Sunday, June 19, 2016

Review: Invention Of Theater -- Otterbein Summer Theatre

    "The Invention Of Theater" by neophyte playwright and Otterbein Theater alumnus Sean Murphy, intends to be a light-hearted, fun-filled demonstration of all the things that go into making theater.  It includes an in-depth examination of actors’ preparation, the nuances of line delivery and character motivation, the effect of adding props, lights and other elements to create the sense of time and place. It also traces some theater history with brief mentions of various eras and styles including Greek tragedy, Shakespeare and the Elizabethan era, Neil Simon, Tennessee Wiliams’ “Streetcar Named Desire”, and a contemporary punk rock musical complete with gore and violence.  Along the way producer complications get layered in with an eye on the mighty dollar. 

   The acting from Benjamin Folts, Grace Hoover, Evan Moore-Coll and Steven Meeker is excellent. The stagecraft is minimal with some cute costumes, a few pieces of furniture and some screen projections.
     The premise is charming.  There are some great lines, laugh-out-loud comedy routines and compelling moments.  But it’s a choppy, episodic piece that goes on for 90 minutes, repeating the same story and lines for what seemed like 90 iterations. I was ready to leave within the first fifteen minutes, especially with the hot, humid conditions created by poor air-conditioning.
  As I understand the situation, it began as a short workshop piece when Murphy was a student and, at Director Melissa Lusher's suggestion with concurrence from Otterbein Summer theater Director John Stefano and the rest of the staff, Murphy expanded it to its current 90-minute format. It should have remained as a 30-minute one-act workshop or classroom project.  I  think it is a poor choice for a main stage production during the 50th anniversary celebration of Otterbein Summer theater where folks are paying $25 or more per ticket.  

Saturday, June 4, 2016

Review: 1940's Radio Hour -- State of The Arts Productions (SOARTSPRO)


“1940’s Radio Hour” depicts a live radio production at Christmas time in 1942.  It celebrates the music and the culture of the time against the backdrop of WW II.  The script leaves lots of room for ad lib which is where much of the character development takes place.  State Of The Arts Productions current Columbus rendering dishes out a bit too much ad lib with little payoff as actors seem to be doing their own thing much of the time, becoming caricatures and often distracting from the central focus of the radio show and the music.
  My previous experiences with this show had it as a brisk two-act production that unfolded in less than two hours with the intermission.  SOARTSPRO elects to do it as a one-act in the spirit of the one-hour radio program.  The ad-libs at the beginning, the extensive build-up prior to going on the air, coupled with the slow pacing, and the anti-climatic farewells among the cast and crew after the show goes off the air, stretches this to a tedious two hours.  James Blackmon directs and plays the key role of Johnny, which might be part of the problem. Things like relationship development, pacing, blocking and ensemble seem to have gotten lost. Blackmon’s characterization as the lead singer is sparse and uneven. 
   Part of the success for this play lies in how well the songs are rendered.  Blackmon, Cassie Gress (Ginger), Clara Livingston (Connie), Brian Gray (Neal), David Rausch (B.J.),  Syretta Bates (Geneva), Bobby Peaks (Biff) Lauren Bandman (Ann) can all sing well enough, but they are often overpowered by the band.  The poor sound mix doesn't help.  
   The beauty of a piece like this is that it can be very effective when the staging is simplified.  This production has too much furniture and too many people wandering around doing their own side-bits, drawing focus away from the action of the radio broadcast. 
  The program lists several costumers who all got it wrong when it came to the uniform for the soldier who is dressed as a 1990’s-era enlisted man when he is supposed to be an officer in the army of the 1940’s.  How hard could it be to come up with khaki pants and long-sleeved khaki shirt with a couple lieutenant bars?  This is just one indication of the sloppy, slip-shod way this show seems to have been thrown together.  

   For years, I have been longing for someone to bring this sweet script back to the Columbus stage, but I was hoping for something better than this.  I have seen family back yard shows with stronger production values.

Review: Brighton Beach Memoirs - Otterbein Summer Theater


  Neil Simon’s brilliant dialog and wonderful sense of humor sparkle in the hands of Director Lenny Liebowitz and his outstanding student cast as Otterbein Summer Theater opens its 50th anniversary season with “Brighton Beach Memoirs”.   Jordan Wood has wonderful comic timing, outstanding gestures, fabulous facial expression and a true gift for physical comedy as Eugene, a typical New York City Jewish teenager embarking upon the discovery of everything sexual with the help of his older brother Stanley, played with wonderful nuance and steady consistency by Max Bartel.  Aubree Tally has perfected the attitude and tone of the stereotypical Jewish mother, Kate.  Supporting cast members Daria Redus (Blanche), Abigail Isom (Laurie) Kara Jobe (Nora) and Jack Labrecque (Jack) all have their special moments, mining the depth and breadth of Simon’s rich characters. 
   The script was written to be delivered on a large proscenium style stage.  Cramming it onto the smallish three-quarter thrust area of the Fritsche Theater stage that Otterbein Summer Theatre now calls home, just doesn’t work very well.  Rob Johnson’s set design does the best it can with the limited space, but the bedrooms don’t have any room for beds.  There is not enough room on stage for a table with chairs plus the living room furniture.  Consequently, the dinner scene is people sitting on chairs in a rectangular formation and miming eating dinner.  The cast does as good a job as any acting group would with this kind of situation, but it just doesn’t work very well for my taste. 
   Lighting in this limited setting has similar challenges.
    Rebecca White’s costumes are period appropriate and quite effective, especially Eugene’s knickers with vest and ball cap.

