Showing posts with label Vestige Group. Show all posts
Showing posts with label Vestige Group. Show all posts

Thursday, July 12, 2012

Bastion Carboni: Profile and Interview by Dan Solomon for the Austin Chronicle, July 12


Austin Chronicle TX





Bastion Carboni (photo: John Anderson, via Austin Chronicle)
Bastion Carboni (photo: John Anderson)

Bastion Standard Time

Austin theatre's 'enfant terrible' swapped his poison pen for a Poison Apple, but he still gets people talking


Playwright, actor, director, and onetime theatre critic Bastion Carboni has a weird sense of humor. He'll start a sentence by laughing loudly at something he just thought of and say the joke that just occurred to him out loud. It doesn't always get the same reaction from others.

This time, we're at Home Slice Pizza, and Carboni has just come up with an idea that he's thrilled with for a photo to accompany this Chronicle profile. "It should be a photo of me with an apple shoved into my mouth, like a suckling pig, in skin-tight jeans, with the words 'c'est ne pas un enfant terrible,'" he declares, a reference to a number of things: RenĂ© Magritte's famous painting, The Treachery of Images, of course, but also the name of the theatre company that he started last year, Poison Apple Initiative, as well as a blog post by local author Spike Gillespie, in which she castigated Carboni as an "enfant terrible" for his decidedly no-holds-barred approach to theatre criticism. 

Carboni served in that role for the arts and culture website Austinist for a little over a year, finally leaving last February to pursue his endeavors with Poison Apple Initiative full time, and, one can safely conclude, because he was tired of how angry people got with him for saying the things that he said about Austin theatre.

Saturday, June 16, 2012

Upcoming: Neighborhood 3: Requisition of Doom by Jennifer Haley, Poison Apple Initiative and Vestige Group at the Blue Theatre, July 12 - 28

Neighborhood 3 Requisition of Doom Jennifer Haley Poison Apple Initiative Austin TX
Neighborhood 3: Requistion of Doom

by Jennifer Haley

July 12 - 28, Thursdays - Saturdays, 8 p.m.
and Wednesdays July 18 and 25, 8 p.m.
Blue Theatre, 916 Springdale (click for map)
“Sometimes you need a place to be sick.”

In an unnamed, familiar suburban housing division the kids are fixated on an online horror video game. As the sirens get louder and things go missing, their parents begin to realize that the game isn’t quarantined behind the compu
ter screen.

Poison Apple Initiative and The Vestige Group are hella-stoke-jazzed to present the regional premiere of Blackburn Award-winning playwright Jennifer Haley’s pitch-dark allegorical play. That involves zombies.

Featuring Michael Kranes, Cassadie Petersen, Olivia Frierson, and Zac Carr. Stage Managed by Lana Marks. Set/ props design by Mallory McKenney, costume design by Haydee Antunano, and lighting/publicity design by Geoffrey Aaron Douglas.

BRASS TACK DEETS:

When: July 12-28 @ 8pm (Thurs-Sat with additional Wednesday performances July 18 and 25)

Where: The Blue Theatre (916 Springdale)

How Much: Sliding Scale $12-$20.
Pay-What-You-Can Wednesdays.
$10 Thursdays.

For reservations/ info on group rates email poisonappleinitiative@gmail.com.

Hartdsz,
The PAI kids.

Tuesday, May 22, 2012

Auditions: Neighborhood 3, Requisition of Doom, Poison Apple Initiative and Vestige Group auditioning for allegorical zombie play, June 3



Poison Apple Initiative Austin TXPoison Apple Initiative in Vestige Group AUstin TXconjunction with the Vestige Group, is making a play. We want you to audition for it. It's got allegorical zombies and weaponized weedwackers and blood.  Auditions are June 3 from 2:00am [sic -- see more below!] until June 4 at 9:30pm at Wardenclyffe, 1101 Springdae Road (click for map)

In an unnamed suburban housing division the kids of the neighborhood become fixated on an online horror video
game. As things go missing and sirens get closer, their parents begin to realize that the game might not just be confined behind the computer screen.

