The God of Isaac...

by James Sherman

Stageworks Theatre

Shimberg Playhouse

Tampa, FL

December 2nd, 2010

What does it mean to be something? Whether it's a religion, race, community or ethnicity, our need for a sense of belonging can help shape who we think we are. And for some, it can derail what you thought you were.

The God of Isaac is a character-driven play within a play about the Jewish heritage of our protagonist Isaac Adams. Set in the late 197o's in, where else, a predominately Jewish suburb of Chicago, the cast of Isaac will take you on a journey of self-discovery and cultural appreciation as this proclaimed comedy dramatically unfolds on stage.

The God of Isaac follows the story of Isaac Adams as he learns more about what it means to Jewish over the course of an impending Neo-nazi march on his hometown. Never truly feeling attached to his Hebrew roots, Isaac consults with countless Jews in his hometown about what being Jewish means to them, hoping to shape his own understanding. Isaac meets with his Rabbi, a extremist protester, an Auschwitz surviving tailor and correspondence with an old lover as he determines his own identity.

The cast of Isaac brought together a wealth of talent to orchestrate this sometimes taboo, but ultimately well developed play. Logan Harrington provides the adhesive holding the story together as the narrator and protagonist of the play. His ability to break the fourth wall seamlessly and return as if he never broke character is proof of his acting prowess. Bravo. Dahlia Legault and Alison Burns provides fantastic portrayals of Isaac's love past and present. Each bring a solid performance as they show us what Isaac could have been, to what what he has. Eileen Koteles provides well timed zingers from the audience as she hysterically provides comic relief during uncomfortable moments. Winning the award of the Anchor of the Play is the self proclaimed "Broadway Veteran" Bill Karnovsky. Karnovsky's ability to tear our heartstrings as the Holocaust surviving tailor one scene and crack jokes as the slightly off balance Rabbi show without a doubt he truly is a master at his craft. Well done.

(Alison Burns, Logan Harrington and Eileen Koteles in The God of Isaac at Stageworks Theatre. c/o stageworkstheatre.org)

I found the production as a whole to very understandable and extremely relatable. I was handed a sheet of Jewish and Yiddish idioms as I entered the playhouse and thought I may be in for a Guy Ritchie stylized production. On the contrary, the audience learned just as the "shiksa" wife did along the way about the ins and outs of Jewish culture. The play offers an interesting mix of traditional play presentation and breaking of the fourth wall. Isaac spends half of his time on stage interacting with other actors and the rest providing direct exposition to the audience, including interaction with a particularly vocal audience member.

The God of Isaac plays through December 19th and will sure to sell out the run. For more information, please click here or contact the Straz Centre. Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in the Tampa Bay area.

Music of the Post - The Music of Monty Norman & Bernard Hermann

Forbidden Broadway...

by Gerard Alessandrini

Straz Center for Performing Arts

Jaeb Theater

Tampa, FL

November 2nd, 2010

What happens when you take four well trained actors; give them clever song parodies to showtunes old and new and put them on a stage for two hours? You have the latest from the Straz Center's Jaeb Theater, Forbidden Broadway. Tucked away in the 268 seat cabaret style theater, the Straz Center presents a fine production for the holiday season.

Since its inception Off-Broadway in 1982, the longest running musical revue of all time delights theater goers in Tampa this year. Forbidden Broadway pokes fun at several modern and classic Broadway shows such as Wicked, Les Miserables, In the Heights, West Side Story, The Phantom of the Opera, Jersey Boys, Gypsy, Chicago, Cats, Avenue Q, A Chorus Line and many others. Forbidden Broadway lightheartedly parodies showtunes by changing key parts of the songs to make fun of Broadway as a whole, the actor they are portraying or the show itself. The hilarious revue delights, but in it's own way begs the question of the demise of artistry and the proliferation of commercialization on Broadway.

Putting together a cavalcade of songs, along with a multitude of costume changes, is the talented cast of Derek Baxter, Lauren Gemilli, Heather Krueger and Justin Lore. The true ensemble cast, brilliantly brought the best of Broadway to life with their insatiable ability to change styles and garner laughter with their accurate portrayals. Each member of the cast gave satisfying performances with equal amounts of stage time, both as members of a particular show and as solo performers.

Lauren Gemilli kept me guessing as to how she could top herself in her roles as Ariel from The Little Mermaid, Anita from West Side Story and Patti LuPone. Derek Baxter's wild performances as Rafiki from The Lion King and Tevye from Fiddler on the Roof are a testament to his range and flexibility as a stage actor. Well done. Adding his well trained vocal register to the production is Justin Lore. Lore's roles as an Avenue Q puppeteer, Stephen Sondheim and the Phantom show Lore's dedication to his craft. Winning my award of the anchor of the production is Heather Krueger. It's one thing to belt out "Defying Gravity" from Wicked, but to get changed and keep the show rolling with "I Dreamed a Dream" from Les Miserables was proof positive of Heather Krueger's vocal prowess and stage presence.

