Showing posts with label Lower Columbia College. Show all posts
Showing posts with label Lower Columbia College. Show all posts
Saturday, November 30, 2013
Thursday, May 23, 2013
REVIEWS: I'm Falling from LLC's "Cloud 9"
That's the official description, and no I didn't make an error with the dates or math. If it's confusing then take that as an indication of how the play will be, too.
The Play
I did not like this play. There were things I liked about the performance/ production, and I'll get to those, but for now I will address the writing. It wasn't that good. Yes, there are moments when the dialogue is quite real or humorous, but there is also a great deal of "nothing." Let me explain:
The material is not plot driven, nor is it strongly character driven; it is issue driven. I surmise this play was written to deliver a message--an agenda--or, possibly, to shock and push cultural boundaries. While each person must decide with their own conscience and convictions what they wish to pursue as entertainment, publicity materials should have carried a warning of some sort about the content, so people know what they're getting into. I'll close off this review with a summary of that material.
The Players
Overall the performances were well directed and offered with confidence and skill. The cast seemed comfortable with their roles and the things required of them. Most of the cast played dual parts in two different time periods and did quite well at developing two different personas (which were sometimes of opposite gender) with one exception.
Timothy R. Laughlin, whose delivery in Act I fit the character (wonderfully dry, droll and British) went unchanged and didn't work for his Act II character. The company notes read of Laughlin: "I'm not acting in this play, Don [Correll, the director] told me to just be natural." Seemed to have worked in Act I, didn't in Act II.
Standout performances were given by Nathan Clark as Clive, Shae Coleman as the boy Edward (also quite good as Victoria) and Diane Krane truly shined as Lin. Coleman, especially, has a very expressive face and is a fine actress. However, it was Wendy Howard-Benhem who shone brightest among the stars; her performances were (while some of the most uncomfortable of the play) superb. Dante Huffines was also amusing as Cathy.
The Production
The simple set was dull and unimpressive. I didn't even like the colors. It would have worked better with less. But the play isn't about the set. Costumes were fine, some were exceptional, others merely served. Overall technical production qualities were down from the usual high quality (maybe end of the year budget scrapings?) I've come to enjoy at LCC. The one exception was the lighting, which was impressive in design and execution.
A nearly perfect illumination by Donald A. Correll (also the stage director) with interesting and well-timed cues. The overall look include the right balance of down to front lighting with a good use of a limited color pallet (amber, nc blue, lemon yellow, daylight blue and highlights of red and a bit of green). Texture was used nicely at times and the two British flags were lit in a number of ways to dramatic affect.
The Precautions
The publicity materials should have come with a cautionary statement; something to the effect of "Warning: Explicit Content." I believe this is a responsibility when material and content of this kind is presented especially when no refunds are offered. If this were a film it would have garnered an R rating simply for the extensive use of the F-bomb, if not for other reasons. Here's a listing of content with which some might take issue:
Extensive and sometimes detailed sexual dialogue. Sensation is described during a simulated (under a skirt) act of oral sex; masturbation is frankly presented as a good thing; and embracing same-sex, both sex, multiple sexual partners and orgies are presented as satisfying and good. There is also much innuendo, though most things are discussed out-right. Other swear/curse phrases/words are used sparingly, but not the F word, which was pervasive. There is fondling of breasts (clothed), same-sex kissing, cross dressing, the use of slang terms for sexual body parts and suggested incest. There is also some suggested Eastern religion and possible drug use suggested within the orgy scene (which, surprisingly, is not presented sexually). Surprisingly, everyone remains dressed.
The Purchase
The play runs now through May 25 and 30, and June 1 and 6-8. Showtimes are 7:30 p.m. Tickets may be purchased in advance from the LCC Bookstore in the Student Center, at Encore Concession in the Rose Center, or from the online ticket store. Tickets may also be purchased one hour before performances at the Rose Center Box Office. General Ticket Prices are $8 for adults, $7 for Seniors and are FREE to LCC students, faculty and staff, and children 12 and under. Location: 2323 Washington Way, Longview, Wash.
