VarieTEASE

Posted on by Thor

Terry and I went to The Venue (511 Virginia Dr, Orlando, FL), to see VarieTEASE on the first day I could get out to Fringe. Terry sat front and center while I sketched from a high top table. Smoke filled the space and a long prologue scrolled up the back wall of the stage. The dance followed the male protagonist who was dealing with a deranged ex-wife, his wife and a mistress. The performance began at a train station which was simply created with a projection of a fast moving train roaring by.

There is a playful mystical magic to VarieTEASE. The choreography was at times angular and hard and at other times soft and flowing. At all times life was depicted as a circus or carnivale act. The white face make up made every performer look like a mime or china doll. The protagonist was confronted by each woman in turn. They danced at times with sexual abandon to the point of exhaustion. There was one moment of female frontal nudity with polite pasties, so the show verged on burlesque.

Large free standing door frame shaped structures had rubbery vertical bars. These functioned at times as a prison and in one instance as harps. The man eventually was overcome by heart break and despair. The women returned in flowing light dresses to look over him. I suspect that he truly had cancer and all the drugs and needles were an attempt to slow the tide of the ravaging disease. Credits at the end of the show indicated that the cast was behind dear friends who were fighting for their lives. The show expressed a roller coaster of emotions from anger, despair, loneliness and absolute joy. Life is a dance, and this show captures that life and mysterious magic. This is a must see Fringe favorite.

Mark your Calendar!

Monday May 19, 10:30pm to 11:30pm

Wednesday May 21, 9pm to 10pm

Friday May 23, 9pm to 10pm

Saturday May 24, 4:20pm to 5:20pm

Sylvia

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On Friday April 18th, I went to the first of two performances by Red Right Return Dance Company at The Venue (511 Virginia Dr, Orlando, FL.) Elise Frost was the director and she was kind enough to let me know about the world premiere performance by this new dance company. RRR was formed in the summer of 2013 by a group of like  minded artists hungry for a space to play and develop as movers and creators. Sylvia was the culmination of their work showcasing how they discovered each other as artists and humans. Sylvia is the first destination on their journey.

The mission of RRR Dance Company is to establish a platform for the development of contemporary dance in the Central Florida community. The company seeks to create risk taking works through experimentation of movement, act of play and the creation of a fearless creative space. This performance was an incredible first step. The program began with a quote from Poet Sylvia Plath, “Can you understand? Someone, somewhere, can you understand me a little, love me a little? For all my despair, for all of my ideals, for all that – I love life. But it is hard, and I have so much – so very much to learn.”

The line of dancers progressed slowly up the wheel chair access ramp at the back of the stage. They moved as if in a funeral procession and then the lead dancer would scuttle back in live. There was pushing and shoving in the endless procession. On stage groups of dancers would huddle together seeking solace in each other and in human contact. The groups would move like a single entity. Dancers were often off balance trusting that they would be supported by someone else. At times, couples would pair off and dance to their own embrace. There was an intimacy in the interactions. At times dancers might be face to face, forehead to forehead looking into each others eyes. One dancers spun and fell loudly repeatedly. The sound of the fall was so loud that I was concerned she might hurt herself. She rose up and flung herself into space again with no fear.

A group of dancers pushed a fellow dancer up against the rear wall of the stage and they supported here there in a Christ like pose. They kept here there the longest time looking a bit like the solders who raised the flag on Owo Jima toward the end of World War 2. The dancers formed a line down the center of the stage facing the audience. They pressed forward and the lead dancer would stare above the audiences head in horror at some terror in the distance. That dancer would try to escape to the back of the line but never without a struggle. Each dancer on turn would face the horror and struggle to escape.

Suddenly the music changes and the lights all glowed red and the dancers broke into a joyous dance of celebration and abandon. With this sudden explosion of energy, the audience applauded. Some of the dancers I recognized, like Ashley Kroft and Darci Ricciardi so as an artist I felt invested in the off balance chances that the company took. There was a raw naked abandon to the entire performance. It was exhilarating. This is the face of change in an otherwise homogeneous clean cut town.

