Dreams Come True on Journey "Into the Woods"

Once upon a time, well, actually a Tuesday evening in April, a talented troupe of students performed Stephen Sondheim's celebrated musical Into The Woods at the Gallaway Theatre on the University of Alabama campus. Join them, if you dare, on their musical journal into the dark forest where make-believe and reality collide.

With superb music and lyrics by Stephen Sondheim, this show is sure to bring a smile to your face and a song to your heart. James Lapine's book-turned-musical explores the lives of our favorite characters including Cinderella, Rapunzel, the Baker and his wife, and Jack (of beanstalk fame). The daily happenings of these fairy tale friends intermingle with hilarious interactions and touching dialogue that is a joy to the audience.

The Baker, played by Blake McCorvey, and his wife, played by Sadie Magadanz, enter the mysterious woods to secure four objects required to break the curse put on his, sorry, their home by a witch, played by Dianna Duffy. The Baker and his wife are desperate for a child to call their own and will stop at nothing to obtain the items needed to lift the curse. McCorvey performs the music flawlessly with beautiful timbre and sincerity and Magadanz also does a great job conveying the relationship between husband and wife. Duffy plays the part of the witch with enthusiasm, though she seemed to lose some of her fervor in the second half.

Without a doubt, some of the most impressive musical performances are by Katie Burton as Cinderella and Kelly Ann Shamburger as Rapunzel. Burton's clear, perfectly pitched tone is faultless at all times and Shamburger's lilting melodies sung from offstage are absolutely gorgeous. Both of these ladies also conveyed the personalities of their character with ease. Stephanie Marie Mosley once again showcases her immense talent with a stunning performance as Little Red Riding Hood who is en route to visit her grandmother, of course, through the woods. Mosley brings such life to a familiar character that destroys all your past preconceptions about Little Red and ensures hilarity.

What fairy tale would be complete without a prince? Make that two princes, brothers actually, both pursuing the girl of their dreams. David Cordell plays Cinderella's prince majestically and interacts well with Rapunzel's prince played by Jeff Ingram. Along with Jack, played by Jake Boyd and his trusty cow and audience pleaser Milky White (Sarah Ondocsin), this all-star cast features some of the finest talent in residence here at UA.

The set design by Andy Fitch and Rick Miller is just phenomenal. Utilizing "Wood Sprites" to maneuver just a few pieces of convertible scenery, the action is fast paced and doesn't slow down the storyline or interrupt the show. The rearranging of the set becomes part of the show and helps create the feeling of uncertainty and variability that might occur should one find themselves lost on a journey "into the woods."

The last theatrical performance at UA this semester is sure to be a delight to all audience members. You'll leave the theater with a new found appreciation for "happily ever after" and the knowledge that "happy" is what you make it. Come learn that the destination is not half as important as the journey, as you travel "Into the Woods."

Do you dare venture Into the Woods?

On Tuesday night at the Gallaway theater, we in the audience were haunted by two simple lines of dialogue as we learned the dangers of going Into the Woods:

"Everything will work out fine in the end!"
"Not always."

Stephen Sondheim's haunting and unconventional melodies and lyrics combine with a book both witty and thought-provoking in this fairytale gone askew. In the first half of the show, familiar characters such as Jack (of the proverbial beanstalk), Cinderella, Rapunzel, and Little Red Riding Hood are encountered by a childless baker and his wife on their quest to gather items for a wicked witch in order to have their curse lifted. As these fairytale characters go through the motions of their respective stories, they repeatedly encounter each other with often hilarious results. However, when the lights go up on Act II, there is unrest in Happily Ever After, and the characters embark on a both moral and physical journey, fighting for their peace of mind and their lives.

The writing, both of music and book, is superb. Lyrics are clever, sometime punning, other times putting a twist on a familiar tale. The characters are humanized when they begin to sing, transforming from the flat storybook-types one would expect into men and women who are a little excited and scared, who sometimes want more even after "happily ever after," who question what they wished for and what they've done with their lives so far. After a point the book and lyrics become more unified as the tone of the play darkens, and overall the two components--music and dialogue--fit together nicely. True, someone who has never heard or seen Sondheim might not immediately take to the way he chooses to juxtapose vocal and instrumental melodies, but I believe that anyone will ultimately warm up to it because it is so appropriate to the context of the play.

