Nov 10

Let x Equal Much Promise

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Proof by David Auburn, Curtain Call Theatre, Braintree, MA  11/5/10-11/13/10 http://curtaincallbraintree.org/

Reviewed by Becca Kidwell

Take x; add a strong cast and tight direction to a Pulitzer Prize winning script, and the result will be Curtain Call Theatre’s production of Proof.   The small theater group embodies two of the main themes of the play:  testing theories and proving yourself.

The cast brings strength and soul to the script.  At the core is Sarah Jacobs.  This recent Brandeis University graduate possesses natural talent that creates an awkward, intelligent, and inwardly strong Catherine.  She has a few small affectations and a lack of cynicism, but those nuances will go away with life and career experience.  Dan Delaporta, as Hal, exudes energy and geekiness.  He displays both the self-centeredness and sensitivity that makes him a good match for Catherine.  Both actors will continue to thrive as long as they practice their craft and remain open to all opportunities. Continue reading →

Nov 09

THE FARCE IS WITH HIM: An Interview with Brian McEleney

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www.trinityrep.com

pictured (left to right): Fred Sullivan Jr., Brian McEleney, Anne Scurria and Mauro Hantman in Twelfth Night, directed by Brian McEleney at Trinity Rep. Set designs by Eugene Lee, costumes by William Lane, lighting by John Ambrosone. (Photo: Mark Turek)

by Becca Kidwell

In these harsh economic times, it is difficult to imagine having the same job at the same company for twenty-six years.  It is even more difficult to imagine having a theatre job for longer than the run of one show.  Brian McEleney of Trinity Rep has done both.  This year, he continues his joyful romp through life as director of Trinity Rep’s productions of Absurd Person Singular and The Crucible and actor in The Completely Fictional—Utterly True—Final Strange Tale of Edgar Allan Poe.

Although he did a few plays in high school, it was not until college when he started to think about a theatrical career.  As a senior at Trinity College (where one of his classmates was Anne Scurria—now a fellow company member), McEleney was accepted to Yale and “that convinced me that this could be a serious career, and I’ve done almost nothing else ever since.”  He first taught at Princeton University and The Bread Loaf School of English.  Since 1981, he has taught at Trinity Rep and is currently the head of acting for the Brown/Trinity M.F.A. Program.

With successful productions both in acting and directing, I ask him which he prefers:

“Hard to say which I like more; it’s kind of like asking which of your children is your favorite…  However, preproduction work as a director is tremendous fun — thinking about the play, imagining what the production should look and feel like, finding big ideas that will tie the whole thing together.  And also, when you’re directing, the dreaded labor of learning lines isn’t an issue.  However, after the play opens you’re pretty much done.  As an actor, I love the performing aspect — the fact that you get to do it eight times a week that you get a new chance every day to make it better and deeper.  I love the athletic aspect of acting that you always have to be doing your absolute best and giving the play to a new audience every night.” Continue reading →

Oct 26

A Play of Imagination Leaves Little to Imagine

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The Turn of the Screw by Jeffrey Hatcher, Stoneham Theatre, 10/21/10-11/7/10

http://www.stonehamtheatre.org/

Photo: Craig Bailey/Perspective Photo

Reviewed by Becca Kidwell

Gianni Downs’ minimalistic scenery welcomes the audience to an atmospheric ghost story.  As the audience enters the theatre, they see a raked black stage with a single deep purple velvet chair and slight blue lighting on the stage.  However, the main focal point runs from the stage to the balcony—a collection of ropes tied off in waves across the ceiling that lead to ropes hanging down next to the chair.  I’m intrigued.  Upon reading the director’s notes in the program, I am enthusiastic to see her desire to honor Henry James’ preference to leave fear to the imagination.  Unfortunately, from the time the house lights go down to the curtain call, I see too much.  The heavy-handed interpretation of the director combined with exaggerated characterizations lead to a production that is only scary in that it does not trust its material or its audience. Continue reading →

Oct 18

Set Your Phasers On Stunned!!!

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Kate Mulgrew and John Douglas Thompson photo by T. Charles Erickson

Antony and Cleopatra, Harford Stage, Hartford, CT  10/7/10-11/7/10

http://www.hartfordstage.org/shows/antony-cleopatra

Reviewed by Becca Kidwell

From the start of the Antony and Cleopatra, Kate’s performance is filled with passion and abandon.  Running in bare-footed with a sword, anyone who has seen many of Ms. Mulgrew’s performances realizes this is not the calm, controlled persona of Kathryn Janeway, Elizabeth Seton, or Janet Eldridge.  Cleopatra is a woman who is one of the most powerful rulers in the world and yet is controlled by her lustful appetite for a man who can never be completely hers:  Antony.  Her strength and vulnerability are played out in her faithfulness to Antony and her jealousy of Antony’s wives.  Her performance evokes lust, humor, rage, sensuality, and pathos that compel you to be drawn into her plight.  The energy that she puts into her performance meets and sometimes exceeds some of the soldiers and dancers and does not stop until the snake kills her.  With the wildness of her character combined with a beautiful long flowing wig and voluptuous costumes, she appears more youthful and free than some of her roles from twenty years ago (if only we all could “youth-en” in that way!).   I hope we continue to get to see her versatility as the years go on.  As for the actress herself, Ms. Mulgrew was extremely gracious after running around for three hours to take the time to sign my program and allow me to thank her for her magnificent performance as well as her previous work. Continue reading →