Shakespeare’s Terminator the Second at Fringe

Shakespeare’s Terminator the Second got my vote as the most clever show at this years Fringe. The show presented by Hardly Working Productions, was a 17th century version of the film Terminator 2 Judgement Day constructed solely of lines form the plays of Shakespeare. The film is a classic and it was surprisingly easy to accept Shakespeare’s dialogue used throughout with just proper names changes to to match the screen version. The casting of muscular Matt Doman in the roll of Schwarzenegger was spot on. He would sometimes just stand still on stage looking ripped and stoic and the joke became clear that thus was all that Schwarzenegger had ti do in the original film.

Jolie Hart was wonderful as the adolescent John Connor. Pam Stone as Sarah Connor truly carried the show performing amazing monologues of her prescient visions of doomsday. John Reid Adams is as the shape shifting T-1000 parried with the terminator with some thrilling and inspired swordplay choreographed by Bill Warriner. The production was often comic in it tributes and nods towards the original film. My favorite was the liquid metal ending which they stages with a simple flaming sheet behind which many of the cast were crouched. When the T100 terminator fell into the liquid metal various cat members who had been killed by the T100 them flailed up from behind the sheet in quick succession as the unit melted into oblivion.

Director Simon Needham had the scene changes coming in quick succession with the monologues being fires off just as fast. This presented a challenge for this artist working with a traditional 17th century sketching method but I loved every entertaining moment. The only line not written by Shakespeare was, “Ill be back.”

The Hound of the Baskervillesat at Shakes.

The Hound of the Baskerrvilles, written by Sir Conan Doyle was adapted for the stage by Steven Canny and John Nicholson. The 19 parts are played by just three actors. Steven Lane played Sherlock Holmes and I grew anxious since he didn’t play the part of Sherlock very often. This hilarious  production at times involved the actors breaking character and talking to the audience one on one. They poked jabs at each other for the past productions they had done. Dr. John Watson, (Simon Needham) was a natural at the British accent since he comes form England. The other actors joked that he is taking good paying actors work from American actors. Chris Crawford played Sir Henry Baskerville among other roles. The production involved many very quick costume changes.

After the first act there was an intermission and the second act began with Steven Lane reading a note form an audience member in the center section. It stated that his acting was lackluster and sluggish. The response was for the cast to re-act the entire first act at an insanely accelerated pace. This time costumes were often only half assembled as the actors ran around the stage to hit their marks. This was hilarious and impressive at the same time.

The Baskerville family suffered from a curse that began when a young woman was imprisoned at their Devonshire estate. A huge and vicious hound then attacked the guilty abductor. Since that date the family carried the curse. Each generation would suffer from the attack of a devilish red eyed  hound. The recent death of a Sir Charles Baskerville rekindled the story of the cure and brought in Holmes and Watson on the case. Holmes was busy but sent Watson to the estate to investigate.

There is an escaped convict on the moor and mysterious candle messaged sent at night. Sherlock takes multiple disguises to watch the activity of the state from afar. His several attempts to reveal himself to Watson, are hilarious since Watson is blinded by theater blindness that allows for a costume change to be an absolute disguise.  Myth and mystery eventually give way to thought and reason and the suspect is discovered.

We were seated in the back row of house left which was a great vantage point when the actors left the stage and wandered into the audience. I almost tripped an actor as he rushed out the fire escape door setting off the alarm. I highly recommend the show for a light hearted evening of theater.

The Hound of the Baskervilles.

Orlando Shakespeare Theater, The Goldman

812 E Rollins St, Orlando, FL 32803

Tickets are $13 to $50.

Remaining show dates:

Wednesday, November 8, 2017 – 2:00 PM

Wednesday, November 8, 2017 – 7:30 PM

Sold out! There are no tickets available.

Thursday, November 9, 2017 – 7:30 PM

Friday, November 10, 2017 – 7:30 PM

Saturday, November 11, 2017 – 7:30 PM

Sunday, November 12, 2017 – 2:00 PM

Sunday, November 12, 2017 – 7:30 PM

Tuesday, November 14, 2017 – 7:30 PM

Thursday, November 16, 2017 – 7:30 PM

Friday, November 17, 2017 – 7:30 PM

Saturday, November 18, 2017 – 7:30 PM

Sunday, November 19, 2017 – 2:00 PM

Sunday, November 19, 2017 – 7:30 PM

Drama erupts at Saint Mathew’s Tavern with Joe’s NYC Bar.

I always tell people that if you sketch on location, some drama always unfolds. David Lee invited me to sketch at Saint Mathew’s Tavern (1300 N Mills Ave, Orlando, FL) and there was drama in spades. I found a seat in the corner of the bar next to a large speaker and got to work. I sketch in bars all the time but I seldom get to experience this level of heart felt camaraderie and gut wrenching drama. From the outset I felt this was a bar where everybody knew my name and I was invested in these peoples lives. This was interactive theater at its best.

Joe’s NYC Bar is an interactive, improvisational, immersive theatre
experience in which the audience is transported to a bar on Manhattan’s
lower east side. Debuting as part of the 2001 Orlando International
Fringe Theatre Festival, Joe’s ran for 4 years and 76 performances. This
past March Joe’s returned from a ten year absence and was greeted with
positive reviews from critics and audiences alike. The show sold out 5
of 6 shows in March and then all 4 performances at the 2015 Orlando
International Fringe Festival. Ten years later, Joe’s has proven to be a
concept and piece of theatre more relevant and popular than ever.

