Great show. Glad to see some new blood onstage. Next step: Now retire that old red Leather Couch. Its been in way too many CAST productions.
I feel that they are not loyal people. I know for a fact that the steal others intruments and either play them or sell them. They break into people's cars and damage their personal belongings. They have been doing this for a while and this is not fair to those who use their instruments for good purposes. They should not have the privilage to play down town at all. They sound horrible and they are getting people's money instead of making an honest living. I know that once of the members has been arrested twice. They should not be downtown at anytime playing anything. Its sad to know that people work everyday and for those to steal them and play like they are innocent. I agree with the individual who wrote the review above. We can do with out them. They have this ignorant attitude like they are band members of Earth Wind and Fire or apart of the Gap band or something. They need a permit to be on these streets or something. They are terrible. And the band mangaer has many Alias.. whoa... smh.. too shady to post his real name. We all know who he is. oh well.. you have the man to answer to on judgement day for your actions.****PLEASE WATCH YOUR CARS*****
All of us in Wichita Kansas miss every one of you. Even us "lurkers". Stay safe and I know how it can be. Very well put.
Haven't seen this one, BUT - For anyone who has been a part of one, yes - Macbeth is an extraordinarily difficult production to put up, that's truth # 1. Truth # 2 : I've been reading this shitrag since 1990, and I can tell you: this critic has NEVER liked any true, faithful version of the Scottish play presented in Charlotte. I think he liked the thumb puppet one. No mention of the fight choreography, either? Odd, given the content of the play.
It's been my experience with Collaborative Arts/Charlotte Shakespeare is that they always nail the Comedies, and they are quite good, if not top-notch productions. The tragedies they put up are, well.. Weak. Uninspired, lackluster, shortsighted, a tad arrogant - and presented without any introspection or wonder whatsoever. They always seem to have a fine group onstage, but when it comes to the heavier stuff - Wilkinson just doesn't bring the goods.
I'm sorry Mr. Tannenbaum, I dont know what play you watched but I have to respectfully disagree with your comment about certain aspects of Macbeth. While I agree with alot of what you said about the overall production I have to disagree with your views on Mr. Casper as Macbeth. It's obvious you have had no formal actor training or Shakespearean training. Mr. Casper's take on the Scottish king was original, unpredictable and full of humanity. His and Gretchin Mcgintys performance were the sole stand outs of the entire evening. Just because and actor screams his lines doesn't mean it's filled with emotion. Take an acting class and you might learn this.
Once again, the comments from Charlotteans show the lack of cultural maturity in this city as they watch the travelling drivel instead of embracing the local genius of native Charlotte Theatre. Carry on Perry!!!
Whoever wrote this review doesn't know his Lucy. Lucille Ball did not have a "husky"voice when she filmed I Love Lucy. It was only in her later years that her voice changed from smoking. If you are a Lucy fan you will love the show.
Dear Donna Flagg Walton: Perry wasn't the only one to hate the show. I found it to be a heinous piece of pandering drivel; the lowest common denominator of 'entertainment'. I wonder, Donna, what was the last piece of local theater you've seen, and did you support it and laud it as much as this traveling piece of 'let's make money' stage decoration? I'm not always in agreement with Perry, but this time he's spot on.
Dear Mr. Tannenbaum,
After reading the audience reviews on the "I Love Lucy Live on Stage" Facebook and the thousands of glowing reviews on TicketMaster, it seems the ONLY one that "Didn't have a Ball" at this show WAS YOU! The producers and writers clearly did their research on what fans of the 1950s and the old "I Love Lucy" show want to enjoy... and enjoy it they did!
What Charlotte theater-goers are saying about "I Love Lucy® Live On Stage!"
"The show was FANTASTIC! It was like watching the real show being taped back in the 50's."
"I laughed the entire time. If I closed my eyes I would've thought I was watching I Love Lucy."
"My husband and I ABSOLUTELY LOVED it! It couldn't have been better!"
"Had such a blast tonight. We really felt like we were at the I Love Lucy show and Desilou playhouse. BEST NIGHT OF THE YEAR!"
...and so on, and so on.
I've been a fan since the beginning back in 1984, I can not wait.
Crowemag Toys will be there!
You must have seen a different 'Pippin' than we did. I would definitely not give the overhyped 'Kinky Boots' a better rating. Patina Miller and her gang of circus fiends did far more for the Broadway scene in their tiny little theatre than all of these other shows put together. I've never had so many random NYers approach me after any play to ask about it and rave over it. The dancing is there, the Fosse is definitely there, and the circus elements elevate that theme of 'how far would you go?' etc.; they don't detract. There wasn't a single performer that wasn't on the mark. Matthew James Thomas, Andrea Martin, Charlotte d'Amboise, and yes, the great Terry Mann were a brilliant ensemble.
