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items tagged with Tom Morrow

Unreasonable Doubts: "12 Angry Men," at the Playcrafters Barn Theatre through May 18
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2008-05-14 08:16:39

12 Angry Men ensemble members Near as I can tell, there are two types of people: those who like Reginald Rose's jury-room drama 12 Angry Men, and those who haven't seen it yet. So speedy and smart, so filled with personality and (mostly) unforced emotion, the work seems practically indestructible, and I actually fall into a special subset of people: those who love 12 Angry Men with a passion bordering on mania. (Between Sidney Lumet's 1957 film version and the 1997 television remake, I've watched it - and this is a conservative estimate - more than three dozen times.) So it was with nearly delirious excitement, and just a touch of dread, that I attended the Playcrafters Barn Theatre's Saturday-night presentation of the show, the first stage production of Rose's piece that I'd seen.


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Sets Appeal: St. Ambrose University’s "Charlotte’s Web" and Music Guild’s "Miracle on 34th Street"
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2007-12-05 08:40:32

Ryan Westwood and Emily Christiansen in Charlotte's Web If I counted correctly, St. Ambrose University's Charlotte's Web and Quad City Music Guild's Miracle on 34th Street featured a grand total of five dozen actors between them. Yet the true stars of both musicals weren't among those individuals; despite boasting an excellent Wilbur the Pig in Ryan Westwood, Charlotte's Web was primarily a triumph for set designer Kristofer Eitrheim, and Miracle belonged to no one so much as scenic artist Bob Williams. Eitrheim's and Williams' contributions were dazzling, and my only regret in raving about their work now is that it's too late for new audiences to admire it. (Both presentations ran only one weekend and closed on December 2.)


Read More About Sets Appeal: St. Ambrose University’S "Charlotte’S Web" And Music Guild’S "Miracle On 34th Street"...


Death Becomes Him: "Death Takes a Holiday," at the Richmond Hill Barn Theatre through April 22
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2007-04-18 08:21:05

Dave Rash, Jim Driscoll, & Molly McLaughlin in Actors frequently speak of performers who "raise the bar," whose personal performance standards are so high that they challenge - and inspire - their co-stars to match them. In Death Takes a Holiday, the comedy/drama/supernatural romance currently playing at the Richmond Hill Barn Theatre, James Driscoll raises the bar so high it's practically celestial.


Read More About Death Becomes Him: "Death Takes A Holiday," At The Richmond Hill Barn Theatre Through April 22...


Twisted Sisters: "Arsenic & Old Lace," at the Richmond Hill Barn Theatre through February 25
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2007-02-21 08:26:26

Kevin DeDecker, Dan Faust, and Tom Morrow in When the Richmond Hill Barn Theatre's current production of Arsenic & Old Lace is really rolling, this venerated black comedy (well, dark-gray comedy) is absolutely delightful. The problem, though - or rather, the problem with last week's opening-night performance - is that Richmond Hill's production doesn't so much roll as lurch; despite their frequently endearing characterizations, the actors on Thursday evening had so much trouble getting their words out that the show never quite found a satisfying rhythm. The experience was like taking a vacation road trip in a vehicle that keeps threatening to stall: You've made it to your destination, and you've had a good time along the way, but you're still a little grateful when it's over.


Read More About Twisted Sisters: "Arsenic & Old Lace," At The Richmond Hill Barn Theatre Through February 25...


Not Exactly Hot, but Awfully Sweet: "Sweet & Hot: The Songs of Harold Arlen" at Playcrafters
Written By: Mike Schulz
Section: Theatre

Category: Reviews

2006-05-17 07:39:18
About four months ago, my schedule forced me to catch the first dress rehearsal of Playcrafters’ Over the River & through the Woods as opposed to a paid performance, and so I took some personal responsibility for my dissatisfaction with the show; a lot of what seemed to be lacking, I thought, could easily have improved by opening night. It seemed a little unfair to be critiquing a rehearsal. (What better place to err than rehearsal?)

Well, circumstances dictated that I again catch a Playcrafters production before its official opening – I saw the Barn Theatre’s Sweet & Hot: The Songs of Harold Arlen at a preview on Monday, May 8 – for which I apologize. But I don’t apologize much, because this revue already has the right spirit and a host of good feelings (and good performances) exuding from it. This didn’t feel like a rehearsal; it felt like a performance, and a delightful one.

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