Review: Jerusalem at Fells Point Corner Theatre

Posted on January 31, 2019 by Jason

By Jason Crawford Samios-Uy

Running Time: 3 hours with two 10-minute intermissions

I’ve heard it said that a story about a day-in-the-life of someone doesn’t make for good theatre because, real life can actually be quite boring. Then, another school of thought is that day-in-the-life pieces are engaging because of the drama and emotion of real life. Whichever side of the fence you’re on with day-in-the-life pieces, Fells Point Corner Theatre’s latest offering, Jerusalem by Jez Butterworth, Directed by Ann Turiano, gives us that glimpse into a day-in-the-life of an interesting character with interesting friends trying to get through a day of county fairs, alcohol and drug binges, and side-stepping the law.

Sitting Down from Left to Right: David Shoemaker as Ginger, Dylan McKenzi as Tanya, Kelly Hutchinson as Pea, Sean Coe as The Professor, Nate Krimmel as Lee, Terrance Flemming as Davey. Credit: Fells Point Corner Theatre

From what I could gather, briefly, Jerusalem takes place in Flint in one day, St. George’s Day, as well as the annual local county fair. Johnny “Rooster” Byron, a local drunk, addict, ne’er-do-well, and Pied Piper figure, knows his days are numbered on his land as the local officials want to evict him to make room for new development. His friends (some under-age) gather frequently throughout the day to relieve him of his supply of alcohol and drugs while his young son wants him to take him to the fair and a thug, the step-father of a missing girl, wants to give him a good thrashing. And… yeah… that’s about it. If anyone else has anything to add, please feel free to do so.

I’ll admit, this piece could be going over my head because I didn’t see or hear much of a plot, other than a stubborn dude, Rooster, played superbly by Ian Blackwell Rogers, saying “F**k You!” to the world and going about his business but Rogers plays him in a way that I was invested in him, much like his friends. A highlight of this piece is David Shoemaker, who takes on the role of Ginger, Rooster’s oldest mate who seems to understand him better than the others, and his natural delivery and take on the “sidekick,” true-friend character is phenomenal. Director Ann Turiano knocks it out of the ballpark with her staging and she keeps the piece moving smoothly throughout, and it’s easy to follow, but I think it’s the script that I can’t figure out.

The cast of Jerusalem. Credit: Fells Point Corner Theatre

Set Design by Christopher Flint and Scenic Art by Kim Speaks also seems to be a bit much for the space. Don’t get me wrong, it’s an outstanding design and the audience is transported to this trashy little plot of land in the English countryside, but it may have been too much for the intimacy of Fells Point Corner Theatre. Authentic, no denying, with a full trailer façade (which is impeccable), and turf covered stage with vines and trees strewn about, but the shit load of just about everything including an old commode, seems to draw more attention from the action than needed.

Ian Blackwell Rogers as Rooster. Credit: Fells Point Corner Theatre

Performance-wise, this is a large ensemble and, yes, some are more apt than others but, overall, the entire ensemble works well together to create this motley crew that follows this charismatic leader… almost sounds cultish, doesn’t it? The dialects were 50/50 and I lost a lot of dialogue because of it, but not enough that I still couldn’t follow the story. Most of the actors and actresses were apt enough to be believable British-folk, and honestly, depending on where you are in Great Britain, it’s kind of difficult to understand the different dialects anyway, so, kudos on authenticity. The character work is commendable such as Nate Krimel as Lee and Terrance Flemming as Davey, the young, party-boys, and Sean Coe as Professor and Michael Salconi as Wesley, the older friends of Rooster, who have been around and seen most, if not all.

Overall, the production value and performances were admirable and the show itself is entertaining. My frustrations with this piece probably root in my not getting what the show is about but, production-wise, Turiano and her cast and crew have put on a polished, thoughtful production that you should check out.

