THEATER REVIEW: The Living Room Theatre's production of 'Constellations' will get you thinking

Living Room Theatre in North Bennington, Vermont, is presenting Lucas Hnath’s "A Doll’s House, Part 2," a comedy-drama that serves as a sequel to Henrik Ibsen’s original play. The production is staged in the ancient swimming pool on the property of the Park-McCullough House Museum, offering a unique and immersive experience for the audience. The play centers on Nora Helmer, who returns to her former home 15 years after famously leaving her husband, Torvald, and children. The narrative explores Nora's motivations for returning, which are driven by a pressing necessity, and her interactions with the characters she left behind. The play begins with her reunion with Ann Marie, her former nanny and now Torvald's housekeeper, a meeting that highlights Nora's past choices and their long-term consequences. The setting of the swimming pool is not merely a backdrop but an integral part of the staging, allowing the audience to observe the characters from an elevated perspective, symbolizing a god-like view of their lives and struggles. Allen McCullough's portrayal of Torvald is noted for its sincerity and depth, making the character's journey and offers of reconciliation feel genuine despite Nora's initial disdain. Janis Young, as Ann Marie, delivers a forceful performance that balances the character's affection for Nora with disapproval of her past actions. Young's ability to convey a mix of emotions, even resorting to expletives in moments of frustration, contributes significantly to the play's comedic elements while maintaining the character's dignity. Gaia Visnar plays Emmy, Nora’s 18-year-old daughter, with conviction, showcasing a character whose youth is tempered by determination and early maturity. Her performance is highlighted for its mirroring of Randolyn Zinn's Nora, subtly emphasizing the influence of genetics on personality, even without direct upbringing. Visnar's delivery of dialogue as a soliloquy reinforces Nora's self-centered nature and creates an engaging theatrical effect. Randolyn Zinn's performance as Nora is central to the play, capturing the character's complex blend of maturity and immaturity. Zinn portrays Nora as constantly performing a role, a woman with a mission who masks her vulnerabilities. Her masterful handling of Nora's strengths and occasional moments of weakness, which are quickly reasserted, underscores the character's struggle for self-definition and independence. The swimming pool stage design, chosen by an unknown individual but praised for its inspiration, provides an intimate and effective viewing experience, allowing the audience to closely observe the actors' expressions and body language. Director Kirk Jackson skillfully utilizes this unique space, particularly by staging important scenes in the deep end of the pool, ensuring that every detail is visible from the audience's elevated vantage point. The costume design by Sarabell Wrigley also contributes to the visual storytelling, offering clear views from various angles. The play explores themes of independence, personal growth, societal expectations, and the lingering impact of past decisions on present relationships. It delves into the characters' attempts to grapple with their pasts and forge new paths, demonstrating that closure often requires confronting unresolved issues. The setting and the actors' performances combine to create a compelling theatrical experience that invites reflection on these universal themes. The review emphasizes the limited remaining shows due to weather disruptions, urging potential attendees to book tickets promptly to avoid missing the production. #TheaterReview #A DollsHousePart2 #LivingRoomTheatre #LucasHnath #HenrikIbsen #NorthBennington #ParkMcCulloughHouseMuseum #RandolynZinn #AllenMcCullough #JanisYoung #GaiaVisnar #KirkJackson #PerformingArts #VermontArts

