Theatre Review - The Crucible

The Crucible

Written by Arthur Miller

Directed by Ben Barnes

When: Sunday, March 8, 2pm

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

Photo courtesy of the REP

Regardless of whether it was good or bad, it is incredibly unfortunate that the University of Delaware's Resident Ensemble Players' production of Arthur Miller's The Crucible (and the remainder of their season) had to be sidelined due to the coronavirus pandemic.  It's perhaps even more stinging because the production was a solid presentation of a classic, yet incredibly relevant, play that in this day and age really speaks to the mob mentality that social media, media in general, and politics play in literally wrecking lives without any basis of fact.  I think no matter which side of the political spectrum you fall, you can find something relevant in Arthur Miller's resonant work which nearly all of us read in high school, but really comes to life when you see it on a stage.

The production (which the REP says they're hoping to return to next season) admittedly started off on a bit of shaky ground.  Something about the dialect and the pace of speaking led to some odd line readings in the initial scenes from both members of the REP and the large cast of guest actors (some of whom admittedly fare better than others as the play progresses).  Soon enough, however, things started to gel despite the unique concept from director Ben Barnes to seemingly squarely place this in a time long ago (a la the 1600s) with most of the set design and costumes, yet pepper in some obviously modern touches like a car and modern suits.  This juxtaposition plays with the audience's mind, making us realize the relevance to our times.

A true ensemble piece, guest actors Jacqueline Correa and Izabel Mar as Elizabeth Proctor and Mary Warren respectively were the strongest performances to me, creating much emotional impact with their storylines with leads Maria Guivar (as Abigail Williams) and René Thornton, Jr. (as John Proctor).  Somehow, though, unlike other REP shows where I always find a particular actor who truly moves me, The Crucible felt much more of an ensemble piece to me than most the REP produces.

Frankly, the acting and the production values pale in comparison to the written word that Arthur Miller created so many decades ago that still rings to incredibly relevant today.  It's an amazing work of art that Miller crafted and I look forward to a future reinterpretation or replaying of this relevant piece of art.

Theatre Review - Starter Pistol

Starter Pistol

Written by Michael Gotch

Directed by Mark Lamos

When: Sunday, January 19, 2pm

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

Photo by Evan Krape / The REP

"On tonight's very special episode of Roseanne" are the words that kept ringing through my head as REP actor-turned-playwright Michael Gotch's Starter Pistol made its world premiere as part of the University of Delaware's Resident Ensemble Players 2019-20 season.  From the set design by Hugh Landwehr (which even included an incredibly similar Connors-esque crocheted afghan draped on the sofa) to the comedic undertones running rampant in this story about a lower-middle class Midwest family, it genuinely felt as if a large chunk of this play could've been supplanted into a Roseanne episode with simple changes to the character names.  That's not necessarily a bad thing as I'm a fan of that show and its current television iteration, but something about Starter Pistol lacked a bit of originality.  It also, unfortunately, lacked a little bit of focus which --considering this is the play's debut -- may be honed a bit more in subsequent presentations of this work.

Gun control, opioid/prescription drug dependency, factories closing leading to unemployment are all topics that try to add drama to the piece, but none are really captured to their fullest potential and the play's shocking ending that left the audience at the performance I attended silenced feels forced, unearned, and a bit too obvious in this day and age.  I had a similar reaction to Gotch's previous work presented by the REP - Minor Fantastical Kingdoms - but that one worked a bit better for me than this one.  (Gotch's works are still much better than the New York-based playwright Theresa Rebeck premieres that the REP has showcased in seasons past.).  Gotch is actually quite adept at sly comedy -- the humor feels very natural to the characters he brings to the picture.  The drama just doesn't land for me.  Additionally, while the two hour runtime never felt long, this one doesn't need to be a two act piece.  In fact, perhaps in time, Gotch will craft this into a more taut 100-minute one-after.

The cast is solid with Kathleen Pirkl Tague and Steven Pelinski getting the most to sink their teeth into, but Starter Pistol just falls a bit flat which hurts me to say because Michael Gotch is a talent (his direction of Wait Until Dark in particular is still one of my favorite shows I've seen from the company).

Theater Review - Murder on the Orient Express

Murder on the Orient Express

Adapted by Ken Ludwig

Directed by Sanford Robbins

When: Sunday, November 10, 2pm

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

It's safe to say that I am not a huge fan of Agatha Christie.  Her mysteries are too far-fetched and convoluted to really register for me.  With that in mind, I came into the University of Delaware's Resident Ensemble Players' production of Murder on the Orient Express with some trepidation.  While director Sandford Robbins didn't change my mind on Ms. Christie, there is still something very special going on at the Thompson Theatre for the next month.

Yes, the REP cast is typically compelling and the regulars and the guest actors play up the ludicrous nature of the piece (as directed by Robbins who seems to understand the over-the-top story).  But the real stars -- and the reason to get yourself over to UD to see this production -- are the production values on display that match anything you would see on Broadway.  The play opens on a bare stage, with a simple Art Deco frame surrounding it.  Mere minutes later, a giant projection screen running the entire length and height of the back of the stage reveals itself, taking us into a luxurious Istanbul restaurant thanks to a lovely design by Clint Allen.

The giant projection screen isn't everything, though.  Soon, the projection screen lifts up and an entire train cabin pushes itself to the front of the stage eliciting applause from the audience for the sumptuousness and level of quality that scenic designer Linda Buchanan has displayed.  And then to cap things off, as the play progresses, that train cabin moves stage left and right to reveal different cabins each with their own intricate design elements.  

I've already said too much as these reveals are what really make this show pop.  I'll leave this review at that, only to add that the REP continues to excel at creating exquisite production details that really do compare to what you see up in New York City.

