HELLCAB @ Profiles Theatre

Will Kern's Hellcab tells the story of a Russian immigrant turned Chicago cab-driver & his horrible Christmas Eve. It was first produced in 1992 by Famous Door Theatre & was originally intended to be a late-night show with 12 performances. Instead, it became one of Chicago's longest-running shows by running almost a decade. Will Kern also adapted the screenplay & directed the 1997 film Chicago Cab, which appeared Austin's 1998 South By Southwest Filmfest & featured an all-star ensemble cast including Julianne Moore, John C. Reilly, Gillian Anderson, John Cusack, Laurie Metcalf, & Tracy Letts. 

The setting was clearly Chicago & clearly the 1990's [as was clearly displayed by the $4 dollar fares]. As someone who transplanted to Chicago, I am somewhat familiar with the current, local culture but removed from this different & darker Chicago of the 1990's. The production did a brilliant job of creating a picture of this world this strangely familiar yet starkly different culture. The set [designed by Shaun Renfro] required minimal elements of design, but every aspect was extremely well-done. The managed to acquire a real-car & splattered the walls of the theatre were with authentically-executed graffiti to skillfully construct yesterday's Chicago. 

Konstantin Khrustov & Darrell Cox

In this 20th Anniversary Production, Director & Profiles Co-Artistic Director Darrell W. Cox chose to cast one actor for each of the 34 roles [the original production was comprised of a 6-person cast]. I'm not 100% sure how I feel about this decision, but I am more in favor of it than opposed. It was definitely a perk to allow the audience to get to know each new character as an individual while simultaneously allowing us to relate to the constant flow people dropping in on the cab-driver's life. It also allowed each character to be cast with specific regard to the parameters of their role rather than the appeal of being able to pull off several roles. The con of this casting decision is that it costs the audience the ability to fully appreciate the skill-sets that these 34 actors, all of whom presented pristine performances. From the couple requiring the nearest motel to the trash-talking Yankees fans to the recently raped woman in shock, every actor was a pitch-perfect casting choice. The highlight of this cast was undoubtedly the man behind the wheel: Konstantin Khrustov played our cab-driver & he could not have been better. He worked well with the constant, constrictive struggle that plagues all workers in tip-based industries: having to deal with & depend on the tip-givers. His physicality was spot-on because his subtle interactions with the steering wheel, the elements, & the cab itself provided a consistent undertone of authenticity. He created an engaging, surprising, & enriching character whose quiet humor & intriuging perspective provided an impeccable performance [& production]. This one's a winner--go see it! 

Les Miserables: The Movie!

IT HAS FINALLY ARRIVED!!! 

AND IT RULED. 

It has been a long road from the initial cast, recasting decisions, 

the final cast announcement, & the trailer release 

to finally have this Christmas present arrive. 

[believe I was there on Christmas Day with Christmas bells on.]

