Here Rests the Muse, There Rises the Muse

“The formation of a diaspora could be articulated as the quintessential journey into becoming; a process marked by incessant regoupings, recreations, and reiteration.”

--Okwui Enwezor

It's been nearly seven years since I left the Coastal Empire, but certain events call for dusting off old habits.  And if something warrants a commentary from an erstwhile Savannah dramaturg (but still your Friendly Neighborhood Dramaturg), it is the closure of the venue at 703D Louisville Rd. (recently Muse Arts, but also Indigo, Little Theatre of Savannah, Cardinal Rep, and the Savannah Actor's Theatre).  It was quite the run.

Why do I bother to comment, given that my life has long ago moved on and I've not set foot there in so many years?  Allow me to draw an analogy with the death of a beloved celebrity.  Though they are not a part of one's everyday existence, and you often go long periods without really thinking about them, there is a certain amount of solace in the fact that you know they are out there, somewhere, doing their thing.  And so, I find myself facing the closure of the Muse with a feeling similar to that I had at the deaths of David Bowie and Prince.  Something good has shuffled off this mortal coil, and the world is a bit poorer for it.

However, I take solace in the children of the Muse, what I have long called the Savannah diaspora.  In Los Angeles and New York, Cleveland, San Francisco, Washington DC, and Atlanta, artists who honed their skills on the floor of the Freight Station are now creating great work.  They are teaching the next generation of artists, producing thought-provoking work, and stimulating audiences in a variety of media.  This is exciting, and it is laudable.  The memory of what was lives within us, and this is a loss which we rightfully mourn.  But rejoice, for this is not the end, and the spirit of Muse can be found from coast to coast.

At the heart of things, either waiting in the wings, treading the boards, or perched in the box office, was the lady of the Muse, JinHi.  Buckets of ink could be spilled in her praises, and rightfully so.  There is little of substance my poor words can add to highlight this fierce, beautiful, loving soul.  I can only offer a somewhat pathetic anecdote.

Roughly a week ago, I was changing the photo of my niece and nephews that hangs in my office at Kent State University.  As I did so, I looked around at the show posters, photos of productions, etc.  I realized that I did not have a photo of JinHi, and I felt the poorer for it.  Make of that what you will.

Exit, Stage Left

Esteemed Readers:

As many of you most likely know by now, your editor has wandered off from the confines of Savannah to accept a job teaching in North Carolina. As such, I fear I wont be much service to The Savannah Dramaturgy. I will not be taking this blog down, and if there is a brave soul in the Savannah community who is interested in taking it over, I'd love to hear from you.

For those of you who are specifically interested in my writing particularly, I will be continuing my blogging at the Friendly Neighborhood Dramaturg. There's not much to show at the moment, as I am just getting it set up, but eventually it will be running with the same steam as the Dramaturgy.

To indulge myself, allow me a few goodbye notes. Savannah is a great town, and it was an excellent, frustrating experience living there. As a fairly large city with a small town mentality, there is the potential for a sustainable community of working artists... if only it can be harnessed. There is one major force standing in the way, and that is fragmentation.

One perfect example of this is the splintering of the Savannah orchestra. Before the split, it was capable of paying a decent, part-time wage to its musicians. Now, there are two entities dipping out of the same pot and both are forced to scrabble. I'm not saying there need to be fewer production companies, but there needs to be some cooperation. The market simply isn't big enough for a complete dog-eat-dog showdown in sustainability. Jim Morekis, over at the Connect touched on an example of this when he pointed out that there were long dearths of activity punctuated by sudden bursts where there was far too much to do. If the theatre community could work together, cooperate... or at least talk to one another as opposed to crouching in their enclaves... and then reach out to the wider community, you might stand a chance of creating the rising tide the lifts all ships.

It was an honour to serve as your self-appointed voice and gadfly for the past couple of years. Living in Savannah is similar to living in a novel by Joyce, though it pained me to leave... I had to follow the work. I hope to hear from you over at the Friendly Neighborhood Dramaturg. Good luck, bless you all.

Eric S. Kildow, Editor
The Savannah Dramaturgy (2008-2010)

Audition Notice: THE DIVA DAUGHTERS DUPREE

Ladies and Gentlemen,

I apologize for a recent dearth in coverage on the part of the Dramaturgy, as I have been quite busy with things recently. However, in order to try and continue serving the Savannah Theatrical community, we would like to post this audition notice and encourage interested parties to come on out.