Final thought… Jerusalem, though entertaining with splendid performances, just isn’t my cup of tea. It seemed to be a good story of standing your ground and sticking it to the man, but there was a lot of stuff to get through to get to that message, (IF that’s the message, not to mention, it’s about a 3-hour journey (but with two intermissions to break it up, nicely). The set was immense for the intimate space, but I’m assuming the clutter is what they were going for, so, it works… in a way. Overall, it’s a well put-together production so I’m thinking it’s just the script I’m having second thoughts about but, Fells Point Corner Theatre always manages to put on a great show with fantastic production value so, I’d chalk it up to a success, with minor reservations, in the end.

This is what I thought of this production of Jerusalem.… what do you think?

From a different angle: The Bad Oracle or B.I.T.R. Sisters

Email us at backstagebatimore@gmail.com

Jerusalem will play through February 3 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD 21231. For tickets, call 410-276-7837 or purchase them online.

Review: The Quickening at Fells Point Corner Theatre with The Collaborative Theatre

Posted on June 11, 2018 by Jason

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours with one intermission

It’s late, you’re safely tucked away in bed… you hear a noise. Is the house settling? The cat looking for a treat? An uninvited critter in the kitchen?… or something more sinister? These are the types of things that can keep you up at night and a good ghost story can have the same effect. Fells Point Corner Theatre’s (in collaboration with The Collaborative Theatre Co.) latest offering, the World Premiere of The Quickening by Mark Scharf, Directed by Ann Turiano, gives us an original ghost story that, with a few jump-scares and cleverly placed effects, will not only raise your pulse and possibly keep you up at night, but also make you think about what happens when we close our eyes for the last time.

Amanda Spellman as Beth and David Shoemaker as Matt. Credit: Shealyn Jae Photography

As stated, The Quickening, is a good old-fashioned ghost story set in present day. The story revolves around Beth, a young pregnant woman in a new neighborhood in a new town who knows the new house she lives in is more than meets the eye. She befriends her neighbor, Philomena (better known as Phil), a logical thinker with an open mind. Matt, Beth’s husband is a Civil War reenactor (a confederate soldier, no less), who believes most of the trouble has to do with Beth’s “condition” and how it effects the way she thinks. Meanwhile, Rosemary, Beth’s mother has come to help prepare for the baby and reveals a family secret that explains some of the strange goings on at the new house. Along with this explanation and a little research by Phil, the real story of the home unfolds with frightening conclusions that makes us question life, death, and the afterlife, if one believes it so.

Cassandra Dutt’s Set Design is phenomenal and uses the space wisely. Her use of levels to present different rooms and locations is wise and her attention to detail is top-notch. The Fells Point Corner Theatre stage is an intimate space but, with such a natural, authentic design, Dutt has managed to bring us into the living space of this young family which makes the audience feel closer to the action, adding to the experience.

Technical aspects for a horror story or ghost story on stage can be tricky and teeter on the line of corny but, working in tandem with Set Design, I’d be amiss not to mention that the Lighting Design by Tabetha White and Sound Design by Devyn Deguzman which is absolutely stellar giving life to this story. White sets the scenes and changes moods with her sometimes subtle, sometimes drastic change in lighting to invoke both calmness and a frenzy with lighting effects. Deguzman, too, adds value to this production with the “bumps in the night” sounds and disembodied voices that go hand-in-hand with ghost stories and would fall flat without them. Both White and Deguzman are to be applauded for their work on this piece.

Ann Turiano, who is no stranger to the stage, on or off, takes the helm of this production and her Direction is exceptional. Bringing a brand new piece to the stage can be a daunting task, but Turiano seems to have taken it in stride with a clear-cut vision and great comprehension of the material. Her handling of this new work is impressive in both staging and overall concept. It’s a modern setting with an intricate story but Turiano has given us a polished, well-presented production that shows and tell the audience a story simply without the bells and whistles but with just the right amount of effects and concentrating more on character and dialogue. It’s also worth saying her casting is on point for this piece. Kudos to Turiano for a job well done.

