AISLE SAY Florida
AMERICAN ASSOCIATION OF
COMMUNITY THEATRE WORLDFEST 2014
Festival in Paradise at Venice Theatre
(Murray Chase, Artistic Director)
VT Mainstage and Pinkerton Theatres
140 W. Tampa Ave., Venice, 941-488-1115
June 18-21, 2014
Reviewed by Marie J. Kilker
OUR DAILY BREAD
(Argentina)
La Compasiva Teatro
by and Starring
Mario Marino & Gabriela Pages
Directed by Alfredo Badalamenti
As if transmitted from a silent movie, but in vivid color(via
background curtains, costumes, and make-up), a couple re-live their
relationship from meeting to old age. It begins with a flirtation, symbolized
by flicks of water toward her from a pie plate he holds and her response from
her plate with water. On a table at center, the two, having wed spiritually
through a dance-like ritual, unite
their selves as well, kneading
flour and water into the bread of their lives and love. They fashion it into
their child, whom they rear with loving pats and harsh pulls as needed. As time
goes by, difficulties occur and their manner changes in relation to each other,
shown by how they treat the bread, by
changes in their clothing, by assuming masks. They dance differently, away from the table. Their attitude:
sexy. When she goes back to the
table, he follows. They doff their masks and have to back up, really and
symbolically, to get together.They will be able to sprinkle each other with
flour and water once again in their old age in front of the table.
Every moment of 65 is perfectly presented by the expressive
stars―yes, stars―of the drama of a lifetime, under a
director who guides making seeming simplicity so powerful. The AACT
WorldFest could get no better than
this in '14 or, it would seem, any other year. Worthy of a spot on Avenue
Corrientes (Buenos Aires' Broadway)! Bravo, Argentina!
THE WINGED
(Armenia)
Yerevan State Puppet Theatre
Adapted from a story by Gabriel Garcia Marquez
Directed by Zaruhi Antonyan
Artistic Director: Ruben Babayan
Producer: Artashes Babayan
From a floating cloud miraculously drops an injured bird-like
creature with great white, densely feathered wings but man's hands, legs, feet.
Typically Armenian puppetry features a mask for his face appearing at the top
of a black cloth-robe body with actor-manipulator inside. The creature provokes
consternation from the crowd, townspeople portrayed by a number of masks under
a single large robe with three sets of legs. Two cage him in a hen-house,
thinking to show him as a freak for money. Even though he helps cure a young child of an illness, her
mother is but momentarily grateful. Like the other villagers, she doesn't want
the miraculous creature mixing with her offspring, who controls a (toy?)
globe. And he does seem to get out
and about more than his keepers or crowd wish. Besides, they have a ÒTwitter attention spanÓ that leads them to focus on a
giant tarantula-like insect who takes center stage. How both the miraculous and
the mundane will end up creates ultimate suspense.
The story as presented with masks, costumes, and changing
lighting is obviously Fraught With Symbolism, though not all the symbols are
clear all of the time. The plot could have used an occasional few words or
maybe projected images. Because the winged creature never leaves the stage and
keeps the same sad mask, he can't express completely certain moments that
aren't negative for him. Still, he does surprisingly well in his happy
interactions with the child. It's hard to distinguish his keepers from the
crowd, since their fine individualized masks are all atop the same robe. Much
credit, though, goes to designer Alina Aleksanyan's giving director Zaruhi
Antonyan space and tech work to enable
achievement of his vision. Actors Anna Petrosyan, Harutyun Avalyan,
Liana Arestakyan, Inna Hakhnazaryan, Davit Sargsyan move artfully under Aram
Aghajanyan's scene-defining lighting. Suren Sargsyan is responsible for the
indispensable sound, as is Hayk Hakobyan for overall tech work. The troupe shows how much can be
achieved by so few artists.
THE SERVANT OF TWO MASTERS
(Australia)
Lieder Theater Company
by Carlo Goldoni
Adapted by Nick Enright & Ron Blair
Directed by Chrisjohn Hancock
Commedia del arte has
an Australian flavor with many DownUnder lazzi (jokes, games) as a cast of nine's romantic antics
get all mixed up with a tenth's (Josh Waters' very funny Truffaldino) desire
for money and a buxom maid (Melissa Chandler's Smeraldina, a good match for
him). Eighteen century Goldoni proves to be right up to the times with lovers'
mistaken identities and their consequent tiffs. But at least, they'll end up
according to their own desires, not as planned by bossy father Pantalone (stern
Martin Sanders). Truffaldino acquires two masters (the second, Florindo, being
spur-of-the-moment) because he thinks Florindo will never meet first master
Pantalone. Wrong! Most of the mistakes stem from Cara Jeffery's clever Beatrice
imitating her brother Federico, who died.
