Other
Reviews Archive
|
|
||
|
Link
Over to Production Companies |
|
Link to Acting Classes
|
|
|
|
Please, if you have an addition or comment, send it to theatre@eBHM.org |
|
The Crucible Theatre
Downtown October 16, 2009 performance reviewed by James Lee Griner.
In 1953, Arthur Miller's The Crucible wowed Broadway for almost 200 performances. Since then, millions have read it or seen it performed on stage and screen. Today, Theatre Downtown expertly reanimates Miller's masterpiece. The script is an excruciating portrayal of how dogma warps belief, how life tests faith, and how individual's faults threaten society's promise. For minds that crave justice and equity, reading it is painful. It is more painful to see actors live it. But this play needs to be seen, and this production is an excellent opportunity to do that. With 20 characters in a script peppered with antiquated language, the show might seem quite an undertaking for a young blackbox theatre group, as director Billy Ray Brewton admits in his program note. However, they've pulled it off by using modern media and assembling a very talented cast. In a small, cleared-out performance space on the second floor of a charming antique shop on 5th Avenue South, you might not expect computer-projected backdrops, but you get them and they work. Further, by suggesting the various settings, the backdrop method eliminates the need for elaborate sets and frees up valuable space for the actors' magic. John Proctor is the heart of the show, and Kenny Morris's performance pumps life through every word. He is loud, then tender. He is respectful, then indignant. He is hope, then heartbreak and, finally, triumph. Proctor's wife, Elizabeth, is played by Flannery Miles with understated, truth-filled emotion that reminds us how people really can love each other. In a cast of 20 actors, some are bound to impress more than others, and this cast is no exception. But alongside Morris and Miles, any weaknesses are overshadowed by several major players, including Susan Cook as the spiteful Abigail Williams, Ron Dauphinee as the imperious Deputy Governor Danforth, John Wright Jr. as the lovable Giles Corey, and Howard Green as the despicable Judge Hathorne. The play is heavy in subject, tone, and language, and for all its strengths there are a few times when the production disappoints. Actors nearly stumble over the few pieces of furniture, the smallest movements of the overzealous upstage the main action, and sometimes (probably in an effort to keep it all moving) even the most satisfying performers rush through lines that are almost incomprehensible at any speed. In the past, Theatre Downtown has been negatively criticized for poor production values. This show answers those critics, proving that an ironclad script with timeless relevance and outstanding characters played with devotion need only carefully chosen and aimed lights, evocative costume pieces, and realistic properties to take an audience out of time and place, and into artistic reality. It is a show you will not forget, a haunting reminder that America, our great experiment, is a country that exists in the fragile balance between tolerance and intolerance. The Crucible runs through October 31, 2009, at 2410 5th Ave S. For tickets, call 205-306-1470 or visit www.theatredowntown.com. |
|
Lady Day at Emerson's Bar and Grill Aldridge
Repertory Theatre at The Carver Theatre October 10, 2009 performance reviewed by James Lee Griner. The second production of Aldridge Repertory Theatre's inaugural season at The Carver Theatre, Lady Day at Emerson's Bar and Grill showcases the talents of an endearing singer, Billie Holliday, and her quick-fingered pianist, Jimmy. A third actor plays Emerson himself, an old friend of Holliday's who owns and serves drinks in a "cozy" bar and grill on Philadelphia's south side. He and Jimmy have scheduled her there, to sing in front of an audience that is likely to remember the brighter days of her youthful career. She is having none of that. Oh, she sings—classic Holliday fare in a classic Holliday style includes God Bless the Child, Strange Fruit, What a Little Moonlight Can Do, and more. But she cannot resist telling stories from her life—not many of them very bright. There was the beloved mother who ultimately disappointed her, the boyfriend who set her on the road to ruin with drugs, and the ever-present historically white people who applauded the spirit in her singing and tried to shackle the spirit that was her life. Together, the actors who portray Billie Holliday and her fourth (or is he her fifth?) accompanist, Jimmy, find humor, irony, regret, hope and its rival despair in the 17 songs and interwoven dialog