ELIZABETH HUGHES SHINES

IN LTN'S RUTHLESS! THE MUSICAL

Theater Babe Says:  Go . . . and Enjoy a Budding Talent

The Little Theatre of Norfolk's production of Ruthless! The Musical may have some problems, but it also has talent – a whole lot of which is packed into ten year old Elizabeth Hughes who steals the show.

Ruthless! is a parody of a variety of movies, most obviously The Bad Seed; the plot of Ruthless! is largely a musicalized, comedic version of that camp classic.  With its additional multiple references to Gypsy, Mame, All About Eve and even Gone With the Wind, there's little originality in the plot.  The show begins in the home of Judy and Tina Denmark, where mousy housewife Judy laments that her sole identity is that of being "Tina's Mother." Tina is a talented eight year old who is adept at convincing the adults around her that she is so sweet that she couldn't possibly be ruthless – even after it is revealed that Tina knocked off her classmate so that she could be play the lead in their third grade musical, Pippi in Tahiti.  Sylvia St. Croix appears at the Denmarks' home uninvited and becomes Tina's manager, but manages Judy instead after Tina is sent to reform school for killing off the other child.  Judy transforms into a Tony-award winning diva, and hires a personal assistant, Eve, who like her namesake in the famous film, attempts to steal her mentor's success.  The plot devolves into utter ridiculousness that defies description.

It is extremely difficult to produce excellent parody and while it is a courageous attempt, this production is too self-conscious to be completely successful.  Rather than varying the performances with any degree of subtlety, director Jeremiah Albers permits all of the actors to "ham it up" at all times, with the result that the show repeatedly rings the same note.  The actors portray mere caricatures and because each milks every potentially humorous moment, the pace drags instead of being light, quick and witty in the style of the best parody. 

As Judy, Dorothy Hughes presents a pretty voice and the bond between she and her real-life daughter, Elizabeth, is palpably loving.  The role of Sylvia St. Croix is traditionally cast in drag, and here Matt Cole's performance is commendably consistent; he maintains the female persona throughout when a less talented actor might drift into more masculine mannerisms.  He struggles, however, with keeping his affected "female" voice on pitch when he sings and the result is often unpleasant; because there is no attempt to convince the audience that Sylvia is anything other than a man in drag, it might have been a better choice to permit Mr. Cole to sing in his own range.  Kat Fresh as Myrna Thorne and Jackie Brunberg as Lita Encore both give notable performances, particularly in their respective solos, "Teaching Third Grade," and "I Hate Musicals," where their excellent diction make the most of the amusing lyrics.

Their lyrics, like those in many of the musical numbers, are unfortunately often drowned out by the instrumental accompaniment.  Musical director Shelley Cady wisely chose dual keyboards; she and Jonathan McCormick give very fine performances that are simultaneously supportive of the vocalists and enjoyable in their own right.  The electric bass played by Ed Lawhorn, however, is out of balance and is far too loud; when the bass plays, we can hear little else.  In a show where much of the comedy lies in its lyrics, overpowering the vocals is a real problem.

The set, with its dual use as the Denmark home and Judy's penthouse apartment in New York is serviceable.  But because the orchestra sits upstage, on the same level as the actors, without so much as a scrim to shield them, they inevitably become part of the scene.  Only Ms. Cady appears to recognize this fact, and Mr. McCormick, Mr. Lawhorn and Mr. Fields (percussion) often seem to be extremely bored between songs.  Understandable, given that at this point in the run they've heard the dialogue innumerable times, but it is unquestionably distracting to the audience.

The standout performance in this production belongs to its youngest cast member, Elizabeth Hughes, and the best scenes are those in which she is the focus.  As Tina, Miss Hughes is charmingly bratty.  She is equally convincing as the cloying sycophant, the spoiled child and the sparkling show-off.  This young actor has a remarkable singing voice, reminiscent of Andrea McArdle's debut in Annie, that is shown to advantage in "Born To Entertain," and "To Play This Part," although her best moment may be during the Montage that opens the second act.  The Theater Babe looks forward to seeing Miss Hughes' talent continue to develop in future productions.

Bottom line?  Ruthless! The Musical is a show best enjoyed by those who are extremely familiar with a variety of old movies who can catch all of the many references dropped throughout the show.  LTN's production is not entirely successful, but Miss Hughes' performance alone is worth the price of a ticket.

Performances run thru September 30^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for students, seniors and military 

Plus an additional $2 fee per order

Reservations can be obtained by calling the box office at (757) 627-8551 or

ordering online at ltnonline.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

WILLIAMSBURG PLAYERS PRESENT UNFOCUSED

 JESUS CHRIST SUPERSTAR

Theater Babe Says:  Go . . . Because Theatre Should Explore New Approaches Now and Again

There's a lot going on in the Williamsburg Players' production of Jesus Christ Superstar.  In addition to the immense challenge of presenting the show itself – a rock opera that tells the story of the last days of Jesus Christ -- director Jeff Corriveau makes some unusual directorial choices including beginning the show with a pastoral scene in a present day park, utilizing a minimalistic set primarily composed of wheeled picnic tables, and suggesting that Judas Iscariot yearns for Mary Magdalene.  Those choices are creative, but too frequently detract from rather than enhance the essence of the powerful story, with the result that the production as a whole is not entirely successful.

