Last night Lana and I went to see Medea at MAT and I thought while the individual performances were solid, particularly those of Bethany Mason, who plays Medea, and Jeff Scolley, who plays her husband Jason, the whole production lacked a qualitative connection to the audience.
I felt the cultural gap between ancient Greece, where this play was originally performed, and current day was a little too big to bridge here.
Firstly, a few words on what I liked.
The scenes between Bethany and Jeff were legitimately dramatic, with real human emotions at play. Medea plays a woman scorned who's searching for a solution to her situation. She might be a bit crazy, yes, but viewers can almost see where she's coming from.
Jason, her husband, has taken up with another woman, and has seemingly cast Medea aside. This in of itself is something that's instantly relatable, and always will be no matter how much time has gone since the scene was originally written.
I thought Jeff really shined in the the final scene, as well.
Without giving anything away, Jeff delvers a healthy dose of anguish and when he delivers the lines, you can't help but feel that emotion, as well.
Bethany, too, did a great job in delivering each of her lines, which were many.
It never felt as if she were stumbling through a scene to get to another one, or that she was out of character at any moment. As soon as the lights went up, she was Medea through and through.
With that, I'll say my main criticism with the show was that throughout the entire show I never received an answer to a basic question -- why?
Without sounding harsh, I'm not blind to the hard work it takes in producing any show, I couldn't help but feel as if I was unsure of why this play was being shown in front of me.
To better explain what I'm getting at here, I'll share a bit of a conversation I had with Ed Moran not too long ago.
Ed, as you may or may not know, has long been a play director in Great Falls. Some of his recent plays he's directed include "No Sex Please, We're British," and "I Hate Hamlet."
Ed and I talked a few months ago about how the one thing a successful theater must do is get people in the seats. The balancing act comes in holding your artistic integrity intact while giving audiences reasons to see the show.
Meaning, while you certainly don't want to pander to the lowest common denominator, you don't want to do something that's totally over their heads, either.
Audience members here in Great Falls, the ones who regularly attend plays, at least, are fairly easy to please.
In my opinion, a theater should not have to cater to them because they love almost anything you do.
The goal, if I were in charge, would be attracting people who don't regularly come to your theater.
Now, back to Medea, I had a difficult time deciphering who this play was geared toward. Is it young couples? Young men? Women? Children?
I don't think it would be women as Lana told me one thing that bothered her was the misogyny rampant throughout the play.
In one scene Medea "attempts" to mend her relationship with Jason, saying she should have been supportive of her husband's decision to find another wife and that she should have been helping plan the wedding.
Our modern sensibilities say that's not okay. Indeed, a play of this nature hearkens back to times when women were treated differently from men. It was a different cultural acceptance where men were supreme masters over women. It's not like that anymore, so perhaps to see a play go through those scenes seemed a little absurd.
Next, I felt the music chosen to back up certain scenes only put the question mark of who this play was for into greater focus.
At one point during a scene between Medea and the King, played by Dyllan Strom, which got a bit romantic in tone, smooth jazz was played in the background.
You don't need to be a music expert to know that jazz didn't exist in ancient Greece. It probably wouldn't distract many, but if you think about it, it seems a little strange.
The same goes with the use of Beethoven pieces played intermittently throughout. Beethoven was a 16th Century composer.
But then, if one questions why more modern music was used, you have to start to think what music would have been more appropriate. They could have found some non-time specific music or music from ancient Greece, but then how is that any more relatable? Rarely anyone will appreciate or recognize music from ancient Greece.
If you extend that line of reasoning further out, how can one assume modern audiences will relate to a play based in ancient Greece?
Yes, the emotions are still being felt today, and yes, this type of show was not being done anywhere else in town, and finally, yes, it was a chance to explore some interesting relations between a man and woman. All of this is true.
But, when a theater already has several hurdles to jump over in terms of getting people into the seats, because, let's face facts here: it's not an easy feat to sell out shows in Great Falls; why would you choose to place more hurdles in your way with a script that was written thousands of years ago?
I say this out of a place of love, concern, admiration and respect. While we had some misgivings about possibly why there weren't more butts in the seat, both Lana and I enjoyed the show. The performances were good. There was plenty to like here.
I just felt that this play was a bit too outside the realm of average people to understand. Maybe that was the point. But, as Ed told me, and I might be paraphrasing a bit here, but he said basically,
"We all do this to see people in the seats. We all enjoy that feeling of a packed house and a standing ovation. It's why we do what we do."
