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As though Cagle can compete with Sinatra's voice, so embedded into the pop culture. They've also added Prima's mother Erin Matthews and other people who populated the lives of the pair. The result is just a little heartbreaking: The essence of what made it so rare at Sacred Fools has been re-vamped and muddied into a comparatively generic bio musical, like Stormy Weather about Lena Horne or Ella about Ella Fitzgerald. The good news is the terrific musicianship, the musical direction originally by Dennis Kaye and now shared by Broder and Paul Litteral, remains as sharp as ever, as are the title performances.
Broder's lunatic edge and Bobby Darin singing style has huge appeal, while Vanessa Claire Smith has grown ever more comfortable in the guise and vocal stylings of Keely Smith. It was the music that originally sold this show, and should continue to do so. With luck, perhaps Broder and Smith haven't thrown out their original script. And staying with a production for so long is one possible explanation for the dynamic and richly textured performances by Stephanie Beatriz in the title role - a feisty teenage maid hired from Mexico by a dubiously assimilated Latino-American family in mid s El Paso. Her mirror image is the teenage daughter, Ceci Onahoua Rodriguez, equally enhrallingof a bitter short order cook, Claudio Daniel Zacapa, in a perfectly modulated interpretation of brutal machismo and sensitive stoicism and his vivacious wife, Rosa Catalina Maynard.
Ceci suffers brain damage from an auto accident that left her writhing and twitching, speaking with what one character calls a "vegetable tongue. At first, juxtaposed against the gentle strains of a guitar and the family's daily rituals, the effect has a transcendent beauty, but eventually this etherial device simply imposes on the play's more rudimentary aspect: This is a hefty play that's ultimately, without any intended irony, the kind of tele-novella with some dream sequences that the characters watch in their living room.
Reaching for epic, it's mostly long - the difference being in the quality of the secrets unearthed. A Noise Within, S. Conor McPherson's Irish yarn is chip off the stock-block of Celtic-folklore - story-telling, bullshitting, scatological jokes, card playing and a visit by somebody from the metaphysical realm, which raises the not-trivial question: Thanks to a quintet of sharp-as-they-come performances, under Randall Arney's carefully calibrated production, the event holds up. McPherson's drama isn't as menacing as in New York; Arney gives it a lighter touch, which reveals some of its holes but also skirts around both melodrama and glibness.
This is starkly moral universe, filled with causes and consequences, where somebody named Mr.
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Lockhart Tom Irwin, in a spit-and-polished suit arrives to collect an old debt at the North Dublin home-tavern sec Sharky Andrew Connolly and his disabled brother, Richard John Mahoney - who blinded himself while scavenging in a trash canister. The drama slowly pivots on a poker game with life and death stakes as the men, including denizens Ivan Paul Vincent O'Connor ni Nickly Giblin Matt Roth - who's the new husband of Sharky's ex-wife - try to bluff their way through the night, which is really the larger allegory for existence. Arney's gentle production can't mask or provide irony for the sentimental resolution, but the strength of his interpretation derives from the silent, brooding power of Connolly's victimized Sharky, and the perverse indulgences of Sharky's blind brother, played by Mahoney with a gleeful grittiness that renders him a weird blend of whining matron and the power-broker of the house.
The marvelous, tawdry details of Takeshi Kata's set have little congruence with the actors' perfect teeth - one tiny reminder of how difficult it is to leave Hollywood on our stages, despite theater's magic. Schedule varies, call for info. He, along with the bride and groom's friends and their dates, make up the group waiting for the happy couple to arrive in this collaboratively developed play.
Each of the somethings has his or her own neurosis, and most center on some aspect of love the title of the piece if you tilt your left ear downwards to look at it. Unfortunately, due to the lack of through-line and character depth, the play ends up as episodes, as though from a teen reality show. Director Jenny Byrd employs creative blocking and gets a good effort from the cast, but even their best can't compensate for the dearth of substance in the text. The extensive use of digital projection and multimedia is interesting at times, but somewhat ham-fisted in the attempts to mimic the "ADD lifestyle" of the millennial generation.
One exception is a projection of the L. Aside from that great view, most of the event had me wondering WTF? Acme Comedy Theatre, N. Claire Madison Flock is a gangly teenager with an oddly charming demeanor ; she's been confined to a mental institution because she is a "cutter. At this juncture, the story starts to take off but never quite leaves the ground. The pair head north to Canada, stop to eat, stop to sleep, get stopped by a gendarme, camp out in the woods, see the sights, and eventually wind up at a church where something spiritual occurs - a heavenly grace that feels more like a convenience for the playwright than a convincing transformation.
That Yeaton fails to tell much of a story here is just part of the problem. Despite his neatly written script, he hardly scratches the surface of Claire's pathology one that is shared by many young girlsand leaves too many questions lingering. Teenager Flock turns in a fine performance under Sam Roberts' direction. Theatre 68, Sunset Blvd. After their move into a home an artfully designed set piece by J. Luckenbach formerly occupied by a Japanese family that was forced to relocate to a camp, all seems well. Mama Jane CeCe Antoinette is the sharp-tongued, devout matriarch who loves to garden and has vivid memories of life as a slave.
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Her son Felix Larry Powellis young and angry, and has hopes of Fines a musician, while his brother Jodie Dwain A. Perryis a simple working man with a devoted wife Adenrele Ojo and teen daughter Locao Afia. But the Goodwin's soon discover that they have a "guest," when Henry fine turn by Jeff Manabat tumbles into their midst, forming a bond with his new family, but also forcing Jodie to make a troubling, fateful decision that impacts the lives of everybody. Director Ben Guillory does a fine job directing this provocative piece. Woolfolk and Toyama's script is well written and subtly explores philosophical and moral issues that are as relevant today as they were then.
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