M&D Tackles Bullying in "GOD OF CARNAGE"

JULY 7, 8, 9,14, 15, 16, 21, 22, 23rd
Ticket prices vary from FREE to $25
CALL 603-662-7591

SYNOPSIS:
The play begins, two 11-year-old children, Ferdinand Reille and Bruno Vallon, get involved in argument because Bruno refuses to let Ferdinand join his 'group'. Ferdinand knocks out two of Bruno's teeth with a stick. That night, the parents of both children meet to discuss the matter. Ferdinand's father, Alan (played by Rob Clark), is a lawyer who is never off his mobile phone. Ferdinand's mother, Annette (played by Elaine Kondrat) is in "wealth management", and consistently wears good shoes. Bruno's father, Michael (David Freedman), is a self-made wholesaler with an unwell mother. Bruno's mother, Veronica (being played by Christine Thompson), is writing a book about Darfur.

As the evening starts, the meeting between these two couple, while well intended; doesn't seem to go as planned. One of the central dramatic moments of the play occurs when Annette vomits onstage, all over the coffee table and books. "This show truly depicts the nature of how parents can react to situations when their loving children are involved, says Ken Martin, Artistic Director. “ Yasmina Reza, has deliberately written this play so that it leaves the audience to reflect on what they would do in the same situation. This is why it was chosen to be part of our 2010 Season.”

CHECK OUT THIS STORY ON GMA TO GET A BETTER UNDERSTANDING.
http://abcnews.go.com/US/ny-league-mother-arrested-alleged-threats-son-failed/story?id=13885751

IS PUKING ON A CANVAS ART?

Would really love to hear whether or not your consider this ART?
http://tosh.comedycentral.com/blog/2011/06/21/the-art-of-puking/?xrs=synd_facebook

ASK YOURSELF.....

WHAT KIND OF MORALES DO YOU HAVE?

Part of the great tradition of live theatre is a moral code by which every person (whether community volunteer or paid professional) on any legitimate stage house should adhere to. This code, while tacit, has been observed throughout the centuries and will continue long after us. It is neither superstitious, nor dogma, nor a status forced by law. It is a collaborative attitude toward craftsmanship, a respect for associates, those trying to hone their craft, and a dedication toward the audience. This code outlines a self-discipline which, far from robbing one of individuality, increases personal esteem and dignity through cooperation and common purpose. The result is perfection, which encompasses all that is meant by "Great Theater." It is this concept that separates "Mediocre Theatre" from "Great Theater."
It's this dedication to these principles that separate the 'theater hobbyist' from those who have found something outside themselves that which they want to share. More than an a mere ego of 'look at me on stage" but a profound satisfaction with connecting to the not only every learning process, but surrounding yourself with like minded individuals who see past the moment of 'its about me."


These principles are:

• To always strive to learn from every situation, director, actor, audience member, stagehand and designer you come in contact with.

• The playwright is the only person, to which you should be pleasing.

• The performance isn't about you.

• Your ego is left outside the stage door.

• It's not solely about the process, it's more about the product.

• Commitment to the entire show process is a bond to be respected.

• You must be honest with your limitation but always strive to better yourself.

• You give of yourself freely for others to enjoy.

• You will direct all efforts to your craft so that the theatre it will stand as a greater institution for you having labored there.


It's these principles that M&D Productions holds dearer than any other community theater we have ever seen. While other community theaters merely care about filling seats or taking your money, we will never waiver from these and we will strive to always give the audience more, do our best work, and respect everyone who comes through these doors to witness the magic of live theater. Which theater concept would you rather be part of?
Thought?

TALLEY'S FOLLEY- A GREAT PIECE OF THEATER!

Theater Review: Two actors, one act, completely entertaining
By Alec Kerr

M&D Productions is presenting the third show of their 2011 Mainstage Season with “Talley's Folly” at 7 p.m. Thursday through Saturday for the next three weeks at Your Theatre in North Conway. (LISA DUFAULT PHOTO)

M&D Productions latest show is the Pulitzer Prize-winning “Talley's Folly,” a simple two-person, one-act romantic comedy set in Lebanon, Mo. in the 1940s. It is a direct, charming piece of theater.
“Talley's Folly,” written by Lanford Wilson, who passed away in March, is told in about 90 minutes in real time and focuses on Matt Friedman (Ken Martin), a German-accented man who travels from St. Louis to ask for Sally Talley's (Heather Elsie Hamilton) hand in marriage. A year earlier they had a romantic week together. He's written every day since with no encouragement, but he knows they are meant to be together.
The show, which opened Thursday and is running at Your Theatre in North Conway Thursday through Saturday for the next three weeks, begins with Matt giving a fourth-wall-breaking monologue explaining that if everything goes to plan the evening will be a waltz. It is a fabulous introduction that is well performed by Martin. It is key in getting the audience on Matt's side. We almost instantly like him and want him to get the girl.
Matt is a wonderful character. He is given an amusing quirk of over-analyzing the English language, a nice touch for someone who has English as a second language. He notes that bees have a life expectancy of 20 days, but then wonders if expectancy is the right word, after all what does a bee expect out of life.
Everything takes place in the decaying boathouse (or Folly) on the Talley property. The Talleys were once a wealthy family that fell on hard times during the depression. The boathouse is yet another astounding bit of set design by Deborah Jasien. The stage is entirely transformed complete with vegetation and flora. The authenticity of the set makes it easy to disappear into this story for 90 minutes.
The tone of the show isn't wild farce or screwball comedy. The bantering dialogue of the show is a delicate mixture of humor and poignancy as each character reveals tragic aspects of their past. It is ultimately these darker elements of their past that show the way to a brighter future together.
Challenged with an accent that could potentially sink his whole performance, Martin overcomes this would-be shortcoming and gives a solid performance. He makes Matt awkward, a bit goofy, but completely sincere and lovable. It is hard to stay mad at him though Sally certainly tries to.
Hamilton makes for a good romantic foil. She keeps up a strong front that keeps being pulled down only to be put back up. She does a good job of balancing her frustrations with a suitor she is trying not to want with her apparent affectionate feelings towards him. Martin and Hamilton have a nice, light chemistry together that isn't forced.
And really that's all that needs to be said. Under the assured hand of director Richard Russo these two actors perform this wonderfully written show beautifully. It isn't elaborate or big theater, but its simple pleasures are hard to beat.
For more information or tickets call the box office at 662-7591.