Monday, September 29, 2008
Theatre--Audition
Auditions for Oklahoma!, this season’s IPAL musical presentation, will be held at the Essanee Theater in New Iberia on Sunday, November 2nd from 2-5 p.m., and Monday, November 3rd from 5:30-7 p.m. The production will be directed by Don Voorhies. Auditions for all parts are open, and those wishing to obtain materials in advance may call Don Voorhies (364-1975), IPAL (364-6114), or e-mail the production team at ipaloklahoma@cox.net. Audition material is also available at the Essanee Theater on October 6th-9th between 6 and 7 p.m.
Theatre--Review
Fearless, cool, ferocious are just a couple of words that passed through my mind after seeing this thrilling show. From the opening chords to the final notes, I was hooked. Hedwig and the Angry Inch is a bold piece of theatre that has understandably drawn comparisons to The Rocky Horror Show. I don’t want to give too much of the shows plot away because I believe it is best to be ignorant about certain plot points before seeing it so I’ll be brief. Hedwig and the Angry Inch tells the story of a young boy from East Berlin who moves to the U.S. after a botched sex change and a quickie marriage to an American G.I. (You’re hooked already; I can feel it.) Hedwig‘s marriage quickly dissolves and she finds catharsis in rock and roll. She even mentors a young kindred spirit to rock superstardom. Lonely and bitter, the “internationally ignored” Hedwig tells her story in a serious of flashbacks through the course of the evening. I think this is all I will say about the plot so you can be just as surprised by the developments in Hedwig’s bitingly funny story as I was when I saw it.
Like all great rock gods, Hedwig bears her soul through her songs. And it doesn’t hurt that Hedwig is portrayed by none other than Cody Daigle. He doesn’t just play Hedwig, he is Hedwig. He struts around the stage bedazzled in a sparkly mini skirt. He sings. Oh, yeah, and he does this all in five inch platform heels (to witness this is worth the price of admission alone). But don’t let this fool you into thinking Daigle takes the easy road and plays Hedwig as merely a stereotypical drag queen. Oh, no. He really delves into Hedwig’s psyche and what he is able to do is present a fully formed human being who longs for love and acceptance that has eluded her all her life.(Bravo, Cody). He is joined onstage by Sarah Gauthier as Yitzhak. She was one of my favorite parts of the show. I loved watching all her reactions to the events of the evening. Sarah has probably the hardest jobs an actor can have because she has to stay engaged while saying very little. It takes a true actor to capture and hold an audience with just a look or a gesture (So, Brava, Sarah on a job done exceptionally well). Also to be commended is the awesome rock band that is the cherry on top of the sundae that is this great show. My hat is off to Duncan Thistlethwaite and Cara Hayden for an awesome show. I can imagine all the hard work that was put in on this show and trust me it is on full display. I have never seen a show running as tight as this one was on opening night. If you feel after reading this review that maybe Hedwig might be a little too subversive for you then I should let you know the audience at Friday’s performance was a mixture of all ages and all left singing the praise of this glorious show. Catch this show before it ends its run at the end of October. Please believe me; you will be glad you did.
---Gabe Ortego
Like all great rock gods, Hedwig bears her soul through her songs. And it doesn’t hurt that Hedwig is portrayed by none other than Cody Daigle. He doesn’t just play Hedwig, he is Hedwig. He struts around the stage bedazzled in a sparkly mini skirt. He sings. Oh, yeah, and he does this all in five inch platform heels (to witness this is worth the price of admission alone). But don’t let this fool you into thinking Daigle takes the easy road and plays Hedwig as merely a stereotypical drag queen. Oh, no. He really delves into Hedwig’s psyche and what he is able to do is present a fully formed human being who longs for love and acceptance that has eluded her all her life.(Bravo, Cody). He is joined onstage by Sarah Gauthier as Yitzhak. She was one of my favorite parts of the show. I loved watching all her reactions to the events of the evening. Sarah has probably the hardest jobs an actor can have because she has to stay engaged while saying very little. It takes a true actor to capture and hold an audience with just a look or a gesture (So, Brava, Sarah on a job done exceptionally well). Also to be commended is the awesome rock band that is the cherry on top of the sundae that is this great show. My hat is off to Duncan Thistlethwaite and Cara Hayden for an awesome show. I can imagine all the hard work that was put in on this show and trust me it is on full display. I have never seen a show running as tight as this one was on opening night. If you feel after reading this review that maybe Hedwig might be a little too subversive for you then I should let you know the audience at Friday’s performance was a mixture of all ages and all left singing the praise of this glorious show. Catch this show before it ends its run at the end of October. Please believe me; you will be glad you did.
