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Survey: The Drawing Room Is Lab And Sports Arena In Marin Theater Company's Jane Austen Riff 

Lauren Spencer as Georgiana Darcy (left), Aidaa Peerzada as Emily Gray, Emilie Whelan as Kitty Bennet, Zahan F. Mehta as Henry Gray, Adam Magill as Thomas O'Brien, Alicia M.P. Nelson as Margaret O'Brien and Madeline Rouverol as Sarah Darcy in Marin Theater Company's "Georgiana and Kitty: Christmas at Pemberley." Photo: Kevin Berne/Marin Theater Company 온라인카지노

A viable comic content can lay a dining experience for entertainers. It says, "Here are the treats. Hold onto them. Eat them." 

Its writer — or dramatists, on account of "Georgiana and Kitty: Christmas at Pemberley" — has a profound comprehension of theater as speculative chemistry, of the content as only one fundamental fixing in an enchanted spell. The space between words can be similarly just about as significant as, if not a higher priority than, the actual words. However, it actually takes incredible specialty and ability and knowledge and absence of pretention to make those lacunae, each a little stage where fun times follow. 

Emilie Whelan as Kitty Bennet (left) and Lauren Spencer as Georgiana Darcy in Marin Theater Company's "Georgiana and Kitty: Christmas at Pemberley." Photo: Kevin Berne/Marin Theater Company 

At its best, Lauren Gunderson and Margot Melcon's reality debut, which opened Tuesday, Nov. 23, at Marin Theater Company, is a field day for its nine-man cast. "Georgiana and Kitty" denotes the third of the playwriting couple's vacation set "Pride and Prejudice" spin-offs, this one after Mr. Darcy's bashful yet musically gifted more youthful sister, Georgiana (Lauren Spencer), and Lizzy Bennet's touchy, feeble willed sister Kitty (Emilie Whelan). 

However, you'll track down the last's characteristics in inadequate proof in this spin-off. A continuous subject of the "Christmas at Pemberley" set of three is the means by which family confines you, how it concludes what your identity is and never allows that definition to change, even long after you've developed. In any case, presently that the most observed Bennet sisters Lizzy (Laura Odeh) and Jane (Aidaa Peerzada) have been offered, the more youthful ones, including Kitty, at last have the space they need to bloom and track down adoration, which is everything except unavoidable when two famously qualified single guys (Adam Magill and Zahan F. Mehta) slip upon the Darcy domain for the occasion. 

Emilie Whelan as Kitty Bennet (left) and Adam Magill as Thomas O'Brien in Marin Theater Company's "Georgiana and Kitty: Christmas at Pemberley." Photo: Kevin Berne/Marin Theater Company 

As Kitty, continually plotting for her closest companion Georgiana's joy and satisfaction, Whelan allows groundbreaking plans to jolt her. At the point when Kitty observes she has something savvy to say, a solitary line becomes event for transformation and her own stimulated response to it. Whelan delights in and is excited by her scene accomplices, eating up the signs they toss her direction, horsing around with them, sending something impeccable, yet startling, back. Her Kitty and Magill's Thomas O'Brien, simpatico from the start, could vamp on one another's signs the entire evening. 

The thumping heart of the show is Spencer's Georgiana, who looks for the option to cherish as well as the option to be a craftsman. As Georgiana makes her mark, regardless of what her overprotective senior sibling (Daniel Duque-Estrada) may wish, the wise Spencer observes progression between various life stages. There's the constrained little kid who would prefer to tunnel into herself or into the ground than hold the floor in a gathering, then, at that point, the straightforward young lady who pioneers trails for female performers. For both, there isn't simply love of music yet additionally exhaustive contemplation regarding what her identity is and sincere questioning of who she should be according to the world. 

Lauren Spencer as Georgiana Darcy (left) and Zahan F. Mehta as Henry Gray in Marin Theater Company's "Georgiana and Kitty: Christmas at Pemberley." Photo: Kevin Berne/Marin Theater Company 

The show is maybe excessively partial to occasion remedy and simple young lady power feeling, and a portion of its plot mechanics confound, particularly as time quick advances 20 years between acts. (Wouldn't two individuals who love one another so profoundly and whose dearest companions are a hitched couple have experienced each other more than once in twenty years?) 

However, such objections can't vex long close to Nina Ball's sumptuous sets, where the underlying bookshelves have their own pediments, and Fumiko Bielefeldt's ensemble plan. Jane Austen fans may be very much acclimated with the visual joys of tailcoats and realm midriff dresses, yet when the show speeds into the 1830s, the puffed sleeves resemble weapons or the lumps of a bouffon comedian or heavenly bodies with their own focal point of gravity; little moon puffed sleeves could circle around them. 

Lauren Spencer as Georgiana Darcy (left), Alicia M. P. Nelson as Margaret O'Brien, Aidaa Peerzada as Emily Gray and Madeline Rouverol as Sarah Darcy in Marin Theater Company's "Georgiana and Kitty: Christmas at Pemberley." Photo: Kevin Berne/Marin Theater Company 

Also, through everything is Meredith McDonough's crackerjack bearing. She can make an implicit sign wave through a group and develop as it moves. She can use her consistently solid cast as particles in a compound response, flooding and bobbing around till somebody detonates. 

In Gunderson and Melcon's vision, Austen can in any case have all the mind that perusers have appreciated for a very long time, the sharp discussions about affection and ethical quality and obligation. Yet, they shouldn't need to be grave and bland. The drawing room is a lab and a games field.