ACCENTS AND PACE HAMPER LTN’S

WEST MOON STREET

Theater Babe Says:  Go . . . and Show Your Support for Local Theatre

Farce is perhaps the most challenging of all art forms to produce.  While the Theater Babe applauds the effort that is inherent in the Little Theatre of Norfolk’s West Moon Street, this production does not fully rise to the challenge.

West Moon Street was written by Rob Urbinati based upon an Oscar Wilde story, so it is not surprising that elements of the play are reminiscent of The Importance of Being Earnest.  West Moon Street also takes place during the Victorian era, and, like Earnest, parodies the British aristocracy of that period through use of a nonsensical plot.  At a soiree hosted by Lady Windermere, a socialite who prides herself on maintaining an eclectic guest list, Lord Arthur Savile has his palm read, only to learn that he is destined to commit a murder.  Because he cannot abide the notion that his fiancé, Sybil, might suffer any adverse consequences from his unfortunate future, Lord Arthur concludes that he must commit the murder before the wedding to get it over and done before they proceed into nuptial bliss.  The lengths to which Lord Arthur is willing to go to fulfill his “destiny” and whether he succeeds are the essence of the story.

The plot is featherweight, but under Rick Hite’s direction, the LTN production is ponderous mostly due to the sluggish pace that undermines the quick, acerbic wit of the dialogue.  The humor in an Wilde-esque comedy is found in ludicrous statements delivered with utter sincerity – which is not the same as plodding seriousness.  Here, many of the actors speak in a determinedly measured rate, and what should be light, ridiculous lines are therefore delivered with an unwarranted momentousness at odds with what is supposed to be sprightly comedy. 

Nowhere is that more obvious than the opening scene.  Lord Arthur (Christopher Bernhardt), Sybil (Darden Dickerson) and Sybil’s aunt, Lady Clem (Barbara Allan) are gathered with Lady Windermere (Kendra Merlet) during a party.  The dialogue is designed to introduce certain subplots that should lend tension to the tale, but the pedantic delivery of the lines causes our attention to drift and the opportunity to add complexity to the basic storyline is lost.

As Lord Arthur, Mr. Bernhardt delivers an energetic performance and his enthusiasm for theatre is both obvious and delightful.  His portrayal, however, presents the character as a buffoon – understandable, perhaps, since on the word of a total stranger, Lord Arthur decides he must kill someone.  That interpretation has significant deleterious ramifications on the other main characters by undercutting their credibility.  Because Lord Arthur’s absurdity is highlighted almost to the exclusion of any positive quality, we cannot understand why Ms. Dickerson’s elegant Sybil would find him appealing, and we do not believe that Lady Windermere, who apparently thrives upon wit and intrigue, would be so enamored that she fabricates a complicated scheme intended to end his engagement. 

Ms. Merlet’s portrayal of Lady Windermere is plagued by her choice to speak in an affected accent toned in a cadence that does not please the ear.  Although Lady Windermere is the spoke around which the plot turns, Ms. Merlet’s performance does not convey the whimsical calculation necessary for the role to be truly convincing.  As Sybil, Ms. Dickerson is lovely but bland; because we do not believe she truly possesses any affection for Lord Arthur and no other motivation is persuasively presented, her protestations regarding the postponement of their wedding fall flat.  Lady Clem has some of the best punchlines in the show, but Ms. Allan’s delivery of her dialogue is constantly hindered by her choice to use an exaggerated nasal accent that is often unintelligible. 

The most credible and diverting performances are by actors who have comparatively little stage time.  As Herr Winckelkopf, an “expert” whom Lord Arthur consults as he plans the murder, Jonathan Hite is enjoyably menacing.  He presents a comedic darkness as he lurks and scowls, and we believe in his villainy even as we are entertained by it.  Mr. Hite embraces the preposterous dialogue without overacting, and his best moment may be when Herr Winckelkopf explains the ethics of his profession. 

 

Wade Brinkley gives a standout performance as Charles, Lord Arthur’s valet, who assists his employer in managing the logistics that engineering a murder entails.  Mr. Brinkley is the epitome of the stereotypical unflappable British servant, and his handling of Lord Arthur’s wardrobe demonstrates a keen understanding of subtle physical comedy, garnering repeated and well-deserved laughter from the appreciative audience.  He speaks in a natural, credible accent and delivers his lines with an understated drollness that is perfectly suited to his character.

The set design by Brian Cebrian is interesting and visually appealing, consisting merely of a few pieces of furniture set before a scrim on which silhouettes of windows or trees are projected to suggest a backdrop.  Director Rick Hite, Mr. Cebrian and lighting director B Butterbaugh choose to leave the scrim lit throughout the performance so that the actors traversing across the back of the stage are fully visible at all times.  Occasionally one of the actors does a bit that merits the attention, but mostly we just watch people walk back and forth, contributing to the protracted pace.  Likewise, the stage crew (Brian Cebrian, Pate Fresh and John Roberts) are costumed and move the furniture on and off with choreographed flourishes, with mixed results.  Some of the stage crew’s antics are indisputably amusing, but it is an ineffective way to strike a set between each and every scene.  If the pace of the acted scenes were more lively, perhaps the scene changes would be a charming distraction.  As it is, however, except in certain plot-specific moments, the composed performance of the scene changes simply adds to the length of the production.