Review by Gregory E. Zschomler
The Following Review is by Dennis Sparks:
This play is labeled as “a hilarious look at sex and gender.” I found it neither funny (nor comedic), nor a serious look at sexual identity (especially Act I). There is no story as such in the first Act. It takes place in the 1880s during the British rule of South Africa. It is a scenario (and possibly comment) on the [sexually] repressed society of the Victorian Age.
It is, then, a ‘story’ of relationships. Now let’s see if I can keep this straight. In the first Act, Clive (Nathan Clark) and Betty (a male, played by Robert Loren) are married, but Clive is having an affair with Mrs. Saunders (Wendy Howard-Benhem), a widowed neighbor. Meanwhile Uncle Harry (Timothy R. Laughlin), who has been out in the wild too long, is having secret dalliances with Clive’s young son, Edward (a female, played by Shae Coleman), as well as Betty, Clive’s wife, but eventually marries the governess, Ellen (Susan Foytack), who also has a thing for Betty. And Betty’s mother, Maud (Diane Krane), doesn’t seem to like anyone. And a black tribesman (played by a white male, Dante Huffines), a servant, seems to have the hots for everyone. There, I think I’ve covered everyone. Confused? Join the crowd.
To make a comment about the Victorian Age being repressed is unnecessary, as that phrase alone stands for repression in most people’s vernacular. So, if one would wish to do a comedy on it, one should take the examples of Monty Python and do it broadly, as a farce. But the situations are delivered almost straight with a dry humor, at best. Doesn’t work. This is not the fault of the cast, who are quite good, but in the writing and/or interpretation. So, throw the first act out the window and proceed to Act II.
Act II takes place 100 years later (with the same cast of actors). [Editor’s Note: 1979, though it’s actually 25 years later due to some time-shift thing. Try not to be confused.] This time we have a comedy-drama format, which works much better. We have Lin (Diane Krane), a lesbian, who has a young daughter, Cathy (played by a male, Dante Huffines). Victoria (Shae Coleman) is having an affair with Lin, but is also married to Martin (Timothy R. Laughlin). Victoria’s brother, Edward (Nathan Clark) is in a relationship with Gerry (Robert Loren). And their mother, Betty (Wendy Howard Benhem) is just plain lonely. Again, a bit confusing, but played ‘straighter,’ with a large dose of drama thrown in to equal the humor.
It seems there are two distinct styles evident here. Had it been played that way it might have worked better, especially Act I. The first Act did get its share of guffaws from a select section of the audience, but it appeared it was because they were laughing at their friends in drag on the stage, instead of any actual humor from the play. Much of the audience was quiet. The second act fared better, as there was more meat to the story.
The set (Robert Cochran) was simplistic but, I suspect, was intended that way to go along with the cardboard or cartoon-like interpretation of the production. The lighting (designed by the director, Donald A. Correll) was quite good and the costumes (Jennifer Cheney) seemed appropriate for the periods. The director chose a good cast, but the conflicting styles between the two acts was jarring.
The cast were all very good and must have had a challenging time portraying, in most cases, two distinct characters. Coleman was especially good in playing a precocious boy in one segment and a sexy mom in another. And Huffines had an equally challenging reversal, playing a native African in one and a little girl in the other. Both excellent, as well as the whole cast.
I cannot recommend this play. The first act, as mentioned, I found boring and humorless and totally the wrong style for this sort of play. The second act is better, but the two acts don’t seem to sync as a statement of any sort. Also it might tend to offend a lot of people with its language and adult situations, as well as its depiction of the Brits [Editor’s Note: Which I thought was the funniest part of the show].
By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com
The Following Review is by Dennis Sparks:
Identity Crisis
This play is labeled as “a hilarious look at sex and gender.” I found it neither funny (nor comedic), nor a serious look at sexual identity (especially Act I). There is no story as such in the first Act. It takes place in the 1880s during the British rule of South Africa. It is a scenario (and possibly comment) on the [sexually] repressed society of the Victorian Age.
