Live Theatre Workshop

There’s No Place Like Home — Or Is There?

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by Annie Sadovsky Koepf

A universal desire is that for a comfortable home and hearth that provides a reprieve from the outside world. As you enter Live Theatre Workshop for Radiant Vermin, by Philip Ridley, you’ll notice that the stage is presented as an unfinished home. Even before the play starts, two of the actors are peeking out from backstage. Has the play already started? No, but the intrigue has.When the curtain rises, we are introduced to a young couple earnestly searching for a new nest for the baby on the way.  Jill, played by Samantha Cormier, and Ollie, played by Steve Wood, are an English couple who really want a home of their own. Worldwide, the dream of home ownership often remains just that: a dream. In this play, however, the couple magically receive a letter saying they have won a new home. 

radiant vermin

Steve Wood as Ollie, Samantha Cormier as Jill, and Leslie J. Miller as Miss Dee. Photo courtesy of Live Theatre Workshop.

Of course they are skeptical. Who wouldn’t be? They drive to the area with unfinished homes and the project in disrepair. Miss Dee, played by Leslie J. Miller, meets them. Is she the magical fairy godmother? After convincing  them to sign, the house is theirs. Of course, it is unfinished, but Dee assures them that Ollie can do all of the physical repairs while Jill can decorate and lovingly make it a home. The first night in the home is like camping with no water, electricity, or heat, but they are excited by the possibilities!  They see a campfire outside, and realize that there is a homeless encampment in the project. Suddenly noises are heard downstairs and Wood goes to investigate. Of course it is one of the homeless, and what ensues makes us question to what lengths good people will go to realize their dreams. At the end of the evening, Jill’s catalog perfect vision of a kitchen magically appears. But how, and at what cost?

Director Maryann Green has done a masterful job with casting. Cormier, Wood, and Miller work together to weave this fanciful tale that makes us suspend our disbelief and think that magic really can happen. The characters are multidimensional and relatable. Cormier and Wood are brilliant as they use no props, but we have no problem seeing the baby, or going up and down the imaginary stairs with them. During one scene, they play three of the couples in their neighborhood with rapid fire delivery that is so convincing, it left my head spinning. I couldn’t believe how instantaneously they could change from one character to the next and back again. Miller plays not only Miss Dee, but also a homeless woman, Kay. Her portrayal of Kay is extremely touching and poignant. As she is the only homeless person that we actually get to meet, it gives a face and persona to those with whom we rarely connect — many of us even avert our eyes when we see them on the street.

The actors engage the audience from the beginning. The fourth wall, the invisible division between the actors and the audience, is broken repeatedly in the play. We are not innocent bystanders. Cormier even invites us to raise our hands at one point to see if we agree with her. When she is giving one monologue about her background as a Christian and her dealings with the homeless she addresses us, and makes eye contact with the audience. We are made to realize that it is not only the actors dealing with the homeless in the play, but our own engagement with them in our own world that we must thoughtfully consider.

The set, costumes, and lighting all are very understated but powerful. That being said, we are not distracted by them. It is the story and the acting that takes center stage. The entire production crew has to be commended for allowing the story to take center stage through the subtle way that they each supported this vision. Often less can be more, and it is definitely true in this production.

This delightful dark comedy is definitely a story for our time. The issues of home affordability are paramount to all young people. Homelessness and how we treat those who are not the same as us is a daily cause for debate and discussion. But tantamount in today’s world is the increasing disconnect between what we say our core values are, and how we either act in ways that support or undermine those values. Finally, we must ask whether the end justify the means, and how greed affects us both individually and collectively. Yes, this play is very timely and begs all of us to reflect, soul-search, and answer those questions for ourselves.

Radiant Vermin  runs Thursdays through Saturdays at 7:30 PM, and Sundays at 3:00 PM through March 28. Ticket prices are $15. LTW’s box office is 520 327-4242, and the website is livetheatreworkshop.org.

Mona Lisa Teaches us a Lesson on Art

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by China Young

Art is alive. I believe this to be true because those of us that view art are alive. Whether it is a painting, a sculpture, a play, a song, or any other art form, no two people will have the exact same opinion.  Author Margaret Wolfe Hungerford put it best when she wrote, “beauty is in the eye of the beholder.” Beauty and value cannot be judged objectively because everyone experiences art through their own individual lens, and that lens is ever-changing. However, with opinions come critiques, and if you’re reading this then you’re likely aware that critiques can influence opinions. Mona Lisa on the Loose, written and directed by Gretchen Wirges with music by David Ragland, explores all these themes with humor, music, and joy. Despite these themes being a bit more complex than expected for a family show, the simplicity with which it is told leaves the entire audience with a beautiful message that is full of heART.

Mona Lisa on the Loose

Ally Tanzillo as Helen, Andrew Miller as Blue Boy, Christina Evans as Mona Lisa, and Kyleigh Sacco as Pierre and Robert. Photo courtesy of Live Theatre Workshop.

The play begins by establishing the audience as visitors to the Louvre Museum. We are introduced to our tour-guide, Pierre (Kyleigh Sacco), who then proceeds to show us the art contained in the museum. However, Pierre is clearly bored from giving this same tour multiple times every day and presents the art in an over-critical manner, touting them all plain, boring, and nothing special. Even the Mona Lisa, considered one of the greatest works of all time, is criticized by this jaded tour guide. After the Louvre closes, the four pieces of art we’ve met (I’ll get to them all specifically in a minute) come to life, shake off their “forever” poses, and start to talk, sing, and even dance. They are discovered to be “alive” by the Louvre overnight janitor, Roberta, who eventually reveals to them that, because of Pierre’s criticisms, they are no longer considered  “great works” and there is a rumor that they will all be relocated to the storage room. Through the power of (theatre) magic, the artwork transforms Pierre’s attitude towards them from disdain to appreciation, ensuring they keep their place in the halls of the museum and in the hearts of all people that come to see them. 

