Wednesday, April 14, 2010

REVIEW: Othello

John Hutton as Iago and Robert Jason Jackson as Othello in the Denver Center Theatre Company production of Othello by William Shakespeare, directed by Kent Thompson. Photo by Terry Shapiro 


Deep in our hearts, most of us actually cheer, rather than boo the villain. There's something attractive about someone who flaunts the moral order and wreaks wanton destruction, heedless of the consequences.

It's not that we want to do the dastardly things villains do. It's their ATTITUDE we admire. Even if they are caught and punished, good villains can laugh all the way to oblivion because they no longer care what happens. They have gone beyond conscience and shame.

Deep down we ALL long to be released from the burden of our guilt. Next to being forgiven, which requires humility, repentance, submission to Authority, correction and instruction, getting away with our sins seems like the next best option.


And anyway, "bad boys" are cool.

Among Shakespeare's unrepentant, perfidious villains, my favorites are Richard III, Lady Macbeth and Iago. John Hutton's extraordinary portrayal of Iago in the Denver Center Theatre Company's production of Othello is the ultimate guilty pleasure.


What a performance! Hutton prowls around the stage, plotting, manipulating, pretending friendship here, casting doubts there, exploiting every opportunity, and back-stabbing (literally) when the situation warrants it. It's the ultimate dance macabre, as this officer, thrice passed over for promotion, wreaks havoc on his commanding officer, a rival soldier, and several hapless, innocent pawns. His villainy knows no bounds, and the versatility with which Hutton's Iago conceives and executes his diabolical plan is nothing short of genius, except for two fatal mistakes: trusting his own wife, and failing to finish off a "weak link" co-conspirator right away.

Rarely does a super-villain of this magnitude have a worthy opponent, and while Robert Jason Jackson's proud Othello is no pushover, he never sees it coming, and has no means of defense as Iago fans the flames of jealousy by hinting that Othello's wife Desdemona is unfaithful. Only in his destruction and tragic realization of what he's done can Othello reveal his heroic character, but it's too late to save the day.

Desdemona, dressed in white like a sacrificial lamb, is beautifully played by Meghan Wolf. Though capable of deceiving her sputtering, tyrannical father (Philip Pleasants), she is loyal unto death to her husband. David Ivers is a hoot as the weak-minded, chicken-hearted would-be wooer of Desdemona, and Harry Carnahan adds unexpected pathos to the role of the golden boy Cassio, a worthy but disgraced officer with a drinking problem and a temper to match.

The only character with enough intelligence and free will, but alas lacking the power and wherewithal to take Iago head on is his wife Emilia, played with exceptional passion, intelligence and complexity by Kathleen McCall. It never occurred to me until this production, with McCall's performance under Kent Thompson's masterful direction, how pivotal a character Emilia really is.

And Thompson's direction, with this theatre-in-the-round production, is superb. He recognizes that this actually isn't a play about an interracial marriage, as it's often been depicted, though more than one character seems to be motivated by racial prejudice. No, it's really about Iago having nothing left to lose, bringing down everyone and everything he can and having fun in the process.

Allison Pistorius has a memorable scene and a half as Cassio's courtesan Bianca, locally revered actors John Arp and Geoffrey Kent have appropriately moved up to the big time by joining the DCTC, and Peasants and Randy Moore are welcome veterans of the company. Finally, I want to mention Caitlin Wise because she didn't thumb her nose at the thankless and entirely superfluous role of "Wench."

But really, this play belongs to John Hutton, and he runs with it. So now YOU need to run TO it. Othello isn't performed all that often, and a production of this caliber, in a small theatre space is rare indeed.

Where else can you cheer the villain AND his wife?

The Denver Center Theatre Company's production of Othello plays through May 1 in The Space Theatre. Call 303-893-4100 or visit www.denvercenter.org for information and to purchase tickets.

Wednesday, April 7, 2010

REVIEW: Grace & Glorie


FRIENDLY VISITOR: Kendra Crain plays an urbane hospice volunteer who visits an ornery and adorable mountain woman, played by Billie McBride in Tom Ziegler's two-actor tour de force drama Grace and Glorie, at Miners Alley Playhouse. Photo credit: Sarah Roshan/Trulife Photography

Aristotle's Poetics notwithstanding, not all drama needs to be plot-driven. Sometimes it's enough to toss two profoundly different characters into a tense situation, and let them work things out.

This is the case with Tom Ziegler's two-actor comedy/drama Grace and Glorie, which is playing in the very best theatre imaginable for such an intimate show: Miners Alley Playhouse in Golden. The plot is simple, but the characters are complex and entirely sympathetic. It's both entertaining and deeply rewarding to watch them butt heads and hearts in their quest for reconciliation, meaning and acceptance.

Grace is a simple, stubborn and feisty woman who has raised and buried five sons in the mountains of West Virginia. She's set in her ways, and lives in a small cabin while her homestead and adjoining apple orchard (shades of Chekhov) are being demolished to make room for an upscale resort. Grace also happens to be dying, sent home from the hospital to enjoy her last few days or weeks in peace.

