Lady Day at Emerson’s Bar and Grill: Poster Evolution

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This was my favorite painted version of the poster for the Orlando Shakespeare Center. Lady Day stood in a strong spotlight that broke her into an abstraction of lights and darks. Pinks and blues work together like bold puzzle pieces. The bottle on the table stands as erect and proud as the singer herself.

For the final poster however I needed to move in closer to the singer. Tymisha Harris was likely to be cast in the roll but that had not been established yet. I danced a line between making the singer look like Lady Day and Tymisha. I did like the chance to rework the microphone adding it metallic sheen.

Performances continue through March 5, 2023. I will be sketching a performance next week and I can’t wait.

Poster Evolution: Noises Off

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Noises Off by Michael Frayn will run at the Orlando Shakespeare Center from September 7-25, 2022.

One of the funniest plays ever written, this hysterical play-within-a-play is filled with screwball antics, prat-falls and sight gags. A professional theater director must prevent his half-baked actors and an overworked crew from sabotaging his production with their off-stage shenanigans – and on-stage bedlam! This side-splitting comedy proves the adage – The show must go on!

I watched a movie,  based on the play to get a feeling for the show before I started work on the poster. Every scene is incredibly fast moving with doors slamming off stage and on stage. I became intrigued by a scene in which a beautiful woman looses hr contacts and the actors all struggle to find in on stage. It is a very meta moment in which life and art combine in a hilarious moment.

My first pass at the poster was of the curtain falling on that scene as the actors struggle to find the contact lens. Granted the Shakes will likely not have a curtain in the Margeson Theater, but it offered me an opportunity to show the chaos of the scene as just a thin slice. It leaves much to the imagination. The notes were pretty straight forward and make sense, “More legs, less curtain.” That in itself could be a guiding principle of any theater production.

I always do two sketches of each poster to make sure I am exploring different options. I had heard that there might be a spinning stage that shows back stage as well an the forward facing stage set. I wanted to explore a back stage scene that faces out towards the audience. One of the actors has a drinking problem and to keep the production moving forward, the cast has to hide his bottle. There is an upper balcony on the set with multiple doors, so back stage these would have to be a staircase to get the actors up to those imagined and never seen rooms. The problem with this poster is that the show had not been cast yet.

The final poster was a simple revise of my first concept. I had to get rid of a few actors legs but the idea certainly holds up with everything bigger, larger and better. I am excited to see the show. Several of the actors I have seen in other productions and they are absolutely hilarious. Tickets range from $26.25 to $36.76

A Doll’s House Part 2 at Shakes

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Doll House Part 2 by Lucas Hnath is being performed at the Orlando Shakes (812 E Rollins St, Orlando, FL 32803) through February 23, 2019. In
the final scene of Henrik Ibsen’s 1879 groundbreaking masterwork, Nora Helmer
makes the shocking decision to leave her husband and children, and begin
a life on her own. This climactic event—when Nora slams the door on
everything in her life—instantly propelled world drama into the modern
age. In A Doll’s House, Part 2, many years have passed since
Nora’s exit. Now, there’s a knock on that same door. Nora has returned.
But why? And what will it mean for those she left behind?

The simple set designed by Stephen Jones consisted of a curved wall with one huge Victorian door.  The paint was chipped with time. The play did indeed begin with a knock at the door. When Anne Marie (Anne Hering) answered the door all the lights on stage illuminated to their top setting creating a blinding sunburst effect as Nora (Suzanne O’Donnell) entered. For some perspective, Pam and I watched the original Ibsen play as a live 1959 telebroadcast. Nora in that production was a flippant housewife demurring to her husband’s wishes. She forged a signature on a loan in order to whisk her husband to Italy for the sake of his health. That act indentured her to try and pay the loan off by begging her husband for small sums of money. Instead of a Christmas present she begged him for a small sum of cash.

When Nora returned, she was a self-made woman of means. She had become an author and was very successful at it. She was a feminist firmly believing that women do not need men for their happiness. The Part 2 production is set 15 years after Nora left her family which would be around 1894. Women would not gain the right to vote for another 26 years, but Nora was well ahead of her time believing she could make a difference through her writing which had to be authored with a pseudonym. She wrote about her marriage to Torvald (Steven Lane) and the book encouraged women to take charge of their own lives. A judge was upset by her message, so he found out who she really was and discovered that she was still married. Torvald had never filed for divorce. It was more convenient for him to think she had died than to face the shame of filing for divorce. She needed that divorce to truly be free. This play focused on that quest. Despite her success, she was still beholden to unfair laws that made her the property of a man she had not seen for 15 years. She needed to sit down with her husband to again demand her freedom. I identified with her desire for artistic freedom.