So yes, you CAN present an ancient Greek horror-tragedy. You CAN even have several great performances within that play. But, my question still remains. Why should you when you risk performing it to half-empty rooms?
Especially when we have, even in Great Falls, multiple entertainment options.
If I'm a typical Great Falls native, looking to spend $30 on entertainment, is it unreasonable to think that I'd rather go to a nice dinner, see a rock band, buy a video game or a new DVD than go see an ancient Greek tragedy, even if it is live theater and I know about the plot?
The answer should be fairly obvious.
Sunday, March 17, 2013
Sunday, March 3, 2013
Junior Cascade of Talent showcase, March 3
By Sarah Raines
Raines is a classically-trained vocalist with a degree from NYU. She currently teaches private voice and piano, and she is also the choir director at the University of Great Falls.
The first thing I noticed about the 2013 Junior Cascade of Talent show was the MC. What I liked were the tidbits about the performers that he shared with the audience. For example, a little boy and girl who did a dance together are best friends. The MC also told us that a girl who danced to an acoustic version of “I Need A Hero,” dedicated it to her grandfather.
Raines is a classically-trained vocalist with a degree from NYU. She currently teaches private voice and piano, and she is also the choir director at the University of Great Falls.
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| Sarah Raines |
Unfortunately, the MC’s energy wasn't as engaging as the performers. Perhaps that’s because a group of kids under the age of 14 has more energy than any full-grown adults.
The MC seemed lost, forgot portions of his introductions, and mispronounced several names. I was also distracted between sets because the stage hand was dressed almost too scruffily. In my experience, stage hands wear solid black in order to be less distracting as they move set pieces
The young performers, however, were excellent.
The MC seemed lost, forgot portions of his introductions, and mispronounced several names. I was also distracted between sets because the stage hand was dressed almost too scruffily. In my experience, stage hands wear solid black in order to be less distracting as they move set pieces
The young performers, however, were excellent.
There was a variety of acts: from piano to saxophone, ballet to hip-hop. They performed songs by artists from Etta James to Adele.
The dances, mostly from students of Miss Linda’s school of dance, were amazing. I would expect no less from Miss Linda’s, especially since I had the chance to work with Miss Linda’s dance teacher Jackie Newman when she choreographed UGF’s Chicago last fall. Another thing I especially liked about the dances were how age-appropriate they all were.
That leads me to the singing.
I would never discourage a young person from singing and performing, but I am partial to age-appropriate songs. Young singers who perform adult songs sometimes fall into the trap of imitating instead of showing their own unique voices. Yet it was obvious that every singer chose a song that she (all the singers I saw were female) really loved. That is key. Watching those singers truly enjoy themselves on stage is what makes the audience enjoy it.
The instrumentalists were awesome as well. Each of them played high level pieces with better technique than many adults.
The saxophone rendition of “Duel of the Fates,” from Star Wars was well-done and a cool song choice. I appreciated its uniqueness. In general I felt the acts that stood out most were the ones that brought something unexpected. For example, it was unique to see a dance duet between a little boy and girl that had a park bench as a prop/set piece.
From a stage tech stance, the lighting was really great. The lighting design really added to the performances and was a subtle, but important touch that added a feel of professionalism to the show. The young performers will get a real treat seeing how cool and professional everything looks when they see themselves on the DVD.
If I were to give any advice for next time, I’d ask the organizers to consider presenting a piano accompanist and offering every singer, dancer, and instrumental soloist the chance to perform with a live musician.
Maybe this opinion is just my old-school classical training showing, but I would hate to see live music become a lost art. Live music has a very organic and rich sound to the audience member.
As a performer it is a different and more refined skill to collaborate with live accompaniment as opposed to memorizing an exact timing of a recording.
In that same line of thought, I would also encourage future participants to experiment with collaboration. Sing duets and trios. Get instruments together. Choreograph a dance to your friend’s piano solo. Ask someone to accompany you on guitar. Dance teams offer a great avenue for collaborating and working in groups, but I think it can add more variety and a stronger learning experience if you work with other performers.
All in all, I found the entire show quite enjoyable and entertaining. I went to watch and support one of my private voice students, and I fully expected to be bored during everything but her song. However, I learned not to underestimate the young talent in this town. It was fun, and we should all look forward to next year.
The dances, mostly from students of Miss Linda’s school of dance, were amazing. I would expect no less from Miss Linda’s, especially since I had the chance to work with Miss Linda’s dance teacher Jackie Newman when she choreographed UGF’s Chicago last fall. Another thing I especially liked about the dances were how age-appropriate they all were.
