In its debut as the only Bradenton-Sarasota area theater group devoted to children, PLATO (Professional Learning and Theatrical Organization) Inc.’s Magic Box Theater component is a delight for pre-school and elementary school children. At the Ramada Waterfront, they can get up close and personal to the story of the gal who wants to wed a King (and vice versa) but must “qualify” by spinning gold.
To produce the gold puts Millie in the debt of a mean magician. He makes her pledge a firstborn child in exchange for converting a huge amount of straw. How she acquires gold, the King, and eventually the return of her child makes an engaging play.
Three spirited players assume a number of roles with the aid of changing accents, costumes, and wigs. Many come from an onstage trunk that the group is named for. Lighting changes make possible different “makings” of gold as the supposed makers of it sleep.
Alana Opie and Kathryn Parks mostly assume the guises of Millie and her cooperative sister, Tillie, though the latter realistically stretches to double as jealous adviser to the King. He is Jason Kimble’s sole portrayal, especially charming when he seeks help from kids watching the show.
Eric Berkel’s chief role is as the mendacious magician of the title. When he plays a nice guy, he’s both funny and able to charm audience members into giving him directions toward a long-sought-after bathroom.
Jared Walker’s direction shows understanding of the show’s intended audience, as do the adaptors. All the means of presentation will make it possible to easily tour the piece to schools, clubs, libraries -- which is one of PLATO Inc.’s aims.
Previews:
December 1, 2012
Ended:
December 8, 2012
Country:
USA
State:
Florida
City:
Bradenton
Company/Producers:
Kyle Ennis Turoff for PLATO, Inc.
Theater Type:
Regional
Theater:
Ramada Waterfront Theater
Theater Address:
North Tamiami Trail
Phone:
941-363-1727
Website:
platoarts.org
Running Time:
45 min
Genre:
Family Play
Director:
Jared Walker
Review:
Cast:
Eric Berkel, Jason Kimble, Alana Opie, Kathryn Parks
Critic:
Marie J. Kilker
Date Reviewed:
December 2012
