Unique Blue Man Group Pulls Out All the Stops in Colorful Performance

Blue Man Group.

Blue Man Group

A review by Carlos Manuel.

Entire contents are copyright © 2012 Carlos Manuel. All rights reserved

If you ever wonder why the “Blue Man Group” is referred to as “a group” when only three men in blue are in the posters, then you need to see the spectacular production at The Kentucky Center for the Arts. They are a “group” because besides the three iconic shaved men covered in blue paint, we actually see seven men and several backstage hands on stage at one point or another. The show still centers itself on the three blue men, yet four others, not in blue, are seen stage left and stage right playing an array of different instruments and wearing glow-in-the-dark neon costumes and makeup.

This is the third time I’ve seen this exciting production of lights, sound, technology and imagery, and for the first time, the show was minimalistic in its production elements. This is necessary because the show is a traveling production, which must be adaptable to all stages and, of course, be fit to travel “across American.” The first time I saw the show was in New York and the second time in Las Vegas – cities where special effects and grand entertainment are expected. Yet after seeing the touring show at The Kentucky Center, I have to say I found it much more entertaining and fulfilling than those with more lights, gadgets and trickery.

The show, which starts with a written invitation to participate, establishes a rowdy mood from the beginning and does not let go. The Blue Man Group doesn’t talk; they simply play odd instruments, perform physical tricks, and incorporate several members of the audience to entertain us.

The production depends a lot on lights, sound, music, video projections, lasers and, most of all, audience participation. At the same time, the three men in blue have to perform a variety of physical tricks as well as paint with their mouths; play instruments that have been covered in liquid paint and light up as they are being played; and – the most amazing thing – communicate with each other and the audience without words. The non-verbal interaction is performed with great timing and precision, creating tension, long silences and facial reactions that consistently generate laughs throughout the show.

There are several funny and memorable segments, one of them involving an audience member who is invited on stage, seated at a table, and, along with the Blue Man Group, attempt to eat a Twinkie…in silence. This might sound simple, but the trick is that the audience member doesn’t know what she (it was a woman the night I attended) is supposed to do. So the three men in blue simply wait to see what she does. Finally, when she realizes what she needs to do and attempts to do it, the Blue Man Group copy her every action and reaction. Simultaneously, a variety of unexpected effects of light, sound and “goo” occurred all around them, producing a riotous response from the audience.

A second segment involves giPads or ginormous Pads, manipulated through video projections, sound and coordinated movement. These giant iPads serve as a vehicle to transform the Blue Men into digitized avatars, becoming an array of characters and performing different activities that produce sound, color and light. 

Blue Man Group installation by
Western Middle School students.
Photo by Jackie Pallasen.

Later, the audience is invited to learn the seven essential moves needed when attending a rock concert. Every move is demonstrated in digital images and then, a voice asks the audience to execute them. By the time the seventh movement is presented, the audience is on its feet, demanding an encore.

Perhaps the most memorable and exciting moment came when giant, floating white beach balls are sent into the audience. These balls change color every so often, and while the audience is occupied tossing them in the air, a spectacle of lights, sound and exploding paper fireworks tool place inside the theatre, creating a carnival atmosphere where everyone rejoices while dancing to the awesome electronic beats. And speaking of beats, the live electronic music is perhaps the most energizing score I have ever heard.

The Blue Man Group is pure fun, a show that is appropriate for all ages and one that will make everyone happy. The show may be absurd at times, but it is also entertaining and even teaches us about science, the digital age and technology. It’s a show that should not be missed.

Editor’s Note: To help promote the Blue Man Group’s appearance, PNC Broadway in Louisville asked the Louisville Visual Art Association to facilitate, through its Open Doors program, an installation created by artist Tara Remington and students from Western Middle School. The sculpture will be in residence on the patio in front of The Kentucky Center for an indefinite period.

Blue Man Group

April 10 -15, 2012

PNC Broadway in Louisville

The Kentucky Center

501 West Main Street

Louisville, KY 40202

502-584-7777

http://louisville.broadway.com/

One of a Kind: Why Paul Owen Is One of the Most Important Figures in American Theatre

Scenic Design: Evolution of a Medium

A Conversation with Paul Owen

A review by Keith Waits

Entire contents are copyright © 2012 Keith Waits. All rights reserved.

