Maybe it was the locust in the trees or the swirling summer wind or, most likely, the positioning of the foot microphones that made it difficult to hear many of the players, especially the women. Add the fact that many of the women spoke too fast, running their words together and you find it difficult understand The Bard’s text, much less get the inherent humor.
For starters, the music in this production was nearly inaudible. In fact it was almost A Capella at points. I understand that within a smaller theatre space, which was very well designed by the way, there’s no room for an orchestra pit. A pre-recorded track over the PA would have been more suitable, instead of a four piece band consisting of a pianist, synthesizer, drummer, and guitarist playing back stage. Of what I did hear, the musicians made the most of i
The poetic language of the piece is wonderful to the ear. Even though certain scenes did run slightly long and a few scenes between Electra, Persephone, and Cassandra became repetitive; the dialogue was never boring. The piece does a good job of updating newcomers such as myself to the story and the characters, but those not as versed in Greek Mythology may not gain as much from certain references or characters
The Sweet Stuff has drastically changed my perception of what can be accomplished in the space and the type of show that can be performed. It is a gritty drama with social relevance that boasts a fantastic script and some strong performances.
Dental Society Midwinter Meeting keeps you laughing, but Laura Jacqmin’s new play needs some tweaks in order to get the audience to care about what is happening on stage. Surrounded by talent in all aspects of the production and supported with clever excessively descriptive writing
Peter Yarrow and Noel Paul Stooky returned to Ravinia to pay tribute to Mary Travers who passed on September 16, 2010 at age 72.
When you have Kevin Anderson, Francis Guinan and young Bubba Weiler in your cast you have the makings of a fine show. Their acting and the smart flowing direction by Sandy Shinner save the evening. Joel Drake Johnson’s strange play, A Guide For the Perplexed, sure is a puzzlement since it leaves more unanswered questions than it resolves
To understand the premise of the Les Enfants Terribles: Prom Night show at the Red Tape Theatre, one must first understand the logic behind the bouffant, or buffoon, character. The bouffant is a French derived “clown” act that keys in on the grotesque and absurd facets of human nature, rather than the vibrant and cheerful ones we’re used to seeing at the circus
The quality of acting and chemistry between the ensemble members is outstanding. The characters in the play have a sense of hopelessness, loneliness and desperation, but the play expresses this while still being decorated in beauty and raw emotion. The music is moving in itsel
When the best thing about a play is the set (designed by Kathy Arfken), you know the work is in trouble! I can’t understand why they chose anything by Canadian playwright George F. Walker to mount? He may be the worst playwright to find his plays on stage that I’ve ever encountered.