Theatre--Performance

The Lafayette High School Performing Arts Academy is presenting several shows over the next few weeks at Cite Des Arts.


The Introduction of Theatre class will perform a vaudeville show written by the class on Friday, December 3rd.  The show is directed by Blaine Peltier, and opens at 7:30 pm.  Tickets are $10.


The sophomore performance class will perform short plays adapted from Jon 

Stewart's Naked Pictures of Famous People on Saturday, December 4th.  

The show opens at 7:30 pm and tickets are $10.  

Warning:  This performance may contain some suggestive materials.

Theatre--Performance

Iberia Performing Arts League’s production of The Best Christmas Pageant Ever, directed by Charlee Halphen Swain opens this Friday for 3 consecutive week-ends. Friday and Saturday performances (December 3rd, 4th, 10th, 11th, 17th, and 18th) are at 7:30 pm.  Sunday matinées (December 5th, 12th, and 19th) are at 3:00 pm.  

It was no secret that the Herdman kids were the worst kids around. They stole everything that they could get their hands on. They lied, cheated, hit little kids and talked dirty. The Herdman girls even smoked cigars! The only safe place to be was Sunday School because the Herdmans never went there--until the day the Herdman's learned that Sunday School offered free food. To the dismay of everyone, the Herdmans show up looking for free chocolate cake, and bully their way into the main roles of the Annual Christmas Pageant. Although everyone looks at this as a disaster, the Herdmans bring their own interpretation to the Christmas story which they had never heard before. The Best Christmas Pageant is a delightful story which brings a true Christmas spirit to all who witness.

Ticket outlets are Delaune’s Pharmacy, Paul’s Flowers, and Accentrics in New Iberia. Please call 338-354-6114 for further information.  Purchase tickets now and begin the Christmas season with the IPAL cast of The Best Christmas Pageant Ever.

The cast for the IPAL production of The Best Christmas Pageant Ever includes:                                
  
Paul David                                       Mary Lancon
Ellen Rogers                                     Hannah Pommier
David Arceneaux                              Sydney Lancon
Susan Clark                                      Maddy Weber  
Marissa Ramsey                               Joycelyn Peer
Max Rogers                                     Stephanie Pommier
Nicholas Phillips                               Alyssa Bird
Maggie Landry                                 Joseph Phillips
Madeline Breaux                              John Cole Broussard
William Lambert                               Clare Phillips
Mary Beaullieu                                 Corey Camille
Emma Beaullieu                                Eleanor Cowan
Katie Lancon                                    Nanine Cowan
Katelyn Regard

Editor's Note

Please forgive the lack of updating this week, as the family was preparing for Thanksgiving.  I hope that you and yours have a wonderful Thanksgiving, and a joyful beginning to the 2010 Holiday Season.

Theatre--Master Class

The Acadiana Center for the Arts is sponsoring a Master Class for experienced actors interested in stretching themselves and beginners wanting to try acting in a creative, supportive environment?  Master theatre artist Justin Zsebe coaches participants to explore the emotions that blur the relationship between fact and fiction Wednesday December 8, 6:00-9:00 p.m.

Zsebe is an experienced storyteller and has worked with theater companies across the country and the world including The Geffen Playhouse, The Shanghai Experimental Theater, Theater X, Acting Up (in Acadiana). He has recently began serving as an artistic director for the newly formed L'Enfant Terrible, committed to creating theater for all ages.

Enrollment is limited so please contact us to register.  Class is open to high school students and adults. 

Please call 337.233.7060 or email paige@acadianacenterforthearts.org  $15 for non-members $10 for members and students.

Theatre--Reading

There’s no slab of Lab cooking at The Roadkill Diner; only  Alabama’s royal Nutt family is being toasted on the grill. The Roadkill Diner is the epicenter of the twists and turns of the dysfunctional Nutt family. Some of the Nutts rise to the occasion while others have never sunk so low.

This comedic avalanche is a satirical exposé of life in a small southern town where your swerve might be the Roadkill diner’s curve and KARP roadkill alerts inform the locals where vehicle and animal “meat and greet”

Music and lyrics are by the incomparable blues/jazz singer songwriter, Roddy Barnes.

A reading of The Roadkill Diner will take place at Cite Des Arts on November 29th at 6:30 pm.  After the reading will be a talk-back session to workshop the show.

