Drew Eberhard - Page 7

In 1983, Sally Ride, or as proclaimed in the play, “She should be called Dr. Ride,” an Astrophysicist became the first and youngest American woman in Space aboard the Orbiter Challenger. Liza Birkenmeier’s play is not about Sally Ride, even though her name is mentioned throughout the 85 minutes. However, under the veil of the ’80s in St. Louis, Missouri we meet four women living out their lives and by a matter of opinion telling stories that boldly go where none of them have gone before so to speak. At its heart, Birkenmeier’s script is compelling, enlightening, and stunning from top to bottom, a true marvel of live theatre. In her script, we get to meet characters that are not as often displayed on-stage, and that is what makes this show so endearing. Being that this show is set in the 80’s smartphones, and other things like social media, don’t exist yet; which renders the compelling humanity shown throughout the script. It’s a breath of fresh air as we learn of these women, and how they may or may not enjoy their current way of life, and yet so different in a matter of opinions and lifestyle they are all one and the same.

An empty stage is all the stands before us, at its center a girl on the floor in a daydream, or just merely sleeping. After a few brief moments of staring at her like we’ve just seen an accident that we cannot turn away from; the lights dim and she awakens. “I am here, your Magician.” A few moments later the Magician recognizes us as her audience and brings us into her sweeping tale of love, tragedy, and imagination.

Our central characters Ileen and Jaclyn work togther a meer desk apart in a small and conservative Medical Office in Chicago. As the story opens we find out that Ileen has recently been made office manager by Dr. Williams, and over coffee and sweet rolls they discuss the days upcomings. By a watch unlike any-other Jacklyn arrives to work, finding her desk askew and walking into the room as if someone was just talking about her. After a five day leave Jacklyn returns to an office that may or may not have been turned on its head so to speak. What happens in the progressingly swift 95 minutes is nothing short of magical. The twist and turns, the wonder about what could possibly happen next, keeps you on the edge of your seat and filled with anxiety at its best. Somehow a story so real, so human, and so down-right current even in an unfortunate way makes this a piece you absolutely can’t steal your eyes away from. With baited breath we hang on every word.

Auditions for the fall production of Biloxi Blues by Neil Simon will take place at the JCC on the Cohn Campus in the J Stage Theatre on Sunday, September 12 from 5:00 – 8:00 pm. Callback auditions are scheduled for Monday, September 13 from 6:00 – 9:00 pm. J Stage Theatre is located at 13009 Community Campus Drive in Tampa. 

When playwright Michael Proft was introduced to the back story behind this gripping tell-all piece, he learned of a documentary entitled 'Worst Places in the World to be Gay.'

“She wanted them the way she needed the earth and the flowers and the sky and the sea from her tower room and food and sleep and warmth and light and nights by the fire and poetry and the stories of going out in the world and almost being destroyed by it and returning to find comfort and the real meaning of freak.” -an excerpt from SNOW from THE ROSE and THE BEAST Throughout the last year, freeFall Theatre who is no stranger to inventive staging found a way to make use of their performance space by providing Outdoor Musical Revues. Allowing the company to recoup some lost revenue due to the global shutdown, freeFall took to the streets so-to-speak and provided the surrounding community with joy through song. By implementing a Drive-In aspect to live performance a stage was constructed in the parking lot adjacent to the courtyard, and patrons could purchase tickets or a “parking spot” and by dialing in on their car radio be able to hear what was being presented on stage.

“WHAT BECOMES OF A CHILD THAT STARVED FOR AFFECTION?” -M.C. IN SHOCKHEADED PETER “YOU’VE GOT TO BE CRUEL TO BE KIND, IN THE RIGHT MEASURE. CRUEL TO BE KIND, IT’S A VERY GOOD SIGN....” -NICK LOWE FROM “JESUS OF COOL” ALBUM (1978). Once every so often audiences of a theatre-going persuasion are treated to something a little out of the ordinary. Something that may just have to be experienced before allowing it to fully sink in. Jobsite revels in the strange, the unorthodox, the Masterclass of all things twisted and warped; and these are some centralized moments of Shockheaded Peter or its namesake Der Struwwelpeter. Having personally never heard of Der Struwwelpeter or William Maloney’s The Worst of Everything, I had no idea what I was in store for. Which made this particular show more zany, exciting, and mentally stimulating than most seen as of late. From every angle, there was something to watch, something to leave our mouths agape and make you just think what the hell?

