Can a play truly be cursed? There are superstitions that one is. A play so feared that actors will not even utter its name aloud. It is William Shakespeare’s Macbeth. Opening with prophesying witches, the supernatural tone is set for this tale of unbridled ambition presented by the Orlando Shakespeare Theater. Adding to the over all creepy ambience, the witches’ jerky movements are the stuff only special effects in late night horror flicks can render. In reality, the movements are skillfully choreographed moves based on the Japanese dance technique of Butoh (dance of darkness) and the brainchild of Director Jim Helsinger.
The OST makes the most of sparse sets and props, and the production of Macbeth is no exception. However, the OST has added a new twist and transformed the Margeson Theater into a theater in the round – a first. Upon entering the theater, the audience is immediately confronted with the sound of rhythmic dripping and a blood-filled bowl in the middle of the stark stage – a precursor to the dreadfulness to come. The audience is so close to the actors that it is as if they too are part of the production - leaving those seated in the front row exposed and vulnerable. It’s a little unsettling. I know. I was one of them.
The production’s cast is a combination of newcomers and veterans alike. As always with any of Shakespeare’s plays, I am astounded by the ability of the actors to memorize such profusely wordy and awkward dialog. Macbeth is played by Ian Bedford in his first OST season. With shaved head, tattoos and a leather kilt,
Creepiness abounds in this production. Hooded, faceless figures appear in all corners of the theater keeping the audience off balance. Other-worldly and disembodied voices, screams, and animal shrieks come from everywhere and nowhere. The most horrific scene of the evening hands down was the Macduff family massacre which was epitomized by the last remaining member’s murder – a defenseless crying baby who is silenced with the faint sound of a tiny neck breaking.
If you are squeamish at the sight of blood, horrified by gruesome murders, fearful of witches, hallucinations, or nightmares, then you might want to skip the OST’s production of William Shakespeare’s Macbeth; because I guarantee you … there will be blood. But if you are up to a good old-fashioned fright, this play fits the bill. Macbeth continues at the OST until April 27th.
– K J Roberts —
A suitor comes to call and is told he can have the hand of the beautiful Chinese princess if he can answer three riddles. The only catch is that if he answers wrong he will be executed at dawn. With lavish sets, opulent costumes, and abundant talent in great numbers, Giacomo Puccini’s Turandot is the Orlando Opera Company’s season finale.
From the opening crowd scene, the audience automatically knows that this will not be an ordinary opera, but a grand spectacle. Puccini’s last opera - and arguably his best - is based on legend. His heroine, unlike in his other operas Madame Butterfly or La Boheme, triumphs with a happy ending. With a goodly amount of every emotion, Turandot has moments of humor, anguish, fear, and love, and what I personally think is one of the most beautiful arias ever written, Nessun dormai.
The sublime musical score was provided by the always stellar Orlando Philharmonic Orchestra led by veteran conductor Anton Coppola. Coppola holds the great distinction of performing in the children’s chorus at the 1927 Metropolitan Opera’s performance of Turandot. He did a superb job conducting, and obviously his age does not slow him down one bit.
Although his stage presence lacked animation, Carlo Scibelli’s (Calaf) voice made up for any shortcomings. He admirably performed Nessun dormai in the third act. As Liu the slave girl, Jee Hyun Lim exuded sweetness and purity. I found her performance refreshingly in earnest. Her performance is heartfelt. She is especially touching in the torture scene in act three. Her love and sacrifice are unmistakable. As our heroine, Princess Turandot, Lise Lindstrom is imperial. She depicts the solemn ice princess with unwavering sovereignty and self possession. Her voice reflects her every mood and crack in her cold facade.
The Orlando Opera chorus and supernumeraries populated the stage with the makings of a small town. What an undertaking it must have been to coordinate such a huge number of performers. Amy Hutchinson is to be commended on her direction. The show was a well-oiled machine. In addition, the Children’s Chorus added an angelic quality with their clear, sweet voices.
Turandot captivates the imagination and captures the true soul of opera at its best. After this great performance, it leaves the audience yearning for next season. The 2008-2009 season opens November 14th and will include: Verdi’s Il Trovatore, Rossini’s La Cenerentola, Puccini’s Suor Angelica and Mascagni’s Cavalleria Rusticana.
– K J Roberts –
The lilting waltzes of Johann Strauss sets the lighthearted mood for the Orlando Opera Company’s most recent production, Die Fledermaus. With elaborate and colorful sets, luscious costumes and a goodly amount of merriment, Die Fledermaus shines.
Centered around a zany storyline based on a practical joke, this production does not challenge the audience as most operas do. Also sung in English, this would be an opera newbie’s best bet. Die Fledermaus is most impressive when the entire cast sings and dances. Act II’s party scene is a lively example, and everyone looks to be having a great time. The cast is first rate and the Orlando Philharmonic Orchestra is superb. The production’s major detractor is the long play time and two intermissions. I was exhausted by the third act.
Janette Zilioli is Rosalinda, the heroine. Her voice is lovely but does not have the volume of some of her cast mates. Alicia Berneche as spunky Adele offers the production’s breakout performance. She has stage presence and a booming voice - a one two punch. Although he does not sing, Doug Bowser as the drunken jailer Frosch garners the biggest laughs. Best known for his radio movie commentary, he has a future as a character actor. Robert Orth does not look the part of the lady’s man - Gabriel Eisenstein but that didn’t stop him offering a great performance which included a few high kicks and a split. Opera regular, Aaron Pegram’s character Alfred is a caricature of a suave lover. He is more Pepe LePew than Casanova. But for a little guy, he held his own and was the most likable character in the cast.
Die Fledermaus is a visual spectacle with a story without much substance. The music and ambiance is almost worth the three hours in the theater. The Orlando Opera’s next presentation is Turandot by Puccini which will be performed April 4 - 8, 2008 at the Bob Carr Performing Arts Center.
– K J Roberts –
It is almost inevitable that the Orlando Shakespeare Theater’s production of Opus be compared to the music that is at its core. For instance, you may draw similarities from the actors to the notes in a musical score. Each note a singular sound performed independently but meshing together to form one cohesive unit of harmony. And at other times, clashing into a cacophony. Introduced at last season’s PlayFest!, Opus, directed by Mark Routhier, centers around a world-renowned string quartet and its angst ridden members. Riddled with infighting, love gone awry, and dissimilar temperaments, the members of the quartet cope with varying degrees of humor, compassion and anger.
In the intimate setting of the Goldman Theater, the audience’s proximity to the actors creates the illusion of eavesdropping on private conversations. Minimalist scenery and props allow you to concentrate on the characters and the action at hand. As unique as the instruments they play, each character brings something different to the play. Alan the second violinist (C.S. Lee) is sarcastic and a little tangy. While bassist Carl (Tom Nowicki) is easy going and often the only voice of reason. Prone to temper tantrums and hissy fits, lead violinist Elliott (David Karl Lee) is a drama queen. New to the group, viola player Grace (Meagan English) is a bit timid and doesn’t want to rock the boat. And musical virtuoso and bi-polar perfectionist Dorian (T. Robert Pigott) is a lead violinist relegated to play viola to keep him in check.
In their scenes together, English and Lee were natural and authentic. I felt uncomfortable for English as she is confronted with a half dressed Lee and is mortified that she has arrived two hours early for her first rehearsal. Her enthusiasm, wide-eyed optimism, determination and timidity are palpable. Lee delivers his comedic and dramatic lines with the same honed skill. His closing soliloquy was moving and poignant as he uttered the words “the rest is silent.”
Nowicki’s laid back manner and easy going persona is juxtaposed to the tumultuous life struggle facing him. This persona is soon shattered and his vulnerability is exposed and raw. On several levels, he foreshadows the climatic scenes early in the production.
David Karl Lee is thoroughly convincing as the whiny and Felix Unger-esque Elliot. Reeling from his breakup with Dorian, Elliot takes out his frustration and anger on the remaining members of the quartet. His childish fits range from pouting and stomping out of rooms to expletives and insults. Lee and Pigott’s scenes together are intimate and provocative. Dorian is over the top and Pigott seems to relish the fact. Leaving no opportunity unused, he jumps to the forefront of his scenes.
