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!

The Odd Couple...

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...

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...

by James Sherman

Stageworks Theatre

Shimberg Playhouse

Tampa, FL

December 2nd, 2010

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

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

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

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

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

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

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

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

Forbidden Broadway...

by Gerard Alessandrini

Straz Center for Performing Arts

Jaeb Theater

Tampa, FL

November 2nd, 2010

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

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

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

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

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

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

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

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

Music of the Post - Niagara Falls by Michael Daugherty

Mindgame

by Anthony Horowitz

Jobsite Theater

Tampa, FL

October 21, 2010

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

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

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

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

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

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

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

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

Music of the Post - A Masterpiece by Samuel Barber