onstageTAMPA

The Taming of the Shrew...

2011-07-21T08:23:00.016-04:00

by William Shakespeare

Jobsite Theater

Tampa, FL

July 21st, 2011

What happens when one daughter is unable to marry until the elder is wed? Create a equivocated ruse of matchmaking to suffice the shrew.

Jobsite Theater brings William Shakespeare's The Taming of the Shrew to life with traditional dialogue, but with subtle differences to give a modern flair. Walking into the theater, the staging resembles and possibly pays homage to the Globe Theater with it's simplicity. Devoid of curtains, props, or any moving parts, the Shimberg Playhouse cleverly reminisces the heyday of Elizabethan drama.

The Taming of the Shrew is a classic tale told over and over again. The story goes that the hand of fair Bianca is unavailable until her older sister Katherina finds a suitable husband. Petruchio courts Kate, however dysfunctionally, and allows the possible suitors of Bianca to begin their courtship.

A highly talented ensemble cast, Jobsite assembles new and old faces to stage the Shakespearean comedy. Shawn Paonessa and Katrina Stevenson perform well as Petruchio and Kate respectively. The remainder of the cast Katie Castonguay, Jon Gennari, Tia Jemison, Spencer Meyers, Jason Evans Amy E. Gray and Michael C. McGreevy each add pieces to this clever comedy with tasteful animations and clear dictions. With language as difficult and complex as Shakespeare can be, I felt Jobsite's cast performed fantastically given the level of aptitude needed. The treat of an ensemble cast is that no single performer shines above the text and each member of Jobsite's crew understands this parable.

Cast of The Taming of the Shrew

l to r: Jon Gennari, Jason Evans, Spencer Meyers, Michael C. McGreevy, Katie Castonguay, Amy E. Gray, Tia Jemison, Shawn Paonessa and Katrina Stevenson.

As much as I enjoyed this production, I must clearly state that if you're not ready to listen intently to every word on stage, it may be a long night for you. Yes, Shakespearean language is tough and we're 400 years past its common usage, but the enchantment and density is as vibrant as always. As I mentioned before, the unadorned set and visible dressing area gives the production a unique charm overlooked in modern drama. The production is also presented in two acts which allows the audience a break at intermission to absorb information to continue the show.

All in all, I enjoyed The Taming of the Shrew very much. The substance of the show was exactly what I expected, but the subtle touches of the show such as the visible dressing room, overhead screen shots to dictate scene changes, splitting the show into two acts and filling the audience in of characters changes were all brilliant moves by director David Jenkins and company to make The Taming of the Shrew a wonderful night of theatre. Even if you fell asleep while reading Romeo and Juliet in freshmen English, Jobsite has a way to entertain everyone who comes to see the show.

The Taming of the Shrew plays through August 14th at the Shimberg Playhouse at the David A. Straz Center for Performing Arts. Before the show opened on July 21st, strong ticket sales prompted the powers that be to extend Shrew. By the end of the run, there will be standing room only with a line out the door, so when you're through reading my review, please click here and get your tickets before they sell out.

Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - The New Amsterdams

Motherhood, the Musical...

2011-06-10T08:18:00.010-04:00

by Sue Fabisch

Jaeb Theater

Tampa, FL

June 9th, 2011

They say motherhood is the toughest job. What if you were to put those ideas into a show?

The David A. Straz Center for the Performing Arts brings Motherhood the Musical to the Jaeb Theater. Nestled in the shadows of the enormous Morsani Hall, the Jaeb Theater presents the show in the cabaret styled playhouse without any bad seats.

Motherhood the Musical tells the story of three mothers and one mother-to-be at a baby shower as they lament the highs and lows of being a mother. Each mother offers advice through song about their various experiences in motherhood. Ranging from sleep deprivation, shopping in bulk, spousal relations, urinary incontinence and everything in between, the other mothers fill us as well as the mother to be in what is about become.

Cast in this musical of the hardest job in life is Jayne Trinette, Angela Bond, Becca McCoy and Juliana Black. The talent level of the actresses on stage is as strong as I've come to expect from Equity actors in the area. With that being said, I felt the show was written in such a way to force the actors to perform a certain and didn't allow for the free-flow that gives most shows the realism that goes above what's happening on stage.

Jayne Trinette's "Every Other Weekend" was a nice moment among the fluff. Juliana Black's ability to play the naive mother-to-be and change into the grandmother, although campy, was seamless and well executed. Becca McCoy's over the top portrayal as the overworked, Costco shopper was performed adequately with the best conviction that the script can allow. The best moment of the show was Angela Bond's "I'm Danny's Mom". Devoid of any theatrics, Bond's words alone encapsulate the show's spirit of being a mother.

The Cast of Motherhood the Musical

l to r: Jayne Trinette, Angela Bond, Juliana Back and Becca McCoy

All in all, I didn't care for Motherhood the Musical. With the exception of "I'm Danny's Mom" and "Every Other Weekend", I thought the songs were cheesy and performed mainly for cheap laughs. I wish I could say this show hovered around clever or satirical, but it landed far from it. Most of the songs ended with some sort of jazz hands or another musical theatre cliche that took away from the song itself and kept me from enjoying the show. Since the show seems to be aimed for the simpleton crowd, I would not recommend this show for those hoping for an uplifting or inspiring show.

Motherhood the Musical plays the Jaeb Theater at the Straz Center through July 10th. For more information about the show or the Straz Center please click here. Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - The Book of Mormon Cast Album

Frankie and Johnny in the Clair de Lune...

2011-06-05T09:19:00.010-04:00

by Terrance McNally

American Stage Theater Company

St. Petersburg, FL

June 2nd, 2011

They say that men know within the first twenty seconds of meeting if they are in love with the other person. Why not make it marriage and kids while you're at it...

American Stage Theater Company, located in downtown St. Petersburg, brings this timeless story of love and haste to the Raymond James Theatre with well designed sets and precise acting. Frankie and Johnny in the Clair de Lune chronicles the postcoital conversation of two middle-aged New Yorkers. Set in real time over the course of one evening, Frankie and Johnny verbally combat the notions of life, love and question if their is a happily ever after.

Frankie and Johnny in the Clair de Lune begins as our eponymous characters conclude their wild and intimate evening. Nestled comfortably in their sea of blankets, harmless pillow talk elevates from what just happened to what could happen in the future. Convinced beyond a shadow of a doubt that he has found his soul mate, Johnny emphatically emotes his feelings upon Frankie. Visibly shaken from a prior relationship, Frankie is not as assured of their ever after. Bouncing from sweet nothings to full on tongue-lashings, Frankie and Johnny in the Clair de Lune is just as up and down as a real relationship can be sometimes.

Poised in the on-stage battle of wits, American Stage cast two wonderful actors that blurred the line of acting and pretending very well. Tonia Jackson and Tom Nowicki both brought their A-game as well as an unyielding manner to their respective arguments. Nowicki's persistent, if not annoying, characterization of Johnny at first seemed unwarranted and creepy for lack of a better word. Yet, if perseverance is the hallmark of a champion, Nowicki's Johnny won the audience over just as he did Frankie. Jackson's portrayal of Frankie was tastefully done as she played her cards close to the vest not willing to completely give in to Johnny's outlandish requests. Slowly unfolding her character, over the course of the evening, we fall in love just like Johnny. Bravo.

As well as the players on stage performed, I found the narrative itself wandering aimlessly much like an actual argument between genders. One second, all is well, that is until one person says something that sets the other on edge. At first I didn't care for the "will they/won't they" direction of the show, but didn't mind after I remembered it's how most domestic arguments go.

In talking with director Bari Newport, I asked her about the challenge of working with two actors as opposed to a larger cast, "It's kind of a strange paradox, because you can imagine that with two people doing a play that is two hours total, that's a lot of weight on two people. You want two people who are compatible with each other and we cast a woman I admired for a long time in Atlanta Tonia Jackson, and we cast Tom Nowicki who probably well known all over Florida, but all over the country too for his film and TV work." Listening to Newport continue on about the prowess of the two actors was proof positive of the level of quality American Stage brings together.

All in all I enjoyed Frankie and Johnny at American Stage. I would recommend this production for those looking for a great evening of theatre. The calibre of acting is at the top of the class for the area and it has some of the best set design I've seen outside of a Broadway production.

Frankie and Johnny in the Clair de Lune plays through July 3rd at the Raymond James Theatre in Downtown St. Petersburg. For more information of the show and American Stage, click here. Be advised that this show contains mature situations and brief nudity. Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - the moon is down by chris carrabba

Interview from HAIR...

2011-05-27T14:43:00.009-04:00

I recently caught up with Josh Lamon of the touring Broadway production of HAIR. Extremely gracious with his time, Josh and I chatted briefly about the impact of HAIR in today's society, the Tony Awards and his interesting story of being cast in the classic American tribal musical.

onstageTampa: Any cool story about how you got attached to HAIR? Did you audition for it; were you approached for it?
Josh Lamon: Well, it's kind of funny. I was doing Little Shop of Horrors at the time, an my agent called me and told me they wanted me to go in for it, and at first I turned down the audition. I mean because the show was such a hit and was in the park; it was coming to Broadway and they were looking for swings. You know, swings are normally dancers, and I'm not really a dancer. There was that aspect and from my mind I'm not some young, twinky thing with crazy hair. I'm balding, I'm a character actor; I just didn't want to waste anybody's time. So I turned it down, and they called me back and said they really want to see me. So, I went in and sang 32 bars of a song and literally didn't give a crap. Then a couple of weeks later, there were the final callbacks and there were 50 of us in the room for a total of 5 jobs, and it was crazy. It was like a dance off except it was more a hippie-off. It was a battle. I left there, went home, and I got the call the next morning.

onstageTampa: As I'm sure you know, HAIR is an iconic show. The show has been around for forty-plus years, there's been different ways they've done it and such. But, the further we get away from the time, the references are meaning less and less to the people of my generation and people who are younger and coming up. What do you think it is about the show that keeps people coming to it even though we're further away from the 60's and the free love movement?

Josh Lamon: Because I think it all still resonates today, I really do. I mean, the beautiful thing about the history of the show is how a generation cared so much that they made a movement, a change, they helped stop this war. Granted it's not the same right now, but our world is, you know, we're in so much turmoil right now. With everything, with our own country between Republicans and Democrats, our government and their involvement with the rest of the world. And with this War or Terror in 2011 they did talk about doing a draft. I think if they would have done the draft, then the war would have never happened.

The show is important because it teaches people of our generation and younger that it is important for us to have opinions, fight for those opinions, and believe in our opinions. And that believing in those things is patriotic.

onstageTampa: What do you hope people take away from the show, even though they may not know who LBJ was or understand things of the times. I know you touched on that briefly, but is there anything else that you hope people take away from it?

Josh Lamon: Well, most importantly the show at the end of the day is about love. And I hope people walk away maybe judging a little bit less, maybe a little bit more open to other people who are different from them. It's like at the dance party at the end of the show, one of the beautiful things is seeing strangers hug each other and dance together. I think the show brings that kind of element out in people and they can walk away with that. I hope that it also teaches people, from our generation to younger not to forget the history of what happened and how important it is to learn from our country's past mistakes.

onstageTampa: For however long you're going to be on HAIR, what's next for Josh Lamon?

Josh Lamon: I don't know. There's a lot of stuff in the works, but right now I'm really happy with HAIR. It's the longest I've been with a show.

onstageTampa: Because you were with it on Broadway and you're on tour now correct?

Josh Lamon: Yeah, I've been doing it for two and half years I guess, altogether. So we'll see what happens next.

onstageTampa: Do you have any predictions for the Tony's this year?

Josh Lamon: Yeah! I mean, I don't want to come off as a jerk, but the Tony's are not necessarily a popularity contest as much as it is a publicity contest. Book of Mormon is going to win everything. War Horse is going to win everything. As far as actors I think Josh Gad is going to get it.

Here's what I think about the Tony's this year. In the past years I've been disappointed. This year I'm thrilled with the Tony's, because for the first time in a long time, they have taken shows that aren't running anymore and they're recognizing and celebrating the great work that it is. That to me is what the Tony's should really be about, and unfortunately the Tony's aren't always like that.

onstageTampa: Josh, do have any thanks or plugs you'd like to shout out?

