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 .
o e : http://www.adn.com/article/20151024/good-singing-staging-produce-solid-steely-carmen
in : 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 /1 /2015 anaging ar ra's all at the itchen - thaca imes : ntertainment 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- ar ra-s-mall-at-the- itchen/article 0 42e-5c -11e5-a01 -1 0 c5604cd.html mode print 1/2 /1 /2015 anaging ar ra's all at the itchen - thaca imes : ntertainment 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- ar ra-s-mall-at-the- itchen/article 0 42e-5c -11e5-a01 -1 0 c5604cd.html mode print 2/2 e ie : Ce a o a g at it en o
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. That much is actually true, we’re assured in the chatty prologue to “Buyer & Cellar,” Jonathan Tolins’ Lortel awardwinning solo comedy currently opening the Kitchen Theatre’s 25th season.
The narrator and sole actor, Karl Gregory (aptly in his 25th role at the Kitchen), confides that the rest is, well,
Photo Photo b atima Sowe fantasy. He plays Alex, an outofwork actor, who takes on a job for an initially unnamed celebrity. (All doubts vanish when he learns it’s Streisand.) He becomes the only clerk in this bizarre mall, dusting and waiting, waiting, for the sole mysterious “customer” to arrive.
Eventually, she does — and Gregory plays the diva beautifully, along with Alex’s disgruntled boyfriend, Barry, and even eventually Streisand’s burly partner, James Brolin. There are no celebrity imitations here, just smooth, persuasive characterizations of each individual as Gregory morphs fluidly from one to the other as they converse. It’s quietly breathtaking.
Kitchen audiences have been lucky to enjoy the evolution of Gregory’s skills over the years, and this show may be his best yet. Comic genius, exquisite timing, subtle delivery and apparent ease — it all adds up to a wonderful theatrical evening. And of course this goes hand in hand with Wendy Dann’s superb, sensitive direction; they’re a perfect team.
Rusty Wandall’s sound design gives us shades of Barbra, via “Memory”; Lisa Boquist’s clothing for Alex is WestCoast stylish. But the major ambiance for this muchdescribed space is provided by Steve TenEyck’s understated set and lighting design: smooth beech flooring, a slender designer chair and table, and a bright white patterned backdrop that magically invokes both quiet sophistication and windowless insularity.
Even in a basement mall, a story has an arc, of course — from enchantment to disillusionment, ending on the upbeat discovery that we may all have a bit of the demanding aesthete in us, and we’re the happier for it. What’s striking about this play, though, is not so much its theme as its celebration of the compelling power of storytelling. From the moment Alex begins to share with us, we’re hooked.
Among many irresistible comic moments, there’s a delightful scene where Streisand descends to browse in the doll shop, and Alex calls on all his improvisational skills to play along. He sets the price too high on a French automaton doll she covets; they bargain; she returns triumphant with a preposterously steep discount coupon, suspiciously dotmatrix printed.
Whether or not you’re a Barbra fan, you’ll find both amusement and insight here — on the nature of fame, obsession, perfectionism, excess, self expression, compensatory behavior, longing, and our need for validation, friendship and love. And you will never look at your own stuff quite the same way again.
Postscript: I’m personally grateful for the Kitchen’s progressive and creative output this past quartercentury and its contribution to our theater and talentrich town. I’m also looking forward to Ithaca’s latest performance venture, The Cherry Artspace, emphasizing local talent, which opens Thursday through Sunday with “A Cherry Timedive” (102 Cherry St.).
dams a re ional arts ournalist teaches writin at thaca olle e
If You Go
• What: “Buyer & Cellar”
•When: Through Sept. 27
• Where: Kitchen Theatre Company, 417 W. State St. Ithaca e ie : anga o a omanti ome gem
BARBARA ADAMS 4:1 p.m. EDT t , 2015
anford ilson’s on and Pulit er winnin la runs throu h Saturda
nce in a blue moon, you see a play that leaves you perfectly satisfied — and if you’ve never had the experience, I recommend the excellent production of “Talley’s Folly” that’s wrapping up the Hangar Theatre’s summer season. Lanford Wilson’s Tony and Pulitzerwinning 1 7 romantic comedy (part of a trilogy, though it easily stands alone) is sensitively directed by artistic director Jen Waldman.
Last Friday’s opening night was, in fact, a blue moon, a rare enough celestial occasion, and July’s second full moon was echoed in dreamy stage lighting by Steve TenEyck, creating both romance and melancholy on a Southern summer night. Sound designer Don Tindall filled the air subtly with the lapping of water and hum of insects. The atmospheric set, by David L. Arsenault, is a decaying old riverside boathouse — an ornate Victorian folly, a whimsical bit of architecture.
Photo achel Phili son Surrounded by trees drooping with Spanish moss, its presence is huge and haunting, nostalgic and comforting. The structure has faded to a genteel silvergray, its decorative spindles broken, its rotting floorboards laden with dusty, forgotten debris (the newness of a rope and pair of snowshoes the only false note here).
Into this moody place enters Matt Friedman, a talkative Jewish accountant, who chats with the audience, announcing that the story show to unfold will take precisely 7 minutes, no intermission. (Matt’s a whiz at numbers, no surprise.) We’re caught off guard, but soon charmed by his easy, confident manner. It’s the Fourth of July, 1 44, and he’s come down from St. Louis, Missouri, to rural Lebanon, intent on wooing Miss Sally Talley, a nurse’s aide whom he met the previous summer and has been writing to ever since.
The catch, of course, is that Sally wants nothing to do with him, and this visit (he claims his car has run out of gas — or has it ) is highly unwelcome. evertheless, she soon arrives at the boathouse (he’s already tussled with her xenophobic family up at the farmhouse), scolding and scowling — yet wearing a lovely new dress, which Matt correctly takes as a promising sign. (This floralprint, seafoam green confection looks absolutely vintage; kudos to costumer Gretchen DarrowCrotty).
What follows, for the next hour and a half, is a long, frustrating, comical courtship, as Matt talks sweet circles around the reluctant Sally. She finds her voice soon enough, though, and proves an equal sparring partner. They’re seasoned — he’s 42, she’s 1. They’re both independent, determined and feisty; both progressive thinkers with their individual responses to the tragedy of wartime they live in. Both lonely, they’re also protecting deep secrets that the other gradually pries open.
Misfits in their respective milieus, they seem right for each other, possibly soulmates. et they’re also oil and water — Jewish and Christian, Lithuanian and Southern, logical and emotional, without family and entangled in it. Matt, the romantic, lives in his mind (for the occasion, he’s read a book on how to fish); pragmatic Sally’s handy and nononsense, capable whether swabbing a wound or changing a tire. At one point, she informs him he doesn’t have “the perception God gave lettuce.”
Though the outcome of their contest is never truly in doubt, at every moment we fear it is — Matt’s witty resourcefulness (he’s not above faking or prevaricating) is fully matched by Sally’s fierce resistance. They battle, then reminisce; Matt dons a pair of ice skates he finds and they sail around the floor; he falls through and feigns helplessness until Sally wryly warns him of cottonmouths in the river.
There’s something almost mythical in the endless pursuit and flight here, recalling classical Greek and Roman tales of incompatible lovers. Lanford Wilson’s chasebased plot has more jerky curves than a theme park ride. And despite the apparent lack of progress in Matt’s suit (Sally goes to leave several times), we’re fascinated by each character’s dogged certainty.
What makes this all so engaging is the superb acting by Jonas Cohen and Laurel Casillo. Cohen’s loquacious Matt is appealing from his first moments onstage, and this charisma never flags; clever and heartwarmingly earnest, he wins us long before he succeeds with Sally. And it’s a delight in itself to hear his ew ork Jewish accent against her softly Southern one (though opening night, it took Casillo a few moments to gather it).
While Cohen has to be creative and varied in the ways he entreats Sally, Casillo has the similarly difficult task of letting the more complex and genuinely attractive woman (beyond the beautiful blonde) emerge from Sally’s rigid shell of refusal. Both succeed handsomely, so that when the chase momentarily reverses — Sally relentlessly probing Matt about his origins as a European refugee — we’re hooked. In this wellpaced dance (Matt has likened it to a waltz), Casillo and Cohen capture their characters’ light banter as well as sharp clashes, their everyday exchanges and painfully private moments of exposure. They develop fully rounded personas, a true stage pleasure. The hardwon happy ending of “Talley’s Folly” won’t surprise you; Matt and Sally’s bittersweet journey is what you’ve come for.
dams a re ional arts ournalist teaches writin at thaca olle e
If You Go
•What: “Talley’s Folly.” By Landford Wilson; directed by Jen Waldman. With Laurel Casillo and Jonas Cohen.
•When: Through Saturday
•Where: Hangar Theatre, 01 Taughannock Blvd., Ithaca
• ic ets: Available at 27 ARTS or www.HangarTheatre.org
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/story/news/local/2015/0 / 1/t i- southern- tier/ 0 4 655/ stor ne s o t so t ern t er , , p 6/2 /2015 ' pring wa ening' at angar heatre ta es a compassionate, nowledgea le loo at adolescence e iew
' ring a ening' at angar heatre ta es a c assi nate n le geable l at a lescence e ie eil elli ntrib ting riter By eil elli ntrib ting riter on June 28, 2015 at 3:05 PM, updated June 28, 2015 at 3:21 PM This is a lively, audiencefriendly show even if you don't particularly like rock musicals.
From the time when it took shape in the last decade or so of the 19th century, Frank Wedekind's play "Spring Awakening" has roused controversy because of its frank and sometimes graphic treatment of sex.
More than a century later in 2006, Wedekind's play was adapted as a rock musical, which won eight Tony Awards along with a lot of others.
Hangar Theatre's production of the musical "Spring Awakening," directed and choreographed by Jen Waldman, opened on Friday.
