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)
Showing posts with label The Collective Face. Show all posts
Showing posts with label The Collective Face. Show all posts
Monday, August 23, 2010
Sunday, July 11, 2010
Frozen: The Collective Face
As Savannah swelters beneath the crushing force of the latest heatwave, people across the city seek cooler climes. Collective Face Theatre Ensemble's staged reading of Bryony Lavery's Frozen presented this past weekend at the Muse Arts Warehouse manages to drop temperatures to an unprecedentedly chilling level altogether.
Chronicling the story of a pathological serial killer, the mother of one of his final victim, and a psychologist set on charting the criminal mind, Frozen manages to treat a truly inflammatory issue with a certain calm, almost contemplative attitude. No musical stabs or insane shrieks, meditation-like quiet. This is not to say that it is unfeeling, just that the script delicately explores the nature of grief, vengeance, and responsibility. If there are limitations in this delightful script, the first comes at the end, as Ms. Laveny seems to lose faith in her audience for one moment and simply tacks on an additional tangle. The other is that, almost despite itself, it is too evenhanded in the way almost all topical plays are and tends to stumble into basic sentimentality at times.
The cast, comprised of Collective Face stalwarts Richie Cook, Dandy Barrett, and Karla Knudsen, manage to make the characters come naturally with admirable focus and vitality in performances that are no way flashy or oppressive. Of special note is Mr. Cook's performance of Ralph, the pathological murderer. If, as the play says, there is a difference between a sin and a symptom, Mr. Cook embodies this ably. When taking a knee to beckon a little girl to her gristly fate, one gets the impression that this is simply him doing what seems right. And so we sit, fascinated as by a weaving viper, and almost want to follow. Mr. Cook is, essentially, why our parents told us never to talk to strangers.
The set, by director/designer David I.L. Poole, is sparse and yet fitting, mildly reminiscent of the arctic wastelands that provide the play's visual metaphor. Accompanied by stimulating videography by Eric Nauert, the effect is chilling without being too ham-fisted.
Though the script was wrapped in a plagiarism controversy, with allegations on the part of the Associated Press that Ms. Lavery had lifted nearly 675 words (this article is 420) from a The New Yorker article about Dorothy Lewis (who later claimed the play was based on her life) this really should not enter consideration. Malcolm Gladwell, the author of the article in question, interviewed Ms. Lavery and found the use of material to be "permissible borrowing."
By Bryony Lavery; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; A Collective Face Theatre Ensemble Production. At the Muse Arts Warehouse, 703D Louisville Road, Savannah; (912) 713-1137. July 9-10.
WITH: Dandy Barrett (Nancy), Richie Cook (Ralph), and Karla Knudsen (Agnetha).
Chronicling the story of a pathological serial killer, the mother of one of his final victim, and a psychologist set on charting the criminal mind, Frozen manages to treat a truly inflammatory issue with a certain calm, almost contemplative attitude. No musical stabs or insane shrieks, meditation-like quiet. This is not to say that it is unfeeling, just that the script delicately explores the nature of grief, vengeance, and responsibility. If there are limitations in this delightful script, the first comes at the end, as Ms. Laveny seems to lose faith in her audience for one moment and simply tacks on an additional tangle. The other is that, almost despite itself, it is too evenhanded in the way almost all topical plays are and tends to stumble into basic sentimentality at times.
The cast, comprised of Collective Face stalwarts Richie Cook, Dandy Barrett, and Karla Knudsen, manage to make the characters come naturally with admirable focus and vitality in performances that are no way flashy or oppressive. Of special note is Mr. Cook's performance of Ralph, the pathological murderer. If, as the play says, there is a difference between a sin and a symptom, Mr. Cook embodies this ably. When taking a knee to beckon a little girl to her gristly fate, one gets the impression that this is simply him doing what seems right. And so we sit, fascinated as by a weaving viper, and almost want to follow. Mr. Cook is, essentially, why our parents told us never to talk to strangers.
