F*ckboys: The Musical

Posted on by Thor

F*ckboys: The Musical written by Savannah Pedersen is so far my favorite show that I have seen at Fringe this year. Presented by Infinite Productions, founded by Kayla Lopez and Savannah Pedersen, of Orlando, FL, this musical took me by surprise. The title had me thinking that I might be walking into a flashy cross dressing cabaret. Instead I got to meet some very real women with very real issues and concerns. These women meet at a local bar for karaoke night. One loves to sing and the others drink and commiserate. Their goal as stated in the opening number is to educate the audience about F*ckboys who are clearly a roadblock to any single girls peace of mind.

You know them. You love them. You love to hate them. Whatever the case
may be, you’ve probably run into a F*ckboy at some point in your life.
This is a haphazard guide to navigating the dating scene as told through
the eyes of a bunch of twenty-somethings. A musical extravaganza you
won’t want to miss. In a musical number about the history of F*ckboys, Shakespeare is roasted. “Billy Shakes referred to women as strumpets. If I hear another high
school freshman rave about how her relationship is JUST like Romeo and
Juliet because she thinks that that is an accurate depiction of romance,
I’m gonna go back in time and murder him myself. Also, he just looks
like an asshole. Classic f*ckboy.”

This show has just the right balance of real world difficulties mixed with humor. You learn to love and care about each character in turn as you learn about their strengths and weaknesses. Boys throw weak pick up lines at them like wet noodles. When one new man enters the bar everything freezes as the women size him up and come to the conclusion that he might not be a F*ckboy. Sure enough he talks one woman through her difficult break up without hitting on her when  she is down.

Woman 3, (Meghan Mitchell) was a corporate competitor whose career was skyrocketing.
She can rock a Power Pantsuit like nobody’s business. If she doesn’t
become the next Oprah by the time she’s 30, she would consider herself a
failure. She seemed to have it all in check but even she go sideswiped by romance.

The songs are well  written and the show moves at a lively pace. The fourth wall is broken to hilarious effect. Very serious life choices have to be made and in the end they band together singing that they are strong as long as they have each other. If you know a single 20 something, they need to see this show. Hell, I’m a 50 something and I loved every minute.

F*ckboys is in the Green Venue inside the Orlando Repertory Theater 1001 E Princeton St, Orlando, FL 32803. Tickets are $12 plus a Fringe button which is needed for every venue.

May 17 8:45PM
May 19 11:00PM
May 22 11:30PM
May 24 9:15PM
May 27 10:45PM

The Merry Widow at the Rep.

Posted on by Thor

I went to a dress rehearsal of The Merry Widow, directed and re-conceptualized by Eric Pinder, and conducted by Aaron Collins. Pam Schwartz and I searched for and found an open stage door. The cast could be heard warming up their voices in the distance. A life-sized model of Chitty Chitty Bang Bang sat tireless back stage. It was a challenge to find a way into the theater without walking onto the stage. I could see that the cast was dressed to the nines from the wings. This production features the best vocal talent in the area with members of the Space Coast Symphony Orchestra in the pit. I was excited to sketch the pit in action. Not many productions feature a live orchestra so predominantly. The steam punk themed set must have been left over from the previous show. Perhaps it was intended to indicate the complicated gears of love.

Leading lady, Hanna, (Claire Tendl) inherits a fortune from her late husband. The year is 2005, and she is so wealthy that everyone who is anyone in Silicon Valley is vying to get into her inner circle in order to gain access to a piece of her wealth, in the range of $300 million. Believing that a new marriage is the best way to secure her inheritance, business mogul friend, Baron, (John Segers) springs into action with the help of his own wife, (Eliza Healy Dopira) to find Hanna the right husband. It proves to not be as easy as it seems. The clever widow has her sights set on the charming and reckless Daniel, (Kevin Romero) a former college flame. There is only one problem, he has no intention of sacrificing his bachelor lifestyle for the comfort of marriage. He has a “wealth” of ladies to keep him entertained, and not even the promise of Hanna’s fortune can pull him away from his drunken escapades. Rendezvous are rampant. Complications abound.

