Frost Nixon

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In the Mandell Theater in the Lowdes Shakespeare Center,”Frost Nixon” written by Peter Morgan is being performed through April 28th. Stephan Jones does an astonishing performance as Nixon. His performance isn’t a satirical caricature but an honest look at a man with insecurities and pride. As a elementary school student I used to enjoy doing political cartoons of Nixon so from an early age I understood his charisma. Timothy Williams performs as David Frost, a talk show host looking to score the biggest interview of his career. John Bateman as James Reston acts as the narrator who has had a long time desire to see Nixon admit and repent for his wrong doing. In a humorous moment he meets his long time nemesis and he goes mute and shakes Nixon’s hand. Nixon turned smugly away with his best attempt at a grin.

The interview itself was like a prize boxing match with Nixon evading question with his long winded rope-a-dope memories and effusive tales. In the first round Frost sits back overwhelmed and exhausted by the ex-presidents long winded and empty answers. The actual interview went on for hours but it is thankfully edited down for the stage production. The interview is cut into four bouts and by the end it seemed like Nixon was a bull that wanted to feel the pain of the matador’s sword.

After the show, the cast assembled on stage for a question and answer session with the audience. Director John DiDonna asked theater reviewer Steve Schneider to join them on stage. Steve wrote a glowing review of the performance but hated the historical inaccuracies of the play. He stated that Nixon never admitted to the Watergate cover up and any younger audience members might accept the play at truth. Artists have a responsibility to present the truth. He equated it to journalistic integrity. Going to the theater to learn history is like going to “The Daily Show” to get the news. John asked a class full of college students, “Who is Nixon?” Only three students raised their hands. The play offered Nixon a redemption that he never had in real life. How much artistic license should be allowed before historical accuracy is ignored or turned on it’s head? To illustrate his point, Steve suggested, we imagine that a Japanese playwright decided to write a play about World War II in which there was no Pearl Harbor. Instead Japan is forced into the war when America stages a sneak attack on the Japanese Navy Fleet. Could that be an entertaining play? Certainly, but it would be divisive and inaccurate.

You have just 3 chances left to see this amazing production.

Friday April 26th  at 8PM

Saturday April 27th at 8PM

Sunday April 28th at 2PM.

The Buddy Holly Story

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Andy Matchett, of Andy Matchett and the Minx stars in this production at the Ice House Theater, (1100 N. Unser St. in Mount Dora). I can’t imagine another performer who could so easily step into Buddy’s shoes. The role seems custom made for Andy. The Buddy Holly Story tells the story of the three years in which he became
the world’s top recording artist. The show features over 20 of
Buddy Holly’s greatest hits including “Peggy Sue”, “That’ll Be The Day”,
“Oh Boy”, “Not Fade Away”, “Everyday”, “Rave On”, “Maybe Baby”,
“Raining In My Heart”, Ritchie Valens’ “La Bamba”, and the Big Bopper’s
“Chantilly Lace”.  ‘Buddy’
Holly’s music and story have been shared live with many more people than the real Buddy
Holly ever had the chance to perform to. The incredible legacy of the
young man with glasses, whose musical career spanned an all-too-brief
period during the golden days of rock ‘n’ roll, continues to live on.

I went to sketch a full dress rehearsal run through of the show. As actors got dressed, Whitney Abell sat stage right fingering her iPad. Soon all three of the actresses, the back up chorus, were ready for mic checks. The band went through their mic checks and perhaps an hour went by before the director called out, “Places!” An actor shouted back, “Thank you places!” The red velvet curtains closed and then re-opened. The primary conflict in the show was that country music radio stations didn’t understand Buddy’s music. They wanted to mold him into a country music star. When Buddy and the Crickets performed live at a radio station they switched up the performance and started playing their brash rock and roll. The stations phones lit up. During the rehearsal, the play came to a halt when power to the mics was lost on stage. One of the musicians joked, “We should rename the show, Buddy Holly Unplugged!”

The final number performed was “Rave On!” Midway into the song, the music just stopped and the theater went black and silent. A single spotlight illuminated the now deserted microphone where Buddy had been singing.  On February 3rd, 1959, the man who changed the face of popular music tragically died in a plane crash at the tender age of 22. Also on the plane were, the Big Bopper and Richie Valens’. That was the day the music died. In the darkness the entire cast bowed their heads. The show bounded back with an encore performance by Buddy with the lights blazing. At the end of the song, Buddy raised his fist in the air shouting, “Tell all your friends Buddy Holly is back in town!” This awe inspiring show will run from
January 18th to February 17th with evening shows on Thursday, Friday and
Saturday nights with matinees on Sundays and select Saturdays. Some shows are already sold out, get your tickets now!

