DETAILS UNDERMINE THE DRAMA OF WP'S JEKYLL & HYDE

Theater Babe Says:  Go … and Explore the Duality of the Human Condition.

What works in The Williamsburg Players’ Jekyll and Hyde works really, really well -- there are some extraordinary performances which rank with the best of any the Theater Babe has ever seen  professionally or otherwise.  But all too often, director Jonathan McCormick’s vision for this production is marred by execution errors which prevent this presentation from rising to the full level of its immense potential.

The plot is an adaptation of Robert Louis Stevenson’s famous novella.  Set in late 19^th century London, the story pivots around Dr. Henry Jekyll, a respected scientist determined to use chemistry to cure mankind of the madness which afflicted and doomed his beloved father.  Convinced that he is on the brink of bifurcating evil and madness from the good in a human soul, Dr. Jekyll appeals to the Board of Governors of the local hospital to permit him to use an inmate from the mental ward as a test subject.  When the Board denies his request, Jekyll elects to take the potion himself.  The experiment succeeds, with disastrous consequences:  the evil lurking within the good doctor which was previously suppressed by his nobler instincts emerges as a full-fledged, sociopathic separate entity that names itself Edward Hyde.  Whether Jekyll can contain and control his inner Hyde and the impact that struggle has on his engagement to the lovely, aristocratic Emma Carew is the essence of the tale.

Although the title roles are occasionally played by two different men, Mr. McCormick wisely chose a single actor to play both parts, reinforcing the notion that both good and evil are inherent within the same soul.  As the extremely demanding dual characters, Geoffrey Klein displays a singing voice of uncommon power, richness and range seldom seen in community theatre.  In particular, Mr. Klein’s rendition of “This is the Moment” is spellbinding.

Overall, however, Mr. Klein’s performance is diminished by continuous production problems which prevent us from truly vesting in or caring about his character.  The single biggest disappointment is the lack of effective sound board management.  Composer Frank Wildhorn’s score is rife with emotional ballads, the intensity of which often vary widely within a single song.  Mr. Klein’s enormous sound constantly blows out his body mike, causing his beautiful tone to become unpleasantly distorted, and his diction to be muddied to the point of incomprehension.  In a show where much of the plot and virtually all of the character development is presented in song, that’s a real problem . . . and it is eminently fixable by adjusting his microphone levels throughout the show.

Similarly, his characters’ styling does not enhance Mr. Klein’s performance but rather gives him additional barriers to overcome in what is already a ridiculously challenging role.  From the outset, Dr. Jekyll’s appearance is disheveled even when he attends two of the most important occasions of his life:  the Board of Governors meeting and his engagement party.  Perhaps it is intended to present as absent-minded-professor-ish, but it comes off as merely sloppy and we are left wondering why, in a class-conscious era where a fastidious appearance was deemed to be a sign of competence and virtue, Jekyll would expect to be afforded the respect of his aristocratic “betters.”  Additionally, because his appearance is unkempt from the beginning, later in the show there is no obvious outward depiction of Jekyll’s deteriorating condition.  As Hyde, Mr. Klein is perennially hampered by over-the-top efforts to conceal his identity – most conspicuously by his long black wig.  While the Theater Babe applauds Mr. McCormick’s choice to portray Hyde as man instead of a supernatural monster, completely covering the character’s face with yards of hair reminiscent of Cousin It deprives the actor of the opportunity to convey his villainy through any facial expression, and watching a figure fully shrouded by cape, hat and hair is just not as interesting as seeing his face.  Simply trimming the wig to slightly shorter than shoulder length would be a significant improvement, as it would permit Hyde to conceal himself when he faces off against another character, but could be tossed back so we can see his features when he is alone.  As it is, because the wig completely covers his face and his costume envelops his body, Mr. Klein has only his voice to portray his emotions . . . and that voice is rendered largely unintelligible by the amplification issues.  The talented Mr. Klein’s impassioned performance deserves to be better showcased, audibly and visually, than it is here.

As Emma, Laurel Christensen possesses a pretty singing voice with a crystalline upper register best displayed in her exquisite “Once Upon a Dream.”  Although there is little discernable chemistry between she and Jekyll, Ms. Christensen’s Emma is steadfast and loyal to her fiancée.  The show’s structure is such that Emma and Jekyll spend little time together, so different blocking of their romantic duet, “Take Me As I Am,” to place the couple in closer physical proximity would help make her devotion seem more plausible.  Emma’s interactions with her father, played by Martin Bussert, are credibly warm and loving and Mr. Bussert is pleasingly genuine as a concerned, protective parent who fears losing his cherished relationship with his child.  “Letting Go,” exhibiting Mr. Bussert’s fine singing voice, is not the biggest moment of the show, but it is among the most poignant.

Erin Hannon’s outstanding portrayal of Lucy, the hooker with a heart of gold, takes the trope and turns it into something truly memorable.  From the moment she steps onstage, she smolders with a sensuality that is cynical but not tawdry and throughout the show, her performance is uniformly captivating.  Ms. Hannon’s belt is lush and gorgeous in tone and is shown to advantage in “Someone Like You,” while her impeccable control and emotional range is best displayed in the haunting “Sympathy, Tenderness.”  The Theater Babe only wishes that lighting director Scott Hayes would have chosen different effects during “A New Life.”  When the number begins, Ms. Hannon is lit so that her lovely face appears ghoulishly skeletal.  That lighting horribly detracts from her accomplished performance and it pulls us out of the drama developed by the music.  It is only when Ms. Hannon steps downstage and escapes the relentless spot that we are able to fully appreciate and enjoy the entirety of her performance.

The lighting design also is not entirely successful during the show’s climactic “Confrontation.”  The intended effect is amazing and dramatic in the best sense of the word, but the implementation permits us to clearly see the mechanics behind the magic and it prevents us from becoming immersed in the moment.  The sound design by Kasey Gilder, Mr. Hayes and John Trindle is equally problematic in that scene.  We appreciate the attempt to expand Hyde’s voice until it virtually engulfs Jekyll’s protestations, but the sound effects so garble the lyrics of both characters that anyone unfamiliar with the show is left guessing at what is going on, and the emotional impact of the powerful lyrics is lost.