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THE DIVA DAUGHTERS DUPREE AUDITIONS
By Kim Euell
Directed by John Houchin

WHEN: November 2, 2010,7-10pm
Where: City of Savannah Cultural Arts Theatre (9 W. Henry Street)

The Diva Daughters Dupree tells the story of three African American sisters who struggle with cultural assimilation, consumerism and race. The three sisters Billie (a successful financial adviser), Sarah (a college history professor) and Abbey (a college drop-out and free spirit) all aspire to the “American dream.” Playwright Kim Euell questions what they are willing to forfeit to have it all: Hairstyle? Dialect? Political views? Cultural identity?

Casting requirements:
Billie (40’s);
Sarah (30’s);
Abbey (20’s);
Zak, Billie’s white husband (40’s);
Uri, Bbbey’s Israeli husband (20’s);
Spencer, Sarah’s African American boyfriend (30’s).

The diva Daughters Dupree will be presented as a staged reading December 8 and 9, 2010.

Tell Your Story

While idly watching Youtube videos, combing through the brain-rot and kitten videos, I came across this little gem from Harlan County Kentucky.



Once again, to refer back to another video on The Savannah Dramaturgy, never underestimate the power of schmucks (meaning dreamers, for those who did not catch the Clurman video).

These people, faced with potentially crippling social problems like drug addiction, didn't throw up their hands. They turned to a force as old as humanity itself, the arts.

For those who view the theatre, or other arts for that matter, as a "frill" or "unnecessary," this may seem an isolated incident. But the artistic impulse, to do something for aesthetic value, or simply to tell a story, is the first thing that began to draw humans together into communities, real communities, aside from the survival instinct.

Community, based in the idea to commune or share. What are you sharing?

Open House: City Lights Theatre

Some things simply get better with age. Wine, houses, and, rarely but occasionally, plays.

This would appear to be the case with Open House, City Lights Theatre's reopening foray onto the boards. First staged some years ago at the Lucas, Savannah Morning News critic Will Dean noted the script to be masterfully constructed yet let down by shoddy acting. A bit of time and a bit of care has seen to that, at the very least.

The sprawling comedy, written by City Lights' Artistic Director Jim Holt, details the process of trying to sell the most ideal house ever imaginable. With a cast of 21, one can easily lose track of plotlines and stories. Also, with the wide array of concerns, pratfalls, schticks, and conflicts, none seems to come strongly enough to the for to vie for the title of theme. However, though it might creak in places, the script is a fundamentally sound comedy that manages to drag the community to the forefront. With thinly veiled references to Savannah neighborhoods, and completely unveil jabs at certain local figures, it has a style and feel that is uniquely "Savannah."

The characters are, by and large, broadly (and kindly) painted by Holt and generally well served by their actors. Grace Diaz Tootle, reprising her turn as Karen, a rocket-fueled steamroller of a real-estate agent, demonstrates once again her strength and vindicates her nod in the Connect: Savannah's "Best of" awards in acting. Bailey Davidson, as fornicating college professor turned junior realtor Mark, strikes a bewildered but capable everyman while Johnny Walgate takes the concept of camp to heights even Sir Elton John never considered possible as Robbie. Les Taylor (Bill), and Terri Palanca (Martha) are a joy to watch, with Ms. Palanca reminding one of a slightly less insane, though no less homicidal in the long run, Kathy Bates from Misery. The ensemble works well together, for the most part, at creating a unified illusion, which, considering the sheer number of people, is an accomplishment in and of itself. If Suzanne K. Milton is tuned to the key of F sharp as the depressed and suicidal Kelly while the rest are in G major, it is a relatively minor fault.

To echo Will Dean, the production is akin to touring a massive new home, but this is certainly a mixed bag. When finding a walk-in closet one forgot was in the Master Bedroom, one is pleasantly surprised. Forgetting that one of the toilets runs, as there are so many to keep track of, is far less pleasant when the water bill arrives. Though certain moments may seem incomprehensible, a Dancer (ably performed by Jody Chapin) only visible to certain people, and joggers (Renee DeRossett and Kim Trammell) prancing through with dog poop like something out of Desire Caught by the Tail, and certain characters get lost in the shuffle, forcing resolution to their storyline to feel somewhat capped on, there are far more closets than toilets on offer here.

Plus, one of Savannah's most celebrated companies has returned to the boards, and that's worth having to jiggle the handle on occasion.

By Jim Holt; directed by Jim Holt; A City Lights Theatre Production. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 507-4112. September 10,11,17,18.

