Henry IV Part 2 at the Shakes

Pam and I went to a dress rehearsal for Henry IV Part 2. This is part of Orlando ShakesFire and Reign series, a seven Shakespeare production journey through history over three seasons covering the Rise of Henry V and the Wars of the Roses, from Richard IIRichard III.

“Uneasy lies the head that wears a crown.” William Shakespeare’s story of burnt bridges and growing pains stripped is down to a lively, raw, rambunctious performance, like nothing you’ve experienced before. Orlando Shakes’ actors will tackle Henry IV, Part 2 with less than 40 hours of rehearsal, no designers, and no director – just like the acting companies of Shakespeare’s time!

Actors blocked out the scenes themselves and selected their own costumes. Ned Averill Snell as the Gower wore a Rolling Stones T Shirt along with his medieval costuming. Philip Nolen as Falstaf chose to wear a bright red Santa suit. Brandon Roberts as Bardolph wore light blue sneakers.

Prior to the official start of the run Benjamin Bonenfant as Prince Hal and Lauren Culver ran through some lines. They jostled and joked and surprised each other as they hastily rehearsed the scene. Laughter in the scene mixed mixed with the laughter of their surprising each other as they performed. There is a real joy in this sort of anything goes attitude that made for a very fun production.

Masks are optional at the Shakes. Thankfully all staff seated in the audience wore masks as did we, but actors who are tested regularly performed without masks. When Henry IV stood hacking up a lung for minutes at a time center stage, the performance seemed too convincing during a pandemic. Overall it was a delightful and fun performance. This play is less about war and more about the father son relationship as the young prince moves away from deadbeat, carousing friends, like Falstaf who steer him wrong.

A Christmas Carol: Poster Evolution

Each poster I illustrated for the Orlando Shakes this season went through an evolution from initial concept sketches to final tweaks and refinements.

My initial concepts simply used sketches I had done at past performances. There is a big difference between a loose spontaneous sketch done in a dark theater and a final illustration, but it was a way to start getting ideas out.


I then went on to an illustration of the ghost of Christmas past in front of the raging fireplace. My thought was that we could all use some semblance of joy after more than 20 months of living with a pandemic.

Ultimately however I settled on Scrooge’s conversion on Christmas day as he holds up Tiny Tim. That visually expressed the joy I wanted without the visage of ghosts. It also helped to put a large chorus in the scene. There were other refinements to the poster involving refining chorus members, but I will not get into that minutia.

A Christmas Carol runs through December 24, 2021. The show features your favorite carols and awe-inspiring special effects, this delightful rendition tells the iconic tale of one man’s chance to change for the better. Gather together to witness the holiday magic and create a tradition for the whole family.

Intimate Apparel

The Orlando Shakes will present Intimate Apparel by two-time Pulitzer Prize winner Lynn Nottage from October 27 to November 20, 2021.

Set during the turn of the twentieth century, the drama, deftly weaves together a story that explores the complexities of identity, vulnerability, and human resilience. Sewing exquisite lingerie gives Esther, an African American seamstress, an intimate look at the love lives of her diverse clientele, but leaves her yearning for a romance of her own. When a letter arrives from a stranger, she embarks on a journey to build the life she’s longed for.

In my first sketch for the show poster, I identified with the seamstress as a creator. She had a family heirloom which was an intricate quilt. In the Disney animated short John Henry a quilt was used to introduce the characters and begin to tell the story so my thoughts wandered in that direction. I fell in love with painting her at her turn of the century sewing machine.

The cursive type I chose was a bit hard to read from a distance and though the seamstress was intimately involved in her craft the image was somber.

My second sketch was more on the mark being an intimate portrait of the creator fitting her clientele. This image had the added benefit of having some sex appeal. These two woman would talk during the fittings and the friendship became one they both relied on.

