The Stageworks Northwest Staged Reading series kicks off the 2013/2014 season with the world premier of local playwright Leslie Krausch Slape's new play "The Harder Courage" a drama based on the true story of Sheriff Benjamin Holmes and his prisoner, Robert Day, the first man to be hanged in Washington state.
The true, tragic and touching tale is directed by the playwright and will be presented by actors Michael Robert Cheney and Scott Clark. This is the first time this story has been fully told anywhere.
You know how I generally like musicals. And happy theater. And musicals are usually happy, right? Well, not this time. Here's an unhappy musical and I didn't really like it on that level.
Continuing and completing my review of three Oregon Shakespeare Festival plays I take a look at the world premiere of the musical"The Unfortunates."
Armless and big fisted.
The Message:
"A musical pilgrimage through uniquely American genres [jazz, blues, gospel] delivers five prisoners to salvation — or at least keeps the terror at bay. Facing an uncertain end, they bring to life the story of Big Joe, a tough bartender who risks everything to save the armless courtesan Rae from a deadly plague. Combining the heat of a gospel revival with the sweet sorrow of the blues [and hip hop], 'The Unfortunates' convinces us that any great challenge can be faced with dignity, grace, and compassion. [Even if all's not well and doesn't end well.]
It is difficult material, sad and brooding for the most part (much like Les Miserables), though it ends with a lively tune (Lord, Raise Me Up) that indicates the hope of the hereafter.
The Music:
A dance number on the set of "The Unfortunates."
I love the blues, I love gospel, but not so much when it comes to hip hop and this is an amalgamation of the three--a synthesis opera of sorts. Generally that did worked for me.
The music was a mix of recorded pieces and live music from a small ensemble (Casey Hurt on bandleader and guitar, Jesse Baldwin on keys, accordion and guitar, Mike Fitch on drums and Joseph Porto on bass). They were quite good.
The writers, Jon Beavers, Casey Hurt, Ian Merrigan, Ramiz Monsef were all in the show. Obviously genius musicians and writers, not all were as good at performing the material. I speak primarily of Ian Merrigan who wasn't particularly strong in his lead role(s)--not strong enough anyway. Especially compared to the other members of the talented cast which included Kjerstine Rose Anderson, Rodney Gardiner, Cristofer Jean, Barret O'Brien, Christina Acosta Robinson, Ken Robinson, Jon Beavers and Chavez Ravine as well.
Ramiz Monsef, right, as the doctor.
In top form, however, was Ramiz Monsef, a superb actor. Monsef was splendid in his roles as the heavies (especially as the doctor) and Ken Robinson was tops as the religious-irreligious Preach.
The Making:
The production values were exceptional. The sound (Corinne Carrillo) and lighting (Jiyoun Chang) design, the sets (Sibyl Wickersheimer) and costumes (Katherine O'Neill) all glorious. Technically the show was a marvel with an overall Cirque du Soleil feel in a serious funk. Color changers, fog, moving lights and gobos, lifts, chases and much more added to a simply striking look. The choreography, by Tiffany Rachelle Stewart, was also stunning.
Ian Merrigan the foreground as King Jesse.
As indicated, the show was a downer and often bawdy--I wouldn't recommend it for children due to the dark material, some blasphemous religiosity and sexuality. Having said that, the show was entertaining for its quality music and production.
Very advant garde and, if you like that sort of thing, you ought to see it. The direction, by Shana Cooper, was well done.
The following bonus review is offered in celebration of NWCT's 20th Season and as a critique of the premier of a new telling of the classic tale.
Grab your tap shoes and get ready for a unique re-telling of this classic tale presented in the classic musical style. Inspired by the Broadway of Cole Porter and George Gershwin, this story of a girl, a gown, and a glass slipper will keep your toes tapping ‘til the stroke of midnight.
This original adaptation of Cinderella marks the close of Northwest Children’s Theater’s 20th Anniversary Season, and is NWCT’s second world premiere this year. It is also NWCT’s first major tap musical since 2004’s "Crazy for You." This fast-paced, comedic update on the fairy tale focuses on self-empowerment, following your dreams, and dancing your way to a new kind of happily-ever-after.
In other words, take just about everything you know about "Cinderella" and throw it out of the pumpkin coach window. Gone is the element of magic, the rags to riches tale and the glass slipper. Now bring in an empowered servant girl and a prince who only want to dance and "put on a show," a French storyteller, a fairy godmother who is a dance instructor and a tap shoe. In fact, throw in a LOT of tap shoes. Yes, this is very different from what you know.