Not unlike a traditional Passion play, the show begins shortly before Christ's triumphant entrance into Jerusalem.  His ministry is at its height, and he is viewed as a threat by the Jewish high priests who fear that his throng of followers will stage a rebellion, dislodging the high priests as the local authority -- and eliciting a crushing response from the Romans.  Superstar at its core presents a highly politicized view of the tale (not surprising, given that it premiered in 1973 as the U.S. began withdrawing troops from the inexpressibly unpopular Vietnam conflict).  Jesus is assailed on all sides – by the people, who demand his attention and healing ... by extremists, represented by Simon, who urge him to use his power over the crowd to overthrow the Roman occupation ... and by more moderate voices, represented by Judas, who fear both that the crowd will turn on Jesus when he fails to meet their ever-increasing expectations and that the Romans will destroy them if they "go too far."  Mary Magdalene, a former prostitute who has joined the ranks of Jesus' disciples, tries to soothe the beleaguered Jesus as she struggles to define her own feelings for him.  Judas betrays Jesus to the high priests, ostensibly because he believes Jesus can no longer control the crowds and fears Roman reprisals and, following a trial conducted by the Roman governor, Pontius Pilate, Jesus is beaten and crucified.

The heart of any opera, rock or otherwise, is the music.  In this production, however, it is not the focal point and the show as a whole suffers as a result.  Mr. Corriveau and the co-music directors, Betsy Forrest and Stephen Mason, perhaps understandably choose to utilize prerecorded instrumentals, but they lack the energy and urgency of a live performance.  The tempos of the music throughout are noticeably slower than one would expect from this score, and while that tempo may permit the actors to enunciate more clearly than would a faster pace, the almost uniform medium speed dilutes the passion that would otherwise be conveyed through the beat.  It also appears that the chorus may not hear the instrumentals well; throughout much of the performance, the ensemble has significant trouble finding and staying on pitch, and when they sing together, they generate an anemic sound rather than the strong, full vocals that would presumably be produced by a crowd so frenzied that individuals and governments alike fear their fervor. 

Part of the problem may be that because the ensemble seems to be in perpetual motion, the vocals become secondary.  Rarely does anyone in this production just stand and sing, letting the music, lyrics and the talent of the actors carry the moment.  For example, in "Hosanna," the crowd circles Jesus as he stands on one of the mobile picnic tables as it is pushed by ensemble members to represent his parade into Jerusalem.  Periodically, the individuals stop where they are to insert a brief dance combination, although the clear intent of choreographer, Dana Margulies Cauthen, is for the few repetitive dance steps to flow in and out of the ensemble's ordinary strides.  The transition, however, is not smooth.  Many of the actors visibly concentrate on the choreography, and their vocal strength and diction diminish each time they redirect their attention from their voices to their feet. 

In Superstar, the crowd is a collective, but integral, character in its own right:  hungry, unpredictable and potentially dangerous; Judas, the high priests, Pilate and even Jesus all react to it, albeit in different ways.  In this production, the ensemble never achieves that level of characterization, with the result that the pervasive fear of inciting a riot that underlies much of the drama lacks credibility, and the concerns vocalized by the main characters have no context.

Perhaps nowhere is this more striking than in the opening song.  During the overture, the cast takes the stage in an idyllic scene that could be in any present day city park.  Couples picnic, a jogger does laps, a maintenance worker collects litter, etc.  Judas, portrayed by PJ Freebourn, bursts into this serenity, voicing his concerns such as "You have set them all on fire! They think they've found the new Messiah. And they'll hurt you when they find they're wrong," and "I am frightened by the crowd, for we are getting much too loud. And they'll crush us if we go too far."  We hear his words, but they are undermined by what we see on the rest of the stage.  That disconnect reverberates throughout the production, causes confusion and prevents us from fully vesting in the characters or their concerns.

Mr. Freebourn's performance is strong and consistent with the director's vision of the role.  As Judas, he is both narrator and protagonist and Mr. Freebourn's diction throughout is clear and precise but is sometimes difficult to hear because of the faint volume; it may be that could be addressed by readjustment of the position of his microphone.  Mr. Freebourn's performance is noticeably more passionate than that of the other main characters and while it teeters slightly into overacting in "Judas' Death," in general if the other leads elevated their energy to the same level as Mr. Freebourn's, the production would be significantly improved. 