Mr. Mann, by the way, got his start in 'Barnum' and he has that background before he took Broadway by storm. The juggling and whatnot were not new tricks, but an old dog coming full circle.
Eno is over, he stopped being interesting in the lates 70's there are far more interesting people working now like Paul Armlehn or Amon Tobin
Sorry for this loss....
Thank you for this wonderful retrospective and celebration of Alan's work. Every single day of my life, whether working in theater or in event management or in any capacity whatsoever, I use skills taught to me by Alan Poindexter. He found me when I had the barest knowledge of what stagemanagement meant, he claimed me as his student, and he poured all his knowledge into me. How to do what was needed to make his vision appear live on stage. How to stand my ground between two (or more) points of conflict. How to juggle a thousand details and never let one drop.
I will miss Alan because he was a friend and because he is gone much too soon. However, he will live on in everything I do. I always tell people that the best training I received for ANY career came to me via my training in stagemanagement and Alan was my only mentor, my only teacher in that.
May his memory be for a blessing.
Free online chapters of Civil War book
http://tinyurl.com/6n495ql Andersonville Prison
Hey Chris- you forgot Hamlet!
Once Again, we get left off the List!!!!
It's all things to all people. A prototype of the sci-fi genre? An object of parody? A scare story of science run rampant? A myth of mankind's betrayal by its Creator? For Mary Shelley, monsters are made, not born, and Victor's obsessive denial of death and flight from his handiwork spring from very deep roots in our present moment. Shakespeare Carolina offers a new vision of Shelley's classic novel, with a trio of actors, poetry, and a startling world of sound and image.
Opens June 12th at The Duke Energy Theatre, Spirit Square, 345 N. College St., Charlotte, NC, 28202
Ticket Online at www.carolinatix.org
What would happen if the Woodstock festival and the Montreaux Folk festival got into a fight?!
Hilarity would ensue, that’s what!!
Imagine, a world in which outdoor art festivals, along with their communities of “interesting” folk, are the WORLD. Some of these communities are of the “plugged-in” variety, while some are still digging upon being “acoustic and natural”. Many times, these differences in taste keep the folks of this world from playing well with each other.
Our production takes place in the festival community of Ephesus (“acoustic and natural”). Egeon, a merchant from Syracuse community (“plugged-in”) has been arrested by Duke Solinus, Ephesus’ festival Ranger, for illegally vending Syracusan wares within Ephesus. The penalty for this crime is DEATH!! Fortunately, Duke grants Egeon or short stay of execution, being moved by a plea so beautiful in its description of lost love and two sets of separated twins.
Yes … you guessed it .. the Comedy of Errors ensue upon the arrival of Antipholous and Dromio of Syracuse into Ephesus. They are instantly mistaken for the Antipholous and Dromio of Ephesus. These errors do not bode well for Antipholous of Ephesus’ wife and sister-in-law, but they are hilarious for the audience. And, of course, all issues are resolved in the end … and lost love is restored!!!
Shakespeare Carolina will present The Comedy of Errors July 12-22 at the Winthrop University Amphitheater. The atmosphere will be that of an outdoor festival, including buskers, street performers/vendors, and possibly some juggling and magic. The presentation will be non-traditional with the entire vicinity of the amphitheatre being valid ‘playing space’—even the audience areas!!
The cast includes heralded Shakespeare Carolina vets: Katie Bearden, Nathan Rouse, Norman Burt, Ted Patterson, Amanda Liles, Megan York, and Manu Barbe. Newcomers to the fold will be: Heather Bucsh, Harold Skinner, Melissa Frierson, Loren Mixon, and Sara Sopko. David Hensley, our resident video imagery god, moves on stage to take on the role of Antipholous of Ephesus.
So come on out to the Fest! Be a part of THE COMEDY OF ERRORS!!!
The worst thing to happen to downtown Charlotte. I normally encourage and support street performers. But this group has a habit of being outside any venue I attend (Blumenthal, Knight Theater, Spirit Square, etc.) waiting for patrons to exit. They are so loud and in my face, they destroy any mood I might have coming out of a performance. It shows no respect for the attendees. If I come downtown to hear or see a great show, I don't want my reflection shattered by a bunch of loud, over the top, ego-driven musicians with no regard to their potential audience. If I ran a venue, I would have them removed from the front if performances were scheduled that evening. They could be anywhere downtown and be loud enough that everyone would know where they are if inclined to go listen to them.
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