Taking Out the White Trash

The Fringe show, Taking Out the White Trash  presented by Peemypants Productions featured Sherri D. Sutton, as she spilled the south’s dark secrets in the intimate brown venue. This was a hilarious show that had me laughing the whole time. When asked to describe a Waffle House, Sherri said, “Imagine a truck stop restroom, but with waffles.” Now, anytime I drive by a Waffle House, I laugh. She said being accepted as a lesbian comic has been hard since there is a stereotype that lesbians are always angry. She then performed a joke as an angry lesbian with expletives to hilarious effect. She said, “The thing about stereotypes is that they are often true.”

Much of the show then was built around the southern stereotype. From Walmart, the KKK, to convalescent care, no topic was sacred. Having been raised in the south, much of her material came from first hand experience. Growing up lesbian in a conservative southern town can’t be easy. She joked about southern names and that certain names guaranteed an infants trials or success in life. This show was a pleasant surprise and it was good to see lesbian couples cuddling in the audience. It made me hopeful that love can be cherished in all it’s forms someday.

Art Evolution

Emotions Dance Company will perform the World Premiere of Art Evolution, a collaborative arts experience on Friday, June 13 and Saturday, June 14, 2014, at 8 p.m.
at The John and Rita Lowndes Shakespeare Center’s Mandell Theatre (812 E. Rollins St. Orlando).

Art Evolution is inspired by the famous works of well-known artists.
Audiences will experience live contemporary dance by Emotions Dance
Company, including a piece created by special guest choreographer,
Genevieve Bernard
of Voci, visual art by Orlando’s celebrated sketch
artist, Thomas Thorspecken, and spoken word poetry by Jesse
Bradley
.

 For this show I did a painting for each dance piece which placed the dancers inside classic paintings. The first dance was inspired by Andy Warhol‘s “Marilyn“. Jesse’s poem pointed out how Marilyn was consumed by the American public just like Andy’s other subjects like Campbell soup cans. The three dancers wore neon bright outfits with tutu skirts. Tiffany Searle poured on the extra sass that really sold the high energy flirtatious flavor of the dance. There was a minor wardrobe malfunction, but it actually added to the flavor of the dance.

The next dance called “The Understudies” was inspired by Edgar Degas‘ “L’Etoile“. Larissa Humiston the choreographer, and Emotions Dance founder explained, “It is about the girls in the wings that never get to perform.” Sketching dance rehearsals has always been one of my favorite subjects. I’ve noticed that as a senior company dancer performs, there is often another dancer in the wings mimicking the dance moves with minimal gestures. I now realize that she must be the understudy.

The next dance is inspired by Edvard Munch‘s “The Scream“.

Larissa explained that, ” I am coming at it as
though it is an impending war. The mother can see the tanks moving in,
and is trying to protect her daughter.” It was inspiring for me as a visual artist to get the inner thoughts about the choreography even as the dance was being created. Taylor Shepherd performed as the mother and Isabelle Lepp, the youngest member of the company performed as the daughter. This is the most dramatic piece in the show and it paired together two dancers whose every gesture and expression can be clearly read.

New Soul“choreographed by Megen Gerth,  was inspired by Sandro Botticelli‘s “Birth of Venus.” This was a graceful, lyrical dance that celebrates beauty and grace. 

Tag” was choreographed by Genevieve Bernard of Voci Dance. Genevieve explained her thoughts, “So,
I went with Keith Haring, who for me, was a big inspiration when I was
young. I was a fan kid and met him in NYC at a Swatch signing when I
was in 9th grade. Anyway, I was going between using a specific piece as inspiration or him, and I kind of did both. At
times the dancers in the piece represent him, all of the running and
cross overs across the stage are my homages to the subway drawings he
would do on black paper. When advertisements where expired in the subway, they covered them with black paper. He would draw with white chalk on them. The
dancers running and drawing and running again represents him, having
to draw and get his message out and often having to do it quickly
so as to not get caught. I
also have the dancers “drawing” on the walls, the floor, anywhere…as
he also seemed to have the need to just draw and do it …wherever,
whenever…so I interspersed moments of “stop and draw” with the dancing
and running. Some of the actual movements the dancers do trace the shape of a heart..” When I was going to the School of Visual Arts in NYC, I used to see Keith Haring’s chalk drawings in the subway stations. I therefor drew the 23rd Street subway station that I passed through every day I went to art school. In the dance, Taylor Shepherd began drawing of the wall, floor and then in the air itself. It was a magnificent and graceful gesture that showed no limits when the artist is fully involved, lost in the moment and riding the creative flow.