The first work of art the audience is introduced to is Pearl (Taylor Thomas), the oil painting The Girl with the Pearl Earring by Dutch artist Johannes Vermeer (c. 1665). Next, we meet Blue (Andrew Miller) from Thomas Gainsborough’s full-length oil painting The Blue Boy (c. 1770). Our only sculpture is Helen (Ally Tanzillo), a bust of a Greek goddess. The precise origin of this piece is unknown, but she is believed to be from approximately the 4th century BC. Finally, we meet Mona Lisa (Tina Evans), Leonardo DaVinci’s “archetypal masterpiece” from the Italian Renaissance. The Mona Lisa is shrouded in mystery: Who is she? Is she smiling? Why is she smiling? Is she finished? It is even uncertain when DaVinci began to work on her. She is believed to have been painted sometime between 1503 and 1517 and was likely not worked on consistently. The Mona Lisa, or La Gioagonde in French, has lived at the Louvre since 1797 and is one of the most visited works of art in the world. If I remember correctly, most, if not all, of these facts are presented within the play, making it just as educational as it is entertaining.

Full disclosure, I’ve never been to a Live Theatre Workshop Family Series production because I’m not really a “family series” kind of person. The audience was predominantly kids ranging from “babies” to “who knows,” with a generous sprinkling of adults (because how else are kids going to get to the theatre). I usually avoid places where I anticipate large gatherings of young children, but I have to admit that they made the show that much better. Their reactions and interjections were priceless. It helped that there were tons of clever lines and jokes within the script that were obviously put there for the adults, whether the kids picked up on them or not. The song lyrics were also very clever, though the music itself occasionally slowed down the pace of the play. Sometimes it was the tempo of the song itself, other times it was due to lengthy opening interludes. This was a minor issue in an otherwise lovely production for all ages. 

The technical designs complimented the script in their educated simplicity. Stephanie Frankenfield’s costumes found a smart balance between the essence of the art each character represented while including flourishes of modern-day dress that made them instantly more contemporary. The set design (by Stephen Frankenfield and Amanda Gremel) and scenic painting (Karin Hupp) were equally successful in this regard, if not more so considering this production must share a stage with LTW’s Mainstage productions. Each “painting” had their own stationary frame to stand behind (or around), and the bust of Helen sat on a movable pedestal that hid her body and allowed the other actors to move her around and include her into the action. Gremel also designed the lighting, which included tricks to light the artworks similarly to how you might see them in an actual exhibit. The script and staging allowed these lights to become their own characters at times, exposing the audience to how integrated technical designs can be in a production. Again, smart and simple. 

I really appreciate introducing children (and adults) to other art forms through theatre. It is a fantastic tool to educate and inspire, especially when not everyone can visit the Louvre. The best part of this show was the message I was left with: art comes from the human heart, and that’s why it is so beautiful to witness. Love what you love, and share it with others. 

Mona Lisa on the Loose is playing at Live Theatre Workshop on Sundays, January 26 – March 8, 2020 (no show February 16), at 12:30pm. More information and tickets are available online at https://www.livetheatreworkshop.org.

Set up a meeting with The Norwegians

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by Betsy Labiner

Clockwise from top: Avis Judd as Olive, Samantha Cormier as Betty, and Stephen Frankenfield as Gus. Photo courtesy of Live Theatre Workshop.

Clockwise from top: Avis Judd as Olive, Samantha Cormier as Betty, and Stephen Frankenfield as Gus. Photo courtesy of Live Theatre Workshop.

The Norwegians, by C. Denby Swanson, is more like a Tucson winter than the Minnesota winter in which it’s set; it’s brisk without being cold, bright but not quite sunny, with moments of warmth chased by a sudden chill. 

The play opens with a woman seeking to engage two men as contract killers. We soon learn that Olive and her friend Betty (played by Avis Judd and Samantha Cormier, respectively) have decided to have their ex-boyfriends killed. The titular Norwegians, Tor and Gus (played by Keith Wick and Stephen Frankenfield, respectively), are gangsters – “but nice ones!” The hit men are very invested in their marketing and customer satisfaction, and their amusing asides about how best to manage and grow their business are peppered throughout with reminders of just what their business is. 

We learn about the characters in trickles, as we jump between Olive’s conversation with Tor and Gus, and the earlier conversation with Betty that led her here. Under Robert Guajardo’s direction, Live Theatre Workshop’s production makes strong use of the minimalist set, using changes in lighting to create different times and locations on a single stage. The characters’ conversations at times feel disjointed as vignettes interrupt each other to offer background and additional perspectives, including at times having characters directly address the audience, but the play flows well overall as it unspools across the accumulated moments. Judd’s Olive vacillates between heartbroken fury and wistful hope, while Cormier’s Betty rants about men in general in a way that makes clear her fixation on one man in particular. The women’s interactions are both familiar and outrageous, as their frank discussion of murder is interspersed with commentary on forming friendships in bar bathrooms, what it means to be “nice”, and how to move forward after breakup. Tor and Gus, meanwhile, are oddly charming despite uneasy moments in which underlying violence bubbles up. In one exchange, as Tor seeks praise from Olive, Wick put his hands in his jacket pockets and swayed gently, giving off a disarmingly sweet and boyish air that was pointedly at odds with the way Judd was cringing away from him. As Gus, Frankenfield was more energetic, at times even bordering on unhinged – a tendency that was repeatedly condemned as not very Norwegian. 

