Ladies and Gentlemen,
I apologize for a recent dearth in coverage on the part of the Dramaturgy, as I have been quite busy with things recently. However, in order to try and continue serving the Savannah Theatrical community, we would like to post this audition notice and encourage interested parties to come on out.
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THE DIVA DAUGHTERS DUPREE AUDITIONS
By Kim Euell
Directed by John Houchin
WHEN: November 2, 2010,7-10pm
Where: City of Savannah Cultural Arts Theatre (9 W. Henry Street)
The Diva Daughters Dupree tells the story of three African American sisters who struggle with cultural assimilation, consumerism and race. The three sisters Billie (a successful financial adviser), Sarah (a college history professor) and Abbey (a college drop-out and free spirit) all aspire to the “American dream.” Playwright Kim Euell questions what they are willing to forfeit to have it all: Hairstyle? Dialect? Political views? Cultural identity?
Casting requirements:
Billie (40’s);
Sarah (30’s);
Abbey (20’s);
Zak, Billie’s white husband (40’s);
Uri, Bbbey’s Israeli husband (20’s);
Spencer, Sarah’s African American boyfriend (30’s).
The diva Daughters Dupree will be presented as a staged reading December 8 and 9, 2010.
Thursday, October 28, 2010
Tuesday, September 14, 2010
Tell Your Story
While idly watching Youtube videos, combing through the brain-rot and kitten videos, I came across this little gem from Harlan County Kentucky.
Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).
These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.
For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.
Community, based in the idea to commune or share. What are you sharing?
Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).
These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.
For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.
Community, based in the idea to commune or share. What are you sharing?
Friday, September 10, 2010
Open House: City Lights Theatre
Some things simply get better with age. Wine, houses, and, rarely but occasionally, plays.
This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.
The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."
The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.
To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.
Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.
By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.
WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).
This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.
The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."
The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.
To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.
Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.
By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.
WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).
Wednesday, September 8, 2010
Going Traditional
So, dear readers, your editor here at The Savannah Dramaturgy is going to take a moment to make a shameless plug.
I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.
I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.
Tuesday, August 31, 2010
Atlanta Dispatch
Recently, when taking my fiance to Atlanta to begin her stint with the Atlanta Shakespeare Company, I was afforded the opportunity and balmy weather to wander around downtown Atlanta for a few hours. Turning from Peachtree Street, onto Peachtree Lane, then strolling down Peachtree Court, and then up along Peachtree Road, I stopped by two of our young capitol's two theatrical landmarks. The first being the Woodruff Arts Center (Housing the Alliance Theatre), and the Historic Fox Theatre.
These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.
The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.
However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.
It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.
On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?
These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.
The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.
However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.
It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.
On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?
Sunday, August 29, 2010
Dr. Horrible's Sing-Along Blog Live!: Odd Lot Productions
When the media landscape changes, it only makes sense to look further afield for material when looking to expand the dramatic canon.
Though this might seem a touch grandiose when discussing Dr. Horrible's Sing-Along Blog, it is nonetheless fitting in describing precisely what occurred this past weekend at Muse Arts Warehouse when the Odd Lot (Savannah's resident improv troupe) presented a stage adaptation of the same.
Chronicling the story of a low-rent super-villain on his quest to join the "Evil League of Evil" and find the courage to profess his feelings to Penny (played by Lynita Spivey), an acquaintance made at the local laundromat, the script made its debut as an internet video starring Neil Patrick Harris. That the video achieved viral status is a testament to the music, writing, and general fun of the story.
And, in its Savannah stage premier, the cast of the Odd Lot has done it justice. With capable direction and cast, the live transition is made as smooth as possible for something written with sound-byte internet cinema in mind. Indeed, it renders the copious apologetics issued by the production staff prior to curtain unnecessary.
Though rocky at points, the Odd Lot finds its greatest success here when indulging in the invention and self-referential humour for which they are known. The continual return of a homeless man who "will accompany for food" (Played by Tim Reynolds) to provide underscoring is one simple example of this show at its best. Indeed, their greatest accomplishment in the cozy relationship with a Youtube meme is that they have managed the difficult feat of creating an "event."
Such "events" are rare, and have most recently been seen in Savannah's ubiquitous productions of The Rocky Horror Show. However, unlike Rocky Horror, this production has not yet had a chance to ossify into a creature capable of inducing shudders upon receiving the announcements of its revival. Congratulations to the Odd Lot on their first foray into production.
By Joss Whedon; directed by Chris Soucy; An Odd Lot Production. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 27-28.
WITH: Justin P. Kent (Dr. Horrible), Lynita Spivey (Penny), Ryan McConnell (Captain Hammer), Gabe Reynolds (Moist), Trish McKay (Bad Horse Chorus/ Crazy Fan), Tim Reynolds (Bad Horse Chorus/ Homeless Guy), Megan Jones (Bad Horse Chorus/ Crazy Fan), Timmy Vo (Bad Horse Chorus/ Crazy Fan), Hai Dang (Bad Horse Chorus/ Mayor).
Though this might seem a touch grandiose when discussing Dr. Horrible's Sing-Along Blog, it is nonetheless fitting in describing precisely what occurred this past weekend at Muse Arts Warehouse when the Odd Lot (Savannah's resident improv troupe) presented a stage adaptation of the same.
Chronicling the story of a low-rent super-villain on his quest to join the "Evil League of Evil" and find the courage to profess his feelings to Penny (played by Lynita Spivey), an acquaintance made at the local laundromat, the script made its debut as an internet video starring Neil Patrick Harris. That the video achieved viral status is a testament to the music, writing, and general fun of the story.
And, in its Savannah stage premier, the cast of the Odd Lot has done it justice. With capable direction and cast, the live transition is made as smooth as possible for something written with sound-byte internet cinema in mind. Indeed, it renders the copious apologetics issued by the production staff prior to curtain unnecessary.
Though rocky at points, the Odd Lot finds its greatest success here when indulging in the invention and self-referential humour for which they are known. The continual return of a homeless man who "will accompany for food" (Played by Tim Reynolds) to provide underscoring is one simple example of this show at its best. Indeed, their greatest accomplishment in the cozy relationship with a Youtube meme is that they have managed the difficult feat of creating an "event."
Such "events" are rare, and have most recently been seen in Savannah's ubiquitous productions of The Rocky Horror Show. However, unlike Rocky Horror, this production has not yet had a chance to ossify into a creature capable of inducing shudders upon receiving the announcements of its revival. Congratulations to the Odd Lot on their first foray into production.
By Joss Whedon; directed by Chris Soucy; An Odd Lot Production. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 27-28.
WITH: Justin P. Kent (Dr. Horrible), Lynita Spivey (Penny), Ryan McConnell (Captain Hammer), Gabe Reynolds (Moist), Trish McKay (Bad Horse Chorus/ Crazy Fan), Tim Reynolds (Bad Horse Chorus/ Homeless Guy), Megan Jones (Bad Horse Chorus/ Crazy Fan), Timmy Vo (Bad Horse Chorus/ Crazy Fan), Hai Dang (Bad Horse Chorus/ Mayor).
Wednesday, August 25, 2010
The Placide Book: A Savannah Dramatic Census
Recently, in musing over the state of the theatrical arts in Savannah (along with trying to put together an independent production), it dawned that though our community often bemoans our current condition (such as the recent discussion of the Savannah Morning News' interview with Caitlin Dutton), the exact status of the community is unclear.
As such, The Savannah Dramaturgy proposes to compile a "Placide book" of Savannah Theatres, or essentially conduct a census. The first step is to compile a list of institutions for the survey. Below is the beginnings of the list, with the hope that our readers will fill us in on things which we have missed.
+ All Walks of Life (AWOL)
+ Armstrong Atlantic State University Masquers
+ Bay Street Theatre
+ City Lights Theatre Company
+ City of Savannah Bureau of Cultural Arts
+ Collective Face, The
+ Fairweather Productions
+ Kimsam Productions
+ Muse Arts Warehouse
+ Odd Lot Productions
+ Performing Arts Collective of Savannah
+ Savannah Children's Theatre
+ Savannah College of Art and Design School of Performing Arts
+ Savannah State University Players By The Sea
+ Savannah Theatre, The
+ Three Muses Productions
If there are organizations on this list that I am missing, please let me know, by all means! We want this to be as complete as possible, after all.
As such, The Savannah Dramaturgy proposes to compile a "Placide book" of Savannah Theatres, or essentially conduct a census. The first step is to compile a list of institutions for the survey. Below is the beginnings of the list, with the hope that our readers will fill us in on things which we have missed.
+ All Walks of Life (AWOL)
+ Armstrong Atlantic State University Masquers
+ Bay Street Theatre
+ City Lights Theatre Company
+ City of Savannah Bureau of Cultural Arts
+ Collective Face, The
+ Fairweather Productions
+ Kimsam Productions
+ Muse Arts Warehouse
+ Odd Lot Productions
+ Performing Arts Collective of Savannah
+ Savannah Children's Theatre
+ Savannah College of Art and Design School of Performing Arts
+ Savannah State University Players By The Sea
+ Savannah Theatre, The
+ Three Muses Productions
If there are organizations on this list that I am missing, please let me know, by all means! We want this to be as complete as possible, after all.