This is a lively, audiencefriendly show even if you don't particularly like rock musicals. The actors are close to the audience, so even subtle emotions and attitudes are clear. And the words and music, expertly sung, carry the story in entertaining fashion.
Thematically, Wedekind's work depicts the kind of prudishness that keeps grownups from ever giving their children any information about sex. The results, as his play depicts them, can be tragic.
But in overall effect, the show is not a platform for any thesis or argument. The driving force of the script is a compassionate, knowledgeable and often funny view of adolescents and the ways they try to cope with a less thanperfect world.
The cast is close enough to the characters in age to be convincing, and they all give compelling performances, keeping the energy moving among themselves and with the audience. The actors are especially good at shifting from spoken lines to sung lines, and their voices all are expressive and easy to listen to.
The whole issue of prudishness is crystallized in the tense early scene between young Wendla (Kelsey Lake) and her mother (Sarah Dacey Charles, who plays all the adult female roles). Wendla is a wideeyed teen who knows nothing about sex, but knows there's a lot her mother will not tell her.
So, as Wendla informs her mother, the story about the stork won't work any more. All of Wendla's very real griefs and grievances take shape in her song "Mama Who Bore Me," which is picked up by the other girls.
Meanwhile, the boys are being run through their education in a quasimilitary schoolroom, subject to whippings http:// log.syracuse.com/entertainment impact/print.html entry /2015/06/musical spring awa ening at hangar theatre ta es a compassionate nowledgea le l.h 1/ 6/2 /2015 ' pring wa ening' at angar heatre ta es a compassionate, nowledgea le loo at adolescence e iew by cruel schoolmasters. One rebel stands out, Melchior (Robert Ariza). He's audacious and brilliant, and he knows about sex.
Melchior meets Wendla, they become friendly, and the result is inevitable. She cannot cope with the sensations and emotions that flood over her.
Is it rape? Does she give consent? It is not unusual in productions of "Awakening" to make that ambiguous, and this production follows its own enigmatic course. I will add, though, that Waldman and her actors make the moment a convincing and dramatically powerful event.
In the deeply moving songs "Touch Me" and "My Junk (Is You)," girls and boys in the chorus reach out toward each other in an intense but general way, without being quite sure of what they want.
"Springtime Awakening" includes simulations of sex , sometimes for laughs but energetically and in graphic detail. There is disrobing, some violence, a suicide and a seduction/rape. The show is emphatically not for younger kids, and probably not for most middle schoolers. It's OK for mature high schoolers.
Steve TenEyck's set is a stylish raised platform with various levels. Changes in scene and mood come from TenEyck's shifts of color in his lighting designs.
Waldman occasionally has an actor break the fourth wall illusion by moving a mike stand or some similar physical action, and on at least one occasion an actor gives a hand to a musician who has to shift between violin and guitar.
At such moments, we are aware that we are in the 21st century, looking at a work that bridges back to the late 19th century. This sharpens the sense that some things have changed but others remain the same.
Music Director Rich Silverstein leads the supple sevenpiece pit band, which supports and never overwhelms the singers.
he etails hat: "Spring Awakening," rock musical presented by Hangar Theatre. hen: Seen at matinee, June 27, 2015. here: Hangar Theatre, 801 Taughannock Blvd., Ithaca, NY 14850. ength: Two hours, 20 minutes, including intermission. tten ance: Est. 150. er r s thr gh: July 11. a il g i e Includes simulations of sex, sometimes for laughs but in graphic detail and energetically. Disrobing, some violence, a suicide and a seduction/rape. The show is emphatically not for younger kids, and probably not for most middle schoolers. OK for mature high schoolers. n r ati n hangartheatre rg and 6072738588.
http:// log.syracuse.com/entertainment impact/print.html entry /2015/06/musical spring awa ening at hangar theatre ta es a compassionate nowledgea le l.h 2/ e ie : o ng o e oom ea ti in a ening
BARBARA ADAMS :2 p.m. EDT e 2 , 2015
It s been nine years since the Broadway rock musical Spring Awakening garnered over 1 major awards and gave American youth its Rent for the new century s first decade. But the show s power — its disturbing themes, thrilling music (by Duncan Sheik), and hardhitting lyrics (Steven Sater) — is as stunning as ever in the Hangar Theatre s current talentdrenched production.
About the tension of youth coming of sexual age and encountering the repressions of family, religion, and social convention, Spring Awakening is a hardhitting musical. The show speaks directly to teenagers and parents
Photo Photo b achel Phili son today, even though it s based on a much older play: a scandalizing 1 1 work by German actor, playwright and social satirist Frank Wedekind. ver a century ago, he was challenging hypocritical bourgeois values, addressing the darker realities of sexuality and suppression.
By juxtaposing today s music on this late 1 th century narrative, Sheik and Sater remind us not only how historically persistent narrowmindedness is, but how vigilantly we need to resist it. Spring Awakening promises a new beginning through each new generation of young people — though only if we recognize and nourish it. ana o Greens ith artha hea enne I se an e se a e Wen a star in prin a enin at the an ar heatre Photo Photo b achel Phili son
Hangar artistic director Jen Waldman has sculpted this production beautifully, assembling a crack team of performers and designers. Steve TenEyck lights his stark black twolevel set brilliantly as always, with bars of dynamic colored lights and misty rays spotlighting the performers and signaling their moods. Meggan Camp s Germanic costumes reflect the period — from schoolboy knickers to girl s coarse loose dresses, with careful distinction of the various adult roles.
Rich Silverstein s fine sevenperson orchestra, centrally wedged at the rear of the stage, is essential to the action, the music an extension of the teens emotions. And Jonathan R. Herter s sound design expertly balances the music and the voices.
And what stirring voices — from the first strains of young Wendla s plaintive Mama Who Bore Me through the rousing group numbers like The Bitch of Living. Waldman has cast this show perfectly, with 11 gifted young singeractors and two adults (Dane Cruz and Sarah Dacey Charles deftly playing multiple roles). And her staging is equally creative — the cramped playing space, echoing the teen s constrained lives, bursts with movement, above all in the explosive group stomps, wild dances verging on riots (choreographed by Waldman with Stephanie Card s assistance). The familiar story — young love thwarted by society — feels fresh here. Even beyond the juxtaposing of two cultures and two centuries, the traditional theme of innocence and experience is delivered so intensely it seems new again. And this particular cast of young people plays that well, in feeling performances that, in my opinion, are more moving than in the Broadway original.
ou see this especially in the most intimate scenes between the central couple — Wendla (played by Kelsey Lake), whose mother has kept her sexually ignorant, and Melchior (Robert Ariza), the most intellectual, socially critical schoolboy. Their actions — affections, searching, hesitations — feel genuine and authentic, and Waldman has wisely directed their sexual encounter as mainly clothed, unlike in most productions.
Ariza and Lake s compelling performances are complemented by the strong cast — especially Johnny Shea s expressive, vocally powerful Moritz, the haphazard student whose failure and lack of options push him to suicide. Among the girls, the paternally abused Martha (Hanako Greensmith) and bohemian stray Ilse (Shea Renne) are haunting, vocally splendid in The Dark I Know Well.
Children on the verge of adulthood, all the young people are rendered distinctly. Their burgeoning sexuality erupts not only through the questioning and rebellious lyrics but the autoeroticism of Waldman s choreography — stroking gestures followed by jerky, linear motions, all id checked by superego.
In this society, the sexuality and life force that can t be contained leads to grief — forbidden desires, shame, abuse, incest, masochism, rape, abortion and death. The inhibiting forces, both cruel and kind, are parents, teachers, clergy — skillfully represented by Cruz and Charles. nly the teachers are comically caricatured here; in a sound directorial choice, the others are all more sensitively sketched.
The effect is that everyone, not just the youth, suffers under this oppressive web of beliefs. ne olive branch is ultimately offered through Melchior s survival. Escaping the reformatory to which he s been sent, recognizing the loss of family and friends, he still affirms a better vision of society a final scene that Ariza renders exquisitely.
nsettling and absorbing, this Spring Awakening is a show you ll long remember.
dams a re ional arts ournalist teaches writin at thaca olle e
If You Go
•What: Spring Awakening. Book and lyrics by Steven Sater; music by Duncan Sheik. Directed by Jen Waldman
•When: Through July 11
•Where: Hangar Theatre, 01 Taughannock Blvd., Ithaca 6/1 /2015 heater e iew: 's ' es is ra les' is a masterpiece
East Penn Press Published on ast e ess (http://eastpenn.thelehighvalleypress.com)
Home Theater Review: PSF's 'Les Misérables' is a masterpiece
t t e a i a e ene enn ania a e pea e e ti a p o tion o e Mi a e t o g ne e a e ni e it Cente a e eate e ie : e Mi a e i a ma te pie e
e ne a ne I I I p i i tein tnon ine om in o
Dennis Razze has done it again.
He's directed another spectacular musical to open the Pennsylvania Shakespeare Festival (PSF) season.
Comments (0) 4
Razze's direction of PSF's "Les Misérables" displays a musical theater master at the top of his form. It's a masterpiece.
If you want to see PSF's production of "Les Misérables," you'd better act fast. As of the day before opening night, June 12 (the performance seen for this review), 9 percent of the run through June 28 in the Labuda Center for the Performing Arts, Center alley, is sold out.
Razze, PSF Associate Artistic Director and DeSales theater department chairman, directed last summer's PSF opener, "Fiddler On The Roof," as well as many PSF season openers, including "Oklahoma ," "Sweeney Todd" and "South Pacific."
Razze's PSF production of "Les Misérables" not only pulls out all the stops, but under his direction is a spiritual interpretation of the musical by Alain Boublil and Claude-Michel Sch nberg, based on the ictor Hugo novel. http://eastpenn.thelehigh alleypress.com/print/2015/06/10/theater-re iew-ps s-les-mis C ra les-masterpiece 1/4 6/1 /2015 heater e iew: 's ' es is ra les' is a masterpiece Razze doesn't flinch from the power of the music by Sch nberg nor the lyrics by Herbert Kretzmer as, for example, in the "Epilogue" when Eponine (Rachel Potter) and Fantine (Kate Fahrner) sing, "To love another person is to see the face of God."