This production enjoys the benefit of excellent performances by several actors whose characters have relatively limited stage time.  As Jekyll’s best friend, John Utterson, Alvan Bolling is convincing and, although it could use a bit more volume, his smooth, mellow singing voice is an attractive contrast to Mr. Klein’s, particularly during “His Work and Nothing More.” Mr. Bolling’s monologues are a tad fast; a slightly slower pace would more easily enable those unfamiliar with the show to understand the expositional narrative.  Marcia Dadds is wonderfully snooty as Lady Beaconsfield.  John Cauthen is persuasively sleazy as Lucy’s pimp, Spider.  And the uncredited ensemble member who plays the swaying madwoman in the opening scene delivers a subtle, consistent performance which, while not distracting from the main action, silently reinforces the sense that Jekyll is visiting his father in a mental hospital.

The two level set, a stone bridge designed by Brian Agor, is very large and is seldom augmented by chairs or other set pieces.  That limits the blocking options and the cast frequently just stands center stage.  The bridge is constructed of “stones” which appear to be three dimensional and are quite beautiful, but there is only a single set of stairs connecting it to the mainstage and those steps are so narrow and steep that the cast members are noticeably wary as they ascend and descend.  When a group of actors crosses the bridge to exit stage left, there is an obvious delay while the first navigates the unseen stairs in the wing and the other actors just stand in line waiting to leave the set instead of remembering that they are still visible to the audience.  Perhaps because of the difficult access points, the second story of the set is often empty, with the result that it is nice to look at but does not help to tell the tale.  Additionally, the bright white backdrop behind the bridge sways every time there is the slightest movement behind it.  Because the bridge is often exclusively lit from the front, it casts a big, dark shadow directly center stage which then waves whenever the scrim moves, far too often distracting our attention away from the hard working actors.

Conducted by music director Nerissa W. Thompson, the orchestra has a harmonious blend as it attacks this challenging score.  Ms. Thompson does an exceptional job of keeping the instrumentalists and singers coordinated although they are in physically separate places, and she is adept at negotiating the hundreds of musical cues throughout the show.  The ensemble is composed of numerous strong singers who are well-rehearsed and ably execute the dissonant harmonies typical of a Wildhorn score, but their diction as a group is not consistently clear.  Occasionally, and especially in “Murder, Murder,” the voice parts are unbalanced; the top notes are shockingly shrill and overpower not only the other vocalists, but the orchestra.  That severe imbalance detracts from what is usually a beautiful, full choral sound.

The fight choreography, designed by Christopher Bernhardt, is inventive and varied though its execution would be improved if the actors were closer together so that the action would appear more realistic and spontaneous.  The dance choreography by Dana Margulies Cauthen is not as successful.  This strong vocal cast is not shown to advantage by the circle dance during the engagement ball and having a few couples just waltz might have been a better choice.  And while the idea of having the ensemble freeze into various positions during “Take Me as I Am” is intriguing, because the entire ensemble moves together at specific times during the song, the motion repeatedly pulls our attention away from the lovers’ duet and undermines the song’s purpose in depicting their relationship. 

The Theater Babe notes that Mr. McCormick wears many hats in this production.  In addition to making his directorial debut, he is the assistant music director, plays in the orchestra during the performances and served as the rehearsal pianist.  Mr. McCormick is astonishingly talented and this production benefits from his creativity, energy and dedication.  The Theater Babe hopes that Mr. McCormick will continue to direct, but perhaps in future productions a judicious editing of his responsibilities might permit him to focus on the totality of the whole so that the execution of the details may promote rather than detract from his remarkable vision.

Bottom line?  The Williamsburg Players’ Jekyll and Hyde is an extremely ambitious production that covers a lot of new ground and if the journey is not always completely satisfying, it is still well worth the time and ticket price.

 

Remaining performances are September 29th - October 1st at 8 p.m.

and on October 1st at 2 p.m.

at the Williamsburg Players, 200 Hubbard Lane, Williamsburg, Virginia

Tickets are $20 for adults, with discounts for students,

and can be obtained online at www.williamsburgplayers.org or

by calling the box office at (757) 229-0431.

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.

ENERGY KEY ELEMENT OF THE WILLIAMSBURG PLAYERS' RENT

 

Theater Babe Says:  Go … and Embrace This Season of Love

First produced on Broadway twenty years ago, Rent captured a moment in time and realized author, composer and lyricist Jonathan Larson’s vision of bringing musical theatre to the MTV generation.  The Williamsburg Players’ production successfully recreates that moment through the cast’s impressive energy and strong vocals, as well as the exceptional blocking by director Dana Margulies Cauthen.

As described by the American Theatre Wing, “Rent is a rock musical loosely based on Giacomo Puccini’s opera La Bohème.  It tells the story of a group of impoverished young artists struggling to survive and create a life in New York City’s East Village in the thriving days of Bohemian Alphabet City, under the shadow of HIV/AIDS.”  At the time of its opening, the show was controversial in part due to its LGBT main characters and its forthright, personal portrayal of the impact that HIV/AIDS can have on a community.

Ms. Cauthen’s extensive background in choreography is apparent in her blocking.  Although for the most part she wisely refrains from having the characters execute precise combinations, her full use of the two-level set and the placement of the actors as they flow from one scene to the next creates a kind of uninterrupted dance which stops only with the end of the final note.  That seamless movement of the cast creates a fast-paced, but not rushed, show that slows only for dramatic emphasis of a plot point and reinforces the credibility of the creative energy that is integral to the presentation of the characters’ bohemian lifestyle.  The Theater Babe also enjoyed the fact that Ms. Cauthen mixed up the staging of the company numbers so that different members of the ensemble have the opportunity to be featured in dominant stage positions.

