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Oct 07 2019
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Agatha Christie’s “Murder on the Orient Express” at Meadow Brook Theatre, Rochester Hills MI

By Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle) and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Illustration by Chet Johnson

Photo by Sean Carter

Murder on the Orient Express

All Aboard for Chills and Thrills on “Orient Express”

Even if you’ve seen any or all of the various incarnations of this story on film and TV, “Murder on the Orient Express”, Meadow Brook’s 54th season opener, feels fresh and full of surprises, beginning with the frightening first scene. Acclaimed playwright Ken Ludwig (“Lend Me a Tenor”) was commissioned by the Agatha Christie estate to write the very first stage adaptation of her iconic mystery novel especially for the McCarter Theater Center in Princeton NJ. It was presented in March 2017. As of October 2019, it currently has dozens of productions being presented in cities all over the U.S.

Meadow Brook’s production features breathless suspense and action onstage so engrossing that the intermission seems to arrive much too soon, and you can’t wait for the second act to begin. Ludwig’s compact script includes a cast whittled down to just 12 characters. Running at a brisk 2 hours, it chugs along at a breakneck pace, liberally infused with humor and silly bits. The pre-recorded score features the spellbinding “Dance of the Knights” from the opera “Romeo and Juliet” by Russian composer Sergei Prokofiev.

It’s winter 1934, in Istanbul, and renowned detective Hercule Poirot is on vacation. He receives an urgent message to return to London immediately on the Orient-Express. Soon enough, a snowdrift is blocking the tracks, there’s a murder to solve, and every single passenger onboard could be the killer.

The cast in this classic whodunit performs well as an ensemble. Each one has their illuminating moment, all coming together at the end as the mystery is revealed. As Poirot, Ron Williams has an air of harmless eccentricity, walking with mincing, almost painful steps. He carries the role with restrained authority, although he underplays the part, lacking a certain inner fire. The character Poirot has always seemed to possess a burning intellect and curiosity barely contained by his obsessive need for control.

Stephen Blackwell delivers fine performances in dual roles as the sinister Samuel Ratchett and the passionate Scotsman, Colonel Arbuthnot. Ruth Crawford offers a commanding presence as the exiled Princess Dragomiroff, who bears more than a passing resemblance to Downton Abbey’s Lady Violet, but with a Russian accent. The irascible Princess trades snipes with brassy American broad Helen Hubbard, played with scene-stealing charm by Lynnae Lehfeldt. Craig Bentley is authentic and a steadying influence as Poirot’s longtime friend and railroad executive Monsieur Bouc. Also noteworthy is Cheryl Turski’s compelling performance as Countess Andrenyi. Rounding out the talented cast is Chip Duford, Hannah Niece, Sara Catheryn Wolf and Peter C Prouty.

Ron Williams, Lynnae Lehfeldt, Peter C Prouty

Scenic Designer Brian Kessler’s set (except for the opening scene) consists entirely of two railroad cars: a sleeper car and a dining car, plus a caboose. The cars, with actors inside, rumble back and forth across the stage in a very realistic fashion.  While the slightly drab set fails to project the opulence and beauty of the real Orient-Express, it is nonetheless a compelling bit of stagecraft in motion. Costumes by Corey Collins effectively evoke the period, with a few really lovely dresses worn by upper-class ladies. Reid Johnson’s lighting, and especially Mike Duncan’s sound, are excellent complements to the proceedings. Falling snow is a nice touch – wonder who had to shovel it after the show?

Strong directing by Travis Walter is a testament to his skill, with taut pacing and creative tension in each scene. This is an especially challenging show to stage, because we must see inside the railroad cars, so walls have to be minimized or removed, calling on the audience’s suspension of disbelief even more than most productions.

