New England Theatre Geek

New England Theatre Geek http://netheatregeek.wordpress.com Thu, 06 Jan 2011 14:48:50 +0000 http://wordpress.org/?v=MU en 1.0 http://wordpress.com/ http://netheatregeek.wordpress.com comedy drama interviews-and-articles musical shakespeare uncategorized 2010 2011 a-r-t absurd-person-singular actor american-repertory-theatre angela-brazil anne-gottlieb anne-scurria antonio-ocampo-guzman barefoot-in-the-park bob-glaudini boston braintree brian-mceleney cambridge christmas comedy community connecticut connection conner-christiansen cost-of-theatre crime ct curt-columbus curtain-call-theatre dadaism dan-delaporta daniel-jenkins december director drama dysfunctional february final-strange-tale-of-edgar-allan-poe frankie-and-johnny fred-sullivan george-bailey hartford hartford-stage holiday-fun horror huntington huntington-theatre imagination inexpensive january jim-bauer john-douglas-thompson jr june karl-baker-olsen karl-baker-olson kate-mulgrew kathryn-janeway katie-kreisler larry-pine laura-loy lee-tergesen lida-mcgirr love lucas-kavner ma march marriage mature may meghan-mcgeary mixed-media molly-schreiber morality musical-2 neil-simon new-actors new-repertory-theatre new-years november nudity october paul-shafer peter-dubois peter-kates preview professional proof providence questions radio-show rhode-island robert-pemberton roberta-wallach romance ruth-bauer ryan-landry sarah-jacobs spiderman-turn-off-the-dark star-trek-voyager stephen-berenson stephen-scwartz stoneham stoneham-theatre surrealism teal-wicks terrence-mcnally the-blue-flower the-crucible timothy-crowe tom-nelis trinity-rep turn-of-the-screw tyler-dobrowsky watertown will-pomerantz wonderful-life zero-point-theater http://wordpress.com/ https://s-ssl.wordpress.com/i/buttonw-com.png New England Theatre Geek http://netheatregeek.wordpress.com Auto Draft http://netheatregeek.wordpress.com/?p=196 Wed, 30 Nov -0001 00:00:00 +0000 http://netheatregeek.wordpress.com/?p=196 196 2010-12-28 00:33:43 0000-00-00 00:00:00 open closed auto-draft 0 0 post 0 About http://netheatregeek.wordpress.com/about/ Sun, 17 Oct 2010 23:50:06 +0000 http://netheatregeek.wordpress.com/?page_id=2

netheatregeek@gmail.com twitter: netheatregeek High School English & History Teacher BA, Drama, UGA MAT, English Education, BU At the University of Georgia, Rebecca worked on many plays in many capacities, drank milkshakes at The Grill, met Michael Stipe, spent the majority of her time on the new invention called the internet, and, on occasion, studied. The summer after her junior year she went on a study abroad program to Italy and London where she saw approximately seventeen plays in two weeks during the London part of the trip. This is where she developed her critical eye for theatrical productions. Ms. Kidwell currently spends the majority of her time helping students appreciate Shakespeare and become better writers. For permissions and questions, please email Becca at netheatregeek@gmail.com

My Reviewing Policy

I receive free tickets to professional and community theatre shows. Journalistically, I provide an unbiased review and is under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about , I will purchase a ticket. (1/6/2011).

]]> 2 2010-10-17 23:50:06 2010-10-17 23:50:06 closed closed about publish 0 0 page 0 _wp_page_template _edit_lock _edit_last sharing_disabled Set Your Phasers On Stunned!!! http://netheatregeek.wordpress.com/2010/10/18/set-your-phasers-on-stunned/ Mon, 18 Oct 2010 01:11:44 +0000 http://netheatregeek.wordpress.com/?p=9

Kate Mulgrew and John Douglas Thompson photo by T. Charles Erickson

t[/caption] Antony and Cleopatra, Harford Stage, Hartford, CT 10/7/10-11/7/10 http://www.hartfordstage.org/shows/antony-cleopatra From the start of the Antony and Cleopatra, Kate’s performance is filled with passion and abandon. Running in bare-footed with a sword, anyone who has seen many of Ms. Mulgrew’s performances realizes this is not the calm, controlled persona of Kathryn Janeway, Elizabeth Seton, or Janet Eldridge. Cleopatra is a woman who is one of the most powerful rulers in the world and yet is controlled by her lustful appetite for a man who can never be completely hers: Antony. Her strength and vulnerability are played out in her faithfulness to Antony and her jealousy of Antony’s wives. Her performance evokes lust, humor, rage, sensuality, and pathos that compel you to be drawn into her plight. The energy that she puts into her performance meets and sometimes exceeds some of the soldiers and dancers and does not stop until the snake kills her. With the wildness of her character combined with a beautiful long flowing wig and voluptuous costumes, she appears more youthful and free than some of her roles from twenty years ago (if only we all could “youth-en” in that way!). I hope we continue to get to see her versatility as the years go on. As for the actress herself, Ms. Mulgrew was extremely gracious after running around for three hours to take the time to sign my program and allow me to thank her for her magnificent performance as well as her previous work. As for the rest of the production, it was fabulous! The entire cast is strong (including approximately 4-6 students) and provides a very human experience that betrays the labels of “good” and “evil”; Kendra Underwood’s portrayal of Octavia epitomizes the snare that most of the characters face as pawns in a political game. John Douglas Thompson mirrors Kate Mulgrew’s strength and vulnerability. He demonstrates that Antony was a strong leader, but his desire for Cleopatra is stronger. The casting of Steven Parkinson as Octavius Caesar is perfect. His youth and brashness contrast with Antony and Lepidus’ stolid natures; he is the only one of the triumvirate who is ready to fully claim the role of emperor. The set design and staging provide an intimate and stark production that allows the audience to focus on the action and the language. Many modern Shakespearean productions become overindulgent in making the performance “relevant” and lose sight of the story and the language; this production balances the modernity with the classic story. The production is reminiscent of Julie Taymor’s film of Titus Andronicus. The sparse representative scenery provides a clear view of all of the action regardless of where you are sitting. The lavish colors of Cleopatra’s kingdom stand out against the black and white sparseness of Rome. The action in the upstage area reminds the audience that the scenes move concurrently with their foreign counterparts. The music and dancing emphasize the visceral nature of warring kingdoms. Although the plot is one of Shakespeare’s more difficult to follow if you have not had a classical education, the staging and performances impart a powerful story of politics and passion that brings the audience to its feet. 10/10/10. TNETG. Photo: Kate Mulgrew and John Douglas Thompson photo by T. Charles Erickson]]> 9 2010-10-18 01:11:44 2010-10-18 01:11:44 open open set-your-phasers-on-stunned publish 0 0 post 0 _edit_last _edit_lock jabber_published _thumbnail_id _wp_old_slug reddit Kate Mulgrew and John Douglas Thompson photo by T. Charles Erickson http://netheatregeek.wordpress.com/2010/10/18/set-your-phasers-on-stunned/antcleo3/ Mon, 18 Oct 2010 01:16:03 +0000 http://netheatregeek.files.wordpress.com/2010/10/antcleo31.jpg 14 2010-10-18 01:16:03 2010-10-18 01:16:03 open open antcleo3 inherit 9 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/10/antcleo31.jpg _wp_attached_file _wp_attachment_metadata A Play of Imagination Leaves Little to Imagine http://netheatregeek.wordpress.com/2010/10/26/a-play-of-imagination-leaves-little-to-imagine/ Wed, 27 Oct 2010 01:17:01 +0000 http://netheatregeek.wordpress.com/?p=28 The Turn of the Screw by Jeffrey Hatcher, Stoneham Theatre, 10/21/10-11/7/10 http://www.stonehamtheatre.org/ [caption id="" align="alignright" width="313" caption="Photo: Craig Bailey/Perspective Photo "]