The interpretation of Judas in this production, however, is not as layered or interesting as it could be.  This production flirts with the idea that Judas is jealous of Jesus' relationship with Mary Magdalene.  It's an interesting idea perhaps, but one that is not really supported by the musical dialogue.  Most disappointingly, it relegates Judas' character to a small, mean-spirited, little man who betrays Christ only because Mary spurns his advances rather than taking advantage of this show's characterization of Judas readily available in the lyrics, particularly in "Heaven on Their Minds" ("Jesus, you've started to believe the things they say of you. You really do believe this talk of God is true! And all the good you've done will soon be swept away. You've begun to matter more than the things you say ... Listen, Jesus, to the warning I give. Please remember that I want us to live....").  The lyrics depict a man who was fully supportive of Christ's mission to help the poor and to preach forgiveness, but who believed Christ had wrongly bought into the celebrity cult he'd generated to the detriment of the mission -- despite the very real threat of annihilation that could result from continuing on that path.  Here, the love triangle generated by the staging overcomes the view inherent in the work that, despite the uncharitable treatment of Judas throughout history, he was actually a courageous naysayer who stood up to Jesus to raise valid concerns.  But while the Judas character presented here lacks the complexity that could have been exploited, Mr. Freebourn's performance fully embraces this interpretation and is well-portrayed.  Of the three main characters, Mr. Freebourn is the only one who, through the force of his charisma, consistently demands our attention and pushes through the almost constant distractions presented by the staging.  Mr. Freebourn's vocal range meets the considerable challenges of the role and he commendably performs the freestyle notes without screaming them as is sometimes portrayed in this role by a less accomplished singer.

Andrew Smith, who plays Jesus, possesses a beautiful baritone voice best displayed during the lyrical moments of "Gethsemane," but he is miscast.  He is too young to credibly portray the bone-weary Jesus and while his diction is laudably clear we never feel the fury behind the character's despair, we never believe he is overwhelmed by the constant demands placed upon him, we never sense the iron determination that causes him to doggedly pursue his destiny, and when he repeats that he has "tried for three years," we cannot help but think that Christ must have begun his ministry as a very young teen.  Mr. Smith's portrayal is enervated and detached from the events that swirl around him; what is perhaps intended to be a divine otherworldliness too often presents as a vacant, distant stare and we cannot comprehend how this passionless character could have sparked such violent controversy.  Vocally, Mr. Smith is very talented, but he has not yet attained the maturity required to master the extraordinary demands of this challenging role; notes in the center of his range are full and glorious, but the notes on the outskirts are weak, which add to the ineffectualness of this interpretation of Jesus.

As Mary Magdalene, Becky Krantz demonstrates a lovely, pure tone.  Unfortunately, we are cheated out of fully enjoying it during what may be the show's best known song, "I Don't Know How to Love Him," because of the way the number is staged.  At the beginning of her ballad, Jesus and Judas inexplicably enter into an argument complete with flailing arms and other vigorous gesticulation, thereby upstaging Mary and consigning her star moment to a background vocal.  We are distracted, and Ms. Krantz through no fault of her own loses her best chance to present the deeper dimensions of Mary's personality or to generate any real concern for her character.  Similarly, in "Strange Thing Mystifying," the staging implicitly simplifies what could be a more developed character.  By having Jesus sit between Mary's legs as she caresses his bare chest, Mary is depicted merely as Jesus' girlfriend, rather than as an individual who is inspired by Christ's message to step away from her sordid past and to seek something more.  The staging places a sexual connotation on Jesus' claim that "she's with me now," which is belied by the lyrics of Mary's "Everything's Alright" where she tries to soothe and distract Jesus from his many cares so he can simply rest ("Try not to get worried, try not to turn on to problems that upset you, oh don't you know? Everything's alright now everything's fine ... if we try, we'll get by so forget all about us tonight...").  "Could We Start Again, Please?," Ms. Krantz's duet with David Stallings (Peter), is exquisite.  Their voices blend in perfect harmony and it is one of the best moments of the show.

There are several notable portrayals by actors in supporting roles.  Peter Natale's depiction of the chief priest, Caiaphas, is stately and believable and his voice is well-suited to the character.  As King Herod, the regional ruler who is willing to pardon Jesus if only he will perform a little miracle for the court's entertainment, Adam Stillwell is energetic and his diction is admirable, though the decision to dress him in a laughable costume complete with what appear to be purple feathers detracts from his fine performance.  Mr. Corriveau made the uncommon decision to cast a female in the role of Simon, and that choice pays off handsomely in "Simon Zealotes."  Nerissa Thompson utilizes her rich, gospel-esque voice to full advantage and it is a memorable moment. 

As Pilate, Neil Hollands successfully presents what is perhaps the most layered character in this production.  During "Pilate's Dream," Mr. Hollands ruminates upon the strange vision that plagued him in the night, and we feel his perplexity and unease.  His warm tone gives Pilate a depth that could easily be overlooked and it causes us to understand Pilate's quandry better than almost any other character in this performance.  As with other scenes, however, the drama that should be inherent in the "Trial By Pilate" are negated by the chaos of the staging.  While Pilate causes Jesus to be flogged, the choreography focuses our attention on the ensemble and away from either the man ordering the whipping or the man being beaten – the characters who should be the focus of that scene. 

