Raving Reviews and Suzi Recommended

22/7/2013

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"Mystery and magic, pain and healing, love and regret, beauty and horror, music and dancing, fire and hail...Open your heart, spirit and senses to this story of the ties that bind us, the blood that connects us, skin that shouldn't define us, and the truth that sets us free."
                                ~Lisa Adler, Co-Artistic/Producing Director
One thing I did not expect from my involvement with every tongue confess was my nebulous role as dramaturg (in rehearsal) and mic board operator (for the performance run). Witnessing the brilliance of the cast, Tom Jones and S. Renee Clark in rehearsal was a treasure. Seeing how Jones and Clark worked in the rehearsal space was invaluable. I not only saw first hand how incredible these two individuals are at what they do, but also the freedom they gave the creative team to make the magic realism of this piece happen.

Watching the growth of this production, however, is an amazing adventure. I have a wonderful dilemma because I am not only part of the crew, but I am also an audience member. Each night, the cast surprises me with the moment-to-moment lives of their characters. These surprises occur in a myriad of ways--i.e. scenes, musical numbers, and even transitions. I am extremely proud of the cast and creative team.

It is my pleasure to note that Horizon's production of every tongue confess has a couple rave reviews and is Suzi recommended. For more information, read the following articles below.

"Every Tongue Confess--An Atlanta Theater Fans Review" by Kenny Norton
"Theatre Review: 'Every Tongue Confess at Horizon" by Manning Harris 
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"Send your rain, Lord"

22/6/2013

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The second week of rehearsal for every tongue confess is almost at a close. I find it hard to believe that just last week, the entire company came together for a read-through and table work sessions. What I think is even more incredible is how illuminating our first few rehearsals were. Last Monday,
Horizon received an updated version of Gardley's piece almost two hours before the end of day and just in time for the first read-through with the cast. On the surface, the script had drastic changes, yet the essence of the piece remained the same. We also had the original draft and a revised draft in our possession, a rare occurrence for a theatre company that is not work shopping new work. What has been unique about this experience from a dramaturgical perspective is the evolution of the script from one version to another. How do the revisions impact the piece?

Paired with correspondence with the playwright, the observations from director Tom Jones, composer S. Renee Clark and the cast members this past couple of weeks has deepened my knowledge of the play. As the company embarks on its design run this evening, I cannot help but look back and marvel at how much this piece has grown from the first read-through to now.

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    Author

    Adewunmi Oke is entering her third year as a Dramaturgy M.F.A. graduate student at the University of Massachusetts of Amerst (UMass Amherst). This is her first production with Horizon Theatre and her second time working on a Marcus Gardley piece.

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