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Theatre
Richmond Hill Plants a Not-Bad "Seed" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 11 October 2005 18:00
The Richmond Hill Barn Theatre’s production of Maxwell Anderson’s The Bad Seed is entertaining stuff, yet you might not believe more than a few words of it. The sincerity that director Jalayne Riewerts gives the piece is admirable, but also a little misguided, because the show often aims for penetrating insight and forgets why audiences love The Bad Seed in the first place – not for its psychology, but because of the inherent fun in watching an eight-year-old sociopath get away with murder.

 
Heaven Help Us!: "Meshuggah-Nuns!" at the Circa '21 Dinner Playhouse PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 27 September 2005 18:00

My parents, being good people, raised me to believe that if you couldn’t say something nice, you shouldn’t say anything at all. Of course, they couldn’t have imagined I’d wind up a reviewer, nor that I’d wind up having to devote 700 words to Meshuggah-Nuns!

 
Maintaining Balance on a Bumpy "Road": New Ground Theatre's "Scotland Road" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 20 September 2005 18:00

(Warning: Though I’ve tried to be circumspect, details on Scotland Road’s mysteries may slip out. Proceed with caution.)

 

The psychological drama Scotland Road, the first production in New Ground Theatre’s 2005-6 season, is both entertaining and disheartening – entertaining because of the skill of director Michael Oberfield and his cast, disheartening because playwright Jeffrey Hatcher’s work doesn’t quite seem to deserve their skill.

 
Missed Connections: "The Nerd" at the Playcrafters Barn Theatre, and "Broadway Bound" at the Old Creamery Theatre PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 13 September 2005 18:00

The Nerd at Playcrafters Barn Theatre Through September 25

 

As the lights come up on Playcrafters’ production of Larry Shue’s The Nerd, we find ourselves in the Terre Haute, Indiana, living room of architect Willum Cubbert (Josh Kahn), whose pseudo-girlfriend, Tansy (Jessica Nicol), and drama-critic friend, Axel (Chris White), are throwing him a surprise birthday party. For about 20 minutes, the three characters chat, and all the while, the light from the evening sky – seen through Willum’s living-room windows in the rear of the stage – is going through the most amazing transformation. The reddish-pink hues from outside begin to subtly shift to a lovely magenta, and within time, they will have morphed into a deep, midnight blue with a hint of purple; it’s a beautiful, subtle effect, well-achieved by designer Jennifer Kingry.

 
"Noises Off," Ghostlight Is On PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 13 September 2005 18:00
As the adage goes, “Dying is easy; comedy is hard.” Noises Off sure is. Saying that Michael Frayn’s farce requires precision is like saying a fish requires water or Jennifer Lopez requires publicity; the show’s very survival rests on the hairbreadth timing of its repartee and comic business. Frayn’s work is so tightly structured and its momentum so dizzying that the slightest inappropriate pause can completely knock you out of the show’s rhythm, and so I applaud Ghostlight Theatre for not only for tackling the script but often triumphing with it. Dying is easy, comedy is hard, and Noises Off is freakin’ hard.

 
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