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Stage
whipping the horse’s eyes
Friday, 02 May 2008

‘Equus’ at The Players’ Ring

Having grown up with horses, I learned early on not to trust those unpredictable beasts. While they are impressive and majestic creatures, they embody an earthy power that is both enchanting and terrifying. In fact, horses have always scared the shit out of me. And this is the mindset I took with me to see “Equus,” the new play at The Players’ Ring in Portsmouth.
Peter Schaffer’s story is set in a children’s mental health ward in England. The lead psychiatrist, Martin Dysart (Chris Walters), has been given a new case. It seems a teenage boy named Alan Strang (Dylan Schwartz-Wallach) stabbed out the eyes of several horses under his care. The boy is at first reluctant to share the reasons behind his disturbing act, but the truth eventually comes out.

Produced by Todd Hunter and directed by Joi Smith, the set for “Equus” is simple but effective. The use of unfinished wood creates a rustic, countrified setting. Scattered around the stage are hand tools, a few pieces of antique furniture and the doctor’s desk, which is simply a painted black box.

The only things that interrupt the aged, grainy set are five metallic horse heads, designed and sculpted by Ron Ames and Dane Leeman. These masks fit over the heads of the actors, creating a sharp contrast with their modern, industrial construction. Like a skeleton, the masks appear empty of anima, their eyes hollow.
 
Portsmouth’s native bad boy
Thursday, 24 April 2008

Pontine performs ‘The Story of a Bad Boy’

In its day, “The Story of a Bad Boy” sparked a great deal of controversy, yet it has also been hailed as the work of a pioneering genius. Portsmouth’s Thomas Bailey Aldrich deviated from tradition when he published a semi-fictional account of his childhood in 1870. The content was unusual and risky, perking the curiosity of thousands of shocked readers.

Beginning on Friday, April 25, Pontine Theatre in Portsmouth will host an original adaptation of the revolutionary story. The events narrated in the book will be recreated by Greg Gathers and Margeurite Mathews, who have revised the content to fit the confines of a stage.

Gathers said adapting Aldrich’s book to the stage was easier than you might expect. The book is divided into stories about Aldrich’s childhood, narrated by the author as an adult. In the two-person performance, Gathers tackles the role of Aldrich, while Mathews portrays several other characters. At various points in the play, the pair uses 30-inch puppets, cutout illustrations, shadow puppets and projector video to recreate other characters and settings.

“Everyone who has seen rehearsal so far has said it’s a visual feast for the eyes,” Gathers said.
 
ham and beans, music and humor at Garrison Players; Dover's Bell Center
Friday, 11 April 2008

ham and beans, music and humor at Garrison Players

Many New Englanders take pride in their roots, and the Garrison Players Arts Center will attempt to manifest that pride with an evening of traditional pleasures. The Rollinsford venue hosts a “Down Home Yankee Ham and Bean Supper” on Saturday, April 12, beginning at 6:30 p.m. Not only will the evening feature home-cooked food, but it will also include the comedic stylings of author and humorist Rebecca Rule and bluegrass music from Mark Wiley and his band of friends.

“The dinner is a country feel. It is home cooking. It is simple, plain, good food,” said Mary Ruth Lynn, director of programming for the Garrison Players. She said Rule’s humor and Wiley’s music have a similar feel.

Plans for the evening were partially modeled after the old fashioned design of the Garrison Players’ building at 650 Portland Ave., which was originally constructed as a Grange hall. “It seems like a good fit,” said Lynn.

 

 
staging a love triangle
Friday, 11 April 2008

‘Last Night’ at The Players’ Ring

Orson Welles was famous for saying a lot of things, but my personal favorite quote is, “No one likes to leave a theater feeling empty."

In newcomer Carolyn Gallo’s play, “Last Night,” audience members feel so many things that, when they leave, they feel as though they just stepped off a rollercoaster—lightheaded and slightly nauseated. And just because they may have seen one or two of those dips coming doesn’t mean their stomachs don’t get thrown right into their throats. The feeling is jolting, horrifying, hopeful, agonizing and delicious. This rookie knocked it out of the park on her first try.

