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

Opera--Performance

The cast of the UL-Lafayette Opera Theatre's  Too Many Sopranos is in the final days of rehearsal.  The show opens on Friday, November 5th at 7:30 pm and runs through Sunday, November 7th.

Photos by Joshua Coen, permission from Shawn Roy

Theatre--Performance

What do a rock and roll star, the stark reality of Louisiana’s “good old days,” and a mother’s fierce defense of her family have in common? The answer is Carolyn Woosley’s critically acclaimed play, Louisiana Originals.

The famous Duchamp Opera House in downtown St. Martinville hosts Louisiana Originals November 12-14.

Three incredible black women. Three riveting stories.  One play of amazing power and intelligence.

 Marie Thérèze Coincoin: A fierce and proud freed slave who defends her family and escapes the punishments of the notorious 18^th Century French Code Noir to own her own tobacco plantation.  Clementine Hunter: the centenarian primitive artist, who grew up on a plantation outside Natchitoches and worked on Melrose Plantation as a field hand and cook.  There she took in the day-to-day Louisiana life of ten decades and recorded it in the stark, yet beautiful paintings that have made her world famous.  Nellie Lutcher: The Lake Charles native and rock and roll star.  She busted down racial barriers and took Hollywood and then the world by storm with hit after hit.

Carolyn Woosley’s critically acclaimed play Louisiana Originals will run Friday and Saturday, November 12 & 13 at 7:30 PM, and on Sunday November 14 at 2:00 PM at The Duchamp Opera House in St. Martinville, Louisiana. Tickets are $15. For reservations call (337) 394-6604 or (337) 515-6479 or go to www.louisianawomenonstage.com.

This is the last performance on tour before "Clementine & Clyde" go to the New Orleans Fringe Festival November 17th to 21st. The plays will be performed at the Ogden Museum, 925 Camp St. 

Opera--Performance

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 it's own set of hilarious and awkward problems and will have you laughing till the end as they fight, plot and sometimes insult each other.  Christmas has never been so funny!



The show begins its run on November 12th, 2010 8pm and will run Fridays and Saturdays through December 4th.   Check www.abbeyplayers.com for more info.



Tickets are available online 24/7 at WWW.ABBEYPLAYERS.COM or leave a message at 337-893-2442.

Theatre--Performance/Workshop

Acting Up (in Acadiana) hosts its first open class on Monday November 1st 
from 6:15-7:45 at the Acadiana Center for the Arts 101 W. Vermilion Street in 
downtown Lafayette. Observe professional and junior company members along 
with associate members train and participate in a brief discussion about the 
technique and the vision of the company. They invite input and ideas from the community. 

Theatre--Auditions (Musical Theatre)

Auditions for IPAL’s South Pacific will be held Sunday, November 7, from 2:00 to 5:00 p.m, and Monday, November 8, from 5:30 to 7:00  p.m. at the Essanee Theater, 126 Iberia St. in New Iberia . The show will have a large cast, and parts are available for singers, dancers, and actors 15 and over. No special advance preparation is required, but if desired audition material can be obtained at the Essanee Theater on Sunday, October 31 between noon and 2:00 p.m., by calling the director at 364-1975, by e-mailing to ipal@cox.net, or by visiting the website www.iberiaperforms.com. 

           

            South Pacific is written by the legendary team of Richard Rodgers and Oscar Hammerstein based on James A. Michener's novel, Tales of the South Pacific.   The musical won the Pulitzer Prize for Drama in 1950 and the 2007 Lincoln Center revival won 7 Tony Awards. Songs in the score include favorites such as ‘There is Nothing Like a Dame,” “Bloody Mary,” “Some Enchanted Evening,” “Younger Than Springtime,” “Bali Hai” and a host of others.  Lead roles include Emile de Becque, Nellie Forbush, Bloody Mary, Luther Billis, and Lt. Joseph Cable. IPAL is dedicating this show to the WWII veterans in Iberia Parish, and 100 free tickets will be available to them, so a large chorus is needed to play sailors, nurses, and natives. All are encouraged to audition!

            A separate audition will be held on Sunday, November 14, from 2 to 3 p.m. for young children (9-15) interested in the roles of Ngana and Jerome. 

