Beautifully written review! "[W]atching a flower blossom and then wilt before our eyes." Wow!
Great article, Bret!
Thanks for the review. I agree that it was very entertaining but a bit breakneck, and the final monologue was not nearly as helpful as I believe the playwright thought it was. Our group really enjoyed Cornelius and thought she stood out.
Thanks for the write-up! I'd like to give credit where credit is due: Dylan and I are only part of the group of SB veterans who keep this company running. Greg Lanning and Elizabeth Kahn also met in a Star Bar show, subsequently married and have served on the board off and on for 20 years, as has Melissa Hafter. Jan Gregg-Kelm has moved to warmer climes, but I'm pretty sure this incarnation of Star Bar would never have gotten off the ground without her. They're not the only ones, of course, but the're the core, the heart of Star Bar.
We've got some new members this year, as well, including Shayn Megilligan, Erica Hutchinson, Catherine Cotton-McGuire and Bob Morsch. It takes a LOT more than the two of us to make Star Bar happen.
Thanks for the update, Warren, we've changed the capsule.
Due to popular demand, we've extended the run through Jan. 11! But tickets won't last long.
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"Men do figure into the women's lives in Love, but as accessories like cuff links, not as meaningful companions."
Are you familiar with the Bechdel test, by any chance? Wikipedia: "...the Bechdel test was introduced in Alison Bechdel's comic strip Dykes to Watch Out For. In a 1985 strip titled "The Rule", an unnamed female character says that she only watches a movie if it satisfies the following requirements:
1. It has to have at least two women in it,
2. who talk to each other,
3. about something besides a man."
When you begin to apply this test to theatre, television or film, you will find that disturbingly few pieces pass it, and you begin to view entertainment and what it tells us about how interested (or not) our society is in the inner life of women in a much different (read: bleaker) light. Indeed, the scarcity of plays in which there are roles for several women - especially women over 30 - instead of two romantic rivals or one mother and one ingenue is still, even in this day and age, very disappointing. LLAWIW is one of a handful in which your statement is true; it's the exception, not the rule. Thank goodness (and female playwrights) for the few that exist and manage to make it into production.
Yay Peaks and Pasties, and Yay Broken Glass Photography!!!
I think you were too hard on Floyd and Clea. The singing voices and acting were fine. The play is very talky which makes it feel slow. But it wasn't that painful. The songs were not memorable, but they did move the story along. It was an enjoyable evening.
Bill Wheeler writes a review of opening night on his theatre blog:
Brilliant production. All of the actors and actresses were absolutely brilliant!
Great script...great cast. Loved the show.
Nobody in our town's theater community could have more respect for Christian O'Shaughnessy, with whom I've had the pleasure to work, Ashley Crockett, my theater pal of many productions, and others of this fine cast and crew who have given themselves so professionally to this project. But there has come a time in my life, like now, where the heat and fires of my once young self have cooled. And now, I do not need nor want to be "...led on a spree of choreographed violence." I will give this production a miss, not for any lack of respect for those involved, but to find fewer assaults on my senses of horror, violence, and anarchy.
To the writer:
I can't comment on the main body of this review since I haven't seen this show, but I am uniquely qualified to comment on the last paragraph. I'm the communications director at our town's largest performing arts organization. The administrative folks at TheatreWorks are probably too polite to respond, so I'll attempt to offer a thought here.
The entire business of theatre, and indeed, performing arts in general, is based on a public-private partnership, wherein sponsors provide support in order to make the cost of tickets more accessible and make the art produced on the stage possible. Disparaging TheatreWorks' method of recognizing that sponsorship (and possibly causing the sponsor to feel alienated) demonstrates a fundamental misunderstanding of the performance arts industry and the sources of funding for our efforts. Like it or not, both corporate and individual sponsors play a vital role in the quality, frequency, and accessibility of arts throughout the United States. This is particularly true in Colorado Springs, where public funding is extremely limited. Using this public forum as an artistic reviewer to complain about that system is highly questionable since administrative decisions don't usually fall within the scope of a critic's responsibility.
There is a point at which sponsor recognition can be overbearing and obtrusive, but it's difficult to imagine a scenario in which TheatreWorks, with their artistic sensibilities, would be prone to that level of promotion for the sponsor.
Finally, I'll just mention that it's especially odd to have that final paragraph, given that this very publication, the Independent, is a primary supporter of arts throughout our region, including TheatreWorks. I can imagine that the Indy genuinely appreciates the recognition that it receives for its support of the performing arts, and it's perplexing that you would disparage TheatreWorks' efforts in this regard.
Just about all of the big movies of the 40s were also performed on the radio by the starring actors, often introduced by the movies' directors. If a movie turned into a hit it was performed again using other actors in the lead roles. The radio plays never ran more than an hour, so material was always cut. There was more than one version of The Maltese Falcon broadcast over the airwaves, including a version that runs only 30 minutes long.
The production isn't trying to rival the movie. What theatrical production could?? A radio production of this was performed the year the movie came out; Stewart and Reed both reprised their roles in said broadcast. Do you think THAT production rivaled the movie? That's not the purpose. It's to use the radio genre to give a different twist to the story. Both can be enjoyed without detracting from either's merits. Different isn't bad, it's just different.
I wanted tickets, and tried online, but their site won't work well with my iMac.
After this review I'll just pass and watch the annual TV showing.
The performance dates are slightly different from those currently listed above. The play runs from 6-28 through 7/13. We will be performing on Friday, Saturday and Sunday at 8:00pm 6/28 - 6/30 and 7/5 - 7/7, and then Thursday, Friday and Saturday from 7/11 - 7/13.
Yes, that's right, and our mullein is not packaged for smoking, which is why many theatrical productions use it. We used it during Cuckoo's Nest, and with the ventilation system working, no one noticed. As we pointed out before, for some people the difference between a non-carcinogenic herb and tobacco is significant, and the potential for irritation is significantly diminished with the ability to use the ventilation system. Again, I would ask you please to clarify that in next week's issue for those who may not wish to attend based on your description of the smoke problem.
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