It's been two years now since Lekaton Arts Productions has swept Harlem Audiences off its feet with the award winning musical farce comedy: The Widow and Miss Mamie.
This time there has been some fundamental changes made to both the production administration and the creative property itself. This new version of the former production of "The Widow and Miss Mamie" awards us with the same premise as the original; the celebration of the "larger than life" Big Deal Willie, which the community of New Orleans (where the story takes place), loved dearly.
Audelco Award Nominee and Winner as "best actress" in a Musical, Tony Seawright (and former Miss Mississippi,USA) continues to "charm" the audiences as Miss Mamie with her colorful and lustful personality, along with her "dolls" .The audience can't get enough!
Also a Nominee and Winner as "best actor" in a Musical,Tommy Thompson portraying "Mr. Bye Bye"
raises the stakes as he becomes more innovative and creative on the stage. A true entertainer, knowing exactly what the audience wants.
Equally impressive was the role of the "neighbor," in the bar scene played by Emory Porter (a future Audelco Award contender,for sure) who is the "glue" that makes that famous bar scene so "classic". It is one of the best scenes in the play.
Tiana Newkirk, the youngest of the cast, has also "raised the bar" by taking risks and adding further dimensions and "breath" to her character-a "diverse actress" in the making, good work!
Although much credit to the show's success in the past is attributed to former ensemble members like Gloria Sauve, Marvell Allen, Cookie Winbourn, Ward Nixon, Sandra Reeves Phillips, Cortez Nance, and many others, the new ensemble members have proven to be equally formidable-each bringing something new to the table.
Johnny Mae Allen, playing the church mother, was absolutely hilarious dancing and 'carrying on' with her comical antics. "I gatta get to steppin' while the gettin' is good" is slowly becoming a household catch-phrase; the audience sings and chants right along with her (me, too!)
Valerie Tekosky was an excellent casting choice. This veteran actress is "at home" in these types of large scale productions which demand absolute discipline, professionalism, and committment to character. No other actress can compare to the works of Mrs. Tekosky.
Also an equally impressive performance and total delight was newcomer Amber Harris, who took us all by surprise with her passionate, soulful voice, stage movements (a technique that is almost always OVERLOOKED in theatre nowadays), and "realness." It is a fresh dimension to the character of the Widow.
One fundamental difference that has been observed that was NOT the case in the previous productions, which IS the case now; is that there is a "heart throb" capturing the attention of the women in the audience. And that attention is coming from actor Gerald Latham (the bartender). Another good actor that is aware of his "instrument" and "staging," and making it work!
Another very funny cast member and newcomer to the scene is veteran actress Sharon Hope (who plays the mother, neighbor). Although I will never forget Gloria Sauve for creating that role, Sharon Hope has RE-CREATED this role with so much profundity-with the few short scenes the actress appears in, that a whole history of the character is summised-in every scene! That is great acting talent founded on some good principles. I love the consistency in her performances.
Unfortunately, all aspects of this production did not go as "fluent" as before. There are some technical changes which did not serve the production, this second time around, very well.
Most directors understand that plot, characterization, acting and directing are only PART of the greater PICTURE when "casting" a simulated "reality" (which is what theater does). All aspects of theater MUST COME TOGETHER for a production to be worthy of "First Class Production" (as is defined by Actors Equity) .
The lighting, like the Sets and Props, are also AIDING in telling the playwright's story (and the director's intepretation of that story). The bar scene, with the gentlemen in one segment of reality ,and the widow and her dolls, in the other end, are not devided by "light breakers" to distinguish both segments within the scene. The whole scene "seems" longer than it really is; secondly, the monologue scene ocurrs while the bar scene lights are fully lit, forcing the actors to enforce the fouth wall, and simultaneously, exhausting the aundience's span of attention (god forbid should the actors in the bar scene would 'flinch'
or 'sneeze', it would distract from Mrs.Seawright's performance)
This is my only criticism. Fortunately the creativity of the director and the lighting personnel will find ways to make the necessary adjustments.
The sound, staging, costuming, make-up, hair, and wardrobe design and set design (Jeff Bolding, Manet McDyer Davis, Ron A. Granger II; audelco award winner, best musical director, and choregrapher Tracy Jack) all created the illusion of a very quaint town in New Orleans. I could see the town in my mind (and so could the audience!)
Stage Manager Larry Floyd's expertise and managerial acumen has proven to be a vital element in this complex production's success!
Lee Kirk, Director and Founder of Letakon Productions is well on her way in making a mark in Black Theater! She manages to always "shock" us one way or another-and that's a good thing. It keeps the 'buz' goin'!