    Overall, I enjoyed the show because of the brilliant acting and line delivery of Neil Simon’s witty prose.  

Thursday, May 19, 2016

Political Correctness and Journalistic Practice

May 19, 2016 --   When I attended Journalism school in the early 1970's I had a raging liberal news writing teacher who almost failed me in the course because I refused to write my copy with the sensationalism and liberally biased slant the professor was looking for.  
     What passes for journalism and news today is little more than angry, mean-spirited, liberal-leaning gossip. 
    Political correctness is a horrible disease that has gotten worse in the 22 years since Robert Novak wrote this piece. Most schools today, especially colleges, are little more than indoctrination camps for political correctness. That's why so many people don't know how to think.  Schools do little more than force kids to memorize political correctness along with the answers to the government’s standardized tests. There is no attempt to give kids any kind of moral scaffold or a sense of a higher power, i.e. -- God and Spirituality --  upon which to hang the ideas and information that gets thrown at all of us today by the vast media sources that our modern world provides. That’s why people don't know how to look at multiple sides of issues and form thoughtful conclusions on their own.  They need the biased media, liberal education, the church, the government or corrupt politicians to tell them what they should believe. 
    Thinking is too hard for most people in our modern world.  Many people are so brainwashed with political correctness that all they can do is spout the liberal talking points that have been drilled into them from childhood. It’s impossible to have a civil dialog with these poor sad people on any important social or political topic. Their identities and the make-believe worlds they have invented are threatened by common-sense conservative points of view and concepts such as God, self-reliance and free-market capitalism without government regulation.  
   They  quake and take umbrage at the suggestion that people need to be responsible and accountable for their choices and actions.  
    They imagine that there are no bad people in the world who might deserve capital punishment for murder, rape or public mayhem. 
     They rebel at the notion of societal norms such as defining marriage as a union between one man and one woman. 
   They lash out in anger at anybody who dares offer any sort of idea or opinion that is politically incorrect or doesn’t fit the liberal agendas and templates with which they identify.  


Political Correctness in the Newsroom
By Robert Novak
Imprimis – November 1994 – Hillsdale College

A free press is one of the foundations of a free society. Yet Americans increasingly distrust and resent the media. A major reason is that many journalists have crossed the line from reporting to advocacy. They have, in effect, adopted a new liberal creed: “all the news that’s ‘politically correct’ to print.”

   How does one define “political correctness” in the newsroom? One need look no further than the new style book of the Los Angeles Times, one of the largest, most influential newspapers in the nation. It forbids reporters to write about a “Dutch treat” because this phrase is allegedly insulting to the Dutch. Nor can one report that a person “welshed on a bet” because that would be insulting to the Welsh, and one certainly cannot write about a segment of our population once known simply as “Indians.” They must always be referred to as “Native Americans.” Jokingly, I asked one of the Los Angeles Times editors, “How do you refer to Indian summer? Is it now Native American summer?” He replied that he would substitute “unseasonably warm weather late in the year.”
   This is what political correctness can do to language; it destroys meaning. It also demeans the ethnic groups it supposedly protects. Do we really think that these groups are so unintelligent as to be unable to distinguish between conventional idioms and genuine prejudice? Is their identity so fragile that it must depend on censorship?
   People who believe in the real dignity of the individual, no matter what his race, sex, ethnicity, or other condition, shouldn’t embrace political correctness because it is bad philosophy—and reporters shouldn’t because it is bad journalism.

