Theatre revives the radio star

I’ve been told I have a voice for radio (which a far better compliment than being told you have a face for radio), so I thought I’d give the RLT’s third annual fundraiser, Radio Rides Once More, a try. In my mind, it was a quick and easy way to get a performance fix – just three rehearsals and then we put on the show. Because it’s a re-creation of a vintage live radio broadcast, the cast didn’t have to memorize any lines – we could just read from the script on stage. Sounds simple, right?

I soon realized that radio performance has its own set of challenges. As actors, we rely heavily on facial expressions and physical characterization in the roles we play. In radio performance, all of those options are gone. While, technically, the audience could see us, they were encouraged to close their eyes and really listen to the plays to experience them the way people did decades ago. For authenticity’s sake, I resisted the urge to wave my hands around and instead concentrated on putting all that emotion and expression into my voice.

I learned a lot from listening to my castmates – it’s incredible how some actors can transport you into an entirely different world using only voices. Some of the exceptional voices that stood out for me were Joan Miller as the mischievous Baby Snooks; Colleen Kembel as a sultry Mae West in the Edgar Bergen/Charlie McCarthy Show; Bill Gardiner as a gangster Marc Anthony and Carolyn McBean as Calpurnia “Julie, don’t go!” Caesar in Rinse the Blood off My Toga; Ken Spencer as zombie Uncle Oscar in The Goon Show; and the Honourable Ralph Goodale as George W. Bush in Hu’s on First? (the cowboy hat and the Texas flag were a nice touch, too.)

The short rehearsal period, a selling feature for me, was also a challenge. On the RLT main stage, we usually have two months to “find” our characters – this time, we had a week, and we were all playing multiple roles. Foley artists Nora Berg and Bob Nicholls had to find innovative ways to provide the numerous live sound effects needed, costume mistress Annetta Kuntz had to put together dozens of costumes for the actors’ multiple roles, and singers Malia Becker and Shanna-Marie Tice (a.k.a. “The Sugar Cookies”) had to learn melodies and harmonies for the many live commercials … all in just a few days. Fortunately, we had the incredibly talented director and dramaturge Jean Freeman as well as stage manager extraordinaire Bernie Tice to keep us on track.

In the end, the challenges were what made the evening special. The show had an air of spontaneity and excitement about it: it felt “live”, as though anything could happen. There was also something magical in participating in shows that were aired decades before I was born. These plays are a part of history and people feel connected to them; they leave us with nostalgic, warm feelings and remind us of simpler times.
It was an amazing experience, both as an actor and as an audience member. I’m sure radio will keep riding at the RLT – I hope to see you there next year.

Four plays for the price of half

What do a vengeful God, a clueless taxi driver, the daughter of a circus freak, and a covert ballet dancer have in common? If you went to the RLT's Fall One-Act Plays, you know the answer. And if you weren't there, uh - where were you? You seriously missed out. I mean, what were you thinking?

Okay, that was a little harsh. I'll give you the benefit of the doubt. Maybe you just don't know what this whole one-act play dealie is all about. Let me fill you in:

So, like, the plays have, like, one act in them.

Oh, you figured that one out? You're far more advanced than I anticipated, grasshopper. So, here's the deal: you get to see a bunch of one-act plays for just $7. Seating is cabaret-style, so you can hang with all your rowdy friends, there's food, and the bar's open (proving the ancient mathematical theorem that theatre + bar = good times).

Ahh, one acts - I feel a bit nostalgic because this is where I got my start at RLT. It's a great way for new people to get involved in all aspects of the theatre - acting, directing, stage managing, set building, crew. The plays are short and the atmosphere is casual, so it's a welcoming and safe atmosphere to try something new.

Plus, the one acts are perfect for those of us in the audience with short attention spans who - look over there - something shiny!

That was pretty. Now, where was I? Oh, the one acts.

Well, since you weren't there, the least I can do is give you the low-down on the night, so you won't make the mistake of staying home and watching reruns of Dr. Quinn, Medicine Woman, or whatever it was that you thought was cooler than coming to the theatre.

Babel Rap

Synopsis: Two workers are helping to construct the Tower of Babel - one is industrious, and the other is on a perma smoke break. Quirky and funny, the play also explores questions of human nature, stereotypes, and the meaning of life. (Gee, those were great costumes. I wonder where they found them?) The play was directed by Colleen Hawkesford and featured two newcomers to RLT, Emily Rutledge as the Smoker and Camilla Kistner as the Worker.

These two actresses had great chemistry and really made the characters their own. I had the privilege of sitting in on one of their rehearsals a month before the performance and was impressed at the transformation and growth of these characters in such a brief period of time.

