Assassins at ACT Theatre: Kill Me Now!

Entertainment Review, Musical Theatre Review, Theatre Review

I used to think I was a Stephen Sondheim fan through and through, but there a few of his shows that I encounter that make me wonder what the hell he was smoking when he wrote it, and Assassins is one of those shows for me.  Now, much like Sweeney Todd, I realize I just don’t like this show’s concept or story (and I use the term story loosely as the plot for this show is nonexistent), and the music doesn’t do enough for me to make the weak book worth sitting through.

Perhaps it was because, at the request of my +1, I sat in the first row of the balcony, so I wasn’t able to see the acting head on, or perhaps it was because everyone else who I know saw this show raved about it so my expectations were too high, or maybe it was just an off night for this clearly talented cast as it was a Thursday night…I don’t know, all I know is I was no where near entertained; in fact I was bored out of my mind the entire time. So bored, I just felt like Cumberbatch in that one episode of Sherlock, you know the one where he shoots the wall out of boredom.  Sadly, with all the guns in the room, none were available to me to put myself out of my misery with having to sit through Assassins.

There is no intermission in this show, which is a bummer, cuz trust me, I would not have stayed for a second act.  And never one to be shy about leaving in a blackout, but again, as I was my +1s ride, I couldn’t just walk out like I wanted to, so I suffered through the entire show, and here are my thoughts in quick and dirty form, as I don’t really want to relive that experience too vividly:

1. Most of the characters are forgettable, their stories told through one scene into one song, and then on to the next assassin.

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The standout acting chops for me go to Kendra Kassebaum, who played Sara Jane Moore.  Ms. Kassebaum was so committed to her character, so consistent in her choices, I was impressed with her performance

I also thoroughly enjoyed Brandon O’Neill as Leon Czolgosz.  Mr. O’Neill’s monologue
delivery tugged on my heartstrings, and his confession of love to Emma Goldman was hauntingly beautiful.

2. On the flip side, the worst performance of the night for me went to Laura Griffith, playing Lynette “Squeaky” Fromme, as she was NOT in good voice that night.  Off pitch, off key, and offensive to my ears, I literally cringed as she sang, and as her commitment to her character was so strong, she practically screamed every note when she sang and it was excruciating.  Louder isn’t better, just FYI.

I also really didn’t enjoy Louis Hobson’s John Wilkes Booth.  There was an awful accent problem going on…sometimes British, sometimes Southern, sometimes PNW non-accent…it was annoying.  Hard to pay attention to the songs sung by Mr. Hobson when you don’t believe his character at all.

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3. Vocally the cast was on point (save Ms. Griffith), and there’s one 4 part harmony section sung by Mr. Hobson (Booth), Mr. O’Neill (Czolgosz), Ms. Kassebaum (Moore), and Richard Gray, who played Charles Guiteau.  Great vocal number, Ms. Kassebaum stole the scene with her impeccable acting score.

4. With a minimal set, and singular costume choices for the cast, shined a light on the performances, and all elements were just kind of meh.

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5. That theatre is entirely too small for the loudness of the gunshots going on, so rather than have a realistic impact, it just added to the overdone/trying-too-hard feel of this performance.

6. You know a show is boring when the biggest reaction from the audience is when Lee Harvey Oswald’s windows came up out of the floor.  That theatre magic got more oohs and ahhs than any number performed.  And the actors could tell, cuz most of them were just trying too hard to get reactions, which just perpetuated the problem.

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7. When a show happens on a night where at 8pm it’s 60 degrees outside, would be great if the theatre would kick on the air conditioning, cuz it was like watching a show from a theatre in hell.  It was so effing hot in the balcony, which definitely didn’t help how much I loathed this experience!

Maybe I just saw a bad night of this show, because the friends who told me it was good are theatre lovers, so they should know if it sucks.  But for me, this show sucked, was a waste of my time, and I am seriously sad about the two hours of my life I’ll never get back.

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On the other hand, good to know that now Assassins is just a show I don’t enjoy.  The music is dull, the plot is non-existent, and the ridiculously long drawn out monologues drag you along with them at the pace of molasses in January, that I was literally counting the minutes until I could get out of there!  And musically there were many moments that sounded so very familiar, meaning they were basically a poor-man’s Into The Woods when it comes to rhythm and message.  And I’d have given anything for a witch to come out and zap them all in the groin just to add a little action and plot depth to this dull show.

I love ACT Theatre, and this is the first time I’ve ever not enjoyed a show there, although it’s also the first time I’ve ever seen a musical there.  I have come to know ACT as one of, if not the best straight playhouse in Seattle, and even though I didn’t enjoy Assassins, I’m very much looking forward to seeing Stupid F*cking Bird there in a few weeks.  I never avoid a theatre due to a bad production here and there, but I will avoid Assassins in the future no matter what!

And if perhaps I just happened to attend on an off night, well then shame on those actors, because those of us who paid on Thursday should get as quality of a show as those who paid on a Saturday.  Get it together, people!

Based on my experience, I’d skip this one if I were you, because clearly I can’t guarantee you’ll get a good show.  However, if you do go, and have a totally different experience than I did, I’d love to hear about it.

I give this a should-have-left-in-a-blackout disappointed glare.  200_s-2.gif

Assassins plays through May 8, and ticket and showtime information can be found on ACT’s website.

Ciao for now,

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Weird Romance at STAGEright Was…Well…Weird. In a Really Wonderful Way!

Entertainment Review, Musical Theatre Review

Ok, so we all know I love me some STAGEright goodness, because they always bring either a new twist on a classic show like with their Gregory Award winning Into the Woods, or a new crazy show I’ve never heard of before like Are You There God? It’s me, Karen Carpenter.  So whenever a new show is on the horizon at this fun and whimsical theatre company, I am excited to attend and see what they have in store for me this time.  And for this go round, they brought Weird Romance.

This is story I’ve never heard of before, with book by Alan Brenner and Music by Alan Menken.  Yes, you read that right, Alan friggin Menken!!!!  And with the music at the hands of my favorite Music Director, Josh Zimmerman, I was seriously stoked to see what this show was all about, because if nothing else, I knew the band would be rockin’!

Ok, so as with the Romeo et Juliette review, for those of you planning to see this show and want to be surprised by every little element, well stop reading, buy a ticket and go see it.  However, I feel I must divulge details for my readers who want to be in the know about the ups and downs of this very interesting show.

The program calls this show ‘Two one act musicals of speculative fiction’ and that is a fantastic description, although the show starts long before the lights go down and the music starts.  Upon entry, you are told to select your seat, leave your coat and walk through the curtain to the Act 1 area where you are only to sit in certain spots around the stage, and after quickly doing the math, only about 10 people or so could sit, which means the rest of the audience were to just stand around and be part of the show.  Ugh, I haaaaaaaate interactive theatre!