The plot revolves around eight main characters and tells the story of their relationships with one another.  Jordan Wentland (Mark) and Trey Heath (Roger) are believable as the kind of close friends who are willing to share unvarnished truths, best displayed during their powerful duet, “What You Own.”  While Mark is typically portrayed as an edgy and clinical individual, here Mr. Wentland’s interpretation presents him more as a genial outsider.  He has a quality vocal tone, but during the performance the Babe attended, he sometimes struggled with picking the opening note from the minimalistic instrumental introduction; when the instrumentation became more full, he quickly corrected the pitch. Mr. Wentland and Charity Robinson (Joanne) have a pleasing vocal blend displayed during “Tango: Maureen” and even if the number’s choreography verges on being a tad “musical theatre-y,” the actors’ execution of it is flawless.  Ms. Robinson’s powerful singing voice is well-matched by Valerie Zangardi’s Maureen in “Take Me or Leave Me.”  Mr. Heath’s “One Song, Glory,” is compelling, and his musical numbers with Madison Raef's Mimi are credibly sensual although their interactions which are not sung are curiously dispassionate. Ms. Raef’s “Out Tonight” is spirited, but her vigorous gyrations have a deleterious effect upon her vocals; she ably manages the octave jumps but the rest of the song often falls well under pitch simply because she is noticeably gasping for air.  That number would be improved if the demanding up-and-down choreography was used more sparingly so that we could appreciate the vocals as well as the movement.

Rico Robinson (Bennie) has a lovely singing voice but his overall portrayal of a former bohemian who has bought into corporate America is perhaps less polished and sophisticated than one might expect of the role.  As Tom Collins, Dante Perry’s voice is lush and resonant, especially in his lower register.  The Theater Babe wishes only that Mr. Perry would take more care in his enunciation of both lines and lyrics so that we can have full comprehension of Collins’ point of view, particularly but not only during “Goodbye Love” when he silences the group’s bickering.

Alex James delivers a standout performance as Angel Dumott Shunard.  In a role that could easily be overacted, Mr. James’ interpretation is judiciously restrained even as he fully flaunts the character’s flamboyance.  The Babe just regrets that in “Contact,” the relentless strobe light makes it difficult to discern the totality of his performance.

Two members of the ensemble are worthy of individual mention; the Babe is sorry that only one is identified by name in the program.  C.J. Brewer (Gordon) has a memorable solo at the beginning of “Life Support” (more commonly known as “No Day But Today”).  Dylan Thomas, the actor identified in the program only as “Steve” and who starts the “Will I” canon, delivers a performance that is heartbreakingly beautiful.

The company as a whole is comprised of uniformly strong singers who harmonize well and are skillfully directed by Music Director Jonathan McCormick.  Some of the show’s best moments are when the cast simply sings.  Rent’s most famous song, “Seasons of Love,” is unquestionably this production’s highlight and Ms. Robinson’s performance of its featured vocalization is extraordinary.

The costumes by Lisa Neun, Julie King and Jessica Webster effectively depict the time period.  The lighting, designed by Scott Hayes, is less successful.  Too often the lights are so muted that we are unable to fully see the performers.  While that effect is deliberate and well-used during the answering machine messages where the caller is seen in silhouette, frequently the principals’ facial expressions are obscured by the dimness.

Ms. Cauthen and Mr. McCormick have placed the band onstage, and for this show it was a good choice.  Sound Board Operator Jim Henion is clearly alert at the switch, because whenever the band was in danger of drowning out the vocals, the sound was adjusted to maintain an even balance.

Bottom line?  This subject matter of Rent may not be for everyone, but the impressive vocals and energy of the entire company makes this production well worth the time and ticket price.

 Remaining performances are on June 18th, at 2 p.m. and 8 p.m.

at The Williamsburg Players 

200 Hubbard Lane, Williamsburg, Virginia.

Tickets are $20 for adults, with discounts for students, and can be obtained

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

 

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.

LTN’s THE ADDAMS FAMILY IS DELIGHTFULLY DARK

Theater Babe Says:  Go … ‘Cuz They’re More Than Just Creepy and Kooky {Snap, Snap}

For the Little Theatre of Norfolk’s most recent production, director Travis Malone has assembled an extremely talented production team and a cast who makes the most of the material, resulting in a thoroughly enjoyable show.

The Addams’ Family is based upon the cartoons created by Charles Addams that depict the whimsies of a loveable if macabre family.  The musical begins with the various family members – both dead and not entirely – celebrating their ancestry and the unique traits that make them distinctly “Addams”.  That unity is jeopardized, however, when Wednesday (now an adult) falls in love with a “normal” young man, Lucas.  Wednesday confides in her father, Gomez, but is reluctant to tell her mother, Morticia, and persuades Gomez to keep the relationship a secret – a secret which then places a strain upon Gomez’s relationship with Morticia.  Lucas and his parents, Mal and Alice, join the Addamses for dinner at their house and chaos ensues before love conquers all.

In the musical, Gomez is the pivotal role and Clifford Hoffman’s portrayal is engaging and charismatic, though during the initial scenes he needs to be more cognizant about staying in the “hot spot” of the lights.  Mr. Hoffman is not a strong singer, but his commanding stage presence and his overall joie de vivre that so captures the essence of the character makes it easy to overlook his vocal limitations.  For Mr. Hoffman’s Gomez is not just creepy and kooky, as the family is described in the iconic theme song.  He is also a doting father and beloved husband and Mr. Hoffman’s well-rounded portrayal permits us to genuinely sympathize with Gomez’s plight; despite his quirks, there is a commonality in his struggle and that makes it infinitely more interesting than if we simply spent a couple of hours with a weirdo.  Mr. Hoffman’s tender rendition of “Gomez’s What If” is a perfect example of the rich poignancy that lurks beneath the whimsy.  It is only during the “Tango De Amore” that Mr. Hoffman’s fine performance falters.  It appears that he is uncomfortable with the choreography and his anxiety reads on his face, undermining what could easily be a show-stopping moment.  The Theater Babe only wishes that Mr. Hoffman would relax and embrace the dance with the same exuberance that shines in the rest of his performance, even if that were to mean that he adhere less to the choreography and permit it to be more precisely rendered by the ensemble. 