That leads me to the singing.
I would never discourage a young person from singing and performing, but I am partial to age-appropriate songs. Young singers who perform adult songs sometimes fall into the trap of imitating instead of showing their own unique voices. Yet it was obvious that every singer chose a song that she (all the singers I saw were female) really loved. That is key. Watching those singers truly enjoy themselves on stage is what makes the audience enjoy it.
The instrumentalists were awesome as well. Each of them played high level pieces with better technique than many adults.
The saxophone rendition of “Duel of the Fates,” from Star Wars was well-done and a cool song choice. I appreciated its uniqueness. In general I felt the acts that stood out most were the ones that brought something unexpected. For example, it was unique to see a dance duet between a little boy and girl that had a park bench as a prop/set piece.
From a stage tech stance, the lighting was really great. The lighting design really added to the performances and was a subtle, but important touch that added a feel of professionalism to the show. The young performers will get a real treat seeing how cool and professional everything looks when they see themselves on the DVD.
If I were to give any advice for next time, I’d ask the organizers to consider presenting a piano accompanist and offering every singer, dancer, and instrumental soloist the chance to perform with a live musician.
Maybe this opinion is just my old-school classical training showing, but I would hate to see live music become a lost art. Live music has a very organic and rich sound to the audience member.
As a performer it is a different and more refined skill to collaborate with live accompaniment as opposed to memorizing an exact timing of a recording.
In that same line of thought, I would also encourage future participants to experiment with collaboration. Sing duets and trios. Get instruments together. Choreograph a dance to your friend’s piano solo. Ask someone to accompany you on guitar. Dance teams offer a great avenue for collaborating and working in groups, but I think it can add more variety and a stronger learning experience if you work with other performers.
All in all, I found the entire show quite enjoyable and entertaining. I went to watch and support one of my private voice students, and I fully expected to be bored during everything but her song. However, I learned not to underestimate the young talent in this town. It was fun, and we should all look forward to next year.
Magnficent Seven Part II, March 2, 2013
The Magnificent Seven show returned to Montana Actors' Theatre-Great Falls last night and although I had to leave early, I do have a few thoughts about the evening.
The first thing I noticed was the giant spread of food as we walked into the theater, which Joe Ryan's mother provided. Her deviled eggs were delicious. So were the meatballs. The food was a serious upgrade this time out, most definitely.
As for the show, most of the acts we saw killed it.
The first group, Lucky Valentines had a tight sound that perhaps only two people who understand each other intimately can have.
Lana said the melodies they sang were some of the hardest to perform, and they did them well. They did several Patty Smith covers and mostly originals.
Plus, I always love me some fiddle songs. They did several. It was a great way to start the show.
Another of the highlights for me was Tales from Ghost Town from Bozeman.
The guy, a one-man band who played drums, guitar and harmonica, and also singing, got it done with some upbeat down-home barn dance anthems that had the whole room rocking. He could have played for much longer than he did and no one would have minded.
I also must say that Tyson Habein did an excellent job at organizing the artwork behind the stage. Each of the pieces were both separate but fit together in a theme with similar shapes and colors. Whether the artists were the same or not, it was a cohesive display of art that made the stage shine.
Moving on, I was a little torn on Patty Hearse and the Mortician.
Yes, at times the vocals got drowned out by the instruments and yes it was loud. But, as their set progressed I kind of got the feeling that was the point. Like I told Lana, you don't listen to Metallica for the amazing vocals. You listen to them to hear them rock the f@*$ out. Patty and the Mortician had that feel to them. Hopefully they can get the vocals to come across better in the future.
Plus, Joe Ryan did a decent job of adjusting the levels to help Paisley's voice project.
Before Patty and the Mortician, Saif Alsaegh performed some of his best spoken word poems.
The original plan, as I gather, was to have Joe Ryan play with him on guitar and Josh Wilkinson on drums. Before Saif started, Joe apologized and said he had to help one of the bands set up so he couldn't play..
I was a little bummed, mostly I feel he does a better job of playing behind a poet than Josh did on this night.
I'm not saying Josh did a bad job. His sound is so unique it's always a treat to hear. I'm just not sure it worked with Saif for some reason.
And, before Saif came up, Josh did a good job with his own set. It was fun, interesting and included several songs I've never heard him do before. I would have loved to hear "Jessica Simpson," but I suppose that's kind of an "Open Mic" song. Josh still has a little of that Open Mic sound, meaning when I hear him I think of the times I've heard him play there.
