Here
This production tells the story of a second year dance major who, over the summer, suffers a broken leg after a car accident and is forced out of dance. If focuses primarily in her growing interactions, I fall short of saying relationship, with an aspiring file student. That is, he is aspiring to be a film student.
While there are some moments of interesting structure in the mix of dance and script, interesting use of projections, the play overall suffers from a lack of focus. Over its ninety minutes it tries to cover too much ground. The characters don't develop well, and moments of conflict and resolution seem to come from no where.
There are interesting concepts, (a dance during the main character's attempt to solicit a donation from an alumna is powerful) but overall, no cohesive whole seems to be served.
This show is an exercise of people still learning their craft, and is not out of place at the fringe but there is no satisfaction after the ninety minutes put in as an audience member.
Not recommended.
AV Sideshow.
This production is an odd duck. It purports to draw its sensibilities from the sideshows of the 1920s and 30s, featuring beaded lady and conjoined twin acts. In its realization, however, it draws more on "Cabaret" than "Canivale", even including Kander and Ebb strains from Chicago. This is sadly detrimental, as the outdoor performance area works actively against any kind of intimate feel.
The 45 minutes are full of strange monologues that evoke a sort of pretension usually reserved for parodies of beat poetry, and if it trying to be over the top, it doesn't quite get there. Mostly, it is a lot of sound of fury, but of little significance.
The choreography is interesting, and the cast is talented. They are just working with awkward material ill suited to the venue. Had the production drawn more on the side-show, "step-right-up", hawker sort of feel that its name and advertising implied, I think a much stronger experience would have been provided. As it stands, there's a certain amount of diversion provided, but it is certainly side dish, and not main course.
Recommendation: If it's playing while you're in the alley, let it divert you while you have a beer, and drop some money in the case. However, don't go out of your way to see it.
Men seeking men.
MSM: Men Seeking Men
This dance performance started off well, with an interesting, if challenging premise: a movement deconstruction of online male personas and desires towards other men.
An early moment sets a strong opening: Two men read the transcript of a Skype conversation about hooking up for a foot fetish fun time while other members of the company perform in response to the dialog.
Unfortunately, the piece quickly becomes as repetitive as the dance beats underplaying the evening, and the focus is lost. What starts as a piece (I think) about the emptiness of online connection, seems to turn into a empty piece about ... I'm not sure. By the end of the hour, I feel it just as likely that the piece is about dance club hook ups as anything else. This interpretation is not weakened by the presence of a live DJ on stage, lit just enough to be distracting, but not interacting any appreciable way with the action happening in front and around him.
While some numbers give interest, others move into the realm of self-indulgence. A moment comes to mind in which the company walks as if on tight ropes, while screaming.
Hot, shirtless men gyrating for an hour, but ultimately unsatisfying.
Recommendation: Tepid.
Threads
Tonya Jones Miller wrote Threads based on the stories of her mother's life. In it, she plays an American woman who, 1968 travels to Saigon to teach English.
What follows is an exploration of the experiences that led up to her travels, and that followed, and how they tie together.
The story is well crafted, and engaging. Miller's performance is a little slow to get going, but she soon establishes and maintains the audience's attention and interest. I felt she came up a little short in some of the moments in the piece, remaining outside story teller, rather then committing more fully to the moments of tension and heightened emotion in the piece.
Understand, solo works are hard to pull off, and this is a very good piece. With a little more craft in the production and direction, and a bit more polish to the performance, this could be truly excellent.
Well recommended.
God is a Scottish Drag Queen
Not much to say here. This show is a stand up comedy act with Mike Delamont appearing as the titular character. The set runs the full hour and delivers strong laughs over and over again. Delamont has a fantastic control over his character and audience. A tremendous ride!
Recommendation: Strongly in favour for a laugh that will make your face ache!
A King's Heart
Then spoke the prophet of the muses saying unto the creative team:
And you have abandoned my commandments, which I did lay out for you, and thus you have created a show that is an abomination in my eyes! For my laws were written for you and they were:
"Thou shalt show the story, not tell it"
"Thou shalt not use the phrase 'uncircumcised Philistine' more than twice in a single scene"
Recommendation: Run, run like you are being chased by an army of angry Amorites!
