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Pfac offers teen art classes
Anime – Cartooning Now! is one of the new summer courses the Peninsula Fine Art Center’s Studio Art School is offering between July 8 and August 8 for teens ages 13-17.

Professional artists teach teens to use a variety of mediums and advanced techniques in pottery and cartooning. Education Manager Julie Williams is particularly excited to offer Anime – Cartooning Now!, “this cartooning workshop is being led by Rob Dewing of Smithfield, VA, a recent graduate of The School of Visual Arts in New York with a degree in cartooning.” Dewing has studied under Phil Jimenez, artist of DC Comic’s Wonder Woman who also worked on Marvel's The Amazing Spider-man and under Klaus Janson, most noted for his inking with Frank Miller for the Daredevil series and the The Dark Knight Returns graphic novel.

In pottery and ceramics, Williams says, “we’re offering the class, Light Up the Night,Beth Turbeville is teaching advanced techniques on the potter’s wheel in Teen Wheel.” Turbeville is a professional artist who has been teaching at Pfac for ten years and managing Pfac’s Ceramics Studio for eight years. where form really does follow function in the design and creation of table lamps and nightlights out of clay.

Registration can be completed in person or online www.pfac-va.org. Each teen course costs $100 for Pfac members and $115 for non-members.

The schedule for these courses is as follows:

  • Anime – Cartooning Now!, July 8, 10, 15 and 17 from 2-4 pm, teaches the drawing technique, coloring style and story development for cartooning.
  • Light Up the Night, July 9-12 from 1:30-4:30 pm, uses pottery techniques to create functional and beautiful lamps and nightlights.
  • Teen Wheel, August 5-8 from 1:30-4:30 pm, involves advanced techniques on the pottery wheel.

For younger artists, ARTventures Summer Camps offer multiple sessions. These classes are only a few among many that Pfac’s Studio Art School offers throughout the year. Classes are offered for artists of all ages and skill levels, ranging from one day to ten weeks in courses such as painting, drawing, photography, ceramics and art appreciation.

Pfac is located at 101 Museum Drive, in Mariners’ Museum Park, Newport News.  For more information, call 757-596-8175 or visit www.pfac-va.org.
 
Arsenic and Old Lace – Little Theatre of Virginia Beach | Print |  E-mail
Written by James R. Johnson   
Tuesday, 11 July 2006

ImageThe Little Theatre of Virginia Beach production of Arsenic and Old Lace by Joseph Kesselring is a mighty undertaking. The script calls for sharp delivery and popping blocking. To fully appreciate the vision of Kesselring, the production needs to be something akin to a three-ring circus. There is so much going on that if not presented as a symphony of sound and motion, the experience becomes noise and awkwardness. The symphony is not performing in Virginia Beach.

A classic farce that centers on Mortimer Brewster and his off-the-mark family has left audiences in stitches since originally opening on Broadway in 1941. Since it closed in 1944, Arsenic and Old Lace has spread to the four corners of the globe, even spawning a classic feature film starring Cary Grant. This play has a rich history, leaving the LTVB with big shoes to fill.

It comes as no surprise that the production is NANCY BLOOM's directorial debut.

It comes as no surprise that the production is NANCY BLOOM's directorial debut. While there were moments of fluidity and grace, the bulk of the show's blocking seemed lopsided, clustered, and posed. Movement of the characters was a distraction. Many times three characters were huddled around a table delivering lines while masking each other. The need to position actors in a specific place for a specific moment is understandable, but the flow must not suffer for it. The stage did not feel like the peaceful home of Mortimer’s two spinster aunts, rather that of an awkward dance company.

The set designed by JIM MITCHELL and SANDY LAWRENCE is an excellent layout. The color scheme is serene and relaxing. However, the dressing of the set did not strike me as one decorated by two proper, older women. The furniture and props added to the value of the show individually, but needed more attention as an ensemble. One point that kept catching my attention was the mix-match chairs around the sitting table. Nevertheless, the set is striking and enhances the productions experience.

The lighting designed by BRAD RUDACILLE was rather basic and, for the most part, effective. Scenes taking place “in the cover of darkness” were a little too dark. Pratfalls and clever exchanges between characters would have greater effect with more light to illuminate the madness. One particular note of interest is the opening of the show. Act one begins in darkness with only two taper candles guiding the audience. This simple lighting beginning is exciting.

