Barrettwerks & Voci Dance
Choreography by Ellie Potts Barrett
Johnny Holloway Theatre, Orlando, Fl

So often, the coolest stuff happens in the spaces with the worst seats. The Johnny Holloway Theater lurks in an unexpected industrial area off East 50, and features carpet-covered bleachers for the Extreme Dance Enthusiast. The more comfort oriented can grab a Wal-Mart lawn chair and sit off to one side with a good view of the wings. It’s worth the inconvenience as tonight’s show features the choreography of St Augustine based dance legend Ellie Potts Barrett, and the virtuoso Voci dancers.

We open with “Sonata Cantata,” featuring the entire company of over a dozen dancers. The music is one of J.S. Bach’s greatest hits, and while we regard him as a WMFE long hair, the dancers were clapping and dancing, tying today’s pop sensibilities to the same genera of 4 centuries ago. Voci stalwart Mila Makarova next appears for “Interlude”, a simple, alluring performance set over a dark and moody Jazz arrangement from Simon Henneman. “And Yet another Tango” introduces a pair of dancing couples, improvising on the classic tango moves with a bit of vinegar, then joining up for a clever foursome united in one dance formation.

Genevieve Bernard interjects a piece I’ve seen before, but still find enjoyable - the video age “Monitor.” Constantly regenerating arrays of dancers play video games over a Space-age sound track. Their thumbs never stop moving, their bloodshot eyes never lose focus, and the defeat of entire star systems are summarized with half of a high 5, followed by another epic pixel battle.

The enigmatic “Two For Tutu” wraps up the first half of the show with a soft parody of “Swan Lake”. I think I see a swan dying up there, but it might just be some loose Sugar Plum Fairies. The images are iconic, and by pushing the edges of the moves and costumes of Tchaikovsky, we tie modern dance to the classics, just as in the Sonata Cantata does with the pop hit.

The highlight of the second half, “For Opal”, is based on a true story of a young woman who went insane and spent most of her life in an institution. Here Barrett dances us thought the journey from a relatively carefree youth into the horrors of state institutions and the loss of freedom of will and actions. It’s a difficult piece, at least for the audience, but shows that dance can depart the completely abstract and portray the real world without reducing itself to mime.

While the dancing was superb, the transitions from piece to piece felt over long, and with the packed house tending to chat amongst themselves, that production flaw lessened the impact of the evening. Nevertheless, the Holloway is an excellent dance space, and sometimes it’s good to suffer for the art you care about.

For more information of Voci Dance, visit http://www.vocidance.org

Beckett Plays - Play Shorts I
By Samuel Beckett
Empty Spaces Theatre Company at Lowndes Shakespeare Center
Orlando, Fl

As World War 2 ended and Europe rebuilt itself, theater suffered continuing blows as Film and Television became the de facto story telling media of the masses. Samuel Beckett attempted to stand astride the rift, writing cinematically precise plays that simultaneously excluded both the “legitimate” theater audience and that of the new mass distributed media. Tonight’s program explores some of these nearly still borne projects

We begin with “Act Without Words II.” (Corey Volence and Joel Warren, directed by John DiDonna and Kevin G Becker) Two men are asleep in bags, they take turns waking, performing, ablutions, and getting on with the days tasks. A mysterious force lurking under the riser stage left pokes them awake, and we find Warren’s fellow slovenly and misshapen, while Volence almost looks employable on a daily basis. It’s the poke the audience applauds best, the stick is propped up by a Seuss-like wheel, and as persistent as a dog in need of a walk.

In “Play”(DiDonna, Babette Garber, and Teri Lynne, directed by Becker), three heads entombed in urns are all that remain of an adulterous relation. Speaking as fast as humanly possible, they each tell their side of a story that may or may not be true. As in so many of this series of shorts, the message is not in the words so much as the spaces between them. Tone is half of the communication and the tone of language was a hectoring self justification. They may be dead, but they’re still human.

