The kids will love Workshop Theatre's “Roald Dahl's Willy Wonka.”

Review by August Krickel.

Workshop Theatre's new summer musical, Roald Dahl's Willie Wonka, delivers everything you might want from a children's theatre spectacular: a large cast of talented and adorable moppets, charismatic leads, familiar, uplifting and hummable songs, some eye-catching fantastical costumes and special effects, and an easily understood lesson at the end for the little ones. Based on the classic Dahl novel Charlie and the Chocolate Factory, this stage adaptation by Leslie Bricusse and Tim McDonald features the songs from the 1971 film version by Bricusse and Anthony Newley, but follows the book's narrative a bit more closely, and is streamlined and simplified for production at the local level. 
 
As the title implies, however, Wonka himself is given a more prominent role here, popping up throughout the first act (which  chronicles the search for five Golden Tickets that entitle the bearer to an exclusive tour of Wonka's fabulous chocolate factory, and a lifetime supply of chocolate!) as narrator, occasional commentator, and in disguise as a candy vendor. As Wonka, Scott Vaughan incorporates one part Johnny Depp's child-like otherworldness, and two parts Gene Wilder's manic impishness, but he is less imperious than either film incarnation, and appears as a more benevolent and kid-friendly figure.
 
Four of the main five children are double cast. On opening night, Charlie was actually played by a very talented little girl, Abby Bartman, who has a big ol' voice, boundless energy, and a very expressive face. I do wish that she had either gotten a buzz cut and gone boyish entirely (her medium-length hair was partially tucked under a backwards baseball cap) or that Charlie had simply been established as a spunky tomboy.  The character doesn't need to be male by any means, but rather is every child who faces big challenges but has bigger dreams.  Still, Bartman's professional  performance was one of the show's highlights; a boy will play the role on alternating nights. 
 
Rivaling Bartman in stage presence, energy, and vocal skills is Hannah Mount as Veruca Salt, the sassy and spoiled girl who wants it all, and wants it NOW.  I look forward seeing these two in about five years as Gabriella and Sharpay in a revival of High School Musical.  Also of note are Grace Fanning, who portrays gum-smacking Violet Beauregarde as a junior Delta Burke-style beauty queen, and Anthony Harvey as the gluttonous Augustus Gloop.  Each child gets a chance to shine in a number that spotlights his or her inherent character flaw, as each in turn blows a chance at a bigger prize.  Among the adults, Jon Taylor and Laura Adair are quite sympathetic as Charlie's long-suffering yet ever-optimistic parents, while Lee O. Smith adds a good bit of comic relief as the irascible yet loveable Grandpa Joe.  This is children's theatre though, so expect very broad performances and characterizations across the board.
 
Director Dedra Daniels Mount has a cast of easily 60 actors on stage at times, and she wrangles them admirably; even the youngest performers have choreography that they can manage, many cast as townsfolk, as Oompa-Loompas (Wonka's diminutive workers) or even as trained squirrels.  Musical Director Lou Warth is to be commended too; all the songs are very pretty, and the children in the chorus sound like young singers, not simply children singing in unison.  The downside of so many youngsters is that on opening night, a lot of expository dialogue in the first act was lost due to lines running over other lines, and some of the very witty lyrics in the group numbers could have been enunciated much more clearly.  My guess is, however, that a couple of nights with live audiences will cause this problem to correct itself.
 
Those lyrics and that dialogue are in fact what have made this story so popular through the years, and the principal actors do a great job overall at conveying the bigger message, which for children is simply "behave yourself and you'll be better and happier as a result."  Adults meanwhile can see a deeper and darker fable about the excesses of our society, and director Mount brings this out in dozens of subtle ways, as we see Charlie's father lose his assembly line job (screwing on the caps of toothpaste tubes) to automation, while the parents of the other children exhibit the same type of selfish greed and narcissism that leads to their kids' misfortunes.  As the Oompa-Loompas sing at one point:
 
 Blaming the kids is a lie and a shame;
 You know exactly who's to blame:
 The mother and the father.
 
Alexis Doktor's costume design is appropriately lavish and colorful, especially for some Candy Girls who grace the set like models from The Price Is Right. Randy Strange's set for Wonka's factory is indeed much like a game show.  There is only so much space on stage, and so while I wish there had been individual set pieces for the individual rooms through which the children tour, the stylized backdrop functions adequately. That said, the chocolate river/waterfall effect is very simple but surprisingly effective. Far more successful is the small slice we see of Charlie's ram-shackle home, where all four grandparents have to share a single bed. The best effect, however, is Violet's transformation into a giant blueberry, which is done live on stage and is quite impressive.

 There's little doubt that younger audiences will love this production.  For those in high school or older, I'd say it depends entirely on your level interest in children's theatre, and how much of a fan of the original you were.  For baby boomers whose teachers read the story aloud to them in that quiet time after lunch, and who flocked to see the film in the Richland Mall "Rocking Chair Theatre," it's a great chance to take a trip down memory lane. 

Roald Dahl's Willie Wonka  runs through July 31; call the Workshop Theatre Box Office at 799-6551 for reservations. 

Town Theatre's “Annie” struggles to find the spark.

Director/Choreographer Shannon Willis Scruggs has assembled a very capable production team to assist her.  The set is massive and  well executed; the show seems well rehearsed; the cast seems to know what to do.  But an overall vision, a master plan, never makes itself known.  It lacks focus and a well conceived concept where all the parts add up to a single, overriding vision.

Trustus’ “Hair” could use some styling.

Review by James Harley.

Written in the mid 1960s as a challenge to the restrictive conventions of theatre and the American society reflected in them, “Hair” is a show that has locked up its place in theatre history. The problems with performing the play today are that those targeted restrictions (nudity and profanity on stage, drugs, sexuality and interracial love in society) have now long been broken through, and there are very few people who live a simple hippie lifestyle anymore or who stand for anything outside of the positions expressed in mainstream politics. Thus, even with the current wars, the play itself no longer resonates with much of the population other than as a fond memory of loving and peaceful sentiments. In order to successfully present this show today it needs to be treated either as an accurate period piece or made currently relevant via the incorporation of a substantial overarching production concept. Trustus theatre’s current version falls short of both, simply punching the clock and offering a rather bland introduction to the history making piece.

Since half the goal of the play is simply to attack conventions by doing and saying things on stage that were once considered inappropriate, the plot itself is rather slim. The story follows Claude, a young bohemian, as he struggles with his decision as to whether he should go fight in the Vietnam War or fight against being drafted alongside the rest of his outspoken “tribe” of bohemian friends. Raised to believe he should serve his country first, Claude wrestles with his newfound identity as a lover of peace and tries to find the elusive line between patriotism and true freedom.

A major problem with the production is its casting. Lanny Spires is simply not a good fit for the role of Claude. Vocally talented and with exceptional dance skills, Spires unfortunately moves at all times as if he were dancing, and tends to overact almost every moment of the show. His mannerisms and facial expressions reflect not struggle so much as annoyance, and so he becomes a sort of whiner with whom it is hard to sympathize, undermining the effect of his ultimate choice. 

Indeed, much of the cast is simply not believable as hippies, embodying the spirit of fun-loving goofballs and attention seekers much more than serious war protesters. Also, the amount of skin on display reveals body types that are for the most part far from hippie, making the show look merely like a 1960s themed costume party at times.

Of course, it is a very well done costume party, facilitated by the excellence of John Henson and Robin Gottlieb as costume and hair designers, respectively. Other technical aspects of the show are spotty, with very active and effective lighting by Aaron Pelzek but unremarkable scenery which compresses the stage space and the 20-plus actors almost constantly upon it.

There are some noteworthy performances to experience, among them that of Chad Henderson as Berger, Claude’s obnoxiously goofy roommate, and Terrance Henderson as Hud, the militant black man. The latter brings the first really solid energy to the stage with his number “Colored Spade,” while the former grows on you throughout the show, once his pants are back on.

The strongest all around performer is Lindsay Brown as Sheila, who not only captures the look and character of a true hippy, but whose vocal skills make “Easy to Be Hard” one of the best numbers of the night. Bianca Raso likewise shines in her moment as Crissy, rendering “Frank Mills” with absolute perfection. Stephen Davis is also enjoyable in his brief appearance as a curious tourist happening upon the tribe’s “Be-In.”

Other positives include some dynamic onstage percussion work at the Be-In, some very nice visuals using flashlights in “Oh Great God of Power,” and lots of high energy choreography throughout.

Still, this production needs a concept that makes all of this relevant somehow, some styling if you will. With these shortcomings, the best reason to go see “Hair” is probably its important place in the history of theatre, and perhaps to hear a few musical classics like the title song or the closing number, “Flesh Failures (Let the Sun Shine In).” It is certainly one that should be experienced at some level by everyone at some point.

“Hair” runs through July 17. For reservations call the Trustus box office at 254-9732.

Columbia Children's Theatre delivers with “The Commedia Pinocchio.”

Review by Larry Hembree.

I am stating from the start of this review that I laughed so hard I actually snorted at least three times during the current production of “The Commedia Pinocchio,” presented by the Columbia Children’s Theatre.  It is one of the funniest hours of theater I have ever experienced. 

The theater company prides itself on producing work intended for “the kid in everyone,” and this production is a perfect example.  Most of CCT’s productions exist on two levels:  one to entertain young audiences, and another that only adults will understand.  It’s tricky to pull off, but director Jerry Stevenson is a pro at creating this type of experience.  Several times during the show, I found myself focusing on the reactions of the older audience as much as I did the youngsters.   

Simply, the show is presented as a commedia dell’arte revisiting the age old Pinocchio story with an added layer of improvisation.  The company uses its improvisational skills to embellish the plot with a current feel, full of references that keep the show connected to a modern audience. 

Columbia Children’s Theatre performs its work in a former retail space at Midtown at Forest Acres that the group has converted into an intimate theater.  The show sports an attractive simple set, constructed by Patrick Faulds, that resembles a marionette theater stage with colorful detailed painted drops that are released during the show indicating a changing of locale.  Six scenic artists do impressive work with both the set and the extensive collection of appropriate props used throughout the show.

Pacing is key in a show like this, especially when trying to be inclusive of the variety of ages, and it works perfectly.   Director Stevenson always knows when to insert an obstacle in the work in order to give it punch and contrast.

The show has a very creative, talented, and racially diverse cast of performers with expressive faces and an acute understanding of comic timing.

Everyone in the highly energetic cast gets to claim wonderful moments, mainly comical and all well executed.  The quintet of performers is a tightly wound ensemble that you would think has worked together before because they play off each other so well.  They also possess the skills to play off the crowd adding “in the moment” reactions to live audience commentary.

Sam LaFrage, as Arlequino Tetrazinni, is brilliant in his improvisational work, especially in musical moments.  He really understands theater for young audiences with frenzied control and a wit that works well for both serious and comic characters.  Lovely Rozlyn Stanley, as Rosetta Stone, starts as the narrator and reemerges throughout as other well developed and funny characters.  Mark Noda has a charming connection with the audience as Punchin Pepperoncini, and provides a strong performance that feels as enjoyable to him to present as it does the audience to experience.  Elizabeth Stepp uses her sharp caustic wit as Pantalone Paparazzi, utilizing some awesome facial expressions.  At times, Stepp reminds one of a young Carol Burnett.  And Joy Felder, playing the hardest role of Pinocchio, almost the straight man in this manic production, makes very strong and subtle choices in the beginning that propels and intensifies as the plot thickens.  Felder has a knack for playing both the comedy and the pathos well.

Opening night started with a plea by founder Stevenson to the adults to help secure the future of the arts by contacting state politicians to stop the veto by Governor Sanford that will greatly reduce arts funding in the budget being passed this week.  If this company has to compromise its mission and work if these cuts actually transpire, both young and old arts consumers would be denied a great opportunity be inspired by some very creative and talented artists.

Kudos to the Columbia Children’s Theatre for being relevant and smart and giving me a reason to snort. Maybe there will be a role for me in a future production as a pig.

The production runs through July 20. For reservations call 691-4548.

“Annie Get Your Gun” Shoots and Scores at Town Theatre.

Review by James Harley.

Like nearly every theatrical production, “Annie Get Your Gun” at town Theatre has its strengths and weaknesses. Among the strengths in this case are the score and story themselves. The show is home to some of Irving Berlin’s best known tunes, including the iconic “There’s No Business Like Show Business,” and is also chock full of hilarious one-liners that keep you laughing throughout. Among the weaknesses are some technical issues and special effects involving the frequent use of guns on the stage. However, what tips the scale and makes this particular production an undeniable success is the charming portrayal of Annie herself by Shannon Willis Scruggs. Funny lyrics alone do not create a lovable character, and technical glitches become relatively unimportant if one is truly engaged by a performer mastering a role.

“Annie Get Your Gun” tells the story of Annie Oakley, an illiterate hillbilly with a special talent for sharpshooting. By chance she is roped into a shooting contest with Frank Butler, the star of Buffalo Bill’s Wild West Show, as a promotional event for the traveling show. Utterly smitten by the handsome Butler, Annie still manages to defeat him in the contest and is consequently asked to join the tour as an attraction. The two quickly fall in love until the ego-driven Butler becomes upset when Annie’s popularity eclipses his own, and he abandons Wild Bill and Annie for a rival show. From there on it is a question of whether or not the power of love and cooperation will ultimately prevail over the power of ego and competition.

There are a few standouts among the cast, including Jane Brutto as Dolly, Annie’s rival for the attention of Butler. The character is supposed to be abrasive, racist and easy to dislike, and Brutto nails it, successfully annoying everyone to the point that I was hoping Annie would eventually use her marksmanship for violent purposes. And yes, that is a compliment.

Robert Bullock Jr. brings an appropriately high level of physical energy to the role of Charlie Davenport, the cigar-smoking, pinstripe-and-bowler-hat-wearing manager of the traveling show. Will Moreau’s posture, comic timing and delivery are just right for the imperturbable Chief Sitting Bull, largely a comic relief role. 

Lee O. Smith’s rockstar approach to the character of Wild Bill is a little questionable, and Scott Stepp has his moments as Butler, though his range of emotion seems a bit narrow at times given the mercurial nature of his relationship with Annie. His demeanor is rather “all or nothing,” with little variation at each extreme, where there is room for more fluidity both in the shifts and the peaks.

Undoubtedly the show is carried by Scruggs as Annie, from both an acting and vocal perspective. She accomplishes the often difficult task of maintaining character in song, completely winning the heart of the audience with her humorous number “You Can’t Get a Man With a Gun,” and later rocking her role with attitude in “Anything You Can Do (I Can Do Better).” Her transition from hillbilly to star is carried off well physically, and she gets a number of laughs without saying a word.

Though not one of the big, spectacular sets that designer Danny Harrington is known for, the simple scenery fits the production quite well.

Outside of a couple numbers the choreography is also slight in general, with most of the show’s spectacle revolving around director Scott Blanks’ stage pictures. Though some of the shooting tricks did not work quite right on opening night that’s one of those situations that generally improves over the course of a run. It would certainly be a nice bonus to see the shooting spectacle work seamlessly, but as the show is far from “realist” in concept it doesn’t really hurt one’s perception as is. After all, it is community theatre.

“Annie Get Your Gun” is not a life changing show by any means, but it will change your mood if you just feel the need to smile and laugh. The energy is good, the music is very catchy throughout, and the story is universally charming and well told. Also, this version of the show, revised in 1999, demonstrates an increased sensitivity to Native Americans, the callous treatment of which was an issue with the original.

“Annie Get Your Gun” runs through May 29. For reservations call the Town Theatre box office at 799-2510.

A Powerfully Moving “Last Summer at Blue Fish Cove” at Trustus Theatre.

Review by Larry Hembree.

Trustus Theatre’s  current production of “Last  Summer at Blue Fish Cove”  is a powerful reminder of the  ability of live theater to move people in extraordinary ways.  Trustus co-founder and director Jim Thigpen proves this with his solid, focused direction, an appropriate cast, and an acute understanding of the work.  Trustus has mounted two previous productions of this show in its 25 year history, and this third production is definitely the charm.

Written in 1976 by the late Jane Chambers, this play is considered a milestone in lesbian theatre history. The story  is a study of relationships set in the lesbian world through the eyes of a woman spending her last summer with her dearest friends at a cottage on a New England beach.  Present are three couples including a couple of former lovers along with a new summer resident who brings new lessons to the group.

 Thigpen lets the show unveil itself realistically and reveal its truth in a simple way, respecting  the time period in which the work was written and moving it beyond simply being a lesbian love story.  He presents a piece about the human experience in a subtle, beautiful style that highlights with strength universal messages for both gay and straight, male and female adult theatergoers. Thigpen admits readily that this is one of his favorite plays, and it shows throughout the show, from his trust of the language and attention to moments to his choice of appropriately moving incidental music.

The tight ensemble of eight brings a wealth of experience to the production with three performers having been in one of the previous productions, but only one in the same role as before.

Dewey Scott-Wiley takes a second turn as Lil, the woman spending her last summer with her friends. Scott-Wiley has always made character work look easy in comedies, but this kind of role is her forte.  Her ability to mix humor and pathos and present them charmingly from a woman who is very ill is masterful.

Vicky Saye Henderson creates the perfect contrast to Lil as the recently divorced Eva.  Henderson has the most complicated task of the cast, struggling to make sense out of her former life and at the same time, embracing the potential presented to her in this new world she finds herself in.  Henderson’s ability to connect with both her fellow performers and the audience is her strength in this show.  We root for her in her adventure.

The relationship created by Henderson and Scott-Wiley is strong, very personal and very believable. Both women stay present and stay comfortable with the material, never pushing too far but embracing it as truth.

The other cast members create a group of interesting diverse women, and simply embellish the work with smart and sincere performances, with many powerful moments, terrific visual pictures and an ending that is very much worth the journey.

Becky Hunter, Elena Martinez-Vidal, Lonetta Thompson, Robin Gottlieb, Stephanie Price and Dianne Wilkins, all Trustus company members, give credible performances individually but make an even bigger impression as a collective of performers who remind us of the importance of our family of friends.

