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.
Tuesday, December 29, 2009
Monday, October 26, 2009
Oh to be Wilde and Earnest
I was surprised when I saw the set. Surprised and very excited. And I wanted to steal it.
Big, ten-feet-tall letters (E-A-R-N-E-S-T) line the upstage wall. A grand-looking piano is stationed on the stage-right side while seemingly Victorian-style couches and ottomans are front and center with zebra print pillows and upholstery! Seriously?! It’s hard to miss the magenta painted walls. I wanted to take the set and put it in my house. I totally adored it. Very flavorful and funky, but how was Centerstage going to stage Oscar Wilde’s “The Importance of Being Earnest” with such a modern motif?
You see, Wilde’s most popular work is set in 1900-ish London, England, with all the prim and proper practicalities of the Victorian time. Fuchsia and zebra were not quite on the list.
Centerstage's production of “Earnest” opens with Algernon (a friend of Jack…errr…Earnest) musing about the morning-room, with his full-on crisp, clean, pristine dialect. It takes the ears a few minutes to adjust to the formal voices, however, the proper twang seems to highlight the wit of Wilde’s writing (and really it puts the play into period context).
The accents just prove how truly impeccable the actors were. And their choices in mannerisms helped to further the personality of their respective character. You see, never would a lady of London jump into her love’s arm, flinging her legs around his torso. How preposterous! But Cecily does this which portrays her personality and free-thinking nature, sort of “updating” her character. I liked this, how director Irene Lewis played up some of the provocative content, and pushed the limits. A few shakes and moves and vocal inflection brought the scenes to life, making it easier to relate to the characters.
Some of the characters were in strict period garb; Ms. Prism and her tutor ways. Even Jack and Gwendolen donned costumes of a more traditional Victorian stature. But Cecily, the firecracker that she is, sported a much too short flowered dress, lime green tights and navy blue platform shoes. You could see the girl’s bloomers for crying out loud. Not Victorian high-society at all. Algernon’s latter garbs were more Annapolis sailor then Victorian scholar and bachelor. So how do a modern set, mixed genre costumes, classic writing and accents go together?
Well, the more progressive set, costumes and character vices help to provide a specific image contemporary audiences can relate to (I seriously would have stolen Cecily’s shoes too…though I think I own them in lime green). Although the style of the vocal nuances and set design are on opposite sides of the spectrum, the costumes and character development serve as a bridge between the two worlds (and the big letters are not distracting). **Dramaturg Gavin Witt explains production choices in his talk-backs, which are after select shows.
But there’s a spice more delicious to dish: Lady Bracknell. Lady Bracknell is played by Laurence O’Dwyer. Talk about pushing limits. And the thing is, it’s so believable. O’Dwyer plays the part of the washed-up, seen-better-days-now-I’ll-control-your-life mother incredibly well and oh-so hysterical. He was wonderful.
So sure, it’s a period piece, full of rich and clever content, but why not play with it a bit? Mix it up. And they did; just enough to enhance the characters, without distracting the audience from Wilde’s words.
“The Importance of Being Earnest” continues for about two more weeks, closing on Nov. 8.
Big, ten-feet-tall letters (E-A-R-N-E-S-T) line the upstage wall. A grand-looking piano is stationed on the stage-right side while seemingly Victorian-style couches and ottomans are front and center with zebra print pillows and upholstery! Seriously?! It’s hard to miss the magenta painted walls. I wanted to take the set and put it in my house. I totally adored it. Very flavorful and funky, but how was Centerstage going to stage Oscar Wilde’s “The Importance of Being Earnest” with such a modern motif?
You see, Wilde’s most popular work is set in 1900-ish London, England, with all the prim and proper practicalities of the Victorian time. Fuchsia and zebra were not quite on the list.
Centerstage's production of “Earnest” opens with Algernon (a friend of Jack…errr…Earnest) musing about the morning-room, with his full-on crisp, clean, pristine dialect. It takes the ears a few minutes to adjust to the formal voices, however, the proper twang seems to highlight the wit of Wilde’s writing (and really it puts the play into period context).
The accents just prove how truly impeccable the actors were. And their choices in mannerisms helped to further the personality of their respective character. You see, never would a lady of London jump into her love’s arm, flinging her legs around his torso. How preposterous! But Cecily does this which portrays her personality and free-thinking nature, sort of “updating” her character. I liked this, how director Irene Lewis played up some of the provocative content, and pushed the limits. A few shakes and moves and vocal inflection brought the scenes to life, making it easier to relate to the characters.