Monday, August 23, 2010
The Swan: The Collective Face
Swan, meet philandering Milkman. Bill, the swan, or perhaps man... or perhaps mutant. In many ways, it doesn't really seem to matter as love, no matter how depraved, blooms eternal in Middle America.
A reading of Elizabeth Egloff's script, presented by The Collective Face this past weekend, charts one woman's desperate search for love, even if she has to depart the strictures of homo sapiens to find it. Originally produced by the Actor's Theatre of Louisville, an institution known for developing some of the finest new American plays, Ms. Egloff's story is certainly an interesting one, highly reminiscent of the classic Greek myth, Leda and the swan. Yet there is really nothing divine to be found in these pages. With a highly truncated scenic structure better suited to film, Ms. Egloff cuts off any interaction long before it can come to any form of fruition.
The cast all give this problematic material their best. Stephanie Candelaria cuts a naeurotic figure searching desperately for love while Cooper Westbrook does his best to make the openly philandering Kevin seem dynamic. If these two figures fall flat it falls to a lack of clear conception in the project and being simply outshone by the completely bizarre he-swan, Bill. Jacob Givens is a delightfully inhuman bird-man, with movement and focus distinctly avian.
Yet, as a part of The Collective Face's Summer Reading series, the entire project seems somewhat clumsy. Generally, readings are presented to showcase the work of a writer and lack the elements of full production in order to keep Spectacle from outshining plot and character. Yet in this "reading" there are not only full costumes and production-esque staging, but a full set and props as well. Watching the actors juggle props along with their scripts, particularly with complete disregard to audience expectation in terms of readings, is quite cringe-worthy. Further, given the fact that the scripts were never resorted to for the reading, the entire timbre of the project seems ill-conceived.
At the end of the day, though the work of The Collective Face is to generally be applauded, one finds that this piece simply does not live up to their preceding standards. Time would be much better spent either developing the reading with the cast, or taking the effort to produce it fully. Hybrid quasi-readings are simply half-measures that, in trying to do a bit of everything, do nothing particularly well.
By Elizabeth Egloff; directed & designed by David I.L. Poole; A Collective Face Production. At the Savannah Children's Theatre, 2160 E. Victory Drive, Savannah; (912) 238-9015. August 20-21st.
WITH: Stephanie Candelaria (Dora Hand), Cooper Westbrook (Kevin), Jacob Givens (Bill)
A reading of Elizabeth Egloff's script, presented by The Collective Face this past weekend, charts one woman's desperate search for love, even if she has to depart the strictures of homo sapiens to find it. Originally produced by the Actor's Theatre of Louisville, an institution known for developing some of the finest new American plays, Ms. Egloff's story is certainly an interesting one, highly reminiscent of the classic Greek myth, Leda and the swan. Yet there is really nothing divine to be found in these pages. With a highly truncated scenic structure better suited to film, Ms. Egloff cuts off any interaction long before it can come to any form of fruition.
The cast all give this problematic material their best. Stephanie Candelaria cuts a naeurotic figure searching desperately for love while Cooper Westbrook does his best to make the openly philandering Kevin seem dynamic. If these two figures fall flat it falls to a lack of clear conception in the project and being simply outshone by the completely bizarre he-swan, Bill. Jacob Givens is a delightfully inhuman bird-man, with movement and focus distinctly avian.
Yet, as a part of The Collective Face's Summer Reading series, the entire project seems somewhat clumsy. Generally, readings are presented to showcase the work of a writer and lack the elements of full production in order to keep Spectacle from outshining plot and character. Yet in this "reading" there are not only full costumes and production-esque staging, but a full set and props as well. Watching the actors juggle props along with their scripts, particularly with complete disregard to audience expectation in terms of readings, is quite cringe-worthy. Further, given the fact that the scripts were never resorted to for the reading, the entire timbre of the project seems ill-conceived.
At the end of the day, though the work of The Collective Face is to generally be applauded, one finds that this piece simply does not live up to their preceding standards. Time would be much better spent either developing the reading with the cast, or taking the effort to produce it fully. Hybrid quasi-readings are simply half-measures that, in trying to do a bit of everything, do nothing particularly well.
By Elizabeth Egloff; directed & designed by David I.L. Poole; A Collective Face Production. At the Savannah Children's Theatre, 2160 E. Victory Drive, Savannah; (912) 238-9015. August 20-21st.
WITH: Stephanie Candelaria (Dora Hand), Cooper Westbrook (Kevin), Jacob Givens (Bill)
Thursday, August 12, 2010
The Odd Couple: Fairweather Productions
A recent walk through the aisles of Barnes and Noble is honestly enough to plunge the average reader into a fit of violent existential desperation. According to the covers of the various books in the Current Affairs section, the following are preparing to destroy America: Republicans, Democrats, Drugs, Food, Media, Religion, Canadians, Mexicans, and (for some reason) the Dutch. All of this venom and vituperation sends this bibliophile in search of some small refuge from the brewing storm, a refuge that is comfortably provided by Fair Weather Productions' presentation of The Odd Couple at Muse Arts Warehouse.
Beginning with a fun adaptation of the traditional curtain speech, the corn-gold comic American poetry of Neil Simon shines forth in this show. With cast-wide byplay that one is sure Mr. Simon would greatly enjoy, there is a real impression that these men know one another quite well. Though often unnecessarily reserved, the moments when the lid blows off this scene of domestic, card-playing bliss are truly a delight to behold. There is real, sold humour in Mr. Simon's script and, though it flashes out in priceless moments, there are times where the audience is left wondering if they missed a punchline.
Bill Deyoung Brings to Felix Unger the same fine dignity he brought to his portrayal of Atticus Finch in Cultural Arts Theatre's Production of To Kill a Mockingbird while charging it with a comic energy that helps to endear the suffering Felix to the audience. If timing is off, I am sure the cast will help settle into a rhythm. Gabriel Ricard's Oscar Madison is a bluff-bowed slob who, though he deals poorly with hygiene, still cares deeply about his friend, creating a marked difference from his Mockingbird portrayal of dastardly slob Bob Ewell, less Walter Matthau and more Samuel L. Jackson. Though the cast caroms from hot to cold moment to moment, Mr. DeYoung and Mr. Ricard have a chemistry that binds them together and keeps the audience watching, certain that they may very well spend too much time together.
Congratulations go to Mr. Stanley Marcellus Simons in his first turn as director in a public venue. Known for his work with the Savannah Children's Theatre and his appearances in Fences and To Kill a Mockingbird, Mr. Simons demonstrates a nicety of awareness that I am sure will improve with continued practice.
Though not without shaky moments, Fairweather's The Odd Couple is a shared joy in uncertain times. Applause belongs to the cast and production staff for keeping an independent spirit alive here in Savannah, and for providing an entertaining evening.
By Neil Simon; directed by Stanley Macellus Simons; An Amy Kagan, Bill DeYoung, Gabriel Ricard production. Presented by Fair Weather Productions. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 12-15.
WITH: Stanley Simons (Speed), River Godbee (Murray), Christopher T. Newton (Roy), Patrick Tennerson (Vinnie), Gabriel Ricard (Oscar Madison), Bill DeYoung (Felix Ungar), Mary Elizabeth Hawks (Gwendolyn Pigeon), Zoe Wolff (Cecily Pigeon).
Beginning with a fun adaptation of the traditional curtain speech, the corn-gold comic American poetry of Neil Simon shines forth in this show. With cast-wide byplay that one is sure Mr. Simon would greatly enjoy, there is a real impression that these men know one another quite well. Though often unnecessarily reserved, the moments when the lid blows off this scene of domestic, card-playing bliss are truly a delight to behold. There is real, sold humour in Mr. Simon's script and, though it flashes out in priceless moments, there are times where the audience is left wondering if they missed a punchline.
Bill Deyoung Brings to Felix Unger the same fine dignity he brought to his portrayal of Atticus Finch in Cultural Arts Theatre's Production of To Kill a Mockingbird while charging it with a comic energy that helps to endear the suffering Felix to the audience. If timing is off, I am sure the cast will help settle into a rhythm. Gabriel Ricard's Oscar Madison is a bluff-bowed slob who, though he deals poorly with hygiene, still cares deeply about his friend, creating a marked difference from his Mockingbird portrayal of dastardly slob Bob Ewell, less Walter Matthau and more Samuel L. Jackson. Though the cast caroms from hot to cold moment to moment, Mr. DeYoung and Mr. Ricard have a chemistry that binds them together and keeps the audience watching, certain that they may very well spend too much time together.
Congratulations go to Mr. Stanley Marcellus Simons in his first turn as director in a public venue. Known for his work with the Savannah Children's Theatre and his appearances in Fences and To Kill a Mockingbird, Mr. Simons demonstrates a nicety of awareness that I am sure will improve with continued practice.
Though not without shaky moments, Fairweather's The Odd Couple is a shared joy in uncertain times. Applause belongs to the cast and production staff for keeping an independent spirit alive here in Savannah, and for providing an entertaining evening.
By Neil Simon; directed by Stanley Macellus Simons; An Amy Kagan, Bill DeYoung, Gabriel Ricard production. Presented by Fair Weather Productions. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 12-15.
