Review by BArry GAines for the Albuquerque Journal July 5, 2008
I returned from my summer travels just in time to join a capacity opening-night audience for “Goodnight Desdemona (Good Morning Juliet)” at the Vortex.
This rollicking play by Canadian Ann-Marie MacDonald operates on several levels, all of them entertaining. Before we hear a line of dialogue, we see mousey academic Constance Ledbelly at work at her cluttered desk while Othello smothers his innocent wife Desdemona and Juliet, finding her beloved Romeo dead, stabs herself to death. We soon learn that Constance has been toiling to finish her doctoral dissertation. She hopes to prove that Shakespeare originally conceived both “Othello” and Romeo and Juliet as comedies with a Wise Fool intervening to avert the errors that lead to the plays’ deaths. Constance’s pedantic comments on the “ambivalent and non-Aristotelian” tragedy of the two plays sounds like a classroom lecture on Shakespeare, or a parody of such a lecture—they are often difficult to tell apart. When her secret love, Professor Claude Knight, for whom she has been writing speeches and reviews for years, callously dashes all her romantic hopes, she throws her research into the wastebasket—and herself with it. Fantastically, she reappears in Cyprus where she interacts with Othello, Desdemona, and Iago. In the second act she is in Verona with the Capulets and Montagues. In both places Constance manages to avert the tragedy, but she turns the action into chaos—therein lies much of the fun. MacDonald’s script is alternatively witty and vulgar; the play’s cast transforms what is essentially an extended skit into an enjoyable comedy.
Director Victoria Liberatori, Artistic Director and Co-Founder of Princeton Rep Company, has selected her actors well and provided clever staging and line deliveries to maximize the play’s comic effect. The cast presents their characters with appealing energy and commitment. Shakespeare veterans Drew Groves and Lori Stewart call on their experience to be both serious and silly—often simultaneously—as Romeo/Iago and Desdemona. Benjamin Liberman sends Othello, Juliet’s Nurse, and Tybalt over the top in his performances. Heather Yeo is delightful as a Juliet who was dissatisfied with her Romeo’s amorous equipage. Bridget Kelly is strong as Constance, whose search for identity is at the heart of the play. Kelly often underplays her modern role, milking the humorous contrast between her colloquial language and the other characters’ emotional Renaissance verse (although I swear I heard a Groucho Marx line).
Is “Goodnight Desdemona (Good Morning Juliet)” fraught with the power of the Shakespearean plays in appropriates? No. It is more intellectual slapstick, but thoughtful and entertaining. The few glitches in the first performance will be eliminated during the run.
“Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald plays at the Vortex Theatre, 2004½ Central Avenue SW, Fridays July 18 and August 1, Saturdays July 12, 26, and August 2 at 8 p.m., and Sundays July 13, 20, and August 3 at 2 p.m. $12. Call 247-8600.
Thursday, July 31, 2008
REVIEW - Bedroom Farce at the Adobe
Review by Barry Gaines for the Albuquerque Journal July 14, 2008
Alan Ayckbourne’s “Bedroom Farce” opened to a full house at the Adobe Theater. Sir Alan’s frenetic comedy features four married couples and explores their intertwined relationships. My first reaction to the two-and-a-quarter-hour production is that it is superficial in content and presentation, but perhaps I am asking too much of a light summer comedy.
Three bedrooms dominate Bob Byers’s set design, and the action shifts from bedroom to bedroom (and bed to bed) aided by Zane Barker’s lighting. One bedroom is occupied by Earnest and Delia, an older couple who wickedly contemplate celebrating their anniversary with sardines on toast points—in bed! Earnest is worried about a leak in the roof, but both are concerned about their son Trevor. After a fling with down-to-earth Jan, Trevor married the volatile Susannah, and the couple is having marital (bedroom) problems. Another bedroom belongs to Jan and her husband Nick. Nick has hurt his back and is bedridden (and floor-ridden). Jan, tired of playing nursemaid, goes to a housewarming party given by Kate and Malcolm, who occupy the central bedroom. Trevor and Susannah attend the party as well, and controlled chaos ensues.
Ayckbourne is one of England’s most prolific playwrights, known for his witty dialogue, clever construction, and comic exploration of middle-class angst. All of these are present in “Bedroom Farce” (1975), but, despite the 70s hairstyles and Judy Buehler’s polyester-laden costumes, the play shows its age. Director Taunya Crilly sets a rapid pace at the play’s beginning, but after intermission the dialogue and action become repetitive and the situation loses its savor, like chewing gum on the bedpost.
As Earnest and Delia, Hugh Witemeyer and Ninette S. Mordaunt do a fine job presenting a couple comfortable with themselves and each other. When conveying his character’s surprise, Witemeyer’s expressive eyes resemble two ping-pong balls. The script demands that Remy Rotenier perform Nick while continuously recumbent and complaining. Morgain Davidson perseveres as Jan. Jenny Miller is all tantrums, tirades, and tears as Susannah. Jennifer M. Lloyd again demonstrates her comic skills as Kate, and Matt Heath uses a sputtering Scottish accent to convey Malcolm’s frustration. These are highly capable actors whom I have praised in the past, but I find precious little in the text or performances to explain their attraction to each other. Newcomer Joseph M. West plays Trevor from the outside in. His grimaces, shrugs, and gestures are reminiscent of the Hugh Grant school of acting. But should I be looking for motivation in this breezy text with its sight gags and slapstick? Isn’t it enough to be an unashamed (and undemanding)
“Bedroom Farce”? “Bedroom Farce” by Alan Ayckbourne plays at the Adobe Theater, 9813 Fourth NW, Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through August 3. $12 general public, $10 seniors and students. Call 898-9222 for ticket information
Alan Ayckbourne’s “Bedroom Farce” opened to a full house at the Adobe Theater. Sir Alan’s frenetic comedy features four married couples and explores their intertwined relationships. My first reaction to the two-and-a-quarter-hour production is that it is superficial in content and presentation, but perhaps I am asking too much of a light summer comedy.
Three bedrooms dominate Bob Byers’s set design, and the action shifts from bedroom to bedroom (and bed to bed) aided by Zane Barker’s lighting. One bedroom is occupied by Earnest and Delia, an older couple who wickedly contemplate celebrating their anniversary with sardines on toast points—in bed! Earnest is worried about a leak in the roof, but both are concerned about their son Trevor. After a fling with down-to-earth Jan, Trevor married the volatile Susannah, and the couple is having marital (bedroom) problems. Another bedroom belongs to Jan and her husband Nick. Nick has hurt his back and is bedridden (and floor-ridden). Jan, tired of playing nursemaid, goes to a housewarming party given by Kate and Malcolm, who occupy the central bedroom. Trevor and Susannah attend the party as well, and controlled chaos ensues.
Ayckbourne is one of England’s most prolific playwrights, known for his witty dialogue, clever construction, and comic exploration of middle-class angst. All of these are present in “Bedroom Farce” (1975), but, despite the 70s hairstyles and Judy Buehler’s polyester-laden costumes, the play shows its age. Director Taunya Crilly sets a rapid pace at the play’s beginning, but after intermission the dialogue and action become repetitive and the situation loses its savor, like chewing gum on the bedpost.
As Earnest and Delia, Hugh Witemeyer and Ninette S. Mordaunt do a fine job presenting a couple comfortable with themselves and each other. When conveying his character’s surprise, Witemeyer’s expressive eyes resemble two ping-pong balls. The script demands that Remy Rotenier perform Nick while continuously recumbent and complaining. Morgain Davidson perseveres as Jan. Jenny Miller is all tantrums, tirades, and tears as Susannah. Jennifer M. Lloyd again demonstrates her comic skills as Kate, and Matt Heath uses a sputtering Scottish accent to convey Malcolm’s frustration. These are highly capable actors whom I have praised in the past, but I find precious little in the text or performances to explain their attraction to each other. Newcomer Joseph M. West plays Trevor from the outside in. His grimaces, shrugs, and gestures are reminiscent of the Hugh Grant school of acting. But should I be looking for motivation in this breezy text with its sight gags and slapstick? Isn’t it enough to be an unashamed (and undemanding)
“Bedroom Farce”? “Bedroom Farce” by Alan Ayckbourne plays at the Adobe Theater, 9813 Fourth NW, Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through August 3. $12 general public, $10 seniors and students. Call 898-9222 for ticket information
REVIEW - The Bad Seed at Desert Rose
Review by Barry Gaines for the Albuquerque Journal July 26, 2008
“The Bad Seed” has had tremendous success in three genres. It began as a 1954 novel by William March that sold a million copies in its first year while winning critical acclaim.
“The Bad Seed” was then adapted for the stage by Pulitzer-Prize-winner Maxwell Anderson. It opened on Broadway late in 1954 where it was a hit. Nancy Kelly won the Best Actress Tony for her portrayal of the play’s anguished mother. In 1956, Anderson’s play became a movie directed by Mervyn LeRoy, with Nancy Kelly and young Patty McCormack reprising their roles as mother and daughter. The movie was popular although the ending had to be altered to provide the punishment required by the outmoded Hays Code then still in effect. The film’s melodramatic acting, however, was later seen almost as self-parody.
So, over fifty years later, how does “The Bad Seed” hold up in the presentation by The Dolls—Albuquerque’s drag ensemble—at the Desert Rose Playhouse? First, I find this production an important accomplishment for The Dolls, who have been known mostly for their revues. Yes, men play women’s parts, but there is a balance between camp and serious in the acting. I am not suggesting that the parts are played (dare I say) straight, but there is genuine emotion in several of the portrayals. Ten-year-old Rhoda is the “too-good-to-be-true” daughter/sociopath. Twenty-six-year-old AJ Carian portrays her with a toothsome grin and a terrifying insouciance. She is the “bad seed” who lacks conscience or empathy, a heartless killer in pigtails. Her mother Christine, played effectively and sympathetically by Tequila Mockingbyrd (Kenneth Ansloan), grows aware of her daughter’s evil and searches for its origins. Christine’s landlord, Monica, played with humor and a great pompadour by Patrick Ross, offers Freudian explanations, while Christine’s father (Jim Johns) believes that depraved individuals come from depraved environments. From him Christine learns the secret of her own past.
As I applaud the serious characterizations, I must also mention problems with the script. The play is too long and repetitious. Patti Roxxx (Jaime Pardo) has a strong scene as the drunken mother of one of Rhoda’s victims, but her second scene simply repeats the first. The mystery novelist Salome (a man in the original script) is affectedly played by Chastity Belt-Off (director Bradd Howard), but the character is superfluous. Jay Kincheloe plays a genuinely creepy janitor (you know, the one who is always looking at the little girl), but he simply becomes another corpse. The story’s original postwar social commentary (is Rhoda Nazi Germany?) and psychological impact have been blunted by time (a preteen killer is the “Newsweek” cover story), but The Dolls give their all in this retelling.
“The Bad Seed” by Maxwell Anderson plays at The Desert Rose Playhouse, 6921 Montgomery NE, Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. through August 10. $12. Call 881-0503.
“The Bad Seed” has had tremendous success in three genres. It began as a 1954 novel by William March that sold a million copies in its first year while winning critical acclaim.
“The Bad Seed” was then adapted for the stage by Pulitzer-Prize-winner Maxwell Anderson. It opened on Broadway late in 1954 where it was a hit. Nancy Kelly won the Best Actress Tony for her portrayal of the play’s anguished mother. In 1956, Anderson’s play became a movie directed by Mervyn LeRoy, with Nancy Kelly and young Patty McCormack reprising their roles as mother and daughter. The movie was popular although the ending had to be altered to provide the punishment required by the outmoded Hays Code then still in effect. The film’s melodramatic acting, however, was later seen almost as self-parody.
So, over fifty years later, how does “The Bad Seed” hold up in the presentation by The Dolls—Albuquerque’s drag ensemble—at the Desert Rose Playhouse? First, I find this production an important accomplishment for The Dolls, who have been known mostly for their revues. Yes, men play women’s parts, but there is a balance between camp and serious in the acting. I am not suggesting that the parts are played (dare I say) straight, but there is genuine emotion in several of the portrayals. Ten-year-old Rhoda is the “too-good-to-be-true” daughter/sociopath. Twenty-six-year-old AJ Carian portrays her with a toothsome grin and a terrifying insouciance. She is the “bad seed” who lacks conscience or empathy, a heartless killer in pigtails. Her mother Christine, played effectively and sympathetically by Tequila Mockingbyrd (Kenneth Ansloan), grows aware of her daughter’s evil and searches for its origins. Christine’s landlord, Monica, played with humor and a great pompadour by Patrick Ross, offers Freudian explanations, while Christine’s father (Jim Johns) believes that depraved individuals come from depraved environments. From him Christine learns the secret of her own past.
As I applaud the serious characterizations, I must also mention problems with the script. The play is too long and repetitious. Patti Roxxx (Jaime Pardo) has a strong scene as the drunken mother of one of Rhoda’s victims, but her second scene simply repeats the first. The mystery novelist Salome (a man in the original script) is affectedly played by Chastity Belt-Off (director Bradd Howard), but the character is superfluous. Jay Kincheloe plays a genuinely creepy janitor (you know, the one who is always looking at the little girl), but he simply becomes another corpse. The story’s original postwar social commentary (is Rhoda Nazi Germany?) and psychological impact have been blunted by time (a preteen killer is the “Newsweek” cover story), but The Dolls give their all in this retelling.