that are the script. Her mannerisms, voice, and singing style are spot-on Holliday as she reveals how self-destruction and self-pity allowed the singer to see the possibility of actually achieving her dream of success, but never to enjoy it. To watch her performance is to see how she felt the bushel forced over her light that, conveniently for some and tragically for others, went out when it could have grown stronger. Her piano player clearly respects her talent, but he also hopes to profit through it, so he also clearly wishes she would get out of the past. At the piano, with his back to the audience most of the time, he has only to shake or turn his head, or smack the keys with uncommon force, and the audience feels his disdain. In the background, the sparse set was a fitting pallet for lights that effectively suggested the performance corner of a northeastern neighborhood bar. The show was a very good one, and this lifelong Holliday fan found several more reasons to love her and her music. Two things disappointed me, neither of them in the show itself. First, the online ticket sales process left me thinking I had purchased specific seats, but when we arrived we found general admission seating. No seat at the Carver is bad, but in a more full house, I might have resented being misled. Second, there was no printed program to tell me the names of the actors, designers, technicians, and others who labored to bring this show to life. This absence bothered me more than the seating, for reasons made obvious in this review. The Aldridge Rep, as it's called, has another powerful and relevant show to follow its season opener, No Child. Lady Day also highlights the theatre's alliance with the Alabama Jazz Hall of Fame, housed at the historic Carver Theatre. The crowd was appreciative, but not large. (We all know what autumn Saturdays mean in Alabama.) Hopefully, perhaps later this season, the new theatre group will work out those kinks in its front-of-house operations, and more people will experience the talent that is growing in downtown Birmingham. Lady Day at Emerson's Bar and Grill runs through October 18, 2009 at the Carver Theatre, 1631 Fourth Ave. N, Birmingham. For tickets, call 205-264-9910 or visit www.aldridgerep.org. |
|
Smokey Joe’s Cafe Virginia
Samford Theatre October 8, 2009 performance reviewed by James Lee Griner. Facebook link: Smokey Joe's Café Sizzles with Energy, Fun Jerry Leiber and Mike Stoller may not be household names, but you've heard their songs. What you probably haven't heard are the energetic and entertaining renditions of them that make up the Virginia Samford Theatre production of Smokey Joe's Café, playing October 8-18, 2009. The cast of 8 singer-dancers, 4 women and 4 men, hurtle through 40 numbers in 2 hours, including intermission: Kansas City, Jailhouse Rock, Poison Ivy, I Keep Forgettin', Yakety Yak, Charlie Brown, Hound Dog, Love Potion #9, Spanish Harlem, and plenty more that you may recognize simply from the opening chords. Especially remarkable are performances from (in alphabetical order, as in the program) Jan D. Hunter (Some Cats Know, Teach Me How to Shimmy), Kendall Johnson (D W Washburn; I, Who Have Nothing), Belinda George Peoples (Hound Dog, Fools Fall in Love), and Ernest Sykes (the bass voice in everything). The musical accompaniment is outstanding. The choreography is simple where it needs to be, more complex where it can be. The set appears simple at first, but it is extremely conducive to the varying tableaux and stories that are staged to support the songs. And the projections that make up the backdrops are enchanting in their own right. All in all, it's one toe-tappin', hand-clappin', sing-a-longin', smokin' good time. |
|
Pippin Directed by
Carl Dean May 29-June 7, 2009 at the Virginia Samford Theatre Reviewed June 3
by Frank Thompson, III Although this show has been previously reviewed here on eBhm.org, I am moved to offer a different perspective to add to that which has already been put forward. This is not to discredit or disrespect anyone else's opinion, but simply to present my own. I attended MCAT's Pippin on opening night, and was thoroughly entertained by a show I really don't like. To put it more clearly, I do not care much for the script or score. Again, this is not meant to offend any of the Pippin groupies out there...it's just not my favorite musical by a long shot. With that in mind, I was actually DOUBLY impressed by how much I legitimately enjoyed MCAT's performance. A few highlights include: · The performances of Dylan Hunter (Pippin) and Kendall Johnson (Leading Performer.) Hunter and Johnson were, in a word, outstanding. Each of these talented actors brought life