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Bad Dates is a good night out

In theater terms, when an actor talks directly to the audience, it’s known as breaking the fourth wall. When Janet Luby does it in Bay Theatre Company’s latest, she’s not so much breaking a wall as she is opening a door. Through that door we join her as she shares her life, her attempts at love and a lot of laughs.
    Bad Dates is a one-woman show written by playwright, screenwriter and novelist Theresa Rebeck about Haley Walker, a 40-something single mom and restaurant manager in New York who is jumping back into the dating pool. Her first love, besides her unseen 13-year-old daughter Vera, seems to be shoes, as the four closets filled with them in the nicely rendered set attest. Keeping up a constant chatter as she models several pairs and several outfits, Luby engages us stream-of-consciousness about Haley’s failed marriage, her job, her daughter, her shoes and her frustrating, funny and sometimes heartbreaking dates.
    Luby has a knack for this type of theater, having been so effective a couple of years ago in Becky’s New Car as the bored and tempted wife who seeks understanding from the audience. Her charm, timing and physicality keep things moving through the 90-minute performance (plus a 15-minute intermission), even rising above the script’s brief but uncharacteristic dip into the maudlin after a particularly promising beau proves a no-show. Luby is such a strong actress that we also get evocative and quite funny caricatures of the other people who inhabit her life, from the gay law professor to the bug guy to the Romanian Mafioso who owns her restaurant. A one-woman show, yes, with so many personalities.
    As director Richard Pilcher puts it in his program notes, Bad Dates is not a chick play. It’s funny, it rings true and it certainly comes from a woman’s point of view. But in Luby’s capable hands, it’s a story that both sexes will enjoy. If my car is any indication, it will also generate quite the drive-home conversation.

Set designer: Ken Sheats. Costumer: Maggie Masson. Lighting designer/state manager: Eric Lund. Props: JoAnn and Mike Gidos. Sound design: Natalie Pilcher.
Thru Jan. 26. FSa 7:30pm; Su 2 pm at Chesapeake Arts Center, Brooklyn Park: $24+ $4 surcharge; rsvp: www.chesapeakearts.org.

Is the theft of your story a crime?

In Dignity Players’ long list of morality plays, Collected Stories is the crowning achievement. When a writing student mines her teacher’s private life for material, artistic license crosses the line from inspiration to confiscation. So says acclaimed author Ruth Steiner (played by Carol Cohen) of the transgression of heretofore-beloved student Lisa Morrison (Sarah Wade). Lisa claims she did only what her mentor taught her.
    Seasoned director Lois Evans’ leadership of a tiny stellar cast through a rich Donald Margulies script could earn this show the kind of recognition Colonial Players enjoyed in 2013: a Ruby Griffith Award for Margulies’ Shipwrecked!
    In the provocative ethical drama at hand, the intellectual professor Steiner has everything and nothing. Having forsaken marriage and children for a succession of young writers she adopts as secretaries/interns, she enjoys literary celebrity, a Bohemian Greenwich Village apartment and bittersweet memories of an affair 40 years earlier with one of the 20th century’s greatest poets, the middle-aged alcoholic Delmore Schwartz. She doesn’t like to talk about that. “Talking takes away the need to write,” she says, though she never does this writing.
    Lisa is a sycophantic graduate student: a bulimic WASP from a broken home who dreams of living Ruth’s life. Four years under Ruth’s tutelage transform her into a literary success with a short story collection of thinly veiled autobiographical tales. Then she panics. She fears she needs a novel to cement her reputation, but a writer writes what she knows and she’s written it all. So she quietly co-opts Ruth’s unwritten love story, shattering the friendship with her surrogate mum.
    In a play where image tells half the story, Cohen and Wade, aided by Jeannie Christie’s costumes, are transformed in a stunning role reversal: Cohen from mature role model to has-been frump and Wade from babbling bumbler to young sophisticate. I cannot imagine any two local actresses who could play Ruth and Lisa better.
    The only disappointments in this production are technical. The many long scene changes break the mood as audience conversation crescendos and time stretches to smoking-break lengths. On opening night, there was also an issue with crackly static in the absence of other sound effects. Both issues, though, can and should be resolved with experience, and neither negates the power of these performances. As added incentive, Dignity hosts poet Merrill Leffler of Dryad Press in a post-show discussion of authorial inspiration and ethics following the January 26 matinee.
    If all writers are rummagers, whose stories are safe?
    Come decide for yourself.