Director Seth Panitch and choreographer Rita Snyder mean business; the actors utilize the stage in effective and sometimes surprising ways. The wood sprites, whether dancing about or moving scenery, remain in character and seem a natural (pardon the pun) part of the mysterious woods. When the cast sing, they are lively and active; and when they speak, they never stay in one place for long. The pace is appropriately balanced, speeding through witty banter and joking and putting on the brakes now and then for serious, contemplative songs and dialogue. And certainly every part is well-cast; the actors take on their roles wholeheartedly, presenting favorite old storybook characters just as one might expect them to be--and then some. If ever the witch seems over-the-top, if ever Rapunzel seems far too sweet, if ever the Narrator seems stereotypical and far too enthusiastic, it is the nature of the character, wholly appropriate to the humor and even satire of the story. To praise the production further, the characters' costumes are vibrant and well-suited to each of them, from the highly amusing getup donned by Milky White, Jack's cow, to the standard royal finery of the princes and Cinderella. The set is an important element in the storytelling and, again, the characters play off of their surroundings well.

Into the Woods is not a cut-and-dried fairytale; there is a balance between reality and happily ever after even in this imaginary world. And one cannot help being absolutely sucked in to the tale: as the baker, holding his new son, wracked by the inner turmoil of a moral dilemma and wondering what course of action he should take, was joined by his wife, who sang, "Sometimes people leave you halfway through the wood. Do not let it grieve you; no one leaves for good…" I was shocked to suddenly feel big fat tears welling up in the corners of my eyes.

In the end, the choice is yours--you will laugh; you will think; you might even cry; but you'll never know unless you make the long, dark journey yourself--Into the Woods.

Happily Ever After...At Least for the Audience

Have you ever wondered what happened in your favorite bedtime stories after the "happily ever after"? Sometimes fairy tale endings aren't as wonderful as they seem...and there may be more to the plot than you thought. UA's production of Into the Woods adds some surprising and hilarious twists to the fairy tales you thought you knew and leaves the audience with the feeling that, although the stories aren't neat and perfect, there is hope for a happy ending.
Several classic Grimm's Tales overlap in this musical comedy, including "Jack and the Beanstalk," "Cinderella," "Repunzel," and "Little Red Riding Hood." The characters are dynamic and full of life--hardly the fairy tale characters we're used to. Each has a wish, and each strives to have his wish granted, causing a series of unexpected and often very funny events that leads the audience to believe that maybe wishes fulfilled aren't all they're cracked up to be.
This production truly has value as a comedy. The collisions of the characters as they bumble their way through their stories make for some very funny episodes of misunderstanding, conflict, and cooperation. The endeavors of two shallow princes to win their lady of choice, the unexpected sass of a little girl in a red cape as she encounters a wolf, and the arguments between a baker and his wife put the audience in convulsions of laughter. A lighter mood helps take some of the gravity off of the heavier themes of disappointment and disillusionment, and add a humorous element to the lessons the characters learn along their paths through the woods.
The music of this production is spectacular, truly enhancing both the comedic and the serious moments of the show. The musical numbers give the show a professional and well-rehearsed feel. The constant interweaving of music into the plot is natural without being overbearing, and doesn't draw the production out too long or detract from the story. Instead, music gives the show a more whimsical quality. The funny lyrics create some of the most hilarious moments of the production. The actors have stupendous voices, and their acting leaves nothing to be desired. They seem to enjoy their roles, and that helps to bring the audience with them into...well, the woods, where magic is real and singing your heart out is an acceptable form of self-expression.
The scenery, too, helped to create the illusion of place, and the constant shifts of scenic elements left me feeling as if I was lost in the woods myself, drawing me into the aura of the fairy tale. The costumes are entirely appropriate for this production--slightly surreal, magical, and altogether enchanting.
Into the Woods is engaging and simple, its meanings clear. Even though the characters' stories don't quite go exactly as they planned, the production is definitely a happy ending for the audience. It made us laugh, and leaves us with the desire to go Into the Woods.