“The Bad Seed” by Maxwell Anderson plays at The Desert Rose Playhouse, 6921 Montgomery NE, Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. through August 10. $12. Call 881-0503.
REVIEW - Charlie and the Chococlate Factory at ALT
RAVING RICHARD RADIO REVIEW, FOR LIVE BROADCAST ON TUESDAY, JULY 29, 2008 KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 P.M., SANTA FE
AGAIN, THEATREGOERS, GREETINGS FROM THEATRELAND! THIS WEEK'S COMMENTARY ON LIVE THEATRE IS ALL ABOUT THE CURRENT PLAY AT ALBUQUERQUE LITTLE THEATRE, THE CLASSIC "CHARLIE AND THE CHOCOLATE FACTORY." IT'S A PLAY FOR KIDS, ABOUT KIDS, AND WITH KIDS-KIDS BOTH ON STAGE AND KIDS IN THE AUDIENCE. WELL, THERE ARE A FEW ADULTS IN THE STORY, BUT THE SHOW IS DEFINITELY A KID SHOW, AND DO THEY LOVE IT!
BY COINCIDENCE, THE MOVIE VERSION OF THIS PLAY WAS SHOWN JUST LAST NIGHT ON A.B.C.'S FAMILY CHANNEL 59, AND YOU'D THINK A FILM WOULD BE BETTER. BUT NOT SO THIS TIME, EVEN THOUGH HOLLYWOOD COULD CREATE MORE SPECTACULAR SCENES THAN IS POSSIBLE ON THE STAGE-WHICH GRANTED, IT DID. EVEN SO, JOSH BIEN'S MULTI-LEVEL SET DESIGN FOR ALT'S PRODUCTION IS ALL YOU NEED TO GIVE THE KIDS ON STAGE AND IN THE AUDIENCE A REALISTIC IMPRESSION OF WHAT A CHOCOLATE FACTORY MIGHT LOOK LIKE AND ON WHICH TO CAVORT, WHICH IS THE FIRST TIME IN EIGHT YEARS AS RAVING RICHARD I'VE USED "CAVORT". BUT IT COULDN'T BE MORE APPLICABLE, AS WEBSTER DEFINES CAVORTING AS (1) TO LEAP ABOUT, PRANCE OR CAPER, AND (2) TO ROMP ABOUT HAPPILY; FROLIC. TO ALL THIS CAVORTING, THE AUDIENCE SQUEALS WITH DELIGHT, TO THE PLEASURE OF STEPHANIE SHAHVAR, DIRECTOR.
MICHAEL CHAVEZ AS CHARLIE BUCKET--OR SHOULD I SAY "BUQUE," IN DEFERENCE TO THE LADY ON THAT ENGLISH COMEDYI-PLUS TIM KUPJAK AS GRANDPA AND STIRLING MORRIS AS THE NARRATOR, ALMOST STEAL THE SHOW, BUT THEY CAN'T WITH ALL THOSE WONDERFUL KIDS TO WATCH-ESPECIALLY THOSE NINE CUTIES IN THE WELL-CHOREOGRAPHED DANCE ROUTINE, ALL FANCIED UP IN COSTUMES LIKE CHRISTY BRYSON HAS OUTFITTED THE ENTIRE CAST. TO BE SURE, "THE CHOCOLATE FACTORY" IS A VERY COLORFUL PRODUCTION, FAST PACED, AND ONE YOU SHOULD SHARE WITH YOUR KIDS FOR PERHAPS THEIR FIRST TASTE OF SHOW BUSINESS.
IN THAT REGARD, STARTING AUGUST 4, ALT IS REGISTERIING KIDS OF ALL AGES IN SESSIONS RANGING FROM CREATIVE DRAMATICS TO STORYBOOK THEATRE, TO CLOWNING AND ACTING, PLAY WRITING AND OTHER SPECIALTIES-EVEN BEGINNING ACTING FOR ADULTS, FROM AGE 18. IF INTERESTED, CALL 242-4750. THAT’S THE SAME NUMBER FOR TICKETS AND RESERVATIONS. THIS SHOW REPEATS WEEKENDS THROUGH AUGUST 10.
THANKS FOR CONTINUING TO SUPPORT OUR PERFORMING ARTS.
AGAIN, THEATREGOERS, GREETINGS FROM THEATRELAND! THIS WEEK'S COMMENTARY ON LIVE THEATRE IS ALL ABOUT THE CURRENT PLAY AT ALBUQUERQUE LITTLE THEATRE, THE CLASSIC "CHARLIE AND THE CHOCOLATE FACTORY." IT'S A PLAY FOR KIDS, ABOUT KIDS, AND WITH KIDS-KIDS BOTH ON STAGE AND KIDS IN THE AUDIENCE. WELL, THERE ARE A FEW ADULTS IN THE STORY, BUT THE SHOW IS DEFINITELY A KID SHOW, AND DO THEY LOVE IT!
BY COINCIDENCE, THE MOVIE VERSION OF THIS PLAY WAS SHOWN JUST LAST NIGHT ON A.B.C.'S FAMILY CHANNEL 59, AND YOU'D THINK A FILM WOULD BE BETTER. BUT NOT SO THIS TIME, EVEN THOUGH HOLLYWOOD COULD CREATE MORE SPECTACULAR SCENES THAN IS POSSIBLE ON THE STAGE-WHICH GRANTED, IT DID. EVEN SO, JOSH BIEN'S MULTI-LEVEL SET DESIGN FOR ALT'S PRODUCTION IS ALL YOU NEED TO GIVE THE KIDS ON STAGE AND IN THE AUDIENCE A REALISTIC IMPRESSION OF WHAT A CHOCOLATE FACTORY MIGHT LOOK LIKE AND ON WHICH TO CAVORT, WHICH IS THE FIRST TIME IN EIGHT YEARS AS RAVING RICHARD I'VE USED "CAVORT". BUT IT COULDN'T BE MORE APPLICABLE, AS WEBSTER DEFINES CAVORTING AS (1) TO LEAP ABOUT, PRANCE OR CAPER, AND (2) TO ROMP ABOUT HAPPILY; FROLIC. TO ALL THIS CAVORTING, THE AUDIENCE SQUEALS WITH DELIGHT, TO THE PLEASURE OF STEPHANIE SHAHVAR, DIRECTOR.
MICHAEL CHAVEZ AS CHARLIE BUCKET--OR SHOULD I SAY "BUQUE," IN DEFERENCE TO THE LADY ON THAT ENGLISH COMEDYI-PLUS TIM KUPJAK AS GRANDPA AND STIRLING MORRIS AS THE NARRATOR, ALMOST STEAL THE SHOW, BUT THEY CAN'T WITH ALL THOSE WONDERFUL KIDS TO WATCH-ESPECIALLY THOSE NINE CUTIES IN THE WELL-CHOREOGRAPHED DANCE ROUTINE, ALL FANCIED UP IN COSTUMES LIKE CHRISTY BRYSON HAS OUTFITTED THE ENTIRE CAST. TO BE SURE, "THE CHOCOLATE FACTORY" IS A VERY COLORFUL PRODUCTION, FAST PACED, AND ONE YOU SHOULD SHARE WITH YOUR KIDS FOR PERHAPS THEIR FIRST TASTE OF SHOW BUSINESS.
IN THAT REGARD, STARTING AUGUST 4, ALT IS REGISTERIING KIDS OF ALL AGES IN SESSIONS RANGING FROM CREATIVE DRAMATICS TO STORYBOOK THEATRE, TO CLOWNING AND ACTING, PLAY WRITING AND OTHER SPECIALTIES-EVEN BEGINNING ACTING FOR ADULTS, FROM AGE 18. IF INTERESTED, CALL 242-4750. THAT’S THE SAME NUMBER FOR TICKETS AND RESERVATIONS. THIS SHOW REPEATS WEEKENDS THROUGH AUGUST 10.
THANKS FOR CONTINUING TO SUPPORT OUR PERFORMING ARTS.
Friday, July 18, 2008
REVIEW - Bedroom Farce at the Adobe
RAVING RICHARD RADIO REVIEW, FOR LIVE BROADCAST ON JULY 15, 2008 KKMI, 1000 A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
GREETINGS, THEATREGOERS! THIS WEEK'S COMMENTARY ON LIVE THEATRE FOCUSES ON ONE OF THE FUNNIEST COMEDIES YOU'RE APT TO SEE-IT'S A PLAY CALLED "BEDROOM FARCE," NOW PLAYING AT THE ADOBE, AND IS IT EVER A RIOT! THE WORD BEDROOM IN THE TITLE SHOULDN'T DISTURB ANYONE IN THIS KKIM AUDIENCE-IT COULD BE STAGED IN THE LIVING ROOM OR DINING ROOM, BUT LET'S FACE-THE BEDROOM CONNOTATION DOES GIVE IT A TAD MORE INTEREST IN-SO-FAR AS A PLAY RELATING TO "AN EXAGGERATED COMEDY BASED ON BROADLY HUMOROUS, HIGHLY UNLIKELY SITUATIONS," QUOTING WEBSTER'S NEW WORLD DICTIONARY.
THE PLAYWRIGHT IS ALAN AYCKBOURNE, WHOSE BRITISH PLAYS PRESENT ORDINARY PEOPLE IN EXTRAORDINARY SITUATIONS-A COMEDIC FORMULA HE USES IN HIS MANY OTHER WORKS. BUT THE SCRIPT ALONE IS ONLY THE FIRST STEP IN MAKING THIS AN HILARIOUS PRODUCTION-IT'S THE TALENTED HAND OF DIRECTOR TAUNYA CRILLY WHO BRINGS OUT THE ACTION AT A FAST PACE, KEEPING THE AUDIENCE IN STITCHES IN EVERY SEQUENCE WITH THE CAST SHE'S SELECTED, WHO ARE TERRIIFIC, EVERY ONE: HUGH WITEMEYER, WHO'S NEVER BEEN BETTER; NINETTE MORDAUNT, WHO ALWAYS GIVES A SUPERB PERFORMANCE; JENNIFER LLOYD, ALWAYS THE BEST THERE IS FOR WHATEVER PART; JOSEPH WEST, A CONSUMMATE COMIC ACTOR WHO REALLY SHINES IN THIS ROLE; MATT HEATH, WHO BRING OUT THE MANY VARIANCES IN HIS ROLE, OF WHICH THERE'RE MANY; PLUS THE SAME FOR MQRGAIN DAVIDSON AND JENNY MILLER; ALSO, REMY ROTENIER, A CONVINCING BEDRIDDEN PATIENT, WHO RISES TO THE OCCASION WITH HIS CUSTOMARY DRAMATIC FLAIR.
FOR DETAILS OF THE PLOT, SEE THE FEATURE ARTICLE IN FRIDAY'S ALBUQUERQUE JOURNAL BY AURELIO SANCHEZ. IF YOU ENJOY COMEDY, BOTH THE ANTICS AND WITTY LINES, BE SURE TO SEE "BEDROOM FARCE." IT CONTINUES WEEKENDS AT THE ADOBE THROUGH AUGUST 3; CALL 898-9222 FOR RESERVATIONS WHILE SEATS ARE AVAILABLE. YOU'LL HAVE FUN, I KNOW.
SPEAKING OF THE JOURNAL, THERE ARE OTHER WORTHWHILE PLAYS MENTIONED-BUT FOR PERSONAL REASONS, LET ME COMMENT ON JUST ONE-ARTHUR MILLER'S CLASSIC PLAY, "THE "CRUCIBLE," PRESENTED AT HOPE EVANGELICAL FREE CHURCH, 4710 JUAN TABO N.E, A HALF-MILE NORTH OF MONTGOMERY. THE SETTING FOR THIS PLAY IS THE SALEM WITCH TRIALS, WITH DIRECTION BY MATTHEW NAEGELI-REMEMBER HIS FABULOUS PRESENTATION LAST SUMMER OF "MY FAIR LADY'-THE BEST MUSICAL STAGED LOCALLY COMPETING WITH GALA POPEJOY PRODUCTIONS, IN MY OPINION. "THE CRUCIBLE" RUNS WEEKENDS THROUGH JULY 27, AND FOR RESERVATIONS BEFORE IT SELLS OUT, CALL 688-4642.
THOSE ARE MY BEST SUGGESTIONS FOR NEW PLAYS TO SEE THIS WEEKEND-WITH THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD HERE ON KKIM, 1000 A.M., CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7 F.M., SANTA FE-ALSO SEEN ON THE STATION'S WEB, KKIMAM1000.COM, AND IN THE NEW SPOTLIGHT ON LIVE THEATRE, ABQTHEATRE.ORG. I'LL BE BACK NEXT WEEK, SAME TIME AND STATION, REVIEWING "THE CRUCIBLE," AND AGAIN, THANKS FOR YOUR INTEREST IN LIVE THEATRE HERE IN ALBUQUERQUE AND SANTA FE.