Josh Lamon: Watch Touring with Josh and Allison, it's a lot of fun. And follow me on twitter.

I want to thank Josh Lamon for taking a few minutes out of his day to talk with me about time with HAIR, the Tony's and everything in between. Be sure to catch Josh in HAIR in Tampa this week and be sure to continue supporting the arts in whatever capacity you do.

Music of the Post - Chorale and Shaker Dance

reasons to be pretty...

2011-05-13T18:19:00.013-04:00

by Neil Labute
Jobsite Theater
Tampa, FL
May 12th, 2011

Watch what you say, especially with whomever may be listening.

Jobsite's latest effort reasons to be pretty takes us on a journey of modern relationships between men and women as well as the ubiquity of self esteem, vanity and confidence. Jobsite brought Neil Labute's Tony nominated play to life in a palpable and refreshingly forward thinking manner I've come to expect.

Jobsite's wonderfully gifted cast shine once again in this alarmingly relevant production. The show begins with Jobsite favorites Kari Goetz and Dayton Sinkia as our failing and feuding couple. Goetz's foul-mouthed portrayal of a woman scorned to woman empowered was played with great care and never seemed forced. Dayton Sinkia's characterization of Greg found a nice balance of absent-mindedness and resolve; which naturally progresses his character from beginning to end. Grace Santos Feeney's role of well meaning Carly was adequately performed and didn't leave anything to be desired.

If I could applaud through the review, I would do so for Chris Jackson's role of Kent. Jackson's explosive and polarizing performance was without doubt the anchor this production. Jackson's clever and witty delivery coupled with his incendiary intensity during his final scene were the capstones of an already impressive show. Bravo.

Cast of reasons to be pretty

l to r: Dayton Sinkia, Chris Jackson, Kari Goetz, Grace Santos Feeney

c/o jobsitetheater.org

As soon as the lights go up over the stage, Jobsite's production buckles you into your seat and takes off at 100mph. Jumping right into a domestic dispute spawning from one little comment, reasons to be pretty employs colorful, contemporary language we've all used in moments of passion. We slowly piece together the catalyst of Greg and Steph's argument and learn his comments about her "average" appearance. The argument continues as they consider their future with or without each other. We are later introduced to Carly and Kent and their superficially sound but ultimately rocky relationship. The play bounced from conversation to conversation with insouciant staging, setting aside the need for spectacle and allowing the dialogue to reign supreme. reasons to be pretty touches on elements of infidelity, reconciliation, friendship and yes, beauty.

All in all, I thoroughly enjoyed reasons to be pretty. Having heard or said something emoted on stage at one point or another in my life reminds me of this achingly real subject matter. This play had me cringing at certain points due to its acute realism with respects to dialogue and performance. Any one who has ever gone through a bad break up will surely relate to one or all moments on stage. I would recommend this play to everyone in town and I hope you get a chance to see it and possibly apply something you learn to a existing or future partnership.

reasons to be pretty has been extended through June 5th thanks to strong ticket sales. Jobsite has a knack for making the intimate Shimberg Playhouse a great venue with no bad seats. Be sure to click here for more information on reasons to be pretty and Jobsite Theater.

Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - copeland

RENT...

2011-04-17T23:08:00.014-04:00

by Jonathan Larson

American Stage Theatre

St. Petersburg, FL

April 17th, 2011

No day but today. Will I lose my dignity? I'll cover you.

These are some of the themes the seminal American musical of the last twenty years revolves around. One of the most decorated musicals of all time, RENT has been awarded the Tony Award, Pulitzer Prize, Drama Desk Award, Obie Award and is probably on the short list of favorite show for people my age, give or take ten years. Continuing their annual tradition of presenting a show at Demens Landing in St. Petersburg, American Stage brings together Equity talent and great weather to present RENT.

What can I say about this show that hasn't been said already. RENT is one of those shows that comes around every so often and takes the theatre world by storm. Based on one of the most beloved operas of all time, RENT touches on the themes of love, friendship, acceptance, ambition and death.

One of the great things about RENT is its collection of characters navigating a year together. Their different paths to creativity surprisingly follow similar struggles which allow them to relate to each other. The majority of the characters are afflicted with AIDS and make the best of their final time alive. American Stage brought together a talented group of Equity actors and combined the award winning score to present RENT. With that being said, I felt the show's direction kept such talent at arms length.

There were too many times actors kept their hands at their sides and seemed to have cement shoes, especially Alex Covington and Pete Zicky as Mimi and Roger respectively. I found Clinton H. Harris' role of Collins to be some what of a joke. You would think an AIDS infected man who loses his lover would be in mourning towards the end, rather than giving a Gary Coleman-esque smirk. Some shining moments of the show include Ricky Cona as Angel and Alison Burns as Maureen. They each brought the spirit of their characters as expected. I was also pleased with the delivery of minor characters by Stephen Ray and Joel Gennari. Bravo.

The Cast of RENT c/o American Stage

As well written as RENT is, the production by American Stage failed to hit the mark. Aside from dismal acting, I was disappointed with the creative liberties taken on the show and left the venue feeling flat because of it.

For example:

The opening number of the show is a lament of bohemian life amidst the mounting pressure of paying rent. The intense motion on stage during this piece is usually meant to present the backdrop of New York City, but instead came off as a campy musical theatre cliche, complete with with spirit fingers and fist pumps.

During the song "Will I?", the company of the show usually wanders the stage and creates a dreamlike canon, or round. This device gives the idea that everyone is thinking the same thing at different times. American Stage opted to accelerate the tempo of the song and created a pop/rock sound which didn't allow the same aesthetic.

Lastly, the cast for the majority of the performance never seemed to really embody he spirit of these colorful actors. During "Light My Candle" we are introduced to Mimi and Roger and their budding interest in each other. It was hard to grasp that sense with both actors standing with hands at their sides. The words alone didn't sell this show. Aside from the poor stage presence, the sound of the on stage band was very thin and could only be heard from stage right. I figured with as much sound equipment American Stage brought to the park, we'd be able to hear the band just as clear as the vocalists.

All in all, I found American Stage's rendition of RENT as a kitsch take on a musical theatre classic. RENT usually has a power and force that takes hold of everyone in attendance yet it gets lost amongst the open air of the park. There were too many times the actors performed upstage, which took away from connecting with the audience. Looking through the playbill, I noticed the majority of the cast to be members of Actors' Equity, the association of professional actors. If this was a community theatre or high school production, I'd probably let it slide, but I expected much more out these professionals.

If you've never seen RENT before, I would not recommend this production as one that captures the spirit of the show. On the other hand, if you're in the mood for a night worth your dollar, this may be it. Being able to bring your own food and drink on your own blanket is a delight not usually associated with theatre. Seeing a musical on a cool night, on the water, under the stars is a unique experience not utilized enough in the area.

RENT plays Demens Landing in St. Petersburg through May 8th. Tickets range $11-27 and can be purchased by clicking here. Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - yellowcard

A Lesson Before Dying...

2011-04-09T09:18:00.008-04:00

by Romulus Linney

Stageworks Theatre

Tampa, FL

April 7th, 2011

If your last day on Earth was read to you by a sheriff while on death row, how would you carry yourself until it finally comes?

The latest effort of Stageworks Theatre takes us on a journey of the human spirit among even the most grim of circumstances. A Lesson Before Dying explores the relationship between an arguably guilty death row inmate and his former schoolteacher during his final weeks.

Taking place in rural 1940's Louisiana, Grant and Jefferson discuss how to die like a man amidst settling for a less than humane title bestowed. The story also intertwines the relationship of Grant and his girlfriend, the town reverend, Jefferson's godmother and the Sheriff's at the courthouse. They each learn during the play that the lessons aren't exclusively for Jefferson, but transcend to universal ideals of tolerance, acceptance and integrity.

Each member of the cast brought a very believable nuance to their respective role. Jefferson's godmother was actually an older woman with impaired mobility which can prove trite when performed improperly or overacted. The town reverend came off as your stereotypical larger than life bible thumper just as Jefferson himself transformed from disenchanted inmate to upstanding citizen of the world. Bravo all. Second to the script of a staged play, casting is crucial and Stageworks knocked one out of the park to continue their impressive season.

c/o facebook.com/stageworkstheatre

With a title like A Lesson Before Dying, you should have some sort of idea of what you're walking into. Person A is waiting to die and person B attempts to instill virtues or contempt for the soon to be departed. As we, the audience, learn over the course of the play is the lessons taught aren't only the Jefferson, but everyone involved. They each learn a little more about themselves, what they're capable of, how they carry themselves and the legacy they hope to leave behind. I'm sure anyone who sees this show will identify with one or all of the lessons and take the obligatory glance in the mirror.

All in all, I thoroghly enjoyed Stageworks' production a A Lesson Before Dying. Presented in the ever intimate Shimberg Playhouse, Stageworks presents this story worth telling with the precise execution we've come to expect from them. Be sure to get your tickets sooner rather than later, but also know there isn't a bad seat in the house.

A Lesson Before Dying plays through April 24th and is sure to enlighten all who witness the power and beauty of this poignant tale. Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - bon iver

yellowman...

2011-03-17T18:06:00.013-04:00

By Dael Orlandersmith

Jobsite Theater

Tampa, FL

March 17th, 2011

Intense, engaging and unforgettable. The first three words that come to mind when I think of Jobsite's latest effort yellowman.

yellowman is a two actor play set in rural South Carolina which touches on issues of biracial relations, ethnocentrism, family, class, parental complex, love and death. The story primarily follows Alma and Eugene as they make sense of their relationship amidst mounting pressure and bigotry from their community and family members alike. Crossing over a handful of time periods including childhood, adolescence, young adulthood and middle age, yellowman is a moving tale of journey of enlightenment and discovery that only great storytelling can provide.

Jobsite could not have cast this play any better with the superb portrayals by Jim Wicker and Fanni Green. A 2002 Pulitzer Prize finalist for drama, yellowman's dialogue and narrative lend themselves to shine upon the prowess of the actors performing it. The ability to carry a conversation between mother, father, grandfather and yourself is by no stretch an easy task, and both actors accomplished it with flying colors. Fanni Green's ability to embody her character of Alma almost seemed more like a tale told in confidence rather than an actress on stage. Great Job. Jim Wicker's ability to grow from a prepubescent child to a grey haired middle aged man within the two hours of the play show his devotion to his craft. Wicker's final moment on his hands and knees may have been the single most touching scene of the season. Bravo bravo bravo! With Tampa's top theater director Karla Hartley at the helm, there was no way yellowman could be at fault due to execution.

Fanni Green and Jim Wicker in yellowman

Photo c/o Jobsite Theater

It has been quite some time since I've since acting of this caliber in the Tampa Bay area. With the majority of the play presented in a stream of consciousness narrative, the two actors performing the roles of close to ten characters gets confusing at times. For the most part Wicker and Green did a fabulous job of keeping it together, but there were a couple times where I lost track of who exactly they were playing. To the blase theatergoer, situations like this can derail the momentum, but the story was separated enough to get back on track in the event you get lost. Keep in mind yellowman doesn't follow a traditional beginning-middle-end story arc. If you aren't prepared to listen to every word on stage, it may be a long night for you.

Don't get me wrong, I recommend this play to anyone who asks, but my inner journalist will have to add a disclaimer that this may not be the best play for someome looking for a sweet story with a predictible ending. I feel the same way about yellowman as I did when I first saw American History X. I was left with a question mark and unsettled expectations, but after I let it marinade, everything fell into place. Without a doubt, yellowman is the most intense play I've seen in Tampa.

yellowman plays through March 27th at the Shimberg Playhouse. For more information on yellowman and Jobsite Theater, please click here. Tickets are selling fast, so get your tickets today.

Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in Tampa.

Music of the Post - anchor&braille

MOMologues...

