Edison Exec

Arts Presenters, New York - January 2009

2009-02-03T11:33:00.002-06:00

What a joy to see two veterans of the Edison stage teaming up in a new production. The East Village Opera Company and David Parsons Dance joined forces and the Joyce Theatre rocked wit the energy of these two dynamic companies.
The way in which the singers move with and within the dancing artists is very reminiscent of and honoring the traditions of deaf theatre - fusing physical and spoken languages - in this rock opera contemporary ballet. But don't think tutus.
In this lively tale, two brothers vie for the love of the enchanting Maria. Though tragic, all is not forlorn, for true love, when real, lasts forever.
While the volume could be tempered on occasions, the evening celebrated the artistry of both companies and resulted in a collaboration even greater than the sum of its parts.

Cedar Lake - contemporary ballet: I've enjoyed watching this company develop. Committed to exploring new works and expanding the expression of contemporary ballet, Cedar Lake certainly takes risks. It really pays off in works such as the final piece in the evening, "Frame of View" choreographed by Didy Veldman, with music by artists as varied as Kronos Quartet, Nina Simone and Dean Martin. Both playful and energetic, the work shifted moods often but maintained focus throughout. The opening piece, "memory/measure," was less successful for me. Billed as a "very abstract dance play, scored for voice and electronics," the piece never seemed to coalesce. My bias against the very abstract is clearly evident here. Throughout the entire evening, one thing is certainly clear: these are extraordinary dancers given new and exciting challenges.

Garth Fagan - In this 20 minute showcase I was able to see the company for the first time in over a decade. Garth continues to work with strong dancers. Since only sections of pieces were seen, it may have contributed to my overall impression; however, the pieces seemed more chordal than melodic, occasional beautiful moments disconnected from one another.

Aszure Barton - This company won me over, without question. Whimsical, sensual and dynamic, even in a 20 minute showcase, it's clear that this is a playful and masterful storyteller. She builds off a primal scream and a core sexuality. With tongue in cheek and a glimmer in the eye, this company plays its audience beautifully.

DCDC - This is a company I need to see more. This showcase, featuring "Children of the Passage" certainly shows the passion and commitment of the performers. That final selection brought out the best from all of the dancers - a signature piece of the company, it is clear that every performer enjoys that that - and the energy shines through. The other pieces lacked the same spirit and possibly suffered in the showcase format.

Conny Janssen - I was disappointed by this showcase. Clearly these are beautiful dancers. Their piece currently touring which has received great acclaim, (Re)Bound, is too complex for a showcase format, so a separate piece was selected to showcase the company. The replacement piece never grabbed me. A collection of shorter snipets of varied works might have been more effective, but the company was limited by only sending three dancers for the conference. Airfare from Europe certainly is a good excuse though and I look forward to seeing this company in a better situation.

November 14, 2008 - PHILADANCO

2008-11-20T14:18:00.002-06:00

Philadanco (the Philadelphia Dance Company)
A quick trip to Boston provided the opportunity to reacquaint myself with this powerhouse company. Focusing on the voice and the artistry of African-American and black choreographers, Philadanco presented a diverse evening of works by Rennie Harris, Christopher Huggins and Gene Hill Sagan. While the Sagan piece was beautifully danced, it didn't have the impact of the work of the other choreographers. Huggins's work was especially notable. It's amazing his work isn't performed by a wider range of dance companies. His choice of musical material adds greatly to breadth and expression of his artistic voice. "From Dawn to Dusk" featured the music of Bobby McFerrin while "Enemy Behind the Gates" exploded with Steve Reich's music.
"The Philadelphia Experiment" by Rennie Harris added a whole different flavor and expanded the company's overall repertoire. Not all of the dancers demonstrated a full mastery of this distinctly different dance style, but the overall impact was extraordinary.

2008-10-23T23:50:00.008-05:00

September 2008 Showcases

Wow, what a ride. I might not touch on all I saw, but here are some highlights - some just good and others excellent.

Alasdair Fraser & Natalie Haas - Scottish violinist and cellist
This was the first of many and a great way to start. A light and refreshing sound, it was playful and very danceable, even stuck in our seats, it lifted the spirit. Having studied with Alasdair since the age of 11, Natalie's youth, performance and background add to the overall aesthetic.