(Heather Krueger, Justin Lore, Derek Baxter and Lauren Gemilli in Forbidden Broadway. c/o Strazcenter.org)

As great as the performance was, I felt the subject matter of the play is only geared toward a specific audience and may fall on deaf ears to some. For the die hard Broadway buffs of the world, this is a satiric performance you can appreciate. For the lukewarm theatregoers, some of the references won't translate. If you don't know who Patti LuPone, Bernadette Peters or Stephen Sondheim are, you may want to look into it before you get your tickets. But faultlessly performed, the versatile cast put on quite a show.

All in all, I really enjoyed the production of Forbidden Broadway. Being a theatre person and having been fortunate enough to see almost every show playfully parodied, I was able to keep up with the fast moving show. I really enjoyed hearing the classic showtunes from now and then throughout the production.

Forbidden Broadway runs through February 20th at the Jaeb Theater and is sure to see great success from audiences from now and then on. Be sure to get your tickets sooner rather than later for this riotous production. For more information on the show and the Jaeb Theater, please click here. Don't forget to follow us on twitter for the latest on the performing arts community in the Tampa Bay area.

Music of the Post - Niagara Falls by Michael Daugherty

Mindgame

by Anthony Horowitz

Jobsite Theater

Tampa, FL

October 21, 2010

With a title like Mindgame, the name alone sets you up for a myriad of possibilities. Jobsite Theater continues their 2010-2011 season with a bang with this mind twisting, indelibly engaging production. Wonderfully scripted and superbly directed, Mindgame takes us on a journey that only great storytelling can do.

Mindgame is a three character play written by Anthony Horowitz about a bestselling author who travels to the Fairfield Institute for the Criminally Insane to interview the notorious serial killer "Easterman" for his new book. Mark Styler visits with Dr. Faquahar about arranging the interview and is in turn interviewed about his intentions for the book. As the story unfolds, the audience as well as Styler learn that Fairfield Institute, and the criminally insane of the populous, aren't quite what they seem.

The beauty of productions with a smaller cast is the opportunity to watch a character rise and fall with the story. Instead of keeping track of which character is which, we are drawn into the story through dialogue. Mindgame is performed by Jason Evans, Brian Shea and Elizabeth Fendrick. Jason Evans, in the role of Styler, executes a solid performance as the larger than life writer, including spending half of the play in a straight jacket. Bravo. Elizabeth Fendrick's role of the timid Nurse Plimpton is believable at best, but her limited stage time didn't distract from the meat and potatoes of the story. I always look for what I call the anchor of the production, and without a doubt I have to award Brian Shea with that honor for Mindgame. Shea's performance as Dr. Faquahar is phenomenal as he takes Styler, as well as the audience, through a roller coaster ride of emotions. All in all, I felt the cast came together very well and played off each other as only true professionals can.

(Jason Evans, Elizabeth Fendrick & Brian Shea in Mindgame. c/0 JobsiteTheater.org)

Walking into the theatre for Mindgame, I had no idea what to expect. From reading the synopsis, I had a Silence of the Lambs type of feeling. As the play begins, it seemed to follow my blase preconceptions, yet thanks to impeccable acting and second to none writing, Mindgame became so much more.Without giving away the ending, I all have to say is be prepared. Aside from the acting, I have to give credit to the unsung heroes of the theater, the technical crew. With paintings seamlessly changing, hallways becoming closets, and courtyards turning into brick walls, the crew did more more than flick the lights on and off. Well done! With scenes of characters in straight jackets, scalpels coming eerily close to actors and clever set changes, Jobsite Theater pulls out all the stops for Mindgame.

All in all, I really enjoyed the production as a whole. As engaging a play as Mindgame is, it is not the type that only Shakespeareans and theatre majors can understand. Following a clear cut story arc, with only a couple well placed twists and turns, Mindgame is sure to entertain all the audience members for the duration of the run. After a conceptually clever yet dismal Einstein's Dreams, Jobsite Theater's sophomore effort this season is a sure-fire winner.

Mindgame plays through November 14th at the Jobsite Theater. The show was originally slated to end on November 7th, but thanks to fantastic pre-sales, the show has already been held over. Shows have been almost sold out and Mindgame looks to sell out the remainder of its run.

For more information on the production and Jobsite Theater, please click here. Don't forget to follow us on twitter for the latest on performing arts in the Tampa Bay area.

Music of the Post - A Masterpiece by Samuel Barber

Shipwrecked!

An Entertainment. The Amazing Adventure of Louis de Rougemont Himself (as Told By Himself)

by Donald Margulies
Gorilla Theatre
Tampa, FL
September 30, 2010


Should we always take someone at their word alone?

With the age old tradition of storytelling only changing it's medium with the advancement of technology, the power of a story worth telling is surely not to be missed. With that being said, my experience has taught a story well told is more entertaining.

Shipwrecked! An Entertainment chronicles the life of Louis de Rougemont in both his thrilling accomplishments and heartbreaking downfalls. Presented in the intimate setting of the Gorilla Theatre, the camp fire-esque presentation stages Louis de Rougemont as he addresses the audience directly and invites us along for a "fantastic and amazing story".