 “Last Summer at Blue Fish Cove” is the kind of play that Trustus could produce easier in its early days when the competition for holding onto arts audiences wasn’t as intense.  Hopefully, this show will whet appetites for more of the same.

“Last Summer at Blue Fish Cove” runs through May 29. For reservations call the Trustus box office at 254-9732.

Larry Hembree is the Executive Director of the Nickelodeon Theatre.

Workshop Theatre's talent rich “Forbidden Broadway” is almost too funny.

Review by August Krickel.

Six singers, one piano, an otherwise bare stage, no plot and virtually no dialogue... and yet I found myself giggling like a loon throughout opening night of Forbidden Broadway: Greatest Hits, Vol. 1, which affectionately sends up popular musicals and musical theatre figures, after which it mocks them, spoofs them, and then taunts them a second time.  Workshop Theatre's new production of Gerard Alessandrini's long-running New York cult hit is a wonderfully zany Valentine (or given the time of year, perhaps it's a combination graduation present and Mother's Day gift) to Midlands theatre-going audiences.  
 
Presented as a cabaret-style revue, the show features solos alternating with duets and larger group numbers, all of which are satirical observations on Broadway trends done SNL-style, with a dose of Mad Magazine thrown in.  No theatrical cow remains sacred, as the cast recreates Bob Fosse's intricate choreography style as a game of Twister, then helps the audience navigate through Sondheim's famously unsingable lyrics.  Along the way there are some sharp and often valid observations about contemporary Broadway, from the commercialized merchandising blitz of producers like Cameron Mackintosh to the recent success of camp shows like Hairspray and Legally Blonde, to the prevalence of wireless microphones that can encourage sloppy projection.
 
While the comedy ranges from cute to wickedly accurate, most of the song parodies are arranged and performed vocally exactly like the originals, making for a really rich musical sound, thanks to the tremendously talented cast, four of whom are alumni of Workshop's excellent Producers from last fall. So when Laurel Posey imitates Barbra Streisand in ultra diva mode, she still sings as beautifully as Streisand.  Just with a bigger attitude.  The ensemble's nod to Rent (called "Seasons of Hype," which gives you an idea of the jokes here) is another highlight that's quite pleasant to hear... assuming that you are able to hear anything over your own laughter.  Indeed, Chuck Sightler's sound design is about the best I've heard at Workshop.

As there is no plot, and each performer plays a dozen or more parts, I will simply note my favorites:
 
Kyle L. Collins as an overly-emotive Mandy Patinkin.
 
Laurel Posey as a bedraggled, down-on-her-luck former Annie star, pulling a pack of smokes from her bra and hoping for one more revival as she approaches her 30th birthday. 
 
Linda Posey as a featured actress in Les Mis who has a long time backstage, which she fills playing with Facebook on her iPhone.
 
Matthew DeGuire as a jaded Cats cast member, as Harvey Fierstein in full Edna Turnblad drag, and as a Les Mis cast member trying in vain to explain its complex plot. 
 
Chip Stubbs in drag as Carol Channing, and as a Les Mis cast member complaining that his song is too high.
 
Elissa Horrell as Wicked's Elphaba, rejoicing that she is "Defying Subtlety." 

The only question one might have is how well someone who is not a fan of Broadway musicals will "get" much of the humor.  I suppose that could pose a problem for some, especially since many of the targets (Fosse, Channing, Liza Minnelli, Chita Rivera, Ethel Merman) belong to past generations, but by and large if you're into theatre, you’ll appreciate the satire, and regardless, you’ll enjoy the physical comedy and the performances of the gifted cast.
 
Director/choreographer Dedra Daniels Mount and Musical Director Randy Moore (who provides 100% of the accompaniment on stage) are to be commended for taking what could have been a chaotic medley of show tunes with mocking lyrics and in-jokes, and turning it into a delightful evening of theatre. 

Forbidden Broadway: Greatest Hits, Vol. 1 runs through May 22; call the Box Office at 799-6551 for reservations. 

It’s easy to become jaded to relationships, whether long or short term. The longer we’re together, the more we may begin to take our partner for granted, while those who go through lovers more rapidly may develop a self-fulfilling expectation for their eventual failure and therefore not emotionally invest themselves as heavily as a result. But these behaviors are ultimately superficial, because the power of love is one of the greatest forces known to humankind, and when we are reminded of this (usually at the beginning or end of a relationship) we tend to feel its true depth again for better or worse. Thus the beauty of “The Last Five Years” as produced at Trustus Theatre, in giving us this helpful reminder without our having to actually go through the jarring experience of breaking up ourselves.

Brilliantly conceived, Jason Robert Brown’s musical follows the path of lovers Cathy and Jamie as they meet, date, wed and ultimately part ways over the course of five years. What makes this love story unique is not that it is told from both perspectives, but from both directions. That is, as the two characters alternate on stage we follow Jamie from the joyful beginning of the relationship to its end, while Cathy recounts the experience from its painful end back to its beginning. Appropriately, act one ends with the two stories merging in the couple’s wedding. The net result of the show is that we learn how important, special, fragile and fleeting are those moments when partners are truly on the same page. 

With only two actors, direction is particularly important and Chad Henderson has put together a solid production, creating stage pictures which effectively highlight Cathy and Jamie’s contrasting emotional-temporal status. While the characters alternate in the spotlight, both are nearly always present and visually manifesting their lurking doubts successfully.

Jonathan Whitton is very strong vocally as Jamie, a young aspiring writer, and he comes out with a blast of charming energy. Indeed, it may be a bit too energetic in that it leaves him little room to peak later as the relationship builds to the wedding. The charm and his general performance savvy, however, make him fun to watch throughout regardless.

Mandy Applegate, as aspiring actress Cathy, faces the challenge of opening the show with a deeply emotional scene in which the break up has been finalized. She carries this off with proper understatement and goes on to deliver a fine vocal performance as well. If there is room for improvement it would be in finding her light better, as facial subtleties are much harder to read when half of the face is in the dark.

As an operetta of sorts with little spoken dialogue, the quality of the music is a key ingredient, and veteran musical director Tom Beard gets the most out of his cast and band. It’s not one of those shows where you leave humming catchy toe-tapping numbers, but each song genuinely expresses an integral idea and beckons your attention to every lyric.

Moving on with the nitpicking, murky lighting is somewhat an issue throughout the production. Though it is clear that darkness and shadows play a crucial role in Henderson’s concept, this could still be achieved with a bit less contrast, as completely dark eye sockets from direct overhead lighting at times creates a sort of zombie/horror effect.

Scenically the show is a little odd as well, with a curious mix of elements and a busy feel that is mildly distracting though also very appealing at certain moments, particularly when involving the colorful backlighting of the city skyline.

On the whole, however, this production is very effective in doing its job, which is to move its audience. Though you know from the opening curtain what is going to happen it still pains you to see it, and at the last fade you really don’t want it, or Cathy and Jamie, to come to an end.

“The Last Five Years” runs through April 17. For information or reservations call the Trustus box office at 254-9732 or visit www.trustus.org.

Review by August Krickel.

Contrary to the many warnings about adult themes and nudity, Workshop Theatre's new production of Terrence McNally's Love! Valour! Compassion! is by no means a bawdy sex romp, nor is it a pornographic flesh-fest. It is actually a reflective look at universal themes of love, longing and loneliness, as well as commitment, contentment, aging and mortality.
 
Often witty, sometimes sad, the show explores these themes as played out among eight diverse characters, some involved with or attracted to each other.  All of them happen to be male; all of them happen to be gay.  That said, there is a fair amount of bare flesh.  No full Monty, exactly, but plenty of rear Monty and maybe a little side Monty.  In fact, I was impressed with how much intricate choreography there is to conceal the nudity (lots of three-quarter turns away from the audience, knees bent at a certain angle, etc.). There's also a good bit of R-rated language, but it’s all in the context of fairly innocuous skinny-dipping, and no different from what you'd see in any fitness club locker room.    

The characters' connection is a dance company; Gregory (Park Bucker) is an aging choreographer and performer, Bobby (Hunter Bolton) is his younger lover, John (Paul Kaufmann) is his accompanist, Buzz (Clint Poston) is his costumer, Perry (Stann Gwynn) is his lawyer and Arthur (Clint Clayborn) his accountant. Added to this close-knit group are John's latest boy toy Ramon (Lanny Spires) and James, his twin brother (also played by Kaufman). The play follows their interactions over several vacation weekends at Gregory’s country home in upstate New York, much like The Big Chill, just with gay guys. 

The narrative jumps around in time and location, with characters often addressing the audience from some undefined point in the future or past, telling us what has transpired, or is about to.  Director Scott Blanks is to be commended for making it all seem natural and easy to follow, stationing his cast on different levels, in different postures, and ensuring that all of the rapid dialogue is clearly heard and understood.  Barry Sparks' excellent lighting is also useful in defining where our attention should be focused.  Randy Strange's minimalist set is perfect for this type of production, suggesting different locales while leaving most of the performance space open for the actors.

I suspect everyone will have a favorite character, just like a favorite Beatle; one's pick reveals more about the chooser than the choice. Clint Poston as the over-the-top Buzz gets the majority of the laughs, while Park Bucker as Gregory is perhaps the most sympathetic. Hunter Bolton (seen just a few months ago as the athletic Romeo in Finlay Park) as Bobby is earnest and sincere.  Paul Kaufmann channels his sinister performance as Valmont from last season's Les Liaisons Dangereuses in his masterful portrayal of John; his delineation of each twin is superb, and one transition in particular is so good, it's spooky, and so spooky that it's good.
 
My favorites were Stann Gwynn and Clint Clayborn, who were totally believable as long-term partners.  In a different play, Gwynn or Clayborn might have been the bitchy, witty comic relief, as each gets his fair share of catty barbs, but here they are depicted as mainstream, less conspicuous about their orientation, yet still supportive both of their friends and of related causes.  Perry's reaction to a TV news report of literal gay-bashing is therefore quite jarring and effective, as he angrily cries that "they" have always hated "us."  

Nevertheless, most of the subplots are familiar to anyone.  The settled couple bicker and squabble, but acknowledge their content compatibility.  The older artist struggles with creative block, while his younger partner is tempted by the proverbial fruit of another.  If Perry and Arthur were Perry and Amanda, or if the disease ravaging their circle were cancer instead of AIDS, the drama would be just as compelling.  I suspect this is why McNally uses the nudity.  Swim trunks and Speedos would have been sufficient, but lest we get too complacent with the easy accessibility of the universal themes above, we must not forget that these appealing and handsome men are part of a sub-culture not accepted or tolerated in many places.

That sub-culture does allow for an ironic twist, however, since in a comparable group of male/female couples, the wives would not be so tolerant of a sexy bimbo flaunting her naked body at their husbands.  Here, the characters are all buddies in the most traditional sense, yet also potential lovers.  
 
What I really liked was how the show has no fairy-tale endings: the characters' lives play out as one might predict.  My only gripe relates to McNally's script itself, not the production.  Some of his choices seem odd. The twin brothers, one nicer than the other, are improbably named Jeckyll (somewhere Curly Howard is exclaiming "No! We must Hyde!").  The two unattached characters are the most stereotypically flamboyant, and both have AIDS.  Buzz's constant banter about Broadway musicals diminishes our ability to take him seriously, when his story is as compelling (or more so) than everyone else's. John's speeches are often so flowery and eloquent that he seems to be visiting from a Shakespearian tragedy. The benefit event which Gregory organizes features six guys in ballerina drag performing Swan Lake, which causes some of the most touching and poignant dialogue to be spoken by guys in white tutus.  Still, McNally won plenty of Tony, Obie and Drama Desk Awards for this play, so take my complaints with as big a grain of salt as you need. 

If you can't handle R-rated (but in no way salacious) language and male skin, or if you think Tennessee Williams and Liberace are burning in hell, then this probably won't be your cup of tea.  Otherwise, the genuine joys and sorrows in the characters' lives, and the professional performances by the cast make for an enjoyable evening at the theatre.  

This season Trustus Theatre has been reviving a number of plays as part of its 25^th anniversary. Last month, the theatre re-mounted Eric Bogosian’s “Pounding Nails Into the Floor With My Forehead.” The 1994 play feels dated, but Steve Harley did an excellent job in the one-man multi-character show.

Trustus has now brought back “Fires in the Mirror,” a 1992 play by Anna Deavere Smith, another one-actor, multi-character show. Actor Jocelyn Sanders and director Dewey Scott-Wiley did the show 15 years ago and they’re back again taking on the 20 or so characters. All the characters are closely based on real people and their words.

“Fires” grew out of 1991 events in Crown Heights, Brooklyn, which has a large Afro-Caribbean and African-American population. It is also the home of a large Hassidic Jewish community.  A boy was killed by a Jewish motorist that summer which set off riots and the murder of a young Jewish man.

The play calls for the actor to play several rabbis, Al Sharpton, a few unnamed neighborhood residents, community activists and Jewish housewives. It’s a real tour de force for an actor and obviously a demanding one as well.

Sanders was outstanding in the original production and makes this one work, although not on the same level as before. A one-person play like this has to be nearly flawless and this production is far from it. The characterizations are too broad, the actor flubs many lines and is often too loud, sounding as if she has forgotten the show has been relocated from the main theater space to the tiny black box.

Even so, one can’t deny the power of the piece. It explores very tiny things such as how Hassidic women feel about their hair, which must always be covered, to big issues like the tremendous impact slavery has had on black people. “The black man, he’s an amnesia victim,” one character says.

It also uncovers the animosity between blacks and Jews in the neighborhood. What’s more revealing is the playwright’s exploration of the less explosive divisions in the community; the people live side by side, but don’t know one another at all.

Sanders is at her best in portraying the rather quiet and thoughtful Jewish women. When she’s playing a brash man – especially an African-American one – it’s over the top and borders on stereotype. By and large, the transformation from character to character is smooth and takes place while the actor disappears from stage for a minute or less. One time it takes place on stage.

The simple set consists of a few chairs and a table. Videos of Crown Heights and some of the violence that took place are shown on a television-like screen with a soundtrack that moves from klezmer to hip-hop. It may be a little much, but is well done and never tries to tell the story that the play tells. One of the triumphs of the play is that it doesn’t “explain” anything.

A play with such nuances requires exceptional directing and acting. This production definitely needs fine tuning.

“Fires in the Mirror” runs Saturday, March 13 and March 18, 19 and 20. Call (803) 254-9732.

Chapin Community Theatre’s “Cheaper by the Dozen” plays up the cute factor.

Review by James Harley.

Reviewing a production like “Cheaper by the Dozen” at Chapin Community Theatre presents a certain challenge. With a large cast of youngsters it's obviously going to fully possess that "community theatre" identity which largely exempts it from heavy artistic criticism. Indeed, being critical of this show at all would be about as inhuman as telling a kitten that it could be cuter if it tried harder. The show is what it is--a kitten of sorts, cute and cuddly, fuzzy and funny, playful and soft but also with little teeth and claws. Would you want to drive out to Chapin to see it as a piece of art? Probably not. Would you want to take your kids to inspire them to be on the stage or just watch them enjoy themselves? Absolutely. 

Set in the 1920s, “Cheaper by the Dozen” is the story of Frank Gilbreth, an obsessive efficiency expert who manages his home as if it were a factory, expecting extreme discipline from his 12 children as he trains them to succeed in the real world. The oldest of the children are becoming adults and beginning to question the strictness of his philosophy as they seek to explore the issues involved in growing up (translation: the girls are ready to talk to boys). Unknown to them, their father is dying from a heart condition, which prompts him to push them even harder to focus on achieving excellence in school while he is still around to see it. Through the extended father-daughter conflict over how to best spend their time, everyone learns the importance of making the most of every minute of life. 

Production values are very high, with a quality set depicting the interior of the Gilbreth home, eye-catching costumes, and good lighting. Background sound sometimes challenges the vocal projection of the younger actors, but not to a point where it is a significant detraction. 

The acting is very presentational in style for the most part, with David Reed clearly standing out as Mr. Gilbreth. Reed is quite natural and he showed nice subtlety as his character progressed knowingly toward his ultimate end. 

All of the kids' roles are double-cast, but of the cast I saw Bree Dinsmore did a nice job handling the role of Anne, the rebellious eldest daughter. Kudos also go to Jared Kimmerling as Bill, the sarcastic young son who momentarily stole the scene with virtually every one of his lines. The cuteness award goes to Emma Knuckley as the youngest daughter Jackie, in a landslide. You can't spell "Me? I'm adorable..." without E-M-M-A. Palin Bennett, as the family's fuzzy puppy, may object here but it's really no contest (did I really just tell a puppy to try harder to be cute?). 

Director (and set designer, co-costumer, stage mother and nominee for busiest woman alive) Tiffany Dinsmore adds some local spice to the event by casting nine Chapin area public figures in cameo roles over the course of the run. These include the Mayor of Chapin, several area preachers, two school principals, two radio personalities and the district’s State House Representative.

“Crowns” never out of style in Columbia.

Review by August Krickel.

The Midlands may have been shivering under a blanket of snow and ice that pushed opening night to Saturday, but Trustus Theatre's new production of Regina Taylor's gospel musical Crowns warmed the hearts of its audience with energy and "hatitude" to spare. 
 
Ostensibly relating the tradition of church-going African-American women in the South and the hats they wear, Crowns reveals its grander intentions with its title: hats have literal crowns, but a pretty hat can make a woman feel like a queen, empowering her with pride, dignity, and a certain sense of self-confidence described as "hatitude." By recounting stories from their lives linked by the common theme of hats, the ensemble cast covers the range of the human experience, from weddings, funerals and baptisms, to memories of rural farm life and the dawning of the civil rights era. 
 
