Traverse City Theatre Scene
Interviews - Reviews - Entertainment News
Sherlock Holmes: The Final Adventure
Based on the original 1899 play by William Gillette and Sir Arthur Conan Doyle
Adapted by Steven Dietz
Review by Wayne Erreca (2-12-10)
Whenever the topic of mystery or intrigue is mentioned, one historical literary figure who commonly comes to mind is, Sir Arthur Conan Doyle's brilliant creation, Sherlock Holmes. Doyle's four novels and fifty-six short stories of this unequivocal mastermind of observation and deductive prowess, provided and inspired American actor and playwright William Gillette with the necessary materials to join forces with Holmes's creator, penning his own interpretation for the stage, Sherlock Holmes - A drama in Four Acts. Once opening at the Garrick Theater on Broadway on November 6, 1899, it successfully ran until June 16, 1900, to rave reviews. Although, deemed a success, over the following thirty years, the play was accredited by critics mostly for its acting and special effects, more so, than for its quality as a play.
Gillette mostly combined and drew from two of Doyle's works, A Scandal in Bohemia (1891) and The Adventures of the Final Problem (1893). Playwright Steven Dietz was commissioned by the Arizona Theatre Company in 2005 to create his own rendering of this Master Sleuth who occupies a flat at 221B Baker Street. Dietz's handiwork prevailed and was honored with the Edgar Allan Poe Award for Best Mystery Play in 2007.
An interesting note of theatrical trivia is when Gillette was awakened at around 3:00 a.m. at the Palace Hotel by his personal secretary, William Postance, being informed that the Baldwin Theatre was ablaze, housing his newly finished script, Sherlock Holmes - A drama in Four Acts, along with Doyle's own adaptation. Gillette asked, "Is this hotel on fire" Postance responded, "No." With that, Gillette replied, "Well, come and tell me about it in the morning." The following day revealed both works were lost in the fire as well. Within a month, Gillette, rewrote his entire play.
Sherlock Holmes, played by Phil Callighan, is meticulously performed, and without doubt, Mr. Callighan was born to walk in the shoes of Mr. Holmes. His posture, dialect, inquisitive eyes, and all-knowing gestures reveals an actor completely submerged within his role. Joe Kilpatrick as Doctor Watson, displays passion and warmth of heart, only a devote friend offers. His articulate narration throughout the production helps to gravitate the audience in the proper direction of Holmes's every plight. Together, Callighan and Kilpatrick, playfully parlay, and are an absolute delight to watch. Chris Cooke, portrays the troubled King of Bohemia, and was more excessive in his approach than the quaint settings require. Also, a more tempered vein of comedy, with a greater show of heartfelt indulgence to his plight would have balanced more need fully in scenes with, Holmes and Doctor Watson. Irene Adler, the Great Opera star, played by Jill Beauchamp, unfortunately, was underplayed, making one question why three lovelorn men, Holmes, the King of Bohemia, and Moriarty would allow their hearts to become so entangled by her. Her charisma and sensual exuding qualities adhering in most stars should have been elevated in her performance. The diabolical Moriarty performed by Lee Rockwell has a captivating appearance (thanks to Kathy Verstraete's design), although his portrayal is only one dimensional and quickly loses any threatening characteristics that makes one believe Moriarty's one of history's truly great villains. Michael DeAgro as James Larrabee provides a very promising performance. His evenly-balanced energy and focused determination helps to escalate every scene he appears. With taking more attention to his diction though, his role would be superb. I look forward to seeing him on stage again . As Madge Larrabee, Stephanie Young is completely believable and provides a remarkable enthusiasm often not seen by actors performing a cameo role. Jordan Michaels as the young cockney Sid Prince, is refreshingly bright and spontaneous, and gives his all. Definitely, any future productions will welcome his presence. Known by many, Hedges Macdonald handsomely supports as Ensemble (Priest and Bobby), and performs wonderfully.
Sherlock Holmes: The Final Adventure opened at the Old Town Playhouse Studio Theatre on February 11, 2010. It's a quaint venue, seating approximately seventy-five, within a very intimate setting. It's a wonderful atmosphere for enjoying the pleasures one derives from dramas, mysteries, and comedies. Although, it is quite restrictive, and in various cases, doesn't allow any elaborate set or lighting designs to be constructed. Such is the case for this production, which truly calls for a more substantial area to work within. Due to this demand, it greatly minimizes the overall effectiveness for lighting, multiple scene changes, and special effects to coincide. With this challenge, Set Designer Ginny Hamilton and Light Designer Don Kuehlhorn produced a visibly noble effort in embellishing it throughout. Costume Design by Kathy Verstraete wonderfully captured the Victorian era so keenly required for Sherlock Holmes. Sound Design by Gary Bolton was a great support.
