An old worn monsieur hobbles forward, eccentric and slightly obsessive, gathering refuse of interest along his way. The lines in his face trace a life of difficulty, all the same to him.
Fitting of late medieval times, a woman nurses a babe coarsely, holding it by the neck to her bosom. She meets an unseen demise, her babe still clutching. A miscreant duo collects the fallen maiden leaving the babe behind, yet another castaway. Prodding along, the long-suffering worn monsieur comes upon the orphaned babe and gathers it up, to his surprise it suckles him. He carries it off, like the rest of his belongings cluttered but well-kept.
It’s dark, and the proverbial queen’s stark white face defies this fact amidst Buboe’s setting. Her face cuddled by black contrast, glowers over the stage. She has ruby red glossed and penciled lips set to pucker, her face set stone. The queen’s courtier and hunchback servant amble to their own beat, wavering, at once beheld to the queen and their own impulsiveness. The French countryside’s ‘bouffons’ scuttle around her feet, trying harder and harder to lose any purpose they might have. The queen clearly feels her grip of control slipping.
A Mystic appears keeping company with the provincial Cardinal. The Mystic walks with death following in his foots steps, the Cardinal’s comforting and pristine presence precedes false hope, two sides of the same coin. Stricken with a mysterious affliction, some locals froth visibly at the mouth, others are dying, carted off by the barrel full. Who’s dying from what is hard to tell.
Return of the Product
Shrouded in room for interpretation, a valiant rebel comes forth from a mysterious origins. The pestilence is running rampant, the stunning rebel aided by well-intentioned towns people roots out an unexpected villainy, only to be thwarted by the town miscreants who are now virtually seething ghouls. At least, that’s what I saw.
An Elegant Calamity
True to form, director Brian Rott summons unparallelled imaginative energy to give theater goers a show requiring some effort to wrap your head around. A period piece straddling medieval and renaissance France, Buboes stirs a deeply recessed portion of your consciousness.
Daring you to rely nearly exclusively on visual comprehension, Buboes elicits silent film era notions of gesture and movement, and in a more contemporary and immediate sense draws directly from the theatre tradition of Jacques Lecoq. Each of the players engage the Buboes subject matter as heavily with their eyes as they do with their bodies. Jenni Reinke in her role as the rebel, presents the epitome this technique, piercing the audience with her facial tonality, conveying a troubled detachment.
In supporting roles Ben Yela and Posy Knight similarly fill their characters with a deliberate and studied portrayals of the ‘miscreant’ and the ‘provincial queen’, melding expression and movement creating intriguing physical compositions. Giving shape to one of the queen’s court, Jessi Miller toddles about as a nimble humpback, startling with her transformation from physical ineptness to spry agility.
You might think Kirk Thomsen has the rickets in real life, given his embodiment of limb discomfort. In concert with supporting roles from Andrew Parchman (Mystic), Emma Kate (Courtier), Kristopher Xavier (Miscreant), and Raven McCaw (Cardinal), these affects lets Buboes exact an ounce of intrigue from your flesh and lance that abscess blocking the natural flow of your imagination. On par, the Quasimondo team throws in dashes of prop illusions, action scenes, and puppets to complete the magic that surrounds their performances.
Buboes is technically sound with credit to Jessi Miller (Assistant Director), Jeff Achterberg (Technical Director), Posy Knight (Set and Scenic Design), Michael Pettit (Puppet Design), Ben Yela (Lighting Design), Raven McCaw and Sarah Seefeldt (Costume Design), and Kirk Thomsen and Kristoffer Xavier (Production and Stage Management).
Buboes’ remaining runs are Saturday December 6,8, 12,and 13 at 8p, with Sunday matinees December 7 and 14 at 2pm. Quasimondo Milwaukee Physical Theatre is housed by Milwaukee Public Theatre, which has turned a former big box retail space into a cove of dramatic creation in Studio G across from the TJ Maxx in Grand Avenue Mall.
He has that tortured look on his face. Rick (Joshua Devitt) sits up from his bed in the middle of night, intimately bothered. The rowdy neighbors give him plenty of reason to fix his face to glare at nothing in particular. The bass is pounding from a sound system next door, and he wonders how he got to this place. At least somebody is having a good time, but he doesn’t care.
