Theatre
A Midsummer Nightmare PDF Print E-mail
Written by Marcia Fulmer   
Thursday, 29 January 2009 18:51

A new — or re-newed — group is making its maiden voyage into the world of community theater this weekend with the Osceola Community Theatre production of “A Midsummer Night’s Dream.”

Does the word “Titanic” ring a bell?

Unlike the “unsinkable” liner, there are so many danger signals here that one can only hope there are enough lifeboats to go around.

First: Don’t ever attempt Shakespeare without actors — and a director — who have some understanding of the play — what it is and where it  is going — and at least a minimum command of the language. Just rattling off a string of words without any idea of what is behind them or what they mean, in the context of the period, results in what my grandmother used to call gobbledegook.

Midsummers Night Dream

Second: Make sure at least the primary players have the ability to make themselves heard — and understood — beyond the end of the playing area. The audience usually deserves the chance to know what’s going on, although here it doesn’t seem to matter. Not helping was a motor, which sounded like one for a heating system or a large refrigerator, which cut in and out frequently and completely drowned out most of the voices.

 

Third: Take aim at a style for the production and make sure it works — consistently. Allowing the two ingénues to scream at each other while their respective swains are battling it out literally and loudly right being them is a shot at farce that results in the need for earplugs. In com

There are several cast members who definitely have potential — the men playing Bottom (Scot Shepley) and Demetrius (Steven Cole) and the females portraying Puck (Abby Jeffirs), Titania (Kristen Baker) and Helena (Kelsey Suwarsky — who needs to turn both volume and delivery speed down several notches) . They seem to be the victims of skewed direction — or lack thereof. — and deserve the opportunity to try again.

The costumes were adequate (loved the fairies wings!) except for Oberon who looked more like a pilgrim wandering in the desert than a magical king of the fairies.

The lighting, obviously due to the extreme limitations of the performance space which is a very small altar space, was dependent on one large follow spot which illuminated the players in one central area.

Believe it or not, this has been very difficult to write. I am always in favor or new theaters and new talent and would much prefer to see them start well, specifically with something they can handle. I give them credit for the effort, but just because it’s Shakespeare, doesn’t mean anyone can do it.

Hepefully, the next offering from the OCT will be something easier to stage in their limited facility and one which actors and audience will have less difficulty delivering.

"A Midsummer Night's Dream" plays at 7:30 p.m. today and 2 and 7:30 p.m. Saturday in the Harry Housour Performing Arts Center, 3134 Apple Road, Osceola. check www.osceolatheatre.com

 
New Harmony 2009 Revisited PDF Print E-mail
Written by John Brian Quinn   
Wednesday, 21 January 2009 14:27

Returning to a place where you have had a very good experience is not always the best thing to do. . .except when that place is New Harmony and the experience is the New Harmony Project.

New Harmony INThe Project has been held for 23 years in this unbelievably green southwest Indiana location. It’s purpose has always been the same: To help playwrights develop new works that “offer hope and show respect for the positive values of life.” To this end, writers, actors, directors and dramaturgs head for this very southern Indiana town the last two weeks May bringing their creative energy and their talent . I visited the New Harmony Project for the first time last year, because daughter Deirdre Lovejoy was one of the actors. When she was asked to return, there was no doubt I would want to be there as well. Of course, I only went for the final week and all I did was listen, but to a confirmed theater buff, there was no greater place to be. In the first place, New Harmony itself is a popular vacation destination. You won’t find a nightclub or a thrill ride anywhere, but turning back the clock in a town that was founded by the Harmony Society, a religious sect, in 1814. The Harmonists came from Pennsylvania and returned there in 1825 after selling the town to a Scottish social reformer and education pioneer who collected notable thinkers and scientists to the banks of the Wabash River. What you will find is a serene environment where bicycles and golf carts are the primary modes of transportation, where night really falls darkly and you can feel stress easing away. It’s a popular spot for weddings and conferences the year round. It’s the perfect place to concentrate on your objective
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This Game Is in Very Good Hands PDF Print E-mail
Written by John Brian Quinn   
Saturday, 17 January 2009 13:55

