Live Theatre Review - Evening Star Productions's Oleanna

Evening Star Productions opens David Mamet’s Oleanna this weekend at Sol Theatre in Boca Raton, Florida. Director Rosalie Grant stages another successful psychological hit.

Without giving away too many spoilery details, I can say that the actors beautifully illustrated a sliding scale power shift. Sara Grant’s Carol went from mousy to domineering and Todd Bruno took John from self-assured to broken-spirited, but the transition is subtle and the illusion is aided by their hairstyles and clothing choices. But just when it appears that the character’s personality was summed up, a new facet was revealed and the situation became more complex and clouded and opened up a labyrinth of questions.

We discussed the possibilities on the way home and then some for 3 hours after the show, and the next morning it was still on our minds.

This is a three-act, one-setting, two-actor play, so much importance is placed on the nuances of the characters. Subtlety is everything. Grant spoke volumes with one exaggerated eyeroll or the way she perched on a chair or glided across the room.

Bruno similarly purveyed so much with subtext: his mouth was delivering a set of lines that told us about his character while his body delivered a separate set with every telephone call that John took. In fact, it wasn’t until halfway through the third act that it occurred to me that Bruno wasn’t actually on a telephone call with another party – his acting, however, brought that disembodied other party into the show as well, and the other side of the telephone conversations were fully credible.

The chemistry between the two was such that they were able to smooth out the staccato lines that Mamet scripted.

This play is extremely relevant in today’s world. We are confronted daily with so many cases of abuse of power – the news is resplendent with the idea of privilege: what it is, what it does, what it means for those who have or don’t have it. Oleanna doesn’t answer any of these questions, but rather poses them and forces the audience members to begin to try to answer those questions by themselves – and for themselves.

Oleanna runs at Sol Theatre from September 21, 2017 – October 8, 2017.

Tickets are $30 / $20 for students and seniors.

Thursdays - Saturdays @ 8pm
Sunday @ 2pm
through October 8

All performances are at Sol Theatre, 3333 N. Federal Hwy, Boca Raton, FL 33431

photos by Carol Kassie

Live Theatre Review - Sol Children Theatre's Alice in Wonderland

*THIS REVIEW CONTAINS MILD SPOILERS FOR THIS PRODUCTION OF Alice in Wonderland*

Before I begin my review of Sol Children Theatre’s Alice in Wonderland, I need to give a little background:

I didn’t always love Alice in Wonderland. In fact, for a long time, I disliked it. I saw a couple of versions of it as a child that were varying degrees of weird, disturbing, confusing, and frightening. Therefore, it wasn’t until I was in high school that I saw Disney’s animated Alice (my English class watched the film in lieu of reading the book – thanks Texas education!) and fell madly – if you’ll pardon the pun - in love with the story, particularly with the Mad Tea Party.

In college, we studied Alice in one of the many literature classes I took which culminated in my English degree, but I hadn’t re-read the story since then (and I was rather unsure as to whether I had read the text in its entirety then. I had a LOT of reading for my classes. Stuff got skimmed. I have been making the effort to revisit the works that got less of my time in college, and this show was the perfect occasion to revisit Alice).

Having attended many Sol shows and knowing what kind of quality goes into them and armed with my deep love of Alice and my refreshed knowledge of the text – I finished the reread a few hours before show time – I had high hopes for this production.

My hopes were exceeded.

Even with a cast of 22 – very large for a Sol production, there was not a superfluous character. This is the first show that I’ve seen that does not have at least one adult actor, but the poise and professionalism of these child actors makes one forget that they are all school-aged.

The White Rabbit (Noah Fineman) emcees the play. He provides the necessary direction for Alice and sets up the framework for the show.

Eden Wexler opens the play as the iconic Alice. Mandy Feuerman takes on Alice in Act 2, and Zoe Alarcon plays Act 3 Alice, and Jamie Feuerman plays Real World Alice. Each actor delivers a full performance, each endowing Alice with her signature feistiness and sense of wonder.

The Tiger Lily (Olivia Shiver), the Rose (Violet Zeiders), and the Caterpillar (Faith Alfieri) are wonderfully snide in their encounters with Alice, being both helpful and not at all helpful simultaneously.

