Elliot Peters
Latest News on Elliot Peters:
Chris Wells' New Show IT WILL ALL WORK OUT Set for Dixon Place This April (Mar 13, 2017)
Irving Berlin's WHITE CHRISTMAS Opens Tonight at The Arvada Center (Nov 24, 2015)
STAGE TUBE: Sneak Peek at Irving Berlin's WHITE CHRISTMAS at The Arvada Center (Nov 23, 2015)
Chris Wells' New Show IT WILL ALL WORK OUT Set for Dixon Place This April (Mar 13, 2017)
Irving Berlin's WHITE CHRISTMAS Opens Tonight at The Arvada Center (Nov 24, 2015)
STAGE TUBE: Sneak Peek at Irving Berlin's WHITE CHRISTMAS at The Arvada Center (Nov 23, 2015)
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STAGE TUBE: Sneak Peek at Irving Berlin's WHITE CHRISTMAS at The Arvada Center
by Christina Mancuso - Nov 23, 2015
News
Chris Wells' New Show IT WILL ALL WORK OUT Set for Dixon Place This April
Dixon Place presents the world premiere of Chris Wells' new show IT WILL ALL WORK OUT on Friday, April 14th at 7:30 PM.
Dixon Place presents the world premiere of Chris Wells' new show IT WILL ALL WORK OUT on Friday, April 14th at 7:30 PM.
Irving Berlin's WHITE CHRISTMAS Opens Tonight at The Arvada Center
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer tonight, November 24 at 7:30 p.m.
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer tonight, November 24 at 7:30 p.m.
STAGE TUBE: Sneak Peek at Irving Berlin's WHITE CHRISTMAS at The Arvada Center
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer on Tuesday, November 24 at 7:30 p.m. The musical will run through December 23 in the Main Stage Theatre. Check out a sneak peek below!
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer on Tuesday, November 24 at 7:30 p.m. The musical will run through December 23 in the Main Stage Theatre. Check out a sneak peek below!
Irving Berlin's WHITE CHRISTMAS Opens 11/24 at The Arvada Center
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer on Tuesday, November 24 at 7:30 p.m.
The Arvada Center for the Arts and Humanities will open Irving Berlin's White Christmas directed by Gavin Mayer on Tuesday, November 24 at 7:30 p.m.
Stage Door Theatre Presents PROMISES, PROMISES
Promises, Promises, the Burt Bacharach/Hal David/Neil Simon musical was definitely a product of its time when it opened in 1968. And now, with the success of television's Mad Men, and the popularity of all things 'retro', the show is once again a timely piece. Stage Door Theatre will present this multi-award winning musical from September 25th through November 1st.
Promises, Promises, the Burt Bacharach/Hal David/Neil Simon musical was definitely a product of its time when it opened in 1968. And now, with the success of television's Mad Men, and the popularity of all things 'retro', the show is once again a timely piece. Stage Door Theatre will present this multi-award winning musical from September 25th through November 1st.
The Gamm's Unique MORALITY PLAY Offers Big Ideas but Lacks Depth
An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater. Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience. In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy. If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college. After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story. One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time. Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene. On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most. Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers. In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing. It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.
