Stage

the cast of A Year of Frog & Toad (photo: Mark Garvin)

A Year With Frog and Toad

Arden Children’s Theatre
40 N. 2nd St. Philadelphia PA
http://www.wilmatheatre.org
Through Jan 29

What a perfect winter of collective discontent to spend “A Year With Frog and Toad” those best buddies hanging out in their cabins on the pond in director Whit MacLaughlin’s altogether magical staging at the Arden Theater- in its 3rd revival since 2004, it is perhaps the most beloved show in the stellar Children’s Theatre series. This is a too much fun-for- all-ages musical based on the popular children’s stories by Arnold Lobel, with music by composer Robert Reale and lyricist Willie Reale. And if that’s not enough, its original stars Jeff Coon as always dapper, optimistic Frog and Ben Dibble as charmingly fretful Toad, are also back.

The show in fact is all about loyalty, friendship, diversity and individualism. Arden was full of kids and parents on Dec. 23, Christmas, Hanukkah and Kwanzaa’s eves, and this audience was not only in a festive mood, but completely captivated by the actors, music and stagecraft of this show.

Dibble and Coon, both fine singers-actors, are also great movers, ready to careen down a snowy bank, or leap around in toady manner or leap frog into a soft shoe for their duet “He’ll Never Know.” They are joined by songbirds, Leigha Kato,Elexis Morton and Steve Pacek, who swoop in to sing about the four seasons, wake up Frog & Toad from their hibernation with some intoxicating three part harmony and this talented trio also double as other forest characters throughout the play.

A favorite with this crowd is a country ditty sung by Pacek as Snail with the tag line “I’m the snail with the mail” pumping his arms furiously, but his feet are still slo-mo, drew peals of laughter as he inches on. Later, Pacek is also a golden voice belter on the showstopper “I’m Coming Out of My Shell.”

“Getta Load of Toad” is a snappy tune about body image sung when everybody finds out that Toad thinks he looks funny in a bathing suit. Turtle (Morton), Lizard (Pacek) and Mouse (Kato) tease him, all in fun, until he gets out of the water and flaunts his body, warts and all.

MacLaughlin knows how to conjure stage magic for kids, with authentic stagecraft that time and again, proves that young audiences give something to young audience that they don’t get anywhere else, especially on tv or at blockbuster movies. Who cares about stale popcorn when Toad is baking and singing about eating as many ‘Cookies, cookies, cookies’ as you want.

The score is a mix of traditional American orchestrals, Charleston swings, and some show-stopping looney tunes and given a rich sound by conductor/pianist Amanda Morton, Mike Reilly (percussion), Dan Perelstein (bass), Spiff Wiegand (banjo/ guitar).

MacLaughlin is a proponent of inventive physical theater that engages kids of all ages. It is especially fluid in tandem with choreographer Lee Ann Eztold dancey character movement. Richard St. Clair’s witty costume designs keep giving the birds in smart cutaways with feathery vests and all us kids were loving Snail’s bedroll and Turtle’s cushy shell. Precision lighting designs by Thom Weaver casting the visual poetry of the seasons on Donald Eastman’s storybook set featuring Frog and Toad’s neighboring cabins on the pond.

How encouraging it is to hear young audience members, inundated with overblown effects and assaulting wall-to-wall media to be completely captivated by real stagecraft and natural singing voices.

After the performance the cast sat onstage and answered questions about the show. When you hear the kids ask questions to the cast, they are interested in how the houses move, how the lights work, how long it takes to rehearse, why the actors moved a certain way portraying different characters and other penetrating questions, this is exciting theater. And who can’t love the fact that the productions are not only affordable for families, its community outreach program arranges for thousands of underprivileged kids will get to experience the Arden’s Children Theatre series for free.

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{photo: Thibaut Baron}

Seuls survivor
Wilma Theater
Broad & Spruce Sts. Philadelphia
Nov. 29-Dec. 11
http://www.wilmatheater.org

In “Seuls” writer Harwan is so preoccupied with his 15,000 page thesis on theater and director Robert Lepage that he barely notices the odd things that are happening in his dingy hotel room- an old phone rings without being plugged in and the shadows move around on its own volition and there is even a little inside snowing. Meanwhile, Harwan is beating back loneliness of a recent breakup, arguing with his family over the phone and loosing his cool trying to track down Lepage for a vital interview. These are the peripheral plot points of in Seuls, Wajdi Mouawad’s 2008 tour de force “Seuls” currently in a limited run at the Wilma Theater in Philadelphia.