GREETINGS, THEATREGOERS! THIS WEEK'S COMMENTARY ON LIVE THEATRE FOCUSES ON ONE OF THE FUNNIEST COMEDIES YOU'RE APT TO SEE-IT'S A PLAY CALLED "BEDROOM FARCE," NOW PLAYING AT THE ADOBE, AND IS IT EVER A RIOT! THE WORD BEDROOM IN THE TITLE SHOULDN'T DISTURB ANYONE IN THIS KKIM AUDIENCE-IT COULD BE STAGED IN THE LIVING ROOM OR DINING ROOM, BUT LET'S FACE-THE BEDROOM CONNOTATION DOES GIVE IT A TAD MORE INTEREST IN-SO-FAR AS A PLAY RELATING TO "AN EXAGGERATED COMEDY BASED ON BROADLY HUMOROUS, HIGHLY UNLIKELY SITUATIONS," QUOTING WEBSTER'S NEW WORLD DICTIONARY.
THE PLAYWRIGHT IS ALAN AYCKBOURNE, WHOSE BRITISH PLAYS PRESENT ORDINARY PEOPLE IN EXTRAORDINARY SITUATIONS-A COMEDIC FORMULA HE USES IN HIS MANY OTHER WORKS. BUT THE SCRIPT ALONE IS ONLY THE FIRST STEP IN MAKING THIS AN HILARIOUS PRODUCTION-IT'S THE TALENTED HAND OF DIRECTOR TAUNYA CRILLY WHO BRINGS OUT THE ACTION AT A FAST PACE, KEEPING THE AUDIENCE IN STITCHES IN EVERY SEQUENCE WITH THE CAST SHE'S SELECTED, WHO ARE TERRIIFIC, EVERY ONE: HUGH WITEMEYER, WHO'S NEVER BEEN BETTER; NINETTE MORDAUNT, WHO ALWAYS GIVES A SUPERB PERFORMANCE; JENNIFER LLOYD, ALWAYS THE BEST THERE IS FOR WHATEVER PART; JOSEPH WEST, A CONSUMMATE COMIC ACTOR WHO REALLY SHINES IN THIS ROLE; MATT HEATH, WHO BRING OUT THE MANY VARIANCES IN HIS ROLE, OF WHICH THERE'RE MANY; PLUS THE SAME FOR MQRGAIN DAVIDSON AND JENNY MILLER; ALSO, REMY ROTENIER, A CONVINCING BEDRIDDEN PATIENT, WHO RISES TO THE OCCASION WITH HIS CUSTOMARY DRAMATIC FLAIR.
FOR DETAILS OF THE PLOT, SEE THE FEATURE ARTICLE IN FRIDAY'S ALBUQUERQUE JOURNAL BY AURELIO SANCHEZ. IF YOU ENJOY COMEDY, BOTH THE ANTICS AND WITTY LINES, BE SURE TO SEE "BEDROOM FARCE." IT CONTINUES WEEKENDS AT THE ADOBE THROUGH AUGUST 3; CALL 898-9222 FOR RESERVATIONS WHILE SEATS ARE AVAILABLE. YOU'LL HAVE FUN, I KNOW.
SPEAKING OF THE JOURNAL, THERE ARE OTHER WORTHWHILE PLAYS MENTIONED-BUT FOR PERSONAL REASONS, LET ME COMMENT ON JUST ONE-ARTHUR MILLER'S CLASSIC PLAY, "THE "CRUCIBLE," PRESENTED AT HOPE EVANGELICAL FREE CHURCH, 4710 JUAN TABO N.E, A HALF-MILE NORTH OF MONTGOMERY. THE SETTING FOR THIS PLAY IS THE SALEM WITCH TRIALS, WITH DIRECTION BY MATTHEW NAEGELI-REMEMBER HIS FABULOUS PRESENTATION LAST SUMMER OF "MY FAIR LADY'-THE BEST MUSICAL STAGED LOCALLY COMPETING WITH GALA POPEJOY PRODUCTIONS, IN MY OPINION. "THE CRUCIBLE" RUNS WEEKENDS THROUGH JULY 27, AND FOR RESERVATIONS BEFORE IT SELLS OUT, CALL 688-4642.
THOSE ARE MY BEST SUGGESTIONS FOR NEW PLAYS TO SEE THIS WEEKEND-WITH THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD HERE ON KKIM, 1000 A.M., CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7 F.M., SANTA FE-ALSO SEEN ON THE STATION'S WEB, KKIMAM1000.COM, AND IN THE NEW SPOTLIGHT ON LIVE THEATRE, ABQTHEATRE.ORG. I'LL BE BACK NEXT WEEK, SAME TIME AND STATION, REVIEWING "THE CRUCIBLE," AND AGAIN, THANKS FOR YOUR INTEREST IN LIVE THEATRE HERE IN ALBUQUERQUE AND SANTA FE.
Tuesday, July 8, 2008
REVIEW: "Good Night, Desdemona" and "Music Man, Jr."
RAVING RICHARD RADIO REVIEW, FOR LIVE BROADCAST ON JULY 8, 2008 KKIM, 1000A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
GREETINGS AGAIN, FELLOW THEATRE-GOERS! THIS WEEK, MY COMMENTARY ON LIVE THEATRE FOCUSES ON TWO OUTSTANDING SHOWS-"GOODNIGHT DESDEMONA," A COMEDY AT THE VORTEX, AND "THE MUSIC MAN JUNIOR," A MUSICAL AT THE BOX PERFORMANCE SPACE, 1025 LOMAS BLVD.
"GOODNIGHT DESDEMONA" IS ABOUT A SHAKESPEAREAN SCHOLAR WHO FINDS HERSELF BACK IN THE ERA WHEN THE CHARACTERS IN THE BARD'S TRAGEDIES "OTHELLO" AND "ROMEO AND "JULIET" WERE ALIVE. IT'S A SLAPSTICK COMEDY, WITH TWISTED MEANING OF LINES FROM HIS CLASSICS, AND BEHAVIOR OUT OF CHARACTER FROM THE ORIGINAL STORIES. THE PLAYWRIGHT, ANN-MARIE MACDONALD, KNEW SHAKESPEARE QUITE WELL TO BE ABLE TO DRAW PARALLELS WITH SHAKESPEARE'S PLAYS, AND THE DIRECTOR, VICTORIA LIBERATORI, WAS INGENOUS IN BRINGING OUT ALL COMEDIC ASPECTS IN THIS ADULTERATED SCRIPT BY THE WAY SHE HAS THE ACTORS PERFORM THEIR ROLES. THE ELABORATE COSTUMES AND DUELING SEQUENCES FURTHER RESEMBLE LIFE AS IT SUPPOSEDLY EXISTED, ADDING MORE WACKINESS TO THIS PRODUCTION, WHICH THE AUDIENCE FOUND MOST ENTERTAINING, NONSTOP. THE FIVE ACTORS ARE IDEALLY CAST-LORI STEWART, A FEISTY DESDEMONA; HEATHER YEO, A DEMURE JULIET; BRIDGET KELLY, LADY-IN-WAITING; BENJAMIN LIBERMAN, A POMPOUS OTHELLO; AND DREW GROVES, A BUFFOONISH ROMEO. THESE ARE THEIR MAIN ROLES, BUT ALL ARE VERY EFFECTIVE IN ALSO PLAYING THEIR MULTIPLE PARTS. "GOODNIGHT DESDEMONA" IS SANDWICHED IN BETWEEN "I HATE HAMLET" THROUGH AUGUST 3, SO CHECK FOR THE DATE IT'S PLAYING. FOR RESERVATIONS, CALL THE VORTEX AT 247-8600.
SHIFTING TO "MUSIC MAN JUNIOR," A SCALED-DOWN ADAPTATION OF MEREDITH WILLSON'S HIT MUSICAL "MUSIC MAN," (WHICH I WAS ONCE IN), BUT IT'S AN UP-SCALE PRODUCTION IN EVERY SENSE AS PERFORMED BY CARDBOARD PLAYHOUSE-THE RESIDENT DRAMATIC ARTS GROUP AT THE BOX PERFORMANCE SPACE. QUOTING DIRECTOR KRISTIN BERG, "THIS IS A CLIFF NOTES VERSION OF THE MUSICAL-IT HAS ALL YOU NEED TO KNOW." WELL, ALMOST ALL, EXCEPT FOR
BARBERSHOPPERS SINGING LIDA ROSE AND MARIAN SINGING HER LIBRARIAN SONG. BUT LETS NOT BE PICKY, WHEN THERE'S SO MUCH MORE TO RAVE ABOUT-AND IS THERE EVER....
DIRECTOR KRISTEN BERG HAS DONE A FABULOUS JOB IN PRODUCING AND STAGING THIS SHOW; LEADS, STAFFORD DOUGLAS AS HAROLD HILL, AND GIGI GUAJARDO AS MARIAN THE LIBRARIAN, ARE GREAT, BOTH SINGING AND ACTING; THE YOUNGSTERS ARE SIMPLY ADORABLE IN PLAYING OTHER GROWN-UP PARTS; PLUS LIGHTING AND OTHER EFFECTS ARE INDEED PROFESSIONAL.
IN ADDITION TO ITS WONDERFUL MUSIC, THIS ABRIDGED "MUSIC MAN" IS AN EXCELLENT CHOICE TO INTRODUCE YOUNG PEOPLE TO THE JOY AND MAGIC OF SHOW BUSINESS. THIS CAST HAS YOUNGSTERS FROM AGE SIX AND UP, AND YOU CAN TELL FROM THE LOOK ON THEIR FACES THE THRILL IT IS FOR THEM TO BE ON STAGE. THE LAST SHOW IS THIS SUNDAY-SO, CALL 404-1578AND TAKE YOUR KIDS! CONGRATULATIONS, DIRECTOR BERG, FOR A SPLENDIFEROUS SHOW!
THAT'S MY TAKE ON SHOWS YOU CAN ENJOY THIS WEEKEND-ALONG WITH "BEDROON FARCE" WHICH OPENS THIS WEEKEND AT THE ADOBE. ALSO, VISIT THE LAVENDER FESTIVAL THIS SATURDAY OR SUNDAY AT LOS POBLANOS INN--WHICH YOU'RE SURE TO ENJOY IF YOU REMEMBER PENNY REMBE'S INTERVIEW WITH GRANT KUCK HERE ON HIS SHOW LAST WEEK.
THANKS FOR LISTENING TO ME, RAVING RICHARD, WITH MY COMMENTARIES HEARD TUESDAYS AT 3:30 ON KMIM, ALBUQUERQUE, CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7, SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. LET ME AGAIN SAY THANKS FOR SUPPORTING LIVE THEATRE HERE IN ALBUQUERQUE AND IN SANTA FE.
GREETINGS AGAIN, FELLOW THEATRE-GOERS! THIS WEEK, MY COMMENTARY ON LIVE THEATRE FOCUSES ON TWO OUTSTANDING SHOWS-"GOODNIGHT DESDEMONA," A COMEDY AT THE VORTEX, AND "THE MUSIC MAN JUNIOR," A MUSICAL AT THE BOX PERFORMANCE SPACE, 1025 LOMAS BLVD.
"GOODNIGHT DESDEMONA" IS ABOUT A SHAKESPEAREAN SCHOLAR WHO FINDS HERSELF BACK IN THE ERA WHEN THE CHARACTERS IN THE BARD'S TRAGEDIES "OTHELLO" AND "ROMEO AND "JULIET" WERE ALIVE. IT'S A SLAPSTICK COMEDY, WITH TWISTED MEANING OF LINES FROM HIS CLASSICS, AND BEHAVIOR OUT OF CHARACTER FROM THE ORIGINAL STORIES. THE PLAYWRIGHT, ANN-MARIE MACDONALD, KNEW SHAKESPEARE QUITE WELL TO BE ABLE TO DRAW PARALLELS WITH SHAKESPEARE'S PLAYS, AND THE DIRECTOR, VICTORIA LIBERATORI, WAS INGENOUS IN BRINGING OUT ALL COMEDIC ASPECTS IN THIS ADULTERATED SCRIPT BY THE WAY SHE HAS THE ACTORS PERFORM THEIR ROLES. THE ELABORATE COSTUMES AND DUELING SEQUENCES FURTHER RESEMBLE LIFE AS IT SUPPOSEDLY EXISTED, ADDING MORE WACKINESS TO THIS PRODUCTION, WHICH THE AUDIENCE FOUND MOST ENTERTAINING, NONSTOP. THE FIVE ACTORS ARE IDEALLY CAST-LORI STEWART, A FEISTY DESDEMONA; HEATHER YEO, A DEMURE JULIET; BRIDGET KELLY, LADY-IN-WAITING; BENJAMIN LIBERMAN, A POMPOUS OTHELLO; AND DREW GROVES, A BUFFOONISH ROMEO. THESE ARE THEIR MAIN ROLES, BUT ALL ARE VERY EFFECTIVE IN ALSO PLAYING THEIR MULTIPLE PARTS. "GOODNIGHT DESDEMONA" IS SANDWICHED IN BETWEEN "I HATE HAMLET" THROUGH AUGUST 3, SO CHECK FOR THE DATE IT'S PLAYING. FOR RESERVATIONS, CALL THE VORTEX AT 247-8600.
