Word: efron
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Dates: during 1990-1999
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Nick Gordon's Scoop Rosenbaum was slimy yet endearing, and the interplay between the character's "A+ ambition, A- charisma, and C+ loyalty" was certainly entertaining. Decidedly lively, Gordon provided a dynamic contrast well with Efron's and Poreba's brooding characters...
...interactions with the other characters. The role of Heidi demands a juggling act between Heidi's personal problems and the many different relationships she holds with the other characters. Poreba maintained Heidi's sense of "self" while contributing to the development of others, namely Peter Patrone (Mike Efron) and Scoop Rosenbaum (Nick Gordon). Poreba's Heidi was vividly 3-dimensional. Most striking were Poreba's monologues, in which her meaningful pauses, shifting pace and fixed concentration were magnetic...
...Peter Patrone, Heidi's longtime friend and "the best doctor under 40 in New York," Mike Efron fully developed his character without off-setting or being off-set by the swirl of other issues around him. In depicting Peter's decision to reveal his homosexuality to Heidi and in his response to the AIDS crisis--both dealt with in the midst of a play so laden with feminist concerns--Efron holds his own with captivating power. Efron's convincing combination of wit, cynicism and vulnerability made his character especially sympathetic to the audience. His final duet with Poreba...
Although outranked by the King and the Princess, it is clearly Berowne and Rosaline who are at the center of Love's Labor's Lost. Michael Efron is almost perfect as Berowne, and he makes the character's alternate moods of ironic detachment and sincere (for him) emotion believable. Efron gives a smooth seductive performance reminiscent of the late great John Ducey '91. As Rosaline, Berowne's sometime lover, sometime persecutor. Emily Gardiner is a appropriately tough and saucy. Gardiner does not let her character slip into sentimentalism; this consistency is vital to making Rosaline's final actions understandable...
...cast that makes the production. Benedick (Mike Efron) transforms himself convincingly from the cynical bachelor to lovesick schoolboy. He is at ease with the verse and knows how to communicate the jokes buried in the Elizabethan English to the audience without awkwardness. But he also recognizes the serious aspect of the play, resisting the temptation to eke a laugh out of every line...