Sunday, June 28, 2015
Friday, September 19, 2014
"WHAT THEY'LL REMEMBER..." A musical drama in two acts. By Eurika Lewis
"WHAT THEY'LL REMEMBER..."
Written and Directed
By
Eurika Lewis
"What They'll Remember"; A dramatic stage play with music, premiered at the Nuyorican Poets' Cafe on 236 E. 3rd Street (Alphabet City) in New York, on September 14th.
This production showcases the lives of five women, one on death row, whose lives were shattered by life's circumstances; but more importantly, by the actions taken by these women-in response, to those circumstances.
Not many stage performances ( I can't think of any in recent years nor even going back 20 years) have been produced, which centers on this thematic: Women in prison. And our society still considers female inmates, particularly those who commit capital crimes, to be an issue of "taboo" and rarely discussed openly.
The story unfolds as a therapeutic setting, in which Dr. Erin Oakley (played by actress Kate Cooke) volunteers her counseling services to aid in the women's inner processes towards wholeness and healing: Each woman ruminating and re-living emotionally each pain and tragedy, which, consequently, led to their imprisonment.
Each actor; proficient in theatrical training, has struck a nerve to each audience member in that room!
An emotional roller coaster ride in which the audience laugh, cried, cheered, and sigh with side comments and much applause!
Alicia Thomas (Michelle) delivered such a painfully vivid picture of abuse, rape and "brokenness", that it made the word 'silence' a new acronym, synonymous with the word "discomfort".
Anita Purcell (Charley) with raging dignity, surrendered to the Ultimate Source of all: The tone was such that of dogmatic religiosity that it can only be defined as-bliss.
Mayte Hernandez (Bianca) relived for us the "ugliness" of domestic abuse, violence, and murder. Her performance, equally dramatic, equally powerful, reminded me of an episode of Agnes Nixon's famous "episodic" daytime soap Opera: "One Life to Live" and everything in between. My hats off to this young actress!
Honorable mention goes to actress Nandanie Devi (Taylor), whose "comical" and "comic-style" (and there's a difference!) was very well executed on stage, being the "ice-breaker" when the thematics of the production would get too "intense". But her 'story', also dramatic and "episodic", was fascinating, surprising,and "with a twist", shocking to say the least.
I will not reveal the rest of the "stories". You will have to come and see it when it runs again...
Trust me, you will be pleasantly surprised...
The rest of the cast gave an equally fantastic performance.
Writer/Director Eureka Lewis has successfully "captured" the emotional atmosphere-not only of the prison life, but also the social-political dynamics in which such institutions are established.
The directing style was simple and linear; allowing for the complexity of each story to unfold- independent of any distractions from scenery, lights, props, and staging. It was all about "the stories".
This form of directing was an excellent choice.
Music composition and directing (by Andre "Chez" Lewis) complimented each story and each actress, in particular, with the "tempo" of each story. Brilliant! Although could have easily been done without the musical piece (meaning, that it could stand on its own as a "dramatic production"), the music added a sense of "humanity" to the play; the "final touch" if you will, in creating the emotional atmosphere of anger, anguish, and its dissolution. Again, excellent choice of the director.
Mrs. Lewis and her professional team will officially showcase this production next month or possibly November, to the GENERAL PUBLIC.
More information will be posted in the weeks to come.
So please, go see it and support the Black Theatre Community.
I give this production FIVE STARS!!!
Wednesday, February 12, 2014
FACING OUR TRUTH
THE NATIONAL BLACK THEATRE IN CONJUNCTION WITH NEW BLACK FEST PRESENTS; EBONY GOLDEN AND AXEL AVIN, JR.'S FACING OUR TRUTH: (six 10 minute plays on Trayvon, race and priviledge).
An Anthology of "related and scripted" 10 minute stage plays revolving on the sociopolitical atmosphere surrounding the criminal case of Trayvon Martin and officer George Zimmerman; and the cultural and ethnic upheaval it has caused the justice system across the country, concerning race relations against our youth, minorities, and young Black Men in particular, opened in New York City on February 5th through the 10th, 2014 at the National Black Theatre In HARLEM.
Six playwrights have received both public and private grants from sponsorship such as the NY Council on the Arts, Council Member Inez Dickens, 9th CD, speaker Christine Quinn, and the New York City Council, City of New York Department of Cultural Affairs, Columbia University, Starbucks Coffee, Home Decour, and a plethora of other powerful sponsorship and financial supporters, to commission interpretive stories addressing race relations of our YOUTH.
