Down the Rabbit Hole

by Jenni Morin

In an intimate setting, The Rose Theatre Company stages Rabbit Hole, an up-close-and-personal look at grief, playing through Nov. 30. David Lindsay-Abaire’s 2007 Pulitzer Prize winning drama peers into the lives of Howie and Becca Corbett eight months after losing their 4-year-old son, Danny, in a tragic accident.

Jessie Rose as Becca and Jane Bull as Nat in Rabbit Hole.

Rabbit Hole is as much about guilt as it is about grief as the family tries to find a new balance to counteract the loss of a child. Becca’s sister finds herself pregnant less than a year after Danny’s death, while their friends Rick and Debbie, who have a daughter the age of Danny, find it hard to console the couple. Jason Willette, the teenager who hit and killed Danny, carries his guilt with him as he tries to justify the tragedy to himself and the Corbetts. Event Becca’s mother, Nat, feels a bit of guilt at not being able to comfort her daughter and help her get over her grief that she admits will never really go away. At the height of it all is Howie and Becca’s guilt over not being able to prevent it. Herein lies the opportunity for commentary on the state of preventable child deaths.

While the actors had their moments, only a few of them aligned with the moments in the script. There were several missed opportunities throughout the action to capitalize on subtext. Becca is a bit uptight, which is what makes her steady unraveling so captivating. Jessie Rose took a different approach playing Becca that made her seem much more unstable, taking to heart the psychological effects her family fears. Jon Smith played opposite Rose as Howie on the brink of several emotions, which allowed him to create a well-structured arc throughout the action. Jenny Fisher as Becca’s sister, Izzy, gives a decent performance while Jane Bull as Nat fully takes advantage of some gem one-liners and a great scene with Becca where Nat is able to connect with her daughter. Rocky Bronco portrayed Jason Willette in his character’s introductory scene as almost too young, but provoked the empathy he needed. In his later scene, he comes off more nerdy and socially awkward than what makes sense in the script. As a whole, the ensemble felt genuine, but held back, impeding their ability to command the stage.

The production quality is low with most of the design elements more utilitarian than enhancing. The set felt like a hodgepodge of required properties, giving an inaccurate reflection of the Corbett’s home. While the music chosen for the scene changes was fitting, it lost most of its appeal when repeated for each interlude. The technical aspects lacked direction and disrupted the momentum the actors worked to achieve.

Beyond the emotions on the surface, the play also touches on famed literature, quantum physics, Greek mythology and pop culture history. Abaire expertly weaves each of these themes into the play as a way for the characters to cope with their loss and find a semblance of understanding and hope that will allow them to carry on. Rabbit Hole is a fantastic work of theatre literature that all audiences should experience. While this production may not quite do it justice, it’s still a respectable rendition of this eloquent yet simple story.


Rabbit Hole will run at The Rose Theatre Co. through November 30, 2013 with performances at 8 p.m. on Fridays and Saturdays. For more information and to purchase tickets, visit www.therosetheatreco.com.

Taming: A veritable shrew indeed

by Jenni Morin

Shakespeare has a tendency to be watered down with overt adaptations, so it is refreshing for a company to be so bold as to mount a production faithful to the original script. The Classic Theatre has done just that with its production of The Taming of the Shrew, now showing at the Sterling Houston Theatre at Jump-Start through November 24. Without question, The Taming of the Shrew is one of Shakespeare’s most popular comedies with commedia dell’arte influence and a timeless tale of young love. It’s also often used as a commentary about the role of women in society and relationships, particularly marriage. With current legislation, in Texas specifically, it takes on an added layer as Katharine shoulders the fight.

Roy Bumgarner and Morgan Clyde as
Petruchio and Katharine.
Photo by Dwayne Green.

This Taming takes place in 16th century Italy where we meet Baptista, who is trying to marry off his two daughters, the fair Bianca and the shrewish Katharine. As Katharine is the oldest, Bianca’s marital fate relies on the wooing of Kate, so Bianca’s suitors Hortensio, Gemio and the young Lucentio convince the audacious Petruchio to take on the challenge. As with any good classic comedy, there is mistaken identity, a lot of cunning, plenty of physical comedy, and, of course, weddings.

Director Diane Malone, who also designed the set and costumes, gifts San Antonio with a wholly authentic production that would have made Shakespeare himself proud. Billy Munoz’s lighting is subtle, yet effective, allowing the cast to draw attention with their words and actions rather than a spotlight. In the same vein, the sound design of Rick Malone marks a few key points in the storyline, which helped the audience catch some defining moments. The production stripped away the pomp and circumstance usually accompanying Shakespearean comedies to let the script speak for itself.

Shakespeare’s tongue-lashings, spankings and physical comedy were not lost on this cast with each actor finding a way to differentiate one wordy speech from the others. While there are some awkward moments as the servants fall over themselves without precise comedic timing, it is clear they are not merely copies of the archetype. Joseph Urick especially excels as his Tranio takes on the guise of his master Lucentio with an over-the-top bravado. He is surpassed, however, by the sneering suitor Gremio, played by Richard Solis. Even still, John Stillwaggon’s Grumio makes a great first impression in “knocking” his master Petruchio, while Maggie Tonra as Biondello serves as a great messenger advancing the plot with a fantastic gait.

Christie Beckham’s Bianca seems closer to the intended character than many others in the past and James Welch certainly pulls off Lucentio daft about Bianca. Torence Brandon White has some great moments as Hortensio. Not to discount any performance, all the players perform well, each allowing their parts to contrast with the leading couple’s.

But the play would not be without the shrew and the man tasked with taming her. Morgan Clyde and Roy B. Bumgarner II portray Katharine and Petruchio, respectively, with a welcome touch of realism. At times their caricatures shown through, but it is their exchanges that draw audiences back. Clyde embodies the quick wit required of a Kate while Bumgarner whole-heartedly throws himself into the role of that brazen woman conqueror. It is the evolution of their relationship that makes this production, most notably that Katharine never loses her tenacity even during her closing speech.

Through the final “goodnight,” Classic’s Taming is a veritable representation of the Shakespearean play. By shedding most of the distracting elements other productions hide behind, this rendition focuses on accurate costuming and the raw wit and comedy laid forth in the script. Classic’s Taming is rich in talent and authenticity, a truly legitimate Shakespearean production.


The Taming of the Shrew will run at The Sterling Houston Theatre at Jump-Start through November 24, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays. For more information and to purchase tickets, visit www.theclassictheatre.org.

Wittenberg: A Captivating Hamlet Prequel

by Jenni Morin

San Antonio playwright David Davalos returns for The Playhouse's Cellar Theater production of his Wittenberg, playing November 1 through November 17. Wittenberg poses a debate between Martin Luther and John Faustus that would make anyone a little head-spinning mad and Hamlet, the impressionable scholar questioning his life’s purpose, is no exception.

David Davalos as John Faustus, Sam Mandelbaum as
Hamlet and Andrew Thornton as Martin Luther in Wittenberg.
Photo by Siggy Ragnar.