---Gabe Ortego
Sunday, September 28, 2008
Theatre--Performance
The Teche Theatre for the Performing Arts has announced the cast for its upcoming production of Cat on a Hot Tin Roof (opening October 20th). The cast is as follows:
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Big Daddy: Larry Deslatte
Big Momma: Denis Hodge
Brick: Ed Verdin
Maggie: LaDaisha Bowles
Gooper: Ricky Pellerin
Mae: Erin Segura
Rev. Tooker: Tyra Yanber
Dr. Baugh: Christian Glorioso
Lacey: Carolyn Higdon
Sookie: Christina Bertrand
Daisy: Emilie Miller
Brightie: Skyla Guidry
Small: Quenton Johnson
Dixie: Bailey Stovall
Buster: Tate Granger
Sonny: Alex Guidry
Trixie: Rebakah Deslatte
Theatre--Review
Cite Des Arts (located at 3rd and Vine in Lafayette, 291-1122) is currently presenting two cult musicals in repertoire through October 31. They are Hedwig And The Angry Inch and The Rocky Horror Show. Be aware that these shows run on alternating days of the same weekend. Hedwig runs Oct. 2 and 3; 9 and 11; 16 and 17; 23 and 25 and 30 and 31. Rocky Horror runs Oct 4; 10; 18; 24; 31 and Nov 1. The 18th and 24th of October there is an 8 pm performance and a midnight performance and on the 31st of October you can see a double bill--Hedwig at 8 pm and Rocky at midnight.
Lafayette has two genuine cult performers--that is, performers whose personae are bigger draws than the roles they perform. Shane Guilbeau is one and Cody Daigle is the other. There are really only two reasons to see Hedwig And The Angry Inch at Cite Des Arts--you are a Cody Daigle fan and/or you are already a fan of Hedwig. If you are a Cody fan, you already know what you are going to get and you will not be disappointed. If you are Hedwig fan, you will probably want to refresh your memory of the show before attending this production. The spoken portions of the show are fine but the lyrics are lost in a wall of sound. It's very difficult to sing with crisp diction but even if the diction were Gilbert and Sullivan perfect the band is really too loud to hear either of the singers. I would suggest using the projection screen on the set to flash the lyrics in the same way that a karaoke machine works. The lyrics carry the most important messages in the show and if you miss them all you are left with is the plot.
Hedwig And The Angry Inch was written by John Cameron Mitchell with music and lyrics by Stephen Trask. The show was developed over a period of years through workshops and partial performances at various venues in New York City. During this time it developed a cult standing which was cemented by a successful Off-Broadway run and then a film starring John Cameron Mitchell, the original Hedwig. This is not a slipshod script--it has been honed and polished in front of a variety of audiences. Pay attention--you'll be glad you did.
Hedwig has more on its mind than a blonde wig. It is filled with pop culture references, philosophical debates and puns which range from groaners to bon mots. In fact, I would recommend a quick refresher on gnosticism before seeing the show. Check out Plato and The Symposium on the genesis of human love as well. This is a show with real intellectual heft but you will have to act as your own guide.
Briefly, the story is this. Hansel Schmidt is a young man living in East Germany just before the fall of the Berlin Wall. He is desperate to escape to America and the chance comes in the person of an American soldier who will marry Hansel and take him to the US. However--Hansel will have to become Hedwig. The operation is botched and Hedwig is left neither male nor female. Circumstances make it more prudent to assume the female role which Hedwig does for the rest of her life.