[/caption] Gianni Downs’ minimalistic scenery welcomes the audience to an atmospheric ghost story. As the audience enters the theatre, they see a raked black stage with a single deep purple velvet chair and slight blue lighting on the stage. However, the main focal point runs from the stage to the balcony—a collection of ropes tied off in waves across the ceiling that lead to ropes hanging down next to the chair. I’m intrigued. Upon reading the director’s notes in the program, I am enthusiastic to see her desire to honor Henry James’ preference to leave fear to the imagination. Unfortunately, from the time the house lights go down to the curtain call, I see too much. The heavy-handed interpretation of the director combined with exaggerated characterizations lead to a production that is only scary in that it does not trust its material or its audience. The main responsibility for gaining the audience’s trust is in the hands of the male actor: Ryan Landry. This tall disheveled man in Victorian costume takes on all of the main roles (narrator, the uncle, Miles, and Mrs. Grose). Mr. Landry grabs every laugh—even when laughter is inappropriate. The fact that his portrayal of the uncle has no chemistry with the governess leaves her without a large portion of her motivation to tend to the children. His housekeeper, Mrs. Grose, is a cross between Dame Edna and Stewie Griffin; when crisis arises and we need to see fear through Mrs. Grose’s eyes, she has no credibility and elicits no sympathy from the audience. The only character that Landry truly embodies is the young boy Miles. While he spends more time as this character than others, the lack of definition of the other characters leaves the audience questioning what or who he is (the audience actually made comments about this as they were leaving the play). These androgynous caricatures subjugate the suspense and fear that story creates. As he pushes the governess away, Landry’s portrayals push the audience away from sharing any intimacy with the play. Molly Schreiber does her best to withstand this towering force and reach some moments of sincerity and depth. Unfortunately, to prevent herself from being overtaken by Landry, she attempts to match his ridiculous energy and fails to reveal the heart of the character. This leaves the audience alienated from the last possible character to reach out to and to seek the guidance of the director to get them through the eighty minutes with no intermission. Caitlin Lawson’s direction betrays her desire to allow the audience to use its own experiences to build their fear. Constantly through the character exchanges, either from her direction or lack of control, they provide only one interpretation that is somewhat twisted, but not scary. The question of whether this idea is being thrust upon the audience by accident or deliberate intent is confirmed when the governess confronts Miles for the first time. Innocence is lost. You must believe what you see over what they say. Mystery is lost. Jeffrey Hatcher’s play provides an interesting rendition of Henry James’ novella and with my imagination I can envision a play that could be full of mystery and horror. Regretfully, Ms. Lawson’s production leaves me at that point. All interpretation and energy is consumed by the production and the audience is left wanting. The only mystery for the audience is: what exactly is Ryan Landry doing? 10/24/10. TNETG.]]> 28 2010-10-26 21:17:01 2010-10-27 01:17:01 open open a-play-of-imagination-leaves-little-to-imagine publish 0 0 post 0 _edit_lock _edit_last jabber_published _wp_old_slug image_url image_tag ]]> image_colors_bg image_colors_fg image_size reddit TWELFTH NIGHT http://netheatregeek.wordpress.com/2010/11/09/the-farce-is-with-him-an-interview-with-brian-mceleney/crossgarter/ Tue, 09 Nov 2010 18:25:46 +0000 http://netheatregeek.files.wordpress.com/2010/11/crossgarter.jpg 54 2010-11-09 13:25:46 2010-11-09 18:25:46 open closed crossgarter inherit 53 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/crossgarter-e1289327275820.jpg _wp_attached_file _wp_attachment_metadata _wp_attachment_backup_sizes ABSURD PERSON SINGULAR http://netheatregeek.wordpress.com/2010/11/09/the-farce-is-with-him-an-interview-with-brian-mceleney/absurd7/ Tue, 09 Nov 2010 18:45:32 +0000 http://netheatregeek.files.wordpress.com/2010/11/absurd7.jpg 56 2010-11-09 13:45:32 2010-11-09 18:45:32 open closed absurd7 inherit 53 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/absurd7.jpg _wp_attached_file _wp_attachment_metadata THE FARCE IS WITH HIM: An Interview with Brian McEleney http://netheatregeek.wordpress.com/2010/11/09/the-farce-is-with-him-an-interview-with-brian-mceleney/ Tue, 09 Nov 2010 19:00:22 +0000 http://netheatregeek.wordpress.com/?p=53 http://www.trinityrep.com/index.php [caption id="attachment_64" align="alignleft" width="240" caption="pictured (left to right): Fred Sullivan Jr., Brian McEleney, Anne Scurria and Mauro Hantman in Twelfth Night, directed by Brian McEleney at Trinity Rep. Set designs by Eugene Lee, costumes by William Lane, lighting by John Ambrosone. (Photo: Mark Turek)"]

