“The School of Scandal” and “The Altar Boyz”
Author: iwellbc // Category: Ensemble TheatreRole Players present outrageous farce
“If the world were like the movies
we would never make mistakes
we’d correct our little blunders
and select our better takes”
- From the 1982 film
“My Favorite Year”
The shows I’m reviewing this week, “The School for Scandal” and “The Altar Boyz,” are a mixed bag of entertainment pluses and minuses. While each show has a lot going for it, each has a way to go or grow, depending on how you look at it.
The Role Players Ensemble Theatre in Danville is presenting a brilliantly clever restoration comedy, “The School for Scandal,” by the articulate author, renowned orator and British parliamentarian, Richard Brinsley Sheridan.
First produced in 1777, Sheridan’s marvelous play affectionately satirizes the fashionable society of the wealthy class, with its overt materialism, gossip and hypocrisy. His story takes place within an elitist social circle whose members’ favorite pastime seems to favor finding someone to defame, ridicule or malign through carefully constructed falsehoods and/or innuendo. These individuals focus their primary interests into devising secret, cunning and complicated schemes, all to achieve a particular goal or to cause harm to others, often for their own personal gain or pure entertainment. These egregious character-slayers comprise many layers in “School for Scandal.”
This is a complicated play and certainly a very ambitious play for community theater
There are 15 diversely comic and intriguing characters in this farcical story about sibling rivalry, love, lust, fidelity, infidelity and artificial relationships. The characters are given names that in some small way describe some aspect of their character, such as Snake Lady Sneerwell, Sir Benjamin Backbite, Mrs. Candor, Mr. Crabtree, Sir Peter Teazle and Lady Teazle, Moses and the Surface Brothers.
The plot is blunt. Practically everyone has something to glean by mischievous and treacherous means.
Director Sue Trigg has done an excellent job of selecting cast members capable of providing full meaning to their characters. This play is an outrageous farce, a grand comedy and for the most part it is carried off very well. The language is “stately English” and at times is difficult to capture, for lack of familiarity.
It was not until I went online to review the actual script that I fully grasped some of the relationships. The play opens with two of the lesser support characters plotting to spoil Charles Surface’s character. It is here where we begin to grasp that there is a circle of socializers who gather routinely to pander in slander, to gossip and trade “delicious” tales out of context, fabrications and fornications of the truth.
Lady Sneerwell wants to damage a budding relationship between Charles Surface and Sir Peter Teazle’s ward, Maria, because she had at one time been in a relationship with Charles and doesn’t want him to marry this beautiful younger woman. Sir Peter Teazle has a much younger wife, who has romantic aspirations toward Charles’ brother, Joseph. While Joseph pretends to have similar inclinations toward Lady Teazle, he does so in order to get back at his brother, Charles, because he also lusts after the attractive young Maria.
Intrigue after intrigue compound the relationships, especially that of a wealthy uncle of the brothers, Sir Oliver Surface. He arrives on the scene incognito to determine the true character of his nephews, to help him decide who is the most worthy to inherit his estate when he dies. Sir Oliver Surface is played by Chris Chapman. Lady Teazle is played by Kathryne Davidson, Maria by Xanadu Bruggers, Mrs. Candor by Melynda Kiring, Mr. Crabtree by Candy Campbell (a lady who plays an older man very well), Moses by Elias D. Protopsaltis, Rowley by Michael Green, Careless by Jill Davidson, Snake and Sir Benjamin Backbite by Paul Plain and the stalwart servant by Joel Stefani.
Sir Peter Teazle (John Blytt) acknowledges his uneven and contradictory friendship with his deceased friend’s sons, the brothers Joseph Surface (Michael Sally), and Charles Surface (Craig Eychner). He believes Joseph to be the epitome of virtue and honor, while he believes Charles to be the opposite in character, the epitome of personal corruption and deplorable financial carelessness. He wishes that his young ward, Maria, would find Joseph an acceptable suitor for her hand in marriage, over her obviously romantic admiration for the more colorful and more handsome Charles Surface.
As the play develops, we quickly discover that brother Joseph Surface is a two- faced individual. Lady Snearwell describes him thus, “I have found him out a long time since. I know him to be artful, selfish and malicious-in short, a sentimental knave; (but) while with Sir Peter, and indeed with all his (general) acquaintance, he passes for a youthful miracle of prudence, good sense, and benevolence.”
