SPOTLIGHT: Victoria Liberatori, Producing Artistic Director of the Aux Dog Theatre Nob Hill

Is it serendipity that we find ourselves where we are meant to be, even if it wasn't necessarily part of our life's original plans? It must have been so for Victoria Liberatori at the Auxiliary Dog, or Aux Dog, Theatre Nob Hill. She didn't really intend to settle in Albuquerque, but after being involved behind the scenes, and then being invited to come and direct "Recent Tragic Events," a 9/11 commemorative piece that showed in 2011, she found her involvement in the Albuquerque theatre arts scene continuing to unfold.

The Aux Dog, originally founded by Eli Browning over seven years ago, has been creating a new space for theatrical works in their Monte Vista location, just east of Girard, before Liberatori's entrance. But fifteen months after directing her first play here, Liberatori was given the title of producing artistic director and things seemed to kick into high gear, with their recent expansion, new classes, and new collaborations with other companies here in town.

Last year brought many accolades to the theatre and its players, including being voted one of the top five Albuquerque venues to see live theatre in Albuquerque, the Magazine's "Best of the City" issue. They produced the best theatrical production of 2013, "Venus in Furs," with the best theatrical couple of 2013, an honor Barry Gaines, reviewer for the Albuquerque Journal, bestowed to the show and its stars, Sheridan Johnson and Brennan Foster. The Aux Dog also landed on Local IQ's 2014 Smart List as 2nd place for Best Theatre, and 3rd place for Best Theatre Troupe in Albuquerque. 

 Click HERE to listen to Victoria Liberatori discussing the Aux Dog's & its future 

New growth is happening and the space is expanding to accommodate these future plans, converting what was once a clothing store into a creative space, thanks in part to Liberatori's vision and hard work, as well as the local efforts and donations from the community. Adding almost another 1/3 to the size of their overall property, their new black box space -- a.k.a. The X-Space -- allows additional room for rehearsals, classes, meetings, office space, as well as future performances. "I immediately took to it," Liberatori admits. "We have a lot of programming, and we rent space in our new facility.... Those rehearsals are already beginning. We just have a lot going on." Classes have already begun; Pre-Professional Intensive Acting Classes are currently taught by Aux Dog artistic associate Jessica Osbourne, and plans are in the works for Liberatori to teach an upcoming Text Analysis and Directing workshop as well.

No doubt the space will be quite occupied, and in many ways. The Aux Dog Theatre Company hosts nine productions a year at their established 90-seat theatre space, and they're just one of the companies who are now calling the Aux Dog its theatrical home. You can also catch The Dolls, a regional drag theatrical company, performing at the Aux Dog about four times a year, as well as Rocky Horror New Mexico, who perform there monthly. The new X space also includes a floating wooden, or "sprung," dance floor -- if you dance, you just sighed in relief -- and Edye Allen's company Dance Expose is already making plans to put it to good use. The Dolls will be opening their next show on the main stage, "The Gospel According to Joan" on May 9 and playing through June 1, and later this year the Aux Dog will be collaborating with the Mother Road Theatre Company to bring roller derby action to their venue in "The Jammer."

Liberatori's background made her an ideal candidate for the position she now holds, having spent 25 years as the Artistic Director at Princeton Repertory Company, an Equity company located in Princeton, NJ, in addition to other professional theatre endeavors in her past. With connections to New York, the theatre capital, Liberatori has a knack for finding new (and established) theatrical works that Albuquerque audiences are ready and eager to consume. You can check out all of their upcoming shows on their website www.auxdog.com, call (505) 254-7716 to leave a message for Liberatori, or email the company at info@auxdog.com and get ready to visit their new space for something dramatically new, and completely different.

To Kill a Mockingbird at Albuquerque Little Theatre

Collaborating to bring an American classic to life, Mother Road Theatre Company and Albuquerque Little Theatre present "To Kill a Mockingbird," and if it's been a while since you've visited Maycomb, Alabama (7th grade English class' required reading?), now is the perfect chance. Set in 1935, the economic, social and moral challenges of the time and place come to life through the memories of Jean Louise Finch, called Scout as a child.