Theatre--Review (IPAL)

Ray Blum's review of IPAL's The Lion in Winter appears in the Friday, October 22nd edition of the Daily Advertiser.

Editor's Note

This blog will be wearing purple today.  No one should be bullied and tormented for any reason. Adults should teach and model better behavior. It will get better if we help it get better!

Theatre--Review (Le Chat Noir)

(Technically, this show is not "Acadiana theatre", but consider it an experiment to see whether or not there is any interest in reviews of plays from more distant theatres.  Please let me know what you think.)


Inspired lunacy is the order of the day in Le Chat Noir's production of Charles Ludlam's camp classic, "The Mystery of Irma Vep."  Ludlam's 1984 play is a theatrical fever dream of lightning-fast costume changes, arch performances, goofy one-liners, silly sight gags and the mashed-up conventions of gothic horror tales that aspires only to make us double over in laughter. The play is one of the lasting legacies of Ludlam's Ridiculous Theatrical Company, and it's easy to see why. The show's a relentless and hilarious hoot.

The plot -- convoluted and wonky as it is -- centers on Lady Enid and her husband Edgar, who are trying to fashion some sort of a regular marriage under the looming specter of Edgar's dead first wife, Irma Vep. Irma died under suspicious circumstances -- as did her son, Victor, and her son's pet wolf, Victor (who may or may not still be alive as a werewolf). Their servants, Nicodemus and Jane, harbor secrets of their own, and when a mysterious attack on Lady Enid occurs, Edgar departs to Egypt to uncover a mythical mummy while Jane and Nicodemus tend to Enid.

It's pointless to delve further into the play's narrative machinations. They're increasingly weird and ultimately besides the point. What matters is the seemingly endless string of jokes and gags that come bounding out of every scene -- all clever, all knowing, all funny.

The play also charges two actors to play all of the show's roles, resulting in some terrific moments of rapid-fire changes and the winking delight of some goofy cross-dressing.

Everything about "Vep" is wildly over the top. Thank God. Le Chat's production is in the very capable hands of Ricky Graham and Varla Jean Merman, both regulars (and favorites) of New Orleans audiences, and they handle their monster acting assignments with aplomb. Graham brings some arch severity to his Jane, and he gives his Edgar a plummy effeteness that scores big laughs.

The show's real revelation (for me, anyway) was Varla Jean Merman's outrageously brilliant performance. I've been a fan of her drag work for years (she's a scene-stealing delight in the indie film "Girls Will Be Girls), but I wasn't quite prepared for the accomplished work she'd deliver here. Her Lady Enid is a smartly-modulated version of her Varla persona and her one scene as a horned-up, Ann-Margaret-aping mummy is comic gold. But in the role of Nicodemus, the hunchback servant, Merman dazzles. It's a funny and ultimately touching creation -- his final moments are actually heart-wrenching -- and it's a performance that made me realize Jeffery Roberson (the man behind the Merman) is just a damn fine actor. Period.

There's nothing serious at stake in "Irma Vep" -- even the show's emotionally florid ending scores some laughs --but the show is a lovely, brilliantly crafted evening of theatre. The costumes are gorgeous, the set is filled with hidden surprises, the performances are killer, the direction is spot-on and the whole thing pulses with a playful exuberance that's ultimately irresistible.

Go. That's it. Just go.
---Cody Daigle


"The Mystery of Irma Vep" by Charles Ludlam
Le Chat Noir. New Orleans.
Through Oct. 24.
For Info, visit www.cabaretlechatnoir.com

Theatre--Review (Evangeline Players)

Ray Blum's review of the Evangeline Players' production of Ghosts, which appeared in the Friday, October 15th edition of the Daily Advertiser, can be found online here.

Ghosts will continue its run until October 24th.  For more information, call (337) 364-6604.

Theatre--Review (ULL Department of Music and Performing Arts)

Diana Son's Stop Kiss is about the unexpected nature of love and its ability to shake us out of our complacency. It's also about the brutal nature of intolerance and the transformative force of a random act of violence.

