A User-Driven Site for Theater in Atlanta, Georgia
theaterbug [ALL REVIEWERS]
Companies Reviewed#
Rogue Planet1
Theatre in the Square1
Theatre Gael1
Theatre Emory1
Actor's Express1
Average Rating Given : 4.40000
Reviews in Last 6 months :

Measure for Measure, by William Shakespeare
If Sex Sells, Buy This.
Sunday, March 25, 2001
If someone asks you who the hottest young artists in Atlanta are, you could laboriously research back issues of the AJC and Creative Loafing, interview the venerable Artistic Directors around town, and poll avid Atlanta theatergoers. Or, if you wanted to save time, you could hand over the cast list of Rogue Planet's "Measure 4 Measure".

Aside from being a veritable Who's Who of up and coming actors, M4M is a tight, energetic, humorous, and most of all, S-E-X-Y version of Shakespeare's tale by director Montica Pes. Pes, whose past productions have been flawless without exception, weaves scenes with dance to create a detailed sense of atmosphere and story. It's Shakespeare the way Shakespeare would have done it, had he been a Solid Gold dancer.

The cast is extraordinarily strong across the board. The antagonists are menacing, the heroines are mesmerizing, and the comic relief are fun-ny. I could detail out the actors who really brought life to the show, but, again, it's much easier just to hand over the cast list.

A word or two about the performance space, Art Farm: This is a low-rent, no-frills, converted warehouse which has garnered poor reviews in the past (my own two cents included) for failing to provide a comfortable (or even tolerable) viewing experience. Unless you've called ahead to check on the A/C system, DON'T go see a production there in August. However, Montica Pes has a history of beating a performance space into submission and making it work. Several years ago, she completely rearranged the Dad's Garage Theater from a rough proscenium to a stylish theater-in-the-round for a production of "Homage That Follows". The Rogue Planeteers have done the same for Art Farm. Though small, the theater is now clean, comfy and pleasant. Not a bad seat in the house.

My final message: Maybe a couple dozen folks came to see "Homage That Follows" at Dad's, which was one of the best productions of the last five years. Make sure you're one of the few dozen to come see M4M, so you can say you knew Rogue Planet when...

Back to Methuselah (Part I & II), by George Bernard Shaw
Historical on many levels
Friday, November 10, 2000
To my eternal sorrow, I only saw Part I of this play. Had Part II not been sold out, I would certainly have seen that as well. The script is fantastic... funny and fascinating. I can't believe it's not done more often in spite of its' length.

Act one was the weakest of the three I saw, though performed by actors with potential. Very enjoyable.

Acts two and three were simply phenomenal. There was not a weak performance in the bunch, from the parlor maid (Lauren Gunderson) to veteran Chris Kayser.

Never has four hours gone by so quickly. If I DO live to be 300, I doubt I shall ever see this play done as well again.

Master Class, by Terrence McNally
Can't stand opera, loved this play
Thursday, November 2, 2000
I don't like opera.

Don't get me wrong, I can appreciate on an intellectual level the talent it takes to do that stuff, and now that I've seen "Master Class", I appreciate it even more.

Kathleen McManus is pretty damn amazing. She nailed every nuance of humor and emotion in this well-written script. There are probably very few people that I can listen to for an hour and a half, and then wish she'd talk for an hour and a half more. Spotless. Kudos to Jessica Phelps West's direction as well.

The students (Aimee Ariel, Bryan Mercer, Kristin Yoke-Markiton, and John Young) all provided fun straight men for Maria Callas' caustic and witty scoldings. Their voices (to my extremely untrained ear) were fantastic, though their acting was fair.

David Pollack, as Stagehand, was the luckiest of actors: not many lines, but all of them funny.

All told, a funny and interesting show, even for us uncultured dolts.

I probably still wouldn't go see an opera, though.

Our Country's Good, by Timberlake Wertenbaker
A rich, poignant, humorous, well-told story with accents and wigs.
Saturday, September 30, 2000
This Atlanta-star-studded cast struck true with a sharp, engaging performance. Rachel May knows how to pick 'em and make 'em dance.

The script is strong and there isn't a weak limb in the ensemble tree. The sound design is meticulous, from the light ocean sounds in the pre-show to the fun gaelic mood music.

Of course, as with all endevours, nothing is perfect, and I just have to say: do something about those ridiculous wigs. Damon Boggess' performance would be all-engaging were it not for whatever it was that died on his head.

Let the wigs deter you not, however. Go see this show.

And if you do, please don't rattle your tic-tacs for twenty minutes, I don't care if you ARE in the back row. We can still hear you.

The Illusion, by Pierre Corneille (adapted by Tony Kushner)
A neat-o keen bit of theater
Monday, September 25, 2000
A very strong cast and excellent direction make this a must see. The weakest point was the script itself; while the language was delicious, I was left with a bit of "so what?" feeling at the end.

A minor distraction at worst.

I'm looking forward to more productions by the artistic director who delivered his curtain speech in casual clothing with Coca-Cola in hand.

Barton Field
by John Ammerman
Relapse Theatre
Last Laugh! Stand-Up Competition
by Justin Spainhour-Roth
Elm Street Cultural Arts Village
Last Laugh! Stand-Up Competition
by Justin Spainhour-Roth
Elm Street Cultural Arts Village
Almost, Maine
by John Cariani
Centerstage North Theatre
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Four Old Broads
by Leslie Kimbell
Onstage Atlanta, Inc.
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Titus Andronicus
by William Shakespeare
Live Arts Theatre

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