DC Theater Arts

Tag: Kimberly Pyle

2015 Capital Fringe Review: ‘MacWHAT?!’

Few things are as “Capital Fringe” as an irreverent take on the Bard, and King’s Players have got themselves a hell of an irreverent take in their outrageous farce MacWHAT?!

Fittingly enough for Shakespeare, the ensemble plays a troupe of actors rehearsing an offbeat Macbeth in which genders are switched and everything (and I mean everything) is played for a laugh. The Scottish Play within the play is directed by Max (Timothy R. King), a suburban megalomaniac armed with tenacity and the most dangerous weapon in all of theatre: a concept.

Each character attempts to subvert Max’s controlling vision by adding their own personal wrinkles to the play, whether it be Chelsea’s (Kimberly Pyle) insistence that she dance all of Banquo’s lines or Alison’s (Jacinda Bronaugh) many successful endeavors to portray her characters in the nude. It’s safe to say you’ll be seeing a whole lot more of Lennox and Duncan than in your typical Macbeth.

King is electric as the conceited and overbearing Max, no doubt poking a little fun at himself along the way. Jane Gibbins-Harding is hilarious as stand-in stage manager Susie, a headgear-wearing dork apparently put on this Earth with the sole purpose of annoying her Mean Girl older sister Olivia (Brittany Morgan). Another standout is Emily Canavan, whose character Monica insists on playing Macbeth totally straight despite her castmates’ continued plunge into absurdity. This leads to several terrific bits like Monica’s futile attempts to avoid being upstaged by a twerking, scantily-clad Olivia.

Nikki Gerber, Mitch Irzinski, and Eilidh Pierpont-Pyle round out the cast, each with their own fun quirks and innate abilities to get on Max’ nerves. The onstage action is supplemented by sharp video projections from Randy Philipp and music by Kevin MacLeod. A scene near the end featuring a heavy metal masque serves as testament to the latter’s abilities.

The biggest takeaway from MacWHAT?! is that this group is having a ball performing with each other. As Max notes throughout, the opinions of the audience and critics don’t matter as much as the fact that the troupe gets an opportunity to express themselves. The duality of such a statement is not lost on this writer, so far be it from me to be excessively nitpicky. The purpose of MacWHAT?! is not to be profound. It’s to be amusing. And if you’d find it amusing to watch a group of pals tear off their clothes and riff on Shakespeare, well, more power to you. It is Fringe, after all, so go ahead and let MacWHAT?! satiate your appetite.

Running Time: 85 minutes.

MacWhat?! plays through Sunday, July 26, 2015 at Atlas Performing Arts Center’s Lab II – 1333 H Street NE, in Washington, DC. For more information or to purchase tickets, visit their Capital Fringe page.

RATING: BEST OF THE 2015 CAPITAL FRINGE

July 13, 2015
Capital Fringe 2014 Review: ‘Malevolence’

King’s Players, a young company in DC, named after Artistic Director and Founder Timothy R. King, has presented well-received original shows at the last two Capital Fringe festivals. Its 2014 offering is a debut drama written and directed by King about the psychic and relational fallout when an attractive female high school student, Sara (Jane Gibbins-Harding), accuses her thirty-two-year-old male math teacher, Rob (Mitch Irzinski), of inappropriate sexual contact. The question as to what really happened—did he or didn’t he?—hovers disturbingly over the play.

In the first scene Sara asks Rob what she can do to remedy her failing grade, and we are clearly led to suspect that quid pro quo sex with him will be the answer. Once the anonymous accusation goes public, conversations and confrontations follow between Rob and his wife (Kimberly Pyle) and daughter (Brittany Morgan), the school principal (Jacinda Bronaugh), and a teachers union rep (Nikki Gerber). Though Rob insists he’s innocent, these women all presume his guilt.

Well-conceived projections filmed and edited by Randy Philipp swiftly set up scenes, intersperse television interviews, and otherwise keep the storytelling moving briskly. But at only 40 minutes, the play seems too slight, giving its own substance short shrift. The focus stays mainly on Rob, whose role is scarcely sketched in (though Irznski performs it with compelling dimensionality). But we don’t find out much at all about Sara, and certainly not enough to make sense of the character’s curious choices. So a lot of the time Malevolence plays like David Mamet’s Oleanna lite—meaning it skims the surface of its dicey accuser-accused situation without much character texture and dramatic depth.

Still, if this script can be considered a first draft from which lessons can be learned that could prompt a richer more insightful iteration, it’s a worthy effort. And even this too-quick take provokes a headful of thought on a hot topic.

Running time: 40 minutes, with no intermission.

Malevolence plays through July 27, 2014, at Goethe Institut—Mainstage-812 7th Street NW (at I Street), in Washington, DC. For performance information and to purchase tickets, go to their Capital Fringe page.

2014 Capital Fringe Show Preview: ‘Malevolence’ by Timothy R. King.

Review of King’s Players 2013 Fringe show, ‘Mme. Macbeth,’ by Anne Tsang.

Review of King’s Players 2012 Fringe show, ‘In the Company of De Sade,’ by Amanda Gunther.

