Thea’s Golden Life in When Shadows Fall.

Posted on by Thor

When Shadows Fall is an exciting new form of interactive entertainment
that combines live performance with high-tech interactions and immersive
environments to create a unique experience like no other. You explore a hyper-real world with shocking visual elements, live professional actors,
couture costumes, a rousing original musical score, cinematic lighting,
and high-tech interactions that bring familiar video game mechanics to
real life.

I have been sketching at each performance, situating myself in one spot rather than exploring the entire labyrinth. Golds are the elite of Penumbra, an ideal futurist society. They are intellectuals and artists. I should fit right in. To my right was a table with a bowl of half used oil paint tubes. Whoever resided in this room must be an artist herself, or have artist friends.

Thea, (Laura Lewis) entered the room, sat on the couch and began reading a book. She wore a gorgeous gold dress and her skin glittered. She turned to me, and said, ” You are my artist friend.” My roll was cast. Several new citizens entered the room and Thea showed them her room. She was very welcoming. One new citizen started looking through books and tried to piece together ripped up shreds of paper. I was asked if the paper was an important document and I respond that it wasn’t important to me. I didn’t even include it in my sketch. One citizen wanted to see my sketch, so I turned it around and showed everyone. Thea was impressed with how I sketched her donkey. She then opened a drawer on her dresser to show her guests that she had been sketched many times before.

A golden angel held a small vile. It contained a potent drug and Thea offered some to her guests. One guest described it as “pure bliss.” They then went in to the next room of Thea’s flat. I had peeked in before I started my sketch. The room contained a large wooden X with leather wrist and ankle straps. Assorted whips and other sexually deviant toys were scattered around. The door clicked closed. I continued to sketch but was distracted by screams of pain or pleasure.  I heard the whoosh and snap as the whip met flesh. After an eternity of screams, Thea returned with her guests. She was so pleased that they had been so willing to play along. I wasn’t sure it they had been voyeurs, whippers or whippies.

K. Alexander was the founding father of Penumbra. His sudden death swept through the society. A representative from the office entered Thea’s suite and asked her to come in for questioning. She left feeling elated that she was finally taking a greater roll in the society. I continued painting the now empty room alone. Two members of Security entered the room. One asked “Are you a citizen?” I responded, “I am.” She said, “Wait outside, Harlan (Brett Carson) might have questions for you.”   Harlan glanced at me with my iPad and didn’t consider me a threat. When his minion returned, I re-entered the gold quarters and got back to work. I worked until all the lights went dark.

Out in the public town square everyone was assembled. I’m amazed that the outcome of each evening is completely unique. I will not give away details, but I was upset to find out that Golds had been tortured. Thea had seemed so radiant when she left.

Only two performance remain of When Shadows Fall. Every show has been selling out.  Tickets

Friday September 9th, at 8pm is a new show that was just added.

Saturday September 10th at 8PM is SOLD OUT

When Shadows Fall

Posted on by Thor

I went to a media preview of “When Shadows Fall.” This groundbreaking interactive experience happens in a large innocuous warehouse south of Downtown Orlando. There is no signage on the building. A young woman in a black dress held her phone in front of her and spoke to it. I assumed she was skyping but she was actually recording a video blog. Inside was a waiting area where four clumps of press spoke amongst themselves. Ricky Brigante the producer and Technical Director welcomed me. I was issued a small bronze colored badge. It looked like a mechanical eye with sunlight radiating from behind it. It was attached to a note which read, “Welcome new Penumbra citizen! Please accept this symbol of our new society with my highest regards.” ~K.C. Alexander

One of my favorite early computer games was “Myst.” In that game, you wandered through a three dimensional world looking for clues about the now abandoned civilization. Penumbra offers all the mystery of “Myst” while being fully interactive. It is unlike anything I have experienced before. We entered the first fully functional, totally harmonious society in the history of mankind two at a time or, in my case, alone. I walked down a long dark narrow hallway approaching a woman who asked for my allegiance to the new society. I was directed to a series of glowing tablets on the wall. Here, new citizens are given their new roles in the society. I then had to wait for a office worker, Cain (Chris Brown), who was in charge of internal affairs and quality control. He interviewed me briefly. When he found out that I was a journalist and sketched, he seemed interested and advised me to keep me eyes open and report back if I found any, deviant behavior.

