Blood, Love and Rhetoric (BLR), an English-language theater company based in Prague, is putting on a production for the fourth time this January with the hearty title “Chekhov – From Russia With Love, Blood and Rhetoric.” The show covers Russian history from the times of intelligentsia in cake-dresses to the wife-beaters and Adidas sweatpants of the ferocious nineties. The performance takes place at Divadlo Inspirace at Malá Strana in Prague, which has a small, cozy auditorium and a no-less-cozy bar with a medieval touch.

The show consists of five one-act plays: “Mustard,” “Swansong,” “Tobacco,” “Inspector-General” and “Proposal.” Not only does BLR provide the spectators with an introduction to Chekhov’s peculiar rhetoric, but the style of the theater group itself shows a lot. BLR enriches Chekhov with practical jokes, killer Russian and French accents, a red couch, epaulets and lots of vodka.

With the first play, “Mustard,” we plunge into the times of eccentric characters wearing plateresque outfits. One may or may not like the over-expressiveness on the part of the noble russian Madame (Beathe Linde) and her no less noble fellow Frenchman with the fidgety eyebrows (Mikey Blount). Yet, the servant’s (Uliana Elina) song will surely give you goosebumps.

“Swansong” balances between being an existential tragedy and a philosophizing comedy of an old alcoholic who returns to the bottle and forgets what he is celebrating. Curt Mattew’s merely setting his foot on the scaffolding sends the audience into fits of laughter. That is why, despite the monologue being lengthy and uneventful, “Swansong” succeeds at being entertaining.  There is a curious dichotomy between the comedian’s (Mattew) artistry and the prompter-character (Ronald Prokes) being a stranger to art, which magnifies the conflict between the generations.

The apogee of the show is Logan Hiller’s monologue in “Tobacco.” Stalin’s portrait, the formidable chorus and the suitcase with something green and radioactive altogether create an immaculate interpretation of Chekhov in a character of its own. “Tobacco” set the bar really high for the rest of the show, which might have been a mistake, seeing that the two plays following the intermission do not quite reach “Tobacco”‘s epic nature.

The fourth play, “Inspector-General,” flies by: it is short, runs smooth and is a good laugh. It is not particularly memorable compared to the rest of the show.

“Proposal,” on the other hand, the fifth and last part of the show, is quite a surprise. “Proposal” combines lowbrow criminals with the delicate matters of Chekhov’s play, and regardless of the seemingly dichotomy, the two blend together into a perfect combination. The last part might appear a bit lengthy, but it is worth the story. You would not be able to imagine better characters than the trio consisting of Aneta Kölblová, John Poston and Ronald Prokes. This is the point in the performance when the audience indeed gets blood, love and lots of rhetorics all at once.

Due credit must be given to Jim Hight, who’s sudden appearances in almost every scene gave each play a touch of BLR’s distinctive black humor that has made them into something more than just another Chekhov revival.

Having said that, if you still have not made up your mind about whether to go see BLR or not, there is one argument that is better than all the prattling on about dichotomies and conflicts of generations: Blood Love and Rhetoric gets the audience rolling in the aisles.

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Zombies are not usually known for their singing and dancing. Shambling through the misty woods in search of brains, yes. Belting out peppy songs while doing complex choreography, not so much. But in Love, Death, Brains: A Pete Rydberg Musical Meme, they do all that and more.

Love, Death, Brains is a reimaging of an earlier zombie musical called Z-Town. Both are based on a book by Sarah Mucek (who also wrote the songs’ lyrics) and feature music by Meghan Rose. Director Pete Rydberg also played a key role in transforming the show. But while Z-Town was a fairly dark piece, Love, Death, Brains is much lighter in tone.

At its heart, the show is about a culture-clash of epic proportions. Dr. Scott Crawford (Alex Brick) brings his son James (Stuart Mott) to Z-Town at the behest of his fellow scientist Dr. Rhonda Greenblad (Jamie England). Although Crawford tells his son that Z-Town is merely a leper colony, it is actually a top-secret government facility run where zombies can go about their business in peace under the watchful eye of a government agent who has orders to keep the zombies in, and everyone else out. Meanwhile, bumbling amateur detectives/conspiracy theorists are determined to find out what is going on behind Z-Town’s walls.

