After attending the New Ground Theatre's production of Jacob Marley's Christmas Carol, I wasn't much surprised to learn that Tom Mula's play has been broadcast on NPR numerous times now; a dramatization of Charles Dickens' Christmas Carol story through Marley's point-of-view, the show, with its blend of performance and frequent narration, seems tailor-made for radio. What I can't understand, though - at least based on New Ground's presentation - is what makes it a good fit for the stage.
I'm good friends with more than a few actors who frequently perform at the Circa '21 Dinner Playhouse, and I'm occasionally asked if my ties to them - and to the venue itself - skew my opinions about Circa '21 productions. I'd like to think they don't ... but then I'll be confronted with a production such as The Elves & the Shoemaker. I had a blast at the theatre's new family musical, yet I'm forced to address a nagging issue: Did I enjoy it because it's good, or did I enjoy it because the act of watching my pals doing goofy-ass shtick in goofy-ass costumes makes me unaccountably happy?
Friday's performance of Irving Berlin's White Christmas at the Circa '21 Dinner Playhouse was so joyous, so committed to giving audiences a good time, that it easily transcended its opening-night technical gaffes. Hell, the sound system could've exploded and the set could've come crashing down - knock knock knock - and the cast still would have sold the show.
James McLure's Lone Star, currently being produced at Moline's Black Hawk College, is one of the most delightful theatrical surprises of 2006. Set in the mid-'70s outside a small-town bar in Texas, McLure's one-act is an extended conversation between two brothers - Roy (Damian Cassini), newly returned from Vietnam with emotional baggage and a serious drinking problem, and his sweetly obtuse younger sibling Ray (Jeremy Kelly), whose "football knee" kept him out of service. Over the course of an hour, the brothers bicker, bond, and briefly converse with the town dweeb, Cletis (Nicholas Waldbusser), and all throughout, Lone Star beers are endlessly consumed; by the play's end, Roy will barely be able to stand.
A busier-than-usual weekend dictated that I catch a final dress rehearsal for the Playcrafters Barn Theatre's Our Town on Monday, and at the well-attended preview, I found myself seated behind two couples who chuckled while perusing the program - their amusement stemmed from realizing that Thornton Wilder's play would be produced in three acts, and, as one of the women laughed, "We'll be here past our bedtime."
Lee Blessing's The Winning Streak, currently at Davenport's Nighswander Theatre, is one of those shows that could easily read better than it plays.
Here's one for fellow fans of Peter Jackson's Lord of the Rings trilogy: You know how badly we wanted to see The Two Towers after The Fellowship of the Ring? That's how badly I want to see the Prenzie Players' King Henry the Fourth after Saturday night's production of King Richard the Second.
Most people - whether they've had theatrical experience or not - understand the concept of the Actor's Nightmare. You don't know your lines, you're not in costume, you don't even know what play you're in ... yet you somehow find yourself on stage, in front of an audience, and expected to perform. Now.
During Bertolt Brecht's The Threepenny Opera - the German dramatist's revolutionary musical-comedy collaboration with composer Kurt Weill - we're meant to feel uneasy. With its cast of beggars and rogues, obliteration of the fourth wall, and refusal to cater to conventional audience expectation (the songs here, devoid of proper finales, don't so much finish as stop), The Threepenny Opera is a fascinating, deliberately alienating piece. Our enjoyment stems from how unconventional the show is, but in no traditional sense are we meant to simply like it.Subscribe & Listen to Reader Podcasts
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