In America, Hedwig (Cody Daigle) soon finds herself abandoned by her husband and working odd jobs and odder jobs to support herself. The two jobs which change the course of Hedwig's life are baby-sitting and singing in a local dive. Hedwig begins a relationship with the adolescent brother of a child she baby-sits. She tutors the boy in love, philosophy and rock music. Soon they are performing together and before long they have separated. Using songs he has written with Hedwig, the boy becomes a rock star known as Tommy Gnosis. Hedwig then becomes his shadow, going on her own less successful tour with her band, THE ANGRY INCH. Hedwig performs in dives adjacent to Tommy's concert halls and arenas. Hedwig is accompanied by her husband, Yitzhak (Sarah Gauthier), a former drag queen whom Hedwig forces to maintain a male persona. Eventually, fate reunites Hedwig and Tommy as a car crash literally fuses them into one person again. Was there ever really a Tommy or this all symbolism? Decide for yourself. The ending has generated reams of discussion and the authors are far too smart to explain what doesn't need explaining.
The set is just a performance venue with a couple of microphones, a projection screen and a place for a three-person band consisting of Barry Bihm, Shaun Gachassin and Duncan Thistlewaite (who also acted as musical director). The lighting is evocative and acts both to enhance the mood of each number and to define the purpose of the area. The use of animated sequences projected on the screen to further the story is nice and I wouldn't have objected to seeing a lot more of it. The animation for The Origin Of Love is really appealing and effective.
Costumes and makeup are a matter of personal taste. I thought the Hedwig looked a bit like Divine in one of Madonna's cast-off outfits. This Hedwig is a drag queen, not a woman. The costume for Yitzhak, however, does effectively disguise the fact that the role is played by a woman. Sarah Gauthier looks like every disaffected grunge boy you see hanging around downtown. It's an astonishing transformation visually and her body language and facial expressions never give the game away. Yitzhak is a man, not a woman in drag.
This is just a two person show. Hedwig is clearly the star and Yitzhak functions in a decidedly secondary capacity. He provides backup vocals and some help with costumes and props. His main function, though, is to act as a reverse image for Hedwig. This means that Yitzhak spends most of his time hanging around and not doing anything much. Sarah Gauthier does this splendidly. She never detracts from Hedwig and she never drops out of the moment. Cody may be the diamond but Sarah is the all important setting. The band also provides solid support both musically and visually.
The overall production is under the supervision of Cara Hayden, Cody Daigle's longtime collaborator. Theirs is a well-honed partnership. Cara guarrantees that the show looks sharp and moves at a good pace.
The show is definitely for adults due to subject matter and language. Use judgment about bringing anyone under 16. However--the show is also adult in the best sense. It poses grownup questions about identity, love and meaningfulness. How much do we make ourselves and how much does fate make us? What is the point of Life or Death? And--should blue eye shadow be a felony or merely a misdemeanor?
---Walter Brown
Lafayette has two genuine cult performers--that is, performers whose personae are bigger draws than the roles they perform. Shane Guilbeau is one and Cody Daigle is the other. There are really only two reasons to see Hedwig And The Angry Inch at Cite Des Arts--you are a Cody Daigle fan and/or you are already a fan of Hedwig. If you are a Cody fan, you already know what you are going to get and you will not be disappointed. If you are Hedwig fan, you will probably want to refresh your memory of the show before attending this production. The spoken portions of the show are fine but the lyrics are lost in a wall of sound. It's very difficult to sing with crisp diction but even if the diction were Gilbert and Sullivan perfect the band is really too loud to hear either of the singers. I would suggest using the projection screen on the set to flash the lyrics in the same way that a karaoke machine works. The lyrics carry the most important messages in the show and if you miss them all you are left with is the plot.