Oddly Funny and Entertaining, Hummm...

No need to "call Dr. Pepper," that's just you side spliting from laughing so hard. I'm not really sure if it's the lost in transition Spanish speaking brothers trying to figure out if it is "nougat or no good," the bitch fit over a terribly burned duck, or the constant arguing between Olive and Florance (where Florance told Olive off). Whatever it was, it oddly worked perfectly and was completely entertaining!

The Odd Couple (the female version) opened April 15, at the Allen Bales Theatre to an almost packed house of theater goers. Yet, the play wasn't short of its share of regular comedic antics and cruda jokes. For instance when Florance Unger (Jessie Towey) was confiding in brothers from Spain Manolo "Mannie" (Lawson Hangartner) and Jesus "Jess (pronounced haze)" Contavuela, they told her "to get it up, we all do!" But, the play offered more. It dealt with an issue that we as college students or adults face; the incompatibiliy of roommates!

The play centers around free spirited, happy go lucky Olive Madison (Kristi Wiley) a journalist, who opens her home to friend Florence Unger a recently divorced, domesticated, neat freak, house wife; that's where the distress begins. Everything the roomies do irked the other. Like the fact that Olive is a slob or Florence's allergy induced hawking (sorry about that roomy), it's one thing after another; what was these ladies thinking? Why didn't they just kill each other? Like any well rounded group of friends there were those interceptors, in this play that ensemble inculded: Vera (Denee' Miller), Renee (Deletha Edwards), Mickey (Alice Aycock), and Sylvie (Regan Stevens). This is not by any means an episode of sex and the city. Follow the colorful group and see a little bit of yourself as well; as the talented cast demonstrate how you can love a friend but can't live with them.

The original version of this play opened on Broadway in 1985. UA's production director Kenmicheal Stafford did a wonderful job of bringing the play up to date, making it even more relatable. Scenic Designer Tracey Gamble, created a neat New York style apartment that is sure to make you feel like you are at home waching your TV, and not sitting in a theatre looking at a play.

So come out and bring your roommate, sit back relax and watch someone else battle out your problems. The Odd Couple (female version) is sure to leave you either loving or hating your roommate more, but at least you'll do it laughing until your sides hurt! and maybe you can find "what's the strongest muscle on a man...before and after..."

The Odd Couple Offers a Refreshing Look at Theatre

The UA Department of Theatre and Dance performed Neil Simon’s The Odd Couple on Tuesday, April 15, at the Allen Bales Theatre on campus. It was an extremely well done show and very funny. The cast members put their heart into the performance and did an excellent job of capturing the oddly paired roommates and friends.

The best job of all was definitely done by Jessie Towey who played Florence Unger, she became her character to the point where even her appearance took on a look of meticulous cleanness. She made the show come alive with her vitality and effort. Also, Kristi Wiley, who played Olive Madison, did a great job of being completely comfortable in her own skin as she paraded around in her dirty apartment getting in on all the jokes and fun. The whole cast made the show a very light-hearted affair that kept the audience laughing and on their toes until the end.

The details of production were very well done too. The play took place in Allen Bales theatre which is a round stage and there was one set for the entire production. However, it was so well set-up that the audience could imagine the comfortableness of the apartment and sense all the actions happening within.

The show was one of the best I have seen performed at the University this semester and was a great chance to get a good laugh with friends. Anyone who has not seen this show really should make their way to a theatre the first chance they get!

Personalities collide in female Odd Couple

Sometimes, two things just can't go together. Or, when forced together, they are so different that they create conflict of near-epic proportions. The Odd Couple, which opened Tuesday night at Allen Bales theatre, is the chronicle of one such incident. It is the story of a group of friends, all of whom have their share of problems. One of the girls' problem is loneliness; another just separated from her husband. Simple solution, right? They decide to room together, thinking their problems are solved; however, as when any two distinctly different personalities collide, conflict soon ensues.