[/caption] In these harsh economic times, it is difficult to imagine having the same job at the same company for twenty-six years. It is even more difficult to imagine having a theatre job for longer than the run of one show. Brian McEleney of Trinity Rep has done both. This year, he continues his joyful romp through life as director of Trinity Rep’s productions of Absurd Person Singular and The Crucible and actor in The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe. Although he did a few plays in high school, it was not until college when he started to think about a theatrical career. As a senior at Trinity College (where one of his classmates was Anne Scurria—now a fellow company member), McEleney was accepted to Yale and “that convinced me that this could be a serious career, and I’ve done almost nothing else ever since.” He first taught at Princeton University and The Bread Loaf School of English. Since 1981, he has taught at Trinity Rep and is currently the head of acting for the Brown/Trinity M.F.A. Program. With successful productions both in acting and directing, I ask him which he prefers: “Hard to say which I like more; it's kind of like asking which of your children is your favorite… However, preproduction work as a director is tremendous fun -- thinking about the play, imagining what the production should look and feel like, finding big ideas that will tie the whole thing together. And also, when you're directing, the dreaded labor of learning lines isn't an issue. However, after the play opens you're pretty much done. As an actor, I love the performing aspect -- the fact that you get to do it eight times a week that you get a new chance every day to make it better and deeper. I love the athletic aspect of acting that you always have to be doing your absolute best and giving the play to a new audience every night.” As an actor, some of his favorite roles include: Dr. Larch in THE CIDER HOUSE RULES; Richard II; Prior Walter in ANGELS IN AMERICA, Jamie Tyrone in LONG DAY'S JOURNEY INTO NIGHT; Malvolio in TWELFTH NIGHT (twice!); Mr. Ford in THE MERRY WIVES OF WINDSOR; and Mozart in AMADEUS. Few people will forget his hilarious performance as the prim Malvolio in bright yellow garters or will deny the keen direction of the show. Last season, with Twelfth Night, McEleney took up roles as both director and actor. Although taking on both tasks could be daunting, he said, “It wasn't hard to direct and act while we were in the rehearsal hall. It was a little surreal -- jumping up from the table when it was my ‘turn’ to act, but otherwise it was quite fun and challenging… However, when we got onto the stage, into costume and started doing dress rehearsals and previews, I wasn't really prepared for how difficult it would be to actually watch the show, since when I wasn't in a scene I was usually offstage changing my costume. I had to trust that the work we had done in rehearsal was good, and let the production take its own course.” Brian describes what it is like to be part of the strong, enduring acting company such as Trinity Rep: “I have often said that being a member of this company is like being part of a family -- with all the attendant pros and cons of family relationships. Though sometimes there are fights, disagreements, rivalries, resentments -- our long-term relationship is a constant that supports and defines us.” In addition, he said these relationships helped him when he worked on Twelfth Night in getting feedback from his fellow actors without losing his control as director. When McEleney approaches a directing project, he asks himself “What do I love about this play? Why is it important to tell this story now, and how can I make the audience understand why it's important to them?” and “How can the Trinity Rep acting company take ownership of this play, and present it in a way that is unique to us and to our audience?” With a play from the 1970’s and an iconic Arthur Miller play to direct this season, the latter thought can’t have been far from his mind. [caption id="attachment_84" align="alignleft" width="300" caption="(From left to right) Resident acting company members Fred Sullivan Jr. (Geoffrey), Anne Scurria (Marion), Angela Brazil (Jane), Stephen Berenson (Sidney), Phyllis Kay (Eva), and Timothy Crowe (Ronald) in Alan Ayckbourn’s darkly humorous Absurd Person Singular, directed by Brian McEleney at Trinity Rep. The show opens in previews on October 15 and runs through November 21, 2010 in the Dowling Theater. Costume design by William Lane, set design by Michael McGarty, lighting design by John Ambrosone. (Photo: Mark Turek)"][/caption] Absurd Person Singular, a holiday farce by Alan Ayckbourn, has opened to many positive reviews and runs through November 21^st. It will be interesting to see how he has Trinity Rep “take ownership” of this British play from the 1970’s for a millennial production in America. Brian states that one of the biggest challenges he faced with the production was the scenery in the Rep’s intimate Dowling Theatre. However, he “was thrilled with the set Michael McGarty came up with, a basically black wall with interchangeable doors and windows and modular furniture which allowed us to make the necessary architectural adjustments to each particular kitchen while making the actors the most important element in the play.” He is delighted with “the work of the actors in this play; each of them brings his or herself fully to each role, and acts with specificity, bravery, precision, depth, clarity and athleticism.” His other directing challenge this year is The Crucible. I have to personally admit that while I like reading the play, I cringe when I hear it is being staged. The play revolves around large themes, a large cast, and two large events in history (the Salem Witch Trials and the McCarthy Hearings). Brian tells me that he intends to “make the production as absolutely immediate as possible. The play is based on real-life characters and events, and was written in response to a charged contemporary political climate. I hope that I can tell Arthur Miller’s story with passion and specificity, and make it feel contemporary, rather than a Sturbridge Village historical pageant.” With this description, some of my fears are allayed and I am curious to see the outcome of his work. When he is not acting, directing, or teaching, he finds time to run fervently. When asked how he maintains his energy with all the demands his career and life place upon him, he says it’s because “I love my work.” After twenty-six years and the opportunity to see several plays that he has been involved in, I have no doubt that this statement is true. TNETG. www.trinityrep.com Absurd Person Singular by Alan Ayckbourn, October 15-November 21, 2010 The Crucible by Arthur Miller, February 4-March 13, 2011 The Completely Fictional-Utterly True-Final Strange Tale of Edgar Allan Poe by Stephen Thorne, May 6-Jun 5, 2011 [caption id="attachment_56" align="alignright" width="276" caption="Resident acting company members Stephen Berenson (foreground, Sidney) and Timothy Crowe (backround, Ronald) in Alan Ayckbourn’s darkly humorous Absurd Person Singular, directed by Brian McEleney at Trinity Rep. The show opens in previews on October 15 and runs through November 21, 2010 in the Dowling Theater. Costume design by William Lane, set design by Michael McGarty, lighting design by John Ambrosone. (Photo: Mark Turek)"]