It's a play built on themes that should generate some theatrical heat.  And that's what makes the UL School of Music and Performing Arts production of Son's 1998 Off-Broadway hit a puzzling one: This Stop Kiss is cool as a cucumber.

First, the story: Callie (Rachel Mauti) is a dedicated New Yorker who offers to cat-sit for Sara (Elizabeth Satterly), a friend of a friend and recent transplant to the city. The two hit it off, and a friendship is born.

Soon, this friendship begins to develop into something more, and these two otherwise heterosexual women must navigate the tricky minefield of their burgeoning romantic interest in each other.

Their relationship narrative is intercut with the more painful story of this relationship's outcome: a brutal attack in a public park, prompted by the couple's first kiss, that leaves Sarah in a coma and Callie struggling to cope.

Son's play is a marvel of construction, bouncing back and forth in time in a way that's almost playful. By toying with the conventional structures we expect in the theatre, Son finds a way to tell a more emotional narrative, one that colors the present with the shadows of what's to come and tempers the future with the softness of what came
before. It all adds up to a beautiful final moment that feels inevitable and leaves us on a happy note tinged with melancholy.

Unfortunately, this production feels oddly detached. The cleverly-written scenes that chart Callie and Sara's blossoming affection are cute, but they never generate any heat. An awkward exchange between Callie and Sara's ex-boyfriend should be painful, but it just feels out of place. Even a tender scene in which Callie lovingly changes Sara from her hospital gown into her own clothes fails to generate a great deal of emotion.

Part of this detachment may come from the show's pacing, which hasn't quite solved the challenges of the play's unusual structure. Scenes don't flow effortlessly in and out of each other -- instead we have sometimes lengthy blackouts to accommodate costume changes -- and we lose the poignancy and power of the scene's juxtapositions. It's a disappointment, because inside individual scenes, the pace is crisp and the direction is flawless.  Part of it may also come from the performances, which don't always dig deep enough. As Det. Cole, who questions Callie about the nature of the attack, Catherine Luchessi seems to ride on one note of anger throughout. As Peter, Sara's ex, Tylor Clark doesn't quite make his pain and confusion believable. Kristen Dubois and Tiffanyjo Ayers are believable and compelling in their small roles as Mrs. Winsley and the nurse, respectively, but their parts seem a little thankless, with not much to chew on.

As Sarah, Elizabeth Satterly delivers beautifully on her character's sweet side -- her wide open eyes and warm smile really do command your attention -- and she's rather affecting in the show's last third, wheelchair-bound and struggling to recover. But there's a spark missing in her scenes with Mauti's Callie, and I never quite believed
that she was, for the first time in her life, slowly falling in love with a woman.

Mauti's Callie is a confident creation, however. She's breezy and believable as another slightly jaded New Yorker, and her scenes post-attack are filled with the right kind of gravitas and emotional weight. Mauti handles a really complicated and challenging role with a real grace, and she's an actress I am looking forward to seeing again.  The show's most exciting performance comes from David Huynh as George, the on-again, off-again romantic interest for Callie. He lands some of the show's biggest laughs and Huynh has a commanding presence on stage. In fact, the show's one short scene between George and Callie after spending the night together is the only scene that generates any sexual heat. Huynh does great work in this show, and someone needs to give this kid a leading role sooner than later.

There's an abundance of talent on stage in Stop Kiss, and the show is beautifully designed and looks as professional as anything I've seen Off-Broadway. But the messy, painful and confusing emotions that reside at the heart of the play never seem to surface. We leave the theatre appreciating the craft involved, but we don't leave thinking about the characters' lives and futures.

I, for one, would have gladly traded the slickness for a show that broke my heart.

Opera--Performance

The UL Lafayette Opera Theater will present the 2 act comic opera Too Many Sopranos by Edwin Penhorwood.  The contemporary opera was written in 2000 and explores the world of opera.  It looks lovingly and humorously at the "typical" opera singer stereotype of every voice. 

