#1
Posted: 8/15/05 at 9:29am
I'm seeing about 14-15 shows in the Fringe Festival this year and I've decided that rather than creating a separate thread for each show, that I would simply create one thread that I can update as I see new shows in the next two weeks.
THE MAYOR WHO WOULD BE SONDHEIM by John Doble (8/13/05)
I must admit what initially attracted me to this piece was its title. Trying to decide which of 180 Fringe Festival offerings to see can be a rather daunting task. You look at shows somehow associated with performers, writers or companies that have a track record for good work in the past. If a show doesn't have that, then sometimes what sticks out are the titles, which is problematic. Sometimes all certain shows have is a good title and nothing else. Thankfully, THE MAYOR WHO WOULD BE SONDHEIM has much more going for it than that.
It is a politcally-themed comedy/drama (NOT a musical, lest anyone be fooled by the title) about the mayor of the fictional midsized (100,000 people) New Jersey town of Northeast Orange, who has a love for musical theatre (he has a photo of Sondheim on his desk) and a propensity to break out into show tunes, crafting his own lyrics to suit the situation. At one point he urges his small staff to join along with him as defacto backup singers, for a Music Man take off involving a garbage strike.
It's a quirky and whimsical concept (sort of reminiscent of "Spin City" or some other politically themed tv show) that wears a bit thin during the slightly overlong first Act. Playwright John Doble does craft an interesting metaphor about the difference between poets and lyricists, stating that poets have a blank page to deal with, while lyricists have to work within the structure and framework they are given -- something true of politicians as well. It's a valid observation, but it doesn't save the first act from being a bit too exposition heavy.
Things improve vastly in Act II (which seems almost like a different play). The show tunes disappear (for the most part) and whimsy gives way to serious social drama when an inicident of police brutality occurs reminiscent of Amadou Diallo, Patrick Dourismand, Albert Louima, and Rodney King. It's an election year and the mayor's viability for re-election will hinge entirely on how he handles this racially charged episode. At this point he and his diverse staff (a black woman who is a trusted assistant, an old school white, possibly racist campaign manager, and his new, bright, liberal, George Stephanopolous-esque advisor) hash over the many ethical and moral and practical political issues at play in the situation. What's right and wrong? What's the bigger picture? What are the compromises that a politician must sometimes make in the real world in order to do the best for everyone in the long run?
It's a sparkling debate and very dramtaically compelling to witness. The cast and direction are solid throughout. In its latter half, SONDHEIM made for quite a worthwhile, well-considered, intelligent offering from the Fringe and I was glad to have seen it.
SILENT CONCERTO (8/13/05)
What a surprise. I went only because a friend of a friend was in the cast, and I have to say that this was one of the better plays and productions that I've seen so far this year.
The plot revolves around a triangle of friends/lovers -- two male, one female -- over the course of ten years. Naldo (Ivan Quintanilla) is a dreamy, romantic aspiring writer, trying to finish -- start actually -- a play about his relationship with the other two. Mallory (Susan Louise O'Connor) is a high strung, high maintenance, acting student with dreams of playing her list of the ten great roles (Nina, Hedda, Miss Julie, Cleopatra, Ophelia etc ..) by age 30, but her self-absorption (and possible lack of talent) may undermine that dream. Benny (Greg Marcel) is the epitome of superficial beauty -- perfect face, perfect hair, perfect shoes -- that draws people to him, but he pushes them away, fearing they'll discover the emptiness inside, the pain of which he masks with alcohol.
The playwright Alejandro Morales has crafted a deftly poetic, daringly structured (his use of repetition and motif-like themes is expert), emotionally evocative work that that nakedly displays and dissects the underlying desires of these characters who all have walls up on one level or another against everyone -- including those they most care about; inluding themselves. He quite perceptively explores the ever-shifting and changing nature of friendships and interpersonal relationships, what it means to fall in and out of love, and what happens to people when their dreams don't come true. I don't doubt that many in the audience will find a certain resonance in the with themselves (at 20 or so) with these characters.
I hasten to mention that SILENT CONCERTO isn't some mournful, humorless exercise in longing and regret. It's hystericaly funny at times and Scott Ebersold's direction keeps the piece moving with a vibrancy and crackling energy that never flags throughout. He's ably abetted by his gifted cast.
Ivan Quintanilla effectively and touchingly embodies the spirit of the sensitive, pensive writer struggling to find his voice and be able to fully connect with these two dysfunctional people he cares about. Gregory Marcel adroitly presents the portrait of the stunningly beautiful object of desire of both who completely loses himself when he's forced to stop gazing upon his own reflection in the mirror and look within. Most impressive is Susan Louise O'Connor who has the kind of dynamism, fearlessness, specificity and effortless comedic timing that is the mark of a great actress.
SILENT CONCERTO is a extremely clever, well-crafted, well-performed rather haunting work that stays with you long after the final fade. Playwright Alejandro Morales is clearly an accomplished talent. I look forward to his next work.
