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).
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