In a way, there are two plays going on simultaneously. One is like a Ken Burns PBS documentary, focusing on oral histories that are re-enacted by talented performers, with an accompanying soundtrack of authentic gospel music. In fact, the play is based on a book by Michael Cunningham and Craig Mayberry that was a collection of such oral histories, along with photographs of ladies and their hats. Here, of course, it's all performed live. The other story centers around Yolanda, a troubled teen from Brooklyn, who is sent to live with her grandmother in South Carolina after her brother is murdered. 
 
As Yolanda, Latwanna Rachell Afflick is the standout in the cast. She is given the hardest task - remaining sullen and withdrawn for a good three quarters of the play, listening and silently learning about life from the life experiences of her grandmother and a loose support system of other hat-wearing church ladies. Afflick has a remarkably expressive face, and we feel her discomfort as she finds herself in an alien environment, share in her tears as she recalls the recent tragedy in her life, and rejoice with her when she finally discovers her humanity again. She has two solo numbers, displaying a pretty singing voice on "One of Them" in the first act, then belting out the showstopper, "I've Got Joy Like a Fountain," like a seasoned pro in the second. 
 
Also deserving of praise is Samuel Eli McWhite, credited simply as the "Man." In fact, he plays all the men in the play, from an admirer attracted by the lure of a sporty hat, to a vibrant minister filled with the spirit in "Hem of the Garment," to the various fathers and husbands in the memories we see depicted (poor guy usually ends up dying at the end of each story…). 
 
The other five members of the ensemble do fine as well, with Marilyn Matheus especially amusing as a church lady with a bit of a flirtatious past that pops up in a number of her stories. 

The only downside is that there is no real linear plot, and I'd have loved to have seen a story focusing more on Yolanda's coming of age under the guidance of her grandma and a Ya-Ya-like group of mentors, each with a different lesson to teach her (sort of The Secret Life of Bees... just with hats). To some extent this does happen, but most of the collective wisdom Yolanda learns comes simply from listening to the cast's soliloquies/monologues to the audience, and from inspirational, old-time gospel music. 

Brandon McIver's set is practical and functional, depicting the interior of a church, with modular pedestal/bench seats on varying levels that allow for each lady to be seen and heard clearly. A backdrop suggests the shape of a crown, but also allows for a detailed projected silhouette of an urban fire escape, effective for Yolanda's memories of Brooklyn.
 
Musical director Roland Haynes, Jr. on keyboards and percussionist Charles Z. Williams keep a lively pace through several dozen traditional songs, many of which I would have thought were Broadway show tunes, thanks to some peppy arrangements. 

Since much of the dialogue comes from actual stories from "real" people, Director Jocelyn Sanders emphasizes nuances and subtleties that are often not spoken aloud; the looks and expressions of the church ladies when they silently disapprove of the wrong words said at the wrong time during worship, or the turn of their heads in unison to Yolanda when there's a reference to youthful misbehavior, speak volumes.  
 
Trustus has had two previous successful runs of Crowns in recent years, and there's clearly something endearing about it that keeps audiences coming back. You won't find the high drama of Phantom or the sweeping melodies of Les Mis, nor the witty banter of My Fair Lady. Ultimately it's just a collection of folksy and insightful vignettes, some funny and some poignant, that capture a particularly colorful segment of Americana, one to which many of us in South Carolina can relate. We can all benefit from a little hatitude. 

Crowns runs through March 6th at Trustus Theatre; call 254-9732 for reservations.

 
Even the best whorehouse is something you should think twice about before visiting.

Review by Jeffrey Day.

            “The Best Little Whorehouse in Texas” is based on the true story of a bordello that operated in Texas for about a century until it was shut down in the 1970s. Like that place, it may be time for the 1978 musical to become part of history because it feels like a not-very-good remnant of the past.

            For the most part there’s nothing terribly wrong about Workshop Theatre’s production directed by Jeanette Arvay Beck. The cast and band are good, the singers strong, but the dancing is shaking and overall it’s sloppy and uninspired. That’s also pretty much what the show was like when the theater last mounted it a decade ago.

          The pieces of the show never really come together. The show is demanding with big dance numbers, people running through the audience and a dozen costumes changes all in a tiny theater. 

            As the madam of the house, Mona, Carolina Jones Weidner, brings the right amount of brass and tenderness to the role and she has a lovely and powerful voice. Scott Blanks is back as the crooked but charming sheriff. He only has one song, “Good Old Girl” (too bad because Blanks can sing), but he has most of the good lines, 90 percent of which being “God damn.”

            Hunter Boyle is hilarious as the television newsman Melvin P. Thorpe who wants to shut the whorehouse down. He could probably do so just on the strength of his bad blond wig and loud suits alone.  One of the best parts of this production is when Thorpe and his red, white and blue bedecked song and dance team take the stage. As the governor Kyle Collins turns a cameo, a song and dance called “The Sidestep,” into a real charmer.

            Most of the costumes are appropriately ‘70s ugly and look right. When the “girls” are wearing ball gowns that can be rapidly ripped off there are big gaps showing what’s underneath. The band and singers are fairly well balanced, but the amplified speaking voices are often too loud and not well modulated.

            The real problem is the musical itself. It’s just creepy. There nothing particularly funny about women basically forced into prostitution. One of the characters (who is played by a girl made to look about 14) comes to sell her body because her father has molested her. Huh?

            If that doesn’t bother you and you know you like this show you probably won’t be disappointed. Some of the rough edges, if not the script, may get cleaned up as it goes along.

“The Best Little Whorehouse in Texas” runs through Feb. 20. Call (803) 799-6551 for reservations.

To visit Jeffrey Day’s “Carolina Culture” Arts blog, covering all arts in the area, CLICK HERE.

If you follow the theatre scene in Columbia then you probably know that Trustus is using its milestone 25^th season as an opportunity to bring back some of its most popular and successful shows, of both the mainstage and the “black box” variety. “Pounding Nails in the Floor With My Forehead” is one such gem you could have easily missed in its original run, as it was first performed back in 1997 and only then as a late night offering. Well, thank your lucky stars, this exceptional production, including its original star, Steve Harley (no relation to the critic), is back in prime time, and with its raw edge it is a perfect example of the artistic boundary-pushing for which Trustus was created.

Written by award-winning actor and playwright Eric Bogosian (“Talk Radio,” “SubUrbia”), “Pounding Nails in the Floor With My Forehead” is a one man show, a collection of related monologues spanning nine distinctly different characters. Playing on the absurdity of typical fears, hype, trends, myths, beliefs and attitudes, the characters emit a sort of mental buzzing that builds throughout the work, ultimately making the subversive point that we too often trade the important gifts of life (including the power of our own minds) for the worthless crap fed to us by the increasingly sensationalist media.

I suppose in a technical sense it’s easy to be “outstanding” when you’re the only actor standing out on the stage, but Steve Harley really does shine in this performance. Each character is clearly delineated, with their defining vocal aspects tied firmly to their well-manifested physical traits. In short, Harley really becomes these people while in the various roles. 

Particularly memorable are the characters that require the most commitment, including the redneck drug dealer and the visionary subway bum, though all demonstrate Harley’s skill in one way or another. A conservative talk radio host alternates with a motivational speaker, a rabid fan, a self-help junkie, and the list goes on. Indeed, even if the script were not so engaging it would be worth a trip to the theatre just to watch a quality actor take on this challenge.

As the show is being staged in Trustus’ smaller black box space, other production elements are minimized but are still perfectly effective. Harley mimes many of the props and settings, and a few basic set pieces serve when needed to buffer the action, which isn’t all that much in this text-based actor-driven piece. There is plenty of spectacle to keep you visually satisfied in the characters alone.

The individual monologues are masterfully written, though if there is a weakness it is in how long it takes for them to cohere and become meaningful in the big picture. Thus, the first few, while brilliantly hilarious, may simply seem like a stand up comedy festival until being tied in later as the message emerges. Director Dewey Scott-Wiley has also done a fine job of updating some of the comic references from the 1990s in order to keep the jokes relevant to today’s audience.

On the whole, “Pounding Nails in the Floor With My Forehead” will appeal to you intellectually if you are even the mildest bit subversive in nature (see Bogosian’s other work), and artistically if you are a fan of strong acting. It is also undeniably funny, though much of the humor is of an adult nature and really, really pushes the limits, so you should avoid it if bothered at all by bad language.

The show runs through February 6 at the Trustus black box. For information on tickets call the box office at 254-9732.

Town Theatre’s “The Odd Couple” is very tidy, a little sloppy, and full of laughs. Go figure!

Review by James Harley.

Every dramatic genre has its master writers, and Neil Simon certainly qualifies when it comes to comedy. His works are so well put together as to be virtually foolproof in production, where all you really have to do is speak the lines and be assured the laughs will follow. Indeed, it would probably take a conscious effort to drain the life from a piece like “The Odd Couple,” and fortunately Town Theatre makes no such effort, presenting a fairly good community theatre level rendition of this twentieth century classic.

The story is focused on sportswriter Oscar Madison and his longtime friend Felix Unger, who meet each week at Oscar’s apartment for a poker game with their buddies. When the obsessively tidy and punctual Felix is unusually late one week, it is learned that he and his wife have separated and that he is wandering the streets in despair, without a place to stay. Oscar, an admitted slob, offers Felix a room and the “odd couple” is formed. Over the next couple of weeks the men’s radically divergent lifestyles and behavior clashes humorously, ultimately building to the point of confrontation. In the end, each learns from the other, tempering their extremist tendencies and becoming more rounded, happier and hopeful as a result.

Town Theatre has a true star in its midst, and though you will not see him on stage, his presence there is constant. His name is Danny Harrington and he is the scenic designer. Once again he has hit the mark, providing a very appealing visual context for the action. In this case it is a simple apartment interior, but the attention to detail is outstanding and instills in you, the patron, the notion that you are receiving a quality product before the show even begins.

Director Allison McNeely gets the job done, making the numerous visual gags work smoothly and maintaining an entertaining flow of movement in a play whose plot calls for a lot of sitting around a table.

Among the cast, Scott Stepp stands out as the slovenly Oscar. Though he sometimes lets Felix draw him into using more energy than his personality suggests, he still keeps his characterization within a believable range throughout. The same cannot be said for Lee O. Smith, who plays Felix as more effeminate than fastidious, with the result that he comes across as more of a diva than an obsessive. While he is clearly the “wife” in this “couple,” the level of feminization is over the top and creates a non believable character, causing him to steal the show, but not in a good way. In general we tend to care more about believable characters, and Oscar’s genuine shift towards moderation unfortunately gets overshadowed by Felix’s “look at me” leap at the end.

The supporting cast of poker buddies is highlighted by Steve Reeves as Roy, who stays busy with thoughtful actions and reactions at all points, again helping to ground the story in reality.

As a patron you should also know that the program indicates that the intermission will be held after the second scene, when it actually occurs after the first, creating some confusion. So, when the lights come up, don’t hold it thinking there’s a second break, go ahead and hit the bathroom.

There are some small technical annoyances involving body microphones (as a purist they probably annoy me more than the average viewer), but the laughs they are a-plenty, with the script easily making up for any weaknesses in production. But make no mistake, it is a good looking show overall, and if you like Town Theatre’s fare in general, you will certainly enjoy it.

“The Odd Couple” runs through January 30. For information or reservations, call the Town Theatre box office at 799-2510.

Trustus Theatre’s “Rent” is right on time.

Review by James Harley.

 The story itself is repetitive, dragged out, anticlimactic and filled with gratuitous theatrical gags, yet there is a reason why Jonathan Larson’s “Rent” has been such a huge hit on the American stage. Larson’s recipe for success combines two ingredients that are difficult to blend, ultimately creating a story of hope out of a tragedy. Whether or not we can personally identify with the struggling bohemian characters he presents to us, their situation compels us to compassion, and not a typical compassion manifested in pity, but one that vitalizes us into action through the uplifting energy of the music. Director Dewey Scott-Wiley at Trustus Theatre demonstrates a firm understanding of the energizing power of “Rent” and crafts a production worthy of the hype the show has received around the world.

Based loosely on Puccini’s opera “La Boheme,” “Rent” is the story of a group of bohemian artists living as squatters on New York’s Lower East Side. Living lifestyles that barely keep them afloat as they struggle to find their direction, they are suddenly faced with the prospect of paying rent or being run out of their makeshift homes. The crisis, coupled with the menacing outbreak of AIDS among the group, forces everyone to confront their goals and, perhaps for the first time in many of their lives, make real emotional commitments. In the end we learn the difference between renting our relationships by just getting by within them and fully owning our feelings by taking the risks necessary to live by them.

The operatic nature of “Rent,” where all of the story is told in song, added to the seven protagonists plus a full supporting ensemble make this an extremely difficult show to stage smoothly, and Scott-Wiley gets the job done. Despite the constant action taking place all over the stage, the all important point of focus is always clear and the background movement supports rather than distracts.

The cast is packed with veteran musical actors, and most do a good job of placing the story first and themselves second. Walter Graham’s naturalistic Benjamin, the former bohemian turned landlord, is particularly effective, and Kevin Bush has a notable stabilizing effect on everyone else when he takes the stage as Mark, an aspiring filmmaker who essentially serves as the narrator. Show stopping credit goes to Terrance Henderson as Tom, the part time teacher and computer wizard who longs to escape the lifestyle and open a restaurant far away. His vocal ease and range is nothing less than remarkable in this role, generating genuine tears throughout the house in his heavier numbers.

“Rent” also brings to the Trustus stage a number of fresh faces worth noting. Lanny Spires certainly knows how to make himself the center of attention as Angel, Tom’s transvestite boyfriend, singing and dancing his way across the stage with unchallenged zest. Katie Leitner handles the prominent role of Mimi, the drug-addict stripper, quite well, with her vocal and dance number “Out Tonight” providing one of the evening’s highlights for straight men. Both characters also step up when the game is on the line and deliver solid acting moments in the clutch.

There are no flaws to be found on the technical level, with Larry McMullen and Brandon McIver’s set believably creating the impression of an urban wasteland, and John Henson’s costumes defining the characters’ various bohemian flavors accurately before we even hear them speak. In fact, it is worth noting that many of the costumes in use were culled from the original Broadway production, with which Henson was connected. 

There are a few small issues that could be nit-picked regarding the show, but given the intensity of the challenge this is a fine production. Ultimately, it is the musical energy that carries the story of “Rent,” and with this cast the score will definitely keep your foot tapping. Larson had a notion that he was creating the rock musical that would win over the MTV generation, and he was on the right track. There is indeed a reason this show is so popular, and you should probably go see what it is. Make sure you hit the bathroom before the first act, however, as it runs a little long. 

“Rent” runs December 4-13 and January 7-23. For reservations call the Trustus Theatre box office at 254-9732, or visit www.trustus.org.

Columbia Children's Theatre's “Frosty” is a wonderful way to start the holidays.

Review by Larry Hembree.

Garnering an “E” rating, meaning the show is for “Everyone,” or at least the kid in everyone, Columbia Children’s Theatre’s current production of the musical Frosty couldn’t be more fitting for the holiday season.  The production boasts a very smart script, really fun music and a marvelously talented ensemble of performers who most capably bring to life an hour-long classic story for both children and adults.

This is the third time the company has produced Frosty, but the first in its newly acquired space in the former “Limited Express” at Midtown at Forest Acres.  And what an amazing transformation of the space, complete with theater lighting, a small lobby area and an ample stage.  Most of the younger audience sits on the floor directly in the front of the stage and others sit behind them in folding chairs.

In addition to choosing a great script in Frosty, CCT’s Artistic Director Jerry Stevenson does a marvelous casting job and then lets the performers do what they do well. Providing the audience with an effectively paced show, simple choreography and powerful choices that engage the audience to participate in the adventure, Stevenson truly understands the formula for successful children’s theater.

With book by Alyn Cardarelli and music by Steve Goers, the show is based on the song Frosty the Snowman, which most of us probably know from our childhood (and one that I now can’t get out of my head since seeing the show).  It’s about the snowman that comes to life when a magic black hat is placed on his head one day.

The script sports a variety of musical styles with much audience participation, and the cast couldn’t do the show more justice.

Veteran Lee O. Smith, taking his third turn as Frosty, is simply outrageously wonderful.  Smith, seen on stages all over Columbia, nails this one with perfect facial expressions, a pleasant voice and impeccable timing.  As a live theater performer, Smith has the ability to create a variety of theatrical styles, whether performing classic drama or light comedy.  And he certainly proves his penchant for children’s theatre in this show.

The entire ensemble is tightly woven and plays off each other well.  Jessica Bright uses strong physicality and a goofy accent to pull us into the show, but also brings a marvelous poignancy to the narrative when all is said and done. Chris Riddle’s wit and innate understanding of how much to give is a joy to watch in all four roles he takes on.  From an old schoolmarm, to a cop, to a very funny hat maker, Riddle commands the stage in a very smart way.  Joy Felder seems perfectly cut out to perform for children with just right amount of energy and exuberance and a superb voice to boot.  And what a smart move to cast a real 11-year old as the young Samantha.  Maddie Fran has a charming voice and brings maturity to the role that makes her every bit as legitimate as the seasoned adults with whom she is sharing the stage.  And for the adults in the audience, there is Sam LaFrage, who keeps true to the script but engages the adults with playful one-liners that are truly funny.

Columbia Children’s Theatre brings the Midlands something that not every city has: quality children’s theatre performed by adult actors.  And for the first time this season, the company will branch out and produce at least one show cast entirely with younger actors. 

Frosty begins by suggesting that “it all starts with a wish.” Even if you don’t have young children, my wish is that you’ll begin your holiday season by seeing this production. Or find some children and bring them with you.  You’ll laugh some, sing some and even perhaps shed a small tear.  I know I did.

The show runs through December 6.  To get more information about this show and the Columbia Children’s Theatre, visit www.columbiachildrenstheatre.com.

Town Theatre’s “Moon Over Buffalo” accomplishes its mission of making you laugh.

Review by James Harley.

