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'A Number' tackles tough questions Capital Times Saturday, June 02, 2007 RENA ARCHWAMETY
Mercury Players presents four inspired mini-shows
Madison.com Thursday, May 03, 2007 JACQUELINE WEST
Revenge of the Mini-Musicals Mercury Players Theatre, through May 5 at the Bartell Theatre
Never a troupe to follow the beaten path, Mercury Players Theatre combines the brand-spanking-new and the almost-new in its current production. Revenge of the Mini-Musicals features two Mercury revivals (Meaty, Beaty, Big and Bouncy and Discordia's Sunshine Death) and two new works, presenting us with a gay ape-man, a deified Stephen Hawking and an ax-wielding Christian teen, all with campy cabaret verve. Starting the show with a bang is Meaty, Beaty, Big and Bouncy, written by Walmartopia team Cat Capellaro and Andrew Rohn. It tells the tale of male exotic dancers who, in a nice bit of table-turning, struggle with weight issues and self-esteem. Packed with witty lyrics, Meaty, Beaty gives its cast the chance to milk it for all it's worth. Bingo Night at the First Church of Saint Darwin, a new work by Jonathan Zarov, depicts a group of frustrated scientists who adopt some churchy trappings in order to win the faith of the nation. Though the piece has a few bumps and jerks, it also features some of the production's strongest singing in the form of Kelly Murphy, who belts out an anti-gospel song that could make a cardinal convert. Up next is Doug Holtz's Gaystroke: The Legend of Tarthan, which puts several new twists on an old tale. Raised by a group of militant "lesbiapes," Tarthan defends his home from a greedy developer by providing "favors" to the construction crew. Sean Langenecker, a cross between Jude Law and Rocky (from the Picture Show, not the boxing ring), takes on the title role fearlessly. Mikhael Farah's lovely singing and Langenecker's vine-chewing antics make the duet "Swing That Way" a high point amid several less subtle numbers. Concluding the show is Discordia's Sunshine Death, by Rob Matsushita and Mini-Musicals director Moritz Burnard. Vamping on slasher film conventions with inspired absurdity, the piece features a mousy virgin (Kelly Kiorpes) who is compelled by Satan to punish her sinful peers. Discordia's dance with the devil, complete with jazz hands, may be the funniest moment of the entire production. Each of these mini-musicals is worth seeing on its own, but getting all four together, plus some fantastic intermission improv? That's a bargain. Mercury's 'mini-musicals' Give Audience A Blast
The Capital Times :: LIFESTYLE :: B2 Monday, April 23, 2007 RENA ARCHWAMETY BEYER
Mini cars, miniskirts, the iPod mini and other such trends toward the diminutive have proved over time that less is more. The Mercury Players Theatre now continues the trend with four bite-size but satisfying courses in "Revenge of the Mini-Musicals," directed by Moritz Burnard. The mini-musicals have roots in Mercury's annual "Blitz" productions, in which writers and actors are given 24 hours to pen and produce short plays from scratch, traditionally culminating with a musical. "The musical is always the highlight of the show," said Mercury's artistic director Pete Rydberg, who also is a producer for the current production. "You think you just saw something, but now we're really going to show you." While Mercury has previously staged "best of" encores, this show combines two musicals from 2005's "Blitz Mania 6" with two brand-new mini-musicals that were selected from a local playwriting contest. The two former "Blitz" musicals have been revamped from their original format, Rydberg said. As the audience entered the theater, ushers were dressed in nautical gear, welcoming guests to the "Naughty Gal Cruise Line," which segued to the first mini-musical. "Meaty, Beaty, Big and Bouncy" was written by Cat Capellero and Andrew Rohn, the duo who also wrote "Walmartopia." Reprised from the 2005 "Blitz," the musical follows a troupe of male exotic dancers aboard a cruise ship on which they are hired to perform. Under criticism by the ship's director for being out of shape and overweight, the men redeem themselves when they use their dance skills to save the ship from a life-threatening emergency. Though improved from the original Blitz performance, "Meaty" still had an informal and impromptu tone. It was somewhat unpolished, but came across as fun and fresh, setting the tone for the night. The next