#1
Posted: 6/4/09 at 2:36pm
Just back from seeing the first 5 shows of the new season at Shaw Festival in Niagara-on-the-Lake. Full reviews will be posted soon but to give you all an idea of what's happening in N-O-T-L here is a brief overview:
BORN YESTERDAY (* * * * *) - a first rate production of Garson Kanin's 1946 comedy. The set alone is worth the price of admission. Deborah Hay is a delight as Billie Dawn and she is given terrific support by Thom Marriott as Harry Brock and Gray Powell as Paul Verrall. Get tickets fast because the show is quickly selling out.
SUNDAY IN THE PARK WITH GEORGE (* * * *) - This is exceptionally well sung and played (the orchestra uses the original Broadway orchestrations for 11 players.) Steven Sutcliffe is a somewhat low key Seurat while Julie Martell occasionally misses some of the subtle complexities of Dot's character, but the show still packs an emotional punch. Alisa Palmer's direction doesn't always delve as deep as it should, and too often tries to copy the original, although to be fair it's a good master plan to follow.
TONIGHT AT 8:30 BRIEF ENCOUNTERS (* * *) - Three one-act plays by Noel Coward. The set is the star of STILL LIFE (the basis for the 1946 film BRIEF ENCOUNTER) depicting a busy train station. WE WERE DANCING has a great first part, but starts to pall after the break. HANDS ACROSS THE SEA is the best of the three, a madcap cocktail party. This show is another showcase for Deborah Hay who shines in all three plays.
A MOON FOR THE MISBEGOTTEN (* *) This one gets more wrong than right. O'Neill's play needs a Chekovian sadness and director Joseph Ziegler fails to explore the rumblings beneath teh surface. It's also miscast: Jenny Young doesn't have the imposing size nor the acting chops to make Josie a compelling character, and David Jansen misses James' complexity. Only Jim Mezon seems to understand the role he has been given. The play itself is a tough one to pull off, but this production only works in fits and starts.
IN GOOD KING CHARLES'S GOLDEN DAYS (* ) The only Shaw play in this first group of openings, and it is sadly a dud. It's one of his last plays and by this point ideas had replaced plot, character and action. The ideas being discussed are not without interest but the play never really goes anywhere. A good cast - the final act is particularly well played - but you'll see right away why this is one of GBS's most infrequently staged pieces.
Still to open this summer: THE DEVIL'S DISCIPLE. ALBERTINE IN FIVE TIMES, THE ENTERTAINER and the remaining programs in the TONIGHT AT 8:30 collection of one-act plays by Noel Coward: PLAY ORCHESTRA PLAY (featuring the plays RED PEPPERS, FUMED OAK, and SHADOW PLAY); WAYS OF TEH HEART (featuring THE ASTONISHED HEART, FAMILY ALBUM and WAYS AND MEANS) and the lunchtime presentation of Coward's rarely seen STAR CHAMBER.
BORN YESTERDAY (* * * * *) - a first rate production of Garson Kanin's 1946 comedy. The set alone is worth the price of admission. Deborah Hay is a delight as Billie Dawn and she is given terrific support by Thom Marriott as Harry Brock and Gray Powell as Paul Verrall. Get tickets fast because the show is quickly selling out.
SUNDAY IN THE PARK WITH GEORGE (* * * *) - This is exceptionally well sung and played (the orchestra uses the original Broadway orchestrations for 11 players.) Steven Sutcliffe is a somewhat low key Seurat while Julie Martell occasionally misses some of the subtle complexities of Dot's character, but the show still packs an emotional punch. Alisa Palmer's direction doesn't always delve as deep as it should, and too often tries to copy the original, although to be fair it's a good master plan to follow.
TONIGHT AT 8:30 BRIEF ENCOUNTERS (* * *) - Three one-act plays by Noel Coward. The set is the star of STILL LIFE (the basis for the 1946 film BRIEF ENCOUNTER) depicting a busy train station. WE WERE DANCING has a great first part, but starts to pall after the break. HANDS ACROSS THE SEA is the best of the three, a madcap cocktail party. This show is another showcase for Deborah Hay who shines in all three plays.
A MOON FOR THE MISBEGOTTEN (* *) This one gets more wrong than right. O'Neill's play needs a Chekovian sadness and director Joseph Ziegler fails to explore the rumblings beneath teh surface. It's also miscast: Jenny Young doesn't have the imposing size nor the acting chops to make Josie a compelling character, and David Jansen misses James' complexity. Only Jim Mezon seems to understand the role he has been given. The play itself is a tough one to pull off, but this production only works in fits and starts.
IN GOOD KING CHARLES'S GOLDEN DAYS (* ) The only Shaw play in this first group of openings, and it is sadly a dud. It's one of his last plays and by this point ideas had replaced plot, character and action. The ideas being discussed are not without interest but the play never really goes anywhere. A good cast - the final act is particularly well played - but you'll see right away why this is one of GBS's most infrequently staged pieces.
Still to open this summer: THE DEVIL'S DISCIPLE. ALBERTINE IN FIVE TIMES, THE ENTERTAINER and the remaining programs in the TONIGHT AT 8:30 collection of one-act plays by Noel Coward: PLAY ORCHESTRA PLAY (featuring the plays RED PEPPERS, FUMED OAK, and SHADOW PLAY); WAYS OF TEH HEART (featuring THE ASTONISHED HEART, FAMILY ALBUM and WAYS AND MEANS) and the lunchtime presentation of Coward's rarely seen STAR CHAMBER.
Cast albums are NOT "soundtracks."
Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
Updated On: 6/4/09 at 02:36 PM
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