81yQTfR0qhxYcLxf9VMiRX817aFQRYSp05BSrodQ0yzak6dRugE3Bk011KXXMtcKbs/s1600/lw.jpg" /></a><b>Cast:</b><br />
Marmee: Suzanne Spezzano<br />
Aunt March: Margaret McCarty<br />
Jo March: Angela Richardson<br />
Meg March: Olivia Rizzo<br />
Amy March: Alissa Palange<br />
Beth March: Gillian Gordon<br />
Mr Laurence: Dan Moore<br />
Professor Bhaer: David Wood<br />
Mr. Brooke: Matthew Brendan Ford<br />
Laurie: Todd Sandstrom<br />
<br />
<b>Artistic Team:</b><br />
Producer: Diane Rothauser<br />
Stage Manager: Emily Hart<br />
Director: Celia Couture<br />
Music Director: Shawn Gelzleichter<br />
Choreographer: Kelly Murphy<br />
Set Design: Douglas Cooper<br />
Lighting Design: Doug Gordon<br />
<br />
I recently checked out a performance of "Little Women, The Musical" presented by The Wellesley Players at the Arsenal Center for the Arts. I was somewhat familiar with the original book and had seen the movie and wanted to see how it translated to the stage. The performance was presented in a black box theatre, which can easily present a challenge with many productions. However, it was a show I wanted to see.<br />
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The story focuses on the adventures of the four March sisters: firey Jo, beautiful Meg, young Amy and tender Beth living in Concord, MA during the Civil War with their mother, Marmee. Mr. Marsh is absent, as he is off in the war, leaving all five at home. Jo is the main focus as she constantly struggles with her place as a sister and daughter as well as her desire to become a writer. Each of her sisters do the same, as they start to find their own place. Along the way, Jo and her sisters meet Laurie, a young man staying in the area, and bring him into the fold, specifically becoming Jo's best friend, creating their little group, continuing their adventures. But as it is with life, things unexpectedly occur and they all must adjust accordingly. Adapted from Louisa May Alcott's novel, the musical is written by Allan Knee, Jason Holand and Mindi Dickstein. Everything is written well enough, but with only a few moments here and there, nothing is too memorable. It is a good score, but it is nothing too groundbreaking. <br />
<br />
The cast manages to come together well, and they each give strong performances. Angela Richardson plays the outspoken and tempestuous Jo incredibly well. She is strong as well as caring, whose desires in this world are evident. Richardson has the pipes to carry the role and we see her develop a solid arc from girl to woman, while still managing to stay true to herself. Gillian Gordon plays the sweet and soft-spoken Beth, who in many ways, represents the heart of the family, as she is incredibly supportive and loving. Gordon carries herself well, especially with her interaction with her family. In "Some Things Are Meant To Be" she and Jo have a particular sweet moment on the beach, as you see their bond and love as sisters created effortlessly. Olivia Rizzo plays Meg as a full-hearted romantic, while remaining consistent in her desires. Her chemistry with John Brooke, played by Matthew Ford, is sweet and adorable to watch. They both fall so hard for each other initially that it overwhelms them to the core. Ford bumbles yet remains a gentleman throughout. They both share a wonderful duet "More Than I Am" and we see how much they truly care for one another and it is played wonderfully. Alissa Palange plays a wonderfully catty and spoiled Amy initially, especially as a young girl. Though she is comfortable in the role, there are a few moments where there is conflict between her and Jo that falls short, as the writing lends to a more intense moment. Also, her transition into a young woman at times felt forced, and her as a young frustrated individual seemed to be her only side. Todd Sandstrom plays the jovial and sweet Laurie, who is full of life and love. He manages to fit well with the March sisters, as it is clear in "Five Forever". Sandstrom shines with optimism and a care-free attitude that is constant throughout. Margaret McCarthy plays the cold and stern Aunt March, but with such subtle humor. Her deadpan is uncanny and she shows us there might be bit more to this character, hinting at some kindness here and there. She remains vigilant in her character and is indeed fun to watch. Dan Moore, who clearly belongs in every period show, plays the stern Mr. Laurence who might have more to him as well. Though Moore attempts to be commanding and intimidating, it doesn't play as well as it could, as we see more transition to a sweeter version, something we desire to see more of. He seems uncomfortable at times, but his arc is fairly interesting to watch. Suzanne Spezzano's performance as Marmee is solid as well, as she struggles to keep her daughters strong and we feel that she truly misses her husband. Her motherhood though, seems more like an acting governess at times, sometimes never truly connecting with her children. Her connection as a mother does however come in strong during "Delighted", a sweet dance number, where we see her beautiful support to make her children truly feel special. David Wood plays a bumbling and proper Professor Bhaer who clearly harbors feelings that even he can't understand sometimes. His interaction with Jo has something more going on, and their awkward yet strong friendship longs for more. Wood could have easily given more to the role sometimes in his moments alone, perhaps enhancing his desire to accept his emotions, but he brings it home nicely in the end. The entire cast all comes together in one particular wonderous moment during Jo's second retelling of her story in "The Weekly Volcano Press". Each actor plays a vital part in the story and bring it home in the climax of the song, with all their voices coming in strong. Again, the cast each brings their own flavor to the production, creating wonderful moments. It is a joy to see how much chemistry is evident amongst this particular cast as they all work to bring Louisa May Alcott's characters to life.<br />
<br />
Ceclia Couture's direction works well for this space. She does manage to do her best to not create too much congestion when characters were on stage. At times, a use of levels might have worked in some moments, but there was only so much that could be done. All in all, it is clear that Couture is no stranger working in black boxes as she utilizes each area very well. Shawn Gelzleichter's music direction is strong, as he as well must do what he can in the space. The show is clearly called for a much larger orchestra, but Gelzleichter pulls together his wonderous skeleton crew of musicians to create a solid sound, having all his string players working in tandem. He clearly works hard to have the space work for him, rather than against him. Kelly Murphy's choreography is very well executed as well for this production. With minimal and simple movement, she doesn't create too much congestion either. It is light and adorable, continuing to contribute to the heart of this production.<br />
<br />
Douglas Cooper and Libby Ostrowski create a very functional set within the space itself, but it is not as nearly belieavable as it could be. Black boxes present so many different challenges when it comes to staging, but the use of multiple white walls really took away focus from the world. Granted the perfromances became the focus of attention, but the world must be present as well. However, with some minor set pieces, some scenes played well, as it was established where one thing began and one thing ended. The lighting design, created by Doug Gordon, had some good use of colors in some scenes, especially in Jo's storytelling moments and a usage of gobos were present throughout that gave some good texture. There was a particularly nice look to create the light coming through in attic scenes. However, more colors could have been used and there was no clear establishment and sometimes the lights felt flat. For the most part, the effort for the costumes were strong, as it seemed like multiple people were involved. The pieces were very much period, which really helped with the production. Many dresses were beautifully constructed and really helped in character development. However, some of the costumes were not particular appropriate for some moments, as a vision was not in place. The hair and make-up was very well done, though many of the wigs did not seem natural. They were used well to establish each character, but they became distracting throughout the production. There was strong balance for all aspects but there could have been more in each design. <br />
<br />
Again, as mentioned before, black box spaces are small and come in all shapes and sizes. However, with each, they all present challenges. Wellesley Players had their work cut out for this show, but manage to bring together a solid production. With some incredibly shining moments and features, well-honed performances and strong direction, this production of "Little Women" is a joy to watch. The Wellesley Players will only continue to put on future productions full of heart for all audiences to enjoy.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-66033891589666270632011-08-09T19:20:00.000-07:002011-08-10T08:04:29.873-07:00A Second Visit to the magical Garden: MIT Gilbert and Sullivan Present The Secret Garden<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdno5d82qVrkwTeecA5f2Y1lx8Web3pdCXIAMZeN4D0ZYpbZhfgGpJASJ3SKnYz-vs0oC6bDoRlZuTlXs_SrbyO6tZ1gn5th5UmtfSqFwefuD387-jswN_EGf8urAPHFrr0Wl60H5qybE/s1600/secretgardenposter-v2_medium.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" naa="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdno5d82qVrkwTeecA5f2Y1lx8Web3pdCXIAMZeN4D0ZYpbZhfgGpJASJ3SKnYz-vs0oC6bDoRlZuTlXs_SrbyO6tZ1gn5th5UmtfSqFwefuD387-jswN_EGf8urAPHFrr0Wl60H5qybE/s1600/secretgardenposter-v2_medium.jpg" /></a>The Secret Garden<span class="Apple-style-span" style="font-family: Helvetica; font-size: 12px;"></span></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Book and Lyrics by Marsha Norman</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Music by Lucy Simon</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Based on the novel by Frances Hodgson Burnett</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Producer</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Kelsey Peterson W '05</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Stage Directors</div>Garry Zacheiss '00 and Ky Lowenhaupt<br />
<br />
Music Director<br />
Ian Garvie<br />
<br />
Stage Manager<br />
Kristyn Brophy<br />
<br />
Technical Director<br />
Garry Zacheiss<br />
<br />
Dramaturg & Dialect Coach<br />
Bridgette Hayes<br />
<br />
Set Designers<br />
Garry Zacheiss<br />
Ethan Tyndall<br />
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Lighting Designers<br />
Garry Zacheiss<br />
Paul Quimby<br />
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Cast<br />
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Archibald Craven<br />
Shawn Gelzleichter<br />
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<div>Dr. Neville Craven<br />
Rishi Basu<br />
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Mary Lennox<br />
Abigail Dickson<br />
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Martha<br />
Bridgette Hayes<br />
<br />
Dickon<br />
Sam Lathrop<br />
<br />
Mrs. Medlock<br />
Jennifer Ryan<br />
<br />
Ben Weatherstaff<br />
Michael DeFillippi<br />
<br />
Colin Craven<br />
Alexandra Upton<br />
<br />
Lily Shannon<br />
Rose McAuliffe<br />
<br />
Rose Lennox<br />
Rachel Baum<br />
<br />
Capt. Albert Lennox<br />
Terry Tamm<br />
<br />
Alice<br />
Lauren Burke<br />
<br />
Lt. Peter Wright<br />
Sean Benak<br />
<br />
Lt. Ian Shaw<br />
Brad Amidon<br />
<br />
Maj. Holmes<br />
Robert Morrison<br />
<br />
Claire Holmes<br />
Kelsey Peterson<br />
<br />
Maj. Shelley<br />