Samantha Mascaro and Kimberly Wilkinson portray the Cheshire Cat. Having two actors playing the Cheshire Cat solves some obvious staging problems for a cat who disappears at will. These two Cats were mesmerizing.

Tweedle Dum (Natalie Macador) and Tweedle Dee’s (Isabella Welch) recital of the Walrus and the Carpenter is fun and imaginative and another creative way to lose neither the exposition nor the viewer’s attention.

Also of note is the breathtaking way that Jabberwocky is incorporated into the work. To say anything more I fear would spoil what was one of the most pleasant surprises of the show and beautifully in keeping with an aspect of the original text.

As Alice is geared toward a younger audience but engaging and enjoyable for all ages, I was pleased with the ingenious ways of keeping the original texts of these beautiful poems while still keeping the audience engaged.

Chronology of the text is not adhered to – but after all, this is Wonderland and one would not expect to stand on convention. Due to time and space constraints, as well as fanciful events being translated to real life without a Walt Disney budget, some things were rearranged to ease the flow of the production. A very clever device is employed to explain these changes (and perhaps to appeal to the purists, whether they be text, animated Disney, or live-action lovers).

The most crucial element for me would be the Mad Tea Party – after all, it was this segment of Disney’s animated silliness that cemented me as a lover of Alice in Wonderland. I felt like the tea party could make or break this performance for me.

It. Was. Excellent!

I don’t want to give anything away, but The Mad Hatter (Ava Cavasos), The March Hare (Kylie Lawrence), and the Doormouse (Zoe Wexler) remain remarkably in character as the most ridiculous action takes place. Alice, too, should be praised for her ability to act and react to the script and not to the scene.

Cavasos’s Mad Hatter is neither Ed Wynne nor Johnny Depp. Rather, she brings her own charm and madness to the character and is a more accurate reflection of Carroll’s original vision than either of the former. I could watch her as the Mad Hatter all day. Congratulations and thank you for doing beautiful justice to one of my all-time favorite characters!

The Royal Cards (Amalia Hasselman, Alan Hasselman, Violet Zeiders, and Olivia Shiver) play a vital comedic role.

Rylee Siegel is poised and elegant as the Red Queen, Emma Lawrence is hilariously rumpled and frazzled as the White Queen. Brooke Hall expertly plays the Queen of Hearts with a deranged, faraway look in her eye, mercilessly sentencing all she encounters with a beheading. Addison Wexler is a comic treasure as the henpecked King of Hearts. Celia Roberts is a hilarious Duchess channeling rage and madness as well as contempt and apathy.

The play is necessarily wordy, and the actors deliver a tremendous number of lines, often at a rapid pace. Everyone handles their lines swiftly and eloquently.

I have to take a moment to praise set design (Ardean Landhuis and Kate McVay), costume (MJ Baum and Briana Earhart), and make-up (Netta Nicosia). Alice is such a magical story with such a wide variety of interpretations (after all, the text debuted in 1865 and the story has been translated from the page and reimagined for more than a century-and-a-half!) that these three elements are the things that make each new vision of Alice unique. These artistic expressions are so beautiful of their own accord and they only enhance the experience.

Whatever your experience with Alice is, I urge you to come out and see what this company has accomplished. In a black box theatre in about one hour, these youth bring to life a fanciful world full of beloved characters with the grace of pros.

Alice in Wonderland is adapted by Seth Trucks and directed by Trucks and Savannah Rootes. Alice runs from August 10 – 20 at Sol Theatre before moving to Delray Beach Children’s Garden for three special Sunset Garden Performances.

Sol Theatre is a 501(c)(3) corporation that relies on generous donors to continue to carry out its mission of bringing affordable, quality theatre to South Florida and to making theatre accessible and exciting to young people and youth actors. If this production is indicative of Sol's work, then the money invested in this non-profit is well-spent.

