To those kind readers who have noted a decrease in the number of reviews I’ve posted recently ~

First of all, thank you for taking the time to read the blog and communicate with me.  Your interest is appreciated more than you know.

Unfortunately, my real job – the one that permits me to buy the tickets for various local productions – has consumed virtually all of my time and energy for the last couple of months.  So while I had the pleasure of seeing Circle Mirror Transformation (Generic), Chicago (Williamsburg Players) and Rent (LTVB), I simply have not had the opportunity to dedicate the time and thoughtfulness that those productions deserved, and I would rather not post a review at all than write one which is perfunctory and unworthy of the efforts put forth by the cast, crew and production teams of those fine shows.

Again, thanks for your interest, and I hope to return to writing reviews soon.  Trust me when I say that it’s much more fun than my day job. . . .

LTN PRESENTS IMPRESSIVE AVENUE Q

 Theater Babe Says:  Go . . . and See How Talented Actors Can Convince You to Care About Bits of Felt and Fur

Make no mistake.  Avenue Q may feature more puppets than human characters, but it’s not your mama’s Sesame Street.  Under the expert direction of Jeff Corriveau, the cast, crew and production team at the Little Theatre of Norfolk create a show full of childlike delight that is anything but childish.

Avenue Q is a Tony-award winning musical that portrays the lives of neighbors – human and puppet – who live side-by-side in a low rent neighborhood in a New York-like city.  Following the convention originally established by Jim Henson’s beloved characters, the live actors interact with the puppets without any recognition of the difference in the species.  Unlike the Muppets, here the humans who animate the puppets are completely visible to the audience, adding an extra challenge for the performers; they sing, dance, deliver dialogue, manipulate the puppets and, at their best, portray facial expressions that complement and reflect the feelings emoted by the puppets without drawing focus away from their fuzzy counterparts.

The plot circles around Princeton, a recent college graduate who arrives on Avenue Q in search of affordable housing and a purpose for his existence.  He meets roommates, Rod and Nicky, the single and lonely Kate Monster, the porn-obsessed Trekkie, an engaged couple, Brian and Christmas Eve, and Gary Coleman (yes – that Gary Coleman) who is relegated to working as the property superintendent after his parents appropriated all of the wealth he accumulated as a successful child star.  As Princeton adjusts to life outside of academia, he dates Kate Monster, has a fling with Lucy and is periodically visited and influenced by the Bad Idea Bears all while he wonders what prospect will bring him a sense of purpose.  The other occupants of Avenue Q struggle with their own issues, including sexual identity, career aspirations and heartbreak.  The story is told using copious profanity and adult situations – including a portrayal of graphic puppet erotica – and LTN wisely posts warnings all over the lobby to ensure that no audience member will mistake the show’s mature content.

In the dual roles of Princeton and Rod, Greg Dragas’ performance is satisfactory, and is arguably at its best when he portrays the repressed Rod.  He projects well, but occasionally drowns out the other singers during group songs, to the detriment of the number as a whole.

AJ Friday and Michelle Jenkins deliver performances that are nothing short of astounding.  Puppeteering numerous characters, they manage to depict individuals distinct in tone, body language and voice -- all of which are equally successful.  Acting in tandem to create Nicky, Mr. Friday and Ms. Jenkins' perfect synchronization, especially during their dance combinations, is extraordinary and Mr. Friday's vocals and control of Nicky's head portrays a character who is believably earnest and likeable.  Mr. Friday is unabashed and exuberant in his presentation of the single-minded Trekkie and the charm and energy he brings to the character make us laugh and relish his obsession when in the hands (literally!) of a less talented actor, Trekkie could easily become tedious.  And as the Bad Idea Bears, Mr. Friday and Ms. Jenkins each deliver credible portrayals of that insidious voice we all hear when we consider a choice that is enticing, but ill-advised.

Ms. Jenkins gives a standout performance as Lucy, creating a character that is hilarious, skanky and alluring at the same time.  Who knew a puppet could strut?  Particularly during her song, “Special,” Lucy tantalizes the “men” in the crowd and Ms. Jenkins’ remarkable performance presents Lucy as a convincingly seductive chanteuse without inserting herself into the scene; we know Lucy is a puppet, but Ms. Jenkins’ exceptional performance renders the actor herself almost invisible as we are captivated by Lucy slinking about the stage.

Kat Fresh’s portrayal of Kate Monster is no less memorable.  Kate Monster is perhaps the best developed character in the show, and Ms. Fresh takes full advantage of the breadth of emotions presented by the script.  Managing to convey real sentiment through her puppet’s movements, Ms. Fresh’s skilled performance permits us to fully engage in the character’s panoply of feelings that develop through the show:  we know Kate Monster is a puppet, but we want her to succeed and believe she deserves to be happy.  Ms. Fresh’s delivery of “There’s a Fine, Fine Line” is just lovely, and may be the most poignant moment of the show.