Several months ago I attended the opening production in the 2008-09 season of an excellent regional theater. Friday night, I attended the  opening of the current Elkhart Civic Theatre production. Both were presenting the same play: "Sherlock Holmes: The Final Adventure," by Steven Dietz, based on two stories by Sir Arthur Conan Doyle. It's not often that I can say the "amateur" production was as good — or better — than the professional show. This is one time. Granted, the regional production had all the bells and whistles, set-wise: Elevators, scrims, fog, a movable suspended bridge, walls that glided on and off, platforms that rose from the stage floor ... it was so amazing that what I came away remembering was the set. Not that the acting was not good, but it was definitely overwhelmed by the constantly moving design. [caption id="attachment_110" align="alignright" width="500" caption="The King of Bohemia (Carl Wiesinger, left) brings a case to Sherlock Holmes (Rick Ellis, right) and Dr. Watson (Jim Bain) in "Sherlock Holmes: The Final Adventure.""]

homles-ectWhen ECT announced this show, my immediate reaction was "They'll never be able to pull it off." OK. I was wrong. Without the use of electronics, designer John Jay Shoup covered all the bases (aka required scene locations) with amazing ease AND without any loss of identification or distracting from the action. Electronics were replaced by good old-fashioned manpower in the form of the hard-working stage crew, costumed appropriately as servants in the period (1893) whose presence on stage during scene changes seemed very natural. It would be worth the price of admission just to check out the set. Most fortunately, the performances more than live up to the demands of the dialogue-heavy script. As the title character, Rick Ellis returns to the ECT stage with a vengeance — and the ability to turn the quixotic Holmes into a believable man, one whose powers of observation find answers in the most minute details. His methodical analysis is "elementary," and Ellis plays the shifting moods well, portraying the master detective as, finally, an all too vulnerable man who cannot resist the thrill of the chase. "The game's afoot, Watson!" he declares, adding prophetically "And it is a dangerous one." "You see but you do not observe," he scolds Dr. Watson, played by James Bain in an ECT debut that makes one hope for many return performances. Watson serves as best friend, sidekick and narrator, moving the action from Holmes's London home on Baker Street to a lodge in Europe to the Swiss alps and back to London. He is the lynchpin for the mercurial Holmes and is solid without being bumbling or boring. The relationship between the two is obvious. To quote "Jerry Maguire," they complete each other. It is a connection established immediately between the two, marred only by Holmes' longtime battle with the evil Prof. Moriarty (Bob Franklin), a criminal mastermind who draws the detective out of retirement for one last confrontation. Franklin addresses the role with appropriately malevolent glee. Carl Weisinger is The King of Bohemia, a monarch whose nearing nuptials are threatened by a  photograph of the King with a former mistress, opera diva Irene Adler (Julie Castello), who just happens to be the love of Holmes' life. In agreeing to retrieve the photo, Holmes' puts himself squarely in Moriarty's path, one that can only end in disaster. Aiding Moriarty are his "right hand man" Sid Prince (Tony Venable) and siblings James and Madge Larrabee (Dave Hoien and Karen Hoover), all of whom supply welcome comic touches. The shifting story lines (the play is based on two stories by Sir Arthur Conan Doyle, "A Scandal in Bohemia" and "The Final Problem) make focus necessary on both side of the footlights.  Director Dave Dufour has kept his actors' eyes on the prize, resulting in a winning experience for cast, crew and audience. "Sherlock Holmes: The Final Adventure" plays at 8 p.m. today and next Friday and Saturday and 3 p.m. Sunday. Tickets: 848-4116 between 1 and 5:30 p.m. and at the box office.

