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Companies Reviewed#
Stage Door Players1
Average Rating Given : 4.00000
Reviews in Last 6 months :

Bus Stop, by William Inge
Good show!
Saturday, February 17, 2007
I have to say I think that, while a fantastic piece of work, with plenty of material that can provoke thought, this is one of my least favorite Inge plays, because nothing really happens. Which isn't unusual for him. But I thought the production was fantastic. I went to see it because I've seen other Cole-Uterhardt productions and have loved them.

The cast is good. To me, the standouts were Luke Dreiling, Karen Whitaker, and Bethany Lind. Dreiling commands your attention when he's on stage, and I find that I don't mind watching him. I found myself missing him during that long stretch in the middle. He just seems to be excited to be doing his craft, and I honestly can't wait to see more of him. Comments about his pacing at the beginning? It's a slow beginning, but everyone's enthusiastic, so I didn't see this as a problem. Ms. Whitaker, great as always, is just fantastic in this role. She cracks me up, and the subleties of some of her choices are fantastic. And Lind is just spot on. I can't say enough. Just wonderful.

Leeana Lambert and Justin Sims were just fine, I couldn't find fault with their performances, but they didn't really draw me in the way Dreiling and Whitaker do, and they didn't charm me the way Lind did.

The weakest links to me were Doug Curlin, Rial Ellsworth, and Dewayne Morgan, the strongest being Ellsworth. There was no subtlety to his performance. I never felt creeped out by his attention, and there was no progression of intoxication. Difficult to play, I know, but it can be done. Ellsworth seems to have no control over his voice, because every line is delivered at high volume, which could account for his lack of range.

Doug Curlin, and I have seen him many times, is merely passable. He never takes chances with his acting. The part of Carl has very overtly sexual dialogue, and I never felt it coming from him. One could argue that since the lines are so sexual, they shouldn't be played that way, but I just don't see Curlin as a nuanced actor capable of doing that on purpose.

DeWayne Morgan's Virgil is simply a wisp. I understand that entire papers have been written about Virgil and what he's doing in the play, but it seems that DeWayne is purposely letting himself blend into the wallpaper. I've seen him in other shows, and he's always fine, but he just doesn't seem like he's even trying.

That all said, the show is good, and engaging, and I think that Barbara Cole-Uterhardt did a great job. I think that she should be proud.

by Adapted by Nina Faso, Stephen Schwartz, Gordon Greenberg; Songs by Lin-Manuel Miranda, Schwartz, Craig Carnelia, James Taylor, Micki Grant, etc.
Out of Box Theatre
Almost, Maine
by John Cariani
Centerstage North Theatre
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Friel Deal Two Plays After Anton Chekhov
by Brian Friel
Hands of Color
by Kimberly Monks
Synchronicity Performance Group
by Charly Evon Simpson
Actor's Express
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
by Topher Payne
Onstage Atlanta, Inc.
Murder Impossible: Fortnight Edition
by Marc Farley
Agathas: A Taste of Mystery
by Lionel Bart
Atlanta Lyric Theatre
by John Logan
Yard Dogs Ensemble
Tapas IV, The Great Divide
by Benedict, Bray, Bruna, Freeman, Martin, Shima, Steadman, Whitehorn, Wang,
Academy Theatre
The Cake
by Bekah Brunstetter
Horizon Theatre Company
by Adapted by Nina Faso, Stephen Schwartz, Gordon Greenberg; Songs by Lin-Manuel Miranda, Schwartz, Craig Carnelia, James Taylor, Micki Grant, etc.
Out of Box Theatre

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