Brett Popiel<br />
<br />
Mrs. Shelley<br />
Lorraine Fryer<br />
<br />
Fakir<br />
Jenn Woodward<br />
<br />
Ayah<br />
Branigan LaCount<br />
<br />
Nurse<br />
Lorraine Fryer<br />
<br />
Jane<br />
Kelsey Peterson<br />
<br />
Mrs. Winthrop<br />
Lorraine Fryer<br />
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Children's Chorus<br />
Ryan Burke<br />
Andy Edelman<br />
Sara Molano<br />
Alexandra Upton<br />
<div><div><div><br />
</div>Theatre companies in and around Boston tend to do the same show as another company and I realized thats just the way it is. In the last several months, I have heard of multiple productions of Chicago, Spelling Bee, Rent and now The Secret Garden. These are wonderful shows and its always interesting and often rewarding to see them done differently.<br />
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This past weekend I had the pleasure of seeing MIT's Gilbert and Sullivan put up The Secret Garden. This was the 2nd production I had seen and another chance to talk about a completely different production. The musical is based on the famed novel of the same name, telling the story of young Mary Lennox, orphaned in India after the cholera epidemic took her parents. She is sent to live with her reclusive uncle, Archibald Craven in Yorkshire, England. Living in such a new and seemingly empty house, young Mary finds solace in trying to bring back a once-thriving garden on the estate grounds. She soon also discovers her sickly cousin, Colin, and forms a unique bond with him. As this goes on, we see Archibald dealing with the loss of his wife, Lily, ten years later, struggling to live his life while falling deeper and deeper into depression. As the book focuses more the children, the musical looks at the story of the adults. We see Archibald's and Mary's struggle to come with grips of this new situation, the best they can, but soon discover that it takes a great deal to overcome everything and try to find a semblance of family to help them get through their losses. With the use of flashbacks and then seeing the present, we see more into the lives of each characters. Family is a glimmering hope in all this, and we hope all comes together in the end. The driving force bringing everything together is a garden that causes something more than each character expected in not only themselves but for their world around them.<br />
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As I mentioned before, the music itself is very unique and works well with the particular period. Its a great score and is used very well to heighten several emotional scenes and moments. The book is based off the novel, and it does again, take several liberties. The aspects of India from Mary's past comes in when its convenient to attempt to fuel the story. My only complaint about the show itself is the book, as it tries to add additional exposition to an already established story. India is shoe-horned and makes some of the story feel uneven. It doesn't make it less of a tale, just another look into different perspectives. This worked sometimes, but not as a whole. Also, some scenes where the ghosts from the past and Cholera epidemic would appear on stage were confusing, as there was no real establishment of reality and dream.<br />
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The set of the show, designed and created by Garry Zacheiss and Ethan Tyndall is a beautiful world. Kresge Little Theatre at MIT presents many challenges, as the stage is a bit small for such a large scale show. However, they use it very well, creating different areas for Archibald's office, the garden area, and bedroom. Behind the bed, there were several doorways that were created, overlaid with see-thru curtains that were used as portals almost, for different characters to use to blur the lines of past and present. Almost like a curved balcony area, the area was effectively used to join both worlds. Each doorway was lighted different colors from time to time, which was the fine work of lighting design by again, Garry Zacheiss, who apparently does everything and does it well, and Paul Quimby. Not only do they have excellent eyes to blend such unique colors like purple and reds effectively, but they are not afraid to use gobos. Gobos are often terribly underused in staging but also can be dangerously tacky if overused. However, the lighting designers used them as they were intended to create a believable and engaging environment. With a strong understanding of design, much love and appreciation was put in to bring the audience in, making it simply captivating. It was very impressive. The set and lights complimented each other well.<br />
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As for the direction, I appreciated the spacing and the proper usage of the ensemble. Garry Zacheiss, strikes again it seems. During a particular moment, he was able to create a nearly startling moment when he paired them up during the cholera breakout. With the use of white handkerchiefs, each ensemble member almost seemed like wind-up toys, one by one, running out of time. It was a great use of stylized movement combined with the reality of death and fear. However in some moments, I felt he could've given more for some characters to do. The space, is again, limited, but the director should give more freedom to his actors. In some numbers, more movement could've been used, causing a contrast between the song itself and the actor singing it. A minor issue, considering the show came together fairly well. Zacheiss is clearly a Renaissance Man, who accepts the challenge of creating such a world and manages to do a pretty great job.<br />
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There were plenty of strong performances in this production. Shawn Gelzleichter is at ease in the role of Archibald Craven, a character with such a soft, yet conflicted demeanor. Gelzleichter brings more to the surface then a man in mourning. We see bits and pieces of a once, sweet and happy man, but time and sadness has hidden that part away. He plays the role extremely well, fighting the coldness that may consume him. As all his numbers are beautifully sung, its his number he sings to his son, Colin, "Race You To the Top of The Morning" that was the one that stood out. He carries the story of the song from beginning to end with utter sadness and beauty. Another performance that stands out is Bridgette Hayes, who plays Martha the maid. She full of spritely, no-nonsense pride, and brings a bit of color to previously dark intro to the show. She is having fun with the role and her song "If I Had A Fine White Horse", is a joy to see as she brings amazing energy, clearly having fun. Rishi Basu, playing Archibald's more practical brother, Dr. Neville Crane, has a commanding presence that is only broken down briefly from time to time, as we see he is only human as well. Basu looks like he belongs in that period indefinitely, and he creates a wonderful performance. It plays well, especially with his duet with Archibald, "Lily's Eyes" where see these two vocal powerhouses share the stage. They are believable brothers and are strong contrasts that work extremely well together. Shannon Rose McAuliffe plays Lily, Archibald's wife, simply beautifully. With a marvelous voice, we see her move in and out of the present and past, creating such tender moments with Archibald. McAuliffe's chemistry with Gelzleichter is so wonderful to see, and we see each actor giving so much. Their duets together blend so perfectly that we only can imagine how strong their love was before her passing. Mary, played by Abigail Dickson, gives a strong performance, and it is clear she is on her way to many other great roles in the future. She plays the role with a obvious, simple maturity beyond her years, but her overall character arc is a bit muddled, due to the script and not a reflection on her performance. Alexandra Upton, plays Archibald's son, Colin. She is comfortable playing the young boy and many of the scenes she shares with Dickinson are memorable as we really see a strong bond created between the two. As for the Ensemble, they were strong as a unit and worked well with each other. With swelling voices, they help us see more of this world, coming in and out, wonderfully establishing their individuality. Even though there were stronger singers on the female side, it did not take away from the performances. All in all, everyone in the show gave good performances, bringing a wonderful story to life. There was much love for the material and it showed. We see the characters find their journey and destination unexpectedly, discovering that despite everything, they never truly lose those in our hearts.<br />
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This production of The Secret Garden is filled with wonderment and possibility. Through the characters' past and present, we see so much that can be realized, at the most important moments of their lives. Its the fact that they know in their hearts that they cannot give up and must go through so much to discover the things that matter the most. With all the pieces of performance, design and music, MIT's Gilbert and Sullivan's production is full of heart and establishes that even at our saddest and darkest moments, something hidden can be found again.</div></div></div>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-42147356861732726802011-07-28T10:04:00.000-07:002012-01-01T12:17:06.671-08:00Anectodally Polictical: Lyric Stage Company Presents According to Tip<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHhDAPxb1UXJh1YFzNflf8KFsQ_NfudNv1OkilF4toyHktXPf2Fr0POMoJqdU3l4hE4tHI7sKPPSHkOHlDesqDIK5FSHRKWrtMU8GIxgU9R0Y8Q9v_Mtv4kidkg1MnSZ4DcVp994A8Wg/s1600/tip_255w_x_300h.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheHhDAPxb1UXJh1YFzNflf8KFsQ_NfudNv1OkilF4toyHktXPf2Fr0POMoJqdU3l4hE4tHI7sKPPSHkOHlDesqDIK5FSHRKWrtMU8GIxgU9R0Y8Q9v_Mtv4kidkg1MnSZ4DcVp994A8Wg/s1600/tip_255w_x_300h.jpg" t$="true" /></a>According To Tip</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Again, one the most rewarding things about doing this blog is of course is able to see so many interesting productions in the city of Boston. I've talked about it before, but I think I find myself in a state of constant euphoria when I am about to attend a play or musical in and around Boston. </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div>This was again the case when I went to go check out According to Tip, a one man show about the late and great Speaker of the House, Thomas "Tip" O'Neill. Truth be told, I discovered a few days before I was actually on the schedule to usher the show. I put on my blacks and headed downtown.<br />
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Produced by local film group, Harborside Films, According to Tip explores a local Cambridge man, Thomas O'Neill, who found his way through the trials and tribulations of local politics to the great House of Representatives in Washington DC. The show is a one person show, set between Tip's local office and his office in DC. We see his journey all through the elegant means of storytelling from his humble beginnings to the giant arena of the House of Representatives during the 60s, 70s and 80s. We get a chance to see the life and times told by the man himself.<br />
