Amanda Finn - Page 4

It seems fitting that Strollers Theatre would open one of The Bard's greatest comedies on Valentine's weekend as love is all around in Twelfth Night. Rekindled by the 2006 film She's the Man, this Shakespearian romantic romp is oozing with mistaken identity and heartsick characters. With some of the greatest parts written in early modern theatre, director Greg Harris took his performers to task.

The Frequency off of West Main St. in Madison can give newcomers an eerie vibe. It's been well used in its time as a music venue and was the perfect spot for the latest Are We Delicious revue. Complete with indoor umbrellas, creepy little mummified trinkets, sage, a rosary, cloaking devices, and six actors, the show unfolded. Per the norm for AWD, each short play revolved around the ultimate theme of superstition while each delivered an entirely different message.

Snippets of commercials and bygone television shows played throughout the thirty minutes prior to curtain. Cast upon draperies, the images were often distorted, seemed to be surrounding what a televised family life should be - all before ending with scenes from the day when President Kennedy was assassinated. The distortion of an idyllic family life followed by a day that will remain forever etched in the minds of Americans is fitting for a family that cannot see beyond their own familial unit.

Emerging from the dark prisons of Fidelio comes a show with darker themes, a more sinister villain, and higher stakes. Madison Opera premiered their Sweeney Todd in Capitol Theatre last night to a crowd eager to see what they could do. Fans of the Stephen Sondheim musical in its original capacity, the 2007 film adaptation starring Johnny Depp, the 1998 version starring Ben Kingsley, or (even rarer still) those who are fond of the original 1936 film were clearly in attendance.

February 5th, amongst the cheering and hooting of the nerds in the next room at the Brink Lounge, was the 7th performance for a group of ladies in their monologue series entitled That's What She Said. Despite the pre-gaming for the Comic Con attendees, there were some powerful performance pieces going on in the cozy lounge.

Shattered glass. Upon entering the playing space inside of Bartell Theatre, audiences are confronted with shadowy lights, created by the gobos, that very closely resemble shattered glass. Or, perhaps, razor blades - but who can tell? That's the point of Erik Gernand's play The Beautiful Dark - every person's view is resoundingly different.

'This play is difficult to talk about. On purpose," is how director Brenda DeVita's note in the playbill for her newest production begins. DeVita's brevity in her directorial note is a tribute to the sensitive nature of The Other Place as well as a testament to her talent as a director. The Other Place is a 2013 Broadway triumph and is now, too, a triumph of Madison's own Forward Theater Company.

Out on East Washington Ave lives a company of performers who perform acts of immense proportions- shows whose titles are unknown, obscure, and often totally absurd. In sixty minutes or so (in the late night Friday showcase at any rate) audience members are bombarded with spur of the moment comedy that leaves them knowing why the troupe's performance classes are selling out.

It comes as no surprise to the inhabitants of Madison that a play should arise, an original production no less, that holds a political charge. In a city so focused on the rumblings of politics or making a change, an artistic protest is nothing to shock the masses. When the message outweighs the politics behind it, however, people pay attention.

No, you don't need to get your eyes checked. If you happen by Overture Center before January 11th and see a bouncy redhead pestering a suave Cuban man while sporting the grimace of a beloved television star - follow her. I Love Lucy Live on Stage is 'filming' in front of Overture's live studio audience this week and they are loving every minute of it.

What can a group of talented writers and performers do with a Christmas theme? Surprisingly more than a spoof on good ol' Charlie Brown or a reenactment of The Nativity - no one can be quite sure what will take place at an original performance. When Impresario Tony Trout took the stage clad in an apron, a nod to the name of his company Are We Delicious?, his delightful introduction could lead audiences to wonder. Would they be delicious?

