A CHORUS LINE - NOW AT BROWARD CENTER,
A TRIBUTE TO DANCERS, HAS UNIVERSAL APPEAL
by Ron Levitt - Florida Media News
It may have had its launching 34 years ago, but -- dealing with the hopes and frustrations of young people looking for a job – makes A Chorus Line as relevant today as it was in 1975. And, that is why its current road show production now at the Broward Center for the Performing Arts --though a tribute to a group of dancers auditioning for a chorus line -- skillfully conveys a universal experience -- anyone who has had ever had to present his or her qualifications.
Such universal appeal and relevancy are at the heart of this wonderful production and among the many reasons A Chorus Line is credited with being the longest running show (musical or dramatic) ever seen on Broadway and a Pulitzer Prize recipient.
For what it is worth, the late Michael Bennett’s A Chorus Line – along with Stephen Sondheim’s Company – rank at the top of my favorite musicals. And, if the opening weekend audience’s cheers of admiration are any clue to A Chorus Line’s acceptance in South Florida, there are a lot of people who agree with me with at least 50 percent of my “top two.”
The rest of you can see for yourself just how terrific this production is. A Chorus Line runs through March 1.
A Chorus Line is far from any typical Broadway offering.. The musical is a series of vignettes as l8 “gypsies” vie for eight slots in a chorus Their stories - literally pushed out of them by seldom-seen Zack (Sebastian LaCause), a dictatorial director (is there any other kind? ) –supposedly become the elements which allow him to select those who get the jobs. Among the stand-out auditioners are Cassie (Robin Hurder), a down on her luck former featured actress; Paul (Kevin Santos) who must tell about his humiliating experience in a drag show; Val (Mindy Dougherty) who used silicone implants to “enlarge” her talent and get her noticed, and Diana (Gabrielle Ruiz), a Puerto Rican lass who failed her acting class.
It is perhaps unfair to single out too many individual performances. A Chorus Line – directed by Bob Avian who originally choreographed the musical with Bennett – is a show which is an ensemble work. Every one in the cast deserves notice for their skills in singing the words of Marvin Hamlisch and dancing to his music. These include Deanna Aguinaga, Clyde Alves, Colin Bradbury, Venny Carranza, Dean DiGlacinto, Liza Domingo, Mindy Daugherty, Derek Hanson, Hollie Howard, David Hull, Jordan Fife Hunt, Robyn Hurder, Julie Kotarides, Sebastian La Cause, Jessica Latshaw, Shannon Lewis, Ian Liberto, Erica Mansfield, Stephanie Martingeti, Bethany Moore, Colt Prattes, Rebecca Riker, Alex Ringler, Gabrielle Ruiz, Clifton Samuels, Kevin Santos, Brandon Tyler, Anthony Wayne, J.R. Whittington and Amos Wolff.
James Kirkwood and Nicholas Dante’s book, John McNeil’s musical direction, and the entire technical crew all add up to one of the most enjoyable moments one can have in the world of theatre.
Get your tickets at the Broward Center for the Performing Arts, 201 SW Fifth Ave., where A Chorus Line runs through March 1. Tickets are $23-$67. Call 954-462-0222 or visit www.browardcenter.org.
PLAYHOUSE CREATURES AT WOMEN’S THEATRE PROJECT
EXPLORES LIVES OF 17TH CENTURY STAGE ACTRESSES
By Ron Levitt - Florida Media News
Take bits from All About Eve, throw in a 17th Century soliloquy based on “life upon the wicked stage ain't ever what a girl supposes,” toss in the exploitation of female actors who (in the 1600s) were considered in the same light as prostitutes or lap dancers, and one has the general idea of Playhouse Creatures, currently on the boards at the Women’s Theatre Project in downtown Fort Lauderdale.
Playhouse Creations tells it all as it explores the first actresses allowed on stage in the bawdy times under the reign of Charles II in England. It was then when these females were admired by royal dukes and earls more for their beauty and after-show moonlighting than for their on stage talent. At the same time, this two-act play by April De Angelis, brightly surveys the novelty of seeing women on stage (after all, theatre was man’s domain), their battle for receiving equity pay, their competitiveness as well as their clandestine liaisons with upper-crust royalty, their sexual abuse – even their need for an abortion in order to continue the challenging life in the theatre.
Author DeAngelis presents 17th century theatre – with appropriate costumes by Ashley Rigg – from a female perspective -- women who want careers in the footlights as liberalized individuals -- but who are subjugated -- and know it. Despite their talent, they lived on their looks, found themselves out of work as they aged, and faced ruin if they got pregnant. Hey, is it any different in some quarters today?
Genie Croft adeptly directs an extraordinary cast of five in this comedy with dramatic and light touch overtones at WTP She allows movement from one scene to the next with dexterity. The play is a mix of backstage stories, dramatic “on-stage dialogue,” brazen attempts to climb the ladder of success at the expense of fellow (woops, sister) actors, and an abortion scene which is a show-stopper in its realism. It all moves along at a quick pace.
Playhouse Creatures is aptly named as the make-believe spectators and the live audience see these actresses in their natural habitat, much like viewing animals in a zoo. Certainly much of the entertainment value of this Southeastern Premiere must be credited to this ensemble. They are an interesting quintet. Nel Gwyn (portrayed by Christine Blair) is the ambitious 16-year-old who wants to be an actress and, even more so, a mistress to the King. Think of Eve Harrington (Anne Baxter) in All About Eve!
Doll Common (a knockout performance by Jude Parry) is the backstage dresser, maid and storyteller.
Mrs. Betterton (an award worthy gig by Linda Bernhard) is the actress who loses her audience-appeal as she ages.
Mrs. Farley (the delightful Kim Morgan Dean) is a coquette whose career is cut short when she becomes pregnant – a no/no in the theatre of the 1670s.
Mrs. Marshall (Dana Aguero) is an almost-modern women’s libber who believes women have the same rights as men (a least in the theatrre).
Playhouse Creatures wonders if these theatrical pioneers had really achieved any worthwhile, long-lasting impact on the art of acting. It may be a question you might consider as you leave the theatre after an entertaining, thoughtful performance.
The Women’s Theatre Project – dedicated to exploring the female voice – is located at 505 N.W. 1st Ave in Lauderdale. Call 954 462-2334.
ACTORS’ PLAYHOUSE:
BOMBSHELLS A DELIGHT
By Ron Levitt - Florida Media News
CORAL GABLES, FL -- Not wanting to sound like a male chauvinist, but it’s a woman’s world (ask any man)!! But, at the Actors’ Playhouse these days – who cares? There’s an entertaining bit of theatrical excellence entitled Bombshells.—dishing out a variety of female subjects including health, career, nannies, kids, and – of course – the male species—but, most of all, friendship.
It’s not your usual musical. First, it is based on a dish and tell book written by six Miami area women. Next, playwright-lyricist-composer Jeanette Hopkins -- with an assist from the Actors’ creative crew --- put the book to music. And, then G-Four Productions – a well known local company – became involved. And then, Director David Arisco put together six mucho-talented South Florida ladies to star in this world-premiere production. The Result – a delightful musical which will charm both sexes.
It’s the kind of show which will probably be picked up by dozens of venues nationally. It is not great, thunderous theatre. But, it is fun…and it is clever. It is in the mode of Menopause, the highly successful all-women, all-song production of a few years back. But, (one man’s opinion) Bombshells is more interesting, has better music, and this cast is near-perfection. Based on a 2005 book – Dish and Tell: Life, Love & Secrets – Bombshells is particularly enticing because of the frank honesty of the script and lyrics – sometimes explosive but mostly with a light, entertaining touch. The most revealing part of the story is that these six ladies tell it like it is!
As Pat, a golden-voiced Melissa Minyard gets things rolling with “Let’s Air Our Laundry Out Loud” and her five gal-pals follow suit with a series of memorable tunes. The wonderful Margot Moreland, as Tammy, hits s homer with “Can’t Get You Out of My Heart,” while Annie (Laura Hodos) and Sara (Laura Turnbull) turn to comedy with the “Dieter’s Lament.” As Mercedes, the lovely Patty Gardner pays tribute to the parents with “My Mothers/Father’s Hands.”
As noted earlier, Bombshells will probably go on to bigger and better things as it plays theatres across the nation. The producers would be well-served if somehow they could take this Miami area cast with the show wherever it goes. They were that good!
Obviously, I liked this show. But, what does a man know, anyhow?
Bombshells runs through February 8. Call 305 444-9293.