• Hugh Jackman served as the backbone, brain, & beauty of this film in his performance of Jean ValJean. I initially thought he might seem too young, but that was a non-issue. His experience as a stage actor clearly infused his performance; his acting & singing were matched in excellence, awesomeness, & impressiveness.
• As Eponine, Samantha Barks brought a similar sense of theatrical professionalism to her performance; her singing was strong, her physical appearance was traditional & perfect (although her waist was freakishly tiny) & she presented an Eponine that was more pitiable than pathetic. Her role seemed more pivotal to this plotline in the film version & her rendition of “A Little Fall of Rain” was genuinely heart-breaking. 
• The role of Gavroche serves as a tiny bright spot of sorts, Daniel Huttlestone’s performance of Gavroche provided an equally bright spot in the movie. The moment of Javert pinning his pin to Gavroche’s tiny, fallen body & the aligning of Gavroche to baby Javert (“I am from the gutter, too” ~ Javert, "The Confrontation") was my favorite moment of the entire movie. 
• Speaking of Javert (incidentally, my favorite character), Russell Crowe was a great actor & sub-par singer. His singing wasn’t awful but it lacked the authoritative confidence that defines Javert; these short-comings became especially apparent during the confrontations between Javert & Jean ValJean.
• As Cosette, Amanda Seyfried was stunning in her effervescent beauty, created a fuller character than Cosette is often presented, & sang adequately. She had many moments of  a perfect & bird-like twittery sound, but, more often than not, she reached for notes & barely reached them. One thing I loved about Seyfried’s Cosette: she was blond! Cosette is traditionally brunette in the stage version, which never made sense considering she is Fantine’s daughter & Fantine’s flowing blond hair is a defining characteristic. 
• Speaking of Fantine’s flowing blond hair, where was it? I just want to know why they unnecessarily changed this iconic part of her character. Besides, the hair issue, Anne Hathaway was a pretty stellar Fantine. I really didn’t expect to like her in the role. In my nearly-never-wrong opinion, she peaked at The Devil Wears Prada & casting directors have been too generous in the roles in which they cast her (hello, Jane Austen). Apparently, I was wrong because she rocked as Fantine; her acting was thoughtful & she nailed the wide spectrum of emotions that fall upon Fantine. Her rendition of "I Dreamed a Dream" was refreshingly flawless & made me hear a song I’ve heard 10,000+ times in a new light (especially her angry growling delivery of “…he took my childhood in his stride, but he was gone when autumn came…”). Another perfect, gut-kicker moment was her dying eyes lighting up as ValJean carried her away from the whore-docks & promised to deliver Cosette to her. Well done, Anne! I’ll be rooting for you on Oscar night. 
• Eddie Redmayne played Marius & he presented the perfect balance of  man & boy. I didn’t realize he could sing, but was pretty impressed with his voice 90% of the time. I felt more understanding of this Marius: his past, his convictions towards the revolution, the crazy consuming feeling of first love, the need to take care of/provide for Cosette, & his relationship with ValJean…all of these aspects of Marius as an individual were more highly heightened & allowed the audience member a further investment in the future of his character.
• Helena Bonham Carter & Sacha Baren Cohen as The Thenardiers: Obviously, they were both funny, well-cast, & provided the necessary punctuating funny moments. However, they were what I expected them to be since these roles aren’t too removed from their normally-expected roles. Granted, S.B. Cohen doesn’t generally sing, but seeing H.B. Carter stuff meat into a grinder was a bit too much of a Sweeney Todd flashback for me. This is the lesson we learned from Samantha Barks beating out Taylor Swift for Eponine applies to the Thenardiers: even if a known face is a good fit for a role, an unknown actor might allow the audience to disappear into the story more. 
• Lastly, having Colm Wilkinson [the original & impeccable Jean ValJean] play the Bishop who re-routes ValJean's life was the best casting choice of them all. He is an exceptional performer who can conquer any role; but casting him as The Bishop who guides ValJean when he is the actor who guides the actors who play ValJean was so crazy clever, sentimental for the long-time Les Mis lovers, & respectful to the stage-version of the musical that I was crying within the first 10 minutes of the movie. One of many smart moves by our director, Mr. Tom Hooper. 

NOW GO SEE LES MISERABLES!!!

Metamorphoses @ Lookingglass *updated*

 

Tony Awards: Best Direction of a Play

Drama Desk Awards: Outstanding Play, Director, Lighting Design & Music

Drama League Awards: Outstanding New Broadway Play

Outer Critics Circle Awards: Outstanding Director of a Play

Lucille Lortel Awards: Outstanding Play

Time Magazine: Best Play of the Year (2001-2002)

METAMORPHOSES IS JUST GREAT. I had seen two productions prior to this legendary Lookingglass experience: a surprisingly decent 2007 production at the Artists Repertory Theatre in Portland, Oregon & an impressively noble 2010 community-theatre attempt @ The York Little Theatre in York, PA. Both were quality productions, but neither held a candle to this somewhat historic theatre experience. Mary Zimmerman is a professor at Northwestern & Lookingglass ensemble member. In 1998, Lookingglass opened their season with Metamorphoses.  It received critical acclaim & the production traveled to Berkeley Repertory Theatre & Seattle Repertory Theatre. In the fall of 2001, Metamorphoses opened Off-Broadway at Second Stage Theatre. It’s rave reviews & new commercial investors allowed the show to move to Broadway (Circle in the Square Theatre) in March 2002, where it ran for almost a year. It has been 14 years since Metamorphoses debuted at Lookingglass; I can think of no better way to start their 25th season than with this awesome & exciting production. 

