SHOWING : January 13, 2006 - February 18, 2006
[REVIEW THIS PRODUCTION]
After a six day honeymoon, a lawyer and his romantic young bride run into troubles in their New York apartment. A very funny romantic comedy by the King of comedy.
[REVIEW THIS PRODUCTION]
Monday, February 20, 2006 ||
Let me begin with saying that I am not giving a rating for this production as the Lead actress, Brandy Meinhardt, was not performing the final weekend for which I was a patron. Now on to the review.|
Jason Meinhardt (Corey Bratter) I found Mr. Meinhardts portrayal to be missing something during this show. I have to give him credit, though, due to the fact that his leading lady got the ole switcharoo for the final weekend and his professionalism allowed him to still deliever a amicable performance. This particular show is not my favorite but I believe the actor "knew he was in a comedy" just a little to well. Some of the jokes and actions were a little characturish. This is a fine line with a Simon comedy but one that must be carefully tiptoed on. I also found the smooches between him and Corie to be lacking in passion. This, once again, can be attributed to the replacement actress. I am sure had it still been his wife he was kissing there would have been plenty.
Elizabeth Fricke (Corie Bratter) I personally didn't not like this actress' choices, however, I will do nothing but give her praise as she came in with just two of three days of rehearsal and did the show. That shows professionalism and kindness, for that I thank you.
Rail Elsworth (Victor Velasco) I throughly enjoyed this actors performance. He knew where the aforementioned line was an stayed right on it. The only thing that I noticed was his accent. When it was on it was perfect but there were times that he dropped it just a tad. That left me wondering if it was a choice or simply trying to be understood clearly.
Linda Niles (Ethel Banks) I love her. I had never seen her on stage before but will surely not miss her again. Her physicality was perfect. She was endearing and very funny. She did go over the characture line a bit from time to time but such is life in Simon world I suppose. The only thing I can think of as far as a sujestion would be to amp up the volume. I was on the back row and it was hard to understand her, but only sometimes.
Greg Fitzgerald (Harry Pepper) Funny. He did a lot with a small part and his discomfort in his final appearance was very very clear. The one thing I didn't like about him was I believe he over played the breathing from coming up the stairs. Ethel was an older woman and (Linda I love you, please don't hate me for saying this) was heavier. She didn't breath nearly as hard as he (A man in his 30's who was thin) did. That didn't make sence to me.
There were also several technical issues I had with the show.
1. Why was there no ice in the Martini shaker?
2. Why did the call box have no button for Corie to push
3. Why was there no speaker on the call box
3. Why where the packages that were droped in the begging odviously empty?
4. The bedroom and bathroom both had the same back drop, neither of which was fitting for the setting.
5. There was no light in the bed or bath.
These issues are possibly nit-picky however I did find them distracting. Specifically the empty box issue. That was a joke missed entirely. If there had been some cheap plates from target in them that could have been dropped every night for a breaking sound that would have been really really funny. There were a lot of great ideas but I felt the show didn't really come together. It was as if the show couldn't decide if it was a comedy or a farce.
I did enjoy this show and while I, once again, praise Ms. Fricke I would have liked to have seen it with the original cast.
Tyler Schaker [POST A COMMENT REGARDING THIS REVIEW]
still good, even if it is a walk in the park (with shoes ON) for Kudzu|
|by Okely Dokely
Tuesday, January 31, 2006 ||
Last night when I was laying in bed trying to sleep, I was thinking about Kudzu's Blood Brothers production in 2003. That was one of the best productions running in Atlanta at the time, and from a theatre where (unfortunately) that phrase and Kudzu Playhouse don't often seem to go in the same sentence. But man oh man, BB was bursting at the seams with freshness and originality. Art was being created, and they were pushing the envelope. Yes, Kudzu did a show with smoking and swearing, and I'm not talking just hell and damn. The F bomb was dropped, too. |
Not much of that has happened at this Roswell Mall theatre since. Their shows are always at least competent, and usually pretty good, although they seem content to stay in their protective bubble doing well-known cash cows starring performers all residing in their comfort zone, and Barefoot in the Park is no exception. Of course, I quite enjoyed this production and the cast, as familiar as it all may be. But it can't help but feel like you are seeing a classical pianist playing Chopsticks. It's obviously well-done, but you wonder why it was done in the first place when you know what they're capable of.
