The Best Play in the Western World (or at least at UA)

The Irish are known for their strong emotions as well as their good-natured sense of humor, and both of these elements can be found in UA Theatre’s current production, The Playboy of the Western World.

The basic premise of the play is this: a young man, Christopher “Christy” Mahon, wanders into an isolated Irish village; tells a fantastic story about how he murdered his father; and wins the favor of the people and, more importantly, the heart of the tavern-keeper’s feisty daughter. Everything seems to be going his way until an unwelcome stranger appears and brings the light of reality to the seemingly perfect harmony in his life.

I thought the story was simple, but it was made complicated by the use of Irish colloquial language, sentence structure, and allusions, which can be confusing to an American student. The actors at times seemed a little rushed in their speech, which made the words more difficult to understand, and I had to pay very close attention to absorb everything that was going on onstage. At several points during the performance, I wished I had a copy of the script in front of me so I could follow along with the dialogue. However, the actors were expressive enough that even if I didn’t understand the words, I could get the meaning of the lines from the emotions communicated in their faces and gestures. On the whole, though, I think I could have enjoyed the play more if I had read it before seeing it.

The plot is intense, drawing the audience into the emotionally-charged elements of murder, love, and jealousy. At the same time, however, the play is peppered with comic relief, and I thought the director did a fantastic job of bringing out the humor in the lines. The actors’ use of physical comedy helped to bring out the funnier aspects of jealousy and longing for love in a small Irish village. At the same time, he didn’t neglect the more serious themes of the play, which were translated into the actors’ movements and interactions with each other. When the village widow develops a crush on Christy, she makes the audience laugh with her overly-flirtatious physical attention to him; when Christy is filled with insane rage, he slams about the stage in violent anger. This interpretation of the play had me alternately gasping and laughing in my seat, and really made me experience a diverse range of emotions without feeling overwhelmed.

Having already seen some of these actors before in other UA productions, I expected them to be good, and they lived up to my expectations. This cast has a professional, polished style that draws the audience into the illusion of the performance. Sadie Magandanz, who played Pegeen, the tavern-keeper’s daughter, interpreted her character well and gave a sense of authenticity to the play as a dynamic female lead. Philly Cullen and Jimmy Farrell - played by Jon Chapman and Patrick Winegar, respectively - contributed to the humor of the play simply by being believable drunks. The Irish accents could have been tweaked a bit to be more realistic, but overall this cast was well-rehearsed and delightful.

The set designer for this play was inspired by paintings by Irish expressionist Jack Yeats, and that aura of turn-of-the-century Ireland was reflected in the set and props. I was impressed with the balance and completeness of the tavern setting, and the period costumes added to the illusion of a time past. I enjoyed the Celtic music as well. I felt it was well-placed throughout the production and enhanced the sense of place without detracting attention from the performers.

If you have a craving for a zealous taste of Irish life and UA Theatre, go see The Playboy of the Western World; you won’t be disappointed.

Playboy Needs the Luck of the Irish

A lot of drinking, a little fighting, a lot of rich Irish accents, and a lot of sitting in theater seats; makes for a weary night of theater. The Playboy of the Western World by J.M. Synge opened Tuesday February 26, at the Marian Gallaway Theatre. The name is slightly misleading and play is equally disappointing. Set in a rural Irish town. The play is sure to loose your attention somewhere after the Irishmen asked you to turn off your cell phones, messaging devices, and Mp3 players.

The play follows a young man or orphaned boy named Christopher Mahon (Jake Boyd) to rural town on the Irish country side, telling the fabricated tale of how he killed his father. Actually, it’s a little confusing because he is being referred to as Christy, maybe that’s Irish Christopher; in the process the town’s women fall for charmer and his tales, in particularly Pegeen (Sadie Magadanz) and Widow Quinn (Jacqueline Wheeler). This could be an interesting aspect of the play, but, the accents were so thick that you couldn’t understand what the actors were saying. Worse when you could understand what was being said; there was so much Irish slang that you didn’t know they were talking about. We will leave interesting to the big fight scene. Maybe.

The set was nice, scenic designer Charles Murdock Lucas created a great rendition of an Irish pub; along with lighting designer Bill Teague, who did a wonderful job of conveying the mood of each scene with light effects; and costume designer Emma Cullimore coordinated fantastic costumes remaining authentic to the time period. If the play itself isn’t worth wild, at least the set, lights, and costumes will keep your attention.

The fact that the play wasn’t that good, certainly does not take away from the wonderfully talented cast, which also included: Steve Burch, Joel Ingram, Taylor Bridges, Jon Chapman, Patrick Winegar, Erin Hutson, JaneMarie Bobilin, Cyrstal Kohl, Seth Key, Joseph Cevallos, and Grey Hubbard; who all were entertaining.

The original play debuted in 1907 in Dublin, which caused riots during its opening week, the UA’s production not so much. It's considered J.M. Synge’s masterpiece, Playboy is just too long and flowed incredibly slow.

Playboy Provides Unique Twists

One would have never imagined exactly how attractive a murderer can be until they have seen Playboy of the Western World by J.M. Synge. It opened on Tuesday, February 26, at the Gallaway Theatre and gave the audience a show that they perhaps were not quite expecting.
The story line was intriguing, and murder factored largely into the mystique of the main character, Christy Mahon, played by Jake Boyd. The acting was well done and there was a lot of skill packed onto a small stage. Jake Boyd assumed the part of Christy seamlessly and brought a lot of emotion and humor into the play. The other players did a very good job of making the story come to life, especially Sadie Magadanz who played opposite of Christy most of the play.
The play, however, was not the most well written. There were several instances where it seemed as if the dialogue was exhaustive without any real purpose. However, the audience and actors took it in stride and still were able to enjoy the show.
The set was extremely well done, as was the lighting. It brought a lot of character to dull moments and it was entertaining to have the set separated into outside and inside, as it provided more room to create comedic occurrences and entertainment.
All in all, it was an entertaining evening and I would recommend it to anyone who simply wanted to kick back and relax without having to think very much about the matters at hand.

