As It Is in Heaven Play About Shakers Reviews
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The Shaker Society, a Protestant monastic community, rebelled confronting the formality of the Church of England and sought to imitate the archaic Church. The sexes were segregated, practicing celibacy, pacifism and a customs of goods. Their name came from the turning and shaking that for them were dances of religious ecstasy.
Hutton reflects what happens in many religions in her story of what happens to nine women in an 1838 Shaker district in Kentucky. Hannah, the eldress, in a fierce authoritative functioning past Lori Berg, is appalled past the visions of angels proclaimed by the frail youngest newcomer, Fanny. Eventually all the sisters except Hannah declare they see angels, visions which state of war with the orderly blueprint of work and prayer Hannah has spent a decade achieving.
Whenever the sisters feels "a gift" of laughter, ideas, whatever, they run off and follow it leaving the plough in the field or the churn in the butter. One tin empathize with Hannah's frustration. The deft and unexpected ending develops Hannah's grapheme to the end. Hutton is no mere didactiscist. Hutton's gift for grapheme is, every bit the sisters would say, a approval. The women of assorted ages, backgrounds and talents, are bonded by their spiritual life and the support that enriches their sisterhood.
Although the cast is uniformly excellent, some actresses accept more to piece of work with than others and some brand a meal out of a morsel. Robin Knight brings a stunning immediacy to the passionate child-similar Izzy and Barbara Kerr Condon projects the nourishing warmth associated with a cook who loves her work, also equally a beautifully-pitched singing voice.
In that location are potent performances from Susan Ballad Davis as Phoebe, the deaconess who executes her turns with military machine precision and tart Deborah Lynn Meier as Polly, the only newcomer who has seen something of the earth from working on her back at a brothel and the only i who stands up to authority in supporting Fanny's vision and Izzy'south drastic yearning to stay with the sisters and not exist sent dwelling house to her father. In Meier's hands, Polly struggles to control both her temper and her insight. Bonnie Bailey-Reed is a totally believable Jane, who had to follow her husband into the commune because all her babies died. Staci Michelle Armao plays Fanny, the visionary, with passionate effeminateness and what Hutton tells us virtually her life goes a long way towards explaining how she slips out of this world. Rebecca Hayes as deaconess Betsy and E. P. McKnight as Rachel create sensitive solid performances.
Director Marianne Savell bring out the sense of humor, careful structure and dramatic build in Hutton'south play to make this a historically viable and vividly theatrical feel. She utilizes Tim Farmer's unproblematic set design of benches to plow them into trees, projecting furnishings equally believable as Fanny's angels. Far from least is the music, original Shaker songs stunningly directed by David O and choreographed by Brian Paul Mendoza. Their contributions are intrinsic elements in this unique and welcome production.
LINKS
Final Train To Nibroc, also by Arlene Hutton
AS It IS IN HEAVEN
Playwright: Arlene Hutton
Director: Marianne Savell
Cast: Barbara Kerr Condon (Peggy), Lori Berg (Hannah), Susan Carol Davis (Phebe), Rebecca Hayes (Betsy), E. P. McKnight (Rachel), Robin Knight (Izzy), Staci Michelle Armao (Fanny), Deborah Lynn Meier (Polly), Bonnie Bailey-Reed (Jane).
Ready Design: Tim Farmer
Lighting Design: Bill East. Kickbush
Costume Design: Carolyn Lancet
Sound Pattern: Geoff Green
Musical Management: David O
Choreographed past Brian Paul Mendoza
Running Time: Two hours with 1 10-infinitesimal intermission
Running Dates: February 21-May 18, 2003
Where: Actors Co-Op, The Crossley Theatre, 1760 Northward Gower Street, Hollywood, Ph: (323) 462-840
Reviewed by Laura Hitchcock on.Apr thirteen.
Source: http://www.curtainup.com/asitisinheaven.html
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