Judy Triska’s Morticia is credibly strange if perhaps not as sensual as one might expect from the role.  Ms. Triska possesses a strong Broadway belt shown to advantage in “Secrets” and “Just Around the Corner,” though in the latter Ms. Triska needs to take care that the low notes – particularly the initial one in the chorus – are well-enunciated so that the audience can fully enjoy the irony of the lyrics in a way they cannot if they initially do not understand precisely what is “around the corner.”

As Wednesday, Rye Fey is at her best when she is the focus of the scene; her deadpan reactions when other characters carry the dialogue sometimes teeter into vacuousness.  She has a beautiful voice, but her diction is often unclear which prevent us from understanding her concerns as well as we might if the lyrics were more audible.  12 year old Lily Easter’s Pugsley is both believable and oddly empathetic; Ms. Easter’s layered performance permits us to enjoy Pugsley’s peculiarities while it simultaneously taps into the nearly universal concerns of younger siblings who fear abandonment when their older siblings enter adulthood first.  Ms. Easter’s clear, pure singing voice is well-displayed in “What If,” and adds to the unexpected pathos of the character.  The Theater Babe only wishes that Ms. Easter’s makeup were more reflective of the young boy this pretty girl portrays.  While the vibrant red lipstick is a flattering color on her, it did not suit the character as well as would a darker, duller shade.  Avery Malerich’s Fester is a sincere, if unconventional, cupid.

Nathan Jacques is very likeable as Lucas Beineke as Wednesday’s “normal” boyfriend and his rich singing voice is a pleasure to hear.  Tony Brach does a good job of playing the bombastic, seemingly rigid Mal Beineke, although his reaction to Thing is inexplicably muted.  As Alice Beineke, Michelle Jenkins embraces the character’s quirks without making them cartoonish, and her song, “Waiting” at the end of the first act is side-splittingly funny.

The performances of the Ancestors (Mary Lou Barnes, Diane Dzieman, Chris Hogan, Kelsy Hughes, Jeff Johnson, Alivia Long, Coral Mapp, Marshall B. Mulkey, Emory Redfearn, David Sinclair and Kobie Smith) are uniformly strong.  Although it is easy for an ensemble to be overlooked, here, each Ancestor has a unique characterization – delineated perfectly by the excellent costuming by Meg Murray – and the show is enlivened by their frequent appearances.  As a chorus, they have a beautifully round tone, and their adept execution of the interesting and inventive choreography by Karen Buchheim is a highlight of the show.

The set, designed by Jason Martens, is comprised of multiple flats which are lovely to look at individually as well as when they are placed together to form a larger room.  There are numerous set changes and each is handled efficiently and seamlessly by the combined efforts of Jenifer Wylie (Stage Manager), Mariah Taghavie-Moghadam and Marshall Robey (Assistant Stage Managers) and Chris Bernhardt, Lisa Bolen and Jacie Murray (credited Run Crew) as well as the various Ancestors who move the pieces about and set the stage in record time.

What separates The Addams Family from any other family drama is, of course, the ghoulish characterization of the characters and their home.  That ambience is enhanced and reinforced by the lighting design created by Graham Wilson.  Mr. Wilson’s use of various techniques enables the characters to be well-lit so we do not need to squint (as is sometimes the case when less accomplished lighting design attempts to be moody), but nonetheless generates the gloom that is critical to the credibility of this particular story.  The Theater Babe notes that this is Mr. Wilson’s first foray into lighting design outside of collegiate theatre, and congratulates him on his very successful debut.

Bottom line?  It is incredibly difficult to replicate well-known characters, but the Little Theatre of Norfolk’s production of The Addams Family does a commendable job not only of recreating those classic personalities, but in telling a tale that resonates with both the “normal” and the kooky among us – and is well worth the time and the ticket price.

Performances run through June 19th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507.

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

can be obtained online at: http://www.ltnonline.com or by calling the box office at (757) 627-8551.

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.

LTVB TAKES STRAIGHTFORWARD APPROACH

TO THE CHILDREN'S HOUR

 

Theater Babe Says:  Go … and See the Devastating Impact of a Whisper
 
In 1934, Lillian Hellman’s The Children’s Hour opened to popular and critical acclaim.  The story of two schoolteachers’ reputations becoming ruined by a malicious rumor was later banned in Boston and sanitized in its original screen adaptation, released under the title “These Three.”  In the Little Theatre of Virginia Beach’s current production, directors Kathy Hinson and Kelly Gilliam make certain choices which cull this interpretation of much of the play’s tension and emphasize the anti-bullying theme inherent in the text.  The result presents a strong message, but largely deprives the play of its nuance.

Set during the inter-war period of the 20^th century, The Children’s Hour depicts two female friends who have struggled to establish an all-girls’ school in New England.  One of the teachers, Karen, is engaged to Dr. Joe Cardin.  Dr. Cardin’s much younger cousin, Mary, attends the school and Mary’s grandmother, Amelia Tilford, is a benefactor of the institution.  The other teacher, Martha, permits her aunt Lily to reside and assist at the school even though the two have a less than harmonious relationship.  One day, an argument between Martha and Lily is overheard by two of the students. Mary manipulates the students into telling her about the argument, then repeats one of Lily’s statements to Mrs. Tilford, implying that the teachers are engaged in a lesbian affair. Whether Mary’s accusation is or should be believed is the essence of the story.