Theatre--Performance

A Christmas Story, the underground classic holiday film, comes to life on stage thanks to the Acadia Players.

Humorist Jean Shepherd's memoir of growing up in the Midwest of the 1940's follows 11-year-old Ralphie Parker in his quest to get a genuine Red Ryder BB gun under the tree for Christmas in Hohman, Indiana. Ralphie pleads his case before his mother, his teacher and even Santa Claus himself, at Goldblatt's Department Store. The consistent response: "You'll shoot your eye out." All the elements from the beloved motion picture are here, including the family's temperamental exploding furnace; Scut Farkas, the school bully; the boys' experiment with a wet tongue on a cold lamppost; the Little Orphan Annie decoder pin: Ralphie's father winning the lamp shaped like a woman's leg in fishnet stockings; Ralphie's fantasy scenarios and more.

The show runs November 26th and 27th at 7 p.m. and November 28th at 3 p.m. at the Grand Opera House in Crowley. Tickets are $12 for adults and $8 for children and students. For more information or to purchase tickets online, visit www.acadiaplayers.com.

Theatre--Review (Louisiana Women series)

The Duchamp Opera House in St. Martinville hosts three more playlets in the Louisiana Women series by Carolyn Woosley.  This group pays tribute to African-American women: Marie-Therese Coincoin Metoyer, Clementine Hunter and Nellie Lutcher.  I mentioned to an African-American friend that I was looking forward to seeing the sketch about Mme. Metoyer and my friend had never heard of her or the Cane River Free People of Color.  That, alone, would be a good reason to see this production

As with the other productions by this company, there are three monologues in which each woman tells the audience something about her life.  The plays are not deep or exhaustive--they run about 40 minutes and are little more than a People magazine piece on stage.  Please don't read that as negative criticism.  The scripts are meant to be an introduction with the goal of getting the viewer to do some follow up work.  I immediately came home and spent an hour online reading up on the ladies because I was intrigued by the glimpses offered on stage.  They are presented as ladies who have a little time and a few good stories.  We get a feel for them as people we might want to know better.

Once again, the physical production is simple but effective.  A large mural photo of an oak tree forms the backdrop for a cemetery, a cabin and a business office.  Furniture and dressings change to give a snapshot of each woman's world and the costuming sets each woman in her period.  It is both expeditious and effective.

The performers are all competent and appealing.  They move the pieces along at a good clip so each monologue seems shorter than it actually is.  They are all comfortable speaking to an audience as if to a friend.  The direction is not fussy and makes good use of each setting.

No one wants to read a long review so I will be brief.  These shows introduce or renew the acquaintance of women of significant accomplishment in a pleasing way.  There are facts and themes to discuss afterward.  Personally, I would never miss the chance to see any Louisiana Women production and I say that as a person who makes his living in theatre.  

I wish more people had been in the audience tonight but there is still time to catch this show in St. Martinville before it ends its run on Sunday.  This is a show celebrating African-American women of accomplishment but it is not a Black show.  It is a universal show which demonstrates the strength, resilience and generosity of the human spirit. 
---Walter Brown

Dance--Review (UL-Lafayette Department of Music and Performing Arts)

UL’s School of Music and Performing Arts presents its fall State of La Danse November 11th through the 14th. The show consists of seven dance pieces, plus a tribute to UL alumnus “Pi” Keohavong. Every one of them was a winner.

As “theater”, the show was excellent. There was a flow, an excitement, and a movement that grabbed one’s attention from the very beginning to the very end, even though the numbers were unrelated. The show opened with a big “theatrical number” (“Sequins and Glitter”) and then progressed to a grand finale (“Risk of Return”). In between there was drama, humor, and tons of great dancing. “Sparrow (Part I and II)” was an amazing pair of pieces which could compete with the choreography in The Lion King! Without elaborate costumes, or set, or movie-preview, the audience was transferred to Africa. Did the dance represent a hunt, a nature observation, a political statement? That’s for talking about over coffee or in the quad! What’s not open to question is that it was a stunning number! “A Wetland’s Journal” was a three-part traditional ballet … danced to Cajun flavored music (BeauSoleil and Michael Doucet). What a surprising “turn of events”there was in the plot of this dance drama! “Spirit Shelter,” an evocative piece which was a large ensemble number brought to mind religious experiences, emotions, and perhaps a Jungian recollection or two.

