And Baby Makes Seven Makes for a Fun Fantasy
Paul Brissett, Duluth News Tribune
Oct 30, 2014
And Baby Makes Seven, which opened Thursday at UMD’s Marshall Performing Arts Center’s Dudley Experimental Theater, is Paula Vogel’s ingeniously whimsical look at parenthood.
Written in 1974, the script employs the then-radical — if not outrageous — prism of homosexuality in her examination. Ruth and Anna are a lesbian couple who have had their gay friend Peter impregnate Anna, with the idea that the four of them will become a family. But the women already have three little boys — fantasies in which Ruth can become either Henri or Orphan and Anna takes the role of Cecil. Conflict arises when Peter suggests that the three have to go, that their presence would not make for a wholesome atmosphere in which to raise the new baby.
The play opens with children’s voices offstage arguing over how babies are made. “Henri,” with a broad French accent, and “Orphan,” who we soon learn was raised by dogs, stoutly aver that they came from eggplants. But brainiac “Cecil” provides a detailed, clinical description of intercourse, gestation and birth. Critics in New York and Chicago have panned recent revivals as trite and pointless, but UMD director Kate Ufema and her cast of three have created two hours of comedy, pathos and some mental gymnastics.
Although occasionally overplaying the childishness of Henri, Stephanie Stine (Ruth), shifts smoothly but unmistakably into either the little Frenchman or the feral “Orphan.” Her enactment of “Orphan’s” death from rabies has her flicking instantly from grotesque to comic and back again, snarling, uttering dying lines from Shakespeare and singing snatches of song.
Koki Sabates gets her own chance to chew the scenery as Anna, in a hormonal blowup at the start of Act II. “I just want to see my knees again,” she wails. And she creates a moving moment as “Cecil,” being informed by Peter that his “brothers” are gone.
Vogel’s conceit becomes something of a mental challenge when “Henri” tries to assure his safety (continued existence) by threatening Anna that she will disclose to Peter that he (Henri) is actually the expected baby’s father.
And Phillip Hoelscher covers the range from the scene with Cecil to a comic practice of holding and bathing a baby. All three actors play the fantasy — and their multiple roles — with credibility.
Vogel’s conceit becomes something of a mental challenge when “Henri” tries to assure his safety (continued existence) by threatening Anna that she will disclose to Peter that he (Henri) is actually the expected baby’s father.
And Phillip Hoelscher covers the range from the scene with Cecil to a comic practice of holding and bathing a baby. All three actors play the fantasy — and their multiple roles — with credibility.
Last night was the opening night of And Baby Makes Seven. The theatre was surprisingly packed and that could possibly be due to the performance of this show falling under the comedy genre, which is always a fun experience. The play has only “three” characters. In reality, there are more than three though, as the characters play multiple other personalities.
ReplyDeleteThe cast includes Stephanie Stine, who plays Ruth, Henri, and Orphan. She uses a different accent for each of the characters she portrays. Ruth is her normal self and sounds like an American woman. Henri is a French boy who is very loud. Orphan is a dog who is a little crazy in the way he/she acts. Stephanie plays each of these characters well by the way she embraces the different and unique personalities of each one.
Koki Sabates plays both Anna and Cecil. Anna is your typical pregnant American woman, while Cecil is more of Henri’s partner in crime who seems to have an intellectual output along with a childish toned voice. Koki plays pregnancy very well, as the audience is able to feel, and possibly even relate to the stress of preparing for a baby.
Phillip Hoelscher doesn’t have as many lines and is pretty quiet throughout the play. He plays a man named Peter, father of the child that Anna is carrying. The toll of the many characters that encompass Ruth and Anna is putting a strain on his life and becomes extremely difficult for him to handle. Phillip portrays the usual man role pretty well by seeming utterly clueless and having mostly no say when it comes to the women, doing what he’s told by whoever tells him.
In regards to the crew, the scenic design, done by Matt Dufault, was a little bigger than I would expect a New York apartment to be but it was still believable. Also, the lighting was done well--it signifies the tone of the scene being presented, done by Wesley Darton. Alex Flinner did the sound design, which was very funny and compatible because it sometimes told what was happening, such as the peanut butter and jelly song when a peanut butter and jelly sandwich had been made.
At the end of the night, this story has a good and heart-filled message about dealing with the hardships associated with family. The two characters, Anna and Ruth, are forced to rid themselves of their other personalities in hopes to make Peter’s life easier and to have room for the baby; to focus their attention on a new life they will be welcoming into their home. This play was very silly and oddly serious because of the trauma of the effect that these multiple personalities were straining the characters’ relationships. After awhile, the loudness and the strange accents become a little obnoxious, but suppose that is to make it apparent at how these personalities needed to be dealt with and gotten rid of for the future. In the end, the women let go of their other personalities before the baby is born. However, the last scene appears to illustrate that the lost personalities have come back, as they talk in their multiple accents once again. In total, this play is confusing and inconclusive as the ending contradicts the mission of the whole performance, and the audience is left wondering whether the multiple personalities are back or not. I would recommend this play to people who like silly, crazy, and confusing plots with many erratic characters, loudness, swearing, and discussion of sex acts/body parts in a lewd way.
The University of Minnesota Duluth Department of Theatre’s production of And Baby Makes Seven opened on October 30th. In all, it intrigued the audience and encompassed a unique flair with the pairing of a lesbian couple and their gay friend. The play had an overall theme of “the need to love and be loved” as put by director Kate Ufema. Although in the beginning it was hard to get used to the concept of the actors acting out imaginary friends, the production overall was very well done and kept the audience interested and laughing.
ReplyDeleteFirst off, the scenery, designed by Matt Dufault, looked very realistic and the partially remodeled look added to the portrayal of stress the family had as they prepared for their child. Also, it was realistically effective to have a sink with running water and a fridge with food in it. The realistic concepts made the audience feel like they were actually living in the space and it had a very homey feel. One very well done aspect of the set was the baby’s room. It included all of the elements that a typical baby nursery would include such as a crib and a rocking chair, as well as creative paint.
The costuming, designed by Patricia Dennis also encompassed a realistic effect. The clothes of the actors included either pajamas and robes or everyday wear. Adding on, the pregnant belly for Anna, played by Koki Sabatés , was realistic and she looked like she was really pregnant with it on. Also, the clothes that she wore were typical of a pregnant woman so it was even easier to believe that she was pregnant.
The acting in the production was very believable and well done. Sabatés who played Anna, and Ruth, played by Stephanie Stine were required to switch between characters because they also played imaginary children. Sabatés played imaginary son Cecil, who was the intelligent one of the children. Stine played imaginary children Henri, who was from Paris, and Orphan, who was raised by dogs.
Stine often had scenes where she would have to transition from acting like Ruth to switching to acting like a dog or to speaking with a French accent. She did an excellent job of this by making each of the characters believable and by acting each of them out to their full potential.
Sabatés also did a great job of switching between characters and encompassing the hormonal emotions of a pregnant woman. She did an excellent job of acting like a responsible woman and then within seconds transferring to act like a little boy.
Peter, who was played by Phillip Hoelscher portrayed his character with maturity and he was very believable. His character had both serious and comical moments and he encompassed both well. He expressed his character’s concerns for the baby, but still managed to have his comical moments, such as when he danced around the kitchen.
The transfer from viewing the original characters to imaginary characters was slightly confusing at first, but as the production went on, it was very easy to get used to and it ended up being an enjoyable aspect of the production. The underlying message of love and the need to be loved showed through throughout the entire plot. Sabatés and Stine showed their love for each other by supporting each other through the ups and downs of getting rid of their imaginary children and going through the stresses of having a child.
The production overall was very well done and was enjoyable for the audience. It included many comical elements and kept the audience on their toes as to what the next adventure would be for the imaginary friends. In addition, the scenery and costumes enhanced the excellent acting by the cast of the production. The production of And Baby Makes Seven is definitely worth attending.
UMD’s Theater Department opened And Baby Makes Seven on Thursday, October 30th. The show was a story full of hilarious, and very odd situations revolving around a lesbian couple, and their gay friend, who is the father of their child.
ReplyDeleteMatt Dufault did very well with the scenic design of this show. The most impressive part was the running water on stage, and actual working appliances. It definitely helped bring the show to life. It gave the audience a feel for where the play was taking place, and the also the relationships of the people there, just by looking at the set.
Wesley Darton did a fine job with the lighting as well. It was used in many interesting ways, especially the fact that the stage wasn’t just lit by regular lights, but also red, and blue ones to help set the mood of certain scenes. The lighting was also done well the show the time of day. The audience knew when it was morning, but also knew when it was evening as well. The audience could always see the actors, and there were not any unneeded shadows on the stage either.
Alex Flinner, picked out some very interesting music to go with a very interesting show. It fit well, but also seemed quite odd at times, which only made it that much better. There were times however, that the sound didn’t seem needed. The radio was only ever on for about 20 seconds, and it seemed like a pointless thing to have in the show, and just something for the actors to turn off. There was one instance that made that radio seem necessary, and that was the one newscast about gay marriage, other than that there didn’t seem to be a reason for it to be on.
The makeup and costumes fit the time period very well, and for it being an intimate space, the makeup wasn’t noticeable on the actors, which can sometimes happen. Each outfit that each character had on seemed appropriate, and Ruth’s style came off as the most like her character.
The acting in this show was done well, besides some opening night jitters that were noticeable at times; the actors really seemed to know the characters that they were playing, which can be difficult in plays of this type, when actors are playing more than one role. Kate Ufema, did a wonderful job with the actors dialects as well. It is very hard to do dialects in a show, especially a college show, but having a dialect coach, whom was also the director, showed through very much with the talent of the actors. The dialects, when used, didn’t falter very much, and the audience could understand each word the actor was saying each time the dialect was used.
Stephanie Stine did a wonderful job as Ruth, Henri, and Orphan. She often showed the emotion that Ruth was feeling through her facial expressions, which was very noticeable by the audience, and well liked. There were times when her French dialect would falter, but it was understandable, seeing how fast she was speaking throughout the entire show as Henri. The enunciation was done well in those instances.
Koki Sabates had a great projection throughout the entire show. That woman can sure yell, and that fit her character wonderfully. It cannot be easy to play a pregnant woman during a show, but she didn’t falter the whole time. She really showed her practice through that. She knew where she would hold her stomach when she was sitting down, or trying to stand back up, and she also knew how to do the pregnant waddle, which was hilarious in itself. There were times when it was somewhat hard to follow her second character, but it wasn’t too hard.
Philip Hoelscher is at it again. This man showed his versatility in this show. Going from a sad drama, earlier in the year to a comedy could throw a lot of people, but not him. There were times however, when he didn’t seem connected with the show. Especially if he was just a bystander in a scene, it seemed that he was disconnected, and not reacting at all.