The language is decidedly modern with some cursing that seemed out of place compared to the original Ibsen play. These outbursts do offer some comedic relief. People in the audience who had suffered through divorce were nodding their heads in solidarity as Nora pontificated about the need for freedom. Love and affection were cherished, but after marriage she felt people changed. They no longer wooed their partners and took them for granted. This is what caused affection to turn to resentment. This was a decidedly modern message.

Tickets are $32 to $44.

A Christmas Carol at Orlando Shakes

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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.

#God Hates You

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#GodHatesYou by Emily Dendinger is part of the PlayFest line up at the Orlando Shakespeare Center (812 E Rollins St, Orlando, FL).

“God punishes the wicked and rewards the good. #repentorperish” Having attended her first picket at five years old, Laurel (Amanda Anne Dayton) is proud of the good work she has done in the name of the Lord. While being groomed to be the next leader of her radical church (a fictional church similar to Westboro Baptist), she takes to Twitter to spread the Word. When her tweets are responded to by an agnostic college student, a rabbi, and a few Twitter trolls, Laurel struggles to determine the true meaning of her faith and define her relationship with God.

Laurel is a smart woman who believes in the sincerity of the message of hellfire and brimstone that she helps to spread. Via Twitter she converses with a rabbi who she considers to be damned. He ironically likes his exchanges with her and his theological arguments make her start to think. The play will incorporate projections so the audience can see the text exchanges as they happen. It was fascinating to follow her journey, because she was a good person, just raised in a hate filled congregation.

Probably the funniest moment came when the church members were shouting their hate in a demonstration. They knew exactly how long their permit allowed for the demonstration and when the time came, someone’s phone alarm went off with the silliest of elevator music ring tones. The signs went down and the demonstration was over. I only saw the first act in the rehearsal I sketched, but I am rooting for Laura to find her own voice and moral bearings.

What was truly fascinating about the rehearsal was that Emily, the author was refining and updating

the scrips as the actors did the read through. The creative process continues right until the moment the play opens to an audience.

Director: Kristin Clippard,
Stage Manager: Lisa Hardt,
Stage Directions Reader: Summer Pliskow,

CAST: Mandi Lee as Colleen, Christine Gervais as Grace, Andy Gion as Donny, Carlos Pereyo as Joshua, James Putnam as Noah, and Mark Davids as Rabbi Cohen.

PlayFest runs November 2 – 4 and 10 – 11, 2018

A two weekend festival of new plays features seven readings of raw,
as of yet unproduced works! PlayFest gives audiences the opportunity to be
involved with the creative process by giving feedback in real time and
mingling with the playwrights, actors, and directors.

Tickets to individual PlayFest readings ($10) on sale now!

PlayFest at the Orlando Shakes

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I went to the opening day of rehearsals for PlayFest at the Orlando Shakespeare Center (812 E Rollins St, Orlando, FL 32803). PlayFest presented by Harriett’s Charitable Trust is a two-week
annual festival that provides a place for writers, theatre
professionals, and audiences to connect and share ideas that promote
thought-provoking stories. Audiences experience staged readings of seven
new works over two weekends and participate in the development of new
plays, conversing with playwrights, directors, and actors while
absorbing groundbreaking new works. Over the years, the festival has introduced over 163 new works to regional and nationwide audiences.

The first rehearsal I sketched was 72 Miles to Go… written by Hilary Bettis and directed by Paul Castañede. Hilary and Paul sat side by side at the far end of the table. When a mother is deported to Mexico for the second time, the family
struggles to reunite with so much red tape in their way. Set against the
volatile backdrop of immigration in the United States during the Obama
administration, 72 miles to go… gives us a glimpse at one family’s journey over eight years.