Glorie is an anxious, ambitious career woman who moved from the hustle and bustle of New York to support her attorney husband's desire to get out of the fast lane. She's the trained but not very experienced hospice volunteer assigned to look after Grace, but is hamstrung emotionally by the unresolved grief she is experiencing after losing her son in a car accident.

Neither one gets any peace and quiet, as they both have urgent needs and deep, sometimes VERY deep issues to work out.

Director Robert Kramer is developing a well-deserved reputation as THE director you can count on to go for the emotional jugular. The actors clearly trust him to take them to sometimes costly, but always authentic and affecting places, and he respects the text. This play is not about "performing." There is an incarnational aspect to it, where the word becomes flesh. And the audience can tell the difference.

Billie McBride, who is one of the best known and revered actresses in town, whether working at the Denver Center, Arvada Center or here, in a cozy upstairs small town theatre that seats fewer than 100 people, is a dynamo, an emotional powerhouse, handling comedy and tragedy with seemingly equal ease. But what most impressed me with her portrayal of Grace, was the willingness to depict weakness unto death, which makes most people uncomfortable, while still retaining a spark of indomitable spirit. Mortality and eternity combined in one tiny bundle.

Kendra Crain gives as good as she gets as Gloria, the uptight, task-driven over-achiever whose attraction to the ministry of death and dying is anything but healthy. But being efficient, organized and practical isn't much help when dealing with someone like Grace, who is non-compliant with her pain meds, refuses to judge her neglectful caregiver/grandson, or take on the evil developers who are ravaging the land to which she has become a part. The frustration Gloria/Crain feels is palpable, stripping through her veneer of competence and revealing a dark, excruciating pain that causes her to blindly lash out at the person she's supposed to be helping.

Who's caring for whom? That's the point of Grace and Glorie. We all need each other. We are all dying in some way or another, and we are all seeking meaning, significance, relationship and hope. These two women were brought together for a purpose. If you go see this play, and I hope you do, you'll realize that YOU are there for a reason, too.

Two extraordinary women, talking, living, laughing and crying in a cabin. Not much of a plot. But what an amazing, life-affirming theatrical experience.



Grace and Glorie plays at Miners Alley Playhouse, 1224 Washington Ave. in Golden, Friday and Saturday nights at 7:30 p.m., Sundays at 6 p.m. (except April 25 at 2 p.m. only) through April 25. Tickets are $20. Call 303-935-3044 or visit www.minersalley.com.

PROMO: Murder Mystery Dinner Theatre at Colorado ACTS

Colorado ACTS presents...
WHO DUNNIT?Go to fullsize 
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1940's murder mystery dinner theatre
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Set in 1946 at the ACTS Niteclub, a number of wealthy patrons have come to celebrate with socialite Camilla De Fosse.  Jealousy and suspicious behavior disrupts the other patrons enjoyment of Chef Santiago's fabulous cooking and the song stylings of the evening's featured performers.  When a murder is discovered, it is up to the guests to help the hostess question the audience and other patrons and uncover the murderer!
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Performs:
Friday April 16th, Saturday April 17th, & Saturday April 24th
at the ACTS Theater, 4905 W. 60th Ave. 80003
preshow music 6:00
dinner is served at 6:30
Tickets are $10.00
Show features ACTS Alumni and Students in
an Evening of Improv, Murder, Mayhem and  Audience Interaction
Audience is encouraged to come in appropriate 1940's style clothing.
call for reservations 303 456-6772
seating is limited

Tuesday, April 6, 2010

Pioneer Drama Service to publish 'Faery Free For All'



I have recently signed contracts with Pioneer Drama Service to publish my second newest children's theatre comedy (finished last January): Faery Free For All.

In this one hour slapstick fantasy, Scotland's magical faery folk, both friendly and fearsome, gather in a moonlit Midland meadow to learn from each other how to be "naughty and nice". A variety of pixes, brownies and sprites tussle with a banshee, wraith, bogles and trows, while two teenage human captives plan their escape.

The combined forces of the Summer and Winter Courts, led by Titania and Tam Lin, are no  match for mortals, though, when the faeries mess with a determined farm with and a bossy baker.

This rough and tumble, rollicking comedy incorporates two traditional Scottish faery tales: "The Changeling" and "The Bossy Baker Woman.' The comedy is punctuated with references to Scottish food, folklore, geography and culture. It is suitable for both student or inter-generational casting, and has a single, simple set, and a flexible cast of approximately 22.

I'm very grateful to Pioneer Drama Service for choosing to publish this show, which is my 22nd title managed by this wonderful, family-run company.You can see a complete list of my published plays at

http://home.comcast.net/~prdorn/site/

(sorry, can't make a link to it. You have to copy and paste the info into your browser.)

Also, check out Pioneer Drama Service's online catalog www.pioneerdrama.com. They are a full-service theatrical publishing company, offering plays, musicals, melodramas, children's shows, participation theatre and even theatrical texts and aids for all ages and cast sizes.