Stage Manager: Pat Browning. Technician: Julien Jacques.
Thru Feb. 1. FSa 8pm; Su 3pm at Dignity Players Theatre at the Unitarian Universalist Church of Annapolis. $20 w/discounts; rsvp: 410-266-8044 x 127; www.dignityplayers.org.

Give plants the right lights, and they’ll grow in any season

Plants don’t like freezing temperatures any more than we do. But many will be perfectly happy to grow indoors, encouraged by fluorescent lights.
    Under lights, you can grow plants, including vegetables, up to 10 inches tall.
    Success depends on choosing the right setup. Many systems are on the market, but not all are of equal quality. Beware of those made entirely of chrome-plated steel. They are susceptible to rusting from the fertilizers used for growing. Chrome-plated shelves and trays are especially vulnerable. Stainless steel or plastic-coated shelves and trays will outlast all others.
    Nearly all the lighting fixtures are designed to hold Grow-lux fluorescent bulbs. Grow-lux lights emit both the blue and red rays of light, and both are necessary for photosynthesis and flower production. For maximum effectiveness, the uppermost foliage of the plants must be placed within inches of the light source. Grow-lux lights are recognized for their light quality and not for their light intensity.
    To improve the light intensity of your growing chamber, consider including a warm white fluorescent bulb for every two Grow-Lux lights in the light bank. Adding warm white bulbs is especially important when growing tall plants or plants with varying heights. Only warm white fluorescent bulbs emit the red light essential for photosynthesis with sufficient intensity to penetrate the foliage to a depth of eight to 10 inches. Cool white fluorescent bulbs emit only low levels of blue light, which is not as essential for photosynthesis as red light.
    High intensity lighting fixtures can be built using a combination of power-groove fluorescent tubes and 60-watt incandescent bulbs. This sort of setup is used to supply lighting in commercial growth chambers. However, these power-groove fluorescent tubes generate so much heat that fans must be used to circulate the air.
    Meeting the irrigation needs of plants growing under artificial lights can be challenging. Plants growing under Glor-lux lights require less water than plants growing under warm white fluorescent lights due to cooler rooting media temperatures. Because the red waves from warm white fluorescent bulbs penetrate deeper, rooting media are warmer and dry out faster.
    Avoid overcrowding plants under artificial lights. As the plants increase in size, provide additional space for them. A good rule of thumb is to never allow the foliage of one plant to touch that of an adjoining plant. Allowing the plants to grow under crowded conditions will give you tall spindly plants with weak stems and yellowing leaves at the bottom.

Ask Dr. Gouin your questions at DR.FRGouin@gmail.com. Please include your name and address.

Get help, for free, from techies smarter than you

As soon as I purchased my new skiff some three years ago, I had to have the latest and greatest fish-finder/GPS machine. I got it installed, but once I turned it on, problems followed. The software on my machine had some initial problems that were later corrected. Still, I needed to load a new version of the operating software.
    That simple operation involved downloading the updated system from the manufacturer’s Internet site onto a computer, transfering it to a storage device and plugging that into my finder/GPS unit for automatic update. I somehow botched the operation and had to send the unit back. The manufacturer reloaded everything and promptly returned it.
    Doing some Internet research on my new unit, I quickly set a few basic parameters and barely touched the settings again. It worked well, much better than the 15-year-old unit I’d had before, but I couldn’t help thinking I wasn’t using the machine’s full potential. This winter I decided to fix that.