Florida Opera Theater

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Tonight is your chance to see that Opera is very much alive in Central Florida. I went to a dress rehearsal for “Opera’s Greatest Hits” and “Trouble in Tahiti” at The Venue (511 Virginia Dr, Orlando, FL). The first half of the evening was a recital of incredible music by Rossini, Mozart, Donizetti and Bizet. Robin Stamper, the music director, accompanied every song on piano. I focused in on a performance by Morgan Davis from Carmen. Terry and I used to attend every Opera production when large productions were staged at the Bob Carr. That company went bankrupt but even this small recital brought back all the grandeur of what opera could be. My book light unfortunately died, so I struggled to sketch in the darkness.

There was a short intermission which I used to start painting while the house lights were up. Trouble in Tahiti began with a smiling jazz trio singing about the perfect life in suburbia with its little white houses and perfect loving families. It was an advertiser’s ideal with Crest white cleanliness.  This musical by Leonard Bernstein centers around a couple who are not living the ideal. Every discussion becomes a drawn out argument. Dinah (Rachael Marino) suspects Sam (Gabriel Preisser) of having an affair with his secretary which he denies. They live separate lives yet long for their lost happiness.

Scene six was hilarious. Dinah (Rachael) went to the cinema alone to see “Trouble in Tahiti”. She dismissed it as sentimental drivel but as she recounted the plot, she became caught up in the South Seas romance musical number, “Island Magic.” The Greek jazz trio would back her up with their shining enthusiasm. What made me laugh out loud was the way Rachael recreated the villagers dance. She recreated their music with a nasal whining drone and waved two handkerchiefs to simulate their dance. She was hilarious! The chorus put on sailor’s caps as the saluted during the patriotic finish to the movie. Dinah, is suddenly embarrassed because she realizes she was swept away by the imagined romance. She catches herself and resumes cooking diner for Sam.

The trio sings of evenings of domestic bliss but the couples talk about their relationship once again results in an argument. Sam suggests they go see “Trouble in Tahiti” which is the movie  Dinah just saw and hated. The “bought and paid for magic” of the silver screen is a substitute for love lost. “Before there was ‘Mad Men’ there was… ‘Trouble in Tahiti.”

Mark your calendar! There are two performances TODAY, at 2pm and 5pm at The Venue (511 Virginia Dr, Orlando, FL). Tickets are $30 at the door.

Sweeney Todd at The Venue

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The second you enter The Venue, 511 Virginia Drive, Orlando, Fl, you are right on top of the action in Sweeney Todd, the Demon Barber of Fleet Street. Insane asylum patients moan, twitch and shout out all around you. In this intimate setting the action explodes out towards the audience. Derek Critzer who directed and produced the show also did an amazing job at designing the multi-level set which made maximum use of the cramped stage area. Simple asylum fabrics hid the structure while a staircase gave access to the upper levels at house right. As I approached the theater, the large garage style side door was open and I saw a tall stack of mattresses which is where the slit throated victims from the barber’s chair could collapse. The lighting for the show by Tabor Wiwstead, was simple direct and elegant. Red symbolized the sinister and horrific moments, while cool blue lighting surrounded the lovely Johanna Barker , played by Monica Titus, and the fleeting glimpses of Todd’s once happy past.

Stephan Jones played Sweeney Todd with a dark ruddy maliciousness. The depth of his anger and hatred could be felt in every scene. He performed the role so expertly that he made Johnny Depp seem like an inexperienced fop in the film adaptation. Ginger Minj, Joshua Eads-Brown, as Nellie Lovett added the needed brevity and humor to the show. When she had to peal off her misbehaving eyelashes, a moment likely not rehearsed, it was a golden moment the audience loved. As she swung her rolling pin violently, I could see the sweat on her brow, then trickling down her chest settling in her cleavage. These actors were working hard yet having fun belting out these tunes. Granted there was no room for an orchestra, so recordings had to work instead. Sweeney Todd is a sweeping epic story and yet the small venue actually intensified the confrontational quality of the show. At times, over 20 actors navigated their way on the tight stage. I could see Derek the director watching intently as he leaned over from the upstairs tech booth.

The entire first act was spent waiting for Todd to slit Judge Turpin’s throat. The judge played by Brett Carson could barely fit in the barber’s chair. Though his actions were malicious and self serving, he had a kind demeanor and left the dirty work to others. This is such an ambitious production by Clandestine ARTS yet the cast did an amazing job keeping up with Stephen Sondheim‘s fast and furious lyrics. I was bowled over by what was accomplished in the small Venue. The shows are selling out. I sketched by standing in the back of the theater. The show had all the savory flavor and taste of a perfectly prepared meat pie.

