Review: A Public Reading of An Unproduced Screenplay About the Death of Walt Disney at Single Carrot Theatre

By Jason Crawford Samios-Uy

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Running Time: Approx. 90 minutes with no intermission

Walt Disney. Chances are, you know who he is and, more importantly, what he’s done. There’s no denying the man was uber-successful in business and “the happiest place on earth” came from the depths of his mind. However, for all the joy and happiness he brought to millions upon millions of people of all ages, even until this day, there was, of course, a darker side to this captain of industry. In Single Carrot Theatre’s latest offering, A Public Reading of an Unproduced Screenplay About The Death of Walt Disney by Lucas Hnath, Directed by Genevieve De Mahy and Matthew Shea, they shed light on the more unsavory characteristics of the this “Uncle Walt” and gives a glimpse into behind the scenes of some of his best and brightest ideas.

Disney Press - Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi 2

(l-r) Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi. Credit: Britt Olsen-Ecker

Don’t let the title fool you. This piece is not just a reading but a play about a reading of an unproduced screenplay. Actually, it’s kind of clever. The screenplay being read is supposedly one written by Walt Disney himself, about himself, and includes background information during various points of interest in his life that the public may not have been privy to. If its point was to make Walt Disney look like a completely self-centered asshole who did what he needed to see out his visions and dreams, no matter what it was he had to do or say or who he had to hurt, this piece was totally successful. My question is… why?

I’m not a total fanatic when it comes to Disney. I enjoy the films, the music, the theme parks, all that… but I’m not going out of my way for them. However, with that being said, I’m curious as to why this piece was written. Was it simply to mar a man’s name? To shatter an image? To break the magic his name has brought to the aforementioned millions upon millions of people who live and breathe anything Disney and soak up it creates? If so, why? What’s the point? What’s more, the man isn’t even around to defend himself. Why try to destroy the legacy of man who has brought happiness to the world? One argument could be because bringing that happiness brought pain and strife to others. I don’t deny that. It probably did, or so says Lucas Hnath in this script. But, please, show me a man as successful as Disney who built an empire being the nice guy all the time. Is it right? I won’t tell you what’s right or wrong, that’s for you to decide for yourself, but is it a necessary evil when trying to attain the success Disney wanted? Yes. The material in this piece seems one sided and bitter and doesn’t seem to tell the story for enlightenment, but, for reasons only known to the author, for spite and “sticking it to the man,” as it were. That’s how I see it, anyway.

Disney Press - Mohammad R. Suaidi, Paul Diem

Mohammad R. Suaidi, Paul Diem. Credit: Britt Olsen-Ecker

But I digress… I’ll step off my soapbox and get into the production itself, which is actually a very well-put together production. I could have done without the production of getting from the lobby to my seat, going through a dark, tight corridor with LED icicles that, I assume, is supposed to represent some kind of theme park or carnival attraction, then the clog at the performance space entrance because we had to stop to be seated personally by “Mr. Disney” with this Cheshire cat smile. When it’s general seating, I like to get from the lobby to my seat (which I like to choose) as quickly and efficiently as possible.

One major problem with this piece is the script. I am actually a fan of Lucas Hnath and it pains me to say, but this script is nothing but a jumble with incomplete sentences and cut offs. It’s hard to follow along and it continues through the ENTIRE piece. Luckily, this production of chock full of an able cast because the script is pretentious and trite being more show than substance.

Disney Press - Mohammad R. Suaidi, Meghan Stanton, Paul Diem

Mohammad r. Suaidi, Meghan Stanton, Paul Diem. Credit: Britt Olsen-Ecker

The space, however, is set up beautifully and that’s one of the things I really like about Single Carrot Theatre – their ability to change their space to fit the needs of the production. The tiered seating worked nicely for this production and the minimal Scenic Design by Kristin Hessenauer, Hayden Muller, Allison Blocechl, Cydney Cohn, and Sierra Ho is appropriate and effect, but I’m not sure why so many hands were involved in such a minimal Scenic Design… unless they are counting the seating arrangement and creepy entrance corridor, then maybe, but the simple cramped conference room setting is fitting and helps set the mood of this production.

Lighting Design by Helen Garcia-Alton and Sound Design by Glenn Ricci are impeccable and really help move this piece along. The changes from dim to full light are flawless and set the time and mood for each scene bringing the action together seamlessly. Garcia-Alton manages to capture the two sides of Walt Disney with both subtle and drastic changes in the lighting and keeps the audience engaged. Playing in tandem with the Lighting Design, Ricci’s Sound Design is careful not to overwhelm the production but blends in with the action to help tell the story and keep the action interesting.