Mouawad is a prolific Lebanese-Canadian playwright, actor and famed director directs himself in the play, which he performs in French with English subtitles, except when he speaks Arabic, in lines that are not translated. Mouawad’s play “Scorched” (staged at the Wilma Theater in 2009, to wide acclaim) a political drama with themes of refugee exiles and émigrés that is both timely and universal. Mouawad explores these themes in Seuls. Harwan’s father moved his family from war torn Lebanon to Canada, Harwan grapples with what was left behind and what it might mean now in various aspects of his life in his adoptive country. Seul is French meaning alone, so pluralizing it suggests that there may be more than one puzzle to solve.

Harwan cancels a visit with his father over the phone and the conversation devolves into a bitter family fight. Meanwhile Lepage is unreachable by phone and is rehearsing a new play in Russia. Harwan books a flight and at the airport he has to take a visa photo. But he receives a fateful phone call in the picture kiosk from his sister Layla that their father has had a stroke and is in a coma. Harwan goes to him and recalls places, events and images from his childhood and pivotal moments in their relationship that dredges up bitterness and the intractable bonds between father and son.

Flash forward to Europe where he has just found out that Lepage is back in Canada. Harwan takes the news well, but starts to unravel when he realizes that, on top of being stranded again, he has luggage filled with paint canisters. Meanwhile that corded phone is also in the room and it is ringing again, his sister Layla is leaving him a message about their dad on that phone that phone rings without being plugged in.

Mouawad is a consummate actor, believable in every moment over the course of two unpaused hours. Seuls will not be for everyone, as impressive this work is, it doesn’t escape a level of theatrical tedium- There are allusions to Lepage’s work and business wrangling with a publisher that strikes as filler, and way to much business with phones, computers and mobiles that hit the same notes of verisimilitude. In this ‘sixth sense’ moment, Mouawad unleashes a long visually arresting denouement.

Fortunately the play’s artistic designs rescue some of any static theatrical rhythms, chief among them Dominique Daviet’s masterful film projections in tandem with lighting design by Éric Champoux and equally compelling soundscape and original music by Michel Maurer and Michael Jon Fink. The arresting designs framed in Emmanuel Clolus’ stark set prove to be a most poetic visual template for Mouawad’s unforgettable and transformational finale.

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RIZZO  by Bruce Graham

directed by Joe Canuso

Theater Exile & Philadelphia Theatre Company

Suzanne Roberts Theatre, extended through Oct. 23

“Love me or hate me… you will never forget me.” So promised legendary Philly mayor Frank Rizzo used at a climatic end line Bruce Graham’s bio-play Rizzo.  Indeed, Rizzo’s rep lives on. At the 2016 Dem Convention in Philadelphia, members of Black Lives Matter placed a KKK hood over the Rizzo statue near City Hall to remind all what Rizzo represented to Philly’s African American population.

Rizzo premiered last year at Theater Exile and the revival with the same cast co-presented at The Roberts Theater by Philadelphia Theater Company.  The Mummers were in the lobby posing with former mayor Ed Rendell, who recounted a few stories about being DA under Rizzo before the play.

As police chief Rizzo was a flashpoint of racial and minority divides and his police state tactics continued when he became mayor.  White majority voters of the time elected him twice to ‘clean up the city’ and shut down crime, despite his own infamous scandals, like his lie-detector stunt which proved he lied, his flagrant cronyism and other abuses of office.

Graham’s explores the dualities of Rizzo’s character as well as the good, bad and ugly of Rizzo’s political life.  RIZZO debuted at Theater Exile last, directed by Joe Canuso and starring Scott Greer as Frank and Damon Bonetti as a political writer for the Philadelphia Inquirer who covered Rizzo’s years in office.

The story is told in flashback as Rizzo is mounting his 3^rd term bid for office. Rizzo tries is muscling a police officer to swear an affidavit that he saw his opponent Ron Castille drunk and out of control. The highs and lows of his career are depicted in flashbacks about his life growing up in South Philly, becoming a beat cop, then police commissioner, and then twice mayor.

‘The showdowns in black neighborhoods, his routine raids on gay bars and hauling in “faggots” in Center City.  He calls on unions to shut down the Philadelphia Inquirer to prevent papers getting out an unflattering story. His enemies list and his publicity stunts to a lie detector test and Rizzo is exposed. Meanwhile, his affability in many neighborhoods and his personal touch out of the public arena, kept him in power.

