The Lucky Chance, Echo Theatre, 2-15-2013

The Lucky Chance or, The Alderman’s Bargain

Echo Theatre

2-15-2013

Echo Theatre’s production of The Lucky Chance or, The Alderman’s Bargain by Aphra Behn currently running at the Bath House Cultural Center was an evening of highly entertaining and well executed spectacle, but the spectacle unfortunately overshadowed the story, resulting in amused confusion.

“The Lucky Chance, Or The Alderman's Bargain embraces the classic theme of innocent, young women who are betrothed to self-serving, lustful men and is an indictment of the arranged marriage system of Behn’s society. The self-important old roué Sir Feeble Fainwood uses his wealth to gain lovely Leticia Bredwell as his bride. Feeble's friend, Sir Cautious Fulbank, also bought a bride, Julia who - like Leticia - is in love with another younger, poorer man. The young lovers vow to end this tradition of marital servitude before Leticia must consummate her marriage and Feeble's daughter, Diana, becomes the next victim. Echo's streamlined new adaptation toys with the parallels between the English Restoration and the Sexual Revolution by setting the play in 1960’s Swinging London. Behn's classic language collides with commedia dell' arte style, the musical interludes of The Singing Detective and the 1960’s sound of Hullabaloo! It’s a 1680's play done in 1960's style! The Lucky Chance features explosive physicality and a sizzling sexuality and requires a dozen actors playing 20+ characters.” (taken from Echo Theatre’s publication materials)

Aphra Behn is credited as the first published female playwright of the English language, so it is clear why she easily fits in with Echo’s mission. The classical text was full of wit and charm, and the storyline is a tried and true one. It is a lesser known text, so the plot twists were fairly surprising. Once the audience was in the groove of the language, the jokes and the comebacks become predictable. This doesn’t make them any less funny, though. Director René Moreno adapted the script. Given the time period in which it was written, one can assume he did a lot of cutting in consideration of a modern audience’s attention span. It is doubtful the audience experienced a tragic loss as the flow of the story, and especially the lines, gave no hint to any cuts or rewrites.

The Bath House Cultural Center, home of Echo Theatre’s productions, is a small venue with seating for about 50. The proscenium stage was painted with a giant Union Jack and had two doors for entrances on the far upstage. A psychedelic painting of the Queen adorned one wall. Entrances and exits were also made from the far left and right curtains, and there was a surprise window revealed in a comedic bit late in the first act. Other surprises are also hidden throughout the design, but to critique them here would ruin the joke for a future audience. It is a long space that is not very deep, but scenic designer Clare Floyd DeVries was still able to carve out many useable levels for the director and actors to play within. One distraction of the design is that the doors were not flush with the floor, so movement offstage was visible, and the all wood set made for at times thunderous backstage travel, especially for those in high heels. Linda Blasé’s lighting design was simple but effective: dimming for night and no part of the stage left unseen. When it comes to the costumes, Ryan Matthieu Smith showcased the fashion of the 1960s in ALL its splendor. From wedding attire to bedroom lounge wear and everything in between, I honestly don’t think a single trend of the entire decade was left out. A well fitted and character appropriate lime green suit was the costume highlight for me, though Leticia’s shoes had me resisting the urge to ask the actor what size she wore and where the shoes were procured. Props Design, shared by Rebekka Koepke and Lynn Mauldin, was minimalistic. A few bottles of perfume, letters, coin purses and so forth were excellent in their unobtrusive detailed accuracy. The use of wigs was unaccredited  but they were appropriately styled for the time period. However, there was a noticeable color difference between the actors' hair and the wigs that I found to be distracting.

  

Moreno successfully unites the farcical design elements with his more than capable actors to create a fun and colorful world. The juxtaposition of the belletristic text with the music, clothes, and general attitudes of the 1960s somehow worked. The blocking was always organic and clearly motivated, and with some help from Sara Romersberger, who was credited with Choreography and Movement, even the scene changes proved to be a source of entertainment.

The standout directing choice by Moreno in this production was the use of a variety of 1960s music that the actors lip synced while remaining in character. I lost track of how many performances there were after seven such musical interludes. Though each number was performed with absolute dedication and the finesse of trained dancers in a Broadway musical, the joke got old after a while. And they didn’t just sing the chorus or a verse of the song. No, they often sang the entire thing. The first number, as much from shock value as for delivery, was met with laughter and applause. The only other number greeted with such enthusiasm was Adrian Spencer Churchill’s rendition of Ol’ Blue Eyes’ I Did it My Way at the end. Before I criticize the bold choice, let me stress that the songs were well performed, and the audience found them to be entertaining. If such a category existed, they would be nominated for best lip synced musical. However, the songs did not add to the story and in many ways detracted from it. Part of the detraction was the flip from classical to contemporary language. It jarred the audience and left our ear out of tune when the dialogue picked back up. Also, the songs added to the run time of the show which clocked in at just over two and a half hours with one intermission. (This show could have benefited from a second intermission or just more cuts.) Once the music started, I often stopped paying attention to the story and instead became the person in the audience who noticed things like my neighbor’s beautiful watch, wondering when the show could get on. It was entertaining, and I did my best to have fun with the actors, but in the end, I was fed just too many lip synced exhibitions.

The 12 member cast devoured the classical language and offered it to the audience without the pretention often associated with other classical works. Comedic bits were played off with ease, and their energy and dedication to the moment oozed off the stage. They gave it their all, and the audience responded in kind. I laughed even when something wasn’t funny because I was trying to reciprocate, sending positive audience energy back to the actors. Of particular note was the use of London accents- each character with his or her own class distinction that every single actor performed admirably.

Opening the show with a monologue chalk full of expose the audience needed was Austin Tindle as Mr. Bellmour. He was one of the young men whose lover had been arranged into marriage with a much older man. He schemed his way into the home of the bride and began an elaborate plot to win her back. With ease, perfect diction and a willingness to connect directly with his audience, Tindle carried the audience into the show as easily as he might invite us into his own home. Playing the other jilted lover, Charles Gayman, was Brandon Sterrett. In the opening scene, he seemed tripped up by the dialogue, but this was remedied by the second scene and was never a problem again. His shining moment came in a would-be steamy scene with his much older landlady (played by Kateri Cale) in which he fights the urge to vomit.

Laurel Alons as Lady Julia Fulbank and Martha Harms as Leticia were the young women suffering from arranged marriages to much older men. Harms was most believable in her angst and broken heart. I also felt she and Tindle were better matched as a couple. Alons was a strong actress who brought a lot of fire to her character, but I felt a genuine passion was missing during her encounters with Sterrett. It’s almost as if they were telling the audience “We are in love, we are in love” only to leave us doubting the statements once they finally shared the stage. Her most truthful moment was when she seductively, silently gestured “come hither” while lying on a bed.

Sir Feeble Fainwood and Sir Cautious Fulbank are played by Bradley Campbell and Adrian Spencer Churchill, respectively. Campbell relished in playing the biggest kid on the stage with over the top physicality, facial expressions and vocalizations. He really sparked to life during the second act, and I found myself anxiously awaiting his return to a scene. The biggest laugh of the entire evening for me came when he talked about the scary ghosts. Churchill, as mentioned before, had his standout moment during I Did it My Way, but it was not his only time to shine. While debating the loss of his wife verses the loss of 300£, he had the audience in stitches.

Carissa Jade Olsen as Diana (Fainwood’s daughter who also had her engagement arranged) was appropriately wide eyed and utilized her long hair and slender frame to woe not only her intended but the audience as well. She handled the emotional context with relative ease- easily portraying a ditzy young woman in love, but what seemed to be a slight speech impediment made it difficult to understand her at times. Dan Schmoker as Mr. Bredwell- another poor servant in love, was able to truly shine in both voice and physicalization when he donned the cape, top hat, and mask of Satan himself. The switch from Mr. Bredwell to Mr. Bredwell as Satan was so complete and highly entertaining that I applaud him for creating a character within a character. Ian Ferguson as Mr. Bearjest appeared to be a minor comedic character who helped open the first Act, but gave a surprise turn by the end of Act II. Ferguson was engaged in every scene and was the quintessential smarmy rich kid.

