KCACTF Review 4: Godspell (Last one!)

“Thou shalt not bear false witness” to Johnson County Community College’s production of Godspell, an upbeat and updated musical that is sure to uplift audiences.

 Godspell, originally written by John-Michael Tebelak with book and lyrics by Stephen Schwartz, is a story about a collection of outcasts and lost souls who strive to unite and better themselves through the teachings of Jesus Christ. Also there to assist them is Jonnie the Baptist, a peppy and enthusiastic Salvation Army officer whose attempts to inspire the disgruntled crowd have been futile. JCCC’s version is also set in the modern world (or a contemporary, littered street, complete with crumpled up newspaper and empty pop cans).

The structure of this story about the gang of misfits, which includes 14 cast members and 6 band members, is a series of parables based on the Gospels of both Matthew and Luke. The short sketches are set to music lyrics from traditional hymns.

The show’s musical selection is religiously based, but doesn’t attempt to convert audiences to the Christian faith. Most notably, the song “Day by Day” reached #13 on the Billboard charts in 1972, and is still recognized and played as muzac in elevators today. Other memorable songs include ”All for the Best,” which was complete with tap dancing and the moving company number “By My Side.”

Director Beate Pettigrew adapted the show to include specific characters such as “Kandi the prostitute” and “Judas the street pusha.” As the iconic Jesus himself, Jeremy Right was patient and gentle, with a calming voice that was easy on the ears. Also noteworthy was Tony Cintrony as “Ginger-Snap the drag queen.” High heels, fishnets and eyeliner-drawn-on-cleavage were no match for Cintrony, who proved to be perfectly comfortable in his drag attire and gave an honest and humorous performance.   

While the cast was strong as a whole, especially during empowering ensemble vocal numbers, it sometimes became hard to hear the one-liner jokes often present in the script. With 14 characters, the stage often got boisterously noisy, and lines of dialogue were drowned out.

Aside from modernizing the script, Pettigrew expertly incorporates pop culture jokes. From references to Charlie’s Angles and Thriller, the audience never feels as if they’ve been taken back to the original 70’s production. These references, combined with identifiable characters, make the show relatable to widespread audiences.

Kelly Vogel’s elaborate set design uses train tracks, concrete-looking steps and a full size pick-up truck that carries parts of the orchestra. The band’s onstage presence allows the audience to experience every element of the show first-hand, and the band members’ visible focus on Jesus further draws viewers into his message.

Though many elements of the show are impressive, the production itself was simply good. Without many memorable elements, the show is subject to fade in the minds of viewers, which, due to the decline of organized religion, is ironically the path that the message of Jesus has taken. Ultimately, the production is a success, allowing audiences the opportunity to contemplate faith, while simultaneously being entertained – and that’s the gospel truth.

KCACTF Review 3: Richard III

“Now is the winter of our discontent,” -- and so it was in the performance of the University of Minnesota Duluth’s Richard III, which provided much "discontent" throughout the production.

            UM Duluth’s production used the Colley Cibber adaptation, which was the most popularly performed stage version for nearly two centuries. Cibber’s script cut much of Shakespeare’s original lines, and also added original scenes to emphasize Shakespeare’s comedic intentions. UM Duluth also threw material from Sir Thomas More and Raphael Holinshed into the large, Richard III melting pot.

            The script follows the tale of the hunchbacked prince, who is determined to become a villain. Much of Richard’s anger stems from his brother Edward’s ascension to the throne. In order to quell his jealousy, Richard decides to take matters into his own crippled hand and kill off every threat to his reigning power.

The production’s only redeeming actor is Richard III, played by Corey Ryan Boe. As the deformed prince, Boe is consistent in his rigid sidestep and menacing voice, making him a captivating villain. This commitment distinguishes him from his fellow castmates, whose emotions are stoic and forced at best.

            UM Duluth’s production takes place in a crumbling train station. Multiple tiers and scaffolding comprise the set, but don’t enhance the production. Though director Tom Isbell’s setting idea was creative, it did not play out well, as the scene changes result in no noticeable differences in the set arrangement. Also bothersome is the loud background music, which often completely drowns out the actors.

            During the show, audience members have to resist the temptation to yell “off with his head” and are relieved when he is stabbed, not only because the villain is gone, but because the show is over. 