“Not I” (Peni Lotoza and Jessica Pawli, directed by Margaret Nolan) is perhaps the most technically difficult for the actor. Ms Lotoza’s character has a 20 minute self recursive monolog that has the hypnotic effect listening to a frenetic phone call on the other side of a very thing hotel room wall. A small spot light illuminates her lips, and across the room in a gloomy pool of light is a dark robed figure someone referred to as an “Auditor” (Pawli). The Auditor had no words, but merely gestures as if to say “Can I Use the phone? It’s important. Really.”

I attended this show twice to catch “Quad.” (Lori Engle, Sarah Lockard, Lynne, and Samantha O’Hare, directed by Anna DeMers). I would class “Quad” as a dance piece rather than theater, there were no words or actions that might convey decided action or emotion. Four hooded actors walked in an elaborate, mathematically derive patterns as an overhead view of the motion was projected on a screen. This is as close to pure artiness for artiness’s sake as you can find on stage.

Intermission. Bar closed. Mill around, use the rest room, smoke outside. Funny thing about smoking - almost all the smokers I know are actors. Almost all the actors I know are smokers. All my day job buddies quit. Go figure.

In “Footfalls” (Marty Stonerock, directed by DiDonna) a woman is in charge of dealing with her elderly, bedridden mother, who may or may not be alive, dead, or a hallucination. The Ms Stonerock paces, reflects, and interacts with a woman in an increasingly creepy and oppressive atmosphere.

We wrap up with “Come and Go” (Lotoza, Laurel Clark, and Garber, directed by Becker and DiDonna). Three women in monochrome coats get together to gossip in silence, and dish the dirt on each other when one of them might step off stage. I wish I knew there secrets, I’ll bet they were really…common.

What to make of all this? Beckett is tough going. He’s deliberately obscure, open to interpretation and doesn’t “write like other writers.” During the one talk back I attended, the range of comments from audience and actor covered the waterfront. Beckett can make you think, make you fall asleep, and make you swear you’ll never buy another theater ticket again, but you’ll never conclude “Been there, seen it, done it.” No one should have to tackle him twice.

For more information on Empty Spaces Theater Company, visit http://www.emptyspacestheatre.org

Waiting for Godot
By Samuel Beckett
Directed by Seth Kubersky
Starring Brett Carson and Kevin Kriegel
Empty Spaces Theater Company at the Orlando Shakespeare Theater, Orlando FL

This may be the most feared play in the western canon, yet its one of the most humane. On a low rise near a seemingly dead tree, Vladamir (Carson) and Estragon (Kriegel) hang out daily, waiting for Godot to arrive and save them from meaninglessness. Their feet hurt, their clothes dusty, food is sparse, and Estragon is beat nightly for reasons no one understands, least of all his attackers. What’s the point? Ah, that’s THE question, and we’ll discuss it in a few lines.

People often say “Nothing happens in this play”, but that’s patently absurd. Shortly after we meet Gogo (Estargon) and Didi (Vladamir), their peace and quiet is intruded upon by Pozzo (Christian Kelty, playing himself) and his obedient and nearly mute carrier Lucky (Josh Geoghagan, playing Lucky). Pozzo is well off, curious about Kriegel and Carson, and completely oblivious to their fate. The bones that fall from his lunch are a great boon to Vladamir and Estrogen, as their insights are to him. As he moves across their space, ultimate exiting stage left, a boy (Corey Volence) arrives and politely informs the pair that unfortunately, Godot will be unable to appear this evening, but might certainly appear tomorrow.

Life can be comedy even in its bitterest moments, and I’ve seen more laughter at funerals than weddings. Director Kubersky plays the pieces as a silent comedy with pratfalls, juggling, and motions requisitioned from Chaplain, Keaton, and Theda Bara. Careful attention will inform the viewer exactly who and what everything is, why its there, and what to expect. GoGo and Didi pair up because it’s all too much for one man, Pozzo is the world at large tormenting its servants for which attention they are greatly appreciative, and the easy interpretation of Godot is that of the divine spirit that infuses us, but is always a few centuries late for his appointments. I’ll ignore the line “We don’t encourage thinking” and state if “Waiting for Godot” DOESN’T make you think, you might as well be dead. Is there a point to life on this bitch of an earth? Of course. Its’ just a bit subtle, and if you don’t pay attention, you’ll miss it until one day that damn Godot finally does show up.