It's an emotional moment, coming at the conclusion of the compelling nearly 2 hrs. and 40 min. show.
The "Prologue" embraces the theme of looking to a higher power ("Sweet Jesus, hear my prayer"), as well as humans lording it over those less fortunate ("Look down, look down").
The actors are in near constant motion, with the exception of several impressive tableaus. The Choreography and Musical Staging is by Stephen Casey. Scenes flow seamlessly. The production is propulsive, relentless and moves briskly.
At the heart of PSF's "Les Misérables" is memorable singing and acting by an astounding cast. The show is sung-through, with only a few words of spoken dialogue.
Fantine's and the show's big number, "I Dreamed A Dream," becomes a showcase for Kate Fahrner, who sings with extraordinary sensitivity.
The show's comic numbers ("Master of the House," "Beggars at the Feast") are given great gusto and hilarity by Tim Gulan (Thenardier) and Eliza Gilbert (Madame Thenardier).
Jeremiah James (Javert) is startlingly impressive in his vow ("Stars") to apprehend Jean aljean.
The spotlight number ("A Heart Full of Love") for Brad Greer (Marius) and Delaney Westfall (Cosette) provides outstanding solo and duet work.
Jon Berry (Enjolras) leads an energetic "Building The Barricade."
Rachel Potter ( ponine) steals the show with her heartbreaking interpretation of "On My Own."
Mike Eldred (Jean aljean) sings an exquisite "Bring Him Home."
Christopher deProphetis (Bishop), Matthew Charles Thompson (Feuilly), Elliot Lane (Courfeyrac) and Grace Anne Field (Old Beggar Woman) round out featured roles.
Opening night included Molly McGorry (Little Cosette) and Marco Porras (Gavroche).
http://eastpenn.thelehigh alleypress.com/print/2015/06/10/theater-re iew-ps s-les-mis C ra les-masterpiece 2/4 6/1 /2015 heater e iew: 's ' es is ra les' is a masterpiece
The 15-piece orchestra, conducted by Nathan Diehl, plays almost nonstop. The choral work ("Do You Hear the People Sing "), with Music Director J. Bennett Durham, by the ensemble cast of 25 is powerful. Sound Designers are Matthew Given and Ian P. Carr.
Set Designer Steve TenEyck emphasizes the production's verticality with tall, narrow backdrops and full use of the stage's height, making the characters seem smaller and even more heroic in their struggle. Bookended walls representing stone are versatile in Act One's 11 scenes (from the Factory at Montreuil, 1823, to the Cafe of the ABC Friends) and Act Two's eight scenes, with The Barricade advancing menacingly and later pivoting 180 degrees and then 3 0 degrees.
Lighting Designer Eric T. Haugen uses swaths of red light for the Battle scenes, horizontal beams of golden light to evoke times of the day, and a blue spotlight pointing downward when Javert (James) jumps from a bridge over the Seine replicates an underwater scene.
Costume Designer Lisa Zinni has created an incredible number and variety of costumes depicting early 19th century France, from rustic peasant wear to soldiers' red uniforms to magnificent ball gowns.
Wig and Makeup Designer is Martha R. Ruskai. Props Designer is Samina ieth. Dialect Coach is Jane Ridley. Fight Director is Rick Sordelet.
"Les Misérables" is not only sheer entertainment, but a profound meditation on the human condition.
If you can get a ticket, or know someone who has a ticket for you, PSF's production of "Les Misérables" is a must-see.
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oote Men
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Theater review: Pennsylvania Shakespeare Festival's 'Les Miserables' is ambitious, impressive
By Kathy LauerWilliams Of The Morning Call
J E 15, 2015, :1 PM
es Miserables" is, without a doubt, the most ambitious and impressive musical Pennsylvania "L Shakespeare Festival has ever staged. The music is amazing, the acting satisfying and the staging seamless and cohesive.
The show is packed with top-notch performances by Broadway and recording artists who play the leads, as well as talented DeSales students and graduates who fill out the ensemble.
Mike Eldred is flawless as Jean Valjean, a Frenchman imprisoned for stealing bread. His solos, including "Who Am I" and "Bring Him Home," are thrilling. He also is impressive physically as he hauls actor Brad Greer as Marius on his back around the sewers.
Matching Eldred is Jeremiah James as Javert, a police inspector obsessed with capturing Valjean after he escapes. Besides being a fabulous vocalist, James fully embodies the increasingly conflicted character and, by the end, his depiction of the tortured and broken character is the best I've seen. And he spins a mean billy club.
Designer Steve TenEyck's set evokes the disheveled and claustrophobic world of 19th century Paris, during the time of a student uprising against the government. The way the set pieces are skillfully moved around the stage deserves special mention. There are a lot of moving parts, and huge walls and two story sets are moved around the stage almost like a choreographed dance.
Director Dennis Razze has staged this musical with incredible depth. This production has no dead moments. And it mixes in little touches that elevate the show to another level. A guitarist on stage adds to "Drink with Me." And keep an eye on Madame Thenardier, played by Eliza Gilbert, during "Master of the House" for an extra laugh.
Kate Fahrner is sympathetic and passionate as factory worker Fantine. The scenes with the foreman played by Zachary Spiegel are played with a level of violence that leave her character devastated at the beginning of "I Dreamed a Dream," in which she starts small and defeated and builds to a desperate crescendo.
Delaney Westfall is a sweet Cosette, Fantine's daughter who is adopted by Valjean, with those pure high tones that ring through the theater in "A Heart Full of Love." Greer as revolutionary student Marius is the epitome of method acting, with tears glistening in his eyes at a tragic moment. Rachel Potter as Eponine, who is in love with Marius, is both playful and tragic and heartbreaking in "On My Own." All three are wonderful in their three-part harmonies.
Jon Berry, who has a powerful voice, is outstanding as student leader Enjolras.
Eliza Gilbert and Tim Gulan are hilarious as the thieving Thenardiers, and both are accomplished singers. A great moment is when they break the fourth wall to gesture to the orchestra to play during the wedding. http://www.mcall.com/entertainment/arts/mc-les-misera les-pennsyl ania-sha espeare-re iew-20150615-story.html 1/ 6/16/2015 heater re iew: ennsyl ania ha espeare esti al's ' es isera les' is am itious, impressi e - he orning Call Eric Haugen's lighting is effective and evocative, especially the night sky during the song "Stars" and light filtering through shutters in "On My Own." And I loved the fully realized moon.
One quibble I had was the staging of Javert's suicide scene. It wasn't completely clear that he was jumping to his death.
Lisa Zinni's well-executed costumes range from tarty prostitutes' clothes to sumptuous wedding gowns and an array of red and black at the students' barricade.
The orchestra, under the direction of Nathan Diehl, creates a huge sound that fills the theater.
The only tickets remaining for the length of the run are standing room only.
•"Les Miserables," 8 p.m. June 18-19, 25-26; 7 p.m. June 16 and 23; 2 and 8 p.m. June 17, 20, 24 and 27; 2 p.m. June 21 and 28. DeSales University, Labuda Center, 2755 Station Ave., Center Valley. Tickets: Standing room only remain, $20. 610-282-9455 (WILL), http://www.pashakespeare.org.
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JUNE 14, 2015 Review: 'Les Misérables,' in full force
Mike Eldred as Jean Valjean in the Pennsylvania Shakespeare Festival production of 'Les Misérables.' (Photo courtesy of Lee A. Butz)
http://www.newswor s.org/inde .php/local//item/ 04 -re iew-les-misera les-in- ull- orce-/ 1/6 6/15/2015 e iew: ' es is ra les,' in ull orce ews or s SHAPIRO ON THEATER A BLOG BY HOWARD SHAPIRO
The stupendous version of "Les Misérables" that opened Friday night certifies the Pennsylvania Shakespeare Festival as one of the region's major producers of musicals, even though the festival produces a single musical a year.
It's an outrage that the festival is not eligible for the region's Barrymore Awards for excellent theater – a situation stemming from complications on the parts of both the Barrymore administration and the festival itself. Even so, that makes it safe for me to declare that for the current theater season running through August, "Les Miz" would be a sure-shot for best musical production, even in a year of primo musicals here by stage companies large and small.
The festival's show is powerful, and striking on Steve TenEyck's impressive set pieces and in Lisa Zinni's richly designed costumes. It's so crisp in its sound design by Matthew Given and Ian P. Carr, you feel you could be up on stage a foot from the singers. And it's interpreted with passion, by a collection of performers with perfect voices for their roles and a 15-piece orchestra led by Nathan Diehl.
What business does a Shakespeare festival have producing musicals? It has business, literally – the West's greatest playwright doesn't bring in enough money to support his large-cast, big-plot productions, so most festivals of Shakespeare's plays are buoyed by a musical and often, another more modern play. Plus, audiences for musicals can become loyal to the festival that produces them, and amenable to purchasing seats for the Shakespeare shows. Plus, well, Shakespeare festivals mean summer and summer means music in the air.
Okay, that last one may not be completely sound, but if the Pennsylvania Shakespeare Festival is an indication, the people it attracts probably aren't wondering about its mix of shows. The Pennsylvania Shakespeare Festival has year-by-year upped the ante on its musical productions – "Fiddler on the Roof" last summer, "Oklahoma!" before that, "Sweeney Todd" and others before that, all of these staged with vision by the festival's associate artistic director, Dennis Razze. His ambitious "Les Miz"
http://www.newswor s.org/inde .php/local//item/ 04 -re iew-les-misera les-in- ull- orce-/ 2/6 6/15/2015 e iew: ' es is ra les,' in ull orce ews or s manages to tweak the sung-through show with teeny pauses here and a lighter or harder touch there – these little details, along with classy acting through song, refresh the score by Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer. (The festival's music director, who surely had a part in the vision, is J. Bennett Durham.)