I was first introduced to Neil Simon by way of BitP, when Village Center Playhouse, the now defunct theatre across the street from Kudzu, presented their delightful production in 1992. That was quite the all-star cast: Jared Shaver and Amelia Bahr as Paul and Corrie, Mike McRay as the delivery man, Patty Seibert as Ethel, and the infamous R.P. Foster as the telephone man. I am pleased to report that for the most part, lightning has struck twice with the current Kudzu staging.
Whenever I see a production of this show, I always look forward to seeing how they deal with the ledge. The way they did it was truly inspired, although like the previous reviewer said, I do wish they had had some snow effect in there. Greg Fitzgerald did fine in the role of the telephone man, although I've had a theory since 1992 that I would never see a better telephone man, and I'm afraid that theory still stands. He was still very good, though - that's a great role. That scene where he's trying to repair the phone with the marital tension in the room - and gets so nervous that he answers questions for the couple because he can't stand the silence - is one of the classic Neil Simon moments. Rial Ellsworth as Victor Velasco did not have the usual Velasco accent, which gives the character the necessary suave, Count Dracula-like seductive charm. Mr. Ellsworth (or perhaps director Snapper Morgan) opted for no accent at all, which made the character more like the man in the bumbling, chatty, annoying couple from "The Story of Us" that Bruce Willis and Michelle Pfeiffer just couldn't get away from. But once I decided to open my mind and give his unique characterization a chance, he gradually grew on me. I had a similar theory (to the RP one) about Ms. Seibert when I saw her brilliant portrayal of Ethel in 1992, which caused me to be the only person in the house to stand up for her bow in the curtain call. With no disrespect intended, Linda Niles' scene-stealing turn as Ethel in "Barefoot 2006" made me think "Patty who?" She was hilarious, and delighted me every time she appeared on the stage, and was the unlikely candidate to snag my Favorite Performance of the Night award. (Sorry, Patty. I still love ya.)
[The following sentence is to be said in the James Lipton voice.] I come now, with extreme trepidation, to Brandy and Jason Meinhardt as the two leads. In a way, I do wonder if the production would have been even more interesting had they held auditions for this thing and cast two newcomers in the typical Meinhardt roles. The fact of the matter, though, is we have Brandy and Jason again. They are great actors, have usually delivered, and they deliver now. Looking back, a couple of the many roles Jason played at Kudzu in 2003 kinda blend together, but definitely not his admirable take on Paul Bratter. Just when I thought he couldn't possibly have anything new up his sleeve, he brings things to the table that I've never seen from him. His unique facial expressions and mannerisms scream "stuffed shirt." This may be my second or third favorite Jason Meinhardt performance. (He has yet to surpass his Narrator in Blood Brothers.) Brandy has certainly grown as an actress and has the unenviable task of once again re-creating a role famously played by Amelia Bahr to great critical acclaim. (Last year, she played Penelope in See How They Run, also played by Amelia at VCP in 1992.) I'm not sure if this was my favorite Brandy performance (she had some static moments), but she looked the part and overall did a fine job.
Despite the predictability, the milk from this cash cow tastes pretty good, but now it's time for Kudzu to get back to work. [POST A COMMENT REGARDING THIS REVIEW]
| || Right On by cdills87|
| Thank you for the grammar lesson in my review. I laughed. My review is not very formal though, in fact I was charged to be quite informal in it. It provides more honesty is my thinking behind this. As for your last paragraph, I agree with you. Jason and Brandy were not bad by far, I just think they could have done so much more. I feel truthmonger is just far to gone to see their talent. You put to words what I was fumbling around. I guess that comes with being a college freshman and still getting into the field. Perhaps you were the person in line behind me that was chuckling at my overzealousness at making sure my ticket price was clearly labeled at that I recieved a ticket to keep. Agian, I loved the way you put it in your review.... Kudzu could do more.... their in their protective bubble. this Blood Brothers of which you speak, I would have loved to see that. This animosity toward Brandy and Jason is harsh though, and not very supportive of an arts community. Apparently their repeated casting needs to be addressed. Auditions should be held. What do I know though.... i'm just a college freshman.|
| || it's all good by Okely Dokely|
I was standing in line behind you with my fiance, but I highly doubt that our laughter had anything to do with you. I just remembered having a fairly young guy right ahead of me in line saying something about getting college credit, and then I see your review on here. Made me think "small world."