Musician Celicia Slafter adds a nice touch by performing brief, well-known melodies on various instruments to enhance tone and provide foreshadowing, and the Theater Babe would welcome the opportunity to hear her play in a show that would better permit her to display the breadth of her talent.  The costumes, by Kat Fresh, uniformly evoke the appropriate time period.

Bottom line?  For farce to be successful, we must believe that the characters believe in what they say and that their actions have a purpose, however far-fetched.  Because that credibility is largely lacking in LTN’s West Moon Street, the production is not entirely successful, but it is always worthwhile to support local community theatre.

 

Performances run thru April 7^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for full-time students, seniors and military.

There is an additional $2 fee per ticket order – purchased online or in person

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

ordering online at ltnonline.org.

 

 
© 2013 Hampton Roads Theater Babe. All Rights Reserved.

 

PCT'S ALWAYS . . . PATSY CLINE IS MORE THAN FUN

Theater Babe Says:  Go . . . and Take a Melodic Walk Down Memory Lane

For Peninsula Community Theatre’s third production of the season, director Stephen Mason and his talented cast present a show that is a rollicking good time and touches the heart.

Based loosely on a true story, Always . . . Patsy Cline depicts the development of an unusual relationship between the famous singer and a dedicated fan.  The cast is limited to those two characters and the musicians who perform with Pasty.  Louise carries the bulk of the dialogue, telling the tale of how she came to learn of Pasty Cline, and the night they met which forged a friendship that lasted a lifetime.  Interspersed through Louise’s memories are twenty-seven of Patsy’s best beloved songs which both shape and give depth to the story.

Mr. Mason wisely chose to double-cast the demanding role of Patsy Cline, but the Theater Babe only had the opportunity to see the show once.  Kathy Watley possesses an amazing voice, and delivers a strong performance that celebrates her pure pitch and pleasing, husky timbre.  Ms. Watley is slightly stiff in her initial banter with the musicians and does not quite capture the easy, folksy charm that was part of Ms. Cline’s appeal, but as the show progresses, the delivery of her lines becomes more relaxed and comfortable -- and therefore more credible.  Ms. Watley is a powerful, versatile singer, and her renditions of such diverse tunes as the classic, “Walkin’ After Midnight,” the wistful “If I Could See the World (Through the Eyes of a Child)” and the show-stopping “Lovesick Blues” are truly memorable.  Perhaps what is most impressive about Ms. Watley’s performance is that she embraces the distinctive stylings that were so unique to Ms. Cline’s vocals but does not merely duplicate the well-known recordings; within the strict confines of the role Ms. Watley is able to make the music her own, with gratifying results.

Structurally, the show depends on Louise’s character to give substance and context to what otherwise would be nothing more than a concert.  Heather Maury rises to the challenge and her finely-tuned, dynamic characterization of the quirky Louise is a commensurate match for Ms. Watley’s fine performance.  Ms. Maury shines in the broad comedy that is inherent in the role, but she does not permit that to be the sum total of her performance.  Rather, she also presents lovely, introspective moments that take her vibrant energy and channels it into a quiet intensity, depicting Louise as more than just a groupie.  It is because of Ms. Maury’s convincing performance that we believe that a real relationship exists between the two women, and that sincerity is what makes the show more than just a fun retrospective of Patsy Cline tunes. 

Mr. Mason’s blocking makes excellent use of the simple but effective set designed by Ellen Eames and is wonderfully enhanced by John Wilt’s lighting design.  The show is written in a pattern that seldom varies -- Louise explains the circumstances, then Patsy sings – and the consistency could easily become tedious.  Here, under Mr. Mason’s notable direction, the musical numbers are distinct in mood and presentation, and there is a subtle flow to his choice of staging that creates a cohesive whole.  A rare misstep is in the first act’s “Your Cheatin’ Heart,” where Louise “helps” Pasty by conducting the band.  While Ms. Maury gives it her all, unabashedly gyrating and shimmying, it is a single visual joke that warrants a quick, robust laugh, but is insufficient to last the entire length of the song.  Additionally, Ms. Watley’s outstanding interpretation of that song is undermined by the constant distraction of Louise’s antics.  Had the staging started and ended with Louise’s exploits, with Louise remaining frozen in position during the majority of the song, we could have better enjoyed Louise’s frenetic comedy, Patsy’s impassioned vocals, and the juxtaposition between the two.  That is a minor critique, however, in a show that is dominated by successful staging and a perfect partnership between two gifted performers.

The costumes, by Kat Fresh, are uneven.  Pasty’s wardrobe throughout is well done and faultlessly reminiscent of dresses and costumes preserved in photos and videos of Ms. Cline’s performances.  Louise’s overall appearance suffers from its indeterminate time period:  the shirt and jeans are of a 21^st century cut, while her make-up and hairstyle evoke the late 1960s/early 1970s.  Because the show is a depiction of her memories, a more uniform overall look that placed Louise’s character in a distinct timeframe would have reinforced the idea silently presented by the old-style furniture and jukebox of the set that this moment in time is so poignant to Louise that, years after the fact, it remains crystal clear.  Similarly, the jeans worn by Patsy’s female background vocal artist is a jarring note; in 1961, it is extremely unlikely that a female performer would have worn trousers, let alone jeans.  It is a small detail that unnecessarily detracts from the overall credibility of the performance.