The plot revolves around four divas who arrive at the pearly gates where they meet St. Peter (Jonah Slason) and the angel Gabriel (Josh Coen) who inform them that there is only one spot available in the heavenly chorus for a soprano because of a serious lack of tenors and basses who are mostly in hell for doing terrible things.  The divas are forced to audition for placement, but they are all of equal talent, so St. Peter cannot decide.  The 4 divas are Miss Titmouse (Lana Carver), Madame Pompous (Jessica Wiltz), Just Jeanette (Meghin Taylor) and Dame Doleful (Alex Hollerman).  They are they told of a clause that if they go to hell and do a selfless act, they will be allowed to bring back as many tenors and basses they wish, thus granting all four of them entry into the chorus.  They agree to this and decend into hell. 


 In Act 2, we meet the men, Enrico Carouser (Holden Greene), the Unnamed Bass (Jared Price), Nelson Deadly (Jace Fogleman) and Orson (Nicholas Manzo).  They all hear their sad stories and are moved by them. Nelson and Jeanette are forced to attempt to listen to Orson, the director, talk without falling asleep, thus fulfilling their promise.  They fail, however, but the Sandman (Jenee Luquette) tells them they attempted, therefore they can now go back to heaven with the men.  All end happily, promising never to sing opera again!

This delightful opera is being directed by Shawn Roy with piano accompaniment by Geraldine Hubbell.  The set is being designed by Duncan Thistethwaite, the lighting designer is Ken Harrelson and the production stage manager is Kristy Chiasson-Gondron.  The performances will be in the Burke Theater on the UL Lafayette campus and are on November 5 and 6 at 7:30PM and November 7 at 3PM.  Tickets are available at the door only and are $10 for general admission and free for UL Lafayette students, faculty and staff.  Call 482-6012 for more information. 

Theatre--Review (Evangeline Players)

Secrets and lies unravel a family in the Evangeline Players' production of Henrik Ibsen's classic drama, Ghosts.
The play centers on Helen Alving, a tough-minded woman who's been holding her family and estate together since her husband's death a decade prior. In his honor, she's opening an orphanage with assistance from lifelong friend (and maybe former romantic interest) Rev. Manders. Her son, Oswald, has returned from living in Paris, and he
has his eye on Regina, the Alving's maid. Also in the mix is Regina's father, Engstrand, who's a drunk of  questionable responsibility.

The dramatic heart of Ghosts is the unearthing of long-held family secrets -- particularly secrets about the dead Captain Alving -- and these secrets, once revealed, threaten to destroy the family forever.  By the play's end, all the family's illusions of propriety and respectability are stripped away, and they're left to deal with the rotted and diseased reality underneath.

The adaptation by Pulitzer Prize-winning playwright Lanford Wilson is a brisk, if sometimes plodding, take on Ibsen's original. His lines are, for the most part, easy on the ears -- there are a few moments, however, of anachronistic slang that stick out like sore thumbs -- and the play's three acts move at a rapid clip. Unfortunately, some stretches of the play feel dramatically inert, and although the play's construction is tight, the brevity sometimes makes the play feel thin and undernourished.

Script quibbles aside, the play's in the very capable hands of director Charlee Halphen-Swain, who does a commendable job navigating Ibsen's murky family drama. The show is fast, smart, concise and thoughtful, and she's done a terrific job keeping the show on its toes. This show is a tough sell, especially in our corner of the
country, but Halphen-Swain delivers a production that's clear and accessible.

Ghosts is also a tough play for actors, but the cast here is more than eager to meet its challenges head-on. As Engstrand, Paul David lends the show some levity, landing a handful of the show's better punch lines. As Regina, Elizabeth Hunt reveals layers of sensuality, vulnerability and steely determination. And as Oswald, Devin Capritto
does a nice job capturing the frustrated spirit of a young man attempting to step into the shoes of adulthood.
Heath Swain delivers some very fine work as Rev. Manders, the play's moralistic center. Manders is a man of unwavering principle, and Swain communicates that nicely. His is a grounded and believable performance.

The show's best asset, however, is Amanda Newberry's Helen Alving. Newberry breathes the most life into the show's dense language, and hers is the most commanding and confident performance. She's in turns
flirty, ferocious and vulnerable, and her final scene with Oswald is the show's most affecting stretch. Newberry owns this role and this show. It's a performance worth seeing.