“Last Night,” which runs through Sunday, April 20 at The Players’ Ring in Portsmouth, takes you on a journey that begins as a well-traveled path. You already know these characters: You’ve dated them, they’re your brothers, and the klutzy, well-meaning but unconfident lead character reminded me of the young woman I once stared at in the mirror. Oh, yes, I knew these characters. I remember the arrogant but gorgeous lady’s man, and I remember the obsessive/compulsive youth who refused to realize his potential because he might have failed—or succeeded.
 
a comedic search for meaning
Friday, 04 April 2008

‘Shutting Up Peggy Lee’ at West End Studio Theatre

“It’s exactly what I want to say right now,” Susan Poulin said one day after unveiling her most recent solo show, “Shutting Up Peggy Lee.” Poulin’s latest act is noticeably different from the majority of her original productions. For the last 16 years, she has been portraying a number of humorous and wacky characters, including her most well-known creation, Ida. While still containing its fair share of humor, “Shutting Up Peggy Lee” is a far more introspective journey through Poulin’s own struggle to find the meaning of life. The play premiered at Portsmouth’s West End Studio Theatre last weekend.

Initially, Poulin’s onstage journey is spurred by Peggy Lee’s annoyingly depressing song, “Is That All There Is?” The song was a huge hit when recorded in 1969 and was inducted into the Grammy Hall of Fame in 1999. Despite its popularity, the song sporadically plagues Poulin’s existence. 

 
getting real with ‘The Goat’ at the Players’ Ring
Thursday, 27 March 2008

The people Generic Theatre usually have their ear to ground when it comes to the cutting edge, the new, the hip and hot, or the really unusual. This year’s production, currently onstage at the Players’ Ring, fits all three categories.

Edward Albee’s “The Goat, or Who is Sylvia?” follows the playwright’s usual pattern of keeping the audience on the edge of the seat, wondering what’s really happening—Captain Subtext is generally the star of any Albee play, open sexuality has a strong supporting role. In 1963, his play “Who’s Afraid Of Virginia Woolf?” was awarded the Pulitzer Prize. However, the board’s advisory committee was so horrified by the content of the play that they overruled the decision, and no drama prize was awarded that year.

Albee dares to speak of things the rest of us do not. He will always be celebrated for this, and he will always need to keep a bodyguard close by because of it.

In “The Goat,” we have what seems your perfect happy Manhattan family: parents Martin and Stevie (Alan Huisman and Helen Brock), still madly in love after 22 years, and a happy, healthy 17-year-old boy Billy (Camden Brown). Martin doesn’t let the fact that Billy has recently proclaimed his homosexuality upset him—after all, as he and his best friend since childhood, Ross (Mike Pomp), decide, it’s probably just a phase.
 
touring performers hit a roadblock
Wednesday, 05 March 2008

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new artist group hopes to revive the touring tradition

Marguerite Mathews has been a touring artist in New England for 30 years. “For the last 15 of those 30, there has been a marked decline for touring opportunities,” she said. Mathews, who co-directs Pontine Theatre in Portsmouth, says many performing artists have noticed the decline. “There have been ups and downs, but, generally speaking, we’re settling into the fact that it’s a bygone era,” she said.

The tradition of touring has deep roots among New England artists. For years, they traveled from town to town, performing music, theater, puppetry and other folk traditions in libraries, town halls and other small venues. However, as more communities focus their attention on larger venues that draw big-name acts, there are fewer opportunities for smaller performers.
 
a serial thriller
Wednesday, 27 February 2008

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‘Chase a Killer…Catch a Killer…Run, Run, Run’ at The Players’ Ring in Portsmouth

Savage Productions, composed of wife and husband team Scarlett Ridgway Savage and Christopher Savage, just debuted a tense little thriller. It’s a script that’s been percolating for a couple of years, and it does a lot of things well. Scarlett Ridgway Savage has written this type of material before in “Dear Daddy, Love Cassie,” and this is another interesting iteration.

“Chase a Killer” is a fascinating look at criminal intention and the effects that sexual crimes have upon men who witness or perpetrate them. The writing is tight, tense and funny at turns, and powerful, harsh and disturbing at others. At its best, the timing is great. The charismatic actors have a good working feel for one another in the interplay of characters.