In desperation, Rick reaches inside a raggedy moving box. Out comes his hand with a prescription bottle, from which he frantically dumps a mega capsule. A NyQuil chaser follows quickly, all he wants is some sleep and he finally gets it, but for how long?
A Dream Inferred
Interrupted by reminiscent premonitions, Rick’s sleep repeatedly has invaders. Here comes Jimmy (Tim Palecek), affable and doting he shows plenty of concern for Rick’s introspection. Despite his intentions, Jimmy is mostly another nuisance to peace and quiet. As soon as you think he has gone, he reappears with an imaginative take on an an absurd scenario perpetuated by the degenerate scene around Rick’s stank hole apartment.
Rick has a girlfriend. Jimmy pins most of Rick’s distress on her. Lynn (Liz Witford), an ambitious psychology student, wants the best for her and her boyfriend Rick. She wants him so bad all to herself. She does everything she can to help him, including syphoning off some perscription tabs to remedy his inability to sleep.
Rick returns repeatedly to his bottles of relief. His self-meds seem to work well to assist him stall on figuring out what to do with his life. Possibly too well? Rick’s periods of REM become less restfull and full of idiations of his father’s untimely death, his friend Jimmy’s inifinite dude-wisdom, or himself, or his free-flower paramour Sarah (Sammich Ditloff), a mysterious dreamgirl (Kelsey Witford), or an ill-fated moment involving his everything, Lynn.
Suicide Sleeps’ Director Charles Sommers and writer/producer Aaron Kopec, tucked this mentally stimulating live drama into a 40-minute pocket that clipped along fluidly, without a beat wasted, leaving much of the apprenhension theatre goers have about long productions with lulliby scenes stranded in the back of your mind. In spite of the short run time, you still feel your admission is well spent.
A cast of faces familiar to Alchemist productions has a heavy hand in accomplishing this. Each player fills their role with relatable and interesting personal quirks and nuiances. Palecek is overly believable as the bar fly that everyone has known at one point in their life. Devitt, as Rick, is the middle-american kid torn between his family’s values and expectations and his want to chase waterfalls. Witford perfectly fills the body of the highly composed, put together and contriving all-american girl etched into Lynn’s character. Ditloff, playing Sarah, courts and wins believability’s hand in all her scenes as an uber hip girl from the depths of cool-dom.
Where many of Milwaukee’s theatre troops continue to encroach on the realm between stage and auidience, Suicide Sleep stays refreshingly distant from the audience, nearly replacing the ‘third wall’ with an 160 inch LCD screen. The show actually plays like an episode of a television series, a concept that has room to run.
Suicide Sleep is on the Alchemist channel as a double feature with shows starting at 7:20 and 9:00p on October 23, 24, 25, and 30th at the Alchemist Theatre in Bay View.
So much talk about the changing seasons. Yes, it’s here. Theatre Season!
Playback Milwaukee Theatre Company looks like a promising outing as they prepare to take the stage tomorrow at Anodyne Roastery in Walker’s Point at 7p.
Founded by Milwaukee native James Murrel, playback theater is a form of improvisational theater that feeds on stories told by the audience as content for their performances. The company takes stories told by audience members and translates them into a script for impromptu vignettes, animating their accounts through movement and gesture, live and unrehearsed.
At the heart Playback Milwaukee’s methods, a space stays open for addressing difficult circumstances that participant from the audience or the troop may have. Certainly, lighter subjects also lay plot lines to follow.
The ensemble lead by James Murrel, accompanied by Yvette Murrel, Bernie Higgins, Erin Moore, Crystasany Turner, Zari Blackmon, Tia Richardson, and Robert Glover.
Playback Milwaukee Theatre Company performs Wednesday October 15, 2014 at 7pm, Anodyne Coffee in Walker’s Point and what Acts are in the playbill are up to you!
Orsino (Stuart Mott) strides on the set, his bellowing maroon silken half tunic rippling at every incisive gesture he makes, urging his tender aged servant attendant Cesario to his presence.
Espousing noble tenure, Orsino with much affection, whether smug, faintly sarcastic, or down right charmingly dorky, commands his boy to his slightest need. Cesario abides dutifully, though peevish, at times practically nervous. There lies some question of what dynamic really radiates between them.