It is a benefit for YOUTH AT RISK (a nonprofit organization which addresses immediate needs and long term effects of AT RISK BEHAVIORS which can put the youths into DETRIMENT)
This is the first commission of its kind (since the 80's) to receive such powerful endowments to address a serious social problem, or at least begin a dialogue on how to resolve the issue of RACE. In the city as diversified and as complex as New York City (and similar cities across the United States)
Each playwright presents different "prism" of the same "issue" which leads to the "same result": VIOLENCE and POLITICAL UNREST.
The first play, "some other kid", was written by Ray Pamatma; concerning three youths which during the course of the day, has one of their fellow peers shot to death, as they find him on the street. The premise is simple enough, kids doing kids stuff, not bothering anyone and just going about their daily activities as defined by the culture of YOUTH. But in the raw innocence, a life is taken...
The first play, "some other kid", was written by Ray Pamatma; concerning three youths which during the course of the day, has one of their fellow peers shot to death, as they find him on the street. The premise is simple enough, kids doing kids stuff, not bothering anyone and just going about their daily activities as defined by the culture of YOUTH. But in the raw innocence, a life is taken...
The second play "Night Vision"; written by Dominique Morisseau was also reminiscent of the same even but in a different perspective that reflects the "universal" (every one is confronted, at some point or another, to the dark confessions of the soul), Danger always looms where there is least expectancy of danger. Misunderstanding is one such form of danger (especially borne out of stereotypical "pictoring" of people-and what's "projected" onto minority groups; even within such groups!)
The third play, "Colored", written by Winter Miller, addresses stereotypical behavior in the subway system, with young Black Men doing "tricks for a buck", with music and dancing (and the inherent prejudice which comes with such activity). The preconceived notion that all youth are dangerous and obnoxious (or at least rude) lends credence to the notion that youths are a "mixed bag", unpredictable, and prone to disrespectful behavior (perhaps precipitating further stereotypes of their "futures": either dead or in jail)
The fourth play, "Ballad of zimmerman", written by Dan M. Obrien depicts the psychological "dance" of both Trayvon (as an antagonist-but probably in George Zimmerman's "mind"), and that of George Zimmerman (deciding, after going and chasing him down, if he should "pull the trigger", in order to justify his fears which he clearly has "projected" onto the youth. And the consciousness afterwards, in which he must deal with).
The fifth play, "Dressing", written by Mona Mansour and Tala Manassah, deals with being in "one's shoes" and experiencing the opposite polarity of racism to someone who has not had the experience. Fear of "The Big Black Man", still continues to be a deeply rooted "sexual fear" and "fascination" with White Women (and not just in the United States, but in Europe, as quiet as its kept). It is not "talked about", instead, the fear is "re-routed" or "cloaked" as a veil of violence rather than sexual dominance (maybe in fear that they might "enjoy" the experience which any woman, regardless of color just might find herself experiencing).
The sixth and final play, "No more Monsters", written by Marcus Gardley, was bittersweet, but also drove the point home. Nice...
What I loved the most about both directors is the "hoodie" which was used as an underlying fabric, a symbol, if you will, of REBELLION (in the vintage point of society), and on the other side of the spectrum (from the Youth's side), a symbol of INDIVIDUALITY, IDENTITY, BUT ALSO GROUP CONSCIOUSNESS.
AWESOME!!!
The direction was very originally "unique" and is a "beacon" of what theatre will look like in the coming years. These new directors now are young, creative, imaginative, and, despite the economy, don't allow lack of funding to limit them, but raise the bar to another level. Once can tell that each segment or "stage skit" was well directed, well coordinated, and brilliantly executed.
The staging was nontraditional proscenium, but circular; allowing full view of the actors at all time, and allowing the voice projection to be evenly distributed within the theatre salon. The actors did not need microphones, for their voice projections were excellent (better than some adult traditional actors). The background, devoid of stage scenery, was a black cloth, circumfrencing the perimeter of the stage, along with a black curtain "backdrop". Very costs effective, and very functional in allowing the audience's imagination to "fill in" the rest of the images. Excellent on the part of both directors!