The conversation with Paul Owen that took place April 2 was tantamount to a history of both Actors Theatre of Louisville and the regional theatre in the United States. Mr. Owen got his start with The Alley Theatre in Houston, Texas, more than 50 years ago when that venerable institution was a model for the upcoming development of regional theatre companies – a trend which would be led by Actors Theatre.

The other partner in this exchange, Steve Woodring, evidenced clear appreciation and warmth of feeling towards the resident master of theatrical design. He allowed Mr. Owen generous latitude in relating the story of his entry into the theatrical world under the tutelage of the legendary Nina Vance at The Alley, where he began designing lights and costumes out of necessity, helping to build a struggling troupe into an influential bastion of creative and independent American theatre.

But the audience had come to hear about Paul Owen’s years of collaboration with Jon Jory in the halcyon days of Actors Theatre. Arriving in Louisville in 1971, Mr. Owen’s mission was to help in “saving” another struggling enterprise. History has recorded that he succeeded beyond any reasonable expectations, designing, by his own estimate, “about 1,500” sets. This staggering sum is made even more remarkable by fact that for many years he was the only designer for the Humana Festival. Just by the numbers alone, his impact must be counted as profound. In the words of Mr. Woodring, “There is not another person, living or dead, who has designed more new plays than Paul Owen.”

Without the benefit of a formal arts education (he confesses to a lack of drafting skills when he started), but armed with an innate understanding of space, Mr. Owen’s early work in Louisville was executed with a singular freedom, working directly from the script with virtually no input from Jon Jory. “The ideas come from within the text of the play,” he stated, “so that the play can be performed in that space.” The notion that the set design was such a keynote for the director and cast seemed startling, as this designer’s goal was “to ask more of the actor than they were perhaps willing to give.” In one particularly vivid and humorous example of this aesthetic, he describes a set for an ATL production of Oedipus in which his set consisted entirely of steps. The stage platform was removed entirely from the Pamela Brown Auditorium to allow the installation of an epic series of stairs that would force unique blocking and never allow the actors to settle in one spot for long. On top of that, the vertical surfaces were coated with spray foam that unexpectedly gave off noxious fumes throughout the entire run!

Such stories might seem apocryphal, yet the subject’s patrician confidence only served to confirm the veracity of the claim. Mr. Owen was never once to be caught boasting; he was just simply telling the straight of it. It was a unique insight into the unorthodox building of a legacy that was the formative years of Actors Theatre.

As the evening continued and the anecdotes flowed, it became clear that Mr. Owen feels an acute sense of loss for the halcyon days in which individual creativity and an appetite for changing the rules were the order of the day. He feels “a great fear” concerning the state of regional theatre today, visibly struggling to express his dissatisfaction about the inevitable institutionalization of theatres and the resulting lack of a “personal touch.” It begs the question of whether somebody like Paul Owen would today have the same opportunity to work and build such a storied career and exert such an important influence. Yet, despite such concerns, there seem to still be places where theatre exists in desperate enough circumstances, capable of cultivating future artists of the caliber as Mr. Owen. Long may they live.

April 2, 2012
The MeX Theatre at The Kentucky Center for the Arts
501 W. Main St.
Louisville, KY 40202
http://www.kentuckycenter.org/

Fifth Annual Finnigan’s Festival Energized By New Space, Continues To Be Fresh & Funky!

Brian Walker, Elizabeth Cox & Becky LeCron in the 5th Annual
Finnigan's Festival of Fresh, Funky Fun. Photo by Becky LeCron.

Finnigan’s Festival of Fresh, Funky Fun

Various writers & directors

Reviewed by Carlos Manuel

Entire contents copyright 2012 Carlos Manuel. All rights reserved.

Finnigan Productions proudly opened its run of its fifth annual festival of new 10-minute plays at The Bard’s Town Theatre to an almost sold-out house filled with an enthusiastic audience. To no one’s disappointment, the show is what you would expect it to be: Funky, Fresh, and Fun. 

