REVIEWS
Persephone
The
Golden Apple: For The Fairest
Baba
Yaga
The
Great God Money
Persephone
"If this piece doesn’t bring joy into your heart, then your heart is of stone.
Must see."
- Stage Press Weekly
PERSEPHONE
reviewed by Diana DeLaCruz
The first thoughts that entered my mind when the curtain went
up on Messenger Theater's production of Persephone were striking
and magical. The initial image of the simple stage set, consisting
of organic wood and metal pieces and the beautiful costumes,
take your breathe away. The live musicians add a nice touch
providing sound effects and musical score. This production
incorporates hand-held puppets and masks to tell the enchanting
story.
The Greco-Roman story of Persephone tells of the origin of
the seasons. This theme is more of an afterthought in this
piece, however, whose main focus is the longings and caprices
of the various gods and goddesses which imitate those of mortals.
Demeter, the goddess of nature, keeps a close watch on her
lovely, young, bored daughter Persephone, who yearns for more
excitement, for "something to happen." Meanwhile, the lonely
and lovable Hades, lord of the Underworld, contemplates the
empty feeling he often gets in the pit of his stomach and realizes
that he is in need of companionship. He travels up to the earth
and meets Persephone and offers to take her back with him to
the Underworld, but she admonishes his approach and teaches
him some lessons in wooing women. He accepts this advice and
returns at a later time to woo her, this time succeeding in
taking curious Persephone to the Underworld. In her grief and
rage at finding her daughter missing, Demeter stops nature
from growing and a winter envelops the earth. Demeter approaches
Zeus, the insatiable god of all gods, but he is too busy fraternizing
with a mortal woman to be bothered. Thanks to Demeter, though,
the weather is too darn cold for frolicking, and so Zeus finally
relents to Demeter's wish to have Persephone returned to earth.
Meanwhile, Hades gives Persephone enchanted pomegranate seeds
to eat which ensure that she will return to the Underworld
for half the year.
The production playfully uses delightful puppets along with
actors. Standouts include Matt Gordon as Zeus, John Capalbo
as Hades, and Andy Neiman as Hermes. This boisterously entertaining
production, directed by Emily Davis, does a great job of taking
a classic tale and poking fun at some modern references you
are sure to get. It speaks of the different types of love and
how they're motivated, from fierce, maternal love to hopeful
and despairing, all equally comprehendible. Themes of transformation,
grief, and rebirth are also touched upon in this comedic romp.
Persephone will be enjoyed by adults and children alike.
- NYTheatre.com
August 19, 2002
The Greek mythological explanation for our four seasons is
the basis for Messenger Theater Company's Persephone. On a
whim the young maiden (Katrina Toshiko) allows herself to be
whisked off to the underworld as bride of Hades (John Capalbo).
Her inconsolable mother Demeter (Bethany Burgess-Smith) quickly
neglected her duty to maintain balmy temperatures and abundant
crops on earth. These changes soon became apparent, even to
insensible Zeus (Matt Gordon), who finally provided that Persephone
would spend six months on earth (spring and summer) and another
six with Hades (fall and winter). Writer/director Emily Davis
creatively uses bust-length rod puppets (Shannon Harvey) with
stick arms for Hades's numerous comic helpers, all ably voiced
and manipulated by puppeteers Courtney Cunningham and Jeff
Grow. Mortals and gods cavort among spare but telling set elements
(Mark Shieh, Anthony Ogg). Aside from Persephone, the mortals
include a sprightly Orpheus (Brian Stockton) with his cool
rock-serenade to melt Hades's heart and Amanda Melson as a
superb quartet of Zeus's earthly lovers. Davis's witty writing
and inventive staging turn a mite droll for the gods, all in
masks, with the exception of supersonic Hermes (Andy Neiman).
Perhaps the finest part of the show is Roxana Ramseur's two-toned
silken costumes with an antique feel. At Harry De Jur Playhouse.
1 hour 45 minutes. [Lipfert]
- Curtain-Up.com
August 2002
And from our audience:
"Persephone" was a delightful romp--innovative, sweetly funny, sharp and enchanting!
The cast, simple but fanciful sets and costumes, puppetry, and musical accompaniment
all fit together with perfect balance--I can't think of anything I would change.