Behind the Smile” was choreographed by Larissa Humiston and performed by Taylor Shepherd.  This piece was inspired by Leonardo DaVinci‘s “Mona Lisa“. Larissa explained, “There is something in that smile, yearning, sadness, jealousy,
sass, sexuality? I am coming at it with that angle for that solo.” The dancer, Taylor Shepherd commands attention. When she gracefully leaves the stoic Mona Lisa pose, her every gesture felt confident and appealing. She radiated that smile that hinted at playfulness and inner emotions that can only be expressed through dance. For this series of sketches, I studied rehearsal videos to catch the subtle graceful poses in mid action. Taylor always offered clear lines of action that were a pleasure to draw. Studying the video reference, I began to animate several of her moves just for the fun of studying and understanding her movement.

Sibling Rivalry” was inspired by Grant Wood‘s “American Gothic“. Larissa Humiston choreographed the dance which was performed by Megan Girth and Isabella Lepp. Isabella, an apprentice at Emotions Dance, has just been accepted by the Alvin Alley Summer Dance program in NYC. This playful dance number was a favorite of the ten year old girl who was at the dress rehearsal. The two dancers playfully nudged and pushed each other as they broke free of the stoic Gothic pose. They kept trying to upstage each other to win the audiences attention.

Persistence of Memory by Salvador Dali was the inspiration for Larissa’s “Time Lapse“. She explained, “This one is about life, the slow and mundane
existence, moving as though suspended in time, the everyday rigamarole,
and then of course, the sped up and frantic life. Each one affects the
others for a minute, but then they ultimately return to their regular timing.
” Taylor moved in graceful slow motion for most of the performance. I wondered how she could remain so focused, so balanced for the entire duration. The strength needed must be staggering. Any yoga master would approve. Hannah Rusk moved as the accelerated counter point and thus I drew her movement more often. Karen James took the middle road perhaps representing a look at bland normalcy. 

Michelangelo’s David” was the inspiration for “Strength and Beauty” performed by Megan Girth. Larissa explained, “This solo is about strength and beauty, power, yet not in a bad way. Regal in a way I guess. David is really about beauty, strength, and pride.
Just looking at the human body and marveling in its winders. The slow
and controlled movement shows these concepts.
the David solo just just about strength and beauty, power yet not in a bad way. regal in a way I guess.” Megan moved with slow deliberation often reminding me of a proud Greek athlete. She moved like she was at the very first Olympics, proud and sure of her victory. I’ve actually sculpted David using digital tools and visited him in Florence, so it was a pleasure to revisit the pose.

The final piece is one of my favorites, and it is the first painting I executed after Larissa explained the project to me. The dance is inspired by Vincent Van Gogh‘s “Starry Night.” This is a full company dance in which half the dancers wore black sequins representing the night sky and the other dancers wore white sequins representing the stars. Each needs the other to complete the whole. They flow together in torrents and streams embracing one another. The lyrics from a contemporary pop tune keep reminding me of this dance, “The stars make love to the universe…” A majestic lift near the end of the dance reminded me of the crescent moon and Taylor reaching up towards the night sky reminded me of the flowing curves of Van Gogh’s cypress trees.

Mark your calendar! Don’t miss this show. The first performance is tomorrow, Friday, June 13 and Saturday, June 14, 2014, at 8 p.m.
at The Lowndes Shakespeare Center’s Mandell Theatre (812 E. Rollins St. Orlando).
Tickets are $20 at the door. All of my original paintings will be on display and there are $2  gift cards that feature the dancers in action. Stop in and say hello.



Flight: A Crane’s Story

Ibex Puppetry, founded by Heather Henson, presented Flight: A Crane’s Story at this year’s Fringe in the orange venue which is the largest in the John and Rita Lowndes Shakespeare Center. The show Explored nature’s deepest mysteries and the spiritual essence of life on Earth through the story a crane names Awaken. After human interference affected their environment, Awaken’s family left on migration without her. The young crane friend had to learn to fly and navigate to find her family and her destiny.

