By Vanessa Downs
For the Real Critics Blog
Nestled in the new performance space for the 3 Theater Group, I waited in anticipation for the performance of “Celadine,” a show I knew very little about. Nevertheless, I was more than pleasantly surprised with what unfolded before my eyes during the course of the next two hours.
Let me start off by saying that the 3 Theater Group’s new performance space is like a hidden treasure for theater goers, found within the Mission Galleria Antique shop. Dazzled by the various antiques and bits of history on the first floor of the shop, I was grateful for the signs that directed me upstairs to the theater. Upon reaching the appropriate floor, I passed through the red curtains into the new theater. The space is still very much a work in progress, but all the necessary pieces are present. The set was a very well done representation of the 17th century coffee house it was supposed to be. Haibo Yu was the Scenic Designer for the show, and the attention to detail was incredible. On either side of the stage were depictions of the city, letting audience members know that this particular show took place in the heart of a big city. Sarah Jacques is also to be commended for painstakingly creating the faux wood finish that decorated the floor of the performing space. Also of note is the work David St. Pierre put into the lighting design of both the theater and the show itself. Various color notes outside the coffeehouse window were clear indicators of the time of day and helped to set the mood of the show.
The show itself is about the intertwining lives of Celadine (Alisa Ann Lovas), a playwright; her closest friend Mary (Rhiannon Cowles), a reformed prostitute; and the King of England (Paul Jacques), a man moonlighting as Rowley. Within this triangle, comes the recent introduction of Jeffrey (Winston Peacock), a mute; and Elliot (Majd Murad), an actor and spy.
Celadine has not written a play for quite some time and is struggling to come to terms with the horrific death of her daughter. The coffeehouse she operates with Mary is struggling for money, adding to the sorrow that lays beneath the surface of the play.
The play begins with Mary sleepily descending the stairs in order to answer the door. Cowles commands the stage with her portrayal of Mary. Her stance and facial expressions were spot on for a woman who had not been afforded the opportunities of the upper class, allowing the audience to become completely immersed in the moment, believing that, yes, we were peeping in on a real London coffeehouse. Shortly after Mary has woken up, Celadine returns home after a long night, riding her horse. Much to my surprise and delight, Celadine’s horse was actually Jeffery. Peacock did incredibly well as a boyish mute, conveying the feelings of his character through actions alone. Jeffery and Celadine’s turn about the stage was the first indicator of the easy humor that was to run throughout the course of the show.
“Celadine” is part of a trilogy of plays written by Charles Evered, a new and talented playwright . Celadine, in an effort to be at peace with the death of her daughter, the illegitimate child of the king, asks that Rowley (The King) to claim that the daughter is his by giving her the royal last name. Rowley will only do this if Celadine will perform a duty for him: deliver a notebook and observe the man who takes it. Meanwhile, Celadine has met a new actor, Elliot, who is encouraging her to begin writing again. Celadine writes the story of her daughter and her tragic death, allowing audiences to discover just what happened all those years ago. During her writing process, Celadine begins to have feelings for Elliot, however, shortly after it is discovered that Elliot is the Dutch spy plotting to kill the king. All of the tension comes to a head during the fight scene at the end of the play. Elliot is apprehended, Celadine is at peace with the death of her daughter, and the king lives to see another day.
Though the play was full of humor, there was a depth and sadness to it that is not often seen onstage. Lovas was perfect for the part of Celadine. From the moment she enters the stage all eyes are on her. She is a superb actor, at her best during the parts of the show where she is remembering her daughter. Thinking back on the show, the point that stands out to me the most is Lovas' voice; Clear, deep, and womanly, like ice cold water on a hot day. With her voice alone Lovas owned the character of Celadine, making her unforgettable.
Lovas and Murad (Elliot) were perfectly cast together as the lovers. There was a palpable chemistry between the two that made the affection they had for each other believable, never stopping the audience from becoming fully submerged within the play. Jacques did well as Rowley, deftly conveying the passion and regal nature of a king.
Overall, the show was a delight and one that deserves the highest commendation.
For the Real Critics Blog
Nestled in the new performance space for the 3 Theater Group, I waited in anticipation for the performance of “Celadine,” a show I knew very little about. Nevertheless, I was more than pleasantly surprised with what unfolded before my eyes during the course of the next two hours.
