tag:blogger.com,1999:blog-85000353728591578532024-03-24T03:41:20.888-04:00The Cranky CriticThe thoughts, opinions and meanderings of theater critic Donald V. Calamia, editor-at-large of EncoreMichigan.comDonald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.comBlogger88125tag:blogger.com,1999:blog-8500035372859157853.post-52236645313041369532021-09-01T16:02:00.053-04:002021-09-01T18:41:02.671-04:00As Village Players reopens, love (and virus protocols) are in the air<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0p1V3Qt6j0K7KDcCyRx-OXVG1peXOQ-9WBPLIbD2-O_cptFwqzIGQus_JOsvjIDPbC4j1w9_ptNvHcKepajQcFi9YNoWVGPFQMaronMXy6FvKIRAjMpMIR8lIK0WD5ra5mcGCFkonZp0/s2048/Viola%2526Will+1+-+credit+Joseph+Lease_edit.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="2048" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0p1V3Qt6j0K7KDcCyRx-OXVG1peXOQ-9WBPLIbD2-O_cptFwqzIGQus_JOsvjIDPbC4j1w9_ptNvHcKepajQcFi9YNoWVGPFQMaronMXy6FvKIRAjMpMIR8lIK0WD5ra5mcGCFkonZp0/s320/Viola%2526Will+1+-+credit+Joseph+Lease_edit.jpg" width="320" /></a></div><br /><p></p><p>From unexpected storms and fires to sudden illnesses and tragic deaths, producers of live theater have faced and responded to numerous crises over the past several decades. Sure, they may have had to temporarily pause performances for a day or two, immediately recast a role, or cancel the remaining run of a show. But not since the early 20th century have producers faced a major pandemic, especially one that shut down much of the world for a year and a half. So not only could their shows <i>not</i> go on, entire seasons had to be scrapped and theaters had to lock their doors as COVID-19 raced across the country.</p><p>In response – and to keep connected to their audience base – some producers offered theater-starved patrons fresh content via video. Others eventually moved outdoors with socially distanced performances. But now, as many companies throughout Metro Detroit begin announcing their seasons (all the while keeping their fingers crossed they’ll actually happen), one brave community theater, The Village Players of Birmingham, is among the first (if not <i>the</i> first) to unlock its doors, dust off the stage and invite patrons back into its performance space.</p><p>It was not an easy decision to make.</p>“It required several meetings of the Safety Committee, their recommendations to both the artistic and business boards, and approval of the boards to proceed with the upcoming slate of shows,” explained Stephen Sussman, the Players’ artistic board president. “There were several months of meetings and planning before proceeding.”<p></p><p>The Safety Committee, Sussman said, consisted of the troupe’s house and grounds chairperson, various long-time members, a doctor, a nurse (also members) and Sussman, an architect who is familiar with all aspects of the physical plant. “Using guidelines established by the CDC and State of Michigan, we decided it was safe and appropriate to start to have indoor live performances.”</p><p>Business as usual would not be the case, however. The first row of seating was removed, for example, to create more physical space between the stage and audience seating. But that’s not all. “(The) cast and crew are required to be vaccinated and show proof of vaccination,” Sussman explained. “When offstage, cast members are encouraged to wear masks. All audience members are urged to wear masks when in the playhouse. There is no gathering inside during intermissions and after performances for the audience to greet cast members; that is done outdoors. And we are suspending all afterglows for the time being.”</p><p>The Village Players tested the waters last month with a production of the musical “Godspell” that ran for one weekend only. Although one might think it would have been difficult to cast thanks to COVID-related hesitancy, Sussman said that wasn’t a significant factor. The real challenge was to find cast members who were able to rehearse and perform during the summer. “This is always a challenging time to find actors and participants due to vacations, travel, and other summer activities.”</p><p>There <i>was</i> a minor concern, however, with the vaccination requirement during auditions that was addressed. “The result was a fabulous show that was of high quality and that the audiences absolutely loved,” he said. “(Patrons) were thrilled to have live performances back.”</p><p>Sussman was also pleased with the box office numbers. “Ticket sales were surprisingly good for a summer show that ran for only one weekend - Thursday through Sunday - and was not part of the original slate. And since this was an additional show to welcome our members and patrons back, we consider it a huge success.”</p><p>Also successful were the new COVID protocols. “I’d guess we had about 98 to 99% compliance,” Sussman continued. “Almost everyone wore a mask during the show and were very cooperative. There were a few people – very few – who resisted wearing a mask. They claimed they were vaccinated, however. I presume those that weren’t comfortable simply didn’t attend. So short of having an actual mandate, I think we are comfortable with the policies we have currently in place.”</p><p>After such promising results with “Godspell,” The Village Players now turns its focus on its next show, which will be the first to run a traditional, multi-week schedule since the theatre shut down mid-run in March 2020 because of state-mandated COVID restrictions. And if the title rings a bell, it should.</p><p>“Shakespeare in Love” was the production shuttered after only three performances, and its return this month makes total sense to Sussman. “It is a fantastic show, and since the set was still in place and the majority of the actors were even now interested in performing it again, it was an easy decision to start the season with this restaging,” he said.</p><p>A few actors needed to be replaced, however. Not because of COVID concerns, but due to moving away or scheduling conflicts. “No one that was available refused to participate.”</p><p>For director Holly Hellsten Conroy, neither wild horses nor a mutating virus could keep her from returning to the show. “‘Shakespeare In Love’ is my baby,” she explained. “I’d worked on it for more than two years prior to that first production. So much of my heart is in this project; there was no way I’d drop the ball. Beyond my own love of the show, the enthusiasm of our cast and crew to return to the stage sealed the deal.”</p><p>And with safety protocols in place, Conroy said she feels safe. “Any hesitancy I might have felt disappeared once I received my second vaccination.”</p><p>Because the world has radically changed, so too has the working environment. Rehearsals and performances are now part of an experimental brave new world to which actors and audiences alike will have to adjust and make allowances. “Although our actors will not be wearing masks onstage during performances, we’ve allowed them to wear masks during rehearsals for their own comfort,” Conroy said. “Obviously, with part of the face covered, I’m apt to be directing what I hope is there. Fortunately, the two principal characters in our production are played by a very talented married couple – Ashley and Patrick Lane – who have no need of masks.”</p><p>Actress Lane, who plays Viola, had few qualms about returning to the show. “I have the same nerves that I am sure many have when jumping back into group activities,” she said. “It feels strange to be in groups and close to people again, when for so long we held back from those activities. However, after the initial nerves, I have felt very comfortable and grateful for the experience!”</p><p>Why? “(Both the production team and the Safety Committee) are constantly updating and changing the policies to ensure that we are following the state’s guidelines and recommendations in real time. There are physicians as part of the safety committee who have firsthand experience and knowledge of COVID, so that helps make me feel very well taken care of in this setting.”</p><p>But what happens when audiences enter the mix? “There is always the slight fear that the more people you encounter, the greater the risks are, but again, I feel very confident in the producers and the safety committee to ensure that everyone is being informed and taken care of in every way possible,” Lane said.</p><p>Similar reactions are found among the tech crew. “I was never hesitant to get involved,” said props mistress Suzie Skibicki. “I was part of our production before we were shut down by Covid last year and was thrilled to be able to return to my post for a full run of the show. I am eager for our patrons to share a live theater production with us,” she said.</p><p>So too is Ashley Lane. “We need theater!” she exclaimed. “I think the world needs art and human stories now more than ever. We need to come together and remember that at our core, we are all the same. We laugh, we cry, we are all human! There is a lot of division in the world, and I believe that theater unites us. So I hope that this production can bring a little bit of unity to our corner of the world right now.”</p><p>But that’s not all. “Our industry has been hit in a devastating way from COVID, as many industries have been, and I feel as an artist it is my job to bring stories back to our audiences, in a safe way of course. Especially in such times of uncertainty and anxiety, sharing the human experience through a play is extremely healing.”</p><p>But will audiences show up? “I <i>am</i> concerned that patrons will fear attending an indoor event and we might have small audiences,” director Conroy said. “It’s such a splendid show and everyone has worked so hard on it, it deserves sold-out performances.”</p><p>Patrons will be asked to wear masks, even if they’re vaccinated, although the theater won’t police it, Conroy noted.</p><p>And if they <i>do</i> show up, what will patrons be treated to? A romantic comedy, according to board president Sussman, that’s even funnier than the Oscar-winning motion picture it’s based upon. “We have a wonderfully talented cast, and there are beautiful period costumes, live Renaissance music and dancing, sword-fights and even a dog!”</p><p>In other words, there’s pretty much something for <i>everyone</i> in The Village Players’ production of “Shakespeare in Love.”</p><p>And who couldn’t use a good laugh these days?</p><div class="separator" style="clear: both; text-align: center;"><br /></div><span style="font-size: medium;"><b>Shakespeare in Love<br /></b></span>The Village Players of Birmingham<br />34660 Woodward Avenue, Birmingham<br />Sept. 10, 11, 17, 18, 24, and 25 at 8 p.m.<br />Sept. 12, 19, and 26 at 2 p.m.<br />Tickets: $20 (plus a $1 processing fee for each ticket order)<br />Purchase online at <a href="http://www.birminghamvillageplayers.com">www.birminghamvillageplayers.com</a> or by calling the theater box office at 248-644-2075.<br /><br /><p></p><p><b>Note:</b> <i>Anyone with questions regarding the Players’ COVID policy can find the most up-to-date information on its website at</i> <a href="http://www.birminghamvillageplayers.com">www.birminghamvillageplayers.com</a>.<br /><br /></p><p><b><i>Above photo caption:</i></b> Romantic sparks fly on and off the stage as married couple Ashley and Patrick Lane star in "Shakespeare in Love." Photo: Joseph Lease</p><p><br /></p><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RKLSHN6PgNo" width="320" youtube-src-id="RKLSHN6PgNo"></iframe><br /><p><br /></p><p><span style="font-size: medium;"><b>About The Village Players:<br /></b></span>The Village Players of Birmingham, a 501 (c)(3) nonprofit community theater, presents high quality dramatic, comedic, and musical productions. Everyone is invited to participate on stage, backstage or as an audience member in the theater's main stage, youth theater, and Playwrights at Work productions and programs. The Village Players have been entertaining the community from its location at 34660 Woodward Avenue in Birmingham since 1926.</p><div><br /></div>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-47993307203518790802021-06-12T11:58:00.006-04:002021-06-12T12:23:51.490-04:00A powerful, affecting theatrical team up<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQnwPl4nPxziR41p1BR4vJ25GE65mxcEqWesdrBV-F08sSS6XJDN_ZxvUkTbb7H6VQQ7V2fEkJSdJgItu3FCeNvrDAjYo8_FjcA7JPxajDYn84JQ372z1rEKFcRYrSPCfkPq4J5FA-Es/s1542/Pic_2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="982" data-original-width="1542" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQnwPl4nPxziR41p1BR4vJ25GE65mxcEqWesdrBV-F08sSS6XJDN_ZxvUkTbb7H6VQQ7V2fEkJSdJgItu3FCeNvrDAjYo8_FjcA7JPxajDYn84JQ372z1rEKFcRYrSPCfkPq4J5FA-Es/s320/Pic_2.jpg" width="320" /></a></div><br /><p></p><p></p><p class="MsoNoSpacing">They had me at Payton and Kelley. Richards and Hill.
Briggs and DeBruyne. Theatre Nova and The Ringwald.<o:p></o:p></p>
<p class="MsoNoSpacing">Since the 1970s, comic book fans have been treated to the
occasional intercompany crossover in which DC produced a story featuring
Superman with Marvel’s Spiderman, while Marvel and IDC mixed it up with the
X-Men and Star Trek. (Yes, that really happened.) Part of the fun for the
reader was seeing how writers and artists of one company would mix with their peers
and/or characters of another to churn out a story that could be enjoyed by fans
of both.<o:p></o:p></p>
<p class="MsoNoSpacing">A somewhat similar phenomenon occurred across the
Detroit-to-Lansing corridor since at least 2005 when the late, lamented
BoarsHead Theater joined forces with Plowshares Theatre Company to co-produce
“The Story,” which was quickly followed by other team-ups with Meadow Brook
Theatre and (the equally late and lamented) Performance Network. And it wasn’t
long before a handful of other theaters joined in the fun.<o:p></o:p></p>
<p class="MsoNoSpacing">As a theatergoer, I always looked forward to these
events, since the cross pollination of talent served to introduce audiences in
one market to the creative wizardry of another. They also enabled budget-wary producers
to share costs that allowed two companies to offer quality shows to their specific
audiences they might never otherwise experience. (If, for example, Performance
Network and BoarsHead hadn’t co-produced Kim Carney’s “Moonglow,” most
theatergoers in Metro Detroit might never have been treated to the wonderment
that was the amazing actress, Carmen Decker.)<o:p></o:p></p>
<p class="MsoNoSpacing">It was a win-win for everyone, including the multitude of
actors, designers and directors whose options for work increased because of
this exposure to management teams outside their traditional venues.<o:p></o:p></p>
<p class="MsoNoSpacing">Unfortunately, such joint efforts seemed to have fallen by
the wayside in recent years – and the pandemic shutdown certainly put a stop to
them altogether. But an email I received a few weeks back gave me hope that team-ups
and crossovers will make a comeback as theaters begin to slowly reopen their
doors to the public.<o:p></o:p></p>
<p class="MsoNoSpacing">The <i>good</i> news is that the first such effort is
well-worth seeing. Given the show’s pedigree, I assumed the production would be
well cast and creatively staged. What I <i>didn’t</i> expect, however, was how such
an OK script could become so <a name="_Hlk74381617">much more powerful and
memorable</a> because of their efforts.<o:p></o:p></p>
<p class="MsoNoSpacing">For three weekends beginning June 5, Ann Arbor’s Theatre
Nova and (the still-in) Ferndale’s Ringwald Theatre began “on-demand”
performances of the musical “A New Brain,” courtesy of Broadway on Demand. It can be accessed any number of ways online through June 20. The production is the best
of both worlds, as it’s staged as a play, but produced as a movie, which brings
the power of the performances up close and personal in a way that would never
happen sitting three (or 20) rows from the action. And that made all the
difference in how I responded to the production.<o:p></o:p></p>
<p class="MsoNoSpacing">Creator William Finn initially conceived “A New Brain”
not as a musical, but as a series of songs he wrote after being released from
the hospital following his near-fatal collapse on 45th Street in New York City.
After workshopping what started as a concert-style production, Finn teamed with
frequent collaborator James Lapine on the book, and together they merged the songs
with a storyline to create a 90-minute (or so) musical that launched
off-Broadway in 1998 for an almost five-month run.<o:p></o:p></p>
<p class="MsoNoSpacing">It’s a somewhat-autobiographical tale. Children’s
television songwriter Gordon Schwinn is frustrated creating silly songs for a
demanding adult man dressed as a frog. While having a not-so-pleasant lunch
with his best friend and agent, Gordon’s brain decides to painfully introduce
him to a heretofore-undiscovered arteriovenous malformation, sending Gordon
face first into his meal. Later, at the hospital awaiting brain surgery, Gordon
reveals his biggest fear: dying with his greatest song still inside his head.
And it just so happens that his boss, Mr. Bungee, still needs one more tune for
the next show. Immediately.<o:p></o:p></p>
<p class="MsoNoSpacing">There’s much more to it than that, with most of the plot and
story revealed through song rather than dialog. Sometimes, though, you might
scratch your head and wonder why a homeless lady keeps showing up, or why the
show occasionally feels like a patchwork of songs that kinda/sorta don’t feel connected.
Or why the characters seem a bit shallow, one-note or cartoony, with motives
that aren’t always clear.<o:p></o:p></p>
<p class="MsoNoSpacing">But none of that is the fault of Theater Nova or The
Ringwald. What they <i>are</i> responsible for, however, is director Vince
Kelley and his cast taking Finn and Lapine’s material and making it – well,
sing!<o:p></o:p></p>
<p class="MsoNoSpacing">And sing they do. Diane Hill as Gordon’s neurotic mother,
Mimi, has two numbers that sizzle. The first, “Mother’s Gonna Make Things Fine,”
is Mimi’s initial reaction to her son’s hospitalization. But with the
realization that Gordon’s surgery could be fatal – and outside her ability to
fix – she decides to head over to Gordon’s apartment and clean. It’s a
heart-wrenching performance, as Mimi’s emotions bubble up and explode – and it serves
as a reminder of just what a kick-ass actress Hill is in such roles.<o:p></o:p></p>
<p class="MsoNoSpacing">Then there’s Jamie Richards as Mr. Bungee, the tyrannical
producer and star of the children’s television show that employs Gordon as a
songwriter. One image burned into my memory bank is Richards as a contemplative
Mr. Bungee, sitting in his darkened studio, a cigarette dangling from his lips.
As played by Richards, his number, “Don’t Give In,” is especially revealing. (Richards
is another whose character work is always top-notch.)<o:p></o:p></p>
<p class="MsoNoSpacing">A pleasant surprise was the inclusion of popular actor
Steve DeBruyne in the production. His is a voice I could listen to all day, and
he has plenty of fun with the role of Doctor Berensteiner. And I absolutely laughed
out loud at an aside inserted into the script in which he plugs with a quick wink
and a nod his own theater company. (That would be The Dio – Dining &
Entertainment in Pinckney; check it out when it reopens.)<o:p></o:p></p>
<p class="MsoNoSpacing">Others in the cast are Jason Briggs as sympathetic (and
handsy) nurse Richard, who knocked me out in “Ain’t Misbehavin’” at the Jewish
Ensemble Theatre in 2019. Here, he’s the show’s comic relief and the lone voice
of compassion, and he lights up the stage whenever he’s the focus of a scene.
Arielle Crosby likely has the strongest, sweetest and most polished singing
voice in the show, and she’s a delight in the role of Lisa the homeless woman.