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Played subtly and simply by Dick Flavin, Tip's depiction is a kind man, full of spritely humor and has a knack for bringing you into his stories. Dick Flavin, a local radio personality, was very close with O'Neill and it made sense that he would be the one depicting him. There were some moments, in which Flavin would do a little jig or sing a bit to a piano track and would be a bit off, but that was mostly a sound issue. This particular device was used to break up much of the show. There was one adorable moment where Flavin as Tip sang a song to his wife and pantomimed a dance with her, reliving his wedding day with her. It was particularly cute to watch and it really showed us what kind of man Tip was. He commits fully to the role, and weaves his stories beautifully. Not being a politically minded person myself, I found it hard to follow some of the stories, but the script was written in a way that it not only did its best to describe the events and stories simply, but it managed to hit home with the born and bred audience. We hear his tales of his friendships and working relationships with the past great presidents, including Ford, Carter and Regan. He opens the show with a one-sided phone conversation with Ronald Regan and his establishing relationship, though are meant to imagine the other side of the talk, is believable. We see and believe that Tip’s friendship with Regan is real and genuine. Its Tip's story and Flavin takes us through his life, his events and his regrets. You see the genuine feeling in Flavin as Tip, especially since he knew him so well. He interacts with the audience as well beautifully, really solidifying his relationship with us. He doesn’t speak at us but to us. It’s that connection that helps contribute to a strong experience. He was just a man, who like all of us, lived his life and did what he loved. It was that part of this show that I immediately identified with and appreciated.<br />
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</div>The set is again, Tip's Washington DC office and his local Massachusetts office. Each office is dressed nicely, with keepsakes and collectibles from Tip's life. Giving us a sense of the time period as well, we are given a look into where he worked. With photographs and props, everything compliments the set fairly well. There also was a podium that was set up for Tip to show us various moments where he would be speaking up in a town hall or at another political event. Each moment is a bit of his history and a chance for some relive those times. I appreciated the attention to detail in the set design, especially because we were transported into his world. It was put together not as an afterthought, but as a believable place where this man could have been working, knowing his personality and what kind of man he was. At times it was difficult for one side of the theatre to see what was going on, as the space worked against the show. Being only one person in it, Flavin had to play as much as he could to everyone else, though there was room to it do it a bit more.<br />
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As this play is again about the life of a political individual before my time, I found a lot of it hard to grasp some of events that he mentioned during his time. However, as I mentioned before, it was the fact that it was his story and we were drawn in as an audience. Thomas "Tip" O'Neill lived his life and chose his path to fight for what he believed in and to give voice to those that couldn't be heard. According to Tip is a well put together theatrical production that highlights the stories of a great man who was really there in the trenches, fighting the good fight. It reminds us that everyone has a story to tell, big or small, but like all great stories, it should one that cannot be forgotten. A great man who was just like us brings us into his world so we can truly understand where we were and where we are going.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-61293382757523875562011-06-13T09:56:00.000-07:002011-06-14T12:20:51.634-07:00Heart and Soul: The Anarchist Society of Shakespeareans Present A Midsummer Night's Dream<div id=":55">A Midsummer Night's Dream</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"></div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
Written by William Shakespeare</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJm3TZTdU9WnXwBByxHJIi3ErdbpvsrNTzrgCkMZ8DyOEjmLR3Oq3YeN5vD4RiZMt_SVQw9zjl0iEKO44ApcexEMdIyWkeMN7TNOqcwg3fEn38j9P4mbq9kHlbQOpiEQtH8DVl_U50hE/s1600/midsummer.jpeg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJm3TZTdU9WnXwBByxHJIi3ErdbpvsrNTzrgCkMZ8DyOEjmLR3Oq3YeN5vD4RiZMt_SVQw9zjl0iEKO44ApcexEMdIyWkeMN7TNOqcwg3fEn38j9P4mbq9kHlbQOpiEQtH8DVl_U50hE/s200/midsummer.jpeg" t8="true" width="133px" /></a>Director - Ron Lacey<br />
Stage Manager - Lena Davis<br />
Sets & Costumes - Sharon Lacey<br />
Lighting - Jon Taie</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
Theseus/Oberon - Ron Lacey<br />
Hippolyta/Titania - Marty Seeger<br />
Philostrate/Puck - Mike Carr<br />
Peaseblossom - Mindy Klenoff<br />
Mote - Corina Bucora<br />
Mustardseed - Leslie Drescher<br />
Cobweb - Susan Rubin<br />
Egeus - Rob Noyes<br />
Hermia - Katie DiMarca<br />
Lysander - Brad Smith<br />
Helena - Mary Ferrara<br />
Demetrius - Stephen Bagg<br />
Peter Quince - Jon Taie<br />
Bottom - Tom Beyer<br />
Flute - Lou Lim<br />
Starveling - Dennis Stevens<br />
Snug - Gilly Rosenthol</div><br />
A Midsummer Nights Dream is probably one of William Shakespeare's most produced shows, as I have seen or heard of at least a dozen productions over the last several years. It is no secret that it is definitely a popular one for that matter, as the piece itself can be interpreted in so many different ways.<br />
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A new company, the Anarchist Society of Shakespeareans recently put up a production of A Midsummer Night's Dream as their first show. They presented it at the Democracy Center in Harvard Square. As I am a huge fan of Shakespearen shows and I had yet to actually review one, I decided to check it out. A Midsummer Nights Dream, written by the one and only bard himself, William Shakespeare, focuses on the events surrounding the marriage of Theseus, the Duke of Athens, and the Hippolyta, Queen of the Amazons. These include the adventures of four young lovers and a band of amateur actors, who are manipulated by the fairies who inhabit the nearby forest. Through the use of magic and other devices, the characters are changed and reverted back to their original states, making them question the possibility of what happened or what they thought happened. Love and relationships are tested and despite various happenings, everything works out in the end.<br />
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Immediately coming in, I noticed the space was creating some challenges. The space was not completely unusable and not necessarily a bad place to put up a show, but it did seem rather cramped. Though, in this town, free to cheap theatre space is hard to come by. No fault of the group, as it did create a more intimate space when effectively used. Also, since being in the middle of Harvard Square, the doors and windows were open throughout the production, allowing outside noises to travel in, which was severely distracting. As it is with any production, things will happen as it was no fault of the company's.<br />
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Ron Lacey's direction and vision is a strong effort, as having a pre-show with music from the 60s and dressing his actors in the garb of the same era. It had potential to create a world of the particular era, but it never goes beyond its initial presentations, ie the music and costumes. Its almost as though he could've spent more time creating the world, as we cannot always rely on the text to do all the work for us. Granted, I give him kudos for the effort of working with the text and having his actors be comfortable in this world. As he starred in it as well as Theseus and Oberon, his time did seem split amongst acting and directing duties, but not enough to really take too much away from the show. He does each well, but there always could’ve been a tad more effort. Some staging was also questionable as well, as we were in a function room; the seats were right behind each other on a flat floor. Anytime there was action below our sight lines, we had to adjust. The minimal vision did almost make the production at times feel very one dimensional. Again, it was the space working against the show. <br />
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As for the sets and lighting, there was not much there to actually constitute a world. Sharon Lacey and Jon Taie take on this space with their vision, but it falls short as an actual theatrical production. Again, in the space where the production takes place, lighting from the ceiling and Christmas lights were used. It was a nice touch, but again, to give more to the lighting would’ve been nice. Nothing substantial was needed, but if this world was meant to be in the 60s, more distinct lighting could have been used. Also, the set, dressed with flowers did give a nice feel as well as the use of chairs, but they were not enough to bring us into the characters' environment. They could’ve gone a bit further and threw in some more pieces, wall hangings or the like. The ideas were good and they played, but the lack of other additions made the show feel very flat at times. However, the costumes were nice, as they were very period. Dressed as hippies, partiers or staunch uptight types, each costume helped established each character well, adding more flavor. <br />
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The performances were solid, as they actors did their work and really became familiar with the text. Shakespeare is considered difficult in many circles and this group does a good job of holding their own. No one really stood out as a performer, but some real great moments were created during several points of the production. Some performances were stronger than others, and the weaker performances were the result of rushing the text and moments that were meant to be savored. Also, some tried for a laugh which worked some times but other times took too much away from the moment. As the show is comedy, much of the humor comes from the text and potential physical action so it really depends on the choices that are made. Mike Carr's Puck is wicked and playful enough, but his moments in his more memorable speeches are too quick. The text presents opportunities for so much interpretation, but a few disjointed moments were present throughout the show. The four lovers, Brad Smith, Mary Ferrara, Stephen Bagg and Katie Dimarca, were played well, however their relationships between them at times seemed forced and chemistry was not as strong as it could’ve been. Each did well in establishing their own individuality, but it was not fully developed when it came to how they interacted with each other. The players, Jon Taie, Tom Beyer, Lou Lim, Dennis Stevens, and Gilly Rosenthal, are strong as well, as they again do a good job in establishing who they are as well as their own personalities. They of course pull off their show within a show with flying colors, something that is always a hit with audiences. All in all, everyone, each part, does a good job and brings together a show filled with heart and soul. They all seem to feel at ease in their roles. <br />
