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.