two, "Bingo Night at the First Church of St. Darwin," by Jonathan Zarov, and "Gaystroke: The Legend of Tarthan," by Douglas Holtz, were premieres selected from the contest submissions. "Bingo Night" parodies the struggle between religion and science, imagining a world where the two consolidate their power to create a "religion of science," where gravity is celebrated in place of Christmas and Stephen Hawking becomes the unwilling new messiah. More rant than satire, the play gleefully pounds on organized religion while also taking jabs at the egotism in science. There were some shockingly irreverent but funny moments such as when Hawking, played by Sean Langenecker, ascended into heaven in a miracle of creative screen animation. Langenecker takes on a much more animated role in "Gaystroke: The Legend of Tarthan," a sexy jungle romp and alternative take on the Tarzan legend. The show opens with an aggressive musical number by a group of "Lesbiapes," five tough and leather-clad females who kidnap the baby Tarthan and teach him to fear and disdain men. The grown and pink loincloth-clad Tarthan, alternating between a convincing ape shuffle and perfected diva strut, runs into Jane but seduces her husband's crew of construction workers who were brought in to build a Congo-themed amusement park. The grand finale of the night, "Discordia's Sunshine Death," is the brainchild of Rob Matsushita and Moritz Burnard that also was born from Mercury's "Blitz" of 2005. Like a teen B-horror film set to rock and roll, it is a violent, twisted and toe-tapping story of a straitlaced Catholic school girl who, disturbed by the debauchery her friends engage in during a cabin trip, unleashes a murderous beast. Kelly Kiorpes was likable yet chilling as the ax-wielding Discordia, and Brandon McDonald was perfectly smooth as the devilish "Jesus." "Revenge of the Mini-Musicals" may not turn out to be the most polished or acclaimed of Mercury's season, but it does contain some of the most original, creative and off-center contributions from local talent. And there's nothing mini about that. Mercury's 'Bug' disturbs, thrills The Capital Times Friday, Jan. 12, 2007 RENA ARCHWAMETY BEYER Fear and love, no matter what their objects, can strike with terrifying force. These two emotions collide and lead to self-destruction in "Bug," a Mercury Players Theatre production opening this weekend at the Bartell Theatre. A movie version of this psychological thriller by Tracy Letts is also scheduled to be released nationwide this spring. The play, directed by Micheal She falls for a mysterious drifter from the panhandle, Peter, who seems well-intentioned at first, but soon draws Agnes into his dark, private reality.
"Bug" is meant to burrow under the audience's skin, too. As Agnes falls further and further into Peter's supposed delusion, reality blurs and suspense turns to horror. The play is unsettling visually as well as psychologically, with drug use, full frontal nudity and plenty of blood and open sores. The realism of the scenes hits hard, so anyone with a sensitive stomach should stay home or sit near an exit. The theater's Web site advises "mature audiences only." Moeller is outstanding as Agnes, playing her with a vulnerability that made it believable that she would give up her sanity before facing the prospect of loneliness. Douglas Holtz was also exceptional in his multilayered characterization of Agnes' ex-con ex-husband Jerry. Underneath all the abusive outbursts, his mannerisms were casual and carefree, his love for Agnes sincere, and in the end his head was the one most level. Burnard was convincing as a paranoid schizophrenic haunted by a dark past, though his character came off more as a shy and awkward youth than as a veteran who spent several years of his adult life in a military hospital. Consequently, the chemistry between Peter and Agnes seemed to be leading in an Oedipal direction, especially after a subplot involving Agnes' long-lost son. Pacing was slow at the beginning, but soon gathered suspense and built to an explosive second half. The set added to the creepy, disturbing atmosphere, particularly after intermission when ribbons of flypaper hung from the ceiling and cans of Raid littered the floor. Acting was solid, and while the shock value at times overshadowed the dramatic quality, the play was emotionally loaded and unquestionably thrilling. "Bug" will delight some and repulse others, but love it or not, it will make your skin crawl.
