Will Post Again Soon . . .

. . . I hope. I have the end of the semester and tech week for "A Christmas Carol" coming up (come see it!). But hopefully I will find a few moments to catch the blog up with shows I've seen and things I've done. Stay tuned for a special end of year announcement!

Two Rooms

I had the pleasure of experiencing the North Carolina Stage Company Catalyst Series production of Lee Blessing's "Two Rooms". If perchance a performance is starting soon and you are sitting down to read this review, let me save you some time, go see it. 

I usually hate it when a production uses the word "timely". It usually denotes the dragging of politics, like a corpse, into the middle of the stage, for the actors and audience to trip over. This play is timely in the best way. The press release describes it as thus, "The play sheds light on the anguish of a man taken hostage in Beirut, and the emotional torture and helplessness of his wife, impatient for something to be done, and government officials who must be guided by logic rather than emotion." Obviously, the place and conflict are familiar, it is timely. This play succeeds in being timely because at the center is not why or why not we should do this or that, but the simple human pain that drives what we need to do. And it is the presence of human pain, today, tomorrow, and yesterday that makes this play beautiful. It is the type of pain, and the type of human frailties that bring it, that makes this play timely. 

The play is indeed, an amazing piece of writing, but this was not what I left the theatre thinking. I left simply overwhelmed.

At first, I was skeptical about seeing a show on the first night. Asheville theatre does not usually accommodate for the type of rehearsal which provides for the best opening night. My fears were completely unfounded. This production is award worthy on opening night. Never before in my time of seeing shows have I ever wanted to leap out of my seat with emotion the way I did last night. I wanted to scream, just to make sure I still could. I wanted the hug the characters, just because they needed it. What was being depicted on stage was real. I overheard one woman tell the actor playing the hostage that she wanted to "hug him and show him sunlight", because he needed it. I was completely amazed at how much the actors were able to make us care for them. 

The play is carried by four amazing actors of the Asheville stage. Erik Moellering touches our hearts as the hostage husband, brilliantly pulling off monologues full of the ideas of a man who has nothing to do but think. Kelley Hinman excellently pulls off the pent up frustration of a reporter who wants to do SOMETHING, anything to help through his tool of the media. Lucia Del Vecchio portrays an agent of the State Department assigned to the case. Ms. Del Vecchio deftly handles the passionless speech of the government, adding in just enough humanity to serve the double purpose of making both the character and her unique choices at the end real. Last, but certainly not least, is Vivian Smith. Her character of Lainie practically carries the entire play on her back. If we do not believe her sorrow, her inability to cope, or rage, the play would fall apart. Ms. Smith beautifully pulls off this character, proving an excellent foil for injustices of the world, her largest scene partner. 

Another word must be said for the director and producer, Callan White. In addition to applauding her hutzpah to produce such a play, or any play for that matter, we must applaud her work as a director. She is invisible as the show progresses, always the mark of a good director. It feels as if these characters just stormed on stage and told us their story with out ever knowing we were there. And thank god. That's the way it should be. But we know Ms. White has been there, by the sheer brilliance of the overall production. A show this good could not have come together without a brilliant director presiding over brilliant actors in a beautiful collaboration. 

I know I'm using a lot of awfully big adjectives, but this production warrants it. It is a beautiful emotional experience. It is a real experience. You will be making a huge mistake if you don't go to NC Stage and see this show. See it, live it, and then go out and do something about it. 

(In the interests of full disclosure, it should be stated that the reviewer is going to be a student under Ms. White in the coming semester.)

Yours, 

Nathan H. Adams

Triple Play / Doubt / Defiance

Well, Triple Play came and went and wow was it something. I have gotten excellent feedback from several people, and it is very interesting hearing what people thought my play was about, contrasted to what I thought it was about. It was a pleasure to act in David's "beautiful" play, and I thank him most heartily for giving me the chance to produce it. And Rob, Rob was always wonderful, his play excellent, and I must applaud any man who is eccentric enough to produce something with me. The cast was excellent, and I really felt like they helped my play to sing. DiAnna and Darren brought their unbelievable professionalism, and Sonia and Chris brought a youthful energy so vital when you enter a show a week before it goes up. And Chris had a fantastic stage debut. We were able to get an audio recording and photographs from William Zane Lawrence. And we even made a little money! The whole experience was so incredible, and so rewarding. Thanks to all who came and who wanted to come. And lastly, a HUGE thanks to the Asheville Arts Center for the use of their space. I encourage you to check out the many amazing programs they have there for people of all ages. 

www.ashevilleartscenter.com

I also saw two different John Patrick Shanley at North Carolina Stage Company. First I saw Defiance as a part of their ForPlay series, and then Doubt, their first mainstage production for the year.

I really enjoyed Defiance, which coincidently featured Callan White-Hinman, the Theatre professor at Montreat College where I will be attending next spring. The play was so simple (especially as a reading) but effective, which was very helpful for me to watch, and really listen to as a young playwright. Hopefully it will help me plow through some of the issues I'm having with some of my own work. 

I also liked Doubt, which I saw later that week. Some very interesting themes explored, and a very beautiful production. I can't wait to see the third play in the trilogy Shanley is writing (Of which Doubt and Defiance are the first two thirds). And for the record, no, I don't think the priest did anything wrong. If he was hiding something, he would have done a better job of hiding his guilt, and Sister Aloysius was far too much of a bitch to earn my sympathy or trust.

As some of you know, I recently wrote a two part verse play for No Shame Theatre based on the greek myth of Atalanta called "Atlanta The Ballsy." Strangely enough, my Atlanta, Trinity Smith, is playing Atalanta in the UNCA/NCSC production of the musical "Free To Be You And Me." Funny how that works out.

In other news, I will be playing the Ghost of Christmas Present and Man #5 in the Montford Park Player's 3 billionth production of "A Christmas Carol." Come and see it! 

Also, I am going to suspend my vlog, but try to continue with my blog. I may not always have the camera with me that I use to film the vlog, so maybe it's for the better.