18th and Union Arts Space

Past

Here at Home

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Marisol Soledad opened a one-person show at 18th and Union, Here at Home, as part of the Springshot festival. The highpoint was her costume, which demonstrated that with a little big of imagination, an effective costume can be put together on a low budget. I think the basic idea, was that she was trying to present her clown persona as a bird. Her costume and her physicality certainly were effective in suggesting that.

However, she used a funny squeaky voice in this interactive show which drew on mime, storytelling, humming Edith Piaff’s La Vie en Rose and a bit of TV Talk Show type questions. Some people liked it. It was amusing in part but, in my opinion, as she seemed to be a talented performer, I was disappointed by the lack of form and structure. There just was not enough to hold audience’s attention for a full hour.

Past

Trevor-A Tragicomedy

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Tragic Tale dished up with large Helpings of Comedy

Based on the real story of a chimpanzee named Travis, who was raised as a human, and had worked in Hollywood as an “actor,” the play Trevor, by Nick Jones, is a semi-fictionalized recounting of the last days of his life. Although Trevor is billed as a comedy, ultimately it is a tragedy, revealing profound truths about the selfish nature of narcissistic pet owners, as well as their parental counterparts. In spite of the tragic ending, the play is uproariously funny due to the witty script, ludicrous situation and the incredible comedic genius of Brandon Ryan, the star, who plays the adolescening champ, with all the frenetic energy of Robin Williams at his looniest.

Past

Visiting Cezanne-and the Future

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Artist’s Fall in Love with Despair

Red Rover’s new production at 18th and Union, Visiting Cezanne, explores many of the self-destructive as well as sustaining tendencies of artists, using a time traveling setting and plot. This vehicle brings together two discouraged artists and alters history.

Written by Duane Kelly, directed by Andrew McGinn, Visiting Cezanne introduces a contemporary frustrated American artist, Nora Baker, in the midst of a mid-life crisis, who is miraculously transported back to Paul Cezanne’s studio in Aix-en-Provence, circa 1900, i.e. six year’s before his death, in 1906

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