He'd been betrothed to Clarice (pretty, romantic Amanda Aitken), but his
reported death gave father Pantalone rights to give her to Silvio (Shane Daly,
a deserving swain). When Beatrice's Federico reappears, the craziness really begins because, as
her real self, she's be suited to aristocratic Sean Curle's Florindo.
The craziness keeps Truffaldino, Steve Routley's Brighella,
and Pulcinellas-zannies Amelia Whalley and Ben Martin busy. Lazzi include
Truffaldino using a salad sandwich to seal a letter (ich!), beating
a rubber duck to death, pitching a pie
to a face. One always assumes, correctly, that director Chrisjohn Hancock will
straighten out all the complications to get a happy ending. Nicely reached.
KANJUSH or THE MISER
(Bangladesh)
Loko Naatyadal Bangladesh
Adapted by Tarioq Anam Khan from Moliere
Directed by Liaquat Ali Lucky
Produced by Mohammad Liaquat
Ali Lucky
Music and dance in Middle-Eastern manner highlight aspects of
romance and intrigue in a presentation of Moliere's classic story of a great skinflint turned into a
potentate-like scheming father. The comedic lines are still followed: The miser
wants to wed off his daughter for money to a rich old man while he himself
gains a rich widow. All for typical Bangladesh names and styles of movement and
song. Of course, despite all the
machinations, love triumphs . The
cast includes: Sawdesh Ranjan Das Gupta, Ziaudoin Sipon, Rubel Shankar, Azizur
Rahman Suzan, and Sucheta Sobnom as principals. Abu Bakar Bakshi represents the
Police. Supporting players include Chaklader Mustafa Al Mashud, Poly Kuzur, and
Khadidiza Mostari Maheen. The set had all the doors needed for a farcical
treatment of the theme of greed and the actions of lovers and others to
undermine it.
BABEL RAP
(Canada)
Theatre Ensemble
Starring Jeff Bastien and John Nabben
Directed by Ron Cameron-Lewis
I was not able to see most of this play because of schedule
conflicts. What I did see and hear (quite loud and mostly musical) was while
standing at the back of the small Pinkerton . This was energetic and much
appreciated by the audience. It
was obvious that the couple of men in bowlers (perhaps suggesting, not tramps,
but still the main players in Waiting for Godot ) were having a hard time building a Tower of Babel to reach
heaven. But one was doing most of
the work. Thus, arguments. According to the program, today's
attempts at Òworld
structureÓ and to Òreach heavenÓ are compared to the biblical Babel attempt.
Jason R. M. Saunders is composer and sound designer. Stage
manager: Carol LeNestour, assisted by Rebecca Klein. Theatre Ensemble also sent
Rita Huschka and Anne and Mark Mooney as crew for all the tech arrangements.
THE MOUSE'S DAUGHTER'S WEDDING
(China)
Henan Qu Opera Troupe
by Chua Soo Pong, also Artistic Adviser
Directed by Li Jie
A musical in the Chinese Opera style, may be performed before a simple
curtain but sparkling costumes, elaborate hair styles and make-up distinguish
the humorous characters.
Most are mice
expressive enough to make Disney ones eat their heart out. The story involves
an affair of the heart. Impressive
Fanag Su Zhen as Mouse Mama in widow's shiny black wants to pawn off her
daughter Zhu Zhu (pretty in
pink-and-white, spirited Liu Yan Li) to her richest suitor. That's Yang Shuai
Xue's dressed-to-the-teeth white Cat, who can hardly wait to get his paws on
her. Zhu Zhu, though, is in love with White Mouse, played with determination by
Zhang Zhuan She. The broad
physical action includes dance and often cuts to chases involving Sun (bright
Ma Rui) vs. Black Cloud (dark-mannered Hou Qing Xiang) along with Wind (Chang
Xiang Ke) and Wall (Mao Sheng Li).
Though performed in Mandarin, the mice squealing and the cat
meowing or wickedly laughing in addition to rich mime convey meaning without
need of translation. Music and dance range in styles, of which the most
surprising is flamenco that turns Cat into a bullfighter vs. White Mouse. The entire show merits the adjectives Òshort and sweetÓ
(45 mins.) but with a wrap-up of lasting love. Credit as Leader of the enthusiastically received troupe
goes to Chang Song. Stage Manager is Zhang Fu Zhong.
POP!