Wittenberg places three characters from history, literature and folklore at the university where Hamlet presumably studied before his father’s death. The action takes place directly before he receives the news. Martin Luther is a professor of theology, while John Faustus is a professor of philosophy. Luther and Faustus entangle Hamlet in their debate while he clamors to find himself in the universe and get his bearings.

The production follows the anachronistic nature of the play where a few modern props, set decorations, costume pieces and colloquialisms call attention to the imagined scenario. Without these few reminders of the mixed time periods and metatheatrical references, it’s easy to fall into believing it is more historical than fictional. Director Bill Gundry reverently molds this well-crafted play and talented actors into a refreshingly provocative production. From a technical standpoint, the lighting had a few visionary moments while the sound felt haphazard and almost distracting. The transitions between scenes were uninspired and executed poorly when blending light and sound.

Sam Mandelbaum as Hamlet. Photo by Siggi Ragnar.

While Davalos employs some classical rhythm and exchanges, paying homage to Hamlet’s author, the dialogue resists being weighed down by the classical tongue by utilizing modern phraseology. The audience is pulled back and forth in a welcomed juxtaposition between the past and the present. The incessant questions of “why?” and “what if?” proliferate the action, making for fast-paced exchanges, both humorous and stimulating.

As expected, Davalos commands his role as Faustus with resilient passion, presenting a bombastic provocateur with a human vulnerability. Overall the cast shows true investment in the characters, not just their lengthy diatribes. Consider this Sam Mandelbaum’s audition and scene work for the role of Hamlet, a character he brings to life in the present beyond Shakespeare’s confines. As always, Andrew Thornton is brilliant as Martin Luther, illustrating his struggle perpetuated by the naturalistic parley with Davalos. While Christina Casella must take on all the female roles as The Eternal Feminine, it is her second scene as Faustus’ lover when she spends the most time on stage and is able to showcase her talent.

David Davalos’ Wittenberg is witty, insightful and cheeky. Best of all, this piece is always timely, asking the questions of faith and reason, pitting theology and philosophy against each other in a match of interpretation and the unknown. It stands on the cusp of scientific and philosophical discovery—the revolution of the solar system, the birth of psychology, and the Protestant reformation, to name a few—all the while making convoluted ideas accessible.



Wittenberg runs at The Playhouse’s Cellar Theater November 1 through 17, 2013 with performances at 8 p.m. on Fridays and Saturdays; and 3 p.m. and 8 p.m. on Sundays. For more information and to purchase tickets, visit theplayhousesa.org.

Les Misérables: "What your sacrifice was for"

by Jenni Morin

Les Misérables, playing at The Playhouse through November 3, 2013, is a multiple Tony winning musical by Alain Boubil and Claude-Michel Schonberg adapted from Victor Hugo’s 1862 novel by the same name. The novel, one of the longest in history, touches on several themes from politics to romance to justice to morality. The 2012 film version can be credited for a sort of resurgence of the musical with a 2014 Broadway revival in the works. The production at The Playhouse is high energy and fast-paced spurred by the vigor and spirit of rebellion.

Photo courtesy of The Playhouse, credit Siggi Ragnar.

Les Misérables follows the life of Jean Valjean and his struggle to overcome his past as a prisoner on a chain gang and become a respectable man. Due to the kindness of a priest, he is able to move beyond his station and continue to do good by taking in the daughter of a former employee who he discarded and consequently died. As he attempts to escape his past, it catches up with him in the form of the indefatigable police inspector Javert.

Hugo’s work leads up to the 1832 June Rebellion when, propelled by moral justice and redemption, the wretched poor of Paris rise up to escape the hell on earth the “civilized” government has created. The current government shutdown is a serendipitous reminder of the relationship, or lack thereof, the people have with their government. The clear delineations between the bourgeois and the poor are apparent and a stark contrast to the tragic circus of the bacchanalian desperation played out in the Thenardiers’ scenes. After the rebellion, the dead remain and their sacrifice feels left unanswered except for the fortunate few—a great commentary on today’s political climate, what incites rebellion and what it means to fight for freedom.

Hats off to Tim Hedgepeth for impeccable casting and directing in this production. While it is difficult to not compare this production to the recently released film, it is clear this cast is better matched. Where the movie fell short, this production picks up the slack. The appropriately broken and seemingly unfinished pieces of Alfy Valdez’s set frame the production. Costumes, designed by Raul McGinnes and Yvette Oakes-Crabtree, border on perfection, fitting the characters and the actors well. Terry Price’s lights shed light and cast shadows subtly. Choreography blends well into the action of the production. Even the sound effects are on point. Music director Andrew Hendley expertly melds the orchestral tones with his vocalists, so much so that it almost sounds like a recording.

Operatic voices dominate this cast, once again bringing together some of the most talented singers and actors in San Antonio. The younger cast members have some great theatrical role models to glean technique from to gain that endearing and occasional pity their characters’ require. The cast overall gives great performances. Jason Mosher as Jean Valjean and Jessie Enderie as Javert especially triumph over the script’s sing-song speech. Mary Morrow as Fantine, Constanza Aileen as Cosette and Carlye Gossen as Epinine fervently play their parts, leading the women through the revolution. Trevor Chauvin charmingly plays the romantic and loyal role of Marius, while his counterpart Chris Berry as Enjolras bravely leads the rebellion with unwavering zeal. Not to be forgotten and impossible to miss are the riotous cirques Monsieur and Madame Thenardier brought to life with boisterous dedication by Isidro Medina and Jane Haas respectively.

The Playhouse brings Les Misérables to the stage where it rightfully belongs, making the situation of these undesirables more immediate and more empathetic. Les Misérables will always be a symbol of revolution, justice, morality, and perhaps above all, the right to human dignity. The Playhouse’s production of Les Misérables pushes these all to the foreground in a compelling way.


Les Misérables runs at The Playhouse on the Russell Hill Rogers stage October 3 through November 3, 2013 with performances at 8 p.m. on Thursdays, Fridays and Saturdays; and 3 p.m. on Sundays. For more information and to purchase tickets, visit theplayhousesa.org.

'Night Mother raises dramatic bar

by Jenni Morin

‘Night Mother, the 1983 Pulitzer Prize winning play by Marsha Norman, now showing at the Woodlawn Black Box Theatre through October 6, is worthy of the accolade. The Woodlawn’s production is heartwarming, heart-wrenching and devastatingly beautiful in execution.

The play opens with Jessie completing evening chores and straightening up the house before settling down to

Meredith Bell Alvarez (left) and Sherrie Shirky (Right)

give Mama a manicure. As she puts things in order, Jessie reveals she plans to commit suicide that evening. The rest of the play is packed with questions and emotions ranging from fury to fear as Jessie confesses her reasons and her plan.

At the helm of this nearly flawless production is Director Pat Wells. Kurt Wehner and Ben Grabill’s set design provides the perfect backdrop without any outstanding details or cluttered knickknacks to distract from the scene of this poignant drama. In the same vein is Chris Muenchow’s lighting design.

