Comically Creative and Cleverly Constructed: Vagabond Theatre Group Presents True Believers

"True Believers"
Written by Thom Dunn
Directed by James Peter Sotis

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.

"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.

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.

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.

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!

A year already? Holy beejeezuses



I still don't know where I got the name of the blog.  But hey, it sticks, right?

 That's right! One year! And a day! 

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.

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.

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.

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.
Stay tuned.

Full of Heart and Love : The Wellesley Players Present "Little Women"

Little Women

Cast:
Marmee:  Suzanne Spezzano
Aunt March: Margaret McCarty
Jo March:  Angela Richardson
Meg March:  Olivia Rizzo
Amy March:  Alissa Palange
Beth March:  Gillian Gordon
Mr Laurence:  Dan Moore
Professor Bhaer:  David Wood
Mr. Brooke:  Matthew Brendan Ford
Laurie:  Todd Sandstrom

Artistic Team:
Producer:  Diane Rothauser
Stage Manager:  Emily Hart
Director:  Celia Couture
Music Director:  Shawn Gelzleichter
Choreographer:  Kelly Murphy
Set Design:  Douglas Cooper
Lighting Design:  Doug Gordon

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.

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.

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.

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.

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. 

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.