WITH: Stanley Simons (Speed), River Godbee (Murray), Christopher T. Newton (Roy), Patrick Tennerson (Vinnie), Gabriel Ricard (Oscar Madison), Bill DeYoung (Felix Ungar), Mary Elizabeth Hawks (Gwendolyn Pigeon), Zoe Wolff (Cecily Pigeon).
Tuesday, July 27, 2010
Close Ranks! March!
Though it is outside of the general purview of The Savannah Dramaturgy, in that it does not deal directly with our theatrical community, we would like to take a moment to point something out to our readership.
Though I am fairly certain the the bulk of our local readership are also regular followers of the Connect: Savannah, we would like to point out this article by their A&E Editor Bill DeYoung.
The musicians and clubs of Savannah are closing ranks around Ms. Lori Stuart of Rhythm Riot in her time of need. We here at The Savannah Dramaturgy are issuing a call to all available thespians to go help! Though, at times, musicians and thespians can travel in very different circles... we are still all artists who have chosen to try and ply our trade in this beautiful jewel of the Coastal Empire. Since we can help each other, let us do so.
Thus, let us issue the call that the thespians of Savannah shall go forth and be patrons in support of Ms. Lori Stuart and the musicians who support her. For those who submit that we should look to our own, let us remind you that there is crossover! Mr. DeYoung himself is a fairly accomplished actor, taking turns as Atticus Finch in the Bureau of Cultural Affairs' production of To Kill a Mockingbird, a Juror in Twelve Angry Men, and his upcoming production of The Odd Couple. Support our fellow artists.
On top of it all, we're not asking folks to get root canals. Music is food for the soul, and Savannah has plenty of accomplished musicians. So go enjoy some music and support an excellent cause. We will be attending Mr. DeYoung's performance with Lauren Lapointe at The Sentient Bean. Information can be found here.
Though I am fairly certain the the bulk of our local readership are also regular followers of the Connect: Savannah, we would like to point out this article by their A&E Editor Bill DeYoung.
The musicians and clubs of Savannah are closing ranks around Ms. Lori Stuart of Rhythm Riot in her time of need. We here at The Savannah Dramaturgy are issuing a call to all available thespians to go help! Though, at times, musicians and thespians can travel in very different circles... we are still all artists who have chosen to try and ply our trade in this beautiful jewel of the Coastal Empire. Since we can help each other, let us do so.
Thus, let us issue the call that the thespians of Savannah shall go forth and be patrons in support of Ms. Lori Stuart and the musicians who support her. For those who submit that we should look to our own, let us remind you that there is crossover! Mr. DeYoung himself is a fairly accomplished actor, taking turns as Atticus Finch in the Bureau of Cultural Affairs' production of To Kill a Mockingbird, a Juror in Twelve Angry Men, and his upcoming production of The Odd Couple. Support our fellow artists.
On top of it all, we're not asking folks to get root canals. Music is food for the soul, and Savannah has plenty of accomplished musicians. So go enjoy some music and support an excellent cause. We will be attending Mr. DeYoung's performance with Lauren Lapointe at The Sentient Bean. Information can be found here.
Friday, July 23, 2010
Creativity Crisis: What of the American Mind?
So recently, this interesting article made its way across the LMDA (Literary Managers and Dramaturgs of the Americas) mailing server. It discusses current falling of American CQ (Creativity Quotient).
Also of related interest is this article. If one is looking to be creative, it might be best to get out of one's own way.
Also of related interest is this article. If one is looking to be creative, it might be best to get out of one's own way.
Sunday, July 18, 2010
The Last Five Years: Kimsam Productions
What happens when you're at the top and yet things don't seem to be working exactly right for you? This is the question directly addressed by Kimsam Productions' recent offering of Jason Robert Brown's song-cycle musical The Last Five Years. Charting the downfall of a marriage between rising writer Jamies Wellerstein, played by Ryan McCurdy, and struggling actress Catherine Hyatt, played by Brittny Hargrove.
As Jamie, Mr. McCurdy is his usual charming self. Played with the same magnetism that marked his performances in Urinetown, An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on His Final Evening, and Batboy, one finds it difficult to look away as Jamie sings the praises of his "Shiksa Goddess." It is a small regret that, evidently, he will be departing our fair city for bigger things at the end of this month. As such, this will make Last Five Years one of a number of swansongs performed by this Savannah mainstay, a series which began in April of 2009 with Cardinal Rep's final performance. If Mr. McCurdy truly is outward bound this time, we here at The Savannah Dramaturgy wish him the best.
Ms. Hardgrove, as a struggling and overwrought Catherine, is also highly enjoyable. The strengths of her past performances (Ti Moune in Once on This Island and Edith in Pirates of Penzance) are largely topped in this, her senior project as a Music Education and Voice Performance major at Armstrong Atlantic State University.
Though the cast is highly enjoyable, and are, by and large, capably directed by Ms. Kimmi Sampieri, the script itself lags behind the rest of the production. As a song cycle, there are a few enjoyable numbers individually, but the overall arch is simply tedious. Not only are they unbalanced, with Mr. Brown spending far more energy on Jamie's Odes to Joy, but the overall thrust makes it hard to mourn the ending of a relationships that the audience has never really seen in a functional mode. Though "The Next Ten Minutes" seems to be lovey enough, the audience already knows how it is going to end. This simply plays on heartstrings of syrupy sentimentality, without allowing the audience any hope of real redemption or reconciliation. The time schema, with Catherine telling the story in reverse while Jamie moves in a normal chronology, trends towards the absurdist work of Harold Pinter, particularly Betrayal.
Yet one thing this production can boast over many others in Savannah, is the use of actual orchestration as opposed to either canned or synthesized music. It is, at points, difficult to keep from being swept away when the violin, cello, and various sundry instruments are literally in the room with one. As such, this production should be praised, if for no other reason, for its ability to raise the bar in local community theatre in terms of the quality of the music itself.
By Jason Robert Brown; directed by Kimmi Sampieri; music direction by Kelli Horton; A Kimsam Productions production. At the Indigo Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. July 16-18, 22-24.
WITH: Brittny Hargrove (Catherine Hiatt) and Ryan McCurdy (Jamie Wellerstein).
As Jamie, Mr. McCurdy is his usual charming self. Played with the same magnetism that marked his performances in Urinetown, An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on His Final Evening, and Batboy, one finds it difficult to look away as Jamie sings the praises of his "Shiksa Goddess." It is a small regret that, evidently, he will be departing our fair city for bigger things at the end of this month. As such, this will make Last Five Years one of a number of swansongs performed by this Savannah mainstay, a series which began in April of 2009 with Cardinal Rep's final performance. If Mr. McCurdy truly is outward bound this time, we here at The Savannah Dramaturgy wish him the best.
Ms. Hardgrove, as a struggling and overwrought Catherine, is also highly enjoyable. The strengths of her past performances (Ti Moune in Once on This Island and Edith in Pirates of Penzance) are largely topped in this, her senior project as a Music Education and Voice Performance major at Armstrong Atlantic State University.
Though the cast is highly enjoyable, and are, by and large, capably directed by Ms. Kimmi Sampieri, the script itself lags behind the rest of the production. As a song cycle, there are a few enjoyable numbers individually, but the overall arch is simply tedious. Not only are they unbalanced, with Mr. Brown spending far more energy on Jamie's Odes to Joy, but the overall thrust makes it hard to mourn the ending of a relationships that the audience has never really seen in a functional mode. Though "The Next Ten Minutes" seems to be lovey enough, the audience already knows how it is going to end. This simply plays on heartstrings of syrupy sentimentality, without allowing the audience any hope of real redemption or reconciliation. The time schema, with Catherine telling the story in reverse while Jamie moves in a normal chronology, trends towards the absurdist work of Harold Pinter, particularly Betrayal.
Yet one thing this production can boast over many others in Savannah, is the use of actual orchestration as opposed to either canned or synthesized music. It is, at points, difficult to keep from being swept away when the violin, cello, and various sundry instruments are literally in the room with one. As such, this production should be praised, if for no other reason, for its ability to raise the bar in local community theatre in terms of the quality of the music itself.
By Jason Robert Brown; directed by Kimmi Sampieri; music direction by Kelli Horton; A Kimsam Productions production. At the Indigo Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. July 16-18, 22-24.
WITH: Brittny Hargrove (Catherine Hiatt) and Ryan McCurdy (Jamie Wellerstein).
Sunday, July 11, 2010
Frozen: The Collective Face
As Savannah swelters beneath the crushing force of the latest heatwave, people across the city seek cooler climes. Collective Face Theatre Ensemble's staged reading of Bryony Lavery's Frozen presented this past weekend at the Muse Arts Warehouse manages to drop temperatures to an unprecedentedly chilling level altogether.
Chronicling the story of a pathological serial killer, the mother of one of his final victim, and a psychologist set on charting the criminal mind, Frozen manages to treat a truly inflammatory issue with a certain calm, almost contemplative attitude. No musical stabs or insane shrieks, meditation-like quiet. This is not to say that it is unfeeling, just that the script delicately explores the nature of grief, vengeance, and responsibility. If there are limitations in this delightful script, the first comes at the end, as Ms. Laveny seems to lose faith in her audience for one moment and simply tacks on an additional tangle. The other is that, almost despite itself, it is too evenhanded in the way almost all topical plays are and tends to stumble into basic sentimentality at times.