Playboy Doesn't Play

Oy.

The title of JM Synge's Irish saga The Playboy of the Western World promotes a sense of excitement and provides the essential hook that both college students and theatre-loving adults can be caught by. However, this baited hook grabs you by its rustic Irish edges and it doesn't let go easily. You seriously have to fight it to stay alive, or at least awake for the essential last 5 minutes.

The story opens on a lovely set design, a homey shebeen, or Irish Inn, with a glowing fire and all the comforts of a traditional little Irish village. However, while the stage is set for a promising performance, one that you can just sit back and admire for its artsy vibe and entertainment purposes, this atmosphere is all lost when the characters open their mouths. Whether it's Pegeen Mike, the Inn keeper played by Sadie Magadanz, or any of her lads that hang round the Inn, entertainment is replaced by careful attention as the audience tries to make sense of any of their Irish accents. One gets the feel that particularly important dialogue is being discussed in the opening of the play, however, nothing can be made of the language and interactions between any of the characters, and questionably crucial background information is lost.

Things look brighter though when Christopher "Christy" Mahon, an orphan of sorts played by Jake Boyd, stumbles upon the Inn. Literally, even if you can't understand his whole speech, Boyd's lovable face and beaming smile provide enough satisfaction to tide one over until at least the climatic end. Claiming to have killed his father in a passionate, yet justifiable crime, Christy is soon elevated to almost a heroic status throughout the town. He is put upon a pedestal and is treated as he has never been treated before: girls throw their every glance and giggle at him, Pegeen Mike takes a serious interest in him, and he is essentially the new fad and celebrity of sorts in this monotone, humdrum sort of town.

A foreseen happening, the second act opens with the arrival of Christy's father, Old Mahon, played by Steve Burch--an actor whose Irish accent was there one minute and gone the next so fast you would have thought there were almost two characters just like him. Drama ensues as the audience discovers that his son is, in reality, not the heroic playboy we have all come to love and adore. Rather, he is a coward for running away. After more plot filling of giggling girls and odd Irish music that decided to pop in randomly throughout the show, the climax of the play comes in a manner oddly similar of sorts to Arthur Miller's "The Crucible". Christy, once the upheld and treasured jewel of the town is essentially turned upon by everyone as they all fight for his hanging or death by his father's revenging blows. The giggling girls never stop smiling as they did before, creepily laughing at the thought of their trophy man's possible fate. Pegeen Mike turns upon him as well, her lover, branding him physically and emotionally. It is rough to watch; even though Christy was never in the right nor was he ever essentially moral in any of his actions, the audience cannot help but feel a little compassion for him as they watch his fall from greatness. However, this isn't until the final moments of the play, so the real task at hand is fighting sleep.

In the end, this play could have just as easily been set in the wild west or an american high school or essentially anywhere with a few minor adaptations here and there. There really was no need to give all the actors such an accent to try to perform-the story had no personal connections to Ireland or anything of the sort. Any set would have worked, and perhaps then the play would have been slightly easier to follow and thus entertaining instead of straining.

For the time being, let's leave the role of playboy to the professionals.

No Need for an Irish Jig

Amidst last night's freezing weather, people flocked into the Marian Gallaway Theater to see the opening production of Playboy of the Western World. The Irish play tells the story of a supposed orphan boy who killed his father and has happened upon the rural town that the play is set in. The main character, Christopher, soon steals the hearts of all the women in the town, including a popular woman Margaret. This is a sharp contrast to what Christopher is accustomed to because everyone has always told him he is foolish and ugly.

For fear of spoiling the story, I will just say that not long after Christopher has been in the town someone comes looking for him, with the sole intention of killing him. The play shows the betrayal of the women and townspeople who were once smitten with the boy, to wanting Christopher to be hanged.

The play starts off slow but thankfully gets better after the first twenty minutes. Throughout the play, the plot would switch from being interesting to boring and I often found my mind wandering. The actors in the play all seemed very good and there were none that stuck out as being far less experienced than the others. Good acting, nor the good looks of Christopher, couldn't make up for the recurring drag in the play, though.

The most exciting moments of the play came in the last twenty minutes, which is a good trick that play writes often use so that the audience will leave with a good feeling about the play. If you have two hours to spare I would recommend going, but don't cancel any plans to see this one.

Expect No Riots

The University of Alabama Theater department took a leap of faith tonight with the opening performance of Playboy of the Western World, and it was a shame to see it fall so flat. Hailed as J.M. Synge's Irish masterpiece, this play was first performed in Dublin in 1907 and caused a riot because of its description of rural Irish poverty and immorality. Tonight there was no riot, nor any reason to suspect that this play could ever cause a strong reaction.

Modern insensitivity may be partly to blame. When a dirty young man wanders into a rural Irish village and claims to have killed his father, today's audience would never feel the same excited curiosity as this rural company. We would send him to the gallows and be done with it, but these simple people make young Christy a hero and, subsequently, the most eligible bachelor in town. Every woman wants such a courageous youth as her personal protector. This is more understandable when Christy is compared to cowardly and prudish Shawn Keogh. It's no wonder Pegeen sets her cap at Christy and throws off her fiance Shawn.

