Regina Deavitt

The Tin Woman at Bridge Players Theatre Company

The Bridge Players Theatre Company is commemorating Valentine’s Day with heart this year. They are doing so through their presentation of Sean Grennan’s The Tin Woman. Alice Weber directed this absorbing reflection on loss and second chances. Your correspondent attended the Saturday, February 8th performance.

Director Weber has a reputation for selecting thought-provoking projects. The Tin Woman is her most captivating to date.

For those unfamiliar with Mr. Grennan’s drama, think David Lindsey-Abaire’s Rabbit Hole, only with much more tension. Joy (played by Gina Petti) recently received a heart transplant. The experience of coming so close to death led her to reflect upon her life. Failed relationships, a mediocre job and lack of fulfilment made it an unpleasant recollection. She became plagued by guilt that someone had to die so that she could live.

Meanwhile, Jack’s (Francis B. Pedersen’s) family endured their own sorrows. His parents Hank (played by Alex Hraur) and Alice Borden (Regina Deavitt) along with his sister Sammy (Bethany Sketchley) struggled to cope with his tragic death from a car accident. As the family’s mourning turned to anger, they received an unexpected letter. Joy, the woman who received Jack’s heart, asked if she could meet them.

The playwright crafted a script that provided a host of challenges for the cast and crew. It began with an unconventional opening: silence and stillness. The show opened to Ms. Petti lying in a hospital bed with Jack standing nearby. Then the scene shifted to Mr. Hraur sitting in a lawn chair at stage left drinking from a thermos. Jack walked over and observed him. Even without the benefit of activity and movement, the performers made the scene a gripping one.

For such an emotional story, the dialog included some humorous quips. Ms. Deavitt and Mr. Hraur delivered the witty banter between husband and wife effectively. Ms. Sketchley made Sammy’s misunderstanding of the word corn witty, also.

The play included nine different scenes and five separate sets. The cast and stage crew managed the quick changes they necessitated without flaw.

The dialog contained the most demanding transitions. Some scenes involving Jack combined the past and present. Throughout most of the show Francis B. Pedersen remained on stage. Mr. Pedersen reacted to the things happening, but didn’t participate. The script included two exceptions. While sitting around the dinner table, the Borden family reminisced about his sense of humor. Mr. Pederson took a place at the table and told a funny story. When Mr. Hraur began talking about an argument the character had with his son, Mr. Pedersen entered the scene and delivered his lines with white hot rage.

Gina Petti brought the psyche of a haunted woman to the stage. She portrayed the character’s myriad emotional states realistically. Ms. Petti became playful when flirting with the man in the café and showed despair as she lay on the couch while drinking wine from the bottle. She cried in the emotional scenes. When reciting the letter Joy sent to Jack’s family, Ms. Petti captured the character’s vulnerability.

Ms. Petti used the scenes opposite her counterparts to demonstrate Joy’s nature. Lisa Croce played the cheery, bubbly Darla; all decked out in her Sarah Palin style glasses. Ms. Petti became reserved and guarded during their time on stage together. The contrast between the two personalities showed why the name “Joy” proved an ironic description of her character.

Ms. Petti played an outstanding scene when her character met Mr. Hraur’s. She managed to show how Joy’s personality shared both Jack’s artistic interests and his father’s bitterness. The priceless look on her face when she asked for “bourbon” will go down in South Jersey theatre lore.

Anyone studying the craft of acting would be well served to watch Francis B. Pedersen during this run. Throughout most of the show, Mr. Pedersen played a ghost; expressing Jack’s feelings non-verbally. His character couldn’t speak or interact with the other performers. Director Walker did make one powerful exception when he placed his hand in Ms. Sketchley’s.

Most of the scenes from Jack’s life began in media res. Mr. Pedersen jumped into the scene and played it naturally. He sounded like he’d already been engaged in the conversation for several minutes.

With the strong performances Ms. Petti and Mr. Pedersen delivered, it’s easy to overlook Regina Devitt’s own powerful performance. Ms. Devitt portrayed a woman struggling with the loss of her son and her husband’s increasing withdraw into alcohol. She served as the force trying to keep the Borden family together. Her portrayal made her character a figure well deserving of empathy.

Alex Hraur showed the father’s descent from grief to anger convincingly. He made the character’s scenes difficult to watch, but yet, he still gave the audience reasons to sympathize with him.

Assistant Director Shelby Tibbetts completed the cast. Ms. Tibbetts played the nurse.