Some of the characters were in strict period garb; Ms. Prism and her tutor ways. Even Jack and Gwendolen donned costumes of a more traditional Victorian stature. But Cecily, the firecracker that she is, sported a much too short flowered dress, lime green tights and navy blue platform shoes. You could see the girl’s bloomers for crying out loud. Not Victorian high-society at all. Algernon’s latter garbs were more Annapolis sailor then Victorian scholar and bachelor. So how do a modern set, mixed genre costumes, classic writing and accents go together?
Well, the more progressive set, costumes and character vices help to provide a specific image contemporary audiences can relate to (I seriously would have stolen Cecily’s shoes too…though I think I own them in lime green). Although the style of the vocal nuances and set design are on opposite sides of the spectrum, the costumes and character development serve as a bridge between the two worlds (and the big letters are not distracting). **Dramaturg Gavin Witt explains production choices in his talk-backs, which are after select shows.
But there’s a spice more delicious to dish: Lady Bracknell. Lady Bracknell is played by Laurence O’Dwyer. Talk about pushing limits. And the thing is, it’s so believable. O’Dwyer plays the part of the washed-up, seen-better-days-now-I’ll-control-your-life mother incredibly well and oh-so hysterical. He was wonderful.
So sure, it’s a period piece, full of rich and clever content, but why not play with it a bit? Mix it up. And they did; just enough to enhance the characters, without distracting the audience from Wilde’s words.
“The Importance of Being Earnest” continues for about two more weeks, closing on Nov. 8.
Wednesday, October 21, 2009
Pass It On
“Here you don’t wait for death, you expect it.”
The chugging of a train. Women, one by one enter the theater, hover over a portrait and precede to hang it on the back stage wall.
With the tweet of a whistle, I jump back in my seat. The girls gasp for air, the fluster of clothes as the ladies rush to change into their new garbs--gray dresses resembling potato sack and white kerchiefs enveloping their heads. They march into file as if they’re being herded by a Border Collie.
I couldn’t help but cringe every time I heard that whistle.
A couple weeks ago I watched one of the most mesmerizing theater experiences I’ve ever seen (yes, yes, I’m delayed in my post. My apologies).
“Who Will Carry the Word,” is a heart wrenching portrayal of the life woman endured during World War II, at
There were many good moments between the girls. Overall, most had a grasp for the content and message. I could have used a little more emotion from some characters every now and again, considering the rich content. Whitney Nielsen, playing Fancoise, in particular, was spellbinding, and the heroine to boot. I sobbed with her when their party of three was diminished to two by a guards’ gunshot. Nielsen's character also had an intriguing progression; from attempting to strangle herself at the beginning, then transitioning into a beacon of hope for her comrades. She became a source of strength as they passed on one by one. The bare stage helped emphasize the impact of lives lost. Slowly, the stage became less crowded. You witnessed the decimation of life before your eyes.
The chilling truth is that this tale, this staged saga, is real. It happened. It’s in history books around the world. But no textbook or history lesson can portray the emotions like live people. The story feels real; it shows you the feelings and struggle in a way that’s incomparable by any other medium. It’s like I’m there, crying in the corner for these girls because I know I can’t do anything for them. I can’t change what happened or their fate.
Perhaps this is why I love theater.
Monday, September 8, 2008
Oh so long...
Well, I thought I posted this...a while ago. Apparently not. So, while I work on new material, i think I'll post some long lost entries, which apparently I wrote and never published.
I’m convinced critics have no idea what they’re talking about. After seeing Rosencrantz and Guildenstern are Dead, I cannot agree with the Broadway.com review.
This show is not supposed to make sense; it is not linear, it is not a typical show, it is Absurdist. It’s written to allow you, the audience member, to interpret the situations as you see fit. And, really, all interpretations are correct.
I must say I get a little frustrated when people don’t know about theater before they witness it. Then, they ask questions, because of their ignorance, which could have been easily avoided. I’m trying not to be mean, but when people come in and tell you what you should have done differently, in light of their ignorance, it’s really obnoxious. Who likes when somebody else, not as knowledgeable about a topic, tells “the expert” how to do their job? Not fun at all. Really, it’s asinine.
This particular script allows the audience to be creative and interpretive. So take it as such. Be imaginative. Enjoy the diversity of the stage. If you’re open, it will take you wherever you want to go.
Tuesday, March 4, 2008
Flip-Flop?
Most people know the story of Hamlet. They know he goes crazy and everyone dies at the end. But what happens behind the scenes action? What happens when characters leave the stage?
Rosencrantz and Guildenstern Are Dead discusses just that…what happens when these two characters leave the stage; the story Shakespeare didn’t pen.
Rosencrantz and Guildenstern Are Dead discusses just that…what happens when these two characters leave the stage; the story Shakespeare didn’t pen.
