One tragedy, one comedy, one cast, one stage…I thought one Shakespearian part would be overwhelming to learn, and two would be insurmountable, but the players of the Orlando Shakespeare Theater are up to the task and more as two diversely different Shakespeare plays, Hamlet and All’s Well That Ends Well, are simultaneously in repertory utilizing the same cast and stage.
This Hamlet, as directed by Richard Width, is surprisingly light. The character of Hamlet is disturbed, for sure, but Avery Clark delivers almost a comedic interpretation. Not to say that Clark isn’t capable of displaying the torment and conflict that haunts Hamlet, but he excels at self-imposed nuttiness. This is exemplified when he exits his mother’s chamber dragging the dead Polonius in a rolled up carpet, as he shouts, "’Night, Mother!" as if he was going to bed. Clark takes on the much smaller part of the Second Lord Dumaine in All’s Well That Ends Well in which again he displays his aptitude at comedic timing and droll facial expressions. Mr. Clark has definitely left an indelible mark on this, his debut season with the company.
Shakespeare incorporates elements of fairytales throughout the story of All’s Well That Ends Well, and Director Jim Helsinger takes it one step further using several references to stories familiar to us all—Cinderella and Little Red Riding Hood to name a few. And apparently, the basic plot of the play comes from The Decameron, a book of Italian fairytales. Even Kristina Tollefson’s costume designs reflect the fairytale motif. Who doesn’t like a fairytale? Although in this case, I think the heroine, Helena, got hosed.
Marni Penning plays the best crazy Ophelia I have seen to date. In her counterpart role, she is the lovesick but determined Helena wronged by her man, Bertram, who is played by Stafford Clark-Price, who disturbingly plays her brother Laertes in Hamlet. I couldn’t help thinking throughout All’s Well That Ends Well—he’s your brother, he’s your brother. EW! Clark-Price also serves double duty in Hamlet as one of the Players. As Bertram, he bodes well as a leading man and a bit of a bad boy. I have to say, Helena was a lot more forgiving than I would have been.
The award for best scary ghost in a Shakespeare play goes to Johnny Lee Davenport in his portrayal of Hamlet’s dead father. Davenport drags himself through the fog in a zombie-like state bellowing warnings and demanding oaths as he slowing descends into oblivion. But don’t worry, he’ll be back…as the Player King in the play within the play (the play’s the thing) and as the gravedigger. Albeit, it is a bit disconcerting when the ghost is also the gravedigger. However, as the gravedigger, Davenport contributes to the comedic bend of the storytelling and outshines the rest in the scene. He returns in All’s Well That Ends Well in his only role as Lafeu, a noble to the King of France. Exuding cool with his cane in hand, Lafeu seems to be one step ahead of everyone.
As Gertrude in Hamlet and the Countess of Roussillon in All’s Well That Ends Well, Ann Hering seems to be at the heart and possibly the mother of this company. She gives Gertrude her humanity and makes her seem less guilty and more a victim than in any other production I have seen of the play. With this her sixth season, I think she has been in every Shakespeare production I have seen at the Orlando Shakespeare Theater. It wouldn’t be Shakespeare without her.
Cast in possibly the most diverse rolls is Eric Zivot, who plays the serious and seriously guilty King Claudius which is juxtaposed with the buffoon-like Parolles. I took great delight in admiring each new embellishment that appeared on Zivot’s Parolles costume. I’ve never seen so many bows, plumes and curls. Zivot does not shy away from the flamboyant or the flawed.
As my favorite performance from both productions, Steven Hendrickson’s Polonius is quirky, funny and altogether stellar. I don’t remember Hamlet being so funny, but I appreciated it. He is also the dying King of France who finds a miracle cure in All’s Well That Ends Well. He reminded me of somebody, I’m not sure—maybe the King from The Lord of the Rings: The Two Towers—was that the second one? I just looked it up—Theoden. He is sickly and gray and suddenly revived and dancing a jig.
Always a master of using minimal props and sets, the Orlando Shakespeare Theater is able to double their pleasure with these two productions. The differences of sets is barely discernable but the little details help to create the atmosphere. Scenic Designer, Bob Phillips, Lighting Designer, Bert Scott, Sound Designer, Matthew Given and Stage Manager, Stacy Renee Norwood help create these subtleties in both productions. Denise Warner designed the costumes for Hamlet with an obvious tip of the hat to the Victorian style which according to Richard Width was no mistake. This production presents a Hamlet at the turn of the century, when the world was in the throes of transition.
Hamlet continues until March 13th and All’s Well That Ends Well closes on March 14th.
It’s back! After a two year hiatus, the hilariously funny - Every Christmas Story Ever Told has returned to The Orlando-UCF Shakespeare Festival’s. Although basically the same production that I have seen twice before, I was nevertheless laughing as enthusiastically as the first time I saw it.