AVI HOFFMAN’S CAREER
UNFOLDS IN NEWEST SHOW
By Ron Levitt - Florida Media News
It’s probably been said and written before, but after attending the latest production at New Vista Theatre in Boca Raton, it rekindles a fact you have always felt was worthy of repeating: Avi Hoffman is a South Florida treasure.
Hoffman – actor, singer, storyteller, TV icon – is all of the above as he delivers a one-man show, in song and patter, about his five decades in show business. No matter what your age or background, you cannot help “kvel” as you learn more about the man, his upbringing, his music and his lifetime of entertaining.
If this sounds like a one-man fan club for Hoffman, so be it! But, “Still Jewish After All These Years..A Lifetime in the Theatre” it is truly an evening (or matinee) with a gentleman who – since the age of five – has been on the boards – entertaining several generations at the Boca venue he co-founded, on stage throughout the Florida peninsula, in front of the curtain at theatres from New York to L.A. and on public television
The show – you might want to call it a musical autobiography -- was conceived, written and performed by Hoffman, as a follow-up to his two previous award winning one-man shows – “Too Jewish” and “Two Jewish Two.” But, don’t be fooled into thinking this new show is a repetition of the previous two. This show is all-new, a personal portion of the Too Jewish trilogy. It traces his life as the son of Holocaust survivors (whose first language was Yiddish) through his many roles amid personal triumphs and letdowns – a legacy of tales and music. It is wonderfully honest, even his admission that as a young man he appeared in “one of the ten worst movies of all time.”
His ability to make nearly 2 hours of entertaining seem like a breeze is a testament to his well-rounded talent. Recollections of his portrayal of Tevya, of his public service television series: They Came For Good: A History of the Jews in the U.S. (still being aired) as well as the many memories of his multi-theatre award performances, will be nostalgia for many in the audience. Hoffman gets a nice assist from musical director Caryl Ginsburg Fantel on the piano and the simple set by Paul Morrill gives ample room to tell and sing his story. Anyone who loves theatre must see Hoffman in this very personal performance. New Vista had to cancel The Producers in this time slot, because of the sickening economy, but it did well in giving space to its Producing Artistic Director to open up his heart to an audience which obviously adores him.
“Still Jewish After All These Years. A Lifetime in the Theatre” runs through February 8 at the West Boca High School,Call 888-284-4633.
HARPER RECREATES TALLULAH
IN ‘LOOPED” AT CUILLO CENTRE
By Ron Levitt - Florida Media News
Despite the fear of dating myself, I am reminded that it was some five decades ago when –as a young United Press reporter – I was assigned to interview Tallulah Bankhead who was appearing in A Streetcar Named Desire at the old Coconut Grove Playhouse in Miami. This magnificent star invited me to join her at a party for some 50 “of my closest friends” – a get-together held in the third floor apartment of the theatre building – a luxurious location designated especially for star quality performers appearing there. The party hosted by theatre owner George Engel – which began at 5 p.m.-- lasted til well after midnight; an interview which only an impressionable 23 year old could remember as one-of-a kind. I recall her saying “my parties have no boundaries.”
Fifty years later, (this week), as I watched Valerie Harper reincarnate Tallulah in Looped, a new play premiering at the Cuillo Centre for the Arts in downtown West Palm Beach, it rekindled my memory. Tallulah’s voice, her use of language, even her looks seem to have been re-invented to near perfection. Harper captured all the traits which made Bankhead a one-of-a-kind performer – exhibitionist, personality, and star from the very beginning. Harper, a four-time Emmy winner, proved once again why she is one of the amazing ladies of the stage: much more than the Rhoda Morgenstern we recall from TV or even the magnificent performer in Golda’s Balcony.Just seeing Harper re-invent Tallulah is reason enough to see Looped. But, let’s add another reason – Looped by Matthew Lombardo – as Tallulah herself might describe it –is a damn good play!
Director Rob Ruggiero-aided by this amazing re-embodiment by Harper and a topnotch performance by co-star Chad Allen- has presented a production which will surely crack records at the Cuillo Center and should send this play northward towards Off-
Broadway poste haste. The play shows the deteriorating Bankhead trying to dub a few lines of dialogue for one of the horrible films she made as her career faded (Die, Die, My Darling), much to the chagrin of a dialogue editor (Allen) who has his own problems, Harper – complete with penciled eyebrows, cigarettes dangling from her lips, a series of vulgarities, -- seems to have captured the many elements which made Tallulah a memorable character of half a century ago. She is Tallulah – at least on stage! She is not to be missed!
Looped runs through Feb. 15. Call 561-835-9226
PROMETHIAN PRESENTS
WORLD PREMIERE PLAY
By Ron Levitt - Florida Media News
Intelligent! One hates to use that word in reviewing a show because somehow or other, it seems to scare people away.However, A Report on the Banality of Love is just that – intelligent, the kind of play which should be seen by mass audiences so they better understand human emotions, human frailty, and –at the same time – learn about two luminous, real people caught up in the mayhem of war and the contradiction of ethics. It is a well-researched, well-written, well-acted, well-directed work, one which is based on individuals whose brilliance had an amazing impact on the study of philosophy.
Banality, written by prize-winning playwright/educator Mario Diament, is having its world premiere at The Promethian Theatre at Nova Southeastern University, however, is not an academic look at these people --- but rather a study of the unseemly love affair between a recognized German philosopher –turned Nazi sympathizer Martin Heidegger (Colin McPhillamy) and his brilliant German Jewish student, political philosopher writer/activist Hannah Arendt (Amy McKenna). These unlikely lovers are considered two of the most remarkable minds of the 1900s.
In this 90 minute play, playwright Diament covers their relationship from pre-war Germany (1925) through a post war (1950) encounter. Using a side-screen description, Director Margaret Ledford allows the two characters to demonstrate their feelings – over five different periods of time. The fact that these two famous academicians had a love affair is recorded history, although the relationship may seem incongruous to outsiders. Just imagine the idea of a Nazi genius being loved by a Jewish writer at the time when her co-religionists are banned from German society and being sent to concentration camps. Incongruous? But true! Is it the predictability (or unpredictability) of such an affair that makes this drama so intellectually stimulating? You will have to decide.
Author Diament has obviously spent years studying these two people—reading their philosophic works, their private correspondence, and the historic references woven into his script. It was time well-spent. It opens up a lifeline to the works of his hero and heroine. You will want to rush home to your computer to “google” these two historic figures to further learn what interaction there could possibly be between two such different individuals whose philosophy and ethics seem so much in conflict. Their relationship can only be described as passionate and complex.
On a historic note, writer Arendt actually coined the phrase “banality of evil” while covering the Eichmann trial in Jerusalem in 1961.Thus, the title of this play!!
Promethian co-founder Deborah Sherman proudly proclaims her theatre is “boldy creative or defiantly original.” Once again, she is right on the mark with this latest production.
Actor McPhillamy is an old hand at Promethian. He appeared last year in the critically acclaimed Blue/Orange. His return performance is right on target. Lovely co-star McKenna is making her South Florida debut in this play, after a handful of New York credits. Our region will be well served theatrically if she remains on the Florida peninsula.
Banality of Love will play at Promethian through Jan. 25. Call 786-317 7580. The Promethian Theatre is at 3301 College Ave in the Mailman Hollywood Theatre at Nova. It is not an easy location to find (try Mapquest) but it is well worth the drive.
COME JOIN THE CIRCUS IN JUPITER;
“BARNUM” CENTER RING AT MALTZ
BY Ron Levitt - Florida Media News
Find a group of traditional theatrical singers and dancers – who, among them, can also juggle, walk a tightrope, act as clowns, twirl batons and balance a ladder on his chin --- and you have the makings of a unique musical, Barnum, based on the life of America’s showman, Phineas Taylor (P.T.) of the same name,
That’s what’s going on at the Maltz Theatre in Jupiter these days where a terrific ensemble helps recreate the life of P.T. Barnum, covering the period from 1835 to 1880.
Just how Director Gordon Greenberg and Maltz’s Artistic Directot Andrew Kato were able to pull together such a diverse, talented group (along with its star Brad Oscar ) is the key to how entertaining this revived musical is. Barnum opened on Broadway in 1980, ran 880 performances in New York, 655 in London, and even was one of the early (1986) TV productions of a Great White Way musical.
