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Cabaret April 16-20 –
Theatre UAB Reviewed April 16,
2008 by Billy Ray Brewton There was not much optimism rustling
about in my head when I made the trip on Wednesday night to see UAB's
production of Cabaret. For
starters, I had already seen two lackluster productions of Cabaret in about two years and neither
of them lived up to what I consider to be the overall point of the
show. Secondly, I had never seen a musical produced at UAB, and am
always worried about vocals when it comes to performers I haven't seen
before. To say I was pleasantly surprised by UAB's production of Cabaret would be an
understatement. I haven't enjoyed a musical so thoroughly in this town
in well over a couple of years. |
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Glengarry Glen Ross April 3-19 –
Theatre Downtown Reviewed April
15, 2008 by R. Daniel Walker With sell out houses and extended performances of Dog Sees God last month you may have thought it was just the one great show of their season; that is until you go see Glengarry Glen Ross, playing for one more weekend, April 17 – 19 at 8PM at the Playhouse across from the Alabama Theatre. It’s enough to make me wish I had seen more shows prior to Dog Sees God, and yet makes me regret that I didn’t. Theatre Downtown has proven that you can still do the classics (well modern classics) and do them well. Billy Ray Brewton has assembled a stellar cast without a single weak link anywhere to be seen. If I went into detail about any one actor in this show it would just get repetitive. David Mamet is well known for being some of the most difficult dialogue to speak for an actor, the interruptions, the lack of complete thoughts, the repetitive lines, the yelling and screaming, is all but distracting to this cast! Everyone was focused on their characters goals and stayed in the scene no matter what was happening. I have not seen a group of actors so focused and intense for an entire piece as I witnessed in this show. These are guys that I have worked with, and seen perform numerous times over the years and I have to say this was the best work I have ever seen any of them do. This goes to show that they loved the script, and just had one hell of a good time performing with each other. There is not much more praise I can give Billy Ray and his incredible cast, except give us more! |
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Funhouse Presented by
Jonathan Goldstein at the Virginia Samford Theatre Reviewed on
February 27, 2007 by Matt Morris The last and final performance of Eric Bogosian's Funhouse by Jonathan Goldstein was attended by a middle-aged and younger crowd. As a fan of Goldstein, I waited with much anticipation for an exciting performance. I knew the acting would be stellar and it was. The play opens with Goldstein speaking passionately into a microphone in complete darkness. Just as disturbing as his speaking, however, is his breathing. His variety in breath and vocal rhythms are compelling to say the least. His commitment to the character sends a shock wave of fear through my body. The opening scene feels so frighteningly real that I had to keep reminding myself it was just a play. His voice grabs onto you and does not let go. This incredibly creepy opening scene sets the tone for what is to come. Thankfully, however, Goldstein changes gears. He fosters an invitation to the audience to be relieved from the doom and gloom, by revealing himself to be vulnerable and human. His characters are, in a word: neurotic. In another word: dysfunctional. The thorough depiction of the insurance salesman puts a sour taste in one's mouth. The conniving salesman keeps bringing up fears of the customer and asking, "have you thought about that?" It turns into a verbal boxing match with the insurance salesman throwing the knockout blow. That people can be so cunningly mean to others is a tough pill to swallow. Favorite parts
of the play, for me, are when Goldstein speaks in two different NYC/urban
accents. These accents add to the atmosphere and feel of the already
fascinating characters. He seems to use his accents as avenues to delve
ever deeper into the character's unique feelings. His scene as the evangelist
is convincingly disturbing while also being clever and humorous. It
paints a real-life picture. The evangelist shows pictures of children
starving in Funhouse lets people safely peek into
dangerous characters and search for the humanity therein. Are we
similar to the characters or different from them? How so? I felt
Goldstein exhibited a clear and precise understanding and sympathy for the
unique character's he brought to life on stage. His research into their
intricate personalities allowed him to present full and thorough characters with
built-in vulnerabilities and idiosyncrasies. Never was there a lack of
specificity between the characters. Goldstein brought an entirely different
energy and tempo to each one. The play is dark to be sure, but is also
brought into the sunlight by Goldstein's charm and humor. Goldstein can
be admired for his willingness to tackle such extremely scary and disturbing
characters. His play asks us to question exactly which tendencies in
society operate to bring out such filthy and neurotic beings. Funhouse
is an invitation to embrace these by-products of our free, capitalistic
system so that we may grow in our own humanity from our experience with
them. . |
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Funhouse Presented by
Jonathan Goldstein at the Virginia Samford Theatre Reviewed on
February 21, 2007 by Frank Thompson Friday night's second-night
performance of Eric Bogosian's Funhouse, (currently playing
at VST's Martha Moore Sykes Studio Theatre,) was well-received and
enjoyed by a somewhat eclectic audience. The demographic seemed to run the
gamut from elderly patrons who may have looked more at home attending Hello,
Dolly! or My Fair Lady, to several twentysomethings ready for an
evening out. As someone who falls somewhere between the two, I can honestly
say that there was much I enjoyed about Jonathan Goldstein's tour de
force. Goldstein acts as the show's director, producer, promoter, and sole
performer. In less capable hands, this could have been a complete train
wreck, but Goldstein has managed to assemble and present a well-rehearsed,
passionate, and clearly thoughtful production.
