June Shorts Festival Beguiles

June 4, 5, 11 and 12 performances at 7:30pm

June 6 and 13 matinees at 3:00pm

Reviewed by Donna Bailey-Thompson

(Friday, June 11, 2010)

The Friday night opening of the second weekend of June Shorts was sold out. Students sat on risers, squeezed together, engrossed in the story lines and the technique of their peers.

While the Drama Studio students receive a well-rounded education in what constitutes quality theater, including theater etiquette, the popularity of their student productions has educated audiences to arrive early, just like the lady in the Pal Joey song: “She likes the theater, and never comes late... “

“Labels” opened the evening, a provocative play that explodes the belief a person cannot change their behavior; nor do they have to succumb to how they are perceived by others. Given the supposition they enjoy personal freedom (and honor the responsibility that goes with it), the power to be who they really are lies within the individual. Labels limit a person’s possibilities, stunt intellectual growth, compromise the pursuit of happiness and its attainment. In extreme instances, labels foster a living death.

A cast of 21 performed the intricately choreographed play with the correct combination of occasional moments of normal demeanor and the automaton behavior of a regimented society – as chilling as 1984 and its descendants. Their costumes – white shirts with silver squares on the collar, black slacks trimmed with vertical strips of silver – pointed up the loss of individuality within a homogenized society.

A hierarchy of callous “Labelers” (distinguished by epaulettes) were swept up by the intoxication of having the power to manipulate lives. Their assignment of labels was arbitrary and cruel. Into this darkness arrived a voice who saw through the charade and refused to be coerced into participating. Gradually she convinced first one and then another and more to remove the labels worn on their chests (Geek, Smartest, Second Smartest, Lost, etc.). When the rebellion became complete, the administrators of this outrageous farce fled into one can only hope was oblivion.

Some moral messages carry more punch than others. Labels packs a roundhouse right.

Skillfully directed by Steve Hays, the playwrights are Adam Acker, Nolan Cary Sarah Glass, Jack Jonah, Delaney Matthews, Ilana Peskin, Michelle Schein, Tommy Schindelman, Lianne Zana.

The cast: Adam Acker, Sara Berliner, Nolan Cary, Abigail Dias, Rachel Gallagher, Sarah Glass, Sarah Goldstein, Jack Jonah, Danielle Lessard, Delaney Matthews, Lukas McNamara, Jacob Mueller, Joanna Mueller, Seth Olsen, Sarah Penna, Ilana Peskin, Michelle Schein, Tommy Schindelman, Talya Wintman, Lianne Zana, Stefanie Zitka.

“Everything’s Changing” directed by Amelia Hays-Rivest and written by Alyssa, Sarah Brown, Abigail Dias, Natalia Kuzmicki, Erica Paul, Aaron Richardson, Kyle Roth, Zachary Seyler, Rachel Theriault is based on the premise that becoming eighth graders will make their clique stronger. They didn’t bargain on a mean rumor planted by sixth graders testing their strength as upper classmen. The cast: Julia Adamo, Alyssa Alston, Jenna Bonasoni, Sarah Brown, Abigail Dias, Bailey Gaines, Rachel Gallagher, Natalia Kuzmicki, Alex Labrie, Lukas McNamara, Erica Paul, Nicole Pelletier, Sarah Penna, Ilana Peskin, Aaron Richardson, Kyle Roth, Zachary Seyler, Rachel Theriault, Stefanie Zitka.

Because Dream Tamer was meticulously reviewed the previous weekend by The Arts Etc reviewer, B. K. Grant, I’m reprinting it here (see below for Grant’s full review). Grant wrote: “Dream Tamer, directed by Amelia Hays-Rivest and Steve Hays, the final play of this entertaining evening, is penned collectively by Chloe Connolly, Emma Fogarty, Michael Green, Lalia Hays-Rivest, Sierra Hays-Rivest, Austin Richardson and Meredith Viens. The opening scene is awash in dim blue light with strains of eerie night music in the background. Children sleep amid playground equipment – hoola hoops, a swing, large bouncy balls and a slide – and sequined dream tamers a attempt to explain the job to an apprentice. He is not the most confident student they have had, but he must learn how to tame children’s nightmares so as to learn his true name. The children awake and join each other at the playground for a birthday party. Periodically, the action is stopped (and the young cast freezes) by a seasoned dream tamer to inform the apprentice of the fears causing the children’s nightmares. The young student observes from a distance, still unable to grasp the technique. An accidental fall from the slide results in a broken arm, and the little girl is given a beautiful doll to soothe her concerns. Her older brother taunts her with visions of the doll’s eyes staring at her during the night; she asks her mother to put the doll in the closet just until morning. The Nightmare: to the little girl’s dismay, out of the closet strolls a life-size doll, causing a frightful night for her until a dream tamer subdues the doll and orders her back into the closet. The apprentice is very impressed and feels he is getting the idea. Familiar frightening scenarios – monsters under the bed, fear of falling, furniture taking on a life of its own – are examined for the benefit of the young would-be tamer. He tries repeatedly to remedy each situation, but grows more frustrated and less confident; each time an elder tamer is needed to complete the task. The deciding test for the apprentice is to conquer the man-eating tigers plaguing little Grace’s nights. She is fearful; he is frantic, until he learns to conjure up his own nightmare of enormous proportions, defeating the tigers and earning his true name. The audience shouted and whistled their overwhelming appreciation.”