I do, I really hate it, and this production shows exactly why: I can’t fully immerse in the watching of the story when I’m being pushed around the acting space by the snarky characters.  When special lights are showing right above you, blinding you and melting the non-actor makeup down my face, it distracts from seeing what is happening with this story.  Which is sad, cuz it’s actually a really interesting story, which I’ll get to in a moment.  Also, even those who sit, don’t get to stay in their seats, because actors force you to move to the other side of the room, demand that you ‘get out of the way’ every time you turn around, and often you’re in the dark so you end up stepping on your fellow audience members.  It felt like STAGEright was trying to recreate their own version of ArtsWest’s American Idiot experience, but it didn’t work for me.  Most of the audience seemed distracted and that’s not what you want at a show.  Immersion is a privilege, not a right, and I didn’t get anything special from standing the entire time, often in the way of an actor, and my +1 felt the same way.

That being said, when I wasn’t being distracted by getting out of the way of an actor entering or exiting, I saw some absolutely amazing performances.  Let’s start with my favorite: Noah Duffy!  This bitch, and by bitch I mean the character he played in Act I titled The Girl Who Was Plugged In.  The character was called Zanth, and holy motherfucking hell!  And apologies for the vulgarity, but there are no other words for how absolutely brilliantly this character was played.  Over the top, working a pair of platform boots and sparkled thong codpiece like he wears one every damn day blew my mind!  Completely in every single moment, I was not ready for this level of acting, but Mr. Duffy is a genius!  His voice was on point, his dancing was epic (the high kicks on this boy!), and his acting was flawless.  Yes people, I said flawless!  His performance of Zanth alone should have you running to Brown Paper Tickets to purchase your seats for this experience.  He was almost good enough to make me forget about how irritated I was at having to stand for 90mins for the first act, that’s how unbelievably good he was!

unspecifiedAnd then Act 2 rolls around titled Her Pilgrim Soul where he switches gears to be Dan, a computer scientist/assistant to a doctor where he strips down to a modest button down shirt and pants, the makeup and glitter gone, and transitions seamlessly into the happy, curious, amazing character of Dan.  A chameleon in our midst, showing even larger range of voice and acting than I was ready for, so yeah, I’m an instant fan of this amazing artist.  Thank you, Mr. Duffy for the performances you gave in this show.  You’re absolutely phenomenal.  Bravo!

12728986_1071569456198235_8485375698718407884_nThe perfect chameleon counterpart to Mr. Duffy’s performance was one of my all time favs doing what she does best which is 100% commit to whatever outrageous character anyone throws at her and kills it every time!  I’m talking of course about the incomparable, brilliant, fucking amazing Olivia Lee!  You’ll remember my raving about her in shows like Hair, Into the Woods, and Are You There, God?  It’s me, Karen Carpenter.  She is so good, people, I can’t even with how good she is!  In Act I, draped in crimson goddess Gaga-esque fabrics, she’s all sparkles and lashes, and belting voice, and embodying some epic diva known as Shannara.  And I adored her as always!  She steals my focus whenever she is on stage with that ridiculously amazing voice and stage presence of hers, and the chemistry between Ms. Lee and Mr. Duffy was off the effing charts!  Boom!  Go see them in this show!  Just don’t wear your heels, cuz you won’t wear them as well as Ms. Lee, mmmmkay!?!?!?

Now, on to Act 2 where, just like Mr. Duffy, Ms. Lee strips out of her fabulous getup down to a dowdy, make-up less (yes, you read that right!  No make up on her gorgeous face!) snack-loving Rebecca, where I finally got my fix of Ms. Lee’s brilliant comedic timing.  I’ve said before, Ms. Lee must be the love child of Cher and Cherie Oteri, because damn can this chick crack me up!  And why? Because she’s so committed to her characters.  A true actor, who fully develops a character and bravely brings her out for the audience to enjoy.  As much as I adored Shannara, Rebecca is what I left thinking about because Ms. Lee is superb in this role.  Even when singing with a mouth full of cookies, the performance took my breath away and brought me to happy tears because I was laughing so hard.  Thank you, Ms. Lee for you consummate professionalism and commitment to the art of acting.  J’adore you!  Brava, Diva!

Other actors in the show had some decent elements.  Let’s talk about the women first.  I enjoyed Linnea Ingalls in both acts, but more for her acting than anything else.  She really is a stellar actress, was absolutely delightful in Act 2, especially, but her voice was just so-so for me throughout the show.  I also really enjoyed Tiffany Chancey in both acts both vocally and acting wise.  And Jasmine Joshua and Varsha Raghavan play the same character, well sort of (I’ll get to that in a moment), and together they really were one perfect performer. Ms. Joshua’s acting chops were outstanding, but her voice wasn’t quite on pitch a lot of the time, whereas Ms. Raghavan had a lovely voice, but her acting felt very one note through both roles from Act 1 to Act 2.  They weren’t bad notes, mind you, but would like to have seen a bit more range from her given the characters she was playing.

As for the men in the ensemble, Samuel Jarius Pettit gave a sweet performance in Act 1, and did well in the very minor part he had in Act 2.  Andrew Murray has a nice voice, but lacked chemistry with Ms. Raghavan in Act 1, as he played Ms. Raghavan’s love interest.  I didn’t buy that relationship at all.  However, in Act 2, he’s quite delicious as a seductive lounge singer splitting his attention between an angel played by Ms. Joshua and the devis played by Ms. Raghavan.  The strength of his voice came through in this act, and I finally saw a fully developed character!  The sultry lounge singer definitely sits better on his abilities than the sweet boss’s son fawning after a pop star (I know you’re prob confused, just hang with me).

And along with the ups also come a few downs.  Dan Posluns seriously disappointed in Act 1 with a voice rarely on pitch, and a very one-dimensional, dry acting performance.  However, in Act 2, his jewish business man character was rather well done and likable, so no idea why there was such an inconsistency in performance from one act to the other.

And finally, Matthew Lang, who you’ll remember I reviewed in Sweeney Todd had the same problems in this show that he’s had in every other show I’ve seen him in, only this one was worse as in addition to another one-dimensional performance where I saw him trying  so hard to ‘play’ the various roles he was cast in, he stumbled over line after line, and I’m not sure if it was nerves or lack of knowing his lines, but man he couldn’t get a sentence out smoothly to save his life.  His voice was weak throughout the entire show, more noticeable in Act 1 than Act 2.  Mr. Lang has more of a voice for classical musicals, so rock opera style just doesn’t sound good when he sings it.  And for all the honest, amazing performances going on around him from Mr. Duffy and Ms. Ingalls, both of whom gave him buckets of amazing stuff to work with, the light shone very brightly on how weak and flat Mr. Lang’s performance was as he awkwardly stumbles through this show.  Once again, I didn’t see one real moment from him, and he left me very disappointed.

