Steel Magnolias at Peterborough Players (Peterborough, NH)

Closing out their inaugural winter season, Robert Harling’s Steel Magnolias, directed by Gus Kaikkonen, takes the stage at Peterborough Players. Set in Chinquapin Louisiana, the play features six strong female personalities who regularly “catch up” in Truvy’s beauty shop. It is clear from the start that they live in a small town and are a close-knit group of women who always have each other’s backs. Each of the four scenes portrays a significant day in the lives of these women. The play is based on events in Harling’s personal life and was later adapted into a popular film of the same name. I, for one, have not seen the movie so my viewing of this play was with fresh eyes; something I think few others in the audience could say. While they may have seen the movie version, their consistent laughter during the production points to their enjoyment of the original staged version.

The detailed set featured 1980’s décor, with a nice blue accent color on the salon chairs, pictures of big hair styles, and various hair color options. Scenic designer Charles Morgan included a working sink with running water in the beauty shop that added to the production’s authenticity. Additional technical aspects that added to the overall production quality include the props design by Jessica Ayala, sound design by Will Howell, lighting design by John Eckert and costume design by Anthony Paul-Cavaretta.

Left to Right: Pamela White, Brenny Rabine, Katelyn Manfre, Alycia Kunkle, Kathy Manfre and Lisa Bostnar.

Act one got off to a rocky start with a set mishap, a few dialog issues and a leisurely tempo. But once the second act began, the emotional stakes were elevated and the dialog moved more quickly. The cast seemed more secure in their lines in the second half which aided in their believability. Their southern accents were good, but went in and out during the show and varied by character. The cast had good chemistry and their one-liners were spoken with a good comedic punch. The mother daughter relationship between M’Lynn (Lisa Bostnar) and Shelby (Katelyn Manfre) was well played and believable. It was great that both Brenny Rabine and Alycia Kunkle, as Truvy and Annelle, were able to actually work on the other ladies hair throughout the scenes as if they were actually hair stylists. It really made the scenes more realistic.

Alycia Kunkle was delightful as Annelle. She spoke with a high pitched voice, inflecting her lines up as she said them. Her characterizations, emotions and expressions were the strongest and most consistent throughout the production. Brenny Rabine, as Truvy, had great projection and her lower pitched voiced contrasted Kunkle’s nicely. “Laughter through the tears” was one of her best lines and one that I think many in the audience could relate to the moment she said it. Kathy Manfre portrayed Clairee, while her real-life daughter Katelyn Manfre portrayed Shelby.  Pamela White’s portrayal of Ouiser was seemingly one dimensional with little variation, but having not seen the play or the film version before, I’m unsure if that was or was not an intentional character choice. Lisa Bostnar delivered an emotionally varied and strong performance as M’Lynn. Towards the end of the play the somber, quiet mood is broken when she emotionally loses it over her daughter’s fate. Bostnar was fervently and believably distraught. It was the most powerful and emotional part of the show. Sniffling could be heard around the theatre. The audience was clearly impacted by her performance and felt her pain. ©

 

The play runs just over 2 hours including a fifteen minute intermission and is rated PG. Steel Magnolias plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, until February 26^th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org

Review: Fresh Ink Theatre’s "Don’t Give Up the Ship" (Boston, MA)

Entering their sixth season, Fresh Ink Theatre brings us the World Premiere of Laura Neill’s Don’t Give Up the Ship. The play follows Diana, a middle-aged mother of two, who wakes up as Commodore Oliver Hazard Perry, hero of the War of 1812. In learning from the past, Diana finds her courage to take control of her life, discover who she really is and who she’s meant to be. Neill’s writing is fast-paced, multi-dimensional, and humorous. Her characters are complex, and true to life. While the core of this story is heavy and at times emotional, Neill’s colorful and witty humor is sprinkled throughout. Directed by Joshua Glenn-Kayden, the five member cast magnificently brings this unique story to life.

The intimate Plaza Blackbox, part of the Boston Center for the Arts, was well utilized with simple, but meaningful nautical décor, and necessary props and set pieces. The scenic design was done by Madelynne Hays with props by Kelly Smith and Julia Fioravanti. The sound design by Andrew Duncan Will, assisted by Matthew Goode, added an additional layer of complexity to the production. The lighting was purposefully designed by Harrison Pearse Burke and added depth and clarity to Diana’s moments of delusions or dreams. Each technical aspect worked in sync with the writing, characters and emotional tones of the play.  