James Drake (Chris Savage) is a funny, intelligent lawyer with a hobbyist’s fixation on serial killers. Drake’s reputation is ruined, however, when he is indicted for four grisly murders and pegged as the Seacoast Slasher. He is, in fact, innocent of the crimes, and he defends himself to the point of acquittal, but he’s still held in suspicion by Detective Tim Morgan (Ed Hinton). Morgan pulls Drake in for questioning when another slasher crime takes place a few years later. A prominent local journalist, Leigh Anne McDermott (Liz Krane), has been kidnapped, and Drake is offered an opportunity to “redeem” himself in the public eye by assisting Morgan on the case (as long as the forensics don’t prove Drake to be the killer). It’s an odd premise, but the pair’s growing rapport helps viewers buy it.
 
great expectations
Thursday, 14 February 2008

a chat with teenage stage actor Camden Brown

“I don’t know when it first happened,” ponders Camden Brown, the Seacoast’s widely acclaimed teenage stage artist. “I really liked to use my imagination when I was younger—I still do. I had an imaginary friend, Mr. Turtle, and I talked to him constantly.” (He admits, with a mixture of pride and embarrassment, that there are home videos to prove it.)

The 18-year-old Oyster River High School senior is most well-known for his roles as Jesus in “Godspell,” Tevye in “Fiddler on the Roof,” Robby in “Warmth of the Cold,” and Thenadier in “Les Miserables,” to name but a few of his works. His training began at a UNH theater camp during the summer between third and fourth grades. A production of “Peter Pan” was part of the program, which Brown remembers vividly.

“I remember one day during rehearsal, I was playing the part of Smee, Captain Hook’s sidekick,” he says, his eyes alight with remembrance. “When we did the scene where we set Tiger Lily free, I said that line ‘We set her free!’ with so much energy and abandoned myself to the grand physical reactions.”
 
'Republic of Dreams', 'The Importance of Being Earnest'
Thursday, 14 February 2008

‘Republic of Dreams’ makes guest stop at UNH

At first glance, 21st century America might seem worlds removed from World War II era Poland. What relevance, then, does the life and work of obscure Polish-Jewish artist and writer Bruno Schultz bear to modern society in the United States? According to Stacy Klein, director of “Republic of Dreams,” the world in which Schultz wrote, painted and ultimately died at the hands of a Nazi is alarmingly similar to current times. Klein describes the world Shultz grew up in as one filled with over-consumption, religious fundamentalism and nationalistic hatred. 

“In his vision we see the undercurrent of horror and indifference that would soon erupt into the Holocaust, and, even more disturbingly, the possibility that the world today bears the same seeds of destruction,” Klein wrote in a director’s confession on the Double Edge Theatre Web site.

Double Edge is bringing “Republic of Dreams” to the University of New Hampshire for two performances on Saturday and Sunday, Feb. 16 and 17. The play explores Shultz’s life, writing and artwork, as well as “his banal death at the hands of a jealous Nazi.”
 
‘Fame’
Thursday, 07 February 2008

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at the Bell Center for the Arts

“Fame” is indeed about student life at the New York High School of Performing Arts. But the musical production now playing at the Bell Center for the Arts in Dover bears little resemblance to the movie or the TV series (in fact, one of the teachers in the play, Miss Sherman, points out, “ever since that movie came out, everyone refers to us as ‘that “Fame” school’”). But it gets your blood pumping just as well. After watching the show, you might go home and put on some torn stockings and crank up some Cyndi Lauper in your MP3 player. 

As a proud product of the ’80s, this was a dream assignment for me. Nothing is more tooth-grinding than when your childhood era is portrayed incorrectly, but this group of fine young Seacoast performers nailed it dead-on.
 
‘Home is Heaven: 32 Poems by Ogden Nash’
Thursday, 07 February 2008

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at Pontine Theatre

New England has been home to many famous and creative people, including Nathaniel Hawthorne and Emily Dickinson. But some lesser-known artists have been overshadowed by these greats. They may have been well known in their own time, but over the years, their art has been buried under newer interests by subsequent generations.  

Thankfully, there are people like M. Marguerite Mathews and Gregory Gathers, of Pontine Theatre on Islington Street in Portsmouth, who have brought the works of one such forgotten artist back to life.

Co-artistic directors Mathews and Gathers have taken a collection of poems by Ogden Nash and created a play titled “Home Is Heaven: 32 Poems by Ogden Nash.” The production chronicles the poet’s summers spent with his wife and two daughters on the Seacoast in the middle part of the 20th century.