Thanks for a wonderful afternoon!
- Kathryn Ritter
If Mary Zimmerman and Children’s Television Workshop had a
brainchild.
- Ty Stover
"This production of Persephone is inventive, charming and really funny. A delight
for all ages!"
- Leese Walker, Artistic
Director, Strike Anywhere Performance Ensemble
"Persephone is a revelation for everyone. The dialogue is capricious, accessible
and often compelling. This play tangles up conventional opposites and finds new
oppositions within the old myth. The gods are capricious and contradictory. It
reminds us of (or introduces us to) a culture that lives on by the way it made
its gods and heroes so often laughable. With handsome masks too!"
- John Lawhead
ESL teacher, Bushwick High School
The Golden Apple: For The Fairest
a show with great acting and a great script that had everything:
romance, history, universal themes, comedy, tragedy, sword-fighting,
and a guy in love with his foot.
- Donna Shaunesey
I thought Golden Apple was funny and thoughtful with stand-out
performances. What I most enjoyed was the way you skillfully
wove the theme of beauty throughout. Beauty as cruelty, beauty
as folly, beauty as powerless and powerful. I am still thinking
about Aphrodite's epiphany at the end.
- Chris Cunningham
You had an idea to demonstrate, a particularly somber, nay,
heavy one, and you did so very well. I was particularly impressed
with Cassandra. The passion there: message, rebuff, message,
frustration at more rejection, message, yet again obdurate
NO, emotional collapse. Fine, there, really fine.
- Howard Laniado
I absolutely loved the show. It was amazing! It's funny and
poignant and the performances are awesome. It's a great evening
of theatre for all ages. It was so creative and visual with
minimal staging that I shutter to think of what you could do
with a budget!
- Jason Godbey
Everything I saw was consistently fantastic. The show was a
perfect example of the strength of successful ensemble work
as it relates not only to actors, but also to director, musicians,
producer and set designer. The text was complex, hilarious,
timely and expertly delivered. I felt like you really stuck
your knuckles in there and got to the good stuff, and with
so much of the right mixture of humor and tragedy. And of course
it was all very well executed by an outstanding cast who's
energy amazed me throughout. Distinct characters and obvious
passion. ABSOLUTE FEARLESSNESS and great timing. I feel sort
of funny saying that the goddess masks were beautiful because
I feel like it's so Obvious. They were "divine." They were
played with grace and elegance, without losing their plucky
distinctiveness. All of the mythical romances were attended
to with absolute conviction, taking us all along for the ride.
It's so easy to forget how important these myths are. And how
juicy.
The show felt new and exciting and important. It was one of
those productions that other theater artists go to and think, "See,
now this is the kind of thing I want to be doing!" The whole
thing was an inspiration.
- Vanessa Valliere
I thought the production was professional, especially for a
small show, and that the acting, staging, and script were all
good. I thought the masks were EXTREMELY cool, and well implemented.
Those three women just blossomed under their cloth and mask
- the gestures and language that came from them was, I think,
quite amazing.
- Shawn Simmons
The Golden Apple is a delightful romp through a timeless tale.
All in all, an entertaining evening with a stellar performance
by Courtney Cunningham as Philoctetes, the fool. Cunningham
is hilarious, the love scene with her foot will have you rolling
in the aisles! Bravo Messenger!
- Leese Walker
A very timely comment on how those pulling the strings of war
cause great destruction and chaos in the lives of others.
- Alexandra Devin
I thought that the script was bright, witty, and original,
offering new twists and immediate perspectives to material
that has been so worked over that even "Hercules" got a shot
at it. The mask work was clean and communicative to the point
that when the masks came off to reveal the goddesses in human
form, they were an extension of the goddesses themselves...or
were the goddesses an extension of the actresses....i like
that. And of course shannon's masks and puppetry were beautiful,
as well as expressive. The little sheep was a brilliant way
to kick off the show. And then there is courtney...a bundle
of energy with a razor sense of timing. she is funny as hell.