Beneath the Iceberg
    The electronic fish-finder is the most revolutionary tool available to anglers. It’s a tool with a story that dates back to the sinking of the Titanic.
    The part of the iceberg hit by the cruise ship was underwater and unobservable to the navigating crew. After that disaster, work immediately began on how to detect below-surface objects. First developed was an echo-ranging apparatus based on the navigational methods of dolphins.
    Reginald Fessenden, a Canadian working for a U.S. company in Boston, patented the first workable sonar —Sound Navigation and Ranging — device in 1912. Submarine warfare in the Battle of the Atlantic during World War II greatly accelerated its development, first by Britain, then the U.S.
    The fish-finders we use today are spinoffs of that defense technology. Over the years, they have become so accurate and complex that they are prohibited from export by U.S. law. They’re so sophisticated that many anglers — I being a poster boy — fail to get the most from their units. There are just too many options for a simple fisherman like me to comprehend, let alone remember how they interact.

Learning the Machine
    There is, however, a solution for us technologically inept. Almost all retailers of such units have at least one employee expert in their setup and use. In talking to a number of them over the last week, I have found them all eager to help, especially during the slow times of winter. Just disconnect your unit from the boat and take it to the store.
    The expert there can hook it up in-house and go over the settings, explain the options and suggest changes for your type of fishing.
    There also may be software upgrades available from the manufacturer. These are generally free and can be downloaded pretty easily.
    It is wise to call ahead to make sure that the right technician will be on hand and that they service your brand.
    If you have a GPS (the satellite-based Global Positioning System) unit combined with your fish-finder, you can review it as well. You can also discuss aftermarket products, such as navigational map overlays.
    Wintertime is slow for both marine stores and anglers. Availing yourself now of the expertise that the stores offer will pay off in fish in the box and fun on the water in 2014.

Come to feel, think and applaud

Many theater companies are neither willing nor able to move from a bubbly musical directly into a disturbing death-row drama based on real life. Colonial Players is the exception, following November’s Annie with Coyote on a Fence.
    Coyote on a Fence is what Colonial calls an “arc” show, more challenging than usual and typically appealing to a smaller arc of patrons. Opening night proved that this production is deserving of larger, not smaller, audiences.
    Bruce Graham’s play focuses on long-time death row inmate John Brennan, the middle-aged editor of the prison newspaper who writes obituaries of each inmate put to death. Brennan is a fervent but deluded believer in his own innocence. Most on death row say they, too, are innocent.
    Except Bobby Reyburn. A late-20s, anti-Semite racist who gets the cell next to Brennan after burning down an African American church and killing 37 people, Reyburn says he was called to his work by God and was spoon-fed hate by a trusted uncle.
    The interplay between Bobby, who welcomes his execution, and John, who has exhausted every legal avenue on the way to his, demands two actors who not only commit to their characters but are consistent in their interpretations even as their characters hit sharply emotional highs and lows. Thom Sinn as John and Eddie Hall as Bobby meet that demand. A lesser actor might have allowed the histrionic Bobby to become a caricature, but Hall, under the capable direction of Colonial veteran Edd Miller, never does so. He and Sinn together take the audience on a journey that makes us care about them despite their violent pasts.
    Prison guard Shawna (an earthy Kecia Campbell) keeps a close eye on things. But outside the prison, she meets an unseen reporter in a series of monologues. Among her topics are how she feels safer on the inside among convicted killers than in the real world. Shawna’s final monologue is a heartbreaker.
    Another reporter works his way into Brennan’s confidence. Nicely underplayed by Jeff Sprague, Sam Fried’s condescension and conflict over the death penalty are no match for Brennan’s passion.
    Miller is one of the few directors who successfully uses Colonial’s in-the-round space. His set design puts all the action on the floor in front of us, avoiding the annoying neck craning too often required to watch scenes in the theater’s corners. The two cells abut, with an outside recreation area marked by a stark wire fence and a small area representing Shawna’s bar.
    Adding to the stark aura is Carl Andreasen’s and Theresa Riffle’s haunting sound design, a near-constant drone of background voices occasionally interrupted by the scream of an inmate or the physical shock and loud finality of a metal prison door trapping us all.
    Frank Florentine’s tight lighting evokes the sterility of the place, from harsh lights dimming upon an execution to the eerie green illuminating the empty cell of the newly executed.
    Coyote is the 14th show Miller has directed at Colonial. His Going to St. Ives was awarded best play and best director in the coveted Washington Area Theater Community Awards in 2012. Coyote on a Fence is likely to attract the same consideration.
    Warning: Save the pre-show cocktails for post. The play runs one hour and 45 minutes without an intermission.