[/caption] ]]> 53 2010-11-09 14:00:22 2010-11-09 19:00:22 open open the-farce-is-with-him-an-interview-with-brian-mceleney publish 0 0 post 0 _edit_lock _edit_last _thumbnail_id jabber_published _wp_old_slug _oembed_20904cbc9659ccd2454f79a19ba01675 _oembed_ff069ccae79fd96589d516e5d138e577 _oembed_4874616be1abb1686f2a90dc5960b432 _oembed_e5ad52be560e24bbd375300ee7555b0c _oembed_5eb1dc4abce7f62bc4d3bd359e96146c _oembed_062cd34a2a691d9de27fca012724a39f _oembed_6e9332b31b8c52b13bd4f38652586780 _oembed_a265641ad5b9085290a005303dd7dea4 _oembed_f59fa914846368480c8cf57a78336516 _oembed_79ce7c99b8811553faef4424ed162d2c _oembed_7025393a91c3914c5517f2a69d00abd7 _oembed_074ffeae3e08096e598c57f553e23916 _oembed_edb0f236069112afce7ce163db4718c1 _oembed_7802a0d89cea90544ade5344608f4ede _oembed_f73ad84783500421629f4b8c0719e3fa _oembed_82e35340e587b440a19d7f2f7685c9ee _oembed_90fb2b528b6c8545fbf2ce1f3838c1bd _oembed_f93ed70557374df78416b5344215c1d7 _oembed_a6005600acc0b43c9703246bf6d3120a _oembed_517fc0ca95084eac82319126ce1e0762 reddit 4 englishteacher@alum.bu.edu http://netheatregeek.com 24.128.81.205 2010-11-20 18:54:28 2010-11-20 23:54:28 1 0 17449416 TWELFTH NIGHT http://netheatregeek.wordpress.com/2010/11/09/the-farce-is-with-him-an-interview-with-brian-mceleney/crossgarter-2/ Tue, 09 Nov 2010 19:05:54 +0000 http://netheatregeek.files.wordpress.com/2010/11/crossgarter1.jpg 64 2010-11-09 14:05:54 2010-11-09 19:05:54 open closed crossgarter-2 inherit 53 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/crossgarter1.jpg _wp_attached_file _wp_attachment_metadata Let x Equal Much Promise http://netheatregeek.wordpress.com/2010/11/10/let-x-equal-much-promise/ Wed, 10 Nov 2010 16:07:56 +0000 http://netheatregeek.wordpress.com/?p=69 Proof by David Auburn, Curtain Call Theatre, Braintree, MA 11/5/10-11/13/10 http://curtaincallbraintree.org/ Take x; add a strong cast and tight direction to a Pulitzer Prize winning script, and the result will be Curtain Call Theatre’s production of Proof. The small theater group embodies two of the main themes of the play: testing theories and proving yourself. The cast brings strength and soul to the script. At the core is Sarah Jacobs. This recent Brandeis University graduate possesses natural talent that creates an awkward, intelligent, and inwardly strong Catherine. She has a few small affectations and a lack of cynicism, but those nuances will go away with life and career experience. Dan Delaporta, as Hal, exudes energy and geekiness. He displays both the self-centeredness and sensitivity that makes him a good match for Catherine. Both actors will continue to thrive as long as they practice their craft and remain open to all opportunities. Glenn Ryan portrays the resilient patriarch Robert. He tries to hide his fragility behind his intelligence. Robert’s towering presence promotes a believable, co-dependent relationship with Catherine, and although she hides under that presence while he is alive, she is not helpless. Catherine survives despite her muted existence for a chance to thrive herself. The only characterization I question (although I do not know if this is director or actor’s choice) is Claire played by Rachel Fisher-Parkman. Claire is like her father with the ability to put on a façade and appear to be in control. From the moment Rachel enters, though, she seems visibly anxious, which makes Claire’s falling apart in the second act less pronounced. Rachel is a capable actress, but whoever decided upon the motivation for her character should have tested that “proof” more. When the play starts, a projection of a head with numbers coming out of it is shown on the main backdrop. This concerned me because the projector is noisy and the projection doesn’t really add anything; yet, before I could dwell upon it too much, it was gone and the play truly started. Technology creates an enticing trap in this millennial age; “we have technology, so we must use it.” Fortunately, the projection is the only temptation that director Peter Kates falls prey to. He goes back to the actors and the script to present an honest, heartfelt story. While the acting space is small, Kates utilizes every inch with purpose and vigor. Kates’ scene design gives additional acting spaces, including a railing that the actors walk upon. The only place where Peter Kates, the designer, and Peter Kates, the director, get in each other’s way is with the two columns in the middle of the porch. The columns block action, particularly when one or two of the actors stand directly behind them. With this exception, the remaining action continues to be appropriate and energetic. While the “proof” may not be finished and the outcome not perfect, this production bestows a sincere portrait of a family of genius that is trying to find its own identity outside the shadow of their father. Overall, they show that you don’t have to be a professional theatre to produce a powerful production. The “proof” is at Curtain Call. 11/7/2010. TNETG.]]> 69 2010-11-10 11:07:56 2010-11-10 16:07:56 open open let-x-equal-much-promise publish 0 0 post 0 _edit_last _edit_lock jabber_published _wp_old_slug reddit cropped-new-england-theatre-geek.jpg http://netheatregeek.wordpress.com/?attachment_id=75 Wed, 10 Nov 2010 16:50:11 +0000 http://netheatregeek.files.wordpress.com/2010/11/cropped-new-england-theatre-geek.jpg 75 2010-11-10 11:50:11 2010-11-10 16:50:11 closed closed cropped-new-england-theatre-geek-jpg inherit 0 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/cropped-new-england-theatre-geek.jpg _wp_attached_file _wp_attachment_metadata Absurd Person Singular http://netheatregeek.wordpress.com/2010/11/09/the-farce-is-with-him-an-interview-with-brian-mceleney/absurd1-2/ Sat, 13 Nov 2010 17:31:05 +0000 http://netheatregeek.files.wordpress.com/2010/11/absurd11.jpg 84 2010-11-13 12:31:05 2010-11-13 17:31:05 open closed absurd1-2 inherit 53 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/absurd11.jpg _wp_attached_file _wp_attachment_metadata me2 http://netheatregeek.wordpress.com/about/me2/ Mon, 22 Nov 2010 02:37:59 +0000 http://netheatregeek.files.wordpress.com/2010/10/me2.jpg 96 2010-11-21 21:37:59 2010-11-22 02:37:59 open closed me2 inherit 2 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/10/me2.jpg _wp_attached_file _wp_attachment_metadata Father and son http://netheatregeek.wordpress.com/2010/11/22/the-religion-of-family/_e1k9909/ Tue, 23 Nov 2010 01:03:03 +0000 http://netheatregeek.files.wordpress.com/2010/11/veng22.jpg 108 2010-11-22 20:03:03 2010-11-23 01:03:03 open closed _e1k9909 inherit 99 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/veng22.jpg _wp_attached_file _wp_attachment_metadata Father and son http://netheatregeek.wordpress.com/2010/11/22/the-religion-of-family/_e1k9909-2/ Tue, 23 Nov 2010 01:06:03 +0000 http://netheatregeek.files.wordpress.com/2010/11/veng23.jpg 109 2010-11-22 20:06:03 2010-11-23 01:06:03 open closed _e1k9909-2 inherit 99 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/veng23.jpg _wp_attached_file _wp_attachment_metadata Vengeance is the Lord's http://netheatregeek.wordpress.com/2010/11/22/the-religion-of-family/_e1k9807/ Tue, 23 Nov 2010 01:08:12 +0000 http://netheatregeek.files.wordpress.com/2010/11/vengeance1.jpg 111 2010-11-22 20:08:12 2010-11-23 01:08:12 open closed _e1k9807 inherit 99 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/vengeance1.jpg _wp_attached_file _wp_attachment_metadata The Religion of Family http://netheatregeek.wordpress.com/2010/11/22/the-religion-of-family/ Tue, 23 Nov 2010 01:30:04 +0000 http://netheatregeek.wordpress.com/?p=99 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 [caption id="attachment_109" align="alignright" width="160" caption="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"]

