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Thursday, January 08, 2009, 9:48 am
FST adds more performances of 'Opus'
More 'Op The cast of Michael Hollinger's "Opus" at Florida Studio Theatre. (COURTESY PHOTO / AMY STEINMETZ)Florida Studio Theatre has added four more performances to the run of Michael Hollinger’s play “Opus.”
The show, which runs through Jan. 30, has been selling out some performances.
The play, about the relationships and squabbles among members of a prestigious string quartet, is directed by Richard Hopkins, artistic director of FST.
The additional performances are at 8 p.m. Jan. 11, 8 p.m. Jan. 15, 3 p.m. Jan. 18 and 8 p.m. Jan. 20.
The cast features Scott Giguere, Susan Hyon, Christian Kohn , Jeffrey Plunkett and Ron Siebert.
For more information: 366-9000; floridastudiotheatre.org. -
Wednesday, January 07, 2009, 2:28 pm
Ken Burns' 'Baseball' gets another inning
More 'Baseball' from Burns Filmmaker Ken Burns walks from the dugout at Ed Smith Stadium in Sarasota in 2000 to speak to a crowd for the Town Hall Today series. (HERALD-TRIBUNE ARCHIVE / BARRY MCCARTHY / 2000)Ken Burns impressive nine-part, 1994 documentary series "Baseball" is heading back up to bat in 2010.
PBS announced today that it will air Burns' "The Tenth Inning," which will bring the series up to date by covering developments in the game from 1993 to 2008.
"So much has transpired in baseball since we last examined the game and all of its many nuances," Burns said in a statement. "Above all, this new installment furthers a sense of celebration and introspection around one of our nation's greatest institutions, the seemingly simple stick and ball game whose infinite variations and possibilities have entranced our ever-changing nation for nearly 200 years.
The original series was seen by an estimated 48 million viewers.
PBS said the new segment will feature interviews with some of the same voices as the original series, including Bob Costas, historian and baseball fan Doris Kearns Goodwin, writers Roger Angell, Dan Okrent and Gerard Early and many players and managers.
The original series helped bring renewed attention to the late Sarasotan Buck O'Neil, who became a Negro Leagues player and manager and then the majors' first black coach. He was interviewed extensively during the series, and Burns was in Sarasota more than once to recognize O'Neil's contributions to the game. -
Wednesday, January 07, 2009, 12:14 pm
Celebration planned for director Neal Kenyon
A party is planned for 5:30 p.m. Monday to celebrate the life of Neal Kenyon, the director, choreographer and teacher who died Dec. 19 at the age of 79.
Kenyon, who won a Drama Desk Award in 1968 for the original production of the off-Broadway hit "Dames at Sea," later taught at the FSU/Asolo Conservatory in Sarasota and at Florida State University in Tallahassee, in a career that also included stints as an actor, singer and dancer. He directed performances at the Kennedy Center for the Performing Arts, the San Francisco Opera House and the Goodspeed Opera House in Connecticut, and directed the musical "The Robber Bridegroom" for television.
The gathering will be at the home of Kenyon's long-time friend Jim Hoskins, 5110 Brywill Circle, Sarasota. Hoskins said it will feature the food and drink that Kenyon loved most.
For more information call 355-6310. -
Wednesday, January 07, 2009, 10:18 am
Kevin Kline brings Broadway ‘Cyrano’ to PBS
Kevin Kline knows how to wrap his mouth around words, giving them a flourish that resounds in your ear. That vocal skill is just a part of what makes his performance in the title role of “Cyrano de Bergerac” so engaging and funny.
Kline stars in a filmed version of his recent Broadway foray as Cyrano, Edmond Rostand's classic comedy in an adaptation by Anthony Burgess. It airs at 8 p.m. Wednesday night on PBS (WEDU-Ch. 3, WGCU-Ch. 30) and again at 1 p.m. Thursday on WEDU.
He plays a philosopher/poet/swordsman who is in love with his cousin, Roxanne, but he’s afraid to tell her of his feelings because of his large nose (which generates lots of humorous comments). Roxanne is in love with the handsome but tongue-tied Christian, who recruits Cyrano to write love letters on his behalf, not realizing Cyrano’s true feelings for Roxanne.