Patrick Mulcahy, the head of the festival, has been attempting to do "Les Miz" for eight seasons, but rights are hard to come by and scheduling is hard to get right -- tour productions constantly come through the East Coast and a revival still runs on Broadway. Earlier this year, when the festival announced it would open with "Les Miz," tickets began selling steadily. By Friday night's opening, the 22 performances were 97 percent sold. The festival cannot extend because its tight schedule of shows leaves no time.
What ticket-holders will see is a meticulous production with only a few bumps. Some of these come from Eric T. Haugen's lighting design, beautiful in its lower-intensities and harsh when it needs to help make a point. But when Javert, the show's nemesis, sings of the stars and hits the word star a mess of them light up on stage on cue, a clunky flip of the switch suited for a lesser production. In two all-important scenes where students take to the barricade to fight the Establishment, gunfire is represented by two pisant lights flashing in steady time against the freedom fighters, as if they were battling a metronome. Likewise, the steam that stands in for real water under the Seine begins to puff onto the stage only when Javert looks down decisively from a bridge.
These misfires -- along with a barricade that turns once too often to make sure we understand that people on one side of it are really, really, really dead -- are more noticeable because the rest is so fine-tuned.
The telling of Victor Hugo's sprawling story is demanding. Its central figure is Jean Valjean, the released prisoner who becomes an all-around mensch. "Les Miz" is set after the French Revolution, long before we all loved Paris every season of the year, and when the ideals of liberty, fraternity and equality worked perfectly if you were rich. At the festival, Valjean is played by Mike Eldred, a dramatic tenor who at one point played the role on Broadway. (That production, from Cameron Mackintosh and the Royal Shakespeare Company, ran 6,691 performances, beginning in 1987.) Eldred is passionate and nuanced, and delivers a gorgeous "Bring Him Home," his entreaty to God to send his step-daughter's paramour home from battle. That step-daughter, Cosette, is Delaney Westfall, her beau, Marius, is Brad Greer -- they have nice chemistry along with fine voices, and his "Empty Chairs at Empty Tables" is a highlight. http://www.newswor s.org/inde .php/local//item/ 04 -re iew-les-misera les-in- ull- orce-/ /6 6/15/2015 e iew: ' es is ra les,' in ull orce ews or s
Kate Fahrner is Fantine, the single mother of Cosette who lives in poverty; when Fahrner sang "I Dreamed a Dream," the opening-night house was fully in her thrall – as they were when Rachel Potter, as an unrequited lover, sings the pathetic "On My Own." Javert, the heavy, is an intense Jeremiah James, who plays the role with a rich baritone, tall stature and tremendous force. Tim Gulan and Eliza Gilbert are excellent as the conniving innkeepers and comic relief.
These musical numbers are among the favorite show tunes, I bet, of millions. (Don't look for them in the festival program; instead of the songs, only a list of scenes follows the title "Musical Numbers.") But for me, the song that counts in "Les Miz" comes before the decisive battle between the students and the authorities. It's called "Drink with Me to Days Gone By," sung by the ensemble of student fighters and their ladies. It's sometimes treated as a throw-away that comes moments before Jean Valjean lets out the iconic "Bring Him Home."
Even so, this understated number is one of the show's potent moments – it presages a loss that will be profound. Under Razze's direction, "Drink with Me to Days Gone By" has additional meaning because one of the stanzas is sung as an outright challenge to the situation the students have put themselves in. It's a satisfying twist in a night of them.
_
"Les Misérables" runs through June 28 at the Pennsylvania Shakespeare Festival, on DeSales University Campus, 2755 Station Avenue in Center Valley, a few miles north of Quakertown. 610-282-9455 or www.pashakespeare.org.
he l ttle eta l alo th cla y act throu h o re re h the ho t o er ul e yl a a hake eare e t al ro uct o .
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http://www.newswor s.org/inde .php/local//item/ 04 -re iew-les-misera les-in- ull- orce-/ 4/6 From: Wendy Dann [email protected] Subject: Fwd: FW: REVIEW: Buyer & Cellar, St. Louis Theatre Snob Date: March 19, 2015 at 11:24 AM To: Steve Teneyck [email protected]
------Forwarded message ------From: Steve Woolf
--blog review—would you read one by “the theatre snob”? Oh Lord---anyway, this is quite nice
Subject: REVIEW: Buyer & Cellar, St. Louis Theatre Snob
Buyer&&&Cellar Reviewed'by'Andrea'Torrence St.&Louis&Theatre&Snob
Jonathan'Tolins''tasty'one7man'play,'"Buyer'and'Cellar",'uses'Barbra'Streisand's 2010'vanity'project'coffee7table'book,'“My'Passion'for'Design”,'as'a'jumping'off'point'for'the story'of'Alex,'a'gay,'out'of'work'actor'in'Los'Angeles,'and'his'sOnt'as'the'sole'employee'in'the underground'mall'at'Ms.'Streisand's'Malibu'estate.'Alex,'pitch7perfectly'played'by'Jeremy'Webb, makes'it'clear'from'the'beginning'that'this'tale'is'ficOonal,'though'the'book'itself,'along'with'the basement'thoroughfare'of'shops,'is'real,'which'makes'this'907minute'gallivant'even'more delicious.'Extra'points'if'you'have'more'than'a'passing'knowledge'of'Barbra'Streisand'77'singer, actor,'director,'producer,'diva,'and'gay'icon.
AUer'being'unceremoniously'booted'from'his'job'at'Disneyland's'"Toontown", Alex'lands'a'job'manning'Streisand's'basement'street'of'shops,'where'she'keeps a'lifeOme'of'accumulated'knick7knacks.'
Though'he's'relegated'to'the'cellar'with'only'old'costumes,'dolls,'immaculately placed'bric7a7brac,'and'a'frozen'yogurt'machine'for'company,'Alex'is'euphoric about'the'gig'and'happy'for'the'steady'paycheck.'Then,'like'a'bolt'from'the'blue, the'day'arrives'when'he's'visited'by'the'mall's'only'patron,'Babs'herself,'who's come'down'to'admire'her'belongings,'engage'in'light'conversaOon,'and'haggle for'goods'she'already'owns.'As'Streisand's'subterranean'visits'become'more frequent'and'Alex's'relaOonship'with'her'evolves,'Alex's'boyfriend'becomes'more and'more'annoyed,'and'perhaps'a'liXle'jealous,'and'warns'him'about'flying'too close'to'the'sun.'Alex'is'bound'to'get'burned.
While'Tolins''play'jabs'and'pokes'fun'at'the'more'publicly'assumed'noOons'about While'Tolins''play'jabs'and'pokes'fun'at'the'more'publicly'assumed'noOons'about Streisand's'persona,'it'affecOonately'yields'more'weight'that'its'clever'but featherweight'premise'seems'to'offer'on'the'surface.'With'buoyant'direcOon'by Wendy'Dann,'Webb,'with'nothing'more'onstage'than'a'chair'and'a'desk,'sucks you'in'from'the'start'with'an'affable'ease,'and'his'interacOons'with'Streisand'are characterized'convincingly'with'a'refreshing'lack'of'overdone'caricature.'He'also plays'Alex's'snarky'screenwriter'boyfriend,'Barry,'a'chilly'fellow'employee'at'the estate,'Sharon,'with'even'a'liXle'James'Brolin'thrown'in'77'all'disOncOve'and'well7 played.'Steve'TenEyck's'lighOng'design'changes'with'the'text'and'tone, someOmes'with'just'the'snap'of'a'finger,'and'Rusty'Wandall'complements'the acOon'with'subtle,'perfectly'placed'sound'design'and'original'music.
No'doubt'Ms.'Streisand'has'probably'never'seen'this'show'in'person.'Oh'well. Her'loss.'This'play'is'great'fun.'"Buyer'and'Cellar"'closes'out'the'Rep's'Studio season,'and'has'already'been'extended'unOl'April'5th.'Check'it'out!
' ' ' '
------End of Forwarded Message /16/2015 heater re iew: uyer and Cellar is one man, lots o laughs at he ep ntertainment ews emocrat News Democrat heater review: uyer and Cellar is one man, lots of laughs at he Re By Lynn Venhaus
For the News DemocratMarch 1 , 2015 Updated hours ago
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http://www. nd.com/2015/0 /16/ 146 4/theater-re iew- uyer-and-cellar.html 1/5 /16/2015 heater re iew: uyer and Cellar is one man, lots o laughs at he ep ntertainment ews emocrat
Jeremy Webb is Ale in Buyer ellar at The Rep's Studio Theatre. Inspired by Barbra Streisand s coffee table design book about her Malibu home, the one man show is a very funny what if scenario.
JERRY NAUNHEIM JR. The Repertory Theatre of St. Louis
Buyer and ellar
Who: The Repertory Theatre of St. Louis
Where: Emerson Studio Theatre at the Loretto Hilton enter, 1 0 Edgar Road in Webster Groves
When: Now through through April 5
ickets: 14 4 25 www.repstl.org
For Barbra Streisand fans who revel in misty water colored memories, the one man comedy Buyer and ellar will light the corners of your http://www. nd.com/2015/0 /16/ 146 4/theater-re iew- uyer-and-cellar.html 2/5 /16/2015 heater re iew: uyer and Cellar is one man, lots o laughs at he ep ntertainment ews emocrat mind. Most of all, it s the laughter I ll remember in The Rep s intimate Studio opening night, as we glimpsed the superstar s opulent yet unreal world.