The script calls for girls “from twelve to fourteen years old,” but while the directors cast middle and high school age actors to play most of the students, Ms. Hinson and Ms. Gilliam selected an adult, Kylie McKee, to portray the key role of Mary.  That decision is perhaps understandable, since the part is extremely demanding and LTVB chose to present this show in the spring during what is arguably the busiest time of the school year, but it has a definite impact upon the show as a whole.  Ms. McKee’s Mary is credibly and consistently youthful, and her small frame is well-dressed by costume designer Kay Burcher to conceal her mature figure.  But despite the combined efforts of actor and costumer, there is no denying that Ms. McKee simply looks different than the other girls – a fact that is particularly noticeable in the intimate setting of the Little Theatre.  Ms. McKee delivers a strong performance, intense, sly and manipulative, but because she is patently older than the other students, her interactions with them are relentlessly bullying.  In this production, there is no suggestion that the other students may admire Mary or that Mary is the popular girl or that Mary is envied or any of the myriad details that are often presented as the root of the Mean Girls phenomenon.  Here, Mary is the spoiled brat who bullies everyone around her. The interpretation works, especially in the critical scenes with Rosalie, well-played by 14 year old Abby Asimos, but it robs Mary of her complexity.

In this production, two other characters are similarly simplified.  Josette Dubois’ Martha is almost uniformly angry, demonstrated by her harsh, vehement delivery of her lines and in her repeated facial grimaces which are often more distracting than reflective of the character’s inner turmoil.  The interpretation mostly works, as it reinforces the idea – obvious in this production from the start -- that Martha struggles with her what in the 1930s many would have considered shameful feelings for Karen.  Ms. Dubois’ choice to reveal Martha’s true feelings in the first act rather than to engage in misdirection to suggest that she wants Dr. Cardin for herself as is often portrayed in this role gives credence to Martha’s palpable frustration and fury, but it undermines her impassioned speech in the second act; the “revelation” just does not come as a surprise to us.  This Martha is so angry so early and for so long that we never really believe her to be a multi-faceted individual.  We don’t know her, so we don’t really have the opportunity to care about her … and her final, climactic choice therefore lacks true poignancy. 

In the same way, Mary Lou Mahlman’s depiction of Martha’s aunt, Lily, embraces the flamboyance of Lily’s perception of herself as a theatrical star, but neglects other aspects which could make Lily more than a mere caricature.  Although Lily taunts Martha about the latter’s “unnatural” feelings for Karen, in this interpretation Lily possesses an underlying acceptance of Martha’s lesbianism as well as an acknowledgment of the way it would be viewed by their society.  The unusual interpretation provides Lily with a reason to separate herself from the situation instead of supporting the teachers, but it deprives the show of the added tension present in some productions where Lily is caught between her self-image as an unconventional woman and the realization that she is herself deeply vested in the social mores that castigate women who live an alternative lifestyle.  The directorial choice to have Lily recognize Martha’s true feelings also suggests that Mary’s “lie” is known by at least some to be grounded in truth – and thus undercuts the playwright’s attempt to show the actual harm that can be caused by baseless words. 

Abbey Ortiz gives a credible and touching performance as Karen.  At the start of the play, we believe her to be a happy young woman, pleased with her growing business and in love with her handsome fiancée.  We believe Karen underestimates the power that Mary can manipulate, and Ms. Ortiz’s fine performance evokes our sympathy as her character slowly realizes the extensive damage that miscalculation caused.  The Theater Babe only wishes that Ms. Ortiz would use more variations in her tone during her climactic scene.  Because it is a long speech, when it is only strident without other texture to give our aural senses a break, it loses some of its impact.  As Dr. Cardin, Gregory Dragas delivers a pleasing, natural performance and we believe that he wants to believe in the teachers unconditionally, even as his expressed optimism cannot totally mask the doubt he tries to deny. 

The set design by Donna Lawheed is beautiful.  The floor of the stage represents Mrs. Tilford’s living room, while the second level depicts the main living area of the school and its adjoining staircase upon which the eavesdropping students are ensconced.  The set is well-dressed with period appropriate furniture and when we enter the theater, it is visually striking.  The shape of the set, however, appears to hinder the movement of the actors.  Because it is two levels and the furniture is large, the set leaves little free space and the blocking frequently strands one character well upstage of the other, creating an awkward arrangement that all-too-often emphasizes that these are actors reciting lines rather than individuals experiencing a moment in time.  The dual levels are never utilized in the same scene; we do not, for example, witness Mary at school while her grandmother is simultaneously at home.  Because there are only two locations in the play and the show’s structure would require only one set change in each act, despite its very attractive design, the set might have better served the show had it utilized the entirety of the space for each location.

Despite the difficult physicality of the set, Ann Heywood as Mrs. Tilford neither upstages her colleagues nor permits herself to be upstaged, and her outstanding and subtle portrayal of Mary’s grandmother is the highlight of this production.  Critics of the play question why such disastrous consequences would be imposed upon these well-meaning schoolteachers based only upon the representations of a couple of kids.  Ms. Heywood’s masterful performance answers that question.  Her Mrs. Tilford is at once an indulgent grandmother, a bastion of propriety, a protector of innocents and, finally, a shattered soul devastated by the discovery of her beloved grandchild’s deceit and desperate to make amends.  At first Ms. Heywood depicts Mrs. Tilford as a lenient, loving woman who is not unmindful of Mary’s tendency to exaggerate.  Her initial skepticism encourages Mary to redouble her efforts, and Ms. McKee’s overall convincing performance is at its best during her scenes with Ms. Heywood.  We observe Mrs. Tilford’s gradual progression from incredulity to fearful determination to use her influence as a society matron to shelter the students from the teachers’ “unnatural” behavior and uphold social norms, and it is compelling.  In a change of heart that shows Ms. Heywood’s exceptional emotional range, we later feel Mrs. Tilford’s genuine remorse and are infuriated by it, even as we realize that Mrs. Tilford is also a victim of Mary’s manipulations ... and we cannot help but sympathize with the older woman.