The premise is still the same - bored with the over produced Christmas classic - Charles Dickens’ A Christmas Carol, the actors balk (at least two of them). It seems there are other stories that better produce those warm and fuzzy feelings you get around the holidays. With the help of the audience, a list is compiled. There’s How the Grinch Stole Christmas, Frosty the Snowman, A Charlie Brown Christmas, Rudolph the Red-Nosed Reindeer (Gustav the Red-Nosed Reingoat), The Nutcracker, It’s a Wonderful Life, and you can’t start the season without the Macy’s Thanksgiving Day Parade. And just to keep it topical, let’s throw in Project Runway with contestants Mary, Queen of the Universe (you’re out) and Mrs. Claus (you’re in). Yet again, the cast is able to perform all of these beloved holiday classics (BHC) and more in 90 minutes. And yes, they call it “Xtreme Xmas.”
Just like before, this fast-paced show is funny from start to finish, and don’t forget to read the playbill for more laughs. Cast as the Grinch yet again, Timothy Williams returns as the cranky lead - the one who wants to perform A Christmas Carol, the one who doesn’t believe in Santa, and the one that has to be dragged kicking and screaming throughout all the fun. There’s no downtime in this energetic production and Williams sure does work up a sweat - literally. He also handles impromptu goofs with ease and garners some of his biggest laughs. According to his bio, Williams has recently returned from Las Vegas where he supported his family by dancing in the all-male nude revue of The Thunder Down Under.
In this production, Mark Lainer once again takes the part of the childlike, wide-eyed optimist. He makes a very believable Frosty and is a less than graceful and not so pretty Clara in The Nutcracker. I still find his Macy’s Day Parade float bit a scream. I hope Mark didn’t injure himself when the box he was standing on collapsed - unless it was all part of the fun. Lainer provides the only serious moment in the production as Linus explaining the real meaning of Christmas. After all, that’s what Christmas is all about.
Paul Kiernan rounds out the cast as the sane one (that’s debatable). I’m certainly glad he was released from prison so he could participate in the production. His topical jokes were a little ill received - even the Tiger Wood’s quips drew a low murmur from the audience. And his Sarah Palin impression needs a bit if polishing, but overall he is a fine addition to this BHC.
Jim Helsinger directs this controlled chaos with kitschy props, cool lights, and amusing music and sound effects. The acts are still unbalanced - the first act is twice as long. It could have been done without the intermission, but they sure did need to clean up the stage. Just like before, I’m still not sure if all the falls are part of the show.
If your nerves are shot from shopping for that perfect gift, baking your brains out, wrapping that 300th present, or falling off the roof while stringing Christmas lights, go see this show! It’s the best stress-buster I can think of for the holiday season. And if you’re feeling a little blue, this is the cure for you too! Yes, I believe in Santa Claus and yes I believe that The Orlando-UCF Shakespeare Festival’s Every Christmas Story Ever Told keeps getting better.
The Orlando-UCF Shakespeare Festival’s Every Christmas Story Ever Told is showing now through December 27th at the Lowndes Shakespeare Center - Loch Haven Park, Orlando - http://www.shakespearefest.org/.
U2 360° TOUR
Raymond James Stadium, Tampa, FL, US
Opening Act: Muse
With an alien space craft dwarfing the infield, U2 broke Super Bowl attendance records with 72,000+ fans filling Raymond James Stadium in Tampa on October 9th. This was not my first U2 concert, this was not my favorite U2 concert, but this was definitely my hottest U2 concert. Why did I think an autumn concert in Florida would be anything but sweltering? And I’ve got the sweat stains to prove it!
First, let’s talk spaceship. It was the elephant in the room. I sat in the sun contemplating it for what seemed hours. It looked like a four-legged teal and orange sci-fi spider that would inevitably break its restraints and rampage through the unsuspecting crowd. The sheer scale was impressive - 170-tons, 360° runway (thus the tour name), rotating bridges, video screens, speakers, and a spire tower. Oh, did I forget to mention the disco ball? What it lacked in personality in the daylight, it more than made up for with spectacle in the dark.
Muse was the opening act. Who is Muse you may ask? Well, if you are a tween and a Twilight fanatic, you’ll know. Actually I was first turned on to Muse by Stephanie Meyer’s book playlists on her website. Meyer penned the Twilight Sagas. My interest in all things Twilight has waned, but my fondness for Muse has not. They did not disappoint other than they could have played longer. Thank goodness for satellite radio or I’d never hear them played over the air. Thank you Alt Nation! They opened their all too short set with “Uprising” from their just released album The Resistance. They followed with “Supermassive Black Hole” (yes, from the Twilight soundtrack). It seemed to garner the most crowd recognition. A few tunes later and they were sadly gone. As the inebriated woman behind me told her son on the phone, “I don’t know who they are, but they are awesome.” Apparently, the son was already in the know.
U2 opened the show with “Breathe” from their current album No Line on the Horizon - an unconventional choice, maybe. In fact, they covered half the album in the show - and that was almost 1/3 of the entire set. They quickly followed with “Get on Your Boots,” and the crowd went wild. The set was at a fevered pitch and continued until the 9th song, “Elevation.” Bono wisely took off his jacket. The audience sang along, danced, cheered and swayed.