There were many heart warming moments as this initial reading allowed me to meet this family for the first time. The father, who was a Unitarian Pastor, had a sharp wit and tried to lighten any family argument with a joke. His wife had been sent back to Mexico when she was stopped for having a tail light out. His phone conversation with her was heart breaking since their love and respect was crystal clear, despite being forced to live apart. The title of the play comes from the distance between Tuscon, Arizona and Nogales, Mexico—and
the distance between deported immigrant Anita (Leesa Castañeda) and her American-born
husband, Billy (Joe Llorens) and her children.

When the younger sister Eva (Ana Martinez Medina) has a minor accident, the police escort her home. Being born in America she is a citizen, but her older brother, Christian (Diego Zozaya) faces the possibility of deportation every day. His younger brother Aaron (Rico Lastrapes) helped him

hide in a panic when the red and blue lights flashed outside their home. The play follows all the kids as they grow up in America, The sister becomes a valedictorian graduate from high school and in her speech to classmates she spoke of her mom’s deportation for the first time. The youngest brother joins the military and the older brother raises his own family. Though growing up under very uncertain

conditions, each kid turned out fine and contributes to making America great.

The play is particularly relevant today as President Trump is spouting xenophobic rhetoric and hate against immigrants. He even claims he will overturn the 14th amendment, which states, “All persons born or naturalized in the United States, and subject to
the jurisdiction thereof, are citizens of the United States and of the
state wherein they reside.” and he wants to deport any children born in America who came from illegal immigrants. In this time of deviciveness, it was so nice to fall in love with what is truly important, which is family, and everyday dreams and aspirations.

PlayFest runs from November 2 – 4 and 10 – 11, 2018. 7 original plays are on the banquet.

If you want to catch every performance you can purchase PlayFest passes.

Taurus Faeces at Fringe

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In Taurus Faeces, Deanna Braunstein shared the gift of her mothers many stories in this solo show. These were tales of Life,  Love, truth and some crap. One daughter became a playwright and the other an actress proving that their mom passed along her love of theater and story telling. The title comes from the fact that mom didn’t like her kids to ever curse. Instead she insisted that they learn to curse in Latin and Bull Sh*t translates into Taurus Faeces.

The Red venue was crowded to overflowing so I  used my art stool and sat on the sidelines. Press has shown up in droves indication that there is a high interest in this years Fringe Festival. Reviews, commentary and an excited buzz have begun.

The most visual story involved mom learning that a child will create with poop if given the chance. She entered a room with poop speared walls, floors and even ceiling. Apparently there is a trick in tying a diaper which makes access to the creative substance impossible. She had to clean her child multiple times to erase the memory. However she didn’t learn her lesson because the incident was repeated. The compelling stories were related with emotional theatricality. Her mom’s every nuance was brought to life.

Deanna ended the show saying that everyone has a story to tell, and if you ever plan to have children you should talk to your elder relatives and learn their stories. Those stories will want to be heard someday by the generations to come. Listen, live, love and share.

Tickets to Taurus Faeces are $12. The show runs 60 minutes and is in the Red Venue on the second floor of the Orlando Shakes, 812 E Rollins St, Orlando, FL 32803. For ages 13 and up with some mild language.

Remaining show dates are:

Monday May 21, 2018 at 7:30pm

Thursday May 24, 2018 at 6:00pm

Saturday May 26, 2018 at 3:00pm

Sunday May 27, 2018 at 8:00pm

Native Gardens at the Shakes.

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Native Gardens written by Karen Zacarias is being performed at the Orlando Shakespeare Center (812 E Rollins St, Orlando, FL 32803) .  A young couple, Tania (Alea Figueroa) and Pablo (Fredy Ruiz) move into a quiet Washington D.C. suburban home.  The place is a bit run down, but Tania has big dreams for the back yard, with it’s big old oak tree, planning to turn it into a Native Garden with all native plants.  Pablo is working at a law firm putting in long hours.  Their neighbors, Virginia (Kate Ingram) and Frank Butley (Michael Edwards) are an older couple on the verge of retirement.  Frank shares Tania’s love of gardening.  Each year he plants a gorgeous perennial flower bed with hopes of winning the neighborhood’s best garden award.  

An old chain link fence separated the back yards of the two properties.  The butlers welcomed the young couple bringing them wine and chocolates.  Tania is allergic to chocolates but liked the gesture.  The four of them chatted amicably and agreed that a nice wooden fence would be nice to replace the old chain link fence now overgrown with ivy.  Pablo in a move to impress his boss, decided to host an office BBQ in his backyard.  With the yard a mess, the couple had to rush to get ready for the party.  As the couple made plans to install the fence, they discovered that their property actually extended two feet beyond the fence, essentially the full width of their neighbors flower bed. 