 

 

When: Now through October 27, 2019

8:00 p.m. Wednesdays, Thursdays, Fridays; Saturdays Oct 12 & 26

6:30 p.m. Sundays

6:00 p.m. Saturday, October 19

2:00 p.m. Wednesdays & Sundays; Saturdays October 12 & 26

Tickets $36 to $46

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

 www.mbtheatre.com

 

Meadow Brook Theatre is supported in part by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, the Kresge Foundation, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Sep 16 2019
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Ragtime the Musical, Presented by Stagecrafters at Baldwin Theater, Royal Oak MI

By Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Stagecrafters

Ragtime Ensemble Casts

 

 

Dazzling, Daring “Ragtime” Arrives at the Baldwin’s Main Stage

 

The turn of the last century was the gateway to America’s modern era. Revolutions in communication, transportation, society and culture were happening almost daily. The musical “Ragtime”, one of the most important and ambitious shows Stagecrafters has ever presented, offers a unique perspective on our nation’s evolving struggles with income and social injustice during those turbulent times.

Gracing this spectacular show are rousing anthems, moving ballads, period jazz and that ever-popular ragtime, which was born in the 1890s in black music halls. The emergence of ragtime, a uniquely American musical form, at the dawn of the Twentieth Century represents the first time African-American music had such an impact on popular culture as a whole.

Based on E.L. Doctorow’s 1975 historical novel, “Ragtime” was adapted for the stage by Terence McNally and set to music by Stephen Flaherty, with lyrics by Lynn Ahrens. It premiered on Broadway in 1998 and received 13 Tony nominations, winning four awards, including Best Original Score and Best Book of a Musical. With its extravagant production budget, it was a popular success, but not a financial one, and received mixed reviews.

Center – Sophie Lavallee, Patrick Lane

Doctorow spins an epic tale, spanning the years from 1906 through 1914, which takes place in New Rochelle, NY, Harlem and Atlantic City. The show’s first number sets the stage, putting you squarely in the context of the period. We are introduced to the celebrity sensations of the day, like magician Harry Houdini, artist’s model and showgirl Evelyn Nesbit, automotive magnate Henry Ford and leader Booker T. Washington. Note that McNally’s book takes creative license with some of the real-life characters to make them more entertaining for the stage.

An epic tale needs an equally epic cast. A total of nearly 60 performers take the stage, including the ensemble casts which represent three diverse social and economic classes: the New Rochelle Ensemble (privileged white upper class); the Harlem Ensemble (oppressed blacks); and the Immigrant Ensemble (struggling newcomers).

In one opening sequence, the different ensemble casts rotate around each other onstage, warily eyeing each other, to the lively syncopated rhythm of that newest music, ragtime.  The main storylines focus on individuals representing each group: for New Rochelle’s wealthy white enclave is a family known only as Mother, Father, Little Boy, Grandfather and Younger Brother; Harlem’s story is told through the eyes of ragtime musician Coalhouse Walker and his beloved, Sarah; the Immigrants are seen through the experiences of a widowed Jewish-Latvian artist named Tateh, and his young daughter, known only as Little Girl.

The entire cast is strong, yet there are standouts. Kaela Green as Sarah delivers gorgeous vocals, showcased in several numbers including “New Music”. She and Dez Walker, superb as Coalhouse, have hauntingly lovely duets in “The Wheels of a Dream” and “Sarah Brown Eyes”. Walker offers a compelling performance as the gifted, tragic, tenderhearted Coalhouse.

Ragtime Cast – Harlem

Sara Rydzewski offers a warm and compassionate performance as Mother, with a forceful, melodic voice. Hers is a pivotal role – a sort of loving bridge between the privileged whites and the blacks and immigrants who strive for justice. Her Younger Brother (Matthew Miga) shares her desire to offer a helping hand, as only those in power can. Her obstinate husband, played by Edmond Guay, eventually comes to see how harmful his attitudes are.

Newly-arrived immigrant Tateh, in a captivating performance by Patrick Lane, is a talented and creative man and father. Lane’s Tateh is upbeat, funny, caring and determined, the kind of guy America should want. But still he struggles, yet prevails in the end in one of the most endearing examples of fulfilling The American Dream.

Director Randall Wrisinger takes on this sweeping spectacle with sure-footed staging, no easy task with the largest cast ever to appear on the Baldwin stage. There are times when the energy seems to flag a little, but the overall effect is a triumph for the cast and crew.