Director Harriett Mittelberger took on a humongous undertaking in mounting this greatly challenging Sherlock Holmes: The Final Adventure. In facing many structural restrictive elements beyond her control she has succeeded in bringing Sherlock Holmes to many who cherish in his every word. With a more refining and leveling calculation of emotional traits throughout the scenes it would have greatly substantiated its overall creative quality. It's always been my opinion that this particular production is the most challenging of the entire season plays and Mrs. Mittelberger deserves a great congratulation for bringing it to the Studio Theatre stage.
Others to be credited are: Robin Maloney (Assistant Director), Lee Rockwell (Producer), Deb Bowman (Stage Manager), Jeff Kroeger, Bo Lamont, and Al Lien (Set Construction), Lori Wheldon (Set Painting), Dale Chandler, Rick Fowler, Lori Herald, Keanu Herald, Daniel Jablonski, Norman Maloney, Ralph Mittelberger, Mark Smith, and Kelly Stephens (Stage Crew), and Barbara Goodearl (Props).
The Book of Matthew Liebowitz
The Book of Matthew Liebowitz
By Gene Abravaya
Reviewed by Purim
October 15, 2009
The Book of Matthew Liebowitz is no Picasso, but does resemble portraits of Vermeer, with the sublime shadowing of Rembrandt. California playwright Gene Abravaya‘s, two-act comedy drama opened at its Midwest premiere, in the Old Town Playhouse Studio Theatre at the Railway Station.
Matthew Liebowitz (Keith Firstenberg), a down-on-his-luck, nearly forty-year-old novelist, is the central character, who abides within a dilapidated Upper West Side apartment in New York City. He is estranged from his wife Maggie (Jill Anton), a professional actress currently working on the television soap Summerfield. Directly above his flat lives Vincent Alcedo (Dan Mello), an aging Puerto Rican gay Broadway chorus boy who’s method of entering his flat is down the fire escape ladder, and through Matthew’s open window. Vincent relishes eavesdropping on every conversation in Matthew’s living room, from their adjoining fireplace chimney. Soon arriving, is Matthew’s older brother Robert Liebowitz (Kevin Weber) and his wife Karen (Amy Ruopp). They’re embarking on a two-week vacation, but first must deliver Matthew’s ailing father Howard (Wayne Erreca) into his care.
Abravaya creates three pertinent social scenarios within his play: a marriage gone awry, a gay confessional, and a father and son confrontation.
Jill Anton is a delight and thoroughly convincing as his disgruntled wife. After years of Matthew emotionally withdrawing, Maggie’s patience has run dry, and she’s finally prepared to file for divorce. Their verbal exchange is both comedic and dramatic. Firstenberg easily slips from one emotional posture to the next, with Anton confidently keeping in stride. Their final scene of act-two showcases their strongest emotions and dialogue, revealing Matthew’s vulnerability which opens a corridor of hope for their possible reconciliation. Firstenberg effortlessly glides throughout the production, upholding the right measure of energy and appropriate inflection required.
Dan Mello, embodies the sensitivity and lighthearted humor required for the proudly gay Vincent. Whether he’s sharing his lifestyle with Matthew’s conservative brother or his detached, cynical father, Mello maintains an integrity that allows the audience to easily digest his every word. The likeability factor is mandatory for the role of Vincent and Mello doesn’t disappoint. In scene two of the first act, Vincent shares his boyhood journey into homosexuality to the grumpy, and uninterested Howard, who hasn’t spoken for nearly three years after the death of his wife. As he eloquently finishes his story, it’s clear Vincent has strongly impacted Howard, helping to unlock his resistance to communicate with others.
The opening scene of act-two, finds Howard confronting Matthew over his years of disappointment regarding his sons lack of life accomplishments. Abravaya explains, “The play was my attempt to have certain conversations with my father that I was never able to have.” This particular scene is well crafted and its dialogue beautifully structured, helping to reinforce a dynamic emotional exchange between the father and son. Firstenberg and Erreca dramatically excel, reaching an emotional breakthrough which enables Howard to be freed from his bitter past. Erreca soulfully shares with his son, “It’s not that I didn’t approve, I just didn’t understand.” Abravaya definitely succeeds at creating a fictional conversation with his own father in this powerfully charged scene.