Alice in Wonderland
By Lewis Carroll, adapted by Seth Trucks
August 10-20
Tickets: $20/$15 for Juniors (11 and under)
For Tickets: 561-447-8829 / www.solchildren.org
Performances: Thursday, Friday & Saturday at 7 pm / Saturday and Sunday at 2 pm
Sol Theatre
3333 North Federal Highway
Boca Raton, FL 33431


August 24-26
Tickets: $20
For Tickets: Brown Paper Tickets
Performances: Sunset performances Garden Gate to open at 7pm
Delray Beach Children’s Garden
137 SW 2nd Ave
Delray Beach, FL 33444 (US)

Live Theatre Review - Outre Theatre Company's 1984

*THIS REVIEW CONTAINS MILD SPOILERS FOR 1984*

When it was written in 1949, the dystopian world depicted in George Orwell’s 1984 may have seemed far-fetched, but in 2017, every day it seems a little more prophetic. Therefore, Outre Theatre Company’s choice to stage 1984, adapted by Andrew White is both timely and apropos for their inaugural production in its new space at the Pompano Beach Cultural Arts Center.

The stage is simple in terms of set and props – the most eye-catching device are the numerous propaganda posters and photos of “Big Brother.” The modest set allows the actors to use their craft to bring the story to life without relying overmuch on physical things. The technical crew works swiftly and quietly in the background, making transitioning from one scene or setting to another seamless with little distraction.

Director Skye Whitcomb handles troublesome staging hurdles aptly by incorporating a giant screen projecting film to depict flashbacks, internal dialogue, sensitive scenes of sex and violence, and other elements that would be too difficult to portray given the time and space limitations of the stage. The effect is brilliant and keeps the production out of the adults-only realm. The scenes of sex and violence portrayed are tasteful and not too frightening, but the overall tension is palpable.

Frequent costume changes allow the sparse cast to multiply in size as several actors portray secondary characters.

Murphy Hayes shines as Charrington. His manner is charming and invites other characters to open up to him. He is an unassuming, comfortable person to confide in. Peter Wayne Galman brings an austerity to O’Brien in his speech but moreso in just his presence. His costume is a perfect match for his character.

Seth Trucks does an excellent job as Winston. He is unmoved by the 2 Minute’s Hate and portrays obvious distaste for the morbid practices of the party that even children enjoy. Winston’s secretive behavior and curiosity for things that Party members have denounced isolates him from the world he lives in.

When he encounters Julia (Jennipher Murphy) in a special way, suddenly things start to change for Winston. Her rebellious spirit awakens something within him. He thinks he has found a kindred soul and he professes his love to her, but he soon learns that no one is as they seem. Julia’s disregard for rules is self-serving; Murphy gets across Julia’s flippant nature and egocentricity.

With regards the other workers at the Ministry of Truth: Meredith Bartmon is also very convincing as the Party die-hard, Syme. Joey De La Rua (Parsons), Michael Conner (Ampleforth), and Daryl Patrice (Tillotson) provide some much-needed comic relief, but their ultimate fates show their range as actors.

1984 opened on July 13 and runs through July 30. The final four shows are as follows:

Thursday, July 27 @ 8pm
Friday, July 28 @ 8pm
Saturday, July 29 @ 8pm
Sunday, July 30 @ 2pm

Doors open 1 hour before showtime

All shows are at the Pompano Beach Cultural Arts Center, 50 SW 1st Ave, Pompano Beach, FL 33060.

Tickets are as follows: Adults $39 - Students and Industry $19 and can be purchased online or at the Box Office. Make sure to get them fast before they sell out!

Outre Theatre Company is a 501(c) 3 not-for-profit organization and relies on sponsorship from private benefactors and theatregoers. Please help to support them and keep local theatre alive!

All photos (c) 2017 by Shannon Ouellette

Live Theatre Review: Evening Star Production's A Midsummer Night's Dream

Last night I attended Evening Star Production’s opening night presentation of A Midsummer Night’s Dream at Sol Theatre. Adapted and directed by Seth Trucks, it is the inaugural show in Sol’s new Shakespeare Initiative, a seed that was planted two years ago and has been lovingly cared for in minute detail, culminating in this vibrant offering to the theatre gods.

This show was initially intended to be directed by the late Laura Ruchala, whose life was tragically cut short just after her 36th birthday. Trucks, in his pre-show oration last night, advised that in one of the last conversations he had with Ruchala they discussed how Shakespeare lends itself to innovation and interpretation and how it should be adapted and retold in new and exciting ways. The first show I attended at Sol Theatre was Ruchala’s adaptation of The Comedy of Errors – starring Trucks as the twin Antipholus’ - which was creative and imaginative, literally out-of-the-box thinking. Ruchala passed away just before her show’s run began and the mantle to carry on the Shakespeare Initiative fell to Trucks. From what I saw of Ruchala’s directorial vision in The Comedy of Errors, what he has done with it would have pleased her endlessly.