WITH: Bailey Davidson (Mark), Renee DeRossett (Jogger #1), Kim Trammell (Jogger #2), Les Taylor (Bill), Terri Palanca (Martha), Bradley Mullins (Thug), Cassidy Jane Tootle (Thugette), Suzanne K. Milton (Kelly), Corbett Coleman (Tom), Bonnie Rae Terrell (Gwen), Donald Jarvis (Glen), Alison Greer-Chodkiewicz (Jean), Lavon Youins (Chrome), Kareem McMichael (Alexander), Grace Diaz Tootle (Karen), Dia Frazer (Alicia), John Meyer (Charles) Johnny Walgate (Robbie), Louis Clausi (Arnie), Jim Holt (Doug), Jody Chapin (Dancer).

Going Traditional

So, dear readers, your editor here at The Savannah Dramaturgy is going to take a moment to make a shameless plug.

I now have a book out, and many of the editorial thoughts and musings put out over time have been distilled in it.

Atlanta Dispatch

Recently, when taking my fiance to Atlanta to begin her stint with the Atlanta Shakespeare Company, I was afforded the opportunity and balmy weather to wander around downtown Atlanta for a few hours. Turning from Peachtree Street, onto Peachtree Lane, then strolling down Peachtree Court, and then up along Peachtree Road, I stopped by two of our young capitol's two theatrical landmarks. The first being the Woodruff Arts Center (Housing the Alliance Theatre), and the Historic Fox Theatre.

These two landmarks had one very remarkable thing in common on this pleasant August afternoon, they both boasted a small string of protesters outside their gates.

The Woodruff's protesters were not, more's the pity, particularly concerned with the Alliance Theatre's disconcerting habit of casting their shows out of New York nor with their NY-centric playwriting program. Instead, they appealed to issues of gender equality, claiming that the Woodruff refuses to hire female security guards. While I cannot speak for the existence (or lack thereof) of this practice, I can say that it seems mildly ridiculous if it actually does exist. Firstly, there is the fact that every female guard I have ever faced at passport control has been twice as frightening as the male guards I have faced. For the second, we must reach back to a spottier time in American history, to the West and its notorious brothels. The common practice, should a gunslinger get out of sorts with his lady, was to send the madam as opposed to a bouncer. Quite simply, it just worked better, according to sources.

However, and bearing more directly on issues dramatical, is the protest outside of the Fox theatre. According to protestors, the board of Atlanta Landmarks (which operates the Fox) is looking to evict Joe Patten, the 83 year old former Technical director of the Fox and founder of Atlanta Landmarks, from his Fox Theatre apartment. Upon a glance at the Atlanta Journal Constitution, the issue is slightly more complex. Articles outlining the full situation can be found here and here. An Associated Press article with a title stating that the "Phantom of the Fox" (which is a great nickname, and Savannah needs people living in its theatres) could remain in his apartment was published by the San Francisco Examiner this morning.

It is not our purpose here in The Savannah Dramaturgy to register much in the way of opinion on this subject. A flyer handed out by protesters claims that Mr. Patten is being evicted because the theatre board claims they need the space for "improvements." According to various sources, the board has not yet made this claim, but instead voiced concerns about the octogenarian's health. Instead, we would like to draw your attention to the outpouring of concern to be found.

On some level, this man (and the theatre he saved) has engaged with the community in a meaningful way to the point that they care (beyond his immediate family and close friends) precisely where he lives and what goes on in the theatre. Though it is little more than a touring house, it is somehow a part of the popular imagination. In all honesty, there are a number of theatres in Savannah (possibly a majority) that would simply not be missed should they shut their doors. So again the question comes about: How to engage?

Dr. Horrible's Sing-Along Blog Live!: Odd Lot Productions

When the media landscape changes, it only makes sense to look further afield for material when looking to expand the dramatic canon.

Though this might seem a touch grandiose when discussing Dr. Horrible's Sing-Along Blog, it is nonetheless fitting in describing precisely what occurred this past weekend at Muse Arts Warehouse when the Odd Lot (Savannah's resident improv troupe) presented a stage adaptation of the same.

Chronicling the story of a low-rent super-villain on his quest to join the "Evil League of Evil" and find the courage to profess his feelings to Penny (played by Lynita Spivey), an acquaintance made at the local laundromat, the script made its debut as an internet video starring Neil Patrick Harris. That the video achieved viral status is a testament to the music, writing, and general fun of the story.

And, in its Savannah stage premier, the cast of the Odd Lot has done it justice. With capable direction and cast, the live transition is made as smooth as possible for something written with sound-byte internet cinema in mind. Indeed, it renders the copious apologetics issued by the production staff prior to curtain unnecessary.

Though rocky at points, the Odd Lot finds its greatest success here when indulging in the invention and self-referential humour for which they are known. The continual return of a homeless man who "will accompany for food" (Played by Tim Reynolds) to provide underscoring is one simple example of this show at its best. Indeed, their greatest accomplishment in the cozy relationship with a Youtube meme is that they have managed the difficult feat of creating an "event."