Playwright Jonathan Tolins erudite discourse on celebrity culture gives us a fly on the wall perspective, albeit a fictional one, into Babs very guarded lifestyle. To fully appreciate the dishy gossip, acerbic wit and clever dissection of La Streisand s career oeuvre, you must be aware of her music and movies at least some of the hits.
A nimble Jeremy Webb is engaging as Ale Moore, an under employed actor hired for a very odd job. Desperate for income, he treks to the Oscar Emmy Grammy Tony winner s stunning sanctuary in Malibu, and his nonchalant attitude dissipates, star struck once surrounded by her favorite things. Warm and e uberant, Webb masterfully turns this challenging, intricate role into a fun romp.
Stationed in a basement replica mall, which houses the singer actress s massive collection of mementos and possessions, Ale becomes an apron wearing Mr. Hooper in an artificial, solitary environment. After a pleasant encounter with his enigmatic employer, he then becomes somewhat of a confidante and sounding board to one of our biggest entertainment legends.
Webb tells the audience straight up that he doesn t do impressions, that he is no drag ueen, but he actually is uite convincing portraying four other distinct characters. Through the fast paced 0 minute tell all, he imitated the vocal cadences of the imperious head of the household staff, the Lady of the House, and her husband James Brolin, as well as his snarky boyfriend Barry.
The appealing Webb effectively created an indelible Streisand, softer, with a hint of the Brooklyn accent and her flamboyant personality affectations intact, switching from sympathetic to haughty in a jiffy.
Wendy Dann gracefully directed this breezy showbiz confection, which elevates conspicuous consumption as an art form, but does not skirt the distasteful trappings of fame. The technical aspects are sharp, particularly a limber lighting design by Steve Teneyck, who also fashioned the sleek scenic design. Rusty Wandall wrote a wistful original music score in addition to crafting a superb sound design.
This very funny work was inspired by Streisand s coffee table book, My Passion for Design, published in 2010, which features many beautiful photos of her New England farmhouse spread. While she mentioned that a street of shops caught her fancy as a uni ue means to store items, we don t know if she followed through. Yet, the playwright s vivid what if scenario successfully colors Barbra for us. Webb, as the purveyor of such e travagance, fills in many blanks.
We show tune lovin drama ueens want to believe it really happened, but even without verification, this play is audacious, name drops in a delectable way, and we shriek in recognition.
Winner of a 201 Drama Desk Award, the show was also named Best Uni ue Theatrical E perience by the Off Broadway Alliance. It s a fantasy, not unlike La La Land s dream machine, that we can get lost in uite easily. Buyer and ellar is a delectable hybrid of People magazine, Lifestyles of the Rich and Famous, and an Imaginary Housewife of Los Angeles. as told by your hilarious gay friend.
http://www. nd.com/2015/0 /16/ 146 4/theater-re iew- uyer-and-cellar.html /5 From: Wendy Dann [email protected] Subject: Fwd: FW: REVIEW: Buyer & Cellar, Broadwayworld.com Date: April 1, 2015 at 6:43 PM To: Steve Teneyck [email protected]
------Forwarded message ------From: Steve Woolf
---a lovely “national” review for internet readers
Subject: REVIEW: Buyer & Cellar, Broadwayworld.com
Buyer&&&Cellar Reviewed'by'Chris'Gibson Broadwayworld.com
Funny%and%Touching%Buyer&&&Cellar%at%The%Repertory%Theatre%of%St.%Louis Playwright'Jonathan'Tolins'uses'Barbra'Streisand's'book'My&Passion&for&Design'as'a'jumping'off point'for'his'hilarious'one'man'show'Buyer&&&Cellar.'It's'a'funDfilled'romp'that'fans'of'the'lady with'the'magnificent'voice,'and'quesIonable'temperament,'will'find'absolutely'delighJul.'Even if'you're'not'a'fan,'you'll'enjoy'this'peek'inside'the'peculiariIes'that'are'a'part'of'this'showbiz icon's'lifestyle.'The'Repertory'Theatre'of'St.'Louis'has'fashioned'a'very'enjoyable'producIon'that has'been'so'popular'that'the'run'has'been'extended'twice.'See'it'for'yourself'and'you'll'know why.'It's'an'amusing'and'oOen'belly'laugh'inducing'work'that'you'should'make'every'effort'to check'out!
Though'this'a'work'of'ficIon,'one'wonders'how'close'to'the'bone'some'of'this'material'cuts. What'we'have'is'a'parIcular'point'of'view'presented'by'struggling'actor'Alex'More,'who'has taken'on'the'responsibility'of'being'the'caretaker'for'Barbra's'enormous'collecIon,'which'fills the'basement'of'a'barn,'and'is'organized'into'a'liTle'shopping'plaza'complete'with'specialty shops'that'contain'items'the'star'has'collected'over'the'course'of'her'career.'This'odd'occupaIon allows'him'to'interact'with'the'woman'herself,'and'though'most'of'these'encounters'produce their'fair'share'of'laughter,'some'are'more'sensiIve'and'revealing'in'other'ways.
Jeremy'Webb'does'outstanding'work'as'Alex,'but'this'being'a'one'man'show,'he'also'gets'the opportunity'to'portray'his'persnickety'boyfriend'Barry,'who's'an'estate'manager,'as'well'as Streisand's'husband'James'Brolin,'the'ubiquitous'Oprah'Winfrey,'Arthur'Laurents'(famed playwright,'screenwriter'and'director),'Bea'Arthur,'and'of'course,'Barbra'herself.'It'is'truly'a'tour de'force'performance,'and'it'will'leave'you'in'sItches.'Webb'also'nicely'handles'some'moments of'poignancy'that'arrive'unexpectedly'here'and'there'over'the'course'of'a'liTle'over'an'hour'and a'half. Wendy'Dann's'direcIon'is'neatly'craOed,'and'she'makes'the'most'of'the'material'while'drawing a'bravura'performance'from'Webb.'Steve'TenEyck'handles'the'lighIng'and'simple,'but'effecIve, scenic'design,'both'of'which'keep'our'aTenIon'firmly'focused'on'Webb's'anIcs.'Marci'Franklin provides'the'costume'design,'while'Rusty'Wandall'contributes'another'fine'sound'design.
Buyer&&&Cellar&is'an'entertaining'excursion'into'the'world'of'celebrity,'and'since'the'run'has'been extended'to'April'12,'2015,'you'have'absolutely'no'excuse'not'to'catch'this'fabulous'show.'The Repertory'Theatre'of'St.'Louis'closes'their'Studio'Theatre'season'with'a'real'winner!
' ' ' '
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BARBARA ADAMS, Correspondent 2:5 p.m. EST ebr r 25, 2015
There s still time to catch the haunting production of Mark Adamo s popular 1 opera, Little Women, featuring several of Ithaca College s talented singers and musicians. The Clark Theatre s intimate space is perfect for this familycentered opera, based on Louisa May Alcott s famous novel of four sisters during the Civil War era.
Patrick Hansen, formerly at IC ( Edwin Drood, Fledermaus ) and now director of opera studies at McGill niversity, returns to lead this satisfying production, in collaboration with music director Brian DeMaris. In this
Photo P P Sher l interpretation, the sisters Meg, Jo, Amy, and Beth are doubled onstage by the watchful but unseen presence Sinko of four women representing the actual Alcott sisters. While the daughters familiar comingofage story unfolds, the second set of sisters suggests a larger sense of community, of stories and perspectives beyond this one family.
Senior Ravi Rakkulchon provides a simple, flexible playing space backed by an elegant pair of mahogany staircases leading to an interior balcony, where crossing or observing figures complicate the central action below. Steve TenEyck lights the space delicately, particularly in the scenes where leafdappled light formally rings the square, providing a path for lovers strolls.
Completing the visual mood are senior Anna Grigo s effective costumes, ranging from plain cotton dresses to somewhat finer stuff for the women — all befitting the constrained March family budget. And the men s suits are equally persuasive, as are the various beards, trim to wild, that the fellows have actually grown. The total visual effect of all these production elements transports us to this earlier American time, as well as to the sensible scale of these people s dreams and hopes.
Adamo composed both music and libretto, and if you fear the sisters story may be somewhat cloying (it s not, actually), the refreshing music, both atonal and sweetly melodic, keeps this opera more astringent than you d expect, given its heroine is known for her melodramatic potboilers. The 20person orchestra, hidden just beyond the rear windows, is in top form, giving the fascinating music a splendid presence of its own distinct from the vocalists.
And what vocalists The cast, all vocal performance majors, have fine voices. Jo is performed, on alternate nights, by Rachel zols and Ariana Warren; I saw Warren, whose dramatic personality and fullbodied voice created a compelling, spirited Jo — she anchored the production.
That said, everyone did handsomely — and was a pleasure to hear: Voices were strong, but the small space allowed an even richer immersion in them. And, for the most part, the acting was consistently engaging. Kate Clemons Amy and Torrance Gricks Laurie (Jo s boyhood pal) may not be the romantic types we envisioned in the novel, but they more than convince us with their complete personalities.
Hansen has evoked fine performances from his large cast (the only distraction: one of the alternate sisters was strangely and consistently surly). Besides Warren s central role, I was especially struck by Fred Diengott s appealing Professor Bhaer and his rendering of Goethe s Kennst Du Das Land. Most irresistible were the courting couple Meg and John, beautifully performed by Annie Barrett and athan Haltiwanger. They were enchanting vocally — and also visually, in their wedding whites, radiant with happiness.
The poignancy of their romantic joy — and its brevity, as the crying infants come soon thereafter — is one key theme among several in Adamo s opera. Life must be lived fully each moment, since, as the resistant Jo is often reminded, change is constant; nothing lasts. nfolding as a memory, this Little Women will keep you fully in its moment.
Barbara Adams, a regional arts journalist, teaches writing at Ithaca College.
I Y G
Little Women will be performed at p.m. Thursday and Saturday at Ithaca College s Clark Theatre. For tickets, go to ithaca.ticketforce.com or call the Dillingham ticket office at ( 07) 274 224.