This production tells the story of a second year dance major who, over the summer, suffers a broken leg after a car accident and is forced out of dance. If focuses primarily in her growing interactions, I fall short of saying relationship, with an aspiring file student. That is, he is aspiring to be a film student.
While there are some moments of interesting structure in the mix of dance and script, interesting use of projections, the play overall suffers from a lack of focus. Over its ninety minutes it tries to cover too much ground. The characters don't develop well, and moments of conflict and resolution seem to come from no where.
There are interesting concepts, (a dance during the main character's attempt to solicit a donation from an alumna is powerful) but overall, no cohesive whole seems to be served.
This show is an exercise of people still learning their craft, and is not out of place at the fringe but there is no satisfaction after the ninety minutes put in as an audience member.
Not recommended.
AV Sideshow.
This production is an odd duck. It purports to draw its sensibilities from the sideshows of the 1920s and 30s, featuring beaded lady and conjoined twin acts. In its realization, however, it draws more on "Cabaret" than "Canivale", even including Kander and Ebb strains from Chicago. This is sadly detrimental, as the outdoor performance area works actively against any kind of intimate feel.
The 45 minutes are full of strange monologues that evoke a sort of pretension usually reserved for parodies of beat poetry, and if it trying to be over the top, it doesn't quite get there. Mostly, it is a lot of sound of fury, but of little significance.
The choreography is interesting, and the cast is talented. They are just working with awkward material ill suited to the venue. Had the production drawn more on the side-show, "step-right-up", hawker sort of feel that its name and advertising implied, I think a much stronger experience would have been provided. As it stands, there's a certain amount of diversion provided, but it is certainly side dish, and not main course.
Recommendation: If it's playing while you're in the alley, let it divert you while you have a beer, and drop some money in the case. However, don't go out of your way to see it.
Men seeking men.
MSM: Men Seeking Men
This dance performance started off well, with an interesting, if challenging premise: a movement deconstruction of online male personas and desires towards other men.
An early moment sets a strong opening: Two men read the transcript of a Skype conversation about hooking up for a foot fetish fun time while other members of the company perform in response to the dialog.
Unfortunately, the piece quickly becomes as repetitive as the dance beats underplaying the evening, and the focus is lost. What starts as a piece (I think) about the emptiness of online connection, seems to turn into a empty piece about ... I'm not sure. By the end of the hour, I feel it just as likely that the piece is about dance club hook ups as anything else. This interpretation is not weakened by the presence of a live DJ on stage, lit just enough to be distracting, but not interacting any appreciable way with the action happening in front and around him.
While some numbers give interest, others move into the realm of self-indulgence. A moment comes to mind in which the company walks as if on tight ropes, while screaming.
Hot, shirtless men gyrating for an hour, but ultimately unsatisfying.
Recommendation: Tepid.
Threads
Tonya Jones Miller wrote Threads based on the stories of her mother's life. In it, she plays an American woman who, 1968 travels to Saigon to teach English.
What follows is an exploration of the experiences that led up to her travels, and that followed, and how they tie together.
The story is well crafted, and engaging. Miller's performance is a little slow to get going, but she soon establishes and maintains the audience's attention and interest. I felt she came up a little short in some of the moments in the piece, remaining outside story teller, rather then committing more fully to the moments of tension and heightened emotion in the piece.
Understand, solo works are hard to pull off, and this is a very good piece. With a little more craft in the production and direction, and a bit more polish to the performance, this could be truly excellent.
Well recommended.
God is a Scottish Drag Queen
Not much to say here. This show is a stand up comedy act with Mike Delamont appearing as the titular character. The set runs the full hour and delivers strong laughs over and over again. Delamont has a fantastic control over his character and audience. A tremendous ride!
Recommendation: Strongly in favour for a laugh that will make your face ache!
A King's Heart
Then spoke the prophet of the muses saying unto the creative team:
And you have abandoned my commandments, which I did lay out for you, and thus you have created a show that is an abomination in my eyes! For my laws were written for you and they were:
"Thou shalt show the story, not tell it"
"Thou shalt not use the phrase 'uncircumcised Philistine' more than twice in a single scene"
Recommendation: Run, run like you are being chased by an army of angry Amorites!