It is, then, a ‘story’ of relationships. Now let’s see if I can keep this straight. In the first Act, Clive (Nathan Clark) and Betty (a male, played by Robert Loren) are married, but Clive is having an affair with Mrs. Saunders (Wendy Howard-Benhem), a widowed neighbor. Meanwhile Uncle Harry (Timothy R. Laughlin), who has been out in the wild too long, is having secret dalliances with Clive’s young son, Edward (a female, played by Shae Coleman), as well as Betty, Clive’s wife, but eventually marries the governess, Ellen (Susan Foytack), who also has a thing for Betty. And Betty’s mother, Maud (Diane Krane), doesn’t seem to like anyone. And a black tribesman (played by a white male, Dante Huffines), a servant, seems to have the hots for everyone. There, I think I’ve covered everyone. Confused? Join the crowd.
To make a comment about the Victorian Age being repressed is unnecessary, as that phrase alone stands for repression in most people’s vernacular. So, if one would wish to do a comedy on it, one should take the examples of Monty Python and do it broadly, as a farce. But the situations are delivered almost straight with a dry humor, at best. Doesn’t work. This is not the fault of the cast, who are quite good, but in the writing and/or interpretation. So, throw the first act out the window and proceed to Act II.
Act II takes place 100 years later (with the same cast of actors). [Editor’s Note: 1979, though it’s actually 25 years later due to some time-shift thing. Try not to be confused.] This time we have a comedy-drama format, which works much better. We have Lin (Diane Krane), a lesbian, who has a young daughter, Cathy (played by a male, Dante Huffines). Victoria (Shae Coleman) is having an affair with Lin, but is also married to Martin (Timothy R. Laughlin). Victoria’s brother, Edward (Nathan Clark) is in a relationship with Gerry (Robert Loren). And their mother, Betty (Wendy Howard Benhem) is just plain lonely. Again, a bit confusing, but played ‘straighter,’ with a large dose of drama thrown in to equal the humor.
It seems there are two distinct styles evident here. Had it been played that way it might have worked better, especially Act I. The first Act did get its share of guffaws from a select section of the audience, but it appeared it was because they were laughing at their friends in drag on the stage, instead of any actual humor from the play. Much of the audience was quiet. The second act fared better, as there was more meat to the story.
The set (Robert Cochran) was simplistic but, I suspect, was intended that way to go along with the cardboard or cartoon-like interpretation of the production. The lighting (designed by the director, Donald A. Correll) was quite good and the costumes (Jennifer Cheney) seemed appropriate for the periods. The director chose a good cast, but the conflicting styles between the two acts was jarring.
The cast were all very good and must have had a challenging time portraying, in most cases, two distinct characters. Coleman was especially good in playing a precocious boy in one segment and a sexy mom in another. And Huffines had an equally challenging reversal, playing a native African in one and a little girl in the other. Both excellent, as well as the whole cast.
I cannot recommend this play. The first act, as mentioned, I found boring and humorless and totally the wrong style for this sort of play. The second act is better, but the two acts don’t seem to sync as a statement of any sort. Also it might tend to offend a lot of people with its language and adult situations, as well as its depiction of the Brits [Editor’s Note: Which I thought was the funniest part of the show].
By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com
Monday, May 20, 2013
LCC Presents British Comedy-Drama "Cloud 9" About Sex
Both parody and spoof of the 1880s Victorian Empire and its rigid attitudes towards sex. The play shifts twenty-five years later to London in 1980 where all the characters' repressed sexual longings have evaporated along with the British Empire.
The play runs May 22-25 and 30, and June 1 and 6-8.