Somewhere in the midst of things the show came to a screeching halt when Bono introduced Guy Laliberte (Cirque du Soleil founder) via a satellite link up to the International Space Station - amazing technology, yes, interesting, no. In a nutshell, preserve water! Then they hit another lull with “Until the End of the World” - not one of my favorites. They slowly came out of it with “City of Blinding Lights” and eventually had the crowd in a frenzy again with “Vertigo” and a remix of “I’ll Go Crazy.” Larry Mullen, Jr. was an iron man as he carried and played a bongo drum around the stage in the oppressive heat. Amazing stamina! They followed with the oldest tune in the show - War’s “Sunday Bloody Sunday” - ah the memories! I was stoked when they segued into “MLK” but alas it was just a snippet. I was disappointed. Bono dedicated “Walk On” to Burmese opposition leader Aung San Suu Kyi commemorating this with several children parading the runway wearing masks of her face. I have to say, a little creepy - maybe it’s just me, I hate masks.
A video of Desmond Tutu introduced “One.” (I just love him - such a positive guy! He exudes hope and love.) Although, for the most part, I really couldn’t hear what he was saying. (This also happened with the little space alien cartoon figure - I have no earthly idea what it was saying.) And then, they performed my favorite U2 song of all time. It gives me chills just to think of it - leading in with a verse of “Amazing Grace” they performed “Where the Streets Have No Name.” Loved it then, love it now, love it always. Outstanding!
They returned with an encore that was a little disappointing. “Ultraviolet” is not a standout in my opinion. Even with the special effects, this tune just didn’t cut it. An encore should leave the audience wanting more, this one was a little bit of a downer. Finally the disco ball made an appearance as Bono requested the audience to turn on their phones and the lights were turned down. The stadium was turned into a sea of sparkling star-like lights as they performed “With or Without You.” They closed the show with “Moment of Surrender,” “I did not notice the passersby and they did not notice me.” This seemed like a complete disconnection and a not too subtle goodbye. Could this be U2’s last tour? Say it ain’t so.
I must admit, I do find myself growing nostalgic for the U2 of old. I miss Bono doing his little squirmy dance and waxing political (he still does but it’s more sophisticated now). I miss ending the show chanting “…how long to sing this song” over and over and over. I miss the old tunes - “I Will Follow”, “Gloria,” and “Electric Co.” I miss Bono pulling a girl out of the audience to slow dance or a guy to play the guitar. Okay, Bono did pull someone from the audience - a boy who precariously straddled one of the rotating bridges until Bono managed to pull him over. Then they proceeded to jog around the 360° runway while the band broke into the opening chords of “City of Blinding Lights.” But most of all I miss the intimacy of my first and favorite U2 concert, The Unforgettable Fire tour. Geez, am I getting old? Well, at least I’m younger than my boys (yeah, that’s what I call U2).But my boys can still rock!
OK. The concert was the highlight of my time spent in Tampa. Now, let me tell you about the many (and I do mean many) lowlights. First off, Tampa is one of the absolute worst cities to get around in. I now remember why I hate going there. I live in one of the most visitor-friendly cities around, so I can tell the difference.
Before going to the concert I went to the Raymond James Stadium website to get directions, parking information and opening times. When we got to Tampa, there were electronic signs up that said for stadium parking take exit blah blah blah. This was completely different than the directions that the stadium website provided. Which to believe? We decided to follow the signs. We took the exit. When you got off the exit however, there were absolutely no further directions. Luckily we had a little map from the website to determine if we were to go straight, turn left or turn right. I’m glad I can read a map! We turned left.
Several blocks further and we could see the stadium. And suddenly more electronic signs. The signs told us to continue on past parking areas and turn left on Dale Mabry. We followed these directions. The stadium was on our left and we were in the left lane. What could go wrong? Suddenly another electronic sign, turn right for general parking. Right? But the stadium is on the left. We’re in the far left lane. Some warning would have been nice. There was no way to get over to the far right lane at this late notice. We missed the turn off. We had to drive several blocks before we could u-turn back (turn off lanes blocked). We made the left turn down the street and followed the signs for general parking. We pulled up to the lot and were told it is closed - temporarily. There are plenty of spaces but we must turn around back the way we came and pull into another lot. Oh, let me clarify - a field.
We pull in and are greeted by an overly perky parking attendant that welcomes us to Raymond James Stadium. Isn’t that blocks away? She must be confused. Perhaps she was getting a percentage of the outrageously priced $25 parking spaces. (Let’s say that there were 2 people per car and over 72,000 people going to the concert. That’s $900,000 in parking fees. GIVE ME A BREAK! I thought the Amway Arena’s $10 parking fee was a joke.) We are directed to the farthest corner of the field in front of a power station (not to be confused with the police station next door). But luckily we are fairly close to the exit.
We walk blocks to Dale Mabry and wait at the congested intersection to cross. We make it to our gate and we have a little more than 30 minutes before the gates open. We find a sliver of shade that a palm tree will allow and we wait. At 5 pm gate attendants line up at the tables, the gates are opened and…we wait, and we wait and we wait until nearly 6 pm in 90+ degrees and 100%+ humidity. Makeup slides off my face, my hair frizzes, sweat soaks through my clothes, and I wilt. I think I can now recite the informational recording at the gate.
