"Nevermore", a Poe based thriller, continues unabated. We've had our first read-through. It is quite promising. Lots of experience in the cast. After a brief flirtation with playing two characters, I'm back to playing only Dudley- and that's enough of a challenge for now. I've been working on my character more than lines at this point, so that when I get the lines- I know who is saying them and why and thus how to say them. I will not let the others down.
We've also had the first rehearsal for "Forever Plaid". It consisted of letting us know who we were, what voice part we would sing, and going through some of the songs. There are A LOT of songs! The harmonies are tight, and our voices blend really well. I figure work on two songs a week until after "Nevermore" and then attack it like a chocolate cake. So much to do.
Tuesday, October 29, 2013
The Point of Dis-ment
I am disappointed in the turn my Adult Improv class has taken. Every week, fewer and fewer folks are attending. Last night- three. I am enjoying the class, but if there aren't sufficient numbers to effectively do the class, we'll have to disband. Sure that'll free up my Monday nights, but I need the growth. I would much prefer the others to return over a refund. As I said...disappointed.
Saturday, October 19, 2013
"Equus" in Tyler- a review
This evening I experienced the amazing "Equus" by Peter Shaffer. This classic play performed at Theatre20 @ Potter Place in Tyler, Texas, under the direction of Felicity Enas. After all my years watching and performing in the theater, I had never seen the play nor even read the script. I came to the black-box theatre with a clean slate. Oh, of course I had my preconceived ideas based on the fame of the show, the big names who have performed in it over the years, and the "shocking" male nudity (although why male nudity is more shocking than female nudity I'm not quite sure). The best of those ideas came to fruition, and the rest fell by the wayside like discarded blinders.
This production starred Chris Abraham as Dr. Martin Dysart and Matthew Butler as Alan Strang. Their performances were powerful and touching. Each in their own way depicted the inner pain and suffering that only the passionate can feel. Passion from the character- passion from the actor. Abraham, with at times unnerving calm, exposed Dysart's inner fears, anguish, and rage at what has become of the shards of his life. His depth allows the psychiatrist to fall and rise and fall again as he attempts to understand his tormented patient.
That patient, embodied by Butler, draws us into his pain and delusion with what I'll call focused distraction. Butler's intensity is ruptured by vulnerability and complexity. His Alan Strang is as far from one-dimensional as the Grand Canyon and just as deep. It became a joy to see, and yet hard to watch at times for fear of falling into the depths of that neurosis. His powerful, unselfconscious performance was enlightening.
I would be remiss if I did not also celebrate the marvelous staging of director Felicity Enas. Her use of space and shadow and simple set pieces keeps us focused on the performers and the story. Just the right motion. Just enough complexity. Just the right simplicity. The "horses" were amazingly easy to see as horses, not actors. Their random motions as individuals, yet unified motion when united in the title entity was entrancing and effective theater.
The entire cast were a credit to the material. Standouts to me were Robin Morris (Dora Strang, Alan's mother), Suzanne Alford (Hesther Saloman & a horse), and Mike Leatherwood in his role of Nugget, the prime equine character. Mrs. Strang was an explosive mixture of guilt and religion and shame that seemed very honest. That's the best word- honest. Alford's playing of the magistrate, Saloman, worked very solidly to keep Dr. Dysart grounded in the reality of his role. The horse, Nugget, was a physical performance of the highest standard. All that said, there wasn't a weak link. The truth of the play was not lost in egotistical performances, as can so easily happen. The father, the employer, the lover- all felt real.
It is the reality... the honesty... of "Equus" that sets it apart in the ragtag world of theater. It asks more questions than it answers, leaving us, the audience to search for those answers ourselves. This is theater at its best.
There are three more performances of "Equus" October 19, 25, and 26 at 7:30 PM.
APEX Theatre20 @ Potter Place. 719 West Front Street (round back), Tyler, Texas
http://apextheatre20.com/tickets/#equus
This production starred Chris Abraham as Dr. Martin Dysart and Matthew Butler as Alan Strang. Their performances were powerful and touching. Each in their own way depicted the inner pain and suffering that only the passionate can feel. Passion from the character- passion from the actor. Abraham, with at times unnerving calm, exposed Dysart's inner fears, anguish, and rage at what has become of the shards of his life. His depth allows the psychiatrist to fall and rise and fall again as he attempts to understand his tormented patient.
That patient, embodied by Butler, draws us into his pain and delusion with what I'll call focused distraction. Butler's intensity is ruptured by vulnerability and complexity. His Alan Strang is as far from one-dimensional as the Grand Canyon and just as deep. It became a joy to see, and yet hard to watch at times for fear of falling into the depths of that neurosis. His powerful, unselfconscious performance was enlightening.
