Beowulf Alley Theatre presents "Fifth Planet and Other Plays"
Contact: Beth Dell
(520) 622-4460
email: theatre@beowulfalley.org
FOR IMMEDIATE RELEASE
Beowulf Alley Theatre Company Presents Fifth Planet and Other Plays
Third show of the season is an Arizona Premier
TUCSON, ARIZ. (Dec. 19, 2007) — Beowulf Alley Theatre Company, 11 S. 6th Ave., will present “Fifth Planet and Other Plays,” a collection of one acts by David Auburn. The show previews Jan. 17 & 18 at 7:30 p.m. Preview tickets are $10. Performances run Thurs. – Sat., Jan. 19, 24-26, 31, Feb. 1-2, 7-9, 2008 at 7:30 p.m., with Sunday matinees Jan. 20, 27, Feb. 3 & 10 at 1:30 p.m. Tickets range from $16-$19 with internet discounts available online at http://www.beowulfalley.org/ or call 882-0555. Nell Summers directs this production that explores how fate impacts the human experience.
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Wednesday, December 19, 2007
Thursday, December 13, 2007
Black, White and Gray
KUAT-FM KUAT-FM Radio:
Cue Sheet
by James Reel
"...a play I highly recommend."
On a farm outside Johannesburg, South Africa, there lives a little girl named Elizabeth Grace. She spends so much time in the big, fragrant syringa tree on the property that her nanny, a patient Xhosa woman named Salamina, calls the girl Lizzie Monkey. The syringa tree is a place of small wonders, as well as a hideout and a refuge--not only for Lizzie, but for her Xhosa and Zulu neighbors trying to avoid brutal encounters with the white authorities.
The Syringa Tree is also a play by the South African-born playwright and actress Pamela Gien. It involves 24 characters--white and black, young and old, male and female--all played by a single performer. That's Patagonia resident Belinda Torrey, in a fine production now on stage at Beowulf Alley Theatre.
You’ll find the full review here.
Cue Sheet
by James Reel
"...a play I highly recommend."
On a farm outside Johannesburg, South Africa, there lives a little girl named Elizabeth Grace. She spends so much time in the big, fragrant syringa tree on the property that her nanny, a patient Xhosa woman named Salamina, calls the girl Lizzie Monkey. The syringa tree is a place of small wonders, as well as a hideout and a refuge--not only for Lizzie, but for her Xhosa and Zulu neighbors trying to avoid brutal encounters with the white authorities.
The Syringa Tree is also a play by the South African-born playwright and actress Pamela Gien. It involves 24 characters--white and black, young and old, male and female--all played by a single performer. That's Patagonia resident Belinda Torrey, in a fine production now on stage at Beowulf Alley Theatre.
You’ll find the full review here.
Tucson Weekly : Arts : White Conscience
Tucson Weekly : Arts : White Conscience:
"... in a fine production now on stage at Beowulf Alley Theatre. ... there's absolutely nothing amateurish about her [Belnida Torrey] performance in The Syringa Tree. Indeed, she pulls off the one-woman show with aplomb, holding the stage through two full hours of text, bringing her primary character from childhood to maturity, and sometimes convincingly playing three or four different characters in a single conversation."
PUBLISHED ON DECEMBER 13, 2007:
White Conscience
Apartheid in the 1960s is the focus of Beowulf Alley's impressive one-woman play
By JAMES REEL
On a farm outside Johannesburg, South Africa, there lives a little girl named Elizabeth Grace. She spends so much time in the big, fragrant syringa tree on the property that her nanny, a patient Xhosa woman named Salamina, calls the girl Lizzie Monkey. The Syringa tree is a place of small wonders, as well as a hideout and a refuge--not only for Lizzie, but for her Xhosa and Zulu neighbors trying to avoid brutal encounters with the white authorities.
The Syringa Tree is also a play by the South African-born playwright and actress Pamela Gien. It involves 24 characters--white and black, young and old, male and female--all played by a single performer. That's Patagonia resident Belinda Torrey, in a fine production now on stage at Beowulf Alley Theatre.
Torrey seems to have spent most of her adult life as a science teacher, and she calls herself a "hobby actress." But there's absolutely nothing amateurish about her performance in The Syringa Tree. Indeed, she pulls off the one-woman show with aplomb, holding the stage through two full hours of text, bringing her primary character from childhood to maturity, and sometimes convincingly playing three or four different characters in a single conversation.
Lizzie is a white girl, the daughter of a doctor, growing up in 1960s South Africa, a fine time to be white and privileged, but a hellish time to be black. Under apartheid, the indigenous people were subject to severe restrictions on when and where they could live, work and travel. If you were black and happened to be out without the proper documentation, or even merely out past the curfew for blacks at night, and you saw the police coming down the road, the best thing to do would be to clamber into the nearest tree and hope to avoid another harassment, arrest or beating.
Lizzie's family, of mostly English descent, has no sympathy for the apartheid system, which was instituted and fostered mainly by the Afrikaner, or Dutch-descended, population. Of course, apartheid wouldn't have been possible without the complicity of the English South Africans, and not every Afrikaner was a maniacal racist, but the situation is almost always simplified for dramatic purposes.
Lizzie has no idea what's going on. She knows her parents don't like the Afrikaner minister who lives next door, and she knows that the minister's daughter is bossy and unpleasant but still an interesting friend to have across the fence. She knows that the Xhosa and Zulu men and women working for the white families in her neighborhood are interesting, too, but she can't quite grasp why they're so jumpy at night, and why their evenings of tale-telling around a campfire fall apart whenever a police cruiser comes down the road. Lizzie's is an enchanted world of fairy dust in sunbeams, and blue glitter drifting from a beloved clown, and white family and black friends she loves.
Lizzie begins to get an education in social realities when Salamina, her beloved nanny, gives birth to a child who is not properly documented. Lizzie's family conceals the birth, and the little girl herself, for several years, although Lizzie doesn't grasp who, exactly, is risking what. Later, a white relative is murdered for no real reason by a Rhodesian freedom fighter, and this finally signals the end of Lizzie's childhood idyll. How she comes to terms with all of this when older is the subject of the play's later scenes.
Torrey spends most of her time in character as the young Lizzie, presenting her as spoiled but innocent, not too awfully cutesy, and not so self-centered that you lose sympathy for her. Most impressively, toward the end of the play, Torrey gives us a grown-up Lizzie who is quite obviously the same character, if still a bit childlike; it's difficult to maintain this kind of continuity when you're jumping forward 20 years, from child to adult, but all the more necessary here, so the adult Lizzie doesn't get lost among all the other characters.
Salamina is equally well drawn: slower but constantly moving, her voice coming from deep within her belly. No doubt dialect coach Eva Wright offered some significant help to Torrey in sorting out the characters, and director Roger Johnson has kept Torrey focused; he also kept the action fluid. The story plays out on a very simple set, a rough swing suspended above the stage, with a curtain of streamers behind. A change in scene is usually signaled by a dip in the lights, or by Torrey passing briefly behind the streamers--just enough to define the structure of the play (which initially seems very stream-of-consciousness) without becoming clunky.
If there's something to complain about here, it's that we're seeing yet another story of apartheid told from a white person's point of view. How many apartheid dramas can you name that truly center on blacks, rather than white crusaders? Athol Fugard's Boesman and Lena, the film Catch a Fire and a couple of others, but beyond that, apartheid becomes a vehicle for stories about white conscience.
Yes, The Syringa Tree is about white conscience, but it's also about the bonds between people. And any play in which people of color are persecuted because they lack the proper documentation will have particular resonance during our own sometimes unsavory immigration debates.
The Syringa Treepresented by Beowulf Alley Theatre Company7:30 p.m., Thursday-Saturday, Dec. 13-15; 1:30 p.m., Sunday, Dec. 1611 S. Sixth Ave.$10-$19882-0555; beowulfalley.org
"... in a fine production now on stage at Beowulf Alley Theatre. ... there's absolutely nothing amateurish about her [Belnida Torrey] performance in The Syringa Tree. Indeed, she pulls off the one-woman show with aplomb, holding the stage through two full hours of text, bringing her primary character from childhood to maturity, and sometimes convincingly playing three or four different characters in a single conversation."
PUBLISHED ON DECEMBER 13, 2007:
White Conscience
Apartheid in the 1960s is the focus of Beowulf Alley's impressive one-woman play
By JAMES REEL
On a farm outside Johannesburg, South Africa, there lives a little girl named Elizabeth Grace. She spends so much time in the big, fragrant syringa tree on the property that her nanny, a patient Xhosa woman named Salamina, calls the girl Lizzie Monkey. The Syringa tree is a place of small wonders, as well as a hideout and a refuge--not only for Lizzie, but for her Xhosa and Zulu neighbors trying to avoid brutal encounters with the white authorities.
The Syringa Tree is also a play by the South African-born playwright and actress Pamela Gien. It involves 24 characters--white and black, young and old, male and female--all played by a single performer. That's Patagonia resident Belinda Torrey, in a fine production now on stage at Beowulf Alley Theatre.
