I'll Eat You Last - A Chat With Sue Mengers - Unicorn Theatre

I honestly thought I was going to die during this show. Being born in 1977, some of the jokes went over my head, but I was extremely tickled by the audience members who are (just a bit) older than me who were dying. This was a raunchy, completely inappropriate show that I watched on 12/23/2014, two days before Christmas. Nothing feels more naughty than watching something completely inappropriate right before Christmas.

Donna Thomason was amazing.

I've been sick, and I have two plays of my own to finish for my women 365 workshop, so this review is brief. Just go watch it. I have to write plays myself, so I gifted my subscription of Baghdad zoo to 2 of my friends for tonight. We'll see how they enjoy that. Check out the calendar and buy yourself some tickets for this weekend: http://boxoffice.printtixusa.com/unicorntheatre/eventcalendar?v=0&i=0&g=0&g2=0&m=12&y=2014

Violet: Spinning Tree Theatre (Just off Broadway Theatre)

Okay, I almost didn't see the show because I began to doubt the Just Off Broadway Theatre actually existed. If you've never been there before, PLEASE read their website directions and follow those. It's under a bridge, through an enchanted forest, somewhere near but not quite under the WWI memorial and the Federal Reserve and the Roasterie.  (Which may or may not be true. I drove in circles and by the time I found it I may have entered a new dimension.)

Once arriving, however, it is a delightfully sweet theatre in a black box. The house was 3/4 full which I was surprised by because the reviews have been very good and it was excellently done. Hopefully, word of mouth will spread. 

I have been impressed by Andy and Michael. (I think I've said this before). They are extremely sweet human beings and are very welcoming. They give hugs and thank yous even though they've only met me a few times, and they take time to greet their patrons. 

As a season ticket holder, when I came in, I had a laminated tag for my own seat that specified it was for "Jessie Salsbury, season ticket holder". Now, these are little things, but they set Theatres apart. It gets the rest of the audience thinking about membership, but it makes the season ticket holder feel like a member of the company, and proud of their membership. 

This, as if said, is the "little theatre that could....and the little theatre that is!" Violet was a layered story, even more poignant that the disfigurement of Violemt isn't evident on her face, but something Lauren Braton and the other actors have to make the audience see with gestures and responses. (I could write a whole review on Ms. Braton's physical presence and work in this production; it's masterful.) Julie Shaw has to communicate the horror of the disfigurement by her dialogue delivery and her response. We see the scar and mashed cheek and crushed nose. "On your imaginary forces work," indeed.

Matthew A. King and Daniel Beeman are a great pair as Flick and Monty as Violet's competing love interests. Their voices are also a sharp contrast. Mr. Beeman has a rich, sweet tenor while Mr. King has what I would call a "clear out the room you can hear that young man sing from across a football field." I did not expect that big of a voice to come out of his mouth: that was amazing. 

Ms. Braton, Mr. King, and Mr. Beeman singing together? They could tour and never be broke another day in their lives. 

The supporting cast was phenomenal. This show is known for the climactic scene with the TV preacher and the choir, and this group lived up to the show. Jake Bartley, I had to cover my face with my scarf. He was so into it, the dancing and waiving his hands, him dancing in this scene and telling Lianna McKenzie before her bring the house down solo to "take your time, girl" was worth the price of admission alone. 

This show is quirky, I wouldn't call it fun, it's thought provoking, and moves you to think the way you view yourself and how others perceive you. The most interesting part to me is the bus scene after Violet mistakenly believes she is healed. No one looks or reacts differently. Is that simply because she believes she is now beautiful and worth looking at? It's a small, understated moment, but maybe one of the most important in the production. 

I have saved up money to donate to a theatre, a tradition I will continue each season. The competition will be random; there were set rules in my mind for who would win the "Brick Street Theatre Company Donation of the Year." Recipients will be Kansas City local theatres, but it could branch out to random ones across the country that I believe deserve their best chance. If you would like to be considered for the 2015-2016 season's award, put a note comment on my blog!

Why did I decide to donate this saved money to the Spinning Tree Theatre? I've observed other local Kansas City Theatres. Some didn't fare so well on my checklist as far as patron services, treatment, and responsiveness. Some were a close second or even a tie. Spinning tree, as far as patron care, went above and beyond and was the clear winner, and since they're new, I wanted to give them my support.

What was the deciding factor on the prize? There was a sign on my seat that said I was a season ticket holder.

(And every time I talk to Andy or Michael they talk to me like I'm a friend. And, of course, they do great theatre.)

So, the donation may be small, but I wanted them to be recognized, and to know that they did win a competition (even though it was a one woman competition with a medium size prize).

It's the little things. 

Who will win the 2015-2016 Prize? I'm not telling you next year's criteria. Keep doing what you do. If I don't know about your theatre, tell me, so I can attend.

Bad Jews

Bad Jews is labeled as a comedy, but it is a social commentary. It's there to make you think. Even after laughing at nearly every line, I'm still thinking about how faith and culture collide. 

The story hinges on 3 cousins and one of the cousin's girlfriend staying together after their grandfather's funeral. Dina Thomas is masterful at balancing an hilarious character that is trying to cover a broken heart. All of the characters rotate around her as their axis, and their responses to her reveal their character and how they feel about their faith and situation. 

In faith, is it a feeling? A cultural experience? Is it something that has been passed down from generation to generation? In this short play, the Jewish faith and culture is explored in a humorous and unexpected way. There are no caricatures; just an honest response to grief and what it may mean to pass one's faith to other family, or to potential spouses. 

