“Geoff Kent cuts through the play’s darkness — literal and figurative both — as a virtuous and good-hearted Macduff. He handles the scene in which he learns the fate of his family by going inward and contrasting the violence with stillness. It’s a powerful moment.”
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Given Kent’s expertise in stage fighting and Mueller’s elastic-limbed lightness of foot, you expect sharp, fast physical humor, and you get it.
But The Lieutenant of Inishmore doesn’t glorify violence; it exposes it as the last resort of stupid, mentally powerless people. I have to admit that all the ghoulish bloodletting does give a certain horrified pleasure — witness all the guilty, chuckling gasps emitted by the audience.
If you know the story, you know it culminates in a neck snap, and it’s so harrowingly performed here, when the victim went limp, I wanted to shout for an ambulance. It was that believable.
Dirty and daring, intense and intimate, Listen Productions’ cowboy-themed “Macbeth” is Shakespeare for a new generation.
Among many fine performances in musicals this season, Geoffrey Kent’s Officer Lockstock stood out.
Particularly enjoyable is the duo of Geoffrey Kent, whose Officer Lockstock combines stiff-necked authoritativeness with gyrating physical looseness and the very talented Genevieve Baer as Little Sally, resisting the temptation to parody a part thats pure parody in itself.
Belle and the Beast features some very strong performances, particularly Geoffrey Kent as the Beast. It’s his portrayal, along with the magical set, that really carries the evening.