Saturday, March 31, 2007
Thursday, March 29, 2007
After tonight's performace of Nevermore at Kensington Arts Theatre, "the theatre will be hosting a Talk-Back session with the composer, Matt Conner, and members of the cast, production, and artistic staff of NEVERMORE.
This is a unique, exciting opportunity to ask questions about the show or artistic process and gain more of an insight into the author's work. Come to the Thursday performance and stay for this exciting chance to learn what it is like to build a musical from the ground up. "
Wednesday, March 28, 2007
(Photo of Guy Paul and Heidi Blickenstaff)
Sorry I have been a little bit absent here. I've been sucked into a great book, spring cleaning and , well, MJD. I have neglected to post these links for primarily the fam' to read at home.
Here we go...
Saturday, March 24, 2007
Thursday, March 22, 2007
Wednesday, March 21, 2007
Click HERE to read the Potomac Stages review of Nevermore at KAT! Good stuff!
Get your tickets for this coming weekend or next weekend right HERE!
They are also offering $10 student tickets!
Remaining performances: March 23, 24, 25, 29,30, 31
Tuesday, March 20, 2007
Monday, March 19, 2007
Sunday, March 18, 2007
Well, MJD has been all over the Washington Post of late, first in this lovely profile, but also reporting on last night's incident at Ford's Theatre, where Heidi Blickenstaff and Jim Moye were apparently smokin' hot...
Saturday, March 17, 2007
I am in the weeds as we like to say. If I have not returned your call, know that I will soon enough. I will have some more posts on Monday, but not really until then.
I will hopefully have some exciting things to talk about in the next week or two...lots of breaking news that hasn't quite broken yet...but it isn't there yet.
PS...recent obsession: The Bridges of Madison County, the movie. I know that this is old, but if you have never watched it, what are you waiting for?
Get it for Meryl and Clint.
Everyone else is close to embarassing, but those 2 make the movie.
I am reading the book that is the epilogue to the origional, titled A Thousand Country Roads.
I highly reccomend it. Read it for Franchesca and Robert.
Friday, March 16, 2007
Monday, March 12, 2007
My cool celebrity look-alike collage from MyHeritage.com. Get one for yourself.
Now this comic is NOT for kids, as much sex, murder, etc. is involved, but it is like an addiction.
Right now, Jack (me in Into the Woods) has just started his own comic book, since he has been banished from Fabletown.
(Such a troublemaker, that Jack.)
This may all sound a bit geeky, but I promise you, once you start, you won't be able to stop. The writing is SO smart, and makes you want to look up all of the fables that you don't know about that you read about.
One of my favorite bits: "Frau Tottenkinder" who we know as "The Black Forrest Witch", or the witch of "Hansel and Gretel" and "Baba Yaga" have a witches duel. We learn that "Frau Tottenkinder", who is clearly the witch from Into the Woods, was also the witch who made the beast from Beauty and the Beast the actual beast, who also made the Frog Prince into a frog, who also stole away Rapunzel, and the list goes on. Needless to say, Baba Yaga is no match for her.
The story is so well written and researched that it hooks you in.
Even if you are not so much a comic book fan, you should check out "Fables".
They are on my "Hot List" of this Spring. Check them out!
Sunday, March 11, 2007
Friday, March 09, 2007
I have had the honor and pleasure of 2 nights of young angry man theatre.
Being a young angry man (at times), I had much to identify with.
First up: Hamlet at Signature Theatre.
I loved the production through and through. I thought that Ezra Dagan, Gil Frank, Assaf Goldstein, and especially Itay Tiran as Hamlet were standouts.
The concept was brilliant, and I was always engaged in the production. I know that it is already sold out, but I just want to pass the fact on that it was a way cool evening of Shakespeare in another language (with subtitles).
In another case of young angst, I cite the Kensington production of my husband's show, Nevermore, which I saw a dress rehearsal of tonight (I start tech for John Doe tomorrow, and this was the last night that I could see it).
I had a great time watching this show with a totally different cast, different direction, different set, and not because I disliked the original production (as you all know, I am fairly obsessed with it), but it was great to see the show stand on its own. Which Kensington's production clearly does. They do some things quite differently from the Signature production, and I liked them.
Mother is played by Brianne Cobruzi, who is younger than I and playing the role of Mother, who Florence Lacey played. It was very interesting to see a young Mother. I liked it.
The role of Elmira was split into two roles, which was also quite effective.
The Raven still rocks.
If you never saw Nevermore, or saw it and are not sure what you thought, I would go and see this production. This is not a regurgitation of the Signature production, but a new take on the material, and very interesting to see. The cast is fantastic as a whole, and do great work.
