[Editor’s Note: As noted in the review, the author of this critique was involved in the process of choosing works for this festival.] For the first time I’ve attended Theater Odyssey’s short play festival, that originated with a single night’s performance of Ten Minute Plays by playwrights in Sarasota, Manatee, and Tampa Bay. This 14th year, the contest to choose plays was extended to entrants from all of Florida. Included in a culminating performance of latest best short plays is one chosen from a Student Ten Minute Play Festival contest. A professional panel names best play and runner-up for monetary prizes after the last performance. My own early choices might be gleaned from my reviews here. Coming to Town/B> by Keith Whalen proved an auspicious opener with Phillip Troyer’s 30-something Kenny refusing to believe there’s no Santa Claus. His parents (definitely professional Bob Trisolini and Sandra Musicante) surprise him with numerous explanations of their deceptions throughout Kenny’s life. Director Jamie Butrum helps them deliver more than one darkly comic punch line between the shiny Christmas tree and foamy Snowman decorations. A great package of laughs and festival launcher. A Conundrum by Dan Higgs has Dorian Boyd’s nice He reaching 40 and out for the hand in marriage of sweetheart She (Megan Radish, phlegmatic). How convincing is he and is she worth being convinced? Director Preston Boyd is helped a great deal by Dorian’s believable enthusiasm. Family Visitation is Paul Donnelly’s serious look at a roommate of a dying man who is trying to get admitted to his hospital room. Director Leona Collesano assures that Joshua Brin’s Randy shows attempted actions and anguish in the face of the dying man’s mother’s orders as enforced by Lynn Doyle’s insistent nurse Estelle. Both playwright and director would benefit from giving a clearer picture of the type and depth of the two men’s relationship. Dome, James Kassees’ hilarious look at General Gluteus Maximus (terrific Tom Aposporos), country takeover hopeful, involves his treacherous wife Panacea (slick Tami Vaughan) who wants to take over both him and country. David Meyersburg, a treacherous aide to Maximus, and Dylan Jones, a hearty soldier and survivor of everyone’s machinations, figure prominently in why Maximus’ giant dome collapses. Preston Boyd’s every directorial strategy works, including having wonderfully inventive costuming and great lighting. A highlight of the festival program. Volition by Tony Gunn uses coffee as a drug to eliminate excess emotion in the encounter between Ana Maria Larson’s Mary and Jenny Aldrich’s older, more in-control Lisa. Childhood memories are invoked before Mary is tested. Director Don Walker sets an atmosphere of suspense as Lisa gives Mary three choices that will affect her and her husband. What are they and what is her choice? Well played but a bit of a downer ending to Part I of the festival program. Who Done It by Robert Wanderman questions who dispatched the husband of Megan Radish’s Lady Eloise. Was it David Myersburg’s seemingly so proper Rhett, the Butler? How will Inspector Scott (lively, smart Dorian Boyd) examine all, including the corpse behind the sofa? Jamie Butrum directs the satiric, above average material in a rather average manner that, however, keeps an audience guessing whom Inspector will indict. Could the verdict even be suicide or a cooperative killing? A whale of an inquiry! Crunchers by Frank Motz involves the emotions of Elicia Sacco’s attractive robot Alexa, especially as they involve owner Robert. Director Leona Collesano makes interesting the couple as well as Julee Breehne’s efficient Emily, who’s called in to possibly reprogram Alexa when she makes Robert uncomfortable. That’s not as easy as it sounds…or plays out. Family by Numbers by Arianna Rose begins with two members, Scott Ehrenpreis’ Father and Julee Breehne’s Mother, both loving toward each other and then their delightful Oldest Son, Ben Pearson. He acquires two brothers (Ricky Bizzaro’s Middle Son and Tyler Gevas’ Youngest Son), who add up to a Family of five though often minus mutual affection. Choreographing the movements of the Family is a major strength of Michele Strauss’ brisk direction. Oldest Son’s tragedy affects and changes everyone, but the Family keeps its Numbers in a creative way. Life on Earth by Connie Schindewolf describes the romantic relationship of sweet Elicia Sacco’s Ellie and bright Ren Pearson’s Ryan as affected by Ellie winning a contest to own a spot on Mars. She can take him and they’d be married and the first couple on Mars. He balks, though, at finding they’d be there forever. Under Don Walker’s able direction, the two go through Ryan’s objections amiably. Then comes the application for the trip and another of Ellie’s ideas for their future on Mars and a big decision. It’s been worth waiting for. Tragedy of Benjamin Finch, by student Mary Margaret Steber, centers on school bus driver Finch, an identity fully assumed by Charlie Tyler, uniform and all. His riders—played by Philip Troyer, Lauren Jones, and Dylan Jones—all tell him bad luck stories. Finally, Benjamin Finch speaks of his own problem, involving a gift of an apple tree stock he got from a young guy and brought to Florida. His riders joyfully turn his tragic story all around. Director Michele Strauss packs a delightful bus-full en route to the Theatre Odyssey 14th Annual Ten-Minute Play Festival’s end.