2011-02-18T09:28:00.016-05:00

Stageworks Theatre
by Lisa Rafferty, Stefanie Cloutier and Sheila Eppolito
Creative Loafing Space
Ybor City, FL

We each have a job in life. Whether you're a teacher, lawyer, physician or in some sort of sales there are things we enjoy and despise. But how many of us would truly complain about every aspect of a job and still say we love it?

MOMologues is a four character play presented as a stream of consciousness meets round table discussion about the ups and downs of motherhood. Each character takes a turn as expectant mother and describes the cheerful excitement of an impending bundle of joy and the harsh reality that follows. Not following a tradition beginning-middle-end play structure, MOMologues draws us in with it quick wit and brutal honesty.

Presented with a true ensemble cast, the ladies of the MOMologues each share the heartbreaking and heartwarming moments that make up motherhood. Without overshadowing another character, each actress performed both monologue and dialogue superbly. Each actress had equal amount of time between performing solo and cooperatively, which allows us to see the range of these talented actresses. Being brought to life by Jeni Bond, Rosemary Orlando, Susan Karsnick and L'Tanya Van Hamersveld, the cast of MOMologues overlap their dialogue just like the experience of motherhood can be for all who have and will experience it.

The Cast of MOMologues

I really enjoyed the stream of consciousness presentation of MOMologues. One thing I noticed about the show was the lack of connection with any one character. Even though in the playbill the characters are named, they never refer to one another as such. In a traditional play we may find ourselves rooting for or against the plight of a certain character. I feel the point of the show is to associate with all mothers and not with a particular character. Without having a single character to follow, it's refreshing to have a play that will live and die by the dialogue and not the actor. They close the show with the line "It's the hardest job I've ever loved", which succinctly encapsulates every tear of joy and/or outrage that comes with motherhood.

All in all I really enjoyed the show. From beginning to end, the cast presents an engaging and hysterical look at motherhood. A play like this only comes along every so often and I would recommend mothers as well as men to see this show. Painstakingly illustrating the ups and downs of becoming, being and having been a mother, MOMologues is surely not to be missed.

MOMologues plays through February 27th at the Creative Loafing Space located on the second floor of the Spaghetti Warehouse in Ybor City. With about one hundred seats, there won't be a bad seat in the house. If you wish to enjoy dinner before or after the show please know there is a 20% discount for all theatre goers, although you'll need the coupon at the Creative Loafing Space door to partake.

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 - tool

Avenue Q...

2011-02-16T15:02:00.012-05:00

by Robert Lopez & Jeff Marx

Golden Apple Dinner Theatre

Sarasota, FL

February 15th, 2011

You are twenty-two, and you live on Avenue Q. With a story full of colorful language and "did that just happen" moments, it's easy to forget the message of finding your purpose and realizing everything in life is only for now.

Set on the fictional street in Manhattan, Avenue Q takes us back to what it was like finding yourself after college. Presented with the puppeteers in full view, the show provides a unique musical experience once thought only for the child minded.

Avenue Q follows the story of Princeton as he moves to New York soon after obtaining his degree. Meeting his new neighbors Kate Monster, Brian, Christmas Eve, Trekkie Monster, Rod, Nicky and the superintendent Gary Coleman, Princeton navigates his new life while trying to find his purpose. Along the way we learn about Rod's closeted homosexuality and Trekkie Monster's not so secret past time. A heartfelt romance between Princeton and Kate Monster keep the story going among other hysterical situations intended for adults.

When asked to play multiple roles in a single production, the demand for top notch acting chops is paramount to the success of the show. With the exception of Brian and Christmas Eve, each cast member plays multiple characters. Playing the lead role is every actors goal and leading Golden Apple's Avenue Q is Berry Ayers. More often than not the lead actor is the anchor holding the show together, yet Ayers dubiously missed the mark. A pensive look for the majority of the performance, Ayers' lack of expressiveness was evident as I failed to connect with his characters Princeton and Rod. If Ayers' performance wasn't bad enough, Erik Emmerson's disconnected take on Brian was far less than stellar. Jenn Abreu, Ariel Blue, Alex Torres and Steve Dawson each gave fine performances as their respective character(s). The anchor for Golden Apple's Avenue Q was far and away Dianne Dawson as Kate Monster and Lucy the Slut. Dawson's pleasant and precise voice was a magnificent saving grace to this ultimately dismal production. If time helps the performance I can only imagine the wall of sound Dawson's Kate Monster may belt out towards the end of the run.

Golden Apple's cast of Avenue Q.

As a whole, I felt the cast of Golden Apple's Avenue Q failed to hit the mark of the shows potential, plain and simple. Knowing the show quite well, I could tell when lines were flubbed along with missed entrances and blown tech cues. I could go on and on with a litany of instances, but I'm sure the majority of them will smooth out as the show continues it's run. I noticed a pensive look among the actors at times and hoped for more expression and commitment to the show. As comedic as Avenue Q is, I found myself chuckling at the locked doors and microphone mishaps as opposed to the zingers I should have snickered at.

Even though I consider myself a theatre reviewer and critic at times, I must put on my foodie hat for a second and give credit where it is due with the buffet dinner before the show. Jambalaya, Roast Beef, Mashed Potatoes, and an adequate salad bar; you get the picture. Fantastic spread and well worth the price included with the show.

Don't get me wrong, I would recommend this show to anyone who hasn't seen it before. Although I was disappointed with Golden Apple's first attempt. Avenue Q once beat Wicked for the Tony Award for Best Musical. With that being said, the potential for Golden Apple to take over the Sarasota theatre scene is in their hands. If you are planning to see Avenue Q during it's run in Sarasota, I'd recommend waiting until the latter half of the run when the cast and crew has ironed out their timing to see it.

Avenue Q plays the Golden Apple Dinner Theatre through April 10th. Be advised if you plan to have dinner beforehand they stop serving thirty minutes before showtime. 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 - tom gabel of against me!

The Odd Couple...

2011-02-04T08:54:00.017-05:00

by Neil Simon
Jobsite Theater
Tampa, FL
February 3rd, 2011

Coined by many relationship experts far and wide is the widely accepted notion that opposites attract. Some people stay in the strangest of situations believing this simple yet dissertative ideal. Jobsite Theater yet again steps up to the plate and delivers with Neil Simon's Tony Award play The Odd Couple.

The Odd Couple tells the story of two divorced middle aged men living together in New York City and explores their differences amidst adjusting to cohabitation. Along with a loquacious round table of poker buddies and randy upstairs sisters, The Odd Couple provides laughter and engaging exposition from beginning to end.

Our story begins with the weekly poker game hosted by the messy and indifferent sportswriter Oscar Madison. Along with Murray, Roy, Speed and Vinnie, the group enjoys drinks and conversation while they wait for their last player Felix Ungar. The group receives a call from Felix's wife with deathly news about their marriage. Worried for his well being, the men devise a plan of consolation for Felix if and when he arrives. Once Felix arrives, the evening concludes with Oscar extending an invitation for his recently divorced friend to move in. After only three weeks of their dwelling, tensions rise as time only escalates their situation. Can Felix and Oscar settle their differences before they annul their arrangement?

Under the direction of Chris Holcom, at the helm of hits boom! and Night of the Living Dead, Jobsite's fresh take on a classic was in well abled hands. As if Jobsite went to a Felix Ungar convention and hand picked a carbon copy of the character himself, Paul J. Potenza delivers as the neurotic neat freak from start to finish. Balancing an act of downtrodden divorcee while contributing subtly comedic nuisances are no easy task over two hours. Well Done. Adding their voices along the play are Slake Counts, Jason Evans, Ward Smith and Michael C. McGreevy. I last saw McGreevy in Dead Man's Cell Phone and had zero tolerance for his delivery or presence, yet was humbly impressed with his no nonsense demeanor as Murray. I enjoyed watching his range as an actor. Bravo. Cheering up the stage for two short but important scenes are Katrina Stevenson and Summer Bohnenkamp-Jenkins as the Pigeon sisters. My honest opinion for the sisters was that their role was perfectly staged. Any more of them may have turned asinine, but clever playwriting kept it fresh. The anchor for this show was hands down Shawn Paonessa as Oscar Madison. Paonessa's prowess to convey apathy and compassion both in the first act was wonderfully executed. And just like everyone who doesn't consider themselves a "neat freak", Paonessa's comedic yet direct expressions convey everything we think. Congrats on another strong portrayal.

I found Jobsite's incarnation of Neil Simon's classic play to be on point, even five decades after the initail Broadway premiere. With updated language and modern references, any one going to see this play should enjoy the struggle of patience along with cleverly time comedic zingers. As I mentioned before, I enjoyed the range from actors I've seen before and as well as the classic convention of strong dialogue. The Odd Couple is presented solely in Oscar's living room, but I was never left asking to see anything else in the story. With dialogue as engaging as Simon's and the stellar execution of Jobsite's cast, The Odd Couple is surely on the short list of their best this year.

The Odd Couple plays through February 27th at the Shimberg Playhouse, nestled quietly in the Straz Center for Performing Arts. I received notice this show was held over before opening night, which suggests you should find tickets sooner rather than later. I tip my cap again to the Jobsite cast and crew.

Don't forget to follow us on twitter and/or facebook for the latest on the performing arts community in the Tampa Bay area. Also, stay tuned for a chance to join me at a show!

Music of the Post - jonny craig

Wonderland...

2011-01-06T23:55:00.018-05:00

By Frank Wildhorn, Jack Murphy & Gregory Boyd.

Ferguson Hall

David A. Straz Centre for Performing Arts

Tampa, FL

January 6, 2011

When you're asked "who are you?" Our initial answer usually follows with simply, our name. Although, when you stop to consider, "who are you?" is a very different question from "What's your name?"

Originally produced in late 2009, The Straz Centre's first production of thier Broadway Genesis Project, Wonderland, again treats Tampa to the best of what musical theatre has to offer. Slated to open in New York this spring, Tampa gets to sneak peek this Broadway show in the aptly sized Ferguson Hall. With top-notch lighting, brilliant set and costume design and a touching story through song, Wonderland is ready to take the Broadway world by storm.

Our show begins with Alice as she laments about the worst day of her life. Having to juggle impending pressure of her editor, our overworked writer/mother in New York struggles to find time for her daughter or soon to be ex-husband. At a glance, the show is simply an updated musical retelling of Alice in Wonderland, although Wonderland tells the story of Alice as she follows her alienated daughter down the rabbit hole and finds herself along the way. Recurring themes of love, self-discovery and reconciliation compliment the spectacle on stage. Complete with The Queen of Hearts, The Mad Hatter, The White Rabbit, the Cheshire Cat (cleverly altered to "El Gato") and the Caterpillar, Wonderland is a classic literary masterpiece brought to life like never before.

With the exception of one, all the original characters return again to the show. Janet Dacal once more shines as the leading lady in the role she created a year ago. Interacting with each character, Dacal's Alice shows a range few in Tampa are lucky to witness. Bravo. Kate Shindle takes my least favorite character from last year and emerges as a love/hate antagonist, the Mad Hatter. Introducing herself as the cabaret singing titan of Wonderland, Shindle's performance left nothing to be desired anytime she was on stage. Taking the stage at age eleven is Carly Rose Sonenclar as Alice's daughter Chloe. I was amazed at the vocal range and stage presence of this wunderkind and look forward to see what else she can accomplish with many years ahead. Edward Staudenmeyer, Jose Llana, E. Clayton Cornelious and Danny Stiles each gave skillfully acted performances as the Rabbit, El Gato, the Caterpillar and Morris respectively. I always look for what I call the anchor of the production and I undoubtedly award Darren Ritchie in Wonderland. Taking the stage yet again as Jack and the White Knight, this year's performance was taken to the next level with Ritchie's ability to flirt with the fourth wall and keep the performance going without interruption.

(Janet Dacal as Alice in Wonderland)

Having the opportunity to see both productions of Wonderland, I can say without a doubt that the new show is leaps and bounds ahead of last year's. I noticed many of the revisions of the show and was happy with the end result. 2009's production followed the formula of a musical revue featuring each one of the talented cast members, which took away from the overall story. This years production connected story and song seamlessly. The new Alice was more aware of what was going on, appearing more lost in a dream in the original. There were many parts of the show that I didn't care for last year, including the seductive Mad Hatter, the dubious Jabberwocky and over the top entrances for each new character. As if they read last year's reviews, all of the questionable scenes were cut and/or reworked for the benefit of the show. Kudos to the creative team for looking at the big picture and doing what was best for the production.