I’m guessing that the “enormous proportions” of the Apprentice’s own nightmare is the magnificent ceremonial dragon with a huge paper-mache head and a long body. To the tigers, the Apprentice says, ““I’ll command the dragon to eat you! That’s what dragons do.” A tiger responds, sotto voce, “Not this one!” Around the dragon’s body/tail fashioned of a silky, ethereal print, a large flag of soft purple and another of sky blue dip and wave while little Grace rides the beauteous beast – a serenely lovely scene that celebrates the Apprentice becoming a credentialed Dream Tamer.

This collection of students’ directness arrests and charms. Idealism lives!

JUNE SHORTS

Reviewed by B. K. Grant

(Friday, June 4, 2010)

My mood was immediately elevated when I saw the program covered with shorts – string tied, elastic waist, striped and solid -- a great intro to the June Shorts Festival weekend. Having attended the Winter Shorts Festival in January, I was eager to enjoy the first weekend of the Drama Studio’s summer offering.

The first play, The Cave, written by Tim Kelly and directed by Dan Morbyrne, introduces a clever format - a cast wondering what they are doing here. “Is it a party? What are we supposed to do? Maybe we should call the director.” Notes are opportunely found, giving the group a choice of three directions in which to creatively proceed: The Future, The Cave and The Sea. The group suggests, argues and insists upon their own individual preferences, getting nowhere but frustrated. Finally it is decided that a vote must be taken and, by majority rule, The Cave is selected. The strengths and weaknesses of the "cave dwellers" are explored. An older occupant suggests the cave is really hers and all the others should pay her rent. Artistic talents are exhibited as they feebly attempt decorating projects. Feeling the pangs of hunger, they fear their designated hunter will not return successful, if at all; someone has seen “what looks like human bones in the back of the cave”. The “tribe” seen outside the cave appears to be human and if approached, must be dealt a surprise attack; but are they friend or foe? And what of the beasts that keep a close watch on their domain? Shall they wall-up the cave opening with protective stones, remain captive and seal their fate? The audience’s applause reflected unanimous approval of their final decision.

The Talent Show, directed by Kyle Kate Dudley, is collectively written by Emma Fraizer, Gabrielle Hirschkorn, Sheaden Callahan, Carlie Daggett, Angie Gonzalez, Shoshana Wintman, Madelyn Shields and Rieghan O’Connor The organizing and producing of a talent show proves to be the definitive test of friendship and fidelity. At a young age, loyalties are easily swayed. I was amazed at the conviction with which this largely preteen cast expressed the excitement of being included, the disappointment of being left out, and the heartache of being ignored. When the auditions finally begin, hilarity follows: from juggling to book balancing, stand-up comedy (which was very good) to rapper “Empty Whatever”, all the bases were covered. Eva, the class odd-ball, seems to be the only one who is fully accepting of all the others. She challenges the organizing team regarding the exclusion of specific individuals; her heart is definitely in the right place but she feels she “is clueless and always late”, usually missing half of the goings-on. Ties between friends are seen shifting back and forth, expressed by arguments and hurt feelings. Friendless (and excluded) Rachel offers a solution to a problem between dancers of the “in crowd”, ultimately being asked to join the pair in an improved routine. The finale “If Two Whole People Believe in You” begins as a solo, gradually adds performers, eventually involving the entire ensemble The meaning of true friendship is brought home to the cheers of the audience.

Dream Tamer, directed by Amelia Hays-Rivest and Steve Hays, the final play of this entertaining evening, is penned collectively by Chloe Connolly, Emma Fogarty, Michael Green, Lalia Hays-Rivest, Sierra Hays-Rivest, Austin Richardson and Meredith Viens. The opening scene is awash in dim blue light with strains of eerie night music in the background. Children sleep amid playground equipment – hoola hoops, a swing, large bouncy balls and a slide – and sequined dream tamers a attempt to explain the job to an apprentice. He is not the most confident student they have had, but he must learn how to tame children’s nightmares so as to learn his true name. The children awake and join each other at the playground for a birthday party. Periodically, the action is stopped (and the young cast freezes) by a seasoned dream tamer to inform the apprentice of the fears causing the children’s nightmares. The young student observes from a distance, still unable to grasp the technique. An accidental fall from the slide results in a broken arm, and the little girl is given a beautiful doll to soothe her concerns. Her older brother taunts her with visions of the doll’s eyes staring at her during the night; she asks her mother to put the doll in the closet just until morning. The Nightmare: to the little girl’s dismay, out of the closet strolls a life-size doll, causing a frightful night for her until a dream tamer subdues the doll and orders her back into the closet. The apprentice is very impressed and feels he is getting the idea. Familiar frightening scenarios – monsters under the bed, fear of falling, furniture taking on a life of its own – are examined for the benefit of the young would-be tamer. He tries repeatedly to remedy each situation, but grows more frustrated and less confident; each time an elder tamer is needed to complete the task. The deciding test for the apprentice is to conquer the man-eating tigers plaguing little Grace’s nights. She is fearful; he is frantic, until he learns to conjure up his own nightmare of enormous proportions, defeating the tigers and earning his true name. The audience shouted and whistled their overwhelming appreciation.

June Shorts takes the prize for set/light design(Craig Milne, Lucy Gouvin, Austin Yelinek, Parris Nichols, Amber Bernarti and Daesha Morgan) and costume design (Greta Breglio Redman). The sound design team (Dan Morbyrne, Arian Richardson) was spot on and many kudos for the art work of Sheila Coyl and Thousand Cranes Studio. Stage managers Peter Paleologopolus, Lucy Gouvin, Austin Yelinek and Isabelle Redman had their work cut out for them in these three productions and did an outstanding job. Thanks to Janet Richards (Box Office/Concessions) for being her usual very pleasant and helpful self.

Once again the Drama Studio has offered up exceptional original work by very talented people, and has achieved its goals with outstanding performances. Bravo!

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