The sublime music of the Vertigo String Quartet plays throughout Opus and compliments the production. The realistic dramatic comedy, Opus continues at the Goldman Theater until March 9th.
– K J Roberts –
Rollin Colleges’ production of Oscar Wilde’s The Importance of Being Earnest is elevated by the contributions of alumni guest artists Fred Chappell (’64) and Dana Ivey (’63). Chappell directs this funny and farcical Victorian era comedy in the jewel that is the Annie Russell Theatre. The theater is transformed into a swank bachelor pad and a charming English garden with the magic of stunning sets created by Scenic Designer, Stephen K. Mitchell.
Not only does her character receive the funniest lines in the production, Ivey delivers them with impeccable comedic timing and priceless facial expressions. The multi-Tony nominated actress adds substance to silliness and charm to absurdity. She is every inch the stuffy upper crust Victorian lady.
Our protagonist John Worthing lives a double life. In the country he is a well respected upstanding citizen. But as his alter ego Ernest (John’s younger brother), he spends his time running into scrapes and follies in the city. Ryan Doyd Urch takes on the role of the conflicted Worthing. Last seen in this season’s Gypsy, Urch takes a while to warm up to the fast pace and lively conversation in Act One. Among all the actors, he seems less at ease in his own skin on stage. He finally found his niche toward the end of Act Two and by the end of the last act he was firing on all cylinders.
Continuously medicating himself with food, Algernon Moncrieff is living in his own world. A world he has populated with an imaginary sick friend teetering on the brink of death. Although mostly uttering nonsense, he calls it like he sees it, and more often than not hits the nail in the head. Joseph Bromfield’s portrayal of dapper and flippant Algernon is dandy. He flits around striking poses, stuffing his face with dainty food, and reciting some of the most ridiculous dialogue spoken on stage.
Jennifer Finch is stylish and well-bred Gwendolen Fairfax. I found her elevated chin and sucked in cheeks a bit cliché in Act One. She however blossomed in her scenes with Jessica Fornaiser in Acts Two and Three. Jessica Fornaiser’s portrayal of the young and unspoiled Cecily Cardew is captivating and absolutely inspired. Hers is the breakthrough performance in the production. Her interpretation of a girl on the brink of womanhood is part school girl and clever manipulator. Either way, she gets what she wants - and that is usually the laughs.
Rounding out the supporting cast are Liz Weisstein as Miss Prism, Danny Travis as Dr. Chasuble, Greg Elsner as Merriman, and Alex Radman as Lane. Weisstein, who last starred in Gypsy, takes on a much smaller role but stands out as the eccentric governess.
Even though this play has one of the silliest storylines, do not miss this production if only to see Ivey perform live. However, once you are in your seat, you will be swept away by the luscious sets, costumes and very funny cast. The Importance of Being Earnest continues at the Annie Russell Theatre Rollins College until February 23rd.
– K J Roberts –
You’re watching your favorite TV show, or movie, or maybe listening to your favorite Broadway tunes when the annoying drone of a ringing telephone breaks in uninvited. The moment is spoiled. I hate phones – something I have in common with the narrator of The Drowsy Chaperone. Not only phones but those annoying theater goers who leave their phones on and chat during the production (hey Orchestra Right, Row F I’m talking about you – plus you arrived late). There were lots of annoyances in the audience, but on stage it was nothing but fun.
With a unique plot concept, hilarious dialog, and a talented cast, this musical comedy or musical within a comedy was a delightful and entertaining surprise. And even more appealing, it had no intermission. Intermissions bring you abruptly back to reality, which is another point that I agreed with the show’s narrator. And believe me, you won’t feel a bit drowsy while watching this story unfold.
Another pleasant surprise was the casting gems in this production. Georgia Engel, best know as Georgette on the Mary Tyler Moore Show, portrayed Mrs. Tottendale – a dim bulb in a neon-bright show. She still exudes a sweet and gentle persona even while doing consecutive spit takes. As an avid Anne of Green Gables fan, I was shocked to learn while reading my playbill that Jonathan Crombie, who portrayed the levelheaded Gilbert Blythe in all three series, was our hysterically funny and seeming gay narrator - also known as “man in chair.” What a stretch from Avonlea! I thought he looked familiar, but I would have never guessed this. He was so incredibly enjoyable to listen to as a disembodied voice in the dark and just as witty in his frumpy sweater sitting in his depressingly dull apartment.
Every character in this production was played to comedic perfection. The Drowsy Chaperone herself, Nancy Opel was a throw back to over the top Broadway stars of yesteryear. She slurred, stumbled and sang her way through the night with a bigger than life stage presence. Andrea Chamberlain’s performance of Janet Van De Graaff was pure glamour and glitz. Her rendition of “Bride’s Lament” was one of the comic highlights of the evening – especially with the setup from Crombie.
Mark Ledbetter’s portrayal of unassuming and goofily charming Robert Martin was refreshingly silly. You could practically see the gleam from his pearly whites and the shine on his shoes. To the tune of “Cold Feets,” Ledbetter and Richard Vida performed a rousing dance routine that started cold and grew into an inferno.
The Riopelle brothers as Gangster #1 and #2 effortlessly acted as one comedic unit – the Heckel and Jeckel of the production. I would be remiss if I did not mention James Moye as the cartoonish Aldolpho. Looking remarkably like Dick Dastardly but with a skunk streak of white in his dark hair, Moye switched seamlessly from suave ladies’ man to buffoon in a blink of an eye and a pitch of the voice. The rest of the supporting cast was equally talented in song, dance and laughs. Another supporting cast member worth mentioning was the glittery and colorful costumes. They ran the gamut from Little Bo Peep to 20s glamour with a little The King and I in the mix.
If you want to have a lighthearted laugh-filled experience, don’t miss The Drowsy Chaperone. It’s a sleeper of a show. The Drowsy Chaperone continues playing at the Carr Performing Arts Center until February 10th.
–K J Roberts–
In the Forest of Ardenne, poorly written love poems grow on trees, tortured souls pine for their true loves and the banished find sanctuary. Shakespeare’s plays are brimming with mistaken identities and cross dressing characters and the fanciful As You Like It does not disappoint. Directed by Dan McCleary, the Orlando Shakespeare Theater continues its season with this gender bending production which pushes the boundaries of love.
The show opens with exotic music and chaotic action sequences - a little confusing to be sure but it kept my attention as did the entire production. The beginning of the first act was strained as everyone rushed through their lines, but it eventually slowed to an understandable pace.
Polly Lee as Rosalind is so exuberant in her part that she practically flies around the stage. When paired with Susannah Millonzi (Celia), they are giddy as school girls and their enthusiasm is contagious. Not believable as a boy, Lee’s Ganymede must be the precursor to Superman. Now I know how he got away with hiding his identity for all those years by changing his name and putting on a pair of glasses. He must have been an avid reader of Shakespeare.
Newcomer Tyler Hollinger’s goofy portrayal of the lovesick Orlando is charming. But his more formidable portrayal as the outcast brother is authentic. His rollicking wrestling match was the highlight of the evening. I thoroughly enjoyed the comedic take on the scene and was thankful I was not in the front row.
The OST seems to be typecasting a few of their regular actors. I could have sworn Brad DePlanche (Touchstone, the fool) played the exact same character in this season’s production of The Comedy of Errors. His Touchstone sounded achingly familiar. Was he channeling Dromio as he was paired once again with Erika Wilhite as the dim bulb?
With this production, the OST proves once again that it possesses a deep acting bench. Eric Zivot’s cynical Jacques is a breath of fresh air. Corey Loftus’ spurned Silvius is wide-eyed and naïve played against the hardened Phebe portrayed by Meaghan Fenner. I was also enchanted by the musical interludes throughout the production. Chris Bellinger has a lovely singing voice.
