Seminar is a play written by Theresa Rebeck, running for one more weekend (July 16th, 17th, and 18th) at Hatbox Theatre. This performance is directed by Ro Gavin, and features performers Zach Letty, Joel Michael King, Nicole Jones, Alexandra White, and Colin J. Malette. The play surrounds a crew of writers, who have spent a great deal of money to attend a bi-weekly seminar held by a renowned writer.
Done with a simple and effective set, utilizing lights and careful blocking, it brings a full and in depth performance to this theater. Before the show even begins, the location is meticulously created with a series of tasteful modern furniture. Blue lighting and one careful window light create the full effect of an upscale New York apartment. Then, the characters come onstage.
The beginning of the show is extremely quick, so one must be sure to pay attention to hear the relationships between the characters. It is easy to feel the well timed lines. Actor Zach Letty, playing Douglas, seems to effortlessly spend the first part of the play effectively placing lines. Later, there are careful shifts in the play between speaking and silence which are extremely effective. Some of his best moments included times where he was not the speaker, and held himself so still and carefully attentive that it deserves to be recognized.
The full cast each has their own scene in which they are able to really delve into their characters. The characters initially come off as extremely narcissistic, but as they continue through the show they develop layers that are evident through the excellent performance of the cast. Both female characters, Kate and Izzy, played by Nicole Jones and Alexandra White respectively, feel almost like a caricature of a standard female character. However, expect the unexpected. These characters, to the credit of their respective actors, grow and develop in a way that is surprising, refreshing, and in the end-shockingly deeper than in the first scenes. One scene, where Kate is in the background near the bar, is just the first of many changes in character as the seminar impacts both the characters as well as the actors portraying them. Nicole and Alexandra both put a lot of trust into the stage, and the performance choices dramatically up the level of confidence we can perceive from each character.
In line with the narcissism and self interest of the other characters (as a good artist must be), Leonard is yet another whirlwind. Played by Colin J. Malette, Leonard's initial lines are nothing short of bewildering; including snarky remarks and at times, occasional hissing. Notable moments include the vastly different reactions to each writer, branching from intense staring, careful physical contact, and smart quips placed expertly by Colin. The costuming, done by Geehae Moon, is perfect and not overstated or overly dramatic in any way. The best costuming was Leonard. Combined with Malette's performance, sophistication and attention-demanding was immediate every time he was onstage. The character development of Leonard is intense and rivals that of Martin who also becomes one of the show's most dramatic shifts.
Martin's character could be initially lost in the shuffle had he not been played by someone careful enough to sustain character choices through each scene, even when they were not the focus at all. Joel Michael King speaks with such incessant stress, that Martin's anxieties and concerns are palpable. And yet, he manages to keep that going every scene that worry exists. The backstage bar is a magical place in this show, because yet again another character-Martin-is standing out of focus and so subtly tapping on the table that anyone who regularly feels a certain amount of anxiety will immediately understand.
There is only one set change, and it is absolutely worth every minute the stage is dark and every person helping to quickly set the stage. There is more than just the set, and you'll have to attend the show in order to know what it is. It deserves its surprise factor, and is certainly a design choice that folks will think about in future productions. Be it the secret genius somewhere between lighting designer Ben Bagley, Scenic Designer Ro Gavin, and technical director Angèlica Rosenthal, someone deserves some incredible recognition.
With the wonderful set twist comes a twist in multiple characters, and for this alone every person should take the time to fit this performance into their schedule. Especially after a year where the arts have been so challenged, this show is so timely and relevant to themes that many artists have faced over the last year and beyond.
What is art? What makes something quality? What drives us to create? Does the reason we create take away from what we have created? What is the end goal, or, what should it be? In a state where many artists found themselves striving to perform and create virtually, this show echoes many important themes and ideas. Seminar is a wake up call to artists and the arts-adjacent who feel driven to create and don't know what their next steps are. Perhaps our intentions over time deserve to be more fluid. Perhaps the lens in which we are judging writing, judging performance, judging music needs to be sometimes dropped for a wider lens.
Just as you may feel you are beginning to understand the show or its characters, there is an immediate shift into something deeper, more involved, and more thought provoking. Director Ro Gavin should feel incredibly proud to have taken something that could have just been "a show" and made it into something undoubtedly magnificent. People who may not find themselves typical straight play enthusiasts will be just as captivated. Please take some time to get to the Hatbox Theatre to make sure you get a chance to see this show, which has set a very high bar for the revitalization of New Hampshire Theater.
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