Ushering in most of the humor throughout is from the combined efforts of Weber and Ruopp, as the bumbling, loveable couple, Robert and Karen. Ruopp, in my opinion, received the best laugh lines of the play, and doesn’t waste any opportunities in making the audience chuckle. Weber, portrays the ideal brow-beaten husband, who adamantly seeks to avoid upsetting his domineering wife. They make a convincing, laughingly irritable twosome, bringing a lighter texture whenever they appear.
Abravaya is a very competent playwright, creating both drama and comedy with an equal flare. With that noted, I did find it disconcerting though, that these two opposite emotions weren’t better blended, and distributed more sparingly throughout. By inserting a classic comedic style at the opening of the first scene of act one between Matthew and his brother, then dramatically introducing Maggie shortly thereafter, it had a tendency to compromise Matthew’s character, having him appear unbalanced at times. In spite of this, The Book of Matthew Liebowitz says a lot about not ignoring the value of others. That understanding will dissolve partitions that keep us all apart.
Director Jennifer Weil and Assistant Director Barbara Goodearl assembled a strong cast and coordinated a quality production.
Producer Sheiri Wallace succeeded handsomely in acquiring every element required. Light and Sound Operator Karen Haspas was flawless. Sound Design by Don Kuehlhorn was excellent, especially in the Summerfield soap opera (Voices: Mike Nunn (Lance) Jill Anton (Vanessa), Phil Murphy (Captain), Jon Kenkins (Doctor), Bradley Roswell (Barnes), Barbara Goodear (Sparks). Set Design by Jennifer Weil was quite good. Light Design by Jon Jenkins was supportive. Costumes by Bradley Roswell were accommodating. Set Construction: Mike Nunn, Joe Clark, Richard Farrar, Juston Korson, Jeff Kroeger, Richard Long, Jesse Meyer, Joe Rice, Beth Rosenberg, and Jerry Wilhelm. Prop Mistress Bernadette Groppuso. Stage Manager Jeanie Gifford. House Managers Jeanie Gifford and Sheri Wallace.
The Book of Matthew Liebowitz is about breakdowns in communication, whether in marriage, sexual preferences, or parental relationships. It artfully focuses on the necessity and importance of understanding. Abravaya outlines it wonderfully, “My play is about many things. It’s mostly about courage and being brave enough to follow your hearts desires, and not to be so concerned with societies opinions of what success might be.”
Doubt , A Parable by John Patrick Shanley
Reviewed by Wayne Erreca (4-16-09)
Doubt takes place within Saint Nicholas Church School, located in the Bronx during 1964. It’s a tensely riveting, thought provoking drama, which explores shadowy intentions and faint glimmering truths, that mill within the minds of the suspecting curious. It plays out like a finely crafted chess game, without any checkmates, and offers artfully meticulous moves of intelligent cross examinations over obscure psychological landscapes that crowns no winner. Shanley’s Doubt draws forth the same in-depth toxic feelings as Arthur Miller’s The Crucible and John Pielmeier’s Agnes of God.
The primary revelation which holds any surety within John Patrick Shanley’s intriguing Doubt comes from Mrs. Muller (Tamara De Ponio), mother of twelve-year old black son Donald Muller, when she shares her belief he has homosexual tendencies after being notified by Saint Nicholas Parochial School Principal Sister Aloysius (Maria McKane) of a recent situation regarding possible unscrupulous advances by Parish Father Brendan Flynn (Jan Dalton) with her son. The persistent Aloysius stems her passionate search for the truth from eighth-grade teacher Sister James (Amy Ruopp) who reveals having smelled alcohol on young Donald Muller’s breath after his spending private time with Father Flynn. This account solidifies Sister Aloysius’ suspicions, which unleashes her adamant crusade to bring him to justice.
Director Mychelle Hopkins has assembled a powerfully talented cast and through her sensitive, definitive, and classical guidance, has successfully staged a pertinent production that offers a greatly satisfying experience for those who love to ponder the complex human condition. Maria McKane (Sister Aloysius) is completely submerged and thoroughly convincing as she toils for the truth. Never does she let her character slip from her firm grasp as she presses for a confession. Jan Dalton (Father Flynn) is rock-solid as the embattled Father Flynn. He manifests remarkable sensitivity, balance, and range within his perplexing role, which helps establish greater doubt throughout the audience. Amy Ruopp (Sister James) conveys the right measure of innocence, vigor, and disparagement when conversing with Sister Aloysius and Father Flynn. She’s a delightful ray of light within this ambiguous dilemma. Tamara De Ponio (Mrs. Muller) delivers a strong emotional performance when acknowledging her choice between two evils. That of her husbands abusiveness against her son, due to his sexual orientation, and that of Father Flynn’s suspected molestation. In choosing the latter as the lesser evil, it’s definitely the pinnacle moment which stirs the complexities of Doubt throughout the minds and hearts of those who view it.