The set, by director/designer David I.L. Poole, is sparse and yet fitting, mildly reminiscent of the arctic wastelands that provide the play's visual metaphor. Accompanied by stimulating videography by Eric Nauert, the effect is chilling without being too ham-fisted.
Though the script was wrapped in a plagiarism controversy, with allegations on the part of the Associated Press that Ms. Lavery had lifted nearly 675 words (this article is 420) from a The New Yorker article about Dorothy Lewis (who later claimed the play was based on her life) this really should not enter consideration. Malcolm Gladwell, the author of the article in question, interviewed Ms. Lavery and found the use of material to be "permissible borrowing."
By Bryony Lavery; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; A Collective Face Theatre Ensemble Production. At the Muse Arts Warehouse, 703D Louisville Road, Savannah; (912) 713-1137. July 9-10.
WITH: Dandy Barrett (Nancy), Richie Cook (Ralph), and Karla Knudsen (Agnetha).
Saturday, May 8, 2010
Enchanted April: The Collective Face
For those who appreciate wisteria and sunshine, it may very well be worth your while to stop off at New Covenant Church on Bull Street to see the first offering of the newly formed Collective Face ensemble. Though not without its problems, the production is handled ably and offers a bit of family friendly joy for anyone in need of a lift.
Stepping into the place of Savannah's venerable Epworth Players, the ensemble of the Collective Face manage to aquit themselves admirably. Lottie, played by Karla Knudsen, bored wife of a solicitor, leads a contingent of women who are enamoured with wisteria to an Italian castle where romance blooms and renews for each person involved. The ensemble nature of the cast really and truly prevents one from picking out individual favourites, and they simply must be applauded en masse.
Yet how can these actors not help but be refreshed by the delightful settings. Director/Designer David Poole manages to ably turn dreary English sitting rooms and clubs into an atmosphere light and energetic to the point that the relatively cramped fellowship hall at New Covenant receives a breath of fresh air. Assisted in costumes by Chann Givens, Enchanted April is, well... truly enchanting.
The down note, however, comes in the script by Matthew Barber. It begins as a fairly trite examination of class mores and morals. And, in all honestly, one must ask if we really need another of these. Coupled with the assembly of a highly predictable cohort of archetypes (The Free Spirit, The Tortured Matron, The Prude, and The New Woman with Old Secret) one can roughly plot the entire course of the play once each of the characters has been introduced.
Mr. Barber's script then moves quickly into a sort of Edwardian Thelma and Louise. The complications seemingly pile one on the other out of nowhere. There is a lost child, dual identities, secret widow, cultural misunderstandings, and drug abuse. However, each of these seemingly insurmountable problems is quickly disposed of with minimal effort. A prime example would be the example of Federick Arnott (Donald Jarvis) who writes and attends parties under the libertine name of Florian Ayers. Though married to Rose Arnott (April Arnone), he arrives at the castle under the identity of Florian Ayers to see the Lady Caroline (Rhianna Van Helton), the libertine's lover. Given that Caroline has professed a love for him, and he was unawares that his wife was a travelling companion to the Lady... there is prime opportunity for misunderstanding, complication, and true drama. However, where in Thelma and Louise potentially gordian problems are solved by a gun, in Enchanted April it seems to be solved by simple British Good Manners (where nothing is said). Though there are some beautiful phrases and engaging tales told onstage, Mr. Barber's script is as steeped as Tetley in conflict avoidance. Though one would never want to arrive at a castle to find one's wife AND lover taking the breeze together, an audience member will pay good money to see what happens when someone does.
Though they have to fight to keep the script interesting, drown out disruptive children, and keep an audience precariously perched on uncomfortable seating in a stuffy hall engaged, the Collective Face Ensemble rises to the task admirably. Bravo to these enterprising folks at the Collective Face, one cannot help but look forward to their future endeavours.
