Tony Killian

Proof at the Masquerade Theatre

Given: The Masquerade Theater solved a complex problem. The company showed itself equal to the combination of making a Friday evening watching a literary masterpiece of a play about mathematics exciting. In addition, they proved they could function virtually. With infinite interest, your correspondent attended the on-line performance of Proof this May 22nd.

Prove: David Auburn’s Pulitzer Prize winning drama provided prime material for this theatre’s debut show. In sum, the content fulfilled the Masquerade Theatre’s mission by using theatre to unveil our masques and explore our common humanity. This reviewer found it a good sine that the production team selected a show so equal to the expectations of this company’s base audience.

Statements:                                                   Reasons:

Originally intended as a live performance, the COVID-19 pandemic forced the cast and crew to experiment. They decided to perform if and only if they received the appropriate permissions from the publisher and the cast agreed to do it. The former and the playwright himself concurred. The cast members delivered a uniform positive response.

The production team had only three weeks to come up with a formula for a convergence between the live show and a virtual one. The velocity of the time limit made that combination a stretch. For a team of people having no experience with camera work, one would postulate this an impossible event to complete. The odds against a successful performance exceeded the odds for a flawless one. The chance of a perfect production seemed as nil as an imaginary number.

The flawless function of the end result showed the amount of work the cast and crew applied to this product.

The technological aspects of this production became Masquerade Theatre Managing Director Tommy Balne’s domain. After researching multiple on-line platforms, he determined that Crowdcast would become the dependent variable t0 differentiate this performance from others. This outlier production was set to become an historical one in the annals of community theatre.

Director Megan Knowlton Balne selected an excellent set of performers to animate Mr. Auburn’s text. Each of the actors completed excellent transformations into their roles. It made their interpretations of the characters distinct.

Due to the lockdown prohibiting the bonds of integration, the cast members each performed alone in their own homes. They didn’t act as if mutually exclusive, however. During each segment with multiple characters, the scene’s performers all appeared on camera. Their faces would point to the audience as though either speaking to or looking at those watching. This connection added power to their performances.

The drama encompassed multiple dimensions. Catherine (played by Courtney Bundens) became the root of all the conflict in this complex plot. Following the passing of Catherine’s father, the brilliant mathematician Robert (played by Tony Killian), sister Claire (Emily Brennan) pressured Catherine to move away from Chicago to live in New York. One of Robert’s former pupils, Hal (Jake Hufner), pestered her for access to Robert’s notebooks…and perhaps Catherine’s affections.

Catherine also suffered through intense internal conflict. During the years caring for an ailing father, the character’s identity evaporated. Catherine sacrificed hopes, dreams and ambitions for Robert’s wellbeing. The mathematician’s death forced a self-reflection; and a struggle with the fear that Robert’s psychological disorder was genetic.

The playwright gave performers with the courage to play Catherine an atypical hero’s formula with which to work. The amplitude of Courtney Bundens’ performance met this demanding role’s challenges. Courtney showed a nontrivial range of skills to bring this troubled character to life. The actor’s facial expressions conveyed this character’s emotional journey.

Courtney delivered the lines with harsh realism. Courtney’s heated exchanges with Emily became even more unsettling with Courtney and Emily looking into the camera. Courtney’s reading of Robert’s “proof” was absolutely heartbreaking. Courtney’s and Tony’s performances allowed the devastating nature of this scene to transcend the barrier between actor and audience.

In a pre-performance interview, Jake Hufner reflected that May is Mental Health Awareness Month. Through that understanding, he delivered an inspired performance as Hal. Jake satisfied the character’s function as Catherine’s antagonist and, at times, love interest. Jake brilliantly showed Hal’s development from his first meeting with Catherine to their interaction years later. Jake expressed a brilliant translation of Hal’s awkwardness, indecisiveness and later the character’s confidence. Jake also showed the character had heart in Hal’s interactions with Courtney.

Emily Brennan played Catherine’s relation, Claire. The latter is one of the more controversial theatrical roles. It’s difficult to determine whether Claire’s motivation to sell her sister’s home is in Catherine’s best interest or just mean. Emily’s stern facial expressions and curt dialog made it difficult to determine. In doing so, the performer achieved a much more interesting Claire.

Tony Killian portrayed Robert, a man of eccentricity. Tony’s face kept a rational expression to reflect the academic icon being portrayed. While the character’s “machinery” may have deteriorated, the performer’s histrionic level was well above average. Tony’s disordered hair added a nice touch to the pivotal scene between Robert and Catherine.