To this reviewer, the most moving number was “As We Lay”, a duet featuring Gracey Domingue and Wesley Mata, and choreographed by Jennifer Birou Lakampt. Stunning! With but simple props (two mattresses) a story was developed: two people sleep, they wake up individually, dance separately. Only at one point do they noticeably touch, that being a moment in which they rise from the floor held up only by their backs touching as though against a wall. Strangely, after that there is a “change” in the feel of the piece though they continue the dance separately. The number concluded with an extended dance after the actual score ended, but the piece was so entrancing the music seemed to continue in the mind. What was this dance about? Was it a “double dream,” was it a statement about human separation, was it a celebration of spring (after all the musical selection was Einaudi’s Primavera) … guess I’ll have a caffeine high from talking about that one! Whatever, it was riveting. I wanted to stand and give the number a standing ovation … but figured if I did that on the SECOND piece of the evening, I’d be exhausted by the end!

“Tech” is an important element of any show. State of La Danse had it all. Maestro Travis Johnson’s lighting added to the show, and was ever changing. I personally get caught up by lighting effects and there were many in this show: silhouetted dancers against background washes, beautifully changing colors on a background or on the dancers themselves, “rooms” created on stage with nothing but light. This lighting was dramatic! Costumes go with dance, and  the ones in this show fitted each of the numbers (no pun intended). They had a loose, free flowing feel that somehow unified the seven dances. To be sure the Music and Performing Arts Department at UL has a limited and maybe shrinking budget (as does all of UL--but that is another matter for discussion over coffee or in the quad). These costumes, though, were beautifully done despite the budget. As tribute to departed UL alumnus “Pi” Keohavong was nice addition to the show, and Michael Cato’s video montage was excellent.

Those in the community interested in Dance, or just in “theater,” should take the time to get down to Angelle Hall this weekend to see the performance:  Evening performances at 7:30 Friday and Saturday, and the Sunday Matinee is at 2:00. You won’t soon forget it. Kudos to all involved in State of La Danse 2010.

---Donald Voorhies

Theatre--Performance

The actors at Eunice Players' Theatre are preparing to end their successful 41st season with a Christmas comedy, The Farndale Avenue Housing Estate Townswomen's Guild Dramatic Society's Production of A Christmas Carol, by David McGillivray and Walter Zerlin Jnr.   Director Liz Bryan notes that the comedy is just as long on laughs as its title.

This delightfully light and goofy comedy has the fictitious townswomen's guild mounting their version of the Christmas classic, in the style of community theatre gone awry.  The actors enthusiastically portray a dizzy array of characters from the Dickensian favorite and engineer some novel audience participation.  Their share of mishaps, miscues and misunderstandings create an evening of entertainment and a new look at Scrooge and Tiny Tim that one will not soon forget.

Christy Faulkner of Eunice opens the show as Mrs. Reece, the guild's chairwoman, and leads the audience through the show as a variety of other characters including Tiny Tim and the Ghost of Christmas Yet to Come.  Audiences will remember Christy's work in other EPT comedies including The Musical Comedy Murders of 1940, Bathroom Humor and Jake's Women.  She also portrayed the reverend mother in Agnes of God at EPT.  

Also returning to the EPT stage is Delinda Dowell Lafleur of Eunice.  Delinda was previously seen in Steel Magnolias and The Queen of Bingo. In addition to her hilarious character acting for the latter show, Delinda also won an Irving Award for Best Costumes.  In the current play, Delinda starts off as Felicity, then pirouettes her way through other characters including some male ones, and Half of the Ghost of Christmas Present.

Former EPT actor returning to the stage is Stacy Moncla of Eunice.  She was the other half of the comedy duo for The Queen of Bingo, for which she won the Best Actress Irving Award.  Other comedic work at EPT includes Drinking Habits and The Girls of the Garden Club, and she showed her dramatic capabilities in David’s Mother.  Stacy is cast as Mercedes, who in turn plays memorable Bob Cratchit, plus a few other characters, all while wearing a neck brace as a result of her character’s car accident.

Joining the cast from Opelousas is Cindy Veillon-Mattei.  Cindy has an impressive list of credits from Opelousas Little Theater, including Who's Afraid of Virginia Woolf?, Noises Off, Steel Magnolias, and Bats in the Belfry.  Cindy plays the guild's perpetually grumbling Thelma, thereby having the ideal quality for the principal role of Ebenezer Scrooge.

