EDITORIAL NOTE: The following review was penned at our request by a contributor. In my role as director of AASU's "Hedda", I did not feel it proper to also review said piece. As such, I asked for one and was obliged. I post it here without revision.
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The Armstrong Atlantic State University Masquers open their 2009-2010 season with a bold choice in Henrik Ibsen’s Hedda Gabler. It is important to also note that the Masquers are the first University to produce this version since it’s premiere on Broadway early this year. This New York production, adapted by Christopher Shinn, was blasted by New York Times theatre critic Ben Brantley as one of the “worst revivals he has ever, ever seen.” Not having the opportunity to see that production, this reviewer was anxious to see if the reviews were indicative of the new adaptation or that particular production.
The paint is still drying on Armstrong’s new theatre. And in recent months, the Masquers have proven that they are much more technically adept at handling their new space than in the first months in which it opened. The audience is immediately intrigued by the fascinating set design by Megan Baptiste-Field. The set, crafted to resemble a cage, makes a powerful statement to the audience long before the performance begins. Equally effective is the lighting design by Tiffany Barnhart. The cyclorama, clearly visible through the wall’s of Hedda’s ‘cage’, shifts and changes color in such an uneasy and sporadic fashion that one begins to feel they are riding the wave of neurosis along with the play’s central figure.
This play, much like any of the great Shakespearian tragedies, requires the director and the company to have plausible options for the lead actor before announcing auditions. The Masquers held an open call for every role, a bold move indeed. The result: Danni Conti as Hedda Gabler. Ms. Conti, a charming young woman, is a fresh face to the Jenkins theatre stage. On this fact alone, Director Eric Kildow should be commended for introducing a new face to the Masquers stage, which from recent shows looks more like a repertory ensemble than the thriving theatre department in which they have become.
Ms. Conti captures the audience’s attention from the moment she saunters on stage. However, after the audiences have had time to focus in on this production’s central figure, one begins to wonder if less would be more. Throughout this production, Conti often appears that she realizes the daunting role in which she has been cast. Also, at times, Conti’s movements and gestures appear as unmotivated as her character’s manipulative and neurotic behavior.
The rest of the cast acts as an efficient, well-cast ensemble. Perhaps the strongest two performances are delivered by two of the show’s leading men. Jonas Boyd (Judge Brack) and Logan Padilla (Tessman) deliver in nearly every moment. Mr. Boyd finds and delivers the humor in Judge Brack. Although, Boyd should be careful of boundaries and not reach for humor that the script simply doesn’t provide. Padilla is the epitome of Tessman. From his initial moment onstage, one would find it hard to believe that this young actor is a freshman. Hillary Kay has an effective presence as the elderly Miss Tessman. To that end, Ariel Pellman must be commended for her age make-up and costume design.
Director Eric Kildow has made bold choices for this piece. He is to be commended for his work. He also answers my questions about Brantley’s 2009 review. This new adaptation is cleanly written and is easily accessible to a modern audience. The responsibility lies on the shoulders of the director. The Masquers involved in this production could not have a better pair of shoulders on which to rest for this educational experience. That said, the aforementioned notes, while true, must be taken within the context that this work IS done within the educational realm. To see students producing such a powerful play will only make them stronger, more confident and better prepared the next time they take the stage. Which, knowing the Masquers’ busy season, should be very soon.
Showing posts with label Armstrong Atlantic State University. Show all posts
Showing posts with label Armstrong Atlantic State University. Show all posts
Wednesday, September 30, 2009
Thursday, February 19, 2009
The Full Monty: Armstrong Atlantic State University
It is a story as old as time itself, a man loses his job and decides to take off all his clothes in order to make ends meet. Well, perhaps it is not that old of a story. It is, however, quite the story, and it is this story that the Armstrong Atlantic University Masquers tell in their production of The Full Monty this weekend under the direction of Benjamin Wolfe.