Bottom line?  The Children’s Hour is a more complicated tale than the one presented here, but even if this production leaves you wishing for something more, the performances of Ms. McKee, Ms. Ortiz and especially Ms. Heywood make it worth the time and ticket price.

Performances run through June 5th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Little Theatre of Virginia Beach

550 Barberton Drive, Virginia Beach, Virginia 23451.

Tickets are $18 for adults, with discounts for students, seniors and active duty military

and can be obtained online at www.ltvb.com or by calling the box office at (757) 428-9233.

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.

FEMALE CAST SHINES IN SLT'S LITTLE WOMEN

 

Theater Babe Says:  Go … and Enjoy a Musical Version of a Classic Tale

 In Smithfield Little Theatre’s production of Little Women, director Jenn Melms cast five strong female performers in the principal roles and their combined talents create an engaging production in which the flaws do not diminish the overall charm of the whole.

The musical is based upon the 1868 classic novel of the same name and tells the coming of age story of the four March sisters:  Meg, Jo, Beth and Amy.  The musical is a mostly faithful if truncated adaptation, though aficionados of the original may wonder at a few of the alterations librettist Allan Knee made in the musical’s book.  Set in Concord, Massachusetts during the final years of the Civil War, the March sisters live in genteel poverty while their father is away and Jo dreams of liberating her family from their penurious state by publishing her melodramatic stories.  The sisters befriend their neighbor, Theodore “Laurie” Laurence, and alternately squabble, tease, cry and rejoice their way to adulthood.

This version of the tale focuses predominantly upon Jo’s story, and Alyssa Romanelli’s depiction of a character who has been referred to as American literature’s first feminist does not disappoint.  Ms. Romanelli captures Jo’s independent, multi-faceted spirit and is equally credible as the roughhousing tomboy, the passionate writer and the loyal, loving sister/daughter.  Ms. Romanelli possesses a glorious singing voice that is especially showcased during the Defying Gravity-esque “Astounding” which closes the first act.

While the other sisters’ characters are not as well developed in this script, the actors are nonetheless convincing in their respective roles and together present a credibly bonded family unit.  Kathleen Halverson is perfectly petulant as Amy, but does not permit that single trait to dominate her performance; we like and understand the youngest sister, when a less-skillful execution of the character could easily be merely whiny.  Emily Dempsey’s Beth is more energetic and outgoing than we typically expect of that role and those traits undermine the wistfulness of her dialogue during Beth’s climactic scene.  Overall, however, the unusual interpretation surprises, but does not displease as it takes advantage of what appears to be Ms. Dempsey’s natural effervescent stage presence.  She is simply delightful to watch.  Although the unique interpretation perhaps causes Jo to be less protective of Beth than we have seen in other productions of this story, it makes their relationship no less poignant as is most obviously displayed in their duet, “Some Things Are Meant To Be.”  Ms. Dempsey’s rich singing voice melds well with Ms. Romanelli’s, and that number is one of the highlights of the show.  The Theater Babe only wishes that “Off to Massachusetts,” Beth’s duet with the gruff Mr. Laurence -- pleasantly portrayed by Bob Neel -- might be staged differently so that Ms. Dempsey would not spend the majority of the song sitting upstage right with her back to the audience.

As Meg, Celia Brockway Macchia is at her best during the scenes with her sisters where she is believably warm and loving.  Her scenes with Meg’s suitor, John Brooke, played here by Stephen Maney, are less successful because the two lack any discernable chemistry.  That deficiency is not helped by the staging of their love song, “More Than I Am,” during which the two inexplicably spend most of their time at opposite ends of the stage.  Mr. Maney’s Mr. Brooke is strangely aloof and the character’s attempts to romance Meg are stiff and awkward -- not in a way that convey Brooke’s shyness and insecurities, but which rather seem to indicate the actor’s uneasiness with the role.  As a result, we find it hard to believe that the lively Meg would find this Mr. Brooke appealing.  Mr. Maney seems infinitely more comfortable playing the villain, Braxton, during the scenes when they act out Jo’s novels and his campy, over-the-top portrayal of the antihero is much fun.

As Marmee, the girls’ mother, Chris Ann Wells is sincere and understanding.  Ms. Wells possesses an outstanding singing voice, and her “Here Alone,” a ballad expressing the struggles and uncertainties of a spouse and parent made temporarily single by the war, is breathtaking.

Timothy Wright brings enthusiasm and charisma to his character, Laurie, the boy-next-door.  Mr. Wright’s Laurie is winsome and likeable and he displays an impressive singing voice which could use a touch more support during the higher and extended notes to prevent them from becoming nasal in tone.  Mr. Wright appears to be noticeably younger than Ms. Romanelli, so the camaraderie which is the heart of the Jo/Laurie relationship doesn’t quite gel and we see, rather than truly believe, that Laurie feels deeply for Jo.  By distinct contrast, later in the show Laurie’s rapport with Amy is palpable, and Mr. Wright’s duet with Ms. Halverson is adorable in the best sense of the word.

James Clarke delivers an effective performance as Jo’s love interest, Professor Bhaer.  His banter with Ms. Romanelli is well-timed and convincing, and he has a beautiful singing voice best displayed in “Small Umbrella in the Rain.”  Mr. Clarke maintains a consistent German accent throughout, but the Theater Babe wishes that it were not quite so prominent during the Professor’s musical soliloquy, “How I Am.”  Mr. Clarke’s pitch and tone are wonderful, but because the accent obscures his diction, we not only lose the emotional impact and the character development that are inherent in the song, but the Professor’s subsequent courtship of Jo then lacks context for anyone unfamiliar with the novel.  Carrie Grace Morgan is creditably brusque and critical as the sisters’ Aunt March. 

No set designer is credited in the program, but the design is worthy of mention.  The two-level set shows the Marches’ living room and attic and both are well-dressed with appropriately period pieces.  Despite the desk and trunks in the attic and the chair and sofa in the living room, however, the blocking makes little use of the furnishings, often stranding the actors for long moments just standing center stage.  It’s a minor note, to be sure, but it does weaken the naturalness of the characters’ interactions, and because of the sisters’ visibly strong bond with each other, it is particularly noticeable in the scenes where no other characters are involved.

