Reviews from Elsewhere: Cici Barone on Frankie and Johnnie in the Claire de Lune, Frogdog Productions at the City Theatre, February 1 - 16, 2013

Published February 12 at www.austinentertainmentweekly.com:

Frankie and Johnny in the Clair de Lune

by Terrence McNally

Frogdog Productions at the City Theatre, February 1 - 16

reviewed by CiCi Barone

 

In its inaugural production, Frogdog Productions did an admirable job with a script of which I cannot honestly say I am a fan. As director Ronni D. Prior put it, “It’s a love story without all the romance stuff getting in the way.” There were moments of brilliance and a few missteps but all in all I’d say the two person cast did a decent job.

The plot of the play is relatively simple, though the author throws it around at random much like the film, “Lost in Translation.” Unless you had a flow chart, at times the conversation was hard to follow. Frankie is a waitress and Johnny is the short order chef at the same restaurant. The play follows the 24 hours following their first date, and Johnny’s desperate attempts to convince Frankie that they are soul mates and this is the only instant in their lives in which they have to truly connect and decide that they will be together.

As patrons walk into the theatre, you are immediately struck by a very yellow set, designed by director Ronni Prior and producer/female lead Summer Lynn Bryant, which is obviously a very small apartment. It’s a bit cluttered as though its inhabitant has lived there for quite a long time. Clothes are strewn all about the floor and a bright blue bra is meretriciously hanging from a shelf, leading one to suspect certain adult activities have just taken place.

Read more at www.austinentertainmentweekly.com. . . .

2012-2013 dinner theatre season for the Un-named Theatre Project, Georgetown, Texas

announces its 2012-2013 season of dinner theatre at Burger University in downtown Georgetown beginning with

October 18 - 20 in Georgetown

The Un-Named Theatre Project, Austin’s newest theatre venture, founded by Austin theatre veterans Olin Meadows, Cathie Sheridan, Matthew Charles Burnett and many others, is pleased to announce the inaugural season of the Georgetown Dinner Theatre. The Georgetown Dinner Theatre will be an interactive dining and entertainment experience, which the greater Austin area has been missing for quite some time. Being held in the historic Lockett building on the Georgetown “Square”, the building sets the mood from the moment patrons walk in the door then comes the scrumptious meal provided by Chef Alan Grimsley of Burger University, followed by the top notch theatre produced by the Un-Named Theatre Project and their talented actors.

The Un-Named Theatre Project, heralded by Artistic Director Olin Meadows, is producing a full season of plays and musical performances that will please everyone. Opening the Inaugural Season, celebrating its 25^th anniversary is the modern classic Steel Magnolias written by Robert Harling. Steel Magnolias is directed by Olin Meadows who directed the show in early 2011 to a sold out run, and Austin favorite Matthew Charles Burnett (Cabaret, The Producers, Into the Woods, Dirty Rotten Scoundrels). Adding to the cast and crew is returning actresses Cathie Sheridan, Cici Barone, Megan Henderson and Joan Baker, with Trina Sherman and Mary Kennelly joining to round out the cast. 

Following Steel Magnolias, The Un-Named Theatre Project will be producing a Christmas Musical Revue, and starting out 2013 will be The Trip to Bountiful by Horton Foote, followed by The World Goes Round which features the music of Kander and Ebb, then closing out the season is The Oldest Profession, a racy adult comedy about turning a buck in a rough economy. Plan to be thrilled and excited by the new and exciting season of theatre that The Un-Named Theatre Project has planned, and be prepared for some exciting surprise events as well.

Tickets for the Un-Named Theatre Project‘s presentations of The Georgetown Dinner Theatre will be $30.00 which includes both the Dinner and the Performance. Table Reservations are available as well as Season Tickets at the low price of $120.00 includes five tickets for the year to use at any performance of your choice. You may use your five tickets as best seats your needs: 1 seat for each show, or multiple seats for different shows. Patrons can purchase tickets by mailing unnamedtheatreproject@gmail.com or by calling 512-468-0610. The Un-Named Theatre Project also has a Facebook page so please look for us and “like” us to stay up to date on all of the upcoming events the Un-Named Theatre Project has planned.