Laughter is the best medicine, as it often overrides less delightful sensations, but it is also good camouflage for hiding imperfections. So, while Town Theatre’s “Moon Over Buffalo” is something of a cookie-cutter production, you may not notice if you just let loose and go with the general mood.

“Moon Over Buffalo” is the story of two prominent stage actors of the 1950s, George and Charlotte Hay, who dream of making it on the big screen. They get their chance when legendary film director Frank Capra visits their theatre in search of talent for his most recent endeavor. Unfortunately for them, the Hay family is in the midst of some personal drama centered around George’s tryst with the younger Eileen, which spills out onto the stage in a most embarrassing manner. Despite the fiasco, all turns out well in the end as we learn that sometimes a family must put aside its differences and commit to unity in order to overcome the many challenges of life. 

Truly, the production has few imperfections in terms of execution. It is a fast paced comedy presented with a high level of energy, filled with spirited physical humor. Allan Fulmer Jr. and Kathy Hartzog step right into their roles as George and Charlotte, and each member of the supporting cast fits the stereotype suggested by their character.

Indeed, the shortcoming of the show, if there is one (for this entirely a matter of opinion), is that the stereotyped characters are not mined for any of the actual substance that potentially lies within them. In short, the directorial interpretation as manifested in these characterizations keeps the show on the cartoon level in terms of style, committing entirely to the superficial nature of the play. This does not harm the humor at all, obviously, but it does prohibit the viewer from actually identifying with those on stage in a meaningful way.

Still, “Moon Over Buffalo” is a very well-drilled cartoon, and director Allison McNeely is to be commended for her management of the hilariously frenetic movement on stage. There are numerous near misses, as overlapping entrances and exits are perfectly timed to deliver the scripted chaos, and the interim stage pictures are well conceived.

The show is also well supported technically, though I’ve become so spoiled by scenic designer Danny Harrington’s more spectacular sets that I’m almost disappointed when a Town Theatre production calls for only a basic interior, as this one does.

On the whole, with “Moon Over Buffalo” Town Theatre delivers what it sets out to deliver, which is well-executed community theatre, and in this particular case, a night of laughs.

"Moon Over Buffalo" runs through November 21. For reservations, call the Town Theatre box office at 799-2510.

is cozy fun at Workshop Theatre.

Review by August Krickel.

Much like the relationship of its protagonists, Workshop Theatre's new production of Bernard Slade's Same Time, Next Year has a cozy feel of comfort and familiarity, due in part to the easy, natural chemistry of its leads, but also to the play's enduring popularity in regional, community and dinner theatre over the last three decades.  Two characters, one set, some nice laughs and some occasionally deeper moments make for an entertaining and innocuous night at the theatre.  
 
George and Doris appear to be a typical twenty-something couple in the post-war prosperity of the Eisenhower era.  She dropped out of high school to marry and start a family, he's climbing the corporate ladder; each have three children before age thirty.  The twist:  they're married to other people, and we meet them the morning after what each assumes has been a one-night stand in a guest cottage of a California country inn.  Somehow they sense a stronger emotional connection, and decide to continue their affair for one weekend each year over the next quarter century.  
 
For a show like this, all you really need to know is this:  she's good, he's good, and it's all very cute.  But if you need details, then it's worth noting that each successive scene fast-forwards five years, as we follow George and Doris through the expected passages of both adulthood and adultery.  There is a formula of sorts where each scene begins with eager, romantic anticipation of their long-awaited weekend with each other.  Then one or both reveal a secret burden they've been hiding, they help each other work through their issues, and naturally we root for them to get together in the long run.  
 
As Doris, Vicky Saye Henderson is given ample opportunity to show her flair for comedy; some of her most hilarious moments come as the somewhat repressed suburban housewife who tries her best to assume the role and posture of a wanton seductress.  Henderson even manages to get a laugh with the tremor in her voice when beset by an unexpected pain.  However, we also see the depth of her conflicted feelings, in the second scene when anger at George suddenly explodes, and in the final scene when she is overcome.  Chip Stubbs as George has a nice, light comic persona for most of the first act, but then surprises us when we see him become a bitter, heavy-drinking member of the "establishment" as he moves into middle age; the actor manages the transition well.
 
The script is less successful when Slade tries to use Doris and George as metaphors for their generation.  George moves from tormented Mad Men-style exec in the 60's to a self-actualized, sensitive soul in the 70's, while Doris returns to school and becomes a hippie, a liberated entrepreneurial businesswoman, and finally a nurturing grandmother.  As a result, the first act was for me more entertaining than the second, because it focuses more on the characters themselves.  I never completely believed that these two characters' lives would develop in the way we see portrayed in the second act, although the actors certainly did their best.  With minimal changes, each of the play's six scenes could have featured a different, unrelated couple, in the style of plays like California Suite, or like six episodes of a sitcom.  In fact, much of the dialogue reminds one of vintage shows like Maude, moving from character-centric humor to topical jokes, touching on far more serious themes, and then returning to warm sentiment.
 
Jocelyn Sanders directs with her customary attention to detail, bringing out the full range of emotions from her performers. The set by Randy Strange is quite detailed, with a multitude of kitschy hotel-room paintings, and every possible unattractive shade of brown in existence; the overall effect is very appropriate for an out-of-the-way inn which features the same decor for twenty-five years.  There is a nice selection of period relationship-themed music in between scenes, accompanying two stage-hands who spiff up the room, make the bed and arrange various props, dressed in character as housekeeping staff.  I especially appreciated the way sound cues were handled for a telephone and a piano, both of which came from the props themselves, and not from some speaker far offstage.
 
All in all, this is an entertaining production of a cute play that showcases the talent of two appealing performers at the top of their game.  Same Time, Next Year continues at Workshop Theatre through Sat. November 21. For reservations call 799-6551.
 
 

Trustus Theatre's “Extremities” is uncomfortable... but mostly in the right way.

Review by Larry Hembree.

A small former punk rock bar on Assembly Street is scattered with overstuffed chairs, plastic tables for refreshments, and bleachers for those who can’t afford prime ticket prices.  A welcome speech is made, and then a few stage lights illuminate to reveal a single-room set with a fireplace.  Marjorie enters the set in nightclothes and both “Extremities” and Trustus Theatre begin.

Twenty-five years later in a large, smartly renovated warehouse in Columbia’s trendy Vista with over 100 real theater seats (and attached cup holders), a hip bar and no bleachers, a speech is made by the same man then many stage lights illuminate again to reveal a single-room set with a fireplace. Marjorie enters the room and “Extremities” begins again.  It’s Trustus 2009.

Is William Mastrosimone’s 1982 violent drama still valid now?  Absolutely.  Trustus reprises the piece as a memento of its inaugural season two and half decades ago, but doesn’t contemporize the script; instead, it simply permits the production to unravel itself as honestly as the playwright allows.

Marjorie, an intended rape victim, gets away from her attacker, and confines him in her fireplace.  Later, her two roommates return home to find Marjorie’s torture of him in full swing with her fury precipitated by the thought that this man will go free on technicalities.  He says she can’t prove rape, but he can prove assault so she will be the one who goes to jail. Whatever happens, he promises he’ll come looking for her again. “I don’t want the taste of vomit in my mouth every time the doorbell rings” is her vow that she will not live in fear.

By the nature of the conflict, the work is uncomfortable to watch at times.  Through its thinly dimensionalized characters, it attempts to consider different societal points of violent crime: the inequities in the criminal justice system, the frustrations that can lead to vigilantism, and the permanent bonds that form between the perpetrator and the victim.

The script definitely has flaws, but director Jim Thigpen paces it fast enough to keep us from realizing how absurd the situation really is.  The quartet of performers tries hard to make the playwright’s thin characters into believable people.  Some are more successful than others.

As Marjorie, Monica Wyche is superb.  Wyche fills every moment onstage with content, whether spoken or unspoken.  Her innate ability to present a clear and seamless performance out of an inconsistently written character is quite amazing, segueing believably from complacent to violent to confused.

Chris Cockrell as Raul, the rapist, has the enormous challenge of spending over an hour bound and blindfolded in a small fireplace while his fate is discussed in front of him.  Even though Cockrell tends to stay too intense most of the show with little contrast, he does a stellar job of listening and reacting honestly.  Normally a musical theater performer, Cockrell does a noble job with this hugely complicated role.

Elizabeth Gray Heard presents Terry, the empty-headed roommate, simply. With a secret revealed late in the proceedings, Heard understands how to take a backseat until her moment comes. 

Altonia Chatman, the third roommate, has enormous stage presence but struggles a little more to convince us what her role is.  Portraying a sort of liberal social worker, she doesn’t use her material sincerely enough to fully develop the persona.

“Extremities” is the kind of production that will become stronger with each performance.  Because of the intensity of the subject, each audience will likely react very differently to the work, leading the performers to gain clarity on exactly what the message is.

But one message is very clear, twenty-five years later, Trustus has given us yet another intriguing evening of theater. 

"Extremities" runs through November 14. For reservations call the Trustus Theatre box office at 254-9732. 

SC Shakespeare Company’s “Romeo and Juliet” combines spectacle and emotion to offer a delightful night at Finlay Park.

Review by August Krickel.

The South Carolina Shakespeare Company scores with its new production of Shakespeare's timeless and most accessible play, Romeo and Juliet, presented at the amphitheatre in Finlay Park.  With age-appropriate casting, inventive little visual touches and creative choices in staging, director Scott Blanks emphasizes not just the love story, but the bigger tragedy of a town plagued by vendetta and murder, and the human impact on those left behind. 
 
One reason why this play is so popular among the general public has always been the fight scenes. So often, a Shakespearean character will say "M'lord, let's go fight the bad guys over here, off stage left," and they exit to a battle we never see.  Here we get not one but four extended smackdowns between the rival Montague and Capulet factions of Verona, one of which opens the play with a bang.  Blanks allows the fight continue far longer than we usually see on stage, and at some point, aided by some intense percussion-heavy music in the background, we realize this is more than a playful brawl - these guys are really trying to kill each other.  Almost everyone takes damage, and there is an unintended outcome that sets a darker tone for the rest of the play. 
 
With young actors in the main roles, we realize that this story is not just about star-crossed soulmates, but also the follies of youth.  Juliet is a teenage drama queen who makes out with a masked stranger at the equivalent of her debutante ball… and then asks his name... and then marries him in secret less than a day later.  Romeo is likewise a misty-eyed dreamer in love with love, ready to fall hard for the first girl who returns his affections.  Lest we forget, he crashes the Capulets' party to try to hook up with a different girl entirely.  
  
As Romeo and Juliet, Hunter Bolton's and Katie Mixon's facial expressions, body language and excitement perfectly capture the conflicting emotions, exuberance and volatility of young teens swept away by passion of infatuation. The only downside is that in their enthusiasm, they (and many of the other young actors in the cast) sometimes allow the beauty of Shakespeare's flowing verse to overpower them, and they end up reciting lovely poetry to each other rather than actually conversing. As a result, plot points are occasionally skimmed over or lost in the mix: the intricacies of which potion causes sleep vs. death, who knows the truth about which, and how that info is conveyed might seem a bit murky to the few people in existence who never read the play in high school.
 
Believe it or not, this isn't a major detriment, just a minor one.  Every English teacher in town may want to shoot me when I say that the exact dialogue isn't always necessary to appreciate the story; theatre teachers, however, may smile knowingly and concede that in this play, the visual effect and totality of the experience is far more important. When a shirtless Romeo leaves Juliet's bedroom at dawn, we don't need to hear every nuance of whether a lark or nightingale is singing to understand what's going on.
 
Another good example of the supreme importance of emotion is Juliet's seeming "death," which causes quite a commotion of sobbing from her family.  The director and cast could have chosen for each character to politely take turns expressing grief, or to realistically sob and talk over one another.  They wisely opt for the latter, and as the tears flow, we see the pragmatic, authoritarian Capulet sitting apart from the others, rocking back and forth helplessly, and above all the wailing we hear the only lines that we need to hear, his heart-wrenching cry of "My child."
 
As Capulet, Michael Hart delivers a strong performance, and helps with much of the plot exposition; when Romeo crashes his party, he provides the voice of reason, restraining the hot-headed Tybalt (Michael Conway) who wants to start a fight, the Prince of Verona's prohibition notwithstanding.  Through his eyes, we realize that Tybalt is clearly just a young punk looking for an excuse to fight; when Tybalt and his Capulet posse round a corner the next day, we see a bad-ass street gang out for blood.  
 
With Romeo depicted as a dreamy romantic, but an assertive young actor with a deep voice as Benvolio, Romeo's best friend becomes the alpha-male of the Montague pack. I thought the actor's rich baritone sounded familiar, and checking the program, sure enough I realized that it was Bobby Bloom, memorable as a depressed steam shovel operator in Elephant's Graveyard at Trustus last spring.  He's also credited as Fight Choreographer, and is excellent in both capacities.  When he and his Montague buddy take on three Capulets and give them a serious beatdown, we almost forget to focus on the more important part of the fight, Romeo vs. Tybalt.
 
As the madcap Mercutio, Brien Hollingsworth is less the merry prankster (as the character is usually portrayed) and more of a decent guy who wants his shot at taking down the haughty Tybalt.  His death was for me the play's saddest moment, as his playful banter becomes an increasingly heartbreaking realization that his wound is fatal.  As above, Blanks emphasizes the bigger picture with plenty of horrified shrieks from bystanders; the full scope of the tragedy is reiterated later in the play when we see not just Juliet's burial, but the bodies of Mercutio and Tybalt as well.  Leigh Stevenson as the scatter-brained but loving Nurse gets all the traditional laughs, but far more important is her clear affection for and devotion to the girl she has raised from infancy; in many ways she seems to have been much more of a mother figure than the regal Lady Capulet (Libby Campbell) which may explain much of Juliet's nature. 

The set, by Lee Shepherd and Charles Whetzel, is straightforward and practical. With the amphitheatre setting, the balcony scenes are now at eye level, and so we don't have to crane our necks upward and strain to see everything (Hunter Bolton deserves significant credit for nimbly climbing that famous trellis with ease, then athletically leaping back down).  A number of moments benefit from the outdoor setting: wind blowing Juliet's long curly hair, a leaf poignantly falling to rest on the stage, and Romeo's line "I defy you stars," which echoes impressively from one side of the park to the other.  
 
The costumes by Linda Khoury are visually appealing; most of the men are clad in dashing shades of black, dark blue and brown, with long billowing coats in lieu of bloomers and tights.  Although the styles do seem to range from 13th through 19th centuries, and at times suggest Morpheus and Neo from The Matrix.  Recorded instrumental music accompanies and punctuates many of the more emotional scenes, and the effect is quite moving.

Because of its simple plot, and characters that most can identify with, Romeo and Juliet is an excellent "starter" play with which to introduce people to Shakespeare.  Columbia likes to think of itself as cosmopolitan with ballet, symphony, live theatre and Shakespeare in the Park...but we cannot be truly cosmopolitan if we don't go see the Shakespeare when it's done in the Park.  The State Fair is over, as are most Homecoming games, so get thee hence to Finlay Park, because the play only runs for four more performances, Wed. 10/28 through Saturday 10/31.

Town Theatre’s “The King and I” is a solid production top to bottom.

Review by Jeffrey Day.

            “The King and I” is fast approaching its 60^th birthday, but is doing quite well. It looks particularly good at Town Theatre where it opened Sept. 18.

This is one of the best productions at the theater in recent years, filled with top on-stage talent, crisp direction, terrific sets and costumes and a great band. Oh, and did we mention – the show itself is darn good.

            The Richard Rogers and Oscar Hammerstein II musical  premiered in 1951, although most people know it from the 1956 movie, and contains several well-known tunes including “Getting to Know You,” “Hello Young Lovers” and “Something Wonderful.”

          Like many Rogers and Hammerstein shows (“Carousel,” “Show Boat,” “South Pacific”) it has a serious message under the grand music and spectacle. In the play Anna Leonowns, a widow with a young son, goes to Siam (Thailand) in 1860 to teach the King’s many children and wives.

            The play examines the collision of two strong characters and two strong cultures, delving into gender roles, slavery, dictatorship, colonialism and a few others things. With a show this old one expects more condescension on the part of the Europeans toward the Thais and while Anna is portrayed as having more common sense than the king, he’s not made into a complete moron. “The King and I” does not provide simple questions or simple answers.

            Allison Manley as Anna and Rob Sprankle as the King have chemistry and their timing on the delightful give and take dialogue is perfect. Manley has a strong and expressive voice and she can act and sing with equal aplomb. The King doesn’t have much to sing, but he is a strong presence and Spankle handles the humor, self-doubt and dignity with the right touch.

            Diana Gilbert as Lady Thiang, the King’s No. 1 Wife, is every bit as good as Manley and the two complement one another well.

            These are the main roles that have to be just right and they are. The supporting players – about 30 – range from a young new wife who wants to run away to a lot of very cute children who do not fidget one bit. A standout is Christian Strange as the crown prince who captures the child and ruler of the role perfectly (he is alternating as the prince with Eric Berg).

            Another star is the sets. “The King and I” opens with a huge painted screen of a Buddha and two elephants and the rest of the sets, from elaborate palace to simple bedchamber, are just as good. It is one of the most attractive and elaborate sets at Town in a while. A backdrop for a port scene is poorly-painted, but it’s on view only briefly.

            Jamie Carr Harrington directed and her husband Danny Harrington designed the sets. Musical director Jeanine Cully Marsh does a superb job directing and leading the band. Excellent work also comes from choreographer Tracy Steele and costumer Janet Kile. This is a terrific team.

            As might be expected, the theater wasn’t able to round up 30 Thai people locally (actually none). But casting a lot of white people, with slightly tan makeup, and a few African-Americans works fine. It’s just not much of an issue.

            Those who haven’t seen “The King and I” in a long time may forget that there’s a play within the play: “The Small House of Uncle Thomas” also known as “Uncle Tom’s Cabin.” The play is done like a Thai dance theater piece – those Rogers and Hammerstein guys were awfully good. Town does justice to their great play within a play with some fine dancers taking part.