All in all, I enjoyed the production of Wonderland. New songs, new cast members and a bright future encompass the new incarnation of Wonderland. My hat goes off to the cast and crew again for coming together and making something special in Tampa before taking to the pinnacle of the theatre industry.

Wonderland plays at Ferguson Hall at the Straz Centre through January 16th. The show packs it's bags for the Great White Way in the spring, so get yourself to the show before it closes. Please click here for more information. Don't forget to check us out on twitter and/or facebook for the latest on the performing arts community in Tampa Bay.

Music of the post - emery

The God of Isaac...

2010-12-04T23:23:00.009-05:00

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...

2010-11-04T18:38:00.014-04:00

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

2010-10-22T07:01:00.008-04:00

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!

2010-10-01T15:27:00.010-04:00

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

2010-09-24T10:05:00.014-04:00

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...

2010-08-06T10:32:00.014-04:00

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...

2010-07-09T15:36:00.011-04:00

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...

2010-06-11T08:54:00.021-04:00

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...

2010-05-30T12:34:00.014-04:00

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...

2010-05-29T00:04:00.010-04:00

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

2010-05-23T20:31:00.009-04:00

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...

2010-05-23T19:43:00.008-04:00

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...

2010-05-15T21:58:00.004-04:00

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.

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

Music of the Post - inkwell

Anatomy of a Community Musical...

2010-03-15T15:12:00.030-04:00

Buddy, The Buddy Holly Story

Directed by Shannon Willis Scruggs

Town Theatre, Columbia, SC

March 17-21, 2010

From March 4-22, 2009, my life was turned upside down. I was cast in a community musical production of Buddy, the Buddy Holly Story at Town Theatre in Columbia, SC. Being a musician most of my life, I never gave theatre a chance due to some teachers in my life who frowned over the drama department. Being the golden musical child I was, I followed blindly. I took a chance. I had never performed in front of anyone without an instrument before. I have played in a group in front of a sold out Raymond James Stadium and didn't even blink. I lost sleep over the thought of talking in front of 330 people. I slowly learned the ropes and became part of one of Town Theatre's most successful shows to date. In late 2009, I was offered to chance to rejoin the cast in a limited one week revival. In this every-so-often opportunity, I opted to keep a keen, Anderson Cooper-esque record of the trip. I just hope my journalistic integrity isn't compromised by my earnest immersion back into the acting/performing lifestyle. Enjoy.

Saturday March 13, 2010
Woke up and made the obligatory drive to my place of work. Don't get me wrong, I absolutely love what I do, but I was dreading having to pull a solid six hours with an impending seven hour drive thereafter. The three o'clock hour couldn't come soon enough. With nothing but the open road and time as my co-pilot, I embarked on the arduous trek. Getting off to a slow start through the tourist-laden Orlando highway, I made it to I-95 North on the east coast of Florida with a "Carolina or Bust" mantra I've only felt one other time in my life. Helping the drive was the omnipresent collection of music.
Along for the ride and in order mind you:

Weezer - The Blue Album

Emery - In Shallow Seas We Sail

Dane Cook - Retaliation
Underoath - Define the Great Line
RENT Broadway Cast recording (no road trip complete without it)
Acceptance - Phantoms
Yellowcard - Paper Walls

Hoping and praying I could make it to Columbia by the time I planned seemed to be slipping ever so slightly with every mile driven. Though the Georgia stretch, I struggled for clarity thanks to precipitation, at night! And lets not forget the Orlando traffic jam from a few hours earlier. Only forty-five minutes past schedule, an extra 512 miles, and almost eight hours of driving, I made it.
Greeted by my bubbly roommate, I walked into a lap of luxury that is now my home for the next seven days. After settling in and making the hotel feel more like home, I crashed after what can only be described as exhaustive.

Sunday March 14, 2010
Another day, waking up at the normal time as always. Or so I thought it was. Daylight savings snuck in under the radar, I hope the farmers are happy. After some breakfast and yoga, I made my way to Town Theatre to set up my drums and get started putting together a full on musical in three days. Costuming, lighting, microphones and sound checks galore, it was an exhausting day to say the least.

Right around 2pm, our director called places and we did a full run of the show. No warm up, no pow-wow talking about what has to happen, just a full run right off the cuff. There were times sitting at the drum set not even knowing the music seconds before we were supposed to play. It was quite the learning curve.
All in all, six hours at the theatre took all that I had not to break down, but how can I complain about a day like this?

March 15, 2010
A quasi off day in Downtown Columbia. Waking up to breakfast at sunrise, what to do with a day waiting for that 7pm call time? A nice run along the river at the aptly named Riverfront Park downtown. After a little lunch and The Devil Wears Prada, the waiting for the 7pm call time begins...
For lack of a better word, rough would be the way I would explain the run tonight. Trouble getting the voice over and lighting cues down seemed to happen. It's funny how we're two days away from opening night and we're not happy with the show. La Bamba was another rough patch, but I'm sure today will bring better rehearsals. When the time comes, the curtain is down, the murmur of the audience grows and the crew calls places, something will click and we'll kick it into gear.

March 16, 2010
Lounging around another day leading up to the penultimate rehearsal before our limited engagement takes the stage. After another bountiful breakfast, I set out around Columbia to take some artsy photos that can't be taken in Tampa.

The slow afternoon ended with a trip down dementia lane starring Vince Vaughn. Gus Van Sant's terrifying adaptation of Psycho.

It's strange to see Vince Vaughn in a non-comedic role. But that's what actors do. They take on characters outside of themselves.

The Calm Before the Storm.

The time has come. Our show is going on. It's time to cross our fingers, make a wish, hope for divine intervention, whatever it is we do, it's showtime.

March 17, 2010
With the ever rising prevalence of sports metaphors in our daily lexicon, it's Game day! Every performer, or athlete for the sake of metaphor, has their warm up routine. Mine? Nothing. I learned at a very young age that consistency creates results. I usually put the idea of hundreds of audience member scrutinizing my every word and move out of my head. Just relax and enjoy the afternoon. The day is upon us. A full year since we last did this. Let make it the best show we can.

And scene.

What a great night of performing. Given our Buddy Holly show is a small limited engagement, the word of mouth advertising we're hoping on is kind of late to the party. But, tonight's crowd was one of those quality over quantity evenings that remind you why we do what we do. The show went very well and ended with uproarious applause and accolades. It's always nice to end the evening over a drink and great company. Happy St. Patrick's Day.

March 18, 2010
Radio? We don't need a radio...
Well, whether we needed it or not, Charlie and I made a quick appearance on two radio stations this morning. If you were lucky enough to catch us, we played "Everyday" on Magic 98.5 WOMG, and NewsTalk 1320 WIS both in Columbia, SC.

Thanks to the crew on both stations for having us on. Hopefully, it'll help sell out the end of our run. As for the remainder of the day? I guess I'll join the conversation and fill out my bracket for the tournament.
Not to give too much away from behind the scenes, but I think it's safe to say Thursday's first act was less that stellar. Missed lines and blown cues were disheartening, but we made it through. Kudos to Charlie Duncan, our Buddy Holly, for holding the show together. I'd like to look back and say we could have made it through the show otherwise, but I'd be lying. Knowing we had a paying audience and only one more act to make their evening worthwhile, we worked out a game plan during the intermission and collectively decided to go back out their with guns blazing. Our most overtly comedic scene in act two was met with great laughter, so we knew we could pull out the remainder of the show. We ended the show in style as we always do. The musicians and I looked at each other and knew we pull it out. Three more shows to go...

March 19, 2010
Friday. Three more shows to go. Hoping to pack out each of the remaining shows and leave each one of the audience members thoroughly enjoying themselves.

What a Show! The Friday night crowd was treated to our best show yet. Very happy to have my parents make the 500 mile drive up to Columbia for a show. It's nice to have someone in the audience who you really hope enjoys the show more than anyone else.

Back on the road again. Driving up to Charlotte, NC tonight to pick up someone special at the airport. It's a bummer having to drive into another state to pick someone up from the airport, but all's well that ends well.

March 20, 2010

A day begins with so much promise.

Sleeping in with the blackout blinds, we had a solid seven hours to kill before heading to the theatre for another performance. That was, until I turned the key in the Element to no avail. Oh well, nothing like some car troubles to complete a road trip. Sorry Riverbanks Zoo, maybe next time.

Hey! Was that a crowd tonight or what! We didn't even get through the first song without having to pause our dialogue for applause. Let's hope Sunday is even better. It felt as if we couldn't do wrong. Even when we flub a line, somehow we pushed right through it and the audience loved it even more. It's too bad it's only a five show run. I could used to this.

March 21, 2010

The three C's for performing, and life for that matter: Cool, Calm and Collected. Today has brought the end of the run for Buddy, the Buddy Holly Story at Town Theatre in Columbia, SC. Thinking this could be my last time on the Town Theatre stage, I made sure to take some shots of the place for nostalgia, and blogging.

As I remember Sunday crowds being at Town Theatre, usually packed out, but not the most vocal. During the last scene of the show, I did my best to take in what I could from the stage. This is what I live for. Can't wait to get into it back in Tampa.

Lights out on the Buddy Holly Musical. Checked out of the hotel, packed up the drums in the Element, turned in my costumes, shook hands and said my goodbyes. On the road back to Tampa, and the grind. Thanks for letting me share something dear to my heart with you. Just remember it's never too late to try something new. I did. And now it may just be the missing piece I've been waiting for. What will yours be?

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boom!

2010-03-14T09:30:00.006-04:00

Directed by Kari Goetz
Jobsite Theater
at the David A. Straz Center for Performing Arts
Tampa, FL
March 11, 2010

How would spend the last night on Earth?

Boom! Jobsite Theater strikes again! In what seems to be one successful show after another, the talented troupe of Jobsite Theater presents their latest production, boom!

boom! is a three character play presented in the intimately constructed Shimberg Playhouse at the David A. Straz Center for Performing Arts. The play centers around Jules and Jo as their potential one night stand eerily turns into post-apocalyptic survival. Spending most of his life studying sleep patterns of fish, Jules determines a comet colliding with Earth is imminent. In an attempt to recruit someone to help recreate humanity, Jules posts an ad for a steamy night of passion. Once locked inside Jo discovers this meet up might be longer than one night.

Along with Jules and Jo is Barbara, who keeps us informed during the show and throws switches like the Wizard of Oz himself. Every so often, Barbara momentarily stops the show to fill us in of what is lost in translation. Marine biologist Jules, and journalism student Jo banter back and forth about both of their fates. Jules, insisting that he has saved Jo from death, is only thanked by thousands of attempts to break down the door and leave.

Playing the role of the wrong place, wrong time woman, Geneva Rae (Jo), delivers sharp and crisp dialogue amidst the calamity between her and Jules. Combining physical comedy and complete despair in the same night is no easy task. Kudos. Never missing a beat or flubbing a line, Chris Holcom (Jules) portrays the "fish-whispering" marine biologist. Holcom, takes us for a ride as he solely drags us along for a misinterpreted night of passion that turns into a two to four year stay underground. Oblivious to Jo's wants and needs, Holcom presents the hapless protagonist flawlessly. Rounding out our cast is Summer Bohnenkamp-Jenkins portraying our Marge Simpson-esque narrator Barbara. Chiming in with her well timed anecdotes and clever use of the timpani, Barbara had me laughing every time the lights shined her way.

I sat in my seat enthralled by the perfectly executed juxtaposition of existentialism, impending death and great comic timing. boom! is a riotous, side-splitting look at polar opposites facing a similar plight. With a stage set up much like bomb shelter, I didn't quite know what to expect with the opening scene of pre-coital preparation. Once Jules begins explaining his purpose for contacting Jo that night, I knew I was in for a wild ride.

