Tag Archives: Brian Logsdon

Best of Charlotte, 2017

Best of Charlotte, 2017

By Perry Tannenbaum

                                           Best ActorJeremy DeCarlos

 

Among local performers, there are strong candidacies from Brian Logsdon (Pride and Prejudice and Ragtime), Jonavan Adams (Ma Rainey’s Black Bottom and The Christians), Scott A. Miller (Stupid F@#%ing Bird and The Submission), Jermaine Gamble (A Raisin in the Sun and Jitney) and Tyler Smith (Ragtime and Memphis). All of them sparkled on multiple occasions. But the runaway victory goes to Jeremy DeCarlos, who laps the field – in range and productivity – with four scintillating outings. Draped in a braided Hussar jacket, DeCarlos just finished channeling his inner Jimi Hendrix as the devilish St. Jimmy in American Idiot. That was the last of his Actor’s Theatre gems over the past year, including some cross-dressing preaching in Bootycandy, his insouciant devotion in Stupid F@#%ing Bird, and his amazing transformation – from Jerry Lewis nerd to Incredible Hulk-ish monster – in The Toxic Avenger.

Best Actress – Shar Marlin

The field of contenders is larger among the ladies, but the roles were more thinly distributed, eliminating productivity as a decisive criterion. But which other benchmark should override all others? If it’s flesh-crawling menace, Sarah Woldum gets the edge, bringing Sheridan LeFanu’s Carmilla to life in She Who Watches. Leslie Giles was the funniest as the blind librarian in The Toxic Avenger, Lucia Stetson the most revelatory as Mother in Ragtime, and Allison Snow Rhinehart was better than her Broadway counterpart as Mama in Memphis. And how can I forget the sizzling dominatrix arrogance of Nonye Obichere as Whatsername in American Idiot? I’m turning instead to Shar Marlin for her sheer power and imperial dominance in Ma Rainey’s Black Bottom, a dramatic stunner that also showed Shar’s blues singing chops. Dignity in the face of exploitation and discrimination. Diva!

Best Comedy – Women Playing Hamlet

 

Theatre Charlotte’s You Can’t Take It With You and the Citizens of the Universe farewell, The Hitchhiker’s Guide to the Galaxy, were arguably the zaniest productions of the 2016-17, while the Chekhov knockoff from Actor’s Theatre, Stupid F@#%ing Bird, was surely the most poignant. And what about OnQ Productions’ A Brown Tale from James T. Alfred, maybe the funniest one-man show I’ve ever seen? All were worthy candidates, but I’m going to let Chickspeare split this prize with Donna Scott Productions for their joint production of Women Playing Hamlet. Glynnis O’Donoghue starred as the soap queen saddled with the lead role in the Mona Lisa of tragedies, and the galaxy of comediennes – all in multiple roles – offering her questionable advice included Tania Kelly, Andrea King, Vivian T Howell, and Sheila Snow Proctor.

Best Musical – Ragtime

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Folks who confine their diet of musicals in Charlotte to touring productions at the PAC are missing out bigtime on the locally-produced blockbusters playing out at smaller venues around town. Actor’s Theatre scrambled to produce a marvelous Toxic Avenger at a storefront church because this city doesn’t have the vision to see the arts flourish on Freedom Drive without a needless morass of red tape. Still in exile, they just brought the noise of American Idiot to Queens University for a face-melting month. After reminding us how finely they can produce A Year With Frog and Toad, Children’s Theatre astonished with the world premiere of The Best Christmas Pageant Ever: The Musical. With more than one Broadway-level performance, Theatre showed us their mettle with Memphis, and CPCC re-emphasized that their musical excellence isn’t confined to summer anymore. Maybe it was sheer luck, but CP’s wintertime production of Ragtime was the most timely of the year, underscoring the sad fact that institutional racism, police brutality, and prejudice against immigrants aren’t quaint relics of the Jazz Age. As the martyred Coalhouse Walker, Tyler Smith’s impassioned “We are all Coalhouse!” reverberated through a city in turmoil.

Best Drama – Jitney

Early last season, PaperHouse Theatre proved that The Frock Shop on Central Avenue was the perfect site for a creepshow with a dazzling She Who Watches, and early this season, a legend made a comeback when Steve Umberger and his Playworks Group brought a sterling production of The Christians to Booth Playhouse. In between, as Charlotte was fully wakening to how badly we have neglected and mistreated our underclass, theatergoers may have finally been zonked by the realization that our city is exceptionally rife with African American acting and directing talent. Kim Parati made an auspicious directorial debut at Theatre Charlotte with a freshened-up Raisin in the Sun, but this was a vintage year for August Wilson – in two dramas directed by Corlis Hayes, Ma Rainey’s Black Bottom at CPCC and Brand New Sheriff’s Jitney at Spirit Square. Hayes brought out the best in John W. Price and Jermaine Gamble as the father-son antagonists in Jitney, with Gerard Hazelton adding a mix of comedy and poignancy as the gypsy cab company’s resident lush. Move over OnQ Productions, there really is a brand new black company in town – our second! – producing professional-grade work.

