Lady Day at Emerson’s Bar and Grill

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Pam and I went to see Lady Day at Emerson’s Bar and Grill in the Mandell Theater in the Orlando Shakes, (812 E Rollins Street, Orlando, FL 32803). We sat in the back row house right which was good for me since it meant no one was seated behind me who might be distracted by the glow of my iPad screen as I drew. I sketched as the audience filled in and it was a packed audience. Pam and I wore masks while the rest of the audience were mostly mask less.

In this powerful musical production, Billie Holiday sings her most famous songs and reminisces about the great triumphs and losses of her life. The time is 1959. The place is a seedy bar in Philadelphia. The audience is about to witness one of Billie’s last performances. With the help of her piano man, Jimmy Powers, she lets music tell her story, sharing soulful, heart-wrenching, and bawdy songs from her memorable canon including: “Strange Fruit,” “God Bless the Child,” “When a Woman Loves a Man,” and “T’Ain’t Nobody’s Business If I Do.”

The set felt like a smoke filled lounge. They actually used a smock machine to get a smokey effect to the lights. Some of the audience were in small tables surrounding the stage. They got the full lounge effect. The pianist was the first to arrive on stage, then the drummer and cello player took their spots.

When Lady Day arrived she was stumbling a bit and clearly had been drinking. She was in high spirits to start and regaled the audience with details of her life from the start. She talked more than she sang, but that was the point. Members of the audience murmured their support and surprise as she spoke. The lounge became like a sort of spiritual revival. Details of Lady Day’s life slipped out in her drunken stupor. When she sang however the earth stood still.

In one number the lighting was spot on to what I painted in the poster. Working on location I didn’t try and catch that momentary moment of lighting, I kept changing the lighting in the sketch until something worked right.

Lady Day continues to play at the Shakes through March 5, 2023. I highly recommend it. Masks are suggested but not required.

 

Phantasmagoria VIII “The Chains of Fire” at the Shakes.

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Phantasmagoria
Orlando and DiDonna Productions is proud to present the eighth all new installment in their critically acclaimed “Whimsically Macabre”
Halloween Celebration at the John and Rita Lowndes Shakespeare Center
(812 E. Rollins St, Orlando, Florida 32803). 

The brand new PHANTASMAGORIA VIII “Chains of Fire” thunders on to the Mandell Theater with all new stories of
terror! Live performers, “Phantastical” dance, explosive stage combat,
large scale puppetry, aerial performance, and haunting storytelling
combine to create a tapestry of macabre and whimsical horror!

Phantasmagoria’s evocative troupe of storytellers, dancers, and
chorus embark on their newest, and perhaps darkest journeys yet ,
through literary tales of terror, and horrific folk stories, legends,
and myths. Enter with us into dark tales from the likes of Edgar Allan
Poe, H.G. Wells, Robert Browning, Lord Byron, and Charlotte Perkins Gilman
among many others – all to set the tone for a truly Phantasmagorical
Halloween season!

I went to a dress rehearsal which had a fairly clean run thru of the show. Using the iPad meant I could see what I was working on throughout the performance. I am really enjoying the ability to zoom in when sketching performers. The digital sketchbook is becoming my preferred medium when sketching in a dark theater. This was indeed a darker and more sinister show. Strangulation and death haunted the cast though most every story. Once they begin a tale it must be told to completion. The hitch is that they live the tale intimately to the point of near death. The cast seems immortal however having told the stories for centuries. 

One of my favorite moments came after the run thru. John DiDonna was giving a note on how to dramatically stage a strangulation. He said, “Here allow me to show you by strangling my wife.” He grabbed Dion Leonhard DiDonna by the neck and arched her backwards as he leaned over her. Being a ballerina, she made even the gruesome moment look graceful.

After the run thru, the cast did a whimsical and comically relaxed rendition of the story, “Captain Murderer”. The cast ran out into the audience often getting face to face with the audience as they told the tale with absolute delight. They are at their best when mixing the macabre with the whimsical.
 

