“The word 'theatre' comes from the Greeks. It means 'the seeing place.' It is the place people come to see the truth about life and the social situation.” – Stella Adler
The QC Theatre Workshop's latest production, Pulitzer Prize-winning playwright (and Davenport native) Susan Glaspell's Inheritors, is rightly the place to look for one's truth in life, and to understand views on a diverse archive of social situations.
The QC Theatre Workshop's Tribes didn't start off well for me on Friday, as I immediately hated Adam Cerny's overacting, with eye rolls so huge I was sure anyone in the lobby could see them through the curtain that separates it from the performance space. So I prepared myself for two hours of such overly dramatic physicality, after first cursing director Jennifer Popple for casting Cerny as a son in playwright Nina Raine's troubled-family saga.
Playwright Aaron Randolph III has, so far as I know, effectively captured the mental workings of a soldier suffering from post-traumatic stress disorder in his new drama A Green River. A representation of the chaotic, haunting thoughts likely experienced by some soldiers with PTSD, his play takes us through the memories of a single soldier - from childhood to falling in love to combat to his return home - while the young man revisits his favorite quiet place along a river. And as if the proceedings in Randolph's story weren't enough, he also includes a stunningly moving finale that packs such an emotional punch that I'd be surprised if most, if not all, of Saturday's audience members for the QC Theatre Workshop production aren't still reeling from it.
What starts as a theatre audition quickly becomes something entirely different in the QC Theatre Workshop's second production, Private Eyes. And this change from what's real to what's ... well ... something else is something I don't want to fully describe, because such a shift happened several times - and at very unexpected moments - during Friday's performance, making the evening a bit of an intriguing thrill that repeatedly piqued my curiosity.
New Ground Theatre's current offering, Mr. Marmalade, is about four-year-old Lucy and her imaginary friends. Suicidal, coke-snorting, physically and mentally abusive imaginary friends. And it's incredibly funny. One particularly dark scene during Thursday's performance, in fact, had me laughing so hard, for so long, that I was wiping away tears by the end of it.
I quite appreciate the way Kimberly Furness and Eddie Staver III work with tension, using silence, emotional distance, anger, and passionate desire, among other acting tools, to portray the intensity (or lack thereof) in their onstage relationships. Their violent, sometimes stunted, oftentimes broken, yet undeniably sensual connection in both the Curtainbox Theatre Company's Danny & the Deep Blue Sea in 2008 and Fool for Love in 2010 was breathtaking to watch. And while their current efforts in Time Stands Still are much more subtle, they're no less dramatic. Instead of their stunning physical work in the previous two shows, Furness' and Staver's performances here rely on the verbal and emotional aspects of their relationship, one superbly crafted by these gifted actors.
Last month, the locally produced zombie comedy A Cadaver Christmas was named Best Professional Feature at the Cedar Rapids Independent Film Festival, and given its title, you'd rightly expect the movie to have its tongue stuck firmly in its cheek. Most likely, after being gnawed off and spit out by the groaning, lumbering undead.