Stepping in as Gordon, the stage manager for the play within the play is Gabe Ortego of Eunice.  Although Gordon's duties are supposed to be offstage, he ends up on the stage as Mrs. Cratchit, Jacob Marley, and several ghost versions.  An accomplished actor in the Opelousas and Eunice theatres, with Providence, A Tuna Christmas, and Who’s Afraid of Virginia Woolf? to his credit, Gabe has also directed Steel Magnolias, Monky Business, and this season’s The Subject Was  Roses.

The show is suitable for all ages, and children will particularly appreciate the slapstick humor, which makes it a holiday treat the entire family can enjoy, as well as an introduction to the holiday classic.  The show opens Saturday, November 27, and is followed by other performances Sunday, November 28 at 2:00 p.m., then Tuesday, November 30 through Saturday, December 4.  All evening performances begin at 7:00 p.m.  Dinner theatre is the Tuesday, November 30 at 6:00 p.m. at Nick's on Second St. , with the performance immediately following.  Ticket information is upcoming.

For more information, call 337-546-0163 or 337-457-2156, or look for EPT on Facebook and at www.euniceplayers.blogspot.com.

Theatre--Auditions (Musical Theatre)

Auditions for IPAL’s South Pacific will continue on Sunday, November 14 at 2:00 p.m. at the Essanee Theater in New Iberia. This audition is primarily for young children (ages 9-15) interested in the roles of Jerome and Ngana.  Additionally, auditions for those interested in the chorus roles of sailors, nurses, and islanders will be open to adults and physically mature teenagers 13 years and older. For further information contact the director at ipal@cox.net or call (337) 364-1975.

Opera--Review (UL-Lafayette Opera Theatre)

For a soprano, getting to Heaven means going through Hell.

At least that's the idea in Too Many Sopranos, an affectionate send-up of opera, produced by the UL Opera Theater.

Edwin  Penhorwood's Too Many Sopranos sends four opera divas to Heaven – each a particular brand of opera soprano ripe for parody – and serves them one final injustice: they must audition for a spot in Heaven because there are too many sopranos and not enough tenors in basses upstairs. The foursome reluctantly audition, and when St. Peter is unable to decide who stays, the angel Gabriel gives the ladies an out. If they travel to Hell and perform a selfless act, they can bring as many male singers to Heaven as they want, ensuring their places in the forever after. The ladies agree, descend to Hell and make a go of it.

Everything works out in the end – this is a comic opera, after all, and tears aren't the business of the day. But Too Many Sopranos has more on its mind.  Sopranos is a playful introduction to opera as a medium, gently ribbing the styles, modes and performers that have made the medium great. It never takes itself too seriously, and wins you over with its mischievous spirit and generous heart.

Penhorwood's score is an always-accessible and tuneful creation, giving playful nods to a whole array of operatic traditions and styles. The opera also benefits from a clever libretto by librettist Miki L. Thompson, delivering a rich and abundantly entertaining show. Opera buffs will revel in the many in-jokes that litter the show, but the piece remains wholly accessible to neophytes as well. The show is smart, quick, affectionate and clever.

The cast is filled with capable and confident student performers. All four sopranos were delights to watch. Lana Carver's Miss Titmouse was a deliciously flirty creation, and her audition aria was simply terrific. Jessica Wiltz scored some big laughs as Madame Pompous – particularly owning the moment late in Act One when the ladies assume their disguises as missionaries. And Meghin Taylor delivered a sweetly adorable Just Jeanette, delivering some subtle but effective comic moments in her Act Two stretch with Nelson Deadly (Kevin Credeur).

Of the sopranos, I was particularly fond of Alex Hollerman's Dame Doleful, a boozy, morose dark stormcloud of a soprano that practically vibrated with self-seriousness. In Hollerman's hands, the role was a riot. She's got comic chops and knows how to use them. I kept seeing Hollerman as a cross between Beth Leavel's fierce grandiosity in The Drowsy Chaperone, and Katie Finneran's hilarious physical comedy in Promises, Promises.

The men all acquit themselves nicely. Holden Greene (Enrico Carouser) has one hell of a voice, and his big moment at the start of Act Two was a delight. Jared Price as the Unnamed Bass also delivered some nice moments. Jonah Slason's St. Peter and Nicholas Manzo's Orson and Jenee Luquette's Sandman are less showy roles, but the actors scored nicely with them.