An actor who plays multiple roles in a single production with acute attention to details such as voice, accent and physical characterization along with the added design elements such as costuming deserve special recognition. Lauren Davis, Kateri Cale and Nathan Autrey played at least nine characters. Each time he or she entered the stage, a complete transformation had occurred to the point I had to double check it was only a cast of 12. Davis used her deep voice and slow walk to seduce characters and was able to flip comedically from an English accent to a French accent with ease. Servant Gammer Grime and Landlady Pert were played to perfection by Kateri Cale, an Echo producing partner. Autrey and I attended college together, and so it was a joy to see him onstage once again in a highly comedic role. His transformations between characters (playing four in total) was a constant source of entertainment for the entire audience.

Overall, Echo Theatre’s production of Aphra Behn’s The Lucky Chance Or, The Alderman’s Bargain was an high energy and commendable spectacle that left the audience perplexingly charmed.

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Runs Thursdays, Fridays, and Saturdays at 8pm and Sundays at 2pm through February 23.

Tickets are available by calling 214-904-0500 or online at www.echotheatre.org 

Bath House Cultural Center

521 E. Lawther Drive

Dallas, TX 75218

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Director: René Moreno

Choreography and Movement: Sara Romersberger

Set Design: Clare Floyd DeVries

Sound Design: Pam Myers-Morgan

Stage Manager: Kelsey Ervi

Lighting Design: Linda Blase

Costume Design: Ryan Matthieu Smith

Props Design: Lynn Mauldin and Rebekka Koepke

Sir Feeble Fainwood: Bradlley Campbell

Sir Cautious Fulbank: Adrian Spencer Churchill

Mr. Gayman: Brandon Sterrett

Mr. Bellmour: Austin Tindle

Mr. Bredwell: Dan Schmoker

Mr. Bearjest: Ian Ferguson

Ralph, Captain Noisey, Dick, Shepardess: Nathan Autrey

Lady Julia Fulbank: Laurel Alons

Leticia: Martha Harms

Diana: Carissa Jade Olsen

Phillis, Postwoman, Rag: Lauren Davis

Gammer Grime, Pert: Kateri Cale

Board Operator: Rebecca Brooks

Two Rooms at Runway Theater August 2012

My blog was down the day I originally wanted to post this (August 13, 2012), so it was originally published on Facebook. But, I wanted to get the word out about a GREAT show, even if it's after the fact. Two Rooms was a must see EXPERIENCE!

Runway Theatre’s current production of Two Rooms is an enlightening, heart wrenching and an absolute must see production.

Two Rooms by Lee Blessing is a play that takes place, as the title suggests, in two rooms. One is a cell in Lebanon where Michael Wells is being held hostage by terrorists. The other is a room in his home in Washington D.C., which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal. In fact, the same room serves for both and is also the locale for imaginary conversations between the hostage and his wife, plus the setting for the real talks she has with a reporter and a State Department official. The former, an overly ambitious sort who hopes to develop the situation into a major personal accomplishment, tries to prod the wife into taking umbrage at what he labels government ineptitude and inaction. The State Department representative is coolly efficient, and even dispassionate, in her attempt to treat the matter with professional detachment. It is her job to try to make the wife aware of the larger equation of which the taking of a hostage is only one element, but as the months inch by it becomes increasingly difficult to remain patient. The play deals with the subjects of the terrorism and the government, the media, and the love of a husband and wife. Blessing’s play is poignant, thought provoking, and a masterpiece in and of itself.

Runway Theatre is a small, 100 seat theater in Grapevine, and the converted proscenium stage in conjunction with the intimate space is the perfect set for this production. Set designer Jordana Abrenica creates the walls of the room with sheer gauze-like curtains that can be opened or shut, creating feelings of isolation or openness as the scene requires. There are four chairs placed on the diagonals outside of this “room” where the actors sit and watch the scenes in which they have no dialogue. Within the room, there is only a simple mat and an occasional ottoman is brought in for the State Department official to sit on. The (appropriate) starkness of the stage allows the actors to fill the space with emotions and witty dialogue that will long ring in the audience’s hearts and ears. Michael Wells is an amateur photographer, and some of his images are displayed on these curtains in the form of a slideshow. Sadly, holes are appearing in the curtains, so from my vantage point on the right, most of the faces of his subjects were obliterated. The overall drama captured in the images was not lost, though.

Adam Adolfo wore many hats as director, costume designer, lighting designer and sound designer. Though no doubt it was a considerable time commitment, he unified the design elements with his overall directing vision to support the story as completely as any design I’ve seen on stage this year. The pacing of the show never once drags, and though the material is definitely meaty, he prohibits his actors from “milking” certain scenes too long while allowing silent moments to feaster. There are no costume changes for the characters, and they are in an array of tans and chocolate browns suitable to the role within the show. The lights were soft at times and with a subtle shift, the room would become harshly bright- and he even had them illuminate or conceal the actors in their four chairs as needed. Finally, as sound designer he was aided by the pre-recorded original music by Joshua Bradford. As music should, it underscores the story without detracting from it. It is also hauntingly eerie.

With only four characters played by four actors, everyone is a lead, but in this production, Alden Bowers Price as Lainie is the standout star. Never once in the two hour production did her emotion seem forced or the dialogue anything less than organic. Her expressive eyes and voice lent themselves to her innocence and heartbreak. When she cried, I cried- as did my theater companion. Playing her husband Michael is Sean-Michael Cohn. Though every bit as invested in his character, Cohn faced very different challenges- including spending most of the first act blindfolded. He walks with a limp and is handcuffed- all of which he plays subtly and effectively without over-emphasizing them. The story is not about his physical journey- it’s an emotional one. There are times when the emotions seemed force or a dramatic pause was just slightly too long, but overall, you begin to genuinely fear for his safety and want, more than anything, for him and Lainie to be reunited.

Melanie Swenson as The State Department rep, Ellen, uses her tall stature and deep voice to project an air of authority. As the story progresses, though, she expertly balances between being both a stone wall and a woman obviously caught between her duty and her empathy. Parker Fitzgerald is Walker, the journalist who wants an exclusive interview with the wife of this hostage- a wife who has been strangely silent throughout the ordeal. She allows him into her home, but does not grant him the interview he seeks for months. Fitzgerald plays Walker as kind but with a driving mission. IF, and let me emphasize IF, IF there is a weak link in the cast, it is Fitzgerald. I needed to see more variations, both physically and vocally as Walker arcs throughout the story. His anger seemed too subdued and his triumphant joy seemed forced. I wanted him to stretch to the far extremes while still remaining a believable journalist (level headed, observant, and determined.) This is a nitpicky criticism that disappears by the middle of the second act. As he and Lainie become closer, as they forge the “us against the world, to save Michael” bond, Fitzgerald completely embodies the role of Walker- to the point my theater companion and I were both vocal in our emotional responses as if he could really hear us. He is both a fully professional, detached journalist and yet a compassionate human being- not an easy trait in real life much more on stage.

Though the drama Two Rooms is currently competing with area feel good musicals and other typical summer comedies, it is the production I encourage local audiences to make the greatest effort to see. You will be a better husband/wife, American and most importantly, human being.

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Two Rooms runs at Runway Theatre (215 North Dooley Street Grapevine, TX 76051) August 10-19. Shows are Fridays and Saturdays at 8 with a Sunday matinee at 3pm. Tickets range in price from $12-$15 and can be purchased at www.runwaytheatre.com or by calling 817-488-4842.

Two Rooms by Lee Blessing
Director: Adam Adolfo
Assistant Director/Dramaturg: Jeremy Jackson
Stage Manager: Kristi Taylor
Scenic and Property Design: Jordana Abrenica
Lighting Design: Adam Adolfo
Costume Design: Adam Adolfo
Sound Design: Adam Adolfo
Original Music: Joshua Bradford

Cast
Michael: Sean-Michael Cohn
Lainie: Alden Bowers Price
Walker: Parker Fitzgerald
Ellen: Melanie Swenson

The Early Education of Conrad Eppler

The Early Education of Conrad Eppler Echo Theatre



Echo Theatre’s production of The Early Education of Conrad Eppler currently running at the Bath House Cultural Center is a show I enjoyed very much and recommended it to all my friends, but can only seem to tell you all the reasons I didn’t like it or the parts that stood out as odd. Regardless, this show is an experience that will leave you spinning long after it is over.