The remaining performances are…

Tonight, Thursday 1/16-7:00 PM
Friday 1/17-8:00 PM
Saturday 1/18- 8:00 PM
Sunday 1/19- 3:00 PM

Tickets are $20.00 and are General Admission. Tickets may be purchased at www.clandestine-arts.com Limited seating is available so be sure to get them early. Tickets may be available at the door based on availability.

Sweeney Todd Dressing Room

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Sweeney Todd, the Demon Barber of Fleet Street, is being presented by Clandestine-ARTs at The Venue, 511 Virginia Drive, Orlando, Fl, through January 19th. This compact production is directed and produced by Derek Critzer. I have read reviews that Ginger Minj who plays Mrs. Nellie Lovett is spectacular in the role. With that in mind, I hoped to get a sketch in the dressing room on industry night to watch his transformation at the dressing room mirror.

The dressing room at the Venue is at most ten by ten foot square and the entire cast of over 20 actors had to use the space. I did my best to try and stay out of every one’s way.  Only one actress was in the dressing room when I arrived. She had on a bright pink skirt. She was happy to be early and she had plenty of time to get ready. It was only later, when I saw the show that I realized this was Monica Titus who plays Johanna Barker. She was perfectly cast for the roll. I was quite swept away. Monica’s rich soprano voice has a warmth and range missing from the film adaptation. Her natural auburn hair was later covered in a wig of golden curls.

Derek came in and started steaming some pants. Stephan Jones, who plays Sweeney Todd, shouted out that it was a furnace in the tight dressing room. Even off set, there was a menace to his voice. Derek got some flack for shooting steam into the already sweaty space. Ginger Minj arrived and quickly transformed. He powdered his face first and let me know he would have to let the powder set for five minutes so he went off for a smoke.

It seemed like the rest of the cast arrived on mass and suddenly the room was buzzing with activity. Lips were painted a sickly blue on insane asylum patients whose eyes were also dark and hollow. Actors quickly stripped and put on costumes. Actors joked that I shouldn’t sketch any nudity and I honored that. Even so, it would have been hard to catch the quick flashes of flesh. The pure energy and excitement in the tight space was quite palpable. Ginger was the last actor in the room, adjusting the large hair buns on her head. I followed her down to the theater. The evening’s performance was sold out. The reviews I had read were spot on. Ginger Minj brought a quick wit to the part and stole every scene she was in. She eyed Mr. Todd with a lurid look as if she might devour him. I was surprised at how often she made me laugh out loud despite the dark sinister humor.

The remaining performances are…

Thursday 1/16-7:00 PM
Friday 1/17-8:00 PM
Saturday 1/18- 8:00 PM
Sunday 1/19- 3:00 PM

Tickets are $20.00 and are General Admission. Tickets may be purchased at www.clandestine-arts.com Limited seating is available so be sure to get them early. Tickets may be available at the door based on availability.

Clandestine-ARTS “Sweeney Todd” Auditions

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On September 30th, I went to Lake Howell High School Oviedo, FL to sketch Clandestine-ARTS auditions for the upcoming production of Stephen Sondheim‘s “Sweeney Todd: The Demon Barber of Fleet Street“auditions. Derek Critzer the director, had given me the green light to come out. Music Direction in the show will be by Colton Brooks.  Auditions were by appointment only.As I walked towards the High School Theater, I passed a Drum Corp rehearsing.

Sweeney Todd is a 1979 musical thriller with music and lyrics by Stephen Sondheim and libretto by Hugh Wheeler. The musical is based on the 1973 play Sweeney Todd, the Demon Barber of Fleet Street by Christopher Bond. Set in 19th century England, the musical tells the story of Benjamin Barker, aka Sweeney Todd, who returns to London after 15 years’ transportation on trumped-up charges. When he finds out that his wife poisoned herself after being raped by the judge who imprisoned him, he vows revenge on the judge and, later, the whole world. He teams up with a pie maker, Mrs. Lovett, and opens a barbershop in which he slits the throats of customers and has them baked into pies.