R&G is an absurdist script…meaning really;
“The Theatre of the Absurd departs from realistic characters, situations and all of the associated theatrical conventions. Time, place and identity are ambiguous and fluid, and even basic causality frequently breaks down. Meaningless plots, repetitive or nonsensical dialogue and dramatic non-sequiturs are often used to create dream-like, or even nightmare-like moods” (http://www.bookrags.com/wiki/Theatre_of_the_Absurd).
Knowing this is important as an audience member. These scripts are difficult to produce. They are full of hard, hard, hard, moments to depict; even for fabulous actors. Samuel Beckett was a pioneer of this style, with one of his most popular plays, Waiting For Godot. People still philosophize about the hidden meanings, but who knows if there thruly are the true undertones.
Anyway, this rant pertains to a review I discovered about Centerstage’s production of Rosencrantz and Guildenstern. It was not favorable in the slightest. Now, I have yet to see the show to give my production “two-cents,” but I’ve read the script and done my own philosophizing. So let me just say this: it is very difficult to understand and follow (especially if you don’t know Hamlet!). It is more difficult to perform. Page to stage transition is not as easy as it looks. Acting is not as easy as it looks; neither is directing, lighting, etc. Let’s be honest here, no job is easy in any circumstance if you don’t understand the logistics.
Knowing this is important as an audience member. These scripts are difficult to produce. They are full of hard, hard, hard, moments to depict; even for fabulous actors. Samuel Beckett was a pioneer of this style, with one of his most popular plays, Waiting For Godot. People still philosophize about the hidden meanings, but who knows if there thruly are the true undertones.
Anyway, this rant pertains to a review I discovered about Centerstage’s production of Rosencrantz and Guildenstern. It was not favorable in the slightest. Now, I have yet to see the show to give my production “two-cents,” but I’ve read the script and done my own philosophizing. So let me just say this: it is very difficult to understand and follow (especially if you don’t know Hamlet!). It is more difficult to perform. Page to stage transition is not as easy as it looks. Acting is not as easy as it looks; neither is directing, lighting, etc. Let’s be honest here, no job is easy in any circumstance if you don’t understand the logistics.
The show could very well be terrible, yes, but I like to give credit where credit is due and some things deserve some love even of they fail…miserably. Flops allow us to appreciate those that fly.
This is the tricky thing about theater; sometimes you have to understand it, know the background and some history, in order to comprehend the stage.
This is the tricky thing about theater; sometimes you have to understand it, know the background and some history, in order to comprehend the stage.
Thursday, February 14, 2008
Get Spunky!
To see a show in rehearsal and then on stage;that is rewarding. To see a show in rehearsal, then in production and have it be intriguing is theatre at it’s finest. There is something beautiful about the theatric process. When you see a show in its infancy, then, totally transformed, timed perfectly and with impeccable emotion, it’s as if you had something to do with it.
Kuumba Collective performed Zora Neale Hurston’s “Spunk” at Theatre Project this past weekend. This show is divided into two acts that really possess several skits. It starts with the “Prologue,” then “Sweat,” followed by “Story in Harlem Slang,” and act two is “The Gilded Six-Bits.” There are also some songs sprinkled between the sketches.
Let me just say, when I stopped by their practice a few weeks ago, memorization and blocking were much needed entities. Mostly, they needed to be recollected by the actors.
A unique dimension of this script is how it is both acted and narrated by the ensemble. Sometimes, the players narrate their own actions before or while they are being carried out, and at other times, another member of the company is narrating for them. This can be somewhat confusing at times. That’s how it was written. I do feel the actors were very definitive in differentiating between their dialogue and their narrative. They made it easy to see when they were a character and when they were a narrator, which helped the audience better understand the content.
Aside from a table, two chairs and some boxes, a set did not exist. However, the stage felt full and expressive. Blues Speak Woman, one of the characters, had some beautiful dresses; a shiny, sequined evening gown that made here as radiant as the sun and a lavender dress complete with feather headdress. So wonderful! Then, the Zoot-Suits—oh my, my! The pink with black pin stripes, black with green pinstripe and Patten-leather shoes. I’m sorry, but these guys looked so slick and snazzy, I wondered where I could find a man who dressed like that—only on stage? These garments brought the stage ambiance to life. You couldn’t help but focus on them. And they definitely served their purpose; you had a feel for the time period in which the play was set. I was also taken with the expression and sincerity of the actors. They breathed life into the script. It felt alive and fluid, as if you were observing a friend. In “Story in Harlem Slang,” Sweet Back’s facial dynamics were so natural and animated, you could see the motivation in his eyes; he wanted that woman.
All-in-all, the show was wonderful. It caught your attention, pulled you in and made you believe you were there, exactly what a show should do. This is proof that you don’t need to be extravagant to produce a magnificent show.