The show opens on an unnerving note, as a disembodied voice
(Goldstein) wheezes menacingly in the pitch darkness. This sets a creepy,
somewhat surrealistic tone, which is only partially dispelled by the
following vignette featuring a buffoonish insurance salesman. Throughout the
remainder of the evening's entertainment, Goldstein morphs himself into an
effeminate aerobics instructor, a wino, a frenetic young man, and numerous
other denizens of Bogosian's twisted psyche. These are not all nice people, nor
are they all sympathetic characters. Goldstein succeeds, for the most part,
in bringing them vividly to life. Occasionally there is a slight lack of
specificity between the characters, especially in the second half of the
second act. However, Goldstein has obviously invested great time and thought
in his character choices, and this dedication is obvious in the enthusiasm
and commitment he brings to the role(s.) Bogosian's script is somewhat edgy, and
his language is definitely not for the easily offended. The script itself is
mostly pessimistic and dark, so those who are looking for a bright, happy
little show had best look elsewhere. For those who are interested in a more
contemporary drama presented by a talented and dedicated actor, the Funhouse
is the place to be. |
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“Don’t You Just Love Christmas” Presented by Virginia
Samford Theatre Reviewed on
December 19, 2006 by Howard Green It seems like the same old thing,
year after year at this time. I get
caught up in the Director Roy Hudson, along with an
original concept by Steve Pennington and original music provided by Tom
Paden, has woven together a Holiday treat for The show boasts a wonderful cast, each
of whom portray characters that most of us can relate to; caring, warm, every
day people. Carl Dean stars as Carl
Sloan and as you watch him sing “What I Really Want For Christmas” and “This
Christmas Eve” you’re reminded why he’s truly one of Cheesy?
Syrupy sweet at times? Perhaps,
but while doing CenterStage’s “ A Christmas Carol” this year, we embraced the
power of “cheese”. And why not? It’s the |
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Who’s Afraid of Virginia Woolfe Theatre
Downtown Reviewed on
December 7th, 2006 by Jason Carlton Who’s Afraid of Virginia Woolfe is one of the cornerstones of American
theatre. Edward Albee is best known for his absurdism, but he left that
at the door when he approached George and Martha, the two main characters of
Woolfe, head on. |
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Veronica’s Room Playhouse, Inc.