Theater Review - August: Osage County

August: Osage County

Written by Tracy Letts

Directed by Jackson Gay

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, September 29

Photo by Evan Krape

The University of Delaware's Resident Ensemble Players opens up their 2019-20 season with a fantastic production of Tracy Letts' Pulitzer Prize-winning play August: Osage County.  I saw this play back in 2010 at the somewhat large Forrest Theater in Philadelphia as part of its national touring company and my review shows that I was actually pretty disenchanted with the piece, finding it over-the-top and not worthy of the numerous awards that were heaped upon it.

Perhaps being removed from the hype mellowed me or maybe it was the more intimate theater at the REP or maybe it was simply that the REP ensemble does a fantastic job interpreting the piece -- whatever the difference (or the combination of all of them), this version of August: Osage County gave me a better appreciation for the darkly comic, warped, yet realistic family soap opera at its (lengthy three hour-and-twenty-minute) center.  The REP's Kathleen Pirkl Tague's acerbic matriarch Violet Weston is certainly the centerpiece of the story, but kudos must also be given to the REP's Elizabeth Heflin as Violet's daughter Barbara for being a nice levelheaded counterpoint.  It's great to see these two veteran REP members play off of each other with Letts' witty banter.  Guest actors Izabel Mar, Karen Alvarado, Bridget Flanery, and particularly the absolutely hilarious Angela Iannone (who conjures up a perfect mix of Cloris Leachman and Vicki Lawrence's Mama from Mama's Family) add much depth to the piece.  Notice that I've only mentioned women -- this is a strongly female-driven piece and although I certainly have nothing negative to say about the men in the ensemble, they're left in the dust here by the very nature of Letts' work.

Excellent work, as always, on the design front from the REP with a particular shout-out to scenic designer Brittany Vasta's three-story set which towers over the Weston family much like their family secrets always hover over them weighing them down.  Overall, a great start to the REP season and congratulations on giving this reviewer a different perspective on a play he thought he didn't like.

Theater Review - Fences

Fences

Written by August Wilson

Directed by Cameron Knight

Where: Thompson Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE) 

When: Spring 2019

Quick thoughts since I saw the play months ago:

• I find Fences a bit boring particularly in its first act.  There's a lot of talk and hardly any action until the act's final minutes.  Yes, it's a character piece and it's a piece that certainly creates a complete world for its characters and its setting, but it's not particularly enjoyable to watch.  The second act improves quite a bit, but it's a little too late to really elevate the piece for me.
• Good performances that didn't quite reach the levels of Denzel and Viola in the movie, but good nonetheless.

Theater Review - Mauritius

Mauritius

Written by Theresa Rebeck

Directed by Stephen Pelinski

Where: Thompson Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE) 

When: Spring 2019

Quick thoughts several months later:

• I had wanted to see this play for a long time despite heretofore not being a fan of Theresa Rebeck's work.  I found it surprisingly enjoyable.
• Stephen Pelinski did a fantastic job utilizing the space of the small black box theater.  I remember thinking that he directed his actors to move around in the space in such a way that there couldn't be a bad seat in the house.  Probably the best job I've seen in that space.
• Nice performances all around and another show that proves the REP is becoming increasingly more successful when performing modern-day pieces which is something they didn't tackle as much several years ago.

Theater Review - Minor Fantastical Kingdoms

Minor Fantastical Kingdoms

Written by Michael Gotch

Directed by Marc Lamos

Where: Thompson Theatre for the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, January 20, 2pm

Posting well after seeing play...

• Totally enjoyable play by REP actor Michael Gotch.  
• Became a bit too serious at the end after being a comedy for so much of its runtime -- it really didn't earn the drama and heft it was striving for in the end.
• Still, one of the better (if not the best) premiere production of an original piece the REP has done thus far.

Theatre Review - Woman in Mind

Woman in Mind

Written by Alan Ayckbourn

Directed by Jackson Gay

Where: Thompson Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, November 11, 2pm

Photo by Evan Krape  / The REP
 

Interesting. 

That's what I'll say about the University of Delaware's Resident Ensemble Players' latest production -- Woman in Mind by Alan Ayckbourn.  Although I may have often been befuddled as to what I was seeing unfold in director Jackson Gay's presentation, I was never bored as the story unfolded.

Susan (REP's Elizabeth Heflin) is a seemingly "average" British mother.  Her adult son (REP's Mic Matarrese) has left the family home and her time is now spent wallowing in a loveless marriage with her vicar husband Gerald (REP's Lee Ernst) who cares less for her than he does for a book he's been writing for years about their town.  Or maybe Susan is a fascinating writer or a brilliant heart surgeon who is married to the loving Andy (REP's Hassan El-Amin) who fawns over her.  This Susan has a smarmy brother (REP's Michael Gotch) who spends much time at Susan and Andy's country home and also has a charming daughter (Sam Morales) who is preparing to go to college.  So who is the real Susan?  

Neither Susan nor the audience are quite sure as the play bounces back and forth between these disparate sides of her mind and director Gay does a great job in capturing these distinct juxtapositions.  Similarly, Heflin's Susan (who never leaves the stage over the production's runtime) may be confused about what is going on in her mind, but the talented actress never confuses the audience as to what Susan is feeling, seeing, or thinking, capturing both humorous and emotional moments with her talent.  Even in her befuddled state, Heflin adeptly shows us the many facets to the character she's portraying.

And, to me, that's what Woman in Mind is about -- the many facets that make up a woman.  Perhaps in her real life, Susan is "just" a housewife...but that entails so much more.  To her young son in day's gone by, she may have been a doctor fixing his various booboos or injuries.  To her writer husband, she may have spouted off ideas after ideas that he has added to his work.  Maybe I'm reading Woman in Mind in an incorrect way -- maybe it is really about someone with psychological issues -- but in my interpretation, I found the play to be -- to quote the first word of my review -- interesting.

