The right aisle serves as a road leading to the front steps of the porch. Instead of a sofa to suggest that porch, Regina Garcia has created a simple but handsome open deck leading to the interior of the Gill house and the land in back where the never seen Mr. The set too is somewhat more elaborate than the two-seater bench that served as a railroad car seat, a park bench and a chintz covered sofa on May's front porch in Corbin. Yet Kathy Lee Hart is so endearing as Mamma Gill and Susanne Marley so deliciously intolerant as Mama Brummett that real people emerge from the stock character outlines. Brummett, the Christian adage spouting harridan who still whips her son metaphorically as she did literally when he was a child. Gill, May's the heart-of-gold, loving and supportive mamma Mrs.
The two mothers who have doubled the size of the Nibroc cast are somewhat stereotypical - Mrs. While both are bedeviled by stated and unstated frustrations, Baldi and Kazee leave no doubt as to the passion and love they have for each other. May, a school principal is the practical one grew up in a nurturing home Raleigh, gentler and more creative, was raised in a dirt poor, unloving environment. There is a clear difference in May and Raleigh's personalities and backgrounds. The fact that Eliza Baldi and Steve Kazee (Kazee, a Kentucky native, comes to his accent naturally) are quite ideally cast as May and Raleigh further insures our becoming fully involved with them. The script once again showcases her terrific ear for regional dialogue and the ability to make us root for her characters' happiness. Hutton has woven in enough of the details from Nibroc for See Rock City to stand on its own.
However, if you didn't see the train encounter that resulted in May and Raleigh's burgeoning romance, you'll have no sense of missing important parts of their story as Ms. The war still overhangs everything so the two plays are very much of a piece. Unlike some sequels, See Rock City doesn't take a giant leap forward in time. May and Raleigh's struggle to deal with the realities of their marriage, especially the constraints imposed on Raleigh's activities by the tragic limitations imposed by his epilepsy (much misunderstood in those days) is a microcosm of the macrocosm of America in the midst of World War II. It's a lovely chamber work with all the characters richly developed and enough nuances to invest the flavorful dialogue and setting with more depth than the old-fashioned, well-made play simplicity implies. Don't be surprised if this sequel has as long an after life as its predecessor. Now, See Rock City, which begins where Nibroc left off, is having its world premiere at the Miniature Theatre. Though I go to the theater often enough to risk having characters and situations grow a bit fuzzy in my mind, May and Raleigh the two young Kentuckians who made up that play's entire cast, have remained clearly imprinted in my memory. It's been almost six years since I first saw Arlene Hutton's The Last Train to Nibroc in a small Off-Broadway theater before it moved on to more than two dozen region productions, including a very successful run at the Miniature Theatre in Chester. The cast includes Clea Alsip, Alia Attallah, Molly Bernard, Billy Crudup, Ray Fisher, Emma Galvin, Nancy Giles, Rebecca Henderson, Greg Hildreth, Korey Jackson, Sue Jean Kim, Irene Sofia Lucio, Ben Mehl, Genesis Oliver, Ashley Marie Ortiz, Michael Potts, Christopher Randolph, Will Rogers, Kristen Sieh and Felix Solis.Īdmission is free, but reservations are recommended by visiting Baldi and Steve Kazee in See Rock City
The directors involved include George Babiak, Eliza Baldi, Chelsea Hackett, January LaVoy, Flor De Liz Perez, Max Posner, Austin Regan, Colette Robert, Michael Walkup and James Yaegashi with the help of dramaturgs Sarah Johnsrude and Garrett Kim. Performances of Make a Brave Show: The Courageous Plays will run March 27-29 at the 52nd Street Project's Five Angels Theatre.
ELIZA BALDI PROFESSIONAL
They are taken out of town for a writers' retreat in the countryside to writer their plays, which are then given a run of professional performances.
ELIZA BALDI SERIES
The 52nd Street Project's Playmaking Series pairs children living in Hell's Kitchen with accomplished actors, directors and dramaturgs.
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