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Review Without Mentioning That Ethan Berkowitz Had the Short and Ostensibly Appropriate Walk-On Part As the Mayor of Seville

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Review Without Mentioning That Ethan Berkowitz Had the Short and Ostensibly Appropriate Walk-On Part As the Mayor of Seville 10/26/2015 Good singing, staging produce a solid, steely 'Carmen' Published on Alaska Dispatch News (http://www.adn.com) Home > Good singing, staging produce a solid, steely 'Carmen' Mike Dunham [1] October 24, 2015 Main Image: CARMEN_151020-1055.JPG-1445539320 [2] Main Image Caption: Guido LeBron as Escamillo and Audrey Babcock in the title role in Anchorage Opera's production of "Carmen." Some "Carmen" productions try to find a bit of softness and innocence in the title character. But not this week's version from Anchorage Opera. Bizet's gypsy temptress, powerfully sung by Audrey Babcock, is, from start to finish, what some may describe as a serpent and others will see as a woman who has survived as long as she has by refusing to compromise with the pain life has brought her. It is a steely, adamantine portrayal that gives us a sense of Carmen as an elemental force, as certain and unstoppable as the tide. She grinds Kirk Dougherty's boyish Don Jose to a pulp, leaving him corrupted and shattered as he transforms into the agent of her doom. Rebecca Heath made a beautiful and tragic Micaela, a village girl who is herself destroyed in her forlorn attempt to save Jose. The singing of both was quite good. Dougherty, for instance, hit the high "à toi" at the end of "La fleur que tu m'avais jetée" in full voice. Heath's phrasing, emotion and intonation were exquisite. There was nothing lacking in Babcock's voice in either the precision or strength departments. As Escamillo, Guido LeBron commanded the stage whenever he appeared, both vocally and as a presence. His toreador was both a public hero and a likable mensch, taking a certain delight in the delight of others as he stole the show. When he pointedly kissed Carmen in front of her outgoing boyfriend in Act Three, one could hear a gasp, almost a giggle, from the audience. Smooth staging with constant activity, directed by David Lefkowich, made this a "Carmen" worth watching. Though the arrangement of performers was somewhat dictated by the necessities of being heard without a microphone, there was a great sense of realism and credibility throughout the show. Likewise the unit set by Peter Harrison, four stark panels surrounding the players like a bullring and compellingly lit by Steve TenEyck, was both abstract and yet natural. The secondary singers ranged from adequate to impressive and were all suitable for the parts. These included a well-projected Mercedes from Cabiria Jacobsen and Rachel Hastings, handling Frasquita much more happily than was the case with her Queen of the Night in last season's "Magic Flute." Michael Smith and George Yang made a lively and convincingly delinquent young pair of smugglers. Kyle Gantz did his best work to date with Zuniga, and Steven Dixon's Morales was a pleasure to hear. The adult and children's choruses were effective and attentively rehearsed; the gentlemen of the chorus deserve particular praise. If there was a weak moment it came early on in the orchestra, which opened waywardly. Things improved later on; the winds in the Act Two prelude, for instance, were as nuanced as a Handel concerto. Brian DeMaris conducted with tight tempos and http://www.adn.com/print/article/20151024/good-singing-staging-produce-solid-steely-carmen 1/2 10/26/2015 Good singing, staging produce a solid, steely 'Carmen' precision, but the evening stretched for three and a half hours with two intermissions. But the audience was on the edge of their seats for the frantic finale. We cannot close this review without mentioning that Ethan Berkowitz had the short and ostensibly appropriate walk-on part as the Mayor of Seville. He didn't sing, but tipped his top hat repeatedly to the great amusement of the audience. CARMEN will be presented at 8 p.m. Saturday, Oct. 24 and 4 p.m. Sunday, Oct. 25 in the Discovery Theatre. Tickets are available at centertix.net [3]. Source URL: http://www.adn.com/article/20151024/good-singing-staging-produce-solid-steely-carmen Links: [1] http://www.adn.com/author/mike-dunham [2] http://www.adn.com/image/carmen-151020-1055jpg-1445539320 [3] http://centertix.net http://www.adn.com/print/article/20151024/good-singing-staging-produce-solid-steely-carmen 2/2 9/17/2015 Managing Barbra's Mall at the Kitchen - Ithaca Times : Entertainment Managing Barbra's Mall at the Kitchen Ross Haarstad | Posted: Thursday, September 17, 2015 6:00 am The Kitchen Theatre opens their 25th season with an impeccable production of Jonathan Tolins’ comedy, Buyer & Cellar. Directed with breath, economy and keen rhythm by Wendy Dann, acted with élan and near effortless charm by Kitchen veteran Karl Gregory, and with an elegant set and lights from Steve TenEyck, the script could not be in better hands, as evinced by the frequent gales of laughter at the final preview. The set­up: “Alex, an out­of­work L.A.