Michael Russotto, left, and Evan Casey in The Amateurs at Olney Theatre Center
/Photo, Teresa Castracane Photography
But, the show will go on! Via streaming online beginning March 28 at noon through April 5 at Vimeo-On-Demand ($20 for a 24-hour rental with a free trailer).
This is just part of the Olney's digital public offerings to keep theatre alive in this turbulent era. Beginning Monday, March 30 the Olney will host free online classes daily for all ages via Zoom which staff members, National Players, and apprentices will teach.
Story times, playwriting, acting, movement and monologue coaching, play reading, and more will be offered over eight hours of daily classes, arranged by age. It's a fun schedule and welcome diversion for weary parents and children. Check the listings here. No pre-registration is required.
But, back to what brought us here in the first place, The Amateurs: Noah's wife is mad because she doesn't have a name.
The Amateurs was a production for the sophisticated theatregoer, a play within a play or maybe, within another play, too. It's not a "happy ending" play, but an existentialist provocation haunted by the Black Death ravaging the world in the 14th century, somewhat like coronavirus ensnares the world today, and AIDS did.
Searching for the meaning in this medieval setting with several themes left me confused beginning with the Seven Deadly Sins (can you name them?)* presented in ghoulish costumes.
The characters seem lost, without clear direction, much like we are. Jumping from then to now, the playwright, Jordan Harrison, presents an explanation before the play returns to the original setting. The issues are the same: Disaster, ever present.
The wife of Noah (as in Ark) lacks a first name and refuses to board her husband's boat. Actors unroll animal likenesses from a long scroll, and the big, versatile prop, a wagon cart, effectively serves as the ark, a setting for lovers, a birthing place, a speaker's platform, and more, as the actors roll it back and forth from one side of the stage to another, like a slow-motion tennis ball on a court with the audience on two sides facing one another, moving heads to follow the action.
It wasn't all negative; some comedic moments lightened the fare.
Michael Russotto was the screechy God, a conceited and narcissistic image aided in his mission to deliver a production, which the remaining cast members did. They were John Keabler, Noah; Emily Townley, Noah's wife; Evan Casey, Gregory; James Konicek, the physic; and Rachel Zampelli, Rona.
Lighting by Colin K. Bills never missed a moment, whether it was an actor delivering a solo speech or words for a moonlight.sonata.
Sound by Karin Graybash and folk music between scenes flavored the show.
*Pei Lee's Old World costumes captured the times beginning with gluttony (including drunkenness); lust, sloth (acedia?), wrath (anger), greed (avarice), envy, and pride (vanity, vainglory) all dressed head to toe in black, all on stage together.
More members of the creative team were Jason King Jones, director; Misha Kachman, scenic designer; Ben Walsh, production stage manager; and Josiane M. Jones, production director.
Leave it to Olney's talented staff of Jason Loewith, artistic director, and Debbie Ellinghaus, managing director, to keenly forecast the future and choose Amateurs for this season which keeps going.
About 90 minutes without intermission.
Coming April 4 at 11 a.m. is announcement of next season's selections at the Olney and also on April 4 at 5 p.m. is a panel discussion: "What's Next for D.C. Theatres," both presentations to be live-streamed on Facebook and YouTube.
Where: Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832
Next up: Read all about it here.
For more information: 301-924-3400 for the box office or 301-924-4485
patricialesli@gmail.com
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