Hedwig And The Angry Inch was written by John Cameron Mitchell with music and lyrics by Stephen Trask. The show was developed over a period of years through workshops and partial performances at various venues in New York City. During this time it developed a cult standing which was cemented by a successful Off-Broadway run and then a film starring John Cameron Mitchell, the original Hedwig. This is not a slipshod script--it has been honed and polished in front of a variety of audiences. Pay attention--you'll be glad you did.
Hedwig has more on its mind than a blonde wig. It is filled with pop culture references, philosophical debates and puns which range from groaners to bon mots. In fact, I would recommend a quick refresher on gnosticism before seeing the show. Check out Plato and The Symposium on the genesis of human love as well. This is a show with real intellectual heft but you will have to act as your own guide.
Briefly, the story is this. Hansel Schmidt is a young man living in East Germany just before the fall of the Berlin Wall. He is desperate to escape to America and the chance comes in the person of an American soldier who will marry Hansel and take him to the US. However--Hansel will have to become Hedwig. The operation is botched and Hedwig is left neither male nor female. Circumstances make it more prudent to assume the female role which Hedwig does for the rest of her life.
In America, Hedwig (Cody Daigle) soon finds herself abandoned by her husband and working odd jobs and odder jobs to support herself. The two jobs which change the course of Hedwig's life are baby-sitting and singing in a local dive. Hedwig begins a relationship with the adolescent brother of a child she baby-sits. She tutors the boy in love, philosophy and rock music. Soon they are performing together and before long they have separated. Using songs he has written with Hedwig, the boy becomes a rock star known as Tommy Gnosis. Hedwig then becomes his shadow, going on her own less successful tour with her band, THE ANGRY INCH. Hedwig performs in dives adjacent to Tommy's concert halls and arenas. Hedwig is accompanied by her husband, Yitzhak (Sarah Gauthier), a former drag queen whom Hedwig forces to maintain a male persona. Eventually, fate reunites Hedwig and Tommy as a car crash literally fuses them into one person again. Was there ever really a Tommy or this all symbolism? Decide for yourself. The ending has generated reams of discussion and the authors are far too smart to explain what doesn't need explaining.
The set is just a performance venue with a couple of microphones, a projection screen and a place for a three-person band consisting of Barry Bihm, Shaun Gachassin and Duncan Thistlewaite (who also acted as musical director). The lighting is evocative and acts both to enhance the mood of each number and to define the purpose of the area. The use of animated sequences projected on the screen to further the story is nice and I wouldn't have objected to seeing a lot more of it. The animation for The Origin Of Love is really appealing and effective.
Costumes and makeup are a matter of personal taste. I thought the Hedwig looked a bit like Divine in one of Madonna's cast-off outfits. This Hedwig is a drag queen, not a woman. The costume for Yitzhak, however, does effectively disguise the fact that the role is played by a woman. Sarah Gauthier looks like every disaffected grunge boy you see hanging around downtown. It's an astonishing transformation visually and her body language and facial expressions never give the game away. Yitzhak is a man, not a woman in drag.
This is just a two person show. Hedwig is clearly the star and Yitzhak functions in a decidedly secondary capacity. He provides backup vocals and some help with costumes and props. His main function, though, is to act as a reverse image for Hedwig. This means that Yitzhak spends most of his time hanging around and not doing anything much. Sarah Gauthier does this splendidly. She never detracts from Hedwig and she never drops out of the moment. Cody may be the diamond but Sarah is the all important setting. The band also provides solid support both musically and visually.
The overall production is under the supervision of Cara Hayden, Cody Daigle's longtime collaborator. Theirs is a well-honed partnership. Cara guarrantees that the show looks sharp and moves at a good pace.
The show is definitely for adults due to subject matter and language. Use judgment about bringing anyone under 16. However--the show is also adult in the best sense. It poses grownup questions about identity, love and meaningfulness. How much do we make ourselves and how much does fate make us? What is the point of Life or Death? And--should blue eye shadow be a felony or merely a misdemeanor?