Torrey seems to have spent most of her adult life as a science teacher, and she calls herself a "hobby actress." But there's absolutely nothing amateurish about her performance in The Syringa Tree. Indeed, she pulls off the one-woman show with aplomb, holding the stage through two full hours of text, bringing her primary character from childhood to maturity, and sometimes convincingly playing three or four different characters in a single conversation.
Lizzie is a white girl, the daughter of a doctor, growing up in 1960s South Africa, a fine time to be white and privileged, but a hellish time to be black. Under apartheid, the indigenous people were subject to severe restrictions on when and where they could live, work and travel. If you were black and happened to be out without the proper documentation, or even merely out past the curfew for blacks at night, and you saw the police coming down the road, the best thing to do would be to clamber into the nearest tree and hope to avoid another harassment, arrest or beating.
Lizzie's family, of mostly English descent, has no sympathy for the apartheid system, which was instituted and fostered mainly by the Afrikaner, or Dutch-descended, population. Of course, apartheid wouldn't have been possible without the complicity of the English South Africans, and not every Afrikaner was a maniacal racist, but the situation is almost always simplified for dramatic purposes.
Lizzie has no idea what's going on. She knows her parents don't like the Afrikaner minister who lives next door, and she knows that the minister's daughter is bossy and unpleasant but still an interesting friend to have across the fence. She knows that the Xhosa and Zulu men and women working for the white families in her neighborhood are interesting, too, but she can't quite grasp why they're so jumpy at night, and why their evenings of tale-telling around a campfire fall apart whenever a police cruiser comes down the road. Lizzie's is an enchanted world of fairy dust in sunbeams, and blue glitter drifting from a beloved clown, and white family and black friends she loves.
Lizzie begins to get an education in social realities when Salamina, her beloved nanny, gives birth to a child who is not properly documented. Lizzie's family conceals the birth, and the little girl herself, for several years, although Lizzie doesn't grasp who, exactly, is risking what. Later, a white relative is murdered for no real reason by a Rhodesian freedom fighter, and this finally signals the end of Lizzie's childhood idyll. How she comes to terms with all of this when older is the subject of the play's later scenes.
Torrey spends most of her time in character as the young Lizzie, presenting her as spoiled but innocent, not too awfully cutesy, and not so self-centered that you lose sympathy for her. Most impressively, toward the end of the play, Torrey gives us a grown-up Lizzie who is quite obviously the same character, if still a bit childlike; it's difficult to maintain this kind of continuity when you're jumping forward 20 years, from child to adult, but all the more necessary here, so the adult Lizzie doesn't get lost among all the other characters.
Salamina is equally well drawn: slower but constantly moving, her voice coming from deep within her belly. No doubt dialect coach Eva Wright offered some significant help to Torrey in sorting out the characters, and director Roger Johnson has kept Torrey focused; he also kept the action fluid. The story plays out on a very simple set, a rough swing suspended above the stage, with a curtain of streamers behind. A change in scene is usually signaled by a dip in the lights, or by Torrey passing briefly behind the streamers--just enough to define the structure of the play (which initially seems very stream-of-consciousness) without becoming clunky.
If there's something to complain about here, it's that we're seeing yet another story of apartheid told from a white person's point of view. How many apartheid dramas can you name that truly center on blacks, rather than white crusaders? Athol Fugard's Boesman and Lena, the film Catch a Fire and a couple of others, but beyond that, apartheid becomes a vehicle for stories about white conscience.
Yes, The Syringa Tree is about white conscience, but it's also about the bonds between people. And any play in which people of color are persecuted because they lack the proper documentation will have particular resonance during our own sometimes unsavory immigration debates.
The Syringa Treepresented by Beowulf Alley Theatre Company7:30 p.m., Thursday-Saturday, Dec. 13-15; 1:30 p.m., Sunday, Dec. 1611 S. Sixth Ave.$10-$19882-0555; beowulfalley.org
Apartheid tale features remarkable solo flight | www.tucsoncitizen.com ®
Apartheid tale features remarkable solo flight www.tucsoncitizen.com ®:
"Beowulf Alley Theatre is presenting Belinda Torrey as that multifaceted narrator in a production by the Tin Shed Theater of Patagonia, directed by Robert Johnson. Her performance is a remarkable solo flight that reminds us the policy of apartheid was a political construction. "
Apartheid tale features remarkable solo flight
CHUCK GRAHAM
Published: 12.13.2007
As the world sorts out its racial differences, stories such as "The Syringa Tree" resonate.
Pamela Gien of South Africa has written a compelling play about one girl's coming of age and loss of innocence during the last days of apartheid.
The construction of the play, as much as the story, gives "The Syringa Tree" its relevance. Gien developed it as a full-length theater piece in which one actor plays 24 characters. There are males and females, young and old, black and white.
The challenge for the actor is to give full range to all these characters as each one acquires a specific personality.
For the audience, transported to South Africa, the experience is like listening to a story of an important incident as told by the village storyteller.
Beowulf Alley Theatre is presenting Belinda Torrey as that multifaceted narrator in a production by the Tin Shed Theater of Patagonia, directed by Robert Johnson. Her performance is a remarkable solo flight that reminds us the policy of apartheid was a political construction.
During this time in South Africa there were many white people and many black people who genuinely cared for one another. Just as in Europe there were gentiles trying to save Jews from Hitler's persecution.
Because there are so many characters in Torrey's tale, it is a little difficult to follow, particularly in the first act as we sort out the sounds and mannerisms that go with each person. The stage set consists of a large white circle painted on the floor and a backdrop consisting of long strips of dyed cloth. A child's swing hangs in the center of the circle.
Torrey wears a simple, neutral-colored dress. She doesn't have any props. To imply a change of scene she slips behind those strips of cloth and comes back out a few seconds later. Occasionally some sound effects or a change in the lighting will add a new dimension.
Parts of Gien's story are autobiographical. The play begins with Elizabeth at age 6, sitting on that swing with her back to the audience. We follow her through adolescence and on to adulthood when she marries an American.
By birth Elizabeth is white, English and South African. Her father is a doctor. The family lives on a farm near Johannesburg. Her live-in nanny is Salamina, a black treated with respect as an essential part of the family.
To establish the setting, Elizabeth talks about her childhood, telling of incidents such as playing outdoors, getting all muddy and being washed off with a garden hose. We also learn that the homes of black servants don't have any plumbing.
There is a humorous visit from the church minister, a man so overweight he can barely fit into the family's nicest living room chair. Then a black child is born in the home and its presence is hidden from the authorities.
By the time Elizabeth is a teen there are anti-apartheid demonstrations in the streets. White people dare not visit the townships where black people live, particularly after dark. Having the correct identification papers is essential for everyone.
After intermission there are riots, demonstrations and raids as South Africa civilization flies apart. Violence touches Elizabeth's family as well, but in the end there is also resolution.
Grade: B
"Beowulf Alley Theatre is presenting Belinda Torrey as that multifaceted narrator in a production by the Tin Shed Theater of Patagonia, directed by Robert Johnson. Her performance is a remarkable solo flight that reminds us the policy of apartheid was a political construction. "
Apartheid tale features remarkable solo flight
CHUCK GRAHAM
Published: 12.13.2007
As the world sorts out its racial differences, stories such as "The Syringa Tree" resonate.
Pamela Gien of South Africa has written a compelling play about one girl's coming of age and loss of innocence during the last days of apartheid.
The construction of the play, as much as the story, gives "The Syringa Tree" its relevance. Gien developed it as a full-length theater piece in which one actor plays 24 characters. There are males and females, young and old, black and white.
The challenge for the actor is to give full range to all these characters as each one acquires a specific personality.
For the audience, transported to South Africa, the experience is like listening to a story of an important incident as told by the village storyteller.
Beowulf Alley Theatre is presenting Belinda Torrey as that multifaceted narrator in a production by the Tin Shed Theater of Patagonia, directed by Robert Johnson. Her performance is a remarkable solo flight that reminds us the policy of apartheid was a political construction.
During this time in South Africa there were many white people and many black people who genuinely cared for one another. Just as in Europe there were gentiles trying to save Jews from Hitler's persecution.
Because there are so many characters in Torrey's tale, it is a little difficult to follow, particularly in the first act as we sort out the sounds and mannerisms that go with each person. The stage set consists of a large white circle painted on the floor and a backdrop consisting of long strips of dyed cloth. A child's swing hangs in the center of the circle.
Torrey wears a simple, neutral-colored dress. She doesn't have any props. To imply a change of scene she slips behind those strips of cloth and comes back out a few seconds later. Occasionally some sound effects or a change in the lighting will add a new dimension.
Parts of Gien's story are autobiographical. The play begins with Elizabeth at age 6, sitting on that swing with her back to the audience. We follow her through adolescence and on to adulthood when she marries an American.
