Davis Gaines Performed an Intimate Cabaret at the Abbey

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On June 1st, Terry and I went to Double Standards, an intimate Cabaret by Davis Gaines at The Abbey (100 S. Eola Drive Orlando, FL).  Davis is best known for being the longest running phantom for Phantom of the Opera in LA. He often returns to perform in Orlando. Double Standards, featured unique and compelling song pairings, bringing fresh and unexpected takes on familiar standards from The Great American Songbook.

It was a relaxing evening of music with the audience sitting at round tables sipping wine. The pianist, Carol Anderson was amazing, Mark Neuenswander was on bass and Keith Wilson was on Drums. There were standard show tunes and old classics like Over the Rainbow. I respect Davis’ singing voice but often felt like some expressiveness was missing in his face, like LA had ironed away some of his soul. Regardless, he is a consummate performer, although he was quite fazed by the sound system being a bit off. He was unable to hear himself sing on stage. I’ve sketched him a number of times over the years, so you could say I’m a consistent fan.

Terry and I went out for Mexican food afterwards at Mucho Tequila And Tacos (101 South Eola Drive Orlando, FL). There was a huge confusing selection of margaritas. It seems Mexican restaurants are learning from Starbucks where you need to be an expert to get a drink. My fist choice turned out to be a bathtub sized drink, so I had to downsize. Terry wasn’t pleased with her food, but my Chimichanga was just fine.

AIDA

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Years ago I saw the opera “AIDA” at the Bob Carr Performing Arts Center. It was an excruciating experience with a Nubian princess singing endlessly about her impending death. She would pause for a long moment and I would think, “Finally.” But then she would start singing again and I would be thinking “Die already!” I dug my fingernails into my palms to stay awake. This new Clandestine ARTS production with music by Elton John and Tim Rice, is a refreshing new take on the story.

 On the banks of the
Nile, unfolds the triumphant tale of love that transcends warring
nations and brings a country together. A contemporary musical take on
the classic tale of timeless love. An enslaved Nubian princess, Aida (LaDawn Taylor), finds her heart
entangled with Radames (Tony Flaherty), an Egyptian soldier who is betrothed to the
Pharaoh’s daughter, Amneris (Emily Grainger). As their forbidden love blossoms, Aida is
forced to weigh her heart against the responsibility she faces as leader
of her people. Aida and Radames’s love for one another proves
transcendent of cultural differences and ushers in a time of
unprecedented peace between the warring nations.

Before the run through of the show, Emily had to rehearse several frantic costume changes. She was the first actor to arrive at The Venue and she was singing and dancing as she entered. Two seamstresses were at there sewing machines completing costumes during the rehearsal. In the scene, Emily sang a song about her strongest suit which happened to be her looks and fashion sense. In the final moments of the scene, she ripped off her red dress with the help of two slaves and then she was showered with golden pedals. The dress was held on with Velcro and it was a challenge to fling the garment behind her fast enough. The scene had to be rehearsed again and again which gave me extra time to sketch. The song is hip and seems to perfectly apply to today’s selfie generation. 

The music kept reminding me of the Disney Animated Features I worked on in the 1990s. The princess singing about he lack of freedom reminded me of Jasmin from Aladdin. LaDawn’s strong African American chiseled features made her a perfect fit as AIDA and she sang beautifully. Tony as Radames had some strong chemistry in his love scenes with AIDA. As in the Opera, the two lovers were destined to die yet their love softened the heart of Pharaoh’s daughter. Produced and directed by Derek Critzer, this is a huge extravagant production with projections offering exotic settings. Derek keeps the production hip and playful, like a scene in which a male dancer comes out in a costume covered in plastic bubbles. A runway was built up the center isle allowing the cast to walk out into the audience. At times, the chorus sang from the back of the theater giving a full surround sound experience. This is a huge, fresh, yet intimate production with strong singing and dancing, who could ask for more!


Mark your calendar! Show times…
June 14,16,19,20,21,22,26,28 @ 8:00 PM
June 27 @ 7:00 PM
June 29 @ 3:00 PM

Performances are held at “The Venue” located at 511 Virginia Drive, Orlando FL.
Tickets are $20.00 and may be purchased at www.clandestineorlando.com
Industry Night Special Offer Monday June 16th @ 8:00 PM
Tickets will be $15.00 Each!

