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...a moment in the life

Death Be Proud
Do not be afraid of the darkly comic and eerily unique experience at MBS Productions.
by M. Lance Lusk

Published Saturday, October 17, 2009 
www.theatrejones.com

 

Theatre of Death is a scarily amusing assemblage of short dramatic pieces based around the concept of—you guessed it—death, created and conceived by Mark-Brian Sonna for his troupe at MBS Productions. This year's offering of "Teatro Breve," or "Brief Theatre"-style plays is characterized as more lighthearted than those of past years' shows. But strangely, yet satisfyingly so, the macabre subject matter generates a copious amount of laugh-out-loud good times.

Mr. Sonna's charmingly entertaining introduction kicks things off for the evening, and he maintains that artistically verbose charm throughout his many acting roles too. The rest of the multitalented ensemble cast weaves its way in out of the seven short plays, with bookending musical pieces, quite well. Amanda Rodriguez ably fulfills the theme of deathly versatility as she deftly embodies the souls of various characters in the plays, especially in The Unfaithful Wife, a creepy medieval-flavored bedtime story.

Silas Moores presents a handsomely daft body of strong work during the evening. He more than matches his youthful good looks with naturally amiable acting skills. Sky Williams is an absolute, giddy delight in her myriad roles. She is a vampy artiste of the highest order, gracing the meager stage with her stiletto-sharp comic timing, fierce physicality and flashing eyes.

Quinten Quintero shines, particularly in Compartment 13, a No Exit-type commentary on the Hell that is other people. Quintero is quite funny as the bashfully simple "foreigner" of indiscriminate origin. Carmela Lamberti is delightfully full of musical spice in her many roles, and provides a charming, if a tad long, counterpoint in her solo play, How to Iron a Shirt.

Alejandro de la Costa's sets and costumes are intentionally simple and stark to fit the tradition of the form. The Stone Cottage’s setup does not allow for much in the way of ornate set pieces, dominated as it is by a small amount of wooden space and few entryways. Mr. de la Costa makes the most of the room with a rustic table and chairs and a simple, black screen featuring an Angel of Death painting by Sonna, framed by lacy curtains. The costumes are mostly black and white with some elements in mysterious red. Mr. Sonna's sound and original music pieces are suitably gothic and unnerving; however, do not be surprised if you find yourself humming them later.

The interpretation of these mini-plays (by directors Sonna and Jan Toms) is not just a somber meditation on mortality, but a cozying-up-to, necking-with, ravishing-upon, slicing-open and crushing-a-cup-of-wine-with-whilst-guffawing-over-death kind of treatment. And it works.

Please note well that the salty and bawdy nature of the show is for the mature and open-minded.


Mr. Lusk's day job is teaching English and Humanities at St. Alcuin in Dallas. His full-time gig is being a Shakespeare nerd. He also has an unhealthy love for baseball, pancakes and motorcycles

Bon Appetit with Bite: Theatre of Death

Alexandra Bonifield, critical rant & rave, This Week in the Arts

Watching the lights come up on MBS Productions’ Theatre of Death feels like sitting down to a sumptuous serving of an eclectic sampler plate at an exotic restaurant from a death-fixated planet. This sly stage smorgasbord offers robust, sour tastes mixed with equal parts of delicately sweet, refined elements that appear at unexpected moments, dished up in unanticipated courses. Ingested as a whole, Theatre of Death serves up fine fare for a sophisticated palate with strong stomach for the bizarre and abnormal. Death ubiquitous dines at a table dressed with ominous elegance. Pull up a chair. The stake-knives are razor sharp.

 

Using a traditional but overlooked Spanish comedy genre from the Middle Ages, Teatro Breve, Mark-Brian Sonna presents seven short complete works where death holds significance as over-riding theme. This year’s menu is generally lighter than previous years’ selections, not as full of sinister metaphor and sanguinary sorrow bridging the divide between the quick and the dead. Stylish, sharp-witted, fast-paced, the 09 Theatre of Death lurks alive with a fresh, confident ensemble as facile and expressive vocally as they are in movement.