The musicians are superb.  Music director Betsy Forrest has assembled a well-balanced and exceptionally talented group of instrumentalists (Bill Armstrong, Andrew Blackmon, Jeff Sherman, Elizabeth Delk Stacy, Kurt Stahmer, Mark Stahmer) and vocalists (David Murray, Nerissa V. Thompson, Jordan Wentland) who are simply a pleasure to hear, and their occasional interactions with the actors are delightful. 

Bottom line?  PCT’s production of Always . . . Patsy Cline is a fun, heart-warming show brimming with talented performers and is well worth the time and the ticket price.

Performances run thru March 16th at 8 p.m. at the Peninsula Community Theatre

10521 Warwick Boulevard, Newport News, Virginia 23601.
Tickets are $16 and can be obtained by
calling the box office at (757) 595-5728 or online at pctlive.org.

© 2013 Hampton Roads Theater Babe. All Rights Reserved.

GENERIC PRESENTS COMPELLING

HOODOO LOVE

 

Theater Babe Says:  Go . . .  But Only If You’re Prepared for the Blatant Portrayal of Adult Themes

There’s little hearts-and-flowers romance in the Generic Theater’s Hoodoo Love; the drama is too gritty, the passion too raw for it to be accurately compared to a Hallmark valentine.  Under the expert direction of Le’Royce E. Bratsveen, the strong ensemble cast creates a love story that is compelling, but not pretty.

Written by young American playwright Katori Hall, who is perhaps better known for her Broadway show, The Mountaintop, Hoodoo Love tells the story of Toulou, a poor woman living in depression-era Memphis who dreams of becoming a successful blues singer.  Central to Toulou’s aspirations is her lover, Ace of Spades, a rambling singer/songwriter who refuses to commit to her.  Toulou consults and conspires with her neighbor, Candy Lady, to use hoodoo to tie Ace of Spades to her mystically since he is reluctant to do so voluntarily.  The unexpected arrival of Toulou’s brother, Jib, who comes to Memphis ostensibly to establish a church, further complicates Toulou’s existence.

In this play, the plot is secondary to the way the story is told; the melodic cadence of the language and the blues songs woven into the dialogue are what make the show unique and memorable.  In this production, Ms. Bratsveen wisely chose actors who embrace the dialect and together they credibly create a world where taking the advice of a hoodoo priestess actually seems to be a viable means of dispute resolution.

Toulou is the pivot around which the plot turns, and Imani-Chanel Ward’s depiction of the character successfully meets that challenge.  Ms. Ward’s Toulou is stubborn, engaging, determined but unwise, and epitomizes the quiet desperation of Thoreau’s famous quotation.  We like Toulou and because of Ms. Ward’s fine, nuanced performance, we understand her even as we dislike the choices she makes.  Ms. Bratsveen and Ms. Ward elect to have Toulou sing largely unaccompanied with a Billy Holliday-like soulful sound which is faithful to the circumstances, but occasionally causes the pace to drag.  Ms. Ward’s interpretation unabashedly depicts the dichotomy of the character – Toulou is so resolute about making her own choices that she is oblivious to the fact that those choices rob others of their own volition – and that central theme gives this production as a whole a depth that could be lacking if led by a less skillful actor.

Wes Dew presents an Ace of Spades who is charming, handsome, passionate and talented.  We easily understand why Toulou is so attracted to him, even though Mr. Dew’s exceptional performance makes it equally obvious that the Ace of Spades is a womanizing drifter who has no intention of carrying the baggage of a permanent relationship.  Ms. Ward and Mr. Dew create a palpable chemistry and there is a sweetness in their romance that touches us; despite the obstacles, we want them to be together.  Mr. Dew’s singing voice is full and pleasing to which is guitar accompaniment is a perfect complement.

George T. Davis, III, gives a superb performance as Jib.  Although in his initial scenes Mr. Davis’ delivery is perhaps a tad one-note – he utilizes a hearty laugh in most every line – that sameness adds to the sense he cultivates that Jib is not as harmlessly affable as the character wants to appear.  Ms. Ward’s reaction to Jib is perfectly played and reinforces the unease that Mr. Davis successfully generates even while he jokes and kibitzes with Toulou’s neighbor.  Although Mr. Davis commits to the complete darkness of his character and courageously portrays Jib’s perfidy, his best moment may be his entrance following the climactic scene.  Jib acts as though nothing untoward had occurred and Mr. Davis’ studied carelessness in that scene shows us that the violence was not unprecedented – and it permits us to more fully understand what we had previously only suspected about Toulou’s motivation.

In an ensemble replete with talented actors, the standout performance is Melody Harris’ portrayal of Candy Lady.  The character could easily slide into caricature, but Ms. Harris’ respect for the material results in a thoroughly credible performance:  we believe that she believes in her spells and potions, and that is what makes it work.  Ms. Harris’ performance is even more impressive, however, when she reveals the woman behind the mystique.  Her telling of Candy Lady’s life story is gripping even as we, like Toulou, wonder which parts are fact and which are fiction, and the moment she explains her most disappointing choice is mesmerizing.

