Tag Archives: Sean Ogren

Review: Mad Props Productions’ “Art” (in association with Bard in the Burbs)

So… it has been a while… a long while. And why is that? Because typically I would be working on a stage production and although I may have time to see friends in shows… I wouldn’t necessarily have time to think about the show itself to write a review about it.

But somehow, this time around… I am not involved with or anticipating being involved in a production and ergo have time to think. Not only that but this is one of those productions that just needed to be mentioned and immortalized in print… even if it is on my own blog.

“Art” is produced by Mad Props Productions in association with Bard in the Burbs. Directed by the incredibly talented Ken Kaden and whose cast includes the equally talented trio of Christopher Williams (Marc), Sean Ogren (Serge), and Aaron Hoge (Yvan) with Fletcher Ogren and Maureen Corcoran working tech and stage managing.

“Art” is a moment in a trio of lives of three friends as they converse, debate, argue over art, life, love, friendship, and growth.

What makes this piece difficult to stage is that the actors have to bounce off of one another and work off of one another so effortlessly that it pulls the audience in for the ride and doesn’t let them go until the end… and even then, the audience shouldn’t want the ride to end quite so soon.

With the staging so simply set (a sofa, side table, and a couple of chairs) all that is needed are the actors to fill the space… and that they did and much more:

The trio of Christopher Williams, Sean Ogren, and Aaron Hoge have found that balance and the ebbs and flows of their characters between one another and themselves that is arguably a Masterclass of how to listen and work with your scene partners through the script.

One may infer that the actors may have been tailor-made for their roles, but this blogger would argue that the roles were just quite simply the perfect embodiment of each of the individual actor’s life work to this point… knowing that they still have decades to give.

I could go and provide accolades to each individual actor… and I probably should… but what can I say that would accurately describe the power of each individual’s talent and charisma that they bring to life.

One person said it best: “They made me forget that they were my friends.” and I agree. To transcend the personal connection and to pull the audience into the characters and the piece isn’t easy and yet this trio does it effortlessly.

There is only one weekend remaining for this gem of a show, nestled in the quiet of suburban Lisle. For $15 cash at the door… this is a must-see show.

For information on tickets please go to “Art” on Stacey De’s Website. Shows are at 8pm on Friday and Saturday, 7pm on Sunday.

Review: Wheaton Drama’s Full Circle

Show: FULL CIRCLE
By: Erich Maria Remarque
Adapted By: Peter Stone
Location: Wheaton Drama
Director: Sean Ogren
Assistant Director: Suzanne Ogren

Disclaimer: Before I begin I should warn you that there might be a bit of bias with this particular production from Wheaton Drama… and not in the sense that you may think. For me war dramas are rather difficult for me to look at (let alone be a part of) with any objectivity due to my own personal and familial connections with war. So bear that in mind as you continue onward with this particular post.

So why the disclaimer? Simple, because this was not an easy show to watch for me, nor was it an easy show to think about let alone review.

Other than the above disclaimer what other strikes was there in regards to this show? Well by virtue that I knew a fair number of the cast by either reputation, having worked with them before, or having seen them in other productions I already knew walking in what they could bring to the table.

Take all that together in consideration and my expectations for this production and for the players in it and they are much higher than the norm for a community theatre production.

So how did “Full Circle” from the cast and crew at Wheaton Drama fare?
Acting: Love
Set Design: Love
Staging: Love
Directing: Love
Overall: Like
Wait… wuh? Well allow me to explain… eventually.

This was a very moving, very emotionally charged show. There is a lot going on when it comes to the human condition that will touch (and possibly provoke) the audience in different ways. Because this production is set in the point of view of the citizens / common man who don’t typically see the actual warfare, but are victims of the raids / bombings / etc… it open a window into the lives of these people in ways that media never could.

These are the people that didn’t ask for war, didn’t ask to hide in bunkers as the sky showers with explosive devices. These are not the people that want to stay inside earlier and earlier everyday because it is too dangerous to walk out on the streets. These are not the people that wanted their lives to be disrupted or asked to live in constant fear and paranoia as to who is a friend / family / foe. But… to even understand any of the above… this is a production that must be seen. Because honestly, nothing I can say would do this production justice, but that doesn’t mean I won’t try.

What really set the stage from the get-go was the director’s (Sean Ogren) intention of making sure that everyone spoke with an (authentic as possible) accent, be it German or Russian… depending on their character. While most everyone did a respectable job, I felt that Lauren Filip – who portrayed the sometimes oblivious, sometimes annoying, and but 100% self-indulgent Grete – was the most authentic.

Don’t ask me why, seeing as my own accent (Asian or otherwise) do need work… but Lauren’s German accent felt and sounded the most realistic and natural as if she spoke German regularly.

Another aspect of the production that was above and beyond was the set design and scenic art as done by R J Ogren. He truly knocked it out of the park from the skyline of the near-ruins of Berlin, to the feel of the inside of the apartment.