And, now add this Jupiter production as to the list of theatres who know how to tackle a difficult-to-find group of talent and come up with one of the region’s best produced musicals. The Maltz artistic team is true to the original book by Mark Bramble and music and lyrics by Cy Coleman and Michael Stewart respectively. The scenic design by Michael Schweikhardt and costumes by Alejo Vietti are certainly enticing enough to make you want to “Join the Circus.”
The “death-defying stunts” together with Jumbo, the world largest elephant, and character such as Tom Thumb (Nathaniel Braga), Jenny Lind (Renee Brna) and Ringmaster (Kevin Kraft) turn the Maltz into a three-ring spectacle.
Multi-talented Brad Oscar is a perfect Barnum, although you can’t help but compare him to the character Max Bialystock) in The Producers, a role which he took over on Broadway and on the road for 1,300 performances when Nathan Lane left the show. There is still a little bit of Max in this Barnum, perfectly acceptable inasmuch as they were both showmen who believed “a sucker is born every minute.”
Barnum musically takes a look at the showman’s life during the 20 years leading up to his joining with James Bailey to form the famous circus company., B&B, THE greatest Show on Earth, And, It offers a hint of a relationship between Barnum and Jenny Lind despite the fact that he deeply loves his wife Charity (a melodious Misty Cotton).
It would be remiss not to mention Debra Walton who is notable in two roles --- as a 160 year old woman (the first of Barnum’s showcase figures) and then as a blues singer.
But, thanks to Circus Consultant Pedro Reiss, Music Director Helen Geregory and choreographer Joshua Rhodes, it is the ensemble which will be remembered long after you depart the theatre. So, let’s give a nod to them, as well -- Matt Baker, Deanna Dys, Jessica Green, Freddie Kimmel, Alfie Parker Jr., Amy Shure, Emily K. Bottorff, William Cotez-Statham, Alice Eacho and Dean-Carlo Grant.
So, as Barnum, erupts in song—“Come Follow The Band.” It’s fun!!
Barnum – a co-production with the Asolo Repertory Theatre in Sarasota -- will be around until Jan, 25. Call 561-575-2223.
FROST/NIXON: CALDWELL BRINGS A SENSE OF REALITY
By Ron Levitt - Florida Media News
Having lived through the Nixon-era and Watergate, one can surely be familiar with the many characters in the latest production at Caldwell’s Boca Raton theatre. And, if you are a movie aficionado, you are certainly aware of all the buzz being attributed to the cinema version of Frost/Nixon.
Nonetheless, whether you are at least 40-something, a movie buff, a lover of modern history or someone who enjoys good theatre (or all four of the above), you will find this play an absorbing reflection on the power of the world’s most potent office and how it is capable of being abused. What makes Frost/Nixon so intriguing as a play are the “things it is not.”
This is NOT a Woodward-Bernstein journalistic look at the Watergate break-in nor ,the Nixon White House cover-up and the 37th president’s resignation. It is British playwright Peter Morgan’s take on the series of interviews in which there was acknowledgment that Nixon did indeed take part to obscure a break-in at Democratic headquarters.
This is NOT a word-for-word of the movie version. Nor, is it really fair to compare the thumping portrayal of Nixon by Frank Langella in the cinema and earlier Broadway-version of this work. Langella – in the course of playing this role – developed an argumentative, highly-emotional Nixon – while Bruce Sabath’s Nixon of the Caldwell Company version is a much-more placid individual, a trait which dost not seem to measure up to perceptions of the disgraced president from historic accounts.
Nonetheless, Frost/Nixon at the Caldwell is an absorbing drama, directed ably by Michael Hall. It was notable that, even today, there is laughter –as the Nixon character tries to explain himself in the interviews with David Frost (Wynn Harmon). The “older” opening night audience could not help scoffing at Nixon’s denials.
At the same time, Harmon is quite believable as the talk-show-host-turned-journalist who queries the President. His character is low-key but towering at the right moments.
Frost/Nixon is a shrewd, well-researched behind-the-scenes look at the power of the White House – and, that alone, makes for intense drama. The use of multi-media presentation (watching some of the interviews on a big screen) gives a sense of reality in this look at the televised interviews three years after Nixon left office.
The other characters—in addition to those in the title, are real people, as well. And, they are “real people’ who at times dominate the stage. Michael St. Pierre is a stand-out (as journalist/researcher James Reston) who narrates the play and makes us totally aware that he intends to give Nixon “the trial he never had” South Florida’s Tom Wahl is amusing as reporter Bob Zelnick who sits in as Nixon during practice sessions for the broadcasts and has some of the more laugh-provoking lines in this production A lovely Margery Lowe, Robert Herle, and Peter Haig--- each of whom is worthy of top billing in any South Florida production – round out the cast with Jake Molzan, Ashley Ellenburg and Daniel Gibson.
Tim Bennett’s scenic design is adequate but it is his technical work in projecting the TV interviews that will keep you admiring such production creativity.
Alberto Arroyo’s costume design of the 1970s are so on target, it will make you wonder “did we really dress like that?” Tom Wahl’s attire alone is worthy of attention!
Frost/Nixon holds office at the Caldwell though Feb, 8. Call 561-241-7432.
COUNT ON IT: GABLESTAGE HAS A WINNER
WITH 'ADDING MACHINE'
By Ron Levitt - Florida Media News
As you see or read about the technology which today is bringing economic and personal misery to hundreds of people who have lost their jobs…..and the outsourcing which means more and more Americans are on the brink of fiscal despair as their positions are shipped elsewhere…..or the stock market which has gone into a tailspin, leaving investors on the brink of fear and worse, one can realize it is now nearly 2009…and wonder where does it go from here?
Eighty-five years ago, American writer Elmer Rice wrote a play about even more hopelessness – Adding Machine. In 2007 it was adapted into a musical – a melodious masterpiece of haunting intensity which is now having its Southeastern premiere at GableStage at the Biltmore in Coral Gables.
It is easy to throw superlatives at this outstanding production. Not only is it relevant in understanding the grief which we currently see on daily TV and in the abbreviated versions of today’s newspapers, but it it is remarkable theatre, a far cry from what we ordinarily expect from a Broadway musical. It is easy to see this show and say “Wow.” But, Adding Machine is much more than an operatic work attuned to technology and capitalism. In addition, the audience is treated to the supposition that perhaps we all have past lives – reincarnation -- a type of rebirth in which some of us are pre-destined to lives of servitude over and over again. Adding Machine tells about a low-level white collar worker (a brilliant Oscar Cheda) and his gloomy, unhappy wife (Meribeth Graham) – appropriately named Mr, and Mrs, Zero. Mr. Zero is a bookkeeper who has worked 25 years for a company, only to be informed his job is being deleted. He is fired because of the arrival of a new technology – an adding macine. The only one who seems to understand him is a co-worker Daisy (a simply wonderful Stacy Schwartz), who is so enamoured of him, she would even follow him to the death. This usually meek worker is so incensed at his dismissal, he murders his boss (Ken Clement). Mr, Zero is found guilty of the slaying and is executed for his crime. Daisy, true to her nature, commits suicide to be with him, But, he finds the Hereafter ( heaven ) not to his liking and he is sent back to earth – as an adding machine operator. All of this is portrayed in expressionist fashion. Even the name of hero, Mr. Zero, is a form of expressionism, Mr. Zero is a cipher, a nothing in the world’s scheme of things. He has a backup of non-descript neighbors who are a chorus to his ups and downs (mostly downs)—beautifully played by Irene Adjan, Lisa Manuli, Erik Fabregat and Barry Tarallo. Their “timing” (along with Cheda and Schwartz) is an amazing bit of theatrical cleverness as they begin their toil, adding up sales in the “shop.”
The other character we meet – at first in prison; later in the Hereafter – is Shrdlu, a disturbed young man who has just killed his mother and vocalizes his thoughts on morality and justice. Shrdlu is played by Jim Ballard, who is near perfect as he allows us to wonder if any action is right or wrong and what “freedom” means.
If this sounds like a bleak subject for a musical, wrong!!!
Producing Artistic Director Joseph Adler – who in my estimation is a treasure to South Florida theatre -- rarely does musicals. Only once before when he produced/directed The Dead (which went on to sweep the Carbonell theatre awards) has he attempted to bring music to his Coral Gables venue. However, Adding Machine is no ordinary musical. You won’t come away singing any of the tunes You probably will not applaud until the 90-minute show ends. Then, you will show your appreciation at witnessing a special kind of musical work.