Graham covers these episodes, many of them ‘told’ rather than ‘shown’, some with more fluency and dramatic fire than others, more consistently interesting is the private man. Graham builds a portrait of Rizzo as not just political myopic, but a man of uncontrolled impulses, private doubts and not to mention an untamable mouth.

One of the strongest scenes is the newly appointed Police commissioner being dressed down by his father, a beat cop, for using bullying tactics, including striking a “hooker” and giving her stitches.   And all too brief scenes with his wife Carmela.  His chess game with the reporter, also in clipped scenes, is eclipsed by big events.  So Graham constructs an erratic theatrical arc. But, they don’t overshadow the play’s many strengths, starting with a great cast.

Director Canuso keeps everything moving with invention and but Graham’s over use of characters describing action, rather than dialogue scenes, but the cast ably glides through some heavy handed monologues.

Damon Bonetti, in a largely narrating role, until the second act, brings wit and naturalism to this old –style nice guy reporter who still keeps digging until he has the real story.   Amanda Schoonover plays all the women’s roles, most impressive in her instant range from the protective Carmela Rizzo to Shelly Yanoff who took Rizzo on by gathering petitions for an election recall of his win.

All of the supporting players Steven Wright, Robert DaPonte, Paul L. Nolan, William Rahill juggling also juggling multiple roles with ensemble ease.  Wright a standout in his wry portrait of black civic leader Cecile B. Moore who goes head to head with Rizzo over the strife he causes in North Philly.

But the night belongs to Scott Greer, a fine musical theater actor, a five time Barrymore Award winner adds another portrait of flawless performances of a complex man.  His Frank accent perfect, without trying to imitate Rizzo, and embodies the image and conveys the inner turmoil of his many masks.

Stage

Inis Nua Theatre Company

The Radicalisation of Bradley Manning
by Tim Price
directed by Tom Reing

The Proscenium Theatre at The Drake through May 15(photo Kory Aversa)

Private Chelsea Manning is a transgender woman serving a 35 year sentence at Leavenworth Prison for leaking classified military secrets to WikiLeaks in 2010 when she was then army tech specialist Bradley Manning serving in the Iraq War. In the eyes of the military, she is a condemned traitor, but for others who champion whistle blowers, including Sweden’s 2014 nominating Nobel Peace Prize Committee, she is a hero.

The Radicalisation of Bradley Manning, a bold 2013 play by Welsh playwright Tim Price is in its US premiere by Inis Nua Theater Company in Philadelphia. Inis director Tom Reing orchestrating a visually compelling production at the Drake Theater and directing a uniformly fine ensemble cast. Price’s visceral, sometimes surreal theatrical account of the key events leading up to Manning’s imprisonment, is more impressive as an incisive character study to investigate what made Manning a born rebel with a cause.

Price intriguingly depicts the psychological journey of Manning, without coming to any quick answers and this device proves powerfully eloquent with this cast, all playing multiple roles, including each portraying Manning at different times. The cast- Trevor Fayle, David Glover, Campbell O’Hare, David Pica, Isa St. Clair and Johnny Smith- each bringing out different aspects of Manning’s character. There is a lot of stage business and physical demands as the actors play soldiers, officers, lovers, family members and a formidable theatrical boot camp. David Glover, for instance, is a nail-hard drill sergeant and minutes later equally believable a scene later as Manning going through a humiliating interrogation.

It opens with Bradley being dressed and undressed, literally and figuratively, by his platoon mates while they hurl a torrent of accusations and slurs about Manning exposed the realities of atrocities and raw war footage; data that was data is cited by some as being a catalyst for anti-American sentiments in the Mideast.
The play bounces back and forth in time, jarringly at times, to the year Manning spent in a Welsh high school. Johnny Smith conveys so much of Manning’s inner turmoil in these scenes and Isa St. Clair is great as the outwardly sympathetic Welsh schoolteacher who nonetheless tries to force Manning to rat out other students for their classroom antics.

In his early 20s, Manning is now stateside trying to get into MIT, while working dead-end jobs. He begs his disdainful father to pay his tuition and his father orders him to join the army to get a free education. Manning signs up and is targeted as the weakest link in boot camp and is continually singled out for rough treatment as a perceived gay soldier under the military’s DADT policies. He even joins protests of Prop 8 in California where he meets a grad student and they fall in love.