By birth Elizabeth is white, English and South African. Her father is a doctor. The family lives on a farm near Johannesburg. Her live-in nanny is Salamina, a black treated with respect as an essential part of the family.
To establish the setting, Elizabeth talks about her childhood, telling of incidents such as playing outdoors, getting all muddy and being washed off with a garden hose. We also learn that the homes of black servants don't have any plumbing.
There is a humorous visit from the church minister, a man so overweight he can barely fit into the family's nicest living room chair. Then a black child is born in the home and its presence is hidden from the authorities.
By the time Elizabeth is a teen there are anti-apartheid demonstrations in the streets. White people dare not visit the townships where black people live, particularly after dark. Having the correct identification papers is essential for everyone.
After intermission there are riots, demonstrations and raids as South Africa civilization flies apart. Violence touches Elizabeth's family as well, but in the end there is also resolution.
Grade: B
Friday, December 07, 2007
'Syringa Tree' a tale of apartheid
'Syringa Tree' a tale of apartheid www.azstarnet.com ®
Published: 12.07.2007
'Syringa Tree' a tale of apartheid
By Kathleen Allen
ARIZONA DAILY STAR
It's not often that a play reaches out and grabs an actor by the shoulders and says, "Do me, do me."
But it happened to Belinda Torrey with "The Syringa Tree," which Beowulf Alley Theatre opens today.
"I have a background that's so similar to the author's background," she said in a phone interview from her Patagonia home. "Not only can I do this, I really have to do it. It's a real personal story for me, as well."
"The Syringa Tree," written by Pamela Gien, is the tale of two families, one black, one white, and the two children born into the household they share in 1960s South Africa, when apartheid was still a heavy albatross around the country's neck.
Gien grew up in South Africa, and though the play is largely fiction, it's based on two actual events from her life: her grandfather's murder when she was 10, and the birth and concealment of her nanny's child.
"I was raised in a house with black nannies," Torrey said. "My nanny was my rock. She left when I was around 12, and I was devastated. When I read this story, I said, 'Oh, I know this story. I know how this girl feels.' "
Though largely told through the eyes of 6-year-old Elizabeth, the one-woman play requires Torrey to play about 22 characters.
Not a big deal, she said.
"It's surprisingly easy," she said, explaining that she often assumes voices and different characters when she tells stories.
"I especially do it with my siblings," she said. "They know what's going on. People who don't know me think I've fallen off the deep end."
And while the play takes place in a particular country at a particular time in history, it's a universal one, said Torrey.
"The story spans four generations," said Torrey. "It would be unusual if there were people in the audience who hadn't experienced the loss, goodbyes, reunions, that happen in this story. Everyone is touched."
Preview
"The Syringa Tree"
• Presented by: Beowulf Alley Theatre Company.
• Playwright: Pamela Gien.
• Director: Roger Johnson.
• When: 7:30 p.m. Friday, Thursday through Dec. 15; 1:30 p.m. Sunday and Dec. 16. No performance Saturday.
• Where: Beowulf Alley Theatre, 11 S. 6th Ave.
• Tickets: $14-$19.
• Information: 882-0555 or www.beowulfalley.org.
•Cast: Belinda Torrey.
• Running time: 2 hours, plus one intermission.
● Contact reporter Kathleen Allen at kallen@azstarnet.com or 573-4128.
Published: 12.07.2007
'Syringa Tree' a tale of apartheid
By Kathleen Allen
ARIZONA DAILY STAR
It's not often that a play reaches out and grabs an actor by the shoulders and says, "Do me, do me."
But it happened to Belinda Torrey with "The Syringa Tree," which Beowulf Alley Theatre opens today.
"I have a background that's so similar to the author's background," she said in a phone interview from her Patagonia home. "Not only can I do this, I really have to do it. It's a real personal story for me, as well."
"The Syringa Tree," written by Pamela Gien, is the tale of two families, one black, one white, and the two children born into the household they share in 1960s South Africa, when apartheid was still a heavy albatross around the country's neck.
Gien grew up in South Africa, and though the play is largely fiction, it's based on two actual events from her life: her grandfather's murder when she was 10, and the birth and concealment of her nanny's child.
"I was raised in a house with black nannies," Torrey said. "My nanny was my rock. She left when I was around 12, and I was devastated. When I read this story, I said, 'Oh, I know this story. I know how this girl feels.' "
Though largely told through the eyes of 6-year-old Elizabeth, the one-woman play requires Torrey to play about 22 characters.
Not a big deal, she said.
"It's surprisingly easy," she said, explaining that she often assumes voices and different characters when she tells stories.
"I especially do it with my siblings," she said. "They know what's going on. People who don't know me think I've fallen off the deep end."
And while the play takes place in a particular country at a particular time in history, it's a universal one, said Torrey.
"The story spans four generations," said Torrey. "It would be unusual if there were people in the audience who hadn't experienced the loss, goodbyes, reunions, that happen in this story. Everyone is touched."
Preview
"The Syringa Tree"
• Presented by: Beowulf Alley Theatre Company.
• Playwright: Pamela Gien.
• Director: Roger Johnson.
• When: 7:30 p.m. Friday, Thursday through Dec. 15; 1:30 p.m. Sunday and Dec. 16. No performance Saturday.
• Where: Beowulf Alley Theatre, 11 S. 6th Ave.
• Tickets: $14-$19.
• Information: 882-0555 or www.beowulfalley.org.
•Cast: Belinda Torrey.
• Running time: 2 hours, plus one intermission.
● Contact reporter Kathleen Allen at kallen@azstarnet.com or 573-4128.
Thursday, December 06, 2007
Talking to herself habit helps Torrey to play role | www.tucsoncitizen.com ®
Talking to herself habit helps Torrey to play role www.tucsoncitizen.com ®:
Published: 12.06.2007
Talking to herself habit helps Torrey to play role
CHUCK GRAHAM
Tucson Citizen Published:
Patagonia, Ariz., is not generally known as a hot spot for theater. But Belinda Torrey grew up in New York City. More specifically, on Long Island. Then she lived in Montana and in the Puget Sound area before life's travels brought her to Patagonia 11 years ago.
But earlier this year another Patagonian, Roger Johnson, handed Torrey a copy of the script for "The Syringa Tree" by expatriate South African playwright Pamela Gien.
Johnson and Torrey worked up their production, giving five performances at Patagonia's own Tin Shed Theatre.
When Beowulf Alley Theatre here in the Baked Apple announced it was looking for shows to present, Johnson contacted the theater. Talks ensued and the dates were set.
"The play starts when the child is 6, she is remembering her own grandparents. By the end of the play, she is 35," Torrey said. "To be doing it is such an honor for me. I always want my performance to be a tribute to my own nanny, who meant so much to me."
Published: 12.06.2007
Talking to herself habit helps Torrey to play role
CHUCK GRAHAM
Tucson Citizen Published:
Patagonia, Ariz., is not generally known as a hot spot for theater. But Belinda Torrey grew up in New York City. More specifically, on Long Island. Then she lived in Montana and in the Puget Sound area before life's travels brought her to Patagonia 11 years ago.
But earlier this year another Patagonian, Roger Johnson, handed Torrey a copy of the script for "The Syringa Tree" by expatriate South African playwright Pamela Gien.
Johnson and Torrey worked up their production, giving five performances at Patagonia's own Tin Shed Theatre.
When Beowulf Alley Theatre here in the Baked Apple announced it was looking for shows to present, Johnson contacted the theater. Talks ensued and the dates were set.
"The play starts when the child is 6, she is remembering her own grandparents. By the end of the play, she is 35," Torrey said. "To be doing it is such an honor for me. I always want my performance to be a tribute to my own nanny, who meant so much to me."
Friday, November 16, 2007
Fast-rolling characters in 'Stones' gather no moss | www.azstarnet.com ®
Fast-rolling characters in 'Stones' gather no moss www.azstarnet.com ®
Fast-rolling characters in 'Stones' gather no moss
By Kathleen Allen
Arizona Daily Star Tucson, Arizona
Published: 11.16.2007
Hollywood and rural Ireland.
Can't you just see the sparks fly?
The two meet head-on in 'Stones in His Pocket,' the season-opener for the Beowulf Alley Theatre Company. "
Jonathan Northover and Matthew Copley handle the roles that range from an American diva who can't quite grasp the musical Irish accent ("Don't worry," her director tells her, "Ireland is only 1 percent of the audience") to an aging Irishman who is the last surviving extra from the filming of the John Wayne movie "The Quiet Man" (released in 1952).
The changing of characters is done in an instant, with the crook of the body, or the wave of a hand.
There are wonderful moments in this production, especially Northover's diva, Caroline Giovanni, who was an airy hoot, and Copley's director's assistant, a delicious nervous Nellie.
Fast-rolling characters in 'Stones' gather no moss
By Kathleen Allen
Arizona Daily Star Tucson, Arizona
Published: 11.16.2007
Hollywood and rural Ireland.
Can't you just see the sparks fly?