All in all, boom! is surely not to be missed. I can say without reservation that I have never laughed harder in the theatre. I was almost as if I was watching the Kids in the Hall. I had to stop myself to consider the themes expertly placed under the cloud of hilarity. If you're looking for a wonderful night of entertainment at the theatre, this is it. Please note, this is an show with situations.

boom! plays the Shimberg Playhouse at the David A. Straz Center for Performing Arts through March 28th. In talking with Jobsite's director David Jenkins, I was informed the first weekend was sold out a couple weeks before opening night. This show is sure to sell out it's run, so you better contact the Jobsite sooner rather than later.

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Music - the breakfast room at Staybridge Suites in Columbia, SC (and anberlin)

In the Heights...

2010-03-02T19:29:00.004-05:00

In the Heights hits Orlando this week.

The smash Broadway musical continues it’s inaugural north American tour in Orlando this week.

After a momentous run Off-Broadway, In the Heights was moved to the Richard Rodgers Theatre and enjoyed a successful year complete with critical praise and Tony Awards galore. As the most talked about show in the 2008 Broadway season, it was only a matter of time before In the Heights packed up and took the show on the road.

If you haven’t seen this show, you will be in for quite a treat. In the Heights follows the story of a small community in the Manhattan neighborhood of Washington Heights. Our narrator, Usnavi, owns a mom and pop bodega next to a the Rosario’s gypsy cab business and the gossip centered salon.

Complete with high energy dances, musical mix of salsa, hip hop and show tunes, In the Heights will surely entertain audience member old and new. Be sure to get your tickets sooner rather than later for this limited one week run.

In the Heights plays the Bob Carr Centre for Performing Arts in Orlando, FL March 9th through the 14th, For ticket information, please click here.

Don’t forget to check back for full reviews and criticism. Be up to date by following us on twitter.

Wicked...

2010-03-02T19:24:00.009-05:00

February 3rd - February 21st
David A. Straz Center for Performing Arts
Tampa, FL

As this musical begins, the company opens with the overture “No One Mourns the Wicked”. And if you were like me and got to see Wicked during it’s run in Tampa last month, you know no one mourns after seeing this wonderful production.

Wicked is a stage musical written by Broadway veteran Stephen Schwartz based on the best selling novel of the same name by Gregory Maguire. Wicked chronicles events taking place before what happens in the beloved film “The Wizard of Oz”. Before Dorothy and Toto dropped in, we learn about the friendship between Glinda and Elphaba after mistakenly being coupled together as roommates. We also met characters like the hopeless romantic Boq who only has eyes for Glinda, but is passed along to Elphaba's sister Nessarose. And no fairytale is complete without a prince charming type, and Fiyero enters stage right. Through song and prose, Wicked tells the story of friendship, love and social equality simply packaged as a wonderful evening at the theatre.

After the wildly popular and Tony Award winning run on Broadway, original cast members Kristin Chenoweth and Idina Menzel set a very high bar for the lead roles of Glinda and Elphaba respectfully. In the 2010 national tour of Wicked, Chandra Lee Schwartz and Donna Vivino rose to the challenge and exceeded expectations. Schwartz’s portrayal leaves little to be desired thanks to the sometimes ditsy and clueless, but ultimately heartwarming nature of Glinda the Good. Showing a vocal range reaching into operatic soprano, I was amazed of the talent on stage from Schwartz. From the moment she steps on stage as the green skinned odd one out, Donna Vivino demands the attention of everyone in the audience as Elphaba, the Wicked Witch of the West. Anytime Vivino began a song, I knew it was going to take my breath away. Richard H. Blake's performance of Fiyero leaves little to be desired as the heart throb of the show. Justin Brill and Brynn O'Malley support the leads as Boq and Nessarose. Their forced relationship is heartbreaking and only gives the name of the story that much more meaning.

(Donna Vivino and Chandra Lee Schwartz as Elphaba and Glinda in Wicked)

With a musical with so much hype before it ever makes it to the touring circuit, you know it’s going to be a fantastic night out. Sitting in the theatre and seeing the mechanical dragon adorned above the proscenium, I couldn’t wait for the curtain to rise and show to begin. With wonderful songs placed expertly in between the gripping story, Wicked is one of those guaranteed shows that you can’t say too much about. If I did have two complaints about the show, I would have to say that there was a hard time hearing some of the ensemble members during the songs with everyone together. Thanks to Paul Bilyeu and Tara McNamara, we were able to have wonderful seats, so I can’t give the excuse of bad seats for the auditory issues. My only other complaint is that the show was too short! Yes, hyperbolic I know, but I was having such a great time I was sad to see the curtain call.

All in all this was a professionally executed, top notch performance of one of the best musicals of our generation. I have to consider myself one of the audience members floored by “Defying Gravity” to end the first act. I looked over at my wonderful girlfriend and didn’t have much to say. With a timeless message of love, friendship and tolerance, Wicked proves it will be around for quite some time entertaining audiences old and new.

Wicked enjoyed an extremely popular run here in Tampa during the month of February. If you happened to miss the show while it was here, Wicked will be showing from March 3rd through the 21st at Miami’s Adrienne Arsht Center for the Performing Arts. And for those looking to make a trip up to the city that never sleeps, be sure to drop by the Gershwin Theatre where Wicked plays eight shows a week.

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Music of the Post: the get up kids

Christmas Trio...

2009-12-13T21:50:00.003-05:00

by Susan Hussey

Gorilla Theatre

December 5, 2009

For most of us Christmas is the time of year when we get together with the ones we love. For others, it’s the time of year when we get together with family because their our family, not necessarily because we love them.

Christmas Trio is a three character play written by Susan Hussey, produced by the Gorilla Theatre. As always with the Gorilla Theatre, Christmas Trio is presented in an intimate and in-your-face setting to the forty seven audience members in attendance. This dialogue driven character piece will have you wondering about your own family as you feel closer of theirs.

Christmas Trio chronicles the story of a family torn apart by joblessness, infidelity, alcoholism, divorce and miscommunication. As the play begins we meet Barbara, who enjoys a cocktail on her 40th birthday. Barbara laments about her life without a partner and how it stems from her home life, which she invites us to as Christmas time rolls around. Barbara visits her mother Edna in Florida the year she doesn't visit her father, Barry, at home. We learn of the trials and tribulations of this dysfunctional family over the years and eerily find parallels.

Well constructed and executed, this character study is flawless in inviting us into their world. Meg Heimstead, Karel Wright and Jim Wicker seamlessly cascade their soliloquies together to gel divided stream of consciousness to a building story. With a simple set and little use of props, Christmas Trio is an excellent example of words over dazzle and fluff.

With all of the superb dialogue and character development, I found Christmas Trio very hard to follow. One minute Barbara is a forty year old working professional who enjoys a cocktail and a bratty teenager the next. As we dive deeper into the turmoil of the family, it seems to go nowhere and wander aimlessly. Jumping from Barbara’s Christmas’s at age eight, sixteen, seventeen then back to forty left me with no resolution. Possibly, this is to mimic real life where we go through life with many unanswered questions in our past. Although in a place of escapism, I don’t like being reminded of that fact. Don’t get me wrong, the acting was there, but it couldn’t save the lacking storyline. I unfortunately left the theatre blasé with more questions than going into it.

All in all, I found Christmas Trio wonderfully acted and a well executed production. Although, if you’re looking for a feel good family piece for the holiday season, I would not recommend it. After the brilliant success of The Woman in Black, I was disappointed with the show as the lights faded. The Gorilla Theatre is a great place for intimate local theatre. This was not their best show but it won’t take away anything from Gorilla Theatre's reputation of top tier performance quality.

Christmas Trio plays through December 20th at the Gorilla Theatre. For more information please click here. Tickets start at $20 depending on the night.

Music of the Post - jimmy eat world

Wonderland...

2009-12-05T16:50:00.009-05:00

Ferguson Hall
David A. Straz Center for Performing Arts
Tampa, FL
December 4, 2009

When you meet someone for the first time, you are usually asked the same question. What’s your name, or the less polite who are you? On the surface they may seem interchangeable, yet for Alice, it took a trip to Wonderland to realize they can be mutually exclusive.

Wonderland is a new musical written and produced by a creative team assembled by the David A. Straz Center for Performing Arts (formerly TBPAC). Marketed as a modern retelling of Lewis Caroll’s classic novel Alice’s Adventures in Wonderland, Wonderland delivers as such with laughter, song and delight.

Set in modern Manhattan, Wonderland follows the story of up-and-coming author Alice Cornwinkle. We learn about Alice’s irreconcilable differences with husband Jack which lead their daughter Chloe to runaway from home. Chloe leaves a riddle within a first edition of Alice’s Adventures in Wonderland to find her. Alice takes an elevator “down the rabbit hole” into Wonderland to find the White Rabbit, the Caterpillar, the White Knight, the Cheshire Cat, and the Queen of Hearts. Chloe’s riddle states Alice must reach the eighth square through the eighth door and become Queen in order to find her again. Along the way, Alice learns about love, family, her new book’s title and who she is.

With a story with so many recognizable characters as Alice in Wonderland, precise casting is crucial. The caliber of acting was fantastic. With Julie Brooks as Chloe, Jose Llana as El Gato, Tommar Wilson as the Caterpillar, Nikki Snelson as the Mad Hatter, and Karen Mason as the Queen of Hearts, Wonderland is jam-packed with exhilarating performances. Fresh off of her run with In the Heights on Broadway, Janet Dacal delivers a superb performance as Alice. Dacal’s solid and believable portrayal of Alice leaves no question in casting decisions. Darren Ritchie’s stellar performance as Jack and the White Knight left me wanting more as the curtain fell at the end of the show. Bravo.

When I first heard that TBPAC was producing it’s own musical about Alice in Wonderland, I was skeptical. Although, when I read the list of actors contracted for the production I warmed up to the idea. By the end of the first act, I wondered why I questioned Wonderland in the first place.

Wonderland’s expert use of set changes, costumes, lights and song will surely entertain each audience during it's run. One note. The original book, Alice’s Adventures in Wonderland is considered the epitome of literary nonsense. There are times when the entire company is dressed in the classic Alice attire, men and women alike. A two headed, three legged thing escorts Alice into Wonderland. I took these elements to follow the nonsensical tone of the book which allowed me to enjoy the show even more.

Wonderland is the first production of the Straz Center’s Broadway Genesis Project. The project is to produce and workshop productions poised for national tours and Broadway. With the exceptional production quality of Wonderland I would not be surprised to find it playing the Great White Way in no time. I applaud the Straz Center’s choice of Ferguson Hall. With 1,042 seats, you won’t have a bad seat with enough room to invite everyone you know. All in all, I endorse this production one hundred percent. I’m positive you’ll leave the theatre with questions just as I did, but wake up the next morning glad you saw it.

Wonderland is currently playing at the David A. Straz Center for Performing Arts’ Ferguson Hall. See this production now while it’s still at ground zero. For more information and tickets please click here. Tickets start at $38.50.

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Music of the Post - this town needs guns

RENT...

2009-12-02T13:46:00.006-05:00

No Play Like This Play...

RENT

by Jonathan Larson
Bob Carr Performing Arts Centre
Orlando, FL
December 1, 2009

What can I say that hasn’t already been said about this masterpiece. If you are reading this review and haven’t seen RENT, drop whatever it is you’re doing and get in line!

Written and composed by Jonathan Larson, RENT is a rock musical update of Giacomo Puccini’s beloved opera La Boheme. Larson enjoyed a glimpse of success during the eighties and early nineties. Larson notable productions include Superbia, a rock retelling of George Orwell’s book 1984, and the small and intimate "rock monologue" which later became known as tick, tick…BOOM! In 1994, Jonathan Larson produced the first incarnation of RENT at the New York Theatre Workshop for a short three week run. After a lukewarm response, Larson reworked a couple songs and dialogue into the production we know and love today. In late 1995, again with the help of the New York Theatre Workshop, Larson was able to see his life’s work before his eyes. Sadly, on the night of the first preview, Jonathan Larson was found dead in is apartment due to a misdiagnosed aortic aneurysm. Instead of packing in the production, the cast crew decided to continue Larson's message of living for the moment. After a short run off-Broadway, the cast moved to the Nederlander Theatre on Broadway for what became a remarkable twelve year run. RENT closed in late 2008 one of the most respected and successful american musicals of all time.

