tag:blogger.com,1999:blog-10667783758716828232023-11-15T08:08:51.647-08:00London Theatre NotebookMike Londonhttp://www.blogger.com/profile/10557449343755638617noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-1066778375871682823.post-21421277305241914552012-06-22T09:36:00.000-07:002012-06-22T12:16:20.131-07:00Moments that bare the truth......<br />
For many of us who have a passion for the experience of live theatre and
have been lucky enough to have seen some of the best in the world, we tend to
avoid non-professional theatre productions. It's not because we've become
snobs, at least not all of us. It is simply because we have become
spoiled by some of the best live experiences in the world and we can be
disappointed quickly. So we just don't venture out to those experiences
that we anticipate won't meet up with the best that we have seen.<br />
<br />
The best food requires the best ingredients and someone who
really knows how to put those ingredients together in a way that gives us the
best in food experience. How many times have you gone out for an evening
and known right away which restaurant that you don't want to go to as
well as which one you wish you could afford? But every now and then you
find yourself in that middle-of-the-road restaurant that you may not have
chosen first. And when you do, you find that your expectations have been
met. You may generally find the meal adequate but nothing that makes you
want to return. You are wishing that you would have saved your money and
ate at home or at least ponied up the cash for what you felt sure was what you
really wanted.<br />
<br />
But then there are those times when you are at a middle-of-the-road
restaurant with a new cook and you find something in the meal that is just
memorable. No the whole meal isn't perfect, but wow, you just can't forget
the sensational taste of that special surprise you discovered part way through
the meal. What you have found is a place where the cook may be gifted
with talent but they may not yet have become a chef. And in spite of
yourself you find you are telling a friend to try this restaurant. You might
even be reminding them that they should try it now before that cook becomes a
chef and moves on.<br />
<br />
Well, I ventured out and tried the fare at a non-professional theater, and I
witnessed some very special moments. Playhouse South, in Kettering, Ohio
is presenting "A Pop Opera" called <b><i>BARE</i></b>, a musical
story of 2 young male lovers who struggle to confront their self-acceptance in
the midst of their community's non-acceptance at a small Catholic boarding
school.<br />
<br />
It is a demanding work presented in a challenging environment. In a
barn-like auditorium with barn-like acoustics, with a sound system that wasn't
always clear and was intermittent when it worked, the heat was tiresome with no
air-conditioning on the first day of summer. And yet there were moments
in the performance that were so good that we forgot about those things.<br />
<br />
The biggest surprise was the quality of many of the voices. This cast has some really good voices. <b><i>BARE</i></b> is nonstop singing and although most were good, some were really
excellent. Peter (Mike Embree) and
Jason (Zach King) play the room-mates/secret lovers. Both voices command attention and are well worth the
evening. Clean and clear and strong,
both actors attack their roles with vigor and a passion that creates some of
the special moments that bare the truth of the story.<br />
<br />
Although large musicals are sometimes about the big cast numbers, this
production’s most special moments are the small scenes. Nadia’s (Lindsay Sherman) “<i>Quiet Night At
Home”</i> is a stand out as is “See Me & Warning, Warning” with Clair (Anne
Potter) and her son Peter. Jason’s
efforts to seek forgiveness from his priest (Eric Bracht) is a clarifying and
moving moment. The performances are so strong in these small scenes that we are
taken into their worlds and their pain and struggles. They make us forget that we are in a hot barn struggling to hear
talented musicians and vocalists. They
take us into the story.<br />
<br />
Although this production’s director may be as green as the lettuce in your
dinner salad, he has good instincts. He
let the performers follow their passion for the story. And that is, after all, why we come to the
theatre, for the story.<br />
<br />
There is only one performance left of <b><i>BARE</i></b>. If
you can handle a good challenge and the surprises that may be your reward,
catch the last performance of <b><i>BARE</i></b>.<br />
<br />
(For information on <b><i>BARE</i></b> go to: <a href="http://www.playhousesouth.org/">http://www.playhousesouth.org/</a>
)<br />
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<br />Mike Londonhttp://www.blogger.com/profile/10557449343755638617noreply@blogger.com0tag:blogger.com,1999:blog-1066778375871682823.post-54185038552933552742012-03-29T10:21:00.000-07:002012-03-30T20:05:05.134-07:00HRTC's GEM OF THE OCEAN<br />
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In the play of the same name, the ‘<b>Gem Of The Ocean</b>’
is a ‘ship’ that one may take on a journey to redemption, traveling through the
reality of ancestors that have gone before.
