The holiday spirit descended upon Savannah a little early this year, much to the joy of each of its beneficiaries. "So This is Christmas," the Cardinal Rep Christmas program, is truly a gift under the tree this season.
For lack of better terminology, one can call this work a music revue... or perhaps something of a cabaret. But no matter what tag it bears, it is a great deal of fun. Ryan McCurdy uses his extensive musical talents on pieces ranging from A Nightmar Before Christmas, Vince Guaraldi's Peanuts Themes, and Christmas in Sarajevo from the Trans-Siberian Orchestra. Backed up by various members of the Cardinal Rep family, the evening reaches heights of true Christmas joy.
Valerie Lavelle begins the evening by outlining other holiday offerings, panning numerous elementary school pageants with the sort of gusto all theatre critics wished they had. Sheila Lynne provides an entertainingly depressing rendition of Frosty the Snowman, and Phil Keeling not only plays guitar ably, but is delightfully disturbing in his turn as grandmother Christmas.
But more importantly, this is an evening "with the Cardinal Rep family." Given that this is embraced, it lends a very tribal and inclusive feel that has marked Cardinal Rep's best work. Indeed, the only criticism falls on the calendar... that we will be waiting another year for the next holiday evening with the Cardinal Rep Family.
Wednesday, December 24, 2008
Saturday, December 13, 2008
Doubt: A Parable: Cardinal Rep
"What do you do when you are not sure?" This question begins John Patrick Shanley's Pulitzer and Tony Award-winning powerhouse Doubt: A Parable. It is a good question, one that resonates through Shanley's writing. However, Cardinal Rep's production of Doubt: A Parable, closing their 2008 season under the direction of Ms. Sheila Lynne, essentially answers this and any other question the audience might have.
Centered on the issue of ecclesiastical pedophilia, Doubt: A Parable tells the story of one Father Flynn, who is suspected of sexual misconduct with one of the parish altar boys. Perhaps one of the greatest strengths of Shanley's writing in this case is that he is remarkably evenhanded. Given the 2004/2005 writing and performance history of the show, coming during one of the major upswings in a longstanding issue (John Geoghan, a defrocked priest and convicted molester, had been killed in prison in 2003, and Paul Shanley was convicted in 2005), it would be all too easy to grind Father Flynn beneath a literary boot. However, Mr. Shanley's writing manages to present each character's point of view reasonably... thereby keeping doubt, and Doubt, very much alive.
However, as stated earlier, this production has the unfortunate auspice of answering the questions all too clearly. Father Flynn (played by Mark Rand), is immenently likeable and immenently wronged by a crusading Sister Aloysius (played by Dandy Barrett). However, instead of a righteous avenging angel, Ms. Barrett comes across as a crushing steamroller, obliviously trampling not only Father Flynn, but any who cross her path. And herein lies one of the central rubs of this production, the audience is not convinced that Sister Aloysius is acting in good faith. Instead, she often comes across as a hellbound version of the No Child Left Behind statute made into flesh and sewn into a wimple.
Despite this, there is ample opportunity to continue to raise doubts. When Sister Aloysius interviews the boy in question's mother, Mrs. Muller (played by Lakesha Green), the issue arises that the boy himself might be gay, and that Father Flynn, as opposed to preying on him, is simply reaching out. If this idea could properly been given wings and lofted, there might then have been doubts on the part of the audience. However, Ms. Green utterly fails to provide the needed thrust and simply comes across as putting forth absurdity in order to dodge a meeting with her son's school principal.
Thus, one should not only have doubts, but should be fully immersed in them. Is Father Flynn a predator? Is father Flynn even remotely well-meaning? Is the Muller boy in need of an understanding hand because of his sexual orientation? And yet, Ms. Lynne's interpretation either clearly answers the questions, or fails to put them forward for consideration. The result is ultimately unsatisfying.
Which brings us, in passing, to other issues. The satisfaction of a theatrical community, the ability to be involved in work, is important. And the fact that this show was simply pre-cast, and filled out without the benefit of auditions, does not sit well. In the building of a theatrical community, the need for engagement with artists is required. Simply not holding auditions sends a very clear message that one is not interested in the possible input of others. While it is no sin to have a cast in mind, auditions must still be held, if only for the sake of appearance. Otherwise, there is a very clear message of elitism... one that exacerbates this production's inability to deliver. And there are some very real, practical reasons for auditions to be held. Cardinal Rep stalwart, Valerie Lavelle, turned in an uncharacteristically flat performance as Sister James. While the role is ouside of her usual repertoir, is is not outside of her ability. However, Ms. Lavelle has also been wildly overworked recently. Auditions may very well have helped find somebody as capable and better rested.
Further, theatre today must engage with its audience, and violation of the audience/show conventions must be undertaken with great care. Baz Kershaw wrote in Modern Drama of a very real expectation on the part of the audience during the curtain call. Indeed, the expectation of being able to honestly thank the cast, and have them accept those thanks, does much to build goodwill. The use of a "tableux curtain call" in this production smacks of a certain disregard for the audience. Indeed, the same was done in Ms. Lynne's production of McDonagh's The Pillowman with the same ungrateful effect. In an attempt to seem edgy, or stylish, the audience is distanced. That distance is not something that the Savannah theatre community can easily afford, and it may be that Ms. Lynne is spending on credit.
