Category Archives: 6/10

Hamlet YPS – March 2011

6/10

By: William Shakespeare, edited by Bijan Sheibani and Tarell Alvin McCraney

Directed by: Tarell Alvin McCraney

Venue: Swan Theatre, Stratford

Date: Friday 25th March 2011

I didn’t enjoy this quite as much as last time. I was much more tired this evening compared to last August, and the Swan was unfortunately very stuffy tonight, which accounts for some of the difference, but I also suspect that the change from the Courtyard to the Swan, much as we love the latter, may not have helped, as the rhythm of the piece seemed off tonight. The audience was very appreciative, mind you, so it wasn’t off by much.

From our position, we missed some of the items I noted up last time, such as the blue cloth for Ophelia’s drowning, and there were definitely some changes as there was only one bit of audience participation tonight, for the player king. This time they had two volunteers to fill the role, but they handled it well. I suspect there have been other changes, but I couldn’t spot anything specific. Good to see it again, though.

© 2011 Sheila Evans at ilovetheatre.me

The Tempest – March 2011

6/10

By: William Shakespeare, edited by Peter Glanville and Phil Porter

Directed by: Peter Glanville

Venue: Swan Theatre, Stratford

Date: Thursday 24th March 2011

Interesting to see another collaboration between the RSC and Little Angel. This was similar to a Young Person’s Shakespeare, in that it was trimmed to an hour and a quarter, but the use of puppets made it a bit special. The audience included youngsters of all age groups, and while I felt the performance overall lacked atmosphere, there was a lot to enjoy in the interpretations, puppetry and music.

The cuts were deep, but they didn’t distort the story, nor leave me feeling I was missing out in any way. The shipwreck that begins the play was done as a puppetry mime with a wooden boat which obligingly split apart and was finally whirled off the stage to represent the apparent disaster. I had hoped to see it again, restored, but the need to work through all the much-doubled characters at the end presumably made that impossible. Prospero’s tale to Miranda, which can often put the audience to sleep long before Miranda gets heavy-eyed, was not only brief, but Prospero used a chess board and pieces to demonstrate the characters and story. This chess board makes a second appearance later, of course; here it was a useful tool and very engaging.

The shipwrecked lords are reduced to the basic four, and much of their dialogue is cut, as is the comedy with Trinculo and Stephano (“for this relief, much thanks”), and the drunk fighting stirred up by Ariel. The final scene is also minimalist, with Prospero having to deal with several groups of characters independently, and we’re left at the end with Caliban and a few seagulls, alone on the island.

The seagulls opened the play as well, and this was the first time I felt the pace was a bit too slow. Four seagulls coming on and flapping around, landing on various raised points and squawking a lot may have seemed like a good idea at the time, but it didn’t inject much energy into the opening section. While admiring the skill of the puppeteers, the gulls themselves never folded their wings, which looked a bit bizarre (we see a lot of them down our way, so I should know). There were several occasions like this, when the puppets were on stage for too long, and while sometimes this may have been to give the actors time for a quick change, that can’t have been the case at the start. If this aspect was tightened up, I think the whole piece would benefit.

The set itself was brilliant. At the back of the stage was a massive chunk of decayed ship, with its timbers curved round like whale ribs, and providing a marvellously imaginative acting space, as well as setting the scene magnificently. Some piles of books were scattered around the stage, and there was a cloth curtain which came down in front of the ship’s remains a couple of time to good effect; otherwise, the stage was bare. The costumes were elaborate yet simple. Prospero looked like a man who’d been left on an island for many years, with pretty scruffy clothes and a rather wild expression – not quite Ben Gunn, but the scent of toasted cheese was definitely wafting up the foreshore. Miranda had a remarkably nice outfit for a girl who’d been castaway as a three-year-old, but it’s The Tempest, so who cares? The nobles were in splendid gear, very rich looking, and the king of Naples’ coat and hat were actually displayed to Ferdinand early on, which made it easy for us to recognise him later. Nice touch. Trinculo and Stephano were in livery, not so grand but clearly they work for someone important. Caliban didn’t have any clothes at all, and not even much of a body, poor chap, but I’ll come to him later.