As stated by de Rougemont himself, he employs the services of Glenn Gover and Jonnelle Meyer who play a myriad of characters to aid in coloring this story. From changing dialects and wardrobe to even crossing gender, Gover and Meyer perform tremendously given the nature of the play. Well done to you both. Portraying the master of ceremonies of sorts, Christopher Swan delivers an amazing performance as the world traveler turned storyteller. His uncanny ability to deliver over two hours of dialogue with almost no interruption and clear diction is as best as I've seen all year. Swan's performance was so engaging that it felt more like sitting in a coffee shop and having a close friend telling a Dickensian tale rather than sitting and watching a play.

I really enjoyed the production as a whole. From the engaging dialogue to the superb technical backing, Gorilla Theatre hit a home run with this show. Following the character arch of de Rougemont from budding world traveler, backwoods explorer, bestselling author and beyond was well staged and kept me interested for what was coming next. Extraordinary acting and precision technical prowess is a potent combination that Gorilla Theatre employs in this production and will surely be noticed by every audience member in attendance.

All in all, I really enjoyed the performance of Shipwrecked! With a knack for producing top quality theatre thanks to their Equity laden cast and the up close and personal atmosphere that has become a staple of the Gorilla Theatre, the "Entertainment" part of the title lives up to it's name.

Shipwrecked! runs through October 17th at the Gorilla Theatre and will surely sell out the remainder of it's run. Tickets are selling fast, so be sure to get yours soon. Don't forget to follow us on twitter for the latest on everything performing arts in the Tampa Bay area.

Music of the Post - emarosa

Einstein's Dreams

by David Gardiner & Ralf Remshardt
September 23, 2010
Jobsite Theater
Tampa, FL

What do you dream about?

Based on the international bestselling novel by Alan Lightman, Einstein’s Dreams follows a succession of dreams catalogued by a young Albert Einstein as he develops the theory of relativity. Einstein considers many different theories such as time standing still, the possibility of simultaneous time and the butterfly effect. Each one of these dreams helps shape a theory of time and space over the course of weeks and months.

In a refreshing change of pace, the cast of Einstein’s Dreams presents the exposition as a true ensemble cast. Not one cast member overshadows another and each have a scene where they play Einstein or a character in his dream. Kudos to Patrick Bolger, Nic Carter, Katie Castonguay, Slake Counts, Tia Jemison, Greg Milton, Jessy Quinones, Nicole Jeanine Smith and Katrina Stevenson for their contributions to the wonderfully executed production.

With such an interesting concept as the dreams of arguably the most brilliant thinker of the 20th century, the play lacks consistent story structure. The plays jumps from dream scene to dream scene with little connection or cohesiveness. The play delves into the metaphysical and existential and seems to almost make a point but leaves audiences with more questions as it transitions to another scene. After much consideration, the play follows the same pattern of lurid dreaming. As we jump into the dream halfway through, by the time we realize what is going on and attempt to make a judgement, the dream is over.

All in all, I wasn't thrilled with the play as a whole. I was extremely pleased with some of the ideas presented in the play, and the acting is as good, if not better than other Jobsite productions I've witnessed; even with everything mentioned, there was a disconnect between the play on paper and the performance. If you want to see an ensemble cast firing on all cylinders with overlapping dialogue and physical demand, then you can appreciate this production. I am fully aware of the caliber that Jobsite Theater presented and this did not reach the mark.


Einstein's Dreams runs through October 10th and has extended it's run to accomodate demand. For more information on the production and Jobsite Theater, please click here. Don't forget to follow us on twitter for the latest on performing arts in the Tampa Bay area.


Music of the Post - death cab for cutie

Dog Sees God...

by Bert V. Royal

August 5th, 2010

Jobsite Theater

Tampa, FL

What do you think happens when we die?

Dog Sees God is an absurdly comedic play that delves into the realms of existentialism and the afterlife using, unauthorized though, the characters of the Peanuts comic strip. With the character's names carefully concealed, sort of, this re-imagining as they blossom into teenagers is sure to entertain.

This "unauthorized parody" begins with CB and his sister as they pay their final respects to their euthanized dog. CB reads a letter to his pen pal that chronicles the death of his dog and shapes his understanding of the afterlife as well as his own existence. Back at high school, CB asks his friends about what they think after they die, but each are firmly placed in their social cliques and aren't interested in the afterlife. The popular party girls, the burnout slackers, the misunderstood and flavor of the week types are each represented. After hearing of an upcoming party, CB makes his way to the music room and listens to Beethoven practice the piano. After CB talks about the death of his dog, Beethoven scolds CB of the years of teasing and ridicule, culminating to an intimate moment as they call a truce. The social balance is turned upside down at the party when CB and Beethoven arrive and bring it to a screeching halt. CB leaves to see a friend at a psychiatric ward as Beethoven is visited by a less than friendly classmate. As the events unfold over the course of the play CB and everyone else each experience their understanding of death and develop their own interpretation of what happens when a "Dog Sees God."