Manning was targeted and harassed under the military’s draconian DADT policies, except when his expertise in the field was needed. He was forced to pretend his boyfriend in the states was a woman to his officers and comrades. Trevor Fayle and David Pica has instant chemistry in Price’s economic scenes that establish their relationship and how its emotional reality inspires Manning’s convictions.

But the pressures of military life and his delayed career plans continue to weigh on him. He starts rebelling in the military and protest being bullied by fellow soldiers and has a reputation for being difficult and acting out inappropriately, including charges of striking a female officer.

Expected to be dishonorably discharged, his programming skills are deemed too valuable as the wars in the Iraq spirals out of control. He works in intelligence gathering and has clearance in the repository of raw Intel, electronic and video of massive atrocities and questionable missions and cover-ups. Manning turns whistle-blower and releases thousands of pages of documents on the internet, is incarcerated, put on suicide watch and, in Price’s narrative, subject to psychological torture by the military.

Some of Price’s jarring narrative structure, especially the high school scenes border on redundant. Meanwhile, Reing’s physical theater elements, with fight direction by Glover, are consistently inventive. A droning scene of mental torture that keeps hitting the same blunt note is contrasted with an inspired breakout dance denouement to GaGa’s LGBTQ anthem Born This Way.
Gritty set designs by Meghan Jones in tandem with precision video projections (Janelle Kaufmann), sound (Zack McKenna) and lighting design (Shon Causer) all well orchestrated elements. The disturbing sights and sounds of war, admirably, more thought provoking than facilitating mere flashy effects.

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Michael Castillejos in Gentlemen Volunteers (photo Lindsay Browning)

Pig Iron Theater Company is renowned as one of Philly’s most innovative theatrical troupes. They are celebrating their 20th anniversary by restaging their production of Gentlemen Volunteers by Suli Holum who was also one of PITC ‘s founders. First staged by the company in 1998, its powerful antiwar message resonates more that ever. Set in 1916-17 as America was about to enter the WWI, it follows the lives of Red Cross nurses and soon to be US recruits on the front lines in France.

The play is deftly staged at in the rustic brick and iron foundry space at Christ Church Neighborhood House and co-directed by PITC founders Dan Rothenberg, Quinn Bauriedel and Dito van Reigersberg.
The audience is instructed to move around en la ‘promenade’ around these scenes, which leads to some audience scrambling, but this element, playing to the scene, jars the senses.

There is a captivating musical prologue as the audience files in the theater as Francoise de la Tour (Melissa Krodman) sings a rousing French cabaret song and if followed by Jean (Michael Castillejos) her accordionist who then sings the saucy Ragtime tune “Everybody’s doing it!”

The story starts on the Yale athletics field where a recruiter is looking for volunteers to assist in France in anticipation of the US entry into the war. Yalies Rich Conwell (Bryant Martin) dreams of learning how to drive a Model T, while Vincent Barrington (Scott Sheppard) a budding poet looking to chronicle his experiences in the service of a good cause.

They head ‘over there’ as drivers and assistants in a Red Cross field hospital near the front where Francoise is head nurse, who runs her unit with steely command. Her English cousin Mary Pinknell (Lauren Ashley Carter) has also just arrived to start as a nurse volunteer. She starts off on the wrong foot, but Francoise gets her up to speed without pause. Mary is attending her first patient, with Rich suddenly at her side, who then faints she attends to a wounded soldier’s wound. The chance meeting turns into something more, but not before Francoise walks in admonishes them “this is not a cabaret.” she barks. Later she tells her nurse corps (aka, the audience) “You are here working between life and death….and don’t you forget it.”

Lauren Ashley Carter & Bryant Martin (photo Lindsay Browning)

But Francoise forgets it and falls into a torrid affair with Vincent, after they get drunk in a bar. Now she doesn’t have time to keep an eye on Mary, who spends every off duty hour in bed with Rich.

The directors devise elements of physical theater, mime and ensemble acting to orchestrate Holum’s gritty, economic, sometimes whimsical dialogue, elegiac meditations about war.

Some of pantomime scenes – in the operating room or operating an ambulance crank-shaft on period vehicles are easy to decipher, but there is also more cryptic mime relating to the senses and emotional motives between the characters, who remain tentative under the stress and trauma of war.

The lover scenes are particularly well handled with tension and tenderness of the circumstances. Francoise and Vincent fall in love and their after hours affairs unravels la Tour’s guarded secrets. When they are separated Vincent writes her passionate letters, but she can’t bring herself to read them. Meanwhile Mary has surprising news for Rich, but he has joined up as a commissioned Doughboy off to fight in Italy. Everybody looses. Vincent articulates the pyrhic victories and vows to write about the realities of war.

