|
God of Carnage
Corn Stock Theatre
February 17-19 & 24-25
By Cara Rosson
In the talkback after the show, an audience member made a comment that best summarizes “God of Carnage.” I paraphrase here, but she said essentially that “they talk about everything, and they talk about nothing. And nothing gets resolved. Kind of like Seinfeld.”
And that is exactly what “God of Carnage” feels like. Two couples arguing about everything, concerning raising their children. But none of it is revelatory, or ground breaking. None of it should seem very dramatic. Most of it is stuff that you probably already know. And yet, it's an entertaining, intriguing and laugh out loud evening of biting comedy.
So here's the basic story: Veronica and Michael Novak have invited Annette and Alan Raleigh to meet at their home (a Brooklyn, NY condo). Veronica and Mike's son, eleven-year-old Henry, was hit in the mouth with a stick by Ben, Annette and Alan's also eleven-year-old son. We learn quickly that Henry had two teeth knocked out and has gone through a few doctors visits and considerable pain. The Novak’s want to talk through the situation with the Raleigh’s, and arrange for Ben to come over to apologize to Henry.
But, as I'm sure you know how these things usually go, especially when we are discussing children and family – it's not that simple. We all have different parenting styles and theories. And when someone else suggests that we parent in this way or that – we will often disagree. If pushed too hard, we will get annoyed. Even argumentative.
And boy oh boy, is that what happens here. In spades. Veronica, a writer currently working on a book about the tragedies in Darfur, and played with the sincerest liberal correctness by Lee Ann Roling Hale, starts to really grate on the nerves of pharmaceutical company lawyer Alan Raleigh, done with just the right brash and superior, but not too abrasive tone, by Tim Drew. Their respective spouses Michael and Annette do what they can to keep things civil. Tim Wyman brings great flexibility and goofiness to Michael, while Liz Bucklar Jockish as Annette draws you right into the seriously awkward and uncomfortable situation the four of them are trying so hard to make the best of.
But after they start to really push each other’s buttons, all semblance of politeness gets thrown out the window. The insults and snide remarks start to fly, fast and furious. The ensemble does a fantastic job with pacing – they fly into the height of a battle but then give the audience a few moments to recover before the next skin-crawlingly awkward insult or remark leaves their lips. It is at turns the fight you have always wanted to have with your kid's best buddy's flaky parents, and the painfully embarrassing fight you really don't want to have with your spouse in front of anyone else.
And yes, this is a comedy, as black as it is. Revelations like, “Our son is a savage, okay!” And “Children consume our lives, and then they destroy them,” are surprisingly funny in this context and kept me chuckling or rolling my eyes or biting my lip, knowing how true the insight is while being totally embarrassed to think that I agree.
Director Paul Gordon has done a great job with the cast. The whole play takes place in just the one set, the Novak's living room. And in the Winter Playhouse, the audience surrounds the stage. But the ensemble plays around and about the set so well; there is no really bad seat in the house.
I suspect that you will agree completely with some lines, and disagree passionately with others. And there, I think, is the crux of the situation. What would you do if it were you? How would you handle this? Its just kids, after all, and it was just a playground altercation. The teeth lost are not permanent ones. But what should your children take away from it, if anything? How important is it to be civil in our civilized society, or can we just chalk it up to our basic instincts and let it go? Or is that important at all?
“God of Carnage” certainly makes it a fun situation to ponder. And you can go do that this weekend, at Corn Stock's Winter Playhouse in Upper Bradley Park, February 24 and 25 at 7:30 pm each night. Tickets are $10 for adults and $7 for students with ID and are available at the Corn Stock Box Office, by calling 309-676-2196 or online at www.CornStockTheatre.com
Posted February 22, 2012
|
|
|
|
Titanic the Musical
Peoria Players Theatre
February 3-5 & 8-12
By Douglas Okey
“Who does not love the Titanic?” poet David R. Slavitt asked, rhetorically. “If they sold passage tomorrow for that same crossing, who would not buy?” Indeed, we all apparently love it, from James Cameron’s monstrous mega-movie (now in 3D!) to the children’s inflatable spotted once in a shopping mall: climb to the stern of the listing vessel, and slide joyfully down the deck to your watery death. All in fun, of course.
If comedy is tragedy plus time, the Titanic has apparently grown more than ripe for humor. So why not a musical, even a somber one? Peoria Players Theatre embraces the moment with its staging of the Tony-award-winning “Titanic: The Musical,” music and lyrics by Maury Yeston and book by Peter Stone.
