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Posts Tagged ‘the midnight company’

Judgment at Nuremberg
by Abby Mann
Directed by Ellie Schwetye
The Midnight Company at the Missouri History Museum
April 27, 2018

Cast of Judgment at Nuremberg
Photo by Joey Rumpell
The Midnight Company

Joe Hanrahan’s Midnight Company usually puts on plays with small casts–often just Hanrahan himself and maybe one other cast member. The company’s latest production, though, is anything but small. Presented at the Missouri History Museum from April 25-29th, Abby Mann’s Judgment at Nuremberg recalls an important time in world history that is essential to remember. With a large cast and excellent staging, this production is one I wish had been given a longer run.

The play is a fictionalized version of one of the historic Nuremberg Trials that took place in Germany after World War II. Various defendents involved in different ways in the Nazi regime and the Holocaust were put on trial, with those convicted being sentenced to prison or death.  The trial represented in this play involves three German judges (Terry TenBroek as Emil Hahn, Hal Morgan as Frederick Hoffstetter, and Steve Callahan as Ernst Janning), who are charged with playing various roles in supporting the atrocities perpetrated by the Nazi government from the bench, including ordering sterilizations of political dissidents and sending Jewish defendants and others to concentration camps. The cast of 16 is led by Hanrahan as Judge Dan Haywood, a North Carolina jurist who has been brought in to preside over the trial along with Judge Curtis Ives (Jack Corey) and Judge Ken Norris (Charles Heuvelman). The story centers largely on Haywood as he learns about the cases and defendants and other issues involved, such as international and national pressures trying to influence the outcome. Other key players include the passionate American prosecutor Colonel Tad Parker (Chuck Winning) and determined German defense attorney Oscar Rolfe (Cassidy Flynn). There’s also Frau Margarete Bertholt (Rachel Tibbetts), a widow who used to live in the house in which Haywood is staying, and who is soon revealed to have a highly personal connection to the trials.  Through the course of the play, issues of  personal and corporate responsibility, and national loyalty vs. conscience are raised, among other issues, as the German judges are brought face-to-face with witnesses to their actions and reacting in different ways, from self-justification to acknowledging guilt.

This is a somewhat sprawling play, with a lot going on at once and a large cast to keep track of. Structure-wise, it’s reminscent of a lot of other mid-century courtroom dramas, and the play’s program design (graphic design by Dottie Quick) even has a look and style suggestive of this time period. The drama has a lot of players, but the focus is mostly on the courtroom, and the staging here is engaging and energetic, with a cast of excellent performers that bring dimension and energy to their roles. Hanrahan is a good focus figure as Heywood, who functions in many ways as a surrogate for the audience, learning about the events and the people involved, and the history of the city of Nuremberg itself, as the story unfolds. Hanrahan’s Haywood has a kind of easy forthrightness about him that works very well in this role. He is surrounded by an excellent cast as well, including Callahan as the most introspective and remorseful of the defendents, Janning; and also Winning and Flynn as the equally fiery and determined opposing attorneys. There are also excellent turns from Tibbetts as the proud, grieving and somewhat enigmatic Frau Berthtolt, and Micahel B. Perkins, Francesca Ferrari, and Steve Garrett as key witnesses in the trial. The entire ensemble (also including Mark Abels, Jaz Tucker, Charlotte Dougherty, and Alex Fyles) is strong, with memorable performances all around, calling attention to the important and weighty issues brought up in this play–issues that are still relevant today.

The production design serves the play well, with Jonah Sheckler’s fairly simple set impressively augmented by Michael B. Perkins’s excellent video projections. There’s also crisp, focused lighting from Bess Moynihan as well as clear sound by Ellie Schwetye and well-suited period specific costumes by Sarah Porter. The overall atmosphere of a 1940’s military trial is well maintained in this fascinating production.

This is a show that could have run a little longer. I’m assuming the Missouri History Museum had limited availability, but it’s a shame that such a well-staged, powerful production like this couldn’t have had more performances. A production like this deserves to be seen by a larger audience.

Chuck Winning, Cassidy Flynn and cast
Photo by Joey Rumpell
The Midnight Company

 

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Sex, Drugs, Rock & Roll
by Eric Bogosian
Directed by Rachel Tibbetts
The Midnight Company
August 1, 2014

joe Hanrahan Photo Courtesy of Joe Hanrahan The Midnight Company

joe Hanrahan
Photo Courtesy of Joe Hanrahan
The Midnight Company

Joe Hanrahan is one of those actors with a particular talent for playing multiple characters in the same play, and one-man shows are a great vehicle for this. Unlike the Midnight Company’s last production, Solemn Mockeries, which told a cohesive story, Eric Bogosian’s Sex, Drugs, Rock & Roll is more of a collection of monologues with related themes, providing an ideal showcase for Hanrahan’s skills and allowing for an evening of outrageous and sometimes dark humor that’s sure to make the audience think as well as laugh.

The show is mostly an examination of consumerism and selfishness in modern society. The happiest guy in the show is the homeless bottle collector in the opening sequence, who’s content with his bottles (“or cans–no difference” he says)–which he recycles to make a little bit of money–and the occasional egg salad sandwich. Most of the other characters in the play are selfish, greedy, culturally ignorant and sometimes downright hostile.  Self-help philosophies get parodied in two segments, and misguided charity in another. All the elements of the title are there, as well as a cynical take on religious belief and musings on the purpose and importance of art and creativity.  It’s gritty, irreverent, and unquestionably funny, with jokes ranging from lighthearted to sarcastic to outrageously dark.  It’s an ideal vehicle for a versatile actor like Hanrahan, and he makes the most of every opportunity.

