AISLE SAY Florida

AMERICAN ASSOCIATION OF
COMMUNITY THEATRE WORLDFEST 2014

Festival in Paradise at Venice Theatre
(Murray Chase, Artistic Director)
VT Mainstage and Pinkerton Theatres
140 W. Tampa Ave., Venice, 941-488-1115
June 18-21, 2014

Reviewed by Marie J. Kilker

OUR DAILY BREAD
(Argentina)
La Compasiva Teatro
by and Starring Mario Marino & Gabriela Pages
Directed by Alfredo Badalamenti

As if transmitted from a silent movie, but in vivid color(via background curtains, costumes, and make-up), a couple re-live their relationship from meeting to old age. It begins with a flirtation, symbolized by flicks of water toward her from a pie plate he holds and her response from her plate with water. On a table at center, the two, having wed spiritually through a dance-like ritual, unite their selves as well, kneading flour and water into the bread of their lives and love. They fashion it into their child, whom they rear with loving pats and harsh pulls as needed. As time goes by, difficulties occur and their manner changes in relation to each other, shown by how they treat the bread, by changes in their clothing, by assuming masks. They dance differently, away from the table. Their attitude: sexy. When she goes back to the table, he follows. They doff their masks and have to back up, really and symbolically, to get together.They will be able to sprinkle each other with flour and water once again in their old age in front of the table.

Every moment of 65 is perfectly presented by the expressive stars―yes, stars―of the drama of a lifetime, under a director who guides making seeming simplicity so powerful. The AACT WorldFest could get no better than this in '14 or, it would seem, any other year. Worthy of a spot on Avenue Corrientes (Buenos Aires' Broadway)! Bravo, Argentina!

THE WINGED
(Armenia)
Yerevan State Puppet Theatre
Adapted from a story by Gabriel Garcia Marquez
Directed by Zaruhi Antonyan
Artistic Director: Ruben Babayan
Producer: Artashes Babayan

From a floating cloud miraculously drops an injured bird-like creature with great white, densely feathered wings but man's hands, legs, feet. Typically Armenian puppetry features a mask for his face appearing at the top of a black cloth-robe body with actor-manipulator inside. The creature provokes consternation from the crowd, townspeople portrayed by a number of masks under a single large robe with three sets of legs. Two cage him in a hen-house, thinking to show him as a freak for money. Even though he helps cure a young child of an illness, her mother is but momentarily grateful. Like the other villagers, she doesn't want the miraculous creature mixing with her offspring, who controls a (toy?) globe. And he does seem to get out and about more than his keepers or crowd wish. Besides, they have a “Twitter attention span” that leads them to focus on a giant tarantula-like insect who takes center stage. How both the miraculous and the mundane will end up creates ultimate suspense.

The story as presented with masks, costumes, and changing lighting is obviously Fraught With Symbolism, though not all the symbols are clear all of the time. The plot could have used an occasional few words or maybe projected images. Because the winged creature never leaves the stage and keeps the same sad mask, he can't express completely certain moments that aren't negative for him. Still, he does surprisingly well in his happy interactions with the child. It's hard to distinguish his keepers from the crowd, since their fine individualized masks are all atop the same robe. Much credit, though, goes to designer Alina Aleksanyan's giving director Zaruhi Antonyan space and tech work to enable achievement of his vision. Actors Anna Petrosyan, Harutyun Avalyan, Liana Arestakyan, Inna Hakhnazaryan, Davit Sargsyan move artfully under Aram Aghajanyan's scene-defining lighting. Suren Sargsyan is responsible for the indispensable sound, as is Hayk Hakobyan for overall tech work. The troupe shows how much can be achieved by so few artists.

THE SERVANT OF TWO MASTERS
(Australia)
Lieder Theater Company
by Carlo Goldoni
Adapted by Nick Enright & Ron Blair
Directed by Chrisjohn Hancock

Commedia del arte has an Australian flavor with many DownUnder lazzi (jokes, games) as a cast of nine's romantic antics get all mixed up with a tenth's (Josh Waters' very funny Truffaldino) desire for money and a buxom maid (Melissa Chandler's Smeraldina, a good match for him). Eighteen century Goldoni proves to be right up to the times with lovers' mistaken identities and their consequent tiffs. But at least, they'll end up according to their own desires, not as planned by bossy father Pantalone (stern Martin Sanders). Truffaldino acquires two masters (the second, Florindo, being spur-of-the-moment) because he thinks Florindo will never meet first master Pantalone. Wrong! Most of the mistakes stem from Cara Jeffery's clever Beatrice imitating her brother Federico, who died. He'd been betrothed to Clarice (pretty, romantic Amanda Aitken), but his reported death gave father Pantalone rights to give her to Silvio (Shane Daly, a deserving swain). When Beatrice's Federico reappears, the craziness really begins because, as her real self, she's be suited to aristocratic Sean Curle's Florindo.