Video projections onstage, skillfully guided by Michael Grice and Geoff Wrobel, and perfectly-timed sound effects by Bob Minchella are nice enhancements to the simple set by Tim Hughes. Good lighting effects by Matt Weber help lend texture and contrast to the ever-changing scenes. Valerie Mould’s choreography has some excellent moments, especially in numbers like “His Name Was Coalhouse Walker”.

There are over 50 songs, each with different performers. The 15-piece orchestra, conducted by Wrisinger and assistant conductor Jay Smith, handles the challenging score with assurance, with only a few pitchy spots that will hopefully be worked out.

Ragtime – New Rochelle Ensemble

The storytelling in McNally’s script itself is only partly successful. It can be cumbersome and hard to follow. But even though there’s a lot to take in and the message loses its focus at times, this powerful show remains relevant, engaging and appealing. A caveat: there are some truly dark moments onstage, and the wince-inducing racist language reflecting attitudes of those times can be hard to listen to.

Even though we’re looking back over 100 years ago, we know progress has been halting, and the lessons have not yet been completely learned. Every human being has value, and deserves equal respect and justice. We have come a long way as a nation, with a long way yet to go. “Ragtime” illuminates one stepping-stone on our ever-winding path.

Stagecrafters is proud to partner with Freedom House Detroit for the production of Ragtime. Freedom House is a temporary home for individuals and families fleeing persecution in other countries and seeking safety in the United States.  Freedom House offers housing and basic needs, onsite legal aid, and a full suite of social services to help their clients heal from trauma, prepare for life in the U.S., and win asylum.

 

When: Now through October 6, 2019

8:00 p.m. Thursdays, Fridays & Saturdays

2:00 p.m. Sundays

Tickets $23-$27; also discounts for Veterans and youth age 17 and under on Sundays and Thursdays

Where: Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org

Sep 09 2019
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“Mamma Mia!” by ABBA presented by Avon Players, Rochester Hills MI

By Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos by Bryan Clifford

Center – Noah Canales, Johannah Steinbrecher-Booker

 

Take a Chance on “Mamma Mia!” for Nonstop Fun

 

Sure, you’ve heard of “Mamma Mia!”, unless you’ve been living in a monastery in Nepal for the past 40 years. Since this crowd-pleasing juggernaut of a show opened in 1999 on London’s West End, it’s been seen by over 60 million people in 50 countries and grossed more than $2 billion worldwide. It’s also the longest-running jukebox musical in history.

How to explain its enduring appeal? The story is an irresistible mashup of soap-opera-meets-sitcom laced with hilarious high jinks, sweet romance and a few moments of serious reflection. The book is by British playwright Catherine Johnson, with music by ABBA songwriters Benny Andersson and Bjorn Ulvaeus, who worked with the producers from the very beginning of the show. Many, if not most, of the superstar pop group’s biggest hits form the sparkly framework around which the gossamer-thin storyline is loosely draped. This show is a real love-fest and feel-good nostalgia trip for fans of pop music of the 70s and 80s.

Pamela Plewa, Tracy Murray, Johannah Steinbrecher-Booker

You could say this is another version of My Big Fat Greek Wedding, as told by single mom Donna, an independent-minded American who has lived for many years on a Greek island with her 20-year-old daughter Sophie. The two run a successful taverna that caters to tourists and scuba divers. Sophie’s wedding to the man of her dreams is coming up, but she has no dad to walk her down the aisle. After some snooping, she discovers three likely paternal candidates her mom had flings with – two Americans and a Brit – and invites all three to her wedding without telling mom. Big surprises, lots of drama and laughs ensue, all to the danceable beat of 25 ABBA tunes. It’s silly. It’s absurd. And it’s fun.

Director JD Deierlein keeps the pace fast and furious, richly textured with elements of slapstick and farce. Maritoni Harte’s choreography consists mainly of simple disco-style dance moves, with the possible exception of the dancing Flipper Men (!) which has to be seen to be believed. Costumes by Anne Curtis and Michelle Kaiser range from sleekly colorful to downright gaudy. The eight-piece orchestra led by Matt Kush is more than up to the task. There are also some interesting off-stage chorus effects, directed by Deierlein, that nicely complement the performers onstage. The set by Brad Holoday is spartan and consists of two revolving pieces made to resemble small Mediterranean guest houses. It depends on effective lighting by the many-talented Deierlein to help change the scenes.

