Jan 21

‘Full’ of Inspiration

R. Buckminster Fuller:  The History (and Mystery) of the Universe by DW Jacobs,  American Repertory Theater, 1/14/11-2/5/11. http://www.americanrepertorytheater.org/events/show/r-buckminster-fuller-history-and-mystery-universe.

R. Buckminster Fuller: THE HISTORY (and Mystery) OF THE UNIVERSE. Performed by Thomas Derrah. Photo: Marcus Stern.

Warning: contains profound thoughts

Reviewed by Becca Kidwell

When someone asks me what subjects I liked when I was in school, I always say “all except science, I HATE science.”  What I have learned over the past few years is that I have hated science because no one made it interesting for me.  R. Buckminster Fuller:  The History (and Mystery) of the Universe reminds me again that love of science and love of learning start with a person who engages, challenges, and pushes you to see the world in new ways.

The one-man show connects theories of science, philosophy, sociology, and sustainability to life.  Fuller comes to life in such a way that the audience feels that they are at a “real” lecture.  Thomas Derrah presents the same frenetic and contagious energy that was Bucky Fuller’s trademark.  He bounces and dances around as he explains his principles for improving “spaceship earth” and also questioning all of the norms that surround us.  Like Bucky, he uses any and all forms of media that are available to him to get his point across. Continue reading

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Jan 20

Afterlife: Needs a new life

(left to right) Dale Place as Black Bird and Thomas Piper as Connor in afterlife: a ghost story. Photo by Andrew Brilliant/ Brilliant Pictures.

afterlife:  a ghost story by Steve Yockey, New Repertory Theatre, 1/16/11-2/6/11, http://newrep.org/afterlife.phpContains strong language.

Reviewed by Becca Kidwell

Steve Yockey’s afterlife:  a ghost story should be subtitled an evening of one acts.  While both acts of the play contain the same characters and themes, the familiarity ends there.  Act I displays a realistic, yet mundane evening between a grieving couple; they are packing up the beach house where they used to live.   They talk around the subject of their son’s death, but other than some yelling and “crying” they really remain stuck in one place until their house is washed away.  Act II portrays a fantasy world (somewhere between heaven and hell) where the Danielle, Connor, and their son work out their grief.  They receive the assistance of a postman, a proprietress, another ghost, and a bird puppet.  afterlife:  a ghost story has potential to transform into an interesting play if the first act removes ninety percent of its action and the second act has the chance to develop more fully. Continue reading

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Jan 18

NEIGHBORS: What do you see?

Christine Power (Jean), Lori Tishfield (Melody), Johnny Lee Davenport (Richard)

Neighbors by Brandon Jacob-Jenkins, Company One, BCA, 1/14/11-2/5/11.  Explicit Language and Sexual Content.

http://www.companyone.org/Season12/Neighbors/synopsis.shtml

Reviewed by Becca Kidwell

“Who do you think you are?”  With each generation, the answer to that question becomes more ambiguous and cryptic.  Yet, the question does not go away and becomes the fulcrum for the conflict in Brandon Jacob-Jenkins’ play Neighbors.  Company One does not apologize for the rawness of the material, but embraces it and challenges the audience to do the same.

The young actors Lori Tishfield and Tory Bullock steal the show.  Ms. Tishfield’s portrayal of Melody Patterson, a confused teenager of a mixed-race family, underscores the need for love, acceptance, and belonging that we all search for.  Her honest performance is matched by the sweet naiveté of Tory Bullock as Jim Crow, Jr.  Jim does not want to follow in his father’s footsteps as a performer, but becomes more comfortable as he develops a relationship with Melody. Continue reading

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Dec 30

Building Relationships

Barefoot In The Park by Neil Simon, Zero Point Theater, 12/28/10-1/2/11.  http://www.zptheater.com/

Reviewed by Becca Kidwell

Zero Point Theater, a relatively new theatre company, brings Neil Simon’s crowd-pleasing favorite Barefoot In The Park to the stage.  While a few of the references from the 1963 play are dated, the integrity of this piece—underscoring the complexity of developing relationships—remains sound, along with the majority of the quips and witty dialogue that Simon is famous for. Continue reading

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Dec 07

End. Begin. End. Begin Again.

Meghan McGeary as Hannah. Photo by Marcus Stern.


The Blue Flower.  Music, Lyrics, Script, and Videography by Jim Bauer; Artwork, Story and Videography by Ruth Bauer.