This production of A Midsummer Night’s Dream is described by Trucks as Shakespeare done in the style of a John Hughes film. Enter the 80s.

It is set in Athens High School, and even the lobby of Sol Theatre is dressed for the occasion. The guest book that is usually out front has been replaced by a notebook paper “Slam Book” in which theatregoers can write their thoughts about the show. The program is set up similar to a yearbook. No detail has been overlooked.

As did The Comedy of Errors, Midsummer begins in an external story and then magically slips into Shakespeare’s world. This play goes farther still with a beautifully shot expositive video that sets up the pre-Shakespearean scene.

Though the play is a comedy and at times this production is farcical and it is absolutely funny, it also is a very deep and moving production, and the youth cast draws emotions beautifully. You can feel the lovers’ hearts breaking when spurned by their respective suitors. You can feel the jealous ire aroused in the fight between Hermia (Emma Lawrence) and Helena (Chloe Ward) and the territorialism of Demetrius (Ryan Siegel) and Lysandra (Kayla Asouti). The angst of the teenage condition is expertly portrayed in Francis Flute (Isabella Welch) and Robin Goodfellow, better known as Puck (Francis Alfieri). Puck’s orchestrations of the emotions of the Athenians is also very reflective of the high school experience.

The Misfits are wonderful comic relief in their play-within-the-play: the tremulous Wall / Kim Snout (Kate Finkelstein), the insecure Lion / Snug (Noah Fineman), the anarchist Moon / Robin Starvling (Natalie Macadar) the apathetic Thisbe / Francis Flute (Welch), and the over-the-top-enthusiastic Pyramus / Nikki Bottom (Rylee Siegel), handled by their poor, put-upon stage manager, Penny Quince (Emma McAvoy). Their production meetings are very funny, but their execution of Pyramus and Thisbe is side-splitting.

I have to pay tribute to the gorgeous choreography by Sara Grant, beautifully executed by the Fairies: Peaseblossom (Brooke Hall), Cobweb (Zoe Alarcon), Moth (Sami Mascaro) and the adorable little aptly-named Mustardseed (Eden Wexler). The fairies (and their dancing) play such an important part in bringing the magic of this production to light. Their performance was extremely moving.

Also well-choreographed is the Benny-Hill type chase scene that pays homage to Ruchala’s Comedy.

The only adult cast members have dual roles – Cindy Thagard plays both Hermia’s mother and Titania, and Justin Schneyer plays Hermia’s father and Oberon. The original play is changed so that the dual-role element is meant to be apparent, the conflict between the two pairs carrying over from the pre-Shakespearean world to the fairyland.

I have to note how beautifully the elements of same-sex relationships are completely glossed over, no attention brought to them. As they should be.

The final, living, breathing member of the cast is the set itself, which is painstakingly dedicated to serving the play. Every little element is perfectly placed so that the transition from location to location is not only believable but enthusiastically brought. To say more would be to give too much away, but I do have to praise Kate McVay’s scenic art because when the play was over, I was compelled to go and inspect the painted rug for about five minutes for its utter beauty.

Costume, particularly in a play set in the 80s, is also an important element. Thankfully, these youth were spared from some of the more hideous choices 80s kids made, but side ponytails, suspenders, headbands, leotards, and sweater vests all made an appearance. The Philostrates (Kylie Lawrence, Megan Mascaro, and Zoe Wexler) double as theatre ushers in their Girl Scout uniforms.

As this blog originated as a music blog, I would be remiss if I failed to mention the perfect music choices that are incorporated throughout the show. Songs from A-ha, The Police, Cyndi Lauper, Peter Gabriel, Talking Heads, Star Wars, Wham!, and OMD are not only played but expertly curated into the show. “Careless Whisper” is hilariously utilized. The scene where “In Your Eyes” plays had me literally weeping with the beauty of it all. “Take on Me” was used so cleverly that I fear an element of song choice might be lost on some audience members falling too far outside of the bubble of the 80s. But when “And She Was” played, I was stunned. Clearly as much loving care was used in selecting the soundtrack as was in adapting the play itself.