Avenue Q suggests that W. C. Fields should have added puppets to the list when he famously remarked that one should never perform with children or animals – but Anna Sosa overcomes that not insignificant challenge with a stellar performance as Christmas Eve.  Ms. Sosa completely commits to the decidedly un-Politically Correct portrayal of an Asian American, and she so embraces the taboo stereotype that we cannot help but do the same.  Ms. Sosa has a phenomenal stage presence, brilliantly displayed particularly during “It Sucks to Be Me,” and the uproarious yet touching “The More You Ruv Someone.”

The scenic design by Matthew Gorris is attractive and convincing.  The lighting design by Jason Martens is mostly effective, but could use some judicious editing; the blinking lights repeatedly used during the upbeat musical numbers is an effect best used more sparingly than it is here because too often it distracts our attention away from the performance, rather than enhancing it. 

The quality of the music – both instrumental and vocal – under the direction of Shelley Cady is excellent, but there are some amplification problems in this production.  The orchestra is often so faint as to be almost inaudible, while at other times – particularly when the bass takes a prominent role – it nearly deafens the vocals. 

The Theater Babe extends special commendations to two unseen members of the production team who serve as the foundation for this unique musical.  Puppet Master April Shannon Threet successfully conveyed her proficiency of this unusual art form to the cast and crew while Puppet Concierge Brandon Monahan presumably ensures that each puppet completes his/her/its costume changes and in general is well maintained.

Bottom line?  The talented actors in LTN’s Avenue Q convince us to care about the characters – both human and puppet – and have a visibly great time in creating a show that is well worth the time and the ticket price.

 

Performances run thru June 9^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.

LTVB’s LES LIAISONS DANGEREUSES IS

 BEAUTIFUL, BUT MISMATCHED

Theater Babe Says:  Go . . . to See the Dangers of Deceit – and a Fabulous Duel

The production of Les Liaisons Dangereuses at the Little Theatre of Virginia Beach is visually stunning.  The clever set by Jason Martens is elegant and exquisite, using the same elements in different configurations to create eight credibly different venues – not a simple task on such a small stage.  The costumes by designer Kay Burcher and her crew (Karen Buchheim, Kathy Hinson, Kyra Hinson, Donna Kirsch, Mary Lou Mahlman, Abbey Ortiz, Marie Vesely and Bob Weaver) are gorgeous and embrace the enormous challenge of convincing us that we are viewing the fashionable crowd in late 18^th century France.  The women’s dresses are the focal point of the costume plot, and Ms. Burcher does a commendable job of reinforcing each actor’s character through her unique style; one dress, a striking black figured print, was so exceptional that it received a well-deserved gasp of appreciation from the audience.  Because the performances are not as uniformly outstanding as the scenic and costume design, however, this production is not entirely successful.

Les Liaisons Dangereuses is the story of La Marquise de Merteuil and Le Vicomte de Valmont, two aristocrats in pre-revolutionary France who engage in complicated romantic intrigues largely for their own amusement.  They wager whether Valmont, a jaded Lothario, will succeed in seducing Mme. de Tourvel, a happily married woman renowned for her fidelity.  The tale tells the lengths to which Valmont will go to win the wager, the various sensual maneuverings of the key players, their underlying motivations and the impact their actions have on the other characters.

Director Robin Chapman presents a well-blocked production that demonstrates some interesting and effective choices, including use of a late 20^th century song played in a chamber-music style that calls the haunting lyrics to mind while maintaining the time period of the play itself.  With a notable exception, however, Mr. Chapman’s cast fails to explore the nuances of the characters so the piece as a whole lacks the tension critical to making these liaisons truly dangerous.

The exception is Ann Heywood’s superb depiction of La Marquise de Merteuil.  Ms. Heywood’s Marquise is at once charming, jealous, whimsical, calculating and deadly earnest.  Ms. Heywood’s performance perfectly captures the sophisticated formality of the period without ever stepping over that fine line into stiltedness.  But as fascinating as she is when she delivers her lines, Ms. Heywood is almost better when she reacts to the other actors; whenever she is onstage, she commands attention without overshadowing her fellow performers.  Because of Ms. Heywood’s compelling and believable performance, we are interested in and intrigued by her Marquise even though there is little to like about the character.

As Le Vicomte de Valmont, Phillip Martin utilizes his rich, round speaking voice to excellent effect; we believe women could be wooed by his beautiful voice alone.  Overall, however, Mr. Martin’s Valmont is just too likeable.  Because we never really believe this Valmont is evil enough to carelessly use and heartlessly discard women, the tension inherent in the script’s depiction of a ruthless libertine developing genuine feelings for a good woman is absent from this production and the question of whether Valmont is truly captivated by Mme. de Tourvel or whether it is merely an act is barely noticeable.  As a result, Valmont’s climactic scene with Mme. de Tourvel lacks credibility and the Marquise’s subsequent hideous revelations are devoid of the passionate impact that would exist if we truly believed that Valmont was capable of such perfidy. 

