Macbeth

Posted on by Thor

Sisyphus Productions presents Macbeth at this years Fringe Festival. This stripped version of Shakespeare’s classic play of corrupting
ambition and madness remains faithful to the text while incorporating
grotesquely seductive movement and macabre visuals. The show explores the
role of fate as Macbeth and Lady Macbeth yield to the seductive
prophecies of the trio of witches and embark down a long road on which
“blood will have blood.”

I went to a final dress rehearsal at Edgewater High School just a few days before the play hits the stage in the Shakespeare Theater. I bumped into actress Sarah Lockard in the Shakes and mentioned that I would be sketching Mac… She stopped me and said I couldn’t utter the title in the theater. You see, the play is cursed and uttering its name will bring down the fortunes of any theater company. Paul Horgan explained at the Fringe Pub Crawl that theater companies that were struggling would stage Macbeth and then falter. It was a self fulfilling prophesy.

Michelle Kraus does an astonishing job as Macbeth’s wife. She seduces Macbeth, played by Jason Skinner, into committing murder to make his way to the thrown. He is filled with self doubt and loathing but her pure unfaltering lustful ambition sways him to the deed.  As he laments the bloody dagger, she takes charge snatching the dagger from him and washes it clean. The simple set of pillars and blocks gradually tumbles into ruins as the play progresses. Later Lady Macbeth is plunged into darkness and insanity trying to rub the invisible blood from her hands. Michelle looked off stage in my direction. Her eyes blazed with horror. Although the room was bathed in florescent light, her intensity was frightening.

Holly Harris had three actors cloaked in a stretchy material and their graceful gestures became strange featureless abstractions. Their writhing fluid movements were creepy and effective. Jimmy Moore who directed the play along with Michelle confided that the Fringe play he worked on last year wasn’t very good. However he has every reason to be proud of this ambitious production. This huge cast of at least 15 actors gives the play a dark and epic feel. Although the blood red walls of the auditorium seemed appropriate for the production, I need to see the show again on the dark moody Fringe stage complete with lighting effects. I have no doubt this production will shine bright. You should see this hour and a half production, just don’t utter the title in any theaters halls. If you order tickets inside the theater, refer to it as “The Scottish Play“. “What’s done can not be undone.”

What: Macbeth

When:

Saturday May 18th at 9:00PM

Tuesday May 21st at 10:00PM

Saturday May 25th at 7:00PM

Sunday May 26th at 1:45PM

Where: Gold Venue in Theater Downtown, 2113 N Orange Avenue, Orlando, FL

Tickets: $10 plus a Fringe Button

Christmas at the Movies

Posted on by Thor

For the second half of the choral concert at Northland Church, (530 Dogtrack Road, Longwood FL), I sat as high as I could so my book light wouldn’t disturb anyone around me. There was a Sleigh Ride Medley, a White Christmas Medley and plenty of dancers with hyper Disney pep in their steps. I identified best with the deep throated baritones singing, You’re a Mean One Mr. Grinch. From my elevated perch, I looked down on all the Who’s in Whoville singing on the stage. Even my jaded heart gave a subtle twitch.

The last Central Florida Community Arts Concert I saw in this venue had beach balls that floated down on the crowd from the rafters.  Beach balls might not be appropriate for Christmas. Then I wondered why no one ever created giant inflatable snow flakes. I just might have to put that on my to-do list. There were projections of snowflakes on the screen behind the singers and sometimes on the walls of the hall.

I really liked the quick paced performance by Jimmy Moore and Melissa Mason Braillard when the presented “Christmas Story” in three minutes or less. When Melissa acted as Ralphie helping his dad change a tire, it was extra funny when she dropped the lug nuts shouting F—! Jimmy clapped his hand over her mouth just in time before she soiled the sanctuary. Later they presented “Christmas Vacation” in three minutes or less, but many of the references were lost on me since I didn’t know the movie as well.

Connected: An Interactive Experience

Posted on by Thor

Connected: An Interactive Experience was sold out. Aradhana Tiwari directed the show, and Holly Harris was the choreographer. I had a ticket but unfortunately didn’t have one for Terry. Jimmy Moore decided I could start sketching the space early so long as I used my artists stool. I picked a seat in the second row and saved a seat for Terry. All the seats in the theater had been set up with audio ear buds. This was a huge undertaking to set up in the 15 minutes or so before the house opened. Wired had to be duck taped to the floor and each audio connection tested. Terry and I were going to share a set of ear buds. The cast circled up in the center of the black box theater. Cole NeSmith said, “We are asking the audience to take chances, and I hope we all step up to take those chances with them.” He climbed into a three foot square box and he shouted to me, “Don’t look Thomas!” The stage manager shouted, “One minute to house open!” People shouted back, “Thank you one!”