Disney Press - Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi 1

(l-r) Meghan Stanton, Eric Poch, Paul Diem, Mohammad R. Suaidi. Credit: Britt Olsen-Ecker

Co-Directors Genevieve De Mahy and Matthew Shea have a good grasp of this material and seem to like the purpose of exposing the dark side of Disney and stripping away prestige of the name. The minimal staging is wise and the action is stellar. The fact that all characters, except for Walt Disney are handcuffed to the table as if being kept prisoner and forced to listen, is powerful and drives home the kind of person Walt Disney was in real life. Their casting is top notch and they convened a cast with great chemistry and talent to pull this material off. Overall, their vision and presentation are on point and they should be applauded for their efforts in bringing this challenging script to life.

Eric Poch takes on the role of Ron Miller, Disney’s son-in-law, who is a fan, or so it seems, and needs a job. Poch seems to really embody this character with a goofy smile and tone that fits the character nicely (a former pro football player). He plays the character as an oafish but lovable guy and makes a good showing working well with and off of his cast mates.

Disney Press - Meghan Stanton, Eric Poch, Paul Diem

(l-r) Meghan Stanton, Eric Poch, Paul Diem. Credit: Britt Olsen-Ecker

Mohammad R. Suaidi tackles the role of the level headed and loyal lesser known brother, Roy Disney. Suaidi seems to have a good grasp on this character and seems comfortable in the role. His chemistry with Paul Diem (Walt Disney) is terrific and they work well with each other. This character could easily be played as a doormat for the title character to walk over, but Suaidi finds a good balance of loyalty and standing his ground in this character that plays quite well.

Meghan Stanton as Daughter (assuming it’s Diane Disney, since Ron is her husband) is a definite highlight of this production. She doesn’t have much to say but every line she delivers is genuine and her confidence and presence is strong, which works well with this discontented character. Stanton emotes the conflicting emotions of this character such as her love and hatred for her less-than-saintly father and her worry for her children is clear making for an overall outstanding performance.

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Paul Diem as Walt Disney. Credit: Britt Olsen-Ecker

Paul Diem shines as he takes on the titular role of Walt Disney. From the moment he enters the lobby to direct the audience to the performance space, Diem embodies Disney head to toe, which is no small feat. Though the structure of this script is horrendous, he does a brilliant job with his delivery, not skipping a beat in the fast-paced jumble of words. Not only is his delivery good, he really seems to have a good understanding of the character and man his he portraying.

Final thought…  A Public Reading of an Unproduced Screenplay About The Death of Walt Disney at Single Carrot Theatre is an interesting take on the beloved Walt Disney and sheds light on a darker side of the man who brought the world so much happiness. I hesitantly write this, but… this was not my kind of show. Now, let me be clear that the performances were pretty much spot on and the ensemble presented the material superbly with focused and engaging staging, but the script is trite and garbled with all of the “cut to” and broken sentences making it difficult to understand (and utter agony for anyone with an English degree). I’m actually a fan of Lucas Hnath and thoroughly enjoyed another piece producer last year in Baltimore, The Christians, so I know he can write, but this one seems to be trying too hard. However, don’t take my word for it. Go see it and form your own opinion, it just might be your kind of show.

This is what I thought of Single Carrot Theatre’s production of A Public Reading of an Unproduced Screenplay About The Death of Walt Disney… What did you think? Please feel free to leave a comment!

A Public Reading of an Unproduced Screenplay About The Death of Walt Disney will play through February 25 at Single Carrot Theatre, 2600 North Howard Street, Baltimore, MD. For tickets, call the box office at 443-844-9253 or you can purchase them online.

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Press Release: Truth, power, and subversion take center stage in THE DEATH OF WALT DISNEY

FOR IMMEDIATE RELEASE:

Baltimore, MD – Single Carrot Theatre’s 11th season continues with A Public Reading of an Unproduced Screenplay About the Death of Walt Disney. From Lucas Hnath, writer of The Christians and the Tony-award-winning A Doll’s House Part 2, The Death of Walt Disney takes audiences deep inside the dark heart of the Disney machine. Far from the sanitized history presented by the Walt Disney Company, Hnath’s portrait of the megalomaniac behind the magic is a sharp and blackly comic look at one man’s quest for immortality. As the lines of fantasy and reality blur in this dramatic retelling, dramaturg Abigail Cady has worked closely with directors Genevieve de Mahy and Matthew Shea to navigate the murky waters of Walt Disney’s life.

