tag:blogger.com,1999:blog-75378609959706038612024-03-13T14:03:55.014-07:00Theatre For ChangeTheatre For Changehttp://www.blogger.com/profile/11359843114709053653noreply@blogger.comBlogger83125tag:blogger.com,1999:blog-7537860995970603861.post-43314624068510307742016-10-08T09:22:00.000-07:002016-10-08T09:22:10.990-07:00Marriage Play: Like a horse and carriage<i>by Jenni Morin</i><br />
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Premiering in 1987, <i>Marriage Play</i> continues to fascinate audiences with the mundane, yet devastatingly inevitable, dissolution and disillusion of one of the most fundamental relationships recognized in society. Mere weeks after the passing of Edward Albee, one of the most celebrated American playwrights, <a href="http://www.classictheatresanantonio.org/" target="_blank">The Classic Theatre of San Antonio</a> presents the opportunity to revel in his work with the staging of <i>Marriage Play</i>, now showing through October 23.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyME-W4w2-4t50n2Si35mP3AnlG-3BFpWdDKf3EZRsHfZUX3qSY3BW8EKbzOeGrbvlzCbkGXSDRN0QmOflwHcPc1wnglCsWIfS9fOSX4jjVLpafrxAE4SLEZGQsrYcGQ6pGcwqesa2KG4/s1600/marriage-play-babbitt-thornton-classic.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyME-W4w2-4t50n2Si35mP3AnlG-3BFpWdDKf3EZRsHfZUX3qSY3BW8EKbzOeGrbvlzCbkGXSDRN0QmOflwHcPc1wnglCsWIfS9fOSX4jjVLpafrxAE4SLEZGQsrYcGQ6pGcwqesa2KG4/s320/marriage-play-babbitt-thornton-classic.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Catherine Babbitt and Andrew Thornton<br />
in Marriage Play at The Classic Theatre. <br />
<i>Photo by Siggi Ragnar.</i></td></tr>
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After 30 years of marriage, Jack returns home early from work one afternoon to tell his wife he is leaving her. When Gillian’s reaction is unsatisfactory, Jack attempts to break the news again and again, hoping for any response beyond nonchalance. Verbal and physical attacks ensue, passages are read from Gillian’s lovemaking journal, indiscretions are revealed and apologies mingle with reminiscence. The back and forth leaves audiences questioning if they will be able to reconcile or if they will numbly acquiesce in the unavoidable.<br />
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As Jack, Andrew Thornton opens with a matter-of-fact sterility and exhaustive narration of his decision, indicative of Albee’s style. His repetitious speech is accentuated by sarcastic interjections from Catherine Babbitt’s Gillian. After role-playing two schoolchildren goading each other, each expertly navigates their expectation-obsessed, confused and devastated character through a beautifully verbose sophisticated quarrel. On a near-bare stage, Babbitt and Thornton grapple with the vacant passion and bitter comfort of marriage while trying to understand how what has become nothing is no longer enough. Albee poses an exercise in acceptance leading to the discovery that “the greatest awareness leads to the greatest dark.” Somehow, in the banality of loss there lies profundity. Director Tim Hedgepeth choreographs Albee’s words into banter, leaving stifled dialogue aside as the characters settle into the script. Void of over-dramatization, Thornton and Babbitt are free to frankly portray their characters with an unexpected hint of stark realism. Kaitlin Muse’s lighting design underscores the disquieting everyday occurrence with an afternoon sun streaming through blinds and a subtle prolonged dissolution of light into darkness.<br />
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Couples, especially of many years, commonly struggle to maintain individuality, often forgetting, as Gillian points out, that they choose to be together – or, at least, those strong enough to be alone do. With all its many insights, Albee’s <i>Marriage Play</i> teeters on the cusp of revelation, forcing audiences to empathize but not quite understand Jack’s enlightening out-of-body experience. Perhaps the answer to the age-old question of what happened at the end of marriage boils down to nothing.<br />
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Albee’s legacy lives in the depth of his exploration into the unremarkable yet defining moments of the human experience. The Classic Theatre production of <i>Marriage Play</i> honors that legacy with a thought-provoking, humorous at times, exhibition of how a good script with a talented cast can stand alone as impeccable theatre.<br />
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<i>Marriage Play</i> will run at The Classic Theatre through October 23, 2016 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-89540689339916589912016-09-03T11:36:00.000-07:002016-09-03T11:36:26.198-07:00Where You Come From: The House on Mango Street<i>by Jenni Morin</i><br />
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Last produced in San Antonio 20 years ago, Sandra Cisneros’ <i>The House on Mango Street</i>, adapted for the stage by Amy Ludwig, opens <a href="http://classictheatre.org/" target="_blank">The Classic Theatre of San Antonio</a> season with an impressive brandishing of culture. <i>The House on Mango Street</i>, now showing through September 25, demonstrates the profundity of simplistic storytelling and the value of cultural and self-awareness. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEZPPeAQI8fq2mwdLDoIPwlo5LKEnKPkkHf7eLknJ2AyYaD9vxMtp6_1KaDpGq66f1NYdHZxWaW_vvl1dF0pFMShwoEpwkKo0-tfWmX-3rrQq6h981Kb9TCdxDdO-bxOLFfxxwbXY_KA/s1600/house-on-mango-street-review-classic-san-antonio.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHEZPPeAQI8fq2mwdLDoIPwlo5LKEnKPkkHf7eLknJ2AyYaD9vxMtp6_1KaDpGq66f1NYdHZxWaW_vvl1dF0pFMShwoEpwkKo0-tfWmX-3rrQq6h981Kb9TCdxDdO-bxOLFfxxwbXY_KA/s320/house-on-mango-street-review-classic-san-antonio.jpg" width="320" /></a><i>The House on Mango Street</i> is a coming-of-age story comprised of vignettes from young Esperanza’s upbringing in Chicago. From the carefree games of preadolescence to the cusp of puberty to the confusion of teenage sexuality, Esperanza details her keen observances of the relationships, interactions and choices – especially of women – that seem to trap them on Mango Street. As she struggles to belong, she must accept her family, friends and Chicano culture will “always be who you are.” She vows to leave Mango Street, rejecting the prescribed gender role and place by a window, knowing she must one day return for the betterment of the community and those who are not able to leave.<br />
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Director José Rubén De León resurrects <i>The House on Mango Street</i> with fervor and grace, orchestrating an engaging production emphasizing the many talents of the cast. Thrust into the role of Younger Esperanza a mere eight days prior to opening, Bella Villarreal naturally portrays the innocence of the lead role even while referring to a prop prompt book, which feels more fitting for the character than distracting. Gypsy Pantoja as Older Esperanza guides her younger self through each scene, providing a wise foreseeing lens from which to view each experience. Averaging more than eight personas each, the supporting ensemble cast animated the vignettes with a volley of stock and endearing characters and provided a temperate pace. Maria A. Ibarra bore most of the maternal roles, each with a distinct backstory. The comedic roles fell to the hilarious Eraina Porras, while Arianna Angeles compassionately delivered dramatic moments. Athough the male characters are less defined in the script by design, Salvador Valadez, Gabriel Sanchez and Joshua Segovia were not deterred and all delivered compelling performances.<br />
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The production becomes the embodiment of Esperanza’s stories when the dull backdrop of the set is imbued with color and life as the vignettes paint vivid memories across the static scenery. Allan S. Ross’ set provides a near blank canvas to accommodate the script while maintaining his signature textures and dimensionality and prominently displaying the reality and the dream of the play’s title. Costume Designer Jodi Karjala stepped up to the challenge of visually distinguishing each character, while Pedro Ramirez delineated scenes and added a layer of subtlety with his lighting design. While the execution of the sound often felt choppy and abrupt in transitions, Rick Malone’s music and effects choices were inviting and invigorating.<br />
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From the importance of education to being comfortable in one’s own skin, the play’s message of empowerment especially encourages girls to change their own lives rather than waiting for someone else to. With an infusion of language and culture, The Classic Theatre production of T<i>he House on Mango Street</i> exemplifies how talent elevates a script when simply told. <br />
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<i>The House on Mango Street</i> will run at The Classic Theatre through September 25, 2016 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-18130644539202726532016-06-17T19:03:00.002-07:002016-06-17T19:03:56.956-07:0014 Preserves Innocence<i>by Jenni Morin</i><br />
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In the wake of the Orlando shooting, <i>14</i> Creator and Director Roberto Prestigiacomo offers a glimmer of joy and a sense of peace in youthful naivety. In its last weekend at the Carlos Alvarez Studio Theater at the <a href="https://www.tobincenter.org/" target="_blank">Tobin Center</a>, <a href="http://atticrep.org/" target="_blank">AtticRep</a>’s <i>14</i> is a beacon of hope for a better future through the post-9/11 generation.<br />
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<tr><td class="tr-caption" style="text-align: center;">AtticRep's <i>14</i> at the Tobin Center. Photo by Siggi Ragnar.</td></tr>
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Exploring the life experiences through the eyes of a rising teenager, Prestiagiacomo creates a fantastical world of beauty, light, and freedom. Even with the challenges of childhood – fitting in and finding an identity – the main character, Maia, retains her childlike virtuosity. She finds strength after nearly being blown away, learning to float and fly. Her curiosity is not dampened by an onslaught of social media, visual stimuli, or commercials, which she’s able to mute in the background since her entire life experience has always consisted of these things. As she grapples with making sense of history and iconic figures, such as Santa, in her life, she learns to distinguish and analyze, but never loses her sense of wonder. Maia embodies the simplicity of childhood and <i>14</i> captures an age just before the superficialities of teenage angst take over.<br />
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A refreshing piece of performance art, <i>14</i> showcases the strength of not only its dancers, but of dance as an emotive art form. Just as Prestigiacomo described, the theatre is transformed into a safe place void of tragedy, war, and hate. The show opens with an almost robotic building of the New York skyline with books. The movement choreographed by Mireya Guerra seems to represent the clockwork dependability and structure of the twin towers and world economy prior to the terrorist attack. A toppling of rectangles of light, a virtual set hauntingly designed by Stefano Di Buduo, is the precursor to the world Maia will enter. Corie Altaffer portrays Maia with an unbreakable confidence as she exhibits great control in her dance and aerial pieces and intense emotion in more stylized scenes. Choreographed by Julia Langenberg, aerialists Jenny Been Franckowiak and Elise Thea Sipos were mesmerizing as they twirled and posed in midair, eliciting gasps from the audience as they plummeted to the floor only to be caught by their fabric harnesses. Even though the contemporary dance pieces felt repetitious at times, choreographer Seme Jatib produced a comfort through consistency as well as a sense of identity. From the naked umbrella, which provides no shield from the elements, to the primary metallic Mylar balloons, to the ominous glowing masks, to the onstage slip and slide, each detail echoes the uncertain world where nonchalance is unattainable and fear is inevitable, yet happiness may always be just within grasp. Movers Georgette Lockwood, Mike Maria, Sarah Modisette, Maggie Tonra, and Gabriela Vazquez anchored the production’s tone, set the mood, and brought life to a silent, yet deafening, world.<br />
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At the intersection of dance and media, <i>14</i> is the innocence and glee seemingly long forgotten, but alive and well within the theater walls. AtticRep gives testament to the power of art and live performance to transport audiences to another place and time, rejuvenate the soul, and remind of the good and beautiful in the world.<br />
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AtticRep’s <i>14</i> plays at the Carlos Alvarez Studio Theater at the <a href="https://www.tobincenter.org/" target="_blank">Tobin Center </a>through June 19, 2016 with final performances on Saturday at 8 p.m. and Sunday at 2:30 p.m. For more information and to reserve tickets, visit <a href="http://atticrep.org/">atticrep.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-56506860172290490462016-05-21T10:24:00.000-07:002016-05-21T10:51:02.136-07:00Tribes: Language, Identity, Impact<i>by Jenni Morin</i><br />
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<i>Tribes</i>, by British playwright Nina Raine, explores how one’s mode of communication can define identity and belonging, while creating silos of communities. Now showing in the Cellar Theater through June 12, The Playhouse’s production of <i>Tribes</i> is an intense confrontation of connections taken for granted and language, spoken and unspoken.<br />
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<i>Tribes</i> opens with Christopher and Beth, both in their 60’s, dealing with all three of their adult children living at home again by spouting obscenities and disapproval. The family is supportive and loving in a damaging hyper-critical kind of way as Ruth tries to launch a career in opera, Daniel deals with relationship and psychological problems, and Billy, who is deaf from birth, returns home after college only to realize how much his family ignores him. The chaotic conversation of language and literature dominates this household of self-proclaimed creatives, while Billy’s inability to fully grasp the conversation or participate in it increasingly isolates him. When he finds solace and a companion in Sylvia at a deaf art show, he begins to immerse himself in the deaf community. As their relationship grows, Sylvia struggles with slowly losing her own hearing and Billy confronts his family. Each character must find a way to fit in, either within the family or their new personal situation, and express themselves in a way that may redefines their identity and how others interact with them.<br />