The success of this show rests squarely on the capable shoulders of the cast, who display talents of varying degrees, but the result is nothing short of delightful. The real standouts are Tracy Murray as Donna and Johannah Steinbrecher-Booker as her snarky gal-pal Tanya. Also highly watchable: Salvatore Sbrocca as Sophie’s beloved Sky, Mackenzie McIlroy as Sophie, and Bill Davenport as Bill Austin, one of the would-be dads. Some of the better numbers include: “Chiquitita” and “Dancing Queen” (both featuring Pamela Plewa, Murray and Steinbrecher-Booker); “Lay All Your Love on Me” (with the dancing Flipper Men!); “Voulez-Vous” (ensemble cast, with some great choreography); “Does Your Mother Know” (one of Steinbrecher-Booker’s best moments); and the flashy finale, which has everyone on their feet.

Bill Davenport, Dan Romzek, Tracy Murray, Adam Wager

Will we ever know who Sophie’s father is? Who cares? They are all having so much fun up there, and are so enthusiastic, and there’s something about the music and the story that just reaches out to the audience and invites us to join in the singing and dancing. Heads-up: Non-ABBA fans may be overwhelmed by the disco-pop and dizzying cuteness.

But there must be a lot of ABBA fans in Oakland County. The entire run of this show, through September 21, is sold out. There may be a chance for tickets if there are cancellations, so it’s worth a call to the box office.

 

When: Now through September 21, 2019

8:00 p.m. Fridays & Saturdays

2:00 p.m. Sundays

Tickets $22 – SOLD OUT – CONTACT BOX OFFICE FOR POSSIBLE CANCELLATIONS

Where: Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

avonplayers@att.net

 www.avonplayers.org

Aug 20 2019
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Two Trains Running: a review by Victor Cordell

By Victor Cordell

Two trains, many meanings

August Wilson’s magnum opus, the Pittsburgh Cycle, is comprised of ten plays, each occurring in a different decade of the twentieth century.   “Two Trains Running”, represents the 1960s.  It takes place in the African-American Hill District of Pittsburgh, PA, in 1969.  At that time, great strides were being made in voting rights, civil rights, and women’s rights, but progress is usually uneven and incomplete, and advancement creates its own form of discrimination.

 

The play, which has much to offer, is dogged by its pedestrian pace, overly ambitious sweep, and some problematic characterizations.  Multi Ethnic Theater’s valiant effort lacks sufficient spark to bring out the best in Wilson’s work.

Memphis’s Diner is the setting of the play, but it has been designated for demolition by eminent domain as part of an urban renewal project.  The diner’s habitues are older black men, whose discourse is aimless and fatalistic, symbolized by their obsession with gambling the numbers.

As played by Bennie Lewis, Memphis is the only character determined to take control of his fate.  Lewis’s eyes are fiery, his look fierce, and his voice gruff, whether avowing that he will force the city to give him his price for the diner or barking orders at Risa, the cook/waitress.  Though the portrayal works much of the time, it would benefit from variation in tone.

Two other focal characters are Wolf, played by Fabian Herd, and Holloway, played by Stuart Elwyn Hall.  Herd is visually striking as the self-interested  numbers runner who dresses like a preening pimp and fancies himself the great ladies man.  Hall also looks his part as the eminence gris – unaspiring, but a thoughtful analyst and philosopher.

Sterling, played by Keita Jones, arrives as a strangely naive young man just out of prison.  However, the depiction reflects neither a bitterness nor a steely resolve that would amplify Sterling’s personality.  Through Sterling, the clash between generations in the black community is revealed.  He tries to gin up support for a political rally honoring Malcolm X, but the diner denizens are unenthused.  Their train has left the station.

And of course, by 1969, a fissure in the civil rights movement had appeared, between those who held to Dr. King’s dream and those who argued that progress would not occur without violence.  Other divides explored by the playwright are the white/black divide, with different standards and opportunities for the races, and the gender divide, with the female Risa being demeaned by Memphis and objectified by Sterling.

