tag:blogger.com,1999:blog-35864153.post9133822650734412857..comments2023-04-14T06:54:17.376-04:00Comments on Asheville Performing Arts Reviews: Online and Ontarget: Moonlight and MagnoliasAsheville Performing Arts Reviews: Online and Ontargethttp://www.blogger.com/profile/17084746057521958833noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-35864153.post-10181912814460163042008-03-10T07:45:00.000-04:002008-03-10T07:45:00.000-04:00Schlepped downtown in this cold to see Moonlight a...Schlepped downtown in this cold to see Moonlight and Magnolias at NC Stage, a script with the interesting conceit of featuring the character Ben Hecht in a play in the style of Ben Hecht. Impeccable acting, flawless production values. The script was funny in oddly matched ways, sometimes like a frat house skit, sometimes like His Girl Friday, the club and the stiletto, but both getting the job done. The three main actors have widely divergent techniques and, I suppose, theories of what one should be doing on stage, but the more I thought about it, the better suited that was to a script which itself exhibits three almost irreconcilable worldviews–or, more exactly, three worldviews the reconciliation of which is its central struggle. Selznick is an attractive, eloquent apologist for mediocrity, Fleming a solid American pragmatist, Hecht a self-delighted idealist. Something in each of the actors– Scott’s apparently infinite adaptability; Charlie’s intelligence-- which cannot hide while playing the role of a stupid man, but makes the stupidity seem chosen and expressive; Willy’s edgy experimentalism, perfect for someone who is simply not going to play the same game as the others–alloyed beautifully with the characters and made more magic, perhaps than the script deserved. The Selznick character lets fly with expansive, almost sublime, passages in defense of cheesy writing and conception aimed at the lowest common denominator, at “Joe Blow and Jane Doe,” thus preemptively deflecting the criticism to which the script is most vulnerable. Clever. <BR/><BR/>DBHAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-35864153.post-27780303522538987022008-03-08T09:41:00.000-05:002008-03-08T09:41:00.000-05:00(Warning: Excessive use of quotation marks to foll...(Warning: Excessive use of quotation marks to follow.)<BR/><BR/>I do agree that the political arc of the show seemed a little contrived. I suppose that the playwright wanted to balance the farce with some "substance," but it was inserted into the script rather inelegantly and bordered on making the show a little disjointed at times.<BR/><BR/>That said, I do not agree that this is not the "type" of show NC Stage should be doing. To my perception, NC Stage has never purported itself to be the "edgy" or "alternative" theatre in town. They pick good scripts, and this was a good - albeit flawed in some ways - script. There's no crime in doing entertaining theatre.<BR/><BR/>I'm not sure that I'll get around to doing a full review of this one, and it will get buried in the comments here anyway, so here's a quickie:<BR/><BR/>Willie Repoley was at the top of his game, Scott Treadway firmly in his element once the madcap madcapness began. He started off a hair big for the space, but I settled into his rhythm nicely and thoroughly enjoyed him in the part. (By the way, is it just me, or does his "angry loud" voice sound IDENTICAL to Nathan Lane's as Timon in The Lion King? Anyone? Just me?) Oh and Most Hilarious Stage Freeze Ever award definitely goes to Scott. Charlie F-M and Lauren Fortuna brought it as always. Fortuna's squeaky cart sojourn was indeed quite funny; her mugging at a couple points was a bit over the top.<BR/><BR/>The set was beautiful and I agree with RM about the cool lighting effects with the window and room. Loved the pre-, mid- and post-show music. Really fun show.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-35864153.post-24065207948872151552008-03-02T12:11:00.000-05:002008-03-02T12:11:00.000-05:00This was a very good, professional production, and...This was a very good, professional production, and very enjoyable. But is it really the kind of material that NCStage should be doing? The main thematic material involving the argument between Selznick and Hecht seemed like the playwright's way of contriving a conflict, not a real artistic statement. Leave this kind of lightweight commercial stuff to Flatrock or ACT. NCStage should provide more substantial fare.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-35864153.post-27742549369345703262008-02-28T16:46:00.000-05:002008-02-28T16:46:00.000-05:00Yes yes, wonderful acting and whatnot. Charlie, Sc...Yes yes, wonderful acting and whatnot. Charlie, Scott, Willie, and Lauren great yet again and whanot.<BR/><BR/>All jest aside, yes, the entire cast and director did a stellar job (although at some point I became obsessed with wanting to see Lauren do a 'stop, look around, and continue' take during one of the squeaky cart journeys<BR/><BR/>I just wanted to make sure it was mentioned that the set and lights were wonderful. The one main show off scene which played with dimming of various lights in the room working off of the wonderful central window was an orgasmic time.<BR/><BR/>My one complaint is that the abrupt end of intermission blackout caught me and many of my fellow audience members rushing back to our seats. I would like to take this time to apologize to the gentleman that I felt up in the darkness.<BR/><BR/>Ryan Madden<BR/>(I know it's not anonymous if I sign my name...I'm also too lazy to fix it)Anonymousnoreply@blogger.com