In 2005, after nine years of success on Broadway, RENT was produced into a feature film. Personally, I find the film to be easily digestible for the non-theatre type, yet anyone who wants to feel the power and emotion of how it was intended to be seen should put on their Sunday best and catch a show.

For the 2009 North American tour of RENT, audiences are once again graced by original cast members Adam Pascal and Anthony Rapp reprising their roles of roommates Roger Davis and Mark Cohen. Roger, an HIV positive musician who hopes to find his one great song and Mark, a bleeding heart filmmaker, echo Jonathan Larson’s sentiment of continuing their art in the face of harsh conditions. From the opening monologue through the blistering finale, RENT will keep you on the edge of your seat as you fall in love with the characters and learn how they live their lives trying to create with issues looming over each of them.

My only complaint about this production would have to be the acoustics of the Bob Carr Performing Arts Centre. Time and time again during the show I found myself struggling to hear some of the lyrics and dialogue. Granted, when the company sang together it was great. Special kudos and adoration goes out to Lexi Lawson with her portrayal of Mimi and Justin Johnston as Angel.

With songs “Light My Candle”, “Another Day”, “Will I”, “La Vie Boheme”, and the timeless “Seasons of Love” the cast of RENT will take you on a ride of love, loss, self-fulfillment and friendship. I wholeheartedly recommend this production to theatre goers and the curious alike. With the absence of over the top dance numbers, jazz squares, and set changes, the power of Larson’s message will overshadow it’s lack of “traditional” Broadway theatrics. With the cast’s cascading vocal arrangement in the finale earnestly stating “no day but today”, I guarantee you'll be on your feet joining the ovation.

RENT is currently playing at the Bob Carr Performing Arts Centre in Orlando, FL. Located next to the Amway Arena, a stone's throw from I-4, the Bob Carr PAC is a short drive for a great show. For ticket information please click here. Tickets start at $34.00.

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Music of the Post - sunny day real estate

Bad Dates...

2009-11-23T11:44:00.005-05:00

Stageworks Theatre
Shimberg Playhouse, Straz Center
November 22, 2009

Have you ever had a date that you couldn’t wait to tell your friend about. Whether it was great or a complete disaster, you have to tell them something. In the fast paced, need our information now type of society, one could go on many dates, blog about it and have a vast following waiting patiently to offer their two cents. This wasn’t a Perez Hilton type event, but 130 people listening to someone talk about a handful of dates, and mob fronts, for ninety minutes wasn’t such a bad date to me.

‘Bad Dates’ is a one woman comedy-drama written by Theresa Rebeck. The story centers around a restaurant running, single mother who has decided to give dating another chance. The show is currently being produced by the Stageworks Theatre Company at the intimate Shimberg Playhouse. Set in a studio apartment in Manhattan, we listen to Haley Walker lament of her trials and tribulations not only as her audience, but her confidants.

‘Bad Dates’ is a wonderfully scripted monologue involving what happens before and after a series of bad encounters, not just possible suitors. We begin meeting Haley as a mid-to-late thirties single mother trying on different shoes and dresses in preparation for a date. We learn Haley has accumulated around six hundred pairs of designer shoes and can’t fit into many of them. Haley comes and goes from dates detailing what the men wore, what they talked about and even some sexual orientations. Haley has also brought herself into the dirty underbelly of organized crime as she rose from lowly server to restaurant manager of a laundering front. We ride Haley’s roller coaster of emotion for ninety minutes as she sings from the mountain top after a great date and drinks in low places after her string of bad ones. Haley receives a phone call one night that changes everything she thinks about herself, her daughter, and even someone she never thought twice about.

Sometimes when an actor is given the reigns of a big time role, say Hamlet, the expectations are through the roof. The production can rise or fall depending on the caliber of the portrayal. Though, every now and again, an amazing actor is given the opportunity to put an entire show on their back and let it rise and fall with them, literally. Jessica Rothert’s performance was a phenomenal journey of eternal optimism and innocuous desperation at the same time. Speaking for nearly ninety minutes straight, Rothert as able to create characters such as the daughter Vera, her brother BJ, Eileen, Emily, “Bug Guy”, “Gay Law Professor” and mob boss, all with only her voice and clever playwriting.
Rothert’s Haley was so engaging of the audience, there were times when she would ask simple rhetorical questions, and I had to stop myself from answering. Bravo.

With a simple bedroom setting, a litany of designer shoes, dresser and closet, Stageworks’ fantastic use of minimalism produces maximum effect. I found Jessica Rothert’s performance extremely engaging, even being on stage by herself. This show is primed to be a surprise hit here in Tampa. With shows like In the Heights, Wicked, and Wonderland at the Straz Center, audiences looking for an intimate production they can relate to up close and personal, look no further.

‘Bad Dates’ is currently playing through December 6th at the Shimberg Playhouse at the David A. Straz Center for Performing Arts. This show had it’s first two performances sold out before they opened. By the time this show reaches it’s final week tickets will surely be hard to come by.
Tickets start at $24.50 and can be purchased by clicking here or calling the Straz Center at 813.229.STAR.

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Music of the Post - anberlin

Lucia di Lammermoor...

2009-11-20T23:51:00.004-05:00

Lucia di Lammermoor

by Gaetano Donizetti

Carol Morsani Hall

November 20, 2009

Hey, Does anyone want to come to a show where it takes place in Scotland, sung in Italian by a group full of Americans? You mean it’s slow, beautiful music with a gripping storyline that can hold up to today’s lax standards? Where do I sign up. Anyone who thinks the opera is a place where old people listen to classical music, think again.

Opera Tampa, the David A. Straz, Jr. Center for Performing Arts resident opera company, is currently presenting a production of Donizetti’s ‘Lucia di Lammermoor.’ As the first show of Opera Tampa’s 15th anniversary season, I applaud Opera Tampa’s choice. A nearly sold out Carol Morsani Hall sat in complete silence from beginning to end as the story came and went right before our eyes.

‘Lucia’ is a timeless tale of star crossed lovers torn between feuding families. Sound familiar? Luckily with Romeo and Juliet being required reading in every high school in America, everyone has a sense of how this may end up. We begin with Enrico lamenting of his depleting wealth. We next meet Lucia herself as she meets with her secret love Edgardo near a fountain outside of their castle. They profess love to one another before God and the heavens, yet to no one else. When Enrico catches wind of his sister’s love from their mortal enemy, he connivingly forges a letter of infidelity from Edgardo. This sets in motion the remainder of our story. Lucia denies Edgardo’s unfaithfulness only to be “confirmed” by the priest of their castle. Forced into an arranged marriage to help their family, Lucia is to be wed to Arturo. The thought of sacrifice for the sake of her family drives Lucia into a madness that leaves the town feeling only pity, even after a horrific incident between her and her new husband.

Walking into the theatre I knew I was in for a wild ride. Some of the things I was pleasantly pleased with was the exclusive use of scrim and top notch lighting. One would think walking into Morsani Hall would equal piano staircases and balconies galore. Quite the opposite. With the exception of one chair, one casket, and a table to behold an altar, there are no props on stage. Opera Tampa’s use of lighting to create a scene out of nothing was thoughtful. My absolute favorite lighting trick of the evening was when Lucia asked for forgiveness on a blank stage. The ensemble on stage parted and turned to face up stage. The stage now resembled a church, complete with the ensemble placed in their pews and Lucia seemingly walking down the aisle. Excellent use of lights and an unadorned stage. Bravo.
In a musical sense, the enharmonic syncopation of voice and instrument was honed to perfection. The exchange between Lucia and a flute that imitated a bird I believe was a shining moment in an otherwise bizarre juxtaposition of beautiful music and harsh reality on stage. I also thoroughly enjoyed the cascading vocal arrangement between men and women, sopranos and tenors, voice and instrument.
A couple other nice points of note would be the costume choice which is right out of nineteenth century European nobility. Kudos.
The opening scene with the entire ensemble is even complete with full sized greyhounds. Nice.

Unfortunately, as the sun rises, it also falls. Just as I enjoyed just about everything about ‘Lucia’, my one and only complaint would have to the English translation projection screen placed above the stage. Don’t fret, I’m not the type to say that if you don’t know Italian you shouldn’t go to the opera. But I will say that for those of us who don’t speak Italian, please be sure that what you’re projecting on our native tongue lines up with what the singers are saying. And if anyone is singing, please project something. I can’t go ten minutes without anything projected above. I still got what was going on, I only feel I missed way too much in translation thanks to a lazy projectionist.

All in all I found ‘Lucia’ to be a great change of pace to a regular theatre going experience. If you have a sweet tooth for classical music and knack to a compelling story, look no further than Opera Tampa’s production of ‘Lucia di Lammermoor’. Another interesting tidbit of information is Opera Tampa’s maestro Anton Coppola. I’ve never experienced a standing ovation before a show. With a resume like Coppola, I now understand why. ‘Lucia’ plays again Sunday November 22 at 2pm. Tickets start at $29.50.

For more information, please contact the David A. Straz Center for the Performing Arts by clicking here or calling 813.229.STAR

Don't forget to follow us on twitter for the latest updates on what's up in performing arts in the Tampa Bay area.

Music of the Post - radiohead

Going to Print...

2009-11-16T12:31:00.002-05:00

onstageTampa is going to print first of December 2009! The South Tampa Community News will be featuring a monthly column about all things theatre.

Don't forget to follow us on twitter for the latest updates. Thanks again for supporting performing arts in Tampa Bay.

Music of the Post - anberlin

Shows Coming Up...

2009-11-13T13:06:00.006-05:00

Looking for Something Interesting in the Next Couple Weeks?

The performing arts community of Tampa Bay is putting on some fantastic productions very soon and if you haven’t heard of them, now is your chance to see these limited engagement shows.

First,

Opera Tampa, the resident opera company of the Tampa Bay Performing Arts Center is pleased to present a production of the 1836 classic “Lucia di Lammermoor” by Gaetano Donizetti. The beautifully scripted opera will immerse you to rivalry between the Ravenswood and Ashton families as well as the forced marriage of Arturo and Lucia, despite Edgardo her true love. A moving and poignant tale of greed, double crossing and Lucia’s plight to madness and murder.
There are only two shows of this amazing show. Be sure to get your tickets before they sell out.

Note: This show is presented in Italian with English translation projected above the stage.

Tickets: $29.50-89.50
Carol Morsani Hall
TBPAC
November 20 & 22
www.operatampa.org
813.229.STAR

Next,

We have “Bad Dates”, a hilarious one woman show written by Teresa Rebeck presented by Stageworks Theatre. An intimate look at Haley Walker, a single mother and restaurateur who gives dating a chance again in modern day Manhattan. Stageworks has claimed this show to be a happy meeting between Sex and the City and the Tracy Ullman show. This show has potential of being wildly funny and entertaining. Being presented at the Shimberg Playhouse, “Bad Dates” will be right in your face, as if you were on a first date.

Tickets: $24.50
Shimberg Playhouse, TBPAC
Presented by Stageworks Theatre
November 20-December 3
www.stageworkstheatre.org
813.229.STAR

Lastly,

Highly anticipated and local produced, “Wonderland”, a modern retelling of Alice in Wonderland will be playing Ferguson Hall at the Performing Arts Center. Please note, “Wonderland’s” world premiere will be during it’s run. After the show closes January 3, it will be playing at Houston’s Alley Theatre. See this show while it’s at ground zero.

Tickets: 38.50-67.50
Ferguson Hall, TBPAC
November 24-January 3
www.tbpac.org
www.wonderlandthemusical.org
813.229.STAR

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

Music of the Post - paramore

The Woman in Black...

