GENERIC'S VENUS IN FUR MERITS LARGER AUDIENCE 

Theater Babe Says:  Go . . .  and Submit to a New Twist in an Old Battle 

At its core, David Ives’ play, Venus in Fur, is a depiction of the age-old battle of the sexes.  But in addition to exploring gender relations, this clever work also examines power in a variety of forms – between strangers, between lovers and between directors and actors, particularly after an actor transforms into a muse.  Although the play itself has some intrinsic problems -- the script's resolute focus on conceptual themes results in some basic holes in the plot -- the Generic Theater’s production is riveting and the commanding performances by its two-person cast deserve to be seen by more than the handful who accompanied the Theater Babe in the audience.

The play begins with a director, Thomas, sitting in a grubby studio, griping on the phone to his fiancée about the talentless actresses he spent the day auditioning.  Suddenly Vanda bursts into the scene, flinging epithets and her umbrella as she demands to read for the role although she is hours late for her scheduled appointment.  The remainder of the tale is told through alternating use of dialogue exchanged between Thomas and Vanda and their readings from the script for which Vanda is auditioning:  an adaptation of the 19^th century novel Venus in Furs which is credited with inspiring the term “masochism.”  That wordplay explores gender roles, attraction, dominance – sexual and otherwise – and toys with the idea that deliberate submission is in itself a powerful act.

Vanda is the star role in this show (indeed, role originator Nina Arianda won the Tony for Best Actress in a Play when it made its Broadway debut in 2012) and Tashana Latrice’s performance is worthy of the challenge it presents.  From the moment Ms. Latrice stalks onstage, she commands our attention and her seamless repeated transitions from obnoxious New Yorker to 19^th century aristocrat are fascinating.  Frequently dressed in no more than lingerie, Ms. Latrice confidently struts about the stage, at times seemingly ignoring her unconventional costume before she suddenly turns the full force of her sensuality on Thomas – and us -- which only adds to her mystique and allure.  Only minor missteps mar an otherwise excellent performance.  Early in the show, Vanda has a few lines that are distinctly different from the rest of her dialogue and Ms. Latrice utilizes a Western twang to deliver them.  The choice makes sense in context, but it doesn’t quite work; the delivery is neither natural enough to be teasing and flirty, nor is it over-the-top enough to be broad comedy.  It is a jarring note that distracts us from the relentlessly powerful character she creates.  Ms. Latrice also needs to be more conscious of the unusual configuration of the audience.  Particularly when she is downstage right, she has a tendency to square off against Thomas with the result that a third of the seats can see her only from behind or in profile; her performance would be enhanced by her slightly cheating forward so that we can appreciate the facial expressions that accompany her body language.  But these are minor points, raised only because they unnecessarily detract from Ms. Latrice’s compelling, captivating performance.

The role of Thomas is less obviously interesting.  The character is little more than a foil to contrast with Vanda and Thomas is saddled with some speeches that can be best described as self-indulgent pontifications by the playwright.  But Garney Johnson takes what could be a flat, dull character and layers it with complexity so that we are drawn in to the director’s adversarial relationship with the actress – and that choice creates the space necessary for the Vanda character to flourish.  If Mr. Johnson’s performance were less persuasive, the play as a whole could quickly devolve into tediousness; it is easy to see how in the hands of a less skilled actor, Thomas could be a whiny bore.  In this production, however, Mr. Johnson’s subtle performance conveys a tension within Thomas himself which adds to the external conflict.  In Mr. Johnson’s finely nuanced interpretation, we see Thomas’ exasperation with the long day of fruitless auditions … his insecurity that he is directing a show although he himself is not a talented actor … his fear and perhaps shame that his fiancée is more successful … his appreciation of his relationship with his fiancée combined with his reluctant acknowledgment of his dissatisfaction with it … his arrogant sense of entitlement as a director … his need to assert masculine authority ... and his underlying curiosity and desire to be overwhelmed and, yes, dominated by the force of nature that is Vanda.  Throughout the show, Mr. Johnson uses his mellifluous voice to excellent effect so we are induced to listen even when the script drags.  The Theater Babe only wishes that there was double-sided tape affixed to the inside of Vanda’s boots to hold them in place while Thomas slides up the zipper so that the tension we feel emanating from him is purely sexual and not tinged with the anxiety that he will be unable to get them closed.  But that is a minor criticism of what is overall an exceptional performance.

