The Andriese Miller Circle premiered the anticipated opening preview of the play "WAITING IN LINE"; Written by Dominique Andriese and Directed by Letiece Miller, and presented at the National Black Theatre in New York City, New York.
The premise of the story is centered on the sociological (and subcultural) vicissitudes of daily mundane life as it unfolds with artists going about their routine "cattle call" and "cattle call back" audition process that is all too familiar with any and every artist in America and across the artistic world.
Every "auditioner" has a story to tell, and his or her own transmutation and "journey" into the path of "SELF DISCOVERY" is beautifully and, most importantly, honestly expressed and "told" to the audience in the form of DANCE, POETRY and MUSIC.
Starting with Keene 'kt' Thomas (played by Luis Martinez) and Dakota Lynn (played by Dominique Andriese). They were the typical 'support network', confiding in each other, supporting each other, and encouraging each other, despite their own individual insecurities and short comings, and, also managing to support others who seemed to resonate the same "issues" and insecurities which seems to be very commonplace and (quite frankly) a 'rite of passage' among our youth. Their story was 'sweet', 'innocent', and extremely 'idealistic' (as it should be with the youth; very antithetical!). It is the most beautiful aspect of youth. I applaud these two actors for making me "feel" young and youthful (if only young people knew what they possess!!!)
Next, we have the 'love story" between Cheyenne Mitchell (played by Gina Taylor) and Yarnis Inez (played by Will Strong). Of course, it starts out very typically; she rebuffs his advances, but he persists. She bucks and resists, but he lays out his "charm" and she, not able to deny her attraction, succumbs. The acting was genuine, fresh, and the actors seemed to really enjoy their roles. I loved it! It made me wanna be young again! Being young is such a beautiful experience-it is worth more than gold!
Of course, with the youth, nothing is long lasting. you live the 'moment'. And in that moment, yo discover who you really are-and what you're made of! It is a constant unfolding of "inner layers" which, although confusing and uncertain, will eventually bring about the "strength of character" and "discipline" which will eventually bring about success. It is a transmutation process, and alchemy, if you will.
Next, we have Carolyn De Alexander (played by Eureka Lewis); not quite young, probably middle age or in her 40's. She has dreams, too! She's tough, courageous, committed, strong, but vulnerable and somewhat uncertain. Still thou, she "pushes" on and, banking solely on her own SELF-BELIEF, not only manages to "discover" her own strength, but becomes a BEACON OF STRENGTH for others. She stole my heart! (probably because I'm also middle aged! and can relate to the experience-when I was "out there"). The character was portrayed with dignity, grace, and patience (and boy was she!)
Then we have the typical 'introvert' and 'lack of confidence type' played by Letiece Miller (as the character of Crystel Marie). Her story was typical as well. A young artist, not sure of herself, but full of fruitful promises and "genuineness". The one who unites them all in the end and, through the POWER OF COLLECTIVE ACTION, manages to create something beautiful and meaningful (or at least that's the goal!). I also related with this characterization, for it is very common.
The metaphoric and allegorical expressions of the "themes" involved was wonderfully VISUALIZED by the dancers; (the "can-can" troupe), Asia Diamond, and lead 'can-can', Eki Asemota. Their artistic prose as expressed through their bodies was very tastefully and eloquently graceful-and effective! They represent the positive energy which the auditioners "bring to the table" in the audition process.
The antithesis of the "can-can" group was the contemptuous "Neigh-sayers"; played by Rudel Drears,Theodesia Mclean, and Paige Thigpen. They represent the "shadow aspect" of each auditioner in competition for the same job (as well as the prejudices of those holding the audition; played by Ryan Caliaghan, as Harley Christorpher and Catherine Alessa, as Jocelyn Kelly).
Honorable mention MUST be given to actors Neron Boreland (Roe) and James Echols (Jason Song). Both actors were colorful, enigmatic, sexy, energetic, and devout PROFESSIONALS who maintained FOCUS and were committed to METHOD. Very well done! They should be nominated for an AUDELCO AWARD-each!
The playwright was very ambitious in her aim to deliver a COMPLETE homogeneity of the "culture" and "subculture" of TEEN LIFE and all that comes with it within two hours of stage performance. And there's certainly nothing wrong with that, but with such a large cast (of 23 actors) this would be IMPOSSIBLE.
Although the "stories" were cute and "true" to the culture of YOUTH, the same premise could have been accomplished with a much smaller cast (allowing sufficient "room" for plots and sub plots to develop sequentially, but also naturally).
The director, Letiece Miller, probably would have fared better employing better lighting technique that would have ACCENTED certain themes far more dramatically then to have it expressed through the acting. This would have covered more "ground".
Certain scenes were not 'cohesive' or central to the story. For example, when Jason Song (played by James Echols) took those "pills", it didn't lead to any discovery that would have added to either the character or the story (or the sub plot, for that matter). It was unclear and did not help move the story forward (whatever his particular 'problem' was; this segment should be OMITTED from the scene, because him taking those pills did not aid the overall plot of the story, nor did it help bring understanding of his particular 'story'). It somewhat melodramatic.
This is my only criticism. This is a very good intellectual property, however, more 'fine tuning', both on the part of the director and the playwright, would make this production quite a HIT!
Act two ran into some 'trouble', but the overall beat was "compensated" by the music, dancing, and the high voltage energy of the performers. It worked for this particular demographic audience. But for more 'sophisticated' audiences, they may require (as I would) further exploration of the themes presented (but with a much smaller cast; perhaps seven or ten, but no more; unless you are sufficiently experienced as a DIRECTOR to pull it off)
Nevertheless, this was an entertaining production. I haven't laughed so hard in YEARS!
