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.
Tuesday, July 27, 2010
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).
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