Caroline Neff gave a strong performance as Charlotte. We see both her innocent painful side as well as her naughty vicious side. Neff never flinches as she gave a scary look into teenage grief and the search for acceptance. Neff’s performance makes this show worth seeing. Peter Moore was also excellent as the cold, grief-stricken father. Be warned that graphic references and depiction of sex acts and violence occurs.
It boils down to this. Rock of Ages does not try to be something it isn’t. The show has its own identity with a vibrant cast that is clearly having fun with the material. No, it’s not your standard Broadway show, but the production knows this and doesn’t try to conform. Isn’t that what rock is all about?
The fight choreography is terrific. Kudos to fight director Rick Sordelet. Battles become even more vivid later in the play when Mercutio (Ariel Shafir) and Tybalt (Zach Appelman) — followed by Romeo (Jeff Lillico) and Tybalt — fight to the death. Here the combatants drop their swords and slug it out with their fists in an amazingly effective transition.
Both plays are highly recommended since each are filled with strong, emotionally wrenching performances. Director Rick Snyder lets his fine cast go for all the intensity contained. Cox and Baker quickly established a workable stage chemistry. These three actors sure leave it all on stage in these two short gems by one of America’s leading playwrights. Catch both plays-and for a massive jolt of Mamet, see both on the same day.
Several things struck me as I watched Dan and Jeremy Kuhlman’s short film, “Thanks Mom.” First, I like the professionalism of the production – it sure played like a major motion picture. Smart editing, nice location shots and a blend of dark scenes and funny re-takes bend on pleasing Mom who financed the venture.
This 2 and a half hour comedy is set in the Middle Ages and plays almost like a musical due to the exquisitely complex poetic verse-dialogue that “sings” from the lips of each player. The humor, the irony, the wit, and the angst each character exudes captures us and holds us throughout. Teresa Hamm’s period-perfect costumes enhance the look and atmosphere. The cast understands and respects the cleverness of Fry’s work. You’d be hard pressed to witness a finer ensemble easily navigating the difficult text.
Heathcliff (Gregory Isaac) and Cathy (Lindsay Leopold) believe themselves eternally bound as soul mates in love. But when they are brutally torn apart, Heathcliff leaves the area to re-make himself and commence his course of retribution to destroy all who have wronged him. Since his beloved Cathy has married Edgar Linton (Robert Kauzlaric) for stability, Heathcliff returns and the cyclic nature of revenge emerges. This story is filled with unknowable passions of the heart.
Detroit is a perplexing new play with absurdist tendencies peopled by extremely dysfunctional anxiety-ridden folks…The long-winder monologues grew tiresome by the third one. Also the early fits of extreme rage mounted by Laurie Metcalf’s Mary came out of nowhere. It seems that each of these wacky characters have a phobia concerning the unknown. All four are desperate to reveal their true selves to others.
Despite some repeating dialogue, playwright Jake Perry has penned a fresh look at the closure sought from a five year old breakup. Add the mystery of how and by whom their friend died and Closure has the elements of a fine mystery.
Besides the swank sophisticated Latin-rhythmic dances, marvelously choreographed by Stacey Flaster, Scoundrels features exquisitely timed comic turns form Larry Wyatt, Michael Mahler, Larry Adams and especially Paula Scrofano, as the wacky and lonely American millionaire Muriel. Dara Cameron beautifully plays Christine Colgate who isn’t who she appears to be.