Plunged into darkness as the show began, the packed audience was surrounded by the thunderous sounds of an ocean storm and crashing waves. It silenced the outside thoughts of the viewers and immediately engulfed them into the world of the play. The cast featured Alex Alexander as Diana, Tonasia Jones as her daughter Martha, Louise Hamill as her other daughter Olive, Hayley Spivey as her nurse Lizzie, and Robert Cope as her ex-husband Jeff.  As a whole, they had great chemistry and were believable and relatable. Alexander displayed both strength and vulnerability as she portrayed the Commodore and Diana. Jones delivered many snappy one-liners with fantastic comedic timing. As Olive, Hamill was gentle and sympathetic, but also a fierce protector of her mother. Lizzie was dynamically portrayed by Spivey; who also had great comedic timing. As Jeff, Cope was distressed with his ex-wife’s condition, but clearly willing to do whatever he could to help his daughters and be with them when they needed him most. This ensemble play was wonderfully brought to life by these actors who were perfectly cast as these richly layered characters.

One entertaining aspect of this show was that it didn’t play out as the audience might have anticipated. Almost never does a show capture my attention and keep my focus for its duration, but this show did. The rest of the audience was fully captivated as well by what was being played out mere feet in front of them. They were vocally supportive of the cast and seemed to very much enjoy the performance. The story is full of adventure, family drama, and love. Overall, it’s a highly entertaining production that is certainly worth attending. ©

The show runs approximately 90 minutes with one 10 minute intermission and is suitable for an adult audience. The play is performing at the Boston Center for the Arts’ Plaza Blackbox, in downtown Boston, February 10th-25th with performances Wednesday & Thursday at 7:30pm, Fridays & Saturdays at 8pm, and matinees Saturday 2/18 and 2/25 at 2pm. Tickets are General Admission for $25 with matinee performances $25 online or Pay-What-You-Want at the door ($6 min). Groups of 8 or more get $5 off. For more information or to purchase tickets online visit: www.freshinktheatre.org/dont-give-up-the-ship/ or http://www.bostontheatrescene.com/season/Dont-Give-Up-the-Ship/

Special events for the show include:

--Cheap Date Night on Wednesday, February 15th and 22nd - Buy One Ticket, Get One Free, online only with code DATE
--Playwright's Night on Thursday, February 16th and 23nd with a Tootsie Pop Talk following the performance
--Pay-What-You-Want performances ($6 min) at the 2pm matinees on Saturday, February 18th and 25^th

Behind-the-scenes Q & A with the team of "Don’t Give Up the Ship"

Courtesy Fresh Ink Theatre

Opening this weekend at Boston’s Fresh Ink Theatre, is the World Premiere of Don’t Give Up the Ship, a new play by Laura Neill. The play is performing at the Boston Center for the Arts’ Plaza Blackbox, in downtown Boston, February 10th-25th. The play follows Diana, a middle-aged mother of two, who wakes up as Commodore Oliver Hazard Perry, hero of the War of 1812. As she faces the challenges of her life in 2017, she embarks on a journey of discovery and finds her true identity. In this interview, I was able to hear from Laura Neill (playwright), Tonasia Jones (Martha), and Alex Alexander (Diana) about the play, the rehearsal process, their thoughts on how this play will resonate with audiences and more.

Q: How has this play changed during the rehearsal process from when you first finished writing it? 

(LN): “The Fresh Ink process begins with a reading, progresses with a workshop, and then heads into rehearsal. The workshop this August--three days with dedicated actors and my director Joshua Glenn-Kayden--was incredibly useful. Hearing the pages aloud with the actors' talent and Josh's shaping of moments led me to shift the arc of a key character and create a fiery monologue towards the end of the play (stay tuned). In the rehearsal process itself, which began in December, I added two new scenes that expanded character as well as adding, changing, and cutting countless lines within scenes. Hearing lines aloud and seeing how they come alive with actors' voices is the most useful way to know what the play needs.”

Q: How is this play relevant in today's society? 

