adaptation

Moving, Beautiful Production of Moby Dick is Better Than the Book

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by Lena Quach

I am going to start off this review by being brutally honest with you, readers. I loathe the novel and walked into the theater highly skeptical. I wondered if I would find myself fighting to stay awake. I was quickly proved very, very, very wrong. The Rogue Theatre’s adaptation of Herman Melville’s classic novel Moby Dick is artistic collaboration at its finest. Cynthia Meier and Holly Griffith adapted the novel and what a dream team they are. This dream duo adapted a tough story in a way that draws you in as an audience member and keeps you wondering what might happen next. I was also pleasantly surprised by the appearance and addition of the Three Fates. This added an extra level of magical mystery. 

The cast of Moby Dick. Photo by Tim Fuller, courtesy of The Rogue Theatre.

The cast of Moby Dick. Photo by Tim Fuller, courtesy of The Rogue Theatre.

The production showcases several types of artistic collaboration from music direction by Russell Ronnebaum, movement coaching from Patty Gallagher, Don Fox’s lighting design and Joe McGrath’s set design. I was very impressed by one specific scene that had choreography by Ballet Tucson’s Daniel Precup. Precup’s knowledge of traditional character dances was highlighted in this dance and added a wonderful energy and beauty to the show. 

The performances were moving and beautifully done. Aaron Shand was the perfect Ishmael. He gave Ishamel a relatable and human aspect that was greatly appreciated. I hope to see more of Shand in other Rogue productions. Joe McGrath as the crazed and obsessed Captain Ahab was eloquent and heartbreaking at times. Ryan Parker Knox as Starbuck was impressive. Starbuck’s journey as a character was one of my favorites in this adaptation and this performance shows how talented and well rounded Knox is. 

Some breakout and new performances were also in this production. Eduardo Rodriguez as Tashtego was captivating and well balanced. Owen Saunders as The Boy was charming. Saunders is a young actor to look out for and I am looking forward to see more from him in the future. There were two performances in particular that were graceful, moving, charming and a wonderful addition to this already brilliant ensemble of actors. Gianbari Deebom as Daggoo is casting at its finest. Deebom embodied her character and made everyone in the room forget that she is a woman playing a male character. I applaud this performance and I hope I see casting like this in the Tucson community more often. Jeffrey Baden as Queequeg was intense but still very human and my favorite overall performance in this production. You could tell that Baden did his research. I was very impressed with some of his mannerisms and physical qualities. For example, before Queequeg and the men go off to fight the great white whale for the first time Baden beat his chest and stuck out his tongue just like the Maori do in the traditional dance of the Haka, which is performed before battles and special occasions. These little movements made Baden’s Queequeg even more real for me as an audience member. 

The Rogue’s adaptation of Moby Dick is one you shouldn’t miss. This is probably my favorite Rogue performance that I have seen in a very long time. Sometimes I find Rogue productions repetitive or overdone, and I hope that trend for the theater is over.  Moby Dick had me asking questions about destiny and fate. It had me wondering what would have happened if Ahab made different decisions and I believe that is what theater about. I was also elated to finally see women adapting and directing a play that deals with the topic of one man’s obsession and his ego. This was beautifully done and gave me as an audience member a new perspective on a story I was not too fond of. 

You can catch the beautiful performance and purchase tickets at The Rouge Theater online at theroguetheatre.org or by calling (520) 551-2053 through January 26th, 2020.

The Little Prince is Pure Magic

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by Chloe Loos

The Little Prince is my favorite book. When I was a little girl, my mother introduced me to the world of the enigmatic prince and all the characters he meets throughout his travels of the universe. I didn’t, as most children don’t, quite grasp the eternal life lessons this book has granted me. As I’ve grown, I find myself drawn to quotes from the book that give me clarity. Many of us likely have a similar bond with Antoine de Saint-Exupéry’s 1943 novel. Entering the star-strung set, all of my nostalgia came to light.

Kate Cannon (middle) as The Aviator with Julia Balestracci (left), Gretchen Wirges (right), and Lance Guzman (bottom). Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

Kate Cannon (middle) as The Aviator with Julia Balestracci (left), Gretchen Wirges (right), and Lance Guzman (bottom). Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

The Scoundrel & Scamp’s adaptation of the novel, translated by Claire Marie Mannle, and adapted and directed by Holly Griffith, delivers everything I so love about this book. I can’t remember the last time that I was so enthralled with a piece of theatre. It’s magical, it’s beautiful, it’s funny, it’s poignantly sad, and every line is filled with deep truths and wisdom. It is in this space that we hear big truths from the little voices of both the prince both on stage and the one within us.

Cole Potwardowski as The Lamp Lighter and Ryuto Adamson as The Fox. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

Cole Potwardowski as The Lamp Lighter and Ryuto Adamson as The Fox. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.

The ensemble cast, led by Kathleen Cannon as The Aviator, glided through this piece of work with grace. Attention was directed and kept so well; I would be so caught up in a performance that I wouldn’t notice the utter magic happening on stage until they reminded me to look for it. While every single performer had moments where they either made me laugh or sometimes brought me to tears – sometimes at the same time – special shout out to Gabriella de Brequet’s performance of the Rose, Cole Potwardowski as The Lamplighter, Ryuto Adamson as The Fox, and each one of Gretchen Wirges’ many characters. The ensemble was so strong and so striking in the physical, vocal, and character work that I sometimes forgot this wasn’t a cast of 30.

The performers navigated the tonal shifts and transitions with beauty and were strongly supported by music director Feliz Torralba. Torralba’s playing underscored multiple moments to the point that she and the music felt like another member of the ensemble. Her strong use of musical motifs helped us journey through the plot and tethered us to characters and emotions felt by the characters on stage and the audience.

In addition, the stagecraft was truly out of this world. The set featured a revolving platform and twinkles of starlight, supported by the incredible lighting (Raulie Martinez) which took us from day to night through sunrises, sunsets, dusk, and twilight. The props were childlike and simple but imbued with a sense of playful awe. No wonder we adults still go to the theatre. Kids go, too. I stayed for the talk back and a little boy, no more than 8, asked a question about what The Prince did after the end of the story, to which Griffith noted was the same sort of question the aviator would ask. This shows that the work we choose to do, as theatre makers, matters. By allowing a space to wonder, to hope, to welcome, the art done impacts hearts and minds of all ages.

Finally, I can’t remember seeing a production this diverse in a long time. Out of nine on-stage bodies, there were six women, half of whom were women of color, and three men, none of whom were white. The creative team was primarily made up of women as well. The variety of performers in this production reminds us that there is so much space for love, acceptance, and voices, if we only let them on stage. Through The Little Prince, those of us in the audience, especially those tired or excluded by lack of representation are reminded, simply, that this story is for all of us.

The Little Prince runs through Sunday, November 3rd at The Scoundrel & Scamp Theatre. Tickets may be purchased online at scoundrelandscamp.org, by calling the box office at (520) 448-3300, or in-person an hour prior to the show.

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.