The sexual forwardness of the five townswomen would have been much more shocking in 1907. Tonight it was humorous until its endless repetition became unbearably annoying. Perhaps the shock value saved the second act in 1907, but tonight it was a flop. Christy tells everyone who will listen the fantastic story of his brutal patricide, elevating it to heroism with tales of his father's cruelty. Both characters and audience become frustrated with his endless chatter.

The third act salvages this play, as a series of improbable events leads to a fight with ropes, hoes, and burning coals. What is the exit strategy for such a climax? Simply this: leave the villagers to cope with the psychological implications of the past twenty-four hours, or in some cases, just to welcome the return to rural normality.

One of the difficulties of performing this play must be the necessity of learning an Irish accent. Many of actors are greatly successful in maintaining the dialect. Sadie Magadanz, who plays Pegeen, has a lovely lilt from beginning to end. Pegeen's father and his friends (Joel Ingram, Jon Chapman, and Patrick Winegar) also master the dialect. Most of the other characters are less convincing, and all the characters, lilt or no lilt, are difficult to understand.

Much of the acting is less than superb. The high pitched neighborhood girls are totally flat, with their one-dimensional, ceaseless bantering, eyelash-batting, and giggling. Even Jake Boyd fails to be convincing as Christy Mahon. Surely Synge, who paraded his play as an example of theatrical realism, did not intend Christy to come across as a sulking adolescent, given to sudden uncontrollable rages. He needs either more intelligence or more madness to be realistic.

Sadie Magadanz and Jacqueline Wheeler, who plays Widow Quin, shine above the rest. These ladies become their respective characters and make each action believable. Magadanz, as Pegeen, is controlling of all men and yet star struck by this romantic newcomer. Wheeler is a poor, lonely widow who trades her chance at love for more practical gains. Both women have a love scene with Christy in which, for a few moments, the audience is completely enthralled.

This play certainly has moments of hilarity, and ultimately the performers are less disappointing than the play itself. Synge's realism is unrealistic and the play's shock value has disappeared after a century of advancement and desensitization. Still, for a good bundle of laughs and a crazy climax give Playboy of the Western World a try.

Now Playing

REVIEWS COMING SOON FOR

The Playboy of the Western World
by J.M. Synge
Gallaway Theatre
February 26 - March 2, 2008
Tuesday - Saturday at 7:30pm
Saturday and Sunday at 2:00pm

Synge invites you to visit the coast of Ireland and experience rural life in the early 1900s. Christy Mahon, a stranger in town, has arrived at Flaherty’s Public House, proclaiming he has killed his father and fled his former life. For the locals, this story rings of excitement, adventure, and enlivens their otherwise dull and dreary world. They relish in Mahon’s story and even Mike Flaherty’s daughter, Pegeen, seems to have fallen for his adventurous charm. But when Mahon’s past catches up with him, will the locals still embrace his heroism or leave him stranded? [From the Department of Theatre and Dance Web site.]

Get your tickets at www.crimsonartstickets.com.

Dance will leave you saying "I Want More!"

If you're in the mood for an African dance, a sultry tango, or even a trip down to Georgia, Dance Alabama! is a must-see show. The Department of Theatre and Dance is presenting its Spring Concert after many weeks of preparation. Not only are there excellent dance numbers, but also a chilling solo by Sheniqua Trotman and a seemingly effortless violin piece by D-Sharp#.

An early crowd favorite was the ensemble “Libertango.” One could almost feel the sparks exuding from the two dancers! “Down to Pointe” also received much applause, but for me seemed to be a bit of a disappointment. Although some of the dancers seemed very professional, others seemed to not know the material as well and didn't look confident with their movements. “Still Feeling Good” was also a crowd pleaser, with a dazzling solo by the leggy Lindsay Sockler.

Some of the best costumes of the night were for the piece “Journey Through Africa,” in which dancers wore African inspired outfits with black and gold. The girls in “Forgiveness” also looked stunning in their black dresses with a simple red accent piece.

The award for best dance number of the night would have to go to “I Want More,” featuring veteran dancers Ryan Arnold, Josh Henderson and Adrienne Hicks. Hicks lights up the stage with her split that nearly turns into a backbend. Let’s just say if most people tried to do what she did, there would be an influx in the amount of people at local hospitals.

Though some songs didn’t have as much oomph as others, there are enough good songs mixed in with the performance to make the show well worth your time and money. Even if you aren’t interested in dance, I guarantee that after seeing how physically fit the performers are that you will be inspired to hit the gym to work on your own physique!

Dance Your Heart Out, Alabama

When I arrived at Morgan Hall on Tuesday evening, there were already students waiting to enter the cavernous auditorium. As the room began to fill, the chatter of students and parents became almost deafening until the lights suddenly dimmed, then turned to black, creating a blank canvas for the start of Dance Alabama! Spring Concert 2oo8.

Dance Alabama! is a student choreographed and designed showcase of the University's Department of Dance. Each of the seventeen dances are designed by Dance Department students. The students devise every detail of the dance from the music selection to the costumes. Many of the dances employ unique utilization of lighting to enhance the artistic quality of the performance. The dances featured in this spring's concert range from energetic African inspired movement to eclectic modern motions.

Although all of the dances performed highlight the intense work and effort of the Dance Department, several dances deserve special mention. "Moment 2 Reflect" featuring UA student and violinist D-Sharp# is a particularly successful blend of modern and classical dance and music through the choreography of Shannon Lindamood and Anna Solomon. "Beautiful," expertly choreographed by Lindsay Gaston, passionately draws the audience into the intimate world of expression through dance. The same can be said of "Alright" choreographed and performed by Sara deFuniak. Each of these dances feature outstanding performers who effectively connect with the audience through their art of movement.