(LN): “In these times, it's important to remember that courage doesn't mean a lack of fear; it means matching fear with a willingness to overcome. Diana is a woman who finds her courage and stands up against all odds to take control of her own life.”

(TJ): “I think this play is relevant to today's society because it really shows the extremes an older woman, who has all of these "responsibilities" society put on her, has to go to, in order to be herself, and have her family accept her.”  

(AA): “I think we all have places in our lives & our communities right now, where we need to have the passion & commitment to do what it takes no matter what.”

Q: What drew you to this play when you first read it? 

(TJ): “What first drew me to this play was the amazingly well written, witty writing.  Laura really knows how to make characters in a scene “POP” with their humor.”  

(AA): “I liked how dynamic the play is and how it is a real ensemble piece. All of the relationships are important. And I thought the premise was really creative.”

Q: When you auditioned for this show, what was the biggest factor that made you want to be a part of it? 

(TJ): “The biggest factor that made me want to be a part of this show was the amazing team of people behind that table. I had worked with Josh (the director) and Jessie (the dramaturg) before, so acting in the auditions was basically like a rehearsal. I came into the room with thoughts and intention. We flipped those on its head, fooled around, explored options that didn't work and options that worked. When I realized Laura and Louise were completely down to play as well, that's when we really started picking up speed and just having fun.  It is one of the few auditions I walked away from just feeling good because of the communication within the room.” 

(AA): “I wanted to be a part of it for a few reasons. One was the fact that I love new work and the process that goes into bringing it to the stage. Fresh Ink is a great company full of smart, creative & professional individuals. Plus, the role of Diana is just such a great combination of acting challenges. Getting to explore being a commander from 1807 is pretty darn fun.”

Q: What were some the exercises or techniques used during the rehearsal process to help the cast get into character and into the world of the play? 

(TJ): “One technique/exercise I go to, to play MARTHA, is I have a little motto/through line for every scene.  Right before I go onstage I repeat that through line in my head while getting centered.  It really made MARTHA pop from the beginning of the scene and come out the cannon hot and ready.” 

Q: What is your favorite scene or line? 

(LN): “I'm a fan of "Elvis doesn't waltz." But my favorite line is in the last scene, so I don't want to give it away. I'll tell you after the show!”

Q: What is your favorite characteristic of your character? 

(TJ): “That's hard because MARTHA and I are so much alike.....In a scary way. I would have to say my favorite characteristic about MARTHA is that she has this way of just narrowing focus in a professional manner that weeds out all the bull and gets to the pin point of the problem. When it comes to family: that gets warped most of the time to meet her own ends. But you can tell if she uses it in a work experience she would be unstoppable.  Also her humor is on point! Sarcasm out the butt.” 

(AA): [on Diana] “She’s bold & vulnerable all at the same time. She’s in a really critical moment of growth & transition in her life.”

Q: What makes this play special? 

(LN): “Don't Give Up the Ship is about a woman who uses her imagination to command her life. It's not a story you see every day onstage.”

Q: What parts of this story do you think the audience will relate to most? What will resonate most with audiences?

(LN): “Every person in this play wants to be loved and accepted for who they are--and it's frustrating when that doesn't happen. I think the audience will relate to having to deal with that frustration and picking the best path forward.” 

(TJ): “I think what will resonate most with audiences is the extremes people go to for the people they love. Most importantly, for the family they love.  This play does a very good job at exploring families and how the person you bump heads with most is the person you are most alike. It's really beautiful that way.”

(AA): “I think that people will resonate with the courageous act of being in and telling your truth no matter how disruptive & difficult the process may be. Also…on a lighter side…love at first sight.”

Q: What was the scenic design process? What were the most important scenic elements in the play that you knew had to be a part of the production?

(TJ): “Most important scenic design elements are the nautical props in Diana’s room. I think they all feed into each character’s relationship with Diana in a different way.” 

Q: If you could sum up this play in one sentence, what would it be? 

(LN): “When Diana wakes up as an 1812 war hero, she has new battles to fight in 2017.”

Q: Why should audiences come see this play? 

(LN): “We've got pirates, sweeping romance, family drama, swashbuckling--it'll be an adventure.”