The cast, comprised of Collective Face stalwarts Richie Cook, Dandy Barrett, and Karla Knudsen, manage to make the characters come naturally with admirable focus and vitality in performances that are no way flashy or oppressive. Of special note is Mr. Cook's performance of Ralph, the pathological murderer. If, as the play says, there is a difference between a sin and a symptom, Mr. Cook embodies this ably. When taking a knee to beckon a little girl to her gristly fate, one gets the impression that this is simply him doing what seems right. And so we sit, fascinated as by a weaving viper, and almost want to follow. Mr. Cook is, essentially, why our parents told us never to talk to strangers.
The set, by director/designer David I.L. Poole, is sparse and yet fitting, mildly reminiscent of the arctic wastelands that provide the play's visual metaphor. Accompanied by stimulating videography by Eric Nauert, the effect is chilling without being too ham-fisted.
Though the script was wrapped in a plagiarism controversy, with allegations on the part of the Associated Press that Ms. Lavery had lifted nearly 675 words (this article is 420) from a The New Yorker article about Dorothy Lewis (who later claimed the play was based on her life) this really should not enter consideration. Malcolm Gladwell, the author of the article in question, interviewed Ms. Lavery and found the use of material to be "permissible borrowing."
By Bryony Lavery; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; A Collective Face Theatre Ensemble Production. At the Muse Arts Warehouse, 703D Louisville Road, Savannah; (912) 713-1137. July 9-10.
WITH: Dandy Barrett (Nancy), Richie Cook (Ralph), and Karla Knudsen (Agnetha).
Chronicling the story of a pathological serial killer, the mother of one of his final victim, and a psychologist set on charting the criminal mind, Frozen manages to treat a truly inflammatory issue with a certain calm, almost contemplative attitude. No musical stabs or insane shrieks, meditation-like quiet. This is not to say that it is unfeeling, just that the script delicately explores the nature of grief, vengeance, and responsibility. If there are limitations in this delightful script, the first comes at the end, as Ms. Laveny seems to lose faith in her audience for one moment and simply tacks on an additional tangle. The other is that, almost despite itself, it is too evenhanded in the way almost all topical plays are and tends to stumble into basic sentimentality at times.
The cast, comprised of Collective Face stalwarts Richie Cook, Dandy Barrett, and Karla Knudsen, manage to make the characters come naturally with admirable focus and vitality in performances that are no way flashy or oppressive. Of special note is Mr. Cook's performance of Ralph, the pathological murderer. If, as the play says, there is a difference between a sin and a symptom, Mr. Cook embodies this ably. When taking a knee to beckon a little girl to her gristly fate, one gets the impression that this is simply him doing what seems right. And so we sit, fascinated as by a weaving viper, and almost want to follow. Mr. Cook is, essentially, why our parents told us never to talk to strangers.
The set, by director/designer David I.L. Poole, is sparse and yet fitting, mildly reminiscent of the arctic wastelands that provide the play's visual metaphor. Accompanied by stimulating videography by Eric Nauert, the effect is chilling without being too ham-fisted.
Though the script was wrapped in a plagiarism controversy, with allegations on the part of the Associated Press that Ms. Lavery had lifted nearly 675 words (this article is 420) from a The New Yorker article about Dorothy Lewis (who later claimed the play was based on her life) this really should not enter consideration. Malcolm Gladwell, the author of the article in question, interviewed Ms. Lavery and found the use of material to be "permissible borrowing."
By Bryony Lavery; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; A Collective Face Theatre Ensemble Production. At the Muse Arts Warehouse, 703D Louisville Road, Savannah; (912) 713-1137. July 9-10.
WITH: Dandy Barrett (Nancy), Richie Cook (Ralph), and Karla Knudsen (Agnetha).
Wednesday, June 23, 2010
Les Liaisons Dangereuses: Three Muses Productions
Since time immemorial, drama has dealt with those issues that have most preoccupied humanity: our place in the universe, the role of truth in our lives, and (of course) how do we as a species treat our intimate assignations. Le Liaisons Dangereuses, presented by Three Muses Productions at the Indigo Arts Station this weekend, delves most deeply into this final question and examines precisely how seriously this sort of thing must be taken.
Stepping away from a romantic tradition and walking far more firmly in the tradition of Arthur Schnitzler's La Ronde, Merteuil (Ellie Pyle) and Valmont (David Bonham) combat one another in a series of high-stakes games and challenges involving sex. However, though Schnitzler provides a candid view into sexual relations, Liaisons playwright Christopher Hampton provides the audience with no reason whatsoever to care about either of the protagonists on the stage.
Though the script is an award winner (also boasting a slew of nominations lost to true jewels like Fences and Boeing-Boeing) it is perhaps one of the most problematic aspects of the production. Reprehensible characters with vague motives, a highly episodic plot (far better designed for film), and a disturbingly cavalier attitude towards rape make for a great deal of discomfort. And though the piece is ostensibly about seduction and sex, it tends to bump forward with the austerity of a work by Wagner or Smetana when it would be far better served by the coital rhythms of Ravel's Boléro.
As anybody who has even entertained the idea of making love at one time or another instinctively knows, rhythm is all important in cases like this. And it takes the cast a few scenes to finally settle into something that is ultimately pleasing. From the distracting flicking of fans and mannerisms taking the lead over simple storytelling, the cast simply seems to have a bit of trouble finding that pleasing tempo.
However, let it be said that, once it is found, it pays dividends for both cast and audience. When the truly ribald innuendo and entendre begin to fly, the work becomes truly enjoyable. Savannah theatre veteran Gail Byrd (Rosemonde) is always a delight. Mr. Bonham and Corinna Rezzelle (Tourvel) have excellent byplay while Ms. Pyle depicts the black widow, spinning her webs.
Given that this is the first Three Muses production, we here at The Savannah Dramaturgy are eager to see what the next project will be coming next.
By Christopher Hampton, adapted from the book by Pierre Choderlos de Laclos; directed by Jackie Gordon; A Three Muses Productions production. At the Indigo Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. June 24-26.
WITH: Ellie Pyle (La Marquise de Merteuil), Catherine Killingsworth (Madame de Volanges), Madeline O'Hara (Cecile Volanges), David Bonham (Le Vicomte de Valmont), Justin Usary (Azolan), Gail Byrd (Madame de Rosemonde), Corinne Rezzelle (La Presidente de Tourvel), Eve Butler (Emilie), Cooper Westbrook (Le Chevalier Danceny), Zach Blaylock (Majordomo), Hannah Hyde (Julie).
Stepping away from a romantic tradition and walking far more firmly in the tradition of Arthur Schnitzler's La Ronde, Merteuil (Ellie Pyle) and Valmont (David Bonham) combat one another in a series of high-stakes games and challenges involving sex. However, though Schnitzler provides a candid view into sexual relations, Liaisons playwright Christopher Hampton provides the audience with no reason whatsoever to care about either of the protagonists on the stage.
Though the script is an award winner (also boasting a slew of nominations lost to true jewels like Fences and Boeing-Boeing) it is perhaps one of the most problematic aspects of the production. Reprehensible characters with vague motives, a highly episodic plot (far better designed for film), and a disturbingly cavalier attitude towards rape make for a great deal of discomfort. And though the piece is ostensibly about seduction and sex, it tends to bump forward with the austerity of a work by Wagner or Smetana when it would be far better served by the coital rhythms of Ravel's Boléro.
As anybody who has even entertained the idea of making love at one time or another instinctively knows, rhythm is all important in cases like this. And it takes the cast a few scenes to finally settle into something that is ultimately pleasing. From the distracting flicking of fans and mannerisms taking the lead over simple storytelling, the cast simply seems to have a bit of trouble finding that pleasing tempo.
However, let it be said that, once it is found, it pays dividends for both cast and audience. When the truly ribald innuendo and entendre begin to fly, the work becomes truly enjoyable. Savannah theatre veteran Gail Byrd (Rosemonde) is always a delight. Mr. Bonham and Corinna Rezzelle (Tourvel) have excellent byplay while Ms. Pyle depicts the black widow, spinning her webs.
Given that this is the first Three Muses production, we here at The Savannah Dramaturgy are eager to see what the next project will be coming next.
By Christopher Hampton, adapted from the book by Pierre Choderlos de Laclos; directed by Jackie Gordon; A Three Muses Productions production. At the Indigo Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. June 24-26.
WITH: Ellie Pyle (La Marquise de Merteuil), Catherine Killingsworth (Madame de Volanges), Madeline O'Hara (Cecile Volanges), David Bonham (Le Vicomte de Valmont), Justin Usary (Azolan), Gail Byrd (Madame de Rosemonde), Corinne Rezzelle (La Presidente de Tourvel), Eve Butler (Emilie), Cooper Westbrook (Le Chevalier Danceny), Zach Blaylock (Majordomo), Hannah Hyde (Julie).