The cursive type remained the same so I turned my attention to refining that on the next pass. I tried variations with a needle and bobbin. The type became more delicate and also more bold so it could be read from a distance. I also needed to make the author’s name bigger which would require a few adjustments. I was getting close. Though everyone seemed happy with the staging of the scene, I felt the need to tinker. There had to be a way of posing the tow characters to expose the fact that they were close but also a bit separate. They could be friends, but not close friends. The client could not invite her seamstress out to the theater for instance.

I decided to turn the client from the audience a bit to show the laces on the back of the corset. This made more sense with the position of the character to the mirror but it detracted from an intimacy with the viewer. I went back to the frontal view for the final image and worked on reposing the seamstress’s reflection in the mirror. Pam and her niece posed to help me figure out what the  pose would look like reversed in a mirror.

Jean-Édouard Vuillard is a french artist that I love. He lived from 1868 to 1940. His painting inspired what I tried to do in painting the parlor interior. He used subtle greyed colors with bright notes of color in the lights.

Anyway, I identified with the creative journey of this seamstress as she embraced hopes of a future only to find those hopes were hung on an illusion.   Despite this she could return to her creative endeavors which offered meaning when love was elusive.

Director: Shonn McCloud
Scenic and Lighting Designer: Stephen Jones
Costume Designer: Dana Rebecca Woods
Sound Designer: Britt Sandusky
Intimacy Coordinator: KJ Gilmer
Dialect Coach: Vivian Majkowski
AEA Stage Manager: George Hamrah
Production Assistant: Nahaira Morales

The cast includes, Lilian Oben as Esther, Trenell Mooring as Mrs. Dickson, Laurel Hatfield as Mrs. Van Buren, Adam T. Biner as Mr. Marks, Martine Fleurisma as Mayme, and Chris Lindsay as George.

The Shakes requires all patrons to bring a vaccination card or proof of a recent negative COVID-19 test for admission. Masks are required for all audience members. All Shakes actors and staff are fully vaccinated. The theater provides a special section in the upper mezzanine for patrons who wish to be distanced from other parties due to COVID-19. When purchasing, seats for this section is indicated in bright red. I vastly appreciate their consideration, and it is there in the Phantom’s upper section that I sit to sketch.

Every Brilliant Thing

Every Brilliant Thing by Duncan MacMillan with Jonny Donahoe runs at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) runs through October 16, 2021. Suzanne O’Donnell did a magnificent job ass the narrator in this one person play.

The Shakes is coming back with full safety precautions in mind. All cast and crew at the Shakes are fully vaccinated. The theater also insists that the audience bring a vaccination card and photo ID to the performance.

I have had my vaccination card in my wallet for the last six months and this is the first time anyone has asked to see it. I was excited and proud to finally show my vaccination status. Those vaccine cards however are printed with cheap diapering inks. The police officer outside the theater had a hard time making out the faint marks that remained on the card. Ultimately I was waived in and I got to see my theater posters full size for the first time.

Pam and I elected to sit in the socially distanced section of the theater. In every row black lace marked several seats in alternating spots where people should not sit. This would allow for at least 4 feet of social distancing between groups. Everyone was wearing masks. I felt safe and secure to relax and enjoy the show as I sketched. Members of the audience were given numbered cards with list items on them. During he show Suzanne would shout out a number and an audience member would shout out what was written on their card. Pam pointed out that one guy kept removing his mask when he had to shout out his item, which kind of defeated the point of having a mask. One drawback is that the audience wasn’t always on top of their callback game but the actress handed these glitches with grace and humor.

Every brilliant thing has to do with a list the narrator began compiling as a child which was expanded later in life. She started the list because her mother was depressed and felt no desire to live. The list was for her mother to remind her of every brilliant thing that makes life worth living. Number 1 was of course ice cream. Later in life the items became more subtle like lending a book to a friend and actually having them read it. This was a perfect play for these pandemic times. We have all been isolated in some way and the joys in life must be found even through the isolation. Happiness was mixed with a pinch of sadness.

Suzanne exuded joy and passion for life, and in the end as she relaxed on her lounge listening to music I left feeling she would be fine, even though life is bitter sweet.

Three cheers to the Shakes for bringing back theater safely and responsibly. They are a bright light in these dark times.

