by Andrew Juhl
Dreamwell - During the course of Dreamwell’s opening night of Jeff Goode’s Poona the Fuckdog, I was assaulted with a plastic knife, yelled at, personally insulted, dragged out of the auditorium, and forced to endure some of the cheesiest puns ever uttered outside of a Jay Leno writers’ meeting.
And, yes, I enjoyed it. The folks at Dreamwell put on a delightful and politely obscene show, if ever there were such a thing.
Co-directors Meg Dobbs and Brain Tanner did a fantastic job of translating a script with a ludicrous number of entrances, exits, sight gags, and props from page to stage. Due to some comedic timing issues, a handful of jokes warranted considerable head-scratching from the audience, but I’m entirely optimistic that opening night jitters accounted for the majority of those peccadilloes.
The star of the show, in both the wholly expected and literal sense, is Libby Dobbs’ Poona (I mean, err, her characterization of ‘Poona’). Dobbs brings the cute innocence of a puppy to the stage early in the show, only to have it be believably replaced later in the evening with the haggard resignation of a tired old bitch. Listening to her lines echo in my head during the drive home, however, I couldn’t help but think her performance would have surely struck stronger if it were significantly more salacious, instead of so slyly sensual—but, then again, I’m a fan of alliteration. What I’m saying is this: when you’re an attractive young woman starring in a show called Poona the Fuckdog, wherein you play a fuckdog, bring the sex. Otherwise, you’re trying to consummate the actress-audience marriage with a pocketful of flaccid double entendres.
Another reflection I had whilst driving home was that continuing to review community theatre productions allows me callback notes from previously reviewed shows. To wit, in last year’s review of Rage Theatrics’ The Prisoner of Zenda, I wrote the following with regards to actor K. Michael Moore, who chiefly played ‘Prince’ in Dreawell’s Poona: “This reviewer has always been impressed when an actor is able to project an unmistakable visual mask of scum and villainy, and Moore is the face of evil throughout this performance….” Copy that for Moore’s performance in Poona, changing only the words ‘scum,’ ‘villainy,’ and ‘evil’ into ‘douche-iness,’ ‘douche-itude,’ and ‘douche-osity.’ I mean this in a very good way.
The rest of the show’s actors rotate onstage through myriad characters, both interesting and less-so, but the majority of the performances are funny, almost to the point of being piqued at any solemnity concealed in their dialogue. Notable standouts are Ben Ward, who steals scenes as the ‘Man Who Could Sell Anything’; Stephen Polchert, who powers-through a charmingly ambivalent portrayal of ‘God’; and Brett Janecek, who rocked the stage as both a manic set piece and the noir-esque ‘Jack Jacobs.’
Overall, it’s an enjoyable play with several satisfying and unexpected moments. What the source material lacks in cohesiveness, the cast makes up for in its dedication and consciousness of the audience. In an area already laden with quality community theatre companies that can produce 4-6 major shows each year, it is praiseworthy to see something so refreshingly different—and, more importantly, daring—from the likes of Dreamwell and their current season. Because putting a singing, dancing penis on stage? Well, that takes balls.
Andrew R. Juhl is an area author and director. He has previously worked with the City Circle Acting Company of Coralville and Rage Theatrics.
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Showing posts with label Poona. Show all posts
Showing posts with label Poona. Show all posts
Tuesday, February 23, 2010
Thursday, February 18, 2010
Backstage with Poona
Dreamwell - Dreamwell Theatre is known for doing risky shows, but never before have they produced a show with a title they can't even say in polite company. Poona the Fuckdog opens tonight. It's the first play in Dreamwell's "A Taboo Bijou" season. We asked Chuck Dufano, president of the board, to elucidate this season's theme. "A Taboo Bijou refers to plays that involve a taboo subject. Themes that are difficult to witness onstage and are subjects people don't like to talk 
about. We thought about presenting a season that would elicit the question, "Why would anyone want to write a play about that?!" explained Dufano. "These kinds of plays challenge the way we accept theatre as a means of expression and bring to light certain aspects of life." As they searched for plays for the season, Dufano said they found many plays with taboo subjects were too serious. Poona the Fuckdog, written by No Shame Theatre founder Jeff Goode, is the opposite. "Poona is a blatant comedy. It's fun while still incorporating taboo themes of language and sexuality," said Dufano before adding with a wry smile, "And we thought having a show with the word "dog" in it would sell lots of tickets. I think that was the word."