As always at The Unicorn, masterfully done. 

(On a side note, I'm hopeful my play 'Blood and Water in Topeka' can do the same. Give a social commentary while entertaining.)

Brick Street Theatre Company Playwright Workshop 1

Today I workshopped two plays - "Fly Loft" (Full Length) & "Blood & Water in Topeka" (1 Act). I was able to get good criticism and feedback to move the plays to the next stages of rewrites. 

I am writing two one act plays for the 365 women a year: a Playwriting project. I am creating a one act about Henrietta Lacks and a one act about Michelle Obama. 

It's great to hear your writing spoken, to finally hear the critiques move down to more nitpicking changes than large adjustments. "Blood & Water in Topeka" will most likely be a fringe festival submission. 

More next week. 

365 Women a Year is gaining momentum and press. Follow us on our Facebook page, or at:

Twitter: @365womenayear

http://365womenayear.wordpress.com

Our Town at KC REP

I normally don't review KC REP since I like to keep reviews to the smaller venues, but I have to talk about this one. 

I lost it while ushering, before it started. I overheard two parents tell their kids "I played the organist in my high school production" and another said "I wanted to play Emily but my friend Susie got the role." This play is a United States cultural phenomenon. Everyone has had to read it or act in it. (Myself included, I was the milk man.) 

This production brings it into modern dialogue, modern dress, and lighting just like what you'd see in a high school gym. The actors are wearing street clothes. This is exactly what our high school productions of Our Town felt like. Simple. No costumes. No accents. Horrible canned lighting. You can see the audience because it's in a gym. Absolutely nostalgic in the most insane way possible. 

Being able to see the audience across the stage was brilliant and also a killer. Couples, parents and kids, friends were all leaning into each other, whispering, and pointing out different parts of the play. This play is familiar to everyone in the audience and they are reminiscing with the show. I could hear a woman next to me whisper to her girlfriend "this is my favorite scene" when Emily and George started talking to each other through the windows. Then, she started to cry. An older gentleman right in the front row on the floor aisle had to take out a handkerchief to wipe his eyes. We were all absolutely losing it. 

The ending I can't reveal to you without ruining the surprise. They've done something amazing with it. You have to see this show. This is an event. The audience is 110% with the production, everyone is a mess because they love it, and the ending will absolutely slay you. 

Kcrep.org

Unicorn Theatre Season 41 : Opening Night Amazing

They have a new roof, the newly christened Levine stage, and they are incredibly gracious and giving to their patrons. There was a snack meet and greet after the show. Cynthia Levin is amazing and I definitely want to be as brave and amazing as her when I grow up. 

What an opening night to Hands on a Hardbody. Sold out show, rocking music, champagne toast. 

Here's to the local KC theatre that now OWNS their own space. 

Here's to new improvements, including a new roof!

Here's to more new plays by new playwrights. 

Here's to 41 more amazing seasons!

My review is as simple as my Facebook update "omg I wanna make out with this show."

Www.unicorntheatre.org

See this. Get season tickets. Go!

Spinning Tree Theatre : Ghost Writer

The night after Ghost Writer (Thursday) I was so wound up I couldn't sleep until 2am. It was a great show and my dates, Lorraine and Katie, were fantastic fun. I've had the privilege of seeing great theatre lately, and I am amazed at everything in Kansas City. I've got to be careful to balance my theatre events, my family, and my school work. There is just so much going on! So many Kansas City premieres!

After watching "Hope and Gravity" a couple of weeks ago at Creede Repertory Theatre, I was extremely interested in how Michael Hollinger's writing would differ in this production. This playwright is a writer. He deals in the same wheelhouse as David Mamet: simple, heartbreak, missed chances, tragedy, and almost-could-have-beens. Words, not flash, are his medium. 

Both productions I've seen discuss writing and its pains; the waiting for inspiration, the rapid flow of words, the re-writes, the discussion about writing of others, critiques. Writing, the art and work; teaching about life itself. 

As Myra Babbage, (Katie Kalahurka) explains, you wait for the words. They can come quickly like rain, or not at all for long periods. 

Franklin Woolsey (Robert Gibby Brand), and wife Vivian (Jeannie Blau), bring nuance to the pain of loss, of pining for someone you cannot have, and losing someone's love, even before they've passed away. 

This production, however, showcases Katie Kalahurka* in all the range and delivery that this production requires. Hers is a dangerous performance; too weepy or melancholy, it would've dipped into something ridiculous, not funny in the right places, the pain wouldn't have been sharp enough. She delivers with humor, and heartache, and it is perfection. 

Sean Glass has created a lighting design that is its own character. Having to slip us between times, between Franklin Woolsey (Robert Gibby Brand) being alive and a ghost, was cued beautifully by the lighting. Harsh when Vivian (Jeannie Blau) was on set, softer when Franklin Woolsey and Myra Babbage were working, or dancing, I had to divide my attention between the beautiful design and the acting. I'll be sure to volunteer usher in the future so I get the chance to see Spinning Tree's future productions more than once. There is a lot to see, and much they should be proud of in their 2014-2015 season. 

Please note: support them by buying season tickets. Visit www.spinningtreetheatre.com

Some (professional) reviews that tell it like it is:

http://www.kansascity.com/entertainment/performing-arts/article1287929.html

http://m.pitch.com/kansascity/ghost-writer-spinning-tree/Content?oid=4547687

*To the patron who decided to eat a bunch of candy and play with wrappers during Katie's last speech: if I find out who you are, I will drop a typewriter on your foot.