An audience member sitting by me at the Gamm's performance of Morality Play mentioned that one of the reasons she loves the company is their penchant for putting on plays that are daring, challenging and different. They do not just do the same old thing, she said, and she's absolutely correct. It is one of the characteristics of the Gamm that make it stand out among the theatrical crowd, that they take on plays that are more unique or risky than other companies might dare to produce. Morality Play is, arguably, a bit of a risk. While successful at being something unique, it is not as successful at being an entertaining, compelling or enjoyable piece of theater. Based on a novel of the same name, by Barry Unsworth, Morality Play is adapted for the stage by the Gamm's Tony Estrella. The story revolves around a roving troupe of actors, traveling the harsh English countryside in the winter of 1361. This gang of thespians are among the earliest practitioners of theater, actors who performed morality plays, one of the three major types of drama in the Middle Ages (the other two being miracle plays and mystery plays). In morality plays, a figure representing the common man, often called something like Everyman, is tempted by the personification of qualities such as Vice, Avarice or Lust, but is then saved by the appearance of, for example, Truth, Faith or Conscience. In the case of this play, our actors have just suffered the death of one of their company. Almost immediately, they meet a runaway priest who they allow to join them as a player, to take on the roles of the dead actor. Shortly thereafter, the troupe, very short on funds, arrives at a town where they will perform one of their morality plays. After that play fizzles, they decide to perform a new kind of play, one based on an actual real-life event, a true crime that has just occurred, the murder of a young boy. While doing so, they begin to solve the crime and put their own lives in jeopardy. If that sounds like an interesting idea, actors solving a crime using their powers of performance, it truly is. Unfortunately, this play is more of a collection of interesting ideas and concepts than an engaging piece of theater. Much of the play's early going feels like the Theater History 101 class that every theater major takes in college. It's as if the professor said, “Come up with a morality play and put it on for the class, just how the actors of the time would have.” And I'm willing to give Estrella and director Tyler Dobrowsky the benefit of the doubt that they have accurately recreated the feeling of the times and created an accurate and true recreation of the drama of the Middle Ages. Still, most of it is fascinating but boring and uninspired, not likely to excite many audience members, other than those who took that class in college. After getting through all of the “this is what theater was like in the 1300's” stuff (and it takes a long time), we finally reach the play's central story, the true-crime murder mystery. Unfortunately, this part of the play just demonstrates how many times we've seen all of this before. It quickly becomes an episode of C.S.I.: Broadway, with actors, instead of scientists, running around investigating and solving the crime. And in the third act, there are enough twists and turns to fill a season's worth of Law & Order episodes, with everything from corrupt heads of state to pedophiles and mysterious diseases. Yes, I realize that part of the point is that things that happened way back then are still relevant today, but in this case, they just make for a dull, predictable mystery, rather than an exciting and compelling story. One reason why it's not compelling is that we never really get to know any of these characters, not well enough to really connect with or care about them. The runaway priest, Nicholas Barber, is given a bit of backstory here and there, but not enough (he also may suffer from the fact that he is no longer the central character and narrator of the story, as he is in the novel). The “master player,” Martin Bell, also has some hints thrown his way about a possible checkered past, but not enough is provided to really make us feel for him. The other players are almost nameless and mostly interchangeable. Most of the rest of the characters, the King's Justice, for example, are just stereotypes, given no depth whatsoever, as they are only there to further the plot. Not helping is the actors milling about before the show, interacting with the audience as themselves, not in character, as far as I can tell. It adds to the feeling that we are watching Providence actors giving us a demonstration of early drama, not watching real, developed and believable people who lived at that time. Having said that, the Gamm has assembled an all-star team of some of the area's best acting talent. The dashing and charismatic Jesse Hinson makes his Gamm debut as the priest, Nicholas Barber. Hinson is masterful in the role and provides a number of the play's highlights, from his scene with the accused woman's father to another scene with the acting troupe's “whore,” who is about to get out before it's too late. Hinson makes every moment count and is impossible to not watch when he's in a scene. On the other end of the “who is the protagonist?” tug-of-war is Martin Bell, played by Tony Estrella. Bell is the leader of the troupe of actors, their motivator and moral compass, or at least he tries to be. Estrella, as usual, plays all of the nuances with skill and dexterity. At times, he is the seeker of truth and justice, and at other seems like a bit of a snake-oil salesman. It's a balancing act that he's able to pull off better than most. Our travelling troupe of performers are played by an excellent ensemble, all giving fine performances, even if they aren't ever given the chance or reason to dig very deep emotionally. Steve Kidd is a standout as Stephen, as is Elliot Peters as Springer. Jed Hancock Brainerd is also wonderful, though given a bit less to do. All three shine especially bright during the scenes when the troupe puts on their plays, from the biblical story of Adam to the true-crime tale of murder. All of the movement and physical action in those scenes is especially interesting and partly due, I assume, to Normand Beauregard, who plays one of the actors, Tobias, but is also one of the area's best fight choreographers. In what seems at times like a cast of thousands, a number of other actors appear and vanish. The wonderful Jeanine Kane, as the Innkeeper and wearing a hat she stole from Pharrell Williams, is mostly wasted. Jim O'Brien also gets little to do but does give a brilliant turn in one scene as the weaver, the father of the accused woman. And that woman herself, who is deaf and mute, is played by Clara Weishahn, providing one of the show's best performances. Her scene with Estrella, where they communicate without words, is beautiful and mesmerizing. It's unfortunate that the rest of play could not be as spellbinding or entertaining as that one scene. Instead, it relies of far too much speechifying and talking a lot about big ideas. Much of it is also heavy handed, as if they really want to make sure the audience gets the message, loud and clear. There are certainly some interesting themes and messages for the audience to ponder as they leave the theater, but the rest of the production may leave them cold and wanting more.