From the outset, directors Jeannette Rainey and Keith Flippen make some choices that lure the audience into sharing the intimacy of the moment.  They wisely omit the announcements that are typically made at the beginning of local community productions and that, combined with the thunderstorm we hear through the speakers inside the theater, permits us to be immediately immersed in the moment.  Sound director, Charles Owrey, and Lighting Designer, Ellen Moore, effectively collaborate to enhance the sense of isolation generated by the performers.  The distinction between the real-time dialogue and the lines from the play-within-the-play are depicted primarily through differentiations in the actors’ speech, and accent coach Garry Manasco has helped these talented actors to ensure that those distinctions are both clear and credible.

Bottom line?  Due to its subject matter, Venus in Fur is not for everyone; while the sadomasochism in this production is not horrifyingly graphic, it is an integral part of the plot.  But the strong performances of Ms. Latrice and Mr. Johnson reinforce that there is more to the material than the merely salacious and their fascinating portrayals of these unconventional, dysfunctional characters are well worth the time and ticket price.

Performances run thru October 19^th

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 $15 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.

© 2014 Hampton Roads Theater Babe. All Rights Reserved.

AUDIO PROBLEMS PLAGUE OTHERWISE ENJOYABLE COMPANY AT LTN 

Theater Babe Says:  Go . . . and Enjoy the Many Facets of Being Alive 

Describing the show in his book Finishing the Hat, composer/lyricist Stephen Sondheim says Company is about “a man with no emotional commitments [who] reassesses his life on his thirty-fifth birthday by reviewing his relationships with his married acquaintances and his girlfriends.  That is the entire plot.”  The Little Theatre of Norfolk’s production, directed by James Bryan, is entertaining and we enjoy watching the main character, Bobby, reevaluate marriage in general and his own life’s journey in particular, but ever-present amplification problems impair some of the dialogue and prevent us from appreciating the totality of Sondheim’s multi-layered music.

Tony Brach delivers a strong performance as Bobby.  Not for a second do we doubt that he is a charming, if superficial, man who embraces the hedonism of the 1970s while wondering if perhaps he is missing something.  It is a challenging role; because the story is told by Bobby spending time with his various friends, he is seldom offstage.  Mr. Brach credibly remains in the moment throughout and watching his reactions to the couples’ interchanges with each other is as worth watching as the main action itself.  Mr. Brach has a pleasing singing voice, and his “Being Alive” – the climactic moment of Bobby’s character arc – is splendid.  The Theater Babe only wishes that the orchestra had not drowned out Mr. Brach’s rendition of the gentler, “Marry Me a Little,” which closes the first act; we could barely make out his pleasant tone and certainly could not understand the lyrics.

The orchestra, under the direction of Shelley Cady, periodically overwhelms the onstage performers but the primary auditory problem in this production is the inconsistent amplification.  Some of the actors wear body mikes, while it appears that others do not.  Perhaps because of that imbalance, when the cast sings as a whole, certain of the vocal parts are heard while others are lost – a real shame, because we are unable to hear the compound, interlocking harmonies that are integral to Sondheim’s score.

The audio problems are exacerbated by the set, the design of which is not credited in the program.  It consists primarily of large, separate pieces jutting out from the wings to depict a city skyline, and to the eyes of the audience creates an inverted “V”.  The scenes are played in the center, utilizing sparse furnishings to indicate the different locations.  The set is attractive, but overly large for the small stage.  Because they have limited space in which to maneuver, the actors frequently upstage each other and when they speak toward the back of the stage, we have difficulty understanding even the actors who are miked.  For example, in act two, we lose a lot of Joanne’s dialogue that surrounds her “The Ladies Who Lunch,” and we therefore miss the opportunity to fully capture the complexity of Joanne’s character.