As we often do with shows, we also had a chance to sit down with some of the creators of the show. Brian Tanner and Meg Dobbs co-directed the show. Kevin Moore is one the actors.
Thanks for taking the time to answer some questions. So... what is this show about?
Brian: On the surface, it's a series of stories about Poona, who is trying to mature and find her way in the world and she runs into a variety of characters and influences along the way, some good and some bad. It's a sort of fractured fairy tales for adults. She is accompanied by a storyteller and her own special guardian. There are several fairy tale components like a handsome prince, talking stuffed rabbits, as well as a number of characters you wouldn’t expect, like a fast talking salesman and a TV that is elected king.
Kevin: Right and the show's about context. Questioning opinions and ideas we take on faith - this word, that action, that lifestyle: it's "wrong." This script brings some of these concepts we've all been indoctrinated in since childhood, turns them around a little bit and makes us laugh at them, and by doing this, makes a little part of our brain ask "Why?" The show's also about laughing your butt off - really. It might just slide right off of your spine - seriously, wear a belt to keep your pants on.
Brian and Meg, why did you want to direct this show?
Meg: Well, who wouldn't? I wanted to test myself against the challenge of such a wacky comedy and the chance to work on a play that is truly the definition of ensemble.
Brian: This is such a quick witted script and it really challenges the structure and boundaries of your traditional play. Characters step in and out of the narrative, and not only address the audience, but interact with them too. I thought it did a great job making social commentaries through the use of satire and hitting above and below the belt at the same time. It hits you on a cerebral level even as you’re groaning at the political un-correctness.
Kevin, what characters do you play and what was challenging about portraying them?
Kevin: I play the Prince and also the Computer. The Prince is challenging because, well, there are so many Prince Charming roles out there, it can be tricky to introduce something new into a role of that kind. The script helps in that way - he's definitely not Prince Charming! But it's been a lot of fun to try to pry out some originality and fun from a more or less stock character type. The Computer is challenging because it's a character based in a very startling scene and powerful symbolism. It's an emotionless machine that ...just might...have a bit of an agenda of its own. Or, it might simply be removed from any emotional or conscience-based value system. It's a tricky part to make alive and funny and shocking at the same time.
What has been challenging about putting this all together?
Meg: The play is made up of a lot of small separate pieces, with one overarching storyline. The challenge has been to create a sense of cohesiveness.
Brian: And there are quite a few characters and quick set changes. Most of the cast play multiple roles. We went for a minimalistic approach, with costumes that suggest the characters and a basic colorful, but neutral set. We thought that since this is supposed to be adult fairy-tales or stories, what if this kind of looks like a production put on by kids, for adults? So there’s kind of a simplistic feel to the set, although the subject matter is very rich and provocative.
Kevin: I think the toughest challenge of any Dreamwell show is that we choose shows that don't fit into a lot of people's ideas about theatre. The shows are great, and startling and courageous, but rarely easy for the audience - exploration rarely is. Poona's certainly in that vein - the show has elements with the potential to offend almost anybody. But, in the spirit of satire, one has to enter it with a lack of judgment - be prepared for the unexpected, and that the unexpected might just insist on sitting in your lap for a while!
Who among your cast is going to blow us away?
Brian: Pretty much everyone in the cast has their own moments and times to shine. It’s such an ensemble piece that I hesitate to call out any one performance over another.
Meg: Yes, everyone, really. It's an ensemble after all.
You two sound like I've asked you which of your children you love best!