[/caption] “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. Katie Kriesler, who plays the daughter Roanne, provides the closest resemblance to a nurturing character by cooking meals and standing up for her younger brother. At the same time, Roanne longs for her father’s approval and secures her place in the “family business” by starting a relationship with a philandering sheriff on New Years’ Eve. Woody, played by Lee Tergensen, supplies the brawn of the family’s operation. Woody is more or less in control of the business and any problems that arise. Tergensen never lets his character waver and keeps Woody single-minded and focused with one goal in mind: keep the family business together at any cost. Larry Pine plays the diminished “Godfather”-like character of Matthew Horvath. Matthew rarely gets his hands dirty and delegates most the criminal activity to his subordinates; the play illustrates this inequity when a boy is killed after being arrested for stealing a car that Matthew sent him to steal. The play also alludes to the possibility that Cheryl’s death could be the result of her father’s dealings. Larry Pine plays a quiet, unsuspecting man who cannot handle the business on his own. Mr. Pine speaks too quickly and tends to stumble over his lines; this makes it difficult to sometimes follow the action of the play. However, his fellow actors support him beautifully and keep the story from getting lost. Karl Baker Olson, as the younger son Donny, endows the play with the lone voice of morality. Donny does not approve of his father’s callousness towards the deaths outside of the family and becomes disdainful when he realizes that his father is responsible for the deaths. Donny is a passive character, but the audience can’t be sure if this is by choice or necessity; the one time he speaks up in public he’s beaten. Karl Baker Olson plays a young man trying to find own identity within a constricted environment. While his character is not able to defy them, Olson displays an inner strength that keeps the character from completely losing himself under the pressure of his family. Bob Glaudini has created a play that Pat Conroy would be proud of. The Horvath family lives in a moral world of their own and value “family loyalty” above mercy or compassion. Yet, like The Great Santini and The Prince of Tides, people are drawn to the broken lives and desire to see the family struggle to stay together—even in severe dysfunction. 11/22/10. TNETG. [caption id="attachment_111" align="alignleft" width="300" caption="Roberta Wallach (Margaret Horvath), Lee Tergesen (Woodrow Horvath), Katie Kreisler (Roanne Horvath), Karl Baker Olsen (Donald Horvath), and Larry Pine (Mathew Horvath) in Vengeance Is The Lord's, by Bob Glaudini, directed by Peter DuBois at the Huntington Theatre Company. Now through Decmeber 12 at the B.U. Theatre. huntingtontheatre.org. Photo by T Charles Erickson"]