Now, what do all these performances combine to make?  Well, Act 1 tells the tale of a unspecified-1world where advertising is against the law, and a creepy business man and sweet scientist have created a way for one average person to inhabit the robotic body of a superstar.  This is tested on homeless people, and this story focuses on a homeless woman named P. Burke who allows the sweet scientist to send her mind, heart and soul to transport into a stunning beauty named Delphi where she can have the world at her feet.  The goal is these robots wear a body lift bracelet that will entice consumers to want one and create profit for the company without actually advertising.  The boss’s son falls in love with the robot Delphi, and she falls in love back and tells him the truth and the entire secret robot embodiment/Avatar business is brought to a very ugly head.  For all the standing around of the audience, and all the running around of the cast, I felt that director Brendan Mack, assisted by Josh Moore pulled off an interesting concept, creative design and fantastic casting.  The costumes by Cherelle Ashby and Jonelle Cornwell were amazing!  The choreography left me a bit bored, but the dancing was minimal, so I wasn’t so worried about it.

unspecified-3Act 2 switches gears and tells the story of Kevin, a doctor working with his assistant Dan on virtual reality where suddenly a baby they didn’t create appears on the screen, and this baby grows into a young girl named Nola who can see and interact with Kevin and Dan.  She’s virtual, but can see, talk, and eventually touch them.  She ages by the hour and we follow Nola’s memories from young girl to teenager to young collegiate to wife and mother, to eventually learn she dies in a very painful childbirth.  As she grows, Kevin bonds on a deeper and deeper level with her, so much so that he begins neglecting his wife, Carol, in order to spend more time with Nola.  There’s a twist in this story where it turns our that Kevin in the reincarnated husband of Nola, and she’s come back from the afterlife to help him see that he needs to live his life more fully.  He needs to have children, cherish Carol, and be happy.  It’s a very lovely, touching story, and man, Ms. Ingalls is amazing as Nola.

My main complaint about this act is that randomly, suddenly, when Nola is a collegiate girl, Kevin is able to touch her.  He’s able to physically touch a hologram, and I don’t understand this choice.  I asked director Brendan Mack if that was part of the script, and he said no, it was a choice they made to allow the actors to fully interact.  Personally, it bugged me, because I think it would have been so much more impactful if, as the connection between Kevin and Nola deepens, the fact that they can’t touch would have increased the tension and raised the stakes.  And, given how good Ms. Ingalls was at depicting a few of her memories, if Mr. Lang wasn’t able to touch her, his strange reactions to her wouldn’t have muddied up the scene so much because he wouldn’t have been allowed to infiltrate her hauntingly beautiful moments with his mediocrity.

Other than that element though, this act was wonderful.  The story is heartbreaking and hopeful at the same time.  It had the feel of Menken, with a Disney-esque happy ending after a few obstacles, and a few toe tapping songs that make you smile.

Overall, this was a really fun night of theatre, and I highly encourage you all to go see for yourself if you enjoy a bit of interactive theatre and don’t mind sort of being part of the show, because the stories are really interesting and the music is really good.

I give this a solid applause with a note to self to bust out my Ben Nye makeup for any 12366300_1040988085923039_8095817807704081999_nfuture STAGEright performances just in case I find myself part of the show!

Weird Romance plays through Feb 20 at the Hugo House on Capital Hill.  Tickets and showtimes can be found on STAGEright’s website.

Ciao for now,

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How to Succeed in Theatre: The 5th Avenue’s How to Succeed in Business Has What It Takes

Entertainment Review, Musical Theatre Review

It has been a very long time since I went to the theatre and smiled the entire time!  I’ve always been a fan of the musical How to Succeed in Business Without Really Trying, but given its 1960s campy nature and goofy storyline, it can be a cheesy mess from the first note if not done well.  And people, the 5th Avenue not only did this show well, they knocked it out of the friggin park!

Let’s start with the music, shall we?  I’ve said in numerous of my reviews of musicals, if you’re going to do a musical, the music better be good, and the music in this show is impeccable!  The orchestra is so on point, I even loved the overture!  And I hate overtures!  And the cast, every voice up there on an even keel of excellence, I don’t even know where to start.

Oh yes, I do, let’s start with the show’s leading character, J. Pierrepont Finch played by the delightful and adorable Eric Ankrim.  This kid!  This ridiculously talented kid stole my heart right out the gate.  He brings to life the ambitious Finch in the most captivating way.  The protagonist in this story, Finch is a window washer hellbent on climbing his way up the corporate ladder by following the rules of a book called How to Succeed in Business Without Really Trying, and the show follows his journey from the mailroom to the boardroom, and all the steps in between.  He’s cunning, calculating, creative, and downright charming all the way through.  You root for him whether you want to or not, whether he deserves it or not, you just want him to get everything he desires because he’s so damn likable!  Outstanding acting, the perfect tenor voice, and wonderful dancing, Mr. Ankrim is a triple threat, the likes of which I haven’t seen on a young male actor since I moved back to Seattle.  I loved him so much, that his performance alone has me already planning another trip to the 5th Avenue to see this again.  Bravo, Mr. Ankrim, I’m a huge fan of yours!  Bravo!

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Sarah Rose Davis and Eric Ankrin                                                                          Photo by Tracy Martin

The leading lady to our leading man is a lovely secretary named Rosemary Pilkington, played by the incomparable Sarah Rose Davis.  I’ve been watching Ms. David on stage since her Issaquah Kidstage days, and to this day she is my favorite Eponine I’ve ever seen live.  But I digress, Ms. Davis has blossomed into one hell of a performer, and everything she did on that stage blew me away!  Her voice, as angelic as ever, but with a grown up strength and professional finesse.  Her acting, perfectly on point with stupendous comedic timing, matching Mr. Ankrim beat for delicious beat.  Her dancing, delightful and playful, and also just downright likable.  You root for Rosemary as much as you root for Finch, and the emotional journey Ms. Davis takes us on through this show will have you giggling along with her, pining along with her, and hoping and praying she gets all that her heart desires.  There are actors, and then there are stars, and Ms. Davis is definitely a star.  Broadway better get ready, because I’ve no doubt that is where she is headed, and it will be so amazing to watch the journey.  Well done, young lady!  Bravo, and thank you for an amazing night of theatre!

I could gush about each individual cast member in this show, which would keep you reading forever, so let me just say that all around the cast was phenomenal.  Each character fully developed from the CEO to mailroom boy to the left and everyone in between, each dance step perfectly danced, each note right on pitch.  They all worked together beautifully to bring this world to life.  I had so much fun!  Bravo to the entire ensemble!