Similarly, no costume designer is listed.  Those efforts are less consistent.  Marmee’s hoop-skirted, earthen-toned dress is perfectly period, but Jo’s obviously new party dress – worn by an impoverished girl at the end of the Civil War when fabrics were expensive and scarce – made of bright red satin is very pretty, but jarringly wrong for the context.  In the second act, Jo is confusingly clad in a Colonial-era style typical of a woman in the mid-18^th century.  Because Jo makes the remark that she is wearing one of Aunt March’s old dresses, perhaps the wrong-period gown is meant to be a visual joke, implying that her aunt is a more than a century old.  Even if that is the intent, the gown unnecessarily detracts from the credibility of the show and would not be worth a laugh even if it elicited one from the audience.

The orchestra, directed by Trey Gwaltney, not only supports the singers but is a pleasure to hear in its own right.  Kudos to Mr. Gwaltney and to Erika Chesson (piano), Sharon Priest (violin), Joyce Singleton (viola), Jeraldine Herbison (cello), Barbara Morgan (bass), Trudie Matthews and Jenn Melms (flute/piccolo), Kim Wharam (clarinet), Tom Graper and Meade Fowlkes (trumpet), Claire Schaumleffel (french horn), Jason Gillette and Randy Cole (trombone) and Tyler Maloy (percussion).

Bottom line?  There are a few problems in this production which prevent it from reaching its full potential, but the beautiful singing voices and able performances particularly, but not only, by Ms. Wells and the “little women,” Ms. Dempsey, Ms. Halverson, Ms. Macchia and Ms. Romanelli, make it well worth the time and the ticket price.

Performances run through May 22^nd, Thursday - Saturday at 8 p.m., and Sundays at 2:30 p.m.

at the Smithfield Little Theatre

201 N. Church Street, Smithfield, Virginia 23430.

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

online at http://www.smithfieldlittletheatre.org or by

calling the box office at (757) 357-7338 

 

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.

PCT'S EXCELLENT BONNIE AND CLYDE
MARRED BY A FEW MINOR FLAWS

 Theater Babe Says:  Go … and Take a Personal Look at Iconic Folk Heroes

When Bonnie and Clyde opened on Broadway in 2011, the critics didn’t like it.  More accurately, they hated it.  Terry Teachout of the Wall Street Journal claimed that, “It isn’t the worst musical to open on Broadway in the last decade.  It is, however, quite sufficiently bad enough to qualify for the finals of this year’s What-Were-They-Thinking Prize.”  Ouch.  New York Times theatre critic Ben Brantley claimed, “’Bonnie and Clyde’ manages to make that triple-threat lure of sex, youth and violence seem about as glamorous as – and a lot less dangerous than – Black Friday at Wal-Mart.”  Double ouch.  One of Mr. Brantley’s complaints was that “this Bonnie and Clyde don’t seem convincingly hot for each other or for the thrill of being on the run.”  Well-cast by director Jeffrey Corriveau, the same criticism cannot be made of Peninsula Community Theatre’s current production and we therefore have the opportunity to experience a show that lasted for only 56 performances during its Broadway run.

Bonnie and Clyde of course tells the tale of the infamous couple who gained notoriety during what is now known as the Public Enemy Era when, in the midst of the Great Depression, criminals were elevated to celebrity status.  Frank Wildhorn’s eclectic score ranges from country/bluegrass to power ballads with a healthy dose of gospel thrown in for good measure.  For the most part, PCT’s talented cast conquers the challenges presented by such diverse styles, but too often the digital accompaniment overpowers the performers and other action on stage.

The show begins with Young Bonnie and Young Clyde each espousing their respective dreams of stardom in the opening number, “Picture Show.”  As Young Bonnie, Goldey Dempsey displays an amazing voice as she negotiates syncopated rhythms and vocal intervals with ease.  10 year old Robby Kurowski, as Young Clyde, has a commanding stage presence often lacking in actors twice his age.  Unfortunately, during that number the accompaniment battles with instead of supporting Mr. Kurowski’s vocals, so many of his lyrics are inaudible.  Later in the show, when accompanied only by a keyboard, we have the pleasure of enjoying Mr. Kurowski’s clear, pure tone.  The Theater Babe notes that this show marks the PCT debut of both Ms. Dempsey and Mr. Kurowski, and she hopes to have more opportunities to watch their considerable talents continue to develop.

In this version of the tale, Clyde drives the action and Josh Kern exudes an intense charisma and delivers powerful vocals that are well-suited to the role; we do not wonder for a moment why Bonnie would run off with a guy she’s known for about a minute.  Mr. Kern successfully embraces the paradoxes inherent in the character -- he robs small-town merchants without a qualm, but hesitates at the prospect of dating a married woman … he agonizes over his first fatal shooting, but repeats the atrocity over and over again – and makes them believable.  He shines in the energetic “This World Will Remember Me,” and “Raise a Little Hell,” but shows range in his soulful “Bonnie.”

As written in this version, Bonnie is mostly reactive to Clyde’s decisions.  Once she links her star to his, she takes little independent action – even her impulse to leave Clyde is short-lived and doesn’t survive their memorable duet, “Too Late to Turn Back Now” – but Shaylyn Purcell’s strong performance refuses to permit the character to be relegated to a mere sidekick.  Ms. Purcell possesses a wonderful voice and her exquisite phrasing gives depth to sometimes lackluster lyrics.  For example, in the stylings of a less talented singer, “Dyin’ Ain’t So Bad” could easily be maudlin, but Ms. Purcell’s interpretation gives it such nuance that we believe Bonnie knows that their spree cannot end well, and that through the song she convinces herself that “a short and lovin’ life” is sufficient.  Ms. Purcell’s Bonnie is infatuated with and devoted to Clyde, but her commitment to that relationship is not simply romantic.  Rather, Ms. Purcell’s complex characterization makes it obvious that the attraction is inextricably linked with Bonnie’s belief that Clyde is her ticket off of “the Devil’s Back Porch.”