Playing thru Jan. 25 ThFSa 8pm & Su Jan. 19, 2 & 7:30pm at 108 East St., Annapolis. $20 w/discounts: 410-268-7373; www.thecolonialplayers.org.

Don’t miss this gem of the American stage

Thomas Wolfe famously said, “You can’t go home again.” A decade before coining that phrase, he showed us why in his 1929 debut novel Look Homeward Angel. This thinly veiled memoir of a tumultuous youth in his mother’s Dixieland Boardinghouse made him a pariah in his hometown of Asheville, North Carolina, and a literary star to the rest of the nation. The 1958 stage adaptation by Ketti Frings won every major prize for American drama that year, and it still rings true and relevant.
    Compass Rose Theater’s beautiful production stars a talented University of Maryland grad, Shane O’Loughlin, in the lead role of Eugene Gant. A bookish young man, he yearns for education and escape from his overbearing mother, Eliza (artistic director Lucinda Merry-Browne), and his romantic but alcoholic father, W.O. Gant (Gary Goodson) Bret Jaspers costars as elder brother Ben, the cynical voice of experience who urges Eugene to flee. Who can blame them? Life with Eliza, the self-proclaimed “sharpest trader in town,” is no tea party. In a perpetual quest for cash, she puts the comfort of strangers above the needs of her own family, whom she manipulates into doing her bidding.
    Dapper Ben isn’t healthy enough to escape to World War I, as did his brother Luke (Chris Creane). So he helps in Father’s monument shop and passes the evenings at dingy Dixieland with a sympathetic older boarder  named Fatty (Janise Whelan). Big sister Helen (Kathryn Zoerb) and her husband Hugh (Dan Reno) are likewise caught in Eliza’s clutches as near servants. The other boarders are Uncle Will (Ed Klein); old Mrs. Clatt (Nancy Long); her son Jake (Eli Pendry); and a charming new arrival, Laura James (Lindsay Clemmons), who brings Eugene his first happiness and heartache. Dr. McGuire (Richard Fiske) is a frequent visitor to the home as well. Only the notorious Madame Elizabeth (Maura Claire Harford) never crosses the threshold, though she is on good terms with Father.
    From the melee, Eugene’s transformation from guileless gopher to mutineer is remarkable, culminating in a confrontation that will shake you to your weepy bones. Drawing equally on the strength of all the leads, this production gets four stars for credibility: from the sharp period fashions to the missing newels on the faded front porch to the manner of the family’s explosion with love and disdain. The only unbelievable part is Eliza and Father’s tantrum, which is too gentle on the set. I hope they go wild on closing night.

Director: Patrick Walsh. Set: Mary Goodson. Costumes: Linda Swann. Lights: Cecilia Durbin. 2.5 hours including one 15-minute intermission.
Playing thru Feb. 9. Th (except Jan. 30) FSa 8pm Sa Feb. 1 & 8 and Su 2pm at 49 Spa Rd., Annapolis. $35 w/discounts: 410-980-6662; www.compassrosetheater.org.