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Deafness is surprisingly loud as the Tribe characters describe the roars, rumbles, static and interference that bombard them in the same way the noise pollution of the human, animal, musical, mechanical, and electronic sounds disrupt a hearing person’s concentration. All the characters struggle with distinguishing what is being communicated through the noise and translating it into an understandable language, which is revealed as inextricably tied to their identities. While what a person is may be defined externally, determining the who can incite an internal struggle for finding identity and community. The cautionary tale of the <i>Tribes</i> family is the isolation of their household and self-disenfranchisement from a larger community, which could offer a sense of belonging as Billy discovers. Unfortunately, an individual’s identity is as much their personal discovery as it is society’s assignment, and conforming to the pre-determined abilities and disabilities of those assignments often outweighs respect for the person. What breaks apart the family in the play, and society as a whole, is an unwillingness to listen and let a person communicate—by expressing themselves in whatever language they choose, verbal or nonverbal—who they are and whether they consider their differences abilities or disabilities.<br />
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Director John O’Neill presents a compelling production with a diversely talented cast as he maneuvers actors through a literal and metaphorical treacherous terrain. Mark McCarver showcases his immense range in portraying Billy and taking on sign language for an emotional climax. Dedicated to his bombastic rants, Gary Hoeffler brings life to the polarizing character of Christopher. Kathy Couser beautifully plays Beth as the mother who holds the family together. Kimberlyn Gumm’s Ruth manages being over dramatic and levelheaded, often providing much-needed comedic relief. John Stillwaggon takes on a difficult role in Daniel, but the execution feels distracting and inflated at times. As Sylvia, McKenna Liesman provides a confident and solid performance, demonstrating her talent and range.<br />
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The set design by Ryan DeRoos impressively accommodates a large number of actors for the Cellar’s limited space, allowing them to move freely around the varied levels within the design of the living/dining area of the house, as well as the sliver reserved for Billy and Sylvia’s interactions. Pat Smith’s sound design begins with ironically tranquil symphonic interludes then slowly comes to mirror the disruption of normality, while simultaneously providing an auditory sampling of the noise of deafness. Angela Hoeffler’s costuming is both appropriate and flattering, yet sometimes at odds with the less than modern props and furniture. The addition of projected subtitles was welcome and a nice multimedia touch, along with the attempt to visually illustrate music to cap the first act. The lighting by Rachel Atkinson was suitable, although it occasionally made the subtitles difficult to read and felt disjointed with the sound coming out of scene transitions. <br />
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Tribes offers a profoundly different theatre experience while
demonstrating how inclusiveness can elevate empathy and the senses for a
visceral audience reaction. The Playhouse production of <i>Tribes</i> is an impressive confluence of language, emotion, and technical compliments, and a prime example of how theatre can be both impactful and introspective.<br />
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<i>Tribes</i> runs at The Playhouse Cellar Theater through June 12 with performances on Fridays and Saturdays at 8 p.m. and on
Sundays at 3 p.m. For more information and to reserve tickets, visit <a href="http://theplayhousesa.org/">theplayhousesa.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-10782171499826175162016-04-30T11:02:00.001-07:002016-04-30T11:02:21.360-07:00Born Yesterday: Knowledge is Power<i>by Jenni Morin</i><br />
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In the 70 years since <i>Born Yesterday</i> was penned by Garson Kanin, the nature of the government seems to have changed very little as corrupt officials and crooked businessmen sticking their fingers in politics continue to have more say than the people. With great attention to detail and a superb cast, <a href="http://classictheatre.org/" target="_blank">The Classic Theatre of San Antonio</a> proves <i>Born Yesterday</i> is just as relevant as it was in 1946.<br />
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<tr><td class="tr-caption" style="text-align: center;">Greg Hinojosa and Hayley Burnside in <br />
The
Classic Theatre's <i>Born Yesterday</i>.</td></tr>
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When nefarious businessman Harry Brock comes to Washington, D.C. to bribe Senator Norval Hedges to pass legislation for his profit, his lawyer Ed Devery points out that his unrefined and flighty girlfriend, Billie Dawn, may become a liability in his business dealings. Enlisting the services of Journalist Paul Verrall to smarten her up, Brock is blind to their growing feelings and how Billie's new knowledge could backfire and put their whole arrangement in jeopardy.<br />
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At its core, <i>Born Yesterday</i> is a power struggle between the little guy (or lady), the big guy, and government, with truth and knowledge being the key to power. No matter how much Brock beats Billie, either emotionally or physically, she overcomes her subservience to get the better hand. A great analogy for the play manifests in the scene where she continually beats in him in Gin rummy after he taught her to play. The current political climate certainly adds to the script’s appeal as Brock eerily mirrors the fast-talking, fake-looking, catchphrase-spouting caricature dominating the 2016 primary election. In a sense, Verrall issues a call to action for the people to educate themselves in order to make an informed decision, especially when they feel their elected officials are not justly representing their constituents. By the end, <i>Born Yesterday</i> is as much about female empowerment as it is about democracy as Billie literally gets some sense knocked into her and is able to leverage her power to right wrongs and get what she wants and deserves. <br />
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Matthew Byron Cassi directs a compelling production chock full of significant, yet often silent, moments that simultaneously give the characters depth and motivation. The set design by Karen Arredondo-Starr stayed faithful to the period with a dark marble façade adorned with art deco architectural details and accented by postmodern furnishing and Kendall Davila’s stunning geometric floor artwork. Always acutely aware of the details, the Classic’s impeccably decorated set was complimented by Diane Malone’s period-appropriate head-to-toe costuming. Rick Malone’s sound design set the mood with Victrola-era harmonies about the nostalgia of romance and the lighting design by Steven Starr set the scene. <br />
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As Harry Brock, Greg Hinojosa is a charismatic womanizer who overcompensates and is quick to anger, but still able to draw sympathy – quite an acting feat. Hayley Burnside gives Billie Dawn life with an unending range or facial expressions and ability to engage an audience throughout an elongated, yet revealing, game of gin. Nick Lawson harnesses the passion and righteousness of Paul Verrall while mastering physical comedy and eloquent speeches. Byrd Bonner admirably portrays the dishonest lawyer with his knack for the language and cadence of period dramas, albeit somewhat forced at times. Chuck Wigginton’s Senator Norvall Hedges makes an accurate impression as a bribeable pushover with his haughty wife played spot-on by Alexandra Montgomery. Gabriel Sanchez portrays a great henchman as Eddie Brock. The hotel staff made up of Catie Carlisle, Ross Avant, Alejandro Pesina, and Bekka Broyles do their best work in their physicality and telling glances. Altogether, the well-rounded cast offers a natural, even, and very entertaining performance.<br />
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The technical orchestration and organic acting provided a beautiful pace, allowing The Classic’s production of <i>Born Yesterday</i> to be impactful, engaging, and insightful. <i>Born Yesterday</i> urges the so-called weak and powerless to channel knowledge into a productive and liberating movement to pursue what and who they want to be.<br />
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<i>Born Yesterday</i> will run at The Classic Theatre through May 22, 2016 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>. Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-60586988098531797062016-04-08T18:44:00.000-07:002016-04-08T18:44:04.694-07:00Moms take the field<i>by Jenni Morin</i><br />
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The mommy wars have come a long way since Kathleen Clark penned <i>Secrets of a Soccer Mom</i> in 2008, but many of the play’s messages bare repeating to keep the gender equality fight on course. Energetic directing and a talented trio of actresses keep the conversation, and the game, going in <a href="http://atticrep.org/" target="_blank">AtticRep</a>’s production now showing in the Carlos Alvarez Studio Theater at the <a href="https://www.tobincenter.org/" target="_blank">Tobin Center</a> through April 17.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiV9hDBWzDLkPlPv1Y3v8rfsnYnhRluT7jpdL4SVdb-QTRvSvoGkzRxZrEhn67HvePJVeMCXbi_uIufZLqukH3o2coAnMyk8eXkkd20nftWd1MynG4iKpEAW6nECaawrM7V-HtgcGNKKA/s1600/soccer-mom-atticrep.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiV9hDBWzDLkPlPv1Y3v8rfsnYnhRluT7jpdL4SVdb-QTRvSvoGkzRxZrEhn67HvePJVeMCXbi_uIufZLqukH3o2coAnMyk8eXkkd20nftWd1MynG4iKpEAW6nECaawrM7V-HtgcGNKKA/s320/soccer-mom-atticrep.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maggie Tonra, Anna De Luna, and Georgette Lockwood in <br />
AtticRep's <i>Secrets of a Soccer Mom</i>.</td></tr>
</tbody></table>
Alison, Lynn, and Nancy gather at their sons’ soccer field for a spirited mother-son scrimmage on a Sunday afternoon. As they fight the boredom of the bleachers, they each reveal how frustrated and lost they feel with the choices they’ve made, yet don’t seem to regret. Alison struggles with infidelity after marrying young and giving up athletic competition at the request of her oppressive husband. Lynn immerses herself in PTA duties, planning class trips, and organizing activities for the kids after giving up a career in social work. Nancy reveals how isolated she feels as an introvert who has suppressed her ambition to be a photographer, wondering if it’s already too late for her to follow her dreams. The women gossip, talk about their marriages, sex, and how they’ve become those scary mothers who yell at their children. Not able to decide if it’s best to let their sons win the match or not, they decide to throw it to make them happy, that is until their competitive nature kicks in and they feel the need to prove to their sons, husbands, coaches, and any onlookers, but especially themselves, that they are capable of achieving goals in more way than one.<br />
<br />
As Lynn, Georgette Lockwood employed an expressiveness in both face and body to give her character an unparalleled depth. She presented Lynn with an ease and her reversion to her cursing uninhibited former self felt rather natural. Anna De Luna tackled some very awkward phrasing in the script with grace, while allowing Nancy’s anxiety shine through. Maggie Tonra’s Alison confidently held the stage, admittedly with some of the juiciest moments. Despite some of the seemingly stilted language in the script, the women easily bonded in friendship, albeit a little too conveniently.<br />
<br />
Clark’s <i>Secrets of a Soccer Mom</i> may very well feel dated for young mothers even only eight years out. The conversation about motherhood has been rapidly transforming into a wider discussion of gender equality. Unfortunately, Clark focuses on only a specific set of mothers who are financially well off enough to not need to work, dabble in volunteer work, and pursue expensive hobbies, which unfairly paints a picture of bored housewives rather than the majority of mothers who struggle with work-life balance and making ends meet. Even by including diversity in casting, the script doesn’t allow for an alternative storyline since none of the characters reference working mothers, differing backgrounds, or tensions outside of their own personal perspectives. What is most notable, however, is the idea that mothers cease to be individuals, or even women, with their own desires or aspirations when they give birth. Loss of identity is the overarching theme in the script and while absolutely universal, seems to be an issue especially with American women who live in a culture where keeping a child happy is more important than teaching independence or equality. Even as the characters reject the label of “soccer mom,” they embody it. In the end, if parenting is just a guessing game, all the stress seems unnecessary. The most important takeaway should be to encourage women to not surrender their needs or their womanhood to motherhood.<br />
<br />
Director Marisela Barrera expertly used movement to keep the action fresh in a stagnant setting. Mike Maria infused the workout-worthy tunes into the soundtrack for a fun and athletic atmosphere, but could have been slightly more subtle with some specials in the lighting design. Many of the scene transitions felt labored and interrupted the momentum of the show. Designed by Martha Penaranda, the set, made up of a grass turf and standard bleachers littered with soccer paraphernalia, created a nice backdrop for her athletic wear costumes. The production design as a whole gave the characters a lift from the stereotypical while providing a playful canvas for a somewhat enlightening conversation.<br />
<br />
A lighthearted show, The AtticRep production of <i>Secrets of a Soccer Mom</i> illustrates how experiences and sensibilities can span cultural divides. AtticRep entertains while presenting many issues to mull over concerning women and motherhood.<br />
<br />
<br />
<i>Secrets of a Soccer Mom</i> runs at the Carlos Alvarez Studio Theater at the Tobin Center through April 17 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m. Sunday. For more information and to reserve tickets, visit <a href="http://atticrep.org/">atticrep.org</a>. Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-64903759439668475252016-03-19T14:05:00.004-07:002016-03-19T14:05:58.575-07:00Beauty of LaBute<i>by Jenni Morin</i><br />
<br />
In Neil LaBute’s <i>reasons to be pretty</i>, looks are everything as they end relationships, define friendships and dictate life paths. <a href="http://theplayhousesa.org/" target="_blank">The Playhouse Cellar Theater</a> production of <i>reasons to be pretty</i>, which runs through April 10, focuses on the language and relationships with a talented cast set against a blank stage.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEQZXEqXo1SFiS21leJWOby5Eh88llqWWWAwkuetTfCXiGSDrrLvcM0XSUWV0LyjGrzYTcw2joRX8n00fMw7r32LRv1Z-d1QnW_HrwuZ7SVKvE6eDFUmkTJdKpAaNhrqULGvaZ2NP3xg/s1600/reasons-to-be-pretty-labute-playhousesa.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhEQZXEqXo1SFiS21leJWOby5Eh88llqWWWAwkuetTfCXiGSDrrLvcM0XSUWV0LyjGrzYTcw2joRX8n00fMw7r32LRv1Z-d1QnW_HrwuZ7SVKvE6eDFUmkTJdKpAaNhrqULGvaZ2NP3xg/s320/reasons-to-be-pretty-labute-playhousesa.jpg" width="207" /></a>Written in 2008, <i>reasons to be pretty</i> serves as a precursor to the semi-anonymous commentary proliferating social media where apathetic insults are hurled upon unsuspecting readers and creating a culture disinterested in thinking before speaking – or rather, posting. When Greg unwittingly compares the looks of a new girl at work to those of his girlfriend, Steph, he is over heard by Kent’s wife, Carly, who tells Steph that Greg thinks she is ugly. Greg’s comment hurts Steph so deeply, she ends their four-year relationship. Carly gives Greg the cold shoulder until she needs him to admit Kent is having an affair with the pretty new girl who started the whole thing. Greg, after months of self-reflection, becomes fed up with Kent and his disregard for his wife and obsession with women’s looks. Stuck in dead-end jobs and unfulfilling relationships, each character has a moment where they must decide to move past the superficial nature of their lives and look deeper into what will make them happy.<br />
