http://alecclayton.blogspot.com/2015/02/angels-in-america-part-2-perestroika.html
Angels in America Part II: Perestroika is open and running. Take a look at the second excellent review from Alec Clayton:
http://alecclayton.blogspot.com/2015/02/angels-in-america-part-2-perestroika.html
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Thank you to Tacoma News Tribune theatre critic Alec Clayton for his lovely review of Angels in America on his personal blog:
"Under the direction of Niclas R. Olson and with super performances by a cast including Christian Carvajal, Anthony Neff, Bonnie Vandver, Austin C. Lang, Terrence Lockwood, Sara May, and Andrea Weston-Smart, Olympia Little Theatre’s staged reading of Angels in America Part I: Millennium Approaches is a new high for local theater." - Alec Clayton http://alecclayton.blogspot.com/2015/02/angels-in-america-at-olympia-little.html Follow the link for Molly Gilmore's article on Angels in America in The Olympian:
http://www.theolympian.com/2015/02/18/3582288/olympia-little-theater-tackles.html In his introduction to the printed text of Angels in America, Tony Kushner intones, “It’s OK that the wires show, and maybe it’s good that they do, but the magic should at the same time be thoroughly amazing.” When OLT asked me if I would consider tackling this two-part behemoth as a staged reading, this turn of phrase became ingrained in my understanding of the play. The book-in-hand style of presentation, long a staple of professional workshops and readings, gives us an incredible opportunity to use our imaginations. By limiting staging, sets, and costumes, a trunk can become a bench, an actor can change characters just by changing a coat, and the real magic in this play, Tony Kushner’s writing, can jump to the forefront. This sketchbook version of Angels in America is half theatre, half radio, and ultimately a playground for the imagination. It’s OK that the scripts show, and maybe it’s good that they do, but at the same time, the actors and technicians who have worked with me to bring this experience to life have created something thoroughly amazing. Thank you for coming and please enjoy the show.
In many ways I find that Faustus is a story about circles of isolation. The great tragedy of Faustus is that as he attempts to expand his circle by greater and greater deeds he isolates himself from the world and becomes a prankster and purveyor of party tricks rather than gain the respect and power he so longs to find. This production is built on circles, circles of power and influence, of magic and despair, but mostly on circles of protection, “by which Faustus hath lost both Germany and the world, yea, Heaven itself,..” This play has been on our short list for years and we’re delighted to finally bring it to the stage. I hope you enjoy the show.
“Uncertainty.” The idea that it is impossible to accurately measure where we are, but only to measure the effects of our passing. I’ve been thinking about Heisenberg’s uncertainty principle a lot recently, especially as it relates to theatre. The staged reading series, which ends tonight, has been a whirlwind, a marathon unlike anything I have experienced as a director or producer, and an incomparable pleasure. But so often I’ve been too focused on the future to sit back and enjoy the moment, only later realizing how much I enjoyed the process; the time spent creating art with each wonderful cast. So tonight, I hope we all ski a little slower, sit back, and enjoy the moment as it comes, however that may be.
When choosing the plays for our reading series, I had one very important goal: to find at least one play with really good, meaty roles for women, and Eric Overmeyer, in On The Verge, offered up not only three great roles, but a really fun, kooky play to top it off.
I find this play delightful. It somehow manages to make me smile every time I read it or hear this fine cast speak the lines, no matter what my mood beforehand. It is a tonic to the woes and pessimism of daily life, a little burst of confidence, sunshine, and wonder to brighten up my day. I’m going to have fun this evening, and I hope you will as well. In my research, I watched an interview with the cast of the upcoming Broadway revival of this particular show, and Kieran Culkin, who will be playing Dennis, put it best: “If there is one show I could do for six, seven months, it’s this show. And I also find it absolutely bananas that a show that’s this good has never been to Broadway.” That’s about to change, and we get the chance (after some wrangling for the rights) to bring a show this good to Tacoma.
Jacob actually pitched this script to me last summer, not knowing that I’ve had it on my personal short list for about five years, and after that it was only a matter of time. I’m so thrilled to take on this play with such an incredible cast, if even for one night, and can’t thank you enough for supporting challenging and engaging theatre like This Is Our Youth. Due to the Seattle Seahawks making it to the Super Bowl, the closing matinee of Who's Afraid of Virginia Woolf at Lakewood Playhouse has been rescheduled to start at 12:00 noon on February 2nd in order for audience members to see both the performance and support the Seahawks in the game.
Who's Afraid of Virginia Woolf is up and running at Lakewood Playhouse and most of the reviews are now in, and apparently it's a good show (as long as you're forewarned it isn't a happy musical with orphans.)
Nick (Niclas R. Olson) is the all-American boy: handsome, strong, intelligent and poised for success — everything that George had hoped to be but has long since given up on. Olson plays him in an understated manner in the first act, but as the play progresses, he becomes increasingly emotional.... Both Olson and Deane convincingly react to a situation their characters do not know how to handle as they gradually let their inner feelings come out. Read more here: Tacoma News Tribune Niclas R. Olson is Nick, the new academic arrival. Nick proves to be the perfect unwitting pawn for George and Martha’s “games” they usually play sans audience. He, likewise to his wife, guzzles almost an entire bottle of bourbon during his transformation from glib young scientist to wife protector to besotted letch who succumbs to Martha’s advances and George’s sadistic banter. Read more here: The Suburban Times Olson and Deane did a fine transformation from fresh-faced and sober to decaying drunks. Read more here: Dresdner's Theatre Reviews And finally, this review does little more than name drop the actors, but you can still read it if you'd like: The Weekly Volcano |
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