Read or Share this story: http: ithacajr.nl 1ER a p 2/26/2015 ittle omen pera lays at C - thaca imes : ntertainment ittle en era la s at arre ree ood | Posted: ed esday, ebruary 25, 2015 5:01 am Ithaca College’s School of Music and Department of Theatre Arts are collaborating to stage the opera ittle Women. The opera is based on the th century novel by Louisa May Alcott, and was composed by Mark Adamo. Completed in , it is very much an American opera, composed in English, and a trim two hours in length. I find it an extraordinarily beautiful libretto and score with an American feel and eschewing the crazed, overthetop histrionics of European opera. And I found the IC staging astounding in its engaging beauty.
Most of us are somewhat familiar with the story by "Little Women" way of the movies. The story concerns the four March sisters, Meg, Jo, Beth and Amy, coming of age in Concord, Massachusetts in the aftermath of the American Civil War, and their deep and compelling love for one another. The story focuses on Jo, a writer (of “potboilers”—a sort of th century pulp fiction) and her difficulties in adjusting to the vicissitudes of life. She feels she is gradually losing her sisters as they grow older—to love and marriage, travel and study, sickness and death. Eventually, Jo herself leaves for the New York City of the late th century, where she finds success with her writing and, eventually, love and romance, herself.
The story centers on some deep, human dynamics: the love of sisters how amazingly close sisters can be and the pain of feeling oneself replaced by another in the affections of a loved one. The director atrick Hansen does a strange and marvelous thing in creating four new characters for the opera: Louisa May, Anna, Elizabeth, and Abigail Alcott, the actual sisters that Louisa May Alcott based her fictional characters upon. (They fill the role of four “offstage voices” in Adamo’s score.) I suppose it would be possible to dismiss ittle Women as th century soap opera, except that these are deep and familiar human emotions. Love is important. Altogether, this is a superb staging of the opera: the music and the vocal work are sublime, the sets, costuming and lighting are superb creating a convincing, engaging, little alternate world. (And a much needed tonic for the hellish cold we’ve been enduring this wretched winter.) http://www.ithaca.com/entertainment/little-women-opera-plays-at-ic/article 5a2 ad6- c 0-11e4- d -2 c00 2d1 .html mode print 1/2 2/26/2015 ittle omen pera lays at C - thaca imes : ntertainment • • • Little Women is eing erformed at the Clar heatre in Dillingham Center at thaca College. emaining sho times are Wednesday, Fe . , hursday, Fe . , and Saturday, Fe . , all at .m. For tic ets and info isit ithaca.edu mainstage. r call the tic et office at .
http://www.ithaca.com/entertainment/little-women-opera-plays-at-ic/article 5a2 ad6- c 0-11e4- d -2 c00 2d1 .html mode print 2/2 a il eals ast n s in angar's ' ther esert ities' y Ross Haarstad | Posted: Thursday, u ust 7, 201 12:00 am ther Desert Cities at the Hangar Theatre through August . Secrets laid atop secrets. Stories left untold. Memories suppressed. Rage and deep sorrow running beneath the not so placid surface. The Hangar closes its season with that most American of dramas, the family, in this instance, the posh, alm Springs clan of the Wyeths. Meet the family of Jon Robin Baitz’s searing, highly literate and sharply funny and emotionally wrenching ther Desert Cities: atriarch Lyman is a former Bmovie actor, a past chairman of the GO , a friend of the Lost in the Desert Reagans and a gentle defender of their worldview. The cast of Other Desert Cities, playing Matriarch olly is a selfmade woman who has now at Hangar Theatre. effaced her Jewish (but not her Texas) past, likes her privilege and is quick with the sharp, witty riposte. olly’s sister Silda was her partner in writing Hollywood scripts, but has a diametrically opposite worldview, and serves as gadfly in residence as she tries to pull her life back together. The kids have fled the nest in different ways: Trip returned to his parents’ Hollywood, but as a writerproducer of a reality show; Brooke meanwhile has landed on the East Coast, a promising young novelist who has just emerged from a long depression and has written her first book in six years. Then there’s the absent one. The oldest one, Henry, dropped out and tuned in during the Vietnam War; beloved of all but Trip (who was only five at the time), but aespecially by Brooke, his involvement in a bombing and subsequent plunge off a ferry are the family’s deep wound. It’s Christmas Eve 2 in alm Springs. And Brooke has come home after her sixyear absence to announce she’s publishing a memoir that will tear open the old scars. Her parents are devastated, her brother noncommittal, only her aunt Silda urges her on. Set and light designer Steve TenEyck has fashioned a palatial ranchstyle living room straight out of Architectural Digest, if circa s. Its spacious brick environs speak comfort, yet it also appears frozen in time. In the glass entryway, the clouds advance from early morning brightness to sunset against a forlorn Christmas tree. Director Mark Shanahan sets a fierce pace from the beginning, and iper Goodeve’s Brooke is so tightly wound and on the attack, that one wonders how anyone is going to make it through the day. It goes against the grain of the early first act, which has a much lighter, bantering tone as the characters skate around the elephant in the room. The direction pushes the play at us, rather than letting us fall into it. Thankfully, the second act snaps into place, and the revelations and layers of unraveled secrets, and most importantly pain, are sharply focused and moving. Susan Cella’s olly is a dominant, fascinating powerhouse of a woman, seemingly certain of everything, in absolute control of her life and with little sufferance for weakness. Her intellect is a honed knife, and she is more than a match for her sister and her daughter’s pushback about her views. It’s a mesmerizing performance, all the more moving as Cella reveals the fear that propels this woman’s takenoprisoners demeanor. Goodeve’s Brooke may lack some variety, but as she tears open her own deep sorrow in the play’s later moments, it’s easy to believe that she has had to make the decision to live day by day. Greg Bostwick gives Lyman much warmth, though the old pol is less evident; his performance most eloquent when he finally breaks down and talks about Henry. Ryan Krause buzzes with nervous energy as Trip, playing in only one key. Catherine Weidner lands Silda’s quips with aplomb, but sometimes feels a bit remote. It’s very much worth seeing, especially for the searing second act. But it suffers from the short rehearsal period of the Hangar. These characters beg to feel livedin rather than “acted”, yet that is a tall order. Baitz’s play itself is a beautiful creature. Honor Moore provided a wonderful preface to the published script focusing on how the play weaves a particular moment in our national history with the tragedies and hopes of one family. It includes these words:
“As the play unfolds, the making of art—in this case the publication of a book—becomes a metaphor for the investigation of the cost of telling the truth inside one particular family. At the same time, a contemporary dramatist reveals to us that we are in the midst of a cultural shift that challenges us to a higher standard of ethics, to greater courage and honesty in that first society where we all begin our lives, the family.” • Review: 'Other Desert Cities' drills to family truths
Barbara Adams, Correspondent 6:48 p.m. EDT August 6, 2014
Everyone has an individual, distinct take on shared experiences — just compare varying versions of past events at any family gathering. That s exactly the context of ther Desert Cities, Jon Robin Baitz s caustic 2011 drama, which closes the Hangar Theatre s 40th anniversary season. But sometimes, as we discover, the price of having different perceptions of reality is just too high.
George W. Bush s Iraq war is just underway in other desert cities, but in eversunny Palm Springs, it s Christmas eve, and two adult children, Trip and Brooke, have returned home for the holidays with their once
Photo Photo b achel Phili son prominent, oldguard Republican parents, Polly and Lyman Wyeth (Waspified countryclub Jews, as their kids define them). Also in temporary residence is Polly s sister, Silda, a feisty alcoholic just out of rehab. Brooke herself is emerging from recovery — after a nervous breakdown back East, and she hasn t been home in six years. Her wariness about spending time with the parents is countered by Trip s weariness about being the nearest offspring on call (a reality TV producer, he lives in L.A.).
A writer, Brooke has returned to share her longgestating latest book with her parents, ostensibly to receive their blessing. But since the work turns out to be not a novel but a tellall memoir, her nervous offering lands like a bomb. The second they ve endured, as it turns out — Brooke has finally written her version of their youngest son Henry s death years ago as a member of a Weathermanstyle bombing protest.
Henry is so seldom spoken of among them that Brooke has to correct her mother when she refers to her two children. Breaking the silence around family taboos is a capital offense, and Baitz s intense drama strips away multiple layers of truth that all five hold onto as their personal life rafts.
Mark Shanahan (seen here recently onstage as the adventurous Jules Verne voyager Phileas Fogg) directs his solid cast for maximum tension. From the outset we re swept into the Wyeths grand, bland, privileged world by Steve Ten Eyck s spacious set, a southwesternstyle living room — high ceilings, tall windows, copper fireplace and flagstone floor and walls. All desert tones, but the burnt umber shades fail to warm — the modern white furniture is not well padded, the dining chairs look positively uncomfortable, and the few books are clearly for show.
All this decoratordesigned sterility, fashionable for a certain class in the past, reminds us that the Wyeths retreated defensively to this world years ago. But their castle isn t as impregnable as they d like; their selfprotective isolation is being breached from within. They survive, but like the furniture, they re not truly comfortable. Greg Bostwick s Lyman is proof of this: He s tennisplaying trim, but his leanness has a nervousness to it. This retiree — a former actor made an ambassador under his friend Ronnie Reagan — seems worn with worry and denial. Bostwick renders his anxiety like a growing crack in his genial fa ade.
More unyielding is Polly, who — like her old friend ancy Reagan — keeps on course with order and discipline. Control is her watchword, starting with her firm blonde coiffure and tight stylish clothes (apt costuming by Emma Scholl). Sharptongued, Polly always seems three steps ahead of everyone else — Susan Cella plays her splendidly, whether supporting her husband, needling her daughter, or allout battling her sister (who compares her to Attila the Hun).