We finally make it inside and cruise the concessions. This is dinner, after all. I was expecting more. This is fair food. I am not impressed. Thank goodness at least they serve Coke products. I decide on a giant bucket of popcorn and a soda. I ask for a straw. Apparently, they aren’t allowed (even though I spot several people sporting them in their drinks when I get out to my seat). Did you know that you can’t keep the top to a water bottle? It can be used as a weapon. Unless you have a sling shot, I do not know how. Oh, did I mention we were sitting on the sunny side of the stadium?
During the show I sat behind a very tall boy - I’m petite. He never sat down. He always had his arms stretched to the sky swaying as if he were at a Baptist tent revival. I could hardly see a thing. Thank goodness for video screens. After the encore, we made it down the steps and out onto the street.
People were everywhere. We walked the blocks back to our parking “lot” and found that the convenient exit was closed. Hmm… is there another exit? I still don’t know the answer to that. We pulled out into traffic that snaked and snaked and snaked through what seemed an unending grassy field but never moved. People on foot streamed by our car for a good hour, but we never ever moved. No one did. I decided to get out and walk to the front of the line to see what was up. It was a long walk. There was very little action. By the time I got back to the car, everyone was turning around to head out of the exit that had been closed. An hour later, we escaped. A week later, I’m sure there are still people in that lot trying to figure out how to get out.
Luckily we had TomTom with us - our sometimes trusty GPS. It directed us exactly where we needed to get - on the road back home. We got there around 2 am.
The mark of any good movie or play is when the audiences are challenged The play is performed in the intimate Goldman Theater which perfectly Ireland’s slightly whacky but likable character Ray is chock-full of The conspiracy theory thickens when Palmer, a rogue spook, is introduced Skelton and Robidas’ performances seem forced at times. Skelton improves Herring keeps a brisk pace in this production - sometimes so brisk you
by the content and find themselves discussing it on the way home from
the theater and even days later contemplating what they’ve seen. This
happened to me recently. Set in a soon to be demolished New York City
pub in 2006, Yankee Tavern is a conspiracy theory thriller centering
on the disastrous events of September 11th. What is true? Can this be
possible? Did that really happen? All things that were going through my
mind after viewing this Ann Hering directed production by the Orlando
Shakespeare Theater.
conveys the coziness of a small bar. The cast consists of: bar owner,
Adam (Zack Robidas); Janet, Adam’s fiancee (Katherine Skelton); Ray, bar
regular and Adam’s deceased father’s best friend (Jim Ireland); and Palmer
who is new to the bar (Tom Nowicki).
conspiracy theories. For instance, he believes that there was a
moon landing, but not the one that was shone on TV. No, the real landing
occurred on an invisible moon. He has a moon rock in his coat pocket to
prove it. Eventually his crazy theories hone in on 9/11. The scary thing
is that this theory starts to sound plausible. Ireland plays this character
to the T. You soon forget that he is a much younger guy in wig and costume.
He is a heavy drinking, shabbily dressed squatter who talks to
ghosts. Of the entire cast, he is the most natural and at ease in the
skin of his character.
into the plot and is pivotal to its progression. I almost didn’t recognize
Tom Nowicki - hair cut and in a suit. He spends most of the first act
wearing a cap and unobtrusively sitting at the end of the bar sipping
a beer. His subtle act of observation is true to life. He lulls you into
a false sense of security and "boom" starts spewing theories
so fast that your head spins.
in scenes with Nowicki and Ireland by expressing relevant emotion. In
this her debut season, she has made a promising start. However, Robidas
seemed more interested in projecting his voice to the back of the theater
(which really isn’t that far) than connecting with the rest of the cast.
miss some of the dialog. However, the content keeps you riveted. I also
have to give props to Lighting Designer Kevin Griffin. Everytime the door
to the bar is opened, it really looks like the sun is shining brightly
outside. This impressed me everytime it happened. It’s the little things
in life. Yankee Tavern is definitely a thought-provoking play with
some lighthearted moments. And it will thrill any conspiracy theory enthusiasts.
The Orlando Philharmonic Orchestra opened its 2009-2010 season Saturday, September 26th with a sold out performance of Ode to Joy. The evening’s program included Brahms’ Variation on a Theme of Joseph Haydn, and Beethoven’s masterpiece, Symphony No. 9.
The evening opened with an unexpected but delightful rendition of The Star Spangled Banner. It was as if the cast of A Charlie Brown Christmas was standing off stage humming the tune a capella. On the second verse, the orchestra joined in and Conductor Christopher Wilkins turned to the audience. After rather long winded remarks and an introduction of donors from executive director, David Schillhammer, the program began with Brahms’ Variation on a Theme of Joseph Haydn. To be honest, I wasn’t here for Brahms.