I had quite a challenge sketching the show since the house lights went dark for most of the show so I couldn’t see the page. Also there was nonstop action with kites constantly on the move. I focused my attention on the young crane most of the time ignoring the immense kites. Awaken was first shown as an egg just beginning to hatch. The indigenous North America music was performed live at house left. The woman sang beautifully while the other performer beat the drum. Awaken grew up through a series of puppets. By the end of the show there was a huge crane that would be worthy of being featured in the Macy’s Day parade. I kind of wish I had waited to catch that huge apparition, but I was already committed to the sketch I was working on.

The kites were amazing, swooping down to within inches of the audience before sweeping back up into flight. Costuming was also amazing with some performers wearing costumes that made their arms like huge wings. Movies were projected on the circular screen at the back of the stage offering views of sunsets and the intricate courting dance of the cranes. I would love to see the show again, so that I could focus on some of the truly stellar moments that slipped past me as I rushed to complete the sketch. I envied the others in the audience who could simply relax and enjoy the moment without the obsessive need to capture the moment on a page. This was an amazing show and Orlando is fortunate to have Heather Henson as a unique local artist and entertainer.

The International Crane Foundation is committed to a future where all crane species are secure; a future where people cooperate to protect and restore wild populations and their ecosystems. 

Bless Me Father For I Have Danced

Bless Me Father For I Have Danced was presented by Yow Dance at this years Fringe festival. This was a blockbuster show that had a cast of over 30. The show presented amazing song and dance numbers form some of Broadway’s best musicals. The show was tied together by a storyline about a young boy who desperately wanted to audition for a show, but his religious parents refused to let him follow his dream. When the boy goes to church and talks to the priest he still is as enthusiastic as ever and the song and dance numbers are used as evidence to present his case.

A sassy and sexy Bob Fosse dance number honestly swings the balance and the priest sees the boy’s point to comic effect. The boy’s parents aren’t as easy to swayed until a secret is uncovered. The boy’s mom was once a dancer and she gave up show business when she became a mom. As strict as the father was, he also ends up doing a song and dance. A couple of singers voices didn’t hold up in the cavernous Orange venue, but as a whole the show had legs. There were dancing angels, patriotic sailors and bespangled female dancers and show stopping numbers from so many shows so that you definitely get your monies worth.

Word of mouth spread fast and there were incredible lines to get into this show often winding out the Shakespeare Theater door leaving people lined up outside in the heat. No single green room  could hold this huge cast and one day I saw them all behind the Shakespeare theater doing makeup and costuming in the tent set up for a piano near the beer vendor. Of course I couldn’t catch the whole cast dancing, so I focused on the boy and surrounded him by dancers in a cross shaped pattern with a Sexy dancer at the base of the cross. This was without a doubt the biggest production at this years’ Fringe and everyone wanted to see it. This was an ambitions show for Yow dance and the entire crew that payed off. If you didn’t go, you missed a hell of a show.

CRAIG’S LUST: a Sexploration

Ryan Price of Invisible Frisbee Productions is producing an improvisational comedy show for this year’s Fringe called Craig’s Lust. I went to a rehearsal held at Rollin’s College. When I got there Ran was at the rehearsal space waiting for a meeting to clear out. The space was a small conference room on the ground floor of the Bush Science building room 102. This improv show had a creative edge because all the comedy skits revolve around the romantic crushes that people often don’t act upon. “Meeting people is hard. Meeting sane people is harder. Meeting sane
people on Craig’s list is nearly impossible! Join us for an improvised
adventure into dating, modern romance, and missed connections. Come
see us, and who knows, maybe you’ll be someone’s missed connection…
Your suggestions fuel the scenes. From the people who brought you 2013’s
improvised version of The 39 Steps.”

Stage manager Jamie Lynn Woods sat beside me filming the rehearsal. The rehearsal began with a quick session of zip, zap, zoop in which the cast members stood in a circle and threw imaginary knives at each other. Each comedy act was improvised with the actors building off of the scenarios that were offered by the other actors. I admire this sort of high wire act performed without nets. It was of course fun to watch the female actors flaunting their sexuality when needed, however if a male role was needed they could switch genders. It was when such roles were embraced with a flourish that I found myself laughing loudest.

One skit involved a company bowling outing. An employee’s wife caught the eye of the boss as she leaned down provocatively to pick up the ball. The boss patted her on the butt and she didn’t seem to mind at first. Such uninhibited lack of personal boundaries were often the source of a laugh. The woman’s husband was up for a promotion, so he encouraged her performance while hoping it didn’t get out of hand.

