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Return of the Bedbug Remarks
"Return of the Bedbug" was a stimulating, entertaining trip through time and space. I was impressed by how the play wove both Soviet and contemporary American ways of life with more poignant and universal human experiences of love, separation, and aspiration. I look forward to traveling alongside Upstream Theater's future productions.
Jean Carnahan
I just wanted to thank you for inviting me to see your play. My friends and I loved it. If I didn't know better I would have thought your background was Russian. You were able to show things from a Russian life that only Russians would know. BRAVO!
Thanks again,
Ilona
Knives in Hens Remarks
If you haven’t already seen Upstream Theatre’s production of David Harrower’s Knives in Hens—you MUST go see their final performance this evening (Sunday, May 6) at 7:00 p.m.
It is truly one of the finest, most thought provoking, intriguing and exquisite pieces of theatre I have seen in recent memory. The cast is superb; the script is fascinating; the sound design is beautiful, moving and in complete synchronicity with the mood of the play; the light and set designs are marvelous—really, there are just so many reasons you should go see this play.
Plus—there is gorgeous hand-made jewelry for sale in the lobby (at incredibly affordable prices)—and I have to say that even the jewelry feels as though it is connected to the piece!! (I bought two pair of earrings and wish I could have bought more).
Go. See. This. Play. If you have never paid any attention to anything I’ve ever said before—pay attention now! This play is a must see for St. Louis theatre lovers, and tonight is your last chance.
If I had the time, I would go and see it again…
As ever,
Margeau Baue Steinau
Artistic Director
Off Center Theatre Company/Slightly Askew Theatre Ensemble
Congratulations to the cast, crew, and artistic staff of UpStream Theater!!!!!!!
UpStream Theater's production of KNIVES IN HENS is a must-see choice piece of theatre!!!!!
I know you may think that I am just partial - and why wouldn't I be - as Peter Mayer is my guy but believe me
this productions goes far beyond that.
The entire production is masterfully executed:
the seamless technical work, fantastic prop & set pieces, detailed costumes, poetic writing,
mesmerizing live music that underscores & enhances the very heart of the play, and acting that will transport you into another time and place and remind you of what moves you. Philip Boehm has carefully, artfully and sensitively directed this incredible ensemble event.
I urge you not to tarry to see this cohesive, dynamic, poetic, and power piece of theatre!!!
I'm not alone in my assessment. We all agree.
Kari Ely
Joan Lipkin
Jane Paradise O'Malley
Carrie Houk
Was I too goopy Joan??????? Go!!!!!! It's not to be missed.
Kari Ely
kariely@mac.com
"What if the Hokey Pokey is what it's all about"?
Marija's Pictures Remarks
Thank you so much for this production! I discovered it on the Bosnian Community Calendar website. I have begun working with the Bosnian community in St. Louis on a multi-year project (The Campaign for Love and Forgiveness). It is an initiative to develop community conversations around the topics of love and forgiveness. With that in mind, I would love to be able to get a transcript of your production; there were several statements in it that would be wonderful to be able to quote. Please let me know how I might get a copy of the dialogue.
Sonya Berkbigler
Education Project Coordinator
KETC Channel 9
Dear Philip,
The show -production, cast, performances, setting, set, script, music (instruments and singing), lighting- was so moving. Truly a beautiful piece of theater and a stunning social/emotional experience. I'm so glad I saw it.
Yes, I'm an art therapist and my private practice (16 years) is called The Art Therapy Center. I'm also a Fellow of CAT (community arts training institute), and a new member of Jackie Masei's Playback Workshop Theatre. From my perspective as an art therapist who has worked with very traumatized women since 1985, I was fascinated by the depiction of the trauma and how the mother mis-remembered, remembered, and metabolized it, as well as how the doctor and daughter coped with their traumas. The playwright really "got it".
I also loved the way the paintings were incorporated into the set, like little jewels or stained glass windows. Of course my art therapist ears perked up at the doctor's encouragement to paint. And the relationship shift in the doctor also rang true. The visuals, both the stage and the way the actors used the stage, were incredible: the daughter as the moon, the churchness, the daughter under the table, the mother and daughter crawling toward and past each other, Linda K on stage as the audience arrives, in our midst but not part of us, etc. etc.
After seeing this show, I am so sorry I haven't seen more of Upstream's productions, but plan to be a huge fan!
I enjoyed the discussion afterwards. I seldom stay for those, but I really wanted to hear more about the play itself and the personal experience of doing it. I enjoyed your responses and comments and would love to know more about your experiences in Poland.
One of the reasons I became involved in playback theater (after some years of psychodrama training) is my love for the social potential of the arts. My own art long ago was a sort of "service through the person of the artist". At that time, Biafra was in full rage, amidst the Vietnam war, and the only way I could overcome a horrendous depression and horror about it was to work it out in art. About ten years later, I went back to school for my undergrad degree, and that became the path to becoming an art therapist.
All good wishes to you and your company.