Chris Leavy was at the piano. Most of the actors auditioning were young women who would be auditioning for the part of  Joanna Barker, (a Soprano, 18-early 20’s) who is Sweeney Todd’s daughter, a ward of Judge Turpin. Beautiful and pure-hearted. The actress I sketched that was wearing the red dress had a very sweet voice. Monica Titus ultimately got the part. Wyatt Glover will play Sweeney Todd and Jessica Hoehn will play Mrs. Lovett. The other actress I sketched in the yellow dress was wearing high heel shoes and the director asked her to take them off when she performed her second song. Another actress was so nervous that Derek felt bad for her. He tried to get her to relax. It is hard to be on your top game when there are butterflies in your stomach. Auditions must be nerve wracking for any performer. Any slip up could result in their not getting the part. Everything is on the line.

Performances will be being held at The Venue, (511 Virginia Dr  Orlando, FL). January 9,10,11,12,16,17,18, and 19th. Sweeney Todd will be presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.

Searching for Beethoven

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On July 29th, Beth Marshall and Aradhana Tiwari held an audition in their ongoing quest to find the perfect actor to play Beethoven at The Venue (511 Virgina Street Orlando FL). The role is for 33 Variations written by Moises Kaufman. This play, directed by Aradahna will run March 13th through March 30th at the Garden Theater. About five actors came out for this audition. Actor Eric Pinder was stuck in traffic. The producer and director waited patiently while periodically getting text updates on Eric’s progress on the road. The conversation took a surprising turn to a cult of Satanists living in Central Florida whose bark was louder then their bite.

The roll of Ludwig van Beethoven requires an actor with a strong domineering presence. Beethoven was quite honestly a bit of an asshole, treating people around him with disdain. Which reminds me, I recently was mentioned in a venomous, anonymous letter, as someone who is an asshole, financially unsuccessful, a wimp, and not much fun. An asshole and a wimp are bipolar opposites so I can’t be both. Perhaps my opinions rub some the wrong way. My single minded drive and ambition could be perceived as not much fun. When lost in the creative process, I am occasionally interrupted by people who are curious about what I do. I’ll offer a quick joke, so they realize I am human, and then I get right back to work. If the conversation continues, I’ll keep working regardless. I suppose that can be considered rude. The narrow window I have to capture a moment requires constant observation. There is an agonizing panic in the need to finish a sketch before the moment is lost. I can identify with Beethoven’s annoyance at the shallow niceties of the Vienna social scene, the chattering crowd. Now, every time I meet someone, I wonder if they are the coward whose life is so empty that they need to write hateful letters to someone they don’t truly know.  Perhaps this is the danger of social media in that some people feel they have the right to meddle in other peoples lives. Perhaps that has always been the case. Part of me thinks I might have over stayed my welcome in Orlando. San Diego is being considered as a new city where Terry and I can set down new roots.

Eric arrived, dusted off the annoyance of unexpected traffic and quickly focused on his craft, reading his lines with a thick Bavarian accent. You have to look past the distractions and stay true to yourself in any creative endeavor. Seize the moment. Ignore and distance yourself from anyone who feels the need to bring you down. Regardless I will be around Orlando jackin’ out sketches every day.

Key of E Load In

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 On August 20th, I went to The Venue to see the Key of E load in for their one week run. I got there about the same time as Helen, the tech for the show. As I sketched the empty stage, Andy Matchett pulled up to the theater with a truck full of set pieces, wood, monster parts and fabric. The garage door was opened on house right and several guys in the truck helped unload. One of them was wearing a boy scout uniform and I wondered if he would earn an apocalyptic merit badge. Soon the stage was cluttered.

Since there needed to be room for the band, a platform was constructed house right that essentially extended the stage. The first order of business was to hang huge black curtains on both sides of the stage to create very small wings where actors could not be seen when off stage. The tiny wall at the back of the stage was at a quirky angle because it sloped along with a wheel chair ramp that had to be installed to comply with city codes.

A large back lit screen had to be put on top off the wall, so a plank and two by fours were needed to level off the TV platform. Chaz Krivan and Evan Miga tackled the task. Chaz actually had an iPhone app that acted as a level. All the actors gradually trickled in and Brittany Wine, the stage manager, got them busy running lines and going over dance moves. Her task was to keep everyone on task so they could do a run through of the show at 8:30pm. Corey Volence was worried that some scenes would need to be re-blocked since there was no actual backstage where actors could go when not on the stage. There are close to a dozen actors if you count the band and special effects crew. Andy decided to run one exit scene where all the actors needed to get off stage. There was a major bottle neck as actors tried to get down the wheel chair ramp. They realized that at times some actors would literally need to exit the theater. It will all work out in the end. Christie Miga asked Andy how he would rate his anxiety level. He said it had leveled off at a solid 7.