Each actor showed an immense amount of talent in this three-person show, and it was definitely a show that many should go and see.
And Baby Makes Seven
ReplyDeleteCharles Kovacovich
And Baby Makes Seven is a somewhat funny production written by Paula Vogel and directed by Kate Ufema, who was also the Voice/Dialect Coach. Ufema did a poor job of being a Director and Voice/Dialect Coach for many reasons. While they play had its funny moments, sounds were often unsynchronized, actors fumbled with words and actions, and at many points the play left the audience thoroughly confused.
The play was set in an apartment in present day New York City. There are three members of the cast, yet there are six main characters; extremely confusing, yet somewhat comedic. Ruth, Anna, and Peter, played by Stephanie Stine, Koki Sabates, and Phillip Hoelscher respectfully, where the three tangible characters in the play. Henri, Orphan, and Cecil were fictional children created by Ruth and Anna, two homosexual lovers who longed for children. Ruth and Anna would, almost randomly, switch into one of the fictional children, as if they were a schizophrenic. As if these two fully grown adults pretending to be children wasn’t crazy enough, one of them is pregnant with a real child at the same time.
Most of the actors were audible and understandable. There was some difficulty at first comprehending Henri, as he had a French accent. The voice of Cecil was somewhat displeasing, as was the voice of Orphan. The voices, however annoying, were very fitting to the characters being portrayed. Stine handled the French accent of Henri beautifully. The vocal delivery of all three actors was sufficiently varied and dynamic. There were a few instances, however, where Stine fumbled on a line, which was very noticeable, and took the audience out of engagement.
The plot was fairly straightforward, but only towards the end. The beginning was confusing, and nonsensical. The plot was not plausible in the slightest, as it was about two adults pretending they are their own children. Despite the confusion, the overarching theme of love and relationships became clear after intermission.
The lighting designer, Wesley Darton, did a phenomenal job. It was particularly riveting to see almost every light in the theatre flash on and off during the scene when Anna’s water broke. It gave the audience the sense of pandemonium that the actors were portraying onstage. It was always very clear whether it was morning or night, which also reinforced the mood of the characters during those time frames.
The costumes were average; nothing too fancy but nothing too drab. The costume designer, Patricia Dennis, could have made the play easier to follow if each time the actor switched characters, she also switched something about her wardrobe. The costumes were accurate to present day clothing, and at times helped to influence the mood.
The sound designer, Alex Flinner, did a less than mediocre job. The broken ‘thing’ that occurred offstage was barely audible, leaving the audience clueless to what happened. There were also multiple times where the radio was being turned on or off too early or too late with respect to the actor’s motions. The baby’s crying sounded very distant, and as if it was coming from the opposite side of the stage. On a lighter note, the music was appropriate for the scenes in which it was used.
Overall the play delivered a theme and generated a reaction. It was funny at times, and at others downright awkward and confusing. Whether the theme was fulfilling or not is questionable, but the smart move would be to save time and money, and spend it somewhere other than watching And Baby Makes Seven.
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ReplyDeleteAnd Baby Makes Seven opened October 30 in the Marshall Performing Arts Center’s Dudley Experimental Theatre. This quirky and fun show had the audience laughing and crying simultaneously throughout the entire show. All the actors exhibited great acting and true character development. Truly a wonderful theatre experience all the way around.
ReplyDeleteRuth and Anna, a lesbian couple, have always wanted to have a child. Naturally, they have their gay best friend Peter impregnate Anna so they could all be one happy family… the only problem being that Ruth and Anna already have three children. Stephanie Stine, playing Ruth/Orphan/Henri, could seamlessly go from one character to another. Her best scene was when both Henri and Orphan were fighting over the glorious peanut butter and jelly sandwich. The commitment to each of her characters was beautiful to watch. Koki Sabatés, playing Anna and Cecil, truly acted like a severely hormonal pregnant woman. Besides a few line slip ups, Sabatés took her role in stride and really developed the way that a pregnant woman should act during all the madness that is happening in her world. Phillip Hoelscher, playing Peter, looks like he is having the time of his life playing this part. He really took on the gay and slightly awkward part of Peter to a whole different level. The audience could see the character grow from act one to act two. In the end Peter realizes that Anna and Ruth are not the same without their first three children.
The stage, venue and set fit this show very well. The blackbox was a great location because of the smaller size which made it easier for the audience to connect to the characters in the show. With that being said, it seemed like the audience was actually sitting in their apartment watching them interact with each other during the whole performance, which was really enjoyable. The set was very simple but homey. The working sink and refrigerator/cabinets full of real food made the show much more real. The actors used real food and drinks which made it a lot more real as well.
Usually shows don't have direct symbolism but it was nice to see several visual symbols on stage during the show. The red balloon that was lit through out the performance symbolized Orphan and the time he had in Paris but also all of the children that Ruth and Anna had. No matter where they go in life their imaginary children will always be with them just like the red balloon is always lit. Another visual symbol was all of the redecorating stuff lying around the apartment. Nothing was ever put away or moved which symbolized that Ruth, Anna and Peter were really in a time of transition. The baby’s room was the only thing that was fully furnished at the start of the show, which shows that the baby is the most important part of their lives right now which was really cool to see through out the show.
The University of Minnesota Duluth opened their production of And Baby Makes Seven on October 30th in the Dudley experimental theatre. Overall, the show had the audience laughing throughout the performance, and was a very enjoyable experience for all that attended.
ReplyDeleteTwo of the main characters, Ruth, played by Stephanie Stine, and Anna, played by Koki Sabates, frequently pretended to be their three imaginary children, Henri, Orphan and Cecil. The scenes where Stine and Sabates acted as their imaginary children were the best scenes in the show. The scene where Henri and Orphan were fighting over the peanut butter and jelly sandwich had the audience laughing throughout the entire scene. It was obvious that Stine and Sabates had spent a lot of time working on the accents of the three children, and they easily switched from one character to another. The audience quickly became very attached to the three imaginary children, which made their deaths very impactful. While the audience laughed throughout most of the play, the deaths of Henri, Orphan and Cecil were very emotional moments.
The other character in the show, Peter, was played by Phillip Hoelscher. Overall he did a decent job with the portrayal of Peter, but he was overshadowed by the three imaginary children. Hoelscher had good moments throughout the play where the audience could feel how terrified he was that this baby was coming, and he didn’t know how to care for it. Other times throughout the play, Hoelscher seemed to not be in character, and just was there on stage, not doing anything, simply standing there. This caused the audience to feel more connected to Ruth, Anna and the three imaginary children, and not to Peter.
The sound design for this show was done by Nick Mrozek and helped set the tone for the production. Having children’s music playing as the audience entered the theatre, and during intermission helped hint at what was coming, and point out the immaturity of Ruth and Anna, a problem dealt with throughout most of the show. The music played in between scenes also helped make long scene transitions more interesting. While the audience did not care about a character making dinner, or getting ready for work, the music helped keep the audience engaged in what was happening on stage.
Matt Dufault was the scenic designer for this production, and overall did a very good job. The audience was impressed when a character would use the functional sink, or when they saw that the fridge and cupboards were fully stocked. The cluttered, half-finished apartment adequately showed the transition the three characters were going through during the course of the play. The only thing that didn’t really fit with the rest of the décor was the red balloon lamp. It was easy to see that it was symbolic of the love that Ruth and Anna had for their imaginary children and the real baby that was on the way, but it was distracting at times. The lamp remained on throughout the entire show, even during scene changes, and seemed to be distracting at moments when the audience should be focusing on something else happening on stage.
Overall, UMD’s production of And Baby Makes Seven was an enjoyable one. The three person cast was talented and had the audience laughing throughout most of the production. This is a show that many people will find enjoyable, and is recommended for all to go see.
And Baby Makes Seven, performed in the Dudley Experimental Theatre portrayed a mentally illusive and abstract view on being a parent for a lesbian couple.
ReplyDeleteThe story involves Ruth and Anna who are expecting a baby that is being carried by Anna, impregnated by their gay friend Peter. The three of them have goals to collectively parent the child together. Although, the play revolves around imaginary friends that have been formed over the years due to frustrations of not being able to have their own baby together. Ruth often takes on the character of Henri and Orphan while Ruth occasionally pretends to be Cecil. As time is ticking towards the new baby arriving, Ruth has a hard time detaching from role-playing these characters. Peter suggests that these imaginary characters have to go so their newborn will be able to grow up with full attention. Anna plays along in hopes that Ruth will stray from role-playing the “children”.
To note some positive aspects on these characters, it was very impressive to see that Stephanie Stine was able to play the role of Ruth, Henri, and Orphan so well. She was by far the most involved character on stage as she was able to jump from character to character in a matter of seconds using completely different voices and body language. Koki Sabates did a strong job playing the role of Anna because she incorporated being a pregnant woman the whole time; making sudden funny hormonal gestures throughout the show was quite a hit. She also played the role of a mediator because she had a good understanding that Peter wanted the imaginary friends to go away, while tending to Ruth’s struggles of detaching from them at the same time.
To add in some areas of improvement, there should have been more emphasis on the storyline in the beginning on behalf of the characters. It would have aided in knowing who the imaginary characters were and why they existed, instead of slowly figuring it out as the show went on. The sexual orientation of Ruth, Peter, and Anna was unclear as well. In one of the beginning scenes when only Ruth and Peter were on stage, Ruth was making sexual innuendos and sitting on Peters lap. On the other hand, Peter never fully expressed he was gay either. He said he wanted to touch Anna’s breast, and proceeded to do so. All in all, Ruth, Peter, and Anna could have distinguished between their true character and imaginary characters as well as individual sexual orientation much better.
The use of symbolism was very prominent in this particular play. The center of attention whenever the scene was changing was the red lamp that resembled the red balloon. It signified hope for the family, that their conflicts would work out and they could become a peaceful home with the new baby arriving. The red balloon was a very discrete symbol, but it did represent the letting go of past habits and letting new joys come in. Another symbol that was highly noticeable was the baby room in the back corner. It was covered for the majority of the show, and was revealed later to build suspense.
The scenic design by Matt Dufault must have taken some strategic planning. Seeing running water and actual food being made and eaten made the play seem very realistic. The walls had multiple paint colors on it like a typical family would when preparing a new home. The living room and kitchen was a great setting for this particular show to create a homey and close-knit feel between the main characters.
This was a very out of the ordinary play, and I would recommend that if anyone see it they read the background on the plot, and understand the relationship between the characters before deciding to attend.
And Baby Makes Seven by playwright Paula Vogel is a warm, bold, and witty play about a lesbian couple living in a loft in New York with their gay friend Peter. The lesbian have imaginary friends and three imaginary kids: Orphan, who was raised by dogs; Henri, representing the hero of The Red Balloon; and a smart nine-year-old called Cecil.