<br />
Director David Rinear creates a beautifully choreographed dance, taking advantage of the open space and moving the actors in a way necessary for the staging, but also to keep the pacing in a play that can sometime feel repetitive as profanity dominates the vocabulary of the characters. Since LaBute’s characters can and do exist anywhere and everywhere, the blank stage of the Cellar’s blackbox space allows for the characters to be exposed, unadorned and everyman. Ryan DeRoos’ set design epitomizes less is more while Megan Reilly’s simple, yet textured lighting design perfectly compliments the blank stage. The sound design by Pat Smith sets the time period with nostalgic alternative popular music of the 2000s, although the abrupt fadeouts after scene transitions feels a bit jarring. The costumes by Sophie Bolles bring the production together, setting the scene in the absence of set pieces. <br />
<br />
As Greg, Ty Mylnar taps into the quintessential clueless male, but shows his talent by balancing a deer in headlights looks with quick witted quips, which add a much needed tinge of intelligence and humor to the production. Nathan Thurman takes on the sleazy womanizing Kent who cares more about a company baseball trophy than his relationships. Ashley Greene as Carly represents the pretty in the title and plays to the character’s ditziness, although sometimes missing the mark on genuine emotions. Laura Michelle Hoadley brings out Steph’s crazy while maintaining her romantic, sometimes pragmatic, sentiments toward her idea of what a relationship should be.<br />
<br />
LaBute has earned a reputation as a misanthrope, but his accuracy in how so many millenials speak and think can feel like an unabashed criticism of an entire generation when it’s so far removed from the reality of the traditional theatre patron. But what continues to make <i>reasons to be pretty</i> relevant are the many angles from which it can be approached. For example, while rampant narcissism is still a theme in today’s social media culture, the shift to body shaming and trolling has become the new focus and comments on another’s looks are on full display in this work. In a world where emojis replace words and profanity replaces adjectives, it’s not hard to imagine those in a less than glamorous life with little prospects clinging to fleeting youth and beauty. In the end, it’s refreshing to see a realistic evolution for most of the cast as they finally make decisions to better their lives and leave behind what has stunted their maturity.<br />
<br />
While LaBute details an authentic glimpse at an intriguing age group, <i>reasons to be pretty</i> allows the audience to ascertain the subtext and do what theatre is meant to do—hold a mirror up to society. The Cellar Theater provides the perfect venue for <i>reasons to be pretty</i> as it showcases the keen eye of a seasoned director at the helm of a complimentary cast.<br />
<br />
<br />
<i>Reasons to be pretty</i> runs at The Playhouse Cellar Theater through April 10 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. For more information and to reserve tickets, visit <a href="http://theplayhousesa.org/">theplayhousesa.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-11350543870550476252016-02-27T10:40:00.000-08:002016-02-27T10:40:50.823-08:00Creatures of the Night may break you<i>by Jenni Morin</i><br />
<br />
<i>Creatures of the Night</i>, written and directed by Emily Fitzgerald, challenges the resilience of humanity with an intriguing detective’s mystery. Now playing at <a href="http://www.theovertimetheater.org/" target="_blank">The Overtime Theater</a> through March 26, <a href="http://swalda.org/" target="_blank">SWALDA</a>’s production provides a brief glimpse into the dark underbelly and psychological warfare crime plays on the fabric of civility.<br />
<br />
<a href="http://theovertimetheater.org/wp-content/uploads/2016/02/Creatures-Characters-2-small-203x300.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://theovertimetheater.org/wp-content/uploads/2016/02/Creatures-Characters-2-small-203x300.png" /></a><i>Creatures of the Night</i> follows Private Investigator Annabelle Valentine and her partner Mike Dandy as they embark on pseudo detective work until Dandy’s old flame, Irene Lerad, comes back in town. Wary of Lerad’s connection to organized crime and her unsavory henchwomen, Valentine takes it upon herself to protect Dandy. The mystery deepens as bodies turn up and Valentine and all those she comes in contact with become entrenched in finding the mastermind criminal behind it all.<br />
<br />
True to the playwright’s intent, the clues become obvious in retrospect and the play is a success as a mystery. The soliloquy proves an imperative device throughout the script as Valentine analyzes her situation as well as her own psyche. Her fascination with vampires and darkness serves as a great metaphor for describing how “crime leaks vitality” and the possibilities of the uninhibited mirror those of the immortal. While the “don’t let it break you” mantra at times feels overdramatic, its repetition fortifies the play’s conclusion. One atypical notion that perhaps makes the script more thought provoking, but still feels incongruent and far-reaching, is how evil abandons preying on the weak to systematically break stronger souls and then recruit them for an even more unhinged and dangerously loyal army. This frightening strategy serves as a warning amidst current events, from terrorism recruiting to electing the wrong commander in chief, making the play more relevant than perhaps ever intended. <br />
<br />
As Valentine, Sarah Nixon Hemmi dutifully led the cast and provided the most developed character, although eye contact during the soliloquies would have been more engaging. Jay Overton as Joe conquered a formidable role, while Miguel Di Costanzo as Mike Dandy and especially Laura Epstein as Aurore Clement were steadfast and convincing in their portrayals. Deborah Basham-Burns’ Piper Prudeaux was the most natural, as Michele Wisniewski certainly captured creepy along with Chelsea Robertson’s unexplainable Jessop. Abbey Storch as Adele Dixon, Justin Keown as Lt. Jefferson Thomas, and Cristina Rodrigez as Irene Lerad rounded out the cast.<br />
<br />
For her first full-length play, Fitzgerald weaves an interesting tale complete with favorite stock characters of the mystery genre. The lighting was much too bright to evoke a sense of noir, which would have been a welcome technical layer in the production. The lack of intermediary music to cover the scene changes, however, was the most noticeable lost opportunity for foreshadowing, elevating the feeling of suspense, and bridging the scenes. The set by Alex H. Coy IV and Chris Champlin was well-plotted, decorated with detail and gave a framework to the production. Even as the pacing was slower than desirable, the relationships between the characters and the mounting mystery propelled the action to a satisfactory ending.<br />
<br />
Fitzgerald’s <i>Creatures of the Night</i> offers an entertaining new twist on the villain and hero dichotomy. Although the Overtime production lacked technical elements and truly gripping characters, it questioned some of the basic perceptions of good and evil in an enjoyable rendition of mystery theatre.<br />
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<br />
<i>Creatures of the Night </i>plays at <a href="http://www.theovertimetheater.org/" target="_blank">The Overtime Theater</a> through March 26 with performances at 8 p.m. on Fridays and Saturdays; 7 p.m. on Sunday, March 6; and 3 p.m. on Sunday, March 20. For more information and to purchase tickets, visit <a href="http://www.theovertimetheater.org/">www.theovertimetheater.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-18659229412116658392016-02-13T11:04:00.002-08:002016-02-13T11:31:03.810-08:00Breathing life into The Seagull<i>by Jenni Morin</i><br />
<br />
The passion, fame, insecurities and life’s purpose detailed in Anton Chekhov’s <i>The Seagull </i>are as applicable to today’s obsession with obsession as they were when it first premiered in 1896. <a href="http://www.classictheatre.org/" target="_blank">The Classic Theatre of San Antonio</a> makes this Chekhovian comedy not only palatable, but also enjoyable and relevant. The immensely talented cast of <i>The Seagull</i> can be seen at The Classic through March 6.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf34FQJMXHROFZlTSa2eQgGFBCaXLzNyXAmwGZmCwG3Hlkn-7dsQAuNVL-Yadeu-OtTWDRSYmp3X1D8PKwIx63-iqQ-svF_a_byflHys-2YeUdZhXvoYnNyxWs0WIgrnZXpioi3_g_NYY/s1600/seagull-classic.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf34FQJMXHROFZlTSa2eQgGFBCaXLzNyXAmwGZmCwG3Hlkn-7dsQAuNVL-Yadeu-OtTWDRSYmp3X1D8PKwIx63-iqQ-svF_a_byflHys-2YeUdZhXvoYnNyxWs0WIgrnZXpioi3_g_NYY/s320/seagull-classic.jpg" width="166" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kelly Hilliard Roush and
Michael <br />
Holley in
The Classic
production <br />
of The Seagull. <i>Photo: Siggi Ragnar.</i></td></tr>
</tbody></table>
<i>The Seagull</i> takes place on the country lake estate of Peter Sorin, whose sister is famous actress Irina Arkadina and has taken famous writer Boris Trigorin for her lover. Irina’s son Constantine has written a symbolic play and cast his love interest Nina Mikhailovna of a neighboring estate as the lead. In an attempt to prove his worth and gain respect from his mother, Konstantin invites everyone, to view the play. After being mocked by his mother and Nina rejecting his love, Konstantin becomes depressed obsessed with dismantling the artistic conventions held dear by his mother and Trigorin who has seduced Nina. While Masha Shamrayev, the daughter of the stubborn estate manager Ilya, is courted by Simon Medvedenko the teacher, she pines for Constantine. Her mother Paulina asks to be whisked away by Dr. Yevgeny Dorn who is a family friend and physician to the elderly and ailing Peter. The humor lies mostly in subtext and the unpredictable emotional poles of every interaction, which is heightened by each character’s own self-importance. As the unrequited love in the various triangles is destroyed, they each must reinvent themselves or accept the lives their passion has dealt them. <br />
<br />
Exuberant narcissism fuels <i>The Seagull</i>’s energy as The Classic cast portrays complex and intriguing characters reminiscent of today’s self-indulgent artistic elite. Director Allan S. Ross exhibits them as fascinating subjects who are as endearing as they are detestable. The set by Ric Slocum feeds into this voyeurism with floating gilded frames and a haunting yet enchanting backdrop of birch trees. A constant reminder for the country’s nature and openness, Rick Malone’s sound design juxtaposes the restlessness and dissatisfaction they each feel in their lives. The lighting by Pedro Ramirez readily sets the mood and highlights key symbolism throughout, including Richard Solis' title prop. However, Diane Malone’s costumes bridge the technical elements to the actors with breathtaking ensembles from head to toe, all period appropriate.<br />
<br />
Leading the cast with an unparalleled mastery of manipulation was Kelly Hilliard Roush’s Irina Arkadina, possessing an alluring stage presence reserved for those with exquisite talent. Jonathan Pollei’s portrayal of Boris Trigorin perfectly complemented Roush as he bore the cross of fame and talent with poise and intrigue. Chelsea Dyan Steele as Masha, John D. Boyd as Simon and Catherine Babbitt as Paulina were all masters of subtext as they exchanged glances. Joe De Mott as Ilya, along with Michael Duggan as Peter Sorin, provided great comedic relief with perfectly timed interludes. Michael Holley played Constantine as a mix of Hamlet and Romeo and Julya Jara handled Nina’s arc with graceful melodramatics, both perfectly appropriate for Chekhov. Through it all, Andrew Thornton provided a constant and refreshing wisdom in Dr. Yevgeny Dorn, bridling the emotions of the others.<br />
<br />
Perhaps <i>The Seagull</i> is Chekhov exposing the addictive nature of writing and performance, which begs the question if Trigorin’s compulsion to write mirrors that of his author. It’s entirely possible the script reflects the playwright’s own feelings about fame, acceptance, frustration with artistic conventions, and even life wasted. Whether it’s pitiful or eerie, <i>The Seagull</i> seems applicable even more today with the proliferating obsession with selfies and celebrities. Nina’s fate can certainly speak to the detrimental effect of fame on those incapable of obtaining or navigating it—just as the seagull circling the water it loves can never see the bullet coming to knock it out of its lofty position in the sky. Beyond the symbolism of the lake and the seagull, the play’s subject matter is timeless as it explores human nature’s inevitable need for validation, a search for self-preservation, and how to live a life worth living, whatever that may entail for each individual. Each character seems to embody a fear they are powerless to overcome.<br />
<br />
A true ensemble, the entire cast of <i>The Seagull</i> at The Classic effortlessly mounted this passionately verbose and technically appealing production. The Classic makes Chekhov approachable, relatable and entertaining, a veritable feat over Russian literature for American audiences.<br />
<br />
<br />
<i>The Seagull</i> will run at The Classic Theatre through March 6, 2016 with performances at 8 p.m. on Friday and Saturday and
3 p.m. on Sunday. For more information and to purchase
tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-86847676323678347482016-02-12T09:14:00.000-08:002016-02-12T09:14:31.725-08:00The Amish Project: A reflection on school shootings<i>by Jenni Morin</i><br />
<br />
<i>The Amish Project</i> by Jessica Dickey exposes the residue tragedies leave in individuals’ lives with a frankness that is uniquely human. The AtticRep production, showing at The Tobin Center’s Carlos Alvarez Studio Theater through February 21, depicts the raw and stark reality a community must face as they are forced to find themselves in the aftermath.<br />
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In 2006 in Nickel Mines, Pennsylvania, a local milk truck driver opened fire in a one-room Amish schoolhouse, killing five girls and injuring five more all between the ages of 6 and 13 before killing himself. A national media story, the Nickel Mines shooting most notably showed the grace, compassion and ability to forgive on the part of the Amish people. Dickey’s script features fictional representations of people affected by the shooting, including the gunman’s widow, townspeople and shooting victims, all played by a single actress.<br />
<br />
Sarah Gise excellently portrayed the individual characters in body and tone, exhibiting an enormous talent. The delineations between each individual were evident and the transitions fluid, while the gender of the male characters remained less obvious. Although some accents faded and mannerisms crossed as the final scene approached, the seemingly unvaried facial expressions were what kept the characters from coming alive. Director David Connelly highlighted the staccato moments of quick transitions and created time for the audience to digest some of the more poignant and thought-provoking lines. Altogether, the production felt seamless with a pace that made the subject matter approachable as well as affecting.<br />