 
Grey Gardens Blooms at Northlight PDF Print E-mail
Written by Marcia Fulmer   
Monday, 22 December 2008 14:00

I spent Saturday in "Grey Gardens." I admit I have been a great fan of the show, which earned nine Tony Award nominations in 2007 and won three, since seeing one number on the televised awards show. iTunes delivered the cast CD and I was hooked. When the show was announced on the Northlight 2008-09 season, I knew I had to see the entire production. The fact that three Wagon Wheel alums — Ann Whitney, George Keating and Doug Peck — were involved as well as Chicago leading lady Hollis Resnick, sealed the deal, in spite of the fact that the Northlight is in Skokie, Ill., and the production time was November/December. So, in spite of less than favorable reports from the Weather Channel, I headed out Saturday morning having decided, as my grandmother used to say, to "Go to the first (matinee) and stay for the second (evening)." I could not have made a better decision. (I had no problem, except the bitter cold.) I should have gone sooner. I regret that, even with its extended run, "Grey Gardens" will be on stage at the Northlight only through next Sunday. Anyone who loves excellent theater should make the trip!  The 2006 musical based on the documentary about Jackie Kennedy Onasis' aunt, Edith Bouvier Beale, and her cousin, Edith ("Little Edie") Beale, opened Off-Broadway in 2006 and, thanks to strong audience and press reaction, moved "uptown" for a brief run.

Grey Gardens at NorthlightThe plot is more Dickens than Burnett and, if the documentary was not readily available (a brief clip is looped in the lobby), it would definitely seem more fiction than fact. But there it is. The first act resembles a light-hearted musical of the 1940s. In their 28-room mansion in East Hampton, Edith Beale (Resnick) and daughter Edie (Tempe Thomas) are in last minute preparations for Little Edie's engagement to Joseph Patrick Kennedy Jr. (Patrick Sarb). At the piano is George Gould Strong (Keating), Edith's gay live-in accompanist. Pre-teen nieces Jackie (Grace Etzkorn) and Lee (Arielle Dayan) Bouvier interrupt the rehearsal. Edith's father, Major Bouvier (Dennis Kelly), instructs the girls (including Edie) on the importance of marrying well and demands Edith not disrupt the proceedings by performing. The last is echoed strongly by Edie and their ambiguous relationship is clear. As they wait for Mr. Beale's arrival on the 5:15 p.m. train from his Wall Street office, feelings escalate, tensions rise and facts — truth or fiction? — emerge. The result is shattering. End Act I, set in 1941. Begin Act II, set in 1973, still in Grey Gardens, now falling into ruin, where Edith and Little Edie live with more than 50 stray cats and some rabid racoons in an environment condemned by the board of health. Edie (now played by Resnick) and Edith (Whitney) are alone, excepting visits from 17-year-old Jerry (Sarb), whom Edith adores and Edie resents. Both live in their own versions of the past, unable ever to break the neurotic ties that bind. The entire cast (including Sean Blake who plays the Beale butler and his grandson) is outstanding, especially Resnick, who navigates the incredibly emotional waters from mother to daughter with a clear, solid voice that responds to all the demands of the role. She breaks your heart with "Will You" and the wrenching finale "Another Winter in a Summer Town," earns shocked laughter describing "The Revolutionary Costume for Today" and there is no mistaking Edie's skewed emotions. Without a doubt, Resnick, winner of 9 Jeff Awards, still is unquestionably Chicago's No. 1 diva. Right with her is Chicago's No. 1 character woman. Whitney, who handles two solos and the finale duo very well, is the stubborn, clinging, demanding, senile old woman we all hope we will never become. The duo's interdependence is palpable and shattering to watch. The rest of the cast plays right up to their level, especially Thomas, Kelly and Keating (who has one of my favorite songs "Drift Away" delivered in a lyrical baritone that proves he sings better than ever). The principals serve as an ensemble in Act II, describing the moulding mansion from "a cat's eye view" and giving gospel a good go in "Choose to Be Happy." Peck makes the six member orchestra sound like at least three times as many. You probably won't hum too many of the songs, which primarily move the plot or expose character, right away. Get the CD. You won't be able to get the music out of your head. Again, I know it's short notice, but "Grey Gardens" is more than worth the trip. It's closer than Indy. Check it out on the Northlight Theatre website.

 
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