Brooke holds her ground against her mother; all the characters, in fact, are rigidly unapologetic about their points of view. Piper Goodeve captures both Brooke s bullheadedness and na vet about her parents response to her withering portrait of them. Trip is a more difficult role to pin down, as he s perceptive, escapist, and critical, all while desperately trying to stay neutral when he isn t. Ryan Krause hasn t quite defined him yet, and relies too much on a popeyed, smiling expression to convey Trip s wit.
A worthy opponent to Cella s Polly is Catherine Weidner s irreverent, leftist Silda — wildhaired, tackily dressed, sloppyboozy (though dry), a force of chaos in her sister s home. (Good manners and clothes are signs of virtue to Polly; she seems to have been disturbed by son Henry s bearded, filthy appearance more than his politics.)
In act one, Baitz s conservative liberal, East West Coast tensions are rather programmatic, earning a few easy laughs, but the constant barbs and bickering touch home. And though I overheard some audience members putting up their guard — they re just too nasty — I guarantee that more than a few moments here reflect our own familial conflicts.
As a playwright who s portrayed dysfunctional parents before, Baitz now also cleverly skewers the writer : I have no imagination; we re all I have, Brooke whines to justify her choices. In this entertaining and provocative play, as the second act unfolds secret upon secret, the rightwing parents emerge as more compassionate and less selfdeluded than the liberals. It s an interesting reversal, and an invitation to look past surfaces.
Adams, a regional arts journalist, teaches writing at Ithaca College. /25/2015 ' ther esert Cities' at angar heatre isn't light summer are, ut worth your attention e iew
' ther esert ities' at angar heatre isn't light s er are b t rth r attenti n e ie
desertcities.jpg The cast of Other Desert Cities rehearsing a scene from "Other Desert Cities." Pictured from left to right: Piper oodeve (Brooke Wyeth), Catherine Weidner (Silda rauman), Susan Cella (Polly Wyeth), reg Bostwick (Lyman Wyeth), Ryan Krause (Trip Wyeth). (Photo courtesy of Rachel Philipson, Hangar Theatre) n r lla ntrib ting riter By n r lla ntrib ting riter on August 02, 2014 at 2:13 PM, updated August 02, 2014 at 2:14 PM
Hangar Theatre of Ithaca closes its season with a serious piece, rife with sardonic humor, by Jon Robin Baitz and directed by Mark Shanahan.
"Other Desert Cities" is a fivecharacter play about the fictional Wyeth family, a welltodo, politically conservative family now living in the relative isolation of Palm Springs, Calif., during the Bushera Iraq war.
Mired in family turmoil and secrets, Lyman and Polly Wyeth ( reg Bostwick and Susan Cella), still vibrant and attractive in middleage after soso careers in film and theater, are now Republican Party operatives who advocate and support any idea put forth by the OP while they spend much time (even the time of the play Christmas holidays) on the tennis court and at the country club.
Arriving for the holidays are their adult children, Brooke (Piper oodeve), a writer living on Long Island and Trip (Ryan Krause), a creator of television reality shows in Los Angeles. In the beginning of the play, there is an off handed mention of a third child, whose name (Henry), we learn later as the playwright's acerbic dialogue peels away layer after layer of the family's secretive history.
Living temporarily in the household is Polly's sister and former screen partner, Silda (Catherine Weidner) who suffers from alcoholism, drug abuse, and a diametrically opposed personal and political world view to Polly's and Lyman's, but is held in high regard by their children for her honesty and her unwillingness to compromise for the sake of impressing those with social and political cache.
Protected by the area's remoteness and homogenized political viewpoints, Lyman and Polly perceive their lifestyle as a refuge from the onslaughts of the liberal media and those who would undo their privileged, Reaganera acquired reputations and fortunes, while Silda refers to their "refuge" as King Tut's Tomb.
This is the familial and political environment within which the playwright, wordbyword, creates the tenuous threads that somehow hold this family together, especially after Brooke reveals that she has finished her book that started out as a novel, but turned into a family memoir, and is about to be published. http:// log.syracuse.com/entertainment impact/print.html entry /2014/0 /hangar theatre presents truth pro ing other desert citiesre iew.html 1/2 /25/2015 ' ther esert Cities' at angar heatre isn't light summer are, ut worth your attention e iew
Performed on a single set, appropriately adorned by scenic designer Steve TenEyck, in wellheeled, "California modern" furniture and wall hangings, the Wyeth family proceeds to tear itself asunder with competing agendas ranging from truthtelling and artistic integrity to maintaining reputation and respect among peers.
Chief among the combatants are Polly and Brooke as the bonds of mother/daughter are tested throughout with reciprocal accusations, often couched in sarcasm and ridicule. Cella's Polly is sharp as a tack in her turns of phrase as she struts about the family's living room in stylish clothing that is perfectly matched and pressed, while oodeve's Brooke, purposely clothed in less impressive "eastern artist" garb, consisting of utilitarian pants, backpack, and flannel shirt, underscores the physical differences, as well as the incongruity in values, that exists between them.
Bostwick's Lyman, properly bedecked like a candidate for a entleman's uarterly cover, seems the perfect match, and even foil, for Polly's opinions and striking behavior, while Krause's Trip, seemingly cut from the same cloth, plays an unsuccessful peacemaker of sorts, attempting to quell the disagreements that have become unhinged when Brooke reveals her manuscript.
Weidner's Silda, a wealth of comic, yet revealing, commentary, serves as a "fifth wheel" catalyst for exacerbating the tension, while also admitting her faults and resolving that "The truth is an expensive hobby".
This wellwritten play, expertly interpreted by a fine acting ensemble, might not be the sweet summer froth so predictably endemic in the lineups of many theater companies, but it sure is worth your while and your wallet for a twohour window through which you'll glimpse some powerful truthtelling.
etails ength r cti n 2 hours, 15 minutes, including a 15minute intermission. tten ance Nearfull house on opening night. a il i e Not for the kiddees due to adult themes, relationships, and language. Mature high schoolers will "get" it. r in r ati n: Hangar Theatre presents "Other Desert Cities" from July 31 through Aug. 9 at the theater in Cass Park, Rt. 89, Ithaca. For tickets and information: 6072732787 and
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http:// log.syracuse.com/entertainment impact/print.html entry /2014/0 /hangar theatre presents truth pro ing other desert citiesre iew.html 2/2 POSTED: TUESDAY, JUNE 24, 2014, 9:33 AM
image: http://media.philly.com/designimages/partnerIcon-Inquirer-2014.jpg
By Wendy Rosenfield For the Inquirer
What do folk band Fleet Foxes, outsider singer/songwriter Daniel Johnston, Pearl Jam front man Eddie Vedder, and William Shakespeare have in common? All (and more) unite in the Pennsylvania Shakespeare Festival's shimmering, summery The Two Gentlemen of Verona. This charming production - with many musical interludes and an adorable shaggy, white lapdog (Duncan, as Crab) - makes one of the bard's earliest comedies feel at once fresh and casual.
And that's what fits summer Shakespeare best: a little romance, some comedy, a dash of heartbreak, and pretty tunes. It tests the bromance of Valentine and Proteus (Luigi Sottile and Zack Robidas), sparks an unhappy rivalry between ladies Silvia and Julia (Marnie Schulenberg and Nicole Erb), and allows for fine comic turns by Alex Bechtel as Thurio, Silvia's foppish scorned suitor, and Scott Greer as Launce, servant to both Proteus and that dog.
Director Matt Pfeiffer keeps it light and lovely, setting the action in a loose approximation of the turn of the 20th century. Samina Vieth's set and Steve TenEyck's lighting are soft and airy, the exterior of a house featuring dueling Juliet balconies, a marquetry floor spread out before it like a ballroom, to assist the dance of loyalty, love, and betrayal among its young protagonists, Edison globes lighting their way. Marla Jurganis' costumes match with soft, natural colors: Silvia's robin's-egg blue gown balanced by Valentine's cobalt frock coat, others clad in brown or sage.
There's weight behind the actors' pain, with Robidas gradually darkening until he collapses with sorrow into his former friend's arms. But each actor embraces the comedy with physical vigor: Schulenberg's exasperated eye-rolling, Bechtel's ridiculous prancing, Sottile's attempts to remain cool when confronted by the father of his intended. But it's Bechtel's dual role as music director that truly anchors the show's soul.
As an early work, Two Gentlemen relies heavily on static soliloquies, and without musical bumpers it can feel stiff. Here, it breezes by, its cast members appearing to enjoy themselves as much as their audience. Selections played by the cast on guitar or ukulele, sung solo or harmonized as a chorus, underline the tale's sweetness and make an easy elision between the renaissance and our millennium.
Through July 13 at the Pennsylvania Shakespeare Festival, Labuda Center for the Performing Arts, DeSales University, 2755 Station Ave., Center Valley, Pa. Tickets: $25-$53. 610-282-9455, www.pashakespeare.org
Read more at http://www.philly.com/philly/blogs/264392426.html#x2p9g36v23THyuv5.99 ! www.mcall.com/entertainment/arts/theater/mc-theater-review-two-gentlemen-verona-shakespeare- 20140624,0,6662916.story t emorn n a om
eater re e A m s a o ent emen s de t
By Kathy Lauer-Williams, Of The Morning Call
June 24, 2014
Actors playing music on stage and a truly adorable dog add delightful elements to a d ve rtise me n t Shakespeare's playful romantic comedy "The Two Gentlemen of Verona," at Pennsylvania Shakespeare Festival through July 13.
The Bard's take on the conflict between loyalty and love is perfectly suited for the addition of soulful love songs and some humorous ditties, which are sung and played skillfully by the actors on guitar, banjo, cello and accordion. Director Matt Pfeiffer keeps the action quick-moving and engrossing.
As Valentine, Luigi Sottile is as sweet and besotted as his name implies. Starting out as a nonbeliever in love, he quickly falls even more desperately in love with Silvia and his passion is palpably heartfelt.