The two meet head-on in 'Stones in His Pocket,' the season-opener for the Beowulf Alley Theatre Company. "
Jonathan Northover and Matthew Copley handle the roles that range from an American diva who can't quite grasp the musical Irish accent ("Don't worry," her director tells her, "Ireland is only 1 percent of the audience") to an aging Irishman who is the last surviving extra from the filming of the John Wayne movie "The Quiet Man" (released in 1952).
The changing of characters is done in an instant, with the crook of the body, or the wave of a hand.
There are wonderful moments in this production, especially Northover's diva, Caroline Giovanni, who was an airy hoot, and Copley's director's assistant, a delicious nervous Nellie.
Thursday, November 15, 2007
Tucson Weekly : Arts : Rise of the Downtrodden
Tucson Weekly : Arts : Rise of the Downtrodden:
PUBLISHED ON NOVEMBER 15, 2007:
Rise of the Downtrodden
'Stones in His Pockets' turns discontent, exploitation into a funny, positive experience By JAMES REEL
Director Susan Arnold doesn't slight the play's comedic elements, but she does seem more interested in the serious implications of the second half; she and the actors downplay the obvious satire a bit--the performances would surely have been more over the top at some other local theaters--and end up treating Charlie and Jake with real integrity. So there's a lower bellylaugh count during the performance, but, thanks to this restraint, the play leaves a longer aftertaste.
Northover and Copley perform heroically, changing characters as quickly as they may swerve to left or right as they stride across the stage. And each character is quite distinct; once every figure has been introduced, you know instantly which character has now taken over an actor's body. Northover's accents are more diverse and precise than Copley's, but otherwise, the men are well-matched as smart performers. They are nicely supported by Jon Marbry's sound design and Bill Dell's lighting.
PUBLISHED ON NOVEMBER 15, 2007:
Rise of the Downtrodden
'Stones in His Pockets' turns discontent, exploitation into a funny, positive experience By JAMES REEL
Director Susan Arnold doesn't slight the play's comedic elements, but she does seem more interested in the serious implications of the second half; she and the actors downplay the obvious satire a bit--the performances would surely have been more over the top at some other local theaters--and end up treating Charlie and Jake with real integrity. So there's a lower bellylaugh count during the performance, but, thanks to this restraint, the play leaves a longer aftertaste.
Northover and Copley perform heroically, changing characters as quickly as they may swerve to left or right as they stride across the stage. And each character is quite distinct; once every figure has been introduced, you know instantly which character has now taken over an actor's body. Northover's accents are more diverse and precise than Copley's, but otherwise, the men are well-matched as smart performers. They are nicely supported by Jon Marbry's sound design and Bill Dell's lighting.
Thursday, November 08, 2007
Tucson Weekly : Arts : Dramatic Comedy
Tucson Weekly : Arts : Dramatic Comedy:
PUBLISHED ON NOVEMBER 8, 2007
Dramatic Comedy
Beowulf Alley looks to get back on track with the acclaimed 'Stones in His Pockets'
By JAMES REEL
Beowulf Alley Theatre is switching off the ghost light and illuminating the stage with a new show, Marie Jones' Stones in His Pockets. The Irish comedy has won several awards since its premiere in 1999, and it garnered three Tony nominations in 2001.
PUBLISHED ON NOVEMBER 8, 2007
Dramatic Comedy
Beowulf Alley looks to get back on track with the acclaimed 'Stones in His Pockets'
By JAMES REEL
Beowulf Alley Theatre is switching off the ghost light and illuminating the stage with a new show, Marie Jones' Stones in His Pockets. The Irish comedy has won several awards since its premiere in 1999, and it garnered three Tony nominations in 2001.
Monday, November 05, 2007
2 actors to play 15 characters in 'Stones' | www.azstarnet.com ®
2 actors to play 15 characters in 'Stones' www.azstarnet.com ®:
2 actors to play 15 characters in 'Stones'
By Levi J. Long ARIZONA DAILY STAR
Tucson, Arizona Published: 11.02.2007"
It's taken three years to bring "Stones in His Pockets" to Tucson audiences.
Now with those pesky licensing agreements and final casting choices out of the way, the Beowulf Alley Theatre Company is ready to open the award-winning play next week as the first production of its 2007-08 season.
2 actors to play 15 characters in 'Stones'
By Levi J. Long ARIZONA DAILY STAR
Tucson, Arizona Published: 11.02.2007"
It's taken three years to bring "Stones in His Pockets" to Tucson audiences.
Now with those pesky licensing agreements and final casting choices out of the way, the Beowulf Alley Theatre Company is ready to open the award-winning play next week as the first production of its 2007-08 season.
Friday, July 06, 2007
Dogs put on a show | www.azstarnet.com ®
Dogs put on a show www.azstarnet.com ®:
"Dogs put on a show"
By Levi J. Long
ARIZONA DAILY STAR
Tucson, Arizona Published: 07.06.2007
"Bark! The Musical"
Presented by: Arizona Onstage Productions.
• When: Preview is 7:30 p.m. Thursday. Regular performances are 8 p.m. next Friday and July 14 and 2 p.m. July 15. The run continues through July 29. Final show is 6 p.m. July 29.
• Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
• Length: 90 minutes; no intermission.
• Tickets: $20 for preview; $27.50 for other performances. Student and senior discounts available.
• Information: 882-6574 or www.arizonaonstage.org.
• Cast: Liz Cracchiolo, Jody Mullen, Kit Runge, Stephanie Sikes, Marcus Terrell Smith and Shayna Vercillo.
The 11-performance run in Tucson marks the Arizona premiere for "Bark!"
It is scheduled to debut in November off-Broadway in New York.
In addition to Memphis and Los Angeles, "Bark!" has received mostly critical and audience acclaim in Chicago; Palm Springs, Calif.; and Portland, Ore.
During its two-year run in L.A., the show was named a Critic's Pick by the Los Angeles Times and sold out for most shows.
"Dogs put on a show"
By Levi J. Long
ARIZONA DAILY STAR
Tucson, Arizona Published: 07.06.2007
"Bark! The Musical"
Presented by: Arizona Onstage Productions.
• When: Preview is 7:30 p.m. Thursday. Regular performances are 8 p.m. next Friday and July 14 and 2 p.m. July 15. The run continues through July 29. Final show is 6 p.m. July 29.
• Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
• Length: 90 minutes; no intermission.
• Tickets: $20 for preview; $27.50 for other performances. Student and senior discounts available.
• Information: 882-6574 or www.arizonaonstage.org.
• Cast: Liz Cracchiolo, Jody Mullen, Kit Runge, Stephanie Sikes, Marcus Terrell Smith and Shayna Vercillo.
The 11-performance run in Tucson marks the Arizona premiere for "Bark!"
It is scheduled to debut in November off-Broadway in New York.
In addition to Memphis and Los Angeles, "Bark!" has received mostly critical and audience acclaim in Chicago; Palm Springs, Calif.; and Portland, Ore.
During its two-year run in L.A., the show was named a Critic's Pick by the Los Angeles Times and sold out for most shows.
Monday, May 21, 2007
Beowulf hosts a few jazz gigs | www.azstarnet.com ®
Beowulf hosts a few jazz gigs www.azstarnet.com ®: "Accent
Beowulf hosts a few jazz gigs
Tucson, Arizona Published: 05.20.2007"
Beowulf Alley Theatre has this cozy little space in Downtown Tucson. Perfect for plays ("Of Mice and Men" is playing there these days).
But it's also quite a cool spot for jazz, which may be why Beowulf is hosting a few jazz gigs these days, dubbing them "BeBop Meets Broadway."
At 7:30 p.m. Tuesday, you can catch the smooth sounds of jazz singer Debbie Lun, who breathes life into torch songs and scat. She's performing with musician Tony Frank, who has played with the likes of Dizzy Gillespie, Frank Mantooth, Carl Saunders, Shirley Horn and Mike Vax; and keyboard player Lamont Arthur, who lists composer, arranger and producer among his accomplishments.
Beowulf Alley's at 11 S. Sixth Ave. Tickets are $25. Call 882-0555.
— Kathleen Allen, Arizona Daily Star
Beowulf hosts a few jazz gigs
Tucson, Arizona Published: 05.20.2007"
Beowulf Alley Theatre has this cozy little space in Downtown Tucson. Perfect for plays ("Of Mice and Men" is playing there these days).
But it's also quite a cool spot for jazz, which may be why Beowulf is hosting a few jazz gigs these days, dubbing them "BeBop Meets Broadway."
At 7:30 p.m. Tuesday, you can catch the smooth sounds of jazz singer Debbie Lun, who breathes life into torch songs and scat. She's performing with musician Tony Frank, who has played with the likes of Dizzy Gillespie, Frank Mantooth, Carl Saunders, Shirley Horn and Mike Vax; and keyboard player Lamont Arthur, who lists composer, arranger and producer among his accomplishments.
Beowulf Alley's at 11 S. Sixth Ave. Tickets are $25. Call 882-0555.