Tickets may be purchased in advance from the LCC Bookstore in the Student Center, at Encore Concession in the Rose Center, or from the online ticket store. Tickets may also be purchased one hour before performances at the Rose Center Box Office. General Ticket Prices are $8 for adults, $7 for Seniors and are FREE to LCC students, faculty and staff, and children 12 and under.
Tickets may be purchased in advance from the LCC Bookstore in the Student Center, at Encore Concession in the Rose Center, or from the online ticket store and may also be purchased one hour before performances at the Rose Center Box Office.
Look for our double review on Thursday at noon.
Look for our double review on Thursday at noon.
Thursday, February 21, 2013
REVIEW: LCC Presents Three One-Acts by Pulitzer Prize-Winning Tennessee Williams
His best-known works include "Cat on a Hot Tin Roof," "The Glass Menagerie" and "A Street Car Named Desire," the Pulitzer Prize-winning play set in New Orleans.
Lower Columbia College in Longview, Wash. presents three of his lesser-known one-acts, "The Long Goodbye," "The Purification" and "Something Unspoken" in An Evening with Tennessee Williams.
The weakest of the three plays, "Something Unspoken" is a bit of a commentary-comedy that explores the relationship between a southern aristocratic woman and her private secretary. There are only two actors in the piece. Scarlet Clark directs and plays the woman. Shizuka Wolf Moon plays the secretary. The material wasn't William's best and the presentation suffered some in it's lack of sincerity.
While Wolf Moon was enthralling, Clark could have benefited from an outside director. It is just difficult to to direct oneself, being so close to the work and unable to observe your own performance. She didn't carry herself as a southern woman, nor did she use a southern accent.
Furthermore the hairstyles weren't right, nor the costuming. (Paisley was NOT part of the 1930s deep south.) In fact little attention seemed given to the 1930s period. Overall I felt the execution should have been pushed/played more toward farcical comedy. I began to drift, having difficulty finding a plot or purpose.
"The Long Goodbye" is a drama about a young man who moves out of the family house filled with memories of his family. Ably directed by Gian Paul Morelli, well dressed, designed and very nicely lit. The show stars Corey Farmer, Timothy R. Laughlin, Shae Coleman, Dante Huffine, Tyler Donnely, Thomas Loren, Zack Lyon and Susan Laughlin.
Timothy Laughlin and Shae Coleman gave standout performances, with Coleman showing a special flair for her role as a 1930s woman. The best, most authentic performance by far was given by Susan Laughlin. There were many delightful moments.
Scenes, into the past and back to the present, were nicely shifted with the use of area lighting. There were many nice touches to the direction and performance and it was technically well done with the one exception of a non-period lighter (get a Zippo).
WARNING: Language is an issue and there are racial slurs.
"The Purification" is a high drama piece about a woman who has died and the people who knew her gather to judge the man who killed her. It is an extended poetry piece much like Shakespeare and includes musical undercurrents that augment the drama and lend an ethereal quality to the work. A very stylized mood piece dealing almost imperceptibly (due to the period) with infidelity, frigidity and incest.
The large cast consists of several leads and a group of eight "chorus" members. Standouts were Wolf Moon, Daniel Fox and Hanna Badger. Susan Laughlin also contributed her great talents to a small role, but all roles were played well, though I felt Spanish accents were in order (and they weren't used).
The set was delightful and the lighting outstanding! Lighting and direction by Donald A. Correll were top notch. The lighting in and of itself was perfection (with great use of color and texture) and lent a great deal to the feel and mood of the piece. From the dramatic opening to the very last line every moment was interesting and intriguing. It was a visual and auditory delight. Very, very classy.
An Evening with Tennessee Williams plays February 21-23, February 28-March 2, and March 7-March 9. General Admission Tickets are $8, Senior 55+/ Non-LCC Students are $7, and LCC Students and Staff are FREE. Performances are at the Rose Center for the Performing Arts, Center Stage at Lower Columbia College, 1600 Maple St., Longview, Wash. For more information contact them at www.lowercolumbia.edu/aande
SECOND BONUS REVIEW by Dennis Sparks:
Lower Columbia College in Longview, Wash. presents three of his lesser-known one-acts, "The Long Goodbye," "The Purification" and "Something Unspoken" in An Evening with Tennessee Williams.