<br />
The technical aspects of the production helped define the characters as much as Gise’s voice and stance did. The lighting design by Tim Francis featured colors that evoked an almost visceral response to the characters they represented. Whether a pastel colored cyc, a distinctive pattern for texture, a shadow-casting television, or a sharply focused square spotlight, the lighting distinguished emotion from scene to scene. Furthering the tone of each scene were the sometimes light, often natural, mostly ominous musical selections and effects of Cole Wilson’s sound design. Of particular note was the evolution from light and carefree to dark and stormy during the pre-show, followed by chillingly deep strings and whispering winds throughout. <br />
<br />
Dressed in a simple blue dress with white apron and bonnet, Martha Penarand’s costume design anchors the production, providing an opportunity for audiences to reset and truly consider how the lifestyle of these people has persevered their faith, innocence and, possibly, sanity. Along the lines of simplicity, Jeremiah Teutsh’s bare set, save for a sturdy wooden chair, confined Gise to an angular platform backed by a horizontally slatted fence—a nice metaphor for the seemingly random horrors the Amish see as part of a larger plan.<br />
<br />
Whether it’s anger, grief, helplessness, fear or confusion motivating the response to tragedies like Nickel Mines, <i>The Amish Project</i> offers a means of processing the event and encourages a dialogue about society’s need to answer the why. Perhaps the relative pacifist nature of the script, lack of intense re-enactment, and media coverage saturated with shootings since has dampened how jarringly powerful <i>The Amish Project</i> was when it premiered in 2008. While today’s audiences may be jaded or numb, the messages still resonate.<br />
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All the elements of the AtticRep production of <i>The Amish Project</i> melded into an interesting study of human nature in the face of tragedy to create a graceful and engaging experience. In addition to a well-executed show, AtticRep encourages audiences to reflect on how these events shape personal and societal reactions and how changing those reactions can strengthen a community rather than divide it. <br />
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<br />
<i>The Amish Project</i> runs at the Carlos Alvarez Studio Theater at the Tobin Center through February 21 with performances at 8 p.m. Thursday through Saturday and at 2:30 p.m. Sunday. For more information and to reserve tickets, visit atticrep.org. Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-67069017298811401452016-02-06T09:31:00.001-08:002016-02-06T09:31:57.030-08:00The Diviners: Simple yet Lingering<i>by Jenni Morin</i><br />
<br />
<i>The Diviners</i> by Jim Leonard, Jr. may be about simple people, but the themes it explores delve into the depths of human nature, forces of nature and the natural cycle of life. <a href="http://www.vexler.org/" target="_blank">The Sheldon Vexler Theatre</a> delivers a lingering production that hints at these profound matters and bearing more weight in retrospect.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJbEPza21GiOWikrmGo4vgmqCIK7WQbLpMbBJOJOJuETB2P0OkQ-5EFx3OuHfhpJKGn2nVMU4F1TmJ-X7o1zJvr8_-JhifB3-oaImGe6X54rbiQjnvo4cFx9vJ2Tv3Ng3ACdJ8vKkA1Lg/s1600/diviners-vex.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJbEPza21GiOWikrmGo4vgmqCIK7WQbLpMbBJOJOJuETB2P0OkQ-5EFx3OuHfhpJKGn2nVMU4F1TmJ-X7o1zJvr8_-JhifB3-oaImGe6X54rbiQjnvo4cFx9vJ2Tv3Ng3ACdJ8vKkA1Lg/s320/diviners-vex.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Travis Simpson as C.C. Showers, Isaac Oullette
as Buddy <br />
Layman, and Alexandra Eckelbarger as Jennie-Mae
Layman <br />
in The Vex production of <i>The Diviners</i>.</td></tr>
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<i>The Diviners</i>, as the playwright notes, is about simple people with good intentions. Specifically, it zeroes in on a young boy, Buddy Layman, who has been psychologically and mentally debilitated by the death of his mother and his near drowning at an early age. While his father receives unsolicited advice on raising him and his sister cares for him without a life of her own, each character is very much a product of life in their small town in Depression era southern Indiana. When C.C. Showers, a former preacher, wanders into town, some believe their prayers have been answered, others notice his good looks, and the Laymans are happy to have someone to befriend and help look after Buddy who can predict the rain and is too afraid of water to wash. When Buddy develops ringworm, C.C. takes it upon himself to find a way to get Buddy in the water despite his protests.<br />
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Just like Buddy, The Vex’s presentation of <i>The Diviners</i> is a reflection of how something seemingly strange can be intriguing and beautiful. The staging by co-directors Dylan Brainard and Tami Kai feels disjointed and amiss at first, but gradually grows into a stylistic presentation, culminating in a much more affecting finale than if it had been presented without those peculiarities. The entire cast is a genuine ensemble steady in their representation of this unassuming community, although occasionally out of sync. Standout performances include Isaac Oullette as Buddy Layman, Alexandra Eckelbarger as JennieMae Layman, Laurie Fitzpatrick as Norma Henshaw, Chris Byrnes as Dewey Maples and Robert Moritz as Ferris Layman. It’s Travis Simpson’s portrayal of C.C. Showers that epitomized much of the quiet restlessness seeping from the script’s subtext.<br />
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Ken Frazier’s simple set of raked platforms, seemingly covered in dirt and framed by crates and barrels serving as seating and props, truly encapsulates the period. The most notable feature is the backdrop of water created by fabric strips in varying shades of blue, which serves as a reminder of the cleansing yet deadly element. The costumes were fitting and Yvette Oakes-Crabtree deserves a special nod for great attention to detail in distressing and dirtying the clothes and hat brims. Frazier’s lighting and Chad A. Miller’s sound design provided atmosphere and defined the scenes by washing the stage in blues and filling the space with nature’s cadence.<br />
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<i>The Diviners</i> supplies a medley of takeaways ripe for discussion. Its cyclical plot speaks to fate, nature’s rule, and religion’s role in shaping the inevitable. Almost as a character itself, water’s omnipotence grows as everyone tries to convince Buddy of its benevolence, only revealing Buddy’s omniscience about the element’s true nature. Minor themes of effective child rearing, resistance to technology and industrialization, appropriate relationships, and one’s true calling in life as it applies to work ethic help to round out the play’s commentary on humanity’s response to age-old questions of evolution, divinity and destiny.<br />
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The Vex production of <i>The Diviners</i> is an engaging and introspective theatre experience for audience members looking for a script to analyze as well as those just hoping for an escape into another time and place. Wrought with thematic gems, <i>The Diviners</i> delivers a deluge of analytical opportunities, while simultaneously yielding a simple and enduring story.<br />
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<i>The Diviners</i> will run at <a href="http://www.vexler.org/" target="_blank">The Sheldon Vexler Theatre</a> through February 28, 2016 with performances at 7:30 p.m. on Thursdays, 8 p.m. on Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit <a href="http://www.vexler.org/">www.vexler.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-1691240495752998322016-01-23T18:47:00.004-08:002016-01-23T19:10:47.781-08:00Stage Kiss: A farcical love letter<i>by Jenni Morin</i><br />
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Sarah Ruhl concocts a perfect cocktail of romance, comedy, and insightfulness as she draws back the curtain on onstage love interests in <i>Stage Kiss</i>. <a href="http://theplayhousesa.org/" target="_blank">The Playhouse San Antonio</a>'s Cellar Theater production of <i>Stage Kiss</i>, now showing through Feb. 14, reminds actors why they love their families and why audiences love to be swept away by the characters, situations, and connectedness of live theatre.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYcCXjXPxsJRWq__CldsuKHmxpUcX5TW5ZeXqcZvuC0OKfu4oaqOtJFKa0O8XezpJ_Algl6ZJG2qvqy9QkUlFYfwE4UPRc3Eds1uHqUsB_YFG-_J_IxPTFYuf2JvFz-d9V99o7ryDTAZk/s1600/stage-kiss.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYcCXjXPxsJRWq__CldsuKHmxpUcX5TW5ZeXqcZvuC0OKfu4oaqOtJFKa0O8XezpJ_Algl6ZJG2qvqy9QkUlFYfwE4UPRc3Eds1uHqUsB_YFG-_J_IxPTFYuf2JvFz-d9V99o7ryDTAZk/s320/stage-kiss.jpg" width="207" /></a>A rather meta-theatrical trip through a torrid romance, Ruhl has no qualms about exposing the ridiculousness of theatre and all its players through the quintessential stage kiss. When an actress is cast in a play after a decade off the boards, she attempts to make the best of having to work with her former love. Both battle succumbing to the plot of the play, no longer able to tell the person from the character when onstage kissing becomes more. <i>Stage Kiss</i> takes many twists, simultaneously overly theatrical and unexpected, which propel it toward the inevitable. From a random musical number to groan-worthy exposition to the plays within the play, <i>Stage Kiss</i> is, with all the intended irony and in the best way possible, <i>that</i> kind of play. Along the way, Ruhl presents several beautiful, and often critical, metaphors and observations about relationships, theatre, an actor’s craft, and reality, making it an irresistible script ripe for theatre lovers.<br />
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The Cellar Theater production of <i>Stage Kiss</i> is gloriously reminiscent and contemplative. Director J. Robert Moore found the delicate balance of comedy in each scene and throughout the play, but the melodic pacing and attention to the playwright’s juicy ruminations garner the highest commendation. Ryan DeRoos impressively fit two mainstage sets in the Cellar blackbox and created an apropos faux proscenium. Angela DeJano’s costumes were fitting and fun within the plays, while Denisse Chavez and Matthew Shavers’ lighting could have had a little more dramatic flare. The breakout musical numbers and tinny jazz, and somewhat vaudevillian, underscoring of Music Director Greg Bolin and Pat Smith’s sound design set the tone for a three-ring circus of a play. There were a few fumbles, inconsistencies between the tech and the script, and dismissed opportunities for immature innuendos—all forgivable flaws due to the nature of the piece. <br />
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Each of the actors wrangled the craziness into a magical and surprisingly sincere work. Renee Garvens and Tyler Keyes are magnetic scene partners and equally hilarious as their New Haven characters. Garvens and Keyes lead the cast through the zany and sentimental waves with a unique grace in both comedy and drama. Nick Lawson as the overzealous and peculiar Director Adrian Schwalbach paired with Travis Trevino as his stereotypical acting student, Kevin, create a delightful duo. Expertly and comically defining each of their multiple roles were Rainya Mosher, Brittney Thorne, and Matthew Byron Cassi, who deserves extra praise for the priceless execution of his prolonged death scene.<br />
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In the end—the real one, not the many false ones—<i>Stage Kiss</i> is a clever and introspective comedy with everything to love and loathe, but mostly love, in one play. While the script itself is worth the ticket, the Cellar’s production of <i>Stage Kiss</i> brings Ruhl’s commentary to life as a raucous and sentimental inside joke everyone wants in on.<br />
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<i>Stage Kiss</i> runs at The Playhouse Cellar Theater through February 14 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. For more information and to reserve tickets, visit <a href="http://theplayhousesa.org/">theplayhousesa.org</a>. Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-54928696485864722962015-12-14T20:48:00.002-08:002015-12-14T20:48:39.510-08:00The Elfin MetamorphosisAfter nearly two decades, Crumpet the Elf has made his way into the holiday theatre repertoire. <a href="http://classictheatre.org/" target="_blank">The Classic Theatre</a> offers <i>The Santaland Diaries</i> as an “adult, ” and somewhat cynical, escape from the wintry sparkling wonderlands of holiday cheer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivw4qMRl0UyPegQaEpDdRQj47Zl79QE28SYkx17Q-9KS_N9lcruDPmVU6vDRyajfA22s5df8ztYjS_tDLzCJk5Wlb3bPaBK7jxCcxXd54dewisDcRcITwi9CcDgVIFLH3TTXQD298NFhY/s1600/santaland-diaries-classic-theatre.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivw4qMRl0UyPegQaEpDdRQj47Zl79QE28SYkx17Q-9KS_N9lcruDPmVU6vDRyajfA22s5df8ztYjS_tDLzCJk5Wlb3bPaBK7jxCcxXd54dewisDcRcITwi9CcDgVIFLH3TTXQD298NFhY/s320/santaland-diaries-classic-theatre.jpg" width="320" /></a>David Sedaris takes audiences on a reflective, and simultaneously terrifying, journey through Macy’s SantaLand, where he once worked as an elf named Crumpet. Joe Mantello’s 55-minute adaptation hugs tightly to the twists and turns of the line to see Santa until arriving to find the jolly old elf, and perhaps the true meaning of Christmas.<br />
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For those who loathe Christmas tunes blaring in department stores before Thanksgiving, be prepared for the aural assault of the most annoying carols while waiting for the show to begin. Rick Malone masterfully sprinkles his sound design with the most fitting, eye-roll worthy sounds of the season. The lighting by Kaitlin Muse perfectly complimented Allan S. Ross’ set with twinkling lights for the trees and plenty of play space on a peppermint. Thanks to directors Kelly and Bart Roush, A special kudos to the crew for impeccable timing and allowing the technical aspects to be the supporting characters in a one-man show. Of course, it was Diane Malone’s spot-on costume design that really brought the elf home. <br />
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Deftly directed by Kelly and Bart Roush, John Stillwaggon braves the stage, in tights, for his one-man performance as Crumpet. While the opening tone at the thought of taking a job as an elf wasn’t as detestable as expected, his portrayal was much more realistic than previous, more affected, interpretations. The intimate space and thrust staging allowed for less dramatics and a more empathetic response from the audience as a whole. Despite a few awkward transitions, Stillwaggon gracefully ushered the script along a subtle arc. By the end, it feels as though he has shed his Grinch demeanor and undergone an elfin metamorphosis. As Crumpet the Elf, Stillwaggon restores the belief in Santa and the spirit of the season.<br />