With characters developed from such iconic and recognizable figures of americana, the cast of Dog Sees God takes the torch and runs to new heights. As the lights go up over the stage, Shawn Poanessa and Kari Goetz banter at the funeral of their dog as CB and CB's sister. Paonessa's somber yet optimistic exposition to begin the show was well delivered and set the story up for success. Goetz's chameleon like changes to make due for CB's sister's different personae showcase her adaptability and execution. Well done. This highly comedic play wouldn't be so without the work of Summer Bohnenkamp-Jenkins, Jason Evans, and Katrina Stevenson adding their well timed witty anecdotes to this darkly themed show. Meg Heimstead is at her best I've seen this year in her role of Marcy. Richard Kennedy puts a bright new face to the Pig Pen character as the sex crazed neat freak Matt. Well done Richard. Anchoring the show was Spencer Meyers as the piano playing antithesis, Beethoven. Meyer's spine chilling monologue of a memory he'd much rather forget gave the play a depth I wasn't expecting. After forty minutes or so of crass and lowbrow comedic dialogue, it was refreshing to discover the play had a heart.

Shawn Poanessa & Spencer Meyers as CB & Beethoven in Dog Sees God

c/o Jobsite Theater

With a story based on such recognizable characters as the Peanuts gang, the job of imagining them as hormonal high schoolers was no easy task, yet was humorously achieved by playwright Bert V. Royal. Jobsite Theaters' indelible knack for producing top notch theatre continued with Dog Sees God as the cast took us on a journey of death, sex and emotional rediscovery.

In summation, Jobsite did a wonderful job of producing the funny but touching play. If you're going to see this play and expect to see a Charlie Brown Christmas, you'll sadly be mistaken. But, if you're heading to the Shimberg Playhouse with an open mind and ready to laugh, you'll have a fantastic evening of theatre thanks to the collective effort of the cast of Dog Sees God.

Dog Sees God plays at the Shimberg Playhouse through August 29nd. The show has been extended from it's original run an extra week to fit the demand for this hysterical play. Be sure to get your tickets now because this show is sure to sell out it's final week of shows.

Don't forget to follow us on twitter for the latest information on all things performing arts in the Tampa Bay area.

Music of the Post - further seems forever

As Bees in Honey Drown...

by Douglas Carter Beane
Stageworks Theatre
Tampa, FL
July 8th 2010

How far would you go to further your art?

Stageworks Theatre presents As Bees in Honey Drown by Douglas Carter Beane, the playwright of The Little Dog Laughed. As Bees in Honey Drown follows the story of young artists on the rise to fame and fortune and the con artists out to exploit them. Presented in the intimately set Shimberg Playhouse, Stageworks Theatre brings this New York City set story to life within arms reach. This incredibly engaging play is sure to delight and intrigue everyone in attendance during it’s July run.

As Bees in Honey Drown takes you on a road of fame and fortune at the cost of innocence. We meet our protagonist Evan Wyler as he poses for a magazine ad to promote his new book. Soon after, Evan is contacted by Alexa Vere de Vere to write the screenplay of her life at an alarming weekly wage. Alexa showers Evan with lavish gifts all the while giving arbitrary information for the screenplay Evan is commissioned to write. After Evan begins to fall for his new employer, he learns of Alexa’s true intentions and is abandoned with $15,000 in debt. During the second act, we learn of Alexa’s transformation from ambitious Brenda to her con artist alter ego Alexa. After clever investigation, Evan plots his revenge to confront Alexa along with a myriad of other conned victims. How does it end? You’ll have to catch a show to find out.

Nick Horan & Heather Krueger

Our story’s protagonist Evan Wyler is superbly portrayed by Nick Horan. Horan’s take on Wyler is near perfect with his ability to transform from timidly awkward to life-hardened in the span of the play. Playing the sinister role of Alexa Vere de Vere is Heather Krueger. Krueger’s ability to take the audience for a ride just like the unsuspecting artists was well performed and well received. Bravo. A surprising role was that of Mike Stabinsky portrayed by Slake Counts. I did not like Counts’ other characters as Ronald the salesman or Skunk the British rocker and was not thrilled when Counts stepped on stage as Stabinsky. With that being said, from Counts’ first lines as Stabinsky, he turned my skepticism into adoration for a wonderfully personable portrayal as Alexa’s friend from her old life. Utilizing different costumes, speech dialects and mannerisms, the supporting cast of Patrick Ryan Bolger, Tia Jemison and Alison Burns each played a cavalcade of characters to round out the story.

The beauty of the story presented by Stageworks is it’s ability to draw us in the same way Alexa draws in her unsuspecting “lambs” to finance her life. With rich and insatiable dialogue, the empathy of audience members is palpable in the audible reactions at the close of the first act and the story's climax. The arc and development of Evan Wyler’s character is best I’ve seen in quite some time. From his humble beginnings as a budding writer to the clever and conniving artist he becomes, there is something everyone can associate with Wyler’s character along the way. It is very tricky to produce flashback on stage; with Beane’s mastery of language, the cast of As Bees in Honey Drown brought Alexa Vere de Vere’s past to life in the second act. Kudos to Stageworks Theatre for presenting the best play I’ve seen this year.