 

But before I move on to the design and direction, I do have to call out one other performance that blew my friggin mind!  Hedy LaRue played by Jessica Skerritt.  People!

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Jessica Skerritt (center  in green) as Hedy LaRue        Photo by Tracy Martin

People!  People!  This chick’s acting chops, I can’t!  I just can’t!  She’s soooooooooo friggin good!  And I apologize for not being more eloquent, but there aren’t words for how amazing she is in this role.  And having just seen Ms. Skerritt in the Sound of Music in December, well, seeing her go from an Austrian Baroness to a mistress-extraordinaire both played beautifully, the range on this superb actress is just astounding.  She’s a true chameleon, and she stole this show for me.  Good on her for taking the risks she took with this role, for her commitment to this wonderful character, and for making me long to be tall with legs for days!  I’m such a fan of Ms. Skerritt’s and will go see anything and everything she is in, cuz wow!  Just simply wow!

Now, on to the design…every element was as impeccable and perfect as the cast!  The How_to_Succeed_06_Sarah_Rose_Davis_Eric_Ankrim_and_Sarah_Rudinoff_credit_Tracy_Martin-600x400costumes, so period perfect, so wonderfully constructed, each new piece was better than the ones before.  The specifics that costumer Rose Pederson created in these pieces, from the specific color choices per character (Rosemary’s pink dresses were absolutely stunning), to the uniformity of the executives, to the flirtatious frocks of Ms. LaRue were absolutely dazzling.

The set design was a-maz-ing!  Color blocks of panels moving through the space as if choreographed along with the cast created a kaleidoscope of a world that kept me on the edge of my seat.  How would it move next?  Oh my god, that panel opens!?!?  What?  No it did not just slide that way!  Yeah, that’s how my brain went throughout this show overtime there was a scene shift.  I am so impressed with what scenic designers Tom Sturge and David Sumner pulled off for this show.  Bravo, fellas, bravo!

A show this big needs a solid director at the helm, and Mr. Bill Berry did a brilliant job with this show.  He cast it perfectly, staged it brilliantly, and clearly spent quite a bit of time on character development with each actor, because no matter if the stage only held Finch and Rosemary or if the entire cast was dancing and singing about the Brotherhood of Man, each actor on that stage was so clear in their intentions and character choices, that I was highly, highly impressed.  Mr. Berry’s concept for the show was crystal clear, he didn’t fudge with the script or try to make it something it wasn’t.  He embraced this Mad Men-esque world, and brought to life a fun-filled, lively show that anyone who sees it will leave with a smile on their face, and a song in their heart.  I know I was randomly just singing “Roooooooosemary” for at least a week afterwards.  Wonderful!  Outstanding!  Well done, Sir!

And much like Mr. Ankrim and Ms. Davis complimenting each other, so Mr. Berry’s perfect counterpart was music director Dan Pardo.  As stated above, Mr. Pardo’s music direction was fantastic!  Everything musical was perfect, every single note!

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How to Succeed in Business Ensemble                      Photo by Mark Kitaoka

And I save the best for last, because the choreography!  OH!  The wonderful, beautiful, fun, feisty, fantastic choreography done by Bob Richard!  I. LOVED. IT!  Mr. Richard did the one thing I’ve been yearning for in a show: a choreographer who uses the talent of his dancers to the best of their ability.  Were there tap sequences?  Yes! But only by the dancers who could tap his combinations.  Were there complicated jazz sequences? Yes! But the strong jazz dancers.  And when the whole cast was moving on the stage, the choreography was perfectly suited for every dancer up there!  My favorite numbers were both in Act II.  Cinderella, Darling and Brotherhood of Man took a tie for gold for the best in the show.  Thank you for a wonderful show, Mr. Richard!

This show had so many ups, and the few down weren’t really downs, but perhaps nerves at the top of the show that fizzled and died quickly as this highly skilled cast leaned into each other to pull off one of the best night’s of theatre I’ve seen in a very, very long time. Congratulations to the cast, crew, and creative team of How to Succeed!  You earned the rousing standing ovation you got the night I was there by the entire audience, and will enjoy, I’ve no doubt a standing ovation every night for the rest of the run.  Bravo!

I give this a thunderous applause and a very stern direction to all who read this to get thee1516_H2S_PageHeader_783x340 to the 5th Avenue Theatre and see this show before it closes on Feb 21!

Tickets and showtimes can be found on the 5th Avenue’s Website.

Ciao for now,

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The Hills are Very Much Alive at the 5th in Seattle!!

Entertainment Review, Musical Theatre Review, Theatre Review

People, people, people, let me start by saying I am a devoted fan of the Sound of Music film starring the phenomenal Julie Andrews, and my beloved Christopher Plummer, so I have purposefully stayed away from stage versions of the show for fear of it not living up to the beauty of the film I adore with every fiber of my being.

However, when I found out that Kirsten DeLohr Helland was playing Maria, I decided it was time to face my fears, because if anyone could make me fall just as in love with the stage version as I am with the film, it would be the ridiculously amazing talent of Ms. DeLohr Helland.  And I was not wrong!

I’m actually going to start with the design of this show, because the set was stunning, the costumes were perfection, and the lighting was inspired!  The set was marvelously constructed, utilizing the stage so beautifully, and from my seat in the balcony, I could still see every detail, and it truly brought Austria to life.  Small details pushed it over the edge of perfection into mesmerizing beauty from the intricate work on the Abbey gates, to the perfectly rounded staircase, to the trampoline of a bed for the thunder and lightening scene.  Each scene so perfectly design, so brilliantly built, and so expertly crewed, the scene transitions were seamless.  Glorious!  Thank you, Phillip Lienau for your stunning design, and congratulations on a highly successful debut  at the 5th Avenue! I look forward to seeing more of your work in shows to come.

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Photo Credit: Mark Kitaoka

 

The costumes, oh you guys, the costumes were absolutely stunning.  Again, the details made all the difference.  Things like the transition of vivid/bright colors on Frau Schraeder at the top of the show, to her muted subtle final outfit before she chooses to leave Austria showed her journey through her wardrobe!  Oh, and the delicious hot pink/purple hued tie on Uncle Max adding whimsy to his perfectly tailored suit that fit his character beautifully.  The perfectly constructed uniforms the children wear, and the absolutely menacing accuracy of the Nazi uniforms all enhanced the world of 1930s Austria on the verge of invasion, and I loved it.  My favorite piece is Maria’s wedding dress, it actually took my breath away.  That dress alone should have you all running to see this show!  Bravo to the entire costume team for bringing to life the sensational costume design by Melanie Taylor Burgess.