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The show itself presented many good moments. It is a challenge to present such a well-known show in such a space, but I think for what they did it was a good starting foundation and template for future productions, taking in, of course, consideration of the size and to use that to their advantage. With some whimsical and fantastical moments, this particular interpretation of Midsummer could go even further and create an even stronger world. They have the makings of a great company as they just need a few things that can be used to create a stronger theatrical experience. As it is their first production, I hope to see more shows and continue to see their growth as a new promising Shakespearean group.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-47753818625884366942011-06-07T08:37:00.000-07:002011-06-07T08:52:58.796-07:00A Mess of a Show - Spider-Man: Turn off the Dark<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAdB69oobxFeHQweS-dniXBJoSCd7kJL-QCKqHLb15PHMXeNEXAneLwQWt4oLgN5Zl2MoaTDnGHPyjZbSFboHGqOf_mMN-wo6ASIgq14d55k8i7JnlTuv9VUyAAtqC9btxf0m1JmmRw8/s1600/spidermn.jpg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMAdB69oobxFeHQweS-dniXBJoSCd7kJL-QCKqHLb15PHMXeNEXAneLwQWt4oLgN5Zl2MoaTDnGHPyjZbSFboHGqOf_mMN-wo6ASIgq14d55k8i7JnlTuv9VUyAAtqC9btxf0m1JmmRw8/s320/spidermn.jpg" t8="true" width="178px" /></a>Spider-Man: Turn off the Dark</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Book by Julie Taymor, Glen Berger and Roberto Aguirre-Sacasa; </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Music by Bono and The Edge, Lyrics by Bono and The Edge</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Original Direction by Julie Taymor; </div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Choreography and Ariel Choreography by Daniel Ezralo</div><br />
When I heard they were doing a musical based on the famous comic book web-slinger, I was skeptical, but at least I thought to myself it could be very interesting to see how they could pull it off. Julie Taymor, Bono and The Edge were going to be involved. I admit, I was intrigued a bit, but again, I think it was mostly because of the names that were attached to it and they all had a great track record to take on such a huge project.<br />
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Fast foward a couple of years. Spider-Man: Turn Off The Dark is currently playing in previews on Broadway. The reason? It has been continuously hitting several production and creative snags. Also, there have been several accidents involved with the show. Rewrites, recasts and various other changes in the show have been constantly going on. I don't think anyone these days hasn't heard of the many issues with putting this show up. With a whopping 65 million dollar budget, this is the most expensive Broadway show ever conceived. If you want to read more, as I don't want to spend this review talking about it forever, just Google "Spider-Man Musical Problems." I guarantee you'll find something worth reading. Also, the Wikipedia article is worth checking out. I for one can't help but admit that for all these reasons and more, I found myself buying a ticket and checking it out.<br />
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Bono and The Edge of U2 fame are responsible for the score for this show. Best known for their rocking and pounding music, U2 is one of the most popular and influential bands, proving that they still rock after 30 plus years. Julie Taymor, Glen Berger, and Roberto Aguirre-Sacasa were responsible for writing the book and story for the show. Taymor, of course, is best known for her work on the staged musical of The Lion King, putting her on the map as one of the most imagery and scenery driven directors. Spider-Man: Turn off the Dark is based on the Marvel superhero of the same name.<span style="mso-spacerun: yes;"> </span>The story follows young Peter Parker as he is endowed with super spider powers after being bitten by a genetically altered spider. Struggling with the day-to-day problems of the average teenager, his relationship with his girl friend Mary-Jane, finding his place in the world around him and stopping the crazed Green Goblin, Peter finds his calling as a hero and as Spider-Man and tries to balance it all. <br />
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I have to say, that this show, every single bit of it, was a complete mess.<span style="mso-spacerun: yes;"> </span>The first obvious parts were of course the book and music. Taymor, Berger and Aguirre-Sacasa struggle to form some sort of story that is loosely based on the first movie that came out years ago. The story apparently went through several changes and you could tell that pieces of each person's ideas came together, but not in the best way. There was the introduction of Arachne, the character from Greek mythology who apparently represented a sort of guide for Peter. She was supposed to anyways, as she was terribly underused and was kind of shoe-horned into the story. Her addition neither took away nor gave something to the story. She was just there. Also, there were many elements of the original story of Spider-Man that were removed, that didn't necessarily effect the overall arch much, but to many die-hard comic book fans, it presented many problems. There were many plot elements that didn't make sense and it left you questioning the holes they made. The first act was rushed as Spider-Man had to make his debut. As for the music, U2’s Bono and The Edge are known for their pulsing and rocking songs that have been some of the biggest hits with the masses. This was not the case for this score. There was lots of power behind the music, but it had no substance. With unmemorable songs, this was another issue that plagued the production. I want to go to a show, walk out and hum the music because it should stick with the average theatre goer. I was not impressed by the music and I felt a bit let down, knowing the two's particular track record.<br />
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Taymor's initial direction is as expected. She clearly captures the story as well as she can, but combined with elaborate costumes, moving set pieces and big projection screens, I could only wonder how this production could look so cheap with such a huge price tag. It felt lazy and forced. I think at this point, everything on stage, between the stylized set pieces and over-the-top costuming for the villains, was doing it just to make it a statement. Granted, the city set pieces, moving walls and projection screens were quite impressive as a part of design concept but just didn't fit with this show. However, the high-flying wire work was really fun to watch. As Spider-Man swooped down from the balcony and over the audience, I got goose bumps and was really impressed. The frustrating thing of course was the fact that you'd have to pay a bit more to be a part of the "Flying Circle" area to have the action fly over your head. Being the balcony was nice, but you would catch only about a third of what was happening. At one point I realized that I was not actually watching a musical. At that moment, I remembered reading somewhere Taymor, The Edge and Bono described it as a rock opera/circus show. Clearly, I could see what they were going for, but it seemed rather ambitious combining all those different elements. If several things didn't sync up too well, it creates a messy vision. Perhaps changing the show into a more Cirque De Soliel show would be a much better idea. With high-flying acrobats and huge sets, it seems like the better direction<br />
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The performances of the actors were less than impressive. Reeve Carney, who pays the title hero, has the pipes, channeling a bit of Bono. However, he was clearly phoning it in. As his wire work was impressive, his actual performance was a bit dull. Jennifer Damiano, who just recently came off of Next To Normal, falls short as Mary Jane Watson. The chemistry between the two is no where to be seen, as both of them are clearly going through the motions. Patrick Page is probably the more active one of the three leads, as he plays the sprightly Norman Osborne well enough. When he transforms into the Green Goblin, he clearly enjoys hamming it up and has a particularly cheesy moment a la lounge singer when awaiting his final battle with Spider-Man. He has fun and makes his performance stand out. Everyone else in the cast is talented for sure and works their butts off to put on a show, but again, with the material, they can only go so far. Again, the actors pull of the aerial stunts well, but like the leads, everyone was going through the motions. Literally. <br />
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So there you have it. Spider-Man. I felt like I was a part of history in some ways. There is no denying that the show had some really interesting elements and some great aerial acrobatics. That was about it. When I went to the show in NY, the house was packed with families and tourists alike. The show will continue to sell but the question remains: Will it actually open? I didn't hate the show, but as you can see, I thought it was a complete mess, but I am glad I was a part of it. With giant sets, highflying moments and a sub par score and plot, Spider-Man stands out as a very unusual and confusing experience. The show will continue on and remain as a slice of <city><place>Americana</place></city> in its most unique form. <br />
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<div id="ftn1" style="mso-element: footnote;"></div></div>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com1tag:blogger.com,1999:blog-2838196299818094950.post-56849461275470563642011-05-16T07:57:00.000-07:002011-05-16T08:01:50.087-07:00Nearly There: Hotel Cassiopeia presented by Fort Point Theatre Channel<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA6q2s7gutKmCTMdV5tE2RqebbT3QeXf1jvxG70S4nuFDsRD7BRDzfJYjeD1Bxz5tbuN7t-L1HQnAh3DPrB2JWDvzhzfiq0nUTQCoCPiKG_tVCVdUioEh335ZNMlZsoEdMlF4c9u38saM/s1600/hotelcassposter.jpeg" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320px" j8="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA6q2s7gutKmCTMdV5tE2RqebbT3QeXf1jvxG70S4nuFDsRD7BRDzfJYjeD1Bxz5tbuN7t-L1HQnAh3DPrB2JWDvzhzfiq0nUTQCoCPiKG_tVCVdUioEh335ZNMlZsoEdMlF4c9u38saM/s320/hotelcassposter.jpeg" width="200px" /></a>Hotel Cassiopeia</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">By Charles Mee</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Production Design/Concept by Sylvie Agudelo<br />
Stage Direction by Marc S. Miller<br />
Assistant Director, Christie Lee Gibson<br />
Stage Manager, Aaron Cohen</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">John Crowley: Set construction</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Jennifer Hardy: choreographer<br />
Tanya Kutasz, stage manager<br />
Andrew Neumann: composer<br />
Robin Reilly: costume consultant, set construction<br />
Todd Sargent: lighting design<br />
Nick Thorkelson: set design collaborator, graphic design<br />
Douglas Urbank: film design<br />
Daniel J. van Ackere: set construction, photography<br />
Mark Warhol: sound design<br />
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The ensemble<br />
Robert Murphy (appearing courtesy of Actors Equity Association)<br />
Jake Berger<br />
Mary Driscoll<br />
Silvia Graziano<br />
Meredith Stypinski<br />
Allison Vanouse<br />
Rick Winterson<br />
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There are many places that I find myself venturing to all over Boston in order to catch a show. I think that’s probably one of my favorite things about doing these reviews. Specifically, I found myself in <place>South Boston</place> at the <place><placename>Channel</placename> <placetype>Center</placetype></place>, a small office/restaurant park checking out the Fort Point Theatre Channel's production of Hotel Cassopeia. The play was written by Charles Mee, a writer best known for his collage like work in his text for the stage. He is inspired by other works and existing texts to create his own interpretations. The story takes a look into the life of artist Joseph Campbell and his relationships with the various people in his life, including famous celebrities of the time and his family members. <city><place>Campbell</place></city> was known for his assemblage type pieces that were essentially interactive wooden boxes or frames that had bits and pieces of found objects, from a time piece, paper, seashells, etc. Whatever he could use was placed in his art. Not having seen anything like it in person, I was going off on what I had read and seen pictures of. It was very fascinating to see what exactly he was trying accomplish. Mee's play is appropriate to tackle Joseph Cornell's life and relationships, as they both share the common ground of assemblage.</div><br />