Not since seeing The Woman in Black last October has there been such a complete performance from the prowess of the actors, to the technical backing to the story itself. Nick Horan and Heather Krueger leave nothing to desire of their performances and both can only get better as the run of the show continues. A special thanks to director Karla Hartley for her string of extremely successful shows including Eurydice and tick, tick Boom! and now As Bees in Honey Drown. I'm positive the next show with Hartley at the helm will without doubt be a complete success.

As Bees in Honey Drown plays at the Shimberg Playhouse at the David A. Straz Center for Performing Arts through July 25th and should not be missed. Don't forget to follow us on twitter for the latest information on all things performing arts in the Tampa Bay area.

Music of the Post - the gloria record

Dead Man's Cell Phone...

by Sarah Ruhl
Jobsite Theater
Shimberg Playhouse
June 10th, 2010
Tampa, FL

"Isn't it funny? You hear a phone ring, and it could be anybody...but a ringing phone has to be answered, doesn't it?" - Kiefer Sutherland, Phone Booth

Dead Man's Cell Phone follows what happens when a well to do good samaritan answers the ringing phone of someone who's passed on. Meeting in a non-descript diner, Jean sees to keep Gordon's memory alive by taking his calls. Breaking the news of Gordon's passing to many of his colleagues and family members, Jean meets a cavalcade of characters that leads her from family dinners, dates in a stationery store all the way to South America. As Jean answers the phone to keep Gordon's memory alive, her encounters with his family, friends and business associates raise questions of his past and help shape the course for the rest of Jean's life.

With the strong writing prowess of Sarah Ruhl, bringing these rich characters to life is not the tallest of tasks. Meg Heimstead begins and ends our show as the everything to everyone linchpin. Fabricating stories to aid the gravity of the situation, Heimstead's character always seems to conjure the right anecdote to defuse the conversation. I found Heimstead's performance of Jean to really keep the story together. Great job. Steve Garland's monologue to open the second act completely set the play into motion. Garland's likable, easy to follow delivery answered all of my questions of the first act and brought the whirlwind of information together. Michael C. McGreevy, Elizabeth Fendrick and Katrina Stevenson all gave adequate performances as members of Gordon's family. Although brief, I really enjoyed Summer Bohnenkamp-Jenkins' portrayal of the Mystery Woman. When Jean meets the Mystery Woman in a chance encounter, Bohnenkamp-Jenkins' character stays true to her name and adds intrigue and guile to the already interesting story. I found the majority of the cast to be very vanilla ice cream, except for the portrayal of the Mystery Woman. Well done ma'am.

I thought Jobsite Theater's production of Dead Man's Cell Phone was brought to life with fantastic production value and artistic execution. There were a few times where I felt the loving exchange between Jean and Dwight was a little cheesy with a side of cheese. But I guess with a story that delves into death and black market trading, a little lighthearted cheesiness is in order. I found the second scene where Gordon's mother gives a eulogy very engaging and made me feel like I was part of the congregation of the funeral. It was well staged and superbly performed. Lastly, with as much sound and technical demand as a show where a cell phone rings every few minutes, kudos to the production team for pulling off a seamless transition from sound over the public address to dialogue.

All in all, I found the production of Dead Man's Cell Phone to be a wonderful night at the theatre. The name alone festers certain ideas of what the show may be. After learning about Gordon's day job and watching Jean get in too deep, I couldn't wait to see how it all ended up. There were a few moments I really wish weren't as cheesy as they turned out, but I enjoyed the show nonetheless. Plays written by Sarah Ruhl always carry themes of existentialism and death over the cloud of clever dialogue and Jobsite's cast didn't disappoint. Bravo.

Jobsite Theater's production of Dead Man's Cell Phone runs through June 27th. The show has been doing well since opening night and is being held over due to it's great demand. Be sure to get in line sooner rather than later for the show.

Don't forget to follow us on twitter for the latest on the performing arts community in the Tampa Bay area.

Music of the Post - radiohead

Eurydice...

by Sarah Ruhl
Stageworks Theatre

Shimberg Playhouse
May 29, 2010
Tampa, FL

If happiness presents itself both in life and death, which one would you choose?

Eurydice is a play by Pulitzer Prize finalist Sarah Ruhl about the relationship of Eurydice and her husband Orpheus both alive and beyond the realm of death. Breathing new life in the classic Greek myth of Eurydice, Ruhl's version differs slightly, but makes up for with heartbreaking dramatics that leave you thinking. Presented by Stageworks Theatre at the Shimberg Playhouse, Eurydice is an up close look at the love of a woman both from life and death.

We meet Eurydice and Orpheus one day on the beach hopelessly in love. Through Orpheus' guile, they marry very quickly and host a grand wedding. On a walk for water, Eurydice meets an aptly named "Interesting Man" who lures Eurydice back to his apartment with promise of a letter from her dead father. After realizing the Interesting Man's true intentions, Eurydice manages to secure the letter but ultimately falls to her death. Once Eurydice arrives in the underworld she is met by her father, but has no recollection of who he is. Orpheus vows to never give up his search for Eurydice and sends letters via a worm. Once presented with a choice of staying with her father in the underworld or returning to Orpheus, Eurydice must decide which life she wants.