Alaina Kerr is perfectly annoying as the waitress whose jabbering helps
initiate Gordon’s attack, and later, as mean nurse Nancy. Then there’s Liz
Schultz as manager/best-friend Rhoda, a character who simply helps move the
story and songs along but doesn’t really contribute much of importance to the
plot. (It’s a fine performance in an otherwise un-notable role.)<o:p></o:p></p>
<p class="MsoNoSpacing">Most impressive, however are longtime friends and collaborators
Richard Payton as Gordon and Vince Kelley as Richard, Gordon’s boyfriend. The
two certainly up their already incredible game here, as we watch both
individually and together sort through their strained relationship and come out
better at the end. But be forewarned: Keep your Kleenex ready, as the power of
video closeups magnifies and personalizes their story far better than a stage
play ever could. As the saying goes, they “keep it real” – and as such, their
audience has ringside seats as the couple’s emotions seep through the lyrics
and dialog, and as a result they create real, struggling, and loving people we
can identify with as they work through a scary time in their lives.<o:p></o:p></p>
<p class="MsoNoSpacing">Staging, camerawork and editing are very good, with only
a few minor bumps and bruises along the way (mostly as one scene moves to the
next). But it’s a far superior viewing experience than any Zoom production I’ve
seen. And lighting effects are an especially notable part of the storytelling, particularly
when it comes to Mr. Bungee. (Pay close attention to find out why.)<o:p></o:p></p>
<p class="MsoNoSpacing">Will you be able to hum a tune from the show after
turning off your computer? Probably not. But you <i>will</i> remember the
journey of Gordon and Roger, thanks to Richard and Vince, who tug and tear your
heart before sewing it back together with performances both men should be quite
proud of.<o:p></o:p></p><br /><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2GGkAbfehks" width="320" youtube-src-id="2GGkAbfehks"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><p class="MsoNoSpacing"><b>SHOW INFORMATION: </b><span face="Calibri, sans-serif" style="font-size: 11pt;">Remaining show dates </span><i style="font-family: Calibri, sans-serif; font-size: 11pt;">on demand</i><span face="Calibri, sans-serif" style="font-size: 11pt;"> are June 12,
13, 19 and 20. Tickets are $25 per person. Purchase tickets <a href="https://www.broadwayondemand.com/channels/details/a-new-brain--theatre-nova" target="_blank">HERE.</a></span></p></div></div><b>FOR MORE INFORMATION:</b> <a href="https://www.theatrenova.org/" target="_blank">www.theatrenova.org/</a><br /><div><br /></div><div><b>Read a preview in Between The Lines:</b> <a href="https://pridesource.com/article/the-ringwald-and-theater-nova-to-release-a-new-brain-on-demand/" target="_blank">CLICK HERE!</a></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcFFEzJvshGQtTGL9sRdykVq-ibBT5icDX8sz8ff8-rb1IPhKqu1N3a0iazkpIMsXV8ubvB7-R3VBgV-FhaJ4sFXvYI8jm-3toWAaOlGzhbCFtiffcMJWoZT9kPef5q45mBVwAi_IC7A/s1677/Pic4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1023" data-original-width="1677" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBcFFEzJvshGQtTGL9sRdykVq-ibBT5icDX8sz8ff8-rb1IPhKqu1N3a0iazkpIMsXV8ubvB7-R3VBgV-FhaJ4sFXvYI8jm-3toWAaOlGzhbCFtiffcMJWoZT9kPef5q45mBVwAi_IC7A/s320/Pic4.jpg" width="320" /></a></div><br /><div><br /></div>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-52302342552230661872021-04-19T12:59:00.004-04:002021-04-19T13:01:15.759-04:00The Ringwald lovingly 'spears' entertainment icons in video murder-mystery<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFYpJMZHxW1i_zalfw7yhedNZPTsgDlE1JCQPW1nbPpd2cZFsYvZ1f_mUxMYSpK0nixOw6bCtUuTyOSEMGDiiw3gTaumhjXR0GBm6u7vXwBw1XUtJOtoNgt4opJDsmJhB2kmDW2pAp63g/s2048/MurderShePodcast-Ringwald-4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFYpJMZHxW1i_zalfw7yhedNZPTsgDlE1JCQPW1nbPpd2cZFsYvZ1f_mUxMYSpK0nixOw6bCtUuTyOSEMGDiiw3gTaumhjXR0GBm6u7vXwBw1XUtJOtoNgt4opJDsmJhB2kmDW2pAp63g/s320/MurderShePodcast-Ringwald-4.jpg" /></a></div><br /> Have you been missing visits to your local professional theaters as much as I have?<p>As the pandemic shutdown is now in its second year, theaters across the country are both hopeful that reopening day is not far off, yet fearful their very existence may be in jeopardy before that much-anticipated. For some theaters, this has meant going totally dark and off the radar until it’s safe to invite guests back into their facilities; companies such as Theatre Nova, Open Book Theatre and a handful of others, however, have embraced 21st-century technology and created occasional video and zoom productions to stay connected to their patrons.</p><p>And while watching plays on a TV or computer screen isn’t as intimate or as fun as sitting mere feet away from live actors in a darkened theater, tough times require innovation – but what does that means for the industry once the world returns to some semblance of normal? Unfortunately, we won’t know for some time to come. Will the habits of former patrons be changed to the extent that video will now be their preferred entertainment medium? Will customers be slow to return – if at all? Will a mix of live and recorded entertainment packages be the new “thing” for industry producers in the years and seasons to come?</p><p>We’ll see. But for now I’m thrilled to get my occasional fix from producers such as The Ringwald Theatre, who continue to offer patrons what they do best and with the talent audiences have grown to love, with only the medium and the method of delivery changed.</p><p>So what little treat do the creative and innovative folks at The Ringwald have in store for us this time? How about an original comedy that oddly (but successfully) combines one of TV’s most beloved sleuths and a troubled pop star in a tale that could have been ripped from supermarket tabloid headlines, “Murder, She Podcast: Baby One More Crime.”</p><p>In a 21st-century update to the traditional TV whodunnit, famed mystery novelist Jessica Fletcher investigates the strange disappearance and possible murder of Brittany Spears - and once again her old friend, (former) Sheriff Amos Tupper, is at her side. Now, though, they are interviewing witnesses via the internet from inside her home in Cabot Cove where they are recording the latest episode of their weekly podcast series. Assisting them is producer Andrew Lark.</p><p>To be honest, much of pop culture flies below my radar, especially anything to do with Hollywood and recording artists. So I’m about as familiar with the trials and tribulations of this faded singing sensation as I am with the lives of my neighbors six doors down – meaning, I know their names and what they do for a living, but that’s about it. Yet, the well-plotted script by the returning team of Vince Kelley and Matthew Arrington provides all the details and background info I needed to follow – and enjoy – the story, thanks in part to the snark, asides and snappy quips that are quite useful in providing this necessary information. (And what’s said is often funny as heck, too!)</p><p>What also works extremely well is the use of technology to tell the story. As written, “Murder She Podcast” would never work as a stage play. And so director Brandy Joe Plambeck and video editor Dyan Bailey utilize the creative tools of modern-day videography to effectively move the plot along. Especially fun are Tupper’s dream sequences in which he ponders the details of each suspect’s role in the possible murder of Ms. Spears. (And that’s all I’ll reveal. Why ruin the surprise for you!)</p><p>Most impressive, though, are the performers. In typical Ringwald fashion, a few genders are bent to great effect, and together, each actor (bent or otherwise) takes the words the authors gave them, grabs them by their metaphorical balls, and has a blast delivering very memorable (and spot-on) characters.</p><p>That’s especially true of Donny Riedel as the “Leave Brittany Alone” girl, Chris Crocker. Compare his interpretation here to the video of Crocker you can find online and you’ll be even more amazed by his stunning performance.</p><p>Another standout is the infectiously delightful Nicole Pascaretta as bubbly and wide-eyed younger sibling Jamie Lynn Spears. I don’t know how close on the mark her portrayal is – remember, my knowledge of such people is almost nil – but I loved every minute she brightened my screen!</p><p>Also loads of fun is regular Ringwald character actor Joel Mitchell, who is pitch perfect (isn’t he always?) as hardware store cashier Gene Smart, who just might have some light to shed on a purchase that could lead to identifying the killer. And Cory Shorter is delicious as Brittany’s hairdresser, Jeffrey Bean, who <i>may</i> reveal a heretofore secret that could help crack the case. Or maybe not.</p><p>Then, of course, there’s Richard Payton, once again donning dress and wig, this time as Jessica Fletcher; Joe Bailey as Cabot Cove’s beloved Sheriff Tupper (seasons one through four only, though, as Jessica reminds him); and Suzan M. Jacokes as put-upon producer Andrew Lark (who often accomplishes more with a devastating expression than any word ever could). These three are a seamless team, each playing to the others’ strengths and obviously having a ball doing so!</p><p>And as a result, I had one heck of a ball, as well!</p><p>But there’s one more performance I’ve yet to mention, and I’ve saved the most intriguing for last. Of all the actors one could think of to play Brittany Spears, the choice by director Plambeck is one that would never appear on most anyone’s list – not even in the last, oh-hell-no position. Yet the decision to cast Dave Davies in the role was a brilliant one. Not only is he one of the funniest, most talented and nicest guys you’d ever want to know, I’ve now learned you <i>can</i> “doll him up” and make an amazingly cute girl out of him! The only crime committed here was that we didn’t see more of her.</p><p>Oh - and one final note: As every movie seems to do these days, make sure you stay tuned after the credits for a bonus presentation. It's an original music video, and you'll <i>love</i> it!</p><p>* * * * *</p><p><b>SHOW INFORMATION:</b> Tickets for <i>Murder, She Podcast: Baby One More Crime</i> are available at <a href="http://www.theringwald.com">www.theringwald.com</a> at three different giving levels: $20, $50, and $100 and can be purchased now through Sunday, May 2. The performance will be available to stream through May 10. Once you purchase your ticket, an email will be sent to you which will include links for <i>Murder, She Podcast: Baby One More Crime</i> and a virtual program. The video is hosted on Vimeo. You can watch on your phone/computer/tablet or, if you have the capability, you can stream the production to your smart TV.</p><p><i><b>NOTE:</b> "Murder, She Podcast: Baby One More Crime" was developed prior to the release of the Framing Britney Documentary. The Ringwald firmly stands in support of the pop icon, and shares this piece of art with love and affection.</i></p><p><b>PHOTOS</b>: Jessica Fletcher (Richard Payton) investigates the mysterious disappearance of Britney Spears in "Murder, She Podcast: Baby One More Crime," available to stream virtually from April 16-May 2, 2021. Photo by Brandy Joe Plambeck.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-svg0JhaeoeJS8yX6kJQZhjP2PjdIJcJIGIrUWLGoKn_w7V3nCwbyjNklLJt8kQRfFtm_bB43VwLtd6DnB3FTqNADeGxS96FFxYaciLZZAFY3pKBEOdYY5N-OqH4y6YYkEibOpkjAylk/s2048/MurderShePodcast-Ringwald-1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-svg0JhaeoeJS8yX6kJQZhjP2PjdIJcJIGIrUWLGoKn_w7V3nCwbyjNklLJt8kQRfFtm_bB43VwLtd6DnB3FTqNADeGxS96FFxYaciLZZAFY3pKBEOdYY5N-OqH4y6YYkEibOpkjAylk/s320/MurderShePodcast-Ringwald-1.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-46029655935737942892020-12-17T16:34:00.001-05:002020-12-17T16:34:50.187-05:00Have yourself a merry little parody<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTvTqiH6dYeTdbMhyphenhyphenzGqW7rii9pevDRMWmXR9-v0I3d8kZYoxeih_6aIy8EfWu286B2G_5XG52ZwnUMmUWqaWrNbkE2XRJwgM5fo1l48Y8RQBW6f4JwhnD4LY9BqEGptjyM15JpGTVfQ0/s2048/Misery_Ringwald_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTvTqiH6dYeTdbMhyphenhyphenzGqW7rii9pevDRMWmXR9-v0I3d8kZYoxeih_6aIy8EfWu286B2G_5XG52ZwnUMmUWqaWrNbkE2XRJwgM5fo1l48Y8RQBW6f4JwhnD4LY9BqEGptjyM15JpGTVfQ0/s320/Misery_Ringwald_2.jpg" width="320" /></a></div><br /><p></p><p>For many a year, the Christmas holidays don’t seem like Christmas without a visit to Ferndale’s Ringwald Theatre, where merry thespians deliver the best presents one could hope for: the gifts of laughter and great memories. But 2020 was beginning to look like anything BUT Christmas when a grinch-like pandemic stormed in and ruined everyone’s plans. Then, as if to double down, things went from bad to worse when The Ringwald announced the doors to its longtime home on Woodward Avenue would be permanently shuttered. So what’s a fella to do to get his holly, jolly holiday fix this year?<br /><br />Why, log onto the internet, of course! That’s where you’ll find “Have Yourself a MISERY Little Christmas,” the final production staged inside The Ringwald’s 14-year home. And what you’ll discover is a carefully crafted parody of the 1990 thriller based on a Stephen King novel that starred James Caan and Kathy Bates – but with the many unexpected twists, turns and tweaks one has come to expect from the mirth makers at The Ringwald.<br /><br />In this version, written by Matthew Arrington and Vince Kelley (and unauthorized, as you might imagine), it’s not romance novelist Paul Sheldon who finds himself caught in a blizzard, seriously injured in a car crash, and kept prisoner in the home of nurse Annie Wilkes who claims to be his number one fan. Rather, it’s Santa and Blitzen who crash and Annie Willis who finds them – and, similar to her movie counterpart, her nursing care comes with a price: Santa must rewrite his Naughty and Nice List to her satisfaction. Or else.<br /><br />Why? All becomes clear as the story proceeds. But I’ll just say this: She ain’t the nice, sweet, innocent fan she appears to be!<br /><br />If this doesn’t sound like the typical, sappy and uplifting Christmas tale we’ve become accustomed to on the Hallmark Channel, you’re right! Instead, it’s a highly entertaining comedic thriller as only the talented crazies at The Ringwald can do it, and it serves as a memorable way to pay tribute and say goodbye to a beloved performance space.<br /><br />But more importantly, “Have Yourself a MISERY Little Christmas” is but one example of the battle Metro Detroit’s theater community is fighting to stay alive in the era of COVID-19. With live, in-person performances banned for the foreseeable future, producers and performers are dreaming up new and inventive ways to stay in touch with their patrons and – hopefully – generate much-needed cash to pay the bills that continue to flood their mailboxes.<br /><br />For some, that meant experimenting with Zoom productions. However, unless high-quality internet connections were used by all participants, these often were disjointed and frustrating to follow. Plus, it’s not easy for actors to create characters and build relationships between and among them when the performers may be thousands of miles apart and technical issues interfere with the flow of the action.<br /><br />So it was with great relief to see that director Brandy Joe Plambeck and director of photography Jake Turner went a different route and planned their production as a full-blown movie shoot rather than a staged reading or a filmed play. For a low-budget flick, the cinematography and film editing are excellent. And whatever the budget couldn’t pay for, creative replacements were found (such as puppetry and green screens).<br /><br />The script, which tracks the movie up to a point, is filled with everything The Ringwald is celebrated for. From sharp double-entendres to silly puns, cross dressing to political jabs, they’re all here – mixed with high drama and big laughs throughout. But it’s the performances that make the production especially fun.<br /><br />Anytime artistic director Joe Bailey and audience-favorite Suzan M. Jacokes appear together on stage, the result is guaranteed to be theatrical magic – and “MISERY” is no different.<br /><br />Although Bailey’s version of the Jolly Old Elf is definitely “R” rated in this production, it’s a role he could play for the rest of his life, his charm and charisma are THAT convincing. In addition, his dramatic and comedic chops get great workouts, as both his solo moments and when he’s teamed with his greatest nemesis (and biggest fan) are finely executed. (That’s probably not the best word for this, but what the hell; you get the point.)<br /><br />And if there’s anyone who can switch from naughty to nice and back again in a flash, it’s Jacokes. With great skill and timing, her mood swings as Annie are terrorizing and priceless. (Also priceless is her work with the pig. And no, I’m not name calling here; there really IS a real, live, living and breathing oinker in the movie – and the hungry critter wants as much screen time as he can get.)<br /><br />Together, the two are a formidable team and an absolute joy to watch.<br /><br />Even the supporting actors are in on the fun. Dyan Bailey as the sex-driven booze-hound Mrs. Claus provides many of the production’s lighter moments. And Phoenix Eldridge as head-elf and gay heart throb Twinkleberry sets hearts atwitter everywhere he goes in search of Santa. (Even Santa’s missus wants a piece of him!)<br /><br />And then there’s the delightful Vince Kelley, who triples as costumer designer. It wouldn’t be a Ringwald finale without SOMEONE playing their opposite gender, and few do it better than Kelley. This time he’s a classy Lauren Bacall – yes, THAT Lauren Bacall, because she was in the original movie. She’s in charge of production at Santa’s Workshop, and she’s not happy with her slacker boss this holiday season – and with good reason.<br /><br />If there’s one thing that’s disappointing, though, it’s this: We don’t get to see Joe Bailey and Jacokes struggle to stay in character when one does something to tickle the other’s funny bone. That’s always a delight and a highlight of any comedy in which these two appear, but here their performances are done “straight.” At least there are outtakes included at the end of the film, but they’re not quite the same as the spontaneity of live theater.<br /><br />Here’s hoping live theater returns soon, and The Ringwald finds a new home that will allow them to keep making Christmas memories like this for many seasons to come.</p><p><br /><i>(Included with the price of every ticket is “The Ringwald Christmas Cabaret,” a virtual holiday-themed treat that features singers Kryssy Becker, Alisa Marie Chirco, Jordan Gagnon, Dante Hill, Christopher Kamm, Vince Kelley, Richard Payton and Matthew Wallace with accompaniment by Jeremy St. Martin.)<br /><br /><br /></i><b><i>ABOUT THE SHOW</i></b>: Tickets for “Have Yourself a MISERY Little Christmas” are available at three different giving levels: $20, $50, and $100. Tickets are currently available at <a href="http://theRingwald.com"><b>theRingwald.com</b></a> for performances that will stream in December. With every ticket purchased between now and Dec. 31, a link will be sent to enjoy the show. Appropriate safety precautions were observed during the filming of both events.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQPs_MI9qjniJy6HkCoxGCRW5L8kSI-q5eVnNmzvmq77n1s8fdPalvGtbSR90RtqsJfBNQI48qXQ6JKTSRm3TrYdTn-NenSaXKCdcKpccfHlgSD3-e0ODBSXjI3sakI1UIOhkOrAQxfg/s2048/Misery_Ringwald_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1413" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBQPs_MI9qjniJy6HkCoxGCRW5L8kSI-q5eVnNmzvmq77n1s8fdPalvGtbSR90RtqsJfBNQI48qXQ6JKTSRm3TrYdTn-NenSaXKCdcKpccfHlgSD3-e0ODBSXjI3sakI1UIOhkOrAQxfg/s320/Misery_Ringwald_1.jpg" width="320" /></a></div><br /><div><br /></div>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com1tag:blogger.com,1999:blog-8500035372859157853.post-58940053525334960332020-06-22T15:53:00.001-04:002020-06-22T15:53:45.202-04:00Can't attend live theater? Then watch 'A Quaran-Teeny Parody' in your own home (and you decide the ticket price)!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7yyqBLNDHER5tokNYFLCL4lpOLXEtRw_vFSbH22pe3FAWmXugn-Ft5PN2x3cPAj9INVzCIjZ3F65twY_PVHD8j7h52_LzE6yxzYL4pQE_rhHSAJ7rC91PB9PpuGuG_KQFLXogWpqQxs/s1600/103251206_10157368043406769_2483399421194430443_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1056" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7yyqBLNDHER5tokNYFLCL4lpOLXEtRw_vFSbH22pe3FAWmXugn-Ft5PN2x3cPAj9INVzCIjZ3F65twY_PVHD8j7h52_LzE6yxzYL4pQE_rhHSAJ7rC91PB9PpuGuG_KQFLXogWpqQxs/s320/103251206_10157368043406769_2483399421194430443_o.jpg" width="320" /></a></div>
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As I’ve said (and written) several times over the past
two decades, when times get tough, thespians get creative – and that’s
certainly been true since the country shut down and theaters went dark.<o:p></o:p></div>
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With their spring seasons cut short and most summer shows
canceled, producers were faced with having to figure out ways to meet the unexpected
challenges of paying bills and generating revenue with their doors closed. And
how do you keep engaged with an audience who can’t come visit you?<o:p></o:p></div>
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One venue, Ferndale’s Ringwald Theatre, decided to address
these questions by doing what they do best: make people laugh – but through a
series of original short videos rather than a summer season of plays. And they
couldn’t have picked a better start for their Summer Shorts than with “The
Golden Girls: A Quaran-Teeny Parody,” a follow-up to their smash-hit holiday
production, "A Very Golden Girls Christmas!" (It was sold out so often that I never did get to see
the show!)<o:p></o:p></div>
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Here’s how The Ringwald describes the video:<o:p></o:p></div>
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<i>Have you wondered what Dorothy, Blanche, Rose, and
Sophia are up to during quarantine? Well, wonder no more because we’ve got the
lockdown lowdown! Stream the hilarious Golden Girls short from The Ringwald
Theatre featuring the cast from the 2019 smash hit, “A Very Golden Girls
Christmas.” Name Your Own Price and watch it today <a href="http://www.theringwald.com/productions/golden-girls-quaran-teeny-parody/" target="_blank">online</a>!</i></div>
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<i>This all-new stay-at-home special, written by Vince
Kelley and Matthew Arrington, reunites the main cast of the holiday hit. Andy Fillmore,
Christopher Kamm, Richard Payton, and Brandy Joe Plambeck reprise their Golden
roles with a special appearance by director Dyan Bailey as Stan.<o:p></o:p></i></div>
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<i>The Girls discover that February 2020 was a bad time
to take separate vacations. Quarantined in locations around the country, they
catch up over a Zoom call and share their caustic (and often hilarious) takes
on the state of the pandemic. Can cheesecake be far behind?<o:p></o:p></i></div>
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Of course there’s cheesecake! And after viewing the short
film, I’m kicking myself for not begging, cajoling or even grabbing a ticket to
the Christmas show from some unsuspecting patron walking up to the theater! (Why?
The performances are spot on, I laughed and laughed, and it ended too soon and
left me wanting more! What better endorsement can there possibly be?)<o:p></o:p></div>
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So if you’d like to help keep open a Metro Detroit treasure
once the country flings open its doors, please consider purchasing a ticket to “The
Golden Girls: A Quaran-Teeny Parody” sometime before July 3 (you name the
price!) and then watching it in the comfort of your very own home. You’ll be
glad you did, and The Ringwald will be very appreciative of your support!<o:p></o:p></div>
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<b>SERIES DETAILS AND HOW TO PURCHASE A TICKET TO WATCH THE SHORT
FILM:</b> In response to the COVID-19 crisis and the mandatory temporary shuttering
of its space, The Ringwald Theatre takes its gifts to the streaming world with
a new summer program: Camp Ringwald presents Summer Shorts. Throughout the
summer, a series of short films will be created with access available online.
The Summer Shorts program will allow the theatre to maintain a revenue stream
while also keeping engaged with its audience. First up: “The Golden
Girls: A Quaran-Teeny Parody.” This all-new stay-at-home special is available
for purchase NOW through July 3, 2020. Click <a href="http://www.theringwald.com/productions/golden-girls-quaran-teeny-parody/">HERE</a> for tickets and information.<o:p></o:p></div>
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-28920618585920235182020-02-27T15:50:00.000-05:002020-02-27T15:50:20.614-05:00Middle schoolers experience life as they dance their way to womanhood<div class="separator" style="clear: both; text-align: center;">
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Ah, the good ol’ days!</div>
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It was only a couple of decades ago that I spent a handful
of nights twice a year assisting a friend who owned a popular suburban dance studio.
It was always on recital nights, and I was stationed in the green room where
the young dancers were housed before, during and immediately after each
performance. The participants – mostly girls, but sometimes a boy or two would
be found in the mix – ranged from the wee little ones to older teens, and it
was my job to keep them safe, soothe the lonely and the tearful, and to
intervene when a situation required a grownup. It was mostly an easy gig, as the
boys would goof around amongst themselves and the girls would self-segregate
into various cliques based upon age, dance number and various other criteria (which
I often couldn’t figure out). The one commonality among them was this: They generally
ignored me unless my services were needed. That allowed me to lurk in the
background and absorb the multiple conversations buzzing around me. Most were
silly (from a grown-up point of view, of course), while others were what you’d
expect from young girls and blossoming teenagers. And, almost on cue, the
occasional Mean Girl surfaced to cause momentary mayhem. But as I said, it was
an easy and mostly fun gig. (I had more problems with parents than I did with
their kids!)<o:p></o:p></div>
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Apparently, however, times have changed – dramatically – as
the 13-year-olds in The Ringwald’s current production of “Dance Nation” are
nothing like the innocent, sweet-talking girls of yesteryear. But that’s OK, as
Clare Barron’s script delivers an innovative mix of warmth, charm and raging hormones
– topped off with an appropriate serving of teenage Sturm und Drang, of course –
that sheds light on what it’s like for girls to grow up in 21<sup>st</sup>-Century
America. But be forewarned: She also socks you with a few shocking, “what-the-fuck”
moments that will likely cause you to scratch your head and wonder what the
hell she was thinking.<o:p></o:p></div>
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Yes, that’s MY kind of theater!<o:p></o:p></div>
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It’s competition time, and under the watchful tutelage of
Dance Teacher Pat, a troupe of eight 13-year-olds (seven girls and one boy) are
heading toward the first of what they hope will be a string of wins that will
lead to the coveted nationals in faraway Tampa, Florida. They have a lot to
live up to: A former member was discovered there and went on to dance on Broadway.
(Her photo on the wall of the studio is looked upon as if it’s a religious icon.)<o:p></o:p></div>
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With the first stop looming, it’s time to perfect the
number they’re taking on the road – and the big question is: Who will play the
lead: the uber-talented Amina? Or her best friend, the hard-working Zuzu? And
will the choice be good enough to push them all the way to the top?<o:p></o:p></div>
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Trust me: That’s only the skeleton upon which the meat of
the play is built. As Barron’s story unfolds, she veers into a series of individual
vignettes or monologues in which the dancers share their secrets, fears, hopes,
dreams – and even their futures. It’s here that their inner-most selves are
stripped down and revealed. And it’s through the girls that we discover the deep
and sometimes dark complexities and uncertainties of growing up in modern-day
America and navigating life’s minefields on their way to womanhood.<o:p></o:p></div>
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So how can 13 year olds pull this off, you might be
wondering? They don’t. (There’s nudity in the play, so that’s a <i>good</i>
thing! And lots of words the kids use would have resulted in a soapy mouth washing
when I grew up.) Barron’s concept is designed for adults of any age to play the
teens. Therefore, director Brandy Joe Plambeck placed three seasoned and
formidable veterans into the show who quickly make us forget their age
differences. Karen Kron Dickson (who I’d love to see on stage more often) is
Vanessa, but after a quick opening scene she quickly morphs into every mom the
script requires – and she successfully makes each of them distinct from one
other (not an easy task). Melissa Beckwith is Zuzu, always number two but never
the queen, with a performance that will tug at your heart. And Linda Rabin
Hammell as Maeve, the least talented of the dancers, has a blast reveling in
her youth.<o:p></o:p></div>
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Equally up to the challenge is a talented troupe of
younger performers, each of whom creates a believable, strong, unique and
powerful character. As with their more experienced partners, it takes only
minutes to shed any disbelief regarding their ages, and together they work
extremely well. Maya Gangadharan, Asia Marie Hicks, Rashna “Rashi” Sarwar, Katy
Schoetzow and Matt Wallace deserved all the loud applause they received on
opening night.<o:p></o:p></div>
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And then there’s Joel Mitchell as Dance Teacher Pat, a
role that proves he really <i>can</i> play just about anything and excel at it –
especially characters you’d never envision him tackling.<o:p></o:p></div>
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Choreography by Geri Elise Conner is exactly what one
would expect of a middle-school-aged dance troupe of varying skills and talent.
