REVIEW: A Steampunk "Romeo and Juliet" at Magenta Theater Deft and Punk

I must admit upfront that I'm not a huge Shakespeare fan. Oh, I appreciate the artistry of his work, and really do enjoy his comedies from time to time, but (let's face it) it's old stuff. The archaic language just doesn't really connect well with modern audiences.

And then there's the Bard Snobs; (like the Mac Snobs of the computer world) they think they're really something special. Sort of the elite who like to flaunt their sophistication. I'm more of a pop culture guy.

None-the-less, I do like a good production of the Master's work from time to time. I like to see what people do with it and I have seen some amazing work that, despite the language barrier, managed to connect with the audience through exceptional acting and directing.

I came in expecting this kind of translation and direction from the Magenta production of "Romeo and Juliet" directed by David Roberts, framed in (get this) a "steampunk" setting. Yes, I was intrigued.

Robbin Goss as Romeo (L) and Hannah Mock
as Juliet are watched by Eli Swihart (Tybalt).

We all know the story--it's one of the most famous tales of all time: Boy meets girl, they fall in love, their families hate each other and forbid their love, they rebel, they die. Yeah, I know, the ending is a bit rough. It's not your Disney "happily-ever-after" faerie tale. Not my kind of ending, but, hey, I HAD to see this--David Roberts was directing! (Even if Magenta no longer gives review comps. Yes, I paid for my ticket.)

What Light in Yonder Window Breaks?

You see, I've seen Roberts' direction before. He did an absolutely amazing job with "Wait Until Dark" at the Love Street Playhouse. He even handled the Bard's work well in "Much Ado About Nothing" when he performed (as Benedict) for his own Vancouver OnStage production (his wife Stephanie directing) some years ago. I think he is a very good director.

He is also responsible for the adaption--a two hour truncation of the three and a half hour play. Using the 1968 Franco Zeffirelli film as a framework, Roberts added back in what he thought was needed for exposition in the play. Nothing was really lost in the trim. And his steampunk setting was an innovative and inspired move as well.

The acting was generally good, but uneven across the board. I enjoyed all the roles. Most were played straight, a couple (one bit part and one prominent role) seemed a little too much on the lighter side. The leads--Robbin Goss (Romeo) and Hannah Mock (Juliet) were exceptionally strong, as were David Bower (Friar Laurence ) and Matt Newport (Benvolio ) who seemed the best at playing Shakespeare. Beth VanBuecken (Mercutio) was also good--a very strong performer (though, perhaps, better stylized for a musical).

Goss could have played a bit more of his emotion on his face in the intimate theater, but his physicality and voice were near perfect. Mock, trained by MPAA and OCT, gave a delightful performance; her Juliet was part feminist, part rebel teen, part innocence, part bravado--all expressed well through body language, voice and facial expression.

Romeo and Tybalt duel in one of the plays many fights.

A Rose by Any Other Name

And speaking of language, more importantly the interpretation--the translation--came off really well. Roberts "gets" Shakespeare and is able to relate the meanings to his cast and knows how to have them express the archaic terms and subtle subtexts to the audience. These were often achieved via a look or action.

The poetry was carefully delivered while not sounding overly foreign to the modern ear. Certainly a stunning achievement in and of itself.

The blocking (on the small stage and with a large cast) was also interesting and artful. The fight scenes or violence design (choreographed by David Gregory Bareford) were really good.

And speaking of choreography (there is a ballroom scene) I was particularly blown away by the work of Suzanne Vannatter. It's hard to put a label on it. Part Victorian, part Medieval, part folk to a Techno track. Suffice it to say that it worked very well. And I really liked how she isolated and highlighted Romeo and Juliet--an almost cinematographic effect.

Technically the show was a marvel. Lighting (by Reba Hoffman and Brenda McGinnis) was impressive. The costumes (by Bethie Duvall) were creative, eclectic and interesting. Especially delightful, interesting (and also eclectic) was the soundscape. The sound design (by Tim Klein) was nicely done--very creative. But, I must say, it is the music that is the star of the show. Again eclectic, but decidedly modern. Pop, techno, symphonic, etc. Yes, this brave approach really worked. It was so complex it took three "Music Curators" (Tim Klein, David Roberts and Eli Swihart) to put it together. And each number, in it's place, was ideal.

