True Color is only trying to comercialize and use useless talent like Jasmine Guys name to bring in the mindless sheep! This outfit overlooks great local talent. I can 't stomach another one of their mindless boring productions! A waist of time.
I absolutely loved it! The music and the voices were breath-taking. The choreography was entertaining, and the intimate details of what happened behind the scenes reinvented the King legacy to me. It featured his humanity in a way that was unfamiliar. I enjoy the newness, because I believe that most Americans, like me, can grow so familiar with something that it loses its poignance. And for me, MLK's legacy became tradition. His life became a statute. And this play reminded me that he was a flawed, extraordinarily ordinary man with incredible faith.
I thought "Slasher" was terrible, despite having a couple of Atlanta's best actors as members of the cast. I understand the intention of camp, but if there are no real moments then there is no real meaning.
I think Curt Holman did not see the same play I did. "Meta-theatrical gimmick"? The cellphones were a refreshing way to deliver the lines. Such direction by Thierry de Peretti brings "new life to Shakespeare" (to quote your photo caption)for modern audiences, audiences giving this cast standing ovations. About the "leggy queen" and "pipsqueak" remarks: Kate Moran, an outstanding performer, indeed is youngish, and it doesn't phase the audience because she plays it older, a mark of good acting. And who says Hamlet must be the brooding Batman in appearance, muscular and macho? I don't recall Shakespeare specifying that a sensitive, intelligent, slender actor with a bounce in his walk could not play Hamlet. I wish theater critics in this city would stop trying to prove they can write snappy lines in nastily trashing works they could never write or produce. Let's see Curt Holman perform Hamlet. I bet Joey Boren can write a better theater review than Holman can act. How's that for a snappy line?
Obviously this reviewer doesn't know anything about Shakespeare. And certainly less about Koltès. Obviously, he doesn't speak a lick of French. Which means he is completely incompetent to talk about the translation. I am French and a Koltès specialist. Koltès did not use "blank" verse from Shakespeare. He took bits and fragments from the Shakespeare, creating an "elliptical, abstract language, losing the poetry of the original without sounding natural." This very language is the hallmark of Koltès. It is abstract, elliptical, and doesn't sound natural. That is the whole point of Koltès. He is putting our ability to understand language into question. And, the line "sponges, sponges", which this reviewer finds clunky, is taken word for word from the Shakespeare itself. Koltès wants us to think, reflect, take a look at ourselves, which is obviously not what this reviewer has been able to do. He should read the play in French, in English, and compare it with the Shakespeare in English and the French translation. Then, I might respect his opinion. Creative Loafing should reconsider who they pay to do theater reviews.
My main concern is that Mr. Holman shows no interest in understanding how theater works, and he never really has.
He is all too willing to attend shows and remark on whether or not he *liked* them, but there is more to the work of a good theater critic.
Fundamentally, this man does not understand what theatrical artists (be they playwrights, or actors, or directors) are attempting to do with the tools they have at their disposal. Mr. Holman does not have the capacity to see plays for what they are or even what they intend to be.
His failings as a critic are symptomatic of the laziness of theater attendance/comprehension here in Atlanta. This man worked as a food critic before taking this job, and we accept his awkward, confused musings as legitimate understanding of an entire art form.
As many theater professionals have noted around town, he does not attend the theater to understand it or even to challenge it effectively. He misses what matters then responds that he didn't "get it." Honestly, why can't this magazine/periodical hire someone besides a worn out food critic to write about the exciting medium of theater?
This play is amazing. Unfortunately the reviewer seems more intent on seeming witty than actually conveying any information.
Did he actually reference Jason F-ing Schwartzman??! The performance was tense and terse. Its a grinding post-industrial Shakespeare, and a true rarity and opportunity in a town like Atlanta, where this guy passes as a theater reviewer.
Great show that everyone should go see.
Creative Loafing: get a new theater reviewer and save this guy for The Nutcracker, he has no ability, no analytic or communicative skills, and seems to lack even the attention span to comprehend a performance.
Amazing show, lazy review.
Thanks for the wonderful compliment on the "absolutely gorgeous, museum-ready tabletop settings." Though mis-credited in your review, I'm truly honored that you feel that way about my work.
Let's stop calling this "colorblind casting." Just because Caucasians and African Americans are in a play together, doesn't mean it's colorblind. Though it's not "traditional" (though with "Our Town" being one of the most produced plays in America, what really is traditional for this piece?), the casting is very color specific. One family is black and one family is white. One Stage Manager is white and one is black. Colorblind casting means something entirely different.
Aurora Theatre again delivers a top-notch production. Actors, immediately convincing. Plot, engaging. I thoroughly enjoyed the experience. Thank You, Aurora, for continuing to provide a wide range of theatrical possibilities.
- Brad of Duluth
Singers, especially those of the caliber to pull off a musical without an orchestra, ARE musicians.
it sucked. worst nutcracker ever DANCING PIG , AND SHEEP ??? trying to be funny. yuk. Opening costumes were terrible. Thank you Roswell for a much better performance!!!