However, this production does manage to find some bright points. Mr. Rand is truly moving as the infinitely likeable and utterly wronged Father Flynn. Indeed, much satisfaction that is lost in the overall interpretation is fished back out by Mr. Rand in terms of sheer enjoyment during his sermons and lectures. Ms. Lavelle, though she does not manage to hit the "forbidden fruit" tone in her uncertainty each time, plays the pupil to Ms. Barrett's mistress effectively. However, in a textually driven piece like Doubt: A Parable, solid likeability by the actors, and a will to like it from the audience, is insufficient.
Centered on the issue of ecclesiastical pedophilia, Doubt: A Parable tells the story of one Father Flynn, who is suspected of sexual misconduct with one of the parish altar boys. Perhaps one of the greatest strengths of Shanley's writing in this case is that he is remarkably evenhanded. Given the 2004/2005 writing and performance history of the show, coming during one of the major upswings in a longstanding issue (John Geoghan, a defrocked priest and convicted molester, had been killed in prison in 2003, and Paul Shanley was convicted in 2005), it would be all too easy to grind Father Flynn beneath a literary boot. However, Mr. Shanley's writing manages to present each character's point of view reasonably... thereby keeping doubt, and Doubt, very much alive.
However, as stated earlier, this production has the unfortunate auspice of answering the questions all too clearly. Father Flynn (played by Mark Rand), is immenently likeable and immenently wronged by a crusading Sister Aloysius (played by Dandy Barrett). However, instead of a righteous avenging angel, Ms. Barrett comes across as a crushing steamroller, obliviously trampling not only Father Flynn, but any who cross her path. And herein lies one of the central rubs of this production, the audience is not convinced that Sister Aloysius is acting in good faith. Instead, she often comes across as a hellbound version of the No Child Left Behind statute made into flesh and sewn into a wimple.
Despite this, there is ample opportunity to continue to raise doubts. When Sister Aloysius interviews the boy in question's mother, Mrs. Muller (played by Lakesha Green), the issue arises that the boy himself might be gay, and that Father Flynn, as opposed to preying on him, is simply reaching out. If this idea could properly been given wings and lofted, there might then have been doubts on the part of the audience. However, Ms. Green utterly fails to provide the needed thrust and simply comes across as putting forth absurdity in order to dodge a meeting with her son's school principal.
Thus, one should not only have doubts, but should be fully immersed in them. Is Father Flynn a predator? Is father Flynn even remotely well-meaning? Is the Muller boy in need of an understanding hand because of his sexual orientation? And yet, Ms. Lynne's interpretation either clearly answers the questions, or fails to put them forward for consideration. The result is ultimately unsatisfying.
Which brings us, in passing, to other issues. The satisfaction of a theatrical community, the ability to be involved in work, is important. And the fact that this show was simply pre-cast, and filled out without the benefit of auditions, does not sit well. In the building of a theatrical community, the need for engagement with artists is required. Simply not holding auditions sends a very clear message that one is not interested in the possible input of others. While it is no sin to have a cast in mind, auditions must still be held, if only for the sake of appearance. Otherwise, there is a very clear message of elitism... one that exacerbates this production's inability to deliver. And there are some very real, practical reasons for auditions to be held. Cardinal Rep stalwart, Valerie Lavelle, turned in an uncharacteristically flat performance as Sister James. While the role is ouside of her usual repertoir, is is not outside of her ability. However, Ms. Lavelle has also been wildly overworked recently. Auditions may very well have helped find somebody as capable and better rested.
Further, theatre today must engage with its audience, and violation of the audience/show conventions must be undertaken with great care. Baz Kershaw wrote in Modern Drama of a very real expectation on the part of the audience during the curtain call. Indeed, the expectation of being able to honestly thank the cast, and have them accept those thanks, does much to build goodwill. The use of a "tableux curtain call" in this production smacks of a certain disregard for the audience. Indeed, the same was done in Ms. Lynne's production of McDonagh's The Pillowman with the same ungrateful effect. In an attempt to seem edgy, or stylish, the audience is distanced. That distance is not something that the Savannah theatre community can easily afford, and it may be that Ms. Lynne is spending on credit.
However, this production does manage to find some bright points. Mr. Rand is truly moving as the infinitely likeable and utterly wronged Father Flynn. Indeed, much satisfaction that is lost in the overall interpretation is fished back out by Mr. Rand in terms of sheer enjoyment during his sermons and lectures. Ms. Lavelle, though she does not manage to hit the "forbidden fruit" tone in her uncertainty each time, plays the pupil to Ms. Barrett's mistress effectively. However, in a textually driven piece like Doubt: A Parable, solid likeability by the actors, and a will to like it from the audience, is insufficient.