Special VIP Experience – Arrive by 7:20 on Select Nights

New this year, the VIP show will occur BEFORE the main stage show on select nights only
(Fri/Sat nights and Halloween) as they introduce their “Phantasticaly
Phantabulous Sideshow Extravaganza!” Specialty acts, special guests, and
appearances by members of the Phantasmagoria troupe weave together to
start the evening off in the best and darkest of ways! This year all VIP
seating can be RESERVED (for the first time) upon coming to the door to
ensure prime seating for all our VIP guests. At the end of the show,
the VIP audience member will also be treated to a final encore
especially designed for them! VIP also includes a glass of wine or soft
drink, a take home gift and more!

Information and Ticketing can be found beginning in September on the website or on their Facebook page.
 

WHO:
Phantasmagoria/DiDonna Productions
WHAT:
Phantasmagoria VIII “The Chains of Fire”
WHEN:
Oct 13th – Nov 4th 2017
All evening performances at 8:00pm (Box opens at 7:00pm/
VIP Show experience at 7:20 / VIP Theater Entrance at 7:50 followed by General Admission seating)
Oct 13, 14, 20, 21, 22, 23, 27. 28. 29. 30. 31, Nov 3, 4
Special MONDAY Performance on October 30th @ 9:00pm only
NOTE: VIP Show Experience only available Friday/Saturday nights and Halloween MUST arrive early for 7:20-ish start
General Admission and Student/Senior/Military available on all nights.
WHERE:
The Mandell Theatre, John and Rita Lowndes Shakespeare Center – Loch Haven Park, Orlando, FL
PARKING:
Lot on site, additional lots and street parking in close proximity
TICKETS:
Student/Senior/Military Admission – $15.00 / General admission – $25.00
Student/Senior/Military VIP Admission – $30.00 / General VIP Admission – $40.00

(VIP Admission includes Pre Reserved Seating, VIP SideShow performance,
wine or soft drink, a take home surprise, and more! – Available only
Friday/Saturday and Halloween nights)
TO PURCHASE TICKETS:
WILL CALL/CASH ONLY AT DOOR reserve by calling our hotline at 407-476-5121

(Leave name/number/date of performance and number in party – you will
be called back only if there is a problem with your reservation)
CREDIT CARD PREPURCHASE

Phantasmagoria VII, “The Cards They are Dealt”

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The brand new PHANTASMAGORIA VII “The Cards They Are Dealt” thunders on to the Mandell Stage at the John and Rita Lowndes Shakespeare Center with all new stories of terror! Live performers, “Phantastical” dance, explosive stage combat, large scale puppetry, aerial performance and haunting storytelling combine to create a tapestry of macabre and whimsical horror!

Phantasmagoria’s evocative troupe of steam punk storytellers, dancers, and chorus  embark on their newest journeys through literary tales of terror, horrific folk stories, legends, and myths from around the world. They present  dark tales from the likes of Poe, Lovecraft, Oscar Wilde, Ambrose Bierce, and M.R. James, as well as Arabic folklore, whimsically macabre German fairy tales, and so much more – all to set the tone for a truly Phantasmagorical Halloween season!

I arrived early to watch the fight call. The swords looked threateningly red and even at quarter speed, the swashbuckling action seemed all too real. Dancers stretched and limbered up on the suspended hoop. Right before the house opened John Di Donna had all the N circle up on the stage. He reminded everyone to breath and since it was a smaller house, he let everyone know the still needed to maintain the is momentum. “Throw your energy out there!” “We get to collapse after wards” he said. Regarding the fight sequence, ever one was advised to keep their focus. “lets sling some steel!”  the actors shouted.

An unexpected twist to this evenings presentation was that John’s character managed to bring a mortal, namely Alice, out through the looking glass to join his story telling troupe. The Phantasmagoria storytellers are eternal an they resented a mortal in their midst. Alice however was a very good storyteller. At the height of a brawl she screamed and the specs on volume knocked everyone down. It turns out she had powers beyond everyone’s expectations.

