Thursday, October 25, 2012

Walden Theatre Launches SLANT Culture Theatre Festival




Ambitious Collaboration Pulls Local Theatre Groups Together for Ten-Day Schedule of Events

By Keith Waits

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

Louisville hosts a rich and varied theatre scene, with a wider variety of companies, both professional and non-professional, than the average citizen might assume. A new festival seeks to help increase both awareness and active participation with at least some of these semi-professional theatre companies in the inaugural year of a challenging theatre arts festival.


The SLANT Cultural Festival is an extension of the SLANT series of contemporary plays that Walden Theatre Managing Director Alison Huff initiated four years ago under the direction of Associate Artistic Director Alec Volz; but Walden Artistic Director Charlie Sexton was also inspired by his memories of visiting the Fringe Festival in Edinburgh, Scotland in 1987. While he is careful not to draw too direct a comparison to that legendary arts event, he is clear enough in defining what the ambitions for the festival are: “…This is a fest that fits those parameters and virtually every city our size and larger has a fest of the ‘fringe’ variety, some hugely successful.” Mr. Sexton continues: “We feel strongly that grass roots theatre and theatre that hires local professionals has been steadily growing and improving in Louisville and it has attracted a diverse following. We hope this brings a good deal of attention to this trend and the younger audience we are hoping to attract will take note.”

That younger audience, and Walden’s mission for theatre arts education, is key to the philosophy behind SLANT, which takes as its signature motif a test tube angled to promote greater growth – a “slant culture.” Ms. Huff, who as Festival Producer had the idea of placing a range of groups and styles in such close proximity, hopes to cultivate a hothouse of creative energy and artistic exploration that forcefully reinforces the growth experience for Walden students and extends that challenging environment to the broader audience. It is a potent formula that festival organizers hope will deliver a unique experience for attendees.


There are certainly many groups that would be a great fit for the SLANT Culture Theatre Festival; but for the pilot year, Walden has concentrated on inviting companies with very close ties to the organization to participate as Producing Theatres (some of the groups share staff and/or Board members): Le Petomane Theatre Ensemble, The Louisville Improvisors, Savage Rose Classical Theatre Company, and Theatre [502]. At press time, presentations by Squallis Puppeteers and ART+FM had just been added to the schedule. In the coming years, once they get a handle on the logistics and build momentum, Walden plans to open up the process and take submissions with participants chosen through a juried process.

As to what the value of such a festival is to the participating companies, as well as to the theatre-going public, Gregory Maupin of Le Petomane believes it will cross-pollinate each group’s core audience: “A festival like this feels like it really has the potential to bring several audiences together that might not normally intersect and experience things that they'll get a great deal of pleasure out of. I don't know that the people who go see The Louisville Improvisors or shows done by Walden students come out to a lot of Le Petomane shows or Savage Rose shows. For example. I mean, surely there's overlap – this is not a huge town in that respect – but it's not as much overlap as you'd think. And this is a chance for us to say to Le Petomane's audience, "Hey, you've enjoyed us so much over the years – been going to these Theatre [502] shows? You really should."

The material being presented includes the Louisville premiere of D.W. Gregory’s new play Salvation Road by Walden; a rare production of Luigi Pirandello’s The Man With The Flower in His Mouth from Savage Rose; an evening of improvisational comedy built around a book-reading by various local authors from The Louisville Improvisers; and remounts of past productions by Theatre [502] and Le Petomane Theatre Ensemble.

There will also be a variety of other activities, beginning with a Gala Opening Night Event on November 8 featuring music by Cheyenne Marie Mize and Joel Henderson & the Forty-Gallon Baptists; and each evening will include an After Party at various alternating venues, including The Bard’s Town, Decca and Meat. Different types of workshops and other items were being added to the schedule. Check the SLANT website for updates on the schedule:



Le Petomane Ensemble Theatre Presents 5 Things

“…Well-timed wit and intellectual buffoonery typical of a Le Petomane performance, carefully balancing a celebration of geeky self-absorption with a healthy satirical perspective.” – Arts-Louisville review of the original production

It will be such fun, I think, to take something we do – our own little brand of original comedy/music/whatever-it-is – and put it in a context of such different performance styles, so many companies, with very different methods of putting things together. The only real regret I have about participating is that it will significantly eat into my festival-going time. – Le Petomane member Gregory Maupin

Gregory Maupin, Abigail Bailey Maupin & Kyle Ware
 in 5 Things. Photo by Brian J. Lilienthal.