The craziness keeps Truffaldino, Steve Routley's Brighella, and Pulcinellas-zannies Amelia Whalley and Ben Martin busy. Lazzi include Truffaldino using a salad sandwich to seal a letter (ich!), beating a rubber duck to death, pitching a pie to a face. One always assumes, correctly, that director Chrisjohn Hancock will straighten out all the complications to get a happy ending. Nicely reached.

KANJUSH or THE MISER
(Bangladesh)
Loko Naatyadal Bangladesh
Adapted by Tarioq Anam Khan from Moliere
Directed by Liaquat Ali Lucky
Produced by Mohammad Liaquat Ali Lucky

Music and dance in Middle-Eastern manner highlight aspects of romance and intrigue in a presentation of Moliere's classic story of a great skinflint turned into a potentate-like scheming father. The comedic lines are still followed: The miser wants to wed off his daughter for money to a rich old man while he himself gains a rich widow. All for typical Bangladesh names and styles of movement and song. Of course, despite all the machinations, love triumphs . The cast includes: Sawdesh Ranjan Das Gupta, Ziaudoin Sipon, Rubel Shankar, Azizur Rahman Suzan, and Sucheta Sobnom as principals. Abu Bakar Bakshi represents the Police. Supporting players include Chaklader Mustafa Al Mashud, Poly Kuzur, and Khadidiza Mostari Maheen. The set had all the doors needed for a farcical treatment of the theme of greed and the actions of lovers and others to undermine it.

BABEL RAP
(Canada)
Theatre Ensemble
Starring Jeff Bastien and John Nabben
Directed by Ron Cameron-Lewis

I was not able to see most of this play because of schedule conflicts. What I did see and hear (quite loud and mostly musical) was while standing at the back of the small Pinkerton . This was energetic and much appreciated by the audience. It was obvious that the couple of men in bowlers (perhaps suggesting, not tramps, but still the main players in Waiting for Godot ) were having a hard time building a Tower of Babel to reach heaven. But one was doing most of the work. Thus, arguments. According to the program, today's attempts at “world structure” and to “reach heaven” are compared to the biblical Babel attempt.

Jason R. M. Saunders is composer and sound designer. Stage manager: Carol LeNestour, assisted by Rebecca Klein. Theatre Ensemble also sent Rita Huschka and Anne and Mark Mooney as crew for all the tech arrangements.

THE MOUSE'S DAUGHTER'S WEDDING
(China)
Henan Qu Opera Troupe
by Chua Soo Pong, also Artistic Adviser
Directed by Li Jie

A musical in the Chinese Opera style, may be performed before a simple curtain but sparkling costumes, elaborate hair styles and make-up distinguish the humorous characters.

Most are mice expressive enough to make Disney ones eat their heart out. The story involves an affair of the heart. Impressive Fanag Su Zhen as Mouse Mama in widow's shiny black wants to pawn off her daughter Zhu Zhu (pretty in pink-and-white, spirited Liu Yan Li) to her richest suitor. That's Yang Shuai Xue's dressed-to-the-teeth white Cat, who can hardly wait to get his paws on her. Zhu Zhu, though, is in love with White Mouse, played with determination by Zhang Zhuan She. The broad physical action includes dance and often cuts to chases involving Sun (bright Ma Rui) vs. Black Cloud (dark-mannered Hou Qing Xiang) along with Wind (Chang Xiang Ke) and Wall (Mao Sheng Li).

Though performed in Mandarin, the mice squealing and the cat meowing or wickedly laughing in addition to rich mime convey meaning without need of translation. Music and dance range in styles, of which the most surprising is flamenco that turns Cat into a bullfighter vs. White Mouse. The entire show merits the adjectives “short and sweet” (45 mins.) but with a wrap-up of lasting love. Credit as Leader of the enthusiastically received troupe goes to Chang Song. Stage Manager is Zhang Fu Zhong.

