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Saturday, May 17, 2008

THE ARTS

Sound system fails ‘Best Little’

  • By GEORGE MORRIS
  • Advocate staff writer
  • Published: Apr 30, 2008 - Page: 1E - UPDATED: 12:35 a.m.

To fully enjoy “Best Little Whorehouse in Texas,” patrons need to bring two things to Baton Rouge Little Theater. The first is a tolerance for bawdiness. The second is earplugs.

There are plenty of sparkling singing and dancing performances for the properly prepared theater patron to enjoy. One can hope that BRLT will adjust the volume so the former can be better enjoyed.

Celeste Veillon is the star of this story, guest directed by Philip Mann, about a bordello called the Chicken Ranch that operated for decades as an open secret in the fictional town of Gilbert near Texas’ capital city, Austin. Veillon portrays Mona Stangley, who now owns and runs the establishment after once having worked there. She runs a tight ship, takes good care of her girls and maintains a cozy relationship with Sheriff Ed Earl Dodd (played by Kevin Harger), which helps keep the illegal operation under the radar until a pompous, crusading TV personality, Melvin P. Thorpe (Phil Blanchard) makes a big issue of it.

Veillon is a great Miss Mona, and she is the axis around which most of the large cast revolves, many of them doing double or triple duty. Notable individual performances come from Timothy Callais in several dancing roles; Cliff Thompson, who partly narrates, through speaking and singing, as local newspaper editor Edsel Mackey; Rosalind Reynard as Mona’s assistant; Jeff Williams as the local mayor, state senator and, for a moment, as a really ugly woman; and Emily Wright, as the shy girl who is new to the profession.

As well, there are plenty of dance numbers involving the nine girls at Miss Mona’s and nine men portraying the Texas A&M football team, whose good season earns them a night at the Chicken Ranch.

The sexual pantomiming in these dance routines are a bit raunchier than regular BRLT patrons have seen on this stage. While it seems superfluous to give a coarseness advisory for a show that has whorehouse in its title, consider yourselves advised.

There is no hesitancy, however, in issuing the following observation: This is the worst sound management a BRLT musical has had in at least the past 10 years. Had it only been the occasional failure of microphones to work, which hindered a few songs, it would be no big deal.

It was the opposite problem that, on Saturday, ruined Reynard’s “Twenty-Four Hours of Lovin.’” Reynard has a powerful voice — perhaps so much so that she needs no microphone at all. Certainly, the audience didn’t need her high notes amplified to the point of causing pain, which is what happened. Unfortunately, her duet with Veillon suffered the same problem. Veillon has a superior voice, not only in terms of strength and tone but also texture, but it’s hard to appreciate nuance when it requires fingers in the ears just to listen.


Comments (24)
artsluver
Wednesday, Apr 30, 2008
9:46 AM

Baton Rouge already suffers from lack of general community support for the arts. It really upsets me when I read criticisms of our local theatre performances in the paper. BRLT and other local art venues struggle to survive, and we are fortunate to have high caliber shows in a city that is far from being Austin, TX. Instead of publishing criticism to scare the whole city away from attending this theatre performance, the writer could have merely warned BRLT in private that the sound needed improvement. Heck, BRLT was probably already trying to figure out what they would do to fix the problem when this article was being written.
Bill&Melinda
Wednesday, Apr 30, 2008
10:25 AM

The performance was excellent, so do not take the comments of the critic to heart. The audience as a whole appreciated the performance and did'nt give the cast a standing ovation at the end of the performance because they needed to stretch legs. Go see it yourself, it is certainly a bargain for 10 bucks, It's a hoot and best of all it will put a smile on your face, I guarantee it.
Media Guy
Wednesday, Apr 30, 2008
11:07 AM

While I agree that the TRUE community theatres (ones that do not bring in professional actors or directors) in the area do suffer from lack of support. Critics for The Advocate tend to always praise BRLT for whatever they do. Audiences tend to routinely give a standing ovation even when the performance doesn't merit it. Mr. Morris, by saying that the audio was simply to loud, should not get stoned by the masses. Lets judge ALL "community theatre" equally and not put BRLT on such a pedestal that indicates they are above criticism. Lovers of the arts should visit the other venues and see the great work that is being done by local, non-paid actors and directors. It will be well worth their effort.
A True Arts Lover
Wednesday, Apr 30, 2008
12:55 PM

As a theater major, I agree with Media Guy. If the term community theater is ever going to lose its pejorative connotations, we need to stop holding it to far lesser standards than professional theater, especially when any “community” theater goes out of its way to exclude the community by bringing in professional actors and directors. Perhaps, BRLT could save money by not hiring actors and directors and earn more support by engaging the community more. I think reviewer is entitled to his opinion and laud him for being honest.
Rosalind Reynard
Wednesday, Apr 30, 2008
2:48 PM