Something Unspoken
The weakest of the three plays, "Something Unspoken" is a bit of a commentary-comedy that explores the relationship between a southern aristocratic woman and her private secretary. There are only two actors in the piece. Scarlet Clark directs and plays the woman. Shizuka Wolf Moon plays the secretary. The material wasn't William's best and the presentation suffered some in it's lack of sincerity.
While Wolf Moon was enthralling, Clark could have benefited from an outside director. It is just difficult to to direct oneself, being so close to the work and unable to observe your own performance. She didn't carry herself as a southern woman, nor did she use a southern accent.
Furthermore the hairstyles weren't right, nor the costuming. (Paisley was NOT part of the 1930s deep south.) In fact little attention seemed given to the 1930s period. Overall I felt the execution should have been pushed/played more toward farcical comedy. I began to drift, having difficulty finding a plot or purpose.
The Long Goodbye
"The Long Goodbye" is a drama about a young man who moves out of the family house filled with memories of his family. Ably directed by Gian Paul Morelli, well dressed, designed and very nicely lit. The show stars Corey Farmer, Timothy R. Laughlin, Shae Coleman, Dante Huffine, Tyler Donnely, Thomas Loren, Zack Lyon and Susan Laughlin.
Timothy Laughlin and Shae Coleman gave standout performances, with Coleman showing a special flair for her role as a 1930s woman. The best, most authentic performance by far was given by Susan Laughlin. There were many delightful moments.
Scenes, into the past and back to the present, were nicely shifted with the use of area lighting. There were many nice touches to the direction and performance and it was technically well done with the one exception of a non-period lighter (get a Zippo).
WARNING: Language is an issue and there are racial slurs.
The Purification
"The Purification" is a high drama piece about a woman who has died and the people who knew her gather to judge the man who killed her. It is an extended poetry piece much like Shakespeare and includes musical undercurrents that augment the drama and lend an ethereal quality to the work. A very stylized mood piece dealing almost imperceptibly (due to the period) with infidelity, frigidity and incest.
The large cast consists of several leads and a group of eight "chorus" members. Standouts were Wolf Moon, Daniel Fox and Hanna Badger. Susan Laughlin also contributed her great talents to a small role, but all roles were played well, though I felt Spanish accents were in order (and they weren't used).
The set was delightful and the lighting outstanding! Lighting and direction by Donald A. Correll were top notch. The lighting in and of itself was perfection (with great use of color and texture) and lent a great deal to the feel and mood of the piece. From the dramatic opening to the very last line every moment was interesting and intriguing. It was a visual and auditory delight. Very, very classy.
An Evening with Tennessee Williams plays February 21-23, February 28-March 2, and March 7-March 9. General Admission Tickets are $8, Senior 55+/ Non-LCC Students are $7, and LCC Students and Staff are FREE. Performances are at the Rose Center for the Performing Arts, Center Stage at Lower Columbia College, 1600 Maple St., Longview, Wash. For more information contact them at www.lowercolumbia.edu/aande
Review by Gregory E. Zschomler
SECOND BONUS REVIEW by Dennis Sparks:
The World of Williams
Tennessee Williams is, in my opinion, one of America’s best playwrights. And most of his plays have a relationship to other plays/characters of his, as well as his personal life. And so it is with the plays presented here:
"Something Unspoken," late 1930’s Mississippi, directed by Scarlett Clark (directing debut); "The Long Goodbye," late 1930’s St. Louis, directed by Gian Paul Morelli (Executive Director of Columbia Theatre); and "The Purification," the Southwest, directed by Donald A. Correll (Producer of Center Stage).
