Bill Feehely News

Wright's play focuses on the time that Vincent Van Gogh spent in London and Brixton in the 1870s - a period before he drew his first sketch and one that changed him completely. The play depicts Van Gogh as a young man, someone full of life yet struggling to find his way and to walk the artist's path. Vincent develops a rapport with a widow twice his age, which blossoms into a full-blown love affair, only to be cruelly curtailed by the arrival of his fiercely puritan younger sister.

Wright's play focuses on the time that Vincent Van Gogh spent in London and Brixton in the 1870s - a period before he drew his first sketch and one that changed him completely. The play depicts Van Gogh as a young man, someone full of life yet struggling to find his way and to walk the artist's path. Vincent develops a rapport with a widow twice his age, which blossoms into a full-blown love affair, only to be cruelly curtailed by the arrival of his fiercely puritan younger sister.

Director Don Griffiths' staging of Miller's now-classic tragedy, with its echoes of the Greek classics, is heart-wrenching, certain to stir up all the emotions one can muster. Beautifully designed and executed, with superb performances from a cast that includes professional actors from Actors Bridge, along with the affecting portrayals of some exceptionally talented Belmont students, the production is completely satisfying on all levels, without even one iota of staginess to mar the proceedings.

As co-founder of Actors Bridge Ensemble, Bill Feehely has been responsible for bringing to Nashville audiences some of their most provocative theatre experiences as well as ushering some of the city's most noteworthy world premieres to the stage. Earlier this season, he was the narrator for Actors Bridge's staged reading of The Laramie Project: 10 Years Later, and next month he'll star in the company's collaboration with Belmont University Theatre on a new production of Arthur Miller's All My Sons.

If, indeed, 'it takes a village,' and if, as the poets say, 'no man is an island,' then perhaps no art form is more collaborative than live theatre. With a village of artists backstage and offstage assuring that each production is mounted, then coming to life during each performance, the collaborative effort is renewed. And what audiences see onstage is the collaboration of artists, the people who comprise the acting ensemble, the folks who bring the stagebound script to life, sending it soaring into our imaginations.

With the strains of 'Auld Lang Syne' mere moments away, minds are apt to be caught up in reflection, remembering the year now ending as a new one awaits just over the horizon. Certainly that's what I've been doing lately, looking back over the past year in Nashville theatre as I pencil in dates in my new 2010 (Here's a question to ponder: Is it 'two thousand ten' or 'twenty ten'...think about it and get back to me) calendar for the shows set to open in the months ahead.

Staged at the W.O. Smith Nashville Community Music School, The Laramie Project: Ten Years Later offers a follow-up to the original work and was produced internationally on the 11th anniversary of the death of Matthew Shepard, the young gay man who was so brutally murdered by two young men near the city limits of Laramie, Wyoming, in 1998. Audiences the world over were given the tremendous opportunity to share in the new work with the contemporaneous productions, an undertaking that amplifies the notion that live theatre can be transformative in its power to challenge conventional wisdom and, quite simply, provoke thought and introspection.

Since returning to the world of theatre via BroadwayWorld.com about a month ago, after an almost seven year absence, I've had the invaluable opportunity of reconnecting with a number of old acquaintances and renewing long-dormant friendships and relationships with people connected to the theatre scene in Nashville and throughout Tennesseee.

To suggest that playwright Sarah Ruhl is obsessed with death and dying might be too much of a stretch, but it's clear that she has a rather unique view of the subject. Her earlier works, The Clean House, Eurydice and Passion Play, a Cycle, all focus on death and dying and the accompanying rituals, and in Dead Man's Cell Phone, she returns to that fertile ground once again-with satisfying results.

Actors Bridge Ensemble presents DEAD MAN'S CELL PHONE by Sarah Ruhl (a Nashville Premiere)

Actors Bridge Ensemble presents DEAD MAN'S CELL PHONE by Sarah Ruhl (a Nashville Premiere)