The cast of about 20 often filled the stage with a party atmosphere. Claire Tendl’s singing was amazing. Kevin Romero acted with a drunken vaudevillian bravado, his body often struck in an arching curved gesture. The modernization of the show was most obvious in the third act which took place in a strip club called Maxim’s, complete with a stripper’s pole, on which Dawn Humphries gave an athletic performance. I wouldn’t mind this being an Olympic event. Money was thrown everywhere, as the other dancers gyrated on several chairs. Then the club abruptly emptied leaving the lead couple, Hannah and Dan, playfully holding onto the pole and spinning around it together.

The Merry Widow will be presented in the Edyth Bush Theatre at the Orlando Repertory Theatre (1001 E Princeton St, Orlando, FL 32803). Tickets are on sale now with local Orlando shows August 10th through the 13th. There will be two satellite shows in Melbourne and Vero Beach August 19th.

The remaining Orlando Performance dates are:

Saturday, August 12 2017

7:00 PM
—
10:00 PM



Sunday, August 13 2017

2:00 PM
—
5:00 PM


Blur

Posted on by Thor

I went to the final run through rehearsal for Emotions Dance performance of Blur at Turning Pointe Dance Studio (470 E Lake Brantley Drive, Longwood, FL). Rehearsal started at 9PM so I had time to eat dinner with Terry at home before I left. The dance company’s founder was on a conference call to California when I arrived and she told the dancers they had five minutes to warm up before starting to dance “full out”.

Using contemporary dance, Blur examines social networking, consumerism, the corporate world and reality television and asks “Are we really connected to one another”? Energetic, heartfelt and also playful choreography came together to look at our habits in today’s hectic world! Things are not always black and white. My favorite dance number involved all the dancers moving in a grid like pattern on the stage as they tapped out text messages. The driving techno music by Draft Punk Techno Logic set the fast paced beat to messages sent with little heart. “Buy it, use it, break it, fix it, trash it, change it, melt – upgrade it, charge it, pawn it, zoom it, press it, snap it, work it, quick – erase it, write it, get it, paste it, save it, load it, check it, quick – rewrite it, plug it, play it, burn it, rip it, drag and drop it, zip – unzip it, lock it, fill it, curl it, find it, view it, code it, jam – unlock it, surf it, scroll it, pose it, click it, cross it, crack it, twitch – update it, name it, rate it, tune it, print it, scan it, send it, fax – rename it, touch it, bring it, pay it, watch it, turn it, leave it, stop – format it.” I love the lyrics! They seem to document my mad struggle to keep up with a digital world.

Tonight, Saturday September 15th, is the last performance so get to the Orlando Repertory Theatre Blackbox (1001 E Princeton St, Orlando) by 8PM. Buy it, charge it, rip it, then prepare for some truly thought provoking dance! There is an opening act by Turning Pointe Elite. Go!

Farewell Margot Knight

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Autumn Ames called and asked me to do a painting to celebrate the ten years of service Margot Knight gave to the Orlando arts community as the President of United Arts of Central Florida. There was a farewell dinner in Margot’s honor at the Orlando Repertory Theater. Autumn wanted me to execute the sketch and bring the five foot panel to the party so people could lay in the first colors. Autumn was the first person to step up to the painting, and she painted in the red guitar. The party was just two hours long, so I knew the painting would not be finished that night. I spent the evening thinning down acrylic paints and offering suggestions to the people who painted. I didn’t put down a single brush stroke that night. In a conversation with Mary Hill, I came up with the idea of renaming all the colors after wines. I used sharpies to add the names to the cups of color. Not everyone noticed but those that did found it fun to paint a guitar with Merlot, for example. At first it was a challenge returning to the painting after so many people had touched it. Then it became liberating as it forced me to make bold decisions.

Every aspect of this painting was pulled from my Orlando sketchbooks. Most of the people in the painting were sketched for the Mennello Museum Mural. They didn’t make it onto the mural for various reasons, so I consider this painting the blooper reel. I was blessed to find that so many people came out to pose that I couldn’t fit them all on the 48 foot long wall. It is good to have too many choices sometimes.

