Fortunes change over the years Andrew is away and Ruth and Robert are left to run the farm after James dies. Robert is not suited to farming but since his marriage and the arrival of a daughter, he is obligated to try to mike it work. The stress is also fatal to the marriage as Ruth begins to hate Robert and she regrets marrying him.
Read MoreIn between long passages from John Milton’s Paradise Lost, the couple spent time partially nude fainting sex including oral by Veronica. This boring play is neither vividly sexual enough not (full nudity is avoided) nor filled with enough storyline to satisfy.
Read MoreTom is sexually naive and comes across to his mates as effeminate. He is a lonely boy estranged from his father, Herb Lee (Kevin Gladish). He eagerly loves his ‘tea & sympathy’ sessions with Laura Reynolds (Kate Tummelson), the wife of the house master. The culture of male bravado that dominates the New England prep school is manifest in Al (Nick Horst), Tom’s roommate. Al tries to protect Tom from hazing by the boys who call Tom “Grace” after he played a women in a school play.
Read MoreThis is a welcome engrossing work that vividly depicts the friendship (and possibly more) between T.E. Lawrence and Robert Graves as the two share common adjustment problems after the horrific experiences of both men in 1920. Robert from the trenches of France and Lawrence from his adventures in the Middle East as he led the Arabs against the Turks in World War I. Warriors have always found problems adjusting to ‘civilian life’ after the tribulations of war.
Read MoreJeffrey Hatcher gives us a glimpse into the Lunt & Fontanne’s world as we meet the couple at Ten Chimneys. There is Carl (Lance Baker), Alfred’s pool-playing brother; Louise (Janet Ulrich Brooks), Alfred’s sister and Ten Chimney housekeeper. And, of course, there is Alfred’s dominating mother, Hattie (Linda Kimbrough), who both admires and rules Alfred during his time at Ten Chimneys. Alfred built a house on the estate for Harrie. She hated and ridiculed Lynn, Alfred’s wife, at every occasion.
Read MoreSomehow director Rachel Rockwell’s current production of Hair has lost something – maybe her take on the ’68-’69 protect musical was too campy – too much like parody because it never comes off as more than a group of ’60’s dressed folks playing hippies. I never believed that the group was real, that they were indeed flower children.
Read MoreThe two maids (sisters actually) role-play their fantasies concerning The Mistress. These games feature one sister playing The Mistress as the other sister plays herself. The roles then are reversed. We see how the line between admiration, love, contempt and loathing becomes obscured during the role-playing. Playwright Genet gives each of the maids—Rich Logan (Solenge) and her little sister Claire (John Arthur Lewis) long speeches that vividly depict their emotional shifts that become tedious and redundant quickly.
Read MoreThis long one act dissolves into a pageant of lewd acts, torture and cruelty that occupies us in a most enticing, albeit, dark manner. Although hard to follow at times, Camino Real is strangely intoxicating as we marvel at the cleverness and freshness as the haunting Spanish songs fuel the mood of melancholy.
Read MoreI must confess that I have never been a real fan of this show finding it an over-produced little show trying to be a big musical. The material begs to be an intimate chamber piece set it a small space with honest actors with strong vocal chops. That is exactly what co-directors Fred Anzevino and Brenda Didier have done with their most fulfilling production of The Light in the Piazza.
Read MoreThe folks at TUTA, under the creative, support of artistic director Zeljko Djukic, have allowed the cast of Kirk Anderson, Jaimelyn Gray, Stacie Beth Green, Trey Maclin and Jacqueline Stone to use their ingenuity skills that include quirky physical comedy with unique singing to mount a world premiere showcase production of the Fulton Street Sessions that almost defies description.
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