KCACTF Review 2: The Odyssey

In modern times, it wouldn’t be surprising to hear many people answer the question “What is the Odyssey?” with the retort “a mini van.” However, the theatrical production of The Odyssey, performed by Minnesota State University Mankato, brings a contemporary element to the epic story, making it another modern Odyssey worth recognizing.

            The Odyssey is one of two Greek epic poems by Homer. This particular poem centers on Odysseus, a cunning Greek hero who spends ten years trying to return to his homeland of Ithaca after fighting for a decade in the Trojan War.

            While Odysseus combats Cyclops, resists the sweet songs of the Sirens and is kept captive by the goddess Calypso, his wife Penelope and son Telemachus must ward off the suitors who come to woo the assumed widow. With the help of the goddess Athena, Odysseus attempts to return to his wife, unknowingly racing against time and the attentions of other men.

            The version performed by Minnesota State University Mankato is a humorous and irreverent adaptation of the direction by Mary Zimmerman, which often makes fun of the original Odyssey within the confines of the plot. While the entirety of the poetic Odyssey could take days to perform, Zimmerman’s abridged three-hour version moves at a steady pace and contains enough witty dialogue to keep audiences engaged.

            With 29 actors in the cast, there is hardly ever a dull moment. Clayton Oliver Rutschow, who plays Odysseus, tackles the role with a domineering stage presence. Rutschow fully grasps the many facets of Odysseus’ complex personality, from his compulsive lying to his determination to fight all odds against him, making his performance believable and inspiring.

            Also exceptional was Kimberly Michelle Steffen as Athena, Odysseus’ guardian angel (or God) and narrator of the play. Steffen enthusiastically took on Athena’s mortal disguises, ranging from a precocious child to an old man. The on-stage costume changes made Athena’s guises easy to follow, but her commitment and seriousness in playing each new role brought many laughs to the eager audience.

            In tackling a play of epic proportions, director Paul Hustoles chose an adaptation of the script that suited both his cast and the audience. While mentions of the Odyssey might cause some people to groan while remembering sleeping through the poem in high school English class, Hustoles’ creative stage directions make it impossible for audiences to fall asleep.

With a large ensemble, Hustoles employs actors to portray animals, posing as everything from sheep to dogs to pigs. The ensemble’s bestial mannerisms and “baas” and “oinks” are not only natural, but are hilarious as well, as audiences are pleased to see “animals” roam in and out of the scenes.

The set designed by Tom Bilese consists primarily of white sheets attached to long wooden poles, which are transformed from ship sails to Grecian pillars within seconds. Additionally, the blank backgrounds of the sheets allow for shadowing effects, which were especially effective in the memorable Cyclops scene, where the one eyed giant appeared to “eat” an actor.

To help establish the setting in the numerous scene changes, Steven Smith’s light cues effectively provide warm, golden glows when the action shifts to the heavens, and icy blue hues when Odysseus travels to the underworld. Masks worn by the gods and traditional Grecian togas worn by commoners also help to distinguish between characters, as many actors take on multiple roles throughout the show.

The drama’s only weakness lies in the sound, which incorporates both pre-recorded effects and melodies. Though not used often, the voice-overs came through as fuzzy and unclear, and the songs in the background and during scene changes seemed out of place.

Overall, the show was an incredible success, vividly depicting the long adventure of Odysseus with a tongue-in-cheek approach that leaves audiences simultaneously laughing at and cheering on the ancient Greek hero. 

Kennedy Center American College Theater Festival Review 1: Oedipus Rex

Don’t gouge your eyes out – St. Ambrose University’s performance of Oedipus Rex requires attentive eyesight to appreciate the doomed Oedipus’s attempt to avoid his prophesized fate. This unique, devised theater production utilizes ensemble collaboration in everything from physical movement to dramatic spotlights. Additionally, each of the seven cast members move seamlessly into multiple roles, both conceptual and human, to brilliantly convey the universality in Oedipus’s tale in a show that viewers must see to believe.

Happy Birthday To You!

Disclaimer: I'm making an exception for a reflection on a very important day. Jane Austen's birthday doesn't technically have anything to do with theater, but her novels have been turned into stage adaptations, which means that this post is justified.

That's right. Jane's taking over the world.
Google agrees.

Yesterday was a very special day in the literature world. And, sadly, many people went about their days unaware of this monumental occasion. Yesterday, December 16^th was Jane Austen’s 235^th Birthday! Yes, I had been looking forward to this day and made sure to celebrate by dedicating a Facebook status to her and telling absolutely everyone I knew that it was her birthday. It may sound crazy, but I wasn’t the only one celebrating. Janeites worldwide tweeted about the occasion and Google UK even dedicated its “doodle” graphic to her! 