Lighting by Mary Louise Geiger, and sound design by Christopher Walker were spectacular throughout the show, especially during the thunder and lightening scene.  And through all the long belty numbers in this show, the sound was perfectly balanced, and even in the balcony, the sound was crisp and clean.  Well done to both of you and your board ops for a flawless tech of Wednesday night’s show.

Now, on to the performances!  People, this, THIS is a musical!  And it is anchored by Ms. DeLohr Helland so beautifully, I can’t EVEN with how good this chick is on stage!  A true chameleon she can literally play anything.  You’ll remember I raved about her amazing ability to bring a role to life in my review on American Idiot at ArtsWest, and she brought it even harder as Maria!  To take on an 5thSOM4iconic role like Maria, a role made so famous and so well known, Ms. DeLohr Helland literally made it her own!  She found nuances as Maria that were delightful and playful and while vastly different than the film, it was still so honest and true to the character.  I was worried she was too young for the role, but I was so very wrong.  Her youthful exuberance, her whimsical way of bonding and playing with the children was absolutely delightful to watch.  She was downright sprightly as she brought life and music back into the von Trapp family.  Her vocals, always on point, this chick can hold a note like you wouldn’t believe. She just floats in on out there and subtly and slowly pushes power to it and it just hooks your heart and makes you feel everything she’s feeling.  And then in the next breath she is playfully running down a scale to a low note that just, I mean, I can’t!  I just can’t!  She’s absolute musical theatre perfection!  I’m so impressed by this young actor, and am so excited for the future she has ahead of her.  Bravo!!!

And for all Ms. DeLohr Helland’s vivacious love of life as Maria, Hans Altwies’ straight laced, zero-fun-having, super-strict Captain von Trapp was her perfect match.  The chemistry between Ms. DeLohr Helland and Mr. Altwies was absolutely delicious, and let’s just say there’s a hot, steamy, unexpectedly hot and steamy, moment between these two that was so hot, I felt like I should look away because I truly felt like I was invading on a real, private moment!  Lawd!  I mean, honestly!  LOVED IT!  Like a moment out of a romance novel come to life!  Delicious!  Good on you both!  Ha!  Ok, sorry, I digress.

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Photo Credit: Mark Kitaoka

 

Back to Mr. Altwies, who absolutely commanded every scene he was in and his transformation from heartbroken, shut down widower, to doting father and husband was wonderful.  A lovely voice, quite alike in tone and power to Christopher Plummer’s, his Edelweiss brought me to tears.  A dynamic actor, a strong stage presence, and a lovely voice makes Mr. Altwies the perfect leading man.  Thank you for keeping true to all the layers of one of my most beloved, favorite characters, Mr. Altwies, I’m so much the better for having seen you play this role.  Bravo!

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Photo Credit: Tracy Martin

Now, can we talk about these children, please, because I mean, they were all fantastic, each and every one of them!  Little miss Gretl, played by Kendall Bonham is absolutely darling.  Marta, played by Isabel Menna was simply adorable.  Aubrey Thomas as Brigitta was sassy and smart and kept the adults on their toes!  Kurt, played by Coleman Hunter, was delightful and whimsical.  Victoria Ames Smith as Louisa was deliciously mischievous and lovable at the same time.  Mark Jeffrey James Weber was absolutely wonderful as Friedrich.  And Shaye Hodgins who played Liesl absolutely stole my heart.

 

Ms. Hodgins, who reminds me very much of another young actress I mentored once upon a time, who unfortunately was taken from us too soon. So watching Ms. Hodgins flit and float across the stage as a girl on the cusp of womanhood, I couldn’t help but remember, and I thank Ms. Hodgins for that.  Her portrayal of Liesl was delicate and honest.  She didn’t force any moments, and even carried her scenes with Rolf (played by Kody Bringman), who I found to be the most underwhelming performance in the show.  But honestly, it was hard to even care about that, or notice him, because Ms. Hodigns is so good in this role.  Her voice is angelic, her dancing filled with beauty and grace, and her acting chops completely on point to be a simply stunning Liesl von Trapp.  This one is one to watch for sure!

My hat is off to all seven children who brought the von Trapp children to life for Seattle audiences.  I just loved them all!  So much fun to watch!  Bravo!

Rounding out this cast were a mix of talent like I haven’t seen on a stage in a while!  Anne Allgood as Mother Abbess was sheer and complete brilliance!  Jessica Skerritt as Elsa Schraeder was stunning and powerfully confident.  David Pichette’s Max Detweiler was irresistibly delightful with genius comedic timing and delivery.  Frau Schmidt, played by Lori Larsen was a lovely combination of sass and strength.  And I was so excited to see Darragh Kennan on stage again (you might remember him from my review where I raved about him as Iago in Othello at Seattle Shakespeare), and he was brilliantly menacing and bone chilling as the Nazi Herr Zeller.  Any chance I get to see Mr. Kennan perform is a good day!

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A strong ensemble balanced this show perfectly from the waltzers at the party to the nuns at the Abbey.  Speaking of, the collection of voices on the group of nuns cast in this show was stupendous to behold!  Perfect harmonies, perfect pitch, they were wonderful!

This is my first David Bennett production, and I must say, what a wonderful director he must be to work with given the caliber of each performance on that stage from ensemble to lead and everything in between.  Mr. Bennett understands the beauty that comes from just letting actors stop moving and stand still and perform!  He put together such a lovely kaleidoscope of pictures that had me mesmerized from the first note to the last, and I was quite sad when it was over.  And the very last moment, the moment that happens before the lights go out revealed a secret in the set that was the perfect stage for one of the most stunning closing moments I have ever seen on stage, and it reminded me why I love this thing called musical theatre so friggin much!  A perfectly directed moment performed perfectly by the actors, yeah, this is not a show to miss, people.  Bravo, Mr. Bennett!  Thank you for this wonderful experience!

The last thing, and I know this post was long, but I had so much to share, was the music in this show was simply wonderful.  Every voice on stage, every instrument in the pit worked in perfect harmony without one glitch.  I’ve said it in so many posts, that if you’re going to do a musical, the music needs to be good.  Well this music transcended good right into epic! Thank you to Music Director Kat Sherrell for a wonderful night of music.

I give this a thunderous, tear-filled standing ovation!

The Sound of Music Plays at the 5th Avenue Theatre through January 3rd, and I highly recommend you see this show.  Tickets and show information can be found on The 5th Avenue Theatre’s website.

Congrats and Bravo to all involved with this wonderful production.  It truly brightened up my holiday spirit!  5thSOM1

Ciao for now,

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Photos provided by The 5th Avenue Theatre’s Press Page

UW PATP Brilliantly Found Their Corner of the Sky!