SHIFTING TO "MUSIC MAN JUNIOR," A SCALED-DOWN ADAPTATION OF MEREDITH WILLSON'S HIT MUSICAL "MUSIC MAN," (WHICH I WAS ONCE IN), BUT IT'S AN UP-SCALE PRODUCTION IN EVERY SENSE AS PERFORMED BY CARDBOARD PLAYHOUSE-THE RESIDENT DRAMATIC ARTS GROUP AT THE BOX PERFORMANCE SPACE. QUOTING DIRECTOR KRISTIN BERG, "THIS IS A CLIFF NOTES VERSION OF THE MUSICAL-IT HAS ALL YOU NEED TO KNOW." WELL, ALMOST ALL, EXCEPT FOR
BARBERSHOPPERS SINGING LIDA ROSE AND MARIAN SINGING HER LIBRARIAN SONG. BUT LETS NOT BE PICKY, WHEN THERE'S SO MUCH MORE TO RAVE ABOUT-AND IS THERE EVER....
DIRECTOR KRISTEN BERG HAS DONE A FABULOUS JOB IN PRODUCING AND STAGING THIS SHOW; LEADS, STAFFORD DOUGLAS AS HAROLD HILL, AND GIGI GUAJARDO AS MARIAN THE LIBRARIAN, ARE GREAT, BOTH SINGING AND ACTING; THE YOUNGSTERS ARE SIMPLY ADORABLE IN PLAYING OTHER GROWN-UP PARTS; PLUS LIGHTING AND OTHER EFFECTS ARE INDEED PROFESSIONAL.
IN ADDITION TO ITS WONDERFUL MUSIC, THIS ABRIDGED "MUSIC MAN" IS AN EXCELLENT CHOICE TO INTRODUCE YOUNG PEOPLE TO THE JOY AND MAGIC OF SHOW BUSINESS. THIS CAST HAS YOUNGSTERS FROM AGE SIX AND UP, AND YOU CAN TELL FROM THE LOOK ON THEIR FACES THE THRILL IT IS FOR THEM TO BE ON STAGE. THE LAST SHOW IS THIS SUNDAY-SO, CALL 404-1578AND TAKE YOUR KIDS! CONGRATULATIONS, DIRECTOR BERG, FOR A SPLENDIFEROUS SHOW!
THAT'S MY TAKE ON SHOWS YOU CAN ENJOY THIS WEEKEND-ALONG WITH "BEDROON FARCE" WHICH OPENS THIS WEEKEND AT THE ADOBE. ALSO, VISIT THE LAVENDER FESTIVAL THIS SATURDAY OR SUNDAY AT LOS POBLANOS INN--WHICH YOU'RE SURE TO ENJOY IF YOU REMEMBER PENNY REMBE'S INTERVIEW WITH GRANT KUCK HERE ON HIS SHOW LAST WEEK.
THANKS FOR LISTENING TO ME, RAVING RICHARD, WITH MY COMMENTARIES HEARD TUESDAYS AT 3:30 ON KMIM, ALBUQUERQUE, CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7, SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. LET ME AGAIN SAY THANKS FOR SUPPORTING LIVE THEATRE HERE IN ALBUQUERQUE AND IN SANTA FE.
Wednesday, June 25, 2008
REVIEW: As Thousands Cheer - Landmark Musicals
RAVING RICHARD RADIO REVIEW, FOR BROADCAST LIVE ON JUNE 25, 2008: KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
AGAIN,GREETINGS FROM THEATRELAND! THIS WEEK, MY COMMENTARY ON LIVE THEATRE FOCUSES ON A PRODUCTION CALLED "AS THOUSANDS CHEER," PRESENTED BY LANDMARK MUSICALS, PLUS A PREVIEW OF THE SHOW AT THE VORTEX THEATRE. INCIDENTALLY, BOTH OF THESE THEATRE COMPANIES ARE MEMBERS OF ALBUQUERQUE THEATRE GUILD,
LANDMARK MUSICALS IS A RELATIVELY NEW GROUP, BUT ARE OFF TO.A SUCCESSFUL START-BOTH WITH A LINEUP OF NOTED ACTORS, AS WELL AS PRODUCTION PERSONNEL-PLUS IT'S A MEMBER OF THE ALBUQUERQUE THEATRE GUILD. "AS THOUSANDS CHEER" WAS A BIG HIT ON BROADWAY BACK IN 1933, AND WAS CREDITED WITH MORE THAN 400 PERFORMANCES. MORE RECENTLY, IT RAN OFF-BROADWAY, WHICH IS THE VERSION DIRECTOR HAL SIMONS CHOSE TO PRESENT HERE, WITH ZANE BARKER HIS LIGHTING DESIGNER.
IT IS A MUSICAL, WITH SONGS BY IRVING BERLIN AND SKETCHES BY MOSS HART. THE CAST IN NEW YORK INCLUDED SUCH FAMOUS STARS AS ETHEL WATERS AND CLIFFTON WEBB, WHICH MEANT BIG SHOES FOR DIRECTOR SIMONS TO FILL. TO MENTION A FEW TO REPRESENT HIS ENTIRE TALENTED CAST, JULLIAN FOSTER AND ERIN WARDEN HAVE THE MOST PROMINENT SINGING AND ACTING ROLES-AND BRIAN CLIFTON HAS RETURNED FROM NEW YORK TO PLAY A NUMBER OF PARTS IN THIS PRODUCTION. BRIAN, WE'RE SO GLAD TO HAVE YOU BACK.
THIS IS LANDMARK'S FIRST PRODUCTION OF THE SEASON, AND HAS SCHEDULED ANOTHER REVIVAL THIS FALL, "SHOW TUNE" BY JERRY HERMAN WHO WROTE "HELLO DOLLY" AND "MAME," AMONG OTHER GREAT SHOWS. (BY THE WAY, IVE BEEN IN BOTH, BACK IN CALIFORNIA!) LANDMARK STAGES ITS PRODUCTIONS AT THE N4TH THEATRE, AN IDEAL VENUE: COMFORTABLE SEATING, A LARGE STAGE, AND FEATURES STATE-OF-THE-ART SOUND AND LIGHTING.
"AS THOUSANDS CHEER" RUNS WEEKENDS THROUGH JULY 13 (EXCEPT JULY 4, BUT WITH A 6:00 PERFORMANCE ADDED ON JULY 6) AT VSA NORTH FOURTH ARTS CENTER, 4904 4th N.W. FOR TICKETS, CALL 344-4542.
FOR SHAKESPEARE BUFFS, A PARODY ON THE BARD'S GREATEST TRAGEDIES, "OTHELLO" AND "ROMEO AND JULIET," OPENS THIS WEEKEND AT THE VORTEX THEATRE. THIS COMEDY BY ANN-MARIE MacDONALD IS CALLED "GOODNIGHT DESDEMONA," SUBTITLED "GOOD MORNING JULIET." IT'S A COMEDIC STORY ABOUT A UNIVERSITY PROFESSOR WHO'S OBSESSED WITH PROVING HER THEORY THAT THESE GREAT SHAKESPEARE TRAGEDIES WERE MEANT TO BE COMEDIES! SOUNDS HILARIOUS, AGREE? I'LL REVIEW IT NEXT WEEK, AND FOR DATES AND TICKETS, CALL THE VORTEX AT 247-8600.
AGAIN, THANKS FOR LISTENING TO THESE RAVING RICHARD COMMENTARIES, BROADCAST HERE ON KKIM, 1000 A.M., ALBUQUERQUE, AND SIMULCAST ON 94.7 P.M., SANTA FE; ALSO SEEN ON THE INTERNET, BOTH AT KKIMAM1000.COM AND ALBTHEATRE.ORG. SEE YOU NEXT WEEK, AND THANKS FOR CONTINUING TO SUPPORT LIVE THEATRE.
AGAIN,GREETINGS FROM THEATRELAND! THIS WEEK, MY COMMENTARY ON LIVE THEATRE FOCUSES ON A PRODUCTION CALLED "AS THOUSANDS CHEER," PRESENTED BY LANDMARK MUSICALS, PLUS A PREVIEW OF THE SHOW AT THE VORTEX THEATRE. INCIDENTALLY, BOTH OF THESE THEATRE COMPANIES ARE MEMBERS OF ALBUQUERQUE THEATRE GUILD,
LANDMARK MUSICALS IS A RELATIVELY NEW GROUP, BUT ARE OFF TO.A SUCCESSFUL START-BOTH WITH A LINEUP OF NOTED ACTORS, AS WELL AS PRODUCTION PERSONNEL-PLUS IT'S A MEMBER OF THE ALBUQUERQUE THEATRE GUILD. "AS THOUSANDS CHEER" WAS A BIG HIT ON BROADWAY BACK IN 1933, AND WAS CREDITED WITH MORE THAN 400 PERFORMANCES. MORE RECENTLY, IT RAN OFF-BROADWAY, WHICH IS THE VERSION DIRECTOR HAL SIMONS CHOSE TO PRESENT HERE, WITH ZANE BARKER HIS LIGHTING DESIGNER.
IT IS A MUSICAL, WITH SONGS BY IRVING BERLIN AND SKETCHES BY MOSS HART. THE CAST IN NEW YORK INCLUDED SUCH FAMOUS STARS AS ETHEL WATERS AND CLIFFTON WEBB, WHICH MEANT BIG SHOES FOR DIRECTOR SIMONS TO FILL. TO MENTION A FEW TO REPRESENT HIS ENTIRE TALENTED CAST, JULLIAN FOSTER AND ERIN WARDEN HAVE THE MOST PROMINENT SINGING AND ACTING ROLES-AND BRIAN CLIFTON HAS RETURNED FROM NEW YORK TO PLAY A NUMBER OF PARTS IN THIS PRODUCTION. BRIAN, WE'RE SO GLAD TO HAVE YOU BACK.
THIS IS LANDMARK'S FIRST PRODUCTION OF THE SEASON, AND HAS SCHEDULED ANOTHER REVIVAL THIS FALL, "SHOW TUNE" BY JERRY HERMAN WHO WROTE "HELLO DOLLY" AND "MAME," AMONG OTHER GREAT SHOWS. (BY THE WAY, IVE BEEN IN BOTH, BACK IN CALIFORNIA!) LANDMARK STAGES ITS PRODUCTIONS AT THE N4TH THEATRE, AN IDEAL VENUE: COMFORTABLE SEATING, A LARGE STAGE, AND FEATURES STATE-OF-THE-ART SOUND AND LIGHTING.
"AS THOUSANDS CHEER" RUNS WEEKENDS THROUGH JULY 13 (EXCEPT JULY 4, BUT WITH A 6:00 PERFORMANCE ADDED ON JULY 6) AT VSA NORTH FOURTH ARTS CENTER, 4904 4th N.W. FOR TICKETS, CALL 344-4542.
FOR SHAKESPEARE BUFFS, A PARODY ON THE BARD'S GREATEST TRAGEDIES, "OTHELLO" AND "ROMEO AND JULIET," OPENS THIS WEEKEND AT THE VORTEX THEATRE. THIS COMEDY BY ANN-MARIE MacDONALD IS CALLED "GOODNIGHT DESDEMONA," SUBTITLED "GOOD MORNING JULIET." IT'S A COMEDIC STORY ABOUT A UNIVERSITY PROFESSOR WHO'S OBSESSED WITH PROVING HER THEORY THAT THESE GREAT SHAKESPEARE TRAGEDIES WERE MEANT TO BE COMEDIES! SOUNDS HILARIOUS, AGREE? I'LL REVIEW IT NEXT WEEK, AND FOR DATES AND TICKETS, CALL THE VORTEX AT 247-8600.
AGAIN, THANKS FOR LISTENING TO THESE RAVING RICHARD COMMENTARIES, BROADCAST HERE ON KKIM, 1000 A.M., ALBUQUERQUE, AND SIMULCAST ON 94.7 P.M., SANTA FE; ALSO SEEN ON THE INTERNET, BOTH AT KKIMAM1000.COM AND ALBTHEATRE.ORG. SEE YOU NEXT WEEK, AND THANKS FOR CONTINUING TO SUPPORT LIVE THEATRE.
REVIEW: I Hate Hamlet at the Vortex
RAVING RICHARD RADIO REVIEW, FOR LIVE BROADCAST ON JUNE 17, 2008: KKIM, 1000 AM., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
GREETINGS AGAIN FROM THEATRELAND! THIS WEEKEND STARTED AN EXTENDED RUN AT THE VORTEX OF A PLAY CALLED "I HATE HAMLET." I SAY EXTENDED, AS IT WILL BE RUNNING ALONG WITH "GOODNIGHT DESDEMONA" ON VARIOUS WEEKENDS THROUGH AUGUST 3, SO YOU NEED TO CHECK WITH THE VORTEX TO CONFIRM PERFORMANCE DATES.