Nadia Garzon‘s friend was crocheting during the whole rehearsal. I could identify with his busy act of creation. At the end of the rehearsal, he gave me what he had made. It was a 4 inch high mushroom. I wasn’t sure what to do with it, but it traveled with me on a trip to Virginia. I decided to “plant” the mushroom on a wrought iron public bench figuring someone would be happy to discover it. I like this idea of leaving tiny artistic tokens around town. I’m considering the notion of an Origami business card that I could leave behind wherever I have planted myself to sketch. What I lack is the time to create them.

Craig’s Lust is being performed at the Orange Venue, Lowndes Shakespeare Theater (812 East Rollins Street, Orlando Fl.)

Thursday, May 15th, 2014  10:30pm to 11:30pm

Sunday, May 18th, 2014  10:30pm to 9:45pm

Thursday. May 22nd, 2014  8:15pm to 9:15pm

Friday, May 23nd, 2014  6:30pm to 7:30pm

Tickets are $11 along with your $9 Fringe button which is needed to get into any show.

Love Out Loud

I went to a tech rehearsal for “Love Out Loud” a DiDonna Productions new multi media dance performance choreographed by McClaine Timmerman. It  takes an intimate look into the world of dating, relationships, and love today. The multi-talented cast explores the struggles, opinions, feelings, hopes, fears, and doubts that we all experience at one point or another. McClaine uses an amalgam of modern dance, projection, and live music to express the topics under investigation.

Showing their commitment to original music, Timmerman and DiDonna utilize all original music throughout “Love Out Loud” including works by Scott Hall, Nigel John, a collaboration between Keifer Curtis, Aurelio Guimaraes and Jeremy Studinksi, and features original live music by Paige Keiner. Paige was at the rehearsal. She explored social media on her phone before the rehearsal started and then performed a solo acoustic piece on her guitar as the cast performed. I had never seen her perform before and I was impressed by her silky confident voice. One of her songs, “What Good is a Throne When You’re All Alone?“, featured an incredible dance performance with McClaine and a male dancer. McClaine was in a black night gown and the male dancer in PJ’s. They danced intimately before bed but their differences and inner turmoil erupted as they performed. This wasn’t a peaceful loving couple but a couple who never seemed to connect. Their bodies rippled in angst as they resigned themselves to the inevitability of being at war yet sharing the same bed. As the lights slowly faded, they lay down together and then their touching arms rose up and their fingers laced together.

McClaine accomplishes something I’ve never seen before. The show is part documentary, part drama and part modern dance. Interviews are projected during the performance that have people sharing their raw honest feelings about what it is like to love in a digital age.  Have the words “I love you” lost their meaning? Social media brings people together in a hive mentality and yet separates us behind computer and cell phone screens. Interpersonal, one on one conversation, is becoming a lost art form.  Is it possible to find a long term relationship while voyeristically following everyone else’s relationships? Is there such a thing as a soul mate?

One dance piece had a male and female dancer circling each other as they fingered their cell phones firing off texts. The flirtatious texts were projected on the back wall of the stage. Through the whole dance they only occasionally glanced at each other. It is easy to fall in love with an illusion through text. The next couple on stage fired off an accelerated angry barrage of bitter texts at each other. They bumped into each other like football players forcefully and immaturely jockeying for dominance.

A dance number about “selfies” had all the dancers lined against the wall as they shot iPhone photos of themselves alone and in small groups. The photos were projected above them in accelerating frequency. They all arched their backs raising the phone high above them in a graceful chorus line. They pouted and puckered their lips and smiled and over acted for each shot. Any individuality became lost in the sea of self absorption. McClaine brings humor and fun to each piece while exploring raw emotions. I found myself laughing often with delight. The show offers dance with a deep personal and insightful twist.

The cast includes choreographer McClaine Timmerman, along with her troupe including Andres Avila, Alina Gavrilov, Aurelio Guimaraes, Felipe Vasques, and Nagi Wakisaka. Dancer Dion Leonhard was at the rehearsal to offer notes to McClaine. As McClaine warmed up, stretching a leg above her head, Dion said, “I’d like to have a relationship with your extension McClaine.” “Whatever, you’ve got your own extension.” McClaine fired back. I could feel the love and respect these talented performers had for each other.