The show's got a game cast and an able director, but Ghosts doesn't quite pack the emotional punch it should. The wounds that are inflicted on the Alvings and those surrounding them only graze the skin when they should cut to the bone. And while the show fires on all its intellectual cylinders, it doesn't always hit us in the gut the way a good drama should.

The show, however, is still worth seeing, and the Evangeline Players should be commended for tackling this unorthodox choice. Bravery counts for a lot, and this company bravely stands up to the imposing and challenging Ghosts.
---Cody Daigle


Ghosts by Henrik Ibsen, adaptation by Lanford Wilson
Directed by Charlee Halphen-Swain
Produced by Evangeline Players
Through Oct. 24. For info, call 394-6604.

Dance--Performance

Mythical creatures gallop across the stage, larger-than-life roses bloom to music, and the birds of summer come out to play when dancers with Momix, the acclaimed company of dancer-illusionists led by famed choreographer Moses Pendleton, bring their newest work “Botanica” to the Performing Arts Society of Acadiana’s (PASA) mainstage series at 7:30 p.m. on Tuesday, October 19 at the Heymann Performing Arts Center.

For more than 25 years, Momix has been celebrated for presenting work of exceptional inventiveness and physical beauty. Known internationally for its ability to conjure a world of surrealistic images using props, light, shadow, humor and the human body, Momix, is a Connecticut-based company of dancer-illusionists under the direction of Moses Pendleton. In addition to stage performances world-wide, Momix has worked on special projects in film and in television, including perfor mances on Antenne II in France and five Italian RAI television features broadcast to 55 coun tries.

Tickets for Momix are available through TicketMaster outlets by phone at 1-800-745-3000, or online at www.pasa-online.org. Student and group discounts are available.

This performance and all activities in association with Momix are sponsored by Cox Communications, Moss Motors and Lee Michaels Fine Jewelry. Additionally supported is provided by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Acadiana Center for the Arts.

Momix “Botanica” is an exploration of the delicate world of nature through a spectacular blend of theatre, athleticism and movement bringing show goers along on a fantastic visual journey.  The Times Union says, “Earthly and otherworldly at once— (Botanica) it is a magnificent vision of the everyday miracles around us.”

“Momix Botanica is inspired by everyday things found in the natural world,” says, Jackie Lyle, PASA Creative Director. “From plants, to animals, to the change of seasons, the beauty of nature is celebrated through this performance.” Lyle continues, “This show is great for all ages and is a great opportunity for parents and children to experience dance at its best.”

The company was featured in PBS’s Dance in America series and selected to represent the United States at the European Cultural Center at Delphi. Momix dancers Cynthia Quinn and Karl Baumann played the role of “Bluey” in the film FX II, under the direction of Moses Pendleton. The company is featured on a Decca Records laser disc, appearing with Charles Dutoit and the Montreal Symphony in the Rhombus Media film of Mussorgsky’s Pictures at an Exhibition, winner of an International Emmy for Best Performing Arts Special. Momix was also featured in one of the first IMAX films in 3-D, IMAGINE, which premiered at the Taejon Expo 93 and was subsequently released at IMAX theaters world-wide. In 2004, “White Widow”, co-choreographed by Moses Pendleton and Cynthia Quinn, was featured in Robert Altman’s movie, The Company.

 “Momix is well-known for creating beautiful, thought-provoking, choreography that challenge audiences to open their minds and let their imaginations take over. This performance will take our audience on a journey into a magical world through dance,” says Lyle.

 In addition to the evening performance, Momix will perform in a daytime performance for middle and high school students at 10:30 a.m. on Wednesday, October 20 at the Heymann Center. Interested teachers and principals can register their students through the PASA office at (337) 237-2787. PASA will also host several free Momix inspired outreach activities including a native and edible plant lecture at the Iberia Parish Library Main Branch, a floral display by the Lafayette Garden Club at the Heymann Center, and a celebration of Pi Keohavong, a New Iberia native and former principal dancer with Momix. The complete schedule of activities is available at www.pasaonline.org or by calling 337-237-2787.

For more information about the 2010-2011 PASA series, visit www.pasaonline.org or call 337- 237-2787.