THE CIVIL WAR, the Musical – Glorious, Awe-Inspiring!

South Jersey’s Eagle Theatre has awed another audience with the magnificent and powerful, THE CIVIL WAR, the musical. Ted Wioncek truly defined the term “artistic direction” as he put the pieces together. Wioncek and Chris Miller, the lighting designer, put together a great theatre concept for the show. And it works!

Not since LES MISÉRABLES have I seen anything that kept me as riveted to my seat as this one. I felt the very fabric of the American Civil War in its glory, its passion, and its unbelievable sadness. It’s not a sadness for those who lived in that time, or even the here and now, but a sadness that reaches forever and is felt by humanity everywhere. I knew the hearts of men and women, white or black, in that war against brothers–and sisters. Yes, sisters, too.

The Eagle Theatre production was outstanding.

As theatre, this story of the civil war works interestingly on many levels, weaving the “players,” blending them together finally in an innocent attempt to bring an end to the differences, but we know that what is expressed is hope–not the end. We experience the emotional highs and lows, the passionate embrace of war, and the subdued reluctance of all to an acceptance of sorts. To be fair, the “story” is a series of personalized vignettes, and the music, a mix of country, rock, folk and gospel, grab at audience heartstrings.

THE CIVIL WAR, archetypal in concept, feel makes you feel privileged to be a part of history at that moment. I thoroughly enjoyed The Eagle Theatre’s production, complete with true-life pictures and the sounds of war and dramatic music. The cast was terrific as they usually are at The Eagle. The technical aspects of the show forged by Robert Klimowski reached as high and as creative as they could to add to the already amazing performances. The timing of action on stage to mesh with the Civil War images seen above was incredible. Lorraine Anderson’s costumes, made with the kind of material as the original uniforms, were unmatched by any I have seen recently in terms of authenticity. In a minimalist set, the costumes and the characters stand out, forcing us to listen to what they have to say (sing) and not be distracted.

I can never say enough about the professionalism I have seen with this theatre. I was especially impressed with newcomer, Kevin Hack, who played the Confederate captain. Genevieve Naccarelli as the Nurse stole a moment of the show with her amazing performance. Derrick Cobey was not to be outdone with his performance of Frederick Douglass and other characters. Dené Hill and Ciji Prosser with Rajeer Alford, Michael Hogan and Cobey had standout numbers as well. Kimberly Susskind was sweet as Sarah McEwan. Tim Rinehart, who shines as the Union captain, never ceases to amaze me with his range of characters. Tom Craig, Corey Buller, A.J. Mendini, Sean Elias, James Bock, Diego Rios, Nate Golden and Geoffrey Bruen were the “best.” I hope I haven’t forgotten anyone.

Tom Abruzzo’s music backstage and the music played and sung onstage were flawless, save for a crackle or two in the speakers–hardly something they could do anything about. The Eagle Theatre always produces and performs a show as far as it can go. It’s good that this theatre takes a risk producing a show that is not ready-made success, putting on a new face on it and finding the creative energy and talent to make it work.

THE CIVIL WAR moves you emotionally through the eyes of the northern and southern soldiers, wives back home and the slaves; however, the show uses generic renderings of people who lived and fought during that time. And, we’ve heard the same characters before. The message from Abraham Lincoln is the same as well. There’s nothing new to be heard, not a new twist on something old, or a realistic conclusion, but there is hope.

It seems in the past audiences have loved or loathed THE CIVIL WAR (The musical). Although nominated for several Tony’s, it didn’t last three months on Broadway, directed by one of Broadway’s best, Jerry Zaks. The criticism has been that Frank Wildhorn’s songs in this show are not the “one’s you hum on your way home”–that the Civil War and all its complexity cannot be relegated to a mere piece of history, that we are not reconciled as a people… I think you see where I’m going. Forget all of that.

Despite the inherent flaws of the show itself, the Eagle Theatre’s production of THE CIVIL WAR is excellent in every way. In fact, this production is probably better than the one on Broadway. I have that kind of faith in this theatre company.

On a more serious note. Although we have seen it often, in reality, we haven’t learned much about the horror of war . Perhaps, it’s a human frailty. That’s where I go when I find humanity wanting and a little blind to reality.

The Eagle Theatre presents the Professional Regional Area Premiere of Frank Wildhorn’s awe-inspiring musical, The Civil War: The Musical, starring Broadway performer Derrick Cobey. This engaging score, flourished with country, folk and rock influence, features the region’s most accomplished performers, adorned in time-period costume and décor.

