I was first introduced to and fell in love with Jason Robert Brown when someone lent me the soundtrack to “The Last Five Years”.  Searching for more from Brown, I discovered “Songs for a New World”.  And that soundtrack is how I fell out of love with Jason Robert Brown.  His strength is sentiment, which drips from every song he writes.  Unfortunately, he’s a fan of repetition.  He’ll take a melodic phrase and repeat it three or four times in a row.  That’s clever, unless you use it in a majority of your songs.  And that’s part of why I don’t really care for “Songs for a New World”.  It’s one Brown song after another.  And, unfortunately, too many of them sound the same.  So, it’s repetitive within each song and then repetitive with so many similar songs filling the show.  Individually, the songs are good.  But, when strung together in a show that isn’t anything more than and collection of songs and, frankly, I get bored.

However, I don’t think that makes “Songs for a New World” a show to skip.  There’s a reason Jason Robert Brown has a following (which makes more sense with The Last Five Years).  It’s good to expose yourself to his early work to get a sense of his style.  Fortunately, we get that chance, thanks to The Green Room Theatre.

Despite what I don’t like about the show, The Green Room’s production is truly applaudable.  It’s worthy of praise, if only because of the circumstances Tyson Danner had to overcome to get it on stage.  (The theater lost it’s space days before the show was to open.  Thankfully, Harrison Hilltop Theatre came to the rescue, allowing The Green Room to use its space.)  That, alone, raises a curiosity to see how they pulled this one off.  But, that, alone, is not the only reason to see The Green Room’s production.

The show is cast with actors who love the music, who respect it.  That’ll add to the energy of any show.  And, their passion permeates the performance, moving into the audience.

Cara Chumbley is Woman 1.  Chumbley’s got a beautiful sound that fits well with Brown’s compositions.  Although she has a tendency to belt when it’s not necessarily called for, her voice is so pleasant, that it doesn’t so much matter.

Tyson Danner, I’m told, stepped into the role of Man 1 after the originally cast actor dropped out.  With the exception of his performance in Angels in America, every role I’ve seen Danner in is inhibited by a seeming lack of confidence.  He’s got a really good voice and the ability to act, but he seems to hold back.  I’m assuming it’s a bit of a lack of confidence in his abilities, a meekness.  If he could overcome that, it Danner would be astounding.  However, that meekness sometimes works in his favor.  It’s actually perfect for the song “King of the World”.  It’s sung from the perspective of a deity, assumedly, who is locked away.  The actor on the soundtrack sings it with full defiance and demand.  Danner, however, sings as if he’s broken and hoping to be freed.  It’s a much more beautiful take on the piece.  And, it’s all the more poignant, due to Danner’s circumstance with The Green Room.

Sarah Ulloa, however, is the most enjoyable cast member, as Woman 2.  It may help, though, that Woman 2 has the two numbers that are vastly different from the rest of the pieces.  “Just One Step” and “Surabaya Santa” are the two songs with the strongest motivation behind them.  They’re sung by clear characters and carry most of the show’s humor.  Ulloa is a singer who can act and takes these songs and portrays their humor, poignancy and power quite well.  Ulloa’s performance in these two numbers is worth the price of a ticket and the time spent alone.

Steve Quartell, who was also in Angels in America alongside Danner, is Man 2.  Quartell is confident, has a strong stage presence and a pleasant enough voice.  However, I find his performance overly calculated.  Instead of letting the songs move him and his performance, he seems to have pre-planned every expression and movement.  It’s still a good performance, but lacks sincerity.  It’s acting rather than being.

And then there’s Danny White on the piano.  I’m always impressed with his work on the piano because it carries such passion.  He doesn’t merely play the notes, but pours his own expression into them.  It’s fantastic to hear and a delight to watch.  Unfortunately, The Green Room cleverly chose to mask the piano with black material.  It works well and looks good and I wouldn’t change it.  I was just disappointed not to be able to watch White perform.

The staging and direction are simple, which is appropriate for the show.  The blocking, however, did little to alleviate my perception of the show as dull and repetitive.  Movement isn’t used in a way to enhance the performance until “The World was Dancing”, the first song in the second act.  The rest of the songs have the performers standing still or walking just a bit.  While it’s not inappropriate, I personally would have preferred more movement to help tell the tale of each song.