Norman brings an important issue to the stage and literally forces the discussion about suicide. While in Jessie’s case it seems to be everything and nothing that brings her to her conclusion, all too often today’s suicide victims are young, teenagers, bullied, threatened and outcast because they are have a different sexual orientation or were publicly shamed through social media. Then there are the cases that can only be speculated on involving mass shootings where the perpetrator also dies either by intention or unavoidable conflict with authorities. Even still, there are the quiet, unforeseen deaths that defy explanation or reason—this is Jessie’s suicide without the “what if” scenario her mother, Thelma, receives. Norman’s play fulfills the longing parents have to ask and answer those final questions before the act and offers a sort of solace with in its unavoidable ending.

From the opening lines to the last, both actresses play their roles dutifully and naturally. Sherrie Shirky as Thelma, or Mama, and Meredith Bell Alvarez as Jessie are a breathe of fresh air in the San Antonio theatre scene, especially in the straight drama genre. Shirky and Alvarez have raised the bar.

Woodlawn’s production is a must see for its production value, immense talent and thorough dedication to an important message. ‘Night Mother is a moving theatrical experience not to be missed.


‘Night Mother runs at the Woodlawn Black Box Theatre through October 6, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit woodlawntheatre.org.

Not your mother's Streetcar

by Jenni Morin

Tennessee Williams made great contributions to the American theatre repertoire, especially with his 1947 work A Streetcar Named Desire, which is now playing at The Little Carver Theatre through October 6, 2013. Streetcar, a Pulitzer Prize winning play, is an undeniable classic, a testament to Williams’ lyrical style and a relic from a turning point in theatre history not to be tampered with. Streetcar combats melodrama with realism, all the while painting a lurid portrait of a time and place occupied by intense characters of great depth.

Produced by Klose/Seale Productions in collaboration with The Renaissance Guild, director Carol Lee Klose’s production of Streetcar, on its surface, boldly brings the classic to life. Composer Alice Gomez’s original score accompanying the action laudably gave homage to Williams’ incessant “blue piano.” The set, designed by Chris Sauter, although not distinctly of New Orleans’ Quarter, is composed of a structure nearly too large for the space, but allows the playing area to extend to the catwalks above, evoking all those environmental details Williams meticulously weaves into the script. While it is difficult to distinguish whether the production takes place in New Orleans or San Antonio, save for lines in the play, it is even more difficult to pinpoint a decade mostly due to the partly modern and incongruous costuming of the female characters.

There are several themes present in the original piece, such as the fragility of females, the masculinity and sometimes bestial nature of males and the relationship dynamics between these two stereotypes of the time. Domestic abuse, promiscuity verging on prostitution and mental illness all lay on the surface, but are portrayed more as fact than anything to be analyzed or begging attention to affect change. This production, however, makes a statement, almost certainly not intended by Williams, by taking the implication of rape to a perpetrated act witnessed by the audience.

Tennessee Williams purists and those familiar with the script will be surprised at the line substitutions, some of which are an attempt to bring the production into a more modern decade, others are an assault on the sanctity of the original script. An obvious discrepancy in the ages of the characters and the actors playing them causes the themes of age and beauty to be misconstrued in proportion.

As Blanche, Sam Carter Gilliam personifies the melodramatic tendencies of the character. Rick Frederick, in contrast, takes more of a naturalistic approach to Stanley, akin to Marlon Brando who originated the role. Mindy Fuller portrays Stella as a mix between the two, perhaps mirroring the struggle to remain devoted to both her sister and her husband. Tori Foutz commands her role as Eunice and brings to life the spice of New Orleans along with the added People of New Orleans characters.

Streetcar, as a commentary on the contrast between realism and illusion, or “magic” as Blanche refers to it, challenges audiences to find truth amidst the drama. This production as a whole is a decent piece of theatre and features a talented cast and crew. It is not, however, the same Streetcar Williams wrote, but an interpretation better billed as an adaptation of the classic.


A Streetcar Named Desire runs at The Little Carver Civic Center theatre at The Carver Community Cultural Center through October 6, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays. For more information and to purchase tickets, visit www.streetcarnameddesire.net.

Proof: More than math

by Jenni Morin

David Auburn’s Proof, now showing at The Sterling Houston Theatre at Jump-Start produced by The Classic Theatre, has won all four major drama awards, which initially drew Director Allan S. Ross to the script. Thirteen years after its debut on Broadway in 2000, Proof continues to tackle sexism and ageism and the debate between genius and insanity, all the while making a case for reigniting a passion for the art of mathematics.

With the recent passing of her mathematical genius father, Catherine tries to cope with the mind she inherited from him. As her sister, Claire, went to live in New York, Catherine quit school to take care of the mentally unstable Robert for the last few years of his life. Hal, a former doctoral student of Robert’s, scours years of his incoherent ramblings in an attempt to recover an added legacy to his genius. Finding nothing, Catherine presents him with a field-altering proof, but she must prove its authorship.

Past his mathematical prime at 28, Hal not only has resigned himself to never achieving the greatness of his mentor, he’s also out ruled Catherine at the age of 25. Her age, compounded with her lack of formalized education and her gender makes it nearly impossible to accept that she could be the author of the proof. This clash of sexism and ageism provides the background for the climax of the play. Catherine’s own uncertainty about her abilities and mental state make the situation even more puzzling.

Hunter Wulff as Hal is able to capitalize on the current popularity of geeks and nerds and gives a convincing and natural performance. As Catherine, Katie Murphy seems distanced, perhaps purposefully, from the rest of the cast. John O’Neill gives an entertaining performance as Robert the father and Christi Eanes rounds out the disjointed family as Claire.
The script leaves out details like the Robert’s exact diagnosis and the name of Hal’s band. These and other missing idiosyncratic details leave room for an abundance of subtext, which the cast seems to lack in their portrayals.

Lighting Designer Felice Garcia, along with Ross as scenic designer, made fantastic contributions to the technical side of the production. The lighting was subtle and intuitive while the set was detailed, providing a great textural piece to complete the cast. Not to be overlooked, Rick Malone’s sound design is a welcome the extra layer.

Proof is a great piece of dramatic literature. It challenges the perception of ability based on gender, age or mental instability, possibly redefining the look of genius. It perpetuates the conversation about the future of math and science in the country’s education system. Proof is quickly becoming a theatre staple and Classic’s production gives it the consideration it deserves.


Proof runs at The Sterling Houston Theatre at Jump-Start through August 25, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays . For more information and to purchase tickets, visit www.classictheatre.org.

Ragtime recalls promise of American dream

by Jenni Morin

In the early 20th century, America appeared a land of opportunity, a promise for a better life. Ragtime unearths the realities of a harsh turn of the century America by comparing the experiences of three families—white upper-class suburbanites, African-Americans hailing from Harlem and Eastern European immigrants. It is, indeed, a diorama of famous figures from that era of American history, each touching the families’ lives.

