Phantasmagoria presents: A Christmas Carol & The Canterville Ghost

If you are looking to kick off the Holiday season with a taste for the macabre, then join Phantasmagoria as they present  “Ghost Stories” this Christmas season. They will bring to life and the bitter sweet taste of death to not one but TWO whimsical classics. The well-loved A Christmas Carol, A Ghost Story of Christmas by Charles Dickens, followed by Oscar Wilde’s rollicking The Canterville Ghost.

I sat in on a dress rehearsal for the show at the Dr. Phillips Center for the Performing Arts. The set felt like an abandoned attic with carousel horses flanking the stage. Projections on a large screen behind the set changed the settings with ease. I fell in love with the faint flickering candle light that illuminated the various corners of the stage.  That meant I needed to keep the scene dark so the candles could shine.

A Christmas Carol is a well loved and very familiar classic. Phantasmagoria added its dark and vaudevillian steampunk styled flair to the story. John DiDonna as Scrooge lived in the old man’s skin. I have seen him perform this roll many times over the years. Daniel Cooksley as Marley, draped in chains did an amazing job filling the stage with his his twisted and agonized self. Of the three ghosts, the ghost of Christmas future was magnificently designed. Much larger that life, the dark draped figure gestured with gnarly black branches for hands.

The Canterville Ghost offered a much lighter tale full of light hearted dance. It was the yin to Dickens dark and foreboding Yang. There are two more performances December 3–4, 2022 at the Alexis & Jim Pugh Theater, in the Dr. Phillips Center for the Performing Arts, 8 p.m. and 2 p.m. Tickets are about $35.

50 Oldest Churches of NYC: Church of the Tranfiguration

The Church of the Transfiguration is a Roman Catholic parish located at 25 Mott Street on the northwest corner of Mosco Street in the Chinatown neighborhood of Manhattan, New York City.

The neighborhood around Mott Street in 1800 was had little to offer. The 48-acre Collect Pond, once a bucolic picnic spot was a dumping ground for the waste from nearby tanneries, breweries and slaughterhouses; creating in effect an open, rancid sewer. Despite this, a group of English Lutherans opted to build their new church in 1801 at a cost of $15.000 in the Georgian style of architecture for the “English Lutheran Church Zion.“.

On March 22, 1810, the Church was consecrated according to the rites and ceremonies of the Protestant Episcopal Church by the Reverend Benjamin Moore and renamed “Zion Protestant Episcopal Church.”

On August 31, 1815 a catastrophic fire swept through the area, destroying 35 homes and essentially gutting the church. The attempts to rebuild made by the rector, Reverend Ralph Willston, were so financially crippling that he was forced to resign in 1817 and the property was sold under foreclosure at public auction at the Tontine Coffee House on Wall Street.

Peter Lorillard purchased the building and reassured the concerned parishioners that he “would retain the property until some friends of the church would stipulate to finish rebuilding, and then restore it to its former ecclesiastical organization.” Six congregants stepped up with sizable donations, aided by a $10,000 loan from Trinity Church.

The renovated structure was completed in 1818, dedicated by Bishop Hobart on November 16.

The arrival of countless immigrant ships carrying Europe’s poor made the area around Zion Church a cesspool. Charles Dickens in 1841 thus described its horrors: “near the Tombs; Worth, Baxter, and Park Streets came together making five corners or points of varying sharpness, hence the name “Five Points.” It was an unwholesome district supplied with a few rickety buildings, and thickly populated with human beings of every age, color and condition.”

On January 28th, 1853, Zion Protestant Episcopal Church was sold to the Reverend John Hughes, of the Roman Catholic Diocese of New York. The church continued to serve the Irish, Italian and the Chinese immigrant populations in New York. It therefor became known as the “Church of Immigrants.”

In 1868, Henry Engelbert designed additions to the church, including the tower. In 1966, the building was designated by the New York City Landmarks Commission, who noted that it was one of four Georgian-Gothic landmark churches of locally quarried Manhattan schist on the Lower East Side.