Other members of the Production Staff included: Producer Lindsey Kilchesty, Production Assistants Diana Dohrmann and Pat Marotta, Stage Manager Amy Miele, Technical Producer and Light Designer Bob Beaucheane, Sound Design John Weber and Set Construction Casey Barrett.

Each performance of The Tin Woman includes a talk back. Members of the Gift of Life Donor program will be on-site to address the audience. They will share personal stories regarding organ and tissue donorship.

In the playbill, Director Weber wrote that, “We all have regrets.” Don’t let missing The Tin Woman at Bridge Players Theatre Company be one of them. The show runs through February 22nd.

True West at Burlington County Footlighters 2nd Stage

There’s a saying in sports that, “you don’t see a lot of big plays involving two rookies.” After Burlington County Footlighters’ 2nd Stage production of Sam Shepard’s True West no one can apply that expression to theatre. It featured the debut of both a director (Edwin Howard) and a leading man (Darin DeVivo) when I attended the opening night performance on April 13th.

The show featured a creative script. Screenwriter Austin (played by Kevin Roberts) house sat for his mother (Regina Deavitt Beaucheane) during her sojourn to Alaska. His hermetic brother Lee (Darin DeVivo) ended up visiting. Austin worked on a story that he’d been pitching to a Hollywood producer. Lee discussed his travels. During the course of their conversation, Austin agreed to help Lee write a story he had in his head. Complications ensued when the producer, Saul (played by Chuck Klotz), arrived. He decided that he liked Lee’s story more than Austin’s. He wanted Austin to abandon the one he’d been working on and help his brother with his.  Perhaps as a bit of homage to Eugene O’Neil’s Beyond the Horizon, the brothers came to realize they’d been living each other’s dreams.

Edwin Howard did a superb job with Sam Shepard’s material. He ensured True West hooked the audience’s attention from the moment the lights went up.

Most theatrical shows focus on visual elements. This one placed much more emphasis on sound. It opened with an unconventional scene. Mr. Roberts sat at a kitchen table clacking on an old typewriter. Crickets chirped in the background. Mr. DeVivo walked about the stage. He used a gait that allowed his boots to tap percussively against the floor.

I first thought it brave of both the playwright and the director to begin a show with neither character speaking for several minutes. Then I realized the various sounds compensated for the silence. The performers established the mood through their actions.

Mr. DeVivo and Mr. Roberts displayed extraordinary chemistry working together. During the first act Austin’s dialog contained a lot of questions. This writing approach could have made the story drag. These two performers ensured that it stayed interesting.

Mr. Roberts looked the part of an intellectual. I thought it clever how he kept his collar buttoned through most of the show. His choice of voice sounded like that of an erudite Ivy League educated intellectual. When his character became intoxicated, he adjusted his delivery and played the scene convincingly.

Mr. DeVivo made his stage debut at Lee. He delivered such a strong performance that I have to believe the playbill contained a misprint. One has to respect his selection of such a demanding role to begin his career. He brought the character to life through both his dialog and mannerisms.

The character experienced a range of emotions during the play; the most memorable of which was anger. Mr. DeVivo portrayed the character’s temper so realistically that I flinched whenever he raised his voice. Whenever he became upset I felt uncomfortable watching him. In perhaps a theatre first, he hit a plate loaded with toast so hard that he sent the bread several feet into the air.

As memorable as I found the toast toss, my favorite scene was much more low- keyed. During one discussion, the two men stood across from one another. They each placed their hands on their hips and struck the same pose. While showing the characters’ similarity as brothers, they drew attention to the physical contrasts between them.

Chuck Klotz portrayed, Saul, the Hollywood producer. He selected the perfect voice for the role. He attempted to persuade Austin into working with Lee like a true Tinsletown dealmaker.

Even with the limited stage time afforded her, Regina Deavitt Beaucheane turned in a fine performance as the mother. The laid back approach she took towards the role contrasted well with the tension occurring on stage.

Both Edwin Howard and Jim Frazer played multiple roles behind the scenes. Mr. Howard worked with Mr. Frazer on the set design. Mr. Frazer and Tim Sagges teamed up to handle the lighting and sound.

Earlier in this review I mentioned the importance sound played in True West. Those with sensitive hearing should be aware that the show contained a lot of noise. Aside from Mr. DeVivo’s hollering, it included pots and pans getting tossed onto the floor, aluminum cans either getting thrown into a sink or being hit with a golf club and pounding on a table.

