“They pulled me back when I thought I was out,” says Michael Corleone at the only memorable moment from the viable movie The Godfather Part III. But that’s a statement that we all may soon tweet. When we’re staring at another potentially horrifying autumn and winter barrel, it’s probably full of nasty delta varieties of COVID infection. So, at this point, instead of preparing to open the door with joy, poor theater managers are trying to put together a protocol to safely take the audience into the indoor space, as bomb disposal experts fear. Please share your thoughts with cutting the wrong wire.
With that in mind, it might be a good idea to capture this refreshing moment in August and enjoy the outdoor show without thinking about anything but singing and dancing. Of course, the musical altar boys currently in the Porthouse Theater are also god-minded, as the title is the name of the five-member Christian rock boy band we see in the “Raise the Praise” concert. I have put it. Under the direction of Terry Kent, the show provided some energetic pop-rock songs, some hip-grind dance moves, and enough laughter to oil the wheels of this lighter fare. increase.
Pagans note: This is a safe place not only for those who love materials in religious shades, but also for those who usually scream in the opposite direction. This is because the two most fascinating characters on the show are Luke, a gladly unredeemed drug, and Mark, a barely closed gay boy looking at group leader Matthew. Named after their disciples, these people are joined by Latin-x Juan and Abraham, a Jew who joined the group for his facility for writing lyrics.
As the concert progresses, the Boys continue to refer to the Soul Sensor DX-12, an electronic wonder that scans the audience and detects lost souls who are anxious to be saved. Their purpose is to save each and every one of them by the end of the concert with their boyish charm and the power of God’s story. It must be said that the cast puts all their energy into the effort, without revealing the throbbing consequences (you never guess!). After explaining how Jesus was called to the piece via mobile and Twitter, the Boys were reinforced by Martin Cespedes’ less devout choreography, with Gary Adler and Michael Patrick Walker. Deliver music by.
As a boy Luke who blames “malaise” on the glassy lack of eye reliability, Evan Wagoner shows the presence of a muscular stage and a loose, violent effect. Brandon Shoe Macker is as natural as Mark, a faeboy who knows what he wants, but naive and accurate. It’s Matthew. Unfortunately for Mark, Matt (a solid and stubborn Elijah Lee King) is ignorant as he crouches about the very hot girl he loves, saying, “You want to wait for me.” Antonio Emerson Brown gives an inspirational touch when Juan sings “La Vida Eternal” about his parents, and Devin Pfeiffer gives a Neil Diamond-inspired sliver on the power ballad “Everybody Fit.” I will catch it.
That said, this almost hot show has some lukewarm spots. The first is a song called “Epiphany,” often sung by Schumacker, nodding to the tortured Mark, but not the way you would expect. The jokes were definitely much fresher when the show started in 2005, but now it seems a bit crowded. Also, the climax song “Number 918”, the group’s desperate last attempt to reduce the number of distressed souls of the audience to zero, is just a remix so far, both musically and choreographed. .. The elaborate setup for Boys’ songs features a chest full of new wardrobe accessories, making it a squeaky number rather than a sizzle.
That said, Porthouse had a great season with three dynamic small cast shows. We hope that you will experience learning Kent’s big cast musical next summer. I hope that the pandemic in all its outfits will be a distant and terrifying memory.
Until August 15, Port House Theater, Blossom Music Center Campus, 3143 O’Neill Road, Kaiya Hoga Falls, Ohio 44223, 330-672-3884, kent.edu/porthouse..
Testosterone and testosterone at the Porthouse Theater with the Christian rock atmosphere of “Altar Boys”
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