Warning: Invalid argument supplied for foreach() in /srv/users/serverpilot/apps/jujaitaly/public/index.php on line 447.

Click to enlarge • Threepenny Theatre Company Brilliant Traces is a perfectly named play. For the most part it’s not very brilliant, but it's threaded with moments of startling clarity that knock you back in your seat.

And top-drawer actors Meghan Lisi and Michael Khanlarian turn in performances worth the suggested admission price even though they're never really set free to explore the theatrical possibilities inherent in Cindy Lou Johnson's rambling, but mercifully short script The opening is full of possibility. It’s dark, the wind is howling, and someone is beating on the door of a sparsely appointed hermit’s cabin. A woman’s voice calls out, 'Let me in! I'm a person in serious trouble!' Suddenly the door bangs open and in stumbles Rosannah, delirious in a filthy wedding dress. She’s driven from Arizona all the way to a remote corner of Alaska where her car has broken down near the cabin of Harry Henry, an antisocial oil rig worker with sad stories to tell. If he can ever get a word in edgewise.

For the first quarter of the play he stands silently as this mystery woman drinks his whiskey, and babbles until she passes out cold for two days. 'It's so cold in Alaska.'

Harry drags Rosannah to his bed. He undresses her, respectfully. He washes her tentatively. He has a nervous breakdown over her delicate lace shoes which remind him of something that hurts real bad. Not knowing what else to do with them he puts them in the oven and burns them to a crisp.

Rosannah sits up in bed and announces, “I’m the prettiest girl you’ve ever seen,” then passes out cold again. The setup is tight.

Everything else falls apart. Have you ever been trapped in a confined space with a cocaine addict having a manic sad? That’s what the rest of Brilliant Traces is like. Only there are two of them.

Once Rosannah wakes up she and Harry take turns vomiting up backstory in a series of semi-coherent rants. Outside there is a white out, with snow coming down so hard it’s impossible to distinguish one direction from another. Rosannah, who arrived all in white, babbles redundantly about her fear of becoming indistinguishable. Serial Port Attiny on this page.

And about how, when she was driving from Arizona, in some kind of fugue state, she felt like her essence was moving faster than the car. Faster even than her own body in the car — like the essential part of who she is might fly off into space. Harry, in turn, spins a contrived tale of negligence, woe, social anxieties and “paper shoes.” Opening sequences notwithstanding, Johnson' script is a classic example of a play that tells us who the characters are instead of showing us who they are, and director Matt Crewse keeps the action as naturalistic as the symbol-laden dialogue will allow. That may or may not be a good thing. At its best Brilliant Traces hints at Eugene Ionesco’s domesticated absurdism, which isn’t always served by a close alignment of dialogue and action. It's the kind of script you really want actors to play around with. Yanni Ethnicity Mp3 Free Download. You want them to take chances and find the physical quirks and contradictions that bring dimension to characters and depth to a script in desperate need.

There’s a kind of play that actors love even if it’s not very good. They tend to be about extreme people in extreme conditions and give character actors a chance to go big and show off their range. Brilliant Traces is one of those plays.

And even though Khanlarian and Lisi play things a little too safe for my liking, these are actors that could make me excited about a staged reading of the Tennessee driver’s manual. Brilliant Traces, I’m happy to report, is much better than that. The closing moments find Rosannah and Harry on an inevitable collision course, and the play's last gasp is absolutely lovely. Brilliant Traces is at through June 28.

Performance Network Theatre Address 120 E Huron Ann Arbor, Michigan USA Type black box/proscenium 140 seats Opened 1981 Closed 2015 Years active 35 Performance Network Theatre, founded in 1981, was 's premiere professional Equity theatre. It produced a wide variety of dramas, classics, comedies, Pulitzer Prize and Tony award-winners, many of which were World or Michigan Premieres. Its professional season included five to seven main stage productions. Other programming included seasonal productions that ran in repertory over the holiday season, the Northern Writers' Project—a week-long playwriting intensive, children's programming, the Fireside Festival of New Plays, the Open Table Series, the Open Stage series, music and more. On December 18, 2015, the Theatre announced that it would close at the conclusion of the year.

