Features Overview

‘ANNA CHRISTIE’ | TWELFTH NIGHT | WELDED | ONE LONG DAY | HAZARD | 2ELFTH NIGHT | HELEN | A TIME FOR HAWKING | SEEN / BY EVERYONE | ANGEL STREET (GASLIGHT)

Deane’s performance of an Anna torn between misandry and romance, self-loathing and believing in the possibility of change was compelling, nowhere better than in Anna’s “Nobody owns me” scene. When describing how Chris and Mat were treating her, Deane was angry and shouting; when remembering her cousin from Minnesota, she held her stomach and looked sickened; and when describing the brothel, she spoke in almost a whisper and appeared overwhelmed—all part of her remarkable performance of the inner turmoil with which Anna struggles.

-J. Chris Westgate, Eugene O’Neill Review V.45

Adrian Deane as Feste transports us into an almost otherworldly setting with her wit, shimmering presence, and almost magical control of any situation.

-Jarion Monroe

Also outstanding is Deane’s Feste. Deane plays the fool with sensitivity and depth. Her remarkable talent for song and dance elevates an already excellent performance.

—Beulah F. Vega, PacificSun

Adrian Deane is a sober Feste the jester, fretful and compassionate, here made Viola’s confidante in lieu of one of the several minor characters cut out of this adaptation. Deane’s Feste also sings some powerful renditions of the play’s songs, in keeping with the melancholy vibe of David Warner’s haunting music.

— Marin IJ, Sam Hurwitt

And Adrian Deane’s gentle Feste is also delightful.

The amazing thing about Twelfth Night, I think, is the extraordinary growth arc experienced by each and every character, and, in this production, this is abundantly clear.

—Charles Kruger, Theatrestorm

Another thrill of the show, which I saw Sunday, Aug. 13, at Forest Meadows Amphitheatre, is Bridgette Loriaux’s direction.

If eros is everywhere in Illyria, so is meanness. Director Loriaux is wise enough to let those two sit side by side without needing to resolve them. Some on the isle can walk off into the sunset hand in hand with their lovers; others can only look downward, legs dangling off the lip of the stage. But even for them, life isn’t over; there are many nights yet after the twelfth.

—Lily Janiak, San Francisco Chronicle

EUGENE O’NEILL FOUNDATION of Danville Goes to Ireland

After a run with the Danville foundation, Eric F. Hayes takes WELDED to Sister-Theater St. Michaels in New Ross, Ireland.

By invitation, to open for the Eugene O’Neill International Festival | October 13th - 16th, 2022

St. Michael’s Church, October 13th 8pm

HIGH PRAISE FOR DEANE AS ELEANOR CAPE:

Though it has rarely been performed, it was very well received. US actress Adrian Deane was outstanding in the lead female role of Eleanor Cape.

—- New Ross Standard, David Loopy

And what a part it is, requiring Eleanor to spin through a kaleidoscope of emotions at a dizzying pace. In lesser hands the dialogue could certainly seem “overwrought.” Indeed, during rehearsals of the premiere, Doris Keane pleaded with director Stark Young to let her withdraw from the play, saying she could not act the role (see Gelbs, 234). Deane, however, was up to the task.

While hurdling through the scale of emotions at the breakneck pace the text requires, she struck each note resonantly and made the abrupt and extreme changes in pitch seem the inevitable results of her character and circumstance.

—- Daniel McGovern, Project Muse | Penn State University Press | Volume 43, Number 2, 2022 | pp. 224-226

2 1/2 BREATHS

Reviewed by Ed Rubin of TheatreCriticism.com

Ed Rubin reviews Bridgette Loriaux’s Off Broadway Premier of 2 1/2 BREATHS:

“Every once in a while, a little-known theater company, usually from a distant city, mounts an amazing groundbreaking theatrical production, brings it to New York City for a limited run, and then returns to their home base leaving us all lusting for more.”

https://www.theatrecriticism.com/bridgettte-loriauxs-2-1-2-breaths-finishes-off-broadway-run-at-chain-theatre/

What is it to become a word? To become or even create an emotion that doesn’t exist…at least not yet. How much power does the artist have to convince and make believe? The awesome power to make one believe. How much potential does movement theatre actually have? In this world? Now. These questions have been the driving force in writing this piece

– Playwright Bridgette Loriaux

BEST ACTRESS NOMINATION & BEST DRAMEDY

for ADRIAN DEANE and ‘ONE LONG DAY’

at THE 2021 SMOKEY MOUNTAIN FILM FESTIVAL

HorrorNews.Net reviews: “This is a short sweet campfire story of a film and I like it.”

Junkyard Demento says the film “cleverly builds tension and suspense, leading to a satisfying end.”

SlashFilm explains how writer-director Gairo Cuevas came up with the concept for the film: “inspiration came while his dog was dropping off some fertilizer.”

HorrorBuzz summarizes ‘Hazzard’ as “Simple, delightfully predictable, but haunting.”

Keane & Doyle Return from Their Edinburgh Festival Fringe Debut with Feelings, Friends, and Nothing but Four and Five Star Reviews!

Ronan Hatfull The 730 Review — FIVE STARS:
“2Elfth Night is a jaw-dropping display of vaudevillian Shakespeare, with female-male double-act Keane & Doyle sharing nearly every part […]” — Ronan Hartfull, ‘The 730 Review’

“The result is chaotic, intense, farcical and joyous. So perfectly do they inhabit and distinguish each specific character, that it is sometimes difficult to believe that there are only two actors onstage. Particular highlights include cross-gender cast examples such as Keane’s frat boy-aping Sebastian and Doyle’s imperious Olivia.”