This production runs three hours including a brief intermission.  A subplot about Hambone, a gentle, but mentally-challenged soul, deals with abuse from within the black community.  It could be excised without loss of message.  At the same time, some political issues are not well explicated.  Some characters like Memphis and Wolf are well developed.  Yet Sterling’s contradictory actions render him incohesive rather than complex.  Beverly McGriff’s Risa seems oddly passive, despite having boldly disfigured her legs with razor cuts so that she wouldn’t be wanted by a man for her physical attributes.

Director Lewis Campbell designed the staging.  The set ably represents a poor ghetto diner – partly worn out and partly roughed out.  Two booths on either side of the thrust stage abut the front row seats, so that the Gough Street Playhouse becomes even more intimate than usual.  However, Campbell also uses extreme stage locations effectively for the public phone and the kitchen.

Campbell’s direction isn’t as incisive.  Actors are often allowed to speak at normal conversational volume, resulting in mumbled diction and a lack of energy on stage in a play that demands emotive acting to keep the audience fully engaged.  Better guidance to actors would help them better define their characters.  Finally, it is disconcerting to hear stage directions voiced to introduce each scene, as if it were a rehearsal rather than opening night.

“Two Trains Running” plays at Gough Street Playhouse in San Francisco through August 30.

Feb 17 2019
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Spitfire Grill at Meadow Brook Theatre, Rochester Hills MI

By Greg & Suzanne Angeo

Reviewed by Suzanne Angeo (member, American Theatre Critics Association) and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Meadow Brook Theatre

Mary Robin Roth, Emily Hadick, Cory Cunningham, Larissa Klinger

 

“Spitfire Grill” Serves Up Some Down-home Charm

The story of “The Spitfire Grill”, a musical presented by Meadow Brook Theatre on the Oakland University campus, proves that disruption can be a good thing. In ways that are at first too small to be seen, like the tiny breeze from butterfly wings that can affect the weather miles away, one person can have a profound effect on those whose lives they touch, and beyond.

“Spitfire” began its barely six-week run off-Broadway in the fateful month of September 2001. The shattering effect of the terrorist attacks drew New York audiences to the comfort of the show’s gentle reassurance and lovely musical score, with characters that feel like family. The book was co-authored by American writers and longtime friends James Valcq and Fred Alley, with Valcq composing the music and Alley, the lyrics. Tragically, Alley died just two weeks before the show’s production workshop in May 2001.

Cory Cunningham, Emily Hadick

The story is set off the beaten path, in a town in Wisconsin surrounded by forest. It’s the kind of place, the locals say, that’s good for leaving.  For newcomer Percy, moving to the little town of Gilead and working at the old rundown diner offer her an escape from sorrow and the chance to start again. Despite her sincere efforts at friendship and determination to make good, she faces the headwinds of small-town gossip and suspicion. Will she ever fit in with these people, who seem so preoccupied with their own troubles?

Emily Hadick as Percy projects a sensitive wariness shaded with hope for better things, and just a touch of stubbornness. Her exquisite voice is well-suited for the music. The grill’s crotchety owner Hannah, played with feisty warmth by Mary Robin Roth, soon becomes her greatest ally. And Percy finds another friend in Shelby, played with quiet strength by Larissa Klinger, who helps out at the grill. Cory Cunningham delivers a solid performance as the low-key sheriff Joe. He hangs around the place, at first to keep an eye on Percy and make sure she stays out of trouble, and later for more personal reasons. Shelby’s distrustful, controlling husband Caleb is effectively portrayed by Dan Fenaughty. Kim Rachelle Harris is appropriately irritating as the town’s chief “Postmistress” and rumormonger, Effy. A mysterious, silent stranger (Michael Brian Ogden) makes nightly visits. Their lives will be forever changed by having Percy in their midst.

Larissa Klinger, Dan Fenaughty

Sure-footed direction and straightforward storytelling by Travis Walter and an evocative set design by Kristen Gribbin lend an intimate, cozy feel to the show. The graceful musical score, a combination of bluesy folk and country-style ballads, is performed by the cast and accompanied by the excellent five-piece band led by Jeffrey Campos. Memorable numbers include: “Come Alive Again”; “Colors of Paradise”; “Shoot the Moon” and “Wild Bird”. The ensemble cast has some thrilling harmonies and outstanding vocals throughout the show.

