Sunday, November 28, 2010
Saturday, November 27, 2010
Q&A: Young actress takes
Dorothy on the road in 'Oz'
There are few stories more familiar than "The Wizard of Oz." Maybe that's what makes it such a good show for the Fox Theatre to book for Thanksgiving weekend. We chatted with Kate Bristol, who just joined the cast as Dorothy, about her new role in "Oz."
I was reading some of your tweets yesterday, and it looks like you're still in college? I am! I'm studying musical theater at Pace University, but I'm trying to minor in literature, or something of the like.
This is your professional stage debut. Tell me about the other work you've done. It is. I've done work through my childhood and adolescence in Texas, so some regional theaters and mostly community theaters, and then I went to college, and I've done some college shows. It was after a particularly trying year of college that I auditioned for this show, thinking, "Oh, I'll just give it a shot," and then I booked it! It was a really pleasant surprise.
How will you balance a tour with attending college? A lot of people have asked me this, and I think I'm a little crazy. I worked it out with my academic professors for this semester that I will finish the semester online while on the tour bus. And next semester, I will take it completely online. What that basically means is that, during the day or when we're at the hotel or changing cities on the bus, I'm gonna be doing research, and I'll have books with me, and I'm gonna be e-mailing in papers while we're being transported to the next city. It's a little crazy. ... It's a little frazzling, but it's actually really fun.
How many hours are you taking? I'm taking 14 hours this semster. Most of those are dance and musical-theater classes. I only have two academic classes, and so for my musical-theater classes, I'm writing journals about my performing experience and the process of which I develop the character, and it's kind of like work study. I'm working in what I'm being trained in. It's actually highly educational.
You've also done some voiceover work? I have! I am a voiceover actress for FUNimation. They record animes in the English voices, and they do that in Texas. I started doing that job when I was 13, and I grew up working in voiceover. That's what I consider my home acting job, I suppose. Whenever I'm in Texas, I'll go and work a couple of hours. I love voice acting.
Do you also love anime, or does that just come with the job? I wasn't an anime fan until I started the job, but now I see all the work that goes into it, so I am an appreciative anime fan.
What's your schedule been like lately? I wake up about 6:30. And I take an hour-and-a-half-long commute to the rehearsal studio. We get there about 9:30 to 10, and we start a full run-through of the show. After that, we work on all the specific scenes that need tuning, whether it's an acting thing or a dance thing. It is a full, full working day until 6 o'clock. It's busy, and it's awesome!
Have you always been a fan of "The Wizard of Oz"? Oh, I have. I grew up on "The Wizard of Oz." How it started was, my mom used to be a costumer, just as a hobby, for local community theater, so when the local elementary school did a production of "The Wizard of Oz," she helped make the costumes. That's how I started watching the movie, and then I was hooked, of course. I was absolutely enthralled by it. I completely grew up watching it.
Is there any pressure that comes with performing such a familiar role? That's the thing: It's such an iconic role, and everyone knows the characteristics and everyhing. I approach the role of Dorothy as my own. I decided that I was going to act it and react to the situations as I would. Because of the script and the speech, it ends up that the Judy Garland aura of Dorothy kind of ends up coming out anyway. People tell me that I share many of the characteristics of Judy Garland in that film. I'm a little more spastic, but I try to combat that.
Is the script pretty much like the movie? It is. It was adapted from the film, but it's got a lot more things. Not that it's been modernized in any way — we're true to the time period.
What's your favorite part of the show? My favorite part in the show, I think, is the poppy scene. You know, when Dorothy and her friends are almost to the Emerald City, and they fall into a poppy field that the witch has enchanted, and it makes them fall asleep? In that scene, the poppies are dancers, and they are so beautiful. It's mind boggling. And there's this transformation where they transform into snowflakes onstage. Wonderful effects and costumes, and it's so cool. Meanwhile, I'm just asleep in the middle of them, getting to absorb it all.
What are some of your other favorite shows? My favorite musical of all time is "Parade" by Jason Robert Brown. Completely not the genre of "The Wizard of Oz" whatsoever — it's really dark. It's a very brooding, dark show, but I really love stuff like that. Like Sondheim — anything by Sondheim. It's all very musically complicated and thoughtful. That's usually the kind of shows I really like.
What shows would you love to be in next? Oh, anything! I haven't thought about this — I've been so wrapped up in this. I'm gonna go back to school, you know. I might do whatever show they have at school and continue to audition outside the city. So whatever comes up, I guess.