September 19 & 20, 25 – 27, October 2 – 4, 8 – 11 | 8pm
September 21, 28 and October 5 | 3pm

Invading Personal Space – A Capital Crime

Before I say anything: here’s the Coupon Code: NE22C for a free download of my science fiction novel, Harry’s Reality, in any digital form, from my Smashwords’ page. For limited time only. Feel free to buy from your e-reader library or another vendor.

Ever notice while watching television how extremely close people must be to talk to each other? Try it some time. It’s stifling. Breaks your personal space limit. You’ll feel a definite urge to push the other person away–that is unless you are intimate with them or at least family. It was weird to me as an actor and is still weird to me now.

What if we expand that personal space and make it against the law for someone to contact you without being screened. People do influence us. Right. Now, being anywhere near someone, even by accident, sends you running in the other direction because it’s against the law to have contact that isn’t pre-approved or matched.

The basis for Harry’s Reality began with people being so offended when people invaded their personal space that it finally became a capital crime. To socialize without permission was against the law. Where did that idea come from. Mere extrapolation. Taking one idea as far as you can. Usually to the point it only makes sense to the society. Here’s the original: we are so tied to our gadgets it seems there is no room for people. But you could start earlier with any idea proposing purposeful human exclusion.

Thus, you have my contemporary extrapolation that society may become to uncomfortable with itself, isolate itself, and rely more and more on machines. Right now those devices are fun and very useful. Well, you know what they say? Too much of any good thing… By the way, my last post was in part the germ of the novel, Harry’s escape from Inside, without knowing what awaited him. Man has this tendency to risk his life to explore the unknown–for what? We all have our reasons.

It’s been a reflective week. A lot of thinking, running chapters in my head. Next month is looking up. I’ll have an opportunity to see, if not explore, a bit of the area where my next novel will take place–central and south america. Both novels will be the first of a series, but I take a while to develop them as best I can so their characters are well drawn for future books.

I suppose I’m crossing an unwritten science fiction law here in that my books will be a combination of sci-fi and superstition/adventure/suspense as opposed to sci-fi/fantasy. If you like Harry’s Reality, you’ll like the next book, too. What seems to be mis-identity and misadventure, propels a “good-time Charley” to take life seriously and “man up.”

The last killer out fused the entrance with a blaster, melting the façade and door into molten rock and red-hot, glistening steel jelly. Must be to keep in any wounded or barely alive Bios, but why? Harry wondered. The cybertank will destroy anything that lives when the entire structure is reduced to rubble. So why do it now? Why waste resources tormenting the intended victims? Why?

Physically stronger and more resolute now, Desiree clung tightly to Harry. Dar acknowledged in her heart that this was what the other woman had wanted all along. She’d been quietly keeping alert, and now suddenly searched through her purse. How could she have forgotten she had it? Not like it would have made a difference anyway. Ironically, she had expected to use the mini-blaster to persuade a few Outsiders to give her the information she needed to do her job. Forget you, Makr! I’ll not do your dirty work anymore.

Harry saw Dar reaching in her purse. He thought she, too, might be losing control.

“This is no time for make-up, darling…er…Dar,” Harry said. What he saw looked like a make-up case.

She put it back inside her purse. “I guess I’m just a little jittery,” she said, snapping her purse shut.

“We’re all frightened,” he said gently. “We’ve survived this long…who knows, we might make it after all.”

Although only seconds had passed, hiding and waiting in the shadows seemed infinitely longer. It was getting hard to breathe without breathing too hard, too fast, and too loud. Harry knew something about hyperventilating. They had to wait until the way was clear—totally clear of Cyber.

Whirrrrrrr!! Whoooosh!! “Warning! Warning!” The women gasped. Harry knew that sound.

A street cleaner cybert whisked by on a magnetic layer, dissolving and vaporizing dust and dirt. Road kill and Touchable remains, thought Dar. All the same now!

“Streets must be clear. Clear the streets for cleaning. Remove all essential obstacles.” The cleaning cybert’s urgent voice meant it had noticed their presence, but its capacity for thinking was not as well developed as most menial labor cyberts. It would suck and dissolve what human pieces still remained, however small. To the cybert, they were merely obstacles, obstructions to cleaning. The small cybert sprayed a cleaning solution to dissolve a pool of blood, sucked it inside and exhaled a harmless white vapor.

Remember the free coupon to download “Harry’s Reality” in any digital form from Smashwords.com. What begins as a “military” science fiction novel ends far from it. I think you’ll enjoy it.