and energy to his role as well as to the production as a whole. Hunter's boyish charm and stellar singing voice gave Pippin a youthful exuberance that never gave way to parody. Matching his performance skill beautifully was Johnson's stern yet captivating "Ringmaster" role as Leading Player, the semi-narrator who comments on yet involves himself in the doings of the show. Johnson has the talent and magnetism to make this role shine, which he does. · The supporting cast. From Celeste Burnham's delightfully treacherous Fastrada to the ever-saucy Carole Armistead, with Jenny Wiggins' sweet and charming Catherine thrown in for good measure, the women in this show pull their weight and then some! In smaller male roles, Kyle Holman gives us a pompous, blustery Charlemagne who commands the stage at every entrance, and Finn Steward proves that the next generation of Birmingham theatre is in good and capable hands with his hauntingly endearing Theo. · The ensemble. Pippin is very much an ensemble piece, and this cast does not disappoint. At times old-fashioned and vaudevillian, at other times seedy and lecherous, the ensemble provides a fluid, well-directed thematic backdrop to the action of each scene. Director Carl Dean has put together a cohesive, enjoyable production that does not shy away from the more adult themes in Pippin, yet handles such material appropriately.. Is there sexuality and adult subject matter in Pippin? Absolutely, but that is where any issue must be taken with the playwright/composer, NOT the individual production or staff. From the film version to various productions I have seen through the years, Pippin has always contained a certain amount of naughtiness, as any credible examination of the human condition MUST. We live in a grown-up world, and any tale of a boy becoming a man simply can not ignore or whitewash that fact. To attempt so to do would make a mockery of that which the show seeks to explore. My grandmother had a saying which I have used all my life... "well, that's why they make chocolate ice cream." (This is to say that not everyone likes vanilla.) Pippin will clearly not be for everyone. I must respectfully observe, however, that if one goes in completely "blind" to see a show, one takes one's chances. There is a thriving theatre community in Birmingham, with all sorts of offerings from family-friendly to extremely mature. If you've never seen the show, it may be worth a call to the box office to inquire about subject matter or suitability for younger audiences. |
|
Pippin Directed by
Carl Dean May 29-June 7, 2009 at the Virginia Samford Theatre Reviewed May 29
by Cliff Keen Jr. I have never seen Pippin before in my
life. Having done theatre for most of my life you would think that I would have
at least seen one production of this show. This being the case I did not know
what to expect from the show. I have heard some of the wonderful music but
that was the extent of my knowledge of the show. Was I in for an education?
First off, the presentation of Pippin by Magic City Actors Theatre
made for an interesting piece of theatre. There is no disclaimer listed on
the program or posters that this show is intended for mature audiences, there
should be. I would not suggest taking your children to this production. I
must say that I was not prepared for the blatant sexuality that is expressed
throughout this production.
Dylan Hunter as Pippin is extraordinary! Wonderful voice and presence
on stage. He immersed himself in the role and it showed! Carole Armistead is
magnificent! Great voice and timing! Jenny Wiggins as Catherine was superb!
Loved her character and was actually a joy to watch on stage. Kyle Holman as
Charlemagne was fantastic. He had a wonderful mix of emotions and boy, can he
sing! The ensemble had some strong elements. Daniel Jackson and Dominique
Johnson definitely stood out for me.
I found this production to be overwrought with sexuality. Bumping,
grinding, grunting, and barely costumed actors seemed to be having a wonderful
time on stage but it was uncomfortable to watch. It seemed as though for most
of the production the sexuality was not a necessary element. It actually
overshadowed the wonderful job done by Dylan as Pippin. At one point he was
so in character, actually crying, but I was so appalled at the sexuality that
I did not have time to care or want to.
After watching what basically constituted an orgy on stage, we had to
endure Fastrada singing a song about incest. If one was not aware of these
themes in the production it would catch you off guard. That is what happened
with me. Even though these are a part of the story I felt they should have
been dealt with differently for my taste.
