Tag: Jasmine Ryan
A sweet indulgence of children’s theater
|Lifeline Theatre presents|
|Arnie the Doughnut|
|Adapted by Frances Limoncelli
Based on book by Laurie Keller
Music/Lyrics by George Howe
Directed by Elise Kauzlaric
at Lifeline Theatre, 6912 N. Glenwood (map)
through May 15 | tickets: $12 | more info
Reviewed by Jason Rost
The First Lady would maybe not approve of this delightful children’s musical due to the fact that the play’s hero is a talking fried fatty confectionary void of nutritional value. Nevertheless, Frances Limoncelli’s adaptation of Laurie Keller’s acclaimed children’s book, “Arnie the Doughnut” is chock full of moral and whimsical value. Limoncelli’s adaptation is further enhanced by George Howe’s catchy doo-woppy music and lyrics complimented with doughnut hole background singers.
The story begins on Arnie’s (Brandon Paul Eells) birthday. He was born earlier that morning in the fryer at the Downtown Bakery. Arnie is a chocolate frosted doughnut, with somewhere between one hundred and one million sprinkles. Proving to be quite philosophical for his young age, he wonders, “What’s my purpose?” He has a strong desire to be the “best doughnut he can be” doing whatever it is doughnuts were made for. Oh, poor naive Arnie doesn’t realize his fate.
He meets new friends vying to be chosen in the doughnut display case, Jelly (Julia Merchant), Powdered (u/s Jasmine Ryan charmingly played at the performance I attended; regularly portrayed by Audrey Flegal) and French Cruller (Abby E. Sammons). They break into the Howe’s most infectious number, “Sunshiny Goodness.”
Arnie is chosen from the display case by the routine obsessed Mr. Bing (Anthony Kayer). Mr. Bing has come to the bakery for his normal plain donuts, but in a fluke, they’ve run out. You know Mr. Bing: he’s the bachelor who pays every bill ten days early, is in bed by 9PM on weekends and still has all of his vacation days left at the end of the fiscal year. He finally takes a risk on a chocolate covered sprinkled doughnut. During the song “A Bumpy Ride”, Arnie rides in a giant paper bag alongside Mr. Bing. Scenic designer, Melania Lancy creates a fun doughnut car that looks more like a deep fried Segway. Arnie learns the hard reality of his true purpose in life when Bing takes his first bite. It’s all a fun adventure from there, trying to figure out what role Arnie can fill in Bing’s life. Julia Merchant is deliciously evil as Mr. Bing’s rule-loving condo president, Ms. Plute.
Lifeline excels in children’s theater, because they clearly treat it no differently than their main stage. The talent takes this play to the next level. Eells is expressive and genuine, not to mention a wonderful comedic actor in every sense. His vocal work is full of life and character. The interplay between him and Kayer bring some subtle comedic laughs for adults. The design is whimsically thrilling. The colors in Lancy’s set are just as vibrant as Keller’s book. Also, Kat Doebler’s costumes allow for wonderfully fanciful transformations of characters. Joe Court’s sound design is the sprinkles on top, particularly one great gag implementing the Psycho sound effect.
In the end, the message of variance in life and companionship may lie a little over the head of the youngest of audiences. Also, do be warned that this play encourages breaking rules (which I found refreshing). I would probably recommend this play for slightly older children, or kids who love the “Arnie” book. A little like a doughnut, the story is light on sustenance and heavy on delight. It seems as though the adults in the audience were laughing constantly, while the children were slightly in awe.
What young audiences will receive, regardless of age, is a wonderful experience in the theatre. The intimacy of a production such as this, compared to a large commercial “Disney-fied” children’s show, provides for a much more magical and personal experience for kids. Just be prepared to shell out for Howe’s irresistible soundtrack on CD, resulting in sudden outbursts expressing the desire to be “More Than Just Delicious.”
