Hamlet

I went to the opening night performance of Hamlet by William Shakespeare at The  Orlando Shakes, (812 E Rollins St, Orlando, FL 32803). My memory of the play was limited to the notion that at some point, Hamlet talks to a skull. The plot is rather simple. The ghost of Hamlet’s father appears to Hamlet and demands revenge against the uncle who killed him. Hamlet talks endlessly about revenging his father’s death, and then follows through. His every monologue conveys how unhinged he is about the need to avenge his father’s death. I was a bit frustrated that Hamlet had a perfect chance to revenge his father and decided it was too easy so he waited. So many passages have become a part of popular culture.

This play was one of Shakespeare’s most popular works during his lifetime, and still ranks among his most performed. It is also Shakespeare’s longest play with this production running three hours with a 15 minute intermission. I completed most of the sketch in the first act and did most of the watercolor washes during the intermission. This production had actors rushing off and on the stage in quick succession. The cast was on the large side with 17 actors. A huge puff of stage smoke engulfed the audience where I sat when Hamlets ghost appeared.

The play was produced in the round with extra bleachers added to the Margeson Theater. I sat in the added bleachers and unfortunately that meant most of the actors faced away from me directing their performance the audience opposite my position. Junior Nyong’O from Nairobi  performed the title role. He brought a frenetic energy to the production focusing on Hamlet’s more twisted, disturbed and sinister motives. Ophelia (Susan Maris) also became completely unhinged when experiencing grief. A pestle with poison, sword play and misfortune plague everyone in the final act. Tragedy wiped the stage clean.

A Christmas Carol at Orlando Shakes

1 of 5 Prints SOLD

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

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

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

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

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

Tickets are $30 to $53.

Man of La Mancha at the Orlando Shakes.

Man of La Mancha will be featured in Orlando Shakespeare Theater from September 6 to October
8, 2017 in the Margeson Theater.
Inspired by one of
the greatest novels in Western literature, the show
brings the audience into the world of the “mad knight” Don Quixote (
Broadway veteran Davis Gaines) as
he pursues his quest for the impossible dream. The internationally acclaimed
musical is a glorious affirmation of the unyielding resilience of the human
spirit. Featuring the classic song “The Impossible Dream,” this timeless tale of love and adventure
continues Orlando Shakes’ streak of bringing the best of Broadway to the
intimate Margeson Theater.

“Right now, I feel
it’s more important than ever that we give our community hope and something to
believe in,” said Jim Helsinger, Artistic Director at Orlando Shakes. “Man
of La Mancha
is more than just a classic Tony Award-winning
musical. It’s a reminder that the human spirit has an unyielding capacity for
hope and love, and no matter how dark the world may seem, it is the light of
our dreams that leads us on.”

A seven foot deep hole was opened in the center of the Marginson stage to allow for Scenic
Designer Jim Hunter‘scentral elevator stage structure and trap door entrance to the scenes. The decision to
move Man of La Mancha into in-the-round
seating came about as a solution to better meet the needs of audiences.
Transforming the Margeson Theater into in-the-round seating will create an
additional 69 seats, for a total of 390 tickets eligible to be sold per
performance. It will also create a unique live theater environment that is
rarely experienced in Central Florida.

“Musicals
in-the-round bring the audience a closer, more immersive experience,” said
Helsinger. “Live theater is always a special experience, but with this style of
seating, audiences will be able to feel like they are a part of the story
unfolding in front of them. They will be on the fields of La Mancha with Don
Quixote.”

Ticket Information

PRICING

Wednesdays – Saturdays
at 7:30 p.m. and Saturdays and Sundays at 2:00 p.m. – $35, $50, $65

Preview Performances and
Senior Matinees – $18, $25, $33

Performance
Information and Related Events

Preview Dates: September 6 and 7 at 7:30 p.m.

Opening Date: September 8 at
7:30 p.m.

Senior Matinees: September 13; 20;
27; and October 4 at 2 p.m.

Talk Back Performance: September 24 at 2
p.m.

After Orlando at the John and Rita Lowndes Shakespeare Center.

I went to a rehearsal for After Orlando which is part of Play Fest at the John and Rita Lowndes Shakespeare Center. The stage floor in the Margeson Theater had beautiful postcard painted images of fall foliage from New York and New England. After Orlando consists of a series of short one a c) plays that are about recovery and loss after the Pulse Nightclub tragedy. A table was set up with scripts and other materials. Each rehearsal had to be short and succinct. There was a small green
hat made out of paper that had green triangular leaves as a brim. The
theater tech explained the she was going to be a strawberry for
Halloween and the hat completed her costume.