Let me start off by saying that the 3 Theater Group’s new performance space is like a hidden treasure for theater goers, found within the Mission Galleria Antique shop. Dazzled by the various antiques and bits of history on the first floor of the shop, I was grateful for the signs that directed me upstairs to the theater. Upon reaching the appropriate floor, I passed through the red curtains into the new theater. The space is still very much a work in progress, but all the necessary pieces are present. The set was a very well done representation of the 17th century coffee house it was supposed to be. Haibo Yu was the Scenic Designer for the show, and the attention to detail was incredible. On either side of the stage were depictions of the city, letting audience members know that this particular show took place in the heart of a big city. Sarah Jacques is also to be commended for painstakingly creating the faux wood finish that decorated the floor of the performing space. Also of note is the work David St. Pierre put into the lighting design of both the theater and the show itself. Various color notes outside the coffeehouse window were clear indicators of the time of day and helped to set the mood of the show.
The show itself is about the intertwining lives of Celadine (Alisa Ann Lovas), a playwright; her closest friend Mary (Rhiannon Cowles), a reformed prostitute; and the King of England (Paul Jacques), a man moonlighting as Rowley. Within this triangle, comes the recent introduction of Jeffrey (Winston Peacock), a mute; and Elliot (Majd Murad), an actor and spy.
The play begins with Mary sleepily descending the stairs in order to answer the door. Cowles commands the stage with her portrayal of Mary. Her stance and facial expressions were spot on for a woman who had not been afforded the opportunities of the upper class, allowing the audience to become completely immersed in the moment, believing that, yes, we were peeping in on a real London coffeehouse. Shortly after Mary has woken up, Celadine returns home after a long night, riding her horse. Much to my surprise and delight, Celadine’s horse was actually Jeffery. Peacock did incredibly well as a boyish mute, conveying the feelings of his character through actions alone. Jeffery and Celadine’s turn about the stage was the first indicator of the easy humor that was to run throughout the course of the show.
“Celadine” is part of a trilogy of plays written by Charles Evered, a new and talented playwright . Celadine, in an effort to be at peace with the death of her daughter, the illegitimate child of the king, asks that Rowley (The King) to claim that the daughter is his by giving her the royal last name. Rowley will only do this if Celadine will perform a duty for him: deliver a notebook and observe the man who takes it. Meanwhile, Celadine has met a new actor, Elliot, who is encouraging her to begin writing again. Celadine writes the story of her daughter and her tragic death, allowing audiences to discover just what happened all those years ago. During her writing process, Celadine begins to have feelings for Elliot, however, shortly after it is discovered that Elliot is the Dutch spy plotting to kill the king. All of the tension comes to a head during the fight scene at the end of the play. Elliot is apprehended, Celadine is at peace with the death of her daughter, and the king lives to see another day.
Though the play was full of humor, there was a depth and sadness to it that is not often seen onstage. Lovas was perfect for the part of Celadine. From the moment she enters the stage all eyes are on her. She is a superb actor, at her best during the parts of the show where she is remembering her daughter. Thinking back on the show, the point that stands out to me the most is Lovas' voice; Clear, deep, and womanly, like ice cold water on a hot day. With her voice alone Lovas owned the character of Celadine, making her unforgettable.
Lovas and Murad (Elliot) were perfectly cast together as the lovers. There was a palpable chemistry between the two that made the affection they had for each other believable, never stopping the audience from becoming fully submerged within the play. Jacques did well as Rowley, deftly conveying the passion and regal nature of a king.
Overall, the show was a delight and one that deserves the highest commendation.
I agree with the fact that 'Celadine' was, overall, quite a delightful experience. The writing was sharp; the set, great; the direction staging, skilled.
ReplyDeleteAnd yes the woman Celadine has a nice timbre. But good sound does not make one interesting to watch, and it especially does make one a good actress. Her accent was all over the place. She went from British to Cockney to Welsh to Irish to American to news reporter and back again. She should have practiced more.
As far as Lovas and Murad's chemistry goes, we must have seen it on different nights. When I went, Murad failed to convince me that he could be sexually attracted to Lovas -- or any woman for that matter.
The best part of the show by far was the Jacques's performance. In addition to directing, he stepped on stage and left his cast mates in the dust with a layered, subtle, enthralling performance. Not to mention the great comedic exchanges between Cowles and Peacock -- which were much more interesting to watch than Lovas's butchery of the King's dialect.