Jesse Griffith - Page 2

I was eager to finally experience The Santaland Diaries this year at Zach Theatre's intimate Whisenhunt Theatre, a perfect venue for this classic one-man show. I had heard David Sedaris deliver the story on NPR and I've read it a time or two over the years, but somehow never caught a production until this past Saturday night.

I was only vaguely aware of the plot of this sequel to the Phantom of the Opera and was a bit surprised to find no synopsis in the program. However, no synopsis was needed to follow the plot and I prefer not to know too much (or to reveal spoilers). All I knew was that some time has passed since the last story (10 years), Christine and Raoul venture to America to further her career and that the Phantom has something to do with how it all transpired.

Within the gorgeous Rollins Theatre in a 1950s plantation-bedroom set we are transported into the mind's eye of the genius that is Tennessee Williams. All of the supporting elements are here - an elaborate but not overbearing set, great lighting, sound, and props, beautiful costumes, wigs and make-up, nothing omitted, nothing overlooked.

It has been said many times that the difference between an adequate play and a truly great play is that great plays force one to think. They stay with you, you are compelled to discuss them with your play-going companions, you reflect upon them. While DOUBT: A Parable certainly made this reviewer think - a day later and struggling to adequately review it, it continues to haunt me.

McCallum Fine Arts Academy has mounted a major musical of inter-stellar proportions worthy of a good run with packed houses.

Samuel is a typical American yuppie who is honestly grateful for the creature comforts his career affords but something is lacking. Incarceration in a corporate-office cubicle structure stifles his growth and eats away at his soul. Petty torments at the hands of his fellow inmates exasperate the situation and yuppiedom becomes increasingly unbearable.

Do not miss! THERE AND BACK

Get down and dirty with these rotten scoundrels

There is trouble in River City 'I-oh-way' (Iowa) circa 1916 and that trouble is a complacency so intense that the citizens are prone to repeating malicious gossip. Petty judgements have begun to erode the very fabric of this idyllic town threatening to destroy its 'Mark Twain meets Normal Rockwell' perfection.

The best thing about GREASE is that it's such a popular musical, and the worst thing about GREASE is that it's such a popular musical. What I mean is that because GREASE is so popular it was over-produced for many years by most every group imaginable, all too often rank amateurs with middle-aged actors playing teenagers. Ouch.

The time is approximately 1670 and women are now officially allowed to perform on the English stage. Playhouse Creatures is based on the real lives of women actors from that era as derived from the extant writings that still survive. Despite this opportunity, these women still have few life choices and almost no control over the terms of their employment. Seemingly at every turn, the odds of success are not in their favor and men are not their only threat. Women who are not of the theatre are still harshly critical of course, but even their own peer group has its own pecking order. Given the current political climate, Playhouse Creatures is a natural choice for City Theatre to produce.

I specifically asked to see this show for three reasons. One - until last night I had never seen The Little Mermaid. (GASP!) There, I said it. Doubly strange perhaps since I actually know Jodi Benson, original star of the Disney classic. Two - I wanted to see the incredible Emily Ann Theatre & Gardens. What a gorgeous venue! This compound is an artist's dream and Wimberley is fortunate to be home to this gem. And three - I wanted to see what magic director Bridget Farias Gates would bring to this production. Gates, a Best Director winner (Broadway World Austin) enjoys an impeccable reputation as one of Austin's most beloved and respected artists - no small feat in a city teeming with talent. As expected, Gates delivered a powerful production with a cast and crew more than ready to wow the audience. The Emily Ann Theatre is very blessed to have Gates as their artistic director.