Feeds:
Posts
Comments

Posts Tagged ‘christina rios’

In the Heights
Words and Music by Lin-Manuel Miranda, Book by Quiara Alegría Hudes
Directed by Christina Rios
Choreographed by Cecily A. King
R-S Theatrics
August 17, 2017

Cast of In the Heights
Photo by Jill Ritter Photography
R-S Theatrics

In the Heights is a big show for a small theatre company like R-S Theatrics. With music and lyrics by the celebrated Lin-Manuel Miranda, this is a show with a great deal of technical and casting demands. It’s an exciting show as well, and I’ve been anticipating seeing it ever since R-S announced they would be producing it. That was over a year ago, and now R-S has proved that the show was worth waiting for, with a vibrant, well-cast production.

The show’s title comes from its setting–the Washington Heights neighborhood in New York City. The cast and characters reflect the neighborhood’s mostly Latino population. Usnavi De La Vega (Jesse Muñoz) owns a local bodega and introduces many of the local residents as they patronize his store. The rest of the cast includes Usnavi’s younger cousin Sonny (Kevin Corpuz), who also works at the bodega, and Usnavi’s friend Benny (Marshall Jennings), a young African-American man who works for a local taxi company run by Kevin (Jaime Reyes) and Camila Rosario (Maritza Motta-Gonzalez). The Rosarios’ daughter, Nina (Cassandra Lopez) has struggled with her grades at Stanford and returns to the area conflicted about how to tell her parents that she’s dropped out. Usnavi is attracted to hairdresser Vanessa (Natasha Toro), who has a difficult home life and wishes for a new life outside the neighborhood. There’s also Abuela Claudia (Carmen García), who Usnavi considers his grandmother, since she raised him after the death of his parents. There’s a large cast of additional characters as well, including Daniela (Anna Skidis Vargas), who runs the salon that Vanessa works at, and Carla (Gabriela Diaz), who also works there. There’s also Grafitti Pete (Karl Hawkins) and a local Piragüero (Kelvin Urday) who sells frozen treats in the neighborhood. The intertwining plot lines follow the characters through important moments and decisions, as well as showing their hopes, dreams, fears, and struggles as the neighborhood changes, and lives are changed in various significant ways.

This is R-S Theatrics’ first production in the new .Zack Theatre. It’s a space that has some interesting challenges in terms of staging, but director Christina Rios and the show’s large cast make the most of the space. Keller Ryan’s set is fairly simple, and it works well for the space, along with Nathan Schroeder’s vibrant lighting that helps set the scene and provide some excellent effects in various moments like the “Blackout” sequence and finale. There are some great costumes by Sarah Porter, as well, and the orchestra conducted by musical director Leah Luciano is also excellent. There is occasionally a problem with the music overpowering the actors’ voices, although that situation does improve significantly in the second act.

The cast is strong here, with excellent vocals and energetic dancing to Miranda’s eclectic, hip-hop, pop, and Latin-influenced score. Muñoz is particularly engaging as the earnest, charming and somewhat awkward Usnavi. He’s the main character and essentially the narrator of the show, but its emotional heart is largely with Carmen García’s excellently portrayed and powerfully voiced Abuela Claudia. There are also strong turns from Lopez as the conflicted Nina, who has good chemistry with the also excellent Jennings as Benny. Their duets are among the vocal highlights of the show. There’s also great work from Corpuz, who is simply terrific as Sonny, Toro as Vanessa, Skidis Vargas as Daniela, Diaz as Carla, Zayas and Motta-Gonzalez as Kevin and Camila, and Urday in especially strong voice as the Piragüero. There’s an excellent ensemble in support, as well, giving a lot of energy to the production numbers like “Blackout”, “96,000”, “Carnaval Del Barrio” and more, showcasing Miranda’s memorable score and Cecily A. King’s dynamic choreography.

In the Heights is an obviously affectionate musical, looking at the lives and loves of the residents of Washington Heights with poignancy and a strong dose of hope. It’s a Best Musical Tony winner, and I can see why. This is another strong, thought-provoking, immensely entertaining production from R-S Theatrics.