The play, while cleverly written by the playwright Neil Simon, seems to stall somewhere in the middle and the end just drags painfully to a too-abrubt conclusion. The first half of the play is entertaining and goes quickly; however, after intermission there seems to be no apparent action and the audience is left waiting for something to happen. The play ends with the audience still waiting - waiting and wondering if it really is over.

The play does have its redeeming points. The dialogue is cleverly written, and the characters well put-together. Neil Simon does a good job of treating serious matters with the right touch of levity. This allows the audience to experience the pain of Olive's loneliness and of the break-up of Flo's marriage while not dragging their emotions through the mud as well. They can be touched while keeping their hearts completely intact. The audience feels bad for the characters while laughing with and at them. The truly tense moments, such as Flo's and Olive's confrontation towards the end, are interspersed with comedy to lighten the mood. While the play deals with very solemn issues, it leaves the audience as lighthearted when they leave as when they came in.

Despite the flaws with the script itself, the actors did an excellent job. They made a scriptally tedious second half enjoyable. Sylvie had a pretty authentic-sounding New York accent that was not difficult to understand, and only once did the audience catch Olive getting a little too southern ("why don't y'all just have a seat"). Florence was great at being annoyingly needy and melodramatic without being too irritating. Vera was believably absent-minded and Micky wonderfully sarcastic. The actors saved what would otherwise be a tedious play after the intermission.

The set, too, was apropos and set the mood for the play. The mis-matched furniture visually depicted the mixed personalities within the group of friends, and each person's costume reflected her personality well. Vera wore cute little dresses; Micky jeans and a t-shirt that said NYPD, Olive fun and colorful combinations, and Florence very conservative outfits. The audience got an exact impression of each character's personality just by looking at what she wore. The music was uplifting and catchy. Many walked out of the theatre whistling or humming something that was played.

Although the plot of the play was not the most riveting, the acting, the set, and the costumes more than made up for the problems with the script. The good, entertaining acting did indeed conflict with the more tedious script, but, in this case, unlike Flo and Olive's disastrous clash, the result was a show worth seeing despite its flaws. In the words of Olive, I suggest that you go see The Odd Couple "actually, physically, and immediately."

Now Now, Big Girls Don't CRY

Yes yes, it's true: tears were flowing heavily at the Allen Bales Theatre for The Odd Couple's opening night, this past Tuesday, but not the kind of tears you're thinking of. Bursts of laughter, I'm sure, could be heard from outside the theatre as leads, Olive and Florence's provocative humor demanded attention; knee-slapping attention, that is. With witty Trivial Pursuit hilarity, two zany Spaniards, six eccentric and quirky women, and some actual heart-tugging themes throughout, The Odd Couple is not one you should skip out on this semester.
When poor, helpless Florence "Flo" Unger (Jessie Towey), gets divorced from her husband and threatens to kill herself, she's got nowhere to go except for her dear friend, Olive Madison's (Kristi Wiley) apartment. Between an avid game of Trivial Pursuit and the latest gossip, the rest of the gang; Sylvie, Micky, Renee, and Vera attempt to ease her frustration with some pretty funny suggestions. It's decided that uptight, obsessive compulsive, neat-freak Flo will move in with sloppy, lazy, go-with-the-flow Olive so that she'll have a place to stay. As time passes, the two are at each other's throats, and Olive soon realizes she can no longer have her especially messy apartment "messed up" by Flo who basically follows her with a feather duster. Though, by chance the two get thrown into dinner plans with the especially good-looking Spanish brothers down the hall and learn a little more about the other's point of view. Enough is enough, though, and Olive kicks poor Flo out; But it turns out to be a good thing! The two end up learning what self-respect looks like through each other's flaws.
As far as the set went, I wasn't impressed. Though quite functional, it seemed to be mismatched, and it clashed with the various characters' costumes. Couches, tables, and wall hangings just didn't look right. I have to give it to scenic designer Tracey Gamble for constructing a practical layout that was serviceable to the audience from all sides.
And acting! Did I forget acting?! Well, before I move to the leading characters, I have to give it up to Regan Stevens, a freshman this year, who played the impatient Sylvie. Her flawless New York accent was all-too convincing while her facial expressions and subtle, furtive glances caught my eye every time she was on stage. Furthermore, leads Wiley and Towey provided the play with rivaling talent. Wiley threw herself about stage fearlessly, not missing a beat with every joke, scowl, and toss of the newspaper. Her talent was obvious, yet I wondered if she could play any other type of character; Her sarcasm and wittiness seemed almost inherent. Towey really showed off her ability, as well though it seemed a little less natural. She perfectly embodied the typical obsessive, "neat and tidy" wife role and did a fabulous job at driving everyone crazy.
The disappointments were minimal, the merriment in great supply. So, don't miss this one, ladies and gents. Its sure to give you some hearty chuckles and perhaps even some loud one, and you're definitely in for a truly important life lesson: Big girls don't cry.