The entire ensemble does great work with nary a disappointment in the bunch.  The group is able to mine the piece for its dark comedy in addition to making some of the more intensely dramatic moments hit the mark as well.  Special kudos to Kathleen Pirkl Tague as Susan's unintentionally hilarious sister-in-law who steals the show when she walks onstage.  As is often the case with the REP, production values are superb.  The set design -- this time by Takeshi Kata whose work for the REP is always exquisite -- is beautiful thanks to its vividly colorful design.  Costumes by Katherine Roth are elegant and appropriate for the proceedings. 

Woman in Mind is certainly a play that makes you question what you're watching, but in the end, I enjoyed what both the playwright and this production brought to the stage, giving the REP another solid show for the 2018-19 season.

Theater Review - The Seafarer

The Seafarer

Written by Conor McPherson

Directed by Ben Barnes

Where:  Thompson Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, September 23, 2pm

Photo by Evan Krape, courtesy of the REP

The University of Delaware's Resident Ensemble Players continue their success when it comes to portraying the Irish landscape with their production of Conor McPherson's The Seafarer which may very well be their best production since 2015-16's thriller Wait Until Dark.  Way back in 2012, the REP brought us McPherson's The Weir which I found fantastic and The Seafarer now proves that McPherson is a playwright I need to explore more.

McPherson drops us into the home of the Harkin brothers in Ireland on Christmas Eve -- "Sharky" (REP's Lee Ernst) has moved in to help care for his recently blinded brother Richard (REP's Stephen Pelinski).  Against his more subdued and sullen brother's wishes, the drunkenly boisterous Richard invites Nicky (REP's Michael Gotch) over for a Christmas Eve poker game.  Nicky is dating Sharky's ex-wife so their relationship is already a tenuous one and the tension is further increased when Nicky arrives with the mysterious Mr. Lockhart (REP's Mic Matarrese) whom Sharky seems to recognize, but can't quite place from where he knows him.  With Sharky's good friend Ivan (guest actor David Anthony Smith) onboard, the quintet sits down for a card game where the stakes prove to be much higher than expected thanks to the ominous presence of the darkly cryptic Mr. Lockhart.

Much like The Weir, The Seafarer is a bit deliberate in its pacing at its outset.  McPherson is slowly peeling back the layers of Sharky, a man whose past hasn't been perfect and has led him to develop some self-destructive tendencies which he's trying to curb with the help of his Catholic faith (this is an Irish play after all so religion plays a fairly major role) and his refusal to drink -- Sharky is the one member of the quintet who's been avoiding alcohol in an attempt to keep his mind clear.  However, the introduction of the devilish Mr. Lockhart into the mix unexpectedly rattles Sharky, sending him into chaos as he attempts to reconcile with his past misdeeds.  This is by far Lee Ernst's best performance in a REP production with his Sharky proving to be utterly captivating as the emotional center of the piece, allowing the audience to feel his grief about his past and his hope of creating a better name for himself.

The rest of the cast is spot-on, deftly handling McPherson's tricky balance of comedy and drama which director Ben Barnes is able to seamlessly blend.  Everything about this production feels as if it could've belonged on Broadway -- from the exquisitely designed Dublin apartment set by Todd Rosenthal (one of the best sets to grace the REP stage thus far) to the authentically "normal" costumes by Rachel Healey to the oftentimes creepy sound design by Rob Milburn and Michael Bodeen -- it's all high-level stuff on display and adds to notion that The Seafarer is one of the best productions the REP has brought to us in years.  Head to the box office and get your tickets today.

Theater Review - Lettice and Lovage

Lettice and Lovage

Written by Peter Shaffer

Directed by Steve Tague

Where: Studio Theater at the Roselle Center for the Arts

(University of Delaware, Newark, DE)
When: Wednesday, September 19, 2018

 Photo by E. Krape // Courtesy of the REP

The start of the University of Delaware's Resident Ensemble Players' 2018-19 season unfortunately fails to start with a bang with their production of the comedy Lettice and Lovage, a play that spouts a whole lot of words over its over two-and-a-half hour runtime, but lands very few of them with the expected laughs.  Beyond showcasing a growing, though tenuous, friendship between two women -- one who exudes eccentric theatricality and the other whose buttoned-up personality exhibits very little emotion -- Shaffer's play has very little plot and putters around for way too long without really getting anywhere.  I expected by the time the third act started to find some grand purpose for this play's existence, but that never manifested itself, nor did the third act create some theatrical set piece that at least warranted the need for this play to take itself to that third act.

REP members Kathleen Pirkl Tague as the flamboyant Lettice and Elizabeth Heflin as the stoically resolute Lotte are both fine, although the play does little for them to explore their characters to any great depths beyond caricature.  It's always a bit tough as a layman's critic unfamiliar with the source material to know whether it's an issue with the playwright or the direction of a production, but I really feel like it's the former that's the issue here.  I'm not sure there was an abundance of laughs for director Steven Tague to mine here and there certainly wasn't any thorough plot to punctuate with moments of excitement.

Taking place in the university's small Studio Theater, the audience finds itself in close proximity to the actors which is always a treat, but the black box theater with its cushioned folding-chair seats only exacerbates the play's three-act runtime with a large majority of the younger crowd in the audience getting antsy as the play progressed because of its lack of plot.  There were many comments upon exiting that I overheard from the more seasoned crowd that were saying things like "That was fun," or "That was so good," so maybe there's some age thing going on here.  I fall into the middle of these two age groups and I found myself strongly veering to the youths' indifference to this one.  I'm perhaps being overly harsh here -- this production isn't awful, it's just a bit of a nonstarter.  It's unfortunate, but Lettice and Lovage isn't one that I can say I loved in the slightest.

Theater Review - A Flea in Her Ear

A Flea in Her Ear

This is really just a placeholder post because I failed to write my review of this upon seeing it.  Since that was the case, no real review...only a note that I remember it being decent, albeit a little long -- but my general thought on most French farces is that they overstay their welcome.  Still, a decent showing from the REP who always tend to entertain with their comedies.