Such "events" are rare, and have most recently been seen in Savannah's ubiquitous productions of The Rocky Horror Show. However, unlike Rocky Horror, this production has not yet had a chance to ossify into a creature capable of inducing shudders upon receiving the announcements of its revival. Congratulations to the Odd Lot on their first foray into production.

By Joss Whedon; directed by Chris Soucy; An Odd Lot Production. At the Muse Arts Freight Station, 703D Louisville Road, Savannah; (912) 713-1137. August 27-28.

WITH: Justin P. Kent (Dr. Horrible), Lynita Spivey (Penny), Ryan McConnell (Captain Hammer), Gabe Reynolds (Moist), Trish McKay (Bad Horse Chorus/ Crazy Fan), Tim Reynolds (Bad Horse Chorus/ Homeless Guy), Megan Jones (Bad Horse Chorus/ Crazy Fan), Timmy Vo (Bad Horse Chorus/ Crazy Fan), Hai Dang (Bad Horse Chorus/ Mayor).

The Placide Book: A Savannah Dramatic Census

Recently, in musing over the state of the theatrical arts in Savannah (along with trying to put together an independent production), it dawned that though our community often bemoans our current condition (such as the recent discussion of the Savannah Morning News' interview with Caitlin Dutton), the exact status of the community is unclear.

As such, The Savannah Dramaturgy proposes to compile a "Placide book" of Savannah Theatres, or essentially conduct a census. The first step is to compile a list of institutions for the survey. Below is the beginnings of the list, with the hope that our readers will fill us in on things which we have missed.

+ All Walks of Life (AWOL)
+ Armstrong Atlantic State University Masquers
+ Bay Street Theatre
+ City Lights Theatre Company
+ City of Savannah Bureau of Cultural Arts
+ Collective Face, The
+ Fairweather Productions
+ Kimsam Productions
+ Muse Arts Warehouse
+ Odd Lot Productions
+ Performing Arts Collective of Savannah
+ Savannah Children's Theatre
+ Savannah College of Art and Design School of Performing Arts
+ Savannah State University Players By The Sea
+ Savannah Theatre, The
+ Three Muses Productions

If there are organizations on this list that I am missing, please let me know, by all means! We want this to be as complete as possible, after all.

The Swan: The Collective Face

Swan, meet philandering Milkman. Bill, the swan, or perhaps man... or perhaps mutant. In many ways, it doesn't really seem to matter as love, no matter how depraved, blooms eternal in Middle America.

A reading of Elizabeth Egloff's script, presented by The Collective Face this past weekend, charts one woman's desperate search for love, even if she has to depart the strictures of homo sapiens to find it. Originally produced by the Actor's Theatre of Louisville, an institution known for developing some of the finest new American plays, Ms. Egloff's story is certainly an interesting one, highly reminiscent of the classic Greek myth, Leda and the swan. Yet there is really nothing divine to be found in these pages. With a highly truncated scenic structure better suited to film, Ms. Egloff cuts off any interaction long before it can come to any form of fruition.

The cast all give this problematic material their best. Stephanie Candelaria cuts a naeurotic figure searching desperately for love while Cooper Westbrook does his best to make the openly philandering Kevin seem dynamic. If these two figures fall flat it falls to a lack of clear conception in the project and being simply outshone by the completely bizarre he-swan, Bill. Jacob Givens is a delightfully inhuman bird-man, with movement and focus distinctly avian.

Yet, as a part of The Collective Face's Summer Reading series, the entire project seems somewhat clumsy. Generally, readings are presented to showcase the work of a writer and lack the elements of full production in order to keep Spectacle from outshining plot and character. Yet in this "reading" there are not only full costumes and production-esque staging, but a full set and props as well. Watching the actors juggle props along with their scripts, particularly with complete disregard to audience expectation in terms of readings, is quite cringe-worthy. Further, given the fact that the scripts were never resorted to for the reading, the entire timbre of the project seems ill-conceived.

At the end of the day, though the work of The Collective Face is to generally be applauded, one finds that this piece simply does not live up to their preceding standards. Time would be much better spent either developing the reading with the cast, or taking the effort to produce it fully. Hybrid quasi-readings are simply half-measures that, in trying to do a bit of everything, do nothing particularly well.

By Elizabeth Egloff; directed & designed by David I.L. Poole; A Collective Face Production. At the Savannah Children's Theatre, 2160 E. Victory Drive, Savannah; (912) 238-9015. August 20-21st.