The first play, O-Town written by David Lee is a simple narration that describes Orlando in such a way that any tourist could identify with. It was reminiscent of Our Town. Landmarks and people are identified as they are on a typical day, and then how they will be changed after the shooting. A homeless man takes is upon himself to relight all the candles at the Dr. Phillips Center for the Performing Arts make shift memorial. A merchant creates thousands of rainbow ribbons that are distributed around the world. The Center is faced with an incredible challenge after the shooting and they rise like a phoenix to meet the needs. 

In another play two men chat playfully. One is a professional boxer and he doesn’t want to be seen being affectionate in public because it would make him seem weak. His partner, found on Tinder, is playful and flamboyant. He wants to go to the club, but the boxer is resolute and wants to stay in. They share a connection that goes beyond sexuality. Music fills the room and the playful partner danced with abandon trying to encourage his stoic partner to join in. When he leaves to go alone to the club, his partner begins to sway to the beat, alone. It becomes clear that one of them might not live to see the next day. 

In another play, three men interact inside the club. They are celebrating life and poking fun at American culture that ignores their Latina culture. the in playful banter is endearing. As they dance, one of them freezes looking out into the audience. Then the other two freeze to see what sees. Each in turn falls backwards, as if hit in the chest, while letting out a loud staccato beat box vocal. They turn away from the audience. After a long pause, they each say their name and age. It was a sobering moment.

There were more plays that needed to be rehearsed, but I slipped out and drove to a friends. On the drive, I saw children dressed as skeleton’s and zombies as they pillaged a neighborhood for candy.  Orlando has faced a very real horror. Seeing the children wandering in the dark was strangely reassuring.


PayFest, runs from November 3rd to the 6th.

PlayFest offers you the rare opportunity to participate in the
development of new plays. Converse with playwrights, directors, and
actors while absorbing groundbreaking new works. This four-day event
tears down the barrier between artist and audience, putting YOU at the
heart of the process.

Your input is vital to the extended life of new plays. Many audience favorites from PlayFest have been developed into full productions in Orlando Shakespeare Theater’s Signature Series!

This season we’re dedicating PlayFest to six new plays plus a special reading of The Laramie Project. All selected plays explore issues surrounding the Pulse tragedy that occurred in Orlando in the early morning of June 12, 2016.  In selecting plays for the weekend, we’re concentrating on plays that explore the following issues:

  • LGBTQ struggles and responses to violence and hate
  • Discrimination against Hispanics/Latinos and efforts for acceptance and inclusion
  • Terrorism acts
  • Mental health and gun violence
  • Individual and community responses to mass violence
  • Individual Reading Tickets: $10

  • Click here to book individual tickets for PlayFest Readings. General Admission Seating.

Save now with a PlayFest Package!

  • PlayFest Pass $49 per person (Value: $70)

    See all 7 Readings and save with a PlayFest Pass! Click here to book a PlayFest Pass.

  • PlayFest VIP – $100 per person

    Want to make sure you get one of the best seats in the
    house?  We’re offering the opportunity to upgrade your PlayFest Pass to
    VIP status to ensure a reserved seat for all six new plays and The Laramie Project.  Become a PlayFest VIP to reserve your seat up front in one of the first four rows of the Margeson Theater. Click here to become a PlayFest VIP.

  • PlayFest Patron – $250 per individual

    Reserved seating in the front rows of the Margeson Theater,
    complimentary drink tickets, special recognition in the program, and a
    private event with the PlayFest playwrights. Make your experience a
    memorable one! Please email development@orlandoshakes.org for more information.

Make a commitment to new plays! Call the Box Office at 407-447-1700 ext. 1 for more information. All Passes Expire November 12, 2016.

West Side Story rumbles into the Shakes.

West Side Story will be performed in the Margeson Theater at the Orlando Shakespeare Theater, (812 E Rollins St, Orlando, FL) from September 7th to October 9th. I Stopped into the scenic shop to see the New York City set under construction. Jeff Ferree explained that carpet had to be installed on the second tier of the set, to reduce noise as actors walked. Jeff used the lift to get a roll of carpet up and then three stage hands rolled it out. One corner hung precariously over ledge. If anyone stepped o this overhanging carpet they would fall to the stage floor. Jeff used a carpet knife to cut away the excess carpet. To try and smooth the carpet out, he leaped forward multiple times like a kangaroo to try and stretch the carpet flat. 