As Silvia, Marnie Schulenburg is feisty and self-assured, passionate but more reserved than her ardent suitor.
Zack Robidas has the more difficult role of the turncoat Proteus, who not only forsakes his love Julia but also casts aside his friendship with Valentine. He manages to make the character not totally unlikable and is even somewhat sympathetic when he realizes his folly at the end.
As the scorned Julia, Nicole Erb gives the naive young girl a strength of character and a forgiving soul that shows her growth. When disguised as a page, she actually looks like a boy.
Peter Danelski and Scott Greer are hilarious as the comic servants Speed and Launce. Greer, who has a couple funny monologues alone on stage with Crab the dog, manages to not be upstaged by the extremely well-trained and attentive pooch, played by rescue dog Duncan, and trained by Kim Pike of Great Companions of Slatington.
Alex Bechtel is unforgettable as Thurio, Silvia's unwanted suitor and Valentine's rival. With his mincing walk and dandyish gestures, he is laugh-out-loud funny.
One of the most humorous scenes is when the clueless Thurio unsuccessfully tries to serenade Silvia at her balcony. The music is a perfect touch.
The choice of songs is inspired and varies from Daniel Johnston's "Worried Shoes," sung deadpan by Greer, with himself and Danelski on ukelele, to the finale of the entire cast singing Eddie Vedder's "Rise," with lyrics that mesh surprisingly well with the story.
The two-level set by Samina Vieth works well and is supplemented by clever use of lighting by Steve TenEyck. The period costumes by Marla Jurglanis are attractive and appropriate. Audience members can join the director in an informal setting in the theater 45 minutes before every show and can meet the actors at informal talk-back after the shows June 26, and July 3 and 10.
Also available is "Savoring Shakespeare," a specialty dinner themed to the play with discussion by Shakespeare scholar June Schlueter. The dinners at 5:30 p.m. July 10 and 12 cost $35 for meal and full bar.
o ent emen rom erona, 7 p.m. Tuesday, 8 p.m. Wednesday through Friday, 2 and 8 p.m. Saturday and 2 and 7:30 p.m. Sunday, through July 13, DeSales University, Schubert Theater, Labuda Center, 2755 Station Ave., Center Valley. Tickets: $25-$50. Info: 610-282-9455, http://www.pashakespeare.org.
t . u m . m
610 8 22
Copyright © 2014, The Morning Call Theatre: Inspired Stagecraft Powers FGO’s Roméo et Juliette
[ 0 ] April 26, 2012 | SunPost
By Tony Guzman
Florida Grand Opera is concluding its 2011-2012 season with a brilliant and inspired staging of Charles-François Gounod’s Roméo et Juliette. This is one of those rare instances where the production design and execution merits discussion up top rather than at the tail end of the review. Just as Roméo et Juliette’s masterful and under-appreciated libretto by Jules Barbier and Michel Carré cuts to the quick of the essential narrative and deepest emotions of Shakespeare’s play, paring away anything extraneous; set and projection designer, Erhard Rom, has fashioned a minimalist set utilizing box-like modules which are moved around to suggest the opera’s various locales without drawing attention away from the beauty of Gounod’s music and the story’s narrative thrust. Particularly effective is Rom’s use of often hauntingly beautiful projections onto the blank surfaces of his set to create mood and heighten emotional effects, for the locales he creates are really places in the heart and mind much more so than depictions of particular physical locales. Rom’s vision is most ably abetted by stage director/choreographer, David Lefkowich, whose expressionistic staging effectively incorporates evocative dance elements and strikingly eloquent mime sequences. In the context of a more realistic and highly detailed set, Lefkowich’s added touches might lead to excessive busy-ness and visual overload, but in the context of Rom’s stark setting, they work marvelously well, adding new levels of depth and impact. Lighting designer Steve TenEyck’s striking, often chiaroscuro lighting and costume designer Jennifer Caprio’s gorgeously understated costumes dovetail wonderfully with the superb overall production design.
Mexican soprano, María Alejandres, is a vivacious and affecting Juliette. Her mellifluous singing combines liquidity of phrasing with considerable heft and power. She was quite the hit of the evening, and those who saw her Juliette are likely already looking forward to her scheduled appearance next season with FGO singing the role of Violetta in Verdi’s La Traviata. As Roméo, French tenor, Sébastien Guèze, sang with considerable dramatic power and matched well with Alejandres. However, his vocal mechanics give his face a gape-mouthed, grimacing appearance reminiscent of the masks of ancient Greek tragedy, which is somewhat off-putting. Among the supporting cast, baritone Jonathan G. Michie sings ably and is suitably dashing and fiery as Mercutio; tenor Daniel Shirley is striking as Tybalt; mezzo-soprano Courtney Colclough is engaging and has fun with the “pants role” of Stéphano; and bass-baritone Stephen Morschek turns in a very well-acted and sung Count Capulet.
As usual, the Florida Grand Opera Chorus was outstanding, both in terms of strength of singing and inspired, eloquent stage movement. In a decade or so of following FGO regularly, I don’t believe I’ve ever heard the Florida Grand Opera Orchestra sound better than it does under the baton of guest conductor Joseph Mechavich. Fluidly, smoothly, he coaxes every bit of passionate intensity and soaring beauty from Gounod’s glorious score. Highly recommended.
Florida Grand Opera’s production of Roméo et Juliette runs through May 5 at the Arsht Center for the Performing Arts in Miami and May 10 and 12 at the Broward Center for the Performing Arts in Fort Lauderdale. For Information and tickets: fgo.org, 800-741-1010.
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Recommend 0 a et ets ne ife at ha espeare 0 tum 0le pon fest u mit 7 FF 0 FF weet July 2 , 2011 By Myra ellin utwater, Special to The Morning Call
Hamlet is probably one of Shakespeare s best known plays and its lines the most quoted. But Pennsylvania Shakespeare Festival Director Patrick Mulcahy s exceptional cast brings a new life, urgency and relevance to this story of power and filial revenge. And under Mulcahy s fine direction and the cast of PSF veterans and newcomers, the tale becomes more a clash of generations. 24 FF 50 FF p o 0 erything ome Get Amazon Prime for $67 amazon.com/gp/primepromo Celebrate Transparent's Emmy wins. For new members, today only!
Justin Adams is a riveting presence as the young, impetuous Prince Hamlet, grieving over his father s untimely death. His unrelenting anger at the speedy remarriage of his mother to his uncle is so real that we can truly understand how his thoughts of revenge plunged him to the brink of madness.
Rolling around the stage on an office chair as a prop, Adams shows his displeasure and discomfort with immature grimaces and smirks as he sulks in silence. But upon meeting the ghost of his father and learning the truth of the king s death, he comes alive as an impassioned avenger.
Adams delivers his lines with a quiet and deliberate introspection that make him touchingly human and even more tragic. And as we see him brooding and self absorbed in his anger and grief, we understand how he has become blinded by irrational thoughts. L L Mairin Lee s portrayal of phelia is believable and very touching. We see phelia struggling between her allegiance to her ha espeare est u es sta in cha en es father and family and her growing infatuation for Hamlet. After a violent and physical rejection by Hamlet and overcome by e her grief at the sudden death of her father, we understand her descent into madness and the eventual despair which kills u ust her. a et Is east f e icious ctin Michael Brusasco is at first a boyish and well meaning young Laertes, a pleasant young man who tolerates his father s ostu in constant intrusions into his life. But after his father s death, Brusasco becomes a murderous avenging angel in a powerfully une staged fight scene.
ne sta e t o p a s one cast Wayne Turney is a well meaning and self satisfied meddling Polonius. His words of advice to both Laertes and phelia are ul well intended. Turney is a delight as we watch his almost childish delight in being both a useful servant to his King and ueen and a protective father advancing his family s ambitions. Turney later gives a marvelous cameo as a disheveled grave digger.
Christopher Coucill is haunting as the ghost of Hamlet s dead father. Silhouetted in a silvery white light, he is a stately and regal apparition. Later he flexes more acting muscles as the befuddled Player King, an unknowing pawn in Hamlet s murderous schemes of vengeance. Jo Twiss, is excellent, as always, as the Player ueen.
Hamlet s boyish abandon is emphasized by his relationships with his collegiate friends, particularly Horatio, well played with an intense sense of loyalty by David Kenner. Kenner exudes a sense of honor, making Horatio one of the play s few noble presences.
Greg Wood and Susan Riley Stevens are well matched as the scheming Claudius and his queen Gertrude. Wood is both an authoritative figure and a man overcome with guilt. Stevens reveals a woman conflicted by her love for her son and her own sexuality. Her bedroom scenes with Hamlet are very powerful. Arrest Records: 2 Secrets records.instantcheckmate.com Enter Name and State, then Access Full Background Checks Instantly. http://articles.mcall.com/2011-0 -26/entertainment/mc-hamlet-re iew-20110 2 1 laertes-untimely-death-claudius 1/ /25/2015 ha espeare esti al: amlet gets new li e at ha espeare esti al - tri unedigital-mcall Jacob Dretsch and Grant Chapman play the efficient emissaries Rosencrantz and Guildenstern.
This is a very physical production. Rick Sordelet s fight choreography is active and exciting. The use of props on rollers keeps the play moving both literally and figuratively. Steve TenEyck s stage and lighting design is elegant and minimalist. The ramparts are bathed in dark blue lighting and the court scenes are defined by glittering hanging chandeliers and black and red velvet drapes.
A musical back score adds a sense of mystery and suspense. And Sam Fleming s black and white costume design adds to the sense of impending tragedy.
• Hamlet, through Aug. 7, DeSales niversity, Labuda Center main stage, 2755 Station Ave., Center Valley. Tickets: 25 50. 102 2 WILL( 455), http: www.pashakespeare.org.
ra ellin utwater is a freelance writer
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