(Denmark)
Black Box Pangea
Idea & Concept by Black Box Pangea
Directed by Jeremy Thomas-Poulsen
A multi-media approach to pop music composed by Matilde
Katinka Bocher, an explosive performance , well lit by Martin Braad, seems to
document how such music has affected modern life and individuals. Visuals appear to me about as important
as the music. Lyrics, delivered in
English, avoid being over mic-ed, thanks to Morten Frank's sound design. Jeremy
Thomas-Poulsen has directed actor-dancers Emilie Bendix and Rasmus Rhode
through every human phase. Stage Manager: Pernille Rosa Thomsen. Administrator: Tine Presterud.
NOAH AND THE FLOOD
(Germany)
Studio-Buhne Essen
by Franziska Steiof
Directed by Stephan Rumphorst
Highly humorous but not without provoking thought, Germany's
festival entry is a smashing success at getting fine points of its famous story
across. It matters little whether one understands German or not except in ÒgettingÓ a few jokes, mainly uttered by Johannes
Brinkmann as authoritative Noah. With Wife, played with infectious charm
by Kerstin Plewa-Brodam, Noah
comes onstage giving orders. Loaded
with luggage and tote bags, she follows and basically sets the stage with their
contents. Although Noah reads God's directives to build an Ark, Wife puts the
bulk of it together with brooms, large pieces of cloth, ropes. She hangs up lanterns, filled bottles,
useful implements; he mostly approves.
Stuffed animals are drawn out and paired up, with insects
appearing on skins and bits of earth to be swept up and in with larger animals.
It's a tough job and, when done, the couple is lucky to have umbrellas. Afloat, they're very tired but
appreciative and still loving by
the time a dove appears with an olive branch and they can stretch their legs on
land. It's no stretch at all to
say that the beautifully directed and outstanding performers stretch the
audience's imagination and richly deserve acclamation.
POETRY BUTTERFLY
(Latvia)
Drawing Theatre
Conceived and Directed by Varis Klausitajs
Starring Elina Gait Jukevica, Dancer, and Rihards Zalupe,
Musician
Panels in light shades of rose, blue, and green surround the backdrop of the stage
where Storyteller sits down-center with a huge book. A white butterfly comes
from the pages and the supple Elina Gait Juevica brings it to a panel. It will
adorn the first of the pictures she will dance to and draw with brush of water
to bring out darker colors.
(Anyone who used paint-with-water books as a kid instead of using
colored wax crayons on black and white pix will be familiar with the medium
used by Drawing Theatre.)
Accompanied and often enhanced by Musician
Rihards Zalupe at the side of the stage, using multiple instruments on a
major xylophonic-type one, the Dancer brings her butterfly to each panel in turn. She makes each a
story-board in which she also takes part, as when she sits under a painted umbrella
in painted rain. Confetti and
scarf or ribbons help her in her swirling like and with the butterfly until she
finally returns to the book, enclosing the butterfly, to be let fly at the next
opening. Though the panels fade,
the pictures they contained seem indelible within the memory left by the
Latvian theatre's carefully directed (by Varis Klausitajs) performance
art. Credit for the playful music
goes to Rihards Zalupe; choreography, to Elina Gait Jukevica; stage design, to
Hiroko Oshima; lighting, to Rihards Gulbis; costumes, to Gerda Zandersone.
LUCKY, THE HERO!
(South Africa)
Africa Centre for HIV and AIDS Management Educational Theatre
Co. at Stellenbosch U.
Adapted by the Full Cast
after an Original Script by Vicky
Davis
Directed by Jimmie Earl Perry
Featuring music by Ricardo De Ruiter and Natascha September,
Lucky becomes a hero after he
learns he is HIV positive. He (played sensitively by De Ruiter) has made a
heroic decision to be tested. He augments this with another decision to learn from
medical personnel and social worker what he must do to live with his problem.
And he follows through! He does so in the face of possible rejection, of jibes
from a man he thought his best friend, and of those―including women in his part of the
world―who think they
can break the rules imposed by an epidemic. He becomes a community hero instead of a hermit or selfish
heavy. Performed in both English
and Afrikaans, the humorously serious musical is a heroic manifestation of the
work being performed by an outstanding agency fighting the spread of HIV and
AIDS and their otherwise likely negative consequences.
The supportive cast includes Olivia Adams, Christy-Ann Julies,
Zenani Mithi Tokkie Speelman, Octavian Sebybo. Additional swing roles are performed by Aine De Vries,
Natasha September, and Florance Vermeulen. Swinging as well as heroic, indeed!
CROWNS
(U.S.A.)