Anyway, thanks for the comment. Good to have you on this site.
| || I have to agree with a few ideas by CinEagleston|
| Cdill, you review was very thorough and I applaude that. Its rare to see one other than Okely Dokely and a few others. I was in the audience on Saturday, as well and I was part of the acting community for some time. I don't recall seeing Jason in a show since early last season. (Forum, I believe it was). Brandy has been in a couple, but it is very natural for someone beginning their career to build a resume. Whether it is at one theater or ten. I would be upset if I saw the same people and I wasn't impressed by the talent. This is not the case with either of the Meinhardt family. I have always enjoyed Jason's performances and Brandy is definitely coming into her own. As for the comment of them not smiling during curtain call, I don't recall that being the case. I did not get the same vibe you did. But every person has their own opinion.|
I do agree with the line outside. However, I recall it being a tradition with Kudzu and in fact, the theatre formally known as Village Playhouse. Some patrons enjoy it, especially the older ones. I know, speaking to many actors, they do not prefer this. But if its a tradition, some just swallow their pride and do it.
Thank you, cdill, for putting some of the quality back into this site. We may not have seen things the same way, but at least you were honest and not personally attacking those involved. It has made me sick to see some of the things written about Jason and Brandy and others at other theaters as well. Cheers to you and look forward to seeing you more on this site.
| || Ok by cdills87|
| I did not realize it was a tradition. I respect that totally. I think traditions are awesome and the more I read about this theatre the more I see how established and how full of tradition and history it is. That is awesome.|
Your comment about how the older patrons like the hand shaking line reminded me of my own experience here in Columbus and what I have experienced around the Duluth/Suwannee area in Gwinnett Co. trying to establish a community theatre effort there to give not theatre people and theatre people alike a place to grow, and work without bias, and an equal opportunity to build their skills. Here in Columbus we are stuck in our traditions. Our seasons revolve around our season patrons, normally over 55. We have to choose things that are not to contraversial, are normally funny, and have themes that they can identify with. For example, this year we did I Hate Hamlet. While some might say that that show is not for a 55+ crowd with its sex themes. That is our answer for contraversy, John Barrymore, a lot of these women'd idols mixed with moern lust. OHHHHH.... very risque.... no not really. I hate being stuck thinking about the audience base, not being able to pick the shows that I love, are very meaningful, just because no one would come and see them. People like the above just dont see something that they dont recognize or identify with.
In Gwinnett, there are a lot of new theatre people who want to get involved but do not know quite how, dont think they are good enough, or do actually need to build their skills more. All of these not being a good thing to be if you want to do theatre. Confidence in yourself and your craft are key. So I have started the process of opening a community theatre program in conjunction with the Peachtree Ridge Playhouse at Peachtree Ridge High School to provide an opportunity for people to come and work theatre. It will be a huge learning environment. In picking a play I needed to pick something that appealed to the uppity crowd around the area, the sugarloafers and the like, something that involved the audience, or something that was a commedy. It had to be a crowd getter. I pciked a play, that was a drama, but involved the audience. I lessened the seats of the house from 504 to 117 by sitting the audience on the stage in an intimate setting. Hopefully people will come out. Wow... this is sounding like a plug. Anyways.... It is a shame how theatre is stuck in the roots of the area and established ways. It is awesome but can inhibit in some ways. The goal is not to let it hender the art. Something that everyone needs to watch out for. I am not saying Kudzu has done this but it may be going there. Ohers have, after all if they had not where would the phrase, "Someone has to either die, you have to kill someone, or sleep with someone to get in there" have come from. It is uttered a lot down here in Columbus about the playhouses here. I feel it about some in ATL.
Enough of me though. This no longer has to do with Kudzu and Barefoot in the Park. Thank you all for the compliments on my review though. I appreciate it. I try to do one every now and then.
| || Thanks cdills87 and Oakley by snappermorgan|
| I appreciate you taking the time to review the show. Whereas I may disagree with a point or two, I will not use this forum for such purpose. Rather, I thank you from the bottom of my heart for both seeing the show and actually have the presence of mind to do a REAL critique. Criticism is essential for growth and reflection and an artist can not hope to improve without feedback that is honest. Unlike truthmonger, who only wishes to tear down, you two fulfill the purpose of this site. |
Again, thanks! I look forward to more of your reviews.