There is an all-too-brief moment depicting the crucifixion where Mr. Corriveau recreates the picture commemorated in millennia of Christian art with Christ on the cross, flanked on each side by the crosses of the two criminals with whom Jesus was killed.  It is powerful, but too brief to evoke from us the full impact of the emotional moment.  In an interesting interpretation, Christ remains on the cross as the rest of the cast reassembles into the pastoral scene in which they started, silently reminding us that the Passion play is as relevant now as it was when it occurred and that it underlies our every day actions. 

The set is clever, but restricting.  The picnic tables are wheeled around in different formations and open up to represent different rooms, but the actors spend a lot of time awkwardly climbing up and seating themselves within the confines of the tables and it again pulls us out of the emotion of the drama.  The costumes, by Lisa Yuhase, are predominantly present-day augmented by various pieces to suggest Christ's historical era.  The vibrantly colored stoles worn by the high priests are very effective.  The burlap thrown about the lepers are out of place in the modern setting and distracting, and the headpiece worn by Pilate is so outrageously large that it undercuts the stern, dominant presence of Mr. Holland's portrayal of the Roman authoritarian.  Constantly through the show there is a lot of movement, and the production would have been immeasurably improved by a stronger lighting design to help us focus on the key players and moments of the drama. 

Bottom line?  Williamsburg Players' production of Jesus Christ Superstar tries many new things, and that is commendable; it is of course much safer to stick to the expected.  While the production would benefit both from some judicious editing of the myriad creative ideas presented and the establishment of a stronger link between those ideas and the material itself, it is a attempt worth the time and the ticket price.

Performances run thru September 22^nd, Thursday – Saturday at 8 p.m. and Saturday at 2 p.m.

at the James-York Playhouse, 200 Hubbard Lane, Williamsburg, Virginia 23185.

Tickets are $18 for adults, $10 for students with id and can be obtained by

calling the box office at (757) 229-0431 or online at williamsburgplayers.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

ACTORS REPERTORY THEATER'S INAUGURAL PRODUCTION OF 'NIGHT, MOTHER IS PROFOUND AND POWERFUL

Theater Babe Says:  Don't Miss It!

Every now and then, a performance takes the audience on a captivating journey through a broad spectrum of human emotion and leaves us breathless.  A.R.T.'s production of the Pulitzer Prize-winning play, 'night, Mother, succeeds in doing  just that.

Written by Marsha Norman, 'night, Mother tells the harrowing story of a woman's decision to kill herself, and her mother's attempts to avert the tragedy.  In the process, the women uncover previously unexplored truths about each other and their relationships and come to understand each other better than ever before. 

In this production, director Philip Odango wisely selected two equally talented actors who match each other in depth and intensity.  As Jesse, the daughter who makes the fateful decision, Anna Sosa is exquisitely complicated and contradictory:  oddly detached, but fiercely determined ... selfish, but almost obsessively attentive to her mother's needs ... ruthlessly organized and capable, but so mired in self-doubt and despair that she is convinced of her own worthlessness.  The Theater Babe only wishes that Ms. Sosa would cheat her face ever-so-slightly more to the audience; she skillfully conveys much of Jesse's emotion through her eyes and we want to see it better than we can when she stands in complete profile.

Eileen P. Quintin likewise delivers a layered, thoughtful performance as Thelma, a simple, isolated country woman who habitually uses superficial chatter and other distractions to deflect any real intimacy, only to come face-to-face with the consequences of holding everyone at a distance.  She is perhaps younger and more agile than the script envisions, but those traits become negligible as we are drawn ever more fully into her extraordinary  performance.  Ms. Quintin's monologues, in which she takes full advantage of the unique husky timbre of her speaking voice, are astounding and we ache for Thelma even as we recognize the role she played in creating the crisis. 

The play begins with simple dialogue.  The tone is purposefully flat and ordinary.  Even after Jesse announces that she intends to commit suicide that very night, we, like Thelma, don't take the threat seriously.  Ms. Quintin's Thelma is brusque, impatient with what she views as Jesse's nonsense and her attitude is so compelling and pervasive – and Jesse's proclamation is so dispassionate – that we agree with Thelma, and completely miss the steely determination that is the core of Ms. Sosa's depiction of Jesse.

The tone becomes diametrically dark in a single instant.  After Jesse informs Thelma of her fatal intention, Thelma trivializes the remark, and tells Jesse that she's obviously not going to kill herself right before her birthday because then she won't know what gifts everyone got her.  Ms. Sosa's delivery of Jesse's response is spot on and devastating but, even more, Ms. Quintin's wordless reaction is mesmerizing.  From that moment, everything changes.  The tension escalates, there is an urgency that was purposefully lacking during the initial scene, and the stunning performances of Ms. Sosa and Ms. Quintin grip us by the throat and drag us into their frustratingly dysfunctional but not entirely unfamiliar world of missed opportunities and thwarted hopes.  Because while few of us have been driven to the depths so poignantly dramatized here, common themes intertwined throughout the production make us uncomfortably aware that we too can be guilty of demonstrating the unintentional thoughtlessness toward others that is the foundation of their story.