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<i>The Santaland Diaries</i> is a welcome disenchanted wonderland, but, done right, can be just as heart-warming as Tiny Tim. The Classic Theatre and John Stillwaggon deceptively turn holiday snarls into smirks and reiterate why this production is a holiday tradition. <br />
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<i>The Santaland Diaries</i> will run at The Classic Theatre through December 20, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. and 7 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-84266847140694053842015-11-21T17:19:00.000-08:002015-11-22T12:50:20.436-08:00Medea may be you<i>by Jenni Morin</i><br />
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<i>Medea</i> often comes to mind as the quintessential Greek tragedy, but the genre is not always welcome or easy to digest. <a href="http://classictheatre.org/" target="_blank">The Classic Theatre</a> roaringly resurrects Euripides’ classic with an abridged version perfect for modern consumption.<br />
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<tr><td class="tr-caption" style="text-align: center;">Georgette Lockwood as Medea at The Classic<br />
Theatre of San Antonio. Photo by Siggi Ragnar.</td></tr>
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Mark Stringham’s original adaptation re-evaluates the notion that women are the weaker sex, giving new resilience, life and resolve to the ancient tale of a woman scorned. After carrying out the assassinations of both her brother and father king for the love of Jason, Medea and her husband flee. No sooner than she bears him children, he abandons them, only to return to take another bride. Wrought with grief and desperation, Medea resorts to homicide to protect her children and ruin her unfaithful husband. As director and writer Stringham points out, the end is always the same—however, it is the journey and twists that lead there open for interpretation.<br />
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In painstaking detail, the Classic’s production of <i>Medea</i> simultaneously transports audiences to ancient Greece while alluding to the present. Allan S. Ross’ thrust set is chock with symbolism as the crumbling columns give way to modern steel beams, plastic sheeting is used for curtains, and bolt heads on the angular steps provide industrial accents to the faux mosaic tile floor with Greek frets, compliments of Scenic Artist Kendall Davila. Composer & Musical Director John Coker immerses the audience in an undulating chorus of what sounds like rattlesnakes and katydids prior to curtain, then continues with ominous orchestrations providing a deep vibration of revenge, followed by an eerie electric organ. The period appropriate and detailed costumes by Vanessa J. Lopez move seamlessly with Susan Trevino’s beautifully stylised choreography. The undertone of the piece is furthered by Kaitlin Muse’s dramatic lighting, always featuring a tinge of blood.<br />
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<i>Medea</i> may be one of the more vile Greek tragedies as it is nearly impossible for audiences to conceive of a mother killing her children. However, given what the media has reported over recent years, it is perhaps more conceivable, but equally as horrifying, which Stringham is careful to include in his adaptation. His approachable adaptation condenses all the action into such an emotionally saturated hour, it doesn’t lack a drop of the original’s tragedy while it attempts to makeover Medea’s infamous image. Medea becomes a symbol of strength and resolve, confident in her power of destruction, rather than the popular and easier label of weak, scorned, and mentally unstable woman. While she may not be a role model in action, perhaps her legacy can evolve into that of a woman forced to carry out an unfathomably difficult decision for the ultimate well-being of her children. Because in today’s increasingly uncivilised world, having to make such decisions may just be a matter of time.<br />
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Georgette Lockwood’s Medea is unceasing and mesmerising, a most welcome talent to The Classic and San Antonio. Lockwood is complimented by her chorus—Sophia Bolles, Cristina Vasquez, Magda Porter, and Meredith Bell Alvarez—led by Mindy Fuller as Nurse, whose reverberating decries shook the audience to the core in true Greek fashion. Lockwood gloriously dominated her male counterparts in Michael Duggan as King Creon, Kerry Valderrama as Jason, and Guy Schaafs as Aegeus as each attempted to hold their own power over her, yet exited in grace and fear. Beck Broyles’ Attendant matched her meek king while Jack Dulling and Logan Trevino as Mermeros and Pheres offered tangible sacrifices.<br />
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The Classic’s production of <i>Medea</i> drips with intensity and echoes with contemporary nuance. Georgette Lockwood reinvents Medea in this pertinent, absorbing adaptation that redefines and reintroduces Greek tragedy.<br />
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<i>Medea</i> will run at The Classic Theatre through November 29, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com1tag:blogger.com,1999:blog-7537860995970603861.post-59897478514077425142015-09-13T19:04:00.001-07:002015-09-17T06:45:23.540-07:00Diva worthy Master ClassTrue greatness, the uncontested and monumental kind, is hard to come by. <a href="http://classictheatre.org/" target="_blank">The Classic Theatre</a> takes on Terrence McNally’s <i>Master Class</i>, now playing through October 4, and the unparalleled life of opera diva Maria Callas.<br />
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<tr><td class="tr-caption" style="text-align: center;">Anna Gangai as Maria Callas in The Classic Theatre's <i>Master Class</i>.<br />
Photo by Siggi Ragnar.</td></tr>
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McNally’s Callas is not only a raw version of the woman, but also a vessel by which to remind audiences the depth of emotion and sacrifice that envelops such iconic artists. It is their dedication and courage making a lasting impression of their careers, not just the performances and accomplishments. As Callas repeats over and over throughout the script, they give everything — yet, especially in today’s over-saturated limelight, truly great performers are too often taken for granted and left to compete with flash rather than substance.<br />
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The Classic Theatre production of <i>Master Class</i> exhibits exceptional talent rarely seen on San Antonio stages. Anna Gangai, once again, proves her own diva stature in her portrayal of the incomparable Maria Callas. Opening with a softer demeanor than expected, Gangai manages to endear audiences to an otherwise polarizing and intimidating legend. Every one of the vocalists in the cast were phenomenal singers with soaring voices much larger than the Classic’s space. Of course, the nature of the script brings the acting ability of singers under scrutiny and audience members can judge for themselves if they felt the expectation Callas lays out in the play is met. Amanda Golden as Sophie DePalma took Callas’ direction to heart, giving a much improved performance to culminate her time on stage. Jerry Cordova’s Tony Candolino seemed ingenuine, but made up for it with his moving vocality. Jacquelyn Matava provided a powerhouse voice to Sharon Graham, yet did not seem to reap as noticeable benefits of Callas’ criticism as the others. Regardless of the characters’ individual arcs, the singers each have amazing vocal talent and range, only accentuated by Josh Pepper’s accompaniment musical direction. Not to be forgotten, Pam Slocum was an appropriately dry stagehand, giving a short glimpse into the stark difference between the diva and the crew.<br />
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Diane Malone directed an unrivaled production with <i>Master Class</i>. Tim Francis’ lighting and Rick Malone's video designs were simple yet poignant, matching the bare stage set and allowing the performers and the music to take center stage. Rick Malone’s sound design blended perfectly with the live music, giving Gangai the ability to transport herself across time and space seamlessly.<br />
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What <i>Master Class</i> accomplishes above all, even more than depicting the life of Maria Callas, is reiterating the standard that must be met in order to rise to the level of greatness. Being memorable is not the same as being revered and fame doesn’t equal legend. Perhaps McNally is asking actors and audiences alike to demand a higher level of artistry and not settle for a nice voice, but reserve ovations for the most deserving. <i>Master Class</i> resurrects the ghosts of talents lost too soon and begs for a rededication to experiencing the magnified truth in art instead of investing in manufactured reality. After all, in order to elevate art, it is necessary to be uncompromising, strive for perfection and often succumb to the exhausting addiction it feeds, just as Callas did and taught.<br />
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The Classic Theatre’s <i>Master Class</i> delivers the same high caliber performances it commands with an obscene amount of local talent. <i>Master Class</i> should not only leave audiences with an appreciation for opera and the career of Callas, but also a desire to experience excellence in art, especially local theatre. Let this production set the tone for this theatre season.<br />
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<i>Master Class</i> will run at the Classic Theatre through October 4, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-48836230521401378412015-08-15T11:07:00.000-07:002015-08-15T11:07:47.610-07:00The Rose wants to talk about RACE<i>by Jenni Morin</i><br />
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David Mamet’s <i>RACE</i> is more pertinent, and perhaps polarizing, today than when it premiered six year ago, before Trayvon Martin and Michael Brown. The Rose Theatre Company’s production, now running through August 29, dares to tackle this difficult topic plaguing the American media and public conscience.<br />
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The play opens with two lawyers, one black and one white, Henry Brown and Jack Lawson, cataloging the many trials that brought about conspiracy within the justice system, racial and otherwise, to convince their prospective client, Charles Strickland, that he cannot win his case. Accused of raping his young black mistress, Strickland, a wealthy and successful white man, insists it was consensual and they were in love. As the afternoon unfolds, further evidence comes to light debunking the laywers’ defense strategy as Strickland insists on going to the press to tell his side of the story. Brown, along with their assistant Susan Davis, a young black woman, believe Strickland to be guilty from the start as Lawson jumps at the challenge to make the case not about race, or even sex, but the alleged victim’s red sequin dress.<br />
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Mamet’s dialogue is meant to be spewed at such a pace that the arguments can only culminate in reflective and seething silence. The build up during these exchanges felt lacking with an unsteady pace in The Rose’s production. Providing the most developed performance, Joseph Urick as Jack Lawson led the cast with snarky and arrogant rhetorical comments laden with politically incorrect descriptions. The rest of the cast often felt flat in their deliveries and disconnected from the action of the play. It wasn’t until the end, after much exposition by Torence White as Henry Brown, that Megan Van Dyke’s Susan Davis felt three-dimensional. David Blazer lacked a certain privileged pomposity indicative of the stereotypical Charles Strickland. While Chris Manley’s lighting worked for the space, it didn’t quite illustrate the short passage of time between scenes, making hours seem more like days. The sound effects were often mistimed, providing awkward moments, especially noticeable in a Mamet script where timing is crucial. The set, although appropriately painted in contrasting black and white, was sloppily constructed with bunched tape at the seams of the back wall and extraneous paint on the window, no at all reminiscent of a high-priced lawyer’s office. Director Morgan Clyde found the key lines to punch, along with some comedic moments to highlight, but the blocking often felt cluttered and stagnant for the stage configuration. Some of the extraneous exchanges in Mamet’s script can be blamed for the mid-play tangential trudgery, however it is up to the production to find the motivation and pacing to support the dialogue so it can have the intended impact.<br />
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<i>RACE</i> is as much about the systematic proliferation of racial tensions and injustices of the justice system as it is about race relations and perceptions. Mamet unearths simple, yet often disregarded, certitudes about the impracticality of color-blindness: as long as any one person is afforded certain advantages or exceptions based on race, it will influence the way businesses and people must behave and therefore make it impossible to treat everyone the same regardless of skin color. Little undeniable truths are sprinkled throughout <i>RACE</i>, as Lawson explains there is nothing a white man can say about race to a black person. Brown also acknowledges those of his own race who exploit it to get ahead, while Davis does just that.<br />
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With prejudices and perceptions so ingrained, the contradictory nature of affirmative action, and the struggle to reject racial identity yet celebrate cultural roots weighing down the debate, Mamet almost seems to sum up the denial of racism as succinctly as he does his play: guilty.<br />
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Regardless of the production quality, <i>RACE</i> at The Rose is worth the ticket to challenge conventional stances on race. If The Rose production’s whole purpose is to spur, or even halt, the timeworn discussion with new insights on the race debate, it’s a success.<br />
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<i>RACE</i> runs at The Rose Theatre through August 29 with performances at 8 p.m. on Fridays and Saturdays. For more information and to reserve tickets, visit <a href="http://therosetheatreco.com/">therosetheatreco.com</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-7910184742399666262015-07-22T11:50:00.000-07:002015-08-15T11:51:20.071-07:00Removing the muzzle: Q&A with Trigger Warning playwright David Legore<i>Jenni Morin talks with playwright David Legore about what prompted him to tackle academic freedom, campus carry and perceptions of PTSD in </i>Trigger Warning<i>.</i><br />
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<i>For more information of the Theatre For Change production of </i>Trigger Warning<i>, visit <a href="http://theatreforchange.org/trigger-warning">theatreforchange.org/trigger-warning</a>.</i><br />
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<b>What first prompted you to write about trigger warnings?</b><br />
