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).
Showing posts with label Fairweather Productions. Show all posts
Showing posts with label Fairweather Productions. Show all posts
Thursday, August 12, 2010
Sunday, April 4, 2010
12 Angry Men: Fairweather Productions LLC.
Reasonable doubt. Perhaps no two words link the world of criminal justice and dramatic arts as strongly as these. When seeking to convict an accused criminal, the jury must be convinced beyond this. When seeking to independently produce a theatrical work, with the requisite time, money, and effort, the average producer will want similar assurances of the return upon their investment.
This piece, adapted by Reginal Rose from a teleplay by the same title, and produced by Fairweather Productions LLC under the direction of Christopher Soucy marks the first dramatic production facilitated by Indigo Arts with verve that settled any doubt abuot their eventual success.
Contemporary American Cultural Policy is largely one of laissez faire when it comes to undertaking independent production. National Endowment and copyright/royalty provisions aside, those who seek to create theatre will operate largely free from government interference and assistance. This new production of 12 Angry Men may very well mark a new chapter of free initiative in Savannah's Theatrical community. To quote JinHi Soucy Rand in a recent interview with SavannahNow.com, "The local performers got together and said this is a play they wanted to see done." Such initiative on the part of performers is highly laudable, and we look forward to seeing Indigo Arts and Fairweather Productions assist even more artists in fulfilling their ambitions.
The piece itself is a classic crimial melodrama about the power of doubt. Though the message, the benefit of critical thought and sound argumentation, is a timely one in this age of political soundbites and Tea Party Rage, Rose's script is not without certain limitations. Closing people in a room, though powerful in terms of Neoclassical unity of place, also denies the audience direct consideration of the evidence. Though the witnesses discussed in the teleplay could be directly seen through flashback and other cinematic techniques, one is left with having to take second hand word from jurors while onstage. Further, aside from occasional demonstrations where jurors "reconstruct" events of the crime based upon their own recollections, the piece is highly static onstage.
The cast, built pursely out of local actors with grit contains notables such as Bill DeYoung, Ryan McCurdy (appearing opening weekend in place of Gabriel Ricard), Phil Keeling, Mark Rand, Al Paderewski, and Walter Magnuson. To pull together disparate elements of Savannah's theatrical community, figures from various artistic "orbits" into a single piece is an accomplishment which has not been rivaled since JinHi Rand's spearheadings of the late lamented Savannah Shakespeare Festival. It goes to prove that there ARE a variety of men in our theatrical community, it just has to be the right project.
Also, a number of the performances come down as particularly high caliber. Walter Magnuson's "Miss Manners" portrayal of Juror 2 gives a clear indication of this character's dedication to form. Al Paderewski, as the recently immigrated Juror 11, has a calm, contemplative manner that inspires a certain reverence for American due process. Mark Rand, as Juror 10, proves his artistic versatility and ability to play unsympathetic characters (see earlier comments regarding Doubt: A Parable) in this depiction of the case's most racially prejudiced juror. The ensemble cast proves itself highly capable of passing focus and limiting interruption.
Though Bill DeYoung capably and earnestly depicts Juror 4, there is a bit too much of Atticus Finch (which he played recently for the City of Savannah's production of To Kill a Mockingbird) in his manner, and some difference would help to demonstrate his range. ALso, John Turner's depiction of Juror 8 comes oddly across as the lovechild of the late Heath Ledger and an emergency alert tone. Having seen Mr. Turner turn in far more energetic performances (Rocky Horror- Bay Street Theatre), one would hope for a slightly more emphatic defense of one's principles. After all, as Juror 8 often repeats "There is a man's life at stake."
Further, it seems that the climactic scene, where Keeling's Juror 3 finds himself isolated in his continued stance of guilty, simply snaps like a damp firecracker and the show packs up as quickly as possible. Partially, the static staging simply leaves the actors to toss some form of platitude at his back, and none of these points seems to gain enough force to precipitate the violence of Keeling's reaction. In true Neoclassical style, the script has torn away all extraneous detail to allow us to focus on the struggle in the room itself (the actual verdict is really immaterial once the spiritual battle in the room is decided), but the staged climax fails to build on this platform and instead fizzles.