33 Variations

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On February 25th I went to the Winter Garden Theatre ballroom ( 160 West Plant Street, Winter Garden, Florida) for a Designer Run of the show, 33 Variations, a play written by Moises Kaufman. Stage Manager Jay Ferrence was the first person I met when I entered the ballroom. He informed me that the purple tape marked the front of the stage. Actress Becky Eck entered soon afterwards and introduced herself. She had played Jane in “Alice Lost in Wonderland” and she did an amazing job grounding that production. A designer run is a full run through of the show that gives the set designer an idea of where characters will be blocked during the production. Producer Beth Marshall and director Aradhana Tiwari sat behind a folding table to watch the show. Pianist Julian Bond will be performing Beethoven‘s 33 Variations live on stage in the final production, but for now a recording was used and Julian watched to see how the performers would be moving on the set.

This was a dress rehearsal so some actors were in period outfits from Beethoven’s era and the rest of the cast was wearing modern clothing. Photographer Kristen Wheeler was shooting the show this night and she set up two lights to illuminate the actors. Beth warned her not to shoot the feet of some of the period costumed actors since they didn’t have the right shoes yet.  During the show, Kristen had total access to the stage and she moved around the actors catching every emotional moment while also switching on and off lights to get the shots. It was an impressive ballet that didn’t once phase the actors.

The plot examines the creative process of Beethoven’s obsessive variations build from a rather plane and uninspired composition by Diabelli (Brett P. Carson). At the same time, the play follows musicologist Katherine Brandt (played by Peg O’Keef) who yearns to understand Beethoven’s obsession. Brandt’s relationship with her daughter (Becky Eck) is strained as she succumbs to a disabling Sclerosis and at the same time Beethoven (Chris Gibson) goes deaf. I had watched a number of performers audition for the part of Beethoven and I must say Chris is compelling as the anger driven compulsive composer.

 The musicologist traveled to Vienna to inspect Beethoven’s original sketchbooks. By flipping through the pages she could see his every thought as he composed. She wondered if he might be mocking Diabelli’s composition with his variations or perhaps he just wanted to one-up Bach who had 32 variations. Beethoven’s loss of hearing may have actually helped him break new ground as he reinvented the very process of creation. Though cloaked in anger and bitterness, he found an amazing joy in the process even as the world grew silent. Minor composers like Diabelli could be satisfied and complacent with their insignificant contributions.

One moment in the rehearsal was absolute magic. I stopped sketching and was drawn in to the moment. Katherine Brandt disrobed as if in a doctors office. I imagined she was preparing for an MRI full body scan. She stood in a spotlight facing the audience with her arms out in a Christ like gesture. Beethoven stood behind her and they leaned back to back. His head leaned back on her shoulder and her head leaned back on his shoulder. She closed her eyes and shuddered with quick breaths of ecstasy. I noticed Becky Eck off stage began to cry, and my eyes welled up as well. There is a certain magic that happens when actors are no longer reciting lines, but they are emotionally invested in every moment.

Mark Your Calendars! The show runs from March 14-30, 2014
Fridays at 8pm, Saturdays at 2pm and 8pm, Sundays at 2pm,
PLUS Monday, March 24 at 8pm- INDUSTRY NITE

 Tickets: $25 ($21 students/seniors) BethMarshallPresents.com or GardenTheatre.org

Spank! The Fifty Shades Parody

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Spank! is playing at the Abbey through March 23rd. On February 20th, Terry and I went to a performance. The place was packed with voracious women dressed in leopard print and zebra stripes. The cougars were on the prowl. Two muscle bound men, their pecks gleaming, stood at the door, welcoming all that entered. I suspect most of the 3 or four men in the audience were gay, waiting in anticipation for some bondage and fun. I hadn’t read ‘Fifty shades of Gray’, but I knew about, as did Terry. Any straight single guys out there, why aren’t you going to see this show? It was a riot, and who wouldn’t want to be in a room full of women screaming for more sexual innuendo?

On the night Terry and I went, the role of Tasha was played by the swing, Sarah Hester Ross. She did a great job playing the young innocent who is swept up by Hugh, (Robert Stack‘s) sexual advances. Andrea Canny played EBJ the sex starved middle aged author who creates the hot scenes as they are performed using her laptop and some imagination. She was great at keeping the audience participation going. As one woman shouted out from the back row, Andrea shouted back “Yes darling, have another drink!”