Originally from Rye, N.Y., Nash was well-known for his light verse and unconventional rhymes. Not as well known, however, was his love for the Seacoast. He was particularly fond of the beaches of North Hampton, where he and his family had a summer home at Little Boar’s Head. North Hampton is also the town that Nash would eventually make his eternal resting place.
“It’s just nice to have that local connection,” said Gathers. “We were interested in focusing on someone who was so well known—and right in our own neighborhood.”
 
putting the ‘mock’ in democracy
Friday, 01 February 2008

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The Music Hall welcomes the Capitol Steps

In his book “Democracy in America,” political theorist Alexis de Tocqueville suggested a disturbing trend in American democracy: the growing shortage of “great leaders.” While his analysis has proven to have some validity, de Tocqueville failed to recognize the potential comedic fodder made available through untimely political calamities. Fortunately, this potential was not lost on the Capitol Steps, a nonpartisan political satire group. Since 1981, the group has performed routines wrought with wit, sarcasm, spoonerisms and exaggerations. Some 26-plus years later, the Capitol Steps are as strong as ever, owing much of their success to seemingly ubiquitous political gaffes.

Originally, all cast members were staffers in the U.S. Congress, but as the act grew, so did the commitment. They all knew it was only a matter of time before someone noticed their absence in Congress, but they managed to pull it off for some 15 years.

“This may have been an indication of what (little) we did (when working with Congress),” noted founding member Elaina Newport. 

A former legislative assistant to Sen. Charles Percy, Newport recalls the precautions the group initially took. “(We had) to be very careful in casting the same number of Republicans and Democrats,” she said.
 
‘8-Track: Sounds of the ’70s’
Thursday, 24 January 2008

at the Seacoast Repertory Theatre

Each decade brings with it a certain style, and it all seems to begin with music. The free-flowing locks of the 1960s complemented the decade’s flowery hippie rock. The super-stylized frozen-in-place-with-Aqua Net cuts of the ’70s fit well with the then brand new electric synthesizer sound. The huge, puffy hairdos of the ’80s went hand in hand with the poppy sound of the music. And the raggedy, rough cut that became popular in the early ’90s accompanied the arrival of grunge.
Point being, music isn’t just music. It’s fashion, it’s attitude, it’s hair—it’s a whole way of living.

“8-Track: Sounds of the ’70s,” which is boogieing its way across the stage at The Seacoast Repertory Theatre, explores each year of the 1970s, from the tail end of the flower child protests to the “Charlie’s Angels” girl power movement to the bright disco ball party to the aching love songs that make you tear up when the first chords are struck.
 
American history in song
Thursday, 17 January 2008

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‘We the People’ at Garrison Players in Rollinsford

In the newest endeavor of the Garrison Players Arts Center in Rollinsford, Priscilla Barton has produced a musical review titled “We the People,” and it just so happens to appeal to the interesting times we live in—by reminding us of the equally interesting times of the past. John Adams, played with dignity and chivalry by Don Briand, narrates this 200-year journey. 
Starting with “Hail to the Chief,” the play progresses into “Is Anybody There?” followed by the joyful banjo plucking of Mark Wiley on “On Top of Old Smokey.” Enraptured with short monologues of the good times, the bad times and the proud times, the audience at a recent performance was finally moved to stand when Sharon Parker strode firmly to center stage to belt out “The Star Spangled Banner.” More songs about the brave men and women who have fought for the freedom we take for granted followed. Some met with laughter and some met with tears, but all were remarkably relevant to the nation’s current situation overseas.

Next, the musical reaches the World War II era. With his inimitable basso profundo, Brian Parker marches the audience right into “Anchors Aweigh.” The women then fill the stage with military pride, singing “The Marine Hymn,” and the men add to the mood with “Over There.” Jerry Finley and Mark Wiley lighten the mood a bit with “Oh, How I Hate to Get Up,” which laments a bugler’s lot in life.
 
as NHTP goes, so goes the theater
Thursday, 10 January 2008

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'The Primary Primary!’ hits Portsmouth

There’s a special place in my heart for each and every theater on the Seacoast, but I have to say, it’s always pleasing to head down to 959 Islington St. in Portsmouth and check out the New Hampshire Theatre Project at West End Studio Theatre. You know that whatever you get will either be gut-wrenchingly fearless, completely original, a fresh take on an old tale or all three.