Crawford and Greenblad intend to use James as a human guinea pig to study human/zombie interactions firsthand. But their plans swiftly go awry when he falls for one of his classmates, Monica (Corianne Wilson). The arrival of humans also causes problems among the zombie population, as the local teacher, Mr. Olin (Bob Moore), tries to radicalize his pupils for an all-out war with the ‘breathers.’

The entire ensemble is exceptionally talented, and they would not be out of place on Broadway or the West End. Mott does an excellent job of portraying James’ metamorphosis from clueless teen to horrified victim, while Brick manages to make a shoddy parent like Crawford ultimately likeable. Matthew Huston (who plays a gay zombie named Zack) delivers his lines with consummate sassiness, but at the same time he keeps his portrayal from descending to the realm of crude stereotype. And Wilson’s charming performance as Monica makes a dead girl seem just like the girl next door.

The music makes the show a tour de force. Mucek’s lyrics range from the droll to the hilarious, while Rose’s score ensures that the songs remain embedded in your mind for weeks to come. They range from ensemble pieces (“Flesh-Eating Kind of Day,” “Never See Another Day”) to powerful solos (“Somethin’ Ain’t Right,” “Left Behind”), but they are all performed with skill and verve. If you liked the musical episode of Buffy the Vampire Slayer, you will love these songs. Thankfully, fans will be able to listen to their favorite songs whenever they want since the official soundtrack is available on iTunes.

Beneath all the gags, the show has a serious message about tolerance and cooperation. But the creative team behind it is savvy enough to convey that message subtly, without beating the audience over the head with a bunch of preachy moralizing.

Love, Death, Brains will play at Madison’s Bartell Theater until August 4. Then it heads to New York City where it will play at the Fringe Festival on August 12, 14, 16, 17, and 18. Check out their Facebook page for more information.

Stay tuned for an exclusive backstage look at the show!

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Atlanta, U.S.A. – Movie enthusiasts in Atlanta will be served a new movie-going experience this week in Suwannee’s Horizon Village with the opening of Movie Tavern, the largest cinema eatery in the U.S. designed to revolutionize the way guests enjoy their favorite movies. In-theater dining coupled with delicious chef-inspired menu selections and incredible service transforms a typical hectic night at the cinema into a hassle-free family outing that is relaxing and enjoyable.

“Movie Tavern transforms the idea of a simple night out to a comfortable evening where movie-goers receive quality service and a fresh selection of food choices in one convenient location,” said Mark Mulcahy, vice president of marketing at Movie Tavern. “Our Atlanta customers are looking for the ultimate experience at a great value, and our concept strives to deliver this and more, whether they are watching a movie or just enjoying cocktails at our bar.”

The Cinematic Experience

Guests make their fantasy a reality each time they enter through the Movie Tavern doors, with the following selection of choices to shape their evening:

Relax in Style

Premier location offers stadium seating in all theaters, where guests are encouraged to arrive 45 minutes early to choose a leather seat and individual tabletop to enjoy the movie and select food from the chef-inspired menu.

Eat Like a King

Choose from the vast selection of movie-inspired menu offerings and drinks, including alcoholic beverages, at an affordable price. From mouthwatering appetizers like the Thai Chicken Flatbread, to entree selections like 10″ hand-tossed pizzas and savory desserts like the Ultimate Cookie, the menu offers a wide variety of foods to please the audience – all under $14.

Located near the entrance, the bar a place to share a pre-movie appetizer or cocktail with friends – whether watching a movie or just enjoying a Friday night. From the signature cocktail menu, premium drafts or extensive wine list – there is something for everyone.

Guests can select from the chef-inspired menu prior to the movie and servers will deliver selections discreetly throughout the movie, minimizing audience distractions. During the movie, with a simple push of a button, guests can alert servers to order another cocktail or desired dessert.

Ultimate movie buffs will also enjoy early morning showings of the latest films, with a menu of favorite breakfast selections, including pancakes, eggs, bacon, Bloody Mary’s and Mimosa’s.