The Playhouse’s current production of Ragtime, showing at The Charline McCombs Empire Theatre through August 18, is a great illustration of how these families’ lives intertwine. The show boasts what must be some of San Antonio’s best vocalists and musicians. At the helm, Music Director Darrin Newhardt expertly allows the musical’s namesake to lead the show. This “strange insistent music” has an infectious beat with a building momentum.

Director Molly Cox admirably capitalizes on this momentum, heightening suspense coupled with empathy for each of the characters. Their plights are real and propelled by their interactions with historical figures who relay important messages to today’s audiences: change is inevitable, stories are better teachers than violence and the American dream is defined by the individual.

This rendition of Ragtime should not be missed. Its unrelenting themes become more profound with the talents of the cast. The stage prowess of some actors and vocalists shines above the rest, namely, Sarah L. Hedrick as Mother,  David Nanny-Isban as Tateh,  Trevor Chauvin as Younger Brother,  Rebecca Trinidad as Emma Goldman, and as a People of Harlem chorus member, Danielle King nearly steals the show. The choreography is effective and just as laudable as the other aspects of the show, such as the simple scenery. For additional historical perspective, the production also incorporates multimedia in the form of archival photographs, which lends authenticity along with accurate costuming.

Unfortunately, the issues in Ragtime are timely. Following the Trayvon Martin shooting, Ragtime questions how far this nation has come since the disenfranchisement of African-Americans. Over a century later, the U.S. still struggles with immigration policies. The call for justice and equality rings clear in Ragtime and all the while, its characters search for the promise of a future in the land of opportunity. Perhaps Grandfather is still right to say, “The world needs a kick in the pants.”


Ragtime plays through August 18 at The Charline McCombs Empire Theatre while the Russell Hill Rogers Theater at The Playhouse undergoes repairs. Performances are at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. The Playhouse will host a talk back with the director and cast immediately following the show on Sunday, July 28. For more information and to purchase tickets, visit www.theplayhousesa.org.

Shakespeare and Steampunk

by Jenni Morin

Imagine Hamlet condensed to 90 minutes, a live Cliffs Notes, with the same Shakespearean integrity of the original tragedy of the Danish prince. Jump-Start Performance Co. and Classic Theatre of San Antonio have joined forces to present their own adaptation of Shakespeare’s most popular drama, Method & Madness: Hamlet 2013, opening Friday, June 14 for two weekends at the Sterling Houston Theater in the Blue Star Art Complex.

The approach to the title role, split between Billy Munoz and Linda Ford but acting as one person, is worth the ticket price alone. By breaking up one of the most famous soliloquies in dramatic literature, Munoz and Ford allow Hamlet to have a true conversation with himself, complete with wit and quips, questions, revelations and a subtle humor no longer lost to insanity. Their rendition of “To be, or not to be” is enlightening and offers a brand new perspective with renewed and deepened understanding.

Unfortunately, the combined Hamlet performance was less a split personality than that of others sharing the stage. In keeping the Elizabethan tongue, the risk is always run that some actors tangle words and are off in their inflection, causing the subtext to be lost. Getting lost in the language causes some scenes to be rather laborious. But the shortcomings of some novice and some overly passionate actors should not deter anyone from catching other standout performances from the cast.

True to the adaptation’s title, the collaboration found the method in the madness. Paired perfectly with a sprinkling of Steampunk detailing, the cogs and gears of the mind are certainly turning. Billy Munoz’s lighting and Rick Malone’s sound reflect the amalgamation of vintage classic and modern experimentation. The creative application of these two elements take advantage of technically ripe moments like Ophelia’s funeral and the manifestations of the slain king’s apparition. Robert Rehm’s king ghost brings home the eerie visitation complete with a fully Steampunked out motorized apparatus—truly a great addition to the show.

For a bit of comedic relief, Kitty Williams presents Osric and the Gravedigger, while Pamela Dean Kenny delivers a somber epilogue as Horatio. Christie Beckham dutifully portrays Ophelia. Together with Hamlet in twain, these performances paid homage to the Shakespearean essence.

Co-directors Diane Malone and S.T. Shimi stayed true to the tale, while their integration of the Steampunk design and introduction of a Greek-style chorus brought new life to the script. With great design and attention to detail, the show stays loyal to the Classic’s repertory, and adds to it an unexpected and innovative approach from Jump-Start. In truth, this adaption brings new meaning to the line, “The play's the thing wherein I'll catch the conscience of the king.” Shakespeare, welcome to 2013.


Method & Madness: Hamlet 2013 will run at The Sterling Houston Theatre at Jump-Start through June 23, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays with a pay-what-you-can performance on Friday, June 21. For more information and to purchase tickets, visit www.jump-start.org.

Spring Awakening: Losing Youth

by Jenni Morin

The second act of Spring Awakening, opening Friday at The Playhouse, delves into the darkness that overshadows these teens lives when left to their own devices under the strict and tight-lipped rule of the adults in the script. After Wendla gives in to her desires and has sex with Melchior, she becomes ill. Her mother, fearing anemia, takes her to a doctor for a diagnosis—she is found pregnant and her mother is furious and embarrassed and quickly schedules an abortion.

Little more than a decade ago, teen pregnancy was a source of great embarrassment and shunning by peers, family and society. Today, teen pregnancy seems to be a growing fad. Whether the issue is inadequate sex education, lack of access to contraceptives, a quick way to grow up and escape the current situation or a pact among friends, teen pregnancy is a growing problem.

According to the Centers for Disease Control and Prevention (CDC) three in 10 American girls will get pregnant at least once before age 20, totaling 750,000 teen pregnancies every year. At that rate the U.S. has one of the highest teen pregnancy rates in the western industrialized world. The National Campaign to Prevent Teen and Unintended Pregnancy reports babies born to teen mothers are more likely to be premature, and almost 10 percent have a low birth weight. In addition, children born to teenage mothers have significantly lower cognitive test scores at age two, compared to children born of intended pregnancy. The American College of Obstetricians and Gynecologists (ACOG) also found that the daughters of teen mothers are more likely to become teen mothers themselves, while the sons of teen mothers have a higher chance of being incarcerated than children with older parents.

Unfortunately, media hype surrounding the Gloucester High School pregnancies and similar high pregnancy rates at U.S. high schools accused of fostering pregnancy pacts has born teen pregnancy as entertainment in the form of MTV’s Teen Mom and 16 and Pregnant. Taking advantage of this trend in vogue, these shows portray teen pregnancy without many of the social and health complications inherent in being a teenage mother. The National Campaign to Prevent Teen and Unplanned Pregnancy estimates a quarter of teen moms have a second child within 24 months of their first baby and less than two percent of teen moms earn a college degree before age 30. Eight out of 10 fathers don't marry the mother of their child and pay less than $800 for child support each year.

While the three percent of teens age 15 to 19 who carry to term face socio-economic hardships, there are other risks for those who choose not to go through with the pregnancy. ACOG found that one third of teen pregnancies end in abortion. In 2008, approximately 1.21 million abortions took place in the U.S. was reported by the Guttmacher Institute. Half of U.S. women obtaining abortions are younger than 25 and 17 percent were obtained by teenagers. Forty percent of minors having an abortion report that neither of their parents knew about the abortion. Teen abortions are prone to more complications and health risks, even death, than those of older women.