“Three adolescent angels make an unlicensed appearance on Earth, triggering reactions on three planes: the material planet Earth (where Conrad resides with the Sisters of Sorrow), the celestial planet Grace (where angels are cultured), and the transitional Moon (where the Joyous Mystery Sisters abide). There is a revolution in progress in the heavens, but Heaven knows that Earth is the future. Eden will no longer be just some has-been, burned-out tear-down, but rather a vision unrealized, a Garden yet-to-be. Throw the lever in reverse! There’s still time! Conrad's the key; the Apocalyptic future can be rewritten!”- (taken from Echo Theatre’s website.) Conrad Eppler is a young boy who was left on the front steps of a convent when he was just an infant. He is taken care of by some less than normal nuns. One night, three angels hear his prayer for parents, and they appear to him. One of the angels loves him and promises him parents, and the journey thus begins.

The fact that I need to write an explanation of their synopsis is indicative of the entire play. Take a friend or two to see this show- you’ll need help explaining it to each other. Playwright Isabella Russell-Ides was one of three winners of Echo Theatre’s Big Shout Out contest, and the last of the winning plays to be staged this season. If one were to close his eyes and just listen to the script, the sing-songy rhymes of the witty one liners is soothing and quite poetic. But poetry is not always meant to be understood, and this is a downfall of some of the dialogue. At no fault to the actors, I at times had no idea what was being said nor could I assimilate all the rapid fire information into the storyline fast enough to keep up. Early on, though, I realized this is a play to be enjoyed on two levels. The first way is to sit back and enjoy the ride and don’t think about it. Laugh when it’s funny, which thankfully it often is, and sit quietly during the parts you don’t understand. The other way is to get a copy of the script and read it, taking time to research on the internet or in the religion section of the library all of the references and allegories drawn from multiple belief systems so to best understand the writer’s deepest meaning. For the purpose of this review, I opted for the first way, but don’t think I won’t be asking for a copy of that script. I’m more than ready to enjoy The Early Education of Conrad Eppler on all its levels.

The Bath House Cultural Center in Dallas is a small but charming venue which seats about 50 people in the audience. The director, Pam Myers-Morgan, let those of us who were new to the Bath House know that this production required the audience and the stage to flip sides, so the audience members entered almost onto the stage before reaching our seats. Several chairs had signs on them as well that said partial view seats. Being an invited critic, I was given the best seat in the house- dead center of the third row. This is definitely a show where partial view is going to be a let- down.

Above everything else, one could assume director Pam Myers-Morgan had fun with this production. She allowed the designers of the set, costumes, lights and sound to run to the farthest reaches of their childhood imaginations and then carefully crafted them into a bright spectacle that supports the storyline in total unison. Unfortunately, the blocking at times became stagnant, usually when all the actors were on stage at the same time. A small stage fills up quickly with 10 or so people on it, so we were left to watch them stand in a semi circle and talk. Though, at other times, very inventive uses of the space proved to be the over the top entertainment we had come to expect (especially the parts that involved the scooters.) For the most part, the blocking was fast paced and matched the style of the show. One drawback that, in the end became an advantage, was the very young cast- if young only in appearance. The lead angel is herself only a high school student, and though all were good choices, their youthfulness added a “junior high play production” campiness feel to the performance.

Christopher Jenkins’ set design at first appears to be very simple, even cartoonish with large cloud like swirls and several doors and curtains for entrances scattered on the far left and right and within the seat itself. As Jaymes Gregory’s lighting design is added to the set design, though, we see that the audience’s right is the convent where Conrad lives and the left side is used for the “other worlds” the story takes us to. Gregory’s lights also differentiate between our reality and other planes and allow for some over the top entrances and exits for the various characters. Sound design by M. Graeme Bice was spot on, both in quality and in the timing of the delivery done by Board Operators Bryan Douglas and Lisa Robb.

Costumes by Ryan Matthieu Smith were, depending on your opinion of the show, either the highlight or the downfall of the production. From zebra print leggings to pink nun habits to a space cowboy- no character was untouched- and this includes the stuffed monkey Conrad carries with him wherever he goes. All costumes were well fit, and once the shock of them wore off, somehow matched the writing and the actors’ characterizations perfectly. The props, designed by Lynn Mauldin and Rebekka Koepke, were very similar to children’s toys, and once the play concludes, it is evident as to why. As the play progresses to this ending, though, the use of the props by the adult actors in total seriousness adds to the laughter of the evening.

The title character was bravely and whole heartedly embodied in that of 6th grader Jennings Humphries. He is a self confidant and fully involved actor who is also a child without being that pretentious “child actor.” At times, his line delivery was a little fast and certain lines came across as unmotivated, but this was rare. As he grows and develops his craft, he will learn that performances are not line tests- neither in getting them all out word for word nor in speed. Ellen Locy as Mother Mary Extraordinary and the High Consul was the mean nun with an interesting secret to play and then, a few scenes later, would emerge as the gracious and nearly omniscient High Consul. As a nun, she was the character I was able to relate to most easily in a believable way and is what drew me into the story of Conrad Eppler and made me care about him.

Supporting Mother Mary Extraordinary was Kateri Cale as Sister Merry Berry and LisaAnne Haram as Sister Subordinary. Nothing is funnier than women dressed in nun habits doing very un-nun like things. But, aside from the easy jokes there, these two actresses also had quiet moments with Conrad and one another that let the audience know that their world was the “our reality.” Berry was the “happy” nun, very reminiscent of the Sister Mary Patrick in the movie Sister Act. Haram also appears later as Sister Omega Omicron the Oracle, and she not only changed her costume (if only in color, not in style) and her eyelashes, she also changed her voice and her physical movements so that NO ONE would be confused as to who she was at any given time. It’s not hard for me to say that Haram was my favorite nun and she lit up the stage with every entrance.

Kylie Zeko as the angel Alethia (or is she a reincarnation of the first woman Eve?) had the difficult task of carrying much of the emotional journey of the show, and giving a lot of expose to the audience. For the most part, her performance was truthful- making use of her young age and big expressive eyes, but there were times when she did not go far enough or relax enough to convey only the character. Her inexperience in these very adult themes at times did show through, but were later forgiven as she drew us in with her honest emotions. Alethia’s angelic friends, Epiphany and Honeycomb, are played by Tatum Zeko and Wendy Blackburn respectively. They are giggly school girls who only begin to grasp the events they have set in motion. Later, when they emerge as Sisters Delta Delta, the work in unison, often speaking and moving as one. Though minor roles, their presence and performances added to the setting of the storyline.

As Aletheia’s love interest Roica, Matthew Clark is tall, handsome, and delivers his lines in earnest, though much of his purpose in the storyline itself was lost on me. Also, his eye make- up was extremely heavy and distracting.

Stealing the show was David Lugo as Luce, the chief of the Angel Police (and possibly that fallen antagonist, Lucifer.) He was the creepy, smarmy, self confidant slime ball the devil should be- and he put all of Luce in the deep booming “radio” voice and his cheesy grins to the audience. He was finally able to flex some of his comedic timing and wealth of vocal acting experience in Act 2 as he quickly shifted from accent to accent, character voice to character voice, but all the while we saw Luce hiding underneath in disguise. At his right hand was David Meglino as Lieutenant Kilowatt, the bumbling minion of Luce. Meglino had some of the best lines of the night, and though his character had some of the most off the wall reactions (physically and emotionally) to the happenings on stage, he sold every single one as believable simply because he was fully committed to it.

As Miss Demeanor and later Sister Rho Zeta, Miller Pyke seemed confidant in her purpose in the story and uncertain of what she was doing all at the same time. Her four inch heels and incessant use of an inhaler as Miss Demeanor, Conrad’s social worker, did not aid her at all, but got the formulated laughs they were intended to.

Finally, Stephanie Butler and Tamitha Curiel as the Wing Sergeants to the High Consul moved in such unison and were so well cast as identical angels, I honestly don’t know who was who- and this is as it should be.

The Early Education of Conrad Eppler might offend some of the religious fundamentalists, might annoy those who prefer a linear story told in traditional ways and be full of predictable one liners and physical comedy, but for the most part, this “deeply religious, ‘don’t mess with a good thing’ theater critic” laughed a lot at this very weird and oddly impressive show. Don’t miss this production- it’s a very rare treat for our theater community.





The Early Education of Conrad Eppler
Echo Theatre
at the Bath House Cultural Center
521 East Lawther Drive, Dallas, TX 75218

Reviewed performance on Saturday February 18, 2012.
Runs through February 25th.


Performances are Thursdays, Fridays and Saturdays @ 8:00 pm and Saturday Matinee at 2pm.

Tickets for evening performances are $20 online, $25 at the door, and matinees are $15. Students and seniors are $10 for any performance. Tickets can be purchased online at www.echotheatre.org or by calling (214) 904-0500.