As EBJ described Hugh’s dark brooding character, he stood in the spotlight with a black cape, his back to the audience. He turned around semi dressed as batman. He wore black underwear with the Bat logo spot lit on his crotch. His bare shaved chest took the audience by surprise, they went wild. Hugh often strutted in slow motion with a sexy James Bond demeanor. The light always chiseled out his muscles. I don’t know many straight guys that look that good, I need to work out. While Tasha just wanted to talk and learn all she could about Hugh, he just wanted what any man wants, plenty of hot steamy action. EBG wrote a scene in which the two couldn’t have sex, by placing them in hang gliders. Hugh was up to the challenge, swooping in behind Tasha and mounting her glider from behind while she delivered a monologue. It was hilarious. I was laughing so hard that I couldn’t catch my breath at times. I heard Terry laughing just as hard.

Tasha walked into the audience looking for a straight guy to interact with. I tucked my head down into the sketch hoping not to be picked. She found a another straight couple and asked the guy some advice about how big an object might fit into her orifice. He raised his arms and spread them wide. “Oh my, she shouted back. that is the size of snow skis. We are going to need some lube!” Though the play is organized into definite scenes, there is plenty of audience interaction like this keeping things lively. Although there is plenty of leather and lace, the sexual acts are pretty tame and obviously staged, but that makes them all the funnier. Tasha finds Hugh’s tooth brush and when he catshes her with it, he demonstrates how to use it to hilarious cheek stretching effect.

This is definitely the funniest show I have seen in a while. You single guys have to wake up and smell the roses. This is the most uninhibited and fun romp in town right now. Don’t miss out. Mark your calenders men. The ladies are already attracted to this show like moths to the flame.

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.

Fringe Lottery

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On December 2nd the Fringe Lottery was held in the John and Rita Lowndes Shakespeare Center (812 E. Rollins St, Orlando, Fl).  This was an opportunity to see which shows would be selected for Fringe 23. Michael Mariaccio and George “Fringe” Wallace hosted the lottery. Lottery tickets were picked from green buckets. The Fringe is a completely non-juried week of theater and any show could be selected. The theater was packed full of producers and directors who hoped their shows would be picked.

  1. Participants were selected on a
    non-juried basis, through a first-come, first served process, a lottery,
    or other method approved by the Association.
  2. The audience must have the option to
    pay a ticket price, 100% of which goes directly to the artists
    (government taxes notwithstanding.)
  3. Fringe Festival producers have no
    control over the artistic content of each performance. The artistic
    freedom of the participants is unrestrained.
  4. Festivals must provide an easily accessible opportunity for all audiences and all artists to participate in Fringe Festivals.

 Orlando city commissioner Robert Stuart did the actual picking from the bucket.When he selected “Boylesque” from the bucket he had to hesitate before pronouncing the title. Michael Wanzie shouted out from the audience, “Your going to have to learn how to pronounce “Boylesque” if you want the gay vote!” He got quite a good laugh. Later the politician assured his votes by shaking Michael’s hand and kissing him on the cheek. The audience erupted. So, take a glance and anticipate this year’s line up.

