This section is part archive, part blog. Some content was imported from raketheater.com, and spans more than 10 years. There’s info about previous productions and events, as well as random thoughts about theater. Enjoy.
Lyrics by Kimberly Patterson and David Weinstein
Music by David Weinstein
Book by Kimberly Patterson
Instead of taking back the night, they’re rewriting the dictionary! Felicia and Dori are the voices of “Douchenozzle,” a musical act touring the country to spread their message of gender-free insults. A comedic look at how we talk about women and what those words ACTUALLY mean! From the creators of Oedipus for Kids! and The Joys of Sex.
Jack’s an actor; Olivia’s a playwright. They’re better at kissing than communicating!
Can they learn the language of love? Watch as they perform classic scenes: “first date,” “awkward breakup” and “happy ending.” A meta-theatrical romantic comedy from South Florida.
Kimberly Patterson presented Fluency at the 2008 New York International Fringe Festival and the 2008 Orlando International Fringe Festival.
Jill Jichetti (director/Olivia): is a director, performer and writer in several genres. Previous directing credits include Kimberly Patterson’s Goat Song at the Midtown International Theater Festival. Jill is a Member of Rake Theater and the Artistic Director of Lifeblood Theater Company. Jill’s FringeNYC writing/directing credits for Lifeblood include The Boy on the Other Side of the World (2007) and Reference Material [3am Pie] (2002). As a 2008 recipient of an Excellence Award in Literary Arts from the Council on the Arts and Humanities for Staten Island (COASI), she performs her blog-published fiction, “Angels Dares'”, at COAHSI’s Summerfest in June. The story, a fictional serial yet to be concluded, can be found on her homepage JillWrites.com. She has written numerous one-acts and ten minute plays, two of which were presented at Sundog Theatre’s Scenes from the Staten Island Ferry. She has also reviewed theater for OffOffOnline.com. Jill received her Master of Arts from New York University’s Gallatin School of Individualized Study in 2001 where she concentrated her studies in Playwriting and Interdisciplinary Ideas of the Postmodern. She has taught several levels of writing classes in the English Department at the College of Staten Island (City University of New York). At CUNY, she has also taught classes in technical theater and stage management.
Martin Soole (Jack): A native of Iowa and graduate of Webster Conservatory, Martin works consistently in Film, Theatre, and T.V. He can be seen playing lead roles in the upcoming films “The Children of Fleeting Light” and The Samsung Mobile Fresh Film “Regularly Scheduled Programming”.
Nicole Serra (stage manager): Nicole is a stage manager/actress/director and graduate of University of Miami, where she received a B.A. in Theatre and English Literature. She has also trained at Queen Mary, University of London, as well as SITI Company and the Barrow Group in NYC. She served as Associate Director of the Drama program at Theatre Arts Center for two years and has also worked with The Foundry Theatre, City Lights Youth Theatre, The Watermark Ensemble, and the CASA program through Queens Theatre in the Park.
Jenny DeJarnette is depressed. She’s just been dumped by her boyfriend, is panicked about money, and is still struggling with the recent death of her father. She figures that spending the summer in Florida, house-sitting for her grandparents, will be a tranquil vacation — an opportunity for her to regroup and take control of her life again. But the universe has other plans. It’s tropical storm season, and a hurricane is heading her way. Is Jenny prepared for yet another disaster?
Written by: Kimberly Patterson
Directed by: Kimberly Patterson and Rob Yoho
Starring Alyson Innes as Jenny
Sound Design: Christopher Hudspeth
Alyson Innes (Jenny)
Alyson, born in Hollywood, Florida, is a true Florida native. She graduated from Nova Southeastern University with a Bachelor of Science degree With Distinction in 2000. She has experience both onstage (in Macbeth and Barefoot in the Park) and backstage, and perfected her comic timing (and balloon animal creation) by working as a clown. Currently, she can be seen performing almost daily in Orlando courtrooms: she graduated cum laude from the University of Miami, School of Law with her Juris Doctor in 2003. Alyson loves spending time with her family, volunteering, traveling and photography.