It’s fun because every piece presented is entertaining and laugh-out-loud funny. It’s fresh because every piece on stage is new, and you can tell because some of the writing needs revising. It’s funky because every piece presents characters in strange situations, some completely absurd.

The evening is composed of ten 10-minute plays written by local playwrights and eight “very brief” true stories written by members of the cast. These mini-monologues serve as interludes between each play and are presented during the play’s transitions. I very much liked these “brief stories” because they held the audience’s attention, rather than let it be distracted by the dark stage that was being rearranged for each play.

Compared to prior years, Finnigan has elevated the quality of the production, with a more seamless transitional structure than seen before. Perhaps this is due to the space, which requires all actors to be on ONE single stage rather than divided in two different performing spaces, as previous festivals had been.

There are, however, aspects of the production that do not live up to expectations. Out of the ten presented pieces only four could actually be considered 10-minute plays while the other six should be considered comedic skits. A skit is based on plot, on a series of events, placing characters, most of the time in a ridiculous situation and where the “dramatic action” of the piece centers not on the character but on the situation itself. In contrast a play relies on story, which must have a beginning, middle, and end, allowing characters to become three-dimensional entities with at least one of these characters having a clear dramatic arc from beginning to end. 

It is here, in the lack of true 10-minute plays, where the evening falls short, making me feel as if I was watching a cheesy, low budget “Saturday Night Live” reproduction. Every time a “play” was presented yet it turned out to be a skit, I quickly became restless and annoyed. And when you have to watch six skits during two hours and a half, it sometimes felt like torture.

Luckily, there were four very good 10-minute plays and eight well-written and expertly delivered “mini-monologues” that kept me engaged and interested in the evening. Among the four 10-minute plays, one deserves to be mentioned because it was pure theatre magic, filled with strong writing, a clever story line, and solid characters: Greek Tragedy by Andy Epstein. The other three plays were also good, but to avoid bruised egos, I will simply avoid their titles.

When it comes to the company of actors, the quality of their work ranges from good to excellent: Craig Nolan Highley, Michael Roberts, Corey Long, and Elizabeth Cox were all given an opportunity to stand out. As for the directing, most of the pieces were presented with a clear point of view while others felt as if they were just thrown together at the last minute. (A blackout and a huge scene change in the middle of a piece? Really?) When it comes to costumes, lighting and music, everything seemed to be adequate.

Finnigan’s fifth Festival of Funky, Fresh, Fun was truly funky and fresh. It wasn’t fun all the time, but it was still entertaining. Ironically, I found myself most engaged with the “brief stories” presented during play transitions. These stories—edited, revised, and directed by Tad Chitwood—were funny, sincere, and emotional. If you combined these “brief stories” with the four 10-minute plays, you do have a true evening of theatre, rather than an evening of sketch comedy. To be clear, there is nothing wrong with an evening of sketch comedy. The only inaccuracy here is that Finnigan’s Festival of Funky, Fresh, Fun is supposed to be composed of new 10-minute plays… at least that’s what the program states.    

Finnigan’s Festival of Fresh, Funky Fun

April 5 – 14, 2012

Finnigan Productions

at The Bard’s Town

1801 Bardstown Road

Louisville KY 40204

(502) 749-5275

http://www.finniganbeginagain.com

Derby Dinner Knows How To Put On a Show: "Happy Days, A New Musical"

Sara King as a Car Hop, Scott Anthony as
“The Fonz” and Brittany Carricato as a
Car Hop in Happy Days - A New Musical.
Photo courtesy of Derby Dinner Playhouse.

Happy Days, A New Musical

Book by Garry Marshall

Music & Lyrics by Paul Williams

Based on the Paramount Pictures television series Happy Days, created by Garry Marshall

Directed by Lee Buckholz

A review by Keith Waits

Entire contents are copyright © 2012 Keith Waits. All rights reserved. 

As a long-running television series that enjoyed enormous popularity, Happy Days underwent several transformations, beginning as a nostalgic but thoughtful coming-of-age scenario focusing on the character of Richie Cunningham and set in the 1950s, and ending as a sideshow of ham-fisted comedy that pandered unabashedly to the audience. So the fact that its creators have turned it into a musical suitable for all ages seems entirely natural.