Kline dashes about the stage, engaging in duels with tongue and sword, impressing everyone around him, as well as the audience. He is joined on stage by a radiant Jennifer Garner, who made her Broadway debut as Roxanne (but is probably best known for starring in TV’s “Alias” and for being married to Ben Affleck). Daniel Sunjata, who has starred on “Rescue Me” and on Broadway’s “Take Me Out” has the right combination of charm and nervousness to make him just right for Christian.
The production is staged by David Leveaux with great flair that makes it come to life, even across the television screen. -
Sunday, January 04, 2009, 9:42 pm
Stanley shares stage with 'Idol' winner Ruben Studdard in Sarasota
“American Idol” winner Ruben Studdard may be the star attraction of the 30th anniversary tour of “Ain’t Misbehavin’,” but the show’s final performance in Sarasota Sunday night offered an extra local boost.
Teresa Stanley, who grew up into a powerhouse performer during her many years on stage in Sarasota, joined the cast for a lively and stellar performance. Stanley is an understudy to two of the women and the production allowed her to go on for Patrice Covington in the last of the three Sarasota shows.
She joined Studdard, David Jennings and two other one-time “Idol” contestants Frenchie Davis and Trenyce Cobbins in a production that wonderfully recreates the original Broadway show that made a Tony Award-winning star out of Nell Carter.
“Ain’t Misbehavin’” is a revue saluting the musical genius of Thomas “Fats” Waller, a singer, piano play, composer and band leader in the 1920s and 1930s. There’s no story, but the songs capture the feel of the era and the vibrancy of Harlem nightclubs.
Thankfully, director (and co-creator) Richard Maltby Jr. and choreographer Arthur Faria haven’t changed the show to further highlight Studdard and Davis. Instead, they are well suited to the roles, though they certainly stand out in what is truly an ensemble show.
Studdard’s warm soothing voice perfectly suits such the songs and he reveals a sense of humor that rarely was seen on his way to “Idol” victory.
Davis, whose tenure on Davis was cut short by scandal, has a rousing voice and a personality to match, and Trenyce Cobbins is a delight in her every gangly and sultry move. Jennings is sinewy singing “The Viper’s Drag” and providing a nice balance with the other performers.
Stanley just continues to impress. In Sarasota, she played the role Davis now has on stage, but she adapts her voice to the higher notes required for Covington’s role. She is alternately sultry or cute and giggly, and like Davis, knows how to use her body for sexual and comic effect. It was nice to see her back home, even if only for a weekend. -
Tuesday, December 23, 2008, 12:13 pm
NYT review of Sarasota Ballet
http://www.nytimes.com/2008/12/23/arts/dance/23asht.html?pagewanted=2&_r=1&sq=sarasota%20ballet&st=cse&scp=1
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Tuesday, December 16, 2008, 3:10 pm
Cliff Roles takes over role in Players' 'Little Women'
There will be a new face in the cast for the final performances of "Little Women" at the Players Theatre this weekend.
Beginning Friday, radio talk show host and actor Cliff Roles is taking over the role of Professor Bhaer in the musical version of the Louisa May Alcott story.
Due to a family emergency, Richard Russell will be unable to continue in the role of the German professor who befriends the eager young writer Jo March.
Roles, who hosts the daily Talk of the Sun Coast show on WSRQ-1220 AM, has been active in the area’s community theaters in such shows as “Run For Your Wife,” “The Sound of Music,” “Candide” and the annual Got-a-Minute productions. He also has performed at the Golden Apple Dinner Theatre.
He’ll be joining a strong cast that includes Jennifer Baker as Jo, Nancy Apatow as Marmee, Libby Fleming as Beth, Leah Page as Meg and Lauren Smith as Amy.
“Little Women” continues through Sunday at the Players Theatre, 838 N. Tamiami Trail. Tickets are $23, $12 for students. Call 365-2494. theplayers.org. -
Friday, December 12, 2008, 3:27 pm
Musical ‘Little Women’ sings after awkward start
The Women Nancy Apatow, center, plays Marmee in "Little Women" at the Players Theatre, with (clockwise from upper left), Leah Page as Meg, Libby Fleming as Beth, Jennifer Baker as Jo and lauren Smith as Amy (COURTESY PHOTO / TED MACE)During the first half of “Little Women,” you may wonder why anyone thought to create a musical stage version of Louisa May Alcott’s classic novel.
Or, you may wonder why the creators of this short-lived Broadway musical chose to put so much focus on the blood and guts stories written by Jo.