Directed by Pam Myers-Morgan
Assistant Directed by Reis Myers McCormick
Written by Isabella Russell-Ides
Stage Managed by Jordan Willis
Assistant Stage Managed by Alett Gray
Scenic Design by Christopher Jenkins
Lighting Design by Jaymes Gregory
Costume Design by Ryan Matthieu Smith
Props Design by Lynn Mauldin and Rebekka Koepke
Sound Design by M. Graeme Bice
Technical Director: Bryan Douglas
Production Assistant: James Stroman
Publicity: Kateri Cale

CAST
Alethia- Kylie Zeko
Epiphany- Tatum Zeko
Honeycomb- Wendy Blackburn
Conrad Eppler- Jennings Humphries
Sister Merry Berry-Kateri Cale
Sister Subordinary- LisaAnne Haram
Mother Mary Extraordinary- Ellen Locy
Luce- David Lugo
Lieutenant Kilowatt- David Meglino
High Consul- Ellen Lucy
Wing Sergeant I- Tamitha Curiel
Wing Sergeant II- Stephanie Butler
Roica- Matthew Clark
Miss Demeanor- Miller Pyke
Sister Omega Omicron, Oracle- LisaAnne Haram
Sisters Delta Delta- Tatum Zeko, Wendy Blackburn
Sister Rho Zeta- Miller Pyke
Skipper the Gospel Monkey- Tommy Myers-Morgan

Nuestral Pastorela, Cara Mia

Nuestra Pastorela
Cara Mia Theatre Co.




Cara Mia’s retelling of the Christmas story via Nuestra Pastorela at the Latino Cultural Center is a charming, entertaining and nostalgic production at the exact right time of year for people of all faiths, cultures and languages.

“Performed in English, Spanish and Spanglish, Nuestra Pastorela returns to the Latino Cultural Center with its family-friendly spin on a Mexican holiday tradition. Written by Jeffry Farrell and Cara Mía's Executive Artistic Director David Lozano, this unique and zany adaptation of the Mexican shepherd's tale features all the usual suspects. The Angel Gabriel, the shepherds traveling to Bethlehem, and the bumbling devils, depicted in the playful style of the Mexican folk tradition, plotting the shepherds' doom by tempting them with the seven mortal sins. When the shepherds don the "smallest mask in the world" (the red clown nose), chaos ensues and hilarity abounds with broad physical comedy and slapstick. A one-of-a-kind production for anyone who is a child at heart!” (taken from Cara Mia’s publicity materials.)

The script is simple and yet brilliant in its blend of English and Spanish- the audience can speak either language (or neither!) and perfectly understand the intents and the message, and even the jokes. Comedy that appeals to both children and adults is also a rare find, but there is no age group left out of the fun of Cara Mia’s Nuestra Pastorela.

Cara Mia’s productions are performed at the Latino Cultural Center. With 300 seats in a raked audience and a deep stage with a proscenium arch, the designers and the actors have the task of taking their simple story and filling the space. The unaccredited set designer chose to place three rows of audience chairs on risers on each side of the playing space at center, and yes, unsuspecting audience members are seated on stage. Upstage center has a one foot tall wooden platform, about five feet deep by six feet long. Keeping with the theme of a traditional Pastorela, there is no other set design for this show, and while more set could be added to the space, it is not missed once the fun begins.

Lighting designer Amanda West makes use of colored lights (red for the devils and pure white for the angel), but otherwise keeps the lighting design simple. Personally, I would have preferred some stars for the night scenes, and maybe even some rapid light movements for the traveling scenes (of which there are many.) The lighting design kept with the overall theme of simplicity, but was one area I would like to see a more complex design unfold.

One of the highlights of Nuestra Pastorela is the musical accompaniment of Erin McGrew. She plays along with the Nino and Nina Clown Shepherds at the beginning of the show, and then from her spot in the upstage right corner, she uses a keyboard, some chimes, and various other objects to create the musical soundtrack and even sound effects for each of the scenes. As much of the Shepherds’ shenanigans are improvised, especially at the beginning of the play, it is a wondrous feat that her music stays perfectly in sync with the onstage action. Finally, towards the end of the play, McGrew is able to show off one of her other skills- singing- and the placement of her simple carol brings the entire evening into a sharp, sentimental and sweet focus.

Kristin Moore’s costumes were the predictable Biblical costumes for the Angel Gabriel, Maria and Jose, but she took more liberties with the Devils'. Luzbel wears an all red suit and tie with matching devil’s horns. Pingo and Estrellita, minor demons under the command of Luzbel, wear less sophisticated costumes. Pingo wears red long johns, furry knickers, a red mid-drift barring shirt, horns and a long red tail. Estrellita, the sexual temptation to most of the men on stage (and a few in the audience), wears red high heels and a red tutu over her skintight Star Trek-ish red leather unitard in addition to the requisite red horns and tail. She also adds a dark red wig and false red eyelashes to aide in her seductive moves. The “Mexican Shepherds/Clowns” are wearing Mexican peasant inspired costumes with more white fabrics than colorful ones used in order to convey their innocence and childlike faith. All the costumes are appropriate for the characters and are well fitted.

Props by Frida Espinosa-Muller were intentionally childlike- from the Star of Bethlehem on a fishing pole to the cap guns given to the Shepherds by Pingo as a means of tempting them away from their journey to see the Christ child. However, much of the cast effectively use pantomime to convey needed objects throughout the performance.

Director Jeffry Farrell never lets the onstage action become static or sappy- there is constant movement to keep the audience engaged. He also smartly makes use of the ENTIRE performance space, including the front of house area for the devils’ entrance from “down below”. One pitfall of the production (and possibly the venue) is that the dialogue that takes place in the upstage area is nearly impossible to hear (and I was in the fifth row). To his credit, Farrell places most of the essential dialogue in the downstage area and allows the Shepherds to speak their special “clown-speak” in the upstage area. One very important piece of information is lost, though, from the Angel Gabriel when he appears to the Shepherds while atop the platform. Perhaps a microphone or a pre-recording of his message would help. Finally, Farrell allows certain audience members seated on the stage to become part of the action in the final scene, directed by the Shepherds, and it is to his and the actors’ credit that this scene is a wild success during most performances.

The pre-show action involves David Lozano and Frida Espinosa-Muller posing as audience members. I know Lozano and Espinosa-Muller, so when they began their antics, I knew the show was starting. However, for those in the audience who don’t know their relation to Cara Mia, they at first appear to be a normal couple. However, as their improv progresses, their involvement in the show quickly becomes evident to all. And it is their involvement in the show that makes it such a success. As described in the director’s notes, this production turns the Shepherds into theatrical clowns (a distinction from circus clowns.) As mentioned, Lozano and Espinosa-Muller improv some pre-show dialogue and action that had me laughing the entire time (there are couples like them in every audience.) Once they transform into the Shepherd Clowns, their movements become more exaggerated and their facial expressions and diction more childlike. Espinosa-Muller is a shining light on the stage and makes audience members sit up and engage in the story along with her. Lozano keeps pace with her, matching her energy and enthusiasm with his own version of clown sarcasm and sensibility. Pricilla Rice plays the Mama (clown Shepherd), and though I never heard her speak a clear word, she completely conveys who she is, what she is doing and her thoughts and opinions of those around her with absolute clarity via her physical movements and facial expressions. All three use a lot of pantomime in their actions, all of which is expertly executed.

Luzbel is sinisterly and slimily played by Rodney Garza, who, according to the director’s notes, also made his lines rhyme. In Pastorela tradition, the devil and his minions are not supposed to be seriously taken as villains, and Luzbel walked that fine line between comedic and scary with precise tightrope skills. He also flipped easily between English and Spanish, producing most of the Spanglish listed in the promotional materials. Ivan Jasso makes total use of his impressive vocal range and long legs and arms to transform into Pingo (who adapts various disguises in failed attempts to stop the Shepherds while on their journey). His use of various accents and character voices aides in the story telling and continues to entertain not only the children but the adults in the audience as well. Estrellita is played by Stephanie Cleghorn, and though she has no audible lines, she utilizes her Peg Bundy style walk and high-pitched giggles to attract plenty of attention as she tries to assist Pingo in his evil plans.

