Eugene O’Neill’s A Moon for the Misbegotten, the sequel to his Pulitzer Prize-winning A Long Day’s Journey into Night, is a hard-bitten play about love, dissembling, and destruction, with a side of class warfare.
Brian Paulette (James Tyrone Jr.) Ashley Pankow (Josie Hogan) Photo: KC Actors Theatre
Gary Mosby’s set for A Moon for the Misbegotten never changes from scene to scene, lit without warmth by Shane Rowse. After the curtain goes up, the pre-show banjo music gives way to lonely, almost sinister tracks by Jon Robertson. Gradually, you may feel as trapped in that bleak, decrepit cabin as are Irish tenant pig farmer Phil Hogan and his daughter Josie.
Thanks to Mark Robbins’ directing and exceptional acting, the Kansas City Actors Theater production takes a play that is almost unrelentingly depressing and, in effect, makes a silk purse out of a sow’s ear. (more…)
KC Actors Theatre season opener, Noel Coward’s Blithe Spirit, laughs in the face of death.
Vanessa Severo as Elvira. KC Actors Theatre photo: Brian Paulette
A “farce in three acts,” as Coward describes it, Blithe Spirit centers on the relationships of novelist Charles Condomine (Coleman Crenshaw) with his current wife, Ruth (Cinnamon Schultz), and his former wife, Elvira (Vanessa Severo).
Although Blithe Spirit could easily be set in the present, it has more charm as a period piece. Kelli Harrod’s set is the perfect, well-appointed English drawing room; Sarah M. Oliver’s costumes fit to a T; and it’s all tied together by Jon Robertson’s soundscape, including the theme song, “Always.” (more…)
Tom and Kyra confront their past and present lives in the KC Actors production of David Hare’s Skylight.
John Rensenhouse and Katie Karel in Skylight by David Hare (Photo: KCAT)
May 28, 2018
If you caught any press releases of Skylight, the spring 2018 season closer for Kansas City Actors Theater, you might have read that it features preparation of a meal and, hence, might deduce that “Skylight” is the name of a restaurant.
But no. There is a meal prepared but it only serves to move the action along and show that restaurateur Tom (John Rensenhouse) is a control freak when he insists that Kyra (Katie Karel) add the chili (bell pepper to us) first. She ignores him. The skylight in question is the one Tom put in the bedroom so Alice, his dying wife, could have a grand view of the outside during her final days. Skylight might also be a metaphor for the open view we get of the characters’ lives and, maybe more important, the view each character gets of her/his life and that of the other two characters. (more…)
The Lyric Opera’s production of Rossini’s The Barber of Seville is a light, preposterous love story that is the ancestor of 1930s screwball comedies.
Based on Le Barbier de Séville, a French comedy written by Pierre Beaumarchais in 1775, Rossini’s opera premiered in 1816 at Rome’s Teatro Argentina.
Lindoro/Almaviva & Rosina (Swanson, Vlasco)
The sultry young Rosina (the excellent Cassandra Zoe Vlasco) has fallen for Lindoro (Jack Swanson), a poor young student who serenades her on the street under her window. She’s the assistant to closet-kink ophthalmologist Dr. Bartolo. She seems to live in the same house/office with Bartolo, who also seems to be her guardian: he threatens to lock Rosalina in the house to prevent her from seeing Lindoro. (Just go with it.) Only later will she learn that the singer is – Count Almaviva! (more…)
The Rep’s production of Simon Stephens’ adaption of Mark Haddon’s novel, The Curious Incident of the Dog in the Night-Time, is a brilliant gem of many facets
Cast photo: KC Rep/Cory Weaver
Set in today’s England, The Curious Incident of the Dog in the Night-Time is not quite comedy and definitely not tragedy. Marissa Wolf’s direction brings poignant compassion to playwright Stephens’ slightly cockeyed – in the best sense – plot and storyline, while a terrific cast makes it look effortless. (more…)
KC Actors Theatre production of Gardner McKay’s Sea Marks is a sweet, bittersweet tale of love and expectations we have for one another.
Darren Kenney & Cinnamon Schultz. Photo: KCAT/Brian Paulette
Words mean nothing. Words mean everything. Between these two statements lies the tension between Colm Primrose (Darren Kennedy) and Timothea Stiles (Cinnamon Schultz).
Words bring them together when Colm, a fisherman on Cliffhorn Heads Island at the north of Ireland, begins writing letters to Timothea, whom he met at a wedding on the island. She didn’t remember him but loves his letters and writes back. Timothea agrees to meet Colm when she can come to the island. (more…)
We had just set the Christmas tree in the flimsy, three-legged, red-and-green metal stand, and tightened the three bolts to hold it. This was Christmas of ’69 or ’70. I was still living at home, and was on break from college. I was at my friend Lee’s house, helping him put up the family Christmas tree in the living room. It was a real tree, about 8 feet tall.
We stood back to see how the tree looked. It started to lean slowly, then faster. Before we could stop it the Christmas tree crashed onto the butsudon. Hearing the noise, Okaasan sprang from the kitchen into the living room, yelling in Japanese. (more…)
Every profession and occupation has its own brand of humor, usually intelligible only to insiders
And each group takes its humor seriously. When you joke with your co-workers about your boss, each other, another work group, or even when your boss jokes with you, it’s more than idle humor. And if you’ve ever worked for a company that tried to stifle workplace humor, you know it’s practically impossible. (more…)
Ted Swetz as King Lear owns the stage in KC Actors Theatre-UMKC Theatre collaboration
Peggy Friesen-Fool, Theodore Swetz-Lear
This is the third time I’ve seen Shakespeare’s King Lear on the Spencer Theatre stage. The first, in 1991, featured Richard Bowden as Lear in a straightforward, classic production with elaborate sets and costumes. I remember that version not so much for Lear as for the other characters, notably Ted Swetz as the unfortunate Gloucester whose eyes are plucked out by Mark Robbins as the cruel Cornwall. (more…)
It was during that summer of 1984, while I was living in Long Beach, California, that I first saw them. The two guys cutting the grass in the tiny front yard of the house across the street had finished and put the mowers and weed whackers in their truck. I thought they were getting ready either to rake up the clippings, such as they were, or just pack up and leave. Instead, they got these other machines from the truck that looked like vacuum cleaners or maybe those things the Ghostbusters wore. (more…)