Beethoven’s Choral Symphony, in my opinion, is the greatest symphony - ever. It never fails to move me spiritually and emotionally. It literally makes me feel as if the angels have come down from on high to sing to us mere mortals. Not only that, but it simply blows my mind to contemplate that Beethoven composed this epic masterpiece while completely deaf. It boggles the mind and the senses.
I had extremely high expectations for this performance - as high as the heavens. With great anticipation, I waited to be wowed. For the most part, I was not disappointed. The word “orchestrated” must have been invented just for this symphony. The coordination of over 300 instruments and voices into one cohesive and glorious performance is monumental. Each movement takes you to a higher level - dramatic, jubilant, serene, and a spectacular finale. The 230 voices were the combination of The Orlando Chorale, The Opera Chorus, and the University of Central Florida Chorus, as well as Soprano, Stella Zambalis, Mezzo-soprano, Susan Platts, Tenor, Yeghishe Manucharyan and Bass-baritone, Peter Van De Graaff. I did expect the choral entry into the finale to blow me back into my seat, but it lacked explosive oomph. However, the chills still rose on my flesh and the angels did sing.
And I have to say, I would have enjoyed it much more if I had been the only one in the Bob Carr. I was surrounded by coughing, whispering, candy wrappers crinkling, seat kicking, doors opening and closing, a dad taking his kid out early, and what I swear was a woman behind me cleaning out her entire purse and than throwing a bag of coins on the ground. If only I could have experienced this as I do on my iPod - with no outside distractions. It would have been perfection.
Feeling depressed, down in the dumps, bummed? I have the perfect cure - approximately 90 minutes of head on, all out comedy genius (with no intermission!). What could be more perfect? Wondering where to find this miracle elixir of pure fun? Look no further than the Orlando Shakespeare Theater. Side effects may include: sore sides from laughing too hard; tight jaw from smiling from ear to ear; and spring in step as you head out the door.
With no money but plenty of ingenuity, two aspiring producers, Jed and Boyd borrow the Park Avenue apartment of the Lipbaums and invite you (the audience) as their guests to explore the possibilities of becoming an “investor” in their 12 hour long, $83 million budgeted Broadway musical encompassing the entire history of the world - and it all starts with a “big bang.”
As the show opens, the audience is pulled into the fun, being served hors d’oeuvres (cubed cheese on a pretzel stick) by the actors, Philip Nolen (Jed) and (Boyd) T. Robert Pigott. Our would-be producers quickly make their pitch for financing and segue into an abbreviated version of the entire show starting with the big opening number (with no overture!). And like calendar pages peeling away, time progresses expressed through musical numbers accompanied by pianist, John B. Dehaas. His fingers never stop.
The energy never wanes and the laughs never stop coming in this Jim Helsinger directed production. Using only the furniture and accessories found around the apartment to create their wardrobe, Nolen and Pigott are quick change artists extraordinaire. Carol Burnett would be proud as Boyd is transformed into a southern belle using only a curtain and umbrellas. Nolen tears into a pillow to create impromptu facial hair and becomes a southern daddy (picture Colonel Sanders). In the chaos of plants, pillows, ottomans and curtains flying about willy-nilly, Nolen and Pigott perform some of the most hilarious songs. Adam and Eve croon the tune “Free Food and Frontal Nudity.” Schlepping furniture around the room to represent the building of Ramses’ temples, they sing “We’re Jews and We’re Tired.” And with a garbage can on his head and a curtain toga, Pigott becomes a campy Queen Nefertiti.
From the birth of creation to a medley of pop culture, you’ll be swept away on a comic wave. Don’t miss the chance to finance this epic! And there’s even room for product placement. The Big Bang runs through October 11th.
Using the deep bench of talent in the company, the Orlando Shakespeare Theater has taken on the monumental task of producing two of Shakespeare’s plays in rotating repertory – in other words - same actors, two plays, same time. The romantic comedy, Much Ado About Nothing is a light and frothy romp full of charm, music and laughs. The thought-provoking The Merchant of Venice, a cross of comedy and tragedy, challenges the audience to face the inequity of humanity and the frivolity of love. The differing storylines allow the actors to alternate between personas. It’s tough enough to memorize one Shakespearian play, but two – unfathomable.
In this production of Much Ado About Nothing, the setting is post WWII Messina where the residents are as likely to have an impromptu dance to Big Band Swing as they are to hurl insults and accusations at lovers. The music added to the production is an unexpected bonus and showed off a few fine voices in the company – Andrew Knight for one.
Although Merchant begins with what seems to be two unrelated stories, the storylines do eventually mesh and come to a cohesive end. In Venice, Merchant confronts the controversial topic of anti-Semitism which unfortunately is still relevant in today’s world. The compelling trial scene in which Shylock demands his pound of flesh mesmerized me. Joe Vincent’s performance is breathtaking - both harsh and heartbreaking. There’s no sugar coating here. This is a difficult play to watch.