The space where the production was presented laid out a lot of different challenges at first glance. Placed in a art gallery type area, it was clear that trying to put on a show in that space was most likely difficult to stage effectively. The obvious issue was the fact that huge pillars obstructed the views of various set pieces. Though the design was a good one and a great idea, specifically a large city skyline, a giant pillar was standing in the way, preventing a much desired view to see more. Again, this is the space the show was in. As for some other pieces of the set, it seemed it was trying to integrate an Art Deco feel, but never going on to expand on it. It was simple enough with chairs, tables and the like, but to see more would’ve created a stronger world. There pieces that were put in that almost felt out a place but would’ve been other complimented if more was added. Pieces or actual examples of Cornell's work would've added a nice touch as well. Nothing substantial is needed, but enough to give a sense of his mind. It was nice to see some of it included, like papers and a seashell here and there, but again, it couldve have been pushed further. As for the lighting, I appreciated the use of strong colors lighting various walls of the stage. I enjoyed seeing such a nice blue, pink and turquoise, but there were some black spots that were obvious and often when an actor couldn't find their light, it ended up being distracting. Even at certain times, either of emotion or isolation, it would’ve been good to see more specials or a few other colors thrown in. The designs had started a good foundation but more could've been built upon it. As for the costumes, I appreciated the simplicity and the period appropriate feel of the attire. The red ballerina dresses stood out for obvious reasons, but they were not only well crafted but worked for the show. <br />
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As for the direction, I felt the world that was created was almost an assemblage, much like Cornell's work. I appreciated this choice, especially since the text lends itself to so much interpretation. However, there were times where I felt the blocking ideas were very strong, but there was almost a lack of intention with certain moments. I wanted to see Cornell showcased more downstage and often felt he wasn't utilized as much as he could’ve been. Also, there were few moments where various clips of black and white movies that were highlighted. As I appreciated the usage of film in a stage production, it felt sometimes shoehorned into this production and out of place. As for the sound design, the classical music was an incredibly nice touch and played well to the more emotional moments throughout. The harsher sounds and tones used were a bit too much at times, though and felt anachronistic, not necessarily fitting in. This doesn't take away from the fact that there so many great ideas integrated into the show, but it didn’t seem like they would’ve worked for this one in particular. <br />
<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">The ensemble pulls of some good performances. Robert Murphy's Joseph Cornell is believable enough as an unsure, quiet, soft-spoken kind individual. He carries the show well and he displays a soft demeanor incredibly well. However, with Mees' text, he doesn't expand and build upon what he speaks about and what he’s passionate about. The relationships he has with others, including his ill brother could’ve been a bit deeper, knowing that he had given up so much in order to take care of him. He does it without thinking, knowing he would never regret the decision. As for the rest of the ensemble, everyone else does a great job in establishing various characters. It was very noticeable that even with different characters; each actor interacts with Murphy's Cornell carefully and are aware of their world. Again, the text creates a wonderful opportunity to take characters and moments to varying levels. I felt everyone did a great job in really taking their time with and understanding the words. In one moment, the roles of the ballerinas are done beautifully and Silvia Graziano, Meredith Stypinski, and Allison Vanouse create three very lighthearted and sweet characters and are a joy to watch on stage. Everyone does a strong job in creating believable and engaging characters.</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Again, this particular production presents a very strong foundation. The envelope could've been a pushed more here and there, but the show stands alone on its own two feet incredibly well. The ART has always been known to do these kinds of shows and Fort Point Theatre Channel creates a staged performance art piece that isn’t necessarily in your face about it. I appreciated that their attempt to create this world was filled with so many great ideas. Even though some worked and others didn't work as well, there was an enjoyable night of theatre displayed, filled with strong moments and performances.</div><div class="MsoNormal" style="margin: 0in 0in 0pt;"><br />
</div>Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-36601341253189899842011-05-10T17:45:00.000-07:002011-05-10T17:48:42.602-07:00A Garden of Worlds: Secret GardenThe Secret Garden<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9P_OAiynYJ3tJrE5XkbyFbvquCA11F1-xsUZRQk5RR78qbQeJ-p3861uSsWMSELKNyjZkxK-3ECipoX_Yr39J4t8KpVMBhw6MkvWgccigM7XrKafw2agC_8VH3Dk3P8GtXwwNW2qnZc/s1600/Secret_Garden_small.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9P_OAiynYJ3tJrE5XkbyFbvquCA11F1-xsUZRQk5RR78qbQeJ-p3861uSsWMSELKNyjZkxK-3ECipoX_Yr39J4t8KpVMBhw6MkvWgccigM7XrKafw2agC_8VH3Dk3P8GtXwwNW2qnZc/s320/Secret_Garden_small.jpg" width="208" /></a>Book and Lyrics by Marsha Norman<br />
Music by Lucy Simon<br />
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Directed by Kaitlyn Chantry<br />
Music Directed by Jason Luciana <br />
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Ben Weatherstaff<br />
Lewis Blair<br />
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Child <br />
Madeleine Carbonneau<br />
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Lieutenant Wright <br />
Michael Chateauneuf<br />
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Neville Craven<br />
Kevin Cirone<br />
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Mary Lennox<br />
Lucy Gladstone, Allsun O'Malley<br />
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Mrs. Medlock<br />
Jocelyn Hesse<br />
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Betsy/Jane<br />
Susan Johnston<br />
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Claire Holmes<br />
Heather Karwowski<br />
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Lieutenant Shaw <br />
Sam Lathrop<br />
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Fakir <br />
Taylor Lawton<br />
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Martha Sowerby<br />
Shonna McEachern<br />
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Major Holmes<br />
Aaron Moronez<br />
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Colin Craven <br />
Joseph Nedder<br />
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Albert Lennox <br />
James Neufeld<br />
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Dickon Sowerby <br />
Stephen Piergrossi, Jr.<br />
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Ayah <br />
Pavithra Rajagopalan<br />
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Lily Craven <br />
Renee Saindon <br />
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Alice / Mrs. Winthrop <br />
Michelle Vachon<br />
<br />
Rose Lennox <br />
Eliza Xenakis<br />
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Archibald Craven <br />
Matthew Zahnzinger<br />
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I managed to catch the opening performance of The Secret Garden presented by The Longwood Players the other night at the Cambridge YMCA. Needless to say, I have never been a huge fan of this particular space because of the ability to actually use the space effectively. Also, the last time I was there, I didn’t recall it being the prettiest of spaces either. However, the night I came to see the show, it looks like the space was recarpeted and repainted giving it a bit more character and it became a hundred times more presentable. I was very impressed. <br />
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The musical is based on the famed novel of the same name. The story tells of a young girl named Mary who moves in with her reclusive uncle Archibald Craven in Yorkshire, England. She moves from India since being orphaned after parents were taken during cholera epidemic. She realizes she has to do her best to make do. However, she soon discovers a garden hidden away that only requires some attention to bring it back to its once-thriving self. She quickly befriends her sickly cousin and also enlists help from the various grounds keeping staff to help bring the garden alive. Along the way she learns a great deal about her new world and about herself. As the book focuses more on the children of the story, the musical focuses on the adults, including Archibald and his relationships with others, specifically having a hard time with moving on after losing his wife. The show moves back and forth between the present and past and we learn more about Archibald's state and eventual acceptance of the circumstances placed upon him. We also see Mary grow over the course of the show as well, accepting her new calling. People from the past make their way into their story, giving us a better sense of the world where this takes place. <br />
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The score for the show is beautiful. Written by Lucy Simon, it definitely has a very powerful and swelling sound. I appreciate how much of it felt right for the particular era the show fit in. Marsha Norman wrote the book and lyrics and knowing that the basis was the novel, it was obvious that certain liberties were taken, specifically adding or amplifying certain moments. Young Mary had lived in India and it was clear that there was a presence of it throughout the show and it almost felt shoehorned into the actual story itself. It felt tacked on and at times confusing almost changing important moments. Also, the writing also presents a challenge by having the dead from the past be a part of the story. This creates a major issue for costuming and staging, considering its up to audience to figure out who is dead and who is alive out of the ensemble. However, as the overall story is still there and there were some moments, specifically seeing more of Archibald's struggle, were particularly interesting to watch. <br />
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Kaitlyn Chantry's direction is unique and well executed. In this production, she knows that YMCA is a small space and does her best to use every bit of it. She creates a community-like world and has all ensemble members present on stage. When a scene comes about where the ensemble must come forth, like the soldiers from India who knew Mary's father, they slip into the scene, and then quickly out. There were some moments it felt, however, that it was sometimes distracting to have everyone on stage when certain action was going on, but not enough to create complete congestion. Various moments with Mary trying to make her way through the rest of the cast worked, as it created a sense of alarm and confusion, which heightened the emotion very well. Music Director Jason Luciana does a great job of keeping the orchestra in tandem with each other. He brings together incredibly talented musicians to create a strong sound. They are neither to quiet nor overwhelming and they bring a subtle feel to the overall score. They are just right in order to help us lose ourselves in the story on stage. They play the softer moments especially beautifully, including "Race You to the Top of the Morning". <br />
