I must have.
You must've gone to the wrong theatre. I thought it was great.
I saw the Imitation Firearm open for Guns N' Parks at the Empty Chamber in Norman, 1989.
Shouldn't Dave Clancy have already said something about having seen Hoax Device open for Iron Butterfly back in the day?
Oddly, the "Gun Free School Zones" act only covers people without a permit carrying guns to schools. If you've got a permit, you can carry the gun anywhere you damn well please.
The only way to stop a bad person with a hoax device is a good person with a hoax device.
To be clear, the issue may be covered under a different statute. The language here seemed to exclude other than described. So I don't know yet.
I can take a gun to Marquette Park but can't carry it on the sidewalk in front of Holy Rosary school on my way to the park?
It still has 2 performances after tonight!
Love this play, but like Chris, stuff happened and I didn't get to see it. I also moved here after Josie's Mary Tyrone. Not to top anyone's story, I DID get to see Vanessa Redgrave's Mary on Broadway along with Philip Seymour Hoffman as her son. Not necessarily because Josie is gone, but still wish I could have seen her in the role...but I DID get to see her in "Ballad of the Sad Cafe."
I LOVED Josie's Mary Tyrone! And Paula Jasper, too! Ah, yes....
Thanks for the review: we worked very hard as a team to avoid a "shrill fest" and create a roller-coaster sort of ride with variations. I, too, wondered as we worked, whether people really went on non-stop tirades such as those features in Bad Jews. We worked them as authentically as we could. On our final Thursday, an amazing group -along with one of our generous sponsors - from the local Jewish Community Center bought the entire house. What an evening! During the Q & A following the show, I finally asked our guests a question: I explained that in my background long tirades were not part of our family scene, funeral or festival. I asked whether they could relate to those moments in the play? This question was followed by kind laughter and various comments including:..."You're not Jewish, are you?" as well as "Welcome to my world, " and "You have no idea! That is my family up there!" What I loved most was a comment that said "This is what real theatre is supposed to do - it gets people to talking." All through the run I noticed audience members did not often leave the theatre right away, but hung around to talk to each other- even strangers engaged in conversation: "Who should get the Chai?" I am so grateful to Jackie Nichols for having the brilliant idea to bring this play and Laura Stracko Franks together, and offer it to the Memphis theatre community. You nailed this one, Jackie!...Mmmwha! Anita Jo Lenhart, Director of Bad Jews, Circuit Playhouse, 2015
Absolutely Fabulous Darlings! Jerrye rocks Frank-n-Furter to the Ground!!!
I tend to believe, in the right hands, even the phone book might belong on stage. But I know what you mean. Intimate stagings are better, no doubt.
I think Jerre Dye is immensely talented but I am puzzled, too, by his enormous local following.
Have never seen a stage version of this even though I have always been a fan of the book. Even though the novel is ripe with dialogue, I always felt the story never really belonged on stage...on another note The Grapes of Wrath stage production in Chicago was thrilling.
Michael, I figured that's what you were driving at, and don't entirely disagree. But "The Jerre Dye Show" isn't really Jerre's fault. The other characters were pushed into the background. This is by design-- and it's a mostly fun design, although it doesn't trust the sturdiness of the material. The real weak link here-- and it's tough for me to say this, because I know how much he loves the show-- is the director. He gave himself over to absolute pleasure, and as a result we get too much (fine) choreography, too much Jerre, too many clever bits, and not enough of anything else. Consider "Superheroes." The song's about Brad and Janet--- it's their song. But they're forced all the way upstage, on the high platform, and are presented almost in silhouette, not relating to anybody let alone each other. The action is all transylvanians occupying the light, and the stage's strongest positions, moving out. Their whole role in this whole drama is all but snuffed out in that one choice. And what lingers in the memory is Jerre Dye giving one helluva performance in a bubble where he's all that matters.
End of day, it's just a different way to interpret the work. I liked Scott's last Rocky better (1997). There were actors in that supporting cast that will not be pushed to the corners. No matter how hard you try.
Adding to all of that: Jerre's the kind of actor that directors cast to be exactly what you describe. He gives you everything. It's your job to sculpt it into a specific thing. The reductive process is hard, but "too much of a good thing" is real, and it's deadly in the theater.
While I was not that pleased with Eddie's performance, the character of Frank is a lynch pin in the production. The actor portraying him has to be good. I have seen Jerre Dye in other productions, and, though I tried to keep an open mind and like his acting, I just have never enjoyed his performances. He overacts and tends to berate the audience with his performance. For lack of a better term, he is what is typically referred to as a ham. While the character of Frank is a bit manic and slightly over the top, there is a fine line he walks between this craziness and a slightly more "normal" persona. Jerre carried the characterization WAY over the top and overacted as usual. He turned 'The Rocky Horror Show' into "The Jerre Dye Show". For this reason I think his performance was the worst.
Yeah. Eddie. Then again, he's not been given much to do.
I disagree that Jerre is the weak link, Eddie is DEFINITELY the weakest!! I love the energy he brought to Frank, the nods to Mark & to Tim Curry are fantastic!!
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