Adding Machine is the perfect opus for Director Adler’s creativity. He has been true to the work created by Rice and the music of Joshua Schmidt and the lyrics of Schmidt and Jason Loewith—and this first-showing after Off-Broadway is a feather in the cap of GableStage. Adding Machine opened in Chicago in 2007 and then headed to Off-Broadway, and went on to win a bagful of awards, including the Lucille Lortel prize for best musical.
At the GableStage production, Musical Director Eric Alsford may be behind the scenes, but his talent is self-evident as his pianist ability underscores this production’s tale of a society where technology means no traffic, no cost, no upkeep. Alsford is given a helping hand by musicians David Estevez, Warren Hanrahan and Ray Fantel.
Technical aspects of this production also deserve a modern-day pat on the back. The set by Lyle Baskin, sound by Steve Shapiro, lighting by Jeff Quinn, the perfect 1920 costumes by Ellis Tillman. distinct choreograpy by Ron Headrick and the obviously astute stage management of Kristen Pieski all add to this meaningful work of thoughtful entertainment.
Playwright Rice whose leftist views are apparent in this play – originally, an experimental work – would probably chuckle as this dark musical becomes so relevant in less than 100 years. It may not be as bleak today, but it does make you wonder about the effect of a computerized workplace or the possibility of some low-wage foreign worker thousands of miles away taking over someone’s job.
Does Art imitate Life? This play may give you pause to consider.
Adding Machine plays through January 25, including a special New Years Eve party and show. Call 305 446-1116.
SILLY SEASON IN MIAMI-DADE
WITH TWO “ZANY” OPENINGS
By Ron Levitt - Florida Media News
MIAMI -- It seems silliness is the “in” thing, at least if two quite different productions bear witness at their openings in Miami-Dade theatres – one billed as a comedy, the other as a musical. But, as one character ( at the Coral Gables Actors” Playhouse’s production of Gutenberg, – The Musical) reminds us, there is a fine line between cleverness and stupidity. Gutenberg – along with the Arsht Performing Arts Center- setting for Shakespeare-Abridged/Revised -- pretty much sum up the use of fiction as a zany, frenzied means of providing entertainment. In both cases, there are indications that silliness pays dividends. If – as one theatre-goer explained -- “It’s fun to forget about economic woes and just laugh a lot,” then, these two shows have clicked.
Here are capsule comments on both shows, keeping the pre-holiday crowds amused.
ACTORS PLAYHOUSE -- Gutenberg- The Musical: It’s a zany spoof using historical fiction and turning it into a comedic gem, especially beamed to the inside-theatre crowd. It’s about two writers –Doug (Wayne Legette) and Bud ( Francisco Padura) who want to sell their show to the producers (the audience), The two incompetent characters are lovable boobs who intend to hit Broadway with a musical about “the most important person in history,” Johannes Gutenberg, who (according to the writing duo) turned wine pressing equipment into the printing press. Doug and Bud (assisted by pianist David Nagy)play all the parts, including the adorable Helvetica(who loves Gutenberg) as well as the evil monk who hopes to stop the invention which would allow people to read the Bible. They also play some 30 other characters in the tiny town of Schlimmer, Germany, including an anti-Semitic flower girl, a beef cutter, and a monk-in-training who gets stabbed with pencils all through the show. It’s obvous that Doug and Bud have little or no talent, as they clown in the play- within the-play (while using some 30 baseball caps with names on them to signify the different roles). However, actors LeGette and Padura – in reality time -- display an amazing gift of talent as they become the delightful duds. They work feverishly as they transform into a string of comic individuals. The show is smartly directed by David Arisco. This two-act version, written by Scott Brown and Anthony King, had played off-Broadway in 2006 and has been making the rounds of regional theatres in the U.S. Anyone who feels he or she is an “insider” in the crazy world of show biz will love those special moments in trying to interest a backer into funding a show. Gutenberg will be around until Jan, 4, 2009, providing plenty of laughs through the holiday season. Call 305-444-9293.
ARSHT PERFORMING ARTS CENTER (Carnival Studio Theatre) –
Shakespeare Abridged/Revised: There will always be the argument as to whether William Shakespeare, a 16th century commoner raised in an illiterate household in Stratford-upon-Avon, actually wrote the plays that bear his name. But there is no doubt that Reed Martin and Austin Tichenor –partners in the Reduced Shakespeare Company (RSC) --are responsible for this play. The RSC duo have authored all sorts of abridged comic specials – The Complete History of America Abridged, the Bible Abridged, All the Great Books, etc.They are known as the “abridgement boys.” This time,they take an irreverent look at 37 of the Bard’s plays, all performed in 97 hilarious minutes. One does not have to be a Shakespeare groupie to enjoy the comedy. There is sufficient slapstick and comic relief to test anyone’s funny bone. Martin and Tichenor – who also direct their RSC production -- rotate their roles with Michael Faulkner and Mick Orfe, while Matt Rippy – makes up the final third of the acting trio. South Floridians will have until January 16, 2009, to see these creative, funny fellow in action, The company’s first three shows ran for nine years in Piccadilly Circus and became London’s longest running show (even beaing out Andrew Lloyd Webber). This Miami production is fast, funny and furious. One can only wonder if his or her English teacher would approve of the sophomoric, sometimes bawdy, dialogue. Nonetheless, Romeo and Juliet, Othello and King Lear never have been so much fun, It’s a pre and post New Year treat as the
Bard is done for laughs! Call 305-949-6722.
NEW VISTA THEATRE PROVIDES SOME FUN
WITH ITS ‘ENTER LAUGHING” PRODUCTION
By Ron Levitt - Florida Media News
BOCA RATON, FL -- At the West Boca High School auditorium – home to the New Vista Theatre – an elderly gentleman using a metal walker, at intermission, summed it up best! “After all this bad stock market news and my aches and pains, it is nice to have a few laughs and enjoy myself.”
That’s what New Vista’s season opener, Enter Laughing” is all about – pure and simple fun – “enjoyment.”
This is not an overpowering musical. Its songs are so-so, despite several lyrics being memorable, particularly if you know the Golden Age of the movies and don’t mind bawdy references. And, it does have enough musicianship to keep you entertained and feeing good. Who can ask for more than that in a two-hour span of time?
But, it’s mostly about the comedy with the music thrown in!
Based on Carl Reiner’s 1958 novel and the resulting successful play seven years later by Joseph Stein, and then a movie, Enter Laughing The Musical came to fruition in a short run in 1976. It starred the much-too-old Robert Morse (he was 40) in the role of an awkward, star-struck, wannabe actor in his late teens. But, in recent years, the musical has been reinvented (with appropriate age casting) and has become a favorite for producers nationwide wanting to put forth a feel-good bit of entertainment.
New Vista’s Producing Artistic Director Avi Hoffman launches its third season with Enter Laughing and it has all the right ingredients – fine direction, appropriate age and talented casting – to keep its audience doing what they want most to do – smiling, chuckling and enjoying.
David Kolowitz (newcomer Will Larch) is a dreamy-eyed youngster with tons of charm and a yearning for a career on the stage and a yen for the lovely ladies. He works for a machine shop owned by Mr. Foreman (Michael H. Small). His guilt-inducing parents (Avi Hoffman and Sally Bondi), want him to be a pharmacist. But, he has the acting bug as well as an overactive libido (he’s downright horny, like his pal played by Kevin Andrew Jaeger) and wants to attract a series of lovely ladies including girl-next-door type (Lisa Manuli), a secretary (a charming Lindsay Forgey) and most of all the daughter (Crista Moore) of the actor-manager (Gary Marachek) who has been reduced to teaching incompetent actors.
While Larch does an adequate job, playing the young man, it is the M&M&Ms in this comedy who deserve the sweetest attention. Marachek is a riot as the actor/teacher and Tony-award nominee Moore is a showstopper whenever she is on stage. Manuli – a local girl with a golden voice – is noteworthy as Kolowitz’s girlfriend in waiting.
Director Hoffman provides a three-piece orchestra and scenic designer uses visual backdrops and floating sets to showcase these funny characters. Rocky Duval adds to the luster with the choreography,
Enter Laughing will be around until Dec. 7. Call 888-284-4633.
CHITTY BEGINS NATIONAL TOUR
RIGHT HERE IN FORT LAUDERDALE
By Ron Levitt - Florida Media NEws
FORT LAUDERDALE, FL -- What child (or, for that matter, anyone who is young at heart), can fail to be entranced by a flying car, cute little dogs running all over the stage, or a stackful of robotic machines which can do just about anything, including providing breakfast?