Mark your calendar!Love Out Loud” will be presented for four performances only, at the Santos Dantin Theater in the John and Rita Lowndes Shakespeare Center (Loch Haven Park, Corner of 1792 and Princeton Street Orlando FL.) Performances are 8pm on Thursday May 1st, Friday May 2nd, and Saturday May 3rd, with a 2pm matinee on Sunday May 4th. Tickets are $15.00 general admission, and $10.00 student admission, and are available at the door cash only, or by reservation (will call cash only at the door) by calling 407-721-3617.

Fringe Lottery

On December 2nd the Fringe Lottery was held in the John and Rita Lowndes Shakespeare Center (812 E. Rollins St, Orlando, Fl).  This was an opportunity to see which shows would be selected for Fringe 23. Michael Mariaccio and George “Fringe” Wallace hosted the lottery. Lottery tickets were picked from green buckets. The Fringe is a completely non-juried week of theater and any show could be selected. The theater was packed full of producers and directors who hoped their shows would be picked.

  1. Participants were selected on a
    non-juried basis, through a first-come, first served process, a lottery,
    or other method approved by the Association.
  2. The audience must have the option to
    pay a ticket price, 100% of which goes directly to the artists
    (government taxes notwithstanding.)
  3. Fringe Festival producers have no
    control over the artistic content of each performance. The artistic
    freedom of the participants is unrestrained.
  4. Festivals must provide an easily accessible opportunity for all audiences and all artists to participate in Fringe Festivals.

 Orlando city commissioner Robert Stuart did the actual picking from the bucket.When he selected “Boylesque” from the bucket he had to hesitate before pronouncing the title. Michael Wanzie shouted out from the audience, “Your going to have to learn how to pronounce “Boylesque” if you want the gay vote!” He got quite a good laugh. Later the politician assured his votes by shaking Michael’s hand and kissing him on the cheek. The audience erupted. So, take a glance and anticipate this year’s line up.

– ORANGE –
The All New Nashville Hurricane [Chase Padgett – Burbank, CA]
Ennui [Circus Arts – Polk City, FL]
Boylesque [Sensuality N Motion / Visual EFX Productions – Orlando, FL]
Bless Me Father, For I have Danced [Yow Dance – Orlando, FL]
BARE: A Pop Opera [Penguin Point Productions – Winter Park, FL]
FLIGHT: A Crane’s Story [IBEX Puppetry – Orlando, FL]
Something’s Weird in Weeki Wachee [John Ryanand Diva Productions – Orlando, FL]

– SILVER –
Money Shot! [RUSH Theatrical Productions – New York, NY]
Grim and Fischer [Wonderheads – Portland, OR]
Oyster Boy [Haste Theatre Company – London, UK]
Under the Rainbow [Alan Gerber – Orlando, FL]
There’s No Place Like Home [Wanzie Presents / D-Squared Productions – Orlando, FL]
Smooch [PB and J Theatre Factory – Winter Park, FL]
TBD [The Downtowners – Orlando, FL]
Fifty Shades of Gay [Homicidal Orphan Productions – Orlando, FL]

– YELLOW –
Marathon [TJ Dawe – Vancouver, BC]
God Is a Scottish Drag Queen II: An All New Testament [Mike Delamont – Victoria, BC]
The Surprise [Martin Dockery – Brooklyn, NY]
Killer Quack [James Judd Entertainment – New York, NY]
Conversations with My Divorce Attorney [John Montgomery Theatre Co. – New York, NY]
Tappin and Yappin [J&J Pickle Productions: Ocoee, FL]
Pasion Flamenca [Flamenco del Sol Dance Company – Sanford, FL]
Frankenchrist! The Musical [Acting Passionate Productions – Lakeland, FL]
Professor Soap’s Musical Machine [Cadence Creative – Loughman, FL]

– PINK –
Ruby Rocket, Private Eye [Stacey Hallal – Portland, OR]
Chaotica [Christel Bartelse – Toronto, Ontario ]
House [Ribbitre Public Theatre: Edmonton, Alberta]
Black Stockings [Dangerous Theatre: Denver, CO]
Immortals [Wind Whistle Theatre – Nevada City, CA]
Donating Sperm to My Sisters Wife [Stewart Huff – Winterville, GA]
And Baby Makes Four [Utmost Productions – Orlando, FL]
The British Invasion [My Dream Tree Productions – Casselberry, FL]