This is a play for those with a penchant for dark humor, along with those with at least some familiarity with the Midwest and its cultural mores. Though I’m neither a Midwesterner nor of Scandinavian descent, the majority of the jokes still worked for me, and I laughed out loud at many points in the play. However, I suspect a woman down the row from me – who after the play informed me that she was from Minneapolis – got even more out of the play, as she absolutely cackled with delight for the duration. The dry humor of the observations on romance and relationships, astrology, and happiness felt more universal, and I found myself nodding along and huffing in amused recognition as characters ranted about their hopes, fears, and experiences. The desire to kill (or kill by proxy) is treated as simply a fact of life, as Tor blandly explains, “Everyone wants someone dead at least once in their life. This is just your time.” I found the play’s lasting message to be about choice: how we tackle choices that can’t be reversed, how we react to getting what we thought we wanted, and, perhaps most crucially, how we can choose to be happy. This final aspect is a fascinating line of thought, particularly in a comedy about murderous revenge, and left me mulling on when and how we variously support or sabotage happiness in ourselves. 

The dark premise of this play may not be for everybody, and the dialogue contains a good deal of profanity, but if you’re in the mood for a killer comedy with a large helping of Minnesota personality, let The Norwegians execute the job. 

The Norwegians runs at Live Theatre Workshop through February 15th, Thursday–Saturday at 7:30 PM, and Sunday at 3:00 PM. Tickets may be purchased online at livetheatreworkshop.org, by phone at 520-327-4242, or at the box office beginning one hour prior to shows (walk-up purchasing is always pending availability).

Get the Whole Family in on the Prank with Tilly the Trickster

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by Regina Ford

Tilly is a grade school-aged youngster with an inkling for playing pranks on her family, friends, at school, and on just about anyone. This kid doesn’t discriminate. At the start of the show, Tilly announces, “I love, love, love to play tricks.” What follows is 75 minutes of electrically charged energy full of song and dance and Tilly’s relentless, not-really-dangerous practical jokes. 

Janet Roby as Tilly's Mom, Christopher Moseley as Tilly's Dad, Austin Killian as Peppermint, and Samantha Cormier as Tilly. Photo courtesy of Live Theatre Workshop.

Janet Roby as Tilly’s Mom, Christopher Moseley as Tilly’s Dad, Austin Killian as Peppermint, Teddy (puppet), and Samantha Cormier as Tilly. Photo courtesy of Live Theatre Workshop.

Tilly the Trickster, a family friendly show, written by Jeremy Dobrish with music and lyrics by Drew Fornarola and based on the children’s book written by actress and comedian of SNL fame, Molly Shannon, is running now at Live Theatre Workshop, just in time for the holiday season. This energetic show is definitely not your traditional  holiday presentation. There’s no Santa, no stockings, and no tree, but there is a message that goes beyond the tinsel and gingerbread: Tricks are not always fun for everyone, no matter how harmless they seem.

No one escapes Tilly’s tricks and mayhem starts first thing each morning. Her breakfast antics send her baby brother’s cereal flying throughout the room, much to the annoyance of her parents. Their frustration is highlighted with the song, “Where Did We Go Wrong?” The only one delighted to see breakfast on the floor is Peppermint, the family dog.

Tilly’s antics result in her schoolmates missing the bus. A gift of hot candy to her teacher gets her sent to the principal, with no results. Punishing Tilly is no use. She pretends she’s sorry but lets the audience know with a smile and wink that her game is not over.

Tilly is taxing, but not cruel. She believes everyone she pranks thinks it’s funny, too. I want to thank Shannon for writing her starring character as a girl. My recollection of mean girls in grade school is pretty vivid. For the shy or overweight kids or anyone who was “different,” the girl’s gym class was a venue for ridicule and pranks causing cruel humiliation.

I doubt very much if the toddlers in the audience understood the moral of the show, but watching their faces, I could see that the singing and dancing and especially the tricks kept them entranced for most of the performance. 

Shannon and Dobrish included some dark humor in their dialogue that missed the mark for me. When the principal is trying to teach Tilly a lesson he recounts his own troubled childhood and describes tormenting animals. Hmm? That scene disturbed me. Even though the principal is remorseful for his behavior, taunting animals sends a message that may be misunderstood by young children.

The actors worked well as a unified ensemble and created a variety of characters with ease.

Samantha Cormier (Tilly) never let her energy down, and her ability to play a grade school student is pretty amazing. I would have avoided her Tilly like the plague if I went to her school. Cormier was very good but I really would like to see how a preteen actor would have handled the role.

Janet Roby played three roles: Tilly’s mom, Tilly’s teacher Mrs. Mooney, and a cat (puppet). Roby and Christopher Moseley, who portrayed Tilly’s dad, as well as the bus driver and the school principal, worked so well together as Tilly’s freaked out parents. Both actors were nerdy enough to appease the younger audience members yet sympathetic enough for parents to identify with as they coped with a rambunctious child. They also had great catchy musical numbers with clever lyrics like those in ‘Mornings Stink.”  Words like fart, litter box and pee-ew fit right into dialogue and lyrics.

Tilly’s younger brother is played by a puppet brought to life by Kyleigh Sacco, who also acted the part of a bird (puppet) plus Tilly’s school friend Emily. Sacco nailed the role of Teddy, the baby brother. This character was portrayed using a puppet and, dressed in black clothes, she maneuvered Teddy around the stage wonderfully. She disappeared as Teddy came to life.

Samantha Cormier as Tilly and Austin Killian as Peppermint. Photo courtesy of Live Theatre Workshop.

Samantha Cormier as Tilly and Austin Killian as Peppermint. Photo courtesy of Live Theatre Workshop.

