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On Golden Pond



Marietta’s Theatre In The Square celebrates its 30th year by returning gracefully to its original season with a revival of On Golden Pond.  Director Heidi Cline McKerley brings Ernest Thompson’s play to the theatre with an eye to both the pathos and the comedy in the original offering.  On Golden Pond was the first play the theatre showed, and many in attendance at a recent gala preview had been with the theatre since that first opening night.  It was both fitting and slightly uncomfortable that the theatre celebrated this anniversary with a play about aging, for the audience itself, which had watching the play the first time with some detachment of youth no doubt, shared a palpable understanding with the struggles of the characters as Norman and Ethel faced the struggles and joys of the twilight years.

Though not perfect, the production was an exceptional work of local theatre.  The plot involves an octogenarian, Norman Thayer (Peter Thomasson), who fears death and his own weakening mind, and his slightly younger wife , Ethel (Judy Leavell), spending a summer at their family lake house  in Maine, while hosting a young teenager with a smart mouth and lot of questions about the world around him.  Norman is a witty though bitter man who has spent many years estranged for his daughter, Chelsea.  Chelsea, in her 40s, comes to visit for Norman’s 80th Birthday party and brings Billy Ray (Charles Horton), her new boyfriend, and his son, Billy Ray Jr (Charlie Garland . . . on opening night he was portrayed by Elijah Marcano).   During the summer Billy Ray Jr. and Norman bond in unexpected ways.

There were difficulties in the production, but most of these difficulties were related to the script itself.  We are not even introduced to the primary storyline until very late in the first act.  This was written before the world discovered MTV and it is evident in the ponderous pacing.  Another disconnect evident in the play is that Norman’s fading memory and early stages of dementia are played for laughs.  Bart Hansard, the actor playing Charlie the post man who had dated Chelsea earlier in her life, presented a paradox.  Obviously a talented actor, he was filled with such infectious laughter and likability, which seemed out of place in this play.

Despite these few difficulties, the ensemble produced a warm, loving, and engaging performance.  The leads carried the play with great acuity and love, and the supporting cast came along for the ride.  The professionalism of the troupe was evident in every scene.  The relationships between young Billy Ray and Norman proved to be moving and they young talented actor who played Billy Ray is a local actor to be watched .

The set design was elaborate for a local theatre creating a vacation home that told the story of the family as well as the words and the actions of the players. There is a saying that the lighting works best when you do not notice it, but this play proved that old adage wrong.  It was clear that the lighting was instrumental in setting mood and tone.

The Backstage Beat recommends that anyone who has the hankering to see professional quality in a comfortable, cozy setting should head out to see On Golden Pond.  It is running from now until September 11, 2011.

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MainStage Series: On Golden Pond

MainStage – August 10, 2011 – September 11, 2011

Playwright: Ernest Thompson
Director: Heidi Cline McKerley

Performance times
Sun 8/7 7pm & Tues 8/9 8pm
Tues – Thurs 8pm & Sun 7pm
(No 7 pm performance on Sun 9/11/11)
Fri 8pm & Sun 2:30pm
Sat 8pm
Wed 2:30pm (9/7/11 only)

Ticket pricing
$12 / $12 groups, PREVIEWS:
Sun 8/7 7pm & Tues 8/9 8pm
$24 / $21 groups*, Tues – Thurs 8pm & Sun 7pm
(No 7 pm performance on Sun 9/11/11)
$28 / $25 groups*, Fri 8pm & Sun 2:30pm
$33 / no group discount, Sat 8pm
$20 / $17 groups*, Wed 2:30pm (9/7/11 only)

(*12 or more required for a group
-group discounts NOT available through internet sales)


Rain and Fire in Sedona



Ange Alex

A rainy day in Sedona? What are we going to do. Everything we have planned is outdoors. I am pretty sure that is why people come to Sedona, for the beautiful OUTDOOR activities, like hiking, biking, Jeep tours, viewing the red rocks and photography. 

What to do, what to do.

Oh, I know. I had the privilege of meeting some great artists that work in fire and glass! The perfect indoor activity when your outdoor plans are washed away!

The Melting Point in Sedona, conveniently located across the street for the Whole Foods (two birds with one stone, yeah!), is a group of artist focusing on creating and teaching others how to create as well.

When we entered the facilities, it was like entering a fine arts gallery. So many beautiful works of glass art. Jordan Ford is the general manager and one of the Artists. He came out of the workshop and told us the rules, then brought us into the fold. 

We were about to become glass blowers! 

Jordan had a love for the natural world from a very early age. He went on to study geology in college but that is when he discovered glass. He currently has Bachelor’s Degrees in both Earth Science/Geology and Visual Arts/Glassblowing.

Jordan says , “It’s the process of blowing glass that drives me. I find the physical act of making glass so overwhelmingly fascinating. I approach most of my work with a consideration for the more classical techniques – it’s the framework that I use as a jumping point for experimentation.”

Not only is Jordan incredibly talented, he is really personable and extremely funny. He made everyone in the room feel at ease and we all often irrupted in bouts of laughter.

Another artist that was helping us is Austin Littenberg. Austin became interested in the art of glass blowing at age 16 after watching a documentary. He spent over 12 years developing his craft and learning the technical precision needed to work at this level.

Austin views the many ways Art presents itself and is in tune with it all, and it shows.

Clearly these two artist love what they do, and I for one am grateful for their expertise and their willingness to show the world their art.