– Presented by Twisted Dog Productions Reviewed on
October 18th, 2006 by Jonathan Temple If one of the main purposes of the thriller genre is to incite those dark, unspoken emotions which reside in each one of us, then let it be said that Chris Burch and his fantastic cast have reached an uncanny level of emotive response with their superb production of Ira Levin’s Veronica’s Room. Having read and seen some of Levin’s previous work (i.e., Rosemary’s Baby, The Stepford Wives), I fully expected something that gravitated towards the macabre. What makes this play so effective however, is not its ability to be dark and brooding. That’s the easy part. Instead, the most chilling aspect of this production is the eerie level of normality that is achieved by each actor. Russell Jones as the young man portrays a certain intensity that gives way to his own character’s depth. Instead of honing in on one specific emotion or response, Jones is very diverse in the way he molds and shapes his character. Without giving away too much of the story, I can say that Jones’s ability to manipulate his character is outstanding. David Gregson, in his portrayal of the old man, conveys a sense of geniality that gradually descends into a detached apathy for those around him. Gregson’s responses are very subtle yet very effective. His belief in the character exudes through every line of dialogue. Once again, without revealing the depths of the play, Gregson’s ability to change without being overbearing makes his performance all the more captivating to watch. Lyndsay Antos as the young woman absolutely succeeds at showing her deepest and darkest fears as they become realized throughout the play. It’s fairly easy to give off the emotion of fear, but for Antos, she promulgates the emotion so well that it becomes the very definition of her character. Antos also presents a wide degree of diversity in her character as well. Donna Love’s performance as the older woman is perhaps the most chilling of all. Love is absolutely captivating in her character’s metamorphosis throughout the play. Her ability to swing the pendulum of emotions from one end of the spectrum to the other leaves the audience in utter awe at what her character is or isn’t. Love’s ability to transcend the normalcy of her character’s surroundings while still maintaining a sense of control is a testament to her talent. To say that this play is entertaining
would be an understatement. The play
is perfectly cast, and that is a testament to Chris Burch and the others who
helped in the process of this production.
The cohesiveness felt from each of the four actors was as good as any
show that I’ve seen in recent memory.
There is a certain level of professionalism and work that comes from
being in such an emotionally and physically draining production. With just four cast members, one might tend
to take advantage of the limelight.
With this cast however, there is such a balance and blend that they
all four are blended together in one horrifying tale that will leave you
breathless not just by its subject matter but by those actors who give it to
us as well. If you haven’t made your
way to the Playhouse to see this show, you are missing one of the best shows
in |
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How To
Succeed In Business Without Really Trying Virginia
Samford Theatre - Presented by Reviewed on
September 20th, 2006 by Frank Thompson A
medium-sized but extremely festive audience was on hand for opening night of How
To Succeed..., the premiere production of the new Magic City Actor's
Theatre. Director/Choreographer Carl Dean and Musical Director Michael King
have loaded the cast with talent, and a solid, respectable performance was
enjoyed by all. The show's highlights included Jacob Pollard in the leading
role of J. Pierrepont Finch, a role made famous by Robert Morse in the
original production and Matthew Broderick in the 1995 Broadway revival. As a
performer, Pollard is everything Finch should be...young, charming, and a
reliably strong singer/actor. Of particular note was his superb desktop turn
in the rowdy "Brotherhood Of Man" number. As good as he was in the
role, this was the one moment when Pollard literally became Finch.
Having watched Pollard slightly understate his antics for the first
three-quarters of the show, I was happy to see him really cut loose in this
eleventh-hour number. As love interest Rosemary Pilkington,
Kristen Bowden was another Wes Seals just about steals the show in
the role of Bud Frump, the obnoxious nephew of the boss. I have always been
impressed with his performances, and this one was no exception. He was simply
hilarious. Matching him laugh-for-laugh was Juliet Brooks as Smitty, the
wisecracking secretary and buddy to Rosemary.Her performance was also a
comedic gem. In smaller roles, a real standout was
Jennifer Gamble as Hedy LaRue, the bombshell "secretary who can't
type." Gamble brought a Betty Boop-style sexiness to the character, and
played her as daffy but never truly stupid. (Given how things turn out for
her in the end, you are left wondering if Hedy may have been the smartest
character all along...) And the list goes on...I could literally
go through the entire cast and mention each person in the show and talk about
something good that he or she brought to the production. There truly were no
weak links in this group. As for the negatives...well, there were
very few. If I had one main criticism, it was that the overall energy seemed
to drop once in a while, but that could well have been opening-night fatigue.
A few set changes were less-than-perfect, and as is usual at Virginia Samford
Theatre, the orchestra occasionally drowned out the singers. These negatives
are quite minor, however, when compared with the far more numerous and
substantial high points of the show. How To Succeed...is a fun, entertaining, and enjoyable show. Magic
City Actor's Theatre has done an excellent job with its' first production,
and if subsequent shows maintain this level of quality and professionalism,
the company will most definitely have a bright future ahead. |
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Long Day’s Journey into Night , Dane
Peterson Theatre Series at The Virginia Samford Theatre Reviewed on
February 2, 2006 by Billy Ray Brewton Alcohol. Morphine.