Delta Center Stage, Greenville, Mississippi
by Regina Taylor
Directed by Margaret Carey McCray
Music Direction by Oliver Johnson
Gospel Musical Crowns features
six women from the Missippi Delta who tell their individual stories of the hats
they wear to church, their history, and their personal meaning to each. They
also sing together to show the symbolism of hats from the days of slavery
onward. The recreation aims to
affect a sulking young girl from the city whose relatives feel she needs a
hefty dose of African American history and pride. Though rather weakly played here, she does come to see the
light. What the older women lack
in force also, they make up for by fine harmonies and some stirring gospel
solos. Simon Henderson is the Man who guides them along with Jaribu Hill as
Mother Shaw as they sing guidance to the young girl. Simplicity keys the
appropriate choreography by Simon Henderson.
The rather large cast (J. Hill, R. Frieson, W. Johnson, I.
Norfleet, E. Jones-Williams, A. Harden, S. Henderson) includes pit vocalists
(C. Harden C. Bell, G. Howard) and musicians on stage. O. Johnson and
percussionist Johnny Macon comprise the latter, with control of all sound under
Tim Bixler and lighting by Sonya Bixler. Sonya Bixler and cast, aided by art
director Charlene Louwerens, are responsible for elaborate dress and two full
racks of hats worn. Stage Manager:
Dewon Hall. Production
Co-ordinator: Woodrow Wilkins.
THE CENTURY OF MUSIC
(U.S.A.)
The Loveland Players, Venice, Florida
by Ronald Krine Myroup
Directed by Rebecca Holahan
Music Direction by Ray Goins
Venice Theatre's resident playwright provides a script
highlighting four generations of music in an American family from the time of
their immigration (projected at Ellis Island). Loveland Center's adult students with developmental
disabilities perform with the skills they have honed through an 18 year
partnership between the Center and
VT's creative dramatics personnel (under Gladys Varga). A cast of 29
skillfully sings, dances (to Lisa Willis-Richardsonn's choreography), and acts
in many changes of costumes (by Maggi Taylor) and wigs (by Stephanie Gift)
showing the passage of time. Musicianship includes special brass
contributions. Donna Buckalter
incorporates historical changes as well in her scenic design, which accounts
for a number of famous stages. The staff includes sound designer Dorian Boyd
and lighting designer John Andzulis.
Each year's Loveland Follies are a sell-out at VT, and supporters filled the Mainstage for The
Loveland Players' contribution to AACT WorldFest. They came as audiences but also part of a family that, in
depiction of another family onstage, makes the positive human connection aimed
for by AACT WorldFest participants.
Sum
Up:
Scheduling conflicts made me miss parts of Canada and Denmark's
performances (as noted above) and all of New Zealand's IMPROSAURUS, a long form
improvisation from the company of the same name, as well as THE INN OF CROSSED
DESTINIES. The latter was a full
length piece developed for 11 actors in commedia dell'arte style by Maner Manush of Italy and Venice
Theatre. They worked for a month
with young Americans before the premiere of the play written and directed by
Andrea Lattari and Cinzia Grande, with English-verse translation by Anna Maria
Ali. The bilingual production used all traditional elements, including dances.
Russian,
Georgian, and Togo troupes had to cancel appearances due to last minute visa
difficulties and financial problems. The cancellation also involved workshops
held throughout the week. But a
highlight of these were master classes by Broadway star Ben Vereen, who also
gave one performance. In the
latest absence notice, from Togo, VT called in from a sales exhibition of his
Moliere and Shakespeare adaptations and books of and about theater, author and
actor Tim Mooney. Mooney presented
his latest touring show:
SHAKESPEARE'S TEN EPIC PLAYS AT A BREAKNECK PACE!
Sliced from William Shakespeare's Historical Plays
Adapted, Edited, Explained (with Added Comments) by Timothy
Mooney
Timothy Mooney Repertory Theatre
Incorporating monologues and other excerpts from KING JOHN to
HENRY VIII, Tim Mooney gives an exhillarating hour-long history lesson, not
without humor. He gives each
monarch the attention Shakespeare did, especially featuring the poetic but
politically pathetic Richard III, the scheming Henry IV and self-redeeming son Hall, and the
twisted but tactically brilliant villain Richard III. Mooney distinguishes as
well by their voices and those of their words that convey attitude the
characters Falstaff, Hotspur, the lispy French Dauphin, most York and Lancaster
opponents, and the ladies who fall for Richard III, former Richard of
Gloucester. Mooney's timing is as smooth as his editing is skillful. Venice Theatre was lucky to have him on
hand to pinch-hit for the Togo troupe and score a hit of his own with hits of
Shakespeare's own.
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