I was reunited with the group in a dark hallway. Then, Harlan (Brett Carson) began calling out names. I knew already knew that there were various classes in this society. Golds were intellectuals and artists, certainly that is where I belonged. Silvers were like the middle class, while bronzes were hard laborers and then there was another darker class, the nameless, that no one wanted to talk about. Harlan called out about five names and then he called for me. I met the woman in black, Mallory Vance, and we wondered what our new role in society might be. We were lead to an area near a large reinforced vault door. Harlan’s kind welcoming demeanor changed. He announced that our antisocial behavior had earned us a spot in Penumbra’s dark underbelly, the labyrinth. Dark sinister rooms were contained by iron bars. A red light blinked above the vault door. Harlan bolted the door closed as he left us behind. A large octagonal table offered a spot to rest and ask long-term residents questions. While they were all scarred and misshapen, the women were quite beautiful despite their scars.

Mallory and I were assigned to help Daedalus (Joe Hall), who was dressed in a dark leather trench coat with a sharp pointed collar. He had red scars on his face. He asked us if we would do anything to escape from the labyrinth. Mallory was all in. I hesitated, wondering if murder might be required. He asked us to help him mix a potion in his lab. The walls were burned as if there had been a chemical explosion. I warned Mallory, but she was already pouring the chemicals together in a flask. The mixture could be used to incapacitate someone and allow for our escape.

Mallory and I were each given armbands that made it look like we were under house arrest like Daedalus himself. We were then sent on a mission to recover documents from Nikolai’s office. Nikolai was an ambassador, the son of K.C. Alexander. After his father’s death, Nikolai took over control of Penumbra. Mallory and I rushed through the maze of hallways, and hid any time security came around. We hit the jackpot recovering plenty of aging documents from the office. I followed Mallory’s lead. She seemed to know her way around the hallways better than I. It was fun having a co-conspirator. A secret panel got us back to the labyrinth. We were looking for information about a citizens project but many of the document were love letters. When Daedalus asked about what we found, Mallory snatched up the love letters and hid them behind her back. She later gave these letters to Odessa (Cassandra Heinrich). Mallory is a romantic at heart, and she wanted the romance to remain private. Daedalus might have used the information to forward his own devious agenda. . .

Tickets to this first person experience are $45.95-$74.84.

Beatnik brings flower power to the Venue.

Posted on by Thor

This is the third year that Beth Marshall Productions has brought Beatnik to The Venue, 511 Virginia Dr, Orlando, Florida. This year the title was, Beatnik Cubed: A 60’s Flashback. This was the 3rd and final installment of the unique, audience
interactive speak-easy 60’s theme one-night only event. Whether attending
for the first time or returning, all audience members will get into the
groove of enjoying a flashback of the 60’s. Many of the regular beats,
poets, freaks, geeks and gypsy artisans of every kind will be returning
along with some new acts and surprises. Fully immersive and interactive
theatrical experience. The pre-show was full of both entertainment, and
information about past installments.

 The premise of the show is that the cast is celebrating the birthday of  the fictional proprietor of the Venue, Adrian LePeltier. In the pre-show, the black clad Beatnik chicks stood on the stairway where they read a poem. A Varie Tease dancer,  Michelina Wingerter, performed an improvised interpretive dance to the poem. In this small living room area the cast mingles with the audience. There was also a performance in front of the Venue, but I returned to the theater to finish up the sketch I had started. 

 This sweeping variety show has everything. The Beat King Host, Samuel Butcher, was a cynical but rather funny drunk whose dark insights speak to artistic integrity above all else. The cast is divided into the colorful and carefree hippies and the dark brooding beats. All of Them have a love for the Venue and what it represents. 