The set, designed by Edwin and Le’Royce E. Bratsveen, is an artful yet realistic depiction of 1930s shanties, and the secondary use of Toulou’s porch as the stage of a local nightclub is both unusual and effective.  The costumes, designed by Debi McGill, are appropriate to both period and character, and enhance the ambiance created by the set.

Hoodoo Love is the debut of lighting designer Brandon La Dieu, a recent graduate of The Governor’s School for the Arts.  The design overall is well-done -- particularly when Toulou and Candy Lady cast the spell and the warm colored gels add to the unfettered theatre of moment -- but it occasionally and apparently unintentionally overemphasizes a single actor, such as during the card games between Jib and Ace of Spades.  The Theater Babe congratulates Mr. La Dieu for his successful first foray into regional theatre and looks forward to viewing more of his work in the future.

The most significant misgiving the Theater Babe possesses about the Generic’s latest offering has nothing to do with the production itself, but rather relates to the description presented in the theater’s promotional material which makes the play sound like a romance touched by mysticism.  Nothing in that description prepares a viewer who may be unfamiliar with the piece for a drama that contains copious profanity and an explicit portrayal of rape.  Those elements are not reasons to avoid producing the show.  They are, however, things that should be available for the audience to consider before purchasing tickets, especially since the program notes prohibiting the attendance of children under the age of 8 implies that older children would be welcome.

Bottom line?  Hoodoo Love is an interesting, intriguing portrayal of harsh, adult themes and the Generic’s production is first-rate and well worth the time and ticket price.

Performances run thru February 24^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 $18 with discounts for students, seniors and military.

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

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

© 2013 Hampton Roads Theater Babe. All Rights Reserved.

 

LTVB PRESENTS THOUGHT-PROVOKING THEMES
IN THE TWILIGHT OF THE GOLDS

Theater Babe Says:  Go . . . if you’re ready to consider the moral quandaries of human reproductive technology.

 

In The Twilight of the Golds, playwright Jonathan Tolins articulates various positions regarding the question of whether a pregnancy should be terminated – not because of the parents’ circumstances, as is the more common focus of that decision, but because of characteristics of the fetus that have been revealed by prenatal testing.  In the hands of director Tom Coffey and his cast, the Little Theatre of Virginia Beach’s production reinforces the unambiguous position taken by the work itself and is effective on an intellectual, if not emotional, level.

Set in 1992-93, the plot deals exclusively with one family comprised of a young married couple, Suzanne and Rob, Suzanne’s parents, and her brother, David.  The family gathers on Suzanne and Rob’s third anniversary during which Suzanne announces she is pregnant.  Rob works for a company that has developed top secret technology allowing the detection of certain genetic traits in the embryo, so Suzanne agrees to be a test subject and they learn that their unborn son possesses a genetic predisposition toward homosexuality.  They debate whether to abort the fetus, much to the consternation of David, who is gay.  As the story unfolds, the characters reveal various other strains and frustrations underlying what on the surface is a tight-knit, supportive family.

As Mr. Coffey states in his director’s note, the play is “unapologetically theatrical” in its approach, alternating between the dramatic action and lengthy monologues in which each character reveals his innermost thoughts.  Here, the best moments of the show are found in the monologues in part because we never really feel the bond that Suzanne’s family of origin is supposed to possess.

Structurally, the play contains a tremendous amount of exposition in its opening scene.  Mr. Coffey appears to be aware of the potential for that section to drag, and seems to try to avoid that by having the actors, particularly Christopher Bernhardt (“David”) and Leigh Strenger (“Suzanne”) deliver their lines in a rapid-fire pace with the result that some comprehension is lost.  For example, David has a lengthy monologue explaining the set change that evolves before our eyes, but although Mr. Bernhardt’s diction is uniformly precise and clear there is so much information spit out in such a short period of time that we get the gist, but not the emotional impact, of the reason for the shift in scene.  Slowing the pace just a little would permit us to assimilate the import of the change – and would permit it to have more resonance throughout the remainder of the play.

Mr. Bernhardt’s depiction of David is energetic and passionate, though it occasionally teeters into overacting particularly during David’s arguments with his mother and sister, and Mr. Bernhardt’s tendency to speak with his eyes shut is disconcerting to watch in a theater so small that no detail is camouflaged by distance.  His interpretation is believably and unabashedly single-minded, dismissive of the concerns raised by his family at a time when same-sex relationships were just starting to be openly discussed and accepted by the general populace.  Mr. Bernhardt delivers a strong performance.  But because none of the other actors match his intensity, his reactions sometimes seem disproportionate and David is therefore a less sympathetic character than he might be if the other actors’ delivery of their perspectives was more emphatic; the production as a whole would be improved if the other actors raised their energy levels to the standard set by Mr. Bernhardt.

As the pregnant Suzanne, Ms. Strenger’s performance is adequate but not evocative.  She describes her close relationship with David and the tension she feels about the life-altering decision she faces, but we do not feel her confusion, stress or her devotion to her brother, and that omission leaves a striking void in the production as a whole.  Ms. Strenger’s best performance is during her monologue in which she explains why she chose to marry Rob, when she speaks naturally and with an authenticity that is often lacking during her dialogue with the other players. 