The book does an admirable job of capturing the spirit of the show from the height of its success, neither as affecting as the early episodes nor as insipid as the final seasons. It delivers a cheery and uncomplicated story laced with a healthy dose of self-awareness that grounds the show in important ways. The venerable center of the Happy Days universe, Arnold’s Malt Shop, is threatened with extinction unless enough money can be raised to outbid the big developer who will bulldoze it over for a new shopping concept called a “mall.” Improbably, the “gang” attempts a variety of schemes to accomplish this, chiefly a wrestling match between the “Fonz” and the Malachi brothers. But if you imagine that the details of the plot are actually meaningful in a show like this, you probably should not waste your time. It is merely a structure upon which to hang a succession of comic scenes and brief show tunes of varying quality.

Overall, the score is merely serviceable, with only a few memorable songs. But as is the custom at Derby Dinner, the staging is solid, with an abundance of energy and well-plotted choreography that keeps a spritely pace; and the cast is equipped with the skills necessary to sell even the lesser moments. The best songs include “Snap,” a tidy catalog of Fonzie’s signature trademarks (such as “Aaaay!” and “Whoa!”); and the testament to Ralph Malph’s cowardice, “Run,” that is cleverly staged for maximum comic effect. A small note of thoughtfulness is allowed in “What I Dreamed Last Night,” wherein Marion Cunningham and her daughter, Joanie, sing about the position of women in post-war America; and Howard Cunningham’s lodge brothers deliver a riotously silly presentation of “Leopards Are We.” Many of the finer moments of director Lee Buckholz’ work were characterized by such an embrace of the absurd, as when the Fonz’s paen to ennui, “Aaaay’mless,” includes roller-skating car hops festooned with automobile costume-props, cheekily spritzing him with water bottles as they emulate passing traffic. It was just plain goofy but beautifully captured the period and the popular culture’s later fascination with it. 

As in the original show, Richie becomes something of a supporting character in his own story as the spotlight more closely follows Arthur “The Fonz” Fonzarelli. The two are played by Kyle Braun and Scott Anthony, respectively, and it is difficult to imagine better choices among the local talent pool. Mr. Braun’s wholesome, boyish good looks perfectly embody the steadfast and true young protagonist, while Mr. Anthony brings the correct measure of macho arrogance, or “cool,” tempered with integrity. They may not make you forget the original, iconic performances, but they certainly remind you of what made them so memorable in the first place and tread a fine line in avoiding caricature – a very real trap with characters such as these. As Pinky Tuscadero, Sandra Rivera delivered the sass and swagger necessary, although her unflattering costume did her no favors; and Wesley Edwards gave Chachi more verve and presence than the slight character would seem to merit, with sure comic timing and sharp dance moves.

Equally enjoyable was the work of Adam Shaff as Ralph Malph; and Joey Mirabile and Lem Jackson were a riot as the nefarious Malachi brothers. The rest of the cast acquit themselves admirably, and the ensemble as a whole sang and danced in fine style.

The outstanding costumes were by Sharon Murray Harrah and were essential in establishing period and character in a production that necessarily deemphasizes set design because of the in-the-round staging. I particularly liked the car hops’ outfits and the careful attention to crafting the image of wholesome sexuality that exemplifies the period and the continuing nostalgia for viewing it through rose-colored glasses.

In a nutshell, Happy Days, A New Musical is an average script and score made more enjoyable than it perhaps deserves to be through the great good spirits and professionalism of the cast and crew. Derby Dinner Playhouse knows how to put on a show like this, and they do not let the audience down.

Happy Days, A New Musical

April 3 – May 13, 2012

Derby Dinner Playhouse

525 Marriott Drive

Clarksville, IN 47129

www.derbydinner.com

Humana Festival Closes with Ten-Minute Plays and ATCA Awards Presentation

The Ten-Minute Plays

Written and Directed by Various

A review by Kate Barry

Entire contents are copyright © 2012 Kate Barry. All rights reserved.

Mariana McClellan in Hero Dad, at Actors
Theatre of Louisville. Photo by Alden Ford.