The show opens with Jo in New York, sharing her latest story at a boarding house with her landlady and a fellow tenant, Professor Bhaer, who seem less than amused by her tale.
Eventually, the show moves back to Concord, Mass., where Jo and her sisters, Meg, Beth and Amy, and their mother, Marmee, struggle to carry on while Father is fighting in the Civil War.
By the second act, the sisters, their beaus, health scares and family traumas bring the focus where it needs to be and may well stir a tear or two.
The show finally becomes emotionally satisfying in the way librettist Allan Knee and songwriters Jason Howland and Mindi Dickstein show the closeness between Jo and Beth, the way Jo grows up and discovers herself as a writer and Jo’s growing feelings for Professor Bhaer.
The problems evident in the Players Theatre production stem from the show itself. There are a few pleasing songs amid the other forgettable ones, and the storytelling leaves something to be desired in the first half.
But director Carole Kleinberg has found a way to make something of it. She has gathered a cast of engaging performers who create some memorable performances and put strong voices to the score under musical director Joyce Valentine. And choreographer Jim Hoskins' dances move in a gentle style to fit the era.
As Jo, Jennifer K. Baker makes an auspicious local debut as a spunky, determined and head-strong young woman, the qualities that have made her an inspiration to generations of young girls. You hear that in her first act closing song “Astonishing,” in which she dreams of her future. She also shows Jo’s softer side during a sweet duet called “Some Things are Meant to Be” with Libby Fleming as Beth.
Leah Page is endearing as Meg, the oldest sister, who falls in love with a soldier and longs for a traditional life.
Lauren Smith is suitably obnoxious as the jealous Amy, and she matures nicely into a society girl under the tutelage of her demanding and bossy Aunt March (played by Teri Lyons Duncan).
As Marmee, Nancy Apatow exudes a sense of warmth pinched with nervousness over her husband’s absence. She does nicely with two of the show’s prettiest songs, the touching “Here Alone,” and the second act “Days of Plenty.”
Richard Russell is effectively formal as the German Bhaer, but is charming as he expresses his feelings in “How I Am” and his duet with Jo, “Small Umbrella in the Rain.” Leslie Dawley plays John Brooke as a confident and caring man, and sings a nice duet with Page called “More Than I Am.”
Colin Cook is an almost over-eager Laurie; Jack Eddleman plays Mr. Laurence with an expected crustiness that melts as the show progresses.
Kaylene McCaw’s costumes seem to fit the era, but aren’t always flattering on the performers. Michael A. Gray’s set leaves an open space down front for the play acting of Jo’s stories and dance routines.
“Little Women” may work best as a book or a film, but fans of the novel and newcomers may discover a partly charming alternative in this musical. -
Tuesday, December 09, 2008, 4:24 pm
Chill hits Manatee Players concert series
Chilly weather is forcing a postponement of the last of four Unfinished Spaces chamber music concerts at the future home of the Manatee Players.
A woodwind group was scheduled to perform at 6 p.m. Sunday in the unfinished shell of the Manatee Players Performing Arts Center along the Manatee River in downtown Bradenton.
But the theater said that some musicians were concerned about the cool temperature and how it would affect both their instruments and their playing in the unheated building.
The theater said the concert will be rescheduled for spring. The program was seen as a way to show off the new space to potential audiences and donors. The theater is still trying to raise millions of dollars to complete the center.
For more information call 758-5875. -
Tuesday, December 09, 2008, 4:07 pm
Jay Leno moving to prime time
NBC is trying something drastically different to get ahead in a wildly changing media world by putting Jay Leno on five nights a week in primetime.
In a news conference with reporters Tuesday, the network officially announced what had been widely reported earlier in the day. Leno will headline an hour-long talk and comedy show at 10 p.m. Monday through Friday beginning next fall.
Under terms of a bizarre agreement five years ago, NBC agreed to get Leno to step down from his top-rated “Tonight Show” and turn it over to Conan O’Brien, who has been winning fans to his “Late Night” show at 12:35 a.m.
Who knew at that point, that Leno would still be the ratings champ? And that worried NBC executives, who didn’t want to lose Leno to Fox, ABC or other companies that might create a new late-night competitor. They wanted to keep him in the fold.
“There were reports that I was going to ABC, but they were started by a disgruntled employee, me,” Leno said Tuesday. He was all smiles at the news conference Tuesday.