Steven Robert Wright’s portrayal of Suzanne’s husband, Rob, is uneven.  He is persuasive when discussing his relationship with his wife and her family, and his monologue focusing on the positive argument for genetic engineering is well-delivered and credible.  Mr. Wright’s interpretation, however, downplays Rob’s homophobia to the extent that it is a mere footnote in this production, and that choice has significant ramifications in a show in which the need for unconditional acceptance is the central theme – including removing a primary basis for Suzanne’s internal conflict, and diminishing the foundation for David’s heated reaction.

Similarly, it eliminates the foil for the attitude displayed by Suzanne’s father, Walter, played by Steve Suskin.  Mr. Suskin plausibly depicts a pragmatic view of the conflict not noticeably tarnished by the prejudice and aversion that should be suggested by Rob’s character.  Because there is little discernable difference between the two men's attitudes toward David, however, this production lacks the tension that would add context to David's ultimate decision.  Mr. Suskin’s performance is believably dispassionate during his interactions with the family, but his finest moment is the monologue which gives us a brief but compelling insight into Walter’s innermost thoughts.

As Suzanne’s mother, Phyllis, Missy Hoffman-Bernstein delivers a relaxed performance that at its best is warm and genuine, but occasionally causes her character to fade into the background.  Ms. Hoffman-Bernstein does not always stay in the moment and at times anticipates another actor’s lines rather than credibly reacting to them, but her delivery of Phyllis’ concern about her use of a thermometer is spot-on and deservedly receives the biggest laugh of the show.

Mr. Coffey makes good use of the set and the action is well-blocked.  Samantha Johnston’s light design, especially of the upstage portion of the set, is creative but leaves Mr. Bernhardt largely in the dark during the first part of his initial monologue.  As a result, we are left searching for the source of the voice, which distracts us from the content of the speech and adds to the disconnect in the comprehension of the exposition until he approaches the steps and enters the light. 

The set, designed by Donna Lawheed, and the costumes by Mary Lou Mahlman are both time-period appropriate and effective -- as is the use of the music which is played during the show and before the performance and during intermission to subtly maintain the early-1990s atmosphere, thanks to sound designer Robin Chapman and music consultant John Saetta.

Bottom line?  The Twilight of the Golds is a play that sets forth a variety of viewpoints and then strongly advocates one of them.  This production does not perhaps make us feel as much as we could about the controversy presented, but it does make us think … and is worth the time and the ticket price.

Performances run thru February 3^rd, 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.

 

SECONDARY LEADS EXCEPTIONAL IN LTVB'S AIDA

Theater Babe Says:  Go ... and See a New Take on an Old Opera.

Pride and passion are the essence of Aida – both the musical by Elton John and Tim Rice currently directed by James Bryan at the Little Theatre of Virginia Beach, and the 19^th century opera by Giuseppe Verdi upon which it is loosely based.  Because the performances by the leads in the LTVB production largely lack those critical elements the show is not completely successful, but the vibrant ensemble and the outstanding, layered performances of certain actors in secondary roles create thoroughly enjoyable theatre.

Elton John and Tim Rice's Aida opens in a modern day museum containing an exhibit of Ancient Egypt.  One of the statues begins to sing, transporting us back to antiquity.  Egypt and Nubia are at war and as the story begins, Radames, a captain in the Egyptian army, returns bringing with him a group of Nubian women whom his soldiers have enslaved.  Radames is instantly captivated by one of them, Aida, who feels but initially fights the same attraction.  Radames gifts Aida to his fiancée, Amneris, the Pharaoh's daughter, and Aida becomes one of Amneris' handmaidens.  Radames meets with his ambitious father, Zoser, who reveals that the Pharaoh is dying and impresses upon Radames that the younger man must prepare to lead Egypt, despite Radames' preference for travel and adventure.  Meanwhile, Radames' Nubian slave, Mereb, who has lived in Egypt for many years but has never lost his hope for freedom, recognizes Aida as the Nubian princess.  Aida is torn between her love for Radames, her friendship with Amneris and her duty to her native land and its people.  Radames and Aida ultimately give in to their passion, but their relationship is doomed by circumstance, including the Egyptians' capture of Aida's father.  The show ends back in the museum, where we find that even if it is ill-fated in one lifetime, love is eternal.

In the title role, DeEtta Jennings is very attractive and possesses a melodic belt, though her diction is often muddy which robs her character of the depth it might have if we could understand more of Aida's lyrics.  Additionally, Ms. Jennings does not command the stage.  Rather than owning her space and moving with deliberate intent, she often shifts her weight from foot to foot when she speaks, and that imbalance gives her a tentative and weak bearing that is inconsistent with her prideful character.  As Radames, Jonathan McCormick has a nice singing voice, but his interpretation of a character who is an explorer/warrior by profession and is so independent personally that he chooses a slave over the power and riches that would come with his intended bride is implausibly tepid.  Neither Ms. Jennings nor Mr. McCormick generate any believable chemistry – even during the scene in which Aida bathes Radames, when one would think that shirtlessness and sensuality would go hand in hand.  Because their illicit passion is the key plot point that drives everything else, this production in general lacks credibility; we don't believe that Aida and Radames hunger for each other, so we don't feel their conflict and their respective sacrifices do not carry any emotional weight.