As part of the celebration, I find it necessary to reflect on all that Ms. Austen has done for the literary world. (However, I did not sing to her for two reasons:

1.) She would never want to hear me sing and

2.) If she were alive today, she’d be confused, because Happy Birthday didn’t become popular until after 1893.)

          She wrote only six novels in her lifetime, but all six are still read and reprinted to this day. It has been estimated that at any one time around the world, there are more than 600 Jane Austen adaptations being produced. China has increased its Jane Austen output by 400 percent over the past seven years, and looks set to be the world leader by 2012! 

Her characters are immortal, not only in their homes in her books, but also in film. Keira Knightley made Pride and Prejudice sexy with her portrayal of Elizabeth, and in turn, taught (some) boys that Jane Austen can be cool. Wait…scratch that. Is cool.

Of course she'd pose with a notebook.
She's just that awesome.

Sadly, Jane never married. However, this never stopped her from thoroughly enjoying life. Her best friend was her older sister Cassandra, with whom she regularly exchanged lengthy letters. She was also close with her nieces and nephews, allowing her an outlet for any motherly affection she might’ve felt. Based on her strong female characters, it is clear that Jane held very high “standards” when it came to the opposite sex. She had a short, love affair with Tom Lefroy when she was twenty years old. Even though she was madly in love with him, his family found the Austen family to be too poor for their distinguished son and believed he could do better. A reflection of this dilemma can be seen in Austen’s last published novel Persuasion.

Austen is often mistaken as the “mother of chick lit.” However, this title could not be further from the truth. Though often romantic, Austen’s stories are not full of mushy, gushy pet names and senseless “he-loves-me-he-loves-me-not” dilemmas. Instead, Austen advocates the female use of reason in relationships (imagine that!) Instead of relying solely on their feelings, Austen reminds women to use their heads. Through her stories, Austen also effectively proves that women are sensible creatures. It’s Austen’s subtle sarcasm, realistic characters and ironic narration that have led me to fall in love with her writings.

I often say that I would like to live in Jane Austen’s time period. A life full of reading, writing, dressing up, taking walks and going to balls sounds absolutely splendid to me. But there’s also more to an Austen novel than these everyday events. Many critics complain that “nothing happens” in her novels, which makes them incredibly boring. The point is, Austen proves that a lot can happen in every day life -- that snide comments people make and shy glances do have an impact. Through Austen, we can see that little actions can have a big effect on others. Austen showed audiences that using one’s head in decision making is not to be undervalued.

Aren't they adorable? Whoever combined Pride and Prejudice,
babies and cartoon characters is a genius.

Thanks Jane, for crafting the first real novel. For giving women everywhere the right to think for themselves in relationships and for proving that smart women are not to be taken for granted. May your legacy continue on for another 235 years and more. 

Cheers! 

"There's Nothing Halfway About the Iowa Way"

To all of my loyal followers:

I would just like to let you all know that I have been chosen to attend the Region V Kennedy Center American College Theater Festival as a representative of the National Critics Institute (try to say that in one breath!) The festival is in lovely, more-rural-than-Missouri, Ames, Iowa at Iowa State University from January 16-22. (Ames is only a skip, hop and a jump from "River City," which my fellow Music Man cast mates and I paid a visit to my junior year).

At the festival, I'll get to review four shows and take workshops from real, established theater critics. Though I'll be missing the first week of classes for second semester, this opportunity is invaluable and I couldn't be more excited about it if I tried. As my Zaneeta, my character from the Music Man would say, "Yee Gads!"

But, I didn't get here alone. I'd like to thank everyone who has ever read any of my reviews, whether it was me asking you to comment on my STAR Reporter observations or because I sent you links from articles that I wrote. I know I tend to over-write and my pieces can be long, but getting feedback from all of you only helps my writing.

January will be a busy time for my blog, but in the meantime, be sure to keep checking back! I have some ideas for shows to review over winter break that aren't typical and even more off-off broadway than you might expect.

Thanks again!

(Much closer to Broadway): Billy Elliot ‘shines’ as dancing show

Eleven year olds fill an awkward space in adolescence. Often entering the perplexing “pre-teen” stage, they express themselves with random outbursts of energy, attitude and sadness.