Marni Penning, although her characters are not as dissimilar as others, shines in the female leads of both productions as Beatrice and Portia. I enjoyed her more nuanced performance of Portia to the loud wisecracking Beatrice of Much Ado. The more flattering costumes of Merchant made her look ten years younger and hardly recognizable as she was in Much Ado. The character of Portia also allowed her to, as in many of Shakespeare’s plays, cross dress. She disguises herself as a man and becomes a pivotal character in the trial of Shylock and Antonio.
Darren Bridgett is sure-fire fun as Benedick in Much Ado About Nothing. Physical comedy seems to be his forte. Who knew you could do so many things with a ladder? In Merchant his role as Gratiano is smaller but still allows him to show off his comedic prowess. I looked forward to the scene when I saw him walk on stage.
While either wooing Hero in Much Ado or Portia in Merchant, Armistead Johnson is a genial fellow. Equally charming in both, his performance in Merchant reveals more depth to his acting as he expresses extraordinary compassion for his friend Antonio. The consummate professional, Steven Patterson’s Antonio exudes resignation as he faces his punishment in Merchant, and as the lighthearted but respectable Don Pedro in Much Ado, he allows himself some freedom to be silly.
This company is well stocked with multi-talented artists. The costumes of Merchant are stunning although the masks are a little creepy. With very little alteration, the use of the same set for both is inventive and economical. Directors Dennis Lee Delaney (Much Ado) and Jim Helsinger (Merchant) have brought out the best in their actors. Both productions are a must see. Treat yourself to a double feature! Much Ado About Nothing continues until April 25th and The Merchant of Venice continues until April 26th .
A tug-of-war with the soul of Hamlet sets at the center of Wittenberg. Hamlet has yet to declare his college major and is torn between Theology and Philosophy. More concerned with a tennis match and disturbing dreams, he flip-flops. He is easily influenced and further confused by the strong wills and beliefs of his two professors - Rev. Fr. Martin Luther and John Faustus, MD, JD, PhD, ThD.
Set a week before October 31, 1517, the fictional Wittenberg takes place at the precipice of the Protestant Reformation. Though their belief systems are on opposite ends of the spectrum, Faustus (Jim Helsinger) and Martin Luther (Eric Hissom) are able to maintain a friendship that both challenges and entertains - each bringing out the worst and best in each other. Faustus is a man of science - science is his god. He would be right at home at Woodstock hanging with the Hippies, Stoners and Rock Stars. Rev. Fr. Martin Luther struggles with faith - not his faith in God but his faith in the church. Helsinger and Hissom are a brilliant team and with chemistry like this they could hit the open road in their own “buddy” movie. Sarah Ireland portrays the Eternal Feminine in the production - a part which spans from Mother Mary to a nun turned hooker. The portrayal of women in the play simply seemed to appear to confuse and distract the men from the more important things of life. Zack Robidas is the goofy and indecisive Pre-Hamlet Hamlet.
David Davalos’ Wittenberg has its foot firmly planted in today with tongue in cheek references to modern collegiate life: Faustus performs at an open mic night at the local bar - the Bunghole; Hamlet competes in a tennis match while onlookers sit in bleachers and cheer him on; and Faustus dresses up for Halloween and gets into a bit of mischief.
Done in a very entertaining and often comical way, the subject matter of Wittenberg is not for the squeamish and can get heady. A debate that has been around since mankind started unraveling the mysteries of nature and science. This battle rages in the hearts and minds of men - faith vs. fact. What you believe is challenged. Which is true, The Word of God or Scientific Fact? And can the answer be revealed within a two hour play? Well no, it can’t, but it makes for an entertaining evening.
Wittenberg continues at the Orlando Shakespeare Theater until February 15th… don’t forget to tip your wenches.
On Christmas Eve, one year after Ebenezer Scrooge is visited by the ghosts of Christmas past, present and future and transformed into a generous and affable fellow, he reverts to his loathsome and cranky self and brings charges up against those who facilitated his positive change. Representing himself, Scrooge matches legal wits with celebrated London Lawyer, Solomon Rothschild. The Trial of Ebenezer Scrooge picks up one year after the events of A Christmas Carol.
Mark Brown’s delightful play gives a new and clever twist to the Dickens classic. The Trial of Ebenezer Scrooge brings to life all the familiar characters along with a few new ones. Turning the story on its head, The Trial of Ebenezer Scrooge finds humor in the motives of said Christmas ghosts, and at times is as poignant as the original. Playwright Mark Brown takes on the role of well-loved Jewish lawyer, Solomon Rothschild who takes it upon himself to enthusiastically and ironically defend the - spirit of Christmas.
Bringing charges of breaking and entering, kidnapping, attempted murder and theft against those who haunted him is Joe Vincent as Scrooge. Looking a little less like Scrooge and a little more like Santa, Vincent is strangely giddy and buoyant as the dastardly miser. One by one, he bellows at and whittles down his exasperated witnesses. The most touching scene (or the only touching scene among all the humor) is between Vincent and Desiree Bacala as his sister Fan. Bacala multi-tasks throughout the play (as do several other actors) as Fran, Belle, and the ethereal Ghost of Christmas Past. She differentiates her characters one right after the other with a subtle costume adjustment and voice alteration. She does so with ease and poise. As Christmas Past, she is simply mesmerizing. Her arms float independently of her body, her head follows slightly after her eyes and her voice lilts throughout the theater. It was hard to watch the other characters in the scene.
