21
Jul
2014
There were moments during Friday's performance of the Prenzie Players' Doctor Faustus in which I was creeped out, but with a fascination that had me begging for more. Director Jake Walker, sound designer Elizabeth Spoerl, and lighting designer Tyson Danner create effectively ominous scenes, particularly those involving chanting or whispering from behind the black curtains surrounding the audience, or red light pouring forth from an opening in that cloth wall. Chills ran up my spine, goosebumps rose along my legs and arms, and the hair on the back of my neck stood up multiple times - all signs of a thrilling production.
The opening scene of Norm Foster's Wrong for Each Other at Geneseo's Richmond Hill Barn Theatre had me worried that I was in for a fluffy, surface-level relationship comedy in which a divorced man and woman reunite after reminiscing about the happiest moments of their shared past. Thankfully, Wrong delved under that flimsy comedic surface and let viewers in on the arguments and unfortunate familial circumstances that steered the relationship of Rudy Sorenson (Chris White) and Nora Case (Jessica Nicol White) toward an inevitable separation. And while Wrong panders with a predictable ending and plenty of witty banter between the real-life newlyweds, the script felt the most natural, the most right, when its characters stopped putting so much effort into entertaining the audience, and focused on each other.
In the Playcrafters Barn Theatre's current production of Crimes of the Heart, Ashley Hoskins portrays Babe, the youngest and most eccentric of playwright Beth Henley's Magrath sisters, and the actress is like a nervous breakdown on legs.
Watching Arcadia, the Tom Stoppard jigsaw puzzle currently playing at the Richmond Hill Barn Theatre, is like watching a really engrossing foreign-language film without subtitles. You may not understand what's going on, but the actors and director seem to, so you strive to make sense of the proceedings through the performers' inflections, reactions, and occasional lines of dialogue where the meaning is evident. You find yourself desperately wanting to get it.
I've seen plenty of stage sitcoms over the years, but based on Over the Tavern and its sequel, King o' the Moon - currently playing at the Richmond Hill Barn Theatre - Tom Dudzick appears to be that rare stage-sitcom creator with soul.
For its production of David Auburn's Proof, however, the theatre's playing area has been transformed into a three-quarter-thrust stage (Proof's front-porch setting designed against the Barn's fourth wall), and at the Friday-night performance I attended, the "best seats in the house," directly facing the set, were already filled by the time I arrived; instead, I took a seat on the stage-left side of the theatre. But for future Proof audiences - and I hope that includes many, many of you - who may find themselves in a similar situation, I'm here to tell you not to sweat the view in the least.