Oddly enough according to the playbill, the OST sets the play in present day Middle East although nothing references present day in the production. The sets rely on imagination and creativity to suggest a forest of trees by the use of heavy chains and colorful columns of gauzy cloth. The costumes, for the most part are a mish mash. Staying true to the Middle Eastern theme, there are costumes of a combination of billowy jewel tones, metallics and florals with veils and exposed mid-drifts. The men of authority are dressed in black velvet uniforms which reminded me of the Wicked Witch’s guards in the Wizard of Oz. On the other end of the spectrum are farm duds made of what look to be potato sacks. In Ardenne the folk dress like medieval traveling minstrels. And lastly the sheep and goat herders look as if they will at any moment yodel over the mountain to Heidi. Although the costumes by Lisa Cody-Rapport are beautifully made, it seems as though the setting of the play changed many times throughout its inception and no one kept her up to speed.
I am always amazed that I can keep up with the storyline of a Shakespeare play considering the language. This story was an easy one to follow - Shakespeare 101. This production is an outstanding introduction to any Shakespeare newbie. The plot moves quickly, the action keeps your attention, and the storyline is light-hearted. The OST production of As You Like It continues until February 3rd.
– K J Roberts –
One of Christmas’ most delightful and charming holiday traditions is a The Nutcracker ballet. After a run in Tampa, the Orlando Ballet’s production of this family-friendly classic opened in Orlando on December 14th at the Bob Carr Performing Arts Centre. Styled with luscious costumes, tremendous music, opulent stage dressing, special effects and outstanding dancers, the ballet is a magical tasty treat for both young and old alike.
Through the years The Nutcracker ballet has introduced children to the charming story of young Clara who in her dreams travels through a winter wonderland to the Land of Sweets guided by her Nutcracker who comes to life as a Prince. The Orlando Ballet puts its personal twist on this classic production by adding light-hearted moments that create laughs without taking away from the traditional elements of the story.
The Grandparents (Anamarie McGinn & Oliver Swan-Jackson) in the party scene introduce the lighter side of the show with their physical humor. Also, the fight between the Nutcracker and the Mouse King takes a funny turn as the mice lob wedges of cheese as ammunition. And later mice paramedics administer CPR to the King and carry him away on a medical stretcher as the on-looking mice weep and wail over the fallen monarch. The adorable cast of child artists as tiny mice only adds to the scene’s appeal.
There are several standout performances in this production, and once again the Orlando Ballet proves that they have talent to spare in their deep reserves. Please note that the dance assignments for the production change daily. I had the opportunity to see Logan Learned as both the Harlequin and Lead Cossack. His athleticism is evident in his mid-air splits as part of the Russian dancers along with Marshall Ellis and Nicolas Fonseca. This proved to be my favorite segment of the ballet. Jessica Sibley portrays an Arabian dancer with both poise and incredible flexibility. Grace and elegance combined is Chiaki Yasukawa as the Sugar Plum Fairy along with partner Eddy Tovar as the Cavalier. The petite Yasukawa is the epitome of a world-class prima ballerina. Never a disappointment, the Artists of Orlando Ballet (Flowers/Snowflakes) display great discipline and synchronization in their choreography. The timeless music of Peter I. Tchaikovsky is performed flawlessly by the Orlando Philharmonic Orchestra conducted by Joseph Mechavich. It is a major plus to have a live orchestra accompany the ballet’s productions.
I am almost positive that at least one little girl in the audience left this production longing to dance on stage. It’s never too late to start a Christmas tradition or inspire the hidden dancer in a child. Don’t miss this charming holiday production of The Nutcracker. The Nutcracker continues at the Carr Performing Arts Centre until December 23rd.
– K J Roberts —
There are many words to describe the touring revival of My Fair Lady. I’ll use just one - perfection. I cannot think of one disparaging word in reference to this timeless musical masterpiece. Proven over and over as a tremendous success since it opened in the 50s with Julie Andrews and Rex Harrison in the lead roles, Lerner & Loewe’s My Fair Lady continues to entertain, enthrall and excite audiences. How can something so familiar seem fresh and new?
I became acquainted with the musical as most people who did not grow up in a big city with ample cultural outlets. I saw the movie - on TV. Thanks to my previous exposure to the film starring Audrey Hepburn and Rex Harrison, I could honestly say that I recognized every musical number in the show, could predict the storyline and was familiar with all the characters. There were no surprises here, except the fact that I was completely enchanted by the live version. What makes this musical so magical?
The cast is superb. Usually when I have previous experience with a production, I find myself comparing and contrasting actors and performances. By the first musical number in Act One, I was so in the moment that I forgot all about the previous shows. I was fascinated by the action on stage - the costumes, the scenery and the singing.
Lisa O’Hare as Eliza Doolittle has all the grace of an Audrey Hepburn and the voice of a Julie Andrews. Her engaging presence forces you to seek her out on stage, even when she is standing in the shadows. I did have a hard time understanding her in the beginning of Act One, but that’s all part of the charm of the character.
Professor Henry Higgins is a curmudgeonly old coot with no tact and even less heart. So how does Christopher Cazenove manage to make him likable? Smugly superior in his wrinkled suits, Cazenove delivers a spot on “Enry Iggins.” His energetic performance is a happy contrast to the contrariness of the character. His partner in crime, Walter Charles as Colonel Pickering is a delight. Ever the gentleman, one minute he’s jumping on furniture and the next he is doddering about like an old fool.
With a little help from a talented ensemble, Tim Jerome (Alfred P. Doolittle) nearly brought the house down with his rendition of “With a Little Bit of Luck.” The show stopped as the audience’s ovations continued long after the last note was sung. The teenage boy sitting in front of me was bouncing in his chair with glee proving that this show transcends gender and age. Another performance of note was Justin Bohon’s
(Freddy Eynsford-Hill) version of “On the Street Where You Live.” He was also quite charming as an infatuated albeit inebriated suitor.
I must give an honorable mention to Sally Ann Howes. Howes was in the original Broadway production of My Fair Lady (following Julie Andrews) in the role of Eliza and is now the matriarch of the production as Mrs. Higgins…talk about coming full circle. The consummate professional, Howes delivers her lines with a saucy, dry wit. AND I also have to mention she starred as Truly Scrumptious in the children’s cult classic, Chitty Chitty Bang Bang.
I have never seen such beautiful costumes in a traveling production. It rivaled and surpassed the opulent fare of the local opera performances. I was mesmerized by the sparkling gown worn by Eliza in the ballroom scene. The festive costumes worn in the Ascot race scene were over the top magnificent, and Eliza’s hat was out of this world. At the close of the show, Eliza is in everyday attire but I could not take my eyes off of her outfit. The color was spectacular and the embellishments were the perfect compliment - subtlety and elegance combined. What a contrast to the drab, shapeless fashions at the beginning of the show. Professor Higgins’ office set was so packed with wondrous gadgets and little treasures that I could not keep my eyes from wondering all over. Bravo! And thank you Scenic and Costume Designer, Anthony Ward for creating a party for the eyes.
A musical cannot be called truly successful without a talented ensemble of singers and dancers and the accompaniment of a well trained orchestra. This production meets all the requirements and then some! The tremendous revival of the classic Lerner & Loewe’s musical, My Fair Lady graces the stage of the Bob Carr Performing Arts Center until December 9th. Don’t miss it!
– K J Roberts –
Will the local production of A Christmas Carol go on in light (no pun intended) of an overdue electricity bill? Will Stanley make his parole? Will Hank make it home for Christmas, or will his faithful but put-upon wife Bertha suffer another disappointment? Who will win the coveted first prize in the Christmas lawn display contest? And will the dreaded Christmas phantom strike again? Orlando Shakespeare Theater’s production of A Tuna Christmas directed by Patrick Flick showcases the third smallest Texas town’s most eccentric characters and all their trials and tribulations on Christmas Eve.