Crowd favorites include "Journey Through Africa," "The Big Bang Theory," and "Still Feeling Good." Jamal Edwards' skillful choreography orchestrating twenty dancers and Sheniqua Trotman's incredible vocals give "Journey Through Africa" the energy and excitement the audience craves at the end of the first half. "The Big Bang Theory," choreographed with finesse by Frank Barber features dancers in complete darkness illuminated by neon color swatches glowing through the use of black light. "Still Feeling Good," choreographed by Lindsay Sockler and featuring music by Muse is expertly executed with precision to bring a reluctant end to the Dance Alabama! Spring Concert.

Dance Alabama! is a thrilling exhibition of the remarkable artistic abilities present here at the University. Running under two hours with a short intermission, Dance Alabama! will bring a smile to your face and a liveliness to your stride that will leave you longing for more. Definitely abandon your homework and your paper writing without feeling guilty to enjoy this breathtaking display of the talent we host here at Alabama.

Masterful Storytelling and Variation at Dance Alabama!

A light shines from stage left as girls throw themselves about the floor, windmilling their arms in violent but fluid motions. The way the light hits them leaves an afterimage as they twist and flow, their faces pictures of determination. There is almost something terrifying about the way they move, but the strength and power they express ends up as the lyrics to the song suggest--"beautiful."

Such was the scene Tuesday night when Dance Alabama! opened on the Morgan Auditorium stage at 7:30. The program was a fascinating conglomeration of different styles of dance and music, from things like ballet to modern, abstract catlike motions, the soulful violin of D-Sharp# and ponderous piano melody of Regina Spektor to "The Devil Went Down to Georgia." The performance certainly offered pieces for all tastes, though some of them seemed to miss the mark. Most pieces told clear stories which were exemplified through the combined efforts of the music, the choreography, and the dancers' personal methods of expressing themselves both through their interpretations of the choreography and their facial expressions.

Some dances were set to songs with lyrics and were easy enough to decipher. "Forgiveness," "Alright," and "Still Feeling Good" were all pieces that matched obviously to their background songs, but the dancers still made the music fresh and new, adding new meaning to what was once just chords and lyrics. They smirked at the audience; they held their heads high; they were graceful and joyous. They looked up into the light with fearful expressions; they hung their heads; they were awkward and broken. They told stories with their bodies, and it was beautifully done.

The less obvious dances varied in their effectiveness. The opening number "Let It Be," which combined a track from Across the Universe with unsettling silences and somewhat abstract twirlings, still gave me chills for all its strangeness because of the way the dancers made one feel the tale they were trying to tell. On the other hand, the piece titled "No Aid, I Pray" was a bizarre twisting and hand-motioning and leaping; my notes read, "Egyptian reptile-cats? Very modern and frightening."

Other dances endeavored to express feelings or show innovation but fell short when the dancers' outward expressions seemed lacking in the right emotion or when they fell out of sync. Although seemingly a crowd favorite, "Down to the Pointe," a sort of dance to "The Devil Went Down to Georgia" by girls on pointe shoes, was, I thought, ineffective. The pointe shoes were anticlimactic, and--although it's possible I missed something--the girls did not appear to be moving together very much of the time.

All in all, though, Dance Alabama! was just fun. When the lights came up on Sheniqua Trotman, filling the auditorium with her powerful voice for "Journey Through Africa," dancers crept out on stage, dark silhouettes against a backdrop that glowed orange. Suddenly light flooded the stage, the sound of African drums pounded like a heartbeat, and the dancers moved with what could be described as nothing but pure joy. They shouted and whooped, flinging themselves around with impressive acrobatics. Elation radiated from the stage, and one couldn't help but smile. If you believe that the best dance performances are those that make you really feel something, then, as a whole, Dance Alabama! is more than worth your while.

Dance Alabama! Dance

If you have not made it out to see the Dance Alabama! Concert this spring, you are truly depriving yourself of a great experience. Go ahead. Step away from the books for just a second. Put the pencil down and go get your tickets! The University of Alabama Dance Department have come together to put together a phenomenal show unlike any other dance program you have ever seen. There is truly something for everyone. The ladies and gentlemen that collectively encompass the Dance Alabama! Ensemble are truly talented and it is not enough to tell you about it- it is something you must see for yourself. The spring concert features contemporary pieces and older pieces as well with student choreography.

Moment 2 Reflect
"Moment to Reflect" is entirely student-led as violinist Derryck "D-Sharp#" Gleaton performs his own personal accompaniment for the dancers as Shannon Lindamood and Anna Solomon work together to make greatness through the choreography. The piece is hip and edgy and nearly has a casual appeal as some of the moves in the dance require little technicality or difficulty. The piece is upbeat and energetic and keeps the audience on the edge of its seat.

Beautiful
"Beautiful" cannot be described in any other way. The word beautiful itself may come even short of doing this work due justice. The dancers use stressed and deliberate movements and when added to the music creates a very melodic ambience. The appeal of the piece is smooth and angelic, and the audience perceives that the dancers really enjoyed working on this piece. Kudos goes to Lindsay Gaston for constructing a true work of art and motivating her cast to feel the music.

Libertango
Gustavo Heudebert and Kathleen McIntosh put their own spin on the dance of love. "Libertango" highlighted the lust involved with the tango, making the dance a struggle of a love affair, and depicts a very combative and aggressive dance. The Latin flair was still present and the two exhibited a fair amount of moxie to portray the emotion necessary to pull of one of the more technical dances. It was indeed a fan favorite however providing a new touch to a matured concept.