---Walter Brown
Friday, September 26, 2008
Theatre--Review
Ray Blum's review of All the Great Books, abridged produced by the Eunice Players appears in the Friday, September 26th edition of the Daily Advertiser.
Theatre--Article
Cody Daigle, who opens tonight as the main character in Hedwig and the Angry Inch at Cite Des Arts, has written an article about his experiences with the show and with creating the character of Hedwig. The article appears in the Friday, September 26th edition of the Daily Advertiser.
Thursday, September 25, 2008
Theatre--Performance
The Abbey Players' production of I Love You, You're Perfect, Now Change is opening on Friday, September 26th. This lighthearted celebration of the mating game tackles the truths and myths behind the contemporary conundrum known as "the relationship". A frothy, fun look at the absurdity of love, this clever musical revue reveals the difficulties of connecting with another person, no matter what the age.
The charming concoction, directed by Dianne Moss, scales the dizzying spectrum of romance and its many forms, from dating to marriage, the agonies and triumphs of dealing with in-laws and newborns, trips in the family car, and pick-up techniques of the geriatric set.
I Love You, You’re Perfect, Now Change pays tribute to those who have loved and lost, to those who have fallen on their face at the portal of romance, and to those who have put on a brave face, mustered their courage, and dared to ask, "So, what are you doing on Saturday night?"
For more information or for tickets, check www.abbeyplayers.com.
This is an adult musical comedy with adult situations and may not be appropriate for children.
The charming concoction, directed by Dianne Moss, scales the dizzying spectrum of romance and its many forms, from dating to marriage, the agonies and triumphs of dealing with in-laws and newborns, trips in the family car, and pick-up techniques of the geriatric set.
I Love You, You’re Perfect, Now Change pays tribute to those who have loved and lost, to those who have fallen on their face at the portal of romance, and to those who have put on a brave face, mustered their courage, and dared to ask, "So, what are you doing on Saturday night?"
For more information or for tickets, check www.abbeyplayers.com.
This is an adult musical comedy with adult situations and may not be appropriate for children.
Theatre--Performance
There was an error in the schedule on the right bar of the blog. Hedwig and the Angry Inch opens on Friday, September 26th (which was correctly noted in the post itself) at Cite Des Arts.
Please excuse the error. Again, Hedwig opens Friday, September 26th.
Please excuse the error. Again, Hedwig opens Friday, September 26th.
Performance--Article
The Daily Advertiser has a photo gallery up of pictures from Cite Des Arts' presentation of Artistic Voices: On the Edge.
Monday, September 22, 2008
Dance--Performance
Elisa Monte Dance opens the PASA Series at 7:30 p.m. on Saturday October 11 with the world premier of Elisa Monte's latest choreographic work, Zydeco! Monte's spirited choreography, set to the vibrant beats of live music by Jeffery Broussard and the Creole Cowboys, in a unique marriage of modern dance and live music. The program also includes Monte's Pigs and Fishes--commissioned by Alvin Ailey for his legendary troupe--and Run to the Rock, set to Nina Simone's interpretation of the popular gospel song, "Sinnerman".
Pasa and Elisa Monte Dance will also present a performance for students at 10:30 am on October 9th at Angelle Hall on the UL campus.
For more information, or to purchase tickets, please contact PASA at (337) 237-2787.
Pasa and Elisa Monte Dance will also present a performance for students at 10:30 am on October 9th at Angelle Hall on the UL campus.
For more information, or to purchase tickets, please contact PASA at (337) 237-2787.
Theatre--Performance
DiscoProdutions and Cite Des Arts have announced the cast list for their production of The Rocky Horror Show, which will begin its run on October 4th.
The cast is:
Blaine Peltier (Frank-n-Furter)
Ryan Broussard (Brad)
Charlee Halphen (Janet)
Andrew Hunter II (Rocky)
Mindy Menard (Riff-Raff)
Sarah Gauthier (Magenta)
April Peltier (Columbia)
Heath Swain (Eddie/Dr. Scott)
Erin Broussard (Narrator)
Erik Schneider (Corsette)
Ashley Culpepper (Corsette)
For more information, call Cite Des Arts at 291-1122.