Peppermint the dog is one of my favorite characters in the show. Austin Killian makes this comical canine the pet you want to adopt and call your best friend. Peppermint shares enlightening speeches that it is made clear only the audience can understand. He becomes the voice of reason for the play. Just when he thinks he’s understood by the other characters, they let him know that all they hear is “Arf! Arf! Arf!”

The choreography by Amanda Gremel was simple but also a creative balance with the music direction by Taylor Thomas. The set, designed by Richard Gremel, was so simple yet very effective. Childlike hand painted drawings depicting some of the trickster’s props in the show surrounded the stage on three sides while the title of the musical, “Tilly the Trickster,” took center stage serving as the show’s background throughout the performance. All the cast moved props off and on the stage and their work as a tight ensemble made the show just flow.

Tilly the Trickster is appropriate for the entire family, although I think very young children may not understand the plot. That’s where the music and the strong zany characters will capture their imaginations. It is playing at Live Theatre Workshop, 5317 E. Speedway Blvd. Fridays and Saturdays at 7pm and Sundays at 3pm through December 28th. Tickets can be purchased online at livetheatreworkshop.org or by calling the box office at 327-4242.

Accomplice Accomplishes Mystery… with a Twist

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by Gretchen Wirges

Nothing delights me more than to see a play with a wonderfully surprising plot twist. Two plot twists and I’m clutching my pearls. More than that, as was the case with Accomplice playing now at Live Theater Workshop, and I’m leaning forward on the edge of my seat, greedily along for the glorious ride. 

Accomplice, written by Rupert Holmes, is a whodunnit shell game that switches intended victims and motivated murderers at every turn.  Just when you think you know who is doing what to whom, the tables turn and a new scenario and context are introduced. The story begins in a cabin in the moors of England at the cabin of the affluent Derek and Janet Taylor. With the scent of adultery and murder seeping through the witty dialogue,  we will soon learn that all is never as it seems in this unexpected cat and mouse play of misdirection and underhandedness. Who is the predator and who is the prey…and who is the REAL title character of Accomplice? 

Keith Wick in ACCOMPLICE at Live Theatre Workshop

The cast handles the switches in context, character, and intention with deftness and incredible timing. While there are moments of darkness, the humor shines through in both delivery and physicality in each of the actors of this four-person mystery. 

It’s difficult to write this review, because many of the things I want to say about the incredible cast would give away so many of the twists and turns the play takes. I could go on and on about each of the actors ability to use their faces, voices and bodies to take us from drawing room farce to…well…I can’t tell you. But when you get there, you won’t be disappointed. 

But, what I CAN say is that Emily Gates (Melinda) is effervescent and a joy to watch, Stephen Frankenfield’s (Derek) quick-talking and physical comedy is on point, Jodi Ajanovic (Janet) is breathtaking in her ability to tell a story with a simple facial expression, and Keith Wick is so perfectly exactly who he needs to be at every turn of the plot. 

The set is beautiful, the lights (designed by Richard Gremel),  sound (designed by Brian McElroy) and the direction, by Rhonda Hallquist, is spot on. Because the story is constantly shifting, Hallquist had quite a challenge in finding a way to keep the audience interested and engaged as they fell deeper and deeper into the pit of this story. The physical choices made by the actors spoke to an experienced hand at the wheel. Essentially handed 4 incredibly mixed-up Rubik’s Cubes in story form, Hallquist presents the solved puzzles perfectly on a silver platter by the end of the play. 

Though it starts farcical, as the lights black out on act one, we have no idea that we will end with a twist that is so spot-on with what’s happening today. Without giving anything away, even the more cliched parts of the journey are punctuated with fantastic indictments of the male-dominated business world, and misogynistic views of women’s roles in and out of the bedroom. 

Go see this play. Take a friend. Go out for coffee afterwards, and unravel everything you loved about the experience of this play. Because you absolutely will love it. And then please, for love of all things theater and goodness, call me so I can join you and say all of the things I’ve been dying to tell you! 

Accomplice is playing at Live Theater Workshop through November 16th. You can purchase tickets via their website at livetheaterworkshop.org, or make a reservation by calling 520-327-4242. 

Grins, Giggles, and Guffaws for All

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by Annie Sadovsky Koepf

Pinocchio is a fairy tale that children and adults are all very familiar with, so what could be new? Tyler West’s adaptation at Live Theatre Workshop is not only novel, but highly entertaining for all ages. From the very beginning when we are asked, albeit non verbally, to silence our phones, and mind the exits, the audience is drawn into the world of make believe. Under the direction of Angela Horchem, who is also the mask and puppet designer, we are enchanted for an hour that goes by all too quickly.

Hannah Turner as Pinocchio and Lorie Heald as Geppetto. Photo courtesy of Live Theatre Workshop.

Hannah Turner as Pinocchio and Lorie Heald as Geppetto. Photo courtesy of Live Theatre Workshop.

The masks and puppetry are the highlights of the show. Each one is individually crafted to highlight the person or animal that it embodies.   The puppeteers were visible throughout the production, but this did not distract from their efficacy. The cricket was especially convincing due to the many ways it was able to move, and the apt handling by Lorie Heald, Naima Boushaki, and Kyleigh Sacco. Each handler was able to convey the cricket’s persona in both a lively and entertaining manner. The sounds the cricket made while sleeping had the audience in stitches.

The physical acting used throughout the show comes in as a close second favorite part of this show. Lorie Heald’s background in mime was evident as she portrayed Geppetto, as well as several other characters. Boushaki, Sacco, and Turner all used their bodies skillfully as well, to reveal not only the actions but feelings behind whoever they were embodying. Each character had very specific movements to solidify their individual personalities. The charisma that the actors used was endearing to the entire audience. Director Horchem was successful in relaying the central theme of Pinocchio, “everyone is unique”.