Play snares teachers' arrested development
The Capital Times Friday. Sept. 29, 2006 RENA ARCHWAMETY BEYER
High school is a time some may remember fondly while others would rather forget. Healthy adults can leave their puppy crushes, cliques, insecurities and emotional swings behind in adolescence.
But these games can be hard to escape if you never leave school - as three teachers discover in "The Faculty Room."
In its tradition of staging provocative drama, Mercury Players Theatre's latest show, Bridget Carpenter's "The Faculty Room, is an unsettling comedy that mixes drugs, guns and improper relationships in a cross between Mary Kay Letourneau and Columbine High School. The troupe has indicated that this show is for mature audiences only.
Set in the fictional Madison-Feurey High School in a small isolated town, the entire play takes place in the school's faculty lounge scattered with heap of books, an old beaten sofa, spare desks, tables and a mini fridge.
Tensions pulse between Zoe, played be Martinique Barthel, and Adam, played by George Gonzalez, two teachers who have a past together and now compete over which one will capture the affections of a "boyfriend" or "girlfriend" among their students.
New teacher Carver, played by Michael Herman, struggles to understand and be accepted by his colleagues while guarding an explosive secret from a former teaching position. Meanwhile, students have become obsessed with "the Rapture" or Day of Judgment prophesized by the popular "Left Behind" -type novels.
Barthel and Gonzalez showed excellent chemistry as Zoe and Adam, and they transitioned believable among playfulness, concern, anger and disgust toward one another. Gonzalez gave a natural ease to the sharper and slightly more mature teacher, and Barthel carried the play through emotional highs and lows as her character degenerated from a sarcastic and sophisticated young professional in a sexy black skirt suit to a lovesick and self-destructive child in torn cargos and a faded hoodie.
Rob Matsushita gave a good understated performance as another teacher, Bill, a Silent Bob-type character who said very little but drew many laughs from Thursday's 20-member audience with his focused and deliberate entrances and exits.
The script took some time to pick up in the first quarter of the show, but director Casey Sean Grimm and the actors paced the rest of the show well, taking full advantage of the unexpected twists and turns in the plot.
"The Faculty Room" is a humorous and disturbing look at what happens when adults in isolation fail to move on from childhood and adopt limits and responsibilities. The play was well-cast, sharply executed and as captivating yet disarming as watching violent crime on the evening news.
Those who have left behind the turmoil and passions of high school can breath a deep sigh of relief.
2006 Best of Madison
Fall Arts Preview - 12 Best Picks of the Season
Expect big things from Mercury Players Theatre, the troupe that brought us the hit musical Walmartopia (and is also headed to the New York Fringe Festival this month). Luckily, artistic director Pete Rydberg is up to the task. Besides several intriguing new plays, he's also bringing back the popular annual summer BLITZ, where plays go from creation to full production in only 24 hours. For the '07 event, though, there's a twist: audience members choose the winner. It's appropriately called BLITZ VII: Smackdown!. 1/6, 661-9696 x5.