At the same time lights were being turned on and off from the lighting booth. Someone with a walkie talkie confirmed when the correct lights came on. A few were out of place and will likely be replaced. The large bridge like structure is part of the set that is lowered into place during the fight scenes. Jeff showed me the set rendering designed by Jim Hunter, and it will look gritty and gorgeous. Large sections of steal mesh fence need to be scavenged for stage right. There is a virtual walk through of the set which is apparently quite impressive. 

West Side Story is based on a concept of Jerome Robbins, a book by Arthur Laurents with Music by Leonard Bernstein and Lyrics by Stephen Sondheim. Idealistic young lovers Maria and Tony find themselves
caught between rival street gangs, the American Jets and the Puerto
Rican Sharks. Their struggle to survive in a world of hate, violence,
and prejudice is one of the most beautiful, heart-wrenching, and
relevant musical dramas of our time. West Side Story’‘s legendary jazz,
Latin, and classical-inspired score features the treasured songs
““Something’‘s Coming,“” ““Tonight,” ““I Feel Pretty,” and ““America.“The movie came out the year I was born, and the story is still as fresh, vibrant and reliant as it was back then.”
Tickets are between $18 and $33.

The Local Fringe Pieview offered Hilarity and Drama

On April 14th local production companies had two minutes to showcase their Fringe shows at the Orlando Shakespeare Theater’s Margeson Theater (812 E Rollins St, Orlando, FL). I go each year to get a feeling for which shows I can not miss. George Fringe Wallace and Michael Marinaccio acted as the MCs while Brandon Roberts acted as the Shepard’s hook to stop any acts that went over two minutes. Brandon was dressed in a giant fluffy diaper and had angel’s wings and a Cupid’s bow. I was hoping each act would run a bit long just to see what he would do next. He even tried to become part of the act when Enui, a circus arts acrobatic troupe took center stage. He stood tentatively on a teeter board but ran off when the acrobats bounded in.

The program had thumbs up and thumbs down symbols for easy future reference.  Acts I gave a thumbs up to, included: The Downtowner’s The Real 50 Shades of Gray (Hair). These plucky seniors aged 66 to 99 sang songs of love, lust and life with passion. A plant in the audience got up and stripped as they sang. The audience ate it up.  I liked, Camino Flamenco, The Aqua Saga and Jekyll N’ Hyde: a Rap Musical. I was saddened to hear that the the lead actor in Jekyll N’ Hyde, Carl D. Kirkmire just recently died at the age of 32. His performance at the Fringe preview was stellar and a real talent has left the stage.

Jeff Ferree introduced his puppet show, The Girl Who Fell Up the Chimney” by riding a tiny clown sized bicycle around the stage and shooting silly string at the audience. Last year he juggled spaghetti. His previews are always an inspired mess. I tried to sketch the puppet show at the Fringe. It was in a small closet which for some reason had a fire place. You had to lie on your back with your head in the fireplace to see the show. Unfortunately, the button to turn on the lights didn’t work no matter how many times I hit it. I’m sure it was a great sketch opportunity lost. Squeaky Wheel productions presented a song from Seasons which was incredibly sad. This show is my pick as the show that should go all the way to Broadway.

All together, 41 shows previewed that night offering an amazing variety of possibilities. Sometimes a preview can be alluring but that hint is lost in the final hour long production. For instance I loved the tender tall of love found in a Vietnamese karaoke bar, but Reincarnation Soup, ended up being confusing to follow since the actor jumped between so many different personalities in the final production. I felt shanghaied. Then other times it is nice to go to a show at the Fringe with no preconceptions and be pleasantly surprised. That is what the Fringe is all about, discovering something new and unexpected at every turn.

The Taming of the Shrew

Jeff Ferree suggested I stop in at the Orlando Shakespeare Theater to sketch the early stages of a set build. Jeff told me the inner structure was like a giant erector set and his description was spot on. A large crew of people had to work as a team to raise the large platform panels into place. It was like a good old fashioned barn raising. Wood planking was ready to be put down on the stage floor. Jeff showed me the blue prints for the set which would become a wild west town. The Scenic Designer is Kat Conley.