Suzanne Genz is convincing as the cynical Joanne, and her “The Little Things You Do Together” is one of the show’s high points.  Angelica Yankauskas (Marta) delivers an impressive “Another Hundred People,” although she needs to ensure that she properly supports the higher and extended notes in that difficult piece to ensure that the sound does not become nasal; with the proper breath support, her tone is beautifully round.  As Paul, Gregory Dragas is believably sweet and provides a good foil for the jaded Bobby.  Philip Odango’s Peter is most credible in the second act during the character’s attempt to test the waters of a potential relationship and the harmonies of Adam Ivey (Larry), Joel McDonald (Harry) and Rico Robinson (David) in the melodic, “Sorry-Grateful” are just lovely. 

The choreography by Cami Walton is interesting, but not necessarily commensurate with the abilities of this strong vocal cast.  The lengthy production number, “Side by Side” is overwrought and detracts from the otherwise sophisticated tenor of the show itself while its execution is chaotic and unsuited to the precise demands of the routine.  

The standout performance by a supporting actor is Michelle Jenkins’ depiction of Amy, the neurotic but not unkind spaz who freaks out on the morning of her wedding to Paul.  Ms. Jenkins’ rendition of the quintessential patter song, “Getting Married Today,” is exceptional and even when she had a momentary memory lapse prior to one of the verses, Ms. Jenkins remained in character so it did not detract from our enjoyment of her performance.  The number would be improved only if Shawna Lawhorn (Susan) would enhance her diction so that the amusing contrast between the women’s lyrics could be more clearly understood.

The costumes by Meg Murray are excellent.  It is easy for a costumer to succumb to the excesses of the 60s/70s era but instead, Ms. Murray dresses each actor in character-specific clothing that is in keeping with the time period without being a caricature of it.

Bottom line?  LTN’s production of Company is hampered by technical difficulties in the sound and set design, but is nevertheless worth the time and the ticket price. 

Performances run thru September 28^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 $18 with discounts for students, seniors and military.

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

ordering online at ltnonline.org.

 © 2014 Hampton Roads Theater Babe. All Rights Reserved.

LTVB'S THE DIXIE SWIM CLUB 

IS FUNNY, BUT FLAWED

Theater Babe Says:  Go . . . and Enjoy a Script that Celebrates Southern-Fried Friendship 

The Dixie Swim Club is a hilarious play by the comedic team of Jones Hope Wooten, the popular and prolific writers who specialize in telling quirky tales of Southern families and friendships through use of simple sets and ensemble casts. The script teems with amusing situations and laugh-out-loud punch lines interspersed with poignant, sentimental moments.  Under the direction of Kathy Hinson, the Little Theatre of Virginia Beach’s production adequately presents the comedy, but misses the opportunity to make us really care about or to flush out the nuances of what could be more than stereotypical characters.

The plot focuses on five women who originally met when they were members of their college swim team and kept in touch over the years in part through their annual weekend getaway in North Carolina’s Outer Banks.  The play begins in 1981, twenty-two years after their graduation, and each of the other three scenes depicts a subsequent reunion over the course of thirty-three years.  The playwrights populated the cast with archetypes: the organized micromanager (Sheree), the fading but still man-eating Southern belle (Lexie), the cynical, sharp-tongued lawyer (Dinah), the accident-prone, misbegotten mother of two criminals (Vernadette) and the sweet caregiver (Jeri Neal).  Together, they laugh, squabble, reminisce and support each other through divorces, fiscal worries, childbirth and life’s other trials.