A duet of local theater groups opened a masterfully delivered three act production of Twelfth Night over the weekend, a cheeky piece from Shakespeare’s repertoire of plays. Performed in the Thomas Moore High School outdoor commons, the production runs three more shows this weekend. A wonderful collaboration, H+D Productions and Storyteller Theater breathed the hot breath of artistic life into this show.
A Letter, A Love
On glen some miles away, Olivia (Bridgette Well) swirls in her well stationed life, surrounded by her handmaid Maria (Sasha Sigel), second relations Sir Toby Belch (Shanna Theiste), and a muse Feste (Tawnie Thompson). Olivia’s courtier Malvolio (Ethan Hall), a special breed of maniacal obsessive, deludes himself into believing in his conceit, as he caters all of Olivia’s favors.
Mercurial in his ways, Orsino surmises with certainty Olivia should be the Lady of his court. As any Lord would do, Cesario is given chore to deliver his masters purpose to Olivia. Receiving this message, Olivia prods Cesario on its suggestive designs. Cesario’s loyalty to Orsino and other demurely difficult ways, charm her. Alas, he stands but a servant.
Sir Toby Belch keeps some ragtag company to toy around, notwithstanding his fellow Sir Andrew Aguecheek (Eric Scherrer). Sir Andrews’ counterpart Feste (Tawnie Thompson) sides up to Maria whenever she can. The two of them become intertwined in their domineering friends’ machinations, entangling Sebastian (Glenn Widdicombe) and crossing paths with swashbuckling Antonio (Rachel Zembrowski).
Maria tries to humiliate one of the court, and Sir Toby Belch and Maria instigate fights between the whole lot. Meanwhile, Orsino becomes impatient with Olivia’s hesitation and approaches her in person with Cesario in tow. Olivia, having been enchanted on an earlier occasion by a gentleman thought to be Cesario, is visibly smitten.
Though Cesario pledges his allegiance to his master Orsino, the matter of Olivia’s feelings leave the situation unresolved. Viola (Hayley Cotton), a familiar acquaintance to Orsino, enters suddenly after attempting to flee her past. In the end, the audience is left to discern just desserts.
Beating the Beaten Plath
Taking a traditional swipe, H+D Productions and Storyteller Theater staged Twelfth Night in its given period. Although a choice that has fallen out of favor over the years, thankfully this directing duo failed to heed theater’s current aversion to traditional Shakespeare.
Director Jared McDaris staged each scene with purpose, allowing the actors to thrive. Each of the players represent each role with an impressive performative center; each character roaming their eyes and accentuating precise and choreographed gestures to convey their meaning.
Producers Hayley Cotton and Danielle Levings have plenty to be proud of in this show. The three act runs just over two hours with hardly a wasted movement. Their staging of Twelfth Night actually leaves you satisfied but willing to stuff yourself on pure drama. It’s minimal, allowing this exceptionally balanced cast to work their characters, and a brilliant overall production from two promising theater artists.
Twelfth Night performances will happen again Friday August 1 and August 2 at 6p and Sunday August 3 at 2p at Thomas Moore High School 2601 E Morgan Ave, Milwaukee. $10 admission. (Though obscurely sited, Its a modest and worthy courtesy).
Dusk had yet hit and I’m on the edge of some suburban, southwesterly boundary of Milwaukee County. The clouds hold harmonies of country fields, drawn off key a bit by encroaching gated communities. Historic Trimborn Farm in Greenfield was platted there, and gave plot for Quasimondo Physical Theatre’s physical and interpretive theater adaption of George Orwell’s classic socio-political commentary Animal Farm.
In the Dell
Kicking-off their second formal production season, with great ambition as always, Quasimondo devises several acts of scenes transforming puppets into the mammalian hides of domesticated animals. Mr. Jones (Ben Yela) farms these animals: a hand full of pigs with alphas Napoleon (Kirk Thomsen), Snowball (Jessi Miller), and Squealer (Jeff Kriesel); a charming Cow, Clover (Danielle Levings); a sturdy horse, Boxer (Michael Guthrie) and sumptuous phillie Mollie (Emma Kate).