I was nearly bought to tears - with laughter - by the scenes with Nathan Gregory as the Ghost of Christmas Future and Anne Hering as his translator. My friend was reminded of the hysterical scenes from an episode of I Love Lucy called “Women from Mars” in which Lucy and Ethel play Martians who have landed on the top of the Empire State Building. Gregory, non-recognizable in costume and stilts, spoke gibberish but still somehow moved with grace as the gruesome specter. Gregory also served as Scrooge’s upbeat but shallow nephew, Fred. In addition to her translator duties, Hering plays the parts of Mrs. Dilber, Mrs. Cratchit, and Miss Wainwright each with their own specifically loud and annoying voice and distinct personality. Also playing double duty is J.D. Sutton as both the ghost of Marley and put upon clerk, Bob Cratchit. Marley’s makeup and costume are rather extensive so I was in awe as to the quick changes between characters. As Scrooge bests him, Sutton brings both torment and goofy humor to the character. His Cratchit is a bit half-witted but amiable. I give him high marks on both character portrayals.
Rounding out the cast is Brad Roller as Mr. Connolly, the Bailiff, and Ron Schneider as Judge Stanchfield Pearson. Schneider’s character is more Scrooge-like than Scrooge himself - a foreshadowing of a future play, perhaps. Roller, last seen in an earlier season production of The Glass Menagerie, is obviously much more at ease in the comedic role of the clueless bailiff. I found him most improved. As usual, the Shakes costumes, sets and lighting are impressive. From giving voice to ghosts, creating ghoulish costumes, providing warm and cozy lighting, to producing authentic sets, the Shakes production team does not disappoint.
I have said it often. I always look forward to the Orlando Shakespeare Theater’s holiday productions. They are the best stress-reliever during an extremely stressful time. I highly recommend a good laugh! If you need one, don’t miss this most enjoyable production of The Trial of Ebenezer Scrooge now playing at the Orlando Shakespeare Theater until December 28th.
The Wingfields are the quintessential dysfunctional family - an absent father, an overbearing mother, an emotionally crippled daughter and a frustrated son. Individually and collectively they are as fragile as the delicate glass figurines cherished by Laura Wingfield. The Orlando Shakespeare Theater’s production of Tennessee Williams’ The Glass Menagerie is enthralling in its nuanced study of multifaceted family dynamics.
The Glass Menagerie is set entirely in the Wingfield’s tidy but diminutive apartment and narrated by a reminiscing Tom Wingfield. Each part within the play is developed and layered like an onion revealing bits and pieces of the characters’ flaws, virtues and vices. Trapped in a dead-end job, Tom’s dream of becoming a writer is thwarted by his everyday responsibility of supporting his mother and sister. A responsibility his mother heaps on his heavily burdened shoulders. He finds his only solace in the movies (and liquor).
With a subtly altered speech and demeanor, Jim Ireland portrays Tom as the beleaguered son under his mother’s thumb, and the melancholy and regret-laden adult. His angst is palpable as both. Who hasn’t felt trapped in their circumstances? He’s an easy character to relate to. Even I wanted to yell at Tom’s mother to leave him alone.
Anne Hering as the family matriarch, Amanda Wingfield is a force to be reckoned with. Somewhere along her life path, Amanda was diverted in the wrong direction and has never quite adjusted from this accident of fate. Evidently trying to hold her family together by whatever means she can, her motherly smothering oozes out into the audience. You find yourself lost in her revelry as she recalls her genteel past as a southern belle. Hering easily wavers from a coquettish flirt to monstrous shrew.
Katherine Michelle Tanner plays the heartbreakingly shy Laura Wingfield whose only joys are provided by the music on an old Victrola and a tiny collection of glass animals - as fragile as she. Physically and emotionally crippled, it is her character that is the nucleus of the family. Tanner exemplifies the dowdy but beautiful Laura through the set of her shoulders, her tortured countenance and her timid voice. And for one brief moment, Tanner shows you that with the proper attention, Laura could blossom as a uniquely beautiful blue rose. And yet in the next, she is falling off a precipice where she is easily shattered like her glass unicorn.
Rounding out the cast as the gentleman caller, Jim O’Connor is Brad Roller. Roller’s portrayal of O’Connor is cloying optimistic. If a man can be perky, O’Connor fits the bill. His upbeat outlook is very out of place in the Wingfield household. Roller barely stretches his acting muscles as he delivers his lines with a “golly gee” attitude.
This stylized production directed by David Karl Lee is a step back in time to pre-war St. Louis. Costume Designer, Denise R. Warner captures the period with her nostalgic fashions. Superbly acted and paced accordingly, The Glass Menagerie is as mesmerizing as sparkling color refracted through the prisms of a glass figurine.
The Orlando Shakespeare Theater’s production of The Glass Menagerie continues through November 16, 2008.