The collaboration between the actors and Mr. Odango is seamless.  Mr. Odango's direction makes effective use of the unconventional set and his instruction coupled with the actors' own instincts shrewdly permit the drama to repeatedly crest and fall – a smart choice, since the difficult subject matter and the intensity with which it is presented would cause the audience to tune out if it were not periodically alleviated by moderation and humor.  Incongruous as it seems, there are some truly funny lines scattered through the play that are well-delivered here by each actor.  The audience's reaction is muted, however, and the Theater Babe suspects that the actors will seldom receive anything more blatant because they so successfully envelop us in their acute crisis that it takes a moment for the quip to register.  We care about the characters crafted by Ms. Quintin and Ms. Sosa – and they so adroitly maintain the tension that we never forget the serious question at the heart of the drama – so it seems almost disrespectful to laugh. 

'night, Mother was first performed professionally in 1983, but it was written two years earlier.  Mr. Odango chooses to set this production in the present day, which occasionally causes a mild disconnect.  There are a few dated references in the script itself, but moreover the credibility of Jesse's plight is compromised somewhat by the technological advances that have occurred in the intervening thirty years.  Today, the advent of the internet, online courses and teleworking give someone in Jesse's position varied opportunities to lead a productive, meaningful life despite the restrictions imposed by her condition.  Setting this play in the twenty-first century lends a dimension of self-pity to Jesse that is perhaps unintended by the playwright; in 2012, Jesse chooses to eschew those opportunities, whereas in 1983 those opportunities simply did not exist.  The disconnect is only marginally distracting, however, and does not diminish the power of the overall performance.  This show is apparently the first production ever presented by the Actors Repertory Theater, and the Theater Babe can only hope it is representative of the quality of work the company intends to produce in the future.

Bottom line?  'night, Mother is a heavy drama and this production does not shy away from its portent.  It is not a fun evening of theatre, but it is magical.  Make the time and buy a ticket for this remarkable production.

Performances run thru September 23^rd

Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at The Venue on 35th

631 35^th Street, Norfolk, Virginia 23508.

Tickets are $15. Reservations can be obtained

by calling The Venue at (757) 469-0337.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

PACING PROBLEMATIC IN LTVB'S

I HATE HAMLET

Theater Babe Says:  Go . . . Because How Often Can You See a "Real" Duel??

There are some notable moments in the Little Theatre of Virginia Beach's production of I Hate Hamlet – and the duel is BIG fun.  In general, however, the show suffers from its ponderous pace and desultory direction and never quite lives up to its considerable potential.

I Hate Hamlet begins with the relocation of television star Andrew Rally from Los Angeles to New York City after his series was canceled.  At the urging of his realtor, Felicia Dantine, he moves into the apartment of the late, great Shakespearean actor, John Barrymore.  Despite his personal misgivings, Andrew accepts the title role in Shakespeare in the Park's production of Hamlet, to the delight of his girlfriend, Deirdre, and his agent, Lillian – and the utter mystification of his friend, Gary, who periodically flies in from L.A. in an attempt to convince Andrew to return and sign on to Gary's lucrative but tasteless new television series.  Andrew is conflicted and uncertain he is capable of carrying the monumental role of Hamlet, and is on the brink of calling it off when the ghost of John Barrymore appears, explaining that he is there to mentor Andrew and that he cannot return to the other side until Andrew has performed the part.

The set, designed by Jason Martens, is beautiful and gives the director ample room for creative blocking with its twin staircases that each possess a mid-level landing, and a second floor that runs the length of the stage (although it is peculiar that -- based on the dialogue -- the only door on the top level appears to lead both to the bedroom and directly to the roof).  In the first act, most of the furniture is shrouded in dust covers, but when they are removed to reveal the underlying antiques, the effect is an elegant room worthy of inclusion in the Biltmore Estate.

Director Joan Patterson chooses not to take advantage of the opportunities presented by the set, and the vast majority of the show is played on the mainstage.  Occasionally, an actor wanders up one staircase, across the second level and down the other but the movement is aimless and appears to be motivated by nothing other than some vague recognition that the two-level set should be utilized.  Because the blocking does not put the substantial set to better use, the actors are frequently stranded downstage center in a limited amount of space, which often makes their collective performance seem stilted. 

As Andrew, Greg Dragas does a good job of conveying the angst that the character feels in assuming the daunting task of playing Hamlet.  His diction is laudably clear, and he is handsome and appealing so we believe his Andrew could have been a successful television actor reminiscent of George Clooney in the early days of E.R.  There is, however, a sameness about his performance, both in the measured delivery of his lines and the emotions he evinces – there is no discernable distinction, for example, between Andrew's trepidation about playing Hamlet and his dismay that his girlfriend remains perennially chaste – that is insufficient to drive the story forward.  Because Andrew's dialogue is the pivot around which the plot turns, the pace drags.

