08 June 2004
Laundry and Bourbon/Lonestar
Attended the lab show presentation of Laundry and Bourbon and Lonestar at the Ark Theatre in their new space at 1647 S. LaCienega Blvd.
Really pleased for them with this new space and I can imagine that this pair of shows--when fully-mounted later this summer--will really shine there. But I really want them to re-hang the lights. The whole audience was lit from behind, and I later learned that this was a "last-minute, gotta get it hung up for the mainstage show" choice (that sometimes results in blown fuses when an actor plugs in a cell phone for charging backstage). Okay... that's a work in progress. All is forgiven.
My arm candy du jour was brother Bill Lippincott. The shows were presented as the two one-acts they are, the first directed by fellow Atlantan Karen Tiegren, the latter by Erik Engman. Best performances came from Tracy Eliott, Shelley DeLayne, and Michael Holmes (who, quite frankly, I did not recognize from his headshot, which is a good three years old).
My main notes for Laundry and Bourbon have to do with pacing. All three actors could've taken more time, added more beats, held more moments to strengthen this piece. There was also a bit of in-and-out of accents going on, except for Shelley DeLayne, who just really did everything right with a hysterical role. She's just so great. Always is. Amazing. The "Girls Gone Wild"-style fight scene was one of the funniest things I've ever seen. As Tracy Eliott retells it, "I was coached thusly: 'Where you see a hole, stick an appendage.' It works." Amen!
As for Lonestar, the pacing was much better, but one actor (Fredric T. Rooney) was totally miscast. I've seen his work before and I generally like him (in a Kevin Smith sort of way). But we've heard so much about this character before he comes on stage (and frankly, we're all picturing an Ed Begley Jr. type) that it's a hard stretch. Michael Holmes' voice just booms with authority. Really good stuff. The fight scene was a little too "by heart," but really, this was a good one-act. Both were.
A night-sun helicopter chase on The 10 in the last five minutes of the last piece reminded us all (cast included) that this is an imperfect little space (as most LA theatre spots are) that could benefit from sound-proofing and better air circulation. But it's so early in the life of the Ark in its new space that I'm not worried at all.
Good job, all. I know it's only going to be better and better in the mainstage version!
Really pleased for them with this new space and I can imagine that this pair of shows--when fully-mounted later this summer--will really shine there. But I really want them to re-hang the lights. The whole audience was lit from behind, and I later learned that this was a "last-minute, gotta get it hung up for the mainstage show" choice (that sometimes results in blown fuses when an actor plugs in a cell phone for charging backstage). Okay... that's a work in progress. All is forgiven.
My arm candy du jour was brother Bill Lippincott. The shows were presented as the two one-acts they are, the first directed by fellow Atlantan Karen Tiegren, the latter by Erik Engman. Best performances came from Tracy Eliott, Shelley DeLayne, and Michael Holmes (who, quite frankly, I did not recognize from his headshot, which is a good three years old).
My main notes for Laundry and Bourbon have to do with pacing. All three actors could've taken more time, added more beats, held more moments to strengthen this piece. There was also a bit of in-and-out of accents going on, except for Shelley DeLayne, who just really did everything right with a hysterical role. She's just so great. Always is. Amazing. The "Girls Gone Wild"-style fight scene was one of the funniest things I've ever seen. As Tracy Eliott retells it, "I was coached thusly: 'Where you see a hole, stick an appendage.' It works." Amen!
As for Lonestar, the pacing was much better, but one actor (Fredric T. Rooney) was totally miscast. I've seen his work before and I generally like him (in a Kevin Smith sort of way). But we've heard so much about this character before he comes on stage (and frankly, we're all picturing an Ed Begley Jr. type) that it's a hard stretch. Michael Holmes' voice just booms with authority. Really good stuff. The fight scene was a little too "by heart," but really, this was a good one-act. Both were.
A night-sun helicopter chase on The 10 in the last five minutes of the last piece reminded us all (cast included) that this is an imperfect little space (as most LA theatre spots are) that could benefit from sound-proofing and better air circulation. But it's so early in the life of the Ark in its new space that I'm not worried at all.
Good job, all. I know it's only going to be better and better in the mainstage version!
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