That evening Margot brought with her all the silent auction items she had never used. We were given raffle tickets. I won an evening in a Maitland police patrol car! I can’t wait. What a great sketch opportunity! I was rushing around so much filling cups with color that I forgot to eat. I grabbed a plate after most everyone was gone. Margot and Autumn were sitting together. I got to see pictures of the beautiful rustic home that Margot is moving to in California. She is taking a new job at Djerassi Resident Artists Program in Woodside California. In a list of ten things to keep in mind about the Orlando arts community, she said, “We have some of the most out-of-the-box, talented artists. And we don’t appreciate or compensate them proportionate to their talent. Artists illuminate the human condition. We don’t always like what they show us. But they take more risks in a week than most of us take in our lifetime. They deserve our respect. They deserve to be paid.” She is a true artist’s advocate and I wish her well in her new adventure on the Golden Coast.

The Medium

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This is an illustration done for The Medium, an Opera written by Gian Carl Menotti. Florida Opera Theater is staging this opera in a private home here in Orlando several times this month. Terry and I used to attend the opera regularly. The Opera went bankrupt and closed shop several years ago. It is nice to see opera making its way back thanks to the grassroots efforts of Florida Opera Theater. Frank McClain is directing the production and I hope to sketch several rehearsals. Great art forms never die.

The opera is about a psychic medium, Madame Flora who is a fraud and drinks too much. She used her own daughter, Monica, to trick a woman into believing her is the woman’s dead child speaking from the other side. Flora took in a mute servant boy named Toby, but she is often enraged with him. Toby and Monica are attracted to each other, which becomes evident as they play a game of dress-up together. At a second seance, Flora seems to legitimately hear voices. The experience frightens her. She blames Toby and is infuriated that he doesn’t confess. As with many operas, there are tragic consequences. The fact that all the songs are in English makes the opera very accessible.

Besides the exclusive residential productions, the show will be staged at the Orlando Repertory Theater on December 3rd at 7:30pm and December 4th at 2:30pm. You can get tickets at floperatheater.org or call 407 718-4365.

Big Hair and Eyeliner

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The “One and Only” music video was being shot in the Orlando Repertory Theater. I did a sketch in the dressing room as the actresses and dancers got ready for the 80’s styled sequence. Megan Hinkle seemed to be a hair and makeup specialist. She helped Jessika Meriko with her eyeliner. Jessica had large curlers in her hair and she quickly changed into a firehouse red dress for the shoot. Britt Daley was busy teasing Darci Ricciardi’s hair. When Megan offered to help, Britt quickly acknowledged that she could probably do a better job. The room was a constant flurry of activity. I had to sketch extra fast. The male actors had dressed quickly in the same dressing room. They waited outside when they were done. Everyone looked primped and proper for the final scene.

Andy Matchett

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A long line of actors stood in a hallway of the Orlando Repertory Theater. They were waiting to audition. Britt Daley with her boom box strutted down the hall. The cameraman used a steady cam to go down the hallway and then he backed out the stage doorway and crouched framing Andy Matchett who was strumming his guitar. Andy did a double take when Britt walked past and he involuntarily strummed a twangy wolfs call on the guitar. His T-shirt read, “Popular” and he wore a Dog Powered Robot button on the guitar strap. 0ne of the lyrics in Britt’s “One and Only” song pointed out,”You’re wearing that T again.” Andy’s hair swelled to an Elvis styled wave in front. He wore a neat little hip amplifier.

The shot was executed again and again until it felt right. One of the stage hands tested the hallway’s light levels, fortunately it was already perfectly lit. I couldn’t sketch in the hallway without getting in the shot so this doorway was my only option to sketch the scene. My back was up against some stage curtains and ropes and wires snaked all around me. Andy of course is the lead singer in Andy Matchett and the Minx. This local band puts on a show that will rock your socks off.