J.R. Bradford as the Angel Gabriel is stoic and authoritative in his lines, when they can be heard. The highlight of his performance is when he does his “angel run” onto and off the stage. Maria is quietly and serenely played by Ana Gonzalez. She along with Sergio Liibo Rodriguez as Jose are required to portray the classic Christmas characters all without cracking a smile as chaos ensues around them nor becoming so stoic that no one cares about them. Both Rodriguez and Gonzalez accomplish this task, creating an endearing and believable picture of Jesus’ (the Spanish pronunciation) birth. Gonzalez could hold the infant Jesus (presumably a doll) with a little more care and realistic movements, though her walk as the very pregnant Maria seeking shelter on her journey is achingly real. Rodriguez’s work with a pantomimed mule is spot on, including unpacking the saddle bags and tying off the animal. He also returns at the end, accepting the gifts from the Magi with a sincere and humble “Gracias” as Maria rocks the baby. Above all, Rodriguez and Gonzalez look the parts of Maria and Jose.

Though from Christian roots and a Mexican tradition, Cara Mia’s Nuestra Pastorela can easily become a new family tradition for people from all backgrounds- and it should.



____________________________________________

Nuestra Pastorela
Cara Mia Theatre Co.
at the Latino Cultural Center
2600 Live Oak
Dallas, Texas 75204

Reviewed performance on Friday December 10, 2011.
Runs through December 17th.


Performances are Thursdays, Fridays and Saturdays @ 7:30 pm.

Tickets are $10 for everyone on Thursdays, and $15 for adults and $12 for children, students, and seniors on Fridays and Saturdays. Tickets can be purchased online at www.caramiatheatre.com or by calling (214) 717-5297.

Directed by Jeffry Farrell
Written by Jeffry Farrell and David Lozano
Stage Managed by Robert Walsh
Scenic Design was unaccredited
Lighting Design by Amanda West
Costume Design by Kristin Moore
Props Design by Frida Espinosa-Muller
Musical Accompaniment- Erin McGrew

CAST
Nina- Frida Espinosa-Muller
Nino-David Lozano
Luzbel- Rodney Garza
Angel Gabriel- J.R. Bradford
Pingo- Ivan Jasso
Estrellita- Stephanie Cleghorn
Maria-Ana Gonzalez
Jose- Sergio Liibo Rodriguez
Mama- Pricilla Rice

Bias- I am friends with all the cast members to varying degrees, having performed or spent time with all of them. In my opinion, this review does not reflect this bias and is in no way a result of our friendship.

ART by QLive, 12-7-11

ART
by Yasmina Reza



QLive!

__________________ART_________________


QLive’s debut production of Yazmina Reza’s Art was an intense emotional roller coaster that had the audience laughing in one moment and gasping in the next.



“Art revolves around three friends — Serge, Marc and Yvan — who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The canvas is white with a few white lines. Serge is proud of his $200,000 acquisition, fully expecting the approval of his friends. Marc scornfully describes it as "a piece of white shit" but does the painting offend him or is it the uncharacteristic independence-of-thought that the purchase reveals in Serge? For the insecure Yvan, burdened by the problems of his impending doom, i.e. his wedding, and dissatisfaction at his job as a stationery salesman, their friendship is his sanctuary...but his attempts at peace-making backfire. Eager to please, he laughs about the painting with Marc but tells Serge he likes it. Pulled into the disagreement, his vacillations fuel the blazing row. Lines are drawn and they square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendship” (taken from Wikipedia).



No doubt the 1998 Tony Award Winner for Best Play was an excellent choice for a young theater company wanting to explode onto the scene. With snappy come backs and surprising revelations amongst friends, Art was a play that explored more than a person’s opinion of post-modern art, it explored the very reason why certain people are friends. The dialogue moved quickly and tensions steadily rose. By the end of the performance I wanted a copy of the script so to write down some of the most jaw-dropping and/or knee slapping quotes. The text in and of itself was a masterpiece - the ingenious directing and spot-on acting were just icing on the cake.



The Firehouse Gallery in Fort Worth is a house built in the 1920’s that was converted into a Firehouse and now into an art gallery. This performance took place in the “living room” portion of the gallery. The “kitchen” was the bar/concessions and backstage area, while the one bedroom served as the Gallery’s office. The garage was the Gallery’s art studio. The audience sat in a U-shape pattern focused on a blank white wall and a brown oversized ottoman. Actors entered either from the kitchen or the front door as needed. Pieces of art hung on the other three walls, real art for sale by the Firehouse Gallery (no designers were credited). Due to the venue, there was no lighting design other than all the lights of the gallery on, at full, the entire performance. There were many instances where a shift in lights would have demonstrated a shift in location and/or time but the lack of a true lighting design did not hinder the storytelling.



Costume design was also unaccredited in the program but the director told me after the show that he designed, bought, and altered the costumes for each actor. Marc wore a basic black suit with white dress shirt and skinny black tie - a very classic 1950’s businessman look, while Serge wore black dress pants and a bright royal blue dress shirt. Yvan’s costume revealed his character most obviously with his green bowtie, suspenders, big glasses, a two sizes too large green dress shirt and brown pants that were just a tad too short (i.e. floods). Though very subtle and understated, as the audience got to know the characters, the significance of their costume choice became more and more clear. Marc saw things in black and white while Serge was more emotional, and Yvan was an old-fashioned gentleman from another time, caught between the two. Without giving away too much, Yvan was also, smartly, given the opportunity to use his suspenders to make some very dramatic statements late in the play.



Director Adam Adolfo is known for his big spectacles and multi-thread storylines. However, with Art, he deviated from this as much because of the venue’s limitations as for his desire to let the “art” speak for itself. In this deviation, he proved that he was in fact a master storyteller. Adolfo utilized the entire space - literally from the kitchen off stage to the living room, to the front door and even outside. As soon as the play began, the audience forgot they were in a non-traditional theater and were able to sit back and fully immerse themselves into the story unfolding before them. With the small audience huddled tightly around the space, the blocking really needed to be conceived in the round and Adolfo did this. Though sightlines were occasionally blocked as one actor spoke near the actor doing the listening, the actor that was the obstruction never stopped actively listening and reacting, so though the audience might have missed the facial expressions of the speaker, they gained the reactions of the listener. In other words, there were pros and cons to every seat, and because of the directing, every audience member felt they had more pros than cons. Adolfo also chose to keep the pace of the show brisk, not even having an intermission, which allowed the actors to proceed full steam ahead with their emotional rises in a truthful and believable way.



QLive! is the theatrical arm of QCinema, a film society that supports the Gay, Lesbian, Bisexual and Transgendered community in Fort Worth. To be honest, I went to this production fully expecting a very homosexual themed retelling of Art. I was pleasantly surprised to discover Adolfo left the script alone. It was in very quiet moments, when the actors would look at each other, that maybe there was a subtle hint of a past romantic affair amongst these friends that was fueling these deeply held emotions. Then again, what friendship doesn’t have deep emotions that no one can accurately describe? As much as Brick in Tennessee Williams’ Cat on a Hot Tin Roof is debated, the true sexual orientation of these three married, once married, or almost married (to women) men was left to the audience to decide and/or argue about in the parking lot after the show.



Jerry Downey as Marc began the show with a monologue about his friend Serge’s new painting. Downey is a young actor with a lengthy resume and a long and prosperous future ahead of him. Marc was smarmy, intelligent and sarcastic - and Downey added a layer of vulnerability that was slowly revealed as the scenes escalated. Marc was also the character who had the most one-liners that had me diving for a pen to write down his observations about modern art, and “the people who buy this crap”. Eighty percent of his performance was dead-pan humor but the other twenty percent was so soul-grabbing dramatic it almost made you forget that moments before he had you in stitches. Though not having the typical look of a leading man, any director would be smart to put the weight of a show squarely on his shoulders.



Scott Alan Moffitt as Serge held the task of balancing opposite Downey, and because of their chemistry on stage the balancing act was successful the entire performance. Moffitt is reminiscent of a young Dylan McDermott with his dark hair and bright blue eyes. When Serge bought the white painting on white canvas, he expected his friends to praise his choice. While Marc was 80 percent humor and 20 percent drama, Serge was 80 percent drama and 20 percent humor - hence the reference to the balancing act. Like Downey, Moffitt squared off and addressed the audience, from time to time, in monologues, and he did so with total confidence - he made eye contact with audience members and conveyed his emotions as clearly as if he were experiencing them for the first time. Though I personally agreed with Marc’s assessment of Serge’s purchase, through Moffitt’s performance I also felt heartbroken over the lack of support he received from his friends. It was his visible struggle with his emotions that helped me to see his point of view and relate to a character so far the opposite of who I am personally. There could be no greater accomplishment for an actor, in my opinion, than to let me get to know him, care for him and root for him even though I disagree with his choices.