In brief flashbacks, Castillejos is a dynamic Jean, revealed as Francoise’s husband, a casualty of war. He also is L’Homme d’ Orchestre, playing a Ravel nocturne on clarinet timpani for various precision battlefield effects. He also performs the original (award winning) sound designs by James Sugg. As in the days of radio they are performed manually with such items as paper, fabric, typewriter, eggbeater, enamel basin, surgical instruments, etc.

As Vincent, Scott Sheppard conveys warmth and humor and a sober drive of a writer witnessing fateful events. As Rich, Bryant Martin has the spunk of an All-American and deftly communicates his growing disillusionment observing the real cost of war. Lauren Ashley Carter is all heart and courage as Mary and has a hilarious mis-en-scene doubling as an snarky cockney war photographer. Melissa Krodman gives nothing less than a tour de force performance as the heroic and tragic Francoise de la Tour.

During the run, there are two scheduled benefit performances performed by the original 1998 cast which included Dito van Reigersberg and Quinn Bauriedel as Rich and Vincent, Cassie Friend as Mary, Emmanuelle Delpech as Francoise and James Sugg as Jean.

Gentlemen Volunteers runs through Dec. 27, 2015 with performances at Christ Church Neighborhood House, 20 N. American Street, Philadelphia.
http://www.pigiron.org

Stage

Clarke & Peakes as the plotting Macbeths

(ph:MarkGarvin)

Arden Theatre Company
Macbeth
directed by Alexander Burns

Of all of Shakespeare’s plays that spin on political corruption and murderous betrayals, “Macbeth” may be the adaptable to any number of historically craven regimes. The current production at the Arden Theater, directed by Alexander Burns, turns up volume on both the real and psychic costs of megalomaniacs in power.

For those not already lured by Shakespeare‘s language, the Arden production boasts visuals that could give the movies a run for their weekend box office. These elements will appeal to young audiences weaned on hi-def flash and graphic gore. Burns, artistic director of Quintessence Theater, effectively uses elements of physical theater to tell much of the story.

Macbeth’s potent atmospherics start right away as the Three Weird Sisters appear and vanish out of the foggy stony circular stage portending ill winds at court. Presently, fully armored soldiers do battle with the actors sometimes suspended in slo-mo or freeze frames. Burn and fight director Paul Dennhardt give the movement visceral full on choreographic ’attack.’

Meanwhile, Duncan, the King of Scotland, assembles his castle court as Macbeth, his general, and his wife plot to murder him in his sleep and seize the crown. Faster than you can say soliloquy Macbeth and Lady Macbeth set up their corrupt tyrannical regime, dispatching anyone else who gets in their way.

Being Shakespeare, ultimately, the play’s language is the thing and different approaches by various actors can lead to erratic focus and pacing on opening night. Ian Merrill Peakes’ Macbeth seemed tentatively lyrical in the front scenes as he and Banquo debrief coming off the battlefield. Peakes’ locks onto a more naturalized Shakespearean cadence as soon as Judith Lightfoot Clarke, a most alpha Lady Macbeth, enters the picture. Their chemistry together and particularly Clarke’s vocal prowess (and hypnotic physicality) take command.

Ben Dibble as Banquo, also initially seemed to be in his own zone with the lyrical dialogue, but soon enough dove deeper with clarity and chilling invention. As Macduff, the Scottish nobleman, Terence MacSweeny is a most passionate Scottish avenger, even if his accent is all over the place. Carl Clemons-Hopkins’ steely baritone as a most noble and imposing Ross. As Malcolm, Duncan’s son, Josh Carpenter is a quieter volcano, roiling with passion as he plots to reclaim national honor.

Taking full bardian vocal control from the outset is Christopher Patrick Mullen as King Duncan (reminiscent of post-mannered Gielgud) proves a chameleon in his other roles as the hilarious punch drunk castle porter who hallucinates that he gatekeeper to hell, then as Hectate, who operatically orders the sisters in their evil ways.

As the Weird Sisters, E.Ashley Izard, Aime Donna Kelly and Mary Toumanen make the most of their uber-cool dance as they rap the “double, double, boil and trouble/cauldron bubble” text. You wonder how editorial Burns intents when ominous specters are summoned by the witches spells, including, at one point, having a phalanx of figures in burqas floating over the stage.

