Displaying items by tag: Christina Hall

Roe V Wade might be the law of the land now, but playwright Lisa Loomer’s new play “Roe” suggests that it’s always been on shaky ground. Directed by Vanessa Stalling, ‘Roe’ makes its area debut at Goodman Theatre with a big cast of familiar faces.

In “Roe” Lisa Loomer pieces together the life stories of both the plaintiff (Jane Roe, played by Kate Middleton) and the ambitious young lawyer Sarah Weddington (Christina Hall)  who argued the case all the way to the supreme court.

Like the old telephone game, stories have a way of changing from telling to telling. The origin story of Roe V Wade is complicated and varies depending on who you ask. Lisa Loomer digs deep into the hearsay and rumors to compose what feels like a thorough account. When she’s unsure, or she found conflicting versions of the same event, she uses character asides to clarify. The effect brings a humorous tone to what could be a dreary subject matter for some.

The play is a non-linear, often scattery, look at the process it took to win the case as well as the checkered past of Roe, later outed as Norma McCorvey. While many American women champion the right to choose, it’s hard to avoid the exploitation narrative that would ultimately lead McCorvey to a tabloidy life in the years following the case. 

What could sound like a living history report, is anything but. Instead, Loomer’s use of structure and theatrical storytelling make this play leap off the stage. She’s good at finding the heart of the historic figures she’s writing of. The cast also brings a lot to the material. There’s something tragic and relatable to Kate Middleton’s performance. She really gets into the psyche of someone easily taken by the whims of the world around them, and sadly getting taken advantage by them too. Her transition from Jane Roe plaintiff to internationally known figure and subsequent rejection of abortion says a lot about the state of reproductive and religious education in America. 

“Roe” is not a play about abortion, that’s only part of the story. The irony is that the famous plaintiff never did get the abortion she sought. As Sarah Weddington once argued, this isn’t a case about being pro-abortion. This is a case about a woman’s right to decide what is best for her own body. 

Roe V Wade changed America, but even almost 50 years later it’s still being challenged by the religious right. Abortion was legalized on a national level as a result of the case, but when you include all the stipulations, its hard to call it entirely legalized. In fact, some states today have less than five clinics that perform abortions. Every election cycle, more and more restrictions are made on abortion. “Roe” makes a case for why we cannot have collective amnesia on the facts of this case. It serves as an education as well as a rallying cry to anyone in America who calls themselves a feminist.

Patsy Cline was only 30 years old and at the peak of her career when she died in a plane crash in 1963. But her sweet voice and music lives on in Firebrand Theatre's 'Always...Patsy Cline', a story written by Ted Swindley and based on true events.

After hearing a Patsy Cline (Christina Hall) record on the radio, housewife Louise Seger (Harmony France) became an immediate and avid fan of Cline's and she constantly called in to the local DJ to play Cline's records on the radio.

In 1961, when Louise and her friends show up early to see Patsy Cline sing live, it’s only by fate that Cline shows up early too.

The two women hit it off and the meeting culminates with Cline spending the night at Seger's house. Over a few too many drinks, the two women shared stories (happy and sad) late into the night. Shortly after Cline left, Seger received the first of many letters from her. The two exchanged letters over the next two years, right up until the plane crash that ended her life. Featuring over two dozen songs, 'Always…Patsy Cline' is both a musical and a concert rolled into one. While Louise Seger narrates the story, Patsy Cline moves on and off the stage singing tunes that still evoke emotions today.  “Walkin' After Midnight”, “She's Got You”, “Sweet Dreams”, and “Crazy” are just a few.

Actress Christina Hall brought Patsy Cline to life. She perfectly captures Cline’s emotions, accents and sound. She shows off her strong vocal chops with "It Wasn’t God Who Made Honky Tonk Angels" while also perfectly capturing the heartbreak in "She's Got You."

Harmony France shines equally bright as Louise Seger. She pulls off the difficult task of being both a character and narrator in this story. Her transition from star struck superfan to close friend and confidant felt real and believable.

