The girl and I were thrilled to catch Quantum Theatre’s outdoor production of King Lear. The smell of a storm in the air, gusting wind, piped-in industrial sounds (metallic groans and rumbles) and the knowledge that the only reason we were able to get tickets was this was a special add-on performance to make up for a show that was rained out over the weekend all added to the tension…
My wife is directing Arthur Miller’s The Crucible. Opening night is tonight. Geyer Performing Arts Center.
The show runs tonight at 8 and Sunday at 2:30. One could argue that this production’s perpetually upbeat, fast-paced tone robs the play of its melancholic undertones; many of the more contemplative moments are brushed past or played for comedy, and Feste’s sorrowful songs, set by Monica Stephenson and Gil Teixeira to music for solo guitar and voice, are more poolside cool than sentimental. But with the show clocking in…
In his review, Greg Kerestan, who must have have gotten a pretty good education somewhere, manages to work in references to the Wind in the Willows, Charles Nelson Reilly, and Caddyshack. The cast is uniformly excellent, but the greatest burdens fall upon the leading players of the two sections of the show. Bouncing back and forth between the character of supposed-eunuch Cesario and lovesick maiden Viola, Carolyn Jerz is believably…
Kudos to Prime Stage for a Twelfth Night that truly sings. Stage director Andy Kirtland has created a lovely adaptation of Shakespeare’s 1601 comedy. A vibrant intimacy connects the players and audience, supporting a wonderful production that’s superbly enjoyable for both those who know this play and for anyone experiencing Shakespeare for the first time. Kirtland transports an ensemble of some of Shakespeare’s most lovable characters to sunny Portugal in the 1920s, a decade…
My daughter can hardly stop talking about how much she loves this show and the people who are putting it on. Only four more chances to see Twelfth Night this weekend!