"Something Unspoken" concerns a wealthy Southern spinster, Cornelia (Scarlett Clark, also the Director) caught up in the façade of the gentry of the Old South, with all its charms, manners and, totally out-of-date perceptions, of the current world and society. Her companion/secretary, Grace (Shizuka Wolf Moon) of 15 years, lives with her and has the dubious distinction of probably being her only real friend.
As Grace purports, in a touching monologue by Moon, their lives are shades of gray, but hers is reminiscence of cobwebs and Cornelia’s, of Emperors. But Cornelia lives in a world cushioned by classical music when things become dire. She feels music soothes things over rather than speaking them out-loud. Therefore, there is always, something unspoken. Williams’ lack of respect for high society are also clearly shown in the characters of Blanche in "A Streetcar Named Desire" and the matron in "Suddenly Last Summer."
Clark’s direction, in what could have been a static play, works well, as she keeps her characters moving. She does fine as the fussy aristocrat, but even better is Moon as Grace. She has a very touching monologue and seems to have a sense of purpose in her character, even in silent moments, as she listens, reacts and thinks. Nicely done piece.
"The Long Goodbye" is probably the most personally connected of the three one-acts. It tells of a writer, Joe (Corey Farmer) in St. Louis who, unable to make ends meet, has to sell the family house and move into smaller quarters. He voices his qualms [and] regrets in leaving [by reveling] the memories of the past to his friend, Silva (Timothy R. Laughlin). The play even reveals flashbacks into his past, with his ailing mother (Susan Laughlin) and, possibly, whoring sister, Myra (Shae Coleman). But leave he must, as he reflects, “Life is just a long, long goodbye.”
Williams did live with his mother and sister in poverty in St. Louis, which is also reflected in his most personal full-length play, "The Glass Menagerie." And he did brush shoulders with communist sympathizers and was also gay in real life (Silva alludes to Joe as being, “a sissy”). The director, Morelli, does a good job of shifting the story back and forth in time, without confusing the audience. And Ms. Laughlin is particularly moving in the brief role she has as his cancer-stricken mother.
"The Purification," may be the hardest to explain. Williams, in addition to being a great playwright, was also a poet and essayist. This play is lyric, more in the style of a Greek tragedy (as it has a Chorus that comments on the proceedings) or related to Shakespeare’s "Romero and Juliet" (in which two warring families must face the truth of their children dealing with elicit love and death).
In brief, a daughter of one family, Elena (Hanna Badger) has been killed by her husband (Nathan Joel Clark), the son of a family "from the other side of the fence.” The families present this scenario to a Judge (Michael Cheney) to decide the outcome of the murder and how to satisfy “the waters/rain” so that they can go on with their lives. [Editor's Note: I felt Cheney performed well enough, but it was not his best opportunity to shine; he was so wonderful in last season's "A Flea in Her Ear."]
The director, Correll, does a beautiful job of staging this play and the cast is fully vested in presenting it. The Designers [the Set (Robert Cochran), the Costumes (Jennifer Cheney) and the Lighting (again, Correll)] have added immensely to the vision in this production. And, again, Ms. Laughlin, as the mother and Moon (as Luisa, a seer), stand out. And Cheney and Clark are especially good, as is Daniel Fox in the role of the son.
This dream-like play, again, has a basis in another Williams show, specifically, "Camino Real," (his only real failure on Broadway), which is also a lyric drama. And also in his awe of the awareness of the Spanish-Indian people, such as the flower seller in “A Streetcar Named Desire.” Stories of lives lived, perhaps, in alternate universes.
These are plays for people that wish to explore fuller the depths of an important writer and to experience the dedication of artists in an educational setting. For those lucky few, well worth your time.
Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com
"Something Unspoken" concerns a wealthy Southern spinster, Cornelia (Scarlett Clark, also the Director) caught up in the façade of the gentry of the Old South, with all its charms, manners and, totally out-of-date perceptions, of the current world and society. Her companion/secretary, Grace (Shizuka Wolf Moon) of 15 years, lives with her and has the dubious distinction of probably being her only real friend.