I would like to thank the supportive people who responded to the newpaper's critic regarding Saturday's performance of "The Best Little Whorehouse in Texas". I also received many compliments from audience members on Saturday's performance in spite of the sound problems. We also received a standing ovation. FYI - none of the actors receive payment at Baton Rouge Little Theater. My prayer is that the sound system is properly adjusted for the remaining performances. I hope that more people attend to make judgments for themselves. In fact, I was told that most of the remaining performances are sold out.
elouise
Wednesday, Apr 30, 2008
3:15 PM

I I wonder how well you would have performed , if you were in the cast? Maybe next time you'll be the singer.
A True Arts Lover
Wednesday, Apr 30, 2008
3:38 PM

I assure you Elouise, I have been on stage and performed. I have also run sound. I think I would have done rather well. However, neither my criticism nor Mr. Morris’s insinuated that the acting was poor. By insisting on holding community theater to much lower standards than professional theater, we are saying that it is impossible for community theater to be as good as professional, and I know that is not true. If I am critical, it is because I want to see the arts thrive in Baton Rouge, in the same way a teacher would not except C level work from a A level student.
Actor86
Wednesday, Apr 30, 2008
3:45 PM

As an actor...a community theater actor...and one who works out of BRLT I would like to inform the readers that I have NEVER been paid as an actor here, and about 95% of actors working out of BRLT can say the same. BRLT has never appeared to have been put on a 'pedastal'. This might be an evident fact had BRLT in fact ONLY recieved good reviews in the past...however this is not the case. In fact BRLT has been subject to much criticsm, as well as praise. The review was NOT bad. George Morris said NOTHING about the performances being less than acceptable, or that the production was not up to par.... that night... our sound system goofed. This is a fact that is obviously a mistake on the theater's part... a mistake they recognize and take responsibility for, and plan to fix. I think the difference between professionalism and those who claim to hold the status is an organizations ability to grow from constructive critism rather than dwell on a mistake that can be fixed with a simple switch. If we dwell on the opinions of one person....and expect gratification for weeks and weeks upon weeks of work from the viewing of one night.... then we must ask ourselves if we are involved in theater for the right reasons. This show is AMAZING! Its amazing to be a part of...its amazing to watch...and it will make an AMAZING impact on BRLT as well as the Baton Rouge Area. It may not be what BRLT patrons are used to, but if we limit ourselves... it will never be possible to grow. And without growth... you die. Brlt will be around for a long time....and I send my extreme kudos for its efforts.
LSU Student
Thursday, May 01, 2008
9:27 AM

To comment on the statement "None of the actors are paid", you only need to look back one show to see that a professional actor was brought in. In fact, the director of Whorehouse is a professional. I personally think that community funds should not go to bringing in professional actors/directors from out of state when we have an abundance of quality talent here in the Baton Rouge area. Bring the "community" back to community theatre. Again, just one persons opinion.
TIMOTHY A. CALLAIS (actor86)
Thursday, May 01, 2008
1:30 PM

The fact that the theater is ABLE to pay a professional actor to perform in a show should be meritted and not criticized. The rest of the actors were volunteers. In fact... Ana Andricain VOLUNTEERED to teach some acting workshops...just so the theater could earn back some of the money that they had no choice but to pay because of equity standards and requirements. It is true that a professional director was hired to direct 'Whorehouse'...but he wasn't paid anymore than every other director gets paid to direct. In case you didn't realize... every director...be he/she professional or a local theater buff...gets paid to direct a show at BRLT. BRLT is and will remain a community theater... and arguing its policies is pointless...and I'm sure we all have better things to do with our time. No one has argued the fact that there is other game in town. Brlt is not trying to compete with anyone.... the point of this comment discussion was to argue the criticsm of our sound system.... which has been fixed. End of discussion. We still have 2 weeks worth of performances of WHOREHOUSE...and we are practically sold out for the rest of the run. The sales speak for themselves. Break a leg tonight everyone! And for the rest of the run! -Timothy A. Callais
TIMOTHY A. CALLAIS (actor86)
Thursday, May 01, 2008
1:46 PM