“A dramaturg is responsible for helping the production artists maintain the integrity of the world of the play,” said Cady. “For this play, that is a very particular world.” Cady, de Mahy, and Shea met constantly throughout the process, sorting through truths and embellishments that permeate the many layers of Hnath’s script.

In today’s climate of ‘fake news’ and ‘alternative facts’ Hnath’s script feels especially relevant, though the heightened circumstances of the theatre feel “less subversive” in a world that is “more surreal every day.” Cady, well-versed in sorting fact and fiction, adds that “the essential truth of a story told in the theatre always has been and will continue to be an emotional, human truth.” ‘Truth’ is a subjective and slippery target in the theatre, as it is in history. Modern audiences must constantly examine the sources and storytellers who shape their understanding of the world. History, after all, is written by the victor.

The same can be said for the ‘history’ of the Walt Disney Company. “It was very difficult to find sources that did not skew towards positive or negative portrayals of the man,” Cady remarked, adding that “most official documents” are held by the Disney Company; accessing them is virtually impossible. “Biographies are either sanitized or dubiously sourced.”

Modern conversations about men, power, and controlling the flow of information feel especially prescient alongside Hnath’s script. For Cady, Walt Disney is a familiar figure; the ‘Great Man of Genius’ who has cast “a long shadow over our cultural consciousness since the country’s founding.” Be it Thomas Jefferson, George Washington, or Walt himself, “The Death of Walt Disney grapples with the question of how to reconcile a person’s contributions to the world with the damage they’ve done to it.” While Hnath may not have all the answers, audiences are given a window into the real, complex world of ‘Great Men’ like Walt Disney.

The Death of Walt Disney opens February 2, with performance continuing through February 25. The cast features ensemble members Paul Diem (Walt Disney) and Meghan Stanton (Daughter) alongside guest artists Eric Poch (Ron Miller) and Mohammad R. Suaidi (Roy Disney).

About the Play:
A Public Reading of an Unproduced Screenplay about
THE DEATH OF WALT DISNEY
By Lucas Hnath
Directed by Genevieve de Mahy & Matthew Shea

Leave the magic behind in this darkly humorous, cutting examination of the megalomaniac who shaped a thousand childhoods: Mr. Walt Disney. The carefree and charming creator of so many beloved characters – father-figure to a generation of Americans – fades away as this fraught and fast-paced play chases down the dark heart of the Disney machine. Power, betrayal, deception, and disillusionment weave together to form a portrait of a man so full of hubris and obsessed with his own legacy, he tried to remake the world and achieve immortality. Join us at the table. Regional premiere.

WHEN:
Pay-What-You-Can Previews: Wednesday, January 31 and Thursday, February 1 at 8pm
Running: February 2 – 25
Thursday- Saturday at 8pm
Sundays at 3pm
*There is no performance on Sunday, February 4.

WHERE:
Single Carrot Theatre
2600 N. Howard Street
Baltimore, MD 21218
Entrance on 26th Street.
Free parking available in adjacent lot and on the street.

TICKETS AND ADDITIONAL INFORMATION
Tickets: $10-$29
Web: singlecarrot.com
Phone: 443-844-9253
Email: boxoffice(at)singlecarrot.com
Twitter: @singlecarrot
Instagram: @singlecarrot

Review: The Christians at Baltimore Center Stage

By Jason Crawford Samios-Uy

Running Time: Approx. 90 minutes with no intermission

Religion can be a tricky thing to write an entire show about. Religion is a very personal concept and people have very strong feelings about it which makes it even more risky. However, to find a good balance and write a show about religion that isn’t over-saturated with said religion is a rare and beautiful thing and Baltimore Center Stage’s latest production, The Christians by Lucas Hnath, Directed by Hana S. Sharif, with Music Direction by Jaret Landon, is just that, a fine balance of beliefs told in an entertaining but honest and poignant way that makes for an enjoyable, yet thought-provoking evening of theatre.

Mike Carnahan’s Set Design is minimal, but beautiful. This set puts the audience in the seats of a mega-church with a sleek and modern design that is quite functional, including a choir loft and bandstand for the outstanding choir and small band that is included in this piece. Most of the action takes place center stage and the minimal design prevents mucking up or crowding the actors and the band and choir, though set back, is prominent and easy to see, as they should be. This clever set design works in tandem with the stunning and mood-setting Projection Design by Hana S. Kim, that adds value to the production and, as stated, sets the mood for each scene and action happening onstage.