Costumes by Vince Kelley help define each character.<o:p></o:p></div>
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If there’s a flaw it’s a minor one with the script: A
couple of monologues are a bit too long, with the added time not contributing
anything of substance to the character or the story.<o:p></o:p></div>
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But that didn’t stop me from chewing on and mulling over what
I’d seen – which is a sign that the playwright, director, actors and
technicians all did their jobs extremely well.<o:p></o:p></div>
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And I can’t help but thank my lucky stars that I’m
neither a 13-year-old girl nor holding down the fort in a 21<sup>st</sup>-century
dance studio. I’m not sure I’d survive either!<o:p></o:p></div>
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<b>Dance Nation continues at The Ringwald Theatre in
Ferndale through March 16. <a href="http://www.theringwald.com/productions/dance-nation/">CLICK HERE</a> for complete details!</b><o:p></o:p></div>
<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-19710896200570692562020-02-07T15:09:00.000-05:002020-02-07T15:09:16.699-05:00No psychos at Tipping Point: A night of plain old fun spoofing Hitchcock<div class="separator" style="clear: both; text-align: center;">
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Looking for something to do one of these weekends? If so, I highly recommend “The 39 Steps” at Northville’s Tipping Point Theatre. It’s an amazing blend of stagecraft wizardry and top-notch performances by some of the area’s most notable talent.<o:p></o:p></div>
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In this spoof of the Hitchcock classic thriller, four actors recreate the story of a British citizen who finds himself having to prove his innocence after accidentally becoming embroiled in a murderous plot to steal military secrets. Set in the 1930s, no stone is left unturned by producing artistic director James R. Kuhl in wringing every possible laugh out of a project that has more challenges than one would think possible when converting a complicated film masterpiece into a small-cast, noir-ish stage comedy. But I suspect the award-winning filmmaker himself would likely be quite pleased with the creativity Kuhl and his gang put into this endeavor. And rightfully so.<o:p></o:p></div>
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Because I’ve seen other productions of Patrick Barlow’s award-winning script in recent years, I knew what to expect. But I also knew that – with a string of highly successful and entertaining shows under its belt – Tipping Point’s production would be well worth my time. So the allure for me, to be perfectly honest, was the reteaming of audience (and personal) favorites Dave Davies and Wayne David Parker in the demanding roles of pretty much every character in the story – both male and female of varying ages and ethnicities – with but few exceptions. Together, the two have become one of the area’s most legendary comedy duos, and with “The 39 Steps,” they’re given ample opportunities to remind us why. May they bring us laughter and tears of joy for many years to come!<o:p></o:p></div>
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But this is not a two-person show. Aiding with and adding to the mirth and merriment is Andrew Papa as the story’s hero, Richard Hannay. Papa has the uncanny ability to seemingly control every muscle in his face and body in order to create the tightest and most physically expressive characters possible. (I’d gladly pay to watch him portray the superheroes Plastic Man, Elongated Man or Reed Richards of the Fantastic Four in a DC or Marvel movie anytime; he’d be excellent!) And those skills are put to great use in this production. One scene in particular – a train ride with Davies and Parker – is especially noteworthy, as it allows Papa to use every trick and skill at his disposal to create a memorable scene and character.<o:p></o:p></div>
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Not to be outdone, Sayre Fox has the challenge of bringing to life three of the story’s female characters. All are totally different – a femme-fatale Russian secret agent, an innocent British train passenger, and the wife of a Scottish farmer – yet Fox nails them all. Each is distinct; her comic timing and body language are tools she yields with perfection.<o:p></o:p></div>
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Of equal importance is the environment in which these characters live and breathe. Upon entering the theater I was immediately struck by the set, which reminded me of an old-timey, dead-end back alley in a secluded downtown business district where murder and mayhem were on the daily menu, but mixed with the modern-day, metal-infused industrial look that has gained popularity in recent years. Springing from the always-amazing mind of scenic designer Monika Essen, the set is awash in complementary and striking colors by lighting designer Neil Koivu, whose ability to focus your attention where it needs to be (and when) is nothing short of amazing. And when you add the sounds and music provided by Sonja Marquis into the equation (including both before the show and during intermission), the result is a vividly painted world perfectly suited to the story unfolding before you. (Stage manager Stephanie Buck and her assistant Marisa Soto deserve a nod, as well, for keeping the trains running on time and all the appropriate balls in the air.)<o:p></o:p></div>
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One last note: Don’t stay away if you’ve never seen the famous film on which the play is based. While having done so may help you appreciate the “Easter eggs” (or salutes to Hitchcock’s other movies) hidden in the show, they only add to the overall fun rather than take away from the experience. I suspect you’ll catch on, though, once these quick bits begin to pop up!<o:p></o:p></div>
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<i>The 39 Steps continues at Tipping Point Theatre, Northville, through March 8. Click <a href="http://here/">https://www.tippingpointtheatre.com/the-39-steps</a> for more details.<o:p></o:p></i></div>
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Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-23469857341056385652019-11-29T13:37:00.000-05:002019-11-29T13:37:39.908-05:00Some thoughts about opening nights – and my most recent one: Tipping Point’s ‘Every Christmas Story Ever Told…’<div class="separator" style="clear: both; text-align: center;">
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Attending opening-night performances used to be a regular
occurrence for me. Heck, weekly trips (and especially multiple trips each week)
to the theater were a routine part of my calendar for more than a decade. Such visits
are now a part of my past, however, so it was with a mixture of anticipation
and nostalgia that I attended my first opening night – “Every Christmas Story
Ever Told (And Then Some)” at Northville’s Tipping Point Theatre – in quite
some time.<o:p></o:p></div>
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To me, an opening night performance is always one filled
with a unique energy not felt at any other performance. Actors are both excited
to be in front of a paying audience for the first time (or first time at the
full price), but also nervous about remembering their lines and stage blocking.
And most everyone on stage is both eager and apprehensive about how the
audience will respond to certain moments in the story – and whether or not
certain “bits” will work as intended.<o:p></o:p></div>
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The house staff, too, often shares in both the positive
energy and insecurities exhibited by their onstage counterparts. Volunteers are
often learning where the seats are that match the numbers on patrons’ tickets,
while theater managers smile, greet and schmooze with their guests while
keeping their fingers and toes crossed hoping for a pleasant, problem-free
night.<o:p></o:p></div>
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So, yes: There’s an unrivaled uniqueness to opening
nights that can’t be replicated later in the run, which is why I always found
opening nights to be among my most favorite times at the theater. (The goodies
served afterward helped, too!) And my experience at Tipping Point two Saturday
evenings ago not only kicked off my holiday season, but made my return to an
opening night performance a thoroughly enjoyable one!<o:p></o:p></div>
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The experience began the moment my guests and I entered
the theater. We were barely in the door when we were greeted warmly by the box
office personnel, and later, by the ticket takers who were both friendly and
efficient. And the night concluded with an afterglow – more on that later – after
which there were plenty of goodbyes from the staff that still remained.<o:p></o:p></div>
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Sandwiched in between, of course, was “Every Christmas
Story Ever Told…,” which is exactly what the name implies: pretty much every classic
(or cheesy) holiday-themed TV special, movie, commercial, carole and storybook
tale ever written sliced, diced and filleted into a two-hour comedy that even Scrooge
would have found entertaining (albeit begrudgingly, of course).<o:p></o:p></div>
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Written by Michael Carlton with original music by Will
Knapp, “Every Christmas Story…” celebrates the holiday spirit – literally at
one point – by mixing memorable holiday moments and traditions into a Christmas
stew that’s part satire, part slapstick and part improv, with a side of good
cheer to tie it all together. Be forewarned, however: Shakespeare it ain’t
(although a similar version exists based on the Bard’s tales). Therefore, there’s
no deep, complicated or thought-provoking plot to follow, or characters with
complicated back stories to keep straight. Instead, the script is written for
three actors, each of whom plays whichever character is needed at any given
moment. And there are a million of them (or so it seems) who quickly come and
go throughout the performance.<o:p></o:p></div>
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Sound easy? It’s not. And that’s why a creative director
and a trio of skilled actors are necessary ingredients to pull it together and make
sense of it all. (It’s also why every production of this show you might see
over the years – as I have since 2006, I believe – will be significantly
different from one another.) And the Tipping Point production is well served in
this regard.<o:p></o:p></div>
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The production opens with a familiar face to Tipping Point
audiences, as Patrick Loos enters, pulling an old-fashioned street lamp
alongside him. In as serious a tone as he can muster, he begins with the
opening dialogue from the ever-popular Dickens’ “A Christmas Carole.” Only
seconds into the scene, however, he’s interrupted by Vanessa Sawson, who
refuses to do the show, since it’s been done to death and she’s bored by it.
(That’s not an exact quote, but you get the point.) They’re joined shortly by
Hope Shangle, and it’s now two against one. So after a short debate, they call
a truce: If the two women get to tell their stories in the first act, Loos can
get his wish with the Dickens’ classic in the second.<o:p></o:p></div>
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Sort of – with the resulting version a delightful, whirlwind
visit with the now-very-familiar characters as only these three can portray
them.<o:p></o:p></div>
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And that’s the secret sauce of this production: These
particular actors, along with director Sonya Marquis and her team of technical
folk, give the show its unique and colorful spin. And that’s because the script
was written in a way that allows them to rise to the challenge of interpreting the
work by combining their individual senses of humor and creative skills into a
product that can never be replicated in quite the same way.<o:p></o:p></div>
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That’s the magic of live theater in a nutshell: Not only
is every production unique, so too is every performance – with the resulting
experience gone, never to return, except for the memories it created.<o:p></o:p></div>
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Looking back a couple of weeks, then, my memories are of
an entertaining night out with friends that launched my holiday season with
plenty of laughs. (The show should <i style="mso-bidi-font-style: normal;">really</i>
be sizzling now!) And of a company that always knows how to treat its guests
well.<o:p></o:p></div>
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I can’t end this memory, however, without a tip of the
hat to the Gay Bakers (Richard Payton and Christopher Kamm) who provided the afterglow’s
scrumptious desserts. You didn’t hear this from me, but rather than limiting
myself to only one sugary treat, I went back for another. And another. And what
the hell, for a couple more before I finally said goodnight and left the
building fully satisfied that the evening not only met, but surpassed all my
expectations.<o:p></o:p></div>
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<b><i>'Every Christmas Story Ever Told (And Then Some)' runs now through December 22 at Tipping Point Theatre in Northville. For tickets and show information,</i></b> <a href="https://tix5.centerstageticketing.com/sites/tippingpoint6/event-details.php?e=370">CLICK HERE!</a></div>
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<span style="font-size: x-small;">Photo: Vanessa Sawson, Patrick Loos and Hope Shangle. Set design by Jared P. Cole.</span>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-64434659135630631462019-08-11T14:34:00.000-04:002019-08-11T14:34:00.811-04:00Brief thoughts about two more plays: 'Hug' at Tipping Point and MSF's 'Cyrano'<div class="separator" style="clear: both; text-align: center;">
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Although I wasn’t able to get to the Detroit Improv
Festival, I did up my count of shows I’ve seen in recent days by two – both of
which I highly recommend.<o:p></o:p></div>
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The first is “Anatomy of a Hug” at Northville’s Tipping
Point Theatre. Catching this show is well worth the price of admission (and
more) thanks to the amazing and emotional performance of Sandra Birch as a
woman with cancer trying to reconnect with the daughter who hates her guts. Dani
Cochrane as the resentful daughter is a wonderful ying to Birch’s yang, as she allows
us to share the personal roller coaster ride she takes while dealing with a
mother she never expected back in her life. She might even be a wee bit more
impressive as the object of Michael Lopetrone’s initially unwanted affection. Watching
how earnest he is at trying to connect with her – and how he handles her
constant rejection – proves yet again what a fine actor Lopetrone is. Completing
the cast is Tiffany Aisha King, who playwright Kat Ramsburg saddles with being
the character who enters at appropriate times to provide background details the
audience needs to make sense of the story and then offers guidance and support
to the characters to drive the plot to its conclusion. King raises the role
several notches by enriching her character with carefully blended compassion,
wisdom and understanding when needed. Director Beth Torrey cast well when
considering this role. Warning #1: Bring a hanky. Warning #2: Don’t try
unwrapping your candy in a totally quiet house as the plot is almost at its
climax; if you do (like the woman sitting in front of me did), you too will be given
dirty looks from people not only next to you, but also across the stage from
you. (From behind it looked like she eventually thought better of the idea and
dropped the candy back in her purse.)<o:p></o:p></div>
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Next up is a play I’ve seen different versions of over
the years, but now I’ve seen my favorite: “Cyrano de Bergerac,” courtesy of the
Michigan Shakespeare Festival. Yes, I know it’s not written by The Bard, but
artistic director (and director of “Cyrano”) Janice L. Blixt sneaks in a
different playwright every season, and her choice for this year was top notch! The
script is the 1923 adaptation by Brian Hooker, but Blixt snipped a bit here and
there, the result of which was a tight ride easily digestible for the audience
and much fun for the 15 actors who brought it to life. David Blixt stars at the
title character – he with the super-sized snout, if you remember your high
school English or lit class – and I suspect he’s having the time of his life
with the role. So too is the rest of the cast, as the show breezes by in what
seems to be far less time than what the clock indicates. This is a Cyrano whose feelings
and emotions are easy to read, thanks to the physical embellishments David
Blixt gives his lines; a quick glance here, a broad gesture there, a devilish
grin and a twinkle of the eyes are all expertly blended with the dialogue (his
or others) to deliver a Cyrano that won’t soon be forgotten. Others in the cast
are also colorful in their portrayals: among the many are the lovely and sexy Vanessa Sawson as Roxane,
the object of Cyrano’s affection (as well as that of at least two others); Robert
Kauzlaric as the villainous Comte de Guiche (another suitor, but married); Michael Morrow as
the handsome Christian de Neuvillette (the third and final suitor, unskilled and clumsy in the art of woo); and John
Lepard as Le Bret, a friend of Cyrano. But I couldn’t help but smile every time Alan
Ball entered the stage as Ragueneau, the baker with the jiggle in the
middle. I don’t think it’s possible for Ball to be
anything but excellent in any role he tackles. Also of note is the music
composition and design by Kate Hopgood, and the cool projections (which fascinated many in the audience) by Jeromy Hopgood.<o:p></o:p></div>
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<i>"Anatomy of a Hug" continues at Tipping Point Theatre in Northville through August 25. For complete show details,</i> <a href="https://www.encoremichigan.com/shows/anatomy-of-a-hug-07-25-08-25/">CLICK HERE!</a><br />
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<i>The Michigan Shakespeare Festivals production of “Cyrano de Bergerac” continues in rotating repertory at The Village Theatre at Cherry Hill in Canton through August 18. For complete show information, </i><a href="https://www.encoremichigan.com/shows/cyrano-de-bergerac-07-18-08-18/">CLICK HERE!</a><br />
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<span style="font-size: x-small;"><b>Captions:</b><br />Top: Vanessa Sawson, Lauren Grace Thompson, David Blixt<br />Above: Dani Cochrane, Michael Lopetrone, Sandra Birch</span>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-67926710746886573452019-07-31T15:21:00.000-04:002019-08-01T21:39:20.797-04:00Updated: WOW! What a week! My thoughts on what went down in the theater community, the cancellation of The Wilde Awards, and what should happen next<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-small;"><i>Corrected Aug. 1, 2019 at 9:36 p.m. See note at bottom for details.</i></span><br /><br />I’ve been asked by several people for my thoughts regarding the brutal controversy that erupted earlier this week that is still simmering throughout much of Southeast Michigan’s professional theater community. For the most part, I’ve stayed out of it – despite my name being tossed into the discussion a couple of times – and I’ve offered no public comments. (I did, however, “like” many comments on Facebook, in part to keep abreast of the ever-expanding and increasingly nasty threads.)<o:p></o:p></div>
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But with the news yesterday that The Wilde Awards show has been canceled this year – and with continuing inquiries regarding my thoughts on this latest wrinkle to the story – I decided to prepare this statement, which will be my only public statement on this entire affair. (For those of you who may not know this, I co-created the awards back in 2002.)<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">However, please keep this in mind as you work your way through what will be a significant chunk of your time (if you decide to stick with me till the end, that is)</i>: Because I know most everyone involved in this matter one way or another, some of whom for nearly two decades, my objective is not to assign blame or choose sides; there’s enough of that going around. Rather, it’s to offer a broader perspective than what I’ve seen all over that evil Facebook – and to be as honest about it as I can without naming names, directly pointing fingers at specific individuals, or violating confidences.<o:p></o:p></div>
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Finally, before we get to the nitty gritty, I want to be clear about something: Agree with me or not, I don’t care; my words and thoughts are not up for debate. I own them, plain and simple. But they’re based on first-hand knowledge from numerous discussions I’ve had over the past few years with various people involved on both sides of the argument.<o:p></o:p></div>
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Take a deep breath. Now dive in!<o:p></o:p></div>
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* * * * * * * * *<o:p></o:p></div>
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Since my official retirement from Between The Lines and EncoreMichigan.com in late 2014 – yes, I know, I was resurrected a couple of times since then, but stick with me here – I’ve been slowly pulling myself away from the theater community. Yes, I still see some shows (but not nearly as many as I did last year, for example) and I share my mostly brief thoughts about them on Facebook or on this blog as a way of helping theaters get some sorely lacking publicity. But unless I have an occasional lunch with an industry insider, chat with folks after a show or open an unexpected email, I’m pretty disengaged from day-to-day industry news.<o:p></o:p></div>
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What this means, then, is that I’ve paid little attention to The Wilde Awards since I last hosted the affair in 2016 and served as head wrangler in determining the nominations and winners the following year. And as deference to the new team taking over as producers and hosts, I declined all requests to attend the ceremony after my departure as host.<o:p></o:p></div>
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So while I spent 15 years nurturing the event (which was probably one or two years too many, in my honest appraisal), I’m of two thoughts on the matter of its cancellation.<o:p></o:p></div>
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The first is this: Once the awards were turned over to other caretakers, my emotional attachment to the event dissipated over time. It was now for others to guide, to grow, to change, or do with as they pleased. My only hope was they took it as seriously as I did and treated it just as well. In that regard, I was no different from a teacher whose students moved to the next level or a business owner who sold their pride and joy to another: I have fond memories of it, wish it well, but I moved on with no regrets.<o:p></o:p></div>
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Except for one. And here’s my other thought.<o:p></o:p></div>
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While The Wilde Awards were created to honor the best work produced by Michigan’s professional theaters, Jan Stevenson, Susan Horowitz and I had a second, equally important goal when we created the event – and that was to offer the professional theater community a night shared with the LGBT community in which rivalries could be put aside, old friendships could be re-established, new relationships could be forged and a fun time could be had by all. And to set the tone, my co-host its first two years was an up-and-coming young drag performer who wowed the audience (while at the same time re-establishing relationships with Detroit’s Mosaic Youth Theatre, which provided our mid-show entertainment).<o:p></o:p></div>
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While I was always fully aware that some people within the theater community didn’t take the awards seriously and couldn’t have cared less what I thought or what my fellow critics thought of their work, that didn’t matter. Our goal was to produce One Wilde Night for the community, and for the most part, I believe we succeeded more often than not, and sometimes we even surpassed it.<o:p></o:p></div>
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That became even more important as other media-related awards and awards shows bit the dust. We were the last awards standing for Metro Detroit thespians.<o:p></o:p></div>
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Now, with the cancellation of this year’s ceremony, yet another sad chapter in the history of our industry has ended. And that’s a damn shame.<o:p></o:p></div>
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And the cause? If you believe some of what I’ve read on Facebook and heard through other means, this week’s brouhaha was the result of nothing more than (in my very humble opinion, a poor excuse of) a review (that never should have seen the light of day). As an editor, I would never have allowed it to run as published.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">But that’s not the reason for all the turmoil.<o:p></o:p></i></div>
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And for the record, there’s no innocent victim here, either.<o:p></o:p></div>
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Rather, the review was the <i style="mso-bidi-font-style: normal;">spark</i> that ignited a long-simmering reaction by a members of the community that for the past couple of years has felt disrespected by the words and actions of the critic.<o:p></o:p></div>
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So – let me emphasize this point for the skimmers out there – <i style="mso-bidi-font-style: normal;">it was never about the review</i>. There was no single event that led to the launching of the bomb that followed; it was simply the culmination of several events over a period of time – and the artists involved decided they’d had enough. If you want to know the details, ask participants on both sides; you won’t find them here.<o:p></o:p></div>
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To be honest, I found some of the initial reactions and responses to the review to be quite creative. They were cryptic and fun and they tried to make delicious lemonade out of the published lemon. (In fact, many who responded to the posts hadn’t a clue what precipitated them, as names were never mentioned nor was the review or where it was published.)<o:p></o:p></div>
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But as usually the case in such situations, reactions became overreactions and tempers flared.<o:p></o:p></div>
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Then, once the open letter appeared, others with grudges piled on and the discussion got downright nasty. Equally predictably, misunderstandings occurred and things were said that shouldn’t have been. And a downright despicable text message was sent.<o:p></o:p></div>
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However, as I mentioned above, there are no innocents here: Defending yourself while calling the production reviewed a “shite musical” doesn’t do much to heal wounds, solve problems or move those trying to remain neutral to your side. Nor do snarky replies made from all sides of the debate.<o:p></o:p></div>
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Quite frankly, the result was a cluster fuck of a magnitude I haven’t seen in a long while. And unfortunately in situations like this, people chose sides without knowing all the details, which further added to the destruction.<o:p></o:p></div>
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So now that the damage is done and the carnage is being picked over by all sides of the debate, what happens now?<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">How about this, for starters; the rest is up to the industry:<o:p></o:p></i></div>
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#1: After a short cooling down period, how about both sides sit down and have an open, honest and emotion-free discussion to resolve their issues and disagreements. It won’t be easy or comfortable – and only two or maybe three representatives at most from the aggrieved theaters should participate. But there are real and important matters that need to be resolved, and the quicker this happens, the better.<o:p></o:p></div>
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#2: And how about anyone <i style="mso-bidi-font-style: normal;">else</i> with a valid concern do likewise? <i style="mso-bidi-font-style: normal;">If one side is open to talk, the other must step up to the plate or shut the fuck up.</i> And maybe if everyone approaches this like intelligent adults, everyone can move on and create great theater (and theater criticism) together!<o:p></o:p></div>
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#3: Personally, I <i style="mso-bidi-font-style: normal;">love</i> the idea discussed in multiple threads on Facebook about a pot-luck event for the community. However, in my now-45 years working in, consulting for and professionally observing Southeast Michigan’s professional theater community, I can honestly say it’s always been a fractious and fractured one – and this incident only serves to reinforce my view. So what I hope is this; take it for what it’s worth or ignore it, I’m fine either way:<o:p></o:p></div>
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(A) That a pot luck <i style="mso-bidi-font-style: normal;">does</i> take place, and it’s open to the <i style="mso-bidi-font-style: normal;">entire</i> industry, not to just a select few. Companies large and small, Equity and non-Equity alike should be invited, from all over the Metro Detroit-Lansing-Jackson-Ann Arbor corridor. It should be held in a central location that’s easy (relatively speaking, of course) for everyone to get to. And for heaven’s sake, include the improv community! Make this as diverse a party as you possibly can!<o:p></o:p></div>
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(B) If the pot luck <i style="mso-bidi-font-style: normal;">does</i> happen, anyone who reviews shows or is in the media should <i style="mso-bidi-font-style: normal;">stay the hell away</i>. Let this be a time where industry members can let down their collective hair without us vultures nosing around. The wall between us should be a tall and thick as reasonably possible.<o:p></o:p></div>
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(C) Don’t wait too long to have it. Based on personal experience, the end of August is the latest it should occur, as once the theater season gets underway, it becomes nearly impossible to get a large group of thespians together to do anything but stage a play. And, as one person noted on a Facebook thread earlier today, there IS a certain date that industry folk now have open! So get busy!<o:p></o:p></div>
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(D) And finally, have fun at the party! Forget all the shit that transpired this week, put rivalries aside, re-establish old friendships, forge new ones, party like there’s no tomorrow – and then go out and create a new season of innovative and exciting theater, no matter if there’s an award next year with your name on it or not.<o:p></o:p><br />
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<i><span style="color: #fff2cc;">CORRECTION: When my post initially appeared, it included
a sentence about a special 2017 Wilde Award I won and how I had never received the
plaque. (I didn’t attend the ceremony.) I made light of it by admitting to the
fact I still had in my possession a plaque for a winner the previous year,
noting it was a long story why. Well, guess what I found? The award – placed two
years ago in a box full of materials I prepared for that year’s critics meeting.