Once a story is begun, it must be completed. These storytellers live the tales often to a menacing effect.  They take a fiendish delight in each tales macabre humor and drama. In Some ways they are like a circus Sideshow troupe, but each Story fully consumes them. the re was d wonderfully choreographed waltz dance that had all the actors paired up and dancing with delight. Each year new stories weave their way into the tapestry, making Phantasmagoria a show that can be revisited each Halloween season. One member of the troupe wanted to explore the darker side of the sinister tales. to do that he would ha to splinter away from his family roots and forge his own path.

Remaining Performances are
October  30 and 31 (The 100th show!)
Box office will open each night at 7:15 / doors 7:50 / Curtain at 8:00pm – VIP After show follows immediately after in courtyard

Regular Student/Senior/Military – $15.00 / VIP Student/Senior/Military – $25.00
Regular General Admission – $25.00 / VIP General Admission – $35.00
(VIP includes Pre-Seating, VIP post show performance, photo op, souvenir, and a glass of wine or soft drink post show)

TO PURCHASE TICKETS:
WILL CALL/CASH ONLY AT DOOR reserve by calling our hot line at 407-476-5121 (Leave name/number/date of performance and number in party – you will be called back only if there is a problem with your reservation)
CREDIT CARD PREPURCHASE – For further information contact our box office email: phantasorlando@gmail.com

Phantasmagoria VI “The Darkness Returns” to the Orlando Shakespere Theater.

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I went to sketch the final dress rehearsal of “The Darkness Returns” at the John and Rita Lowndes Shakespeare Center
812 E Rollins St, Orlando, Florida. Having just returned from 

sold out performances in Orlando and
Atlanta with the touring show “Wicked Little Tales”, Phantasmagoria
Orlando/DiDonna Productions is presenting Phantasmagoria  VI
“The Darkness Returns” to celebrate the 2015 Halloween Season and its
sixth year in Central Florida!

The show will thunder on to the Mandell Stage with all new stories of terror! Live performers,
“Phantastical” dance, explosive stage combat, large scale puppetry,
aerial performance and haunting storytelling combine to create a
tapestry of macabre and whimsical horror!

The evocative troupe of storytellers, dancers, and chorus embarked on their newest journeys through the literary tales of
terror, as well as horrific folk stories, legends, and myths from around
the world. “For 100 years they have not been seen except in fleeting
glances, and now as we enter a new century the power and magic of the
stories return. . . with very dangerous consequences.”

I have had the rare opportunity to watch this show mature over time. This newest incarnation opens with stark black and white images of World War I battle scenes projected on the back wall. The horrors of the tales told are more deeply routed in the horrors of man’s inhumanity to man. The first tale involved a man’s obsessive desire to kill a cat. With the deed done, the cat hung stiff and lifeless from a tree, managing to stay completely still while the tree limbs danced in a breeze. A magician performed for the jaded cast of storytellers but even they were amazed by what seemed like a predictable trick that alluded reason. Their stories are themselves magical because the tales become tangibly alive and viscerally dangerous.

When the cast hits it’s stride, there is a certain whimsical delight as they re-tell the tales of horror. Each character has a back story which has developed over time, but the show holds up as being self contained. Members of the cast often mysteriously appear in the audience and you might be startled as they whisper in your ear. There was a new Russian inspired dance routine in which all the female cast held hands and then each twirled in succession until they formed a tight knit, cross armed line. The aerialists stretched and contorted themselves with a grace causing an awed silence in the theater. There is no better way to warm up to the horrors and chills of Halloween than to see Phantasmagoria “The Darkness Returns”.

