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'Something Intangible' Leads Winners at 2009 Barrymore Awards
by Tim Dunleavy

  • "Move over Chicago, Philadelphia's coming."

     

    That's what director/producer Terrence J. Nolen said near the conclusion of Monday night's Barrymore Awards, honoring the best of the Philadelphia theater season. You can't blame Nolen for being proud - his production of Bruce Graham's Something Intangible was the night's big winner, scoring seven awards, including outstanding play. The outstanding musical award went to another original production: Cinderella at People's Light & Theatre Company.


    walnut.jpg  

    The Walnut Street Theatre prior to the 2009 Barrymore Awards ceremony


    Something Intangible, Bruce Graham's saga of two warring brothers running an animation studio in the golden age of Hollywood, also earned prizes for outstanding direction of a play (Nolen) and leading actor in a play (Ian Merrill Peakes), plus the outstanding new play award for Graham. In his acceptance speech, the wisecracking Graham thanked his wife, saying "I only write these plays to impress her, and thank God she has always been easily impressed."

     

    dibbles.jpg

    Actor Ben Dibble, nominated for his performances in Candide

    and The Producers, with wife Amy Dugas Brown


    Cinderella was People's Light's fifth annual original Christmas show filled with slapstick, cross-dressing and audience participation in the tradition of an English panto. Michael Ogborn, winner for outstanding original music for his work on Cinderella, described the process by saying "it's like the Group Theatre gets together every year to do an annual Mitzi Gaynor special, and I for one could not be happier." The show won four awards overall, including outstanding direction of a musical (Pete Pryor) and outstanding ensemble in a musical.

     

    Two other shows won three awards each: the Middle Eastern war drama Scorched at the Wilma Theater, and the doo-wop musical Avenue X at 11th Hour Theatre. Scorched earned nods for ensemble in a play, sound design, and supporting actress in a play (for Janis Dardaris). Avenue X's winners were for leading actor in a musical (Michael Philip O'Brien), supporting actor in a musical (Forrest McClendon), and music direction (Dan Kazemi).


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    The cast of Scorched accepting the award for Outstanding Ensemble in a Play

     

    Six other productions won a single award each.

     

    Jennie Eisenhower won the lead actress in a musical honor for playing multiple outlandish roles in Forbidden Broadway's Greatest Hits; she thanked the voters for "embracing my weirdness." Kate Eastwood Norris won the lead actress in a play award for her performance in Rock 'n' Roll, and in her acceptance speech she paid tribute to her mother, whose battles with illness inspired her portrayal of Eleanor in the Tom Stoppard play.


    best_actress.jpg

    Jennie Eisenhower (left) and Kate Eastwood Norris

     

    Bristol native Christopher Gattelli won the choreography award for the production of Altar Boyz staged at the Bristol Riverside Theatre.


    gattelli.jpg

    Christopher Gattelli

     

    The Barrymores were presented before a packed - and very receptive - audience at the Walnut Street Theatre, which celebrated its two hundredth anniversary this year. The presenters paid tribute not only to the Walnut but to the entire history of theater in Philadelphia, which dates back to 1754, as well as to the vibrant contemporary scene. Mary Martello, a winner for her role in the Arden Theatre's Candide, paid tribute to "the creative life that makes this city hum." Actress Kala Moses Baxter, a nominee for the F. Otto Haas Award for an Emerging Philadelphia Theatre Artist, said in a videotaped segment that "I believe you can find any character you want to play on Broad Street." (The Haas Award, which includes a $10,000 check, was presented to costume designer Charlotte Cloe Fox Wind.)

     

    In one of the more unusual moments of the night, actor Tony Danza appeared as a presenter, introduced as "Northeast High School's Newest English Teacher" in reference to the reality series he's now filming in the city. Danza offered his services as an actor to the city's theaters, which drew a smattering of applause. (Does he know that the Walnut is doing Fiddler on the Roof next spring?) He then presented the award for Excellence in Theatre Education and Community Service, joking that "I have done some community service." The award was won by the Lantern Theater Company, whose former education director George Sedgwick had a joke of his own: "First of all, I do want to thank Tony Danza for introducing me to Alyssa Milano after the show."

     

    The Lifetime Achievement Award was presented to Dugald MacArthur, a veteran director and educator. John Connolly, Executive Director of Actors Equity, called MacArthur "the unspoken granddaddy of theater in Philadelphia" and praised him for "the profound effect he had on my generation."


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    John Connolly (left) and Dugald MacArthur

     

    The drag cabaret artist Martha Graham Cracker - whose alter ego, Pig Iron Theatre Company co-founder Dito van Reigersberg, also appeared as a presenter - closed the show with a bizarre but wonderful Philly soul version of "Don't Cry For Me, Philadelphia." The audience then left for a reception at the Benjamin Franklin House.

     

    The program opened with a videotaped segment spotlighting the number of artists who work in the city's theaters, and mentioned that over 1.1 million tickets were sold last season. Mary Martello's acceptance speech may have put it best: "Let's keep at it."