- Kevin Bartlett
Baba
Yaga
The
Jenny Revue
The Adventures of Baba Yaga Messenger Theatre Co.—MTC Up the Alley
I
have a huge respect for the children’s shows presented
by past Fringe presenters, multistory theatre, and I
was relieved to see a company step up in their absence
and produce such an intelligent and finely crafted piece
of theatre specifically for children. Classic fairy tales
pull-no-punches vis-a-vis violence, corruption, or just
plain evil. Messenger Theatre delivers a pull-no-punches
tale about a young girl called Vassilissa, left in the
dubious care of her wicked stepmother by her naive father.
As soon as the father is safely out of the way, the ill
treatment by her stepmother and two step sisters begins.
It culminates in her being sent on the dangerous errand
of fetching light from the crone, Baba Yaga. This staple
of Russian folk literature is a frightening old woman
who lives in a house that walks the deep dark forest
on chicken legs. Her favorite food is little girl stew.
Vassilissa is not meant to return. This is a classically
structured tale about purity, overcoming adversity, and
recognizing the strength in oneself. Vassilissa overcomes,
of course, without having to compromise her own standards
of behaviour. And she makes friends along the way. Apart
from the honest way in which the story is told, there’s
the overall quality of the presentation. The show is
a mix of live action, shadow box puppetry,
and masks. Lighting and the shadow box work were seamlessly incorporated
into the live action. Much thought, rehearsal and,
above all, attention to detail
served to create a believable environment for the masks. The audience was
completely involved, pay- ing attention and willing
to contribute. I saw this show with
my 7-year-old daughter. Her attention never flagged and her response, after
seeing three shows, is that Baba Yaga was the best of the bunch. Thank you,
Messenger Theatre for recognizing the intelligence and importance of an up
and coming audience, and for creating a show that is equally enjoyable for
children and adults.
-
Michelle Cook
CHILDREN
BEWARE! Baba Yaga might eat you!
Or
not. She might toss a few one liners at you and crack
you up. Director Emily Davis adapted this Russian children's
folktale about littl Vassalissa (Chara Riegel), who is
sent into the woods in true Cinderella fasion by her
evil stepmother and stepsisters to seek a light for their
candle. The catch is she must obtain it from the woods-dwelling
crone Baba Yaga, who has a history of consuming children
in the form of "little girl stew." Vassalissa,
our unflappable heroine, meets Eleanor O'Brian's Baba
Yaga, a character best described as Phyllis Diller gone
horribly wrong - scary, but in a hilarious kind of way.
In order for Vassalissa to escape a fate worse than dinner,
she must perform a couple of impossible tasks, which
she completes with the help of Baba Yaga's faithless
familiars, a masked dog and cat, ably performed by Nelson
R. Lugo and Susanna Harris. New York's Messenger Theatre
Company gives a delightful, intelligent performance incorporating
shadow puppetry, masks and costumed actors to nearly
seamless effect. Touted for kids six years and up. Warning:
Mild audience participation! 5/5
Stars *****
-
Wendy Burke,
Winnepeg Free Press
"Uptown":
The
Adventures of Baba Yaga: Little Girl Stew Grade:
A
Blending
live theatre with masks and shdow puppets, this tale
of the nasty but hilarious child-eating witch Baba yaga
is a thorough, well-structured and professional production.
Heaped with humour, this play re-tells the Russian folktale
of a young girl Vassalissa, who is sent into the forest
by her wicked stepmother to get some light from Baba
Yaga. Vassalissa stumbles upon Baba Yaga's house on chicken
legs and must perform tasks in order to win the light
and avoid being turned into little girl stew. This particular
version is brought up to date with lots of contemporary
references and witticisms but also retains the classic
magic with great costumes. Baba Yaga wears an enormous,
ugly mask and behaves rather like the Wicked Witch of
the West in The Wizard of Oz. The innocent but resourtceful
Vassalissa has the help of her talking doll, and together
they triumph.