Alright.... But worth the money? Hmmm......|
Monday, January 30, 2006 ||
After reading some of the comments posted on here about the previous review I am appauled at the turmoil over this production and the playhouse. I am almost afraid to post my review on here. I do not want to be attacked. That is not waht this site is about. It is not to attack someone in a review or in comments. Granted a review might single someone out but it is factually, or should be. I wrote this for a class, and I feel myself as an unbiased thatre patron majoring in design and management. I still cannot believe, the DIRECTOR acting like that. How very unprofessional and this coming from a college freshman, really? Come on. This attitude makes me not want to come back to Kudzu, although I know I will, but it will have to be a show that I really want to see before I do. After all it seems like the smae people reapper theur time and time again.|
This is my second play that I have seen at Kudzu Playhouse, my first of their main season. My first being The Magician’s Nephew an excellent children’s production that they put on last year. Kudzu Playhouse is conveniently located at Holcombridge Road and Roswell Road, very easy to find, if you sort of know where it is, if you don’t, good luck seeing their road sign, and then once in the shopping center seeing their little sign over the stairs leading down to the subway like shopping center located in the basement of the stores at street level.
The evening started with getting their a little early, around 7pm to get our tickets. We did not want to miss out. We were told that the box office was not quite ready to open if we could come back a little later that their would be no trouble getting tickets. Which is unfortunately par for the course in most Atlanta Community Theatres. So I went to eat at Chick-Fil-A located in the shopping center’s parking lot.
When we got our tickets, they were very helpful and friendly. The lady at the box office took the time to find a ticket voucher for me so that I could take it to get credit for my college class that I was seeing the show for. The normal tickets that patrons are issued are laminated tickets that are recycled. A very good idea in my opinion, saves the theatre a lot of money.
The theatre itself is rather small, again par for the course in Atlanta Theatre. There are only five rows so there are no bad seats. Unfortunately some of the seats, mine included were missing arm rests so I had rather rough metal digging into me. Thankfully I had a jacket to cushion it a little. The lights could use a dusting too. That much sust has to be a fire hazard. are they left up their all the time?
I was a little unimpressed with the set. It seemed to be poorly put together, the flats consistently bowed and shook when leaned against or doors were slammed. I thought at several points that they set was going to come down. It did however make a nice use of levels leading down from the front door and back up to the bedroom and bathroom. It reminded the audience of the 5-6 flights of stairs that are a source of much laughter throughout the show.
Speaking of the bathroom and bedrooms, they are described as being very small. The bedroom being one that only a oversized single could fit into and the bathroom not having a bathtub. The bedroom’s door cannot even open all the way because of the bed, a nice touch, and another source of laughter that was well done. However the bathroom needed something. The door repeatedly was let to open all the way, and it revealed a blank wallpapered wall. Nothing to signify a bathroom. The door appears to open all the way to the wall, but yet a sink is supposed to be there somewhere because Corrie gets he toothbrush from behind the door. Wouldn’t the door hit the sink? One might say no, but the skylight further implies that the wall is immediately behind the door. It would be nice for there be something added there to signify this, and a towel bar/ring with a towel, and a shower curtain or something to show the accursed shower that Paul hates so much. When Corrie’s mother looks into the two rooms, she looks at the wall, or as if the door to the bedroom looked into the bathroom and the bathroom into the bed room. She need to look around the doorway and into the way the rooms are implied to go.
The skylight was well done. I like how is was at an angle, that hinted at it actually being on the ceiling like an actual skylight. It was a nice use of the limited space. I wished some snow would have appeared as the show progressed to show how the dripping is what gave Paul his cold at the end. I would have like for that to have been more clear. The dripping of the melting snow on him as he was forced to sleep on the couch.
I wished there had been more of a set up of the time period in the pre show music, a nice blip of “Going to the Chapel...” right as the lights were going down was nice, but more was needed. I notice some during the scene changes but that was it. The furniture when it arrived was nice, and was a good pick of the time period but the couch was slip covered, something that I don’t think was very popular during the time period. Especially with it being brand new and ordered form someplace like Bloomingdales or another upscale store.
Speaking of the scene changes, they were a little unorganized. This could be because no stage manager was listed in the program. People would carry out furniture, place it, and then someone else would move it. Jobs need to be assigned and those people need to take care of them. Scene changes are just as important as the performance. The audience does see them.
