Can an ulcer take down a work horse like Schmidt? Can Coach successfully out Jess and Ryan so he can return to being the most wanted teacher on campus? Can Nick be any lazier? All these questions were answered tonight on NEW GIRL.
An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater.
Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience.
In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy.
If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college.
After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story.
One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time.
Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene.
On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most.
Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers.
In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing.
It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.
On this week's episode of BROOKLYN NINE-NINE, Craig Robinson returns as Doug Judy a.k.a. The Pontiac Bandit! In 'The Pontiac Bandit Returns' Peralta and Diaz arrest Judy after an undercover stakeout, but when Rosa finds out that that Judy knows the whereabouts of the 'Giggle Pig' drug leader, Captain Holt offers him a plea deal to help track down the drug kingpin. For the full recap keep reading, but beware of SPOILERS!
Portland's Good Theater celebrated Christmas with a delightfully conceived and stylishly performed musical revue, Broadway at the Good Theater, created and directed by Brian P. Allen. Devoted to the music of the 60s and showcasing both Broadway show tunes and other iconic popular melodies, this almost forty-song evening flows seamlessly through the diverse music of the decade.
Allen's selection of numbers reads like an index to the masterpieces of that tumultuous decade, and yet, he is astute in selecting some of the lesser-known production numbers together with the undeniable blockbusters. Moreover, he knows how to weave them together subtly to chronicle an era, and he provides musical staging that is characterful, but just right for the context.
Ok so here's the deal… I like to laugh. No, I love to laugh. You know when something tickles your fancy and you start laughing so hard that you just can't control yourself? I'm talking tears (and quite possibly snot) running down your very red face, and your cheeks and belly hurting so bad you only wish you could stop? It's literally the best feeling in the entire world, and it only happens once in a blue moon. But when it does… man… you just feel great for the next 24 hours because (whatever it was) made you that happy? If you saw ONE MAN, TWO GUVNORS at Rivertown Theaters for the Performing Arts, you for sure know what I'm talking about.
THE LION KING and all of its theatrics has won many awards and words of praise throughout the years. As life on the road can be challenging and hard, actor Nick Cordileone enjoys every minute of it as he portrays Timon night after night all over North America with the LION KING.
There's gunfire at the State Department tonight on MADAM SECRETARY, and it's put everyone on lock-down in some pretty cramped quarters. The Secretary has an Iranian delegation in for a photo opportunity, and a figure from her past CIA work is part of it as well, causing some uncomfortable memories and secrets to be spilled. Speaking of secrets, Daisy's new fiancé Win, makes his first and maybe last appearance at Daisy's work, after he is trapped in Matt's office with Matt. The eldest McCord daughter, Stephanie, stops by for a mea culpa with mom and to borrow $50 bucks and gets more than she bargained for. Finally, Nadine has charged herself to handle any complaints from the recent foreign diplomat assignments, and gets trapped with one of the Ambassadors that has a personal argument with her newest assignment.
The winter finale of HOW TO GET AWAY WITH MURDER finally answered the question to the flashbacks we have been watching all season, who killed Sam Keating. The entire season has been teasing as to who actually murdered him. We knew that almost all of Annalise's student interns, (I call them the Scooby gang), are involved in the cover-up from all of the flashbacks of them trying to remove the body and destroy any evidence. We also knew that Rebecca was involved in it, as well as having Sam's blood all over her, and that Asher was the only intern not involved, because he was out looking for the trophy that Michaela stole from him. Just because we saw who was covering the murder up, there was never any clear evidence as to who actually killed Sam. Until now.
I've seen it happen a million times, well probably not exactly a million because that's dramatic but you get my point. I'm talking about the moment when someone gets into a relationship and then they start valuing the relationship of their significant other over the opinions of their best friend. And who is officially guilty of doing just that? Andrew. And who doesn't like it in the least bit? Stu. Let's the games begin…
Angela Bassett. If that name doesn't mean anything to you, shame! The Academy Award nominee has appeared in everything from HOW STELLA GOT HER GROOVE BACK, to MEET THE ROBINSONS, and most recently, AMERICAN HORROR STORY: FREAK SHOW. Bassett appeared last season in COVEN as Marie Laveau, the voodoo queen, and returns this season as Desiree Dupree, the hermaphrodite. Recently, I got the opportunity to participate in a question and answer session with Angela Bassett, and she answered all of our burning questions about Desiree and the process behind making AMERICAN HORROR STORY.
La Jolla Playhouse announces five shows for its 2015/2016 season, featuring all new works, including the world-premiere musical Come from Away, featuring book, music and lyrics by acclaimed Canadian husband-and-wife team Irene Sankoff and David Hein, directed by Playhouse Artistic Director Christopher Ashley; the world premiere of Indecent, co-created by director Rebecca Taichman (Playhouse's Sleeping Beauty Wakes, Milk Like Sugar), and Pulitzer Prize-winning playwright Paula Vogel (How I Learned to Drive), co-produced with Yale Repertory Theatre; and Blueprints to Freedom: An Ode to Bayard Rustin, by Michael Benjamin Washington (Memphis, The Wiz), directed by The Cosby Show's Phylicia Rashad, which had its first workshop during the Playhouse's 2014 DNA New Work Series.
