Sunday Night Sondheim: Agony (from Into The Woods)

 

YouTube video – “Agony”

“Agony” from Stephen Sondheim’s Into the Woods.

This recording is from October 2006 at Greenville Little Theatre in Greenville, NC – Will Ragland as Cinderella’s prince, and Peter Simms as Rapunzel’s prince.

NOTE: I have to say this is the most beautiful set I’ve ever seen for this show.  Well done Greenville!

REVIEW: Kink (Annoyance Theatre)

Kink it is-—NOT!

 

kinkposter 

Annoyance Theatre presents:

Kink

 

By Rachel Farmer, Mikala Bierma and Christina Boucher
directed by
Rebecca Sohn
Musical directed by Lisa McQueen
through March 6th (more info)

review by Paige Listerud

GREG: I’m a workin’ man, sellin’ Coke and wearin’ a thong . . .

I’m a workin’ man, wearin’ panties everyday

I’m a workin’ man—God bless the USA!

A word of advice to musical comedy creators out there: christen your show with a title like Kink and the pressure is on to deliver. Either deliver the kink–or a piercing commentary on kinkiness—or change the title. By putting “Kink” out front like that, you’ve set up your audience with expectations of being blown away, metaphorically speaking.

kinkposter The song “Sex Is Everywhere” kicks off a new musical by Mikala Beirma, Christina Boucher, and Rachel Farmer at Annoyance Theatre, directed by Rebecca Sohn. It’s almost as if they are telegraphing their dilemma. With every sexual persuasion just a mouse click away, the ubiquity of sex leaves less power to shock and titillate. The trouble is, that same ubiquity also gives sexual situations within comedy less power to shock or amuse. So where do you get your laughs from now, bitches?

Well, the creators of Kink demonstrate that you can still get them; if you’re willing to go deeper. They hit it on the head while exploring the earnest emotions of tomboy Julie Allman (Rachel Farmer), who, in the song “Acceptable Girl,” just wants to play high school girls’ basketball, not try out stupid dresses for prom. They achieve it through exploring her sister Tammy’s lofty, teenage romantic fantasies. The tune “Love Conquers All” dredges up every fucked-up, pop-culture depiction of love that Tammy (Christina Boucher) accepts as absolute truth. If a girl and a vampire . . . or a girl and a werewolf . . . or a guy and a mermaid can find true love, then so can she.

In fact, the character of Tammy Allman is pure comic gold. She hardly suspects what life’s really all about but she is ready to take the perilous plunge in “I’m getting ready for my life.” Boucher’s delivery of Tammy’s big number during half time at the homecoming basketball game, “Sweat Pants Dance,” shows utter comic commitment. By mid-show, the sound of Tammy’s voice alone had me giggling automatically.

But comedy surrounding Mom and Dad falls flat in this ultra-suburban setting. Nancy Allman (Mikala Bierma) and her husband Greg (Rachel Farmer) have desires they’ve never admitted to each other. Nancy wants to be a dominatrix and Greg loves to cross-dress. But other than the patriotic flourish with which Greg expounds on his love of ladies’ undergarments, not much comedy is generated out of their unfulfilled desires. It’s as if the creators agree with Tammy and Julie’s discussion of their parents, late at night in their bedroom:

JULIE: That’s not love. Look at Mom and Dad.

TAMMY: They fell in love at first sight!

JULIE: Yeah, and now their lives are over.

It’s clear Bierma, Farmer, and Boucher haven’t worked through all the comic ramifications of “Can This Marriage be Saved?” with Nancy and Greg. A longstanding advice feature of Ladies Home Journal, “Can This Marriage be Saved” has obviously been supplanted in the Kink universe by the overwhelming philosophical presence of Oprah and Dr. Phil, an issue address with the song, “Hallelujah, Oprah!”

As it is, the show handles sexual content bombastically and superficially, rather than getting to the center of disconnection between long-married husband and wife. As late night entertainment at Annoyance, one expects the limits on language and sexuality to be pushed and the blow-up dolls to be tossed around. But having crossed that Rubicon, it’s pushing the truth on human sexual experience that really makes for outrage.