PPT’s production, under the direction of Steve Bortolotti with musical direction by Susan Somerville Brown, is decidedly, even demonstrably, uneven: only a smattering of patrons rose to their feet to express their appreciation at evening’s end. (Not standing to applaud is the Peoria equivalent of walking out at intermission.)
First, the story: This version of the shipwreck focuses largely on real-life characters that sailed on the doomed vessel. In the opening number “In Every Age” we meet ship’s designer Thomas Andrews, sympathetically portrayed by Dave Montague, informing us that each civilization builds its own monuments. His will be a floating city. We are then quickly introduced to the crew and the passengers from first class to third. So quickly, in fact, that one despairs of keeping them sorted out in one’s mind.
No matter. The story barrels on, as does the ship, faster and faster. Suffice to say (spoiler alert!) that the ship smacks the iceberg by intermission and settles on the floor of the Atlantic by the final curtain. Okay.
When the show works, it’s because the local talent shines more brightly than the material. The orchestra under Somerville Brown’s direction is nearly flawless. Jarod Hazzard as the engine-room laborer Frederick Barrett always commands attention with his strong, clear tenor. Charles Brown as first officer and unfortunate helmsman Murdoch is one of the few actors that can be consistently heard and understood. Barb Couri and Bill Murphy supply sweet and poignant moments as wealthy elderly couple Ida and Isidor Strauss. And Janette Beardsley stands out as Alice Beane, the socially ambitious wife of a hardware man, who refuses to be kept out of the first-class saloon. She provides welcome relief and a few chuckles.
Probably best (naturally) are some of the third-class passengers. Katie McLuckie as Kate McGowan delivers one of the most powerful performances, both in vocal strength and onstage energy. But the show’s best moments feature McLuckie and two other Irish Kates, portrayed by Maggie Borton and Jillian Rebmann. Their group numbers like “Lady’s Maid” and “The Staircase” showcase their beautiful harmonies and understated showmanship. In fact, the ensemble numbers generally make up for any weakness in individual voices.
Some other aspects of the production disappoint. Vocal talents span a vast range of quality. The rendering of accents is all over the place (and not because of the characters’ diverse backgrounds). Dance numbers, when they finally come, do not satisfy. And body mikes notwithstanding, too many performers cannot stand up to the orchestra and cannot be heard.
Titanophiles whose hearts will go on can see “Titanic: The Musical” Feb. 4-5 and 8-12. Tickets can be purchased by calling 688-4473 or at www.peoriaplayers.org
Posted February 6, 2012
|
|
|
Joseph and the Amazing Technicolor Dreamcoat |
Joseph and the Amazing Technicolor Dreamcoat
Eastlight Theatre
December 2-4 & 7-11
By Cara Rosson
In case you didn't know, Joseph and the Amazing Technicolor Dreamcoat is based on the Biblical story of Joseph, his eleven brothers, and their father Jacob. But it's pretty likely, if you've lived in the Peoria area for any length of time, that you know the story. Because Eastlight Theatre has been doing this musical, as it's holiday production for 21 years! If you've lived here that long and haven't seen it – well, it's about time you did.
Joseph and the Amazing Technicolor Dreamcoat (hereafter referred to as Joseph, because this is a really long title) is a fun musical tale that uses a wide variety of musical styles to spin the story. Written by Sir Andrew Lloyd Weber and Tim Rice (who also wrote Evita and Jesus Christ Superstar together), the show is one of the more popular musical productions in the US and the UK. And Eastlight's production makes it clear why. It is colorful and sparkly and entertaining.
Eastlight is well practiced at this show after 21 years, and the set and costumes show it. The coat of the title is gorgeous, and the simple costumes are equally colorful and varied. They also go with the style of the music. For example, the closing number of act one is “Go Go Go Joseph,” and it is a 60s era pop song. The chorus is dressed in groovy, psychedelic prints with bellbottom pants.
The set, by Steve Cordle, keeps the show moving along, with multiple levels, steps that light up like rainbows, and a revolving centerpiece. New settings for each song – from the plains where Joseph and his brothers herd sheep, to the Pharaoh’s jail – are brilliantly conceived and executed. The bars of Joseph's prison cell are a particularly inventive piece. The entire look of the show is exciting. The theme for each musical number is well designed, and it is probably one of the best sets I've seen in town. The lighting (again done by Mr. Cordle) is also spectacular. Colors and shapes and movement build upon the wonderful set, and together; make for a really eye-popping experience.
