It was once written in Time that, "If Broadway ever erects a monument to the patron saint of laughter, Neil Simon would have to be it." And, based upon the Little Theatre of Savannah's recent production of Last of the Red Hot Lovers, this would seem to be a fair enough assessment.
Though Simon is simultaneously considered an award-studded superstar (usually by the general populace) and a cosseted writer of commercially viable fluff, one cannot deny that he is, at the very least prolific. The key is, at this sort of point, to simply accept the work for what it is, a sentimental and unchallenging piece of work that asks little of the audience but to sit back and enjoy.
As such, though one wishes that the Board of Governors had meditated on a slightly more energetic work (particularly given that this piece was done not long ago out at the Savannah Community Theatre), the cast has done a delightful job of spinning these yarns into a light and delicate (if not elegant) lattice of neuroses and sexual repression.
Justin Kent, as nebbish Barney Cashman, is delightful in his numerous abortive attempts to jump on the sexual revolution bandwagon before it is too late. Mr. Kent builds in confidence and attention to detail with each tryst, and one truly does get the idea that he is learning something, even if it isn't what he had originally intended. Elaine Navazio, played by Lynita Spivey, is a stereotypical tough broad from NYC. Given Ms. Spivey's other excellent work in our community (Urinetown and Inspecting Carol to name a couple) it is a shame that she was saddled with a walking cliche of minimal interest. Indeed, this is a problem faced by all three of our ladies, as they are really only ciphers in the transformation of Barney Cashman. Eve Butler, as Bobbi Michele, makes her return to the Savannah boards by building the picture of paranoid, yet compelling, nymph; while Nicole Koplik faces the daunting challenge of playing a depressive prude in a sentimental comedy... while keeping it interesting for nearly forty minutes. Each of these actresses does a fairly remarkable job with the materials given her, it just so happens that the material was woefully short in supply.
Though director Grace Diaz Tootle and he cast have assembled a fairly effective presentation of Mr. Simon's script, the piece is, like much of his early work, weak and one-sided. Given other offerings from the same author (or options for the castable material) it is our sincere hope here at the Savannah Dramaturgy that the Little Theatre's Board of Governors decides to make slightly more interesting choices in the future.
Monday, October 5, 2009
Thursday, October 1, 2009
Dearth of Material? We're in Savannah!
With the sudden explosion of dramatic activity and thought taking place here in Savannah, there comes the next logical question: How do we keep it up? The next issue at the heart of the Beautiful Process is also the idea of keeping it up, of sustainability. In the blaze of glory that is the opening of a new company, it is all to tempting to run with all of our dream projects and leave nothing for another day.
Such was what I had rattling around in my head when I stumbled upon this link from MIT. MITs City as Stage, City As Process. And, I thought, how fitting. If we should run out of plays or projects to perform, there is always the option of drawing upon the city itself.
We are fortunate to live in a city as unique and beautiful as this one. Indeed, this is probably one of the primary reasons many of us have decided to remain here as opposed to wandering off to a city with a larger and more lucrative market. Given our particular affection, why should we not express that love while at the same time practicing our art in a way that is mutually beneficial?
Thus, while it can be tempting to remain in our venues, we should endeavour to utilize this whole city as our canvas, our stage. Let us perform our shows, and let us perform Savannah. There are innumerable stories, from those with pathos and grandiose passion to the whimsical and eccentric (just read Midnight in the Garden of Good and Evil if you're wondering). Let us draw on this source for materials upon whihc to build our theatre. Let us use them as knots to bind ourselves tightly to this community we hold so dear.
Such was what I had rattling around in my head when I stumbled upon this link from MIT. MITs City as Stage, City As Process. And, I thought, how fitting. If we should run out of plays or projects to perform, there is always the option of drawing upon the city itself.