This cleverly contrived comedy written by Jaston Williams, Joe Sears and Ed Howard is packed with oddball personalities, a virtual zoo of invisible animals, a radio show, a UFO and an every-changing Christmas tree. The town of Tuna, Texas is populated by comedic actors and quick change artists Brad Deplanche and Philip Nolen. Deplanche and Nolen appear in every conceivable outfit - complete with wigs, facial hair, hats, jewelry, and props as they portray the male and female, young and old, straight and gay residents of Tuna.
I knew this production would have the audience howling when Deplanche opened the show as a Stuart-esque little boy (Mad TV) named Jody in a yellow onesie chasing a pregnant cat, and Nolen as Bertha his highly stressed, hair in curlers, feet in fuzzy slippers, housedress-wearing mother. Within a blink of an eye Deplanche reentered the scene as Jody’s sister Charlene - an overweight teenaged girl in pigtails and a mini-skirt. And this is just one small example of the crazy characters with even crazier quirks interpreted by these talented thespians.
Included in Nolen and Deplanche’s character repertoire are Dixie and Pearl - two elderly women, Bertha and her three kids, Vera (Bertha’s neighbor), Arles Struvie and Thurston Wheelis - disc jockeys at Radio OKKK, Didi Snavely and her husband R.R. (proprietors of the local used gun shop), a Klansman, Petey Fisk - director of the Tuna SPCA, Joe Bob Lipsey (theater director), Sheriff Givens, Helen Bedd and Inita Goodwin - waitresses at the local burger joint, various restaurant patrons, and a couple of guys hiding out from their wives.
This show is full of so many comic gems it’s a shame I can’t mention them all. I’ll just mention my favorites: Deplanche as Vera scolding her not so bright son (never seen) in a thick southern drawl with the help of hand gestures; Nolen as Joe Bob, the flamboyant theater director (can you say jazz hands) pushed to his limits by the impending blackout in his theater and low blood sugar; and Nolen and Deplanche as Inita (pronounced I-needa) and Helen big-haired waitresses at the local Tasty Cream interacting with half the town. This scene alone incorporated a midget (not very PC but that’s what Inita called him), and several other restaurant patrons. As a bonus, Deplanche and Nolen ad-libbed superbly when Deplanche’s moustache fell off in mid-scene.
I was amazed at the ability of the actors to completely change their looks within a matter of seconds. I can only imagine there was a well-trained army of stagehands tugging on sleeves and pulling off wigs to assist in these changes. I was not the only audience member wondering how this magic was possible. Costume Designer, Kristina Tollefson is a master of her craft - a clothing genius.
Every year I look forward to the Orlando Shakespeare Theater’s December production. These shows are the best holiday stress-relievers. This year, as usual, I was not disappointed. Don’t miss this funny and charming production. A Tuna Christmas continues at the Margeson Theater until December 23rd.
– K J Roberts –
The Orlando Opera opened its 50th Anniversary Season with Mozart’s Don Giovanni, the story of the infamous “Don Juan,” which premiered in Prague in 1787. Originally set in Seville, Spain, this production directed by Robert Swedberg is relocated to the streets of New Orleans in the 1700s during which time the city was under Spanish rule.
Don Giovanni is an amorous Spanish aristocrat who has seduced his way across Europe accumulating 2065 conquests along the way. We know the exact number because his trusted servant, Leporello has kept a well documented journal with visual aids. The opera opens as Don Giovanni assaults a young aristocratic woman (Donna Anna) and murders her elderly father (the Commendatore who comes to her aid). These actions are the beginning of his end.
Surprisingly humorous and dramatic, this bawdy opera seems rather risqué for the period it was written. I can’t imagine the genteel Prague audience of 1787 reacting as Don Giovanni seduces the bride away from the groom on her wedding day, or when he frolics in bed with not one but two randy females. But maybe the audience was worldlier than I give them credit.
Better dressed than any female in the production, Don Giovanni is portrayed by Austrian Baritone, Peter Edelmann. In lush velvets, plumed hats and flowing capes, Edelmann’s Giovanni believes he is rendering a much needed service to the female populace. Edelmann’s voice is rich and smooth - like fine chocolate. No wonder the ladies like him!
Jason Hardy as Leporello is a breath of fresh air. From the first scene of the opera, it was easy to see who would be stealing the show. His comedic touches as the harassed servant chronicling the nefarious deeds of his master are thoroughly enjoyable. I was not surprised when he received the loudest ovation at show’s end.
Inna Dukach takes on the role of Donna Anna and along with her finance, Don Ottavio portrayed by Jon-Michael Ball swears vengeance on her father’s death. Although possessing outstanding voices, I found Dukach and Ball’s performances lackluster. Their personalities did not shine through in their characterizations. They sounded fantastic but the visual was just not clicking.
Stacey Rishoi’s Donna Elvira is wise to Don Giovanni’s philandering ways. She has been educated by Leporello. Rishoi exposes the vulnerability of her character as well as her gullibility with an entertaining spirit. Aware of Giovanni’s conquests, she is still drawn to him. She is highlighted to her best dramatic ability in Act II as she is tormented by the decision she must make…destroy the man she loves or be destroyed by that love. She does her best to expose him to Zerlina (Rachele Gilmore) a peasant girl who is seduced away from her own wedding. Gilmore’s Zerlina is no innocent. She is a seductress in her own right. She straddles and strokes her way back into the good graces of Masetto (Nimrod Weisbrod) by the use of her feminine wiles.
Although I had high hopes, I was not completely won over by this production. With the promise of a “Big Easy” setting, the production’s mundane set lacked imagination. The never changing scenery - a city square - was the equivalent to Don Giovanni’s home interior, a cemetery, and a garden. Stagehands monotonously rotated rock formations back and forth throughout the entire production. I was at a loss as to why they were in the middle of a city square to begin with (or Giovanni’s bedroom for that matter) - and why they had to be rotated. The setting wasn’t a rock quarry! To be honest, if I hadn’t read it in the program, I wouldn’t have known this production was set in New Orleans at all. The only possible clue was a woman with a voodoo doll in one foggy scene in Act II. However, in the cemetery scene the marble statue of the Commendatore was cleverly contrived and especially effective when it came to life, as was the makeup of the dead Commendatore in the last scene. And as always, the Orlando Philharmonic Orchestra conducted by Andreas Mitisek performed superbly and the chorus was charming. The costumes - especially Don Giovanni’s - were opulent and festive.
Congratulations to the Orlando Opera company on their 50th Anniversary! The next performance by the company is Die Fledermaus by Johann Strauss at the Bob Carr Performing Arts Center February 15, 17 & 19, 2008.
– K J Roberts —Did you ever feel like you missed your big chance? That time and luck were not on your side? That it was too late for your dream to come true? I think everyone has had that feeling at least once. For Rose, it seems to be the only feeling she has. But she’s gonna make darn sure her dream does come true, just not for her. Momma Rose, the quintessential overbearing stage mother is the driving force in the Rollins College Department of Theatre and Dance presentation of Gypsy.
Performing such well-loved musical numbers as “All I Need Is the Girl,” “Everything’s Coming up Roses,” “Together, Wherever We Go,” and “Let Me Entertain You,” and a Broadway legacy to fill as big as Ethel Merman’s lung capacity, this production could have easily fallen flat on its face. But in the gem that is the Annie Russell Theatre, the audience is transported to the vaudeville stage of the 1920s and 30s. With a live orchestra, the direction of W. Robert Sherry, and a talented cast, the lyrics of Sondheim and music of Jule Styne come to life.
Margot Moreland’s performance as Rose has its highpoints and its out-of-this-world points. Her stage presence is magnetic. Her intensity is palpable. When she sings, she sucks you into her world. She enthralls. She entertains. She electrifies. She’s a fast talking dynamo with an attitude to match. Get out of her way, Momma Rose is coming through. Moreland’s only shortfall is that she’s so deep into character that she rushes her lines and on more than one occasion had to backtrack to correct herself. It seems as if the part of Momma Rose was written with Moreland in mind. She simply blew me away with her rendition of “Rose’s Turn.”