BRASS TACKS:


1. We need 4 actors comfortable with playing multiple nuanced characters: a male and female in their late 30s-mid 40s and a male and female in their late teens-early 20s. These are Westlake-type people.


2. AUDITIONS will be held Sun, June 3rd from 1-4 with additional auditions/ callbacks on Mon, June 4th. Sides will be provided. A dialog sample can be found on Google Books.


3. REHEARSALS begin June 9th and will be held Mon-Thurs evenings with some Saturdays. PERFORMANCES are Weds-Sat, July 12-28th.


4. Actors will be paid a stipend.


If you've any questions or would like to schedule an appointment, email bastion@poisonappleinitiat
ive.com

In radness,

PAI

Thursday, July 7, 2011

Video: di[verge], Vestige Group, July 15 - 31


Received directly, a video by Will Hollis Snider for the Vestige Group:





[Apple users: Can't see the video? Click here to go to YouTube!]




presents

di[verge]: an original play with songs

by Suzy Gidseg

July 15-31, Fridays and Saturdays at 8 p.m., Sundays at 5pm.
Dougherty Arts Center, 1110 Barton Springs Road (click for map)
Tickets $15 - $25 (pick your price); all Sunday shows are Pay-What-You-Can.

Opening night: Free drinks and bites!
Puchase tickets at www.nowplayingaustin.com/page/austix
WEB: thevestigegroup.tumblr.com www.vestigegroup.org

One woman, two paths. When our lives di[verge] do we ever really accept our present, or do we continue to dream about our past and what might have been? What hold do our choices have on our future. Do they define us, or do we define them? One woman is making her choice. What happens next will change her life forever.

Thursday, June 16, 2011

Upcoming: di[verge], Vestige Group, July 15 - 31

Received directly:

The Vestige Group, Austin



presents

(image by Will Hollis Photography)

di[verge]: an original play with songs

by Suzy Gidseg


July 15-31, Fridays and Saturdays at 8 p.m., Sundays at 5pm.
Dougherty Arts Center, 1110 Barton Springs Road (click for map)
Tickets $15 - $25 (pick your price); all Sunday shows are Pay-What-You-Can.
Opening night: Free drinks and bites!
Puchase tickets at www.nowplayingaustin.com/page/austix
WEB: thevestigegroup.tumblr.com www.vestigegroup.org

The Vestige Group, known for its continued ability to create new work, ends their season with "di[verge]: an original play with songs," a new production written and directed by vestige group's co-artistic director, Susie Gidseg.

One woman, two paths. When our lives di[verge] do we ever really accept our present, or do we continue to dream about our past and what might have been? What hold do our choices have on our future. Do they define us, or do we define them? One woman is making her choice. What happens next will change her life forever.

Read more at AustinLiveTheatre.com . . . .

Saturday, September 11, 2010

Muses IV, Vestige Group at a private residence in 78704, August 29 - September 12


Muses IV Vestige group


The Vestige Group's annual Muses performance in a private residence is a fun evening outing. It's a bit like supervised trick or treating, except that the ten encounters for your group of fewer than a dozen take place on the same property. And you're not in disguise; the actors are.


The experience is designed for about 30 persons each night. We gathered on that big old porch for check-in as the evening shadows were gathering. Refreshments were available for a donation and mosquito spray was available for free. Susie Gidseg and companions divided us into three groups and accompanied to us to different starting points on the circuit. The webmaster of TheatreAustin at Yahoo groups decided that ours with Susie would be the "banshees" (cf. Siouxsie and the same, the British rock group, fl. 1976-1988).


Christian Huey as Winston, Jen Brown as Denise (www.vestigegroup.org)In previous years the collection of scriptwriters absorbed the vibes of the chosen house and let their imaginations run free. This year, experimenting with more structure, Vestige organizers gave the eight writers a family, ready-made, and asked for ten scenes to illustrate their lives. As in previous years, the scenes were sharp, well acted and complete in themselves.


