Louise Maske stretches to see the King pass during a parade, and her bloomers fall to her feet. Her husband Theo, a low-level government functionary, is appalled when he learns what happened (he thinks he’ll be fired), while Louise’s upstairs neighbor is thrilled for the excitement. Soon, men are vying to rent a room in the Maskes’ apartment.
Theater Reviews
The student company worked extremely well together…they paid attention, which allowed them to pull off some good sound effects, and kept the production hurtling along – the pacing was superb.
What I really want out of a review is “I saw this, I felt this, and THIS IS WHY.” Criticism needs to be more than reporting, more than a PR opportunity for the theater group, more than pap for the incurious masses.
Hana Meyers gave the best performance I’ve yet seen from her… Sweet, self-effacing; powerful vocals. I’d recommend seeing this production just for her, but I wish she had a better showcase.
It was a grin-filled, charming evening, borne effortlessly on the singing, dancing, wisecracking shoulders of Megan Breit and Eddie Rose. Breit and Rose were born decades after the golden age of screwball comedy, but it must be in their genes, or maybe they were inhabited by some kind of theatrical spirit. Nice work, indeed.
Ciara Wiggins played an incredible AIDA, princess-turned-slave. I had no difficulty believing Casey Rice’s Radames would fall head over heels for her – her regal bearing was projected in every (seemingly) effortless note. Rice channeled Elton John – his voice was well suited to the pop/rock style of his songs, which he embellished with occasional growls and fillips.
William Lanfear’s wigs and makeup were spectacular; Peggy Frantz’s costumes were excellent; Ryan Decker’s end-of-show baritone solo as Lurch was exactly what I’d hoped for (gorgeous and funny); Randy Fields had a nice bit of choreography in the climatic tango number.
Sarah Crill is gently magnetic as Musoka, a terminally ill woman who may or may not be a woodland creature. My eyes stayed on her the entire show – a study in graceful movement.
Players of Utica’s final production of the season is a pretty big swing… featuring solid, very funny ensemble acting, clever use of space and wittily minimalist set, sound and lighting.
Directors considering any play must decide what to emphasize. What are we trying to convey to the audience? If I’d been wrestling with Chapter Two, I’d want to tell a good love story, and nail as many of the jokes as possible. North Country Director Brian Ure apparently had different priorities. Damned if I know what they were.
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