Every once in a while, we do things a little different here at Front Row Reviewers Utah. Meaning if we have a reviewer who sees something OUT of Utah, we are happy to post a review of the show, should the reviewer want to write something up. Such is the case here!
By Cindy Whitehair and Perry Whitehair
Perry and I traveled down to Phoenix to visit our son Perry who is there attending college. Being the theater family that we are, the visit would not have been complete without a show. Since the community theatre that Perry has become attached to here was opening a show, it was a natural for us to check it out. The Brelby Theatre Company, located in Glendale, AZ, is the brain-child of Brian (Br) and Shelby (elby) Maticic. It was designed to be a place to provide directors, writers, designers and actors with a safe environment to enhance their creative abilities and explore their talents through the creation of live theatre. They are an outlet for local playwrights to showcase their talents as well, but Friday, we were there for the Bard.
The cozy black box only seats 60-70 (advance ticket purchase are highly recommended) is a converted storefront in old downtown Glendale. Parking is on the street and in a lot half a block away from the theatre. We were greeted by Executive Director Brian Maticic who was working box office and Shelby (Artistic Director) was ushering. When talking about love’s labors, these two show it as this theatre is a labor of love for the couple.
The Brelby Theatre’s Love’s Labor’s Lost was a delicious romp set in the Roaring ‘20s. The King of Navarre and his three companions have sworn an oath to devote themselves to three years of study and fasting – forsaking all outside pleasures, especially romance. hey unfortunately took that vow, forgetting that the Princess of France and her attendants are due to visit to negotiate the return of Aquitaine to France. Because of the decree, the Princess and her attendants must camp outside of the court. During the course of negotiations, the King and his companions fall in love with the Princess and her attendants, wherein comedy ensues.
King Ferdinand (William Wilson) and his companions (Mat Vansen as Biron, Daniel J. Hall as Longaville and Dylan Kim as Dumain) and the Princess of France (April Rideout) and her ladies (Emily Heald as Rosaline, Melissa Kamel as Katherine and Anna Katen as Maria) each had a very tight group dynamic. You really believed that each gendered grouping was its own little tight knit clan. The interactions between the lovers (Ferdinand and the Princess, Biron and Rosaline, Longaville and Maria and Dumain and Katharine) were at times completely comfortable with one another, and sometimes strained – which was appropriate given the context of the relationships within the show.
The action was moved along by the supporting characters – Don Armando of Spain (Luke Gomez), his page Moth (played to hysterical perfection by Simon Faddoul), local villagers Costard (David Magadan) and Jaquenetta (Corinne Tachuk) and Boyet (Tatiana Gil). Boyet, charge d’affaires for the Princess, and Don Armando, advisor to Ferdinand helped their respective patriarch with hysterical unintended consequences. Costard and Moth were part of the straw that stirred the drink – passing notes between the lovers. Costard and Moth were particularly fun to watch. Their physicality, especially the fight scenes and their facial expressions at times said more than any words could.
It was nice to see that each role in the show was perfectly age appropriately cast. Whether it was the young lovers or Sir Nathaniel and Madame Holofernes (the curate and school mistress respectively) each person was believable at the age played.
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Given that the Brelby space is compact, set design (Brian Maticic) and space usage has to be economical and the set for Love’s Labours Lost was creative and economical. The stem of the “I” shaped stage (the audience sat on either side of the stem of the “I”) created a nice space between the ends where the library of the castle and the garden where the Princess and her attendants camped were. The space is also very tough to light. The space has a drop ceiling but by strategically removing panels in the ceiling, Brian Maticic lit the space perfectly.
Dance choreography (Shelby Maticic) and fight choreography (Brian Maticic) were well done. The dancing was era appropriate and still managed to stay within the small space. Same thing with fight choreography – it’s hard to “duke it out” in a small space without collateral damage, but it stayed well contained. My only complaint about the fight choreography is that there was too much wrestling around on the floor that could not be seen beyond the front row.
Costuming by Carolyn McBurney, assisted by Melissa Kamel was fantastic. I particularly loved the red dress that they had for Jaquenetta. She had minimal lines, but you could not help but notice every time she came on stage. Of course, some of it could have been the fact that her entrances were accompanied by the song “The Stripper.” The women’s hair by Melody Chrispen was also perfect for the era.
Speaking of music, I have to give special credit to the sound design by April Rideout. The music chosen for the pre-show music was perfect for setting the mood. The Cole Porter selections–lots of Anything Goes– and a jazzed up version of “Call Me Maybe” and “The Stripper” were absolutely perfect.
Love’s Labour’s Lost was a fun introduction to a theater that is going to be a regular stop on our trips to Arizona. If you are ever down in the Phoenix area and you are a theater lover, a show at the Brelby Theatre Company is worth the drive to Glendale.
Brelby Theatre Company presents Love’s Labour’s Lost by William Shakespeare. Performances are Thursday thru Sunday March 14-29. Showtimes are Thursday and Friday 7:30 PM, Saturday 2 PM and 7:30 PM and Sunday 2 PM. The Brelby Theatre Company is located at 6835 N 58th Ave. Glendale, AZ 85301. Tickets are $20.00 and can be purchased online (http://www.showclix.com/event/3776650), by phone at 602-282-2781 or in person at the box office.
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