Those are some of the many reasons an audience is spellbound by Chitty Chitty Bang Bang, the stage adaptation of the successful movie, now at the Broward Center for the Performing Arts through Nov. 30 – the first stop of a nationwide tour.
Based on the novel by Ian Fleming, it features the music and lyrics of the Sherman Brothers (Richard and Robert). This national tour features an original script directed by Ray Roderick.
But this production must take back seat to the real star of this fun show – that wonderful flying car. Kids (and many adults) will applause in awe at this high-flying convertible and the other special effects of Chitty. Just watching this car twist and turn, move up and down, soaring over the stage, is worth the price of admission.
Sure, there is music (some of the songs are even familiar) and some fine casting, including some charming youngsters. And, did we mention those well trained animals (Wilson dogs)?
Steve Wilson plays the doting father, Caractacus Potts, with two gregarious youngsters (alternately played by Jeremy Lipton/ Zachary Carter Sayle and Aly Brier/Camille Mancuso). The children meet Truly Scrumptious (Kelly McCormick(, whom they believe will make a perfect wife for their widowed father, an inventor with a vivid imagination. In the meantime, a group of villains – Scott Cote and Richard G. Rogers – henchman for the toy-loving Baron of Vulgaria (George Dvorsky) and his wife (Elizabeth Ward Land) – kidnap Grandpa Potts (Dick Decareau) who must be rescued. It’s the same delightful story as in the 1968 Dick Van Dyke movie.
Others in the cast include Oliver Wadsworth as Junkman/Childcatcher, John Saunders as Sid, Ellie Mooney as Violet and Mark Chmiel, Timothy Hughes, Matthew Brandon Hutchens, Kent M. Lewis, John Saunders and Eric Shorey as The Inventors.
After its run in Fort Lauderdale, Chitty moves on for stops in Tampa, FL; Appleton, WI; Toronto, Ontario; Baltimore, MD; Dayton, OH; Huntsville, AL; Chicago, IL; San Antonio, TX; Houston, TX; Pittsburgh, PA; Providence, RI; Columbus, OH; Raleigh, NC; Philadelphia, PA; Orlando, FL; Atlanta, GA; Indianapolis, IN; Amarillo, TX; Albuquerque, NM; Salt Lake City, UT; Tempe, AZ; Dallas, TX; Costa Mesa, CA; Denver, CO; and Kansas City, MO.
SEAFARER AT MOSAIC THEATRE:
AN EXTRAORDINARY PRODUCTION
By Ron Levitt - Florida Media News
“The Seafarer,” - Colin McPherson’s latest successful Irish yarn filled with boozing and clever bantering – has come to the tiny Mosaic Theatre in Broward and thanks to brilliant direction, a terrific ensemble cast, perfect scenery, makes the transition from Broadway a spectacular leap. Much to the credit of artistic director Richard Jay Simon, this production – one of the earliest since Seafarer closed in New York – is a dramatic treat. Five of Florida’s top actors teamed with Director Simon to once again showcase a theatre which despite its small venue at American Heritage School in Plantation continues to lead Broward in professional productions. The extraordinary cast: Ken Clement, Dennis Creaghan, John Felix, Christian Rockwell, Gregg Weiner. Remember all of these names when local acting awards come due!
McPherson has repeated the basics of his successful career by presenting a group of colorful characters who drink much to much with a backdrop of the devil hovering closer than they realize. Yes, The Seafarer is about a mysterious individual who defines Hell in a different manner than the fire and brimstone we have heard about. Hell is where “you see all the people who seem to live in another world ……and you just walk and walk and walk and you’re on your own and nobody knows who you are.” Furthermore, “self-loathing” is a kind of hell you could be offered if you make a deal with the devil.
Pretty deep and serious subjects, but McPherson – and director Simon – make the theme less weighty with stimulating, sometimes humorous dialogue, a storyline which intrigues, and a staged fabrication which defies this size of this theatrical venue.
It’s about two working class brothers -- one blind (Creagan) and the other, an unsuccessful, self-destructive man who is acting as a caretaker (Weiner) . They reside in their cozy but somewhat pathetic males-only house in a small town near Dublin, They and their friends gather for some pre-Christmas boozing, blarney and poker. Two pals (Felix and Rockwell) arrive, both already well filled with drink. Then cometh a stranger (Clement) – who doesn’t much like Christmas and seems to know a lot about the younger brother and what sins he may have committed in the past. The idea of a drunken Irishman as the devil is just a part of the humor which is injected into this vibrant script. We hate to lavish too many superlatives (we may need them for the future) but the technical aspects of this production deserve mention, The cottage which seem to be the favorite hangout for these drinking buddies was created by scenic designer Sean McClelland,Jeff Quinn did the lighting and Matt Corey the sound design. All three should take a bow along with the creative acting ensemble.
The second act – featuring a poker game in which one man may be playing for his very soul – is wrenching. Just when we figure the devil has won his due, the room is filled with light and heavenly and religious signs provide the happiest finale one may find among the many writers of Irish literature. Makes one want to toast the good guys!!!!
The Seafarer plays through December 14. Call 954-577-8243
FAMILIAR PLOT BRINGS NOSTALGIA
WITH CALDWELL’S MUSICAL REVIVAL
By Ron Levitt -Florida Media News
The story is not new. You certainly remember the plot. It started out as a play – Parfumerie -- by Hungarian playwright Miklos Laszlo. It achieved its most noteworthy attention as a 1940 charming movie with Jimmy Stewart and Margaret Sullivan -- The Shop Around the Corner. Then, as a Broadway show in 1963; back again, in 1949 as a Judy Garland-Van Johnson musical, In the Good Old Summertime. And, there was a 1993 revival on the Great White Way and in London’s West End, under its original Broadway title, She Loves Me. And, one more adaptation in cinemaland as a Tom Hanks-Meg Ryan technically updated --You’ve Got Mail.
Boca Raton’s Caldwell Theatre – like so many other regional companies anxious to show it can produce a musical – took one more giant leap for its audience – but unfortunately depended on a single pianist to accompany the talented array of actors-singers in this latest version of She Loves Me. One piano does not a musical make, even with the brilliant score by Jerry Bock (music) and Sheldon Harnick (lyrics) – the duo whose work makes this seem more like an operetta– and the intelligent book by Joe Masteroff that has lasted for 45 years. To someone who may have seen the original Broadway success, one can only miss the violin playing and setting the Hungarian locale.
The main reason for the success of this version of She Loves Me is its familiar storyline, even though it might seem dated. More than one theatre-goer was heard, saying, “I know this story. I think I have seen it before.” That kind of commentary echoed the nostalgia one feels, seeing and hearing this latest reincarnation of the Shop around the Corner. “Wasn’t it a Jimmy Stewart movie? I think I saw it on TV recently.”
There is another reason, however, to see the Caldwell version -- the brilliant score. The story is amplified by the great, romantic and clever lyrics and music – not the kind you come out of the theatre humming but those which so interact with the characters and the storyline. It is right out of a Broadway playbook.
The story? Co-workers in a Budapest notions shop don’t realize they are lonelyheart pen pals who eventually understand they have amorous feelings for each other. Simple enough! Memorable enough!
Director Michael Hall assembled a worthy array of actors, even some whose name would ordinarily be above the title but took secondary spots – Angie Radosh, Lourelene Snedeker, Shane Tanner, David Perez-Ribada, But there were moments when other VIP actors used their vocal clout and acting ability to make the two hour musical time well spent. Allan Baker, Bruce Linser, Oscar Cheda, Jerry Gulledge, a vibrant Laura Hodos and a charmingly funny performance by Jose Luaces – all in secondary roles – stood out. I saw an early performance when David Kelly took over the lead when actor Benjamin Schrader was ill. He later recovered and took over opposite Amy Miller Brennan. Kelly did an admirable job with only limited rehearsal and doing the show one time concert style – all actors in costume but sitting in chairs, reciting or singing their parts. Tim Bennett’s A-one scenery was an excellent backdrop.
Only a few South Florida theatres have been successful with musicals – notably Maltz in Jupiter and Actors Playhouse in Coral Gables. On the other hand, Caldwell usually does its best works when it takes on drama or comedy. This was a worthy attempt – but doing musical theatre takes more than just a familiar story to succeed.
She Loves Me runs through Dec. 14. Cal (561) 241-7432 or go to caldwelltheatre.com.