“Things get better. They may not always get brilliant, but they get better.” -Narrator, Every Brilliant Thing In its first Live-Audience mounting since the novel-Coronavirus Pandemic shut down the world as we know it, TampaRep has chosen a marvel of a production. In doing so invited audience members back home so-to-speak with open arms, and mounting this production with one of the finest actors in our surrounding area at its helm. Duncan MacMillan’s Every Brilliant Thing is different than anything we have seen as of late. I think this is what truly makes it an endearing yet very sobering piece. Grounded in Audience Participation and two constants, a list and the Mother’s mental illness. In this fast paced but never rushed 70 minute tour-de force the Narrator who is remaining nameless maneuvers his way through the space telling the tale of his younger years, his time in college, falling in and out of love, marriage and eventually the failings/ups and downs in which life brings along its path.

Like the classic movies and tv shows of yesteryear, every once in awhile something comes along that takes you down memory lane and allows you for even just a fleeting moment to live outside of your present tense. Like a warm blanket just out of the dryer the memories envelop themselves around you and put you at ease in comfort, joy, and sometimes in sadness and pain. All of these lessons and more make up the root of the story in Luis Santeiro’s The Lady from Havana. Set to the tune of these classic films and tv shows like The Golden Girls, Miami Vice, etc.... The Lady from Havana tells the story of a daughter Marita, her elderly mother Mama, and her Mama’s closest confidant Zoila in 1980’s Miami all living under the same roof.

Every so often we in the Theatre-going community find a show or two that “makes its rounds” so to speak within the area. Godspell happens to be one of those shows. Having been done numerous times, a show that could be considered timeless, can also pose the question, “how are they going to make it stand out from all the others?” The folks at Eight O’Clock Theatre have managed to answer this question ten-fold with their most recent take on the Behemoth Musical by one Stephen Schwartz. Set in a reminiscent-like “tent city” in modern time we meet John the Baptist, Jesus,and his “Players” or folks yearning to hear the teachings of the Son of God. Through 17 musical numbers accompanied by a live band, nine uniquely different performers dressed in modern fare take the stage in an almost traveling-minstrel troupe set out to tell the story. One distinct difference is this “tent city” is in the heart of Tampa, complete with a skyline showing the Towers of University of Tampa and the Sign that hangs above the Tampa Theatre. An open concept stage with an almost concert like feel, we are transported not only into the world of the players, but also a world maybe not so different from that which we could experience if only in particular sides of the city. With graffiti emblazoned on the walls and a mural of Jesus memorialized in black light the lights dimmed and the story began.

Familiar faces, familiar characters, and a familiar red dog house with a delightful white beagle and a fleeting yellow bird make up the musical sequel to the ever so popular You’re a Good Man Charley Brown. This time the tables are turned on Charley Brown and the gang and we hear the story of Snoopy and the many comings and goings of a dog’s life centered around the kids in the neighborhood. Georgia Mallory Guy and team have assembled an All-Star cast complete with an Adult ensemble and a Young Actors Ensemble. The Adult ensemble play the parts of the characters and the young ensemble make up the chorus, but there is not a weak link in the entire company, all coming together for a swiftly paced two hour trip down memory lane. Complete with 15 toe-tapping numbers, Snoopy and his lovable gang will have you smiling from ear to ear with delight by the end of the show.

Jobsite the Independent In-Resident Theatre Company of the Straz Center as by annual tradition brought Shakespeare to Tampa Bay once again with the first of Shakespeare’s History offerings to be staged locally. For me, Jobsite is the “Cream of the Crop” when it comes to presenting Shakespeare’s works. No one in this region “Rocks the Bard” as hard, as relevant, and as daring as Jobsite and their players. David Jenkins and Giles Davies have outdone themselves here. To a rocking, and pulse-inducing score by Jeremy Douglass and flashes of projections making you feel like you’re in a different time frame this production has it all. Henry V normally not the most sought-after of the History offerings is a stellar and triumphant display of magnanimous proportions and this cast is in true form.

Much like the films of Gregg Araki’s career that defined the movement of New Queer Cinema, a new-ish Theatre Company plans to make its mark on the local theatre scene. No stranger to the stage and consequently the director’s chair Local area performer/Director Derek Baxter introduces his brand of Avant-Garde style theater with the introduction of Off Kilter Theatre. Off Kilter’s mission is simple and unique all its own, “to stand at the edge of theatre exploring boundaries, ourselves, and the Avant-Garde.” Oxford Languages defines Avant-Garde as, “new and unusual or experimental ideas, especially in the arts, or the people introducing them.” Derek himself said, “I want Off Kilter to be a place for those who live on the fringes to feel comfortable.” With their inaugural production of The Velocity of Gary (Not His Real Name) by James Still, Off Kilter Theatre has done just that.