Most impressive of all was the set designed by David Roberts and implemented by Melinda Leuthold and Michele Glover. Innovative and detailed--filled with gears, gadgets, and gauges; pipes, valves, truss, and brick--the decidedly steampunk scenery, painted in metallic copper and iron, was a living piece of the action (as much an actor as any human). Very awesome!

The scene changes, laden with creative effects, were mechanical and visually interesting. Video was used creatively as well. All in all a delightful evening.

Wherefore Art Thou?

I highly recommend this production for Shakespeare aficionados and neophytes alike. It would be a great introduction to the Master's work--enjoyable and educational. I don't recommend it for those under ten years of age due to some thematic elements (violence, suicide) and the "sex scene" (played suggestively in shadow on video). If you go please tell them you saw our review.

The classic play is being presented by Magenta Theater, 606 Main St., Vancouver, Wash. Show dates and times are: April 11, 12, 17, 18, 19, 23, 24, 25 at 7:30 p.m.; April 19 and 26 at 2 p.m. Seats are $13-16. For tickets go to click here.

For another review of the play and more wonderful production photographs click here.

Review by Gregory E. Zschomler
Photographs provided.

A Steampunk "Romeo & Juliet"? Cool!

Magenta Theater presents Wm. Shakespeare's "Romeo & Juliet," directed by David Roberts, April 11, 12, 17, 18, 19, 23, 24, 25 at 7:30 p.m.; April 19 and 26 at 2 p.m.

The classic drama of two feuding families and forbidden love faithfully adapted for the rich visual Victorian world of Steampunk.

 It explores the desires of two young lovers separated by a bitter feud between their families. It delves into the petty quarrels people place upon themselves, which ends up driving those they care for most away from them, with tragic consequences. 

"A visual feast sure to excite the eyes and ears of novice and dedicated Shakespeare fans alike."

Tickets Available Now - Click Here

REVIEW: Don't Wait to See Love Street's Dark Thriller "Wait Until Dark"

First of all Frederick Knott's "Wait Until Dark" (1966) is an extremely well-written stage play. (He also wrote "Dial M for Murder.") I believe that "Wait" is one of the best straight plays I have ever seen--certainly the best thriller. The dialogue is delightful, the pace is perfect and the intrigue is artful. It is so well conceived and so captivating that I sat on the edge of my seat the entire time.

The Plot

You know how they warn you at airports not to accept packages from strangers? Yeah, well this is what could happen if you do:

A photographer unwittingly agrees to transport a doll from Montreal to New York not knowing the doll contains two pounds of high grade heroin. He leaves the doll at home with his blind wife and, while he is away, three thugs come looking for it. They concoct an elaborate con to get it back, but she doesn't know where it is. They grow impatient and desperate and, when she begins to figure out what's going on, things get violent and quite scary.

From Left to Right: Sgt. Carlino (John McCamish), Harry
Roat (Paul Segren) and Mike Talman (Scott Clark), Susy
Hendrix (Dorinda Toner) and Gloria (Doris McCamish). DEP

The Players

Secondly, the players handled the material with great aplomb. Director David Roberts has assembled a nearly perfect cast. They did not overplay their roles so the play would be comedic--they seemed natural, real and well fleshed out. Neither did they underplay the parts so the show would come off blase'.  Performances all around were genuine.

Nine year-old Doris McCamish did quite well as the adventurous and feisty Gloria. While not greatly experienced, the youngin shows great promise. Scott Clark as con man Mike Talman was so smooth you had to love him. And John McCamish (Doris' father) as Sgt. Carlino, another con man, played his heavy with just the right chutzpah. It was nice to see Kirk Snead back, and Carl Haeger in their bit roles as policeman, too.

But the leads...oh!

Dorinda Toner and Paul Segren. (c) DEP

Dorinda Toner (who is not blind) as the blind Susy Hendricks was, in a word, convincing. Wonderfully played with all the right emotion, intensity and guts. You could feel her fright and revel in her resolve. Lee Remick was nominated for a Tony for her Broadway performance in 1966; Audrey Hepburn was nominated for an Oscar and Golden Globe in 1967 for the film adaption. Toner, she would have received them.