The cast is:
Blaine Peltier (Frank-n-Furter)
Ryan Broussard (Brad)
Charlee Halphen (Janet)
Andrew Hunter II (Rocky)
Mindy Menard (Riff-Raff)
Sarah Gauthier (Magenta)
April Peltier (Columbia)
Heath Swain (Eddie/Dr. Scott)
Erin Broussard (Narrator)
Erik Schneider (Corsette)
Ashley Culpepper (Corsette)
For more information, call Cite Des Arts at 291-1122.
Theatre--Performance
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Cite des Arts is proud to announce its upcoming production of the cult hit rock musical, Hedwig And The Angry Inch by John Cameron Mitchell and Stephen Trask.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life
story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Friday, September 19, 2008
Announcement
I just wanted to make sure that everyone knew that comments are always welcome on this blog. All comments are moderated, so that I have absolute editorial control over what gets published. Please feel free to leave whatever comments you want to about the content of the blog, corrections if they are necessary, or information about the posts.
Thanks!
Thanks!
Theatre--Review
Theatre in the last decade has become increasingly difficult to criticize as it has moved from a structured art form to something more amorphous. This structure once involved an argument of some sort illustrated by the working out of a plot. In some cases the argument would be reinforced by the use of a subplot. Dialogue was a tool and not an end in itself. Dialogue which has escaped the prison of formal literary structure must now find alternate means of suppot.
This support now comes from designers who must create an aesthetically coherent vision for the audience and from actors who have to hold the audience's attention by a combination of personality and craft which must be compelling on their own terms without reference to the material of the script. The task of the director becomes largely one of creating mood and rhythm.
The problem for the critic is that any response is highly colored by personal taste. Objective criticism is limited to a discussion of technique and a general reaction to the attractiveness of the cast.
Having laid my cards out on the table, here is my response to the two one-act plays by Austin Sonnier currently playing at Cite Des Arts.
Overall, the production feels rushed. Although the sets work adequately and the set dressing in both cases is quite nice, the overall effect is still somewhat tentative, as if we were seeing a sketch rather than a painting. The lighting design is adequate except that it left Sheryl Ned as the narrator of Heads And Tales to wander about in darkness while the lights drew our attention to a completely unoccupied part of the stage. This is the second production I have seen at Cite which left actors to fend for themselves in murky conditions. If this is a choice, perhaps it should be rethought. Generally speaking, actors benefit from being visible.
On the plus side, however, director Maureen Brennan has assembled a very appealing cast which is long on charm and warmth. She has the good fortune to be able to draw from a cadre of experienced performers, many of whom have worked together before at Cite Des Arts and other local theatres.
Heads And Tales is really more of a short story than a play. The plot, which is a pretty good ghost story, is essentially narrated rather than acted out. This leaves the cast with not much to do, really, although they do it very appealingly. Bria Hobgood and Nyoki McKeith are an attractive couple of roommates who tell a scary story about the haunting of their rented house. Alessandra de Melo Batista and Jack Robertson are infernal bureaucrats and Jack Sorenson is...well, he is literally a two-faced devil. Unfortunately, he also plays audience to the girls' story and it is unclear whether he is listening to his own story or is simply playing a role for which no other actor could be found.
The second play, Greezy Spoon Cafe/Funeral Parlor, concerns just that--a small cafe which seems to double as an embalming room. In any case, a body has been embalmed and is currently being stored in the freezer of the kitchen while the undertaker awaits payment for his services. This could be tricky, since the deceased left his life insurance to his niece as a nest egg to launch her singing career in New York City. This leaves the widow with no money to pay for a funeral. Somehow, the niece must be persuaded to part with the loot against her own interests. This leads to some clever conniving which is resolved far too quickly and easily, resulting in a climax which comes at the midpoint of the show. The rest of the time is filled in with pointed remarks about the damage Katrina has done to the New Orleans music scene.