Kevin Spirtas - cabaret singer/actor
Kevin is all charm matched with tremendous vocal chops. It's a real talent to be able to flirt with an entire audience at one time. He's a great performer and proud to say he's a St. Louis native.

Shidara - taiko drummers and musicians
The full resonance of this ensemble aligns every vertebra, chakra and internal organ. The strength, power and beauty of this event are amazing and deserve experiencing.

Project - trio: flute, cello and bass
This is my first experience with a beat box flutist. Surprisingly, this distinct sound is a fun addition. His could learn to stand up straight and minimize the gyrations though. The visual gets a bit comical - what happens when you introduce orchestra geeks to Jolt cola. First and foremost, the sound is fantastic.

Too many of these artists are dressing way too casually for a showcase situation. It may be just a 20 minute showcase, but we need to see what they'll look like on our home stages, and the jeans and t-shirts just aren't cutting it. The Lovell Sisters and Project were the worst culprits.

Corbian, Inc. - "Darwin"
Wow!!! What a show. 20 minutes and this act stole the show, a total crowd pleaser. It's like Bill Nye the Science Guy meets the Black Light Theatre of Prague. Ninja-fighting dinosaurs and soaring fish illuminate a touching story.

Circus Incognitus - Jamie Adkins
A beautiful celebration of circus and clowning arts, this shows Adkins as a true master of manipulation. This one took the evening.

Lady Bird, Pat & Betty - "Tea for Three"
This is a remarkable portrayal of three intriguing women. Elaine Bromka transforms quickly from one to the next, calling forth a wide range of historical references and memories.

Robert Post - Post Comedy Theatre
This one was a real surprise. While a real slow starter, his instant costume and character changes gave this mystery a hilarious twist.

Nai Ni Chen Dance
The primary male dancer was most notable, but I was overall more impressed than I've been with this company.
KC Ballet
Two male dancers opened this program. Though nicely danced, the emotionally ambiguous presentation left me wanting. The next piece from "Carmen" had a much clearer emotional intent supporting the strength of the dancers.
ODC
A strong presentation and strong dancers - again though, the fully flat affect can be difficult to pull off and not all the dancers were as successful in achieving the intended impact.

Second Summer San Fran Trip - August 2008

2008-09-22T16:55:00.002-05:00

This posting is long overdue. I needed to return to San Fran in the summer to see a few different productions. The first was Sara Juli's "The Money Conversation" at the Napa Valley Opera House - where former Edison director, Evy Warshawski, currently holds court. The show didn't resonate with me as much as I had hoped it would. After all, an artist giving away nearly $5,000 in cash every night certainly raises ones's hopes. Sara's a fine performer and I look forward to seeing more of her work. This didn't grab me as much as it could.
Then I got the chance to see Roger Rees in his new one-man show "What You Will." I worked briefly with Roger when I was an intern at the Bristol Old Vic, so I was thrilled to see him live onstage again and even had a chance to pop by backstage after to say hi. The show was marvelous! Few actors can move from chatroom banter to soliloquy with such seamless skill. It's no wonder there are Broadway plans for this show.
Lastly, I rounded off the weekend with a tremendous evening with Kronos Quartet. Sharing the stage with Afghani rubab player Homayoun Sakhi, Kronos performed a piece with and written by Sakhi. This was part of Yerba Buena's Music Without Borders series. It was a total delight. We don't see enough of Kronos in St. Louis or the Midwest.