Entertainment Review, Musical Theatre Review

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It’s no secret I am a very proud alumni of the University of Washington School of Drama, and my favorite thing about moving back to Seattle is that I get to go back to my alma mater and watch outstanding productions.  Whether it’s a MainStage show put on by the UW Professional Actors Training Program students or a black box production in the Cab by the Undergraduate Theatre Society, it just warms my heart with pride to see the latest generation of actors holding it down for all of us old folks who haven’t stepped on stage in years!  And my latest experience, Pippin, is my favorite so far!

It all started with an email letting me know that the UW PATP were taking on one of my favorite shows, that often comes with a complicated design, and a challenging vocal score.  I mean, the current broadway version is set in a circus tent, for god’s sake.  So, when the email said the kids were going to produce this show in Hutch 201, I was like Whaaaaaaa?  But then I saw a few names involved in the project that I had seen, and gushed about before, so I knew I had to check this out!

I’m not going to lie, I hadn’t been in Hutch 201 since my final as an advanced acting student in Mark Jenkins’ class, so stepping into that room brought back so many wonderful memories.  And imagine my surprise to see Mark, and a few of my other former teachers in the audience, along with as many students as the room could hold!  A very good sign for the performers when the director is frantically carrying in chairs to create new rows based on the line of people outside the room hoping to get a seat.  There was a full pit, back up singers (as it said in the email that this show had a much smaller cast than usual) and an empty stage with only two floor lights ready to illuminate the stage.  There was an electricity humming through the room in the form of anticipation from the audience.  And when the lights went down, the company took their places and got set for a bit of magic to do.  And oh, how magical it was.

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Aaron Cammack as Pippin and the ensemble behind him.                           Photo by: Mike Hipple

 

While Pippin is the title character, this show truly is an ensemble piece, where the push and pull of the relationships are essential to the success of the production, and this cast of actors worked together beautifully!  I first saw many of these actors in Twelfth Night last year at UW, and then again in Bus Stop last spring, so my expectations of their performance level was extremely high, and none of them disappointed.

cammackLet’s start with Pippin, shall we?  Played by the ridiculously handsome Aaron Cammack, this Pippin quickly became my favorite that I’ve ever seen for one reason:  Mr. Cammack found so much truth within Pippin’s journey, devoid of any judgment or prejudice, and instead just sunk into this character’s need to find his purpose in life, no matter the cost.  With every new experience, the hope that Mr. Cammack brought to Prince Pippin, expecting it to finally be his purpose, only to find disappointment when he didn’t find it, and then moving forward to continue his search was phenomenally played.  Clear intentions, outstanding actions, and so perfectly present in each moment, I believed every moment Mr. Cammack created.  He took me on his journey so brilliantly, that I was moved to tears at the final scene and the final notes because Mr. Cammack touched my actor’s heart with his performance.  A stunning voice, impeccable acting chops, and mesmerizing presence on stage, Mr. Cammack is a true chameleon, and I have no doubt has a very bright career ahead of him.  Bravo!

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Skye Edwards as the Lead Player and Aaron Cammack as Pippin                      Photo by: Mike Hipple

Pippin’s antagonist, well the main one anyway, the Lead Player, was played by the equally mesmerizing Skye Edwards.  This cat, I can’t even with him!  Tall drink of strawberry blonde water, a chameleon in his own right, I swear, the kid can play anything.  I first saw Mr. Edwards as Sir Andrew in Twelfth Night, and his performance was deliciously hysterical!  Then, in Bus Stop, well, the second half anyway, his portrayal of Beau wasedwards absolutely brilliant!  And now, as the Lead Player, people, he was fantastic!  Charismatic, ornery, and fiery all at once.  He expertly rolled this play
along and set the tone for the show, creating a clash of historic, medieval times with a modern twist.  Doing double duty as Lead Player and Choreographer, Mr. Edwards had the flash of Ben Vereen with the subtle stylings and moves of Justin Timberlake.  The level of acting and truth that this young man brings to every role I’ve seen him play is something to behold, and I look forward to seeing many more performances from Mr. Edwards.

virden_zach_screen_resRounding out the trio of men who anchored this show was King Charlemagne, played by Zach Virden.  Holy mother of the baby jesus, this kid, this freaking talented, brave actor, brought a whole new level to Pippin’s dad that I have never seen done before and it was glorious to experience.  A little good, a little evil, a lot dirty, this King is everything you want in a monarch role in a musical.  Mr. Virden’s performance was just on a whole other level of bravery with the sheer physicality of the King.  They took the role southern, using a simple black cowboy hat as the crown, and Mr. Virden wore it well!  The physicality on this actor, the amazing centered movement, flourished with silliness and a bit of deviance was mind blowing.  He cracked me up throughout this entire show, I can’t even tell you!  He committed to the character that they created for Charlemagne so fully, that I was friggin bummed when the King’s role was done in the play.  A fantastic voice, a comedic timing like no other, and acting chops for days, I think the world better brace itself for Mr. Virden, because the last time I saw an actor with this level of comedic genius perform in Hutch 201, yeah, it was Joel McHale, and we all know how the turned out!  Thank you for bringing this version of Charlemagne to life, Mr. Virden!  I am so much the better for having seen it!

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Zach Varden as King Charlemagne and Rebekah Patti as Festrata               Photo by: Mike Hipple

The women in the cast were equally as wonderful.  Rebekah Patti was sinfully seductive as Festrata, Claire Fort was wonderfully whimsical as Pippin’s grandmother, and Hazel Lozano was lovely as Catherine.  These women rolled in and out of named characters to blend into the chorus, and did so seamlessly.  Strong actors with stronger voices, the entire ensemble as a whole was full of outstanding performers, and they rounded out this production beautifully.

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And speaking of the production, this show was stripped down to its barest bones, shining a strong light on the script and score of this epic, timeless tale.  Directed by a UW PATP actor, Moises Castro, his concept and execution were a powerful, albeit simplistic, combination.  Stripping away all the flash and complicated design elements that are usually present in Pippin, Mr. Castro allowed the light to shine brightly on the story, which elevated the message to a refreshing level.  The ensemble acted as the crew, utilizing ladders and rolling platforms to create a simple world for Pippin to roam through searching for his corner of the sky, and it was the perfect backdrop for these outstanding actors to be allowed to do their jobs, and they did them well.  This simplistic world and magnificent acting had the lesson of the story of Pippin hitting me harder than it ever has before, and I thank the entire production team, creative team, musicians, actors, and crew for this wonderful night of theatre.

This stunning production only had two weeks of rehearsal and one week of tech, so there are definitely places where the show could be tighter (this was mostly musically, as you could hear the exhaustion on a few of the performers as they got to the end of the show) and some wonky props that  weren’t as effective as I’ve no doubt they will be as this show continues to evolve and grow.  And I look forward to future iterations of this version of Pippin.