Aside from "Jessica Simpson," which really we wanted to hear for nostalgic reasons, perhaps, it might have been fun to hear him play a few other different songs than ones we've heard a lot in the past.
Then, with his playing together with Saif, all I'm saying is I felt like they weren't quite on the same page last night. At times Saif would be performing a dramatic piece about his relationship with god and religion, and at the same time it felt like Josh was playing it a little too positive and a LITTLE too loud for my liking.
Perhaps it could have used some more minor chords, I'm not sure. If they had more time to prepare together it might have worked better, but, it was by no means a bad performance. Anytime Saif reads it's a treat because his poems are so good!
All and all it was a fun night and the room was packed during the entire time we were there.
One final thought is that I think people still aren't quite sure how to dress for the event.
Some people dress casual, some people dress up and others still wear semi-casual clothes. And indeed, that's true of almost all events in town, it seems. It's not a huge thing, but I suppose Tyson and Joe could give people a dress code guideline for next time. I might suggest giving a gentle suggestion so folks have an idea of what to wear, (or what not to wear.)
Finally, I look forward to seeing what the Habeins and Mr. Ryan present next month. :-)
The first thing I noticed was the giant spread of food as we walked into the theater, which Joe Ryan's mother provided. Her deviled eggs were delicious. So were the meatballs. The food was a serious upgrade this time out, most definitely.
 |
| Tales from Ghost Town |
As for the show, most of the acts we saw killed it.
The first group, Lucky Valentines had a tight sound that perhaps only two people who understand each other intimately can have.
Lana said the melodies they sang were some of the hardest to perform, and they did them well. They did several Patty Smith covers and mostly originals.
Plus, I always love me some fiddle songs. They did several. It was a great way to start the show.
Another of the highlights for me was Tales from Ghost Town from Bozeman.
The guy, a one-man band who played drums, guitar and harmonica, and also singing, got it done with some upbeat down-home barn dance anthems that had the whole room rocking. He could have played for much longer than he did and no one would have minded.
I also must say that Tyson Habein did an excellent job at organizing the artwork behind the stage. Each of the pieces were both separate but fit together in a theme with similar shapes and colors. Whether the artists were the same or not, it was a cohesive display of art that made the stage shine.
Moving on, I was a little torn on Patty Hearse and the Mortician.
 |
| Saif Alsaegh performs poetry |
Plus, Joe Ryan did a decent job of adjusting the levels to help Paisley's voice project.
Before Patty and the Mortician, Saif Alsaegh performed some of his best spoken word poems.
The original plan, as I gather, was to have Joe Ryan play with him on guitar and Josh Wilkinson on drums. Before Saif started, Joe apologized and said he had to help one of the bands set up so he couldn't play..
I was a little bummed, mostly I feel he does a better job of playing behind a poet than Josh did on this night.
I'm not saying Josh did a bad job. His sound is so unique it's always a treat to hear. I'm just not sure it worked with Saif for some reason.
And, before Saif came up, Josh did a good job with his own set. It was fun, interesting and included several songs I've never heard him do before. I would have loved to hear "Jessica Simpson," but I suppose that's kind of an "Open Mic" song. Josh still has a little of that Open Mic sound, meaning when I hear him I think of the times I've heard him play there.
Aside from "Jessica Simpson," which really we wanted to hear for nostalgic reasons, perhaps, it might have been fun to hear him play a few other different songs than ones we've heard a lot in the past.
Then, with his playing together with Saif, all I'm saying is I felt like they weren't quite on the same page last night. At times Saif would be performing a dramatic piece about his relationship with god and religion, and at the same time it felt like Josh was playing it a little too positive and a LITTLE too loud for my liking.
Perhaps it could have used some more minor chords, I'm not sure. If they had more time to prepare together it might have worked better, but, it was by no means a bad performance. Anytime Saif reads it's a treat because his poems are so good!
All and all it was a fun night and the room was packed during the entire time we were there.
One final thought is that I think people still aren't quite sure how to dress for the event.
Some people dress casual, some people dress up and others still wear semi-casual clothes. And indeed, that's true of almost all events in town, it seems. It's not a huge thing, but I suppose Tyson and Joe could give people a dress code guideline for next time. I might suggest giving a gentle suggestion so folks have an idea of what to wear, (or what not to wear.)
Finally, I look forward to seeing what the Habeins and Mr. Ryan present next month. :-)
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