Wednesday, May 19, 2010
Noises Off: Survival as an Artist
Cruising the blogosphere, we recently came across a discussion of how one works to survive as an artist, possibly the best analysis can be found at this link.
Congratulations
Ladies and Gentlemen, the results are in once again in Connect: Savannah's "Best of" competition. The 2010 vote was most certainly an interesting one, and can be viewed here in its entirety.
Special congratulations go to Mr. Ryan McCurdy for best actor, finally winning after a number of years of striving for it. Ms. JinHi Soucy Rand, founder of Indigo Arts, for best actress. And Mr. Benjamin Wolfe, who pulled down both Best Director (2nd in as many years) and best production for The Diary of Anne Frank.
However, and not to limit the accomplishment of these individuals, I cannot help but wonder if these awards are sufficient. Do we have recognition for design? What about the differentiation between musical and straight drama? What about accomplishments outside for other sorts of work? Ms. Rand is most definitely a talented actor, yet her most significant recent accomplishment is the founding of Indigo Arts and revolutionizing of the artistic business model.
So, perhaps it is time to begin thinking about our own set of awards. Not to replace Connect: Savannah's work, but to supplement it and allow for awards that are not necessarily predicated on who can get the vote out in their favour.
Yet, I pontificate. Congratulations to our winners, all is richly deserved. I look forward to future accomplishment in the coming year.
Special congratulations go to Mr. Ryan McCurdy for best actor, finally winning after a number of years of striving for it. Ms. JinHi Soucy Rand, founder of Indigo Arts, for best actress. And Mr. Benjamin Wolfe, who pulled down both Best Director (2nd in as many years) and best production for The Diary of Anne Frank.
However, and not to limit the accomplishment of these individuals, I cannot help but wonder if these awards are sufficient. Do we have recognition for design? What about the differentiation between musical and straight drama? What about accomplishments outside for other sorts of work? Ms. Rand is most definitely a talented actor, yet her most significant recent accomplishment is the founding of Indigo Arts and revolutionizing of the artistic business model.
So, perhaps it is time to begin thinking about our own set of awards. Not to replace Connect: Savannah's work, but to supplement it and allow for awards that are not necessarily predicated on who can get the vote out in their favour.
Yet, I pontificate. Congratulations to our winners, all is richly deserved. I look forward to future accomplishment in the coming year.
Monday, May 17, 2010
The Piano Lesson: Savannah Cultural Arts
“Take jazz or blues; you can't disregard that part of the African-American experience, or even try to transcend it. They are affirmations and celebrations of the value and worth of the African-American spirit. And young people would do well to understand them as the roots of today's rap, rather than some antique to be tossed away.”--August Wilson
The staging of a classic, particularly a classic by a genius as finicky as August Wilson (who leaves nothing up to chance and specifies almost everything in his dialogue), can be a major challenge. The City of Savannah's latest offering of Mr. Wilson's The Piano Lesson rises to this challenge effectively, bringing a classic of modern American theatre to local audiences.
Savannah has, thankfully, no real shortage of talent in terms of available actors who are willing to do projects, and Piano Lesson is no exception. Gary Swindell Jr. (Boy Willie) is a great dynamo, infusing his character with a great deal of energy while Stanley Marcellus Simons (Avery) manages to take the audience with him in transports of quiet ecstacy. They are matched by Charlene Williams's (Berniece) taut, almost neurotic, energy, Jesse W. James's (Doker) quiet dignity, and Alfred Pierce's (Lymon) endearing gawkiness.
Coupling this with a capable design schema from Dan Mellitz and Chann Givens, one is in for a remarkable evening of theatre.
However, it is possible to have too much of a good thing, and this evening is no exception. Be warned that the production is quite long, over three hours, to be exact. Also, given that the intermission happens well after the 1:40 mark, audience members should be prepared for something of a marathon. Though every word of Wilson's is precious, this production is badly in need of cuts. Before cries of "sacrilege" are raised, it should be noted that this is common practice with longer canonical works (Shakespeare, Miller, Parks) in order to help render them accessible to a wider audience. The message might be moving and earth-shaking, but if the audience is too distracted by an aching rear... they're not listening.
It is this issue that leads to the production's greatest and most specific limitation. Wilson's work is predicated on and built around jazz and blues music, with a very substantial use of these rhythms in the creation of a uniquely American poetry. This is rushed in a number of ways by this production (most likely in an attempt to save time) and the full richness of Wilson's language cannot be felt. Indeed, it is not until the singing of the song "Berta" that one really is able to experience the transformative power of Wilson's writing at full power.
Also, in terms of the cast notes. As opposed to a 1-2 sentence musing on the meaning of the piece (which should be left to the audience to consider), could we possibly learn something about the actors themselves? Perhaps a short bio, as opposed to some (in some cases) very flat thoughts.
By August Wilson; directed by Vickie Blackshear; lights, sets, and Sound by Dan Mellitz; costumes by Chann Givens; music by Gary Swindell Sr.; A City of Savannah Department of Cultural Affairs Production, presented by Cultural Arts Theatre. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 651-6417. May 14-16, 21-23.
WITH: Jesse W. James (Doker), Gary Swindell Jr. (Boy Willie), Alfred Pierce II, (Lymon), Charlene Williams (Berniece), Riche' Williams (Maretha), Stanley Marcellus Simons (Whining Boy), Nanika W. Ollard (Grace).
Saturday, May 8, 2010
Enchanted April: The Collective Face
For those who appreciate wisteria and sunshine, it may very well be worth your while to stop off at New Covenant Church on Bull Street to see the first offering of the newly formed Collective Face ensemble. Though not without its problems, the production is handled ably and offers a bit of family friendly joy for anyone in need of a lift.
Stepping into the place of Savannah's venerable Epworth Players, the ensemble of the Collective Face manage to aquit themselves admirably. Lottie, played by Karla Knudsen, bored wife of a solicitor, leads a contingent of women who are enamoured with wisteria to an Italian castle where romance blooms and renews for each person involved. The ensemble nature of the cast really and truly prevents one from picking out individual favourites, and they simply must be applauded en masse.
Yet how can these actors not help but be refreshed by the delightful settings. Director/Designer David Poole manages to ably turn dreary English sitting rooms and clubs into an atmosphere light and energetic to the point that the relatively cramped fellowship hall at New Covenant receives a breath of fresh air. Assisted in costumes by Chann Givens, Enchanted April is, well... truly enchanting.
The down note, however, comes in the script by Matthew Barber. It begins as a fairly trite examination of class mores and morals. And, in all honestly, one must ask if we really need another of these. Coupled with the assembly of a highly predictable cohort of archetypes (The Free Spirit, The Tortured Matron, The Prude, and The New Woman with Old Secret) one can roughly plot the entire course of the play once each of the characters has been introduced.
Mr. Barber's script then moves quickly into a sort of Edwardian Thelma and Louise. The complications seemingly pile one on the other out of nowhere. There is a lost child, dual identities, secret widow, cultural misunderstandings, and drug abuse. However, each of these seemingly insurmountable problems is quickly disposed of with minimal effort. A prime example would be the example of Federick Arnott (Donald Jarvis) who writes and attends parties under the libertine name of Florian Ayers. Though married to Rose Arnott (April Arnone), he arrives at the castle under the identity of Florian Ayers to see the Lady Caroline (Rhianna Van Helton), the libertine's lover. Given that Caroline has professed a love for him, and he was unawares that his wife was a travelling companion to the Lady... there is prime opportunity for misunderstanding, complication, and true drama. However, where in Thelma and Louise potentially gordian problems are solved by a gun, in Enchanted April it seems to be solved by simple British Good Manners (where nothing is said). Though there are some beautiful phrases and engaging tales told onstage, Mr. Barber's script is as steeped as Tetley in conflict avoidance. Though one would never want to arrive at a castle to find one's wife AND lover taking the breeze together, an audience member will pay good money to see what happens when someone does.
Though they have to fight to keep the script interesting, drown out disruptive children, and keep an audience precariously perched on uncomfortable seating in a stuffy hall engaged, the Collective Face Ensemble rises to the task admirably. Bravo to these enterprising folks at the Collective Face, one cannot help but look forward to their future endeavours.
By Matthew Barber, adapted from the book by Elizabeth von Armin; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; lighting by Miles Boinest; sound by Miles Boinest; A Collective Face production, presented by Epworth Community Players and New Covenant Church. At the New Covenant Church, 2201 Bull Street, Savannah; (912) 232-8511. April 29 & 30, May 1, 6-8, 13-15.
WITH: Karla Knudsen (Lottie), Eric Nauert (Mellersh), April Arnone (Rose), Donald Jarvis (Arnott), Rhianna Van Helton (Lady Caroline), Richie Cook (Wilding), Dandy Barrett (Mrs. Graves), Bridget Tunstall (Costanza).
Stepping into the place of Savannah's venerable Epworth Players, the ensemble of the Collective Face manage to aquit themselves admirably. Lottie, played by Karla Knudsen, bored wife of a solicitor, leads a contingent of women who are enamoured with wisteria to an Italian castle where romance blooms and renews for each person involved. The ensemble nature of the cast really and truly prevents one from picking out individual favourites, and they simply must be applauded en masse.