It was hard to tell where the play stopped and the inside jokes began. Some of the funniest moments were so topical that they had to be improvised. A straight laced Republican in a suit (Tim Williams) sat at my end of the bar and he seemed a bit out of place when everyone else was sleeveless or in T shirts. In a heated scene he confronted everyone saying “You don’t know me. You don’t know what I’ve been through.” This was true of everyone in the bar. What unfolded slowly, pealed away the layers to expose the inner pain that drove defensive behaviors. Much later in the evening, the Republican returned to the bar and found his recently separated wife (Anitra Pritchard-Bryant) was present. The bar went silent before the couple confronted each other.

Christian Kelty originated the idea for this interactive show. The seed was planted when he worked in a Renaissance festival show that invited the audience to participate. In this age of social media people are often interested in the endless drama that surfaces online every day. We have become a society of reality show voyeurs. In this everyday bar setting it becomes easy to let go and become part of the scene. Over the course of the evening it was possible to get to walk a mile in each character’s shoes. Even in this rehearsal, I wasn’t sure who was an actor and who just happened to be there for a drink. With a sold out show, that fourth wall must be even more blurry. Add a couple of drinks and the line is further blurred. Live local music acts fill out the evening, making it a typical night in the Mill’s 50 bar scene. Don’t just go to see a show. Be the show.


6 Performances
Running September 13th-October 18th
Sunday Matinees ONLY!
3:00pm doors 3:30 Showtime

Tickets available at:
www.wanzie.com
$17 in advance / $25 day of show

The stellar casts features: Anitra Pritchard-Bryant, Ali Flores, John Connon, Michael Marinaccio, Jenn Gannon, Simon Needham, Christian Kelty, David Lee, Tim Williams and Jodi Chase.

Musical Acts
9/20 The Smoking Jackets
9/27 and 10/4 Eugene Snowden (The Legendary JC’s) and Friends
10/11 DJ Jay Ross Barwick
10/18 TBA

The Explorer’s Club sweeps into the Mad Cow with hilarity.

While walking downtown to go to The Explorer’s Club dress rehearsal at the Mad Cow Theatre, I saw a fun run poster that announced, “We bring the hilarity to charity.” This predicted the tone for the entire evening. Perhaps a dozen people sat in the audience for the dress rehearsal. Written by Nell Benjamin the show runs from January 22 through February 22.  The comedic farce debuted in NYC’s off-Broadway in 2013.

It’s a crisis in 1879 London when the members of the prestigious Explorers Club are threatened by the potential membership of…a woman! Eric Pinder as botanist Lucius Fertway is responsible for nominating the woman, who is the accomplished explorer, prim and proper Phyllida Spotte-Hume played by Heather Leonardi . She’s made an in-depth study, “NaKong Tribe of the Lost City of Pahatlabong,”.  “They have hunted nearly all the animals to extinction,” she reports,
“and are forced to subsist on a jerky made of toad. The toad is
poisonous. But most of the poison boils off when the toad is poached in
urine.”she explained. The club members are all quite impressed, but Professor Sloane (Glenn Gover), a religious fanatic, sticks his nose in the air proclaiming her discoveries are fine but she is a woman and there has never been a woman in the Explorer’s Club. When the men retire for cigars and sherry she is told she would have to wait outside.

Glen Glover, Simon Needham and Eric Pinder were all members of the cast at Walt Disney World’s Adventurers Club. This was one of my favorite spots to visit when I used to work for Disney Feature Animation. The club was crowded with objects that were found from around the world. One huge mask on the wall used to make comments about patrons at the bar. Unfortunately, the Club was closed in 2008, along with all the other nightclubs in favor of retail stores
and restaurants. When I saw the set in the Mad Cow by William Elliott, memories flooded back. The gazelles and masks in this club however remained sadly mute.

It turns out that Lucius has nominated the petite Phyllida because he has a crush on her. He went so far as to name an exotic flower after her. That attraction is mutual, but Club President Harry Percy (Simon Needham) decides that he is the brainless hulk of a man that Phyllida deserves. Although Phyllida confides in Lucius, Harry is sure that his swagger will win her over. She has brought back a member of the lost tribe who she has named Luigi (Ryan Gigliotti). He is covered in blue paint and has the annoying habit of slapping people in the face as a form of introduction. When he is brought before the queen of England, all hell breaks loose when he slaps her as well. Hilarity ensues as the intrepid explorers try to return God and country to normalcy. In their eyes, science will always win.

The director David Russell was seated a few rows behind me with his laptop. After the show he encouraged the cast to push the envelope in exploring the quirky lunacy of their parts. He seemed a bit disappointed that there wasn’t more laughter from the audience. Since there were only a few people in the test audience, the sparse laughter was understandable. When there is a full house the story could be quite different. As a disguise, Luigi posed as the club’s bartender. He mixed drinks using liquored of every imaginable color with no regard to a recipe. To serve the drink, he would shout, “Your drink sah!” and slide it quickly off the bar top. Club members had to dive to keep the drinks from crashing to the floor. David encouraged the players to avoid playing it safe. It a drink crashed to the floor it wouldn’t be the end of the world. I was seated in the front row and there were moments when I thought I might be in the splash zone.

The Explorers Club”

What: A comedy by Nell Benjamin

Where: Mad Cow Theatre, 54 W. Church St., Orlando

When: Opens Friday, Jan. 23; 7:30 p.m. Thursdays-Saturdays and two Mondays, Feb. 2 and 9; 2:30 p.m. Sundays; through Feb. 22

Cost: $24.25-$36.75; $17 on Mondays

Call: 407-297-8788

Online: madcowtheatre.com