We are fortunate to live in a city as unique and beautiful as this one. Indeed, this is probably one of the primary reasons many of us have decided to remain here as opposed to wandering off to a city with a larger and more lucrative market. Given our particular affection, why should we not express that love while at the same time practicing our art in a way that is mutually beneficial?
Thus, while it can be tempting to remain in our venues, we should endeavour to utilize this whole city as our canvas, our stage. Let us perform our shows, and let us perform Savannah. There are innumerable stories, from those with pathos and grandiose passion to the whimsical and eccentric (just read Midnight in the Garden of Good and Evil if you're wondering). Let us draw on this source for materials upon whihc to build our theatre. Let us use them as knots to bind ourselves tightly to this community we hold so dear.
The Way Forward
To our esteemed readers, we here at The Savannah Dramaturgy give thanks for your support. Due to a combination of copious production activity, the month of September was our busiest to date, topping out at well over 900 hits for the month and averaging 40 per day.
Our hope is that the Savannah theatre community, along with the arts community more generally, will continue to engage with us. Our goal is not only for the dramaturgy to provide feedback and theoretical underpinnings to what we do here, but also to become a place for conversation, engagement, and advocacy.
Your loyal readership is what will help us move forward and, hopefully, turn this into a self-supporting institution one day.
Our hope is that the Savannah theatre community, along with the arts community more generally, will continue to engage with us. Our goal is not only for the dramaturgy to provide feedback and theoretical underpinnings to what we do here, but also to become a place for conversation, engagement, and advocacy.
Your loyal readership is what will help us move forward and, hopefully, turn this into a self-supporting institution one day.
Wednesday, September 30, 2009
Hedda Gabler: Armstrong Atlantic State University
EDITORIAL NOTE: The following review was penned at our request by a contributor. In my role as director of AASU's "Hedda", I did not feel it proper to also review said piece. As such, I asked for one and was obliged. I post it here without revision.
===================================
The Armstrong Atlantic State University Masquers open their 2009-2010 season with a bold choice in Henrik Ibsen’s Hedda Gabler. It is important to also note that the Masquers are the first University to produce this version since it’s premiere on Broadway early this year. This New York production, adapted by Christopher Shinn, was blasted by New York Times theatre critic Ben Brantley as one of the “worst revivals he has ever, ever seen.” Not having the opportunity to see that production, this reviewer was anxious to see if the reviews were indicative of the new adaptation or that particular production.
The paint is still drying on Armstrong’s new theatre. And in recent months, the Masquers have proven that they are much more technically adept at handling their new space than in the first months in which it opened. The audience is immediately intrigued by the fascinating set design by Megan Baptiste-Field. The set, crafted to resemble a cage, makes a powerful statement to the audience long before the performance begins. Equally effective is the lighting design by Tiffany Barnhart. The cyclorama, clearly visible through the wall’s of Hedda’s ‘cage’, shifts and changes color in such an uneasy and sporadic fashion that one begins to feel they are riding the wave of neurosis along with the play’s central figure.
This play, much like any of the great Shakespearian tragedies, requires the director and the company to have plausible options for the lead actor before announcing auditions. The Masquers held an open call for every role, a bold move indeed. The result: Danni Conti as Hedda Gabler. Ms. Conti, a charming young woman, is a fresh face to the Jenkins theatre stage. On this fact alone, Director Eric Kildow should be commended for introducing a new face to the Masquers stage, which from recent shows looks more like a repertory ensemble than the thriving theatre department in which they have become.
Ms. Conti captures the audience’s attention from the moment she saunters on stage. However, after the audiences have had time to focus in on this production’s central figure, one begins to wonder if less would be more. Throughout this production, Conti often appears that she realizes the daunting role in which she has been cast. Also, at times, Conti’s movements and gestures appear as unmotivated as her character’s manipulative and neurotic behavior.