ZIMMERMAN'S SCRIPT thematically centers on change & the cost, challenges, & unforeseen outcomes that can come from achieving one’s goals. This script defines timelessness by incorporating Ovid’s stories from 8 A.D. with morals & applications that equally apply to the audiences of yesterday, today, & tomorrow. Some things never change & the crazy challenge of conquering a huge life-change seems to be one of them. Zimmerman got it right when she said: "Change felt so soul destroying and…I was so frightened of what was going to come. And I sort of couldn’t stand the state I was in; I wanted to be through with it…through the moment of metamorphosis [which] is so excruciating, but then it can produce something new." 

THE CAST: If I had to pick one word to describe the cast it would be strong. They exhibited the confidence to boldly tell these bold tales, the flexibility & physical strength demanded by the stories, the ability to maintain consistency in performing different roles, and a clearly-grounded, thoughtful understanding of the text. Raymond Fox is a versatile actor whose charming nature infused every role; whether he was bumbling, obsessing, or rowing in the background, his presence onstage was always a highlight. Anne Fogarty provided solid, subtle, feminine presence who seamlessly interacted with the rest of her cast.  Anjali Bhimani also provided a necessary feminine presence as the actress who undertook the most youthful roles; she had an ageless beauty & astounding physical strength. One of my favorite moments in the show was her spastic, haunting portrayal of Hunger (picture Samara from the Ring). Lawrence E. DiTasi & Louise Lamson both stood out with languid physicality & striking stage presence. As Alcyon, the widow who turns into a bird, she was elegant & lovely while still portraying the impassioned waiting widow. Lauren Orkus was effervescent, so pretty, & had loveliest lilt in delivering her lines. I also loved Marilyn Dodds Frank’s distinct, gravelly voice, Chris Kipiniak’s seasoned performance quality, Usman Ally’s intensity, & Doug Hara’s fun, post-modern energy.  This cast worked as a strong unit while still maintaining their individuality. The rich history of this play & its’ performers & production staff partly factor into these high-quality performances.  In an interview with Lookingglass Literary Manager Marti Lyons, Zimmerman said: “…because I have so many of the same people returning and because all actors, if they were ever good, get better with age, I’m really looking forward to the deepened experience, connection & ability, and to see how the performances change under the weight of all these years. It’s one thing to see a bunch of kids doing these myths, ti’s another thing to see 45 year-olds do it - it has a gravitas to it - and almost a strangeness - that I’m looking forward to. The show is sort of a touchstone in our lives. Three cast members have been off and on since they were 21 or 22 years old and 3 marriages among various cast members came out of this show: Raymond Fox & Anne Fogarty, Phil Smith & Louise Lamson, and Erik Lochtefeld & Laura Eason. Out of these marriages, there are 4 children.”  

[Marilyn Dodds Frank, Raymond Fox, Anne Fogarty, Anjali Bhimani, Lawrence E. DiStasi, 
Louise Lamson, Lauren Orkus, Usman Ally, Doug Hara, Chris Kipiniak]

THE COSTUME DESIGN [crafted by Mara Blumenfeld] was pretty much pitch-perfect. Her design concept incorporated the necessary & sufficient sense of continuity while still making the costumes distinct to their respective story. The common threads threading the costume design together were innovative silhouettes, bright & brilliant colors, and clever attention to details. It did seem like there was more attention spent on the women’s costumes than the men’s (especially in the fabric choices). This had to be especially difficult production to costume considering these costumes had to be strikingly gorgeous, timeless & contemporary, and work well/look good while still wet [talk about an awesome Project Runway challenge]. 

Some highlights: Orpheus’ classy & contemporary conductor tails, the wiry alphabet constellation cap atop Morpheus/The God of Dream’s head, Hunger’s creepy pantyhose cap,  a skirt lined with Christmas lights, Euridyce’s perfect wedding dress with a simple grey shear beauty pageant sash, the consistent incorporation of men in stylized, high-waisted, belted skirts, and [my personal favorite] Alcyon’s gorgeous seafom, lace-enlayed, empire-waisted dress.

