REVIEW: Winter Pageant 2010 (Redmoon Theater)

 

TV-inspired ‘Pageant 2010’ pales next to previous editions

 

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Redmoon Theater presents
  
Winter Pageant 2010
   
Created and directed by Seth Bockley
Redmoon Central, 1463 W Hubbard  (map)
Through Jan. 2   |  
Tickets: $10–22  |  more info

Reviewed by Leah A. Zeldes

Redmoon Theater’s nearly annual, alternative take on an all-ages family holiday show, Winter Pageant, typically showcases the progression of the seasons and celebrates the return of spring, while avoiding religion, hackneyed holiday themes and Christmas commercialism. This year, alas, it also avoids innovation and runs short on pageantry.

A takeoff on the early-1970s TV sitcom "The Partridge Family," the show, just over an hour long, follows Rita and the Seasons, a family band consisting of Rita (Kasey Foster) and her four children, Summer (Eric Prather), Fall (Alex Knapp), Winter (Carly Ciarrocchi) and Spring (Matt Rudy, played on opening night by understudy Felicia IMG_7127Bertch). It’s 153 years after their ’70s success and the family are now all cotton-wigged, doddering geriatrics — depicted with a full complement of cheap, stereotypical jokes about dimwitted, disabled old people, from shaky Rita in  orthopedic oxfords and pastel print housedress to Summer in unzipped plaid pants to an unfocused Fall with a walker. Still the ruling matriarch of her clan, Rita receives an unexpected package one day, which proves to be a magical box of memories of the group’s heyday that temporarily restores them to youthful vigor.

Each band member then reenacts his or her personal hit. The original music by Mikhail Fiksel, with lyrics by Creator/Director Seth Bockley, takes us on a mini-tour through 1970s musical styles, with Rita’s funk, surf rock from Summer, folk-rock from Fall and Winter and bubblegum pop from Spring, the baby of the family. The songs are bouncy and the singers good — these are the best parts of the production — but the show’s creativity seems to have stopped there.

More intimate than Redmoon’s usual spectacles, this show is mainly set on a small stage with only a few props. It’s all done with artistry, but there’s little here we haven’t seen before. No marvelous new gadgets or impressive puppetry mark this year’s pageant. It features such typical Redmoon tropes as scrolling cantastoria, shadow  puppets, a few rod puppets and some ugly quilted soft toys, which carry out the cartoonish theme of the appliqued fabric backdrop. The glass-headed astronaut costume makes its inevitable appearance, accompanied by a cute space cow and the inexorable bubble machines.

DSC_0981"This year, we have been inspired by the sounds of classic rock and roll, and influenced by vintage cartoons and nostalgic T.V. shows," wrote Bockley in the program. "These forms of entertainment are a common language across generations."

Maybe so, but they’re a tired one. It’s disappointing to see Redmoon, which has produced such magical and creative performances in the past, turning to television for its inspiration, and such tiresome TV at that. Even its star, teen heartthrob David Cassidy, thought "The Partridge Family" was silly and saccharine.

If you’re willing to expose your kids or grandkids to TV-based comedy that mocks the elderly, they’ll likely have a good time. Nostalgic Baby Boomers who aren’t sensitive to digs about aging may enjoy it, too. I’m not sure what’s there for the generations in between, except amusement at the quaintness of the entertainments of their elders and reinforcement of youth’s smug conviction that they’ll never get old.

   
   
Rating: ★★
   
   

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REVIEW: Kennedy’s Children (Promethean Ensemble)

  
  

Kennedy’s Children, all grown up

 

 scene from Kennedy's Children at Promethean - photo by Tom McGrath

       
Promethean Theatre Ensemble presents
   
Kennedy’s Children
   
Written by Robert Patrick
Directed by Terry McCabe
at
City Lit Theater, 1020 W. Bryn Mawr (map)
through Dec. 5   |  tickets: $20  |  more info

Reviewed by Barry Eitel

In a theatre world where children of the ‘60s are being edged out by Millennials, Robert Patrick’s 1974 eulogy for the Kennedy era, Kennedy’s Children, seems a tad dusty. It touches on over-exploited “what did the flower children really achieve” themes, but can keep its freshness more often than not. Although the play—more of a series of monologues, really—could easily fall into becoming another diatribe bemoaning the 1960’s, Patrick’s skilled use of language and narrative saves us from that fate. Promethean Theatre Ensemble’s production, directed by Terry McCabe, sees a link between the disillusionment of the 70’s and the disillusionment of post-“Yes We Can” America. The connection is there, although the relevance is clouded by the history lessons. Promethean’s production never escapes being a period piece, but it’s one that still resonates.

Kennedy's Children at Promethean - photo by Tom McGrath 2 McCabe and his team don’t mess with Patrick’s script at all, refusing to deconstruct, overanalyze, update – or whatever the kids are doing this season. Instead, they opt for a straightforward production that presents the play much like it might have been seen in the tiny off-off-Broadway venues Patrick loved so much. On a dreary night in 1974, Valentine’s Day (an absurdly specific choice that is not utilized enough as it should be by the text), five world-weary souls take over a dive bar in a dingy section of New York (pretty much any part during the ‘70s).

Taking turns, the quintet orate their tales, thoughts, and philosophies straight to the audience, never acknowledging the others on-stage (apart from hailing down the silent bartender, of course). There’s the Marilyn Monroe-fixated Carla (Devon Candura), a starlet who never made it and never will, even though she’s slept with enough producers. Then there’s Mark (Nick Lake), a drug-addled, slightly insane Vietnam veteran who reads letters to his mother and entries in his diary. Of course, Patrick includes a hippie past her prime, Rona (Anne Korajczyk). The most autobiographical character is Sparger (Tom Weber), a gay performer who’s worked in just about every back room, church basement, and community center. The play is rounded out by Wanda (Shawna Tucker), an aging schoolteacher with a Kennedy obsession.

As you probably guessed, this isn’t a very uplifting experience.   Kennedy’s Children is sort of about Kennedy, but it’s really about a collective consciousness, one that’s been battered and bruised into depression. It’s not surprising that the play dabbles in over-the-top disenchantment and cynicism. Maybe when Kennedy, King, and Hendrix were recently buried Patrick’s tribute tapped into unspoken ideas, but by now a lot of the ground has been covered multiple times. That’s not to say this play should be tossed in the garbage. The first half is clunky and exposition-heavy, but the stories heat up in the second act, causing the whole production to suck in the audience.

 

scene from Kennedy's Children at Promethean - photo by Tom McGrath 5 Kennedy's Children at Promethean - photo by Tom McGrath scene from Kennedy's Children at Promethean - photo by Tom McGrath 4

This play needs outstanding performances to survive, and McCabe’s cast is up to the challenging, direct-address style piece. Tucker is the highlight of the production, lending her portrayal of Wanda some skittish neurosis and just a dab of blind hope. If any character is constructive, it’s Wanda, who went out to teach children, inspired by the memory of the fallen president. Weber and Candura are also engrossing; they’re prone to tragedy and histrionics, but so are their characters. Korajczyk and Lake are weaker performers. Korajczyk revels in Rona’s cynicism too much, and Lake pushes the crazy too hard.

In the end, McCabe’s search for relevance is successful. I’m not a child of Kennedy, but Patrick’s sad stories still struck a nerve. The bar patrons’ mopeyness teeters on self-indulgent, but the disappointment rings true.

   
   
Rating: ★★★
   
   

scene from Kennedy's Children at Promethean - photo by Tom McGrath 2

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