(And the wordless appearance by local entrepreneur Wesley Sun Chee Fore was both a hoot and a reminder that we all – seriously, all of us – need to get to the gym.)

The show's single performance oddity was Joshua Coen's Gabriel. The role is essentially a silent one (save for one line at the opera's conclusion), but Gabriel's a constant presence. Coen certainly takes the role and runs with it – his take on Gabriel is a frenetically physical one, bounding from moment to moment, all arms and legs and exaggeration – but the energy expended doesn't consistently reap comic rewards. It too soon begins to feel a little self-indulgent, and it's too quickly out of step with the more considered comic performances around him. His castmates are doing more with less, and it's the one misstep in an otherwise uniformly impressive ensemble performance.

The show benefits from some strong direction by Shawn Roy and a clever scenic design by Duncan Thistlethwaite. Roy keeps things moving, but the staging never gets in the way or becomes cumbersome. Roy knows how to put together a nice-looking musical moment with a few simple gestures and a few simple moves. And his staging always looks great on his actors. Thistlethwaite's set offers Roy an abundance of opportunities to create interesting stage pictures, and it delivers a charmingly simple but impressive Heaven-to-Hell transition. Add some smart costume choices and a few well-chosen props you've got a show that's visually as charming as the performance.

Too Many Sopranos has a lot on its mind, but what makes the show a winner is what's in its heart. The show was a boyuant, playful and ebullient romp, and it was an easy two hours in the theatre.  That's something to be thankful for.

This show was Heaven, even though it went to Hell and back.
---Cody Daigle

Opera--Review (UL-Lafayette Opera Theatre)

OPERA WITHOUT TEARS

ULL Opera Theatre presents Too Many Sopranos, an opera buffa with music by Edwin Penhorwood and libretto by Miki L. Thompson under the direction of Shawn Roy.

Opera isn't always serious.  There is a long tradition of comic--sometimes outrageously comic--opera written by greater and lesser composers.  Composers want to turn a buck and pack the house and, believe it or not, most singers have a pretty good sense of humor.  This opera has some heavy-hitting fans among stars of the opera world.  When no one is looking, they like to knock back a few cold ones and do impressions of each other.  Actually, who doesn't?

If you could imagine the writing team of any season of Saturday Night Live! having a go at the shadow operas (fake opera portions which were inserted into musicals about opera stars) of the thirties and forties with a cast composed of Tina Feys and Steve Carrells who are trained singers, you have an idea of what Too Many Sopranos is like.  It gleefully pokes fun at the world of opera with slapstick action, a melodious score which gently satirizes several composers and caricatures of operatic situations and personalities.  In other words, its primary aim is to make you laugh, whether or not you know anything about opera.

In brief, four sopranos are told that three of them must be sent to Hell until there are enough tenors to balance them out in the Heavenly Choir.  Since sopranos and tenors are natural enemies, this presents problems.  As it happens, Hell has an overabundance of tenors, however; so the girls, along with St. Peter and Gabriel go off on a fishing expedition.

This is a perfect student production in two senses.  In the first place, the music is well within the capabilities of a vocal student not yet ready for the Met but headed in that direction and in the second place student audiences will find the show tuneful and approachable.  I think even young children will follow the plot and enjoy the production.

Director Shawn Roy has a commitment to entertaining his audience and his cast is energetic and silly.  The targets include Hollywood figures with caricatures of Nelson Eddy and Jeannette MacDonald and Orson Welles.  Enrico Caruso makes a guest appearance and so does the thankless Bass character singer.  The divas represent Classical, Wagnerian and Romantic Era singers and you could pick your own real-life divas as the models.  Each of the singers is a beacon of narcissism except for the sweet young couple of Just Jeannette and Nelson Deadly whose selfless love saves everyone's bacon.

The show looks good with an impressive set by Duncan Thistlethwaite which goes from Heaven in the first act to Hell in the second act through clever lighting and painting.  Ken Harrelson's lighting is atmospheric and the costuming neatly separates the different singers by period and personality.  The action moves at a crisp pace and the performers sing and speak clearly enough to put all the jokes across.  The two musicians lend able support.  The show is fast, too--under two hours including intermission.  