 

Hazmat Hamlet

Beginning October 1, 2021 Orlando Shakes will require patrons to present either proof of vaccination or a recent negative COVID-19 test to be allowed entry into the theater.

This follows in the tradition of Broadway in NYC and the Dr. Phillips Center of the Performing Arts which have the same policy in place.

Managing Director Douglas Love-Ramos said in a release the measure will help keep guests safe and the venue from having to shut down. “We strongly believe that this is the right thing to do at this time,” he said.

Patrons over the age of 12 looking to attend the theater must mask up during the entire performance, regardless of vaccination status. Patrons who’ve left their vaccination card at home will be allowed to present a photo or digital copy of the document.

Negative results for PCR medical tests must be within 72 hours of the show, while negative rapid antigen test results will be acceptable as long as they were done at least 48 hours before showtime. Self-administered home COVID test results will not be accepted.

“We long for the day that we won’t need to worry about COVID and its restrictions,” Love-Ramos said. “But until then, we must do our part to help contain the spread of COVID and its variants, to keep our guests, staff, volunteers and artists as safe as possible.”

Ticket holders who purchased directly through Orlando Shakes and cannot meet the demands of these new policies will be entitled to a refund.

Crealde Zoomscapes

My Sunday morning Crealde School of Art Urban Sketching Class begins again on April 11, 2021.As of April 1, 2021 I will have had my second COVID-19 vaccine shot, so I will be more at ease. I will still follow all safety protocols like wearing a mask, maintaining my distance and washing my hands and wiping surfaces down religiously.

This sketch is from the class to demonstrate using thumbnail drawings to move an audience through a space. All classes have been held outdoors unless the weather keeps us inside. The primary point of the class is to get the students used to carrying a sketchbook everywhere they go and to fill it with simple daily direct observations.

I tend to seek out gatherings of people to include in my sketches and that has been put on hold for well over a year now. As the state opens to a new normal I am slowly venturing out with my sketchbook. In a week I will be sketching the Shakes performance of A Mid-Summer Night’s Dream at the Lake Eola Bandshell. When I first moved to Orlando I remember seeing a Shakespeare production at the bandshell. I am thankful that the Shakes if finding a way to keep theater alive through the pandemic.

The spring Crealde Urban Sketching Class was canceled since there was not enough interest among artists in sketching the world as it exists during the pandemic.

12th Annual John R. Hamilton Mock Trial: The Crown v. Falstaff

Falstaff was put on trial at the Orlando Shakes, (812 E Rollins St, Orlando, FL 32803).  He is a disreputable an rather rotund character in Shakespeare‘s Henry IV. The judges in this trial were to be Alisa Smith, Chair of the Department of Legal Studies at the University of Central Florida, Judge Frederick Lauten, former Chief Judge of the Ninth Judicial Circuit for Orange and Osceola Counties, and Scott Maxwell, Orlando Sentinel Columnist. When introduced, Judge Lauten did an admirable and hilarious job of disinfecting his fellow judges and the entire judging area.

Hosted
by the Bard’s Board Barristers, the Margeson Theater was transformed
into a hilarious, interactive courtroom. Actors from Orlando Shakes’
production of Henry IV, Part 1 took the unpredictability of live theater to a whole new level in an
over-the-top, rollicking trial amidst the panel of celebrity judges.

To start Falstaff recounted his heroic fight with some highwaymen who robbed him of the loot he had just hoisted himself. He brandished his sword recreating his every movement in the battle that ensued. With each telling the number of foes he had fought off grew. Then a cloaked figure read off the litany of charges against Falstaff which included larceny, robbery, thievery, lewd and lascivious behavior, public drunkenness, foul oderocity fraud, deceit, embezzlement, false accusations, abuse of power, obstruction of justice, impersonating the king, conspiracy and four counts of claim to murder. The list was hilariously long.

The trial itself began with Darth Vader as the prosecutor and Princess Leia as the defense attorney. Light sabers replaced the more timely swords. During the trial Falstaff got to discuss how honor has no place on a battlefield. The funniest moments came when Bardolph, Falsaff’s side kick was put on the stand to testify. He was incredibly drunk and a very easy witness to sway.