Narrating the show is the grownup Jean Louise, played by Julia Thudium, whose recollections allow us to visit the past as she and her older brother Jem were raised by their widower father and his black maid Calpurnia in this small Southern town. Thudium recalls the happenings of her hometown, giving us glimpses of the woman that the child later evolved into, due in part to the events such as the summer of 1935. Mackenzie Jarrell, as Scout, and Traeton Pucket, as Jem -- along with their friend Dill, played by Logan Smith -- exceed the expectations typical of child actors, delivering powerful performances that are central to the action of the tale, while Thudium brings Jean Louise's emotional evolution to life with tremendous heartfelt honesty.

 Click HERE to listen to Julia, Christopher, Mackenzie and Traeton's interview

Their father, and perhaps the most moral man of Maycomb, is the lawyer Atticus Finch, expertly played by Christopher Atwood. Atwood, balancing the conscientious character of Atticus against the turbulent times of his town, creates a man whose principles necessitate the choices he feels must be made, even when it means going against the opinions of his fellow town locals. Scout is quite certain her father "doesn't do anything," but throughout the play she finds surprises along the way as to Atticus' true character. When asked about the Tom Robinson case, where Atticus defends a black man against the charge of raping a white woman, Atticus responds, "Every lawyer gets one case in his life that affects him personally. This is mine."

The story stands so strongly that to have such a mutually talented cast allows the emotions of the play to rise to the surface. A dramatic work such as this showcases so many of the talented actors -- Yvonne Mangrum as Calpurnia, Amy Bourque as Mayella Ewell, Bridget Kelly as Miss Maudie -- even when their appearances are cursory. Through these townspeople, including the cameo of the reclusive, mentally incompetent Boo Radley (Morse Bicknell) and the accused black man Tom Robinson (Hakim Bellamy), Lee illustrates the prejudices and cruelty of mankind, as well as the quiet voice of conscience that can also prevail when not drowned out by the noise of an angry mob.

The disease of misanthropic behavior can become virulent as we see it infect Maycomb before, during and after the Robinson trial. Bellamy as Tom Robinson shines as the portrait of an innocent man who knows he very well may yet pay for a crime he didn't commit. His command of the dialect and ability to believably embody Tom was impressive. And, giving one of the best mean drunks I've ever seen, Vic Browder plays Bob Ewell, the villain of the tale, and catalyst to much of the town's chaotic behavior. Even Boo, who is momentary, is haunting and leaves a strong impression, bespeaking of Bicknell's tremendous acting abilities to embody a character so elusive, and in so brief a moment.

Larger themes emerge from Lee's work, most notably the concept of individual merit versus mob mentality, whether it be an actual mob or even a jury of one's "peers." That a man or woman can become so compromised to their own basic character when goaded into doing so by a crowd is the shaming fact of human existence, and one which holds our salvation as well. As individuals, such as Atticus, Miss Maudie, and later Jean Louise, we are encouraged to ask questions of the status quo, to find our voice and in doing so, to stand our ground while seeking to change the injustices of our world. The goal is lofty, but the means are humble, a lesson that is as applicable in today's times as it was in the Depression-era South.

By the end of the evening the audience was on their feet congratulating the cast on a superb performance. To become a part of this classic yourself, you can visit www.motherroad.org or www.albuquerquelittletheatre.org for tickets and more information on showtimes, playing currently until April 27th.

Dancing at Lughnasa at the Adobe Theatre

Step dance your way into another time by entering the world of  "Dancing at Lughnasa," currently playing at the Adobe Theatre, and running until April 27.  Taking us to the fictional village of Ballybeg in Ireland, we enter the childhood memories of Michael, recalling what it was like to be raised by five women, and an absentee father, and struggling to understand the grownups' ways while finding himself.

Photo by Daryl Streeter

Jennifer Lloyd-Cary plays Christina, the young mother whose child Michael was born out of wedlock. Michael, played by Paul Hunton and appearing as a grownup, narrates the memory play as his own recollections from the age of 7, and through him we glimpse life at a very economically depressed time. Vacillating between the joy of her lover's unpredictable homecomings and despondency during his long, unexplained absences, Lloyd-Cary brings her character to life with a sense of emotional believability that we can connect with. As Gerry, the absentee father, Jeremy Gwin charms her, giving Christina the impression he has returned for good, only to disappear again (and again). Like Christina, we want to believe in his promises for a better life, even though we know it probably won't happen.

