![]() Presented as a sort of exhibition of social interactions, these 15 mini-plays, poems and movement pieces challenge theatergoers to get involved and work things out for themselves.Īs a signpost to understanding, the company provides the motto: “Ours is not only a Latino experience but also a human one.” So “Sin Titulo” (Untitled) seems an appropriate label for Teatro Nueva Alma’s current show. In visual art, a work might be left untitled because the artist intended to leave room for interpretation. “Ray Bradbury’s Green Town,” Fremont Centre Theatre, 1000 Fremont Ave., South Pasadena. As such, the net effect of this wistful charmer is akin to catching fireflies on a balmy summer night. The designs are evocative, with assets in Peter Strauss’ moody lighting and David Gunn’s tinkling original score, and Bradbury’s ripe language sustains past the odd exposed beat or shaky transition of director Alan Neal Hubbs’ sturdy staging. This sequence, less acted than savored, encapsulates “Green Town’s” appeal. Spaulding and young Charlie (Paul Bond and real-life son Matthew Bond) treating Green Town to an ersatz Egyptian mummy. Fox-Brenton has striking resonance, aided by designer Howard Schmidt’s instant wardrobe changes, and both boys are delightful. Freeleigh (David Fox-Brenton) into recalling past battles. ![]() ![]() ![]() Act 2 tips its hat to “Dandelion Wine,” as Douglas (Gabe Kahn) and Tom (Cole Rainey) coax dying Col. ![]()
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