Rob Yoho (co-director)
Rob is a proud soon to be graduate of the Rollins College Department of Theatre Arts (Performance and Directing Emphases) and he couldn’t be more pleased to be working on Tropical Depression. Prior directing credits include Mr. Marmalade (Rollins College), Danny and the Deep Blue Sea (Co-Directed with Aléa Figueroa-Yoho, Eyes Pry’d Open Theatre Co.), Proof, and Dinner with Friends (Emma’s Attic at the Titusville Playhouse). In June of this year, Rob will be working as a Touring Actor/Director for Missoula Children’s Theatre, partnered with his wonderful wife, Aléa Figueroa-Yoho. Rob is a proud member of Orlando’s Empty Spaces Theatre Company, where he is currently working on the directing staff of Nine Parts of Desire and performing in Peg O’Keef Fixes the World, also premiering at the 2010 Orlando Fringe Festival. His sincerest thanks go out to Kim and Alyson.
Kitty McCrory (Fat Tom)
No, the cat doesn’t appear on stage. But he’s definitely an important cast member! You know… like Godot.
The website for Rake Theater has been discontinued (not for lack of love, but for a gentle reorganizing… I have digital sprawl). Some of the content can be found now here.
What was Rake Theater?
Rake was founded as a producing organization in New York City in February 2006. In the inaugural season, the group produced a show at the Midtown International Theater Festival and presented the sell-out hit Oedipus for Kids! at the New York Musical Theater Festival.
The mission of the organization at time of founding (and still to this day) is to support both the creative development of dramatic literature and the people involved in that process. We encourage new works, but also place considerable attention on the classics. We value adaptation and re-vision as art forms independent from their sources. We welcome the juxtaposition of traditional theatrics and modern technology, always hoping to explore new ways for the body to access words on a page.
This entity has no physical location and its friends and supporters continue to work and thrive all over the country. Rake Theater continues to function as an umbrella for productions.
The name itself–Rake–has a trio of interpretations. First, in technical theater, a raked stage is a slanted or angled stage. In theater history, the character of the “rake” in Restoration comedies was a charming guy usually up to no good. Finally, as a regular, everyday tool, a rake is an implement used to gather or collect small objects. It’s a gathering of all sorts of ideas and collecting them in one slanted, irreverent place.
Love me some Fringe. Saw four plays in two days, not including the ones I was in. We came up last year, and it was the first time I was here without having a show in the festival. I can’t decide which is more enjoyable: there’s something fun about just being at Loch Haven Park and just hanging out. Get a good parking space, hunker down, and chill. Not worrying about my own performance is very pleasant, but then I feel a little left out if I’m not handing out postcards.
This year is weird in that I’m only able to stay on the weekends. I definitely miss having all week to catch shows. There’s much more of a scramble with our limited windows. But we do what we can.
The first show we saw was The Monkey King, performed by Viet Nguyen. I am assuming that he also wrote the piece; that wasn’t indicated on Fringe’s website (and, awkward, I’m not sure where my program is). Nguyen played four human characters in addition to the Monkey King referenced in the title: an old man, an old woman, a young man, and a younger girl. The show featured fantastic mask work — I would love to know more about how the masks were constructed — and I’m especially interested any symbolism in the mask representing the young Vietnamese-American man. The face was painted a pale blue. His monkey was sassy and energetic, still animal in demeanor and carriage. The story eventually draws you in, as you realize the characters are connected far more deeply than they initially appear. Afterwards, my father and I had a great deal to discuss, since we were left with many questions by the end. The show was beautifully performed, and I thought it was a moving story, though I hope I was able to get the full message.
Later that night was Nashville Hurricane, the third awesome Fringe offering by the awesome Chase Padgett. Not too much to say about this other than it was awesome… I saw 6 Guitars and Superman Drinks, so I’m familiar with his style and his skill. For several of my companions, this was their first Chase Padgett experience, and they were over the moon. I remember feeling that way after 6 Guitars, and I am glad that this piece seemed to be a little more along those lines. For some reason, I find that I’m more comfortable with these character narratives than with the personal story of his father — maybe it’s because he made me cry with Superman Drinks. Towards the end of the performance, his acoustic guitar fell off of its stand. Horrified gasps from the audience, as if he’d accidentally dropped his own toddler! In character, he calmly stated, “I’ll deal with that later” and kept on going. After the show ended, he inspected the damage and happily gave the crowd a thumbs-up.
