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)
Monday, August 23, 2010
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).
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