Screwed²
First Show Produced
This show was the first show that I wrote and was produced. I came up with the concept and brought it to the attention of Christopher Kidder artistic director of Commedia Beauregard, without the script even being done he agreeded to produce the show for the 2002 Fringe Festival. This was a one man show that was directed by Don Eitel with off stage voice supplied by Tina Fredrickson. The show did not have th biggest audience, but I was happy the show allowed the producer to break even and the show revived not only 4 out 5 stars from audience reviews but also got a review form the press.
AMARETTI ANGELS
Professional Directing Debut
This was my first directing since college. The show came about after a discussion between Jean Wolf and Edwin Strout. After reading many scripts this one jumped out and with Rachel Finch, the show took form. The audience reviews were wonderful, and the house was more than we could hope for. This show took me off stage and put me in front of the stage.
REVIEWS
City Pages
Amaretti Angels - Joking Apart Theater
By Quinton Skinner Wednesday, Aug 11 2010
It's a bit odd to observe that a straight-up character study with comedic elements is an outlier at the Fringe, but there we are. Edwin Strout and Jean Wolff are an estranged married couple meeting for lunch; the occasion is the marriage of their daughter. The waters are choppy, what with Strout's character having left England (and his family) for stardom as a writer-director in L.A., and Rachel Finch chips in as a waitress with an endless reserve of righteous rudeness. This is a tasteful, well-acted piece (written by Sarah Phelps) that leads us to a satisfyingly adult conclusion. Vampire puppets and frothing non sequiturs not included. Fri 8:30 p.m., Sat 10 p.m. Rarig Center Thrust
ARTS ARENA BLOG
Four plays from the Fringe, from 'Amaretti Angels' to 'Wisdom, Part 1'By Ed Huyck |
Published Wed, Aug 11 2010 2:29 pm
'Amaretti Angels'
Fringe marks the welcome return of Edwin Strout’s Joking Apart Theater with “Amaretti Angels,” a sad and funny little show by Sarah Phelps. Strout plays Mike, a Manchester-based writer who left his family to pursue his dreams in Hollywood. He’s back home for his child’s wedding and has lunch with his wife, Jenny (Jean Wolff), who after all of these years is ready to move on.
They are served by Sylvana (Rachel Finch), who is either the worst or best waitress in the world, depending on your perspective. Over the course of the meal, the couple reconnects, with Jenny, at first gently and then more firmly, trying to get her husband to realize that it is absolutely over. The show is a bit static — the couple spends most of their time at their seats for dinner, after all — but the performances and script are both winning, with a general sense of sadness underlying the humor. 8:30 p.m. Friday and 10 p.m. Saturday, Rarig Thrust.
Audience Reviews
Overall rating 4 out of 5 Kitties
made me hungry, in a good way
by Jennifer Walker
Rating 4 kitties
Beautiful performances. Jean never disappoints, and Edwin matches her toe to toe. Rachel is amazing as well in a part that could easily be over-done, but here is beautifully realized. You won't notice at all that you just basically watched two people sit at a table for an hour ... nice job, Mr. Schlosser.
Professional theater professionaly done
by Abby Normal
Rating 5 kitties
A wonderful script performed by obviously talented actors. This is not a show where the entire cast screams, "Look at us, we're making a joke!" That's a good thing. There are wonderful moments between the two leads that really stuck with me and helped drive the show forward. Sometimes first time directors tend to over-direct and get in the way of their own show. Mr. Schlosser avoids falling into that pitfall and has brought as a engaging piece.
A Slow Burn
by Justin Alexander
Rating 4 kitties
Amaretti Angels doesn't explode. Instead it goes for the long, slow burn. The kind of burn that turns its heat into an inferno. That sears meat from bone.
The script -- which is not entirely successful in mixing the hyper-realism of its main plot with the surreal absurdism of its fictional Hollywood -- is certainly the weakest element of the production. But this is not much of an indictment, as every other aspect of the production is a polished pleasure. Wolff, Strout, and Finch turn in marvelous performances, while Schlosser's minimalist direction energizes material which might have easily become stagnant.