(TJ): “Audiences should come and see this play to realize that we tend to hurt the people specifically that are close to us. We hurt them more because we know what buttons to press.”

(AA): “First of all, people should come because it’s entertaining & has unexpected twists & turns. It’s sweet & funny & moving. It is full of love and adventure.”

Special thanks to Laura, Tonasia, Alex and Fresh Ink Theatre for taking the time to give us a behind-the-scenes look at their upcoming production of Don’t Give Up the Ship.  

The show runs approximately 90 minutes with one 10 minute intermission and is suitable for an adult audience. Running February 10th-25th with performances Wednesday & Thursday at 7:30pm, Fridays & Saturdays at 8pm, and matinees Saturday 2/18 and 2/25 at 2pm. Tickets are General Admission for $25 with matinee performances $25 online or Pay-What-You-Want at the door ($6 min). Groups of 8 or more get $5 off. For more information or to purchase tickets online visit:

http://www.bostontheatrescene.com/season/Dont-Give-Up-the-Ship/ or www.freshinktheatre.org/dont-give-up-the-ship/

 

Special events for the show include:

--Post Show Social following the performance on Saturday, February 11th
--Cheap Date Night on Wednesday, February 15th and 22nd - Buy One Ticket, Get One Free, online only with code DATE
--Playwright's Night on Thursday, February 16th and 23nd with a Tootsie Pop Talk following the performance
--Pay-What-You-Want performances ($6 min) on Friday, February 10th and the 2pm matinees on Saturday, February 18th and 25^th

Review: "Mass Appeal" at Peterborough Players (Peterborough, NH)

L to R: Gus Kaikkonen, Adam Sowers. Photo by Will Howell

Peterborough Players continues their inaugural winter season with Bill C. Davis’ play Mass Appeal directed by Keith Stevens. The play revolves around Father Tim Farley, the well-liked priest of a thriving Catholic Church, and Mark Dolson, a passionate young seminarian, who challenges Father Farley, his beliefs, his work style and the Catholic traditions he holds on to. The friendship they develop forces them to see things in a different light, ask some difficult questions, and renew their faith to better serve their parishioners and the world they live in.

The set featured Father Farley’s office space on one side and the St. Francis Church pulpit downstage on the other. It was simple, but detailed in its adornments and prop pieces. The scenic design was by Gus Kaikkonen, while props were designed by Jessica Ayala and lighting was designed by John Eckert. The sound design by Will Howell included hymns that played in-between scenes which helped to keep the audience fully engaged in the play.

Gus Kaikkonen portrayed Father Tim Farley and Adam Sowers played priest-in-training Mark Dolson.  Both were intriguing, effective and mostly realistic in their portrayals. There were a few line blunders and a bit of mumbling through lines during the production, but nothing that was too detracting from the overall performance. The play itself is interesting to watch and holds the audience’s attention throughout. It is both a realistic and humorous look at timeless issues still relevant today within the Catholic Church and Religions worldwide.

There were a number of moments within the show that received laughter from almost the entire audience. One was when Kaikkonen, as Father Farley, sarcastically retorted to Mark that he was like a Father “Bojangles” when Mark insinuated that Father Farley gave “song and dance” sermons to his congregation. Another was when Father Farley tells Mark that exuding confidence is the most antagonizing thing. When Mark was giving his first sermon about why people go to Mass he was not as well received as he would have hoped. The audio recording of congregation members coughing was perfectly timed and Sowers’ reactions were spot on. Mark’s next sermon goes a bit better as he explains why he wanted to become a priest. One poetic line that Sowers’ spoke so genuinely was when he described listening for the screams of angels as he sat in church as a child. Sower’s heartfelt and vigorous portrayal was apparent throughout the play and the ending leaves the audience wondering what will become of Mark.

This play, while at many times comedic, will also get you thinking and possibly asking yourself a few questions such as: “Are you here to affect a positive change in the world or to just sit around and drink wine?”. © This engaging comedy is rated PG-13 and runs just under 2 hours including a 15 minute intermission.  Mass Appeal plays on the Peterborough Players stage, 55 Hadley Road, Peterborough, NH, until February 11^th. For tickets call the box office at 603-924-7585 or check out www.PeterboroughPlayers.org