Friday, November 28, 2008
Wait Until Dark: Little Theatre of Savannah
Wait Until Dark, The Little Theatre of Savannah's latest melodrama, manages to present a mixed bag for the spectator in its November 13-30, 2008 run at the Freight Station Theatre. The script, adapted for the screen in 1967 by Robert Carrington, is a veritable danse macabre of menace, though the cast has difficulty at times finding where the true menace lies.
The story, revolving around a recently blinded young woman, follows a trio of con men in their attempts to retrieve a heroin stuffed doll from the apartment this young woman shares with her photographer husband. The story twists a torturous path where Sam is slowly implicated in smuggling and marital infidelity, until the con is finally discovered and the thugs must resort to sheer force.
The cons Mike (Justin Kent) and Carlino (Phil Keeling) are, much in the way of confidence artists, quite likeable in their own way. Indeed, there is something of Laurel and Hardy or the Three Stooges in their relationship. Their main shortfalling is that they simply do not go far enough. Scenes that could truly relieve audience tension through a bit of laughten tend to fall short, as the schtick is neglected. While it could be raised to almost monumental heights, a la Noises Off, it fails to fully please. Instead, one has two likeable men caught, essentially, in a bad situation.
If Mr. Kent and Mr. Keeling do not paint their characters with broad strokes, the role of Harry Roat Jr. (Giles Gonnsen) stepped straight out of Hannah-Barbara's animation studios. Mr. Gonnsen has, unfortunately, reduced Mr. Roat from a frightening killer to a simple pop-culture meme. If Heath Ledger's Joker from The Dark Knight had stolen Peter Seller's sunglasses from Dr. Strangelove, one would then have an accurate picture of Mr. Gonnsen's performance. While possibly a great deal of fun, wearing monstrosity so clearly on one's sleeve ultimately robs the piece of menace. Had this role been played straighter (think Hannibal Lecter) then greater vistas of frightening depravity could have been opened in the playing of Roat. Instead, as one already knows where the beast lies, Roat is surpassed in creepiness by the lurking, nine-year-old Gloria (Kasey Siebert).
Acting honours for the evening go to Ms. Rachel Herrick in her performance of Susy Hendrix. Ms. Herrick manages a nearly convincing performance as the blind Mrs. Hendrix. Given the difficulty of playing disability, particularly one so keyed as sight, Ms. Herrick's performance manages to succeed in simply not distracting, though it manages much more. Darwin Hull, as Sam Hendrix, puts in a brief but amiable appearance that recalls a sentimentalized Lee Cobb from Death of a Salesman.
The cast, under the direction of Savannah theatrical veteran Christopher Soucy, primarily undershoot the mark, barring some exception. Given certain personnel issues throughout the rehearsal process, the cast has managed to put together an engaging show.
The set (designed by Jeroy Hannah) is an effective and spacious use of the Freight Station's sometimes limited square footage. However, the tone is truly set by the lighting (designed by director Christopher Soucy), oddly enough for a play about darkness. Mr. Soucy's choice of a brilliant, hard edged lamp for his house light helped to set the tone by bathing the waiting audience in harsh, white light.
Though Wait Until Dark is not without its shortcomings, Mr. Knott asks us to simply swallow a Byzantine con game extending to Montreal and tosses in Roat with almost no explanation as to his origins into the story, while the cast at times misses the opportunity to truly terrify, The Little Theatre of Savannah manages to put together an engaging evening of theatre.
Though the drawbacks and limitations of community theatre are a common, recurring theme here in The Savannah Dramaturgy, there is still an expectation of goodwill and excellence. Perhaps the most disturbing moment of the evening comes when this author is apologized to by multiple departing cast members. Such behavior is not only ungracious, but it also indicates to an audience member that their appreciation is unplaced and that absolution is desired. Given Savannah theatre's already limited resources, we cannot afford to lose goodwill, quite simply.
The story, revolving around a recently blinded young woman, follows a trio of con men in their attempts to retrieve a heroin stuffed doll from the apartment this young woman shares with her photographer husband. The story twists a torturous path where Sam is slowly implicated in smuggling and marital infidelity, until the con is finally discovered and the thugs must resort to sheer force.
The cons Mike (Justin Kent) and Carlino (Phil Keeling) are, much in the way of confidence artists, quite likeable in their own way. Indeed, there is something of Laurel and Hardy or the Three Stooges in their relationship. Their main shortfalling is that they simply do not go far enough. Scenes that could truly relieve audience tension through a bit of laughten tend to fall short, as the schtick is neglected. While it could be raised to almost monumental heights, a la Noises Off, it fails to fully please. Instead, one has two likeable men caught, essentially, in a bad situation.
