The Taming of the Shrew...

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...

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...

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...

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...

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...

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...

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...

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...

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...

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!