Carol
Alma en venta/Soul on Sale Remarks
To Philip Boehm and Company:
"Alma En Venta/Soul On Sale" was a truly remarkable theater experience! I hope Upstream Theater will continue to bring such productions to our city. I saw this show five days ago and I am still recalling its scenes and music, and am still talking about it with other people. It was truly different and richly rewarding. I was blown away by how complex and yet perfect and yet simple and harmonious this show was. The costumes, the writing, the music, the casting, and the integration of English and Spanish languages, and so on, every things was just perfect and amazing. Magan Wiles was a completely different person in each character she played. The authenticity with which the Mexican-American culture was portrayed was very satisfying as well. Thank you again. I will be looking forward to your next production.
Tom of South County
Helen's Necklace Remarks
Dear Philip,
Me voici de retour à Montréal. Je veux encore te remercier pour l’accueil chaleureux et attentionné – tout le monde a été formidable ! Je veux te redire aussi combien j’ai apprécié ta mise en scène. Je repense souvent au spectacle ; j’ai été séduite particulièrement par son ancrage dans la société américaine. Il me semble qu’il peut avoir un écho réel auprès du public. J’ai oublié de te dire comme j’ai aimé le moment où Hélène crie « On ne peut plus vivre comme ça !» en regardant la mer, lorsqu’elle est assise sur le socle d’une statue. C’est un moment difficile à réussir, et beaucoup d’actrices chuchotent les mots, comme embrassées par cette affirmation faite dans le vide. Jane négocie ce passage de façon magnifique, ouverte, courageuse, et on a l’impression de voir ses mots glisser sur la crête des vagues.
Amicalement,
Carole
Dear Philip,
I’m back in Montréal. I want to thank you once again for the warm and considerate hospitality – everybody was great! I also want to mention once again how much I appreciated your staging. I keep thinking about the production; I was particularly taken by how it was anchored in American society, and I think it will have a reel resonance with the public. I forgot to tell you how much I loved the moment when Helen cries out “We cannot go on living like this!” as she looked out over the sea, while sitting on a pedestal. It’s a difficult moment to make work, and many actresses have whispered the words, as if they were self-conscious about making such an assertion in the emptiness. Jane performed this passage in a magnificent way, openly and bravely—you could almost see the words gliding over the crests of the waves.
With friendly greetings,
Carole
The play was great. And the actors did an outstanding job, even with the chair breaking and everyone laughing. The play made me think, and I am still in the process of doing that. Well, I did really enjoy it and I was in the company of good people. The french that was whriling aroud was amazing.
William Portman, Fort Zumwalt High School
Cher Philip,
We enjoyed having you and Ayse in our class. Our
students appreciated the chance to see the play
from another perspective and better understand
the thought and work that go into every aspect of
a production. After reading the play, watching it
come to life was really exciting for us (even if
it was in English). Meeting Carole Fréchette was
an honor.
Let's hope there will be more opportunities for
us to join you in another venture.
Many, many thanks.
French Teacher Odile Tompkins
The seemingly simple, but actually multi-levelled, theme of "Helen's Necklace," managed to capture my attention from beginning to end. From the moment Farshid Soltanshahi poured the imaginary Arabic coffee, and began playing the tunes that would effectively amplify or downplay the emotions of the characters on the stage, until the moment the message of 'Love' depicted a Universal language that overlooks cultural and social barriers, I found myself hooked. I am originally Lebanese, and carry a lot of memories of this cherished but volatile land, where a lot of my family and friends reside, thus, I was struck by this play and found it effective in its pertinence to our world today. The performance of Jane Paradise was enchating, and the more she spoke to the audience, asking her rhetorical questions, the more she managed to make us live her predicaments, experiences and discoveries. There is no denying that Don McClendon's success in performing his multiple roles in this sociopolitical play was that of a professional. Moreover, I felt like Ayse Eren rightly portrayed the typical emotions of loss, heartbreak and denial that have been experienced by many a famiily throughout the haunting years of living in such a volcanic part of the earth. I deeply appreciated the opportunity to watch a performance that spoke truths about a place I call home. I look forward to seeing more shows that depict the lives of people in different parts of the world; yet another way Art can help abolish ignorance and injustice among human beings, as it breaks down the walls that encourage bias, intolerance and misunderstanding.
Rewa Choueiri
Helen’s Necklace A new theater company debuts with the U.S. premiere of a new play. This 80-minute, intermissionless drama by French-Canadian author Carole Frechette concerns Helen (Jane Paradise), a well-intentioned innocent who is visiting an unnamed city in the Middle East. When she loses a small pearl necklace, her search for the lost bauble becomes an emotional journey in which she encounters those who have endured losses far greater than hers. The live music performed onstage by Farshid Soltanshahi provides a haunting counterpoint to the play’s sorrow, which is best personified in a moving portrayal by Ayse Eren as a lost soul compelled to live through days of darkness in a sun-bleached land. As directed by Philip Boehm, the monologue-like script packs an emotional punch -- though by evening’s end its message, “We cannot go on living like this,” becomes a tad didactic. Performed by Upstream Theater through October 2 at New City School, 5209 Waterman Boulevard. Tickets are $18 ($12 for students and seniors). Call 314-863-4999 or 314-863-0570. (DB)
Dennis Brown - Riverfront Times Capsule Review
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