(The award was given to me following lunch a short time after the ceremony.) To
avoid tripping over the box, I placed it in my office closet with the intention
of going through it “in a day or two” to decide what to keep and what to toss. You
can probably assume what happened: Other stuff got piled on top of it, and it
was never given another thought. Until this evening when questioned about it.
So, yes, it’s probably a good thing I’m not reviewing anymore! In all
seriousness, I sincerely apologize to everyone involved – participants and
readers alike - for this regrettable error. Now I’ll go hang the plaque.</span></i><o:p></o:p></div>
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-45054357516673038662019-07-15T14:33:00.000-04:002019-07-15T14:33:57.971-04:00Some thoughts about: 'The Merry Wives of Miami' at Slipstream<div class="separator" style="clear: both; text-align: center;">
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Over my two decades of life as a theater critic, I’ve
seen directors take all sorts of liberties with the works of William
Shakespeare. While some were quite creative and entertaining, others caused me to
question the sanity of the artists involved in such a debacle.<o:p></o:p></div>
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So when I received promotional material recently from Ferndale’s
Slipstream Theatre Initiative promoting its next show, it
did what any good PR piece <i>should</i> do: It successfully lured me into securing
tickets for this past Saturday evening’s performance of “The Merry Wives of
Miami.” So, yes, I’m apparently a sucker for punishment, as the show’s concept disguises
The Bard’s popular comedy “The Merry Wives of Windsor” as an episode of TV’s “The
Golden Girls.”<o:p></o:p></div>
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It has the potential for disaster written all over it,
doesn’t it?<o:p></o:p></div>
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But based on past experience with Slipstream, I went in
with an open mind. After all, artistic director Bailey Boudreau and his creative
cohorts have had much success with other such oddball concepts.<o:p></o:p></div>
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This pairing, though, truly intrigued me, since it’s one
that seems far more logical than other Shakespearean experiments I’ve endured
over the years.<o:p></o:p></div>
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For starters, “Merry Wives” is The Bard’s only play set entirely
in England, in the middle-class town of Windsor. It features two wives,
Margaret Page and Alice Ford, who have great fun putting their husbands in
their place at the expense of the boastful Sir John Falstaff (previously seen
in the “Henry IV-V" dramas), who’s come to town and plans to woo the above-named
women.<o:p></o:p></div>
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Can’t <i>you</i> see Dorothy, Blanche, Rose and Sophia, sitting
in their Miami kitchen eating cheesecake, gleefully scheming to make a fool out
of Stan and one of his hair-brained schemes just like director Bailey did? As
any “Golden Girls” aficionado knows, this award-winning sitcom ran for seven seasons
on NBC beginning in 1985. Therefore, Bailey and his co-conspirators present
their tale as the opening episode of the imaginary eighth season. So then the question: How successful was the Slipstream team in smooshing
one well-known comedy into the other?<o:p></o:p></div>
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It may not be perfect, but it sure is fun!<o:p></o:p></div>
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For starters, other than the opening scene that sets the
stage for the audience – you can almost imagine Sophia saying, “Picture it: Miami.
1992” – the adaptation is primarily the unadulterated words of William Shakespeare.
His script is pared down to a 70-minute running time that focuses on
the comedy’s main plot. The resulting story makes sense; if you’ve never seen
the original, you won’t be lost for lack of what’s been cut.</div>
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Costuming by Tiaja Sabrie was spot-on perfect, which
immediately pulled me into the world of “The Golden Girls.” And whether or not
their costumes and wigs inspired them, I don’t know, but Luna Alexander, Jan
Cartwright, Linda Rabin Hammell and Mandy Logsdon surely looked their parts (Blanche,
Dorothy, Sofia and Rose, respectively) and carried themselves accordingly. Hammell
had great fun channeling Estelle Getty’s Sophia. Especially on target, though,
was Alexander, who perfectly captured not only Blanche’s body language, but
also her unique vocal characteristics, both of which flowed quite naturally
throughout the evening. (That last part wasn’t as easy for the other actresses,
though, as the voices of their counterparts are not nearly as distinctive, nor
is The Bard’s dialogue always easily manipulated in order to match the Girls’
personal rhythms.)<o:p></o:p></div>
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Of the men, Patrick O’Lear’s Falstaff was immediately
recognizable as badly toupee'd Stan, Dorothy’s ex-husband. And Ryan Ernst as the jealous Master
Ford played his role with the same glee and expertise as I’ve come to expect
from him.<o:p></o:p></div>
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Where the show stumbled, however, was
with the performances of some of the younger, less experienced performers. For
example, if a foreign accent is to be used, every word spoken must be clearly
and concisely enunciated and delivered at a speed at which it can be
understood. (This is true even when speaking typical American dialects, but doubly
so when not.) As such, talking too fast AND indistinctly renders the dialogue
nearly if not totally incomprehensible. Conversely, talking too slow can cause
the show’s pacing to come crashing down. And finally, it helps to have all your
lines memorized. All of this was such a problem that my guest – and he’ll kill
me for publicly saying this – actually made the decision to take a nap during
the show rather than to continue struggling to follow the plot, which had
eluded him up to that point. Yes, Shakespeare can be difficult sometimes for
our ears and brains to absorb, but thespians don’t need to complicate things
and make it worse.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
(As an aside, a running gag that I suspect goes over the
heads of many a patron actually earned a semi-loud groan/laugh from me. Hammell’s
character [Mistress Quickly] forgets a line, so she consults the script, which
she kinda/sorta hides and carries with her. In real life, Getty had trouble
remembering her lines, and so cue cards were strategically placed for her,
and she’d write her lines on various props she’d use. Unfortunately, Getty died
in 2002 from Lewy body dementia, an Alzheimer-like disease that may have
started during her time on the show. So is this simply an in-joke, a nod to the
reality of Getty’s experience on “The Golden Girls,” or just an innocent bit to have some fun with? Or is it not in good
taste? As someone who has observed the realities of dementia first hand, I can’t
decide on which side of the positive/negative divide this otherwise funny bit
falls.)<o:p></o:p></div>
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<br /></div>
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Music from the TV series used to move the audience in to
and out of scenes added to the overall concept.<o:p></o:p></div>
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<br /></div>
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<b>The Bottom Line: </b>While it’s certainly not one of
Slipstream’s best productions, “The Merry Wives of Miami” – with some much-needed
clean up and polish – has the potential to become a very entertaining night out
at the theater.<o:p></o:p></div>
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<br /></div>
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* * * * *</div>
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<br /></div>
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"The Merry Wives of Miami" runs through Aug. 4. For complete show details, <a href="https://www.encoremichigan.com/shows/the-merry-wives-of-miami-07-12-08-04/">CLICK HERE!</a></div>
<br /><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZtgaOxl8nfa-li3ZsW_rHAox_Xk51Sc7zmb7OwB-FoFP1m7lV_7Qt5FNptgkjXZ3P9R00mY0pzUYfeUJpZ2YRv4DX0dKXG2XdT4P1CZI-gorxydfvkLiC53ZeMDjOsVdUqSRk8JXHDoY/s1600/Merry+Wives_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1274" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZtgaOxl8nfa-li3ZsW_rHAox_Xk51Sc7zmb7OwB-FoFP1m7lV_7Qt5FNptgkjXZ3P9R00mY0pzUYfeUJpZ2YRv4DX0dKXG2XdT4P1CZI-gorxydfvkLiC53ZeMDjOsVdUqSRk8JXHDoY/s320/Merry+Wives_3.jpg" width="254" /></a></div>
<br />
<i><span style="font-size: x-small;">Photo credits: Jan Cartwright Photography</span></i><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">Top: Jan Cartwright, Mandy Logsdon, Luna Alexander</span><br />
<span style="font-size: x-small;">Bottom: Linda Rabin Hammell</span>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-81099759184756695292019-06-08T09:45:00.001-04:002019-06-08T10:44:17.153-04:00Some thoughts about: 'Funnyman' at Tipping Point Theatre<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG1txgVO-BtVK9GsQHPoWkgPFPQxFu1lpzK02GJKySEU-rl_Dw_NSTq56AUZiwzKXMo-NUliEBEP3l_HEVtqdup-wS4E8sbKk4EQh59xjvDsMDIlXtJCMRKqNl6cbfmCNCS_gvZ38XBDY/s1600/Wayne+David+Parker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1294" data-original-width="1546" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG1txgVO-BtVK9GsQHPoWkgPFPQxFu1lpzK02GJKySEU-rl_Dw_NSTq56AUZiwzKXMo-NUliEBEP3l_HEVtqdup-wS4E8sbKk4EQh59xjvDsMDIlXtJCMRKqNl6cbfmCNCS_gvZ38XBDY/s320/Wayne+David+Parker.jpg" width="320" /></a></div>
<br />
I went into the opening night performance of “Funnyman” at
Northville’s Tipping Point Theatre knowing next to nothing about the play but expecting top-notch performances from those whose work I’ve observed
and respected for years – or in one case, several decades. By night’s end my
anticipation was not only confirmed, but surpassed.<br />
<br />
In lesser hands, a story about a funny man whose life was
anything but could easily be played overly broad. Director James R. Kuhl avoids
that temptation like the plague, however, giving plenty of room to Wayne David
Parker to explore the boundaries of his character, a once uber-popular comedic
actor whose time has passed. A true gem of our theater community, Parker skillfully
plumbs his emotional depths to explore the inner workings of a truly talented
star whose onscreen and in-person theatrical antics made generations laugh, yet
little did they know he was haunted by his past. (This was true of a number of well-known
and beloved “clowns” of entertainment history.) It’s a depiction that can’t
help but make one realize that there’s more behind an actor’s performance or
public persona than we realize – that what we see on screen or on stage is only
what the actor allows to share with us. And what’s behind the laughs might not
be pretty. Parker navigates both – and the transitions from one to the other – exceptionally
well.<br />
<br />
“Funnyman” is not a one-person show, and Parker
is surrounded by fellow onstage dynamites.
Ryan Carlson – always a major stage presence, especially in meaty
dramatic roles – defies type as persnickety director Matthew Baroni, who has
cast Parker’s Chick Sherman in his latest play against his better judgement.
Then there’s Brandy Joe Plambeck, who lights up the stage the second he enters
as playwright Victor La Plant and never dims; you can’t help but love the
character. And in my head, I keep thinking of John Lepard’s Milt Karp, Chick’s
longtime friend and agent, as the adult in the room, a role he plays to
perfection.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WpiqdY6C7xk4ScmQNcaMI6ZImn9mYfrWYk4v-NlxGG60_LEcf7gyAmCNsV6GLP_gWcAwKYAzQz8DVquaQrS3MZI_A5qX7KR6drcwFvS5bAWj_oKtSnlCYlp6YOZpuEYl2x-Q3XRBLCo/s1600/John+Lepard_Ryan+Carlson.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="633" data-original-width="704" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8WpiqdY6C7xk4ScmQNcaMI6ZImn9mYfrWYk4v-NlxGG60_LEcf7gyAmCNsV6GLP_gWcAwKYAzQz8DVquaQrS3MZI_A5qX7KR6drcwFvS5bAWj_oKtSnlCYlp6YOZpuEYl2x-Q3XRBLCo/s320/John+Lepard_Ryan+Carlson.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Lepard and Ryan Carlson</td></tr>
</tbody></table>
Completing the cast are two others, neither of whom I
recall seeing before. Lani Call, currently finishing her MFA in acting at Wayne
State, tackles with gusto the role of Katherine, Chick’s indignant daughter who can’t wait to confront
her father for his perceived flaws in her upbringing; her scenes
with Parker are especially powerful and revealing as she comes to realize there’s
more to her father’s story than she ever suspected. And Matthew Smith, another
Wayne State grad student, is Nathan Wise, the talented eye candy who helps the
audience collect its breath as he charmingly (and sometimes not very
skillfully) woos the girl of his dreams.<br />
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<o:p></o:p></div>
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<o:p><br /> </o:p>As the story takes place in 1959, set designer Monika Essen has
chosen a color palate that immediately places the audience in the appropriate
decade. And by sheer happenstance, a patron arrived on opening night and sat in
a front row center seat, coincidentally dressed to match Essen’s color scheme.
When I teasingly suggested to Essen that she obviously dressed this
woman and planted her there, she laughingly denied it.</div>
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<o:p></o:p></div>
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<br /></div>
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And I can’t conclude without a tip of my hat to
Quintessa Gallinat, whose sound designs always impress the heck out of me. This
was no exception.<o:p></o:p></div>
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<br /></div>
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<b>The Bottom Line:</b> While you may or may not cry, you'll certain laugh at "Funnyman," yet another slickly produced and entertaining production at Tipping Point Theatre.</div>
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<br /></div>
<div class="MsoNoSpacing">
<i>The Michigan premiere of “Funnyman” by Bruce Graham runs
through June 30. Click <a href="https://www.encoremichigan.com/shows/funnyman-05-30-06-30/">HERE</a> for show information.</i><o:p></o:p></div>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgM0ihrAxpM6a9dWom6EO-_zsZMJNSW1sHiQs7uz4N-oCMcVNWNXc6xlYv9Vjsx1vd7QRDrOUmMHI3KOEXybkQPR1WfZlpM1bqEotOLO8HLEzCrhrrKiX9v7LYj0AkL4Qs9rZVR__5Aow/s1600/Lani+Call_Matthew+Smith.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="594" data-original-width="531" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgM0ihrAxpM6a9dWom6EO-_zsZMJNSW1sHiQs7uz4N-oCMcVNWNXc6xlYv9Vjsx1vd7QRDrOUmMHI3KOEXybkQPR1WfZlpM1bqEotOLO8HLEzCrhrrKiX9v7LYj0AkL4Qs9rZVR__5Aow/s320/Lani+Call_Matthew+Smith.jpg" width="286" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lani Call and Matthew Smith</td></tr>
</tbody></table>
<br />
<i><span style="font-size: xx-small;">Edited to fix a typo and for clarification 6/8/19 at 10:40 a.m.</span></i>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-85260879893856244942019-02-24T14:27:00.000-05:002019-02-24T14:27:02.728-05:00Some Thoughts About: 'Death of a Salesman' at The Ringwald<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXh2WnqGuiG22Ag3o5UM7HPF1RZDEwbfPJgLY87bABdHoxEMBqQaEhHECiLNbXG94Xtxr6Y6unILzwZDXlnqsvy11UoKIZBsois3rKycpsuGYVOfE7EZhEZnJ0J1D7nMRm5Vay_R0bx8/s1600/Mitchell_Komlen_Death+of+a+Salesman_The+RIngwald.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1063" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXh2WnqGuiG22Ag3o5UM7HPF1RZDEwbfPJgLY87bABdHoxEMBqQaEhHECiLNbXG94Xtxr6Y6unILzwZDXlnqsvy11UoKIZBsois3rKycpsuGYVOfE7EZhEZnJ0J1D7nMRm5Vay_R0bx8/s320/Mitchell_Komlen_Death+of+a+Salesman_The+RIngwald.jpg" width="320" /></a></div>
<br />
While The Ringwald Theatre in Ferndale has built a solid
reputation for staging quality (and often quirky) comedies and musicals, its
current production of Arthur Miller’s “Death of a Salesman” directed by Joe
Bailey proves the company also knows how to breathe life into an esteemed classic
American drama. Tears were flowing all around me this past Saturday night as
the trials and tribulations of the Loman family came to a head, thanks to the
gut-wrenching performances of Joel Mitchell as Willy, Kelly Komlen as his wife
Linda, and Donny Riedel and Jeff McMahon as their sons Biff and Happy.<br />
<br />
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Mitchell is a force to be reckoned with every time he
steps on stage, and with Willy he has reached yet another career milestone as the
aging traveling salesman struggling – with exhaustion? Depression? Dementia? – to
make sense of a life that’s falling apart all around him. It’s a performance
filled with emotional highs and lows, rage and confusion, and pride and regret as
Willy fluctuates from memory to reality in the snap of a finger. It’s also an
example of how much Mitchell commits to his role: With a head shaved to reflect
male-pattern baldness and with what’s remaining colored grey, the aging effect
is stunning. (In fact, a moment at which Mitchell seemed to transform into the
great Ed Asner playing the role surprised me. Yes, Mitchell is <i style="mso-bidi-font-style: normal;">that</i> good!)<o:p></o:p></div>
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<br /></div>
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Besides wanting to see Mitchell tackle the role of Willy,
another major draw was his teaming with Komlen, another accomplished actor, as
his wife. She too has been aged beyond her years, and while she likewise has
moments in which her emotions explode like dynamite, it’s her quieter and more
pensive moments where she excels – especially when she’s not necessarily the
focus of the action. On her face it’s clearly written how much she loves this
man – flaws and all – yet there’s pain behind those eyes that reveals her fear
and deep concern as the love of her life fades away. As such, saying little
pays major dividends when it comes to Komlen’s performance. What’s more, she
and Mitchell are totally convincing as man and long-married wife.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
Also convincing are McMahon and Riedel as the sons.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
McMahon’s Happy is the wheeler dealer of the two, always
spinning a good tale to anyone who will listen – especially if it means lining
up a date or two for the evening. He’s cute, his smile would melt the hearts of
any woman he talks to, and he’s a convincing liar who knows what to say to get
the response he desires. And as with Komlen, McMahon’s eyes (and facial
expressions) truly are the conduit to Happy’s inner and more honest thoughts.<o:p></o:p></div>
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<div class="MsoNoSpacing">
Riedel, though, has the tougher role of the two – and he
nails Biff with a physical and verbal performance unlike any I’ve seen before. I
was intrigued by his work when I first saw him at Go Comedy some time back, and
I absolutely <i style="mso-bidi-font-style: normal;">loved</i> him as the butler in
The Ringwald’s production of “Clue on Stage” this past fall. But here his
interpretation of a frustrated and troubled young adult packs an honest and emotional
wallop that tugged at heartstrings all around me – including mine, as I’ll
admit to a lump in my throat and a tear in my eye as Biff’s pent-up rage spews out
during a pivotal moment in the show. (After the performance he looked mentally
and physically exhausted!) It truly is a different, but superb portrayal from
start to finish.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
Supporting actors range from fine to adequate. Brandy Joe
Plambeck does double duty in two totally different roles and makes then each
unique. A couple of casting choices, however, had me scratching my head.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
Technical elements are up to the usual Ringwald
standards. Christopher Kamm’s very grey scenic design perfectly echoes the economic
and emotional state of the Loman’s. However, costume choices and hair design for
one actor by Vince Kelley and Sandra Glover pulled me out of the show a couple
of times, as they were modern day rather than what you’d find during the late
1940s when the story takes place.<o:p></o:p></div>
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<br /></div>
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Nevertheless and despite my few quibbles, Bailey’s “Death
of a Salesman” is an excellent production that helps cement The Ringwald’s
reputation as an important and major purveyor of quality professional theater
in Metro Detroit. The production runs through March 11. I highly recommend it!<o:p></o:p></div>
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<br /></div>
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For complete show details, <a href="https://www.encoremichigan.com/shows/death-of-a-salesman-02-15-03-11-2/">CLICK HERE!</a></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYqJ04Sy2ythg3IE13xDHASBbu0w_OBab9paoTNKIiz9oqoGIS32qovt9wp7QQq_BQoaTKFbVfG08lMnMirQeXJURn1SStHQtIu2RMqjWveSJi4QNRL_b1oQVlnDmYGCpIDRZl_8zEOtY/s1600/Mitchell_Riedel_McMahon_Death+of+a+Salesman_The+Ringwald.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYqJ04Sy2ythg3IE13xDHASBbu0w_OBab9paoTNKIiz9oqoGIS32qovt9wp7QQq_BQoaTKFbVfG08lMnMirQeXJURn1SStHQtIu2RMqjWveSJi4QNRL_b1oQVlnDmYGCpIDRZl_8zEOtY/s320/Mitchell_Riedel_McMahon_Death+of+a+Salesman_The+Ringwald.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joel Mitchell (foreground); Donny Riedel and Jeff McMahon<br />(background)</td></tr>
</tbody></table>
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<br /></div>
<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-7482147987278194472018-12-01T14:35:00.003-05:002018-12-01T16:12:33.517-05:00When being a professional matters<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOL7FHUdyIY0i-b82gzgxIdhDOEmLlrlmWq3TSVHb4XM3uZ4Ta1ziofHevyfet6WyFPfjGih7flX70B_hDkgvlR5C3dUOFXq1DJW99MK0RqiJxFFoB0-kfSHD8Pr8XdH-aXqBgQOtF_I/s1600/Quick+Thinks_9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="763" data-original-width="1600" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOL7FHUdyIY0i-b82gzgxIdhDOEmLlrlmWq3TSVHb4XM3uZ4Ta1ziofHevyfet6WyFPfjGih7flX70B_hDkgvlR5C3dUOFXq1DJW99MK0RqiJxFFoB0-kfSHD8Pr8XdH-aXqBgQOtF_I/s320/Quick+Thinks_9.jpg" width="320" /></a></div>
<br />
<br />
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I’ve likely said this in earlier posts or elsewhere, but
in my not so humble opinion, Northville’s Tipping Point Theatre ranks among the
area’s top professional theaters when it comes to <i style="mso-bidi-font-style: normal;">consistently</i> producing shows of the highest quality. Under the leadership
of producing artistic director James Kuhl, I know before walking into the
theater that the following expectations will be met in
full: The show will be well cast and expertly staged; all of the technical
elements will be first rate; the house staff will be friendly and courteous; its
longtime beloved stage manager will once again avoid the eye of my camera; and I’ll
have a <i style="mso-bidi-font-style: normal;">very</i> entertaining evening.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
That was certainly true of the performance of “A Comedy of Tenors” by Ken Ludwig and directed by Angie
Kane Ferrante that I attended last week.<o:p></o:p></div>
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<br /></div>
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It’s what I learned <i style="mso-bidi-font-style: normal;">after</i>
the performance that impressed me even more!<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnexEvgBsX6Hd0A2P7qwMyI7GLEuUR7vaCGqj6iHF5eXAI90q_3VHUjXUEhlA8ZmekD5mbKyfTduIagtioMJ17llDlotIkewSHcbAPBOnT4G-MK1i4AczuqoCmGf6r_aGzI71Sgdr-fes/s1600/TPTenors.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1147" data-original-width="1600" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnexEvgBsX6Hd0A2P7qwMyI7GLEuUR7vaCGqj6iHF5eXAI90q_3VHUjXUEhlA8ZmekD5mbKyfTduIagtioMJ17llDlotIkewSHcbAPBOnT4G-MK1i4AczuqoCmGf6r_aGzI71Sgdr-fes/s320/TPTenors.JPG" width="320" /></a>“A Comedy of Tenors” is your typical door-slamming farce,
with pretty much each of the familiar accouterments that comes with the genre.