I am one proud alumni to know that UW is still impeccably training actors, cultivating talent, and supporting projects that their students want to pursue. It restores my faith in my training and the art form that I love with all my heart to see this level of acting on not just a few members of a cast, but on each and every actor on that stage!  Thank you, UW PATP Classes of 2016, 2017 and 2018 for continuing the legacy of well trained, wonderfully talented actors!  GO DAWGS!

Sadly, this show only had three performances, and has already closed.  But trust me, if there’s another run, I will be the first to let you all know!  In the meantime, UW has quite the season planned this year, and if you want to see good acting, and I mean really good acting, then get thee to the UW Campus, and go see a show and support these young actors and let them perform for you.

I give this a thunderous applause and standing ovation!  Bravo!

Ciao for now,

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Headshot from UW School of Drama PATP Website

Does Reefer Cause Madness at SMT? Meh.

Musical Theatre Review

Ok, let me start this post by saying that I saw Seattle Musical Theatre’s Reefer Madness on opening night, and it’s taken me this long to write the review because it’s taken this long for me to process what it was that I saw.

Some shows are great, some shows are awful, and then there are shows with so much wrong with them that they are downright laughable, and sadly the latter was my experience with this production of Reefer Madness.

This show, this opening night show, was no where near ready for an audience.  I kept checking my program throughout the show and even checked in with friends at intermission to make sure we weren’t watching a preview.  But nope, it was opening night.  The tech for this show was the worst offense.  Mic levels all over the place, running the gamut between mics completely going out on actors to screeching and hissing at us when actors were belting out notes.  Lights were a hot holy mess, many actors left to sing or act in complete darkness while specials gleamed brightly over empty stage space.  Not sure if it was a bad call or a bad cue, but it was friggin irritating.

The music sounded great.  Let me clarify, the band sounded great, but led by Josh Zimmerman, we know to expect nothing less.  But the voices of the cast on the other hand, yeah, not so great with the exception of two performers:  Larissa Schmitz as Sally and Benjamin Cournoyer as Ralph.  Ms. Schmitz has pipes for days, and Mr. Cournoyer’s character came right through his songs, and I thoroughly enjoyed both of their voices. Everyone else, pretty much forgettable, with one voice that just grated on me throughout the show: Mary Lane (eventually Mary Sunshine), played by Allyson Jacobs-Lake.

Ms. Jacobs-Lake has the voice of a 5 year old child, and I have no idea if this is actually her speaking voice, of if she chose this affectation, but either way it is completely wrong for the character of Mary Lane.  It was just not ok.  It might work for characters like Little Sally in Urinetown, but unless the character is supposed to be a little girl, which Mary Lane is not, and Mary Sunshine is definitely not, this vocal choice just gave the character a creepy-pedophilic-feel to it all and it just icked me out to no end.  It also didn’t translate to her songs, because some she kept the baby voice, and others she tried to belt out.  High pitched voices with a harsh edge can work, a la Ellen Greene or Kristin Chenoweth, but they still sound like grown women.  Not the case in this show, so it just didn’t work.

Acting wise, the narrator couldn’t keep his character voices straight, the on-stage slaps were laughably bad, and…ya know what, I’m not even going to go into this any further, because I could write for days about how weak the acting was, but why bother? Because honestly, this is my third show at SMT, and it seems to be the way of things to have one or two solid performances surrounded by people phoning it in, so I’ll just say the acting lined up with the music.  Kudos again to Mr. Cournoyer and Ms. Schmitz for complete character development and commitment to those characters. Thank you for being shining stars in this otherwise mediocre production.

Perhaps the tech issues threw the cast.  Perhaps the cast was under-rehearsed.  Perhaps they just were poorly directed.  I don’t know what the driver was, but what I do know is that this production was not ready for an audience, and I cannot believe a director would allow that amount of mess to go up as an opening night show, so I lay that responsibility at the feet of director, Steven Fogell.  There were so many moments where actors were set up to fail during this performance, and I was seriously disappointed for the cast.

I’ve heard that the shows have gotten better as opening weekend continued, so maybe by second weekend all will be ok.  Reefer Madness is a fun show, for those of you who don’t know, based on early 20th century American propaganda about the dangers of marijuana.  It follows a good, young christian man, Jimmy, on his fall from grace into a hell, taking those he loves with him, all thanks to the demonic power that marijuana unleashes on him.  This musical pokes fun at it in a clever, wisecracking way, complete with snappy/catchy tunes that will stick in your head, whether you want them to or not.  It should be a light, whimsical, fun night of theatre.  For me, it was a technical mess with surface-level acting, and strange casting that left me really only enjoying the voices of the people around me who were singing along.  And that’s not ok.

I give this an eye roll, and an unenthusiastic ‘meh’ instead of applause, because there really wasn’t much to clap for on the night I saw this.  I should have left at intermission.

Reefer Madness plays through October 30th, and ticket and show information can be found on Seattle Musical Theatre’s website.

Ciao for now,

M lg

To Hair or Not to Hair, That is the Question.

Musical Theatre Review
Bainbridge Performing Arts Full Cast of Hair

Bainbridge Performing Arts Full Cast of Hair

There are a few shows that I just truly enjoy listening to for the sheer joy of the music, and the jubilance of the cast, and Hair is one of those for me.  A huge fan of the movie as well as the stage play, I really enjoy the story, the tribe, and the message.  So, when I was invited to go out to Bainbridge Island to see a production of it, I jumped at the chance.

Sadly, due to an emergency, I was only able to stay for the first half of the show, and as much as I’m hoping to get back to see the second half, given other Lady M commitments, I’m not sure I’ll be able to go. So, I will review the half that I saw, which for me, was a mix of great and really not great.  So, it truly is a Hamlet-esque moment of, to Hair or not to Hair, so I will lob up my opinion, and let my fantastic readers decide for themselves whether or not to make the trek out to see this show.

Ronny performed by Olivia Lee

Ronny performed by Olivia Lee

I’d like to start with the gems in this show, because there are some sparklers!  The first was from the woman who opened the show with the best Age of Aquarius I have EVER seen!  Ronny, played by the incomparable Olivia Lee (who you’ll remember I gushed about both in my review of StageRIGHT’s Into the Woods, and then again in their Are You There God? It’s me, Karen Carpenter), who was just as epic and amazing as I knew she would be.  Actually, no, that’s not accurate.  She was even better!  Her opening number set the bar high for the rest of the cast, by belting out the notes which were pitch perfect, with an intention so clear, and an energy and bravery that the hippies of the 60s would have been so very proud of and would have cheered through their drug dazed haze.  To me, Ms. Lee is somehow the love child of Cher and Cheri Oteri, with Cher’s beauty and power combined with Cheri’s hysterical comedic timing.  She’s stunning and goddess-like in this opening number, and then has some hilarious, scene stealing comedic moments throughout the show, and I was truly mesmerized by her.  I will do everything I can to see any show she is in, because I am seriously one of her biggest fans.  Bravo, Miss Olivia!  You killed it out there!