He said his new show will be similar to “The Tonight Show,” but with more newsmakers and more comedy routines, and probably no desk. “That’s part of the Tonight Show,” he said.
Leno said that over the years many people have told him that they wished he was on earlier. Now he will be.
But what will that mean for Conan, who will be expected to hold up the ratings for the long-running ratings champion in late night? Could this move be a boost for David Letterman on CBS, who had hoped to succeed Johnny Carson as “Tonight Show” host? Will people have tired of late-night talk after watching Leno’s monologue before the 11 p.m. local news? Will people even watch Leno’s show?
Leno and NBC officials said they don’t expect to match the already declining ratings of scripted 10 p.m. shows, like “CSI: Miami” or “Law & Order: SVU.”
“Network shows are on for 22 weeks and we’ll have original programs,” Leno said.
Mark Graboff, co-chairman of NBC Entertainment and Universal Media Studios, said the announcement accomplishes two goals. “For two years, we’ve been focused on how we’re looking to change the way television works in this new media landscape and keeping Jay Leno in the NBC family. The planets aligned perfectly with the right show, the right time and the right person.”
Graboff and Ben Silverman, the other entertainment co-chairman, said that because Leno’s show will cost less than scripted dramas, there is a potential for greater profit even if ratings aren’t as high as an episode of “ER.”
Will you watch Leno at 10 p.m.? Do you watch him now? -
Monday, December 08, 2008, 4:12 pm
Richard Chamberlain reigns over 'Spamalot' tour
It's good to be the king Richard Chamberlain will star as King Arthur in "Spamalot" when the musical returns to Tampa in March. (COURTESY PHOTO)Paging Dr. Kildaire! Paging Dr. Kildaire!
When Monty Python's "Spamalot" returns to the Tampa Bay Performing Arts Center in March, Dr. Kildaire will become the King.
Richard Chamberlain will play King Arthur in the touring production of the Tony Award-winning musical based on "Monty Python and the Holy Grail."
Though he is best known for his television roles and for such miniseries as "The Thorn Birds," "Shogun" and "Wallenberg," Chamberlain has toured in numerous musical productions, including "My Fair Lady" and recent productions of "The King and I" and "Scrooge."
"Spamalot" returns to Tampa March 3-8. For ticket information call (800) 955-1045 or click here. -
Saturday, December 06, 2008, 3:28 pm
Solo 'Wonderful Life' triggers memories at Asolo
A cast of dozens for one James Leaming plays George Bailey and all the other characters from the movie “It’s a Wonderful Life” in the Asolo Rep’s “This Wonderful Life.” (COURTESY PHOTO / FRANK ATURA)Frank Capra’s 1947 film “It’s a Wonderful Life” is as much a part of the American celebration of Christmas as Santa Claus and decorated trees. It is ingrained in our memories more than we may realize.
The film about how an angel helps George Bailey appreciate everything he has in his life can trigger tears no matter how many times you watch. And try hearing a tinkling bell without thinking that an angel just got his or her wings.
You’re likely to shed a few tears watching James Leaming recreate the entire movie all by himself in Steve Murray’s stage adaptation called “This Wonderful Life” at the Asolo Rep.
Stage versions of popular films often pale in comparison because they don’t measure up to our memories of the movie.
But “Wonderful Life” plays right into those memories and provides an acting tour de force for Leaming, who plays all the characters as portrayed by the film actors. He even generates some of the needed sound effects.
Leaming does an awesome job impersonating James Stewart as George, from his hesitating speaking style, to the way he taps his spread fingers together while contemplating a decision. He also gives you a clear sense of Donna Reed, as George’s wife, Mary, and Lionel Barrymore, as the greedy banker Henry Potter, whose mission is to take over Bedford Halls and the Bailey Building and Loan company.
Some of the voices are less convincing or distinct than others, but Leaming makes you believe they are there in front of you, even when he is playing both sides of a conversation.
Jeffrey W. Dean’s set doesn’t try to capture everything that is on the film. His set pieces are impressive suggestions of buildings, offices and George’s home, allowing Leaming to take you places and let your mind fill in the blanks.
Instead of just a solitary figure, you sort of get the sense of crowds of people on stage, whether it is a crush of homeowners wanting to cash out during a bank run, noisily celebrating the holidays at Martini’s bar, or the high school dance where George and Mary accidentally fall into a pool.