So I knew to expect a love-triangle or two and a series of mistaken identities and other mishaps –
which means it’s the type of show Tipping Point does well, and one its
audiences seem to love.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
It’s also a breathtakingly<i style="mso-bidi-font-style: normal;"> fast-paced</i> show, and with <i style="mso-bidi-font-style: normal;">this</i>
particular genre, it means entrances and exits must be made very quickly, as
must changes from one costume to another. There’s no time to screw up or slow down.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
As anticipated, all went well throughout the performance.
Not a single miscue was noticed. But after the performance I heard that the
actor playing world-famous opera star Tito Merelli, Richard Marlatt, was not
feeling well that night. Without giving much away – and hence, not requiring a spoiler
alert – it’s a major role, and a difficult and juicy one at that for an actor
of Marlatt’s caliber.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
Yet not once did I ever get the feeling Marlatt was
giving less than 100 percent. He seemed to be at the top of his game (and
having a blast, quite frankly) from the moment of his first entrance through
his final bow at show’s end.<o:p></o:p></div>
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<br /></div>
<div class="MsoNoSpacing">
So, too, was everyone around him – especially the always
wonderful Sarab Kamoo who plays his beautiful and loving wife, Maria, with an
equal amount of Italian fire and fury. They were wonderful together.<o:p></o:p></div>
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Because split-second timing is so important to comedies
such as this, anything less from Marlatt would have been detrimental to the
show. (Even more so would have been an understudy filling in for him!) But
being a professional actor means you give it your all despite whatever adversity
is placed before you – and that’s exactly what he did. And as a result, his
Saturday night audience was treated to yet another laugh-filled night of
theater at Tipping Point.</div>
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As I fully anticipated.<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">(As an aside, last
weekend was an unexpected “Dave Davies weekend” for me, as on Friday evening I
saw a show he directed, on Saturday a show he was in, and on Monday a show for
which he did some voiceovers. He seems to be the busiest thespian in town right
now, and deservedly so!)<o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;">SHOW DETAILS:</b> “A
Comedy of Tenors runs through Dec. 23. For complete show information, <a href="https://www.encoremichigan.com/shows/a-comedy-of-tenors-11-15-12-23/">CLICK HERE!</a><o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYwMlcW7AGOwrIzRW6r_ECcA-KvcQJja2BHJpv8pvJRIFrr5LODFO45pd1Q90e8oPF27-8yorhVbV2kgnU2me1gh26LZ7nZA9chzXBcXj2iGcVPprcSQ3Aha2z6zsrQpkRl4VSsq9iDao/s1600/TPTenors+2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1004" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYwMlcW7AGOwrIzRW6r_ECcA-KvcQJja2BHJpv8pvJRIFrr5LODFO45pd1Q90e8oPF27-8yorhVbV2kgnU2me1gh26LZ7nZA9chzXBcXj2iGcVPprcSQ3Aha2z6zsrQpkRl4VSsq9iDao/s320/TPTenors+2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Richard Marlatt, Sarab Kamoo<br />
Hope Shangle, Nick Yocum</td></tr>
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-29959931672516354722018-11-24T14:17:00.003-05:002018-11-24T14:17:52.314-05:00The Mighty Hicks returns (and he's excellent)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpQ1CTaRVS8oGZPatZLnyDD5_RdENjDZnr_rlRHlG4afzqVNDq6Ixd58YIT6JJ5UGVGOHjFf1W9oWNH-wvhacl0IFnUyJLWi0Y6tkk0TN5Bf6IbrJgYQFDlIQc8iSqJlly3o68cFVails/s1600/Quick+Thinks_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1600" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpQ1CTaRVS8oGZPatZLnyDD5_RdENjDZnr_rlRHlG4afzqVNDq6Ixd58YIT6JJ5UGVGOHjFf1W9oWNH-wvhacl0IFnUyJLWi0Y6tkk0TN5Bf6IbrJgYQFDlIQc8iSqJlly3o68cFVails/s320/Quick+Thinks_8.jpg" width="320" /></a></div>
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This past television season, one of the things I looked
forward to as I watched “Detroiters” – the weekly sitcom created by Detroit improv
favorites Tim Robinson and Sam Richardson – was to see which familiar faces
would show up in each episode. Other than the very funny Mort Crim – yes, he
showed a side of himself local TV news viewers never knew existed - one face
appeared more than any other, that of improviser Quintin Hicks. I’ve been a fan
of his work, if my aging memory is correct, since his days with The Second
City, and to see him behind the bar interacting with his old pals at their
favorite watering hole always brought a smile to my face. And a wish: that he’d
return to the stage with yet another follow-up to “Fish Dinner,” his 2011
original show at Planet Ant Theatre that earned both him and director Dave
Davies a Wilde Award for their efforts.<o:p></o:p></div>
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In his review of the production, critic John Quinn wrote,
“'Fish Dinner' is a series of monologues by oddball characters sprung from
Hicks’s fertile imagination. But don’t be surprised if you run across someone
you know. The characters may be over the top, but they’re firmly anchored in
reality. The individuality Hicks brings to his ‘cast’ is deeper than just
changing a costume or donning a wig. The characters take on a life of their own
as the actor disappears – one of the best of experiences for audience and
performer alike. It’s one of the hallmarks of the genre.”<o:p></o:p></div>
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After seeing the production myself, I whole-heartedly
agreed with his assessment.<o:p></o:p></div>
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Sequels followed in 2013 and 2016, and when I heard that
a fourth was on the drawing board, I was <i>thrilled</i>. And so what did I think of “Fish
Dinner 4: Thanksgiving” that I attended this past Friday night at the Ant’s
Black Box Theatre?<o:p></o:p></div>
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Damn, Hicks knows how to serve a tasty evening of live
theater!<o:p></o:p></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgVi9l0byAKAdQ4cNsQu8KK0oydhR8gR074eFSBMY9xFD70Y7C7GxrPtOl26xuL62inU9X9uFjnDNak_r2q50ORA30K1nYkPunGbz4GNzV3Ty9XK-FaQfYmOfGaCP-um9cvfHI93H5Ok8/s1600/Quintin+Hicks.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="1600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgVi9l0byAKAdQ4cNsQu8KK0oydhR8gR074eFSBMY9xFD70Y7C7GxrPtOl26xuL62inU9X9uFjnDNak_r2q50ORA30K1nYkPunGbz4GNzV3Ty9XK-FaQfYmOfGaCP-um9cvfHI93H5Ok8/s320/Quintin+Hicks.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Quintin Hicks. Photo courtesy of Planet Ant</td></tr>
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Just like its predecessors, “Fish Dinner 4” is a series
of monologues delivered by what initially appear to be random, quirky characters.
But as the production flows along, the genius of Hicks’ creativity begins to
shine, as a detailed tapestry of seemingly unrelated people, objects and events
weave together to create an interconnected whole. Nothing happens by mere chance;
every action and every character is but part of a much bigger, more beautiful
picture – even that of a squirrel in search of its next meal.<o:p></o:p></div>
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What’s more, favorite characters from past shows make
return visits, as Hicks grows, expands, updates and possibly concludes their stories
(although I suspect aging wrestler The Mighty Quinn <i>could</i> make a come-back at some point).<o:p></o:p></div>
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And because of how carefully Hicks constructs his
characters, the audience comes to care about them. We can identify with them, or
laugh <i>with</i> them (and never <i>at</i> them). As critic Quinn said, Hicks
thrives at creating life’s oddball characters, but he imbues them with heart,
dignity and wisdom. And he does so with a gentleness that proves how much he
loves and respects them.<o:p></o:p></div>
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As a result, the audience does, too!<o:p></o:p></div>
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Not all of the show is scripted, however. Part of the
charm of the “Fish Dinner” series is how Hicks relates to and interacts with
his audience – right from the very start. With a wealth of improv experience,
Hicks is quite at home talking directly to individuals in the audience and
coaxing them into participating in a scene. And because anything can happen
under such circumstances – and generally <i>will</i>
– Hicks is adept at “going with the flow” and seeing where the interactions
take him. These are often among the highlights of the performance.<o:p></o:p></div>
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<b>The Bottom Line:</b> So while I absolutely <i>loved</i> every minute of “Fish Dinner 4” –
including the appearance of the angelic Mikey Brown in once scene and video cameos
of other familiar faces in another – I left with one regret. Rumors say that
this is the last in the “Fish Dinner” series. I, for one, certainly hope not,
as each and every visit is a warm reminder of how one uber-creative artist, one
insightful director and a team of talented technicians can create such a unique
and charming world the likes of which we rarely see.<o:p></o:p></div>
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Therefore, I’m keeping my fingers crossed that Hicks and
Davies will return yet again to serve us another scrumptious meal – this time
including my favorite character of all, the Bear! (I just <i>had</i> to work that in there, Quintin!)<o:p></o:p></div>
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Unfortunately, “Fish Dinner 4: Thanksgiving” closes
Saturday, Nov. 24. The production is the second of two shows on the schedule.
The other is “Quickening,” an original comedy about the secret behind Detroit’s
most famous mortgage company. Show details can be found <a href="http://www.planetant.com/tickets/novemberdoublefeature">HERE:</a><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI_LqKOPsmGEZXp4ObQPJpO6XJQATAgkk87p-NysW379YmzPUdD6vCw549bYhRR00pb6gdRhC9WHCkahfoLXStMVmj9FNtP4bibXSG4tC6Jb96dixqgSmTcqp6cOB1vHqoP1f4w9ezLyU/s1600/FishDinner4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="619" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI_LqKOPsmGEZXp4ObQPJpO6XJQATAgkk87p-NysW379YmzPUdD6vCw549bYhRR00pb6gdRhC9WHCkahfoLXStMVmj9FNtP4bibXSG4tC6Jb96dixqgSmTcqp6cOB1vHqoP1f4w9ezLyU/s320/FishDinner4.jpg" width="320" /></a></div>
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<span style="font-family: "Calibri",sans-serif; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-79288415850445584122018-10-12T07:59:00.000-04:002018-10-12T07:59:04.619-04:00Bailey and Payton and Jacokes, oh my!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnt7x_wAFndfT62gogAnAI9j0xThcg6XlRkl8qJzq3XYBByY327X3owKThnevXEEvjHPrEwhHQLhyphenhyphen0OnWCrsEOW272mKNhoc2LupIY19JqDK9Tb9vOs-B3kXuQjgprGFsoEVlOHYKmj2g/s1600/Quick+Thinks_7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="1600" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnt7x_wAFndfT62gogAnAI9j0xThcg6XlRkl8qJzq3XYBByY327X3owKThnevXEEvjHPrEwhHQLhyphenhyphen0OnWCrsEOW272mKNhoc2LupIY19JqDK9Tb9vOs-B3kXuQjgprGFsoEVlOHYKmj2g/s320/Quick+Thinks_7.jpg" width="320" /></a></div>
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Anytime you put Joe Bailey and Richard Payton on stage
together, one can expect comedic mayhem to break out. And when you add Suzy
Jacokes into the mix – well, you get “Clue on stage” at The Ringwald Theatre in
Ferndale, which runs through November 5.<o:p></o:p></div>
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Bailey – The Ringwald’s founding artistic director – and
Payton have appeared on stage together so many times that they work like a
well-oiled, laugh-generating machine. One only has to glance at the other – a
warning sign, to be sure – and a comedic melt-down of epic proportions is sure
to follow.<o:p></o:p></div>
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And that’s what happened more than once at this past
Saturday night’s performance of the riotous comedy adapted from the screenplay
by Jonathan Lynn.<o:p></o:p></div>
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Now, it’s a theatrical legend that the second performance
of any run is generally a let-down from the night before; that all the
anticipation and pent-up energy generated throughout the rehearsal process is
expelled on opening night with little left to power the show the following
night.<o:p></o:p></div>
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That certainly wasn’t the case with this production. That’s
partly because director Bryan Lark puts his actors through such a vigorously
draining pace from start to finish that it’s easy to believe the cast will shed
a collective 900 gallons of sweat at the very least throughout the run of the
show.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUpVd_tnQuULQBGb-W8xtKx600wiKWGxEKHggm0DCJkVgu3nxFDS-dHgeIdfe9JNeEEmAt9ttn8jlEBE08RxGX02kmaLKP1WzwkBQRCPw1Ex1QCWjoZguXATbMam3Dpp5kHsG65nvHJY/s1600/Ringwald_Clue_1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1092" data-original-width="1600" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJUpVd_tnQuULQBGb-W8xtKx600wiKWGxEKHggm0DCJkVgu3nxFDS-dHgeIdfe9JNeEEmAt9ttn8jlEBE08RxGX02kmaLKP1WzwkBQRCPw1Ex1QCWjoZguXATbMam3Dpp5kHsG65nvHJY/s320/Ringwald_Clue_1.jpg" width="320" /></a>But it’s also because Bailey and Payton took advantage of
both their love of one-upmanship and a few goofs to such a degree that I
suspect most in the nearly packed audience couldn’t have cared less that a few
lines of dialogue were flubbed or props didn’t end up where they were supposed
to be.<o:p></o:p></div>
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Instead, we laughed our butts off. And when Jacokes
chimed in – she, too, gets that certain gleam in her eye and sly grin on her
face when inspiration is about to hit – it became obvious we were watching
masters of their craft take the show to an unanticipatedly high level of
comedic entertainment.<o:p></o:p></div>
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If there’s a comparison to be made, Saturday night’s
performance was like watching an episode of “The Carol Burnett Show” when
Harvey Korman, Tim Conway and Carol went off script and the results were
hilarious. Yes, The Ringwald Trio were that <i style="mso-bidi-font-style: normal;">good</i>!<o:p></o:p></div>
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Also good – no, great, actually – was Donny Riedel, who
plays Wadsworth the butler who serves as the show’s ringleader. In “Clue,” an
oddball group of people are invited to a dinner party thrown by the mysterious
Mr. Boddy. Once there, they learn they all have one thing in common – and that’s
when the bodies start dropping. Riedel’s is a masterful performance, one in
which every nuance of his character is so thoroughly examined, explored and
expelled at such a high-octane level that one expects him to physically and
emotionally collapse long before show’s end.<o:p></o:p></div>
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<b><i>The Bottom Line:</i></b> So while some nitpickers may find fault with actors who have
some fun when things go awry on stage or when one simply looks at another and
hilarity ensues, at The Ringwald that means one thing: We’re about to have an
even better time than we initially anticipated.<o:p></o:p></div>
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For complete show details, <a href="https://www.encoremichigan.com/shows/clue-10-05-11-05/">CLICK HERE!</a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp5XE3ps-MySrSBr-myAfYcfcefCyhMJIwL8_yGzGIoA4lhQHEmMDvEgpW7C76bSsjhcqpZVUx-CDxjqBUkZuGrl5ZjmV2CZjNiSXF_K9SieEmzmMuCfyiF8YsOOGbzW0clD3G1GGCubs/s1600/Ringwald_Clue_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1217" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp5XE3ps-MySrSBr-myAfYcfcefCyhMJIwL8_yGzGIoA4lhQHEmMDvEgpW7C76bSsjhcqpZVUx-CDxjqBUkZuGrl5ZjmV2CZjNiSXF_K9SieEmzmMuCfyiF8YsOOGbzW0clD3G1GGCubs/s320/Ringwald_Clue_2.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Donny Riedel</td></tr>
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-9780798915424334482018-10-05T08:00:00.000-04:002018-10-05T08:16:32.912-04:00What I Love<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-jz04HpA15AtB6IoUx3icCM9NigQavcrt55b70OZXV1WFt2o2MsbbrOFqrc086ty6agfp4elNNgJ0zyuoeH3ylUnXxq1l1iUJmIQ4G2-Kl21Td1sJ1Fjl9_HXeYGH98CYcpj74XwPX0/s1600/Quick+Thinks_6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="546" data-original-width="1600" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit-jz04HpA15AtB6IoUx3icCM9NigQavcrt55b70OZXV1WFt2o2MsbbrOFqrc086ty6agfp4elNNgJ0zyuoeH3ylUnXxq1l1iUJmIQ4G2-Kl21Td1sJ1Fjl9_HXeYGH98CYcpj74XwPX0/s320/Quick+Thinks_6.jpg" width="320" /></a></div>
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I love plays that surprise me.</div>
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I love playwrights like
Lauren Gunderson who take theatergoers on a journey they don’t expect and
couldn’t foresee. I love directors like Krista Schafer Ewbank who have a vision
for a script like “Ada and the Engine” and execute it with precision and care.<br />
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I love actresses like Sarah Hawkins who create such a glorious and vibrant
character as Ada Lovelace that her facial expressions alone add several layers
to her already-deep complexity. I love actors like Lindel Salow who is his
co-star’s equal in telling Charles Babbage’s story through a careful glance
here, a brief gesture there and perfectly shaded words and thoughts throughout.</div>
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I love actors like Kez Settle, Joshua R. Brown, Cynthia Szczesny and Matthew
Wallace who fully support the production through expertly developed
performances.<br />
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I love it when top-notch designers such as Harley Miah, Eric
Niece and Cheryl Zemke come together to create theatrical magic. And I love it
when Open Book Theatre in Trenton once again not only meets but surpasses my
already-high expectations for a night out at the theater.<br />
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<b>The Bottom Line:</b> And I’d love it more
if houses were filled for this weekend's final performances.</div>
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<o:p></o:p></div>
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For complete show details: <a href="https://www.encoremichigan.com/shows/ada-and-the-engine-09-07-10-06/">CLICK HERE!</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSoIz0s8_N90l8Y1-ShWdCuSn_gS26zLENw_OlZwf2VJuKAR1YDWVHaqNdn1mTWraETcvdyPT6C37cp9YlJ6fdqEjHsvBD5hHlie4EZkA0fVt7RtnjefraZpoql4E9jbxS6E0tbKBnBKY/s1600/Ada+OBTC+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1340" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSoIz0s8_N90l8Y1-ShWdCuSn_gS26zLENw_OlZwf2VJuKAR1YDWVHaqNdn1mTWraETcvdyPT6C37cp9YlJ6fdqEjHsvBD5hHlie4EZkA0fVt7RtnjefraZpoql4E9jbxS6E0tbKBnBKY/s320/Ada+OBTC+1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sarah Hawkins</td></tr>
</tbody></table>
<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-73203921796701575202018-09-23T15:05:00.000-04:002018-10-06T10:47:40.928-04:00Who will YOU believe?<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFoBAJ84sh3mEHn4Owv6k9N6EAK-OxFN76e30RglEEmTq_sE2aam485azcbbdIioCLmdxY_2sIZtqtlMzX3jy4xFx8wIwcq2DUWl-PG9JWQxL9oFRyh7oZFy4dR-OmoVP7g9akxImC7y0/s1600/Quick+Thinks_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="1600" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFoBAJ84sh3mEHn4Owv6k9N6EAK-OxFN76e30RglEEmTq_sE2aam485azcbbdIioCLmdxY_2sIZtqtlMzX3jy4xFx8wIwcq2DUWl-PG9JWQxL9oFRyh7oZFy4dR-OmoVP7g9akxImC7y0/s320/Quick+Thinks_5.jpg" width="320" /></a></div>
<br />
There’s no way Adriane Galea could have known 17 months
ago that the script she chose to open Outvisible Theatre Company’s 2018-19 season
would be so timely that one could understandably suspect it was sneaked into
the schedule to take advantage of the heat generated by the latest news cycle.
But the universe works in strange and occasionally miraculous ways, and so the
producing artistic director’s decision all those months ago to present the
world premiere of Jeff Stolzer’s “Unsportsmanlike Conduct” while Americans are
choosing sides in our latest political quagmire can be chalked up to a
fortuitous act of serendipity that stamps the production with a “must-see”
label as it grapples with a subject that threatens to tear apart an already
fractious country.<br />
<br />
<div class="MsoNoSpacing">
<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Written about six years ago after a series of
high-profile sexual assault cases caught his attention, Stolzer’s story opens
as a young woman wakes up in the bed of a high-profile football star who
brought her back to his hotel room after she approached him in a bar following his
appearance at a fundraiser the night before. From there, the playwright – in a manner
you’d expect of a trial lawyer – begins unfolding the aftermath of that fateful
night. And he does so in a way that “we the audience” become “we the jury” –
with the first half of the play detailing the morning after and what leads to a
charge of rape, and concluding with the court testimonies of Kaylie and Noah.<o:p></o:p></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDOauFT1Rej_jn4up6IpoTeuCSz36-VmSRYTakmKQCllKrzfhR7hKa3eZ-B0mrrJxLyy2qV3oyh1J3aY78XCRJ8ti7XeBh82RRsHpgSi09t08zH_WN5fb2L2sYEXXmO5lQOBBeXLQ-Mk/s1600/UC22s.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUDOauFT1Rej_jn4up6IpoTeuCSz36-VmSRYTakmKQCllKrzfhR7hKa3eZ-B0mrrJxLyy2qV3oyh1J3aY78XCRJ8ti7XeBh82RRsHpgSi09t08zH_WN5fb2L2sYEXXmO5lQOBBeXLQ-Mk/s320/UC22s.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jeremy Kucharek and Danielle Wright</td></tr>
</tbody></table>
<div class="MsoNoSpacing">
Who’s guilty and who’s not is never revealed –and that’s
the genius of Stolzer’s concept. Instead, he first gives us insight into his
characters’ characters as they go about their one-and-only morning together.