Brittany Wine was pleased that she finally appeared in one of my sketches. She asked why I put her in a garbage can. The garbage can must be a stage prop and it was just chance that she stood behind it. As I finished my sketch, the cast was ready to do a run through of the show. As I left, I heard Andy begin to sing “I Just Can’t Wait for the Game to End!” The Key of E Kickstarter fundraising drive was a success so the full cast soundtrack is available!

Get your tickets for the return of the show at The Venue (511 Virginia Drive, Orlando, FL). Mark Your Calendar! You don’t want to miss the end of the world. Show times are…

Friday: 8/23 8 PM

Saturday: 8/24 8 PM

Monday: 8/26 8 PM

Thursday: 8/29 8 PM

Friday: 8/30 8 PM

Tickets are $10 pre-sale, and $15 at the door.

Key of E Recording Session

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On August 6th he cast of the Key of E was gathered together at their secret lab to record a vocals session for the new soundtrack that will be available on CD and Vinyl. There is a Kickstarter campaign going to raise the $3,000 needed to cover costs. Andy had to pay $3 for a sound clip of someone pissing outside a bar, so you can imagine the escalating costs. As of this writing, they have raised $931 towards the goal. Be the person to push them over the $1000 mark and get a copy of the soundtrack.

Justin Beckler set up the sound equipment and directed each recording segment. Audio was mixed on the spot using his laptop.Corey Volence  and Marisa Ashley are the romantic leads in this post apocalyptic rock musical with music written by Andy Matchett. The recording session was for the dramatic interactions between the characters. Although it involved plenty of hard work, it also was hysterically fun to watch. As actors searched for the right inflections and drama, they at times would break into uncontrollable laughter. Marisa had to do one scene in which she reacts when she sees a huge Tsunami wave. She must have done the line 20 times or more with endless variations of shock, awe, horror and amazement. Her performance as the sincere loving girlfriend is heart wrenching.

Corey who wrote the show read his lines off of his iPhone.  It seemed quite appropriate that he had a “Day of the Dead” T-shirt on. Andy, as a world renowned scientist, recorded an address to colleagues in which he predicted the end of the world.  He said it was pointless to warn the citizens since it would only cause mass hysteria. On the fly, Corey suggested that Andy say that, “We are safe in our colossal invisible helicarrier“. It was a tongue twister that caught Andy by surprise but when delivered right, it was hilarious. Joel Warren was blunt, gruff and funny as a cocky jock who appoints himself boss and bully in the post apocalyptic island camp. He would shout, “Sco!” meaning “lets go”, when he wanted his female minion to follow. I laughed every time he delivered that line. Amanda Warren, who is new to the cast, did an amazing job as the female branch of Corey’s conscience. Her singing was pitch perfect, so much so that I had to stop sketching and watch. Like a fine wine, this show improves with age.

This show was the runaway hit from this years Fringe Festival. It won 11 Audience Choice Awards. It is returning for a brief run at The Venue (511 Virginia Drive, Orlando, FL). So, Mark Your Calendar! You don’t want to miss the end of the world. Show times are…

Friday: 8/23 8 PM
Saturday: 8/24 8 PM
Monday: 8/26 8 PM
Thursday: 8/29 8 PM
Friday: 8/30 8 PM

Tickets are $10 pre-sale, and $15 at the door.

Key of E – The Full Cast Recording of the End of the World!

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The Key of E took the 2013 International Fringe Festival
by an apocalyptic storm. Help this award-winning apocalyptic rock musical record soundtrack come to life! You know you want it. The completely new and original apocalyptic rock musical by Andy Matchett won 11 Audience Choice Awards,
the most of any show in the history of the awards, including Best
Musical and Best of Fringe. A Kickstarter has been created to help
produce the soundtrack to the show on CD and Vinyl! The goal of the kickstarter is to raise $3,000 before August 21st at 5PM. To date, $280 have been pledged. Donate to the Kickstarter to guarantee you get your copy of the music.
For and donation of $250 or more you can get a signed archival print of the Key
of E Monster as seen on this site.

Mark your Calendar, The Key of E will be returning to the stage starting August 23rd to August 31st at The Venue (511 Virginia Drive Orlando FL). Tickets to the show are just $10. Show times are at 8PM. Seriously, this show will rock your face off!