THE MAYOR WHO WOULD BE SONDHEIM by John Doble (8/13/05)
I must admit what initially attracted me to this piece was its title. Trying to decide which of 180 Fringe Festival offerings to see can be a rather daunting task. You look at shows somehow associated with performers, writers or companies that have a track record for good work in the past. If a show doesn't have that, then sometimes what sticks out are the titles, which is problematic. Sometimes all certain shows have is a good title and nothing else. Thankfully, THE MAYOR WHO WOULD BE SONDHEIM has much more going for it than that.
It is a politcally-themed comedy/drama (NOT a musical, lest anyone be fooled by the title) about the mayor of the fictional midsized (100,000 people) New Jersey town of Northeast Orange, who has a love for musical theatre (he has a photo of Sondheim on his desk) and a propensity to break out into show tunes, crafting his own lyrics to suit the situation. At one point he urges his small staff to join along with him as defacto backup singers, for a Music Man take off involving a garbage strike.
It's a quirky and whimsical concept (sort of reminiscent of "Spin City" or some other politically themed tv show) that wears a bit thin during the slightly overlong first Act. Playwright John Doble does craft an interesting metaphor about the difference between poets and lyricists, stating that poets have a blank page to deal with, while lyricists have to work within the structure and framework they are given -- something true of politicians as well. It's a valid observation, but it doesn't save the first act from being a bit too exposition heavy.
Things improve vastly in Act II (which seems almost like a different play). The show tunes disappear (for the most part) and whimsy gives way to serious social drama when an inicident of police brutality occurs reminiscent of Amadou Diallo, Patrick Dourismand, Albert Louima, and Rodney King. It's an election year and the mayor's viability for re-election will hinge entirely on how he handles this racially charged episode. At this point he and his diverse staff (a black woman who is a trusted assistant, an old school white, possibly racist campaign manager, and his new, bright, liberal, George Stephanopolous-esque advisor) hash over the many ethical and moral and practical political issues at play in the situation. What's right and wrong? What's the bigger picture? What are the compromises that a politician must sometimes make in the real world in order to do the best for everyone in the long run?
It's a sparkling debate and very dramtaically compelling to witness. The cast and direction are solid throughout. In its latter half, SONDHEIM made for quite a worthwhile, well-considered, intelligent offering from the Fringe and I was glad to have seen it.
SILENT CONCERTO (8/13/05)
What a surprise. I went only because a friend of a friend was in the cast, and I have to say that this was one of the better plays and productions that I've seen so far this year.
The plot revolves around a triangle of friends/lovers -- two male, one female -- over the course of ten years. Naldo (Ivan Quintanilla) is a dreamy, romantic aspiring writer, trying to finish -- start actually -- a play about his relationship with the other two. Mallory (Susan Louise O'Connor) is a high strung, high maintenance, acting student with dreams of playing her list of the ten great roles (Nina, Hedda, Miss Julie, Cleopatra, Ophelia etc ..) by age 30, but her self-absorption (and possible lack of talent) may undermine that dream. Benny (Greg Marcel) is the epitome of superficial beauty -- perfect face, perfect hair, perfect shoes -- that draws people to him, but he pushes them away, fearing they'll discover the emptiness inside, the pain of which he masks with alcohol.
The playwright Alejandro Morales has crafted a deftly poetic, daringly structured (his use of repetition and motif-like themes is expert), emotionally evocative work that that nakedly displays and dissects the underlying desires of these characters who all have walls up on one level or another against everyone -- including those they most care about; inluding themselves. He quite perceptively explores the ever-shifting and changing nature of friendships and interpersonal relationships, what it means to fall in and out of love, and what happens to people when their dreams don't come true. I don't doubt that many in the audience will find a certain resonance in the with themselves (at 20 or so) with these characters.
I hasten to mention that SILENT CONCERTO isn't some mournful, humorless exercise in longing and regret. It's hystericaly funny at times and Scott Ebersold's direction keeps the piece moving with a vibrancy and crackling energy that never flags throughout. He's ably abetted by his gifted cast.
Ivan Quintanilla effectively and touchingly embodies the spirit of the sensitive, pensive writer struggling to find his voice and be able to fully connect with these two dysfunctional people he cares about. Gregory Marcel adroitly presents the portrait of the stunningly beautiful object of desire of both who completely loses himself when he's forced to stop gazing upon his own reflection in the mirror and look within. Most impressive is Susan Louise O'Connor who has the kind of dynamism, fearlessness, specificity and effortless comedic timing that is the mark of a great actress.
SILENT CONCERTO is a extremely clever, well-crafted, well-performed rather haunting work that stays with you long after the final fade. Playwright Alejandro Morales is clearly an accomplished talent. I look forward to his next work.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Updated On: 8/15/05 at 09:29 AM
.jpg?format=auto&width=365)