Yet how can these actors not help but be refreshed by the delightful settings. Director/Designer David Poole manages to ably turn dreary English sitting rooms and clubs into an atmosphere light and energetic to the point that the relatively cramped fellowship hall at New Covenant receives a breath of fresh air. Assisted in costumes by Chann Givens, Enchanted April is, well... truly enchanting.
The down note, however, comes in the script by Matthew Barber. It begins as a fairly trite examination of class mores and morals. And, in all honestly, one must ask if we really need another of these. Coupled with the assembly of a highly predictable cohort of archetypes (The Free Spirit, The Tortured Matron, The Prude, and The New Woman with Old Secret) one can roughly plot the entire course of the play once each of the characters has been introduced.
Mr. Barber's script then moves quickly into a sort of Edwardian Thelma and Louise. The complications seemingly pile one on the other out of nowhere. There is a lost child, dual identities, secret widow, cultural misunderstandings, and drug abuse. However, each of these seemingly insurmountable problems is quickly disposed of with minimal effort. A prime example would be the example of Federick Arnott (Donald Jarvis) who writes and attends parties under the libertine name of Florian Ayers. Though married to Rose Arnott (April Arnone), he arrives at the castle under the identity of Florian Ayers to see the Lady Caroline (Rhianna Van Helton), the libertine's lover. Given that Caroline has professed a love for him, and he was unawares that his wife was a travelling companion to the Lady... there is prime opportunity for misunderstanding, complication, and true drama. However, where in Thelma and Louise potentially gordian problems are solved by a gun, in Enchanted April it seems to be solved by simple British Good Manners (where nothing is said). Though there are some beautiful phrases and engaging tales told onstage, Mr. Barber's script is as steeped as Tetley in conflict avoidance. Though one would never want to arrive at a castle to find one's wife AND lover taking the breeze together, an audience member will pay good money to see what happens when someone does.
Though they have to fight to keep the script interesting, drown out disruptive children, and keep an audience precariously perched on uncomfortable seating in a stuffy hall engaged, the Collective Face Ensemble rises to the task admirably. Bravo to these enterprising folks at the Collective Face, one cannot help but look forward to their future endeavours.
By Matthew Barber, adapted from the book by Elizabeth von Armin; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; lighting by Miles Boinest; sound by Miles Boinest; A Collective Face production, presented by Epworth Community Players and New Covenant Church. At the New Covenant Church, 2201 Bull Street, Savannah; (912) 232-8511. April 29 & 30, May 1, 6-8, 13-15.
WITH: Karla Knudsen (Lottie), Eric Nauert (Mellersh), April Arnone (Rose), Donald Jarvis (Arnott), Rhianna Van Helton (Lady Caroline), Richie Cook (Wilding), Dandy Barrett (Mrs. Graves), Bridget Tunstall (Costanza).
Sunday, April 18, 2010
Sordid Lives: Bay Street Theatre
“Ain’t it a bitch, sorting out our sordid lives?”
Well, it most certainly is. The Bay Street Theatre's latest offering of Del Shores' Sordid Lives manages to make the best of a difficult situation and show forth a production of this "black comedy about white trash" with charm and care.
This selection is by far one of Mr. Shores' weaker offerings. Following on the heels of the far stronger (yet less critically acclaimed) Daddy's Dyin' (Who's Got the Will?), Sordid Lives gives us a series of scenes poorly sutured together with monologues from Ty Williamson (Chris Stanley) and songs from Bitsy Mae Harling (Kimmi Sampieri). Mr. Stanley offers us a moving story of a homosexual actor trying to come to terms with his identity and Texas upbringing from within the monologues, and Ms. Sampieri sings ably... but the whole thing really does not hang together well.
The problem is essentially one of dramatic efficiency and construction. Mr. Shores' script (which won awards in LA for the playwriting, somehow) relies far too heavily on an episodic vignette format where angry women burst into bars (with guns, of course) for no discernible reason. Though each bit is funny in and of itself, the overall arch is akin to a badly directed mashup between Rowan & Martin's Laugh In and The Redneck Rampage. One can sense a real disdain for his characters, and at the end of the day... (particularly if one has even glanced at Jim Gode's Redneck Manifesto) even white trash characters deserve to be treated kindly.
Despite all of this, The Bay Street Theatre's production shines with tongue-in-cheek jokes and careful understanding. The cast, under the direction of Kimmi Sampieri (making her directorial debut), manages problematic material well. Sissy Hickey (Kathy Alderman) is a delightfully focused bundle of neuroses trying to quit smoking in the aftermath of her sister's death and ensuing family drama. Ms. Alderman plays with heart and excellent comic timing. Also reliably delightful is the drunken barfly Juanita (Genie Brazzeal), who manages to portray inveterate drunkenness without becoming simply obnoxious (a more difficult task than one would actually imagine). Also of note are Odell Owens (Logan Padilla), a Baby Hueyesque redneck with a penchant for cat's cradle and boundless enthusiasm; Earl "Brother Boy" Ingram (Neal Scott), a transvestite homosexual who has resisted almost 23 years and 68 "dehomosexualization" treatments at the hands of a vampish and oversexed Dr. Eve Bollinger (Khara-Beth Chandler); and Mr. Stanley as a touching and heartfelt Ty Williamson.
The cast is rounded out by Bay Street stalwarts Valerie Macaluso and Travis Harold Coles with Gwyn Yarbrough and Peter Grffin also making appearances.
Well, it most certainly is. The Bay Street Theatre's latest offering of Del Shores' Sordid Lives manages to make the best of a difficult situation and show forth a production of this "black comedy about white trash" with charm and care.
This selection is by far one of Mr. Shores' weaker offerings. Following on the heels of the far stronger (yet less critically acclaimed) Daddy's Dyin' (Who's Got the Will?), Sordid Lives gives us a series of scenes poorly sutured together with monologues from Ty Williamson (Chris Stanley) and songs from Bitsy Mae Harling (Kimmi Sampieri). Mr. Stanley offers us a moving story of a homosexual actor trying to come to terms with his identity and Texas upbringing from within the monologues, and Ms. Sampieri sings ably... but the whole thing really does not hang together well.
The problem is essentially one of dramatic efficiency and construction. Mr. Shores' script (which won awards in LA for the playwriting, somehow) relies far too heavily on an episodic vignette format where angry women burst into bars (with guns, of course) for no discernible reason. Though each bit is funny in and of itself, the overall arch is akin to a badly directed mashup between Rowan & Martin's Laugh In and The Redneck Rampage. One can sense a real disdain for his characters, and at the end of the day... (particularly if one has even glanced at Jim Gode's Redneck Manifesto) even white trash characters deserve to be treated kindly.
Despite all of this, The Bay Street Theatre's production shines with tongue-in-cheek jokes and careful understanding. The cast, under the direction of Kimmi Sampieri (making her directorial debut), manages problematic material well. Sissy Hickey (Kathy Alderman) is a delightfully focused bundle of neuroses trying to quit smoking in the aftermath of her sister's death and ensuing family drama. Ms. Alderman plays with heart and excellent comic timing. Also reliably delightful is the drunken barfly Juanita (Genie Brazzeal), who manages to portray inveterate drunkenness without becoming simply obnoxious (a more difficult task than one would actually imagine). Also of note are Odell Owens (Logan Padilla), a Baby Hueyesque redneck with a penchant for cat's cradle and boundless enthusiasm; Earl "Brother Boy" Ingram (Neal Scott), a transvestite homosexual who has resisted almost 23 years and 68 "dehomosexualization" treatments at the hands of a vampish and oversexed Dr. Eve Bollinger (Khara-Beth Chandler); and Mr. Stanley as a touching and heartfelt Ty Williamson.
The cast is rounded out by Bay Street stalwarts Valerie Macaluso and Travis Harold Coles with Gwyn Yarbrough and Peter Grffin also making appearances.
Sunday, April 4, 2010
12 Angry Men: Fairweather Productions LLC.
Reasonable doubt. Perhaps no two words link the world of criminal justice and dramatic arts as strongly as these. When seeking to convict an accused criminal, the jury must be convinced beyond this. When seeking to independently produce a theatrical work, with the requisite time, money, and effort, the average producer will want similar assurances of the return upon their investment.
This piece, adapted by Reginal Rose from a teleplay by the same title, and produced by Fairweather Productions LLC under the direction of Christopher Soucy marks the first dramatic production facilitated by Indigo Arts with verve that settled any doubt abuot their eventual success.
Contemporary American Cultural Policy is largely one of laissez faire when it comes to undertaking independent production. National Endowment and copyright/royalty provisions aside, those who seek to create theatre will operate largely free from government interference and assistance. This new production of 12 Angry Men may very well mark a new chapter of free initiative in Savannah's Theatrical community. To quote JinHi Soucy Rand in a recent interview with SavannahNow.com, "The local performers got together and said this is a play they wanted to see done." Such initiative on the part of performers is highly laudable, and we look forward to seeing Indigo Arts and Fairweather Productions assist even more artists in fulfilling their ambitions.