Theater review: Theatre of Death

By Cheryl Cory associate theatre critic of John Garcia's The Column

I am a certifiable wimp. Admittedly, I watch scary movies with my hands covering my face and my fingers spread across my eyes as if this somehow protects me from experiencing the fear factor full-on. So yes, when I was assigned to review Theatre of Death (now playing at the Addison Theatre Center), I expected I might be getting myself into a little fight night. I had no idea how much more this would be!

Expect the unexpected is a cliché that doesn't even begin to describe these plays. Theatre of Death is comprised of seven short plays done in the Teatro Beve/Brief Theater style and shares one common theme – death.

Mark-Brian Sonna starts the evening off by explaining the history and significance of this type of series. He said that this particular style of Spanish theater dates back to the Middle Ages and that they were publicly performed like street actors. Kudos to Mr. Sonna for taking the time to explain and recognizing that this enhanced the audience's enjoyment to have this knowledge while watching these plays.

Tucked away in Addison's small stone cottage theater setting is a one room performance, two rows, of audience chairs and very little scenery. The costumes are simple and non-obtrusive. Very few props are used. Lighting tricks incorporated and embellished the overall spookiness.

It's almost impossible not to look at these plays individually as well as a unit as each one is so very different in style, character, quality and dimension. The Unfaithful Wife was a particular favorite, with Sonna causing side-splitting laughter. His sense of timing is superb and he delightfully plays with his audience.

Accents are sometimes a frustration. Carmela Lamberti wrote and performed "How to Iron a Shirt" in which the program states, "A woman ironing reveals a secret involving the shirt she is pressing."

Carmela's performance caused me to strain to hear, trying to ascertain what she was saying. Her manner of speaking trails off at the end of the sentences leaving the viewer guessing completely.

Carmela could use a little more direction as she almost completely played to the right of the house -- which may have added to my difficulty to hear as I was seated on the wrong side for optimum listening. However, I adored her as an actress: her energy, facial expressions, and mannerism. I realized the contradictory nature of my previous statements. I could not understand what she said, which was frustrating. It was obvious by the actions that this was a deeply moving piece. In other scenes, the music overpowered her, making an already difficult situation impossible so I'd suggest not having these two compete.

WOW!! Amanda Rodriguez captivated the audience with her natural acting abilities, ease, and projection of voice; though I believe she could sit there in silence and still enthrall a crowd. It's an honor to see her perform as she is clearly destined to go far. Again, all I can say is "WOW!" I'd keep an eye out for this one!

Sky William's vocals shook the stones as she, too, was amazing in this production.

One of the plays in particular causes a strong, strong caution for anyone opposed to hearing foul language. The dialogue is lightly scattered with G-rated but for the most part, it characterizes Dr. Seuss meets Howard Stern. The rhythm is simply charming and the language is downright raunchy but the combination is pure entertainment. Silas Moores was very commendable and did not miss a beat.

"You are despised by those you write about and adored by those who read you." I'm probably paraphrasing as I attempted to record this line while watching, but I thought it was very astute and glanced at it several times while creating this review.

Compartment 13 is an interesting twisted tale of four strangers who enter a compartment thinking it is a ride at the state fair. The rest I'll leave for you to experience. It's fabulous!

Sonna strung together this series in a brilliant pattern of death designed to thrill, invigorate, entertain and shock his audience. Yes, I was startled and jumped (just a little bit), but I laughed a whole lot and left with my mouth hanging open. Mr. Sonna's characterizations were no less than Broadway level entertainment.

However, I'm reminded of American Idol's Simon Cowell and his critique of finalist David Archuleta when I point out that Mark would be more effective if he'd keep his eyes open. His tendency to close them is distracting as it became more pronounced as the evening went on.

The last play of the night was ... well, I'm still speechless. The audience became a chatter house as we all exitedly talking about that last scene, but it is not for the young or the weak of heart. Open-minded and adventurous souls should grab a seat and take a ride at Sonna's masterful Theatre of Death. Don't miss it as it comes around only once every two years. Highly recommended for your trick or treat festivity.