Then, in what could be described as the play’s third act (the show runs 70
minutes without intermission), we observe for the first time through their
individual testimonies what happened on the infamous night in question.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
But <i style="mso-bidi-font-style: normal;">is</i> that
what we’re truly seeing?<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
As in most – if not all – cases in which there are no
witnesses and little proof-positive corroborating evidence, “we the jury” must
make our decisions based on the details we are provided. But as their “he
said/she said” testimonies unfold, two things become evidently clear: Each is
trying to shape their story in the most positive light; and both aren’t totally
truthful.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
So who’s right and who’s wrong? What’s true and what’s
not? What’s a jurist to do?<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Talk. Think. And vigorously debate – which is what we
Americans should be doing as the Kavanagh-Supreme Court fiasco plays out. And
while there was no talk-back following the opening night performance, I <i style="mso-bidi-font-style: normal;">did</i> overhear theatergoers reacting to what
they had seen – some whispered in hushed tones – and that led me to believe
Stolzer’s evil plan to stimulate a much-needed discussion one performance at a
time is succeeding.<o:p></o:p></div>
<div class="MsoNoSpacing">
And that’s a good thing.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<br /></div>
<h3>
<b style="mso-bidi-font-weight: normal;">About the
production</b></h3>
<div class="MsoNoSpacing">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpocSmOETsPPik4H_3kweZfAgYR8CFTYApYPMpreVnxWI2hyAGpz7PjuuSZnSN82EW8QMBpN51jA2Y-Yc1lxyL1Vs6oY_bdbC0KUYeKsNA8xeQGdd1CP_H1LRvvw4dWQWPmv_ZiMysmUE/s1600/UC05s.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpocSmOETsPPik4H_3kweZfAgYR8CFTYApYPMpreVnxWI2hyAGpz7PjuuSZnSN82EW8QMBpN51jA2Y-Yc1lxyL1Vs6oY_bdbC0KUYeKsNA8xeQGdd1CP_H1LRvvw4dWQWPmv_ZiMysmUE/s320/UC05s.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Danielle Wright and Jeremy Kucharek</td></tr>
</tbody></table>
<div class="MsoNoSpacing">
<div class="MsoNoSpacing">
Although the above paragraphs provide a very high-level
analysis of Stolzer’s script, I focus mostly on its overall theme and the
concept he used to tell his story. What I did <i>not</i> do is dig into the nitty gritty of the script; that is, I did
not provide any in-depth analysis of it, such as whether or not his dialogue
rings true, or how successful he is at creating realistic and believable
characters.<br />
<o:p></o:p></div>
<br />
<div class="MsoNoSpacing">
I also didn’t discuss the production itself.<o:p></o:p></div>
</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
There’s a reason for all of that.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
It’s called “conflict of interest” – and that’s what prevents
me from actually talking in detail about “Unsportsmanlike Conduct.”<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
How? Why? Because I was part of the process that helped
Galea decide to produce and direct the script – and as a member of the American
Theatre Critics Association, I believe that disqualifies me as an objective
critic of the work, even in a setting such as this.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Back in April 2017, Stolzer was one of five authors whose
work was produced as part of Outvisible’s first-ever Detroit New Works
Festival, and I was honored to be one of the small team of judges she asked for
feedback. As such, I attended all five staged readings and offered verbal
commentary at the festival to both the audience at large and privately to Galea.
In addition, I also provided individual written feedback to each of the authors.
Plus, I was in full agreement that of the scripts given a reading, Stolzer’s was
ready for production with little or no additional work needed. (It also helped
it was the one Galea really, <i style="mso-bidi-font-style: normal;">really</i>
wanted to direct herself!)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
So while I suspect nothing I contributed made a bit of a
difference in the end result, I must refrain from offering any additional
commentary about the show other than what’s above and in The Bottom Line below.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;">The Bottom Line:</b>
<i style="mso-bidi-font-style: normal;">A timely and thought-provoking show that
is guaranteed to generate much needed discussion – heated and otherwise.</i><o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
“Unsportsmanlike Conduct” continues through Oct. 7. For
complete details, <a href="https://www.encoremichigan.com/shows/unsportsmanlike-conduct-09-21-10-07/">CLICK HERE!</a><o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL-51FAzLXngggHlZP7ckdOh2LD7CCCCj_SP7o7kM_XIIlYw5dTMGI2wa44pFN1cs538aeV-0tC11Ft2Gyn5YHBIP8ZHyKtyeDDW_VLSKzoF4IV0M5cydN3XbRiLoxTBEyphyU9uUXYxE/s1600/UC11s.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL-51FAzLXngggHlZP7ckdOh2LD7CCCCj_SP7o7kM_XIIlYw5dTMGI2wa44pFN1cs538aeV-0tC11Ft2Gyn5YHBIP8ZHyKtyeDDW_VLSKzoF4IV0M5cydN3XbRiLoxTBEyphyU9uUXYxE/s320/UC11s.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Danielle Wright and Jeremy Kucharek</td></tr>
</tbody></table>
<i><span style="font-size: x-small;"><br /></span></i>
<i><span style="font-size: x-small;">Edited for clarity Oct. 6, 2018</span></i>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-49792963177978475252018-09-18T15:48:00.001-04:002018-09-19T05:23:35.552-04:00An affecting journey<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRv5g6H_UUs1pAej2MSDPovRsiUvu72VVFj7D74HPw5zhxhyIy07VgCm4E1q2YjH7NAqQ1799HS8U4X_VoVa8yM0sHhORhTPDJCSj57vuCZqsIQ1JewQ1IWLKiWnnvvxwh9Wadj4m0og/s1600/Quick+Thinks_3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="548" data-original-width="1600" height="109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzRv5g6H_UUs1pAej2MSDPovRsiUvu72VVFj7D74HPw5zhxhyIy07VgCm4E1q2YjH7NAqQ1799HS8U4X_VoVa8yM0sHhORhTPDJCSj57vuCZqsIQ1JewQ1IWLKiWnnvvxwh9Wadj4m0og/s320/Quick+Thinks_3.jpg" width="320" /></a></div>
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<br />
<br />
While many (if not most) plays strive to generate a
reaction from its audience, none has been so affecting in recent memory as Kickshaw
Theatre’s season opener, “Milvotchkee, Visconsin.” And for many, I suspect, it
will hit way too close to home for comfort.<br />
<br />
That was certainly case for my friend who accompanied me
to the performance.<br />
<div class="MsoNoSpacing">
<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
The oddly titled “Milvotchkee, Visconsin” (which will
make total sense as the plot unfolds) tells the story of a woman’s descent into
dementia (likely Alzheimer’s disease) vividly told from her point of view. A
mother and long-time tour guide, Molly finds that she can no longer remember the
detailed facts behind the rather unusual park at which she’s worked for many
years. And as her story unfolds, that’s not all she doesn’t remember.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Anyone who’s ever watched as a family member, loved one
or friend slipped away as a result of a dementia-related disease will likely
nod their heads in quiet acknowledgement as Molly’s world slowly slips away. It’s
a frustrating experience, not just for her daughter, son and others with whom
she must interact, but also for Molly herself. Especially for Molly.<o:p></o:p></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbhxcQ46WfGxIlcZxcwLEOiVVene8fMtM2Tqc8CiACsjzDMKSCdKdsptmL5t7v1z4u0i1pbsI8gqVjK6CXyf1zPaC9iqCf4KXRGvYKeVMmNiKJXRfMaC0YL3ayQ6bzOH8aksmPw2nNzU/s1600/0205_carter_Kickshaw_MILVOTCHKEE_2018.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="857" data-original-width="1200" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYbhxcQ46WfGxIlcZxcwLEOiVVene8fMtM2Tqc8CiACsjzDMKSCdKdsptmL5t7v1z4u0i1pbsI8gqVjK6CXyf1zPaC9iqCf4KXRGvYKeVMmNiKJXRfMaC0YL3ayQ6bzOH8aksmPw2nNzU/s320/0205_carter_Kickshaw_MILVOTCHKEE_2018.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Hays, Nancy Elizabeth Kammer</td></tr>
</tbody></table>
<div class="MsoNoSpacing">
And that’s what playwright Laura Jacqmin’s unorthodox approach
to the subject matter excels at revealing. Subtitled “a comedy about a tragedy,”
Jacqmin presents her story as seen through the eyes and deteriorating mental
state of Molly herself. As such, the audience observes what transpires in Molly’s
life as interpreted by a brain no longer anchored in reality. Hence, her mental
state becomes the result of a hole in her head caused by lightning, while her
children interact with her in rather unflattering ways.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
It’s the disease, then, that is telling the story, not
Molly. And it’s not a happy or hopeful one.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Luckily, though, it’s a rather well staged and acted one.
In conceiving her production, director Lynn Lammers embraced the odd-ball
nature of the script, yet maintained within her concept a sense of realism to
the world inside Molly’s head.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
As such, you almost want to smack her son and daughter
(played so well by Aral Gribble and Sonja Marquis) for how poorly they seem to
treat their mother. And you begin to wonder why the family would allow such a
quack of a doctor (brilliantly played by Dave Davies) to treat their mother.
But then you remember: That’s how <i style="mso-bidi-font-style: normal;">Molly</i>
interprets their actions and behavior; we’re not privy to what was <i style="mso-bidi-font-style: normal;">really</i> said and done.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Although additional fine character work is provided by
Michael Hays and Brenda Lane, the focal point of the show is Molly. If you don’t
believe she’s experiencing a breakdown in her mental faculties, the show falls
apart. Simply put: Nancy Elizabeth Kammer nails it.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
And I think that’s what disturbed my friend most on
opening night. What Molly revealed through Kammer’s spot-on facial expressions,
tone of voice and behavior mirrored those of his parent who’s been living with dementia
for a handful of years. It’s been tough for him, and this night at the theater was
not what he expected. (I knew he was troubled by the show when he didn’t want
to stay after and visit with one of his favorite actresses.)<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
However, I think he’d agree that Kickshaw’s season opener
is a powerful one. Just come prepared for an experience all of us – especially those
of us getting up in years – may face in the not-so-distant future. It just won’t
be as humorous or well executed.<o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;">The bottom line:</b>
<i>I went in to the show knowing nothing about it – I didn’t read the press
release beforehand – and left impressed by the care and creativity the author, director, technicians and actors put into presenting this most difficult subject.</i><o:p></o:p></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
“Milvotchkee, Visconsin,” which runs through Oct. 7, is presented through the
generous support of Glacier Hills Senior Living Community and Saint Joseph
Mercy Health System. Also participating are Michigan Alzheimer’s Disease Center
and Alzheimer’s Association. For complete show details, <a href="https://www.encoremichigan.com/shows/milvotchkee-visconsin-09-13-10-06/">CLICK HERE!</a><o:p></o:p></div>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcjKX1Q7BhIdICS9y6j4HNKgk3UIk_tI3LnKPoTobqHq5NQKWiXDLnPOuM_11I9Dj7IneJ-nQ85TyH4RWIte_UW8gRpRlS8anWMwedhbRy90klL7jXXl94h3vxqZWcgGLdQsXyPyFFkA/s1600/0122_carter_Kickshaw_MILVOTCHKEE_2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="857" data-original-width="1200" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKcjKX1Q7BhIdICS9y6j4HNKgk3UIk_tI3LnKPoTobqHq5NQKWiXDLnPOuM_11I9Dj7IneJ-nQ85TyH4RWIte_UW8gRpRlS8anWMwedhbRy90klL7jXXl94h3vxqZWcgGLdQsXyPyFFkA/s320/0122_carter_Kickshaw_MILVOTCHKEE_2018.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brenda Lane, Dave Davies, Nancy Elizabeth Kammer</td></tr>
</tbody></table>
<i><span style="font-size: x-small;"><br /></span></i>
<i><span style="font-size: x-small;">All photos by Sean Carter Photography</span></i>Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-64369800857916918352018-07-28T15:35:00.000-04:002018-07-28T15:35:00.339-04:00Not so lost at Slipstream<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabEtDVLRxljHjLFWpsctj5CJsDGabYhEgTfWX1LfH-WskGgjU_8w7eEVkGkFDj4oNfu6NCmJjd4TN4UYo0GJyQ0XYRUOOGMkI-7Y8185zw80xPaeJYconfJHgMQCQLqQGsAQ8bmrYE9U/s1600/Lost.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="720" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabEtDVLRxljHjLFWpsctj5CJsDGabYhEgTfWX1LfH-WskGgjU_8w7eEVkGkFDj4oNfu6NCmJjd4TN4UYo0GJyQ0XYRUOOGMkI-7Y8185zw80xPaeJYconfJHgMQCQLqQGsAQ8bmrYE9U/s320/Lost.jpg" width="320" /></a></div>
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As I posted on Facebook last night, I was at the Friday evening performance of “Lost in 3 Pines” at Ferndale’s Slipstream Theatre Initiative, which is playwright Maxim Vinogradov’s second script to win the prestigious Hopwood Award and the Dennis McIntyre Prize from the University of Michigan, where he currently double majors in English and film, and minors in playwriting. (Given the tough competition he was up against, winning one of those awards is amazing enough; winning both twice is stunning.)<br />
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So on the way home, my guest – who frequently joins me in my theater travels and who especially loves Slipstream – asked me, “So…what are you going to say about <i>this</i> one?”<br />
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“I haven’t a clue,” I replied.<br />
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As we drove back to my house, he said he was on the fence about the production, mostly because he hadn’t figured out how all the pieces fit together. “I just didn’t understand it,” he said with a deep sigh.<br />
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To be honest, I didn’t either – at least certain aspects of it. And neither did many (most? all?) of the patrons who stayed around after the performance to participate in an informal talk-back – which I normally don’t do. But since I was there as a theatergoer and not a critic, I decided to see what everyone else thought of the production. What I learned is this: My friend and I weren’t alone in our confusion. Or more accurately, I suspect, is this: Everyone interpreted what they saw through their own lenses and filters and viewed the results a bit differently. And that includes the actors and the director.<br />
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So as everyone compared notes and shared their observations, the puzzle pieces started coming together for me. But not totally.<br />
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The picture got clearer as my friend and I got closer to home. As we talked about things one or the other of us weren’t sure about – again, something that’s verboten when I’m functioning as a critic – more lights came on and Maxim’s vision got clearer. But so did something else.<br />
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As theatergoers, we’re used to being rather passive when we’re watching a play. Yes, we laugh or clap or sing along, but rarely do we exercise much brain power as the story unfolds; we simply sit back, observe and let it all soak in.<br />
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With plays such as “Lost in 3 Pines,” however, Maxim challenges his audience to not only watch and observe, but also to actively concentrate on every word that is said – even words or lines that seem unimportant at the time. To miss even a syllable could lead to confusion as the story roller coasters its way to its unexpected conclusion. As such, it’s part cryptogram, part word seek and part mental acuity test all rolled into a 90-minute dilemma that the great Sherlock Holmes would surely deem to be not-so elementary as he attempted to sort through its many piece parts.<br />
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By now you’re probably wondering what it's about. Here’s the best, basic, one-line summary I can think of: A young, married woman who feels trapped and lost in the life she’s living is asked a not-so-innocent question by a stranger she meets at a dinner party – “What do you do for a living?” – and the resultant existential quest to answer him takes her on a personal journey (real or imagined) she never expected.<br />
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Yes, that’s vague. Purposely so. But bear with me.<br />
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As I was shaving this morning and processing what I had seen the night before, a thought popped into my head that doesn’t really explain the details of the plot, but rather the show’s unusual concept and the form Maxim uses to tell his story. So here goes:<br />
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Imagine you’re a young college student sitting alone in a dimly lit, somewhat-seedy bar located in an old, run-down neighborhood few people frequent. It’s early evening, the sun has just gone down, when in walks author L. Frank Baum. He stops after taking a few steps inside, and once his eyes are adjusted to the darkness, he spots fellow-author Lewis Carroll sitting alone and nursing a drink. So he walks over, is invited to sit down, and the two begin a quiet, yet animated conversation. Within minutes, from another room inside the bar, walk Anton Chekov, Henrik Ibsen, Bertolt Brecht and Samuel Beckett. The two groups spot each other immediately, say their hellos and quickly grab a large, round table close to where you’re sitting. As the night progresses, drinks flow freely, tales tall roll off their tongues, and – thanks to the liquor taking its toll – an amusing challenge is suggested. "Just for the fun of it," one says to the others, "let’s take the archetypal characters of Dorothy and Alice on a self-exploratory journey unlike any other, one in which she’ll find herself surrounded by people and set in unique situations and places only those of us at this table could concoct for her." They all love the suggestion, of course, and the ideas quickly percolate. As the evening gets later and the stack of empty booze bottles grows larger, the story takes shape. Intrigued by what he observes is a lone figure sitting at the bar. But when the authors hit a stumbling block, the gentleman stands up, pays his bar tab, slowly saunters towards the group, offers a suggestion, and leaves. “Tennessee Williams, you’re a genius,” the six laugh. At dawn, the now-sleepy men rise from their now-filthy table and walk out into the sunlight, pleased with themselves and the story they created – knowing and accepting that it would never be told again. What they don’t know, however, is that the young man sitting nearby absorbed every word he heard. And he knows a time will come to bring their unusual tale to life.<br />
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While that scenario didn’t actually play out, of course, it helps explain what happens when concepts and elements of such childhood favorites as “The Wizard of Oz” and “Alice’s Adventures in Wonderland” are ripped apart and reshaped through the lenses of authors who worked in a handful of different, specific genres of Maxim’s choosing. The result, then, is a story told through four short acts staged and performed in four very different styles of theater.<br />
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As such, like every absurdist play you’ve ever attended, patrons will leave the theater unsure of what they’ve seen. They’ll have questions – possibly lots of questions. But that’s what good theater is supposed to do: challenge you and leave you to resolve unanswered questions for yourself.<br />
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For as it became clear at the talk back, no one – not even the actors in the play – viewed or interpreted the script the same way. Identical conclusions were never drawn. And I suspect absolutely no one in the audience anticipated the show’s final act.<br />
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Although our discussion about the play took us almost all the way home, my friend sat quiet as we drove the last few miles. As we approached my driveway, he looked at me and said, “I’ve changed my mind. I really liked the play.”<br />
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I did, too, although I <i>still</i> haven't resolved all of my unanswered questions. I also loved the performances – all of them, none of which I’ll talk about individually because it would be unfair to discuss one or two and not the others. <i>Plus, this isn't meant to be a review.</i> But I will say that because of the style changes required of each act, each actor was faced with the difficult task of figuring out how to negotiate each new change without negating what went on before. And they did so quite masterfully. And entertainingly.<br />
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Now, there’s only one question left to answer: Will YOU like the show? Maybe. Maybe not. One person I talked to hated it. But I suspect anyone one who loves theater that is different and unique and is open to work that challenges its audience to pay close attention and sort through its many details will find it intriguing. And fun. And thought provoking. And timely. And well acted. And well costumed.<br />
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Or: Just go to see ripped Brenton Herwat in a very shiny, skimpy, revealing outfit. I'm OK with that, too. (How Tiaja Sabrie kept a straight face at certain times is beyond me! A WILDE-r Award would surely be given them if such a thing still existed!)<br />
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“Lost in 3 Pines” runs through Aug. 5. Show details can be found <a href="https://www.encoremichigan.com/shows/lost-in-3-pines-07-20-08-05/">here</a>:<br />
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<i>(Photo at top by Jan Cartwright; all others by Nick Rowley.)</i><br />
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Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-7361961169485052442018-06-25T18:21:00.001-04:002018-06-25T18:21:15.038-04:00Platonic critics break up (but still remain good friends)<div class="separator" style="clear: both; text-align: center;">
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We tried. We really did.<o:p></o:p></div>
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For quite a while fellow-critic Jenn McKee and I have
been trying to come up with creative ways to provide both theaters and
theatergoers with an alternative platform for theater news and criticism. Our
first proposal (a unique, twice-monthly, online-only theater magazine that
focused on news, previews and interviews rather than reviews) went down in
flames for reasons too detailed to go into here. Other ideas we explored
together or separately, such as short video reviews, podcasts and a weekly
half-hour video series, all bit the dust, as well.<o:p></o:p></div>
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Then, Jenn had an idea she thought would be fun: Since we
sometimes found each other at the same shows, how about co-writing reviews –
but as a conversation between us rather than the same old tired format we’ve
all become accustomed to?<o:p></o:p></div>
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And thus was born the Platonic Theater Date series. It
debuted at the end of March, and the immediate feedback we received was very
encouraging; apparently, some found reading our chats was as much fun for them
as it was for us writing them.<o:p></o:p></div>
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But after nine dates, Jenn and I have decided to break
off our engagement (so to speak); that is, to end our little experiment.<o:p></o:p></div>
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It’s not that we didn’t enjoy doing them. Rather, we
looked forward to sitting down – her at her house in front of her computer and
me at mine doing the same – and letting our “chat” on Facebook Messenger travel
in whatever directions our conversation took us. There were never any
discussions beforehand; what you read is how the conversation transpired (with
a couple rounds of editing and polishing, of course).<o:p></o:p></div>
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So why, then, are we discontinuing the series?<o:p></o:p></div>
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In part, for the same reason the above-mentioned projects
never took off: We haven’t found a way to get paid for all of the time and effort
we put into the project.<o:p></o:p></div>
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Pretty much every media outlet today is struggling to
figure out how to monetize online content. Not even the big behemoths have
discovered the solution, and for new endeavors like ours, it’s especially
tough. And forget advertising; we’re too small at this point to be noticed,
even by Google. Nor will we consider asking theaters to help fund this project
due to “pay to play” and “favoritism” concerns.<o:p></o:p></div>
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But more importantly, we face the paradox Jenn recently
discussed on Facebook: because mainstream news sites have neither the resources
nor the will to feature much local arts coverage, those of us in the “flyover
states” are largely left with only blogs. And unless artists and companies
share these obscure blog reviews via Facebook, websites, social media, or email
blasts – which many won’t want to do when the assessments are critical, of
course, which just makes sense - we can’t gain traction in the marketplace and
build something more sustainable.<o:p></o:p></div>
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Bottom line: very few people are reading our reviews. Of
the first eight published, only one made it to four digits; the others averaged
a measly 347 views. And our last one? It finally hit 122. We’re expending all our
energies for only a handful of readers, the numbers of which are trending
downward.<o:p></o:p></div>
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So we’re calling it a day.<o:p></o:p></div>
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<i>We sincerely thank the theaters that reached out and
invited us to their shows, who gave us free tickets, and seemed to appreciate
our efforts on their behalf. And we also thank our readers who offered words of
encouragement, or said positive things about our work.</i><o:p></o:p></div>
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But now it’s time for us both to move on to other things.<o:p></o:p></div>
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For Don, he’s limiting his reviews to brief comments on
Facebook for the time being. Future blog entries will occur when the spirit
moves him. He <i>will</i>, however, continue writing show previews and interviews for
Between The Lines and elsewhere as opportunities arise. And he’ll continue to
think about ways to promote theater in this new age of media uncertainty.<o:p></o:p></div>
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Jenn will still write occasional reviews for Pulp, We
Love Ann Arbor, and any other sites that will pay for her work, in addition to
a couple of Patreon-funded indie reviews for her blog per month. Otherwise, she
hopes to dive further into the script she recently starting writing - when
she’s not carting her kids around to day camps and working part-time shifts at
her local library.<o:p></o:p></div>
<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-63895351177702710832018-06-15T16:23:00.001-04:002018-06-15T16:23:49.775-04:00Platonic critics: Characters bloom in Rep season closer<div class="separator" style="clear: both; text-align: center;">
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<i>As the final installment of Jenn McKee and Don Calamia’s Platonic Theater Date review series, the two critics attended the same performance of Detroit Repertory Theatre’s “Ghost Gardens” on June 7, and followed-up with a conversation about the show. Here’s their joint review:</i><br />
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New life, especially in the face of hard circumstances, always offers hope.<br />
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This is the reason people are happy to see baby pictures in their social media feed. They provide a break from the anger, posing, and tragic news that otherwise clog our daily lives; and they suggest that no matter what, life will out. Steven Simoncic’s play “Ghost Gardens,” now playing at Detroit Repertory Theatre (directed by Lynch Travis) through July 1, builds its story around this notion.<br />
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Set in a Detroit neighborhood that stands in the shadow of an old, chemical-spewing plant, “Gardens” begins with Lorelie (Leah Smith) at her baby’s grave on what would have been her tenth birthday. Lorelie’s been trying to get pregnant again for the intervening years, without success, and she’s not the only one. No children have been born in the neighborhood in years. So when Lorelie, on this tenth anniversary, announces that she’s pregnant, her underemployed husband Tryg (Aral Gribble), sassy best friend Myra (Jenaya Jones Reynolds), ailing mother Helen (Linda Rabin Hammell), and the local pimp-turned-preacher Powder (Cornell Markham) rejoice.<br />
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Indeed, a man named Lonnie (Will Bryson), just released from prison, who’s now working alongside Powder, hatches a plan to use social media to raise money and hopes around Lorelie’s good news. But as Tryg continues to sometimes go missing for days at a time, and Helen grows sicker – despite her new, blossoming relationship with Powder – Lorelie begins to buckle under the pressure of her community’s collective hopes.<br />