Best Night @ Symphony – Mahler’s “Resurrection”

While a well-played Beethoven symphony, a Rossini overture, a Strauss tone poem, or a Mozart concerto might be the secret sauce to get newcomers to become Charlotte Symphony subscribers, longtime concertgoers like me wish to dismount the warhorses and hear something off the beaten trail. There’s plenty out there that will please both camps: big, unfamiliar orchestral works that will instantly grab you by the lapels even if Symphony hasn’t reprised them within the last decade. Armed with an audacious orchestra and choir, plus two soloists who have sung with Opera Carolina, Davidson College showed the way with a rousing performance of Ralph Vaughan Williams’ A Sea Symphony, set to poetry by Walt Whitman. That’s the sort of daring we hope for from Charlotte Symphony’s British maestro, Christopher Warren-Green. We did get a British Isles-themed evening when pieces by Edward Elgar and Peter Maxwell Davies, spiced up with a bagpiper, were served with Mendelssohn’s “Scottish.” Utilizing the Symphony Chorus and distinguished guest vocalists, Warren-Green turned up the power with a pair of Bruckner chorales last November and Mendelssohn’s Elijah last March. If you wanted to sample the full capabilities of Symphony, their chorus, and the guest vocalists Warren-Green can summon to Belk Theater, you had to hear them introducing the wonders of Mahler’s “Resurrection” Symphony No. 2 to an astounded audience.

Best Night @ the Opera – The Girl of the West

Under maestro James Meena, Opera Carolina does the oldies better than ever, as their uproarious Barber of Seville and their vivacious, ultimately anguished La Traviata amply proved. There was even some audacity in the 2016-17 programming as OpCar partnered with Warehouse Performing Arts Center and the D9 Brewing Company to produce an evening of three short operas – including the world premiere of Scott Joiner’s “Connection Lost (The Tinder Opera)” – at the brewery in Cornelius. Yes, a world premiere on Treynorth Drive! But most exciting was the Charlotte premiere of Puccini’s The Girl of the West, as Meena collaborated with six other international companies, including New York City Opera and Teatro del Giglio in Lucca, Puccini’s hometown. Singing was exemplary, persuading me that this second-tier Puccini opera was actually a first-rate work, and staging was anything but stodgy or conservative: much of the scenery was animated and bold, with authentic relics evoking the Wild West supplied by our own dearly beloved Wells Fargo. An appreciable, if infinitesimal, atonement for all the bank’s Wild West chicanery.

 

The Nerd Who Terrorized New Jersey

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Theater Reviews:  The Toxic Avenger and Pride and Prejudice

By Perry Tannenbaum

I’m not sure how or when such epithets as “Armpit of the East” or “Scrotum of the Nation” rained down on New Jersey, but they were certainly commonplace before the onset of The Sopranos or Chris Christie. It’s also clear that when Lloyd Kaufman and Joe Ritter cooked up their 1984 screenplay for The Toxic Avenger, they weren’t intending to prettify the Garden State’s battered image. About the only love they showed for Jersey was shooting the film there.

A mere 24 years elapsed before Joe DiPietro and Bon Jovi keyboardist David Bryan, following their successful collaboration on Memphis, hooked up on a Toxic musical adaptation. The record-breaking reception of the show in New Brunswick, before its off-Broadway transfer in 2009, only underscored how highly Jerseyites cherish their notoriety.

DiPietro liberally refashions Kaufman’s original plot, but political corruption, organized crime, unconscionable pollution, and unchecked violence are still among its hallmarks. Actor’s Theatre of Charlotte, newly resurrected on Freedom Drive after its recent homelessness, embraces all of these horrors with the merry glee it applied to Evil Dead The Musical seven years ago. Billy Ensley directed that 2009 gorefest on Stonewall Street, but ATC artistic director Chip Decker takes the reins here, reminding us that crass sci-fi musical parodies are at the core of this company’s DNA.

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Journeying from screen to stage, Melvin Ferd the Third has lost his signature janitorial mop, but he’s still a hopeless nerd and still smitten by the blind Sarah, who is now a librarian. The new Melvin is an environmental crusader from the get-go, and his plunge into an oozing drum of green toxic goo is far more malignant, ordered by corrupt Tromaville mayor Babs Belgoody. Where does Melvin find the goods on Mayor Belgoody’s polluting schemes? At the library, of course, cleverly filed away by Sarah where they are least likely to be found: among the important policy speeches of Michele Bachmann.

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Something underhanded seems to have occurred here, since Bachmann didn’t achieve her peak infamy until the 2012 election cycle. Suspicion falls on the prankish Decker, who compounds his violations of DiPietro’s script by introducing the image of Donald Trump later in the evening. Hopefully, that glorified groper will be forgotten by the time the Avenger concludes his rampages on November 12.