Arnie the Doughnut continues at Lifeline Theatre through May 15th, with performances Saturdays at 1PM and Sundays at 11AM and 1PM. There are no performances Easter Sunday, April 24; or Mother’s Day, Sunday, May 8. Running time is 55 min. with no intermission. Ticket prices are $12 and may be purchased at the Lifeline Theatre Box Office, 773.761.4477, or by visiting www.lifelinetheatre.com.
All photos by Suzanne Plunkett
Hilarious musical romp through the wide world of weed
|The Brown Paper Box Co. presents|
|Book and Lyrics by Kevin Murphy
Music by Dan Studney
Directed by M. William Panek
Viaduct Theatre, 3111 N. Western (map)
through October 24 | tickets: $15-$20 | more info
Reviewed by Oliver Sava
The 1938 propaganda film “Reefer Madness” sought to teach the ignorant American masses of the dangers of “marihuana”, including but not limited to grand theft auto, sexual deviance, and murder. Paranoid and misinformed to the extreme, the film’s absurd plot and hilarious depiction of drug users have made it a cult classic, and Kevin Murphy and Dan Studney’s musical spoof is a wonderfully over-the-top expansion of the film’s best ideas, mainly the claims that marijuana turns people into sex-crazed baby-killing socialists.
Directed by M. William Panek, The Brown Paper Box Co.’s production of Reefer Madness is at its best during group numbers, when the cast fearlessly tackles the offensive subject matter with vocal gusto. During the smaller numbers, some of the actors struggle to adjust to the absence of the group, and the singing loses precision and clarity.
The musical revels in gratuitous sex and violence, and the exaggeration of these elements highlights the ridiculousness of the movie’s plot, the tragic tale of high school students Jimmy Harper (Tyler Davis) and Mary Lane (Anna Schutz). Under the false pretense of swing dance lessons, drug pusher Jack Stone (David Geinosky) invites Jimmy over to the Reefer Den, where his life will be changed forever.
When Jimmy takes a hit of marijuana for the first time, rather than experiencing lethargy and munchies, Jimmy life descends into a mess of unbridled orgies, Jesus hallucinations, and running over old men with Mary’s car. While Davis’ jonesing can get a little grating to watch at times, he and Schutz showcase impressive vocals, and the two actors have no problem transitioning from adorable sweetness to devilish insanity. Some of the high notes could have more power behind them, and there needs to be a better balance between the volume of the principals and the chorus behind them, but Jimmy and Mary’s tragic romance is a constant source of humor throughout the production.
As the denizens of the Reefer Den, junkies Ralph (Michael Gardner), Sally (Jillian Kate Weingart), and Mae (Chelsea Paice) have some of the best moments in the show as stumble around the stage, humping and smoking whatever they can. Wiley is fantastically manic as Ralph, and is extra creepy as Sally’s baby in one disturbing interlude. Paice gets one of the best ballads of the show, and while she handles the lower register well, the big money notes are lacking in energy and support. Weingart has a similar problem, but she makes up for it with her powerful belting and fierce sexuality.
Reefer Madness is a musical that is not afraid to offend. Whether it is through explicit sexuality or graphic violence, the show pushes the boundaries of musical comedy, taking it to hilariously dark place. Brown Paper Box Co.’s production needs a little more polish to be truly memorable, but the actors tackle the material with dedication and courage. Despite the lows, this musical never comes down from its high.
A New Sophistication for a New Kind of Savior
|Babes With Blades presents|
|The Last Daughter of Oedipus|
|Written by Jennifer L. Mickelson
Directed by Tara Branham
at Lincoln Square Theatre, 4754 N. Leavitt (map)
through September 25 | tickets: $12-$20 | more info
Reviewed by Paige Listerud
It’s a good thing there’s an afterlife in The Last Daughter of Oedipus or we mere mortals could easily write off its heroine, Ismene (Kimberly Logan), as a failure at everything she attempts in life. With her new play, produced by Babes With Blades at Lincoln Square Theatre, Jennifer L. Mickelson totally revises Ismene’s traditionally meek and incidental role in Classical myth and literature. More importantly, Mickelson re-imagines her heroine within absolutely appropriate parameters of Ancient Greek religion. The characters of this drama thoroughly believe in the gods, in prayer, in ritual and in the less glowing side of Greek religion, the shadowy beliefs about the supernatural and the underworld. Classical geek alert: The Last Daughter of Oedipus is mythologically correct.
