Roger Ebert: “It is more exciting to wonder if you are about to be kissed than it is to be kissed.”

This theory gains new credibility with the current Theatre Downtown production of Shakespeare’s R&J.  The play is a re-write of Romeo and Juliet using only four young, male actors.  Everybody knows, of course, that theatres in Shakespeare’s day always cross-dressed men to play the female parts.  But this kind of casting takes on a special relevance in 2010.  There’s no cross-dressing here – only the audience’s suspension of disbelief.  Walking into this performance carries an atmosphere of tension and excitement.  You can’t help but wonder whether the boys will kiss.  And whether the Alabama Bureau of Investigation will bust in and raid the place.

Former Chief Justice of the United States Supreme Court, Earl Warren: “Everything I did in my life that was worthwhile I caught hell for.”

Being an artist requires courage.  There’s a certain amount of bravery in telling your parents or friends that you want to be an actor, musician, or painter.  (Or: “Mom & Dad, I’m gay….”)  It’s bold for a company to choose an all-male Romeo and Juliet in Alabama – possibly the reddest of red states.  It takes some guts to put yourself so out there as a writer, actor, or artist.  I can only imagine the conversation: I’m going to cast you as Juliet, are you okay with that?  But how else does a guy ever get to say, “Parting is such sweet sorrow”?  Opening up and embracing vulnerability makes a person stronger.

Eugene O’Neill: “One should either be sad or joyful.  Contentment is a warm sty for eaters and sleepers.”

Director J.J. Marrs asks all four actors to play multiple roles.  Each actor maybe had a “best” role.  Michael Walters is a thoughtful, but masculine Romeo.  Trevor Clay is tender and feminine as Juliet, downplays beautifully, and creates one of the best Juliet suicides I’ve seen.  Cody Royce Moore plays a particularly good Friar, but is also a contagiously energetic Mercutio.  Finally, Brett Matthew Blaylock throws himself wholeheartedly into a lot of silly laughs as Juliet’s Nurse.  The production takes full advantage of the cast’s youthful vigor, raw nerves, and undiluted energy.

Why is theater better than the movies?  Because of the real dramatic tension.  It happens right in front of you.  For example, there’s a bunch of choreographed roughhousing in this play.  At intermission, the whole front row talked about how we kept expecting an actor to land in our laps.  Or worried that one of the props would topple over.  But this isn’t a bug – it’s a feature.  Because it’s happening right in front of you, it triggers a different part of your brain.  You’re involved in a way that you can’t be when you just watch a movie.  The kissing isn’t take twenty-three, either.  And there’s always the real possibility that someone will mess up.

Thanks to Billy Ray Brewton and Theatre Downtown for the invitation.  If there are any show photographs or PR pictures in the works, let me know and I’ll put them up.

I enjoyed myself so much that I didn’t even take notes.  So I gotta wing it.  Improv typing?

All I really want to say is that the Park Players version of Shakespeare’s Much Ado About Nothing was pretty darned terrific.  It’s way cool to go to Homewood Park and watch good theatre under an open sky.  It’s even better with a full house – and that’s what they had.  The townsfolk are discovering that our Park Players are inexpensive and F-U-N.

It was especially cool to see the finished performance after I got to watch the audition process.  It’s a bit like meeting a magician’s normal, unassuming rabbit and then – four months later – getting to watch how he twained that wascal.  I assume Director Hannah Wilkerson had everything to do with that.  Also, whoever is responsible for making it look like the cast is having fun and keeping an eye on spreading that fun to the audience: Keep it up.  The Park Players share a contagious kind of joy with the women of Sanspointe.

Without exception, the entire cast did very well, but there were a couple of standouts.  Kenny Morris was completely fearless as Benedick – over-the-top slapstick and silly while still maintaining a sweet disposition.  His scenes involving ever-likeable Clay Boyce (as Don Pedro) and the expressive Cris Morriss (as Claudio) were especially memorable.  In concentrated roles, Beth Ashton (as Cinder) radiated mordacity – a good word, right? – and Martha Crotty (as Antonia) provided an unexpected and excellent thump of fiery intensity.  Kudos to everyone for making the dancing scenes look fun, rather than forced.

At the show on Saturday, I came a little late and it was so full that I had to sit aaaaall the way down front.  There were also at least a couple of “enthusiastic” audience members somewhere behind me less-than-quietly making running commentary.  Surprisingly, instead of being annoyed, I kept laughing about it.  Back in Shakespeare’s day, I assume the crowds were raucous.  And the groundlings (stinkards?) would have been much louder and more involved.

Sitting down front made me want to hiss and boo every time Don John, Cinder, and Borachio came on stage.  Or throw tomatoes.  Or hold my hands up in with an enthusiastic thumbs down.  Or to WOOOoooo out loud every time Claudio and Hero or Benedick and Beatrice got all lovey-dovey.  Or to shout out in agreement what an ass Dogberry is.