[/caption] ]]> 99 2010-11-22 20:30:04 2010-11-23 01:30:04 open closed the-religion-of-family publish 0 0 post 0 _edit_last _edit_lock _thumbnail_id jabber_published _wp_old_slug reddit Frankie and Johnny http://netheatregeek.wordpress.com/2010/11/30/love-in-the-moonlight/frankie/ Wed, 01 Dec 2010 03:04:03 +0000 http://netheatregeek.files.wordpress.com/2010/11/frankie.jpg 128 2010-11-30 22:04:03 2010-12-01 03:04:03 open closed frankie inherit 127 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/11/frankie.jpg _wp_attached_file _wp_attachment_metadata Love in the Moonlight http://netheatregeek.wordpress.com/2010/11/30/love-in-the-moonlight/ Wed, 01 Dec 2010 03:06:03 +0000 http://netheatregeek.wordpress.com/?p=127 [caption id="attachment_128" align="alignright" width="300" caption="(front to back) Anne Gottlieb (Frankie) and Robert Pemberton (Johnny) in FRANKIE AND JOHNNY IN THE CLAIR DE LUNE. Photo by Christopher McKenzie."][/caption] Frankie and Johnny in the Clair de Lune by Terrence McNally, New Repertory Theatre, 11/28/10-12/19/10. Nudity and Mature Themes. http://newrep.org/frankie_johnny.php 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”. I was not sure what to think about the nudity at first; I knew how the play started and I knew how it progressed, but I wasn’t sure how much needed to actually be seen. Upon reflection, it seems that Antonio Ocampo-Guzman, the director, is trying to let the clothing (and lack of clothing) speak as a comment on the characters’ abandon. At the beginning of the play, Frankie and Johnny live in a moment of free passion, but as the play progresses the characters try to hide more while still trying to move towards a relationship. Is it necessary? I’m not sure. I do think it will limit the type of audience the show will get—but that is not wholly a bad thing. How often, outside of New York or Los Angeles are people really willing take a risk and put on a beautiful piece of theatre that is outside of what is acceptable and proper in polite society? And the entire play is about taking risks. The nudity adds the meaning that I mentioned above and in no way detracts from the story. For some of the more conservative audience members, it may take some time to adjust, but if you can—it’s worth it. The set is a true-to-life (and scale) New York efficiency apartment. Anyone who has lived in a city can recognize that. Ocampo-Guzman utilizes the space completely. Every area and level of the apartment is used. The only hazardous aspect for the audience is that the audience needs to be prepared to eat after the show; Johnny starts to cook an omelet onstage and mouths start to water. The Black Box is an intimate space and is the perfect venue for an intimate show. Frankie and Johnny in the Clair de Lune at the New Repertory Theatre provides an evening of laughter and love that one can be glad to have been a part of. Moreover, Ann Gottlieb and Robert Pemberton are exceptionally talented actors that work incredibly well together; they deliver a heartfelt performance that draws the audience into the characters’ struggle. Frankie and Johnny… is a clever play to begin with, and if the nudity is not a problem, it is well worth the trip to Watertown, MA in the next couple of weeks. TNETG. 11/29/10.]]> 127 2010-11-30 22:06:03 2010-12-01 03:06:03 open closed love-in-the-moonlight publish 0 0 post 0 _edit_last _edit_lock _thumbnail_id jabber_published _wp_old_slug reddit Hannah http://netheatregeek.wordpress.com/?attachment_id=135 Tue, 07 Dec 2010 19:27:31 +0000 http://netheatregeek.files.wordpress.com/2010/12/mcgeary-project.jpg 135 2010-12-07 14:27:31 2010-12-07 19:27:31 open closed mcgeary-project inherit 0 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/mcgeary-project.jpg _wp_attached_file _wp_attachment_metadata Hannah http://netheatregeek.wordpress.com/2010/12/07/136/mcgeary-project-2/ Tue, 07 Dec 2010 19:32:07 +0000 http://netheatregeek.files.wordpress.com/2010/12/mcgeary-project1.jpg 137 2010-12-07 14:32:07 2010-12-07 19:32:07 open closed mcgeary-project-2 inherit 136 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/mcgeary-project1.jpg _wp_attached_file _wp_attachment_metadata Full cast with video http://netheatregeek.wordpress.com/2010/12/07/136/full-cast-with-video/ Tue, 07 Dec 2010 19:36:05 +0000 http://netheatregeek.files.wordpress.com/2010/12/full-cast-with-video.jpg 138 2010-12-07 14:36:05 2010-12-07 19:36:05 open closed full-cast-with-video inherit 136 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/full-cast-with-video.jpg _wp_attached_file _wp_attachment_metadata BF Frame Kavner Jenkins Wicks V http://netheatregeek.wordpress.com/2010/12/07/136/bf-frame-kavner-jenskins-wicks-v/ Tue, 07 Dec 2010 19:39:48 +0000 http://netheatregeek.files.wordpress.com/2010/12/bf-frame-kavner-jenskins-wicks-v.jpg 139 2010-12-07 14:39:48 2010-12-07 19:39:48 open closed bf-frame-kavner-jenskins-wicks-v inherit 136 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/bf-frame-kavner-jenskins-wicks-v.jpg _wp_attached_file _wp_attachment_metadata End. Begin. End. Begin Again. http://netheatregeek.wordpress.com/2010/12/07/136/ Tue, 07 Dec 2010 19:41:14 +0000 http://netheatregeek.wordpress.com/?p=136

[/caption] 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 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. [caption id="attachment_139" align="alignright" width="182" caption="(Front to Back) Wicks, Kavner, Jenkins. Photo by Marcus Stern."]

[/caption] The performances by the acting ensemble rival Broadway productions and in some cases even surpass them. Teal Wicks portrays a youthful, yet strong and intelligent, Maria (based on Marie Curie). Of all of the characters, Maria has the most to learn and the most to lose. While not as prevalent in the second act, the audience accompanies her through the disorientation and disillusionment she feels. Wicks’ voice is full of control and emotional power. Lucas Kavner (Franz) complements Wicks’ with his carefree debonair manner. Kavner becomes the charming guy that all the women swoon over and every man wants to be friends with. The only question I have about this performance is: is Kavner acting or just being himself? Daniel Jenkins (Max) displays an amazing range of skill and presence. Although Max’s memory is the basis for the show, he is also a pawn for the show. Max strives for connection and freedom; while he finds them, he also loses them and then seems more trapped than ever. Daniel Jenkins speaks in three languages: English, German, and “Maxperanto”; to place a dramatic performance on top of that seems challenging, but Mr. Jenkins makes it seem effortless and natural. It is not difficult to see that Meghan McGeary has spent a long time with the character of Hannah. Her free spirited Dadaist character knows who she is and never falters from that position. Meghan has a countenance similar to Chita Rivera both in vocal ability and grandiose mannerisms that perfectly fit her character. Tom Nelis, the “Fairytale Man”, arranges the scenes and infuses them with energy. At the end of the show, his character becomes reminiscent of Jonathan Pryce in De-Lovely. Connor Christiansen and Paul Shafer round out the ensemble with mastery. The production does not fit neatly into current expectations of a musical. Perhaps the most analogous theatre form would be Brecht’s “epic theatre”. However, unlike Brecht, the show not only provides the audience with rational reflection and analysis, but also provides a sympathetic position towards the characters. In addition, the show has a plot and a through-line; however, they remain secondary to the visceral experience of the senses. The result is a realization that the war has never ended and the desire for a new way of living never ceases. The only adjustment that possibly should be made in the future is to set the show in a thrust or arena setting. While the show tries to pull the audience into the action, the formality of a proscenium presentation keeps the audience at arm’s length. Like Sondheim, The Blue Flower most likely will not have widespread appeal, but it will live on as a work of art that both excites and puzzles performers for years to come. TNETG. 12/3/10. [caption id="attachment_138" align="alignleft" width="300" caption="Full Cast with Video. Photo by Marcus Stern."]