– BROWN –
Jem Rolls [Big Word Performance Poetry – Surrey, UK]
TBD [Keith Brown – London, Ontario]
Train Your Man [Kirchmann Productions – Alberton, South Africa]
Taking Out the White Trash [Peemypants Productions – Savannah, GA]
Baba Yaga [It Ain’t Shakespeare – Dallas, TX]
Radio Free Fringe [RFF – Orlando, FL]
Hungry! The Musical [Madmymn Payne Prod – Kissimmee, FL]
All Shook Up: A Rockabilly Revival [Bare Ass Productions – Winter Park, FL]

– GREEN –
Roller Derby Saved My Soul [Broken Turtle Productions – Ottawa, Ontario]
The Death of Brian [A Zombie Odyssey: Theater Simple – Seattle, WA]
40 Something Still Single [Cougar Comedy Productions – Orlando, FL]
Alice Rocks Wonderland [Atlantic Coast Theatre for Youth – Champions Gate, FL]
Bloody Bloody Andrew Jackson [BTW Productions / Ashley Willsey – Lake Mary, FL]
Escape from Baldwin Park [Carpenter Aunt Productions – Orlando, FL]
Liquid Courage [Tobo Productions – Orlando, FL]
20 Nothing [Last Minute Panic Productions – Winter Springs, FL]

– BLUE –
Papa Squats Store of Sorts [Ain’t True and Uncle False’s Hood – Indianapolis, IN]
My Brooklyn Hamlet: A Meshugenah True Story [Brenda Adelman – Spring Valley, CA]
Punk Grandpa [Cosmic Jello / Laura Force Scruggs – Chicago, IL]
Sperm Wars [Random Samples Collective – Toronto, ON]
Fire in the Meth Lab [2 Hoots Productions – Melbourne, Australia]
Shakespeare’s Histories: Ten Epic Plays at a Breakneck Pace [Timothy Mooney Repertory – Prospect Heights, IL]
Tuesday Mourning [Clandestine ARTS – Altamonte Springs, FL]
The Queer Diaries [Royal Entertainment – Orlando, FL]
TBD [Playwrights Round Table – Orlando, FL]
TBD [Kia Ora Productions – Kissimmee, FL]

– PURPLE –
VGL 5’4″ Top [Lucas Brooks – Brooklyn, NY]
Desperately Seeking the Exit [Peter Michael Marino – New York, NY]
Superhero’s Can’t Fly [botwot productions – Aspen, CO]
Us vs. The World [Improv Off the Grid – Orlando, FL]
The Float Boat [Comedy First CLC – Longwood, FL]
The Four Great Books of China (Condensed) [Emerson Productions – Casselberry, FL]
Battle of the Sexes: Male Surrender [John Chapman – Orlando, FL]
Tim and Spencer’s Yet Unnamed Magic Project [Corrupting the Kids – Orlando, FL]
Paisley the Clown [Paisley Productions – Orlando, FL]
TBD [JAR Productions – Orlando, FL]

– RED –
Mark Twain’s is Shakespeare Dead [Doctor Keir Co. – Montreal, Quebec ]
The Chronic Single’s Handbook [Randy Ross – Somerville, MA]
Tap Me on the Shoulder [Pack of Others – Northampton, MA]
Going On: A Inspiring True Story about Loss and Finding the Love Inside Yourself [White Rabbit – Portland, OR]
An Iliad [John Remke – West New York, NY]
Rendezvous La Petite Morte [Chloe J. Roberts – Tampa, FL]
The All-New Review [Portals Theatre – Orlando, FL]
Reincarnation Soup [Viet Nguyen – Orlando, FL]
Paranormal Stupidity [Brian Flaherty – Maitland, FL]
Helix by Tangent [Spur of the Moment – Winter Park, FL]

– BLACK –
A Brief History of Beer [Wish Experience – London, UK]
Ocean Fox [Castlereigh Theatre Project – Victoria, BC]
babyBlueStar Presents: VarieTEASE [babyBlueStar – Orlando, FL]
Exploring Her Kinkdom [Penguin Productions – Orlando, FL]
Tod Kimbro Does Everything [Tod Kimbro – Orlando, FL]
Seasons [Squeaky Wheel Theatre Project – Orlando, FL]
Home Free by Lanford Wilson [Gagne Productions – Orlando, FL]
TBD [Logan Donahoo – Orlando, FL]
Truth of Dare with Pepe [Pepe Productions – Orlando, FL]

 Afterwards, some performers lamented not being picked. They are on a waiting list and sometimes shows drop out offering an opportunity for that slot to be filled. I recall laughing out loud when “Sharknado the Musical” was picked. Unfortunately I don’t see it in the listings so it must have been dropped. Thankfully “Sperm Wars” made the cut. Mark Your Calendar, there are many Fringe happenings leading up to the big event. Check the Fringe website for more details. Hey, if any local producers or directors are reading this, keep me in mind to sketch read throughs, or rehearsals.