Theater Review - Twelfth Night

Twelfth Night

Written by William Shakespeare

Directed by Maria Aitken

Where: Thompson Theatre at the RoselleCenter for the Arts

(University of Delaware, Newark, DE)

When:  Thursday, April 19, 7:30pm

Photos throughout by Nadine Howatt / REP

Yes, it's purportedly uncouth to review a play before it opens, but unlike Broadway where previews last upwards of a month, there are only two previews of the University of Delaware's Resident Ensemble Players' production of Twelfth Night, so one has to imagine that things are pretty much as locked in as they're going to be.  Add to that, the average number of readers per post here is a measly seven people and there's not a whole lot of need to hold back a review.  Since this is likely going to be the first review posted of this production -- which will transfer to Brooklyn's Theatre for a New Audience with the entire cast and set intact immediately following its run at the REP -- I wish I could heap huge plaudits upon it, but I can't quite go that far.

Perhaps the REP spoiled all future Shakespeare productions for me with their gloriously magical A Midsummer Night's Dream in 2010 and their equally powerful 2013 Hamlet, but Twelfth Night just didn't quite hit the mark.  Tony-nominated director Maria Aitken makes her third appearance at the REP and, as a director, I think she succeeds here most of the time, although a few directorial flourishes cause the production to falter a bit.  Surprisingly, these flourishes are probably what make the play most like a production that would have occurred during the era of the playwright and yet in the modern era, they didn't quite click for this viewer.

The bulk of the play revolves around a case of mistaken identity.  Viola (Susanna Stahlmann) washes ashore on the island of Illyria after a horrific shipwreck that seemingly has left her twin brother Sebastian (John Skelley) presumably drowned at sea.  With the help of self-professed fool Feste (Joshua David Robinson), Viola disguises herself as a man named Cesario and gains work at the feet of Duke Orsino (Matthew Greer).  Orsino is pining over Olivia (REP's Elizabeth Heflin), but she wants nothing to do with Orsino especially since she is grieving over the death of her brother.  Orsino sends Cesario to try and woo Olivia for him, but Olivia ends up falling for Cesario who in turn is slowly falling for Orsino.  This love triangle causes a bit of chaos that is only amplified when Sebastian arrives in Illyria and his similar look to the now-dressed-as-a-man Viola creates much confusion.

This particular plot thread of Twelfth Night is still likely as much of a success today as it was in Shakespeare's time.  Misses Stahlmann and Heflin and Misters Greer and Skelley all prove captivating and manage to make this far-fetched plot seem believable somehow.  Stahlmann in particular holds our attention as Viola wavers in her attempts to be masculine, capturing comedy in her awkwardness and making us feel for her plight of being stuck in this foreign land unable to let her true self shine.

The problem here lies in the subplot revolving around a cadre of fools and their attempt to make Olivia's strict and self-righteous steward Malvolio (REP's Stephen Pelinski) pay for his uppity attitude.  Malvolio, you see, is also secretly pining for Olivia, and because of this, Olivia's maid Maria (Kate Forbes), Olivia's uncle Sir Toby Belch (REP's Lee Ernst), and family friend Sir Andrew Aguecheek (REP's Michael Gotch) hatch a plan to embarrass Malvolio and cause him to think he is slowly losing his mind.  This storyline is most certainly one that appealed to the lower classes in Shakespeare's time -- the underlings usurping the upper classes through silly ingenuity -- but it simply feels like padding in this day and age.  Forbes, Ernst, and Gotch go all in on the humor aspect and what makes this whole complaint sad for this reviewer is that they all do an excellent job in bringing their characters' seedy motivations to light.  Unfortunately, this tedious plotline leads to very little payoff despite sharing nearly equal stage time with the aforementioned love triangle.  In defense of Aitken and the production, I'm not quite sure what could've been done here to make this anymore successful.  The cast is game...it's just that Shakespeare's plot doesn't resonate.

I do think Aitken falters a bit with how she presents the fool Feste.  Feste's minstrel-like songs that pepper the theatrical production certainly would've been successes in Shakespeare's time, but feel oddly out of place here.  Similarly, a second act scene involving an imprisoned Malvolio and a disguised Feste comes off almost uncomfortable with Feste taking on an over-the-top reverend persona that doesn't jibe with everything else that we've seen heretofore on the stage. 

The Mediterranean-esque set by Lee Savage is beautiful to look upon and the costumes by Candice Donnelly also add much to the proceedings.  I also must admit that I enjoyed the co-production aspect of this in that it brought some new blood the REP's standard troupe.  I've been longing for years for the REP to get back to its roots and return to being a theatrical training program for students.  While that seemingly won't happen, at least bringing in some fresh faces in this way added that sense of newness I've hoped for.

While Twelfth Night wasn't quite the success I'd hoped it would be, it's certainly not the Shakespearean tragedy (in more ways than one) that was the REP's ill-conceived 2014 production of Macbeth.  I do think the bigger issues I have with this piece stem from Shakespeare's words themselves rather than anything created for this particular production.  Yet, as is often the case with what the REP brings to us, I appreciate seeing things like this for the low price that the REP offers simply because it opens my eyes to things I wouldn't typically pay to see on a much more expensive Broadway stage.

Theater Review - Dial "M" for Murder

Dial "M" for Murder

Written by Frederick Knott

Directed by Steve Tague

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When:  Sunday, March 21, 2pm

Photo by the REP

Several years ago on this blog, I completed a quest to watch all of Alfred Hitchcock's talking pictures.  During this Hitchcock Fest, I naturally reviewed the thriller Dial M for Murder, a film that I thought I had enjoyed in prior years, but found disappointing when watching the flick for the fest.  So, admittedly, I was hesitant heading into the University of Delaware's Resident Ensemble Players' production of playwright Frederick Knott's 1952 play Dial "M" for Murder on which Hitchcock's film is based.  In my Hitchcock Fest review, I mention that the film is too talky, feeling almost as if I was watching a play rather than a cinematic experience.  However, rather pleasantly, what doesn't work in the film works incredibly well onstage.  Director Steve Tague plays up the 1950s melodrama and even injects a cinematic-type musical score by Lindsay Jones which while initially a little off-putting ends up elevating the tension and excitement of the large amount of expository verbiage which works on the stage much better than it did on the screen.

