From Nathan Adams' blog,
http://nathanhadams.blogspot.com/2008/09/songs-of-robert.html
(link above also takes you there)
BG--
Corpus Theatre Collective presents "The Songs of Robert", as a part of North Carolina Stage Company's Catalyst Series. The "verse play with live music" was written by and stars John Crutchfield as a whole host of characters, including the vulnerable titular character.
I thoroughly enjoyed myself at this show, and not only that, I found it to be of an excellent quality. Unfortunately, the two do not always find each other in the same theatre. But in this (dare I make bold praise) modern American masterwork of a play, John Crutchfield deftly combines both entertainment and comedy, and deep insights and beautiful poetry.
Crutchfield lithely leaps from character to character with the grace and style of ballet dancer. That doesn't mean you don't see him work though. One of the things I noticed during the opening scene was how big his "basketballs" had to be to do this. One man, his work, alone on a stage, telling a room full of southern people that they look nice, for white people.
I really appreciated the ability to see Crutchfield work at his change of characters. To just watch him as he turned his back to the audience, and to see his body build the energy necessary to leap into the next character, was an example of why so many love theatre.
The structure of this one-act play is not what one might call conventional. We are given glimpses into the world of Robert, a senior in high school, mostly through monologues and "scenes" with other characters in his life, but also through Robert himself. These scenes provide some of the most touching moments in the play. The structure of the play actually reminds me of the landmark musical, "Company" (whose protagonist is also named, coincidentally, Robert). Like the musical, we are given glimpses into the lead character's life, all culminating in one final song.
And don't think that this is a mere vanity project by an actor who isn't really a writer. The script is beautiful, and I would love to someday have a copy in my library. Crutchfield states in his notes, "Until I find someone to do it for me, I'll be performing it myself." And while I hope he continues to do so, as to watch his perform it is a gold medal treat, I also hope that the piece continues to have a life beyond him, and I will be the first in line to buy it if it is published.
Fly, don't run down to the North Carolina Stage Company to see this show. Realize how lucky we are to have so many talented local writers producing work, and support it. This show only has three performances left, so get thee to a ticket website!
http://www.ncstage.org/pages/on-stage/catalyst-series/songs-of-robert.php
http://www.johncrutchfield.com/
Yours gushing,
Nathan H. Adams
19 September 2008
Songs of Robert
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From the C-T
BG--
Corpus Theatre’s ‘The Songs of Robert’ hits right notes
JIM CAVENER • TAKE5 CORRESPONDENT • PUBLISHED SEPTEMBER 19, 2008 12:15 AM
ASHEVILLE — Beyond producing its own shows, N.C. Stage Company opens its theater to smaller groups through its Catalyst series. Currently occupying the stage is the Corpus Theatre Collective with its original show, “The Songs of Robert,” written by and starring John Crutchfield.
“The Songs of Robert” is a verse play, a series of vignettes, often musical monologues performed by poet, playwright, musician and actor Crutchfield. This multifaceted theater dude has constructed a tableau of 11 memorable characters who revolve around, and include, a young man named Robert, living somewhere in the rural Southern mountains.
Robert is an inner-directed, bright, talented and determined young man who is growing up in rather limited family and societal circumstances. Neither his family nor his associates understand his dreams nor his potential to realize them. His teachers and peers are of little or no help. Yet the mode employed by Crutchfield to expose us to Miss Anderson the English teacher, to coach Sloe, to the outrageous high school school bus driver, the high school guidance counselor, Miss Medula, and the assistant principal, Mr. Davenport, is most rewarding.
A traveling bluesman, Ol’ Preacha’, acts as a wandering minstrel or troubadour who sets the stage and moves the plot along. And there is a cohesive story line, melding these short scenes and cameo exposures into a touching story of Robert’s unfolding aspirations and his transcending family and situational limitations. Two contemporaries at school are Sammy, a high school hipster, and Sir Jamzalot, an aspiring rapper, all vividly portrayed by the single versatile actor.
Crutchfield does all these parts with scarcely more than switching a baseball cap for a shoulder shawl, the coach’s whistle for a different cap. His range of emotion and dialect is impressive. Perhaps his most dazzling characterization is that of Juan-Jorge, Robert’s alter-ego or guardian angel, a Hispanic wiseacre who charms us with his wit and wisdom.
With the help of an old banjo and a shiny dobro guitar, Crutchfield gives us much of the content by way of songs, some traditional Appalachian tunes arranged by the performer. But at least one of the musical performances is an original song by Crutchfield, “Don’t Look Now.”
In “The Songs of Robert” this capable writer/performer packs a lot of meaning and emotion into the simple and compelling performance.
I was delighted to be able to make it to see John Crutchfield’s one-man show, The Songs of Robert, as part of North Carolina Stage Company’s Catalyst series. Crutchfield is a very talented wordsmith and equally gifted as an actor. And, as it turns out, singer and strings-player.
For me, this play was absolutely at its best when it was in its more serious moments, as well as when it was in structured verse. I loved all of Robert’s moments, and enjoyed the heroic couplets of Ol’ Preacha. Also, the gym teacher character had a very interesting arc as he varied between completely ridiculous metaphors between basketball and... something, and as he became more poignantly introspective in spite of himself. There were moments with this character, too, where it struck me that we were getting more what Robert imagined this character to be saying and doing, rather than what he was actually. Kind of a Wonder Years daydream sort of moment. Loved it. I think I would have liked to see, for the sake of realism, at least one stable adult in Robert’s life; his father came closest to that. But I wonder now whether, throughout, we were meant to be getting only Robert’s somewhat distorted adolescent view of his world, that revolves all around the object of his affection. Surely, in his mind, everyone else is as focused on what he is, or at least as confused and manic about their own plights.
The last ten to fifteen minutes of the play were instrumental (no pun intended) in tying the rest of the show together in a meaningful manner. The music throughout is excellent, and the final song particularly so. A bold evening of theatre that I’ve definitely been thinking a lot about.
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