What you don't know as you're going into the experience is that you are going to see some of the same characters embodied by different actors. The banshees went through the scenes in the order listed in the program. Not until a ten-minute break after scene four, necessary for traffic flow, did we study out the fact that in the first three vignettes we had viewed Denise the tippling therapist portrayed in turn, over the lapse of more than a year and in reverse chronological order, by Cathie Sheridan, Jen Brown and Kimberley Mead -- actresses of different shapes, styles and appearances.

Read more at AustinLiveTheatre.com . . . .

Wednesday, May 12, 2010

Bash, three plays by Neil LaBute, Vestige Group at Creative Alliance Studio, May 6 - 22







The Vestige Group is a small band of purists in an unpure world. They believe that theatre, up close and personal, has something to teach about the human condition. Something that you won't get from video or even from books. They like extremes. Celebration, as in the goofily outrageous Gorilla Man or in Lonestar, A Popcorn Throwing Musical or examinations of the lost and extreme, as in Marisol, in Touch and in this grim trio of plays by Neil LaBute.

When presented off-Broadway in 2000, LaBute's Bash carried the title Bash, Latter-Day Plays, a transparent reference to the Mormon world of Utah and Brigham Young University, where he had studied and taught theatre for years. That was a cheap shot, I think, perhaps even a New York marketing ploy, for LaBute has drawn characters whose twisted lives could play out anywhere. He stresses his intent of universaility that with two of the titles: "Iphigenia in Orem" (Utah) and "Medea Redux." The middle piece, "A Gaggle of Saints," describes a high spirited overnight trip to New York, and none of the happenings have much to do with saints, sainthood or the Church of the Latter Day Saints (LDS).

He sets these events pretty solidly in the early 1980's, with passing references to flashbulbs, to the BeeGees and to daily viewing of Hogan's Heroes. That is, indeed, the period when he attended BYU as an undergraduate and accepted the Mormon faith. Bash put paid to that, however, for after the show played in New York, the LDS Church formally excluded him from fellowship, presumably because the play's portrait of dark, murderous individuals offended the elders of the church.

Read more at AustinLiveTheatre.com . . . .

Tuesday, November 24, 2009

Lonestar, A Popcorn Throwing Rock Country Musical, Vestige Group at United States Art Authority, November 4 - 21






Wow, guys, this was a mess.

Melodrama meets country rock band and invites beer drinkers to interrupt the whole thing at will with popcorn, catcalls, and even, on one particularly wild night, someone's shoe thrown from the audience.

Dr. Dave my retired college professor friend and I paid for the Wednesday night VIP seats, only there weren't any. We were kindly removed from the high table next to the stage, which turned out to be the location for those long-legged cowgirls, but there was still time to nab our front row seats. We did get our complimentary beer glasses with logo and the two beer tickets each, so we had little cause to complain on that account.

Let's look at a couple of the key elements.

Melodrama: a theatrical art form performed in small towns, church halls, saloons and theatres across the country, particularly but not exclusively in the 19th century. Typically, a simple story with a beleaguered, right-thinking young hero, a virginal heroine with heart of gold regularly threatened by a black-hearted villain with loss of her maidenhead, loss of the family farm, and loss of everything else of value. The playing style is broad. The characters are stereotypes. Frequently, the actors turn to address the audience in character, exaggerating emotions with a complicit wink. Everyone knows that Virtue Will Triumph.

Country Rock: Amplified, very loud guitar-based up-tempo music, featuring a full and active drum set and perhaps an amplified fiddle. Thrumming base guitar is a must. Words and lyrics appear to be optional, because you cannot hear them over the roar of the music, anyway.

Read more at AustinLiveTheatre.com . . . .

Wednesday, October 14, 2009

Upcoming: Lone Star, A Popcorn Throwin' Musical, Vestige Group at U.S. Art Authority, November 6 - 21

UPDATE: Review by Javier Sanchez at the Daily Texan online, November 12

UPDATE: Review by Dan Solomon at Austinist.com, November 12

UPDATE: Review by Ryan E. Johnson at examiner.com/Austin, November 12

UPDATE:
Opening from Brian Paul Scipione's feature story in the November, 2009 edition of INSITE magazine:


Benjamin Wright had never written a play before so he took the world’s best advice on, well, the world’s best advice on just about everything, K.I.S.S.: Keep It Simple, Stupid.