Playing the ping pong ball caught in the middle of the sparring sessions between Serge and Marc was Dylan Peck as Yvan. An inexperienced actor would fall prey to the temptation to make Yvan the “whiney nerd” and simply shuffle through the role, allowing the dynamic text to carry him through. Peck rose above this and truly created a three dimensional character. Though there were times when lines were shaky (opening night nerves mixed with a seven day migraine I happen to know Peck was struggling with can do that to even the best of actors), the emotions never once got off track. The dynamic intentions of Yvan, a man we knew little about and who seldom addressed the audience as the other two often did, were made more and more evident as he was tossed between his two friends. Without giving too much away, his final monologue during the climactic scene was hands-down the finest acting I had seen from Peck over the last year I have watched him work.



Though QLive’s debut production of Art has already closed, I often think back to the lines spoken in the play, the emotional journey it took me on and how very relatable the journey was, not only for me but for every audience member that joined me for that experience. For their next production, I will make sure to have not only pen and paper to take notes but a healthy stash of Kleenex, too.



Bias - I am friends with both Adam Adolfo and Dylan Peck, having performed in several shows with or under the direction of both of them. I attended the show strictly as their friend and was asked to write a review of the show after the fact to aide in publicity efforts for the young theater company QLive! with which I have no affiliation.

___________________________________________

ART
by Yasmina Reza



Directed by Adam Adolfo


CAST
Marc- Jerry Downey

Serge- Scott Allan Moffitt

Yvan- Dylan Peck

Reviewed performance on Thursday November 17th, 2011



QLive!
at the Firehouse Gallery
4147 Meadowbrook Dr. Fort Worth, Texas 76103

November 17-26, 2011

More information can be found online at www.QCinema.org.

26 Miles at Artes de la Rosa, 12-2-11

26 MILES
Artes de la Rosa

____________26 MILES____________


Attending Artes de la Rosa’s opening night Fort Worth premiere of Quiara Alegria Hudes’ 26 Miles is like jumping on board a high speed rail train to parts unknown- laughing almost the entire time and wiping away tears the rest.

“From the writer of the Tony Award winning musical, In the Heights, comes this tender family comedy about a Jewish American teenager and her estranged Cuban mother who drive cross-country in an '83 Buick Regal, exploring the relationships we have with our parents. 26 Miles reminds us that the best souvenirs on the road of life are the relationships we make along the way” (taken from Artes de la Rosa’s promotional materials).

Is 26 Miles in English or Spanish? Both. Is it a Jewish story or a Latino story? Both. Well, is it a comedy or drama? Both. Hudes’ writing is notably a mixture of languages, cultures and genres. She weaves the tale of these two women, and all their emotional baggage, with humor and explosive arguments, tears and laughter, and a lot of wisdom too. The storyline may seem improbable to some - a mother taking her daughter, for whom she has no visitation rights, on an extended road trip but once you get to know the characters involved, it is entirely plausible. For me, 90% of a successful production rests on a good text, and 26 Miles is one of my favorite plays because it is ingenious in its simplistic approach and deeply human emotions, told in a non- melodramatic way. This is also a play that has characters everyone can identify with on some level - Cuban, Jewish, or something else. It is no wonder Hudes has been nominated for not one but two Pulitzer Prizes and a slew of Tony Awards for her work.

Artes de la Rosa produces its shows in the historic Rose Marine Theater on North Main Street in Fort Worth. When one thinks of going to the “theater”, this is the type of venue that comes to mind - classic architecture, a raked audience, and a proscenium stage. Comfortably seating 250, it still manages to have an intimate feel, and the magic of the theater permeates the very air we breathe. For this production the normally conceptual and spectacle-driven director Adam Adolfo, along with Oliver Luke as the Scenic Designer, Technical Director, and Stage Manager, opt for simplicity, allowing the story to be simply told utilizing the talent of four very strong actors against a series of sheer white curtains and four white, wooden dining room chairs. They even go so far as to place the prop table behind these curtains at far upstage center, visible to the audience when the curtains are parted as actors enter and exit.

In the pre-show, red and blue lights by designer Juan Gonzalez are reflecting off and behind these curtains, creating a sea of pinks and purples. The sets and the lights create a simple yet elegantly magical atmosphere even before words are spoken. Throughout the performance the lights change slowly to shift us from scene to scene, and to spot the actors in the far down stage positions where they make phone calls or deliver monologues. Unfortunately, the “intelligent lights” are very loud as they shift position, even audible over the music and the actors. However this is minor and the lighting design, as with the set, is subtle and supportive of the storytelling.

The preshow music hints that this is set in 1986, and once the play begins, we see this is true, though the costumes are not over the top. It is subtly 1980’s. Also, there is a lot of white in the costumes - shades of white and different fabrics with various textures to reveal who the characters are underneath. Splashes of color are thrown into the costumes so as not to overwhelm the audience, such as Beatriz’s red shoes and Olivia’s black sweat pants. Costumes and sound are both designed by Adam Adolfo. The play is full of sound effects, most of which signal a shift in scenes, and a healthy dose of 80’s music from all genres pumps through the speakers. One sound effect was a bit much though. We don’t need to hear what Olivia is doing in the bathroom but we do. Other times, the sound effects are perfectly in sync with the action on the stage, and add the occasional much needed comedic relief, such as a classic “wha-wha-whaaa” for the Japanese mountain climber’s untimely end.

Though director Adam Adolfo departs from his normal style, he demonstrates he is very capable of simplistic storytelling, and it never once gets boring or drags in this 90 minute one act with no intermission. The blocking is interesting even though Adolfo only gives his actors the four chairs to create everything from a bed in the hotel room to the car they use on the road trip to Mount McKinley. As mentioned earlier, he goes one step too far in the sound design but otherwise the design elements unite in perfect harmony around the story. No great spectacle, but a great spectacle would detract from the storyline. Much of the onstage action requires pantomime, and the hours rehearsing is evident during these times as the actors drive, climb mountains, and talk on telephones. All of this places the entire success or downfall of the show squarely on the shoulders of the actors - and they carry this responsibility with ease.

Georgia Marshelle Philips, a college student, plays 15 year old Olivia as wide eyed, self confidant, and as emotionally high strung as a 15 year old should be. Olivia is not a normal 15 year old - she’s half Cuban, half Jewish, and has lived with her father with little to no contact with her mother since the age of six. She is also a writer, opening the show with a long monologue that serves as a Letter from the Editor to the readers of her self-published magazine. Philips embodies the entirety of this character, bringing maturity and immaturity into perfect balance. Though at times the emotions seem a bit forced, especially at the beginning of scenes because there is such a big swing between scenes, Philips eventually slides into a believable performance. After the opening monologue, Philips must turn and become a very sick, vomiting Olivia, and this is her least believable scene. One could chalk it up to opening night adrenaline or that she was directed to perform the scene in this manner, but someone who has vomited 16 times in an hour would not move so quickly and would be more prone to gagging sounds rather than coughing. This scene quickly passes though, and Philips is able to utilize that adrenaline rush to push her later scenes rather than fighting to hold it back. Above all, Philips acts not just with her body and voice but with her big brown eyes, looking into the eyes of audience members as she addresses them, and into our souls as the tears well in her eyes as she gazes off into the distance. I was seated in the middle of the audience, and it was her eyes that drew me into the performance. Given the heavy subjects the two women discuss, it is easy to forget that 26 Miles is a comedy. Philips has comedic timing well beyond her years and spouts her imperfect Spanish (leaving those who are bilingual in the audience in stitches) with absolute dedication.

Beatriz is played with fiery passion by DeAnna Gonzales. She takes on a thick Cuban accent for this role but never once do her words get lost in the accent. In fact, her performance would have been unbelievable without it - and it is significant that it is an accurate Cuban accent and not a generic Spanish accent. One pitfall of her performance is that Beatriz yells, and she yells a lot. For example, in the first scene she yells at Manuel and then gets excited about Olivia’s phone call, and all this yelling leaves her very little room to grow in intensity for the truly explosive outbursts. However, one can interpret that Beatriz is always fervent, from small things to big things. But Gonzales balances the yelling with the quieter moments, and is above all an active listener to those on stage with her. She is believable as the heartsick mother who will move heaven and earth for those she loves, and she delivers the witty one-liners with absolute seriousness. “You are my daughter. You have a spiritual ass!”