Paul Segren, whom I was very pleased to work with in "An Inspector Calls," was masterful as Harry Roat, the maniacal mastermind. He was like an ogre (or onion), with many layers, each peeling back, one by one, until a crazed and savage psychopath erupted into a raging fury. So subtle at first, so conniving and creative, calm, cool, collected until...BAM!, he completely snaps in the second act. (I felt there should have been one quick "tell" in the first act that would have broadcast this side of the character's personality.) Segren has got to be one of the very best actors in the area. (See our previous artist profile piece, here.)

And the last scene? Wow! Absolutely unnerving. Toner and Segren sell it!

BUT...all of this would not be possible if not for the quality direction by David Roberts. I directed Roberts in "Inspector," but I feel ashamed; I had no idea I was directing a master. He is so much better than I. Everything seemed so well orchestrated. Every detail attended to. There was great intentionalism and inspired foreshadowing at his hand.

And, he played the part of Sam Hendricks. I have seen Roberts act in five plays. While not a broad actor (he seems to play everything the same way) he is quite professional and precise. He's like Bruce Willis who is always Bruce Willis, but you love it.

The Play

Technically the play went off without a hitch and there are a lot of tricky lighting cues. The scene changes were quick and courteous. Timing on everything seemed spot on.

Segren, McCamish and Clark on the set of "Wait Until Dark" (c) DEP

The set, designed by Roberts and crafted by Jeff Leuthold, was Love Street's best yet. I loved what he did for my "Seven Keys to Baldpate" and "An Inspector Calls." Then his set for "Mousetrap" was even better and now this. Leuthold just keeps plussing himself.

The lighting and the lack there of (see the play and you'll understand), by Joe Jenkins was ideal. It wasn't bright, but, hey, this wasn't a musical; it was perfect for the play. [Note: Jenkins has been the LSP resident LD since 2008, but he has just moved to Utah. He will be greatly missed by all of us who have worked with him.]

A good shot of the set. Photo by Gregory E. Zschomler.

Andrea Adams (Stage Manager and Assistant to the Director), Melinda Leuthold (Producer, Costumer, Properties and Set Dresser), and the running crew of Rebecca Reich (Board Operator) and Rebekah Krohn (Backstage) all did their jobs beautifully.

The Love Street Playhouse production of "Wait Until Dark" is a must-see. My only real criticism? They should use a doll that's actually big enough to pack two pounds of heroin. And that's being petty. So just go see it...

...unless you're afraid of the dark.

WARNING: Some of the play does take place in complete darkness and some other moments may be too scary for young children.

Now showing 7:30 p.m. Friday and Saturdays, October 12 - 28 with a special HALLOWEEN performance, October 31st at 7:30 p.m and Sundays at 2 p.m. The playhouse is located at 126 Loves Ave in Woodland, Wash. and is worth the drive.

For tickets visit www.lovestreetplayhouse.com or call 360-263-6670 or email info@lovestreetplayhouse.com.

By Gregory E. Zschomler
All photographs, by Darcie Elliott Photography, provided, except as noted.

3 Great Roles for Men Waiting to be Filled for "Wait Until Dark"

There are still three open roles for the fall production of "Wait Until Dark" at Love Street Playhouse. For the full skinny click HERE.
Roles STILL Available: Carlino,  Age 25-4; Mike, Age 25-45; Sam, Age 27-35
Interested? You may contact director David Roberts at: Dnsroberts@aol.com

AUDITIONS: Love Street Playhouse Announces Auditions for Fall Thriller "Wait Until Dark"