Contents • • • • • • • • • • • Overview [ ] Performance Network was a 501 (c)(3) nonprofit organization that began its tenure in Ann Arbor in 1981. Performance Network became Ann Arbor’s professional theatre in September 1997 and built an elegant theatre in the heart of downtown in September 2000. Performance Network’s primary stage, the Shure Theater, was an intimate space that seated 139 patrons. History [ ] David Bernstein and Jim Moran founded the Performance Network Theatre in 1981 as an arts collective. In addition to Bernstein and Moran, active collective members in the playwriting group included Lyn Coffin,, Judith Ottmar, Al Sjoerdsma and Rochel Urist. The theatre evolved into a nonprofit corporation in the mid-eighties.

After the departure of the original founders, the organization continued to produce and present experimental, original and socially relevant work under the cooperative direction of Linda Kendall, Annemarie Stoll, Johanna Broughton, (and in time, Peter Knox). Eventually, the early 90's saw departures from the artistic staff leave the artistic direction in the hands of Johanna Broughton, who (with her husband Dan Walker, along with Carla Milarch and David Wolber) led the theatre from the 'Warehouse Years' to professional status and in 2000 moved it from Ann Arbor's Washington Street location to the corner of 4th and Huron, near the Kerrytown district. In 1997, Performance Network secured a contract with Actors’ Equity and established itself as Ann Arbor’s professional theatre. In doing so, it was able to • Increase the reputation of the Network by placing it in a higher tier of theatres nationally • Gain access to plays of nationally recognized merit, unavailable to community theatres • Increase artistic quality by hiring more experienced actors, directors, and designers • Gain listing in respected theatrical publications and presentation by participating in the Michigan Equity Theatre Alliance, the National New Play Network, and Theatre Communication Group • Expand the audience base by gaining press coverage in Southeastern Michigan publications.

In 2003, direction of the theatre was turned over to Milarch and Wolber. Under Milarch and Wolber, Performance Network excelled at choosing a wide range of artistically challenging shows and began receiving multiple awards for artistic quality. In order to continue producing high quality work Milarch decided to join Wolber in the Artistic department. In 2012, Performance Network switched to a dual leadership structure and hired Erin Sabo to partner with Wolber. In May 2014, the Board of Directors suspended all operations, as the theater did not have resources to pay its staff, actors and vendors in a timely manner, and to make debt payments. In July 2014, the Board announced that the theatre would reopen under the management of local actor-directors John Manfredi and Suzi Regan. Under the new management team, the Network produced one and a half seasons.

Despite excellent reviews for some of the productions, both ticket sales and donations dropped precipitously. In October 2015, the theatre announced that unless it could raise $50,000 before Thanksgiving, it would need to close its doors permanently.

The funding campaign failed to reach its goal. In December, the staff and Board of Directors announced that the theatre company was no longer sustainable. Programs [ ] Professional Season [ ] The professional season included classic and contemporary plays under a Small Professional Theatre contract with. Performance Network strived to include a classic play, musical, and world premiere in each season. The season began in the fall and ran a full year.

Patrons could purchase a subscription to the professional season that gives them tickets at a discounted rate. Alternatively, patrons could purchase “Flex Tickets” or anytime tickets to use in any combination for any number of shows they pleased over the course of the season. Apprenticeships and Internships [ ] Performance Network’s Apprenticeship program offered an intensive year-long paid position. The apprenticeship offered hands-on training in the areas of stage management, house management, development, marketing, and technical theatre. Apprentices developed a well-rounded experience in all aspects of theatre management. Internships provided applicants a comprehensive experience in all elements of professional theatre, including box office, house management, and technical and clerical skills. Unlike the apprenticeship, which allowed apprentices to experience multiple areas of theatre, interns selected which field they would like to focus on.