Her sister, Antigone (Sarah Scanlon), is dead and buried, making Ismene the last of her bloodline. Now a mournful Kreon (Michael Sherwin), her uncle, rules her dynasty’s city. Creon’s judgment has always been suspect and now crumbles under the guilt of the deaths of his son Haemon and Antigone. If only Ismene could break the original curse that has brought her family and city low, she might be able to rebuild Thebes after its terrible period of war and strife.
Ismene escapes Thebes to seek Theseus’ counsel at Athens, accompanied by her ruddy servant Zeva (Eleanor Katz). On the way, three Athenian women, Amaranta (Mandy Walsh), Cassia (Jasmine Ryan) and Alcina (Katie Mack) redirect her to the Oracle at Delphi. Theseus had just departed to march on Thebes and now Ismene must consult the Oracle in order to understand and break the curse before war breaks out in earnest between her city and Athens. All the while, dark dreams of her incestuous mother Jocasta and her doomed sister Antigone haunt Ismene, driving her onward but giving her no rest or hope. Soon it becomes apparent that Ismene’s dreams and visions are not just in her head but, rather, originate from the ancient Furies who act to fulfill the curse against her family.
Tara Branham’s direction reigns almost effortlessly over the smooth flow of action from fight scene to fight scene. Additionally, her incorporation of Mercedes Rohlfs’ movement direction with Libby Beyreis’ fight choreography truly inspires and evokes stronger veracity for the play’s supernatural elements. The dreadful Furies, Tisiphone (Moira Begale-Smith), Alekto (Amy E. Harmon), and Megaira (Sarah Scanlon), recall the Witches in Macbeth or the ghost of Hamlet’s father, who could be leading the protagonist to truth and/or destruction.
The Last Daughter of Oedipus exhibits increasing theatrical depth for Babes With Blades, in both its writing and execution. Lighting (Leigh Barrett), sound (Stephen Ptacek), and costumes (Emma Weber) reveal a powerfully cohesive artistic vision. Furthermore, this play re-awakens, for modern audiences, the original purpose of tragedy in the city-state of Athens, which was to use familiar myth cycles to examine social and political challenges for the health of the state. Ismene’s final monologue before the end of the first act interrogates the sources of terror as much for our own times as for her own.
Kimberly Logan brings intelligent desperation to her interpretation of Ismene. The role itself swings from feeling badly to feeling less bad to feeling profoundly bad before Ismene’s final redemption in the underworld. It’s up to supporting characters to realize the plays’ lighter side—to which end, Harmon’s turn as the Pythia at the Oracle of Delphi makes for amazing and insightful comic catharsis. Here is a scene that both spoofs and takes seriously our era’s Goddess spirituality movements.
If there’s any fault to be found, it’s in pacing problems, which could easily be resolved in the course of the run. The cast has mastered Mickelson’s heightened language for intention and now needs to pick up the pace in some scenes for crisper realism. As for the fight scenes, standard to BWB productions, a bit too much control undoes the edge that makes for the realistic and thrilling danger of actors swinging swords around. The cast shouldn’t hurt themselves, but they’ve got to make it look like they could!
Of the very few venues in which Attic women actually held power, the exercise of religious offices and duties gave them the greatest social prestige and political influence. Hence, it’s only logical that Babes With Blades’ latest production sees Ismene battling with supernatural forces beyond her control. Yet, it is the their theatrical handling that displays the company’s increased sophistication in its mission to train women in combat roles and develop new dramas featuring fighting roles for women.