            “The King and I” is an old-fashion, substantial musical, which means it’s almost three-hours long. Town makes every minute enjoyable.

            “The King and I” runs through Oct. 10. For reservations call Town Theatre at 799-2510.

Jeffrey Day is a long-time arts writer. He runs Carolina Culture by Jeffrey Day at carolinaculture.org. To visit the site, CLICK HERE.

Workshop Theatre's “The Producers” is an energetic and irreverent crowd pleaser.

Review by August Krickel.

"It was shocking, insulting, outrageous...and I loved every minute of it."  That's from a review of Springtime for Hitler, the absurdly-titled play-within-a-play from The Producers, but is also an apt description of the musical itself.  Bolstered by an attractive and talented cast, Workshop Theatre kicks off its new season with an energetic, irreverent crowd pleaser, full of politically incorrect wisecracks and sexy shtick. 
 
Director/choreographer Cindy Flach and musical director Randy Moore are to be commended for managing to squeeze a BIG Tony Award-winning extravaganza onto Workshop's limited stage with nothing lost in the translation.  With Moore on piano, two additional keyboardists plus bass and drums, the accompaniment is rich and sounds as if there's an entire orchestra hidden somewhere. The cast, led by Matthew DeGuire, is clearly having a wonderfully giddy time on stage in what is essentially an extended parody skit about Broadway itself.
 
Max Bialystock (DeGuire), once a successful producer of hit musicals, has hit rock-bottom when nebbish accountant Leopold Bloom (Kevin Bush) shows up to do his books, and realizes that an unethical showman could make millions by raising money for a guaranteed flop, then pocketing the rest for himself, given that no investor ever expects any return from a flop. Together they scheme to find the worst play ever written, and mount it on Broadway, thus ensuring a certain failure, leaving them with a cool couple of million with which they can retire to Rio. All goes according to plan until their would-be fiasco becomes a blockbuster smash, and Leo and Max must face the music at last.
 
Composer, lyricist and co-author (with Thomas Meehan) Mel Brooks based this story on his  Oscar-winning (seriously!) screenplay for the 1968 film version, and it features all the broad comedy and double entendre that one expects.  A guilty comedic pleasure for teenage boys of all ages and genders, Brooks found fame on the big screen satirizing and spoofing recognizable genres such as horror, science fiction and westerns; The Producers was his send-up of Broadway musicals.  As a result, most of the musical numbers here are actually well-crafted, melodic parodies of traditional Broadway fare, although quite pleasant to the ear. Much of the humor results from four-letter words and risqué references turning up as rhymes in seemingly innocent and schmaltzy chorus lyrics. You'll recognize plenty of gags from other Brooks films too - "walk this way" from Young Frankenstein, "work work work work work" from Blazing Saddles, "It's good to be the King" from History of the World,  etc.
 
As the anxiety-filled milquetoast Leo, Kevin Bush affects a high-pitched, nasally nerd-voice that is certainly appropriate for the character, but at times seems a bit forced; his best moments come when he’s not trying so hard, particularly in musical numbers where his natural charm and appealing voice are showcased.  In a show where almost everything is a caricature, performers do well to play their characters as straight as possible, and the champion here is DeGuire, who commands the stage and action at all times.  Max freely breaks the fourth wall and jokes with the audience, yet is completely believable as the over-the-top impresario.  Even at his most dejected, we sense that it's Max's world, Max's story, and we are simply along for the ride.  His show-stopping solo, "Betrayed," is a hilarious medley where he recreates the previous two hours' action, right down to the intermission!  
 
As in most Mel Brooks vehicles, there's a curvaceous, willing, Nordic blonde bombshell, played winningly here by Mandy Nix, who enters clad all in white a la Marilyn.  As the Swedish Ulla, Nix duets sweetly with Bush in "That Face," and displays impressive dance skills that venture into gymnastics. Other stock Brooks characters include a crazed Nazi composer, played by Kyle L. Collins, and a flamboyant director, played by Steven Hillard.  Some might find their characterizations a bit too cartoonish, but both made me smile.  
 
The leads are backed by a strong and talented ensemble; you'll recognize many familiar faces, including leads from previous shows here and elsewhere around town. Most get to play multiple roles, and smoothly move through numerous quick costume changes; kudos to costumer Ruth Mock for enabling the seamless transitions.  
 
Randy Strange's excellent set design is the type that works best for this type of production: there's a suggested New York City skyline in back, with various rolling set pieces that depict just enough of various interiors, turning easily into other locales when reversed. A highlight is Leo's drab accounting firm, where file cabinets are revealed as doorways through which fantasy showgirls appear.  I also really liked Max's simple but effective jail cell, accomplished with nothing but projected shadows of bars.  

 All of this praise notwithstanding, if you're looking for the work of a serious composer like Sondheim or Lloyd Weber, or the good taste and wit of Shaw, Coward, or even Neil Simon,  you will not find them here. The Producers springs from the mind of the man who gave us  “Werewolf?  There wolf,” and “the sheriff’s a- near."    Ulla's song “When You've Got It, Flaunt It,"  is a perfect example, given that she manages to place the final "T" of "got" and "flaunt" onto the following word "it," while shaking her magnificent bosom in Max and Leo's faces.  Say it out loud if you don't quite follow the meaning, but that's as sophisticated as the humor gets.  There are unflattering stereotypes and jokes galore at the expense of Germans, Jews, the Irish, the elderly, gays, lesbians, women, blondes ...but all conveyed in such a gleefully juvenile fashion that only the thinnest-skinned could actually take offense.  Bottom line:  if you not only get the joke but cannot resist snickering uncontrollably when you hear the title of Max and Leo's next project, She Schtupps to Conquer, then this is most definitely the show for you. 

The Producers runs through October 3 at Workshop Theatre;  call 799-6551 for reservations.

USC's “Cyrano de Bergerac” is a muddy mix of conflicting styles.

Review by Jeffrey Day.

The last word in the play “Cyrano de Bergerac” is “panache.” The word for the Theatre South Carolina production of it is “pastiche.” The hodge-podge mixing of styles, and in this case quality, muddies the brilliant panache – literally white plume --of the great poet, lover and fighter.

The story of the man with the soul of a lover and a face that loses by a very long nose is one of the great romantic tales. Written by 1897 by Edmond Rostand, the play tells of Cyrano’s love for Roxanne, who loves Christian, one of the men of Cyrano’s army brigade. Cyrano offers the tongue-tied young man his services as a writer of love letters. No good can come from such deceptions. Nor can the fine points of the play survive the artistic blender of this production.

Theatre goers are ushered into USC’s Longstreet Theatre through the basement and taken into the performance space on the stage elevator. They’re greeted by many louche characters in dark glasses, green and blue wigs and frills. The production, directed by visiting USC faculty member Robert Richmond, uses the elevator, walkways above the in-the-round seating, the lighting grid, and yes, even the stage for the action. Sometimes it works, but mostly it is just a lot of show that’s distracting and doesn’t serve the play.

The funky and sumptuous costumes seen early in the show are later negated by those that look like Three Musketeer outfits from a local costume store. When three poet friends of a baker show up dressed like clowns it simply feels like someone is doing this because they can.

The whole production is neither one thing nor another. We start in a rather edgy world which quickly falls back into something much more standard. Then it swings back again. And back again.

The same is true of the performances. As Cyrano, guest actor Anthony Cochrane is excellent. He’s surrounded by undergraduate students, nearly all of whom look to be in way over their heads. And this doesn’t help his performance much either. The poet he’s playing is fighting an awful lot of noise as is everyone else. And literally a great many of the words are inaudible.

So many details have been given close attention. For example, tablecloths in a bakery scene have been dipped in powder which sends a dust into the air. Just as many details are overlooked making them all the more glaring. One overshadows all others.

When Christian clams up one night Cyrano must speak of love directly to Roxanne – but from the darkness. But on this stage he’s in full light. With all the technical resources this show has marshaled couldn’t someone create a shadow in which he could hide?

The larger problem goes back to the pastiche of this production. If one is going to mess with a classic, going in waist-deep doesn’t really do. As Cyrano’s love letters are raining down on the stage – quite beautifully in fact – it’s hard not to wish we were watching a screen above the stage filled with his text messages.

“Cyrano de Bergerac” runs through Oct. 4. For more information or reservations call (803) 777-2551.

Jeffrey Day is a long time arts writer who operates the Carolina Culture by Jeffrey Day arts blog at carolinaculture.org. To visit his site, CLICK HERE.

Chapin Community Theatre’s “Deathtrap” suffers from identity crisis.

Review by James Harley.

There’s no doubt in my mind that the Chapin Community Theatre is on the upswing in general. They have improved the quality of their productions both technically and from a performance perspective, they have extended their season to four shows, and are actively working towards the construction of a new space. Indeed, providing coverage and encouragement to such striving “off the beaten path” theatres was a primary impetus for the creation of OnstageColumbia.com.

Thus, it pains me to say that Chapin’s latest production, “Deathtrap,” by Ira Levin, is at best a sidestep for the organization and at worst… well, worse than that. In a nutshell, the show is muddy conceptually, oscillating between thriller and farce to the point that it is difficult to take any of the characters seriously.

The story is that of washed up playwright Sidney Bruhl, who longs for another run in the spotlight and is hoping he can squeeze out one more hit to get himself back in the game. Out of the blue he receives a script in the mail from a former student, Clifford Anderson, who is seeking advice from his mentor. Bruhl immediately recognizes the quality and potential of the work and begins to plot methods of making it his own, ranging from collaborating with the young author (at the suggestion of his wife, Myra Bruhl) to entertaining the possibility of the young man’s violent death. When Clifford visits Bruhl in his remote home for a feedback session, the plot begins to twist and turn as everyone’s desires manifest themselves, culminating in a shocking ending where we learn the price of selfishness.

Levin’s play itself is outstanding, and technically speaking the production is a winner. While the set designer is not specifically credited in the program, he or she should be congratulated for creating a perfect visual atmosphere for the action. Bruhl’s study is handsome in general and carefully and convincingly decorated with posters from his Broadway successes and with his diverse collection of weaponry. The added touch of live goldfish also contributes to the homey yet macabre setting.

Likewise, the lighting was effective and the creepy sound score was well conceived and executed. Indeed, all of these elements set the stage perfectly for some unexpected and sinister happenings.

The problem with the show is to be found primarily in the characterizations, which seem “put on” from the opening curtain to the close. Basically, you are constantly aware that you are watching actors and not real human beings. Glenn Farr, as Sidney Bruhl, operates within a limited register, such that his high and low points of emotion all come out at the same pitch, simply at different speeds. His constant joking about murder comes across consistently as humor, lacking the macabre underbelly that we need to see to know that he could be serious (and to justify his wife Myra’s concern as well).

Andi Cooper as Myra is physically believable, but she also seems as if she is reading from a script in a very deliberate fashion rather than truly manifesting a character. Between the two of them, regardless of how bad a marriage they have, the stiffness of their interaction makes it hard to accept that they were ever wed.

Josh Martin as Clifford also lacks the sinister element necessary to his character, as well as the charm that should precede it. This is a character that we need to really like, and while Martin is likeable and looks the part perfectly he needs to be exceptionally charming to facilitate the development of the plot.

Among the supporting cast Lisa J. Buchanan clearly stands out as Helga Ten Dorp, the world-renowned psychic that happens to be visiting the Bruhl’s neighbors during the course of events, and who appears occasionally to announce forebodings of doom. Her arrival is a welcome and entertaining break from the awkward life in the Bruhl household. Buchanan embraces the role confidently and sells it.

Kudos also must be given to Scott Means, who stepped in only a week before opening to take over the role of Bruhl’s lawyer, Porter Milgram, due to an illness in the original cast.

Whether some of the characterization choices were actor-generated or shaped by director Debra Leopard is hard to determine, but the net effect is a show that vocally comes across as more of an impromptu staged reading than a full production, and which at times seems like more of a parody of the thriller genre than a thriller itself. While the script allows for some hilarious internal parody, it is unclear the extent to which this was intended in the production.

“Deathtrap” runs through October 3. For reservations call 345-6181.

Trustus Theatre’s “The Sweet Abyss” skillfully asks the questions, leaves the answers up to you.

Review by Jeffrey Day.

            During the past 15 years Jon Tuttle has graced us with several fine plays. Add “The Sweet Abyss” to the list. His newest work, which opened Friday night at Trustus Theatre, is beautifully-written with fully-drawn characters and packed with ideas.  “The Sweet Abyss” supplies hearty laughs, dewy-eyed moments and delightfully complex medical terms, maintaining a fine balance and tone that engages in a tight-rope act above a dangerous chasm of new-age philosophy and cheap laughs. It never falls in. The playwright and the audience are fortunate that this first production of the play is in the steady and capable hands of director Dewey Scott-Wiley or things could have gone very wrong.

            “The Sweet Abyss” hits many finely-tuned notes just right, although the second act needs refinement and trims and the ending belongs in a slightly different place than it occurs.

            The play centers on Cass whose life is a bit of a mess. She’s not in good health, has a crappy job and is behind with the rent on the house she shares with her slightly wacky daughter Dori.

            But a visit to the doctor turns positive and she’s started dating her proctologist Roger (That provides plenty of laughs, but these aren’t so much jokes for the audience as they are jokes within the world on the stage).

            Cass’ most solid relationship is with her cat Izzy, who has his own health problems. When Izzy dies, it sends Cass into a depression and then on a search for answers which lead her to a painfully-shy veterinarian, a woman who counsels those who’ve lost their pets and a blind visionary who re-connects people with pets. She’s so desperate she even visits a priest.

            Cass is played by Elena Martinez-Vidal, who looks perfect for the part and makes it her own. It’s a role that could be overplayed, but the veteran actor never lets it get away from her.

             E.G. Heard fills the role of Dori as well as the animal-lover Caroline, two very different characters. She does an excellent job with both – it’s hard to believe the same person is playing the two roles. Dori is a deeply puzzling character. Has she been seducing her mother’s lovers? Did she really have a baby? Did her father molest her? These unanswered questions make the character, and the play, richer.

            Caroline at first seems like a new age wacko, but Tuttle hasn’t written a caricature. We laugh at some of the things she says, but can also recognize the truth of many of them. Caroline has a mini-monologue about the death of a mockingbird that is one of the most beautiful things Tuttle has ever written. 

            Joe Morales is very good as the proctologist Roger, who calls himself Jolly Roger (Dori calls him “Jolly Roger the Butthole Pirate”). The doctor isn’t keen on cats and frowns on intense relationships between man and beast. Although he is rather anal – really he is – Roger is a nice guy who cares for Cass. It would have been easy to write him as a cad and a jerk, but Tuttle has given us a man who has attributes and attitudes we don’t like, but a guy who we do like.

            Morales also plays the veterinarian David and while it isn’t as big a part as Roger it is still a large role. Roger really is a Jolly Roger and David an introvert bordering on autistic, but at times Morales, Roger and David start to merge. It’s hard to tell if the problem is the play, the player or director. Morales does an excellent job with two other small parts as a priest and a blind and wheel-chair bound visionary. The play calls for two actors to fill the multiple roles and it is a good idea most of the time.

            The show is solid technically. It uses, but doesn’t overuse, three turntables that reveal and hide small set pieces. The lighting and sound at times shout when they should whisper and the instrumental versions of pop songs are heavy handed.

            The basic idea behind “The Sweet Abyss” – what happens when we lose someone important and that important someone is an animal - could have been maudlin, sentimental, trite, even slapstick in lesser hands than Tuttle, Scott-Wiley and this cast.       This play uses this event to explore our relationship with animals, with other humans, and our religious, domestic and economic worlds. And it does this in very specific ways. How much does it cost to treat a cat for diabetes? What’s the Catholic vs. Protestant vs. Buddhist view on animal souls? Is being dead like being under anesthesia? Can you buy sacred beads at Hobby Lobby? Tuttle, a professor at Francis Marion University, has obviously done serious research on medicine, animals and religion.

            “The Sweet Abyss” asks the questions, but doesn’t answer them (though it does come dangerously close to answering them at the end of the play). Instead when the house lights come up you can go home and think about the questions. That’s art.

            “The Sweet Abyss” runs through Aug. 22. For reservations call the Trustus Theatre box office at 254-9732.

To visit Jeffrey Day's "Carolina Culture" Arts Blog, CLICK HERE.

OMG! Workshop Theatre’s “High School Musical 2” is like soooo awesome!!!

Review by August Krickel.

OMG OMG!  Sharpay got Troy a job @ her dad’s club this summer, and she’s like totally got her claws into him. Gabriella was supposed to be Troy’s GF 4 EVA, but he’s like blowing off all his BFF’s, so Gabriella was like “What’s up?” And he’s like “Whatever,” and she’s like “WhatEVer!”  Ohmigod!  OK, g2g, CU L8r.  :-)  
 
If you have no clue as to what the passage above means, then you may not be the target audience of Workshop Theatre’s new production of Disney’s “High School Musical 2,” which opened to a packed and appreciative house this past Friday.  Rest assured, however, that almost any teen, tween or even pre-tween you may know will not only know the entire plot, all the characters and all the songs, but probably already has the dvd of the movie, and the soundtrack cd.  

For the unitiated, HSM2 is a stage version of the sequel to a hugely popular Disney Channel movie, and follows Workshop’s successful production of the first one last year (although no knowledge of the original or either movie is necessary).  A fair number of the supporting cast and ensemble are back, but most of the leads are new; all give  spirited performances that make for light, frothy, fun summer entertainment.  

Taking up where the original left off, reigning East High School diva Sharpay (gotta love the name) schemes to steal big man on campus Troy from his girlfriend Gabriella by getting him a summer job at her rich father’s country club.  Much to Sharpay’s chagrin, Troy wrangles jobs for Gabriella and a number of their friends too, and hijinks ensue, with the aid of plenty of upbeat, peppy, bubblegum-pop music.  Unlike its predecessor (which had a number of overlapping themes about cliques, peer pressure, stereotypes, parental expectations, etc.)  HSM2 is a far more traditional story that we’ve seen many times before with Mickey Rooney and Judy Garland, and/or Frankie and Annette, and/or Archie, Betty and Veronica.  The warring teen factions of jocks, “brainiacs,” and theatre geeks have now been morphed into a core group of likeable middle-class kids, while the conniving Sharpay and her twin brother Ryan lead the evil country club set.  

