Tom Williams As presented at The Batey Urbano Theater, Cuba and His Teddy Bear is an explosive worked peopled with unsavory low-life urban drug dealers and junkies. We meet Cuba (Madrid St. Angelo) the intense father trying too hard to be a mentor/friend and father to his gentle, sensitive artistic teenage son, Teddy (Christian Blackburn).
Christine narrates with the fervor of as aspiring writer throwing in tidbits of writing technique as she humorously channels her obsession with Ingrid. Christine’s determination motivates Ingrid in unique ways that seem to unclog Ingrid’s writing block
The sisters learn through various trials and tribulations that love and acceptance within the family is superior to material wealth. And that helping others is virtue. We witness little squabbles and tragedies that could easily destroy a family make the March clan stronger as they persevere in a blindly optemistic belief that ‘things will workout just fine.’
Aside from the people on stage, Gossamer required the input and collaboration of a whole team of designers. Most strikingly, the puppets, designed by Cynthia Von Orthal, not only managed to turn a human actor into a very believable dog but also somehow gave the terrible mystery of the Sinisteeds a more concrete, yet no less terrifying, presence.
Billy’s procrastinating about studying for his Bar Mitzvah and his nagging, at times mean mother Essie (Rengin Altay) mixes large doses of threats and Jewish mother’s guilt at her son. Billy fights her all the way.
Set in Paris in 1923 on an exquisite set (designed by Keith Pitts), we enter the bohemian life of international star Isadora Duncan (Jennifer Engstrom in a emotional wrenching performance). We see her lavish lifestyle complete with extensive sexual activity with her drunken Russian poet husband, Sergei Esenin
After one year doing a show, the cast either gets better or it gets stale. In Million Dollar Quartet, the cast got better, especially Lance Guest as Johnny Cash and Eddie Clendening as Elvis. Both grew confidently in their portrayal of the legendary performers. Tim Decker, the newest cast member, as Sam Phillips, is a more intense, commanding and emotional persona of the man behind Sun Records.
Brooks’ structured Young Frankenstein in the best Broadway traditions leaning heavily on vaudevillian Borscht-Belt elements. Brooks proves that he is a terrific song writer mixing tune-full melodies, many parodies of other Broadway shows, with witty, often satirical show specific lyrics.
This kitchen sink comedy skillfully blends pokes at religious fanaticism as it shows that when in personal crisis, we tend to escape into blindly following extremist beliefs. Sylvia’s personal faith is thrust upon her husband and her unwilling daughter.
However, I truly applaud Rae Gray for straying from stereotype and giving a compelling performance as a teenager battling adolescence and her mother. If Ms. Gray sticks with acting, she is going places.