Benjamin the donkey (Jordan Moran) gives the animal politic a no-nonsense layman conscious, bearing the burden of limited instincts held by a flock of sheep (Kristoffer Xavier), peep of chickens (Michael Petit), and a gaggle of geese (Kris Sukup), a pack of dogs captained by Bluebell (Julia Teeguarden), some birds and Moses the domesticated raven (Andrew Parchman) cawing mocking humor.
The audience is invited into the social workings of Manor Farm‘s animal citizenry, a micro-civilization on the brink of revolt. Dissatisfied with their treatment under whip of their fiefdom ruler Mr. Jones, the animals plot to take over the farm and re-write the virtues of agrarian economics.
Urged by the philosophies and charisma of Animal Farm’s fallen fore-hog Old Major (voice of Brian Rott), the remaining inner circle of pigs record a manifesto of “Animalism” to guide their machinations to achieve freedom. A struggle for power ensues between Snowball and Napoleon. Who’s vision will carry Animal Farm to the future prosperity?
As events on the newly liberated “Animal Farm” bring new order to the beasts, the natural trappings of power and privilege lead the farm into and self-inflicted oppressive abyss. Animals clash with farmers for animals sake; a sake quickly forgotten,as animals raise hooves to their own kind and assert their will. Eventually, the audience is left to decide whether the animals are better off under Mr. Jones’s lash.
Quasimondo’s fiendish hands always find a way to twist something really bizarre and visually interesting out of whatever they touch. The characters of Animal Farm are largely portrayed by hand-mended puppets, angular, almost Gothic, almost disfigured. They interact with the human farmers neighboring Animal Farm, initially with hostility as they ward of Jones, Pilkington, Wymper and Frederick. In the course of farm-making, some animals become “more equal that others” and endeavor more amicable relations with humans.
Damn, Critical, Acclaim
Animal Farm is set literally in a barn house, befitting a production that includes choreographed puppeteering, and short individual interpretive movement scenes capturing the ethos and pathos of personified animals. In fact, much of the play’s action relies more on interpretive movement than dialog.
At times the choreographed scenes featuring movements of the entire farm stock appear slightly off-kilter and overshadow individual efforts of the ensemble members’ to magnetize the audience. In other places, well-blocked vignettes transition and summarize parts of the plot without explicit telling of what’s going-on .
Quasimondo first-timers Danielle Levings and Jordan Moran both standout in this right. Leving’s extraordinarily focused stage presence provides a consistently driven character in Clover as she tries with all good intentions to keep the moral fabric of Animal Farm from tearing.
Similarly, Moran‘s portrayal of Benjamin, while limited in part by the tertiary importance of his character in the story, takes every opportunity to make a subtle impressions of quality on the audience. Emma Kate as Mollie also has moments of individual brilliance, tussling with the choice of creature comforts bestowed on a show horse and freedom.
A live music ensemble of upright bass, guitar, banjo, drums, and other noise making props accompanies the drama dutifully, providing original score and timely sound cues composed and performed by Ben Yela, Wylie Hefti, Eston Bennet, and Eddie Chapman.
Animal Farm is basically a heavy-handed story by an author with one of the heaviest-hands in literature, George Orwell. Quasimondo succeeds overall in taking a literary mainstay with a direct and clear agenda, and drawing-out artistic awnings to shade the audience from some of the glaring political overtones deliberately charging the story.
In some places, Rott grinds his own axes at the risk of nicking his blade on some audience members. This is theater though, rarely put on stage to sooth nerves. The play runs just short of three hours so there is a lot to see and digest. Some acts get a little jumbled when the direction exceeds the execution of the cast. Despite this, Quasimondo represents itself well once again.
Technical credits go to Posey Knight and Andy Walsh (Scenic Design), Edward Winslow (Lighting Design) and Andrew Parchman (Puppet Design).
Quasimondo’s adaption of Animal Farm has a few performances left this week beofre closing. You can see the play tonight Thursday July10, or July 11, 12, 13 all at 8pm on Trimborn Farm 8881 W. Grange in Greenfield (just West of Sourthridge Mall) and is worth a nice evening out in a pastoral corner of the county, catching your mood for a night of experimental theater.
Correction: George Orwell is the author of Animal Farm. Must be secretly craving some hardcore alien Sci-Fi.