­based actor, finally gets a job ... as a one­man shopping mall manager in Barbra Streisand’s basement! And when Barbra descends those spiral stairs, watch out!” The Actor (Gregory), speaking on behalf of the playwright, puts out the disclaimer that the only facts in the play are that Barbra put out a coffee­table book—My Passion for Design— about her Malibu estate, and that there is indeed a fake New England style mill, and barn—with an antique­store style mall in the basement with many of her tchotchkes. These include a doll store, a costume shop (with many of Babs’ actual costumes) and a Carvel­style frozen yogurt stand with popcorn maker. “What I’m going to tell you could not possibly have happened with a person as famous, talented, and litigious as Barbra Streisand.” Gregory manages this with both a forthright good­naturedness and a sly, knowing wink. C’mon, it says, you all would love to schmooze with celebrity. He then slides into our protagonist, Alex Moore, recently fired as Mayor of Toontown. Alex is chipper and optimistic, also a bit dishy. Other characters: his boyfriend, Barry, one of LA’s gazillion screenwriters (constantly taking meetings), Brooklyn­bred, nasal and acerbic; Vincent, his connection at Disney (an older gay man); Sharon, the domineering, dismissive estate manager; James Brolin (a sudden deep­voiced blast of macho daddy­ ness); and of course, la Streisand herself (a sketch, not an impression: neurotic, playful, poor­little­ girl­who­made­it­big.) The best sequences are an early one—Streisand arrives in her mall as “Sadie,” interested in purchasing a doll (Alex has named this French musical coquette, Mimi), Alex names a price and refuses to budge, which hooks “Sadie’s” competitive streak—and a luscious late one, in which Alex coaches her in the role of Mama Rose. Gregory lends the role his fluent physicality and quick­change comic instincts, nailing Tolins’ cartoon sketches of peripheral characters, while floating the more vulnerable Alex through his changes. Dann uses the space beautifully. TenEyck provides an elegant two­level wooden floor against a textured off­white Architectural Digest back wall, which he infuses at the moments of highest fantasy with a nearly fuchsia glamour. Randy Wandall’s sound and Lisa Boquist’s costuming wrap the package with a bow. http://www.ithaca.com/entertainment/managing-barbra-s-mall-at-the-kitchen/article_9b70342e-5c8f-11e5-a01b-1bb0fc5604cd.html?mode=print 1/2 9/17/2015 Managing Barbra's Mall at the Kitchen - Ithaca Times : Entertainment I don’t begrudge the Kitchen fluff to kick off a challenging season. And who doesn’t find Gregory’s presence alluring? But, oh I tire of this stock character. It’s no accident that Michael Urie (of Ugly Betty) created the part off­Broadway or that Gregory is playing it in Ithaca. “Alex” (from Wisconsin) could easily be dropped into Full Commitment or even Santaland Diaries (previous Gregory solos) with nary a change. The witty, somewhat sexual, yet still child­like best friend, with guppie aspirations. (Interestingly, Tolins puts the Jewish queer response on the more aggressively shading Barry.) It’s the camp queen declawed. Yes there are many club­boys and actors like Alex. He’s underwritten because we already know the type. We consumed him as Jack on Will & Grace, as Mitchell on Modern Family. Utterly charming, but neuter, never over­sexual, subversive, political (they would shudder to be in a John Waters movie). So white, so Crate and Barrel. How about a popular queer black solo show, like Bootycandy, next time out. It's not a solo show but it is an alternate slice of contemporary gay male comedy. • http://www.ithaca.com/entertainment/managing-barbra-s-mall-at-the-kitchen/article_9b70342e-5c8f-11e5-a01b-1bb0fc5604cd.html?mode=print 2/2 Review: ‘Cellar’ full of laughs at Kitchen show BARBARA ADAMS, Correspondent 4:21 p.m. EDT September 14, 2015 Production chronicles life of sole worker at Barbra Streisand’s basement mall The Shops at the Ithaca Mall it’s not. A cross between Main St. Disneyland and Colonial Williamsburg, this underground mall is an upscale galleria — a.k.a. a sumptuously large and elegant closet. (Carrie Bradshaw, stop drooling.) It’s Barbra Streisand’s very own private suite of boutique shops, accessed by a winding staircase, installed in the basement of the huge faux­antique barn she had built on her estate in Malibu. That estate, along with its myriad shops (featuring clothing, costumes, dolls, art, acquisitions, memorabilia — a lifetime of stuff), is celebrated in “My Passion for Design,” a photo­heavy book Streisand published in 2010 with Viking Press.
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