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As for the cast of the production, everyone did a marvelous job. As a unit, the ensemble sounds wonderful and each player holds their own. Some strong performances included Shonna McEachern, who plays Martha Sowerby the maid, who is a joy to watch. Not only does she play it with a wee bit of sass and the right amount of kindness, she has the pipes to boot. Her song "If I Had A Fine White Horse" is beautifully sung and her Yorkshire accent is done well for the piece. Matthew Zahnzinger plays the brooding and quietly reserved Archibald Craven incredibly well. You see the guilt and sorrow he carries and brings such intensity to his moments. His song "A Bit of Earth" was a highlight of his performance and he plays it simply and you start to see a new side of him. Mary is played by up and coming Allsun O'Malley. She does a great job of carrying the show on her shoulders. She not only has a great interaction with the rest of the cast, but you genuinely see her grow throughout the show. With talent like that at such a young age, she will be one to look out for in future theatre productions around Boston. Each actor in the cast goes to great lengths to create a unique and interesting character. They succeed and bring a noticeably strong chemistry to the stage. When "There's a Girl" swells, the ensembles voices carry through the theatre wonderfully. Many kudos to the cast. <br />
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The lighting design uses so many different warm colors and tones that help create this world. One minute there are beautiful reds and oranges that really bring out the feeling of sunlight. The next, each actor has a small candle on a darkened stage during the Storm moments. It was a strong and effective lighting choice that helped convey the story. There is such variation that it brings such a great flavor to the production. The set is a hodgepodge of various items and I appreciated the detail that was implemented. Portraits and other items from the time period are displayed on the walls created an almost pack-rat feel that gave a sense of the disorder Archibald's world was in. Bits of the neglected garden sneaks its way through as well, bringing these worlds together. The costumes fit beautifully as well with the show and are a perfect reflection of the time period. Again, the details are amplified in the show from the soldier’s time period appropriate hats to the earthy tones for various members of the cast. It was a strong choice that not only makes sense for this show, but also blended well with the vision. <br />
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The Secret Garden is a classic story of growth, love and family. The Longwood Players create a beautiful production with a strong cast of talented actors. The emphasis of such powerful themes is present and each piece of the production contributes a great deal creating a wonderful visual for the stage. The importance of family is ever present throughout this show and teaches us the lesson that the future can be bright for everyone, even if we can't see it right away. There is hope. Everything comes together nicely and intertwined in a very unique way, creating a very enjoyable night of theatre.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-25037803469999007542011-05-02T07:15:00.000-07:002011-05-03T10:17:30.376-07:00Decently Done: MIT's 25th Annual Putnam County Spelling Bee25th Annual Putnam County Spelling Bee<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8X7S-GCiK6Ic7-BN4lWWohRQqaqfjVS-t-E_qINdSNVJN-ype-qiyKHdqDDkFFPs0EIz8ZO2-RiFd637rL87xokEguNab0Jau7Q2GcHGWjTUMTgbYYKaX1awcTPGhi897JaOhB1HjR8/s1600/bee-lg.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL8X7S-GCiK6Ic7-BN4lWWohRQqaqfjVS-t-E_qINdSNVJN-ype-qiyKHdqDDkFFPs0EIz8ZO2-RiFd637rL87xokEguNab0Jau7Q2GcHGWjTUMTgbYYKaX1awcTPGhi897JaOhB1HjR8/s200/bee-lg.jpeg" width="200px" /></a></div><br />
Producer Jackie Simpson '14 <br />
Director Dawn Erickson '07<br />
Music Director Matthew Putnam '09 <br />
Vocal Director Danbee Kim '09 <br />
Choreographer Dawn Erickson '07 <br />
Technical Director Edmund Golaski '99 <br />
Stage Manager Christiana Toomey <br />
Set Designer Kelsey Brigance '12 <br />
Publicity Manager Kaitlin Burroughs <br />
Publicity Designer Helen O'Keefe '09 <br />
Program Designer Daniel Sngiem '12 <br />
Lighting Designer Sophie Lee '12 <br />
Master Electrician Becky Bianco '12 <br />
<br />
Chip Zach Barryte '13 <br />
Olive Betsy Flowers <br />
Rona Krista Sergi <br />
Marcy Amanda Lazaro <br />
Leaf Rachel Bowens-Rubin 11 <br />
Barfee Christopher Puchi <br />
Logainne Jasmine Florentine '11 <br />
Mitch Carlos Cardenas '09 <br />
Panch Jeffrey "Q" Quinlan <br />
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Yet another production has cropped up of "25th Annual Putnam County Spelling Bee" in Massachusetts, specifically with MIT's Musical Theatre Guild. I had seen the show done before, but didn't review it. This was a chance to see a new interpretation and go through my thoughts. The music and Lyrics were by William Finn, best known for his work on "A New Brain" and "Falsettos". The book was written by Rachel Sheinkin. Before I saw the show, I was very familiar with the music and really enjoyed the concept. This was a college production so I wanted to see what direction they took.<br />
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The story takes place in the gynamsium of the local middle school where 6 youngsters, played by adults, compete in the 25th Annual Putnam County Spelling Bee. The characters included William Barfee, or rather BarFAY, who spells out his words first with his foot, Olive, a neglected child whose best friend is the dictionary, Leaf Coneybear, a child of hippies who is easily distracted, Marcy Park, a studious child prodigy, Chip Tolentino, last years straight laced champion, and lastly Logainne Schwartzandgrubenierre, the youngest and most politically concious speller. To moderate is Putnam County's number one realtor and former champion, Lisa Rona Peretti and Vice Principal Douglas Panch. To help counsel the ones who don't make it through, is ex-con Mitch Mahoney, doing his community service. Guest spellers are invited on the stage and interact with the cast members. The show requires a great deal of improvisation and creative words and spelling.<br />
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When I saw the stage, I felt the set was a bit of a let down. Kelsey Brigance's created a simple enough set with bleachers and a table, but that was about it. It never went beyond this concept, as I wouldv'e liked to see more of a dressed set, giving the feel of being in an actual gynamsium. Perhaps a banner or two would've given it a bit more flavor, creating a world to get in to. Sophie Lee's lighting design was at times a bit confusing. I felt at times that colors that were used througout various numbers were thrown in just to give color to a moment, with no real intention behind it. However, it worked for some scenes, though, including the rousing "Pandemonium" where hightened craziness was present, but it lacked consistently throughout the rest of the show. Also, there were several black spots in the lighting which was very distracting. Between that and actors putting themselves in black spots, it took away a great deal from the show.<br />
<br />
The performances in the show didn't mesh as well as they could've. Even though everyone is hamming it up and having a good time, one of the more noticable things was the fact the break down's of the vocal parts were poorly assigned. Some people were given parts they couldn't sing as strongly and others were given songs that were challenging due to their ranges. The actors were also given fairly simple choreography but they never really committed to a lot of it at some points, and it felt like they were going through the motions. They did however have a chance to be a little erratic during bigger group numbers, which in some cases worked. Rachel Bowens-Rubin, who was cross cast as Leaf Coneybear plays the role a bit too distracting and erratic. She at least she looks like shes commited to having fun, but she never really establishes a consistent character. Zach Barryte plays Chip Tolentino, who like everyone else, has fun with the role, but brings a tad too much intensity to the character. In his number "My Unfortunate Erection" he is near to the point of yelling, causing the audience to become a little uncomfortable not because of the song itself, but his interpretation of it. Amanda Lazaro's Marcy Park is strongly established and she seems calm but with a underlying frustration, creating a good character choice. However, her number "I Speak Six Languages" lacks a bit of commitment to the movement and vocal strength to carry it throughout. Betsy Flowers' Olive is good as well and she manages to pull off a nice sweet individual who you feel for lack of parent attention. During her number "The I Love You Song" she in her own touching way, loses herself with the vision of her parents, desiring only to be united with them. Jeffrey "Q" Quinlan plays a simple enough Panch, but doesn't really tell us what kind of character he is. Though he has good comedic timing, he is a bit repetitive in his on stage choices. Jasmine Florentine's Logainne gives a decent performance as a politically concious child who struggles with her own overbearing two dads. She sings it well and gives us a solid journey. Krista Sergi's Rona Lisa Peretti is played sweetly and you feel that she is truely a caring and loving individual. She is assertive in her attitude. Carlos Cardenas plays the silent and intimidating Mitch Mahoney extremely well, who deep down is a bit of a softie. He carries his own number "Prayer of the Comfort Counselor" with killer pipes, utter confidence and joy. Christopher Puchi pulls off a triple threat that is Barfee. He is clearly comfortable in the role, full of confidence and silliness and is fearless showing off his crisp dancing and singing in "Magic Foot". Even though there was a split between stronger and softer singers, evert actor clearly had fun with their characters as it showed throughout. <br />
<br />
Dawn Erickson's direction at times made sense, specifically bringing characters throughout the audience as well as having the guest spellers be pulled into various dance numbers. However, there should have been a bit more work with character development, as it felt some actors were given free range and not being pulled back. She does a good job of bringing it all together but at many times the attention was pulled away because of sudden choices by the actors during pivotal scenes. At several points, the production lacked the strength and potential to amplify simpler moments and often had too much for the moments that were meant to be savored. As far as the music, Music Director Matt Putnam chose to rewrite a lot of the score which seemed odd at the time, but he and his orchestra manage to pull off a strong sound. As they were loud even behind a curtain, they often overwhelmed the actors. There were also sound issues with the speller's microphone, which was somewhat distracting as well. <br />
<br />