2009-11-09T08:51:00.007-05:00

The Gorilla Theatre
Tampa, FL
November 8, 2009

When we travel to new places like New York City or Chicago, sometimes the best place to get a real sense of the city is where you never thought possible. “Where should I grab some lunch” you may ask a friend, and what do they always say? “Go to the smallest hole in the wall joint and get in line because they know what’s up.” In a sense of local theatre here in the Tampa area I would have to tip my hat to the Gorilla Theatre. Tucked away in the shadows of Raymond James stadium and Steinbrenner Field, the Gorilla Theatre quietly is making strides to provide high quality entertainment in an intimate and up close setting.

“The Woman in Black” is a chilling tale that follows the rehearsal of an actor and a writer who recount a couple nights at the Estate of a reclusive woman. Arthur Kipps (Christopher Rutherford) enlists the assistance of actor (Glenn Gover) to tell a ghost story. Although not one for ghost stories, Kipps decides to tell the only one he knows, a true account. Bright eyed and bushy tailed, Kipps arrives at the house to sort through papers to find the house may have more than meets the eye.

Brilliantly scripted and performed, Christopher Rutherford and Glenn Gover execute a fantastic production.

Glenn Gover ability to change characters on a dime is a testament to quality acting. I counted roughly eight different characters for Gover over the course of the play. For as much as Gover changes his character, you would think you would get lost along the way. Thanks in part to slight costume changes and chameleon like transition, Gover’s character changes are believable and uncompromising.

Christopher Rutherford’s fiery passion on stage was palpable. His ability to look as if he’s about to cry in one scene to seem like nothing had ever phased him within seconds is proof positive to the caliber of actor the Gorilla Theatre entrusts with their productions.

I was blown away by the quality of production the Gorilla Theatre presented. To be brutally honest, when I only saw two actors listed on the playbill I raised a questioned eyebrow. I was a little lost to begin with. I had a hard time following which actor was playing what role, up until they made it to the woman’s house. I applaud their use of space. Using prosceniums as doors, a rolling trunk as a train and a horse drawn carriage. Very imaginative. The Woman in Black kept bringing herself into the scene at key moments to further drive our protagonist out of his mind.
The brilliant use of lights and sounds was as precise as I’ve seen in quite some time. Some examples:
Kipps searches the house for light, he reaches into the air and pulls a light switch. As if the light were there, the stage illuminates. Great timing.
One scene where the sun was setting stage left and the moon was in full array stage right. Phenomenal lighting techniques.
Fantastic use of scrim. The scrim was painted with a woman’s face. One scene all goes dark and all we see are the eyes of the woman watching over Kipps as he sleeps. Another scene, the scrim shows the woman in a rocking chair in a study of sorts.
Amazing uses of sounds: horses trotting, trains, street corners and a carnival. This wonderful stimulation helped suspend our disbelief further to fall into the story.

All in all, this was a polished production that was on point. Simply put. A tech heavy show executed to perfection. As great as the acting was in this show, I have to send my adoration to the technical crew. Their use of light and sound intertwined seamlessly with dialogue and stage direction is second to none thus far. I’m looking forward to Gorilla’s “Christmas Trio” playing in December, and you should be too.

For more information on the Gorilla Theatre and future productions, please contact them at 813.354.0550 or www.gorillatheatre.com

Don't forget to follow us on twitter for the latest updates to what we're seeing and future posts.

Music of the Post - circa survive

The Legend of Sleepy Hollow...

2009-11-07T23:38:00.007-05:00

Local high school "Plant" their feet firmly in Sleepy Hollow.

H.B. Plant High School Drama Department

Plant H.S. Auditorium

November 7, 2009

The apparition of the Headless Horseman rides again in Palma Ceia. The Henry B. Plant High School drama department put on a splendidly pleasant production of Washington Irving’s classic tale “The Legend of Sleepy Hollow”. This limited engagement show was a heart warming example why performing arts should not be cut from our public schools.

This particular stage adaptation was written by author/playwright Christopher Cook of the High Voltage Theatre Company, Columbia, SC. Plant High School is also the first to produce the Legend outside of the aforementioned company. In attendance for Thursday and Friday’s performance were Christopher Cook himself and the show’s director Joey Vasquez. “It’s meant a lot to have them down here and it’s meant a tremendous amount for the kids,” as Mr. Traver puts it.

Our classic story takes place round about All Hollow’s Eve in “the year of our Lord 1795”. The quaint town of Sleepy Hollow is joined by teacher Ichabod Crane. With fresh ears for old stories, the town tells Crane tales of a beheaded soldier who rides at night in search of his head. Crane, being the superstitious type, believes every word and begins to fret when he is all alone out by a tree where the Hessian soldier is believed to ride. Crane’s stay in Sleepy Hollow is not all ghosts and goblins though. He develops an adoration for Katrina, to much the dismay of her father and her other suitor, the broad shouldered and headstrong Abraham Van Brun.

A story with most of it’s well being thrust upon the shoulders of one character, I applaud Mr. Traver’s wise choice of selecting David Patterson for Ichabod Crane. I was blown away by Patterson’s portrayal of Crane as he took the stage and demanded the ears of his students and the audience members simultaneously. A tricky feat of drama is breaking the fourth wall and talking to the audience as if we are in on stage. Patterson’s transition from speaking to his handful of students to soliloquy with the curtain down was seamless and well executed.

I thoroughly enjoyed the smooth delivery and superb diction of Luis Sierra’s Crayon and Andrew Kamen’s Knickerbocker. Sierra and Kamen’s characters help the drive the story along as they expertly entered from the proscenium to provide direct narration during scene changes and such. With the decline of “scholarly” words in our everyday vernacular, it was warming to hear students at that level speak so eloquently as if it were actually the late 1700’s. Bravo.

In speaking with a handful of actors before the show, I learned this was Anthony Boullusa’s first endeavor into drama. As I watched his take on the rugged Abraham Van Brun, I couldn’t tell. Granted, I did pick up on when he fumbled over a line, yet I also noticed his ability to snap back and continue the scene. Keep up the good work.

Playing the role of Katrina Van Tassel was the jubilant Mary Krantz. Her ability to tug on the heartstrings of both Crane and Van Brun is palpable. Even without a microphone, I could hear all her lines with distinction and power. My hat’s off to you.

I thought the production was an exciting and exhilarating performance complete with ghost stories, sword fighting, love won and love lost. The majority of the exchanges between actors were clear and precise. Unfortunately, being seated in the peanut gallery, I had a hard time hearing a handful of lines. Kudos to the choreography of the show. It’s not easy to make a fake sword duel seem real. Boullusa and Patterson present a dazzling confrontation to bring the first act to a nail biting close. At the Van Tassel house in the second act, a high energy impromptu dance sequence helps break the dialogue heavy show. The ending, complete with the crawling undead, brings Ichabod Crane’s fears to a reality as he encounters the Headless Horseman face to face.

All in all, this was an excellent performance of rich dialogue, classic dramatic themes and the beauty of live theatre, entertainment. Sadly, the limited engagement of “The Legend of Sleepy Hollow” ended last night to applauding crowds and smiling faces in the lobby. I can safely say the show was a success and look forward to Plant’s production of Thorton Wilder’s Pulitzer Prize winning play, “The Skin of Our Teeth”, in March of 2010.

I would like to give a big thanks to Sandy Kamen of the Plant “Drama Mamas” for her correspondence and hospitality. Teryle Traver for his dedication to enriching the lives of young people with the power of drama. A special thanks goes out to David Patterson, Anthony Boullusa, Mary Krantz and Chloe Lind for their time before the show for an interview. Last but certainly not least, the rest of the cast of “The Legend of Sleepy Hollow” for their diligence to present a polished and well spoken play.

For more information on future Plant High School drama functions, please email plantdramaclub@aol.com for more information.

Don't forget to follow us on twitter. Thanks again for supporting the performing arts in Tampa, FL.

Music of the Post - manchester orchestra

Notes from Night of the Living Dead...

2009-11-06T11:52:00.003-05:00

After a wonderful evening at the Shimberg Playhouse and Night of the Living Dead, director Chris Holcom and actress Kari Goetz were kind enough to share a few minutes to answer a couple questions for onstageTAMPA.

Chris Holcom, Director

Night of the Living Dead

(photo courtesy of jobsitetheater.org)

onstageTampa: “How long have you been associated with the Jobsite Theater?”

Chris Holcom: “About Eleven years now, well about ten years.”

onstageTampa: “What led you to direct this project?”

Chris Holcom: “I‘ve been a zombie fanatic pretty much all my life, and when we found an actual stage version of this play, we thought it would be something fun to do and everybody seemed to agree that I would be the right person to direct it.”

onstageTampa: “What kind of response have you personally heard about the show?”

Chris Holcom: “So far I‘ve had people basically saying that they‘ve been having a lot of fun and I can‘t ask for a better endorsement than that.”

onstageTampa: “Well the production is a success, you’ve had sold out shows and lines waiting outside. Has everything worked as well as you’ve hoped? Are there some things you didn’t plan on that kind of fell into place that we saw in the show?”

Chris Holcom: “Well there‘s always little happy accidents that happen in every show and sometimes you find those accidents are probably a little bit better than what you originally intended, so like going along with that beyond that there are always minor technical things. I mean a show that is as tech heavy as this one is you‘re always going to have little problems here but we try to plan for those contingencies and deal with them.”

onstageTampa: “Now if an audience member, whom you‘ve never met before were to tell a friend about Night of the Living Dead and Jobsite Theater, what do you hope they would say?”

Chris Holcom: “That it‘s a fun evening of theatre. It‘s not exactly what you would expect. You know it‘s funny, it‘s got thrills, it‘s got chills and it‘s just a good night out.”

onstageTampa: “So what‘s the next Chris Holcom project, acting or directing?”

Chris Holcom: “Acting. I actually acting in boom! Kari Goetz who is playing Barbara in this show is directing me in boom! in March. So that‘s a another kind of apocalyptic tale it‘s kind of funny I get to direct her in one and she gets to direct me in one.”

onstageTampa: “Any Thanks or Plugs?”

Chris Holcom: “Thank you to my phenomenal cast and crew. Really if I didn‘t have those people none of this would be possible. And actually a very special thanks go out to George Romero and Tom Savini for making such evocative films.”

Kari Goetz, Barbara

Night of the Living Dead

(photo courtesy of jobsitetheater.org)

onstageTampa: “How long have you been associated with Jobsite Theater?”

Kari Goetz: “This is my eighth season.”

onstageTampa: “Hoping to stay here for a while?”

Kari Goetz: “Yeah, I‘ve been here for eight years. I don‘t intend on going anywhere else.”

onstageTampa: “What drew you to this project?”

Kari Goetz: “I am a huge fan of the zombie films and this has been Chris' pet project for a really long time. So when we got the green light this year, I made a point to go after Barbara.”

onstageTampa: “So you went after the role of Barbara, it wasn‘t just handed to you, awesome.”

Kari Goetz: “Every role you gotta earn at Jobsite.”

onstageTampa: “What do you hope someone will take away from the show?"

Kari Goetz: “Oh I just hope they have a hell of a good time. I don‘t think we‘re trying to make any strong social statements or anything like that. It‘s zombies, it‘s fun. It‘s scary and it‘s extended that Halloween feeling a little bit longer.”

onstageTampa: “So what‘s next for Kari?”

Kari Goetz: “Kari takes a nice break for a while, and then I go into directing boom! in February and will open in March.”

onstageTampa: “Any thanks or Plugs?”
Kari Goetz: “Thanks or plugs, thanks for everybody in Jobsite. Plugs, keep coming out to see Night of the Living Dead.”

Many thanks go out to Chris Holcom and Kari Goetz for their time. Also a big thanks to Jobsite Theater for their wonderful hospitality.

Music of the post -further seems forever

Night of the Living Dead...

2009-11-06T01:30:00.006-05:00

…Not All Gore and Violence.

Jobsite Theater

TBPAC Shimberg Playhouse

November 5, 2009

Jobsite Theater, the resident theatre company of the Tampa Bay Performing Arts Center, is producing a stage version of George Romero’s evocative and groundbreaking film, “Night of the Living Dead”. Directed by Jobsite veteran Chris Holcom, the gifted and dedicated cast of “Night of the Living Dead” will take you on a journey of the frailty of humanity, banding together against impending death and lastly the reason we keep going to the theatre, entertainment. “Night of the Living Dead” takes place on a evening in rural Pennsylvania where a myriad of zombies have risen from their graves to feed on the living any which way they can.

