Cherry Docs is a great fit for Dan Jeannotte
A Neo-Nazi skinhead -Mike, is charged with murder...Legal Aid has assigned him a Jewish lawyer. Over the course of developing a defense the lawyer is forced to examine the limits of his own liberalism, and the demons underlying it. A poignant performance and courageous endeavor for Jeannotte who not only bears his bald head (shedding a great head of famous hair) but he bears his aching soul on stage as his character toils with his innate racist hate and his 'guilty' conscience. During the course of developing his defense he is forced to deal with his culpability in the crime and the loss of his distorted, misguided and fast fading ideals.
There is a kind of 'film-noir' feel created by the lighting design of Mee Youn which is exceptionally stand out and very effective in defining space on this rather difficult intimate stage to light. Some projection is used to transition between scenes which is less effective due to being so faded out (so that it doesn't upstage the action on stage) to the point where it becomes difficult to read. The small space at TSC serves the play well highlighting the isolation of Mike's confinement as well as forcing the intimacy these two characters are obligated to share as they strive to achieve their goals.
However illuminating the effect is to the eye, I would prefer it if the smoking effect was eliminated and at very least extinguished. I came very close to walking out, as did my guest, due to the secondary smoke. In this closed space, and in this day and age, this effect is out dated and in this case very unnecessary. The productions biggest flaw is that it should have ended sooner; Which is odd to say since it is one act under 90 minutes. There is a pivotal moment in the play, approximately 15 minutes prior to where it now ends, which is a more suitable moment for it to end. The epilogue runs on too long so we loose the dramatic impact and tension achieved during the climax, -we get sidetracked by dragging out the aftermath of the storytelling; it may work well on paper but from the audience perspective it is too long, and again also unnecessary.
The Play, written in 1998 is unfortunately still all too relevant today in its story and message which does give us hope against hate as Mike seeks redemption and possible change and forgiveness. GO C IT!
Posted by Dee Arr at 6:58 PM
There is a kind of 'film-noir' feel created by the lighting design of Mee Youn which is exceptionally stand out and very effective in defining space on this rather difficult intimate stage to light. Some projection is used to transition between scenes which is less effective due to being so faded out (so that it doesn't upstage the action on stage) to the point where it becomes difficult to read. The small space at TSC serves the play well highlighting the isolation of Mike's confinement as well as forcing the intimacy these two characters are obligated to share as they strive to achieve their goals.
However illuminating the effect is to the eye, I would prefer it if the smoking effect was eliminated and at very least extinguished. I came very close to walking out, as did my guest, due to the secondary smoke. In this closed space, and in this day and age, this effect is out dated and in this case very unnecessary. The productions biggest flaw is that it should have ended sooner; Which is odd to say since it is one act under 90 minutes. There is a pivotal moment in the play, approximately 15 minutes prior to where it now ends, which is a more suitable moment for it to end. The epilogue runs on too long so we loose the dramatic impact and tension achieved during the climax, -we get sidetracked by dragging out the aftermath of the storytelling; it may work well on paper but from the audience perspective it is too long, and again also unnecessary.
The Play, written in 1998 is unfortunately still all too relevant today in its story and message which does give us hope against hate as Mike seeks redemption and possible change and forgiveness. GO C IT!
Posted by Dee Arr at 6:58 PM
