By Bob Roberts
For the Real Critics Blog
Christian Arts and Theatre, or CAT Corona, as they’d rather be called - the non-pc bit safely tucked under the bushel of a cutesy acronym for convenience’s sake - presents yet another Christ-less production in the esteemed Larry Shue’s “The Foreigner.”
An aberration from their usual children’s musicals featuring dozens of fee-paying local youth (an awe-inspiring feat of salesmanship and shepherding if nothing else), “Foreigner” is their one “adult” (-cast) production of the year, and a shining example of the aphorism about adhering to one’s proficiencies.
Vicki Irvine directs Shue’s hilarious offering, highlighting some of the scripts vast jocularity.
Thankfully there is little useless blocking, i.e. the “cross to an upstage corner and stare into the Fresnel during the conversation’s climax” bit. Instead, Irvine’s ruptured Achilles is glacial pacing.
With all the painful transitions, awkward pauses and comedic unawareness, in Irvine’s hands Shue’s fast-paced comedy clocks in at a Shakespearean two and a half hours. Buyers beware: the current trend of changing curtain time to 7:30 from the age-old 8 p.m. doesn’t guarantee you’ll be getting home any earlier.
Ken Lay turns in the most truthful performance of the night as “Froggy LeSueur.” Though his Cockney could have be crisper, his feet less shifty, Froggy’s most notable failing is his stunning lack of chemistry with long-time best mate “Charlie Baker.”Even with his most heartfelt moments played to the floor and a little mugging notwithstanding, Roger Schoepf manages to create an endearing, beautifully voiced Charlie.
Unfortunately for CAT’s legion of aspiring artists - and more importantly its patrons - the rest of the grown up cast are not good examples of what a lifetime in the arts can accomplish.
Let us begin with Cyndi Monroe, who butchers the powerhouse female lead role of “Betty Meeks.”
Perhaps it’s naiveté on my part: but shouldn’t the Founder/Artistic Director of said theater company be knowledgeable in the art? Shouldn’t she be able to step on the stage and say, ‘See, this is how it’s done. This is why I am fit to lead’? Or, in the very least, shouldn’t she spare the audience the insult of not having her lines memorized? To her credit, Monroe doesn’t list acting among her many talents in the program, and infers an extended absence from the stage. P.S.: Louder does not equal funnier.
Still, the most inconsistent, poorly played characterization belongs to Isaac Monroe (“Ellard Meeks”).
Monroe’s performance is anything but funny, in spite of the incessant, obsequious tittering of the pubescent female audience members. Rather than creating a lovable human being, Monroe fills the gaps between his lifeless, unaccented recitations of longer sentences with cartoonish slack-jawing and spasmodic flailing, turning Shue’s “slow” character into the worst kind of stereotype.
Throughout the course of the play he unabashedly displays every evil schoolyard bully gesticulation one could imagine, short of drooling and pounding a bent wrist to his chest to the tune of “der-der-der.” Were I the parent of a special needs child, I very well could’ve stormed out of there with a barrage of profanity. And though I’m not, maybe I still should have.
Visit www.catcorona.org for details on upcoming CAT Corona productions.
I can certainly agree that you have every right to have your say as it pertains to the play itself. I am a bit disappointed you chose to attack the organization as a whole. Christian Arts and Theatre is a wonderful organization that has produced some of the best shows in the I.E. Evidently you have not seen them nor do you know anyone in the organization or you would not have made your opening comments. Stick to critiquing the direction, the acting and even the sets and costumes if you want, but unless you know the organization and the people in it don't assume anything.
ReplyDeleteIt seems to me that you are doing a level of assuming yourself. Do you know this critic? Did you ask if they have seen any other shows or know the people in the organization? You assume they haven't.
ReplyDeleteI myself have seen several shows at CAT. Their shows are well done with a large number of children cast in them, which in itself is to be praised. And it gives kids an opportunity to perform. However, the comment that CAT has produced some of the best shows in the I.E. is a little effusive.
With a handful of kids set apart the acting style is very presentation and put on. There isn't any truth. I also attended "The Foreigner" and although it is an incredibly well written play it lacked so much; comedic timing, focus, pacing... What I think this critic is trying to say is that the leadership is reflected in the productions. If the head of the organization is going to put herself in a lead role she should model a level of acting excellence. A level of excellence that they should be instilling in the children that take their classes. Otherwise, give the part to an actor that the kids can learn from just by watching.
In regards to the critics opening remarks. Praise God! I believe that the individuals that are on the board and in leadership of CAT are God fearing people. I have met several of them. However, I also know that you are not allowed to speak directly about God when you are teaching the children. CAT is a christian company that produces no "christian productions." Why not incorporate one show a year that tells a story from the Bible or shows someone actually walking with God? "Do you bring in a lamp to put it under a bowl or a bed? Instead, don't you put it on its stand?" Matthew 4:21
I have no doubt that CAT is adding value to the lives of many children. But why not step it up a notch? Take it as constructive criticism and grow.
I don't think that Real Critics was tacking a stab at the organization, more so the "pay to play" institutions of the Inland Empire. As a theatre artist, I find it disgusting and repugnant that groups in the area charge children to perform and call it "learning".
ReplyDeleteI come from Northern California where, as a child actor, you paid for classes and performing was a privilege earned through auditions. Sound familiar?
Frankly, any group that charges parents to put their kids on stage needs to look in the mirror and ask themselves "Am I really creating art or just baby sitting."
My 2 cents...