PERFORMANCE DATES:
(All Performances begin at 8pm, with VIP show immediately following main stage show)
Oct 10 (Sat), Oct 11 (Sun)
Oct 16 (Fri), Oct 17 (Sat), Oct 18 (Sun) Oct 19 (Mon)
Oct 23 (Fri), Oct 24 (Sat), Oct 25 (Sun), Oct 26 (Mon)
Oct 30 (Fri), Oct 31 (Sat)

(SUGGESTED AGES: Phantasmagoria contains horror of the literary kind,
but is still frightening. Suggested ages are 8 and up with parental
guidance. With all respect, infants, babies and younger children may not
be admitted)

TICKETS:
Student/Senior/Military Admission – $15.00
Student/Senior/Military VIP Admission – $25.00
General admission – $25.00
General VIP Admission – $35.00

(VIP Admission includes Pick of Seating, VIP post show performance,
Take home Souvenir, Download of Halloween night story, Photo Op with
cast and glass of wine or soft drink)
Reserve (for will call cash only at door) 407-328-9005
Credit card orders visit www.OrlandoAtPlay.com

Phantasmagoria gets even better with age.

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Phantasmagoria Orlando and DiDonna Productions, present the first ever “Tour Version” of the Critically Acclaimed Victorian Horror Troupe, featuring the “BEST of” the Last Five Years of Phantasmagoria.

Phantasmagoria “Wicked Little Tales” will have a limited engagement
weekend of only 3 performances at the Mandell Theater of the John and
Rita Lowndes Shakespeare Center, July 24th, 25th, and 26th before
leaving for its first ever Atlanta Performances. Performances are
Friday, Saturday and Sunday evenings at 8:00pm.

I went to a dress rehearsal in the Mandell Theater. John told me that the theater had sat quiet for several months with only the ghost light illuminating center stage. A popular theater superstition, every theater has a ghost, and a ghost light is meant to appease the ghosts. The theater had been struck by lightning and the theater was black when Phantasmagoria arrived. At that first rehearsal, the speakers died for no apparent reason. As the actors warmed up on stage, one said, “That ghost is a jerk.” Another replied, “Yes, especially with the speakers.”

At this dress rehearsal the ghosts gave the performers free reign. During the pre-show the entire cast stood on stage frozen while video of past performances was projected behind them. Each character was introduced in turn in mysterious oozing credits. Two macabre clowns performed among the frozen cast until one was stabbed by accident which animated the troupe as they moved towards the blood.. The ring master standing on a box shouted out with glorious aplomb that the show had begun.  In the opening tale, the cast moved towards the audience menacingly, even climbing over chairs to get face to face. The fourth wall was broken and I was unnerved as the beautiful Aurora (Kim Hough) almost touched my neck as if she were ready to take my life.

Edger Allen Poe‘s “The Raven” started off the tales of horror. A beautiful animation of black wings in flight made a perfect back drop for an actress whose out stretched arms and bird like mannerisms complimented the motion. Another tale from a far continent had haunting hints of voodoo and impending death. “Captain Murderer” was told with a fiendish sense of humor. John DiDonna, playing the Captain played the part over the top which offered much needed laughter. This delightful humor saturated the entire show. The actors are so seasoned that they understand that there is a tongue in cheek humor in even the darkest tale. Other tales included “Varney the Vampire” and “The Feast of Blood”.

The young Pandora (Gina Markarova) naively asked to hear the tale of Lewis Carroll’s “Jabberwocky”. One a tale is begun it must be finished. Alice (Sara Costello) had to be protected from the beast and then she defended herself with a shield and sword. As in Jumangi, the fierce Jabberwocky burst to life threatening the lives of everyone in the cast. Puppetry brought the creature to life and everyone defended themselves with knives and swords. At this rehearsal the fight was run at a quarter speed and still the sharp blades seemed to fly far too close to flesh. This touring edition of Phantasmagoria combines humor and horror in a steampunk, goth production that shines.

Ticket prices are $15.00 for
students and $20.00 for general admission with a $5.00 per ticket add on for VIP guests. Phantasmagoria “Wicked Little Tales” remaining shows are July 25-26 at the John and Rita Lowndes Shakespeare Center (812 E Rollins St, Orlando, Florida) it then goes to Atlanta Georgia on July 31 to August 2.

Art Evolution

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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.



