Reviewed by Chad Bearden, Associate Critic for John Garcia’s THE COLUMN

Artisan Center Theater is a pretty safe destination for those seeking straight-forward, energetic and family-friendly community theater. They’re admirably adaptable in utilizing their cozy theater-in-the-round space to put on everything from the popular Artie’s Playhouse shows for the little ones to more ambitious youth productions such as last year’s impressive Les Miserables. They are also accomplished at offering shows for grown-ups, and into this final category falls their most recent production, a delightful take on Oscar Wilde’s satirical farce, The Importance of Being Earnest. It does not disappoint.

The key to any successful production of “Earnest” is to keep up with Wilde’s script which is overflowing with dry witticisms, snarky observational humor, and competitive banter. Actors who can’t openly revel in the rhetorical gamesmanship will quickly sink under the weight of otherwise lengthy and labyrinthine dialogues that lead everywhere and go nowhere. The joy is the journey, so to speak, and when Jack and Algie and Cecily and Gwendolen aren’t having fun, the audience certainly won’t be either. Fortunately, the Artisan cast is up to the task and their audiences are in for a treat.

As the play begins, and best friends Algernon (Kyle Holt) and Jack (Brandon Jackson) compare strategies on how best to weasel out of their social obligations, there is a bit of a hitch as actors Holt and Jackson each struggle, with varying degrees of success, with their upper-class English accents. Accents are no easy task, but while both gentlemen leads visibly labor to get some of those words out in an acceptable form (should `facts’ really rhyme with `locks’?), they are consistent enough that by the end of Act I it has become more a character trait than a distraction. That this Mr. Moncreiff and Mr. Worthing need elocution lessons simply feeds into their roles as bumbling but likeable trust-fund kids. Both actors are having snooty good fun, have a firm grasp on their challenging text, and thus overcome any deficiencies.

As much fun as Algernon and Jack are having, it is upon the entrance of Gwendolen and Lady Bracknell that actresses Natalie Berry and Pat Murphy hoist the production onto their demure shoulders and raise it to a new level. There are no garbled accents here. Ms. Berry steals the spotlight, somehow offsetting snide arrogance with a genteel charm as if she only despises the person to whom she happens to be speaking. To everyone else she is the embodiment of well-mannered grace. Pat Murphy’s Lady Bracknell is equally entertaining – full of a maniacal prissiness, but never an all-out villain. Like every other character in “Earnest”, she is a ridiculous person but well meaning.

The bar is raised yet again when Jack’s young ward, Cecily (Jordan Marett) enters the story. And to the audience’s good fortune, young Ms. Marett is a wide-eyed and determined match for Ms. Berry’s Gwendolen. A key scene where the two square off over a potential husband captures the true essence of Oscar Wilde and demonstrates the power of his script. Each actress wields Wilde’s text like weapons, managing to wage a fierce battle while never raising their voices, the most stinging physical maneuver consisting of an intentional botching of the tea-time snacks. It is a wonderfully charged moment that highlights the humor in Wilde’s satire of Victorian society.

Satisfying supporting performances fill out the production. Travis Miller as the jolly wind-bag, Reverend Chasuble, Mary Miller as Merriman, the bewhiskered Harry Liston as manservant Lane, and the dotty warmth of Jackie Holt’s Miss Prism, add little bits of flavor in the corners of the show.

Technically, the show is solid as well. Jason Leyva offers subtle lights that keep the show moving. Equally simple and effective are Leyva’s set designs which create multiple venues with a minimum of set pieces at his disposal. And as with most Artisan productions, the nooks and crannies of the space are utilized effectively to create ambiance. Lovely scenes on the walls painted by Lily Stapp-Courtney variously guide us through drawing rooms and gardens without stealing the show from the proceedings onstage.

Possibly the single production element that does relish stealing a moment or two are the fun period costumes of Jennifer Cadenhead. In applying soft but bold pastels to Gwendolen and Cecily, trim but not-quite-shabby attire to Algernon and Jack, and clothing Lady Bracknell in a gaudy but elegant dress, Ms. Cadenhead manages to find the opposite dynamics in each individual character, and then manifest them in her costumes.