THE SET was stunning & simple; scenic designer Daniel Ostling presented concise design, pristine imagery, & calm background for the chaotic action it housed. He also had a peculiar challenge in this project considering the set is a pool. It consisted of a central pool with the audience sitting on three sides, a runway around the perimeter & a stationary double-floored back-wall anchoring the action. The pool sort of became a character itself & served as a chameleon background for the different stories: we had women washing in the river, men rowing in the ocean, a millionaire lounging on a floatie backyard, fierce fighting in the angry ocean (complete with tiny boats), the shore for a widow to wander, etc. I also think there is a weird little sense of interesting irony in this particular set seeing as they built a pool in a theatre that is housed water-pumping station. The literal/structural contrasts behind history, coincidence, & interpretation provided a cool mirroring effect of the message of the play itself.

The Great American Trailer Park Musical @ Theatre Wit

This production was a breath of fresh air. It was a musical whose songs were new to me but were still memorable, catchy, & less campy than expected (very Bat Boy-esque). I didn’t realize The Great American Trailer Park Musical has had such a rich/international production history: it debuted in 2004 at New York Music Theatre Festival. In 2005, TGATPM premiered Off-Broadway Dodger Stages on September 27, 2005. In 2006, it made its’ regional debut at the Hippodrome State Theatre in Gainsville Florida. 2008 marked the 1st National Tour, with the same cast taking to show to the Edinburgh Fringe Festival. 2008 also marked TGATPM’s English premiere in Birmingham, England. In 2010, Arizona Onstage Productions in Tucson, AZ presented TGATTM  as the world’s first scratch-and-sniff musical (the audience was handed out cards to scratch & sniff at different points throughout the show). TGATPM also made its’ Australian debut in 2010 with a production at New Theatre in Newtown, Sydney. The fact that this musical has existed & continued to be performed means the piece is quality, somewhat timeless work. It was a very smart choice for Kokandy Production’s premiere production: it is a quality show that is relatively unknown but is still appealing to a wide range of people. Kokandy Productions is a new company started by by Scot Kokandy; he has previously co-produced Towle Theatre's GOOD BOYS AND TRUE & was one of the awesome People of Godspell who joined together in produced GODSPELL on Broadway (a movement ultimately incorporated by my buddy Ken Davenport). TGATPM marks the company’s first full production & it presented a wonderful first impression. Check out their blog & keep an eye out for their future productions; I predict this company brings some great work to the stage.

The production was performed impeccably with a keen eye on details. One detail that was very much appreciated: a good program. It is my firm belief that a production should take pride in the details & establish as much of a sense of continuity in the theatre space as possible. I have been to recent productions that didn’t even hand out a program (infuriating, in my book). This program was engaging & cleverly constructed (rules for living in a trailer park, faux ads, etc.); the program lacked cast bios, but it was a very nice touch otherwise. That acute attention to detail was equally apparent onstage: from the hair claws to the Cheetos, the artistic & production staff was clearly committed to wholly creating this world within the trailer park. The set was impressive; it was not only visually appealing, but also smart & vibrant utilization of a constricted space. There stationary set consisted of three trailers, one of which had a cut-out in the front so that actors could use the interior space to provide a sense of dimension.  It is especially imperative for this specific show to have a stellar set since the setting is a character in itself. Set designer Zachary Gipson created a community that was part cartoon campground, part honky-tonk hang-out, & entirely awesome. 

The Players

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty), 

Alex Grelle (Duke), Bri Schumacher (Pippi), Jonathan Hickerson (Norbert), Christina Hall (Jeannie) 

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty) served as our Greek chorus; they gave exposition & insight on the characters & community while still playing isolated, independent roles. The singing capabilities of this cast were exceptional across the board & these women were steely belters who made 3 voices fill the space like a full ensemble. Their internal interactions were also notable: it was evident that these actresses have developed a strong performance connection and were [justifiably] confident onstage. As Norbert & Duke, Jonathan Hickerson & Alex Grelle provided nice punctuating moments in this female-heavy ensemble. Hickerson was an especially strong actor & carrying the bulk of the show’s conflict. The two stand-out performances were by Christina Hall as Jeannie (the agoraphobic wife trying to muster the strength to leave her trailer for her anniversary) & Bri Schumacher as Pippi (a dancer who’s the newest resident of Armadillo Acres & having an affair with Betty’s husband). Both of these women were impressive singers who performed their respective roles without turning them into cardboard, bland stereotypes. They nailed the jokes & an understanding of what made their characters fun & funny, but did not do the easy & obvious disservice to the production by relying too heavily on the humorous aspects of the show. This cast is a rarity considering there really were no weak links; but that sentiment could be applied to the entire production: no weak link & no complaints (except for the lack of cast bios, but I can let that slide). 