True, there is no crackling dramatic tension or rip-roaring laughter. Just a gently pleasing show, with some interesting plot twists and surprises in store. And music that will get under your skin.

 

When: Now through March 10, 2019

8:00 p.m. Wednesdays, Thursdays, Fridays & Saturdays

6:30 p.m. Sundays

2:00 p.m. Wednesdays & Sundays; Saturday, March 9

Tickets $36 to $45

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

 www.mbtheatre.com

Aug 24 2015
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Listen to Me Marlon — Film Review

By Go See

Listen to Me Marlon

Directed by Steven Riley

 

This is a superb rendering of the varied, complex, and deeply tragic life of Marlon Brando.  It is very moving.  I don’t know what could be done to improve this film.   I think it is as good a presentation of this subject as can be done within the time constraint of under two hours.  Obviously when you try to condense a life as rich and complicated as Marlon Brando’s into less than two hours some things have to be left out.  I am curious to know more about Marlon Brando’s life as a result of watching this film, but the film had both breadth and depth.  It covered everything that I would have wanted it to cover and it was a penetrating, thought provoking study.  This was made possible by the many hours of audio diaries that Marlon Brando recorded himself that were searching, thoughtful, and introspective, and formed the soundtrack for the film.  There was no narrator or commentator other than Brando himself.  There were photographs, documentary footage, and newscasts to illustrate events.

The film explored his difficult childhood growing up in Omaha, Nebraska, with alcoholic parents, and an especially cold, violent father.  The mother seems to have been somewhat better and he had a nanny that he felt close to, but who left him at age seven to get married.  He had a bitter divorce, his son was kidnapped and recovered.  The son later killed his half sister’s boyfriend in Brando’s house.  The half sister later committed suicide.  He suffered more than his share of horrendous tragedies.  He did not like the spotlight.  Like John Lennon, he realized what a world of illusion and misunderstanding it is, how isolating it can be, and how it makes authentic relationships with people difficult or impossible.  He was interested in the civil rights struggle.  He was a companion and supporter of Martin Luther King.  He refused an Oscar as a protest on behalf of American Indians and their treatment by Hollywood.  He was more than an actor.  He thought about social issues and the impact of films upon society.

The film does a good job of connecting Brando’s inner demons with his work on stage and in the movies as an actor.  His work as an actor grew out of his inner torment.  “When you are unwanted, you try on different identities in hope that you will find something that is acceptable.  Acting is survival.”  He was blessed with stunning good looks and natural charisma.   Many of his films are among the best films ever made.  There are reflections on the nature of acting and footage of his acting teacher, Stella Adler, at the New School in New York City.  He had been in psychoanalysis, which I think helped him focus on his inner self and use his own inner turmoil in his acting.  It probably motivated him to make the many tapes of his thoughts and comments, which are a fortunate treasure trove of information and insight.

I have never made a list of my ten best documentary films of all time, but if I ever did, this would likely be on it.  It is very hard to get any better than this.  Go see it.

Aug 24 2015
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The Metaphysical Caravan

By Jo Tomalin
above: Re-Animation Photo: Teatr Pinokio

Review by Jo Tomalin

Enchanting Puppetry

Poland’s Pinokio Teatr company presents The Metaphysical Caravan, a series of puppet shows held in their mobile theatre – a beautiful little caravan at the 2015 Edinburgh Fringe Festival. This company valiantly drove their special caravan across Europe from Lodz, Poland for the Fringe and is performing three different twenty minute puppet shows each day; each show is performed with a different puppetry style. Therefore, if you like puppetry, especially unusual puppetry techniques, then try to see all three shows. Puppetry is often thought of as a children’s entertainment, but it has great appeal to adults and any of the three Metaphysical Caravan shows are relatable and equally entertaining to very young children as well as adults.

At 11:00 The Sunset play is about an elderly lady sitting at home thinking about her life. The beautifully sculpted head and her small frame are sensitively manipulated by two puppeteers wearing black clothing, so they are unseen. Behind a large glass window we are looking into her home, and miniature black and white videos play on tiny screens. It’s a delicate and beautiful silent memory story accompanied by gentle guitar music.