Final note: For productions from November 25 – December 7, Caldwell offers half-price tickets to adult current and former members of the United States Military as well as to all Federal, State, City and County employees, with student and child tickets costing $10 for the same period. There is no performance on Thanksgiving, Thursday November 27, 2008 and Box Office is closed that day
NAKED STAGE DELIVERS
IN A RELATIONSHIP PLAY
By Ron Levitt - Florida Media News
It couldn’t be more current. Certainly we have reached the point in this technology-driven century where we know someone who has met another person online – in this case, individuals who are looking for love.
That’s the opening of Nerve, a 70-minute, one-act play, written by Adam Szymkowicz, currently on the boards at Naked Stage, the extraordinarily talented company holding court at the Pelican Theatre at Barry University.
But, this play is not about technology. It’s about two fragile human beings – one, an obsessive man (Antonio Amadeo) who would fall in love with just about anyone in order to have a relationship, and the woman (Katherine Amadeo), an emotionally insecure and unbalanced person who has been in love too often with too many men.
Director John Manzelli – who with the Amadeos founded Naked Stage -- has done an astonishing task – making us keenly aware of this twosome’s needs yet pictorially showing us the faults that would drive away any stronger human beings. Antonio’s character Elliot is so compulsive and needy, he might scare any woman he has jut met for the first time. And, Susan (Katherine’s character) is so emotionally unstable, one can only wonder what kind of guy would want to get involved with her, no matter how lovely she is. The two Amadeos (happily married in real life) are among the finest young actors in the South Florida area and – with this script --keep the audience intent on finding out if in fact, this fictional relationship can possibly come to fruition.
Nerve (not sure I like the title) is a dark comedy. There are enough chuckle-inducing moments – balanced by some quirky dialogue as we meet the two characters and try to understand what makes them who they are.
The Amadeo-Manzelli-Amadeo trio also worked overtime in providing all the tech aspects of this production. Antonio designed the neighborhood somewhat-dingy bar complete with Schlitz, Bud-Lite, Miller and Bass Ale signage; Manzelli did the lighting and Katherine , the sound production, including the pre-play karaoke sounds (performed by Jason DeWitt).
Naked Stage has only been alive for a couple of years, but it continues to provide first-rate productions. Nerve follows in that trend-setting tradition.
Nerve runs through Nov. 30. Call 954 261-1785.
FOUR FINE ACTORS, PRAISEWORTHY SCRIPT
LAUNCHES 23RD SEASON AT NEW THEATRE
By Ron Levitt - Florida Media News
CORAL GABLES, FL -- Author Andrew Case worked for a New York agency which investigates police misconduct. It was his job for more than seven years; first working with both law enforcement and private citizens. Then he worked in a public relations capacity as a spokesperson for the agency, putting him into contact with the media.
And, we all have read – at one time or another – of police shootings which caused riots, including possibly one in which an unarmed youngster is killed by an officer, which some people may feel was unjust and others, a matter of law enforcement. Unfortunately but realistically, those kind of headlines or TV news segments appear from time to time.
The outgrowth of these experiences comes to fruition in The Rant, Case’s play having its world premiere at New Theatre in Coral Gables. Actually, South Floridians got the premiere bragging rights as part of the National New Play Network, which will have the show produced in Philadelphia and New Jersey in the coming months.
Director Ricky Martinez – in a talk-back opening weekend – praised Case for writing a timely, relevant play which allows the audience to try to understand how four different people can view the same situation differently.
That is the crux of this play—how different people can visualize or distort their impression of the same incident. And, fortunately Martinez has selected four outstanding actors who turn this script into an interesting mystery for the opening of the theatre’s 23rd season.
The four characters are a policeman (a talented relative newcomer Reiss Gaspard), a newspaper reporter (award-winning actor Ricky Waugh), the mother of the victim (an amazing performance by Patrice Degraff-Arenas) and a prosecutor (the always reliable Carbonell-nominee Pilar Uribe). All four actors shine – especially as the each deliver a well-written soliloquy interspersed in the 90 minute play. These monologues reveal much about the background of the characters and the issues which provide how they see the shooting.
The audience will get to make up its own mind. Some may see this as a cop-out; however, it is this finale which makes The Rant so intriguing as a mystery. Just as you garner your own opinions when reading or watching the news, playwright Case makes you the expert.
You will learn more what The Rant really is and it may give you a fresh perspective as you spend more and more time on the Internet. Just how a mystery such as this one is related to your Online experiences is just one more special educational truth that you may learn as a playgoer to this small but excellent theatre at 4120 Laguna Street, just off Bird Road.
Call 305 443-5909 for tickets.
REALITY MAKES “SILENT HEROES”
A SPECIAL TREAT AT SIXTH STAR STUDIOS
By Ron Levitt - Florida Media News
FORT LAUDERDALE -- Nowadays, shows like Desperate Housewives and Army Wives and movies like the remake of The Women show up in the demographics with a healthy viewing audience primarily dominated by women. There is nothing wrong with that, by the way.! It is a credit that the producers have found such a huge audience, However, it is a welcome addition (on a personal level -- without sounding like a chauvinist) to see a show in the entertainment industry “for, by and with women” which has such a solid cast, topnotch direction and well-scripted dialogue that can be enjoyed no matter if you have X or Y chromosomes in your genetic makeup.
The show is Silent Heroes, currently at the tiny Women’s Theatre Project (WTP) at the Sixth Star Studio in downtown Fort Lauderdale, through October 26.
Before I get angry emails, I must explain the TV shows and film I mentioned above are certainly fine, but – in my view – they are fictional stories which only want me to find a football game on any of the 600 channels on High Definition TV.So, it was a pleasurable 90 minutes at WTP when a play concerning women resounded with such realism that it left a positive impact. Reality is what makes this fictional play so strong!
Silent Heroes, by Linda Escalara, takes place in 1975, at the close of the Vietnam War, when a plane crash finds the wives of six Marine fighter pilots, waiting at the base to discover which of the women will become a widow. But, it is not a Vietnam War story. It could easily have been set at any time, including today – when there are thousands of wives waiting for their warrior husbands to return home from military action,
What makes this play so alluring is that it examines the relationships of each wife, exposing cheating husbands, battered wives, prejudice within the military for people of color, patriotism, criticism of government and many other subjects which are relevant in our society and particularly for wives of military officers. The author grew up in a military family and her expertise resonates in Silent Heroes.
Producing Artistic Director Meredith Lasher and Director Genie Croft have assembled a topnotch ensemble cast to play these six women: Sally Bondi, Barbara Sloan, Jennifer Toohey, Tara Vodihn, Kirsten Upchurch and Jaime Libbert. They exude different temperaments, singular problems, a variety of egos and caring --- the kind of women I can remember when I, too, was in service, on a Pacific military base. What appears most evident is the authenticity of their personalities as the characters unlock personal feelings for their spouses and for each other.
This is not a typical soap opera. Author Escalara – who grew up on Marine bases up and down the East Coast – knows what she is talking about. When she has one the characters say that pilot’s wives are the first to come out in defense of patriotism, no matter what the circumstances, shows her intellectual understanding. It is a story which is not about a war – only the warriors and their wives – people each of us may have met in our lifetime.
Reality pays off well in his 90-minute, one-act play, Call 1-866-811-4111 for tickets
or visit www.womenstheatreproject.com.
1776 AT ACTORS PLAYHOUSE:
A REFRESHING, TIMELY DEBATE
By Ron Levitt - Florida Media News
CORAL GABLES, FL -- In these times in which political debates make page one news and multi-TV sound bites, it is refreshing to watch some of the deliberations which launched this country’s freedom, even if some of its story-telling may stretch reality a bit. To find such reflections on U.S. history in “theatre” is an especially timely and fitting experience.In fact, watching 1776-the Musical at Actors Playhouse this weekend, I could not help but wondering what an educational boon it would be if all 11th grade American History students in the local school system were required to see this production. I believe they might get a better appreciation of the past – much of the stimulation and love of history I received long, long ago from Lamar Louise Curry, my American History teacher at Miami High School. Curry – much like author Peter Stone – made history exciting. However, in the theatre, there is the addition of music and lyrics by Sherman Edwards – an added bonus.1776 which dramatizes the events leading to the writing and signing of the Declaration of Independence does take some liberties with the facts to make it theatrically enjoyable – but who cares? It basically is a two and a half hour lesson in democracy and the founding of the U. S. as it may have happened. The important lesson is there – how freedom came into being. There is a reason, it won three Tonys and was named Best Musical.
Actors’ Playhouse Director David Arisco took on an ambitious project in bringing 1776 to production in the Miracle Mile theatre here. The play needs a large professional cast, an elaborate, realistic set, and colorful 18th Century costumes. In all respects, Actors’ Playhouse delivers!