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To be honest, the origins of the play had nothing to do with trigger warnings, as I’ve come to understand them. In fact, I had not even heard of the term or application until I had already begun writing. My primary focus was on matters of free speech and academic freedom in higher education, and the various populations who are affected by and involved in these matters. Early drafts of the play were entitled “Muzzle,” a title that I still find fitting for the piece. In doing research, however, I happened upon cases involving trigger warnings, and the content seemed appropriate, timely, and relevant for integration in this play. Ultimately, I’m interested in the dynamics of learning, and the exchange/dialogue between teachers and students as we seek enlightenment and truth. Furthermore, I’m responding to trends and cases from across the country that demonstrate how complicated these matters have become in the modern corporate academy. <br />
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<b>With the origins of trigger warnings in feminist blogging and violence against women, what was your motivation to turn the attention to combat veterans and PTSD?</b><br />
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As I’ve mentioned, the story was not originally informed by an awareness of trigger warnings or their applications in policy. There was a confluence of events and inspirations that ultimately led to the creation and integration of the characters, subjects, and themes of the play. I didn’t sit down to write a play about trigger warnings, combat veterans, PTSD, or any of the other myriad elements that one might extrapolate from the piece. I wrote about characters and situations within a given setting—a setting that I happen to care deeply about. I think creativity is often less linear and planned than we would like to think. When the muse is working, she hits the artist with a variety of seemingly unconnected inputs. The output is hopefully greater than the sum of the parts. That said, I do find myself drawn to stories that explore our deplorable human tendency to be brutal towards each other. Certainly, those victims of some traumatic or violent event—whatever the cause—are susceptible to post-traumatic stress. I am sympathetic to these victims and the repercussions of their trauma, but these layers in the play are a peripheral and organic result of the writing process—and not a central matter that fueled my motivation. <br />
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In many ways, the modern world has led to a collective sharing of these stresses—and, necessarily, that has an impact on higher education. The debate, of course, is how best to balance the care and concern for the individual with the need to challenge and prod the collective. How can we best solve the world’s complex problems in a society that is so clearly polarized? How can we cultivate meaningful dialogue and action among select citizens who demand insulating protection from anything that might offend their beliefs or sensibilities? I think that storytelling is a tool that allows all of us to process these complexities in a communal way. <br />
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<b>How long have you been working on the script and how many drafts have you written? Were the changes from each draft significant or minor?</b><br />
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I began writing in late May of 2014, and had a complete first draft in about three weeks. Subsequent drafts have involved what I would call minor but meaningful changes—a gender change and the addition of a minor character, for example. In a first draft, I’m quite deliberate before making a choice. Thus, by the time I’ve completed that draft I’m pretty comfortable with the whole. After allowing some time to pass, I find it helpful to return to the script on a regular basis with a fresh eye. In all, I have written around ten drafts, with targeted goals for each revision. For example, I might read and revise based strictly on the goal of “trimming the fat.” Another read and revision might look for differentiation between character voices. Ultimately, however, a writer can learn much from the early readings of the play. Certainly, I will also learn a great deal from this premier production—which will undoubtedly lead to further revision.<br />
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<b>The main character in the story has a huge change in his attitude toward the "triggered" student in the play. Does this in any way reflect your own views towards trigger warning policies?</b><br />
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Not necessarily. I am certainly more aware of the history and intentions of trigger warning policy. I would like to hope that I’m sensitive to the diverse and complex realities of the modern student population. I would never attempt to intentionally and knowingly traumatize a student. That said, as the character of Martinson asserts, I too am a flawed human being. I have undoubtedly said or done things that were triggering to a student. I am in a field that explores the “dramatic conflict” of the human condition—with stories that are often capable of triggering. I also don’t claim to be an expert on these matters. I’m a storyteller who is fascinated by them, and concerned about any trends or policies that would diminish or threaten our ability to explore truth (no matter the dangers), to dialogue with each other, and to take action for positive change. <br />
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<b>What does it mean to you to have your play produced by your university, especially on such a touchy subject in academia? </b><br />
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It’s humbling, and I’m grateful. As an alumnus and professor of 17 years, TLU has played a central role in my development as a human being and artist. It has helped form and “reform” my desire to seek reconciliation for our broken world. I think that is reflected in the play. I think the willingness to support the production at TLU is also consistent with the Lutheran tradition of higher education, a bold tradition that has historically sustained the quest for truth—even if the truth involves some pain and conflict. I receive inspiration and take comfort knowing that Luther himself provided a model of reformation for us—grounded in the example of Christ. <br />
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<b>What is your prediction about the widespread adoption of trigger warning polices?</b><br />
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I hesitate to guess, however I think the chances of any general implementation are slim, if recent cases and the resulting reactions are any indication. There are a lot of complicated layers. I think the movement to implement policy comes from a place of good intentions. I support efforts to help students have a positive and supportive educational experience. The devil is in the details, however. There is significant resistance to anything that would muzzle free speech and academic freedom. This resistance is grounded in long-standing ideals about the goals of a liberal (liberating) education. As Plato wrote in “The Allegory of the Cave,” there is significant pain for the prisoner during their journey towards enlightenment. <br />
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There’s also no guarantee that a policy would actually prevent a student from triggering—given the multitude of sensory stimuli that can lead to an episode (words, smells, colors, the weather, etc.) A professor can control the dynamics of a classroom experience to some extent, but some of the most transformational moments for learning take place in unpredictable and uncontrollable ways—during times when the professor themselves may not know the answers. As the character of Dr. Martinson says, “Asking the question, "Why?" is one of the most dangerous things you can ever do. Especially if people are threatened by the answer.”<br />
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<b>Have you had any personal experiences with triggers and students in your time in teaching?</b><br />
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Not that I would have understood or labeled as such at the time. However, it has probably happened in my classroom or within the performing contexts that I supervise—whether to a student I work with, or an audience member that has attended. Through colleagues, I’m aware of incidents that have occurred in their classrooms. I’ve been fortunate to work in an environment that allows me to develop meaningful relationships with many of the students I encounter. This proves helpful in establishing trust during our mutual quest for understanding.<br />
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<b>Talk about some of the inspiration behind the set and media design for the show.</b><br />
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The scenography of the show is intentionally simple but suggestive of that place where a learning exchange occurs. For a college campus, that includes locations both within and beyond the classroom—but with the aesthetic and impact of the classroom looming everywhere. For generations, that exchange has involved words, images, and concepts, shared through mediums like the blackboard. Modern technology has complemented these traditional mediums. However, much like the shadows on Plato’s cave wall, the imagery of the design is intended to suggest a limited representation of truth. Ultimately, in order for enlightenment to occur, a dialogue must provide dimension, nuance, and color to the black and white imagery. An enlightened view of reality will necessarily involve elements that can cause (and trigger) pain. A reading of “The Allegory of the Cave” also reveals that the goal of education and enlightenment is not a selfish end that one hoards for themself, but rather one that must be shared with others—including those other prisoners left in the cave. As Plato describes, our return to the cave will also be met with pain, as we encounter the doubting and scornful voices of the unenlightened. <br />
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<b>How do you think the medium of theatre can impact the dialogue about a subject? What do you hope audiences take away from this production?</b><br />
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As I’ve suggested elsewhere, I believe strongly that storytelling can provide a powerful forum for communion, reflection, dialogue, and action. A story allows the audience to participate in a fabricated (but hopefully faithful) representation of truth that should ideally provoke them to think. Thus, I hope the audience will engage with this play—much in the same way that I hope college students engage with their studies—in a willing spirit of openness. I would also urge viewers to support the institutions and constituents of higher education as they grapple with the complex challenges of seeking truth in the modern world. <br />
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Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-7378165726546824642015-06-04T18:31:00.002-07:002015-06-04T18:31:15.364-07:00Dance, interpretation, mysticism and the Mahabharata<i>by Jenni Morin</i><br />
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When a new original work comes onto the scene, it is surrounded by curiosity, excitement and obvious creativity. <i>From the Mahabharata: The Great Dance-Off</i>, <a href="http://atticrep.org/" target="_blank">AtticRep</a>’s latest production to grace the Carlos Alvarez Studio Theater stage at the Tobin Center, embodies all the anticipatory energy encompassing its premiere, along with a welcome mysticism.<br />
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<tr><td class="tr-caption" style="text-align: center;">AtticRep's <i>From the Mahabharata: The Great Dance-Off</i>.<br />
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Billed as part of the San Antonio International Festival of Performance, the impetus behind <i>From the Mahabharata</i> hails back to last summer’s Forum Theatre Project, a collaboration of experimental theatre tackling the subject of skin tone between AtticRep and Chennai, India-based Crea-Shakthi Theatre. In an effort to continue infusing international views and aesthetics into the AtticRep season and bring cultural appreciation to local audiences, Producing Artistic Director Roberto Prestigiacomo created and directed <i>From the Mahabharata </i>with the help of choreographers Kausi Subramaniam and Seme Jatib, local dancers, and composer Reena Esmail who devised the original score recorded by San Antonio’s SOLI Chamber Ensemble. Carrying on the theme of Indian culture, the dance-theatre production is inspired by and mimics the story of the ancient epic poem, the Mahabharata. Presented as a dance company debating whether contemporary or traditional style of dance is the appropriate means for illustrating the great Indian saga, <i>From the Mahabharata </i>employs the theme of war, which predominates the Sanskrit text, to bring the action to the climax of the dance-off between the rivaling dance styles. <br />
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Since the premise of the production is that the dance company is in rehearsal, the dancers are not quite synchronized or as crisp as a polished recital. This rawness reiterates the experience of attending a premiere, especially as the audience is invited to feel as though they are part of the process in creating this work. While the acting leaves something to be desired, the few scenes of prose readings are both entertaining and insightful. One storyteller chronicles the confusing genealogy of princes as another exchanges offers insight into Dharma, karma, serenity and the path to enlightenment. These scenes speak to the complexity, tradition and constant need for self-evolution in not only Indian culture, but all of humanity.<br />
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A string box contains the dance floor as a balanced display of both Indian and contemporary styles set the scene and crescendo into the dance-off in perfect rhythm with Reena Esmail’s original score. Seme Jatib’s modern choreography seems ethereal as the long lines of the dancer’s bodies play against a somewhat smokey bare stage. Just as the staccato movements of Kausi Subramaniam’s traditional dances begin to feel repetitive, a change in tempo and mood revitalizes the action. Violinist Ananda Nadayogi enhances the experience with live accompaniament while Scenic Designer Jeremiah Teutsch brings puppets to life. Along with an evocative lighting design by Gaila Raymer, an undulating liquid seemed manipulated by the dancers as they moved in front of the projection, their shadows cast against the colored forms. The production design coupled with the choreography reflects the magic and mystery synonymous with Indian culture.<br />
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Not a traditional theatre production in the least, or an expected dance performance, <i>From the Mahabharata</i> is more of an experience, a behind-the-scenes look at the process of creating performance art. It offers an energetic and exciting escape into an unfamiliar culture with a different take on the battle waged between old and new, contemporary and traditional. AtticRep’s <i>From the Mahabharata: The Great Dance-Off</i> is at times exhilarating, inspiring and thought-provoking if approached with an open mind and willingness to embrace a new cultural experience.<br />
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<i>From the Mahabharata: The Great Dance-Off</i> runs at the Carlos Alvarez Studio Theater at the Tobin
Center through June 14 with performances at 8 p.m. Thursday through
Saturday and at 2:30 p.m. Sunday. For more information and
to reserve tickets, visit <a href="http://www.atticrep.org/" target="_blank">atticrep.org</a>.
