Word: rosann
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...fits snugly into the theatre-in-the-round setting. The five characters work quickly but too loosely, relying on a casualness that often lets the show get by as a friendly get-together rather than a plausible dramatic situation. The intital comedy, evolving around a buzzing airplane, establishes Andy Rosann's Bill as the comic of the group-the man who creates the funniest gags, and makes the even funnier gestures. Gradually the rest of the cookout's participants warm up to Bill's level with Cindy Cardon's Pat and Lorenzo Mariani's Howard forming a chilling team...
...turn each character receives air time for a few minutes of monologue, of which Rosann's was most impressive. The glib prankster has the timing of a well-practiced magician; he turns banal lines into comic magic. Cardon and Stone have their moments too, especially when they alternate in reciting a tale of their unexpected urge to relieve themselves on the wide-open beach...
...ROSANN REESE...
...direction of Rosann M. Weeks is where the production falters. It has a clock-like regularity which only serves to emphasize the problems of a play that consists of truncated dialogues. Each scene transition has the actors shout and bustle, only to freeze in position as the lights come up for the next scene. During most scenes, one character mimes something "homey," like folding laundry or cooking pot roast, as the other sits nearby and philosophizes. The widening emotional gap that mars the production is caused by this deadening regularity of style. The vignette approach is good for portraying isolated...
...Submission and The Bald Soprano by Ionesco, two plays with a spooky flux between motion and verbiage. Harnessing the two elements for full impact calls less for enthusiasm, which these productions have in quantity, than for measured coordination of stage blockings. In the HTC program notes, Director-Producer Rosann Weeks asserts an ideal commitment to "vital, direct, and positive communication with our audience." Somehow or other, their good intentions get tripped up in a confusion of artistic priorities, which leaves the first play choppy, the second slow-paced and staid. So the communication is murky rather than "positive...