1776 is the story of the Second Continental Congress. The play opens as John Adams (Gary Marachek) expresses disgust with the representatives of the 13 original States being unwilling to discuss the subject of independence. He demands that the a vote on the topic, and to prevent the idea being voted down, Adams, aided my his friends Benjamin Franklin (Ken Clement) and Richard Henry Lee (Jim Ballard), agree that Thomas Jefferson (David Jachin Kelly) compose the Declaration. In addition to these political matters, the personal lives of the characters also come into play, introducing us to Abigail Adams (Colleen Amaya) and Martha Jefferson (Irene Adjan).
As the final debate come to a head, several opponents give their heated arguments --- Pennsylvania’s John Dickinson (Barry Tarallo) and South Carolina’s Edward Rutledge (a golden voiced Shane R. Tanner) before Adams reluctantly agrees to the changes in the document, which is then approved on July 4th.
There are numerous other historic characters such as John Hancock (Michael St, Pierre), as well as a few fictional ones, including a solo performance by a young Revolutionary soldier (Javier Ignacio). The cast of 25 includes a handful of actors who have appeared at Actors in previous productrions, including some who are accutomed to lead roles but wanted to be in this production, even if in supporting parts.
Watching veteran actors Gary Marachek as Adams and Ken Clement as Franklin is only a reminder of how versatile they are, They both have either won many Carbonell awards or have been repeat nominees for those acting awards. What a pleasure to see them in historic roles.
In fact, the entire ensemble deserves credit for making history come alive in 1776, as well as the technical staff --Set Designer Sean McCllelland, Costume Designer Ellis Tillman and others on the tech- team ( lighting designer Patrick Tennent and Alexander Herrin for sound)
1776 runs through November 2 - just in time for you to cast your vote two days later.
Call 305-444-9293 for tickets and email me – ron@flmedianews.com on my recommendations for President in 2008. (Just kidding! But be sure to vote, 1776 reminds you of its importance.)
“SOME MEN” AT RISING ACTION
COMES CLOSE TO ITS MISSION
By Ron Levitt - Florida Media News
OAKLAND PARK, FL -- Rising Action Theatre in this Fort Lauderdale neighboring town proudly displays on signs, programs and other material its mission to provide “diversity and tolerance for all people through theatre.” Its latest production –Some Men by Terrence McNally – comes close to its mission, despite the fact that this fabrication seems much too ambitious for the tiny venue.
At least a handful of the middle-aged audience (at intermission) said they partially could relate to the play’s history of gay life spanning eight decades. However – with limited scenery and some actors whose performances seem to come out of community theatre—this production seems unlikely (and unfortunately) to find a general audience. The message of tolerance and diversity certainly is there. In fact, some messages within the script stand out (when a man wonders aloud whether without discrimination, he could “have been all that I could have been.” But the lessons of the play appear to be aimed primarily at a gay or gay-friendly audience. It is not aimed --- as the mission implies – “for all people.”
That is not the fault of Director David Goldyn (assisted by Jerry Jensen). Goldyn and Jensen have done a valiant job of bringing to South Florida a play which ordinarily would have taken deep pockets to produce – a tough chore for a non-profit theatre on a tight budget.
The play itself is written to reach gay spectators. And, in that respect, it succeeds, McNally is one of the brightest writers around these days (Love Valor Compassion, Master Class). In “Some Men” he uses series of vignettes of gay life set from the 1920s to 2008 to explore relationships, acceptance and sexual freedom. There’s the obligatory full nude vignette as the most revealing of the 14 separate scenes – plus enough wry comments to provoke laughter and occasional tears.
Some Men is the story of eight individuals who meet at a wedding and relive their past histories and the evolution of gay life in New York. The time lapses are fortunately displayed on vaudeville-style placards, allowing the audience to follow the action.
The play – written in 2006 and produced off-Broadway --does have its special moments and showcases several actors who make the theatre experience worthwhile.. Larry Williams is a standout as the closeted married man who meets up with hunky hustler (Ricardo Rodriguez) and as a wealthy New Yorker with eyes on the family chauffeur. Williams has the makings of a good actor with the realism he projects and Rodriguez is ready for much more demanding roles (not just taking off his clothes).
David Leddick –as a foul-mouthed drag queen – provokes laughter and Joseph Long does his best work as a Harlem night club worker who claims that his secret lover is songwriter Lorenz Hart who wrote the song Ten Cents A Dance as s tribute to him. When Long sings that song calmly, it is an intense moment onstage.
The cast also includes Larry Brooks, Ted Dvoracek, Daniel Lugo, and John Hernandez, each tackling multiple parts, a task for anyone in theatre.
Some Men runs about three hours and will be around through November 2. Call 954 561-2225.
MOSAIC’S CAST DELIVERS BIG TIME
IN AUGUST WILSON’S FINAL PLAY
By Ron Levitt - Theatre Critic
Anyone who has followed the career of Pulitzer-prize winning playwright August Wilson will want to rush to the Mosaic Theatre in Plantation to see his final work of a 10-play collection on the lives and experiences of African-Americans -- Radio Golf, And, he or she won’t be disappointed!
Radio Golf--\New York Drama Critics Circle choice as 2007’s best American play -- is an extraordinary production – a feather in the cap for Director Richard Jay Simon. Simon continues to earn Mosaic’s right to be called Broward’s outstanding regional theatre. Just how Simon could beat out almost everyone in getting the rights to bring this hot play to South Florida has to be a story untoitself. The play only recently closed on Broadway.Radio Golf – like all Wilson plays -- focuses on the lives of black Americans and their continuous movement upwards economically. This one, written shortly before Wilson died, is the most contemporary and timely, set in the 1990s. and has a political theme. What could be better in this year when everyone is tuned in or turned off by politicians! However what makes Radio Golf so enthralling is its emphasis on ethics – and questioning just how far one would go to achieve success – whether it is a political victory, moving ahead in business and/or moving up the economic ladder.
But, Radio Golf has a special appeal, well beyond its political theme. It shows how much each individual is either part of the American dream or outside its ringand how the vision of reaching that goal can so easily be upset It is a fast-paced, dynamic and surprisingly funny story of a man who wants to become Pittsburgh’s first African-American mayor. But, secrets from his past come to haunt this successful entrepreneur’s high hopes. How he reacts to these secrets and how those closest to him -- his wife, his partner and neighbors -- feel about his judgment are the hub of this story.
Director Simon has put together a dynamo cast to tell Wilson’s tale. John Archie, W. Paul Bodie, Lela Elam, Summer Hill Seven, and Robert Strain compose an ensemble of which any director could be proud. One could single out any one of them with praise
and be right on the mark. Archie and Bodie rant and rage to a point that the audience cannot help feeling involved; Elam, as always, shows herself off as a talented actress; and Seven and Strain are truly brilliant as the entrepreneur and his upscale-teeing
partner. The second act interplay between these two is inspiring. Every college-age thespian should be required to see how well they play against one another in a war of
words! Scenic designer Sean McClelland and sound guru Matt Corey also deliver.Obviously, I liked this production. But, it is more than just being an August Wilson aficionada or Mosaic fan. It is truly theatre at its best!
The show runs through October 5. Call 954 577-8243.
SILLY AND POLITICALLY INCORRECT PLAY
GETS LAUGH A MINUTE AT CALDWELL
By Ron Levitt - Theatre Critic
Years ago, a University of Miami government professor told his class jokingly – and I was then his student – that he would recommend all those who plan careers in politics take an acting class. And, those who know the inside view of running for a governmental office understand only too well that there often is something akin between “theatre” and “politics.”
That all seems undeniably true, especially after seeing the two recent conventions in Denver and St.Paul -- and now -- Lying in State, a truly laugh-provoking play currently at the Caldwell Theatre in Boca Raton – a production which mixes fine acting with a silly look at the skullduggery of seeking a Senate seat.The timing for the late playwright David C. Hyer’s work couldn’t be better. The play is ten years old. But give credit to Director Michael Hall for not only
presenting this wacky two-acts at the height of Political Season 2008 but selecting seven of Florida’s well qualified actors to ham it up for laughs.It’s a silly play – and it doesn’t pretend to be reality (although some may disagree) – and that is what makes Lying in State so much fun.All seven actors are responsible for provoking the laughter – and, this play does rouse
amusement – notably Angie Radosh and John Felix whose characters alone completely flipped out the opening night audience. They get my vote (for something!!)