Journey through Africa
To pay homage to Black History Month, it is quite fitting that Jamal Edwards choreographs a tribute to the African heritage and culture. The performance is high-energy and provides a familial vibe at times, as communities of dancers congregate to the stage to perform in unison. This particular piece also allows room for some exposure to acrobatics. The dance ensemble begins with vocalist Sheniqua Troutman singing "I’ll Fly Away". She is not the only one who has a vocal role in the work however, as the entire cast contribute where the instrumental lacks, inserting shrieks and yells into the constant drumming. The piece definitely strives to embody the African culture.

The Big Bang Theory
A light show of sorts, Frank Barber utilizes the movement of the entire body through lights. Alike something seen at Ringling Brothers, or the Blue Man Group in Vegas, the dancers are no longer "bodies" per say, but simply become lights moving frantically on stage. The novelty of the show as well as the placement of the lights is interesting, making the slightest movements of body parts quite distinctive. The music is upbeat and engaging and this portion of the show may be the most entertaining.

Support the arts, the University of Alabama Dance and Theatre Department and your fellow students who work hard to provide entertainment for you and help make their dreams a possibility.

Dance Alabama! Pleases the "Assembly"

Weeks of hard work paid off for Dance Alabama! in their opening night performance. The stage was a flurry of activity, with barely any breathing room between numbers. The program includes a wide variety of styles in both music and choreography. The dancers get some help from D-Sharp#'s violin and Sheniqua Trotman's vocal chords. The dancers' collaboration with other UA artists pays off, with the live music adding so much to "Moment 2 Reflect" and "Journey Through Africa." "Moment 2 Reflect" is a cool combination of modern and classical dance that echos the mix in D-Sharp#'s own music. In "Journey through Africa" Troman sings part of "I'll Fly Away." This is an interesting song to pair with the African tribalesque dancing that follows. Judging by audience reaction, this was a successful combination.

All performances have stars, and this is no exception. Several numbers stand out, including "Assembly" which strikes me as a celebration of nonconformism. In the second half comes "I Want More," and it's worth attending the performance just to see this number. Ryan Arnold, Josh Henderson, and Adrienne Hicks dance a vivid, emotional narrative. Their skill is apparent, but beyond that, it's the sense of character in their dancing which makes it truly special. Another must-see is "Alright," in which Sara deFuniak manages a perfect balance of control and emotion, revealing a great depth of artistic sensibility. The dance is a duet, but deFuniak's partner steps onto the stage only briefly. Her solitary dancing perfectly expresses the deep anguish and turmoil in their relationship. The dance and the song become inseperable, which must be the greatest accomplishment for any dance.

The last two dances are perfect closers. Think dancing in the dark with neon attached to your leotard, and then think a sexy celebration of womanhood. The numbers form a stunning juxtaposition and leave the audience in no doubt of Dance Alabama's talent and diversity.

Though enthusiasm is present in every number, the talent is not equally distributed. Coordination between the dancers could be cleaner in some places. "Down to the Pointe" fails to be an exhibition of impressive technique because "The Devil Went Down to Georgia" is simply too fast to allow for polished execution. It is always better to do something perfectly than to do it fast. My only other complaint lies in the lack of progression displayed in some of the choreography. Not every dance must tell a narrative, but a sense of developement should be present in order to express more than a one-dimensional idea. The opening number suffers from this lack of developement. The choreography convincingly expresses suffering, but it is very unclear what the answer to that suffering is. Since this is the issue dealt with in "Let it Be," it is unfortunate that the dance does not fully tackle this idea. I will grant that the song does not give an obvious answer, but that is exactly what could have made their interpretation shine.

All things accounted for, a few flaws need not ruin the gem. The effort of the dancers is clearly apparent, and the last several numbers are undoubtedly worth staying for. Considering that the students choreographed their own dances and picked the fabulous costumes, there is plenty of reason to support their efforts and attend this artistic and entertaining performance.

After a "Moment 2 Reflect," Dance Alabama! is simply "Beautiful"

Be prepared to be transported from the tribal villages of Africa to the country fields of Georgia in Dance Alabama!, running through this Friday night in Morgan Auditorium. This wonderful display of talent from the University's dance program is a blend of all different types of dance, from the more traditional to the ultra-modern. Everything from the auditions to the choreography and costuming is decided by the students themselves. The pieces that result are a beautiful display for the onlooking audience.

Even from early in the show, the dances left you wanting more. The piece "Moment to Reflect" features live violin from D-Sharp# himself. Although "No Aid, I Prey" caused some gasps and second glances from the audience due to costuming, the piece did a wonderful job of conveying nature through the dancers' movements. The technical aspect of lighting created wonderful sillouettes for the modern moves in "Assembly." The first half concluded with "Journey Through Africa." This piece opened with a soulful Sheniqua Trotman singing "I'll Fly Away" after which the dancers leaped and bounded around the stage in traditional tribal fashion. After this number, I was left wishing the ten minute intermission was just a typo in the program book; I was excitedly waiting for the next piece to open on the stage in front of me. The second half of the show opened with a pointe piece set to the music of "The Devil Went Down to Georgia." This was an interesting slant on a song that seemingly has only one way to dance to it. The piece "Forgiveness" was like a breath of fresh air, literally, for the audience; the dance concluded with a resounding sigh from the dancers. This addition fit into the piece beautifully.