Visit this show at the affordable prices that they are. It only took us 30 minutes from Arlington to get there, and 20 to get home. Do it, you won't regret it.
Monday, March 05, 2007
(Photo of left to right: John Lescault, Kathleen Coons, and Joe Isenberg)
Matt, Eleasha and I went to see Crave at Signature Theatre this past Saturday night. I went into it having heard certain things and read certain reviews. Many of the reviews seemed to think that because Crave seems to fight being something conventional, that it is just unconventional for unconventionality's sake. Ok. I also had friends who saw it and loved it, saying how intense it was.
All of this only made me want to see Crave more.
As I walked into the theatre, there they are: Deborah Hazlett, Kathleen Coons, Joe Isenberg, and John Lescault. They are perched on "ledges" that are on the 4 walls of the black box. We got to our seat, and Kathleen Coons was literally over my right shoulder on her ledge. Bright lights shone up on them, and the sounds of traffic commotion filled the house. They were all on the verge of jumping off. Each one of them were going through different things. Kathleen was frantically patting her hands against her hips while breathing heavily and looking down. John had his back to the ledge, unable to face his fate. Deborah occasionally looked down, then just out at the city. She was in such an emotional pain that I could feel it from across the theatre. Joe Isenberg was staring indifferent into the void. Then the noise gets louder, more traffic, alarm clocks, ringing of phones, loud talking, ect. fill the theatre loudly. All four step closer to the edge. As the noise gets louder, they take one step out off of the ledge, and the theatre goes dark as noise becomes deafening and anguished.
When the lights come back on, the dialogue begins as all four are in a non specific place that looks like a sandbox with blackish sand in it. The four players sift and walk and dig through this sand the rest of the piece. I loved this set. It reminded me of so many things at once, but yet did not. It seemed like a playground at the base of the psychosis where things were sifted through. The set was the most effective when the lights were used with it. Several times the actors would dig in the sand and there was light coming up from beneath it. This was extremely effective. Really cool looking, too.
The piece itself. I like to think of the piece as well- have you ever seen any slam poetry? Well, this was like slam poetry, but written by a suicidal British woman. The words flow over you, and you catch what sticks out to your mind, and apply it to what you are seeing, or feeling. Just like you would do with opera or dance. The piece, as staged gorgeously by Jeremy Skidmore, seems to flow like a modern dance piece. The four players move in such fantastic patters and form such amazing pictures.
As you watch the piece, you can truly identify with certain phrases that stick out in the text. There were times when I cried from the pain of knowing how a character felt, having been there myself. And there is the sadness of it. We have all been in dark places of guttural anguish at one point or another. How we choose to deal with it is a different story. This play is culled from phrases that the playwright Sarah Kane jotted down in her notebooks for years. These words feel so personal. It feels like the last thoughts of someone one the brink. Sarah Kane took her own life a little over a year after Crave came out.
Her own bio in the program says, " After completing Crave, Kane admitted herself for depression to the Maudsley Hospital in south London. After a brief treatment, she recovered in time to enjoy Crave's critical triumph. Unfortunately her recovery was short lived and the depression returned. In January 1999, after completing 4.48 Psychosis (her final play), she swallowed 150 anti depressants and 50 sleeping pills. Her flat-mate found her in time and rushed her to King's College Hospital. But two days later, she was left alone for 90 minutes and was later discovered hanging from her shoelaces in a nearby bathroom. She was just 28 years old."
So young and so talented and troubled. Her pain rings out over you as you watch Crave. Crave is theatre like you don't regularly see. It is and explosion of anguish, hurt, frustration, humor, and at times, hope. Matt said that he thought that it could even be interpreted as not even voices on the brink of suicide, but voices who were trying to end one chapter in their life and move on to a new one. Whether it is a relationship that they are leaving, or trying to leave behind the anguish of incest, or rape, which are all mentioned in the text. Two phrases that seemed to occur through the night were, "Let me go!" and "Move On!". I found that interesting. The thing about Crave is that if you are of a mind to see something that bucks convention, and instead of trying to figure out what the piece is doing, you need to just let the words wash over you. At one point in the show, Deborah Hazlett's character actually has a line that says something to the effect of, "If you haven't understood any of this so far, then you DO understand." It is what you take from it or project onto it, and I have never seen anything like it.
I wish that I could see it 3 more times, one from each side of the theatre. Oh, and PS: I love the new smaller space. The Ark has a very in your face and intimate feel. The possibilities are very cool.
If you have not seen Crave because you read something somewhere or heard something negative, fine...but here is someone who saw it himself, and let me tell you this: I thought that it was thought provoking, discussion inducing, and just what a piece of theatre should be. I loved it.