Some of the nation's most notorious villains were brought back to life on Sunday at the matinee of Four Seasons Theatre's rendition of Assassins. Stephen Sondheim's history lesson slash musical, like much of his other work, reminds audiences that the world is not black and white. Michael Herold as the Proprietor, though ringmaster would be a more fitting title, opens the show as one would a circus. A fitting parallel since the characters are so dissimilar from one another but have one end game in mind - fame. They want to matter. Just like those who would run off with the circus were simply looking for an outlet, these folks needed to feel that they matter. After all, in 'the land of the free', why shouldn't every person's story be heard? That's where this show, first staged in 1990, finds its cultural relevance in the end of 2014.

During the holidays, no family is perfect - the royal family headed by King Henry II of England is certainly no exception. James Goldman's The Lion in Winter focuses on Henry II and his bizarre family dealings at his 50th Christmastide. Henry must finally declare who will be his heir, let his wife out of prison for the holiday, keep his mistress happy, keep his sons from wreaking havoc on one another, and keep King Philip II of France occupied. It makes for a history lesson filled with quips, knives, and the occasional love scene. With direction from Scott Albert Bennett, the company at Strollers Theatre took the challenge head on.

Encore Studio for the Performing Arts is used to forcing its audiences to think - to see things in a different light, in another person's shoes, or to simply re-evaluate their own lives. The newest show, written by Executive Director KelsyAnne Schoenhaar does all of that during a season that is wrought with enough sweetness to rot a tooth. That is not to say that I do not personally enjoy the holiday season - it is my favorite time of year. But Schoenhaar's latest production takes the time that everyone seems to relish in and reminds us that it can be an incredibly difficult time for others.

Nothing says Christmas like watching Mommie Dearest descend the stairs in four inch heels, a robe, sheer pantyhose, and a smug grin of self-satisfaction.This holiday tradition is true, however, for the members of the Crawford family in StageQ's recent production of Christmas with the Crawfords written by Richard Winchester and Mark Sargent. Based loosely on the memoir made film 'Mommie Dearest' written by Joan Crawford's daughter Christina and combined with a menagerie of guest stars of a bygone era, this is a comedy just bursting with eccentricities.

What better way to inaugurate a theater than to put on a show with the pizazz of Mary Poppins. A name made famous by Walt Disney who based his film off of the written work of P.L. Travers. The Broadway musical is a crowd pleaser for certain with a great deal of help from a cast phenomenally chosen to introduce The Wisconsin Dells to its newest, and extremely worthwhile, attraction - The Palace Theater.

Anyone familiar with the musical Joseph and the Amazing Technicolor Dreamcoat would know that it's one part kitschy and one part pure entertainment. It's meant to be a fun and over the top Broadway hit -frankly, there's nothing wrong with the quality showmanship required for this particular musical. Almost no dialogue is merely spoken - audiences are constantly bombarded with songs that play out as if one right after the other is going to be a show stopper. It's what audiences expect. It's what has kept the otherwise unimpressive musical alive for so long. There is no Les Mis depth to keep audiences intrigued or the characterizations of Sweeney Todd to pull people to one character's defense over the other.

As one can imagine, an opera created by Ludwig van Beethoven is likely driven by intricate musicality. That assumption would be completely accurate as the plot is fairly simple and the characters are of common theatrical stock. Though these observations are true, Madison Opera's recent production of Fidelio - translated as the favorite child - is far from ordinary.

Poetry. A show that inspires beyond one's capabilities of speech is described as poetic genius. Disney's Broadway hit musical The Lion King is nothing short of pure poetry. Frankly a loss for words is what this critic is suffering from. Julie Taymor's most renowned claim to fame is a show that has just recently become the highest grossing Broadway production of all time - and for good reason.

Though it is only November, before Thanksgiving no less, Christmas is in full swing at The Fireside Dinner Theatre. When audiences received holiday dishes before the curtain rose, they were provided with both warm hospitality by the staff as well as well named dishes. The Snowflake Salad, for instance, lightly dusted with feta cheese crumbles was as delicious as it was delightful. Diners who were awaiting the theatre doors to open already knew that they were in store for a whimsical evening.