— Kathleen Allen, Arizona Daily Star
Friday, May 11, 2007
Steinbeck classic makes wonderful local theater | www.azstarnet.com ®
Steinbeck classic makes wonderful local theater www.azstarnet.com ®:
Steinbeck classic makes wonderful local theater
By Kathleen Allen
Arizona Daily Star
Tucson, Arizona Published: 05.11.2007
Dreams blossom and shatter with such intense swiftness in John Steinbeck's "Of Mice and Men" that one can get dizzy watching it.
But watch it you must. Beowulf Alley Theatre's production of the play about two farmworkers who long for a place of their own is a rich, nuanced piece that reminds us of the frailty, and cruelty, of human nature.
This is a powerful piece of theater, with poetic language, well-drawn characters, and wonderful foreshadowing of events without ever telescoping them. If you want to see a play that is exquisitely constructed, "Of Mice and Men" is it.
The Courtland Jones-designed set on the Beowulf stage evoked the dusty Salinas Valley and rickety shack that serves as home to migrant farmworkers. Russell Stagg's lighting conjured up the bright light of day and the moody hues of sunset. Jon Marbry's pristine sound made us see birds flying overhead and hear crickets talking to each other.
But it was the actors who really brought Steinbeck's work to painful, vivid life at a preview performance last Friday.
This production veered from most — a robust Terry Erbe played George, whom Steinbeck described as a slight man. Stephen Elton was the mildly retarded Lennie. Steinbeck envisioned this character to be large and lumbering; Elton is actually more slender than Erbe.
We've some advice: Get over the size issue quickly. While physically Steinbeck saw the two as an unlikely pair, Elton and Erbe were able to draw their characters so sharply that size did not matter.
Elton, at times, seemed a bit too bright for Lennie, but he captured the innocence of the character who loves to stroke soft things and longs to care for rabbits on the the farm he and George dream they will one day have.
Erbe's ability to get angry at Lennie for his naivete and still show his love was so well-rooted you never doubted his character.
Slim, the kind-hearted ranchhand, was given gentle life by Brian Wees, and Gregory Sweet was heavy with sorrow and loneliness as Candy, the one-handed ranch worker whose best friend and reason for living was his elderly dog.
This play is saturated with dreams denied and heartbreaking loneliness. It's kind of depressing, truth be told.
But it's also a rich tale of a friendship that goes so deep and true that hope survives.
Director Glen Coffman understood that and directed with a clean, knowing hand.
"Of Mice and Men" can shatter you. But it's also an exhilarating theatrical experience.
● Contact Kathleen Allen at kallen@azstarnet.com or 573-4128.
Steinbeck classic makes wonderful local theater
By Kathleen Allen
Arizona Daily Star
Tucson, Arizona Published: 05.11.2007
Dreams blossom and shatter with such intense swiftness in John Steinbeck's "Of Mice and Men" that one can get dizzy watching it.
But watch it you must. Beowulf Alley Theatre's production of the play about two farmworkers who long for a place of their own is a rich, nuanced piece that reminds us of the frailty, and cruelty, of human nature.
This is a powerful piece of theater, with poetic language, well-drawn characters, and wonderful foreshadowing of events without ever telescoping them. If you want to see a play that is exquisitely constructed, "Of Mice and Men" is it.
The Courtland Jones-designed set on the Beowulf stage evoked the dusty Salinas Valley and rickety shack that serves as home to migrant farmworkers. Russell Stagg's lighting conjured up the bright light of day and the moody hues of sunset. Jon Marbry's pristine sound made us see birds flying overhead and hear crickets talking to each other.
But it was the actors who really brought Steinbeck's work to painful, vivid life at a preview performance last Friday.
This production veered from most — a robust Terry Erbe played George, whom Steinbeck described as a slight man. Stephen Elton was the mildly retarded Lennie. Steinbeck envisioned this character to be large and lumbering; Elton is actually more slender than Erbe.
We've some advice: Get over the size issue quickly. While physically Steinbeck saw the two as an unlikely pair, Elton and Erbe were able to draw their characters so sharply that size did not matter.
Elton, at times, seemed a bit too bright for Lennie, but he captured the innocence of the character who loves to stroke soft things and longs to care for rabbits on the the farm he and George dream they will one day have.
Erbe's ability to get angry at Lennie for his naivete and still show his love was so well-rooted you never doubted his character.
Slim, the kind-hearted ranchhand, was given gentle life by Brian Wees, and Gregory Sweet was heavy with sorrow and loneliness as Candy, the one-handed ranch worker whose best friend and reason for living was his elderly dog.
This play is saturated with dreams denied and heartbreaking loneliness. It's kind of depressing, truth be told.
But it's also a rich tale of a friendship that goes so deep and true that hope survives.
Director Glen Coffman understood that and directed with a clean, knowing hand.
"Of Mice and Men" can shatter you. But it's also an exhilarating theatrical experience.
● Contact Kathleen Allen at kallen@azstarnet.com or 573-4128.
Thursday, May 10, 2007
Beowulf Alley scores big with 'Of Mice and Men' | www.tucsoncitizen.com ®
Beowulf Alley scores big with 'Of Mice and Men' www.tucsoncitizen.com ®:
Published: 05.10.2007
Beowulf Alley scores big with 'Of Mice and Men'
CHUCK GRAHAM
Tucson Citizen
What a season it's been for the Beowulf Alley Theatre Company. After setting a higher standard for local theater last January with the downtown company's atmospheric thriller "The Woman In Black," BATC followed with the well-received special stage effects of "Black Comedy" by Peter Shaffer.
Now we have an even more haunting production in John Steinbeck's Depression-era tale, "Of Mice and Men." Director Glen Coffman draws finely shaded performances from Terry Erbe and Stephen Elton as George and Lennie, a pair of migrant farmworkers in rural California, adrift and deprived of any chance to earn a decent wage doing physical labor. Their determination to be resourceful is a poignant reminder that government cannot be trusted to take care of its people.
Steinbeck was writing about poor families ripped apart in the 1930s when America's economy fell apart. Erbe's portrayal of the rough-mannered but good-hearted George is a compelling portrait of the kind of blue-collar guy we like to think built our country. Hardworking, honest and determined to keep everyone honest.
George's patience with the simple-minded Lennie proves George could have been a good family man. Instead, the misfortunes of this failed economy have turned George into a drifter who makes the man-child Lennie his family.
Elton amplifies the effect by playing on Lennie's almost infantile innocence, completely unaware in his gentleness that he has the physical strength of a giant. George and Lennie, always bickering like a married couple, share a kind of co-dependence in finding reasons to dream beyond their next paycheck working California's struggling farmlands.
The rest of the cast is equally strong, building together like a finely tuned ensemble, adding the story's elements of racism and ageism that ring even louder in our present time of civil rights awareness and of boomers nearing retirement.
grade: A
Published: 05.10.2007
Beowulf Alley scores big with 'Of Mice and Men'
CHUCK GRAHAM
Tucson Citizen
What a season it's been for the Beowulf Alley Theatre Company. After setting a higher standard for local theater last January with the downtown company's atmospheric thriller "The Woman In Black," BATC followed with the well-received special stage effects of "Black Comedy" by Peter Shaffer.
Now we have an even more haunting production in John Steinbeck's Depression-era tale, "Of Mice and Men." Director Glen Coffman draws finely shaded performances from Terry Erbe and Stephen Elton as George and Lennie, a pair of migrant farmworkers in rural California, adrift and deprived of any chance to earn a decent wage doing physical labor. Their determination to be resourceful is a poignant reminder that government cannot be trusted to take care of its people.
Steinbeck was writing about poor families ripped apart in the 1930s when America's economy fell apart. Erbe's portrayal of the rough-mannered but good-hearted George is a compelling portrait of the kind of blue-collar guy we like to think built our country. Hardworking, honest and determined to keep everyone honest.
George's patience with the simple-minded Lennie proves George could have been a good family man. Instead, the misfortunes of this failed economy have turned George into a drifter who makes the man-child Lennie his family.
Elton amplifies the effect by playing on Lennie's almost infantile innocence, completely unaware in his gentleness that he has the physical strength of a giant. George and Lennie, always bickering like a married couple, share a kind of co-dependence in finding reasons to dream beyond their next paycheck working California's struggling farmlands.
The rest of the cast is equally strong, building together like a finely tuned ensemble, adding the story's elements of racism and ageism that ring even louder in our present time of civil rights awareness and of boomers nearing retirement.
grade: A
Wednesday, May 09, 2007
Tucson Weekly : Arts : High Standards
Tucson Weekly : Arts : High Standards: "
PUBLISHED ON MAY 10, 2007:
High Standards
Beowulf Alley Theatre turns in an impeccable 'Of Mice and Men' production
By JAMES REEL
"...how well-cast this show is from top to bottom"
"The entire production has been assembled with similar quiet care. The acting tends to be subtle and anti-melodramatic, yet heartfelt; the pacing is deliberate, yet never feels pokey. All in all, Beowulf Alley does a fine job of rescuing Of Mice and Men from its low status as required reading in high school English."