True West

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The Dark Side of Saturn Productions is presenting Sam Shepard‘s True West at the Orlando Shakespeare Center. I was surprised by the intricate set by Tom Mangieri. I had just been in the Mandell Theater multiple times at Fringe and got used to seeing a bare stage. Fringe just ended two days ago, so this set was created incredibly fast. This was the first time the actors got to move around in the actual space. Director Kevin Becker was in the audience seating while Chaz Krivan who plays Austin, and Cory Volence who plays Lee sat at the breakfast nook table on stage.  Lighting levels were being adjusted, so the actors got to relax for a bit.

After all the lights were adjusted, Bill Warriner, the fight director, put the actors through the paces as they fought in the kitchen. The fight began with Austin breaking a beer bottle over Lee’s head. He then slammed Lee into the counter. As Lee lay on the floor recovering, Austin grabbed an electrical chord and wrapped it around Lee’s throat. Now, this was a rehearsal, and the action was supposed to be at 1/4 speed. The safe word for Cory was “Hold”. He called out to stop the action several times. He stopped the action when he was slammed into the refrigerator, because he was concerned it might topple over. He was concerned that Chaz was getting too aggressive. In a staged fight, both actors need to feel they are in control of the action. In the heat of the moment, the fight accelerated. There was a long moment where Austin was chocking Lee. Lee’s face was beet red as he struggled. Was he struggling to say the safe word? Was this acting, or had the fight crossed over the fourth wall? Austin said, “I could easily kill him, all I have to do is twist.” Lee’s eyes bulged in his head before he fell limp to the floor.

After the fight rehearsal, there was a full run through of the play. Tara Rewis picked up the broken glass and other refuge had to be cleaned up before the play could begin.  Dorothy Massey who did costuming, had to help Cory figure out how to use his belt. “This is why I get paid the big bucks!” she joked.

The play is about two brothers, Austin and Lee. 
Austin was writing a screenplay while he watched his mother’s home. She
was on vacation in Alaska. Lee,who is the black sheep of the family,
showed up wanting to drink beer, borrow Austin’s car and in general cause mischief. He had a knack for bullying, scheming or stealing anything that he wants. Arguments erupted
but, despite their differences, these brothers did care about each other, or they would do just about anything to steal each others lives. When Hollywood agent, Saul, played by Jim Cundiff comes to the home to check the progress on Austin’s screenplay, Lee schemed his way into convincing Saul that his true life experiences in the desert would make for a great screenplay. The brothers collaborated on writing the script outline but the writing sessions never went smoothly. When the mom, played by Barbara Blake, returned home, she found the house a mess. Her crowning moment came when she grabbed a bottle of rum off the table to spare it when the brother’s brawled.

This was a powerful drama that dives deep to explore the relationship between brothers who are polar opposites, yet united by a dark past. If you are missing the mad rush of Fringe, then head to the Shakes to see True West. Nothing beats a hangover like a nice cold beer. Don’t miss it!

The Mandell Theater
Orlando Shakespeare Center

812 E Rollins St, Orlando, FL

May 31 at 8PM
June 2, 6, 7, 8 at 8PM  

Tickets are:

$16 in Advance
$20 at Door
$15 at the Door with a Fringe Button

Phantasmagoria: Hell Hath Risen

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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)

The Cortez Method

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I went to the World Premiere of The Cortez Method written by Rob Keefe and Directed by Mark Routhier at the Orlando Shakespeare Theater (812 East Rollins Street Orlando FL). Being in the small Mandell Theater, I was surprised at how intricate and ornate the set by scenic designer, Robbin Watts was.

The play takes place in a rural home in the Kentucky woods. Based on the set, you can tell that there have been recent renovations like new marble counter tops and flooring Bill, played by Paul Bernardo arrives home only to be surprised by his brother Walter, played by Riley Clermont. After some joking and wrestling it becomes clear that Walter is a no good brother who wants a handout. Some event from the brothers pasts makes Walter feel he is owed. Paul’s pregnant wife, Sarah, played by Suzanne O’Donnell is asleep off stage and Walters loud booming voice wakes her up and she pounds on the wall. Walter is not welcome in their home.