 

Rating: ★★

 

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REVIEW: Elixir of Love (Lyric Opera)

The elixir works, audience swoons!

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All photos by Dan Rest

Lyric Opera presents

The Elixir of Love

 

By Gaetano Donizetti
Libretto by
Felice Romani
Conducted by
Bruno Campanella
Stage directed by
Giulio Chazalettes
Thru February 22nd  (more info)

By Katy Walsh

09. Gabriele Viviani, Nicole Cabell. The Elixir of Love. DBR_4986 c. Dan RestWe’ve seen it before – a guy in love (lust?) uses alcohol to overcome his shyness and catch the girl. Lyric Opera presents their own version of this scenario in The Elixir of Love by Gaetano Donizetti. Nemorino is in love with Adina. Adina is playing the field by flirting with a touring soldier, Belcore. To win Adina’s heart, Nemorino buys an elixir from a traveling peddler, Dulcamara. The potion is actually of bottle of Bordeaux. Eager to make a little cash, Dulcamara proclaims the miracle tonic clears up the complexion, cures joint pain and makes people fall in love. Due to a series of circumstances, all the village women try to court Nemorino. Both Adina and Dulcamara are stunned to observe Nemorino’s popularity. And all ends up well in the end.

Sung in Italian with English subtitles, The Elixir of Love has the signature opera element of multiple characters singing different words simultaneously for a rich sound. Unlike many operas, this show is a light hearted romantic comedy.

To be a principal in an opera, the prerequisite is a fantastic singing voice; an ability to act is not a deal breaker. Making his Lyric Opera debut, Giuseppe Fillanoti (Nemorino) is the full entertainment package. He can sing. He can act. And he’s nice to look at. Fillanoti plays the romantic lead with innocent simplicity and comedic timing. In the show’s most familiar aria “Una furtiva lagrima” (“One furtive tear”), Fillanoti is flawless in his soulful celebration. Holding her own, Nicole Cabell (Adina) is a playful match for Fillanoti. She sings through a range of personas: light-hearted flirt to strategic game player to nervous competitor to woman in love. Although Fillanoti and Cabell are cast perfectly together, their harmonious coupling will end with their February 5th performance. Frank Lopardo (Nemorino) and Susanna Phillips (Adina) will take over the roles from February 7th thru 22nd. The rest of the cast will be featured for the entirety of the run including the wonderful performances of a cocky Belcore (Gabriele Viviani), smooth-singing salesman Dulcamara (Alessandro Corbelli), and village women leader Giannetta (Angela Mannino).

06. Act 1, The Elixir of Love. RST_2054 c. Dan Rest 11. Alessandro Corbelli, Nicole Cabell. The Elixir of Love. DBR_5233 c. Dan Rest
04. Nicole Cabell, Giuseppe Filianoti. The Elixir of Love. DBR_4630 c. Dan Rest 07. Giuseppe Filianoti, Alessandro Corbelli. The Elixir of Love. DBR_4818 c. Dan Rest

Though the cast shines, the creative design is lackluster. The costumes and set of The Elixir of Love are stagnant. Having anticipated the theatrical spectacle as is the Lyric Opera style, it’s a little disappointing. But as a consolation, LO does bring out a live horse on stage pulling the peddler’s wagon, though – because of the massive stage – the horse blends in with the 50+ villagers chorus. (I can’t help but question how Lyric gets a horse inside the Civic Opera House and where does it stand between scenes. As classy as the Lyric is, I like to imagine that the horse has his own dressing room equipped with the best carrots and saddle soap.)

Just in time for Valentine’s Day, The Elixir of Love is the perfect date opera. It’s a romantic comedy that has a happy ending. This is not always the case in real life or on the opera stage, so enjoy it while you can.

 

Rating: ★★★½

 

03. Nicole Cabell, Giuseppe Filianoti. The Elixir of Love. DBR_4609 c. Dan Rest 15. Alessandro Corbelli. The Elixir of Love. RST_1172 c. Dan Rest 13. Giuseppe Filianoti. The Elixir of Love. RST_1022 c. Dan Rest

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