Exhibitionism

The Public Domain Gallery,
through June 29
Running Time: 40 min

There's just something about watching a tale unfold in front of your eyes that is somehow mystical, as if you were diving deeper into the ocean and watching as the environment becomes more and more unusual. It's even more delicious when you have to wait a month for your next level of unique creatures, when you are forced to stop at each new depth just when your curiosity has almost been fed and ponder what you will see after the delay.

Flame Failure: The Silent War, a play in 12 episodes with one running each month in The Public Domain's gallery, continues to supply unique fauna that you just want to watch in Episode Two: Hay in a Needlestack. Actors Ryan King, Brian Jepson, and Alvin Cantu effortlessly speak and spin playwright Dan Bonfitto's words while they add information to the complicated story that is delightfully revealing itself. Granted, this installment seems less refined than the first, Firebox, and at times you can see the playwright's hands pulling the characters' strings in order to set up the next 10 productions. Still, it's exciting to endure the wait before you can sink even further into these storytelling depths. - Adrienne Martini

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THE YEOMEN OF THE GUARD: REFRESHINGLY SOLID

State Theatre
through June 29
2Running Time: 2 hrs, 30 min

The yeomen of the guard can carry a tune marvelously, but they are not the brightest members of Gilbert & Sullivan's arsenal. Yes, they are trying their hardest and are chock full of patriotism, but they fail to notice that the one man that they are trying to capture is posing as one of their ranks; his clever disguise is no more than a missing beard. But this production of The Yeomen of the Guard is full of sharper wits, including those singers who make up these ranks of unobservant guardsmen.

The script itself is standard G&S fare, complete with crossed lovers, military-esque chorus, and tightly woven music, all well executed by Robert René Galván's orchestra. A twist exists in this seemingly frothy operetta: All does not end happily for all of the players. There is some strife in this world, heartache, that cannot have a happy ending.

Perhaps the strength of this Gilbert & Sullivan Society production lies in Christina Moore's lively direction or Andrea Ariel's precise choreo-graphy, or in their ability to get a very large cast on a very small stage without making it appear cramped. Added to their skills are a host of strong voices attached to equally strong actors. Janette Jones, as the love-struck Phoebe; Frank Delvy, as the love-struck jester; Cynthia Hill, as the love-struck Elsie; and Michael Lucus, as the love-struck Wilfred, stand out of this cast.

It would appear that the Society has taken some great strides with this production by stepping up the quality of directing and acting, but, like the guardsmen, is relatively unaware of some larger pieces that are out of place. Some of the roles, such as Fairfax, the romantic lead, and Dame Carruthers, the prison matron, are sung with great technical skill but look to have been cast based solely on the performer's vocal quality, not their acting ability or physical appearance. Mike McBride's lighting design is uneven, full of dark holes and a colorless cyc.

Still, these are minor annoyances in what is a refreshingly solid offering from this city's only society devoted to the preservation and performance of these masterworks of light operetta.

- Adrienne Martini