San Francisco Wonderboy - 6/14/08

2008-06-18T10:42:00.003-05:00

No, I'm not self-aggrandizing, I'm referring to the premiere of Joe Goode Performance Group's latest work, "Wonderboy." My San Francisco-based sister and I had the pleasure of attending a performance at the Yerba Buena Center - a GORGEOUS facility. "Wonderboy" was the largest part of an evening which included excerpts from "Maverick Strain" originally produced in 1996. Admittedly, I was less impressed by "Maverick," the evening's opener. It never managed to captivate me in the way Joe's work generally does, but it was a relatively short piece. Then "Wonderboy" started and within three minutes my sister sitting next to me was already moved to tears. All of the components worked together beautifully. The dancers and the choreography alone were engaging on their own. Add an evocative musical soundscape by Tin Hat Trio's, Carla Kihlstedt and her handsome new husband and collaborator Mattias Bossi and then there's the puppet. Basil Twist and Goode have adapted Japanese Bunraku-style puppetry in a way that have the dancers actively manipulating Wonderboy and engaging directly with the puppet. This is the puppetry technique primarily used in the Dan Hurlin "Hiroshima Maiden" seen a couple years ago at the Edison.
Like most of his work, Joe Goode pulls no punches. He pulls from his own life experience, explores acceptance, diversity, gay bashing. At times the adult language pushes the limits, clearly with the intention of evoking a visceral response from the audience - reminding me of verbal gay bashing segment of the CoisCeim performance presented earlier this year at the Edison. I'm excited to share this performance with St. Louis and look forward to seeing it again in February.
Just so you don't think it's all work for me when I'm traveling. I am able to sneak in some fun here and there. The picture below is a gathering in San Francisco's Union Square on Saturday observing World Wide Knit in Public Day - no kidding. That's me in the lower left corner and my sister, Kat, is the tall, attractive woman directly over my shoulder. She was demonstrating how to "turn a heel," necessary for knitting socks. I only started knitting in October and still learning some upper level techniques. This was a fun group of ladies and a gorgeous day.

February 27, 2008: Leahy - Copious Skills

2008-02-28T10:57:00.002-06:00

Rosebud Theater, Effingham, Illinois
I don't know if there are any vacancies, but if you can't be born into it, this is the kind of family you would want to marry into. 7 of the 11 siblings of the Canadian musical ensemble Leahy performed at the recently opened Rosebud Theatre. Believe me folks, it's worth the trip to the intersection of Highways 70 and 57. This new space has all the bells and whistles and if the entertainment is as good as it was last night, you will enjoy yourself immensely.
Kudos to the parents who raise such an array of multi-talented children - and each one more attractive than the next. Their performance was energetic if occasionally a little more layed back than expected - but that was more an issue in the first half. Performing music with a wide range of cultural influences, the ensemble was always entertaining but never more so than when they soared with one of the Celtic-influenced fiddle based tunes, especially when all three of the fiddling brothers joined in. Don't take anything away from the sisters though. Shifting through a series of instruments each, they also kicked up their heels in impressive style with the French-Canadian step dance. For the finale, "Call to Dance," the entire family joined in across the front of the stage in a unison step performance - including brother Frank who expertly anchored most of the evening behind the drums. Not to take anything away from any other family member, but my focus kept returning to Erin. It's not surprising to hear she is also ambidextrous, she shifts easily during the show between the keyboards/piano and other instruments, as well as vocal lead in a variety of songs and dancing. I look forward to finding time to bring this marvelous family to the Edison.

December 7, 2007 - Memphis, Tennessee

2007-12-20T11:21:00.000-06:00

A quick overnight trip was in order to see one of the finest vocal ensembles ever presented at the Edison Theatre. First presented in St. Louis at the Edison Theatre back in 1993, they returned in 1997 as a co-presentation by Edison, COCA and the Symphony at Powell Hall. It seemed that after a 10 year absence, it's time to look at bringing them back. The concert totally made up for the 5 1/2 hour drive mostly in a rainstorm. Mind you, the thirty minute delay in getting the show started at the Cannon Center (for no expressed reason) and the 30+ minute intermission made it a VERY late evening to enjoy their marvelous sounds. Sweet Honey was after the intermission, second on the bill following a Three Tenor immitation called Cook, Dixon & Young. I had to be committed to stay that late and that long. The three guys had clearly well trained voices, but their schtick was layed out REALLY thick. The theatre didn't hand out programs and the guys sang songs from a broad range of styles (some definitely more successfully than others). Unfortunately, they chose to start the program with three arias sung in other languages. Without context or even titles to reference, I think the choice left everyone clueless and smiling pleasantly but uninformed. Their counter-tenor is the real star of that trio.