Dial "M" for Murder isn't really a whodunit.  Right from the opening act we know that the suave, yet smarmy ex-tennis pro Tony Wendice (REP's Michael Gotch) is planning to murder his rich wife Margot (REP's Elizabeth Heflin) in order to gain her inheritance.  The question the play poses is can he succeed and get away with it.  To assist him with the perfect murder, the devious Tony convinces former classmate Lesgate (REP's Mic Matarrese) to commit the act which ultimately takes a bit of an unexpected turn.  Two people -- a police inspector named Hubbard (REP's Stephen Pelinski) and Margot's former lover and television crime series writer Max (REP's Lee Ernst) -- suspect Tony's nefarious nature, but they may not be able to prevent a heinous act from occurring.  

The quintet of REP actors are all pros and they all sink right into their roles with ease.  Ms. Heflin is always a joy to watch, displaying an elegant charm reminiscent of Grace Kelly in the film, but carrying an aire of maturity and gravitas that I don't recall in Hitchcock's piece.  Kudos must also be doled out to Michael Gotch whose debonair looks mask a hideous and manipulative mastermind who proves to be a joy to watch.  Gotch turns from easygoing rich elite to underhanded deviance in mere seconds and seeing his nefarious machinations unfold onstage was a true treat.

As mentioned, director Steve Tague does a great job creating a tension-filled atmosphere particularly considering that this play is quite a talky one.  There's a lot of dialog and surprisingly little action, but Tague is able to take the script and make this an edge-of-your-seat adventure peppered with bits of humor and romance throughout.  While this doesn't quite reach the levels of the REP's fantastic Wait Until Dark two seasons ago, Dial "M" for Murder comes awfully close with all aspects of the production -- the costumes by Andrea Barrier, the set by Stefanie Hansen, and particularly the lighting by Matthew Richards -- adding to the fantastic 150 minutes that is currently unfolding onstage in Newark, Delaware.

Theater Review - From the Author Of

From the Author Of

Written by Chisa Hutchinson

Directed by Jade King Carroll

Where:  Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, November 12, 2017, 2pm

Photo by the REP

The University of Delaware's Resident Ensemble Players have had three prior plays written specifically for them and frankly none of them have really resonated with me.  This is a big reason why my expectations were quite low upon hearing of a newly-written play taking one of six slots of the REP's 2017-18 season.  Color me surprised, then, to find playwright Chisa Hutchinson's From the Author Of an amusing ninety-five minute diversion that takes full advantage of the REP's ensemble, showcasing them to great effect.

Pulitzer Prize-winning nonfiction writer Meredith Renner (REP member Elizabeth Heflin) has just completed her latest book for which she spent six months living on the streets as a homeless person to try and best understand the plight of the underprivileged in America.  Meredith's tome has been met with harsh skepticism by the leading New York Times book review critic causing many to wonder if Meredith was simply aiming for a giant publicity stunt rather than a genuine attempt at helping to end the homelessness epidemic.  Attempting to better her name, Meredith's team -- including her agent Dax (REP's Hassan El-Amin), personal assistant Samara (Celestine Rae), and newly hired PR guy Angelo (REP's Michael Gotch) -- formulate a plan for Meredith to invite a homeless person to live in her swanky New York City loft.  After much bellyaching, Meredith obliges and invites the brash, sexually charged Linda (REP's Kathleen Pirkl Tague) into her residence and sees her put-together, "normal" life turned upside down.

Part of the excitement of a repertory company is watching the same ensemble play a variety of roles, seeing the similarities and differences they bring to various performances.  Chisa Hutchinson studied what the REP's members do best and then created a funny cast of characters for them to embrace.  Elizabeth Heflin fully embodies the egotistical, sometimes highfalutin Meredith -- a woman who might seem cold or unappealing in lesser hands, but becomes relatable thanks to Heflin.  Similarly, Kathleen Pirkl Tague always manages to make kooky, crazy characters that should be over-the-top seem oddly believable and that's the case here with the caricature that is Linda whose first appearance a little over a third of the way though jolts the production with some much needed vigor.

The play itself plays a bit like a sitcom, filled with short scenes that sometimes end on a kicker of a comedic note.  Many of the characters border on the stereotypical, but Hutchinson and director Jade King Carroll reel in the actors just enough that no one ever feels too one-note.  The set -- a luxurious, monotone NYC loft created by Brittany Vasta -- is surrounded by a rotating outer circle that adds dimension (as well as a neat technical aspect I'm not sure we've seen utilized by the REP yet).  These little things add dimension to what could've been a rote night at the theater and elevate it to a little something more.

From the Author Of isn't a perfect piece -- the resolution feels a bit too pat and, in turn, a bit unsatisfactory; some of the jokes particularly at the beginning as we were getting to know the individualized voices of the characters fall a bit flat; any deeper morality the play is trying to convey didn't land at all for me -- but it's an enjoyable night at the theater.  With a little bit of sexualized raunch and some great performances particularly from Elizabeth Heflin and Kathleen Pirkl Tague, From the Author Of is by far the best original play performed thus far by the REP.

Theatre Review - You Can't Take It With You

You Can't Take It With You

Written by George S. Kaufman and Moss Hart

Directed by Sanford Robbins

Where:  Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When:  Sunday, September 24, 2pm

Photo by The REP

I have some experience with You Can't Take It With You as at least two decades ago I saw a production with my high school class.  Twenty-plus years, however, left me with little memory of George S. Kaufman and Moss Hart's play except that I remembered a kooky family -- the Sycamores -- was front and center.  Before the University of Delaware's Resident Ensemble Players' production even begins, the lovely lived-in set design by Hugh Landwehr keys us in to the oddities that are to come.  From a large xylophone to a Native American feathered bust to a snake-filled cage, we're aware of the types of characters that inhabit this place.  

