After 12 years in the television-news business, I spent my first Election Day in more than a decade not covering the elections, but rather seeing a play about a bid for the presidency and the decision of whether to use personal attacks on opponents. And while watching the District Theatre's The Best Man, directed by Bryan Tank, I wondered if the point being made in this political morality play - that the business of politics is on a downward moral spiral - is one that needs to be made. Don't we, as a nation, already know that dirty politics are wrong, and doesn't this make the message of playwright Gore Vidal's 1960 work dated? A day later, though, I read an article about personal attacks and dishonesty continuing to be a part of political campaigns because these tactics work, and so Vidal's play, for better or worse, appears relevant after all.
On Thursday, the District Theatre debuted a most admirable, impressive production of Martin McDonagh's The Pillowman, a play boasting numerous surprises both major and minor. Yet if the reactions of a few of the evening's audience members are to be trusted, it might be necessary to spoil a few right off the bat.
When the cast for the Harrison Hilltop Theatre's Sweeney Todd: The Demon Barber of Fleet Street was revealed several weeks ago, I'll admit I was concerned. While I'd previously admired the work of most of the actors, I wasn't sure they were up to the tasks of the roles they'd been awarded - chiefly Tom Walljasper, cast as the titular barber. While Walljasper excels at comedic roles, I worried that, with his smirking, tongue-in-cheek style of delivery, he wouldn't be able to carry the dramatic weight of Stephen Sondheim's killer character. But after seeing Thursday's opening-night performance, I'm pleased to admit that I was wrong. Very wrong; Walljasper's ability to handle the role was apparent with the first lyric he sang, which carried with it a dark, sinister, intense appeal.
I fall for Adam Overberg's onstage charm with every new performance. He has a demeanor, a presence, that captivates me, and he proves his diversity as an actor over and over again. With the Harrison Hilltop Theatre's I Love You, You're Perfect, Now Change, though, he adds singing to the long list of talents he possesses, and while his voice may lack polish, Overberg's vocals remain enthralling through his interpretations and comedic delivery.
In the Harrison Hilltop Theatre's current take on John Steinbeck's Of Mice & Men, actor Jim Seward plays the chatty, friendly ranch hand Candy, and at one point tells a story about his boss treating the workers to a gallon of whiskey for Christmas. It's a charming little reminiscence - Candy, in the terrifically ingratiating personage of Seward, giggles with delight at the memory - but it's also one that would probably be quickly forgotten if the scenes that followed didn't keep bringing it to mind.
Director Lora Adams' Village Theatre production of The Boys Next Door opens and closes on the solitary figure of actor Jason Platt, and his portrayal here begs the question: Is there anything the man can't do?
Sure, it's the Greek tragedy to end all Greek tragedies. But is any stage tragedy, Greek or otherwise, as unashamedly, wickedly enjoyable as that of the fall of Oedipus?
In New Ground Theatre's current production of playwright Julie Marie Myatt's Cowbird, Patti Flaherty is a glorious wreck.Subscribe & Listen to Reader Podcasts
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