The cast includes Patricia Cravins as the forceful widow, John Bess as her twin brother (and father of the beneficiary). The chanteuse is played by Erika Fox, who sings "Cold Sunday" like the pro she is. The proprietor of the cafe (and also the undertaker) is played by Paul Batiste and the cook is played by Joshua Broussard. Tasia Riggs rounds out the cast.
Cite Des Arts has made a laudable commitment to presenting Black Theatre on a regular basis. Watch the Cite website for other opportunities to see the many talented Black theatre artists in Acadiana. They are well worth your support.
---Walter Brown
This support now comes from designers who must create an aesthetically coherent vision for the audience and from actors who have to hold the audience's attention by a combination of personality and craft which must be compelling on their own terms without reference to the material of the script. The task of the director becomes largely one of creating mood and rhythm.
The problem for the critic is that any response is highly colored by personal taste. Objective criticism is limited to a discussion of technique and a general reaction to the attractiveness of the cast.
Having laid my cards out on the table, here is my response to the two one-act plays by Austin Sonnier currently playing at Cite Des Arts.
Overall, the production feels rushed. Although the sets work adequately and the set dressing in both cases is quite nice, the overall effect is still somewhat tentative, as if we were seeing a sketch rather than a painting. The lighting design is adequate except that it left Sheryl Ned as the narrator of Heads And Tales to wander about in darkness while the lights drew our attention to a completely unoccupied part of the stage. This is the second production I have seen at Cite which left actors to fend for themselves in murky conditions. If this is a choice, perhaps it should be rethought. Generally speaking, actors benefit from being visible.
On the plus side, however, director Maureen Brennan has assembled a very appealing cast which is long on charm and warmth. She has the good fortune to be able to draw from a cadre of experienced performers, many of whom have worked together before at Cite Des Arts and other local theatres.
Heads And Tales is really more of a short story than a play. The plot, which is a pretty good ghost story, is essentially narrated rather than acted out. This leaves the cast with not much to do, really, although they do it very appealingly. Bria Hobgood and Nyoki McKeith are an attractive couple of roommates who tell a scary story about the haunting of their rented house. Alessandra de Melo Batista and Jack Robertson are infernal bureaucrats and Jack Sorenson is...well, he is literally a two-faced devil. Unfortunately, he also plays audience to the girls' story and it is unclear whether he is listening to his own story or is simply playing a role for which no other actor could be found.
The second play, Greezy Spoon Cafe/Funeral Parlor, concerns just that--a small cafe which seems to double as an embalming room. In any case, a body has been embalmed and is currently being stored in the freezer of the kitchen while the undertaker awaits payment for his services. This could be tricky, since the deceased left his life insurance to his niece as a nest egg to launch her singing career in New York City. This leaves the widow with no money to pay for a funeral. Somehow, the niece must be persuaded to part with the loot against her own interests. This leads to some clever conniving which is resolved far too quickly and easily, resulting in a climax which comes at the midpoint of the show. The rest of the time is filled in with pointed remarks about the damage Katrina has done to the New Orleans music scene.
The cast includes Patricia Cravins as the forceful widow, John Bess as her twin brother (and father of the beneficiary). The chanteuse is played by Erika Fox, who sings "Cold Sunday" like the pro she is. The proprietor of the cafe (and also the undertaker) is played by Paul Batiste and the cook is played by Joshua Broussard. Tasia Riggs rounds out the cast.
Cite Des Arts has made a laudable commitment to presenting Black Theatre on a regular basis. Watch the Cite website for other opportunities to see the many talented Black theatre artists in Acadiana. They are well worth your support.
---Walter Brown
Theatre--Review
Ray Blum's latest review, of Austin Sonnier's Greezy Spoon and Heads and Tales, is in the September 19th edition of the Daily Advertiser.
Wednesday, September 17, 2008
Theatre--Performance
Tickets to the Acadia Players' production of The Bridge to Terabithia may be purchased now at the Crowley Flower Shop on North Parkerson Ave. Performances are scheduled for Thursday, September 25th & Friday, September 26th at 9 a.m and Friday, September 26 & Saturday, September 27th at 7 p.m. and Sunday, September 28th at 2 p.m. at the Crowley Rice Theater.
