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.

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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.

Hair...

American Stage in the Park

St. Petersburg, FL

May 2, 2010

Let the sunshine in! The show that refused to comply with the Rodgers and Hammerstein formula to musical theatre makes a stop on the waterfront in St. Petersburg. Complete with a cavalcade of characters, emotional musical numbers and “did they just say that” entendres, Hair is a complete show performed with top notch local and national talent.

Hair is a rock musical born in the 1960’s full of protest, rebellion, free love and experimentation. We meet the culturally diverse cast of characters throughout the first handful of songs and learn a little bit about each of them along the way. Criticized since it’s inception, Hair contains themes of race relations, tribal associations, free love, drug use, pacifism, environmentalism and views of anti-establishment youth. Presented in a stream of consciousness setting, we meet and understand all of our characters as the show unfolds.

A host of characters encompass the musical as the show progresses. We meet Woof, Hud, Berger, Sheila, Marjorie and Claude among others. The show revolves around the free spirited nature of the cast and the reserved yet yearning Claude. When each of the cast members burn their draft card, Claude is hesitant and decides at the last moment to concede his decision. Claude states at the beginning of the show that he hails from Manchester, England sporting a bad James Bond accent; only to be reminded he is from Flushing, New York. The juxtaposition of anti-establishment youth and those only pretending was not hard to find. We learn later that Claude does join the Army and realizes his fear of becoming invisible.

I thoroughly enjoyed the performance of Hair at American Stage in the Park hosted in St. Petersburg. A mixed bag of audience members ranging from young to old all seemed to enjoy the show. Set in the 1960’s Vietnam torn America, many of the audience member my age may not connect wholeheartedly with the material, but Hair’s timeless charm and message endures to this day. I would easily argue tooth and nail with anyone in my generation that assumes this is a dated show with little relevance today. I’m sure they would have a good point or two, but challenging the establishment is what our country was founded upon. Kudos to the cast for bringing this ground breaking musical to life once again.

All in all, I was pleased and delighted to be an audience member for the show. Having a cast member sit next to me, hold my hand and rhetorically mutter “peace and love” made the drive across the water worth every mile. It was a pleasant change of pace to see a show on the waterfront on a blanket. American Stage does not disappoint with this Equity laden cast and top notch staging, I look forward to American Stage's next 'In the Park" production of RENT next year.

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Music of the Post - inkwell