  • February 07 – Loon
  • February 08 (2 shows) – Loon
  • February 09 – Loon
  • March 03 – Fringe at the Hard Rock
  • April 14 -Local Preview
  • May 14 – National / International Preview
  • Second half of May – FRINGE!

Phantasmagoria: Hell Hath Risen

Phantasmagoria began with two wayward travelers, the Brothers Grimm, in the woods searching for a band of storytellers. Projections throughout the show offered a macabre sense of place. The Mandell Theater in the John and Rita Lowndes Shakespeare Center, had it’s seating was arranged in the round, with bleachers on three sides. With a flash the cast began to appear. The Phantasmagoria cast had been telling their tales for centuries. The brothers had written down some of the tales but watered them down a bit so as not to terrify children. The brothers were despised for this treachery, for these stories, when told right, spring fully to life as horrifying as that might be. Children in these tales are the murderous ones as seen in Grimm story “How the Children Played at
Slaughtering.” The entire crew of well over a dozen players kept the energy high.

Poe, Dickens, and other literary masters

Poe, Dickens, and other literary masters

Stories are told at times in unison by members of the cast. The atmosphere was perpetually dark and sinister. My book light died half way through the show. I’ve seen enough “Ghost Hunters” to know that spirits will drain a battery in order to manipulate objects in the material world. I was left to guess at colors and values. Stories included  “Myth of Pandora”,  Edgar Allen Poe’s “The Cask Of Amontillado”  and Charles Dickens “A Mad Man’s
Manuscript” which did not star Don Draper. The stories remain true to the originals written at the turn of the century. There were skull lined catacombs and murderous husbands. Dead loved ones returned as skeletal remains. Blades were brandished. The cast lived these stories and once a story was started it had to be finished much like a game of Jumanji.

The silks were used between stories by Dion Smith and Mila Makarova while Gina Makarova worked her ring routine. Skeletons danced in a mysterious blue glow among silks but the final battle against a huge dragon puppet that took three puppeteers to operate was a climactic moment not to be missed. Few survived. John explained that the Halloween day performance would continue the last story resolving the cliff hanger ending. I look forward to seeing this show each year and this is definitely the best production so far. This is an October tradition that will chill your bones for the horrors to come. John DiDonna, the director, debated about weather he should have the cast come out for a bow. The ending is so shocking that it might make sense for the audience to leave in devastated silence. I however hope they allow for the chance to break the spell with thunderous applause.

PHANTASMAGORIA IV: Hell Hath Risen
WHEN:
Oct 11th – 31st 2013
Fri, Sat, Sun @ 8:30pm
Special shows Monday Oct 21st and 28th and Halloween show on the 31st! All shows at 8:30pm
(Halloween show includes a very special epilogue not seen on other nights!)
All evening performances at 8:30pm (Box opens at 7:50pm/Doors at 8:10pm)
WHERE:
Mandell Theatre, John and Rita Lowndes Shakespeare Center
Loch Haven Park, Orlando, FL
TICKETS:
General Admission $20.00 / Student and Senior $15.00
Reserve (for will call cash at door) 407-328-9005
Credit card orders www.redchairproject.com
PARKING:

Parking available in lots directly in Loch Haven, or in Science Center
Parking Garage off of Princeton (Next to Mennello Museum of Art)

Phantasmagoria Dressing Room

I went to the John and Rita Lowndes Shakespeare Center,(812 E. Rollins St., Orlando, FL), to sketch a dress rehearsal for Phantasmagoria IV: Hell Hath Risen. DiDonna Productions and
The Empty Spaces Theatre Co(llaboration), is proud to present the fourth
installment of their Macabre Halloween Celebrations. John greeted me when I entered and gave me a quick run down of the evening’s timetable. Since it was over an hour till the start of the run through, I asked if I could sketch the actors getting into makeup. With a flourish, John opened the dressing room curtain and introduced me. I already knew dancer Dion Smith, so I felt at home. An actress even told me that the two chairs next to the costume rack were free so I quickly sat and got to work.