BUY TICKETS [or visit HotTix like me]
This was also my first Theatre Thursday experience, but more on that later... 

Waiting for Lefty by American Blues Theatre

Waiting for Lefty was inspired by the New York City’s 1934 taxi strike and first staged in 1935 by the Group Theater. Clifford Odets structured this timeless commentary on the social & economical inequalities as a series of vignettes that offer varying perspectives on the personal effects of this strike. I loved it, both the script and the productions. I'm a big fan of scripts based in this era and considering our currently economically-difficult American situation, this play was a such a smart & awesome piece for American Blues Theatre include in their season. The production was flawlessly executed due its large cast comprised of substantially skilled actors.

I liked their graphic design choices. Their posters have vivid colors, excellent artistic execution, and a clear presentation of a forthcoming production. However, the poster didn’t authentically reflect the artistic choices of this specific production. The bright red, white, & blue invoke imagery of a patriotic nature. However, this play relayed a historical period where many bright, fresh Americans felt very removed from this country’s commitment to life, liberty, & pursuit of happiness. I would prefer the production I saw to the production that the postcard promised; it is more purposeful & much more relevant, especially in these economically impossible times. I wish they had chosen to advertise what this excellent production turned out to be Cradle Will Rock meets It’s All True. I loved both of those and I loved this.

I love theatre but am unfortunately wired with a very short attention span. This play was quick, even for me. A 60-minute play does not equal a full-length production; this is what we call a one-act. Luckily, I bought a half-off ticket for $12.50 at HotTix. If I’d spent twice as much, I’d have felt ripped off, even though the quality of the production was excellent. Charging $25 a ticket equals $2.40 a minute; that rate is applicable to a massage but not a theatre ticket. The quality of this production is not in question, but the ticket price needs to be adjusted considering the fact that this was a one-act.

Stand-Out Performances

Cheryl Graeff as Dr. Benjamin

Dr. Benjamin was dedicated physician who was the first on her hospital staff to be fired (based primarily on the her Jewish heritage). This vignette opened with her expressing a validated frustration to her supervisor at the different treatments patients received due to their economic class. It closed with her establishing herself as an angry victim who has serious plans to fight back. Her piece was the last one that was primarily character-driven & it was such an effective playwriting decision. In a play that focuses primarily on the effects of a depression upon the specific cab-driving group, it is important to acknowledge & remember that the economic effects of this period managed to destroy both white-collared and blue-collared families. In her role, Cheryl Graeff created a character with a strong spectrum of ideas, experience, and history. I felt her authentic commitment to her work as a doctor. She only had a few lines about her parents, but those lines were so articulate in their artistic interpretation that I felt a quick connection to this character’s widespread history. She was dynamic in creating a flow in the text, an excellent reactionary in relating to her supervisor (played by John Mohrlein) & entirely engaging.

Gwendolyn Whiteside as Florrie

Florrie was a young woman torn between her family’s dependence on her minimal secretary salary and her earnest desire to continue investing her love & energy in 3-year engagement to Sid (played perfectly by Zachary Keeney). This engagement would realistically never result in a marriage due to the economic impossibilities they would inevitably face in starting a new life together. At the pressure-some prompting of her brother Irving (played by Bradford R. Lund) and the tragic acknowledgment of their situation’s reality by her beloved, Florrie & Sid together make the necessary & impossible decision. This vignette effectively communicated the true tragedies that befell these Americans because it showed the true consequences of this horrible era: the loss of the ability to pursue one’s happiness & love. Florrie held on so hard the to the hope of her love-filled marriage becoming a reality because that is the most basic American & human right. Gwendolyn Whiteside made this character empathetic, earnest, and overall endearing. She crafted a character the audience would have loved to see in a wedding dress, and so she simultaneously created an empathetic audience who mourned along with her at the loss of that dream.