After the seagulls have departed, Prospero starts the storm by running his staff up a curved plank of the ship, like striking a match. He has to do this a few times before the storm ‘lights’ (ain’t that the way of it?), and then the wooden ship does its dance of destruction. After explaining their situation to Miranda, he puts her to sleep under the ship’s planks, and calls for Ariel. Naturally, Ariel is manifested by a puppet, about two feet high(?), wearing a green outfit and having filmy wings which fluttered as he flew around the stage. I wasn’t taken with him at first, though I did get used to him, but the only time I found him expressive enough was when he curled up into a foetal ball when Prospero reminded him of Sycorax. When putting the lords to sleep, he put his hand on their head.

Caliban, on the other hand, was a much more robust specimen. He was bigger than the humans, quite lumbering, with holes in his body where the ribs showed through, a big monster-like face and a tail. It’s a bit of a leap to imagine him as a person that Prospero and Miranda would have civilised, but then we’re used to seeing human actors take this part. With all the talking dinosaurs, ants, whales, etc. that throng our screens these days, I suspect the younger folk in the audience at least would find him plausible. He did endear himself to us, though, and I felt quite sorry for him at the end. As someone said later, what would these youngsters think when they next see the play and are confronted with a more ‘traditional’ Caliban? It would be interesting to find out.

The furies that terrify the lords at the mock feast were delivered on large platter with domed covers, looking like a delicious meal. When the lids came off, they were three more puppets with monster-like ambitions, one of which was right beside us. The garment scene involved two beautiful dresses which take on a life of their own and dance with Stephano until they suddenly turn inside out and become two snarling dogs which chase them away from the stage. Beautifully done.

The masque scene was done by having Prospero open his book to two reflective pages, and with the curtain down, he directed a spotlight onto the curtain to represent a spirit form, while the part was sung by one of the actresses. After this, the light came from behind the curtain, and we saw two wire puppets, with the suggestion of human shape, moving around behind the curtain until Ferdinand and Miranda came forward and merged with these other shapes within a beam of heart-shaped light. Quite magical.

Other nice touches included the doll that Miranda carried at the start. It’s a miniature image of her, and once she meets Ferdinand she leaves it behind. Prospero sees this, and from the way he picks it up and holds it, it’s clear he recognises that his little girl isn’t a girl anymore. David Fielder as Prospero was very good, so much so that I would love to see him play the part in a full-scale production some time.

The music was new, and mainly consisted of songs that told the story from time to time. I quite enjoyed them – they’re a talented lot, these actors – but it didn’t add much, and some folk felt it slowed things down too much.

So not a bad attempt to blend the puppetry in with action, but the performance was a bit slow-paced for me to really get into it.

© 2011 Sheila Evans at ilovetheatre.me

The Froncysyllte Male Voice Choir – February 2011

6/10

Chichester Festival Theatre

Date: Saturday 12th February 2011

The choir came out to do a few numbers at the start, followed by Allan Y Yn Fan, a Welsh folk group (yes, there are such things!), and then the choir did a longer stint after the interval. There were lots of chairs ranged in three rows at the back of the stage, with the microphones and usual kit about mid-stage in front of them, and a keyboard off to the left. The keyboard was for the choir’s accompanist, while the band had a range of instruments, as well as singing beautifully (their CD has a lovely version of All Through The Night).

I wasn’t so impressed with the choir tonight. I found the singing a bit on the thin side – I was expecting a richer sound – and the keyboard, set up to mimic a regular piano, seemed to be a fraction of a tone off-key with the singers, or vice versa, which grated with me a lot. The choir did a few songs unaccompanied, which worked ever so much better, as the balance was fine within the choir itself. I also wanted more Welsh songs from them, but they included a lot of modern numbers, including some I’d done as part of a choir in my schooldays, so I could make some direct comparisons and even  allowing for the mellowing effect of nostalgia, they didn’t come off best in my book.

However, the Welsh group, Allan Y Yn Fan, were much better. Their main singer has a lovely voice, and their blend of instruments was good, though I did get the impression they hadn’t been together long as they seemed a little rough to begin with. But they soon settled down, and had us well warmed up by the time we left the stage. And we bought several CDs of theirs.

