29. January 2011 by admin.

I HAD A DREAM…

F. J. Hartland

High school student Marcus Eshu is troubled by three things: his father died when he was a small boy, he is haunted by a recurring dream and he is “sweet” (slang for gay).

This is the basis for the current production of Marcus; Or the Secret of Sweet by Tarrell Alvin McCraney at City Theatre.

First may I say…what a terrible title.

The second thing that bothered me was the constant narration by the character.  For example, when a character would enter, she would say “Oba enters.”  What?  I can’t see that she has entered?  Granted, occasionally it was good for a chuckle—but it got tiresome…quickly.

Overall, the cast of Marcus… is riveting. 

Larry Powell is freah and sweet and charming as Marcus. 

Bria Walker are sassy and fun as Marcus’ two gal-pals Osha and Shaunta lyun.  Maurice McRae has some interesting moments in the role of Ogun Size.

But it is Starla Benford and Jaime Lincoln Smith who steal the show.  Both of these fine actors play dual roles, and (if you’re as impressed as I), you’ll be checking and re-checking your program to see if it really is the same actor.  Benford and Smith each play three separate characters—each one so distinct, you will be amazed.

Director Robert O’Hara keeps the play moving at a good pace. 

He is greatly added by Tony Ferrieri’s set.   Real rain falls on an interlocking maze of weathered wooden “docks” which bridge a real pool of water.  (Mr. Smith has the dubious honor of taking several plunges into the water).

Andrew Ostrowski’s lighting seem to be having technical difficulties on opening night as lights would pop on and off without any real purpose.

Fight choreography by Catherine Moore was so amateur that it bordered on embarrassing.

The style of this very presentational play seemed very unbalanced.  What kind of play is Marcus…?  Don’t ask me.  I haven’t a clue.  And about 75 minutes into it, I didn’t really care what Marcus’s dream was all about.

I am sure I was in the minority as the Friday night audience seemed to be thoroughly engaged.  Other than the powerful performances and Mr. Ferrieri’s set, I was not so entertained.

Marcus; Or the Story of Sweet continues through February 13. 

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9. January 2011 by admin.

F. J. Hartland

When Greek philosopher Aristotle wrote about the six elements of theatre, he listed spectacle as the least important.

The current tour of Mary Poppins could serve as a good example of why Aristotle knew what he was talking about.

Don’t get me wrong…all the special effects in Mary Poppins are, well, spectacular.  The set is stunning and moves flawlessly.  The lighting is superb.  The dancing is breath-taking.  The costumes are colorful.  Magical effects abound.  And Mary Poppins flies…several times.

It is a beautiful show to watch…so why was I so bored?

Many of the characters are flat…whatever conflict exists is contrived—and you know it’s going to be easily solved.  Quite frankly, there just isn’t enough of a story here to justify a running time of two hours and forty-five minutes.

Most of the material from the original film still works; much of the new material does not.  In particular the production number “Playing the Game” adds nothing to the show but time.

(And for those fans of the movie song “I Love to Laugh,” you’re out of luck.  It’s gone.  And why?  It suits itself ideally to this spectacle-driven production.  And what about Admiral Boom’s cannon?  This adaptation portrays him as a lecherous old man).

An addition that does work is the reappearance of Mr. Banks’ former nanny Miss Andrews (a jab at Julie Andrews, star of the film?)  Ellen Harvey is funny and scary all at the same time! 

Blythe Wilson makes a lovely and charming Mrs. Banks.  Rachel Izen adds much humor as the housekeeper Mrs. Brill.  And Mary VanArsdel is touching as the Bird Woman.

Caroline Sheen looks the part of Mary Poppins but comes across somewhat dull.  (In her defense, the character is somewhat flat).  And Nicolas Dromard’s Bert lacked the charisma and charm the role requires.

A huge hats off to the hard-working ensemble.  Not only do they make their way through countless costume changes, they perform Michael Bourne’s choreography beautifully. (And bless them for having the energy to do it twice a day when there’s a matinee!)

Bob Crowley’s Tony-winning set is marvelous…alternating between colorful backdrops and black-and-white drawings.  Ditto on his detailed costumes.  Howard Harrison’s lighting nearly steals the show. 

If you like your musicals long on flash and short on substance, than Mary Poppins is the show for you! 

Mary Poppins continues through  January 23 at the Benedum Center. 

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