He took on the world’s classic struggle: good versus evil and approached it from theater’s most classic format: the melodrama. He utilized classic haracterizations, the Snidely Whiplash and Dudley Do Right archetypes of cops and robbers and added some alluringcowgirls and thus Lonestar, Texas: A Popcorn Throwing Rock Country Musical was born. It debuted at his alma mater, University of California at Los Angeles five years ago when he was still an undergrad.

“A lot of people came,” Wright tells us, “and threw a lot of popcorn.” Normally, projectiles are the last things a neophyte playwright wants hurled at his debut. Certainly praise is preferable but as anyone who’s read the title of this article can tell, this performance is designed for popcorn throwing. And yet, while the advent of castingfood pellets at the cast was considered a success for five years, Wright is upping the stakes. “For an audience in Austin, we needed higher standards.”

Strike the musical vamp, dim the lights, hold your breath, and cue the Vestige Group.

(click to download November, 2009 issue of INSITE magazine -- 5.75 MB)

UPDATE: Lisa Scheps of KOOP-FM interview Benjamin Wright, Susie Gidseg and Jonathan Terrel for her program "Off Stage and On The Air," October 26

UPDATE: A song from Lonestar: A Woman in Need, posted October 23

Received directly:

The Vestige Group presents

Lonestar, Texas: A Popcorn Throwing Rock Country Musical


Book, Music and Lyrics by Vestige company member Benjamin Wright
Directed by Susie Gidseg and Jen Brown

Friday, November 6- Saturday, November 21
Runs Wednesdays - Saturdays at 8 pm at The United States Art Authority
Ages 21 and up only. Street parking only.

In a Snidely Whiplash/Dudley Do Right story that takes place in a Texan trailer park town, we meet a lecherous Texas Ranger who turns out not to be so rangerly. We meet a misunderstood youth just trying to escape his life in Lonestar. Let's not forget the damsel in distress and a whole mob of sexy cowgirls.

Lonestar, Texas: A Popcorn Throwing Rock Country Musical is a whimsical tale about the dark and depraved places one will go when forced to survive in the confines of a decaying small town. We'll leave the judgments of good and evil up to the audience who will be fully armed with beer and popcorn. So, saddle up for a rockin' trip to Lonestar, Texas.

Read more at AustinLiveTheatre.com . . . .


Sunday, August 23, 2009

Muses III: Memories of a House, Vestige Group at private residence, August 20 - 30







Pocket theatre.

Home theatre; intimate theatre.

Theatre for no more of you than can fit comfortably into a 12x15 room with the actors.

Muses III by the Vestige Group puts you into a small group for this experience. They have concessions available on the lawn beforehand, under the tall and twisty live oaks. They suggest that you get to know the persons in your group.

You probably won't, because your guide is not going to push the touchy-feely approach among your dozen faces. You'll be up close and personal with the actors soon enough.

The evening reminded me very strongly of those odd national day receptions we attended in central Africa. For one thing, the proprietors have acquired an eclectic houseful of handicrafts, art, masks, textiles and textures from across the world. We strangers carefully tramped through the house, settled on sofas as directed, slipped along the corridors and lingered out by the pool. As in a diplomatic reception, our mission was to get to get acquainted -- in this case, not with one another but with this odd collection of characters dreamed up by the writers.

Read more at AustinLiveTheatre.com . . . .

Wednesday, August 12, 2009

Upcoming: Muses III, Vestige Group at private location, August 20 - 30


UPDATE: Click for ALT review, August 22



Received directly:

12 playwrights, 18 actors, 4 directors...and one house.


Muses III
Directed by Susie Gidseg, Jen Brown, Will Hollis Snider and Aaron Black

Written by Barry Pineo, Max Langert, Sarah Saltwick, Jenny Keto, Charles Eichman, Bastion Carboni, Kristin Harrison, Marshall Ryan Maresca, Trey Deason, Susie Gidseg, Matha Lynn Coon and Aaron Black.

After a successful run of the original Muses: Memories of a House in 2007, called "theatrical magic" by the Austin Chronicle, and an exciting performance of Muses II last summer,called a "traveling feast," Vestige is excited to produce their third installment.