Since I'm assuming most people will want to watch this episode since it's the first part of the two part finale of season 8, I am not going to have an in-depth recap, but instead an in-depth analysis of the episode. So, WARNING MAJOR “DARK WATER” SPOILERS BELOW
“Don't say that. The words used to describe women. If she was a man, you'd say she was formidable or bold or right.” Amen! I love how even in the soapiest of political drama, Shonda Rhimes can still sneak in a lesson or two. So take that, Fitz, don't be calling Olivia's friends (or women in general); “bitches.”
Conductor Todd Ellison is quite possibly one of the busiest men in the industry right now. His involvement in the fast-approaching production of THE BAND WAGON with Encores!, a Christmas concert with the Pittsburgh Symphony, and his own staged musical in March, only begin to scratch the surface of his hectic schedule for the next six months. Fortunately for us, he recently took the time to sit down and discuss these as well as prior engagements.
On this week's episode of DOCTOR WHO, 'In the Forest of the Night,' London—and the world—is overrun with trees. Are they good trees or bad trees? Are they even trees at all or some alien creature that just look like trees? Keep reading to find out, but obviously, there are SPOILERS ahead, so beware!
It's time for another adventure in SLEEPY HOLLOW and this town, as usual, is anything but sleepy. Last week, we saw our dynamic duo face off against the Pied Piper, but this week, Ichabod and Abbie face an even more scornful enemy: jealousy. Relationships, both old and new, are tested as Sleepy Hollow is plagued by a woman in black – who is genuinely and terrifyingly freaky, I might add.
BOARDWALK EMPIRE writes some of the best female characters around, many can agree, but the treatment of said characters on the show reflects quite the opposite insinuation about the writers. While the show has tackled many feminist issues such as women's health, the right to vote, the temperance movement, and the misogynistic mindset of the men at the time, it's also reduced so many of it's female characters to forgo pointless deaths in order to further characterize and develop their male counterparts, or how I like to put it, allow for the men to feel some “man pain” to make us connect further with them emotionally.
The Geffen Playhouse production of The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord, is now performing at the Audrey Skirball Kenis Theater at the Geffen Playhouse. Written by Scott Carter, executive producer and writer for Bill Maher's Politically Incorrect and Real Time, this whip-smart philosophical comedy features Larry Cedar (Deadwood, PBS's Square One TV), David Melville (Travel Channel Lawrence of America, film Ironclad) and Armin Shimerman (Quark on Star Trek: Deep Space Nine, Associate Artistic Director at The Antaeus Company) and will be again helmed by director, Matt August (Broadway How the Grinch Stole Christmas). Due to popular demand, the production has extended now through November 23.
The Geffen Playhouse announces its production of The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord. Written by Scott Carter, executive producer and writer for Bill Maher's Politically Incorrect and Real Time, this whip-smart philosophical comedy features Larry Cedar (Deadwood, PBS's Square One TV), David Melville (Travel Channel Lawrence of America, film Ironclad) and Armin Shimerman (Quark on Star Trek: Deep Space Nine, Associate Artistic Director at The Antaeus Company) and will be again helmed by director, Matt August (Broadway How the Grinch Stole Christmas). Discord began previews on October 7 with the press opening tonight, October 15. The closing date is currently scheduled for November 16.
On this latest episode of The Ensemblist, Nikka and Mo interview three versatile Broadway performers who have worked professionally in both straight plays and musicals. Nick Corley, Christopher Gurr, and Leah Hofmann clue listeners in to how much of a learning experience both genres provide.
Within the halls of Grey Sloane Memorial Hospital, everyone is miserable; the patients, the staff, and probably the visitors. They may not start out unhappy, but gosh darn it, the writers aim to pull a Picard and make it so. Thursday night's episode provided everyone with an opposing force to either wreck their good or augment their bad mood.
With so many great moments around the TV dial this week, BWW TV World brings you the Top 10 gifs in television over the last seven days!
What happens when the best boyfriend in the world does something, well, let's call it “unexpected?” How can Jeremy and Peter continue to work together now that Jeremy has stolen Peter's girlfriend? Turns out, tonight, it all went up in flames.
The Geffen Playhouse announces its production of The Gospel According to Thomas Jefferson, Charles Dickens and Count Leo Tolstoy: Discord. Written by Scott Carter, executive producer and writer for Bill Maher's Politically Incorrect and Real Time, this whip-smart philosophical comedy features Larry Cedar (Deadwood, PBS's Square One TV), David Melville (Travel Channel Lawrence of America, film Ironclad) and Armin Shimerman (Quark on Star Trek: Deep Space Nine, Associate Artistic Director at The Antaeus Company) and will be again helmed by director, Matt August (Broadway How the Grinch Stole Christmas). Discord begins previews tonight, October 7 with the press opening on October 15. The closing date is currently scheduled for November 16.
We're at that point in the season, folks, when things on INTRUDERS are starting to piece themselves together. Next week's episode is the finale (how can this be?!) and the veil hiding Qui Reverti is slowly being lifted. More than plot progression, though, there's some serious character development going on this week, and it's awesome. All these developments can be a lot to handle, though. I get it. But the creative team has faith in us to follow along, and I have faith in us, too! Just in case things have gotten a little jumbled, let's break this thing down, character by character.
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