Another harrowing fact about abortion is that suicide is six times higher for those who have had an abortion. A common thread in suicides is the person has been ostracized in some way for being different or doing something perceived as unacceptable. Many LGBT youth encounter this, especially in the form of bullying, every day. Although statistics on the subject are scarce, the Family Acceptance Project found LGBT youths experiencing high levels of rejection during adolescence were more than eight times likelier to have attempted suicide than those who were accepted by their families. Cases such as Tyler Clementi and Jamey Rodemeyer are examples of this very real issue. But LGBT youth are not the only ones contemplating suicide and dealing with stigmas.

Spring Awakening also presents the story of Moritz, a young man under pressure from his parents and peers to succeed in school. When his instructors decide to hold him back, despite the fact that he passed his exams, his parents disown him and he’s left to wander the streets. Today’s youth are influenced by many more pressures than those of their parents through many more mediums, but Moritz’s story still holds true. After finding himself homeless and hopeless to make a life for himself, he turns to suicide.

Nearly one in six high school students has seriously considered suicide and one in 12 has attempted it, according to the CDC. Suicide is the third leading cause of death for ages 15 to 24, behind accidents and homicide. It is the fourth leading cause of death for children between the ages of 10 and 14. Each year, emergency rooms across the U.S. care for approximately 157,000 youth between the ages of 10 and 24 for self-inflicted injuries. While boys are more likely than girls to die from suicide, with 81 percent of suicide deaths for ages 10 to 24 being male, girls are more likely to report suicide attempts and make up the remaining 19 percent of suicide deaths for that age group.


From teen pregnancy to abortion to suicide, Spring Awakening once again proves its relevance after over a century. It brings to light issues that are hiding in the closet, swept under the rug and concealed under clothing. Perhaps what Frank Wedekind intended was for audiences to see, acknowledge and understand our youth, in any century, in order to prevent losing them.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.


[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. 
This is part of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

Scapin: Modernizing a Classic

by Jenni Morin

Many theatres tend to shy away from the classics in fear modern audiences will have trouble relating to the stock characters, the archaic language, the foreign setting or contrived and all too convenient or poetic conclusions. Then there is The Classic Theatre and the adaptation of Moliere’s Scapin by Bill Irwin and Mark O’Donnell, which opened Friday, May 10, at The Sterling Houston Theatre at Jump Start.

The Classic Theatre’s production of Scapin is a no holds barred onslaught of comedy complete with throw backs to commedia dell’arte and vaudeville and references to today’s comedic successors. Scapin’s name comes from the term “escape”  and is based off of the commedia dell’arte character Zanni, an astute servant and trickster with a tendency to flee, hence the “escape.” The Classic’s production even integrates the traditional Zanni mask in keeping with the adaptation's loyalty to Moliere's 1670s structure.

Scapin is the story of a servant’s meddling to trick fathers and help sons with their secret marriages. In the end, as go the rules of comedy, everyone gets married and all of the confusion of long lost daughters is resolved. While the plot is compelling, this production focuses on the characters, the physical comedy and the frantic integration of pop culture references.

Octave, son of Argante, is a great Napoleon Dynamite voiced representation of the self-centered sweep-banged emo teenager of today played by Tyler Keyes. His servant Sylvestre is described by the title character as awkward and bug-eyed and he dons several disguises as an accomplice to Scapin’s schemes. Dru Barcus is committed, sharp and unstoppable as Sylvestre in a truly exemplary performance. Scapin, played by Brendan Spieth, is every bit the archetype of conniving, flittering, conspirator embroiled in all the play’s exploits. Scapin’s master, Leander, son of Geronte, played by Rusty Thurman, is a welcome addition to the plotting foursome. The remaining cast members contribute to the zaniness of the play with caricatures of busty and ditzy love interests and gullible fathers. Musical director Darrin Newhardt, or George the onstage pianist, is a great narrative note lending a rhythmic soundtrack to keep the production on point. While the set is rather traditional, and very well designed, the lighting provides a modern splash, psychedelic at times, which compliments the style of the show.

In addition to some not so far-fetched pop culture references—some surprisingly subtle—there are a few distasteful jabs and irksome stereotypes. The easily offended may also avert their eyes at some bawdy hip thrusting displays characteristic of this sort of physical comedy. That being said, the show makes several metatheatrical references to the play’s action, the audience, the coincidences in plot and the ever popular deus ex machina. It's a fitting combination of what Moliere's audiences would have raved over and what modern audiences wouldn't expect.

Director Matthew Byron Cassi offers San Antonio a faithful and entertaining production of this apropos work. The Classic Theatre’s Scapin is a tribute to its theatrical roots and witness to the evolution of comedy.


Scapin will run at The Sterling Houston Theatre at Jump-Start through May 25, 2013 with performances at 8 p.m. on Fridays and Saturdays and 3 p.m. on Sundays and a 3 p.m. performance on Saturday, May 25. For more information and to purchase tickets, visit www.theclassictheatre.org.

Spring Awakening: Runaways at Risk & Defining a Subculture

by Jenni Morin

One pivotal scene in Spring Awakening sets in motion new themes and delves further into the desperation of the characters to find their place in the strict world of their parents and authority figures. As the girls walk home, Martha accidentally lets it slip that her father beats her and she is on the cusp of being kicked out of the house and suffering the same fate as Ilse. Ilse is a childhood friend who is homeless after being kicked out of her abusive household. She wanders the streets somewhat as a vagabond and a victim of a dangerous “bohemian” life floating from one man to the next.

Every year 3.3 million reports of child abuse are made in the United States involving nearly 6 million children according to a 2010 U.S. Department of Health and Human Services report. National Runaway Switchboard reports 80 percent of homeless or runaway girls were sexually or physically abused. Unfortunately, 80 percent of children who die from abuse are under four years old and never make it out. Those who do are at risk of repeating the pattern of abuse with their children—about 30 percent.

As many as 2.8 million children run away each year in the U.S. and between 30 and 40 percent of those are LGBT young people. In Spring Awakening, it’s the homosexual relationship between Ernst and Hanchen that seems the least risqué as they expect to look back on their acts fondly and worry little about others finding out. They, in contrast to the other characters battling demons and truths reaching their parents, speak easily and confidently. Today, LGBT youth identify more with the other characters at risk of being kicked out of the house and falling into the clutches of street life.

Within 48 hours of hitting the streets, The National Center for Missing and Exploited Children report one-third of children are lured or recruited into the underground world of prostitution and pornography. In the U.S., about half of girls living on the street are involved in formal prostitution. Commercial sex and human trafficking are growing problems in the U.S. and contribute to a global issue affecting over 12.3 million men, women and children in 161 countries, including the U.S. according to the Department of Justice.