For as good as they are individually, Ms. Purcell and Mr. Kern are almost better when they appear together.  The spark between them is palpable, and that energy is essential to making this show work as well as it does.  We know the story, so we know that these characters are cold-blooded thieves and murderers, but because of the connection so skillfully portrayed by Mr. Kern and Ms. Purcell, we care about them and want them to be together even though we know how the story ends.

This production also benefits from a first-rate supporting cast.  Jordan Wentland gives a solid performance as Clyde’s brother, Buck Barrow, while Buck’s wife, Blanche, is deftly portrayed by Jennifer Thomas.  She convincingly depicts Blanche’s transformation from a pious, law-abiding citizen to a reluctant outlaw determined to stand by her man, and we genuinely feel for her when she suffers the consequences of that choice.  Ms. Thomas’ “That’s What You Call a Dream” is hauntingly beautiful, and her duet with Ms. Purcell, “You Love Who You Love,” contains some of the most gorgeous harmonies in the show. 

Other characters with less stage time are no less noteworthy.  Samuel Hord is appealing as Bonnie’s awkward but ineffably loyal suitor, Ted.  Mr. Hord has a pleasant singing voice which occasionally slides under pitch, noticeably so in “You Can Do Better than Him,” his duet with Mr. Kern.  As the Barrows’ father, Henry, Jeff Sherman’s restrained but poignant body language and silent stage business tellingly portray the utter hopelessness engendered by the Great Depression.  And Charity Robinson, as the Preacher, brilliantly delivers the gospel-style, “God’s Arms Are Always Open.”

Music Director Betsy Forrest has done a commendable job in rehearsing this talented cast and assisting them to master so many different musical styles, but the ensemble is at its weakest when they split into the dissonant harmonies typical of Wildhorn’s work, as if some of the singers may be unsure of or unable to maintain their pitches; when they sing in unison, the choral pieces are strong and vibrant.  “God’s Arms Are Always Open” is a potentially show-stopping number, but here it suffers from the audio imbalance.  Because the accompaniment overpowers everything else, the chorus, Ms. Robinson’s counterpoint and the newscaster’s announcement all become muddled and confusing.  A stronger light design in that scene would help us to better understand the action.

That is one of very few missteps in this fine production, but perhaps because they are so infrequent, the things that don’t work are striking.  The choreography by Dana Marguiles Cauthen is uneven.  For example, the ensemble’s choreography during “Made in America” feels forced and the stomping of their feet unfairly deafens Ms. Robinson’s splendid vocals.  Similarly, “How ‘Bout a Dance?” in the first act is undermined by the ballroom-esque choreography; the spontaneity of two lovers dancing to a romantic tune is diminished by their deliberate if short pauses to wait for the downbeat before starting the next combination.  By way of contrast, the reprise of “How ‘Bout a Dance” in the second act is charming as Bonnie, Clyde, Blanche and Buck seemingly naturally change partners and just enjoy the moment.  Ms. Cauthen’s staging of “When I Drive” is outstanding, creatively designed and well executed by Mr. Kern and Mr. Wentland.

The costume design by Pam Revill is perfectly period and she has been careful to re-create the “Bonnie dress” which was immortalized in the photographs which made Bonnie and Clyde tabloid darlings.  Ms. Revill subtly shows the improvement in the couple’s financial condition by dressing them in more expensive fabrics and elaborate outfits as time progresses.  There is a decided problem with one costume change, however, where Clyde dons a suit after taking a bath.  Such a change is a challenge, but here it is not well-managed and the stage is lit but totally deserted while we just wait for Clyde to get dressed.  We know what the problem is, but the overly long pause disrupts the atmosphere that the cast and crew have worked so hard to create.  Perhaps the change could be shortened by basting velcro strips over the button-hole side and under the button flap on his shirt which would prevent having to secure the long row of buttons, as well as by utilizing other shortcuts to eliminate the stage equivalent of dead airtime.

In a related issue, William Hogge’s wig design is not totally successful.  The script refers to Bonnie as a “ravishing redhead” and it appears that he has wigged Ms. Purcell in an attempt to camouflage her blonde hair.  The wig is not flattering and because from the stage it reads more as a light brown than a true red, its efficacy is questionable.  It might be a better choice to utilize the beret shown in Bonnie’s newspaper photographs, because although we eventually become accustomed to the wig, it nonetheless unnecessarily detracts from, rather than enhancing, Ms. Purcell’s exceptional performance.

Those are, however, minor points overall, and they are offset by not only the outstanding performances but by the unusual and interesting set designed by Jason Martens.  Although there are no scene changes, per se, a wide variety of locales are nonetheless represented by the imaginative use of sparse but versatile set pieces.  Mr. Corriveau’s blocking is seamless and makes good use of the set without overtly using it for dramatic import; the characters move about naturally, rather than wandering around simply to draw attention to the unique set and that enhances the credibility of the show as a whole.  Mr. Corriveau, Mr. Martens and lighting designer John Wilt collaborate brilliantly to create a harrowing and dramatic final scene.

Bottom line?  PCT’s Bonnie and Clyde is not without flaws, but the strong performances of this talented cast, Mr. Corriveau’s effective direction, the distinctive set and the period-enhancing costumes make this production well worth the time and ticket price.

 

Performances run through March 13th, Friday - Saturday at 8 p.m. & Sundays at 2:30 p.m.

at the Peninsula Community Theatre

10521 Warwick Boulevard, Newport News, Virginia 23601.

Tickets are $18 (discounts for seniors, students and military) and can be obtained

online at pctlive.org or by calling the box office at (757) 595-5728

 

© 2016  Hampton Roads Theater Babe.  All Rights Reserved.