In the end the entire audience was the jury and after our jury instructions, we had to vote on Falstaff’s guilt or innocence. We had to raise out hands and make a guttural Wookiee call when we voted. Despite his clear guilt on many of the counts, he was an important character in the upcoming play, Henry IV Part 2. I voted to acquit, but the final decision was not clear based on the the noise in the theater. Chaos was breaking out. Then Falsaff bounded center stage and shouted, “I have been pardoned!” He ran off stage to murderous applause.

Henry IV

Henry IV Part 1 by William Shakespeare is at the Orlando Shakes through March 21, 2020. Some back story is needed to set the stage. Henry IV (Jim Ireland) took the throne from his corrupt and indecisive eldest brother Richard II. King Henry IV’s eldest son was Prince Hal (Benjamin Bonefant). Though he should be destined to one day take his father’s throne, he instead spent his time hanging out with very fat and disorderly Falstaff (Philip Nolan). Hal spends his time drinking and womanizing and the occasional highway theft, much to his fathers annoyance.

Meanwhile Edmund Mortimer (Cameron Grey) the leader of Henry IV’s army is captured in Wales by the Welsh rebel fighter Glendower (Brandon Roberts). Hotspur (Walter Kmiec) of the Percy family helped King Henry IV overthrow Richard II. But the new king never paid his debt and for this reason, Edmund was held ransom. The king refused since he found out Edmund had turned traitor and married the rebel’s daughter. Edmund’s daughter was married to Hotspur who was a hot blooded and very angry cousin to King Henry IV.  He formed an alliance with is uncle and the rebels to overthrow king Henry IV.

On the battlefield the alliance fell apart in that the rebels and Hotspur’s own father (Rodney Lizcano) never showed up for battle, leaving them hopelessly outnumbered by King Henry IV’s forces. Hotspur’s uncle went to the king for a parley and the king offers a pardon to Hotspur. This messages was never relayed and so battle ensues. It seems like dozens of sword fight broke out on stage all at once.

The wayward son Hal joined his father and in the end saved the day. Falstaff on the other hand stayed true to his debauchery ways, hiding to avoid fighting and then taking credit for Hals handiwork. His monologues about how useless Honor is on the battlefield are for me some of the most memorable and moving accounts of what it means to be human and alive. Just keeping track of the family tree is a feat unto itself but the action and drama are universal.

The bottom line is that this was a fun evening of theater.

Tickets are $32 to 57

The remaining show times…

Wednesday, March 4, 2020 – 2:00 PM – Senior Matinee

Wednesday, March 4, 2020 – 7:30 PM

Saturday, March 7, 2020 – 7:30 PM

Sunday, March 8, 2020 – 2:00 PM – Talk back Performance

Wednesday, March 11, 2020 – 2:00 PM – Senior Matinee

Sunday, March 15, 2020 – 2:00 PM

Friday, March 20, 2020 – 7:30 PM

Saturday, March 21, 2020 – 2:00 PM

Saturday, March 21, 2020 – 7:30 PM

Weekend Top 6 Picks for November 16 and 17, 2019


Saturday November 16, 2019

9am to 1pm.  $10 to enter your chili $5 to eat. Coffee With Pat and Matt Chili Cook-off. The Nook on Robinson (2432 E. Robinson St., Orlando). Fundraising chili cook-off. Our friend Patrick Greene is heading off on another adventure. This time to do Vienna’s prestigious Monochrome Q21 residency! The chili cook off event is a fundraiser for his art venture and a farewell-for-now party. First prize is a $25 bar tab, 2nd and 3rd prize winners get a Pat Greene for Mayor t-shirt.

10am to Noonish. Children under 3 are
free.
Admission is included with your $10 ticket. To enjoy free admission present your Annual Pass Member card at
the gate. 
Owl Be Home for Christmas

Audubon Center for Birds of Prey


(1101 Audubon Way, Maitland Fl). Holiday kick-off event with holiday crafts, meet-and-greets with bird ambassadors, tasty treats and Santa.