Director, <i>Mark Clayton Southers</i> has shown us a window on this
world with the most skillful direction of <i>August Wilson’s</i> play that
takes us to an American past we are in danger of forgetting.</div>
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Pulitzer Prize winning playwright, <i>August Wilson</i>, has
achieved a monumental task by creating a ten cycle series of plays that
chronicles African American life throughout the 20<sup>th</sup> Century. <b>Gem of the Ocean</b> is the first in this
cycle giving us a transom to the first decade in the 1900’s.</div>
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The story’s center is an African American home in 1904
Pittsburgh, when slavery was still part of current memory, where sanctuary and
the meaning of freedom were still central subjects of daily life, and when
discussions of the distribution of power and money where not that different
than today. <i>Wilson’s</i> play is a
tapestry of metaphor, allegory and hard cold reality woven in manner that keeps
us watching and thinking about what comes next and what it means. What is enchanting about this experience is
how <i>Wilson and Southers</i> transport us back in time and move us seamlessly
from the daily reality of this 1904 Pittsburgh home, peppered with delicious
and meticulous stories, to the lyrical and spiritual experience of the grand
life guide that is former slave, Aunt Ester.
She is 285 years of memory that has the power to anchor who we are and
where we go as we struggle to find our way into the 20<sup>th</sup>
century. And this journey is powerful,
and dare I say delightful.</div>
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There is not a weak link in the cast. <i>Dwandra Nickole</i> brings to life Aunt
Ester Tyler in a rich and rock-solid performance of the story’s clever
spiritual guide. Young actors should
watch and learn from this performance. <i>Alan
Bomar Jones</i> presents us the quality that we have come to expect with his
endearing and solid performance of Solly Two Kings. <i>Kevin Brown</i> (Eli), <i>Jonathan Berry</i> (Citizen) and <i>Bryant
Bentley</i> (Caesar), all talented actors, each give us grounded performances
that are true to the playwright and this important work.</div>
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<i>Marva Williams</i>' performance as Black Mary is singular
in this production as she provides us an emotional truth and unyielding
connection to the turn of the century reality which has long escaped our
memory. Watch for her in the future, as
she is a skilled actress to follow. <i>Scott
Stoney</i> plays Rutherford Selig, and once again makes us marvel at his
complete immersion into character. The
simple truth of his work brings us into the story, as we have all known a
hard-working, good-hearted, salesman with the gift of gab and a heart to match.</div>
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The Human Race Theatre has twice before presented us the
work of <i>August Wilson</i>. Each time
has been a significant artistic event for our community. This presentation is no less important. Take sanctuary for an evening. Make this journey with these artists to a
place that has past us by but should not be forgotten. It’s quite something to see.</div>
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<span style="font-family: "Times New Roman"; font-size: 12pt;">(<span class="messagebody">August Wilson's <b>GEM OF THE
OCEAN</b>. Produced by The Human Race Theatre Company. March 29 - April 15, 2012 at
The Loft Theatre) <a href="http://humanracetheatre.org/1112goo.php">http://humanracetheatre.org/1112goo.php</a></span></span>Mike Londonhttp://www.blogger.com/profile/10557449343755638617noreply@blogger.com0Dayton, OH, USA39.7589478 -84.191606939.661295800000005 -84.3495354 39.8565998 -84.0336784tag:blogger.com,1999:blog-1066778375871682823.post-37874035835220897892012-03-19T10:13:00.000-07:002012-03-29T11:10:54.614-07:00GOING TO ST. IVESAs I was going to St. Ives, I had a show with several lives. That
may be the refrain that Director Greg Smith might pronounce at the end
of the run of the play <b>Going to St. Ives </b>by <i>Lee Blessing</i> currently at the Dayton Theatre Guild.<br />
<br />
Live
theatre is often about surprises. Sometimes the surprises are those
one can do without and others are those one can never envision, onstage
and off. The production of Going to St. Ives, currently at the Dayton
Theatre Guild presents for you exactly what playwright Lee Blessing
intended, a story with many levels of surprise.<br />
<br />
A renowned
British eye surgeon living safely in the village of St. Ives and the
mother of a merciless African dictator come together with requests of
each other that not only provide a bit of surprise but a basis for both
to explore their own truths and life dilemmas.<br />
<br />
Cast in
this production are Katrina Kittle and Catherine Collins, both
experienced actors. Directed by Greg Smith, also a veteran of the
theatre, this cast and production have also seen their share of
surprises. Moments before this production opened, Catherine Collins
became seriously ill and was unable to continue. A surprise one can do
without. Moments before the open, Director Smith found himself
convincing a gifted actress, Marianna Harris, to step into the role of
May N’Kame with no time for rehearsal. She would have to go onstage
with a script in hand. A surprise neither could have envisioned.<br />
<br />
Then
the biggest surprise of all came for the audience. It worked. It made
no difference. These two talented actors did not let a script-in-hand
or their worry about a colleague’s health or anything else get in the
way of the story. They connected and they made a little magic on the
stage at the Guild.<br />
<br />
The actress Marianna Harris
incorporated this book in her hand as a prop and it became part of the
story. The character May N’Kame may well have been looking at her notes
that she wanted to remember as she spoke to her doctor. She didn’t
miss a beat. Her performance was not about the prop, it was about the
life and conflict of May N’Kame. And it was May who we came to know.<br />
<br />
Katrina
Kittle is a successful and talented novelist and her notoriety might
bring some into the theatre to see her. They will be disappointed.