13 in 13

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Orlando Playwright, Joseph Reed Hayes, will offer audiences 13 artistic projects in 2013. Determined to focus on his artistic passions
in the new year, Joseph will spend the
next 12 months bringing 13 separate creative projects to life. His
“13 in 13” project takes everything he’s learned as a playwright, music
producer, freelance writer, radio guy, spoken word performer,
photographer, voracious techno-geek, and shameless self-promoter to
energize one art-filled year of events and engage and excite Orlando and
a worldwide Internet audience. The first event on February. 5th will be a screening of  “Big Easy Express“, an area-exclusive screening of the
critically-acclaimed, Grammy-nominated movie at the Cobb Plaza 12 in
downtown Orlando. I sketched the theater as the sun set on another business day. The movie tickets to this screening must be reserved by January 30th. As of this writing, 16 more tickets needed to be sold to guarantee that the theater is reserved. Get your tickets now.

The 13 productions in 2013 will be financed in part by a Kickstarter
crowd-funding campaign, which ends January 27th, and will include five
Hayes-produced jazz shows, two of his original plays and a brand-new
live Holiday radio drama, two workshops, a photo exhibit, a movie
screening and a spoken-word performance. In designing this ambitious
year-long project, Hayes will bring his work and the talents of many
local musicians and actors to new audiences in person and online during
live streaming events. Hayes has designed the Kickstarter campaign to help engage theater and
jazz lovers in Orlando.  “I’m asking my audience to help me create this
year of art, and spread the word. I’m excited about what I’m going to
attempt in 2013, and I think together we just might make it happen,” he
said.

Every artist involved — 19 musicians, 11 actors, 8 directors and theater
technicians, 4 writers, 1 chef, a sound-effects person — will get paid,
because Hayes believes talent and art have great value, and that value
should be rewarded. Videos, audio recordings, photo books and posters
will be created for each project, and most of the events will be open to
the public, some at no charge. Many of them will be streamed online, as
was his breakthrough United Arts of Central Florida-funded House
Theater Project in 2012, which staged his play “A Little Crazy” in his
living room and reached viewers as far afield as England, Italy and
Romania.

13 in 13 Events:

1. Feb. 5: “Big Easy Express“, an area-exclusive screening of the
critically-acclaimed, Grammy-nominated movie at the Cobb Plaza 12 in
downtown Orlando.

2. Feb. 9: “Creating an Audience and Shameless Self-Promotion“, a
Downtown Credo Conduit workshop by freelance writers and guerrilla
marketers Jennifer Greenhill-Taylor and Joseph Hayes.

3. April 4: Trumpeter Brian Groder and pianist Tonino Miano — musicians,
composers and educators from New York — conduct a master class in
composition and jazz improvisation at the UCF Jazz Studies Department.

4. April 5: “Jazz in the Real World“. Groder and Miano take their
students from the UCF Jazz program out of the classroom and into a real
world gig.

5. April 7: “FluiDENSITY” premiere. Groder and Miano premiere their new CD of

modern classical/jazz improvisations at the Timucua White House.

6. June 25: “Jazz On Edge Supper Club“. Vocalist Heather Friedman and
her trio perform at Hannibal’s on the Square for a special dinner and
jazz supper club.

7. TBA: “SOLOS.” House Theater Project production of Hayes’ Orlando Fringe Festival hit jazz play.

8. TBA: “SOLOS AFTER HOURS” — a House Theater Project/Jazz On Edge joint
presentation of “SOLOS” with a live band, followed by a cabaret
performance of the Solos Quartet with guest vocalist Lulu Picart.

9. TBA: “Water Cities“, an exhibit of photographs of great world cities by Joseph Reed Hayes at Downtown Credo.

10. TBA: “13in13 Reading Series.” Spoken word performances by novelists
Julie Compton and Jennifer Greenhill-Taylor, playwright Joseph Reed
Hayes and poet Summer Rodman.

11. TBA: Jazz On Edge House Concert featuring the 5th anniversary Jazz On Edge presentation, which will be streamed live online.