Despite the shows weaker moments, the production is decently done. The cast and crew clearly had a great time pulling it all together. MIT's production was full of heart and a lot of effort was put in to create a fun evening for the audience.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-88137539712430894162011-04-25T11:14:00.000-07:002011-04-25T14:37:15.069-07:00A Circus of Movement and Beauty: Eurydice presented by the Independent Drama SocietyEurydice<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibfTsUo4aKRVfep61H094KlHA4cH2OAB_5SYGojIXFdpiw-6_27n3Tq6pOmwlOreoSWv6v4bGUVMeD2M9IvD4FCgoCpR1vjnQaNcteKXu2WoRssDrkDTZX3onQ75u9BysmW6IasCMpBwc/s1600/eurydiceLG.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="192" width="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibfTsUo4aKRVfep61H094KlHA4cH2OAB_5SYGojIXFdpiw-6_27n3Tq6pOmwlOreoSWv6v4bGUVMeD2M9IvD4FCgoCpR1vjnQaNcteKXu2WoRssDrkDTZX3onQ75u9BysmW6IasCMpBwc/s400/eurydiceLG.jpg" /></a></div><br />
Written by Sarah Ruhl <br />
Directed by Lindsay Eagle<br />
Stage Manager - Laura Schlein <br />
Movement and Circus Choreographer - Naomi Bennett<br />
Scenic and Properties Designer - Abigail Neuhoff<br />
Costume Designer - Samara Martin<br />
Lighting Designer - Matthew Breton <br />
Sound Designer - Chris Larson<br />
Master Carpenter - Rob Lemire<br />
Assistant Director - Michela Ricci <br />
Assistant Sound Designer - Melissa DeJesus<br />
Production Manager - Chris Anton <br />
<br />
Eurydice - Annie Winneg<br />
Orpheus - Greg Nussen<br />
The Father - Cliff Blake<br />
Nasty Interesting Man/The Lord of the Underworld - Adam Lauver<br />
Big Stone - Glen Moore<br />
Little Stone - Sarah J. Gazdowicz<br />
Loud Stone - Sierra Kagen <br />
<br />
The Chorus of Stones<br />
Chris Anton<br />
Melissa DeJesus<br />
Zach Eisenstat <br />
Coriana Hunt Swartz<br />
Chris Larson<br />
Micah Tougas<br />
Victoria Townsend <br />
<br />
I had been hearing many good things about "Eurydice" presented by the Independent Drama Society so I decided to check it out.<br />
<br />
"Eurydice" is based on the original myth of Orpheus and Eurydice. The story tells of a musician, Orpheus who had the most beautiful voice in the world, marries his love, Eurydice. Tragically, Eurydice is taken away on the day of their wedding to the underworld and Orpheus must rescue her. With his gorgeous voice, he convinces the powers that be to release her, they do, but on one condition: he must walk out with her behind him and must not look back, or she will be lost forever. Ruhl's story has a few changes, including a unique addition and decides to add Eurydice's father to the mix, having been living in the world of the undead. Eurydice is torn between her love for Orpheus and her desire to stay with her father. A new twist on this story examines the harsh realities of the choices we make and the results we must deal with.<br />
<br />
The black box at the BCA is probably one of my favorite spaces in Boston. Its potential is limitless and that’s exactly how IDS looked at it. Within the first few minutes of arriving, the stage was set as a small little circus tent. During the preshow, the members of the chorus dressed as clowns in tutus, baggy pants, vests and the like, were interacting with their surroundings, each other and the audience. This was the experience and world that we start to become a part of. It was beautiful. <br />
<br />
Everyone in the cast displays very strong performances. The chorus of stones, played by Chris Anton, Melissa DeJesus, Zach Eisenstat, Coriana Hunt Swartz, Chris Larson, Micah Tougas, and Victoria Townsend, are a unit of playful misfits who each have their own unique little quirks, defined by how they move or speak, not just by how they are costumed. They function as energetic commune, infused with a nice blend of Commedia Dell'arte and acrobats. They are a part of the action or to move the story along, including their ability to create a very convincing elevator to carry Eurydice down to Hades. They are easily one of most interesting and wonderfully created aspects of the show. Their acrobatics and movements are a sight to see. Naomi Bennett's movement and choreography blends well and it brings additional flavor to the production.<br />
<br />
The three major stones, big, little and loud played by Glen Moore, Sarah J. Gazdowicz, Sierra Kagen respectively, become the ones that have dialogue with the other characters, stand out with distinct facial expressions and voice, but are able to meld back into the chorus of stones. Their ability to stand out and fit in is remarkable. Cliff Blake plays the caring and gentle father of Eurydice. He manages to create a tender and beautiful relationship with his daughter, quietly and subtlety, making us believe his role as a father. Blake's voice and movements are careful and fluid. One scene in particular involving string brought me to tears due to his simplicity of this character. Annie Winneg plays Eurydice well, a girl full of hopes and dreams, with a child-like quality. Her chemistry with Blake is sweet and touching, however, her time alone we don't feel as much as we could of her struggle and her difficult journey, emotionally and mentally. Greg Nussen's Orpheus is quiet, relaxed, and carefree, but his angst and feelings of loss don't come through as much it could, considering his love is gone and his desire to bring her back is mixed with numerous emotions. Though not needing be over the top, something must bubble to the surface. Adam Lauver's Mystery Man/Lord of the Underworld is dark fellow and makes the line between charmer/creeper uncertain. Though the choice is strong, it continues to go back and forth, never getting a true beat on who he really is, creating a confusing arc. <br />
<br />
The set designed by Abigail Neuhoff, as mentioned before was a wonderful choice of putting everything in circus-y world, with the colors of red and white. There were levels constructed as well, with various half empty glasses and bottles of water, something that stood out but for some reason added a nice touch. Matthew Breton's lighting design at times was a bit confusing and there was a good amount of pink used throughout was at times distracting, though creating a nice warm tone. However, the use of gobos and other colors at other points including Eurydice's descent and in certain points of isolation in the story played incredibly strong. The costuming done by Samara Martin fit well with this world that was created, and as mentioned, the chorus had mixed pieces that contributed a great deal to their quirkiness. The principles were dressed in contemporary outfits that displayed a nice contrast to the world. I also appreciated the lack of footwear in the majority of the production, specifically seeing Eurydice and her father dressed nicely barefoot. It was a nice touch, helping us to picture their surroundings.<br />
<br />
Lindsay Eagle's direction is smart and effective. Her constant use of water was interesting and came out at very specific times. Being such a significant element, I appreciated its subtlety, representing various transitions. It went almost unnoticed but remained a constant element in the play. Her choice to stage it with different aspects of clowning, circus and the dream world was an excellent choice, blurring the lines of reality and the unknown.<br />
<br />
The sound design and music done by Chris Larson and Melissa DeJesus was a nice idea added to this production. Through heightened scenes, there was an excellent use of tonal music that contributed a great deal. Also, the simple sound effects from the descent of the elevator the continual rain brought forth the unique world. <br />
<br />
IDS presented a strong production of a wonderfully beautiful yet tragic story. The visuals and world created is wondrous and full of the unknown. "Eurydice" is something that must be experienced and be a part of. With strong performances and captivating moments, the show pulls you in and leaves you with a memorable theatrical journey.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com1tag:blogger.com,1999:blog-2838196299818094950.post-18235653430139359002011-04-24T08:37:00.000-07:002011-05-06T06:27:55.292-07:00Witty and Silly: A night with "Blackadder II: Live!"Blackadder II: Live!<br />
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Written by<br />
Richard Curtis and Ben Elton<br />
Originally produced by the BBC<br />
<br />
Directed by<br />
Darren Evans<br />
<br />
Asst. Director/Dialect Coach<br />
Nadia de Lemeny<br />
<br />
Scenic Design<br />
Luke J Sutherland<br />
<br />
Lighting Design<br />
Eric Jacobsen<br />
<br />
Costume Design<br />
Eric Propp<br />
<br />
Lord Edmund Blackadder<br />
Craig Houk<br />
<br />
Lord Percy<br />
Wayne Fritsche<br />
<br />
Baldrick<br />
Chris Wagner<br />
<br />
Queen Elizabeth I<br />
Crystal Libson<br />
<br />
Lord Melchett<br />
Michael Steven Costello<br />
<br />
Nursie<br />
Jenny Gutbezahl<br />
<br />
Flashheart, Prince Ludwig, Arthur the Sailor, Simon Partridge<br />
Jason Beals<br />
<br />
Lady Whiteadder, Mrs. Ploppy, Wisewoman<br />
Ann Carpenter<br />
<br />
Lady Farrow, Mrs. Pants, Young Crone<br />
Nadia de Lemeny<br />
<br />
Balladeer, Mad Beggar, Geoffrey Piddle, Messenger, German Guard<br />
John Geoffrion<br />
<br />
Sir Walter Raleigh, Torturer, Mr. Pants<br />
Terrance P Haddad<br />
<br />
Kate, Mollie<br />
Chelsea Schmidt<br />
<br />
Capt. Redbeard Rum, Lord Whiteadder, Leonardo Acropolis, German Guard<br />
David Schrag<br />
<br />
Bishop of Bath & Wells, Gaoler Ploppy, Dr. Leech, Monk<br />
Gerard Slattery<br />
<br />
Now, I have been reviewing several musicals up until this point, so I decided to check out some plays, which I can say is a bit more of a challenge. I managed to catch both part of one and two of Theatre on Fire’s production of <i>Blackadder II Live</i>, a stage adaptation of BBC’s classic comedy of the same name. The show itself focused particularly on the 2nd season of the series, which is considered one of the best by many fans. Originally conceived by Ben Elton and Richard Curtis, the show debuted and helped fuel the careers of some of the most talented comedians including Rowan Atkinson of Mr. Bean fame, Stephen Fry and Hugh Laurie, a man who would later star in the series as the title character in House. <i>Blackadder</i> examines the life of one Edmund Blackadder and his journeys and misadventures through various time periods in British and European history. The one we saw was his time during Elizabethan England. Full of sharp wit, dry humor and tremendous wordplay, the series became one of the most popular television series of all time. <br />
The show is broken up in episodes from the series, three as part one and the last three in part two. Whether Blackadder finds himself attracted to his cross-dressing manservant Bob, who is in fact a young woman to juggling a party with his uptight religious relatives and his own rambunctious alcohol-filled party with his loud and crazy friends, he manages to hatch the most ridiculous schemes and ideas to keep himself and his sanity intact. Each episode’s premise is more ridiculous then the last and we as the audience tune in intently.<br />
<br />
The cast is full of such comedic energy, and is both wonderful and talented, pulling off the dry humor and silliness, whilst capturing each of their characters in their own way. They have worked diligently on their British accents as well with the help of Dialect Coach Nadia de Lemeny, helping fuel the performance. Craig Houk stars as the pompous and ridiculous Edmund Blackadder, who seems very comfortable in the role itself, and manages to capture the arrogance and charm of the character incredibly well. His charisma is one thing to lock on to and he has it in spades. Another strong performance is that of Jason Beals, who pulls of many characters including a loud and obnoxious Flashheart and the treacherous German prince Ludwig. Each depiction is strongly established and his commitment is uncanny. It’s a great joy to watch and we can’t help but squeal with laughter. Michael Steven Costello plays Lord Melchett or “Melchy” as dry and droll as possible with a bit of a silly side. His seriousness and sternness is only matched by his comedic timing with the role and his jokes. All in all the cast itself is incredibly talented and establish some of the best chemistry I have seen on stage. They manage to commit to each of their characters and to each other in this world. The razor banter and wit of the original series come through as this cast is clearly having a great time with the material. <br />