Yes, if you didn’t already know, what doesn’t kill Melvin makes him Toxie, the avenging mutant monster. This is exactly where Actor’s Theatre upstages the off-Broadway production once again. In 2009, Ensley simply had the luxury of a better pool of actors to choose from for Evil Dead. This year, Decker enjoys no luxuries whatsoever. ATC and City Hall couldn’t dot all the i’s on permits for the new location at 2219 Freedom Drive in time for opening night last Wednesday, so Decker & Co. were obliged to move next door to Center City Church & The Movement Center at 2225 Freedom.

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On very short notice. So the set designer is listed as Dire Circumstance in the playbill while other members of the design team have vanished altogether. Whether by accident or design, then, Decker doesn’t make the mistake that plagued the off-Broadway show: overproduction. In the New York version, when Melvin emerged from the chemical dumpsite as Toxie, the green carbuncled mask that covered his head was not only horrific, it robbed actor Nick Cordero of all further facial expression.

Jeremy DeCarlos doesn’t have to combat that handicap. As cool, graceful, and intelligent as DeCarlos has always seemed onstage, I expected both the nerdy Melvin and the homicidal Toxie to be difficult stretches for him. Clearly, I had no idea how well DeCarlos could channel the dopey sound and body language of Jerry Lewis as the socially inept earth scientist. When he emerged from the flimsy façade of chemical drums as Toxie, there were some wrappings on his arms to offer a semblance of might, but it was Decker at the soundboard who offered the more telling boost, amping up DeCarlos’ voice and synthesizing his monster roar.

No, the wrappings and the roars don’t close the gap between DeCarlos and fearsomeness – but that’s another reason why his Toxie is so much more hilarious than the more technically polished off-Broadway version, which often forgot it was a spoof. Leslie Giles certainly isn’t forgetting her spoofery as Sarah, helpless ingénue or aggressive vamp as the occasion demands – and her blind stick shtick with the hapless Melvin is a corny gift that keeps on giving. Sarah’s big number, “My Big French Boyfriend,” struck me as the best in the show.

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Lisa Hugo, who was so precisely calibrated in the complex leading role of Stage Kiss earlier this year, the last ATC production at Stonewall Street, gets to loosen up in multiple roles. When she isn’t the melodramatic, megalomaniacal Mayor, she’s usually Melvin’s disapproving Mom. These two nasty women turn out to be old enemies from their school days, so their “Bitch/Slut/Liar/Whore” confrontation deep in Act 2 was a manic reminder of a similar duet in the Jekyll & Hyde musical. Ma Ferd also gets an effective “All Men Are Freaks” duet with Sarah.

Ryan Stamey and Dominique Atwater divvy up nearly all the remaining roles, more than I could keep track of, with Matthew Blake Johnson subbing for Atwater on opening night. Somebody needs to terrorize Sarah, toss Melvin into the toxic goo, get their asses kicked by Toxie, scurry around with missing limbs, and represent the hordes of Tromavillians who idolize the grotesque mutant. Stamey and Johnson performed every one of these worthy missions, and more, with the suave sophistication you would expect.

Yes, the middle school auditorium atmospherics of the Movement Center hall are somewhat against the grain of the gorey Toxic Avenger irreverence, but it served better than expected for what turns out to be a unique guerilla theatre project. If you arrive early for one of the remaining performances, you might get a brief tour of the new ATC space next door. What’s going on now on Freedom Drive bodes well for the company and the resourceful artists who make it go.

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Jon Jory is best known as the artistic director who brought renown to the Humana Festival and the Actor’s Theatre of Louisville – and widely believed to have penned Keely and Du, Flaming Guns of the Purple Sage, and Anton in Show Business under the penname of Jane Martin. When it comes to adapting Jane Austen, whose Pride and Prejudice is currently on view at Pease Auditorium in a CPCC Theatre production, Jory is no dilettante. He has also adapted Sense and Sensibility and Emma.

Even if all the subtleties aren’t always pointed under Heather Wilson-Bowlby’s poised direction, it becomes obvious that Jory’s adaptation preserves the style and thrust of Austen’s liveliest masterwork. Most of the credit goes to Moriah Thomason as Austen’s prejudging heroine, Elizabeth Bennet, though it’s hard to deny she is amply counterbalanced by the hauteur of Brian Logsdon as Fitzwilliam Darcy. Thomason unveiled her elegance in the ATC production of Stick Fly back in February. Here she adds vivacity and wit, so I couldn’t get enough of her.

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We see where Elizabeth gets her wit from in Tony Wright’s slightly jaundiced portrait of her father, and Anne Lambert’s rendition of Mrs. Bennet has more than enough vanity, giddiness, and silliness to distribute among the younger Bennet sibs. My chief disappointment was the hoarseness that afflicted Lexie Simerly as Liz’s elder sister Jane. If only she could have borrowed some extra decibels from Iris DeWitt, whose towering presence made the imperious Lady Catherine De Bourgh a perfect victim of Elizabeth’s punctiliously polite sass.