The patriarch of the family and the grounded center in the midst of the wackadoodle antics occurring within the 1936 New York City home is Martin (guest actor James Black).  Martin was your average Joe Businessman for decades, but woke up one day and decided that he wasn't happy, leaving his career behind and spending his time attending college commencement addresses.  While that may seem odd, it's nothing compared to the other residents of Martin's home.  His adult daughter Penelope and her husband Paul (REP members Elizabeth Heflin and Stephen Pelinski) spend their days, respectively, working on a variety of poorly written unfinished scripts and building an assortment of firecrackers in the house's basement.  Their daughter Essie (frequent guest Erin Partin) fancies herself a dancer, but she's just plain horrible despite the praises of her husband Ed (guest Lenny Banovez) who spends his time making masks of historical figures, learning new xylophone pieces, and creating just about any pamphlet he can think of on his printing press.  And in the midst of these kooky Sycamores is Penelope and Paul's other daughter Alice (guest Sara J. Griffin) who has a solid head on her shoulders.  Her love for her family is palpable, but she finds herself concerned about how to introduce her folks to her new boyfriend Tony Kirby (REP artist Michael Gotch), the son of a rich entrepreneur who has fallen head over heels for Alice.

This cultural dichotomy is the set-up for much of the humor in You Can't Take It With You and director Sanford Robbins gamely keeps the very large cast honed in on mining laughs from this eighty year-old play.  Sure, some of the jokes may fall a bit flat when viewed from a modern lens, but Robbins doesn't play things tongue in cheek here.  Instead, he embraces the age of the manuscript and tells his fantastic ensemble to play things without the slightest sense of irony.

And that aforementioned ensemble is quite winning.  Kudos to the REP for allowing a wide array of guest actors to really take the ball and roll with this one, freshening up the always solid core group.  James Black's Martin is grounded, witty, and gave me an old school Will Rogers Americana vibe throughout.  Sara J. Griffin is also lovely as Alice and her relationship with Michael Gotch's Tony proves to be much more enchanting and romantic than I was expecting.  Nice turns from Elizabeth Heflin and a hilarious Kathleen Pirkl Tague are also worth applauding.

You Can't Take It With You is further proof that the Resident Ensemble Players can elevate even a dated play and make it feel relevant and alive in front of modern audiences.  Continued excellence in the behind-the-scenes aspects of the production enhance the actors' portrayals and make this a play worth seeing.

Theatre Review - The Mountaintop

The Mountaintop

Written by Katori Hall

Directed by Walter Dallas

Where: Studio Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Tuesday, September 19, 7:30pm

Photo by Evan Krape/REP

The University of Delaware's Resident Ensemble Players starts off their 2017-18 season on a good foot with their production of playwright Katori Hall's The Mountaintop, a reimagining of Dr. Martin Luther King, Jr.'s last night alive.  Unaware of his horrible fate, King prepares for a speech in a rundown Memphis, Tennessee, hotel room only to be visited by a no-nonsense maid named Camae who may not be who she appears to be.  As King and Camae eloquently duel one another, the oratorical peacemaker reflects upon his past work and whether it will have any effect on the future of America.

A two-hander, The Mountaintop lives and dies by the actors playing its two characters and fortunately Hassan El-Amin and Antoinette Robinson -- the two newest members of the REP ensemble -- captivate and completely hold our attention.  El-Amin certainly has a difficult task attempting to embody the well-known and respected strength of Martin Luther King, Jr., but he proves to be up to the job.  El-Amin's commanding presence onstage begins the evening with the stern, buttoned-up public persona for which King was known, but then the actor slowly peels back the layers, seemingly humanizing the character of Martin Luther King, Jr., by showcasing a variety of emotions along with underlying heart and humor. 

Part of the reason King grows looser as the 95-minute production progresses is because of the beautiful and equally strong maid Camae which Antoinette Robinson embodies.  In her debut performance with the REP, Robinson tackles a tricky role in that Camae is a bit of a mystery to both the audience and King, beginning the play timidly and reverently bowing to King, but slowly becoming more emboldened as the evening passes.  To discuss more would be ruining a pivotal aspect of the story, but needless to say, Robinson adeptly balances both sides of her character's emotional journey.  

The chemistry between the two actors is palpable, not necessarily in a romantic way, but in the way El-Amin and Robinson ebb and flow through their characters' strengths and weaknesses.  Kudos to director Walter Dallas for fostering this relationship between his set of actors.  However, despite all the positives, The Mountaintop lacks a bit of momentum, overstaying its welcome by maybe ten or fifteen minutes.  A quickened pace may have solved this problem or it may just be something inherently problematic in writer Katori Hall's piece.  Once again, that's not to say that The Mountaintop doesn't work because it most certainly does.  I just wish it moved along a bit quicker.

The Mountaintop ends in a stunningly vibrant way that stands in stark contrast to the rather straightforward rubrics of a "standard play" that Katori Hall had adhered to throughout most of its runtime.  (In fact, everything up to that point was rather straightforward from the set to the costumes which both appear realistically lived in.)  I'll admit that I'm not sure how I feel about the conclusion, but I'm nevertheless still pondering it more than a day after I saw the piece.  I think all of us in the audience found ourselves pondering it because when The Mountaintop ended on Tuesday night and the lights came up, the audience was silent...a bit taken aback by what we'd just seen.  After we were prodded to applaud, I think we all realized that we saw something a bit more unique than we had expected and certainly a nice start to the REP's new season.

Note:  There are certainly political undertones throughout the piece and while I didn't stay for the talkback following the production, I'm sure they were discussed there.  Yes, The Mountaintop can certainly feel relevant to today's society, but I think it's a relevant piece to ANY time in ANY society and in that way I think politics can be left out of the discussion altogether.