"Odd Couple" Won't Disappoint

Laughs were not in short supply at the Allen Bales Theatre as Neil Simon's The Odd Couple (Female Version) opened Tuesday evening. Directed by Kenmichael Stafford, this comedy based on the relationship between two newly divorced best friends-turned-roommates promises a wonderful evening full of fun and surprises.

Recent divorcee Olive Madison (played by Kristi Wiley) persuades best friend Florence Unger (Jessie Towey) to move in with her after the breakup of Florence's fourteen year marriage. What seems like a brilliant idea for two friends turns into a disaster as Olive's slovenly ways and Florence's neat-freak obsessive cleaning clash for a comedy of epic proportions. Kristi Wiley is over-the-top funny as Olive and interacts beautifully with the talented Jessie Towey as Florence. Towey's perfect facial expressions that served her well in UA's The Government Inspector and subtle nuances lead us to believe that she really is the recently separated mother of two with a love for cooking and cleaning. Wiley expertly delivers witty lines and uses animated gestures that bring Olive to life. Together with friends Sylvie (Regan Stevens), Micky (Alice Aycock), Renee (Deletha Edwards), and the delightfully dimwitted Vera (Denee' Mills), Olive and Florence must learn to live with each other, for better or for worse.

Filled with clever dialogue and sharp one-liners (sometimes that go right over the audience's head), The Odd Couple races to an amusing climax complete with a date with handsome Spanish brothers. Manolo Costavuela and his brother Jesus find themselves on a double date with Olive and Florence that leaves the audience rollicking with laughter. The hilarious exchange playing on the intricacies of English colloquialisms and the language barrier dividing the Spanish men and New York women is one of the highlights of the show. The Costavuela brothers are played with suave Spanish flair (though sometimes not entirely believable) by Lawson Hangartner and Elliot Moon to bring another dimension of comedy to the play.

Excellently executed on a detailed stage designed by Tracey Gamble, The Odd Couple showcases the immense talent here at the University of Alabama. The wonderful case and crew of this spring's final Allen Bales production make this a must-see for all of us who need a little laughter to brighten those last few weeks before finals. Take a break from paper-writing and Facebook-ing to enjoy the skill of UA's theater department as they perform The Odd Couple. I guarantee, you will not regret it.

Much More Than Just an "Odd Couple"

If you have ever had trouble differentiating between the word "nougat" and the phrase "no good," then The Odd Couple, showing through April 20 at Allen Bales Theatre, is the production for you. This is not the regular version that you might have previously seen; this production of The Odd Couple is the female version of Neil Simon's Broadway play. However, do not expect any less comedy or wit than the original.

The Odd Couple focuses on two women, Olive Madison, played by Kristi Wiley, and Florence Unger, played by Jessie Towey, who become roommates after Florence's husband calls for a divorce. Even though Olive and Florence are best friends, being roommates is a totally different story; they are basically the complete opposite of each other. The two are joined by a rambunctious group of friends, played by Alice Aycock, Deletha Edwards, Denee' Mills, and freshman Reagan Stevens. These women spiced up the play with their one-liners and were always there to help Olive or Florence out whenever either was in a messy situation. Also joining the cast were two Spanish brothers, Manolo Costavuela, played by Lawson Hangartner, and Jesus Costavuela, played by Elliot Moon, who live on the second floor of Olive and Florence's apartment building.