 

A Christmas Carol at Orlando Shakes

1 of 5 Prints SOLD

I have seen A Christmas Carol by Charles Dickens many times so I am a bit jaded, however this production far exceeded my expectations. The set felt like an attic and there was a staircase at the front of the stage that heightened that effect. The play began with the sounds of an excited party below the stage, and then the actors walked up from that excitement onto the stage.

Steven Paterson did an amazing job as the crotchety Scrooge. Paul Bernando got to perform some very angst filled scenes as the chain covered Bob Marley’s Ghost. Amazingly he also performed as the kindly ghost of Christmas Present. Many actors got to play up to seven different characters and I didn’t even notice. Tiny Tim, played by Sebastian Cranford had the thinnest legs, making him a perfect fit for the part.

The Shakes really seems to be stepping up their game when it comes to effects in their staged productions. A ghostly door knocker was represented by a framed photo in a spotlight held by an actor from behind. When the ghostly knocker came to life the actor pressed his face into the mesh of the canvas creating a ghostly three dimensional apparition. The ghost of Christmas future was a huge hooded puppet that moved around the stage freely. A four poster bed rose from a trap door and the curtains floated down from above.

More important than the flash however was the emotional heart of the production. This is a great show to warm even the coldest heart this holiday season. It is nice to see innocence and kindness win over a hard heart.

Performances of A Christmas Carol continue through December 30, 2018 at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) in the Margeson Theater.

Tickets are $30 to $53.

Pepper’s Ghost appeared at Nerd Nite Orlando XXVIII.

Nerd Nite Orlando is an evening of entertaining yet thought-provoking talks across many disciplines, all while the audience drinks along in a casual bar atmosphere. Speakers present for 15-20 minutes each on a fascinating subject of their choice, often in an uncanny and unconventional way. Following each presentation is a brief question and answer session with the audience. The event happens at The Geek Easy 114 S Semoran Blvd Suite 6, Winter Park, Florida.

The most fascinating talk was by Travis Winkler about Pepper’s ghost which is an illusion technique used in theater, amusement parks, museums, television, and concerts. In 1862, inventor Henry Dircks developed the Dircksian Phantasmagoria, his version of the long-established phantasmagoria performances. This technique was used to make a ghost appear on-stage. He tried
unsuccessfully to sell his idea to theaters. It required that theaters
be completely rebuilt to support the effect, which they found too costly
to consider. Later in the year, Dircks set up a booth at the Royal
Polytechnic
, where it was seen by John Pepper.

Pepper realized that the method could be modified to make it easy to
incorporate into existing theatres. Pepper first showed the effect
during a scene of Charles Dickens‘s The Haunted Man,
to great success. Pepper’s implementation of the effect tied his name
to it permanently. Dircks eventually signed over to Pepper all financial
rights in their joint patent. Though Pepper tried many times to give
credit to Dircks, the title “Pepper’s ghost” endured.

Theaters have had reasons to stage the appearances of ghosts for centuries. Early attempts at making ghosts appear involved trap doors, ramps and dollies that could make a figure appear to weightlessly appear in a scene. The Pepper’s Ghost technique does away with all the rope, pulleys and trap doors. The audience views a stage or room with various objects in it. On
command, ghostly objects appear to fade in or out of existence in the
room, or objects in the room magically transform into different objects. The effect is achieved with a carefully angle sheet of glass.

The basic trick involves a stage that is specially arranged into two
rooms, one that people can see into or the stage as a whole, and a
second that is hidden to the side, the “blue room”. The plate of glass (or Plexiglas
or plastic film) is placed somewhere in the main room at an angle that
reflects the view of the blue room towards the audience. Generally this
is arranged with the blue room to one side of the stage, and the plate
on the stage rotated around its vertical axis at 45 degrees. Care must be taken to make the glass as invisible as possible, normally
hiding the lower edge in patterning on the floor and ensuring lights do
not reflect off it. When the lights are bright in the main room and dark in the blue room,
the reflected image cannot be seen. When the lighting in the blue room
is increased, often with the main room lights dimming to make the effect
more pronounced, the reflection becomes visible and the objects within
the blue room seem to appear in thin air.