Kevin: I'll say it. Libby Dobbs is an inspired choice for Poona, and has masterfully prepared herself for a complicated role. Steve Polchert brings something unique and brilliant to each of his many roles. But like Meg and Brian said, everyone is working hard and bringing freshness to their characters. It's been a fabulous cast to be around.
What are your favorite moments in the play
Meg: Playing with the pink box. I find the scene with Suzy-Suzy and the computer to be the most gripping moment of the play.
Kevin: I love the Suzy-Suzy scene, not because I'm in it, but because it's the only truly chilling scene in the show. There's a lot of adult material in the show, a lot of stuff that may startle you in its underlying seriousness, or shame you or make you think. Suzy-Suzy's a counter-point to the zaniness and silliness in most of the other scenes. Which is not to say it isn't funny too.
Brian: There are some scenes that stand out for me. One is with the aliens, one of which has a name that unfortunately is something very offensive in our culture. So there’s a great exchange of confusion not unlike “Who’s on first?” which is hilarious while at the same time exploring the nature of offensive language. Just when you think that scene couldn’t go any further, there it goes, going further.
The press release says it “skewers society’s views on everything from sex to terrorism to language to sex again” but what does that mean?
Brian: There really isn’t any subject that isn’t fair game in this show. It takes certain archetypes, twists them around, and reflects them back at us. A lot of the humor is very satirical but at the same time there are rings of truth in the words, or at least we recognize the points it’s trying to make. As we move from story to story, or even from line to line, it’s taking punches at a lot of society’s conventions. It’s also got a lot of smart but silly humor in it too.
Kevin: It also means leave your preconceptions at the door. Let yourself be carried away with the show and try not to let the daytime world of rules affect your enjoyment. Don't get me wrong - if you find yourself stewing for days over the social concepts that we mess with in the show, that's great! But let it stew after the show's over. If you find yourself in the audience and thinking "But you CAN'T say/do/think/sneak into a box with THAT!!!!" Ask yourself: "Why the fuck not?" It's only a play.
Poona the Fuckdog runs February 19, 20, 25, 26 and 27 at 7:30 PM at the Unitarian Society building (10 S. Gilbert). Tickets can be reserved online but are also available at the door.
about. We thought about presenting a season that would elicit the question, "Why would anyone want to write a play about that?!" explained Dufano. "These kinds of plays challenge the way we accept theatre as a means of expression and bring to light certain aspects of life." As they searched for plays for the season, Dufano said they found many plays with taboo subjects were too serious. Poona the Fuckdog, written by No Shame Theatre founder Jeff Goode, is the opposite. "Poona is a blatant comedy. It's fun while still incorporating taboo themes of language and sexuality," said Dufano before adding with a wry smile, "And we thought having a show with the word "dog" in it would sell lots of tickets. I think that was the word."As we often do with shows, we also had a chance to sit down with some of the creators of the show. Brian Tanner and Meg Dobbs co-directed the show. Kevin Moore is one the actors.
Thanks for taking the time to answer some questions. So... what is this show about?
Brian: On the surface, it's a series of stories about Poona, who is trying to mature and find her way in the world and she runs into a variety of characters and influences along the way, some good and some bad. It's a sort of fractured fairy tales for adults. She is accompanied by a storyteller and her own special guardian. There are several fairy tale components like a handsome prince, talking stuffed rabbits, as well as a number of characters you wouldn’t expect, like a fast talking salesman and a TV that is elected king.
Kevin: Right and the show's about context. Questioning opinions and ideas we take on faith - this word, that action, that lifestyle: it's "wrong." This script brings some of these concepts we've all been indoctrinated in since childhood, turns them around a little bit and makes us laugh at them, and by doing this, makes a little part of our brain ask "Why?" The show's also about laughing your butt off - really. It might just slide right off of your spine - seriously, wear a belt to keep your pants on.
Brian and Meg, why did you want to direct this show?
Meg: Well, who wouldn't? I wanted to test myself against the challenge of such a wacky comedy and the chance to work on a play that is truly the definition of ensemble.