The character development and relationship between Olive and Florence was wonderfully executed; no other two actresses could have done a better job of portraying best friends who are ironically, complete opposites. Sitting in the audience, I truly believed I was watching two roommates fight over household chores and chase each other around like sisters. Sylvie, played by freshman Regan Stevens, not only had a perfect New York accent, but also executed her sometimes shady one-liners flawlessly. Vera, played by first timer Denee' Mills, was a great fit for her somewhat confused and out of the loop character.

The most memorable scene of the play had to be the interaction between Olive, Florence, Manolo, and Jesus during their "dinner date." The confusion between the Spanish and English language and the overdramatized reactions of the two Spanish men were filled with absolutely hilarious dialogue. This was truly the high point of the show.

The Odd Couple is not just a show for people who want to relate with others' roommate troubles, but it's a show for everyone who loves a good dose of humor portrayed in everyday situations. I highly recommend seeing this show for a good laugh and a taste of talented acting from UA's theatre department.

A Barrel of Laughs All in a Night's Work for this "Odd Couple"

If you asked a group of typical UA students what they're doing this week, you'd probably hear a few of them say that they are going to see the sold-out female version of The Odd Couple, Neil Simon's comedy that replaces the idiosyncrasies and pranks of the beloved Felix and Oscar with the hormones and neuroses of New York women Florence and Olive. This dynamic cast is led by Jessie Towey and Kristi Wiley. Towey portrays Florence, the neurotic, paranoid, obsessive-compulsive hypochondriac whose mood swings and chronic "nerve spasms" result in night-and-day personality shifts. She says that she drives everyone around her crazy, citing the fact that she was once kicked out of the office of a marriage counselor as proof. Wiley's Olive is her polar opposite: a hopeless romantic who is still a marionette to her gambling user of an ex-husband. She is possibly the sloppiest person known to man with a very go-with-the-flow attitude towards life, resulting in an apartment in the condition of a pig sty.
Their group of friends is no less eccentric. First there is Renee, the most laid-back, empathetic, and realistic of the group. She is played by sophomore Deletha Edwards. Mickey, the police officer (portrayed by senior Alice Aycock) who is obviously a more dominant personality, is very blunt and very feminist. Then there is Sylvie, played by freshman Regan Stevens. Sylvie is a pistol of a woman, with an extremely acerbic wit to boot. In response to the question "How many times do penguins have sex?" and its answer (one), she immediately responds "Oh, well I married a penguin!" Her short temper also seems to put her in conflict with the last of the friends, Vera, played by junior Denée Mills. Vera is the very oblivious and dim-witted friend who wears horrible print patterns that bring back the not-so-fond memories of the 80's and is obviously very out-of-touch with reality. However, the two men of the show, the proverbial "roosters in the henhouse," if you will, steal the show. Lawson Hangartner and Elliot Moon play Spanish brothers Manolo and Jose Costazuela, who happen to be Olive's neighbors. These two "caballeros" are the suave kind who evoke images of Ricky Ricardo, complete with heavy Spanish accents and constant misuse of complicated English idioms.
The basic plot revolves around Florence and Olive. Florence's husband leaves her after fourteen years of marriage. She goes to stay with her best friend, Olive, who deals with her hysterics and eventually asks her to move in. Their diametrically opposed personalities added to Florence's constant whining, eccentric and egocentric behavior, and sometimes obsessive need for organization nearly drive Olive and their friends to the brink of insanity. The play is filled with sharp, witty one-liners and hysterical, speedy back-and-forth dialogue abundant in both subtle pop culture references and cheeky innuendo, similar in style to the banter of T.V. favorite Gilmore Girls. If you like a hefty dose of laughter combined with a cast of unique and dysfunctional characters, then I strongly recommend that you go see the Odd Couple at the Allen Bales Theater this week. In fact, I think I'll have a nerve spasm if you don't.

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.

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.