HSM2 could, in fact, be subtitled “Sharpay Strikes Back,” or “The Wrath of Sharpay,” as the teen villainess takes center stage with relish.  Raime Padgett does a fine job in the role, alternatingly coquettish, domineering and petulant.  A highlight of the first act is her musical celebration of herself, “Fabulous,” surrounded by an entourage of fawning admirers like an underage Mae West or Marilyn Monroe.  A trio of mean girls (played by Mellie Boozer, Emily Laughridge and Morgan Tapp) function as her backup singers, and in a subtle little message, Sharpay and her posse always show  more skin and wiggle more seductively than the “good” girls in Gabriella’s  group.

As Ryan, Bart Mathers (who played Troy’s best friend Chad in last year’s play) brings a nice physicality to the role that especially helps when he proves to the jocks that a dancer can be just as athletic as they.  As Troy, Jake Etheridge bears a remarkable resemblance to his onscreen counterpart Zac Efron, and has a pleasant singing and good stage presence.  Unfortunately, with Sharpay’s scheming as the main focus of the plot, Troy doesn’t have as much time onstage as a hero traditionally might, nor does the ostensible heroine.  Ginny Sims is lovely and appealing as Gabriella, and has a surprisingly rich and deep voice.  Her best moments come in the song “Gotta Go My Own Way,” as she finally stands up to Troy. What?  Gabriella may break up with Troy? OMG!  Sorry.

Among the supporting cast, some characters are expanded: Jack Scott (played by Corey Law) the school’s frenetic PA announcer, moves onto stage as a full member of the good guys, and gets to interact with his geekette girlfriend, composer Kelsi, played winsomely by Lauren Shealy. Becca Cromer returns as Martha, the brainy girl who secretly yearns to be a hip-hop dancer, and she’s sort of promoted to principal character; she and Kelsi  are part of Gabriella’s gal pal pack.  The downside is that a number of favorite characters have far less to do this time around, including the leader of the brainiacs, Taylor (Lori Minor) and Troy’s best buds Chad (Matthew Phenix) and Zeke (Michael Hazin.)  The backing ensemble is uniformly excellent.  

One gripe, however, was the garbled sound system in the first couple of scenes on opening night, which caused a good bit of important expository lyrics and dialogue to be unintelligible.  The mixing or amplification problems were resolved fairly soon, but one wishes that such a clearly talented young cast might depend more on their own skill, projection and enunciation, and less on technology and microphones.  

With no musicians in the way, (a recorded score is used) scenic designer Randy Strange is able to use the entire stage, filling it with several cleverly-crafted modular pieces that easily transform into believable backdrops for different parts of the high school and the country club.  Choreographer McCree O’Kelley likewise takes advantage of the available space with elaborate, professional–caliber dance numbers, including a hilarious mock-Hawaiian luau scene.  As before, there are thirteen songwriters credited, but the book is again by David Simpatico, based on Peter Barsocchini’s screenplay, and director Walter Graham pulls it all together into a pleasant evening of family-oriented fun.  

For the theatre-going parent, the importance of HSM2 is not so much the story or the music, or even the performances (excellent though they may be) but that the show provides a wonderful excuse to drag your children away from the TV and movie screens, and show them what live theatre is all about. They won’t be disappointed, and you might just surprise yourself and have fun too.

Disney’s "High School Musical 2" runs through August 2 at Workshop Theatre; call 799-6551 for ticket information.

The Alan Menken, Howard Ashman and Tim Rice musical is filled with eye-catching visuals and well-executed choreography. Taking on the role of director/choreographer/traffic cop, Shannon Willis Scruggs fills every inch of the stage with a multitude of well-cast performers, and creates two hours of nicely paced comedy and drama suitable for the entire family.

Trustus Theatre’s production is not the best “Rocky Horror Show,” but does it really matter?

Review by James Harley.

That’s the question I pondered as I left the theatre this weekend after seeing the latest Trustus rendition of this contemporary cult classic. While it certainly lacked in many areas theatrically, the essential purpose of the show is to give the audience a chance to participate and have some fun, and it would be difficult not to fulfill this with any production without expending great effort to consciously ruin it. Rocky Horror is what it is, and if you like it in the first place then you will likely enjoy yourself regardless of the overall quality of the presentation.

If you somehow do not know the story, it follows young lovers Brad and Janet as they suffer an unfortunate flat tire in the countryside on a rainy night. Seeking help, they come to the door of the Frankenstein home, where they are greeted by an array of odd characters (later revealed to be of alien origin) clad scantily and engaging in highly suggestive behavior. Somewhat trapped in this difficult and awkward situation, they are coerced into deviant acts by their transvestite host, Frank N. Furter, who on that night also happens to reveal his newest laboratory creation: a man named Rocky. Brad and Janet’s love is challenged by the many sexual temptations around them, ultimately leading to the, um, climax of the show. While much of the story is a vehicle for gratuitous debauchery and the parody of B-grade science fiction movies, there are also life lessons couched within.

As for the details, the primary shortcoming of the production is its failure to successfully tap into that hearty and poignant substance which underlies the campy fun on the surface. The characterizations of Brad and Janet are not made genuine enough at any point that we actually care about their ultimate fate, even though we can laugh heartily and throw out our favorite shouts at them during their journey (this show is highly interactive, with audience members expected to vocally contribute jokes).

As Brad, Patrick Kelly comes out with a visual bang, looking the part perfectly, but his echo fades rapidly as he is frequently drowned out by the band and all opportunity for vocal subtlety is lost. Despite having a strong and beautiful voice, Sydney Mitchell as Janet often suffers the same fate.

Indeed, the show is a technical mess, with almost constant microphone problems which are not only aural but visual as well. The sight of bulky microphone boxes attached to underwear is highly distracting even in the moments when they are working correctly, and this substantially detracts from the quality of the stage pictures.

The nature of designer Todd Clark’s set is also somewhat problematic in that it simply allows the audience to see too much of the “backstage” area, creating a sense of clutter and distracting from the focal points on the stage proper.

On the positive side, Rocky Horror veteran Scott Blanks gives the solid performance you would expect from him as Frank N. Furter, though often undercut by microphone issues as well (unfortunately including his initial entrance). His final number, “I’m Going Home,” redeems any of his shortcomings and is one of the highlights of the show.

Also, thank goodness for Christopher Cockrell as Riff Raff, Frank's servant. Microphone or no microphone, his vocal strength and commitment set an example for all to follow, and he is a refreshing and driving presence in every song.

Similar commitment is displayed by Andrew Stepp as Eddie, who, in his two minutes on stage, manages to raise the energy level several notches.

I could go on, but it is almost pointless to review this show in the first place. If you know “Rocky Horror,” then you will be engaged by the constant interaction, though perhaps mildly disappointed at the musical and sound quality as you tap and sing along. Also expect a few unconventional aspects, of course, under Chad Henderson’s direction. If you do not know the show, it is a spectacle that you should certainly experience at some point anyway, simply due to its uniqueness.

“The Rocky Horror Show” runs through July 25. For reservations call Trustus Theatre at 254-9732.

 
Workshop Theatre’s “Moonlight and Magnolias” offers two solid hours of laughs.

Review by James Harley.

I’m a big fan of spectacle in the theatre, but there is a certain charm to a simple, small cast show like “Moonlight and Magnolias.” Big shows absolutely embody the spirit of community theatre in that we see everyone in town on stage, for better or worse, but smaller shows done well can offer an opportunity to really enjoy the best available talent at work without significant dilution. Workshop Theatre’s “Moonlight and Magnolias,” under the direction of Dewey Scott-Wiley, is one such show.

Set in Hollywood in 1939, Ron Hutchinson’s script (based on a true story) places screenwriter Ben Hecht and director Victor Fleming in the office of legendary film producer David Selznick. It seems that Selznick’s latest project, a film adaptation of Margaret Mitchell’s “Gone With the Wind,” is not going so well, and he is under extreme pressure to salvage it before suffering the harsh financial and social consequences. In desperation, he locks Hecht and Fleming in his office for five days, and together they attempt to come up with a workable vision for the film. Since Hecht has never even read the novel, it is left to Selznick and Fleming to enact the story for him as he transcribes and creates the screenplay. Issues arise, personalities clash, and humor abounds as they push on toward their ultimate goal: the making of one of the most famous movies of all time.

As soon as the lights come up, the overall quality of the production is immediately reflected in Randy Strange’s well designed scenery. While simply a standard box set, the office’s detailing is excellent and believable, creating the perfect environment for the action to come. The other technical aspects of the show follow suit.

In the opening scene Selznick first meets with Hecht, the newly-hired writer, played by Jon Taylor. It takes a while for Taylor’s characterization to level out, as Hecht seems to oscillate a bit between confident and wishy-washy for much of the first act, and we see what appears to be the actor more than the character in a few situations. Director Fleming, played by Chip Collins, arrives next on the scene and is likewise a bit flat early on as his alpha-male words are not matched entirely by his manner and actions.

Of course, the simple reality here is that next to Hunter Boyle in the role of Selznick, any actor is going to seem a little flat by comparison. Make no mistake, “Moonlight and Magnolias” is “The Hunter Boyle Show,” and Mr. Boyle brings it from the opening curtain to the final fade. His character is complete, his energy unrelenting, and though there are three principals on the stage, the other two really do seem like supporting cast. You may know Boyle as an accomplished actor already, but this role really seems to reside right in his wheelhouse and to stimulate his best instincts.

In actual support, Giulia Dalbec-Matthews does a fine job as Miss Poppenghul, Selznick's overworked secretary. Indeed, hers is the only energy that matches Boyle’s, and their rapid exchanges early on set the bar for the rest of the night.

The pace of the show is fast from the outset and the witty humor is constant, keeping the audience engaged and laughing all night. I did not once look at my watch, which is a genuine testament. The second act offers Taylor and Collins an opportunity to shine, as their characters are beaten down at that point by the brutal writing process and their roles become much more physical in nature. It seems having a clearly defined posture to cling to brings out their better instincts as well, as both become more humorous even as the play deepens in seriousness.

But don’t worry, “Moonlight and Magnolias” never gets too deep. Indeed, here and there the script briefly addresses issues such as racism and politics, but the treatment is fairly cursory and it is clearly the humor which is central to this particular production. That may be a choice or it may be an omission, but in either case the result is the same: a hilarious night of entertainment.

Other things you may want to know are that the show is not a long one, leaving you time to get home to bed at a reasonable hour or to go out for some fun afterwards, and that it is filled with adult language.

“Moonlight and Magnolias” runs through May 30. For reservations call Workshop Theatre at 799-6551. 

Photos by Pam Johnson.

A few good guys and swell dolls make Town Theatre’s “Guys and Dolls” an okay bet.

Review by Jeffrey Day.

A few cast members come out rolling sevens and elevens, but overall the Town Theatre production of the funny, flashy 1950 musical “Guys and Dolls” craps out too often to have a winning night.

The good roles are the leads: Lee O. Smith, as craps game operator Nathan Detroit, Abigail Smith as his long-suffering and long-waiting fiancé Adelaide, Kyle Collins as Sky Masterson, a man who will bet on anything and everything, and Bobby Craft as Nicely Nicely Johnson, who… well it’s hard to tell what Nicely does, but Craft sure can sing and dance.

Now if one could just escape the slow and cumbersome parts of the show, the way Nathan’s dice game eludes the cops.

When the cast is tackling the big numbers like “Rockin’ the Boat” and “Luck Be a Lady” and some of the lovely ballads, the show is entertaining. The rest of the time it’s not.

The musical, first done at Town Theatre in 1959, focuses on Detroit’s floating crap game in New York, his attempts to avoid getting married and Masterson’s unexpectedly falling in love with a Salvation Army lady ‑ and she with him.

Most of the time the show, directed by Cynthia Gilliam, stays at a basic community theater level. Along with some strong leads, the band led by Greg Boatright is stellar and meshes well with the singers. The comic-book-like set is a good idea, but not well executed. There were lighting problems opening night (Adelaide spent her signature song trying to stay in the spotlight), and the costumes are ill-fitting and too tame against the set.

If you really like “Guys and Dolls,” which is a great show, you’ll be charmed enough by the good parts to get past the bad ones. But don’t bet too much on it.

“Guys and Dolls” runs through May 30. For reservations call Town theatre at 799-2510.

To read Jeffrey Day's Carolina Culture Arts Blog, CLICK HERE.

Chapin Community Theatre’s “Enchanted April” is entertaining but not magical.

Review by James Harley.

Success always comes at a price, and in raising the bar for quality over the past few years the Chapin Community Theatre now finds itself having to live up to a new set of expectations. Winner of the 2008 Greg Leevy Award for the Best Show in the greater Columbia area (“Dearly Beloved”), in the midst of its most ambitious season in a decade and coming off a string of critical successes, the theatre now presents the British romantic comedy “Enchanted April,” directed by Glenn Farr. While the production features some solid performances and is clearly well thought out, it lacks a bit in energy and polish, which leaves the viewer entertained but not exhilarated in that magical sense that seamless live theatre stimulates.

Briefly, the story by Matthew Barber (adapted from the novel by Elizabeth von Arnim), follows four disconsolate women as they head to Italy for a month long vacation in 1922, leaving their husbands and homes behind in their pursuit of self-renewal. Coming from different walks of life and having met somewhat randomly, the women create unlikely bonds as they get to know each other and face common issues over the course of the trip (such as their personal isolation, the charm of the villa’s handsome young owner and the not entirely expected arrival of two of their husbands). In the end we learn that because the world is ever-changing, constant renewal is an important part of maintaining happiness.

As Lotty Wilton, the Hampstead housewife who plans the whole trip, Katie Mixon starts slowly but certainly grows on you as her character’s outlook improves. Her down moments may not register that convincingly, but the lovable child-like energy she reclaims during the episode makes it easy to be sympathetic to her cause. Tiffany Dinsmore is solid as Rose Arnott, another housewife whose passion had died over time from the routine of marriage.

The universal appeal of the play relies on the four women coming from different circumstances, and so great effort is put into clearly delineating their characters. Unfortunately, this leads to some overcharacterization or stereotyping, particularly in Lady Caroline, the beautiful socialite with a dark secret, whose deliberate style of movement remains consistently unnatural throughout.  

Among the men, Perry Simpson stands out as Rose’s husband Frederick, his manner fitting the bill for a worn out writer, and his comic expressions garnering some of the bigger laughs of the night. On the other end, John Freeman looks the part of Anthony, the dashing artist/owner of the villa, but presents the character flatly with little passion. Show stealing honors go to Debra Leopard as Costanza, the cook, who energizes the stage with every appearance.

Other highlights of the show include the scenic transition between acts, as the purposely bare stage gives way to the lush, flowery Italian villa, and also the climax of the first act, in which Lotty and Rose break the news to their respective husbands that they are leaving on vacation without them. The fast paced dialogue here is impressively interwoven between the two homes placed on opposite sides of the stage, presenting the most finely honed theatrical moment of the night.

Had the above level of timing and execution characterized the entire show, I would be calling it an unqualified success (okay, okay, I always qualify to some extent…), but unfortunately there are too many moments at the end of the many rapid-fire scenes where the tech did not complement the action, and actors are left awkwardly in frozen poses as they wait for the impending light change that again seems to be late. Beyond the scenery, the show is somewhat bland technically, with some cursory lighting gestures and some abrupt sound cuts.

“Enchanted April” is an engaging script within the romantic comedy genre, and women in particular should easily identify with the moods, challenges and plights of its principals. The production is not professional caliber or as strong as some recent Chapin Community Theatre productions, but still rates as solid community theatre for the size of its market. The show runs through May 23, for reservations, call 345-6181.

Intriguing “Elephant’s Graveyard” hits and misses at Trustus. 

Review by August Krickel.

When the cast of Elephant’s Graveyard, Trustus Theatre’s new mainstage production, had taken their bows and the house lights came up on opening night, the first thing I said aloud was “Well, that was certainly different.” 

Taking chances and challenging our expectations is what good theatre is supposed to do, and Trustus is to be commended, both for giving this new work by George Brant its first professional production and for experimenting with some new delineations of performance space within the theatre itself.  While the experiment doesn’t always work, the script itself is eloquent and thought-provoking, and the cast uniformly strong. 

Inspired by a true story of bizarre Americana, Brant recounts the tale of a town that, in 1916, wanted to execute an elephant. Or to put it less sensationally, the tale of a circus animal that steps out of line, so to speak, and has to be put down.  But how exactly do you put down a 5000-lb. elephant?

Thankfully, for once something rural and macabre happened not in South Carolina but in Erwin, Tennessee, a small railroad town near Kingsport that actually “forgot its own name,” or the correct spelling anyway, owing to a post office typo, and no one ever bothered to correct it. 

What distinguishes this play is its format: six actors (and an accompanying guitarist) represent the local citizenry, six more are circus folk, one is a railroad engineer, and the story of what happened that fateful day when Mary the elephant ran amuck is related to the audience by them all. Virtually the entire play consists of actors taking turns speaking directly to the audience in character, each giving a different perspective to the overall narrative. In a way, it’s one of the best modern variations on a Greek chorus I’ve ever seen, with each actor delivering a series of monologues, but rarely interacting with each other.  There’s no elephant on stage, and only the vaguest hint of a big top or a train, but the cast’s expert delivery of the script’s rich visual language allows us to create the spectacle in our minds, just as if we were being told a tall tale by a master storyteller.