Steel Magnolias, Sam Bass Community Theatre, Round Rock, January 27 - February 19

At one point in Robert Harling's mischievous script for Steel Magnolias, set in Truvy's beauty shop in Chinquapin, Louisiana, tidily turned out Clairee Beltcher responds when the newly hired perm-and-trim assistant Annelle worries that one of the husbands might intrude into that women's world. "Oh, those men wouldn't ever come in here," she says. "They're afraid that we might be running around nekkid or something."

Harling's 1987 play and the 1989 film of succeed exactly because of that. These simple, charming women are sweet and frank with one another, emotionally naked and not the least ashamed of it.

Steel Magnolias is a story with a powerful attraction, one that transcends the merely "chick flic" aspect of it. It's a story of friendship and binding over the long term. No wonder that this play is so frequently produced in community theatre. I first saw it at Way Off Broadway Community Players in Leander in January 2009, then again a few months later at the Trinity Street Players of First Baptist Church. I was out of town when the City Theatre did it this past December. Sam Bass has this appealing production running until February 19, the Renaissance Guild in San Antonio stages an African-American edition for three weekends starting on Friday, February 4, and the Hill Country Community Theatre near Marble Falls holds auditions late this month for an April production.

It's popular with audiences because they know the story and they can't resist the story of the fragile young Shelby surrounded by those funny and affectionate older women. Almost everyone loves a good cry -- 'cepting maybe the caricatured Louisiana men who never look inside the beauty shop.

Read more at AustinLiveTheatre.com . . . .

Upcoming: Steel Magnolias, Sam Bass Community Theatre, Round Rock, January 28 - February 14

Received directly:

Sam Bass Theatre, Round Rock, presents

Steel Magnolias

Written by Robert Harling

Directed by Olin Meadows

January 28 - February 19, 2010
Sam Bass Community Theatre, 600 Lee Street, Round Rock

Sam Bass Theatre of Round Rock is pleased to announce its first production of 2011, STEEL MAGNOLIAS, Written by Robert Harling, and Directed by Olin Meadows. This production features some of the top actresses of the Austin area. Come join us as we take you take you back to the 1980's in the heart of Louisiana to Chinquapin Parish and meet the colorful and vibrant ladies of this small southern town.

This show is sure to be a hit, with Joan Baker as Claree Belcher, the former First Lady of Chinquapin, along with Veronica "Ronni" Prior as Ouiser Boudreax, the crotchety but lovable old crow of the town, followed up by Alicia "Cici" Barone and Kat Connor, doubling in the role of Shelby Eatenton Latcherie, the prettiest girl in town and the conductor of this roller coaster ride of emotions, aided by her mother, M'Lynn Eatenton, played by Cathie Sheridan. And featuring Meagan Henderson as Annelle Dupuy, the young budding beautician and her mentor Truvy Jones, played by Edie Elkjer, the proprietor of Truvy's Beauty shop where all the action happens in this rollercoaster of fun, laughter, tears and heartwarming moments.

Director Olin Meadows has directed many productions across the state of Texas and is best known for his creation of Saffire T. Stone one of the top female impersonators in the state of Texas, as well as Sam Bass Theatre's annual "Evening Under the Stars," staged every New Year's Eve as a fundraiser for local arts in Round Rock. Additionally, his productions of "The Dames of Deception" and his "Legendary" drag brunch have garnered waves of critical acclaim, and brought joy to audiences across the state. Stay tuned for future productions featuring an array of colorful characters and thought provoking stories from this young and innovative director.

This show is sure to be a favorite that you will want to return to again and again, so get your tickets now before they are gone. The production will run for fourteen shows, opening January 28, 2011 running Thursdays through Saturdays at 8pm with Sunday matinees at 2:00pm until February 19th, 2011. Tickets are fifteen dollars for general admission and thirteen dollars for students and seniors, with special Thursday night prices of ten dollars, A perfect Valentine gift for that special some one!

New images for Upcoming: That Time of Year, Sam Bass Community Theatre, Round Rock, November 27 - December 19

Rehearsal photos for That Time of Year, received directly from the Sam Bass Community Theatre.

