Friday, July 15, 2016

"Moon Vine" is a Funny, Southern Gothic Tragedy

Posted By on Fri, Jul 15, 2016 at 2:19 PM

I'd like to start this post with an apology. I'm practically running out the door to cover the RNC in Cleveland and the DNC in Philly. In the rush to prepare, I've not been able to give Moon Vine, a winner of POTS NewWorks@TheWorks playwriting competition, the treatment it deserves. Nevertheless, I'd like drop a few more pixels on it, in addition to my recent conversation with director Ken Zimmerman. 

This is Teri K. Feigelson's second win. NewWorks mounted her promising lyrical drama Mountain View at TheatreWorks last year, and the script picked up an Ostrander Award for best new play to boot.  The good news is, for all it's tragic underpinnings, Moon Vine is funny, and its narrative structure is stronger than its predecessors As explained in the above link, it's the story of a brother and sister who have secrets, and their struggle to save or sell a family farm.

Bekka Koch is sympathetic and inviting as a pair of fuzzy house slippers as sister Sele. She's an earthy herbalist, constant gardener, and accidental spiritualist who talks to her dead father via short wave radio. Dane Van Brocklin is similarly strong as musician/brother Huck. Supporting stock characters are given dimension thanks to Zimmerman's top-notch cast. The show's most interesting c
13501722_10153760588252643_4468681267979452172_n.jpg
haracter is also its most abstract— the lurking offstage menace of unchecked Capitalism in Avatars of predatory Agribusiness and Walmart. 

Also can somebody give Karin Barile, appearing here as a wacky neighbor, another lifetime achievement award?

Feigelson's got a voice, but it's not very distinctive at present, careening recklessly between Beth Henley and Tennessee Williams with a welcome jolt of Rod Serling near the end.  An apparent compulsion to write poetic "Suthun," dialogue gets in the way of writing characters. Too many lines ring false and forced. Cliches like, "Blues ain't nothing but the truth," will resonate with some, and clunk for others. But there is a simpleness and integrity to this slow burning ghost story that balances out lyrical pretension, even when it flirts with incredible camp.

I've often made a strange-sounding case for more "good plays." Which is to say I think Memphis has been a conservative market mostly interested in proven, name brand shows where all the kinks were worked out somewhere else. Moon Vine needs editing. It's got trouble spots, but it's still good — an easy-breezy way to spend an evening in the theater.

Audiences who've enjoyed local work like Jerre Dye's Cicada and Justin Asher's Haint will certainly want to give this one a spin. 

Wednesday, July 13, 2016

Opera Memphis General Director Ned Canty Elected to OPERA America Board of Directors

Posted By on Wed, Jul 13, 2016 at 10:04 AM

Ned Canty
  • Ned Canty
Opera Memphis General Director Ned Canty has been elected to the Board of Directors for OPERA America, a service organization promoting Opera in the Unites States with affiliated international companies like Opera Australia and the Canadian Opera Company. 

Memphis' tireless opera director has previously been a featured speaker at Opera America meetings where he's discussed local innovations for making opera more accessible to everybody, like 30-Days of Opera and the Midtown Opera Festival.'

Canty, from the announcement:
“My election to this board position is more than a testament to my time at Opera Memphis; it’s also a reflection of the incredible staff that works tirelessly to continue Opera Memphis commitment to innovation and to the unparalleled support we receive from the Memphis community. I’m looking forward to bringing some Memphis grit-and-grind to the Opera America board and to having a front-row seat to what’s next in American Opera.” 



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