As a member of the theatre-going public recieving a playbill with pictures of the cast in it sets certain expectations for the show you’re about to see. Not only do these people have headshots but this theatre’s got a decent printer. Someone on staff might even know Quark. As a member of the press it just makes life easier. It makes all the difference to be able to say with absolute certanty that it was Eric Wright who’s puppetry shined. (Although really there’s not that much demand for factuality in blogs. Though it’s nice to pretend that the consequences of not fact checking would be severe, or even noticeable.)
Powerhouse is the story of Raymond Scott, the brilliant composer and futurist. Most commonly, and incorrectly described as a composer of music for cartoons. Though his catalogue was purchased by Warner Bros. and used as the sonic backdrop, if not the kinetic framework, for their productions. He put the money to good use developing among other things early synthesizers, sequencers, and self playing instruments. Sinking Ship Productions brings his bizarre story to life with a humorous blend of live action theatre and puppetry.
The similarities to a broadway show do not stop at the program. Powerhouse is that rare Fringe Fest gem that doesn’t come across like a drag show on steroids. If anything it seems like a production from the great white way that’s just been hamstrung by rickety floor boards and old microphones. With the right polish Powerhouse could be transformed into a more successful The Farnsworth Invention. All the essential parts are in place it just needs a good working over and a little more rehearsal. We urge you to go see the final show of the current run but we have faith that this will not be your last chance, nor the best production, it can only get better.
Erik Lochtefeld gives a solid performance as the lead, oscillating between genius and madness with just a hint of Mad Men’s Don Draper John Hamm. Of course what else would you expect from someone who’s appeared on Law and Order? Yet another sign of imminent prominence. (Next time you see a broadway show count how few of the cast don’t list at least one L&O franchise in their credits)
The direction and pacing are pitch perfect. We’re whisked from reality to cartoon pantomime to dream sequence and back to reality with just the right amount of brevity. Scenes bleed into eachother like a series of spliced celluloid. Powerhouse delivers a substantial amount of stage craft without over-reaching. The small errors in blocking or set malfunctions are a by-product of the speed with which the entire festival is put together. The fact that the show shines in spite of these shortcomings is proof that it is bound for more than this brief run hopefully earning Raymond Scott the attention he seemed not to have desired but justly deserves.