FROM THE TITLE, YOU WOULD THINK "I HATE HAMLET!" HAS MUCH TO DO ABOUT THE CLASSIC SHAKESPEAREAN TRAGEDY "HAMLET," AND TO AN EXTENT IT DOES--AT LEAST THERE IS SOME REFERENCE TO QUOTATIONS SUCH AS "TO BE OR NOT TO BE...." ALSO, JOHN BARRYMORE'S ROLE IS PROMINENTLY STAGED THROUGHOUT THE PLAY IN FORM OF A GHOST WHO CAN COMMUNICATE WITH THE REAL-LIFE ACTOR FROM HOLLYWOOD WHO IS RELUCTANT TO PLAY THE PART OF HAMLET IN A PLAY TO BE PERFORMED IN NEW YORK. THAT'S ESSENTIALLY THE GIST OF THE MAIN PLOT, BUT THERE ARE SUBPLOTS, TOO, ESPECIALLY THE COMEDIC ANTICS OF AN AGENT FROM THE WEST COAST WHO TRIES TO LURE RYAN JASON COOK, THE TV STAR, AWAY TO TAKE A LUCRATIVE FILM CONTRACT.
THERE ARE OTHER CHARACTERS, OF COURSE, AND YOU CAN GET MORE DETAILS FROM LAST FRIDAY'S "VENUE" IN THE JOURNAL, WHICH WILL MAKE A LOT MORE SENSE AFTER YOU SEE THE PLAY RATHER THAN FROM THE WRITTEN DESCRIPTION. IT'S A FUNNY PLAY, AND THE ACTING IS FIRST-RATE, BY A VERY TALENTED CAST. MORE FAMILIAR NAMES IN THE CAST ARE DEAN ELDON SQUIBB AND LEIGH-ANN SANTILLANES, TOGETHER WITH LINDA WILLIAMS, LESLEE RICHARDS, AND ROBERT JOHNSON. WHO'S QUITE A COMEDIAN. THE DIRECTOR IS BRIAN HANSEN.
"I HATE HAMLET" IS SCHEDULED TO PLAY WEEKENDS THROUGH JULY 27, BUT THE OTHER PLAY WILL BE INTERSPERSED ON SELECTED DATES. FOR INFORMATION AND RESERVATIONS, CALL THE VORTEX AT 247-8600.
THANKS FOR YOUR INTEREST IN THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD HERE IN ALBUQUERQUE ON KKIM, CHRISTIAN RADIO FOR NEW MEXICO, AND ON 94.7 F.M., SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. TIL NEXT WEEK....
GREETINGS AGAIN FROM THEATRELAND! THIS WEEKEND STARTED AN EXTENDED RUN AT THE VORTEX OF A PLAY CALLED "I HATE HAMLET." I SAY EXTENDED, AS IT WILL BE RUNNING ALONG WITH "GOODNIGHT DESDEMONA" ON VARIOUS WEEKENDS THROUGH AUGUST 3, SO YOU NEED TO CHECK WITH THE VORTEX TO CONFIRM PERFORMANCE DATES.
FROM THE TITLE, YOU WOULD THINK "I HATE HAMLET!" HAS MUCH TO DO ABOUT THE CLASSIC SHAKESPEAREAN TRAGEDY "HAMLET," AND TO AN EXTENT IT DOES--AT LEAST THERE IS SOME REFERENCE TO QUOTATIONS SUCH AS "TO BE OR NOT TO BE...." ALSO, JOHN BARRYMORE'S ROLE IS PROMINENTLY STAGED THROUGHOUT THE PLAY IN FORM OF A GHOST WHO CAN COMMUNICATE WITH THE REAL-LIFE ACTOR FROM HOLLYWOOD WHO IS RELUCTANT TO PLAY THE PART OF HAMLET IN A PLAY TO BE PERFORMED IN NEW YORK. THAT'S ESSENTIALLY THE GIST OF THE MAIN PLOT, BUT THERE ARE SUBPLOTS, TOO, ESPECIALLY THE COMEDIC ANTICS OF AN AGENT FROM THE WEST COAST WHO TRIES TO LURE RYAN JASON COOK, THE TV STAR, AWAY TO TAKE A LUCRATIVE FILM CONTRACT.
THERE ARE OTHER CHARACTERS, OF COURSE, AND YOU CAN GET MORE DETAILS FROM LAST FRIDAY'S "VENUE" IN THE JOURNAL, WHICH WILL MAKE A LOT MORE SENSE AFTER YOU SEE THE PLAY RATHER THAN FROM THE WRITTEN DESCRIPTION. IT'S A FUNNY PLAY, AND THE ACTING IS FIRST-RATE, BY A VERY TALENTED CAST. MORE FAMILIAR NAMES IN THE CAST ARE DEAN ELDON SQUIBB AND LEIGH-ANN SANTILLANES, TOGETHER WITH LINDA WILLIAMS, LESLEE RICHARDS, AND ROBERT JOHNSON. WHO'S QUITE A COMEDIAN. THE DIRECTOR IS BRIAN HANSEN.
"I HATE HAMLET" IS SCHEDULED TO PLAY WEEKENDS THROUGH JULY 27, BUT THE OTHER PLAY WILL BE INTERSPERSED ON SELECTED DATES. FOR INFORMATION AND RESERVATIONS, CALL THE VORTEX AT 247-8600.
THANKS FOR YOUR INTEREST IN THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD HERE IN ALBUQUERQUE ON KKIM, CHRISTIAN RADIO FOR NEW MEXICO, AND ON 94.7 F.M., SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. TIL NEXT WEEK....
Monday, June 16, 2008
REVIEW: Love Letters at Aux Dog and You Can't Take it With You at Desert Rose
RAVING RICHARD RADIO REVIEW, TO BROADCAST LIVE ON JUNE 10, 2008 KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE. GREETINGS AGAIN FROM THEATRELAND, AND WHAT A BUSY WEEKEND THIS HAS BEEN FOR THEATRES HERE IN ALBUQUERQUE--MEANING I'VE REALLY BEEN ON THE GO TO SEE THE TWO SHOWS I'M REVIEWING TODAY: "LOVE LETTERS" AT THE AUXILIARY DOG THEATRE, DIRECTED BY LOU CLARK, AND "YOU CAN'T TAKE IT WITH YOU," A COMEDY BY MOSS HART AND GEORGE S. KAUFMAN AT THE DESERT ROSE PLAYHOUSE, DIRECTED BY LESLIE JOY COLEMAN.
FIRST, RE "LOVE LETTERS." TO ME, OTHER THAN SHAKESPEAREAN EPICS, THIS EPITOMIZES THE CLASSIC FORM OF THEATRICAL DRAMA. IT DOESN'T FEATURE A LARGE CAST--IN FACT, THERE ARE ONLY TWO ACTORS, RAY ORLEY AND NINETTE MORDAUNT; THERE'S NO BACKDROP OR ELABORATE SET, JUST TWO CHAIRS; THERE AREN'T THE CUSTOMARY DOORS FOR ACTORS TO ENTER AND EXIT THE STAGE; AND THERE ARE NO ELEGANT COSTUMES NOR ANY DRAMATIC EFFECTS IN SOUND, LIGHTING, AND SO ON, AS IN YOUR TYPICAL PLAY.
THIS IS A HEART-WARMING PLAY WITH ROMANTIC OVERTONES, AND DEPICTS EVENTS IN THEIR SEPARATE LIVES FROM GRADE SCHOOL THROUGH ELDER YEARS--ALL THE WHILE THEY REMAIN SEATED! ALL THEY HAVE ARE COPIES OF FORMER LETTERS THEY'VE WRITTEN TO EACH OTHER, WHICH THEY "READ" ALOUD AS THEIR SOLE MEANS OF COMMUNICATION, WHICH THEY EXPRESS WITH GREAT EMOTION, BOTH IN SPEAKING AND REACTING, REVEALING DEEP FEELINGS IN A MOST NATURAL MANNER. THOUGH IT'S ACTING, OF COURSE, BUT IT ISN'T ACTING-ITS RAY AND NINETTE ACTUALLY BEING THE PEOPLE THEMSELVES. WHAT FABULOUS PERFORMANCES!!!
A SURE INDICATION OF AUDIENCE APPEAL IS THAT THIS PLAY WAS EXTENDED TWO WEEKENDS, SO IT STILL HAS PERFORMANCES THIS COMING FRIDAY AND SATURDAY AT 8, AND A MATINEE ON SUNDAY AT 2. THE AUX DOG IS LOCATED AT 3011 MONTE VISTA, AND FOR DIRECTIONS AND RESERVATIONS, CALL 254-7716.
THE DESERT ROSE IS STAGING A COMEDY CALLED "YOU CAN'T TAKE IT WITH YOU," WRITTEN BY MOSS HART AND GEORGE S. KAUFMAN. IT'S HILARIOUSLY FUNNY, THANKS BOTH TO THE SCRIPTS CRAZINESS AND TO LESLIE JOY COLEMAN, DIRECTOR, WHO'S ALSO A WONDERFUL ACTRESS. SHE HAS ASSEMBLED A SUPERB CAST, AND TOGETHER, THEY KEEP THE ACTION FAST-PACED ALL THE WAY. THE BLOCKING IS EXCELLENT, AND FURTHER VALIDATES HER WELL-ROUNDED SKILLS AS DIRECTOR.
IN A DELIGHTFUL WAY, THE STORY TELLS OF A FAMILY AND FRIENDS WHO DROP BY. EACH ONE IN THIS SUPERB CAST IS WELL-SUITED FOR THE ROLE-THOUGH THE CAST IS TOO LARGE TO CREDIT EACH ACTOR INDIVIDUALLY. HOWEVER, BEING A GRANDFATHER MYSELF, I CERTAINLY HAVE TO RECOGNIZE MY FRIEND CLIFF CATO, WHO PLAYS THE SAGE GRANDPA. HE PORTRAYS HIS MAJOR ROLE VERY CONVINCINGLY, AS DO ALL THE OTHERS, FOR THAT MATTER.
THE PRODUCTION STAFF DESERVES THEIR OWN SHARE OF PRAISE, I.E., FOR SUCH A REALISTIC SET; FOR THE ATTRACTIVE COSTUMING; AND ALL THE WORK WITH THE PROPS AND OVERALL STAGE MANAGEMENT-THERE'S A LOT TO MANAGE! THIS COMEDY RUNS TWO MORE WEEKENDS, CONCLUDING ON JUNE 29. FOR EASY DIRECTIONS AND RESERVATIONS, CALL THE DESERT ROSE PLAYHOUSE AT 881-0503.
IN BRIEF, THOSE ARE MY HIGHLIGHTS ABOUT LIVE THEATRE PLAYING IN THIS AREA--WITH THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD EVERY TUESDAY AT 3:30 ON THIS STATION, KKIM, CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7 P.M., SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. THANKS FOR LISTENING.
FIRST, RE "LOVE LETTERS." TO ME, OTHER THAN SHAKESPEAREAN EPICS, THIS EPITOMIZES THE CLASSIC FORM OF THEATRICAL DRAMA. IT DOESN'T FEATURE A LARGE CAST--IN FACT, THERE ARE ONLY TWO ACTORS, RAY ORLEY AND NINETTE MORDAUNT; THERE'S NO BACKDROP OR ELABORATE SET, JUST TWO CHAIRS; THERE AREN'T THE CUSTOMARY DOORS FOR ACTORS TO ENTER AND EXIT THE STAGE; AND THERE ARE NO ELEGANT COSTUMES NOR ANY DRAMATIC EFFECTS IN SOUND, LIGHTING, AND SO ON, AS IN YOUR TYPICAL PLAY.
THIS IS A HEART-WARMING PLAY WITH ROMANTIC OVERTONES, AND DEPICTS EVENTS IN THEIR SEPARATE LIVES FROM GRADE SCHOOL THROUGH ELDER YEARS--ALL THE WHILE THEY REMAIN SEATED! ALL THEY HAVE ARE COPIES OF FORMER LETTERS THEY'VE WRITTEN TO EACH OTHER, WHICH THEY "READ" ALOUD AS THEIR SOLE MEANS OF COMMUNICATION, WHICH THEY EXPRESS WITH GREAT EMOTION, BOTH IN SPEAKING AND REACTING, REVEALING DEEP FEELINGS IN A MOST NATURAL MANNER. THOUGH IT'S ACTING, OF COURSE, BUT IT ISN'T ACTING-ITS RAY AND NINETTE ACTUALLY BEING THE PEOPLE THEMSELVES. WHAT FABULOUS PERFORMANCES!!!
A SURE INDICATION OF AUDIENCE APPEAL IS THAT THIS PLAY WAS EXTENDED TWO WEEKENDS, SO IT STILL HAS PERFORMANCES THIS COMING FRIDAY AND SATURDAY AT 8, AND A MATINEE ON SUNDAY AT 2. THE AUX DOG IS LOCATED AT 3011 MONTE VISTA, AND FOR DIRECTIONS AND RESERVATIONS, CALL 254-7716.
THE DESERT ROSE IS STAGING A COMEDY CALLED "YOU CAN'T TAKE IT WITH YOU," WRITTEN BY MOSS HART AND GEORGE S. KAUFMAN. IT'S HILARIOUSLY FUNNY, THANKS BOTH TO THE SCRIPTS CRAZINESS AND TO LESLIE JOY COLEMAN, DIRECTOR, WHO'S ALSO A WONDERFUL ACTRESS. SHE HAS ASSEMBLED A SUPERB CAST, AND TOGETHER, THEY KEEP THE ACTION FAST-PACED ALL THE WAY. THE BLOCKING IS EXCELLENT, AND FURTHER VALIDATES HER WELL-ROUNDED SKILLS AS DIRECTOR.