Ilse’s story has her coping with her homelessness by finding a bed to sleep in despite the person she must share it with. Similarly, modern prostitution is the result of desperation and a lack of options. The Department of Justice found that the majority of American victims of commercial sexual exploitation tend to be runaway or thrown away youth who live on the streets. The average age of entry into prostitution is 12 years. The Polaris Project estimates sex trafficking victims may be forced to have sex up to 20 to 48 times each day. While commercial sex may not  be new, the issue of human trafficking and forced prostitution has grown with the internet allowing nameless victims and clients to conduct business in anonymity.
In 2004, the U.S. Department of State estimated 600,000 to 800,000 people were bought and sold across international borders each year; half of which were children and most were female with the majority being forced into the commercial sex trade. 


This one scene also triggers an impulse that feeds one of today’s sexual subcultures. After Wendla hears of how Martha’s father beats her, her curiosity is piqued. Stemming from a desire to feel empathy and the same physical pain, Wendla begs Melchior to whip her with a switch. The two get carried away with emotion and find pleasure in this venture into BDSM.

BDSM—bondage, dominance, submission and masochism—terms date back to the 18th century and the Marquis de Sade and the 19th century and Venus in Fur by Leopold von Sacher-Masoch. “Mutual consent is what distinguishes BDSM from abuse and assault, just as consent distinguishes sex from rape,” is outlined by Transcending Boundaries, a nonprofit dedicated to the education and support of people’s nonconventional sexuality, gender, sex or relationship style.

Transcending Boundaries cites Dr. Gloria Brame’s survey on BDSM demographics that reveal the “normalcy” and intelligence of this community. While only 14 percent of respondents were between the ages of 18 and 25, 47 percent were between the ages of 26 and 40. Over half (57 percent) reported having at least some college education if not a college degree and 83 percent classified themselves as middle or upper income. Over 80 percent avoid drugs and addictive substances and perhaps most contrary to popular believe, 64 percent reported no domestic violence at home while growing up and 91 percent indicated there was currently none in their homes.

Books like Fifty Shades of Grey have emerged in popular culture to reintroduce BDSM to the masses and perhaps bring about more acceptance. Despite some criticism of the series from the BDSM community, the conversation about the lifestyle may be welcome, especially after the 2008 survey from advocacy group National Coalition for Sexual Freedom found 37.5 percent of respondents had experienced discrimination, harassment, or violence.


Spring Awakening continues to bring attention to several issues in society even after over a century has passed since the staging of the original version. From a single character’s confession, themes spring forth to reiterate the relevance of this story.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.


[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. 
This is part of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

Picture-perfect Picnic

by Jenni Morin

The Playhouse has transformed the Cellar Theater into the quintessential 1950s backyard, complete with overhanging tree branches and grass, for the production of Picnic by William Inge. This particularly detailed set makes a great canvas for naturalistic lighting and a realistic representation of life in the 1950s from the relationships to the costumes.

Picnic introduces a group of young people on the cusp of life changes and discovery. As Flo Owens (Tracie J. Coop) prepares for the town picnic, she reminds her girls to accept their roles. Madge (Kari Ann Randol) has always been the pretty one and Millie (Madeleine Garcia) is the smart one. Flo urges Madge to get a proposal out of her steady boyfriend Alan (Ty Mylnar), while Mrs. Potts (Catherine Babbitt), the next door neighbor, plays matchmaker for Millie and Hal (Rodman Bolek), somewhat of a roughneck and an old college friend of Alan’s. Bomber (Cris Boneta), the paperboy, teases Millie about her looks and Rosemary (Chelsea Dyan Steele), a teacher rooming at the Owens’, professes women don’t need men. After some sibling rivalry feuding, the girls get ready for the picnic. Millie dons a pretty frock and receives several compliments for her beauty, but she is still no match for her sister who steals Hal in an impromptu backyard dance. Rosemary, desperate to get some of the young man’s attention, forcibly dances with him and become furious when he rejects her advances. Millie, scorned, gets drunk from the whiskey Rosemay’s boyfriend Howard (Michael Benson) brought and soon the backyard party breaks up and moves to the picnic, leaving Madge and Hal to explore their newfound feelings for each other. The plot continues with several characters facing life-changing decisions and circumstances.

While Picnic is not a deep play with controversial themes, it offers a snapshot of everyday life in the '50s that still applies today. The age-old desire of children to break away from their parents and reinvent themselves in the odyssey self-discovery is what keeps resurrecting this decades old story. Some characters struggles to hang on to their youth, while others are desperate to leave it behind. Then there is the question of what defines beauty and if that can be enough to define a person and their existence.

Bolek shines as Hal, just when he seems little more than shallow, he is able to show the gamut of Hal’s personality and emotions when the script allows. Coop portrays a strong woman who is wise from her past, perfect for Flo. Mylnar is the picture perfect good ol’ boy as Alan. The cast of schoolteachers, led by Steele, is larger than life. Randol as Madge and Garcia as Millie both present their characters realistically with exchanges that take on what seems to be a modern tone and sarcasm unexpected of a play from this period. Director Tony Ciaravino kept the action and script relevant and led his cast and crew in a solid production. Picnic is an all-around success for The Playhouse.


Picnic will run at the Cellar Theater at The Playhouse from May 3-May 26, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.

Spring Awakening: Rape Culture

by Jenni Morin

During Spring Awakening’s off-Broadway run, the final scene of the first act ends with Wendla succumbing to Melchior even though she does not understand what is transpiring. As they commit the act, she cries out against it leaving the audience to believe a rape has occurred. The implications of rape were softened and left more ambiguous in the Broadway version and The Playhouse’s production portrays the encounter as consensual. This controversial scene teeters on the brink of defining rape, mirroring the current ambivalence in the crime and leniency in punishment.

Far beyond the risks of STDs, unintended pregnancy and physical and psychological trauma is the lasting and more prevalent shame and blame of rape victims. Social media has proliferated and exacerbated the blame-the-victim mentality and turned yesterday’s date rape into a gang rape extravaganza complete with viral videos, photos, commentary and incessant cyberbullying. Lizzy Seeberg, Rehtaeh Parsons and Audrie Pott were all involved in sexual assault cases splashed across news feeds and all found suicide as the only solace. According to the World Health Organization, sexual assault victims are four times more likely to contemplate suicide.

In Steubenville, Ohio, the perpetrators provided their own incriminating evidence by posting videos, circulating photos and exchanging text messages. In the digital age of the virtual life and viral controversy, rape becomes a spectator sport and somewhat detached from the implications of the act. Unfortunately, the Justice Department’s National Crime Victimization Survey found 54 percent of rapes and sexual assaults are not reported to the police and the Department of Justice reports only about three percent will spend even a single day in jail.

The common misconception that strangers perpetrate rapes was debunked when the U.S. Bureau of Justice Statistics found 26 percent of rapes committed by a current or former intimate partner, seven percent by another relative, 38 percent by a friend of acquaintance. This leaves teenage girls most susceptible to rape and sexual assault by classmates they may see on a daily basis walking the halls of their schools. No party, especially one with unsupervised, underage binge drinking, is safe. In the U.S., drugs, especially alcohol, is frequently a factor in rape with both victim and perpetrator drinking in 47 percent of rapes.

