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firstfrostTalley's Folley was very nice. ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
dpolicar got the meat of the dialogue, and I found both the character and the portrayal utterly charming. For chanaleh, I liked the portrayal better than the character - by halfway through the play, I had far more sympathy with Matt's frustration at Sally's evasiveness than I had sympathy with the evasiveness itself. I do not trust her to play straight with him after this point, and I think he deserves someone who will. Ah well - they're both fictional and I really shouldn't get too outraged on his behalf. And, as an utter non sequitur, if there is anyone who has more perfect legs than chanaleh, I have not had the opportunity to observe them at such a near distance for the greater part of ninety-seven minutes, and thus have not had previous cause to be so impressed.
dark side of the moon, at the ART, was fascinating. This was the second in a row at the ART to be a one-person show (The Syringa Tree is coming back in the summer, and I highly recommend it...). Between those two and Fully Committed at the Lyric and Us at the BCA, I've seen more solo theater this year than, well, ever. Syringa Tree was minimalist but beautiful - one woman, one swing, and everything else was voice and light. dark side of the moon was... maximalist? Written by someone who thinks in multimedia, and film, as well as theater. Now, I don't normally appreciate adding movie technology to theater - I really didn't like it in Evita, it was just distracting - but here, it was done by someone who thought of the actor as one piece of the whole presentation, one color to the palette, but used the whole set. There was an opening title sequence, just as if it were a movie, and it worked strangely well. So did the rest of it. The final scene: there are a set of chairs lying with their backs on the floor, and the main character pretends to sit in them (but really has his back on the floor and his legs up. Above the stage is a mirror, so the main view is of the reflection, as if it is of the guy sitting, normally, in the chair. Then, as the actor begins to slowly roll around on the floor, it looks as if he is drifting up, weightless, into space. Wow. A bit like the scene in American Beauty watching the dance of the plastic bag - unusual and visually lyrical. This wins the award for Best Use of Lying On Floor in an ART Production.
Pygmalion, as read bydesireearmfeldt's friends. We wrote the review for tirinian to post, but since he probably won't: "The actors don't seem to have rehearsed, Eliza's accent is terrible, and there are no sets. Picks up character packet at handout, and then punts on first night because player doesn't have time." But fun. I am, as always, reminded that I envy justom's knack for accent. And, as well, that comic plays are much funnier to hear or see, than to read. We also read through the first half of Talley and Son, which takes place concurrently with Talley's Folly (I wonder if anyone ever stages them simultaneously, so people can wander back and forth between? Probably not. One of those thought experiments better imagined than attempted.) It's a very different play than TF, having such a plethora of characters dashing in and out. And Timmy is dead! Sniff!
dpolicar got the meat of the dialogue, and I found both the character and the portrayal utterly charming. For chanaleh, I liked the portrayal better than the character - by halfway through the play, I had far more sympathy with Matt's frustration at Sally's evasiveness than I had sympathy with the evasiveness itself. I do not trust her to play straight with him after this point, and I think he deserves someone who will. Ah well - they're both fictional and I really shouldn't get too outraged on his behalf. And, as an utter non sequitur, if there is anyone who has more perfect legs than chanaleh, I have not had the opportunity to observe them at such a near distance for the greater part of ninety-seven minutes, and thus have not had previous cause to be so impressed.dark side of the moon, at the ART, was fascinating. This was the second in a row at the ART to be a one-person show (The Syringa Tree is coming back in the summer, and I highly recommend it...). Between those two and Fully Committed at the Lyric and Us at the BCA, I've seen more solo theater this year than, well, ever. Syringa Tree was minimalist but beautiful - one woman, one swing, and everything else was voice and light. dark side of the moon was... maximalist? Written by someone who thinks in multimedia, and film, as well as theater. Now, I don't normally appreciate adding movie technology to theater - I really didn't like it in Evita, it was just distracting - but here, it was done by someone who thought of the actor as one piece of the whole presentation, one color to the palette, but used the whole set. There was an opening title sequence, just as if it were a movie, and it worked strangely well. So did the rest of it. The final scene: there are a set of chairs lying with their backs on the floor, and the main character pretends to sit in them (but really has his back on the floor and his legs up. Above the stage is a mirror, so the main view is of the reflection, as if it is of the guy sitting, normally, in the chair. Then, as the actor begins to slowly roll around on the floor, it looks as if he is drifting up, weightless, into space. Wow. A bit like the scene in American Beauty watching the dance of the plastic bag - unusual and visually lyrical. This wins the award for Best Use of Lying On Floor in an ART Production.
Pygmalion, as read by
desireearmfeldt's friends. We wrote the review for tirinian to post, but since he probably won't: "The actors don't seem to have rehearsed, Eliza's accent is terrible, and there are no sets. Picks up character packet at handout, and then punts on first night because player doesn't have time." But fun. I am, as always, reminded that I envy justom's knack for accent. And, as well, that comic plays are much funnier to hear or see, than to read. We also read through the first half of Talley and Son, which takes place concurrently with Talley's Folly (I wonder if anyone ever stages them simultaneously, so people can wander back and forth between? Probably not. One of those thought experiments better imagined than attempted.) It's a very different play than TF, having such a plethora of characters dashing in and out. And Timmy is dead! Sniff!
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Date: 2005-02-22 07:14 am (UTC)(The thing
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Date: 2005-02-22 07:16 am (UTC)And yeah, I keep hearing about those fond smiles. I look forward to seeing the DVD.
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Date: 2005-02-22 07:32 am (UTC)no subject
Date: 2005-02-22 08:23 am (UTC)(I, too, like witty, both on stage and in real life, and will forgive a fictional character much for wittiness. I also don't like evasiveness in real life, but it's a good characteristic in a fictional character, especially when it gets dramatically punched through in the end.)
I agree about the fond smiles, though! :)