Marianne Gazzola Angelella as Rosemary. Credit: Shealyn Jae Photography

Award winning Baltimore playwright Mark Scharf has crafted a lovely story that is more about questioning faith, life, and death rather than a simple horror story. The scares are there and the creepiness factor is definitely apparent throughout, but his dialogue is well-thought out and well-researched. A few obligatory mentions of Baltimore seem a bit out of place, but there are only a few and do not hinder the production from moving forward. His in depth explanation of theories of physics and Catholic dogma are on point and actually teach a few things. The script did feel rushed at times – for instance, I would have preferred the realization and acceptance of what was going on in the house to be a little more gradual. It’s as if the characters simply accept the strange goings on with a few objects moving on their own and a strange little boy lurking about. However, that being said, I completely understand, for the sake of time, things need to be cut and the action still moved along smoothly and the story was told completely. Overall, this is an outstanding showing and I’m looking forward to seeing more of Scharf’s work in the future.

Moving on to the performance aspect of this production, we are treated to a strong, small ensemble who brings these characters to life with great authenticity and emotion making for beautiful performances all around. To begin, Mariane Gazzola Angelella takes on the role of Rosemary, the clairvoyant mother of Beth and Amanda Spellman tackles the multi-faceted role of Beth, the tortured and targeted occupant of the house.

Debbie Bennett as Philomena (Phil). Credit: Shealyn Jae Photography

Angelella is perfectly suited for her role as Rosemary, a good ol’ Bawlmer girl, who desperately wants to help her daughter through a tough time. Angelella even produced a good Baltimore accent but those born and raised can easily pick up that it is not a natural accent, but… it’s a hard accent to crack so, all in all, she does a superb job. Her character work is notable, as well, and she seems to have a good grasp on Rosemary, keep the character consistent throughout exuding the emotion of a parent of a child who is hurting in one way or another. Along the same lines, Spellman is excellent as the Beth and plays her to the hilt. Her chemistry with her cast mates adds a realness and natural air to her performance and she, too, has a good comprehension of this character and trials. Though she sounded a bit scripted, at times, overall, she gives a strong, confident performance that is a joy to watch.

A highlight of this production is David Shoemaker as Matt Wells, the doting, logical husband of Beth (and completely outnumbered male). Shoemaker is no stranger to the stage and his natural abilities shine through in his gestures delivery of his dialogue, adding an absolute authenticity to the character. It’s clear he understands his character and his performance helps the audience understand him, as well. He is certainly one to watch in this production.

Last, but certainly not least, Debbie Bennett takes on the role of Philomena (Phil), the kindly neighbor who befriends and helps the family even though her logical side is conflicting with her faithful side and she is the standout in this particular production. This character is the most complex of all the characters because of this conflict and Bennett presents it superbly. Her delivery and portrayal of the character is sincere which adds to her performance. This character seems to be the bridge between the supernatural and the natural in this piece, putting a lot of responsibility on Bennet, but she carries it well and does not falter. I’m looking forward to seeing more performances from this actress.

Final thought… The Quickening at Fells Point Corner Theatre is a scary (or horror) story that is presented in a very well put-together, well thought-out production. The script flows nicely, though at time seems a bit rushed, but overall, is a good story filled with intelligent, natural dialogue and diligent research. Be forewarned, there are a couple of jump scares but the effects are absolutely brilliant. The performances are admirable and the technical aspect is outstanding. Creating characters and bringing a piece to life for the first time can be difficult, but this team has done it beautifully. The entire cast, crew, and playwright are to be commended for their efforts and this is not a production you want miss this season.

This is what I thought of Fells Point Corner Theatre and The Collaborative Theatre Co.’s production of The Quickening… What did you think? Please feel free to leave a comment!

The Quickening will play through July 1 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For more information log on to fpct.org, or purchase tickets online.

