Up the Ladder Down the Slide

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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

PlayFest: My Lord What a Night

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The final PlayFest rehearsal I sketched was, My Lord, What a Night by Deborah Brevoort. The author was present and actively working on rewrites during the rehearsal. For the first half hour of the rehearsal the cast sat around the table going over new lines added or subtracted from the script. At first I thought I would not have enough time to sketch this process but then I leaped in and thankfully this part of the rehearsal lasted for more than the projected time allotted. For the second half of the rehearsal, all the actors stood at the music stands.

When famed African-American singer Marian Anderson (Sheryl Carbonell) is refused lodging because of her ethnicity, she finds an unlikely friend in Albert Einstein (Eric Zivot). Quick witted debates attempt to solve the nation’s problems over tea. Inspired by true events, this story explores the racial, religious, and gender-based struggles plaguing two of the most iconic entities of the 20th century.

Einstein wants to use his fame to protect Marian from the racism in America. He is so adamant about the cause because he narrowly escaped the Nazi racism against Jews during World War II. At the tie of this drama he worked at Princeton University and Aberham Flexner (J.D. Sutton) Abraham wanted to dissuade Einstein from letting Marian stay at his flat. The request seemed racist but he also felt it would seem inappropriate since both Einstein and Marian were unmarried. Another concern was that the college might loose funding because of the controversy. Flexner seemed like less of a villain when he explained that he was attempting to get Jews out of Germany with these funds.

Mary Church Terrell (Trenell Mooring) was arrested when she was trying to get into the Marian Anderson concert in Princeton. Trumped up charges claimed she was causing a disturbance when she asked where the theater was. When she finally got there, she found that these was only seating left for whites. Though old, she was a strong willed woman who wanted Marian to use her fame to address these racial injustices.

The rehearsal was not a straight forward read through, so the timeline I saw was disjointed, but on a whole I was fully engaged as I discovered more about each character. This PlayFest production seemed to involve the most movement and blocking which was beautifully orchestrated by the director Kel Haney. Some scenes had to be run over and over to get the lines to work with the action. This show has an intriguing premise and is sure to be be fun to watch on the stage.

Stage Manager: Justin Little,
Stage Directions Reader: Rachael Lord

Be sure to catch this final PlayFest production. Be part of the creative process.

My Lord What a Night by Deborah Brevoort. Sunday November 11, 2018 at 1pm. At the Orlando Shakes, Margeson Theater (812 E Rollins St, Orlando, FL 32803).

Tickets are $10.

PlayFest: The Great Beyond

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I sketched a rehearsal for The Great Beyond by Stephen Dietz, leading up to their performance on Saturday, November 10, 2018 at the Orlando Shakes (812 East Rollins Street Orlando FL). This is a four character play that focuses on a family in a time of grief. Despite their differences, sisters, Monica (Courtney Bahr) and Emily, (Melanie Whipple) reunited
to tie up loose ends after their father’s death.

The two sisters are always at each other’s throats. Emily is the younger and perhaps favored daughter but she lived a life of addiction and with her recovery, she set a task of apologizing to everyone she had slighted.  This became her new addiction. Rene, another character, referred to the people Emily found as her “marks”. Some of these apologies resulted in rifts that pulled other people’s lives apart. The road to ruin is paved with good intentions.


The true seed of discontent between the sisters, however, is the death of a brother, Joseph, when they were young. Blame, whether founded or not, always surfaced in every conversation. Another point of contention was the estate left behind by the father. Emotions run raw when you want some physical object to remember someone by. Who gets what can become a battle that can divide any family. A coat or table might suddenly become the most important artifact to remind you of love.

Monica’s Ex, Rex, (Cameron Francis) is there with his girlfriend, Rene, (Chelsey Panisch) who happens to be a medium. With her help, the
siblings attempt to summon their father’s spirit to gain forgiveness and
discover the truth. The second act revolved around this seance. Monica dismissed the seance as a hoax from the start but even she was swept up in the raw emotions in the darkened room.


I fell in love with this family as they stumbled to find their way after their father’s death. For years an unspoken agreement had held the family together but after the father’s death a greater truth was needed. What was so exciting about watching the rehearsal was that the script was in a constant state of flux. Having the author in the rehearsal resulted in his trimming and fine tuning the script as they rehearsed. Actors highlighted their linesas they were changed. Monologues could be made into more concise and polished gems. It was a fascinating process to watch. When you experience PlayFest you are actively participating in the development of new plays.