The common phrase, "Save the best for last," definitely proves itself to be true in this performance of Dance Alabama!. The piece "I Want More" features two male dancers fighting over a single female dancer. The female dancer cannot decide which guy she wants to be with; this ultimately leaves her alone. The pure emotion, sheer power, and the technicality of dance were portrayed through these three dancers phenomenally. The next dance "Alright" brought the audience into the dancer's internal struggle with herself. The emotion portrayed by this dancer's movements and facial expressions paired with the music of Damien Rice's "9 Crimes" left me speechless. The most suprising dance hands down was "The Big Bang Theory." The dancers moved in complete darkness; however, the darkness was paired with the effect of black light and innovative costumes with strips of glowing neon outlining the dancers' bodies. This made for a visual whirl of color and movement for the audience.

After viewing Dance Alabama! for the first time this fall, I made a promise to myself never to miss another; after viewing tonights show, the promise I made continues to stand firmly. The spring concert of Dance Alabama! is something that is sure not to disappoint.

Now Playing

REVIEWS COMING SOON FOR

Dance Alabama Spring Concert
Morgan Auditorium
February 19 - 22, 2008
Tuesday-Thursday at 7:30pm, Friday at 5:30pm

February brings a celebration of dance to Morgan Auditorium with the Dance Alabama! Spring Concert. Continuing to astound audiences with its eclectic blend of dance styles and musical art forms, this concert captures the true essence of the dancer’s spirit in its rhythmic landscape. Choreographed by students and mentored by our renowned dance faculty, Dance Alabama! is a pleasure beyond words for the heart, soul, eyes, and ears of all who attend. [From the Department of Theatre & Dance Web site.]

Tickets available at www.crimsonartstickets.com

Vampires and Werewolves and Monsters, Oh My!

In a whirlwind of comedic mystery and suspense, the actors Guy Fauchon and Austin McDonald miraculously escort the audience through a myriad of colorful characters and scenes. You wouldn't normally think it possible for just two men to take on the challenge of playing eight characters in a span of two hours, but they believably accomplished it last night in such a way that I almost forgot they were the only two. They both pull off ridiculously quick costume changes while keeping the audience visually stimulated with some truly incredible talent. With a simple, yet intricate set and fantastic lighting, the Allen Bales Theatre houses The Mystery of Irma Vep superbly, and the actors literally utilize as much of the space as humanly possible.
In between hysterical laughter and the occasional startle, I found myself catching countless references to Alfred Hitchcock films, 1900's melodrama, "Wuthering Heights", and a number of other well-known works. Both Fauchon and McDonald work these funny one-liners in with the complex and flawlessly written script by Charles Ludlam.
The play takes place at the Mandercrest estate. Nervous Lord Edgar Hillcrest's deceased wife Irma Vep seems to haunt the house and her husband, as well. Lord Edgar and his "faithful" maid Jane Twisdon, both played by Guy Fauchon, are hopelessly partial to Irma Vep even though Edgar has found himself another wife, the ditzy Lady Enid Hillcrest, played by Austin McDonald. Kooky Nicodemus Underwood, Lord Edgar's devoted servant, adds a bit of suspicion to the household as he keeps a horrid secret from the family (also played by Austin McDonald). The whole bunch, with the addition of a few more characters makes the audience wonder if there's more than meets the eye. There certainly is, that's for sure. By the end of the play, the audience has a completely different opinion of each character than they did when the play began.
Just wait. You're certainly in for a treat from the moment the lights dim. Through some pretty hilarious sexual innuendo, cross-dressing like you've never seen, and some killer acting, directer Marian Mantovani brings true talent to the table. If you're looking for a good laugh, start warming up your voice box and head on out to see one of my absolute favorites, The Mystery of Irma Vep!

Shakespeare and Cross-Dressing: Both Abundant in Irma Vep

It was a dark and stormy night. As would any self-respecting gothic horror, The Mystery of Irma Vep begins late at night during a frighteningly realistic thunderstorm. A play by Charles Ludlam that opened Tuesday night at the Allen Bales Theater, Irma Vep is a delightful parody of the gothic horror genre, featuring two cross dressing men who play three roles each.

A soap opera-esque story about the mystery behind the deceased first wife, Irma Vep, and the contorted relations between the second wife, Ined (Austin McDonald), her husband, Edgar (Guy Fauchon), and their servants Jane (Fauchon) and Nicodemus (McDonald), Irma Vep is a delightful mixture of tongue-in-cheek comedy, gothic suspense, and literary references.
Irma Vep centers around Ined’s quest to discover the truth behind the death of the mysterious Irma Vep and to help her husband move on. Along the way the audience is treated to witty allusions and a magnificent performance by two very talented actors.

The script is a beautiful mix of originality and famous quotes, such as “But where are the snows of yesteryear?” and “Mine eyes itch; does that bode weeping?” and (no gothic horror parody could be without it): “Suddenly there came a tapping, as of someone gently rapping, rapping at my chamber door.” Not even Disney can escape being referenced. The original lines, with such gems as “Any man who dresses up as a woman can’t be all bad” are wonderfully ridiculous. The dialogue flows well, incorporating the literary lines seamlessly.

Both actors are very well cast and portray their female and male roles equally well, switching flawlessly between them. The script cleverly ensures that when two characters played by the same man are both needed, the conversation happens entirely off-stage. The male actors played their female parts so well that at times it was easy to forget that they were male and to truly believe they were women. Their acting was over-the-top, but only enough to emphasize the comical parody. Fauchon as Edgar had the funniest distressed-and-troubled-man gestures with the head on the forehead and the lamenting sigh to accompany it.