Dionne performed by Michelle Lorenz Odell

Dionne performed by Michelle Lorenz Odell

The next jewel in this production played two characters in this show.  One moment, hippie Dionne, Tribe member, and the next Margaret Mead, inquisitive, seems-to-be conservative out-of-towner.  These two roles could not be further apart from each other, but both require amazing commitment to character, and strong acting chops.  And Michelle Lorenz Odell’s cup overfloweth with both!  Ms. Lorenz Odell was absolutely exquisite in her character development and commitment to these zany roles.  Vocally on point with a physical comedic genius, and ability to be so in the moment, she absolutely entertained in every possible way.  Her number as Margaret Mead almost stopped the show, the audience just kept on clapping, it was THAT good.  I’m an instant fan, and can’t wait to see Ms. Lorenz Odell on stage again!  Bravo!

I thought the set designer used the space well, although I hope they put better anchors on the rolling boxes, because there were numerous times a cast member got on or off of one and their weight almost flipped the thing over.  I also really enjoyed most of the costumes, they definitely got the look of the late 60s absolutely correct.

unnamed-16There were also a few tribe members I truly adored.  Madison Jade Jones was delightful in every nuance of her moments, Melanie Curran was a perfect flower child, and Kali Ponzo was adorable as sweet Jeanie.  Overall, it’s the actors that fully committed to their characters, were vocally accurate, and physically embodied the movement of the time that caught my eye.  I wish I could say the whole cast was that for me, but it was just these few.

And with that, as I move into the elements of this show that left me disappointed, and worse off confused at points, let me start with my biggest gripe first:  Script Analysis.  As a writer, words are my everything.  As an actor, my training is grounded and anchored in script analysis.  I learned early that it’s the script that a informs your choices, and it’s not only memorizing lines, but knowing WHAT you are saying.  As a director/choreographer, casting is also driven by the script, or should be, and while out of the box casting works sometimes, it’s not always successful, and for me, there were some casting choices that didn’t make sense to me at all.

The worst offense of this, for me, sadly, was Berger, played by Ted Dowling.  Not only is Mr. Dowling much too long in the tooth to play Berger, his singing was terribly flat the entire first act, and he seemed more interested in dropping his pants than creating real acting moments.  His performance was so off from what is should be (and the costumer didn’t help him out by fitting him with a loincloth that was too big so it drooped off his ass like a burnt sienna colored diaper, and a vest that cut him at the worst possible place for his body type), that I was actually uncomfortable watching him in this role.  The lines delivered by Berger and about Berger weren’t believable at all with this actor in the role.  I see from his bio that Mr. Dowling does a lot of film and television work, and I could see him working quite well in those mediums.  But in the theatre, a performance has to be much bigger, much more committed, and much more real, as there are no editors to make it better in post-production, so I truly did not enjoy his performance at all.

Most of the music seemed off from the cast, and I don’t know if it was a mic problem, or a tempo change problem, but the music was less than stellar, evident most in the ensemble numbers.  With it being second weekend, those harmonies and tempos should be set, but they were all over the place, which was quite disappointing.

And while not disappointing, my biggest confusion in this production comes in the form of the other two leads Claude and Sheila played by Jesse Smith and Alison Monda respectively.  I was so confused by these two young actors because their acting was great, their physicality and commitment to character was right on point, and both clearly have vocal chops, yet they sang so softly, almost weakly, that I have no idea what was going on.  Mr. Smith, especially seems to have a strong voice in there, and appeared to be holding back.  There was one moment during I Got Life, I wanted so badly for him to let go and belt it out, because the notes are there!  I just craved more power because I think it’s there.  So, not sure if Mr. Smith was sick the night I was there, or if it’s a musical direction choice, but with a talent like that, I’m not sure why he was singing so softly.

On the flip side, Ms. Monda was given a gargantuan task of singing Easy to Be Hard like the movie, instead of how it is usually done in the play.  For those of you unfamiliar, Sheila is in love with Berger who has just humiliated her in front of their whole tribe and storms off like a petulant child leaving her to sing Easy to Be Hard as a sad Carol King-esque ballad.  In the movie, however, it is sung by the wife of another tribe member who has been deserted by her husband, leaving her to raise their son alone so that he can be a rambling hippie, which makes the movie version of this song a heart wrenching gospel power ballad.  Ms. Monda did belt it out, and had some wonderful acting moments in that, but the rest of her singing mirrored Mr. Smith’s with appearing to be holding back.  A friend of mine describes Ms. Monda as the best Maureen (from RENT) that he’s ever seen, and he’s a tougher critic than I am, so clearly she has some pipes.  And I’m not sure why she only let us enjoy them in one number.  It was just really confusing.

And it’s these confusing, odd moments that I lay at the feet of director Teresa Thuman.  According to her bio, Ms. Thuman has a theatre pedigree that is enviable and respectable, so these weird, odd, confusing moments are even more glaring for me.  There was such a huge chasm between the failures and successes in this show, and that inconsistency seems odd in the hands of such a skilled, seasoned director.

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I’ve been told by some creative people in the community theatre world that audiences who see community theatre shouldn’t hold them to the same standards as an Equity house and I completely disagree.  I think audiences who appreciate art at all levels deserve a consistently good show.  Some of the best things I’ve seen have been small/fringe/community theatre, and I think the audiences of those shows are intelligent and deserve the best possible.  And there were some elements of this production of Hair that did that!  They were delightful and thoughtful and out and out wonderful.  And there were some elements that were incorrect, off-key, and inauthentic, and fell very short of what I think this very capable theatre can produce.  I will say this, though, in all sincerity, the entire cast looks like they are having a blast performing this show, and that joy, that jubilation, might just be enough to get me back over the sound to see the rest of this show that I missed, because the happiness of the cast is quite electric.

I give BPA’s Hair a solid applause for the good, and a shrug of confused and disappointed shoulders for the bad.

Hair Plays at Bainbridge Performing Arts through October 25th, and showtime and ticket information can be found on BPA’s website.

Hair-poster-w-photo4It was a beautiful ferry ride over from Seattle, and they did let some sunshine in, so you should maybe head over to Bainbridge Island and experience it for yourself.  Ms. Lee’s opening number is truly brilliant enough that you probably should go.

Ciao for now,

M lg

Photos courtesy of Bainbridge Performing Arts and Facebook