Hanrahan does a great job with the various characters represented here. He’s great with comedy and some of the darker moments, with a good range of voices and accents (with help from dialect coach Pamela Reckamp), from the aging British rocker staging a benefit concert, to the Southern motivational speaker trying to help his audiences get in touch with their “inner baby”.  With energy and charisma, Hanrahan manages to hold the audience’s attention through the course of the play even when portraying some of the more unsavory aspects of his characters.

Hanrahan and director Rachel Tibbetts have done an excellent job of presenting this show in just the right context. The basement room at  Herbie’s Restaurant in the Central West End is an excellent venue for this play, with the small performance space giving the show more of an interactive vibe. and the use of props and various quick-change costume elements is excellent as well. The play, written over 20 years ago, has been updated here and there with a few references to current events and St.Louis settings, thrown in to add to the overall atmosphere and accessibility of the piece. It’s all very timely,with the focus on self-actualization and self-help (which can be useful or misused), as well as conspicuous consumption in today’s consumer-driven society. It’s a relatively short play, running just over an hour, although that’s plenty of time to be introduced to this wide-ranging cast of characters all played by the same guy. Some of the characters are appealing and some are scoundrels, but as presented by Joe Hanrahan, they’re all worth listening to even if it’s  just to make us think.

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Solemn Mockeries

by Rick Creese

Directed by Sarah Whitney

The Midnight Company, Tower Grove Abbey

January 3rd, 2014

Joe Hanrahan Photo by Sarah Whitney The Midnight Company

Joe Hanrahan
Photo by Sarah Whitney
The Midnight Company

The Midnight Company is starting off the New Year with a trip back in time. With their new production of Rick Creese’s one-man play Solemn Mockeries, the Tower Grove Abbey has been turned into a sort of “Wayback Machine”, transporting the audience to 19th Century London, where we are introduced to the colorful William-Henry Ireland (Joe Hanrahan), who recounts his fascinating, alternately comic and tragic life story, focusing on that one time, 30 years earlier in 1795, when he almost got away with forging a full-length Shakespeare play and managed to have the play staged by some of the most prominent theatrical figures of the era in one of the most well-known theaters in London. It’s one of those too-strange-to-believed anecdotes of history that, astoundingly enough, actually did happen, and this production turns that improbable tale into an entertainingly immersive evening of theatre.

The setting is very simple, but completely effective. Just a few pieces of furniture and a series of placards announcing Ireland’s appearance (introduced by a silent, sober-faced man in impeccable early 19th Century costume) help set the mood and transport the audience back to an era in which the apologetic but also proud and enterprising Ireland is making a living out of reliving his earlier adventures before the general public.  The Tower Grove Abbey, a re-purposed early 20th Century church building with its wooden pews and stained glass windows,is a fitting venue for this event, and Hanrahan, as Ireland, even makes a sly reference to the building in his opening remarks. It’s easy to get caught up in the illusion of the 1820’s setting as Ireland tells his story and interacts with the audience, giving impromptu quizzes, asking for opinions and offering whimsical commentary on the events as he portrays them.

Hanrahan, looking like he stepped out of the pages of a history book in costume designer Taylor Steward’s well-appointed ensemble, portrays Ireland as an eager-to-please, charming rascal who is at once proud and apologetic about his career as a forger. His accent is a bit uneven in places, but that doesn’t really matter in the long run since his Ireland is such a fascinating character, and his descriptions of his upbringing and the events that led into his acts of fraud are thoroughly compelling to watch.

Hanrahan portrays not only Ireland, but also Ireland’s impressions of various character’s in Ireland’s life, from his stern, historical relic-obsessed father, to his opportunistic actor friend, to the Duke of Clarence (the future King William IV)  and the various actors involved with the production of Ireland’s faux Shakespearean tragedy, Vortigern.  It’s a hilarious comic performance, but also tinged with regret and even tragedy, as Ireland is shown as an ingratiating sort whose greatest wish in life was to please his own implacable father, who ignored and neglected the young Ireland until he suddenly “found” all these documents supposedly written by the Bard.  Hanrahan’s Ireland is a mass of contradictions–reveling in his adventures while simultaneously showing regret and a desire to be accepted, full of self-deprecating wit and giddy, gleeful energy as the story of his colossal failure unfolds.

The play itself finds a lot of sympathy in Ireland, especially in his upbringing and neglect by his parents, but it also presents him as something of a pathetic figure–a mediocre artist looking for validation, but who was born into a world where celebrity was highly valued and enterprising people could make their own fame if they had the right motivation, and the right gimmick.  It actually sounds a lot like today, which is why I think a story like this can be so entertaining for modern audiences.  Today’s William-Henry Ireland would probably have his own reality show as opposed to appearing on the lecture circuit, but regardless of how enlightened people may think they are today, there still seem to be engaging frauds like Ireland popping up from time to time looking for attention and, eventually, forgiveness.

Ultimately, I was impressed by how vividly the times and places of William Henry Ireland’s life were evoked by this production, with nothing more than the impeccable costumes, simple sets and Hanrahan’s compelling performance to hold the audience’s attention and capture our imaginations.  Ireland is a person that many people may not have heard of,  and this production introduces us to him and and the events of his life in a thoroughly engaging way. It’s a very amusing and thought-provoking  journey through time.

Joe Hanrahan  Photo by Sarah Whitney The Midnight Company

Joe Hanrahan
Photo by Sarah Whitney
The Midnight Company

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