For more information on Empty Spaces Theater Company, visit http://www.emptyspacestheatre.org

Rabbit Hole
By David Lindsay-Albaire
Directed by Kevin Bee
Starring Jamie-Lyn Hawkins, Jenifer Gannon, Dean Walkuski
Theater Downtown, Orlando FL

Ultimately there is no way to replace the loss of a loved one, except by putting one foot ahead of the other and walking ahead in life. Howie (Walkuski) and Becca (Hawkins) lost 4 year old Danny to Jason’s (Josh Paul) careening down their street 3 miles over the limit. Anger threatens to tear them apart as they exchange brittle barbs that sound oh-so-familiar. Becca’s sister Izzy (Gannon) is no help, she gets into bar fights and pregancies without a second thought to anyone else’s feeling, and her thoughtless reproduction seems the flaunt Howie and Becca’s pain. They’ve tried the superficial and useless, cleansing their lives of Danny’s presence, building shrines, seeking counseling, infidelity and alcohol, but all are useless. Only life will cure unexpected death.

It’s’ a dark, meaty play, well done and surprisingly upbeat at the end. Walkuski gives another excellent performance, and continuing to show development as one of Orlando’s best middle aged white guy actors. Jennifer Gannon’s Izzy also shows her development as an actress, and Lori McCaskill as Nat, mother to the two girls shows here own vulnerability as she resolves another child’s death. And young Jason wrote a story about his own life and dedicated it to Danny - another strategy, and one I find helpful in my own life.

There’s a humanity lurking in this play that modern stagecraft so often replaces with spectacle or Disneyfied music. When Howie finally succumbs to his wife insistence they attend a barbeque with old friends, he looks stunned. But he walks himself through the evening, agrees the result won’t be horrible, and stand up to go do what has to be done. Becca’s already found her resolution by discussion Jason’s story with him, and Nat talks endlessly about her loss as she putters around Becca’s house. If theater mirrors life, this is a highly polished reflection, and it holds us up at our worse and our best: when we have to convince ourselves that we have no choice but to soldier on.

For more information, please visit http://www.theatredowntown.net

Macbeth
By William Shakespeare
Directed by Jim Helsinger
Starring Ian Bedford, Jean Tafler, Paul Bernardo, Anne Herring
Orlando Shakespeare Theater, Orlando, FL.

In the murky darkness of medieval Scotland, an ominous drip, drip, drip of fluid failing from a spiked ceiling recalls an avant-garde East German art installation just before the chaos of Communism’s collapse. As the lights dim, a knife cuts through the blooded canvas center stage, releasing wraiths that climb like ants out of the womb of a wounded world. Macbeth (Bedford) won a great victory, and the wraiths predict further glories for he and Banquo (Bernardo). Hard years of study warn us: spirit predictions always carry a twist ending, and these are no exception. While Macbeths victories are as great a career move as you would want in one step, his ambitious wife Lady M (Tafler) wants more, and talks him into murdering King Duncan (Steer Patterson), claiming the throne, and ultimately falling to the hubris required of all great tragic heroes. If nothing else, be warned that a trip to the palm reader can be a shortcut to hell.

Spectacle rules the show, with costumes reminiscent of a Norwegian heavy metal band, enough smoke and fog to set off the smoke alarm, and an imaginative Theater in the Round staging. Things moved quickly in the first act up to the Dagger of the Mind speech, and then seems to slow down. As so often happen in this play, I’m never really convinced about Macbeth decision to turn on Duncan, it always seems forced and not completely justified. Bedford’s tattooed Macbeth seemed less the fearless warrior than a fickle opportunist once he returned home where Lady Macbeth seemed to have an unnatural control over him. Her big speech about blood spots seemed rushed, and while she might be ambitious, psycho, or just bored, I’m never convinced she could convince her hubby to act so badly. I enjoyed Banquo (Bernardo), both alive and as a ghost, as well as Mac Duff (Paul Zivot), Siward (Bob Dolan) and all the assorted Thanes wandering the set. Anne Herring’s twin roles as Macbeth’s house keeper and Hecate, Queen of the Underworld, were delightful and necessary to break the darkness of this story of betrayal and blood.

