Hot Matures Play
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The Philly players and coaches may be trying to stay grounded and give off an everything-is-normal-here vibe. But the truth is, for a historically dormant franchise, the Union are in the midst of one of the most impactful stretches in recent history. Consider that, in the span of 11 days, the team:
Dallas Hall, an outfielder who graduated from Lakota West and now plays for Miami University, leads the Steam in average (.438) and hits (32). Shortstop Jake Richmond, an Oak Hills grad and now a junior at Northern Kentucky, is hitting .298 with 18 RBI. Glen Este grad Peyton Burdick, a sophomore at Wright State, has been a boost in the outfield, hitting .316 in just five games with the Steam.
The Steam had four current or former players selected in the Major League Baseball Draft June 9-11. Andre Jernigan, from Xavier University, went in the 14th round to Minnesota. Kyle Hart, a Sycamore grad out of Indiana University, went in the 19th round to Boston. Harrison Kyle Nowlin, after leading the country in home runs at Eastern Kentucky, went to Oakland in the 21st round. Philip Diehl, the only current member of the Steam, a Moeller grad who went on to Louisiana Tech, went in the 27th round to the Yankees.
Theatre Review by Matthew MurrayIt can't be easy making pornography boring. But the new production of PaulaVogel's play Hot 'N' Throbbing at the Peter Norton Space manages to do justthat.True, it's not the primary focus of the play; Vogel is more concerned withthe potentially fatal nature of violent, uncontrollable attraction. Butshouldn't scenes intended to be sexy at least come across as slightly moreerotic than paying your taxes This production - which completes theSignature Theatre Company's season dedicated to Vogel - is made distinctivenot only by its glacial coolness and its inability to throb, but itscomplete lack of even a basic pulse.Despite the nearly Herculean efforts of director Les Waters to spice up abland stew of an evening, this Hot 'N' Throbbing is bearable for, at most,its first 30 minutes. Until that point, the story about Charlene (LisaEmery), a screenwriter of feminist porn (sorry, \"adult entertainment\")trying to raise her children Leslie Ann (Suli Holum) and Calvin (MatthewStadelmann) with some sense of responsibility and values, is mildlyintriguing. As Charlene desperately tries to complete 40 pages of herlatest work by the morning, voiceovers (provided by Rebecca Wisocky and TomNelis) elucidate not only the words she's writing, but her state of mind andinner thoughts. It's a familiar device, but as staged by Waters and lit byRobert Wierzel, who floods the stage with intense washes of white and bloodred, is at least visually alluring.But from the moment Charlene's ex-husband Clyde bursts through the frontdoor of Mark Wendland's impressively realistic suburban house set, the playbecomes irreparably unhinged. It's not just that unfolding events findCharlene shooting Clyde, before falling for him all over again, though theclichéd way in which that happens and the predictable end they both meetdon't suggest much innate originality. The problem is that the actorplaying Clyde, Elias Koteas, gives the most singularly unconvincingperformance of this season, or many others in recent memory.From his initial drunken wails as he pounds on the front door, Koteas is atvariance with humanity. Tapping into Clyde's inner animal might beappropriate for the base, unglued character, but Koteas does little morethan indicate every feeling: he indicates inebriety, anger, and variousfeelings for Charlene. Yet when, minutes later, Clyde is wounded by abullet to his buttock, Koteas spends scant seconds of the next 60 minutesindicating even mild pain, and then in the constipated manner of a collegeacting student who not only has never been shot, but has never seen a gun.He acts entirely through constricted-throat whining and strategically placedblood packets, and winces his way through the remainder of the show, whichdeals almost entirely with the Clyde-Charlene pairing. Emery tries tomaintain some dignity in their scenes together, but is eventually suckedinto Koteas's void of unbelievability. As the play progresses and weexperience the myriad dysfunctions of their relationship, Emery becomes lessable to portray Charlene's conflicting needs to feed her family, satisfy herravenous artistic soul, and fulfill her own sexual longings with the one manshe should never give a second glance.Holum, who does a considerable amount of exotic dancing (David Neumann isthe choreographer) in minimal amounts of clothing (Ilona Somogyi designedthe costumes), can't capture Leslie Ann's cracked innocence; she looks andacts 15 years too mature for most of her role, though she handles herselffine in a brief scene set a decade after the play's primary action. Muchbetter is Stadelmann, who never loses sight of his character's precocious,awkward nature, and finds easier humor and pathos in his role than anyoneelse can manage.Wisocky and Nelis are at their most effective when at their most subtle.They're made up to look like a bondage queen and a hard-boiled detectivefrom the same film-noir detective flick, and frequently prowl the set likestray alley cats; they better contribute to the creepy delusions of thestory (and Charlene's flustered mind) when simply whispering into theirheadset microphones. (The terrific sound design is by Darron L. West.)But a truly suffusive atmosphere to make all these elements coalesce intosomething provocative is absent from the proceedings. This gives the showan aimless, circuitous feeling; it tends to ramble on and on in search of apoint that it never finds. Unless, that is, you consider Vogel's message tobe that unhealthy love is, well, unhealthy, or that restraining orders onlywork when they're respected by all parties concerned.In either case, the play doesn't cover much new ground. Most attempts fromVogel and Waters to give the play a deeper, more psychological meaning fallflat, and certain things - such as the reason the set's walls and doorsstart pulling away from the main action - defy easy explanation. If nothingelse proves as questionable as Koteas's casting, what Vogel and Waters wereaiming for is never fully made clear - or interesting - in this mounting ofHot 'N' Throbbing._____________________________Signature Theatre CompanyHot 'n' ThrobbingThrough May 1Running Time: 90 minutesSignature's Peter Norton Space, 555 West 42nd StreetSchedule and Tickets: 212.244.7529 Share:
Guylaine played one year of Division I basketball at Manhattan College before returning to compete for Concordia University, where she was a two-time RSEQ all-star. Gaetan also played at Concordia where he was a three-time RSEQ all-star.
\"He's done a terrific job utilizing the experiences that he's had over his first couple of years of college,\" Smart said. \"To be an older, more confident, more mature player this year and that doesn't just happen.\"
Olivier-Maxence was a four-star recruit from the NBA Academy Latin America in Mexico, where he played his senior year alongside Indiana Pacers rookie Bennedict Mathurin, also from Montreal. He signed with Clemson before transferring to Marquette for his sophomore season.
Before that, he moved to Chicago at 16 and played at Lake Forest Academy. His high school in Blainville, Quebec, did not have a basketball team. He played for a local Amateur Athletic Union team, Brookwood Elite, before seeking a new challenge.
\"That year was really great for me because it helped me mature so much, not only as a basketball player, but also as a young man leaving home early,\" he said of Lake Forest Academy. \"Having to live on my own and really start maturing and being disciplined to do things on my own.\"
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