(407) 644-019.

5pm to 7pmish. Free. Star Wars Masquerade

Gods and Monsters


(5421 International Drive, Orlando Fl). celebrating the Disney release of The Mandalorian, with a Star Wars Masquerade in VAULT 5421. The Empire Strikes Back at 5pm, followed by Return of the Jedi and other Star Wars films and shows on our big screens throughout the night, with spacey tunes playing, themed cocktails, and Cosplay Cage-Dancing by Jacqueline Obsidian from 8pm-12am! If you go in Star Wars cosplay or SW themed masquerade attire to receive 1 FREE SHOT or soda at the bar and 15% off store wide inside Gods and Monsters! (Just mention your attire, at the bar, for your FREE shot or soda and at the register for store discount.)

Sunday November 17, 2019 

Noon to 2pmish Free for kids 12 and under. Regular Ticket Pricing $12.00.  Peanut Butter Matinee: My Neighbor Totoro.

Enzian Theater


(1300 S. Orlando Ave., Maitland Fl). One of my favorite of Miyazaki’s films. Backgrounds are gorgeous. Two girls move to the countryside and befriend playful spirits and a cuddly giant in this animated film from Hayao Miyazaki.


407-629-0054.

 2pmto 4pmish $62 to $37Macbeth.  Orlando Shakes


812 E. Rollins St., Orlando. Shakespeare’s cursed play about a Scottish thane who, under the urging of his wife, murders his way up the ladder of success.


407-447-1700. 

3pm to 5pmish $42 Boesman and Lena. Mad Cow Theatre 

(54 W. Church St., Orlando Fl.)
Tale of the struggle of two refugees who encounter a stranger while wandering the South African wastelands.


407-297-8788.

Up the Ladder Down the Slide

PlayFest at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) is a two-weekend festival, where patrons get to experience seven readings of new plays in development and participate in the creative process with post-reading playwright talk backs and surveys. Each reading is $10. I stopped in for a rehearsal of Up the Ladder Down the Slide by David Valdes. The play shares the story of three longtime best friends and their aging parents.

Three boxes were placed on stage to represent three ladders. The music stands which held scripts were numbered from one to six so actors knew where they would be staged during this first  staged reading of the play. The three characters who were taking care of their aging parents would commiserate over drinks sharing stories that were both humorous and sad.

In one scene a young daughter, Vee (Alanna Fagan) was trying on her wedding dress which was in her opinion way to short and relieving. Her mom, Karen (Tiza Garland) snapped a photo on her cell phone and shared it with her friend Oscar.  He responded with a photo of a far worse wedding dress fail.  Texts flew back and forth and we were left wondering just how absurd the exchange got based on the reactions on stage.

Laurel (Avis-Marie Barnes) cared for her father with autism (Michael Morman), Oscar (Bert Rodriguez) cared for his aging mother Mamita (Blanca Goodfriend) as they searched the stage for a stray cat, And the mother caring for her argumentative mother Joann (Karin Amano) won my heart as they drove each other crazy. Only laughs with friends and some stiff drinks kept these friends sane.

Towards the end of the play each aging parent sat on one of the boxes with their care givers behind them. With baby boomers aging, these stories become more common with this generation caring for the one before. The play has plenty of heart but I didn’t get a chance to stay to the end. I am left wondering what the next step is towards the beyond and how it will affect those who invested so much of themselves. These friends seem capable of navigating even the worst times with some drinks and laughs.

Creative Team

Director: Nick Bublitz

Stage Manager: Jazlynne Williams

Stage Direction Reader and Dramaturg: Laura Swindoll

Cast

Laurel: Avis-Marie Barnes

Karen: Tiza Garland

Joann: Karin Amano

Mamita: Blanca Goodfriend

Vee: Alanna Fagan

Oscar: Bert Rodriguez

The Commodore: Michael Morman

Lonnie/Nurse Mike/ Bar Back: Sean Andric