The audience rushed in, and sure enough every seat was taken.  An announcer or guide, addressed everyone asking them to raise their hands if they could hear him. Everyone raised their hands, but I was sketching, my hands were busy. The show began with an isolated spotlight on the box, center stage. A light emanated from a hole at the top of the box. Two dancers circled and interacted with the mysterious box and then Cole, as Jacob was pulled out. Jacob’s mouth was taped shut and he wore sunglasses and earphones. Jacob was shut himself off  emotionally from the world around him.
As he faced moments from his past that caused him to isolate
himself, he was awakened to deeper levels of intimacy in his current
reality. The Guide invited each audience member on a
unique, introspective journey into their own past. This illuminating process of discovery welcomed the
audience into introspective and interactive moments that were
risky, challenging, humorous and healing.

Jacob was in several scenes in which his hurtful past was dredged up. He was usually focused on some small undefined task as others argued and interacted around him. His mom berated him constantly. The small boy was meek and introspective but the elder Jacob shouted, “NO! Stop!” Everyone  in the audience had been given point lights. They were asked to illuminate the light if someone had said hurtful things that forever stayed with them. The room was aglow with point lights. Terry shifted and my ear bud fell out. As I fumbled it back in my ear, the guide said, “See you are not alone, we all face the same fears and challenges.” Dancers walked on diagonals occasionally freezing in their hectic life as Jacob studied them. Audience members were invited to pose on pedestals along with Jacob. Long colorful paper ribbons were handed out to the audience and they were unfurled from person to person. A black light illuminated the ribbons and they glowed brightly in the dark room as dancers pulled them back in. Like Jacob, I was focused on a task. Sketching in the darkened theater was a challenge. With my earpiece constantly popping out, I gave up on it and sketched furiously. Without the guide, I was observing but very much isolated from the emotional involvement of the show. The performance rushed by and I struggled in the dark to catch a moment.

Limit (ed/less)

Posted on by Thor

I made my way to an industrial complex in Pinecastle where Limit (ed/less), Directed by McClaine Timmerman, was holding a rehearsal. This show will include modern dance, multi media, and spoken word exploring the limitations and limitless realities of our daily lives. What a perfect way to bring in the new year brushing away past regrets and striving towards a limitless future.

It was after dark when I arrived, and the building looked ominous and deserted. I searched for the “A” unit where the rehearsal was to take place. A black truck was running, parked in front of the entrance. As I walked around it, the brake lights went on and I was afraid it might back up into me. As I walked past the passenger door, I heard someone say my name. Brittany Wine was in the drivers seat. She let me know that McClaine hadn’t arrived yet. I sat in my artists seat, leaned against the building and took a phone call. McClaine and all the dancers seemed to arrive all at once. Inside was a typical office building. Rehearsal was held in a large empty conference room.

The show has a cast of eight with Jimmy being the only guy. The women dancers warmed up and stretched behind four movable panels of bars. What followed was a quick walk through of the show. Scenes weren’t acted out, they all were just piecing the show together paying attention to the overall flow. Then dancers changed and they began a full run of the show. This was the first time all the dancers were together. At first everyone walked on stage, questioning to themselves their lot in life. They froze in shapes of thoughtful contemplation, searching for memories. As each dancer in turn stood center stage and spoke of hope or questioned courage. Dale moved swiftly, a space eater. Two dancers performed a pained piece where they mused that perhaps, “It didn’t happen.” They didn’t ask for it to happen. The dance expressed deep regret and pain. I welled up, my mind shifting to a horrible incident that I had heard about.

I was thankful when humor flooded the next scene. The four panels enclosed the cast in a tight elevator and each persons inner dialogue played on a sound track as you could read their subtle expressions. They were uncomfortably close. Kim grimaced when Jimmy brushed her hand. Had someone not bathed? Who farted? A romantic solo dance in a blue dress with tons of tool was charming. The dancer just wanted to be wanted. There was humor in the way she expressed that she would be missed. Would she be remembered?

McClaine and Jimmy Moore sat center stage as an established couple. Tall white letters spelled “LOVE” on her black T-shirt. She wanted him to express his inner feelings to her and quite simply he didn’t get it. She felt like she was having a conversation alone. How often have I been there. They both read. She asked him to massage her knee. As he did, a tall leggy dancer in a form fitting black dress asked him for a light. She flirted and his head turned to watch her walk away. Again and again, beautiful dancers in leopard print got his attention. Looking up from her magazine McClaine asked, “Why are you sweating?”

McClaine Timmerman is a master at being able to express a universal inner yearning using modern dance and spoken word. A solo dance she performed in which she struggled against the constraints of a corset seemed to me to be the signature dance of the show. In a struggle, laces were loosened and in spoken word she mused about freedom to change and yet wanting to keep the unfailing consistency of her identity. In dance, she reached out in supplication. She threw off her period high heals but in the end, sitting like a rag doll, she reached behind her and tightened the corset back up. This is a raw honest show that pushes the limits of what can be expressed through dance.

Performance Dates:
January 13th 8pm
January 14th 8pm
January 15th 2pm

Location:
Orlando Rep Theater (The Black Box)
1001 East Princeton St
Orlando Fl 32803

Tickets:
$15 cash or check only
call or email McClaine for reservations (not required)
407-721-3617 mrougemac@me.com