If Mr. Kent and Mr. Keeling do not paint their characters with broad strokes, the role of Harry Roat Jr. (Giles Gonnsen) stepped straight out of Hannah-Barbara's animation studios. Mr. Gonnsen has, unfortunately, reduced Mr. Roat from a frightening killer to a simple pop-culture meme. If Heath Ledger's Joker from The Dark Knight had stolen Peter Seller's sunglasses from Dr. Strangelove, one would then have an accurate picture of Mr. Gonnsen's performance. While possibly a great deal of fun, wearing monstrosity so clearly on one's sleeve ultimately robs the piece of menace. Had this role been played straighter (think Hannibal Lecter) then greater vistas of frightening depravity could have been opened in the playing of Roat. Instead, as one already knows where the beast lies, Roat is surpassed in creepiness by the lurking, nine-year-old Gloria (Kasey Siebert).
Acting honours for the evening go to Ms. Rachel Herrick in her performance of Susy Hendrix. Ms. Herrick manages a nearly convincing performance as the blind Mrs. Hendrix. Given the difficulty of playing disability, particularly one so keyed as sight, Ms. Herrick's performance manages to succeed in simply not distracting, though it manages much more. Darwin Hull, as Sam Hendrix, puts in a brief but amiable appearance that recalls a sentimentalized Lee Cobb from Death of a Salesman.
The cast, under the direction of Savannah theatrical veteran Christopher Soucy, primarily undershoot the mark, barring some exception. Given certain personnel issues throughout the rehearsal process, the cast has managed to put together an engaging show.
The set (designed by Jeroy Hannah) is an effective and spacious use of the Freight Station's sometimes limited square footage. However, the tone is truly set by the lighting (designed by director Christopher Soucy), oddly enough for a play about darkness. Mr. Soucy's choice of a brilliant, hard edged lamp for his house light helped to set the tone by bathing the waiting audience in harsh, white light.
Though Wait Until Dark is not without its shortcomings, Mr. Knott asks us to simply swallow a Byzantine con game extending to Montreal and tosses in Roat with almost no explanation as to his origins into the story, while the cast at times misses the opportunity to truly terrify, The Little Theatre of Savannah manages to put together an engaging evening of theatre.
Though the drawbacks and limitations of community theatre are a common, recurring theme here in The Savannah Dramaturgy, there is still an expectation of goodwill and excellence. Perhaps the most disturbing moment of the evening comes when this author is apologized to by multiple departing cast members. Such behavior is not only ungracious, but it also indicates to an audience member that their appreciation is unplaced and that absolution is desired. Given Savannah theatre's already limited resources, we cannot afford to lose goodwill, quite simply.
Saturday, October 11, 2008
Falling off the Map
Firstly, the Savannah Dramaturgy would like to apologize for the dereliction of its duties recently. We have, indeed, missed much:
- Cardinal Rep's productions of "'Night Mother" & "Catch 22."
- AASU's productions of "Copenhagen" & "A Midsummer Night's Dream."
- I'm sure there are numerous other productions from other companies that we didn't cover.
- The changing of the guard at Savannah Cultural Arts.
- Wray Kessel's (founder of the Little Theatre) departure of this mortal coil.
- Essentially, anything of consequence for this fall season.
Sunday, August 3, 2008
Once on This Island: Savannah Cultural Arts
Bravo to DJ Queenan and Savannah Cultural Arts for demonstrating precisely what the theatre in Savannah is capable of once it has the resources it needs at its disposal. With the production of Once on This Island, the production team of Savannah Cultural Arts has mustered the significant creative power from various agencies throughout the city and created something truly enjoyable for the city.
The script, by Stephen Flaherty and Lynn Ahren, actually does fairly little to assist a production in the realm of audience identification or empathy. The piece, essentially a retelling of the 1830 Hans Christian Andersen fairytale The Little Mermaid, suffers from the classic character weaknesses of the traditional fairytale. Characters are, by and large, ciphers and silhouettes. Indeed, the main character, Ti Moune (played by Brittny Hargrove), is largely pathetic, surrendering herself to a mad quest for love. However, such victimization (self-inflicted or otherwise) is common among fairy-tale heroines and should not be taken as unusual. It is simply a measure of the script's weakness that such remains the case for Ti Moune. However, the liability is limited due to a solid showing by Ms. Hargrove.
Despite weaknesses of the book, Mr. Queenan has managed to assemble an entertaining and stimulating show. His most recent musical endeavour, The Boyfriend for the Little Theatre of Savannah, fell short largely due to musical limitations. However, the more formidable resources of the city allowed for the hiring and retention of a much stronger musical core. Further, energetic and appropriate choreography has been provided by Muriel Miller and Nancy Holmes of Abeni Cultural Arts (who also made quite an impression with their dance-based Othello during the Savannah Shakespeare Festival). The strength of the dance not only exceeded expectation, but also provided a very visceral connection to the Caribbean beat of this piece.
Further, the city has managed to bring in the varied talents of designer Danica Leigh (who provided the headpieces of the god characters), Adrienne Cronberger (costumes), and the acting talents of Ryan McCurdy, who had an excellent turn as an engaging Papa Ge. Again, the variety of resources which can be drawn upon by the city, including Abeni, Cardinal Rep, and SCAD, are a testament to the strength of Savannah's theatrical community. However, as has been evidenced by other productions, that strength is only made most fully evident when the proper resources can be brought to bear on the project. Much like this years Shakespeare Festival, Once on This Island has primarily succeeded by pulling in an combining the various orbits of Savannah's theatricality.
