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THEATER: "The Wild Party"

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In 1928, Joseph Moncure March wrote an epic narrative poem titled "The Wild Party." Set in the Roaring 20's, it told the story of entertainers Queenie and Burrs, their tempestuous relationship, and a raucous soiree in which it all went to hell. In 2000, two entirely different musicals called "The Wild Party," both based on March's poem, opened in New York City, one on Broadway, one off-Broadway. It is the off-Broadway version, written by Andrew Lippa, that Blackfriars has chosen to stage to close out its current season.

One of Blackfriars' strengths is that it takes risks. And "The Wild Party" is definitely risky - or should I say, risqué. The story can be summed up as "boozy, self-destructive lovers get in a fight, decide to have a party, invite a gaggle of their depraved friends, everybody has sex, and then fights, and then they pay the price for their debauchery." The show is definitely intended for mature audiences (two words: simulated orgy), and tonally and thematically it shares considerable ground with Broadway stalwarts "Chicago" and "Cabaret." (Bad girls and worse men make terrible decisions, enjoy the heady highs of hedonism, and then reap the inevitable repercussions of their actions.) Although the blues- and jazz-tinged songs don't quite live up to those found in the aforementioned Kander & Ebb classics, "The Wild Party" has its own seductive charms.

Blackfriars' production has a lot going for it. It looks fantastic - John Haldoupis has done his typically stellar job designing a gorgeously appointed set that adds an exotic flourish to the sensuous goings-on, and his period costumes make each cast member look like a million bucks. The choreography by Meggins Kelley is often inventive and impressive, especially in the group numbers. And the production features two memorable, powerhouse performances.

Unfortunately, those performances aren't by the leads. They're by two supporting cast members who steal the show completely. Laura Marron's Madeline True is introduced bluntly as "The Lesbian," and Marron owns it, maximizing every line and interaction in what is ultimately a tertiary role at best. She is brassy, bold, and charmingly desperate, as evidenced in her big solo number, "An Old-Fashioned Love Story." The delivery was so good, and Marron so utterly committed to it, I couldn't help but whoop audibly in approval. I never whoop.

The other revelation came in the form of Kate, a cougar on the prowl brought to life by Kristin Hopwood. Almost as soon as Hopwood entered the stage, the show rose to another level. She is magnetic - whether sashaying across the stage, purring her come-ons, or hissing her barbs, and never once wavered from her role as a sexually voracious bitch goddess. (Alexis Carrington, eat your heart out.) After she belted out her solo number at the beginning of the second act, I had only two questions: why isn't this woman a star? And, why isn't she the star of this show?

That's bad news for Marlo DiCrasto, ostensibly the lead in the role of Queenie. DiCrasto is a fine actress and an even better singer, but from the second she pulled back the curtain at the start of the show, she seemed uneasy in the role of a sexually liberated, emotionally complicated young woman. DiCrasto nailed every line and emoted competently, but there was never a moment where she ever seemed truly comfortable on the stage; the only way to describe her performance on opening night is self-conscious. And she needn't be - she's a beautiful woman with a great body and an even better voice. Physical timidity wouldn't be an issue in practically any other play, but it's so essential to Queenie's character that she be an irresistible sexual creature, that her hesitance made it difficult to ever fully embrace her character, or its role in the show.

As for the lead actors, Danny Hoskins brings a wild-eyed craziness to Burrs, and manages to make a mentally unstable physical abuser somewhat sympathetic in his big number, "Let Me Drown." He does his best navigating the totally over-the-top climax of the play. As Queenie's other suitor, Mr. Black, J. Simmons is cool, collected, and the epitome of smooth. He's a good counterpoint to Hoskins, and his scenes bring out the best in DiCrasto.

The other criticism - and this is a fault of the script, not of the staging - is that I wish more of the party guests were more involved in the action. There are literally 20 characters in this show, most of who are never introduced, and the few that are, get mostly ignored. (What was the point of introducing the one girl as "The Whore" if nothing is ever, ever done with it?) Granted, a chorus is rarely fleshed out - that's the point of a chorus - but I can't think of another play in which one hangs out in the back of the stage while the action takes place in front of it. 