[/caption] ]]> 136 2010-12-07 14:41:14 2010-12-07 19:41:14 open closed 136 publish 0 0 post 0 _edit_last _edit_lock _thumbnail_id jabber_published _wp_old_slug image_url image_md5 image_size image_tag ]]> image_colors_bg image_colors_fg image_colors_bg image_colors_fg reddit WL quintet http://netheatregeek.wordpress.com/2010/12/14/a-warm-affirming-life/wl-quintet/ Tue, 14 Dec 2010 12:48:38 +0000 http://netheatregeek.files.wordpress.com/2010/12/wl-quintet.jpg 157 2010-12-14 07:48:38 2010-12-14 12:48:38 open closed wl-quintet inherit 156 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/wl-quintet.jpg _wp_attachment_metadata _wp_attached_file A Warm, Affirming Life http://netheatregeek.wordpress.com/2010/12/14/a-warm-affirming-life/ Tue, 14 Dec 2010 12:50:33 +0000 http://netheatregeek.wordpress.com/?p=156 It’s A Wonderful Life: A Live Radio Play by Joe Landry, Trinity Repertory Theatre, 12/3/10-1/2/11. http://www.trinityrep.com/on_stage/current_season/MTM.php

: Resident acting company members Stephen Berenson, Anne Scurria, Timothy Crowe, Fred Sullivan Jr. and Angela Brazil in It’s a Wonderful Life: A Live Radio Play adapted by Joe Landry, co-directed by Curt Columbus and Tyler Dobrowsky. Set designs by Michael McGarty, lighting by John Ambrosone, costumes by Alison Walker Carrier. (photo: Mark Turek)

Trinity Rep brings a warm new tradition to its stage. The endearing story of George Bailey receives new life in this stage adaptation by Joe Landry. The production does not offer perfection, but it does offer a fun family night out. Set in a 1940’s radio station, the talented five person cast portrays all of the main characters from the story. The cast consists of the following acting company members: Stephen Berenson, Angela Brazil, Timothy Crowe, Anne Scurria, and Fred Sullivan, Jr. who have proven themselves time and again in dozens of Trinity shows. The play creates a challenge for the actors since the characters are linked with iconic performances such as: Jimmy Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, and Henry Travers; however, the cast manages to uphold audience expectations while making the roles their own. The only characterization that falls short is Fred Sullivan, Jr’s depiction of George Bailey. Mr. Sullivan’s performance turns George Bailey into a Zen master. George Bailey no longer has any urgency or reason to get upset; he remains calm in all situations. When he does yell, it seems out of place and forced. While this is an admirable quality for any person, it removes the sense of urgency, the anxiety, the anger, and even slight bitterness that causes George to feel trapped in Bedford Falls; the lack of passion also makes the thought of a suicide attempt seem absurd for someone that calm who could take a few moments and reason it out. The radio show set up is enjoyable and is true to its intent. The Foley Artist adds to the feeling of being at a live radio broadcast. Despite the appropriate staging, Curt Columbus and Tyler Dobrowsky lose sight of the radio show format halfway through. It is understandable to be cautious about having actors perform with minimal action for eighty-five minutes and hope that a modern audience will pay attention and not get bored. With the main portion of the play as a radio show and the other part as a regular theatrical performance, the audience gets jarred and does not completely know what is going on, though. The Foley Artist disappears and canned sound effects are used. The microphones are taken away. So, we’re not at a radio play anymore? By the time this happens, the audience has bought in to the radio performance and expects it to continue this way. Some of the dramatic effect that is intended loses its impact while the audience readjusts to the new format. The tension and suspense could have been expressed through the lighting and limited movement without changing the structure of the play. Overall, even with these missteps, the play is a delight and warms the heart. For a holiday “warm-fuzzy”, It’s A Wonderful Life: A Live Radio Play reminds us of the honesty and decency of man that we often seek and rarely find. Furthermore, it provides a new spin on an old tradition and gives the audience a new way to experience a classic story. TNETG. 12/11/10.]]> 156 2010-12-14 07:50:33 2010-12-14 12:50:33 open closed a-warm-affirming-life publish 0 0 post 0 jabber_published _edit_lock _edit_last reddit lion_king_ticket http://netheatregeek.wordpress.com/2010/12/28/the-problem-with-previews-version-2-0/lion_king_ticket/ Tue, 28 Dec 2010 04:46:28 +0000 http://netheatregeek.files.wordpress.com/2010/12/lion_king_ticket.jpg 172 2010-12-27 23:46:28 2010-12-28 04:46:28 open closed lion_king_ticket inherit 171 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/lion_king_ticket.jpg _wp_attachment_metadata _wp_attached_file The Problem With Previews--Version 2.0 http://netheatregeek.wordpress.com/2010/12/28/the-problem-with-previews-version-2-0/ Tue, 28 Dec 2010 05:26:45 +0000 http://netheatregeek.wordpress.com/?p=171