A Casting Call for the Love Street Playhouse production of "Wait Until Dark" will take place 7 p.m. Tuesday night, June 17 at the the playhouse. The thriller is being directed by David Roberts. For full details and address visit: http://www.lovestreetplayhouse.com/Auditions.html THE STORY: A sinister con man, Roat, and two ex-convicts, Mike and Carlino, are about to meet their match. They have traced the location of a mysterious doll, which they are much interested in, to the Greenwich Village apartment of Sam Hendrix and his blind wife, Susy. Sam had apparently been persuaded by a strange woman to transport the doll across the Canadian border, not knowing that sewn inside were several grams of heroin. When the woman is murdered the situation becomes more urgent. The con man and his ex-convicts, through a cleverly constructed deception, convince Susy that the police have implicated Sam in the woman's murder, and the doll, which she believes is the key to his innocence, is evidence. She refuses to reveal its location, and with the help of a young neighbor, figures out she is the victim of a bizarre charade. But when Roat kills his associates, a deadly game of cat and mouse ensues between the two. Susy knows the only way to play fair is by her rules, so when darkness falls she turns off all the lights leaving both of them to maneuver in the dark until the game ends. Roles Available: MEN Carlino: Age 25-45 Mike: Age 25-45 Sam: Age 27-35 GIRL Gloria: Age 8-10 OTHERS 2 Police (either sex) 20+ The roles of Susy and Roal have been pre-cast. Please come to auditions with a head shot, resume and calendar. You will fill out a short informational form when you arrive at the theatre. We will be doing cold readings from the script. Please research the play on the internet, read it or watch the movie to get an idea of it if possible. There is no pay for actors at this time. Source: David Roberts

REVIEW: No Man is an Island in the Love Street Playhouse Production of "An Inspector Calls"

“Those were the Days, my Friends…” 

The time—1912.  Behind us---the Edwardian Age in England.  Ahead of us—a New Tomorrow?  But for now--a bridge between the old and the new.  What will we do?

This is the setting into which Priestley has deposited the viewers. Before the Titanic; before WWI.  But still suffocating in a caste-type system and gender inequality.  For the upper-class, the Birling family this, indeed, will be the threshold for a new tomorrow. 

But at a terrible price!

The Plot

It is the evening of the engagement of their daughter, Sheila, to another upper-crust businessman, Gerald Croft.  The young couple fiercely grinning.  Mom and Dad are pleased as punch.  Son, Eric, has had too much punch.  And isn’t everything just too fine for words in their insular world.

And into this mock world appears Inspector Goole.  He informs them of the suicide of a young woman.  A lady in which they all might have known and, perhaps they, in some way, may have been responsible for her death.  And, like the stages of an inevitable death—at first denial, then making excuses, blame, and finally acceptance.

David Roberts as Gerald Croft, Jennica Krohn as Sheila Birling and Paul

Segren as Inspector Goole in the Love Street Playhouse production of "An 

Inspector Calls." (Photo provided.)

The death throes of their life style is painful to observe, but necessary for removing the cancers of ignorance and intolerance.  The Inspector leaves, giving the family space to wallow in private and explore their shared guilt.  And, as a parting shot, he concludes...

“We do not live alone.”

We are our Brother’s Keeper, then.  Ah, yes.  But will they heed the warning…the lessons they have learned?  A hint: some do, some don’t.  A microcosm of humanity, then.

But the struggle is not yet over.  A couple of major twists remain. For, you see, the questions of…ah, but that would be telling, wouldn’t it?!  Trust me when I say that Ms. Christie, the Grand Dame of mysteries, would have been proud.  Even Rod Serling, in his Twilight Zone years, would have approved.

The Production

The Birling family enjoys their engagement party prior to the
Inspector's call. Photos here and below by Ruth Zschomler.

Priestley is not an easy playwright to digest or to stage.  One’s palate must be prepared for the sensations that will accompany the feast.  Go, knowing you will be challenged as a viewer and thinker.  For Priestley brings the Past with hurling force into our immediate Present, pleading with us to change, or we will be stuck in reliving it.

The accents of the cast are uneven, seeming to range from cockney to none at all.  And a couple members of the cast seemed to have trouble with lines.  But, with time, these, I’m sure, will be ironed out.  They strive mightily and well, forging through this difficult material.

Particularly good is Paul Segren as Inspector Goole.  His command of the stage and  knowledge of purpose in this pivotal role is captivating.  Nicholas Dibartolomeo as the son, Eric, smoothly transcends from a drunken sot to a raging animal, as the truth descends upon him. 

Jennica Krohn as Sheila Birling

And, as the smart, and quite entrancing bride-to-be, Jennica Krohn fits the role to a tee.  Also rounding out the cast are Don Smith as the smug father, JoAnn McClanahan as the mother, David Roberts as the groom-to-be and Rebekah Krohn as the maid.