     

    Barrymore Awards for Excellence in Theatre

    2009 Award Recipients by Category

     

    Outstanding Overall Production of a Play

    Something Intangible - Arden Theatre Company

     

    Outstanding Overall Production of a Musical

    Cinderella - The People's Light & Theatre Company

     

    Harmelin Media Award for Outstanding Direction of a Play

    Terrence J. Nolen - Something Intangible - Arden Theatre Company

     

    Outstanding Direction of a Musical

    Pete Pryor - Cinderella - The People's Light & Theatre Company

     

    Outstanding Music Direction

    Dan Kazemi - Avenue X - 11th Hour Theatre Company

     

    Ark Media Award for Outstanding Leading Actor in a Play

    Ian Merrill Peakes as Tony Wiston - Something Intangible - Arden Theatre Company

     

    The Charlotte Cushman Award for Outstanding Leading Actress in a Play

    Kate Eastwood Norris as Eleanor/Adult Esme - Rock 'n' Roll - The Wilma Theater

     

    Garfield Refining Company Award for Outstanding Leading Actor in a Musical

    Michael Philip O'Brien as Pasquale - Avenue X - 11th Hour Theatre Company

     

    Garfield Refining Company Award for Outstanding Leading Actress in a Musical

    Jennie Eisenhower - Forbidden Broadway's Greatest Hits - Walnut Street Theatre, Independence Studio on 3

     

    Outstanding Supporting Actor in a Play

    Jered McLenigan as Freddie Filmore - It's a Wonderful Life!  A Live Radio Play - Prince Music Theater

     

    Outstanding Supporting Actress in a Play

    Janis Dardaris as Nazira/Nawal 60-65 - Scorched - The Wilma Theater

     

    Outstanding Supporting Actor in a Musical

    Forrest McClendon as Roscoe - Avenue X - 11th Hour Theatre Company

     

    Outstanding Supporting Actress in a Musical

    Mary Martello as Old Woman - Candide - Arden Theatre Company

     

    Outstanding Set Design

    James Kronzer - Something Intangible - Arden Theatre Company

     

    PECO Award for Outstanding Lighting Design

    F. Mitchell Dana - Something Intangible - Arden Theatre Company

     

    Earl Girls Award for Outstanding Costume Design

    Rosemarie E. McKelvey - Something Intangible - Arden Theatre Company

     

    Clear Sound Award for Outstanding Sound Design

    Jorge Cousineau - Scorched - The Wilma Theater

     

    Outstanding Original Music

    Michael Ogborn - Cinderella - The People's Light & Theatre Company

     

    Outstanding Choreography/Movement

    Christopher Gattelli - Altar Boyz - Bristol Riverside Theatre

     

    Independence Foundation Award for Outstanding New Play

    Something Intangible - By Bruce Graham - Arden Theatre Company

     

    Outstanding Ensemble in a Play

    Scorched - The Wilma Theater

     

    Outstanding Ensemble in a Musical

    Cinderella - The People's Light & Theatre Company

     

    The Ted and Stevie Wolf Award for New Approaches to Collaborations

    Delaware Theatre Company & The Ferris School for Boys - No Child...

     

    Excellence in Theatre Education and Community Service Award

    Lantern Theater Company - Classroom Connections

     

    F. Otto Haas Award for an Emerging Philadelphia Theatre Artist

    Charlotte Cloe Fox Wind

     

    Special Recognition Award

    Deen Kogan

     

    Lifetime Achievement Award

    Dugald MacArthur

     

    2009 Award Recipients by Production

    7 Awards:

    Something Intangible - Arden Theatre Company

    4 Awards:

    Cinderella - The People's Light & Theatre Company

    3 Awards:

    Scorched - The Wilma Theater

    Avenue X - 11th Hour Theatre Company

    1 Award each:

    Altar Boyz - Bristol Riverside Theatre

    Candide - Arden Theatre Company

    Forbidden Broadway's Greatest Hits - Walnut Street Theatre

    It's a Wonderful Life! A Live Radio Play - Prince Music Theatre

    No Child... - Delaware Theatre Company

    Rock 'n' Roll - The Wilma Theater


    Photos by Tim Dunleavy


    Tuesday, October 6, 2009 | Item Link


We Will, We Will Rock (and Broadway and Country) You.
by Tim Dunleavy

  • The Rock Tenor, which opened this week at Philadelphia's Wilma Theater, is a theatrical-style concert designed to spotlight a mix of different musical styles. In that respect, at least, it succeeds: it's mostly familiar rock anthems, but with Broadway, opera and country music mixed in. It's a carefully rehearsed, extremely slick show that shows off its talented cast very well. The lighting and the staging successfully duplicate the style of an arena rock show in a small theater. If it's lacking in the excitement and spontaneity of the best rock concerts, it still manages to be a pleasant and inoffensive, if somewhat bland, evening. The Rock Tenor is very impressive; it's just not a lot of fun to watch.