This production is saved from an emotional void by the remarkable performances of Genevieve McBride (Amneris) and AJ Friday (Mereb).  Ms. McBride has a fabulous singing voice, noteworthy for its tone, power and range.  In her performance as Radames' fiancée, we see her character develop, grow and change throughout the course of the show and Ms. McBride's nuanced interpretation makes us believe that the insecure, silly girl who sings "I am what I wear and how I dress" in "My Strongest Suit" could ultimately rule a nation.  We believe in Amneris' love for Radames, and "I Know the Truth," the song she sings when she realizes that love is unrequited is heartbreakingly beautiful.  The Theater Babe only wishes that director James Bryan would have waited until the song was finished to have Amneris draped in her traditional wedding veil; as it is, because of the opaqueness of the fabric, after she is cloaked from head to toe we lose the emotion that had been so skillfully portrayed in Ms. McBride's facial expression.

As Mereb, the Nubian who has learned how to succeed in Egypt while he yearns for freedom, Mr. Friday delivers an expressive, thoroughly credible performance.  His singing voice is rich and of a gorgeous timbre, and his solo, "How I Know You," is riveting.  The faith that Mr. Friday's Mereb has in Aida – believing that she will deliver him and their countrymen from slavery – is palpable, and when he realizes it is misplaced, we ache for him.  "Not Me," the quartet sung by Mr. McCormick, Mr. Friday, Ms. Jennings and Ms. McBride is a truly memorable moment.

This production would be stronger if the villain was more menacing.  Tall and broad-shouldered, Jason Martens is physically well-suited to the role of Radames' father, but his portrayal of the Machiavellian Zoser is unconvincing.  Mr. Martens' diction is frequently garbled, and his singing voice is insufficiently powerful to meet the demands of "Another Pyramid" and "Like Father, Like Son."  In large part because we cannot understand his lyrics, there is no real political tension in this version, and the production suffers from that omission.

Overall, however, Music Director Shelley Cady does a wonderful job of capitalizing on the considerable vocal talent of the cast, and has assembled a strong group of instrumentalists (Summer Cozzens, George Gaydos, Eddie Lawhorn, Shawna Lawhorn, Doug Mills, Susan Roller, and Tom Ullom) who successfully embrace the challenges inherent in this piece.  The balance between the offstage orchestra and the onstage vocalists is usually a very successful blend, faltering only during "Another Pyramid," when the guitar overpowers Mr. Martens' vocals.  In particular, Mr. Ullom on percussion delivers a notable performance, providing rhythm and effect without overshadowing the whole.

The strikingly compatible collaboration of vocals and instrumentals is especially evident in the Nubian chorus numbers, "Dance of the Robe," and "The Gods Love Nubia," The ensemble has a full sound and clear diction, and their harmonies are exquisite.  Charity Robinson, as Nehebka, demonstrates phenomenal vocal quality and the Theater Babe hopes to have the pleasure of hearing her sing in larger roles in future productions.

The choreography by Dana Margulies Cauthen is effective and well-executed, and the scarf dance performed by Elizabeth Elliot, Alyssa Halter, KT Hart and April Hitchcock is just lovely.

The set, designed by Jason Martens, is simple and permits ample room for this large cast to move about without constriction on the small stage.  Its sparseness presents some obstacles, particularly in staging the duets between Aida and Radames – it is very difficult to stage romantic duets between two actors who are close in height without the aid of something to place one of them on a different level – and the addition of a couple of multi-functional pieces of furniture would have opened up opportunities for more creative blocking. 

Lighting designer Jeff Brangan does an good job of enhancing mood and tone, and utilizes shadow, as well as light, to excellent effect.

Bottom line?  The heart of the Aida tale is not well-presented here, but the talented ensemble and orchestra and the amazing performances by Ms. McBride and Mr. Friday make this show well-worth the time and the ticket price.

Performances run thru December 2^nd, 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.

SMITHFIELD LITTLE THEATRE'S FORUM IS IMPERFECT FUN

Theater Babe Says:  Go . . . and Enjoy a Little Comedy Tonight!

A Funny Thing Happened on the Way to the Forum is the first Broadway show that boasted Stephen Sondheim's music as well as his lyrics.  Those songs, replete with dissonance and tongue-tangling patter, are as challenging as the farce in which they are enveloped.  Smithfield Little Theatre's production, directed by Kathy Eaton, of this far from simple piece is uneven, but it's undeniably entertaining.