From body language to vocal characterization, there was a strong contrast between the goodie-two-shoes Worker and the cynical, laid-back Smoker. The pacing of this play was tight and had a natural flow to it. This was one of my favourite performances of the evening.

I learned: There is more than one way to get to heaven.

Rating : Two hallelujahs and a sweet chariot.

Victoria Station

Synopsis: An exasperated dispatcher tries to get a clueless taxi driver to pick up a waiting fare. The driver has fallen in love with his passenger who is either asleep or dead in the back seat. He also has no idea where he is, much less the location of Victoria Station, making the dispatcher’s job all the more difficult. Incredibly funny and also a little disturbing (which is what good theatre is all about), this play was directed by Nils Clausson and featured Scott Krieser as the Controller and Warren James as the Driver.

The staging and set immediately showed a disconnect between the two characters, with the Controller on stage left in his office with a desk, phone, coat rack and other typical office trappings, and the Driver on stage right in who-the-heck-knows-where, with nothing but a bench covered in some material as a set. They are clearly in different worlds, making meaningful communication between them even more difficult.

The actors heightened that sense of alienation with their characterization. I particularly enjoyed the contrast between the Controller’s aggravated animation and the Driver’s serene dream-like state.

I learned: Scott Krieser could have a very bright future as a hostage negotiator, should he ever want to change careers.

Rating: One potentially dead body in the back of a cab, a CB radio and $137.53 cab fare.

The Gynecologist

Synopsis: The gynecologist is a popular dude, with an office full of pregnant women, including Dolly Dilly, who thinks she became pregnant while trapped in an elevator. This play marks Patrick Pelletier's debut as a director, and the cast included RLT veteran Jeff Ring as the Gynecologist, and newcomers Carla Dorwart as the Nurse, Irene Paul as Dolly Dilly and Bryce Schlamp as Otis Small. 

The actors seemed like they were having a lot of fun on stage, and they brought the audience right along with them. This play wins the prize for the greatest transformation of actors into characters on stage.

Costumes and characterization were such that at the cast party following the plays on Saturday night, I wondered who the party crashers were. This play will be the RLT’s submission to Theatre Saskatchewan's TheatreOne 2006 , the provincial one-act play festival, being held this year in Swift Current Nov. 9 to 11.

A slapstick comedy, this play had puns and one-liners cheezier than the fabulous bruschetta Colleen picked up for just $5 from the canteen the Girl Guides were running at the show. FYI, the rating on the bruschetta was four thumbs up. Why four thumbs? 'Cause we shared it, of course.

I learned: Don't assume someone is pregnant because she says she is. She may just be descended from circus freaks.

Rating: Two speculums (way up) and a dead rabbit.

Louis and Dave

Synopsis: Set in the 1980s, this play documents the adventures of two guys unsuccessfully cruising for women. Dave reveals a secret cultural life of philosophy, ballet and other intellectual pursuits that threatens the future of their friendship. The guys' pick-up lines were even cheezier than the incredible chocolate swirl cheesecake that I picked up for dessert. 

The rating on the cheesecake: two thumbs up. Why only two when the bruschetta got four, you ask? Because there was no way I was sharing it!

Directed by Colleen Hawkesford, Louis and Dave starred RLT veteran Tony Cuylle as Louis and newcomer Marc Kelly as Dave. This play also featured one of the coolest set pieces I've seen on an RLT stage – a red sports car with working headlights. Set construction goddess and one-act play producer Andrea McNeil deserves major snaps for that one.

(And wow - the costumes on this play were incredible! They looked like they took a lot of work, especially those expertly ripped jeans.)

The actors had a strong grasp of the characters and their friendship – there was a real bond between them that increased the dramatic tension when Dave’s hidden life was exposed. I appreciated the enthusiasm with which Marc and Tony approached the more obnoxious sides of their characters – if I didn’t know better, I would think they cruised for women like this every Saturday night.

The disparity between their on-stage and off-stage personas was part of what made this play such a hit with the audience.

I learned: I'm totally dating the next guy who yells out the window of his car at me, "Hey baby! Yeah, you in the pants!" 'cause that's just hot!

Rating: One Judas Priest cassette tape (played backwards to uncover hidden satanic messages), an econo vat of hair gel and a ballet slipper.

The cost of the evening certainly did not reflect its calibre. We were treated to a night of exceptional acting, directing and backstage work, as well as a lot of laughs. In fact, laughed so hard that I hurt the next day. This could be my new workout regime: Who needs sit-ups? I've got theatre.

But by far, my favourite part of the night was seeing all the new faces on stage and backstage who have taken their first step into the world of RLT. I hope to see more of these fine and (now experienced) theatre types as the season goes on.