 Click HERE to listen to Jennifer, Lacey and Heather discussing the show

Photo by Daryl Streeter

Joy, like the songs from the Marconi radio in their kitchen, is a sporadic visitor that seldom stays for long, but in true Irish spirit, when the sisters begin to dance, they leave their real worlds behind just long enough to touch that something greater. As the leaders of the family, Kate, the eldest (Lacey Bingham) is rigidly devout, while Maggie (Heather Lovick-Tolley) is more earthy and free spirited. With meager skills to support themselves with, the two middle sisters turn to hand knitting, Agnes (Bridget Dunne) and Rose (Andrea Haskett), only to find their livelihood threatened by new technology, forcing them both to make hard decisions of their own.

Photo by Daryl Streeter

The Ireland of the show is downtrodden, recovering from the loss of many of its young men in the first World War as well as the economic struggles of the Great Depression, but like the women themselves, the joyful spirit of the people cannot be squelched by the difficulties of their times. Just the idea of attending the Festival of Lughnasa, one of the only social outings the women might know in a year, is enough to inspire fits of laughter and squeals of joy -- like so many of their generation, they must learn to live on hope and ideas far more than the reality that confronts them daily. Their lives are a mix of the secular and religious, a concept personified by their brother Jack (William Lang), a priest who stays with his sisters while recuperating from malaria, caught in Africa during his missionary work.

The metaphor of dancing appears throughout the show, and as Michael states, "Dancing is a language that no longer existed, because words no longer mattered." Directed by Leslee Richards, the show wraps you into its tale and makes you consider that time and place already long past, and when the sisters dance, with choreography by Judith Chazin-Bennahum, you almost wish you could join in their fun. Each sister expresses herself a little differently once the music begins to play, and the act of abandoning one's self to ecstatic movement that comes from within gives each of them a little of the release they seek while living under such oppressing circumstances.

To join the dance for yourself, you can buy tickets online at their website, www.adobetheater.org , or call their box office at 505.898.9222.

Into the Woods by Musical Theatre Southwest

In literature, the forested woods can symbolize a place of unknown possibility (like theatre!), both frightening and tantalizing, and sure to test your character. Venturing fearlessly into the unknown, Musical Theatre Southwest presents "Into the Woods," the musical written by Stephen Sondheim and playing at their Center for the Arts Black Box until April 27. Written with gentle humor, the story plays as equally charming to adults, so don't assume fairy tales are only for children. In fact, many moments in the show reckon to more mature emotions, including romantic love, a parent's love for their child, and the desire to protect those we love from the evils of the world.

The story revolves primarily around the Baker (Jonathan Dunski) and his Wife (Erin Warden), who venture into the woods to remove the Witch's curse of childlessness. In their effort, they meet Cinderella and her evil Stepmother, Little Red and the Big Bad Wolf, a couple of Princes and many more storybook characters. But, "careful the wish you make. Wishes are children. Careful the path they take." Dunski and Warden's chemistry with each other is compelling throughout the show, while each perform equally as strong in their solo moments, both bringing their own personalities to infuse these lead roles with.

Tahirih Garcia plays Cinderella, who is often running from her destiny, but finds that when her choices catch up with her, she must decide for herself the path to happiness. Garcia creates a more emotionally believable woman from the fairy tale princess we already know, all while juggling the attentions of one of the show's two Princes (played by Aaron and David Aubrey), who have great moments in the show in their own right. The delightfully tongue-in-cheek duet "Agony" brought chuckles from the audience, spoofing the twos' besotted foolishness.

