Edward Albee's Provocative New Work At Home at the Zoo
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The last date listed for At Home at the Zoo was Sunday June 23, 2013 / 12:00pm.
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When Rodgers and Hammerstein, perhaps the greatest composing team in history (The Sound of Music,… More
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Featured review from Don
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In "Zoo Story," a transient, Jerry (Kip Canyon), strikes up a conversation with a middle-class man, Peter (Phillip Wheeler), who is sitting on a park bench in New York. Peter is wary but too polite to leave, and Jerry pours out an astonishing flow of stories and confessions that mingle seductiveness and menace. The play rises to a violent conclusion that seems inevitable in retrospect. Peter says little, and we have to imagine his reaction to Jerry's non-stop talk. Many years later, Albee wrote a "prequel" that reveals what happened to Peter hours earlier. He and his wife, Ann (Mirie Ben-Tzur), had another conversation about her wish for more danger and passion in their safe and orderly middle-class life, which Peter clings to out of a deep desire never to hurt anyone. This prequel, "Homelife," puts "Zoo Story" in a completely different light and lets the audience hear the more famous early play with new ears. Garrett Johnson directed this performance of the duo, assisted by Shen Heckel. The actors in "Homelife" seemed competent but not inspired. They occasionally stepped on each other's lines or seemed a bit hesitant in timing or read the lines rather than inhabited them. However, Kip Canyon was very impressive in "Zoo Story," and Phillip Wheeler rose to the stimulus. Overall, not a great performance, but much more than merely worth seeing.
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I knew going into “At Home At the Zoo” that the play didn’t have a lot of action and was primarily based on dialogue. It takes a very talented cast and great direction to keep an audience captivated for the entire show with this type of material....continued
Due to sexual dialogue, strong language and on-stage violence, patrons must be aged 18 or older.
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I was involved in a theatre company that turned out to be a disaster. A month before the show went up, the companies owner fell apart and we were left without a show. We spent three months of dedication and hardwork. The cast and I were not going to stand by and allow all of our hard work to be thrown away in an instant. So, one day at a North Hollywood Starbucks, all 14 of us met together to find a way to put the show up. With the help of friends and family we were able to raise the funds needed to put up the production and it was a success.
With that motivation I wanted to start a theatre company where "stageless" actors can come together and plan for their show. As Underdog Theatre gains momentum it will provide programs to help assist with realistic production goals, and help groups become successful theatre acting troops.