– ORANGE –
The All New Nashville Hurricane [Chase Padgett – Burbank, CA]
Ennui [Circus Arts – Polk City, FL]
Boylesque [Sensuality N Motion / Visual EFX Productions – Orlando, FL]
Bless Me Father, For I have Danced [Yow Dance – Orlando, FL]
BARE: A Pop Opera [Penguin Point Productions – Winter Park, FL]
FLIGHT: A Crane’s Story [IBEX Puppetry – Orlando, FL]
Something’s Weird in Weeki Wachee [John Ryanand Diva Productions – Orlando, FL]
– SILVER –
Money Shot! [RUSH Theatrical Productions – New York, NY]
Grim and Fischer [Wonderheads – Portland, OR]
Oyster Boy [Haste Theatre Company – London, UK]
Under the Rainbow [Alan Gerber – Orlando, FL]
There’s No Place Like Home [Wanzie Presents / D-Squared Productions – Orlando, FL]
Smooch [PB and J Theatre Factory – Winter Park, FL]
TBD [The Downtowners – Orlando, FL]
Fifty Shades of Gay [Homicidal Orphan Productions – Orlando, FL]
– YELLOW –
Marathon [TJ Dawe – Vancouver, BC]
God Is a Scottish Drag Queen II: An All New Testament [Mike Delamont – Victoria, BC]
The Surprise [Martin Dockery – Brooklyn, NY]
Killer Quack [James Judd Entertainment – New York, NY]
Conversations with My Divorce Attorney [John Montgomery Theatre Co. – New York, NY]
Tappin and Yappin [J&J Pickle Productions: Ocoee, FL]
Pasion Flamenca [Flamenco del Sol Dance Company – Sanford, FL]
Frankenchrist! The Musical [Acting Passionate Productions – Lakeland, FL]
Professor Soap’s Musical Machine [Cadence Creative – Loughman, FL]
– PINK –
Ruby Rocket, Private Eye [Stacey Hallal – Portland, OR]
Chaotica [Christel Bartelse – Toronto, Ontario ]
House [Ribbitre Public Theatre: Edmonton, Alberta]
Black Stockings [Dangerous Theatre: Denver, CO]
Immortals [Wind Whistle Theatre – Nevada City, CA]
Donating Sperm to My Sisters Wife [Stewart Huff – Winterville, GA]
And Baby Makes Four [Utmost Productions – Orlando, FL]
The British Invasion [My Dream Tree Productions – Casselberry, FL]
– BROWN –
Jem Rolls [Big Word Performance Poetry – Surrey, UK]
TBD [Keith Brown – London, Ontario]
Train Your Man [Kirchmann Productions – Alberton, South Africa]
Taking Out the White Trash [Peemypants Productions – Savannah, GA]
Baba Yaga [It Ain’t Shakespeare – Dallas, TX]
Radio Free Fringe [RFF – Orlando, FL]
Hungry! The Musical [Madmymn Payne Prod – Kissimmee, FL]
All Shook Up: A Rockabilly Revival [Bare Ass Productions – Winter Park, FL]
– GREEN –
Roller Derby Saved My Soul [Broken Turtle Productions – Ottawa, Ontario]
The Death of Brian [A Zombie Odyssey: Theater Simple – Seattle, WA]
40 Something Still Single [Cougar Comedy Productions – Orlando, FL]
Alice Rocks Wonderland [Atlantic Coast Theatre for Youth – Champions Gate, FL]
Bloody Bloody Andrew Jackson [BTW Productions / Ashley Willsey – Lake Mary, FL]
Escape from Baldwin Park [Carpenter Aunt Productions – Orlando, FL]
Liquid Courage [Tobo Productions – Orlando, FL]
20 Nothing [Last Minute Panic Productions – Winter Springs, FL]
– BLUE –
Papa Squats Store of Sorts [Ain’t True and Uncle False’s Hood – Indianapolis, IN]
My Brooklyn Hamlet: A Meshugenah True Story [Brenda Adelman – Spring Valley, CA]
Punk Grandpa [Cosmic Jello / Laura Force Scruggs – Chicago, IL]
Sperm Wars [Random Samples Collective – Toronto, ON]
Fire in the Meth Lab [2 Hoots Productions – Melbourne, Australia]
Shakespeare’s Histories: Ten Epic Plays at a Breakneck Pace [Timothy Mooney Repertory – Prospect Heights, IL]
Tuesday Mourning [Clandestine ARTS – Altamonte Springs, FL]
The Queer Diaries [Royal Entertainment – Orlando, FL]
TBD [Playwrights Round Table – Orlando, FL]
TBD [Kia Ora Productions – Kissimmee, FL]
– PURPLE –
VGL 5’4″ Top [Lucas Brooks – Brooklyn, NY]
Desperately Seeking the Exit [Peter Michael Marino – New York, NY]
Superhero’s Can’t Fly [botwot productions – Aspen, CO]
Us vs. The World [Improv Off the Grid – Orlando, FL]
The Float Boat [Comedy First CLC – Longwood, FL]
The Four Great Books of China (Condensed) [Emerson Productions – Casselberry, FL]
Battle of the Sexes: Male Surrender [John Chapman – Orlando, FL]
Tim and Spencer’s Yet Unnamed Magic Project [Corrupting the Kids – Orlando, FL]
Paisley the Clown [Paisley Productions – Orlando, FL]
TBD [JAR Productions – Orlando, FL]
– RED –
Mark Twain’s is Shakespeare Dead [Doctor Keir Co. – Montreal, Quebec ]
The Chronic Single’s Handbook [Randy Ross – Somerville, MA]
Tap Me on the Shoulder [Pack of Others – Northampton, MA]
Going On: A Inspiring True Story about Loss and Finding the Love Inside Yourself [White Rabbit – Portland, OR]
An Iliad [John Remke – West New York, NY]
Rendezvous La Petite Morte [Chloe J. Roberts – Tampa, FL]
The All-New Review [Portals Theatre – Orlando, FL]
Reincarnation Soup [Viet Nguyen – Orlando, FL]
Paranormal Stupidity [Brian Flaherty – Maitland, FL]
Helix by Tangent [Spur of the Moment – Winter Park, FL]
– BLACK –
A Brief History of Beer [Wish Experience – London, UK]
Ocean Fox [Castlereigh Theatre Project – Victoria, BC]
babyBlueStar Presents: VarieTEASE [babyBlueStar – Orlando, FL]
Exploring Her Kinkdom [Penguin Productions – Orlando, FL]
Tod Kimbro Does Everything [Tod Kimbro – Orlando, FL]
Seasons [Squeaky Wheel Theatre Project – Orlando, FL]
Home Free by Lanford Wilson [Gagne Productions – Orlando, FL]
TBD [Logan Donahoo – Orlando, FL]
Truth of Dare with Pepe [Pepe Productions – Orlando, FL]