The Wild Party

Blackfriars Theatre

Through May 17

28 Lawn Street | 454-1260, blackfriars.org

Comments for "THEATER: "The Wild Party"" (10)

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Jess Kamens said on May. 01, 2008 at 3:10pm

I was at the same performance. I agree with many of Rezsnyak points, the stage, the choreography and the points about the two supporting roles. I disagree, however, about your comments on DiCrasto. Her role was that of a VERY insecure woman who hid behind her sexuality and appearance. I felt that she was a shy character who had to put on a show for her friends and even her lover. She was pretending she was someone she was. While you read all this as Ms. DiCrasto being uncomfortable on stage, I read this as Queenie being uncomfortable with herself. While I also agree that Hopwoods and Marron's numbers were stunning, I also am aware that DiCrasto had to have sung more than 60% of the show. It is unfair to compare either of those roles to Queenie and state that one person should be in the role over another. And, as you said, DiCrasto is extremely talent, beautiful and, from what I observed, extremely comfortable in the very physically and emotionally demanding role of Queenie. Let us also not forget¦ these are unpaid volunteers not professionals. In my opinion, this cast is one of the most talented, collectively, I have ever see. Thank you though, for the well-written review.

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Sally Cohen said on May. 02, 2008 at 11:45am

Reading Jess Kamens' comments on Eric's critique of Blackfriars' "Wild Party," one sentence stood out to me: "Let us also not forget these are unpaid volunteers not professionals." Besides the fact that Blackfriars most likely does give its actors a per-show payment (more at the level of an "honorarium" probably) which qualifies it as a professional albeit community theatre, the word "volunteers" has an odd connotation for me in this context. Theatre isn't something you "volunteer" for...you spend years working on your craft, most often have to support yourself by other means, and must audition for and be chosen to spend untold amount of hours in preparation for any given production. I think that some of the actors to whom Jess refers might be a bit taken aback by her comment, even though it was undoubtedly kindly meant.

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Jess Kamens said on May. 03, 2008 at 11:45am

Sally... I appreciate your thoughts. I was more concerned with the original critique in that it was insinuating that roles were incorrectly cast and THAT is what I was worried about. My goal was to give credit where it should have been given and make people aware. Regarding payment. Blackfriars does NOT pay their performers and feel free to contact anyone to verify that as I already have. They actually DO volunteer their time, but just as any of us would do for something we love. But it is, in fact, a volunteer basis... rather working towards a goal that these talented people have. I am still at a loss as to possibly what member of the cast would take offense to anything I said. In fact, I spoke to most of them myself and let them know how utterly impressed i was with the overall performance. I have found that it is so unusual to find a group like this in which every single one of them put on an amazing performance.

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Roch Actor said on May. 05, 2008 at 7:44am

Sorry Jess. I don't know who you checked with but two of the community theaters in Rochester do pay their actors an honorarium (Blackfriars and JCC) and have for several years. BUT, actors do not pursue roles in either of these great theaters for the money but rather for the passion they have for theater and the consistent high-quality, professional productions which are produced at both.

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Patrick O'Keefe said on May. 07, 2008 at 12:10pm

Sorry to say it, but that "consistent high-quality, professtionsl productions" mentioned by the Roch Actor was certainly not met this time around. As eveidenced by the performance I witnessed and the reviewers comments. The review which appeared in City was consistent with what I viewed. It isn't a question whether the organization uses volunteers or not. It isn't a question of whether they pay an actor or not. The issue is whether the theater in question boasts a "professional status" and charges 22.00 dollars aticket, then fails to produce a production worthy of the price of that ticket. In the present case I must admit that this production was not worth the price of my ticket. A theater cannot have it both ways, on one hand boasting a professional status when charging or soliciting sales to the public and then crying community status when "hiring" and bellyaching about bad reviews.

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Roch Actor said on May. 08, 2008 at 8:43am

A critic is hired to find what is good with a production and what is not good. Please read the Piano Lesson review which clearly states such in the opening paragraph. If rely on a critics review to determine if a show is worthy of your money, then you would have missed some incredible films (Citizen Kane being one) and stage plays.