Billy Elliot, the main character of the musical with the same name, is eleven years old, but in many ways, the musical itself seems like an eleven year old – energetic, occasionally awkward and charming all at once.

Set in Northern England in 1984, the plot centers on those affected by the yearlong British National Union of Mineworkers strike.  While the town’s adults outwardly struggle to maintain strength in the face of unemployment, Billy struggles internally with a secret dream to pursue a career as a ballet dancer.

Due to the fact that male “ballerinos” aren’t exactly respected in modern times, it’s clear that they didn’t have a place in the mining towns of England – especially when “real” men were those who took boxing lessons. Billy’s father (Rich Hebert) and brother (Jeff Kready) do not support the visions that dance in Billy’s head. The boy is then left with only the assistance of his dance teacher Mrs. Wilkinson (Faith Prince) to find a way to pursue his dreams.

Shown with the other "Billys" Lex Ishimoto, center,
played Billy Tuesday, Nov. 23.

The touring production, now showing at the State Theater, travels with 20 children. Five of them are “Billys”, though Lex Ishimoto, a 12-year-old hip-hop dancer from California, played Billy for the Tuesday performance. Much like his character, Ishimoto’s dancing makes him a prodigy. As a trained dancer myself, I saw not one misstep, no matter how hard I looked. His pirouettes were perfect, his fouettes flawless.

Instead, Ishimoto’s fault lies in his singing, which was almost always off-key. Sounding like an even younger version of Justin Bieber (if that’s possible), Ishimoto’s unchanged voice was often harsh on the ears. However, much like with Bieber, audiences will readily forgive the annoying singing because of the appearance (in this case, of the beautiful dancing) of the source of the sound.

Much of the stage time belongs to Billy, but the other children in the cast often steal the show. Billy’s young friend Michael (Jacob Zelonky) is adorable as a boy who enjoys dressing up in his sister’s clothes. Given that Zelonky is only 11 himself, he handles the role of a young, gay boy with great maturity.

The inclusion of Billy’s cross-dressing friend is just one instance of the show’s exploration of societal themes. For 11-year-old Jacob, cross-dressing is perfectly acceptable because it brings him happiness. When justified by Jacob, one can’t help but wonder why any member of society feels entitled to dictate the behavior of others when happiness is at stake. The children in the show have it right – if it makes someone else happy, don’t question it.

Also memorable are the “ballet girls” in Billy’s dance class. Though they travel in a pack, each individual dancer (ranging from 11-18 years in age) has a distinct personality. Also, though they dance poorly, each ballerina is expertly trained and is instructed to forgo her classical technique in order to emphasize Billy’s greatness. Because many of the actresses are so young, they resemble the typical competition dance “infants” that have smiles plastered on their faces the whole number instead of reacting to the lyrics of the song.

For a touring production, the special effects and scenery are quite remarkable. From a dance studio inside of a gym to a dressing room with personified dancing dresses, the set is completely reminiscent of the Broadway production. None of the scenery feels compromised, giving audiences nationwide the full effect of the original show.

Amazingly, cast members young and old speak as though they were born and raised in Northern England. The accents used in the show are completely authentic and believable. Though the cast members sound as though they hail from Ireland, residents of Durham County speak with a pitimac accent. Now less frequently heard, pitimac accents are characteristic of those in Northern England who spent much time in the mines.

Besides speaking well, the adults in the show successfully unite the cast and emphasize the suffering the community undergoes together. Because the town is so united, Billy is even more outcast from his family, which makes the story more relatable and inspiring.

The show revolves around dancing. As a result, the musical’s songs, though written by Sir Elton John, are not memorable. The phenomenal dance moves are ultimately more gossip-worthy, as opposed to the tunes sung by “Billy Bieber” and his fellow cast mates. Though Billy Elliot did win the Tony Award for Best Musical in 2009, it is more of a dance show than anything else.  

Above all else, Billy Elliot encourages audience members to realize that ultimately, a child needs the support of his or her family to succeed. However, the writers of the script readily acknowledge that sometimes, children know best. It was Billy who recognized that he had the potential to succeed, but temporarily disbanded his talents to please those around him.

After seeing Billy Elliot and viewing a young child with so much ability and potential, one might wonder how anyone could ignore his skill and refuse him the chance to grow and develop. In reality, there are children everywhere who are brimming with potential. Sometimes, these children know best, but just need support. Billy Elliot asks audiences, if you had the chance to make a difference in someone’s life, would you?