‘Montauciel Takes Flight’ Makes Science Soar at Lifeline Theatre

Montauciel Takes Flight at Lifeline celebrates science and the spirit of invention. You know a children’s show is successful if the kids are singing the songs on the car ride home. The charming original musical Montauciel Takes Flight, by James E. Grote (book) and Russell J. Coutinho (music and lyrics), directed by Aileen McGroddy, is based on the true story of the first living creatures to ride in a hot air balloon. The play tells the story of the Montgolfier brothers, paper manufacturers in 1783 France who launched a balloon containing a duck, a rooster and a sheep named Montauciel, a name that means “climb-to-the-sky.” The balloon and its animal occupants landed safely after traveling over two miles, ushering in a new era of manned flight.

The heroine of the musical Montauciel (Kirra Silver), is a curious young sheep who loves science. Silver communicates a youthful enthusiasm for science and learning that immediately draws children into the narrative. Her genuineness makes her character relatable to kids. She never plays down to them, rather she invites them to share in her excitement. Silver is well supported by the cheery ensemble playing her human and animal compatriots: Jordan Arrendondo (Joseph Montgolfier), Carisa Gonzales (Bessie), Scott Ray Merchant (Etienne Montgolfier) and Jennifer Vance (Rooster).

There’s a strong opening number about “the age of enlightenment” during which Montauciel muses that some folks fall in love with science and learning, while others seem afraid of science, preferring the old ways. Embracing the wonders of science is part of the show’s message. When Montauciel hears intriguing explosions coming from the Montgolfier paper mill she leaves home in hopes of meeting a fellow science enthusiast. When she arrives she discovers the sounds were coming from Joseph’s lab. He’d rather do science than make paper and so he hires her to work in his place so he can spend his time experimenting. She’s disappointed but soon learns making paper involves science too. After a quick lesson in how old rags are turned into paper pulp it’s her turn to instruct her new employers (some human and some animal) about “the six simple machines” in the show’s most memorable number. The song admirably manages to turn this unwieldy list into a catchy tune. Indeed, my children were singing about “the wheel and the axle, the lever and the pulley, the inclined plane and the screw (and the wedge)” the rest of the afternoon.

Montauciel also covers the scientific method, teaching her friends to formulate and test a hypothesis. She gently coaxes Joseph Montgolfier toward understanding science is more than just setting off cool explosions and he invites to join him in his work. Soon their experiments attract royal attention and the inventors go on an adventure to meet King Louis XVI and Queen Marie Antoinette, played by a talking portrait with mouth holes, much to the delighted squeals of the children in the audience.

Lifeline’s signature aesthetic features costumes and design elements that elevate everyday things with a little theater magic. I appreciate this because it shows children how simple it is to take the objects around them and transform them into elements of a story. It’s thrilling when the characters create their wondrous balloon from found objects. The blue sheet backdrop representing the sky starts to billow when the animals start their journey and suddenly we are all  flying. After the show my children were excitedly discussing the types of paper and fabric the Montgolfiers used to make their balloons and speculating how they might conduct their own hot air experiments. Montauciel Takes Flight makes both science and theater accessible to kids.

Most children’s productions at Lifeline are adaptations of well-known books making Montauciel  a slight departure, though a well-executed one. As a parent I celebrated that this play links science to everyday problem solving and brings to life an exciting but oft overlooked historical event, the invention of the hot air balloon. Parents may well find themselves just as inspired by the show’s spirit as their kids.

 

BIAS ALERT: My children are close friends with Lifeline House Manager, Susan Tecktiel, a beloved babysitter to them since they were toddlers.

Performances: Saturday and Sundays at 11am & 1pm Through Feb 18, 2018

* This show is recommended for kids 5 and up. Children under 2 are not permitted.

Photos by Suzanne Plunkett

Book by James E. Grote
Music & Lyrics by Russell J. Coutinho
Directed by Aileen McGroddy

CAST AND CREW
Jordan Arredondo (Joseph & ensemble)
Carisa Gonzalez (Bessie & ensemble)
Scott Ray Merchant (Étienne & ensemble)
Kirra Silver (Montauciel)
Jennifer Vance (Rooster & ensemble)
Ty Carter (Understudy)
Whitney Dottery (Understudy)
Suzanna Ziko (Understudy)
Russell J. Coutinho (Music & Lyrics)
Aileen McGroddy (Director)
Jacqueline Marschke (Stage Manager)
Megan Elk (Music Director)
Amanda Herrmann (Properties Designer)
Eleanor Kahn (Scenic Designer)
Jeffrey Levin Jeffrey Levin (Sound Designer)
Emily Swanson (Costume Designer)
Eric Watkins (Lighting Designer)

Aziza Barnes’ ‘BLKS’ Gets Up Close and Personal

This review is written by Logan McCullom, an alumni of The Key: Young Critics Mentorship Program.