There was potential for this show to do its job, of presenting the point
of the entire show to the audience. This could have been an incredible
experience for many patrons but instead it was a night of uncomfortable
theatre, with sound issues, missed choreography, and too much in your face
sexuality. There were wonderful performances on stage and you could
definitely see the work that these talented people put into the show but
theatre does not always have to shock you. Pippin has wonderful music and
tells a nice story. If you can look past the unnecessary sexuality there is
great production underneath. |
|
The Glass Menagerie Directed by
Edward Miller May 14-16, 7:30, May 17, 2:30, 2009 at the Virginia Samford Theatre Reviewed May 9
by David R. Garrett When a Tennessee Williams play is performed correctly, it guarantees plenty of multi-layered characters and a plot full of southern madness. Virginia Samford Theatre's current production of The Glass Menagerie does not disappoint. The moment the patrons enter the theatre, the "Tennessee Tone" is set with Ben Boyer's dark and very appropriate set design of a run-down apartment. The walls are made from thin pieces of wooden slats that efficiently define the space, but the clever design also tells us that we are looking at a fragile environment that houses a fragile family. The Wingfield Family lives in the four walls of this dank apartment under a watchful portrait that hangs over the fireplace of Mr. Wingfield. Several years earlier he abandoned the family, leaving son Tom to support his controlling and manic mother (Amanda) and his crippled and terribly shy sister (Laura). Together, the three live in their bleak existence which also represents their hopeless world. At first, Tom seems to tolerate his mother's rants about his lack of ambition, but he becomes increasingly frustrated with his lot-in-life and fears his mother's predictions of impending failure will come to fruition. As the plot progresses, Tom realizes, as does the audience, that his only real chance for a better life is to choose the same path his father did and to abandon the family. Relentless and somewhat delusional, Amanda Wingfield provokes Tom frequently with her constant meddling and criticism. However, as a tribute to Tennessee William's brilliance as a writer, the audience feels sympathy for this overly verbose and critical woman. Despite her desperate need to cling to the past and her constant craving for attention, there is no doubt that Amanda loves her children and wants a better life for them. Daughter Laura is probably the most sympathetic character of all. Not only is she mired in the everyday existence of her dysfunctional family, she is also plagued with a painful shyness which is as equally debilitating as her crippled leg. So shy and self-conscious is Laura, she creates her own world which consist of a collection of glass figurines. It is in this world (her glass menagerie) that she finds solace and refuge from a terribly unpromising life. In a poignant scene, Laura instructs (Jim) the gentleman caller to hold her favorite figurine (a tiny glass unicorn) to a candle. She explains that when the light shines through the glass, the figurine is even more beautiful. Williams' skillful writing challenges us to imagine how different Laura would be if some semblance of light was allowed to shine threw her…but there is no real light in her true world, so Laura must live vicariously through her glass trinkets. The audience is forced to watch helplessly as they realize that Laura's world of glass is as fragile and susceptible to tragedy as is her real world. Under the masterful direction of Edward Miller, The Glass Menagerie is well executed and performed with just the right amount of sensitivity, brutality and humor. Miller does double duty, not only as director, but also as the older Tom. Traditionally, Menagerie productions cast the same actor in both the older and younger role of this character, but Miller creatively steps outside the box and cast himself as the old Tom, while his real life son Evan Miller plays the younger version. Father and son do a good job as the two Tom's and this fresh approach to the casting, makes for a much welcomed spin on a classic piece of theatre. Ian Philips churns out an enthusiastically believable performance as Jim O'Conner (the gentlemen caller) and proficiently walks a theatrical type rope, giving the audience just the right balance it needs to still find his character likeable... after he literally shatters Laura's world. Alyssa Crisswell is mesmerizing as the shy and crippled Laura and she completely embodies the quirkiness of her character. From the awkward walk, to the nervous tension of each hand gesture, her performance is solid and consistent. The real pay-off for the audience though comes in the form of actress Beth Kitchin (Amanda). Kitchin steals every scene she's in with the skill and craftiness that only a truly seasoned actress could bring to the performance. She makes us love her, hate her and even laugh at her character. But most importantly, Kitchin's