Dahila Legault & Dayton Sinkia

With razor sharp dialogue and deeply motivated characters, Eurydice was not only well written, it was also well performed. Dayton Sinkia and Dahlia Legault delivered excellent portrayals of Orpheus and Eurydice. They made a sound connection within the first fifteen minutes which added to the level of loss after Eurydice's death. Jim Wicker's moving performance of Eurydice's father twisted the knife on an already tragic tale. Wicker's ability to switch from heartbroken father to mistaken porter was well played. Kudos. I particularly enjoyed "The Stones", or should I say, "The Stooooonnnes". Their layered and cascading dialogue entertained both comicly and dramatically. With all the wonderfully acted parts of the play, I must say I was not thrilled with the part of the Interesting Man or the Child both played by Chris Perez. I understood the Interesting Man's role of the tempter, but I thought the role of the Child was nonsensical and not really needed to make the story any better. It's hard to swallow a razor scooter riding, falsetto talking Child in Hell. Maybe a slightly different approach next time.

I walked into the Shimberg Playhouse curious of what I was going to see. I knew the play was written by a MacArthur Genius Grant award winner, but I didn't expect myself to get sucked into the story the way I did. I guess in a "happily ever after" storytelling society I was wasn't expecting the ending presented on stage. Although with that being said, why should every story end the same way? Eurydice surely raised questions about what I would do in a similar sitation, and how deep love can truly be. Without knowing much of the Greek myth of Eurydice, I still found this production of Eurydice strong enough to stand alone as it's own story. If you changed the names of Eurydice and Orpheus to Ivelise and Owen, you wouldn't be lost on the themes of unconditional love, loss and ambition.

All in all I found the production of Eurydice to hit on all cylinders but one. The text had strong dialogue and syntax. The actors, except for one, did a fantastic job of presenting the ideas of the characters. The staging of lights and live "rainfall" score well in the spectacle category. And of course being presented up close as it was really allowed the pathos of the story take place.

Eurydice plays until May 30 at the Shimberg Playhouse. If you are unable to make the show before it closes, be sure to catch Dead Man's Cell Phone also written by Sarah Ruhl playing June 3rd through the 20th presented by Jobsite Theater.

Don't forget to follow us on twitter for the latest on performing arts in the Tampa Bay Area.

Music of the Post - emery

Interview with Cast of tick, tick Boom...

I was honored to sit down with cast members and benefit organizers Michael Indeglio and Fred Ross about tick, tick Boom playing the Shimberg Playhouse in May...

Michael Indeglio

(c/o www.mindeglio.com)

Fred Ross

(c/o www.fredjross.com)

onstageTampa: Tell me about how tick, tick Boom came about at the Straz Center for the America Cancer Society Benefit.

Michael Indeglio: It’s kind of a cool story really. Fred and I were doing Godspell at the Jaeb Theater and we had talked about tick, tick Boom for a while now because we’re both approaching 30 very quickly. It’s a piece about New York and we’re both trying to find a career there. David Jenkins, the artistic director of Jobsite Theater had started a project called Job-Side, which is where they help little projects get together. It just so happens that this May is a nine year anniversary of my dad passing away. Fred was sharing a story about his dad is currently going through cancer. We decided that we were going to do something about it, and here we are.

Fred Ross: The idea had been passed around and I was driving home the Moffitt Cancer Center and I called him and I was like, I’ve got an idea. We said, why don’t we do tick, tick Boom and raise money for cancer. It sucks not having anything to do, besides going to school and becoming an oncologist and trying to help. It was awesome that this all came together, and like Mike said, we weren’t going to get anything. Then we had this really awesome outcry of people…

Michael Indeglio: You could literally make a movie out of the situation. We had this idea. Alison was in this show with us (Godspell), and so it was pretty easy casting. Then you think of all the other things that go into a musical, the space, the musicians. We are not wealthy individuals, we couldn’t just pay everybody what they wanted, especially as a benefit you don’t want to spend any money. The people, the band members who agreed to give us their time; from them to Karla Hartley who’s directed twenty shows now, I don’t know how she had the time to help us out. All the way down to random strangers we have met in the past few weeks who decided to run newspapers articles for us, those who spread the news on face book. The love we have gotten and the inspiration to fight for the American Cancer Society against Cancer has moved me as an actor, as a human, as a friend. I’ve fallen in love with these people Fred and Alison more than I thought I could. It’s been awesome.

onstageTampa: Of all the shows you could have picked, why tick, tick Boom?

Michael Indeglio: It makes it easier because it is autobiographical for us too. We are at that age now where you have to shit or get off the pot. This is not an easy business to be in, we would agree. You need your friends, you need support to deal with life and art and that’s what this show’s about. We thought, hell, let’s explore what we’re going through while we’re helping other people. That’s the best I can say.

onstageTampa: Is there a song or part in the show that you forward to performing every night?