Preview performances are not a new invention in the theatre. In fact, although I could not find the origin, I have found news articles dating back to the 1900’s regarding theatre previews. Most theatres will agree that “preview week is about nuance. For the creators, cast and crew, the seven [preview] performances will be a chance to fine-tune before the official opening night four days from now. They will make changes during the day and try them out at night before an audience.”¹ However, that definition allows for flexibility and abuse to the detriment of the audience. Some theatres have begun to use previews as an open rehearsal process. No one is questioning the “creative process” that happens when a theatre puts on a play (having directed around ten minor productions, I completely understand that); my problem with current theatrical previews is performance quality and price. While some theatres do reduce prices a fair amount level for preview performances (I have seen up to 50% off and “pay what you can” performances advertised), many do not. Many people who want to see theatre, particularly with the current economic state, will jump at the chance to save some money whether it is 2% or 50%. Some producers and directors have misused previews recently (possibly as a way of offsetting production costs) and still try to claim that severe lapses (that would not be allowed in school or community theatres) are acceptable and under the auspices of the “creative process”. The most notable example of a failed preview performance is of Spiderman: Turn Off The Dark on Broadway. Most Broadway shows do give a reduction in ticket price and Spiderman is one of them. Broadway ticket prices range primarily from $35 (“nose-bleed”, last rows of the theatre) to $300 (“premium seats” in the first few rows) with the majority of seats in the orchestra costing around $120. For $120, audience members of the first preview of Spiderman: Turn Off The Dark received a performance that was indeed stopped four times during the first act, and once in the second. A sympathetic, enthusiastic audience was ’on side’ for the most part, though a longish pause in the first act drew a small slow handclap, and the second act breakdown drew one loud heckle that what we were watching was not so much a first preview as a dress rehearsal.”² Yes, difficulties for shows will be worked out during previews, but they should not be so significant that the mistakes outweigh the performance—it is still a performance. While there have been a few positive words about the show around the Twitter, the main attraction of the production has been the four serious injuries and the major technical malfunctions of the production. A part of the “creative process”? For those people who go to shows for spectacle over substance, perhaps. But $120 for a story that one may or may not be able to piece together amidst the flash and the wreckage? Regardless of the cost to the production, previews should be discounted; if Broadway producers do not believe this is possible, they should return to workshop and out-of-town tryouts prior to bringing the show to New York. Particularly as part of the tourist industry, the producers should consider the damage they are bringing to theatre (why go to Broadway and spend $120 to watch actors fall on their face, when I can see a $20 community production in my town that’s biggest flaw is that the sets look like cardboard?) I spend close to $600 (including tickets, bus, hotel, and food) when I go see a Broadway show—give me good reasons to go down to New York (like Next to Normal, Fences, Avenue Q, Spring Awakening…). When the show’s performances are cancelled because the show is nowhere near ready to be presented, what happens to the people who only budgeted enough time and money for this one trip? This phenomenon does not limit itself to Broadway mega-musicals, however. A recent production in Boston demonstrated that the “creative process” of the preview was an excuse to have a completely unprepared production and that $55 was an acceptable price to pay for this experience. Huntington Theatre’s production of Vengeance is the Lord’s the majority of the actors visibly did not know their lines four performances prior to opening. While this was a new script and some actors do take until the performance to have all of their lines memorized—this was a performance. I stayed for the talk-back after the show not to uncover the enigmatic nuances of the performance, but to decipher what the story was even about with so many lines muddled. Huntington’s response was “…each performance this week until Thursday’s has incorporated numerous line changes in order to ready the production for this Friday’s Opening…”. If this was the only problem, then the actors should not have been in any better shape to perform the show than they were on the preview night that I attended. Most major changes should not be made during previews, but during the regular rehearsal process. At some point, there has to be a goal to be reaching for or the play will never have a clear vision; when theatres decide to show their performance to the public, they should be at the point where the production can stand strong on its feet and make minor adjustments as the previews head to opening night. Yes, many theatre buffs might enjoy sharing feedback and seeing the development of the play, but the question remains: is it worth the price of the tickets? Perhaps that is not the correct question; are theatres using the correct term? Some theatres that specialize in new plays go through a workshop process where everyone involved knows the show may not end up looking anything like the original product. If a theatre wants to bring in outsiders to provide feedback: there is an audience for this type of production: students. They are more opinionated, less polite, and more enthusiastic about the process; they are also the ones who are looking for the new styles and inventions that will draw them to become patrons in the future. The problem is the price. If tickets were significantly reduced for “workshops”, major flaws could be worked out in that setting that is not expected to have a performance even close to performance standards. For $50-200 previews, theatres are going to get the same people who may enjoy the “creative process”, but may also be used to the “process” that they are not really looking critically at the production and helping the production to evolve. Economically, this would benefit the theatre by providing more ticket sales (I am not saying to cut the preview performances) even if it just a small amount. Not all theatres suffer from a prolonged “creative process”, however. Trinity Rep, Hartford Stage, New Rep, and other theatres that have preview performances that still maintain quality while allowing actors to get comfortable and to fix minor problems. As someone who has had a “preview performance” subscription, I can say beyond a reasonable doubt that they can and should still merit a competent performance for the audience. Preview performances can be a saving grace for theatre lovers that cannot afford the exorbitant prices of main performances. My only advice before buying tickets is to find out the theatre’s philosophy on previews (if possible) and follow the maxim “caveat emptor”. TNETG. 12/27/10. Footnotes: 1 http://www.nj.com/specialprojects/index.ssf?/specialprojects/papermill/gamble3.html 2 http://blogs.thestage.co.uk/shenton/2010/11/spider-man-turns-on-the-lights/]]> 171 2010-12-28 00:26:45 2010-12-28 05:26:45 open closed the-problem-with-previews-version-2-0 publish 0 0 post 0 _edit_last _edit_lock jabber_published reddit BarefootBanner http://netheatregeek.wordpress.com/2010/12/30/building-relationships/barefootbanner/ Thu, 30 Dec 2010 13:43:14 +0000 http://netheatregeek.files.wordpress.com/2010/12/barefootbanner.jpg 200 2010-12-30 08:43:14 2010-12-30 13:43:14 open closed barefootbanner inherit 199 0 attachment 0 http://netheatregeek.files.wordpress.com/2010/12/barefootbanner.jpg _wp_attached_file _wp_attachment_metadata Building Relationships http://netheatregeek.wordpress.com/2010/12/30/building-relationships/ Thu, 30 Dec 2010 14:00:30 +0000 http://netheatregeek.wordpress.com/?p=199

[/caption] Barefoot In The Park by Neil Simon, Zero Point Theater, 12/28/10-1/2/11. http://www.zptheater.com/ 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. Laura Loy energizes the production with her charm and innocence as Corie Bratter. Corie is a newlywed who learns that marriage not only consists of passion and romance but also requires support and understanding of her partner’s needs. As Corie, Laura brings the loveable, self-indulgence of a young bride that acts impulsively while her husband remains pragmatic. Loy, as a new actress, misses some nuances in her character development; however, she displays immense potential to become an outstanding performer. Lida McGirr provides experience and stability to the production. Her strong, steady, yet loving nature as Corie’s mother Ethel balances out the extreme dynamic of the couple. Laura Loy and Preston Graveline (Paul) will learn a great deal from McGirr’s dynamic range of emotion and expression throughout the run of the play. Walter Driscoll plays the endearing neighbor Victor Velasco who helps Ethel to release some of her inhibitions. Mr. Driscoll’s performance does not always remain focused, but the enchanting nature of his character makes the audience want to see Victor succeed at sweeping Ethel off her feet. The cast is rounded out by Travis Joyce and Kenneth Siddons. Barefoot in the Park, presented by Zero Point Theatre at the Arsenal Center for the Arts in Watertown, offers a delightful way to bring in the New Year. Both the theater and its company provide a hopeful glimpse into the future of theatrical productions in Boston.]]> 199 2010-12-30 09:00:30 2010-12-30 14:00:30 open closed building-relationships publish 0 0 post 0 _edit_lock _edit_last jabber_published tagazine-media