It is a challenge to cast characters that age so significantly; we meet them when they are 44 and they are 77 in the final scene.  With one major exception, Ms. Hinson chose actors who are of an age.  Whether one believes that Kathy Strouse (Sheree), Janet Maddox (Lexie), Nancy Bloom (Dinah) and Robin Martineau (Vernadette) are actually the ages discussed in the dialogue, at least they are of the same generation.  The problem is that Ms. Hinson chose a noticeably younger actor, Wendy Nelson, to play Jeri Neal.  Even though the script suggests that Jeri Neal was a freshman when the others were seniors, because Ms. Nelson appears to be decades younger than the rest of the cast, we never believe that she would really be part of that tight-knit group.  The characters’ friendship is the pivotal point around which the entire plot revolves, and that single key miscasting severely undermines the credibility of the whole.

As Lexie, Janet Maddox is at her best when she portrays the self-centered flirt and she carries off the physical changes made to her character with aplomb. Ms. Maddox is less convincing during her more serious moments.  We hear, but do not sense, her concerns during the third scene, and although we see her indignation at Dinah’s “betrayal” when Lexie discovers that Dinah is dating her ex-husband, that response lacks context because Ms. Maddox’s interpretation does not show us that Lexie ever had any real feelings for her ex.

Kathy Strause is plausible as Sheree, the former team captain, as she bustles about organizing everyone.  But there is a sameness to the delivery of her lines that robs the more meaningful moments of poignancy.  For example, throughout the show, Sheree refers to their former coach (and her current father-in-law) with affection, but nothing in Ms. Strause’s facial expression or body language supports her description of the sadness Sheree claims to feel about his ill health.  Similarly, in the second scene, we are surprised to hear the other characters’ assessment that something was bothering Sheree; to us, her demeanor and even tone of voice are unchanged from the previous scene.

By contrast, Nancy Bloom’s Dinah demonstrates diametrical changes of affect through the course of the show.  At the beginning, Ms. Bloom’s interpretation of the character is reminiscent of Kathy Bates’ Emmy-nominated performance in the short-lived television series, Harry’s Law.  But Ms. Bloom’s portrayal in the early scenes is plagued by over-exaggerated reactions that turn Dinah into a mere caricature and we are deprived of the opportunity to understand and care about her.  In the second act, Ms. Bloom sheds the affectation with mixed results.  Dinah is more realistic and natural, but her entire demeanor is so drastically different, lacking any of the edge so vibrantly displayed in Act I, that we cannot reconcile that these two women are supposed to be the same person.  That disconnect is exacerbated when the other characters later describe Dinah as a sophisticated world traveler – a description that defies either the boisterous smartass of the first act or the soft-spoken, almost meek, Samaritan of the second.  Dinah is supposed to be something of an enigma, but Ms. Bloom fails to convey any singular essence that ties the multiple facets of the character into a believable, complex individual.

As Jeri Neal, Wendy Nelson shows the most credible character development.  We believe her bewildered exhaustion as the mother of a hyperactive five year old, and the sparkle she displays briefly as she speaks to her husband on the telephone is just lovely.  Too often, however, Ms. Nelson speaks in a sing-song cadence that is displeasing to the ear and makes Jeri Neal sound weak – inconsistent with a character who is strong and determined enough to repeatedly make unconventional life choices.

Robin Martineau’s performance as Vernadette improves throughout the show.  In the opening scene, Ms. Martineau speaks in a deliberate monotone that is coupled with a blank deadpan facial expression.  It’s funny for awhile, but the calculated sameness prevents Vernadette from seeming like a real person, and we laugh at her witticisms without really caring about her character.  Later in the show, Ms. Martineau shines when she throws off her contrived stoicism and delivers a passionate – and believable – paean to biscuits in particular, and the Southern lifestyle in general.  Ms. Martineau’s stalwart defense of All Things Southern is refreshingly natural in both tone and delivery, and her diction is clear and distinct.  It is a highlight of the show, and deserves the rousing applause it elicits from the audience.  In the final scene, Ms. Martineau’s demeanor changes again as she depicts Vernadette’s struggle with memory loss.  Ms. Martineau’s strong performance conveys Vernadette’s confusion and vulnerability, but does not lose the acerbic wit that she demonstrates earlier in the play, thereby creating a continuity of character that is quite effective.