Consumption. Fog. Those are the only five words you need to
know to prepare yourself for the four hour 'journey' provided by the great
Eugene O'Neill. But, once you leave
the theatre, you might add one more word to that list...amazing. "Long Day's Journey Into Night"
is one of the great cornerstones of American drama, and Dane Peterson &
Co. masterfully bring this classic to the stage, incorporating all the drama
and all the tragedy we have come to expect from this tale of regrets and
denial. The piece centers around the Tyrone
Family. Father, James, is a former
actor turned alcoholic and landowner who lives life to pinch pennies. Mother, Mary, is a morphine addict who is
finally back at home after being 'away' for treatment. Their two sons, Jamie and Edmund, are more
than a handful. Jamie is thirty-four
and still comes home for Summer, broke and needing work. He is also an actor. Edmund has been at sea for a while, but is
now home and sick with something quite serious. The play centers around these four characters
coming to terms with their own faults and realizing the faults within one
another. This play deals with the
regrets we all have in life, though those found in this piece are the kind
that cause the greatest of tragedies.
This family is not so much dysfunctional as it is unrealized. There are so many 'what ifs' in this play
that we also start to question what might have happened...if... What makes this undertaking so
successful (and, at four hours, it is very much an undertaking, which is why
very few theatres perform this piece for the masses) are the
performances. My God, the
performances. I can honestly say I
have never seen a better female performance onstage than that of Carole
Armistead, and that goes for shows I have seen on Broadway, in Though Act Three stays on track for a
while, it eventually loses steam and we finally start seeing why this show is
so difficult to pull off. But, just
as we think it is getting a little too long, in comes |
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South Pacific at
The Virginia Samford Theatre Reviewed on
January 15, 2006 by Andrew Duxbury In 1949, Richard Rodgers and
Oscar Hammerstein II were the reigning kings of Broadway. Separately, they both had long and
distinguished careers in musical theater but, when they teamed up for the
first time in 1943 to create Oklahoma!,
their creation of the first fully integrated musical play announced the
mature arrival of an uniquely American art form. They perfected the tying together of strong
dramatic themes, rich characters, melody and dance two years later with Carousel, detoured into the concept
musical with Allegro, and bounced
back from that relative failure ready to surpass themselves again. The source material for their new project
was James Michener’s book of short stories about World War II in the Pacific
theater, Tales of the South Pacific,
a Pulitzer Prize winner published the year before. The war, only four years finished, was
still at the forefront of American culture and Hammerstein took Michener’s stories, full of an evocative feeling of place, and peopled with ordinary American servicemen and women on an extraordinary mission, French planters, and Polynesian natives and wove from them a full tapestry of human relationships against the backdrop of war. Most of the musical was drawn from the stories, Our Heroine, about the romance of military nurse Nellie Forbush with the older French planter Emile De Becque and Fo’ Dolla, about the mercenary Tonkinese trader, Bloody Mary and her scheming to get herself an American son-in-law but characters and incidents from other stories were seamlessly worked in. The result was South Pacific, which opened to rapturous reviews, enormous box office success, a Pulitzer for drama, and a raft of Tony awards. The original cast recording, the first ever issued in the new LP format, brought the music to the masses and songs such as ‘Some Enchanted Evening’,‘Bali H’ai’ and ‘I’m Going To Wash That Man Right Out Of My Hair’ became cultural touchstones. Given this pedigree, a production of South Pacific, such as the one
currently running in South Pacific is a very tricky show. The first twenty minutes, rather than consisting of large chorus numbers or huge production values, is an intimate scene for two on a terrace between Nellie and Emile. If the two performers cannot engage our attention and our interest, the show will fail, no matter what comes later. Ms. Higginbotham and Mr. Bugg are up to the task with stellar voices and a touching chemistry. Ms. Higginbotham is a tad too sophisticated to be the self confessed ‘hick’ that Nellie professes herself to be, but by the end of her first number, her angelic voice and her winning personality keep us from caring. Mr. Bugg is physically imposing and his rich bass-baritone is almost enough to banish memories of Ezio Pinza wafting from your parents hi-fi.