Mercury Players Theatre'
If you want to see what’s happening in playwriting in the last
decade, subscribe to Mercury Players’ season. It’s not the sunniest
worldview around, but there is still a touch of sweetness sprinkled
through this season’s mostly dark comedies. Art, Politics Collide In Superb 'chesapeake'
Hilarity ensues. "Chesapeake"
is a play about art and politics - but playwright Lee Blessing doesn't
let the serious theme turn into a somber play. The script is laugh-out-loud
funny, the broadly caricatured artist and southern politician (as re-enacted
by our heroine) are both played for fun, and the plot takes some absurd
Gogol-esque twists. Love For A Goat? Rep's Play Makes It Believable The Capital Times :: LIFESTYLE :: 3C Saturday, September 10, 2005 By Rena Archwamety Beyer Special to The Capital Times\ The writer retains the copyright for this article {CORRECTION} A headline in Saturday's edition of The Capital Times incorrectly referred to the Mercury Players Theatre's production of "The Goat" as a Madison Rep play. (Published 9/12/05) From the beginning, playwright Edward Albee presents a question. "The Goat or, Who is Sylvia?" is a play either about a simple goat or a mysterious mistress, a barnyard animal or a kindred soul, a bizarre fetish or a natural love. The unquestionably controversial and 2000 Tony-winning play by the same man who wrote "Who's Afraid of Virginia Woolf" nearly 40 years earlier is, in Albee's words, "about four human beings and a goat ... and it involves relationships." It's a fair bet to say most people will find it a little more complex that his summary suggests. The play opens with playful banter between a successful but aging architect Martin, played by Lee Waldhart, and his wife Stevie, played by Daina Zemliauskas, in their living room as they prepare for a guest. Soon conversation leads to the question "Who is Sylvia?" The answer leaves Stevie first in disbelief, then in shock, that her husband has fallen in love with a goat.
The
question then becomes why, how could he, and what will become of this
perfect marriage and family once such irreparable damage has been done?
2004 Gotterdrama-rama: “The entire cast is strong. … The fact that they’re having so much fun helps rev up the audience’s enjoyment for what could be the year’s most unusual and amusing production.” —
Capital Times review (February)
Loving More: “A scrappy, self-styled holiday soap opera. Is polyamory a better option? Loving More tells us that only the emotionally energetic should apply.” —Isthmus review (December) 2002 “On the Open Road escapes the traps of formula and sets off on its own, aided considerably by the technically exquisite production Mercury Players Theatre is now running.” —Isthmus review (March)
Blitzkrieg 2: “The evening ended on a high note with the absurdist musical ‘To Gild the Lily’ by Catherine Capellaro and Andrew Rohn. Set in ancient Rome, it featured what may be the best song about lepers and prostitutes ever written.” —Wisconsin State Journal review (January)
Theater Best of Year list, Rhythm: Stonewall Jackson’s House “…featured outstanding performances from a dynamite cast. The play is a wickedly funny, viciously accurate assault on a very large herd of sacred cows.” 1999 Theater Best of Year list, Rhythm: Jeffrey “…was by far the funniest play of the year. …the Mercury Players Theatre production played to consistently sold-out houses.” 1998 Hot ‘n’ Throbbing: “The cast of a new Mercury Theater production, Hot ‘n’ Throbbing, must be getting it right. Rehearsal in a basement at 17 S. Fairchild Saturday looked and sounded so real that another of the building’s occupants called the Madison Police Department. Actor Craig Jacobsen said the scene being rehearsed involved a character who threatens another with a handgun. … An employee of the state public defender’s office walked in, saw the actor holding the banana-yellow toy pistol, heard the dialogue, went outside and called the cops.” —Wisconsin State Journal “Snoop” (September) 1997 White People: “The set and lighting are bare bones, but the Mercury Players here present community theater at its most professional, intimate, and purposeful.” —Isthmus review (September)
Theater Best of Year list, Rhythm and Isthmus: Temp Slave, the Musical 1996 Poof: “Long silent in Madison’s community theater, Poof! gives voice to African-American women. The Mercury Players Theatre production is the first time such a show has been produced here.” —Wisconsin State Journal (August)
Little Slices: “After just two productions, it’s become the best independent theater company in the city, hands down.” —Isthmus review (March) Theater Best of Year list, Rhythm: “The whole Mercury Players season, from Little Slices to the Holiday Pageant.”
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Peter,
played by Moritz Burnard, claims to be a military veteran who was
subjected to extensive and painful medical experimentation by the
government. Believing that a live insect has been implanted in him as
part of an elaborate and sinister plot, he convinces Agnes that they
have both been infested with bugs, and he attempts to exterminate them
by bleeding and digging them out of their bodies.