ReplyDeleteSome time before the play starts, Anna and Ruth want to have a real baby and they have Peter do it and the play starts off with Anna nine months pregnant. Peter is starting to find the situation of the imaginary children unbearable and after a house meeting, everyone agrees that the imaginary children must die so they "kill them" so when the actual baby comes they are more focused on the baby and the baby has more attention.
Stephanie Stine who played the role of Ruth, Orphan, and Henri did a fantastic job playing three other characters and was definitely the most involved. She had to snap into different characters who acted completely different from each other in the play and she did awesome doing so. Koki Sabates who played the role of nine month pregnant Anna also did a great job incorporating the gestures and tones of an actual nine month pregnant woman would. She also understood how much Peter wanted the imaginary kids to go away while helping Ruth detach from those imaginary characters shows motherly feats. Phillip Hoelscher who played the role of Peter added intelligence to play having to deal with everything going on did a splendid job tending to Ruth's and Anna's needs showing fatherly feats.
There should have been more background info on the real and imaginary characters of this play since it is hard to understand where a lot is coming from, confusing the audience and having them unclearly put the pieces together to figure it out themselves. Like what happened to who to make them act the way they do or what happened to trigger the creation of this imaginary character.
The stage design was very warm and comfortable representing that of a cozy family home with the paint color and furniture setup. It was surprising to see the use of running water and real food being used which made the whole play more realistic to the audience.
This was a very abnormal play since you don't often hear about the situation that takes place in the play but it was very well produced. Although I do recommend that those who are looking forward to seeing it should brush up on the background of this play to get a better understanding of all the characters.
And Baby Makes Seven, written by Paula Vogel and performed by the UMD theater department, shows a unique situation between a lesbian couple, their gay friend, their soon-to-be born child, and their three imaginary boys. From the very beginning the play was set up to be full of comedic interactions and witty remarks. However, this was not an entirely complete portrayal of what was to come.
ReplyDeleteFor a supposed comedy there were a lot of moments in the play itself that were far from funny. The one that struck the audience the most was the death, or disappearance, of the three boys; Henri, Orphan, and Cecil. The idea that the three being there was unhealthy is not an unfounded one, and while it seems to make sense on a general level, on a more emotional level it was heart-wrenching, almost painful at times, to watch as the three were picked off one by one.
While it was sad to see them go, it was amusing to watch them towards the beginning of the play. The actors did a wonderful job of portraying their characters. Stephanie Stine, who bounced between Ruth, Henri, and Orphan, managed to do so with more ease than many other people could probably pull off. At first it was a bit difficult to tell what exactly was going on, but as the play progressed it became increasingly obvious who was being presented at any given time; not only from the tones and accents alone, but from the posture of the actors as well. The same could be said of Koki Sabatés, who played both Anna and Cecil. Despite fighting hormones and the discomfort of her pregnancy, Anna played a believable, precocious Cecil.
More often than not Peter, played by Philip Hoelscher, was overshadowed by Stine and Sabatés, but when he stepped up he did a fantastic job of portraying the worried father and ‘uncle’. His easy interactions with Ruth and Anna as well as the imaginary children and later on, Nathan, did a good job of showing what kind of person he was meant to be and what he was thinking throughout the play.
All three actors made everything far more interesting by moving around and being active rather than just sitting still and talking things through; which was something they could have easily done with the given script. This was, of course, due in part to the good direction of Kate Ufema. However, there were many smaller things the actors did themselves that made everything seem realistic; including their facial expressions and actions, that didn’t seem forced or rehearsed. At the same time there were several parts in the play where an actor stumbled over their words as though they had forgotten what they were meant to say and were trying to right themselves as quickly as possible.
The realistic setup of the stage was good as well. It was fun to see the sink and refrigerator actually work. This made it feel like the action was actually taking place in a used home with stocked cupboards, utensils, drinks, and so on. Even the zoo; which took place in the ‘baby’s room’ seemed realistic with the sounds of the animals and the ability of the audience to picture the environment without having it directly in front of them.
Unfortunately, as good as the acting and stage were, the story itself left a bit to be desired. There were certain elements in the play that either didn’t flow well or simply did not make sense to the audience. One of these things; which left an uncomfortable feeling in the air, was Henri’s declaration that he might possibly be the true father of Anna’s baby. While the audience knows this is impossible, it is still a somewhat touchy topic since Henri is meant to portray a boy; a child, and even thinking that they had done something like that seemed wrong somehow. There was also the ending of the play; which seemed almost rushed and thus left the audience wondering exactly what had happened. It seems like Peter was feeling lonely without the kids and reincarnated them through Orphan’s bite. But what was it supposed to entail? Is he the new Orphan? Or was there another meaning behind the ending?
And Baby Makes Seven
ReplyDeleteJared Steel
This show was full of laughter and confusion. The show itself was very enjoyable and funny, however the audience felt confused by the end of act two. With all the drama of family in the modern era the audience saw many things where left unexplained. The actors did a magnificent job. The young actress that played Ruth, Orphan and Henri, was especially impressive. She was able to switch between characters at a moment’s notice in a manner that was almost flawless. Anna who also portrayed Cecil was very talented yet Cecil seemed a bit dull and boring he/she was not a vibrant as say Henri or Orphan. As far as the actresses themselves. They both executed their respected rolls very very well and filled the roll in a way that just brought the show together. As for the character of Peter who also played the new version of Orphan in the final moments of the show was good but at the same time left the audience wanting more from him. His performance was very well done but at the same time didn’t seem complete. More backstory on all the characters would’ve been great especially on Peter. He feels almost empty.
The set was very interesting. The simple idea of renovation was very evident and the stage design team deserves a pat on the back for their outstanding work. The visuals used really gives the audience the feel of an apartment that is under repairs or renovations. The different paint marks on the walls, cabinets and above the arch way really brought this idea to life. So to did the plastic around the babies room this visual was also a symbol of something new or something soon to come into this families life. The décor of the rest of the set really gave a feel of a modern household somewhere in a city. The futon couch, kitchen table and the kitchen itself fit very well together to give the audience a taste of what living in an apartment in the city may be like, small yet functional. The balloon lamp was a very powerful symbol wow. This lamp was lit from the first moments of act one all the way through the intermission and until the very end of the show. It felt like it was a moments of act one all the way through the intermission and until the very end of the show. It felt like it was a symbol of hope and it gave a vibe that everything was going to be okay in the end.
As confusing, crazy, funny and just plain odd as this show was its message was that family above all is all that anyone needs. Family and hope are the whole driving forces behind all of this. Even with three of the characters being “imaginary” they are still key family members in this story and clearly they matter to the show and to the audience members. Family is a powerful thing. For a good laugh and a little bit of crazy in the mix it was an entertaining show.
And Baby Makes Seven opened at the University of Minnesota-Duluth’s Dudley Experimental Theatre on Thursday October 30th. It’s an edgy comedic play about a unique parenthood experience between two lesbians and their gay best friend. The story shifts once it’s revealed that the new baby will not be their first child. The plot explores the journey of parenthood from a non-traditional viewpoint, which makes it easily entertaining. It also makes the audience reexamine their viewpoints on what makes a family and how they work.
ReplyDeleteWhat made this play so unique and interesting was the amount of pressure on the actors. Not only did they have to produce excellent acting as one character, but some characters like Stephanie Stine, had produce three separate characters. Stine would transform from Ruth, to Henri, to Orphan with ease. It was clear that director and dialect coach, Kate Ufema, had been a large help. Stine had the opportunity to show her knack for comedic acting during the play as well. It was fun to watch Stine switch not only switch voices, but physicalities like facial expressions and gestures as well.
Koki Sabatés showed an excellent depiction of an eight-to-nine month hormonal pregnant woman. Sabatés nailed the pregnant waddle and even exaggerated standing up by placing her hands on her stomach and back. Sabatés’s voice for Cecil was sometimes a little rocky, but overall did a great job of switching between the two drastically different characters.
The final actor of the small cast of three was Phillip Hoelscher, who played Peter. Hoelscher did a great job depicting a supportive friend and future father, along with being overwhelmed at the thought of raising his future child in a house full of three imaginary children. In the end Hoelscher’s vocal depiction of Orphan was a little rough, and could have used a little more work, but overall a job well done.
The set was wonderfully organized and designed by Matt Dufault. The set needed to be large and spacious for the actors to run around, which is exactly what Dufault’s design provided. It was large enough for the actors to use efficiently, but small enough to make it feel intimate. The only thing that would have made the set better would have been to rethink the fire escape set up. The way that the fire escape was set up was very distracting, especially if you found yourself sitting with it right in front of you. Another element that would have made the set flow better would have been a larger archway in the wall. Even though the archway was large enough for the actors to use, it still seemed too small when sitting in the audience.
Wesley Darton’s lighting scheme was a giant success. The lighting set the tone of the play and had some neat features like a kitchen light and a disco ball that lowered from the ceiling. Another unique feature of the play was the song choices put together by sound designer Alex Flinner. Flinner picked a wide variety of children’s favorites throughout the years.
And Baby Makes Seven was yet another enjoyable production from UMD’s Theatre Department.
And Baby Makes Seven opened October 30th in the Dudley Experimental Theatre located in the Marshall Performing Arts Center. This was a very interesting show that kept the audience laughing throughout the majority of the show. It was a pretty confusing play at the same time though. The actors did a good job acting, and really showing the audience their characters development throughout the show.
ReplyDeleteThis play was a very confusing one, but once you started to understand it you could really appreciate the play as a whole. If there could have been some more clues to help us figure out what was going on during some of the play, which would have really helped. The whole imaginary characters was tough to decipher who was real and who was fake. If they could have given us some more background information, it could have helped out.
The scene design was very appropriate in all aspects in this show. The play was in the blackbox, which did this play justice if anything. The blackbox let the designers really do a simple, but very good set design that really went well with the play all together. The size of the blackbox and the set really helped out with the audience connecting to the actors and the stage as well. I thought the props and everything in the set was really good as well. I’ve never been to a play where the actors had running sink like that before. It was very unique and very cool.
The main plot of the play is that this lesbian couple, Ruth and Anna, want to have a child. Since they wouldn’t be able to physically have one, they had their gay best friend Peter impregnate Anna. The tricky part of it all is that they already had 3 imaginary children that they were taking care of. Ruth was played by Stephanie Stine, who did a very good job at switching from character to character, as she played the roles of the Orphan, and Henri as well. Anna was played by Koki Sabates, who was also Cecil. Sabates did a very good job of showing the development of what a pregnant woman would be going through during that time. Very hormonal which made it very realistic. Phillip Hoelscher played the role of the gay best friend Peter. He did a phenomenal job showing the audience his character grow throughout the play. He had a very important role in the play, and he did a very good job handling it.