 Click HERE to listen to Jonathan, Erin and Tahirih as they talk about the show

Derrick Medrano, as Jack, brings another dimension to the story, that of the innocent, and performs beautifully in his memorable moment, "Giants in the Sky." Fairy tales are built from the structure of what we universally share, and youthfulness and innocence we can all relate to, as well as other themes, such as the challenges of parenthood. Beth Elliot makes her company debut quite charmingly as Jack's Mother, while Tasha Waters brings an emotional depth to the Witch, giving her many more dimensions than the archetypal villain. Her two solos, "Stay With Me," and "Witch's Lament," express her desire to keep her daughter Rapunzel safe, and they tore me open with the kind of heart wrenching, strong emotions that come from watching fearless actors at work.

Not to be forgotten is another enchanting debut, Jessica Quindlen as the engenue Little Red. Perky and relentlessly upbeat, it takes the maturity of the second act for Little Red, Cinderella, and Jack to realize they are all orphans of one sort or another, and that the sadness which ties them together also reminds us, "No One is Alone." As the Baker tells Little Red, "Mother said to never stray from the path, but the path strayed from you." How metaphorically true that is for so many of us, to set a path in life only to find ourselves to have strayed far from it, and into something strange, and altogether new and unexpected.

With live music to be enjoyed, the show is a great way to introduce children to musical theatre, but you only have to be a kid at heart to want to see it too. With limited seating, advance tickets are very much recommended -- opening weekend was already completely sold out -- so visit their website at www.musicaltheatresw.com or call their box office at (505) 265-9119 to book ahead and settle in to this show's journey on your own. There were standing ovations on opening night, so you may even find yourself jumping out of your chair before it's all over.

Fiddler on the Roof by Landmark Musicals at Rodey Hall

Celebrating the 50th anniversary of the show and raising the roof with cheers, "Fiddler on the Roof" by Landmark Musicals premiered to an appreciative house at Rodey Hall on UNM campus, auspiciously opening on the night of Purim (a festive Jewish holiday) and playing until March 30th. Directed and choreographed by Gary John La Rosa, the atmosphere for the show began before the actors' appearance with the magnificent Marc Chagall-inspired curtain, featuring "The Fiddler," from which the musical takes inspiration for its name and masterfully created by the company's production designer, Dahl Delu.

Central to the plot, Michael Finnegan magnificently embodies the patriarch Tevye, a man who dreams big and lives humbly as a part of the Jewish community, Anatevka. As any good and devout Russian, he lives his life by "Tradition," the village's rousing opening act, but we also see that he is a dreamer as well, in his memorable solo, "If I Were A Rich Man." Balancing his bravado is his wife Golde, who rules at times with an iron fist. Played by Lorri Oliver who brings a tremendously strong voice and character to the role, Golde gives solid ground to the dreamer she is married to, and the backbone needed to discipline their five girls: Tzeitel (Elise Mouchet), Hodel (Daniela Deuel), Chava (Adrianna Deuel), Shprintze (Cristina Deuel) and Bielke (Riley Martin).

 Click HERE to listen to Lorri, Daniela and Julian talking about the show

Courtesy of Landmark & Kyle Zimmerman Photography

The dilemma of how to best marry off his progeny begins as we see the girls dreaming of love in "Matchmaker," with clever choreography catching their skidding mops. More inventive choreography was rousingly met in the "Bottle Dance," near the end of act one. Matthew Amend, Zane Barker, Justin Ray Cordova, and Luke Loffelmacher give a hair raising performance as we watch the bottles teeter (no tricks! no gimmicks!) and yet triumphantly remain atop the dancers' heads.

The plot revolves around the dynamics between the young couples, as the revolutionary and contrary ideas of the young begin to supersede the elder's established ways. Tzeitel and Motel (Max Woltman) break with the tradition of an arranged marriage, choosing their love to each other. Woltman's gentle tailor gave the audience plenty of laughs, especially when playing against Finnegan, endearing the young couple as they fight for their love.

Courtesy of Landmark & Kyle Zimmerman Photography

The bookish Hodel and Perchik, the forward-thinking student from Kiev (Julian Singer Corbin), press tradition even further as they too arrange their intention to marry. Tevye, with much pondering where he breaks the fourth wall and charmingly addresses us even as he is addressing himself, eventually gives his blessing. But it is young Chava and Fyedka (Harrison Wirstrom) who bring an even greater challenge for Tevye to reconcile, even as his world changes for good.