Crowdcast did have limits of integration.

The platform couldn’t ensure that the actors would come up in the same order on the screen. Because of that, everyone played to the camera. Megan developed a bit of a corollary to Nora Desmond’s (as played by Gloria Swanson) axiom: “We didn’t need dialog. We had faces.” The camera centered on head shots as the performers faced the screen. Tangential to this, they delivered Proof’s text like they talked directly to the audience. Your correspondent enjoyed this unique theatrical innovation.

With everyone performing from their own home, it created an unusual challenge regarding staging. The cast and crew made the lack of a set into a superset. All the actors performed in front of a similar brick backdrop. The format allowed the audience to focus on the players themselves without any external distractions. For an intense character driven story such as Proof, this added power to the viewing experience.

The team addressed the divergent series of events in the script through creative costuming and prop passes. The actors executed the switching of notebooks and bottles between characters believably. Even the incidents when Courtney’s and Jake’s characters kissed came across the screen as lifelike.

The Masquerade Theatre added the opportunity for audience participation to the production. Crowdcast included a chat feature. The virtual spectators wrote comments before the show, during intermission and at the concluding question and answer period.

The team ensured that Proof included something that would please theatre purists. The show still had a 15-minute interval at its midpoint.

After the virtual curtain call, the actors and production team participated in a question and answer session. The most popular question submitted by an audience member was, “Why is Jake Hufner so cute?”

While not answered during the session, the obvious response is that Jake understands the importance of social distancing during the COVID-19 pandemic. He has led by example and practiced his craft in a safe environment which limited the spread of a contagious disease. In that sense, all the performers in Proof are adorable.

The company’s two principals, however, sat together on a couch in the same room. It should be noted that the Balnes celebrated their 11th wedding anniversary this May 16th. It’s a testament to the strength of their relationship that they are willing to face these uncertain times together.

In all seriousness, I wish Tommy Balne and Megan Knowlton Balne a belated very happy anniversary and the best of success in all their future personal and creative endeavors. I’ve watched them perform on numerous occasions and am a great admirer of their work.

Following the performance, actors Jake Hufner and Emily Brennan allowed the audience to see their home sets. Emily showed infinite creativity in designing hers. Perhaps in a tangential reference to the ongoing pandemic, she may have wanted to infer the importance of good hygiene. Emily converted her shower into a stage. Compliments to both her ingenuity and excellent sound quality.

Based on the original presentation of Proof, the Masquerade Theatre should experience exponential growth. The company scheduled a live presentation of Great Expectations this December. This performance will have an audience in the building’s interior. They are also planning to shift Proof to the live stage in May 2021. The same cast is slated to perform.

That will be a solid solution to equal the expectations of those interested in the Masquerade Theatre’s function.

Q.E.D.

 

24 Hour Play Festival at Haddonfield Plays and Players

Winston Churchill once observed: “It takes three to four weeks to write a good extemporaneous speech.” So just how long does it take to write a good play, manage the technical details and rehearse until the show becomes suitable for a live performance? Apparently, just a day according to Haddonfield Plays and Players. I attended their 24 Hour Play Festival on August 24th.

On the evening of August 23rd a group that included playwrights, directors and actors arrived at the Haddonfield Plays and Players’ playhouse. They formed teams and then were tasked with writing, producing and performing a one act play the following night. To ensure that no one brought a work already pre-written, these brave artists were asked to select from among a dozen settings, props and lines of dialog. They had to use the ones they chose in their respective plays. The playwrights crafted the scripts overnight. In the morning, the teams re-assembled and planned their shows.

Any speed writing contest is both intimidating and challenging. Fiction writers participate in Na(tional) No(vel) Wri(ting) Mo(nth). Every November they aspire to complete a 50,000 word novel in just 30 days. Theatrical performers may have raised the bar for speed, quality and grace under pressure with this 24 hour play dare.

In March of this year HPP’s Artistic Director Pat DeFusco orchestrated the company’s A Trip to Oz program. Through his creative wizardry, Mr. DeFusco transformed the playhouse into the Emerald City. Always the innovator, for the 24 Hour Playfest he led theatregoers through “a journey into a wondrous land whose boundaries are those of imagination.” This time he turned the playhouse into the Twilight Zone.

