Christmas Trio...

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.

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Wonderland...

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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RENT...

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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Bad Dates...

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...

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

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Music of the Post - radiohead

Going to Print...

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

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Music of the Post - anberlin

Shows Coming Up...

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

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The Woman in Black...

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

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The Legend of Sleepy Hollow...

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.

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Notes from Night of the Living Dead...

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