For the second half, the choir actually used the chairs. Their leader did some patter between songs, to give the others a chance to rest their voices – his apparently could hold out for the whole evening without a break. His jokes concerned a couple, Dai and his wife (don’t remember her name), and kept us entertained in the gaps. Actually, they were the best bit of their section for me. They finished with a traditional Welsh song whose name I cannot spell, but which would be instantly recognisable to many, and rounded things off with the national anthems, British and Welsh. I can’t help feeling I’d like to learn the Welsh one sometime, though whether I will…….. We didn’t buy their CD, but I’m still happy to see another Welsh male voice choir in the future. I noticed the members of this one were mostly getting on a bit, so I hope they can get some new recruits to keep them going.

© 2011 Sheila Evans at ilovetheatre.me

Love Is My Sin – January 2011

6/10

By: Wiliam Shakespeare

Directed by: Peter Brook

Venue: Swan Theatre

Date: Friday 7th January 2011

This piece was devised by Peter Brook to link a number of Shakespeare’s sonnets together. First performed in Paris, here we had Michael Pennington and Natasha Parry delivering a series of sonnets exploring love and time from different angles. While I’m fascinated by the sonnets, I find their language too complex to be readily understood, and so although some lines came across really well, for the most part “it was all Greek to me”. I found Natasha Parry’s delivery a little weak, and our position didn’t help, as our view was regularly blocked. The music was charming, but with the heat in the auditorium, I nodded off a few times when the music took over. Still, it was a pleasant evening, and I would still be happy to attend other sonnet readings in future.

The highlight of the evening was an unexpected treat – Peter Brook and Michael Boyd in a post-show conversation. Paul Allen made the third, and I was totally taken with Peter Brook’s deep listening presence, and the tremendously good sense that he talked. His view on professors and their declarations about Will’s work were spot on (and good fun), and although I don’t remember all the details, I thoroughly enjoyed his contributions.

Michael Boyd was equally entertaining. In fact, the two made a great double act. I left the theatre feeling I’d been in the presence of two masters of theatre, that as with great theatre I’d been uplifted and improved just by being there. A great night.

© 2011 Sheila Evans at ilovetheatre.me

MasterClass – November 2010

6/10

By: Terence McNally

Directed by: Jonathan Church

Venue: Chichester Festival Theatre

Date: Tuesday 23rd November 2010

This was a rather weak star vehicle, still enjoyable but not the best writing. The setting is a master class by Maria Callas (Stephanie Beacham), during which she tells us her life story, goes into long reminiscences about her time with Aristotle Onassis, and critiques several wannabe singers, all young and optimistic until she rips their egos to shreds. The class bit itself was quite good, and we get to hear some of the wonderful songs she made her own, as well as enjoying her merciless ‘teaching’ of the young singers. I found the Onassis bits tended to drag, while the solo introduction was a bit too long and self-indulgent. However, the overall experience was good, and I hope they do well on tour.

© 2010 Sheila Evans at ilovetheatre.me

The Critic – July 2010

6/10

By R B Sheridan

Directed by Jonathan Church and Sean Foley

Venue: Minerva Theatre

Date: Monday 5th July 2010

Second play of the double bill, this wasn’t quite as sparkly as I remembered from the National production, where the collapsing scenery at the end was massively impressive. To be fair, this is a smaller theatre and Health and Safety would probably be a bit squeamish about putting the audience at risk, but even so the theatrical effects were still pretty good. I liked the waves and ships, and the final falling wall providing a Buster Keaton moment was good fun. The costumes were spot on, literally in some cases, and the dialogue was pretty good, although Sheridan can be pretty impenetrable at times to the modern ear.

Again, I found Nicholas Le Provost’s delivery less clear than the others, but overall the performances were fine, with Una Stubbs again turning in a superb performance as the largely unspeaking maid.

© 2010 Sheila Evans at ilovetheatre.me

As You Like It – June 2010

6/10

By William Shakespeare

Directed by Sam Mendes

Company: Old Vic Bridge Project

Venue: Old Vic

Date: Wednesday 30th June 2010

This was a bizarre mixture. The Bridge Project brings together British and American actors for joint productions – this year’s offerings are As You Like It and The Tempest – but we expected they would rehearse in one group. Today’s effort looked liked they’d rehearsed separately, and were still trying to figure out how to put the two halves together. For the most part, the Brits were good, with clear delivery of lines and some animation to their performances. For the most part, the U.S. team were OK, despite noticeably weaker delivery, but with Christian Camargo as Orlando the standard of performance nose-dived. His delivery never rose above the mechanical, his demeanour was lacklustre, his expression deeply depressed, and I even wondered if he was on some form of medication, he seemed so out of it. This obvious weakness brought the whole production down, and it was all the worse for us because Edward Bennett was in the cast, playing Oliver, the younger-looking older brother to Orlando – ‘unless the master were the man.’ One quick cast change would improve this production enormously; as it is, the better performances saved it from a miserable 2/10 rating, and judging by the empty seats which appeared after the interval, we weren’t the only ones suffering. I did nod off a bit in the second half, but according to Steve, I didn’t miss much.