The set, designed by Dave Hobbs, is a faithful representation of a beach house and the landscape visible through the open screen door is a nice touch.  The set decoration by Lori Booth silently reinforces the passage of time as the change of artwork reflects changing design trends.  Costumer Mary Lou Mahlman fails to use the same approach; the characters’ clothing is largely of no discernible time period.  Dinah’s wardrobe is particularly puzzling.  Although much is made of her expensive taste in handbags, and “elegance” is a word her friends use to describe her, Dinah’s outfits are more suggestive of the Golden Girls cronies than an affluent, sophisticated partner in a law firm.

Bottom line?  The Dixie Swim Club is a well-written comedy with an amazingly funny script, and if the LTVB production does not live up to the full potential of the material, it is still worth the time and ticket price.

Performances run thru October 5th, 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

© 2014 Hampton Roads Theater Babe. All rights reserved.

WILLIAMSBURG PLAYERS PRESENT ENERGETIC AND ENTERTAINING CATS

Theater Babe Says:  Go … and Make a Memory

The Theater Babe confesses that it was with no little trepidation that she entered the lobby to attend Williamsburg Players’ Cats.  Not being a particular fan of either Andrew Lloyd Webber or T. S. Eliot, despite its enduring run the show had never even been on her Broadway wish list and the Babe was skeptical that a community theatre – any community theatre – would be able to meet the many challenges posed by this difficult musical.  Such misgivings were misplaced.  While not perfect, the Williamsburg Players’ production overwhelmingly succeeds in entertaining its understandably appreciative audience.

Cats is a sung-through musical based upon Old Possum's Book of Practical Cats by acclaimed 20^th century poet T. S. Eliot and has little plot:  once a year, the “Jellicle” cats (a term seemingly invented in Eliot’s poem) congregate for the Jellicle Ball, after which a single cat is selected to travel to the Heaviside Layer where it will be reborn into “a new Jellicle life.”  That loose outline unites a series of vignettes by which different characters are introduced to the audience in song and dance.

Directed by Peter Natale, the 26 member cast is comprised of actors in widely disparate ages, from middle school to adult.  With minor and infrequent exceptions, the company as a whole maintains their catlike mannerisms and movements throughout, and persuades us that we are in fact watching a bunch of felines.  The show depends upon that single premise and this talented cast successfully creates and retains that essential illusion, first introduced during the opening number, “Prologue: Jellicle Songs for Jellicle Cats.”  The company bursts onstage with exuberance, executing impressive choreography with style and precision.  Choreographer Shawn Blasingame has designed dances that are interesting, sometimes spell-binding, and always well-executed and aptly tailored to the abilities of each dancer, wisely capitalizing upon each individual’s strengths.

Particularly praiseworthy are the performances of the show’s two youngest cast members, Audrey Hovermale (“Etcetera”) and Ariana Gonzalez  (“Victoria”).  Ms. Hovermale displays exquisite extension, raising her ankle above her head with apparent – and amazing – effortlessness, and her pirouettes at the center of the circling company during “The Jellicle Ball” are sharp, well-defined and in perfect time with the music.  During Victoria’s solo at the beginning of “The Invitation to the Jellicle Ball,” Ms. Gonzalez exhibits equal parts strength, control and grace as she stretches into and holds lovely positions before executing a backbend of such impeccable elegance that we wonder whether her flexible frame possesses any bones at all.

Although her solo coincides with the 15-note theme indelibly identified with Cats, through no fault of Ms. Gonzalez that link is not as obvious as it should be; the orchestra is the weak link in this production.  The Theater Babe applauds the decision to have live instrumentals rather than choosing the easier route of using a recording, but here the instrumentals are out of balance – any time they play, the drums and bass deafen the other instruments, with the result that even the iconic theme is usually drowned out almost beyond recognition.  Similarly, with few exceptions, throughout the performance the orchestra overwhelms the vocals and obliterates the lyrics even though many of the actors are miked.  That’s a big problem in a sung-through show where there are no spoken lines to explain the action to the audience; if we can’t hear the lyrics, the elaborate movement onstage is mystifying and because we only vaguely understand what’s going on, we have little opportunity to generate a connection to the characters.