This show uses an entirely female cast to portray all the characters. The director is female as well. Although Geppetto is referred to as male, and Pinocchio as a boy, the use of the clever masks and gender-neutral costumes really don’t make this an issue. It is refreshing to see that gender does not need to be used when casting is done in a play. What matters is the efficacy of the actors breathing life into the roles.

Michael Marinez composed the score, and the catchy tunes added to the light-hearted atmosphere of the show. The lyrics reinforced the themes of honesty, kindness, family, and friendship that this fairy tale uses to teach these universal values.

The set and costumes were minimal but very effective. Fur coats for the cat and fox were a delightful bit of fashion flair. The use of shadow to portray some of the scenes was convincing and added to the humor. A large trunk that was carried on to the set helped to set the stage for a time period in the past.

I don’t know who enjoyed the show more. The children in attendance were enthralled and often squealed with delight. Adults were equally entertained. This performance really is one for children of all ages. 

Pinocchio plays at Live Theater Workshop on Sundays at 12:30 PM through October 20th. Ticket prices are $7 for children and $10 for adults. Tickets are available on the website livetheatreworkshop.org and also by calling the box office at 327-4242. The box office is open Tuesday through Saturday 1:00 – 5:00 PM, and one hour before showtimes.

Love, Lies, and Layers of Vulnerability

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by Annie Sadovsky Koepf

So, it is September; often a time for the end of a summer romance for many. Live Theatre Workshop’s production of Heisenberg, by English playwright Simon Stephens, doesn’t address that theme, but another seasonal one of a May-December coupling. This phrase refers to a woman in the early part of her life, hence May, with a man at least 11 years older in the later part of his life, hence December. Although this is not a new topic, Sabian Trout’s direction, the playwright, and the actors all do a convincing job to present this in a novel way. A woman meets a stranger and gives him a kiss on the back of the neck, and the dance of courtship begins as the play opens.

Roberto Guajardo as Alex and Dallas Tomas as Georgie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Roberto Guajardo as Alex and Dallas Tomas as Georgie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Not often are we privy to those private moments between a couple as they navigate the waters of the early stages of a romance. Yes, we may see them at a party holding hands and gazing lovingly at each other, but we don’t see what happens between the two of them when they are alone. This is what is revealed in Heisenberg. As incongruous as this couple is with a 33-year age difference, Trout did an excellent job casting. Alex, played by Roberto Guajardo, is a 75-year-old Irish butcher who is a lifelong bachelor. Georgie, played by Dallas Tomas, is a gamine, 42-year-old, manic American receptionist. The scene is London today. The set is stark, and the scene changes are done by the actors themselves. Costuming is minimal and yet makes the characters so believable.
With the sparseness of the set, the costumes, and the lack of other characters, we are meant to focus on the couple. Alex appears closed and — in no uncertain terms — tells us he has no use whatsoever for feelings. He is adamant about that. Guajardo is a masterful actor as he reveals to us very slowly and subtly the many layers of Alex’s being. From the stereotypical curmudgeon we meet at the start of the play, he changes to a man who eventually is able to show his vulnerability to Georgie, and also to us. Georgie’s energy is so manic we want to get her to slow down. Gradually, she starts to relax and reveal her true self to us. I loved watching the physicality Tomas embraced as Georgie. It reinforced her childlike innocence as well as capitalizing on her sexuality. Make no mistake, Alex was taken by this, but he also responds to her the more she reveals her authentic self. Without distractions, we are able to focus on just two people discovering who the other is, and gradually, inconceivably, falling for each other. As unimaginable as they appear as a couple at the beginning of the show, as they grow and reveal themselves to each other, and to us, we can see why they are together.
This is where the title Heisenberg comes in. It is never referenced in the play. It alludes to German physicist Werner Heisenberg, who introduced his uncertainty principle of quantum mechanics in 1927. It states that the more precisely the position of some particle is determined, the less precisely its momentum can be known, and vice versa. The Heisenberg reference is seen in the apparent disparity of the couple and their seemingly very different outlooks on the world. As we are introduced to the most unlikely pair and see who they are, we are not quite sure how this romance will turn out.
Yes, this is a story that has been told many times. However, it is still a story worth telling as it deals with a most primal need for all of us. That is the need for love and acceptance wherever we are fortunate enough to find it. As a 70-something woman and actor, I would love to see a show with the age differences reversed with the older character being a woman. Of course, I would love to play the lead character! Again, not a stereotypical boy toy or gold digger as the younger male, but with a genuine human connection between seemingly very different characters. All too often when there is an age difference between a couple, erroneous assumptions are made as to the ulterior motives of, usually, the younger member of the duo. The possibility of a genuine connection between this pairing is rarely seen, but this stereotype is not evident at all in Heisenberg. I loved the show and the reimagining of an oft-told tale. Although the author was male, with a strong female character in Georgie and a female director, I did not feel that this was a male-centric work. The theme that love is love is universal and is one that today still needs to be portrayed.
Heisenberg is playing at Live Theatre Workshop through September 28, Thursday through Saturday at 7:30 PM, and Sunday at 3:00 PM. The phone number is 520 327-4242. Box office hours are Tuesday through Sunday from 1:00 – 5:00 PM. The box office is open on Thursday through Saturday at 6:30 PM. and Sunday at 2:15 PM. Ticket prices are $18-$20 and are also available through the website livetheatreworkshop.org.