With that in mind, let’s talk about ‘The Primary Primary!’ by Robert John Ford.
Mavis McCormick (Kate Kirkwood) owns a diner where several of the locals gather to discuss their lots in life. As New Hampshire residents, they have front row seats when presidential candidates start crawling out of the woodwork to beg for votes, offering promises rarely kept.

The leader of the diner pack is Eldon Wise (Peter Motson). After hearing how extreme the primary race gets in New Hampshire (“Anything for a Vote”), a New York reporter (Brian Gregg) decides to follow Wise around for six months and get the skinny on how this man, who represents the state, which represents the nation, comes to cast his ballot. Wise agrees, even offering his family (Kathy Sommsich, Jessica Noone and Robin Fowler as wife, daughter and son, respectively) in the deal. After all, they always agree on everything.
 
just say ‘action’
Thursday, 20 December 2007

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playwright David Mauriello turns his hit play into a film

David Mauriello was one of the first playwrights to start hitting Portsmouth with original works way back in 1992, when F. Gary Newton founded The Players’ Ring in Portsmouth. A reference from a mutual friend put the two in touch, and Mauriello’s been producing roughly a play per year ever since, paving the way for other original playwrights and eventually earning himself a place on The Players’ Ring Board.

But, Mauriello’s plays differed from most other playwrights in a specific way—he was among the first to write plays that consistently had gay men in leading roles. And, oddly enough, the fact that these characters were gay was not the focus of the plays. They just happened to be gay people, going around, living their lives.

What a concept.
Mauriello’s groundbreaking plays were met with moderate success. Then, in 2005, he knocked one so far out of the park that they’re still searching for the ball.
 
Pontine presents 'It's a Wonderful Life'
Thursday, 13 December 2007

“Look, Daddy, teacher says, every time a bell rings ...” Chances are, nine out of every 10 people can finish this famous line from “It’s a Wonderful Life.” Those who cannot should be forced to sit in front of TBS on Christmas Eve, where they will inevitably be exposed to the classic 1946 film. Frank Capra’s “It’s a Wonderful Life” is to America what Charles Dickens’ “A Christmas Carol” is to the Brits. Both stories portray a mythical Christmas spirit, where kindness and generosity ultimately prevail, instead of consumerism and ugly sweaters.

This year, Seacoast residents can see “It’s a Wonderful Life” performed live and without commercials. Pontine Theater will present the holiday classic on Friday, Saturday and Sunday, Dec. 14, 15 and 16. Staged at the West End Studio Theater on Islington Street in Portsmouth, the performance will feature Pontine’s co-directors M. Marguerite Mathews and Greg Gathers, who play all the characters through the use of puppets and masks.    

“It’s one of my favorites. I love the movie and have been wanting to do it for years and years and years,” Mathews said.
However, translating the movie into a stage performance proved difficult. Mathews and Gathers drew from a radio performance of “It’s a Wonderful Life” that broke the story down into several short scenes. The radio play “solved a lot of the problems I had been trying to solve in terms of reducing the scope and size and putting it on stage. That radio script gave us a structure,” Mathews said.
 
‘A Christmas Story’
Wednesday, 05 December 2007

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at the Seacoast Repertory Theatre

Each and every December, you can almost set your watch by the literal onslaught of theaters doing versions of Mr. Charles Dickens’ classic but wildly overdone tale, “A Christmas Carol.”

Which is why it’s such a relief when an alternative comes along. Such is the case with the Seacoast Repertory Theatre’s holiday choice, “A Christmas Story.” The Rep’s cast and crew bring to life the timeless 1983 film, which was originally based on a book of short stories by Jean Shepherd called “In God We Trust (All Others Pay Cash).”

Rather than a body-less narrator describing the action, our adult Ralphie Parker (Chris Bradley) is right there—smack dab in the middle of the action, but invisible to everyone else in his memory, even his 11-year-old self. The year is 1939, and Ralphie (big brother to whiny but cherubic Randy, played adorably by Maximillian Kent) wants one thing and one thing only—say it with me—an official Red Ryder carbine action 200-shot-range model air rifle with a compass in the stock and this thing which tells time in the stock!! (Repeated so often you literally CAN recite it by the end of the tale!)
 
from the stage to the silver screen
Thursday, 22 November 2007

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playwright Todd Hunter puts his work to film

Locally based theater artist Todd Hunter has spent the past decade focusing his art on the live stage. But, for his hit stage show “Summer Blink,” he decided to take the leap that more and more Seacoasters are taking: to transform the whole project into a film.