July 13, 2014
Capital Fringe 2014 Preview: ‘Malevolence’ by Timothy R. King

Already in rehearsal for over a month, the news hit home very hard. A teacher at a local school accused of impropriety. The very issue at the core of Malevolence once again saturating the news. Unfortunately, Fairfax County is no stranger to this kind of news. However, this time, two cast members had worked with this teacher and I teach at a middle school that feeds into the high school, so many of my students have worked with this teacher.

Is he guilty? Is he innocent? Does it matter?

That’s the tag line of Malevolence. It’s also the attitude with which the news has been reported. At best. At worst, the tone has been, “This guy is so guilty.” One news source actually identified the suspect’s home block.

Guilt or innocence doesn’t matter anymore.

That’s one of the sad truths addressed in Malevolence; a play that is even more relevant now than ever.

Inspired by other events (and not this more recent occurrence), Malevolence is about the power of rumour, the truth of perception, and how the past is never truly past. In the play, a well-liked and well-respected teacher who is arrested on an allegation of misconduct. As his life spirals out of control, he is left questioning why. Or maybe he did something inappropriate, after all.

Malevolence stars King’s Players veterans Mitch Irzinski, Jacinda Bronaugh, Nikki Gerber, Jane Gibbins-Harding, Brittany Morgan, Kimberly Pyle, and Conor Terry is the Stage Manager. This is King’s Players’ third production, following In the Company of de Sade and Mme. Macbeth. This is our first show using projections and those projections have become an integral part of the show. Trusting technology is scary but we’re doing it, anyway.

Goethe Institut—Mainstage-812 7th Street NW (at I Street), in Washington, DC.

We have air conditioning!

There are 5 Shows Only:

Saturday, July 12th at 3:30 PM

Tuesday, July 15 at 8:30 PM

Saturday, July 19th at 2:15 PM

Wednesday, July 23rd at 8:30 PM

Sunday, July 27th at 4:30 PM

PURCHASE TICKETS HERE, OR CALL (866) 811-4111.

July 1, 2014
Capital Fringe Review: ‘Mme. Macbeth’ by Anne Tsang

When you hear that a theater company is performing Shakespeare’s Macbeth, you probably think to yourself “Oh yea…I know Macbeth. How will this be any different from all the other times I’ve seen this show?” Well, if you go see King’s Players Mme. Macbeth at this year’s Fringe show, you are in for a surprise! How do you make a 400+ year old play seem new? Why, you switch the gender of all the players, of course!

In this production, Macbeth (Kate Gadway) is a woman, so is King Duncan (Jacinda Bronaugh), Banquo (Kimberly Pyle), Malcolm (Brittany Morgan), and Macduff (Alexia Poe). In this gender-bending version of Macbeth, the woman are kings and rulers, they are the warriors. All the female parts of the traditional play are, of course, now males—Lady Macbeth (Timothy R. King), Lady Macduff (Danny Rovin), and various “female” servants.

This script and storyline for this production remains largely the same as Shakespeare’s original. The show opens with three witches (played by King, Mitch Irzinski, and a voice off-stage which in later scenes is replaced by Rovin) deciding that they will meet with Macbeth, Thane of Glamis and Banquo. The next scene, we are introduced to the Royal family when a wounded soldier reports to King Duncan, and his sons Malcom and Donalbain (Maddie Gadway) about Macbeth and Banquo’s military victory over Norway and Ireland. Macbeth and Banquo then meets with the mysterious witches who tell Macbeth that he will be king and tells Banquo that he will father a line of kings.

This leads Macbeth, at the urging of his wife Lady Macbeth to plot to kill King Duncan and take the throne for himself. Once on the throne, Macbeth haunted by his evil doings, becomes more and more suspicious and orders more assassinations, murders, and other cruel punishments to protect his seat on the throne. He sends murderers (Jane Gibbins-Harding and Morgan) after Banquo and his son, Fleance (Gadway) as well as orders the murders of Lady Macduff, Macduff’s young son, and his entire household after Macduff flees to England because of his suspicions about Macbeth. Even during all of this, Macbeth knows he cant be defeated, because of the witches’ prophecies that he can’t be harmed by anyone born of woman, and that he is safe until Great Birnam Wood comes to Dunsinane Hill. But during Malcolm’s battle to regain his proper seat on the throne, all of these prophecies comes true and Macbeth is killed.

Not only does Mme. Macbeth call to question gender issues and stereotypes but there are some great fight scenes choreographed by Danny Rovin and Fight Captain Mitch Irzinski. Gadway is fantastic as Macbeth, sturdy and manly, all the things you would expect of a great warrior. But she has a certain gracefulness that only a woman could bring to the role.

King in his role as Lady Macbeth is another highlight. He personified and projected the ladylike qualities that a highborn woman such as Lady Macbeth would possess with his coquettish smile and coy glances. While this is commonly known as one of Shakespeare’s greatest tragedies, there were still some great comedic moments, such as when the stage hands tried to drag a very heavy, Lady Macduff off the stage after she was murdered.

Four and a half stars for great performances from a fantastic cast and exciting fight scenes. I’d say this is definitely one to check out, especially if you are a fan of The Bard’s work!