Arsenic And Old Lace requires actors with snappy timing, innocent delivery, and a firm grasp of the life and times of 1940 America. Unfortunately, the cast in LTVB does not have these qualities. Putting aside the slips and goofs of opening night (I’ve more than my fair share of those), the cast looked as if they needed another two weeks rehearsal time to get in sync. There was a great deal of dead space in the line delivery of the spinster aunts Abby and Martha Brewster, played by SHIRLEY THOMPSON and SHIRLEY BECKER respectively. While they have their moments, they do not capture the childlike innocence of Abby and Martha as a whole.

JIM MITCHELL’s performance of Teddy Brewster, aka Teddy Roosevelt, is a breath of fresh air in this production.

JIM MITCHELL’s performance of Teddy Brewster, aka Teddy Roosevelt, is a breath of fresh air in this production. His over-the-top portrayal of the crazy brother is exactly what the doctor ordered. Screaming “Charge!” as he bolts up the stairs to the blank expressions of incomprehension, Jim is a delight. The madness within spills over into laugh out loud hysterics.

JOEL KING as Jonathan Brewster is quiet and menacing. The performance would be great if not for the attempt to replicate Boris Karloff. Although Boris portrayed Jonathan in the original Broadway production, the voice and mannerisms seemed quite excessive for this production. Having a likeness to Karloff is a casting masterpiece. The resemblance should have stopped there.

Mortimer Brewster is intended to be voice of reason and reflection of sanity in an insane setting. GREG CRABILL’s monotone performance is void of the life Mortimer requires. His quips and gags are lost on the deadpan delivery.

Overall, the show stands on its own credentials. It is still very entertaining and a joy to watch. A few hearty laughs and many tickling giggles, Arsenic and Old Lace delivers an enjoyable evening of fun and madness. Arsenic and Old Lace runs through July 30th at the Little Theatre of Virginia Beach.

 

comments

i like this play

Posted by will, on 03/08/2007 at 14:39

One of the most enjoyable, wholesome nights I've ever spent. Thank you, Ms Bloom, for this precious gift! Phyllis

Posted by Phyllis Newberry, on 07/29/2006 at 06:52

One of the most boring plays I've seen in many a season. Did have a good nap, though, the seats were very comfortable. Many other patrons asleep as well. Good cookies and coffee to wake me from my siesta, and clean bathrooms. But very boring. Wanted: 1 good director. Apply at VBLT.

Posted by Mary Belle Gertand, on 07/24/2006 at 04:24

Sold out the night I went to see AAOL, with a great performance by all. Sure, a few rusty hinges, but overall a good freshman effort by Ms Bloom and her cast. Incidentally, I thought Greg Crabill was fine as Mortimer. You can't judge his (Greg's) style by what Cary Grant did in the movie. Hmm--heard that the whole weekend was sold out. Maybe the reviewer and Joe (the respondant afore me) missed something? the proof, virginia, is sometimes in the pudding.--Harry

Posted by Harry, on 07/22/2006 at 07:10

Sold out house the night we went to see this old chestnut. Why I don't know, this production certainly falls short of my expectations. If only I had never seen the movie and a few other stagings of this classic.
Perhaps the biggest shortcoming of this outing was not lack of acting talent;rather, it was a case of glaring mis-casting.
Greg Crabill was so not Mortimer that it was painful. Greg was fantastic as the stoical butler, Frith, in LTN's outing of Rebecca this spring. Unfortunatly, Greg stayed in that character energy level. Mortimer simply needed to have a combination of physical comedy skills and reactive ability. Maybe Jim Mitchell, a master of this, should have been Mortimer instead of Teddy? And come to think of it,maybe Mr Crabill would have been perfect as Jonathan, the stiff, scary brother.
God I hate to say this, but the two Shirleys, Miss Becker and Miss Thompson were, in a word, atrocious. No chemistry, and sad to say, it was very obvious they didn't know their lines at times. According to a newspaper article, they are lifelong friends, but so often real-life friendship or love simply doesn't make the quantum leap from life to the stage (or camera).
As I've heard it said, there were some visible 'cattle clumps' evident, which only highlighted Ms Bloom's freshman status as director.
All in all though, I suspect that the rest of the run will be sold out, as name-recognition is a powerful draw.
I was really disappointed with this play because, having seen Ms Bloom's brilliance on stage many times, one would have thought... Such is life. And in closing, nothing personal, just my opinion. --Joe S

Posted by Joe S, on 07/18/2006 at 08:31
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