The supporting leads are strong as well. Lucas Pepke, as the doomed Lieutenant
Cable, has a glorious voice and the looks of a virile juvenile. Ginger
Goodall as Bloody Mary, sells her numbers and finds the comedy in her role as
well as the pathos and Jeff Johnson is a riot as the perpetual screw-up,
Luther Billis. Frank Thompson barks
his way through Captain Brackett with suitable authority and Don Garrett
quietly steals every moment he can as the pompous Commander Harbison. The ensemble acquits itself well although,
like many musicals produced in The voices are so strong, that the dual piano combo in the pit, under the direction of Michael King, while musically proficient, makes you long for the original lush orchestrations to set off the singers. The cost of good musicians to fill a full orchestra is beyond the capacity of many or our local theater groups and keyboards have become an economic necessity. It’s a shame. Mr. King is quite capable of putting together a bang up pit when given appropriate resources. Ben Boyer’s set is well executed and gives a sense of place. His scenic painting of palm trees and tropical foliage in particular is well done. The set is dominated by an enormous projection screen at the rear, where photo real projections of sunsets, beaches and islands carry us to an exotic locale. While the projection technology is a major step forward for local theater, it doesn’t always live up to its promise. At the top of the show, the use of newsreel clips is very effective, but this is immediately undercut by a silly movie credits sequence which is entirely too reminiscent of the bloated 1958 film version with its bizarre Technicolor filters. The static backgrounds of sunsets or skies work well, but the tourist picture postcard scenes clash with the more abstract work in the foreground. When the projections are video clips of lapping waves, they distract from the actors in the same way that an unwanted television does and the occasional technological snafu is disastrous in breaking emotional moments. Costumes, by Mary Gurney and Kim Dometrovich, are appropriately colorful and delineate character well, but a bit more attention could be paid to shoes which are occasionally way out of period. Even with the minor flaws, South Pacific remains one of the
better evenings I’ve spent at the theater recently and a good deal better in
terms of performance than the touring version of Forty Second Street recently presented at BJCC. |
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PERSONAL REACTION TO ANTIGONE AS DIRECTED BY DR.
HAARBAUER When Dr. Haarbauer first mentioned his ”Feral”
approach to this production, my response was that it would either succeed
wonderfully or be a total failure. It
took a day to digest it after leaving the theater. Perhaps for the first time, the
philosophy of Bertold Brecth really came alive for me. The play maintained the aesthetic distance
which is required to assimilate the philosophy which underlies the
story. The audience was kept from an
empathetic association with the pathos of the situation and forced to regard
the main message, that stubborn defense of an unpopular idea can destroy a
leader. Whether or nor Creon had a
real point in denying Polynicius his burial rights seemed lost in the actual
play by Sophocles. The production by
Dr. Haarbauer did not stoop to the level of human tragedy that is so often
represented by ANTIGONE, but kept the burden on the audience members to think
about what has happened.
The set accomplished a great deal.
It both humanized the action and provided distance. The huge sculpture at center stage, broken
and looking like an antiquity kept the audience in mind of the time distance
from this tragedy. The set also gave
an appearance of columns while not engaging in Doric or Ionic capitals which
would identify the actual time period.
The scaly floor was lost on those sitting too close to the stage, but
could be seen when entering the theatre and departing. The scale of the set,
with its deep reveals, also created a sense of permanence, a solid connection
to this universal problem of when is the good of the state above the good of
the individual.
Likewise, the lighting provided a superior atmosphere while allowing
adequate lighting on the faces of the actors throughout and at critical
moments. There has been a
proliferation of lighting designers in our area who think that ?Dark is
Dramatic?. Sorry, Dark is Dark. Most of the audience has to read lips to
get the actual words in so many productions. The use of Lekos which could be shuttered
and swiveled like follow-spots provide just the right amount of light on the
characters while never creating an illusion of a musical number.