As Grace purports, in a touching monologue by Moon, their lives are shades of gray, but hers is reminiscence of cobwebs and Cornelia’s, of Emperors. But Cornelia lives in a world cushioned by classical music when things become dire. She feels music soothes things over rather than speaking them out-loud. Therefore, there is always, something unspoken. Williams’ lack of respect for high society are also clearly shown in the characters of Blanche in "A Streetcar Named Desire" and the matron in "Suddenly Last Summer."
Clark’s direction, in what could have been a static play, works well, as she keeps her characters moving. She does fine as the fussy aristocrat, but even better is Moon as Grace. She has a very touching monologue and seems to have a sense of purpose in her character, even in silent moments, as she listens, reacts and thinks. Nicely done piece.
"The Long Goodbye" is probably the most personally connected of the three one-acts. It tells of a writer, Joe (Corey Farmer) in St. Louis who, unable to make ends meet, has to sell the family house and move into smaller quarters. He voices his qualms [and] regrets in leaving [by reveling] the memories of the past to his friend, Silva (Timothy R. Laughlin). The play even reveals flashbacks into his past, with his ailing mother (Susan Laughlin) and, possibly, whoring sister, Myra (Shae Coleman). But leave he must, as he reflects, “Life is just a long, long goodbye.”
Williams did live with his mother and sister in poverty in St. Louis, which is also reflected in his most personal full-length play, "The Glass Menagerie." And he did brush shoulders with communist sympathizers and was also gay in real life (Silva alludes to Joe as being, “a sissy”). The director, Morelli, does a good job of shifting the story back and forth in time, without confusing the audience. And Ms. Laughlin is particularly moving in the brief role she has as his cancer-stricken mother.
"The Purification," may be the hardest to explain. Williams, in addition to being a great playwright, was also a poet and essayist. This play is lyric, more in the style of a Greek tragedy (as it has a Chorus that comments on the proceedings) or related to Shakespeare’s "Romero and Juliet" (in which two warring families must face the truth of their children dealing with elicit love and death).
In brief, a daughter of one family, Elena (Hanna Badger) has been killed by her husband (Nathan Joel Clark), the son of a family "from the other side of the fence.” The families present this scenario to a Judge (Michael Cheney) to decide the outcome of the murder and how to satisfy “the waters/rain” so that they can go on with their lives. [Editor's Note: I felt Cheney performed well enough, but it was not his best opportunity to shine; he was so wonderful in last season's "A Flea in Her Ear."]
The director, Correll, does a beautiful job of staging this play and the cast is fully vested in presenting it. The Designers [the Set (Robert Cochran), the Costumes (Jennifer Cheney) and the Lighting (again, Correll)] have added immensely to the vision in this production. And, again, Ms. Laughlin, as the mother and Moon (as Luisa, a seer), stand out. And Cheney and Clark are especially good, as is Daniel Fox in the role of the son.
This dream-like play, again, has a basis in another Williams show, specifically, "Camino Real," (his only real failure on Broadway), which is also a lyric drama. And also in his awe of the awareness of the Spanish-Indian people, such as the flower seller in “A Streetcar Named Desire.” Stories of lives lived, perhaps, in alternate universes.
These are plays for people that wish to explore fuller the depths of an important writer and to experience the dedication of artists in an educational setting. For those lucky few, well worth your time.
Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com
Sunday, November 11, 2012
REVIEW: LCC's "A Flea in Her Ear" Naughty, but NICE
The Ploy
Call it a farce, a screwball comedy, or Shakespeareanesque humor; call it what you will, but you cannot call it dull. Fun, fun, fun and funny. And quirky. “A Flea in Her Ear” is must see. If you live in Vancouver, take the drive; you will NOT be sorry.