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DC: In my opinion, the Detroit Repertory Theatre is ending its 61st season with the type of show they excel at: stories about ordinary people struggling with their everyday lives. And what they also do quite well is cast their shows with a mix of longtime favorites and new faces to keep their shows fresh and energized. This show embodies both ideals.<br />
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JM: This was the first time I'd been back at the Rep since I last reviewed a show there a few years ago, and it reminded me of how focused they are on telling the kind of stories you describe.<br />
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DC: It's also a theater I love going to because of how welcoming it is. At how many theaters can you find the founding artistic director still manning the bar after 61 years? And another cheerfully greeting you in the box office? And where else can you buy tasty cookies freshly baked based on recipes from yet a third co-founder?<br />
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JM: First, WHY DIDN’T YOU TELL ME ABOUT THE COOKIES?! And second, these touches are definitely part of what charmed me most the last time I visited Detroit Rep. But we should get to talking about the show. What were your overall impressions of "Ghost Gardens"? I wasn't previously familiar with the work of playwright Steven Simoncic.<br />
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DC: That makes two of us – at least I don't recall seeing any of his other plays. I enjoyed this one, though. While it didn't have a really big dramatic arc, it was filled with numerous intimate moments in which we got to learn about the characters, their hopes, their dreams, their problems - and what happens when a community unites together for a cause despite their differences.<br />
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JM: For me, the play spreads itself a little thin. Though everything's connected, the sheer number of stories within the play results in them all getting short shrift. We have the story of a beleaguered blue collar marriage, an ailing parent, a mature romance, an ex-convict finding his way in the world, an unexpected pregnancy, the deep friendship between two women, an examination of how hope gets commercialized and marketed online - there's a lot. Maybe too much.<br />
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DC: While I can see your point, it didn't particularly bother me. We had a lot of characters and relationships to sort through and understand, and I thought we were given just the right amount of information we needed about each character’s story arc to follow the plot and keep all the interconnected dots straight.<br />
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JM: There were some really nice moments between the actors, but the script itself felt like someone throwing all kinds of stuff at the wall and seeing what sticks. My point is, with <i>so</i> many different elements, I never felt invested in any particular one of them.<br />
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DC: I'll agree with you on that last point. Because of how each character is given so much time in the spotlight, you're never quite sure whose story is the primary one. I <i>think</i> it’s Lorelie's because it's her pregnancy that starts the ball rolling, but there's some competition for that honor. The focus; not the pregnancy! (laughs)<br />
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JM: Right. And that's the driver of many events and conversations. Oh! I forgot that the play's also got a public health thread, by way of the chemical-spewing plant located near this neighborhood. The surprise and hope her pregnancy provides everyone stems from that.<br />
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DC: But like you said, the story meanders across so many plot threads, that it takes focus away from Lorelie. She almost becomes a sub-plot in her own story.<br />
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JM: Yes. I agree. That having been said, what performances did you find most affecting?<br />
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DC: That's a tough call, since this was a pretty strong cast. Personally, I loved Cornell Markham as Powder, the pimp-turned-preacher. He had such honesty in his characterization, always with a twinkle in his eye. Jenaya Jones Reynolds as Myra was the show’s comic relief, yet you could totally feel her love for Lorelie, her best friend. And who couldn't love Aral Gribble's very convincing Tryg? He plays these “blue collar everyman” roles to perfection. And Leah Smith, one of my favorite actresses, brought such sensitivity to her role!<br />
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JM: Yes, and the actors have an extra challenge because filling in a lot of blanks (regarding character) in the script is ultimately up to them. That's one reason why Gribble wowed me. He wasn't on stage all that much, but when he was, he poured way more into his scenes, just by way of his choices. Similarly, Hammell imbues Helen with an irresistible feistiness that made her, as a character, come more alive, too.<br />
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DC: That's why it's so tough to pick a favorite or highlight a specific moment to discuss. They all do such great jobs filling out and giving heft to what the playwright gave them. There are so many little touches...<br />
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JM: I loved Reynolds' no-nonsense sassiness, and Smith has some really powerful moments. But again, unfortunately, it didn't add up to cumulative impact.<br />
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DC: That's indeed a problem when a playwright uses somewhat of a scattershot approach to storytelling: the focus becomes the many rather than one or two clearly defined lead characters, so you’re not sure whom to root for.<br />
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JM: What did you think of Harry Wetzel's set? It looked as if the "garden" of the title had taken over every inch of this world, including its interiors.<br />
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DC: Yes, indeed. I interpreted it to mean that seeds planted in the hearts and minds of this neighborhood took root and spread throughout the entire community. But I could be wrong. (laughs)<br />
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JM: Huh. I saw a darker meaning - which may just be my twisted personal filter at work. But it seemed to me to emphasize how in this neighborhood, there was no separation between outside and inside. What's happening "out there" - with the nearby plant, and the harmful things coming from it - long ago infiltrated everything. Though things are verdant and green, and somewhat beautiful, there's also something haunting about the way the greenery is pervasive.<br />
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DC: Could be. I didn't see that, but I guess I didn't give it that deep of a consideration. I just know it’s another of Wetzel’s well-executed designs.<br />
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JM: Meanwhile, Thomas Schrader's lighting design had a colorful, watery quality at times.<br />
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DC: It sure did. I was quite impressed with his work.<br />
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JM: Quite a lovely effect. And Sandra Landfair Glover’s costumes place us more firmly in this blue collar Detroit neighborhood – but the real stars of her work were Helen and Lorelie’s red dresses, of course. Both frocks convey an air of individual defiance and pride.<br />
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DC: I loved the scene where we see Gribble’s Tryg quickly change clothes to show his life’s progression up to this point. It was very creative and required some careful planning on Glover’s part, since he had to get in and out of various items very quickly. So overall, what's your bottom line?<br />
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JM: Some good performances, with solid direction from Travis, but there's only so much the artists can achieve with a scattered script.<br />
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DC: I found it to be entertaining, more so because of the performances, direction and tech work than the script, which is ultimately not a very memorable one. But overall, it was yet another enjoyable evening at the Rep, and I can’t wait to see what they have on tap for season 62!<br />
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For complete show details, <a href="https://www.encoremichigan.com/shows/ghost-gardens-05-31-07-01/">CLICK HERE!</a><br />
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-32027362066561284022018-06-08T10:25:00.000-04:002018-06-08T10:25:07.837-04:00Return of the Platonic Duo: Critics follow Johnson to Milan; Zettelmaier added to stalking list<div class="separator" style="clear: both; text-align: center;">
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<i>As part of Jenn McKee and Don Calamia’s new Platonic Theater Date review series, they attended the same performance of Roustabout Theatre Troupe’s “All Childish Things: The Special Edition” on June 1, and followed-up with a conversation about the show. Here’s their joint review:</i><br />
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If you recently felt a tremor in the Force, something you haven’t felt since … well, the last time Joseph Zettelmaier’s “All Childish Things” was produced … it’s likely because the Roustabout Theatre Troupe (co-founded by Zettelmaier, Joey Albright and Anna Simmons) has mounted a new “special edition” of the “Star Wars” collectibles heist comedy that runs through June 17 at Milan’s McComb Performing Arts Center.<br />
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“Childish” marks the first full production staged by Roustabout, and like “Star Wars” editions available on DVD, it’s received several tweaks and updates since its 2006 world premiere production at Hamtramck’s Planet Ant Theatre.<br />
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Set in a basement apartment where “Star Wars” memorabilia occupies every shelf and surface, “Childish” is the story of three longtime male friends (and one girlfriend) who, after months of meticulous planning, aim to rob a nearby Kenner Toys warehouse. Reportedly, the ultimate stash of classic “Star Wars” collectibles is hidden there, and because an anonymous buyer is willing to pay two million dollars for it, each nerdy and unlikely heist participant starts daydreaming and making plans. Dave (Dan Johnson), who lives in the basement, aims to get his own place; Max (Andy Gaitens), a single dad, wants security and a better life for his four year old daughter; and Carter (Jacob Hodgson), who works a low-pay job at Kenner, plans to cut a record with his rock band and show Kendra (Meghan VanArsdalen) – a film studies grad who works at a nearby cinema and isn’t all that into “Star Wars” – he’s serious about their future together.<br />
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DC: I find it interesting that two of the last three shows we've reviewed have scripts by Joe Zettelmaier, and oddly enough, both are from earlier in his career. So for me, taking a fresh look at "All Childish Things," of which I saw the world premiere in 2006 and also a handful of subsequent productions and sequels, gives me a chance to see how well the script holds up a decade later. But more importantly, I wanted to check out the first full production produced by Roustabout Theatre Troupe.<br />
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JM: Yes, it's always exciting to see the first full production from a new company. And weirdly, given how much Zettelmaier work we've taken in, I was just assigned to review the upcoming Penny Seats Theatre production of his play "The Gravedigger.” So the Year of Joe continues! As with actor Dan Johnson, it feels like we're stalking Zettelmaier...<br />
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DC: It does indeed. Dan's been everywhere this season, it seems, and now here we are with almost back-to-back Zettelmaier shows. The stalking list grows! (laughs)<br />
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JM: So you said you were interested in seeing how the material held up 10 years later. What's the verdict?<br />
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DC: I still love the script. And since “Star Wars” is <i>still</i> such a major cultural phenomenon and huge money maker - and since nerds are still with us and always <i>will</i> be - it holds up quite well.<br />
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JM: That's interesting, because - light sabers down, everyone - it didn't hold up as well for me.<br />
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DC: Was it the script or the production itself? For me, it was the latter.<br />
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JM: Well, I caught most of the riffs on and allusions to “Star Wars,” and chuckled a few times and thought, "That's cute," but I never felt completely plugged in. I wasn't swept up in it - which good heist narratives do, of course. And to answer your question, I've been thinking about whether it was the script or the production a lot, but I'm still not sure. As we dig into this, I'm hoping it will become more clear. What were your issues with the production?<br />
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DC: It took me a while to warm up to the show as well, and I think it was because of some of the performances. As much as I love Dan Johnson, who seems like he'd be the perfect nerd, I felt his and Andy Gaitens' performances as Dave and Max, respectively, were a bit too wild, too out of control at times, so much so that I sometimes had trouble understanding them when their emotions and anxieties soared. And Gaitens, especially, seemed a bit all over the place with his performance; it wasn’t a polished performance, in my opinion, which distracted me at times.<br />
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JM: I think getting the tone exactly right for this show is pretty crucial, and yes, that was part of what was off for me. It's hard to gauge. You have to be true to their nerd-dom, yet we have to be able to relate to them, too.<br />
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DC: Yes, and that was my problem with them: I couldn't relate to them - which as a fellow nerd, shouldn't be difficult for me. (laughs) I just wasn't "feeling" it for much of the first act.<br />
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JM: And as gorgeous as Milan High's theater space is, it felt too big, too open and airy, for this story. At Planet Ant, I kind of felt like I was in that claustrophobic basement with the characters – so there was a vicarious joy and thrill in being part of this ill-fated heist.<br />
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DC: I agree, even though Jennifer Maiseloff's set couldn't have been more basement like. She had a lot of space to fill, and she did it without sacrificing what it was meant to be – a lived-in basement.<br />
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JM: The attention to detail is impressive, from the shelving to the basic layout and furniture choices. It really does look like a basement apartment kind of set-up. But as I said, the size of the venue seemed to be adding an extra challenge.<br />
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DC: Agreed. This script needs to be done in a small black-box space in which - as you point out - the audience is squeezed into the space along with the characters. I think that helps the audience get invested in the characters; you become one of them - and you feel their energy and excitement and get caught up in it with them.<br />
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JM: It's so interesting to me how much the performance space impacts the show. In fact, the exaggerated acting tone, I'd guess, stemmed from the actors (and the director, Joey Albright) instincts to fill that expansive space with bigger gestures, bigger statements.<br />
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DC: That could be. But then the performances of Jacob Hodgson and Jon Davidson as Carter and Max show you don't need to go over the top to fill the space. Now, I totally understand the differences in how their characters are conceived and written, but they gave very slick, controlled, nuanced - and polished - performances that drew and focused my attention to them. Their performances were far more in line with the cast from the original production at Planet Ant than with this one.<br />
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JM: What I found odd was that this time, I kept feeling like these characters seemed more pathetic, and less sympathetic, than they had been previously. I know that sounds harsh, but the small-ness of their lives, and their obsession with what are, in the end, children's toys, just seemed less compelling to me this time around. Maybe that's also a function of the times we're living in. But it's definitely how I was feeling.<br />
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DC: No, I felt that too. In earlier productions, you couldn't help but root for these guys. They may be a bit misguided, but they were likable. Even Meghan VanArsdalen's Kendra - the icky girlfriend who intrudes into the all-boys’ club - seemed a little harsher than I've seen in past productions.<br />
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JM: In the spirit of Princess Leia, Kendra has to be spiky and hard-edged, of course. But I also didn't connect all that much with her this time around.<br />
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DC: So what did you <i>like</i> about the production?<br />
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JM: I really did like Maiseloff's set. Venue issues aside, I loved how I could keep looking at its many nooks and crannies and notice even more little things of interest on stage. I think that came to mind first, because the set had a sense of fun about it - and that's what I think the production needed more of.<br />
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DC: I loved the "vault" – inside which we never actually see, except for the superb lighting effect by Alex Gay. And I also wanted to go up and play with some of the toys - but I knew better. I bet props designer Ben Despard had a blast finding all this stuff!<br />
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JM: The vault put me in mind of the glowing suitcase in "Pulp Fiction" - which was an homage to the ‘50s film classic "Kiss Me Deadly," if you want to go all the way back. But it's a fun effect, definitely.<br />
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DC: It certainly allows everyone in the audience to imagine for themselves how enormous the vault is and what treasures are stored in it.<br />
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JM: I also appreciated that Despard, who designed the costumes as well, made pointed but not-too-self-conscious choices. I was happy to see Big Man not decked out head to toe in Darth Vader black, but in a colorful track suit. Though he gives off the air of danger, there's a casualness to his malevolence - and I thought that worked. The banality of evil and all that...<br />
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DC: (laughs) Oh, exactly. When one conjures up the image of a gangster, they picture a Tony Soprano type. That's not Davidson at all. Yet he truly becomes this geeky, yet dangerous thug in such a way that you can't help but like him, too. He's just another nerd. But a very dangerous nerd.<br />
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JM: And it fit perfectly with the way Davidson played the role, which I appreciated. The idea of a "Star Wars" fanatic mobster is kind of irresistible.<br />
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DC: It is indeed. What did you think of Hodgson's performance?<br />
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JM: This marked the first time I'd seen him on stage in a long time. I appreciated his performance, but it struck me that there's not a lot of meat to that role. More of interest gets revealed about his character late in the show, but up until then, we just have a few pieces to put together about him.<br />
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DC: Yes, the second act is where we learn more about the character. And it's where Hodgson's skill as an actor shines. I kept watching him after the gang returns from their adventure, and his eyes and face reveal quite a bit. it's a pleasure to have him back on a local stage.<br />
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JM: Carter's story arc gets much more interesting after he's wounded - and Hodgson did play that part really well.<br />
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DC: Agreed.<br />
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JM: Let me ask you about the title, which is becoming a thing with me. It's drawn, I presume, from the biblical verse about how, once you grow up, you put away childish things. So the idea seems to be that what we're seeing is a group of people who are at the point of needing to complete that transition into adulthood.<br />
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DC: I agree. And it's a transition that many males seem to resisting and taking much longer to do these days. The guys in Joe's play, though, take it to the extremes. I wouldn't recommend their plan of action to other basement dwellers. (laughs)<br />
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JM: It's a really perfect, concise summation for the story - even though I questioned one of the characters setting another up to work for "the dark side" at the end. But you at least get to see how things from that point will now change for each of them. Though that basement may never lose its tenant. Sorry, Mom!<br />
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DC: (laughs) He'll sure be richer, though! Actually, that ending was an interesting twist, I thought.<br />
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JM: Yes, I did, too. And I wondered if forgiveness would come that easily for those involved. I have to think lingering distrust among the friends would ensue.<br />
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DC: Maybe the sequels address that! (laughs)<br />
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JM: Though as it is, we might have to start calling ourselves Platonic Theater Daters Who Only See Zettelmaier Plays.<br />
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DC: <i>Old</i> Zettelmaier plays! (laughs) So what's your bottom line?<br />
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JM: Hmm. I guess I'd say this production might be most appreciated by "Star Wars" geeks, and/or people who are closely following and love Joe Z's work. But overall, I felt lukewarm (um, pun intended?) about the show. I'm excited about Roustabout, and I look forward to seeing what they do next, but this was, in my opinion, more of a decent start rather than a wow-inducing one. (God, have you noticed we sound like the very nerds featured in this play? “The original was better!”)<br />
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DC: We do, don’t we? Well, I <i>am</i> known as the Cranky Critic, so I guess it fits! (laughs) I, too, would recommend the show to "Star Wars" fans. But I suspect some who see "All Childish Things" for the first time may walk away with a different impression than we have; they’ll have nothing to compare it to like we do. So I don't want to discourage anyone from checking it out. Especially since I think it's important to support our newest theaters. And I think Roustabout has the ingredients to become a popular voice in the region.<br />
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JM: May the Force be with them …<br />
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<i>For complete show details,</i> <a href="https://www.encoremichigan.com/shows/childish-things-special-edition-05-31-06-17/">CLICK HERE!</a><br />
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Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-20917194110555960362018-05-31T12:05:00.000-04:002018-05-31T12:05:27.521-04:00Platonic critics celebrate DPT's 'Birthday'<div class="separator" style="clear: both; text-align: center;">
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<i>As part of Jenn McKee and Don Calamia’s new Platonic Theater Date review series, they attended the same Saturday performance of Detroit Public Theatre’s “Birthday Candles” on May 26, and followed-up with a conversation about the show. Here’s their joint review:</i><br />
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After moments of extreme duress, people often say, “my life flashed before my eyes” – but in Noah Haidle’s drama “Birthday Candles,” now having its world premiere at Detroit Public Theatre through June 3, we instead bear witness to a highly compressed version of someone else’s long, eventful-but-ordinary life.<br />
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Specifically, Ernestine Ashworth’s (Claire Karpen) life. We first meet Ernestine on her seventeenth birthday, as her mom (Hallie Lee Bard, who plays multiple roles) is performing the ritual of making her daughter a cake, and also helping Ernestine run lines for her school’s feminist production of “King Lear.” Kenneth (Daniel Pearce), a nerdy neighbor boy smitten with Ernestine, drops by with a gift – the first of what will be a long series of goldfish – and a prom-posal, but after Ernestine turns him down, Matt (Michael Brian Ogden) drops by, causing Ernestine to visibly swoon, despite her stated commitment to live an unconventional life that will “surprise God.”<br />
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The scene ends with a audio cue, like a bell, that signals the passage of time to a near-future birthday of Ernestine’s, wherein she’s assumed responsibility for making her own cake in the exact way her mother did, citing the importance of this ritual. And this jump forward in time happens repeatedly throughout the 80 minute play (directed by Vivienne Benesch), so that we see Ernestine’s life play out in bursts as she gets married, raises a family, suffers loss and heartbreak, launches a business, re-discovers her independence, and experiences both profound joy and terrifying loneliness.<br />
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DC: So you've finally been able to visit the Detroit Public Theatre. Since it's your first show there, what were your first impressions?<br />
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JM: I was glad I was coming with a veteran attendee, because I think I might have initially been confused about where to go - especially since other events were happening in the same building. But once we were in the right place, my first thought upon seeing the set was "Wow." I liked the space a lot, and was impressed with the presentation before the show even got underway.<br />
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DC: I've heard a number of people say the same thing about their first-time visits there. With mobs of people funneling through the doors, it's not obvious in which direction Detroit Public Theater patrons need to go when so many are heading the opposite way. But I also agree that from that point on, the powers-that-be do a fine job creating a very welcoming environment and a professionally run space. They've quickly become a force to be reckoned with - not only here, but nationally as well.<br />
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JM: Once again, I was going in with a completely blank slate, not realizing that DPT had commissioned the play - nor did I know anything else about it. What did you think of "Birthday Candles"?<br />
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DC: If you had asked me that question about half way through the show, you'd have gotten a totally different response. Playwright Noah Haidle is pretty damn sneaky in how he made us care more and more about his characters as the story moved forward.<br />
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JM: Yes. I mean, the basic structure of the show feels familiar. Seeing a life's progression from youth to death by way of an annual event, like a birthday, is certainly something we've seen variations of before. And the device initially felt cloying to me. But I, too, fell more under the play's spell as it progressed. There were still repeated, stiff bits of dialogue here and there that felt more "writerly" than organic, and that grated on me a bit, but overall, by the end, I'd become much more emotionally invested.<br />
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DC: To be honest with you, I didn't see much of a raison d'être for this play until we were getting close to a quarter or a third of the way through, for precisely what you said. But then as the years and decades pass and "real life” begins to intrude more and more into their world, the show finally came together for me. I was hooked.<br />
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JM: That's right on the money. I didn't know why this particular story needed to be told for the first several scenes, either. It doesn't operate with a clear narrative hook, so you just have to go on faith - which is fortunately, in the end, rewarded.<br />
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DC: I kept thinking to myself, "Where is this story going and why should I care?” - until it became obvious and I did. It just took a while to get there for me.<br />
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JM: Me, too. And it didn't help matters that characters purported to be seventeen looked considerably older in those opening scenes, and I thought, "What's with this casting?" Of course, it becomes clear quite quickly that they'll be embodying these characters through long lives, but it was one more initial point of distraction when trying to settle into the play.<br />
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DC: Again, totally I agree. For example, when Claire Karpen first appeared as Hallie Bee Bard's daughter, I wasn't buying it whatsoever. That was too much disbelief to suspend - until it became clear what was going on.<br />