The Muses III: Memories of a House is a collaborative piece that centers around a home and the different people who have lived their lives inside it. While traveling around this beautiful house, audience members will happen upon moments in many individuals' lives, blurring the line between real life and the theatre. From photographs taken of the house, Austin playwrights bring each room within the house to life in a different way.

Full Run Dates
Thursday, Friday and Saturday: August 20, 21, 22, 27, 28, 29 at 7:30
Sundays: August 23rd and 30th at 5:30
Performances are $15-25 dollars. Thursday night performances are pay as you wish.
Flat shoes are encouraged. Stairs are involved in this production.
Reservations required. Production located at a private residence.
All tickets must be purchased in advance.
Places are limited. Buy your tickets now by reserving through nowplayingaustin.com. The address of the house will be given out post reservations.

Monday, May 11, 2009

Upcoming: Touch, Vestige Group at Hot Mama's Cafe, June 18 - July 3


UPDATE: Click for ALT review, June 21




Received May 10:

the vestige group
is proud to present
the Austin premiere of Toni Press-Coffman's


TOUCH

June 18th-20 and and 25th- 27th. July 2nd and 3rd at 9 pm.
Hot Mama's Coffee Shop
2401 E 6th St ,Austin

Kyle Kalke, an astronomer since childhood, a high school "science nerd," falls in love with flamboyant, outspoken, openhearted Zoe, who—astonishingly—loves him back. When she is kidnapped and murdered, Kyle barricades himself by devoting himself more feverishly to the cosmos and losing himself in loveless sex.

TOUCH is about a man in despair questioning whether there is any point to rediscovering passion, risking connection, groping toward the touch that will rekindle joy. Using fragments and memories, Kyle struggles to find out the truth about what has happened to his wife and to find a way to heal himself.




Click to read more at AustinLiveTheatre.com . . . .



"I haven’t had a chance to write about about TOUCH, with all the madness associated with Faster! and its consequent demands on my time, but I so grateful to be in this production. We are already deep into the rehearsal process, and as we’re getting off-book, the achingly raw moments between the characters are taking my breath away. This is a beautiful, sad play."

Click for more
June 3 blog comments by "Austin Actress," who is in the cast of Touch.


Saturday, December 6, 2008

Gorilla Man, Vestige Group at the Creekside Lounge, 606 E. 7th Street, Decembet 4 - 20






Gorilla Man plays in a hang-loose theatre space Thursdays through Saturdays. The guys at the Creekside Lounge are more used to your typical 6th & 7th street music scene than to the romping of thespians, but they were good natured about hosting the show.

I arrived right at the posted time of 7:30 a.m., and I went directly into the bar. They directed me to the apparently unheated space next door, where some twenty folding chairs were set up in front of a bandstand. Director Susie Gidseg welcomed me aboard, and I joined the mostly college age crowd gathering there. The bartender eventually showed up and amicably sold me a Real Ale for just $2.50, so I was ready to go. I even took off my wool cap and later in the evening I unzipped my leather jacket.

The 3-person band led by Henna Chou showed up promptly, wearing white shirts, suspenders and fedoras, along with narrator Spencer Driggers. They launched into the impossibly nutty musical story of Billy, the 14-year-old boy who discovers that puberty for him means waking up with abundant fur growing on his hands and other parts of his body. “Mom! What’s going on??”


Read More at AustinLiveTheatre.com. . . .

Friday, October 31, 2008

Upcoming: Gorilla Man, Vestige Group at Creekside Lounge, December 4 - 20

For ALT review, Click HERE!

Received October 31, 2008:

" A Rock musical.. and a great one at that! "
-Curtain Up New York

Come join the Vestige Group as they produce their first ever rock and roll Musical!

Gorilla Man - Book, Music and Lyrics by Kyle Jarrow - opens on Thursday, December 4th, at 7:30 pm at the Creekside Lounge.


Waking one morning to find thick fur growing on the backs of his hands, young Billy discovers the awful truth his mother has been hiding from him for 14 years. Cast from his home, he sets out on a journey to find his father, the legendary Gorilla Man.