Peakes’ forceful interpretation rules the second act as he unspools the dimensions of Macbeth‘s villainy. At their first court masquerade ball, Macbeth is haunted by his treacherous deeds and Peakes unlocks all of the dark chambers of Macbeth, the soliloquies masterfully delivered, most notably, ’Tomorrow and tomorrow’ as Lady Macbeth lies lifeless before him. Clarke is coldly mercurial until guilt drives her to madness. During the “Out, out damn spot” scene, Clarke delivers a performance of modern sensibility and classical depth. It is hard to take your eyes or ears off of her.

Rosemarie E. Mckelvey’s costume design kept giving with a mix of breastplates and molded leather armor contrasted with Lady Macbeth‘s drop-dead vermillion velvet gown and in the ball scene, metallic Venetian masques. Brian Sidney Bembridge minimal scenic design of the circular stage, metallic spires and minimal castle design around the vaulted medieval chandelier, work very well. There is a cinematic scope to the sound design by James Sugg, combined with Solomon Weisbard’s lighting, punched us into Shakespearean dimensions more than once. Burns could tighten the pacing of the play’s shorter exposition scenes, but without doubt this is an unblinkingly brutal Macbeth that reflect our time.

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Doubt at the Lantern TheaterBen Dibble & Mary Martello in Doubt (Photo by Plate 3 Photography)

Doubt : A Parable by John Patrick Shanley won the 2005 Tony award for best play, huge critical acclaim and deservedly the Pulitzer Prize for its economical, evocative dramatic power. Shanley directed his fine screen adaptation in 2008, starring Meryl Streep and Philip Seymour Hoffman, in which he was able to open the play up for the screen, hedge some bets by adding plot points, but retain its potent theatricality.

The plot is ostensibly about a possible case of sexual abuse by a parish priest with a 14-year-old black student at in St. Nicholas Church School where Sister Mary Aloysius Beauvier, the principle, wants to bring the progressive teaching methods of Father Flynn to a halt by any means necessary.

The playwright calls the play a ’parable‘ and sets in the Bronx circa 1964 as he examines the church as disconnected from the culture around them. The play‘s themes of abuse by priests in society reflected explosive headlines a decade ago of not only pedophile priest scandals, but the chain of command hierarchy of the Catholic Church that tolerated known abuse. Shanley challenges us to question our assumptions, prejudices and critical thinking vis-à-vis the explosive topic of sexual abuse by the clergy.

Lantern Theatre director Katherine MacMillan returns the play as a powerful, spare theater piece, but by now, its familiarity exposes the thinness of some scenes in the original script that were fleshed out a little more clearly on screen, but mostly Shanley‘s original concepts are fully realized. The Lantern Theatre’s current production is a strong interpretation of a great chamber theater piece for a quartet of actors.

Of course, the play is anchored on the veracity of the showdowns between Father Flynn and Sister Aloysius and Mary Martello and Ben Dibble deliver fine technical performances, and have formidable chemistry in the confrontational scenes, but it felt like they were still working out some of the more interpretive elements of the script.

Working actually better than the film is the relationship between Sister Aloysius and Sister Jane, played by Clare Mahoney, who doesn‘t come off as so willingly servile. They convey the guarded, but powerful emotions that roil under the surface of the physical language of their order. Mahoney subtly shifts and strengthens some of the focus of the play. It works.

After Sister Jane brings incriminating evidence against Flynn to the principal, everyone’s motives and value systems are brought into question. The student, Donald Muller, is the only African American in the school and he is dealing with racism and further being ostracized for being shy and what is mother realizes is “his nature.” But his mother wants desperately to keep him enrolled so he can matriculate to a better high school and have a chance at college.

Lisha McCay plays Mrs. Muller in the single pivotal scene when Aloysius and the boy’s mother have a conference that is brilliant crafted exposition with a lot of dramatic reach. McCay brings much to it, except that the scene, as played on opening night, seemed a bit rushed.

Building the intensity of the drama through austere visuals is Lance Kniskern’s fine set of a breakaway stone abbey, stairwell and warm dark wood principle’s office, without a paperclip out of place, keeps giving. Shon Causer’s lighting design gives the Lantern’s stage space airy dimension and definitely musing on every shadow of a doubt.

The Lantern Theater’s production of Doubt runs through Sun., Feb. 15.. Lantern Theater Company at St. Stephen’s Theater, 923 Ludlow St. 215.829.0395 | http://www.lanterntheater.org

Cabaret

Tina get the Ax! & put a beard on it!