Brian Cebrian presents a poised performance as John Barrymore; it takes a supremely confident man to spend two hours dressed in little more than black tights and the Theater Babe applauds his self-assured approach in which he wears his unusual garb as naturally as Fred Astaire wore his tux.  Mr. Cebrian's Barrymore is smooth and sensual, but overall lacks the energy and the mercurialness for which the historical figure was renowned.  There is an all-too-brief moment in the second act when Mr. Cebrian electrifies us with a forceful and magnetic soliloquy, but all-too-soon that power subsides into the mild wit that characterizes the rest of his performance.  Because in this production Barrymore is relaxed and almost laconic, Andrew has no flamboyant foil against which he can banter.  The result is a central storyline that lacks any real tension, and the pace reflects that deficiency.  Different direction of these actors would arguably have created a more interesting result.

The absolute best scene in the show is when Barrymore engages Andrew in a duel.  Mr. Cebrian and Mr. Dragas make the most of the lively choreography by Chris Bernhardt, and for a shining moment their verbal repartee is as animated and dynamic as their swordplay.

Jeremiah Joyce gives a noteworthy performance as Gary, the director who tries to lure Andrew back to L.A.  His patter is quick and persuasive, and there is an appreciable spike in energy whenever he steps onstage.  As Andrew's girlfriend, Deirdre, Abbey Ortiz is almost desperately perky in the opening scene, perhaps in an attempt to combat the lackluster performances of the other supporting actors onstage at that time; Ms. Ortiz's performance improves as the show progresses.  As the realtor, Felicia, Mary Lou Mahlman is miscast.  Even in this age of Cougartown, the disparity between her age and that of Mr. Joyce strains credulity that the characters they play would engage in an impetuous, steamy fling, and her conduction of the séance is too measured to capitalize on the comedy of the moment.  Gillian Spencer's portrayal of Andrew's agent, Lillian, is adequate but her accent is noticeably inconsistent; she becomes distinctly less German as the show drags on.

Light designer Jeff Brangan engineers some entertaining special effects, and his lighting of the "regular" parts of the show is subtle and effective.  The costumes, by Joyce Gaus, Betty Jean Walker and Bob Weaver, are not equally successful.  The Shakespearean tunics – which should run about mid-thigh – are appallingly short.  It appears that the costumers and director watched dress rehearsal from the elevated back row of the theater, and are unaware of the combined effect a short hemline and a raised stage has on patrons seated in other rows.  When Andrew's supporters prepare to watch his debut, they are inexplicably dressed in formal evening wear, although Shakespeare in the Park takes place outdoors on the lawn of Central Park and it is unlikely that either an experienced agent or a native New Yorker would so misjudge appropriate attire for the event.  Felicia is saddled with a floral headpiece that completely covers one side of her head, and because she chooses to spend much of the scene with her face turned away from the audience, all we can see are the blossoms bobbing up and down.  Such easily remedied issues only serve to distract us from the credibility of the performance.

Bottom line?  The set is wonderful, well-lit and worth seeing.  There are some thoroughly entertaining moments in I Hate Hamlet, and if as a whole it never quite attains its considerable potential, it is always worthwhile to support local theatre.

Performances run thru September 30^th, Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at the Little Theatre of Virginia Beach,

550 Barberton Drive, Virginia Beach, Virginia 23451.

Tickets are $17 ($14 for matinees) with discounts for seniors, students and active military. 

Reservations can be obtained by calling the box office at (757) 428-9233

or online at ltvb.com.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

GENERIC THEATER PRESENTS

PROVOCATIVE -- AND HILARIOUS -- URINETOWN

Theater Babe Says:  Overlook the Off-Putting Title and Go . . . If You're Prepared for a Non-Traditional Musical

Maybe you're dubious about spending your hard-earned cash and even more valuable time watching a show in which the plot turns upon humanity's universal need to empty its bladder.  Understandable, but to relegate Urinetown, the Musical to its most superficial level and dismiss it due to its lamentable title ignores the show's satiric intent – and, in case of the Generic Theater's current production, would cause you to miss some excellent performances by some very fine actors.