The sound effects aided substantially in the performance. They helped the audience feel a connection with the actors and the unfolding story. The wind howled so realistically that I could almost feel it, and when the thunder cracked it made me cringe and expect the lightening to flash and the rain to being pitter-pattering around the theater. The unique floor-level stage of Allen Bales only added to the atmosphere and allowed the audience to feel like a participant in the action on stage.

The costumes and sets were perfect for the characters and the play, and I was most impressed with the scene change that turned the living room into an Egyptian tomb. The music chosen to play before the show began and during intermission was beautifully apropos, as most of the songs had a light melody with a mournful undertone, much like the play itself.

The Mystery of Irma Vep is the perfect mixture of comedy and gothic horror, of lightness and darkness, of original and oft-quoted lines, a show that has an appeal for almost every audience, both for those who wish for a light entertaining story and those searching for the hidden literary references that pepper the play. And, after all, who doesn’t want to see two men dressed as women quoting Shakespeare?

Nicodemus' pronounced cry of "I love you!" to the haughty housekeeper Jane tends to mirror the audience's initial reaction of The Mystery of Irma Vep: a delightful little horror performance reminiscent of Sir Arthur Conan Doyle's Hound of the Baskervilles mixed with Alfred Hitchcock's Psycho. However, it is Jane's proud response that perhaps actually captures how the audience really accepted Charles Ludlam's play: "No, you don't! It is just infatuation tinged with lust!"
A whirlwind of questionable sexual innuendos, rapid costume changes, and plot twists that even M. Night Shyamalan couldn't have seen coming, The Mystery of Irma Vep constantly keeps the audience's attention for the entire performance of Charles Ludlam's most admired and performed play. A self-proclaimed mystery, Irma Vep is not exactly a who-dun-it type of show. The mystery tends to lie instead in the fact that no one really knows what the hell is going on at times, the audience and characters themselves alike. Set in a an old mansion shrouded with secrets and and an uncertain past, this performance follows the drama of newly married couple of Lord Edgar, played by Guy Fauchon, and Lady Enid, played by Austin McDonald. Intertwined in their drama lies the motives and stories of two lesser characters, Jane, an educated and snotty maid, played by Guy Fauchon, and Nicodemus, a rough but lovable stable hand, played by Austin McDonald.
No. You didn't read that wrong. Irma Vep is indeed a 2-man show, hence the rapid costume changes the audience cannot help but marvel at. Sex changes never looked so easy.
The story is concerned with Lord Edgar's attempts to rid himself of the memories of his past wife, the late Irma Vep herself. A love story mixed with pet wolves and the death of their child, it is no wonder that Lady Enid craves, just like the audience, to discover what really happened in her husband's past life. Unfortunately for her though, the need for comic relief and unnecessary absurdity creates a plot so reliant on twists and shocks that the seriousness and sense of a mystery is completely lost to utter hullabaloo.
Flashy props like bleeding paintings, burning letters, and hidden cages force the audience to watch the play, but the question of their following the plot development is essentially guaranteed to be nonexistent with surface level attention. One could go as far to deem the first act sensible, even easy to follow. However, the second act really takes the goat with a random trip to Cairo that includes a dancing mummy (props to the stage crew though for a very-well rehearsed set change), a werewolf revelation, and an imprisoned vampire of sorts. While all elements are extremely humorous, all of them tinged lightly with sexual innuendos and the occasional music number from Psycho, they all leave the audience with one similar thought: "What the hell?" Or as Lady Enid herself puts it: "It just doesn't seem to make any sense, does it?"
But making sense is not really the point of Ludlam's play afterall. However, the audience may realize this too late in the game. Stop trying to figure out what will happen next or who did what or which character will try to kill who. Get caught up in the mystery, that's the point. A wonderful performance, the audience will want to love this play for all its humor and its attempts to frighten. However, at the end, love may be too strong an emotion. It really is all infatuation from the audience to the characters themselves, tinged with the lust of wanting to know too soon how it will all end. The seriousness of the theme is sadly lost amidst a few cheap laughs and colorful lighting. But for once, I think it is ok that madness has ruled out over reason.

Two Actors, Playing Eight Characters, A Werewolf, A Mummy and a Vampire, Walk Into A Bar

The stage darkens. Suddenly there’s a booming thunderclap. A wolf howls. The stage lightens and we see Jane, the maid, dusting a mantelpiece. Nicodemus, the caretaker, enters, dragging his leg.

Jane: Watch what you’re doing! You’re soaking wet! Don’t track mud in here!
Nicodemus: It’s God’s good rain, my girl.
Jane: It’s the devil’s rain. That’s what it is.

There is clearly no attempt to disguise the fact that Jane, played by Guy Fauchon, is anything but a man. Similarly, when Austin McDonald reenters as Lady Enid later on. The dialog is campy (as in, “It’s the devil’s rain”), the acting is overblown, and even the lighting and music are, well, theatrical. When a vampire attacks - yes, a vampire - later in the play, the lights flash red and the staccato violins from Psycho play. Oh right, not only is there a vampire, there’s a werewolf and a mummy too. Oh, and double right - all eight characters, four men and four women, are played by only the two actors - Fauchon and McDonald - who, with the velocity and stamina of decathletes, manage to pull the whole thing off.

And this is all part of what makes the production of The Mystery of Irma Vep, which opened the Allen Bales Theater Series last night, so wonderful. Everything is as over the top as it gets. Set against the backdrop of - well - somewhere on the moors, a newly wed Lady Enid has found herself attached to a manor with a curse - a roving werewolf named Vincent. As the plot thickens, we hear the story of Lord Edgar Hillcrest’s previous mistress, Irma Vep, who may have dabbled in the black arts of immortality. And all along there’s Jane - the maid - who, with darting glances and misleadings of the new mistress, Lady Enid, is clearly up to something. But what?