This is a dysfunctional family with a capitol D. Bill is constantly trying to appease his wife and brother. He seems whipped and tired. He also resents that everything has been poured into the opulent home furnishings like a five burner range and a stove whose name he cant pronounce. The fridge is battered and old, the one appliance from a past life. There are dark criminal currents beneath the country bliss. The play is a dark comedy in which the past and present collide. Walter claims he is like Cortez who burned his ship when invading the Aztec Empire to prove there was no retreat. It was all or nothing. A complete and total commitment. Walter had the same commitment to get a “loan” from his brother of about $30,000 to start a gate welding business. All of Bill’s money however was tied up in his home.

The second act gets violent as no one gets what they want. The most astonishing character was Odette, played by Melanie Whipple. She was Walters girl who would set him straight. She was missing teeth, was disheveled and looked stoned or ill.  When Walter grabs her, she defends herself. Bill’s wife has a warped idea of how they need to protect their home and Bill does everything he is asked to do. He is like a small dog on a leash who puts up some resistance but always relents with a tug. I was confused by the confrontation between the couple. There was resentment and hate and yet, in the heat of the argument, they kissed. Bill seems changed by what had transpired. He rips the shades off the windows and the room blazed light. Just what changed remained unclear. I suspect he would continue to do as he was told. He would never be free from his past.

This play marks a renewed commitment by the 25 year old Orlando Shakespeare Theater to present original plays.The play is a very adult story of family dysfunction, infidelity, and substance abuse. It is best suited for adult audiences. Mark Your Calendar! The play runs through September 22nd. Tickets are about $25.

Frost Nixon

Posted on by Thor

In the Mandell Theater in the Lowdes Shakespeare Center,”Frost Nixon” written by Peter Morgan is being performed through April 28th. Stephan Jones does an astonishing performance as Nixon. His performance isn’t a satirical caricature but an honest look at a man with insecurities and pride. As a elementary school student I used to enjoy doing political cartoons of Nixon so from an early age I understood his charisma. Timothy Williams performs as David Frost, a talk show host looking to score the biggest interview of his career. John Bateman as James Reston acts as the narrator who has had a long time desire to see Nixon admit and repent for his wrong doing. In a humorous moment he meets his long time nemesis and he goes mute and shakes Nixon’s hand. Nixon turned smugly away with his best attempt at a grin.

The interview itself was like a prize boxing match with Nixon evading question with his long winded rope-a-dope memories and effusive tales. In the first round Frost sits back overwhelmed and exhausted by the ex-presidents long winded and empty answers. The actual interview went on for hours but it is thankfully edited down for the stage production. The interview is cut into four bouts and by the end it seemed like Nixon was a bull that wanted to feel the pain of the matador’s sword.

After the show, the cast assembled on stage for a question and answer session with the audience. Director John DiDonna asked theater reviewer Steve Schneider to join them on stage. Steve wrote a glowing review of the performance but hated the historical inaccuracies of the play. He stated that Nixon never admitted to the Watergate cover up and any younger audience members might accept the play at truth. Artists have a responsibility to present the truth. He equated it to journalistic integrity. Going to the theater to learn history is like going to “The Daily Show” to get the news. John asked a class full of college students, “Who is Nixon?” Only three students raised their hands. The play offered Nixon a redemption that he never had in real life. How much artistic license should be allowed before historical accuracy is ignored or turned on it’s head? To illustrate his point, Steve suggested, we imagine that a Japanese playwright decided to write a play about World War II in which there was no Pearl Harbor. Instead Japan is forced into the war when America stages a sneak attack on the Japanese Navy Fleet. Could that be an entertaining play? Certainly, but it would be divisive and inaccurate.

You have just 3 chances left to see this amazing production.

Friday April 26th  at 8PM

Saturday April 27th at 8PM

Sunday April 28th at 2PM.