Despite that endemic problem, this show works -- and works well – due to the strong, energetic performances by the ensemble cast.  Deborah Soderholm (“Grizabella”) takes the show’s best-known number, “Memory,” and with her rich, husky, whiskey-on-the-rocks voice gives us a stunning moment.  In “Gus: The Theatre Cat,” Ingrid Holzer-Miller (“Jellylorum”) and Cole Mercado (“Asparagus”) display exacting diction against an unusually delicate accompaniment that permits us to fully enjoy the tale.  Craig McCloud (“Munkustrap”) has a beautiful baritone voice, although occasionally the notes at the higher end of his range suffer from lack of breath support – understandable, perhaps, given the demanding choreography that precedes those lyrics.  As Bustopher Jones, Peter Natale is dapper and charming, even if he does display noticeably fewer catlike mannerisms than the rest of the company.  In “Macavity: The Mystery Cat,” Vivian Washburn (“Demeter”) slinks through her sinuous choreography with sultry panache.

Unquestionably the standout performance in this production, however, is Max Nelson’s portrayal of Rum Tum Tugger.  From the moment he struts and stalks onstage, Mr. Nelson commands our attention – no little feat, given the multi-layered and clever dances of the ensemble that weave throughout the show.  Through his body language and choice of movement, Mr. Nelson creates a distinct persona which is compelling and adds a delectable tension to the whole.  (Who knew a cat could be sexy??)  He displays excellent pitch, and even with the challenges posed by the accompaniment, we understand every word of the machine-gun lyrics of “The Rum Tum Tugger” while he infuses “Mr. Mistoffelees” with a contagious exuberance.  Mr. Nelson is a notable dancer and effects his choreography with a panther-like litheness suggestive of restrained power that is perfectly suited to his character.

The set design by Sandy Brockman is reminiscent of the original, and provides the ensemble with numerous levels and places to alternately crawl, hide and dance.  The set dressing is less successful.  As in the original, the set pieces are overly large to add to the illusion that the actors are actually cat-sized.  Here, the set also contains a variety of ordinary items, such as a regular bicycle, which apparently were added to emphasize that these cats inhabit a junkyard.  But because those items are normal-sized, it creates an incongruity that undermines, rather than enhances, the perspective that the large set pieces create.

The lighting design, by Amanda LaBonte, assisted by Mark Howell, is exceptional.  In a show where there is a lot going on a lot of the time, spotlights and color gels are effectively employed to ensure that our attention is directed to details we might otherwise miss.  Of course, a lighting design is only as good as its implementation, and the Theater Babe commends Leslie Danneberger (light board operator) and Raven Dodson and Arianna Hall (spotlight operators) for flawlessly executing the multitudinous light cues of Ms. LaBonte’s vision.

Bottom line?  The orchestral problems in this production are significant, in no little part because they deprive anyone who has no prior experience with the show of a complete understanding of the context.  But the energy and impressive dancing of this talented ensemble and especially the performances of Ms. Soderholm and Mr. Nelson make this a show well worth the time and ticket price.

Performances run thru September 28^th, Thursdays, Fridays and Saturdays at 8 p.m.,
Saturdays at 2 p.m., and Sunday, September 28^th, at 3 p.m.

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

Tickets are $20 for adults, $12 for children and students with id and can be obtained by

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

© 2014 Hampton Roads Theater Babe. All Rights Reserved.

The Babe is Back!!

            The Theater Babe is delighted to be back in the swing of things just as what promises to be a vibrant 2014-15 season begins.  And that caused the Babe to ponder:  What makes a great show?  A subjective question if ever there was one, and yet in reviewing past posts the Babe identified certain themes that reflect at least this reviewer’s perspective of the relative success of any given performance.  So the Theater Babe respectfully submits for your consideration and discussion --  and in no particular order -- her Top Eleven Essentials of Good Theatre.