They worked with us to create a beautiful cactus, complete with three flowers, one for each kid, and a Sedona rock like base. We loved the patience they showed and the skill to make us feel at ease. We never felt like  we were about to do something we just couldn’t. It felt like we had been doing this before. That is the measure of a true instructor. 

Our work of art was complete and we left there feeling accomplished and quite honestly, amazing! 

Both Austin and Jordan have remarkable skills but also wonderful comedic timing. They were a absolutely pleasure to meet and I look forward to keeping up with their art in the future.

If you find yourself in Sedona and want to meet some really wonderful people, stop by The Melting Point and say hello! While you’re there, blow some glass!

How could I forget one of them most important things; They have a studio dog! Austin brings his sweet baby girl to work with him and she is an angel! We loved her! Make sure you give her some love when you visit!

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Artists to Watch

Cry With Us! Puddles Pity Party in Orlando



Ange Alex

I owe him a poem:

Here’s a story of a sad clown who one night in February was traveling through O-town. 

He brought a suitcase and a lot of gum, he brought music and videos and tons of fun.

He sang high but mostly he sang low, and he put of one hell of a good show.

He gave a bearded guy a cupcake and danced with a lady, a wolf he would make

There is no doubt he is a boss sir, he even got love from Kevin Costner.

Fans filled the plaza for a night of delight as the 7 foot clown gave us some real insight.

He sang Bowie and Queen and even some Who, also Cash, Lorde and “Let it go” too

Videos played of pets and babies crying, also beautiful artwork and people smiling.

Last night Orlando was anything but mad as we showed much love for a clown that is sad.

Ok, I’d cry too after that poem. Here’s some more info:

If you haven’t been to see a Puddles Pity Party show, you are missing out. 

The show had me smiling and laughing so hard my stomach hurt, but I was also moved so many times by the range of Puddles voice. True entertainment never gets old and I have a feeling he is going to last forever.

I loved the interaction he had with the crowd. He pulled numerous people up to help him on stage and all of them were good sports, one man even singing the entire song, “All by myself” karaoke style! The show was so well thought out and planned but with room for some hilarious improv. Especially at the end when he pulled the 3 fans from the audience dressed like clowns. At the end of them performing together, Puddles suddenly remembers that he is scared of clowns! Genius! 

Hands down one of the best performances I’ve seen in years.


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“20/20:Visionary”: Looking Back, Looking Forward



Photograph by Charlie McCullers, courtesy of Atlanta Ballet.

Last weekend (March 18-20) the Atlanta Ballet gifted the city with “20/20: Visionary,” three pieces, including a world premiere, presented at the Cobb Energy Center.

The world premiere, “Playground,” by British choreographer Douglas Lee, belied its name by being a shadowy piece danced between upright, rolling chalkboard set pieces. Prepared for a lighthearted, joyful expression of childhood, I was surprised that the work instead exposed the darker side of childhood memories. There were some light moments, such as the towering billboard inscribed with multiple lines reading, “Jackie must remember the steps” – clearly a humorous aside about Jackie Nash, one of the most capable company members and perhaps the quickest study in rehearsal. There were some easily-seen choreographic devices–a lot of theme and variation, even more pushing around of set pieces–but there were a few exceptional moments as well, including intricate, slow-motion manipulation of a dancer’s body by another dancer.

Pen-Yu Chen & Tara Lee in “Boiling Point.” Photo by C McCullers, courtesy of Atlanta Ballet.

The opening work, “Boiling Point,” by Darrell Grand Moultrie, was playfully performed at breakneck speed. Dancers are often told to “make it look easy,” and the company took that concept to heart. Highlighted against the men in black costumes, the women wore bits of metallic fabric, providing splashes of intense color and exposing powerful bodies with long muscles. The piece began with the stage space open almost to its fullest, and the dancers running across like a rushing river. They rolled, twisted, turned, and slid like water itself. The choreography juxtaposed synchronicity with counterpoint, traditional with innovation. There was a gargouillade, rarely seen even in classical ballets. The lines of the bodies were critical to the piece, and often layers deep. The flow was almost nonstop, with only an occasional flick of a wrist or toss of a head to provide momentary stasis. The standout was Christian Clark, who sometimes nearly managed to integrate himself into the group but then something distinctive and powerful in his dancing drew the eye to him again.

“Red Clay” from “Home in 7.” Photo by C McCullers, courtesy of Atlanta Ballet.

“Home in 7,” a work by Amy Siewert, closed the concert. A portrait of Atlanta, the ballet was a rich tapestry woven from music, spoken word, and movement. Performed in 7 segments to a libretto written and performed by Marc Bamuthi Joseph and an intriguing, haunting string score composed and performed by Daniel Bernard Roumain, the dance, too, was a poem, shimmering like summer moonlight on the Chattahoochee. John Welker opened the ballet with tiny explosions of movement “Secrets.” Perhaps the most enchanting segment was “Home of the Braves:” 5 men using baseball imagery, holding their formation as they slid precisely between pitches and catches. “Red Clay” evoked August nights, intolerance, and redemption—Atlanta history, a story familiar to many. I first saw this ballet in 2011, and it has grown in depth as the dancers have matured technically and emotionally. Atlanta loves its ballet company, and never more than when it showcases its home city.

John McFall is ending his tenure with the company at the end of this season. For newcomers to Atlanta Ballet offerings, this will have been a dynamic performance. For long-time supporters, it will have been an opportunity to reflect on his legacy. There are a couple more opportunities to see the company under his watch, and then he will pass the torch to Gennadi Nedvigin, the company’s fourth artistic director. Stay tuned!

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