The set was pretty good, though. The stage had been brought forward again, and there were exits through the first boxes on either side, as well as stairs at the front left of the stage. A couple of tall skinny tree trunks sat one on either side of the forestage, and there were stacks of chopped wood nestling in each of the boxes. A long garden bench sat further back on the left for the opening scenes, and during the play all sorts of furniture, carts, etc. were whisked on and off, so efficiently that I really didn’t notice them.

For the opening scenes, there was a full length wooden wall not far behind the bench, with a door in the centre. Once into the forest, this wall rose up and exposed the rest of the stage, with lots more tree trunks and a ramp up to the central exit at the back. In the summer, the undergrowth was rampant, and there were plenty of locations for an ardent romantic poet to stick his oeuvre. The costumes were modern.

Last year there were lots of interesting aspects to the productions; this time I found little to excite me, but there was one gem nestling amongst the straw. When Touchstone was describing the seven degrees of quarrelling, he involved the Duke and Jacques, encouraging them to act out the various stages. When he came to the end and made the reference to a quarrel being patched up with an ‘if’, he looked meaningfully at the Duke. I caught the reference to the two men being ‘sworn brothers’ afterwards, and at first I thought the Duke’s reaction was his recollection of how his own brother had treated him. But then his words to Touchstone were accompanied by a gesture, touching his nose I think, which made me realise that Touchstone had been referring to something in the past between the Duke and his brother. We enjoyed that idea very much.

I wasn’t so taken with Jacques imitating Bob Dylan for his verse of the first song in the forest. It was a good enough impression, especially with the mouth organ, but it distorted the words so that I couldn’t hear the ‘Ducdame’ line. Since I know the play well enough I still got the humour of Jacques’ next line, but it was weakened for me.

Touchstone was pretty good, Audrey, Phoebe and their swains were fine (William headbutted Touchstone, good for him), Celia was OK, and LeBeau was fine if a bit too affected with his very slow delivery. Antony O’Donnell was fine as Corin, and Michael Williams as both Dukes did very well. I liked the changeover, although it took a little time. Duke baddie discovered his daughter’s flight at court, standing in a square of light. The scene ended, the wall rose, and the Duke and his men walked back to where some boxes sat, took out the extra clothes they needed and put them on, while the boxes were repositioned for the next scene. It worked quite well, and at least we were clear that the same actor was playing two parts.

Charles was the skinniest wrestler I’ve ever seen, not much bigger than Orlando. The fight scene was played out under a swinging light, à la Callan, which made it harder to see what was going on. Perhaps they weren’t confident in the fight director, as the little I could make out wasn’t very convincing.

I’ve already put the boot into Orlando, so that just leaves Juliet Rylance as Rosalind. It sounds like faint praise to say she was fine, but with such a limp Orlando I don’t know that she could have done any better. I did like the way she ran the lines together into unintelligibilty when questioning Celia about Orlando – it got the point across even better than clear enunciation of every word. She’s certainly a good actress to make us believe Rosalind was actually in love with the big lump. Better luck next time.

© 2010 Sheila Evans at ilovetheatre.me

Quartet – June 2010

6/10

By Ronald Harwood

Directed by Joe Harmston

Venue: Yvonne Arnaud Theatre

Date: Friday 25th June 2010

It’s early days still for this new play by Ronald Harwood, and although there’s some excellent material here, there’s still scope for further polishing. The four hugely experienced actors were all fine – Timothy West in particular seemed to relish his part – though I felt a few funny lines missed their mark, whether through audience inattention or a slight mis-timing I wasn’t sure.

The set was quite impressive. To right and left were two imposing walls, with a door in the left one. At the back were some large arches with light coloured curtains or blinds in front of them. A baby grand was back left, some chairs and a table front right, with another chair front left. There was a sofa centre back in front of the curtains, and on either side just past the performing area were some hospital screens.