"Terry Erbe as George and Stephen Elton as Lennie waste little time in establishing their uneasy fraternal bond onstage, and they also quickly set themselves apart from actors who have played their roles in film adaptations. Elton finds more in Lennie than just a big, retarded oaf; he's basically a 4-year-old, with a child's full range of emotional complexity. Erbe doesn't play George as a fast-talking operator; he's a somewhat rough, common man with common sense, and a little knot of decency that, to his surprise, has been bunching up inside him over the years. "
"The rest of the cast--including David Alexander Johnston, Tim McKiernan and the single-named Darwin--is as fine as the players already mentioned. My one small reservation concerns the good and versatile Amy Erbe as the woman whose actions precipitate the final tragedies; in the context of this production, I would have expected her to make more of her character's loneliness, even at her most flirtatious. "
"As usual at Beowulf Alley, the set design (Courtland Jones), sound (John Marbry), costuming (Kyle Schellinger) and lighting (Russell Stagg) meet high standards--the standards set by this production's acting and direction. "
PUBLISHED ON MAY 10, 2007:
High Standards
Beowulf Alley Theatre turns in an impeccable 'Of Mice and Men' production
By JAMES REEL
"...how well-cast this show is from top to bottom"
"The entire production has been assembled with similar quiet care. The acting tends to be subtle and anti-melodramatic, yet heartfelt; the pacing is deliberate, yet never feels pokey. All in all, Beowulf Alley does a fine job of rescuing Of Mice and Men from its low status as required reading in high school English."
"Terry Erbe as George and Stephen Elton as Lennie waste little time in establishing their uneasy fraternal bond onstage, and they also quickly set themselves apart from actors who have played their roles in film adaptations. Elton finds more in Lennie than just a big, retarded oaf; he's basically a 4-year-old, with a child's full range of emotional complexity. Erbe doesn't play George as a fast-talking operator; he's a somewhat rough, common man with common sense, and a little knot of decency that, to his surprise, has been bunching up inside him over the years. "
"The rest of the cast--including David Alexander Johnston, Tim McKiernan and the single-named Darwin--is as fine as the players already mentioned. My one small reservation concerns the good and versatile Amy Erbe as the woman whose actions precipitate the final tragedies; in the context of this production, I would have expected her to make more of her character's loneliness, even at her most flirtatious. "
"As usual at Beowulf Alley, the set design (Courtland Jones), sound (John Marbry), costuming (Kyle Schellinger) and lighting (Russell Stagg) meet high standards--the standards set by this production's acting and direction. "
Friday, May 04, 2007
Migrants' dreams of the '30s still relevant today | www.tucsoncitizen.com ®
Migrants' dreams of the '30s still relevant today
CHUCK GRAHAM
CHUCK GRAHAM
Tucson Citizen
Published: 05.03.2007
Published: 05.03.2007
While threats of global warming hint at turning the Southwest into another Oklahoma dust bowl, we can consider the Depression Era story of Lenny and George in John Steinbeck's 'Of Mice and Men.' The two migrant workers following their dreams while hoping for a change in their luck are in California, just the next state over, believing one day they will have a place of their own where no one can tell them what to do.
Although the play's time period is the 1930s (the novella was published in 1937), its theme of rootless loneliness among homeless men is considered quite timely. In Tucson, especially, communities of migrant workers are as real as the freeways and air-conditioned high-rise office towers. Problems caused by low pay and callous bosses belong to everyone.
Beowulf Alley Theatre Company brings us this production, directed by Glen Coffman, with George played by Terry Erbe and Stephen Elton cast as the mentally slow Lenny. Elton is Beowulf Alley's founding artistic director.
Also taking roles are David Alexander Johnston, Amy Erbe, Greg Sweet, Tim McKiernan, Brian Wees, Jonathan Hicks, Nate Weisband and Darwin.
additional information
IF YOU GO
What: "Of Mice and Men," presented by Beowulf Alley Theatre Company
When: previews 7:30 p.m. today-Friday; opening 7:30 p.m. Saturday and continuing 7:30 p.m. Thursdays through Saturdays, 1:30 p.m. Sundays through May 27; special fundraising performance and barbecue, 1:30 p.m. Sunday
Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
Price: $10 previews, $14 Thursdays, $16- $18 general admission, $65 performance and barbecue
Info: 622-4460, www.beowulfalley.org
IF YOU GO
What: "Of Mice and Men," presented by Beowulf Alley Theatre Company
When: previews 7:30 p.m. today-Friday; opening 7:30 p.m. Saturday and continuing 7:30 p.m. Thursdays through Saturdays, 1:30 p.m. Sundays through May 27; special fundraising performance and barbecue, 1:30 p.m. Sunday
Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
Price: $10 previews, $14 Thursdays, $16- $18 general admission, $65 performance and barbecue
Info: 622-4460, www.beowulfalley.org
'Mice' is always compelling | www.azstarnet.com ®
'Mice' is always compelling
By Kathleen Allen
ARIZONA DAILY STAR
Please don't call John Steinbeck's "Of Mice and Men" an important piece of literature.
Yes, yes, we know: The story of itinerant farmworkers, the mentally challenged Lennie and his protector, George, is a classic. That's why Beowulf Alley Theatre is staging the play as its season closer.
But it's not ponderous, or dull. And that's what Beowulf's artistic director, Stephen Elton, is afraid people will think when it's called "important."
"When you hear a play is important, I think it's boring," said Elton, who plays Lennie, the big, lumbering, simple-minded half of the famous Lennie and George team.
Instead, Elton said, it's a play that you almost have to watch it's so compelling.
"I compare it to when you're flipping channels on a Saturday afternoon and you come across a movie you've seen before. You know the story, but still you have to watch it. 'Mice and Men' is that kind of play — you have to pay attention to it, even if you know it."
George and Lennie have a tight bond and a common dream: They want to save enough money to have their own little farm.
"It's the struggle of the everyday guys, Lennie and George, as they try to get the American dream," Elton said as he explained the pull of the play.
"The dream of freeing yourself of the bonds of employment and working for yourself. They just want to do their own thing."
Terry Erbe, who plays George, said that the weaving in of the dream ethic is what makes the story, published in 1937, so timeless.
"I think clutching at the American dream is still very much part of our lives," he said after a school day at Catalina Foothills High School, where he teaches drama.
"It's about wanting a little place, and making a better life. I think that's universal. And Steinbeck does it in a way that goes back to the storytelling roots that we have. There's something eloquent about the pictures he paints."
George is a character Erbe embraces, even as he struggles to learn a massive amount of dialogue.
"George has got a big heart," said Erbe. "I don't think he would take on the care and feeding of Lennie if he didn't. At the same time, it's frustrating for George because Lennie will never grow up. I think George is a man at odds with his surroundings."
As for Lennie, Elton was determined to play him as an innocent, rather than a man with mental retardation.
"He's an innocent, but his bubble is very small," said Elton. "He relies on George to tell him what to do. In life, when you run across somebody like Lennie, it may take you five or 10 minutes to know that something's wrong. I wanted to play Lennie like that."
Both men have a profound respect for the friendship of the characters, and for their dreams.
"What I take from the play, and what I hope the audience will take, is how the themes are so current — loneliness, wanting a friend and wanting the American dream," said Elton. "I think we can all relate to what George and Lennie are going through."
Preview
"Of Mice and Men."
• By: John Steinbeck.
• Director: Glen Coffman.
• Presented by: Beowulf Alley Theatre.
• When: Preview is 7:30 tonight; opening is 7:30 p.m. Saturday. Regular performances are 7:30 p.m. Thursdays through Saturdays, and 1:30 p.m. Sundays through May 27.
• Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
• Tickets: Thursdays, $10; other performances, $18 (discounts if purchased at www.beowulfalley.org). The 1:30 p.m. Sunday performance is $65, which includes a barbecue, music, hobnobbing with the cast and crew, and the play.
• Information: 882-0555.
• Cast: Terry Erbe, Stephen Elton, David Alexander Johnston, Amy Erbe, Greg Sweet, Tim McKiernan, Brian Wees, Jonathan Hicks, Nate Weisband.
• Running time: About 21/2 hours, with one intermission.
• Look for: The review in next Friday's Accent.
"Of Mice and Men."
• By: John Steinbeck.
• Director: Glen Coffman.
• Presented by: Beowulf Alley Theatre.
• When: Preview is 7:30 tonight; opening is 7:30 p.m. Saturday. Regular performances are 7:30 p.m. Thursdays through Saturdays, and 1:30 p.m. Sundays through May 27.
• Where: Beowulf Alley Theatre, 11 S. Sixth Ave.
• Tickets: Thursdays, $10; other performances, $18 (discounts if purchased at www.beowulfalley.org). The 1:30 p.m. Sunday performance is $65, which includes a barbecue, music, hobnobbing with the cast and crew, and the play.