Growing up in a home where Patsy Cline’s records were in constant rotation, I really enjoyed this walk down memory lane.The only “problem” with this production of 'Always…Patsy Cline' is that you’ll want to see it a second time since France and Hall swap roles on alternating nights.

Extended through February 23rd, 2020 at The Den Theatre. This is an excellent show which I highly recommend.

I really enjoy seeing shows at Lifeline Theatre partly because they always have very cool and complex sets that they make the most of and partly because of the unique little touches they add to make the theatre more user-friendly, like a shuttle to take you to their free parking lot in a neighborhood where finding parking right before show time can be impossible.

I also like the way they put blankets on each seat in case you get chilly during the show! They also have the most reasonably priced snacks ever in a theatre where a soda or snack only costs one dollar instead of three for a bottle of water and five for a bag of trail mix like at the bigger theatres. All these details along with consistently quality productions make this a very welcoming theatre space to frequent as well!

“Soon I will Be Invincible” is based on the book by Austin Grossman and this dynamic production at Lifeline Theatre is no exception because set designers (Alan Donahue) and lighting (Becca Jeffords) have done a terrific job transforming the space into a multidimensional futuristic world with many visually exciting set, light and sound changes.

I thought the story would be more suited to young people and Comic Con nerds and in many ways the play was a comic book lover’s dream come true, but it also held a lot of interest for older playgoers in that it explored the psychological struggles of a team of superheroes who are past their prime and trying to make a comeback of sorts by saving the world once again from Dr. Impossible - played with a lot of great “evil” presence and humor by Phil Timberlake.

Fatale is a newbie to the superhero team, originally created by Dr. Impossible himself and is a replacement because one of their main members - Corefire- was missing in action and presumed dead. Fatale was played with great sensitivity and with a great singing voice by Christina Hall.

Fatale describes at length her sadness at not having an exciting and mythic “origin story” like the other super heroes. Fatale only remembers that she was in a car accident in Brazil and when she awoke had been implanted with a large numbers of bionic parts by Dr. Impossible. Fatale talks about the constant pain she is in from having all of these mismatched and unfixable, metal parts as part of her human/robotic clone body which I really think many of us older play goers also feel in our own bodies as we age and begin to lose our “superpowers” like running, playing certain sports and climbing stairs with ease, etc.

 Also, the whole theme of wanting to “save the world” and trying and failing to do so over and over again is a theme many theatre goers of my generation identify with.  Every day there is more news coverage of very real evil villains/people/ tyrants, but we as peaceful citizens with no apparent “superpowers” are thwarted from actually doing anything to help the victims around the world. Perhaps this is because of the “superpowers” to kill and destroy life that these criminals actually do have, including chemical warfare, heavy artillery, and now the prevalence of kidnapping, torture and rape (termed “child marriage” in third world countries), which is actually allowed by their judges and armed “police”.

I also enjoyed that the play introduces the element of magic as a power heretofore unrecognized by even the superheroes because it does not have the same clear destructive effects as a giant burning hot laser beam, for example.

In the end Fatale does help save the day and realizes that she is happy enough in the now moment to stop searching for her “origin story” and live amongst the superheroes with self-confidence and pride no matter whom she was originally created by or why.

I liked the songs in the play; I felt they really added a good flow and much more human and flowing emotional storytelling to what could have been an unpleasantly “robotic” and slightly stiff production in its execution.

I highly recommend this play for young and older viewers alike. I know that comic book enthusiasts will feel that they are seeing a rare treat created just for their enjoyment and others will appreciate the very important subtext in this play which is that you don’t have to be a successful “super heroine” twenty-four hours a day in order to feel good about yourself and whatever natural powers you do have for creating good in your life.

“Soon I will Be Invincible” is being performed at Lifeline Theatre through July 19^th. For tickets and more information, visit www.lifelinetheatre.com.