GoodBye GlassHouse Part III: PETER PAN

Upon entering the theatre space, the skeleton of the theatre was in full-view: catwalks, lights, harnesses, ladders, a stack of mattresses. In the theatre at the Water Tower, it would feel unnatural to imagine any other setting. Props & allusions to the forthcoming production were interspersed in the space--signs spray-painted in stencil font, a perfect clock atop a bookshelves complete with a Raggedy doll. Perfectly symmetrical lines of danging exposed light bulbs hung over the 1st few rows. The actors entered the space quietly & naturally, overlapping with the pre-show chit-chat & organically pulling the audience into their world. There was a good initial pacing and a great build-up of climactic moments. Especially relating to the appearance of Peter Pan. He appeared in the most easy slip of a moment, with charm that makes Mrs. Darling's description of him as a predator poof in smoke. Climactic moments like these were well built-up  & satisfactory, but consistently delivered on a surprisingly smaller scale than the build-up would indicate. Overall, a really fresh & focused interpretation of a cool classic with a very strong strand of that Lookingglass flavor. 

My favorite part about this production was

the costume design:

Having such a smart, sparse set allowed the artistic energy to largely focus on costumes. It was like a cast of human dressings, which was a clever & effective use of concentrated artistic effort.

the lost boys

They wore it all & they wore it well:

hoodies, Sunday dresses, lace, Converse sneakers,
harnesses, hats, sweaters, flannel, goggles, fingerless gloves,
winter tights, rolled-up jeans, beanie caps, & lace-up boots.
It was a perfect mismatched hodgepodge;
a creepy, sweet, weathered,
modern infusion of agelessness.  
I felt echos of Oliver Twist, Narnia, Annie & loved it all.

you've never seen pirates like these

I loved both the vision & execution of the Pirates scene.
 I can't say enough good things, so a video:




thematic elements:
Finding Neverland, Finding Family, Creating Family. 
Coming-of-Age. In Neverland.

Casting college kids as The Lost Boys was an awkward fit at times
(due to skill levels, NOT artistic vision),
but I loved the thematic implications of
this casting decision.
To me, this casting vision & This Neverland represented
the startling change of entering college.
The Lost Boys created a family of bonds stronger than blood.
 In a hard, false, first taste of adulthood,
Wendy became a dorm mom of sorts.
She made lists to take care of The Lost Boys, &
acknowledged how she became "addicted to status"
of being drunk of the power
of seeing one's self as a parent rather than a child.

 It got me thinking about the parents' end of the college experience,
To watch a child get his first feet wet of adulthood,
but wanting to turn a blind eye
to the reality of that awakening.

This  Neverland has a tone of the Rumspringa conflict,
where one can taste the real world,
but then has to choose
to return to the world that defines home,
or sign over to a new faith found from newfound knowledge.


my favorite phrase & moment of this production:
(attempting to describe the Darling Children's
return home after a short lifetime in Neverland)
pen cannot describe the happy scene

reasons to be pretty @ Profiles Theatre

reasons to be pretty @ Profiles Theatre


I love Neil LaBute because his text is unrelenting. An awkward beat, actor, lighting cue and all the greatnesses dissipates like an exhale. Thankfully, Profile's premiere of this piece stood its' own against the text. In reasons to be pretty, LaBute paints beauty as the mirage that keeps us staring while exploring the huge aftermath that can be caused by a tiny comment. LaBute speaks the mind of a hopeful women with crystal clarity while building a tetris of four, complicated, astute human characters.

The play recounts the unraveling of a relationship after an offhand comment is relayed. Greg and Steph have been living together for a few years. One tipsy night, he makes an off-hand, off-color comment on his girlfriend's face to his friend Kent.
Kent tells his wife Carly.
Carly tells Steph.
Steph leaves Greg.
And So It Goes.

The players
Darrell W. Cox (Greg) gave a strong, clean presentation of a relatable central character. He crafted a quality character and consistently maintained that with every shrug, gesture, and line.
Darci Nalepa (Steph) entered with explosive energy that set a perfect pace that was noticable in her absence. Her character was one that grew and changed over the course of the play, and she wholly fullfilled the wide spectrum of emotion the role demanded.

Christian Stolte (Kent) was the perfect picture of a bully grown-up. His performance was more skilled in itself than in relating to the other characters. [Sidenote: he was recently seen on the The Chicago Code!]
Somer Benson's (Carly) performance was too pointed & pronounced. She lacked sublteties & her physicality seemed too contrived. She did have moments of being perfectly poignant on on-target with emotional effect, but these moments punctuated a lackluster performance.