The staging fits The Green Room’s typical minimalist style.  With a belief in strong performance over staging, The Green Room rarely uses anything beyond the most basic sets and props (although Misery was quite extensive).  In my opinion, minimalism can be either artistic or cheap.  Is easy to tell when a production is minimal because of a lack of money.  That is not the case here, thanks mainly to the lighting.  Lighting Designer Jennifer Kingry creates truly artistic moments, from the impression of buildings on “Just One Step” to a starry sky in “Stars and the Moon.”

“Songs for a New World” runs this Thursday, Friday and Saturday at 7:30 p.m. and Sunday at 2:30 p.m.  Tickets are $15 (or pay what you can on Thursday) at the door or by calling (563) 650-2396.  Performances are at the Harrison Hilltop Theatre, 1601 Harrison Street in Davenport.

Posted: January 15th, 2009 under Theater.
Comments: none

A familiar holiday movie tradition gets a second re-birth in yet another musical version of the classic film “It’s a Wonderful Life”.  And, it hits Circa 21 Dinner Playhouse 20 years after the first musical rebirth took its final bow on the same stage.

“A Wonderful Life is at least the second musical rendering of the classic holiday film, dropping the “It’s” from the title this time around.  But, instead of staying true to the classic, this musical takes liberties and changes some of the tones of the film.

It works on some levels.  We get more of a sense that George Bailey is, in a way, trapped in his role with the Building and Loan.  He had bigger dreams, but responsibility on his part, and lack of it on his brother’s, leaves him stuck in the town he’d hoped to leave.

It doesn’t work on others.  There’s less of a sense of the innocence of the time conveyed in the film.  There are also songs simply for musical’s sake.  It would almost be better as a play, dropping the songs that don’t actually advance the story.

But that’s the show itself and not Circa’s production.  Other than some poor pacing in a couple of numbers (particularly when the townsfolk storm the Building and Loan), Circa’s production is a valiant effort using less than valiant material.  The set is simple, harkening to the memory of a simpler time, as recalled in the film.  And, the actors are more than up to the task.  There are some very smile-inducing moments, thanks to the actors.  In fact, I found myself watching the chorus members closely to see the way they made their characters stand out a bit.  And, it’s the little things, like the way one woman waved her flag in a count different than everyone else was waving their flag.  There are lots of these little moments, which were quite fun to find.

Personally, I think dinner theater a wonderful holiday tradition to hold to, here in the Quad Cities.  And, with “A Wonderful Life”, the tradition also holds the familiar, even if it’s changed a bit.  On top of that, Circa’s presentation of the music is well worth watching.

“A Wonderful Life” runs through January 3^rd at Circa 21 Dinner Playhouse in Rock Island.  Tickets are available through the theater’s website – circa21.com – or by calling the Box office at (309) 786-7733.

Posted: December 1st, 2008 under Theater.
Comments: none

Danny starts off in a bar, where Danny and Roberta are each, separately, drowning their sorrows.  It doesn’t take long for them to end up next to each other, confessing their darkest secrets.  And here, we’re introduced to their flawed natures and their desperation to escape them, while at the same time holding back the means to their personal salvation.

Danny and the Deep Blue Sea is populated with very personal, offensive material.  But, Curtainbox’s production is actually more sincere than crude, thanks to the performances of Eddie Staver III and Kimberly Furness.  Each of them present their characters with a sincerity that’s more raw than innocent, but sincere just the same.  And that helps make the offensive less offensive, because this isn’t a show about their sins.  It’s a show about their souls, their spirits and their desperation for redemption – a redemption they could find in each other.  And, it’s beautiful in all of it’s raw offensiveness.

It’s actually hard to review this show, as I could gush on and on about the performances of Staver and Furness.  Both are remarkable and worthy of praise.  The problem is, they are so good, as are the lighting, the sound and the staging that I forgot I was supposed to watch with a “critical” eye and lost myself in the show almost completely.  That’s a good thing.  It testifies to the strength of, not only this show, but this production, which I’m convinced heightens the strength of the show itself.

“Danny and the Deep Blue Sea” runs both this weekend and next at The Curtainbox Theatre Company. Performances are Thursdays, Fridays and Saturdays at 7:30 p.m., with a 2:30 matinee on Sundays in “The Village Theatre” in the Village of East Davenport. Tickets can be purchased by calling the theater at (563) 650-8121. More information is available through the theater’s website - The Curtainbox Theatre Co.

