Jeffrey Ellis - Page 146

A revival of Circle Players' 2008 production, which was staged at the company's then-home at the Z. Alexander Looby Theatre, this 'new and improved' mounting (a collaboration between Circle and SCA) is astounding in its sheer chutzpah. Who'd have ever thought a community theatre could take on such a daunting task and be so imminently successful in doing so? Frankly, it boggles the mind.

Keifer's superbly cast five-member ensemble delivers a performance that is compelling and provocative, bringing Beckett's rather nonsensical, although altogether shocking and introspective, premise to vivid life. Since its 1953 premiere, Waiting for Godot has left many of the world's greatest writers and thinkers pondering the meaning of Beckett's work; the significance - or perhaps insignificance - of the five characters; and the meaning behind the characters and their situation. Every word has been parsed, every exchange debated and still we are left to question and to wonder.

Nashville Ballet promises to unveil 'magical surprises' in one of Shakespeare's favorite comedies with the world premiere of Paul Vasterling's original adaptation of A Midsummer Night's Dream, April 23-25, in Andrew Jackson Hall at the Tennessee Performing Arts Center. Bringing the written word to life through Mendelssohn's music and the narrative of dance, audiences will watch as Puck plays tricks on the ill-fated lovers in the enchanted forest and as the antics of the midsummer's night become resolved by the light of the day.

The resulting production that comes from Vasterling's unerringly skillful choreography and his clearly developed vision for the piece - exquisitely expressed through Baird's costume and scenic design, Scott Leathers' stunningly evocative lighting design and the beautiful music of Felix Mendelssohn performed by members of the Nashville Symphony under the baton of Nashville Ballet music director Paul Gambill - is a rousing and fitting conclusion to the company's 24th season, clearly paving the way to a stellar silver anniversary season that will open next fall with a full production of Swan Lake.

As talented as Nate Eppler is as an actor (and he's got the reviews to prove that he is, indeed, just that), it may be his writing talents that will ensure his place in theatre history (and he has a growing file of reviews to prove that, as well). Of course, only time will tell on that score, but for now Nate Eppler is keeping busy, adding to the opus of work to be delivered from his imaginative brain.

The Nashville premiere of Michael Murphy's The Conscientious Objector is next up for GroundWorks Theatre, running April 30-May 8 at the Darkhorse Theater. A joint production with Destiny Theatre Experience, the play is directed by Shawn Whitsell.

The time is 1939 and Selznick has already begun filming Gone With the Wind, but needs a new script. There's only one writer up to the task - the legendary Ben Hecht. The only problem is that Hecht has never read the book and there's only one week to re-write the script. Selznick locks himself, Hecht and director Victor Fleming (pulled off the set of The Wizard of Oz, which he is also directing) in his office to get the job done.

William Shakespeare's 446th birthday will be celebrated in grand and proper style in Nashville this month - Friday, April 23 - as Nashville Shakepeare Festival calls on would-be Romeos and Juliets to take part in 'The Biggest Balcony Scene Ever!' at 6 p.m. on the south steps of The Parthenon in Centennial Park.

Nashville Ballet promises to unveil 'magical surprises' in one of Shakespeare's favorite comedies with the world premiere of Paul Vasterling's original adaptation of A Midsummer Night's Dream, April 23-25, in Andrew Jackson Hall at the Tennessee Performing Arts Center. Bringing the written word to life through Mendelssohn's music and the narrative of dance, audiences will watch as Puck plays tricks on the ill-fated lovers in the enchanted forest and as the antics of the midsummer's night become resolved by the light of the day.