Stage Takes

It has been at least a few weeks since I have went to go show. I have been thinking about posting my old reviews from the Hollywood Fringe Festival and interviewing a few artists. But in thinking more about reviews, why do we do them? Do we do them to advertise/warn the audience what to watch? I want people to be able to pick what interests them, I don’t want to be their conscience.

One will say, “I am thinking of seeing this show,” and another will say, “It has terrible reviews.” Reviews according to who? No one opinion can be considered objective, I believe. Yet, there are standards to art. But where do those standards come from? Pure creativity should not be judged. But is a theater piece pure creativity? It is, in most cases, a collaboration. Sure, a director has a vision — but does that vision change once an actor brings in their own (creative) preparation, or a set designer brings in their own creation?

Reviewing, then, is creativity in itself. It adds to the original vision by its own interpretation. That is to say the reviewer themselves come from a creative standpoint and not an institutional knowledge of good/bad. Does the reviewer feel? Is the reviewer able to be moved by the dramatic action of the story? I sure hope so. There are times were I have watched shows with my mind — the little calculations of each choice. I strive to move forward in watching shows with my heart, and not my mind.

This play has been making the rounds of advertisements on my algorithms so I went to check it out. Introduced as a satire, the production follows a new relationship added to a polyamorous household, the Polycule. The action of the play takes place in a well-stage-designed living room. The play had funny moments and was an interesting take on polyamory.

In the beginning of the play I thought it was too formal, characters were describing the rules of their relationships like a textbook. It was an interesting choice to write the play in verse. It took me a few minutes to catch on that every line was written in rhyming couplets, but once it made sense then it felt obvious and dragged a bit. In a world were characters speak with this dialect, the approach needs to be both like a Neil Simon play, acting-wise, but text-wise like a Shakespearean play. There were a few performers that were standouts, and the mix of cartoonish characters with more subtle characters made for a fun experience. Mace did a great job with the awkward chemistry and Silas had deadpan humor to a tea.

It’s a good show, and it’s free. Tonight at 7 PM is closing night at Loft Ensemble, check it out! RSVP at LoftEnsemble.org.

I have known Travyz since college and have observed his work on this project for over a decade, happy to see it come to fruition.

On September 24, 2024 at Loft Ensemble Travyz put up a collection of one acts written by him and a few of his peers; it was a great, fun night of artistic exhibition. Travyz opened the night with an introduction, stating that he instructed these writers to go inside his mind and these are the resulting pieces, and performed a few raps from his project. The Gatzbyverse, it seems, is a collection of plays, film, comic strips – maybe I will interview Travyz for more information.

The shows included I Love My Bitch by Molly Sharpe, Blather by Riley Smith, Subtext by by Liza Dealey-Thomason, and Travyz’s Roscoe’s Wetsuit. The show included performances that stretched the audience’s expectations and each actor/character did their job in evoking something out of us.

I thought the Jack Sharpe and Molly Sharpe were both excellent in her play, took big risks that landed with laughs and thought-provoking ideas. Mandy Rubeli commanded the stage with a ten-plus minute monologue, did a great job in making an annoying character enjoyable to watch. Liza’s writing had double meanings, and had the audience taking sides with characters. Roscoe’s Wetsuit got many laughs, a nice closing to the show; it had well-developed characters and funny moments.

I can’t wait to see what the next part of the Gatzbyverse will bring.

I have known Ryan for a number of years and I’m pleased to say that he has grown tremendously as an artist.

A show I have seen recently, and which is still running is Red Light Winter by Adam Rapp, starring Ryan Lisman, Trenton Lee Culkin, and Natalie Valentine — and let me just say I was mesmerized at the flow of the production and the chemistry between the actors. I will do my best to talk about the production in general without giving away plot, because as always, the less you know the better.

I commend Ryan for carrying the show with a range of emotion, staying fully present in the most intimate parts of the show. The director Billy Ray Brewton facilitated for a natural connection between the cast, and the minimal set does wonders to keep our eyes on the interactions. Trenton crafted a character that brings humor to the show and forms the dynamic between characters. Natalie is excellent as well, surprises at many moments.

Highly recommend this show! You don’t want to miss it. It will run for one more weekend at The Broadwater, Black Box (9/27 to 9/29, 7:30 PM and Sunday at 2:30) and then play for two weekends at The Zephyr Theater, October 3-6 and 10-13, Thursday through Saturday at 7:30 PM, and Sunday at 2:30 PM.

Content warning: sexual situations, nudity, suicide.

I met Maddie at fringe Central, recently, and liked how she promoted her show.

This is Fringe! Yes! Exactly the kind of shows I want to see: Personal, experimental. She had multiple forms: comedy, monologues, singing, movement, music. I had no idea what I was gonna see going in. It kind of felt like karaoke at first, but the storyline was strong. I still wonder if it was all a metaphor.

One thing I have to say is that, in the beginning, the music felt too loud. Yes, she has some pre-recorded vocals, but her voice is just as great live. There was a projection, a lot of imagery in her speech. She commanded the stage and connected with the audience. Made us laugh and cry subject matter was raw, personal, unhinged.