Gorilla Man is a darkly comic coming-of-age rock and roll musical that explores issues of violence, identity, and free will against the backdrop of a warped American landscape. Filled with jarring political references, societal prejudices, a lot of fur and lyrics that will make you rock out in the car on the way home from the theatre, Gorilla Man is a must see!

Starring Kathleen Fletcher ( B. Iden Payne Winner), Jen Brown (B. Iden Payne nominee), Bobby Torres, Spencer Driggers, Benjamin Wright and Andrew Varenhorst.

Directed by Susie Gidseg and Jen Brown.


Rock and Roll Band: Brian Purington, Vince Durcan , and led by Henna Chou.

Musical Direction: Benjamin Wright


Full Run Dates
Thursday December 4th- Sat December 20,
Runs Thurs-Sat at 7:30 pm at The Creekside Lounge. 606 East 7th Street.


Performances are $15-25 dollars. Thursday night performances are "pay-as-you wish."
Tickets available at nowplayingaustin.com

The Vestige Group is a sponsored project of Austin Circle of Theaters. This project is funded and supported in part by the City of Austin through the Cultural Arts Division and by a grant from the Texas Commission on the Arts and an award from the National Endowment for the Arts, which believes that a great nation deserves great art.


Susie Gidseg & Jen Brown
Artistic Directors, the Vestige Group

YouTube Promo #1 for Austin production


YouTube Promo #2 for Austin production

Broadway World review of New York production

Friday, October 10, 2008

Toasting Tomorrow benefit evening, Vestige Group, October 18


Received October 10:

The Vestige Group presents: "TOASTING TOMORROW: A NIGHT OF CELEBRATION"

On October 18th, we're looking back at three years of exciting and original theatre, and kicking off our coming season!


Enjoy entertainment, food and drinks in a home that has hosted Hollywood, and kick back with the member of one of Austin's best little theatre groups.
SEATING IS LIMITED!

For tickets and more information go to
www.nowplayingaustin.com or go to our website, www.vestigegroup.org We look forward to seeing you there!

Saturday, September 20, 2008

Marisol, Vestige Group at the Off Center, September 18-28




Dark, dark, dark.


JosĂ© Rivera’s 1993 piece Marisol, now in production by the Vestige Group at the Off Center, may draw on the Latin American tradition of “magical realism,” but his vision is that of a Puerto Rican author raised in the outer boroughs of New York City. Think of a melding of Hieronymus Bosch and Salvador Dali. The dark clouds of Apocalypse are fulgent with irony and savage black humor.

The final image of this piece is that of angry humans throwing rocks into the sky, taking sides with the angels against God.

We enter the dark space of the Off Center to find an angel in one elevated corner, grasping an AK-47 in vigil against the heavens. Very early in the action, this same angel appears to our heroine Marisol Pérez to submit a verbal resignation from responsibilities as her guardian. More important work is in preparation: the angels have decided to rebel against a senescent, uncaring deity.

With that premise set, the angel disappears for most of the rest of the play. Marisol’s familiar miserable commute and living situation in New York City begin to go awry. Marisol hears and reads reports that she (or someone with her name) was clubbed to death at the subway station on 180th street in Washington Heights, at the same late hour she was being hassled by a homeless man brandishing a golf club.

The moon has disappeared, but radio journalists reassure us that the government is preparing an expedition to haul it back into place. What is that huge unfamiliar windowless building across from her work in mid-town? Who is this incensed man who breaks into the academic publishing office and demands to be paid for his work in the filming of Robert Deniro’s Taxi Driver?

June, her sympathetic woman co-worker, persuades Marisol to come to her apartment for refuge, but on their arrival June advises her that June’s unbalanced brother, Lenny, has been sexually obsessing over Marisol for two years. His meeting with her generates confusion, panic and threats.

When Marisol returns solo to her apartment to seek her things, the world has tilted entirely, with no landmarks recognizable and the sun traversing the sky from north to south. Laws of time, physics and geography have come apart.