Theatre [502} presents The Debate Over Courtney O’Connell of Columbus, Nebraska

“In just one year Theatre [502]'s audiences have grown exponentially, and we're excited to remount our first production, Mat Smart’s The Debate Over Courtney O'Connell of Columbus Nebraska, so we can share our flagship show with new fans.
Everyone involved would like to see the Festival become a new Louisville institution. It certainly has the potential to become a sought-after performance opportunity for every theatre company in Louisville and eventually a way to bring work from across the country to our audiences. I would like to see this become a regional destination for artists and audiences." – Theatre [502] Co-Artistic Director Gil D. Reyes

Playwright Mat Smart.

The Louisville Improvisors Presents Buy the Book

"After we all toured the Amazon together for the USO last year, we have been itching to work together again, and this festival was the perfect opportunity to do that. Besides we still have all our shots. Our goal for the festival is the same as always, to do great shows, hang out with our friends, have fun and most of all reshape the world in our own image." – Louisville Improvisors member Chris Anger

Jenni Cochran, Chris Anger, Brian Hinda & Alec Volz.
Photo by Lily Bartenstein.

Savage Rose Classical Theatre Company Presents The Man with the Flower in His Mouth

Set in an all-night café, two men explore in words and silence the tactile world around them. The infinity of imagination and the finality of life can be found in a ribbon, an armchair or even a handful of grass. The Man with the Flower in His Mouth is a beautiful and compelling piece of theatre presented in an intimate setting, allowing each member of the audience to be both on-looker and participant.


Playwright Luigi Pirandello.

Walden Theatre Presents Salvation Road

Two guys. One rusted out Honda. Twenty-four hours to separate a girl from her guru. The road to Hell was never more fun. When his hip older sister Denise disappears with members of a fundamentalist church, 17-year-old Cliff Kozak struggles to hold it all together, pretending that he isn’t hurt by her decision to cut him out of her life. But a year later, a chance sighting of Denise at a New Jersey strip mall leads Cliff and his best buddy Duffy on a road trip into the heart of a deepening mystery. Why would a smart and talented girl like Denise fall for the hollow promises of a sleazy preacher? Could it be that blind faith is just another term for a desperate need to belong?

Playwright D.W. Gregory.

The Louisville Improvisers Presents Ricketts and Randy

It's Timmy's birthday and you're invited to a party!

There will be games, party favors and Ricketts and Randy!

Nearly beloved children’s entertainers Ricketts and Randy have been entertaining children throughout Kentuckiana for over 20 years. Known for their clean, highly original and time-tested comedy magic, Ricketts and Randy’s shows are carefully blended combinations of comedy, illusion and audience participation that will not only keep everyone on the edge of their seats, but are also guaranteed to make them laugh out loud as they scratch their heads in wonder.

Chris Anger and Keith McGill are Ricketts and Randy.
Photo courtesy of Louisville Improvisers.

SLANT Culture Theatre Festival
November 8-18. 2012
Walden Theatre
1123 Payne Street
Louisville, KY
(502) 589-0084

Sunday, October 21, 2012

Savage Rose Presents Scary and Provocative "Macbeth"


Jenni Cochran & J. Barrett Cooper in Macbeth.
Photo courtesy of Savage Rose Classical Theatre Company.

Macbeth

By William Shakespeare
Directed by J. Barrett Cooper

Reviewed by Rachel White

Entire contents are copyright © 2012, Rachel White. All rights reserved.

Savage Rose’s production of Shakespeare’s Macbeth is imaginative and creepy, but it’s also provocative and risky in the best of ways. And that, combined with Shakespeare’s brilliant language, gives us a dark look into the human mind and imagination. 

I have seen Macbeth take place in a hospital and in a totalitarian police state, and these artificial settings always seem slightly imposed.  J. Barrett Cooper chooses to set the play right there in Medieval Scotland and England, and the idea makes a lot of sense.  The characters come from the most warlike and brutal of places, where magic is real and does harm, where things like mental illness are not understood and so are attributed to darker forces. So, when Lady Macbeth talks about ripping a child from her nipple and dashing out its brains, it’s a terrifying description, but in context it fits into the world. Shakespeare too must have regarded this land as very frightening and full of mystery. 

Lady Macbeth, as played by Jenni Cochran, comes across as young, ambitious and dangerously off balance. Maybe a little too off balance to start with.  In her opening soliloquy, she almost loses her mind, practically beating herself as she conjures the dark spirits from beyond. Long, thick, medieval braids give her a wild, other-worldly quality. 