And, a note — this show is for a mature audiences only due to adult language and subject matter.

Posted: November 20th, 2008 under Theater.
Comments: none

The Odd Couple is the story of Oscar and Felix.  Oscar is a divorcee and a slob and it’s his apartment that’s the center of the play’s action.  Felix is in the early stages of divorce and a neat freak.  Oscar invites Felix to move in, setting off the clash of the titans.  And by titans, I mean divorcees.  Felix’s constant cooking and cleaning continuously get on Oscar’s nerves, much to the audience’s humored delight.

Posted: November 13th, 2008 under Theater.
Comments: 1

It’s rare that there’s a local production that spurs revisited thought, let alone a revisited viewing for me.  While I enjoyed The Green Room Theatre’s “Assassins” twice, it was that great, there are few other shows produced in the Quad Cities that leave a lasting impression on my mind.  In fact, I can count them on one hand.

First, there’s Quad City Music Guild’s “Jekyll & Hyde” from a few summers back.  It’s still talked about.  And, when reviewing QCMG shows now, I find myself setting the standard for QCMG productions at the level of “Jekyll & Hyde”, a level that’s tough to reach.  It was that fantastic.

Second for me would be “Assassins” at The Green Room Theatre, staged this summer.  It was so exceptional, I saw it twice.  And, it demanded an extended performance, it was so well received.  That’s great, because it’s great material.

Also in the mix for me is “Life’s a Dream”, staged by The Prenzie Players.  The language was exquisite, the setting perfect.  And, while the nudity was notable, it was not defining.  The Prenzie Players’ production stands on its own as truly great.

And finally, “The Full Monty” at Circa 21.  It’s the only one on my list (so far) that you can still see here in the Quad Cities.  While I think the show itself has its weaknesses (like a few dull melodies and some uninspired lyrics), Circa’s production of the show is rip-roaring delightful.  I count it as a “must not miss” production.  Circa amazed, delighted and tickled me to pieces with “The Full Monty”.  While I don’t want to plug one theater over another, I can’t urge you enough to catch this show before it’s final curtain drops.  It deserves your attention and your patronage.  And, it may be the second Quad Cities production I see a second time.  It’s that good.

Posted: October 20th, 2008 under Theater.
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I’ve waited a year for this one.  The Full Monty — the story of out of work men who decide to bare it all before they lose it all.

The show takes place in Buffalo, New York, where the plant was unexpectedly shut down, leaving many of the men in town without jobs.  Jerry, a divorced father, cooks up a plan to put on a strip show in order to make enough money to pay the child support he owes his ex-wife so he can keep seeing his son.  He enlists his best friend, Dave, a man whose big belly is holding back his confidence, particularly with his wife.  Together, they pull in four other men to give the Chippendale’s a run for their money.

The show itself is not bad.  Some of the songs are not all that good, mediocre.  But, there are a few numbers that really score, more than making up for the others.  As for Circa’s production of the show, the theater handles the material quite well, thanks to a fantastic, somewhat minimal set that’s actually quite versatile, and a cast that’s up to the challenge of baring it all.

The entire cast is good, but there are a few standouts.  Hernando Umana creates an adorably awkward Malcolm.  He’s so cute and likeable and literally illicited a few audible “ahhs” from me.  Troy Scarborough’s Horse is a scene stealer, not just because the character is so interesting, but because Scarborough is able to use the character so effectively as to have the crowd in stitches quite often.  And, Autumn O’Ryan’s Jeanette is another attention grabber.  She’s loud, boisterous and a solid laugh getter.

While the show itself isn’t fantastic, the production truly is a lot of fun and well worth your evening.  That’s especially true for the final number, which is fantastic.  It’s a fantastic song fantastically staged by Circa.  Regardless of how you feel about the show leading up to it, the payoff is well worth it, as you wonder how far these actors will actually go when it comes to the final strip.  Will it actually be the full monty?

While there’s little that’s overly shocking, the shock level is raised merely by the fact this is Circa 21.  I mean, this is the theater that said to a friend of mine it would never do Gypsy because Circa’s patrons would be averse to a show about a stripper.  Gypsy’s actually quite tame, by any standard, with no real stripping in the show.  And, it’s not centered around stripping.  The Fully Monty, however, is.  It’s all about stripping and, unlike Gypsy, has swearing and bare butts.  So, I’m shocked to see The Fully Monty at Circa 21, but I’m also pleased.  To borrow a line from the show, I’m just thankful it isn’t another production of “Church Basement Ladies”.