It should also be noted that this marks Mr. Queenan's final production with the city's Department of Cultural Affairs. He is departing to teach at Savannah Country Day, where The Savannah Dramaturgy hopes we will see more good work from him and steps forward in the training and inspiration of young artists. It is our fervent hope that Mr. Queenan's successor will draw upon the integrational abilities of the city in order to continue to strengthen Savannah's theatrical community.
The script, by Stephen Flaherty and Lynn Ahren, actually does fairly little to assist a production in the realm of audience identification or empathy. The piece, essentially a retelling of the 1830 Hans Christian Andersen fairytale The Little Mermaid, suffers from the classic character weaknesses of the traditional fairytale. Characters are, by and large, ciphers and silhouettes. Indeed, the main character, Ti Moune (played by Brittny Hargrove), is largely pathetic, surrendering herself to a mad quest for love. However, such victimization (self-inflicted or otherwise) is common among fairy-tale heroines and should not be taken as unusual. It is simply a measure of the script's weakness that such remains the case for Ti Moune. However, the liability is limited due to a solid showing by Ms. Hargrove.
Despite weaknesses of the book, Mr. Queenan has managed to assemble an entertaining and stimulating show. His most recent musical endeavour, The Boyfriend for the Little Theatre of Savannah, fell short largely due to musical limitations. However, the more formidable resources of the city allowed for the hiring and retention of a much stronger musical core. Further, energetic and appropriate choreography has been provided by Muriel Miller and Nancy Holmes of Abeni Cultural Arts (who also made quite an impression with their dance-based Othello during the Savannah Shakespeare Festival). The strength of the dance not only exceeded expectation, but also provided a very visceral connection to the Caribbean beat of this piece.
Further, the city has managed to bring in the varied talents of designer Danica Leigh (who provided the headpieces of the god characters), Adrienne Cronberger (costumes), and the acting talents of Ryan McCurdy, who had an excellent turn as an engaging Papa Ge. Again, the variety of resources which can be drawn upon by the city, including Abeni, Cardinal Rep, and SCAD, are a testament to the strength of Savannah's theatrical community. However, as has been evidenced by other productions, that strength is only made most fully evident when the proper resources can be brought to bear on the project. Much like this years Shakespeare Festival, Once on This Island has primarily succeeded by pulling in an combining the various orbits of Savannah's theatricality.
It should also be noted that this marks Mr. Queenan's final production with the city's Department of Cultural Affairs. He is departing to teach at Savannah Country Day, where The Savannah Dramaturgy hopes we will see more good work from him and steps forward in the training and inspiration of young artists. It is our fervent hope that Mr. Queenan's successor will draw upon the integrational abilities of the city in order to continue to strengthen Savannah's theatrical community.
Friday, June 6, 2008
The Boy Friend: Little Theatre of Savannah
There is a saying, that one cannot make a silk purse out of a sow's ear. While scientists at MIT have proven this to be false, they also found that it takes more than one ear. Which, once again, brings the Savannah Dramaturgy around to the perennial problem of Theatre in Savannah... more resources are needed.
Upon seeing the latest offering of the Little Theatre of Savannah, this author found this to be all the truer. The Boy Friend, performed in the Seaboard Freight Station Theatre, falls all too short. This is through no real lack of effort on the part of the people involved, who should be applauded, but instead through various inherent shortcomings.
The story itself is almost as old as the theatre. Boy meets girl, boy loses girl, and boy gets girl in the end. This time honoured story can be found in musicals from Guys and Dolls, Anything Goes, and West Side Story. The Boy Friend is perhaps the most overt of all of these, but that is no real weakness, as such a primal story must have been addressed eventually, much to the pleasure of this author and anyone else with a romantic interest.
Yet, one cannot help feeling that the Little Theatre's production might have missed the point here. In the program notes, director DJ Queenan writes of a 1950's show spoofing earlier the musicals of the 1920's. And yet, if this piece is to be thought of as a send up, it most certainly lacks teeth, both scripturally and in the production. Though opportunity is ample to engage in self-referential fun, this is rarely done. Indeed, the opening song of "Perfect Young Ladies," seems a perfect opportunity. And yet, the tongues stay very firmly out of the cheeks and falls flat in a meta-theatrical sense. Indeed, only once, when Madame Dubonnet (played with gusto by Carol Melton) calls the spotlight to herself in true diva fashion before breaking into song. As such, there is a lost expectation here.
Further, there is a sharpness that one find highly desirable, and lacking, in this particular piece. Unfortunately, the Freight Station Theatre is an unforgiving venue, and errors can be glaring. Even small issues such as which particular leg is extended in the choreography do truly stick out around here. The combination of venue and the demands of the piece itself does the Little Theatre no favours. Combine this with the inherent limitations of the community theatre (which was addressed in the curtain speech preceding the show) and one most certainly has vagueness worthy of Monet himself. Unfortunately, beautiful as Monet's work is, the content of the piece does not lend itself to impressionism or watercolour.