Courtesy of Landmark & Kyle Zimmerman Photography

The beliefs and customs of a Jewish rural community under the Tsar are integral to understanding the show. In "The Dream" sequence, we see how the superstitions of the people are intermingled in their decisions, with special mention to Wendy Barker who gives a wonderful performance as the ghost of Fruma Sarah, Lazar's late wife, and catching the audience up in the supernatural fun. Throughout both acts the company's mutually strong vocal performance, overseen by musical director Andrew Alegria, was as consistent together as it is in their solos and duets. Two additional strong characters who shine in this show include Lazar (Vernon Reza) and Yente (Kathy Mille Wimmer), both delighting the audience in their moments as well.

With live music to enjoy, this production meets the high standards Landmark Musicals is known for, and delivers an evening of heartfelt fun for all. To get tickets in advance, visit www.unmtickets.com or call the box office at 505.925.5858. And for more information about Landmark's season, you can visit the company's website at www.landmarkmusicals.org. 

A Midsummer Night's Dream by Duke City Repertory Theatre at the Cell

Springtime is almost here, and it's a time for lovers, mischief and laughter! Celebrating the upcoming April birthday of the Bard himself, William Shakespeare, Duke City Repertory Theatre presents, "A Midsummer Night's Dream" at the Cell Theatre and playing until March 16th, where there are definitely lovers, faeries (which means mischief) and the laughter? It couldn't be contained.

An adaptation of the original, the play is presented in all its Shakespearean glory, with the actors staying true to the language and the comedy of errors' plot line of misaligned lovers who have fallen victim to faery pranks. Most interestingly, all 19 parts are played by only 7 actors, who change costume and identities but never lose us along the way as this classic's comic twists unfold.

 Click HERE to listen to Frank, Amelia & Evening talk about "Midsummer"

As Hippolyta and Theseus, Amelia Ampuero and Frank Taylor Green transform themselves from the nobles of the human world who prepare for their wedding, into Faerie nobility, the disgruntled King Oberon and his estranged Queen Titania. Around them we see the four lovers who fall victim to the faeries' otherworldly shenanigans, Hermia and Lysander (Lauren Myers, Ezra Colon) & Demetrius and Helena (Josh Heard, Katie Becker Colon), all due to Puck's interference. Under Oberon's orders, Puck mistakenly enchants the wrong humans while seeking to help his master, and manages to get his Lady Titania in a very embarrassing situation with a lovable donkey (also Ezra Colon) as well.

Evening Star Barron brings a new flavor of Puck to the show, with all the impish delight we usually associate the character with, as well as a maturity that comes later, giving Puck a chance to grow up and become more reflective by the story's end. "Lord, what fools these mortals be," Puck declares, and rightly so. Adapted and directed by John Hardy, audiences today may not know a Shakespearean couplet when they hear one, and they may not know they were the signal to an Elizabethan audience that a character's exit is about to occur, but for the English majors (c'est moi) and dramatic buffs in the crowd, we were happy that Hardy handled the text with love and care, and that the actors delve into the language of the show, and deliver layers of meaning behind the Bard's words.

In between the confusion of lovers and faeries there are the actors, the most terrible actors, who are to present their dramatic work at the wedding. Is there anything so funny as good actors portraying realllly bad actors? Completely engrossed in their "art," these players present their tale in the second half and worked the audience from chuckles and guffaws, to bellows of laughter. The moments at the chink in the "wall" between Colon, Heard and Green are truly gems in this piece and are sure to remind you this was a comedy Shakespeare wrote, and not just because it has a happy ending.

To get yourself over to see the humans playing as faeries, and the faeries playing with humans, visit their website for tickets at www.dukecityrep.com or you can call the Cell Theatre box office at 505.766.9412. Advance tickets are always recommended for smaller houses, lest the faeries make merry with your seat and you find yourself left out of the fun.

Cats at the Albuquerque Little Theatre

The magic begins the moment you arrive at Albuquerque Little Theatre, where human-sized theatre cats are prowling the grounds, and taking to the stage to present the musical "Cats," playing until March 23. Watch your feet as you enter the lobby and find your seats, they're as prevalent as the smiles on the patrons' faces and they don't seem too terribly camera shy, but only before the show begins. Once you're in your seat, keep an eye out for the aisles, corners, balconies and crevices, as the cats playfully break the fourth wall, interacting with the audience until the show begins (and sometimes after too)!