A recent solar flare could present Northern Lights to Southerners

A powerful solar flare on January 7 launched a barrage of plasm our way, which has the chance of producing auroras at much lower latitudes than usual. Scientists expect the activity to begin before dawn Thursday, January 9, which is too late to help given this issue’s release that day. But solar astronomers don’t rule out more blasts to come, as this solar flare, technically called a coronal mass ejection, was caused by an eruption from a massive and very active sunspot, AR1944, which is facing earth head-on. The sunspot, “as wide as seven earths,” NASA reported, is “one of the largest sunspots seen in the last 10 years.”
    Called aurora borealis when seen north of the equator and corona borealis to the south, these displays are the result of powerful bursts of radiation from the sun. Earth’s atmosphere blocks that harmful radiation, or these would be lethal events, but as the charged particles collide with earth’s own magnetically charged atmosphere, they produce a vivid and eerie light show. While these aurora are harmless to life, they can wreak havoc on our satellites, disrupting GPS, cellular reception and radio and television transmissions. The flare has already forced private space company Orbital Sciences to delay the launch of an unmanned cargo craft to the International Space Station.
    Any chance to see the so-called Northern Lights as far south as the Chesapeake is well worth keeping an eye on the sky over the next few nights.
    The moon is also busy this week. It visits over the weekend, to the left of the moon Friday night, look for the Pleiades star cluster. At first glance the Pleiades appear as a fuzzy patch of light in the constellation Taurus. But closer examination on a clear night reveals six stars shaped like a miniature dipper.
    Saturday the Pleiades are above the moon, while below the moon is Aldebaran, the red eye of the bull, and the Hyades star cluster.
    On Tuesday, the near-full moon is five degrees south of Jupiter. Tuesday, January 7, marked the anniversary of Galileo Galilei’s 1610 discovery of Jupiter’s largest three moons,  Io, Europa and Ganymede (he discovered Callisto a few days later). Today, a good pair of binoculars will reveal more of mighty Jove’s orbiting satellite’s than the great astronomer’s first telescope.
    Wednesday the 15th marks January’s full Wolf Moon, which also reaches apogee, its farthest point in orbit from earth, making this full moon the smallest of the year.
    Venus reaches inferior conjunction, Saturday, passing between the earth and sun, leaving our morning skies only to reappear as the Evening Star thereafter. Unlike the transit of Venus in 2012, this time Venus will pass five degrees north of the sun — still far too close to watch without a solar filter. Viewed with telescope or binoculars and the proper eye protection, our sister planet appears as a wide but razor-thin crescent.

That’s the closest you can get to fishing when winter howls

The 10-day weather forecast calls for wind and consistently low temperatures, occasionally a bit of rain and clouds. Not the kind of outlook that lifts your spirits, unless you’re a waterfowler. I hadn’t joined a hunt club this season, so that didn’t include me.
    Worse yet, I had chores on my conscience. I had cleaned most of my fishing tackle late in November — only to need it again for early December’s last-minute rockfish bite. So half of my tackle was fouled, awaiting another cleaning. I had also neglected to put on my reel covers for the winter, so my collection of rigs has been accumulating light dust flavored with errant dog and cat hair.
    Still, the next best thing to fishing is fooling with fishing tackle. So this week I took a deep breath and got to business. The dust and hair I conquered with a medium-width, soft-bristle nylon paintbrush that I keep handy for the PC keyboard.
    Next I clipped off leftover terminal rigs, cleaning the outfits over a large towel I could shake outside. The tackle with fish slime and salt residue took longer to rectify. Then I hit everything with a light coat of silicone, sat back and took stock of the situation.
    It had been a long time since I had done any internal maintenance: drag washer cleaning and regreasing; bearing lubrication; level wind and casting brake attention. All these ensure that the next season starts out trouble-free. Early fishing is no time for a long series of problem-solving interruptions.
    I had a bit of work ahead of me. That’s because of my fondness for multiple rigs: bait-casting setups for chumming; others, slightly different, for live-lining; yet others for light-plug casting; stiffer sticks for heavier plugs and jigging; and light spin outfits for perch.
    I had done little plug casting the past season, so I decided those outfits could wait. But all of the bait rigs and perch rods had seen extensive use.
    My preferred bait-casting reels, Abu Garcia Ambassaduer 5600s, have to be taken apart before anything can be done to them. My outfits are modified with Abu Soft Grip Power Handles and Carbontex drag washers. Everything else is stock. A YouTube video details disassembly and service: www.youtube.com/
watch?v=7k9Hb75gXJg.
    Another video that covers a Shimano spin reel is analogous to just about all fixed spool reels: www.youtube.com/
watch?v=kflr4kraG50.
    Shimano, Okuma, Penn and other manufacturers all have similar website support for specific reel models.
    It looks like classic winter is descending upon us. Don’t squander your cabin-bound hours with TV or video games. Maintain your tackle and dream of next season.