The Cast
Cinderella features an ensemble cast of NWCT all-stars. Making her fourth appearance on the Mainstage, Sophie MacKay as Cinderella trades in her glass slipper for a pair of tap shoes. NWCT student and parkour-enthusiast Martin Tebo “puts on a show” as Prince Bobby, the reluctant royal who “just wants to dance!” His horrified parents, the Queen and King, are played by veteran performers Melody Bridges and Erik James (in his 50th Mainstage performance).
Resident Artist John Ellingson leads us through the story as Armando, the page, and Elizabeth Gibbs delivers comedic relief as Cinderella’s ‘ballet mistress’ of a fairy godmother.
MacKay is quite good at everything and the rest of the cast ain't bad, but it is Ellington who both carries and steals the show. He is quite the entertainer. Though I felt Tebo was a bit weak in his role, it was the other character roles--Cinderella's step family who were lackluster and melodramatic, and the King and Queen who were nicely played with great comedy--that put him in the middle. James, as the King, though a seasoned actor, was certainly not a song and dance man, but I enjoyed him very much.
The Craft
The production is well done, the tap dancing very nice (though the large group numbers lacked precision), the music very good and the costumes elaborate. The pace is perfect, but the show still lacks some of the zest of other NWCT productions. The musical telling needs more book, but what it does have does two things: provide a good dose of humor and serve to transition from one song and dance to another.
The 70 minute production moves almost too fast with little for the "actors" do but sing and dance. It just needs more of something. Perhaps with more dialogue and greater hand at the stage directing would have pushed the performance to what it should have been.
Director/Choreographer Sarah Jane Hardy's strong suit is in the dance and not in the "business." I'm not saying it was bad, for it was quite good and over all I liked the uniqueness of the experience, it just needed more.
The micing was flawless (again, showing it can be done). The set, though virtually unchanging and simplistic was pretty and the lighting well executed. There were a couple of songs that did nothing to move the plot along. Although it was a good song Rejection Can Be So Sweet seemed out of place. However, I loved the musical numbers as a whole.
The Creator
Cinderella springs to life from the imagination of Ezra Weiss, who wrote the script, music, and lyrics. Weiss, an internationally acclaimed jazz composer and pianist, was recently listed in the 2012 DownBeat Magazine Critics Poll. In addition to numerous albums as a band leader, Weiss wrote music and lyrics for NWCT’s "Don’t Let the Pigeon Drive the Bus!" and Alice in Wonderland (named one of the “Top 10 Cast Albums of 2009” by TalkinBroadway.com).
In creating the finished play, Weiss drew inspiration from the works of the Gershwins, Cole Porter, and Rogers and Hart. Weiss was offered the project by director Sarah Jane Hardy with the charge to create a Cinderella who was strong and empowered.
“I said to myself, ‘What if Ethel Merman were going to play Cinderella?’” says Weiss, “This is the first show I’ve written since becoming a parent, and I didn’t want to propagate the myth of the helpless girl needing a handsome and wealthy prince to come save her.”
Remaining shows are 12 p.m., May 5, 11, 12, 18, 19, 25, 26; 4 p.m., May 5, 11, 12, 18, 19, 25, 26; and 7 p.m., May 10, 17, and 24. Tickets run from $18 to $22. The NWCT auditorium is located at 1819 NW Everett St., Suite 216, Portland, Ore. Phone: 503-222-4480. www.nwcts.org
Review by Gregory E. Zschomler All photographs and video provided.
According to Oregon LIVE! the Vancouver School of Arts and Academics Children's Theatre Company will celebrate "its fifth anniversary...with the production of a play by one of its own." They original play "Where Trees Talk: Tales of Wings and Wolves and Cantankerous Rivers," was written by Kendra Jae, a 2008 VSAA alum. She "began taking theater classes in sixth grade, performing in shows before realizing that her real passion was for writing plays. She went on to study writing and history at Evergreen State College." [Source: Oregon LIVE!]
The World Premier of "Where Trees Talk" will be presented as follows:
When: 7 p.m., Feb. 8; 2 p.m., Feb. 9. ASL interpreters accompany the Feb. 8 show. Where: VSAA Black Box Theatre, 3101 Main St., Vancouver, Wash. Tickets: FREE (but donations will gladly be accepted) Information: 360.313.4600 or arts.vansd.org
We at swwastar encourage you to turn out and support our young artists!