This show is not without some trouble. As with any musical spectacular, it is inherently heavy on technical aspects, which AASU seems to be attempting to cope with gamely. Further, though engaging and moving in his portrayal of Jerry Lukowski, Phil Parham simply lacks the pipes required for much of the difficult vocal work. While there is much to be said for being able to act through a song, yet there are times that the lack becomes glaring.
However, the cast deserves honours for their accomplishment. Jonas Boyd is delightful as the gauche Malcolm and John Martin carries the role of proto-Parkour enthusiast Ethan Girard to new heights. Indeed, each member of the act carries his insecurities on his sleeve in a way to build empathy with the audience without overtly jerking tears. Georgie Lukowski (Med Meadows) and Vicki Nichols (Brittany Brown) almost make their watchers envious of their deep affection for their husbands. Gail Byrd, as hardened pianist Jeanette Burmeister, inspires laughs and acts as the quintessential raissoneur for the budding Chippendales in waiting.
Mr. Wolfe does indeed have a show, and the cast performs with such goodwill that one is willing to overlook many of the flaws. The Full Monty (and full moon if there isn't a bit better timing on the ligth board) is definately worth a look.
This show is not without some trouble. As with any musical spectacular, it is inherently heavy on technical aspects, which AASU seems to be attempting to cope with gamely. Further, though engaging and moving in his portrayal of Jerry Lukowski, Phil Parham simply lacks the pipes required for much of the difficult vocal work. While there is much to be said for being able to act through a song, yet there are times that the lack becomes glaring.
However, the cast deserves honours for their accomplishment. Jonas Boyd is delightful as the gauche Malcolm and John Martin carries the role of proto-Parkour enthusiast Ethan Girard to new heights. Indeed, each member of the act carries his insecurities on his sleeve in a way to build empathy with the audience without overtly jerking tears. Georgie Lukowski (Med Meadows) and Vicki Nichols (Brittany Brown) almost make their watchers envious of their deep affection for their husbands. Gail Byrd, as hardened pianist Jeanette Burmeister, inspires laughs and acts as the quintessential raissoneur for the budding Chippendales in waiting.
Mr. Wolfe does indeed have a show, and the cast performs with such goodwill that one is willing to overlook many of the flaws. The Full Monty (and full moon if there isn't a bit better timing on the ligth board) is definately worth a look.
Saturday, March 29, 2008
For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf: Armstrong Atlantic State University
For Colored Girls Who Have Considered Suicide When the Rainbow is Enuf, performed over the weekend of March 28th at the Masquer's Chinese Theatre on the Southside has managed, under the direction of Dr. Elizabeth Denoyers-Cola, to create the ensemble feel that The Savannah Dramaturgy applauds most heartily.
This choreopoem, as it is labeled, by Ntozake Shange, has lost none of its bite or relevance despite roughly twenty years of age upon its back. Particularly following Dr. Cola's approach of "Old School/New School" this piece rises as a collaborative masterpiece in the college season. Though the language is not updated, which would often ruin the poetry of the piece, contemporary music and dance, particularly of the hip-hop genre, is leavened into the piece. As Dr. Cola acknowledges that the process was largely one of learning, running in both directions from New and Old schools, this learning has not failed to produce a product that rewards the audience.
Further, for the opening night performance of March 27th, the piece was accompanied by a reception (and I do not know a dramaturg who will turn down free food) with panel discussion regarding For Colored Girls' continued relevance and place in the African-American dramatic canon. For this discussion alone, it was worth braving the cramped, stuffy interior of Masquer's Chinese Theatre. Indeed, given the fact that the program is staged by an educational institution, I find it dismaying that this is not done more often. One of the prime purposes of drama in education, according to scholars as various as Thomas Gressler and Robert Corrigan, is to teach individuals a deeper understanding of themselves and their situation. By placing Shange's work in the broader context, and reflecting upon how it affected and still affects the panelists, an excellent opportunity was created for the students to explore their own past and the history of the African American. It is a communal experience and an attempt to tap into the communal history.