Elizabeth Weisstein tackles the role of Louise, Momma Rose’s daughter without talent or looks. Forced to play a chorus boy, a cow and second banana, Louise spends much of her time in the shadow of her talented and beautiful sister June (played by Jennifer Finch). Yearning for a simple life as a homebody, Louise’s world is rocked to its foundation when June runs off and leaves her to take up the mantle of fulfilling Momma Rose’s plans of stardom. Weisstein is perfectly cast as the meek and timid Louise. She simply blends into the scenery. That is until the character of Louise feels comfortable in her own skin and then Weisstein cuts loose. As Gypsy Rose Lee, she cheekily interacts with the audience, struts and preens. Weisstein has a mellow singing voice and hasn’t the volume or depth of Moreland but it’s a good contrast that reflects the characters’ personalities.
This production is jam packed with excellent supporting performances: Baby June played by Christina Pitts with her pert high kicks and annoying squeals; Daniel Tuegel as the handsome singing and dancing Tulsa; Jessica Fornasier in the dual roles of Miss Cratchitt and Agnes both with a charming but stereotypical low-class New York accent; Anna Rothfuss, Erica Leas and Ann Eligio as burlesque strippers in the hilarious “You Gotta Get a Gimmick;” and the ever-reliable but always put-upon Herbie played by Ryan Dowd Urch, who when he sang (which wasn’t often) produced a rich smooth tone.
Entertaining from start to finish, Gypsy is a production not to miss. Gypsy continues at the Annie Russell Theatre until November 17th.
– K J Roberts
There seems to be a trend on Broadway… If there’s a hit romantic comedy on screen, some industrious individual will put it to music and produce it as a Broadway hit. It’s happened to Hairspray, Legally Blonde and The Wedding Singer. What’s next, Little Miss Sunshine The Musical? I guess it’s only fair. For years, Broadway musicals have been made into Hollywood spectaculars. However, these movie/musical hybrids can be problematic. It is difficult not to compare them to the movie. The audience already has a preconceived notion of the story and there is always a sense of expectation. It is a heedy task to make the musical stand out from the movie - expand it, improve upon it.
Did SunTrust Broadway Across America’s production of The Wedding Singer stand up to the challenge? Yes and No. Like the movie, the musical was fun, lively, amusing, light-hearted, and sweet without being sappy - all together an evening well spent. But unlike the movie, the star power was just not there - at least in the lead roles. Sadly lacking was the goof likeability of Adam Sandler and the bubbly charm of Drew Barrymore. The production’s Robbie Hart - Merritt David Janes didn’t seem to fit the part. He looked like a middle-aged business man dressed up for Halloween. I could even see a bald spot from my vantage point. However, he did seem to be channeling Sandler during Act One’s performance of “Somebody Kill Me Please” - a hilarious song that did appear in the movie. And I will concede that his singing and dancing skills are a notch above Sandler’s.
Julia Sullivan is portrayed by Erin Elizabeth Coors. Coors’ Julia is nothing more than a sweet girl-next-door who unfortunately does not possess the vulnerability or appeal of Barrymore. I missed that infectious laugh and easy going style. I was surprised that this Julia didn’t say “gee whiz” or “golly that’s swell.” She was a throw back to 1950 not 1986. Coors’ voice was not nearly powerful enough and I did notice she flubbed a line or two. Again, if I had never seen the movie, perhaps I would have been more impressed with her performance.
There were outstanding character actors in the production, one of which was a combination of several characters in the movie. Rosie, Robbie’s grandmother is played by Penny Larsen - someone who never appeared in the movie. This Rosie is the combination of the elderly neighbor who Robbie teaches to sing and his sister’s family. This Robbie lives in his grandmother’s basement instead of his sister’s. Larsen is a ball of fire. She’s the whole package - she sings, she dances and she tells jokes (some of the best laughs of the evening). What a joy it is to watch her on stage! You go, grandma!
My greatest complement has to go to John Jacob Lee who plays George - the flamboyant keyboardist in Robbie’s band. He not only played the part to perfection, he improved upon the character. He had the look and the voice down cold, plus Lee was able to put his own stamp on the part. It was entertainment perfection when Lee and Larsen were paired in scenes.
Andrea Andert portrays Linda, the fiancée that left Robbie at the alter. She was part video vixen and exotic dancer. Replete with steam and slutty clothing, her performances were riotous and sleazy all at the same time. The ego-maniac Glen Guglia was played by Mark Raumaker. Mark brought a new dimension to the character and was most impressive at the opening of Act Two wearing a shiny suit while dancing and singing his rendition of “All About The Green.” This is one segment of the musical that did not appear in the movie that actually added something to the plot movement.
Unfortunately the same songs were not used in the musical as the movie. The musical’s tunes tried to emulate the hit songs used in the screen version, but they missed the mark. They just weren’t those catchy Top 40 tunes we all know and love. However, the dance sequences are a great addition - especially the wedding receptions. At the end of Act Two the musical takes an odd turn as Robbie, Glen and Julia arrive at a wedding chapel in Las Vegas. Not to give too much away but, the wedding chapel is packed with celebrity impersonators. I assume this is the only way the creators of the show could figure out how to include Billy Idol without actually getting Billy Idol. Although over the top, the impersonators were very skilled and did garner a few well deserved laughs.
In spite of all the baggage that the musical had to carry, I still enjoyed myself… And isn’t that all that really matters in the end. The Wedding Singer is a fun production with great lighting, funny props (loved the de Lorean) and a first-rate ensemble. And you’ll definitely leave in a good mood. The Wedding Singer continues at the Bob Carr Performing Arts Centre until October 28th. Tickets are still available!
– K J Roberts –
shy-lock (shi’lok’)
n. A ruthless moneylender; a loan shark.
intr.v. shy-locked, shy-lock-ing, shy-locks
To lend money at exorbitant interest rates.
[After Shylock, the ruthless Jewish usurer in The Merchant of Venice by William Shakespeare.]
“I am a Jew,” says Shylock. “Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions?” What exactly did Shakespeare know about Jews? Had he ever met one? Is his characterization in The Merchant of Venice of this miserly moneylender prejudiced - anti-Semitic even?
Shylock, the Orlando Shakespeare Theater’s riveting one man show is part theatric chronology of The Merchant of Venice and part history lesson of anti-Semitism throughout time. Shylock is presented through the eyes of Tubal, a character with only eight lines in the Shakespearean play. Steven Patterson stars as Tubal, Shylock’s friend - his only friend, but also takes on double duty playing Shylock and other characters in the play. Not to mention, he plays Shylock as different actors playing Shylock. Patterson shoulders the heady role with care. He is a master at filling the stage with his presence. He switches with ease from character to character and never seems to falter. You in no way tire of his performance.
No stranger to OST productions, Patterson enthralls as Tubal. He brings a new perspective to the play and compassion to the much maligned character of Shylock. He is moving as he explains the ghetto badges required to be worn by all Jews in Venice during the time the story takes place. He is charming as he tries to convince the audience that Tubal is an intricate part of the storytelling in The Merchant of Venice. Shylock must have Tubal to balance him and make him more human - to give Shylock a new dimension. During the trial scene - with Patterson as every character - you pity Shylock. You are empathetic to his loss and his attempt to keep his last shred of dignity.
This cleverly contrived show is the brainchild of Gareth Armstrong who not only penned the play, but directed it as well. It is a tremendous accomplishment to reveal new depth and clarity to a character as well known as Shylock. Who hasn’t heard the entreaty of Shylock as he asserts the sameness of Christian and Jew, “If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, de we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that.” But spoken in this intimate setting with back story on the character, play and religion, this Shylock is reasonable, understandable and even justifiable - not the ruthless moneylender demanding his pound of flesh. Every scene reveals another layer of the character and the play.