Mme. Macbeth plays through July 28, 2013 at Fort Fringe Redrum – 612 L Street NW, in Washington, DC. For performance times and to purchase tickets, visit the show’s Capital Fringe page.

LINK
2013 Capital Fringe Show Preview: ‘Mme. Macbeth’ by Timothy King.

July 13, 2013
2013 Capital Fringe Show Preview: ‘Mme. Macbeth’ by Timothy King

King’s Players presents Mme. Macbeth, a new perspective on a classic.

Walking down 7th Street NW, heading from a performance of Georgetown Theatre Company’s Night of the Living Theatre (by Dead Playwrights) at Goethe to Venus Theatre’s Lysistration at the Warehouse, a thought came to me: What if Macbeth was a woman? Not a woman playing a man but actually a woman. Lady Macbeth would be a man. In fact, all the characters would be switched. The Witches would be men. Lady Macduff, a man. Banquo, Malcom, Macduff, Duncan, Ross, all played by women. That would mean women would fight. It would also mean opportunities for women—and men—to play parts they never would be able to play otherwise.

Kat Gadway (Mme Macbeth).

This was 2007. I continued to Fringe in following seasons with The VonPufferhutte Family Singers and I Like Nuts: The Musical with I Like Nuts: The Company. When that company decided not to do a show, I was inspired to form my own company: King’s Players. Rather than go with my original idea, for our premiere production we tackled an original play, In the Company of de Sade, with an extremely game—and capable—cast. My goal was to make a splash and, thankfully, we did. With Mme. Macbeth, we will do it again. It’s not easy to find a new take on one of the best-known plays in the English-speaking world—a play that is over 400 years old—but we have.

With Fringe 2013, King’s Players will finally tackle the play that inspired me to start the company. Our Macbeth becomes Mme. Macbeth. Danny Rovin’s fights are going to be surprising and exciting in their brutality and variety, including sword, dagger, rope, hand-to-hand, Danny’s signature knee-to-the-face, and a blinding. The cast is extremely talented, passionate, dedicated, and game for almost anything.This Macbeth is unlike anything you’ve ever seen. It goes beyond casting. We’ve reinterpreted the relationships between Macbeth and Lady Macbeth, Macbeth and Banquo, and the Witches and the world of the play. Simply, this Macbeth will blow your mind.

You may think you know Macbeth.

You don’t.

Kat Gadway was my first choice for Macbeth. She played Lady M. with Vpstart Crow and was one of the cast members in de Sade. Next was my fight choreographer (as mentioned before), Danny Rovin, who performed in and choreographed the climactic final fight in de Sade He enthusiastically accepted my offer of carte blanche with the fights and the roles of Witch 1 and Lady Macduff. The rest of the cast fell into place, starting with others from de Sade, including Mitch Irvinski as Witch 2 and Gentlewoman, Alexia Poe as Macduff, Brittany Morgan (one of my former students) as Malcom and Murderer 2, with Jacinda Bronaugh bravely tackling 4 roles, including the ill-fated King Duncan and officious Doctor.

I had worked with Kimberly Pyle years ago; after seeing her at an audition, I asked her about Mme. Macbeth. She accepted as Banquo and Seyton. I had offered a role in de Sade to Aimee Snow. She was unable to do that show, but able to do Mme. Macbeth, so she is Ross and The Porter. Two additional former students joined the cast: Jane Gibbins-Harding as Murderer 1, Angus, and Young Siward, and Maddie Gadway as Donalbain, Fleance, and Macduff’s Son. The final cast member was Nikki Gerber. She was referred by Kimberly Pyle. I asked her to come read, she fit in with everyone, was perfect, and plays the roles of the Captain, Servant, and Murderer 3. Our stage manager, graduating High School senior Conor Terry, was recruited by our Macbeth, Kat Gadway.

Together, we will challenge the audience. You may love it. You may hate it. You will not forget it.

Where: Fort Fringe – Redrum, 612 L Street NW, Washington, DC 20001 (on L Street NW, between 6th and 7th Streets). It’s a short walk from the Gallery Place/Chinatown Metro stop.

When: Thursday, July 11th at 6:15 p.m., Sunday, July 14th at 9:15 p.m., Wednesday, July 17th at 9 p.m., Special Witching Hour Show-Saturday/Sunday, July 20th and 21st at 12:15 a.m., Sunday, July 21st at 11 p.m., and Sunday, July 28th at 12:30 p.m.

PURCHASE TICKETS HERE.

This production is presented as a part of the 2013 Capital Fringe Festival -a program of the Washington, DC non-profit Capital Fringe. Capital Fringe is a 501(c)3 nonprofit organization founded in 2005 with the purpose of connecting exploratory artists with adventurous audiences by creating outlets and spaces for creative, cutting-edge, and contemporary performance in the District. Capital Fringe’s vital programs ensure the growth and continued health of the local and regional performing arts community by helping artists become independent producers while stimulating the vibrant cultural landscape in our city. Official Hashtags: #outsidetwire #capfringe13 #CapFringeSoldOut

June 1, 2013