February 16, 17, 23, 24 at 7:30 . February 18 at 3 pm
School show: Feb. 22 at 10 am. Interested schools should contact the Box Office at 803-648-1438
Now, it should be noted in the interest of both journalistic ethics and apparently federal law, my daughter is in the play and I got to see the dress rehearsal for free because of that.
That said, I really did think it was fantastic, and I strongly recommend it. I considered trying to do the whole “Snarly Judge who everyone loves to despise” thing, as Mr. Lunt puts it, and try the whole reverse psychology thing, but I really did like it too much to say anything bad.
One of the marks of professionalism in a performance is the ability to go with the flow when things go wrong, and these kids did great. I got so wrapped up in it I kept forgetting two things: a) that it was a dress rehearsal (in fact, we previously had free tickets to ACP’s adult dress rehearsal of Beauty and the Beast, and that was so good I forgot it was a dress rehearsal) and b) my daughter was in it. I barely recognized her.
A basic rule of performance is the ability to go with the flow if something goes wrong.
I kept telling my daughter about William Shatner’s “big break” as Christopher Plummer’s understudy in a Toronto production of Henry V. On the night when the critics wrote their reviews, Plummer was ill and Shatner took his place. He kept forgetting his lines, but his pauses to remember them were so dramatically effective the critics loved him.
So these kids were consummate professionals: I noticed a couple times where one of them would stammer, and it fit so well with the story it was either really good acting because they stammered intentionally or really good acting because they actually stammered with good timing.
The only other mistake I noticed was a feedback problem near the ending, and it happened when a character was in angst, so again, it was impressive that the young actors just kept going with the scene.
There were some interesting choices for the incidental music, some of which was at times a bit too anachronistic, but it was emotionally effective nonetheless, and had me listening to the Piano Guys‘ eponymous album on repeat for two hours after the show.
Between the superb acting, the effective dramatization of Austen’s classic, and the music, with the added impact of my daughter’s debut (almost 11 years to the day after her unofficial stage debut as a volunteer audience participant in a dinner theater), I spent the next hour after the show in pure Joy/Sennsucht.
The play was so good that I’d go back even if my daughter wasn’t in it.
As for my daughter, Alexandra Hathaway, in the role of Mrs. Dashwood, she has a tendency to be a bit too fast in her delivery, but in this case it was like the opposite of William Shatner’s King Henry. They all had to speak quickly to deliver the extensive dialogue, and she came off very effectively as a frazzled and desperate widow. Like Estelle Getty in Golden Girls, she was one of the younger members of the cast, but a little make-up added to her Marfanoid physique, and her eldest sibling “Little Mother”/babysitting skills made her extremely convincing as a 40 year old mother.
10 years ago, she couldn’t see. Now, she has lens implants that give her vision like her mother’s. 10 years ago, her aorta “enlarged.” It stopped growing and even shrank a bit, such that her cardiologist calls her the “miracle girl.” She is in constant pain from ankles that sublux all the time, yet she’s enduring the pain to do this. Whether this is the first step in an illustrious career in theater or valuable experience that will help her in a future path, we are impressed at what she has accomplished, and she deserves accolades and lots of ticket sales, and Aiken Community Playhouse deserves a lot of ticket sales for giving her this well-earned opportunity.