Forum is set in ancient Rome, and centers around the quest of Pseudolus, a slave, to acquire his freedom from his owner, Hero, by helping that young man woo and win the virginal courtesan, Philia, who lives in the house next door.  Matters are complicated because Philia has already been sold, sight-unseen, by her master, Marcus Lycus, to a celebrated warrior, Miles Gloriousus.  The beautiful but less-than-brilliant Philia mistakes Hero's father, Senex, for Gloriousus and offers herself to Senex – who is more than happy to enjoy her charms, much to Hero's (and Pseudolus') dismay.  Pseudolus therefore enlists the assistance of perpetually nervous head slave, Hysterium, to keep the young lovers together -- and apart from Gloriousus, Lycus and Senex.  At the same time, Senex's wife, Domina, attempts to spy on Senex to ascertain whether he is unfaithful while their neighbor, Erronius, continues his decades-long search for his children who were abducted by pirates long before the story begins.  Much hilarity ensues as the characters wind their way through the confusion and ultimately produce the happy ending promised in the opening song, "Comedy Tonight."

Brian K. Teal's interpretation of Pseudolus is satisfactory, and is at its best when he presents his own characterization of the wily slave who engineers various complicated schemes rather than borrowing facial expressions created by the inimitable Zero Mostel.  William Van Dyke (Hysterium) at first utilizes a nasal, affected speaking tone that detracts from his fine performance and adversely affects his diction.  As the plot evolves, however, Mr. Van Dyke sheds the affected tone with hugely beneficial results; when he speaks in his own voice, we can understand his lines and enjoy his exceptional comedic timing.  During "I'm Calm," he displays a strong, pleasant singing voice and it is one of the best moments of the show.  Mr. Van Dyke has a compelling stage presence which serves this production well, particularly in the purposefully frenzied second act where he is a strong albeit humorous point of reference in the midst of the chaos.

Andrew Smith is perfectly cast as Hero.  He is handsome and appealing, and we believe that he is besotted with the pretty but unsuitable Philia.  Mr. Smith arguably has the best voice in the show, demonstrated to advantage in "Love, I Hear."  His Hero is sweet and earnest in the best sense of those words and Mr. Smith is to be applauded for playing the role with realism, rather than attempting to compete with the broader comedy that is inherent in many of the other characters.  In an interpretation less skillfully directed or portrayed, Forum's farce could easily become tiresome silliness.  In this production, because Hero's love story is credible, we are free to relish the ridiculousness that spirals from that pivotal plot point.

As Senex, Mike Peters is plausible as the middle-aged man who is flattered by a good-looking young girl's attentions.  He sings confidently with clear diction, but is not always on pitch, and he consistently struggles with maintaining the correct tempo.  Music Director William Neill, III does an exceptional job of keeping the eight piece orchestra together with the singers, and accommodates the occasional vocal vagaries while sustaining a steady pace.  Nowhere was that control more noticeable than during "Impossible," Mr. Peters' duet with Mr. Smith.  Throughout the number, Mr. Peters rushed through the vocal rests, racing far ahead of the accompaniment.  Mr. Neill managed the orchestra so that it caught up with Mr. Peters without accelerating the overall pace of the song, and provided a sufficiently strong tempo for Mr. Smith to find so that the vocals and instrumentals were realigned during Hero's parts of the number.  As a result, we were able to enjoy the amusing lyrics and the actors' performances when under less expert direction, it could have disintegrated into incoherence. 

Lauren Peters' Philia is delightfully dimwitted.  Ms. Peters has a pretty voice, better displayed in "That'll Show Him" than in her first song, "Lovely," primarily because she appears to be more comfortable with the ironic comedy of the former than the matter-of-fact characterization of the latter.  As Miles Gloriosus, Skylar Norman is wonderfully vain and pompous.  His singing voice, however, lacks the power and tonal quality that is so prominent during his spoken lines and the "Funeral Sequence" would be much improved if the chorus' wails were softer so that we could understand his humorous lyrics that were drowned out the night the Theater Babe attended the show.

Bill West delivers a pleasing performance as Marcus Lycus, and he brings commendable energy and excitement to the role without overplaying it.  Bill Hanlon's portrayal of Erronius is respectable, but his singing voice is ill-suited to the complexity of a Sondheim score and the numbers in which he appears would be immeasurably improved if he would speak-sing his lyrics.

As Domina, Senex's suspicious and overbearing wife, Carrie Grace Morgan is appropriately officious and obnoxious, but she is too pretty and too well-dressed to be perfectly credible; more garish makeup and/or a costume that disguises her delicate figure would eliminate the disconnect that currently exists between her attractive appearance and the horrified reactions she elicits from the other characters.  Ms. Morgan's sparkling delivery and her outstanding diction of her solo number, "That Dirty Old Man," overcome her occasional pitch problems and it is a highlight of the show. 

The choreography by Paula Cole and Jennifer Steiger is clever and admirably reflective of the various characters, although it is not always commensurate with the dancers' abilities.  The follow-the-leader scene is quirky and fun, but would be improved if the proteans would not anticipate the leader's moves; they need to wait to let the leader move first rather than simply perform the choreography because they know what comes next.  As a whole, however, the dances and other choreographed moments are lively and entertaining.

The costumes, coordinated by Stephanie Sabin, are inconsistent and reflect conflicting styles and time periods.  Some of them – such as the Philia outfit – are perfect from head to toe, while others – such as the red medieval gown worn by one of the courtesans -- appear to be used simply because they are of some not-modern time period and are the correct size for the actor. 