I saw The Secretaries tonight and loved it! Not a perfect show but very funny
I actually saw Laurie herself become Cordelia by the end of the play. The scene with her father, so near the end of his life, and her love and devotion to him seemed to imply that she had become the picture of the doting daughter. And that image turned out to be rather beautiful, after all.
Thank you Horizon for this thought provoking piece!
Blood Knot did not feel at all dated to me. Fugard's dramatic techniques remain powerful in the hands of Tom Key and Kenny Leon and his theme transcends apartheid. The slow build - that starts with Morrie's grimly silent, motionless presence on stage as we take our seats - ensures that the audience internalizes the play's racial agony. One nit: an effective voice coach would have cured the distractingly variable attempts at a S. African accent!
I have a little bit of a different opinion than what was previously posted. The responsibility of any Shakespeare Festival worth its salt is to produce the entire Shakespeare Canon - repeatedly. Titus is not a stretch when one considers the Middle East and the type of violence we see there on a daily basis. I saw the production and feel it is excellent and well worth watching! Thank you Mr Garner for producing so many fantastic productions of Shakespeare over the years - may you get the chance to go through the entire catalog multiple times. It takes guts to be an artistic director in this day and age and an audience must have the guts to experience all types of plays - not just the plays that ask so little of most contemporary audiences. Bravo GS!
The last question of the reviewer, "Have you got the guts to take the Titus challenge," can be answered by me in the negative. I left at the first opportunity, intermission. Slasher and shock plots I can see for free on TV--or better, turn the channel. Why would Georgia Shakespeare with hundreds of quality plays available to present pick this loser of a play? It had no redeeming qualities, even if written by the great WS, and there are scholars who doubt that Shakespeare even wrote the play. What a waste of acting talent, a beautiful set, and Klimchak's haunting music and sound effects. Come on, Mr. Garner, your Atlanta public that supports this theatre deserves better.
I thought the play was such a cliché. Furthermore, the casting choice of Katherine LeRoy was highly irresponsible.
Ever since Europeans captured and enslaved African American women, whites have perpetuated the stereotype of hypersexualized and sexually deviant African American women.
This play & casting choice was no exception. The character of Jessica was hypersexualized, highly emotional, and sexually exhausting. In the play, she persuades her white husband to duck out in the hall for a "quickie," and tries to seduce the main character.
The fact that her white husband defends Jessica and justifies her sexuality as "part of her character" further essentialized the image of African American women as inherently irrepressibly sexual.
Another unfortunate and exploitative choice that Horizon made was putting LeRoy in such a short dress that exposed her bottom when, in a drunken stupor, she falls to the ground.
Katherine LeRoy is a great actor. Give her better roles to play that don't reinforce centuries of racist sexual exploitation of Black women.
On the other hand, the roles for the white women reinforced ideas of white women as docile, passive, waiting for men to make a decision before following them. Both of the roles for white women were without personality and emotional range. One of the women kills herself when her husband dies; another waits to follow her boyfriend only once he instructs her to.
If Horizon stands for being so inclusive, then I hope it does not make such damaging choices in script and casting in the future.
Hi, message is for neal hazard. contact sherri walker extraordianary actress. Nigel, josh and jess are all here in los angeles. 323-830-4193
I posted this last week on the first thing that came up when I googled The Extremists and 7 Stages: Atlanta Unique Arts Examiner.
We went to see the Extremist last night (Thurs), because Hamilton invites "talk back" after the shows on Thursdays (and I think Sun matinees -- check 7stages' site)
Check the link below if curious about why "Its a Moebius loop" were the first, and simultaneous, words I heard as the applause died down. I was sitting between two architects.
As for me I was still reeling, and hope by writing something about it here to spot as dancers must to enjoy the spinning of pirouetting without falling down in a dizzying heap. Hamilton is a serious artist, Atlanta's backbone in many respects and beacon drawing other serious artistrs, like Asmus, who directs, and Hebeger who co-stars (and whose stay in Atlanta has given us PushPush).
The play is all about spin. Layers of spin. Spin that turns layers of political words into layers of personal consciousness ... and unconsciousness.
It's a difficult play. Not a tragic play. Or is it? One laughs out loud, frequently. One hears others not laughing. Like not clapping between movements at the symphony? The mood has changed. The meaning has changed. It was funny. It wasn't funny. It's about something else entirely. No. Yes. That's what he said before. That's not what he meant before.
I suspect I said it is a difficult play because after an hour I began to see how difficult it must be to perform. Like Mendelssohn's Piano Trio, one should go when one has a chance because it is very rare for there to be three abie to play the parts together. In this case the piano would be the director. I realized how difficult it was at about the point that the men Del and Tim as the actors Norm and Dick ask each other and us if we'd have ever thought pursuing our dream was whoring, or words to that effect, I believe.
And that, the word, "believe," serves me as the "spot" I can believe Hamilton and Habeger and Asmus had spotted in Hopkins script, and gone to all the difficulties to spin the Extremists in Berlin and Atlanta this spring.
Is it different from The Daily Show? from Colbert? from Bill Moyers? Tavis Smiley? Letterman? Leno?
Jack Paar? Yes, very. Believe me. Be lie, Be live.
Creative Loafing Atlanta
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