Admission is ten dollars general admission but free for ULL faculty, staff and students.  It is money well spent.
---Walter Brown

Opera--Performance

The UL-Lafayette Opera Theatre production of Too Many Sopranos opened Friday night in the newly renovated Burke Theatre on the university's campus.  There will be two more shows, one on Saturday (7:30 pm) and one on Sunday (3 pm).  Tickets are available only at the door.

Jared Price (as the Unnamed Bass) and Alex Hollerman (as Dame Doleful)

Jessica Wiltz (as Madame Pompous) and Nicholas Manzo (as Orson)

Kevin Credeur (as Nelson Deadly) and Meghin Taylor (as Just Jeanette)

 Lana Carver (as Miss Titmouse) and Holden Greene (as Enrico Carouser)

Jenee Luquette (as Sandman)

Joshua Coen (as Gabriel, an angel), Jonah Slason (as St. Peter) and Jessica Wiltz.

Photos by Beverly Harlton, permission from Shawn Roy

Theatre--Performance

Abbey Players will be hosting A Tuna Christmas,  directed by Dianna Ducote, Two local theatre veterans, Shane Guildbeaux of Lafayette and Jerrod Arabie of Abbeville, portray twenty-two different characters from the redneck town of Tuna, Texas.  It's a joy ride of comedy as the citizens of Tuna struggle to deal with the infamous "Christmas Phantom" that plaques their yearly Yard Display Contest.  Each character has its own set of hilarious and awkward problems and will have the audience laughing till the end as they fight, plot and sometimes insult each other.  Christmas has never been so funny! 

Starting Nov. 12, 2010 8pm and running Fridays and Saturdays through Dec. 4th.   Please visit www.abbeyplayers.com for more info.  Tickets are available online through the website or by leaving a message at 337-893-2442.

Theatre--Critical Note

In the last month, I've had the pleasure of writing reviews for a handful of local shows. Most of them involved theatre folks with whom I've worked. Many of them I also consider my friends.

The experience has been a lot of fun. I think inside every theatre artist, regardless of your specialty, is a critic waiting to come out.  There's something rewarding about putting into words the visceral feelings you get while  watching a show, and it makes the experience of going to the theatre a two-sided conversation. (And don't we all crave that? I know the second I leave the theatre, I'm eager to talk about what I just saw, desperate to hash it out -- good and bad -- to argue, debate, consider.)

The down side: in the interest of being as honest as possible about the experiences I had in the theatre, I had to take issue with some of the work I saw. It's not something that happens often in local criticism. In fact, because of the dearth of working reviewers, many shows don't even get reviewed at all. If you just went by published
reviews, I've been largely absent from the local theater scene in the last five or six years. And I not only took issue with productions, I also took issue with the work of friends and artists I admire -- which is an anxiety-producing experience, let me tell you.

It's one thing to be critical of someone you don't know. It sucks to be critical of people you like. A lot.

But I think it's necessary. It's the entire function of criticism, really. And I think when we turn a blind eye to the less than successful things we do in local theatre, we do a disservice to local theatre. Everything isn't going to be wonderful. Some things will be terrible. And most things will be a combination of the two.

And that's how it's supposed to be.

I think a critic should essentially do three things. First, I think a good critic gives the reader some sense of what they experienced in the theatre. Was the show fun, heartbreaking, funny, fast, cold, ect.?  That's what I want to know when I read a review. I'm putting money down, after all. I want to know what I'm in for.

Secondly, I think a good critic looks closely at the individual parts that make up the whole -- design, script, acting, directing -- and weighs in on what worked and what didn't. Most shows aren't uniformly
good or bad. They're mostly a mixture of successful and unsuccessful elements. If you praise what really worked, hopefully you'll get more of it. If you point out what elements didn't work, hopefully, you'll see that change in future work. (And, if you're like me, it helps you decide what you can live with -- I can often handle mediocre acting if the play is phenomenal. Bad writing, regardless of the acting, generally makes me cringe. A good review will tell me what's what, and I can decide if the money is worth it.)

And finally, I think good critics place the show they saw against their own expectations of what good theatre should be and make a subjective judgement. A good critic shouldn't like everything. (He or she shouldn't hate everything, either.) But they should be able to explain exactly why they liked or didn't like something. And they
should be honest. Because I think there's nothing worse than empty praise. My favorite complements are from people who have, in the past, been honest about their less than warm feelings of my previous work.  Honesty counts, and I think you should be able to trust both a critic's praise and criticism.