A number of the cast are standouts.  Bobby Bloom, as a local Steam Shovel Operator, is quite moving with his unique monologues consisting almost entirely of monosyllables, depicting the bleak existence of  a turn-of-the-century laborer whose life has been made no easier by industrialization. Jonathan Jackson as the Engineer embodies order and efficiency, confident that technology can solve all problems (a world removed from the loving but ineffectual dad I saw him play only a few weeks ago at Workshop Theatre in Caroline, or Change).  As a Hungry Townsperson, Jabar K. Hankins resides at the bottom of Erwin’s social order, and sits away from much of the action, yet delivers some of the most articulate and poignant dialogue in the show; his is the main perspective for the play’s two main fateful events. 

As the circus Ballet Girl (something far classier than a tawdry show girl, she tries to convince us) Vicky Saye Henderson is serene and radiant; she takes her time with her lines, thus leaving the audience hanging on her every word. There is a wonderful gag where each time she smiles, an audio cue of little chimes; this gets a laugh whenever she does it, but at a far more serious moment we feel her shock when it doesn’t work. As the Ringmaster, Michael Downey is called on to relay to us the nature and economics of a traveling circus, but we can see the weariness behind his glib showman’s spiel.  Steven Kopp does some terrific acting as the elephant trainer, confident and compassionate when describing his work to the audience, yet stammering and hesitant when trying to interact with people instead of animals. Top honors must go to Alec Grooms as not just a sad clown, but a self-loathing one; greasepaint disguises the actor’s youth, and he creates an oddly sympathetic loser on the lowest rung of the circus hierarchy. 

All of that said, there is much about Elephant’s Graveyard that doesn’t really work, starting with the title itself, which is rather misleading. To me it suggests a place of reverence where a creature consciously goes to die… which isn’t this play at all. Some sensationalistic headline might have worked better:  Elephant Runs Amuck, or Big Top, Small Town; though most accurately it might be called Three-Ring Elegy.  

While the device of an ensemble with no principals works just fine in the long run, the play’s first ten minutes are rather chaotic, as we are introduced to all the characters in rapid succession, each telling part of his or her story; the audience is left struggling to connect the pieces until the actual chain of events becomes clear.  Director Robert Richmond has chosen to open up the Trustus performance space and allow the action to spill out into the audience.  As a result, characters appear not just on stage, but backstage in the revealed make-up/dressing area, on various platforms and pedestals halfway out into the house, at both sides, and even suspended on a swing above us. 

I have to applaud the inventiveness, but it just doesn’t work, especially with this type of play, where we aren’t sure at first who the characters are, where we should be looking, or upon which one we should be focusing.  At times the effect is successful, for example when the circus performers are on the stage proper, while the townspeople heckle them from behind us.  I understand completely the designer’s and director’s intent:  on a thematic level, we are intended to be a part of the town, to get caught up in the thrill of an arriving circus, and then to move into a mob mentality.  On a practical level, the play is almost all monologues and no action, so by having characters among us, there is more vitality and involvement.  I must say that it really wasn’t necessary:  the script is strong enough on its own, and for me the most effective moments were when the entire cast was on the traditional stage for two pivotal events, each performer acting silently with his or her eyes only, while another spoke. 

There is probably some greater allegory intended.  Clearly the Railroad Engineer represents the efficiency, precision, and regulation of technology, and the Steam Shovel Operator represents the downside of that for the average Joe.  The Ringmaster provides a significant amount of commentary on the realism and practicality demanded by economics.  But if the unseen elephant in the room was supposed to convey a larger message about man’s inhumanity, or capital punishment, or the dangers of Groupthink, it never was made quite clear enough for me. 

Another challenge presented by the material is the play’s length: it’s a one-act, running not much more than an hour.  So the evening begins with a “Making of the play” documentary film, followed by some nice acoustic guitar songs by cast member Liesl Downey, then an intermission, and then the play.  Again, I understand the desire to give the audience a full two hours of entertainment… but yet somehow I felt slightly cheated.

As a work of dramatic poetry, Elephant’s Graveyard is remarkable in its use of language and imagery.

As a demonstration of how theatrical devices like choruses and monologues can be used creatively, it’s very enlightening.  As a collection of meaningful and emotional soliloquies brought to life by gifted local artists that eventually form a cohesive whole, it’s quite entertaining.   But I’m not sure that anyone but the hard core theatre buff or drama student would fully enjoy it. 

Fortunately, if you’re reading this, you probably are part of that hard core.  Trustus took a chance with this show, both artistically and financially, and I must congratulate them on thinking outside the box (office) and bringing the professional premiere of a completely new work of theatre to Columbia. 

“Elephant’s Graveyard” runs through May 23. For information or reservations call Trustus Theatre at 254-9732.

USC offers a kinder, gentler “Mother Courage and Her Children.”

Review by Jeffrey Day.

Bertolt Brecht’s “Mother Courage and Her Children” takes place during a long and drawn out war, so maybe it’s okay to drag out a phrase from the Bush administration: “kinder and gentler.”

The Theatre South Carolina at USC production of the 1939 masterpiece of modern theatre (here in a 1995 translation by David Hare) feels just a little too sympathetic to the play, the characters and the audience.

Mother Courage follows warring armies across Europe selling bullets and brandy and changing sides when needed. It’s officially set during the 30 Years War, a string of sort-of religious wars that raged across Europe during the 1600s. But, it has always been a timeless work and it is no accident that Brecht wrote it shortly after Germany invaded Poland.

So there’s nothing wrong with the central set piece of this production – a faded red pickup truck rather than Courage’s usual cart set on a turntable.

I’ve seen about half a dozen productions of “Mother Courage” (at USC, the Spoleto Festival, in New York) and don’t recall the story or the characters being either as naturalistic or sympathetic as in this production directed by professor Steve Pearson. 

Courage is one tough cookie, who won’t pay full price for anything – including her son’s life. In this production, Courage (played by Robyn Hunt) gives away too much emotion too soon - as do those portraying the other characters.

That doesn’t mean the actors aren’t good; Hunt certainly is, as are Ben Blazer as a priest who joins Courage and Eric Bultman as a cook.

For this viewer, the whole undertaking is way too warm. This isn’t a problem most people will probably have. Instead they will see a version of “Mother Courage” that’s much more accessible and approachable than they – and certainly I – could have imagined. Not a bad thing, since this is a play about how terrible war is, but also how very good it is for the people who profit from it – and there are many.  There are worse things than presenting the nasty truth hidden in a sweet.

As far as technical elements go, this one falls about in the middle for USC. Set and lighting design are good, but the truck doesn’t really work and there is too much packing and unpacking for an already slow moving play.

The music for the songs in “Mother Courage” has varied over the years with theaters doing their own scores. For this show, well-known Columbia musician Dick Goodwin wrote it, which he did with good results and which is played well by a small band. Excellent sound design amplifies the voices so subtly and naturally that one can barely tell the words and music aren’t coming directly from the actor’s mouths. I have a bit of a problem with that too.

 “Mother Courage and Her Children” runs through April 26 at USC’s Drayton Hall Theatre. Call (803) 777-2551 for tickets.

To visit Jeffrey Day’s Carolina Culture arts blog, CLICK HERE.

“Fat Pig” is first rate fare on Trustus’ second stage.

Review by August Krickel.

The NiA Company’s new production of Neil Labute’s seriocomedy Fat Pig, running through April 25th in the Trustus Black Box theatre, is the stage equivalent of a date movie: the plot concerns  interpersonal relationships at work and play among attractive 20/30-somethings.  The dialogue is fast, witty and full of banter, the theme does make you think (although not too hard) and you’re out in under two hours.

The title notwithstanding, Fat Pig takes a fairly thoughtful look at Tom, an ordinary guy foraging through the urban jungle of big-city dating, who finds himself hesitantly falling for Helen, a sweet, plus-sized librarian who has by necessity learned to accept her weight, making casual jokes before anyone else can.  She worries that he may feel embarrassed to be seen with her, while he feels comfortable and relaxed in her company, initially more reluctant about commitment in general than commitment specifically to her.  In fact, we soon learn that Tom had been sporadically dating Jeannie, a sexy and volatile co-worker who’s not happy at all when she discovers her competition.  Will true love win out? 

And that’s basically it.  In many ways the play is a thematic descendant of David Mamet’s Sexual Perversity in Chicago, and quite reminiscent of other  small cast, simple-set, relationship-themed Trustus shows (Beyond Therapy, Frankie and Johnny, Woolgatherer, etc.) from back in the day. The laughs come in rapid succession, but punctuated here and there by genuine tenderness and sadness.  Much like an episode of Sex and the City, just with a male protagonist.

As Tom, Cedric Rembert gives one of the most naturalistic performances I’ve ever seen, and with the intimacy of the 50-seat Black Box, the audience can truly appreciate the nuances of his acting.  Tom is decent and appealing, but also realizes his own shortcomings, and Rembert makes us want to root for this likeable if somewhat ineffectual everyman.  One can imagine Friends’ David Schwimmer in the role, or Lost’s Harold Perrineau Jr., to whom Rembert bears a striking resemblance both physically and vocally. 

Loretta Brown does fine work as Helen, and during several moments where she opens up emotionally to Tom, there were numerous “Awwwwws” from the audience, clearly moved by her sincerity and vulnerability.  As Carter, the work-buddy-from-Hell, Joe Morales depicts a complete tool who actually seems to have a few shreds of decency somewhere deep within.  Maria Bravo plays Jeannie with fire and attitude, navigating that fine line between spurned ex and stalker.  She delivers a terrifically executed slap to Tom’s face, and I’m still not sure if Rembert actually took the slap, or if it was just expertly timed and choreographed, but either way, his twisted, pained facial reaction was priceless. 

The set is almost non-existent, which actually works just fine.  A small round table and tablecloth define a restaurant, a square table with a laptop and two chairs become Tom’s office, and some bright lighting and a blanket take us to the beach.  There’s an excellent selection of smooth, sexy soul music in between scenes, plus 

a classic gem, long a guilty pleasure of mine from the 70’s, Joe Tex’s “Ain't Gonna Bump No More With No Big Fat Woman.”  Director Darion McCloud deserves ample credit for keeping the cast’s pace fast and snappy, but then allowing them to slow down and take their time with the touching moments, and for utilizing the tee-niny space so effectively.

One still hears far too much of the “there’s nothing to do in Columbia” complaints,  but the addition of the Black Box has enabled Trustus to almost double its output of shows, and as Artistic Director Jim Thigpen pointed out, to keep the theatre doors open while mainstage plays are in rehearsal and sets are being constructed.  Fat Pig only runs through Sat., April 25th so catch it while you can. For information, call Trustus at 254-9732.

Trustus Theatre’s “Doubt, A Parable” will not take your breath away, though you may find yourself holding it.

Review by James Harley.

It takes some guts to put up a live production of a story that has just recently been released on the big screen, especially when the film garnered multiple Academy Award nominations and starred acting legend Meryl Streep. With seemingly nowhere to go but down, Trustus Theatre has taken on this challenge and performed admirably, presenting a solid, though by no means breathtaking, stage version of John Patrick Shanley’s “Doubt: A Parable.”

Shanley’s Pulitzer Prize winning play explores the nature of doubt and certainty, those ubiquitous sensations everyone experiences, sometimes based on pure emotion and other times on observed patterns of behavior. Through the wrangling of the principal characters with the weighty issue of pedophilia, we are challenged to examine how we act when we are not certain about our facts.

Set in a Catholic school in 1964, the story is centered on Father Brendan Flynn and his relationship with a student, Donald Muller, who never actually appears on stage. The school’s principal, Sister Aloysius, charged with the welfare of the children, is suspicious of the Father’s behavior and employs Sister James, a new teacher, in her quest to investigate the matter. The well-written piece introduces numerous complications and perspectives along the way, which to name here would spoil the experience of the show. Suffice it to say that the goal is to magnify the sense of doubt and highlight the consequences that result from either action or inaction.

Stann Gwynn renders a good performance as the ambiguous Father Flynn, excelling particularly during his monologues when he has the stage (or the pulpit) to himself. Drucilla Brookshire really carries the show as the hard-nosed Sister Aloysius, with her gruff, matter-of-fact characterization perfectly fitting the needs of the role. Kim Harne, as Aloysius’ reluctant agent, somewhat disappears between these two, but given the extent to which her character is beaten down philosophically by the elder Sister, that is not necessarily a problem.

The closest thing to breathtaking in the show is scenic designer Andy Mills' handsome set, which is highly ornate and appropriate, the constructed proscenium framing the action nicely. Of the slew of pulpits seen on the Trustus stage recently (“God’s Man in Texas” and “Southern Baptist Sissies” come to mind immediately), this one is certainly the finest.

From a production standpoint this is clearly an actor driven show. There are few compelling stage pictures, and little spectacle beyond the set itself. The actors are more or less left to bring this solid text to life, and they generally do a good job of it. The only particular problem I would note involves the positioning of Sister Aloysius during her long 2^nd Act conversation with Donald’s mother, where her face is blocked completely to those on the house-left side.

Of course, with a play that relies on complex revelations as much as this one does, it is difficult to review many of the finer points of acting without giving away too much information, and so I will simply leave you with a general impression as to its quality. I can certainly say that the script is worthy of the attention it has received, and that while the issue at hand may not affect us all, doubt itself is universal and the play is appealing on those grounds alone.

If you like action packed spectacle or laugh-a-minute comedy, this one is not for you (though there is more humor than you might imagine, and it is well played), but if you enjoy a thinking-person’s suspenseful drama, you may want to check out “Doubt, A Parable.”

“Doubt, A Parable” runs through April 11. For reservations call the Trustus box office at 254-9732.

Lou Warth as the transplanted-from-New York stepmother Rose is another standout, managing to make what could have been a thankless role sympathetic.  We really do root for her to find a way to connect to her stepson, who instead idolizes the strongest person in the house, the stern servant Caroline.

Town Theatre not up to par with “Buddy: The Buddy Holly Story.”

Review by James Harley.

After last year’s solid “Damn Yankees,” this season’s spectacle filled “West Side Story” and its polished “Little Shop of Horrors,” I walked in to Town Theatre’s “Buddy: The Buddy Holly Story” expecting to be impressed by yet another big musical production with all the trimmings. Unfortunately, I was a bit disappointed, as this one just didn’t have the look, snap or finish of these recent hits.

The text itself is a mild handicap, as it is basically a Wikipedia version of Holly’s rise and brief life as a rock star, not written in a manner that really engages the viewer emotionally. The key draw is the performance of Holly’s well-known music, which we certainly get plenty of, though the performance quality varies significantly with each tune. Many of the early songs simply lack the energy that should have been present to make Holly attractive to the talent scouts watching him. By the time we get that energy in “Oh Boy,” it’s the end of the first act and we have a break to cool down and lose that momentum.

The second act drags early on as the focus returns again to the story, much of which is told in narrative style by radio personalities from across the nation (and around the world). Sound bites which should be crisply delivered and linked with some sense of flow are not, contributing to the lag effect. In general, these narrative sections are choppy and lacking theatrical pace. Several scenic transitions also suffer this problem.

The latter portion of the second act is devoted to Holly’s final concert, performed with Ritchie Valens and “Big Bopper” JP Richardson. At this point the production captures the flair I expected from the opening curtain, with well-costumed dancers, glittering scenery, a full band on stage, and some energy from Holly and the rest of the performers.

Among the performers, Charlie Duncan certainly possesses the look of Holly, if not the charisma, and has the chops to sing and play guitar as required. Unfortunately, from the detached looks I saw during many of Holly’s big hits, he simply did not seem to capture the hearts of the crowd.

Gary Pozsik fits well as the Lubbock, Texas radio voice HiPockets Duncan, and Waldo Medlin Jr. makes a good Big Bopper. Kudos to George Dinsmore for bringing the appropriate energy, commitment and voice to all of his roles. Also deserving mention is Alex McCollum, who demonstrates perhaps the best vocal skill of the night in his number with the Snowbirds.

While the show is not the best Town Theatre production of late, there are some positives that make it an interesting experience. Having a working band on stage during the musical numbers is a nice convention, as is employing the audience interactively as the actual audience for Holly’s performances (to the point of inviting them to dance). Other high points include the previously mentioned “Oh Boy,” also “Maybe Baby,” and The Snowbirds’ performance of “Why Do Fools Fall in Love?” Of course, if you’re a big Buddy Holly fan, the show may interest you on that level alone.

On the whole, however, this one just doesn’t seem to come together with polish, at times resembling a High School choral production with nice technical and musical backing. If you plan to see it, I recommend making reservations for the final week, as some of the basic problems may work themselves out by then.

Trustus Theatre’s “Glass Menagerie” shines.

Review by James Harley.

Trustus Theatre has established a tradition of honoring Black History Month with thematically relevant productions. This year, the company, always looking to test the boundaries, has added a twist by taking the modern classic “The Glass Menagerie,” ostensibly an autobiographical play about the early family life of white author Tennessee Williams, and performing it with an all black cast. The purpose is to demonstrate that Williams’ story of the ups and downs of life during hard times speaks to Americans across the board. While the Trustus publicity literature for the show makes much of this conceptual twist, the actual production is carried out so smoothly that one hardly notices it at all, which is exactly how it should be.

The story consists of the memories of protagonist and narrator Tom Wingfield, whose family migrated from the Deep South to St. Louis during the great depression of the 1930s. Tom’s father abandoned them to seek his own dreams, leaving Tom and his overbearing mother, Amanda, to care for his crippled and alienated sister, Laura.

Tom has dreams of his own, and is torn between them and the moral obligation he feels toward his unfortunate family, leading him to great frustration and much time spent pursuing escapist activities. Likewise, the two women feel the wide gap between their desires and reality, leading them to both live in fantasy worlds. For Amanda, it is her more glamorous past, and for Laura it is as a virtual citizen within her collection of glass animals. Eventually, a visitor enters the picture and bridges all of these worlds. The lesson we ultimately learn? Life can be pretty damned tough.

It isn’t difficult to discern that “The Glass Menagerie” was one of Williams’ first big works, as it is something of a gimmick play relying on memory sketches and narration. There isn’t much action, and the entire first act is essentially exposition. Literary criticism aside, however, the Trustus production handles the story well.