Joe Shoup’s brilliant Set Design showcases the actors with the proper visual nuance and mood, enabling Director Hopkins the perfect atmosphere to orchestrate many beautiful compositions throughout. Costume Designers Kathy Verstraete and Bradley Roswell fitted the cast wonderfully and believably, creating a professionally smart look. With a production of this nature, it requires an excellent Light Design, and Don Kuehlhorn succeeded without any doubt. To cap off the technical qualities of this fine production is the Sound Design by Mychelle Hopkins which enhances and is appropriately added at all the right places.
A congratulations to the rest of the staff mustn’t be ignored. A huge applause goes to Assistant Director Lee Rockwell, Producer Sheri Wallace, Stage Manager Sherri Burford, Set Construction by Joe Shoup, Elizabeth Stewart, Dan Shoup, and JoAnn Pace, Props by Barbara Goodearl and Barbara Disborough, Lighting Operator Bonnie Deigh, Sound Operator Gregory Wallace, and House Managers Lee Rockwell and Sheri Wallace.
Doubt, the final production of the 2008 - 2009 Season, which also included Rabbit Hole by David Lindsay-Abaire (directed by Cinder Conlon), and Panache by Don Gordon (directed by Wayne Erreca), substantiates the importance of the Studio Theatre. As electrifyingly entertaining Old Town Playhouse musical productions are on its Main Stage, the Studio Theatre is equivalently worthy of the same respect. Dramas have a necessary importance, helping us to understand many socially complex issues of our day. Doubt will make you a believer and have you ponder life as it is and not only how you wish it to be.
Rabbit Hole - by David Lindsay-Abaire
Review by Wayne Erreca
The Studio Theatre at the Old Town Playhouse is currently staging David Lindsay-Abaire’s Pulitzer Prize winning Rabbit Hole. Lindsay-Abaire was originally commissioned by the South Coast Repertory to write the play and it was first presented at the Pacific Playwright’s Festival in 2005. Later, it opened at the Biltmore Theatre on February 2, 2006, starring Cynthia Nixon as Becca, which earned her a Tony Award for Best Actress.
Rabbit Hole, a simplistic, yet emotionally layered storyline, with subtle tones throughout, focuses on how Becca (Bonnie Deigh) and her husband Howie (Rodney Woodring) cope with the tremendous loss of their four year old son to a senseless traffic accident instigated by Jason (Tom Cilluffo), a young teenager. Also, involved is Becca’s sister Izzy (Carly McCall) and Mother Nat (Denni Don Hunting), who attempt to overshadow the ever-present despair, with their uplifting nature, and often humorous conversation.
Set Designer Brian Dungjen created a wonderful atmosphere, utilizing theatre-in-the-round, for what I believe is a first for a Studio Theatre production. It worked nicely on all levels. Costumes by Kathy Verstraete complemented and supported the cast.
Director Cinder Conlon and Producer Michelle Dungjen assembled a sterling cast and staff for this clearly obvious ‘labor of love’. Each of the actors were wonderfully directed and carried a disciplined common purpose throughout every scene. The highlight moment of the production was spearheaded by Denni Don Hunting during the birthday celebration scene for her daughter Izzy. Hunting always brings a strongly-grounded realism to her roles, which is refreshing, and a delight to watch. Carly McCall was bright and humorous as the unpredictable Izzy, offering some of the more lighthearted exchanges within the play. Still new to dramatic roles, Rodney Woodring, handsomely succeeded in his depiction of Howie, who has to come to terms with the loss of his son, and the emotional departure of his wife. The youngest actor, Tom Cilluffo, held his own with this seasoned cast of players, showing maturity, and talent. Undoubtedly, he’ll continue being an acting force in future OTP productions. Last, but definitely, not least, is Bonnie Deigh’s stellar performance as the anguished Becca. Deigh captures the tortured spirit of a grieving mother, who refuses to let go of her memories, but yet, emotionally grapples for a happier future that hides just out-of-sight.
Playwright David Lindsay-Abaire chose to write a common thread which includes most individuals. For most of us have endured the heart-wrenching loss of a loved one, and for a time we find ourselves stationary, unknowing, bewildered, and frightened of a future without guarantees. Rabbit Hole offers a universal truth, that in the ’going we are cured’. We should always hold on to our precious memories, but for the living, life must be lived, with one foot in front of the other, our face to the wind, and I believe it’s true to say, ‘Our departed loved ones wouldn’t want it any other way.’