As the lights descend on the stage set on the inside of the Coral Gables Police precinct, not a sound is heard. With bated breath, I and the sold-out opening night audience awaited what was to be on display in a matter of seconds. At rising we see Kendra a woman alone in the police station, only the sound of rolling thunder is heard. Kendra anxious and silent, paces and sends a text message, lost in thought, lost in panic, in a world all too close to home in this present timeline we, like Kendra, fear the worst. Similarly, over the past two years, books have been written, protests have been done, all in support of one initiative, and Christopher Demos-Browns’ script bears witness to the present struggle.

ED WARREN: “The devil exists. God exists. And for us, as people, our very destiny hinges on which we decide to follow.”- from the 2013 film, THE CONJURING While preparing to see the irreverent and shockingly funny Hand to God, I did not know what to expect. I did however know going in that this is the absolute perfect play for Jobsite Theater to tackle, as I feel that no other theater company in the bay-area could tackle its humor more effortlessly than what the fine folks at Jobsite have accomplished. Robert Askins' foreword in the script says it best, “...this is a blueprint. It is a suggestion. It is a speech bubble in a long conversation. It is an invitation to play.” Jobsite hit their mark with this blueprint and has etched in our memories a ballsy, hilarious, and heartbreaking spectacle that is a provocative piece of unabashed panoramic-thrusted vulgarity and humanity that I will soon not forget.

Friday evening I had the pleasure of experiencing a story loosely based on fact of the wonderful Louis Armstrong celebrated Jazz trumpeter and singer. Understandably hesitant at first with the idea of a “Virtual Performance” I sat in the comfort of my home with an open mind willing and ready to experience what was about to be laid forth. I've seen many performances presented by American Stage so I knew the magic would be there, but there is something about the “physical connection” that sort of “...in the room where it happens” that I missed so greatly here. That is not to diminish the understandably beautiful piece in which the fine folks at American Stage presented, and I completely admire their work here as we are all so much in need of live performances.

Just shy of a year ago which seems crazy to think about now, myself and other patrons sat in the familiar space surrounded by familiar faces to embark on a journey with a group of characters outside our normalcy. Think about that sentence for a minute. Almost a year later and we are still trying to grasp our ideals of what “normalcy” truly means. Nonetheless, the fine staff at Stageworks Theatre in Tampa’s Channelside District opened their doors once more to present an evening of live, socially distanced in person performances to remove our weary minds of the mundane, and help us escape what has now become our new normal. With names delegated on seats socially distanced away from other patrons, and masks donned by staff and audience alike, it had the welcoming feeling of being home once more. Aside from the temperature checks and socially distanced restroom protocols, the welcoming feeling of old and new friends gathering in a familiar place was comforting and much needed. The staff at Stageworks should be commended here for their top-notch protocols in place there was not an uneasy feeling to be had. Producing Artistic Director Karla Hartley welcomed everyone in her speech and with candor and compassion welcomed us back into the doors of a space we all know and love. A beautiful homage to those personally affected...stars have been placed across the front row of the audience which made for a touching tribute in these times.

Webster defines DOUBT as; “to call into question the truth of: to be uncertain of or in doubt about.” Webster further applies the following definitions for DOUBT as, “ a lack of confidence, an inclination not to believe or accept, as uncertainty of belief or opinion that often interferes with decision making, and finally a deliberate suspension of judgement.”

27 Characters, 1 performer, allow me to say it again…27 DIFFERENT CHARACTERS, 1 PERFORMER. Over the course of a 2 Hour span, 1 Performer has the daunting task of honing in on 27 different perspectives, different accounts of a real event. A real event that happened in 1992 but hits just as hard at the core today as it did a mere 28 years ago. Think about that for a minute; an event that happened 28 years ago is just as real, just as haunting today as it was back then. In a world surrounded by testimony on all sides of the spectrum, in a world surrounded by opinions where does the grey area fall? Why are events so controversial then be just as relevant in the world we know today? This brings back to memory the prologue from Shakespeare’s Romeo & Juliet, “Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean…” Now 28 years later this has very much become, “…the two-hour traffic of our stage.”