Every person who had a hand in bringing this beautiful work to life should be proud of what they have accomplished. It was worth the year’s wait to see what this play has become.

Sol Theatre is a 501(c)(3) corporation that relies on generous donors to continue to carry out its mission of bringing affordable, quality theatre to South Florida and to making theatre accessible and exciting to young people and youth actors. One such recent donation was an upgrade of seating in the theatre, so now everyone can sit in comfort as they enjoy this midsummer night’s dream.

A Midsummer Night’s Dream
By William Shakespeare
August 5 – 21
Tickets: $20/$10 for Students
For Tickets: 561-447-8829 / www.eveningstarproductions.org
Performances: Friday & Saturday at 8 pm / Sunday at 2 pm
Sol Theatre
3333 North Federal Highway
Boca Raton, FL 33431

photos by Murphy Hayes

Live Theatre Review: Evening Star Production's Complete Works of William Shakespeare (Abridged) (Revised)

Evening Star Productions presents The Complete Works of William Shakespeare (abridged)[revised], directed by Savannah Rootes (a "Solster" in her directorial debut).

Edward Scott, Seth Trucks, and Alex Weiss take on the ambitious task of presenting all 37 of the Bard's plays in under 2 hours - and they succeed with gusto! Granted, some of the plays are seriously abridged, but the manner in which this is accomplished will have you gasping for breath! Skip the abs workout and see this show with the same results!

The trio makes the most out of the small space of the theatre and some limited props to represent over 1000 characters in 97 minutes. The presentation of the tragedies is as funny as that of the comedies, and the histories are presented in a fresh, clever, and surprisingly apt way.

Expect to participate, but no prior knowledge of Shakespeare is necessary to enjoy the show (although during the presentation of the comedies, a little familiarity with the works is helpful - the more knowledge of the comedies you have, the more you'll get the subtle jokes, but the obvious ones are plentiful enough for someone with even zero knowledge of the plays.)

Complete Works sets out to demonstrate that Shakespeare is not just for the mature and the literati - everyone at every level and every age can enjoy Shakespeare. And anyone who attends this riotous play is sure to walk away with a fresh appreciation of the Bard.

The Complete Works of William Shakespeare (abridged)[revised] will run from June 17 – 26 at Sol Theatre in Boca Raton, FL. Tickets are $15 and $10 for students. Group rates are also available. Tickets are on sale now, and can be purchased by calling 561-447-8829 or online at Evening Star Productions.

Live Theatre Review: Evening Star Production's The Rocky Horror Show

If you live under a rock like I do and you’ve never seen Rocky Horror Show before, then the Evening Star Production at Infinite Abyss Theatre directed by Rosalie Grant is the production to see. You will be marked a virgin (a red lipstick V on your forehead) and you will be “initiated” (don’t worry, it was fun and no one bothers your bits) before the show can begin.

This production is a steampunk take on things, which means enviably beautiful costumes, especially Columbia (Ireland Glennon) and Magenta (Cindy Thagard) and cogwheel décor on the set (look at the gorgeous clock behind the couch!)

If there is a collective term to describe the cast, it’s SEXY. Every actor exudes beauty and confidence and just draws you in to their den of iniquity.

I won’t give up too much about the production details (even if you’re not a Virgin, you should check out the staging for yourself), but listen carefully when Riff Raff (Christian Cooper) sings – it’s beautiful. Pay close attention to Frank-n-Furter’s (Dominick J. Daniel) entrance and first scene – he moves with the elegance of Eddie Izzard in his seriously hot boots. Don’t be afraid to glance around at the other actors when one is speaking or you’ll miss great little background details – especially when the action is on the screen. Don’t miss the narrator’s (Seth Trucks) time on the couch.

I will say that this show is NC-17 : NOT for kids or for the sexually feint at heart. If you’re prudish, you might want to see a different show - this one gets raunchy, but it’s tastefully handled.