Sunday morning was all about my favorite Pomeranian energy source: Dog-Powered Robot and the Subsequent Adventure. Talk about kicking things up a notch. We walked into Orange venue (an upgrade right there) to see Ninja Noids scanning for Harvey Dumpster’s good arms… on stilts. It made a great initial impression on my DPR noob companions. I’m always so impressed by their production values: the care they take in making the costumes and scenery, not to mention the durability of their cardboard. The plot and dialogue are never the strong points, but I did appreciate the Dalek references. Fisher Miga is totally my hero.
Our fourth show of the weekend was The Fabulous Problemas, which I loved — and that has nothing to do with the several Magic Hats consumed at the Beer Tent. In fact, it was thanks to the Beer Tent that we got to the show in the first place. A strangely-bearded figure slunk towards our table and handed J a postcard. Now that we were in collusion with her (J told her that her nice pedicure gave it away), we HAD to see the show, right? Eh. But then I looked over the postcard and read the blurb in the program book. They were from Maine. Something about Maine sounded familiar to me, but I couldn’t put my finger on it. So we went. And the show was great. Not a word of dialogue was uttered (though there was a wee bit of singing). By the end of the performance, I realized why Maine was important: the female performer had previously presented The Soiree at Fringe 2010, another superb show. Lesson learned? Always see theater from Maine.
Stay tuned for the recap from next weekend, when we’ll see four shows each day. Line up includes: Little Shop of Horrors, Connected, 4 Truths and a Lie, A little Fringe Magic with V, Voice Activated, A Long Time Ago: 80s Strike Back, Annie Todd, Kirikou and the Sorceress. Also hoping for Cannibal the Musical, Dominatrix for Dummies, and Dirk Darrow, depending on our travel situation and party options.
1. Everything in it is absolutely true. Rose is a real person, and I used to get the stuffing beat out of me. Several of the people on stage are the ones playing the taiko music featured in the piece.
2. The first time we did the show was the first time we did the show. Thus giving you the freshest theater experience possible.
3. Our first weekend of performances was missing a huge component: a live martial arts demonstration. I called 8 different martial arts studios located in downtown Orlando. Only 3 ever returned my phone calls. One wanted $1000 for an appearance. I’m still negotiating with the other two… fingers crossed for next weekend!
4. Two of the participants have actual martial arts experience. One of them is 6 years old.
5. Blessings was intended to be a dance-based performance piece. If you’ve seen it, you’ll know that, uh, it’s not. Watch this space for more explanation on that.
I guarantee that having this information ahead of time will help make the show way more interesting and relevant.
Blessings is a study of personal growth through physical growth. How do we determine what strength is? What does it mean for women to be strong, powerful or fierce? Does it involve big muscles, business suits, high heels, lipstick? Why is it that “girl power” has to be a catchphrase, and that it’s got to be sassy?
I don’t know the answers to any of those questions. I just know that when I was in my early 20s, I took up karate. First it made me stronger –physically–and eventually I realized it made me stronger in every other way. I know people, lots of them women, who have had the same experience in some other outlet: dance, yoga, music, swimming, boxing, running, Pilates, even having a baby.
I now have a huge collection of sound effects available to me. It makes me wonder 1) why the people selling the CD thought we might need some of these — like, in what play would you need the sound of an escalator? And what exactly does an escalator sound like (well, I’ll be able to tell you shortly). I wonder 2) about the people who must create the recordings. Does someone kneel down by an escalator with a microphone?
Here’s my favorite sound effect, both because of the scarcity of dramatic uses and because of the rigors of capturing it. Can you guess what it is?
HINT: It’s an animal.
Feel free to post your guesses, but keep it clean.