Approximately every two minutes, someone in the U.S. is sexually assaulted, according to statistics from the U.S. Department of Justice's National Crime Victimization Survey. Studies for the Department of Justice and National Violence Against Women found that between 15 and 20 percent of women experience rape at least once in their lifetime. About three percent of men experience sexual assault or rape in their lifetime. According to the U.S. Bureau of Justice Statistics, 15 percent of sexual assault and rape victims are under age 12. These statistics show how pervasive sexual assault and rape is, but the question remains if it is frequent enough and happening to enough people to really have become the laissez-faire pastime of teenagers with overactive social media accounts and digital cameras.

Throughout Spring Awakening, the dramatic media and video elements will bare witness to the power of imagery inundating “news” coverage, whether through social media channels or credible media outlets. The script also addresses, even in 19th century Germany, how consumed teenagers’ lives are with sex and physical expression and a need to understand themselves and the world around them. What seems to be missing in the rape culture of today is a sense of right and wrong and a difference between reality and entertainment.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org.


[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. 
This is part of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

Spring Awakening: The Birds and the Bees

by Jenni Morin

[Editor's Note: Spring Awakening is a rock musical set in late 19th century Germany, based off of a play by the same name by Frank Wedekind. It examines tough themes that still plague our society over a century later because they are controversial and difficult to explain or remedy.  What this piece does is present the issues, the truths and consequences of actions in order to reopen the age-old discourse of how to talk about and/or prevent the dangers resulting from each. This is the first installation of a series of posts intended to present the various themes illuminated in the upcoming production of Spring Awakening at The Playhouse. While the intent is to remain objective, any opinions expressed here do not necessarily reflect those of The Playhouse, those involved in the production of Spring Awakening or Theatre For Change.]

In the opening scene of Spring Awakening, premiering in San Antonio at The Playhouse this May, Wendla begs her mother to explain where babies come from, “But you cannot imagine I still believe in the stork.” A frightening question from a girl “in bloom,” as her mother describes her, in this century and even more so in the 1890s when the original drama this rock musical is based on was penned.

Travis Trevino (Melchior), Mariela Flor Olivo (Wendla),  

Trevor Chauvin (Moritz)

“Mama who bore me. Mama who gave me no way to handle things. Who made me so bad.” The lyrics to the first song set the scene of a daughter begging for knowledge in her confusing adolescence while providing foreshadowing of what’s to come. As the action progresses, it becomes clear that without that knowledge Wendla is left powerless. A theme pointing to the influence of sex education overshadows Wendla’s actions and her fate in this drama.

In a recent study, over three-quarters of adults said they would prefer teenagers receive formal sex education that included a myriad of topics from abstinence to how to say no to contraceptives to STDs, according to the National Survey of Americans on Sex and Sexual Health. While 93 percent of teens 15-19 received formal instruction about STDs from 2006 to 2008, 84 percent were taught abstinence and only 62 percent of males and 70 percent of females were taught about contraception. While the ideal situation may have all teens abstaining from sex until marriage, abstinence-only education has little to no effect on a teen’s decision to have or not have sex says a congressionally mandated study by Mathematica Policy Research released in 2007.

On the other hand, a 2010 controlled trial published in Archives of Pediatric Adolescent Medicine found that in specific cases, abstinence-only education programs tailored to the local community that do not criticize contraceptives nor advocate abstinence until marriage can delay younger teens from engaging in sexual intercourse.

What Spring Awakening reintroduces to the debate is that teenagers have physical urges. Beyond being inundated with sexual imagery and messaging from multiple media sources and pressure from peers, there is the pure biology that inevitably enters the equation at the time in question. In the end, if teenagers do decide to give in to those physical urges (and seven in 10 teens have by age 19, according to the National Survey of Family Growth), then arming them with as much information as possible may not be such a bad idea.

While the purity of youth is important, health and safety should also be at the top of the list. Incomplete and medically inaccurate information masks the truth of the dangers and options when it comes to having sex and how to prevent unintended pregnancy and sexually transmitted diseases.

The root of the problem with sex education is that there is a lack of explanation of sex itself, which deepens the misunderstanding of risks associated with sex. Spring Awakening is also a reminder that the definition of sex is elusive for many teenagers. In Wendla’s case, it’s impossible for her to know she’s doing wrong when she has no context for her actions—she does not know that what she’s done is sex because no one has ever explained to her what it is or talked to her about abstinence, protection and consequences. Or perhaps the bigger issue is how could Wendla have abstained from sex if she didn’t even know what it was.

Travis Trevino (Melchior), Mariela Flor Olivo (Wendla),  

Trevor Chauvin (Moritz)

Teens in the U.S. engage in sexual activity similar to the level of their peers in Canada, England, France and Sweden, states a study published in Archives of Pediatric Adolescent Medicine in 2008, but U.S. teens are more likely to have shorter and less consistent sexual relationships and less likely to use contraceptives, especially the pill or more than one method. In 2001, the U.S. Department of Health and Human Services issued a report stating that sex education does not cause teens to start having sex if they would not have done so otherwise. To put the fear of sex education in the U.S. in perspective, Canada has half the number of teen pregnancies than the U.S., reported by the Sex Information and Education Council of the United States.

That awkward birds and bees conversation still has parents exclaiming, “Not it!” while teens are left to scour the internet for answers and sort fact from fiction. If Wendla’s story does nothing else, it leaves a haunting thought of if only someone had told her, if only she knew. Over a century later and half a world away, Frank Wedekind’s original children’s tragedy still hits home.


Spring Awakening will run at the Russell Hill Rogers Theater at The Playhouse from May 17-June 9, 2013 with performances at 8 p.m. on Fridays and Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit www.theplayhousesa.org. 

Masquerade: Calling all heroes and geeks

by Jenni Morin

The definition of hero can be very specific, but it is also broad enough to encompass a whole cast of characters. In James Venhaus’ Masquerade now playing at Overtime Theater, heroes are drag queens, comic book store owners, a comic book fan trying to figure out who he is, a girl with a sewing machine and a jerk who turns out to be a loyal friend.

Masquerade started out as a ten-minute play, but the production is now long enough to include an intermission. The first act seems like it could be a play all on its own, complete with a tableau frozen before blackout, but the second act brings to light some of the inner villains each of these heroes face.

The Red Crusader, under the darkness of scene changes, carefully plans emerging on to the superhero scene. In the meantime, there is Chuck the comic book store owner (Edward Wise), his loyal patron Reggie (Brennan Loy), the couple consisting of the friendly Virginia (Ashtyn Sonner) and her bad attitude boyfriend Jeff (Chris Kelly). In search for supplies for a perfect costumes, Chuck and Reggie befriend Kevin the drag queen (Stephan Gaeth). This leads to Chuck and Reggie unknowingly in the audience for a drag show, not a cosplay like they thought.