BWW Reviews: Gamm Theatre Stages Masterful, Haunting MACBETH
When Pawtucket's Gamm Theatre includes Shakespeare on its season schedule, audiences know the production will meet and exceed all expectations. The company's current offering - MACBETH - is no exception to the rule. This superior staging cuts to the very core of the narrative, delving into characters' motivations and focusing on the import and resonance of Shakespeare's exquisite language.
When Pawtucket's Gamm Theatre includes Shakespeare on its season schedule, audiences know the production will meet and exceed all expectations. The company's current offering - MACBETH - is no exception to the rule. This superior staging cuts to the very core of the narrative, delving into characters' motivations and focusing on the import and resonance of Shakespeare's exquisite language.
BWW Reviews: Humor and Heart on the Menu at Gamm's THE BIG MEAL
Under the direction of Tyler Dobrowsky, the Gamm's ensemble company absolutely excels in the creative environment of THE BIG MEAL.
Under the direction of Tyler Dobrowsky, the Gamm's ensemble company absolutely excels in the creative environment of THE BIG MEAL.
Show Palace Entertainment Presents IRVING BERLIN'S WHITE CHRISTMAS, Now thru 12/25
Show Palace Entertainment presents IRVING BERLIN'S WHITE CHRISTMAS, today, November 28 through December 25, 2013.
Show Palace Entertainment presents IRVING BERLIN'S WHITE CHRISTMAS, today, November 28 through December 25, 2013.
Show Palace Entertainment to Present IRVING BERLIN'S WHITE CHRISTMAS, 11/28-12/25
Show Palace Entertainment presents IRVING BERLIN'S WHITE CHRISTMAS, November 28 through December 25, 2013.
Show Palace Entertainment presents IRVING BERLIN'S WHITE CHRISTMAS, November 28 through December 25, 2013.
Photo Flash: First Look at Anne Scurria, Phyllis Kay and More in HOUSE & GARDEN
From the author of Absurd Person Singular comes the theatrical event of the season: a pair of interlocking comedies that take place simultaneously, with one cast performing both shows in two different theaters at the same time. Directed by resident company member Brian McEleney, the shows open in previews on May 16 and then run simultaneously through June 30 in both the Chace and Dowling Theaters. Tickets are on sale now at the Trinity Rep box office, 201 Washington St.; by phone at(401) 351-4242; and online at www.trinityrep.com. BroadwayWorld has a first look at the production shots below.
From the author of Absurd Person Singular comes the theatrical event of the season: a pair of interlocking comedies that take place simultaneously, with one cast performing both shows in two different theaters at the same time. Directed by resident company member Brian McEleney, the shows open in previews on May 16 and then run simultaneously through June 30 in both the Chace and Dowling Theaters. Tickets are on sale now at the Trinity Rep box office, 201 Washington St.; by phone at(401) 351-4242; and online at www.trinityrep.com. BroadwayWorld has a first look at the production shots below.