David Johnson along with Carlos Ireugas, though having multiple minor roles, hold their ground alongside the more dominant characters, and are in no way overshadowed. This was why the standing ovation on opening night began when Iruegas and Johnson took their bows and only grew in intensity when the entire cast came together for the final bows. Johnson is first seen as Reader 2 and is joyful and almost childlike in his all white stereotypical housepainter’s outfit. He does a complete 180 degree turn when in the next scene he is Aaron, Olivia’s low-key and sad father. As Aaron, we see his confliction between loving his daughter and wanting to take care of her, and the need to keep the peace with his current wife Deborah. We also learn later on that Aaron was once a pot-smoking, motorcycle riding hippie who had become a dull, boring and responsible adult, and he seems to be mourning all he has lost in his life. Later Johnson returns as a gas station attendant in Ohio, showing us he has yet a third layer to his acting skills. In all three roles Johnson uses his commanding voice and his stoic yet at the same time deeply expressive facial expressions to convey what is truly happening inside his character. Whatever is required of him, he delivers without inhibition and with total commitment to both the text and his blocking.

Iruegas as Reader 1 is also very childlike, and exudes an enthusiasm that made the audience laugh and clap with joy. Then, for Beatriz’s husband Manuel, he changes into a man full of conspiracy theories who loves his wife but is most definitely carrying a dark secret. His shining moment is as the Tamale Seller, who gives a lengthy monologue about how his wife makes the tamales. A few scenes later Iruegas flexes his comedic muscles as the mountain climber Uemura, climbing upon the four chairs placed back to back while wearing a huge white snow suit. He has no lines but must react to everything Olivia says about him, up to and including his death upon Mount McKinley. The audience roared with laughter at his facial expressions and less than enthusiastic thumbs up to the circling helicopter.

When the train comes to a final stop, the audience cannot help but feel the same exhaustive exhilaration the characters do. Artes de la Rosa’s 26 Miles is a journey that should not be missed.

Reviewed by Laura L. Watson, Associate Theater Critic
for John Garcia's THE COLUMN
____________________________________________

26 MILES
Artes de la Rosa
at the Rose Marine Theater
1440 North Main Street
Fort Worth, Texas 76164

Runs through December 18th

Performances are Friday and Saturday @ 7:30 pm, Sunday matinee @ 2:30 pm.

Tickets are $18 general admission and $12 for students and seniors.
Tickets can be purchased online at www.rosemarinetheater.com or by calling (817) 624-8333.

Directed by Adam Adolfo
Stage Managed by Oliver Luke
Scenic Design by Oliver Luke
Lighting Design by Juan Gonzalez
Sound Design by Adam Adolfo
Costume Design by Adam Adolfo


CAST
Olivia- Georgia Marshelle Phillips
Beatriz- DeAnna Gonzales
Aaron/Attendant/Reader 2- David Johnson
Manuel/Tamale Seller/Uemura/ Reader 1- Carlos Iruegas


Reviewed performance on Friday December 2nd, 2011

Reviewed by Laura L. Watson, Associate Theater Critic
for John Garcia's THE COLUMN

Bias- I am friends with the director, Adam Adolfo, and the cast members Georgia Marshelle Philips, David Johnson, and Carlos Iruegas having performed or been directed by all of them in the past. In my opinion, this review does not reflect this bias and is in no way a result of our friendship.

Joseph and the Amazing Technicolor Dreamcoat, Artisan Center Theater 10-10-2011

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Artisan Center Theatre
--------------------------------------------------------------------------------

Reviewed Performance 10/10/2011

Reviewed by Laura L. Watson, Associate Critic for John Garcia's THE COLUMN

Artisan Center Theater's current production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is a high energy night of impressive singing and dancing that excites the audience even if the cast is a little young to be believable.

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is Andrew Lloyd Webber and Tim Rice's telling of the story of Joseph found in the Bible, entirely in song. Joseph is the 12th son of his father, Jacob, and is his father's favorite. Rather than working in the fields with his brothers, Joseph is taught to read and write and becomes a scholar. Joseph also has prophetic dreams and is able to interpret the dreams of others. Jacob gives Joseph a beautiful coat of many colors. Out of jealousy the brothers kidnap Joseph and ultimately sell him. They tell their father that he was killed, and Jacob is very distraught. Joseph is sold to Potiphar and quickly becomes a favored servant. However, Potiphar's wife also takes notice of Joseph, and when he rejects her seductive advances, she accuses him of trying to rape her. Joseph is sent to prison where he is eventually put in charge of all the prisoners.

When he interprets the dreams of some of the prisoners, word of his ability reaches Pharaoh who is having very disturbing recurrent dreams. Joseph tells the Pharaoh that after 7 years of prosperity there will be 7 years of famine for which they must prepare. Pharaoh is so impressed with Joseph he makes him the most powerful man in all of Egypt under Pharaoh. When the famine reaches Joseph's family in Canaan, his brothers come to Egypt and ask for food. Joseph hides a valuable cup in the youngest brother's bag and then accuses them of theft. As the brothers beg for the brother's life, Joseph's desire for revenge evaporates, and he asks for their father to come. Jacob sees Joseph, and Joseph quickly announces that all is forgiven and shares his wealth with his newly reunited family.

Dennis Canright wrote in his director notes that JOSEPH was one of his favorite musicals because it was fun. Fun was definitely the overwhelming theme of the show. Canright was able to bring together a relatively young cast with a wide range of stage experience, and united them with design elements that helped the audience suspend their disbelief and join in the fun.

However, in those same notes, Canright highlighted the many facets of Joseph's story, and the emotions that fuel it, but the production seemed more focused on singing and dancing with energy than telling the story. And this led to any emotions that weren't joyful and happy but instead being just glossed over until the music picked up again. His notes concluded with a hope that the story would reach into the hearts and souls of audience members. Though it was an entertaining production, it was very two-dimensional, and the story got a bit lost in all the excitement. This was probably more the fault of the script, and Canright definitely did his best to draw out the story and its emotions in the actors as best he could.

The choreography by Eddie Floresca was energetic, full of variety and daring. I say daring because it required high level dancing for community theatre actors in a very small space. On this very crowded stage, one dancer's misstep could have been disastrous. But Floresca didn't settle for hand and arm choreography (a.k.a. show choir moves), but instead made sure that no one's feet ever stopped moving. I was exhausted just watching the show and do not fault the actors for being hot and sweaty, even gasping for breath, at the end. The Pharaoh's Elvis style number "Poor, Poor Pharaoh" highlighted Floresca's creative genius as he mixed dance styles of the 1950's with Egyptian poses that gave the audience one of the most tantalizing numbers of the evening.

However, the Tango in the "Those Canaan Days" was the show stopping dance number. It was listed as the Apache dance. According to Floresca, Apache (pronounced A-pas-shay) is a French street dance known for its brutality and passion. It was included by Webber and Rice to highlight the brother's grief and regret over what they had done to Joseph. David Phillips and Bethany Stanelle were bold, executed the difficult moves well, and were passionate. He partnered her well, and she twirled and was lifted without hesitation and in total control. I wanted to see this show again just to enjoy that particular number.

Musical Direction by Richard Gwozdz produced a chorus that sounded amazing together, hitting all the right notes.

Artisan is about a 100 seat community theater in the round, and even for a Monday night performance, they were nearly sold out. The set was designed by Artisan's technical director Jason Leyva and Dennis Canright. The north and south walls were painted with clouds on a blue sky. The east wall, the main focal point for entrances and exits, had Egyptian symbols and art, including the Eye of Ra, and stairs that came down the middle of the audience to the stage floor. The west wall was a series of mirrors designed like a bird in flight above the audience's heads. The floor had a large starburst design in tie-dye, but was rarely seen during the show as this was a very large cast in a small space.

Lighting Design by Branson White gave a rock concert effect with flashing lights and a very bright stage. However, during Joseph's heartfelt solo in prison, "Close Every Door", the lights were effectively dimmed and a simple single solo eerily lit Joseph as he prayed in his cell.

Sound techs Tori Smith and Phyllis Huaute had the challenging task of mixing all 25 actors, and blending their voices and balancing them with the music tracks. Opening weekend usually has several mistakes, such as mics not turning on in time, but there were only two or three sound mistakes that I noticed. However, MANY of the soloists' mics were too low and either the music or the chorus overpowered them. Unfortunately, this really isn't a musical, it's an opera. VERY little is ever spoken. Therefore, many of the soloists are telling the story of Joseph, and if the audience can't hear or understand them, then the story is lost on the audience.