I’m told the show is selling out, which is good.  The success of this show could perhaps mean more than just one show that’s actually been on Broadway showing up in Circa’s future seasons.  Who knows.  Maybe Circa will even dare to do Gypsy some day.

The Full Monty runs through November 8th at Circa 21 Dinner Playhouse in Rock Island.  Tickets can be purchased online at www.circa21.com or by calling the box office at (309) 786-7733.

UPDATE: Per a comment from Circa 21’s Owner and Producer, Denny Hitchcock, Circa is actually not adverse to staging Gypsy, having staged it in the past.  I’ll have to have a word with my friend. 

Posted: October 2nd, 2008 under Theater.
Comments: 3

This blog is usually used to share my reviews.  However, I’d like to take some time to share some personal thoughts.

I got into this review gig for two reasons: as a means of moving my career in a new direction and as a way to be involved with local theater despite being unable to actively participate due to my work schedule.

Two years ago, I approached the then News Director and asked if there was a possibility I could ever be a news anchor.  Bored with producing, I wanted something new.  And, having theater in my background, I figured anchoring would combine my knowledge of news and performance.  To my surprise, he was keen on the idea and told me anyone interested in anchoring should start with something with which they are passionate.  Since I have an acting background, he suggested I review movies on air.  It’s something I know and a step in the right direction.  That’s how I started.

Sadly, that News Director is no longer my News Director.  He’s moved on and I’ve worked under two other News Directors since.  Since the most recent one didn’t regard me as “on air” and even had my bio removed from the website, my hopes for advancement were dashed.  The thing is, I don’t like others completely controlling my life.  So, of my own doing, I started reviewing local theater productions.

I’ve long loved being a part of the theater.  Unfortunately, my schedule does not allow me to participate at this time.  (I get off of work at 7:15 on a good day, which is usually 15 minutes after rehearsal begins.)  It’s just too much and is hard on my partner, who doesn’t like not seeing me for weeks on end.  Reviewing theaters, however, means I get to experience some of the excitement without the time commitment.  It’s a somewhat empty experience, as I often leave a show I’m reviewing in tears.  Not because the performance was bad, but because I regret that I cannot be a part of it.  I regret and am saddened by the fact I can’t be up there on stage myself.  It’s a longing so deep, I actually cry about it.

There is a bit of solace, odd though it may be, that follows each of my theater reviews.  The day or weekend after I review a show, I find one or two friend requests on my Facebook account.  At first I thought it odd, as I don’t really know these people.  I just watched you on stage, ofter criticism of your work and you want to be my Facebook friend?  In fact, the first request came from someone who received a bad review from me, if I remember correctly.  I found it quite odd.  It continued, though, to a point where I now look for a friend request or two after every theater review.

Odder than the requests from people I don’t know is the fact they’re somewhat comforting.  There are two things I love about the theater: performing and the community.  There truly is something to be said about the theater community.  Friendships are fast, but true and can be lasting.  Not being able to be a part of any shows, I am unable to experience that community.  Or am I?  With each friend request, I feel a part of it.  They’re comforting and, rather than feeling like an outsider criticizing a show, I feel like a member of the community offering my thoughts to praise performances well done or to press for stronger performances in the future.

So, to those of you who’ve requested a friendship with me on Facebook, I thank you.  And to those of you who will request one in the future, I thank you, too.  I welcome and appreciate your friendship, even if it is not face-to-face, but, rather, facebook-to-facebook.

Posted: September 15th, 2008 under Personal, Theater.
Comments: none

Despite my theater background, I’ve never seen A Streetcar Named Desire, not on stage nor on film.  So, until last night, all I knew of it was seeing clips of Marlon Brando yelling Stella.

A Streetcar Named Desire is the story of Blanche DuBois, sister to Stella.  Blanche shows up at Stella’s home, with plans to stay for a spell after burying their parents and losing their home.  Blanche is eloquent and a bit on the proud side, but with a sad uncertainty hidden underneath the slightly haughty exterior.  Through the course of the show, we learn what causes that sadness.