When you're not studying or working, what do you like to do? What am I going to do? I'm going to read books! That's my favorite activity. I'm kind of a nerd.
What's on your iPod? I'm listening to Of Montreal and Janelle Monae. Not a lot of theater, come to think of it, which is kind of unusual because I love musical theater. I don't have any theater on my iPod! I have really weird indie bands.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 11.24.10
I was reading some of your tweets yesterday, and it looks like you're still in college? I am! I'm studying musical theater at Pace University, but I'm trying to minor in literature, or something of the like.
This is your professional stage debut. Tell me about the other work you've done. It is. I've done work through my childhood and adolescence in Texas, so some regional theaters and mostly community theaters, and then I went to college, and I've done some college shows. It was after a particularly trying year of college that I auditioned for this show, thinking, "Oh, I'll just give it a shot," and then I booked it! It was a really pleasant surprise.
How will you balance a tour with attending college? A lot of people have asked me this, and I think I'm a little crazy. I worked it out with my academic professors for this semester that I will finish the semester online while on the tour bus. And next semester, I will take it completely online. What that basically means is that, during the day or when we're at the hotel or changing cities on the bus, I'm gonna be doing research, and I'll have books with me, and I'm gonna be e-mailing in papers while we're being transported to the next city. It's a little crazy. ... It's a little frazzling, but it's actually really fun.
How many hours are you taking? I'm taking 14 hours this semster. Most of those are dance and musical-theater classes. I only have two academic classes, and so for my musical-theater classes, I'm writing journals about my performing experience and the process of which I develop the character, and it's kind of like work study. I'm working in what I'm being trained in. It's actually highly educational.
You've also done some voiceover work? I have! I am a voiceover actress for FUNimation. They record animes in the English voices, and they do that in Texas. I started doing that job when I was 13, and I grew up working in voiceover. That's what I consider my home acting job, I suppose. Whenever I'm in Texas, I'll go and work a couple of hours. I love voice acting.
Do you also love anime, or does that just come with the job? I wasn't an anime fan until I started the job, but now I see all the work that goes into it, so I am an appreciative anime fan.
What's your schedule been like lately? I wake up about 6:30. And I take an hour-and-a-half-long commute to the rehearsal studio. We get there about 9:30 to 10, and we start a full run-through of the show. After that, we work on all the specific scenes that need tuning, whether it's an acting thing or a dance thing. It is a full, full working day until 6 o'clock. It's busy, and it's awesome!
Have you always been a fan of "The Wizard of Oz"? Oh, I have. I grew up on "The Wizard of Oz." How it started was, my mom used to be a costumer, just as a hobby, for local community theater, so when the local elementary school did a production of "The Wizard of Oz," she helped make the costumes. That's how I started watching the movie, and then I was hooked, of course. I was absolutely enthralled by it. I completely grew up watching it.
Is there any pressure that comes with performing such a familiar role? That's the thing: It's such an iconic role, and everyone knows the characteristics and everyhing. I approach the role of Dorothy as my own. I decided that I was going to act it and react to the situations as I would. Because of the script and the speech, it ends up that the Judy Garland aura of Dorothy kind of ends up coming out anyway. People tell me that I share many of the characteristics of Judy Garland in that film. I'm a little more spastic, but I try to combat that.
Is the script pretty much like the movie? It is. It was adapted from the film, but it's got a lot more things. Not that it's been modernized in any way — we're true to the time period.
What's your favorite part of the show? My favorite part in the show, I think, is the poppy scene. You know, when Dorothy and her friends are almost to the Emerald City, and they fall into a poppy field that the witch has enchanted, and it makes them fall asleep? In that scene, the poppies are dancers, and they are so beautiful. It's mind boggling. And there's this transformation where they transform into snowflakes onstage. Wonderful effects and costumes, and it's so cool. Meanwhile, I'm just asleep in the middle of them, getting to absorb it all.
What are some of your other favorite shows? My favorite musical of all time is "Parade" by Jason Robert Brown. Completely not the genre of "The Wizard of Oz" whatsoever — it's really dark. It's a very brooding, dark show, but I really love stuff like that. Like Sondheim — anything by Sondheim. It's all very musically complicated and thoughtful. That's usually the kind of shows I really like.