The singers round out the show beautifully. Brandon Chandler plays Joseph, and his voice is rich and expressive. He is a charming and endearing Joseph, and carries the show very well. Not surprisingly, he has worked in Chicago Theatre, winning a BTAA Best Leading Actor Award as Radames in Bailiwick Chicago's production of the musical Aida. Bree Carroll as the Narrator does a great job, and her lovely voice blends well with Chandler's. Stephen Peterson as the Pharaoh does a great job in his Elvis-themed number, “Song of the King.” He's got the dance moves down, too!
There is one aspect of the show that is disappointing, and that is the choreography. It is incredibly simplistic. I'm pretty sure my 8 year old son could pull it off – so watching a chorus of adults do it is less than enjoyable. I am surprised by this, given the near professional level of all other aspects of the show. And given that they've been doing the show for twenty-one years, and many of the cast members are repeat performers. There are a few moments to enjoy the dancing, including the Heartland Clogger's western tap number during “One More Angel” and, as I mentioned before, Peterson's Elvis impersonation. But I really hope they brush up that aspect for year twenty-two.
Joseph runs through December 11th at Eastlight Theatre (located within East Peoria High School's Auditorium) and it makes a great holiday outing for the whole family. Tickets are $17 per person and are available at the Eastlight Theatre Box Office, by calling 309-699-7469 or online at www.eastlighttheatre.com
Posted December 7, 2011
|
|
Plaza Suite
Corn Stock Winter Playhouse
December 2-4 & 9-10
By Douglas E. Love
Neil Simon is one of the most decorated writers of the modern era. He has won a Pulitzer Prize for Drama; a Mark Twain Prize for Humor; the Drama Desk Award; and a Writers Guild Award. He is a Kennedy Center Honoree; he has won an Outer Critics Circle Award; the New York Drama Critics Circle Award; an Emmy Award; a Tony Award; and he’s in the American Theatre Hall of Fame.
Almost any distinguished award, he has won and many of them multiple times.
Neil Simon has a rare and exceptional gift for writing one-on-one dialogue, as witnessed in plays like Barefoot in the Park, The Odd Couple, and Plaza Suite.
This weekend Corn Stock Theatre’s Winter Playhouse — formerly known as the Lab Theatre — staged a most scintillating performance of Simon’s 1968, Tony nominated, Plaza Suite.
In Plaza Suite, Simon puts together three sketches, situational comedies all, and sets them in the same suite, suite 719 at the Plaza Hotel in New York City.
In Act I, directed by Alex Larson, we meet Karen and Sam Nash, who are revisiting their old honeymoon suite. After 23 or 24 years of marriage, the couple can seem to do nothing on this should-be romantic evening but fight. Karen even goes so far as to accuse Sam of having an affair. These two are on a collision course.
In Act II, directed by Jennifer Whitmore, the married Muriel Tate is invited over to the Plaza by an old boyfriend, from seventeen years ago. The three-time divorcee, Jesse Kiplinger has become a famous Hollywood producer, yearning to see the innocence of his old flame. She, on the other hand, has turned into a sycophantic slag … that only wants to talk to Jesse about all the Hollywood Stars he’s met. These two are also on a collision course.
In Act III, directed by Howard Gorman, we find Mimsey Hubley has locked herself in the bathroom, much to her parent’s distress. They argue and fight with each other as they try to persuade Mimsey to come out of the bathroom — after all, downstairs there is a groom and room full of guests waiting.
With Simon’s Plaza Suite there is plenty of laughter to warm your spirit on a cold December evening.
Now, let me take a moment to lavish some praise upon our actors.
Brent Lonteen was fantastic as the ego-driven Sam Nash. He looked very comfortable in his role and his facial expressions and body language were superb, and well suited for this smaller, more intimate, venue.
Susan Irwin did fine job as the suspicious wife, moving through mood swings, from accusations to marital love without missing a beat.
Ryan Campen just loves being in shows, loves being on stage, and continues to put together quite an impressive resume as a very versatile character actor. And in Act I he gives us his typical lunch-bucket, solid-as-a-rock, workman like A+ performance as the bellhop. Dante Campen, his alter ego, however, couldn’t get a job as a waiter at a Chi Chi’s.