On the walls of the theatre salon, far stage right, far stage left, and the wall above the center stage were screens which showed images and pictures of similar themes throughout the production-allowing another dimension of interpretation which told stories unto themselves. In an hour and fifteen minutes, the information which "out flowed" on that stage was enough to substantiate three hours of standard stage performance (and interestingly fun!)
Special thanks must be rendered to Alan C. Edwards for excellent lighting design, as well as DJ Val Jeanty for sound effects, music and composition. It really set the "tone" for the entire performance.
Honorable mention goes to actors Renee Rises and Reynaldo Piniella for excellent performances. They should definitely be nominated for AUDELCO AWARDS.
This production was superb. I have no negaitve criticism, and for me, that's a first!
GOOD JOB, YOU RECEIVE 5 STARS!!!!
Sunday, June 9, 2013
AMERICAN HUNGER
AN AMERICAN SHORT FILM
PRESENTED AT THE THEATER FOR THE "NEW CITY" ON MAY 25TH, 2013, AND DIRECTED BY ACCLAIMED DIRECTOR RON BEVERLY, THIS 'SHORT' CONCERNS ITSELF WITH THE NEW SOCIOLOGICAL PARADIGM OR "NEW NORMAL" IN AMERICAN SOCIETY.
ALTHOUGH IT WAS ONLY 12 MINUTES LONG, IT FELT LIKE IT WAS TWO HOURS LONG. THE CINEMATOGRAPHY IS ABSOLUTELY GENIUS!
MR. BEVERLY SURE KNOWS HOW TO DELIVER A "PUNCH" IN A MOST DIRECT, DRAMATIC, AND THOUGHT PROVOKING FASHION WHICH WILL HAVE ALL OF US RE-ASSESSING WHAT'S IMPORTANT AND WHAT'S VALUABLE IN OUR EVERYDAY LIVES AND IN OUR SOCIETY, IN PARTICULAR.
MELINDA JACKSON, A HARD WORKING MIDDLE CLASS, TAX PAYING, GOD FEARIING AMERICAN CITIZEN BECOMES HOMELESS AND HUNGRY IN LESS THAN 24 MONTHS. LIKE SO MANY, THROUGH NO FAULT OF HER OWN, MELINDA'S AMERICAN DREAM HAS TURNED INTO AN "AMERICAN HUNGER"
THIS IS THE "LOGLINE", WHICH IN SHORT, DESCRIBES WHAT THIS SHORT FILM IS ABOUT.
BUT WHEN YOU ACTUALLY WATCH THE FILM, THE SEQUENTIAL STEPS WHICH MELINDA SPIRALS DOWNWARD IS SO UNIVERSAL, THAT IT "STRUCK" A NERVE INTO THE "PRIMAL FEARS" IN ALL OF US; WHICH IS TO BE HOMELESS AND HUNGRY.
THERE IS NO GREATER VULNERABILITY THAN THIS-AND THE FACT THAT EVERY SINGLE AMERICAN IS ONE PAYCHECK FROM BEING "HOMELESS" (given the present state of our economy), PRETTY MUCH DRIVES IT HOME!
THE ACTORS WERE CONVINCING, COMPELLING, AND COMMITTED TO THEIR CHARACTERS AND WHAT WOULD HAPPEN TO THEM.
BUT WHAT CAUGHT ME, WAS THE "COMPASSION", THE "HUMANITY" WHICH PERMIATED THROUGH EACH CHARACTER; THE "ACTS" OF KINDNESS TOWARDS ONE ANOTHER, THE WARM, GENTLE SMILES OF THE HOMELESS MAN (Played by L.B. Williams), AND THE "SHARED" HOPELESSNESS OF THE EMPLOYEES, ALL DEPICTED THE "HUMANITY" IN ALL OF US WHICH BECOMES THE REAL CASUALTY.
AMERICAN HUNGER DELIVERED THE GOODS AND IT GETS FOUR STARS!!!
Saturday, December 15, 2012
"WAITING IN LINE"
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)
Thursday, July 26, 2012
THE CREW: Episode 1 (the drop), 2 (the aftermath), 3 (Slik deal Willie)
The Crew, By Gamble Productions, Crop. is new, original, innovative, attractive, and full of a lot of testosterone! Boy! I was totally "struck" by an insidious-yet pervasive, almost "oozing" sexual tension (which didn't necessarily come across as "sexual" BUT INTENSE!).