Further, this author must wonder that an art city like Savannah lacks willing musicians. While musicians in the theatre are traditionally paid, even in community theatre, one must wonder if there is nobody out there. The use of electronic instuments (primarily keyboard and synth) kept the full impact of this piece from reaching the audience. Musicals are effective primarily because of the music, pure and simple. Indeed, one can often stand in the parking lot of a theatre after a musical and be treated to an impromptu performance of most of the showstoppers, being variously hummed, whistled, and sung by the departing audience. And yet, such was not the case. Proper orchestration helps to give the music a truly visceral effect, as one's skin thrills to the cadenza of a trumpet and the rhythm thumps in one's chest. And yet, the reliance upon electronic instruments instead of tradition orchestration robbed the audience of such an effect and failed to produce the impromptu parking lot performances. Indeed, by the end of this show, one finds oneself willing to sell one's soul for a trumpet (one should note that is production made limited use of trumpet, played from backstage by a member of the cast, but the effect was limited) or one's firstborn for an entire brass section.
And yet, despite all of this, one truly wants to feel the transportation inherent in the genre. The cast performs with such effort that one truly wishes that their boundless goodwill can be translated into the audience identification their pains deserve. Jeroy Hannah, who was also featured in the Little Theatre's The Moustrap, presents the clear-cut and slightly uptight of Percival Browne to great effect. Hortense (Lariena Brown) struts her stuff to delightful effect in "Nicer in Nice." Nick Bushkar as Tony, who could not have been better rendered by Norman Rockwell, is the quintessential perfect young man, and Polly Browne's (Jonette Page) shock and dismay at the possible derailment of her fledgling love affair grips the heartstrings of anyone who has ever feared the same.
In the end, this production was to be seen once, repeat performances neither needed nor desired. The fault is not that of the cast, but instead should be placed directly at the feet of the community's limitations. However, it should also be noted that this author also barely managed to get a ticket to the performance. Evidently, it clicked for some. Given that the average age of the audience was "post-mortem," perhaps there is something that this author needs time to see.
Upon seeing the latest offering of the Little Theatre of Savannah, this author found this to be all the truer. The Boy Friend, performed in the Seaboard Freight Station Theatre, falls all too short. This is through no real lack of effort on the part of the people involved, who should be applauded, but instead through various inherent shortcomings.
The story itself is almost as old as the theatre. Boy meets girl, boy loses girl, and boy gets girl in the end. This time honoured story can be found in musicals from Guys and Dolls, Anything Goes, and West Side Story. The Boy Friend is perhaps the most overt of all of these, but that is no real weakness, as such a primal story must have been addressed eventually, much to the pleasure of this author and anyone else with a romantic interest.
Yet, one cannot help feeling that the Little Theatre's production might have missed the point here. In the program notes, director DJ Queenan writes of a 1950's show spoofing earlier the musicals of the 1920's. And yet, if this piece is to be thought of as a send up, it most certainly lacks teeth, both scripturally and in the production. Though opportunity is ample to engage in self-referential fun, this is rarely done. Indeed, the opening song of "Perfect Young Ladies," seems a perfect opportunity. And yet, the tongues stay very firmly out of the cheeks and falls flat in a meta-theatrical sense. Indeed, only once, when Madame Dubonnet (played with gusto by Carol Melton) calls the spotlight to herself in true diva fashion before breaking into song. As such, there is a lost expectation here.
Further, there is a sharpness that one find highly desirable, and lacking, in this particular piece. Unfortunately, the Freight Station Theatre is an unforgiving venue, and errors can be glaring. Even small issues such as which particular leg is extended in the choreography do truly stick out around here. The combination of venue and the demands of the piece itself does the Little Theatre no favours. Combine this with the inherent limitations of the community theatre (which was addressed in the curtain speech preceding the show) and one most certainly has vagueness worthy of Monet himself. Unfortunately, beautiful as Monet's work is, the content of the piece does not lend itself to impressionism or watercolour.
Further, this author must wonder that an art city like Savannah lacks willing musicians. While musicians in the theatre are traditionally paid, even in community theatre, one must wonder if there is nobody out there. The use of electronic instuments (primarily keyboard and synth) kept the full impact of this piece from reaching the audience. Musicals are effective primarily because of the music, pure and simple. Indeed, one can often stand in the parking lot of a theatre after a musical and be treated to an impromptu performance of most of the showstoppers, being variously hummed, whistled, and sung by the departing audience. And yet, such was not the case. Proper orchestration helps to give the music a truly visceral effect, as one's skin thrills to the cadenza of a trumpet and the rhythm thumps in one's chest. And yet, the reliance upon electronic instruments instead of tradition orchestration robbed the audience of such an effect and failed to produce the impromptu parking lot performances. Indeed, by the end of this show, one finds oneself willing to sell one's soul for a trumpet (one should note that is production made limited use of trumpet, played from backstage by a member of the cast, but the effect was limited) or one's firstborn for an entire brass section.