Then came the ladies. WOO HOO!! As vibrant and stunning as ever, their gorgeous sound builds off the contralto of Ysaye Barnwell. What a powerhouse. Her rich resonance will rumble the rafters as effectively as KODO Drummers did. Joining the five vocal members of the ensemble is Shirley Childress Johnson - the sign language interpreter who is fully incorporated into every aspect of the production - right down to her own solo scat rift. I so look forward to finding the time and place for these lovely ladies back on the Edison stage. It is time-well overdue.

Midwest Arts Conference - September 6, 2007

2007-10-01T23:59:00.000-05:00

Artist Showcases
Les Parfaits Inconnus - The Perfects Unknown. From Quebec, this imaginative and fun gymnastic quartet share a sampling of their antics - cycling and balancing acts mostly. Apparently the bulk of their equipment was on its way to NY or DC for a performance over the weekend. Good potential, but without the greater variety, in this case there ended up being no there there.

Dance Alloy Theatre
Signature works of a long list of top notch choreographers are performed by this veteran company. Young dancers with good skills perform a quality showcase if not especially exciting or new.

River North Chicago Dance
One of the clearest things in this showcase is that the company has a host of new YOUNG male dancers. This is one of my favorite dance companies with an Artistic Director I respect and call a friend. This was not one of their best presentations. The first piece was clearly under-rehearsed with the new dancers. The "Cuban piece" redeemed the evening and showed the company at its best.

Eisenhower Dance Ensemble
Not extraordinary, but a good basic collection of dance and dancers. Many developing company mistakes - hair is part of the costume and extreme personal styles permitted in otherwise simple pieces are just plain distracting.

Chic Gamine
Five-part female a cappella from our neighbors to the north - and I don't mean Iowa. With years in a cappella, I'm really biased. This group's sound ROCKS. They need to work out the visuals - the young look is fine and attractive on these gorgeous young women, but for a concert setting, dress it up a bit.

Theatre of Fools - "Wacky Chicken Show"
I have a thing for the New Vaudevillians (and puppetry, by the way). Most effective during the audience participation, this quirky ensemble seems best suited for a YOUNG audience. Since the Edison rarely goes that young, it's not an obvious fit, but I look forward to seeing what else this company does.

"Sticks & Stones" - Pint Size Productions
Totally message driven, this rapping piece for young audiences confronts bullying and the "anti-ratting" message imposed by peers. There's no subtlety here and a bit overdone - but a talented young solo artist.

Catskills Puppet Theater - "Hiawatha"
Okay, my earlier puppetry comment does not encompass the full range of offerings. This is another example of work intended for very young audiences -too young for the standard ovations! for young people offering.

Ball in the House
An a cappella quintet, these are powerhouse performers with tremendous vocal chops - special notice of their exceptional vocal percussionist. Without amplification the bass is completely lost in the mix. The white-boy-overbite is a little too omnipresent and is usually accompanied by the closed-eyed introspection. Look up guys and connect with your audience, even in a background vocal position. Other than that, great sound and worth further notice.

Harmonious Wail
A long-time favorite of mine, this group never fails to please. With an apparent love for gypsy swing, HW grooves with a bass player, guitarists and vocalists. Most engaging is the imaginative inclusion of non-traditional percussive instruments such as scissors and cardboard boxes. Sooner or later this is a must see on the Edison stage in some form or another.

Final Day in Edinburgh - Sunday, August 26, 2007

2007-10-01T23:32:00.000-05:00

Twelfth Night - Filter Theatre
What a great way to end the Fringe experience. Bold and occasionally over explosive, this reduction of Shakespeare's story weaves music and sound throughout. This rapid fire reduction was inventive, entertaining and imaginative. This company is worth watching. It has a young, fresh approach and talented performers.

Edinburgh Fringe, August 25, 2007

2007-10-01T22:40:00.000-05:00

Orpheus - Aurora Nova
One of these days I'll learn my lesson. I've seen "Orpheus" the Greek mythological tale as theatre, mime, opera and dance. Not once have I actually enjoyed the experience. Oddly enough, I like the basic story. I'm just not finding quality executions. I even went in hopeful since it was an Aurora Nova production. Strike Four! Oh well, maybe I'll learn my lesson one day. Of course, I'm also the eternal optimist. It helps when working in the non-profit industry.