-
LH
From
CBC message boards - Winnipeg Fringe Festival
Posted:
Jul 20 2004, 08:31 PM
The Adventures of Baba Yaga
There are two dangers in fairytale theatre. One is that if you go for the magic
and wonder of these ancient tales you run the risk of creating something twee
and phony that will particularly turn off children (like my nine year old) who
are establishing identities for themselves as reasoning beings. The other is
that if you try to appeal to the sensibilities of smart, self-aware kids (and
their parents) by modernizing the language, mixing humour with the magical plots,
combining the old-fashioned fairy story cadences with contemporary demotic language
(a la Shrek and Shek 2), you entertain at the expense of the soul of the traditional
tale. Somehow, Messenger Theater has found a way to avoid both pitfalls in a
production that's funny, current, timeless and enchanting, even for a sophisticated
kid like my son (or a moderately sophisticated kid like his old man). Add to
that some incredible value for budget conscious Winnipeggers. This is a very
professional show, combining puppetry, masks, shadow puppets, gorgeous costumes
and flawless acting. For a mere eight bucks it compares favourably with many
of the touring shows in the Manitoba Theatre for Young People season.
Posted:
Jul 23 2004, 11:51 AM
adventures
of Baba Yaga rocked my kids' worlds (they are 5 and 8)
Posted:
Jul 19 2004, 01:09 PM
ADVENTURES OF BABA YAGA
This is NOT just a kids' show!! This is a wonderful telling of one of the Russian
folk tales about the wisewoman/witch Baba Yaga, told in a variety of theatrical
styles: shadow puppet, mask, and panto. Folk tales touch on our deepest hopes
and fears, our dreams and nightmares. This production provides a magical world
where anything may be possible and that's what theatre of any sort is for,
isn't it? Oh yes, it's also great for kids.
Reviews
from Toronto:
" scary,
poignant and funny. . . nicely reverent and respectful
of an ancient legend"
-
RS, eye weekly, Toronto, ON
" hilarious
idiomatic portraits of these archetypal characters"
-
Robert Ormsby , Drama.ca
The Great God
Money NYTheatre.com:
The Messenger Theatre Company is presenting The Great
God Money, a witty and quirky musical comedy that asks
the
age old question: why are we so obsessive about money?
Audience members are given questionnaires about their
views and ideas
of money. The questionnaires are later worked
into the show in inventive ways, by incorporating the
questions into little improv segments that help the main
character
Dot select a route to find her way to the Great God Money.
Messenger’s
grown up fairy tale invokes thoughts of The Wizard of
Oz as the show opens with our heroine
Dot (Deb Heinig) rushing in late to her robotic office
job. There she and her co-workers sing “The Game
of Life” about, yes, the everyday struggles of
life. Soon her office encounters a blackout, and Dot’s
journey really begins. She ends up in a land of warped
realities and begins her quest to find the Great God
Money. Along the way she meets various zany characters
who either
help or hinder her mission. There’s the Debt Dragon
(played by various members of the ensemble) which gradually
(and cleverly) grows in size as the story progresses;
the Accountant (Micah Freedman), who assesses but does
not
advise and collects tolls along the way; Cash (John Myers)
and Cora Zone aka.Heart (Myles Goldin) who are ever battling
it out in their attempts to help Dot and thwart each
other; and of course her faithful side kicks, Gimmee
(Chris Speziale)
and Nat Enough (Rainbow Geffner). As Dot’s adventure
progresses she comes across the Land of Extreme Gender
Roles, Comfortville, and the
Hall
of History (which includes a very skillful little slide
show) all of which include remarkably witty moments and
songs. Dot eventually comes full circle and learns the
answers to some of her questions with the help of Great
God Money. Heinig is endearing and vulnerable as Dot,
making the audience empathize and root for her. As Nat Enough,
Rainbow
Geffner
is quirky and funny, and quite a joy to watch. Micah
Freedman’s
Accountant is delightfully fascinating and frustrating
with his one-line answers and illogical requests. John
Myers and Julia Beardsley O’Brien also have some
stellar moments, particularly O’Brien, who has
a lovely singing voice. The cast is engaging and enthusiastic,
and the ensemble is very strong in creating locations
and character changes
with the help of only props and a few costume pieces.
Roxana Ramseur’s costume design is clever and inventive
with subtle touches throughout the production. From the
clock hat and shredded papers on Nat Enough to the Accountant’s
silly horn-rimmed glasses, details are not overlooked.
The music and songs by Joey Clark, Barry Gribble, Dmitri
Kalmar, and John Mercurio are light and entertaining,
and cover all of the bases in the journey. Emily Davis’s
script and direction is crisp, smart, and amusing. Emily
Davis and Messenger Theatre Company have definitely created
an adventure worth the travel time.
-Akia
Squitieri |