Brian: This is such a quick witted script and it really challenges the structure and boundaries of your traditional play. Characters step in and out of the narrative, and not only address the audience, but interact with them too. I thought it did a great job making social commentaries through the use of satire and hitting above and below the belt at the same time. It hits you on a cerebral level even as you’re groaning at the political un-correctness.
Kevin, what characters do you play and what was challenging about portraying them?
Kevin: I play the Prince and also the Computer. The Prince is challenging because, well, there are so many Prince Charming roles out there, it can be tricky to introduce something new into a role of that kind. The script helps in that way - he's definitely not Prince Charming! But it's been a lot of fun to try to pry out some originality and fun from a more or less stock character type. The Computer is challenging because it's a character based in a very startling scene and powerful symbolism. It's an emotionless machine that ...just might...have a bit of an agenda of its own. Or, it might simply be removed from any emotional or conscience-based value system. It's a tricky part to make alive and funny and shocking at the same time.
What has been challenging about putting this all together?
Meg: The play is made up of a lot of small separate pieces, with one overarching storyline. The challenge has been to create a sense of cohesiveness.
Brian: And there are quite a few characters and quick set changes. Most of the cast play multiple roles. We went for a minimalistic approach, with costumes that suggest the characters and a basic colorful, but neutral set. We thought that since this is supposed to be adult fairy-tales or stories, what if this kind of looks like a production put on by kids, for adults? So there’s kind of a simplistic feel to the set, although the subject matter is very rich and provocative.
Kevin: I think the toughest challenge of any Dreamwell show is that we choose shows that don't fit into a lot of people's ideas about theatre. The shows are great, and startling and courageous, but rarely easy for the audience - exploration rarely is. Poona's certainly in that vein - the show has elements with the potential to offend almost anybody. But, in the spirit of satire, one has to enter it with a lack of judgment - be prepared for the unexpected, and that the unexpected might just insist on sitting in your lap for a while!
Who among your cast is going to blow us away?
Brian: Pretty much everyone in the cast has their own moments and times to shine. It’s such an ensemble piece that I hesitate to call out any one performance over another.
Meg: Yes, everyone, really. It's an ensemble after all.
You two sound like I've asked you which of your children you love best!
Kevin: I'll say it. Libby Dobbs is an inspired choice for Poona, and has masterfully prepared herself for a complicated role. Steve Polchert brings something unique and brilliant to each of his many roles. But like Meg and Brian said, everyone is working hard and bringing freshness to their characters. It's been a fabulous cast to be around.
What are your favorite moments in the play
Meg: Playing with the pink box. I find the scene with Suzy-Suzy and the computer to be the most gripping moment of the play.
Kevin: I love the Suzy-Suzy scene, not because I'm in it, but because it's the only truly chilling scene in the show. There's a lot of adult material in the show, a lot of stuff that may startle you in its underlying seriousness, or shame you or make you think. Suzy-Suzy's a counter-point to the zaniness and silliness in most of the other scenes. Which is not to say it isn't funny too.
Brian: There are some scenes that stand out for me. One is with the aliens, one of which has a name that unfortunately is something very offensive in our culture. So there’s a great exchange of confusion not unlike “Who’s on first?” which is hilarious while at the same time exploring the nature of offensive language. Just when you think that scene couldn’t go any further, there it goes, going further.
The press release says it “skewers society’s views on everything from sex to terrorism to language to sex again” but what does that mean?
Brian: There really isn’t any subject that isn’t fair game in this show. It takes certain archetypes, twists them around, and reflects them back at us. A lot of the humor is very satirical but at the same time there are rings of truth in the words, or at least we recognize the points it’s trying to make. As we move from story to story, or even from line to line, it’s taking punches at a lot of society’s conventions. It’s also got a lot of smart but silly humor in it too.
Kevin: It also means leave your preconceptions at the door. Let yourself be carried away with the show and try not to let the daytime world of rules affect your enjoyment. Don't get me wrong - if you find yourself stewing for days over the social concepts that we mess with in the show, that's great! But let it stew after the show's over. If you find yourself in the audience and thinking "But you CAN'T say/do/think/sneak into a box with THAT!!!!" Ask yourself: "Why the fuck not?" It's only a play.