In contrast, Macbeth, played by J. Barrett Cooper himself, breaks down more subtly.  Cooper succeeds at getting down to those different layers of Macbeth’s character and inner conflict. The age difference between the couple adds yet another dimension to their relationship, which is highly sexual, controlling and violent. 

The weird sisters (Laurene Scalf, Melinda Beck, Polina Abramov) too were specifically rendered. They exist in their own echoey cavernous universe that is of this world and not. There is something so wretched about the way that they are made up, as though to imply that their faces have been disfigured. They embody despair, disfigurement, power, age and immortality all in themselves. When Hecate (Neill Robertson) is invoked by the sisters, she appears in pure white with long white nails and a rasping breath – like something both holy and twisted.

The play is filled with horror-like images, ghost-like girls appearing and disappearing; and all of it feels right for the tone. There were times, however, during the production when the effects were distracting from the text.  The echoes in the world of the weird sisters were interesting but they sometimes made it hard to clearly understand what the sisters were saying. There are also some loose ends that I wished had been pulled together more tightly, as in a very raw sexual moment between Lady Macbeth and Macbeth.  This was fascinating but didn’t seem to carry through the whole show in a specific way, and so I didn’t know quite what to make of it.    

What is especially fresh about Cooper’s production is that he realizes that deep down this play is about family and about loss. Often in productions of Macbeth, the focus is on power, ambition and inhumanity.  Macbeth and Lady Macbeth feel like human beings who have gotten way in over their heads. It’s a domestic drama in many ways.  When Macduff learns that his children have been brutally slaughtered by Macbeth’s people, he is stunned to silence, a powerful moment played well by Jeremy Sapp. “All my pretty ones?” he repeats in a breathless state of shock. You hear a lot about family throughout the play: “my father,” “my chickens,” “my babes.” The director and actors make sure that you hear these things. These words give the play its humanity, making the work not only thrilling, but moving as well. 

Macbeth

Savage Rose Classical Theatre at
Parkside Studio: Inside at Iroquois
Iroquois Amphitheater 
1080 Amphitheater Road 
Louisville, KY 40214 
Tickets: 
$17.00 general admission 
$12.00 for October 22 performance (also for students for any performance) 
$14.00 for groups of 10 or more. 


Call (877) 435-9849 or visit www.IroquoisAmphitheater.com to reserve tickets.
October 18-28
























      

Monday, October 15, 2012

Mester and the Louisville Orchestra “On Fire” with Dvorak

Peter McCaffrey.
Composer Antonin Dvorak.


Louisville Orchestra: Dvorak Symphony No. 7

Featuring cellist, Peter McCaffrey
Jorge Mester, conductor

Reviewed by Carol Larson

Entire contents are copyright © 2012 Carol Larson. All rights reserved.

How great it was to be back in the concert hall with the Louisville Orchestra. This evening’s performance was extraordinary. Jorge Mester and the Orchestra were on fire!

This was the first concert of the 2012-2013 concert series and was dedicated to Robert Whitney and the musicians of the first season of the Louisville Orchestra, 1937-1938.

The program began with music of Czech composer Bedrich Smetana. We heard Three Dances from the opera The Bartered Bride. This was Smetana’s second opera – an opera in which he was determined to create a truly Czech operatic genre – and he did exactly that! This opera made a major contribution towards the development of Czech music.

I must say that the Orchestra was phenomenal. The dances were happy and rhythmic. The ensemble was very tight. Maestro Mester and the Orchestra actually created the aura of being at a wedding celebration!

The next work of the evening was the Cello Concert No. 1 in A Minor by French composer Camille Saint-Saens, featuring cellist Peter McCaffrey. The piece is structured in one continuous movement with three distinct sections. I thought it interesting to note that many composers, including Shostakovich and Rachmaninoff, considered this concerto to be the greatest of all cello concertos!

This piece was well executed by both the soloist and the orchestra. The fast and furious sections were played very cleanly. The slow and lyrical sections were heart rendering. There was an added delight at the end of this concerto. Soloist Peter McCaffrey played an encore, the Sarabande from the Bach Cello Suite in D minor. This encore was so beautiful that there was dead silence in the audience with a burst of applause at the end.

The last work of the evening was the Symphony No. 7 in D Minor by Antonin Dvorak, his most accomplished orchestral work. This piece was actually the icing on the evening’s cake.  In contrast to the light and buoyant playing of the Dances from The Bartered Bride, this symphony featured the lush and dramatic sound of the Orchestra. From the beautiful woodwind choir at the beginning to the full, big brass sound and the powerful passionate strings – this Orchestra had it all.

