Down the Rabbit Hole

by Jenni Morin

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

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

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

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

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

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


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

Taming: A veritable shrew indeed

by Jenni Morin

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

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

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

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

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

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

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

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


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

Wittenberg: A Captivating Hamlet Prequel

by Jenni Morin

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

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

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

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

Sam Mandelbaum as Hamlet. Photo by Siggi Ragnar.

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

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

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



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

Les Misérables: "What your sacrifice was for"

by Jenni Morin

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

Photo courtesy of The Playhouse, credit Siggi Ragnar.

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

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

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

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

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


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

'Night Mother raises dramatic bar

by Jenni Morin

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

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

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

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

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

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

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

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


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

Not your mother's Streetcar

by Jenni Morin

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

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

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

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

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

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


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

Proof: More than math

by Jenni Morin

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

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

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

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

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

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


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