Those with an aversion to getting hit by toast may not want to sit in the front row, either.

To see newcomers perform so well with material this challenging, one wonders what kind of show would suit them for their sophomore efforts. Just a thought: are Mr. Howard and Mr. DeVivo familiar with Buried Child? Until then, True West runs through April 21st at Burlington County Footlighters 2nd Stage.

 

 

 

Coyote on a Fence at Burlington County Footlighters’ 2nd Stage

When I realized Alice Weber would be directing this show, I felt glad I stopped off for that extra cup of coffee before entering the theatre. Two years ago I attended a performance of Dr. Cook’s Garden which she directed at Bridge Players Theatre Company. I still lose sleep at night trying to wrap my mind around that one. To the delight of theatre fans, Ms. Walker brought her unique brand of high minded, thought-provoking drama to Burlington County Footlighters 2nd Stage. She selected the perfect vehicle in the form of Bruce Graham’s Coyote on a Fence.

The Cinnaminson venue continued its own tradition of intense drama, as well. I didn’t believe it possible for 2nd Stage to follow-up their October presentation of ‘night Mother with a show of comparable intensity. They sure found one; and they selected the prefect director to stage it. A haunting evening of theatre resulted. I attended the opening night performance on March 24, 2017.

Coyote on a Fence told an uncomfortable story to watch. Death Row inmate John Brennan (played by Robert Beaucheane) passed his time writing for and editing the prison newspaper The Death Row Advocate. His flattering obituaries of those executed by the State neglected to mention their crimes. This apotheosis of sociopaths gained the attention of New York Times reporter Sam Fried (played by John Weber). Upon receiving the journalist’s letter informing Brennan that he’d like to meet with and write a story about him, a new prisoner entered the next cell.

White supremacist, the loquacious Bobby Reyburn, (played by AJ Krier) occupied it. While feeling no remorse for his crime, he accepted his guilt and didn’t want to appeal or delay his execution. Ironically, he developed into the more gregarious of the two men. This conflicted with Brennan’s view that he, and all those preparing for execution, were merely “accused” and had a duty to appeal their sentences. An existential debate ensued between the educated writer and the slow minded bigot. It concerned making one’s peace with God and accepting responsibility for one’s actions. Their exchanges made for a heady 90 minutes.

The playwright didn’t reveal the nature of both men’s crimes until mid-way through the show. Not knowing what each had done kept me engaged and added a sense of mystique to the drama.

Ms. Weber made outstanding casting choices for the two lead roles. Mr. Beaucheane and AJ Krier played off each other extraordinarily well. These two thespians’ complimentary skills as a dramatic team could only be compared to the aptitude of Footlighters’ comedy legends Al Krier and Dan Brothers. (Both of whom I had the pleasure of encountering in the audience prior to the show.)

It’s difficult selecting the appropriate superlatives to describe AJ Krier’s performance. He infused a sense of boyish innocence into the character. That’s not an easy achievement when continually reciting the Aryan creed. While playing an ostensible psychopath, he still drew laughter from the audience when either delivering comedic lines or imitating a seal. The man has range. He added authenticity to his role by speaking in a Southern accent. In spite of delivering myriad lines that made the audience cringe, he still evoked sympathy through his enactment.

Robert Beaucheane shares Ms. Weber’s artistic tastes. He played the title character in Dr. Cook’s Garden. For this show, he accepted the role of another complex character. He credibly played a pretentious, pseudo-intellectual, death row inmate who wrote and edited a prison newspaper. It’s difficult to animate abstract concepts such as denial, but Mr. Beaucheane established the standard for doing so. He also managed to adjust from the psyche of an austere scholar to that of someone with anger issues. His approach to the character reflected the overall play: he got me thinking. As with the role of Dr. Cook, I struggled to understand the character’s true nature.

Regina Deavitt (another cast member from Dr. Cook’s Garden) and John Weber rounded out the ensemble. Ms. Deavitt (as prison guard Shawna DuChamps) evoked sympathy for those awaiting death sentences through her moving bar-room monologs. She brought such realism to these scenes I felt like I was having a beer with her.

Mr. Weber (as Sam Fried) took on the most difficult role in the play. As a father and writer who shared many of Brennan’s views, he needed to show how the two were similar but different. Through his mannerisms, speech inflections and rational thinking he proficiently balanced curiosity and irritation in his scenes opposite Mr. Beauchane. I even jumped when he threw his wallet. Still, he kept his anger controlled.

