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).
Sunday, July 18, 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).
Wednesday, June 23, 2010
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).
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).
Wednesday, May 19, 2010
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.
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.
Monday, May 17, 2010
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).
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