Subway - Traverse Theatre
This is a really strong Fringe performance. A very talented pair of actors are only outdone by a really rockin' musical ensemble. The young male lead plays the principal character. The young female plays all the other roles. The musicians fill in where they're needed. While the music occasionally overwhelms the performers, the quality of the performance shines through. The future-based story, set in Scotland, complete with heavily-accented dialogue would be difficult to translate to an American audience, in more than one sense of the word.

Damascus - Traverse Theatre
The notable young writer, David Greig, offers up this new work which has received mixed reviews. While the play needed editing by at least 20-30 minutes, i was really impressed by this work. A mid-level Scottish executive travels to Syria and learns how little he really knows about the Middle East and its people. This is a refreshing alternative look at a culture and society mostly attacked during this time of turmoil.

Edinburgh Fringe Festival, Friday, August 24

2007-09-12T23:02:00.000-05:00

"Presumption" - Performed by Third Angel (Productions), this exceedingly enjoyable production is rich with humor, thoughtful and very memorable. I must say it is one of my favorite events of the entire week. The play starts with a man and a woman on a bare stage, bare except for the spike marks heavily outlining segments of the stage for who knows what. As the actors begin to interact with each other and their environment, the notice the missing elements. One by one, this realization leads them offstage again and again to retrieve the necessary item - a chair, a couch, a shelf, a bookcase, the entire contents of the bookcase - each time restarting or at least summarizing what led up to the interrupted moment. The set begins to denote the moments of their shared lives that make up the essence of the love they seem to question and for which they are searching. Skillful actors executed a remarkable evening keeping me alternately riveted and rolling with laughter. Pulling this off would require a sponsorship from IKEA. If the company isn't actually touring this, then someone in St. Louis needs to get the rights to produce it. LOVED IT!!!

"Ape" - Performed at Theatre Workshop, this event seemed more like an acting residency or workshop with each of three actors mimicking each other while also one-upping each other simultaneously. The three performers were relentless in their commitment and remarkably adept at balancing the focus and the flow. As dynamic and variable as each performance must be, one from another, I have the feeling I might have caught a less dynamic evening. Many of my colleagues were more impressed with the ultimate effect.

"The Table" - the Assembly Aurora Nova series has done it again!! I always find the best stuff here. Good going Wolfgang. Four musicians gather around the four sides of a basic, antique-looking, square wooden table that has been outfitted with electronic gadgets, switches, sound panels and sound reinforcement. Each then begins to beat, scratch, scrape and PLAY the table. It's amazing the variations of sounds and effects possible from this one collective instrument. I truly enjoyed the program and the performances by the individual musicians. A bit more variety in styles would have made it perfect. The Nuclear Percussion Ensemble would flip over this.

"The Container" Crammed into a 40' long trailer, seated on orange crates and in total darkness, twenty other audience members remained hushed with me as flashlights flickered and a half dozen actors began emerging from crates and crevices. One of the most intimate theatre experiences I've ever had, this is also one of the most provocative productions I've experienced. The actors portray refugees being smuggled into England illegally. A tad bit overdone, this is still an excellent production and an eye opening experience.

"Siren" - Another Aurora Nova, this one a creation by Ray Lee, Siren is part installation, part environmental experience, part site specific performance art. Ray Lee is a master and this piece is inspiring. 21 tripods support 21 pairs of sirens, each pair tuned to different intervals in the aeolian scale. With the space in near darkness, red lights mounted atop each siren add an ethereal element as the siren pairs spin on the tripod supports. Walking around the space provides a distinct experience with each new location. Kudos on an amazing experience and unforgettable evening.

Thursday, August 23, 2007

2007-08-24T13:35:00.000-05:00

Blind Summit Theatre “Low Life”
“The Low Life Bar is a place for people and puppets – it’s not the place you go; it’s the place you end up.”
Four skilled artists share the stories of the bar’s patrons through the skillful use and manipulation of a variety of puppets. Using various styles (bunraku to tonka toys) they convey a wealth of emotion and humor. Favorite sketch was the murder mystery classic movie told with little blue men (cross between Playskool and Precious Moments characters). This company is very promising - for further consideration.