 Afterwards, some performers lamented not being picked. They are on a waiting list and sometimes shows drop out offering an opportunity for that slot to be filled. I recall laughing out loud when “Sharknado the Musical” was picked. Unfortunately I don’t see it in the listings so it must have been dropped. Thankfully “Sperm Wars” made the cut. Mark Your Calendar, there are many Fringe happenings leading up to the big event. Check the Fringe website for more details. Hey, if any local producers or directors are reading this, keep me in mind to sketch read throughs, or rehearsals.

  • February 07 – Loon
  • February 08 (2 shows) – Loon
  • February 09 – Loon
  • March 03 – Fringe at the Hard Rock
  • April 14 -Local Preview
  • May 14 – National / International Preview
  • Second half of May – FRINGE!

Words As Silent Tattoos

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On December 12, I went to a rehearsal of “The Words We Wear” at the Goldman Theater in the Orlando Shakespeare Center. The theater space was pitch black when I entered. I stood behind the back row waiting for my eyes to adjust. The directors Aradhana Tiwari and Kevin Becker greeted me warmly. The Goldman is a small intimate space so I decided to sit house left near the back.

Actress Mikki Scanlon Kriekard was getting into military fatigues to perform a monologue Aradhana had written. The director asked all the other actors to clear the space. This was the first time Mikki was performing the monologue and the director didn’t want any distractions. I kept sketching and thankfully Mikki and Aradhana didn’t consider me a distraction.

It had been 192 days since the soldier had spoken. She had been stationed in Afghanistan and things had happened over their that would get under anyone’s skin. When she returned, people seemed like a sea of pages walking the streets. She felt she had been stained by silent tattoos. She came close to relating the horrors that she had seen, but she stopped short. Then she met a young girl that could read her like an open book, seeing the scars and invisible tattoos. The girl gave Mikki a slip of paper laced with hope and redemption. The room was silent and full of emotion. I didn’t know why but my face flushed and in the darkness hot tears roll down my cheeks. No one could see. Mikki, as a brave soldier managed to keep her emotions in check but when
she related how thankful she was, her throat constricted and she had to
slow down to keep from crying, for the first time she felt hope.