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JM: That's just one of the inherent challenges of this script. There's little you can do when characters are going to be spanning that broad a range of ages.<br />
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DC: Exactly. And that's not to disparage anyone's acting. Playing much younger or older than your actual age isn't easy for an actor to do convincingly – especially without wigs and make-up changes. So because my eyes, ears and brain weren’t initially in sync with one other, it caused me to pause and take stock of the situation. It took me out of the moment a couple of times.<br />
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JM: I experienced that constant drumbeat of "Huh??" for a while. But on the other end, I was pretty damn wowed by the ways in which Karpen seemed to progress into old age before our eyes, with very few external props or costume changes.<br />
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DC: Again, I agree - although I thought she needed to slow down a bit more as she got into her late 80s. I felt she was a bit too spry for such an advanced age - and that's coming from someone who watched his two grandmothers and a first cousin live into their early 90s. While they were still able to get around and live on their own, I expected to see a more distinct progression of the aging process towards the end of Ernestine's life like I did theirs.<br />
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JM: Yes - again, tricky to keep the play moving at a reasonable pace and yet still convey the realities of aging. But I agree. She did seem rather spry for an octogenarian, but the addition of glasses, her expressions, the way her hair got a bit messier - all these things contributed to the illusion that I was watching a much older woman.<br />
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DC: And her voice. That sealed the deal for me. Yes, she COULD be spry enough physically to move like a 60 or 70 year old, but the subtle changes to her voice as she aged were perfect<br />
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JM: And she's the only one on stage the whole time, anchoring the play. A really impressive performance overall. It's got to take a LOT of focus, and be pretty draining, to make all those adjustments, and ride through that much life in 90 minutes each night.<br />
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DC: Yes, the only breaks she gets are the few seconds between scenes, and that's all it takes for her to move into the next era of the story. It's quite a masterful performance. Who else stood out in the cast for you?<br />
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JM: I adored Daniel Pearce's Kenneth. Quirky and funny and so, so lovable. I love the humor he brought to the production.<br />
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DC: Yes, he was certainly the show's comic relief. You couldn't help rooting for the guy!<br />
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JM: What about you?<br />
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DC: In all honesty, I was impressed by the entire cast. I've been a fan of Chris Corporandy and Michael Brian Ogden since their Hilberry days, and their considerable skills are put to great use here, as they too age and/or become other characters. And Hallie Bee Bard brings such honesty to all of her roles.<br />
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JM: One of the heart-stopping moments of the show for me happened between Bard and Karpen, when Bard's playing Ernestine's struggling adult daughter. Karpen simply says, "Stay" with such quiet urgency that you can practically smell the tragedy ahead. Also, for me, Corporandy’s performance in one of the last scenes is just marvelous – funny and genuine and sweetly touching in its compassion. And Ogden has a thankless (and therefore challenging) role, in that Matt isn't the most likable character.<br />
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DC: No, Matt’s not, and that ties into one of the show's heart-stopping moments for me, which I can't fully explain without giving too much away. But let's just call it his final few scenes. I think that's when the two women next to me started crying the loudest.<br />
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JM: It's easy to vilify and dismiss Matt, but Haidle complicates that too-easy choice by making his path a bit bumpy, too. And Ernestine's response to it, I think, is part of what's likely to bring on those tears.<br />
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DC: True. The playwright is right on the money when it comes to married couples who suffer a tragic loss like Ernestine and Matt do; many break apart. So it IS easy to vilify Matt, but it's not as simple as that. Men and women grieve in different ways, and if partners aren't cognizant of what their other half is going through and what their other half needs, situations like theirs can happen.<br />
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JM: I'd argue, actually, that each individual person processes grief in his/her own way. It's like the snowflake of the pain world, where no one's experience is quite the same as someone else's - which is yet another reason it can be so isolating and lonely. But something Matt says when the, uh, stuff hits the fan in his marriage to Ernestine seemed unnecessarily mean. Which is why I was ready to write him off. But Haidle didn't let me do that.<br />
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DC: Sure, as individuals, yes we DO grieve in our own ways. But men don't vocalize their feelings like women do. We’re problem solvers, and we want to fix things for our wives and mothers when they are hurting. And men need to FEEL wanted and loved – and for us, sex or intimacy is a way to provide comfort and to escape momentarily from grief. So when wives shut down emotionally or reject them altogether as Matt says Ernestine did, SOME men MAY respond to the warmth of another woman who will meet those needs. It may not be right, but some marriages never recover from a tragedy because of this. (pause) So enough about psychology. (laughs) Something else initially bugged me, but then I changed my mind about it. What did you think of the set - and the fact that the plot took place over the course of about eight decades and the kitchen never changes?<br />
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JM: I thought about that in passing, but it didn't give me too much pause. If anything, I kept thinking about the many bowls they had back there to dump hunks of butter and cups of flour into.<br />
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DC: I kept thinking about the outdated colors of the appliances and how they'd never be able to find spare parts to keep them running so far into the future! (laughs) But ultimately, this wasn't about appliances, set pieces or anything like that. It’s about the human experience and how we grow and change over a lifespan.<br />
<br />
JM: Yes, I did find myself fixating at times on the stove and other parts of the kitchen, thinking about how they looked like something from a time capsule, definitely from another era, but not so out of the realm of now that they jumped out at me, either. That's kind of an impressive feat. Just like the actors have to travel this decades-spanning journey, so do the set design and props. And I liked how a cosmic, astronomy-themed backdrop for this literal “kitchen sink” drama visually underscored the idea that this, when we take the long-view, is about how we spend our relatively short time on Earth. So some really thoughtful work by set designer Michael Carnahan and prop designer Pegi Marshall. You have to strike just the right balance, and they did a marvelous job.<br />
<br />
DC: I agree. The set and props gave the production a consistency and a feeling of timelessness, much like the story itself. If there had been numerous set and prop changes, that would have stolen focus and dragged the pacing way down. I also thought Cecilia Durbin's lighting design was quite interesting, although it took me a couple of times to realize what one special effect meant.<br />
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JM: Yes, that, to me, is part and parcel of getting settled into the structure of this show. These tech elements are used to help signal changes in time, but it takes a few reps for this all to feel natural and clear.<br />
<br />
DC: It sure did.<br />
<br />
JM: We haven't touched on Shelby Newport's costumes yet. What did you think?<br />
<br />
DC: They’re character defining. And you don't always see that done as sharply as it is here. And as an aside, when Ernestine first entered, I couldn't help but think," WOW! That looks new and freshly ironed." Again, you don't always see that throughout the industry here. Sometimes costumes look like they came right off the rack of the Salvation Army and onto the actor’s body.<br />
<br />
JM: Not to put too fine a point on it, but dressing Ernestine in yellow seems a kind of theatrical highlighter. We know from the get-go that our eyes should follow her from scene to scene. And as with the set, the clothes have to somehow translate across eras - which they do. Again, this is something that demands a lot of careful thought.<br />
<br />
DC: It does indeed, and Newport is totally successful in accomplishing that.<br />
<br />
JM: Quick question: did you think of "Our Town" at all during that first scene? Or is it just me?<br />
<br />
DC: Nope. I didn't. It's just you. (laughs) I think I was too busy trying to figure out what was going on.<br />
<br />
JM: I think I was put in mind of "Our Town" because you've got this young woman with her family at home, and you're hearing about her big hopes and dreams, even though she lands right where she begins. And, of course, you see how her life plays out, with the focus on these ordinary people that aren't particularly special in any way. Wilder's play was more about capturing a time and a town, but I still felt some homage being paid by way of the playwright's approach and the play's content. But again, that may just be me!<br />
<br />
DC: No, I can see that. But now I'm going to ask you the million-dollar question: As this was your first exposure to Detroit Public Theatre, did it meet, surpass or fail your expectations?<br />
<br />
JM: Trick question! Because I know and really respect the folks involved with the company, I had high expectations going in. But that said, the production totally met my expectations. I even liked little touches like the white balloons hanging in the air, around the perimeter of the set. The lighting played off them at times, and they reinforced the birthday thing that undergirds the show. Just a nice little added touch that I appreciated.<br />
<br />
DC: As you know - since we've talked about DPT a bit over the past three years - I'm a big fan of the company and the women who lead it. They keep making smart choices, and they seem to be rewarded with a very loyal audience base. For me, the choice of "Birthday Candles" as their first commission was a gutsy move, given how atypical a script it is; it could have been a train wreck. But director Vivienne Benesch did a great job pulling its elements together, putting together the perfect cast, and finding the right groove to reveal the story's touching, personal moments. And I have to say - to use an analogy related to the play - the ingredients she baked and served ultimately delivered its intended goods, as the two women next to me couldn't stop crying towards the end of the show - and even a certain Cranky Critic will admit to being a bit choked up towards the end. And that doesn't happen often.<br />
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JM: Yes, I thought it was impressive that during the course of this not-that-long show, I went from skepticism to being moved. Part of that, I think, stems from the fact that this is a show not about happy or sad endings - or even endings, really. It covers some really joyful and painful things, so that it's not tied up in a pretty bow. I really appreciate how Haidle handled the end. Because it was more truthful, frankly. There are moments when we're surrounded by loved ones as we age, and there are moments we feel existentially alone. Too often, the too-easy wrap-up gnaws at me, so I admired the playwright's choice to complicate the conventional paradigm.<br />
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DC: You nailed it, Jenn. And I think that's why we both grew to like the show so much: It became more truthful as the plot and years went by.<br />
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For complete show information, <a href="https://www.encoremichigan.com/shows/birthday-candles-05-10-06-03/">CLICK HERE!</a><br />
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0tag:blogger.com,1999:blog-8500035372859157853.post-55505458035814060882018-05-22T13:54:00.001-04:002018-05-22T13:54:38.556-04:00Platonic neighbors go to war; Platonic Critics have difference of opinion (but don't go to war)<div class="separator" style="clear: both; text-align: center;">
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<i>As part of Jenn McKee and Don Calamia’s new Platonic Theater Date review series, they attended the same Saturday performance of Tipping Point Theatre’s “Northern Aggression,” on May 19, and followed-up with a conversation about the show. Here’s their joint review:</i><br />
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An inherent challenge of a family squabble – particularly when there’s a clear resolution – involves the reality of having to still interact with each other for years afterward while silently assuming our post-conflict, arrogant/resentful roles.<br />
<br />
As divisive and dysfunctional as the United States has become, we’re still ultimately one big family, and the Civil War remains our definitive quarrel. Though multiple generations have died and been born since battles between the Confederacy and the Union took place, a tension – something like historical muscle memory – still radiates from both sides of the Mason-Dixon Line; and prolific Michigan playwright Joseph Zettelmaier taps into this long-simmering tension via his play “Northern Aggression,” now playing at Tipping Point Theatre through June 24.<br />
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The show begins as a young couple from Detroit, Maddie (Alysia Kolascz) and Rob (Patrick Loos), are moving into their new home in rural Georgia, where Maddie’s landed a new job as the town’s veterinarian. Rob, formerly an engineer, doesn’t know how or where he’ll fit into the local ecosystem yet, but after elderly neighbor Doc (Thomas D. Mahard) stops by, Rob not only finds himself wearing gray during a local Civil War reenactment, but also waging a prank-filled personal war against Doc.<br />
<br />
DC: It's been a while since I've attended a Joe Zettelmaier play, and so it was a great refresher on what I've always liked about his work: well-drawn and identifiable characters, dialogue that serves both the characters and the story, and an overall entertaining story.<br />
<br />
JM: So you didn't get to catch his drama "Our Lady of Poison" at Williamston?<br />
<br />
DC: Unfortunately, no. I haven't been out to Williamston in a while.<br />
<br />
JM: That was the most recent show of his I've seen, and because I had very different reactions to these two shows, that's what I've been kicking around all weekend. "Poison" had really high stakes for its characters - and this is what I think I felt was missing in "Northern Aggression." It's an amusing premise, but it felt slight to me.<br />
<br />
DC: Well, it's one of his earlier scripts. I reviewed its world premiere in Williamston under the title "And the Creek Don't Rise" back in 2011, and he's certainly grown as a playwright since then. While you're correct, this isn't a high-stakes story, I find it to be a very intimate and personal tale that explores various aspects of men and their ability to accept change and bond with other men. And he accomplished it with a rather unusual, yet creative plot.<br />
<br />
JM: Ohhhhhhhh. Oops. I hadn't known of the show’s history, and I hadn’t heard this title before –I had a baby in 2011, so I can just blame that for my ignorance on this point, right?! – so I’d presumed it was a more recently written script.<br />
<br />
DC: (laughs) I’ll buy that excuse. At the time I found it to be yet another evolutionary step in his maturation as a playwright.<br />
<br />
JM: I appreciate its ambitions, and there's definitely some good stuff to unpack in it - North/South differences, generational differences, how notions of masculinity are changing - but again, for me, it didn't dig quite deeply enough to make much of an impact.<br />
<br />
DC: What do you think it was missing?<br />
<br />
JM: Well, take the sequence in which the men are ramping up their pranks on each other, for instance. That, to me, feels a bit sit-com-y. It's something we often see in films and television shows, and it's familiar shorthand for an escalating conflict, so it just made things feel more contrived and less organic to me. And how does a man who's despised by everyone - though he doesn't seem particularly hateful or mean when we meet him - get a job for a guy who moved into town? And if Rob hates the job, which he seems to from the get-go, what's stopping him for looking for other work in town? I just kept getting tripped up by questions like this, and I wasn’t so riveted by the central conflict. I appreciated the wit of the dialogue, and many elements of the production's execution, but overall, this was not one of my favorite Zettelmaier shows. Fortunately, there are <i>lots</i> to choose from, though.<br />
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DC: That there are. Up till the time this initially appeared, I had seen every one of Joe's shows, and what I appreciated is that it wasn't trying to tackle the world's woes, but rather simply look at what could happen when two men who have absolutely nothing in common other than their Y chromosomes are forced to reckon with each other as next door neighbors. So what we end up with is their own mini Civil War, or Hatfield-McCoy feud. And so how it escalated didn't bother me; testosterone will do that to a guy - although breaking into the other's house <i>was</i> a bit too extreme for me; that crossed a boundary. You also have to remember that small Southern towns may not be hospitable to a Yankee newcomer, and I think there's a line or two about there being no jobs available. So he <i>was</i> kind of stuck there in a job he hated. And why did the dealership give it to him if they hated the doctor so much? He mentions several times he's owed favors, and so I assume the owner lived up to granting that favor – despite his personal feelings for the guy.<br />
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JM: I just felt like things like this were explained away too easily when they didn't hold water for me. Yes, I definitely, upon moving to Athens, Georgia for a two year stint long ago, became pointedly aware of my own Yankee-ness, so some of this rang very familiar. But again, some plot points just felt contrived to me - where I was thinking about the choices made by the writer instead of being engaged with the story.<br />
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DC: I think part of our difference of opinion here is that I went in to the performance with complete knowledge of what to expect, and being fully aware of how far Joe’s skills as a playwright have progressed since then. So I was seeing it as a reminder of just how far his work has progressed over the years, while for you it felt like a step back.<br />
<br />
JM: That's probably part of it. Having no previous knowledge of this script, I went in expecting the level of skill Zettelmaier's working at right now. And expectations can definitely play a significant role in how we process and respond to works of art.<br />
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DC: Exactly. Although it earned a 2012 Wilde Award nomination for Best New Script, six years later it’s dropped off my list of Top Three Favorite Joe Zettelmaier Plays. Still, it's one I enjoy very much because of its simplicity and the truthfulness behind how men often have trouble making friends and resolving differences. But then again, I might also be influenced by the performances - both with the Tipping Point production and with the world premiere in Williamston.<br />
<br />
JM: I was just taking note of Mahard's bio, which states he originated the role in the first production at Williamston. Did you notice significant changes in the show since seeing it back then?<br />
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DC: I loved him in both, actually, as he fully became the doctor in each production. He was the epitome of the small town Southern Gentleman - at least on the outside. If there was a difference, it was only in how certain lines were delivered.<br />
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JM: Mahard did a great job of projecting the polite Southern gentleness that Doc puts on for Maddie, while still suggesting Doc's sense of mischief and his potential for anger that's always just beneath the surface.<br />
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DC: In my review of the 2011 production, I instructed theatergoers to watch Mahard's eyes if you <i>really</i> want to know what's lurking inside the doctor's head, and that's STILL a relevant statement. He's a master at using his eyes to tell a story.<br />
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JM: And Loos is so funny and earnest as Rob. He pretty much has to carry the thing, since his "fish out of water" struggle is the one we're following most closely, and Loos' joy in the role feels contagious.<br />
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DC: When I first heard he was cast in the role, I thought it was perfect casting; it's like he was made for the role. John Lepard played the character in Williamston, and it was interesting to see how differently they approached it. Loos was a boiling tea kettle ready to explode, and watching him struggle to keep it inside him was fun to watch.<br />
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JM: Because this play is largely about a sandbox battle between the two men, Maddie's part is the most utilitarian - she has to play referee, lover to Rob, and concerned neighbor and veterinarian to Doc. She's crucial for being the bridge between the men, and providing information that helps us piece things together, but it's all in service to the central story. Nonetheless, Alysia Kolascz strikes the right tone as the go-between. She's like the human embodiment of the Mason-Dixon Line.<br />
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DC: Yes, there's not a lot of dramatic meat to the role, but she plays the sympathetic referee quite well.<br />
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JM: Maybe that was part of my issue with the show, too. It's fine that the beef between these two men plays the starring role, but I feel like, since Maddie's part of their story, and plays a part in bringing them together, maybe there should be more of her in there.<br />
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DC: But this isn't Maddie's story. It's the guys’ story. Joe had written a number of excellent plays starring strong women who were the focus of the plot, and this was his attempt - in my mind, at least - at showing he could also tell a men's story equally as well.<br />
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JM: There's no question that it's a really tough balance to strike, as a playwright. You can't give everyone equal space and time, or you'll lose focus. So I absolutely acknowledge that, and I don't suggest I have an easy answer, either. That was just one element that felt undercooked to me.<br />
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DC: Since, in general, men and women have different ways of resolving conflicts, when it comes to interpersonal issues between two men such as this, the guys have to resolve it on their own. And - no spoiler warning needed - they did. Her direct interference might have resulted in a different ending.<br />
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JM: I don’t know that I necessarily believe that there are gender differences in regard to conflict resolution - but that sounds like a topic for another Platonic Theater Date all together. Can't imagine who would read <i>that</i> one, but ...<br />
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DC: Probably no one. (laughs) But traditionally, women will take whatever time is necessary and talk things out. Men aren’t like that; we’re not talkers, we’re doers. So we’ll often go to war with each other until we figure out a way to resolve the conflict to our mutual satisfaction. That’s especially true for alpha males who jockey to become top dog. But you're right; that's for a different discussion! (laughs)<br />
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JM: So let me ask: did the set designer for the original production employ a completely different concept?<br />
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DC: Yes, very much so. In my earlier review, I describe Daniel Walker’s set as “mostly the exterior of the Graff’s house, plus various moveable set pieces” And I made special mention of the hospital bed that they quietly sneaked on stage.<br />
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JM: Tipping Point's Jennifer Maiseloff used projections on a set of tall, white vertical blinds, and minimal furniture for scene changes. Plus, you saw a painted wooded backdrop to underline not only how far into the woods this couple had moved, but also to supply an appropriate visual backdrop for the Civil War reenactment scenes.<br />
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DC: For me, the blinds were a great idea in theory, but in practice they didn’t succeed as intended. All too often there were gaps between panels, and they continued to shimmer for far too long after they were closed, which made the projected image look like what those of us older than dirt will remember when you watched TV with an antenna on your roof: a shaky image if not tuned correctly. I found them distracting.<br />
<br />
JM: I found it distracting at times, too. Not constantly, but my eye was drawn away when they would continue to flutter, post-closing.<br />
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DC: Yep. Mine, too.<br />
<br />
JM: It seemed like one of those cool ideas that, in practice, presents a small but hard-to-solve problem.<br />
<br />
DC: I'll give them an "A" for at least <i>trying</i> the idea, though.<br />
<br />
JM: Yes, when I first realized how they were using it, I thought, “Oh, that's so clever!" But I will say that the painted floor design and backdrop where quite beautifully executed.<br />
<br />
DC: I agree. And so did the friend who was with me. He was quite impressed with both. What did you think about the sound?<br />
<br />
JM: I loved Julia Garlotte's use of bluegrass covers of pop/rock hits – by everyone from Guns-N-Roses to Tears for Fears. A nice little musical reminder that we’re not in Detroit anymore. But she also, of course, had to make the battlefield feel more visceral by way of shots and explosions, and "fill the battlefield," as it were, with a crowd of reenactors that aren't there.<br />
<br />
DC: It was a magnificent job, that's for sure. And I think stage manager Tracy L. Spada deserves a hearty round of applause, too, for executing what seemed like a million cues so flawlessly.<br />
<br />
JM: Yes - all ran smoothly on opening night! I also appreciated how lighting designer Rita Girardi could subtly differentiate between indoor and outdoor settings - with the battlefield scenes doused in something akin to natural lighting, while Doc's hospital room gave him more the pallor of a man in such an institution.<br />
<br />
DC: Agreed. Even the TV in Doc's hospital room was realistically represented.<br />
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JM: And Colleen Ryan-Peters' costumes – which Doc would correct me by saying "uniforms" – not only help bring us further into this world, but also visually underline the many differences between these two men. Rob wears a Tigers t-shirt when we first meet him; Doc might wear a t-shirt as underwear – if that!<br />
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DC: Yep...other than the blinds, this was a very well-designed and executed production!<br />
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JM: And it's interesting that in a time of ever-widening partisan division in this country, this play about two very different men finding a way to live next to each other in peace is being re-staged now. Probably not a coincidence.<br />
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DC: I agree; probably not. It's very timely, actually. If only <i>all</i> of our nation's disagreements could be resolved with such a satisfactory conclusion. So, ultimately, what's your overall opinion of the show?<br />
<br />
JM: I've used this allusion before, but it felt more like an appetizer than a meal. It was pleasant enough, and I laughed a few times, but I didn't feel satisfied. For those seeking a lighthearted night out, it'll definitely do, but I think I was looking for more. Or perhaps "expecting" that, as we mentioned earlier.<br />
<br />
DC: For me it's a pleasant night at the theater that lightheartedly examines how our differences don't have to separate us if both sides are willing to meet half way. And it leaves me wanting to see what new things Zettelmaier has coming down the pike.<br />
<br />
JM: Oh, do you think he'll write more plays? (I kid, I kid…)<br />
<br />
DC: I dunno. Maybe one or two more! (laughs)<br />
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For complete show information, <a href="https://www.encoremichigan.com/shows/northern-aggression-05-17-06-24/">CLICK HERE!</a><br />
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<br />Donald V. Calamiahttp://www.blogger.com/profile/03275387559666814450noreply@blogger.com0