Lying in State is about Senator Ed who wound up dead while shooting at imaginary squirrels and the grievers who arrive at the funeral parlor. These include his ex-wife (played by the always reliable Laura Turnbull) and his scatterbrained fiance
Buttons (Kim Ostrenko), an exotic dancer/female companion. Both of them, along with Ed’s egocentric/drinking brother (John Felix), are being recruited or feel they should be designated, to run for the deceased politician’s seat. Meanwhile, political campaign chiefs Herb (a humorous Allan Baker) and the governor’s son Wally (perfectly cast John Bixler) can’t decide who to run for the Senate seat or should they actually put the dead politician on the ballot. (Not so strange, by the way; it actually happened in Missouri a decade or so ago and he won). The governor (Dennis Creaghan) also gets
into the action, adding another twist to this search for a winning candidate, as does pill-popping, secretive, widow Margo ( Angie Radosh) whose husband also has expired.
Yes, this play is madcap, an off-the-wall comedy but because there are so many possible realities of political life in the script, it all adds up to an evening well spent. The late playwright would have enjoyed knowing the audience had so much fun. He proved politics and theatre do have much in common.
Caldwell will have Lying in State around until Sept. 21. Call 561-241-7432 or 877-245-7432.
BETRAYED AT GABLESTAGE;
TIMELY SUBJECT, SUPERB ACTING
By Ron Levitt - Theatre Critic
Joseph Adler, GableStage’s producing artistic director, once again delivers a timely subject ---- the Iraq War -- and provides a showcase for some of the finest acting you will find in South Florida.
The play is Betrayed – a Southeastern premiere – an unusual look at the war from the perspective of several Iraqui interpreters who worked for the U.S. government while their country collapses around them and about the morality of how our government failed to take care of them while they risked everything.
The audience cannot help feeling for the main characters in this fresh-from-New York presentation.
The subject is current, but does not preach or even force you to go into a thinking mode. What it does show is the heart-wrenching plight of three human beings, who endured under Saddam Hussein and then hoped against odds that the Americans would protect them.
George Packer, a writer for The New Yorker, penned this play, based on interviews with Iraquis who worked for the Americans in Baghdad. It is 90-minutes long, but time will speed by as you identify with these individuals.
You will meet Adnan, a Sunni (John Manzelli) and his Shiite buddy Laith (Antonio Amadeo) whose friendship endures, despite what the headlines say about the hatred between these two religious groups. These two men – composites of Packer’s research – revere Western, particularly American, culture. So, does interpreter Intisar, (Ceci Fernandez) who dreams of living as a free woman and shuns traditional Muslim garb such as the hijab ( head covering), despite her neighbor’s insults..
The basis of the play is how these Iraquis are recruited by the U.S. and how their job with the Americans make them “traitors” in the eyes of some fanatic, disgruntled countrymen. Betrayed is current. It is well written, It is educational.
It is also a vehicle which showcases several fine actors. Manzelli and Amadeo – the guiding lights of Naked Stage at Barry University who often show up in an Adler-directed play at GableStage – were never better. They use their skills with accents, emotion and reality to create a bond with the audience, They are likable, disappointed, angry, understanding, humorous and kind -- almost mirror images of people we might consider as friends. Most of all, Manzelli and Amadeo, are totally believable. What more can you expect from two fine actors?
The remaining members of the cast are just as good, particularly those usually found in leading roles -- Todd Allen Durkin, doubling as the brutal and ignorant embassy security officer and as a U.S. soldier, and Ricky Waugh, as the one sympathetic foreign desk officer. Bill Schwartz and Scott Genn – in multiple roles – round out this admirable cast.
Betrayed runs through Sept. 14. Call 305 445-1119.
MOSAIC BRINGS ON LABUTE
WITH SHOCKING ENDING
by Ron Levitt= Florida Media News
The death of a loved one brings a host of mourners to the funeral home but the only one you will meet is Edward. That alone, would normally be a depressing subject. But, Edward (Gordon McConnell) takes the audience into his confidence by giving a vivid portrait of the woman he loved, discusses his sad childhood, describes in detail a horrific car accident, decries the loss of a special love from cancer, evokes just how difficult it is for a surviving husband, and eventually unveils a shocking secret – all in70 minutes, adding a few laughs along the way.
That’s a bird’s eye view of Wrecks, the sometimes wicked monologue currently playing at Broward’s leading professional regional theatre – Mosaic – in Plantation,.
Wrecks by Neil LaBute is riveting, thanks not only to the writing of LaBute – who loves to provide shocking endings -- but also by the outstanding performance of McConnell, the astute direction of Artistic Director Richard Jay Simon and the prize-worthy set by scenic guru Sean McClelland.Wrecks is not the best play written by LaBute seen locally in recent years. His play Fat Pig is certainly one to which more people can relate. But, LaBute has an uncanny ability to provide an unexpected twist – in this case, a shocking one which some people may find uncomfortable. Nonetheless, as his character Edward explains ”to be loved is never wrong…or to love a person…..” And, thus, the surprising bang of a finale!
I am one of those critics who refuse to give away a surprise ending. Just let it be known that this monologue will either get an exclamation of ‘wow” or some people will turn their thumbs down. That is expected when you see a play with a unique finale.
Carbonell winning actor McConnell has been doing work in the theatre for 30 years, and his ability to make you swallow every word is much in the limelight here. As the chain-smoking husband Edward, he allows you to get to know all about his feelings, even as from time to time you see other mourners in the background. Ed Harris played that role in the original version of Wrecks, but it is difficult to think of few actors who could do justice to this part. McConnell is an exception!
Wrecks will be at Mosaic through June 29. Call (954) 577-8243.
PLAYWRIGHT MCPHERSON, TOPNOTCH ACTING
GARNER SPOTLIGHT AT GABLESTAGE
By Ron Levitt - Florida Media News
Irish Playwright Conor McPherson has a new fan. Me. It isn’t often one finds a playwright so gifted in words that his rich storytelling lingers with wonders of symbolism, with a reflection on the art of communicating, and stirs an audience via a unique perspective on loneliness, love and faith. In Shining City, currently being handsomely acted under the direction of Joseph Adler at GableStage at the Biltmore. McPherson does it all. His realistic characters at times seem to be giving monologues to explain their actions. Yet, they are not seeking approval; only, understanding.
The plot seems so simple. The man on the couch (a brilliant Gregg Weiner) -- by being totally honest – forces the therapist (a dazzling Ricky Waugh) to confront his own problems. But, it is much more than that. It is an examination of the frustration and isolation an individual can feel, even when surrounded by others.
What is most astounding though is how McPherson uses words. One character (Weiner) says so much about life and our search for the Shining City (heaven) and, at the same time, another character (Waugh) can say so much with just a small movement, exposing the frailties of human beings.
Don’t be misled by the above. In addition to the script’s use of beautiful language, it does tell a good story.
Set in contemporary Ireland, it is the tale of two men, Ian (Waugh) and John (Weiner). Ian is a 30ish former priest-turned-therapist, who gets his first client, John, a middle aged businessman who has recently lost his wife in a tragic auto accident. He confides in the therapist that he has had an unfulfilling, childless marriage, has had a couple of equally unsatisfactory sexual encounters with a married women and at a brothel, and that he feels the blame for his wife’s demise. He tells the therapist that the supernatural ghost of his wife is haunting him.
Over a period of time, John’s heartbreaking background, affects the therapist, who has his own set of problems -- an estrangement with his girlfriend (Deborah L, Sherman) who has just had his baby, and his repressed homosexuality which comes to fruition when he encounters a needy young sex-for-sale hustler (John Bixler) whom he picks up in the park.
Eventually, everyone moves on with their lives -- but McPherson adds a spooky last minute twist, which underscores the demons which follow loneliness.
Lyle Baskin’s set perfects the dreariness of a third-story walk-up office/residence and Jeff Quinn’s lighting and Matt Corey’s sound evoke the passage of time and the music necessary to set the tone of this 75 minute, one-act play.
With such a truly engaging cast, artful direction and technical excellence, Shining City is just one more feather in the cap of Adler and GableStage, which have an uncanny ability to take the best of off-Broadway and bring it “first” to South Florida.
And in this case, it has the magic of McPherson’s words. The playwright publicly discussed his near-death from alcoholism when he wrote this play in 2006. Today, still a young 30-something, he is on the wagon, and continuing to turn out beautifully spoken dialogue. We should look forward to more McPherson works.
Shining City runs through July 20. Call 305-445-1119.