With no expectations, I was a small child listening to a fascinating tale for the first time - perhaps even a fairytale. This engrossing production is a not miss for anyone who loves Shakespeare, and for anyone who enjoys storytelling at its best. Shylock continues at the Goldman Theater until November 11th. http://www.orlandoshakes.org/
– K J Roberts –
Do you give the horse his strength or clothe his neck with a flowing mane? Do you make him leap like a locust striking terror with his proud snorting? He paws fiercely, rejoicing in his strength, and charges into the fray. He laughs at fear, afraid of nothing; he does not shy away from the sword. The quiver rattles against his side, along with the flashing spear and lance. In frenzied excitement he eats up the ground; he cannot stand still when the trumpet sounds. At the blast of the trumpet he snorts, ‘Aha!’ …
Job 39:19-25
On a stark stage a semi-circle of wooden posts creates the inner sanctum of a psychiatric ward - the office of Dr. Martin Dysart. Non-descript chairs sit in the shadows around the outer rim. Six sculpted metallic horse heads hang upon the back wall awaiting the action to begin. The barren stage comes to life as a mystery unfolds. A senseless act has occurred. An adolescent boy of 17 years has blinded six horses with a metal spike.
Actors await their scenes on stage in chairs around center stage. In the shadows like memories, they sit as judge and jury overlooking the proceedings. Rollins College opens its 2007-08 season with the thought-provoking psychological story, Equus by Peter Shaff. Structured like a mystery and satiated with sexual overtones, religious undertones and the inner struggles of ecstasy and pain, Equus searches for the underlying cause of a despicable act of violence and tries to create a world where it is understandable and even acceptable.
Michael Nardelli takes on the demanding role of Alan Strang - a boy tormented by the exhilarating world he has created for himself, and barely existing in with the banality of his real world. Challenged in every scene, Nardelli draws the audience in by his fearlessness to face each new obstacle head-on and master them. In a revealing scene of his earliest memory of a horse, Nardelli exudes innocence and excitement only a child could. He creates sexual tension as he strokes the coat of a horse, and exudes awkwardness when alone with a girl.
In saving the boy, Dr. Martin Dysart creates his own tormented world. He calls into question his purpose in life as a man and as a doctor. Does he merely exist? Does he do more harm than good curing his children? Does his cure, in fact, destroy his patient’s passion? Dr. Dysart as played by Eric Zivot is beset upon by doubts, guilt and jealousy. Although I was lost in most of Zivot’s monologues, he exhibited the characteristics of a highly educated academic spouting jargon and over intellectualizing every nuance. Should he not have been dressed in a tweed jacket with elbow patches and smoking a pipe by the fire? Zivot is detached as Dr. Dysart - which is very in character. He is an outside observer of life and passion until he is drawn into the mystery and soon is overtaken by it. Zivot is most engaging while reiterating a dream as an ancient priest performing a ritual sacrifice. Not living in the world, but observing from afar, the doctor’s world is shaken when he discovers that his young patient has more passion than he has ever exhibited in his entire life. Zivot portrays the doctor’s struggle with British reserve, self-imposed control, and inner contemplation.
Flowing in and out of the action like subconscious thoughts, the remaining characters shed light on the escalating events that led to the act of violence. Erica Leas is Hesther Soloman, the magistrate who brings Alan to Dr. Dysart. Hesther pleads throughout for the doctor to take away the boy’s pain. The waspy Leas did not make much of an impression on me. Megan Borkes and Joseph Bromfield portray Alan’s parents, Dora and Frank Strang. Borkes is passionate in her portrayal of the indulgent mother who is shocked and confused by her son’s actions. Frank is a caricature spouting cliché’s - if you get my meaning. Bromfield affords the few light-hearted moments of the production. Jill Mason, Alan’s first sexual encounter, is portrayed by Aléa Figueroa. Figueroa is nondescript in her portrayal, although I give her Brownie points for her courage to perform in the nude. As Nugget the horse, Ryan Dowd Urch captured the characteristics of the animal through the subtle twist of his neck and the impatient stomp of a foot. La-Ron Bowden, Greg Elsner, Emily Killian, Katy Polimeno, and Dustin Schwab played the remaining horses.
This once controversial play is full of adult themes, nudity and the unanswered question - “Can you account for me?” Not meant for an evening of fun, mindless entertainment, Equus confronts its audience with the contrast of obsession to worship, passion to control, and what is real to what is reality. Not for the light-hearted, an Equus audience must be prepared for a challenge. Equus continues its run at the Annie Russell Theatre until October 6, 2007.
–KJ Roberts–
As I walked toward the theater through a sudden downpour, I had every intension of disliking or at least being very annoyed by what event lay ahead. I was already exhausted from a long and tedious day at my day job. When I got inside the theater brimming with children of all shapes and sizes, my summation of the evening’s festivities was only amplified. This was going to be torture! I was surrounded by children. Children who have a very difficult time censoring themselves, maintaining an ounce of self control or the ability to control their spastic little bodies. Not to mention, they were not only surrounding me but would also be on the stage. Children singing at the tops of their little lungs, singing songs that inevitably get stuck in your head for days on end. Oh, I was not looking forward to this.
As I settled into my seat I was immediately annoyed by the two children sitting directly behind me. They were loud, they were kickers and they had candy. The little girl flung herself over my row of chairs and hyperventilated. The little boy loudly counted backwards in anticipation of the curtain going up, he was soon joined by the little girl and accompanied by his adult companion who filed her nails to the same rhythm. As I stood for the umpteenth time letting the late arrivals squeeze by (they always seem to have the center seats on the row and are the last ones to show up), I felt the theater closing in around me. So began my evening at my first live viewing of the Broadway version of Annie. Could the night get any worse?
As it turned out, it didn’t. It got remarkably better. No one could have been more shocked than I to find that I not only enjoyed myself, but I found out I’m a pushover for a sentimental story. Annie won me over, not unlike the character of Annie - a perky little girl - winning over the gruff billionaire, Oliver Warbucks. Well basically anything that has a dog in it wins me over in the long run. Surprisingly, the children in the production charmed me. The dog was adorable - of course. The songs though achingly familiar were nevertheless entertaining. From immaculate, lush and extravagant to threadbare, filthy and worn out the costumes and sets reflected a time period from two drastically different perspectives.
What can you say about Annie that hasn’t already been said? It’s optimistic, uplifting, fun, cute, sweet, kid-friendly and even a little historical. Gee whiz, do I have to sing the chorus to “Tommorow?” That’s Annie in a nut shell. A rag to riches story of a little orphan girl who is adopted by a billionaire, Annie’s living the American dream. She hoped for a better tomorrow - no, she expected it - and she got it.
This review could easily have been called “Local Girls Do Good” Three of the cast members, including the star, are from Central Florida. Hailing from Clermont, Amanda Balon plays Annie to Annie perfection. She’s spunky, she’s animated and she can belt out a tune. I almost wanted to adopt her. Annalisa DiBernardo as tiny little Molly is a dynamo. This little spitfire dances, sings, does cartwheels, cracks wise, and almost steals the show. Last of my fellow hometowners is Madison Zavitz as Pepper. To be honest, I don’t know which orphan was Pepper, but all the kids were stellar so Madison wins by default.
David Barton takes on the role of Oliver Warbucks. Lately of the teaching persuasion, Barton took the chance to audition for the role after many years of not performing professionally. He was pleasantly surprised to win the part. With a booming voice, Warbucks is an imposing character that’s a little rough around the edges. Fitting the physical attributes, Barton’s got the act down cold. My question is, was he already bald or did he shave his head for the part?
Lynn Andrews portrays the despicable Miss Hannigan with gusto, and her dance moves are smooth as silk. Well, I can’t tell a lie. I love you, Miss Hannigan. You were hysterical. I thoroughly enjoyed your performance, but I could have done without the whistle. There were several other outstanding performances in the show. I was particularly taken with the characterization of President Roosevelt played by Jeffrey Duncan. Duncan slipped in a few unexpected laughs - my biggest of the night. It’s always heartening to see a president portrayed as a caring human being.