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Review: Blackbird at Fells Point Corner Theatre

Posted on January 16, 2017 by Jason

By Jason Crawford Samios-Uy
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Running Time: 80 minutes with no intermission
Sometimes theatre is created to simply entertain and help one escape the realities of life and sometimes it’s created to make one think and, sometimes, that’s uncomfortable, depending on the subject matter but it’s OK. Being a traditionalist and loving theatre that makes me smile and tap my foot and giving me a happy ending, I certainly understand and appreciate the importance of theatre that makes one step out of his or her comfort zone and is in your face about issues we don’t like to talk about in public. Fells Point Corner Theatre‘s latest offering, Blackbird by David Harrower, with Direction and Set Design by Anthony Lane Hinkle and Sound and Light Design by Christoper Flint is the latter; up close and personal with the audience, making them look into an uncomfortable issue that makes for an enlightening, intense evening of theatre that’s not to be missed.

Credit: Fells Point Corner Theatre

Presented in the intimate upstairs Sokal Stage, this production very effectively puts the issue of sexual abuse, quite literally, in the face of the audience and forces them to look and listen. The setting is a very unkempt break room in some office building on the outside of London and the absolute mess of a room mirrors the issue at hand and is a perfect setting with trash all over the floor and on the tables and counters. At first glance Set Design by Anthony Lane Hinkle seems over simplified, simply throwing trash all over the stage, but, thinking deeper and associating it with the mixed up emotions and confusion that makes up sexual abuse, Hinkle gives us an intelligent, well thought-out design that is absolutely befitting of this production.
Along with Set Design, Hinkle’s Direction of Blackbird is stellar. He forces his actors to make choices in a tight space with intense situations and guides them into the right choices for this piece. He throws a whole lot in your face in only 80 minutes and though the action seems a bit rushed, there’s almost no choice as this piece hits the ground running from the moment the characters step onto the stage. Though the overall intensity of this piece is high, it is a roller coaster of frenzy and calm that Hinkle manages to balance nicely.
The performance of this piece is outstanding and both Steve Shriner and Ann Turiano give powerful performances.

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Steve Shriner as Ray. Credit: Fells Point Corner Theatre

Steve Shriner, last seen in his hilarious performance of Mother Superior in Fells Point Corner Theatre’s production of The Divine Sister, make a complete 180 degree turn for this production. He is a proven comedic actor but his dramatic chops are on point, as well. He is so in tune with his character, Ray, not once did I see a hint of true regret or remorse for the sordid relationship with a 12-year-old girl years before. Nor did I see any attempt to apologize because though this character realizes what he did was legally wrong, he truly doesn’t believe it was emotionally wrong at all, allowing him to move on with his life. All this combined makes for a complex, somewhat pathetic character that Shriner plays beautifully.

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Ann Turiano as Una. Credit: Fells Point Corner Theatre

Ann Turiano, as Una, the young victim in this relationship, now a seemingly confident woman plays this part superbly and with ease. She is comfortable in this role and her very purposeful movements express the childish 12-year-old Una once was as well as the brave, confident woman she has become who doesn’t seem to know what she wants from this meeting. Una’s relationship with Ray is complicated but open as she talks to him bluntly about having sex all those years back and Turiano is no-holds-barred when it comes to the dialogue or getting in your face. Her strong performance is not one to be missed this season.
Final thought… Blackbird at Fells Point Corner Theatre is a poignant, raw, powerful, and unapologetic look at not only sexual abuse, but it’s long term effects. Without making judgment or defending, this piece takes a serious look into both sides of abuse and tells a story only victim and predator can tell. It’ll make you angry, it’ll make you uncomfortable, it’ll make you feel sorry for everyone involved, and it will make you think long and hard about this unfortunate truth in our world. You don’t want to miss this production so get your tickets while they last.
This is what I thought of Fells Point Corner Theatre’s production of Blackbird.
Check out what The Bad Oracle thought here: https://thebadoracle.com/2017/01/16/blackbird-the-dead-of-night/
What did you think? Please feel free to leave a comment!
Blackbird will play through January 29 at Fells Point Corner Theatre, 251 S Ann Street, Baltimore, MD. For Tickets, go to fpct.org for information or purchase them online.