But you’re not here to read about the accents/dialects or the set/scenic design… you really want to know about the show don’t you? Well if the above scorecard isn’t enough…

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Review: Wheaton Drama’s It’s a Wonderful Life Radio Show

Show: IT’S A WONDERFUL LIFE RADIO SHOW
Produced by:
Location: Wheaton Drama
Director: Sean Ogren

Earlier in December of 2012, a friend of mine and I went to Wheaton Drama to see a bunch of our friends in the holiday radio show “It’s a Wonderful Life”. When I say “a bunch” I mean I knew a fair number of the case right of the bat… (I know that is considered par for the course for me). Anyway what is different about this particular radio show was the addition of a children’s dance troupe from Geneva.

Before I move on here were some first impressions:
Acting: like
Singing: like
Choreography: meh
Staging: like
Sound Effects: love

One of the first things I noticed is that while the audience was trickling into the theatre, various members of the cast were already fully in character, interacting with the audience. It was strange having this sense of being transported into a different decade completely and feeling a sense of being part of the live audience for such a production.

Off to the side of the stage was a couple of tables that were set up for what it would appear to be the “sound effects” guys for the production. Helmed by R J Ogren and Peter Lemongelli, I knew instinctively that we were in for a real treat.

The radio program was hosted by Randy Knott (also known as Count Carl-Magnus in VTG’s A Little Night Music) who was cracking jokes towards the audience and the sound effect guys. However, who really stole the pre-show was Steve Schroeder and his antics of dinging a bell and pointing randomly “and you get wings” *ding* “and you get wings” *ding* “and you get wings”… well you get the idea. That damn guy keeps stealing the show no matter where he is at… but I digress.

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Review: Wheaton Drama’s Broadway Ballot (Act Two only!)

Show: BROADWAY BALLOT Location: Wheaton Drama
Director: Craig Gustafson

After my whirlwind weekend getaway up north in Minocqua, Wisconsin… I drove straight south back home and realized that if I pushed it, I would make it to see a few of my theatre friends at their Broadway Ballot. Granted I ended up missing the first Act (which had a few shows that I really wanted to see) but seeing the second act provided songs from shows that I am not typically a fan of, but now I would be kind of curious to see.

Below are all the songs that were featured in the second act of the Broadway Ballot at Wheaton Drama. What Wheaton Drama did was put on a kind of revue of a vast variety of Broadway songs from a variety of musicals and asked the audience to decide which shows they would love to see or not care to see at all. Then these ballots are tabulated and presented to the Wheaton Drama monthly meeting and from there they may use the data to decide what musicals to present for future seasons.

Regardless if the data would be used or not, in the end it was a fun revue / production and it helped bring in donations and dollars to the theatre group for their future productions. So all in all a win-win situation for an outsider looking in (aka myself).

From what I understand from those that were part of the production there were twenty-two performers who were singing twenty-six songs and they only had eleven rehearsals to do it. Now coming from someone that has been thrown into the thick of things a week before Opening weekends (including Shakespeare)… I can honestly say that I was expecting nothing less than fun, laughter, and entertainment and this group definitely delivered.

Taking a look at the official Ballot the revue is comprised of songs taken from a vast variety of shows: traditional and non-traditional, well and lesser known. A nice mixed bag with something for everyone to enjoy.
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Review: Geneva Underground Playhouse’s Assassins

Show: ASSASSINS
Music and Lyrics: Stephen Sondheim
Book: John Weidman
Location: Geneva Underground Playhouse
Director: Craig Gustafson
Music Director: Kathleen Dooley

Not long ago I went with a friend to see Geneva Underground Playhouse’s latest foray into musical theatre: Stephan Sondheim’s Assassins.

Set up as a revue-style show placed in a carnival style game of “Shoot a President”, this musical goes through the motivations of a fraction of the men and women how have either successfully or attempted to assassinate a President of the United States.

The musical being written in the 1980s/1990s, the most recent of the assassination attempts in the musical would be that of Gerald Ford, while the first would be that of Abraham Lincoln. Below is a list of the assassins whose motivations are explored in the show:
Successful Assassins
– John Wilkes Booth: assassin of President Abraham Lincoln
– Charles Guiteau: assassin of President James Garfield
– Leon Czolgosz: assassin of President William McKinley
– Lee Harvey Oswald: assassin of President John F. Kennedy
Failed Assassination Attempts
– Giuseppe Zangara: attempted assassin of President-elect Franklin D. Roosevelt
– Samuel Byck: attempted assassin of President Richard Nixon
– John Hinckley: attempted assassin of President Ronald Reagan
– Lynette “Squeaky” Fromme: attempted assassin of President Gerald Ford
– Sara Jane Moore: attempted assassin of President Gerald Ford

Anyway… enough of the history-ish lesson. Let’s get to the show…
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