One and Only

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I sketched all day in the Orlando Rep at the video shoot for Britt Daley’s One and Only. In this scene Britt is on stage performing her audition. You can just see her leg and the loose shirt slipping down her shoulder. I was fascinated by the dolly and boom which allowed the camera to be moved smoothly all around. Britt and Andy Matchett, who was also auditioning, enter a dream sequence together. They dance together to Britt’s song. They spun around, their outstretched arms extended. Extra fluorescent tubes and fill lights were set up to illuminate the couple. Britt told me the camera man was whispering to himself enthusiastically during this shot. “Yes, that’s it, good.” Luckily the audio is being replaced in the final video edit. Everyone enthusiastically volunteered their talent and time to bring this gorilla style video shoot to life. The One and Only music video will premiere on October second. I’ll keep you posted.

The Double D Incident

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Britt Daley and an amazing army of talent were shooting a music video for her new song, “One and Only” in the Orlando Repertory Theater, Katie Peters in he bright yellow dress stood on her mark for the audition. John DiDonna and Jennifer Bonner were in the audience seats acting as the director and his assistant. For this shot the video camera was way in the back of the theater pointing at the stage for a long shot. There was a nervous tension in the room. Everyone wanted to get this shot right.

Katie sang the last note in her song, “Bill Bailey Won’t You Please Come Home” She then lowered her arms. Jennifer barked, “Thank you” with disdain and disinterest. Dejected, Katie walked off the stage. Britt entered the stage with her huge 80’s style boom box. She waved to get the directors attention shouting, “Hello, HELLO!” Then she marched over to the piano, her high heels clicking loudly and assertively. She slammed the boom box on the piano. The battery compartment sprang open sending the double D batteries flying. They tumbled down striking the keys of the piano making a loud cacophonous clamor of notes. The room fell silent, then everyone laughed. Someone shouted out, “Keep those double D’s contained!” I was in tears, because I couldn’t stop laughing. I couldn’t breath! Finally calm returned. I just hope the final edit is as entertaining as the shooting process.

Any tension was broken. It was decided the batteries weren’t needed since the music would be added in the edit anyway. The next time Britt strutted on the stage the atmosphere was lighthearted and care free. She was ready to storm the audition. The scenes were shot in rapid succession. Then there was a break for lunch.

Pink Ribbon Project

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The Pink Ribbon Project directed by Aradhana Tiwari incorporated all the art forms to dramatic effect. Her mother was recently diagnosed with breast cancer. Aradhana felt she had to do something, anything, to help. She called together artists of all disciplines to create a show that deals with the physical, mental, and emotional realities of dealing with breast cancer. Though dealing in harsh realities the show also has light moments where I found myself laughing out loud. Ironically when laughing, the deeper emotions have a chance to percolate and surface. Multiple stories intermingle and unfold. Life’s mosaic is sifted for gems. Actors and artists stories are real and told from the heart.

Dancers took to the stage seated in four chairs. Holly Harris choreographed a dance routine which began with nervous anticipation and waiting. When the chairs were in position, they were spiked, meaning glow tape marked where they would be placed in the show. Mundane everyday movements were ignited and intensified. Dancers bit their nails and shook their legs with nervous energy. Heads ticked to the side in beat to the music. At one point the dancers walked as if through quicksilver, lines crossing center stage. A dancer twirled and fell then was lifted by a male dancer in scrubs and taken off stage. The dance was energetic sensuous and vibrant. Everyone in the rehearsal shouted and clapped.

When audience members enter the theater they walk past a large canvas that is lit from behind. People are invited to write their fears on the canvas. In the final moments of the show, the canvas is rolled out center stage. An artist begins to paint white over all the fears. Fear transitions to hope. Art is used to heal. Each of the characters in the play enters and they watch the transformation. A married couple whose relationship was strained by the emotional challenges of fighting breast cancer end up walking away hand in hand. Perhaps together they can fight and win.

There are only two performances of The Pink Ribbon Project left, tonight and tomorrow night at 8pm. Performances are at the Orlando Repertory Theater, 1001 E. Princeton St., Orlando. Admission is $20 for general seating and $150 for a “giving seating” ticket. Purchasing a “giving seat” ticket will fund one mammogram for an uninsured woman. To purchase tickets, go to www.playthemoment.com or call 321-662-0611. Proceeds will benefit the Breast Cancer Fund at Florida Hospital Cancer Institute, which provides diagnostic testing and treatment for uninsured and under served women in Central Florida.