Robert Cox's set design is simple and well-executed, and perfectly showcases the action.  By making use of a few plain, multi-functional, movable pieces Mr. Cox provides options well-utilized by Ms. Eaton's blocking while still maximizing the space available on the small stage.  The backdrop is beautiful and enhances the scene without being distracting.

Bottom line?  A Funny Thing Happened on the Way to the Forum is a difficult show to produce, and the Smithfield Little Theatre's production is not perfect.  However, because the actors themselves appear to be having such a great time, their enthusiasm is contagious and makes it easy to overlook the flaws, resulting in a thoroughly enjoyable performance that is well worth the time and the ticket price.

Performances run thru November 18^th, Thursday – Saturday at 8 p.m. and Sunday at 2:0 p.m.

at the Smithfield Little Theatre

210 N. Church Street, Smithfield, Virginia 23430.

Tickets are $15 and can be obtained by calling the box office

at (757) 357-7338 or by emailing a ticket request to contact@smithfieldlittletheatre.org. 

See their website http://www.smithfieldlittletheatre.org for details.

NERVES DETRACT FROM LTN'S HAUNTING JULIA

Theater Babe Says:  Go . . . But Be Prepared for a Relationship Drama Rather than a Thriller

Haunting Julia is advertised as a ghost story, but there is little eeriness in The Little Theatre of Norfolk's production of Sir Alan Ayckbourn's play.  Rather, the primary focus is on the relationships the characters had with Julia (deceased at the time the action begins) rather than on supernatural spookiness.  While the actors' nerves sabotaged the performance the Theater Babe attended, there were glimpses that suggest a meaningful human drama exists beneath the anxiety which compromised that production.

The title character, Julia, refers to a nineteen year old prodigy who died a dozen years before the play opens, allegedly from an accidental overdose.  Her father, Joe Lukin, has never accepted that explanation and purchased the apartment building in which she resided at the time of her death and where her body was found, as well as the adjoining premises to convert them into a combination museum, rehearsal space and shrine.  Joe invites Andy Rollinson, Julia's former boyfriend, to the center and during the visit reveals that Joe believes Julia has been haunting him.  Joe also invites Ken Chase, a psychic, to visit the center in an attempt to resolve his lingering doubts about the circumstances surrounding her death.  As the play progresses, we learn about Julia's relationships and about her perspective about her own genius.

The LTN production gets off to a slow start.  Andy, played by Ryan McIntire, spends long minutes doing nothing but wandering around one-half of the set (the other half is roped off until later) and listening to the museum recording that describes the exhibit.  Nothing in his reaction pulls us into the situation and our attention wanders.  On opening night, Joel King, as Joe, struggled with his dialogue in the early scenes and because Mr. McIntire also froze, it was exceedingly uncomfortable – both for the audience as well for the actors stranded onstage.  Perhaps because of the difficulties inherent in managing flubbed lines, Mr. McIntire and Mr. King failed to generate the tension needed to drive the plot forward and we never fully engaged.  Later in the show, however, each actor delivers monologues that show depth and real emotion ... and suggest they can deliver a better overall performance than was displayed on opening night.  Philip Odango does an admirable job of overcoming the obstacles the playwright created within the character – we are asked to believe that he is both a psychic and that he chose to wait more than a decade to reveal certain important information – and is likeable as Ken Chase, though as a whole his performance would be immeasurably improved by infusing it with additional energy. 

It is in the climactic scene that the paranormal elements erupt.  The effects are clever, but they're disproportionately short compared to the long monologues that lead up to that point. As a result, the emphasis in this production is placed upon the human, rather than the supernatural.  That's not necessarily a bad thing, but it does create a disconnect from the creative marketing that LTN has used to promote this production.

Directors Kathy Hinson and Tucker Nelson choose to follow the original format and permit the show to run in its entirety (1 hour, 50 minutes) without an intermission, with mixed results.  Ideally, the show would generate such tension and such suspense that an intermission would interrupt the flow and disrupt the emotion building throughout the piece.  The danger is that if the tension doesn't exist, the audience becomes restless and even less vested in the piece; almost two hours is a long time to sit in one place when we are not enthralled by the drama.

The set, designed by Matthew Gorris and dressed by Jennifer Murphy, is well-conceived and executed.  The lighting, designed by B Butterbaugh, with the exception of the climactic moment is largely stagnant and wastes the opportunity to create a mysterious, spooky atmosphere.  For example, when Joe plays the recording again and again to demonstrate the changes that he believes were made by Julia, different lighting would help us to focus on the elements Joe wants us to hear and would add to the strangeness that the production attempts to create.

Bottom line?  Because the "haunting" in Haunting Julia is more emotional than metaphysical, LTN's marketing of this show as a ghostly thriller perhaps raises different expectations than the script supplies.  While the performance the Theater Babe saw missed the mark, it appears that these actors are capable of generating the suspense and passion required to create a truly successful production.

Performances run thru November 18^th, Friday – Saturday at 8 p.m.

and Sunday at 2:30 p.m.

at The David L. Burton Playhouse,

the Little Theatre of Norfolk

801 Claremont Avenue, Norfolk, Virginia 23507

Tickets are $17 with discounts for full-time students, seniors and military. 

There is an additional $2 fee per ticket order – purchased online or in person

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

ordering online at ltnonline.org.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.