What shows would you love to be in next? Oh, anything! I haven't thought about this — I've been so wrapped up in this. I'm gonna go back to school, you know. I might do whatever show they have at school and continue to audition outside the city. So whatever comes up, I guess.
When you're not studying or working, what do you like to do? What am I going to do? I'm going to read books! That's my favorite activity. I'm kind of a nerd.
What's on your iPod? I'm listening to Of Montreal and Janelle Monae. Not a lot of theater, come to think of it, which is kind of unusual because I love musical theater. I don't have any theater on my iPod! I have really weird indie bands.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 11.24.10
Theater review: Twister drops
Dorothy into a sloppy 'Oz'
 |
| Members of the original cast of "The Wizard of Oz" (Handout) |
It really isn't fair to compare "The Wizard of Oz," playing at the Fox Theatre through Sunday, to "Wicked." But anyone who's seen "Wicked" at least once will come away from "The Wizard of Oz" feeling a bit underwhelmed.
"Wicked" takes familiar material and enhances it, partly by changing the point of view. Somehow, though, this adaptation of "Oz" manages to mute a lot of the shine and glitz we've come to expect, making even Munchkinland and the Emerald City seem drab.
"The Wizard of Oz," directed by Nigel West, mostly follows the familiar 1939 film — right down to the sepia-toned opening, which was absolutely perfect in execution — but it also takes liberties and adds twists.
Some work; others don't.
Many of the special effects in the show are created with projections, which are astounding to watch — especially the twister scene, which is a spectacle.
But others, namely any scene where a character must fly, are sloppy. Glinda's floating bubble (which looks a lot like Glinda's bubble in "Wicked") is anything but graceful and on opening night never completely disappeared from view after floating offstage. Much of the scenery looks dreary and amateurish.
Given the realistic feel of certain scenes, it seems an odd fit that other scenes are so abstract. The poppies, for instance, are just dancers in red dresses and vests. And the talking trees are dancers in sexy, black dresses and tall (Lady Gaga-inspired?) hairdos.
A dance number that was cut from the film returns in this show: "the Jitterbug," wherein the Wicked Witch dispatches enchanted bugs to bite Dorothy and her friends, forcing them to dance until they drop. The costumes, choreography, lighting and energy in this scene should have been the standard for the rest of the show.
The acting and singing, though, is quite strong, especially Kate Bristol as Dorothy and Pat Sibley as the Wicked Witch of the West.
Bristol, who shows lots of wide-eyed wonder and never goes too far by trying to be Judy Garland, is charming. Her "Over the Rainbow" doesn't copy Garland's, and it's just beautiful.
Sibley embodies Margaret Hamilton's evil, cackling witch from the film, and it serves her well. (Her green makeup really ought to cover her visible neck, though.)
Other standouts include Jesse Coleman (Lion), Beau Hutchings (in a truly dreadful Tin Man costume), Andrew Haserlat (Scarecrow), Robert John Biedermann (the Wizard of Oz) and, of course, Dusty (Toto). Members of the Muny Kids play Munchkins and Winkies.
Children — this show's primary audience, clearly — will love "The Wizard of Oz." In the end, that's most important. But the adults who pay for the tickets deserve a little more polish.
Monday, November 22, 2010
Sunday, November 21, 2010
This is not Carol House,
and these are not nice things
 |
| Mounted animal heads sold separately. |
Christmas in the Lou
 |
| Looking a lot like Christmas |
There's a classy, cool way to modify architectural lighting for the holidays. And then there's this.
Saturday, November 13, 2010
Theater review: 'A Woman's Place'
isn't necessarily on this stage
"A Woman's Place," West End Players Guild's second production of its 100th season, feels a lot like an uneven episode of "Saturday Night Live" — probably not the outcome directors Renee Sevier-Monsey and Carrie Phinney were going for Friday with their staging of four one-act shows.
A cast of six takes on multiple roles in "Trifles" by Susan Glaspell, "Australia" (at about five minutes, more of a scene than an act) by David Mamet, "Hello Out There" by William Saroyan and "Ashes to Ashes" by Harold Pinter. The pieces' common factor: Each deals with women tested by extreme situations such as rape and murder.
While such an undertaking has a lot of potential, the quality of the acting in this effort varies so wildly to the point where it's just distracting. Compelling performances often are mismatched with actors who are just delivering lines (and making an uncomfortable amount of eye contact with the audience).
There are some notable performances, though. Susan Elaine Rasch is solid in three of the pieces. Her portrayals seem effortless, and "Australia," basically a monologue, is an enjoyable showcase of her range.