Saturday night, I had the privilege to sit in a packed house among an energetic crowd watching fine, young talent give their all in three short plays at Actors Theatre of Louisville. These are new plays by young writers, culled from the Apprentice Showcase produced earlier in the season. For this presentation the cast was comprised of equal parts apprentice and professional actors featured in other plays in the Humana Festival. Coupled with awards given out by the American Theatre Critics Association and The Harold and Mimi Steinberg Foundation, and a few words shared by Actors Theate of Louisville’s new Artistic Director, Les Waters, the evening was a celebration of American playwrights emerging from all across the country in various regional theatres, including Actors Theatre.

The Dungeons and the Dragons (written by Kyle John Schmidt, directed by KJ Sanchez) was a strong start for the evening. Jordan Brodess plays Brett, the dungeon master in a kooky live-action version of the popular role-play game that shares a name with the play’s title. The ensemble piece consisted of four quirky high schoolers living in a fantasy world where anything they wish and want is possible. The three game “characters” are Sean Mellott, Sarah Grodsky and Trent Stork. Each of them literally and hilariously becomes a character within the Dungeons and Dragons game, but it’s Stork who steals the show. Donning roller skates and a fashion sense stolen from Ziggy Stardust, Stork accurately and effeminately plays Felicity Hydrangea Karmikal. By the play’s end, Karmikal resiliently triumphs above bullying and diversity. His performance sparkles as radiantly as the scepter he carries throughout the scene.

Hero Dad (written by Laura Jacqmin, directed by Sarah Rasmussen) shifted to a dramatic tone as three men experience unmarried fatherhood from different perspectives. Kate Arrington plays three different women as she transcends through three vignettes. Whether she is being hit on by a single father with a constantly crying child (Alex Moggridge), or issuing a complaint to a downstairs neighbor (William Connell), Arrington handles the briefly sketched range of characters quite impressively. The play takes a darker turn when Arrington becomes a woman waiting in an abortion clinic while talking on the phone with the father of her unborn child (Mike DiSalvo). I pondered whether bringing up such controversial issues was appropriate for a night of celebration. I would’ve like to have asked the playwright why he chose such a contrast between two light and comical scenes in which the male characters flirt heavily with the woman they encounter against a serious flip in action where a man changes his mind about an abortion. The tonal shift made Hero Dad seem slightly out of place compared to the two plays that frame it in this program.

They certainly saved the best for last in The Ballad of 423 and 424 (written by Nicholas C. Pappas, directed by Sarah Rasmussen) – a piece “based, in part, on William Shakespeare’s 23rd Sonnet,” says the program. As any literary scholar will tell you, sonnets by the Bard were usually about love. So it goes without saying that this quick-moving and hilarious boy-meets-girl play delivers the romantic goods. David Barlow and Kate Eastwood Norris play Roderick and Ellen: an eccentric novelist and a bubbly blonde waitress. Barlow and Norris play off of each other with such delightful chemistry and timing that it only makes you wish the play was longer than 10 minutes. As this is a love story at heart, I don’t think I have to tell you how it ends.

This fresh, new group of ten-minute plays provided an eclectic night of entertainment. that perfectly emphasized the theme of new, emerging voices in American theatre and was received with loud enthusiasm throughout. Although I’m not surprised, this was an evening that was worthy of many cheers and a fitting close to this year’s Humana Festival of New American Plays.

The Ten-Minute Plays

March 31-April 1, 2012

Part of the 36th Humana Festival of New American Plays

Actors Theatre of Louisville

Pamela Brown Auditorium

Third & Main Streets
Louisville, KY 40202
502-584-1205
ActorsTheatre.org

502-584-1205
ActorsTheatre.org

U of L School of Music Opera Theatre Delivers a Solid “Cosi”

Così fan tutte

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo Da Ponte

A review by Heather O’ Mara

Entire contents are copyright © 2012 Heather O’ Mara. All rights reserved. 

Nicholas Drew Grey, Nicholas Ward & Patrick MacDevitt
in Cosi fan Tutte. Photo by Jan Abbott.

The third installment of Mozart’s collaboration with librettist Lorenzo De Ponte, Così fan tutte takes opera buffs to a grand spectacle and the University of Louisville School of Music Opera Theatre truly delivered.