Three of the plays would’ve made Rod Serling proud and Richard Matheson jealous. Sans the Marius Constant introduction, theatregoers delved into the “middle ground between light and shadow.”

The show opened with a piece written and directed by Jennifer Wilson entitled Mutation.  While fans are familiar with “black box theatre”, this play may have added “black hole theatre” to the lexicon. Ms. Wilson and Sera Scherz performed the roles of a mother and daughter on an unusual quest. Using a space station as the setting, a walkie-talkie as a prop and the line: “Nothing you say can ever fix it”, these performers took the audience on an interstellar voyage “into another dimension; not only of sight and sound, but of mind.”

Amber Kusching’s Burden to Bear introduced theatregoers to a more grizzly answer to  “Talky Tina” in the form of Mr. Bear-Bear. Ms. Kushing wrote, directed and performed in this piece. The play utilized a jail as a setting, a teddy bear as a prop and the line: “There are costs that don’t include dollars and cents.” Performers James Cosby and Emma Scherz completed the cast. Ms. Kusching’s dialog transcended time while bridging events from the past and the present. The three actors navigated its intricacies brilliantly.

Danica Gabriele’s Change rounded out the trio of trips into the place “between the pit of man’s fears and the summit of his knowledge.” Ms. Gabriele also directed and performed in this story regarding three people struggling to survive in a post-apocalyptic world. Tony Killian delivered a powerful performance of a man losing his mind. Emily Colon captured both the empathy  and eeriness in her character’s personality. Ms. Gabriele’s enactment of her character reflected the dystopian nature of the story.

In addition to the macabre, teams also presented observational humor shows.

Michael Oto’s A Shitty Situation (directed by Randy Hendler) explored the conundrum resulting when someone (played by Mark Henley) fails to clean up after one’s dog. The incident caused Adele Batchelder’s and Adam Dorn’s characters to engage in a witty banter over the difference between etiquette and being indecent. A dog park served as the set, the team selected a shovel as their prop. The play included the line: “That sounds like some kind of French fruit.”  Mark Henley portrayed the offending dog’s owner.

Casey Tingle’s Save Us Elvis (directed by Adam Dorn) reminded me of Sartre’s No Exit only presented in a lighter point-of-view. The team chose a rooftop deck as their setting, an Elvis painting as the prop and had to use the line: “I want to make sure I look good when the firemen arrive.” Performers Sophia Bollar, Gianna Cosby and Cassidy Scherz showed the ingenuity people locked on the roof of an apartment building will use to get rescued.

Like any good theatrical festival, this production included serious drama.

Sharon George’s Michael in the Middle explored one man’s journey to self-discovery. The setting took place in a coffee shop, both on Earth and in the ether. A football served as the prop and the line: “You think you can come in here and (blank)” appeared in the play. While not the “required” line, Ms. George worked an excellent one into the script: “Failing doesn’t make you pathetic; giving up does.” In addition to the playwright, the cast included Kevin Leckerman and Mark Henley. Perhaps in homage to A Gentleman’s Guide to Love and Murder, Mr. Henley played every major character in Mr. Leckerman’s character’s life; including one female. An exceptional show resulted.

During the 24 Hour Play Festival’s opening announcements, Mr. DeFusco explained with his dry sense of humor that “these plays didn’t exist 24 hours ago. Some of them will never be seen ever again.” Theatrical fans should hope that his Confession isn’t one of them.

Mr. DeFusco’s fans received the full Pat DeFusco experience on August 24th. In addition to producing and designing the sound and projections, Mr. DeFusco wrote, directed and performed the moving monolog: Confession. This play took place in a church, a rose served as the prop and it included the line: “If that’s true, then nothing they did was going to make a difference.” I found the piece both very well written and excellently performed. Mr. DeFusco the actor gave Confession the powerful delivery that Mr. DeFusco the playwright deserved.

The show included an outstanding technical production. It featured stellar background projections. Each one provided an authentic visual of the play’s setting. The lighting enhanced the action on stage; most notably during Change. I wouldn’t have suspected HPP’s team arranged something this professional in just a few hours.

Omi Parrilla-Dunne co-produced the program and served as Stage Manager. Kalman Dunne added his talents as the Sound Engineer. Tom Balne performed a cameo during his lyrical introduction of act two.