Poona the Fuckdog runs February 19, 20, 25, 26 and 27 at 7:30 PM at the Unitarian Society building (10 S. Gilbert). Tickets can be reserved online but are also available at the door.
Sunday, December 20, 2009
Poona cast announced
Dreamwell - The cast of Dreamwell Theatre's production of Poona the F**kdog by Jeff Goode has been chosen. Directors Brian Tanner and Meg Dobbs have settled on actors for all of the main characters. Smaller roles will be assigned at the first rehearsal. Nearly every actor portrays at least two characters. The play includes some unique characters. Besides the title character, there is an alien named C*nt and a singing penis. John Crosheck, cast as the penis, referred to it as "the role of a lifetime." For the record, Dreamwell's 2010 season is called "A Taboo Bijou."
Cast (alphabetical order)
John Crosheck - Penis, Jasper
Libby Dobbs - Poona
Meg Dobbs - Frog
Brett Janecek - Shrub, Jack Jacobs, Storyteller 1
Stephen Pochert - God, Mr. Beer
Dre Prizant - TV, Suzy-Suzy
Robyn McCright - Storyteller 2, Angel Mike
Kevin Moore - Prince, Computer
Brad Quinn - Guard, Telegram, more
Elisabeth Ross - C*nt, Angel Gabby
Brian Tanner - Rabbit, Aide
Ben Ward - Man Who Could Sell Anything, Devil
Cast (alphabetical order)
John Crosheck - Penis, Jasper
Libby Dobbs - Poona
Meg Dobbs - Frog
Brett Janecek - Shrub, Jack Jacobs, Storyteller 1
Stephen Pochert - God, Mr. Beer
Dre Prizant - TV, Suzy-Suzy
Robyn McCright - Storyteller 2, Angel Mike
Kevin Moore - Prince, Computer
Brad Quinn - Guard, Telegram, more
Elisabeth Ross - C*nt, Angel Gabby
Brian Tanner - Rabbit, Aide
Ben Ward - Man Who Could Sell Anything, Devil
Monday, November 30, 2009
Dreamwell announces auditions for Poona
Dreamwell - Dreamwell Theatre will hold auditions for Jeff Goode’s Poona the F**kdog.. and other plays for children on Saturday and Sunday, December 12th and 13th at 1:00 pm at the Iowa City Public Library. Copies of the script will be on reserve on the second floor of the library.
These outrageous "fairy tales for grown-ups" are not for the easily offended. Poona, our ingenuous heroine, meets up with aliens, talking shrubs, and mealy-mouthed salesmen in her quest to find someone to play in her big pink box. Nothing is sacred in this raucous assault on the power of language. Poona is called "irresistable" by the New York Times and a "a bawdy comic romp!" by LA Weekly. The New Yorker says it's "delightful... unforgettable... much more fun than it ought to be."
Multiple men and women of all ages over 18 are needed for the cast. Most actors will play more than one role. There is one major male singing part for whom the ability to play guitar is preferred but not required. Background singers and instruments for one scene are also desired. Auditions include readings from the script. This promises to be a very wild and fun production but it isn't for everyone. Prior reading of the script is recommended so you know what you're in for. Despite the title, this is not a play for kids.
The play will be performed at the Unitarian Universalist Society on February 19th, 20th, 26th and 27th. It is directed by Brian Tanner and Meg Dobbs. If you have any questions and/or would like to audition at a different time, you may call Brian at 319-321-5448 or email to brian@dreamwell.com.
These outrageous "fairy tales for grown-ups" are not for the easily offended. Poona, our ingenuous heroine, meets up with aliens, talking shrubs, and mealy-mouthed salesmen in her quest to find someone to play in her big pink box. Nothing is sacred in this raucous assault on the power of language. Poona is called "irresistable" by the New York Times and a "a bawdy comic romp!" by LA Weekly. The New Yorker says it's "delightful... unforgettable... much more fun than it ought to be."