Despite any story flaws, this is a great production of one of Shakespeare’s most accessible plays. The sets and lighting of Bert Scott and Bob Phillips stun, the cast well chosen, and the use of space innovative and surprising. And if the witches are tricksters and deceivers, they dance beautifully - if you’re going to Hell anyway, might as well to ride along with them.

For more information on Orlando Shakespeare Theater, visit http://www.orlandoshakes.org

Beckett Plays - Play Shorts II
By Samuel Beckett
Empty Spaces Theater Company
At the Lowndes Shakespeare Center, Orlando, FL

One question that never crosses you mind during Beckett is “Will he get the Girl?” By normal dramatic and story conventions, Absurdism focuses instead on the folly and futility of life and how we cling to it. As part of John DiDonna’s ambitious effort to present the entire corpus of Beckett’s work, this evening explores 5 of his latter works, most of which were written and originally produced in the early 80’s. “Act Without Words I” (with John Bateman and Jessica Pawli, directed by John DiDonna, Anna Demers and Kevin Becker) feels as if the main character is trapped in a goofy science experiment. Random objects drop from above, nearly but not completely allowing our protagonist to survive or die, but never giving him the resources he needs to resolve life one way or the other.

“Rockaby” (with Peg O’Keef, directed by Laura Lippman) appears to represent an old woman’s random thoughts as she rocks her day away, trapped in a cycle off little change and even less reason for change. The cycle repeats hypnotically, prompted by the single word “More…” But after a while, you felt “more” was more than enough.

“Catastrophe” (with Lori Engle, John Kelly and Jeff Lindberg, directed by DiDonna and Becker) finds a sad looking actor atop a plinth under the questioning and arrogant eye of impresario Lindberg. The pose, the color and the concept are not quite up to his standards, and workman Engle hustles to meet his arbitrary desires, even as she spoils what she knows to be her masterpiece. That’s a job; you work hard, some jerk shows up from corporate, spoils it and takes the credit.

There was an intermission. The lights did not come up for it, but there was a loud buzzing noise on the PA. The audience took it in stride.

Act 2 contained “What Where” ( with John Bateman, Kevin Becker, Nathan Raley, and Corey Volence, directed by Anna DeMers) This may or may not have occur in a future world with only 5 survivors, each clad in black robes like monks from a science fiction film. Confessions were demanded, and incorrect response resulted in someone receiving “The Works”. As ‘The Works” appears fatal, the cast dwindled down to one person, ending the play.

The final piece on this evening’s program was “Ohio Impromptu” (With DiDonna and Lindberg, directed by DiDonna and Christian Kelty). Perhaps the most enigmatic in this puzzle collection, two men sit at a table as one reads a small repetitive story consisting only of short words and other passive verbs. An occasional knock on the table paces him, but the words need to be said, are said, and don’t really influence the next set of words. This, like all the plays seems like reflections of the futility of life. Over all, it was a very existential program. You should see it, even if it really is meaningless in the grand scheme of the universe.

For more information on Empty Spaces Theater Company, visit http://www.emptyspacestheatre.org

MID-LIFE! The Crisis Musical
By Bob Walton and Jim Walton
Directed by Michael Edwards
Musical Direction by Chris Leavey
Winter Park Playhouse, Winter Park, FL

Are you suffering from CRS? I thought so. It happens to the best of us, and Merck doesn’t have approval for a pink pill to cure it yet. Meanwhile, the WPPH crew entertains with this revue of silly to subtle music and skits that celebrate that period of life that involves embarrassing birthday parties and LASIK surgery. The first act leans in the silly direction, and after a rousing opener “Welcome to Midlife Lies” Pat Brandt and Kate O’Neal do a number called “Biological Clock”. At 40, he’s not ready for commitment, but she’s hoping to see grandkids before she goes. Guys HATE when this happens. The “Weekend Warriors” skit put all three guys (Michael Edwards, Pat Brandt, and Roy Alan) in basketball togs, and while they can sing, dance and act, there’s one thing none of them can do - handle a basketball. If you sit in the front row, rebound for them, will you? Mr. Edwards comes back for the cute song “Side Effects” and the delicate “My Lost Love.” One of the best bits in the first act is “Mid Life Translator.” You can now get help understanding what your significant other is really saying. Hint - she wants to be noticed, and he wants to fool around. But you knew that already, right?