Kim Furness takes on the role of Blanche in Harrison Hilltop’s production.  And, she manages to convey that proud, but sad character quite skillfully.  And, she’s not over the top.  You never really hate Furness’s Blanche, but there’s something you don’t quite trust about her.  And yet, when it comes time to pity her, it’s more a sympathy than a pity, because Furness does include a touch of likeableness about Blanche.  I’m impressed, truly.  There are actors who are unable to convey various characters.  They bring pretty much the same approach to every character.  And, while they may be good, they’re not versatile and watching them grows tiresome if you see them in multiple shows.  The last time I saw Furness, she was appropriately over the top funny, making up her own form of sign language in Circa’s “Smoke on the Mountain”.  Here, she keeps the placement of her voice behind her teeth, adding to an heir about her and preventing her from being over the top.  Her Blanche could in no way be mistaken for her character in “Smoke on the Mountain”.  And that’s true talent.

Eddie Staver III takes on the role made famous by Marlon Brando, but does not channel the iconic actor.  Staver’s Stanley is not overly aggressive, but more realistic.  It’s that “average joe” approach that makes the abusive moments all the more shocking.  And real.

But it’s Stephanie Burrough who offers the most natural performances.  Her Stella is not at all affected, not at all calculated in emotion nor movement.  It’s, in a word, nice.  Harrison Hilltop’s space is so small, so intimate, that taking a “play to the balcony” approach would be laughable, annoying.  Burrough is so subtle, so gentle in her portrayal of Stella, that you almost want to invite her to sit down next to you and enjoy the show together, because this is not a character, this is Stella.

Jeff De Leon, in a word, is sincere.  Utterly sincere as Mitch, with an innocence about him which, eventually, is in contrast with Blanche.

The show, overall, is very well paced.  The actors, for the most part, know when to pause for impact or when to press on for a realness about the production.  At one point, the movement is enjoyable, with poker over here and girl talk over there.  There’s hardly an ounce of tension in the air.  And then suddenly, Stanley is slapping Stella.  The rush to the moment of abuse is so fast that you don’t have time to catch up with the change in emotion, making the slap all the more shocking.

The lighting, too, deserves a nod.  There is no stage lighting, really.  Light bulbs and lamps provide the lighting and, without the help of stage lights, the shadows.  There are places on stage that are masked in shadow, as are sometimes the faces of the actors.  It adds a mystery, a poverty sort of feel to the production.

The set is set up in such a natural way, as if we, the audience, could be in the home of Stella and Stanley.  With the exception of the placement of the porch, which is unnatural but appropriate, the layout of the inside of the house could be real.  The kitchen is masked by a semi-transparent curtain, which I loved.  The audience cannot see every part of the set and the actors sometimes stand behind that curtain.  Why should we be able to see every nook and cranny?  Is it that way in real life?  It’s perfect!  And, with the audience on the same level as the stage, there is not only an intimacy, but an added depth.  When an actor steps forward, there is a beauty, almost cinematographic asthetic to the scene, with a depth to it which is often gorgeous.

A Streetcar Named Desire runs just one weekend at Harrison Hilltop Theatre and seating is limited, so be sure to get in your request for tickets soon.  Showtimes are August 28 through August 30 at 7:30 p.m. and Sunday, August 31 at 2:30 p.m.  Tickets are $15.  The theater is located at 1601 Harrison Street in Davenport.

Posted: August 28th, 2008 under Theater.
Comments: none

There are moments almost every family experiences, moments that can stir up quite a laugh when remembered.  In Circa 21’s “Are We There Yet?”, it’s a string of those moments, one after another, with many of them set to song.

“Are We There Yet?” is not a linear show, in that there’s not a storyline with a beginning and an end with a conflict in the middle.  It’s actually a series of scenes, some with song, about the funny or sometimes touching parts of life.  It does follow a path, however, from birth to old age as the show moves along.  And, with a cast of only four, the actors in the show take on a new role with each scene.The positives — there’s a live band, which always earns bonus points in my book whenever I see a performance at Circa.  The humor is something we all can relate to as, while we may not have experienced every experience portrayed, we are at least familiar with them.  There’s a commonality that sets us on the inside of the inside jokes.  And, the performances, which are solid.  All four actors have quite good comic timing and delivery and the ability to change their character enough to take on another character, so we’re not confused.If pressed to pick a favorite actor, it would be Sandra D. Rivera, who plays it big, but never over the top.  Tristan Tapscott is close behind, due to his monologue as an elderly man with alzheimer’s.  It’s the most moving scene in the show, with the audience completely silent, with not so much as a cough during his performance.