Elitist Reporters
    Twenty-two years ago, I wrote a paper in which I alienated many of my colleagues (and won the approval of a few) for publicly stating that the national media—the five hundred or so reporters and editors based mainly in Washington, D.C. who work for newspapers, wire services and television networks—had become elitist. I noted that reporters were no longer the typical working-class populists of earlier years who lived on small salaries and who had constant contact with ordinary people, problems, and views.
   But the members of the Washington press corps are even more elitist today. I am not just referring to “media stars” like, Diane Sawyer, who is earning $7 million annually. Most run-of-the-mill reporters and editors in the national media are in the top 1-2 percent of income earners in the nation. A Washington bureau chief makes over $100,000 a year; a senior reporter makes over $70,000 a year. Is it surprising that many of them have trouble understanding and appreciating the difficulties other Americans face or that they think differently from other Americans about such issues as taxes, government regulation, crime, family values, and religion?
   I also declared twenty-two years ago that members of the national media tend to share a uniformly liberal ideology. This does not mean they are secretly meeting every other week in someone’s basement to get their marching orders. Rather, their ideology originates from a number of left-of-center experiences in their university education, in their tightly-knit peer groups, and in the milieu of popular culture since the Sixties.
   Am I exaggerating the impact of this liberal ideology? Of the five hundred or so reporters and editors I mentioned earlier, I am aware of only two who are well known, admitted conservatives. Nationwide, there are only about ten editorial pages in America that could properly be called “conservative” and that stance does not extend beyond the editorial page at more than a handful. At the very least, this striking imbalance speaks volumes about the potential for liberal ideology to dominate the news.

Liberal Axioms Held by the National Media
   Of course, many journalists hotly deny that they are liberals. Others claim that they do not allow their liberalism to influence their reporting. But here are some unquestionably liberal “axioms” that I believe (based on polls and other sources as well as my own experience) are held almost universally by the members of the national media:
         The “rich” (and this covers many middle-class Americans) are getting richer and the poor are getting poorer.
         The income of the rich should be redistributed to the poor.
         Americans are undertaxed.
         Our taxes are well below those imposed in Europe, and the federal government should therefore raise rates, especially for those who earn more, save more, and invest more.
         Government is, on the whole, a positive force in America that has done vastly more good than harm.
         The balanced budget amendment is a dangerous idea.
         Term limit amendments are even more dangerous and are also undemocratic.
         There is a nationwide health care crisis, and only the government can solve it by establishing universal coverage for health insurance.
         The “religious right” (a term that lumps millions of ordinary believers together with a few extremists) is a serious menace to the future of American society.
         Being pro-choice is not enough; there should be absolutely no interference with the reproductive rights of women.
         To support school choice, whether through vouchers or tax credits, is to support the destruction of all public education.
         It is far better for the forces of the United States to be under multinational command than for them to be controlled by our own military commanders.
         Conservatism is a narrow philosophy; liberalism, by contrast, is more broad, unprejudiced, and compassionate.

Advocacy Journalism
   There is no doubt that the strongest trend in the media industry is toward advocacy journalism. The news sections of most newspapers are even more ideological than when I first criticized them twenty-two years ago. Once the editorial page was the place for journalists to express their opinions, but now they do so on every page, including the front page—under the misleading banner of objective reporting.
   Increasing selectivity is also leading to increasing bias; members of the media are not only more subjective in determining whether a story will make it into the news but in determining what kind of “slant” it will be given and how much coverage it will receive. Even the wire services have succumbed, running (and not running) stories that in the past would have gotten the reporters and editors responsible for them fired. And, of course, the worst examples of bias and selectivity are seen on network television programs, which have come to value “entertainment” more than the news.
   Liberals often argue that conservative bias—as evidenced by a growing number of conservative journalists ranging from William F. Buckley, Jr., to Rush Limbaugh—makes up for any liberal bias in the media and leads to “balance.” But they are being disingenuous, and not just because liberals greatly outnumber conservatives in the journalistic profession. Buckley, Limbaugh, and others like them are opinion journalists. They have never tried to represent themselves otherwise. Moreover, bias of one kind cannot possibly “make up” for other kinds. By all means, liberal and conservative views are welcome in certain areas of journalism, but when they intrude on the objective reporting of the news, they are both equally harmful.

Reforming the American Media
   How do we return to the old standards of objectivity and “a fair press”? It is important for Americans to make their views known and to convince the media that reform is not only desirable but necessary. But this is not enough. Twenty-two years ago, I remarked that the pressure of public opinion would surely force the media into more responsible behavior, but it has not happened.
   That is why we must also take special care to educate properly the young men and women who want to pursue a career in journalism. This is not an automatic recommendation for journalism school; unfortunately, most of these institutions are in the business of spreading bias and political correctness, not curbing them. And there are none (with the notable exception of the National Journalism Center in Washington, D.C.) that challenges the dominant liberal ideology in the media. But one does not have to attend journalism school to learn the fundamental principles of good writing, reporting and editing, or to understand bias and how to avoid it. A good liberal arts education can provide ethical as well as academic training.

   Finally, action must be taken at the top; people who are dedicated to the principles of good journalism as well as the principles of good business must take leadership positions at or even buy newspapers, magazines, and television stations. They cannot merely wait for the current establishment to change—they must lead the way. The stakes are high. When the media is out of touch with its citizens, the nation is vulnerable—when facts bow to bias, truth is also in jeopardy.