WCBU’s own Nathan Irwin looked as though I’ve never seen him before. Playing the famous Hollywood producer, dressed in a suave Hugh Hefner like red crushed velvet after-dinner jacket, and graying at the temples, he put his best moves on the conflicted Muriel Tate.
The Tate character was hilariously confused, brilliantly played by Trish Ballard. I loved her yellow and white dress made from draperies, it was beautiful. She was beautifully hilarious as the coy housewife not sure if she wanted to be seduced.
In Act III, Michael Wohl played Roy Hubley in a manner that very much reminded me of an exasperated Woody Allen, he was very funny. Denise Miller was solid as the worried sick mother of the bride to be or not to be.
Lastly, kudos also to Cassandra Irwin, Gretchen Teske, and Luke Skaggs, who rounded out the cast.
Plaza Suite will continue its run at the Corn Stock Winter Lab Theatre this Friday and Saturday night, that’s December 9th and 10th at 7:30 p.m. Tickets are $10 per adult, $7 for students 18 and younger. For tickets call 309-676-2196, or you can visit them online at visit www.cornstocktheatre.org
Posted December 5, 2011
|
|
|
Annie
Peoria Players Theatre
November 11-13 & 16-20
By Marty Lynch
If you are a child or parent, there are some shows that are written just for you. Annie is the perfect example: kids get to picture themselves rising through adversity and adults get a glimpse of the ideal child living the American dream.
Annie features the good old-fashioned jokes that we don’t see anymore. Democrats and Republicans trade jabs and history is openly eviscerated for fun. That’s the key here, you get to have fun. Nowhere is there a bitter joke or an attempt at passing itself off as something far more serious (movies like Anonymous, I am looking at you). Instead you have light-hearted family fare with bright, fun, catchy tunes and tongue-in-cheek humor.
Our little orphan that could, played by Maddy Hoskins, takes the reins in the first number (“Maybe”) and never releases them. This little girl can sing, but she also has the acting chops to carry a musical. She is surrounded by a terrific cast of orphans that can hold their own just as well when it’s their turn (“Hard Knock Life”). Hoskins can yield the stage when necessary and command the attention of everyone when she turns in a showstopper like “Tomorrow.” The sheer number of children onstage during the show was its own marvel, but it becomes more impressive when you see that they can sing and dance.
There are adults in the show as well. Dave Schick plays the iconic Oliver Warbucks with flair. His singing is strong, but it’s his ability to take what is essentially a comic strip character and add a touch of humanity that makes his performance shine. Anne Gonzalez has a wonderful singing voice as Grace Farrell and Brent Lonteen flexes his comic muscle as Drake. Bruce Colligan, who does not appear until Act Two as Franklin Delano Roosevelt, has the commanding presence necessary of a pseudo-historical president.
The entire play is not optimism and joy; the show has villains, and they are sublime. Ms. Hannigan (Cheryl Dawn Koenig) plays a delightful foil when she is onstage and has a delightful number (“Little Girls”) but she truly shines paired up with the devious pair of Rooster and Lily St. Regis (Bryan Blanks, Susan Knobloch). It may be sacrilegious, but “Easy Street” may have been my favorite number.
Fair or not, for all the terrific acting, for all the spirited singing, for all the involved choreography, nobody stole the show the way Lucy Donlan, the dog that played Sandy, did.
When I entered the house, it was completely full. By Act two, there were a considerable number of empty seats and an equal number of occupied laps (it did not feel like it but the show ran about 2:40).
In this case the show uses a live orchestra, and the show is so much the better for it. In fact, I thought the sound was terrific. Brace yourself when Ms. Hannigan brandishes that whistle though. I have a soft spot for scenery and lights, and I enjoyed the smooth transitions from one epic scene to another in a musical that is almost written more like a screenplay considering the rapid change of settings.
Cynics need not attend a production of Annie. If you believe that life's but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more: this show is not for you. If on the other hand you enjoy a fun musical that gets you in the mood for the upcoming holiday season, consider Annie. It is a tale about an orphan, full of songs and humor, signifying new hope.
Annie continues November 16-20 at Peoria Players Theatre. Tickets are $18 for adults and $12 for patrons 18 & under and are available at the Peoria Players box office or by calling 688-4473. *Editor’s Note: All shows are sold out and Peoria Players has added a holdover performance on Sunday, November 20 at 7:30 pm.
Posted November 16, 2011
|
|
|
|