You can see all that, even though the stage features only a desk with a phone and a tin cup (to help create the sound of the person on the other end), a metal staircase that Leaming slides down or dives off when needed, and a table that is used for everything from a dinner scene to Potter’s office. (Leaming creates the sound of forks and knives scraping against dinner plates by tapping a spoon on a plate with his foot.)
There are also some dangling light bulbs that suggest the angels who send the misbegotten Clarence back to earth to help a depressed George. If Clarence is successful, he might finally get to earn his wings.
Under Peter Amster’s direction, every simple movement or light cue creates images of what is going on around George. And I’ve rarely seen a snow fall look so realistic on stage, thanks to Aaron’s Muhl’s muted lighting.
Leaming runs about the stage with purpose, occasionally commenting on things that may need explaining to the youngest audience members. He sets things up and then takes you on a joyous ride through George Bailey’s wonderful life. -
Friday, December 05, 2008, 10:55 am
"Willy Wonka" is sweet and sticky at Manatee Players
The Candy Man Heath Jorgenson stars as a strange candy maker in "Willy Wonka and the Chocolate Factory" at the Manatee Players. (STAFF PHOTO / DAN WAGNER)The Manatee Players ratchets up the charm level for a holiday treat of the candy variety with “Willy Wonka and the Chocolate Factory.”
It’s a stage version of the 1971 film about a bizarre candy man who invites five children from around the world to tour his usually closed factory. One of them may have the chance to inherit the place.
Leslie Bricusse and Tim McDonald have updated the Roald Dahl’s screenplay (based on his book “Charlie and the Chocolate Factory”) to include references to cell phones and job outsourcing. There also are some songs not featured in the film, along with the favorites “Pure Imagination” and “Candy Man.”
It’s not easy turning such a familiar fantasy film into a stage show. On film, your every candy-wrapped dream came to life. At the Manatee Players, you get suggestions of the sugar-coated confections in the colorful set created by Donna Buckalter. The technical staff and director Jared Walker attempt to create images of children being sucked into a chocolate river or being turned into inflated blueberries, but the transitions aren’t as smooth as they could be.
Walker makes the show as much of a spectacle as he can. He is aided by Heath Jorgenson as Willy Wonka, who seems to delight in performing with and taunting the children around him, especially the obnoxious one who will be dipped into a candy nightmare.
As the show’s central figure, Charlie Bucket, Brandon Reid has a lot of charm, and he makes you believe in the goodness of people.
The other candy factory visitors do a good job of making you want something bad to happen to them, like the bubble-gum-chewing Violet Beauregarde played by Ally Rahn, the demanding Veruca Salt played by Lilianna Solum, and the television-warped Mike Teavee played by J.D. Willmott-Hook. Nicholas Drivas as the over-eating Augustus Gloop plays his part with a lot of enthusiasm, but it’s difficult to understand what he’s saying or singing.
That’s actually a problem throughout the show, especially when the orange-faced Oompa-Loompas dance and stomp across the stage, issuing foreboding lyrics that are unintelligible over the pre-recorded musical accompaniment.
The show has a more contemporary style than the original film, with video sequences as the children are interviewed about their lucky visit. Costumer Deborah Kelly Winn fills the stage with a broad array of colors that match Buckalter’s set, and elements of Lizz Klein’s lighting.
Some children sitting around me were obviously captivated by what was happening on stage, which suggests this could be a good theatrical holiday alternative for families. Less expectant adults may also be charmed, though to a more limited degree, because of the sweetness of the show’s message, even if some of the magic is missing. -
Wednesday, December 03, 2008, 11:33 am
Asolo Rep announces acting company
Because of the timing of the announcement, there were few surprises Tuesday night when Producing Artistic Director Michael Donald Edwards announced the acting company for the Asolo Rep's 50th anniversary season.
Anyone who has attended a performance of the fall hit "Barnum" has already seen the season program book, which included most, but not all of the actors who will be performing in the winter and spring repertory schedules.
Because this is a big anniversary season, it seems appropriate that there are a lot of familiar faces, beginning with the what many consider the resident acting company, but more formally called associate artists.
David Breitbarth, James Clarke, David S. Howard, Douglas Jones and Carolyn Michel are all back this season. Jones is now the old-timer in his 23rd season. Howard and Michel are in their 18th seasons and Breitbarth and Clarke are in their 13th seasons. Missing this year is the Asolo's longest-serving company member Bradford Wallace, who we're told is focusing his time preparing for some of the anniversary celebrations planned during the season.