A musical revue of 25 all-original Christmas, Hanukkah and New Year's songs that captures the warmth and humor of this unique interfaith holiday season. The show offers a wide variety of material, running the musical gamut from show tunes to rock, blues and jazz. The songs, with lyrics by the ASCAP award-winning team of Laurence Holzman & Felicia Needleman, and music by seven different composers, range from funny, upbeat group numbers, highlighting the joys and anxieties of the holiday season, to beautiful, touching ballads about the meaning behind both holidays.

See "upcoming" announcement for performance times and more information.

View more images at AustinLiveTheatre.com . . . .

Murdered to Death, Sam Bass Community Theatre, Round Rock, September 18 - October 10

Peter Gordon's script of Murdered to Death is a loving send-up of the British "whodunit" and in particular of Agatha Christie's drawing room murder mysteries.

Dame Agatha's novels still sell vigorously today. Not so much in the United States, where we're more likely to encounter them at the public library or at used book sales along with discarded piles of Readers' Digest condensed books. But the French, the Germans, and -- presumably -- the British consume lots of Christie.

That tiny authoress, born in 1890 and died in 1976, has sold four billion copies of her novels to date, according to Wikipedia. Only the Bible has outsold her. She's the most translated author of all time, according to UNESCO, outsold only by the collective corporate output of Walt Disney. Her novels have appeared in 56 languages.

Perhaps because she constructed her tidy little puzzles in imagined comfortable settings stereotypical of the British landed gentry and bourgeoisie. Perhaps because she contrasted the elaborate politeness and bloodless deference of the educated English with their secret, bloody passions. Perhaps because in that world,crimes and mysteries were generally elucidated and the guilty were ususally apprehended by the equally polite and deferential forces of order, guided almost always by an inspired amateur.

It's a familiar scene, that 1930s tranquility sealed up in our imaginations, safe from the depredations of the wider world. The tidy universe of Miss Marple and Hercule Poirot is such a part of English literary tradition that it's ripe for ribbing and interpretation.

Playwright Peter Morgan happily employs Christie's devices and character types, and the cast at the Sam Bass Community Theatre plays them with due respect -- in fact, the more absurd the goings on, the more deadpan is the humor. And it's very amusing, indeed.

Read more at AustinLiveTheatre.com . . . .

Upcoming: Acting Up and Speaking Out, CiCi Barone at Sam Bass Community Theatre, May 1 - 2

Received April 21:

Acting Up and Speaking Out

A One-Woman Show Benefiting the Crohn's and Colitis Foundation of America

Round Rock, Texas. Alexandra Edgell and Alicia “CiCi” Barone announce Acting Up and Speaking Out, to be performed at Sam Bass Community Theatre on Friday May 1st and Saturday May 2nd. This one-woman show benefits the Crohn’s and Colitis Foundation of America (CCFA).

Alex tells her story and that of her longtime friend CiCi on her blog website http://www.my13miles.com.

There is no cure for Crohn’s. A cure requires research and research requires funding. On July 19th, Alex will join her team to run the Napa to Sonoma Wine Country Half Marathon to raise awareness. Her goal for the run is $5000.

As a part of the fund-raising effort, the Sam Bass Community Theatre in Round Rock, Texas has scheduled a two-night special performance of Acting Up and Speaking Out featuring CiCi Barone, who has lived with the realities of Crohn’s for the last 11 years. This will be a night of scenes, monologues, and frank conversation about the realities of living with Crohn's and related diseases. All proceeds (100%) from the night will go to benefit the CCFA.

This show will be two nights only with all seats $15.00 at the door. Seating is limited, so please email my13miles@gmail.com to make your reservations.

- - Friday May 1, 2009 - 8:00pm-10:00pm

- - Saturday May 2, 2009 - 8:00pm-10:00pm

Payment can be made at the door with cash or checks (made payable to CCFA). We are also able to accept most major credit cards via a donation form that will be sent in to CCFA for processing after the event.

My Bugatti Story by/with Paul Ehrmann, Salvage Vanguard, January 19, 24, 25, 31

My Bugatti Story is playing at the Salvage Vanguard Theatre as part of the 2009 FronterFest Long Fringe. Writer Paul Ehrmann plays Alexander, the principal character. Though there's a cast of six, the show is essentially a long monologue by Ehrmann, interspersed with illustrative scenes. The near-monologue format is appropriate, for most of the action is taking place in his head, or at least in his fantasies.