Irma Vep was written as part of Charles Ludlam’s Ridiculous Theater Company. It’s a pastiche play, frankly stealing from so many sources that it’s hard to keep track. Victorian melodrama, Alfred Hitchcock, noir, and gothic horror are just some of Ludlam’s sources. And nothing’s meant to be taken seriously. This is one of the rare venues where the joke, “It’s hard to marry an Egyptologist and find out he’s still hung up on his mummy,” might fly.

But finally, The Mystery of Irma Vep is not all fun. It seems almost providential that a play that takes crossdressing as the norm, and eats bad sex-puns for breakfast, should open the theater season at the University of Alabama - a school that just recently approved a sexual non-discrimination policy - one of the very last in the nation to do so. And so it’s also political and subversive - leaving you with something to think about; to carry with you on your way home.

The only flaw I might mention is that from where I was sitting, I couldn’t see through the French doors, where a lot of characters seemed to enter and exit. I’m still not sure if I missed anything there. But there’s so much else to see and laugh at - and, as I said, if nothing else, there’s the amazing work of Fauchon and McDonald astonishing us - that this is a don’t-miss play.

What Happened to Irma Vep?

“A man who dresses up as a woman can’t be all bad” is the line that sums up the performance of the Mystery of Irma Vep. An intriguing show with an amusing blend of comedy, drama, and horror lit up the stage at Allen Bales Theatre on Tuesday, February 12, 2008.

The unique tale of Irma Vep was played out by two men who split 8 parts between them as they took the audience on a trip back to old horror films complete with overdramatic gestures and silly jokes. It told the story of a man whose wife had been killed mysteriously and how his new wife has to figure out several occurrences involving strange monsters and scary adventures.

The play did get a bit odd at times, with such a different storyline, but it was fun to watch. The actors interacted very well with the audience, even making jokes with certain members and bringing the story alive in the already small theatre at Allen Bales. A few times during the production, the actors were so amused with their own parts that even they appeared to be on the brink of laughter. Their chemistry on stage, however, was brilliant and felt be all in the theatre.

The show runs for the rest of the week and I would recommend it to anyone who enjoys acting and fun jokes. The stage is set for an adventure and, who knows, maybe you’ll figure out what happened to Irma Vep . . .

Two Men and a lot of Monsters: The Mystery of Irma Vep

“Warning!! The Mystery of Irma Vep Contains: Burning Incense and Gunshots.” Thus reads the sign on the theater door, and it truly sets the tone for the performance to follow. A little kitchy, very self-aware, and truly hilarious, The Mystery of Irma Vep is a two-man triumph. Guy Fauchon and Austin McDonald tackle this challenging play, and I say tackle because it is a real physical feat to pull off a fast paced, cross-dressing, eight character portrayal of a horror story gone ever wilder. With mummies, werewolves, vampires and other such ghastly baggage, this play packs a real punch.

But it isn’t all fun and games. The wit and humor lead straight to an ending that leaves the audience more willing to believe the supernatural than the realistic explanation of the preceding events. The audience comes face to face with the question of appearance and truth. Only half the play takes place before their eyes, but what they see seems to demand belief. Can a verbal explanation supersede visual evidence, when both seem equally unlikely?

This is a play for the entertainment seeker and the philosophy lover. The humor ranges from sexual innuendo to literary jest. Author Charles Ludlam forms his play from open imitations of horror films and gothic writers. Edgar Allen Poe and Shakespeare share the stage with Alfred Hitchcock in a way that shows both the genius and the mischievousness of the author.

Actors Fauchon and McDonald carry off this show without a hitch. McDonald is a simpering, young wife and a remorseful murderer. Fauchon shines as a sinister, suspicious maid and a tortured husband. He is thoroughly convincing as either gender and his sense of the audience is remarkable. Both actors’ timing is impeccable, and they keep the necessary costume changes from weighing down the performance. It is delightful to suspend all disbelief and enjoy the traipsing on and off set, the shouting through walls and the hurling of dummies across the stage.

Not enough can be said about the intricate lighting and sound that makes the performance feasible. The music is perfectly timed to build suspense and enhance every wonderfully exaggerated climax. And don’t worry; there will certainly be burning incense and gunshots, along with a good dose of howling.

Watch out for all the film and literary references, appreciate the cross-dressing humor, and most importantly figure out the significance of Irma Vep. Don’t worry about where you’re sitting, either. This play is a gem from any seat in the house.

Now Playing

REVIEWS COMING SOON FOR

The Mystery of Irma Vep, by Charles Ludlam
Allen Bales Theatre
Tuesday - Saturday at 7:30pm
Saturday and Sunday at 2:00pm

A campy tribute to the world of Gothic horror films, Charles Ludlum liberally steals from well-known film classics like “Wuthering Heights”, “The Mummy’s Curse”, and Alfred Hitchcock’s Academy Award winning “Rebecca”. Literary buffs will also discover dialog neatly lifted from the classic works of Ibsen, Shakespeare, Poe, Oscar Wilde, and others. Two actors wiz through this story of murder and mystery, portraying all eight characters while zipping in and out costumes in a marathon of monsters and madams, all while speedily traveling the globe in pursuit of answers too bizarre to behold. A comedy like no other, “The Mystery of Irma Vep” will leave you whirling - from laughter or madness. [From the Department of Theatre & Dance Web site.]

Tickets available at www.crimsonartstickets.com.