12. TBA: House Theater Project will feature the world premiere of “A SLOW RIDE” by Joseph Reed Hayes. Streamed live online.

13. Dec. 2013: “THE LITTLE DICKENS,” An original “radio drama”
production of Hayes’ cracking new Holiday show, presented in front of a
live audience and streamed online in audio and video versions for
enjoying by the fireside.

Corridor Project at Plaza Live

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Patrick Greene helped facilitate a parking lot performance before the Deerhoof concert at Plaza Live. It was the second Corridor Project production.  When I got there it was just starting to get dark. Patrick had a megaphone and there was some negotiating with the Plaza Live staff to clear an area in the parking lot for a staging place. Having no idea what was to come, I decided to step back and sketch a long shot of the parking lot scene to see what developed. Hannah Miller parked a pickup truck and pulled out a huge tree trunk set piece. A car was asked to park at the end of the row to avoid any other cars from driving into the staging area. I saw brown sheets being unfurled on the pavement and on the tailgates of parked cars. The parking lane was being converted into a forest glen.

An Ibex puppetry kite hinted that the performance was about to start, so I finished the sketch and moved closer. Voci Dance performed with the help of Tiny Waves and The Shine Shed Collective. Performers were all dressed in exotic woodland creature costumes. The dancers moved nimbly between the tree trunks, performing to live music. I sketched a strange bird-like creature with drums before he marched off into the woods. I wasn’t sure if Sarah Lockhard was a fox, beaver or a hound but all the dancers moved with grace. Hip bones became headdress eyes and antlers. It was all very primal. When the performance ended, sheets and set pieces quickly were gathered up and the magic disappeared.

Hedwig Manifestation

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Director, Tara Corless, invited me to sketch as actor Brian Thompson got ready for the final night’s performance of Hedwig and the Angry Inch at the Majestic Theatre and Lounge inside Revolution Nightclub ( 375 South Bumby Avenue). I arrived a bit early and all the doors to the club were locked. A fellow with long dark hair was waiting in the parking lot. It turned out he had left his cell phone in the club from the performance the night before. He had been waiting since 4PM and I believe the performers started arriving around 6PM. The lead actor and actress, Dorothy Massey who plays Yitzhak, and  Brian, who plays Hedwig, pulled up in a van. All the costumes were piled up in the back and they opened the tailgate and started eating their takeout Chinese food. Andy Matchett pulled up, rolled down his car window, and he asked if anyone wanted a drink since he was making a drink run. Dorothy began relating Saint Augustine ghost stories as the sun set. Every fifteen minutes or so, Cessna airplanes would swoop down over the Club on their approach to the Executive Airport.

The dressing room was maybe 10 feet square and the entire cast had to use the space. I found a spot to sketch from, and I checked with Dorothy to make sure I wasn’t blocking anyone. It would take a full two hours for Hedwig to manifest and transform himself into a woman. His eyebrows were already shaved which would save time. Dorothy explained that her transformation to a man would take much less time. Stage manager, Ally Gursky, arrived with a container of fresh baked chocolate chip cookies. She had skinned her knee the night before and somehow every piece of musical equipment carried through the dressing room managed to bonk her raw knee. Being insensitive, I couldn’t help but chuckle.  On her iPhone, she played a wonderful video that pointed out the obvious and hilarious reason to be supportive of gay marriage. Then Tara arrived with containers full of red white and blue cupcakes left over from Veterans day no doubt. Dorothy straddled Brian’s lap and started painting decorative swirling eyebrows. Andy arrived with a bottle of Burbon. He said to me, “Care to take that sketch to the next level?” He filled my cup and asked if I wanted some Ginger ale to water it down. I decided to taste the burbon first. My throat lit on fire and I whispered, “Yep, I need some ginger ale.” My lines loosened up with each sip. Dorothy started dancing in wild abandon to “Do It With a Rockstar“.