IN A DELIGHTFUL WAY, THE STORY TELLS OF A FAMILY AND FRIENDS WHO DROP BY. EACH ONE IN THIS SUPERB CAST IS WELL-SUITED FOR THE ROLE-THOUGH THE CAST IS TOO LARGE TO CREDIT EACH ACTOR INDIVIDUALLY. HOWEVER, BEING A GRANDFATHER MYSELF, I CERTAINLY HAVE TO RECOGNIZE MY FRIEND CLIFF CATO, WHO PLAYS THE SAGE GRANDPA. HE PORTRAYS HIS MAJOR ROLE VERY CONVINCINGLY, AS DO ALL THE OTHERS, FOR THAT MATTER.
THE PRODUCTION STAFF DESERVES THEIR OWN SHARE OF PRAISE, I.E., FOR SUCH A REALISTIC SET; FOR THE ATTRACTIVE COSTUMING; AND ALL THE WORK WITH THE PROPS AND OVERALL STAGE MANAGEMENT-THERE'S A LOT TO MANAGE! THIS COMEDY RUNS TWO MORE WEEKENDS, CONCLUDING ON JUNE 29. FOR EASY DIRECTIONS AND RESERVATIONS, CALL THE DESERT ROSE PLAYHOUSE AT 881-0503.
IN BRIEF, THOSE ARE MY HIGHLIGHTS ABOUT LIVE THEATRE PLAYING IN THIS AREA--WITH THESE COMMENTARIES BY ME, RAVING RICHARD, HEARD EVERY TUESDAY AT 3:30 ON THIS STATION, KKIM, CHRISTIAN RADIO FOR NEW MEXICO, AND SIMULCAST ON 94.7 P.M., SANTA FE; ALSO SEEN ON THE INTERNET AT KKIMAM1000.COM AND ALBTHEATRE.ORG. THANKS FOR LISTENING.
Saturday, June 7, 2008
AIDA at ALT - Review
RAVING RICHARD - REVIEW, FOR BROADCAST LIVE ON 6/3/8:
KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
GREETINGS AGAIN FROM THEATRELAND! THIS WEEK, THERE'S NOT ONLY ONE SHOW TO REVIEW, BUT THREE TO PREVIEW-ALL IN MY NEW TUESDAY DATE FOR THESE COMMENTARIES ON GRANT KUCK'S PROGRAM. JUST BY CHANCE, GRANT ALSO SAW THE SHOW I'M REVIEWING--AN ADAPTATION OF VERDI'S OPERA "AIDA" AT ALBUQUERQUE LITTLE THEATRE--AND WE BOTH ARE GIVING IT THUMBS UP, AS IT'S A GREAT PRODUCTION. IN FACT, TO QUOTE WORDS ED SULLIVAN MIGHT USE, IT'S REALLY GREAT!
HOW SO? WELL, IN A WORD, THIS PRODUCTION HAS ALL THE ENTERTAINMENT YOU WOULD EXPECT IN THIS FORM OF MUSICAL. IT’S NOT VERDI'S MUSIC, BUT THE PLOT DOES HAVE SOME RESEMBLANCE TO THE SCRIPT OF THE OPERA- I.E., A PRINCESS FROM TWO WARRING COUNTRIES VYING FOR THE HAND OF THE SAME ARMY CAPTAIN, WITH A CAPTURED FATHER AND A NASTY RULER, ETC., ETC., AS IN THE OPERA. THIS BEING A MUSICAL, IT'S A PLAY, BASICALLY, WITH MUCH OF THE STORY TOLD THROUGH SONG--OVER 20, BY ELTON JOHN.
MOST EVERY MEMBER OF THIS TALENTED CAST HAS A SINGING ROLE, AND EACH HAS A WELL-TRAINED THEATRICAL VOICE. AS GRANT POINTED OUT, IN SOME NON-PROFESSIONAL MUSICALS, YOU MAY FIND ONE OR TWO WHO CAN ACT BUT REALLY AREN'T ACCOMPLISHED SINGERS. BUT NOT SO IN THIS PRODUCTION--ALL THE SINGING AND ACTING IS EXCELLENT, WITH CREDIT EXTENDED TO DIRECTOR BILL POTENZIANI AND MUSIC DIRECTOR MATTHEW NAEGELI (WHO DID SUCH A SUPERB JOB LAST SUMMER IN "MY FAIR LADY).
WITHOUT SLIGHTING OTHERS, AS MY ACCOLADES ARE MEANT FOR ALL, FOUR ACTORS WHO HAVE THE MORE PROMINENT ROLES ARE THE TWO PRINCESSES, APRIL BALL AND EMILY MELVILLE; KIT TURPEN THE CHIEF MINISTER; AND SUITOR JULIAN SINGER-CORBIN. BUT IT’S NOT JUST THE CASTING. ON ALL COUNTS, THIS CONTEMPORARY ADAPTATION OF "AIDA" IS TERRIFIC, FROM THE CLEVER OPENING SCENE TO THE SURPRISING FINALE: THE SET, STAGING, COSTUMING, ORCHESTRAL ACCOMPANIMENT, CHOREOGRAPHY BY STEPHANIE BURCH, AND ALL OTHER ELEMENTS OF PRODUCTION MAKE THIS SHOW A HIGHLIGHT OF THE SEASON. NO WONDER EVERY AUDIENCE GIVES IT A STANDING OVATION, PLUS THE JOURNAL'S REVIEW OF JUNE 25 WAS ALSO VERY FAVORABLE.
"AIDA" CONTINUES WEEKENDS THROUGH JUNE 15. ALT'S NUMBER FOR TICKETS IS 243-4750, AND YOU'LL THANK ME FOR HIGHLY RECOMMENDING THIS SHOW.
I'LL BE BACK NEXT WEEK WITH GOOD NEWS REGARDING THE UPCOMING MELODRAMA SEASON IN MADRID. THANKS FOR LISTENING!
KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 F.M., SANTA FE
GREETINGS AGAIN FROM THEATRELAND! THIS WEEK, THERE'S NOT ONLY ONE SHOW TO REVIEW, BUT THREE TO PREVIEW-ALL IN MY NEW TUESDAY DATE FOR THESE COMMENTARIES ON GRANT KUCK'S PROGRAM. JUST BY CHANCE, GRANT ALSO SAW THE SHOW I'M REVIEWING--AN ADAPTATION OF VERDI'S OPERA "AIDA" AT ALBUQUERQUE LITTLE THEATRE--AND WE BOTH ARE GIVING IT THUMBS UP, AS IT'S A GREAT PRODUCTION. IN FACT, TO QUOTE WORDS ED SULLIVAN MIGHT USE, IT'S REALLY GREAT!
HOW SO? WELL, IN A WORD, THIS PRODUCTION HAS ALL THE ENTERTAINMENT YOU WOULD EXPECT IN THIS FORM OF MUSICAL. IT’S NOT VERDI'S MUSIC, BUT THE PLOT DOES HAVE SOME RESEMBLANCE TO THE SCRIPT OF THE OPERA- I.E., A PRINCESS FROM TWO WARRING COUNTRIES VYING FOR THE HAND OF THE SAME ARMY CAPTAIN, WITH A CAPTURED FATHER AND A NASTY RULER, ETC., ETC., AS IN THE OPERA. THIS BEING A MUSICAL, IT'S A PLAY, BASICALLY, WITH MUCH OF THE STORY TOLD THROUGH SONG--OVER 20, BY ELTON JOHN.
MOST EVERY MEMBER OF THIS TALENTED CAST HAS A SINGING ROLE, AND EACH HAS A WELL-TRAINED THEATRICAL VOICE. AS GRANT POINTED OUT, IN SOME NON-PROFESSIONAL MUSICALS, YOU MAY FIND ONE OR TWO WHO CAN ACT BUT REALLY AREN'T ACCOMPLISHED SINGERS. BUT NOT SO IN THIS PRODUCTION--ALL THE SINGING AND ACTING IS EXCELLENT, WITH CREDIT EXTENDED TO DIRECTOR BILL POTENZIANI AND MUSIC DIRECTOR MATTHEW NAEGELI (WHO DID SUCH A SUPERB JOB LAST SUMMER IN "MY FAIR LADY).
WITHOUT SLIGHTING OTHERS, AS MY ACCOLADES ARE MEANT FOR ALL, FOUR ACTORS WHO HAVE THE MORE PROMINENT ROLES ARE THE TWO PRINCESSES, APRIL BALL AND EMILY MELVILLE; KIT TURPEN THE CHIEF MINISTER; AND SUITOR JULIAN SINGER-CORBIN. BUT IT’S NOT JUST THE CASTING. ON ALL COUNTS, THIS CONTEMPORARY ADAPTATION OF "AIDA" IS TERRIFIC, FROM THE CLEVER OPENING SCENE TO THE SURPRISING FINALE: THE SET, STAGING, COSTUMING, ORCHESTRAL ACCOMPANIMENT, CHOREOGRAPHY BY STEPHANIE BURCH, AND ALL OTHER ELEMENTS OF PRODUCTION MAKE THIS SHOW A HIGHLIGHT OF THE SEASON. NO WONDER EVERY AUDIENCE GIVES IT A STANDING OVATION, PLUS THE JOURNAL'S REVIEW OF JUNE 25 WAS ALSO VERY FAVORABLE.
"AIDA" CONTINUES WEEKENDS THROUGH JUNE 15. ALT'S NUMBER FOR TICKETS IS 243-4750, AND YOU'LL THANK ME FOR HIGHLY RECOMMENDING THIS SHOW.
I'LL BE BACK NEXT WEEK WITH GOOD NEWS REGARDING THE UPCOMING MELODRAMA SEASON IN MADRID. THANKS FOR LISTENING!
Monday, May 19, 2008
AS IT IS IN HEAVEN at the Desert Rose Theater
Check this link for a review from the Alibi:
http://www.alibi.com?story=23230&scn=art&fullstory=y
http://www.alibi.com?story=23230&scn=art&fullstory=y
Tuesday, May 13, 2008
SUNDOWN at the Adobe
Who says local newscasters take no interest in community theatre? Check out this link:
http://KOB.com/article/stories/S434319.shtml
http://KOB.com/article/stories/S434319.shtml
ATG response to accusation of political bias
The following letter to the editor was sent to the Albuquerque Journal on
May 9. The writer is grateful to Linda Lopez McAlister for her instigation
and advice.
Clyde Aragon’s intemperate rant against Albuquerque live theater (Albuquerque Journal, Letters, May 8) proceeds from a political bias so extreme as to distort the reality of his subject beyond recognition. Mr. Aragon would have us believe that “most theaters” in our community are “run by liberals and socialists” and offer “preachy, intolerant, anti-conservative, anti-normality, left-wing fare.” Clearly he does not get out to the theater very often.
With some 30 play-producing organizations, the Albuquerque drama scene is now astonishingly rich and varied. In a given season, theatergoers can attend musicals, comedies, Christian drama, children’s theater, improvisational cabaret, Shakespearean classics, American standards, and new work by emerging playwrights from a variety of backgrounds.
In the past month alone, my wife and I have seen “King Lear” at the Vortex, a musical satire of show business called “Ruthless” at the Auxiliary Dog, and a sympathetic depiction of a 19th-century Shaker community entitled “As It Is in Heaven” at the Desert Rose Playhouse. All three were of impressively high quality.
A good source of information about what’s on in our city is the Albuquerque Theatre Guild, a non-profit organization of more than 150 individuals and more than 20 organizations devoted to live performance. The Guild’s website, abqtheatre.org, offers a calendar of coming events and other announcements. By e-mailing info@abqtheatre.org or calling 247-1909, you can also receive a free brochure that provides information about member theaters and their activities.
Mr. Aragon’s caricature does a disservice to the hundreds of volunteers who labor every weekend to provide audiences with a wide array of entertainment options. The truth is that live theater is one of Albuquerque’s great cultural assets. Readers deserve full and accurate information about what is available to them.
Hugh Witemeyer, Secretary
Albuquerque Theatre Guild
May 9. The writer is grateful to Linda Lopez McAlister for her instigation
and advice.
Clyde Aragon’s intemperate rant against Albuquerque live theater (Albuquerque Journal, Letters, May 8) proceeds from a political bias so extreme as to distort the reality of his subject beyond recognition. Mr. Aragon would have us believe that “most theaters” in our community are “run by liberals and socialists” and offer “preachy, intolerant, anti-conservative, anti-normality, left-wing fare.” Clearly he does not get out to the theater very often.
With some 30 play-producing organizations, the Albuquerque drama scene is now astonishingly rich and varied. In a given season, theatergoers can attend musicals, comedies, Christian drama, children’s theater, improvisational cabaret, Shakespearean classics, American standards, and new work by emerging playwrights from a variety of backgrounds.
In the past month alone, my wife and I have seen “King Lear” at the Vortex, a musical satire of show business called “Ruthless” at the Auxiliary Dog, and a sympathetic depiction of a 19th-century Shaker community entitled “As It Is in Heaven” at the Desert Rose Playhouse. All three were of impressively high quality.
A good source of information about what’s on in our city is the Albuquerque Theatre Guild, a non-profit organization of more than 150 individuals and more than 20 organizations devoted to live performance. The Guild’s website, abqtheatre.org, offers a calendar of coming events and other announcements. By e-mailing info@abqtheatre.org or calling 247-1909, you can also receive a free brochure that provides information about member theaters and their activities.