The acting was good. There were moments when the actors lost motivation, were moving to where the director told them to without realizing why they were going there. By far Linda Niles who played Corie’s Mother and Rial Ellsworth who played Victor Velasco were the most consistent and most enjoyable to watch. They were on top of things and their timing was perfect, something key to Neil Simon’s comedy. Greg Fitzgerald deserves an honorable mention because, as the telephone repairman, he gave his small role a full story. While I thought he played his exhaustion over the stairs a little to over the top, it was quite funny. His delivery of the repeated “oh boy...” was hilarious. Corie’s mother equalled this, I would have like to have seen Paul more exhausted. He tried at first but then stopped. It began to seem like it was easy for him. Paul Bratter, played by Jason Meinhardt kept a fine medium between the fine acting of the previously mentioned people and his wife Brandy Meinhardt who played Corrie Bratter. He seemed to portraying a normal person, which would work if he was not supposed to be so uptight. He needs to be up tight so that when he goes walking barefoot in the park it is a huge change from his old self. Brandy played Corrie like a goody-goody, newlywed wife madly in love with Paul. This works, but she was always like that. So melodramatic, there was little to no dynamics to her character. She was the worst a playing a robot and going to where the director, Snapper Morgan, had told her to go. Regurgitation of lines and blocking is easy, character development is not.
I noticed while I was there, flipping though the program and looking at the numerous show pictures and information located in their lobby that the same actors appear again and again. Why is that I wonder. I think that diversity in working environments is the best thing that can happen to anyone. These actors, Brandy and Jason Meinhardt much more that the others, seem to have become accustomed to getting parts, they don’t seem to have a zeal for their art anymore. I ask myself why are they doing it. The two of them did not even smile at the curtain call. I paid $16 and the person I was with paid $18, at least smile and acting like you were glad to perform for us. We did just sit there for two hours and watch you go in and out of acting.
I was interested to see that the character’s playing Paul and Corrie are actually married, interesting, but I don’t think it worked out well. They seemed to be resorting to too much of their natural selves. There was to much thinking in this show. All in all the actors were to much in their heads. They were to worried on what they were doing, and not doing who they were. That is being their characters. I do applaud Greg Fitzgerald, Linda Niles, and Rial Ellsworth for the work they did do, you all carried this show and made the leads look as good as they did.
All in all I give the show a 6 out of 10. If was a good show but I would not recommend someone paying the money to go and see it. There are so many other, maybe better companies out there doing shows for the same price or cheaper. There were far to many flaws in the acting, staging and production values of this show. If a little more attention were paid to things it would have been so much better. Details are what makes a show. They seemed to rely to much on the popularity of the movie and the actors in the movie, which I have never seen by the way, to draw a crowd to the show. The crowd by the way being of a fair size but most likely just Kudzu Playhouse groupies. I wonder how many people actually paid for their tickets. Hopefully the next thing I see at Kudzu will be better, The Magician’s Nephew was excellent so I will be back.
As for shaking the audience's hands as they leave the lobby, I did not like that. If I want to congratulate you, I will wait and seek you out. It was very awkward to leave. I felt that I had to shake their hands. I did not particularly want to becasue of the unfriendliness projected during the curtain call. It was still there at the door.
Since names seem to be improtant.... here is mine....
- Chris Dills [POST A COMMENT REGARDING THIS REVIEW]
| || I remember you by Okely Dokely|
| You were right in front of me in line at the box office. Sorry, I'm just easily amused sometimes and thought I'd point that out. Stay tuned for my review.|
| || two things by Okely Dokely|
Very good and thorough review. I hope the people involved with the production take it for what it's worth and don't get their feathers ruffled. I just have two hopefully quick comments:
1. Since you're a college freshman, hopefully I can save you some points from being deducted on your papers and remind you of the correct usage of the words to and too. You use the "to" spelling when you really mean "too," i.e. too much, too little, too [insert adjective here]. This was pretty consistent or I wouldn't even be bringing it up.
2. I totally hear you on the shaking hands thing. I'm an actor, and sometimes I don't even feel like doing it. Since I know I was there the same night you were, I'll just say that I saw where they were standing in the receiving line and to me, I didn't feel forced to congratulate them if I didn't want to. I guess we'll have to agree to disagree about that, but I know what you mean. Sometimes Kudzu casts stand out in the hallway close to Whirly Ball, which makes it even easier to get away guilt-free if you don't feel like talking to them.
| || Thank you for a very informative review. by line!|
| This is exactly what I've been hoping to see! A reviewer should not be preoccupied with being unkind or with posting a review filled with undeserved praise. Its about reviewing a production, making your point and supporting it with details from the performance. |
Chris, you've given us some specifics that we can study and learn from. Thank you for setting a great example of what an honest review should be. To friends and foes alike; are you getting any of this?
| || Re: The Line at the Door by Girl|
| This has been a topic of conversation, it seems, so I thought I'd throw in my two cents.|
As a patron, I HATE the line at the door. At every theatre. Always. In fact, even at Kudzu, even with shows where I am good friends with the actors, I will either cut around the line or wait in the lobby for whomever it is I am wating for.