At the end of the day, the cast and production company (Fairweather) do well for themselves. This particular advertisment for the CSI Effect treads the boards with dignity and power, and we here at The Savannah Dramaturgy hope to see Fairweather building off its success here and helping to facilitate other artistic ambitions.
This piece, adapted by Reginal Rose from a teleplay by the same title, and produced by Fairweather Productions LLC under the direction of Christopher Soucy marks the first dramatic production facilitated by Indigo Arts with verve that settled any doubt abuot their eventual success.
Contemporary American Cultural Policy is largely one of laissez faire when it comes to undertaking independent production. National Endowment and copyright/royalty provisions aside, those who seek to create theatre will operate largely free from government interference and assistance. This new production of 12 Angry Men may very well mark a new chapter of free initiative in Savannah's Theatrical community. To quote JinHi Soucy Rand in a recent interview with SavannahNow.com, "The local performers got together and said this is a play they wanted to see done." Such initiative on the part of performers is highly laudable, and we look forward to seeing Indigo Arts and Fairweather Productions assist even more artists in fulfilling their ambitions.
The piece itself is a classic crimial melodrama about the power of doubt. Though the message, the benefit of critical thought and sound argumentation, is a timely one in this age of political soundbites and Tea Party Rage, Rose's script is not without certain limitations. Closing people in a room, though powerful in terms of Neoclassical unity of place, also denies the audience direct consideration of the evidence. Though the witnesses discussed in the teleplay could be directly seen through flashback and other cinematic techniques, one is left with having to take second hand word from jurors while onstage. Further, aside from occasional demonstrations where jurors "reconstruct" events of the crime based upon their own recollections, the piece is highly static onstage.
The cast, built pursely out of local actors with grit contains notables such as Bill DeYoung, Ryan McCurdy (appearing opening weekend in place of Gabriel Ricard), Phil Keeling, Mark Rand, Al Paderewski, and Walter Magnuson. To pull together disparate elements of Savannah's theatrical community, figures from various artistic "orbits" into a single piece is an accomplishment which has not been rivaled since JinHi Rand's spearheadings of the late lamented Savannah Shakespeare Festival. It goes to prove that there ARE a variety of men in our theatrical community, it just has to be the right project.
Also, a number of the performances come down as particularly high caliber. Walter Magnuson's "Miss Manners" portrayal of Juror 2 gives a clear indication of this character's dedication to form. Al Paderewski, as the recently immigrated Juror 11, has a calm, contemplative manner that inspires a certain reverence for American due process. Mark Rand, as Juror 10, proves his artistic versatility and ability to play unsympathetic characters (see earlier comments regarding Doubt: A Parable) in this depiction of the case's most racially prejudiced juror. The ensemble cast proves itself highly capable of passing focus and limiting interruption.
Though Bill DeYoung capably and earnestly depicts Juror 4, there is a bit too much of Atticus Finch (which he played recently for the City of Savannah's production of To Kill a Mockingbird) in his manner, and some difference would help to demonstrate his range. ALso, John Turner's depiction of Juror 8 comes oddly across as the lovechild of the late Heath Ledger and an emergency alert tone. Having seen Mr. Turner turn in far more energetic performances (Rocky Horror- Bay Street Theatre), one would hope for a slightly more emphatic defense of one's principles. After all, as Juror 8 often repeats "There is a man's life at stake."
Further, it seems that the climactic scene, where Keeling's Juror 3 finds himself isolated in his continued stance of guilty, simply snaps like a damp firecracker and the show packs up as quickly as possible. Partially, the static staging simply leaves the actors to toss some form of platitude at his back, and none of these points seems to gain enough force to precipitate the violence of Keeling's reaction. In true Neoclassical style, the script has torn away all extraneous detail to allow us to focus on the struggle in the room itself (the actual verdict is really immaterial once the spiritual battle in the room is decided), but the staged climax fails to build on this platform and instead fizzles.
At the end of the day, the cast and production company (Fairweather) do well for themselves. This particular advertisment for the CSI Effect treads the boards with dignity and power, and we here at The Savannah Dramaturgy hope to see Fairweather building off its success here and helping to facilitate other artistic ambitions.
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