There was a lot of symbolism in this play, and if you were paying attention it wasn’t too hard to catch. Like for example, the way how the apartment was always in sort of mess. I think this symbolized that the cast was in a time of transition and things were changing around them and they just didn’t have the time to keep the place in the best shape. Which is very understandable given the situation that they got themselves in.
Overall, And Baby Makes Seven was a very confusing, but funny at times play. It wasn’t the best play that I would recommend, but it had its moments for sure. The plot was just too simple, and I think these days people don’t get interested in things unless there are background stories and really make you think about the deeper meanings.
And Baby Makes Seven showed from October 30th to November 1st at the Dudely Experimental Theatre on the University of Minnesota Duluth campus. The show portrays a unique family unit consisting of two lesbian women, one of whom is pregnant, and their gay segregate father along with the three imaginary children who are a result of schizophrenic coping mechanisms performed by Ruth and Anna.
ReplyDeleteThe technical aspects of the show fit into the plot and story line very well. The unfinished apartment was a great choice to reflect the chaotic nature of this unique family. The red balloon light as a symbol of childhood and Henri’s life story was a unique and heartwarming touch for the audience to connect to throughout the show. The small details of the set added to the overall quality of the show, like the light under the dining room table to allow the audience to see Stephanie Stine’s facial expressions in the peanut butter and jelly sandwich scene when Henri and Orphan were fighting. The disco ball at the end of the play was confusing as it seemed to have no physical or symbolic purpose, or at least that purpose may not have been obvious to the audience. The only aspect that could be changed was the proportions of the archway into the hallway of the apartment. But in a later discussion with the scene designer Matt Default, he recognized this as something he would change in the future. This was also a feature that the average audience member would not necessarily notice, so it did not take away from the show overall.
The quickness of the actors to respond to each other and switch personalities mid line was superb. The crisp changes done by all the actors created humor and held the audiences’ interest. It was obvious that hours of rehearsals to perfect the unique personalities paid off and added to the overall success of the show. Phillip Hoelscher succeeded in portraying a character that the audience could relate to as a juxtaposition to the craziness of the characters of Anna and Ruth. The commitment that Stine had to the personality of Orphan especially in his dying scene was superb. She had the right combination of crazy and insane actions but at the same time remaining contained and in control of the whole situation. There was never a moment that any of the alternative personalities seemed forced, both women remained believable and genuine in their actions as children.
The choice of show may not have been the best decision by the directors and producers at UMD since the story is hard to follow in the confusion of switching personalities and lack of background as to why Ruth and Anna need to use the boys’ personalities to cope in the first place. The only thing that UMD could have done to create a better experience for the audience would be to change parts of the script to add to the back story behind the plot, but it is understandable if this was not possible due to rights and agreements when using the script. That being said however, the actors and technicians did a superb job of executing the show to the best of their abilities.
UMD’s Theatre department put on their production of And Baby Makes Seven, a very strange and rather awkward play that had the audience confused and squirming in their seats due to the unusual characters the play has. Many may have walked in thinking it was about same sex relationships and parenting, but got much more than they bargained for with the whole idea of imaginary personas the female couple were equipped with. This production was well done and rather enjoyable due to the actors and how well the stage was set up.
ReplyDeleteThe stage was built in an exceptional manner, having a very realistic and believable feeling. Matt Dufault, the scenic designer, did a wonderful job to make the apartment or house look like they moved in no more than a month ago. The features of the unfinished paint job and strips of test colors on the walls were a nice touch to illustrate renovation ideas. The fire escape was questionable at first, but surprisingly added a lot to the scene when one of the imaginary children Henri, played by Stephanie Stine, essentially departed from there and “left” for Paris. The lamp next to the couch that had the red balloon instead of a bulb was mysterious and invoked some thinking that it could have been a symbol or metaphor. They even had working kitchenware, which added to the effect that what the audience is watching is a normal day at home. The stage as a whole let the actors go above and beyond, which improved the overall performance.
Even though there were many awkward moments throughout the play, the acting was very believable and satisfying. Stine did a wonderful job from transitioning voices and personalities from her three personas she had to take on. She made it very apparent when she switched, which could have led to confusion had she not. Anna, played by Koki Sabates, pulled off a convincing pregnant woman, and had the wonderful fluidity between her personas Stine did. Sabates played an excellent pregnant woman by really expressing the “hormonal rage” a lot of women are stereotyped to have. She even had some of the audience members squirm or jump with her sudden shouts. Peter, played by Phillip Hoelshcer, excellently played the rational mind by trying to reason with the girls in a believable way someone would actually handle the situation. Hoelshcer’s tone was spot on with the type of character he should be, and he drew the most laughter out of the audience. The actors were amazing and attentive to their surroundings on set by interacting with anything they could, which added a lot to the feel of the play and left almost no frozen moments. Despite being rather superb actors, the script and lines leaves something to be desired.
In the end, UMD’s Theatrical production of And Baby Makes Seven was very odd and unusual, but was enjoyable due to the actors. They are what made the awkward script bearable. All the actors did an amazing job to keep the audience glued to the performance. It certainly isn’t a play for everyone, but with the right actors it is an experience that should not be missed. UMD’s Theatre group definitely made it worth seeing.
Recently the University of Minnesota Duluth put on a production of And Baby Makes Seven. Originally written by Paula Vogel and directed by Kate Ufema, And Baby Makes Seven has received many positive reviews.
ReplyDeleteAnd Baby Makes Seven was set in the present in a New York City Apartment. With that in mind, it can be easily seen how that translates over onto the theatrical set as all of the furniture and other things have a modern feel towards it. The set was comprised of a basic apartment that was in the middle of being renovated. The reveal of the baby rooms being just about done was a great reveal at the end of the first act. The fire escape was also a nice little touch as it was used but also didn’t take up a lot of space as it was only used once. Matt Default designed the set and was able to come up with an excellent design.
The cast of And Baby Makes Seven was comprised of three people. Stephanie Stine, who played Ruth, “Henri”, and Orphan, had a more difficult role but she was able to perform very well. Stine had “three” roles as her main persona was Ruth who herself had Henri, in a thick French accent, and Orphan, the wild child raised by wolves. She was able to seamlessly go from one role to the next with no overlapping of the characters. Koki Sabatés, who played Anna and Cecil, was also able to switch between the two roles and also brought a lot of emotion to the two roles she played. Sabatés brought forth different kinds of emotion too ranging from Anna when confronting Peter and Anna to Cecil and his death. Philip Hoelscher, who played Peter, rounds out the cast. As the actor with the fewest roles, he had more time to focus on Peter and it was felt that Peter was a well developed character and Hoelscher had a good handle of Peter. Overall the performance from the cast was exceptional.
With And Baby Makes Seven being originally written in the 1970’s, the themes then would have had much more of an impact on the audience. The thought of two lesbians and a gay man raising a child together was such an alien and controversial idea then, though now that taboo has become dated and the amount of homosexual families is rising a great deal. Now the message of it has changed slightly as the family dynamic has changed in the last several decades that now this is just more of a dysfunctional family with all of their own respective quirks.
And Baby Makes Seven was an excellent play about the family dynamic and the crazy things that can happen. This plays makes a person think about family issues and the elimination of the imaginary children is able to bring forth a plethora of emotions. The cast and crew all did a great job. And Baby Makes Seven is a must see.
UMD’s Stage 2 performed And Baby makes seven, written by Paula Vogel from August 30th to November 9th. The show blended pretty adult things with humor, which made it an absolute blast to watch. It was wonderfully directed by Kate Ufema. The audience could tell this because of how the entire show came together. The lights, sound, and acting all blended in to a wonderful theater experience.
ReplyDeleteThe set was simple but fit the show perfectly. The audience could tell even before the actors were introduced that whoever did live there was in a time of transition. The small details like the multiple paint colors, the plastic around the baby’s room. The openness of the stage also made the audience feel very connected to the action. The show also had some wonderful imagery, the one that was easily noticed was on the set. There was a red lamp right next to the couch. This light stayed on the entire show. The audience could tell that it symbolized hope. Only at the end of the show, when we caught a glimpse of how the family does in the future. When hope was not needed because they already had it figured out. This was a fantastic choice to put in the set. The plastic sheet over the kid’s room was also a great choice for the show. At the very beginning when we hear the “children” talking, the audience pictured that there were 3 different people. The plastic sheet just added to the effect. Another thing that was really cool was the fact that the appliances worked and there was running water. That just added a whole new level of reality to the show.
The acting was absolutely fantastic. The audience could tell how much fun the cast was having on stage. Charisma and connection seemed to ooze from the 3 person crew. Stephanie Stine did a wonderful job with playing 3 completely opposite characters. Her transitions in between the characters were quick and flawless to say the least. Although at points some of the voices would get a little on the annoying side. Which did give the audience a better understanding of the character. Henri’s accent was superb. The audience could understand every single word. Peter, played by Phillip Hoelscher did an amazing job contrasting the high energy of Ruth and Anna. The audience found it refreshing having a more low key character in the midst of two high energy ones. Koki Sabates played Ruth with ease and perfection. The way she walked and carried herself made her character absolutely believable.
The sound designer Alex Flinner did a fantastic job with the music. It added to the environment immensely. In addition, the light designer, Wesley Darton did a great job. The audience could always tell what time of day it was.While this show was entertaining, had great acting, and great sound and lights, the plot was hard to follow. The audience would sometimes find themselves feeling lost in space as to what was happening. Although, by the end of the show it did all make sense. Over-all, this show is a very entertaining and humorous show, as well as makes you think.
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ReplyDeleteAnd Baby Makes Seven, which opened in UMD’s Dudley Experimental Theatre under the direction of Kate Ufema, attracted a wide variety of audience members. Whether young or old, it left each of us nearly in tears from the unexpected amount of comic relief.
ReplyDeleteMany elements were presented throughout the entirety of this play. The set was the first thing to catch my eye. They made it look realistic, similar to an actual New York City apartment. I developed a sense of transition between the characters as the walls to the nursery were unfinished, the cabinets were half painted, and the number of tools on top of the fridge. Another thing that grabbed my attention was the working faucet and food in the cabinets. Fortunately, I attended the play with a friend who worked on the construction of the set so I was able to gain insight on how everything worked. I was pleasantly surprised with how much work they put into making this a successful production.
The play consisted of three characters, Anna, Ruth, and Peter. Anna and Ruth are a lesbian couple who live with their gay best friend, Peter, who impregnates Anna. The couple also shares three imaginary children together, Cecil, Henri, and Orphan. It is safe to say that the show would not be the same without them. They set the whole dynamic for the show as the play opened to their voices fighting over how babies are made. Stephanie Stine did a remarkable job transforming into Henri and Orphan before returning back to Ruth again. She truly was the reason behind my uncontrollable laughter. Koki Sabates acted as the rock of the show as she held the family together from beginning to end. Phillip Hoelscher has taken on more than one role this semester in two different productions. He fit seemingly into every single one except I did not get the memo that his character was gay. He could have been a little more convincing. He does look out for his friends and truly wants what is best for them while acting mature beyond his years in the process. He is the compass of the show and steers his friends in the right direction. If it weren’t for him, there is a good chance Henri, Cecil and Orphan would still be a part of Ruth and Anna’s lives. I also enjoyed how he continued to sleep on the futon throughout the entire intermission. It made for a smooth progression between acts so they could pick up where they left off.