One of my favorite performances in the show came from the husband and wife team of Tod and Christen Caviness as the Poet Guru and his Muse. Tod recited a poem about Jack Kerouac and the striving of his generation in the late 50’s and early 60’s. Christen performed a sensual dance that perfectly expressed the longing of a generation. Since this was a rehearsal and they didn’t have a baby sitter, their young son Carlin was part of the  performance. Tod held his grinning son in his arms as he belted out the epic poem. Carlin watched his mom dance in amazement. When she danced to the far side of the stage however, she was too far away. His face crinkled and he began to cry, softly at first, and then all out. In a pause in her dance Christen’s face reflected her heart felt concern. Tod lost track the poem in 1961 but then got right back in the groove, shouting over his sons tears. later in the show, as the whole cast danced on stage to “Let the Sun Shine”, Carlin was on Christen’s hip and smiled with joy as the cast danced around him. Unfortunately Carlin will not par for in the actual show, but his moments on stage were pure unrehearsed magic. 

Brett Carson performed the Bongo Beat. Dramatic moments were often accompanied by a bongo beat followed by the snapping of fingers rather than clapping. The audience becomes part of the action when note cards are handed out. Each member of the audience with a card was asked to shout out their word when the host pointed to them. Scrawled on my card was a word that rhymes with truck. “Should I really shout this out?” I thought. Perhaps I should just make up my own word.  The host pointed to me and I shouted “F*ck!” “Oh come on!” he shouted. “F*ck me like you mean it.” “F*ck!” I yelled. Other words included Woman, War, hate, and many others. Shouted in sequence they almost made sense.  That’s beat. Or is it? Snap, sap, snap.

  

Andy Haynes read a story about breaking up with cynicism and choosing vulnerability instead. When he got off stage, he kissed Julie Snyder. The spontaneous evening came to a screeching halt when everyone learns that their beloved Venue has been sold to an Ivanhoe Development company. Julie somehow managed to secure herself a job in the new venue which features an exercise gym. She was hilarious as she struggled do push ups and do jumping jacks. In a break, she asked me to give her big muscles in the sketch, but I sadly missed that sketch opportunity. It was hard to separate the affection felt for the real cast as opposed to the drama of the fictional cast. Billy Manes as Andy Warhol entered the Venue snapping photos of the audience in the final scene. Billy is famous for reporting on the twisted inner workings of local government. Perhaps this however was his 15 minutes of fame.

33 Variations

Posted on by Thor

On February 25th I went to the Winter Garden Theatre ballroom ( 160 West Plant Street, Winter Garden, Florida) for a Designer Run of the show, 33 Variations, a play written by Moises Kaufman. Stage Manager Jay Ferrence was the first person I met when I entered the ballroom. He informed me that the purple tape marked the front of the stage. Actress Becky Eck entered soon afterwards and introduced herself. She had played Jane in “Alice Lost in Wonderland” and she did an amazing job grounding that production. A designer run is a full run through of the show that gives the set designer an idea of where characters will be blocked during the production. Producer Beth Marshall and director Aradhana Tiwari sat behind a folding table to watch the show. Pianist Julian Bond will be performing Beethoven‘s 33 Variations live on stage in the final production, but for now a recording was used and Julian watched to see how the performers would be moving on the set.

This was a dress rehearsal so some actors were in period outfits from Beethoven’s era and the rest of the cast was wearing modern clothing. Photographer Kristen Wheeler was shooting the show this night and she set up two lights to illuminate the actors. Beth warned her not to shoot the feet of some of the period costumed actors since they didn’t have the right shoes yet.  During the show, Kristen had total access to the stage and she moved around the actors catching every emotional moment while also switching on and off lights to get the shots. It was an impressive ballet that didn’t once phase the actors.

The plot examines the creative process of Beethoven’s obsessive variations build from a rather plane and uninspired composition by Diabelli (Brett P. Carson). At the same time, the play follows musicologist Katherine Brandt (played by Peg O’Keef) who yearns to understand Beethoven’s obsession. Brandt’s relationship with her daughter (Becky Eck) is strained as she succumbs to a disabling Sclerosis and at the same time Beethoven (Chris Gibson) goes deaf. I had watched a number of performers audition for the part of Beethoven and I must say Chris is compelling as the anger driven compulsive composer.