Mr. Aragon’s caricature does a disservice to the hundreds of volunteers who labor every weekend to provide audiences with a wide array of entertainment options. The truth is that live theater is one of Albuquerque’s great cultural assets. Readers deserve full and accurate information about what is available to them.
Hugh Witemeyer, Secretary
Albuquerque Theatre Guild
Sunday, April 13, 2008
Friday, March 28, 2008
HARVEY at the Adobe - Review link
See this link for the Albuquerque Journal's Barry Gaines on "Harvey."
http://www.abqjournal.com/venue/2892252name03-28-08.htm
http://www.abqjournal.com/venue/2892252name03-28-08.htm
HARVEY at the Adobe - Review
RAVING RICHARD RADIO REVIEW, FOR BROADCAST LIVE ON 3/26/8: KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 P.M., SANTA FE
GREETINGS FROM THEATRELAND. MY COMMENTARY IS ABOUT THAT CLASSIC PLAY, "HARVEY," BEING STAGED AT THE ADOBE THEATRE. "HARVEY," A MULTIPLE AWARD-WINNING PLAY, WAS WRITTEN BY MARY COYLE CHASE: IT WAS FIRST PERFORMED IN 1944 IN DENVER BEFORE ITS TITLE WAS CHANGED TO "HARVEY," AND THEN IT RE-OPENED FOR AN EXTENDED RUN ON BROADWAY, STARRING FRANK FAY AND AND JOSEPHINE HULL—ACTUALLY, ONE OF THE BROADWAY'S LONGEST-RUNNING PLAYS. LATER, "HARVEY" WAS MADE INTO INTO A FILM, STARRING JIMMY STEWART IN THE LEADING ROLE.
IN THE ADOBE'S PRODUCTION, THE CASTING COULDN'T BE BETTER, WITH DIRECTION BY KENNETH BENNINGTON. THERE'S NOT TIME TO MENTION EACH INDIVIDUALLY, THOUGH WELL DESERVED—-SUFFICE TO CREDIT VERNON POITRAS, CYNDY NOLL, JENNIFER LLOYD, AND MICHAEL GIRLAMO TO REPRESENT THIS ENTIRE STELLAR CAST. YOU'LL ENJOY THEM ALL, AS EACH IS SO BELIEVABLE IN THE PART—-A MARK OF PROFICIENCY.
"HARVEY" RUNS WEEKENDS AT THE ADOBE THROUGH APRIL 13, AND FOR TICKETS, CALL THE ADOBE THEATRE AT 898.9222.
GREETINGS FROM THEATRELAND. MY COMMENTARY IS ABOUT THAT CLASSIC PLAY, "HARVEY," BEING STAGED AT THE ADOBE THEATRE. "HARVEY," A MULTIPLE AWARD-WINNING PLAY, WAS WRITTEN BY MARY COYLE CHASE: IT WAS FIRST PERFORMED IN 1944 IN DENVER BEFORE ITS TITLE WAS CHANGED TO "HARVEY," AND THEN IT RE-OPENED FOR AN EXTENDED RUN ON BROADWAY, STARRING FRANK FAY AND AND JOSEPHINE HULL—ACTUALLY, ONE OF THE BROADWAY'S LONGEST-RUNNING PLAYS. LATER, "HARVEY" WAS MADE INTO INTO A FILM, STARRING JIMMY STEWART IN THE LEADING ROLE.
IN THE ADOBE'S PRODUCTION, THE CASTING COULDN'T BE BETTER, WITH DIRECTION BY KENNETH BENNINGTON. THERE'S NOT TIME TO MENTION EACH INDIVIDUALLY, THOUGH WELL DESERVED—-SUFFICE TO CREDIT VERNON POITRAS, CYNDY NOLL, JENNIFER LLOYD, AND MICHAEL GIRLAMO TO REPRESENT THIS ENTIRE STELLAR CAST. YOU'LL ENJOY THEM ALL, AS EACH IS SO BELIEVABLE IN THE PART—-A MARK OF PROFICIENCY.
"HARVEY" RUNS WEEKENDS AT THE ADOBE THROUGH APRIL 13, AND FOR TICKETS, CALL THE ADOBE THEATRE AT 898.9222.
Thursday, March 13, 2008
OLDEST PROFESSION at the Desert Rose
Audience Speaks: "We loved this show"; "It made me laugh - It made me cry"; "I really cared about these women" - These are only a few of the positive comments we have received over the last two weekends. After a shaky Opening Night and a Reviewer who DID NOT like or GET why we chose this play - we have had nothing but positive comments and spread the word success! Just goes to show you the press is not always right! AND to even make it more timely - The Oldest Profession and the Politicians are still at it! New York! You will enjoy this political satire about the mix of the two and I promise that you will GET why we chose to do this play - This is an Election year!
Oldest Profession - Fri/Sat 8pm & Sunday at 4pm, Desert Rose Playhouse, 6921 Montgomery NE - 881-0503. Mention this blog and get in for $10
Oldest Profession - Fri/Sat 8pm & Sunday at 4pm, Desert Rose Playhouse, 6921 Montgomery NE - 881-0503. Mention this blog and get in for $10
Tuesday, March 4, 2008
Kid's Theatre in Duke City
Here's a link to a terrific article by Aileen O'Catherine for New Mexico Kids! Family Magazine. Check it out. http://newmexico-kids.com/articles/article-17-1-kids-theater.html
Monday, March 3, 2008
ELEEMOSYNARY Review
RAVING RICHARD RAVING REVIEW, FOR BROADCAST LIVE ON 2/20/8: KKIM, 1000 A.M., ALBUQUERQUE, AND 94.7 P.M., SANTA FE
GREETINGS AGAIN FROM THEATRELAND, AS THERE'S A LOT GOING ON—A PLAY WITH ONLY THREE ACTORS IS AT THE ADOBE, WHICH IS THE FOCUS OF THIS WEEK'S REVIEW.
THE PLAY IS CALLED "ELEEMOSYNARY," ONLY BECAUSE THAT'S A WORD IN A SPELLING BEE CONTEST WHICH HAS A MINOR ROLE IN THE PLOT. ESSENTIALLY, THE PLAY INVOLVES THE EFFORTS OF THREE GENERATIONS OF WOMEN TO RECONCILE DIFFERENCES IN THEIR FAMILY. THE ACTING IS SUPERB: THE GRANDMOTHER, PLAYED BY BECKY MAYO, IS SOMEWHAT ILLUSIONARY; HER DAUGHTER, WHO GOES ALONG WITH THE GRANDMOTHER'S WACKY IDEAS, IS PLAYED BY MICHELLE BOEHLER; AND THE GRANDDAUGHTER, INNOCENT TO THE STRUGGLE BUT INTENT ON DEVELOPING A LOVING RELATIONSHIP WITH HER MOTHER, IS PLAYED BY CHLOE TURNER. THE DIRECTOR IS JOANN DANELLE, A REAL PRO.
THIS CAST COULDNT BE BETTER SELECTED, AND YOU'LL FIND THIS PLAY WARM AND ENJOYABLE IN ADOBE'S NEWLY-REFURBISHED FACILITY-NEW SEATS, ETC. THE SHOW RUNS WEEKENDS THROUGH MARCH 2 AT 9813 4*, JUST NORTH OF ALAMEDA. FOR RESERVATIONS, CALL 898-9222.
GREETINGS AGAIN FROM THEATRELAND, AS THERE'S A LOT GOING ON—A PLAY WITH ONLY THREE ACTORS IS AT THE ADOBE, WHICH IS THE FOCUS OF THIS WEEK'S REVIEW.
THE PLAY IS CALLED "ELEEMOSYNARY," ONLY BECAUSE THAT'S A WORD IN A SPELLING BEE CONTEST WHICH HAS A MINOR ROLE IN THE PLOT. ESSENTIALLY, THE PLAY INVOLVES THE EFFORTS OF THREE GENERATIONS OF WOMEN TO RECONCILE DIFFERENCES IN THEIR FAMILY. THE ACTING IS SUPERB: THE GRANDMOTHER, PLAYED BY BECKY MAYO, IS SOMEWHAT ILLUSIONARY; HER DAUGHTER, WHO GOES ALONG WITH THE GRANDMOTHER'S WACKY IDEAS, IS PLAYED BY MICHELLE BOEHLER; AND THE GRANDDAUGHTER, INNOCENT TO THE STRUGGLE BUT INTENT ON DEVELOPING A LOVING RELATIONSHIP WITH HER MOTHER, IS PLAYED BY CHLOE TURNER. THE DIRECTOR IS JOANN DANELLE, A REAL PRO.
THIS CAST COULDNT BE BETTER SELECTED, AND YOU'LL FIND THIS PLAY WARM AND ENJOYABLE IN ADOBE'S NEWLY-REFURBISHED FACILITY-NEW SEATS, ETC. THE SHOW RUNS WEEKENDS THROUGH MARCH 2 AT 9813 4*, JUST NORTH OF ALAMEDA. FOR RESERVATIONS, CALL 898-9222.
"PAGE TO STAGE": MOTHER ROAD'S "THE ODYSSEY"
Would an audience pay to attend the first read-through of a new production? If the experience of the Mother Road Theatre Company is any indication, the answer is yes.
On February 18, the new troupe successfully involved a live audience in the first rehearsal of its first production, David Farr's 2005 adaptation of Homer's "Odyssey." For $25, each audience member received two admissions: one to the initial read-through, and another to a performance on the opening weekend, nearly six weeks from now. Called "Page to Stage," the program engages spectators with the theatrical process as well as its end product.
During the first hour, the audience received an orientation to the play from Director Julia Thudium and members of her production team. They described their conceptions of the set, costumes, lighting, puppets, and music that will bring "The Odyssey" to life. Dramaturg Michael Dolce then gave a witty PowerPoint presentation on the history, mythology, and Mediterranean geography of the epic. Questions and comments from the audience were encouraged.
After refreshments, the cast read the play together for the first time. They and the audience, who also held scripts, sang David Farr's lyrics to the accompaniment of new music written for this production by Albuquerque composer Ernest Sturdevant. The read-through brought out the contemporary relevance of Farr's adaptation, which raises such issues as the displacement of populations by war, the detention of illegal immigrants by zealous homeland security officers, the racial stereotyping of asylum seekers, and the pitfalls of documenting identity ("I am nobody"). The
script has variety, pace, and humor; the language is suitable for all but the most fastidious ears; and the action will interest spectators aged 13 and up.
"The Odyssey" opens on March 28 and runs through April 20, with performances on Thursday, Friday, and Saturday at 8 p.m. and matinees on Sunday at 2 p.m. The venue is The Filling Station, an imaginatively converted garage at 1024 Fourth St. SW near Pacific. For information and reservations, call (505) 873-4831.
The "Page to Stage" format will also be employed in coming Mother Road productions. By next time, one hopes the Company will have streamlined the event so that it lasts less than three and a half hours. To participate in the program, add your name and e-mail address to their maillist at www.motherroad.org.
Meanwhile, I can hardly wait to see the bare bones of early rehearsal fleshed out when "The Odyssey" ventures onstage next month! - Hugh Witemeyer
On February 18, the new troupe successfully involved a live audience in the first rehearsal of its first production, David Farr's 2005 adaptation of Homer's "Odyssey." For $25, each audience member received two admissions: one to the initial read-through, and another to a performance on the opening weekend, nearly six weeks from now. Called "Page to Stage," the program engages spectators with the theatrical process as well as its end product.
During the first hour, the audience received an orientation to the play from Director Julia Thudium and members of her production team. They described their conceptions of the set, costumes, lighting, puppets, and music that will bring "The Odyssey" to life. Dramaturg Michael Dolce then gave a witty PowerPoint presentation on the history, mythology, and Mediterranean geography of the epic. Questions and comments from the audience were encouraged.
After refreshments, the cast read the play together for the first time. They and the audience, who also held scripts, sang David Farr's lyrics to the accompaniment of new music written for this production by Albuquerque composer Ernest Sturdevant. The read-through brought out the contemporary relevance of Farr's adaptation, which raises such issues as the displacement of populations by war, the detention of illegal immigrants by zealous homeland security officers, the racial stereotyping of asylum seekers, and the pitfalls of documenting identity ("I am nobody"). The
script has variety, pace, and humor; the language is suitable for all but the most fastidious ears; and the action will interest spectators aged 13 and up.
"The Odyssey" opens on March 28 and runs through April 20, with performances on Thursday, Friday, and Saturday at 8 p.m. and matinees on Sunday at 2 p.m. The venue is The Filling Station, an imaginatively converted garage at 1024 Fourth St. SW near Pacific. For information and reservations, call (505) 873-4831.
The "Page to Stage" format will also be employed in coming Mother Road productions. By next time, one hopes the Company will have streamlined the event so that it lasts less than three and a half hours. To participate in the program, add your name and e-mail address to their maillist at www.motherroad.org.