The Metaphysical Caravan

13:00 A Table for Two is unique! A man sits at the table waiting for his guest. When no one arrives he decides to create a friend. Without giving away too much, this is simple story which quickly develops with humour and imagination while the masterful puppeteer creates images in front of the audience. Video clips are cleverly integrated in this little piece – it’s remarkable!

15:00 Re-Animation is based on body puppetry. A young woman is in bed and she has a bandaged foot. As the lighting changes mysterious things happen. It is a humorous piece showing how puppetry can be so simple and effective to communicate thoughts, ideas and emotions. A short optional workshop about the unusual body puppetry technique is offered immediately after the show by the puppeteer.

The Metaphysical Caravan’s mobile theatre holds about a dozen audience members at most on real theatre seating from an old theatre in Poland. All of these shows are short and disarmingly simple…as well as…charming, fascinating, intriguing, plus created and performed with care and heart by the accomplished puppeteers. The Metaphysical Caravan is a unique and special theatrical experience. So go and find the caravan before it returns to Poland! It’s’s tucked away, parked towards the back of the courtyard at Summerhall.

Review Originally Published in www.FringeReview.co.uk

More Information:


Jo Tomalin, Ph.D. reviews Dance, Theatre & Physical Theatre Performances
More Reviews by Jo Tomalin
TWITTER @JoTomalin
www.forallevents.com  Arts & Travel Reviews

Aug 23 2015
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Travels with Frankie highlight ‘The Voice of the Prairie’

By Judy Richter

A farmer becomes a celebrity by telling stories to early radio audiences in John Oliver’s “The Voice of the Prairie,” presented by Dragon Productions.

Davey Quinn (Robert Sean Campbell), an orphan, apparently inherited his story-telling ability from the 70-year-old Irish relative who looks after him. When the older man dies in 1895, young Davey has only his wits to help him survive.

Taking to the road, he rescues a young blind girl, Frankie (Maria Giere Marquis) from her abusive father. She then becomes his companion, riding the rails and sharing some great adventures for several months before they’re inadvertently separated.

Some years later, Davey has become a farmer who talks to friends about his adventures. A slick New Yorker, Leon Schwab (Tom Gough), overhears him and convinces him to tell his stories on Leon’s pioneering radio station, which he also uses to sell radios.

Davey becomes famous and is reunited with Frankie in 1923 just as Leon is in trouble with the Federal Communications Commission for broadcasting without a license.

The story jumps back and forth as Gough and Marquis portray other characters. Gough carries the heaviest load. In one scene he’s Leon, in another he’s James, the asthmatic Methodist minister who wants to marry Frankie. He’s also seen as Davey’s relative, Frankie’s father, a sheriff and a loutish farmer. He’s terrific in all these roles.

Directed by Dragon’s founder and artistic director, Meredith Hagedorn, this production starts slowly as Davey’s relative, Poppy, tells a story. His narrative is often interrupted by Davey’s high-pitched giggles, which become off-putting because they’re repeated so often.

The pace gradually picks up during the first act, and the second act, which takes place mainly in 1923, becomes more rewarding and satisfying.

Aside from his early scenes with Poppy ,Campbell makes a likable Davey, whose life is forever altered through his adventures with Frankie. For her part, Marquis is convincing as the blind Frankie, making her a strong, resolute character.

This three-actor play is well suited to Dragon’s intimate space. The simple set by Jesse Ploog, lighting by Jeff Swan, costumes by Brooke Jennings and sound by Martyn Jones facilitate the action. Mostly it’s the skill of the playwright and the talent of the actors that fill in the details of time and place.

“The Voice of the Prairie” runs just under two and a half hours with one intermission.

It continues through Sept. 13 at Dragon Theatre, 2120 Broadway St., Redwood City. For tickets and information, call (650) 493-2006 or visit www.dragonproductions.net.

 

Aug 22 2015
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Snippets of conversations beguile, titillate and shock

By Woody Weingarten

Writer Woody Weingarten wishes he had ears like this fennec fox so he could overhear more juicy delicacies.