Set in "a Gotham-like City" during a period not unlike the present day that follows a 20-year drought, Urinetown tells the story of a community in which the water shortage has become so severe that all private bathrooms have been eliminated.  All amenities are owned by a mega-corporation, UrineGoodCompany (a/k/a the "UGC"), which charges everyone a not-insubstantial fee to utilize their facilities.  Ostensibly to preserve the minimal water supply and allegedly in the interests of public health, it is illegal to relieve oneself anywhere except at the UGC amenities.  The corrupt legislature, unseen but for the role of Senator Fipp who symbolizes all that can possibly be wrong with representative government, sanctions UGC's practices – dictated by the UGC's CEO, Caldwell B. Cladwell.  "Urinetown" is not the "Gotham-like City" in which the story takes place, but is rather the mysterious destination to which those who refuse to abide by the stringent restrictions upon fundamental bodily functions are exiled.  Havoc erupts when Bobby Strong, the assistant manager at Amenity #9, permits everyone to utilize the facility for free and instigates a proletarian revolt that ignores the inevitable consequences of failing to preserve finite resources.  Further complications arise from the Romeo-and-Juliet-esque romance between Bobby and Hope Cladwell, the daughter of UGC's CEO and a recent graduate of The Most Expensive University whose education only enables her to land a job as the fax/copy girl at her father's company.

In addition to satirizing (among other things) corporate greed, legislative lethargy and overpriced educations that produce inept graduates, Urinetown parodies not just the musical genre in general, but many classic musical moments, from Busby Berkeley's lavish production numbers to "Cool" from West Side Story.  Here, director Brendon Hoyle does a good job of assembling a cast and production team that capitalizes on the show's complexities.  And if this show entertains without really engaging the audience – we are amused and interested in its inherent cleverness, but never really care about the characters – that is perhaps more the result the material itself than anything attributable solely to this production; the work uses flat, stock characters to cynically expose the flaws of each side of the philosophical debate underlying the crisis without suggesting a solution and mimics/mocks well-known musical numbers and styles without creating anything truly new. 

As Bobby Strong, Matt Polson displays a strong voice well-suited to the considerable demands of the role and we see his internal struggle and ultimate decision to rebel.  Camille Robinson has a gorgeous upper register and a satisfying belt displayed to advantage particularly during the first part of "I See a River."  Her portrayal of Hope Cladwell is one-dimensional, however, and although Mr. Polson skillfully attempts to generate tenderness during their romantic encounter, Ms. Robinson's response is unconvincing and squanders the opportunity to invest the material with any real emotion. 

Christopher Kypros as the evil CEO Caldwell B. Cladwell is creditably shrewd and calculating.  His diction when he sings is not always as clear as one might wish, but his rendition of "Don't Be the Bunny" – brought to life by the ensemble's energetic execution of the amusing and appropriate choreography by Cami Walton – is one of the show's highlights. 

As Little Sally, Rachel Sullivan is consistent and convincingly young.  AJ Friday's depiction of Officer Barrel is maybe too broad to perfectly mesh with the more restrained but no less comedic performances of his fellow actors, but it undeniably elicits several belly laughs.  Caitlin Voigt gives a riveting performance as Little Becky Two Shoes, and infuses the relatively minor role with a compelling strangeness that commands attention without overshadowing the other actors.  "Snuff That Girl," Ms. Voigt's duet with Garney Johnson (Hot Blades Harry), is outstanding. 

The Theater Babe only regrets that the number was diminished by what hopefully was a momentary lapse in judgment by one of the crew.  At the beginning of the dance break, one member of ensemble accidentally kicked off a shoe, and it sailed into the audience, caught by a surprised but unharmed gentleman in the third row.  Rather than waiting until the end of the song, a well-intentioned crew member clambered down the aisle, then crouched, rooting around under the seats looking for the shoe until someone pointed out that the gentleman had it.  The crew member then whispered to the gentleman, who handed it to her, but not before she created unnecessary commotion and inadvertently diverted the attention of more than half the audience to herself -- and away from the hard-working performers on stage.

The standout performance of the evening is unquestionably John Mark Bowman's portrayal of Officer Lockstock.  Displaying impeccable timing, a consistent ironic but not displeasing speech pattern and a remarkably rich singing voice, Mr. Bowman's memorable performance alternately pushes the plot forward and conveys the exposition necessary for us to comprehend the show's context.  Throughout the show, he successfully breaks the fourth wall without breaking character, inviting us to share in the fun.

As a whole, the ensemble (often comprised both of principals in different costumes and chorus members) have a fantastic collective sound.  Music Director Cathy Francis achieves an excellent blend of strong voices in which the harmonies are uniformly well-balanced, and while the cast's diction is often muddy during the polyphony, it is simply a pleasure to hear them sing.

The set, designed by Shane K. Stelly, is beautifully ugly.  (It is, after all, the outside of a public restroom in the poorest end of town.)  Its multiple levels are effective, well-utilized by Mr. Hoyle's blocking, and strikingly lit by B Butterbaugh.  Costume Designer Ryan Ward successfully depicts the ongoing class warfare through his choices of fabric and colors.  The overall look of the production is impressive and silently reinforces the tone of piece.

Bottom line?  Urinetown is different and thought-provoking, but it's not for everyone.  For example, if you can't get past the distasteful title or lyrics like "It's a Privilege to Pee," this probably is not the show for you.  But for those who are willing to set the superficial foulness aside and focus on the satire and the splendid performances that these talented actors deliver, it is indeed worth the time and ticket price.