Make sure you pick up a prop bag from concessions (no outside props are allowed, please). Don’t worry, fellow Virgins – instructions on when to use the props are printed in your program. Better still, spend the extra $10 for the VIP seating and the prop bag is included, you get guaranteed front-row seating, and you will be allowed to dance the Time Warp onstage with the cast at the end of the show.

The Rocky Horror Show runs from May 12 – 28, with special midnight shows on the 14th and the 21st. Thursday, Friday & Saturday shows are at 8 PM. Tickets are $35 and $45 for VIP (limited to 14 a night!)

“Freaky, funky costumes and audience callbacks encouraged!”

The Abyss Stage & Studio, 2304 N Dixie Hwy, Wilton Manors, Florida 33305

Tickets available at the eveningstarproductions.org at infinite-abyss.org.


Graphic design by Murphy Hayes

Live Theatre Review: Sol Children's Theatre's Thumbelina

Sol Children’s Theatre presents Thumbelina, adapted from the Hans Christian Andersen tale by Wade Bradford, running from August 27 – September 6, Thursdays through Sundays at 7pm with a 2pm matinee on the weekends. Thumbelina tells the story of a childless woman whose wish to become a mother is granted by a faerie.

I absolutely loved the way director Christopher Mitchell worked around the logistical problem of difference of size between Thumbelina and the magical characters’ world and that of the humans that share the stage with them. Since there is no cinematic magic available, the characters each work half of the stage, playing up or down to each other in a clever fix.

The cast is downright adorable, and a large part of the show is just ooo-ing and aaaah-ing at these cute little actors. However, despite their tender ages, this isn’t an amateurish play. These kids know what they are doing and they are quite good at it. They have excellent rhythm and elocution that often goes amiss in productions by much older actors.

Brooke Hall is a lovely Thumbelina, showcasing her talents of song and dance. She shows great poise while playing a timid but eager character.

Her human mother, played by Denise Michelle, conquers her logistically-challenged role with equanimity. Though she scarcely gets to play off another characters, she emotes just as if she was speaking directly to her “little” co-stars.

Some of the children play dual or triple roles. Eden Wexler is a spunky little firecracker, especially as a baby mouse, and Addison Wexler charms in her matriarchal roles.

Addison is not the only actor playing against type; Austin Stein is a suave, elderly mole whose kindness to Thumbelina has suspicious origins.

Murphy Hayes is great as Uncle Jack the field mouse, the crotchety counterpart to Thumbelina’s optimist.

There is much comedy in this show – at times the audience laughter caused me to miss some of the actors’ lines. Isabella Welch has a great role as a caterpillar coming to terms with puberty which she executes hilariously. The couple of times when the actors break the invisible “fourth wall,” it enriches rather than detracts from the play.

Costume design (Ember Everett) and makeup (Christopher Lam & Elizabeth Condon) are beautiful artistic elements of this show: Zoe Alarcon’s elegantly-played black widow and Samantha Mascaro’s “chirpy” sparrow are both enhanced by these.

I am always in awe of the beautiful artwork (Kate McVay) that is created for the backdrop of Sol’s productions. Thumbelina is no exception; a verdant mural serves to create the setting, and the cobblestone path encountered along the journey is worth a closer look after the show.

In short, I highly recommend this play for all ages – the little theatre-goers have a special pint-sized front row just for them. At only approximately 60 minutes with no intermission, the play is timed perfectly with scene changes to keep younger viewers engaged and more mature audience members enchanted.

Sol Children's Theatre is located at 3333 N. Federal Highway, Boca Raton, FL 33431. Tickets for future performances can be purchased here.

Sol Children's Theatre is a 501(c)(3) corporation and would benefit greatly with your tax-deductible support, all of which is invested right back into providing quality theatre entertainment for the community.

Live Theatre Review: Evening Star Production's BUG

Director Rosalie Grant makes excellent use of the intimate space at the Infinite Abyss of Wilton Manors with her production of Tracy Letts’s BUG. The stage is busy, but not distractingly so, with props that tell as much of a story about the characters and their lives as the action does. Lighting and soundtrack are also well-placed, important elements of the story.

Set in a seedy motel in Oklahoma, the play opens on a dysfunctional note that will set the tone for the entire show. The harried Agnes (Erynn Dalton), who is haunted by her past, is soon introduced through her friend RC (Rachel Finley) to someone who will change her future.