• Information: 882-0555.
• Cast: Terry Erbe, Stephen Elton, David Alexander Johnston, Amy Erbe, Greg Sweet, Tim McKiernan, Brian Wees, Jonathan Hicks, Nate Weisband.
• Running time: About 21/2 hours, with one intermission.
• Look for: The review in next Friday's Accent.
● Contact reporter Kathleen Allen at kallen@azstarnet.com or 573-4128.
Friday, April 27, 2007
A Steinbeck classic for season finale | www.azstarnet.com ®
A Steinbeck classic for season finale www.azstarnet.com ®
A Steinbeck classic for season finale
Tucson, Arizona Published: 04.27.2007
Beowulf Alley Theatre Company's season ends with a classic: John Steinbeck's 'Of Mice and Men.'
The play, which opens in previews on Thursday, is about a simple-minded migrant farmworker, Lennie, and his friend and protector, George.
The production is directed by Glen Coffman and stars Stephen Elton as Lennie and Terry Erbe in the role of George. Previews are 7:30 p.m. Thursday and next Friday, and opening is 7:30 p.m. May 5 at Beowulf, 11 S. Sixth Ave. Preview tickets are $10; regular performances are $18.
See next Friday's Accent for an interview with Elton and Erbe.
– Kathleen Allen "
A Steinbeck classic for season finale
Tucson, Arizona Published: 04.27.2007
Beowulf Alley Theatre Company's season ends with a classic: John Steinbeck's 'Of Mice and Men.'
The play, which opens in previews on Thursday, is about a simple-minded migrant farmworker, Lennie, and his friend and protector, George.
The production is directed by Glen Coffman and stars Stephen Elton as Lennie and Terry Erbe in the role of George. Previews are 7:30 p.m. Thursday and next Friday, and opening is 7:30 p.m. May 5 at Beowulf, 11 S. Sixth Ave. Preview tickets are $10; regular performances are $18.
See next Friday's Accent for an interview with Elton and Erbe.
– Kathleen Allen "
Thursday, April 12, 2007
Art flexes muscles at old gym equipment site | www.tucsoncitizen.com ®
Art flexes muscles at old gym equipment site www.tucsoncitizen.com ®:
Art flexes muscles at old gym equipment site
TEYA VITU
Tucson Citizen
Published: 04.12.2007
"Glass artist Karen Ehart arrived first 4 1/2 years ago and Beowulf Alley Theatre gave the block a prominent presence in June 2004. The Drawing Studio plans to move next door by September"
"We've been fortunate enough to stay patient," said Steve Gibson, Johnny's son and the property manager. "Beowulf are fabulous tenants. Now we couldn't be more pleased to be associated with The Drawing Studio."
For the present, Beth Dell, administrative director at Beowulf Alley, cherishes getting an arts neighbor.
"I am incredibly grateful to the Gibson family for having such a dedication to the arts to do this," Dell said. "I look forward to having people next door who have a true understanding of the arts. It will be a mini little arts district."
Art flexes muscles at old gym equipment site
TEYA VITU
Tucson Citizen
Published: 04.12.2007
"Glass artist Karen Ehart arrived first 4 1/2 years ago and Beowulf Alley Theatre gave the block a prominent presence in June 2004. The Drawing Studio plans to move next door by September"
"We've been fortunate enough to stay patient," said Steve Gibson, Johnny's son and the property manager. "Beowulf are fabulous tenants. Now we couldn't be more pleased to be associated with The Drawing Studio."
For the present, Beth Dell, administrative director at Beowulf Alley, cherishes getting an arts neighbor.
"I am incredibly grateful to the Gibson family for having such a dedication to the arts to do this," Dell said. "I look forward to having people next door who have a true understanding of the arts. It will be a mini little arts district."
Thursday, March 15, 2007
'Black Comedy' sheds light on human foibles | www.tucsoncitizen.com ®
'Black Comedy' sheds light on human foibles www.tucsoncitizen.com ®
'Black Comedy' sheds light on human foibles
By CHUCK GRAHAM
Published: 03.15.2007
Tucson Citizen
"The singular scene design for Beowulf Alley Theatre Company's new show, 'Black Comedy' by Peter Shaffer, is the downtown company's most elaborate ever."
"Guest director Nancy Arnfield does her own ante-upping by having the actors add lots of inappropriate touching, which gets still more laughs. Performed in 90 minutes without an intermission, 'Black Comedy' becomes a physical workout for the actors, choreographed and timed to enhance the meaning of that phrase 'body language.'"
"'Black Comedy' does have its underlying social commentary about people with secrets, staying true to their values and all the rest. But in this production, the laughs come from watching people fall. Just as in telling jokes, the timing is everything."
'Black Comedy' sheds light on human foibles
By CHUCK GRAHAM
Published: 03.15.2007
Tucson Citizen
"The singular scene design for Beowulf Alley Theatre Company's new show, 'Black Comedy' by Peter Shaffer, is the downtown company's most elaborate ever."
"Guest director Nancy Arnfield does her own ante-upping by having the actors add lots of inappropriate touching, which gets still more laughs. Performed in 90 minutes without an intermission, 'Black Comedy' becomes a physical workout for the actors, choreographed and timed to enhance the meaning of that phrase 'body language.'"
"'Black Comedy' does have its underlying social commentary about people with secrets, staying true to their values and all the rest. But in this production, the laughs come from watching people fall. Just as in telling jokes, the timing is everything."
'Black Comedy' sheds light on fun | www.azstarnet.com ®
'Black Comedy' sheds light on fun www.azstarnet.com ®:
By Kathleen Allen
Arizona Daily Star
Tucson, Arizona Published: 03.15.2007
"Key to a successful farce is timing, and these Beowulf actors had that down. Brian Taraz, especially, who played the huffy Harold thick with a righteous sense of indignation, showed a keen sense of comedic timing."
"Director Nancy Arnfield has fashioned a play that has a quick pace and a natural façade, which makes the farce even more farcical."
"...this Beowulf production sheds lots of light on the humor, and it smacks of a good time."
By Kathleen Allen
Arizona Daily Star
Tucson, Arizona Published: 03.15.2007
"Key to a successful farce is timing, and these Beowulf actors had that down. Brian Taraz, especially, who played the huffy Harold thick with a righteous sense of indignation, showed a keen sense of comedic timing."
"Director Nancy Arnfield has fashioned a play that has a quick pace and a natural façade, which makes the farce even more farcical."
"...this Beowulf production sheds lots of light on the humor, and it smacks of a good time."
In the cast, from left, Stephen Cruz, Barbara Flanary
Armstrong, Abe Taltre, Brian Taraz and Nicole Stein.
- david sanders / arizona daily star
Saturday, March 10, 2007
Beowulf Alley brings a rich farce to town | www.azstarnet.com ®
Beowulf Alley brings a rich farce to town www.azstarnet.com ®
By Dennis O'Flaherty
SPECIAL TO THE ARIZONA DAILY STAR
Tucson, Arizona Published: 03.09.2007
It's a mix volatile enough to blow the roof off the theater.
It's rare that the words "farce" and "Peter Shaffer" are said with the same breath.
After all, Shaffer has written such tense and tragic dramas as "Amadeus" and "Equus."
But then there's his "Black Comedy," which Beowulf Alley Theatre opens Saturday.
That's where "farce" comes in.
And it's just the kind of play director Nancy Arnfield loves to shape.
http://www.azstarnet.com/allheadlines/172464
By Dennis O'Flaherty
SPECIAL TO THE ARIZONA DAILY STAR
Tucson, Arizona Published: 03.09.2007
It's a mix volatile enough to blow the roof off the theater.
It's rare that the words "farce" and "Peter Shaffer" are said with the same breath.
After all, Shaffer has written such tense and tragic dramas as "Amadeus" and "Equus."
But then there's his "Black Comedy," which Beowulf Alley Theatre opens Saturday.
That's where "farce" comes in.
And it's just the kind of play director Nancy Arnfield loves to shape.
http://www.azstarnet.com/allheadlines/172464
Friday, February 02, 2007
'Thumbs' gets thumbs up - WildLife
'Thumbs' gets thumbs up - WildLife
'Thumbs' gets thumbs up
Play preview
By: Alexandria Kassman
Issue date: 2/1/07 Section: WildLife
When local playwright Gavin Kayner's production company, Piquant Plays Productions, went looking for a venue to perform his play "Thumbs," Beowulf Alley Theatre Company seemed like a perfect venue due to its intimate size and comfortably pristine new interior.
With a 99-seat store-front theater located in the heart of downtown Tucson, BATC's future as an artist-driven playhouse looks hopeful. Additionally, BATC is proving to be a great place for promising theater students to audition for exciting roles.
'Thumbs' gets thumbs up
Play preview
By: Alexandria Kassman
Issue date: 2/1/07 Section: WildLife
When local playwright Gavin Kayner's production company, Piquant Plays Productions, went looking for a venue to perform his play "Thumbs," Beowulf Alley Theatre Company seemed like a perfect venue due to its intimate size and comfortably pristine new interior.