The story took place in a retirement home for musicians, and the four characters we meet are former opera singers, now in their twilight years and living in the home through necessity or, in one case, choice. All four know each other, though as it turns out not biblically, and all sang together in a production of Rigoletto, the recording of which has just been reissued.

One of the home’s traditions is to hold a gala performance on October 10th, Verdi’s birthday, to honour the great man. These four are asked to sing together, and the play is mainly about how they get over their ‘professional’ and personal difficulties to perform the famous quartet from Rigoletto as the gala’s star turn.

Along the way there’s a great deal of humour, mostly to do with the ageing process, and of course we come to know the characters very well as past secrets are uncovered and some kind of peace made with both the past and the present.

For the finale, the stage is cleared of all but the side walls, as the quartet take to the stage to demonstrate the talent of their earlier days. They do this by miming to the CD of their greatest hit, although I didn’t realise that was what was going on until the next day. I mean, I knew they were miming, I just didn’t register that it was a deliberate choice on the part of the characters at the time. In my defence, I will point out that Rigoletto is one of the few operas I have seen staged, it was a magnificent production – the set for the final act received a round of applause on its own – and it’s also one of the most moving experiences I’ve ever had in the theatre (i.e. I cried a lot). So naturally the music brought back the memories, which brought back the sniffles…… So I was clearly in no state of mind to grasp what was going on, m’lud. The defence rests.

There was a bit of (planned) heckling from the audience just before the final song, and when the music ended, so did the play. While I think that there’s still more to come, we did enjoy ourselves, and I hope the tour does really well.

© 2010 Sheila Evans at ilovetheatre.me

Stop Messing About – June 2010

6/10

By Brian Cooke and Johnnie Mortimer

Directed by Michael Kingsbury

Venue: Yvonne Arnaud Theatre

Date: Friday 11th June 2010

This radio series originally followed on from Round The Horne, just as this show is building on the success of that program’s stage tours in previous years. Unfortunately, it’s not quite as funny as the earlier shows; the humour seemed more dated, with references to products and radio stations, etc. that folk younger than us might struggle to recognise, and the lack of an ‘authority’ figure like Kenneth Horne weakened the mix. And of course, there was no Julian and Sandy sketch.

Even so, there were a number of very good sketches, such as the legal chap reporting on recent cases, the phone-ins and the film adaptations. The presenter for this show was Douglas Smith, and he and Joan Sims flirted with and flattered each other outrageously throughout the evening, while Kenneth Williams threw his usual strop in each half, and Hugh Paddick also inserted some of his other work, as well as taking over the important special effects, per Equity regulations, from the lowly presenter – another bit that worked well. The set was similar to the Round The Horne ones, but updated to reflect the Sixties style. All in all, an enjoyable night out.

© 2010 Sheila Evans at ilovetheatre.me

Inside Job – June 2010

6/10

By Brian Clemens

Directed by Ian Dickens

Company: Ian Dickens Productions

Venue: Connaught Theatre

Date: Wednesday 9th June 2010

A decent thriller this, even though both Steve and I had worked out what was happening before the end. It’s set in Spain, where a husband and wife each hire the same ex-pat criminal to kill the other, promising insurance money and/or diamonds to pay for it. There were a couple of explosions, a bloody corpse, and more twists and turns than a mountain road. The cast all did a respectable job, with Matt Healy having more tongue in his cheek than the others. What with slurping drinks, rattling ice, and crinkling ice cream wrappers, the audience were almost noisier than the action on stage during the opening scene of the second half, but on the whole it was enjoyable enough.

The play starts with the wife, Suzy, having lured ‘Larry’ to the villa with the promise of sex, offering a completely different proposition. She’s found out that ‘Larry’ is, in fact, ‘Dutch’ Holland, a criminal on the run from the British police. She wants to get away from her husband, and persuades Dutch to return later to rob the safe – it’s supposed to have £100,000 worth of diamonds in it – and split the proceeds with her.

He agrees, but when he tries to carry out the robbery, the husband, Alex, surprises him, and despite being apparently shot and killed, manages to recover and turn the tables on the robber. The bullets were blanks, of course, but now Alex reloads with the real thing, and carries out the sort of conversation with Dutch that only ever happens in thrillers. Finally, he comes out with his own proposition – Dutch will carry out another robbery, only this time, Alex will have a cast-iron alibi and Suzy will be killed instead. The life insurance of £300,000 is dangled to tempt Dutch, but in reality he will have the diamonds which are not yet in the safe, but which will be arriving in a few days, and which are also, coincidentally, worth £300,000.