The rest of the cast acts as an efficient, well-cast ensemble. Perhaps the strongest two performances are delivered by two of the show’s leading men. Jonas Boyd (Judge Brack) and Logan Padilla (Tessman) deliver in nearly every moment. Mr. Boyd finds and delivers the humor in Judge Brack. Although, Boyd should be careful of boundaries and not reach for humor that the script simply doesn’t provide. Padilla is the epitome of Tessman. From his initial moment onstage, one would find it hard to believe that this young actor is a freshman. Hillary Kay has an effective presence as the elderly Miss Tessman. To that end, Ariel Pellman must be commended for her age make-up and costume design.
Director Eric Kildow has made bold choices for this piece. He is to be commended for his work. He also answers my questions about Brantley’s 2009 review. This new adaptation is cleanly written and is easily accessible to a modern audience. The responsibility lies on the shoulders of the director. The Masquers involved in this production could not have a better pair of shoulders on which to rest for this educational experience. That said, the aforementioned notes, while true, must be taken within the context that this work IS done within the educational realm. To see students producing such a powerful play will only make them stronger, more confident and better prepared the next time they take the stage. Which, knowing the Masquers’ busy season, should be very soon.
===================================
The Armstrong Atlantic State University Masquers open their 2009-2010 season with a bold choice in Henrik Ibsen’s Hedda Gabler. It is important to also note that the Masquers are the first University to produce this version since it’s premiere on Broadway early this year. This New York production, adapted by Christopher Shinn, was blasted by New York Times theatre critic Ben Brantley as one of the “worst revivals he has ever, ever seen.” Not having the opportunity to see that production, this reviewer was anxious to see if the reviews were indicative of the new adaptation or that particular production.
The paint is still drying on Armstrong’s new theatre. And in recent months, the Masquers have proven that they are much more technically adept at handling their new space than in the first months in which it opened. The audience is immediately intrigued by the fascinating set design by Megan Baptiste-Field. The set, crafted to resemble a cage, makes a powerful statement to the audience long before the performance begins. Equally effective is the lighting design by Tiffany Barnhart. The cyclorama, clearly visible through the wall’s of Hedda’s ‘cage’, shifts and changes color in such an uneasy and sporadic fashion that one begins to feel they are riding the wave of neurosis along with the play’s central figure.
This play, much like any of the great Shakespearian tragedies, requires the director and the company to have plausible options for the lead actor before announcing auditions. The Masquers held an open call for every role, a bold move indeed. The result: Danni Conti as Hedda Gabler. Ms. Conti, a charming young woman, is a fresh face to the Jenkins theatre stage. On this fact alone, Director Eric Kildow should be commended for introducing a new face to the Masquers stage, which from recent shows looks more like a repertory ensemble than the thriving theatre department in which they have become.
Ms. Conti captures the audience’s attention from the moment she saunters on stage. However, after the audiences have had time to focus in on this production’s central figure, one begins to wonder if less would be more. Throughout this production, Conti often appears that she realizes the daunting role in which she has been cast. Also, at times, Conti’s movements and gestures appear as unmotivated as her character’s manipulative and neurotic behavior.
The rest of the cast acts as an efficient, well-cast ensemble. Perhaps the strongest two performances are delivered by two of the show’s leading men. Jonas Boyd (Judge Brack) and Logan Padilla (Tessman) deliver in nearly every moment. Mr. Boyd finds and delivers the humor in Judge Brack. Although, Boyd should be careful of boundaries and not reach for humor that the script simply doesn’t provide. Padilla is the epitome of Tessman. From his initial moment onstage, one would find it hard to believe that this young actor is a freshman. Hillary Kay has an effective presence as the elderly Miss Tessman. To that end, Ariel Pellman must be commended for her age make-up and costume design.
Director Eric Kildow has made bold choices for this piece. He is to be commended for his work. He also answers my questions about Brantley’s 2009 review. This new adaptation is cleanly written and is easily accessible to a modern audience. The responsibility lies on the shoulders of the director. The Masquers involved in this production could not have a better pair of shoulders on which to rest for this educational experience. That said, the aforementioned notes, while true, must be taken within the context that this work IS done within the educational realm. To see students producing such a powerful play will only make them stronger, more confident and better prepared the next time they take the stage. Which, knowing the Masquers’ busy season, should be very soon.