Staging Marisol is a brave act for this young theatre company, in part because Rivera’s text fits too well the bleak, self-conscious self-dramatizing genre stereotypically beloved of struggling obscure theatre troupes. One imagines the impoverished author saying to himself, So, New York and the corrupt world do not recognize my talent or burning thirst for justice? They’d prefer for me to die poor, miserable and unseen in the wilds of the outer boroughs? Then I’ll show them the end of their own smug, self-centered world!

The scenes dangle together like cartoons on a clothesline, each devoted to yet another crazy or nasty or nutso entering Marisol’s life. The grace that lifts this text is Rivera’s imagination and sense of black humor. If there is no God, or if God has simply dropped the reins, the impossible becomes probable. A visiting angel can plant a sleeper with visions or with sexual ecstacy. Landscapes can transform. The disappeared or murdered can resurrect as if nothing happened. Marisol and Lenny can find themselves bound in an unholy and impossible immaculate conception, delivery and strangled stillbirth.

Humans can stone God and follow angels in rebellion. Perhaps in revolution.

Emily Pate as Marisol is the lovely, earnest presence through whom we experience the confusion of this world overturned. Andrew Varenhorst as the wayward Lenny has a lanky, distracted menace and later intensity that seize us, especially in the mad scenes of delivery and mourning. Crisp, assertive characters are drawn by Julie Winston-Thomas as June and Bastion Carboni as three different but psychically related nutsos. Dawnica Mathis the surly angel chills us but takes a declamatory approach to her lines, perhaps a deliberate indication of the angel’s role as ideologue of apocalypse.

My favorite performance was that of Jenny Keto. She appears only briefly as a young woman in a fur coat, bearing marks of a beating by credit-card enforcers, the gestapo lurking in that windowless building downtown. Keto is hysteria contained, totally focused, with economy of motion and beautifully, sparsely articulated emotion.

A cavil – directors Susie Gidseg and Jen Brown forfeit some of the opportunities of a “black box” staging and badly break the rhythm of the first act with the pauses and awkward manipulations of scene changes. A lot of labor and time is consumed in semi-darkness by actors and stagehands as they carry on and off Marisol’s bed (twice), the setting for the office, and the furniture for June’s apartment. These scenes could have been furnished more simply or just played in fixed areas of the stage. The opening scene in a #2 or #5 line subway car approaching East 180th Street is a techie’s delight – four upright poles on a platform, a rear projection of a subway car, and a recorded rush of subway noise. But it distracts us and makes it difficult to make out the mad babble that might be the prelude to an approaching murder.

Music before the opening was appropriate, lonely and ethereal.

Some very effective images anchored the scene – the rear projection, at the opening and the ending, of powerful images of angels, and the glowering presence of the armed Dawnica Mathis, scrupulously ignoring the entering audience. I speculate that she might have been even more compelling if she had been allowed to eye us from time to time in those pre-opening minutes, the way that stony Secret Service bodyguards watch for threats.

This stark production repays your time and attention. Don’t go expecting any easy laughs, and prepare to watch the world coming apart at the seams.



Review posted on the Austinist by SaraMarie
, September 22

Review by Barry Pineo in the Austin Chronicle, September 25

Review of the 1993 production by Frank Rich of the New York Times

Wikipedia on Jose Rivera, playwright

José Rivera at Internet Movie Database

José Rivera on writing and cultural diversity (1995)

An Actor's View of the Opening Night of Marisol (by Julie)

Vestige Group on MySpace


Footnotes:

1) Playwright
José Rivera no longer lives in New York. He resides in Hollywood and he wrote the script for The Motorcycle Diaries, the 2004 film about a young Ché Guevara.

2) The Vestige Group gave me a complimentary ticket for the opening of this production and I accepted it, doubly burdening my conscience. Maybe taking a free ticket offers the appearance of providing special services in return for favors. (You can tell that I was a Federal employee for too long.) But more important, recognizing that theatre groups live on scraps and donations, I should have gone ahead and been generous for that Thursday "pay what you can" evening.

3) Continuing that thought, are YOU a member of the Austin Circle of Theatres? Have you made a donation through their website? I joined this week and did so, figuring that it was the closest thing to union dues for an unpaid on-line theatre journalist.
.