The use of symbolism is what ultimately brought the show together. The red balloon was lit up throughout the entire performance. It symbolized Orphan’s life back in Paris and it continued to stay lit after Orphan was no longer a part of their lives. It represented him and how he will always be with them. I also enjoyed the use of sound effects. The sound of a toilet flushing or a door shutting would echo in the background so even when a character left the room, you were still reminded of their presence. Regardless of the unusual plot, it turned out to be a very enjoyable experience. Each element tied together in the end to create a very emotional and thought-provoking performance. Dudley Experimental Theatre has done it again.
The play And Baby Makes Seven was a comedy about domestic family life. It was a humorous depiction of how chaotic pregnancy can be. The whole performance was about “mischievous humor” and had some domestic comedy that was related to the family. There was a lot of filthy language and malediction. The Sunday afternoon performance had mixed reactions to the language. Some people looked “put off” by it and others looked like they found it entertaining. The performance was especially about imaginary people and what imagination it would look like. Part of the complexity of the characters was trying to decide which role each person was playing. They often changed character in the middle of a scene. The characters provided the audience with what thoughts what would look like in real life. For example, the characters worked to portray how a pregnant woman’s thoughts and feelings play out in real life. When Koki Sabates was expecting to have the baby and needed to go to the hospital that was the superlative climax of the whole performance because Stephanie Stine and Philip Hoelscher were running around in chaos; meanwhile, Sabates was sitting on the table and she was waiting for them.
ReplyDeleteSabates had an outstanding performance that displayed the emotions when she was having the hormones during her pregnancy, during the labor, and showed a domestic comedy. Stine also showed an astonishing way of acting with changing characters from a dog and to an eight year old boy; it gave a clear understanding for the audience which character she was performing. Stine showed her emotional recall, naturalism, and realism when she cried after she left the stage towards the end of the performance. Stine was incredible with using soliloquy when she talked to the audience by capturing the audience’s attention and made them feel like they were participating in the play. She made direct reference to audience members by pointing at specific people and talking to them. Hoelscher displayed spectacular realism about how everyday life of domestic comedy plays out when husbands are expecting new babies at their homes. Hoelscher was very convincing as how a husband acts when expecting a baby.
The audience seemed to enjoy about fantasy experiences when they went to the zoo. All of the actors were very credible by depicting a clear picture of what family life was supposed to look like, making the characters seem more worthy.
The furniture and painting in the kitchen and dining room looked unfinished. The designer’s family was adopting a child, so they decided to remodel last minute and did not finish on time. The decoration seemed to hold from remodeling, because the family was planning to have a new baby. The seats looked like it was a proscenium setting on the stage and the audience was very close to the stage. The distance between the seating and stage was very small. The red lighting helped set a calming feeling for the play. The colors and decorations were excellent in the baby’s room. The rocking chair made it feel more welcoming. Since the baby was planned for, this room was already finished. The stage worked well to look like an apartment that had a combination of dining room, kitchen, and living room. The way the window and balcony were placed was a great feature for making the balloon scene so realistic.
Basically, the performance would be the most entertaining experience for people who like slapstick comedy, because it had a slapstick comedy when all of the actors were throwing the doll, and Hoelscher left the doll in the water.
Overall, the finest comedy of the whole performance was about the hormones and bringing Sabates to the hospital to deliver the baby. The stage was very close to the audience, that made them feel being involved and when Stine spoke to the audience. It will be wonderful to see more diversity performances in the future.
And Baby Makes Seven
ReplyDeleteUMD’s Marshall Performing Arts Center’s Dudley Experimental Theater put on “And Baby Makes Seven”. Which has a different view of what becoming a parent could look like and all from the mind of Paula Vogel back in 1974.
The basis of this play is that Ruth (Stephanie Stine) and Anna (Koki Sabates), a lesbian couple, live with Peter (Phillip Hoelscher), a gay best friend, and Peter got Anna pregnant so they could all start a nice family. Alas… Ruth and Anna have this disorder known as Multiple Personality Disorder. Ruth is also Henri and Orphan while Anna is also Cecil. These three boys are very ornery and Uncle Peter wants to banish these three boys from their place to make their home safe when the real baby comes around. They eventually all agree but banish these children from their lives becomes a comic ordeal.
Stine’s persona of Henri and Orphan and Sabates’ persona of Cecil are the first three people we meet in an entertain conversation about where babies come from. Henri is a boy out of the “The Red Balloon” and Orphan (raised by dogs…) is uncivilized and vulgar while Cecil is very smart and talks as if reciting a textbook.
Stine goes between Ruth, Henri and Orphan by changing her accent and demeanor. Changing to Orphan is the easiest to see as Orphan will crawl around on his knees and is quite wild to be honest. Stine does well in this persona of Orphan and it looks like a lot of fun having this wild child to imitate. Henri’s accent is French and Stine feels the need to really project her voice as Henri. Overall it was easy to distinguish the changes from Ruth to Henri and finally to Orphan.
Sabates changes from Anna to Cecil are also easily distinguished mainly due to Anna being a typical pregnant woman and Cecil the boy being the voice of reason occasionally throughout the portrayal of this odd exchange of personalities. She did a wonderful job of being pregnant and showing all the signs that she was with child. Once it was understood that Stine was three different people and Sabates was two people things went smoothly in understanding what was going on as they changed personas. In the beginning it took a bit to get fully how things were being played out.
Hoelscher’s character Peter was quite enjoyable is the mad dash for sanity. Hoelscher did a great job showing the stresses of living through the pregnancy of Anna and her lover Ruth. He showed a great way to live through it, do not make too many waves. Hoelscher was both sane and funny and that sanity was sometimes needed throughout the play.
Matt Dufault was in charge of the scene design for the apartment. Wesley Darton did the lighting for the New York apartment. Finally Alex Flinner did the sound design for the set. All were done well and did not take away from the characters or the play.
The show was great, funny, and crazy! Worth taking a night and seeing some of UMD’s talent in action.
And Baby Makes Seven opened on October 30th at the UMD’s Dudley Experimental Theatre. Playwright Paula Vogel creates a lesbian couple who create their version of a “normal” life with fictitious children running around the house, which is an unordinary concept. This extraordinarily quirky and contemporary play had the audience laughing their socks off because of the various characters that two of the main female protagonists Ruth and Anna (Stephanie Stine and Koki Sabetes) played. This show, although having a complex structure, was easy to understand for the most part. The psychology of creating a child because of one’s inability to get pregnant is an outlandish, but riveting idea. However, because of the nature of the play, there was a high importance to distinguish one imaginary character from another so the audience could understand during the duration of the performance. As a whole, And Baby Makes Seven was interesting, comical, and unique.
ReplyDeleteAnd Baby Makes Seven was a successful show cohesively thanks to the incorporation of the different children’s songs and nursery rhymes that were used as transitions in-between the scenes. This choice really set the tone for the audience, creating a light hearted and youthful atmosphere that definitely helped drive the show. With the direction of the scenic designer, Matt Dufault, the use of theatre space was well used for this performance. When the family “went to the zoo” they went into the of the expected baby and viewed the audience through the wooden poles as if the audience members themselves were the animals. This also got the audience involved in the play because of breaking the fourth wall that came along with actually looking at the audience. Dufault also did a wonderful job creating the mood and tone of the space. He incorporated lighter colors which are associated which are associated with childhood. There were also bright colored paint swatches to emote to the audience that the apartment was under remodeling and bright colors also represent playfulness and excitement which the family certainly has a lot of.
The Baby Makes Seven cast could not have been chosen any better. The three cast members: Stephanie Stine, Koki Sabates, and Phillip Hoelscher individually brought different qualities and dynamic to the show. Stephanie Stine who also played Ruth, Henri, and Orphan was the more outlandish of the two women. Each character she played was very distinct. There was this one scene where Stine had to enact a fight over a peanut butter and jelly sandwich between Orphan and Henri. It was a little hard to follow since most of the action happened under a table, however, given the fact that she was both characters she did what she could. Koki Sabates who played both Anna and Cecil also had more outlandish characters. She was pregnant during the show and could have had more outrageous hormonal aggression than in just one specific scene. As Anna, she did a great job being the nurturing mother to the imaginary children. Confusion did come as an audience member when deciphering whether or not the characters of Anna and Ruth were conscious of being the children when they had their episodes or were they two separate entities. At some parts it felt as if they were, while with others it happened automatically. Phillip Hoelscher who played Peter was definitely the straight character in an apartment full of unique characters. Although the straight character, he brought much to the show by asking the questions that many audiences members were thinking. For example, asking how the interaction between the two women and the children occur.
This production, although portraying an interesting concept and relationship between two lesbians and a man, was a very put together show. The uniqueness of the show kept it interesting for the audience to watch.
Paula Vogel’s And Baby Makes Seven opened on October 30th in the Dudley Experimental Theatre. Commonly regarded as one of Vogel’s underrated works, And Baby Makes Seven carries strong, relatable themes that connect to the ups and down of raising a family. Featuring strong acting and clever set design, this performance succeeded expectations.
ReplyDeleteThe play tried to challenge the audience on what constitutes a normal family. The director Kate Ufema not only attempted this through a cast of homosexual characters, but also through a cast that included three imaginary children. While many people consider a well-behaved nuclear family as the norm, in reality few families perfectly fit that model. In And Baby Makes Seven, Ufema and her actors achieve of a sense of celebration for all the families in the world that feel atypical, yet happy.
The three parent characters found themselves in a unique situation that allowed them to take on contrasting roles. Stephanie Stine brought energy to the performance as Ruth, Henri, and Orphan. Stine’s interpretation of Ruth exhibited her as a young woman who felt rushing anticipation from the idea of parenting. Henri and Orphan represented an adventurous notion to the thought of having kids, shared via Stine’s frenetic acting abilities. Stine separated each personality by using arresting body language; the feral Orphan acts like a goofy dog, while French Henri danced around the stage with an exotic flair. One scene involved both Orphan and Henri fighting over a sandwich, forcing Stine to switch between these personalities on the spot. This play tested her acting abilities, to which she passed entertainingly.
Contrasting the craziness of Ruth is the caring and sensitive Anna, played by Koki Sabates. Sabates shared a genuine earnest in many of Anna’s scenes, coming off as a character who sought happiness for her entire family. Anna’s child personality of the nerdy, yet intelligent Cecil may represent the unknown potential of their future child. Sabates performance felt gentle for the most part, but she showed the ability to flare up in more dramatic scenes, overall fitting as a motherly type of character.