And yet, despite all of this, one truly wants to feel the transportation inherent in the genre. The cast performs with such effort that one truly wishes that their boundless goodwill can be translated into the audience identification their pains deserve. Jeroy Hannah, who was also featured in the Little Theatre's The Moustrap, presents the clear-cut and slightly uptight of Percival Browne to great effect. Hortense (Lariena Brown) struts her stuff to delightful effect in "Nicer in Nice." Nick Bushkar as Tony, who could not have been better rendered by Norman Rockwell, is the quintessential perfect young man, and Polly Browne's (Jonette Page) shock and dismay at the possible derailment of her fledgling love affair grips the heartstrings of anyone who has ever feared the same.
In the end, this production was to be seen once, repeat performances neither needed nor desired. The fault is not that of the cast, but instead should be placed directly at the feet of the community's limitations. However, it should also be noted that this author also barely managed to get a ticket to the performance. Evidently, it clicked for some. Given that the average age of the audience was "post-mortem," perhaps there is something that this author needs time to see.
Monday, April 21, 2008
Laughing Wild: Cardinal Rep
Life is tough, why must we make it tougher on ourselves? This is the message promulgated by award winning playwright Christopher Durang in his show Laughing Wild. Chronicling the course of events surrounding an ill-fated shopping trip for tuna fish, Mr. Durang suggests that life could indeed be easier if we all would just breathe, live, and empathize with our fellow humans.
Written during Durang's early years in New York City, a city which he regarded with the deepest fear and loathing, the damaged souls that he parades before the audience do what they can to cope, even if it requires violence. And yet, despite the fact that the minds of his characters are not merely twisted, but indeed are fully sprained, there is a hopeful call for understanding between fellow humans.
One of the limitations of this script, however, is its inherent topicality. Very much a product of 1980's angst, numerous references are made to Chernobyl, the rising AIDS epidemic, and the king-hell of all unsympathetic father figures, Ronald Reagan. Given this topicality, which borders on the level of stand-up comedy at times, one might wonder if Laughing Wild can still speak to audiences today. Indeed, topicality in scripts is an issue that one must wrestle with when considering production. Even hallowed Rent, very much a product of its times, has been considered a candidate for topical update, in the hopes that freshness will be retained if the transcendent message is leavened with fresh topicality. However, one should note that all truly great drama not only contains these connectors to transcend time and place, but also is firmly rooted in the milieu of the time in which it was created.
Laughing Wild is a product of the Boomer/Yuppie ennui of the 1980's, he who dies with the most toys wins. While there are striking similarities between that ennui and the existential boredom that currently infests the culture, one should note that they have distinct roots. While today's ennui is the outcome of failed economic policy, fear, and interminable war, that of the 1980's was far for affective upon the fringes. Given that the United States would soon emerge victorious from the Cold War as the world's last remaining superpower, there was a tinge of victory in those times. Yet, the ennui of Durang is very much that of one who will not share in the celebration. Thus, The Savannah Dramaturgy applauds the director, Ms. Bridget Tunstall, and Cardinal Rep for refraining from updating this script. Only Twinkies keep their freshness unsullied through the ages, and keeping Laughing Wild rooted in the original context of the 80's actually helps the audience build a greater understanding of their own disillusionment by seeing that of another age honestly depicted.
Further, Caridal Rep has constructed, in Laughing Wild, a strong argument for its consideration as the flagship of Savannah's theatrical community. Given the spare set, really a stripped and repainted version of the Little Theatre's Moustrap, one is allowed to focus far more on the talents of actor and director without being distracted by flash. Ms. Tunstall, in her professional debut, has molded a moving and entertaining piece that reaches across the almost twenty years since its writing to shake the audience roughly awake and shine an almost Beckettian light in their faces. The acting, ably executed by Cardinal Rep Literary Director Phil Keeling and stalwart Valerie Lavelle, navigates the twisting, thesaurus infected stream of consciousness Mr. Durang has provided. Foundering upon the rocks of obscure referentiality or simple, ridiculous absurdism in order to keep the audience laughing would be easy with this piece, and yet the cast navigates well. Mr. Keeling effectively conveys the fear of one living in the United States and yet trying to retain that small shred of dignity and coherence that could all too easily be whisked away. Ms. Lavelle quite simply glows in the dark with the crushing madness of one who has already lost everything and now seeks only to survive.
Indeed, much can be said about the acting here. Which is another of the strengths of this piece, and Cardinal Rep's choice thereof. Though Edward Albee's Seascape had originally been planned for this slot, only having to be abandoned due to certain personnel issues, Laughing Wild has a particular strength in service the Cardinal Rep's mission to build an indigenous theatrical community for the city of Savannah. The sparse nature of this production, along with the opportunity for virtuoso performance from the city's actors, provides much-needed exposure to the talents available to the city's growing theatre. While Seascape is a wonderful play, it provides far less of this and therefor may be considered of lesser service to the development of Savannah's theatre community. Savannah now knows, because if they have not seen then The Savannah Dramaturgy is telling them, that there are some true virtuosos at their disposal. Further, we issue a warning that such talents MUST BE fostered if there Savannah truly aspires to have a theatre of its own. This extends to those groups outside of Cardinal Rep, and should be addressed across the board.