As with any mega-church, or any service in general, music is an important aspect and Music Director Jaret Landon knocks it out of the ballpark with this production. Wisely, this piece starts off with the choir (credited as the Community Choir of Baltimore Center Stage) with an upbeat, gospel piece that has the audience tapping their feet and clapping their hands. Some even sing along, which is actually encouraged. I’d like to note I am a HUGE fan of gospel music and I found myself tapping, clapping, and singing! Landon has the choir singing in beautiful harmony and the soloists were on point. The band, consisting of Jaret Landon on Keyboards, Todd Harrison on Drums, Max Murray on Bass, and Michael Raitzyk on Guitar are tight and well-rehearsed making for a phenomenal performance along with the Community Choir of Baltimore Center Stage. The music aspect of this production really put the audience in the mindset of the piece. The only stumble that comes along in the musical styling of this production is the last choir performance which is kind of like an audience-interactive piece, like in a church, and though the choir is just as strong as they are in the beginning, the male soloist is a curious choice as he doesn’t seem to have the gospel style down as well as he should for a finale, a little stiff and a little more subdued and technical than called for, the soloists performance just seems to fall flat. Otherwise, major kudos to a job well done in the music department.

Lighting Design by Jen Schriever is precise and fits well with this production. With isolation lighting and splashes of color, where needed, it blends nicely and moves the piece along without jarring the aesthetics or being a hindrance to the piece itself. A true sign of a good lighting design is when one doesn’t notice the lighting, but does when needed and that’s exactly what happens with Schriever’s design.

Hana S. Sharif takes the reigns of The Christians and she does, indeed, have a great comprehension of the text and the meaning of this complex story. Her casting is spot on and they all work well together. Her vision is clear and the piece does not lean to one side or the other but balances just as the text requires. Sharif does well with the multifaceted issue of afterlife and one’s belief in that afterlife, which is the center of this piece, and presents it in a way that is a back and forth dialogue instead of an argument. The pacing is near perfect and she keeps the action moving forward with moments of intensity between certain characters that give it a peaks and valleys movement which is exactly what makes this show work.

Moving on to the performance aspect of The Christians, every single actor in this ensemble made his or her character his or her own and worked with and off of their cast mates beautifully.

Jessiee Datino takes on the role of Jenny, a single mom who found redemption and salvation in the church and wants desperately to keep what she found but is having questions which she hesitantly, but bravely presents. Datino has this this character down pat. From the nervous giggling to the gestures, she really embodies this character of Jenny and has a good grasp on her. Datino gives a strong, natural, and delightful performance.

Lawrence Clayton (who if you look really quickly, could be a Lawrence Fishburn double) takes on the role of Elder Jay, a jovial but-business minded gentlemen who really wants what best for the church. Clayton plays this role splendidly with an authenticity that makes this character quite likeable and wise.

Adam Gerber tackles the role of Associate Pastor Joshua, the staunch, zealous, yet faithful Associate Pastor who wants what’s best for the church, just like the rest of the characters, but also wants to be certain everyone believes in a certain doctrine or dogma. Gerber plays the role intensely and confidently, making his character not so likable, but not despicable. His emotion and gestures give an authenticity to this character that Gerber completely embodies. The thing about his character is, we all, in one way or another, directly or indirectly, know a person like this character and he’s hard to figure out. He has an objective, that Gerber works for brilliantly, but it’s still hard to reconcile our respect for this character and our own beliefs, making for a stimulating and exasperating character that Gerber pulls off effortlessly.

Taking on the role of Elizabeth, the preachers wife, is Nikkole Salter who has an air of elegance and dignity that is required for this role. She fits perfectly with this character and gives a poignant, truthful performance. Salter works especially well with and has great chemistry with her counter-part, Howard W. Overshow, who takes on the complex role of Pastor Paul, who’s belief is changing and trying to deal with it and the opinions of his congregation. Overshow is an absolute standout in this production giving a superb performance. From the moment he steps onstage, one feels they are in a service watching a strong, confident preacher do his thing. His booming, yet comforting voice and gestures make for an extremely realistic performance and the emotion he emotes throughout his more intense scenes is outstanding. His anguish and confusion is clear in his performance and he handles the balance beautifully.

Final thought… The Christians is a poignant, though-provoking look at beliefs and how they can shape or even re-shape a person’s outlook on life. The performances were top-notch and the book by Lucas Hnath is cleverly written as he doesn’t dwell so much on religion but on individual views on the afterlife and gives a good balance of those views. From set design, lighting, and the amazing choir supporting this piece; you don’t want to miss it! It may have you asking questions or confirming what you already believe but either way, it will make you think and that’s always what good theatre does. Get your tickets now!

This is what I thought of Baltimore Center Stage’s production of The Christians… What did you think? Please feel free to leave a comment!