I know the role of Queenie was written to be portrayed as someone insecure in her sexuality which was missed by you and the reviewer. Other than that, what is a great production for one viewer may be the opposite to another. Patrick, I don't know how many theaters or in what cities you have seen shows and what you're accustomed to paying for a ticket or what you judge to be professional or what you have perceived as high-quality. $22 a ticket is very low when considering the investment that goes into a production - royalties, costumes, set construction, etc. It is a risk spending money on any form of entertainment whether it be a theater piece, film, dance or anything else. All of the theaters mentioned are not for profit and theaters such as Blackfriars rely almost 100% on ticket sales to fund their productions. If you think $22 is too much to risk, then save your money and rent a DVD. I'll gladly use 6 less gallons of gas in order to see any show at Blackfriars - some I've loved, others less so but always felt I got my moneys worth.

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Patrick O'Keefe said on May. 14, 2008 at 12:14am

Well Roch Actor, kudos to your low expectations that allow you to feel as if you always got your moneys worth from shows at Blackfriars. My ticket price is not the issue. Whether the price was 22.00 or 200.00 or 2.00 does not matter. I paid for my ticket with the expectations that the theatre, the show and its advertising promised and I was not impressed. This is my opinion, which last I checked, was mine to express. It is not my concern what went into the production. As an audience member I am entitled to a level of proficiency, entertainment if you will that was not present in this case.

As for the performance of the role of Queenie, perhaps you saw something that was truly not there due to your prior reading of the play, a bit of projection if you will. I did not have any such benefit. I merely saw the production by Blackfriars. I have viewed productions at Blackfriars which were what was expected, but for you to rarionalize that what is put on stage is good enough just because a monumental effort was made to do so, is naive at best. In that case, EVERY show that is mounted on Broadway should be celebrated since literally millions of dollars go into even one production. I have also attended other productions by other theatres in the area and have been amused and entertained even if they may not be of a professional ilk, but in those cases these groups did not wrap themselves in professional robes and then deliver a less than professional production.

No all I am saying is that in this present case, the ball was dropped. Maybe if criticism is taken for what it is and not a personal attack, those involved may learn from it and improve the odds of succeeding in the future.

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Clearing things up said on May. 23, 2008 at 2:09pm

I am impressed with the sides taken on this subject. The fact of the matter is this (please forgive my spelling):
Get your facts straight and defintions in line before posting.

Blackfriars is considered a professional theatre for the fact that it pays honoriums to its tech and its actors, the amount paid is not the issue. Most if not all people involved with Blackfriars Theatre are people who are profesionals in other fields in Rochester, and give of thier time freely to participate in putting on a production at Blackfriars. Taking out the honorarium factor, yes this could be considered another ameture community theatre group in Rochester. But it is not. The level of work that is put in by the crew to the cast to the many volunteers is put up at a CONSTINTLY HIGH LEVEL OF PROFESSIONNALISM. Whether yuo open your eyes to see this is your problem. As one who is highly involved with Blackfriars for many years, I have seen this first hand, in all areas of a production. Whether it be the postcards that go out to advertise the show, the website to bring in new people to the intricate detailing on every costume to the actor who leaves rehearsal at 11 PM at night after working till 6 at thier day job, then working another 2-3 hours prefecting the craft so not only that you could be happy with what you see, but also so that they can feel a little pride in knowing they worked thier ass off to get where they are. If you say something is not professional than nothing to back it up, then you are a fool. But like any painting , two people can see two things and have two opions on the matter at hand. But please sir do not call this an unprofessional theatre, because everything produced by Blackfriars and its staff is professional. It is insulting to say otherwise. If it wasn't we might as well have sent out naked puppets or invited you up on stage to do your interpretation of the show.

I might as wall call you a lazy bum who came to the show with no taste in theatre or a knowledge of it. But since I am not involved in your life, or do not walk in your shoes, then I cannot and will not.

I have a better idea, why don't you volunteer at a show and see the professionalism that goes into a show first hand.

The mere essence of profesionalism is the way it is treated from its foundation up, and Blackfrairs commits to making everythign it does professional.

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Clearing things up said on May. 23, 2008 at 2:12pm

As I said, please ignore my spelling and focus on the message. I did not mean to come off so rude -- and I am doing this indepently from Blacfriars-so backlash at me not the theatre okay.

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Roch Actor said on Jul. 09, 2008 at 12:44pm

Thank you Clearing Things up... I had no intention of addressing O'Keefe's comments any more...

BTW - I am not associated with any one theater and never was reacting to comments on behalf of anyone but myself. Blackfriars is a great asset to this community and deserves the many accolades it has received over the years! I can't wait to see Noises Off!

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