Anyone reading the script to Colored Girls will find themselves somewhat confused by
Shange's unconventional punctuation, yet the purpose is to break up the standard narrative rhythm into Shange's poetry. One thing that was disappointing was that the rhythm and verve of Shange's writing was not always embodied in voice or movement by the actors. Notable exceptions to this are a recitation by Dr. Cola, the director, herself and much of the material from Lady in Purple (Amber Jones). Here one can find Shange's writing used to its full extent to create the beat of the life of a black woman.
Notable in this production is the inclusion of the male roles in the play, as opposed to the women playing an entire ensemble. While the latter is the more traditional approach, Dr. Cola elected to cast and include male actors in those very roles. Doing so, I feel, was the wiser thing to do in this case on a few different grounds. Firstly, changing between roles quickly is a form of acting that requires a definite amount of talent for the actor involved, and it is a task which student actors are generally not capable of performing effectively (certain counterexamples, such as Will Mobley's performance of the Artful Dodger in SCAD's production of Oliver Twist notwithstanding). Further, from a less practical standpoint, there is the fact that African American men are a very real, very physical part of the lives of African American women. Including the men in the space physically helps to reflect this.
Clive Barnes of The New York Times wrote that this piece could have made him feel guilty about being white and male, and yet it didn't. Coming from a very similar standpoint, I must agree. Instead, the AASU Masquers have managed to construct and perform a canticle. A canticle that sings the praises of humanity, and makes it possible for WASPs to have black sisters.
This choreopoem, as it is labeled, by Ntozake Shange, has lost none of its bite or relevance despite roughly twenty years of age upon its back. Particularly following Dr. Cola's approach of "Old School/New School" this piece rises as a collaborative masterpiece in the college season. Though the language is not updated, which would often ruin the poetry of the piece, contemporary music and dance, particularly of the hip-hop genre, is leavened into the piece. As Dr. Cola acknowledges that the process was largely one of learning, running in both directions from New and Old schools, this learning has not failed to produce a product that rewards the audience.
Further, for the opening night performance of March 27th, the piece was accompanied by a reception (and I do not know a dramaturg who will turn down free food) with panel discussion regarding For Colored Girls' continued relevance and place in the African-American dramatic canon. For this discussion alone, it was worth braving the cramped, stuffy interior of Masquer's Chinese Theatre. Indeed, given the fact that the program is staged by an educational institution, I find it dismaying that this is not done more often. One of the prime purposes of drama in education, according to scholars as various as Thomas Gressler and Robert Corrigan, is to teach individuals a deeper understanding of themselves and their situation. By placing Shange's work in the broader context, and reflecting upon how it affected and still affects the panelists, an excellent opportunity was created for the students to explore their own past and the history of the African American. It is a communal experience and an attempt to tap into the communal history.
Anyone reading the script to Colored Girls will find themselves somewhat confused by
Shange's unconventional punctuation, yet the purpose is to break up the standard narrative rhythm into Shange's poetry. One thing that was disappointing was that the rhythm and verve of Shange's writing was not always embodied in voice or movement by the actors. Notable exceptions to this are a recitation by Dr. Cola, the director, herself and much of the material from Lady in Purple (Amber Jones). Here one can find Shange's writing used to its full extent to create the beat of the life of a black woman.
Notable in this production is the inclusion of the male roles in the play, as opposed to the women playing an entire ensemble. While the latter is the more traditional approach, Dr. Cola elected to cast and include male actors in those very roles. Doing so, I feel, was the wiser thing to do in this case on a few different grounds. Firstly, changing between roles quickly is a form of acting that requires a definite amount of talent for the actor involved, and it is a task which student actors are generally not capable of performing effectively (certain counterexamples, such as Will Mobley's performance of the Artful Dodger in SCAD's production of Oliver Twist notwithstanding). Further, from a less practical standpoint, there is the fact that African American men are a very real, very physical part of the lives of African American women. Including the men in the space physically helps to reflect this.
Clive Barnes of The New York Times wrote that this piece could have made him feel guilty about being white and male, and yet it didn't. Coming from a very similar standpoint, I must agree. Instead, the AASU Masquers have managed to construct and perform a canticle. A canticle that sings the praises of humanity, and makes it possible for WASPs to have black sisters.
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