<i><br /></i>Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-23226526411983403362015-05-16T16:09:00.000-07:002015-05-16T16:09:08.830-07:004000 Miles goes the distance<i>by Jenni Morin</i><br />
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A road trip becomes an odyssey in Amy Herzog’s award-winning <i>4000 Miles</i> as it tenderly examines the reality of dealing with loss. Now showing at the Cellar Theater through June 7, <a href="http://theplayhousesa.org/" target="_blank">The Playhouse</a>’s rendition of <i>4000 Miles</i> raises the bar for local productions.<br />
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<tr><td class="tr-caption" style="text-align: center;">Cris Boneta and Sam Carter Gilliam as Leo and Vera in<br />
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Leo arrives at his grandmother’s Manhattan apartment early in the morning after biking across the country. Having experienced a huge tragedy along the way, his family and friends are increasingly worried about his well-being. His inability to deal with what has happened strains his relationship with his girlfriend Bec. Vera, although initially surprised to have a houseguest, becomes accustomed to Leo’s presence, which allows her to release her irritating neighbor from having to check up on her. Leo spends his days rock climbing and avoiding his life, and when he attempts to have a one night stand with Amanda, it ends with him alone in the dark then finally detailing the whole bike trip incident for Vera. When Vera's neighbor passes, they share a poignant moment of mutual understanding and empathy.<br />
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As Vera and Leo slowly gain momentum, it becomes clear their paths have become intertwined for this brief moment in time. Journey and distance are constant themes, but rather than the cliched undertones of spirituality or personal awareness, Herzog allows the characters to be lost. The beauty of <i>4000 Miles</i> is that it gives each character a level of respect to hold their most troubling and defining milestones close rather they splaying them out to be trampled on and judged.<br />
This sweet and witty dramatic comedy is glimpse into the lives of a very odd couple, made up of a 21-year-old modern hippie and a 91-year-old Marxist grandmother, who find solace in silence. A delicate truthful interaction, <i>4000 Miles</i> is a perfect therapy session with a spunky grandmother uncensored from imparting the wisdom of her years and experience. It’s as much about growth together as it is about personal growth and finding the strength to move past tragedy and accept life for what it’s become.<br />
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In an exceptionally impressive performance, Sam Carter Gilliam leads the cast as Vera. Without overwhelming the stage, she commands it with a quiet tenacity full of judgmental looks and a signature gait. Cris Boneta as Leo portrays the angsty grandson floundering in his loneliness. Together with Gilliam, Boneta creates touching moments and well-timed humor. Lilly Canaria’s Amanda character unfortunately gives her little to work with, coming off vapid and flighty, while Kristin Richards does a commendable job as Bec and shines in her awkward encounters with Vera.<br />
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Director Bill Gundry masters the silent moments, filling them with humor and affection. All of the technical aspects fell into place to create a very real escape into the lives of Leo and Vera. A magnificently decorated and detailed set by Ryan Deroos brought Vera’s apartment to life from the crocheted doilies to the rotary phone to the cups and saucers, along with other trifles from properties master Janis Kelly. Megan Reilly’s lighting transitioned well from night to day and defied shadows for the most part, giving each trinket and detail its own spotlight. Incidental sounds and transitional interludes tempered Pat Smith’s sound design, while Crystal Wilderson’s costumes were fitting for each character, even eccentric Amanda. Aside from tightening some transitions, the show was scrupulously well executed and engaging through to the last heartwarming moment.<br />
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The Playhouse’s <i>4000 Miles</i> is a simple story made better by a talented team of technicians and actors who fill the silences with humor and compassion. The Cellar Theater provides the quintessential setting for this intimate glimpse into the converging paths of two generations with differing approaches for gaining perspective in the face of loss.<br />
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<i>4000 Miles</i><span style="background-color: white; color: #010101; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 19.6000003814697px;"> runs at The Playhouse Cellar Theater through June 7 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. For more information and to reserve tickets, visit </span><a href="http://theplayhousesa.org/" style="background-color: white; color: #003b74; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 19.6000003814697px; text-decoration: none;">theplayhousesa.org</a><span style="background-color: white; color: #010101; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 14px; line-height: 19.6000003814697px;">.</span>Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-82063888217439686662015-05-04T11:55:00.002-07:002015-05-04T11:55:15.069-07:00Rumors: You know what they say about assuming<i>by Jenni Morin</i><br />
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Neil Simon's popular farce <i>Rumors</i>, now playing at <a href="http://www.vexler.org/" target="_blank">The Sheldon Vexler Theatre</a> through May 31, is a staple in community theatre repertoires due to its snowballing chaos and rising tensions. While examining the effect gossip has on relationships and perceptions, <i>Rumors</i> also brings out the inherent humor in assumptions and inane cover stories.<br />
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The play opens on the panicked Chris and Ken Gorman who have just found their friend Charlie Brock unconscious and bleeding from a gunshot wound upon arriving for a party for his tenth anniversary with his wife Myra, who is nowhere to be found. After getting ahold of Dr. Dudley to help treat Charlie, Ken realizes it's a superficial wound on his earlobe and he's in a Valium-induced sleep. Friends of the Brocks, Lenny and Claire arrive after having been in a car accident and speculate the missing hosts have to do with rumors of an affair, then Ken lets them in on the situation. As the other guests arrive, they must keep inventing excuses for the missing party hosts and absent staff. They seemingly convince the other guests, Ernie and Cookie Cusack, that everything is fine and even to cook their own dinner, until a second gunshot, rendering Ken momentarily deaf, raises further questions. Genn and Cassie Cooper arrive bickering about another rumored affair and everyone seems to get injured in some way as the first act culminates in a screaming, aching, exasperated tableau of chaotic desperation. Everyone has been filled in after dinner when the second act opens and they all decide to blame Ken. A mysterious woman calls for Glenn, making them think it's Glenn who Myra is having the affair with, causing Cassie to go ballistic. The police show up to investigate Lenny's car accident and seem satisfied with their answers until Glenn accidentally mentions the gunshots. Lenny, pretending to be Charlie, tells an impromptu story explaining the entire evening, which seems to satisfy the officers. Once they leave, Charlie offers to tell the real story of what happened.<br />
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Simon weaves a warning against gossip and assumptions into the chaos of <i>Rumors</i> to add a message to the otherwise mass confusion. Each of the characters has their own rumor-worthy secrets, which are revealed as accusations in many cases. Amidst the confusion and lies, Simon manages to leave evidence of not only the nature of the characters in crisis, but also of their backstories. This gives the farce a little more substance than those that seem to leave the audience constantly discovering pieces to the plot puzzle until it finally makes sense. Despite the depth of this farce, <i>Rumors</i> still requires a fast-paced and precise execution in order to build and maintain momentum. Simultaneously, the characters must remain frazzled while still being able to repeat the evolving volley of lies meant to explain the current predicament. The believability of the entire production rests on the ability of the actors to personify every clue given about their characters, rather than the plausibility of the situation itself.<br />
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The Vex production of <i>Rumors</i> has plenty of comical moments guided by director Michael Burger. Chad A. Miller's sound pairs perfectly with Ken Frasier's lights and set. Dylan Brainard even introduced a new character in his props with an extra long phone cord responsible for several humorous binds, literally. While all of Sophia Bolles' evening attire is fitting for the status of the characters, the description of Cookie's dress is not representative of the only one described in the dialogue. While the production faces inconsistencies in pacing, it isn't without its shining moments and some stand out cast members.<br />
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Scott Leibowitz leads the show as Lenny Ganz, keeping the cast on tempo and commanding the stage for his explanatory monologue. Chelsea Ortuno as Cassie Cooper and Robert Gonzalez as Glenn Cooper have great stage chemistry with one of the most engaging scenes of the show. Ben Scharff presents a steady Ernie Cusack with well-timed outbursts. Theresa Bishop's Claire Ganz is both snarky and detached while Jared Stephens as Ken Gorman brings the opposite with high-energy hysteria. Carlos Alvarado as Officer Welch holds his own as his partner officer Pudney played by Erin Polewski holds her own as the strong silent type. Cookie Cusack, played by Lisa Fritschle, seems more odd than eccentric, while Megan Van Dyke's character Chris Gorman is always on the brink of hysteria and more in need of Valium than a cigarette.<br />
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Never a dull moment, <i>Rumors</i> keeps audiences guessing as the characters make assumptions, spy and gossip until relieved by an official explanation. The Vex production of <i>Rumors</i> is a fun romp and one of the few farce plot that can be followed thanks to a few talented actors worth the ticket.<br />
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<i>Rumors</i> will run at The Sheldon Vexler Theatre through May 31, 2015 with performances at 7:30 p.m. on Thursdays, 8 p.m. on Saturdays and 2:30 p.m. on Sundays. For more information and to purchase tickets, visit <a href="http://www.vexler.org/">www.vexler.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-6962005247496996432015-05-02T10:36:00.000-07:002015-05-03T07:37:09.199-07:00Love to hate & hate to love Chekhov<i>by Jenni Morin</i><br />
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As the most produced play this season according to American Theatre magazine, Christopher Durang's 2013 Tony winner for best play, <i>Vanya and Sonia and Masha and Spike, </i>is a ridiculous mélange of Chekhov's characters and themes brilliantly mashed with his unique brand of culture criticism. <a href="http://classictheatre.org/" target="_blank">The Classic Theatre</a> production, now showing through May 17, pays homage to both Durang and Chekhov in a hilarious and perfectly cast tonic.<br />
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<i>Vanya and Sonia and Masha and Spike</i> is set at the estate of middle aged siblings, Vanya and Sonia, who have come to accept their pointless existence, not without complaining, after spending their youth caring for their ailing aging parents. Professors and community theatre enthusiasts, their parents named all their children after Chekhov characters. Masha, their sister, is an actress who pays for the estate and comes home to disrupt their depressingly mundane lives to attend a costume party. In an attempt to desperately cling to her fame, youth and beauty, she bullies everyone, including a neighbor girl Nina, into being the supporting cast to her Snow White costume for the party. Sonia refuses to be one of Masha's dwarfs and insists on being Maggie Smith as the evil queen, upstaging Masha's costume and boosting her confidence in possibly meeting someone at the party. Meanwhile, Cassandra the housekeeper, who has premonitions just like her Greek namesake, warns against several threats, which everyone ignores until they come true. Masha's visit has brought out the charm of Sonia as she receives an invitation for a date and the confidence of Vanya who decides to share a reading of his play, inspired by Konstantin's symbolist play in <i>The Seagull</i>. Spike rudely answers a text during the reading, which sets off Vanya into a tirade about how things used to be in the 50s. Masha discovers Spike is involved with her assistant and send him packing. Employing a voodoo doll, Cassandra convinces Masha not to sell the house and the three siblings end with a tableau of contentment in their house by the cherry orchard.<br />
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Durang quickly explains most of the Chekhov references throughout the play as they come up, making it just as humorous for those unfamiliar with the Russian master. Beyond the obvious similarities in character names and preoccupations, themes of selling the family estate and Konstantin's play within a play, Durang, like Chekhov, introduces a wide range of well developed characters. This makes it easy to relate to the melodramatic tantrums and empathetically and emphatically experience the ups and downs of their tumultuous relationships. Durang may in fact be tapping into some of the humor Chekhov intended, which never seems to come across through the dark clouds hanging over his subtext-laden works. However, some of the deeper Chekhovian themes are embodied by Vanya then poured out in his monologue, which feels like a reflection of personal frustrations of the playwright. From lusting after an unattainable young mate to the younger generation's materialism to environmental sustainability, Durang offers a rich script that is as meta theatrical as it is entertaining, yet exceedingly difficult to execute well.<br />
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The Classic Theatre production of <i>Vanya and Sonia and Masha and Spike</i> is exceptionally well executed. Under the skillful direction of Diane Malone, each technical element highlighted, without overpowering, an incredibly talented ensemble. Both lighting by Steven Starr and sound by Rick Malone were respectfully well balanced, unobtrusive and restrained, pairing nicely with Karen Arredondo's functional set. While Kitty Williams' costumes, especially Sonia's party outfit, provided their own subtext, a special mention must go to Jan O'Neill for smashable mugs and the best teapot.<br />
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From Anna Gangai's (Sonia) impeccable comedic timing to Emily Spicer's (Masha) icy facial expressions, this cast flawlessly delivered every bipolar moment. Gangai's Sonia is undeniably endearing as the audience is on the edge of their seats during the entire one-sided phone conversation with a potential suitor. John O'Neill (Vanya) and Gangai are perfect compliments, marching to the sounds of their own piccolo, as he so gently steers his adopted sister back to a sunny disposition. O'Neill's lengthy monologue about the past is animated and charged with frustrations of society's audacious improvements that have left the simplicity and communal experience of the past behind. Danielle King as Cassandra energizes the Russian melancholy with a flourish of comedy uniquely her own. Spicer gives Masha an extra touch of humanity and hilarity in her uncomfortable interactions with Nina and suggestive moments with Spike. John Stillwaggon performs an entertaining audition scene, but like McKenna Liesman (Nina) has been given little to work with from Durang.<br />
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Durang's <i>Vanya and Sonia and Masha and Spike</i> is the answer to updating Chekhov and bringing his works to a new audience, while simultaneously allowing Chekhov fans to laugh at the undeniably depressing works. The production of <i>Vanya and Sonia and Masha and Spike</i> at The Classic Theatre is rousing and entertaining, offering an accessible and approachable script for all.<br />
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<i>Vanya and Sonia and Masha and Spike</i> will run at the Classic Theatre through May 17, 2015 with performances at 8 p.m. on Friday and Saturday and 3 p.m. on Sunday. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-63779060845301101412015-03-26T16:58:00.000-07:002015-03-26T16:58:29.446-07:00The Shamed Schlongless<i>by Jenni Morin</i><br />
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It's not every day to be privy to the inner-workings of the male psyche, especially when discussing the particularly sensitive topic of penile measurements. This is the centerpiece of <i>The Irish Curse</i>, the 2005 New York International Fringe Festival hit by Martin Casella. <a href="http://atticrep.org/" target="_blank">AtticRep</a>'s production of <i>The Irish Curse</i>, now playing at The Tobin Center for the Performing Arts Carlos Alvarez Studio Theater through April 5, is a humorous yet poignant search for male identity beyond the cock.<br />
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<i>The Irish Curse</i> refers to the notion that Irish males have small penises and so the play centers around a support group of men dealing with their cursed fate. While Rick, Joseph and Stephen have been meeting with Father Kevin Shaunessy in the church basement every Wednesday for months, Keiran, the newcomer for the evening, shifts the group's complaining session to one of real therapy and discussion. As each man details his life experience centered on the size of his member, Keiran pushes each to divulge a little more. Father Kevin finally reveals his story and then it is up to Keiran to finish the meeting with his.<br />
