Darkhorse Theater
4610 Charlotte Ave.Nashville, TN 37209
Charlotte Pike/ Sylvan Park/ West Nashville
297-7113
darkhorsetheater.com
Upcoming Events
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Pokerface (Auditions)
- Sat., May 26, 12-3 p.m.
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Future Break (Opening)
- Through May 27, 7:30 p.m.
Past Events
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Memorandum
- May 4-19 2012
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8
- Mon., May 7 2012
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In the Pastor's Shadow
- Fri., April 20 and Sat., April 21 2012
Reviews/comments (7)
Showing 1-7 of 7
Re: “Dr. Horrible's Sing-Along Blog”
We saw this opening night and they did a great job. A must see.
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Re: “Louie & Ophelia”
Great show! There were only 2 actors, Louie and Ophelia. They did such a superb job that you felt like more actors were present. They illustrated precisely the complexities of a relationship. We initially thought one thing was about to happen when Louie and Ophelia got together, especially since she has children but this play flipped the switch. You must see to know what I'm referring to!
Re: “Sexy Coffee”
Went to see the Sexy Coffee tonight (opening night) and I must say I was extremely impressed with the show. Despite being initially confused when the first act started (with only a solo actresses that was live... and with other cast members “on stage” above the main stage virtually)… it is a must see (a rare great one for Nashville).
I also loved that it was just over an hour long for the entire play. (Perfect for myself with a short attention span on especially for someone that might be on a date night… and we were able to have dinner at a reasonable time after the show.)
Five out of five stars on my card! -Scott
Re: “The Fall to Earth”
I was amazed and delighted. The play was well written and well played. Wesley Paine did an outstanding job in the lead role. The audience felt both empathy and surprising disgust with this character and was held mesmerized in their seats. There was not a dull moment.
Re: “Cyrano de Bergerac”
Cyrano de Bergerac, Presented by ACT1 at The Darkhorse Theater
Sometimes, when sitting in an inordinately empty auditorium, theatergoers can feel themselves to be a vanishing breed, and some evenings, when the performance of choice has not cleared the bar, we may fear that quality productions are sharing that ignominious fate. The only antidote to such insidiously creeping dejection is a certifiably top-notch show. ACT1’s mounting of Edmond Rostand’s Cyrano de Bergerac, beginning a three-week run at the Darkhorse, is just such a rare elixir, guaranteed to revive the most desiccated spirit.
Beginning in the feeble emanations of simulated candelabra, Director Elizabeth Hayes’ simple but opulent vision of this seasoned perennial effortlessly springs from the romantic shadows of our collective unconscious with so much verve and specificity so as to hold us in its velvet grip for an evanescent two hours before intermission. Whether one chooses to classify Rostand’s masterwork as he did, a “heroic comedy,” or a tragic romance with melodramatic features, its longevity as well as the grandiloquence of the title character automatically command a certain respect. This production very arguably expands that deference into the realm of reverence. The century-old strapping-good story of love by proxy is allowed to take and hold center stage, with Daniel Sadler’s dark-curtained setting and Steven Steele’s attentively subdued lighting providing a neutral ground for a resplendently period-costumed cast of twenty-five.
Rarely is a troupe of this size and depth of talent assembled for performance at any level of production, but particularly in an unremunerated community effort like ACT1. Here is amateur theatre in the noblest sense of the term; this love story is being performed for love of the experience. Lead players through stalwart supporters exhibit the solid consistency of tone and energy inherent in the best ensemble work. Ryan Williams’ Cyrano is broad-shouldered and robust, the perfect balance of rough-hewn swash and sharpened wit. His vocal strength is sufficient to command attention even from off-stage, yet his anguished asides are nuanced and compellingly poignant. Williams manages to balance the hero’s larger-than-life personality with a realistic sensitivity of emotion, minimizing our need for willful suspensions. Kellye Mitchell, a proven comedienne on the local scene, here rises to the level of a mature leading lady of unflawed elegance and power. We never doubt Roxane’s confident ability to twist a pompous count or Spanish sentry to her will -- coquettery as an art form. Matthew Scott Baxter as Christian is delightfully coltish and hesitant as a young novice soldier and lover. Alan Lee, as the deliciously craven and lubricious Comte de Guiche, proffers precise diction and demeanor in antagonizing virtually everyone. Jack E. Chambers, as Cyrano’s stalwart friend LeBret, gives sharp-edged depth to a slimly-written character. Full-bodied supporting turns are also provided by Bob Roberts as boulanger and aspiring poet Ragueneau, Diana Holland as Roxane’s chaperone Duenna, and L.T. Kirk, Rodrick Topp and Eric Ventress as a trio of fey rakes.
The argument for a tragic Cyrano posits this otherwise courageous man’s fear of possible ridicule for revealing his love as his tragic flaw. That same reluctance, extended into a 15-year suppression of the truth, also stands as the chief evidence of his idealized romantic strength of character. This psychological incongruity represents a significant aspect of the play’s charm and staying power. We wish so much to believe in this unbelievably expansive character because his dichotomous soul so closely resembles our own conflicting values. From either direction, this grand persona demands praise. Ms. Hayes and her associates have honored that fact so keenly that praise must be heaped upon their exceptional effort. This is a production you miss to your detriment.
-- Bob Fish
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