At the beginning of the production, the exaggerated pronunciations
were very annoying, but as the play progressed, it was engaging to understand
every word and to feel more like one was entering the ancient mind instead of
a modern one. Similarly, the
dance-like movements and continued hugging of the ground gave a symbolic
connections to the turmoil of that times; the seeking of how to handle such
situations; of Creon?s desperate attempts to demonstrate his fitness to
rule. The hissing and growling of
various characters informed the audience of the feral nature of this moment
in human history, when law is not settled and power is the rule.
It goes without saying that the cast had a difficult assignment. The testimony to their success is the fact
that no one in the audience ever laughed.
Actors have to be totally committed to such characterizations for them
to work. The tension of this play is
not relieved by any comic moments. It
builds and builds. When an audience is
partly composed of college students who are there to get extra credit in
another class, the tendency is to laugh at things that they are not sold as
being real. No matter what concept a
director may have, the cast has to make it work. They cannot let down for one second on
stage or the entire production becomes a parody. Kudos to this cast. It is impossible to select any one from
such an ensemble piece.
The sound effects, while distracting at times, also gave an immediate
sense of ancient times. The Australian
instrument, so well known to us because of various movies and commercials,
was recognized immediately as being pre-history. A little less volume was warranted at
certain moments, but the effect was what the director seemed to have
envisioned. The only weakness that I saw was in some of
the logic of the script. Yes, in the
script. Traitors on the battlefield
are shot. They are not given a place
at All in all,
this was a production that succeeded in a way which should make everyone
involved very proud. May 5, 2005
M.L. Carlisle |
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My Fair Lady at the Virginia Samford Theatre, by Little
Theatre Players Reviewed
January 23rd by In
staging the Lerner & Loewe classic My Fair Lady, Little
Theatre Players have embraced an interesting and most effective concept.
The entire show is performed by a cast of thirteen highly skilled and versatile
performers. While it is unusual to see this show (which typifies the
traditional large-scale musical) presented by such a small ensemble, the
enthusiasm and talent of the actors more than makes up for the absence of a
large troupe. Director
In
supporting roles, Jeff Johnson is superb as Alfred P. Doolittle, Eliza's
n'er-do-well father, Barry Austin turns in a marvelously
bumbling yet endearing Colonel Pickering, Jeanette Stelzenmuller is
a wonderfully daffy Mrs. Eynsford-Hill, Lonnie Parsons stops the show with a
magnificent "On The Street Where You Live" in the role of Freddy
Eynsford-Hill, Boots Carroll provides a delightfully crotchety Mrs.
Pearce, and Virginia Mae Schmitt is a sweet-but-sassy Mrs. Higgins
who provides a calming force within the chaos surrounding Eliza's education. In
the ensemble roles, Mike Curry, Regina Harbour, Neal Hunter Hyde, Mark
Roberts and Kristy White blend seamlessly into numerous roles, spanning all
ages, social classes (and in one hilarious case, genders.) This My Fair
Lady is an ensemble piece in every way, and the entire cast seems to work
together perfectly. The
show is not without a few minor flaws. The sets are sometimes
less-than-beautiful, there is an occasional inaudible line or two of
dialogue, and a couple of the costumes would look a bit more at home in
1980 than 1912, but these small imperfections are quickly forgotten when this
brilliant troupe of actors and singers share their considerable talents with
the audience. Overall, the production is solid, with outstanding performances
across the board.
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Falsettos at UAB Theatre If you are in the mood for a VERY polished and professional
musical, UAB Theatre's Falsettos is for you. Director Dennis McLernon
has assembled an extremely talented cast and has guided them towards a
performance of excellence. Falsettos deals with the sexually ambiguous
Marvin, a |
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Company at the On Robert’s 35th birthday,
his married friends gather to wish him many happy returns. Through a
series of flashbacks, Robert explores the idea of marriage and partnership by
interacting with his friends and his three vastly different
girlfriends. The intimate setting of Birmingham-Southern’s
black-box theatre is perfect for this show. Audience members can relate
to Robert, as they too observe the craziness of his friends’
relationships. |
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Desire Under the Elms at the Morris K. Sirote Theatre
If you have an opportunity, try
and catch one of the remaining performances of O'Neill's Desire Under the
Elms now playing at UAB's |
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