A total of ONE actor has been paid in my history with BRLT. Ana Andricain who IS an equity actress who wanted to play the part...and because of regulations...the theater had to pay her. Did you know that Ana VOLUNTEERED her time to teach some Musical Theater workshops so the theater could earn back some of the money? The fact that the theater is doing well enough to be ABLE to hire a professional should be meritted and not criticized. And it is true.... a professional director was hired to direct WHOREHOUSE.... but Philip wasn't paid anymore than any other director gets paid to direct a show here. Every director gets paid. A community theater is not made a community theater simply because of its performers....granted that is where the heart and passion come from... but the ENTIRE baton rouge community is responsible for keeping BRLT's doors open. I think we all have better things to be doing with our time than to be having this type of discussion. The review was about a problem with the sound system we had on ONE NIGHT...and it has been fixed. End of discussion...end of story. We still have two more weeks worth of performances. And every single one of them is merely a couple of tickets away from being sold out. The sales speak for themselves. The theater stays open because of its patrons, and obviously they are pleased with it's history since they are continuing to call my phone to order tickets. BRLT is NOT the only game in town...and its true...there is A LOT of good theater in Baton Rouge.... BRLT is concerned with BRLT...and not competing with anyone else. BREAK A LEG TONIGHT AND FOR THE REST OF THE RUN EVERYONE! Its an amazing show, and people know it... continue the good work...and lets all remember why we're here in the first place. -TIMOTHY A. CALLAIS
Shawn
Thursday, May 01, 2008
2:26 PM

I would like to thank everyone for their opinions and concerns about "Best Little" here at BRLT. As the Technical Director and Resident Designer at the theater I appreciate when I hear certain technical elements are not what they should be. This is the only way we can grow and evolve from season to season. We have made huge leaps forward since I have been here this year and our commitment to this will be ongoing. I will assure the patrons of my commitment to fix known problems as quickly as they arise, as I too have standards of excellence that I hold the theater to on a daily basis. Our patrons have had trouble in the past with hearing our actors on stage so we have taken measures to increase the level in the house by replacing failing old equipment. From what I am hearing we need to find a happy medium. I would invite patrons of the theater to go to our website at www.brlt.org and click on my link to write with any questions or concerns you may have regarding our shows here at the theater. I will try to answer questions as they arise. Thanks again for your support of BRLT who has been an active community partner for over 63 years.
MIchael Ruffin
Friday, May 02, 2008
5:18 PM

I would like to add to the great feedback on this story that every night at least 8-10 people come up to me to tell me how wonderful the show was. Some of them have seen professional productions and said we were better! On the "actors being paid" comment, if we are paid, then I want my backpay!? LOL! Everyone outside of the director in these productions do it for FREE and for the love of performing and showing their talents. Ana was paid because she is Actor's Equity and her contract says she has to be. But being the wonderful person she is, she OFFERED to perform a benefit concert, and teach Musical Workshops to help reimburse BRLT for their expenses. Directors are paid in every theater around the world! If you had to deal with all the stress and work they deal with , you'd want to be paid to. It's well deserved! Judging by the fact that we are nearly sold out for the entire run people are obviously ignoring this review. That makes me so happy to see that people are willing to see for themselves rather than take the word of a critic. Seeing and hearing from the audience after each show makes us strive to be better performers. I can't wait to see people being entertained by our performances for the next two weekends! A few people on here have said they think they can do this better than we can. Well, prove it. "The Producers" auditions May 12th-14th. Hope to see you there.
PastBRLTActor
Friday, May 02, 2008
5:41 PM

1) I attended the same performance which was reviewed by Mr. Morris. I have actually attended other performances at BRLT in which the singers' mics were not properly adjusted and/or the orchestra was amplified beyond the capabilities of the actors. I was not surprised by the problems with the sound on Saturday night. It shouldn't be the focus of the review (the performances should be), but now that subject of body mics has come up... The use of body mics is a current Broadway trend that BRLT is trying to follow. Amplifying actors in the BRLT auditorium is completely unnecessary. IF AN ACTOR CANNOT PROJECT THEY SHOULD NOT BE CAST. The band,/pit orchestra, particularly an onstage one, should not be amplified. Exceptions would be an instrument like electric bass or guitar which should only be amplified using the musicians own amp not piped into the house. The acoustics in that space are super for those who project. If BRLT could eliminate this trend critiques such as Mr. Morris' would be irrelevant, frazzled actors could worry less about their mics, and distracted audiences could focus on the words and music. 2) I thought Mr. Morris was very gracious in overlooking some other elements (i.e., ensemble singing and choreography ) which were not up to past standards at BRLT. Nevertheless, the actors are volunteer/ avocational performers and should never be intentionally maligned, and they WERE NOT in this review. The article casts a negative shadow on the show largely due to the headline WHICH THE JOURNALIST DOES NOT WRITE. Baker Little Theater's current production also suffered a terrible blow simply because of a very negative headline. Headlines are written by the layout staff.
mn59
Sunday, May 04, 2008
1:25 AM

Plenty of community, regional and university theaters around the country allocate funds in their annual budget toward professional development. If BRLT (or any theater for that matter) is choosing to hire a ‘master’ to mentor and work with others who are interested in theater arts----BRAVO!!! What a wonderful opportunity for any artist to develop their craft.