Meanwhile, I can hardly wait to see the bare bones of early rehearsal fleshed out when "The Odyssey" ventures onstage next month! - Hugh Witemeyer
Wednesday, February 13, 2008
REVIEW of True West at the Vortex
"There’s going to be a general lack of toast in the neighborhood this morning!" This line, announced as younger brother Austin of Sam Shepard's True West carries a slew of stolen toasters through the front door, is what The Vortex chose to pitch its production of the play which closed yesterday. And while director Leanne Santillanes's delight—echoed by that of unsuspecting audience—in carrying out the playwright's decree to litter the stage with toasters and beer cans was palpable, it only underscored the lack of attention paid the more important of Shepard's words: his characters'. For all the visual antics laid out in the script, we may need reminding that True West is, first and foremost, a story of brothers.
At times, these brothers represent the Old and the New, the Real and the Fake, the Suburbs and the Wilderness—even pen and typewriter—but none of these binary oppositions have any chance of mattering without the immutable, if only biological, bond the two men on stage share as brothers. Thane Kenny and Richard Boehler, as Lee and Austin, respectively, lack this bond from the start. While they quickly establish that they fail to get along, it is a failure in the way of strangers, perhaps coworkers, people without the inside track on getting each others' goat—a track best laid by growing up under the same roof. Shepard's opening dialogue invites actors to engage in a set of coded rituals that ever-so-craftily get under each other's skin. Under Santillanes direction, there is too much indifference to their chiding; nothing simmering, nothing safeguarded, nothing to lose—and, ultimately, gain with the eruption of rage and decimation of egos later in the play.
We also fail to see that however little they may actually dislike each other, the brothers Austin and Lee do love each other. They don't, of course, want to admit it (nor do we wish them to, lest the play devolve into a Sunday afternoon Hallmark special.) Luckily, we need not fear this, thanks to the text. The relentless, shameless way in which the brothers go at each other on paper is all the more reason for the bodies on stage to go at each other with more than words, more than bickering, more than disapproval. The words are the binds that keep the characters within their understood roles—and the play is precisely about breaking out of such roles.
The fact the play soon turns its energies to the quest of writing a screenplay, for which the authority, Mr. Saul Kimmer, rules is better embodied by the bristling, untamed spirit of the barely literate Lee, demonstrates how words, even in writing, often get in the way of the truth. Daryl DeRoach gives a charming, if smarmy, turn as the insider Mr. Kimmer.
Shepard delights in turning clichés on their head throughout his work, and True West is no exception. While "brotherly love" appears next to walk the worn-out cliché plank, nowhere does the script imply that brotherly love is a joke. Shepard attacks this cliché with such reckless abandon not to render it laughable, but to get at the real questions and truths surrounding such accepted rhetoric, however impotent it may be. Unfortunately laughable seems to be the very thing the two actors wanted to be above all else in Act II. Boehler in particular seemed to want to bring the emergence of animalistic rage in a compliant showbiz proselyte to the level of burlesque. For the drunkenness this apparently required, the director seemed to think it was a good idea (or perhaps the actor thought it was a better idea) for Austin to: 1.) Act drunk; 2.) Not act drunk by acting like your trying not to act drunk—what most people will tell you looks the most, well, like being drunk; and 3.) Basically make light of everything the characters are going through by reducing the reason for Austin's outburst to mere intoxication. We can see he is drunk and see that he is mad, but the conclusion here is that he is mad because he is drunk. I think it’s much more powerful the other way around—he's drunk because he's mad. He just needed to get drunk to express it. Alcohol is only the messenger. Here alcohol was the show, getting in the way of what Austin needs to say instead of unleashing it.
Consequently, the denouement, in which Austin nearly strangles his brother to death, does not come across as a Moment of Truth—and render the roles of Unbridled Ascetic and Tailored Wordsmith arbitrary. On the contrary, we still believe these brothers are who they think they are, that they just had a bad night—got drunk, made a mess, and remained, as far as anyone could see, cranky. The desire of a Hollywood scribe to lose his trappings and secret longing of a vagrant thief for a loving, secure home hardly reach the surface.
With all that said, I find it most perplexing that Ms. Santillanes included in the program her own mini-essay on True West. It's hard to believe that the same person who wrote such an informed analysis directed this piece of theatre. If the director's staging were half as concise as her words, the play might have succeeded. As it was, whatever tension built up by the actors under the lights was habitually dulled by a series of lengthy blackouts along with a kitschy salvo of country standards. For a production which demands one setting the entire show, the stagehands seemed determined to indulge whatever trolling seconds in darkness they could to tip over chairs, add empty bottles to the kitchen counter, replace houseplants with deader ones and mint typewriters with dented ones. Such time-jump tricks may strike some as clever, nevertheless cleverness at the mercy of precious seconds in black. This is the stuff of film sets, of jumps in time unmediated by ever-revealing seconds in semi-darkness.
Before the final scene, the stagehands ventured out onto the set fully stocked for a thorough sprinkling of beer cans, trash—and yes, toasters. The fact we as an audience can see crew members ferrying racks of toasters and grocery bags of empties onto the stage clearly diffuses whatever punch line is intended by bringing lights up on the kitchen's state of disrepair. Besides, it would seem more natural for the kitchen to get dismantled scene by scene (during, not between them), beer by beer, page by page. (With the number of cans that suddenly appear, I have to ask who drank all the PBR--Austin's been out stealing toasters—guess Lee felt like emptying the recycling!) Such exaggeration does not serve the characters. A director needs to consider keeping her desired effects of her staging in balance with an audience's real-time experience, sitting in the dark. Too many productions make an audience out to be the kid on Christmas morning, cooing in surprise about Santa Claus when he saw mommy in her bathrobe wrapping the gifts the night before. Suspension of Disbelief, as the phrase goes, is not, I hope, willful, but must be charmed, cajoled, and when the obvious bit of tinkering is necessary, acknowledged as so.
It is possible for the reality of a play (for a play is more about reality than images) to continue in darkness, so that a scene of performance art like the toaster-strewn tableau at the end of True West is presented without guile, without disregard for the fact the audience just witnessed its construction. With this and other performance art-like-acts in Shepard’s plays comes a conviction that the audience’s eye ought to be drawn to more than just the illusion of narrative, to concrete things that might even seem absurd to the narrative—such as toasters. He seemed to sympathize with performance artists who sought to get away from the illusory nature of art and the accompanying belief that that illusion can be controlled. The audience’s perception can’t be controlled to the extent that we don’t know how the toasters got there, so I suggest that the act of getting them there be just as a part of the story as having them there. Act out their introduction to the playing space.
Who are the best people to act out such things? Actors.
The fact the production billed itself with the toast line seems fitting. In the end, the comic treatment of the scene comes as no surprise, especially considering the almost non-sequitur use of the quote as a hook. The production devoted itself more than anything else to following the letter of the law of Shepard’s prescribed set, taking advantage of the Vortex’s vast stock of furniture and dated décor. I see this as missing the point of putting on a play, especially this one. I hoped for more crisis, more immediacy, but remained too distracted by the inordinate number of beer cans suddenly at my feet. The least they could have done was let each of us drink one before adding it to the pile. -BCM
At times, these brothers represent the Old and the New, the Real and the Fake, the Suburbs and the Wilderness—even pen and typewriter—but none of these binary oppositions have any chance of mattering without the immutable, if only biological, bond the two men on stage share as brothers. Thane Kenny and Richard Boehler, as Lee and Austin, respectively, lack this bond from the start. While they quickly establish that they fail to get along, it is a failure in the way of strangers, perhaps coworkers, people without the inside track on getting each others' goat—a track best laid by growing up under the same roof. Shepard's opening dialogue invites actors to engage in a set of coded rituals that ever-so-craftily get under each other's skin. Under Santillanes direction, there is too much indifference to their chiding; nothing simmering, nothing safeguarded, nothing to lose—and, ultimately, gain with the eruption of rage and decimation of egos later in the play.
We also fail to see that however little they may actually dislike each other, the brothers Austin and Lee do love each other. They don't, of course, want to admit it (nor do we wish them to, lest the play devolve into a Sunday afternoon Hallmark special.) Luckily, we need not fear this, thanks to the text. The relentless, shameless way in which the brothers go at each other on paper is all the more reason for the bodies on stage to go at each other with more than words, more than bickering, more than disapproval. The words are the binds that keep the characters within their understood roles—and the play is precisely about breaking out of such roles.
The fact the play soon turns its energies to the quest of writing a screenplay, for which the authority, Mr. Saul Kimmer, rules is better embodied by the bristling, untamed spirit of the barely literate Lee, demonstrates how words, even in writing, often get in the way of the truth. Daryl DeRoach gives a charming, if smarmy, turn as the insider Mr. Kimmer.
Shepard delights in turning clichés on their head throughout his work, and True West is no exception. While "brotherly love" appears next to walk the worn-out cliché plank, nowhere does the script imply that brotherly love is a joke. Shepard attacks this cliché with such reckless abandon not to render it laughable, but to get at the real questions and truths surrounding such accepted rhetoric, however impotent it may be. Unfortunately laughable seems to be the very thing the two actors wanted to be above all else in Act II. Boehler in particular seemed to want to bring the emergence of animalistic rage in a compliant showbiz proselyte to the level of burlesque. For the drunkenness this apparently required, the director seemed to think it was a good idea (or perhaps the actor thought it was a better idea) for Austin to: 1.) Act drunk; 2.) Not act drunk by acting like your trying not to act drunk—what most people will tell you looks the most, well, like being drunk; and 3.) Basically make light of everything the characters are going through by reducing the reason for Austin's outburst to mere intoxication. We can see he is drunk and see that he is mad, but the conclusion here is that he is mad because he is drunk. I think it’s much more powerful the other way around—he's drunk because he's mad. He just needed to get drunk to express it. Alcohol is only the messenger. Here alcohol was the show, getting in the way of what Austin needs to say instead of unleashing it.
Consequently, the denouement, in which Austin nearly strangles his brother to death, does not come across as a Moment of Truth—and render the roles of Unbridled Ascetic and Tailored Wordsmith arbitrary. On the contrary, we still believe these brothers are who they think they are, that they just had a bad night—got drunk, made a mess, and remained, as far as anyone could see, cranky. The desire of a Hollywood scribe to lose his trappings and secret longing of a vagrant thief for a loving, secure home hardly reach the surface.
With all that said, I find it most perplexing that Ms. Santillanes included in the program her own mini-essay on True West. It's hard to believe that the same person who wrote such an informed analysis directed this piece of theatre. If the director's staging were half as concise as her words, the play might have succeeded. As it was, whatever tension built up by the actors under the lights was habitually dulled by a series of lengthy blackouts along with a kitschy salvo of country standards. For a production which demands one setting the entire show, the stagehands seemed determined to indulge whatever trolling seconds in darkness they could to tip over chairs, add empty bottles to the kitchen counter, replace houseplants with deader ones and mint typewriters with dented ones. Such time-jump tricks may strike some as clever, nevertheless cleverness at the mercy of precious seconds in black. This is the stuff of film sets, of jumps in time unmediated by ever-revealing seconds in semi-darkness.
Before the final scene, the stagehands ventured out onto the set fully stocked for a thorough sprinkling of beer cans, trash—and yes, toasters. The fact we as an audience can see crew members ferrying racks of toasters and grocery bags of empties onto the stage clearly diffuses whatever punch line is intended by bringing lights up on the kitchen's state of disrepair. Besides, it would seem more natural for the kitchen to get dismantled scene by scene (during, not between them), beer by beer, page by page. (With the number of cans that suddenly appear, I have to ask who drank all the PBR--Austin's been out stealing toasters—guess Lee felt like emptying the recycling!) Such exaggeration does not serve the characters. A director needs to consider keeping her desired effects of her staging in balance with an audience's real-time experience, sitting in the dark. Too many productions make an audience out to be the kid on Christmas morning, cooing in surprise about Santa Claus when he saw mommy in her bathrobe wrapping the gifts the night before. Suspension of Disbelief, as the phrase goes, is not, I hope, willful, but must be charmed, cajoled, and when the obvious bit of tinkering is necessary, acknowledged as so.
It is possible for the reality of a play (for a play is more about reality than images) to continue in darkness, so that a scene of performance art like the toaster-strewn tableau at the end of True West is presented without guile, without disregard for the fact the audience just witnessed its construction. With this and other performance art-like-acts in Shepard’s plays comes a conviction that the audience’s eye ought to be drawn to more than just the illusion of narrative, to concrete things that might even seem absurd to the narrative—such as toasters. He seemed to sympathize with performance artists who sought to get away from the illusory nature of art and the accompanying belief that that illusion can be controlled. The audience’s perception can’t be controlled to the extent that we don’t know how the toasters got there, so I suggest that the act of getting them there be just as a part of the story as having them there. Act out their introduction to the playing space.
Who are the best people to act out such things? Actors.
The fact the production billed itself with the toast line seems fitting. In the end, the comic treatment of the scene comes as no surprise, especially considering the almost non-sequitur use of the quote as a hook. The production devoted itself more than anything else to following the letter of the law of Shepard’s prescribed set, taking advantage of the Vortex’s vast stock of furniture and dated décor. I see this as missing the point of putting on a play, especially this one. I hoped for more crisis, more immediacy, but remained too distracted by the inordinate number of beer cans suddenly at my feet. The least they could have done was let each of us drink one before adding it to the pile. -BCM
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