Peter, played by Phillip Hoelscher, served as a straight man to the antics of Ruth and Anna. Hoelscher’s acting formed a character that initially saw the imaginary children as an immature reaction to the pregnancy, while unaware of his own flaws. His character maintained serious tone throughout the story, but eventually accepted the roles in the family played by the imaginary children. Hoelscher felt like he formed the closest connection to the audience, with Peter coming off as the most relatable character.
The performance exhibited the theme of love through a unique family. These parents desperately wanted a child to love, so they imagined kids to cope with their unsteady future. A central image that conveyed this theme of love was the red light in the center of the stage. This scenery felt like an intelligent design choice, for its placement conveys the imagery of a heart in the center of the action. The light persisted across most of the performance, supporting the idea that a heart full of love can endure in the most stressful and overwhelming circumstances.
During the beginning of the performance, a portion of the set was covered in tarp, showing the unfinished status of the baby’s room. The apartment as a whole showed signs of incompleteness, with mismatched paint on the walls and power tools placed off to the sides. These elements of scenic design suggested how unprepared the characters felt in anticipation for the baby, which served as a major milestone that irreversibly changed their lives.
Impressive on the acting and thematic perspectives, And Baby Makes Seven communicates quintessential ideas to the audience with great success. Ufema and the actors had fun while working on this show, which indicates respectful conviction to the material. With no glaring flaws, And Baby Makes Seven serves as an example of a director masterfully handling Paula Vogel’s work.
The Dudley Experimental Theatre, the venue of many great theatre performances. This time around the Stage Two theatre company presented And Baby Makes Seven. This comedic play written by Paula Vogel highlights the struggles of a lesbian couple (Anna/Ruth) and one gay man (Peter). The setting of this modern and contemporary show is an apartment in the big apple, New York City. Anna and Ruth enlist the help of their friend Peter to help them start a family.
ReplyDeleteOne would find this show rather confusing or hard to follow because there are many different tangents within the show. Both Anna and Ruth have childlike tendencies and embrace an alter ego. Before Anna conceived, she and Ruth “adopted” personalities of young children. So theoretically Ann, Ruth, Peter, the new baby, and the other children make a grand total of seven! The story begins with the “children” talking about rather explicit content. The actor’s ability to switch between different personalities was very impressive making the whole show very enjoyable. The show rises to the climax of Anna going into labor and bringing home the seventh child. Bringing all the pretending and show to an end.
The cast of three, Stephanie Stine, Koki Sabates, and Phillip Hoelscher did a phenomenal job in the parts. Director Kate Ufema did a wonderful job directing this small but very talented cast. Ufema picked a wonderful show to direct, highlighting the troubles of those mood swings during pregnancy, and even practicing how to take care of a newborn (somewhat). The shear comedy brought forth through this show was amazing. No matter how serious a scene was you could always expect a period of comedic relief right around the corner. Though this show is NOT recommended to young children, it is a must see for all adults young or old. You will find yourself reflecting on the time when you were pregnant with your children, and relating to similar experiences.
The setting of the show was very plain, but in a good way. The set depicted that of a New York apartment. With a baby on the way, you could see renovations being done to accommodate for another member of the house. The baby’s room was not revealed until late in the show, being covered in heavy plastic for the majority. The set designer Matt Default did a great job. I felt like the scenery added to the overall feel of the show very well. Everything from the red balloon, stuffed animals, and fire escape made the whole setup very convincing.
The costumes done by Pat Dennis were simple as well, but yet again in a good way! The costumes were made to depict a middle age and middle class life living in NYC. Talking to Pat after the show, she revealed that a lot of the costumes were even bought at a second hand store! This was very interesting, because it worked so very well in the context of this show.
This show is highly recommended to anyone looking for a fun, relatively short, and entertaining show. UMD theatre and Stage 2 never disappoint. With such talented actors, actresses, directors, and designers, UMD has everything to make some amazing shows. I cannot wait for more upcoming performances.
And Baby Makes Seven Showcases UMD’s Voice Acting Talent
ReplyDeleteThe University of Minnesota Duluth Department of Theatre’s production of And Baby Makes Seven was a delightful and worthwhile performance. The production, which opened on October 30 in UMD’s Dudley Experimental Theater, portrays a lesbian couple who are expecting a child with their friend Peter. The couple, Ruth and Anna, already have three imaginary children; they act out the kids by slipping in and out of character. The couple plans to become a family with Peter, and the struggles they encounter along the way provide a comedic and entertaining show.
Stephanie Stine played the role of Ruth as well as the voices of the children “Henri”, a French boy and “Orphan”, a savage. Stine did an exceptional job at the voices of the different boys. She switched from character to character very quickly while keeping the audience engaged at the same time. One scene in particular that kept the audience laughing is when “Henri” and “Orphan” fought over a peanut butter and jelly sandwich. Stine switches from “Henri’s” French accent to “Orphan’s” grungy voice seemingly without mistake, while portraying a fight between the two. The argument proved to be believable enough to make the audience laugh out loud at the altercation between the two characters.
Koki Sabates, who played the roles of Anna and “Cecil”, did a quality job of playing a hormonal pregnant woman as well as a smarty pants “older brother”. Perhaps a highlight of the Sabates’s performance was the hormonal monologue of the second act, in which she showcased her acting skills divinely. Sabates also played an acceptable “Cecil” when giving advice to his younger brother “Henri” about the death of “Orphan”.
At times Philip Hoelscher, who played Peter, seemed like he was sitting on the sidelines for the majority of the show. Although he was not the main character, it would have been nice to see more dialogue from Hoelscher, who portrayed the character of Peter with great professionalism and style.
Scenic designer Matt Dufault arranged the set as at an angle in the Dudley Experimental Theater, utilizing the space for its entirety. An angled black box allowed for the audience to view the performance from multiple angles, acting like a thrust stage at times. The set impressed audiences with fully stocked kitchen cupboards and a running sink. The most noticeable piece of scenery was the red balloon placed in the center of the room, symbolic of the strong bone between the imaginary children and their family.
And Baby Makes Seven is not a play for any type of audience. There were times at which some of the older audience members scoffed or turned their heads with disgust at the language. The satire comedy used to portray a lesbian couple with imaginary children is best for adult audiences who are looking for a light-hearted take on a controversial subject. The UMD Theatre did an excellent job of relating the show to a college-aged audience by incorporating slapstick humor for an overall enjoyable performance.
And Baby Makes Seven seemed to have some ups and down. However, the acting and the set weren’t the problem. They were fantastic. The problem appeared to be the story. It was hard to follow, and without previous knowledge of the plot, it was very difficult to discern what was going on.
ReplyDeleteWhile the story itself was unclear in the beginning, it was very easy to instantly connect with the characters. Stephanie Stine played the characters of Ruth as well as the imaginary children Henri and Orphan. Koki Sabates played Anna and Cecil. Peter was played by Philip Hoelscher (who later resurrected the character of Orphan). All of the characters were very likeable and well-portrayed. When they switched into the characters of the children, they actors were committed and sold the concept. The voice, posture, and mannerisms were all completely changed to suit the children’s characters. There were lots of points in the play where characters played by the same actor argued, and even got physical with each other. These scenes definitely got a lot of laughs. It appeared that during the entire performance, not one of the cast members slipped up. The actors had excellent delivery and projection, and were completely in character, flawlessly moving between the children and adult characters. The children’s voices alone were hilarious.
However, even though the characters were well-portrayed, it seemed the story itself wasn’t very well-developed. By intermission, many audience members were asking each other what was going on. The general comments were that it seemed funny, the actors were good, and the set was beautiful, but that it was hard to tell what was going on. There were a few people that did not return after intermission, but that was likely a mistake.
The second act was much better than the first. The plot became clearer, and the dialogue between the characters deepened and intensified. The imaginary children had to be “killed off”, and somehow it was both comedic and sad at the same time. However, the sell point of the show was that the three adults had to get rid of the imaginary children to make room for the baby, but at the end, the kids came back. The actors all played their parts very well. It was a very cute ending, but when the imaginary children returned at the end of the show, it felt like a cop-out. Sometimes, a really good book will end with “And then he/she woke up, and it was all a dream.” That makes for a very unsatisfying ending. The same can be said about And Baby Makes Seven.
Besides the criticism of the script itself, the cast and crew obviously put their work in. The set was fantastic. It perfectly captured the sense of starting fresh. The apartment was being remodeled, with several different swatches of paint around the walls. A tarp was hanging up to cover the baby’s room for part of the first act, but when the tarp was pulled away, it was a beautiful reveal. Inside the baby’s room, it was complete, looking like it was ready to be moved into, other than the incomplete walls. They seemed to be left that way for visibility. The elephant wallpaper was the finishing touch to the room. The fully functional sink and the well-stocked refrigerator truly made it feel like we were watching a real family in a real apartment.
Overall, it was a well-done show. The script itself could have used some work, but it was pulled off in a entertaining and professional manner.
On November 8th I got to watch one of the comedian plays out there, also one of the weirdest plays “ And Baby Makes Seven”. It was performed at the Marshall Performing Arts Center’s in the Dudley Experimental Theatre. The characters really got the audeience’s attention by entertaining the characters well, as being a part of the audience all I heard was a lot of laughing. The three characters, Ruth who played by Stephanie Stine, Anna, played by Koki Sabates, and Peter who played Phillip Hoelscher did well on connecting with the audience as well.
ReplyDeleteStephanie Stine played her roles really well jumping from different characters and being able to change her tone as the imaginary characters Henri and Orphan she had the most responsibility on stage she did a great job on handling her role. Also the character played by Anna, Koki Sabates did a nice job pretending to be the pregnant women. The play was arranged differently because at the beginning I as one of the audiences didn’t know that they were a lesbian couple and that Peter was gay until like after a while the fact that Ruth was flirting with Peter made it confusing.
The sound designer Nick Mrozek had a good impact on the play he did good with setting up the play's tone, how he played different kind of music between the scenes made it more interesting, it kept the audience kept following the play well, when the characters entered stage. The scenic designer Matt default tried to make the play as realstic as it can be, he tried making the play look like as if it was actually performed in an apartment in New york. The stage was a blackbox because of its size I guess that also had a big impact on keeping the audience to have a better connection with the actors/actresses.
There was also some misunderstandings for me as one of the audience members. At the beginning of the play they don't really tell us why the imaginary children existed and where did they came from, instead you just had to figure that on your own as the show went on and by other audience chatting together about it you start getting the whole details. One thing that give me the most attention during the play was that red balloon laying next to the couch, it showed how lovely Ruth and Anna's relationship, and how happinness is a big part in their lives.