 The musicologist traveled to Vienna to inspect Beethoven’s original sketchbooks. By flipping through the pages she could see his every thought as he composed. She wondered if he might be mocking Diabelli’s composition with his variations or perhaps he just wanted to one-up Bach who had 32 variations. Beethoven’s loss of hearing may have actually helped him break new ground as he reinvented the very process of creation. Though cloaked in anger and bitterness, he found an amazing joy in the process even as the world grew silent. Minor composers like Diabelli could be satisfied and complacent with their insignificant contributions.

One moment in the rehearsal was absolute magic. I stopped sketching and was drawn in to the moment. Katherine Brandt disrobed as if in a doctors office. I imagined she was preparing for an MRI full body scan. She stood in a spotlight facing the audience with her arms out in a Christ like gesture. Beethoven stood behind her and they leaned back to back. His head leaned back on her shoulder and her head leaned back on his shoulder. She closed her eyes and shuddered with quick breaths of ecstasy. I noticed Becky Eck off stage began to cry, and my eyes welled up as well. There is a certain magic that happens when actors are no longer reciting lines, but they are emotionally invested in every moment.

Mark Your Calendars! The show runs from March 14-30, 2014
Fridays at 8pm, Saturdays at 2pm and 8pm, Sundays at 2pm,
PLUS Monday, March 24 at 8pm- INDUSTRY NITE

 Tickets: $25 ($21 students/seniors) BethMarshallPresents.com or GardenTheatre.org

Sweeney Todd at The Venue

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The second you enter The Venue, 511 Virginia Drive, Orlando, Fl, you are right on top of the action in Sweeney Todd, the Demon Barber of Fleet Street. Insane asylum patients moan, twitch and shout out all around you. In this intimate setting the action explodes out towards the audience. Derek Critzer who directed and produced the show also did an amazing job at designing the multi-level set which made maximum use of the cramped stage area. Simple asylum fabrics hid the structure while a staircase gave access to the upper levels at house right. As I approached the theater, the large garage style side door was open and I saw a tall stack of mattresses which is where the slit throated victims from the barber’s chair could collapse. The lighting for the show by Tabor Wiwstead, was simple direct and elegant. Red symbolized the sinister and horrific moments, while cool blue lighting surrounded the lovely Johanna Barker , played by Monica Titus, and the fleeting glimpses of Todd’s once happy past.

Stephan Jones played Sweeney Todd with a dark ruddy maliciousness. The depth of his anger and hatred could be felt in every scene. He performed the role so expertly that he made Johnny Depp seem like an inexperienced fop in the film adaptation. Ginger Minj, Joshua Eads-Brown, as Nellie Lovett added the needed brevity and humor to the show. When she had to peal off her misbehaving eyelashes, a moment likely not rehearsed, it was a golden moment the audience loved. As she swung her rolling pin violently, I could see the sweat on her brow, then trickling down her chest settling in her cleavage. These actors were working hard yet having fun belting out these tunes. Granted there was no room for an orchestra, so recordings had to work instead. Sweeney Todd is a sweeping epic story and yet the small venue actually intensified the confrontational quality of the show. At times, over 20 actors navigated their way on the tight stage. I could see Derek the director watching intently as he leaned over from the upstairs tech booth.

The entire first act was spent waiting for Todd to slit Judge Turpin’s throat. The judge played by Brett Carson could barely fit in the barber’s chair. Though his actions were malicious and self serving, he had a kind demeanor and left the dirty work to others. This is such an ambitious production by Clandestine ARTS yet the cast did an amazing job keeping up with Stephen Sondheim‘s fast and furious lyrics. I was bowled over by what was accomplished in the small Venue. The shows are selling out. I sketched by standing in the back of the theater. The show had all the savory flavor and taste of a perfectly prepared meat pie.

The remaining performances are…

Tonight, Thursday 1/16-7:00 PM
Friday 1/17-8:00 PM
Saturday 1/18- 8:00 PM
Sunday 1/19- 3:00 PM

Tickets are $20.00 and are General Admission. Tickets may be purchased at www.clandestine-arts.com Limited seating is available so be sure to get them early. Tickets may be available at the door based on availability.