Globe Trotting

Yea it's super late. I blame the snowstorm, holidays and moving for my tardy post; the latter is my least favorite occurrence, but alas, necessary at times.

Anyway, a little over a week ago I saw one of the most technically spectacular Centerstage shows ever. I have been in every production space in that theatre and have never witnessed such an array of technically challenging dynamics in one show. I was totally surprised (and super excited!).

Ok, back-up. Centerstage brought Chicago-based troupe Lookingglass Theatre's production of "Around the World in 80 Days" to Baltimore. Based on the novel by Jules Verne, the stage piece is written and directed by company member Laura Eason. The gist: a wealthy British man, Mr. Phileas Fogg, takes a bet that he can travel around the globe by train, ships, and any other accessible means, in 80 days. He embarks on his journey with his valet, Passepartout, en-tow. However, Mr. Fogg is pursued by Inspector Fix, who believes he is the culprit of a recent bank robbery. And so begins the abundant, serendipitous multi-continent encounters.

I was completely captivated by the excitement of the stage. Usually I'm focusing on content, context and character, but this time I was so impressed by the staging (all of which was conceived by Lookingglass and tweaked for Centerstage’s Pearlstone). First of all, the top of the stage was marked by the means of transportation Mr. Fogg took to complete his journey (in order of use, might I add). Once his journey began, trap doors turned the stage into an elephant trumpeting through India, a surly ship sailing among thunderstorm-stricken waters, and a sled gliding through the graceful snowfall of the American plains. Each experience was engrossing. Sound effects and lighting promoted the ambiance of each atmosphere; elephant rumbles, waves crashing, thunder, lightning, the midnight hue of gleaming snow. Simply wonderful.

Now that I’ve gushed, I can say the acting overall was wonderful. The ensemble roles were particularly entertaining, constantly changing dialects, demeanor and voices to suite the current culture and continent. Quite a demanding task to play several parts with energy and character authenticity. Another facet I enjoyed was the very subtle character shift Mr. Fogg makes as journeys over various continents. There wasn’t a specific nuanced moment of change, but a slow transformation caused by the events of his endeavor.

Ah the magic of theater. Just when you think you’re an analytical character junkie, along comes a show that makes you fall in love with production aesthetics. I just never know where my theatrical adventures will take me.