And for that, I give this production 3 1/2 STARS!!! (out of five)
The premise of the story is centered on the sociological (and subcultural) vicissitudes of daily mundane life as it unfolds with artists going about their routine "cattle call" and "cattle call back" audition process that is all too familiar with any and every artist in America and across the artistic world.
Every "auditioner" has a story to tell, and his or her own transmutation and "journey" into the path of "SELF DISCOVERY" is beautifully and, most importantly, honestly expressed and "told" to the audience in the form of DANCE, POETRY and MUSIC.
Starting with Keene 'kt' Thomas (played by Luis Martinez) and Dakota Lynn (played by Dominique Andriese). They were the typical 'support network', confiding in each other, supporting each other, and encouraging each other, despite their own individual insecurities and short comings, and, also managing to support others who seemed to resonate the same "issues" and insecurities which seems to be very commonplace and (quite frankly) a 'rite of passage' among our youth. Their story was 'sweet', 'innocent', and extremely 'idealistic' (as it should be with the youth; very antithetical!). It is the most beautiful aspect of youth. I applaud these two actors for making me "feel" young and youthful (if only young people knew what they possess!!!)
Next, we have the 'love story" between Cheyenne Mitchell (played by Gina Taylor) and Yarnis Inez (played by Will Strong). Of course, it starts out very typically; she rebuffs his advances, but he persists. She bucks and resists, but he lays out his "charm" and she, not able to deny her attraction, succumbs. The acting was genuine, fresh, and the actors seemed to really enjoy their roles. I loved it! It made me wanna be young again! Being young is such a beautiful experience-it is worth more than gold!
Of course, with the youth, nothing is long lasting. you live the 'moment'. And in that moment, yo discover who you really are-and what you're made of! It is a constant unfolding of "inner layers" which, although confusing and uncertain, will eventually bring about the "strength of character" and "discipline" which will eventually bring about success. It is a transmutation process, and alchemy, if you will.
Next, we have Carolyn De Alexander (played by Eureka Lewis); not quite young, probably middle age or in her 40's. She has dreams, too! She's tough, courageous, committed, strong, but vulnerable and somewhat uncertain. Still thou, she "pushes" on and, banking solely on her own SELF-BELIEF, not only manages to "discover" her own strength, but becomes a BEACON OF STRENGTH for others. She stole my heart! (probably because I'm also middle aged! and can relate to the experience-when I was "out there"). The character was portrayed with dignity, grace, and patience (and boy was she!)
Then we have the typical 'introvert' and 'lack of confidence type' played by Letiece Miller (as the character of Crystel Marie). Her story was typical as well. A young artist, not sure of herself, but full of fruitful promises and "genuineness". The one who unites them all in the end and, through the POWER OF COLLECTIVE ACTION, manages to create something beautiful and meaningful (or at least that's the goal!). I also related with this characterization, for it is very common.
The metaphoric and allegorical expressions of the "themes" involved was wonderfully VISUALIZED by the dancers; (the "can-can" troupe), Asia Diamond, and lead 'can-can', Eki Asemota. Their artistic prose as expressed through their bodies was very tastefully and eloquently graceful-and effective! They represent the positive energy which the auditioners "bring to the table" in the audition process.
The antithesis of the "can-can" group was the contemptuous "Neigh-sayers"; played by Rudel Drears,Theodesia Mclean, and Paige Thigpen. They represent the "shadow aspect" of each auditioner in competition for the same job (as well as the prejudices of those holding the audition; played by Ryan Caliaghan, as Harley Christorpher and Catherine Alessa, as Jocelyn Kelly).
Honorable mention MUST be given to actors Neron Boreland (Roe) and James Echols (Jason Song). Both actors were colorful, enigmatic, sexy, energetic, and devout PROFESSIONALS who maintained FOCUS and were committed to METHOD. Very well done! They should be nominated for an AUDELCO AWARD-each!
The playwright was very ambitious in her aim to deliver a COMPLETE homogeneity of the "culture" and "subculture" of TEEN LIFE and all that comes with it within two hours of stage performance. And there's certainly nothing wrong with that, but with such a large cast (of 23 actors) this would be IMPOSSIBLE.
Although the "stories" were cute and "true" to the culture of YOUTH, the same premise could have been accomplished with a much smaller cast (allowing sufficient "room" for plots and sub plots to develop sequentially, but also naturally).
The director, Letiece Miller, probably would have fared better employing better lighting technique that would have ACCENTED certain themes far more dramatically then to have it expressed through the acting. This would have covered more "ground".
Certain scenes were not 'cohesive' or central to the story. For example, when Jason Song (played by James Echols) took those "pills", it didn't lead to any discovery that would have added to either the character or the story (or the sub plot, for that matter). It was unclear and did not help move the story forward (whatever his particular 'problem' was; this segment should be OMITTED from the scene, because him taking those pills did not aid the overall plot of the story, nor did it help bring understanding of his particular 'story'). It somewhat melodramatic.
This is my only criticism. This is a very good intellectual property, however, more 'fine tuning', both on the part of the director and the playwright, would make this production quite a HIT!
Act two ran into some 'trouble', but the overall beat was "compensated" by the music, dancing, and the high voltage energy of the performers. It worked for this particular demographic audience. But for more 'sophisticated' audiences, they may require (as I would) further exploration of the themes presented (but with a much smaller cast; perhaps seven or ten, but no more; unless you are sufficiently experienced as a DIRECTOR to pull it off)
Nevertheless, this was an entertaining production. I haven't laughed so hard in YEARS!
And for that, I give this production 3 1/2 STARS!!! (out of five)
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