The second act seems much more heartfelt, even with AARP and proctologist jokes peppering the stage. “Thirty Year Reunion” (Heather Alexander, Kate O’Neal and Lourelene Snedecker) commiserate over divorces, and even though the ex’s were real SOB’s, they still miss that old geezer. A very clever “The Long Goodbye” features Brandt and Snedecker and O’Neal at the park, where their now forgetful parents get to play on the swings. We wrap up with the Disney musical style “I’m Not Ready.” Maybe not, but your choices are narrowing, so enjoy it while you can.

There’s an element of fluff here, but the musical fireworks provide the real entertainment and that’s why we showed up this evening. The topics might be touching or heartbreaking, but when you need a break from parent sitting, this is more fun than hearing about how deep the snow was in World War 2. And what’s CRS? I forget…

For more information on Winter Park Playhouse, please visit http://www.winterparkplayhouse.org

Parade
By Alfred Uhry and Jason Robert Brown
Directed by Kate Ingram
Starring Yaniv Zarif, Madison Stratton, and Brendon Rogers
UCF Conservatory Theatre, Orlando, FL

This is a big, meaty, Important Play that explores racism, anti-Semitism, and the dark side of Southern hospitality. It’s also a Broadway-Class musical with over two dozen actors, a two and a half hour run time and enough set pieces the size of Manhattan condos to stuff a Playbill. In other words, this is not a musical for the faint of heart. But it’s also the most amazing thing UCF has ever pulled off.

In 1913 Atlanta, the Civil War still stings, and damaged veterans still come out for the Civil War Memorial Day parade. But Atlanta changed, expanding from a railroad junction to a major manufacturing center. Money and management flows from New York, and just as Appomattox hurt, so does the idea that Yankees and Jews could extract wealth from a South still mourning for its static, comfortable past. It’s time for someone to take a fall, and miserable Leo Frank (Zarif) was in the wrong place at the wrong time. Rather than wave a flag and eat a picnic lunch in Piedmont Park, Leo went in to work, and when the body of 13 year old Mary Phagan (Ericka Lyon) appeared in his factory basement, only he and black watchman Newt Lee (Michael Baugh) were considered as suspects. Hoping to prop up politically weak governor Jack Slaton (Kraig Kelsey), crooked District Attorney Hugh Dorsey (Michael Petty) went after Leo, reasoning that hanging another Black man wouldn’t have the impact of nailing a Yankee. It took an hour of trumped up charges to put Leo on death row, and only the hard work of his wife Lucille (Stratton) kept him from an official hanging. It was the lynch mob that strung him up - another fine old tradition of gentility, right along with chain gangs and duels.

The person who gets of easiest in this show is the hard drinking reporter Britt Craig (Brendan Rogers). He helps fan the flames of hate, having little else to report, and provides most of the comic relief in the show with his number “Big News”. Both Leo and Lucille sound equally great, her with “You Don’t Know This Man” and the two together in “This is Not Over Yet.” The supporting cast features more quality singing, including Michael Baugh’s rumbling baritone and Mrs. Phagan (Megan Wiley) with her lovely “My Child Will Forgive Me.” But the most amazing number was “Feel The Rain Fall” with Jim Conely (Steven Gatewood). Set and lighting designer Joseph Rusnock’s silhouettes of the chain gain back lit with a blood red flood and singing along to the blows of their sledge hammers still sticks in my mind.

While there aren’t many memorable melodies, this show tackles difficult and dangerous material with a deft hand. Because this is an Important Play, the company has taken the unusual step of creating a separate resource page with links to history and background material for the show. This is a show that stuns in its scope and execution, and is unlikely to appear anytime soon. Catch it while you can.

