MANILA, Philippines – The most striking observation about Mark St Germain's two-character play "Dancing Lessons" is that its main characters spend more explicit and less time learning to dance. The story revolves around a socially awkward young science professor who, one day, makes a professional dancer his dance coach. This man by the name of Ever Montgomery (Randy Villarma) is about to attend a famous awards ceremony, which will require gathering between guests and colleagues and, worse, dancing in public in person. You see, for most people, this situation is rarely a dilemma, but with someone diagnosed with Asperger's Syndrome like Ether, it can be a difficult thing to do.
Evers' role with Springer is not surprising in this story. On the contrary, Eiver has fully embraced his medical condition, even to the extent of identifying which conditions make him uncomfortable (such as shaking hands, hugging) and showing it to people. How their brain processes information. In addition to the external demonstrations of portraying a character with Asperger's (such as hand gestures, speaking style, facial gestures), Villarama also manages to present its dialogues, as each time the audience responds Evidence that anyone ever makes an interesting comment or interesting comment.
As the story progresses, it never happens to be the only person in the play who is going through a phase. Ever's dancing coach, Seunga Quinn (Jill Peہa) is wandering around her apartment and is surprised at the possibility that her leg injury may prevent her from dancing again. Unlike Ever, Senga couldn't work with his temporary disability. Senga tells her family and friends that she is on a path to full recovery and thus avoids being seen in public. Almost always cast in a musical character ("Carrie," "Annie," "Beautiful"), it refreshes the transition of drinking into a serious dramatic role. It takes a while for Pia to find our love, no thanks to her character who locked herself in the apartment and eats nothing but pills, junk food and alcohol. Senga's character is less attractive than Evans. However, in these moments when Senga ever helps to find some of its physical boundaries, the audience begins to love its character.
The similarities and contrasts between the main character's self-travel are enough to keep the fans interested in this one-act play. However, it's a bit annoying to realize that perhaps the best moments of this production are in the middle or half of the show's end and not during the highly anticipated dance near the end. It may be because the playwright has presented so much drama among his characters that as the height rises, there is little need to guess.
Since the playwright speaker injects pieces of phone messages and parts of science lectures, we've missed these details because of the uneven sound in the Black Box Theater (sound design by Ari Demkullingen). Even some video projections (video graphic design by Joyce Garcia), which should enhance the story's development, sometimes feel like timeframes for the set and the costume changes.
Despite these memories in the staging, the Twin Bull Theater's return to preparation is a breath of drama and musical accompaniment for all of the theater's season. Having previously performed shows like "God Sees God", "Suicide Involvement," "My Name Is Asher Levon," and "Witt," this small theater company is very cautious in choosing Madonna. Fun, but also aware. For example, to raise awareness of mental health in the country, like this play, the debate is as illuminating.
Directed by Francis Mathew, the "Dancing Lessons" circuit plays at the Power MacCenter Spotlight in Makati, which will take place on August 24, 2019 at 8am.
source by https://www.broadwayworld.com/philippines/article/BWW-Review-DANCING-LESSONS-Enlivens-Discourse-on-Mental-Health-20190818