Trinity Rep to Present Twin Plays HOUSE & GARDEN, 5/16-6/30
From the author of Absurd Person Singular comes the theatrical event of the season: a pair of interlocking comedies that take place simultaneously, with one cast performing both shows in two different theaters at the same time. Directed by resident company member Brian McEleney, the shows open in previews on May 16 and then run simultaneously through June 30 in both the Chace and Dowling Theaters. Hailed by Timemagazine as "An audacious, crazy, altogether brilliant achievement, ' the Guardian UK calls the evening "much more than a romp, ' and states that the play just 'bursts at the seams with comedy, intrigue and calamity." Tickets are on sale now at the Trinity Rep box office, 201 Washington St.; by phone at(401) 351-4242; and online at www.trinityrep.com.
From the author of Absurd Person Singular comes the theatrical event of the season: a pair of interlocking comedies that take place simultaneously, with one cast performing both shows in two different theaters at the same time. Directed by resident company member Brian McEleney, the shows open in previews on May 16 and then run simultaneously through June 30 in both the Chace and Dowling Theaters. Hailed by Timemagazine as "An audacious, crazy, altogether brilliant achievement, ' the Guardian UK calls the evening "much more than a romp, ' and states that the play just 'bursts at the seams with comedy, intrigue and calamity." Tickets are on sale now at the Trinity Rep box office, 201 Washington St.; by phone at(401) 351-4242; and online at www.trinityrep.com.
Photo Flash: First Look at Trinity Rep's A CHRISTMAS CAROL
A Christmas Carol by Charles Dickens, adapted by Adrian Hall and Richard Cumming, is directed by Tyler Dobrowsky and plays through December 29, 2012, at Trinity Rep. Get a first look at the production in the photos below!
A Christmas Carol by Charles Dickens, adapted by Adrian Hall and Richard Cumming, is directed by Tyler Dobrowsky and plays through December 29, 2012, at Trinity Rep. Get a first look at the production in the photos below!
Photo Flash: First Look at Timothy Crowe, Stephen Thorne and More in Trinity Rep's A CHRISTMAS CAROL
A Christmas Carol by Charles Dickens, adapted by Adrian Hall and Richard Cumming, and directed by Tyler Dobrowsky is now playing through December 29, 2012 at Trinity Rep. BroadwayWorld has a first look at the production below.
A Christmas Carol by Charles Dickens, adapted by Adrian Hall and Richard Cumming, and directed by Tyler Dobrowsky is now playing through December 29, 2012 at Trinity Rep. BroadwayWorld has a first look at the production below.
Trinity Rep Celebrates Charles Dickens' 200th Birthday with A CHRISTMAS CAROL, Now thru 12/29
Trinity Rep celebrates the 200th birthday of Charles Dickens with their annual presentation of his classic tale of A Christmas Carol, as adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance. Performances begin tonight, November 10th and run through December 29th. Appealing to young and old alike, this heartwarming story of the power of forgiveness shows us that anything is possible - and hope is always just around the corner.
Trinity Rep celebrates the 200th birthday of Charles Dickens with their annual presentation of his classic tale of A Christmas Carol, as adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance. Performances begin tonight, November 10th and run through December 29th. Appealing to young and old alike, this heartwarming story of the power of forgiveness shows us that anything is possible - and hope is always just around the corner.
Trinity Rep Celebrates Charles Dickens' 200th Birthday with A CHRISTMAS CAROL, 11/10-12/29
Trinity Rep celebrates the 200th birthday of Charles Dickens with their annual presentation of his classic tale of A Christmas Carol, as adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance. Performances begin on November 10th and run through December 29th.
Trinity Rep celebrates the 200th birthday of Charles Dickens with their annual presentation of his classic tale of A Christmas Carol, as adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance. Performances begin on November 10th and run through December 29th.
Trinity Rep Presents A CHRISTMAS CAROL 11/18-12/30
Trinity Rep is celebrating its 35th year of presenting Dickens' A Christmas Carol, adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance.
Trinity Rep is celebrating its 35th year of presenting Dickens' A Christmas Carol, adapted by Adrian Hall and Richard Cumming, presented by Cardi's Furniture with supporting sponsor Amica Insurance.
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