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The play is exactly what is expected and at the same time is suspenseful and surprising. It is as raw as it is cliche as the characters rattle off every cultural and ethnic stereotype about penis size, then reveal how this one small member has profoundly shaped their lives. Casella's script is so well crafted that it gently pushes ruckus humor to earnest confessions nearly imperceptibly. The discussion is uncomfortable in nature, but the constant barrage of cursing and derogatory name-calling makes it even more ridiculous that the men can't move past a popular belief and be comfortable with all the other features that define them. The men find freedom, reprieve and solace in camaraderie as they try to explain the reasoning and truth behind their actions, but they still must carry this new self awareness beyond the group and into their everyday lives. In their defense, the matter of size is at the root of everything from vehicle selection to war to racial tensions and politics. It is their self-esteem that takes a beating as they make comparisons in the locker room and the increasingly sexualized media defines their worth and the expectations of romantic partners. At its core, <i>The Irish Curse</i> is about discovering what it means to be a man, defining masculinity and acknowledging the true curse of the perceived inadequacies inflicted on them by society.<br />
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Before the production even begins, a soundtrack of humorous small penis tunes gets the audience chuckling during pre-show. Directors Seth Larson and Roberto Prestigiacomo start the show lighthearted and usher the audience through waves of emotions ranging from laugh-crying to heart-wringing empathy. Purely in blocking, the seeming game of musical chairs the characters play to make sure each one is seen by every side of the audience is masterfully choreographed. Scenic designer Rick Frederick and lighting designer Gaila Raymer display their talent through realism and detailing. While the lighting is mostly stagnant, save for rain pounding on the small windows, it nicely compliments the stale basement set dressed to the nines with an angelic birdbath statue, light fixtures and dusty crucifixes.<br />
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From the awkwardness to the sock-stuffing to the soul-bearing, each and every actor in the cast makes a lasting impression. Alejandro Cardona as Rick Baldwin kicks off the show with cheerful bravado and a false sense of security. His youth, hopefulness and willingness to keep fighting the urge to let the curse win gives each one a little faith. Tyler Keyes plays Stephen Fitzgerald, the tall handsome tough gay cop, with a gruff exterior and empathetic heart. Keyes' booming voice reminds the men to butch up and play the offensive to avoid rejection and pain. As Joseph Flaherty, Lawrence Coop embodies the most devastating backstory of a shy man foolish enough to believe love triumphs all. It is his cautionary tale that inspired the formation of the group and what keeps them coming back. Rick Frederick takes on the internally conflicted Father Kevin Shaunessy with poise and virtue. His confession compels each of the men to dissect how they have faced the curse. Finally, Sam Mandelbaum as the sweet lost soul Keiran Riley is endearing from soaking wet entrance to confident exit. By his prompting, every man shares, feels and thinks more about the power the curse really has.<br />
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This incredibly talented cast is expertly directed and manages to entertain, possibly offend, all while exploring a clandestine topic that rocks the very core of gender identity. AtticRep's <i>The Irish Curse</i> is the mirror theatre holds up to the world with a spotlight on humor and a new perspective as the takeaway. It is a roller coaster of emotions as it uncovers fresh perspectives to get the real answer to what truly is the Irish curse.<br />
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<i>The Irish Curse</i> runs at the Carlos Alvarez Studio Theater at the Tobin Center through April 5 with performances at 8 p.m. Wednesday through Saturday and at 2:30 p.m. Saturday and Sunday. For more information and to reserve tickets, visit <a href="http://atticrep.org/">atticrep.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-88192228711314864232015-03-19T19:40:00.000-07:002015-03-19T19:53:29.450-07:00El Corazón del Bolero<i>by Jenni Morin</i><br />
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José Rubén De León, musician, performer and founder of Teatro Farolito, breaths new life into bolero music with El Corazón del Bolero performed at <a href="http://classictheatre.org/" target="_blank">The Classic Theatre</a> one weekend only beginning March 20 with limited tickets remaining.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><span style="text-align: start;">José Rubén De León, </span><span style="text-align: start;">Aaron Ellington Prado and </span><span style="text-align: start;">George Prado<br /> in concert at The Classic performing bolero music.</span></span></td></tr>
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Billed as a tribute to male and female bolero composers from Cuba, Puerto Rico and Mexico which offers solace, company and warmth to the heart, El Corazón del Bolero promises to touch on all aspects of amore. As Columbian writer Gabriel García Marquez has remarked, it is difficult to put all that bolero expresses into words. De León says this particular collection of romantic songs touches on pledges of eternal love, bitter disappointment and unrequited love through alluring melodies, intoxicating lyrics and soulful laments.<br />
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The program, written and performed by De León, accompanied by Aaron Ellington Prado on piano and George Prado on bass, pays homage to José Pepe Sánchez, the first Cuban bolero musician who drew from Italian opera and French-Haitian music. He is regarded as the Father of the Cuban bolero, originating the genre in Santiago do Cuba with “Tristezas” in the late 19th century. Next, bolero travels through the Caribbean and Latin America. In the late 1920s, Nilo Menéndez and Adolofo Utrera compose “Aquellos ojos verdes” and bring bolero to an international audience with Spanish and English versions hitting the charts. As North American jazz and musicians such as Ella Fitzgerald, Frank Sinatra and Louis Armstrong became popular, arrangers and guitar accompanists were instrumental in the Cuban movement to focus bolero on feeling the music. Bolero today still remains a true expression of love and passion with lulling ballads infused with energetic rhythms.<br />
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This journey through the origins and evolution of bolero features an incredibly talented musician and composer in his own right. José Rubén De León will transport audiences to Cuba and back again through beautiful melodies and amorous lyrics.<br />
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El Corazón del Bolero plays at The Classic Theatre Friday, March 20 and Saturday, March 21 at 8 p.m. and Sunday, March 22 at 3 p.m. For more information and to purchase tickets, visit <a href="http://classictheatre.org/">classictheatre.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-60558552941172892362015-03-14T11:10:00.001-07:002015-03-14T11:25:18.783-07:00A Numbers Game: Four humorous debates<i>by Jenni Morin</i><br />
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<a href="http://www.theovertimetheater.org/" target="_blank">The Overtime Theater</a> and <a href="http://swalda.org/" target="_blank">The Southwest Association of Literary and Dramatic Artists</a> take a popular idiom to the stage with <i>A Numbers Game</i>, now showing through April 11. The title phrase insists there's a manipulation by the characters and they certainly do make a point of choosing what to believe and what not to believe in various situations. At it's core, there is a willingness to accept or deny the truth, reality and even reason, all with a good dose of humor.<br />
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Written and directed by Emily Fitzgerald, co-founder of SWALDA, <i>A Numbers Game</i> presents four separate scenarios of relationships. First, a group of friends plays a game of "I Never" until it is broken up by the father of the hostess who stopped by to say goodbye before a rather unusual trip. As the couple disagrees about the validity of the father's story, the hostess becomes defensive. Both relationship and friendship seem to be at an impass as the three are left to decide for themselves which reality to accept. The second short titled "Immortality" discusses a new couple making a very unconventional agreement to have a child together. Both feel this will complete their lives in different ways, while their friends are skeptical it will be as fulfilling and simple as they intend. "Love is Madness," the third story, features a bold and imaginative way for a guy to meet a girl so he can ask her out on a date. As they try to figure one another out, testing the waters, it's clear expectations have been set for their relationship going forward. Finally, "The Journey" ends the quartet of scenes with a couple attempting to use therapy as a means of reconciliation. After discovering the interesting side business of the receptionist, the couple finds a way to talk about subjects and situations they swore never to broach again, bringing them closer and eliminating their need for intensive therapy.<br />
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All four actors skillfully portrayed very discernibly different characters throughout each scene. Miguel DiCostanzo's best performance of the night comes in the third short as he plays Julian, an awkward yet intelligent and surprisingly romantic German lit student. Jay Overton does well to play two very different characters in the first scene's hippie ambassador Ed and George, the more reasonable, yet supportive, counterpart to DiCostanzo's Marc. Sarah Nixon as Morgan and Rosie pairs especially well with DiCostanzo in the scenes where they couple up. She also offers two very independent women in the wry Maggie and eccentric DeeDee. Finally, there is Christine Quattro who goes from laid-back butch to timid country girl to uptight control freak. While there were moments actors broke character, they were steadfast in their representations.<br />
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Each scene is somewhat color-coded with the costumes matching one of the flats at the back of the set. It was a clever device for further distinguishing the scenes, but slightly disappointing the colors went in order from left to right. The set beyond the panels is very basic, which is fitting for the various settings needed. Costuming is modern and appropriate to each character and not too obviously color-coded for every scene. The use of the TV monitor as an additional piece of scenery felt unnecessary and mostly distracting. It's graphics rather than photographic images took much of the seriousness out of the scenes, perhaps on purpose. Despite some possibly faulty lighting equipment, the minimalist execution in lighting was very well done. The sound was slightly off in the volume department, but offered some humorous relief, especially in the last scene. Perhaps the most notable technical elements of the production were the props, which added much-needed grounding.<br />
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Fitzgerald starts a few interesting debates between her characters, which become less serious as the scenes progress. Perhaps a change in the order of the shorts would allow for a more thought-provoking ending, but it seems that may result in an unintended connection between plots. The first scene poses the most interesting question by far as it analyzes the need for truth and the difference between a believed reality and what's real. This theme could have carried more heavily throughout the following scenes, but instead more questions are brought to the table along the general theme of belief versus reality. Each scene delves just far enough into the questions to create a debate, but also offers a succinct conclusion so there's little desire left for further discussion. The scenes are great for a short trip into deep thought, but the humor and some of the ridiculous situations bring a lightness to the whole exercise.<br />
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<i>A Numbers Game</i> is a light-hearted, humorous and, at times, ridiculous exploration of some deep philosophical and ethical debates. The Overtime Theater and SWALDA offer an opportunity to laugh and think, be entertained and challenged, without too much commitment.<br />
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<i>A Numbers Game</i> plays at The Overtime Theater through April 11 with performances at 8 p.m. on Fridays and Saturdays and Thursdays in April, at 2:30 p.m. on Sunday, March 22 and 7 p.m. on Sunday, March 29. For more information and to purchase tickets, visit <a href="http://www.theovertimetheater.org/">www.theovertimetheater.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0tag:blogger.com,1999:blog-7537860995970603861.post-1043115998048972442015-03-13T16:32:00.000-07:002015-03-13T17:13:42.857-07:00Dasvidanya novel, Pryvet adaptation<i>by Jenni Morin</i><br />
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Russian literature is often viewed as tedious and depressing as it launches readers into a diatribe of psycho and social analysis. While Fyodor Dostoyevsky's <i>Crime and Punishment</i> does not escape this perceived reputation, the 2007 adaptation by Marilyn Campbell and Curt Columbus of the novel, now showing at <a href="http://theplayhousesa.org/" target="_blank">The Playhouse</a> Cellar Theater through April 5, boasts a digestible revamp of the Russian classic.<br />
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<tr><td class="tr-caption" style="text-align: center;">Tony Ciaravino and John Minton in <i>Crime & Punishment </i><br />
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Somewhat of an epilogue, Campbell and Columbus' adaptation is every bit as full of grief, intellect, guile and rapturous moral quandaries as the 1866 original. Raskolnikov, a now destitute ex-student in St. Petersburg, reasons murdering an old pawnbroker woman to rob her is worth all the lives who will benefit from her wealth. After several tricky interviews with Detective Porfiry, increasingly intimate discussions with his neighbor prostitute Sonia, remembering dreams, damning monologues and flashbacks to the murder, conversation with Sonia's father and the pawnbroker's sister Lizaveta, and letters to his mother, Raskolnikov unravels, breaking down in confession. This compressed version of Dostoyevsky's famous novel hits all the high points as Raskolnikov explains his idea of the extraordinary man capable of murder with a right to do it, how he fancies himself like Napoleon Bonaparte and murder for a higher purpose cancels out the sin of the crime. Resurrection, confession and the ever popular debate between good and evil, God and Satan, predominates the undulating theme of the play.<br />
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As Raskolnikov, Tony Ciaravino physically enacts the downward spiral of the protagonist as his self-righteous deed gnaws at his conscience. Kacey Roye (Sonia) exquisitely plays multiple distinctive well-rounded women each with an emotional timbre all their own. John Minton embodies the deceptively congenial inestigator, Porfiry, along with other characters. This relatable trio of actors propel this fast-paced adaptation into a flurry of psychological conundrums, seductive with evil brilliance.<br />
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David Rinear directs a sharp, evocative exploitation of the perilous nature of evil in a compact 75 minutes. Rinear delivers a gripping journey using the stark darkness expected of a Russian novel to illustrate the deep trenches of Raskolnikov's psyche. Megan Reilly's lighting design is incredibly focused, with spotlights, dim shadows and a bare yellowed glow representative of Raskolnikov's sickly mind. The set by Ryan DeRoos imaginatively reflects the play through a backdrop of worn doors, empty door frames and jagged platforms awash in dark hues. Both elements blend to define the small blackbox theatre into even smaller scenes, aiding in the actors' transitions from character to character, distinguishing each scene from the last and highlighting introspective moments.<br />
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The <i>Crime and Punishment</i> script uses several techniques to trap the audience in the vortex of Raskolnikov's criminal mind. There is repetition of key phrases, such as "God grants peace to the dead," and the nagging question if he believes in God, resurrection and the story of Lazarus, which force him to relive his crime over and over again. Raskolnikov starts out as morally justified, but by having to admit to committing a crime he did not intend--killing Lizabeta who witnessed him murdering her sister--he comes to believe he is just as morally repugnant as Sonia the prostitute, or her drunken deadbeat father, and finds camaraderie with her. Porfiry's interrogation approach is calculated as he patiently manipulates Raskolnikov to see himself as a criminal rather than an intellect above the law. Ultimately, the harshest punishment for Raskolnikov's crime is the loss of his sanity and ability to reason away his actions. Just as Dostoyevsky's contemporaries saw the work as a commentary on the younger generation, the play can serve as a warning for the detached, unsympathetic nature of today's social media consumed adolescents.<br />
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<i>Crime and Punishment</i> will always have relevance as it pits humanity against the nature of evil and the vast possibilities in the absence of compassion and conscience. The Playhouse's production of <i>Crime and Punishment </i>wraps up Dostoyevsky's novel in a succinct brooding bow. From the cast to the direction to the design, it prompts an examination of the psychology of human nature.<br />
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<i>Crime and Punishment</i> runs at The Playhouse Cellar Theater through April 5 with performances on Fridays and Saturdays at 8 p.m. and on Sundays at 3 p.m. For more information and to reserve tickets, visit <a href="http://theplayhousesa.org/">theplayhousesa.org</a>.Jenni Morinhttp://www.blogger.com/profile/17769726131345855490noreply@blogger.com0