The show is a fresh take on William Shakespeare’s The Taming of the Shrew. Set in the Wild West and directed by Orlando Shakes Artistic Director Jim Helsinger. “The sweet and amiable Bianca can have her pick of suitors, but only once
her sister, the much less charming Kate, is married off. Fortune-seeking
Petruchio rises to the challenge, but can he tame this fiery-tongued
shrew? Set in the tumultuous Wild West, Shakespeare’s unruly comedy
gallops onto the Margeson Theater stage in a lively, high-energy battle
of the sexes with a couple hell-bent on confusing and outsmarting each
other right up to the play’s unexpected conclusion.”

 Mark Your Calendar! The Taming of the Shrew
began September 11 and runs through October 6, 2013 at the John and
Rita Lowndes Shakespeare Center
in Loch Haven Park. Tickets, priced at
$17-$40, are on sale now at (407) 447-1700. On Thursday September 26 you can stay after the performance for an
informal moderated discussion with the cast and members of the artistic
team. On Sunday October 6th go to the prologue series which starts 30 minutes before the show. An actor will lead the audience through a discussion of the plot, themes and major characters in the production.

Fringemas

Fringe is pulled out all the stops for the December First Monday Happy Hour. In the round Patron’s Room in the Lowndes Shakespeare Center there were tables set up with silent bidding items. George Fringe Wallace directed me to the Margeson Theatre, (orange venue) where the various performers were working on last minute tech issues. Laney Jones and Matt Tonner set to play guitar and ukulele. I had seen Laney perform twice before, both times in parking lots, so it was nice to see her on the stage. She has a sweet voice and her original folk tunes are humerus and heart warming. She sang a song about how she loves her therapist since he always listens and he has been her longest relationship. It was hilarious.

The announcers, Santa and Mrs. Claus (Michael Wanzie and Mitzi Morris) introduced each act. Joan Crawford offered a raspy and funny rendition of the 12 days of Christmas. The PB&J Theater Factory performed a crazy skit in which Brandon Roberts came out as a Gumbyesque foam Christmas Tree. The first time he appeared, he looked like a sad phallic shaped tree. Everyone laughed as he did an unenthusiastic dance. The tree costumes eventually got fuller and his enthusiasm, livelier.

A Varietease dancer performed a subdued strip tease, but a wardrobe malfunction had everyone in tears laughing. Pepe acted as a guest announcer and he kept the irreverent proceedings quite lively. The set was for “The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of ‘A Christmas Carol”. Try and say that five times fast! The audience was full of performers who will have shows in this year’s Fringe. Joe Rosier sat in the front row making a rather believable Santa with his real beard.

Bitches of the Kingdom

I desperately wanted to see “Bitches of the Kingdom”. The show had won a Patron’s Pick Award and so it had one last performance on Memorial Day. I had met the producers Fiely and Dennis and they were so incredibly gracious. When Terry and I arrived at the Shakespeare Theater lobby, there was already a long line. This time around there was no problem picking up tickets. The line stretched from the entrance of the Margeson Theater all the way to the entryway. A volunteer split the line behind us and then had it wind back down the length of the building down a ramp. Every time someone entered, the volunteer would ask them if they had their tickets and a Fringe badge. He would then direct them to the end of the line.

When we got inside the Margeson, we looked for seats on the side lines so I could be close to the performers. Fiely Matias, the show’s producer and director pointed to two seats that were being saved with yellow programs taped to the seat backs. Terry was pleased and the seats were in a great spot for me to sketch from. I hooked up a book light to my sketchbook so I could sketch when the house lights went down.

The show was a delight from the start. It plays upon the princess complex that is so prevalent in the Disney Animated films. These princesses look beyond “Happily Ever After.” They had attitude. Snow White played by Michelle Knight started things off with a stunning solo. I have seem her perform twice before. She knows how to grab an audience’s attention and hold it from the first note. Her voice is hypnotizing. The music and lyrics were written by Dennis Giacono who sat behind the piano. The lyrics and performances were always laugh out loud funny. Snow White held a note for so long that the audience started to clap. Cinderella played by Brittany Berkowitz LeNoir waited excitedly to begin her song. Snow White hogged the spotlight by extending her song with flashy vocal acrobatics, interrupting Cinderella every time she stepped forward. Snow White sang to a pretty bird on her finger then she gently tossed him in the air and he dropped like a rock. She tried to kick him aside like nothing happened. lt was hilarious.