And a final mention to Steven Lindsay who is given the deceptively difficult task of directing a show like The Importance of Being Earnest. For a play whose defining feature is its biting script, it is a unique challenge to guide actors toward an effective understanding of that script so Wilde’s humor comes through. To then create staging in-the-round that provides action enough to keep the eye engaged while never overshadowing that text is an extra difficulty. Lindsay handles it with delicate aplomb.

This production of The Importance of Being Earnest is exactly the sort of show one has come to expect from Artisan Theater Center. Not necessarily flashy, but consistently satisfying and entertaining.

THE IMPORTANCE OF BEING EARNEST
Artisan Center Theater
418 E. Pipeline Road, Hurst, TX 76053

This show will run at Artisan Center Theater through May 26th
Monday, Tuesday, Thursday @ 7:30 pm
Friday and Saturday @ 3:00 pm and 7:30 pm

Ticket Prices:
Monday through Thursday – $14 general/seniors/students
7 children (12 and under)
Friday and Saturday – $18 general
$16 students/seniors
$9 children (12 and under)

To contact the box office, call 817-284-1200.

Wednesday, February 8, 2012

Theater review: Big River: The Adventures of Huckleberry Finn at Artisan Center Theater in Hurst

by Richard Blake of John Garcia’s The Column

It’s hard to surprise me with a production I’ve seen so many times, but Artisan Center Theater does just that by executing a difficult production that is entertaining, with a confident cast and exciting technical aspects in Big River.

Big River: The Adventures of Huckleberry Finn (playing through March 17) is a musical based on Mark Twain’s novel The Adventures of Huckleberry Finn, with music and lyrics by Roger Miller and book by William Hauptman. In keeping with the setting of the novel, Big River features music in bluegrass and country styles.

The original Broadway production opened at the Eugene O’Neill Theatre on April 25, 1985. It ran for 1,005 performances and was nominated for 10 Tony Awards. It won seven, including Best Musical, Best Book of a Musical, and Best Original Score. A critically acclaimed revival of Big River opened on Broadway at the American Airlines Theatre on July 24, 2003.

This production, staged by the Roundabout Theatre Company and Deaf West Theatre, was exceptional in that it featured both deaf and hearing actors performing together. About half the characters, including the leading role of Huck, were played by deaf or hard-of-hearing performers. All dialogue and lyrics in the production were both spoken or sung and signed, making the production equally accessible to hearing and deaf audiences. The character of Mark Twain was expanded so that that actor also provided the voice of Huck, who was portrayed by a non-hearing actor. In fact, Twain was performed in the revival by Daniel H. Jenkins, who created the role of Huck in the original Broadway cast.

The revival was nominated for three Drama Desk Awards and three Tony Awards, and won one of each — the 2004 Drama Desk Award Outstanding Director of a Musical and the 2004 Tony Honor for Excellence in Theatre. It was remounted for a U.S. tour in 2004, and was nominated for several regional awards for excellence.

Artisan Center Theater usually produces its shows in the round, but for Big River, they have rearranged the entire space into a small “proscenium-esque” stage with a thrust. Well, not just a thrust, but a massive river (a.k.a. the Big River Wishing Well Tank) with complicated moving and floating platforms! There are many more exciting production elements you will have to see for yourself, but from the moment I walked in I knew this was going to be a truly unique production of Big River.

Dennis Canright’s direction is very well done and very fluid. There are great opportunities on this ever-changing stage, and Canright uses them all excellently. Big River has many locations, and the choices he makes in direction keep you in every one of them. I will credit Canright for making the “river” just as important a character as Huckleberry Finn himself. I am very impressed with the overall use, style, scenic innuendos, and transitions of the production, which never takes away from the performers but excellently enhances them.

Musical direction by Mary Helen Atkins is very well done. Atkins has a wide variety of voices, ages, and styles in this production, and her choices with each performer are very well done. From solos and duets to full ensemble pieces, she obviously works very hard with the cast. There are a few moments of vocal “pushing,” but I believe most of them are just nerves as this was opening night for this particular cast. Overall, musically, Atkins does a splendid job and her cast sings wonderfully.

The set design team of Dennis Canright, Jason Leyva, and Lily Stapp-Courtney has done one of the most remarkable designs for a small space I believe I have ever seen! The use of a massive tank, building the set on it, moving, adding, and replacing the set pieces flawlessly throughout the performance, shows a massive amount of conceptualization of this musical’s needs.

