Stark Raving Theatre
March 22, 2006; closes April 22, 2006
Accessible, well-cast, though somewhat hesitant trio has potential to give depth to this simplistic Lifetime triptych. First act transparent; second stronger, craftier; third blurry. Could all three blend into a tighter, richer storyline with clearer intention, resolution that focuses on consequences? Move-and-pose staging busies itself with more picture than purpose.
Showing posts with label Stark Raving Theatre. Show all posts
Showing posts with label Stark Raving Theatre. Show all posts
Thursday, March 23, 2006
Saturday, December 17, 2005
The (Second Annual) Cold Comedy Concoction
Stark Raving Theatre
December 16, 2005; closes January 14, 2006
An audience-pleasing diversion not unlike a good winter squall: voluble anticipation swirling around shiny-object flakiness ultimately dissipating in light of day. Deep: slick but formulaic; Squirrels: unfinished foreplay; Pizza and End: onto something. Good clarity, pacing, well cast — so surprising that four directors with diverse premises yielded such homogenous shouting.
December 16, 2005; closes January 14, 2006
An audience-pleasing diversion not unlike a good winter squall: voluble anticipation swirling around shiny-object flakiness ultimately dissipating in light of day. Deep: slick but formulaic; Squirrels: unfinished foreplay; Pizza and End: onto something. Good clarity, pacing, well cast — so surprising that four directors with diverse premises yielded such homogenous shouting.
Friday, September 16, 2005
Dreampuffs of Lorna
Stark Raving Theatre
September 15, 2005; closes October 8, 2005
Quirky, yes, but Jennifer Haley’s new script was additionally wise, witty, sometimes wild. Well-balanced quartet of actors eked scattered moments from production that otherwise squeezed a little too tight, pushed a little too far, conjuring my companion’s sage advice, “Don’t kick the puppy.” Thoughtful, skillful sound design from Elias Foley.
September 15, 2005; closes October 8, 2005
Quirky, yes, but Jennifer Haley’s new script was additionally wise, witty, sometimes wild. Well-balanced quartet of actors eked scattered moments from production that otherwise squeezed a little too tight, pushed a little too far, conjuring my companion’s sage advice, “Don’t kick the puppy.” Thoughtful, skillful sound design from Elias Foley.
Thursday, April 07, 2005
The Vespiary
Stark Raving Theatre
April 7, 2005
Mixed bag: New Southern Gothic script was moody, stylish, but also rambling and not totally persuasive. Erin Matley was simply haunting as Ruth; Mike Prosser’s fragmented scene design the best I’ve seen in the CoHo space; Jeff Woods’ lighting design cinematically seamless; Elias Foley’s sound design a fearful, shadowy web.
April 7, 2005
Mixed bag: New Southern Gothic script was moody, stylish, but also rambling and not totally persuasive. Erin Matley was simply haunting as Ruth; Mike Prosser’s fragmented scene design the best I’ve seen in the CoHo space; Jeff Woods’ lighting design cinematically seamless; Elias Foley’s sound design a fearful, shadowy web.
Friday, December 31, 2004
The Cold Comedy Concoction
Stark Raving Theatre
December 30, 2004
Four new one-act comedies suffer typical SRT Method: forced, heavy handed and trying too hard, further strained by Matthew Zrebski’s frenzied intermezzos. Entertaining to witness committed cast serve different directors/scripts in one sitting, but don’t worry if arriving late: obvious, superficial first-half only whets appetite for funnier, more creative second-half.
Empirical
Portland playwright William S. Gregory (Child of Pleasure) treaded familiar territory of faux erudition with British voyagers attempting to outwit two Wilde Antarctic penguins blubbering on about humanity. Interesting expedition reached the frontier, but left its director with neither provisions to explore new ground nor reason to set up camp.
Mixed Messages
Teenst dramedy from local student scribe Kelly Bartholomew taught moral lessons through magical transformation of high school hang-ups. Contrived and predictable, the plot failed to make the grade largely because it lacked motivation. And unless it’s a musical, “let me explain to you in a song” is a wrong answer.
The Principal and the Pee
Overlook Michelle Seaton’s thick direction to discover playwright Stephen Karam’s wizzing wit, often as subtle as arrant in sneaky farce of perversion and subversion within high school administration. With a touch of helium, this Pee could bubble with insubordinate delight. For extra credit, rewrite ending and submit to Comedy Central.
Spud Toppers
Portland thespian Todd Pozycki’s humorous references to the wacky positions of an office temp turned into a dead-end job, evidenced by the character’s sudden departure and the company’s unresolved business. Yes, we get it: one of those temps that unaccountably don’t return after lunch. But what if this one did?
December 30, 2004
Four new one-act comedies suffer typical SRT Method: forced, heavy handed and trying too hard, further strained by Matthew Zrebski’s frenzied intermezzos. Entertaining to witness committed cast serve different directors/scripts in one sitting, but don’t worry if arriving late: obvious, superficial first-half only whets appetite for funnier, more creative second-half.
Empirical
Portland playwright William S. Gregory (Child of Pleasure) treaded familiar territory of faux erudition with British voyagers attempting to outwit two Wilde Antarctic penguins blubbering on about humanity. Interesting expedition reached the frontier, but left its director with neither provisions to explore new ground nor reason to set up camp.
Mixed Messages
Teenst dramedy from local student scribe Kelly Bartholomew taught moral lessons through magical transformation of high school hang-ups. Contrived and predictable, the plot failed to make the grade largely because it lacked motivation. And unless it’s a musical, “let me explain to you in a song” is a wrong answer.
The Principal and the Pee
Overlook Michelle Seaton’s thick direction to discover playwright Stephen Karam’s wizzing wit, often as subtle as arrant in sneaky farce of perversion and subversion within high school administration. With a touch of helium, this Pee could bubble with insubordinate delight. For extra credit, rewrite ending and submit to Comedy Central.
Spud Toppers
Portland thespian Todd Pozycki’s humorous references to the wacky positions of an office temp turned into a dead-end job, evidenced by the character’s sudden departure and the company’s unresolved business. Yes, we get it: one of those temps that unaccountably don’t return after lunch. But what if this one did?
Saturday, September 18, 2004
Kiss It!
Stark Raving Theatre
September 17, 2004
Queer comedy premiere filled with 3+ hours of superficial, defensive angst played out as Gen-Y enlightenment interrupted by unforgivable songs, ultimately crutching into fantasy. Later, my companion asked, “Why do modern playwrights avoid reality?” Honest efforts by cast, director just weren’t enough to save this shallow, pandering contrivance, however well-intentioned.
Sunday, July 25, 2004
Hors d’Oeuvres
Stark Raving Theatre
July 24, 2004
Dinner party small talk explodes into linguistic cataclysm in captivating Northwest premiere of viciously funny absurdist comedy by Wade McIntyre. Here, language becomes a weapon that tickles the mind. Frenzied clamor makes the women occasionally shrill, but all’s forgiven by the presence of wicked Neal Starbird and sublime Garland Lyons.
July 24, 2004
Dinner party small talk explodes into linguistic cataclysm in captivating Northwest premiere of viciously funny absurdist comedy by Wade McIntyre. Here, language becomes a weapon that tickles the mind. Frenzied clamor makes the women occasionally shrill, but all’s forgiven by the presence of wicked Neal Starbird and sublime Garland Lyons.
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