Posted: August 15th, 2008 under Theater.
Comments: none

Staging the works of Stephen Sondheim is quite an undertaking for any production company.   Make it Assassins and you’ve got a subject matter than may not appeal to many people.  But, it should.Sondheim’s Assassins is populated with assassins throughout U.S. history, successful and attempted, from John Wilkes Booth to John Hinckley.   But, they’re not heroes in this show.  Instead, the concept centers around their belief that all you have to do is move your little finger and you can change the world.  But, after squeezing that trigger they find angry men don’t write the rules, and guns don’t right the wrongs.   That is, unless they can convince Lee Harvey Oswald to kill the president instead of himself.Not only can staging Sondheim be awkward, but casting it can be, as well.  Sondheim isn’t the easiest to sing.  So, it requires the right singers.  More than that, Sondheim’s shows aren’t for singers who can act.  There’s depth to his characters.  His shows are better populated by actors who can sing.  (Angela Lansbury, anyone?)  The Green Room Theatre’s production, fortunately, is well cast, almost perfectly, though not quite.

There’s a distinct split in the cast list.  There are those who immerse themselves completely in their character, becoming the assassin rather than simply acting the part.  And then there are those who are acting the part, with staged expressions and “wait for the next specific blocking” drops in character.  No one in the cast is bad, nor merely adequate, however.  It’s actually the difference between good and exceptional.

In the exceptional category is Lou Hare, who portrays John Wilkes Booth.  While others may put more stock in the Balladeer/Lee Harvey Oswald, I think Booth is the foundation of the show.  He’s the one who sets the long line of assassinations in motion.  And, in the show, he’s the one to push Oswald toward assassination rather than suicide.  He has to be solid.  While Hare may not be as solid as others in the singing department, missing a few notes here and there, he’s spot on with his acting.  Instead of playing Booth loud and commanding (as I expected), Hare takes a calmer, more realistic approach.  He’s solid in his viewpoint, if milder in his manner.  He is human, in that he has his beliefs, but Hare’s Booth also holds back a bit, perhaps conveying the mediocre actor Booth truly was, whether intended or not.

Opposite of Hare’s softer approach, Michael Callahan’s Gisueppe Zangara is severe, loud.  Not once did Callahan drop his accent.  Nor did he drop the pain in his stomach.  Nor any notes while singing.  Callahan is captivating, frightening.  He is Zangara, with his weird belief that assassinating a president will stop the pain in his stomach.  And that voice!  Powerful, solid and filling the entire room with its deep beauty.  Some of the humor of the character is lost in Callahan’s solid, pained performance, but the performance is so real, so exceptional, it hardly matters.  (I also could help but hope to see him portray Pirelli in Sweeney Todd someday, a role for which I think he is perfectly made.)

But the most real of any peformance in this production is Melissa Anderson Clark’s Squeaky Fromme.  She was so good, I couldn’t believe it.  I actually watched her closely to spot the moment she dropped character, the moment she’d drop Fromme’s conviction and motivation.  To my delight, she didn’t.  Her portrayal of Fromme is breathtaking and perhaps the best performance I’ve yet to see on a Quad Cities stage.  Ever.

Which is hard to say when it comes time to share my thoughts on Eddie Staver III’s performance as Sam Byck.  I’ve said before that he’s my favorite Quad Cities actor, and he remains so.  Unfortunately, I’ve never liked Byck’s role in Assassins.  I don’t like long monologues and Byck has really long monologues.  And, I hate the device used to justify them, Byck making tapes of his personal sermons to send to Leonard Bernstein and President Nixon.  While Byck may have done that in real life, it seems contrived on stage.  But, that’s the role, not the actor.  Staver does an excellent job believing what he’s saying.  I find his long monologues far more listenable than Mario Cantone’s (whose track I skip when listening to the New Broadway Cast Album).  Staver manages to bring Byck into his being, from inflection, to believing his own words, to his body language.  It’s another fine performance from Staver, even if the role is my least favorite.

