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items tagged with Bryan Woods

No Taxation Without (Satiric) Representation: “The Acharnians,” at Lincoln Park through August 4
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2013-07-29 12:00:00

Calvin Vo and Bryan Woods in The AcharniansThis year’s end-of-season Greek comedy by Genesius Guild, The Acharnians, is high on political humor, musical numbers, and sharply funny barbs at the expense of local organizations – especially Genesis Health System and Trinity Regional Health System (now UnityPoint Health) – and the cities of Moline, Davenport, and Rock Island. And I was smiling from ear to ear during almost the entirety of Saturday’s performance, tickled by the clever jokes, amusing songs, and even the groan-worthy puns.


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Saturday Bloody Saturday: "Coriolanus," at Lincoln Park through July 21
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2013-07-15 12:00:00

Bob Hanske and Tyler Henning in CoriolanusIt's always a pleasure to be able to laud the chorus members of a production, and that's certainly appropriate for Genesius Guild’s presentation of Shakespeare’s Coriolanus; the crowd scenes involving the Roman citizens – a group made up of 15 actors – are some of the most dynamic moments in co-directors Bryan Woods’ and Don Wooten’s production. Usually seen angrily protesting something, there’s a palpable energy in these performers' collective presence as the group storms the stage and creates a general hubbub in the background, adding more realism than would be on display had they merely stood in place and interjected occasional comments. Stirring things up beginning with the opening scene, and appearing multiple times throughout the course of the play, this charismatic group sets the stage for what proves to be an entertaining evening.


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Apollo's Creed: "Alcestis," at Lincoln Park through July 7
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2013-07-01 12:00:00

Jason Dlouhy, Bob Hanske, Doug Adkins, and Katie Ross in AlcestisEuripides' Alcestis marks the first Genesius Guild production of a Greek tragedy I’ve seen without doing advance research on the play’s plot, which I usually do out of fear of being lost. I’m happy to say, though, that I did not get lost in the slightest during Saturday’s performance, thanks to the production's clear plot points and dialogue, ample projection from the actors speaking from behind sound-inhibiting masks, and the comfortable flow of Dori Foster’s direction. The play is interesting in its exploration of fate, and also entertaining by way of costumer Ellen Dixon’s simple yet elegant designs (particularly for the women in the chorus), Earl Strupp’s aesthetically pleasing masks (with their glittery colors and wisps of escaped locks of hair), and the cast’s earnest characterizations.


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Miller Time: "Death of a Salesman," at the Richmond Hill Barn Theatre through April 21
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2013-04-15 12:01:00

Jim Driscoll and Dana Moss-Peterson in Death of a SalesmanThe Richmond Hill Barn Theatre's Death of a Salesman marks one of James Driscoll’s most powerful, effective, fully realized performances to date, which is saying a lot given the actor’s résumé, which includes roles such as Long John Silver in the Playcrafters Barn Theatre’s Treasure Island and his multiple characters in last year’s Anton in Show Business for New Ground Theatre. During Friday’s presentation, I was awed by Driscoll’s ability to shift from sanity to a mental confusion bordering on insanity as his Willy Loman transitioned from his vision of his past to a moment in the present. Driscoll accomplishes this both through physical gestures, such as rubbing his head as if sweating, and vocal inflection, as his voice becomes more frantic and emotional during his state of confusion.


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Farce of Habit: "Noises Off," at the Richmond Hill Barn Theatre through October 14
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2012-10-08 12:00:00

David Lane, Molly McLaughlin, and Stan Weimer in Noises OffAs much as I love theatre-in-the-round, I recognize that not all plays work in a 360-degree environment. Take, for instance, Noises Off, the current offering at the Richmond Hill Barn Theatre. A farcical comedy about the staging of a play (within the play) titled Nothing On, the show's second act offers, essentially, a view of the first act’s goings-on seen from backstage, and the production’s set is typically turned 180 degrees during the intermission to allow for that behind-the-scenes look. Consequently, prior to Thursday's performance at the Barn, I was baffled as to how director Jalayne Riewerts would pull off, in the round, this production of author Michael Frayn’s farce. She does it, it turns out, by not staging the piece in the round.


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