Multiple men and women of all ages over 18 are needed for the cast. Most actors will play more than one role. There is one major male singing part for whom the ability to play guitar is preferred but not required. Background singers and instruments for one scene are also desired. Auditions include readings from the script. This promises to be a very wild and fun production but it isn't for everyone. Prior reading of the script is recommended so you know what you're in for. Despite the title, this is not a play for kids.
The play will be performed at the Unitarian Universalist Society on February 19th, 20th, 26th and 27th. It is directed by Brian Tanner and Meg Dobbs. If you have any questions and/or would like to audition at a different time, you may call Brian at 319-321-5448 or email to brian@dreamwell.com.
Dreamwell announces 2010 season
Dreamwell - Dreamwell Theatre again offers a season centered around a particular theme. Its 13th season - "Taboo Bijou" - features works intended to raise questions about topics considered "taboo" and why. From language to terrorism to various expressions of sexuality, the plays push boundaries and limits by confronting subjects that are often difficult or inappropriate to discuss. Dreamwell adds that the purpose of "taboo bijou" is not mere shock value, but rather the examination of personal fears and desires in the context of social perception and stigma.
Poona the F**kdog (and other plays for children)
by Jeff Goode
February 19, 20, 26, 27 2010
The perfect naughty fairy tale to open a "taboo" season, this show skewers society's views on everything from sex to terrorism to language. (Despite the title, this play is not suitable for children).
Blackbird
by David Harrower
March 19, 20, 26, 27 2010
An intense play about a sexual relationship that transformed, crippled and paralyzed an adult man and a 12-year-old girl.
9 Parts of Desire* by Heather Raffo
August 2010
A play about the women of Iraq, showcasing their humanity.
A View from the Bridge*by Arthur Miller
October 8, 9, 15, 16 2010
The classic play of a man who betrays his family’s trust and suffers the consequences.
The first Dreamwell Writer’s Joust: A Fear Festival
December 2010
Dreamwell is currently soliciting from Iowa playwrights full length plays about something people are afraid to talk about. Deadline for submissions is March 1, 2010. Winning playwright will be awarded $100 and a full production. Two runners up will have staged readings during the festival.
And coming up on February 14th, "Down With Love: An Anti-Valentines Day Valentines Day Cabaret." Dreamwell's first Valentines Day cabaret is a perfect date night for Valentines Day fans and hard core cynics alike. Members of Dreamwell and other area theatres will share songs from various eras, covering topics about lovers scorned, loves unrequited and what a completely annoying little jerk the devilish Cupid can be.
For more information, go here.
*pending rights
Poona the F**kdog (and other plays for children)
by Jeff Goode
February 19, 20, 26, 27 2010
The perfect naughty fairy tale to open a "taboo" season, this show skewers society's views on everything from sex to terrorism to language. (Despite the title, this play is not suitable for children).
Blackbird
by David Harrower
March 19, 20, 26, 27 2010
An intense play about a sexual relationship that transformed, crippled and paralyzed an adult man and a 12-year-old girl.
9 Parts of Desire* by Heather Raffo
August 2010
A play about the women of Iraq, showcasing their humanity.
A View from the Bridge*by Arthur Miller
October 8, 9, 15, 16 2010
The classic play of a man who betrays his family’s trust and suffers the consequences.
The first Dreamwell Writer’s Joust: A Fear Festival
December 2010
Dreamwell is currently soliciting from Iowa playwrights full length plays about something people are afraid to talk about. Deadline for submissions is March 1, 2010. Winning playwright will be awarded $100 and a full production. Two runners up will have staged readings during the festival.
And coming up on February 14th, "Down With Love: An Anti-Valentines Day Valentines Day Cabaret." Dreamwell's first Valentines Day cabaret is a perfect date night for Valentines Day fans and hard core cynics alike. Members of Dreamwell and other area theatres will share songs from various eras, covering topics about lovers scorned, loves unrequited and what a completely annoying little jerk the devilish Cupid can be.
For more information, go here.
*pending rights
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