Artists as Community Trustees
Increasingly, The Savannah Dramaturgy has become increasingly fascinated with the prospect of a thriving, and self-sustaining theatrical community here in Savannah. While we cannot deny that there is a healthy theatre community in this town, it is the idea of sustainability that is the major hurdle.
Quite simply, we need the community to sustain us. We need Savannah and Chatham County to take an interest and pay to see shows, donate funding, and essentially help professional theatre to walk. However, the chances of this happening are minimal unless the theatrical community begins to show a similar level of interest back.
Which brings us to the idea of artists as community trustees. Artists have a vested interests in the overall health of their communities, and yet often seem to exist (or think of themselves as existing) on the fringes of society. All too often, thespians venture out of their venues only enough to sleep, eat, and work their paying job. However, even a small investment in the community could help to pay dividends for the theatre community overall.
When in Texas, we always had one particular consideration when shopping for Summer musicals: How many children can we cast? A single child cast in a show will mean a ticket bought by mom and dad (at least twice each) plus grandma, autie, Uncle Lester, etc etc. When you cast small kids, there is an interest built, an attraction between town and show. It is similar if the artist makes themselves something of a community figure. Imagine if one's coworkers, yoga class, and other contacts from volunteerism can be made interested in the show.
Further, one cannot help but think that enlisting organizational assistance with a show, a sort of co-sponsorship, could also pay dividends. If I recall the Savannah Actor's Theatre's production of Rocky Horror some time ago, there was an idea floated to cooperate with Planned Parenthood on providing prophylactics and information at the lobby/preshow. Though it did not pan out, to do this is to give another entity a vested interest in the health of the performing arts community.
We, as artists, must bridge to our communities. We are entrusted to tell the stories of a people in a way that nobody else can. And yet, people need to be listening. And, sometimes, in order to get people to listen, one has to shut up and do something.
Quite simply, we need the community to sustain us. We need Savannah and Chatham County to take an interest and pay to see shows, donate funding, and essentially help professional theatre to walk. However, the chances of this happening are minimal unless the theatrical community begins to show a similar level of interest back.
Which brings us to the idea of artists as community trustees. Artists have a vested interests in the overall health of their communities, and yet often seem to exist (or think of themselves as existing) on the fringes of society. All too often, thespians venture out of their venues only enough to sleep, eat, and work their paying job. However, even a small investment in the community could help to pay dividends for the theatre community overall.
When in Texas, we always had one particular consideration when shopping for Summer musicals: How many children can we cast? A single child cast in a show will mean a ticket bought by mom and dad (at least twice each) plus grandma, autie, Uncle Lester, etc etc. When you cast small kids, there is an interest built, an attraction between town and show. It is similar if the artist makes themselves something of a community figure. Imagine if one's coworkers, yoga class, and other contacts from volunteerism can be made interested in the show.
Further, one cannot help but think that enlisting organizational assistance with a show, a sort of co-sponsorship, could also pay dividends. If I recall the Savannah Actor's Theatre's production of Rocky Horror some time ago, there was an idea floated to cooperate with Planned Parenthood on providing prophylactics and information at the lobby/preshow. Though it did not pan out, to do this is to give another entity a vested interest in the health of the performing arts community.
We, as artists, must bridge to our communities. We are entrusted to tell the stories of a people in a way that nobody else can. And yet, people need to be listening. And, sometimes, in order to get people to listen, one has to shut up and do something.
Sunday, September 27, 2009
Hedwig and the Angry Inch- The Bay Street Theatre
EDITORIAL NOTE: The following review was penned at our request by a contributor. As much as I had hoped to cover Hedwig myself, my own production responsibilities precluded me from being able to do so. Though I did not see the production, it should be noted that the Editor does heartily endorse the content of the review's final paragraph.