Most of the characters were played reserved, except for Loy’s Reggie who spiraled into a confusing identity crisis, the root of which is still unclear. The drag show was more funky than fabulous with stiffly choreographed lip-syncs and music set at near elevator volume. While Gaeth’s drag queen had her moments amongst the awkward staging, it was really the ensemble of geeks who embraced their roles—or possibly just let their real-life personalities peek through. Sonner’s Virginia shined with an unexpected monologue in the second act, which paved the way for rounding out Wise’s Chuck and Kelly’s Jeff characters, giving them an opportunity to settle into the roles. In the end, Masquerade’s cosplay, geeks and drag queens offer some great nerdy comedy.

Director Morgan Clyde should be applauded for integrating multimedia and social media elements into the production and tackling some tough issues of identity crises and homosexuality. The Overtime’s production of Masquerade proves its own point that it doesn’t take fancy equipment or an eloquently speaking man in a mask and cape to stand up for a cause or bring attention to an issue. There are different kinds of heroes who are revealed even in the most unlikely simple moments.


Masquerade plays at the Overtime Theater through May 4 with performances at 8 p.m. on Fridays and Saturdays; 8 p.m. on Thursday, April 18 and May 2; and 2:30 p.m. on Sunday, April 14 and 7 p.m. on April 28. For more information and to purchase tickets, visit www.theovertimetheater.org.

Frozen is a must see for a good cause

by Jenni Morin

When the life-changing tragedy of the abduction of a child happens, reality is frozen and can only resume after closure, forgiveness and time.

The Derek Berlin Productions staging of Frozen at the Overtime Theater takes on the heart-breaking task of telling the story of a mother coping with the loss of her youngest daughter, the man who kidnapped and murdered her, and a psychologist’s journey to understand the serial killer’s mind.

Bryony Lavery’s Frozen follows Agnetha (Christie Beckham) as she travels to London to interview yet another serial killer in an attempt to continue the research she started with her recently deceased colleague. Nancy (Belinda Harolds) catalogues the emotional rollercoaster of losing her daughter to a serial killer. The perpetrator and subject of Agnetha’s study is Ralph (Derek Berlin). The play covers the 21 years following Nancy’s daughter’s kidnapping, making its way through the tundra of emotions. The study of serial killers is based off of the research collected by real life psychologist Dorothy Ottnow Lewis and neurologist Jonathon Pincus.

Harolds portrays the stages of grief and gasping desperation of Nancy precisely without a single hint of undue devastation. As Agnetha, Beckham maneuvers the fine line between professionalism, wit and disorientation that seems to tear at her sanity. Berlin brings a human quality to Ralph the serial killer, bordering on pity and understanding. Just as the characters are conflicted, Agnetha’s theory comparing a killer’s evil and illness against sin and symptom leaves the audience conflicted over how to view Ralph, who is presented as calculating and disturbed yet detached and simple.

The sound design complimented the production with expertly executed queues. The bare minimum set and lighting echoed the frozen emotional wasteland each of the characters tread throughout the action of the play. This cast of impeccable actors overcame the restrictions of a barren basement-like theatre, even integrated a support beam splitting the play space, to present a raw and wrenching high quality production. Director John O’Neill proves that space and budget do not determine the quality of a production, but talented actors, directors, designers and dedicated crew make the difference.

In the program notes, producer Derek Berlin states his intention to “create an open dialogue” as he attempts to bring awareness to child abuse and abduction through this production. Berlin advocating for social change through the medium of theatre should challenge San Antonio directors, actors, designers, and theatre administration to find and highlight messages that can make a difference in our society. Frozen is a testament to the power of theatre.

On April 12-13, proceeds from the show will go to the Heidi Search Center in support of their work to assist in the recovery of missing children and adults through awareness, facilitating searches and providing community outreach programs focused on prevention.


Frozen plays at the Overtime Theater through April 27 with performances at 8 p.m. on Fridays and Saturdays. For more information and to purchase tickets, visit www.theovertimetheater.org.

"The CASA Project"

Theatre For Change partners with CASA on original production

Fall 2013 production highlights CASA volunteer Advocates’ work and multimedia

San Antonio, TX – April 5, 2013 – In honor of Child Abuse Prevention and Awareness Month, Theatre For Change (TFC) announces it will be teaming up with Child Advocates San Antonio (CASA) this year to produce an original production that centers on Texas’ foster-to-adopt issue. This live dramatic media event will use a hybrid of film and live theatre to raise awareness and promote a call to action to bolster CASA’s volunteer program and will be the first official originally produced event by TFC.

According to the Child Protective Services (CPS) 2012 Data Book, there were 275,961 alleged victims of child abuse in Texas last year.  CPS confirmed 6,205 of these cases in Bexar County, the largest number for any single county in the entire State.  Of the 212 child deaths from abuse and neglect last year in the State of Texas, 19 occurred in Bexar County. This placed us second only behind Harris County, which has three times the overall population.  Unfortunately, CASA volunteers are only able to serve one-third of the children currently in State-protective custody in Bexar County; however, the agency is working diligently towards providing an Advocate for every child who needs one by the year 2020.

Spearheaded by TFC founder and Texas Lutheran UniversityDramatic Media Assistant Professor, Shannon Ivey; TFC Community Organizer, Shelly Chance; Recruitment and Training Manager, Elisabeth Reise; and TLU student filmmakers, the group will gather testimonies from CASA volunteer Advocates, judges and families to create a script for the docu-drama currently titled “The CASA Project”.

The CASA Project will run over the course of an entire weekend with three performances at San Antonio’s historic Carver CommunityCultural Center. The Carver lobby will feature art from CASA children who are currently in care, giving them an opportunity to share their art created in classes hosted by professional TFC artists prior to the event.

The mission of Child Advocates San Antonio (CASA) is to recruit, train, and supervise court-appointed volunteer Advocates who provide constancy for abused and neglected children and youth while advocating for services and placement in safe and permanent homes. This production will shed light on the foster-to-adopt situation in Texas and help recruit volunteer Advocates for CASA.

Details concerning performance dates and times will be announced at a later date.

 

About Theatre for Change

Theatre For Change is a coalition of South Texas dramatic media artists who are committed to linking the stories inherent within theatre, film, and new media to the needs and messages of non-profit organizations.  We aim to weld the weakest links in our community by producing, reviewing, and creating works of theatre, film, and new media that encourage awareness, compassion, and a call to action.

About Child Advocates San Antonio (CASA)

Child Advocates San Antonio is one of 1,055 programs in 50 states affiliated with the National CASA Association. Nationally, Court Appointed Special Advocates (CASA) was launched in 1977 by a Seattle Superior Court judge who utilized community volunteers to speak for the best interests of abused and neglected children in court. Locally, recognizing a critical need for Advocate services to aid abused and neglected children in San Antonio, the National Council of Jewish Women founded CASA in 1984 to serve children in Bexar County.  For over 29 years, CASA has successfully provided abused and neglected children in Bexar County a unique service that no other agency does. Through our community volunteers, we provide critical advocacy to these vulnerable, at-risk youth, ensuring that their needs and best interests are addressed.