The story revolves around two pairs of lovers (Fiordiligi, sung by Chloe Blayne Richard and Guglielmo, performed by Nicholas Drew Grey; Alex Bryant as Dorabella and Patrick MacDevitt as Ferrando) whose faithfulness is put into question when the philosopher Don Alfonso (sung by Nicholas Ward) bets the two men that their fiancés are not as true as they think.  With the assistance of the divisive maid Despina, performed by Haley de Witt, the men manipulate their lovers by pretending they are being sent off to war, disguising themselves as Albanians and wooing each other’s beloved. For a complete synopsis, go to the Metropolitan Opera website. 

For the most part, the young performers did a fine job. Nicholas Ward’s Don Alfonzo was a lot of fun to watch and perhaps the best actor on stage. Nicholas Drew Grey was a very strong Guglielmo and supported the duets with Patrick MacDevitt, whose comic acting was enjoyable yet displayed the most room for improvement.  Alex Bryant was also engaging, and her facial expressions throughout the comedy were the perfect embellishment required for opera afficianados.  

Of particular note was soprano Chloe Blayne Richard’s work as Fiordiligi.  She is a beautiful girl with a beautiful instrument.  Her Act II aria, Per pietà, ben mio, perdona—"Please, my beloved, forgive," was stunning, with great breath control and a sweet, yet still strong upper register. This girl is one to watch.

I must confess to some disappointed with Haley De Witt’s Despina.  This character has the most versatility and the greatest opportunity to take the comedy over the top, but instead I felt her limited more to teenage angst than comically manipulative servant.  Acting can be taught; vocal talents can be trained but usually must spring from a natural gift, which I believe Ms.De Witt has, despite her awkward characterization. Her voice is beautiful; and while soft on the lower elements, it has great potential.

  

I was glad the young singers kept the original language, and with the help of the supertitles (translations projected above the stage) the audience was able to keep up with the complicated story line.

Miles Ray’s simple set was effective and easily transitioned from scene to scene with well-placed trees, French doors and period furniture. (Some of the set pieces were recycled from previous productions.)  The smooth scene shifts were accomplished entirely by the chorus members, who had some very funny slap-stick moments in the background.  The black-and-white tiled flooring provided sharp and dramatic contrast to the plain scrim that was lit with softly evolving color to reflect each shift of mood.

Suzanne Stone and Hilda Carr did a beautiful job costuming the students, with one exception: the camisoles worn by the sisters in the second act were a bit too fitted and sheer robes would have provided more modest coverage. From the choruss’ peasant wear, to the intricate costumes of the Albanians, the costumes were well crafted and perfectly suited for the production. The ivory and copper dresses worn by the sisters at the end of Act Two were beautiful and I would like one for myself.

The stars of the show were Kimcherie Lloyd and the University of Louisville Symphony Orchestra. Lloyd masterfully conducted the young but very well equipped players. The 33-piece band displayed great chemistry, and save for a few clinkers, sounded as fully prepared. The overture was light as it should be, and throughout the opera the musicians controlled their dynamics in a difficult space. The Bomhard was not meant for opera, and without an orchestra pit, the players had to temper their volume so the voices could reach the audience.  Lloyd was seated at the harpsichord and when playing the recitatives, she would put the baton in her teeth like a rose, amusing myself and my companion for the evening.

I must also congratulate director Michael Ramach, who took his liberties at the end with great results.  As the story is written, the ladies are caught in their deception and are forgiven and all live happily ever after. Ramach makes the ending much more realistic by allowing the two ingénues to be angry that they had been so outrageously manipulated and storming off, leaving their (jerk) boyfriends behind. 

(Cast references are to the Friday evening performance. For the Sunday matinee, Kentucky Opera Studio Artists Jasmine Davis performs Fiordiligi and Phillip Morgan sings Guglielmo.)

The final performance of Così fan tutte will be on Sunday, April 1, at 2 p.m.  General admission tickets are $22.75 and are available by calling The Kentucky Center Box Office.

Così fan tutte

March 30, 2012, at 8pm

April 1, 2012, at 2pm

University of Louisville School of Music Opera Theatre

at the Bomhard Theater in The Kentucky Center

501 West Main Street

Louisville, KY 40205

502-584-7777

www.kentuckycenter.org