Todd Bruno is inspired as the mysterious stranger, Peter Evans, who is endearingly awkward. Peter captures the audience from the first moment he’s onstage, and his bookishness is oddly charming. Todd remains true to the character as he evolves from act to act.

The chemistry between Agnes and Goss (Dominick Daniel) is corrosive and his character is as despicable as Evans is winsome.

Though the play is dark and macabre, it is broken up by some scripted as well as more subtle, visual, humor.

Tonight is your last chance to catch the don’t–miss BUG. Evening Star Production performs its final show on Saturday, August 29 at 8pm.

May be inappropriate for young audiences because of violence, drug use, and nudity.

Get your tickets here or at the door: Infinite Abyss, 2304 N. Dixie Highway, Wilton Manors FL.

Relevant music reference:

I heard Dwight Yoakum, Brooks and Dunn, Chris Isaak, and some Johnny Cash.

Live Theatre Review: Palm Beach Shakespeare Festival's Hamlet

WARNING: This review contains spoilers regarding both Hamlet in general and this production in specific

Palm Beach Shakespeare Festival’s production of Hamlet marks the 25th anniversary of the festival. The production is a break from the traditional with the original play abridged to roughly half its running time at just over two hours. It also sets the play in modern times, which means cell phones, selfies, and firearms. Additionally, Laertes (Krys Parker), Rosenkrantz (Kelly Ainsworth), and Guildenstern (Courtney Poston) are all female characters, with the latter pair portrayed as part of the stereotypical self-obsessed youth culture to a very comical effect.

Kyle Schnack as Hamlet brings an energy to the Prince of Denmark, playing off the audience with a quick wit. He even shows off his own crest tattoo, as the actor is of Danish descent. Darryl Willis is delightful as the tedious Polonius, such that one is almost sorry that he meets his tragic end. Carly Lopez stuns with her portrayal of Ophelia’s betrayal, heartbreak, and descent into madness. She captures the heartstrings even posthumously as her sister Laertes laments her passing.

The character of Horatio, played by Seth Trucks, plays a pinnacle role in this production, a point emphasized by his costume. The majority of the residents of Elsinore are clad in white, while those outside – and perhaps, symbolically, in opposition to them – are dressed in black. Hamlet bears the funereal color as he continues to mourn his father’s death (thus visually serving as an antagonist to his uncle the king) as do the grave digger and the players who unveil the king with their play-within-a-play. Those whose loyalties are possibly divided are clad in black and white, but only Horatio and Old Hamlet’s ghost (Zach Myers) wear gray, perhaps suggesting that it is Horatio’s role to serve as the bridge between Hamlet and his father, between conflict and resolution. The play opens and closes on Horatio and what he sees and he spends much of the play as the quiet observer, sussing out the motives of all around him. He is the one to bring the news to Hamlet of his father’s ghostly unrest and the one left behind, charged to go forth and tell the story of the events as they unfolded. Horatio, dressed in gray, is chosen to be the middle ground between the black and the white.

For such an abridged version of Hamlet, director Trent Stephens has crafted an excellent theatre experience, filled with comic relief (albeit some unintentional – the line “It’s cold” generally gets a chuckle from the sweaty audience). This Hamlet is a show worthy of being watched again and again.

Hamlet runs at the Seabreeze Amphitheatre at Carlin Park in Jupiter, FL, Thursday-Sunday, July 9 – 19. Gates at 6:30, show at 8:00. This is an outdoor festival, so bring camp chairs or a blanket, your picnic, bug spray, sunscreen, emergency rain ponchos, and your well-behaved pets and young people, if so inclined. Arrive early enough and you can even have the grave digger recite you a sonnet for the reasonable price of $5 with bonus Yorick accompaniment. Also, this is a free show, but your suggested donation of $5 is the lifeblood of the program and wonderful events such as this depend on your patronage, so bring your wallet and give freely to support the arts!

Finally, as this is technically a music blog, I must note that the soundtrack to the show is dynamic and addicting (I’ll admit to having purchased all the songs I could identify) and even the before, after, and intermission music is amazing.

Woodkid
Lena Fayre
Lorde
Emily Browning
Audioslave
Imagine Dragons