Finally, it is worth noting the intesly communitarian spirit felt in this production. The setting at the Freight Station Theatre is delightfully intimate and projects an aura of ongoing activity. In much the same way that mid-century movie houses would run their fare continually, including newsreels, on the off chance that one must step out and return, the feel around Cardinal Rep is very much that while you might miss one thing, the institution is here to stay. Indeed, if Mr. McCurdy and company keep this up, then The Savannah Dramaturgy prophesies that "The Rep" will soon become shorthand and an integral part of the Savannah lexicon.
Written during Durang's early years in New York City, a city which he regarded with the deepest fear and loathing, the damaged souls that he parades before the audience do what they can to cope, even if it requires violence. And yet, despite the fact that the minds of his characters are not merely twisted, but indeed are fully sprained, there is a hopeful call for understanding between fellow humans.
One of the limitations of this script, however, is its inherent topicality. Very much a product of 1980's angst, numerous references are made to Chernobyl, the rising AIDS epidemic, and the king-hell of all unsympathetic father figures, Ronald Reagan. Given this topicality, which borders on the level of stand-up comedy at times, one might wonder if Laughing Wild can still speak to audiences today. Indeed, topicality in scripts is an issue that one must wrestle with when considering production. Even hallowed Rent, very much a product of its times, has been considered a candidate for topical update, in the hopes that freshness will be retained if the transcendent message is leavened with fresh topicality. However, one should note that all truly great drama not only contains these connectors to transcend time and place, but also is firmly rooted in the milieu of the time in which it was created.
Laughing Wild is a product of the Boomer/Yuppie ennui of the 1980's, he who dies with the most toys wins. While there are striking similarities between that ennui and the existential boredom that currently infests the culture, one should note that they have distinct roots. While today's ennui is the outcome of failed economic policy, fear, and interminable war, that of the 1980's was far for affective upon the fringes. Given that the United States would soon emerge victorious from the Cold War as the world's last remaining superpower, there was a tinge of victory in those times. Yet, the ennui of Durang is very much that of one who will not share in the celebration. Thus, The Savannah Dramaturgy applauds the director, Ms. Bridget Tunstall, and Cardinal Rep for refraining from updating this script. Only Twinkies keep their freshness unsullied through the ages, and keeping Laughing Wild rooted in the original context of the 80's actually helps the audience build a greater understanding of their own disillusionment by seeing that of another age honestly depicted.
Further, Caridal Rep has constructed, in Laughing Wild, a strong argument for its consideration as the flagship of Savannah's theatrical community. Given the spare set, really a stripped and repainted version of the Little Theatre's Moustrap, one is allowed to focus far more on the talents of actor and director without being distracted by flash. Ms. Tunstall, in her professional debut, has molded a moving and entertaining piece that reaches across the almost twenty years since its writing to shake the audience roughly awake and shine an almost Beckettian light in their faces. The acting, ably executed by Cardinal Rep Literary Director Phil Keeling and stalwart Valerie Lavelle, navigates the twisting, thesaurus infected stream of consciousness Mr. Durang has provided. Foundering upon the rocks of obscure referentiality or simple, ridiculous absurdism in order to keep the audience laughing would be easy with this piece, and yet the cast navigates well. Mr. Keeling effectively conveys the fear of one living in the United States and yet trying to retain that small shred of dignity and coherence that could all too easily be whisked away. Ms. Lavelle quite simply glows in the dark with the crushing madness of one who has already lost everything and now seeks only to survive.
Indeed, much can be said about the acting here. Which is another of the strengths of this piece, and Cardinal Rep's choice thereof. Though Edward Albee's Seascape had originally been planned for this slot, only having to be abandoned due to certain personnel issues, Laughing Wild has a particular strength in service the Cardinal Rep's mission to build an indigenous theatrical community for the city of Savannah. The sparse nature of this production, along with the opportunity for virtuoso performance from the city's actors, provides much-needed exposure to the talents available to the city's growing theatre. While Seascape is a wonderful play, it provides far less of this and therefor may be considered of lesser service to the development of Savannah's theatre community. Savannah now knows, because if they have not seen then The Savannah Dramaturgy is telling them, that there are some true virtuosos at their disposal. Further, we issue a warning that such talents MUST BE fostered if there Savannah truly aspires to have a theatre of its own. This extends to those groups outside of Cardinal Rep, and should be addressed across the board.
Finally, it is worth noting the intesly communitarian spirit felt in this production. The setting at the Freight Station Theatre is delightfully intimate and projects an aura of ongoing activity. In much the same way that mid-century movie houses would run their fare continually, including newsreels, on the off chance that one must step out and return, the feel around Cardinal Rep is very much that while you might miss one thing, the institution is here to stay. Indeed, if Mr. McCurdy and company keep this up, then The Savannah Dramaturgy prophesies that "The Rep" will soon become shorthand and an integral part of the Savannah lexicon.
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