Gecko “The Arab & the Jew”
I really like the concept of this show – a non-political look at the turmoil in the Middle East . It’s more about the people than it is the issues. The execution of the concept, which uses a bit of puppetry, comedy, high flying and even boxing, is a bit more uneven. Like many of the Fringe events, the hour-long length could have been trimmed by at least five minutes and a meatier, edited 90 minute treatment might have provided a more significant statement, especially for a Midwest audience.

Hoipolloi Theatre “Floating”
This fantastical tale of the island that floated away is a multi-media presentation with the barest level of technology. Overhead projector, slide projectors and a humble collection of very homey props help tell this tale from the perspective of the innocent young native that tried to break away. Tearing down the fourth wall, this is an interactive presentation in the best pre-Power Point traditions. Though an engaging hour with two skilled performers, the island would have to float to the States to make it cost-effective enough to warrant a Midwest US presentation.

New International Encounter “End of Everything Ever”
This charming and moving story tells the story or Agata Rosenbaum, a young Berliner sent to England during the Kindertransport and the tale of the children lost, given away or hidden in attempts to save them from the Holocaust. Music and occasional humor ease the audience through the telling of a difficult story. Trimming and occasionally a little less over-acting would serve this otherwise strong production. On the heels of “Hana’s Suitcase,” this may be a perfect offering for the Edison or overkill – still deciding.

Wednesday, August 22, 2007

2007-08-24T13:32:00.000-05:00

Au Cul du Loop “Score” – While intrigued by “Mousson” at the 2002 Fringe, this production has totally captured my attention. This cacophony of sound with fully orchestrated movement is a pleasure for the eye, the ear and the funny bone. I definitely look forward to fully explore this option. The production may not be as refined as some, but the elements are very worthwhile.

Song of the Goat “Lacrimosa”
While beautifully executed, this production lost me early on and gave me little to try and find my way. Admittedly, it’s a company from Poland and the bulk of the religious fervor and fear are communicated in frantic paced Polish. The occasional English phrases thrown in for the primarily English audience only add to the confusion as they are mostly the poetic moments. The performers were able to convey the heart of the story very effectively, but any nuance was lost on me.

Stan’s Café (pronounced “caff”) “The Cleansing of Constance Brown”
This one still has me thinking – which is always a good sign. This is a site-specific work that would not work in a traditional space and requires a limited audience size due to sightlines. It’s a visual phenomenon with ultimately very little audible dialogue. The first set change in the opening moments promises a different kind of experience, and this show delivers. I look forward to following this company closely.

Rude Mechs “Get Your War On”
This Austin-based company needs to consider its delivery as well as its content. The f*#k count (which they conducted on their own) during one scene mid-show only accented the core issue with this production. It has one thing to say and only one word with which to express the thought. Profanity as a tool in expression is one thing. Here it just points up a lack of creativity. The actors looked tired and distracted, and soon so was the audience.

Traverse Theatre Company “Night Time”
The most interesting thing about this production was the couch that pivoted on a central point slowly during the production which represented the passing of time, a full cycle from night to morning.

Tuesday, August 21, 2007

2007-08-24T13:31:00.001-05:00

An Audience with Adrienne – This is a truly, genuine performer leading a thoughtful, introspective conversation. Set in an intimate (no more than 20) living room setting, to a degree, the success of the piece relies on the audience becoming part of it all. Half of the 12 in my audience didn’t speak English well and I question how well they understood it. This would be a great workshop opportunity or festival work.

Ransom Productions “This Piece of Earth” – This is an agonizing piece of theatre, grim from the very beginning and yet starkly beautiful. The intense physicality required of the actors, literally starving to death on stage, would necessitate daily chiropractic and massage work. Extraordinary performances by each actor (two) – this is definitely a company to follow

National Theatre of Scotland “Venus as a Boy” – What a gripping piece of theatre this is! The only criticism I’ve heard has been of the adaptor casting himself in the role of the solo performer who has to pull off the young, gorgeous male prostitute. The actor/adaptor seems to be late 40’s. I think he pulled it off wonderfully though. It may also be a testament to the strength of the overall work. The musician providing the accompaniment actually wrote the book on which the show was based. He reminds me greatly of Daniel Bernard Roumain in aesthetic and attitude.