With a 99-seat store-front theater located in the heart of downtown Tucson, BATC's future as an artist-driven playhouse looks hopeful. Additionally, BATC is proving to be a great place for promising theater students to audition for exciting roles.
Tuesday, January 30, 2007
More letters | www.azstarnet.com ®
More letters www.azstarnet.com ®:
More letters
Tucson, Arizona Published: 01.22.2007
"After reading the Star's description of 'The Woman in Black,' playing at Tucson's Beowulf Alley Theatre Company, my family decided to attend last Friday's performance. What a pleasure to relax in the story-telling of two fine actors, Roberto Guajardo and David Alexander Johnston. I felt like we were in a British drawing room listening to a mysterious tale that totally drew in each member of my family. All for about the price of a movie ticket. There's nothing like high-quality live theater.
Deborah H. Hildreth
Teacher, Vail "
More letters
Tucson, Arizona Published: 01.22.2007
"After reading the Star's description of 'The Woman in Black,' playing at Tucson's Beowulf Alley Theatre Company, my family decided to attend last Friday's performance. What a pleasure to relax in the story-telling of two fine actors, Roberto Guajardo and David Alexander Johnston. I felt like we were in a British drawing room listening to a mysterious tale that totally drew in each member of my family. All for about the price of a movie ticket. There's nothing like high-quality live theater.
Deborah H. Hildreth
Teacher, Vail "
Thursday, January 25, 2007
Tucson Weekly : Arts : Virtual Reality
Tucson Weekly : Arts : Virtual Reality:
PUBLISHED ON JANUARY 25, 2007:
Virtual Reality
Three excellent plays all deal with perception in entertaining ways
By JAMES REEL
"The Woman in Black is an English ghost story with greater ambition than you find in most such genre pieces."
"Guajardo and Johnston carry the evening with a steady sense of character and an undercurrent of dread. Guajardo plays a half-dozen figures in the story and gives each his own physical comportment and English regional accent. "
"But what makes this play most effective is its atmosphere, which is superbly established by the set and sound design."
"This is by far the most sophisticated use of sound I've heard in a Tucson production, outside of Arizona Theatre Company."
PUBLISHED ON JANUARY 25, 2007:
Virtual Reality
Three excellent plays all deal with perception in entertaining ways
By JAMES REEL
"The Woman in Black is an English ghost story with greater ambition than you find in most such genre pieces."
"Guajardo and Johnston carry the evening with a steady sense of character and an undercurrent of dread. Guajardo plays a half-dozen figures in the story and gives each his own physical comportment and English regional accent. "
"But what makes this play most effective is its atmosphere, which is superbly established by the set and sound design."
"This is by far the most sophisticated use of sound I've heard in a Tucson production, outside of Arizona Theatre Company."
Friday, January 19, 2007
The stars shine in gothic tale at Beowulf Alley | www.azstarnet.com ®
The stars shine in gothic tale at Beowulf Alley www.azstarnet.com ®
By Gerald M. Gay
Arizona Daily Star
Tucson, Arizona Published: 01.19.2007
"The Woman in Black" finds strength in its actors"
"[Roberto] Guajardo shines ... he managed to bring to life an entire town of people, from Mr. Jerome, the firm's nervous, apprehensive local agent, to Keckwick, the strong and silent carriage driver. "
"[David Alexander] Johnston was no slouch either. ... The two kept a strong rapport whether the scene called for levity or heart-stopping horror."
"If you are more into Edgar Allan Poe and less of a "Saw II" fan, the play has enough suspense and quality acting to keep your adrenaline pumping."
By Gerald M. Gay
Arizona Daily Star
Tucson, Arizona Published: 01.19.2007
"The Woman in Black" finds strength in its actors"
"[Roberto] Guajardo shines ... he managed to bring to life an entire town of people, from Mr. Jerome, the firm's nervous, apprehensive local agent, to Keckwick, the strong and silent carriage driver. "
"[David Alexander] Johnston was no slouch either. ... The two kept a strong rapport whether the scene called for levity or heart-stopping horror."
"If you are more into Edgar Allan Poe and less of a "Saw II" fan, the play has enough suspense and quality acting to keep your adrenaline pumping."
Thursday, January 18, 2007
'Woman in Black' lets you see what's not there | www.tucsoncitizen.com ®
'Woman in Black' lets you see what's not there www.tucsoncitizen.com ®:
Published: 01.18.2007
CHUCK GRAHAM
"... astonishing performance of "The Woman in Black" at Beowulf Alley Theatre "
"Directed by Terry Erbe, this elaborate production takes local theater to a new level of excellence. Around the finely balanced two-person cast of David Alexander Johnston and Roberto Guajardo are layered a detailed stage set and precise series of haunting theatrical effects that are remarkably effective. "
Published: 01.18.2007
CHUCK GRAHAM
"... astonishing performance of "The Woman in Black" at Beowulf Alley Theatre "
"Directed by Terry Erbe, this elaborate production takes local theater to a new level of excellence. Around the finely balanced two-person cast of David Alexander Johnston and Roberto Guajardo are layered a detailed stage set and precise series of haunting theatrical effects that are remarkably effective. "
Saturday, January 13, 2007
Local theatrical productions | www.tucsoncitizen.com ®
Local theatrical productions www.tucsoncitizen.com ®
photo: http://www.tucsoncitizen.com/photos/2007/01/11/l37713-1.jpg
"THE WOMAN IN BLACK": Seeking nothing less than to scare the pants off its audience, Beowulf Alley Theatre Company is opening this play by Stephen Mallatratt, adapted from the book by Susan Hill. A production has been running continuously in London for 17 years, so it must be pretty scary. Terry Erbe directs this show, featuring Roberto Guajardo and David Alexander Johnston. The story centers on a young lawyer sorting through the final affairs of an elderly widow who lived in an isolated estate along a marshy spot of England's eastern coast. The more he discovers, the more he feels haunted by past events in the widow's life. When: The production opens Saturday and continues through Feb. 4. Showtimes are 7:30 p.m. Thursdays through Saturdays, 1:30 p.m. Sundays; preview shows 7:30 p.m. today and Friday. Where: 11 S. Sixth Ave. Price: $14-$18 general, $10 for previews Info: 882-0555, http://www.beowulfalley.org/
photo: http://www.tucsoncitizen.com/photos/2007/01/11/l37713-1.jpg
"THE WOMAN IN BLACK": Seeking nothing less than to scare the pants off its audience, Beowulf Alley Theatre Company is opening this play by Stephen Mallatratt, adapted from the book by Susan Hill. A production has been running continuously in London for 17 years, so it must be pretty scary. Terry Erbe directs this show, featuring Roberto Guajardo and David Alexander Johnston. The story centers on a young lawyer sorting through the final affairs of an elderly widow who lived in an isolated estate along a marshy spot of England's eastern coast. The more he discovers, the more he feels haunted by past events in the widow's life. When: The production opens Saturday and continues through Feb. 4. Showtimes are 7:30 p.m. Thursdays through Saturdays, 1:30 p.m. Sundays; preview shows 7:30 p.m. today and Friday. Where: 11 S. Sixth Ave. Price: $14-$18 general, $10 for previews Info: 882-0555, http://www.beowulfalley.org/
Friday, January 05, 2007
'The Woman in Black' | www.azstarnet.com ®
'The Woman in Black' www.azstarnet.com ®
By Sherilyn Forrester
Special to the Arizona Daily Star
Tucson, Arizona
Published: 01.05.2007
Most theaters work diligently to fill their seats.The folks at Beowulf Alley are hoping their audiences will be jumping out of theirs.Beowulf's production of "The Woman in Black," which opens next week, is a uniquely theatrical ghost story that has been scaring and thrilling theatergoers for more than 17 years.
"It's just wonderfully frightening," says Terry Erbe, who is directing Roberto Guajardo and David Alexander Johnston in this Stephen Mallatratt adaptation of the book by Susan Hill."
Even though the book is a really good read and is very scary, I think the play works even better," adds Erbe. "The conventions of the theater — that are particular to the theater — really enhance the effect of the story and how it is told."
By Sherilyn Forrester
Special to the Arizona Daily Star
Tucson, Arizona
Published: 01.05.2007
Most theaters work diligently to fill their seats.The folks at Beowulf Alley are hoping their audiences will be jumping out of theirs.Beowulf's production of "The Woman in Black," which opens next week, is a uniquely theatrical ghost story that has been scaring and thrilling theatergoers for more than 17 years.
"It's just wonderfully frightening," says Terry Erbe, who is directing Roberto Guajardo and David Alexander Johnston in this Stephen Mallatratt adaptation of the book by Susan Hill."
Even though the book is a really good read and is very scary, I think the play works even better," adds Erbe. "The conventions of the theater — that are particular to the theater — really enhance the effect of the story and how it is told."
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