THE ROCKY HORROR SHOW — More than Theater and Something Else

A Review and Commentary for STAGE MAGAZINE

By the time you read this, I doubt there will be time to see the last night of THE ROCKY HORROR “LIVE” SHOW by the eXposed Theatre Company of South Jersey at the Eagle Theatre Company in Hammonton.  I admit to being “exposed,” fascinated and somewhat puzzled by the experience.  Obviously, this show is not for everyone; if you’ve read or heard anything about it, you know that.  Curiosity brings many of us out.  Those who know me will tell you I am hardly prudish, but this is not my kind of show, which is why I am also admitting to writing commentary here.  I believe in theater that shakes us, stirs us and moves us.  Granted, this British horror comedy stage musical (and this performance) does poke us and prod us, perhaps, where we don’t want to go—some of us.  While others in the audience revel in the absurdity, outrageousness, and daring display of the show.  Question:  Is it still theater when so much of the original is lost or changed?  Read on and I’ll try to give it the perspective it deserves.

Today’s ROCKY HORROR SHOW (the musical theater version) is far removed from its origins that date back some 37 years.  What began as a campy spoof of science fiction has become a raucous display of sexual depravity and deviant behavior intended to shock audiences by being more outrageous than the last rendition.  The spoof is nearly absent, lost in the sexual focus.  The campy part is still there, although diminished.  Or, it is overwhelmed by vulgar, tongue-and-cheek displays.  What began as interactive theater became so much more participatory theater that the playwright’s original intention has disappeared from view.  For sure, songs and dialogue are lost in the audience talk backs and other participatory gestures.  I’ll agree some of the songs and dialogue are spoofs themselves and aren’t needed for the ultimate effect—the current effect.

Now, I’m all for theater “in your face,” but here it was in your face, in your lap, and up your ___.  I am grateful the actors had enough sense not to force their routines on audience members who did not welcome them.  Groping, fondling, cupping, feeling up, licking, mock sexual acts, and other obscenities abound in this production.  Most of that is on stage, but with an oh-so-willing audience, anything goes.  So much so, much time is spent with cast and audience “tit for tat” (I meant that) while onstage cast members and other audience wait for the stage show to continue.

Not to take anything away from the actors; they do appear to be a talented group.  Not sure the audience would be caught dead watching an O’Neil play, but they were definitely having a good time.  The set was functional, although way too small a venue for this show.  The result was that the cast was often sitting on audience members’ laps, literally, and leering provocatively in the aisle.  I’m sure the director intended the “in your face” to be enhanced by the proximity; and perhaps, the end result in that the theater became the stage.  Artistic, yes.  Still, what was on stage was hard to see from anywhere but up close, but up close was a bit too personal.  There did not appear to be a lighting design.  I think the pen lights were to be a big part of any design, but it didn’t really work for me.  Too much little boy with the flashlight…

I said I would come to perspective and the theater.  THE ROCKY HORROR SHOW, at least this production, has lost some of the original intent, although I’m not sure if the intent was to have its audience change to such a participatory following.  Educated society calls it a “cult” following.  Not exactly the theater audience I have in mind.  The original poked fun at science fiction, horror films and our sexual repression; today’s version concentrates on the last of those.

Greek theater had “sexcapades,” Roman comedies could be equally bawdy, and, let’s not forget the English and the Bard himself.  Just so you know the original ROCKY is British and had a very successful run on the West End before we Americans got at it.  If you are going to have a play about sex, have a play about sex; but don’t change and add so much sex livery and lingerie that you change what the play was to meant to be.

Theater should remain true to its original intention; if it doesn’t it ceases to be that work.  And it ceases to be theater when it attracts a cult following and no longer moves us or changes us.  Can anyone honestly say they are changed by THE ROCKY HORROR SHOW today?  Are we less uptight because of our “exposure” to it?  HAIR and OH! CALCUTTA served the same purpose in their day; when we see them today we are reminded of when they came to us.  It was about the same time we found THE ROCKY HORROR SHOW.  You could argue that the play evolved.  I would say it did something; it became something else.

The audience came.  The show sold out.  Hard to argue with the numbers.  What’s left is art—if there’s any left to discern.

When Did a Spelling Bee Become Art? – a Theater Review by Jack Shaw

Sometimes I think I should have my head examined for attending musical theater in the first place. Song, then dialogue. Song. Dialogue. Boy gets girl, boy loses girl, or vice versa. Situation strains relationship. Sad break-up. Boy gets girl again. What was I thinking?