Image Courtesy of   QuesterMark

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The Lion King musical is based on the 1994 Walt Disney animated classic, The Lion King.  The musical is adapted from the screenplay by Irene Mecchi, Jonathan Roberts, and Linda Woolverton and produced by Peter Schneider and Thomas Schumacher.

This musical debuted in 1997 in Minneapolis, Minnesota and has now become the seventh longest running show on Broadway and is the highest grossing Broadway show of all time, having grossed $853.8 million. The show has toured in multiple cities across the U.S. as well as around the world.  I had the opportunity to attend the show at the Bob Carr Performing Arts Centre in Orlando, Florida on May 9.

Fans of the film will not be disappointed with the musical. It is breathtakingly beautiful, and the actors give an outstanding performance that will have audiences rising to their feet to give a standing ovation at the end of the show.

Both the film and the play are about a young lion cub named Simba who, through deception and betrayal of his jealous Uncle Scar, is wrongfully blamed for his father Mufasa’s death and runs away from his home.  He meets a meerkat named Timon and a warthog named Pumba, who are outcasts like Simba.

They become friends and live a carefree lives under the motto “hakuna matata”, which means “no worries.” Years pass, and back home, Simba’s uncle rules the kingdom and allows his allies, the hyenas, to eat as much as they like, breaking the circle of life. Now all grown up, Simba’s childhood friend, Nala, leaves the pride in search of help and finds Simba. With the help of the wise mandrill, Rafiki, Simba returns home, confronts his past, defeats Scar, and restores the balance. He finally accepts his rightful place as king, and all is well again in the pride lands.

The show opens with a bang. The Pride Rock is the setting for the first scene, as baby Simba is revealed to the rest of the kingdom as Rafiki and the Ensemble cast belt out the “Circle of Life” with “Nants’ Ingonyama.” The drummers-who are placed on both sides of the stage-closed the opening number with a resounding thump on their African drums, which brought the audience to applaud with excitement and approval for what is to come.

The show is about two hours with one fifteen-minute intermission and moves along at a balanced pace. Act One is the longer of the two acts and the better of the two as well. Act Two opens with the Ensemble cast singing “One by One”, a happy and joyous tune. This leads into Scene One which starts out with vultures hovering in the sky, representing the death and lack of food that has occurred under Scar’s reign. It is a stark contrast.

All of the actors’ performances were wonderful, but there were a few that shone brighter than the rest. Actress Buyi Zama was rightfully cast as Rafiki. Her performance was my favorite, as she made the audience laugh throughout the evening and received the most applause. J. Anthony Crane, who portrayed Scar, was memorable. He portrayed the villain excellently and even received a few boos mixed in with the applause. Finally, Mark David Kaplan, who played Mufasa’s confidant Zazu, was hilarious and provided zingers at the right times during the play.

In addition to the original tunes from the film with music and lyrics by Elton John and Tim Rice, the show has additional music and lyrics by Lebo M. Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer.  Out of these new tunes, the most notable was “He Lives in You,” which is first performed during the Under the Stars scene in the first act when Mufasa is disciplining Simba. There is a reprise of the song later on in the second act.

Visually, the show is strikingly beautiful with its sets and lighting which bring out the African themes quite well.

The musical features actors in animal costumes that are designed by Julie Taymor, as well as masks and puppets varying in size, also designed by her and Michael Curry. All of the costumes and puppets were colorful and magnificent. The cheetah costume was the coolest, as it featured an actor using their hands to control the front part of the cheetah’s body while their own legs were inside the hind legs of the puppet, propelling the puppet to move as though it was a real cheetah. It was a beautiful sight to behold.

The hyenas were another costume that stood out. The actors’ legs were the hyena’s hind legs, and their hands held sticks molded to look like a hyena’s front legs. Their hyena masks even had moveable mouths.

All in all, The Lion King is a worthy successor to the film. The show will finish its Orlando tour on May 13, so check your local theater to find out when the musical will be coming to your town.

Image Courtesy of   The Lion King

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