The costumes, especially the women’s, are quite stunning by Fran Krohn, and Melinda Leuthold, Producer and owner of the company.  The design and direction are bravely executed by Gregory E. Zschomler.  And Jeff Leuthold, as always, has built a terrific set.

This production is well worth attending.  It runs weekends through May 13.  For further information go to their website at lovestreetplayhouse.com and/or call for tickets at 360-263-6670.

Review by Dennis J. Sparks

Mr. Sparks has years of experience in theater as a teacher, director and performer. He was formerly a Portland theatre reviewer for the Vancouver Voice (now defunct), and is currently a free-lance reporter living in Southwest Washington.

"An Inspector Calls" Opens Friday at the Love Street Playhouse in Woodland, Wash.

David Roberts, Jennica Krohn and Paul Segren in "An Inspector Calls"

"An Inspector Calls," by J.B. Priestly, opens at the Love Street Playhouse, 126 Love St., Woodland, Wash. this Friday, April 20, 2012 for a four weekend run.

The classic play, written in 1945, is set in Edwardian England. The proceedings take place on a single night 100 years ago (in the spring of 1912) just prior to the launch of the Titanic. The story examines a prosperous middle-class family celebrating the engagement of their daughter to Mr. Gerald Croft, the son of a business rival.

The family is visited by a mysterious man calling himself Inspector Goole. He questions the family about the suicide of a young working-class woman named Eva Smith. The family members are interrogated individually and each is revealed to have in some way been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death.

There are major domestic upsets, some surprising twists and turns and some very revealing insights...

But what is really uncovered?

The play is being produced by Melinda Leuthold, owner and Artist Director of the playhouse, and is designed and directed by Gregory E. Zschomler.

CAST:

• Paul Segren, Inspector Goole
• Don Smith, Mr. Arthur Birling
• JoAnn McClanahan, Mrs. Sybil Birling
• Nicholas Dibartolomeo, Master Eric Birling
• Jennica Krohn, Miss Sheila Birling
• David Roberts, Mr. Gerald Croft
• Rebekah Krohn, Edna the maid

The show will play Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. from April 20 through Mother's Day, May 13. Tickets, now on sale, range from $11-$15, available at Columbia Bank in Woodland, Minuteman Press in Longview, online at www.lovestreetplayhouse.com or by calling 360.263.6670 begin_of_the_skype_highlighting            360.263.6670      end_of_the_skype_highlighting .

Parental Advisory: This play contains subject matter, dialogue and language that may not be suitable for pre-teen children. The show can best be enjoyed and appreciated by an adult audience.

An independent review will be posted by noon Saturday, April 21.

TICKETS NOW ON SALE for "An Inspector Calls" Opening April 20th at Love Street Playhouse

"An Inspector Calls," by J.B. Priestly, will open at the Love Street Playhouse, 126 Love St., Woodland, Wash. on April 20, 2012 for a four weekend run.

The classic play, written in 1945, is set in Edwardian England. The proceedings take place on a single night 100 years ago (in the spring of 1912) and focus on a prosperous middle-class family celebrating the engagement of their daughter to Mr. Gerald Croft, the son of a business rival.

The family is visited by a mysterious man calling himself Inspector Goole. He questions the family about the suicide of a young working-class woman named Eva Smith. The family members are interrogated individually and each is revealed to have in some way been responsible for the young woman's exploitation, abandonment and social ruin, effectively leading to her death.

There are major domestic upsets, some surprising twists and turns and some very revealing insights...

But what is really uncovered?

The mystery-drama is being designed and directed by Gregory E. Zschomler. Paul Segren stars as the Inspector, Don Smith as Mr. Arthur Birling, JoAnn McClanahan as Mrs. Sybil Birling, Nicholas Dibartolomeo as Master Eric Birling, Jennica Krohn as Miss Sheila Birling, and David Roberts as Mr. Gerald Croft. The play is produced by Melinda Leuthold, owner and Artist Director of the playhouse.

The show will play Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. from April 20 through Mother's Day, May 13. Tickets, now on sale, range from $11-$15, available at Columbia Bank in Woodland, Minuteman Press in Longview, online at www.lovestreetplayhouse.com or by calling 360.263.6670.

Parental Advisory: This play contains subject matter, dialogue and language that may not be suitable for pre-teen children. The show can best be enjoyed and appreciated by an adult audience.