POP!
(Denmark)
Black Box Pangea
Idea & Concept by Black Box Pangea
Directed by Jeremy Thomas-Poulsen

A multi-media approach to pop music composed by Matilde Katinka Bocher, an explosive performance , well lit by Martin Braad, seems to document how such music has affected modern life and individuals. Visuals appear to me about as important as the music. Lyrics, delivered in English, avoid being over mic-ed, thanks to Morten Frank's sound design. Jeremy Thomas-Poulsen has directed actor-dancers Emilie Bendix and Rasmus Rhode through every human phase. Stage Manager: Pernille Rosa Thomsen. Administrator: Tine Presterud.

NOAH AND THE FLOOD
(Germany)
Studio-Buhne Essen
by Franziska Steiof
Directed by Stephan Rumphorst

Highly humorous but not without provoking thought, Germany's festival entry is a smashing success at getting fine points of its famous story across. It matters little whether one understands German or not except in “getting” a few jokes, mainly uttered by Johannes Brinkmann as authoritative Noah. With Wife, played with infectious charm by Kerstin Plewa-Brodam, Noah comes onstage giving orders. Loaded with luggage and tote bags, she follows and basically sets the stage with their contents. Although Noah reads God's directives to build an Ark, Wife puts the bulk of it together with brooms, large pieces of cloth, ropes. She hangs up lanterns, filled bottles, useful implements; he mostly approves.

Stuffed animals are drawn out and paired up, with insects appearing on skins and bits of earth to be swept up and in with larger animals. It's a tough job and, when done, the couple is lucky to have umbrellas. Afloat, they're very tired but appreciative and still loving by the time a dove appears with an olive branch and they can stretch their legs on land. It's no stretch at all to say that the beautifully directed and outstanding performers stretch the audience's imagination and richly deserve acclamation.

POETRY BUTTERFLY
(Latvia)
Drawing Theatre
Conceived and Directed by Varis Klausitajs
Starring Elina Gait Jukevica, Dancer, and Rihards Zalupe, Musician

Panels in light shades of rose, blue, and green surround the backdrop of the stage where Storyteller sits down-center with a huge book. A white butterfly comes from the pages and the supple Elina Gait Juevica brings it to a panel. It will adorn the first of the pictures she will dance to and draw with brush of water to bring out darker colors. (Anyone who used paint-with-water books as a kid instead of using colored wax crayons on black and white pix will be familiar with the medium used by Drawing Theatre.)

Accompanied and often enhanced by Musician Rihards Zalupe at the side of the stage, using multiple instruments on a major xylophonic-type one, the Dancer brings her butterfly to each panel in turn. She makes each a story-board in which she also takes part, as when she sits under a painted umbrella in painted rain. Confetti and scarf or ribbons help her in her swirling like and with the butterfly until she finally returns to the book, enclosing the butterfly, to be let fly at the next opening. Though the panels fade, the pictures they contained seem indelible within the memory left by the Latvian theatre's carefully directed (by Varis Klausitajs) performance art. Credit for the playful music goes to Rihards Zalupe; choreography, to Elina Gait Jukevica; stage design, to Hiroko Oshima; lighting, to Rihards Gulbis; costumes, to Gerda Zandersone.

LUCKY, THE HERO!
(South Africa)
Africa Centre for HIV and AIDS Management Educational Theatre Co. at Stellenbosch U.
Adapted by the Full Cast
after an Original Script by Vicky Davis
Directed by Jimmie Earl Perry

Featuring music by Ricardo De Ruiter and Natascha September, Lucky becomes a hero after he learns he is HIV positive. He (played sensitively by De Ruiter) has made a heroic decision to be tested. He augments this with another decision to learn from medical personnel and social worker what he must do to live with his problem. And he follows through! He does so in the face of possible rejection, of jibes from a man he thought his best friend, and of those―including women in his part of the world―who think they can break the rules imposed by an epidemic. He becomes a community hero instead of a hermit or selfish heavy. Performed in both English and Afrikaans, the humorously serious musical is a heroic manifestation of the work being performed by an outstanding agency fighting the spread of HIV and AIDS and their otherwise likely negative consequences.

The supportive cast includes Olivia Adams, Christy-Ann Julies, Zenani Mithi Tokkie Speelman, Octavian Sebybo. Additional swing roles are performed by Aine De Vries, Natasha September, and Florance Vermeulen. Swinging as well as heroic, indeed!

