Assassins

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Cheyenne Saloon and Opera House in downtown Orlando will host a production of  Assassins, which is a musical with music and lyrics by Stephen Sondheim and a book by John Weidman, based on an original concept by Charles Gilbert Jr.

Staged by the Florida Theatrical Association, and directed by Kenny Howard, the production makes amazing use of this historic venue which will soon faces it’s own assassination by developers who want it demolished for a condo sky rise, since what Orlando needs is more high rent shoe boxes.

Assassins lays bare the lives of nine individuals who assassinated or tried to assassinate the President of the United States, in a one-act historical musical that explores the dark side of the American experience. From John Wilkes Booth to Lee Harvey Oswald, writers Stephen Sondheim and John Weidman bend the rules of time and space, taking us on a nightmarish roller coaster ride in which assassins and would-be assassins from different historical periods meet, interact and inspire each other to harrowing acts in the name of the American Dream.

When Pam and I arrived, I knew I wanted to sketch the production as if viewed from Lincoln’s Presidential booth at the Ford Theater. Unfortunately the Saloon’s first level balcony was to be used by actors who appeared with blood red spot lights illuminating them from below during the show. There was another balcony above that but the sight lines made it impossible to see the stage. We finally climbed to the highest levels, having to walk through the actors green room to get there. From this vantage point, the technicians and stage director took center stage, while the performers worked on the distant stage. On the balcony above the stage a band performed. Unfortunately the acoustics were not stellar from where we sat, but we both knew the play and could follow along. I should note that even from our nose bleed level I could tell the performer for  John Wilkes boot has some major singing chops.

I tend to feel a bit uncomfortable with performers holding guns. Of course actor Alec Baldwin thought his gun held blanks when he shot his cinematographer, Halyna Hutchins dead. A lawyer for Alec Baldwin said on April 21. 2022 that an investigation by New Mexico has cleared his client of wrongdoing in the fatal shooting on the set of “Rust.” Halyna’s life was found to be worth only $137,000, which is how much New Mexico fined the Rust production.  Orlando is is also where a gunman entered the Pulse Nightclub and murdered 49 people and injuring 53 others. From as far away as we were, I could not make out if the weapons were historically accurate. The gun’s sound effects were at least played down, being unrealistic slaps.

Assassins will run April 22, 2022  to May 1, 2022 at the Cheyenne Saloon on Church Street. Tickets are available now through Eventbrite. Tickets range from $22 to $100 for VIP seating.

Hand to God at the Dr. Phillips Center for the Performing Arts.

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Hand to God written by Robert Askins, was presented by Generation Productions at the Dr. Phillips Center for the Performing Arts and was an unexpected, hilarious, and irreverent production. In a church Sunday school class, students are using puppets in a morality play. Timothy, a shy boy, played by Jerry J. Jobe had a puppet with plans of his own. The puppet calls out Timmy’s attraction to Jessica (Devan Seaman) in rather lascivious ways. Jason, (Andrew Romano) skulked with crossed arms and was anxious to cause trouble. The Sunday school puppetry teacher was Margery (Rebecca Fisher) and she was also Timmy’s mom.

The play’s title is a bit misleading. From the moment the foul-mouthed puppet on Timmy’s hand spoke for himself the laughs just kept on coming. This is no quiet morality play. The underlying unspoken heartfelt drama came from the loss of Timmy’s dad. The brunt of the action was aimed at resolving the fractured relationship between Timmy and his mom. The stakes got higher when Pastor Greg (Jason Blackwater) insists that Margery present a play at the next service. Timmy, knowing he has no control over what the puppet might say, has to let his mother down.

Both Jason and Pastor Greg made advances on Margery. She was left devastated after her husband’s death and crashed against the rocks. The classroom became a devil’s den complete with a satanic star and a teddy bear, pubic hair included, with an arrow through it, when Timmy and his puppet take over.

One of the funnier moments came when Jessica decides to speak to Timmy’s puppet through her own puppet. The result is a hilarious 5 minute sex scene with the two puppets as she is able to confide in Timmy, all as the distracted puppets bumped together. The production was a blast being a cross between Little Shop of Horrors and the Exorcist. Rebecca Fisher as Margery was fantastic. This was an amazing role for her. Jeremy J. Jobe also did an amazing job as he tried to remove the satanic puppet from his life.

The play was produced by Aaron Safer, and featured direction by Kenny Howard. The set design was by Bonnie Sprung, with costumes by Kyla Swanberg, and lighting design by Amy Hadley.

The Flick presents hopes and aspirations in a tiny movie theater.

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Gen Y Productions presents The Flickwritten by Annie
Baker and was the winner of the 2014 Pulitzer Prize for Drama and 2013 Obie Award for Play writing. The Flick Premiered
Off-Broadway at Playwrights Horizons in 2013 and will run at the Dr. Phillips Center for the Performing Arts (445 S Magnolia Ave, Orlando, FL) starting today through July 12.

