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EVIDENCE ROOM PRESENTS
Georg Buchner's
LEONCE AND LENA
adapted by the company

Cast

King Peter of the Kingdom of Popo - David Titzler
Prince Leonce, his son - Matthew Sheehan
Princess Lena of the Kingdom of Peepee - Alicia Hoge
Valerio, an intruder - Jon David Weigand
Cecille, Lena's friend - Colleen Kane
Rosetta, palace receptionist - Ames Ingham
The President - Bob Bonk
The Minister of Propaganda - Holly Orfanedes
The Tutor - Jonathan Liebhold


Director - Bart DeLorenzo
Scenic Designer - Marsha Ginsberg
Lighting Designer - John Philip Martin
Costume Designer - Jack Taggart
Sound Design - Peter Stenshoel

Stage Manager - Sydney Cheek
Assistant Lighting Designer - Chad Smith
Board Op - Leif Tilden

October 27 - November 26, 1995



Matthew Sheehan (Leonce)



Jon David Weigand (Valerio), Colleen Kane (Cecille), Alicia Hoge (Lena), and Matthew Sheehan (Leonce)


Ames Ingham (Rosetta) and Jonathan Liebhold (The Tutor)


Reviews

Los Angeles Times

Playwright Georg Buchner, who died at age 23, was a world-class rabble-rouser. Ostensibly a frothy fable, Leonce and Lena, Buchner’s only comedy, is actually a proletarian diatribe about wealth and corruption, as biting as his darkly dystopian masterwork Woyzeck.

Director Bart DeLorenzo and company punch up Buchner’s political bitterness in their inventive new adaptation at the Evidence Room, yet wisely keep the essential silliness of the play intact.

Heir apparent of the Kingdom of Popo, Prince Leonce (Matthew Sheehan) is scheduled to wed Princess Lena (Alicia Hoge) of the Kingdom of Peepee. While fleeing from their arranged marriage, the altar-shy royals meet by chance on the road and, unaware of each other’s true identities, fall in love.

In a strong cast, Sheehan shines as the wastrel prince impelled by vague romantic longings. Although nicely naturalistic, Hoge occasionally slurs her dialogue. JonDavid Weigand, who plays Leonce’s traveling companion Valerio, has a bracing dynamism that only occasionally lapses into self-consciousness. Marsha Ginsberg’s set is hilariously garish, and Peter Stenshoel’s bold, bizarre sound design mingles the soothing rhythms of nature with the blaring car alarms of the cityscape.

– F. Kathleen Foley


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