Theater Review - Tartuffe + REP 2016-17 Wrap-Up

Tartuffe

Written by Moliere

Translated into English verse by Richard Wilbur

Directed by Maria Aitken

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When:  Sunday, April 30, 2pm

Photo by Evan Krape / REP

No review of this per se as this production has long ceased.  A few words simply for my own posterity's sake.

• The production was engaging and well-acted although in these over-the-top farcical plays, the University of Delaware's Resident Ensemble Players sometimes chew the scenery a bit more than necessary, crafting comedic "caricatures" as opposed to comedic "characters."
• Beautiful set -- as is typical of the REP's productions.  Hugh Landwehr's three story abode featured clever touches that added a lived-in sensibility to the atmosphere.  Looking back over my previous reviews, Mr. Landwehr has teamed up with director Maria Aitken before at the REP for Heartbreak House and while his set doesn't quite match the exquisiteness and uniqueness of that prior attempt, it comes close.
• Speaking of Aitken, she keeps things briskly moving along and while I did find a bit of fault with some of the performances, Aitken gets her cast to land all of the comedic bits in great fashion.  I certainly laughed and enjoyed myself over the course of the play's two hours.
• As I'll discuss below, fresh faces are growing increasingly important for the REP (in my opinion) and co-stars Kristin Villanueva and Justin Keyes as two lovers were welcome additions to the cast this go-around.

This REP season overall was a bit of a disappointing one.  The first show of the season -- God of Carnage -- ended up being my favorite piece of the season.  I really think the REP excels nowadays with modern works because it allows the ensemble to explore a more modern sensibility in terms of acting.  These "current" works are few and far between for them and I think it freshens things up.

While I appreciate the consistency of the ensemble, it proves to be a double-edged sword.  Some of their actorly mannerisms have now grown so well-known to this frequent theatergoer that it hinders my ability to see the character they're creating.  While I still thoroughly enjoy longtime REP members Stephen Pelinski, Kathleen Pirkl Tague, Elizabeth Heflin, Michael Gotch, and Mic Matarrese, it's always nice to see some fresh faces thrown into the mix.  This season Hassan El-Amin was added to the ensemble and I hope he'll continue to get some prominent placement in upcoming shows.  I'll also continue to hope that the University of Delaware's theater program brings back its well-regarded PTTP training program for graduate students.  Nothing quite compared to that fantastic 2010-11 season of ten productions featuring both the resident ensemble plus the talented student cast.  I miss those days, but unfortunately this just doesn't seem like something the University wishes to bring back.

Regardless, the REP continues to excel at creating exquisite environments -- set and costume design never disappoint and are sometimes worth the price of admission alone.  Unfortunately, something just didn't quite click with me this season.  With the exception of The Bells -- seriously, the REP can drop its fascination with Theresa Rebeck -- nothing outright disappointed, but nothing roused me enough to tell others to check out the production.  I'd usually write my reviews as soon as I'd get home in hopes that maybe one person out there would say to themselves, "Maybe I should check out that production of Noises Off or A Midsummer Night's Dream or Wait Until Dark or The Glass Menagerie."  This season -- not so much.  I'm always happy to be afforded the opportunity to see plays I've heard so much about -- The Elephant Man, Waiting for Godot, Clybourne Park -- but had never seen even if they end up leaving me feeling lukewarm rather than captivated.  Still, here's hoping for a return to form with the 2017-18 season!

Theater Review - The Elephant Man

The Elephant Man

Directed by Sanford Robbins

Written by Bernard Pomerance

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, March 19, 2pm

Super-quick thoughts on this production to save for posterity since it closed so long ago:

• The Elephant Man was my most anticipated play of the season -- a piece that I'd wanted to see for years.  My expectations were perhaps a bit too high as the the playwright's short, truncated scenes led to a little less emotional connection than I had hoped given the play's subject matter which deals with John Merrick, a man coping with severe physical deformities in mid-1800s London.
• Director Sanford Robbins utilizes giant supertitles spanning across a large arch to introduce each scene.  I've done a little bit of research to see that this has been done in many productions before, but I haven't discovered whether it's something specified in the play itself or not.  While I initially found the technique oddly engaging, it grew a bit tiresome and ended up working against the one-act 100-minute play as I found myself searching for the meaning of the supertitle within the scene itself -- "Oh, that's why this scene is called x or y."
• Beyond the supertitles, Robbins successfully stages the play keeping things briskly moving and getting some very good performances from Michael Gotch as Merrick and Elizabeth Heflin who, in her largest role in this production, is Ms. Kendall, an actress brought in to give Merrick a "taste" of feminine interaction.  In the play's most touching moment, Kendall begins to realize that she's not "acting" when she kisses the unfortunate man's hand not out of any sort of duty, but out of an emotional connection...but it's an emotional connection that both parties know can never actually exist.
• The scenic/lighting design was gorgeous in its simplicity -- see the picture above -- with a circle of lights being mirrored in the floor.  Stark, but beautiful.
• In the end, The Elephant Man is a solid production, but like many of the REP's plays this season, it doesn't rouse excitement.  Decent, but the season just didn't quite click.  One more to go...

Theatre Review - The Bells

The Bells

Written and Directed by Theresa Rebeck

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Saturday, January 28, 2pm

Photo by The REP

A gorgeous set, sophisticated lighting, and an enveloping atmospheric aural design can't save The Bells by playwright Theresa Rebeck which proves to be a snoozefest despite a game cast made up of the University of Delaware's Resident Ensemble Players.  A tale of a bar owner in the Yukon as he faces the demons of his past, The Bells ultimately is a play that leads to nowhere -- character motivations scarcely are enhanced or developed as its two hours unfold which leads to an ultimately disappointing ending seeing as how the play's conclusion feels like it could've occurred at any point in the story.