Tuesday, September 16, 2008
Theatre--Presentation
Cité des Arts continues with our community arts and education program, Artistic Voices. This program is sponsored in part by the State of Louisiana Division of the Arts and the Acadiana Arts Council. Four artists from contrasting artistic disciplines are brought together in a panel discussion to discuss the creative process.
•Wednesday, September 17th at 7:00pm:
THE CREATIVE PROCESS AND INSPIRATION :
Don Brasseaux (Sophisticated Furniture and Art from salvaged material)
David Egan (Musician/Songwriter)
Trish Ransom (jewelry, fish and other creatures from found objects and recycled material)
and Cedric Watson (Musician/Songwriter).
Facilitated by Herman Fuselier.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Thursday, September 18th at 7:00pm:
THE CREATIVE PROCESS AND HUMOR
A.D. Dugar (Film/Theatre)
Shane Guilbeau (Theatre)
Annie Hendrix (Hand-Sculpted Clay)
and Jim Phillips (Children’s Education/Music).
Facilitated by Jack Reedy.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Wednesday, September 17th at 7:00pm:
THE CREATIVE PROCESS AND INSPIRATION :
Don Brasseaux (Sophisticated Furniture and Art from salvaged material)
David Egan (Musician/Songwriter)
Trish Ransom (jewelry, fish and other creatures from found objects and recycled material)
and Cedric Watson (Musician/Songwriter).
Facilitated by Herman Fuselier.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
•Thursday, September 18th at 7:00pm:
THE CREATIVE PROCESS AND HUMOR
A.D. Dugar (Film/Theatre)
Shane Guilbeau (Theatre)
Annie Hendrix (Hand-Sculpted Clay)
and Jim Phillips (Children’s Education/Music).
Facilitated by Jack Reedy.
COST: $7.00 for Adults; $5.00 for Members of Cité des Arts, Senior Citizens and Students.
Theatre--Performance
Cite des Arts is proud to announce its upcoming production of the cult hit rock musical, Hedwig And The Angry Inch by John Cameron Mitchell and Stephen Trask.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Born a boy named Hansel whose life's dream is to find his other half, Hedwig reluctantly submits to a sex change operation in order to marry an American G.I. and get over the Berlin Wall to freedom. The operation is botched, leaving her with the aforementioned "angry inch". Finding herself high, dry and divorced in a Kansas trailer park, she pushes on to form a rock band and encounters a lover/protégé in young Tommy Gnosis, who eventually leaves her, steals her songs, and becomes a huge rock star.
Through a collage of songs, flashbacks and animation, Hedwig tells her life story.
Hedwig runs in repertory with Discoprodution’s revival of last year’s hit, The Rocky Horror Show. Hedwig has been called the spiritual heir to Rocky Horror, combining driving rock tunes, androgyny, and a biting sense of humor to craft a thoroughly engaging evening of theatre.
Directed by Duncan Thistlethwaite and Cara Hayden, Hedwig stars Cody Daigle and Sarah Gauthier in the lead roles of Hedwig and Yitzhak.
The show also spotlights a team of five UL animation students and a graphic designer from Southeastern University, who have contributed original animation sequences and still projections to the project. Their efforts lend the production a unique visual component not seen on local stages.
Hedwig And The Angry Inch runs September 26 through November 1, in repertory with Rocky Horror. Contact the theatre for specific show dates in the repertory.
Hedwig And The Angry Inch contains adult language and adult content. This show is not appropriate for audiences under high school age.
For more information, call 291-1122.
Monday, September 15, 2008
Theatre--Auditions
Auditions for the IPAL spring production of Rodgers and Hammerstein's Oklahoma! will be held at the Essanee Theatre on November 2nd and 3rd. For more information call Donald "Doc" Voorhies at (337)364-1975.
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