Jesse Muñoz, Kevin Corpuz, Marshall Jennings
Photo by Jill Ritter Photography
R-S Theatrics

R-S Theatrics is presenting In The Heights at the .Zack Theatre until September 3, 2017.

 

Read Full Post »

Mr. Burns: A Post-Electric Play
by Anne Washburn
Score by Michael Friedman, Lyrics by Anne Washburn
Directed by Christina Rios
R-S Theatrics
September 4, 2015

Cast of Mr. Burns Photo by Michael Young R-S Theatrics

Cast of Mr. Burns
Photo by Michael Young
R-S Theatrics

Who knew The Simpsons could be this influential? As ubiquitous as the perennially popular animated comedy series has been over the years, it’s a somewhat surprising source of cultural bonding in R-S Theatrics’ latest production, Mr. Burns: A Post-Electric Play. An unusual production that makes use of inventive and stylized staging, Mr. Burns employs a strong cast to tell a fascinating, somewhat jarring story.

Part play, part musical, Mr. Burns tells its story in three acts and spans a time period of about 82 years, starting in “the very near future”. As a group of disparate individuals are gathered together around a campfire talking about a favorite TV show, it soon becomes clear that these people are survivors of a cataclysmic nuclear event that has shut down all electricity and basically destroyed the structure of society as we know it.  The first act, set shortly after the event, shows the group getting to know one another, revealing vague details of the catastrophe, and bonding over shared memories of Simpsons episodes. In the second act, set seven years later, we see how drastically changed society has become, as the group of unlikely companions has now become a traveling theatre troupe of sorts, performing live productions of Simpsons episodes cobbled together from memory and from lines traded from other survivors. The hopes, fears, and concerns of the group and what’s left of American society are shared, as well as the changing scope of cultural influence. The third act, set 75 years later, is a stylized tableau that’s better seen (and heard) than described, showing how The Simpsons, as well as other television shows and art forms like the works of Gilbert and Sullivan, have become folktales that shape and are shaped by an entirely new cultural landscape.

Director Rios has staged this play in a clever way, moving the audience along with the action of the play. The first act is set up on the stage facing toward the backstage area, where the audience sits. Act 2 then turns the action around with a more traditional theatre set-up, with the audience moved from backstage into the auditorium.  The set, designed by Kyra Bishop, is appropriately evocative of the rustic way the survivors have to live. The costumes, by Amy Harrison and Ruth Schmalenberger, appropriately suit the characters and range from the more realistic outfits of the first two acts to the more theatrical styled costumes of the third, augmented by some wonderfully detailed masks by Scott Schoonover.  All the technical aspects of this show work together well in helping to achieve just the right post-apocalyptic atmosphere.

Acting-wise, the cast here is completely convincing, handling the mixture of drama, dark comedy, and more classical-styled performance extremely well.  Chuck Brinkley, Rachel Tibbetts, Jennifer Theby-Quinn, Will Bonfiglio, Rachel Hanks, Jared Sanz-Agero comprise the initial ensemble, with Maggie Wininger joining the group in Act 2, and Kay Love in Act 3.  All of the actors perform their parts well, with some taking on more than one role and several portraying multiple characters.  It’s difficult to single anyone out, as each performer is given their moments to shine and this is truly an ensemble production.

Mr. Burns is a dark piece, even bleak at times, but the hope is there as well. I’m amazed at how much depth and imagery can be drawn directly from The Simpsons. This is a show like I’ve never seen before, taking conventions to inventive levels with a great deal of thought and artistry.  It’s a challenging play that will make audiences thinkand R-S Theatrics has brought it to the stage in a powerful, admirable production.

Will Bonfiglio, Jennifer Theby-Quinn Photo by Michael Young R-S Theatrics

Will Bonfiglio, Jennifer Theby-Quinn
Photo by Michael Young
R-S Theatrics

R-S Theatrics’ Production of Mr. Burns: A Post Electric Play runs at the Ivory Theatre until September 20th, 2015

Read Full Post »