“Butch” – Just Skip It.

Monday, August 20, 2007

2007-08-24T13:29:00.000-05:00

Not a great day physically. Feeling hard core jetlag for the first time, energy levels leave me with only a couple shows and a variety of meetings with colleagues.

Corn Exchange Newbury “Longwave”
The only dialogue or language of this piece actually comes through the radio. Otherwise, the two actors while on stage convey everything through silent interaction. Really like the intention of this work, but the execution could use some redefinition.

Sunday, August 19, 2007

2007-08-24T13:28:00.000-05:00

Company Adam Read – “Eclipse”
Now, I’ve seen a fair share of crap in my days (How’s that for an ominous beginning?).
Part of the job is sifting through the various “options.” Coming to Edinburgh Fringe is exciting and frustrating because of the wide range of quality you might experience. I expect great things of the week. It’s only unfortunate that it’s such a weak start. Like a promise, a noose hangs in the foreground throughout this piece. Alas, it was simply another of many props used in what seemed to be a disconnected, unmotivated and uninspiring collection of moments in movement. I’ll give this “dancer” one thing: he’s in great shape. Alas, even the near naked costuming couldn’t save this one. Off to the next one – tomorrow is another day.

7/18/07 - And here we go...

2007-08-18T19:38:00.000-05:00

This ends the first day of my 8 full days in England and Scotland. By invitation of the British Council, I am on my way to the Edinburgh Showcase hosted by the Council as part of the Edinburgh International and Fringe Festivals. Arriving very late last night, today was intended to give me a much needed day to get over jetlag and get some business done in London. I'm not so much of a workaholic that I don't know how to enjoy a day in London. And after a very productive afternoon (the morning was lost to jetlag) I started off enjoying a night in the West End - London's equivalent to Broadway. I get to New York at least a couple/few times per year but seeing Edison-style shows leaves me very few opportunities to see anything actually on Broadway. It seems my varied trips to England have given more "popular" theatre experiences than all my trips to New York. So tonight, at long last, I have finally seen "Avenue Q."
Now for anyone who knows me (and apologies to anyone who has ever set anywhere near me in the theatre) you know I have a rather large and distinctive laugh, or set of sounds that are generally attributed to laughter. Fortunately I had the foresight to apologize to the patrons on either side of me in advance. From the glances I immediately received from everyone else surrounding me at the very onset of intermission, it was clear that I should have cast that net much larger earlier in the evening. To say the least, I enjoyed the show immensely. I knew all of the music going in from cast recordings. Seeing the full show added so much more to my full appreciation of the writers of this show.
With the certainty that the next week will provide me with many less enjoyable theatre experiences, I'm glad I took this chance to just laugh myself silly. The Edinburgh experience is always worthwhile, but not all that glistens is gold and many of the offerings in Edinburgh are either not to my taste or simply god-awful.
Off to a good night's sleep prior to my train ride to Edinburgh and more exciting theatre offerings.x

OVATIONS! 2008-09 - A beginning

2007-08-01T21:41:00.000-05:00

I begin the process of selecting artists for the 2008-09 Edison Theatre OVATIONS! series. Well, actually, that started 20 years ago (officially 20 years ago next week) when I started in this industry. Everything's cumulative here. Everything I've seen has led me to understand and appreciate (or not) everything else I see. Ultimately, my serious consideration of artists for next season began with artists that didn't make the cut for this current season or projects that artists have in development and shared with me along the way.

I invite you to join me throughout this season as I travel around the country and around the world to preview work for consideration for the Edison and St. Louis. I must say, I do have the best job around. I will do my best to be as candid as possible as I review the work I see. You may end getting third, fourth and fifth impressions to go with my immediate reactions once I have a chance to let something simmer. Keep in mind though, just because I love something doesn't necessarily mean it will end up on the Edison stage. Timing, money, balance - lots of factors come into consideration when finalizing the season, but hopefully this will give you the chance to get a glimpse into the journey and have you better understand both the process and the product that ends up on stage.

Keep in mind, I love to hear recommendations and differing opinions. Be willing to argue your opinion if different than mine. I expect to learn a lot in this process as well.

Charlie