I would be remiss if I did not also celebrate the marvelous staging of director Felicity Enas. Her use of space and shadow and simple set pieces keeps us focused on the performers and the story. Just the right motion. Just enough complexity. Just the right simplicity. The "horses" were amazingly easy to see as horses, not actors. Their random motions as individuals, yet unified motion when united in the title entity was entrancing and effective theater.
The entire cast were a credit to the material. Standouts to me were Robin Morris (Dora Strang, Alan's mother), Suzanne Alford (Hesther Saloman & a horse), and Mike Leatherwood in his role of Nugget, the prime equine character. Mrs. Strang was an explosive mixture of guilt and religion and shame that seemed very honest. That's the best word- honest. Alford's playing of the magistrate, Saloman, worked very solidly to keep Dr. Dysart grounded in the reality of his role. The horse, Nugget, was a physical performance of the highest standard. All that said, there wasn't a weak link. The truth of the play was not lost in egotistical performances, as can so easily happen. The father, the employer, the lover- all felt real.
It is the reality... the honesty... of "Equus" that sets it apart in the ragtag world of theater. It asks more questions than it answers, leaving us, the audience to search for those answers ourselves. This is theater at its best.
There are three more performances of "Equus" October 19, 25, and 26 at 7:30 PM.
APEX Theatre20 @ Potter Place. 719 West Front Street (round back), Tyler, Texas
http://apextheatre20.com/tickets/#equus
Tuesday, October 8, 2013
"Red Velvet Cake War": No ceasefire!
The "Red Velvet Cake War", the latest production by Palestine Community Theater, is a great success. It is a success both financially and artistically. Is it Branagh's Henry V? No...thank goodness. It's a light dessert of a play with charming performances of a clever script. The primary female lead, Dixie Dorsette, plays a character reminiscent of Lucille Ball on grits. Katherine Newton is cold then hot as Elsa, the lonely psychiatrist. The funniest lines belong to Doug Smith as the elderly Uncle Aubrey. He no longer feels the need, at his age, to use filters on his speech. Doug impresses with his characterization.
All the characters are indeed CHARACTERS, from the the newly legally widowed corpse cosmetologist cousin (Dr. Jan Sikes), the lonely tomboy cousin (Sandra Webb), the wicked old witch of an aunt (Carol Moore), the Martha Stewart of the trailer park (Cassie Severn), and the "hot to trot get outta my way" neighbor (Terri Warren) and her dementia-darlin' mama (Billie Dyer), to the Barney Fife-like deputy (Jim Vincill) and the one-eyed "bait and wig shop" owner (Gerry Goodwin). And where do you put Cousin Purvis played by the talented Olivia Santone? Purvis (well named, by the way) looks like he belongs on Duck Dynasty and acts like he belongs on Six Feet Under- he likes to take pictures of dead relatives and carry the photos around with him.
A good time is had by all. If you're in the area, and haven't seen it...or even if you have...come see it this final weekend, October 11, 12 at 7:30, and Sunday the 13th for the 2:00 matinee.
All the characters are indeed CHARACTERS, from the the newly legally widowed corpse cosmetologist cousin (Dr. Jan Sikes), the lonely tomboy cousin (Sandra Webb), the wicked old witch of an aunt (Carol Moore), the Martha Stewart of the trailer park (Cassie Severn), and the "hot to trot get outta my way" neighbor (Terri Warren) and her dementia-darlin' mama (Billie Dyer), to the Barney Fife-like deputy (Jim Vincill) and the one-eyed "bait and wig shop" owner (Gerry Goodwin). And where do you put Cousin Purvis played by the talented Olivia Santone? Purvis (well named, by the way) looks like he belongs on Duck Dynasty and acts like he belongs on Six Feet Under- he likes to take pictures of dead relatives and carry the photos around with him.
A good time is had by all. If you're in the area, and haven't seen it...or even if you have...come see it this final weekend, October 11, 12 at 7:30, and Sunday the 13th for the 2:00 matinee.
I'm proving a little bit
I had a tough time at improv class last night. I just couldn't find "the groove". From feedback, I think I was trying to be funny instead of just being. You know- trying to come up with that zinger, that top laugh, the climax to the scene. That made me less generous and less genuine...a fatal combination. I got into this class to push myself and improve as an actor, not just to do improv. I'm glad to say I'm being stretched. I hope I'm getting better.
This Friday is the read-through for "Nevermore". I'm excited and a little anxious. I haven't really stretched my acting muscles in a while. Not only that, but this is an entirely new group of people. New dynamics; new expectations; new egos to match my own sometimes overstretched one. Saturday I'll post an analysis of the sitch.
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