The mighty MQ chorus singing their anthem ‘Don’t Fuck With Me Fellas’ (photos courtesy of Beardeds)

Yes, Mommie, they are all there onstage- Boozy, OCD Joan, victimized adopted daughter Christina, faithful idol worshiper Carol Anne, the lowly housemaid Helga and Barbara from Redbook navigating wire hangers, lethal shoulder pads, Kabuki make-up & Joan’s Medussa-eye glares.

Philly’s premier cabaret troupe the Bearded Ladies will unveil Andy: A Popera, about Andy Warhol and his fab Superstar world, a collaboration with Opera Philadelphia, in September. Meanwhile, the Bearded’s unleashed Mommie Queerest troupe fundraiser at the Wilma Theater. It is their unhinged spoof of Faye Dunaway’s incarnation as Joan Crawford from the 80s camp classic Mommie Dearest. If you missed it last week, you can catch it Feb 2.

What’s scarier than one Joan stalking the stage in come fuck me pumps and a bejeweled turban? Two Joans. John Jarboe plays Joan (except when Dito van Reigersberg does some scene pilfering). When Christina (Dito in blond pig-curls) and Joan (Jarboe) tuck up in black and white one piece suits for the famous swim scene, things go even more haywire. Dito even has to curtsie in spike heals, not easy for a 6 ft 3 chanteuse with muscular legs, but his Martha training kicks in big-time.

In the famous scene where Joan strangles Christina (“Barbara please, wait in the other room) Joan asks Christina why she can’t give her the respect that any stranger on the street would and Dito turns into hair-raising blues vamp. “Because I’m not one of your FANS!”

Musical director Heath Allen has also riffed other instant Bearded classics from famous MQ lines– ‘Don’t Fuck With Me Fellas’ is turned into a rousing gospel tune and ‘No Wire Hangers’ turn is a fierce art song by a transcendent Jarboe that is this side of Benjamin Britten. Meanwhile the beefed up 12 member MQ chorus is truly fab.

Mommie Queerest may have been a fundraiser but it was no walk through, but as usual Jarboe can’t resist playing hard and loose with his own script, moments of diva bickering and fueled for round two.

tickets, info & hangers http://www.beardedladiescabaret.com

Stage

The Globe Theater’s sterling King Lear

Stages around the world are observing Shakespeare’s 450th birthday and what better way to join in than to be able to catch a sterling production of one of his masterpieces by The Globe Theater, his original company. In Philly, The Globe Theater on tour brings all of the thunderous power, passion and theatrical glory to King Lear, kicking off the 2014-15 Annenberg Theater season.

King Lear is aging, weary and driven to erratic behavior. When Lear abdicates his throne and divides the kingdom among his three daughters, Goneril and Regan play to his vanity with false love. Once given power they completely turn on him. His youngest, Cordelia loves him unconditionally, but she does not deceive him with insincere affections, so he shuns her. He does not see the plots the older sisters are hatching, as he lavishes his affection on them and as they wage war on Cordelia. There is intrigue all around as loyalties divide and calamitous Shakespearean fates visit them all.

The acts are condensed, and six of the eight actors take multiple roles. Voice coach Martin McKellen orchestrates an array of British Isle dialects, deftly appropriated by these actors. Shakespeare’s meter pulses through no matter East Ender thick, Northern provinces lilting or Dover briny they get.

Joseph Marcell (of Fresh Prince of Bel-Air fame) has actually been an accomplished stage actor for 40 years. As Lear he has so much command from the start, his raspy voice thundering or whispering, full of lucidity and befuddlement, he calibrates dimensions of the part with lithe virtuosity, makes this one for the books. Meanwhile, Bethan Cullinane double tour de force as Cordelia, the defiantly true daughter, unfairly banished, reveals her lion heart in forgiving her father and shielding him from attack. She is equally fine as the mocking, most wise Fool at Lear’s side. .

Daniel Pirrie’s gives Edmond study swagger and wry villainous charm, manipulating everyone for his own gain. Alex Mugnaioni, impressively popping in and out of several roles just captivates as mad Tom, scrambling around the set, in near naked griminess. When he appears wretched and crazed in front of Lear, Marcell’s delivers every subtlety to one of Shakespeare’s most profound speech about the fragile and pathetic dicey state of man.

Later Mugnaioni is equally mesmerizing in the lyrical passages as he guides the betrayed, tortured Duke of Gloucester who goes to the edge of the rocky cliff poised to end it all. John Stahl plays Glouchester with seething intensity, but appropriating heightened period tragedy by not overdoing it. As scheming daughters Goneril and Regan, Gwendolyn Chatfield and Shanaya Rafaat give straightforward, if a bit underpowered, performances.