 

Director: Cynthia White

Stage Manager: Alli Gersbach

Stage Directions Reader: Krystal Rajkowski

Other Cast: Mark
Ferrara as Coach Mayes. 

Tickets for The Great Beyond  by Stephen Deitz are $10. The performance is at 8pm tonight, November 10, 2018 in the Shakespeare Center Margeson Theater.

Weekend Top 6 Picks for November 10 and 11, 2018

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Saturday November 10, 2018

4pm $10 PlayFest: I Can Go by Meridith Friedman. Orlando Shakes 812 Rollins Street Orlando FL. Armed with sharp tongues and dry wit, Richard and David
navigate complex family relationships on the eve of their wedding. Despite
hindrances ranging from white lies to life-altering secrets, I CAN GO uncovers
human truths about the ones they love most. This contemporary and wryly
humorous dramedy is the final installment in a series of three plays by
Meridith Friedman, following The Luckiest People (produced by Orlando
Shakes in April 2018) and Your Best One (read at PlayFest 2017). 

6:30pm $15 per person in advance; $18 per person at the door. PlayFest Party. Orlando Shakes 812 Rollins Street Orlando FL. Share a drink and dinner with your fellow PlayFest attendees, playwrights, and artist between readings in the Dr. Phillips Patron’s Room. Buffet dinner provided by Tako Cheena.


8pm $10 PlayFest: The Great Beyond by Stephen Deitz. Orlando Shakes 812 Rollins Street Orlando FL. Despite their differences, sisters, Monica and Emily, reunite
to tie up loose ends after their father’s death. With the help of a medium, the
siblings attempt to summon their father’s spirit to gain forgiveness and
discover the truth. 

Sunday November11, 2018  

Noon to 1pm Free. Yoga. Lake Eola near the Red Gazebo. Bring your own mat.

1pm to 4:30pm Free. Family Day on Second Saturday. The Mennello Museum of American Art, 900 East Princeton Street, Orlando, FL 32803. The make-and-take craft table is open from noon-2:30 p.m., and docents
are available to give mini-tours of the museum. Then it’s open house in
the galleries until 4:30 p.m.


1pm $10 PlayFest: My Lord What a Night by Deborah Brevoort. Orlando Shakes 812 Rollins Street Orlando FL. When famed African-American singer Marian Anderson is refused lodging
because of her ethnicity, she finds an unlikely friend in Albert
Einstein. Quick witted debates attempt to solve the nation’s problems
over tea. Inspired by true events, this story explores the racial,
religious, and gender-based struggles plaguing two of the most iconic
entities of the 20th century.

PlayFest: I Can Go

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I sketched the first read through rehearsal for  I Can Go by Meridith Friedman
which is a Comic Drama at the Orlando Shakes (812 Rollins Street Orlando FL).

Armed with sharp tongues and dry wit, Richard (Dan Bright) and David (Alexander Mrazek) navigate complex family relationships on the eve of their wedding. Despite hindrances ranging from little white lies to life-altering secrets, I Can Go uncovers human truths about the ones they love most. This contemporary and wryly humorous dramedy is the final installment in a series of three plays by Meridith Friedman, following The Luckiest People (produced by Orlando Shakes in April 2018) and Your Best One (read at PlayFest 2017).

I had seen and sketched a production of The Luckiest People but missed Your Best One. Despite that I felt quickly up to speed and familiar with this family and cast who had already won my heart. The patriarchal father had passed away but the family had a way of resolving any differences with humor. Richard and David now have an adopted son, Josh (Connar Vidman). Josh didn’t have a large part in the section of the rehearsal I sketched, but I heard him rehearsing in the Shakes lobby and thus knew something of his back story.  Richard’s sister, Laura (Suzanne O’Donnell) spilled a family secret in her attempts to get the attention of her son Matt (Terance Lee) who seemed largely shut off, tuned in to his headset. Nancy (Kate Denson), David’s mom sat with her back to me. She had a calming voice and seemed the anchor of fairness and reason as wedding plans escalated into petty arguments.



For me, this was time well spent with a family I already had grown to love, and a fun cast who seemed at home in this family’s skin. You don’t have to have seen the previous two dramas by Meridith Friedman for this show to make sense. There was a relaxed humor as they eased into the comedic drama. This is clearly going to be a fun performance.

Director: Tara Kromer,
Stage Manager: Jackqueline Hilliker, Stage Directions Reader: Kaley Pharr.

The performance will be on Saturday, November 10, 2018 at 4:00 p.m. Tickets are $10.