The Christians will play through October 8 at Baltimore Center Stage, 700 North Calvert Street, Baltimore, MD. For tickets, purchase them online.

Email us at backstagebaltimore@gmail.com

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PRESS RELEASE: Baltimore Center Stage Announces The Christians Cast and Artistic Team – Center Stage launches its “Season of Community” with an examination of Leadership

Baltimore Center Stage

FOR IMMEDIATE RELEASE:

Baltimore—August 30, 2017. Baltimore Center Stage is pleased to announce the cast and artistic team for The Christians, the theater’s first production of the 2017/18 Season.

Christians Logo

The Christians launches a “season of community” at Baltimore Center Stage, where every program and production will explore the role of artists and institutions in building community. Prescient in its investigation of the commercialization of religion, The Christians, one of the most produced plays in recent years in the American regional theater, is a new play about the cost of challenging one’s beliefs, the responsibility of leadership, and the seemingly insurmountable distance that exists when people of strong convictions and common faith discover that they might not believe the same thing.

This production brings the community on stage via soul-stirring anthems from the New Psalmist Baptist Church Choir, the Greater Baltimore Church of Christ Choir and the Community Choir of Baltimore Center Stage.

“The Christians specifically examines leadership and faith. Faith is fundamentally what we have all been discussing since 9/11. The church in this play is a metaphor for our communities and our country.  What happens when you no longer trust those you have entrusted to lead you?” said Baltimore Center Stage Artistic Director Kwame Kwei-Armah. “I’m thrilled to bring this production to Baltimore and for Center Stage to serve as a convener of many more conversations about leadership … in Baltimore, in Maryland and in our country.”

The majestic set converts the historic Pearlstone Theater into a modern-day megachurch. Activities to engage theatergoers in conversation, such as “Table Talk” for impromptu, audience-driven conversations, as well as post-show panel discussions with leaders from different faiths and opportunities to meet the actors, will occur throughout the run.

The cast includes Lawrence Clayton* (Elder Jay), Jessiee Datino* (Jenny), Adam Gerber* (Associate Pastor Joshua), Howard W. Overshown* (Pastor Paul) and Nikkole Salter* (Elizabeth).

The artistic team includes Lucas Hnath (Playwright), Hana S. Sharif (Director), Mike Carnahan (Scenic Designer), Michael Alan Stein (Costume Designer), Jen Schriever (Lighting Designer), Hana S. Kim (Projection Designer),Gavin Witt (Production Dramaturg), Pat McCorkle, Katja Zarolinski, McCorkle Casting, Ltd. (Casting Director), Tiffany Fulson (Assistant Director), Nathan A. Roberts, Jaret Landon, Charles Coes (Original Music/Arrangements), Nathan A. Roberts, Charles Coes, (Sound Design) Jaret Landon (Music Director), Edward Goldstein (Music Contractor), Todd Harrison (Drums), Jaret Landon (Keyboards), Max Murray (Bass), Michael Raitzyk (Guitar).

*Member of Actors’ Equity Association.

The Christians opens Thursday, September 14, with previews September 7–13, and closes Sunday, October 8. Press night is Opening Night, September 14. For more information, visit www.centerstage.org or call the box office at410.332.0033.

This production is made possible by DLA Piper. This performance is supported in part by a grant from the Maryland State Arts Council (MSAC). To discover more about Maryland State Arts Council grants and how they impact Maryland’s arts sector, visit msac.org. Funding for the MSAC is also provided by the National Endowment for the Arts. Center Stage’s Season Sponsor is M&T Bank and the season is also made possible by The Shubert Foundation and the Baltimore County Commission on Arts and Sciences.

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About Baltimore Center Stage

Baltimore Center Stage is a professional, nonprofit institution committed to entertaining, engaging and enriching audiences through bold, innovative and thought-provoking classical and contemporary theater. Named the State Theater of Maryland in 1978, Baltimore Center Stage has steadily grown as a leader in the national regional theater scene. Under the leadership of Artistic Director Kwame Kwei-Armah OBE and Managing Director Michael Ross, Baltimore Center Stage is committed to creating and presenting a diverse array of world premieres and exhilarating interpretations of established works.

Baltimore Center Stage believes in access for all—creating a welcoming environment for everyone who enters its theater doors and, at the same time, striving to meet audiences where they are. In addition to its Mainstage and Off Center productions in the historic Mount Vernon neighborhood, Baltimore Center Stage ignites conversations among a global audience through digital initiatives, which explore how technology and the arts intersect. The theater also nurtures the next generation of artists and theater-goers through the Young Playwrights Festival, Student Matinee Series and many other educational programs for students, families and educators.