They do some planning then, and also the next day, when Alex sends Suzy off on a wild goose chase to pick up some cigars so that he and Dutch can confer alone. However, Dutch has already tipped Suzy off, and when she shows him letters from the insurance company which indicate that her life insurance has lapsed, but Alex’s cover is still active, it doesn’t take much brain power to work out where this one is going. There’s another twist, though, when Suzy returns from the cigar shop. After parking the car, she heads for the house and is nearly there when the car blows up! Who’s attempting to kill whom?

The second half starts about an hour after the explosion. Suzy has cleaned herself up, and Dutch is waiting with her while Alex is off dealing with the police. Dutch suggests killing Alex for the insurance money, explaining how he could set it up to give her the perfect alibi. He would come along, take the diamonds, kill Alex, and then tie her up so it will look like the robbers (she has to tell the police it was two men) were trying to get the combination of the safe out of her when Alex came back and was killed. It means she’ll have to wait through the night for someone to find her, but he’s even planned a reason for him to call the police to get them to come over and check up on Alex and find her. It seems like a foolproof plan, but can she trust him, and vice versa?

Then Alex comes up with another idea himself. His car is similar to the local mayor’s, and he suggested to the police that separatists may have targeted the mayor and blown up his car by mistake. He plans to use this to enhance the cover story they’ve been working on, but it means redirecting the police to think that he was the target of the car bomb all along. If only he could get a bomb! By an amazing coincidence, it turns out Dutch is a ‘bang-man’, specialising in bombs and fires, and he agrees to supply a small device so that Alex can blow up a yacht he has in the marina. When Alex sets off with the bomb, using Dutch’s car, both Steve and I wondered if the bomb would actually stay in Dutch’s car, to blow him up later, but a short while later there’s an explosion in the marina. So that’s alright, then. On the way back, Alex is picking up the diamonds, so the scene is almost set for the murder, but which one is going to be killed?

The final scene has the room in disarray, with Alex drinking wildly, when Dutch turns up. Apparently Alex has jumped the gun and killed Suzy already. He shows Dutch (and us) the dead body in the kitchen, behind the curtain, and offers him all the diamonds to help him out of the hole he’s dug for himself. Dutch agrees, and with some ties from the Alex’s wardrobe, he adapts the plan he outlined to Suzy for the new circumstances. Now it’s Alex who’ll be tied up, and will have to tell the police that two masked men burst in, demanded he open the safe, and then killed Suzy when she came back from her walk. Only it doesn’t work out that way.

Once Alex is safely trussed up, and Dutch has the diamonds and the loaded gun, he explains to Alex what’s really going to happen. I won’t go into all the details, but basically he’s going to cause a huge fireball in the room using some candles and a build-up of gas. No evidence will be left, and he’ll be free and clear. He gloats about as long as is safe, and then buggers off. As soon as he’s gone, Suzy comes out of the kitchen, blows out the candles and turns off the gas. As we’d suspected, Suzy and Alex were working together to bring Dutch to justice, since the British police had been unable to do so. In fact, Alex was a Detective Inspector, and Dutch had killed Suzy’s brother, so they both had a strong motive to nail him.

Having told the police that a suspected bomber was heading down the hill in a blue Mercedes, and with Dutch’s little bomb safely stowed in the boot (Alex had made his own for the marina explosion) they hope the police will either catch him and put him away for the rest of his natural, or get a bit trigger-happy and avoid the need for a trial. There is some machine-gun fire, as it happens, but Dutch gets away, and of course he ends up back at the villa to confront the duplicitous pair who tricked him. The gun still has blanks in it, and after firing at them, he collapses on the floor, revealing the three bullet holes in his back. The end.

We’d guessed most of this long before the end. We both wondered if Suzy would come to life before Dutch left, and kill him on his way out. He even stopped several times in front of the curtain, just to tease us, I suppose. That Alex and Suzy were working together to bring Dutch down occurred to each of us about half way through, although we didn’t know the details. An interesting challenge.

© 2010 Sheila Evans at ilovetheatre.me