She’s not there. She brings Dr. Cora Gage to life in a sensitive way
that compels you to pay attention to her story. Her work is about the
play. She rolls with the challenges of the cast change and for the
audience it is seamless.<br />
<br />
What is fascinating about this
event in the theatre is that in spite of the fact there are these other
‘reality’ stories behind the scenes, both of these talented actresses
are able to take us past any other reality and straight to the story of
Going to St. Ives, straight to the engaging story that Lee Blessing
wrote. And we are engaged and we are moved.<br />
<br />
Live theatre
is a collaborative storytelling effort. Go to this theatre and take
advantage of this collaboration. After the playwright has finished
penning the last line and the Director has given the last note, the
actors are the final link in the collaboration. This link is strong.
You have until April 1, 2012. Spread the word and do yourself a
favor. Go to St. Ives. Watch the magic.Mike Londonhttp://www.blogger.com/profile/10557449343755638617noreply@blogger.com0 Dayton, OH, USA39.740986355883564 -84.2211914062538.182600355883565 -86.74804690625 41.299372355883563 -81.69433590625tag:blogger.com,1999:blog-1066778375871682823.post-23795271640014686722012-01-19T10:03:00.020-08:002012-03-29T11:16:36.709-07:00SEEING RED<h6 class="uiStreamMessage" data-ft="{"type":1}">
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<span style="font-family: Georgia,"Times New Roman",serif; font-size: small; font-weight: normal;">The HRTC production of <b>RED</b> is what live theatre is about. It is why we choose to be a part of live theatre instead of going to a movie, watching the latest DVD, or even reading a book. When done well, the experience is unlike any other form of story telling. And this production is done well, very well.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif; font-size: small; font-weight: normal;"><br />
</span> <span class="text_exposed_show" style="font-family: Georgia,"Times New Roman",serif; font-weight: normal;"><span style="font-size: small;"> <i>Richard Hess</i> has directed this work with a careful eye and keen sensitivity to <i>John Logan’s</i> play. For those of us who have spent time in our own art studio, we find that <i>Logan </i>and <i>Hess</i> have created an environment that is eerily familiar and draws our sympathy to the creative atmosphere and the characters in front of us. For those of us who have never been in that creative space, Logan and Hess have created a window into that world and the time capsule of this ageless story.<br />
<br />
<i>Michael Kenwood Lippert</i> and <i>Will Alan</i> are simply excellent. Both performances are rich and real and transport us to a conversation on art and it’s meaning that is both visceral and intellectual. How easy it might have been for <i>Hess, Lippert</i> and <i>Allan</i> to have talked down to us. It is a trap they never fell into. They stayed true to the words and the heart of the work.</span> <span style="font-size: small;"><br />
<br />
I have seen <i>Lippert</i>’s work in the past. This performance is as giving and serious as any he has shared with the public. He still inspires. I have never seen <i>Allan </i>perform before but now I want more. His talent and energy is a strong match for <i>Lippert</i>’s. We don’t know who put <i>Logan</i>, <i>Hess</i>, <i>Lippert </i>and <i>Allan </i>together. We do know the combination is inspired.</span> <span style="font-size: small;"><br />
<br />
This production is a work of art that was truly collaborative and the combination of these giving artists, <i>Logan, Hess, Lippert</i> and <i>Allan</i>, brings a gift to our community that makes live theatre viable and important. Each of us deserves a gift to ourselves now and then. Allow this production to be that gift. For an evening of the best in intimate, personal and live theatre, see <b>RED</b>.</span> </span></div>
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<b><a href="http://www.facebook.com/events/286352258077736/" target="">RED produced by The Human Race Theatre Company</a></b> </div>
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Thursday, January 19 at 8:00pm at The Loft Theatre</div>
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</div>Mike Londonhttp://www.blogger.com/profile/10557449343755638617noreply@blogger.com0Dayton, OH, USA39.7589478 -84.191606939.661295800000005 -84.3495354 39.8565998 -84.0336784