One of my favorite numbers was “All I want to do is Eat!” Cinderella was on the thin side and any Disney princess seemed to always have a pencil thin waste. At the end of this number Cinderella is so lost in the thought of food, that she shivered orgasmically. Belle covered her eyes while the other princesses raised an eyebrow. The song ended with Cinderella getting close to the microphone and taking a rapturous crunch of a potato chip.

Another funny number was “Big Tits.” Snow White dominated this number with a sassy, sensual performance that stressed the power she held over any Prince Charming. As she put it, “Do I look like I have to wait for my prince to cum?” After a moments pause the audience roared. Early rehearsals demonstrate much of the charm and magic that was brought to life with today’s cast. I can’t brag enough about this production. I hope it has a long life in increasingly larger venues. These bitches rule!

Fringe 0pening Night Gala Show

The Fringe Gala Show was hosted by the Oops Guys, Dennis Giacino and Fiely Matias. They introduced a game show spoof entitled, “Drop your Balls!” This was an adult themed game show, so parents don’t let your children read this post! The five contestants were introduced and they sat in metal folding chairs in a neat line. Each contestant was given a clear nylon sack with several colorful balls. The sacks were tied to the contestants belts and they dangled between their legs. The rules were simple. At the end of the evening, the contestant with the most balls would win.

First in line for the brave contestants was an eating challenge. The challenges included, down that banana, spread the icing, suck a Twinkie or go down on Little Debbie. The first contestant was David Lee who is in the Pulitzer prize winning Fringe show titled, “Thom Paine” in the yellow venue. To find his challenge David had to “Spin the Asian” which involved gently pushing Fiely allowing him to spin in place. When he decided to stop spinning, he announced, “Suck that twinkie!” A chair was bought out to center stage and a plastic drop cloth was spread out on the floor with help from Katie Thayer dressed in a sexy red dress and knee high red leather high heel boots. She turned out to be from the show, “Big Swinging Dick’s Topless Bar and Naked Drag Queen Farting!” a hilarious show written by Carl F. Gauze in the green venue. The twinky was placed on the chair and gentle music began to play with the chirping of birds. David removed the Twinky from its wrapper, then he re-wrapped the twinky theatrically in the drop cloth implying he would only perform the act if it was done safely. He shouted, “This kind of reminds me of a Lucille Ball sketch.” He was awarded two balls for his performance.

Kevin J. Thornton from the show “I Love You, Were Fucked” was given the challenge to, “Down that Banana.” He turned his back to the audience as he gently peeled the banana which he held at his crotch. He then got on his back and lifted his legs and hips touching his toes way above his head. He then lowered his hips until he was able to nip off the tip of the banana. I wasn’t aware a person’s back muscles could stretch that much! The crowd went wild! He was awarded 3 balls.

Rob Gee who is in “Smart Arse” was given the challenge to “Lick that Pie.” He teased the pie by gently tapping it at first with his index finger until the crowd couldn’t take it anymore. He licked the red filling once and then devoured the pie in one ravenous mouth filled, masticating gulp. Lisa Sleeper was the only woman contestant. She plays Sleeping Beauty in “Bitches of the Kingdom” which is a musical satire about the pissed off princess’ of the Disney classics. Lulu Picart sang a song from the show. She plays Mulan. Since I worked so hard on that film with pride, doing so much overtime, I listened intently. The song was lyrical as she sang about how Asian girls are beautiful with those blossoms in their hair. But then she wondered why she was the only princess who didn’t get the guy. She realized she might be a lesbian. Fairy tails might be fine with some Gertrude Stein! Now this was a twist I didn’t expect, but I loved it, as did the audience! So Lisa had to contend with some sloppy banana action, she slipped the peeled banana in and out of her mouth multiple times before she dipped it in whipped cream and took a big ravenous bite. She was awarded two balls.

Pepe, who was there representing for Kids Fringe, was hilarious in every challenge. When asked to demonstrate how to give a flyer to an unsuspecting Fringe patron, Pepe provocatively insisted the audience member grab the flyer from his crotch with their teeth. When it came time for the contestants to count their balls, Pepe’s sack split open spilling all his balls on the stage. When his balls were collected, Pepe was the winner with eight balls.