The style of filming was also part of the "charm". Tony Napolitano knows what he's doing. Sex sells! And whether this was intentional or not, I hope he continues with this type of mysterious "surcharge" which actually drives the premise of the story and make the characters equally compelling and interesting.
For a fifteen to seventeen minutes production, this short film sure packs a punch! It is just right!
I will not reveal the story premise because I want you to see it. It will totally entertain you and actually have you really care for these characters, who were well portrayed by David Mohr, Elisa Santamaria, Greg Acceta, Skip Johnson, Finney Z. Luis, and the rest of the supporting cast.
To see all three episodes, log on to www.thecrewwebseries.com
And let me know what you think!
The style of filming was also part of the "charm". Tony Napolitano knows what he's doing. Sex sells! And whether this was intentional or not, I hope he continues with this type of mysterious "surcharge" which actually drives the premise of the story and make the characters equally compelling and interesting.
For a fifteen to seventeen minutes production, this short film sure packs a punch! It is just right!
I will not reveal the story premise because I want you to see it. It will totally entertain you and actually have you really care for these characters, who were well portrayed by David Mohr, Elisa Santamaria, Greg Acceta, Skip Johnson, Finney Z. Luis, and the rest of the supporting cast.
To see all three episodes, log on to www.thecrewwebseries.com
And let me know what you think!
Saturday, June 30, 2012
Hamlet, by William Shakespeare, directed by Toni White
Hamlet opened at the American Theater of Actors on 54th Street, New York on June 21st and will be running until July 8th, 2012.
A mixed cast, Hamlet, which happens to be one of my favorites of Shakespeare was actually very good. It was two and a half hours long (not counting intermission). And it was the most entertaining two and a half hours I ever enjoyed-concerning works of Shakespeare.
Don't get me wrong now, Shakespeare is excellent, exciting read!!! I love reading his plays-every last one of his works. HOWEVER, that being said, it is not easy to produce Shakespeare! I mean, let's be HONEST HERE!
I attended a production of KING LEAR at The National Black Theater a few years ago-and it was absolutely HORRIBLE! Not to mention a very expensive production-with pomp and the whole nine yards (for those of you who are familiar; the production bears a huge cast with expensive costumes and regalia)
And of course, it doesn't matter whether it is a White Production or a Black Production, off Broadway or a First Class Production (BROADWAY). It is just not happening!
But this production is different. I sat until six o'clock in the morning, having seen it the night before, trying to figure out what made this production WORK!
AHA! The cast did an EXCELLENT job in making their characters IDENTIFIABLE TO US!!!
This was not a SHOWCASE of beautiful people, plastic people, model types or even classical types. These characters were not elitists nor full of pomposity (as Shakespearean plays seemed to be portrayed in school or academic settings). They seemed real, human, and ordinary. Seeing ghosts or ethereal figures may have been mysterious and even romantic then, but it didn't abate the terror, and fear-or PRIMAL EMOTIONS which all of us can IDENTIFY WITH. Today, we call such conditions, MENTAL ILLNESS, and with all the stigma, shame, and eventual tragedy, are no different than what any family today has to deal with-concerning mental illness. The same progression of the illness which struck HAMLET, is the same progression which can happen to ANYONE OF US (God forbid!)
This production explored those angles. I don't think that's ever been done before. It appeals to young audiences as well. This is a significant find! It keeps Shakespeare ALIVE for the next generation to ABSORB and LEARN from.
I like the characters in this play. King Lear? I could not wait until they killed his ass (so I can leave!)
Actor Jarde Jacobs plays Hamlet (he was a soap actor in the daytime series GUIDING LIGHT). And the seductive suggestibility of his body language on stage proves that he can multi act on several "planes" simultaneously. It made him charming, likeable and vulnerable (the ingredients in making a male actor into an audience "heart throb"). There was also tremendous humor which made Hamlet for me, three dimensional. Again, it could be anyone of us!
But what did it for me was actor Jara Jones who played Claudius and the Ghost. WHAT A PERFORMANCE!!! So dramatic, so "juicy" and compelling, provocatively clever and just plain good acting!
If anyone was 'dozing off' in that audience (not because the performance was slow, but because it was HOT with no AC), when he came out-YOU WOKE! (sorry for the ghetto language. I know I'm breaking rules here)
But I feel this production breaks the rules, too. There were no period clothing or costumes to distract you from the storyline. The actors were made bare to us, almost transparent.