CROWNS
(U.S.A.)
Delta Center Stage, Greenville, Mississippi
by Regina Taylor
Directed by Margaret Carey McCray
Music Direction by Oliver Johnson

Gospel Musical Crowns features six women from the Missippi Delta who tell their individual stories of the hats they wear to church, their history, and their personal meaning to each. They also sing together to show the symbolism of hats from the days of slavery onward. The recreation aims to affect a sulking young girl from the city whose relatives feel she needs a hefty dose of African American history and pride. Though rather weakly played here, she does come to see the light. What the older women lack in force also, they make up for by fine harmonies and some stirring gospel solos. Simon Henderson is the Man who guides them along with Jaribu Hill as Mother Shaw as they sing guidance to the young girl. Simplicity keys the appropriate choreography by Simon Henderson.

The rather large cast (J. Hill, R. Frieson, W. Johnson, I. Norfleet, E. Jones-Williams, A. Harden, S. Henderson) includes pit vocalists (C. Harden C. Bell, G. Howard) and musicians on stage. O. Johnson and percussionist Johnny Macon comprise the latter, with control of all sound under Tim Bixler and lighting by Sonya Bixler. Sonya Bixler and cast, aided by art director Charlene Louwerens, are responsible for elaborate dress and two full racks of hats worn. Stage Manager: Dewon Hall. Production Co-ordinator: Woodrow Wilkins.

THE CENTURY OF MUSIC
(U.S.A.)
The Loveland Players, Venice, Florida
by Ronald Krine Myroup
Directed by Rebecca Holahan
Music Direction by Ray Goins

Venice Theatre's resident playwright provides a script highlighting four generations of music in an American family from the time of their immigration (projected at Ellis Island). Loveland Center's adult students with developmental disabilities perform with the skills they have honed through an 18 year partnership between the Center and VT's creative dramatics personnel (under Gladys Varga). A cast of 29 skillfully sings, dances (to Lisa Willis-Richardsonn's choreography), and acts in many changes of costumes (by Maggi Taylor) and wigs (by Stephanie Gift) showing the passage of time. Musicianship includes special brass contributions. Donna Buckalter incorporates historical changes as well in her scenic design, which accounts for a number of famous stages. The staff includes sound designer Dorian Boyd and lighting designer John Andzulis.

Each year's Loveland Follies are a sell-out at VT, and supporters filled the Mainstage for The Loveland Players' contribution to AACT WorldFest. They came as audiences but also part of a family that, in depiction of another family onstage, makes the positive human connection aimed for by AACT WorldFest participants.

Sum Up:

Scheduling conflicts made me miss parts of Canada and Denmark's performances (as noted above) and all of New Zealand's IMPROSAURUS, a long form improvisation from the company of the same name, as well as THE INN OF CROSSED DESTINIES. The latter was a full length piece developed for 11 actors in commedia dell'arte style by Maner Manush of Italy and Venice Theatre. They worked for a month with young Americans before the premiere of the play written and directed by Andrea Lattari and Cinzia Grande, with English-verse translation by Anna Maria Ali. The bilingual production used all traditional elements, including dances.

Russian, Georgian, and Togo troupes had to cancel appearances due to last minute visa difficulties and financial problems. The cancellation also involved workshops held throughout the week. But a highlight of these were master classes by Broadway star Ben Vereen, who also gave one performance. In the latest absence notice, from Togo, VT called in from a sales exhibition of his Moliere and Shakespeare adaptations and books of and about theater, author and actor Tim Mooney. Mooney presented his latest touring show:

SHAKESPEARE'S TEN EPIC PLAYS AT A BREAKNECK PACE!
Sliced from William Shakespeare's Historical Plays
Adapted, Edited, Explained (with Added Comments) by Timothy Mooney
Timothy Mooney Repertory Theatre

Incorporating monologues and other excerpts from KING JOHN to HENRY VIII, Tim Mooney gives an exhillarating hour-long history lesson, not without humor. He gives each monarch the attention Shakespeare did, especially featuring the poetic but politically pathetic Richard III, the scheming Henry IV and self-redeeming son Hall, and the twisted but tactically brilliant villain Richard III. Mooney distinguishes as well by their voices and those of their words that convey attitude the characters Falstaff, Hotspur, the lispy French Dauphin, most York and Lancaster opponents, and the ladies who fall for Richard III, former Richard of Gloucester. Mooney's timing is as smooth as his editing is skillful. Venice Theatre was lucky to have him on hand to pinch-hit for the Togo troupe and score a hit of his own with hits of Shakespeare's own.

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