I enjoyed the play very much and laughed at times. I did find fault with some aspects, but not enough to belabor any specific points. It was obvious that the play fell shallow on some ears. This is a long play, too long without a full professional cast. The first act was hard to sit through, but the second act moved much better. On the whole, the production never quite came together.
While every member of the cast contributes significantly to this production, the following actors deserve “outstanding” kudos for their efforts: Michael Sally, Melynda Kiring and Craig Eychner.
This humorous restoration comedy plays Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. through Saturday, May 10, in the Community Center Theater at 420 Front Street in Danville.
Tickets may be purchased by calling 314-3400 or 314-3463, or online at www.villagetheatreshows.com, or in person at the Community Center, 420 Front Street, in Danville. Tickets are a reasonable $22 to $25 each.
“Altar Boyz” at the Willows
The Willows “Cabaret” Theatre in Martinez is carrying forward the little theater’s theater of Catholicism with another musical that will be appreciated by anyone with a personal history closely aligned with Catholic experiences. This cabaret-style theatre is presenting the Off-Broadway musical, “Altar Boyz.”
This is a venue where the audience sits at small tables where they can order drinks and snacks to enjoy during the show.
This upbeat, modern religious rock musical professes no one specific religious point of view. It must have been penned by someone with a great knowledge of Catholic ritual and rhetoric. “Altar Boyz” tells the inspiring, upbeat story of five guys from small-town USA who are drawn together in their quest to “save souls.” They form a singing, dancing company that travels town to town, like a comic revival show, seeking to inspire, cajole, convert and re-commit a sagging religious following among the young; to seek out and embrace Jesus as their savior. They make fun of religion, but not too offensively.
With songs such as “Jesus Called Me on My Cell Phone” and “Girl You Make Me Want to Wait,” the verbal message is loud and clear, but their sinfully terrific dancing, suggestive body language and straight street talk are modern and in touch with today’s hip overtures.
The musical is youthful, exuberant and exciting, tuning the audience into their party-exhilaration wavelength before the evening is over. The songs include the terrific “Rhythm in Me,” “Church Rulez,” “Something About You,” “Everybody Fits,” “La Vida Eternal” and “I Believe,” to mention a few. The songs relate to issues in the boy’s lives as well as issues that many audience members must have found relative as well. The audience was enthusiastic and appreciative. The lyrics are clever and fun.
Director and Choreographer Mickey Nugent has brought together five unique young men that include Kenneth Scott as Matthew, Bobby Bryce as Mark, Michael Scott Wells as Luke, Rod Voltaire Edora as Juan and Herbie Raad as Abraham. The musical director, Carl Pantle, provides great accompaniment.
The sound didn’t work for me. It too loud to be comfortable and many lines were walked over or just not delivered clearly. Rod Voltaire Edora who portrayed Juan had such a thick accent that I missed many of his lines entirely. They are all outstanding talented performers, but if you cannot understand them, the show loses much of its punch.
The other problem I have is that the theater seating is just too crowded for comfort. Other guests expressed the same feeling to me. This is a great show, an attractive little venue, but how often does one want to be so crowded that when the young women who serve drinks and snacks (at a fairly hefty price) have to shove their way past you so that they can reach other patrons.
If you sit near the aisle, you continually have to move your chair even closer to an already uncomfortably small table and other guests, so much so that it disturbed my enjoyment of the show and its hardworking performers. This is not good. One reason I don’t often go back to this theater to review shows is that the experience of the theater itself is basically the same, and that’s a shame! The whole concept is a great idea, if they just didn’t try to squeeze so many people in.
“Altar Boyz” continues Wednesdays at 3:30 and 7:30 p.m., Thursdays at 7:30, Fridays at 8, Saturdays at 2 and 8, with Sunday performances at 3, now through May 11.
The Willows Cabaret “Campbell” Theatre is located at 636 Ward Street in Downtown Martinez, one block east of Main Street at the corner of Estudillo Street. Call 798-1300 for tickets or visit the Willows Web site at www.willowstheatre.org. Tickets range between $20 and $30 each with discounts for seniors.
