Design Originals. Cuttin Up
And she did it all while producing and directing a local awards show that took place days after opening. The mix over the 2 hours and 15 minutes feels just right. The numerous stories sometimes relate to the barbers but more often are recollections from their past, digressing even intol stories within stories.
All celebrate these just plain folk in uniquely American tales of survival. Smith, Adolphus Ward. Elaine J. Certainly his parents have problems communicating between the distractions of incoming calls, digital programming and other modern conveniences. But here in Los Angeles, a. Despite a stage festooned with cell phones, remotes, Blackberrys, video game controls, big screens and the like, media overload is not among the suspects fingered by Distracted.
Instead, the latest effort from the author of The Waiting Room makes its case against genetics, diet, chemical imbalance and parental inattention. And, in the script's defense, it does provide two entertaining hours of distraction.
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Even if, wanting to be both "SNL" and "Frontline," it exhibits a little bi-polarity of its own. This is the third issue-oriented comedy with a central female character from Ms. She began with Expecting Isabel about having a baby , followed with Living Out about having a caregiver , and now offers this play about having a hyper-negative child. After too many calls from teachers at wit's end, and too many days that feel endless, Jesse's mother, played by Rita Wilson, is compelled to have the child tested.
For those interested in dissecting the clinical side of Distracted , the program offers an excerpt from The Last Normal Child by Dr. Lawrence Diller. It, and a great study guide, can be accessed here. As our genial guide down the rabbit hole of guilt and confusion, Ms. Wilson is always on stage. She keeps her character engagingly funny, always real and always watchable. While she has to be the punch line for a series of goofy specialists, then punching-bag to her humorless husband played by Ray Porter , she also has to stand and deliver her own one-liners.
She performs all these operations seamlessly. For his part, Porter must portray the spouse who refuses to buy into anything his better half attempts.soilstones.com/wp-content/2020-03-27/147.php
Cuttin' Up Digital Designs by Michele
His is a kind of knee-jerk anti-authority stance that leaves him too much jerk and too little kind. Given that, it's ironic that he is vindicated when, to an inverted hip-hop take on Tom Hanks' keyboard dance in Big , Jesse's turnaround shows Dad's foot-dragging to be what protected his son's integrity. If he'd only been there for Randall P. McMurphy and Elwood P. Bronson Pinchot and Stephanie Berry stand out as they run characterization marathons of four or five identities each, with a Berry quick-change that would confound Copperfield. Those multiple assignments however leave Marisa Geraghty and Johanna Day with little to do as neighbors.
Day nevertheless manages to shows her acting chops in tiny scenes as an obsessive-compulsive busybody, eliciting congratulatory applause on each of the first three of her four or five exits. Hudson Thames provides the major minor role, with Emma Hunton sympathetic as a troubled teen.
And finally, Loomer and Foglia have threaded the show with a healthy dose of irreverence for theater convention. Character-dropping asides that blur the actor-role divide further the effort to decriminalize ADD. Its message for parents is tolerance. The best hedge against our children getting Attention Deficient Disorder, Ms. Champa, lights; Jon Gottlieb, sound; David S. Costumer A.
There's a real temptation to check the alley behind the theater for hitching posts and corrals. However, while the conceit provides welcome justification for the use of American accents and acting instincts, whatever insights the play's transposition intends for its new setting, or expects the setting to shed on the play, are hard to assay. Nevertheless, the relationship at the core of the play, is given some color here that, while not necessarily a product of the updating, does give the show new heart.
This adaptation in fact is only skin deep. The text has not been altered — as best I could fathom — beyond directional references like Malcolm's and Donalbain's flights now being to 'north' and 'west' rather than England and Ireland should that be 'south' and 'west? So Macbeth here remains a world of armies, kings, reigns and realms, lieges and heaths. With few exceptions, the costumes portray all the men as cowboys of equal stature. The wounded sergeant who helps get things started is not wearing a recognizable army uniform to provide historical coordinates.
Are these cattlemen, railroad barons, bankers, lawmen, Mexicans, politicians, traders, trappers, outlaws, prospectors? There were certainly plenty of people out to consolidate power in those days. We can only infer what Mr. Zaslove's reason for putting them here is.
In fact, the strength may not be in making parallels to the Old West and its historical figures. Their mutual hunger for advancement does not seem to be about political or financial power, but by the need for Macbeth to be more of a man in his wife's eyes. Sparks and Ms. Glass make this a very physical connection. Macbeth's desire for advancement is about proving himself worthy. Of course that gets lost in the expanding net of deceit and murder that follows.
But as an impulse to get things started, it's interesting and insightful. For her part, the husky-voiced Ms.
THEATERTIMES | MARCH 2007
Glass gives her Lady an earthiness that fits the time and place Mr. Zaslove has chosen and her nightmare scene is particularly affecting. The actresses who play the witches are also double-cast into the Macbeth household, providing some eerie potential for the sage women to be either Mexican or Indian maidens who, though subservient domestically carry powerful magic from the other world that they bring to bear.
However, Mr. Zaslove's documented fondness for mask use, though used sparingly, still shows the weakness of this theatrical tool as it makes the actresses facially one-dimensional as it muffles their voices somewhat.
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Without directorial choices and visual aids to provide stirrups for Mr. Sparks to sink his feet in, his ride on this handsome beast can seem at times to bounce around. As a result, he goes for the big payoff on a lot of the speeches and they begin to sound the same after awhile. Sparks is clearly a capable actor, so it's far from the worst complaint to note he seems obliged to give too much.
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This Macbeth is looking for his turf. Without that sense of grounding, he really is at the whim of the fates.
The History of ‘Ten Little Indians’
Many 19th Century American men amassed enormous wealth and power in the West. Actors and audiences both likely rode to the performance on surface streets that recall these past or present members of the California aristocracy: from Sepulveda and Pico to Chandler, Mulholland and Huntington. Whether there are parallels in Mr. Zaslove's interpretation or not may best be sorted out in discussions while driving those mean streets home.
Survivors of atrocities — from wholesale genocide in Germany, Cambodia or Rwanda to molestation and domestic violence at home — carry that evil for the rest of their lives. Most importantly, however, she demonstrates that great storytelling continues to find its true haven in the world of theater. To usher us through this rewarding and riveting experience, Ms. Cho has created a harmless retired piano teacher named Mrs.
K Linda Gehringer, making the most of a golden opportunity to define a complex new addition to theater literature. From the arpeggio door chimes to the wedding ring she still wears, she appears cheerfully resigned to her solitude, warm beneath a comforter of memories from her years helping children discover music. Its scented reward stickers activate images of those tiny faces and she decides to call some decades-old phone numbers in the slim hope of catching up with some former pupils. They will in turn reunite her with aspects of that earlier time that she may or may not have understood.
The storytelling prowess displayed in 'The Piano Teacher' would only be diminished by further specifics. But the multi-layered beauty of the play can be glimpsed in something as deceptively simple as the central character's name. In Mrs. Cho not only suggests the integral role of a Mr. K, she hides any nationality or ethnicity the full name might carry. Unintentionally, but deservedly, she also invokes the eerie worlds of such masters as Kafka, Poe and others who often used a single character to identify their characters. For her part, designer Myung Hee Cho takes what might have been constraints of the production concept and turns them into complementary statements in their own right.
Walls that must be left bare for upstage reveals tell of a home without family photos, paintings or bookshelves. It is, in fact, a household turning its back on its history. That same wall, arcing like a concert hall band shell, recalls the world of musical performance. Lighting designer Jason Lyons has created a beautiful palette of cues and specials to articulate the focus and intensify the drama.
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