When they informed their neighbors that they planned to place the fence right on their property line tempers began to flair.   Being a lawyer, Pablo stated the case with blunt force and with no notion of compromise.  Frank is crushed since the flower bed was his labor of love.  First the men bickered and then the woman bickered and postured.  What had been a friendly welcome shifted into a brawl.  To top it all off the older couple were Republicans and they suspected their neighbors were Democrats.  The escalating tension was treated with hilarious results.  Both side felt they were the victims and polite manners melted away into crude name calling.  

Native Gardens is a fun and highly entertaining show.  The show runs through February 4th.  Start your year off with a good laugh.  Go and see native Gardens. 

You Should Do…

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One year ago today, Brian Feldman hosted a series of five minute, in-person, one-on-one meetings in a small elevator inside the Orlando Shakespeare Center. He maneuvered two full length mirrors into the elevator creating a visual infinite loop. I sat in on a series of these short meetings with the egg timer reminding me of the swift passage of time. For the first time in his career, Brian will genuinely consider all pitched project ideas to him during this one-time-only event, without his standard “You should do it” response. Interested participants registered for one of the 36 available meeting times on May 6, 2016.

Over the course of his 13 year career as a performance artist, people would regularly approach him with ideas of their own for projects that he should do. His response has always remained steadfast: “You should do it.” … Until now. He genuinely considered all pitched project ideas during this
one-time-only event, without his standard “You should do it” response.

At the time of this performance, Brian was recovering from a horrible mugging in Washington DC which resulted in multiple broken bones.  Among
the many things he struggled with at the time was an inability to devise any new project ideas. While friends and family members assured him that these ideas will return to him in due time, he was impatient for the muse to strike.

By
participating in “You Should Do,” participants acknowledged that Brian Feldman
only agreed to genuinely listen to and consider the proposed project
idea. It did not imply an agreement that any project would actually be
produced. Note that any projects sent through Twitter are public
and may be produced by anyone, at any time, worldwide and without your
permission.

I didn’t have any inspired ideas other that having an artist document each performance. The space got cramped once three people sat in the tiny elevator meeting room. Seth Kubersky had some wonderful ideas that would tie in with a certain local themes park’s anniversary. His suggestions seemed to hold the most weight. As of today, one year later, none of the projects have been produced but there is always a chance that they will surface and bloom, even years later. Case in point, this sketch sat tucked way in a sketchbook until today.

Phantasmagoria brings horrific tales to the Orlando Fringe.

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Phantasmagoria: Wicked Little Tales fills the Fringe Orange venue at the John and Rita Lowndes Shakespeare Center, (812 E Rollins St, Orlando, FL) with horrific whimsical tales of horror, Phantastical dance, music, stage combat, large scale puppetry and storytelling. Before a complete run through of the show, actors practiced a sword fight that they had just learned the day before. The swords were real, so there was a true there a of danger as they parried.  Other actors on the stage had to be warned to stand clear. Though rehearsed at quarter speed, the adrenaline still pumps an they had to b coached to slow down.

The show commence with a grand flair. The whole acting troop crouched around the ring master as he enticed the audience to listen in with a grand flourish. Once a story begins it must be told until it is finished. The tales come to life and the horrors pose a real threat to the tellers. The first tale was one of my favorites, The Tell Tale Heart, by Edgar Allen Poe. To recreate the hideous beating heart, the entire (2 beat their palms on the stage floor creating a deafening thump.

Another memory tale was of the Headless Horseman of Sleepy Hollow. Two dancers acted as the horse with grace and style. Actors and actresses would more into the audience during the telling of a tale, and you never knew if a sinister laugh might ring behind you, sending chills down your spine.

Mary Shelly’s Frankenstein brought to life a giant skeletal figure that threatened it’s creator. The creature demanded a bride and when that hope was gone the monster turned on his creator and master. Love lost is the most horrific motivator for murder.

It was good to see this at in troupe in such a large venue. With so many act of and actresses, they easily utilize every inch of the deep space. If you have a taste for the macabre then Phantasmagoria is the show for you.

Phantasmagoria shows are on May 21, 22, 28 and 29.

Tickets are $11.