===================================
Hedwig and the Angry Inch could easily be called a one man tour-de-force, but it actually takes quite a few people to pull it off. The stage musical, which most people initially encountered as the 2001 John Cameron Mitchell film, follows the rise and fall of Hedwig from “a slip of a girlyboy living in communist East Berlin” to a glamorous transsexual "a internationally ignored" rock sensation.
Chris Blair is truly phenomenal [as Hedwig]. From his lengthy monologues in which he cracks jokes that have been appropriately updated to fit the time and place to his soaring rock vocals, to his climactic meltdown, it is clear that he is one of the finest musical theatre performers Savannah has to offer. The skill at engaging and responding to his audience that made last year's Rocky Horror Show a success is at its finest here.
But as much as Hedwig really is (as one person put it) "The Chris Blair show, staring Chris Blair" he is backed by an incredibly talented team, most notably Valerie Lavelle as Hedwig's husband,Yitzhak. Ms. Lavelle has always been particularly exceptional at staying present in a scene no matter how often she speaks. She is the rare actor who is always interesting to watch while never actually stealing focus. Her vocals are impressive and the moment she shares with Mr. Blair during "The Long Grift" is truly touching (until she spits in his face).
The Angry Inch band is a delight to listen to and watch react. Ryan McCurdy in particular helps keep up the illusion of spontaneity with his genuine reactions to Mr. Blair's performance (including taking a moment after one joke to put his head down on the keyboard while Chris Stanley patted him uncertainly on the shoulder). His solo during "The Long Grift" lacked the clarity that one usually expects from Mr. McCurdy's wonderful voice but that may have been a fault of the song itself. The pre-show provided by The Angry Inch was great fun, allowing all of the band members a chance to sing and Mr. McCurdy and Mr. Stanley in particular a chance to shine. (A sight not unusual to Club One where Mr. Stanley DJs Karaoke on Tuesday and Wednesday nights).
Travis Coles fits the role of Tommy Gnosis well, though much of what he was actually saying during his reprise of "Wicked Town" was lost. And that is unfortunately the greatest weakness of the show as a whole. The songs sound great and have a great energy but even Mr. Blair occasionally falls victim to the lyrics being more sound than words. Fortunately the story (for the most part) holds up without them, but one has to wonder if we as the audience aren't missing out on something. Whether the fault for this lies in the writing of the music or the production of the sound can be hard to tell. The performers, however, all seem to be giving it their all.
The costumes are pitch perfect and the slides for the most part are used very well. The space is well used, particularly for the "off stage" characters. The one moment of staging that felt contrived involved Ms. Lavelle's Yitzhak playing with a wig and a hand mirror on a table stage left. The symbolism of the wig did become apparent but I kept expecting the wig itself to be used since there really didn't seem to be any reason for it to be there. The director's work should rarely call attention to itself and here Bridget Tunstall has captured the illusion that she simply cast the right people and then stayed out of their way.
Since this was the inaugural event of a new venue and a new company, we here at the Savannah Dramaturgy would be remiss if we did not examine for a moment what this production means for the ever shifting Savannah Theatre scene. The Bay Street Theatre is a wonderful idea, but as good as this production was, as a choice of show it strays no further from the image of the Club One Cabaret than their second theatrical offering, The Rocky Horror Show, which opens at the end of next month. This is not necessarily a problem, but it will be interesting to see what happens when and if the Bay Street Theatre attempts to diversify their productions beyond shows that feature the fabulous Mr. Blair in heels. And it is important to note that these two shows are being produced by separate companies. But the venue itself will eventually have to define what audience it seeks and what it hopes to become.
===================================
Hedwig and the Angry Inch could easily be called a one man tour-de-force, but it actually takes quite a few people to pull it off. The stage musical, which most people initially encountered as the 2001 John Cameron Mitchell film, follows the rise and fall of Hedwig from “a slip of a girlyboy living in communist East Berlin” to a glamorous transsexual "a internationally ignored" rock sensation.