Although the play got kind of awkward towards the end, it still seemed funny to the audience. The light designer Wesley Darton did well on having the right lights whether it was morning or at night. Also the costumes were looking just as clear as possible where the characters switched they would wear whatever fits them right, they would wear the robes at home. Overall this play was very unique to me but at the same time it was interesting. The whole cast did well on producing “ And Baby Makes Seven”, the actors/actress were talented as well it had the audience enjoy a fun time I encourage who hasn't seen it yet to check it out.
The rendition of the play was based off Paula Vogel’s original work centered on a lesbian couple Anna and Ruth, who lived with their gay friend, Peter. The background of the play exemplifies Anna and Ruth’s desire to have a baby, but due to genetic variables they must find someone to carry the baby for them, or engage in intercourse with the opposite gender. They decided to choose the later option and in turn Peter became the father with Anna. The twist throughout the story that makes it interesting for the audience are Anna and Ruth’s imaginary children Orphan, Henri and Cecil. Prior to having their newborn child Anna and Ruth have imaginary children that effect the way they live each day, in and out of reality. Stephanie Stine (Ruth) and Koki Sabates (Anna) did a fantastic job playing multiple roles at once to give the audience a clear understanding of who each character was. Over the course of the play it becomes clear that the three imaginary boys are too much for Peter, played by Phillip Hoelscher, to handle. His goal was to try to have them eliminated so to speak before the arrival of the newborn so Anna and Ruth could get ready. Eventually an agreement was made that the boys would go, and the performance follows the hilarious twists in order to complete this task. Each of the three boys came of as fairly annoying yet interesting, giving them intriguing personas to figure out. Stephanie played the roles of Ruth, Henri and Orphan, all of whom act in different ways. Henri is the boy with the Red Balloon, dogs raised Orphan and Cecil was civilized and talked in a poetic and mystifying tone. All throughout the play Ruth could be seen running around the set rambunctiously, crawling on her knees, yelling, etc. as she moved from one character to the next. She played each part well and really exemplified what an anxious and riled up child might be like. With the snap of a finger, Ruth would come back down to Earth and step into her civil adult role. Koki played the roles of Anna and Cecil, who were two very different characters. Anna was a focused young lady who had the opportunity to carry their child while Cecil played the voice of reason to an extent. Anna’s character was warm and welcoming, while utterly vulgar and fed up with the world under her pregnant skin in other situations. The audience could feel her emotions, trials and tribulations of pregnancy while understand Cecil’s calming perspectives. Both young actresses were well versed in their roles and carried them out nicely. Phillips character Peter, was placed in a difficult role trying to be the mediator of the house, the uncle to the three young boys and the father of the newborn child. The audience saw him fluctuate from understanding, annoyed, extremely upset and back to acceptance. He was able to bring out the rationale and consequences of the entire situation and provide a loving and caring role to all of the characters, even if the three boys annoyed him. Matt Dufault was the lead for scene design and did a great job with his first set. In a lecture post-production he explained that the scenery changed from the time the play began, to opening night ensuring it was exactly how he wanted it. There were small changes that could have been made, a larger doorway opening for instance, but overall it turned out well. Wesley Dartons lighting job seemed to aid the play throughout every scene, especially the use of the red balloon that was lit throughout the performance. During night scenes that were dark, the lighting could have been dulled more, making the entire theater a darker black. The sound and costumes throughout the performance added to its success. There were many scenes with background noises, radio clips, etc. that helped blend the story together without taking away from the characters. Symbolic use with the elephants in the baby’s room, paint colors over the door and a partially finished wall made the audience understand their lives were a work in progress. Overall this was a well executed, interesting and flamboyant play.
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ReplyDeleteAnd Baby Makes Seven is an entertaining play that opened on October 30th, written by Paula Vogel and directed by Kate Ufema. The performance was held in the Dudley Experimental Theater at the University of Minnesota Duluth. The costume production was designed by Patricia Dennis and the adequate sound production was done by Alex Flinner. The lights were designed by Wesley Darton and scenery was done by Matt Dufault. The main actors and actresses were: Stephanie Stein, Koki Sabates and Phillip Hoelscher. Stephanie played Ruth/Henri/Orphan, Koki played Anna/Cecil, and Phillip played the role of Peter. The elements of scenery, costume, lighting and sound supported the play effectively.
ReplyDeleteDufault fulfilled most of the scenic design objectives. He made sure to coordinate the scenery with the whole meaning he designed the stage to fit the playwright’s intent. Matt made sure the stage reflected the actors and the script. When Stein and Sabates alternate through their imaginary characters, the audience can draw parallels to the way the house is changing. The plastic around the baby’s room and the different paint colors on the wall indicate that a new presence will be in their lives so the renovations are necessary. Dufault also was able to provide a central image, in this case it was the bright red balloon in the middle. The balloon represents the baby and how it is in the middle of all the madness that takes place in the household. Throughout the play, the cast used the space around them to act out their imaginary characters. The flamboyant characters would jump, crawl, and run around and the scenic design supported this because it allowed room for all this to happen.
Dennis maintained consistency by using down-to-earth costumes that everyday people would use in their homes. The robes and pajamas contrast how the actors act, showing that these crazy characters are really normal people living a different lifestyle. Dennis also makes sure the audience can distinguish the time of day by what the cast is wearing. In the evening they no longer have the robes and pajamas instead Peter wears formal clothing, perhaps indicating that he is coming back from work or a meeting. Again, it reinforces the idea that the people of the household are normal when in fact they aren’t.
Darton coordinated certain colors of lighting to certain scenes. The lights were mostly comprised of yellow, blue, and green. Darton assigns the yellow lighting to the vivacious acting scenes. Yellow lighting symbolizes the sun and energy; most of the yellow lighted scenes are full of energy. When Ana’s water broke, all the lights went off creating a ruckus amongst the audience. Causing excitement is always a positive so this definitely supported the play.
The sound production was not up to par with the other elements of the play. Alex Flinner made sure to designate the sounds to the right times but he had trouble with timing. When the radio would come on; it was not correctly timed to when the cast would put it off or on. Also, when the baby is crying the background it distracted the audience from what was actually happening on stage.
Overall, most of the elements supported the message of the play effectively. The scenic design makes the audience understand the metaphor of chaos and change. The costumes created a sense of realism by having the actors look like every-day people. The lighting creates a sense of excitement by using colors that symbolize energy. The sound production was average and did not contribute much to the message. Perhaps the message of the play is to have healthy, playful imaginations.
The production of And Baby Makes Seven presented at the University of Minnesota, Duluth on November 4th was a wonderful comic relief in the middle of the week. I will have to admit that I was very confused at the beginning of the show when all that was heard was the voices of children off stage; one even had a very strong French accent. Immediately after adults entered the stage and nothing was ever said about children. However, soon after, we learn that there are not “real” children in the show. Instead the cast only consists of three members, but the show requires six characters. And suddenly the real confusion begins.
ReplyDeleteThe young actress Stephanie Stine shifts seamlessly between three characters, Ruth the adult lesbian in a relationship with Anna, and two children Henri, who has a strong French accent, and Orphan. The show requires her to not only switch characters throughout scenes having conversation with others, but also switching her own characters and having a conversation with her own characters. She made the transition literally on the spot, and the conversation was if it were two actors on stage. I was thoroughly impressed with her ability to switch so quickly. It was obvious that Stine had a very clear image of each character.
Anna, a hormonal pregnant woman, and Cecil, the third child, was portrayed by Koki Sabates. Although the demands of changing character were not as obvious with Sabates, she had physical demands on stage that she had to meet that I would view to be difficult. Her “real” character being very pregnant had to also switch into Cecil, a young child. She made the appearance of each character very different physically, being exhausted and fatigued as a pregnant woman, and a shy sulking child as Cecil. It was more than obvious which character was being represented on stage even when Sabates wasn’t speaking.
Phillip Hoelscher portrayed the sixth and final character, Peter. It could be said that he had it easy, being the only cast member who only had to be one person, and however, he had to keep all the other characters straight. He too would have to have a sense of whom he was talking to. He couldn’t go off of physical characteristics at all times to remember whom the conversation was with. With some regards I think this would be even more difficult than changing characters within the same actor/actress. He did a wonderful job keeping some serious within all of the funny moments.
Overall I thought this was an excellent production. The set was very well designed for the storyline. With it being a modern show the costume design was very simple, and nothing really stuck out to me, the clothing was something we would see in everyday life. With that being said I thought it fit well with the show, none of the costumes overpowered the acting or performers.
If you are looking for a wacky, twisted, and funny show I would definitely recommend And Baby Makes Seven. It is sure to add some comic relief to a stressful week!
On November 7, 2014 I saw And Baby Makes Seven in the Dudley Experimental Theatre. I was very impressed with the scene set-up because it really pulled the whole play production together and created the perfect atmosphere, making it even more realistic for the audience to connect with. There were different paint color options painted on the wall to show that the family was in the process of re-decorating, the kitchen was tapped up with painters tape also to show they were still in the process of painting. The imaginary children were very interesting and entertaining to watch. I was unsure how each character would sound and act. The first time each imaginary child spoke it was one more surprise added to the play. The voices and accents of the children made the play that much more interesting to watch. The thought of the main characters pretending to have imaginary children at first was very hard for me to grasp, but as the play proceeded the idea became clearer and more realistic. The imaginary children became apart of their family and apart of their lives. When the characters realized they were having their own family and no longer needed their imaginary family they had to come up with plans on how to “get rid” of each imaginary child. Each “death” if you will, was so dramatic and eventful. I caught myself actually feeling sad and emotional about the deaths of each imaginary child. The actors did very well at setting up a real family environment with their imaginary kids even though the children were not real. In each death of the imaginary children there was a strong emotional connection between the two characters Anna and Ruth, which I think was really important in order for the audience to feel that emotional connection as well. I was very impressed with how the characters of Anna and Ruth went from character to their imaginary children within seconds, I was impressed because it made the play very exciting to watch because I didn’t know when each of the imaginary children would come out. However, sometimes throughout the play I did become confused because sometimes the characters were themselves and sometimes they weren’t. With each imaginary child the voices changed dramatically and that was very helpful as an audience member to know which imaginary child was speaking and when it was the imaginary children or whether it was the actual character speaking. Overall the play was very well performed, as an audience member I felt as if they were performing just to me. With only having three characters in the whole play the actors did very well with the performance. One thing that the actors also did very well on was doing the same accent or tone of voice each time the imaginary children came about. That would be a very tough task to do and take a lot of practice, but each time an imaginary child was talking the accent or tone was the same every time, it was very consistent. The play was entertaining, funny, and it kept the attention of the audience throughout the whole play. I would see it again if I got the chance to.