1)         Is the Show Correctly Cast?

            Any show soars or dives based on its casting – it is the one element that no amount of energy, beautiful costuming or technical brilliance can fix.  Is each actor right for his/her role?  No matter how wonderful a person or how dedicated to the theatre the individual actor may be, if he is miscast for this particular character in this particular show, he is inherently incredible and it detracts from the production as a whole.  And do the characters look right together?  In real life, romance can span decades.  But in some shows, a visibly noticeable age difference may make the plot unbelievable … if not downright creepy.  Similarly, if the script describes a character as a nubile, sweet sixteen year old ingénue, casting an enormously talented but no-longer-teenaged actor in that role creates a credibility problem that no amount of makeup or creative costuming can overcome.

2)         Do We Care About the Characters?

            I don’t have to like your character, but for the show to work I have to care about what happens to you.  As Peter Natale frequently remarks during his stints as House Manager at the Williamsburg Players, we the audience could be anywhere -- but we have chosen to invest our time and money in your show.  And if I’ve chosen to do that, I want to care about what happens to the characters.  Otherwise, really??  What’s the point?

            The Theater Babe has had the pleasure of watching too many splendid performances to list them all here, but of those shows reviewed, perhaps the single best example of an actor delivering a mesmerizing depiction of a thoroughly unlikeable character was Ann Heywood’s La Marquise de Merteuil in Les Liasons Dangereuses at the Little Theatre of Virginia Beach.

3)         Do the Actors Respect the Material?

            The Babe thoroughly embraces Coleridge’s willing suspension of disbelief whenever she steps into a theater, so it is disheartening when an actor fails to do the same.  The best performers  fully commit to the material and make us believe that they believe in whatever it is that drives the characters’ respective stories – whether it’s the perspective of a Founding Father, a belief in voodoo, a quest for the Holy Grail, the unfailing devotion to True Love or a group of ordinary guys' mutual determination to produce a money-making striptease.

            Performers who have achieved that level of excellence in the shows which the Theater Babe has reviewed include (but are by no means limited to) Matthew Friedman’s John Adams in Theatrix’s 1776, Melody Harris’ Candy Lady in The Generic Theatre’s Hoodoo Love, John Cauthen’s King Arthur in Showstoppers’ Spamalot, Andrew Smith’s Hero in Smithfield Little Theatre’s A Funny Thing Happened on the Way to the Forum and Tony Brach, James Bryan, Paul Costen, AJ Friday, Tim Jarman and Garney Johnson as the dancing steelworkers in Little Theatre of Norfolk’s The Full Monty.

4)         Are the Actors in the Moment?

            Theatre’s big fun – but it’s a LOT of work.  So by the time the show is presented to an audience, the actors have repeated the same lines hundreds, if not thousands, of times.  The most compelling performances are those in which the actors convince us that what they say are thoughts their characters are having at that moment – unique, spontaneous and credible.

            The Babe has reviewed many performers who successfully tackled this essential element.  Particularly memorable were Anna Sosa and Eileen P. Quintin in Actors Repertory Theater’s ‘Night, Mother and Jeff Jones and Sheila Jones in Peninsula Community Theater’s Fences.

5)         Is the Music Worth Hearing?

            Musicals have the obvious added complications of vocals and instrumentals.  Not every talented actor is blessed with a singing voice that should be displayed (except, perhaps, in her own shower).  And not every amazing singer can act his way out of the proverbial wet paper bag.  But in a musical, we want it all – we want to believe in the character and to be blown away by her extraordinary singing voice as she captures the emotional essence of the moment in a few melodic phrases.

            Many shows reviewed by the Babe have met this difficult standard.  Especially noteworthy (all puns intended) was the production of Follies by the Poquoson Island Players.

6)       Do the Costume, Lighting and Set Designs Enhance the Storyline?

             As any seasoned theater-goer knows, there are shows memorable simply for their special effects and/or extraordinary costumes.  Whether those things actually help to tell the story is not necessarily the same thing. 