The Living Room Theatre in North Bennington, Vermont, is currently showcasing its new production, 'Get It Right,' a play written and directed by Randolyn Zinn. The show, which runs through August 3, is set in a swimming pool at the historic Park-McCullough mansion, offering a distinctive theatrical experience. The play draws from Zinn's personal encounters with the Hollywood industry, providing a narrative imbued with authenticity regarding the struggles and realities faced by artists pursuing careers in the arts. The central character, Ivy Foster, portrayed by Valeri Mudek, is a New York playwright who travels to California for a speculative job. She arrives prepared, having already completed the required work, but soon discovers that the challenges she faces are beyond her expectations. Mudek’s portrayal of Ivy is characterized by a strong voice and dynamic stage presence, effectively conveying Ivy's journey from confronting unforeseen obstacles to gradually accepting her circumstances. Her narrative segments are delivered with clarity, reminiscent of classic storytelling, and her interactions with other characters highlight her grace and resilience. The comedic elements of the play are largely driven by the characters of Phil and Larry, two film producers played by Allen McCullough and Richard Howe. They are depicted as unscrupulous figures who prioritize superficiality over genuine talent. Their interactions with Ivy, marked by their dismissal of her prepared work and their decision not to hire her, underscore their disingenuous nature. Despite their questionable ethics, McCullough and Howe manage to make these characters amusing, contributing significantly to the play's humorous undertones. Adding to the ensemble is Matt Dallal as Sam, a director whose immense ego and lack of talent are evident. Sam's disparaging remarks toward Ivy, targeting her New York background, gender, talent, and intentions, paint him as a stereotypical Hollywood figure, both despicable and entertaining. His character's motivations become clearer when his wealthy father's involvement is revealed, shedding light on the industry's often nepotistic structures. George Olesky plays Bill Mason, a movie star facing career troubles who finds renewed purpose through Ivy. Olesky delivers a sincere performance, portraying a character who struggles with his career choices until Ivy's influence offers him a new perspective. Supporting roles include Janis Young as Ivy's mother, providing remote emotional support through phone calls, and Elizabeth Kenney as Chloe, a New York actress with a keen sense of style, whose costumes were designed by Cynthia Flint. Kenney’s performance is noted for its multiple opportunities to shine, adding depth to the supporting cast. The play is described as opening a new avenue into the theatrical experience, blending the serious themes of artistic decision-making with humor derived from real-life experiences. The setting within the swimming pool of the Park-McCullough mansion is highlighted as a unique and enjoyable aspect of the production. While the play has a limited run, the review encourages attendance, suggesting that the drive to North Bennington is worthwhile for this memorable experience. The combination of a compelling story, strong performances, and an unusual venue contributes to a distinctive and engaging theatrical event. #TheaterReview #GetItRight #LivingRoomTheatre #RandolynZinn #ValeriMudek #ArtsAndEntertainment #HollywoodSatire #VermontTheater #NewPlay

The article reviews Portland Center Stage’s production of R. Eric Thomas’s play, 'Mrs. Harrison,' which premiered in 2018. Directed by Tiffany Nichole Greene, the 70-minute drama features a dense, intricate narrative carried by two actresses, Cycerli Ash and Claire Rigsby. The play’s setting is an upscale faculty bathroom at a prestigious university, where two women, Aisha (Black, a successful playwright) and Holly (white, a struggling standup comedian), encounter each other at their 10-year reunion. The production is described as being as complex as a medieval tapestry, demanding close audience attention to its subtly woven dialogue and body language. The core of the drama revolves around Holly’s insistent belief that Aisha plagiarized a tragic story from Holly’s life to create a successful play. Aisha initially feigns ignorance, creating an atmosphere of tension and unspoken history. The set design by Derek Easton, featuring lavender-striped wallpaper and elegant furnishings, ironically contrasts with the emotional conflict that unfolds within this pristine space. Costume designer Lucy Wells’s choices, particularly Aisha’s elegant blue silk jumpsuit, further emphasize the characters’ contrasting personas and professional standings. The play explores profound themes of race, friendship, and the ownership of personal narratives. Thomas, the playwright, deliberately leaves questions unanswered, inviting audience interpretation. He stated that he identified more with Holly when writing the play, highlighting the nuanced perspectives on storytelling. The review notes how Holly's character, particularly her comment about having a "maid" as a child, can alienate some audience members, demonstrating how individual experiences shape interpretations of the characters. The production uses sound and light design, by Phil Johnson and Alexz Trent Eccles respectively, to escalate the dramatic tension, culminating in a striking, almost magical ending. The play concludes with Rihanna’s “Only Girl (in the World),” suggesting a broader message about acknowledging each other’s existence and moving beyond self-centered perspectives. The review emphasizes that 'Mrs. Harrison' does not offer easy resolutions but rather encourages reflection on complex social issues. The play ran through February 16 at PCS’s U.S. Bank Mainstage. #TheaterReview #PortlandCenterStage #MrsHarrison #REricThomas #RaceRelations #FriendshipDynamics #Storytelling #DramaticArts