Fred Ross: For me it’s the whole thing. It’s hard to really pinpoint. I was talking to Mike tonight before we came to meet you that in a long time it’s been one of the only projects where as an actor I feel like the show starts and the next ninety minutes literally become a blur. Because for me, it’s so real and so happening. While my character plays someone who is sick and I’m not, I can transcend that into what I feel like watching my dad going through everything. It was easy for me to portray that. I love doing everything, there’s not one part. It’s the first time, in a long time that I’ve looked forward to coming to do a show.

Michael Indeglio: For me too, Godspell was a different experience, a very long one. It’s very easy for your job to become work. Even when it’s a job that a lot of people would love to have. And here comes along a show when I was questioning a lot of things artistically and it’s answered the question for me loud and clear. I love to do this, we can move people doing this. There’s a reason why the arts exist, musical theatre exists and we’re getting to experience this . I don’t think it comes along often in your career that you get to have this experience that we’re having.

onstageTampa: People come to see tick, tick Boom knowing that it’s written by Jonathan Larson, the creator of RENT and everything behind that. Seeing that it’s not RENT and not what people expect, what do you hope will take away from the show?

Michael Indeglio: If you’re a RENT fan, it’s a little insight to the guy who wrote it. There’s some really sad parts at the end of the show when he’s talking about success he might have and in the back of your mind you know this guy dies in a couple years, it really escalates the point that life is short and we have to enjoy it. Or at least make something of it. I think what people fell in love with with RENT aside from rock music is the heart of the show. How the characters care about each other and you form a personal relationship with the material. I truly believe the same exists in this piece if it’s done with heart which I hope we bring to it. I would tell people if you’re a fan of Jonathan Larson or rock music at all, it doesn’t really matter. If you’ve ever experienced loss, friendship, love, anything. And even if you hate the show, you would have still done something to help people. It’s a win-win.

onstageTampa: So what's next for Fred Ross and Michael Indeglio?

Fred Ross: I go to New york on Monday.

Michael Indeglio: Begin the next chapter of the book.

Fred Ross: Hit the audition circuit again and see. I've already started to get some calls for TV stuff starting the day I get back. The coolest thing about the world is you never know what's going to happen but you're always creating what you want.

Michael Indeglio: It's really a job in which finding your next job is part of the job. It's time to go home and this show in the memory banks and let it inspire us to the next.

onstageTampa: Any thanks or plugs?

Fred Ross: We thank you and plug you (I blushed a little).

Michael Indeglio: Thank you for spreading the word a little bit. This has never been about us. If you're reading this well after our show has closed, check out the American Cancer Society or Moffitt Cancer Center or anything and help fight the fight.

Thanks again to Michael Indeglio and Fred Ross for their time and words. The tick, tick Boom benefit was a great success given it's short notice and limited run. For more information about helping cancer research click here.

tick, tick...Boom

by Jonathan Larson
May 21, 2010

Shimberg Playhouse
Straz Center

For those of you who have already eclipsed the Everest of ages that is 30, do you remember what you thought about the week leading up to it? And for the bright eyed twenty-somethings completely scarred beyond belief about turning the big 3-0, what is it you’re planning on accomplishing before that day arrives?

tick, tick...Boom is a three character “rock monologue” written by the creator of RENT, Jonathan Larson. Well before the smash hit that RENT became, Larson was a struggling composer working tirelessly to achieve a glimpse of success. In the failure of obtaining the rights to produce a musical based on George Orwell’s 1984, Larson set out to vent his frustrations in an intimately orchestrated monologue complete with love, loss and getting older. Tackling such topics as poverty, ambition, homosexuality, loneliness and failure, Larson’s message is as poignant today as it was in 1990 where the story is set.

tick, tick...Boom follows the story of Jon, a self proclaimed “promising young composer” during the final week of his twenties. Jon struggles to make ends meet in New York City while doing his best to produce his rock musical Superbia. Jon wrestles with his decision to pursue a career in musical theatre as his roommate Michael has moved on from his acting dreams to become a successful marketing executive. Jon’s girlfriend Susan has aspirations of taking her dance career outside of New York City and suggests Jon to join, which only adds more questions to Jon’s already pensive disposition. As the story unfolds, we learn about what makes each character choose their path in life.

Originally created to be performed by Larson himself, tick, tick...Boom has become three actors performing the roles of ten characters over the course of the musical. With the majority of the story being narrated by Jon, Michael and Susan take on different characters such as Karessa, an actress in Jon’s musical; Rosa, Jon’s agent; Jon’s father; a convenience store clerk and a host of marketing executives. Expertly performed with subtle changes including different headbands, sweaters and slouching, the cavalcade of characters never blurred and was clear.