Chris Blair is truly phenomenal [as Hedwig]. From his lengthy monologues in which he cracks jokes that have been appropriately updated to fit the time and place to his soaring rock vocals, to his climactic meltdown, it is clear that he is one of the finest musical theatre performers Savannah has to offer. The skill at engaging and responding to his audience that made last year's Rocky Horror Show a success is at its finest here.
But as much as Hedwig really is (as one person put it) "The Chris Blair show, staring Chris Blair" he is backed by an incredibly talented team, most notably Valerie Lavelle as Hedwig's husband,Yitzhak. Ms. Lavelle has always been particularly exceptional at staying present in a scene no matter how often she speaks. She is the rare actor who is always interesting to watch while never actually stealing focus. Her vocals are impressive and the moment she shares with Mr. Blair during "The Long Grift" is truly touching (until she spits in his face).
The Angry Inch band is a delight to listen to and watch react. Ryan McCurdy in particular helps keep up the illusion of spontaneity with his genuine reactions to Mr. Blair's performance (including taking a moment after one joke to put his head down on the keyboard while Chris Stanley patted him uncertainly on the shoulder). His solo during "The Long Grift" lacked the clarity that one usually expects from Mr. McCurdy's wonderful voice but that may have been a fault of the song itself. The pre-show provided by The Angry Inch was great fun, allowing all of the band members a chance to sing and Mr. McCurdy and Mr. Stanley in particular a chance to shine. (A sight not unusual to Club One where Mr. Stanley DJs Karaoke on Tuesday and Wednesday nights).
Travis Coles fits the role of Tommy Gnosis well, though much of what he was actually saying during his reprise of "Wicked Town" was lost. And that is unfortunately the greatest weakness of the show as a whole. The songs sound great and have a great energy but even Mr. Blair occasionally falls victim to the lyrics being more sound than words. Fortunately the story (for the most part) holds up without them, but one has to wonder if we as the audience aren't missing out on something. Whether the fault for this lies in the writing of the music or the production of the sound can be hard to tell. The performers, however, all seem to be giving it their all.
The costumes are pitch perfect and the slides for the most part are used very well. The space is well used, particularly for the "off stage" characters. The one moment of staging that felt contrived involved Ms. Lavelle's Yitzhak playing with a wig and a hand mirror on a table stage left. The symbolism of the wig did become apparent but I kept expecting the wig itself to be used since there really didn't seem to be any reason for it to be there. The director's work should rarely call attention to itself and here Bridget Tunstall has captured the illusion that she simply cast the right people and then stayed out of their way.
Since this was the inaugural event of a new venue and a new company, we here at the Savannah Dramaturgy would be remiss if we did not examine for a moment what this production means for the ever shifting Savannah Theatre scene. The Bay Street Theatre is a wonderful idea, but as good as this production was, as a choice of show it strays no further from the image of the Club One Cabaret than their second theatrical offering, The Rocky Horror Show, which opens at the end of next month. This is not necessarily a problem, but it will be interesting to see what happens when and if the Bay Street Theatre attempts to diversify their productions beyond shows that feature the fabulous Mr. Blair in heels. And it is important to note that these two shows are being produced by separate companies. But the venue itself will eventually have to define what audience it seeks and what it hopes to become.
And for the Pocketbook Naysayers
For all those would-be arts advocates out there:
As opposed to trying to slog through the entirety of Americans for the Arts latest arts impact study, the good folks at the blog createquity.com have not only provided an excellent analysis, but also an effective summary of that analysis.
The analysis can be had here.
The summary can be found here.
As opposed to trying to slog through the entirety of Americans for the Arts latest arts impact study, the good folks at the blog createquity.com have not only provided an excellent analysis, but also an effective summary of that analysis.
The analysis can be had here.
The summary can be found here.
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