The props for JOSEPH were purposefully designed by Tammie Phillips to be cartoonish, and were minimalist. In fact, the only props were in the songs describing Joseph's dreams of corn stalks and stars, and at the end when the brothers received bags of food. The show did not require a lot of props, and to add in any more would detract.

A show with a title referencing a specific costume needed to bring in an expert designer, and JOSEPH had that with Nita and Jennifer Cadenhead. In this production, simplicity was key as it was jam packed with multiple quick costume changes throughout the show for every actor. As the chorus moved from country and western Jews, to a modern day millionaire's minions, to Egyptian slaves, each character was distinct yet the chorus was unified as a whole. The narrator wore black pants with a gold sequence jacket, giving a very 70's feel to the production.

The narrator only played dress up with the chorus once, and I wanted to see her join in with the chorus more. Joseph's coat was a long overcoat with a rainbow of ribbons sewn together, and sequins and glitter stars on the collar. In spite of the title, the multicolor coat was not on stage very long before it was destroyed and never seen again. For much of the show, we saw Joseph in a simple white t-shirt and skirt, with a white sash around his waist, symbolic of both his innocence and poverty as he completed his journey. When Pharaoh promoted him, gold jewelry and a headpiece were added, but otherwise, he remained in the same costume throughout. Headpieces were a prominent component of the costume designs, from Pharaoh's "Elvis hair" to the Egyptian hair beads to the cowboy hats, rarely were heads left uncovered, and each completed the costume.

Andrew Guzman was the title character of Joseph. If there was such a thing as a perfect voice for a role, Guzman had it for Joseph. Webber and Rice were known for their wide musical range and power ballads, all of which Guzman delivered with ease and beauty. His young, boyish face lent well for the role, and he portrayed the feelings of loneliness, sadness, and despair. His arrogance as the favored son could have gone further, though, with a cockier posture and more confidence. I never saw any emotion as he planted the stolen cup on his youngest brother- no anger, jealousy, or revenge. The scene where he was sold fell a little flat. I needed the mixture of emotions to really pop-fear, anger, hurt, surprise, etc. Instead, they just melded into submissive apathy which read as shock only. Finally, Joseph had worked as a servant, then a slave, and then hard labor in prison. Guzman's arms and legs needed more muscle definition to fulfill this part of the character.

Narrating the show was Jennifer Cadenhead. She engaged the audience well, easily making eye contact and guiding us through the story. As everything was sung, she did her best when singing in the lower ranges, and she blended well with Guzman. However, her voice sounded strained and not as good in the higher ranges or in certain styles. At the beginning of the show, even though she was alone on the stage, she needed to command the audience, and then cast attention on the others as they entered. This would be easier for her to do if we could hear her over the music. She did not have a strong, belting voice, and those music levels simply must be lowered so we can hear her.

James Lash played double duty as Jacob, Joseph's father, and Potiphar, the rich man who buys Joseph. As Potiphar, Lash seemed to have trouble with his microphone being tangled in his long hair, but otherwise, he played the nonchalant millionaire mogul to a T. As Jacob, his opening solo was off-beat in the music but his later solos were delivered with finesse and the beauty that a trained tenor can bring to a song. His heartache when the brothers told him Joseph had died was genuine, but his joy at seeing Joseph alive at the end was the most emotionally believable and powerful moment in the show, such that many audience members went from laughing and clapping in the number before to quiet tears of joy as they embraced.

Playing Potiphar's wife was Jamie Ecklund. The role required a strong singer and dancer who could seduce the audience and almost seduce Joseph. As I watched her in this role (and in others as a member of the chorus), I thought she must be the star of her high school drill team, but she's just a little too young for this role. Low and behold, I read her bio and it turned out she's a Pharmacist! i.e. a grown up. Ecklund didn't miss a step in the very good choreography, but her girlish face and figure lacked a maturity that the role required. This scene was the most unbelievable, and I think it would aid in the telling of the story if we could believe that Joseph was put in a difficult position and stood up to temptation.

Naphtali and Pharaoh were both played by Kyle Holt. As Naphtali, one of Joseph's oldest brothers, he KNEW his choreography and delivered the dance steps with ease, like a seasoned Broadway dancer. His Elvis-ish Pharaoh was spot on vocally, but needed more pizzazz in the movements. He seemed tired, and some of the moves had lost their pop, especially in his upper body. This was another character that the music drowned out and the audience lost a lot of what he was saying.

A few of the chorus really stood out. Daniel Curl was the Baker whose dream Joseph interpreted while in prison, also brother Asher, and general chorus member. Curl was over the top with his high energy and exaggerated dance moves. Though he was dancing and singing from a place of pure joy, and that made me want to watch him, he needed to blend in with the rest of the chorus so that he could truly stand out in his solo as the Baker. Alongside Curl in many scenes was Colton Hess as Issachar and the Butler. Though he needed to hold his head up while dancing and be confident, he knew the moves, and had one of the strongest voices and most believable emotion of any in the chorus.

Tasia Robinson, another high school student, was a powerhouse singer that I clearly heard all the way to the back row when she was singing in front of me. It's mind boggling she didn't have any solos, but was a delight on stage and one to watch in the future. David Rodriguez was very small on the stage, playing the youngest brother of Joseph, and he tried to make up for it by being over the top and cheesy (think Barney and Friends) in the opening number. However, when he and Guzman locked eyes as the brothers begged for their youngest brother's life in "Benjamin Calypso", there was a genuinely tender moment between brothers that was spell binding and powerful in its simplicity. Rodriguez was another with a beautiful voice and talent to watch for in the years to come.

The unaccredited four guards neither sang nor danced but generally just stood there trying to look menacing to those under their control. Unfortunately these were four roles that should have gone to older actors who were seriously buff. These young men appeared to be either in middle school or early high school and did everything they could to fulfill the roles, but they were just too young.

Finally, as a whole, the chorus enjoyed what they were doing with passion. None of them ever looked bored or had low energy (and yes, I was watching, trying to catch someone letting their character down). Musically, they blended well and allowed the music to soar up and out to the audience, sending shivers down my spine.

Though the cast was young or at least appear young, giving the audience a feeling of seeing a fantastic high school production, Artisan Center Theater's current production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT was energetic, passionate, and above all fun.



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JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT
Artisan Center Theater
418 E. Pipeline Road, Hurst, Texas 76053.
Runs through November 12th

Mondays, Tuesdays, Thursdays, Fridays and Saturdays at 7:30pm
with Saturday matinees at 3:00 pm

Tickets are priced $12 - $16 for adults, with discounts for seniors, students and children 12 and under.

Tickets are available online at www.artisanct.com or by calling 817-284-1200.

Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed by Dennis Canright
Produced by Dee Ann Blair
Stage Managed by Lindsay Hardisty
Assistant Stage Managed by Michael Williams
Musical Direction by Richard Gwozdz
Choreography by Eddie Floresca
Props by Tammie Phillips
Costumes by Nita and Jennifer Cadenhead
Set Design by Jason Leyva and Dennis Canright
Lighting Design by Branson White
Sound designed and operated by Tori Smith and Phyllis Huaute


CAST-NOTE: This show is double cast. Critic the cast which
performed 10-10-11

Narrator- Jennifer Cadenhead
Joseph- Andrew Guzman
Jacob/Potiphar- James Lash
Reuben- Michael Alger
Simeon- David Cook
Levi- Zeke Branim
Naphtali/Pharaoh- Kyle Holt
Issachar/Butler- Colton Hess
Asher/ Baker- Daniel Curl
Zebulon- Robert Molina
Gad- Tevin Cates
Judah- Jeff Carr
Benjamin- David Rodriguez
Dan- David Phillips
Naphtali's Wife/Mrs. Potiphar- Jamie Ecklund
Levi's Wife- Tamera Miller
Reuben's Wife-Gina Gwozdz
Zebulon's Wife-Morgan Gerdes
Benjamin's Wife-Tyler Vaden
Dan's Wife- Bethany Stanelle
Asher's Wife- Kim Wray
Issachar's Wife- Kristina Bain
Judah's Wife- Tasia Robinson
Simeon's Wife- Libby Hawkins
Gad's Wife- Christina Fares