Dreamcatcher Theatreworks brought Vaudeville
back like whoa.
Vaudeville was a type of variety theatre popular between 1880 and the
early
1930's. Each performance was made up of a series of separate, unrelated
acts
grouped together on a common bill. Complete with hand-delivered beer,
wine, and mixed drinks during the show, this Vaudeville of the new
millennium was truly an incredible experience.
Return of Vaudeville May 2010G Producer's Club
N. Lugo
The Amazing Amy
Broadway Singer Catt John
__________________
Words July 2009 Gene Frankel Theatre
D. Sanxiun, J. Brunner, E. Gordon, M. Dalts, N. Meditz, L. Mammone
E. Gordon, L.
Mammone, M. Dalts
E.Gordon, J. Brunner, M. Dalts
Performers: Honor Amongst Thieves; Tony Grend; The Amazing Amy; Michael Matson & Noel-Marie; Catt John; M.C. Nelson R. Lugo
Starting off the evening our
M.C., the delightfully ostentatious Nelson
Lugo, warmed the audience up by p erforming an act called “The Human
Blockhead”. It consisted of a 6 inch spike, a hammer, and the man’s
nose. The act itself forced more than a few bodies to squirm in their
seats while simultaneously laughing hysterically at the strangeness of
it all. The fact that Mr. Lugo performed this feat it was no t rick with
such showmanship and glee set the tone for the next 90min of amazingly
entertaining spectacle.
“The Amazing Amy” performed an act called “Jedi Yoga: Stretching from a
Galaxy Far, Far Away”. Not only was this an incredible act that would be
right at home with any "Cirque Du Soleil" show, but it was inspiring.
“The Amazing Amy” truly lives up to her moniker. Over 55 years old and
in as good or better physical shape as anyone I have seen, this woman is
a testament of what one can achieve with the human body, and the best
argument on the practice of Yoga I have ever seen or heard. Plus the
entire routine was choreographed to the score of “Star Wars”, making
Jedi Yoga a memorable piece indeed.
Much could be said of every act. The singers had the audience
enthralled, clapping along with the music. The sideshow of “Honor
Amongst Thieves” had us stupefied with each member of the troupe
presenting his or her own peculiar talent. A man escaping from a
Straight Jacket the way Harry Houdini used to. A woman walking,
barefoot, up a ladder made out of razor sharp swords, and another man
juggling two pins and an actual Machete that he used to shave himself
with while Juggling. All this and I haven’t even mentioned the “Bed of
Nails”.
It was a great night filled with things that I imagine no one in
attendance had seen before. The combination of so many different acts
together on one stage was truly a Return to the Vaudeville of old. It
felt like lightning in a bottle.
T. Grend
Honor Amongst Thieves with Audience Member
Performers of "Return of Vaudeville"
____________________________
Written by: Jaqueline Brunner, M. Dalts, Kelly Feustel, Eric Gordon, Olivia Mammone, Nolan Meditz, Derj Sanxiun Directed by: Kelly Feustel A unique look into the process and creativity of the modern poet,
"Words" follows the fateful night of a poet who suffers from writer's
block and the pressure of success. On the edge of his sanity, the Poet
is visited by his five Muses: Time, Mentor, Nymph, Romantic, &
Aggressor. Each Muse competes for attention, slowly chipping away the
Poet's patience. Told in choral poem format, "Words" features the
original works of the poet/actors that performed them: M. Dalts,
Jacqueline Brunner, Eric Gordon, Olivia Mammone, Nolan Menditz, and Derj
Sanxiun. The poetry was arranged and directed by Kelly Feustel,
creating a cohesive story that was easy to follow and heart-wrenching; a
true transformation from your typical poetry reading.
D. Sanxiun & N. Meditz
D. Sanxiun, N. Meditz, M. Daltx, E. Gordon, L. Mammone, J. Brunner
Written by: Pierre Cornielle; Translated by: Ranjit Bolt Directed
by: Richie Pepio
Pierre
Corneille’s Le Cid has become largely forgotten by American audiences
because of its genuine simplicity. As the centuries passed since its first production
(France, 1637), popular drama begun to focus on the more internal, subtle inner workings of the
characters minds; causing the subtext to drive the play rather than the
text alone.
What distinguishes Le Cid is that the characters
free-willed actions bind them to a tragic fate rather than an act of god, as is common in other
neoclassical theatre. In adjusting the script, pacing the scenes, and
staging the overall production,
Pepio retains the traditional intentions of the characters and the
romantic chivalry of the piece while still being fast-paced and exciting enough to appeal to
the modern audience.
Keeping the melodrama to a
minimum, Pepio emphasizes the speed and magnitude at which the events
are spiraling out of
control.A unique overlapping of scenes keeps the action
rolling and the audience engaged.In this distinctive interpretation, the
usually offstage battles unfold chronologically between scenes and three
artfully potent
tableaus serve as chapter headings emphasizing the ever-changing
relationship between the lovers.The clever set up forces the two areas
of the audience to face one another, creating an edgy illusion that not
only are you part of
the action - but you must choose a side.
“Peter” is a prequel to the J.M.
Barrie classic, “Peter Pan.” Drawing from a variety of Barrie’s stories,
Kelly Feustel’s work details the dark and mysterious circumstances
surrounding a naïve, innocent boy’s transformation into the tragic
figure who refuses to grow up. First performed in April, 2008, “Peter”
served as Feustel's senior practicum presentation at Hofstra University.
"Peter"
charmed, shocked, and captivated its audiences by concentrating on the
adult themes provided by J.M. Barrie's imagination. This unique story
bridges the gap between "The Little White Bird" (J.M. Barrie - Peter
Pan's first literary mention) and "Peter and Wendy." This story
surfaces the largely forgotten demons that have always been present in
Peter Pan's past. Clever costuming (design by Sarah Reeb &
Alexandra Rubin) easily lent audiences to connect with fairies,
children, birds, and the Greek god, Pan. A series of epic fights
(Robert Westley - Fight Director, Charlie Rohlfs - his assistant)
brought battles between timeless characters to life. Jordan Hue's
direction personified the most fantastical characters that kept the
audience on the edge of their seat throughout both acts. All-in-all
this tale of love, loss, friendship, and determination touched the
audience's heart by surfacing the horrific past of this classic
character.