The piece itself is a classic crimial melodrama about the power of doubt. Though the message, the benefit of critical thought and sound argumentation, is a timely one in this age of political soundbites and Tea Party Rage, Rose's script is not without certain limitations. Closing people in a room, though powerful in terms of Neoclassical unity of place, also denies the audience direct consideration of the evidence. Though the witnesses discussed in the teleplay could be directly seen through flashback and other cinematic techniques, one is left with having to take second hand word from jurors while onstage. Further, aside from occasional demonstrations where jurors "reconstruct" events of the crime based upon their own recollections, the piece is highly static onstage.
The cast, built pursely out of local actors with grit contains notables such as Bill DeYoung, Ryan McCurdy (appearing opening weekend in place of Gabriel Ricard), Phil Keeling, Mark Rand, Al Paderewski, and Walter Magnuson. To pull together disparate elements of Savannah's theatrical community, figures from various artistic "orbits" into a single piece is an accomplishment which has not been rivaled since JinHi Rand's spearheadings of the late lamented Savannah Shakespeare Festival. It goes to prove that there ARE a variety of men in our theatrical community, it just has to be the right project.
Also, a number of the performances come down as particularly high caliber. Walter Magnuson's "Miss Manners" portrayal of Juror 2 gives a clear indication of this character's dedication to form. Al Paderewski, as the recently immigrated Juror 11, has a calm, contemplative manner that inspires a certain reverence for American due process. Mark Rand, as Juror 10, proves his artistic versatility and ability to play unsympathetic characters (see earlier comments regarding Doubt: A Parable) in this depiction of the case's most racially prejudiced juror. The ensemble cast proves itself highly capable of passing focus and limiting interruption.
Though Bill DeYoung capably and earnestly depicts Juror 4, there is a bit too much of Atticus Finch (which he played recently for the City of Savannah's production of To Kill a Mockingbird) in his manner, and some difference would help to demonstrate his range. ALso, John Turner's depiction of Juror 8 comes oddly across as the lovechild of the late Heath Ledger and an emergency alert tone. Having seen Mr. Turner turn in far more energetic performances (Rocky Horror- Bay Street Theatre), one would hope for a slightly more emphatic defense of one's principles. After all, as Juror 8 often repeats "There is a man's life at stake."
Further, it seems that the climactic scene, where Keeling's Juror 3 finds himself isolated in his continued stance of guilty, simply snaps like a damp firecracker and the show packs up as quickly as possible. Partially, the static staging simply leaves the actors to toss some form of platitude at his back, and none of these points seems to gain enough force to precipitate the violence of Keeling's reaction. In true Neoclassical style, the script has torn away all extraneous detail to allow us to focus on the struggle in the room itself (the actual verdict is really immaterial once the spiritual battle in the room is decided), but the staged climax fails to build on this platform and instead fizzles.
At the end of the day, the cast and production company (Fairweather) do well for themselves. This particular advertisment for the CSI Effect treads the boards with dignity and power, and we here at The Savannah Dramaturgy hope to see Fairweather building off its success here and helping to facilitate other artistic ambitions.
This piece, adapted by Reginal Rose from a teleplay by the same title, and produced by Fairweather Productions LLC under the direction of Christopher Soucy marks the first dramatic production facilitated by Indigo Arts with verve that settled any doubt abuot their eventual success.
Contemporary American Cultural Policy is largely one of laissez faire when it comes to undertaking independent production. National Endowment and copyright/royalty provisions aside, those who seek to create theatre will operate largely free from government interference and assistance. This new production of 12 Angry Men may very well mark a new chapter of free initiative in Savannah's Theatrical community. To quote JinHi Soucy Rand in a recent interview with SavannahNow.com, "The local performers got together and said this is a play they wanted to see done." Such initiative on the part of performers is highly laudable, and we look forward to seeing Indigo Arts and Fairweather Productions assist even more artists in fulfilling their ambitions.
The piece itself is a classic crimial melodrama about the power of doubt. Though the message, the benefit of critical thought and sound argumentation, is a timely one in this age of political soundbites and Tea Party Rage, Rose's script is not without certain limitations. Closing people in a room, though powerful in terms of Neoclassical unity of place, also denies the audience direct consideration of the evidence. Though the witnesses discussed in the teleplay could be directly seen through flashback and other cinematic techniques, one is left with having to take second hand word from jurors while onstage. Further, aside from occasional demonstrations where jurors "reconstruct" events of the crime based upon their own recollections, the piece is highly static onstage.
The cast, built pursely out of local actors with grit contains notables such as Bill DeYoung, Ryan McCurdy (appearing opening weekend in place of Gabriel Ricard), Phil Keeling, Mark Rand, Al Paderewski, and Walter Magnuson. To pull together disparate elements of Savannah's theatrical community, figures from various artistic "orbits" into a single piece is an accomplishment which has not been rivaled since JinHi Rand's spearheadings of the late lamented Savannah Shakespeare Festival. It goes to prove that there ARE a variety of men in our theatrical community, it just has to be the right project.
Also, a number of the performances come down as particularly high caliber. Walter Magnuson's "Miss Manners" portrayal of Juror 2 gives a clear indication of this character's dedication to form. Al Paderewski, as the recently immigrated Juror 11, has a calm, contemplative manner that inspires a certain reverence for American due process. Mark Rand, as Juror 10, proves his artistic versatility and ability to play unsympathetic characters (see earlier comments regarding Doubt: A Parable) in this depiction of the case's most racially prejudiced juror. The ensemble cast proves itself highly capable of passing focus and limiting interruption.
Though Bill DeYoung capably and earnestly depicts Juror 4, there is a bit too much of Atticus Finch (which he played recently for the City of Savannah's production of To Kill a Mockingbird) in his manner, and some difference would help to demonstrate his range. ALso, John Turner's depiction of Juror 8 comes oddly across as the lovechild of the late Heath Ledger and an emergency alert tone. Having seen Mr. Turner turn in far more energetic performances (Rocky Horror- Bay Street Theatre), one would hope for a slightly more emphatic defense of one's principles. After all, as Juror 8 often repeats "There is a man's life at stake."
Further, it seems that the climactic scene, where Keeling's Juror 3 finds himself isolated in his continued stance of guilty, simply snaps like a damp firecracker and the show packs up as quickly as possible. Partially, the static staging simply leaves the actors to toss some form of platitude at his back, and none of these points seems to gain enough force to precipitate the violence of Keeling's reaction. In true Neoclassical style, the script has torn away all extraneous detail to allow us to focus on the struggle in the room itself (the actual verdict is really immaterial once the spiritual battle in the room is decided), but the staged climax fails to build on this platform and instead fizzles.
At the end of the day, the cast and production company (Fairweather) do well for themselves. This particular advertisment for the CSI Effect treads the boards with dignity and power, and we here at The Savannah Dramaturgy hope to see Fairweather building off its success here and helping to facilitate other artistic ambitions.
Sunday, March 21, 2010
Further Thoughts on Community-Based Dramaturgy
Recent reports received while I was speaking to some folks who had attended the recent production of Pirates of Penzance at the newly revitalized Asbury Memorial Theatre has recently brought my thoughts back around to the prospect of Community-based dramaturgy.
However, we here at The Savannah Dramaturgy would like to apologize for our recent lack of writing and output. The pressures of a feverish job hunt on the part of the chief editor, along with the duties currently executed in his positionas Temporary Theatre Instructor at AASU, have negatively impacted general output. It is our hope that we can push through this and return to our serviced to the Savannah theatrical community.
Digression aside, one of the most telling points regarding this recent production is the sheer volume of attendance. Informal reports give the attendance at a couple hundred spectators, with a fairly healthy level of ticket sales. The chief question is, at this point, from whence come all of these enthusiastic theatregoers?
It comes down to the difference between accidental and integral audience. These concepts, coming from Richard Schechner's book Performance Theory, can help to explain some of Asbury's level of success. This measure controls, first of all, for artistic quality. Having not seen Pirates it is difficult, if not impossible, for The Savannah Dramaturgy to judge the merits of the performance itself. And the adage of "support local awesome" only comes into play if the performance fills both criteria. So assume, for the purposes of the discussion here, that this production most certainly does fulfill the "local" and "awesome" standard.
But consideration of the nature of the audience itself is where our theatrical community will find the most benefit in this discussion. As illustrated by Schechner, the integral and accidental audience hold only one thing in common. They both come to see the show. As this seems to be one of the biggest challenges faced by budding theatres, it is the one best considered for future health. Quite simply, the accidental audience comes to see the show on something of a lark. They pay for their tickets looking only to be entertained or engaged on some level. They are, at the end of the day, no less important the other audience members, but attracting them is a matter of marketing and market forces in an already busy tourist city.
The second form of audience, the integral audience, comes to see the show out of some form of obligation to the production itself. This is not to indicate any level of active coercion, or lack of interest in the show as entertainment/engagement, but simply the relationship of the audience to the production. The integral audience consists of those who have some form of substantive relationship to the community and project (family members, friends, parishioners, drama critics, etc.). Their attendance can, to a certain level, be assured.