For more information on UCF Conservatory Theatre, visit
http://www.theatre.ucf.edu

For more information on Parade and its background, please visit http://www.ucfparade.com

Doubt - A Parable
By John Patrick Shanley
Directed by Chris Jorie
Starring T. Robert Pigott and Christine Decker
Orlando Theater Project at The Orlando Shakespeare Festival

Daddy taught me to never play poker with anyone named “Frenchy” or “Doc”. I don’t recommend playing against Sister Aloysius (Decker), either. She’s got a heart of stone and a face that relays a single emotion -”You’ve sinned, and I expect a FULL confession.” She’s crossed paths with Father Flynn (Pigott), convinced he’s abusing little boys, and determined to bring him down. Against her ice and granite is joyous Sister James (Ame Livingston), a naïve woman with a gift for and joy in teaching children. Sister Aloysius brings Sister James around to her own stern teaching methods (no pain is too great when teaching love and virtue) and simultaneously brings her into the plot to reveal Father Flynn’s sins. Everything is purposely ambiguous. Motivation and actions becoming murkier and murkier, and when everyone finally agrees upon an answer, it’s Sister Aloysius who breaks. Her Vatican-class diplomatic maneuvering leaves her with one huge question unanswered - ‘What is truth?”

Despite the sordid and depressing story line, this is a great comedy. Sister Aloysius gets almost all the laughs as she justifies her knuckle rapping school of schooling. Decker’s serious demeanor and ominous habit make her scary even on the other side of the 4th wall. Pigott’s Flynn is the coach and teacher you always respected and worked your hardest for. Whether he’s guilty or not, you have to admit he’s a charmer, and his sermons are actually much better than the ones I’m used to at church. But its sister James you’d prefer as your pedagogue, her niceness is infectious to the point of making bullies play nice with nerds. The supporting role of the possibly abused boy goes to Elle Vernee, an elegant and self assured woman who would defend her child to the ends of death row.

“Doubt” calls it self a parable, a story that need not be true but which casts truth in a clear, sharp light. A number of truths lurk here - what were Father Flynn’s motivations, is it fair to accuse without solid evidence or convict with out at least on corroborating witness, and how can we be so cruel to those for who we profess love? Shanley sums it up as “Killing kindness in the name of virtue”, a sin that most righteous commit with practiced ease. This production is well written, well executed, timely and timeless - no doubt about that.

For more information on Orlando Theater Project, please visit http://www.otp.cc

I Have Before Me A Remarkable Document Given To Me By A Young Lady From Rwanda
By Sonja Linden
Directed By Michael Marinaccio
Mad Cow Theatre, Orlando Fl

Ripped form her homeland as her parents and her nation were hacked to bits with machetes, Juliette (Trenell Mooring) swapped sunny Rwanda for the cold gray shores of England. Her life is confined to a small gray room, and with no money and no connections, she peers into a bleak future. But she did get a novel written, and translated into English. It’s a dry, tedious collection of statistics and history, lacking drama and heart. Knowing no better, she had written a Government Report. She just needs some guidance, and hooks up with Simon (Tommy Keesling), a burnt out poet with a public service job you could only get in the UK- he helps refugees write and publish their stories. No matter his own small anguished books of verse gather dust in remainder bins, he’s better advice than she can get anywhere else. As he guides her dry facts into living characters and figurative prose, they develop a chaste romance that strengthens Juliette’s self worth, and steers Simon back into a living relation with his distant wife.

Both Keesling and Mooring brought a sweetly romantic air to this potentially gruesome tale. Accents were mild and thus more believable, and Moorings underlying fear and practicality made here rebuff both Keesling feeble come-on and the beauty surrounded her on a perfect English spring day. Director Marinaccio shows he’s capable of directing serious work as well anyone else in town, steering this story between the dangers of lecture and treacley emotion. Scenic director Michael Montgomery (with painting by Amanda Smith) created a wonderfully abstract set with a projection screen supplying National Geographic snapshots of Rwanda along with a time clues for the story.

With so many organized mass murders around the world, Americans get a rather filtered view of world misery. Humanity has an almost insatiable desire to kill its fellows for no particular reason, and all the peace conferences and Coexistence bumper stickers in the world seem to have no effect. We are fortunate to keep most of that blood shed at arms length, and if nothing else, “Rwanda” shows while a million deaths is just another statistic, a single romance can save your immortal soul.

For more information on Mad Cow, please visit http://www.madcowtheatre.com