Wednesday, January 30, 2008
What Now!: To the Sequel
The holidays really mess you up. You try to get things done and keep up with work and ideas, but it never seems to happen. If you’re like me, your family doesn’t live too far, just far enough that you never have the chance to see them; close enough to meet for dinner, except you have opposite schedules. Such a pain; so holidays and birthdays are big events that always take precedence. No, no, no I’m not complaining, just observing how lazy I am during the holidays and thus have not posted much!
I did see some cool “stuff.” Josh Leftkowitz’s “Now What?” was everything I expected it to be. Here’s what I started over the blessed holiday season…
Nothing could be better than a great performance, followed by an entertaining sequel. When does that happen in the entertainment industry?
Spilling personal experiences on stage to strangers is not a cup of tea everyone can drink. Josh Lefkowitz, author and orator of autobiographical monologues, including a new piece, “Now What?,” has a smooth earnestness to his work. Perhaps what makes it so ear-friendly to a diverse crowd is the topic matter; a future in performance is tough to accelerated, but Leftkowitz has a way of taking a seemingly obscure career path and relating it to everyone in a room. You feel like he’s a long lost friend, informing you of the episodes in his life that you missed.
“Maybe you should write about this,” whispers Leftkowitz’ keen internal voice whenever an interesting escapade ensues. This echoing thought process is pivotal for his piece. It offers incredible insight to his world, and who and what muse him.
The focus on his relationship with Anika, his girlfriend, in this piece seems to portray her importance in his life. We can all relate to a soured, or souring, relationship. The process is not fun; however as Leftkowitz shows us, it's a catalyst for great writing.
Of course live theater can not save you from the audience. An audience's ability to comprehend the language and scenarios can make or break a piece. In this case, Leftkowitz’s Auschwitz jab produced silence (he is Jewish); except from me. I appreciate when people can poke fun at their demographics; how many blonde jokes have I heard? How many womanizing slanders are hilarious? This might sound silly, but I think you understand (of course there are limitiations).
Anyway, there are also the stutters and stammers and the timely search for lost words, which are heard quite conspicuously. These are the trials and tribulations of the stage. Yet, these minor flaws seem to prove the sincerity of the piece and the honesty of the content.
For me, theater is more than saying “this was good because, this was bad because.” I like to see the truth of the piece brought to life. When an artist speaks from the heart, there is no need to try and dig deeper for their message; it’s pretty transparent. This is what Leftkowitz does. He says what he means and feels and that’s all there is to it. It’s pure and true.
As he says is his closing, “It’s real.”
Art doesn’t get more beautiful than that.
I did see some cool “stuff.” Josh Leftkowitz’s “Now What?” was everything I expected it to be. Here’s what I started over the blessed holiday season…
Nothing could be better than a great performance, followed by an entertaining sequel. When does that happen in the entertainment industry?
Spilling personal experiences on stage to strangers is not a cup of tea everyone can drink. Josh Lefkowitz, author and orator of autobiographical monologues, including a new piece, “Now What?,” has a smooth earnestness to his work. Perhaps what makes it so ear-friendly to a diverse crowd is the topic matter; a future in performance is tough to accelerated, but Leftkowitz has a way of taking a seemingly obscure career path and relating it to everyone in a room. You feel like he’s a long lost friend, informing you of the episodes in his life that you missed.
“Maybe you should write about this,” whispers Leftkowitz’ keen internal voice whenever an interesting escapade ensues. This echoing thought process is pivotal for his piece. It offers incredible insight to his world, and who and what muse him.
The focus on his relationship with Anika, his girlfriend, in this piece seems to portray her importance in his life. We can all relate to a soured, or souring, relationship. The process is not fun; however as Leftkowitz shows us, it's a catalyst for great writing.
Of course live theater can not save you from the audience. An audience's ability to comprehend the language and scenarios can make or break a piece. In this case, Leftkowitz’s Auschwitz jab produced silence (he is Jewish); except from me. I appreciate when people can poke fun at their demographics; how many blonde jokes have I heard? How many womanizing slanders are hilarious? This might sound silly, but I think you understand (of course there are limitiations).
Anyway, there are also the stutters and stammers and the timely search for lost words, which are heard quite conspicuously. These are the trials and tribulations of the stage. Yet, these minor flaws seem to prove the sincerity of the piece and the honesty of the content.
For me, theater is more than saying “this was good because, this was bad because.” I like to see the truth of the piece brought to life. When an artist speaks from the heart, there is no need to try and dig deeper for their message; it’s pretty transparent. This is what Leftkowitz does. He says what he means and feels and that’s all there is to it. It’s pure and true.
As he says is his closing, “It’s real.”
Art doesn’t get more beautiful than that.
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