This portable production is conceived to travel anywhere and to be performed outdoors, so the house lights are kept on in the theater, harkening back to Elizabethan authenticity. The skeletal octagonal mini-Globe theater set, with mise-en-scene curtain & period sound effects is joyous, unfussy stagecraft. Jonathan Fensom’s WWI era costume design is an unfussy muted-color collection of theatrical garb that could have been pulled last minute from backstage trunks.

Director Bill Buckhurst’s busy stage business and character switching can make some plot details hazy, but his scene focus and pace is sharp throughout. Kevin McCurdy’s fight choreography could have had a little more refined attack, but that is nit-picking. As Shakespeare’s final cut of Lear instructs, there is to be music. The actors sing Alex Silverman’s troubadour tunes and play flute, horn, drum and palm and flap accordions.

King Lear run Sept. 24-27 at Annenberg Center for the Performing Arts
3680 Walnut Street, Philadelphia. Check http://www.annenbergcenter.org | 215.898.3900

Dance&TheaterMetros

(photoLW) Flash reviews- Looking for a last minute recommendation as the Fringe Festival winds down this weekend go for The Renegade Theater production of The Hunchback of Notre Dame | A Mute play. It embodies everything the Fringe is about, artistry, uniqueness and audience engagement. Renegade Artistic Director Michael Dirkin developed the piece over the past year and his inventive has troubadour esprit and luminous craft. The Presbyterian Church at 21st & Walnut couldn’t be a better stand in for Notre Dam & ’Sanctuary’ for Quasimodo to save himself and Esmerlda.

Hugo’s unrequited love story set in 15th century France is a j’accuse against a corrupt political and religious hubris. This troupe to make use all of the organ loft, the vaulted eaves & stonework providing a magnificent set for Hugo’s story about human cruelty. Mason Rosenthal is credited for ’movement’ and is pantomime, dance and narrative clarity at its best. Percussionist and soundtrack artist Adam Vidiksis floods the room with music and effects that. in fact, brings to mind some of the great composers of silent film. Costume designer Rebecca Kanach’s period designs ( knave vests, soldier doublets) not mention Esmerlda’s tarnished couture dance dress, just keeps giving.

Lee Minora radiating Esmerlda’s seductiveness and harsh life. Hug’s Quasimodo can go in the pantheon of great parts that holds a mirror up to an ugly society. And Dan Higbee‘s silent performance is luminous with dignity and power. In a riveting bit of choreography, after being lashed on the block, Quasimodo liberates is suffering by ringing his bells in pantomime Vidiksis’ sound design and these images engulfing the cathedral. Dirkin using the whole church, with a keen sense of scene focus and pace, crucial in a silent play. He also elicits wonderful performances from this true ensemble cast.

meanwhile~~
Garrett Matthew Photography

Later, on Spring Garden across town at the Latvian Society, there is a candle-lit maze that leads to dancer-choreographer Gunnar Montana’s Resurrection Room upstairs. Dancer Stephie-Lyneice, in just her bra and panties lands in a foreboding smoke filled in a chat room with her ‘operating system’ who is activating a futuristic virtual game of virtual survival. She is confronted by a cyborgy thing with a pink melty head with tubes sticking in and out…uggggllly. He is a threatening presence, but eventually become her protector after they engage in a rather rough and tumble dance macabre. Eventually his shirt comes off and his Gunnar sculpted torso is less hazardous. But it’s Beauty and the Beast meets Hellraiser, as other menacing creatures lurch with intent.

The pink melty headed drag geishas in 9-inch heels, who engage a runway stomp, fan and sash snap fight. There s a 9 ft. transformer dude in blade runner stilts and lots of breastplate hardware that Montana does battle with. Later, Gunnar slinks out of the smoke a rockass satyr wearing nothing but a half-pink beard, and a dancebelt with day-glo hairs sticking out & proceeds to attack with pink ooze. Kevin D. Washington also just in a dancebelt, has a scary pink Medusa mane that he can lash around doing mile-high kicks and ninja splits. Montana makes this glamour and gamely fetishista with a lot of props and effects, definitely a raucous cine-crowdpleaser. For dance fans, Resurrection Room is lighter on Montana’s dynamic choreography, but what there is, does hypnotize. A little more dance and movement content to overpower the hardware visuals and it will go to the next level.