One of the Guitar players started to thank every one. “I started this show tentative and unsure, but you all made me feel at home. Thanks you everyone for your friendship and support, I’m going to miss you all when this show is over.” Andy said, “No problem, Uhm, what is your name again?” Everyone laughed. Tara circled everyone up for a pre-show ritual. Half of the cast circled up their index finger and thumb creating a cavity in their palms while the rest of the cast inserted their index fingers in the warm cavities. All their hands and wrists intertwined. Ally shouted, “Five minuted to show time!” actors shouted back, “Thank you 5!” There was an electric excitement in the air. Tara announced that they had 30 people in the audience, that was the largest audience they had in the entire show’s run. Andy claimed that on some nights they performed with only three people in the audience. This was a case off life imitating art imitating life,  The band went on stage and  a flash of electric music filled the theater with the Origin of Love. These rock stars were ready to raise the rafters!

Road To Mecca

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After returning from France, I quickly tried to arrange to sketch a rehearsal of Road to Mecca. That night was a final dress rehearsal and performance preview of the show. Unfortunately I was already scheduled to sketch a fundraiser that night. The director, Aradhana Tiwari, suggested I get there early to sketch last minute touches being done to the set in the new Mad Cow Theater (54 West Church Street, second floor)

When I got to the theater, I met Lisa Buck, the set designer. She explained that the lights that had been ordered for the new black box theater hadn’t arrived yet. A company had agreed to lend the Mad Cow their lights.  There was a last minute rush to get these lights hung and aimed properly. A stage hand would climb a ladder and then shout out to the person in the lighting booth to get the light turned on. Lisa briefly explained to me that the show was about an elderly English South African woman who sculpted owls and filled her home with candles and bottles. Her home had a quirky folk artists feel. Lisa told me that when the set was properly lit, it would sparkle magically. All the candles would be lit and the light would reflect off of all the bottles. Bottles hung from the ceiling forming a dense chandelier. Lisa knew that a neighbor had an old weathered door in his back yard. She borrowed it to use as the headboard to the bed. Characters in the play tried to convince the old woman to leave the home and go into assisted living because she was living outside their idea of the norm.

Aradhana arrived when I was half finished with my sketch. She quickly started working on the music and lighting cues for the show. There were only a few hours left before an audience would enter the theaters. One scene which had already been worked out was much brighter than Aradhana remembered. A stage hand was cutting gels for the lights and those gels would change the color and intensity of the lights.  They had to go on faith that everything would be in place on time. I finished my sketch as the frantic work continued.

The show runs through November 11th. Get your tickets now.

Blur

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I went to the final run through rehearsal for Emotions Dance performance of Blur at Turning Pointe Dance Studio (470 E Lake Brantley Drive, Longwood, FL). Rehearsal started at 9PM so I had time to eat dinner with Terry at home before I left. The dance company’s founder was on a conference call to California when I arrived and she told the dancers they had five minutes to warm up before starting to dance “full out”.

Using contemporary dance, Blur examines social networking, consumerism, the corporate world and reality television and asks “Are we really connected to one another”? Energetic, heartfelt and also playful choreography came together to look at our habits in today’s hectic world! Things are not always black and white. My favorite dance number involved all the dancers moving in a grid like pattern on the stage as they tapped out text messages. The driving techno music by Draft Punk Techno Logic set the fast paced beat to messages sent with little heart. “Buy it, use it, break it, fix it, trash it, change it, melt – upgrade it, charge it, pawn it, zoom it, press it, snap it, work it, quick – erase it, write it, get it, paste it, save it, load it, check it, quick – rewrite it, plug it, play it, burn it, rip it, drag and drop it, zip – unzip it, lock it, fill it, curl it, find it, view it, code it, jam – unlock it, surf it, scroll it, pose it, click it, cross it, crack it, twitch – update it, name it, rate it, tune it, print it, scan it, send it, fax – rename it, touch it, bring it, pay it, watch it, turn it, leave it, stop – format it.” I love the lyrics! They seem to document my mad struggle to keep up with a digital world.

Tonight, Saturday September 15th, is the last performance so get to the Orlando Repertory Theatre Blackbox (1001 E Princeton St, Orlando) by 8PM. Buy it, charge it, rip it, then prepare for some truly thought provoking dance! There is an opening act by Turning Pointe Elite. Go!

The Avengers

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Terry and I drove to the West Orange 5 Movie Theater (1575 Maguire Road, Ocoee). It was the opening weekend for The Avengers, so we arrived early expecting a line. We were actually the first in line. The theater had a major renovation since the last time we were there. Once we had our tickets, we had to wait outside. Terry read her magazine in line and I sat on a bench to sketch the line as it formed.