With music by Andrew Lloyd Webber, the story is based on "Old Possum's Book of Practical Cats," a series of poems by T.S. Eliot which follow the stories of many different cats, together known as the Jellicle Cats. We discover the inner workings of their feline society, with Munkustrap acting often as a narrator, played lovingly by Larry Joseph Aguilar. Steering our attention from story to story, beginning with the entire company's hypnotic chant, "The Naming of Cats," the story moves into individuals' tales, such as the delightful Jennyanydots, played with playful vigor by Shirley Roach, despite being a cat that "sits and sits and sits all day." The upbeat tap dancing number shows off co-choreographers Edye Allen and Stephanie Burch's mutual talents, and is one of many dance forms (tap, ballet, jazz, modern, lyrical, even Irish step dance) that flow into and out of the stories throughout the show.

 Click HERE to listen in on Larry, Dawn, and Marcus talking about the musical

"The Rum Tum Tugger" burst into his scene with sass as the most fickle of felines. As Marcus Robinson's ALT debut, he makes a big impression while bringing a sense of entitled elegance, slinking across the stage with liquid body rolls and sinuous choreography while giving us the essence of the rebel that Rum Tum Tugger is written to be. In the second act, Tugger reappears for another energetic performance for "Magical Mister Mistoffelees." The cats, we discover, follow their leader Old Deuteronomy (Jack Litherland), who has lived many lives and "buried nine wives," and tonight he will decide which of their kind will be allowed to go to the Heavyside, a decision and privilege which the cats regard with awe.

But it is "Grizabella, the Glamour Cat," a faded star who is now shunned by the others, a pariah even amongst her own cat kind, whose story we follow most frequently. Although she only appears onstage three times, Grizabella's story provides an arch through both acts, reminding us that sometimes a cat really can have a new life, even those cats who believe their time is over. Played by Dawn Durkin, whose rock and roll voice plays through Grizabella's tale perfectly, this role requires an actor who can evoke the most painful reminiscences without falling into pathos. By the second act, when Grizabella's modern standard, "Memory," is sung through, I had literal tears falling into my lap. The song, done wrong, is schmaltz. Done right? It is evocative and reminds the listener of the dreams we all once had, dreams that now seem buried and gone.

Other cats made sparkling impressions, such as the irrepressible duo, Mungojerrie (Estevan Velasco) and Rumpleteazer (Kianah Stover), whose sticky-fingered mischief together is playfully aggressive and quite acrobatic, like kittens on the prowl. Stevie Nichols, as Demeter, swishes into her number, "Macavity: the mystery cat," with breathy, sultry delight as her Fosse-esque choreography slides across the stage with seductive ease.

With strong company vocals heard in numbers like "Journey to the Heavyside," the cast works together as powerfully as they do in their solos. But the dance ability required in a musical such as this requires special mention, with cast members who must use their bodies both to tell their stories, and to give their choreography the cat-like grace called for. Erin Allen as Victoria, and Michael Maldonado as Mistoffelees, excelled in their dance moments onstage, giving artistry to the show's pop. As a whole, the choreography is woven into and out of the entirety of the show, with dance breaks that vary from solos, small groups, a lyrical pas de deux, or even raucous ensemble numbers, such as "The Jellicle Ball" and "Macavity Fight." And, if ever there was a show that deserves tombee pas de bouree glissade pas de chat? It's this one, and a wink to the audience in the know.

Directed by TJ Bowlin, the show serves as an excellent example as to why so many love this musical so passionately; it delights the eye and the imagination, bending our view of reality as theatre is meant to do. Although over time Weber's score can sometimes sound dated with its '80s synthesizer sounds, the show delivers a knockout one-two punch of strong performers transformed into something magical and otherworldly. To find out if "Cats" will make a cat lover out of you, visit their website at www.albuquerquelittletheatre.org to purchase tickets online, or call 505.242.4750.