The 25th Annual Putnam County Spelling Bee, is a musical that must be on a higher scale. At least, a different scale. I could write one of the shortest reviews ever written, but, believe me; it’s already been done–with just one word. Without further explanation, that “one” word would be meaningless. Presuming you don’t skip ahead, I promise to save that one-word review for the end just to keep you in suspense. The Burlington County Footlighters “proudly presented” The 25th Annual Putnam County Spelling Bee tonight, and when it was over I was ready to go upstairs and tell the actors what I thought of their performances and the production! It took a lot to resist the urge.

It was a spelling bee unlike any I have ever seen (and I have a child who won one); nor was it like any musical I have seen recently. I knew from a little pre-show research on the Internet to expect good comedy writing. The show was originally a sketch called C-R-E-P-U-S-C-U-L-E by The Farm, Rebecca Feldman’s writers and performers collective. Conceived by Rebecca Feldman, with the book by Rachel Sheinkin and the music by William Finn, the show is a delight. Was I entertained by this production? Most definitely, and the audience seemed to agree with me with applause after every song and the constant laughter in the air. Should there be more? I think it’s a matter of scale and your definition of art.

American Theater Magazine asked its readers if “musicals are America’s strongest rebuke to theatrical naturalism.” The statement seemed to be trying to deny musical theater is theater. Of course, I recognize the magazine was provoking its readers. It is good to be provoked; it makes us think, re-think and sometimes act. The intention of drama, of the theater in general, of art as a whole is to provoke us. It attacks our hearts and our brains. If we accept that good theater should move us or affect us in some profound way, should we compare musicals under that same standard? It is, after all, a variation of the same art.

Before we jump to conclusions, The 25th Annual Putnam County Spelling Bee is not a “fluff” musical, nor is it “bad” by any stretch. Any brilliant production, including the “fluff” can be as artful in its own way as long as we measure using the right scale. A musical that makes a point can fail or succeed as well, but if its writers give us ideas and affect our hearts with songs all the better for us. Give me a musical that has a story, interesting characters, songs that say something significant and play a role in moving the story or affecting the characters and I’m hooked. The first musical that ever did that for me was “A Chorus Line.” And there are some similarities here. Add in terrific satire, elements of ethos and pathos both in song and dialogue, a well-written book (the Broadway play was nominated for six Tony’s and won two—one for best book), and an ensemble cast that never steps out of character and seamlessly schmoozes with audience volunteers who are asked on stage to experience the Bee first hand, and you have this show.

The show is not a long one, but just the right length, and you’ll discover you don’t want to say good bye to these characters brought to life on stage. Is it the best score ever written? Perhaps not, but it works wonderfully with the well-crafted words. The actors’ ad libs were so good and in character every time it was hard to tell who wrote what. The choreography took up the whole stage and used it beautifully with purpose.

I entered the Putnam County gym and came to that event when I entered the auditorium. The set and decorations made me feel at home. I found it refreshing to note that theater said its program: “Please Note: This production is most enjoyed by audience members 15 years of age and older.” The audience was a great mix of ages, and surprisingly, leaning toward the younger side. Lights up. Announcements. A request was made that the audience stand and sing the Star – Spangled Banner in honor of 9/11. I make no complaint here. The request seemed appropriate for the day and was accomplished smoothly and professionally. Since we were in the “gym,” the Pledge of Allegiance wouldn’t have seemed out of place either. The small orchestra, tucked neatly out of the way, performed excellently as well.

From the moment Jillian Starr-Renbjor, (Rona Lisa Peretti), and Matt Becker (Chip Tolentino/Jesus) opened their mouths I knew I was in for a treat. I cannot single out a single actor as dominating the show; they were all excellent and that is not a cop-out. I was close enough to see total immersion of character and the characters all in synch. The neat part was that I got to know each of the characters pretty well and care about them.

The characters developed and honed by the original collaboration (with additional collaboration here, I’m sure), are performed here with hilarious results. I immediately accepted the children played by adults. I anxiously anticipated the next song and dance number. I’ve never done that before. Why now? Because each song brought me a deeper understanding of the characters in front of me, making me laugh, yet feeling sad for their woes and fears, and made me happy for their victories overcoming the obstacles of life.

So, we come to the end and the word I promised you. The 25th Annual Putnam County Spelling Bee attacks our brains and hearts and in its perfection gives us art. The Word is “Art,” Baby! Good art. Enjoy it while it lasts.