Lies and Laughs Abound in Show People

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by Betsy Labiner

Show People, by Paul Weitz, is a love letter to theatre. Or possibly hate mail. Live Theatre Workshop’s production dives whole-heartedly into the play’s metatheatrical examination of the performing arts, acting, and the theatre industry. Under Chris Moseley’s direction, Show People adeptly shifts gears between celebratory and elegiac as it delves into the highs and lows of the lives and careers of actors. Plot twists abound. It’s a fun, if occasionally dark, play, and audiences ought to be aware in advance of its self-consciousness and self-referential theatricality. These traits reach a maniacal pitch near the end of the play, so make sure that if you go, you’re willing to be in on the jokes. 

Lesley Abrams as Marnie and Steve McKee as Jerry. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Lesley Abrams as Marnie and Steve McKee as Jerry. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

 

The play is a tight, fast romp – ninety minutes with no intermission – following two late-career actors, Marnie and Jerry, respectively played by Lesley Abrams and Steve McKee, as they meet a young man, Tom, who has hired them to play his parents in order to introduce them to his girlfriend, Natalie. While Marnie and Jerry work self-consciously to inhabit their parental characters and flesh out their roles on the fly, they’re thrown curve after curve by Tom, played by Taylor Rascher, and Natalie, played by Emily Gates. 

All four actors are delightful in their roles: lively, deeply layered, and with excellent chemistry amongst themselves. Abrams was hilarious perfection as Marnie, giving everything from strident cynicism to loving warmth with impeccable comedic timing. I found myself watching her even when other characters were speaking; her physical reactions and facial expressions were a highlight in a uniformly strong cast. As Natalie, Gates provides a more naively optimistic counterpoint, bubbling with undimmed enthusiasm even as Abrams lobs backhanded remarks. McKee skillfully melds Jerry’s self-indulgence with bewilderment and, in a few especially evocative moments, even aching sadness. Rascher shines most in the moments that make the audience uncomfortable, as he – and we – struggle with the lines between reality and fiction. 

Show People delivers a palimpsest of performances. Even as the fictions layer one another, intrusive realities can’t quite be banished. Some lies contain grains of truth, and some acts seem to be entirely too honest. Even the characters themselves can’t quite identify the boundaries of reality as the lines blur between self and character, fiction and fact. In one exchange that exemplifies the play as a whole, someone asks, “What if it’s real?” The response: “It’s not.” “But what if it is?” 

Steve McKee as Jerry, Taylor Rascher as Tom, and Lesley Abrams as Marnie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Steve McKee as Jerry, Taylor Rascher as Tom, and Lesley Abrams as Marnie. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

The comedic meditation on acting and theatre is layered, calling attention not only to the professional craft, but also the more mundane performances people put on every day, particularly in situations when they want to impress or endear themselves to others. These moments range from painfully relatable awkwardness to laugh-out-loud absurdity. While likely all audiences can relate to some of these elements, such as the act of telling someone you like their baking when you don’t, those whole live and work in the performing arts will find that this play speaks directly to them, for better or worse, from start to finish. The play ruminates on the joy of acting, the drive to perform, the need to be in the spotlight, and, more bleakly, on the harsh reality that chasing that spotlight can be a heartbreaking endeavor. 

Despite the unflinching discussions of poverty and hardship, an idealized vision of the theatre is present as well. The play reiterates that creation and performance are labors of love. “The stage is a place that demands empathy,” the audience is told, and so it does. While the stage demands empathy, the play indicates, it also creates it. Theatre forges bonds between actors, audiences, and all the individuals bringing a work to life. The play points out these multilateral relationships, asking audiences to investigate their own role in show business. 

Show People clearly loves actors and artistic creation, but has no illusions about their world. In one anecdote about playing a horse and doing so topless at the director’s insistence, the audience is briefly confronted with the harsh reality of the exploitation of women in the theatre industry and the power dynamics between directors and aspiring and/or under-employed actors. The story is brief, but searing. It encapsulates both shame and desperation, condemning the situation even as it elicits sympathy and understanding for the individual having made the choice to go ahead in such a role. The anecdote is a minor moment in the play, but it continues to resonate long after. It is a jarring reminder of the coercion that can and does occur. This reminder should not go unheeded – we as participants in and consumers of theatre must demand ethical practices in which all participants are treated with dignity and respect.  

Take on the role of audience member! Show People runs July 25th through August 24th at Live Theatre Workshop (5317 E. Speedway Blvd.). Shows are Thursday, Friday, and Saturday at 7:30 pm, as well as Sunday at 3:00 pm. Tickets may be purchased online at LiveTheatreWorkshop.org or by phone at 520-327-4242.

A Bump in the Night and a Monster Dilemma

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by Jess Herrera

Tabitha Turnpike has a big imagination. But, for her parents, Tabitha’s imagination is nothing more than a big problem.

In the Live Theatre Workshop’s original play, Tabitha Turnpike has a MONSTERous Problem, written by Richard Gremel and featuring original music by David Ragland, the titular character uses her bravery and creativity to solve a larger-than-life problem.

Under the direction and choreography of Samantha Cormier, this current production in the theater’s family series is an enjoyable story for young audience members with a meaningful lesson aimed at adults. There are plenty of jokes that land with parents, and it features a plot that’s easy to relate to at any age.

The costumes, designed by Stephanie Frankenfield, help pull viewers right into the story, and ensure the actors who split roles easily transitioned between characters. This was especially true of the monsters, who were the perfect mix of fluff and fright to be believable without scaring young attendees. And the simple sets were just enough to allow everyone’s imagination to run wild.

In the opening scene Tabitha, played by Taylor Thomas, saves her doll from an evil henchman with time to enjoy tea before bed. She beautifully blends two big childhood dreams as a superhero who can fly and who is also a princess. She draws you into her rescue mission with just a few props and doesn’t fall into a tired stereotype.