The design makes for some amazing scenic presentations and offers the cast great opportunities to perform. I can’t imagine that first production meeting when the concept was discussed … “Okay, so I want a huge tank that holds thousands of gallons of water in the center of the theatre and oh … the set has to break apart with the cast on it while singing and floating!” Bravo to this wonderful design team!

The costume design by Nita Cadenhead is perfect for the production. At no time is something out of place, unfitted, or inappropriate. The colors, fabrics, and accessories are appropriate for the period and are functional for the actors, even those that get very wet in many scenes. Overall the costume design is very well done.

This large ensemble cast is lead flawlessly by Christopher Dorf as Huck Finn. This young man took the stage, the story, and a MASSIVE amount of lines on a journey that is simply spectacular! In this storyteller-type of role, Dorf has you in the palm of his hand. When narrating he captures your attention, then immediately goes right into acting it out for you. Vocally he is strong and confident but did seem to have a bit of opening night jitters in a few places, but with time in the role, I believe those will smooth out. There is a lot of talent in this young man and the DFW area has a rising star on its hands.

Ecko Wilson as Jim is confident, secure and commanding in his difficult role. He makes very good choices in his character presentation and looks very comfortable. His voice is strong and controlled in various scenic elements and interactions. The role of Jim can be a challenge to present to an audience. However, Ecko is spot-on in his presentation.

The role of Tom Sawyer is played by David Seil, and is pivotal in this production even though the actual stage time is a bit less than the primary characters. Seil does such an amazingly full of energy, raucous, outside the box presentation on stage you just can’t take your eyes (or ears) off of him! He bounds around the stage as if he is the mischievous Tom Sawyer, and tells his parts of the story with amazing flair. His vocal presentation is perfect, commanding, and just fun to hear. I congratulate him on a job well done.

The large ensemble cast does very well vocally and works with each other on stage with great ease and confidence. Every member of the cast at some point shines on stage and carries this story with wonderful presence and passion.

A few of the stand-out performances within the ensemble are worth recognition: Eric Gentry as Duke and Dan Nolen Jr. as King play off of each other very well. The over-the-top monologues of Shakespeare by Gentry are side-splitting and just a pleasure to watch. Nolen, as his partner in crime, plays the part very well and makes the duo believable. The Young Fool, played by Andrew Gentry, keeps you laughing until you cry with his song “Arkansas!” I’ve never seen the role done this way, and it is magic … kudos to the young Gentry for an amazing job.

Seth Johnston’s portrayal of the drunkard Pap is simply wonderful. He is all over the stage with energy and fully in character. He also does a very unique appearance later in the production that you have to watch closely for but will definitely be surprised by.

Finally, there is an amazing gem hiding in this cast, and when Sandy Pruitt enters the stage as Alice and leads the song “How Blest We Are,” you are captivated! The power and control in her voice is spectacular and the emotion she exudes is palpable. She does a stunning job with this scene and draws you into her soul with every note.

I am only disappointed in one aspect of the production, the wireless microphones. The popping, hissing, and cutting in and out throughout the entire performance are very distracting. There are points when they cut out completely and it actually sounds better on stage.

Only the strength of the vocalists saves the show over these highly distracting microphone issues. I know how difficult these are to work with in productions, but this issue needs to be resolved for the sake of the production quality overall.

Artisan’s presentation of Big River will entertain you, expose you to some amazing DFW talent, and is an exciting evening at the theatre.

When offered the chance to direct BIG RIVER I wanted to afford that same opportunity to our community. Though not as intricately signed as the revival, our production does incorporate signing into the actual production. Individuals sign for the speaking parts and the cast, with the help of our interpreters, sign all of the musical numbers.

Signed performances will be Monday evenings at 7:30 February 6, 13, 20 and March 5. Also, Saturday afternoon matinée performances will be at 3:00 on February 11, 18, 25 and March 3 & 17.

I hope that you will take the opportunity to join us for these select performances during the run of BIG RIVER at Artisan Center Theater.

Looking forward to seeing you!

Dennis Canright
Director BIG RIVER
Artisan Center Theater

AUDITIONS FOR OLIVER!