I would submit that the box office success of the Asbury production, as opposed to other productions of comparable quality, may have a great deal to do with this form of audience typing. Asbury's relationship to the Savannah community generally, vis a respected worship congregation, helps to build an integral audience for their productions as there are a number of people external to the performing arts community that have an interest in the success of the production. Similar in impulse is the university summer production that takes care to cast a significant number of local children, knowing that casting little Jimmy will sell at least on ticket to Jimmy's mom, Dad, auntie, and all four grandparents. There is a vested interest, and the seeing of the production becomes an event in itself. Again, this is not to denigrate Asbury's artistic achievement, but to explicate (in part) the healthy attendance.
Such an example should provide effective tutelage to those aspiring thespians in our community. Theatre exists to serve the community around it, and as such one should engage with the community in the attempt to create an integral audience base. Asbury aside, one can also see the beginnings of this in the current vitality of Savannah's Indigo Arts, building interest in the performing arts as an endeavour in itself and key to the good life.
So, thespians, seek to embedd yourselves in the community, as then there will be far more interest in your success. Bowling alone may be the general modus operandi, but it is simply not sustainable.
However, we here at The Savannah Dramaturgy would like to apologize for our recent lack of writing and output. The pressures of a feverish job hunt on the part of the chief editor, along with the duties currently executed in his positionas Temporary Theatre Instructor at AASU, have negatively impacted general output. It is our hope that we can push through this and return to our serviced to the Savannah theatrical community.
Digression aside, one of the most telling points regarding this recent production is the sheer volume of attendance. Informal reports give the attendance at a couple hundred spectators, with a fairly healthy level of ticket sales. The chief question is, at this point, from whence come all of these enthusiastic theatregoers?
It comes down to the difference between accidental and integral audience. These concepts, coming from Richard Schechner's book Performance Theory, can help to explain some of Asbury's level of success. This measure controls, first of all, for artistic quality. Having not seen Pirates it is difficult, if not impossible, for The Savannah Dramaturgy to judge the merits of the performance itself. And the adage of "support local awesome" only comes into play if the performance fills both criteria. So assume, for the purposes of the discussion here, that this production most certainly does fulfill the "local" and "awesome" standard.
But consideration of the nature of the audience itself is where our theatrical community will find the most benefit in this discussion. As illustrated by Schechner, the integral and accidental audience hold only one thing in common. They both come to see the show. As this seems to be one of the biggest challenges faced by budding theatres, it is the one best considered for future health. Quite simply, the accidental audience comes to see the show on something of a lark. They pay for their tickets looking only to be entertained or engaged on some level. They are, at the end of the day, no less important the other audience members, but attracting them is a matter of marketing and market forces in an already busy tourist city.
The second form of audience, the integral audience, comes to see the show out of some form of obligation to the production itself. This is not to indicate any level of active coercion, or lack of interest in the show as entertainment/engagement, but simply the relationship of the audience to the production. The integral audience consists of those who have some form of substantive relationship to the community and project (family members, friends, parishioners, drama critics, etc.). Their attendance can, to a certain level, be assured.
I would submit that the box office success of the Asbury production, as opposed to other productions of comparable quality, may have a great deal to do with this form of audience typing. Asbury's relationship to the Savannah community generally, vis a respected worship congregation, helps to build an integral audience for their productions as there are a number of people external to the performing arts community that have an interest in the success of the production. Similar in impulse is the university summer production that takes care to cast a significant number of local children, knowing that casting little Jimmy will sell at least on ticket to Jimmy's mom, Dad, auntie, and all four grandparents. There is a vested interest, and the seeing of the production becomes an event in itself. Again, this is not to denigrate Asbury's artistic achievement, but to explicate (in part) the healthy attendance.
Such an example should provide effective tutelage to those aspiring thespians in our community. Theatre exists to serve the community around it, and as such one should engage with the community in the attempt to create an integral audience base. Asbury aside, one can also see the beginnings of this in the current vitality of Savannah's Indigo Arts, building interest in the performing arts as an endeavour in itself and key to the good life.
So, thespians, seek to embedd yourselves in the community, as then there will be far more interest in your success. Bowling alone may be the general modus operandi, but it is simply not sustainable.
Saturday, February 13, 2010
Choices, A Romeo and Juliette Story: AWOL
If you're looking to prove that a group of kids can do Shakespeare, then one should let them do Shakespeare. I was struck by this thought while recently watching the recent production at the Lucas Theatre of Choices: A Romeo and Juliette Story produced by A.W.O.L. (All Walks of Life). As the company directors mounted the stage during the curtain call, and the show director was eventually called up, the young people who worked so hard on this truly enjoyable show were duly praised, re-praised, and justly applauded. Bravo to the cast and crew on a job well done.
However, there are inherent weaknesses that keep this excellent project from being even better. Firstly, if you're looking to prove that kids can do Shakespeare, then that is what one should let them do! Altering the script in a substantial way, as has been done to this piece, essentially means that the performers are doing something else. And yet, given the role of this piece as a part of a longer-ranging hip hop project (and though it departs from stated mission is laudable nonetheless), alteration of the script should not only be allowable but laudable. The simple problem in this case is that the adaptation used by director Lakesha Green does not go far enough, but instead is a simple transliteration into fairly flat, mildly stilted contemporary English. If hip hop is the point, then allow these young poets to adapt Shakespeare's words into their own poetry. Or do the Shakespeare script true to the meter and poetry originally. Half-measures can be deadly in the theatre, robbing both audience and spirited performer of strong options. We had seen samples of these options when A.W.O.L. performed with the now-moribund Savannah Shakespeare Festival, but this same verve was dimmed at the Lucas.
Yet the vigorous young folks of the ensemble really do succeed in spite of this substantial handicap. Being treated like professionals, they truly do deliver an engaging and fairly nuanced performance. In such an ensemble piece, it would simply not do (nor could our bandwidth handle) to try and recognize each individually. So at the risk of forgetting someone, The Savannah Dramaturgy will err on the side of caution.
Further, there is much to be lauded in terms of community-building on the part of Choices. Through cooperation with Abeni Cultural Arts Dance Studio a positively mesmerizing dance was performed for the deaths of Tye (Tybalt) and Maurice (Mercutio). Accompanied by slam poetry that effectively sums up the lessons, A.W.O.L. has succeeded in a feat of cross-collaboration that hasn't been seen in this city since the aforementioned Shakespeare Festival. For this alone, A.W.O.L. deserves praise and recognition, not to mention the simple quality of performance given.
Quite simply, Savannah needs more of this. Our youth are our single greatest resource, to be husbanded and nurtured by the current generation of artists. The only issue is that the gurus need to step from the limelight in order to help facilitate this. Plato knew the power of the arts, even if he didn't value it. And so, we here at The Savannah Dramaturgy turn to the artistic leaders in our community and echo the words of A.W.O.L.'s youth. Life is about choices. We all have to make them. Lets make the right ones.
However, there are inherent weaknesses that keep this excellent project from being even better. Firstly, if you're looking to prove that kids can do Shakespeare, then that is what one should let them do! Altering the script in a substantial way, as has been done to this piece, essentially means that the performers are doing something else. And yet, given the role of this piece as a part of a longer-ranging hip hop project (and though it departs from stated mission is laudable nonetheless), alteration of the script should not only be allowable but laudable. The simple problem in this case is that the adaptation used by director Lakesha Green does not go far enough, but instead is a simple transliteration into fairly flat, mildly stilted contemporary English. If hip hop is the point, then allow these young poets to adapt Shakespeare's words into their own poetry. Or do the Shakespeare script true to the meter and poetry originally. Half-measures can be deadly in the theatre, robbing both audience and spirited performer of strong options. We had seen samples of these options when A.W.O.L. performed with the now-moribund Savannah Shakespeare Festival, but this same verve was dimmed at the Lucas.
Yet the vigorous young folks of the ensemble really do succeed in spite of this substantial handicap. Being treated like professionals, they truly do deliver an engaging and fairly nuanced performance. In such an ensemble piece, it would simply not do (nor could our bandwidth handle) to try and recognize each individually. So at the risk of forgetting someone, The Savannah Dramaturgy will err on the side of caution.
Further, there is much to be lauded in terms of community-building on the part of Choices. Through cooperation with Abeni Cultural Arts Dance Studio a positively mesmerizing dance was performed for the deaths of Tye (Tybalt) and Maurice (Mercutio). Accompanied by slam poetry that effectively sums up the lessons, A.W.O.L. has succeeded in a feat of cross-collaboration that hasn't been seen in this city since the aforementioned Shakespeare Festival. For this alone, A.W.O.L. deserves praise and recognition, not to mention the simple quality of performance given.
Quite simply, Savannah needs more of this. Our youth are our single greatest resource, to be husbanded and nurtured by the current generation of artists. The only issue is that the gurus need to step from the limelight in order to help facilitate this. Plato knew the power of the arts, even if he didn't value it. And so, we here at The Savannah Dramaturgy turn to the artistic leaders in our community and echo the words of A.W.O.L.'s youth. Life is about choices. We all have to make them. Lets make the right ones.
Monday, January 11, 2010
Whence the Musical?
Recently, while musing on the conditions of theatre in our nation, particularly some of the dreck that has been passing in the big musical houses these days, I stumbled across this. The Savannah Dramaturgy respectfully submits the following as one of our greatest fears for the future of dramatic arts.
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