(photo credit: Dave Pritchard, c/o jobsitetheater.org)

Our story begins with Johnny and Barbara, who travel from Pittsburgh to our remote area to place a flowery wreath at their father’s headstone. Their sibling banter is sharply interrupted by our first encounter with the undead. Barbara runs for her life as Johnny’s future is unclear. Barbara runs through the night until she comes across a seemingly abandoned house. She takes solace in her new found sanctuary until our protagonist Ben shows up. They exchange stories of what they have just encountered and confide to each other they will make it out alive, no matter the cost. Ben and Barbara come to find other survivors in the cellar. Harry and Helen Cooper do their best to keep their daughter Karen alive after she was bitten by “one of them”. Also alive in the cellar are the young couple from town, Tom and Judy. They argue the best way to combat their certain death. Whether they lock themselves in the cellar or give themselves a fighting chance on the ground floor you’ll have to get to the Shimberg Playhouse to see how it unfolds.

Whenever you come to local community theatre, your range of acting experience on stage is kind of a wildcard. Is this a room full of Julliard graduates? Far from it. But I’d be lying if I wasn’t enthralled in my seat by the power of the performances on stage. The beauty of the Shimberg Playhouse is being pleasantly seated ten feet away from the actors to really get a sense of facial expressions and small nuances. I found the zombie work as great as it could have been. It is very hard to step outside of yourself and act the way a zombie does in front of a paying crowd. Sitting in the front row and watching a zombie take a bite out of a fake leg to find fake blood on my shoes was a nice touch. Good work whichever zombie that was. That’s dedication.

(photo credit: Dave Pritchard, c/o jobsitetheater.org)

Kari Goetz’s performance of Barbara was a roller coaster of emotion. I tried to put myself in the thought of losing a brother that way. How would have I acted? Probably much like Goetz’s Barbara. Staring off to space and refusing to believe the truth is about as real life as I can imagine. Great Job Kari.

Matthew Lunsford’s character Johnny was short yet endearing. Helping set up the naivety of the scene, Lunsford change from teasing sibling to protective brother was succinct and sweet.

The roles of Harry and Helen Cooper were played by Alvin Jenkins and Caroline Jett respectively. I don’t know if I was convinced with Jenkins’ Harry or maybe it wasn’t his best night. I knew I was watching an actor. Alvin, I thought you hit all your lines clearly and directly but it didn’t my knock my socks off. Jett’s role of Helen was believable at best. Karen Cooper, played by Molly Jacobson, was one of the shining moments toward the end of the show. Even though she never says a word outside of inaudible groans, Jacobson’s take on Karen Cooper could not have been any better.

The young couple from town Tom and Judy were played by Kyle Porter and Betty-Jane Parks. Porter’s Tom was both scripted and cast well as the buffer and peacekeeper of the bunch. Delivering dialogue clearly and passionately, I applaud Kyle for his portrayal of Tom. I wish I could say the same for Betty-Jane Parks. The lines were few and far between for Parks’ Judy. The last exchange between Tom and Judy felt like a drama class where a lesser student is paired with a shining star for "balance". I didn’t buy her empathy or the Hollywood kiss on the forehead. Better luck tomorrow night.

Rounding out our main cast is the extremely talented Dayton Sinkia harboring the role Ben. I sat mesmerized by Sinkia’s superb diction and incendiary performance as he embodied the de facto leader. Sinkia enters from the door and demands the respect of everyone on stage as well as everyone in the audience as he forcefully controls the situation. Next time I enter the theatre and find Sinkia’s name attached somewhere, I’m surely nudging my neighbor to take notice.

I found the production as a whole to be wildly entertaining and thought provoking at the same time. The idea of being surrounded by lifeless flesh eating zombies that keep coming will put your life into perspective. “How you would react in a similar situation?” I kept asking myself. Would I try to fight for my life like Ben? Lock myself in the cellar and pray for greener pastures like Harry Cooper? Would I sit helpless and catatonic like Barbara? Who knows until you’re in their shoes. Unfortunately, I’ve been sworn to secrecy by the director himself not to divulge the ending of the play. But I guess I can safely say you’ll walk back to your car glad you went to the theatre that night.

All in all, as director Chris Holcom put it, it’s just a fun night out at the theatre. There are moments where you’re uncontrollable laughter is quickly silenced by the severity of the scene. There are also twists, turns and of course, flesh eating zombies. I walked in thinking I was going to see a blood and guts type of low budget horror film, but I must say the overtly gruesome scenes are kept to a minimum. I think for the sake of making the necessary scenes more powerful, the choice was done wisely. Again I have been sworn to secrecy about the ending of the play. If you get a chance to see this before the show closes, I'm sure you'll be in line the next night for another performance. It’s that entertaining.

The show runs through November 15th at the Tampa Bay Performing Arts Center’s Shimberg Playhouse.

Get your tickets now!

813.299.STAR

www.jobsitetheater.org

Music of the Post - hit the lights

This Week in Theatre...

2009-11-03T11:36:00.006-05:00

...in Tampa that is.

This is a fantastic week ahead. Many plays and musicals to be seen.

First Up?

Jobsite Theater, the resident theatre company of the Tampa Bay Performing Arts Center is producing a timely and popular horror classic that is garnering rave reviews and sold out shows as if they planned it that way. I'm very excited to be in attendance this Thursday evening. I plan on sitting back and enjoying the show, interviewing the director Chris Holcom and a featured performer. Look for the full review sometime Friday or Saturday.

This show is running through November 15th and is selling tickets faster than I am typing. Get yours now!

Tickets: $24.50

Jobsite Theater

TBPAC Shimberg Playhouse

1010 N W C MacInnes PL

Tampa, FL 33602

813.299.STAR

www.jobsitetheater.org

Secondly,

The Henry B. Plant High School Drama Department is putting on a production of The Legend of Sleepy Hollow. The story of Ichabod Crane and the Headless Horseman will be produced for a limited engagement this weekend only. To my delighted surprise, Christopher Cook, playwright of the adaptation of the classic Washington Irving short story will be in attendance at all of the performances. To be apart of the first production outside of Columbia, SC and support local students choosing to spend their time performing, please contact Sandy Kamen at 813.468.0812 or plantdramaclub@aol.com.

Tickets $5 Available at the Door

November 5,6,7 at 7pm

Henry B. Plant High School

2415 S. Himes Ave.

Tampa, FL 33629

813.468.0812

Last But Not Least,

The Gorilla Theatre will be putting on a production of the "spine chilling" "The Woman in Black". The beauty of the Gorilla is it's intimate setting. The forty seven seat auditorium makes up for what it lacks in size with exceptional substance and atmosphere. After speaking with the managing director of the Gorilla, I'm told the tickets are selling very fast. Also, check out the Gorilla Theatre's Gorilla pass that gets you into six shows and a glass of champagne of your choice at each for only ninety dollars!

Tickets $20-25 depending on night. Student and Senior ticket prices available.

Gorilla Theatre

4419 N. Hubert Ave

Tampa, FL 33614

813.879.2914

www.gorillatheatre.com

Don't forget to follow us on twitter. Thanks again for supporting the performing arts in Tampa, FL.

Music of the Post - kanye west

In The Heights...

2009-11-02T09:16:00.007-05:00

Everybody's Got a Job...

...Everybody's Got a Dream.

by Lin-Manuel Miranda

Tampa Bay Performing Arts Center

Tampa, FL

November 1, 2009

As the first stop of the inaugural “In The Heights” North American Tour, Tampa was treated to the first taste of the masterful synergy of hip-hop, classic Broadway and salsa Lin-Manuel Miranda’s “In The Heights” combines. From its humble beginnings as an eighty minute one-act musical written by a Wesleyan University sophomore to the full length Broadway smash hit it is today, “In The Heights” will both give you a glimpse into three days in Washington Heights, NY and yourself.

From the opening monologue to the thunderous finale, the energy and passion of the show will dazzle even the blasé theatergoer. With it’s mixture of hip-hop, high energy dance numbers and poignant story lines, In the Heights takes you into the lives of a handful of residents all with jobs and dreams just like everyone else. The music with it’s sometimes simple piano ballads to it’s hip shaking salsa has just the right amount of balance to satisfy the audience old and new.

The moment Usnavi, Kyle Beltran, steps on stage to shoo away the graffiti artist, he demands your ears as he fills you in on how life is like in the heights (pun intended). Running a mom-and-pop bodega with his witty cousin Sonny, Usnavi brews coffee and sells lottery tickets all while dreaming of going back home to the Dominican Republic.

Next door to Usnavi’s bodega, the Rosario’s do their best to keep their gypsy cab business afloat amidst gentrification and their well-to-do daughter, Nina, who just returned home from her first year at Stanford University. The first one in her area to go to college, Nina returns to break the news she couldn’t make the grades and took a “leave of absence” from school. Benny, the only African-American in the neighborhood, works for Nina’s parents’ company. On the day of her return, Benny becomes the new dispatcher for the company and talks Nina into helping his Spanish. They becomes close despite her father’s wishes.

On the other side of Usnavi’s bodega sits the neighborhood salon run by Daniela, with the help of Carla and Vanessa. As the center of neighborhood gossip, the salon houses rumors of “who’s dating who” which adds comedic value. Speaking of comedic, Shaun Taylor-Corbett’s portrayal of Usnavi’s cousin Sonny kept the audience, as well as myself, laughing every time he took the stage.

As we learn more about each of the characters, tensions flare between Benny and Nina’s father, Nina’s parents Kevin and Camila, Sonny and Usnavi, and Usnavi with the neighborhood after his bodega is vandalized. Although, the healing power of love and family overshadow the former as they always do. Benny and Nina contemplate how they can make things work despite everything between them. Kevin and Camila put their marriage to the test as they try to do what’s best for their daughter Nina, even if it means giving up everything they’ve worked for. Usnavi and Vanessa’s will they, won’t they relationship rings true for many as one is in love and the other is only reciprocated after it is too late.

I felt Beltran’s performance of Usnavi was a little too energetic at first. I can’t say if it was nerves or if he was extremely excited to be on stage, but it was a little distracting to see him jumping around stage and trying to rap a complex storyline. Although, after the opening song, he settled into the subsequent story lines. Arielle Jacobs’ flawless performance of Nina warms our hearts as I’ve heard myself say many of the things she laments regarding school, who she is and where she wants to go. At first, Rogelio Douglas, Jr.’s performance of Benny was lackluster and unconvincing up until he took the microphone for “Benny’s Dispatch” and silenced any doubts I might of had for Benny. Kudos. Yvette Gonzalez-Nacer’s portrayal of Vanessa left me breathless as she belted her desire to ride away on the elevator train, coupled with her dancing in four inch heels, bravo Yvette, bravo.

All in all, this was a polished production that glorifies love, family, ambition and most importantly, the meaning of being home. Sadly, last night was the final performance for In The Heights in Tampa. This production will be on tour through next August in various cities around the country. It is also currently playing at the Richard Rodgers Theatre on Broadway if you get a chance to make it up there. If theatre was placed on this earth as an essence to move the soul, In The Heights surely did a number on me. I look forward to March 9th, when "In The Heights” returns to Florida, but this time in Orlando. Get you’re your tickets as soon as possible, because after the buzz this show is generating, you’ll want to be first in line.

www.intheheightsthemusical.com

Music of the Post - under0ath

Pre Show Information...

2009-11-01T13:35:00.001-05:00

Tonight, the last show the first stop of the North American tour of In The Heights. The 2008 Tony Award winning musical will dazzle and entertain each of the audience members. If you have a chance to see it, please do it!

http://www.intheheightsthemusical.com/

Music of the post - as cities burn

Lights Up...

2009-10-29T12:22:00.000-04:00

This is the beginning of onstageTAMPA. Your local theatre & film review site. Don't forget to follow us on Twitter!

Curtain.

Music of the post - cartel