Bonnie Sprung designed the set for The Flick. She confided that the theater seats were rented from the recently closed Theater Downtown. The sconces on set are actually the bases to lava lamps. She was busy cutting and building the set right up until the rehearsal started. This was the first run through in the new space. Producer Aaron Safer arranged to get me in for the sketch.

The play is set in a single screen movie theater in Central Massachusetts that has the last remaining 35mm film projector. Sam (Daniel Cooksley) shows Avery (Marcellis Cutler) the ropes of the job on Avery’s first day at the job. The job simply involves cleaning up the wrappers and refuge people left behind after leaving the movie theater. Rose (Jessie Grossman) with her bright green hair is the projectionist and Sam feels he should have been promoted to that coveted position. He shouts up to her and she either can’t hear him or ignored him. “She hates me” Sam confides to Avery. When Rose came down from the booth, she asks Sam if he told Avery about the employee “dinner money” tradition. The “dinner money” was skimmed from ticket sales without the owners knowledge. Avery agonized in the front row with his head in his hands but ultimately gave in, not wanting to upset his co-workers.

Scene after scene plays out in the empty theater. Sam told a story about how a huge chunk of the ceiling once fell down landing just inches from an old lady. Sam and Avery play a game of six degrees of separation as they clean and it turns out that Avery in an encyclopedia of film knowledge. A love triangle develops as Rose comes on strong to Avery. The flirting escalates to an embarrassing moment when they watch a film together after hours. Each of the characters is a misfit. Avery once tried to kill himself, Rose is unable to have a relationship for more than four months, and Sam rides along as if the theater job was his only aspiration in life. Rose was appealing with her brash accent and bold entrances. She later turned on Avery and it became clear that every character was strictly looking after their own interests. Friendships aren’t as strong as the need for a minimum wage paycheck. One of my favorite scenes is when Avery recites Ezekiel 25:17 from Pulp Fiction. The drama among the employees turned out to be bigger than the dramas that played out on the big screen. I cared deeply for each character hoping they might find happiness but in this fast changing world, that hope seems mercurial. The digital age made the 35mm projector obsolete. Avery in particular yearned to keep the analog tradition of projected film alive. It turned out that if you don’t need a projector. You don’t need a projectionist. Everyone wants more for less and quality isn’t necessarily the ideal.

Kenny Howard directed the Orlando cast and I liked that there were long moments where characters had time to think and reflect. Action on a movie screen happens at a break neck pace with maybe 2 seconds before cutting to a new shot. But the action after the film ended felt more real, imperfect and more heart felt.  These characters weren’t playing their parts, they were simply living in the moment. At three hours, this is a long show. Turn off those cellphones and unwrap those wrappers and don’t leave a mess because someone has to clean up after you.

Show dates: June 17-July12, 2015

Show times vary

Tickets start at $35.00

Alexis and Jim Pugh Theater

Lobby Doors open 60 minutes prior to show time.

Theater Doors open 30 minutes prior to show time.

The Lady’s of Eola Heights take the Abby by Storm.

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I went to a dress rehearsal for The Ladies of Eola Heights at The Abbey. I contacted Beth Marshall who plays the part of Pearl. This is the first time in a long time that she wasn’t producing or directing a show. She felt a bit at ease just being an actor rather than worrying about the overall production. Beth introduced me to the director Kenny Howard who thankfully knew of my work and was enthusiastic to have me sketch. He warned me that none of the actresses would be wearing make up. The set wasn’t finished yet as well, still needing a railing near the steps and a blue wall behind the center archway.

This is an original play written by Michael Wanzie. The estranged Locksdale sister reunited at their family home, in the historical Eola Heights neighborhood of Orlando, Florida, to plan their daddy’s funeral. It seems fiery-tongued Ruby (Blue Starr) dressed in a hot red zebra stripe dress, has taken to loose living and hard drinking, while older sister Opal (Peg O’Keef) has become a born again Christian. Matriarch Pearl (Beth Marshall) has gained weight and  had a Home Shopping Club addiction. In the opening scene Beth drove onto the set with one of those motorized scooters with an oxygen tank. It was a hilarious moment as she tried to parallel park it next to the dining table while Ruby waited.

As the sisters interacted for the first time in years, their dark past surfaced and it became clear that they are all dealing with their horrible past in their own ways. Each scene is punctuated by an appearance of their brother (Miss Sammy) who danced down stairs in gorgeous gowns to light hearted show tunes. His way of coping was to live in a beautiful fantasy world as a woman. Although the sisters are all polar opposites, they come together to bury their past.

The show is as funny as it is touching, a comedy with serious themes that take the audience on an emotional roller coaster ride. I was laughing out loud throughout the show and yet identified with themes that affect many estranged families. The abuse that surfaced at the heart of the show happens all too often in Central Florida.  I had a friend who couldn’t cope with that past. Don’t miss this locally grown gem.

The show runs July 10- July 28 at the Abbey (100 S. Eola Drive Orlando, FL) tickets are $30 to $45.