At its core, The Bells is a ghost story about Xuefei, a young Chinese man (played by guest artist Austin Ku) who comes to the Yukon in 1899 in search of gold.  He proves successful and in the process meets a young woman named Annette (guest artist Sara Griffin) whose father Mathias (Lee Ernst), owner of the local tavern, is certainly impressed with this foreigner's prospecting abilities.  Tragically, however, Xuefei goes missing soon after meeting Annette, but his presence looms heavy over the community eighteen years later which is when the majority of the play takes place.  Guilt hangs heavy over Mathias from the play's outset as echoes of bells -- a present Xuefei gave Annette -- ring constantly in his mind reminding him of the Chinese visitor who forever changed Mathias' life.

Maybe somewhere there's a good story here, but Rebeck (who also directs this production) drags the whole affair out much too long.  Considering that the character of Mathias barely changes from the play's initial moments to its final scene, there's no reason this play couldn't have been abbreviated to at least a one act production.  Lee Ernst adequately depicts the transgressions of Mathias and the actor has a lot to chew on in terms of emotional backstory, but it all proves disappointing because there's no arc whatsoever for the character.  Ernst's colleagues in the REP also aren't given much to do  as they for the most part depict nondescript townsfolk, but guest artists Austin Ku and Sara Griffin prove to be solid additions to the REP crew with Griffin in particular proving compelling as the strong-willed daughter of Mathias.

Tony-nominated set designer Alexander Dodge manages to create both a believable vast mountain landscape and an intimate, lived-in tavern setting which, along with the beautiful lighting design from Philip S. Rosenberg and an eerie wind-filled sound design by Obadiah Eaves (though the less said about his awkward folk songs that bridge scene changes the better), the under-the-line elements shine in The Bells.  Unfortunately, the play itself is -- ready for this -- unable to get a ringing endorsement from this reviewer.

Theater Review - Clybourne Park

Clybourne Park

Written by Bruce Norris

Directed by Lee E. Ernst

Where: Thompson Theatre at the Roselle Center for the Arts

(University of Delaware, Newark, DE)

When: Sunday, November 13, 2pm

Photo by Paul Cerro / The REP

Lorraine Hansberry's 1959 play (and subsequent movie -- the latter of which I have recently seen) A Raisin in the Sun was a thought-provoking examination of African American culture in the late 1950s inhabited by a cast of black actors.  In the play/film, matriarch Lena Younger has inherited a $10,000 life insurance policy following the death of her husband and she decides to use this money to move her college-aged daughter, adult son, daughter-in-law, and grandson into a home in the more affluent white neighborhood of Clybourne Park in Chicago.  Upon discovering this news, Clybourne Park resident Karl Lindner attempts to buy out Mrs. Younger in an effort to keep racial tensions in his neighborhood to a minimum.

Writer Bruce Norris spins off Hansberry's play in his Clybourne Park taking along with him only the role of Karl Lindner and deciding to look at how the residents of the titular neighborhood react to the possibility of a black family moving onto their street.  Taking place in two acts across fifty years, Norris and (in this iteration) the University of Delaware's Resident Ensemble Players explore how race relations have changed for the better or for the worse from Act I's 1959 (taking place concurrently as the events in A Raisin in the Sun) to Act II's 2009.  

And things certainly do change in the span of those fifty years in Clybourne Park.  In 1959, we meet Bev and Russ (REP members Kathleen Pirkl Tague and Stephen Pelinski), grieving parents whose son died after he returned home from the Korean War.  Desperate for a change, Bev and Russ have decided to move out of their home which has recently been sold by their agent.  Mere days before their move, however, neighbor Karl Lindner (REP's Michael Gotch) discovers that an African American family has bought Russ and Bev's house which sets off a sea of tension between Karl and everyone else including Russ and Bev's black housekeeper Francine (guest Jasmine Bracey) and her husband Albert (newest REP member Hassan El-Amin).  

Cut to 2009 and the landscape of Clybourne Park has changed drastically.  We discover that the decidedly white neighborhood of the late 50s/early 60s has drastically changed its racial demographics.  The same home once owned by Bev and Russ is now in shambles -- broken down, graffiti'd up, and quite an eyesore.  Young white married couple Steve and Lindsey (Gotch and guest Erin Partin) have bought the property and intend to demolish the house and build an upscale, modern home which doesn't sit well with the home's current neighbors Lena and Kevin (the aforementioned Bracey and El-Amin).  

Racial tensions, economic issues, and political correctness (or the lack thereof) create an atmosphere of debate -- one that I honestly wish was explored a little further by playwright Norris who thankfully tempers the heaviness of the subject matter by creating a play that is full of laughs from the beginning to the end.  These laughs break the nervous tension felt palpably by the audience, but in the end, I felt that some of the racial aspects of the plot were a little too basic to really be biting, particularly in the political landscape in which we live today where simply going on Facebook can be a disturbing experience.

Nearly the entire REP ensemble (as well as the guest actors) take on two roles here and they all create duos of distinct characters despite trying to peripherally connect their Act II roles with their Act I counterparts.   The company is well known for its ensemble-driven plays, but Clybourne Park stands out in particular as one in which no one member in the group outshines another -- a true ensemble piece if I've ever seen one.  If forced to choose a stand out, Michael Gotch's racially driven characters give him a bit more to sink his teeth into than everyone else, but as mentioned this is really a fantastic group effort.

REP member Lee Ernst directs this piece and he does a nice job in keeping the play moving along at a quick clip, making the most of both Norris's punchlines and dramatic moments -- the latter of which, however, end up feeling just a tiny bit lacking, but that's no fault of the REP.  In the end, Clybourne Park feels a little too kitchen-sinky in terms of its myriad of political concepts to really land its emotional core in perfect ten fashion. The final scene, in fact, feels slightly tacked on -- it works, but doesn't resonate quite as I had hoped in part because it deals with an intensely dramatic moment that doesn't really feel explored in great detail throughout the play.  Nevertheless, this production is a winner and it continues to prove that the REP's take on modern works is an area in which they truly excel.