It was a memorable evening. Bravo and welcome back!

Louisville Orchestra: Dvorak Symphony No. 7

Friday October 5, 2012

Louisville Orchestra at
The Brown Theatre
315 W. Broadway
Louisville, KY 40202

Actors Theatre Brings Eugene O’ Neill Masterpiece to Life "…in All its Devastating Glory"


Lisa Emery and David Chandler in Long Day's Journey into Night.
Photo by Alan Simons.

 Long Day’s Journey into Night

By Eugene O’Neill
Directed by Les Waters

Reviewed by Cristina Martin

Entire contents copyright ©2012 Cristina Martin.  All rights reserved.

Art imitates life, it is said. In an openly autobiographical work, the premise is clear. But if in the work’s execution, the life or lives depicted are so exquisitely and intimately drawn – if the work resonates in three dimensions and consumes and moves – then we’re convinced we really are witnessing Life, in a sense, and not just its imitation. To accomplish this takes a master’s hand, and no playwright for the American stage merits the title of master more than Eugene O’Neill. In Actors Theatre’s current production, O’Neill’s Pulitzer Prize-winning Long Day’s Journey into Night comes alive in all its devastating glory, providing insight into O’Neill’s own life and beyond.    

Written in 1940, Long Day’s Journey into Night depicts one day in August of 1912 at the seaside cottage of the Tyrone family. James Tyrone (David Chandler) and his wife, Mary Cavan Tyrone (Lisa Emery), have always spent the summers here, a seasonal respite from the itinerant life that James’s acting career demanded. It was an existence filled with “…one-night stands, cheap hotels, dirty trains…,” as Mary is wont to remind the family. Elder son Jamie (Michael Bakkensen) and his ailing brother Edmund (John Brummer) are also present. The more that is revealed about these characters and their backgrounds, the more profoundly intricate the web of relationships among them proves to be. Love and resentment, regret and longing, anger and pain, remembrance and forgetting, illness and frailty, and faith and oblivion – these are the subjects that O’Neill treats. It’s a push and pull of the utmost intensity, a jumble of contradictions as untidy as life itself.  O’Neill shows us the human heart laid bare in the suffering and struggle that is its fate.      

The Tyrones were clearly modeled after O’Neill’s own family (he being Edmund). In dedicating Long Day’s Journey into Night to his wife Carlotta, he wrote, “I give you the original script of this play of old sorrow, written in tears and blood. […]  I mean it as a tribute to your love and tenderness which gave me faith in love that enabled me to face my dead at last and write this play – write it with deep pity and understanding and forgiveness for all the four haunted Tyrones.”  The playwright left specific instructions that it was not to be published until 25 years after his death and never performed, though Carlotta overrode his wishes; it premiered in 1956, roughly two and a half years after O’Neill’s passing.

Under Les Waters’ direction, each actor in the production truly mines the depths of his or her role. By play’s end, there is no one whom we love or hate overwhelmingly, or even predominantly – a fact that speaks to the skill with which the ensemble portrays infinitely complex, multi-faceted characters. We’re overwhelmed with the wretchedness and tragic plight of the Tyrones, though the pathetic and the maudlin are deftly avoided. At times, I wanted to shake my fist at them; at times to cradle them in my arms.… To what extent is each a victim of happenstance, and to what extent are they responsible for their own suffering?  It’s a question that may be debated ad infinitum.

I’ve read a number of versions of Long Day’s Journey into Night in which a fifth character appears briefly, a young domestic named Cathleen who keeps Mary company for a while, listens to her ramblings, and injects a note of groundedness into the troubled family.  This production eliminates her, making Mary’s scene with Cathleen into a monologue.  The effect is to make the play sparer and starker; it’s just the four Tyrones and their ghosts whom we behold, no one else.  If Cathleen acts as a sort of anchor or tether to the outside world, then without her, the Tyrones are really unmoored.  Collectively and individually, they’re lost in the fog of their own suffering, isolated alone and as a group.

Antje Ellermann’s extraordinary set is open and likewise spare. The carefully selected furniture and set pieces do a remarkable job of evoking an entire house without ever stealing focus from the actors. The scenic design follows O’Neill’s explicit stage directions which describe the layout of the cottage. In a subtle and brilliant touch, different rooms and spaces are distinguished from one another not by walls, but by varied patterns of planking in the floorboards.  Ellermann’s set bears a striking resemblance to photographs of the real summer cottage where the O’Neill family spent time, but it manages admirably to reinforce the lean aesthetic of this production at the same time.   

