view counter

Articles by Jim Reiter

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.

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.

A show of fun and fashion delights kids and the adults who bring them

Infinity Theatre — which has gained a solid reputation for bringing New York talent to the Annapolis stage — gives young audiences as well as adults a taste of professional theater.
    Infinity’s production of The Emperor’s New Clothes is a delight; you know it’s a winner when the parents and grandparents cheer and clap as enthusiastically as the kids they’ve accompanied.
...

Farewell, Dignity Players

Less is more.    
    For nine years, Dignity Players proved it. The focus of this unique volunteer theater company was not on complex sets, colorful costumes, tricky lighting and sound effects. It couldn’t be, because for Dignity those things didn’t exist. All that existed was the small, bare stage at the Unitarian Universalist Church of Annapolis.
...