I recently had a chance to ask Hunter about the process, and I first asked him why, out of his huge body of work, he chose “Summer Blink” to be his latest film.

“I had always wanted to tell a story about teenagers that wasn’t all about a ‘message’ or tailored to be fluff entertainment,” he wrote in an email during a break from the set. “I wanted to tell the story with an adult approach. Not an adult perspective, because that invariably brings into play nostalgia and I wanted to avoid that, but treat the story as one would an adult story.”
 I was also curious about the difficultly of translating this particular piece, which deals with a young girl exploring not only the possibilities for her future, but her sexuality. “The most common comment about the stage show was how cinematic it seemed already, so it wasn’t a difficult transition,” he explained. “A couple of scenes were cut and combined, a few added. I wanted to express more visually. Which, of course, is easier to do with film than stage.”
 
FashionUP! take two
Thursday, 22 November 2007

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fashion show to raise money for DBA

Live models draped in lingerie and jewelry. Men and women clad in leather Harley Davidson outfits. Volunteers of all ages showcasing fancy shoes and opulent dresses. These are a few of the features guests can expect to see at FashionUP!, the Downtown Business Association’s second annual fashion show, which takes place on the top floor of the Portsmouth Gas Light Co. on Wednesday, Nov. 28.

Six stylists, 18 stores and more than 40 models—12 male and about 30 female—will participate in the show. Proceeds from the $35 door charge ($25 in advance) will benefit the DBA, funding a new Web site and legal expenses. Last year, FashionUP! drew close to 200 guests and raised about $4,000. Organizers expect to do even better this time around, aiming to raise around $6,000.
 
a golden oldie
Wednesday, 21 November 2007

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Mickey Rooney to perform at Rochester Opera House

When people talk about the golden age of Hollywood, they’re usually referring to a period in the 1930s and 1940s, when stars like Clark Gable, Spencer Tracy and Cary Grant became household names. MGM, Paramount and a handful of other studios produced hundreds of films and exercised an oligarchic clout over the film industry. Movies produced during this period symbolized the American dream and helped create what Tom Brokaw called “the greatest generation.”

This period was also when Mickey Rooney’s career took off. Often performing alongside Judy Garland, his shows in the ’30s and ’40s helped engrave Rooney’s name in the annals of Hollywood history. On Saturday, Nov. 17, at 8 p.m., Rooney and his wife, Jan, will perform the musical “Let’s Put on a Show” at the Rochester Opera House.

 
‘Someone Who’ll Watch Over Me’
Wednesday, 21 November 2007

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at New Hampshire Theatre Project

I don’t watch the news. It’s always terrible things happening to men, women and children in all parts of the world. I can’t do anything about it. Watching it only makes me feel useless. So, I use this excuse to change the channel. A lot of people do.
The real reason is that, if we look at it, it might become real. And, if it’s real, it could happen to someone—anyone—we know.
Because we won’t watch, sometimes things that should have us screaming in outrage, demanding that a horrible situation be stopped at all costs, are instead merely blips on our radar. Director Genevieve Aichele told us as much in her pre-show speech at New Hampshire Theatre Project in Portsmouth

The play “Someone Who’ll Watch Over Me,” by Frank McGuinness (an Irish writer with both eyes open), shows two and a half hours of the four-plus years that three men—American doctor Adam (Brian Chamberlain), Irish journalist Edward (Blair Hundertmark) and British professor Michael (Peter Motson)—endured in captivity in Beirut.
 
diving onstage
Wednesday, 07 November 2007

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a chat with actress Carolyn Connolly

Carolyn Connolly is a deadly combination—beautiful, talented and smart.

“I went to college when I was 16, the Cooper Union for the Advancement of Science and Art. It was a four-year engineering program, and I graduated in 1997 with a BEEE (Bachelors of Engineering in Electrical Engineering),” Connolly wrote in a recent interview with The Wire.

“Want to know what led me to acting? ‘Stargate SG-1,’ the TV show. And ‘Battlestar Gallactica,’ ‘Law & Order,’ ‘ER’ and a couple of other sci-fi series on TV,” she continued.

“I started going to conventions,” Connolly said. “I met the actors, met other fans. But, what happened is that I started to see the actors rather than the characters. And, as I started to see the real people behind the scenes, I started to see myself in their shoes.”
 
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