On the very wide, rounded stage, the characters seem exposed physically as much as they are emotionally. Lorraine Venberg’s costumes, perfectly suited to the characters and to the era, never contain tones that jar or overwhelm or keep us from seeing the people in them for what they really are. The fog mentioned so often in the play really does roll into the theatre; and the large, curved back wall filled with a life-sized photograph of the seashore, with a building in the foreground and the ocean stretching into infinity, contributes to the mood of haunted loneliness. Sound designer Richard Woodbury’s melancholy soundscape does, too, with its foghorn, ships’ bells, sea sounds and occasional austere piano chords.  

While all four actors inhabit their characters masterfully, Lisa Emery is a standout, fully credible and utterly heartbreaking as Mary. After Edmund’s birth, Mary was given morphine for her pain and soon became addicted. She’s been able to kick the habit for varying periods of time; but when we see her in 1912, the pull of the drug has become irresistible once again.  Emery is able to seem at once fragile and hard-headed, child-like but dissipated. Her gradual transformation from scene to scene as Mary falls increasingly under the influence is extraordinary. In the flutter of her hands, her increasingly loose-limbed movement and the shadows that pass over her chiseled features, Mary’s pain becomes palpable.

The men in the family numb themselves (or try to, at any rate) with the help of alcohol. Alcoholism was prevalent in O’Neill’s family, as it is among the Tyrones; tragically, the playwright’s elder brother, James O’Neill, Jr., died of the disease in 1923. It’s interesting that the drunker the two brothers were on stage, the meatier the dialogue between them; the meatier the dialogue, the better a vehicle for the talents of both Bakkensen and Brummer. Though they’re supposed to be close, I didn’t get a convincing impression of this closeness in their first several scenes.  Bakkensen’s Jamie came off as slightly stiff, while Brummer seemed retiring and weak as Edmund. 

In the second half of the production, however, they redeem themselves a thousand fold. I can still see Jamie’s frightening, malevolent sneer as he describes his cruel impulse to bring those around him down so as to feel better about himself. At the same time, however, Jamie shows himself to be truly, deeply aggrieved to learn that Edmund has been diagnosed with tuberculosis. Brummer, for his part, shines in poignant conversations with Mary as well as in the defense of his modern tastes in literature vis-à-vis his father. We’re even treated to some moments of wry humor in their discussion (“IB-sen!” James spits, with exaggerated contempt).        

David Chandler’s interpretation of James Tyrone, Sr., diverged perhaps most widely of all the characters from how I had envisioned him from my reading of the play. Particularly at the beginning, Chandler seemed to seethe, any affection for his sons well masked by James’s cruel and sarcastic mien. He’s supposed to be cynical, but O’Neill notes that James also possesses (albeit on rare occasions) “…the remnant of a humorous, romantic, irresponsible Irish charm […] with a strain of the sentimentally poetic.” Happily, this came through after intermission, when Chandler’s James became considerably more sympathetic. He displayed a far greater range of emotion and emerged as the multi-dimensional character the playwright presumably intended.
   
Matt Frey’s lighting was well designed, though I felt that Day could have turned into Night a bit more gradually. When Mary mentions at a certain point that it is getting dark, it’s particularly incongruous to see her surrounded by rather bright light. But the twisting on and off of the chandelier bulbs as James struggles with his penny-pinching nature is wonderful. It allows for some interesting movement and some welcome lighter moments, in both senses of the term.

In general, however, Long Day’s Journey into Night is far more tenebrous and far more weighty that it is light. I left troubled and raw, and the Tyrones still haunt me days afterwards. Such was O’Neill’s family, but such is the human family, too:  swimming in a sea of contradictory passions, ever battered, keeping our heads above water but sometimes giving in to the urge to self-destruct. There are far more questions to be pondered than answers, and answers that contain both the Thing and its Opposite. It is perhaps this quality in O’Neill’s wrenching tour de force that makes Long Day’s Journey into Night a thoroughly modern work.   


John Brummer and Lisa Emery in Long Day's Journey into Night.
Photo by Alan Simons.

Long Day’s Journey into Night
October 9-28, 2012
Actors Theatre of Louisville
Pamela Brown Auditorium
316 West Main Street
Louisville, KY  40202
(502) 584-1205