Stumbling through the seemingly unending crowds and stairs that make up Steppenwolf’s theatre, I was frazzled and bewildered by how many folks I saw waiting to be seated for the opening night of BLKS. At first glance I found the title to be easy and not very enticing at all, but it was quickly redeemed as I saw the set. Like the title would prove to be, it was comprised of… well… everything. There was no shortage of couches, there were even couches on the walls! Set designer Sibyl Wickersheimer draped long blue curtains on the stage, making distinct isolations that served as different rooms within the same stage. It was messy, chaotic, a perfect representation of life on your own, and I loved it. Continue reading “Aziza Barnes’ ‘BLKS’ Gets Up Close and Personal”

Fists Up: An Interview with Fight Choreographer & Actor Almanya Narula

This week Editor-In-Chief Regina Victor sat down with notable fight choreographer, dancer, and actor Almanya Narula to discuss the art of stage combat, her history as a performance artist in Bollywood and the United States, and what the field needs now. Victor and Narula first met on the set of Ricardo Gamboa’s Brujos. Victor was impressed by Narula’s ability to design impressive combat that was easily taught in a short time frame, as well as the vast career Narula has cultivated in a male-dominated industry.  Continue reading “Fists Up: An Interview with Fight Choreographer & Actor Almanya Narula”

‘Book of Will’ Fails to Diversify The Bard

By Lavina Jadhwani

“Casting should be diverse. Shakespeare is meant for everyone.”

This simple statement, written atop the casting breakdown of Lauren Gunderson’s new play, THE BOOK OF WILL at Northlight Theatre, filled me with so much hope.

I am a woman of color who regularly directs Shakespeare and regularly encounters pushback when trying to convince producers and audiences that the words people often assume were written primarily for white, cis, able-bodied men can be shared by, well, everyone. That’s why I was so moved by Gunderson’s sentiment and so excited by the casting announcements made by the Denver Center and Oregon Shakespeare Festival regarding this play. (The world premiere in Denver included two South Asian actors — my desi heart soared!!) My heart sank, however, when I saw the casting announcement of a local company, Northlight Theatre, which included an all white cast and production team. Nevertheless, I attended the production in hopes of learning something new about this play and the world of William Shakespeare. I wanted to keep an open mind. And honestly — I wanted to support my friends. Continue reading “‘Book of Will’ Fails to Diversify The Bard”

About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer

By Regina Victor

About Face Youth Theatre Ensemble’s Brave Like Them is an exciting and dynamic exploration of cultural movements and gender expression infused with feminist punk. The show is entirely devised and performed by the members of the About Face Youth Theatre Ensemble and co-directed by About Face’s Education and Outreach Director Ali Hoefnagel and Education Coordinator Kieran Kredell. The script was well-written, and memorable, especially impressive because the age range for the ensemble that devised it is 13-23 years old. The play takes place in the Riot Grrl movement of the 1990s, an underground punk feminist movement that originated Washington state, credited with being the beginning of third wave feminism. Famous bands that came out of that era include Bikini Kill, Bratmobile, and Sleater-Kinney. Brave Like Them takes us to Washington state in that era, and investigates both the successes of the movement but also the racial and class discrepancies – most of the voices of this movement were middle class, white cisgender women. Continue reading “About Face Youth Ensemble’s ‘Brave Like Them’: Explosive, Feminist, and Unapologetically Queer”

Love and Talent Burn Fiercely in ‘Bright Half Life’

(Photo Copyright: Michael Brosilow)

By Regina Victor

Bright Half Life at About Face Theatre directed by Kiera Fromm is an elegant exploration of queer love and the quirks of relationships. A two-person play penned by Tanya Barfield, Bright Half Life centers around the intertwined lives of two women, Erica (Elizabeth Ledo) and Vicky (Patrese D. McClain). The play jumps back and forth through time to tell us the story of Vicky and Erica’s decades long love affair, from their first encounter at the job where Vicky is the only black female supervisor, to the marriages of their children. Fromm’s direction and Barfield’s sequence of events made it clear from the beginning that this love would be complicated and messy, that it would end and perhaps begin again. But whether or not they see a happy ending almost doesn’t matter. Bright Half Life  believes that it’s not about the result, it’s about the journey. Continue reading “Love and Talent Burn Fiercely in ‘Bright Half Life’”