Sunday, October 31, 2010
So we went out and bought a giant pumpkin and I watched as my dad and my older sister (Thao!), scooped out the pumpkin innards and carved out a traditional looking Jack-O-Lantern. Of course, no one told us the logistics of putting a candle in the pumpkin and lighting it up so we just had a hallowed out pumpkin sitting on the windowsill of the living room. It wasn't quite traditional but it was close enough.
Thursday, October 28, 2010
Gasp. It’s a political scandal. Ohh… It’s an unsolved murder. Ahh… It’s the slow caress of an ankle. Quick! It’s on the run.
It’s (pause for effect) The 39 Steps (cue dramatic music).
Wednesday, October 27, 2010
"Penelope" differs from the traditional story-telling which paints the bachelors as unsympathetic villains. Instead it portrays them as sympathetic, multifaceted and ultimately tragic in their masculine pride. The play is written by Irish playwright Enda Walsh and presented by Druid Theatre Company. It received the first award at the Edinburgh Fringe Festival. St. Ann's marks the American premiere.
Monday, October 25, 2010
Well most recently, she has critiqued an outfit from yours truly. And apparently I'm fashionable, who knew?
"Being Formal: Diep style."
Sunday, October 24, 2010
So I guess, you can say that I was always a writer.
Monday, October 18, 2010
Sunday, October 17, 2010
Thursday, October 14, 2010
Difficulties in the Tuesday performance of A Chorus Line, presented by the Famous Artist Broadway Theater Series and playing at the Oncenter, proved that a chorus line is only as strong as the performers within it.
First the show was delayed by 25 minutes when a lead actor had to be replaced at the last minute (by SU alumnus Nick Nerio). Then, during the show, sound glitches could be heard in two key numbers, one where the music overpowering the singers, and static in parts of one song.Such things are unavoidable sometimes and the only thing then that can be done is to continue singing and dancing. And dance they did, in stirring synchronicity. But when it came to the overall performances, the show was a mixed bag.
One note and a horizontal, undulating beam of blue light begins "Das Rheingold," the first installment in Richard Wagner's epic "Ring" cycle. The prelude, or "Vorspiel," is my favorite opening piece of music, a gradual accumulation of strings bubbling steadily upwards, reaching a fevered pitch that can then only be reigned by the crystal-clear voices of three mermaids, swimming in mid-air, bubbles coming from their lips.
Think "Lord of the Rings," but with gods, and devils and people singing in German.
Friday, October 8, 2010
Thursday, October 7, 2010
In the musical "Man of La Mancha," Don Quixote, while standing beside a suit of armor, responds to a query of why he continues with his, seemingly impossible, quest. Naturally, since this is a musical and what theater professors would call the "major dramatic question," he responds in song.
"To dream ... the impossible dream ...And so on and so forth. Brian Stokes Mitchell (one of the sexiest bass voices on Broadway) sings a beautiful version of this song.
To fight ... the unbeatable foe ...
To bear ... with unbearable sorrow ...
To run ... where the brave dare not go ..."
That is the situation that the writers within “Dramatic Personae” find themselves in. Written by Peruvian playwright Gonzalo Rodriguez Risco’s and funded by the Playwright's Realm (which produces one work a year from up-and-coming playwrights), the play made its premiere Off Broadway at the Cherry Lane Studio on Oct. 1.
The play follow three writers - Lucas (Felix Solis), Ben (Gerardo Rodriquez) and Marla (Liza Fernandez) - as they try and transform their slivers of ideas into stories, holding weekly meetings to try and develop those ideas, all the while asking the eternal question of any writer: "Where does inspiration come from?" Real life? Some dark recesses of the mind?
This all occurs during the Peru’s political conflict of the early 1990’s, which happens in the background and the audience never sees it, save for the occasional explosion which is treated as a nuisance rather than a catastrophe.
There is a semblance of something achingly like conflict. Yet the title “Dramatis Personae” acts as its own plot summary. It is not a political drama.