“These interpolations and Shakespop mash-ups enhance the production’s irreverent tone and make it one of the most accessible Shakespeare productions at the Fringe.”

“It must also be said that the plot, despite being conveyed by just two actors, is incredibly clear and well conveyed to the audience. There are moments when the comedy is stripped away and Keane & Doyle demonstrate their dramatic chops. For instance, during Keane’s delivery of Viola’s speech in Act 2 Scene 3 which concludes with her reply to Duke Orsino that she is ‘all the daughters of [her] father’s house’, there was a palpable, awestruck silence in the theatre, as Keane delivered the lines with beautiful sincerity and a clear, naturalistic tone. The best productions of Shakespeare’s comedies are those which recognise the need to lean into those serious moments of shade amidst the raucous light and 2Elfth Night is a perfect example of this.”

“I would compel you to catch them at your earliest convenience and look out for their brilliant work. This is a company operating in the true, vaudevillian spirit of Monty Python, the Reduced Shakespeare Company and the National Theatre of Brent and their work presents Shakespeare as the playwright himself would surely have intended: fast, direct, involving and moving.”

Christopher Gaunt The Wee Review — FOUR STARS:
“They change characters seamlessly, using new voices, different mannerisms, and as-slick-as-possible costume changes. However, during all of this absurdity, they still keep to much of the same dialogue as the piece from which the story derives. Thus allowing for both Shakespeare novices, as well as frequent visitors’ of the Globe Theatre in London, to find joy in the production.”

“The play finds a nice balance between interacting with the audience and showcasing the pair’s natural character acting and physical comedy. […] The joy and energy the pair bring to the performance provide the most delight for the audience. They seem to be having genuine fun telling this absurd rendition of a timeless story, whilst also giving it the grace it deserves, and ultimately providing laughter and smiles to everyone lucky enough to attend.”

Elaine Chapman Freelance Review — FOUR STARS

Natalie Holman Three Weeks Edinburgh — FOUR STARS:
“Despite all the fun kerfuffle onstage, they do actually portray Shakespeare’s classic clearly and succinctly. ‘2Elfth Night’ is an enjoyable, comedic and engaging production suitable for all ages.”

Jasper Cresdee-Hyde Binge Fringe — FOUR STARS:
“The interplay and chemistry between Keane and Doyle is tremendously fun; sure, they’re an established duo by this point, having been performing together since January 2017, but strong interactions aren’t necessarily a guarantee at the Fringe.”

“Indeed, each are accomplished actors in their own right, weaving between a wide variety of characters effortlessly while being funny in the process.”

Tweet-Sized Reviews — FOUR STARS:
“12th night by 2 people in an hour, feat. Audience participation, possibly recognisable tunes, several cups of water and of course, stripy yellow socks. Fast paced without losing the sweeter beats of the play, highly entertaining & worth a look!”

2ELFth Night 'Crowned" 2019 Edinburgh Festival Fringe's COMPANY TO WATCH

THE 730 REVIEW has Posted its BEST OF THE BEST, POST-FESTIVAL LIST, and 2ELFth NIGHT is Mentioned not Once but 2-WICE!

After a generous 5-STAR review to end KEANE & DOYLE’s first Edinburgh run, THE 730 REVIEW has continued its praise and included 2ELFth NIGHT in its post-festival EDINBURGH FRINGE AWARDS 2019.

Keane & Doyle are chuffed to have been named the COMPANY TO WATCH this year, as well as a nice runner-up BEST OF THE BEST.

Needless to say the duo are encouraged to continue their adventures into festival lands near and far, bringing flailing, confusion, blasphemy, and possible joy to audiences across the universe.

Thank you to THE 730 REVIEW’s Ronan Hatfull and Emily Champion, as well as all this summer’s audiences, in Scotland and in California, who made 2ELFth Night into something real, actually funny, and reliably, fantastically weird!

HELEN at THEATER OF YUGEN

Charles Lewis III of The Thinking Man’s Idiot writes, “[W]e follow Helen (played admirably by Adrian Deane, star of two of the best shows that I saw last year) through her routine of killing flies (a nod to Emily Dickinson?), changing her dress, and making herself up in the mirror […].” Dream Girl: ‘Helen’ at Theatre of Yugen

Christine Okon of Theater And Such writes, “As Helen, Adrian Deane navigates moments from selfish obliviousness to the shaky self-doubt that can lead to change.” What Would Helen Do

Rachel Norby of Theatrius writes, “Helen (talented Adrian Deane), the most beautiful woman in the world, has been living in a hotel room in Egypt for 17 years. Like Rapunzel in her tower, Helen is waiting for someone—her husband Menelaus (captivating Steven Flores)—to rescue her.” ‘Helen’ Delves into Illusions of Beauty & War, at Yugen, S.F.

George Powell of For All Events writes, “[…] she deals with her enduring fame, […] At the same time […] feels caught in an information vacuum, unsure the seemingly endless war is actually over and unable to find out any substantive news on TV. […] These emotions are skillfully and convincingly portrayed by Adrian Deane as Helen […].” Thought-Provoking ‘Helen’ Delights Audiences at Theatre of Yugen

Jean Schiffman of San Francisco Examiner writes, “Adrian Deane is a graceful Helen, easily negotiating the play’s comedy as well as its quieter, deeply felt moments.” Theatre of Yugen’s ‘Helen’ Offers Funny, Feminist Perspective

Lily Janiak’s blurb in The SF Chronicle: ‘Helen’