Lastly, let’s take a moment to reflect on Sandy the dog played by Mikey the dog. Although I couldn’t find his bio in the playbill, I am hoping he is a rescue from a shelter and was happily adopted and is enjoying a very pampered life as a star. I have a dog and she is well trained - not to mention a little brainiac. She’s socialized with people and other dogs, doesn’t mind crowds, and is a retired therapy dog. That said, I know she would be completely thrown off by an audience, the lights, applause and every other distraction in the theater if I were not standing right beside her. She would be running amuck on stage and off. That said, kudos to Mikey for making his mark and playing his part! (And kudos to his trainer, too) Mikey proves once again what wonderful animals can be found in a shelter (assuming he was found at a shelter, but either way adopt a shelter pet!!!).
Maybe what we need today is a little girl like Annie to make a trip to the Oval Office to have a little chat with the President. Timeless and timely, Annie will put a smile on your face and a song in your heart - or at least stuck in your head. And you know, you’re not completely dressed without a smile. Annie continues at the Bob Carr Performing Arts Center until September 23rd.
– K J Roberts —
Welcome to the beautiful Greek Isle of Ephesus where thunder rumbles on cue, servants are beaten repeatedly over the head with turkey legs, inhabitants scurry about clad in colorful togas, and seemingly everything comes in twos. The Orlando Shakespeare Theater opened its 2007-2008 season on September 12th with William Shakespeare’s The Comedy of Errors. Take a Doublemint gum commercial (times two) set it in ancient Greece and you get this seemingly confusing and convoluted conundrum of twins run amuck.
Aegeon and his wife Aemilia have twin sons and it so happens that in the same town another woman gives birth to twin sons. Aegeon takes in the other set of twins to be servants to his sons. While still infants, the entire family is shipwrecked (servants, too) and are separated - Father with one son and servant, and the mother the same. Aegeon decides to give his son his brother’s name, Antipholus, as homage. His servant take’s his brother’s name, Dromio. Years later, Antipholus of Syracuse and his servant Dromio set out on a quest to find his long lost brother Antipholus and his servant Dromio.
The show opens as Bob Dolan as Aegeon tries to explain his reason for being in Ephesus to the Duke of Ephesus. For some years, he has been in pursuit of his son who is in pursuit of his other son (see above). Nevertheless, there is a law that any Syracusian in Ephesus is to be put to death. However, intrigued by Aegeon’s story, the Duke takes pity on him and allows him a brief reprieve to find someone to pay his ransom to save his life. Of course, he must do this by day’s end or lose his head. It just so happens that on this very day, Antipholus of Syracuse and his servant Dromio have arrived in Ephesus. Coincidently, Ephesus is the home of Antipholus of Ephesus and his servant Dromio. Thus ensues an ongoing gamut of mistaken identities, mix-ups and misunderstandings.
What was Shakespeare thinking? At least he aptly named this play. This Orlando Shakespeare Theater production under the direction of Patrick Flick is energetic and fun for the most part. But the storyline gets bogged down in reiteration. It seems every character has to explain what has already happened to another character in the play. I’m sure this exercise helps those viewers lost in the confusing plot, but for those keeping up it was tiresome. The show also garners some great laughs, although a little slow in coming.
There always seems to be someone that steals all the scenes at an OST production and this show is no different. In this production, it is funny man Brad DePlanche as Dromio of Syracuse. While describing the rather corpulent Nell, a kitchen maid espoused to the other Dromio, DePlanche had everyone cracking up including his cast mates. His cartoonish voice and delivery was a thing of comedic beauty. The production did stoop to low-brow humor as the Dromios, on either side of a locked door, had a “fart-off.” I know certain people who would find this hysterical (you know who you are!). But after a few poots, it lost its humorous appeal.
As straight man to DePlanche, T. Robert Pigott as Antipholus of Syracuse was the more appealing twin. Thrown into situation after situation where complete strangers seem to know him intimately, he goes with the flow and takes the audience along for the ride. You root for him as he woos the fair but harebrained Luciana (Sarah Ireland) even though he is supposed to be married to her sister. And you can’t wait to see where the next misunderstanding takes him which is usually in circles.
Suzanne O’Donnell seems destined to play a Shakespearean wife. Last seen in the 2006-2007 OST production of The Merry Wives of Windsor, O’Donnell takes on the role of Adriana, the feisty but downtrodden wife of Antipholus of Ephesus. Her Antipholus has been stepping out on her, and it doesn’t make matters any better when the mistaken Antipholus claims he isn’t even married to her and pursues her sister. O’Donnell’s facial expressions are sublime. She emotes her scenes with scowls and knowing nods. And she holds nothing back as she screeches and screams at her husband(s). She surprised even me as she threw herself prostrate on the stage floor. This was followed by several other cast members doing the same. It lost its element of surprise by then.
The devils’s in the details and as always the OST’s sets and costumes were colorful and creative and maximized to their full potential. My eye kept wandering away from the action and to the sparkly jewels, overly abundant curls, and variety of flowing fabrics. I even found myself checking out the footwear. I wondered, “Are those Birkenstock sandals?”
Amidst the chaos there are a few pure Shakespearean moments provided by Anne Hering and Bob Dolan. However, for the most part, Dolan delivers his lines with his back to the audience. I had a hard enough time keeping up with the language. I didn’t need the additional challenge of straining to hear it, too.
If you are ready for a raucous show with more than its fair share of physical humor, you’ll have an enjoyable time. Once your head stops spinning, you’ll have some great laughs. Just don’t think. Go with the flow. Just one question - why didn’t they cast actors that actually looked just a little bit alike to play twins? The Comedy of Errors continues at the Margeson Theater until October 7, 2007.
– K J Roberts –
The legendary tale of King Arthur and the Knights of the Round Table comes to life with music and song in Lerner & Loewe’s Camelot. Based on the T.H. White novel The Once and Future King, Camelot first debuted on Broadway in 1960 and featured Richard Burton and Julie Andrews in the lead roles of Arthur and Guenevere. They were later joined by Robert Goulet who made the role of Sir Lancelot his own. The musical made it to the screen starring none of the original Broadway cast. Instead it featured Richard Harris as Arthur and Lynn Redgrave as Guenevere. Studded with veteran stars of stage and screen, this production of Camelot closes the phenomenal 2006-2007 Broadway Across America season at the Carr Performing Art Center. Coincidentally, I had the opportunity to see Richard Harris reprise his role on stage in a production of Camelot in this very theater.
Michael York seems the perfect choice for the role of Arthur. He has a royal air about him, and royal regalia are well suited for him. His performance is flawless and his timing impeccable. However, I found it difficult to hear him deliver his lines in speech and in song. He was often overshadowed and overpowered by his co-stars who commanded the stage.
Rachel York as Guenevere seems to be channeling Julie Andrews during her performance. If you close your eyes, you would swear that is she who is singing. This is high praise indeed. Her voice is robust and light-hearted. She commands the stage every time she opens her mouth to sing. I had no difficulty hearing every word she spoke or sang.
James Barbour as Sir Lancelot cuts a formidable figure on stage. His height and his deep, rich, baritone voice looms high above the other performers. The arrogant and somewhat cartoonish Lancelot of Act I is completely transformed into a caring and sensitive man in Act II. His thoughts wane from inward to outward and to his new love, Guevevere. His French accent does come and go, but it wasn’t that noticeable and did not distract from the action. However, he does deliver a rather uninspired fight scene as he is challenged by the greatest swordsmen in Camelot. He seems bored and moves as slow as molasses in wintertime. Or perhaps this scene is completely in character, Lancelot does think he is invincible.
This production is as beautifully embellished as a royal crown. The costumes - flowing gowns, capes, tights - are fashioned of gold accented brocades and richly royal hues. The sets are mediaeval masterpieces - interiors and exteriors. The singing voices are well-trained instruments. The story is timeless and the score is memorable. This production is first-rate, but regardless of the best efforts of cast and crew it is somehow lacking in energy. The pace is slow in areas, and the first act seems to go on forever. Is it possible that this legendary story’s familiarity and saturation level has left it impossible to seem fresh and new? Perhaps unfair, it is difficult not to compare it to other productions. I am sure that someone experiencing the musical for the first time would be enthralled by this production. I just wasn’t one of them.