After the performance, there were notes from the director. I wiped my eyes and kept sketching. I began to wonder why I had been emotionally bowled over by the performance. A friend had a way of reading people and was able to heal others with a touch. She had a deep, heart felt faith. Yet she wasn’t able to heal her own invisible scars left by life.  Her boyfriend, an artist, that she had just broken up with, drove to the Grand Tetons, did a few paintings and then shot himself. I only saw her once after her boyfriends funeral. She asked me to pray for her. I didn’t pray. Several weeks later, she took her own life.  I realized that I hadn’t cried at her funeral or since. What kind of person doesn’t cry at a funeral? Instead of feeling anything, I sketched like a machine. At the time I was annoyed that the focus at the memorial service was on resurrection rather than on the suicide. The word wasn’t uttered once. She wasn’t rising from the grave. Due to red tape her body had yet to be cremated. I hadn’t seen it coming. The one word on my mind remains WHY? How could someone with so much faith take their own life? Did she find the enveloping love of God that she hoped for? I wish I could believe that. Her suicide note absolved everyone from guilt, but guilt remains. I could have been a better friend. This performance finally made all the suppressed emotions bubble up to the surface.  There is so much to live for. The sun burns bright. What choice remains, but to hope?

The second part of the rehearsal involved the whole cast removing white fabric with negative words and then picking up fabrics from the clothes line with positive words. Some actresses removed scarves, shackles, belts and blindfolds. One fiery redhead looked like Jackie Onassis with big sunglasses and the head shawl that she threw away. In one run through, Becky Lane removed her negative garment and when she picked her life affirming clothes line fabric, she smiled and daintily nestled it in her cleavage with a silent film Chaplinesque flair as she walked off stage. I was thankful for the laugh.

“The Words We Wear” will be playing tonight at the Goldman Theatre in the Orlando Shakespeare Center (812 E Rollins St, Orlando, FL).

Saturday, December 14th at 2:00 PM and 8:00 PM

Sunday, December 15th at 8:00 PM. (The Sunday performance is sold out.)

You can purchase tickets on the EpicVita website.

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.

The House of Yes

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At Fringe, I was handed a “House of Yes” button on the green lawn at Lock Haven Park. It was red white and blue so I assumed the show might be a political comedy. The Penguin Point Productions play and its polished production values took me by surprise. It was about a brother, Marty (Justin M.G. Hughes), who returned home with his naive fiance, Lesly (Monica Joyce), from the city. I quickly became obvious that his twin sister, Jacqueline (Adele Papoosha), had suffered a nervous breakdown. She was ecstatic about his return. She fancied herself to be like Jackie Onassis. It became clear that Marty and his Mom (Marcie Schwalm), didn’t get along. Mrs. Pascal’s sarcasm,wit and cold high brow detachment added much needed humor to every scene. The whole family put on airs. I knew nothing about the play or the later film staring Parker Posey. I grew more uncomfortable as the play progressed.

When Jackie-O finds out her brother is engaged her mood sours and it is clear to all that she is off her medications. Late that night she convinces her brother to play a childhood game. They reenact the Kennedy Assassination and she nurses him and her gentle kisses turn to passionate love. Lesly discovers them and slips away disgusted by the incest. Meanwhile the younger brother, Anthony (Max Herskovitz), became obsessed with Lesly and he seduces her with a story of a brain tumor and his virginity. The mom discovers these two and in a comic moment just shakes her head and walks off stage as if nothing would surprise her.

The next morning Mom tries to convince Leslie to leave, blackmailing her with what she had seen the night before. Leslie has much more backbone than anyone in the family gave her credit for and she refuses to leave without Marty. She wants to save him from this strange incestuous family. To keep him home, Jackie-O flushes Marty’s car keys. She convinces Marty to play the KFK Assassination game one last time saying he could leave afterwords. Crying she pulls the trigger. This time the gun was real. Jacky-O held the president’s blood stained head in her lap. I left feeling unnerved and shocked.

Loon

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Wonderheads from Portand, Oregon brought “Loon” to this years Fringe.  This life sized puppet acted out every scene in mime. A sad faced aging man stood at the beach with his mothers remains in a jar. He went to scatter the ashes and just got his hands and clothes covered in ash. He is faced with dating and when asked about his favorite person he wrote mom. There was a collective awww… from the audience.

Things look up for him when he falls in love with the moon. He pursues the moon with a child like ambition.  There is one magical moment where he has the moon cupped in his hands and his hands spread apart leaving the glowing orb floating in space between his hands. I still don’t know how it was done. I haven’t experienced that type of wonder and amazement since I saw a planetarium show about beings of light as a child.

Loon was the well deserved patron’s pick for the green venue. It was funny, touching and heart breaking. When the actors came out for a bow after the show, I was surprised to discover that the old man was played by a young woman.