I did have a few issues with the script. It seemed far too cliché that the playwright made the unapologetic racist a Southerner. I found that too stereotypical; especially in a play that premiered in 1997.

I also thought the story took long in developing. That’s common with ‘serious’ character driven plots. I’d encourage audience members to hang in there through the first 20 minutes of exposition. The remainder of the play made it worthwhile.

In the playbill, Ms. Weber expressed the trenchant thought:

In vivid scenes, Coyote on a Fence explores the disturbing question: Can one be innocent though proven guilty? This penetrating new drama offers no clear verdict, just utterly compelling theatre.

I always appreciate this director’s intellectually provocative contributions to South Jersey Community Theatre. I leave her shows with a broader perspective on intricate questions. I’m sure other audience members do, too. Now, is there any chance Ms. Weber would consider making a career change and become a political analyst?

Theater Review – Dr. Cook’s Garden at Bridge Players Theater Company

Many think horticultural concepts can’t be combined with those of mass murder. I’ve got news for those people. It’s been done by the Bridge Players Theater Company in Burlington, NJ. In fact, they melded the two extremely well this May in their production of Ira Levin’s disturbing piece Dr. Cook’s Garden.

The play itself premiered in September of 1967. At that time America entered a period of deep introspection. The Civil Rights Movement had begun, people questioned our involvement in Viet Nam, and the ‘Summer of Love’ just occurred. During this era our nation re-examined many concepts that once seemed sacrosanct. In this sense, Dr. Cook’s Garden reflected the questioning nature of the time period.

The Bridge Players Production featured Fran Pederson in the role of Dr. Jim Tennyson. Like many in those days, the draft board summoned him to report for examination. He needed to obtain childhood medical records to excuse him from serving in the military. This led him to visit his home town of Greenfield Center, Vermont. He met with his mentor and local doctor Dr. Leonard Cook, played by Bob Beaucheane, to acquire them.

Citing medical issues from childhood to avoid military service may sound ethically dubious. As the play went on I realized that plot point merely a teaser.  The moral ambiguity kept coming. In the course of the visit Dr. Tennyson spoke with the doctor’s housemaid and his nurse. (Played by Marti Palmieri and Regina Deavitt.) Dr. Tennyson learned that many people he knew before leaving for medical school had died. He became suspicious. Upon speaking with the doctor’s gardener (played by Mike McCollum) and investigating his records, Dr. Tennyson suspected that Dr. Cook may have been killing his patients.  He confronted the man with these allegations.

The real drama then commenced. Pederson delivered accusations with assurance and conviction. Beauchane’s reserved, laconic assertions of innocence had this reviewer convinced he did nothing wrong. At least until he calmly admitted he did.

Then the drama went into overdrive.  Pederson and Beaucheane played off each other exceptionally well. In the course of their argument they debated Dr. Cook’s faith that his “removals” turned Greenfield Center into an ideal community. Dr. Tennyson rebutted that murder couldn’t be justified in the interest of bettering society. The moral arguments kept coming along with an exceptional plot twist. At times I didn’t know if I was watching theater or hearing a disquisition on philosophy. I quickly realized the latter wouldn’t have engrossed me such. Kudos to Pederson and Beaucheane. They presented a scene that could’ve been pedantic and made it engaging.

Beaucheane also served as the lighting director on this project. He used his dual roles to outstanding effect. One scene in Dr. Cook’s examination room really grabbed me. While speaking to someone on the phone he expressed concern that his nemesis had a terminal illness. The dim illumination made Beaucheane appear dark and sinister. Through the performance’s early scenes his warm tone of voice and laid back mannerisms resembled those of a devoted town doctor. Due to lighting and superb acting ability he transformed into the Angel of Death.

I also enjoyed the way the Bridge Players Theater Company established the scene. Before the show and during intermission, they played 1960’s Rock and Roll over the loudspeakers. The peace symbol Mike McCollum wore on his forehead added an authentic reference to the era, as well.

Dr. Cook’s Garden is the greatest masterpiece I’d never heard of. In the playbill Director Alice Weber wrote, “I hope you agree with me that Dr. Cook’s Garden raises some difficult questions, and I hope it makes you think a little bit as you make your way home.” It sure did. The more I contemplate the myriad ethical issues raised in the play I think about it even more. The show runs through May 16th.