Of course this is about SEX and maybe about infidelity, but the material is handled so very well. Yes, it's riddled with innuendo, double-entendre and risqué humor, but it’s not overly bawdy or crass. The comedy comes right up to line of bad taste at times, but it does not cross it. While I wouldn't recommend it for children, most of the scandalous dialogue would go right over their heads if it were not for the knowing looks. I don’t think most adults will be offended. Naughty and nice, but not nasty.
The Plot
Now, with that bit of set up (and without giving too much away), some characters MAY be “involved” with other characters and they all aim to find out. Nuff said. I will also say that you are in for a big surprise. And I will say one thing more: This is the kind of thing that The Bard wrote over and over in his comedies. If he were writing in today’s vernacular, this is what he would have written. Trust me, it’s just as brilliant. Maybe Ives is channeling him; I don’t know.
The Performers
The cast, in general, is quite good; a few are exceptional. The standouts I mention are cream of the crop. They are: Shae Coleman as Lucienne whose comic timing and expressions are idyllic, and Michael Cheney is truly amazing as an actor, but the show-stealer is Daniel Fox-Telford as the Spaniard (who’s name I will not endeavor to spell). Fox-Telford’s performance—his facial expressions, his physicality, his verbiage and his delivery—were absolutely stunning (and quite funny). I love him!
“A Flea in Her Ear” is a hilarious hoot. Don’t miss it!
WARNING: As stated, they play is a tad racy and there is some language.
info@lowercolumbia.edu
info@lowercolumbia.edu
By Gregory E. Zschomler
NOTE: I am trying to get some photographs to post, so check back soon.
NOTE: I am trying to get some photographs to post, so check back soon.
Monday, November 5, 2012
LCC to Open Season with the Bedroom Farce "A Flea in Her Ear"
Here's a heads-up on the Season Theater Schedule for Lower Columbia Community College:
The Fall Quarter 2012 show is "A Flea in Her Ear" by Georges Feydeau and is billed as the funniest bedroom farce ever. Show dates are November 7-10, 15-17, 23 and 24; all times are 7:30 p.m.
A woman suspects her husband of infidelity and she and her best friend concoct a perfumed letter to trap him at the Hotel Pussycat. In true Feydeau fashion the plan misfires; the plot is complicated by confused identities, revolving beds and a great many slamming doors.
Tickets may be purchased in advance from the LCC Bookstore in the Student Center, at Encore Concession in the Rose Center, or from the online ticket store. Tickets may also be purchased one hour before performances at the Rose Center Box Office. General Ticket Prices are $8.00 for Adults, $7.00 for Seniors and are free to LCC students, faculty, staff, and children (12 and under).
info@lowercolumbia.edu
We're still waiting to hear if we'll be reviewing the show, but if we do the review will be posted here the morning of Thursday, November 8.
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For the Winter Quarter 2013 they will be offering An Evening with Tennessee (Three Tennessee Williams One-Acts: "The Long Goodbye," "The Purification," and "Something Unspoken"), February 20-23 and 28; March 1, 2 and 7-9.
"The Long Goodbye" is about a young man who moves out of the family house filled with memories. "The Purification" concerns a woman who has died and the people who knew her that gather to judge the man who killed her. But did he kill her, or just an image? "Something Unspoken" explores the relationship between a southern aristocratic woman and her private secretary. The Winter plays have not yet been cast. Auditions for An Evening with Tennessee will take place, 6-9 p.m., January 7 and 8 at the Rose Center for the Arts Center Stage on the LCC campus.
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The Spring Quarter 2013, a time shifting British African comedy by Caryl Churchill, will be "Cloud 9" presented May 22-25 and 30; June 1 and 6-8. It is both a parody and spoof of the 1880s Victorian Empire and its rigid attitudes towards sex. The play shifts twenty-five years later to London in 1980 where all the characters' repressed sexual longings have evaporated along with the British Empire. It has not yet been cast. Auditions for Cloud 9 will be April 8 and 9, 2013 at the Rose Center for the Arts Center Stage on the LCC campus. Roles for 4 men and 3 women.
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