Returning to the acting company this year are Bryan Torfeh, for his third season, FSU/Asolo Conservatory graduate Kris Danford for her third season and Kraig Swartz for his second. Newcomers to the company are John Windsor-Cunningham, Dan Donohue, Mercedes Herrero and James Leaming.
Ann Morrison, a favorite Sarasota actress, will also be part of the season for the first time in many years. She will be part of the cast of Jeffrey Hatcher's "Murderers."
The balance of the company, as usual, is made up of third year conservatory students Elisabeth Ahrens, Brent Bateman, Heather Kelley, Demario McGrew, Steven O’Brien, Kevin O’Callaghan, Randolph Paulsen, Jason Peck, Michelle Trachtenberg and David Yearta.
The actors will be seen in productions of “The Imaginary Invalid,” “Inventing Van Gogh,” “The Winter’s Tale,” “Visiting Mr. Green,’ “Murderers,” “The Devil’s Disciple” and the world premiere of Jason Wells’ “Perfect Mendacity.”
the casting of the season's final show "Souvenir," was not included in Tuesday's announcement. Edwards had previously announced that Judy Kaye, who starred in the show on Broadway, would return to the role at the Asolo, as she has at several other regional theaters. But her name and the production team are not included in the season brochure.
For more information on the Asolo Rep, contact 351-8000 or click here. -
Friday, November 21, 2008, 9:30 pm
Players try something different with 'Blue Leaves'
A Crazy Night Richard LeVene, bottom, with Judy Phelan and Ellie Pattison star in "The House of Blue Leaves." (COURTESY PHOTO / PLAYERS THEATRE)Since he took over as artistic director, Jeffery Kin has been working to expand the kind of programming offered by the Players Theatre, which has been focused on big musicals.
His SNAP program (Something New at Players) takes on a new life with this weekend’s production of John Guare’s moving and funny “The House of Blue Leaves.”
Directed by Dan Higgs, the production is sometimes hit and miss and doesn’t achieve the play’s full emotional impact, but there are enough pleasurable moments and performances to make it a frequently winning event.
The play, set on a day in 1965 when Pope Paul VI visited New York City, is about a bunch of misfit people who are lost in their own worlds and trying to find something better for themselves.
The focus is on a trio of such people, beginning with Artie Shaughnessy, a zookeeper in New York’s Central Park who dreams of becoming a celebrated songwriter in Hollywood. His wife, Bananas, is a schizophrenic. Artie loves her, but wants to send her to a mental institution, in part because he’s gotten involved with his downstairs neighbor, Bunny Flingus, who is more than ready to push Bananas out the window or off the roof.
Richard LeVene captures a sense of Artie’s dream-like nature, his fantasy of stardom that he hopes will become real even though we know it never will. He struggles to convey that same eager confidence when he’s at the piano singing his songs, which sound remarkably like familiar tunes, such as “White Christmas.”
Judy Phelan, as Bananas, helps you to see the desperation in the character, who is probably the sanest person in an apartment full of zanies, even if she barks like a dog and licks Artie’s hand at suppertime. Phelan speaks in a sort of sing-songy, repetitious-sounding voice that makes it a little more difficult to appreciate the character fully.
That’s never a problem with Ellie Pattison, who is a delight from her first entrance to her departure. She talks a mile-a-minute with lots of energy about things you don’t necessarily care about. But you can’t stop listening. Pattison makes her a live-wire who is simultaneously repulsive and attractive and she commands your attention whenever she’s around.
The cast also includes a commendable performance by Nicole Samsel as a movie star with some problems no one is aware of, which trigger a romp of physical comedy in the second act. Richard Brandt conveys part of the demented lunacy that is Artie’s son, Ronnie, and Clio Mason has an exuberant style as one of three nuns who find their way into Artie’s living room.
That living room, designed by Kirk V. Hughes, looks well-lived in and features the kinds of touches, such as movie-star photos, that tell you enough about the life Artie and Bananas live and their economic status. Kaylene McCaw’s costumes do the same. The designers have done well on what must surely is a limited budget.
The production could offer more laughs, more insight and more emotion, but it does manage to dig a little below the surface and get you chuckling and thinking.