Make up can take well over an hour for a show like this since skin is supposed to have a sinister ghostly cast. Eye lashes were exceedingly long and multiple layers of eyeliner accentuated the eyes. Seth Kubersky, one of the co-directors, entered and joked saying, “Three years sketching the Orlando Arts scene has been just a cover so you could sketch in actresses dressing rooms.” He has a point, this is as good as it gets in terms of back stage access. This is a subject that can never get old.

A stage manager shouted “Five minutes till fight rehearsal!” Actors shouted back, “Thank you five!” Not every actress was in costume. They quickly got into their Victorian dresses and went out for the fight sequence rehearsal before the run through of the show. When they were done, they quickly returned to the dressing room to finish up. There is a chaos and energy to these final moments that is quite addictive. As the actors rushed to get ready, I rushed to finish the sketch.

John gathered the entire cast and had them hold hands in a circle. “It has been four amazing years. For 2000 years this has been going on. Make the audience think. Live each story to the fullest. See you on the other side!”

PHANTASMAGORIA IV–“Hell Hath Risen
WHEN:
Oct 11th – 31st 2013
Fri, Sat, Sun @ 8:30pm
Special shows Monday Oct 21st and 28th and Halloween show on the 31st! All shows at 8:30pm
(Halloween show includes a very special epilogue not seen on other nights!)
All evening performances at 8:30pm (Box opens at 7:50pm/Doors at 8:10pm)
WHERE:
Mandell Theatre, John and Rita Lowndes Shakespeare Center
Loch Haven Park, Orlando, FL
TICKETS:
General Admission $20.00 / Student and Senior $15.00
Reserve (for will call cash at door) 407-328-9005
Credit card orders www.redchairproject.com
PARKING:

Parking available in lots directly in Loch Haven, or in Science Center
Parking Garage off of Princeton (Next to Mennello Museum of Art)

The Taming of the Shrew

Having sketched the early stages of the set build, I decided to sit in the same Loge seat to sketch “The Taming of the Shrew” on September 25th. Actress Melissa Mason addressed the audience before the play began. This production would be staged in the 1880’swild west because Shakespeare’s play has much violence and a headstrong woman would make perfect sense in an early settlement where anything goes. The play was written in 1594.

The production was a comedic romp that employed some of Shakespeare’s favorite gags such as switched identities. Melissa played the beautiful Biance in  blonde curls and a pink dress who had many suitors. Lucertio (Chris Ryan), wealthy landowner Germino (Brandon Roberts), and local Hortensio (Chris Metz) are all trying to win her hand. Bianca’s father Baptista Minola (John Ahlin) however insisted that Bianca could not marry until her sister Kate (Deanna Gibson) was married. Kate was a bartender who preferred a foul mouthed brawl to any kindness.

At the center of the show is a high stakes battle of the sexes. Rancher Petruchio (Geoffrey Kent) is persuaded to pursue Kate. Bianca’s suitors covered all costs and if he succeeded he would profit from Kate’s rich dowry. The courtship was close to witnessing a WWF wrestling match. Endless impassioned fights were played for great comedic effect. Eventually the rancher wins Kate’s hand. Having married her, he begins to try and break her, just as he would a wild stallion. He denied his new bride food, sleep and fresh clothing while still singing her praises. This resulted in his getting a black eye but over time Kate was coaxed to admit gratitude. I grew more annoyed as Kate softened. I preferred seeing her fiery western independence.

When Lucentio won Bianca’s hand, the men at the reception make a wager about who has the most obedient wife. Surprisingly Kate is the only wife who comes when summoned. Petruchio wins the bet, his cowboy hat full of money. But the couple have also won each other, discovering mutual respect on the tale of conflict.

I must admit that there were moments in the play where Shakespeare’s words were lost on me. With so many characters changing their identities, I at times lost track of who was who. Kate’s final speech however was beautifully worded and inspired. Mark Your Calendar! The Taming of the Shrew is running through October 6th in the Margison Theater in the Lowndes Shakespeare Center (812 E Rollins St  Orlando, FL). Tickets are between $20 and $40.  

Dracula: The Journal of Jonathan Harker, a one man show, will open October 9th and run through November 10, 2013. This should be a perfect play for the Halloween season.