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: The Cabinet (Redmoon Theater)

The Cabinet’s surreal artistry returns

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 Redmoon Theater presents

The Cabinet

 

By Mickle Maher; conceived by Frank Maugeri
Music by Mark Messing
 
Directed by Vanessa Stalling
Through March 7 (more info)

Reviewed by Leah A. Zeldes

The shadowy carnival showman Dr. Caligari, and his prime exhibit, the never-waking somnambulist Cesare, have been the stuff of nightmare ever since the 1919 premiere of Robert Wiene’s spooky silent film “Das Kabinett des Doktor Caligari.” A highlight of the German Expressionist movement, the film contrasts light and shadow in eerie, tilted sets; heavy, exaggerated makeup and a spooky, suspenseful story line revolving around a series of mysterious murders.

Cabinet Redmoon Cabinet 02Redmoon Theater‘s The Cabinet alters the story somewhat — here, Cesare becomes the narrator — but remains true to the original’s skewed, black-and-white imagery; sinister, melodramatic characters and surreal, dreamlike pace.

This production (inspired, a press release says, by a request from White House Chief of Staff Rahm Emanuel when Redmoon performed there last Halloween) is all but unchanged from the 2005 production.

Neil Verplank’s magical, 11-by-14-foot, wooden cabinet with its angular doors and drawers once again serves as a unique stage, setting off the rod puppets, shadow puppets and hand puppets beautifully designed for the first production by Lisa Barcy and Scott Pondrom. Clever pop-up books by Laura Miracle and Laura Annis also work into the show. Redmoon’s artistry remains impeccable.

Hissing and spitting, Cesare’s narration, a creepy voiceover by Colm O’Reilly (the only speaking role), seems to come from an old-fashioned gramophone (designed by Christopher Furman) jutting out from one of the doors, while the words of Dr. Caligari are conveyed through rear-projected supertitles at the cabinet’s top. Original music by Mark Messing, in the style of early 20th-century silent-film accompaniments, adds to the dark, uncanny mood.

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Five ghoulish, grim-faced, androgynous puppeteers, fully made up, monocled and clad in black, white and shades of gray, slither through a variety of agile acrobatics onstage as they manipulate the more than 50 puppets through the cabinet’s 13 doors and drawers. Missi Davis, Sam Deutsch, Sarah Ely, Matt Rudy and Dustin Valenta contort themselves and pass puppets and props among themselves with clockwork precision.

The change of narrators does cut down the story’s suspense somewhat. Clearly, we’re supposed to sympathize with and fear for the unfortunate sleepwalker Cesare, the helpless tool of the evil doctor, caught in his endless nightmare — yet the mere fact that he’s telling the tale lets us know he comes out all right.

Haunting, and beautifully done, “The Cabinet” is no lightweight puppet show. Though whimsical in design, it feels ponderous and dirgelike — the hour-long piece seems to stretch much longer, as if the audience were caught in Cesare’s endless trance.

 

Rating: ★★★½

 

Cabinet Redmoon 07Notes: “The Cabinet” is suitable for audiences 13 years old and up. Limited free parking is available at the theater.

At 10:15 p.m. Saturdays, Feb. 27 and March 6, Redmoon will host “Boneshaker,” an evening of music with DJ Red Menace, “environmental performances” and an open bar. Admission is free to ticketholders for the 9 p.m. performances of “The Cabinet” on those nights, $5 otherwise.

Scenes from The Cabinet, 2005

Review: Redmoon’s “Winter Pageant”

‘Winter Pageant’ reprises White House performances

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Redmoon Theater presents

Winter Pageant

By Vanessa Stalling, Frank Maugeri and Jim Lasko
Directed by
Vanessa Stalling
Through December 27th (ticket info)

reviewed by Leah A. Zeldes

pageant-swining Fresh from its triumphant Halloween performance at the White House, Redmoon Theater stages its nearly annual, alternative take on a family holiday show, Winter Pageant.

The theme of these shows over their 15-year history is always the same: Each unique pageant showcases the progression of the seasons and celebrates the return of spring — in always charming and often magical ways. The production avoids religion, hackneyed classics and Christmas commercialism and, as Artistic Director Frank Maugeri puts it, engineers "a journey that explores nature, humanity, ritual, storytelling…."

This year, perhaps because the production reprises performance elements from the troupe’s White House spectacle, much of the storytelling seems to have been lost. Instead, we have a disjointed, hour-long series of vignettes and technical wizardry. Plots have never been the strong point of these pageants, I grant you, yet usually there’s been a tale of sorts to carry the audience along.

Not only did I miss that, it became clear from the restlessness of the young audience that the kids did, too. Not that there aren’t plenty of wondrous sights for children. As the show opened and a young woman played with a toy car, I saw a father struggling to restrain his squirming 2-year-old, who wanted mightily to get in on the action.

The toy morphs into a marvelous full-sized car full of characters and cakes and a monstrous, goodie-stealing baby. Then we have a mechanical surrey with a flower garden and a bug-eating gardener on top — evidently representing summer.

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Judging by the colors and timing, next come autumnal rains and a marvelous underwater sequence that had the kids charging out of their seats. We also get some absurd pirates and wonderful illuminated hat puppets representing migrating swans. A bountiful banquet becomes a food fight. Winter, a dark and chilly sequence of crooked doll houses and shadow puppetry, follows. Spring explodes in drumming and tulips, but nevertheless seems anticlimactic.

Redmoon’s artistry is wonderful throughout, but this year’s pageant is perhaps best seen as a showcase of performance art, a series of artful spectacles, rather than a winter’s tale.

 

Rating: ★★½

 

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Note: Free parking at the theater and in a lot across the street.

Ensemble: Missi Davis, Nick Demeris, Sarah Fornace, Alexander Knapp, Matt Rudy, Eric Swanson and Dustin Valenta

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