WITH: Stephanie Candelaria (Dora Hand), Cooper Westbrook (Kevin), Jacob Givens (Bill)

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).

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.

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.

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).

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).

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).

Noises Off: Survival as an Artist

Cruising the blogosphere, we recently came across a discussion of how one works to survive as an artist, possibly the best analysis can be found at this link.

Congratulations

Ladies and Gentlemen, the results are in once again in Connect: Savannah's "Best of" competition. The 2010 vote was most certainly an interesting one, and can be viewed here in its entirety.

Special congratulations go to Mr. Ryan McCurdy for best actor, finally winning after a number of years of striving for it. Ms. JinHi Soucy Rand, founder of Indigo Arts, for best actress. And Mr. Benjamin Wolfe, who pulled down both Best Director (2nd in as many years) and best production for The Diary of Anne Frank.

However, and not to limit the accomplishment of these individuals, I cannot help but wonder if these awards are sufficient. Do we have recognition for design? What about the differentiation between musical and straight drama? What about accomplishments outside for other sorts of work? Ms. Rand is most definitely a talented actor, yet her most significant recent accomplishment is the founding of Indigo Arts and revolutionizing of the artistic business model.

So, perhaps it is time to begin thinking about our own set of awards. Not to replace Connect: Savannah's work, but to supplement it and allow for awards that are not necessarily predicated on who can get the vote out in their favour.

Yet, I pontificate. Congratulations to our winners, all is richly deserved. I look forward to future accomplishment in the coming year.

The Piano Lesson: Savannah Cultural Arts

“Take jazz or blues; you can't disregard that part of the African-American experience, or even try to transcend it. They are affirmations and celebrations of the value and worth of the African-American spirit. And young people would do well to understand them as the roots of today's rap, rather than some antique to be tossed away.”

--August Wilson

The staging of a classic, particularly a classic by a genius as finicky as August Wilson (who leaves nothing up to chance and specifies almost everything in his dialogue), can be a major challenge. The City of Savannah's latest offering of Mr. Wilson's The Piano Lesson rises to this challenge effectively, bringing a classic of modern American theatre to local audiences.

Savannah has, thankfully, no real shortage of talent in terms of available actors who are willing to do projects, and Piano Lesson is no exception. Gary Swindell Jr. (Boy Willie) is a great dynamo, infusing his character with a great deal of energy while Stanley Marcellus Simons (Avery) manages to take the audience with him in transports of quiet ecstacy. They are matched by Charlene Williams's (Berniece) taut, almost neurotic, energy, Jesse W. James's (Doker) quiet dignity, and Alfred Pierce's (Lymon) endearing gawkiness.

Coupling this with a capable design schema from Dan Mellitz and Chann Givens, one is in for a remarkable evening of theatre.

However, it is possible to have too much of a good thing, and this evening is no exception. Be warned that the production is quite long, over three hours, to be exact. Also, given that the intermission happens well after the 1:40 mark, audience members should be prepared for something of a marathon. Though every word of Wilson's is precious, this production is badly in need of cuts. Before cries of "sacrilege" are raised, it should be noted that this is common practice with longer canonical works (Shakespeare, Miller, Parks) in order to help render them accessible to a wider audience. The message might be moving and earth-shaking, but if the audience is too distracted by an aching rear... they're not listening.

It is this issue that leads to the production's greatest and most specific limitation. Wilson's work is predicated on and built around jazz and blues music, with a very substantial use of these rhythms in the creation of a uniquely American poetry. This is rushed in a number of ways by this production (most likely in an attempt to save time) and the full richness of Wilson's language cannot be felt. Indeed, it is not until the singing of the song "Berta" that one really is able to experience the transformative power of Wilson's writing at full power.

Also, in terms of the cast notes. As opposed to a 1-2 sentence musing on the meaning of the piece (which should be left to the audience to consider), could we possibly learn something about the actors themselves? Perhaps a short bio, as opposed to some (in some cases) very flat thoughts.

By August Wilson; directed by Vickie Blackshear; lights, sets, and Sound by Dan Mellitz; costumes by Chann Givens; music by Gary Swindell Sr.; A City of Savannah Department of Cultural Affairs Production, presented by Cultural Arts Theatre. At the S.P.A.C.E., 9 West Henry Street, Savannah; (912) 651-6417. May 14-16, 21-23.

WITH: Jesse W. James (Doker), Gary Swindell Jr. (Boy Willie), Alfred Pierce II, (Lymon), Charlene Williams (Berniece), Riche' Williams (Maretha), Stanley Marcellus Simons (Whining Boy), Nanika W. Ollard (Grace).

Importance of Intermission

We recently found this article on the importance of the intermission.