     

    The Rock Tenor is built around the talents of Rob Evan, whose credits include stints as the lead singer of The Trans-Siberian Orchestra and as the leading man in Broadway's Jekyll & Hyde. Evan has a strong, stirring voice, and he has a good feel for all the material; when he sings a medley of "Bring Him Home" (which he sang on Broadway in Les Misérables) and the recent Daughtry pop hit "Home," he sounds equally comfortable in both styles. Director Vincent Marini has surrounded the middle-aged Evan with a cast of four younger, skinnier singers, each of whom occasionally steps up to sing lead. There's a dynamic five-piece rock band backing them up, plus two female string players (a violinist and a cellist) who, like the four younger singers, seem to have been chosen as much for their good looks as for their talent.

     

    At the top of the show, Evan promises the audience "an eclectic set of music for the next two hours... my only hope is that you keep wondering what comes next." Well, you certainly can't call a show predictable when it contains a medley of "O Fortuna" (from Orff's Carmina Burana) and "Wanted Dead or Alive" (from Bon Jovi's Slippery When Wet). Some of the transitions work nicely: the piano filigrees of Styx's "Come Sail Away" blend surprisingly well with Mozart's "Eine kleine Nachtmusik." But others are iffy: the melody of Sondheim's "Johanna" is twisted nearly beyond recognition to make it fit as a counterpoint to a far inferior song, Journey's "Open Arms." (There's a Handel aria thrown into that medley too, just for the hell of it.)

     

    As you might be able to tell, the arrangements are not just a blend of the popular and the classical, but also the good and the mediocre - and the creative minds behind The Rock Tenor seem to have no clear idea where the good ends and the mediocre begins. Case in point: Act Two opens with Morgan James (who is very impressive throughout the show) singing a beautiful version of "Half Acre," a touchingly poetic song by the indie folk-rock band Hem. But just when you think this show is taking a welcome turn toward mature, edgy music, Evan shows up to sing a schlocky Air Supply hit ("Making Love Out of Nothing at All") and ruin the moment.

     

    The dominant musical style of The Rock Tenor is 1970s-80s arena rock - not just Journey, Styx and Bon Jovi but also Yes, Led Zeppelin and Queen. If you're not tired of hearing "We Will Rock You" at televised sporting events, you may love this show. But I consider much of that era's rock music overplayed and overblown, and The Rock Tenor didn't change my opinion. The cast performs these songs impeccably, but with a studied earnestness that lets you know they take the melodramatic material very seriously. (Only one of the singers, Alex Keiper, ventures an occasional smile during the rock tunes.) It's only during the show's few excursions into country-rock - songs like Rascal Flatts' "Life Is a Highway," Keith Urban's "Kiss a Girl" and Queen's rockabilly-inflected "Crazy Little Thing Called Love" - that the entire cast loosens up and seems to be having fun.

     

    The show's technical aspects are top-notch. Herrick Goldman's lighting design is flashy but tasteful, and Nick Kourtides' sound design isn't too overpowering - both of which are helpful in making the show succeed in a 300-seat theater without blowing the audience out of its seats. There are three large video screens behind the band, but they're barely used - except during a rendition of Queen's "Who Wants to Live Forever" that takes images of Evan singing a duet with himself and juxtaposes them with images of dead rock stars. It's an attempt at a grand statement that comes off as too self-important.

     

    And that's The Rock Tenor's fatal flaw: too much pomposity and too little joy. Evan and the other singers have terrific voices, but the rigidity of the format stifles their personalities. It's easy to admire the performers, but hard to make any sort of connection with them. A little more patter might help; Evan speaks between songs only three times in two hours, and the other performers don't speak at all. Sometimes letting the music do the talking isn't a good idea, especially when so many of the lyrics lack sophistication.

     

    Director Marini has assembled a show which may well have a life far beyond its Philadelphia engagement, where I presume it will get tweaked and improved. I hope so. The Rock Tenor has much to admire from a technical point of view: it's professionally assembled, it has an attractive and polished cast, and it's filled with music that will probably endear it to a mass audience. But as it stands now, it's a good idea for a show rather than a completely satisfying show.

     

    The Rock Tenor runs through August 23, 2009 at the Wilma Theater, 265 South Broad Street, Philadelphia. Ticket prices range from $25 to $40 and are available by calling 215-546-7824, or online at http://www.therocktenor.com.

     

    The Rock Tenor

    Directed by Vincent Marini

    Musical Director: Galen Butler

    Production Design: luckydave

    Arrangements and Orchestrations: Henry Aronson, Joe Church, Randall Craig Fleischer, John Hinchey, Jeremy Roberts, Kim Scharnberg, Jeremy D. Silverman

    CAST:

    Rob Evan, Dustin Brayley, Morgan James, Alex Keiper, Aaron Lavigne

    With Betsy Goode (cello) and Susan Aquila (violin)

    Sunday, July 19, 2009 | Item Link




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