How drunk would you have to get an otherwise very well-behaved Birmingham crowd to do this sort of thing?  They’ll do it at the Rocky Horror Picture Show with Brad and Janet – but I guess that’s a different thing entirely.  But does it have to be?  Maybe plant three or four or more groundlings in the audience as an unexpected part of next year’s Park Players show?  Set ‘em up with rude and boorish cues for entrances or exits for certain characters.  Let ‘em boo.  Heck, let ‘em throw stuff.  How fun would THAT be, once the audience realizes what’s going on and they’re only adding to the fun of the show?  Why not sprinkle in a little more “enthusiasm”?  The audience always is at least half the reason for going to a show, anyway, whether it’s quiet or noisy.

Much thanks to Hannah Wilkerson and the Park Players for dodging Alabama rainstorms and putting together a great theatre experience.  I’m looking forward to the upcoming performance of Noises Off.

I’m glad to spread good news about something new, different, and fun in town.  Chris Davis – a native son of Birmingham – has worked with a diverse cast of characters to put together “a weekly, half-hour, online comedy show about Birmingham”.  It’s called View of the City.

There are three episodes available so far.  I’ve watched all three.  If you feel like you can’t get motivated to watch a full episode, you need to put down your i-Schlock and unplug.  Maybe go take a few hours to rediscover nature.  But until then, I’ll appease you.  Here are some of my favorite moments:

• May 9 – Nick Crawford (@ 2:20) – “All I know about Mississippi is that it’s got two crappy football teams.”
• May 9 – (@ 3:20) – the cute blonde in the Dr. Jack P. Weiss Cosmetic and Family Dentistry commercial.
• May 9 – Chris Davis & Eunice Elliot (@ 6:30) – “What happened to the good old days when you just threw a sheep at somebody?”
• May 9 – Eunice Elliot (@ 8:23) – “So you don’t live here, so I don’t know that I care so much about your opinion.”
• May 9 – Tollie Jones (@ 15:15) – “Can. You. Dance?  Yes.”
• May 9 – Reid Lucassen (@ 23:51) – “Tattoos are officially an illegitimate form of self-expression.”
• May 9 – Terry Hermes (@ 28:11) – “I mean, who better to review concerts in Birmingham, Alabama than a guy who lives in New York and rarely leaves his home?”
• May 2 – Nick Crawford (@ 1:41) – “Why don’t you allegedly shut the hell up?”
• May 2 – Chris Davis (@ 11:33) – EXTREME Botanical Gardens
• May 2 – Holly Dikeman (@ 20:21) – “And right in front of my lovely daughter Madison – oh, and that other one.”
• April 25 – Narado Moore (@ 6:40) – “Discussing black stereotypes with a white man.  It’s truly 2010 and Obama’s in the White House!”
• April 25 – Eunice Elliot (@12:33) – “Does this dress make me look fat?”
• April 25 – Chris Davis (@15:25) – “Meet Star Mays, star of the Cullman Liquidation ad.”
• April 25 – Chris Davis & Shelia Smoot (@ 18:59) – “Shelia Smoot would not high five me.”

The site also says: “View of the City is your show, too.  No!  It’s our show.  But we’ll let you play with it whenever you want.  Submit your video (60 seconds or less) for a chance to get on the show and get famous.”  Find out more at this link.

Back in January, I wrote a piece about auditions for the Park Players.  At the time, it seemed a long way off.  But – alas! and alack! – the first play of the season is here.

Go see it!  Here are the details from the Park Players website:

Much Ado About Nothing by William Shakespeare.  As Directed by Hannah Wilkerson.

Performances: May 13^th thru 16^th &  May 20^th thru 22^nd.  All at 7:30pm at Homewood Park in Homewood.  $10 adults.  $8 seniors/students.  FREE for kids under sixteen!

I wish I had a picture of the stage setup at Homewood Park to share.  It’s a perfect place to bring a picnic dinner, hang out, and watch some laid back theatre.  Maybe bring a bottle of wine.  Or yummy fudge brownies – if you share with the rest of the audience.  Kids under sixteen can get in free, so there’s no reason not to bring the family.  This is a cool thing to do and it deserves more attention.

Play the “facebook” game with headshots of the CAST!

Synopsis: Long loved for its wit and wordplay, this outdoor play is set in and near the house of Leonato, governor of Messina in Sicily.  Don Pedro, Prince of Aragon, returns from the wars to visit Leonato, accompanied by his favorite companions, Claudio and Benedick, as well as Don John, his bastard brother.  Benedick wages a war of wits with Leonato’s niece Beatrice, with whom he shares a contempt for conventional love.  Meanwhile, Claudio falls in love with Hero, Leonato’s only child, whom Don Pedro woos and wins for him.  While they wait for the wedding day, the wedding party amuses themselves by gulling Benedick and Beatrice into believing that they are hopelessly in love with each other.

Meanwhile, the evil Don John, an envious and mischief-making malcontent, plots to break the match between Claudio and Hero.  Will the stumbling constable Dogberry discover the plot before it too late?  Anger, betrayal, deception and conquering love ensue.  Love is discovered, friendships challenged and evil thwarted in this Shakespeare classic.