Mike Saxon as Mr. Turnpike, Taylor Thomas as Tabitha Turnpike and Danielle Dodge as Mrs. Turnpike. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Mike Saxon as Mr. Turnpike, Taylor Thomas as Tabitha Turnpike and Danielle Dodge as Mrs. Turnpike. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Unfortunately her superhero cape, fashioned out of an heirloom tablecloth, is the last straw for her mom and dad, played by Danielle Dodge and Mike Saxon respectively. Tabitha is grounded and sent to bed with no story.

But her troubles have just begun. As soon as her dad turns out the lights, she begins to hear growling from under her bed. Tabitha, who has just been told to grow up, can’t tell her parents about the monster in her room.

Out from under her bed appears Squirble, played by William Seidel. After some shrieks from Tabitha and Squirble — as well as the audience — it’s revealed that Squirble needs Tabitha’s help. He’s a monster trying desperately to join the Super Scary Society, but he’s just not very scary.

They team up to convince the leaders of the society, Fangs and Spike, characters also played by Dodge and Saxon, that Squirble should be accepted despite his differences.

William Seidel as Squirble and Taylor Thomas as Tabitha Turnpike. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

William Seidel as Squirble and Taylor Thomas as Tabitha Turnpike. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

My five-year-old, who joined me for the performance, immediately fell in love with Squirble. Seidel’s sweet performance, coupled with his very cuddly costume, made him a favorite. My daughter ran to give him a big hug at the end of the performance — a clear sign of approval.

And although Fangs and Spike were late additions to the ensemble, they were definitely stand-out characters. With their hilarious musical number (and a few fart jokes), they were just the right mix of menacing and lovable for everyone to enjoy.

On the flip side of Dodge and Saxon’s monstrous performances as Fangs and Spike were their roles as Tabitha’s parents. While they delivered some funny and familiar lines, their reactions felt a bit overblown. Perhaps this was because Tabitha’s intended age was hard to pin down.

Many of the musical numbers felt lacking. While Spike and Fang’s song was catchy and funny, others were far less memorable.

Despite these limitations, Tabitha Turnpike has a Monsterous Problem is creative, funny and heartfelt. Running at just under an hour, it’s a great early theater experience for preschool-aged children, and it has a story that kids in early elementary can also enjoy.

 Tabitha Turnpike has a MONSTERous Problem is playing at Live Theatre Workshop on Sundays at 12:30 p.m. through August 11. You can buy tickets on their website, http://www.livetheatreworkshop.org/, or by calling the box office at (520) 327-4242.

 

Theatre is a Community Service

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Editor’s Note: This is the fifth in a series of interviews with creative decision makers and artistic directors at all of Tucson’s theatres as we look forward to the 2019-2020 season.

Sabian Trout, artistic director at Live Theatre Workshop, on the importance of live theatre to the health of the community.

by Leigh Moyer

Live Theatre Workshop“Do plays in the service of the community. Doing a play for yourself is going to kill your theatre and the worst thing you can do as an artistic director is to kill a theatre. There are so few left.” Sabian Trout, artistic director of Live Theatre Workshop’s Mainstage series, is not messing around when it comes to her community. Theatre is critical to a healthy community and she works to make sure that Tucson has live theatre year round. 

At the time of writing, LTW’s 2019-2020 season has already kicked off with Things Being What They Are and will continue through the summer into the more typical theatre season, and wrapping up as it warms up again. Then the next “season” starts the cycle all over, ensuring quality theatre all year. Trout is straightforward about working to bring the best shows to Tucson audiences: “I’m just applying for the best plays for our community.” Of course, selecting nine shows isn’t simple. Trout explained, “It’s a big puzzle every year based on feedback from the audience, what the space can accommodate, the talent available, if we can get the rights to produce the play, and a dozen or more factors. There are thousands and thousands of plays to choose from. It’s such a complicated thing, it is like its own living animal.”

Audiences can expect a little of everything this season, and should expect LTW’s offerings to expand their experience of life and lives that are different, but not so different, than their own. The season starts with a production exploring the bond between an unlikely duo and wraps with a play navigating the political and social ramifications of same sex marrage in a conservative southern home. In between, season ticket holders can expect mystery, love, heartbreak and revenge, humor, complicated relationships, tricks, first-time homebuyers and even a look at being an out-of-work actor. The plays are all tied together by experience, things we’ve all felt or fought in some way.

Shanna Brock and Stephen Frankenfeld in Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

Shanna Brock as She and Stephen Frankenfeld as He in the 2018-2019 season production of Stage Kiss. Photo by Ryan Fagan, courtesy of Live Theatre Workshop.

“When I took over 13 years ago, it was clean, just stuff that wasn’t topical and didn’t represent our greater community,” Trout said. “My favorite socially relevant plays are comedies. There are so many topical or socially relevant plays that are draining. That isn’t necessary to have an illuminating experience. A humorous take on challenging topics often changes your heart and mind more than angst-ridden plays.” 

According to Trout, Radiant Vermin and The Cake are probably the most socially relevant productions for LTW this season. Radiant Vermin is a comedy about the housing crisis, how difficult it is to buy a home, and what individuals are willing to do to get their dream place. The Cake follows a baker, thrilled to bake a wedding cake for her niece until she learns the niece has a bride rather than a groom. Humanizing the headlines, The Cake explores political and emotional viewpoints, cultural expectations, and how complex baking a cake can be.

Trout is excited about Heisenberg as both the artistic director, and this particular play’s director. “I don’t usually keep darlings to myself. I try to match plays to the directing talent, but this season, I chose a play that I’m elated about,” Trout admitted. “It’s a special play, newer, quirky, theatrical, I’m madly in love with this play, and I had to keep it for myself. It’s a love story about an extremely unlikely relationship.”