Leigh Strenger delivers a satisfactory performance as Mme. de Tourvel.  We believe that she is a steadfast wife, but her scenes with Valmont are devoid of any palpable chemistry.  We therefore do not feel the conflict that Mme. de Tourvel possesses as she discovers perhaps for the first time that faithfulness is a choice, and we do not believe that she so craves the Vicomte that she would be willing to sacrifice everything to accede to her overwhelming desire for him.  Because that tension is not present in Ms. Strenger’s performance, her final frenzy, while vehement, lacks context and credibility.  A stronger lighting design would have helped to reinforce the passion and conflict that in this production is not endemic to Mme. de Tourvel’s scenes with Valmont.

Alina Carson is pretty with a graceful stage presence and her portrayal of the ingénue, Cecile Volanges, is fresh and demure.  Her reaction to Valmont’s seduction, however, is inconsistent with a woman of that time period and that discrepancy adds to the lack of tension in this production.  In an age where a young, female aristocrat’s most prized possession was her innocence that was expected to exist upon her marriage – and created a huge scandal if it did not – this Cecile’s response is implausibly muted.  Instead Cecile seems merely confused by the encounter in a way that a 21^st century teenager might feel if she was inexplicably romanced by a much older man, rather than encompassing the shame and very real fear of social ostracism that would be much more typical of the time period.  As a result, the Marquise’s shocking advice to enjoy the affair and acquire skills to use on other men lacks resonance, and, through no fault of Ms. Heywood’s performance, an opportunity to more fully understand the complexity of the Marquise’s personality is not incorporated into this production.

Part of the problem is that the context is not well defined in the opening scene.  The majority of the exposition that establishes the social mores of the time is carried by Cecile’s mother, Mme. de Volanges, played here by Mary Lou Mahlman.  Ms. Mahlman’s characterization is more reminiscent of an American Southern nosy neighbor than of a refined European 18^th century matriarch, and her folksy charm is a jarring discord against the formal mannerisms of the period.  This Mme. de Volanges does not convey the strict social customs that were demanded at that time, and the failure to credibly present the appropriate milieu has a deleterious impact upon the production as a whole.

Because of their potential for melodrama, stage fights are notoriously difficult to present and perform, but the duel between Valmont and the Marquise’s young lover, Danceny, portrayed by Roger Bisaillon, is one of this show’s best moments.  Choreographed by Christopher Bernhardt, the fight is well-staged and entertaining, plausibly executed by Mr. Martin and Mr. Bisaillon, and it credibly forwards the drama without becoming belabored by it.

Bottom line?  There are some wonderful elements in LTVB’s production of Les Liaisons Dangereuses, including the beautiful sets and costumes and Ms. Heywood’s accomplished performance, and if the production as a whole is uneven, it is still worth the time and the ticket price.

 

Performances run thru June 9^th, Friday – Saturday at 8 p.m. and Sundays at 2:30 p.m.

at the Little Theatre of Virginia Beach,

550 Barberton Drive, Virginia Beach, Virginia 23451.

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

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

or online at ltvb.com.

PCT'S DOUBT: A PARABLE

IS CAUTIOUS CAUTIONARY TALE

Theater Babe Says:  Go . . . and Consider the Power of Mere Speculation

With its sparse set and costumes and a plot that relies almost more upon what is not said than what is, John Patrick Shanley’s Pulitzer and Tony award winning play, Doubt: A Parable, is a challenge for any amateur group to produce.  There’s a lot that’s good about the Peninsula Community Theatre’s current production but because its leading actors do not fully commit to the nuances of the complex characters they portray, this show overall is not as brilliant as it could be.

Set in 1964, Doubt centers upon Sister Aloysius Beauvier, a stern, uncompromising “old-school” nun who is the principal of St. Nicholas, a Catholic school located in the Bronx.  Sister Aloysius dislikes the pastor of St. Nicholas, Father Flynn, and the multi-leveled script provides a variety of potential causes for her antagonism including that he represents the reform within the Catholic Church that was taking place at the time that is at odds with the traditional ways she espouses, her jealousy of the attention and affection he garners from the students of “her” school, the fact that he is a lauded member of the male-centric church hierarchy while she is consigned to a subordinate role despite her age and greater experience, and the possibility that he has engaged in an improper relationship with a student.  Sister Aloysius spreads her suspicion regarding the last through innuendo that may or may not be well-intentioned, and the conflict that arises is the spoke about which the plot turns.