<br />
Eric Propps’ costumes are simply wonderful. Not only does he manage to capture the Elizabethan period magnificently, but also he dresses the cast in costumes perfectly. Each actor doesn’t look constrained and are clearly one with their outfit, giving more to their character. I thought they were conceived very well and you could tell a lot of love and effort were put into their creation. Bravo to Mr. Propps. The costumes looked genuine and are incredibly detailed. <br />
<br />
The set itself is simple and the stage has 5 different areas that the characters interact on. Whether we are looking straight ahead on 3 areas on stage or the house left or right, we are thrust into this world in such an intimate space. Luke Sutherland’s set captures each area perfectly and thanks to the effective lighting design of Eric Jacobsen, we are able to see each area for each scene. Whether we are in house of Blackadder or the Queen’s throne room, we get to see a simple and effective set create this world. One set that was particularly impressive was in one “episode” where Blackadder, his friend Percy, servant Baldrick and Captain Redbeard Rum are upon a ship, due to Blackadder’s attempt to travel the unknown (thanks to a large part to his pride and short-sightedness). The four in are sitting a small cabin that wonderfully creates a sense of claustrophobia, which was in a small open room above the entrance of the theatre space. <br />
<br />
As mentioned before, the show is literally a staging of the 2nd season of <i>Blackadder</i>. With a few minor changes, including adding a balladeer to transition each scene with cheesy recorder music or each episode with some cheeky exposition, the show is pretty much word for word. A lot of time was put into the study of the original work it seems. Also, in many ways its nice to see such a popular show done in such a unique way but its hard to get past the original depictions and writing from the series. Emulation is a hard to avoid in such a production and at a few points, bits of the television series crept through which made it difficult to get on board with the stage show. Darren Evan’s directorial choice to have each scene on various areas in the space worked in many ways, having the actors move to and from each place. He effectively used the entire area of the theatre itself. It also seemed that he gave actors free range with their characters to create their own depictions while using the originals as a launching point. It was a good attempt to avoid repetition and imitation. He manages to create the world of <i>Blackadder</i> on stage in order to familiarize the masses and broaden their horizons, really showing that they’ve been missing out. <br />
<br />
<i>Blackadder II Live</i> has some of the most talented comedic actors in Boston sharing the stage. Moving past the fact that the show itself is recreation of a TV series, the work and effort put in is remarkable and there is no denying that everyone had a great time hamming it up. Capturing silliness and true appreciation for the original work, <i>Blackadder II Live</i> puts on a fun evening of incredible humor and ridiculousness that all audiences have enjoyed.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com0tag:blogger.com,1999:blog-2838196299818094950.post-76520184829814498992011-04-06T08:18:00.000-07:002011-04-06T08:18:36.419-07:00Perspective...A funny thingOk, so I realize now that I have been dilligently reviewing several shows, 4 by my count. The latest was a bit of turning point for me, as I have decided to be a bit more honest. I think its important and to be Frank, or even Samantha...Well..actually Michael, I find it a bit more refreshing.<br />
<br />
At this point, I have several more shows I want to review, specifically plays. The last few shows have indeed been musicals, and as much as I love them, I need a bit more perspective. A few plays in the future I am planning on reviewing:<br />
<br />
ILove - The Boston Stage Company<br />
Eurydice - Independent Drama Society<br />
Black Adder II - Theatre on Fire<br />
Book of Grace - Company One<br />
<br />
However, I will still be looking into musicals as well. I haven't done many plays, but I want to try to see if I can get a handle on them. They are a completely different animal in many ways from the musical. Like the fierce lion on the Serenghetti...Wait...What?<br />
<br />
Anyways, now that this theatre blog has some steam, Ill be trying my darndest to review shows as much as I can. There is a lot of theatre out in Boston, and I really have learned a lot already. <br />
<br />
Stay tuned.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com1tag:blogger.com,1999:blog-2838196299818094950.post-40540125792369346152011-04-03T20:31:00.000-07:002011-04-03T20:35:03.379-07:00A Marathon of A Show: "Rent" at the Footlight ClubRENT<br />
Directed by Bill Doscher<br />
Music Directed by Shawn Gelzleichter<br />
<br />
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Cast:<br />
<br />
Mark: Todd Sandstrom<br />
Maureen: Anne Olmsted<br />
Mimi: Sara Jane Burns<br />
Angel: Jose Romero<br />
Roger: Joshua Rajman<br />
Benny: Matthew Ford<br />
Joanne: Shira Cahn-Lipman<br />
Collins: Rishi Basu<br />
<br />
Ensemble:<br />
Alana Sacks<br />
Kathleen Comber<br />
Keri Boisclair<br />
Alex Davidson<br />
Sean Benak<br />
Krista Dietz<br />
Channa Gilbert<br />
Michael Glicksman<br />
Ariella Katz<br />
John Deschene<br />
Brian Bakofen<br />
Kate Enos<br />
<br />
I remember when "Rent" first came out it was essentially the bees knees. Now nearly 15 years later, the show is still a favorite among the masses. I first saw the show in 2001 and immediately became a fan of the music. A few nights ago, I was able to catch one of the many productions that have debuted in Massachusetts at the Footlight Club. <br />
<br />
The story is adapted from Puccini’s opera, La Boheme into an original rock opera written and composed by Jonathan Larson. We are taken into the world of various artists and musicians who are living and creating in the lower east side in Alphabet City in New York City. They deal with many different issues, including love and loss, but more importantly the encroachment of HIV/AIDS. We see the lives of Mark, an aspiring filmmaker, Roger, a musician, Collins, a former MIT professor, Angel, a cross-dressing musician, Mimi a dancer, Maureen a performance artist and her girlfriend, Joanne, a lawyer and Benny, a former friend now turned antagonist. The story takes place over the course of a year.<br />
<br />
As a show, "Rent" presents many different challenges. The show is very difficult to stage effectively without creating a lot of problems of congestion. One the major things I noticed in this production are that the direction was very difficult to understand and get on board with. Specifically, I felt the placement of the actors during the bigger numbers felt like they were almost out of place. The attempt to create a community of characters didn’t work. They could've used the rest of the stage and set a bit more. Also, throughout the show we hear the voice mails of the character’s parents. When they appear on stage, they had masks covering their face, thus abandoning the whole point of an ensemble, especially if their function is to play multiple characters. Also down center stage was terribly underused. I’m not saying it needs to be used all the time, but when I’m watching the opening number, “Rent” I wanted to see Mark and Roger be the focus, as they open the song. My attention wants to be drawn to center and then follow them as they utilize other parts of the stage. There were other places in the show that would’ve benefited from this, not just with solo singing moments.<br />
<br />
Brian Crete created a very simple and strong set. The levels and balconies that were created for the space worked. I loved the use of cobbled together pieces and flats, creating a Frankenstein-esque feel. As for the lighting, I was surprised that there was very little beyond simple front and back lighting and the use of spots. In “Contact”, however, red lights were used to heighten the emotions and the sexual energy that was being displayed. Combined with the heavy and well choreographed, stylized movement, it played extremely well. However, for certain moments and changes in emotion, there was a lack of color and feeling. It would’ve been nice to see some warm tones thrown in once in a while. It felt very limited.<br />
<br />
The performances that stood out were Rishi Basu’s Tom Collins, who is at ease in the role. He is comfortable in the character and sings with a nice soothing calm. His voice is unique and he plays the friend that everyone wants and needs. Another strong performance was Anne Olmstead, who as Maureen plays the rambunctious performance artist. Her voice rocks out extremely well and her attitude was sharp to boot. Her piece “Over The Moon” is hilarious and well done, though at times felt she didn’t milk it as much as she could, rushing moments that needed to be savored. However, there is no denying that show had strong performances in general from all cast members, but one key ingredient that was missing was chemistry. Actors captured their individual character strongly, but the interaction between them fell short. The show "Rent" is written to bring forth intensity and raw relationships that are created throughout the story. In this production, some major relationships are lost because very few went beyond the motions of blocking and singing. There could've been stronger established relationships. As whole though, the energy is strong and everyone is able to keep going throughout the production. In addition, a lot of the musical numbers were good as well, especially “Santa Fe”. It’s beautifully done and sounds so smooth and sweet. You can almost picture the place itself. Another good number was “Take Me Or Leave Me” where the uncompromising Maureen her girlfriend Joanne, played smartly and strongly by Shira Cahn-Lipman, volleyed back and forth, refusing to cave on their individuality. It’s a great moment to see and you really feel where they are coming from. A lot of the other numbers sounded really good, but as mentioned before I expected and wished for a tad more of intensity.<br />
<br />
Shawn Gelzleichter’s music direction is extremely well developed. The band is strong and it is able to capture the rocking score of this beast of a show. To me, that is one the of the many important things that needs to be showcased in "Rent". It represents the backbone and nerve center and Gelzleichter and his crew pull it off. They work incredibly well as a unit and blend strongly. I look forward to seeing more of his work in the future. Since he had his work cut out with him in this show, he handles it with ease and is fearless with his direction.<br />
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"Rent" is a good production but as I mentioned there are a few aspects that I wished I had seen more of. It is important to know that this is a very heavy and emotionally challenging show, but like any major production, it requires a lot of work. The performers keep their energy up and are able to create a solid interpretation of this show, especially because it has been done so much recently. I admire this production of "Rent" for the amount of work and love that was put in.Christian "The Card" Hegghttp://www.blogger.com/profile/16334413746973732726noreply@blogger.com1