Fred Dennehy who plays Polonius, no doubt, a 'seasoned' Shakespearean actor, was as always, eloquent, crisp in his language and style, and POTENT. This actor knows what an audience wants.
I really did try to find something bad about this production, but I couldn't! I guess you really have to like Shakespearean plays in order to appreciate one.
Honorable mentions should go to actress Aryanna Celenda, who played Ophelia for her excelling timing, staging, and acting. There was lots of subtext to her character, and whether she meant to make this choice or not-it ADDED to the mystery and atmosphere of the play.
Mr. White should be most proud of his cast and crew for pulling off this excellent production. HAMLET RECEIVES FIVE STARS!!!
A mixed cast, Hamlet, which happens to be one of my favorites of Shakespeare was actually very good. It was two and a half hours long (not counting intermission). And it was the most entertaining two and a half hours I ever enjoyed-concerning works of Shakespeare.
Don't get me wrong now, Shakespeare is excellent, exciting read!!! I love reading his plays-every last one of his works. HOWEVER, that being said, it is not easy to produce Shakespeare! I mean, let's be HONEST HERE!
I attended a production of KING LEAR at The National Black Theater a few years ago-and it was absolutely HORRIBLE! Not to mention a very expensive production-with pomp and the whole nine yards (for those of you who are familiar; the production bears a huge cast with expensive costumes and regalia)
And of course, it doesn't matter whether it is a White Production or a Black Production, off Broadway or a First Class Production (BROADWAY). It is just not happening!
But this production is different. I sat until six o'clock in the morning, having seen it the night before, trying to figure out what made this production WORK!
AHA! The cast did an EXCELLENT job in making their characters IDENTIFIABLE TO US!!!
This was not a SHOWCASE of beautiful people, plastic people, model types or even classical types. These characters were not elitists nor full of pomposity (as Shakespearean plays seemed to be portrayed in school or academic settings). They seemed real, human, and ordinary. Seeing ghosts or ethereal figures may have been mysterious and even romantic then, but it didn't abate the terror, and fear-or PRIMAL EMOTIONS which all of us can IDENTIFY WITH. Today, we call such conditions, MENTAL ILLNESS, and with all the stigma, shame, and eventual tragedy, are no different than what any family today has to deal with-concerning mental illness. The same progression of the illness which struck HAMLET, is the same progression which can happen to ANYONE OF US (God forbid!)
This production explored those angles. I don't think that's ever been done before. It appeals to young audiences as well. This is a significant find! It keeps Shakespeare ALIVE for the next generation to ABSORB and LEARN from.
I like the characters in this play. King Lear? I could not wait until they killed his ass (so I can leave!)
Actor Jarde Jacobs plays Hamlet (he was a soap actor in the daytime series GUIDING LIGHT). And the seductive suggestibility of his body language on stage proves that he can multi act on several "planes" simultaneously. It made him charming, likeable and vulnerable (the ingredients in making a male actor into an audience "heart throb"). There was also tremendous humor which made Hamlet for me, three dimensional. Again, it could be anyone of us!
But what did it for me was actor Jara Jones who played Claudius and the Ghost. WHAT A PERFORMANCE!!! So dramatic, so "juicy" and compelling, provocatively clever and just plain good acting!
If anyone was 'dozing off' in that audience (not because the performance was slow, but because it was HOT with no AC), when he came out-YOU WOKE! (sorry for the ghetto language. I know I'm breaking rules here)
But I feel this production breaks the rules, too. There were no period clothing or costumes to distract you from the storyline. The actors were made bare to us, almost transparent.
Fred Dennehy who plays Polonius, no doubt, a 'seasoned' Shakespearean actor, was as always, eloquent, crisp in his language and style, and POTENT. This actor knows what an audience wants.
I really did try to find something bad about this production, but I couldn't! I guess you really have to like Shakespearean plays in order to appreciate one.
Honorable mentions should go to actress Aryanna Celenda, who played Ophelia for her excelling timing, staging, and acting. There was lots of subtext to her character, and whether she meant to make this choice or not-it ADDED to the mystery and atmosphere of the play.
Mr. White should be most proud of his cast and crew for pulling off this excellent production. HAMLET RECEIVES FIVE STARS!!!
Subscribe to:
Posts (Atom)