American Repertory Theatre, 12/1/10-1/8/11.

http://www.americanrepertorytheater.org/events/show/blue-flower

Reviewed by Becca Kidwell

The moment the audience enters the doors (actual scenery), they are invited to join Max Beckmann’s collage of memories.  An accordion player crosses the stage and roams the audience prior to the start of the show.  The stage is in a state of ordered disorder—the perfect working space for creating art.  All of the elements (the music, lighting, acting, scenery, and film) swirl around to form a story of love, loss, sorrow and hope. Continue reading

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Nov 30

Love in the Moonlight

(front to back) Anne Gottlieb (Frankie) and Robert Pemberton (Johnny) in FRANKIE AND JOHNNY IN THE CLAIR DE LUNE. Photo by Christopher McKenzie.

Frankie and Johnny in the Clair de Lune by Terrence McNally, New Repertory Theatre, 11/28/10-12/19/10.  Nudity and Mature Themeshttp://newrep.org/frankie_johnny.php

Reviewed by Becca Kidwell

Frankie and Johnny in the Clair de Lune is a difficult play to stage.  The tight, witty, intelligent romance by Terrence McNally requires a comparable production that will not fall flat; New Repertory Theatre’s current production rises to the challenge.

A two-person play needs two strong actors.  Anne Gottlieb and Robert Pemberton deliver beyond expectations.  Not only are they strong individual actors, but they also thrive as a couple.   While Terrence McNally has said that the play is a “romantic fairytale”, the play would not hold an audience’s attention if it was not grounded in genuine, believable characters.  As Robert Pemberton speaks every line, his eyes reveal the sincerity of his heart.  Over the span of one night, Johnny’s profession of love could seem ludicrous, even threatening—except for the fact that this Johnny is truly sincere and truly loves Frankie.  Ann Gottlieb walks the delicate line between being fragile and resilient.  If she does not display strength, the character of Johnny would crush her; at the same time, the character of Frankie has been hurt and the vulnerability still has to be there to create the tension.  As Frankie, Gottlieb has found this balance so that the character can hold her own against Johnny, but still fear the pain of heartbreak.  Gottlieb and Pemberton completely draw the audience in to Frankie and Johnny’s struggle where one can’t help but fight with them for the connection to something that can last.  They ARE Frankie and Johnny—trying to be more than just a couple of “bodies bumping around in the night”. Continue reading

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Nov 22

The Religion of Family

Vengeance is the Lord’s by Bob Glaudini, WORLD PREMIERE, Huntington Theatre Company, 11/12/10-12/12/10.  http://www.huntingtontheatre.org/season/production.aspx?id=8511

Larry Pine (Mathew Horvath) and Karl Baker Olsen (Donald Horvath) in Vengeance Is The Lord's, by Bob Glaudini, directed by Peter DuBois. Photo by T Charles Erickson

Reviewed by Becca Kidwell

“Honor thy father and mother” is the first and only commandment in the Horvath family.  In Vengeance Is The Lord’s, the Horvath family sticks together, supports each other—in all endeavors—but to what end?  The play starts out with a normal family Thanksgiving scene; the father starts by telling about his need to turn someone in who stole a car and the mother talks about forgiveness for Myers, their daughter’s killer.  As the story unfolds, however, the veneer is lifted to reveal not only hypocrisy but also an active crime family.  The audience and the youngest son Donny begin to question what justice means and how far love and loyalty should extend within a family.

The set by Eugene Lee provides a “gilded cage” for the Horvaths.  The house looks like any normal suburban household—with one exception—Cheryl’s room.  While it seems like any other bedroom in any other house, this bedroom haunts the Horvath family.  Along with the Horvath family, the audience is constantly reminded of the empty room and Cheryl’s horrific murder as the house spins on a turntable.  The effect of the turntable mirrors the family’s discontent; when they slow down or stop, the family ends up confronting problems that they would rather ignore.   The lighting design by Japhy Weideman, the sound design by Ben Emerson, and the original music by David Van Tieghem add to the tense domestic scene.

The actors form a cohesive family unit.  Roberta Wallach stands firm as the matriarch of the Horvath family, Margaret.  Wallach creates a woman who lives in pain, but who is strong and relatively self-sufficient; however, as the play progresses and the emotional pain becomes too much to bear, the character gives in to the physical operation.  Wallach reveals through this concession that Margaret has deferred some of her resolve to Matthew and Woody. Continue reading

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