Unlike our federal government, I don’t snoop.

Unlike countless other organizations, I do no surveillance — electronic or other.

Unlike cable news networks and Wikipedia, I don’t spread misinformation, gossip or rumors.

But I do grab snippets of tête-à-têtes from restaurants, park benches and street corners.

And, because what I overhear might end up as fodder for a column, I typically jot down what I catch. This, in fact, is the third compilation of succulent morsels I’ve picked up.

Perhaps these delicacies will beguile, titillate or shock you — maybe even as much as they did me.

To wit…

While asking questions at Town Hall about a new neighbor’s construction project, I overhead a nearby San Anselmo employee say, “I absolutely need to unwind, un-stress and un-overload.”

“I’m done with him,” said a teen girl in the Marin General lobby the week before. “He’s now just a speck in my litter box of life.”

Outside Trader Joe’s in San Rafael, a sly geezer declared — albeit a little too publicly — to his vastly younger female companion, “I have a feeling some prankster put crushed Viagra in my miso soup at lunch.”

A long-haired, college-age guy philosophized outside The Bicycle Works co-op in San Anselmo: “We all know what to do about Killer Bees, but how can we handle Killer Sharks — you know, those anti-middle-class Wall Street venture-capitalist types — or the Killer Publicists, the marketers who clutter up popular films with irrelevant product placements, or Killer Second Amendmenters, those pro-gun jerks who think every kid’s room should be stocked with an Uzi?”

Addressing a diner who’d obviously over-tipped, an elated server in Il Fornaio in Corte Madera gushed, “Grazie, merci, danke, arigatou, toda and asante. Oh, I forgot — thanks a lot.”

A dowager in deep blue dress, diamond necklace and studs outside Mag’s Local Yogurt shop in Larkspur lapped up some vanilla one sunny p.m. “I’m supporting Carly Fiorina and Marco Rubio,” she said, “and have donated to both their campaigns. I’m also speaking for them locally, sort of reversing things by putting my mouth where my money is.”

“Arguing with a spouse,” one mid-lifer in front of the Fairfax police station said to another, “is like having a nuclear war — nobody wins.”

I heard, in the Post Office in Ross, a sentence that could never apply to a compulsive-obsessive neatnik, maker of priority lists and lint picker-upper like me: “He’s having a real romance with disorder.”

But I agree with the disheveled mother who chided her ear-budded son outside Bananas at Large in San Rafael, “Once there were songs; now there’s only noise.”

And I definitely could share a grin with the gray-haired gent in pristine white shirt, power tie, filthy sneakers and tattered jeans in San Anselmo’s library who proclaimed, “I love it that I’m old enough to still appreciate — in the face of all this damned technology — paper clips, rubber bands and a plunger.”

Decked-out matron watching road construction in Mill Valley with a gal-pal: “These days more than ever, perseverance trumps perspiration.”

Cynical senior in Fairfax’s Good Earth Natural Foods generalized,  “Those that can, do; those that can’t become politicians.”

A twenty-something father, near the stone dinosaur at Millennium Park in San Anselmo, appeared to be wasting some psychology on his toddler daughter, “Okay, don’t have fun. Don’t have any fun.”

Matronly blonde outside Luther Burbank Savings in San Rafael was waving her arms in a friend’s face: “Our government has definitely completed its wrong-headed transition from the Gold Standard to an Ink Standard. The only question remaining is: How much money can The Fed print?”

A young guy with an unusually high forehead had collared   a sidekick at Drake High School, “There’s only one word to describe her — feckless.”

Loaded down with books on the Kentfield campus of the College of Marin, a student was chatting with his clingy girlfriend. “A few minutes ago John was quoting ‘The Huffington Post,’ then Wikipedia. That’s cool. But I’m still hoping he’ll really go retro and quote ‘Esquire’ or ‘Elle.’”

Finally, while munching on a delicacy at Terra Linda’s High Tech Burrito, a Millennial said to a worker cleaning tables, “Would your family be the basis of a soap opera, sitcom or reality show? Mine could be all three.”

Contact Woody Weingarten at voodee@sbcglobal.net or check out his blog at www.vitalitypress.com/