I've been on the receiving end of some pretty harsh reviews. (Have you ever had a New York critic basically say your play's characters were illogical, cold and completely distancing and that he didn't care about any of them? I have.) It sucks, but it's necessary. And it's just one person's opinion, anyway.

And hopefully, it can start a conversation. Theatre should be a two-way street. And if my review of something doesn't jibe with what you saw when you experienced a show, then by all means, I'd love to hear you out.

I appreciate the value of bad reviews as much as anyone.

---Cody Daigle

Theatre--Review (IPAL)

The play's the thing in the IPAL production of James Goldman's The Lion in Winter, and even if it fails to generate heat, it still makes a convincing case for the show's enduring popularity.  Goldman's play imagines a Christmas face-off in 1183 between King Henry II and his wife, Eleanor of Aquitaine, over the fate of Henry's kingdom. The play chronicles the Machiavellian machinations of Henry's sons in their hope to be chosen King and the fireworks that continue to spark between the feuding monarchs. There's considerable conspiracy afoot in Henry's castle, and the play relishes every twist and turn of shifting allegiances. There's also a ton of witty dialogue, some very funny barbs (mostly delivered by the witheringly sharp Eleanor) and a richness of language that makes the play a delight to hear.


It's no surprise that this show continues to be produced at community theaters across the country. It's a sturdy thing -- so sturdy, it's the kind of show that works in spite of itself. You could have performing seals play this show, and it would still work.


But a show that works isn't quite the same as a show that sings. And that's the main problem with IPAL's production of Lion -- it doesn't sing. There's a lot of talent on stage in this show (especially in the appealing lead performers Vince Barras and Carmen Nicholson), but the onstage talent often feels out of sync with the play they're performing, and it adds up to a serviceable production that doesn't quite convince and undercuts the gifts of its leads.


I've always enjoyed the performances of Barras and Nicholson when I've seen them in other shows (They were both delightfully great in Evangeline Players' Our Town a few years back). They're confident and assured actors, and throughout their scenes in Lion, those gifts are evident. Barras is a compelling stage presence, and his performance as Henry is nothing if not thoughtful and committed. Nicholson also throws herself into the role of Eleanor, and she delivers in the role's  fiery moments as well as landing some lovely tender moments.


They're both impressive actors, but in Lion, their power is muted in roles that don't fit comfortably on their talents. Barras' presence is far too urbane and refined as Henry, and Nicholson's presence is too warm against the iciness that's built into the character. They're not bad -- Barras and Nicholson never deliver bad performances --but
their natural presences don't fit these roles comfortably, and it makes the show less successful than it could be.


It's really tough to write about actors you admire and say you didn't see them at their best. But I've been in shows where I've been shoehorned into a role I wasn't really suited for for, and no matter how hard I worked, it just didn't gel. The alchemy between actor and role has to be just right for something exciting to happen, and I've seen that alchemy in action with both of these fine performers. It just didn't happen in this show. And that's unfortunate. I love their work, and I look forward to seeing them in whatever they tackle next.  They are, of course, not the only actors in the show. Kristen Hebert's Alais is a little swallowed up by the strong performers around her, but she does some nice work. Elliot Leitner is appropriately smarmy as Phillip. And Jonathan Parich is a very understated Geoffrey (sometimes too understated -- his performance sometimes fades into the background when it should stand front and center).


Travis Guillory is an explosion of energy as John, and he's clearly got a ton of talent. Unfortunately, the performance goes a little too far, turning John into more of a caricature than a person. With a little more restraint, Guillory will be a dazzling actor.


As Richard, Thomas Owens gives a surprisingly confident performance that was the show's most organically convincing. He handled the difficult task with aplomb (And trust me, I know how hard that role is. I was seriously miscast as Richard in a production of Lion.).  It's a tough role, and Owens handled it well. I'm eager to see Owens in something new.


It'd be easy to say, "It's just community theatre, don't be such a demanding jerk!" to a review like this. But that attitude would be a disservice to the very talented men and women who commit their time to local productions. There's something in the water here, I guess, because there's a weird abundance of really talented people in Acadiana, and that talent should be polished and showcased at every turn. That's why I wanted more from this Lion: the two gems at the heart of this production were obscured by the wrong vehicle.


I still enjoyed them. And I still enjoyed Goldman's play. The show --and the gifts of this cast -- endured.
---Cody Daigle