And in a related issue ….

7)         Do the Technical Aspects of the Show Work?

            Due to the very nature of live theatre, the performers typically are the focus of attention in any review.  But if the technical aspects of the production don’t work then we cannot see or hear, much less appreciate, the performers’ efforts.  There are countless details that fall in this category, including, but not limited to:  Are the actors properly lit?  Are they adequately amplified?  Are the set changes smooth and efficient?

            The difficult truth of this category is that when done exceptionally well, the technical aspects of the show are invisible.  It is only when there are technical problems that this behind-the-scenes portion of any production becomes apparent, much less memorable.

            Accordingly, the Babe takes this opportunity to congratulate – and to thank – all of the very many individuals, too numerous to list, who have participated behind the scenes in the many productions she has reviewed.  Your hard – although mostly invisible – work is appreciated beyond words.

8)         Is the Production Balanced?

            This category covers a wide variety of issues, individual and collective.  Does any one actor overpower the rest to the detriment of the production as a whole?  Do all of the many elements – performance, lighting, set design, sound quality, costumes, tonality, accompaniment, etc., etc., etc. – work together, each complementing the other?

            Of the many, many talented actors the Theater Babe has had the pleasure of reviewing, particularly noteworthy for his ability to take his prodigious talent and utilize it for the benefit of the show as a whole rather than utilizing it as a vehicle to garner individual personal acclaim was David B. Springstead, Sr.’s Benjamin Franklin in Showstoppers’ 1776.

9)         Is the Show Well-Directed?

            This is a tough – yet indubitably essential – element to quantify.  Perhaps at its core, good direction is about making the right choices.  From selecting the production team to casting the actors, to envisioning blocking that makes full use of the set, to knowing when to impose his/her will upon those actors and when to let them find their own interpretations … it is an incredibly fulfilling but inexplicably difficult job that is the pivot around which the entire production turns.

            This region is too blessed with gifted directors for the Babe to single out any one individual.  Instead, she thanks all of you who have ushered your visions from script to stage and looks forward to many more to come.

10)       Does the Production Take Risks?

            Part of the thrill of live theatre is its newness; in the best productions each performance, no matter how frequently the show has been rehearsed or presented, brings a touch of something fresh and unique.  Sometimes it is in the choice of material itself.  Sometimes it is in the tech – for example, a lighting design that enhances different elements and brings unusual emphasis to a single facet of a performance.  Sometimes it is in the casting.  And sometimes it is in a faithful representation of a classic brought to life by finding fresh ways to bring inalienable truisms to a new audience.

            Of the shows reviewed by the Theater Babe, those that most exemplify this element were Panglossian Productions’ Private Eyes and Williamsburg Players’ presentation of Jesus Christ Superstar in which director Jeffrey Corriveau made the uncommon decision to cast Nerissa Thompson in the role of Simon.

 

And last, but in no way least, are the interlocking issues of

11)       Does the Show Have Energy and Is It Well-Paced? 

            The Theater Babe restricts her reviews to community theatre.  By definition, therefore, that means that each and every person involved in the production is a volunteer – plagued by pesky personal issues such as getting to our paying jobs on time in the morning no matter how late we were at the theater the night before.  But whatever the demands on our personal time, a successful production demands that we set our personal stressors aside and somehow channel that energy into a passionate performance.

            That passion takes a wide variety of forms.  It can be, but is not necessarily, frenetic energy that leaps off the stage, grabs the audience by the throat and yanks us into the drama.  It might be an incredible dance number that makes even those of us who possess two left feet believe – if only for a moment – that we, too, could hop into the ensemble and join in.  Or it might be a quiet intensity that commands our attention and respect.  But regardless of the myriad forms that passion may take, it is not lifeless.  It is not rote repetition of lines memorized but not felt.  It is the successful process of taking characters that at first existed only in the mind of the playwright and bringing them to life – if only for a moment.

© 2014 Hampton Roads Theater Babe.  All rights reserved.