Performances run thru September 23^rd

Thursday – Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Generic Theater

215 St. Paul's Boulevard, Norfolk, Virginia

(under Chrysler Hall – access through lower level of parking lot)

Tickets are $18 with discounts for students, seniors and military. 

Reservations can be obtained by calling the box office at (757) 441-2160

or online at http://www.generictheater.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.

Theatre Etiquette 101

The new season is upon us, and it seems the perfect time to muse upon the very essence of theatre.  Unlike movies or television, it is an interactive experience.  No matter how phenomenal a movie or tv show, it lacks the energy and the passion of live theatre – because a camera doesn't respond the way a good live audience does . . . or should.

Which caused the Theater Babe to wonder:  what makes a good audience?  And, pondering, the Babe decided that while characteristics of a good audience are many and varied, perhaps it would be more useful in this particular forum to identify the characteristics of a bad audience member.  Because nothing can ruin an otherwise delightful theatre experience more quickly than that rude idiot sitting next to, in front of or across from you.

So the Theater Babe respectfully submits the Six Commandments for Audience Etiquette.  Of course, if you're reading this blog, certainly you know them . . . but perhaps they're worth reviewing so you can share them with your less cultured family, friends or coworkers who accompany you to the next performance.

1.         Thou Shalt Arrive On Time.

Little is as disruptive as the Idiotic Audience Member who arrives late and insists on taking her seat during the middle of a scene, blithely ignoring the fact that she's climbing over the knees of other patrons, blocking the view of dozens of people who had the courtesy to arrive on time and completely intruding upon the magical world the performers and production team have labored to create.

Now, things happen.  The babysitter runs late.  The waiter at your pre-theatre nosh forgets to return your credit card before he goes on break.  Things happen.  But if you do arrive late, pay the penalty for your untimely arrival – even if it wasn't your fault.  Stand in the back or in the lobby until a scene change and then, quietly and as unobtrusively as possible, slink into your seat.

2.         Thou Shalt Not Crinkle a Candy Wrapper.

To Idiotic Audience Member, it is a small, innocent, refreshing peppermint wrapped in clear plastic.  To the poor souls who have the misfortune of sitting near IAM, however, it is an instrument of torture no less horrifying than those employed during the Spanish Inquisition.

That seemingly tiny, insignificant sound is amplified exponentially in a quiet theatre, and it distracts from the action and dialogue onstage.  Don't be rude.  Enjoy your treat after the performance. 

3.         Thou Shalt Practice Good Personal Hygiene.

In most cases, even Idiotic Audience Member knows not to head to the theatre directly after mowing the lawn or running a marathon.  But there are other, perhaps more subtle, means of malodorousness that are just as distracting to fellow patrons of the dramatic arts.  Don't gobble down your Garlic and Bean Burrito before the show.  And do remember that scent of any kind – perfume, aftershave, cologne, whatever – is meant to be discovered, not displayed.

4.         Thou Shalt Reward the Effort, If Not the Quality, of the Performance.

This may be the most controversial Commandment – there is, after all, a school of thought that says a performer must earn applause, and a lack of audience response simply denotes an unworthy performance.

In the Theater Babe's humble but perfectly correct opinion, that may be true if you've plunked down $100 to watch a professional ensemble.  But this blog is dedicated to community theatre, and every single person on stage is a volunteer who has spent countless hours learning his role and performing it to the best of his ability.  Not to mention that the applause also rewards the production team and crew who, sight unseen, work to entertain you.

So reward the effort, regardless of the caliber of the performance.  Distinguish a truly exceptional performance by applauding more enthusiastically, bringing flowers or posting a kind comment on their Facebook page.  Don't sit on your hands in silent protest of one that you believe to be sub-par.  

5.         Thou Shalt Keep Thy Trap Shut.

Idiotic Audience Member seems to forget where she is, and during a performance chitchats with her friends as if they were sitting on a sofa in her living room, watching tv.  But at the theatre, IAM is surrounded by the rest of us who don't care what she has to say – no matter how witty or erudite.

Similarly, the Theater Babe is certain IAM was spectacular when she played the role in high school and that she can still quote every line. And the Babe does not for an instant doubt that Other Idiotic Audience Member sounds much better belting that song in the shower than does the actor currently rendering it onstage, which is why he insists on singing along.  Nonetheless, we came to see the actors and, except where specifically invited, there's no such thing as Audience Participation Night.  Keep thy trap shut.

and, last but certainly not least . . .

6.         Thou Shalt Ignore Thy Cell Phone.

Silent mode does not make the cell phone invisible.

The lit screen of a cell phone is an unwelcome beacon in a darkened theatre and utterly destroys the mood of the moment.  If there's some legitimate need for someone to reach you during the show, sit in the back row and step into the lobby before you read – much less respond! – to the message.

It's not rocket science – it's all too un-common courtesy.  So encourage your companions to follow these Commandments, and we'll all be better off as we enjoy the fabulous offerings that this new season brings!

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.