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?
Tuesday, August 31, 2010
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).
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