Book, Lyrics, Music by Lionel Bart
Based on “Oliver Twist” by Charles Dickens

Directed by Christine Chambers

Music Directed by Richard Gwozdz

AUDITION DATES:

Monday January 23, from 7 – 10pm

Tuesday January 24, from 7 – 10pm

Auditions are by appointment which can be made by calling the box office at 817 284 1200 or by email: boxoffice@artisanct.com. Auditions held at Barbara’s Dance Studio, located at 204 West Holloway Drive, Hurst Texas, 76053

AUDITION PREPARATION:

Auditioners will be asked to sing 16 to 32 bars of two contrasting Classic Broadway songs only (1975 or before).  Bring sheet music in your key, ready and marked for the accompanist.  An accompanist will be provided. You will be asked to speak with a cockney accent. Those auditioners whom the director wishes to see further may be invited to a call back audition.

Special skills such as juggling, acrobatics, tumbling are a plus!

NOTE: You must have no conflicts during tech week!

PRODUCTION DATES:

March 23 – April 28, 2012, on Mondays, Tuesdays, Thursdays, and Fridays at 7:30pm, and Saturdays at 3pm and 7:30pm.

ABOUT OLIVER:

Charles Dickens’ classic tale of Oliver Twist comes to life on Artisan’s stage in the hit musical OLIVER!  Join Oliver on the colorful but perilous streets of London, as he meets the Artful Dodger and Fagin’s gang of young pick-pockets in the search for a family to call his own.  “Food, Glorious Food,” “I’d Do Anything,” “Where Is Love?” “Consider Yourself,” “As Long as he Needs Me,” are musical theatre classics from Lionel Bart’s score.

ABOUT THE DIRECTOR:

Christine Chambers has many professional and community theater credits to her name.  She is well acquainted with the musical OLIVER, having been in multiple productions of it (most recently at Lyric).  Some of her acting credits include: Lily in THE SECRET GARDEN and Annie Oakley in ANNIE GET YOUR GUN (both at Artisan), Sugar in SUGAR, Christine in THE PHANTOM OF THE OPERA, Mable in THE PIRATES OF PENZANCE, and Eva Peron in the national tour of EVITA.  She has directed over 30 plays and musicals and teaches private voice and performance in her studio in Arlington.

ROLES AVAILABLE (parts may be double cast):

Oliver Twist (sweet and innocent workhouse orphan boy).
Voice: Tenor. . Age range: 9 – 13

Fagin (a con man who trains children to be pickpockets) strong actor.
Voice: Baritone. . Age range: late 30’s – 60’s.  Magical presence!

Artful Dodger (a roguish youth)
Voice: Tenor. Age range: 9 – 16

Nancy (A cockney girl with a warm heart)
Voice: Alto. Strong belt. Age range: mid 20’s – 30’s

Bill Sykes (A villain)
Voice: Baritone. Age range: 30 – 40

Mr. Bumble (Stout man who runs the workhouse)
Voice: Baritone. Age range: 30’s – 50

Widow Corney (The domineering workhouse mistress)
Voice: Soprano. Age range: 30’s – 50

Mr. Sowerberry (Undertaker)-Voice:
Baritone. Age range: 40’s-60

Mrs. Sowerberry-Voice: Soprano. Age range: 30 – 60

Mr. Brownlow (A kind and wealthy older gentleman)
Voice: NA. Age range: 40’s – 60’s

Bet (Nancy’s loyal friend)
Voice: Alto. Age range: 15 to mid 20’s

Charlotte (Mr. Sowerberry’s daughter)
Voice: NA. Age range: 16 – 20

Noah Claypole (A tall bully who is Sowerberry’s apprentice)
Voice: NA. Age range: 16 – 20

Mrs. Bedwin (Mr. Brownlow’s friendly housekeeper)
Voice: Soprano. Age range: 30’s – 50’s

Dr. Grimwig-Voice: NA. Age range: 30’s – 50’s

Old Sally-Voice: NA. Age range: 50’s – 70’s

Charley Bates-Voice: NA. Age range: NA

Knife Grinder

Milkmaid

Rose Seller

Strawberry Seller

Workhouse Children-Dancing required. Age range: 9 – 16

Fagin’s Gang-Dancing required. Age range: 9 – 16

Ensemble-Dancing required. Age range: ALL

If you have any questions or need further information, please email Christine at ccsongdiva@sbcglobal.net

WE APPRECIATE YOUR SUPPORT!

For BEST CHILDREN’S THEATER