ReplyDeleteAnd Baby Makes 7 was a show that combined an intelligent set, beautiful technical elements, and incredible characterization to give a comical, spirited portrayal of parenthood. Actors Phillip Hoelscher, Stephanie Stein, and Koki Sabates were wonderful, and the show was well done.
ReplyDeleteThe apartment was designed to be in a state of disarray. When walking into the theater, the first thing the audience noticed was the apparent "renovation" of the apartment. There were drop cloths laid out on the floor, open cans of paint, plastic sheeting covering on one of the rooms, and paint samples all over the walls. This made the apartment feel like a home, instead of a tidy, spotless set, which would have been harder to identify with. Designer Matt Dufault also created the set so that the cast had a lot of room to maneuver. This was very important, as the show is energetic and included lots of movement. The set also showcased running water and working appliances. This fantastic attention to detail meant that the audience felt like they were looking in on a real apartment, and was an impressive addition. One small detail that could have been different was the doorway. Although it was tall enough for each actor to walk under with ease, from the seats it looked too small, and had a slightly comical effect. However, this was a minor detail, and was not distracting from the overall effect of the show.
Another piece of the show that was important was the technical elements. The lighting was incredible. The amount of lights that were on the grid above the stage was overwhelming, but they were used for wonderful effects. Each lighting cue was seamless, and highlighted whichever character the audience was to be focused on. Different colored washes were used for different emotions (e.g. blue after Orphan died), but the shifts were almost unnoticeable. Another moment of perfect attention to detail was the light under the table. As Henri and Orphan fought over the sandwich, Orphan crawled under the table, and there was a light mounted on the underside of the table so her face could still be seen even in an area that would normally be in shadow. The other big technical element, sound, was amusing, and gave the show a bit of a nostalgic feel at certain points. The use of children’s songs really gave the audience the feeling that the characters were preparing for a baby. In addition, the "news" on the radio made it feel like a real home, and even used relevant reports (like gay marriage in the courts) to make it feel more real.
Of course, all of these factors supported the story, but none did this more so than the actors. Stephanie Stein was wonderful as Ruth/Henri/Orphan. Her transitions between characters were not only indicated by a change of voice, but also of body language. Each character she played had a different way of carrying themselves, and this made it easy to differentiate between each of them. Even though both Henri and Orphan were both very eccentric characters, Stein made them both believable. Koki Sabates gave a beautiful performance as Anna/Cecil. Her physicality as Anna was wonderful, and the laughs of many older women in the audience were heard as she comically struggled with all the physical discomforts of being pregnant. Sabates' portrayal of pregnancy was dead-on, and her transitions into Cecil contained none of the same physicality. This meant that it was easy to tell which character she was playing. Of course, Philip Hoelscher played only one character, but he did so wonderfully. His physicality perfectly captured that of a man trying to live with two women, and his interactions with the three children made him easy to identify with as he struggled to make Ruth and Anna's home his as well. Hoelscher's chemistry with Sabates and Stein made the show flow smoothly.
ReplyDeleteFirst off, where did Koki Sabates come from and why haven't I become her best friend yet? I now know she transferred but wow, she was absolutely geared in to the chaos that circled her double (or, I guess triple...) casted part! She never gave the illusion that she was not pregnant but was wearing an belly additional under her clothes. She moved with such grace and rhythm whilst dealing with an extra massive amounts of inches strapped on to her through most of the duration of the play and it was quite impressive from start to finish. The way she seamlessly transitioned from Anna to Cecil and back again twenty times in a row was adorable because she showcased a cute stance for the child, Cecil, complete with her neck stuck down into her shoulders and her chin pushed slightly forward and her legs and pelvis slightly more forward than the rest of her body and added an even more adorable "Cecil" voice to top it all off to absolutely sell that fact that Anna could not be Anna without Cecil, too, of course until she is forced to make a difficult decision. I was beyond impressed with Koki's work.
Sabates was evenly matched with the ever talented, Stephanie Stine, cast as Ruth and Ruth's alter-characters or children, if you will, Henri and Orphan. All three of these characters were the absolute perfect character match for Stine, so much to say that I do not believe any other student could have pulled it off with more success than how Stine did. That is, of course, a bold statement but a well deserved one by Stine. Ruth is Anna's partner and she's got a slightly shorter fuse than Anna, even though Anna is the pregnant one... Ruth's "children" are an absolute reflection on what is inside Ruth that she wants to get out but feels as if she can't get it out through Ruth herself, so she showcases this attitude and sass through Henri, an eight year old boy, transplanted from Paris to New York and he is quite the little spit-fire who loves to stir up some trouble, can be a little stubborn to say the least, and also loves peanut butter and jelly sandwiches. Stine absolutely killed it when she was displaying Henri's love for pb+j's as she danced around the kitchen, looking from the perfect ingredients, which is totally what a little child would do, and making a mess of everything. Stine broke back in forth between Henri and then Orphan, her last component as a character, who is a 6 year old boy who is not quite as civilized as much as he should be at his point in life as he loves to live life amongst the dogs, which leads him to catch rabies and die an almost grotesque and oddly, but purposefully, hilarious death. Stephanie brought me to tears of joy and sadness to see Orphan go by delivering this intense monologue.
Last but certainly not least, Phil Hoelscher, Vogel's only mail character in this selection, was on par with his female counterparts and delivered the role in a way that honestly could make if not all, then most of the audience members, fall in love with him. I definitely did when I watched him perform this role. He was the gay roommate of the lesbian couple who so happened to provide the sperm for the baby inside Anna because they figured out a situation where they could all raise a child together. One of the best scenes to watch Phil in was actually one where he almost didn't speak at all in the entire scene. And that, to me, is incredibly impressive because it involves a special amount of focus and drive to go to the place where this character is at the moment and stay engaged at the same time and it was just beautiful. Watching his face which shared this expression of disbelief and curiosity and probably with an added element of surprise because Ruth is actually killing of one of her kids.
And Baby Makes Seven is an outrageously hilarious play written by Paula Vogel that first opened October 30th of 2014. This play had the audience both laughing and crying every other scene, which was performed in the Marshall Performing Art Center’s Dudley Experimental Theatre. The play consisted of a lesbian couple and their gay friend that wanted to raise a family. However, there are already three children in the family, but they are imaginary. This throws the audience for a loop in an exciting and comical way.
ReplyDeleteThe cast included Stephanie Stine as Ruth/Henri/Orphan, Koki Sabates as Anna/Cecil, and Phillip Hoelscher as Peter. The lighting was done by Wesley Darton and sound by Alex Flinner. The set, designed by Matt Dufault, really made the audience feel they were in the living space that Ruth, Anna, and Peter were in. The sink had running water, there was a running fridge that had actual food in it, and a baby’s room that was under construction with a crib, toys, and a baby styled wall-paper.
This modern play was set in New York City, in an apartment. Ruth is one of the lesbian couples who also portrays their imaginary children Henri and Orphan, Anna was the other lesbian couple who also portrayed Cecil, and Peter was the gay friend whom had impregnated Anna so Anna and Ruth could have a baby.
Throughout the play, Anna and Ruth would randomly switch between being themselves and being one of their imaginary children. When Ruth acted as Henri, she became a French boy that was very much derogatory with his vocabulary. He was a very inappropriate young boy that had the whole crowd laughing and at the edge of their seats. However, her other child she would act as was much different. Orphan, whom we later are told was raised by dogs, is like the runt of the three imaginary children. He had a high pitched voice, acted like a dog, and would stutter quite a bit. Always hyper-active and getting on his “brothers” nerves, he was a great and important character to this play.
Every so often, Anna would switch into the role of Cecil, whom was the brains of the “children”. He was very smart randomly giving out facts left and right and always wanted to act like he was older than he really was. When he was told to go watch Sesame Street on T.V. he responded with “Do you think I’m a little kid?”, but proceeded to do so anyways.
Peter was, more than likely, the only sane one out of the three real characters of the play. When it came close for the termination of Anna’s pregnancy, Peter had suggested that they get rid of their imaginary children, as a real child of their own was about to enter into their world. He was right and Ruth and Anna knew it.
One by one they started to rid of their imaginary children. First Orphan, then Henri, and later Cecil. After having the baby, however, they realized that they shouldn’t have gotten rid of the imaginary kids. So they brought them back.
Overall this was a very confusing and hard play to understand. I recommend anyone that plans on attending this play in the future that they do their research and find out what the play is about and what’s supposed to happen throughout the play. Do that, and you will enjoy this play.
On November 1st, 2014, a full house waited for the third night of “And Baby Makes Seven” in UMD’s Dudley Experimental Theatre. With a cast of only three, many were curious to see what a show with so few personnel could produce. The end result? A very well constructed, funny, and dimensional performance enjoyed by all.
ReplyDeleteStephanie Stine, who played the characters of Ruth, Orphan, and Henri, did a tremendous job. Quickly transitioning between American and French accents, as well as a variation of a second American accent, showed great skill and preparation. Orphan’s ‘death’ scene was perhaps the most intense part of the entire show; and was effortlessly done, requiring from Stine very rapid transitions and short, choppy movements indicating someone dying of rabies. A lighter scene in which Henri and Orphan argue over a peanut butter and jelly sandwich was also a delight to watch; with two very different accents and characters being portrayed, Stine wowed the audience.
Koki Sabatés, another actor with a wide variety of skills, played Anna and Cecil. Although Sabatés didn’t have as many accents to perfect as Stine, they were well polished and consistant. The most obvious characteristic of Anna, however, was how pregnant she was. Sabatés was very realistic in her portrayal of this; difficulty rising and sitting, an achy back, and a slight waddle all added to the believability of this character. Cecil was also well done, with a voice that sounded like a child’s but apparent knowledge beyond his years. Sabatés spent the majority of her time as the character of Anna, a tired and motherly sort trying to contain the loving chaos that is her family.
Peter, and later, another imaginary character, was played by Phillip Hoelscher. The character of Peter has an interesting role in the lives of Anna and Ruth. The biological father of the baby as well as the best friend of Anna and Ruth puts him in a seemingly delicate situation. At first, it seemed as though Peter was more of a nuisance than a friend to Ruth, who was often first to argue with him. As the show went on, the two seemed to have an understanding, and perhaps the arguments were only frustrations and not true attacks. In the final scene Hoelscher added a second character to his role, embracing a small, childlike voice that, while perhaps not the best accent, did not detract from his wonderful performance, but instead increased the likability of Peter and his willingness to play along and join in with the family that Ruth and Anna had already begun.
The relationships outlined in this show are very typical of families. An eclectic array of varying personalities, quirks and ideas make this show a fun one for all.
Overall, “And Baby Make’s Seven” is a delightful story of the dysfunctional but close-knit and loving dynamics of many families. Very well casted and designed, this production put on by UMD’s theatre department is eager to please and endearing, much like the children that add so many dimensions to the show.
Kelly Walvatne