Love the Cracksman

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Love the Cracksman by Mark Brown offered some comedy a this year’s PlayFest. Feats of daring-do are nothing new for the suave James
Willoughby Pitt (Logan Benedict). Relying on his wits to stay one step ahead, Pitt bets he can
commit the perfect crime. His determination takes him on a whirlwind adventure
across the Atlantic. He gets a second class ticket on the Lusitania and spies the woman of his dreams in first class (Sarah Hubert). Reputation, fortune, and true love are at risk for Jimmy
in this witty, fast-paced comedy. 

In the rehearsal I sketched, the actors were working their way through the second act when I entered and then after a break, they went back to the first act, so my impression of this comedy is very non-linear. Burglary is a fine art for some and the Cracksman only committed crimes to win a gentleman’s wager. In truth he had more of the heart of a detective who would rather return stolen gems once the wager was won.


Logan wore a black jacket for the dress rehearsal. At one point the script called for him to place a stolen necklace in his jacket pocket, but his pockets were sewn shut. He explained that he bought the jacket for his wedding but never used it. Another member of the cast explained that sometimes the stitches just had to be removed. Without missing a beat the stitches came out without any interruption to the flow of the rehearsal.

 

Director Mark Shanahan had the actors crouching down behind the music stands when they were in hiding, and characters were in hiding quite often. I have no doubt that the final reading was a fun filled, tongue in cheek romp.

PlayFest is 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. Next weekend, November 10 and 11, 2018, three more plays readings will be presented, I Can Go by Merideth Friedman, The Great Beyond by Stephen Deitz and My Lord What a Night by Deborah Brevoort.

#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.

Ada and the Engine at Playfest.

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Prior to the rehearsal for Ada and the Engine all the actors sat at a conference table in the Orlando Shakespeare Theater with director David Lee for a Skype video conference with the playwright Lauren Gunderson. Lauren, who lives in San Francisco has been writing plays for years and recently has been getting rave reviews. David pointed out that she has resisted the pull of both LA and NYC. There were technical glitches getting the Skype conference started, having to do with audio and it was finally resolved by ignoring the digital tech and using an analog phone.

Each actor in turn got to ask Lauren a question about the play that they had been rehearsing. Lauren reminded us that a story should involve not just the conflict of separation or failed relationships, but also the revelations and excitement that comes from true discovery. The play is about Ada, a young strong willed and very intelligent woman who had a mind for mathematics at a time when women were only known for their abilities to win a man and raise children. Her mother, Lady Byron, had every intention of seeing that she followed the norms of the day. However when Ada meets mathematician Charles Babbage, they discover a true affinity in the power of numbers and the possibility of an analytical computing machine that could solve extremely complicated mathematical problems. Their excited revelations are the basis of the first computers that used punch cards to store data. Ada’s vision of the future of this machine even went on to imagine a machine that could compose music. She envisions a whole new world where art and information converge. A
world she might not live to see.

Although it is clear that Ada and Charles are soul mates, they never become involved since she was so much younger than he was. She ends up marrying a Mr. Lovelace who is handsome and a good dancer, but his vision of her responsibilities certainly limited her future in math and science.

This was a story of love,
friendship, and dreams of the future. It is refreshing and exciting to see a play in which two geniuses inspire each other. In an age where pop culture only celebrates sports figures and celebrities, this play celebrates inspiration and ingenuity, which should always be at the heart of the American Dream.

Playfest offers seven new plays over two weekends.

Tickets for “Ada and the Engine”

By Lauren Gunderson are $10

John and Rita Lowndes Shakespeare Center

812 E Rollins St, Orlando, Florida 32803

Saturday, October 28, 2017 at 8 p.m.

PLAYFEST SPECIAL EVENTS

PlayFest Party!

Saturday, October 28, 2017 from 6:30 p.m. to 8 p.m. – Buffet dinner provided by Bubbalou’s Bodacious BBQ.

Saturday, November 4, 2017 from 6:30 p.m. to 8 p.m. – Buffet dinner provided by Spoleto – My Italian Kitchen.

Join the featured PlayFest 2017 playwrights and actors for an
exclusive PlayFest Party inside the John and Rita Lowndes Shakespeare
Center. Tickets ($12) for the PlayFest Party can be added onto your
PlayFest 2017 tickets online at www.orlandoshakes.org,
by phone at (407) 447-1700 ext. 1, or in person at the John and Rita
Lowndes Shakespeare Center (812 East Rollins Street). Only 60 slots per
PlayFest Party available.

After Orlando at the John and Rita Lowndes Shakespeare Center.

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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.