At the start of The Green Room’s production, my least favorite on stage was Mark Ruebling’s portrayal of Charles Guiteau.  I thought, “Oh, boy.  Here’s the overactor who belongs in community theater with less lofty theatrical goals.”  I found him entirely annoying.  Yet, as the show progressed, he grew more endearing to me.  And, I realized, his portrayal is truly fitting of the Guiteau role.  The chipper air mixed with the self-promotion and nods to God were both believable and enjoyable because of Ruebling’s odd portrayal.  From liking him the least, I wanted to see more of Guiteau.  In fact, he’s one of two actors who consistently brought a smile to my face simply by his presence on stage.

The other would be Jackie Madunic as Sara Jane Moore.  I knew she’d be notable the moment I heard she was cast in the role.  She’s got the perfect ding-bat presence and smile (not in real life, but on stage as Moore).  She’s delightful!  She’s hilarious and over the top without being out of control.  Truly delightful!

David Turley has one of the smaller roles in John Hinckley, which is a shame.  If I were to meet him in person, I’d expect him to be quietly, internally neurotic, with it affecting his social interaction enough to make him seem shy and a bit “off”.  That is Hinckley.  His portrayal is so convincing, I’d have trouble believing this is not what he’s truly like in real life.  All of the paranoia and less vocal madness is there.  It’s a shame is wasn’t there on stage longer.

Also notable is Wendy Czekalski, who is part of the ensemble and handles a majority of the solo portion of “Something Just Broke”.  I was enamored by her.  She has a jovialness that’s enthralling and pulled my attention.  I’m anxious to see her again on a Quad Cities stage.

Ryan Westwood takes on the dual role of the Balladeer and Lee Harvey Oswald.   And here is where we split between the two groups of actors, those who are exceptional, fully believable and those who are acting.  Westwood falls into both categories.  As the Balladeer, he has an innocence about him as he tells the stories of these killers.  While there’s still a touch of that boyish sound he brought to John of John & Jen, it’s fitting as this is the character with which we, as the audience, can relate.  We certainly can’t relate to the assassins.  But, good theater requires a connection to someone.  And, Westwood’s thoroughly likeable Balladeer is that someone.  Here, he is notable.  Unfortunately, his Lee Harvey Oswald is not quite as good.  Westwood’s Oswald seems forced and his motivation is difficult to ascertain, as he seems to go through the motions of being Oswald, trying to portray the feelings, but not thoroughly committed to them.

Curtis Oelschlaeger seems to suffer the same symptoms.  An excellent singer, he is a pleasure to hear.  I could listen to him perform the entire show for me, he’s so good.  But, his Leon Czolgosz is not a fully developed character.  Oelschlaeger even seems a bit uncomfortable on stage, which is too bad.  He’s still good, mind you.  But, he would be another exceptional cast member were his acting abilities to match his vocal ones.

Jon Schrader is actually quite good as the Proprietor, but there’s a problem with the role itself, at least in this production.  Director Derek Bertelsen chose not to highlight the carnival game aspect of the show with anything physical on stage (other than the Proprietor handing out guns).  It’s a baffling choice, in my opinion, as the lyrics themselves play into the game theme.  Shoot a president and win a prize is the theme connecting the assassins, all who think they’ll win by killing the leader of the United State of America.  Without the physical aspects of this game, what’s the point of the Proprietor?  He seems merely a guy there to hand out guns, then be the focus of everyone’s anger when they don’t get a prize.  Why?  How is he necessary in this capacity?  Without the carnival game, it seems the roles of the Proprietor and the Balladeer could be combined, except that the Proprietor encourages the assassins to play by assassinating, while the Balladeer is an observer, a storyteller who is not condoning the assassins’ actions.  Even though I know the Proprietor is the man manning the Shoot and Win game, watching this production, I still found his inclusion confusing.  This, again, is not the fault of Schrader, who does a fine job playing the part.

It’s rare that the musicians stand out to me (unless they’re really bad), but, in the case of The Green Room, they often do, particularly Danny White.  He has tremendous musicality at the piano.  Never does he merely play the notes before him.  Consistently, he interprets them.  He adds his expression to them and they take on a role of their own.  I was captivated during each interlude, during each piece of accompaniment that did not accompany lyrics, if only for a few bars.  White brings the music to life, so that it is just as thrilling, just as moving and just as enjoyable as watching an actor expertly portray a role.

It is to the Quad Cities benefit that attendance has been so good, the show is extended for another weekend.  I wholeheartedly reccomend making your reservations (now, since it is selling out) so as not to miss this, one of the finest productions the Quad Cities has to offer.

Posted: August 8th, 2008 under Theater.
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