Anthony Wininger, as a man jailed for rape in "Hello Out There," is paired appropriately with Elissa Schrader, who plays a 17-year-old with a misguided attraction to him. The two display chemistry — well, as much chemistry as a naive teenager can have with an accused rapist — and their inexplicable love-at-first-sight relationship is a delight to watch.
"Ashes to Ashes," which seems to go on forever, would have been more tolerable with quicker pacing. Pinter's writing is clever, and there's a fairly interesting plot in there someplace, but the glacial speed makes it nearly incomprehensible. Nancy Lubowitz does a fine job channeling Rebecca, a disturbed woman who emotionally — and sometimes comically — recalls an abusive lover from her past.
The cast also includes Chuck Lavazzi and Sean Ruprecht-Belt.
All four shows play out on a drab set designed for "Trifles," which takes place in 1916. But a bare stage with just a few key furnishings — and better use of lighting to establish the moods and locations — may have been a more effective approach. Too often, the stage lights illuminated much of the house, a reminder that it's a church basement.
West End Players Guild deserves applause for attempting an evening of one-acts. But in the end, character development and better pacing would have made for a more enjoyable evening of theater.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 11.09.10
A cast of six takes on multiple roles in "Trifles" by Susan Glaspell, "Australia" (at about five minutes, more of a scene than an act) by David Mamet, "Hello Out There" by William Saroyan and "Ashes to Ashes" by Harold Pinter. The pieces' common factor: Each deals with women tested by extreme situations such as rape and murder.
While such an undertaking has a lot of potential, the quality of the acting in this effort varies so wildly to the point where it's just distracting. Compelling performances often are mismatched with actors who are just delivering lines (and making an uncomfortable amount of eye contact with the audience).
There are some notable performances, though. Susan Elaine Rasch is solid in three of the pieces. Her portrayals seem effortless, and "Australia," basically a monologue, is an enjoyable showcase of her range.
Anthony Wininger, as a man jailed for rape in "Hello Out There," is paired appropriately with Elissa Schrader, who plays a 17-year-old with a misguided attraction to him. The two display chemistry — well, as much chemistry as a naive teenager can have with an accused rapist — and their inexplicable love-at-first-sight relationship is a delight to watch.
"Ashes to Ashes," which seems to go on forever, would have been more tolerable with quicker pacing. Pinter's writing is clever, and there's a fairly interesting plot in there someplace, but the glacial speed makes it nearly incomprehensible. Nancy Lubowitz does a fine job channeling Rebecca, a disturbed woman who emotionally — and sometimes comically — recalls an abusive lover from her past.
The cast also includes Chuck Lavazzi and Sean Ruprecht-Belt.
All four shows play out on a drab set designed for "Trifles," which takes place in 1916. But a bare stage with just a few key furnishings — and better use of lighting to establish the moods and locations — may have been a more effective approach. Too often, the stage lights illuminated much of the house, a reminder that it's a church basement.
West End Players Guild deserves applause for attempting an evening of one-acts. But in the end, character development and better pacing would have made for a more enjoyable evening of theater.
15-minute call: a little something
for my theater friends
A friend shared this on Facebook a few weeks ago, and I can't believe I failed to repost it here.
Friday, November 12, 2010
Does anyone still wear a hat?
 |
| Feathers! |
Another of my new obsessions: riding MetroLink. Today's ride (to Brentwood to buy my mom a birthday present) was full of adorable ladies in gigantic hats, presumably on their way home from America's Center downtown, where 40,000 members of the Church of God in Christ have gathered.
The woman sitting in front of me wore a bedazzled velvet hat, but a lady across the aisle sported feathered headgear. She won my imaginary contest.
I'm obsessed with the taco truck
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| The Cha Cha Chow truck at Market and 10th streets |
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| Beef short-rib taco: hamazing. |
Thursday, November 4, 2010
A few redesigned sections
A few weeks ago, I prototyped a new Post-Dispatch section called Home & Away, which resulted in some design tinkering in the other features sections (A&E and Let's Eat), as well. I put together these before-and-afters today to show a friend at another newspaper, so I figured I'd post 'em here, too.
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| A Saturday Lifestyle cover and two new Sunday Home & Away covers (designer: Reagan Branham) |
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| A "before" A&E cover and an "after" A&E cover (designer: Laura Black) |
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