 Notable examples of the illusion are virtual pop stars and the appearance of “ghosts” at the Haunted Mansion at Disneyland. Hidden in the corner of the stage at Nerd Night was a glass box. It was unveiled and the used for a magic trick. Inside the glass box was a light bulb. The light bulb miraculously disappeared using the principles of Pepper’s Ghost. Even knowing how the trick was done, it was impressive given the theatrics of the performance.

Phantasmagoria V “Death Comes for All” in Orlando

This is the fifth year that creator and director John DiDonna has brought classic tales of horror to Orlando in the form of a Victorian Steam punk Circus troupe called Phantasmagoria. Each year has progressed the story of this troupe’s back story and interpersonal drama. For many millennia they have had to tell the stories as a matter of life and death. Once a story is started it must be finished. This year in the John and Rita Lowndes Shakespeare Center‘s Mandell theater, platformed walkways are set up behind the audience seating. This allows the cast to circulate around and behind audience members. It is a theater in the round and you have a front row seat to experience the horror first hand.

 Since this was a rehearsal, there was a fight call that went over the fight direction by Bill Warriner. There is one spectacular sword fight that features three combatants. Even at quarter speed, the fight seemed dangerous as the three blades flashed in the stage lights. Being so close to the action you might find yourself leaning back in your chair for fear of being slashed. Megan who was juggling all the sound and lighting cues was able to act out all the staging so the lighting designer by Hatem Habashi could set the lighting cues. She playfully stomped on projected beetles that scurried on the floor.

Phantasmagoria presets tales of terror from diverse authors such as Lewis Carroll’s Hunting of the Snark”, Charles Dickens Captain Murderer and many others including horrific folk tales, legends and myths from around the world!

In the tight intimate space, you will find the cast often inches from you.  During one tale, Mercury (Kaitlin Elizabeth Baxter) was behind me laughing maniacally and then gasping in horror. Having the cast so close ensures that even a sketch artist can get sucked into the drama that unfolds. The classic Edgar Allen Poe story, “The Pit and the Pendulum” had Leon (Joseph Josh Geoghagan) lying in the grasp of much of the cast. They held him aloft and then embraced him as the straps held him down in the story. Dana Mott had created wonderful projections that had rats scurrying on the floor while the shadow of the pendulum arched gracefully downward. Poe was also represented in an abridged telling of “The Tell Tale Heart” which is one of my favorite stories of horror insanity and suspense.

An Indian horror story had  Seraphina (Serafina Schiano) return from the dead as a demonic creature with multiple arms and flowing red drapery as she took vengeance on her three self centered brothers. Exotic Indian dances were beautifully choreographed by Mila Makarova and Dion Leonhard.  This show is a great way to gear up for Halloween.

Mark Your Calendar!

WHAT: “PHANTASMAGORIA V–“Death Comes for All” 

WHEN:  Oct 10th – 31st 2014

Friday, Saturday and Sunday evening performances.

Special Monday performances Oct 20th and 27th.

Halloween performance October 31st.

All evening performances at 8:30pm (Box opens at 7:50pm/Doors at 8:15pm)

WHERE: The Mandell Theatre, John and Rita Lowndes Shakespeare Center

Loch Haven Park, Orlando, FL (Corner of 1792 and Princeton)

TICKETS: General Admission $20.00 / Student and Senior $15.00

(VIP Tickets available – $25 for all performances leading up to Halloween / $30 Halloween night. Includes drink/special gift/photo op with cast/reserved seating/Post show performance)