What was the Shakespeare Theater thinking when it chose to open their 20th anniversary season with a mediocre musical replete with a flimsy storyline and unmemorable tunes? I could think of several musical prospects that would have ushered in this seasonwith fanfare and flair and showcased the cast in a better light. The cast of Kiss Me Kate did the best they could with the material they were given. Cole Porter must have been in a musical slump when he penned the music and lyrics featured in the show. The storyline is disjointed, dated and dare I say - dull.
Set in a Baltimore theater in 1948, a musical production of Shakespeare’s The Taming of the Shrew is populated with cliché characters - a disgruntled leading actress, a philandering leading actor, a bimbo brainless blonde, and the list goes on. In the role of Fred Graham, veteran Shakes actor Steven Patterson is a gem. Patterson consistently turns in a superb performance no matter in what Shakes production he appears. This role allows him to stretch his comedic and musical legs. Jean Tafler is the put-upon Lilli Vanessi (Graham’s ex). Last seen as Lady Macbeth in last year’s production, Tafler is deftly funny singing I Hate Men and pummeling poor Graham/Petruchio. Patterson and Tafler have good chemistry and seemed to enjoy sharing the stage with each other. If only they had better material to work with!
Andrew Cao turns in the standout performance in this production. Cao and cast dance and sing the sultry and sexy, Too Darn Hot. Unfortunately, the scene and song are misfits in this show. They just don’t seem to belong. At the end of last season, it was alluded to that this production would “star” local celeb, Michael Andrew (Swingerhead fame). Well, he is in the show - underused and for the most part looking out of place. His performance is almost not worth mentioning. Dana Barathy plays the ditsy blonde. Her performance vacillates between dumb to calculating. Her voice is low and sincere while singing “Why Can’t You Behave” but Betty Boopish vamping to “Always True to You (In My Fashion).” There were several performances that seem to not want to die in the show - the former for one and the other is “Brush Up Your Shakespeare” performed by mobsters Bob Dolan and Brandon Roberts. The song was cute in the beginning but by the fourth curtain call - annoying.
I had higher expectations for this show. I would have liked to have left the theater humming a catchy tune after being dazzled by the production. I just couldn’t put my finger on what the show was lacking. The cast and crew were there ready and waiting to create a breakout performance, but again the material held them back. Kiss Me Kate closes at the Orlando Shakespeare Theater October 12th.I originally fell in love with the music and story of The Sleeping Beauty when I was a little girl and saw the Disney version at the movies. I begged my mother for the soundtrack in the lobby and she bought it for me. With a renewed childlike anticipation, I awaited the Orlando Ballet’s season-ending production choreographed by Marius Petipa and staged by Louis Godfrey and Denise Schultze.
The third of Tchaivoksy’s ballets to be performed by the Orlando Ballet company, The Sleeping Beauty showcases the elegance, splendor and beauty of classic ballet. The Orlando Ballet continuously impresses me with its depth and wealth of talent. The Sleeping Beauty is the perfect vehicle to put it on display. The artists and students of the Orlando Ballet brought this fairytale to life in a vivid and colorful display of grace and beauty. Seemingly, the entire company took part in the production. Tchaikovsky’s ballets seem to fall within a formula each culminating with a party scene where a dance-off of sorts occurs. The Sleeping Beauty is no different. This allows for not just the lead dancers to be featured but several of the company’s artists.
In the production I attended, Katia Garza took on the role of Princess Aurora and Andres Estevez was Prince Florimund. Garza displayed extreme control and balance in Act I as she remained on her toes throughout a very long segment as her suitors each took a turn taking her hand. Her exuberant presence as the young princess was refreshing and her skill and precision in Act III were impressive. Garza and Estevez make an exceptional team. The choreography is remarkable and the lifts exciting. Estevez excels at fast, repetitive turns and even though his stature seems diminutive he lifts Garza with ease.
Sohee Baes as the Lilac Fairy is delicate and polished. She weaves in and out of the action with fluidity. Nobuyoshi Okada and Zoica Tovar as the Blue Bird and Princess Florine are featured in Act III. Their abilities are both athletic and agile. Also in Act III, Logan Learned and Jaime Palovcak as Puss in Boots and the White Cat and Yuki Komazaki and Daniel Benavides as Red Riding Hood and the Wolf performances are lighthearted and fun. Laughter filled the theater as Learned and Palovcak pranced and wiggled across the stage imitating cat fights and face licking.
The costumes in this production exceed any that I have seen in prior shows. Every imaginable color is utilized - jewel tones, pastels, whites. The costumes take inspiration from historic French designs - musketeers, powder wigs, and flowing gowns. The sets are less opulent and unobtrusive. Music accompaniment provided the Orlando Philharmonic conducted by Leslie B. Dunner completes the sensory package. The Orlando Phil adds that something extra special to the ballet productions, and I looked forward to the Phil performing in future seasons with the ballet.
The Orlando Ballet’s 2008-2009 35th Anniversary Season begins this October and the line-up includes Don Quixote, Balanchine, Encore! and Romeo & Juliet.
– K J Roberts –
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 —