This brilliantly performed musical is quite the night out at the theatre. The cast of tick, tick...Boom consists of Michael Indeglio as Jon, Fred Ross as Michael and Alison Burns as Susan. I found Indeglio’s delivery of large chunks of text to be flawless and well performed. Given the task of narrating, singing the majority of the songs, and interacting with each of the characters is no easy task. Bravo Michael. Fred Ross’ ability to change from Michael, to Jon’s father, to the store clerk, to the over friendly marketing assistant and even a scene as Rosa the agent was well played. Michael’s ability to alter his voice or demeanor never crossed over between characters and we always knew who he was portraying. Alison Burns' performance as Susan was excellently executed. I really enjoyed Alison’s solo of “Come to Your Senses”. The cast of tick, tick...Boom each brought a fantastic element to the production which made for a wonderfully entertaining show.




All in all, I thoroughly enjoyed tick, tick...Boom. With the net proceeds of this production being donated to the American Cancer Society, it made it that much better. As always with show being performed in the Shimberg Playhouse, the in-your-face and intimate nature of the setting lets you relate to the actor in ways you can’t with larger stages. The cast did a fantastic job of creating a story with music and lyrics with an unadorned set. I can’t wait to see it again.

To make a point, the power of Larson’s words can translate without the help of sets or superfluous technical support. This production of tick, tick...Boom was performed on the set of Eurydice also playing at the Shimberg.



tick, tick...Boom will be playing until May 29. This four show engagement is being presented at the Shimberg Playhouse at the David A. Straz Center for Performing Arts. Tickets are selling fast, so please contact the Straz Center sooner rather than later for ticket information.

Music of the Post - I Can Make a Mess Like Nobody's Business

Interview from Hair...

I had a chance to sit down with Brooke Bradley of American Stage's In The Park production of Hair. Brooke and I had a wonderful conversation about the in's and out's of performing such a well known show and relating to a show set forty plus years ago.

onstageTampa: So Brooke, how did you get attached to the show?
Brooke Bradley: I am in a dance company based out of the University of South Florida called Moving Current Dance Collective under the direction of Erin Cardinal, Cynthia Hennessey and Kristin O'Neal. Eric Davis, the director of Hair contacted Moving Current to conjure some choreography for the show...and as it came closer to show time we were asked if we wanted to be a part of the actual show. So, I accepted and knew I had to make some sacrifices and have an absolute blast doing it.

onstageTampa: Had you ever seen Hair before?

Brooke Bradley: I had not. I haven't even seen the movie. I was only familiar with a couple songs and very vague on the subject matter.

onstageTampa: You didn't see the movie, did you do anything special to prepare for the performance...?

Brooke Bradley: Personally, I didn't do anything to prepare myself, but in the first week of rehearsals with American Stage they handed out a packet that had all sorts of [researched material] relevant to lines or names or drugs and anything of that nature we that didn't kind of know what it was really about so as actors we were more educated in terms of our intention when delivering lines or anything like that.

onstageTampa: As you know Hair is a very time-centric piece. It's set in the 60's in the Vietnam era. What do you think it is about the show that keeps directors choosing it and audiences coming to see it?

Brooke Bradley: From being a performer in it, it's a fun show to do. In terms of music, it's a very emotional being inside of it with the draft and all that. As an audience member, watching some of the actors go through their lines. Being as young as I am, I can't connect to it as well as someone who lived during that time and I believe that some of the subject is relevant to what is going on now with our lifetime. I talked to my mom after she saw the show and she said that even though we were young and we didn't live during this time it was still believable. I think it's easy to know about by the age of the cast. And directors keep coming back to it because it's a relatable show. I think everyone can find something in the show they can relate to.

onstageTampa: Is there a song or a piece in the performance that you look forward to performing every night?

Brooke Bradley: Yes and no. There is a specific time in the show where the dreaded nude scene comes along. We pair off before we go off stage to unclothe ourselves and we have a long stare down with our partner and it's fun to challenge myself to keep a straight face with my partner. Going out on stage covering myself with my hand and a poster is quite liberating.

onstageTampa: What do you hope someone our age [25] would take away from this show? You said we can't relate to it as much, but what do you hope someone could take away from it, even though we can't connect with it as much as older audiences.

Brooke Bradley: I think there's little nuggets of history that can definitely be picked up on. If you listen close enough there's somethings that you don't know about that...you might want to research for yourself. I know that now that I've been a part of this show, it's going to change my life forever. Even my sense of style has changed since I've had to be this hippie persona. I'm not a big history person so it's kind of hard to put myself in that position. I think you can definitely learn something new about that time period and apply to what's going on now. And it raises some questions in yourself like, what can I do now to be proactive about the war in Afghanistan and all of this that is going on.

onstageTampa: So what's next for Brooke Bradley?

Brooke Bradley: After the show is over, I am a part of a concert that Moving Current is putting on called New Grounds. I'm dancing a piece choreographed by Brie Hinman and that is the following weekend after Hair closes. After that Moving Current is headed down to Miami and sharing a concert.

onstageTampa: Lastly, any thanks or plugs?

Brooke Bradley: Thanks to Cindy for accepting the project. Thanks to Eric Davis for his knowledge of theatre. My parents of course. And Gator's Dockside for allowing me to keep my job.

Many thanks to Brooke for her time and also to the cast of Hair for an incredible run.