Heisenberg

Image courtesy of Live Theatre Workshop.

Still, she maintained that Tucson audiences should catch every show this season. The greatest compliment Trout can get is when an audience member tells her after a show that they weren’t sure about a show, based on the title or even the description, but after seeing it, are thrilled they gave it a shot because they loved it. Descriptions of each play are online and reproduced below. But maybe trust that Trout tamed the animal that is putting together a season and become a season ticket holder and catch them all. You might see something you never would have guessed you’d love.

Live Theatre Workshop’s Mainstage Series 2019 – 2020 Season:

Things Being What They Are by Wendy MacLeod
June 20 – July 20, 2019
As up-and-coming Bill readies a new condo for himself and his soon-to-arrive wife, he gets an unexpected visit from Jack, who at first appears to be a nightmare neighbor. What follows is a sharp comedy about the lives we dream of having versus the lives we end up living.
“Despite (or maybe it’s because of) its origin in a female mind, this funny, charming, and rather moving play probes the vulnerabilities of middle-class maleness with…good humor, affection and incisive accuracy.” ~ Chicago Tribune

Show People by Paul Weitz
July 25 – August 24, 2019
Jerry and Marnie are Broadway actors who haven’t worked in years. At Jerry’s insistence, they take on a wildly unorthodox job for a rich, young New York banker in Show People, a crazy comedy about the darker aspects of the need to be theatrical.
“A smashing light comedy…delightful and witty.” ~ NY Observer
“A real laugh-out-loud comedy…guaranteed to make audiences laugh themselves silly.” ~ Journal News

Heisenberg by Simon Stephens
August 29 – September 28, 2019
Amidst the bustle of a crowded London train station, Georgie spots Alex, a much older man, and plants a kiss on the back of his neck. This electric encounter thrusts these two strangers into a fascinating and life-changing game. Heisenberg brings to blazing, theatrical life the uncertain and often comical sparring match that is human connection.
“On its surface, a satisfyingly life-affirming mating dance between two people who are so utterly dissimilar that of course they are made for each other. But if you choose to tune into the quieter frequencies… a probing work that considers the multiplicity of alternatives that could shape our lives at every moment.” ~ NY Times

Accomplice by Rupert Holmes
October 10 – November 16, 2019
Winner of the Mystery Writers of America’s coveted “Edgar” award (the “Oscar” of crime and suspense) The New York Times called Accomplice “a deliciously witty cocktail of a whodunit with a maniacally seamless plot where skullduggery emerges the winner!” This theatrical roller coaster will trigger screams of laughter even as audiences vow to keep its secrets hush-hush. “The best fooler since Sleuth and twice as clever!” said the L.A.Times, while L.A. Theatre & Entertainment Review proclaimed it “the comedy thriller of all comedy thrillers!”

Tilly the Trickster by Molly Shannon
November 29 – December 29, 2019
Molly Shannon has created numerous unforgettable characters on Saturday Night Live and in movies such as Superstar and Never Been Kissed and now introduces young readers to her latest hilarious creation, the musical Tilly the Trickster. Tilly is a mischievous girl who loves nothing more than causing a little trouble. From leaking cups to toothpaste-flavored cookies, Tilly has a trick for everyone: her mom, dad, brother, classmates, and even her teacher. But when the tables are turned and her family does some scheming of its own, will Tilly decide to change her trickster ways?

The Norwegians by C. Denby Swanson
January 9 – February 15, 2020
A “killer” dark comedy about two scorned women and the very nice gangsters they hire to whack their ex-boyfriends. Fast-paced funny dialogue combines the spirit of Fargo with Saturday Night Live in this unexpected, entertaining, quirky comedy.
“C. Denby Swanson’s extremely odd and delightful comedy, is something of a guilty pleasure.” – The New York Times

Radiant Vermin by Philip Ridley
February 20 – March 28, 2020
When a young couple is offered an ideal house by a mysterious stranger, it prompts the question: How far would any of us go to get our dream home? A fast-paced, pitch-black comedy, Radiant Vermin is a provocative satire about consumerism, gentrification, and inequality.
“A blithely told fable for the age of unaffordable housing. Like a Brothers Grimm story, it is executed with its own consistent fantasy logic, deployed to remind us of the dangers of getting what we wish for…it makes for nasty and energetic fun…” – The New York Times

Ripcord by David Lindsay-Abaire
April 2 – May 9, 2020
David Lindsay-Abaire’s ripping Ripcord is a deeply satisfying and entertaining story of two women thrown together by a comic cosmic force possessed of a wicked sense of humor. A sunny room on an upper floor is prime real estate in the Bristol Place Senior Living Facility, so when the cantankerous Abby is forced to share her quarters with new-arrival Marilyn, she has no choice but to get rid of the infuriatingly chipper woman by any means necessary.
“…sweet-and-sour Ripcord is great fun…larded with moments of surprise, both wacky and more substantial. When the play gets serious, it’s genuinely moving.” ~ Time Out NY
“A show to treasure.” ~ Deadline.com 

The Cake by Bekah Brunstetter
May 14 – June 13, 2020
When Della, a North Carolina baker, is asked to bake a wedding cake for her best friend’s daughter, she is overjoyed. But that joy is short-lived when she learns that the intended is another bride, and realizes she is faced with an agonizing choice between faith and family. Struggling to reconcile her deeply-held belief in “traditional marriage” and the love she has for the young woman she helped raise, Della finds herself in strange new territory.
“Brilliant… Powerful and meaningful… great writing… abundant wit and humor” ~ LA Post-Examiner