Camelot
continues at the Carr Performing Arts Centre now until May 20, 2007.–K J Roberts–
The Orlando Ballet’s production of Swan Lake is a glorious spectacle. The opulent sets, luxurious costumes and rousing musical score embellish this expertly executed performance of classical ballet and transform it into a gem of entertainment. This production is a perfect vehicle to showcase the stockpile of talent that is now the Orlando Ballet.
A fairytale set to music and dance, Swan Lake is filled with childlike wonder - an evil sorcerer, a prince in search of a bride, and beautiful maidens transformed into swans. Prince Siegfried, pressured to marry by his mother, is in search of a bride. However, none of the ladies in his social circle meet his qualifications. Princess Odette is beauty and grace personified. She just has one slight problem - during the day she is a swan. Along with several other maidens, Odette has been bewitched by the evil sorcerer, Von Rothbart. They are cursed to become swans during the day and only able to return to human form at night. Only the devotion and love of a man can give them their freedom. Prince Siegfried follows the swans to the lake only to witness their transformation back into their true form and falls instantly in love with Odette. But will they live happily ever after?
As the swans, the Artists of the Orlando Ballet perform with precision and grace. I was mesmerized by their ability to freeze a pose into a beautiful tableau only to instantly break it in perfect unison - rivaling a well-trained military unit. The sheer difficulty of remaining in a pose for several minutes is a challenge to both the mind and body. The artists met this challenge and conquered it with poise and elegance. With their outstretched arms resembling the curve of a swan’s neck, they capture the elegance and grace of the production.
As Odette, Chiaki Yasukawa floated as if a bird in flight. Her extensions, the tilt of her head, the subtle movement of her hands all accentuate a delicate bird-like quality. As the seductress Odile, she is a whirling dervish of movement and agility without losing any fluidity. Her impressive series of turns in Act III left my head spinning. The dances between Eddy Tovar as Prince Siegfried and Yasukawa are intimate and - if I may say it yet again - graceful. Although small in stature, Tovar’s jumps are exuberant and reach a good height, and his lifts seem effortless. Also impressive and worth mentioning is Orlando Molina as the frolicsome Jester. His high energy frog-like leaps and mid-air splits defy gravity. (The lead characters are changed with each performance.)
The flawless music of Peter Ilyich Tchaikovsky is marvelously performed by the world-class Orlando Philharmonic Orchestra and conducted by Leslie B. Dunner. It does wonders to the ambience of a production to have live music. As always, the Orlando Phil’s musicians can stand up to any major city’s orchestra.
The theater is transformed into the pages of a fairytale by the extraordinary sets and costumes. Designed by Peter Farmer, they are the courtesy of the Royal Winnipeg Ballet. The sumptuous fabrics flow with color and movement, and the sets are enchanting. You are lost in the expansive castle interior and charmed by the lakeside vista. It is truly a magical site to behold.
Every performance in this production - whether solo or ensemble - is dazzling. The staging, choreography and direction are seamless. There is not glitch one in this showcase of talent. The only bad thing I can say about this opening of Swan Lake is that it was poorly attended. Over half the seats in the relatively small Bob Carr Performing Arts Center were empty - albeit it was a rainy Thursday evening and the show started a half hour earlier than usual. Orlando, this first-rate show is not to be missed.
Swan Lake
continues at the Bob Carr Performing Arts Centre now until May 13th.– K J Roberts –
The gymnasium is filled to capacity. The atmosphere is crackling with excitement. The emcee with trophy in hand makes her way through the throngs to center stage. The anticipation is palpable. Who will be the new champion? It’s almost time…time to spell.
Frankly, The 25th Annual Putnam County Spelling Bee caught me by surprise s-u-r-p-r-i-s-e. Now that I have the obligatory spelling reference out of the way, I can tell you that I didn’t hang high hopes on this musical. The premise seemed too dull - a spelling bee. Beforehand, I had not heard of the show, and there wasn’t any local “buzz” about it. I really didn’t know what to expect and my expectations were low. The storyline was no surprise. There’s a spelling bee in Putnam County - the 25th annual, the participants - stereotypical geeky overachievers. I couldn’t have been more off the mark.
Although simplistic in its premise, the show is cleverly contrived and full of quirky characters. At times it seemed as if I were watching an improv group. The one-liners and topical zingers fly. I didn’t expect to laugh hysterically one minute and be moved the next - but I was. There’s even audience participation. Some of the funniest moments of the show circle around four “randomly” selected audience members who round out the spellers to an even ten.
Let’s meet our competitors…
Returning after a first place win last year is Chip Tolentino (Miguel Cervantes). Chip is the over confident speller, fully expecting to win again. But he loses his concentration when he spies a beautiful girl in the audience. He has an unexpected visitor that prevents him from doing his best spelling.
Leaf Coneybear (Michael Zahler) is the youngest sibling from a family of children named after plants (Marigold, for one). He’s not the smartest kid - in fact his brothers and sisters call him dumb. He didn’t even win his district bee - he came in third. The first and second place winners had to attend a bar mitzvah and couldn’t compete.
With braids to make Pipi Longstockings proud, Logainne (pronounced Logan) Schwartzandgrubenierre (Sarah Stiles) comes with a really long name, two dads and a lot of baggage. Logainne is the president of the Gay/Straight Alliance at her school. Her dads expect perfection. They don’t like losers. Logainne just wants to be loved. Stiles is a former Broadway cast member of The…Bee. She completely transforms herself into this nerdy, adolescent, people-pleaser with a conscience. I would swear she’s no older than twelve.
Marcy Park (Katie Boren) is the stereotypical Asian brainiac who excels at everything she tries. She knows she’ll win the bee. She always wins everything, but she longs to be an underachiever.
William Barfee (Eric Petersen) has name issues, peanut issues, upper respiratory issues, and a magic foot. Petersen plays this disgusting know-it-all to perfection. He produces several gross-out moments in the show. Barfee would definitely be the boy picked last in sports, but he’s a superstar when it comes to spelling. He could almost be the male alter-ego of Mary Katherine Gallagher, but not as nice.
Olive Ostrovsky (Lauren Worsham) is late - she took the bus. She doesn’t know about the $25 entry fee. She’s saved a seat for her dad - he’s late, too. Her mom’s not coming - she’s in India on a spiritual retreat. Olive has to depend on herself a lot. It seems the only thing Olive can count on are words. Worsham breaks your heart as the wide-eyed, but lonely and sorely neglected Olive.
Dressed in a smart business suite and big hair, Jennifer Simard serves as our emcee - Rona Lisa Peretti, a former bee champion. Simard appeared in the Broadway production so she’s no stranger to The…Bee. I couldn’t stop comparing her to Karen on Will & Grace. At any second, I was ready for her to call someone ‘honey’ in that annoying voice. She introduced each contestant with a saucy bit of information. She was so good at the delivery that it was almost possible she was creating the lines as she went along - especially for the audience contestants.
James Kall is Vice Principal Douglas Panch who calls the words in the bee. I looked forward to each contestant asking, “can you use it in a sentence” just so I could hear one of Kall’s hysterically funny comebacks. As an educator, Panch really doesn’t seem to like children very much. Short on patience, he often loses his cool - always in an exceptionally funny way. Rounding out the adult characters is Mitch Mahoney played by Alan H. Green. Mr. Mahoney is serving the remainder of his community service providing comfort (and a juice box) to the bee losers and order to chaos. As a “gangsta” with a heart, Green looks like he stepped out of a late 90s music video as he sends off the losers with a “peace out” sign.
Expect the unexpected from this production. You’ll laugh, you’ll cry (while you’re laughing), and you’ll laugh some more. And one last surprise… this performance is presented without an intermission. The 25th Annual Putnam County Spelling Bee continues at the Carr Performing Arts Centre until April 15, 2007.
– K J Roberts –