Then again, people probably don't like me much. :)
| || Lines and angles... by line!|
| The "receiving line" at Kudzu is indeed a tradition, but I think it started with their children's shows as a way to introduce children to the world of the theatre. As a cast member, I use it as an opportunity to personally thank the audience for coming and to promote the theatre. I always try to speak first and simply say "Thank you for coming and we hope you enjoyed the show." If they enjoyed the show and feel like saying something, that's cool and if they don't feel like saying something, that's cool too. I do however agree that it can be awkward if you didn't care for the show, are shy or simply don't want to say anything to anyone. Any suggestions on finding a middle ground?|
| || by andy|
| Don't want to get into this review, except to say that I personally don't like to go out in the receiving line, because I feel it does make people feel awkward. The only time I go out in costume is if there are people I know in the audience. In the case of saturday it was because my in-laws were there along with friends (Mark and Em) who we hadn't seen in a while and wanted make sure we caught up with them before they left. As for Kudzu, I believe it's up to the actor if they want to or not. There have been shows where other actors think your "rude" to not go out there. Poses a good question I guess. |
| || A Middle Ground by cdills87|
| I dont know if there really can be a middle ground regarding the recieving line. It appears that this is a very well established tradition that people are looked down upon if they do not participate in it. One of Kudzu's quirks I guess. Not necessarily a bad thing. Maybe it could be moved away from the door, and lined up agianst the side wall leading from the door to the women's restroom or maybe I just need to shut up and deal with it. Anyways.... Kudzu's traditions seem very interesting, I love the histroy of it that is being hinted at here on this site. I will be back, everyone just remember that we all perfrom from the audience.|
| || my idea that I mentioned before by Okely Dokely|
| They often prop both doors open (leaving plenty of room for the people to sneak out if they don't feel like talking to anyone) and the casts stand out in the hallway. I've seen shows at Kudzu where some members of the cast were notably absent from the line, but as an audience member, I never took offense or thought they were rude for not participating. There have been a handful of nights where I didn't go out and stand in the line, both at Kudzu's and other theatres.|
| || glad you don't take offense at that by Nettie|
| being as shy as I am that's the scariest part for me is the greeting line when folks ask you to be in one LOL I normally am there if i'm asked to be but I will admit that I am usually strategically at the end of the line so I can sneak off if it gets too crowded LOL but it's a shyness thing not intended at all to be a rudeness thing.|
| || Not my favorite thing, but... by mom2actor|
| Having been in 2 shows at Kudzu, I can tell you that the line is definitely "optional." My first show, I didn't stand in it at all, because I just wasn't comfortable with the concept. For the second show, I've stood in it about half the time. For shows with children in them, in particular, it's a lot of fun. Child actors love to interact with the patrons, and children who've attended like to meet the actors and to see that the actors are "real people." As someone playing a really evil character, I like the opportunity to show the children who've attended that I'm not really a "meanie" (many of the younger patrons choose not to come anywhere near me in the line!) Many actors and patrons skip the line (which is always outside the theatre near Whirly Ball for kid's shows.) We try to stay a bit back from the open double doors so it's easy for patrons to slip out without feeling "cornered." |
Chris, since you saw "The Magician's Nephew," you might enjoy "A Little Princess." It's cast with adults in adult roles, and children in children's roles, (like "Magician's Nephew") and is directed by Tyler Schaker, a frequent reviewer/contributor on this site. I don't think it's a traditional "kids show" (most of the chuckles come from adults who seem to "get" the lines the kids don't understand.) I would love to have you review it. And tickets to kids shows are only $8! :o)
[REVIEW THIS PRODUCTION]
|Tapas III, The Reckoning|
by Guilford Blake, Steadman, Walsh, Lupo, Hoke, Schinderworf, Staryk, Kaplan, Rubin, Carabatsos
|Tapas III, The Reckoning|
by Guilford Blake, Steadman, Walsh, Lupo, Hoke, Schinderworf, Staryk, Kaplan, Rubin, Carabatsos