By Matthew Barber, adapted from the book by Elizabeth von Armin; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; lighting by Miles Boinest; sound by Miles Boinest; A Collective Face production, presented by Epworth Community Players and New Covenant Church. At the New Covenant Church, 2201 Bull Street, Savannah; (912) 232-8511. April 29 & 30, May 1, 6-8, 13-15.
WITH: Karla Knudsen (Lottie), Eric Nauert (Mellersh), April Arnone (Rose), Donald Jarvis (Arnott), Rhianna Van Helton (Lady Caroline), Richie Cook (Wilding), Dandy Barrett (Mrs. Graves), Bridget Tunstall (Costanza).
Stepping into the place of Savannah's venerable Epworth Players, the ensemble of the Collective Face manage to aquit themselves admirably. Lottie, played by Karla Knudsen, bored wife of a solicitor, leads a contingent of women who are enamoured with wisteria to an Italian castle where romance blooms and renews for each person involved. The ensemble nature of the cast really and truly prevents one from picking out individual favourites, and they simply must be applauded en masse.
Yet how can these actors not help but be refreshed by the delightful settings. Director/Designer David Poole manages to ably turn dreary English sitting rooms and clubs into an atmosphere light and energetic to the point that the relatively cramped fellowship hall at New Covenant receives a breath of fresh air. Assisted in costumes by Chann Givens, Enchanted April is, well... truly enchanting.
The down note, however, comes in the script by Matthew Barber. It begins as a fairly trite examination of class mores and morals. And, in all honestly, one must ask if we really need another of these. Coupled with the assembly of a highly predictable cohort of archetypes (The Free Spirit, The Tortured Matron, The Prude, and The New Woman with Old Secret) one can roughly plot the entire course of the play once each of the characters has been introduced.
Mr. Barber's script then moves quickly into a sort of Edwardian Thelma and Louise. The complications seemingly pile one on the other out of nowhere. There is a lost child, dual identities, secret widow, cultural misunderstandings, and drug abuse. However, each of these seemingly insurmountable problems is quickly disposed of with minimal effort. A prime example would be the example of Federick Arnott (Donald Jarvis) who writes and attends parties under the libertine name of Florian Ayers. Though married to Rose Arnott (April Arnone), he arrives at the castle under the identity of Florian Ayers to see the Lady Caroline (Rhianna Van Helton), the libertine's lover. Given that Caroline has professed a love for him, and he was unawares that his wife was a travelling companion to the Lady... there is prime opportunity for misunderstanding, complication, and true drama. However, where in Thelma and Louise potentially gordian problems are solved by a gun, in Enchanted April it seems to be solved by simple British Good Manners (where nothing is said). Though there are some beautiful phrases and engaging tales told onstage, Mr. Barber's script is as steeped as Tetley in conflict avoidance. Though one would never want to arrive at a castle to find one's wife AND lover taking the breeze together, an audience member will pay good money to see what happens when someone does.
Though they have to fight to keep the script interesting, drown out disruptive children, and keep an audience precariously perched on uncomfortable seating in a stuffy hall engaged, the Collective Face Ensemble rises to the task admirably. Bravo to these enterprising folks at the Collective Face, one cannot help but look forward to their future endeavours.
By Matthew Barber, adapted from the book by Elizabeth von Armin; directed by David I.L. Poole; sets by David I.L. Poole; costumes by Chann Givens & David I.L. Poole; lighting by Miles Boinest; sound by Miles Boinest; A Collective Face production, presented by Epworth Community Players and New Covenant Church. At the New Covenant Church, 2201 Bull Street, Savannah; (912) 232-8511. April 29 & 30, May 1, 6-8, 13-15.
WITH: Karla Knudsen (Lottie), Eric Nauert (Mellersh), April Arnone (Rose), Donald Jarvis (Arnott), Rhianna Van Helton (Lady Caroline), Richie Cook (Wilding), Dandy Barrett (Mrs. Graves), Bridget Tunstall (Costanza).
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