Nobel Laureate in Literature Winston Churchill required a month to write a “good” speech. This weekend playwrights in South Jersey showed they need just a few hours to craft wonderful one act plays. Fans didn’t need to visit the Twilight Zone to see them, either. They just had to “follow the sign post up ahead” to Haddonfield Plays and Players. With the 24 Hour Play Festival, they showed their commitment to superb theatre to be as “timeless as infinity.”

Murder by Poe at Haddonfield Plays and Players

This Halloween several performers met their “Poe” tential at Haddonfield Plays and Players. Themes involving black cats, vengeance and murder took the stage as the company presented “a descent into the maelstrom” that was the mind of Edgar Allan Poe. I put on “the spectacles” for October 27th’s performance of Murder by Poe directed by Amber Kusching.

The story began with an “enigma.” A woman (played by Hannah Keeley) encountered a house in the forest. Upon entering she discovered a “valley of unrest.” Everyone present had committed murder. While that presented “a predicament” she then undertook a quest to determine how all their stories linked together. An evening of mystery, terror and even humor followed.

Poe was a literary innovator. A pioneer of the short story form, he invented the modern detective tale in 1841. Forty six years before Sherlock Holmes appeared in The Strand, Poe introduced American audiences to sleuth extraordinaire C. Auguste Dupin.

John Nicodemo took on this iconic role. Speaking with an authentic French accent he brought out the character’s cunning, wit and arrogance. He best animated these traits through his cocky synopsis of Poe’s “The Purloined Letter.”

Playwright Jeffrey Hatcher made the Dupin character much more complex than his creator did. Mr. Nicodemo met these demands. He displayed excellent chemistry working with Ms. Keeley; especially, as his character became the subject of her investigation. The performer brought out the character’s change and subsequent discomfort with it very believably.

After that performance, I have to say, “Mr. Nicodemo: ‘thou art the man.’”

Poe’s wrote during the Romantic Era. That may seem odd when considering the subjects of his poems and stories. While lacking in “romance” itself, his work contained many references to emotions and feelings. Hannah Keeley infused this sense element into her performance.

Ms. Keeley displayed the anxiety of her situation very well. Even when silent, her facial expressions conveyed the character’s inner turmoil. She complimented Mr. Nicodemo wonderfully. As his character changed, Ms. Keeley steadily altered the Woman. Throughout the course of the show her role converted from that of the emotional character into the more analytical of the two.

The show’s conclusion contained a “mesmeric revelation.” I won’t give away details, but it contained a “dream within a dream” sequence. I credit Mr. Nicodemo and Ms. Keeley for becoming new characters in the final scene.

The script provided serious challenges for the actors. Several performers accepted the task of reciting a Poe story in its entirety. This entailed delivering long monologues written in nineteenth century prose. Robert Bush (as Usher), Tony Killian (in “The Black Cat”), Dan Safeer (in “The Tell-Tale Heart”), Salina Miller (Marie Roget) and Alex Leavitt (William Wilson) all proved themselves adept storytellers.

I’d especially credit Mr. Leavitt. He delivered a rendition of “William Wilson” that made Poe’s tale sound like something out of Shakespeare.

Murder by Poe included an intricate visual spectacle, as well. Projections appeared on a wall at stage left. In addition to still images, it also displayed some live action. Shadow figures enacted key scenes from “The Murders in the Rue Morgue”, “The Black Cat” and “The Tell-Tale Heart.” The cast and crew kept everything in synch. One also has to credit them for drawing comedy out of these morbid scenes.

Gary Werner designed a set well suited for this show. The paintings, bookshelf and off white background reminded me of a scene from a Gothic mystery story. I did have one suggestion, though. In homage to Poe, I would’ve liked to see “the oval portrait” of him hanging somewhere.

Performers Deborah Tighe and Tina Currado rounded out the ensemble.

Unfortunately for Poe fans, theatre goers and “the man of the crowd”, for that matter, this special presentation of Murder by Poe ends October 28th.  The show would make for a great Halloween tradition. Let’s hope this isn’t “nevermore.”

 

A Christmas Carol at Haddonfield Plays and Players

HPP A Christmas CarolThe originality of A Christmas Carol always impressed me. I never would’ve imagined someone spending Christmas alone while haunted by the ghosts of the past, present and future without the use of alcohol. I also found the dramatic presentation of this tale performed by Haddonfield Plays and Players to be equally distinctive. The cast delivered a stellar rendition of this sine qua non of the Holiday season. I attended the December 1, 2017 performance directed by Mark Karcher.