portrayal allows us to understand Amanda Wingfield. It is through this understanding that we realize that Amanda is living in her own glass menagerie that will soon be unavoidably shattered as well. Miller's choice of music to underscore the show is both appropriate and moving and Kim Dometrovich's costume design is two-fold in its success. Not only do her costumes capture the essence and tone of the play, but they also flatter the actors. I will fairly admit that my only criticism of this production is a picky one, but I found the addition of the street urchin character to be confusing. Because Miller successfully challenges us with his non-traditionally casting of the two Tom's, I was expecting the urchin's character to represent something more significant. Maybe it does. Maybe I missed it, but this unnecessary character slows down an otherwise rock solid production and leaves the audience asking, "Who is he?" Fortunately, this character is a very small part of a much bigger theatrical puzzle and this minor criticism is definitely no reason to pass on this fine production of The Glass Menagerie. These talented actors have indeed gotten it right and their performances are definitely multi-layered and loaded with lots of southern madness! Tennessee would be proud and so should the cast and crew of this delightful piece of "audience worthy" theatre.
|
|
Shadowlands July 10 -19 at Deerfoot Community Bible Church (Trussville) Reviewed July 10 by Paul McCracken First
of all, a disclaimer: My son is in the cast. As his father, I thought he was
wonderful. As a director and fellow actor, I thought he was pretty damn good. Shadowlands, based on the true story of the unlikely romance of crusty English professor C. S. Lewis and American expatriate Joy Gresham, is a powerful play. Jessie Bates carries off the difficult role of Lewis with magnificent aplomb. He is imminently believable as the confirmed elderly bachelor who is set in his ways and happy to be so. Bates delivers Lewis' theology with sincere passion and delivers his emotional awakening in a way that reveals astounding depth. Sheila Snoddy's performance as Joy is equally remarkable. Her portrayal has just the right balance showing the whirlwind that struck Lewis' life when he met Joy yet at the same time Snoddy does not overplay the part. She has the remarkable ability to play an over-the-top character in a manner that accurately depicts the person while at the same time she does not go so far as to turn the role into a farce. Also worthy of high praise is David Gregson's performance as Warnie, C. S. Lewis' brother with whom he lived. Here a role that could be a minor comic relief or a filler to deliver plot points. Instead, Gregson plays with a subtle touch that enhances the entire show. He maintains a proper British deportment and at the same time gives a performance with important nuances. Brothers Nathan and Caleb Denard give excellent performances as Joy's son Douglas at four years apart. An ensemble of other actors: Tanner McCracken, George Maronge, William Brisky, and Susan Joy Denard do an excellent job of filling in a number of additional roles. Their performances significantly enhance the story. A special word of praise goes to John McGinnis' performance as Christopher Riley, Lewis' atheist friend. It is his role to present the viewpoint opposite of Lewis' optimistic theology and McGinnis is able to portray a potentially unlikeable character as a charming rogue instead of a caricature. Director Clay Boyce deserves great credit for assembling an talented cast and molding them so as to present a powerful script in a powerful manner. A couple of technical notes of commendation. Shadowlands is presented in a church worship center but the set is well-designed and makes good use of the available space. Also, the lighting design is especially effective, using subtle changes to depict a shift of location or of time. While Deerfoot Community Church is not centrally located in the Birmingham area, it is easily accessible off of the Deerfoot Parkway exit of I-59 near Trussville. Believe me, this show is worth the drive. |
|
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. |
|
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! |
|
|
|
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. . |
|
|
|
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. |
|
|
|
“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 |
|
|
|
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. |
|
|
|
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 |
|
|
|
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. |
|
|
|
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 |
|
|
|
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. |
|
|
|
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 |
|
|
|
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.
|
|
|
|
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 |
|
|
|
|
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. |
|
|
|
|
|
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 |
|
Our sponsor is AuditSoft