Four SEALs fight for their lives in this gripping action film

Navy SEALs Marcus Luttrell (Mark Wahlberg: 2 Guns), Michael Murphy (Taylor Kitsch: Savages), Danny Dietz (Emile Hirsch: Bonnie and Clyde) and Matt Axelson (Ben Foster: Ain’t Them Bodies Saints) are proud frogmen. They run long distances at great speeds, push their bodies to their limit for fun and take deadly assignments as part of the job.
    The latest mission should be an easy one. Their task is to scout a village in the woods of Afghanistan, positively identify a terrorist cell leader (code named Rick James) and report back to headquarters. Next, they’ll either get permission to eliminate the target, or fade into the shadows.
    The mission goes haywire because of three men and their goats. Herding their flock up a mountain, two boys and their father literally stumble on the frogmen. The SEALs have a choice: Kill the goatherds, or let them go possibly to return with an army of angry terrorists.
    Can the four team make it out of Afghanistan alive?
    Lone Survivor isn’t coy about what happens; it’s spelled out in the title. Though you know early that only one SEAL leaves the mountain, the film is a thrilling, gut-wrenching portrayal of a real incident. Stay through the credits to see a tribute to the brave men who lost their lives. 
    Director Peter Berg (Battleship) doesn’t bother with artistic shots or subtle imagery. His straightforward storytelling style doesn’t leave much room for nuance or character development. What he does well is convey the actuality of life for men stationed overseas. The opening credits show footage of actual SEAL training and how extreme it can be. Other effective sequences invoke the shadows of the people back home, whether the men are chatting with wives or wondering what to buy their fiancée.
    Berg also delivers on action, making the SEALs’ fight for survival brutal and terrifying. Gunfights in real life probably don’t come with visual metaphors and a soaring soundtrack, so Berg’s pared-down approach seems realistic. Berg views these SEALs as nearly superhuman, and his admiration shows in every shot.
    Keeping the SEALs from becoming action heroes are the actors entrusted with their story. Wahlberg, Foster, Kitsch and Hirsch keep their characters grounded in reality, showing their flaws as well as their dedication and drive. Together, the cast creates a tangible sense of brother­hood.

Good Action • R • 121 mins.

But learn their tastes, and they’ll give you flowers

Are your African violets blooming?    
    If not, read on to learn why and what you can do to bring out the flowers.
    African violets’ long-standing popularity grows from lush foliage and their habit of winter flowering. The plants are challenging, but not more than many in-home gardeners can manage. Even propagation is possible with a little knowledge on your part.
    African violets are shade-loving plants whose leaves scorch under the direct rays of the sun. Grow yours in places where they receive only diffused light. Or try growing lights.
    When you re-pot, use only a rich organic rooting medium that has been sterilized. You’ll find the right mix at garden supply stores, or you can sterilize your own in the microwave. Heat a gallon of moist rooting medium for 10 to 12 minutes on high.
    African violet varieties are vast because these popular plants have been hybridized extensively. Cultivars range from miniatures to larger than normal, with varying types of petals, flower colors and velvety foliage.
    Not all the hybridizing has produced good qualities. In breeding, some desirable characteristics such as disease resistance, wet-soil tolerance and plant vigor have been compromised. Many of the new cultivars require special care. Some want to be grown in sterile rooting media. Others demand extreme care in watering, refusing to tolerate over-watering or wet foliage. Still others can’t abide fertilizer accumulation along the edges of their pot. Even winter flowering has been lost in some cultivars.
    African violets are picky about temperature. If they don’t like the temperature where they live, they won’t flower.
    Many of the new cultivars will flower consistently only when temperatures remain constant. Older cultivars flowered best where temperatures were warm during the day and cool at night. The windowsill was often the best place for growing African violets. Today’s African violets are best grown in the middle of the room where temperatures remain more constant.
    It’s still true that you should avoid wetting the foliage when watering the pots. If you typically water from the bottom up, change over once a month and water from the top down to prevent fertilizer salts from accumulating along the top edge of the pots. Accumulated fertilizer salts will burn the petiols, or stalks, of the lower leaves in contact with the edge of the pot. Fertilizer salts appear as tiny gray-green granules clinging to the inside edge of the pot starting from the surface of the rooting medium. If you’ve got them, scrape them off.
    Have I answered all your questions about raising African violets? If not, write and ask and I’ll reply.

Ask Dr. Gouin your questions at DR.FRGouin@gmail.com. All questions will appear in Bay Weekly. Please include your name and address.