This was a great production-not so much because I say it is, but because the HARLEM AUDENCE FINDS IT T BE
GOOD WORK! 4 1/2 STARS!!!
http://www.thewidowandmissmamie.com/
This time there has been some fundamental changes made to both the production administration and the creative property itself. This new version of the former production of "The Widow and Miss Mamie" awards us with the same premise as the original; the celebration of the "larger than life" Big Deal Willie, which the community of New Orleans (where the story takes place), loved dearly.
Audelco Award Nominee and Winner as "best actress" in a Musical, Tony Seawright (and former Miss Mississippi,USA) continues to "charm" the audiences as Miss Mamie with her colorful and lustful personality, along with her "dolls" .The audience can't get enough!
Also a Nominee and Winner as "best actor" in a Musical,Tommy Thompson portraying "Mr. Bye Bye"
raises the stakes as he becomes more innovative and creative on the stage. A true entertainer, knowing exactly what the audience wants.
Equally impressive was the role of the "neighbor," in the bar scene played by Emory Porter (a future Audelco Award contender,for sure) who is the "glue" that makes that famous bar scene so "classic". It is one of the best scenes in the play.
Tiana Newkirk, the youngest of the cast, has also "raised the bar" by taking risks and adding further dimensions and "breath" to her character-a "diverse actress" in the making, good work!
Although much credit to the show's success in the past is attributed to former ensemble members like Gloria Sauve, Marvell Allen, Cookie Winbourn, Ward Nixon, Sandra Reeves Phillips, Cortez Nance, and many others, the new ensemble members have proven to be equally formidable-each bringing something new to the table.
Johnny Mae Allen, playing the church mother, was absolutely hilarious dancing and 'carrying on' with her comical antics. "I gatta get to steppin' while the gettin' is good" is slowly becoming a household catch-phrase; the audience sings and chants right along with her (me, too!)
Valerie Tekosky was an excellent casting choice. This veteran actress is "at home" in these types of large scale productions which demand absolute discipline, professionalism, and committment to character. No other actress can compare to the works of Mrs. Tekosky.
Also an equally impressive performance and total delight was newcomer Amber Harris, who took us all by surprise with her passionate, soulful voice, stage movements (a technique that is almost always OVERLOOKED in theatre nowadays), and "realness." It is a fresh dimension to the character of the Widow.
One fundamental difference that has been observed that was NOT the case in the previous productions, which IS the case now; is that there is a "heart throb" capturing the attention of the women in the audience. And that attention is coming from actor Gerald Latham (the bartender). Another good actor that is aware of his "instrument" and "staging," and making it work!
Another very funny cast member and newcomer to the scene is veteran actress Sharon Hope (who plays the mother, neighbor). Although I will never forget Gloria Sauve for creating that role, Sharon Hope has RE-CREATED this role with so much profundity-with the few short scenes the actress appears in, that a whole history of the character is summised-in every scene! That is great acting talent founded on some good principles. I love the consistency in her performances.
Unfortunately, all aspects of this production did not go as "fluent" as before. There are some technical changes which did not serve the production, this second time around, very well.
Most directors understand that plot, characterization, acting and directing are only PART of the greater PICTURE when "casting" a simulated "reality" (which is what theater does). All aspects of theater MUST COME TOGETHER for a production to be worthy of "First Class Production" (as is defined by Actors Equity) .
The lighting, like the Sets and Props, are also AIDING in telling the playwright's story (and the director's intepretation of that story). The bar scene, with the gentlemen in one segment of reality ,and the widow and her dolls, in the other end, are not devided by "light breakers" to distinguish both segments within the scene. The whole scene "seems" longer than it really is; secondly, the monologue scene ocurrs while the bar scene lights are fully lit, forcing the actors to enforce the fouth wall, and simultaneously, exhausting the aundience's span of attention (god forbid should the actors in the bar scene would 'flinch'
or 'sneeze', it would distract from Mrs.Seawright's performance)
This is my only criticism. Fortunately the creativity of the director and the lighting personnel will find ways to make the necessary adjustments.
The sound, staging, costuming, make-up, hair, and wardrobe design and set design (Jeff Bolding, Manet McDyer Davis, Ron A. Granger II; audelco award winner, best musical director, and choregrapher Tracy Jack) all created the illusion of a very quaint town in New Orleans. I could see the town in my mind (and so could the audience!)
Stage Manager Larry Floyd's expertise and managerial acumen has proven to be a vital element in this complex production's success!
Lee Kirk, Director and Founder of Letakon Productions is well on her way in making a mark in Black Theater! She manages to always "shock" us one way or another-and that's a good thing. It keeps the 'buz' goin'!
This was a great production-not so much because I say it is, but because the HARLEM AUDENCE FINDS IT T BE
GOOD WORK! 4 1/2 STARS!!!
http://www.thewidowandmissmamie.com/
No comments:
Post a Comment