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Shine

via Daily Prompt: Shine with thanks to Ben Huberman, The Daily Post for the inspiration

NoLateSeatingThose who crave the spotlight most often become entertainers. Their talent demands it. It is their calling to shine.

We applaud them, and in so doing bask in the glow of their accomplishment. They are center stage with the footlights on them, but we are illuminated by their performance.

Their light shines on us as they render and interpret and presnet their truths. Greater  performers shine brightest, and we shine brighter too.

Posted in clowning, mime, multi-media

The Best of Edinburgh brings us "LEO"

Can something be both claustrophobic and celebratory?

A man, a hat, and a suitcase shown live in a very small box-like room on stage and again on a screen so that the effect is a split set, are the makings of “LEO,” created by Circle of Eleven based on an idea and performed by Tobias Wegner.

“LEO,” is the wordless theater piece The Carol Tambor Theatrical Foundation presents at the Clurman on Theatre Row through February 5th, as The Best of Edinburgh.

Tobias Wegner performs in “LEO,” created by Circle of Eleven Photo © Heiko Kalmbach

“LEO” offers a riff on Fred Astaire, Houdini and Laurel and Hardy.

On the screen, the lounging character, is standing against a wall in his tiny room. In “LEO” the hero, whether upright or supine, literally climbs the walls, uses strength and agility to adapt to his surroundings, and ingenuity to ultimately escape.

Tobias Wegner performs in “LEO,” created by Circle of Eleven Photo © Andy Phillipson / livewireimage

The concept– by Wegner–, design– set and lighting by Flavia Hevia and video by Heiko Kalmbach– are cleverly executed with whimsy and wit.

“LEO” relies on the diverse cultural sensibility for Sinatra tunes and cartoons for its humor and charm. If it were a tad shorter it would be perfect.

Photo © Andy Phillipson / livewireimage

See a video of “LEO” at circleofeleven.de

Photo © Heiko Kalmbach

For a schedule of performances, please visit theatrerow.org

Posted in beets, carrots, clowning, clowns, comedy, Eugene O'Neil, juggling, mime, offbeat work, onions, playing with food, skits, stage directions, vegetables

Actors’ Revenge and Other Clowning

Eugene O’Neill (“The Iceman Cometh,” “Long Day’s Journey into Night,” “Mourning Becomes Electra” etc.)is not known for inspiring chuckles but the New York Neo-Futurists (Neos) know how to get guffaws out of tough material.

In fact, you might think of “The Complete & Condensed Stage Directions of Eugene O’Neill Volume One: Early Plays/Lost Plays,” at The Kraine Theatre through extended to October 1st, 8th as the actor’s revenge on a playwright loath to allow anyone to mess with his vision. It is said that O’Neill would have preferred to have his plays just read, not acted, and his elaborate stage directions suggest an obsessive desire to micro-manage all aspects in the performance of his work.

With “The Complete & Condensed Stage Directions of Eugene O’Neill Volume One: Early Plays/Lost Plays,” the Neos continue the tradition they started in the mid ’90s of “embracing chance, change and chaos.”

The cast, six enactors, — Danny Burman, Brendan Donaldson, Cara Francis, Connor Kalista (not pictured,) Erica Livingston, and Lauren Sharpe, –and
a narrator, Jacquelyn Landgraf (also not pictured), are inventive and lively.

Photo © Anton Nickel  

“The Complete & Condensed Stage Directions of Eugene O’Neill Volume One: Early Plays/Lost Plays,” adapted and directed by Christopher Loar, compiled from seven early O’Neill works, features narrated stage directions which lead the ensemble to scramble, reassemble props, strike poses, fall onto seats, and make their exits.

There is no O’Neill script for the Neos to follow, but they elicit hysterical laughter while depicting O’Neill’s descriptions of action, character (in both senses of the word.)

The cast entertain by making nuanced adjustments to capture expressions, gestures, even sighs. “The Complete & Condensed Stage Directions of Eugene O’Neill Volume One: Early Plays/Lost Plays” is exhilirating and giddy.

For more on “The Complete & Condensed Stage Directions of Eugene O’Neill Volume One: Early Plays/Lost Plays,” and the Neos work, please visit http://www.nyneofuturists.org/
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The Other Clowning: Jaime Carswell and Nancy Trotter Landry, under the direction of Pablo Ibarluzea are “Cirque De Legume

It’s the leeks, carrots, beets, onions, artichoke, lettuce and hot peppers that give these circus artists, Jaime Carswell and Nancy Trotter Landry, their name. They are “Cirque De Legume!”

Cirque De Legume,” at 59E59 Theaters, as part of the citywide 1st Irish Festival, through October 2nd, hail from London by way of Paris’ respected “clown school”–Ecole Jacques Lecoq. Jaime Carswell and Nancy Trotter Landry enter to rollicking big tent music and great fanfare.

Photo © Mark Fearon  

After their big entrance, they seem ill-at-ease, and the rest of the performance is dedicated to challenging the audience. “How about that?” is their refrain after every trick. “Cirque De Legume” ise delicious slight-of-hand, and acrobatics in their successful effort to please the crowd.
They add a sports metaphor to their routine when she spells out C-I-R-Q-U-E… and they bump chests.

Training a barking lettuce named “Dusty” to jump for a carrot is just the opening number in this manic and charming show.

Visit www.59E59.org
for a schedule of performances. Also see what else is taking place during the 1st Irish Festival at http://www.1stirish.org/