In PCT’s production, the actors in the principal roles do a good job of presenting the basic premise and the pace of the piece is quick and effective.  Director Mike Diana wisely chooses to impose a complete blackout following the house manager’s spiel while a simple acoustic song plays so we have a moment to adjust from the typical pre-show bustle and to settle before the show starts.  That quiet moment reinforces to us the importance of the subject matter to follow and successfully defines the mood before the action ever begins.

As Sister Aloysius, Linda Marley Smith is creditably stern and matter-of-fact, a distinct contrast to the affable Father Flynn portrayed by John Cauthen.  Mr. Cauthen's Father Flynn is engaging and personable, and we believe that he would be popular in a way that Sister Aloysius would not.  However, there is little grit or unease behind this Father Flynn’s geniality and Mr. Cauthen’s interpretation lacks any edginess that would give depth to the character and add real tension to the drama.  Because we never truly believe that Father Flynn might be guilty, here Sister Aloysius is relegated to nothing more than a mean-spirited gossip and Father Flynn’s ultimate decision seems to be made only as a means to avoid the annoyance she creates.  Similarly, Ms. Smith’s Sister Aloysius is so determinedly severe that we do not recognize the fear and protectiveness that, based on the layered script, could be alternative and more empathetic explanations for her actions.  The interpretation presented here works for the most part, but it is more simplistic and less interesting than the material warrants.

Part of the problem may be that there is no strong foil to the opposing forces represented by Father Flynn and Sister Aloysius.  The script is designed so that a younger nun, Sister James, is torn between her platonic fondness for Father Flynn, her respect for Sister Aloysius and the demands of her own instincts.  In this production, Misty Menken’s portrayal of Sister James is believably young and natural, but there is a continual sameness in her performance which glosses over the conflicted tension inherent in the role. 

The standout performance is unquestionably delivered by Nerissa V. Thompson as Mrs. Muller, the mother of the student who is the subject of Father Flynn’s alleged advances.  In her single brief scene, Ms. Thompson generates more energy and tension than is present in the entire first act as she plausibly presents the multi-faceted reasons that Mrs. Muller wants her son to remain at St. Nicholas.  Ms. Thompson skillfully manages to command the stage while her character, a black woman in pre-civil-rights America, plausibly demonstrates both deference and gratitude to the principal who accepted her son as the lone non-white pupil in a school populated with students of Irish or Italian ancestry.  Ms. Thompson’s accomplished portrayal does not shy away from the contradictions written into the role and we understand Mrs. Muller’s pragmatic approach even as we are horrified by it.

The set, designed by Patty Ellison, is in three sections:  a pulpit, Sister Aloysius’s office, and a courtyard outside the church.  Each section is credibly presented and well-utilized by Mr. Diana’s blocking and the austerity of the surroundings subtly emphasizes the seriousness of the drama presented.  In the same way, the costumes by Julie Perkoski are authentic and period-appropriate.

A single misstep occurs in the costuming and set dressing which is a jarring note in what is otherwise an amazingly accurate depiction of the time and place.  During Father Flynn’s initial sermon, his vestments and the pulpit cloth are in the green color that is customarily used in a Catholic service during much of the year.  Later in the show, his vestments and the pulpit cloth are inexplicably blue – a color that is not used for those items by the Catholic Church.  Because the colors that are used (green, white/gold, purple or red) are symbolically significant, the choice to use a completely different color suddenly reminds us that this is a theatrical production and it undermines the genuineness that the scene and costumes create during the rest of the play.  It is a minor error which unnecessarily weakens the show’s credibility.

Bottom line?  With the notable exception of Nerissa V. Thompson’s extraordinary portrayal of Mrs. Muller, the PCT production of Doubt: A Parable does not embrace the full complexity of the material, but the basic plot is satisfactorily presented and as a whole this production is worth the time and the ticket price.

Performances run thru May 12^th, Friday – Saturday at 8 p.m. and Sundays at 2:30 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.

 

RECOGNITION OF A MILESTONE

Theater Babe Says:  Thank You!
 
A year ago today, I posted the first review to this blog.  To be completely candid, I didn’t expect
anyone – with the possible exception of my mother – to read it.

Instead, twelve months and twenty-three reviews later, I am astonished, pleased and humbled to report that my blog has been viewed more than 11,000 times.  And only a few of those views were by my mother.

Along the way, many of you have been kind enough to share your thoughts, both here and on Facebook, about my reviews as well as about specific shows and theatre in general.  As much as I have enjoyed seeing the various productions and writing the commentaries, it is that discourse which has been the most gratifying, and I appreciate all of you who have taken the time to add your opinions to mine.

How fortunate we are to live in an area that is so rich in talent and has so many venues in which that talent is celebrated.  Thank you for reading my blog, and for permitting me to play a small role in our vibrant theatrical community.

 

 

©2013 Hampton Roads Theater Babe. All Rights Reserved.

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.

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