A crowd flowed out of the theater. Sung Kim, a former co-worker from my Disney Animation days saw me and said hello. He had just seen The Avengers and he loved it! “It’s about time.” he said.  Another former Disney man, Paulo Alverado and his family were waiting in line. Two men started to argue in the parking lot. One guy was pissed off that the other guys young children didn’t keep quiet during the movie. The guy holding his two year old son at his hip shouted back, red faced, “There were people with cell phones and others talking and you have a problem with my kids! Let me get your license plate!”  Since he couldn’t defend his child’s behavior, he certainly could avenge it. I’m not sure if they enjoyed the movie. No punches were thrown.

We saw The Avengers in 2D the first time and then returned a second time to see it in 3D. It was amazing both times.

Cannibal! The Musical

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Cannibal! The Musical was written for the stage by Trey Parker who is one of the South Park writers.  I know the director, Logan Donahoo. I’ve sketched him putting on make-up to become one of the Sisters of Perpetual Indulgence. I’ve also seen him in several past Fringe productions. The volunteer at the door was convinced that the director of the play was a woman. Logan is a beautiful person, but the volunteer must be blind. Terry and I were smuggled into the theater via the stage door and we walked off stage to front row seats. Logan was so gracious. I’m getting used to some of the chaos of Fringe.

The play is about a group of pioneers dream of a better life out west. It took place across Utah, the Colorado Territory and at a Ute Indian Reservation in 1874.  The Indian chief, (Danny Garcia) did a hilarious imitation of Pepe who is a flamboyant local entertainer. As the title implies, they are challenged by the wilderness and a few survive as cannibals. We were seated right near the pianist. The production had so many silly embellishments. A sexy horse was played by a female with a string bikini top and loin cloths. When the owner pet her, she would wrap a leg around him in a sensual embrace. It was both funny and unsettling. I noticed she couldn’t see very well with the horses head on as she groped for the stage exit.

The fire was an inflatable pool toy. All the songs were tongue and cheek. A group of people in the front row obviously knew an actor since they squealed whenever he was on stage.  An older lady was obviously drinking since she talked loudly and reacted with childish loud enthusiasm at plot twists. I wondered if she was a planted cast member. You had to be a South Park fan to get some of the humor, so Terry was lost at times. I laughed loud and often.

There was some extraneous full frontal nudity and a sensual horse striptease with tassels. Who can not love a musical number entitled “Hang the Bastard!” The cast seemed immense for a Fringe production with towns people, Indians, trappers, squaws, a horse and a sexy sheep. The play ended with the spirited “Shpadoinkle” finale. When the cast took their final bow, I suddenly realized that the sensual horse was played by Sarah Lockhard who is an actress and dancer who seems to be everywhere at once at the Fringe. She was in the very next production I sketched called, Connected.

Paul Strickland: Jokes, Songs, a Hat, Etc!

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Beth Marshall was the producer of Paul Strickland‘s show at the Orlando Fringe Festival and she suggested I see and sketch the show.There was a line of people outside the Brown venue in the Shakespeare theater and I muscled into line. A volunteer scanned my ticked and then asked, “Do you have a button?” I said, “Of course.” and pointed down at my bag that was covered in buttons. Looking down, I realized my Fringe button had fallen off. Thankfully she didn’t notice.

I sat at the center of the top row of the bleacher seats. Jeremy Seghers and members of his cast from Mysterious Skin sat around me. The author of the play had been sent a link to the blog post and apparently he loved the sketch. I was flattered. A green light from the lighting tech booth illuminated my sketch as the room grew dark. Actress Sarah Villegas was visiting from out of town with her boyfriend. She had been in Fringe shows since she was 14 and this was the first time she came as a visitor. She said she missed Orlando and the Fringe in particular.

Paul’s show combined comedy and music in a perfect blend. Many jokes centered around his feeling old at 30 yet they resonate even more when you hit 50. The woman seated directly in front of me laughed so loud that she set off a chain reaction of laughter. I identified with that strange feeling he got when a child stared at him. For some reason, children always stare at me on airplanes or in supermarkets. It is unnerving. Anyway he decided to warm up to this particular child and he made cute faces and said “Where can I buy one of you?” That would be fine he realized, unless the child was black! He performed My Way which is a song any artist who forges their own path can identify with.

You have one more chance to catch his show today, Sunday May 27th at 12:30PM. Tickets are $11. This show can be an exclamation point to your Fringe experience.