At the opening, Alexander is found in a psychiatric ward, just about to undergo a board review of his non-voluntary commital. He has refused to participate in drug trials that would take away his memory and he has hoarded enough doses of potent sedative Thorazine to commit suicide. The bout with the review board is unsatisfactory to both sides.

Before chomping down those fatal pills, Alexander tells us his story. When he was seven years old, his parents took him to Paris to visit the neighborhood from which they'd fled the Nazi occupation. His parents tell him of the arrest, brutal mistreatment and deportation to Germany of one of the bakery workers, a simple boy who unknowingly was wrapping bread in copies of the newspaper of the French résistance. Alex is horrified by the pictures in a book on the résistance movement,including a Gestapo "machine pour découper les mains" - - "a machine for cutting off hands."

He returns to the United States forever shaken. We witness some of his unsuccessful attempts to overcome the neurosis and become a "spacious guy" like other American yokels. We do not really understand when or how, exactly, he wound up in the bin.

As Alexander thinks of suicide, he is saved by the return of one of the luminescent memories of that séjour in Paris -- the sight of a Bugatti dealership with its powerful, fantastically styled sports cars.

"I escaped into my dreams," he exults, and we follow him into a fantasy world of occupied France where he is a much admired mechanic and driver for Bugatti (played by the imposingly authoritative Frank Benge).

There's a girl, of course, the delicate artist and advertising designer played by Cici Barone,seen here in a light-as-air confection of a dress.The crass American boys of his youth played by Matt Connely and Craig Nigh have transformed into confident coveralled Frenchmen, with pretty good French accents.

We follow the plot as the rotten Nazis oblige portly Bugatti to convert his factory to produce torpedoes, the nobly patriotic French (plus Alexander) scheme to frustrate them, and Alexander's love escapes over the Pyrenees to Lisbon and, eventually, the United States. Alex triumphs over all the bad guys, both those in his fantasies and those running the psychiatric institute.

Publicity for the show asserts that it is "71 percent true."

Paul Ehrmann's heroic little story reminded me irresistibly of a literary genre little known in the United States. Beginning immediately after World War II, principally in Belgium, artists such as Edgar P. Jacobs and Hergé drew and published what we with current political correctness now call "graphic novels." These were fantasy pieces for French speaking boys, in which intrepid adventurers travelled the world, foiled crooks and fought maniacal villains who resembled the worst caricatures of Prussians, Nazis, evil eastern Europeans and third-world dictators. These were not pulp publications, exactly, although they often appeared as serials in boys' magazines. Publishers offered them as albums. Despite dusty concepts and pre-CGI FX, they remain popular today.

Every French bookstore deals in bandes dessinées. And behind the manga and French surrealist sexy space and crime albums there sits a solid shelf or two of these classics. Paul Ehrmann's pleasant fantasy reminds me particularly of the various adventures of Jacobs' "Blake and Mortimer," a pair of very British gentlemen who were always foiling the wicked.

Ehrmann's writing is vivid. His images are often surprising, even poetic -- for example, his description of the first Bugatti shown above, which he hails as "hot cheese poured over a rollerskate." When he imagines an impossible story of pursuing with his fleet, muscular Bugatti the train carrying Louis toward Germany, we accept the story, however far fetched.

Some of his jokes succeed less well -- a gibe about nepotism in Texas state contracting is incongruous. The momentary return of captive Louis as a hostage is the occasion for a dumb sally about "not being the only 33-year old Jew who has ever returned."

By his own admission, Ehrmann has a lot of himself invested in this narrative. At times he comes across as confessional or woodenly self-obsessed, characteristics which are perfectly in keeping with his imaging of Alexander.

Afterwards, I spent some time trying to picture in that role some other Austin actor who could bring more delight and mischief to the portrayal, qualities that could "sell" us more convincingly the happily surreal dénouement. Ben Wolfe, perhaps, or Tyler Jones?

Review by Clayton Maxwell in Austin Chronicle of January 30

Hannah Kenah's advance piece in the Austin Chron icle, January 16