Michael Hicks delivered a haunting performance of a haunted man. Mr. Hicks is a superb and gifted actor. Several years ago I had the pleasure of watching his exceptional interpretation of Dr. Sloper in the Haddonfield Plays and Players production of The Heiress. (Talk about a character that reveled in bitterness and alcohol.) I relished the opportunity to watch his rendition of what began as the most miserable character in literature. This time the role required a transition into a joyous humanitarian. Would Mr. Hicks meet the challenge?

This performer went beyond what many would do in order to get into character. To adopt Scrooge’s appearance he grew mutton chops. He delivered the iconic line “bah, humbug” with suave assurance. Mr. Hicks then craftily brought the audience into the character’s metamorphosis from a self-absorbed miser into a kindly philanthropist. As morose as he portrayed Scrooge at the show’s beginning at the end he became a different character. He demonstrated the laughter and joy of a man impassioned with humanity. Dickens’ character changed dramatically, and Mr. Hicks brought that transformation to life on the Haddonfield Players’ stage.

A Christmas Carol featured an exceptional visual spectacle. I actually heard gasps from the audience when the Ghost of Christmas Past (played by Jennie Pines) made her appearance. Ms. Pines wore a white gown similar to a wedding dress. A strand of bright lights wrapped around her. The theatre became dark. As she descended down the aisle, her entrance created the illusion of an apparition floating from the heavens down to the stage. Then the rotating specks of light against the backdrop simulated snowfall. Ms. Pines costume along with the set combined for a beautiful image of a winter wonderland.

I received an early Christmas Present with Alex Levitt playing the Ghost of Christmas Present. I enjoyed watching this veteran of the Haddonfield Players return to the stage. He applied more range to the role than I would’ve expected. The character began as a jolly and merry soul. Before his exit, he delivered a minatory warning to Scrooge. Mr. Levitt selected a raspy voice in which to do so. The long beard combined with the red robe made him look like Santa Clause. The contrast between his appearance and his delivery made for an interesting scene.

George Clark’s sound design enhanced the atmospherics. The echo effect on Ms. Pines’ voice made her character even more ethereal. When used on Tony Killian’s (as the ghost of Jacob Marley) it made him much more horrifying.

While not the musical version of A Christmas Carol, the dramatic performance still showcased some fantastic singing. Nicky Intrieri (as Tiny Tim) delivered an outstanding unaccompanied solo number. The falsetto choir’s rendition of Holiday staples such as “Hark, the Herald Angels Sing” and “Silent Night” emanated a superb Yuletide spirit.

I’ve written before that I don’t care for narration in live drama. John Mortimer adapted this rendition of A Christmas Carol for the stage. Instead of one story teller he decided that just about every performer should narrate some section of the tale. While I find this type of exposition annoying, in this show I also found much of it unnecessary. The most egregious offenders included:

“Scrooge sees Marley’s face on the door knocker.” A character delivered this line as I watched Scrooge both look at and comment upon Marley’s face on the door knocker.

“Scrooge hears bells.” A narrator said this line while my ears rang (no pun intended) with the sound of myriad bells going off in the theatre.

“Marley walked down the stairs dragging his chains.” This one requires no further explanation.

To all the budding dramatists out there: show or tell. Make a choice. Don’t do both.

I’d like to credit Edwin Howard for putting his power tools to proficient work on the set design. The London backdrop featuring Big Ben, London Bridge and the full moon made great scenery.

It’s also proper to recognize the other performers who rounded out a stellar cast. Their combined efforts delivered a very entertaining evening: Dan Safeer, Jonathan Greenstein, Jay Burton, Tony Killian, Jennifer Flynn, Maddox Mofit-Tighe, Gracie Sokiloff, Brynne Gaffney, Gianna Cosby, Tess Smith, Ryan McDermott, Jake Hufner, John Williams, Isabella Mulliner, John Bravo, Ricky Conway, Anne Buckwheat, Olivia Williams, Jenn Adams, E’Nubian Beckett, Jessi Gollin, Solaida Santiago, and Nadia Faulk.

It’s hard to imagine the Holiday Season without experiencing A Christmas Carol in some form. For those interested in witnessing it performed live, the Haddonfield Players are presenting a great version. That’s no “humbug.” The show runs through December 16th. After that, the Ghost of Christmas Past may just haunt you for not taking advantage of the opportunity.