The performance style of the cast fits suitably with the “memory play” concept, with Marilyn Matheus, as Amanda, floating about the stage as if on clouds in her cherished Cotillion dress between bouts of well-stereotyped griping at her children (delivered, of course, from their perspective). Likewise, Michelle Jacobs, as Laura, presents herself as an extreme burden on the family, her alienation depicted so strongly that it almost made me want to abandon her myself. This level of commitment pays off when we later see her transform nicely in moments where hope is glimpsed. Darion McCloud, as the protagonist, is the most naturalistic presence on stage as he recounts his own story, stepping in and out appropriately.

The uncomfortable nature of the play itself and of this dysfunctional family makes us very happy to welcome Christopher Harvey onstage in the second act as Jim, who is Tom’s co-worker and Laura’s “gentleman caller.” Jim represents the bridge to the real world, and while he is obsessive in his own way, Harvey’s solid choices as an actor fulfill his purpose nicely, where he could have easily fallen into the trap of becoming either another stereotyped memory or a purely naturalistic intrusion.

Technically speaking, the show is a mixed success. The interior setting, designed by director Larry McMullen, is nice to look at and perfectly appropriate. However, much of the action takes place on the apartment’s fire escape, which is hardly represented at all scenically. While this may have been a conscious thematic choice to keep the show fuzzy around the edges like a distant memory, a more visually appealing fire escape might have offered opportunities for some better stage pictures (and for the visual literalization of Tom’s desire to escape his circumstances). Teddy Palmer’s lighting hits the spot, though the use of textual projections, especially positioned where they are, really does not add much to the show.

On the whole, the production is solid and professional, with plenty of thoughtful and well wrought nuances. Whether or not the conceptual use of an all black cast is as compelling in practice as it is in theory, the choice to produce the play itself at this particular moment in American history is outstanding, as we are all facing the reality of the inherent difficulty and consequences of living a comfortable life.

“The Glass Menagerie” runs through February 28. For reservations call Trustus at 254-9732. 

USC’s “The Skin of Our Teeth” offers everything you want in a night at the theatre.

Review by James Harley.

There have been a handful of very good shows on Columbia stages recently, some showcasing fine singing and/or acting talent and others technical and design savvy across the board. A few have displayed all of the above and have even tied these strengths together with imaginative direction and concept, producing wonderful evenings of theatre for Columbia audiences. But every now and then a production comes along that does this and more, fulfilling what I consider to be the mission of theatre, which is to present something that truly relies on the presence of the live actors and makes the most of them in a way that cannot be duplicated in other genres such as film. USC’s current offering, Thornton Wilder’s “The Skin of Our Teeth,” is one such show.

The allegorical play itself is a bit mind boggling, with the Antrobus family representing all of humankind as it advances through history, facing the challenges of every epoch. While the story superficially occurs in twentieth century New Jersey, its scope is clearly far beyond that as it weaves natural and biblical history together in each of its three acts. The family, under the guidance of the brilliant and zany inventor Mr. Antrobus, survives an ice age, a great flood, and a vicious war, ultimately demonstrating that life will always be difficult but that through human resourcefulness and determination it will prevail.

If you’ve seen many shows at USC’s Drayton Hall then you know that production values there are always very high, and this one is no exception. Lighting, sound and scenery are all excellent and used provocatively throughout. The shifts between acts are particularly effective, as we go from the “black and white” television effect into the color era (psychedelic, man…), and finally the stark sense of realism that the war brings.

USC productions sometimes suffer a bit in the area of casting, as the skill levels often vary widely among the student actors, but in this case all of the principle roles are well filled. Eric Bultman has both the zest and the gravitas required of Mr. Antrobus, and his two children, Gladys and Henry, are well played by Katie Krueger and Ryan Krause. The Antrobus’ housekeeper, Sabina, stepping in and out of the action as narrator of sorts, is played by LaToya Codner, who exhibits exceptional physical prowess. Standing out among this group is Felicia Bertch, who comically channels Katherine Hepburn as Mrs. Antrobus.

Still, in my mind the star of the show is director Robert Richmond, who stylizes the action to great effect. As deep as the show ultimately is, he not only draws out all of the inherent comedy in the text, but adds several more layers to it with both the subtle and not-so-subtle moving pictures he creates. To describe many of them is to spoil his effort, and so I will refrain, but just know that it is a challenge to take in everything that is offered on the stage.

Richmond has also achieved something else that is extremely important, especially in the University environment where young adult theatergoers will be in attendance. These students either will or will not be the future patrons of theatres around the country, based largely on what they are exposed to at this point in their lives. Too often they are bored to death by banal productions of the classics which they study in class, and which create the impression that theatre is a dull medium in general, dominated by such productions. With “The Skin of Our Teeth,” Richmond offers them an alternative perception of the art form, as one that is vibrant, fun, wacky, and yet still meaningful. For that he is to be commended. For students out there looking for a show to see to fulfill a requirement, give this one a try. You won’t be disappointed.

“The Skin of Our Teeth” runs through March 1. For ticket information call 777-2551.

Chapin Community Theatre gets its play on with “Play On.”

Review by James Harley.

Community theatre is a wonderful thing. When a show is bad, you can still enjoy yourself by tuning out of the story and instead imagining what the real lives of the performers are like, what their backgrounds are, what the rehearsal process must have been like, or trying to determine what members of the audience (based on their reactions) are related to which members of the cast or crew. Indeed, there are many popular spoofs of the theatrical process which capitalize on this magic quality. “Waiting for Guffman,” of course, comes to mind immediately.

Chapin Community Theatre is staging such a parody now in Rick Abbot’s hilarious “Play On,” which follows a community theatre cast through its final rehearsals and the opening night of its mystery show, “Murder Most Foul.” What makes this particular production so enchanting (and it is enchanting) is that it is performed by the very type of small town community troupe that is targeted in the parody. Thus, this “play-within-a-play” show has yet a third layer of interest.

“Play On” is presented in three acts, the first portraying a rehearsal occurring a few days before the opening. As the cast and crew work desperately to bring everything together, their world is complicated by the appearance of the overbearing playwright, Phyllis Felicity Montague, who presents them with yet another round of alterations to the script. Tempers flare, power games ensue, and ultimately rehearsal is called short due to the actress Marla’s need to get home and study for her biology exam. The second act covers the dress rehearsal, again invaded by playwright Montague, where both conflicts and intrigues humorously intensify. Finally we see the complete production of “Murder Most Foul” in act three. The lesson of the show? There is no lesson, it exists strictly to make you laugh.

The action is fast paced and energetic from the opening curtain, and it is clear that a lot of thought went into this production. Each scene change brings numerous subtle developments to the set, and Director Perry Simpson does a good job making sure that this potentially confusing story is told very clearly.

Among the cast Jim DeFelice stands out as Henry, the actor who plays “Lord Dudley,” the British aristocrat, in the murder mystery. He offers the widest range of all the actors on stage, and his physical parody of Dudley is near perfect. Kaitlyn Rainwater hits her role quite nicely as Marla, the high school actress playing the maid, and David Reed’s energy is palpable as the show’s frustrated director, pacing constantly about the entire theatre. Indeed, most of the cast has a moment or two in the sun, but scene stealing honors must go to Lou Clyde as Louise, the technical director, whose gruff utterances and biting glances bring a laugh every time she exits the stage.

Add to this group of characters a couple of diva actors, a pair of young lovers, a husband and wife, and an absent-minded stage manager, mix them up, and, well, you get the picture.

“Play On” is an ambitious piece for a community theatre to tackle. The pace of the action requires crisp interchange between actors and the layers of humor dictate a great deal of focus on detail. The Chapin crew does an admirable job, and reaches the goal of the production, which is to keep the audience laughing. If you have ever worked in a theatre in any capacity (on stage, crew, or administration) you should make the effort to get to Chapin to see the show, as it will definitely speak to your experience. You will not be awestruck, as it is indeed a community theatre production with many of the inherent flaws, but I guarantee you will be amused on many levels.

“Play On” runs through February 28. For information call 345-6181. 

To read the press release for “Play On,” CLICK HERE.

Workshop Theatre’s “Les Liaisons Dangereuses” is a lively, sexy soap opera with many intrigues.

Review by August Krickel.

Sex, lies, intrigue, betrayal and seduction abound on the stage of Workshop Theatre, as its production of Christopher Hampton’s Les Liaisons Dangereuses brings sizzle to the mid-winter theatre season.  Originating as an adaptation of a notorious 18th century novel and designed as a showcase for the Royal Shakespeare Company, the play has won Tony awards, inspired an Oscar-winning film version (under its more commonly known English title, Dangerous Liaisons) and even has opera and ballet incarnations.  Workshop’s production features a lively and talented cast, sumptuous costumes, and an enjoyable, if not overly deep, theatre experience.

Set in Paris and the surrounding countryside in the era of Marie Antoinette, the story depicts the love affairs and dalliances of the idle rich, in particular one Vicomte de Valmont, a shallow aristocrat who delights in seduction for its own sake.  His latest potential conquest is a pretentiously virtuous noble lady, Madame de Tourvel, neglected by her husband and thus ripe for the picking.  His life becomes dangerously complicated when the Marquise de Merteuil, a former lover – and therefore the one woman he can no longer have – offers herself to him as the prize if he will also deflower the innocent young Cecile, as part of a intricate scheme of revenge that is far too complex to detail, and which doesn’t really matter.  What matters is that this is how these people amuse themselves, although often with tragic and far-reaching consequences.

As the conniving Merteuil (we rarely learn anyone’s actual first name) Monica Wyche takes top acting honors, convincingly playing a Machiavellian puppet-master who craftily and callously orchestrates the lives, loves, and passions of those around her.   Two centuries later such drive and intellect could propel a woman into the corporate boardroom or politics, but in this era, her manipulations seem to exist mainly to boost her self-esteem, and to relieve her boredom.

As Valmont, Paul Kaufmann is almost always on stage, and has nearly as many lines as the rest of the cast combined.  In a very talky play filled with quite formal and polysyllabic language, Kaufman handles the tricky dialogue with ease.  His best moments come towards the play’s end as we begin to see the unrepentant rake question his own actions; in a final showdown with Merteuil, his anger towards her contrasts with his increasingly conflicted feelings for Tourvel.

As Tourvel, Catherine L. Bailey has the challenge of portraying an initially decent character victimized by a master intriguer.  Her scenes with Valmont are difficult for the audience, because we know the true meaning of his smooth words, while she takes them at face value.  Bailey carries off several moments of genuinely moving emotion, but they exist within what is an otherwise light and humorous story.

Which is the only real problem with the play: while there is never enough bite to be a true satire or indictment of the upper classes, never enough bawdiness to rank with Restoration comedies, too little genuine love or history to count as a historical romance, and never quite the wit or delight of Shakespeare or Oscar Wilde, it’s still entertaining. Not deep, but certainly entertaining; I found myself smiling far more than laughing, but I smiled throughout.

Special notice must be made of several of the supporting cast: as Danceny, a gullible and over-eager young noble, William Shuler takes what could have been a cliched stock character and makes him both sincere and sympathetic. West Lee plays Azolan, Valmont’s manservant, and in only a few minutes on stage creates a believable and slightly more likeable lower class version of his master.  Giulia Marie Dalbec likewise takes the stereotypical character of the repressed virgin/sexpot Cecile, and makes her a real person with feelings.

As advertised/warned everywhere, the play features all the nudity that is found in the script.  Not a huge amount, and several scenes probably would have worked just fine with lingerie instead, but I must say that it really does enhance some important plot points.  When Valmont uses a courtesan’s naked body as a sort of writing table (he later knowingly tells Tourvel that he has “employed her as a secretary”) we do see how he literally objectifies women, just as Cecile’s whole-hearted embracing of her new-found sexuality becomes obvious as she casts all inhibitions away with her robe.  The best of these scenes features Danceny caught in the act, and his desperate attempts to cover himself with a large, decidedly sausage-shaped pillow ironically become far funnier than had he simply flashed the audience.

As mentioned before, this is an extremely talky play, and director Scott Blanks’ greatest accomplishment is to keep the cast moving and the audience focused on them during lengthy, wordy speeches.  The period costumes by Clay Owens are exquisite and elegant, and will have you convinced that people could indeed live and be comfortable in them. Randy Strange’s set is likewise lush and convincing, yet very functional, enabling the crack running crew to make nearly 20 scene changes with ease.

Les Liaisons Dangereuses is at its heart a fancy, flowery, sexy soap opera, but one brought joyously to life by a top-notch cast and crew, and just the thing to brighten up the dark winter doldrums.

The show runs through Saturday, February 21. For reservations call Workshop Theatre at 799-6551.

Photos by Pam Johnson.

Town Theatre's “Steel Magnolias” a little rusty.

Review by James Harley.

A show such as “Steel Magnolias” is an almost guaranteed hit. Audiences who are drawn to see it are very likely already familiar with the witty and touching story, and probably accept the fact that any live production will fall somewhat short of the popular film. As a result, even a barebones live production will pass, and this is basically what we get with Town Theatre’s current offering. The story will knock you out, but the show is not likely to take your breath away.

The play tells the story of six women who regularly commiserate at Truvy’s hair salon in Chinquapin Parish, Louisiana, in the 1980s. Truvy and her assistant, Annelle, have a group of regular Saturday appointments which include Clairee, the wealthy widow of the former Mayor, and Ouiser, a foul tempered neighbor who insists that she is not crazy, she’s simply been in a bad mood for 40 years. Also in the club are the controlling M’Lynn and her diabetic daughter, Shelby. The women playfully support each other as they move through life, doing their best to deal with setbacks via eternal optimism and humor. As the challenges mount and become more serious, we learn that it is not our role to make life choices for our friends, but simply to be there for them in their times of need.

Director Allison McNeely’s production is barebones not in the sense of being low budget, but rather in that it just barely gives us what is needed on all fronts to make the story effective. Production values are indeed lower than usual, with badly set microphones, less-than-convincing sound effects, loooooong scene changes without any entertaining cover, and a set with sight line problems. While none of these things ruin the show by any means, they add no polish to it either. Donna Harvey’s costuming gets the job done and scores a few style points for the impressive display of outrageous earrings (when they are not banging against the actors’ body microphones).

The opening night cast took quite a while to warm up and find its groove, and did improve over the course of the night. Still, much of the movement seemed a little robotic and uncommitted, and while over-the-top caricatures of southern women are funny, this choice backfires a bit when the story takes its dramatic turn and we need to truly identify with these people. The road is not really paved for our acceptance of them as real human beings, and at times it seems almost as if some characters from “Dearly Departed” have gotten together to do “Steel Magnolias.”

The opening night cast (3 of the 6 roles are double cast) featured Mona Lisa Botts as Truvy, whose relaxed, naturalistic characterization was welcome. Most of the other actors have their moments, though there are no real standout performances. Of course, scene stealing honors go to Kathy Hartzog as Ouiser, the one character that is indeed a humorous stereotype. Hartzog, with much experience in this type of role, has clearly mastered it and she keeps the audience laughing all night.

Indeed, the hearty wit of the text in general is preserved in the production, as it would be difficult to suppress. So, while there is not a lot added to animate it further, and subtleties are few and far between, you will likely have plenty of chuckles and still manage to be touched by the power of the story itself.

“Steel Magnolias” runs through January 31. For information or reservations call Town Theatre at 799-2510.

Trustus delivers a scaled down but snappy “Evita.”

Review by August Krickel.

Columbia audiences often miss out on many of the "big" shows of modern musical theatre, with touring productions bypassing us for larger venues, and local companies intimidated by the challenge of recreating the spectacle of Broadway.  Trustus Theatre's new production of Andrew Lloyd Webber and Tim Rice's classic Evita proves that all you actually need is a few good actors in the lead roles, a strong vocal ensemble, and a capable band to deliver a solid evening of entertainment. 
 
Ostensibly a familiar rags-to-riches story of a small-town girl with big-city ambitions, Evita's strengths lie in its rich musical score and in the irony that its protagonist did indeed become Argentina's first lady, and is idolized and venerated to this day, her many flaws notwithstanding.  Driven to achieve fame and fortune whatever the means or cost, Evita uses a series of powerful men to claw her way to the top, first as an actress, then as the mistress of rising military/political star Juan Peron, and finally as his wife.  Robin Gottlieb brings a fierce, almost predatory intensity to the title role, not so much asking for adoration from the Argentine people as demanding it.  Why?  She feels she deserves it, having grown up with nothing.  Why does she deserve it more than others?  Because she wants it more, going after her dreams with single-minded intensity.  1940s Argentina is in desperate need of national identity and pride, and the people find this improbably realized in Evita, who becomes a beloved saint-like figure to the working class. 
 
Gottlieb has the perfect look that we associate with the character and dominates the stage at all times.  Her singing voice is powerful and appealing, if not always up to the most challenging of the high notes in a vocally demanding role.  For me this was not a huge problem; Evita's numbers are not about scaling the octaves in a songbook, but about shaking the rafters and rocking the house like Tina Turner, and Gottlieb accomplishes this with gusto.  Her best moments come in the stirring first act finale, "A New Argentina," when Juan and Eva’s pillow talk turns from his worries of political instability and the lure of luxurious exile in Paraguay, into a nationwide labor movement.  Evita proclaims Peron the new hero of the working man, for "if not, how could he love me?"  While the lyrics simply mean that his love for a woman from the working class gives him credibility, her delivery not so subtly implies that by loving her Peron legitimizes himself, which is only one step removed from declaring that loving Evita means loving Argentina, and vice versa.
 
As Peron, Hunter Boyle is to some extent cast against type, hardly the stern hawk-like image of the historical figure, but entirely convincing as a somewhat reluctant player in the game of power. Vocally he is strong throughout, tender when needed, genuinely in love with his trophy wife, but acutely aware that her popularity keeps him in office.  Nearly a match for Evita's passion is the play's narrator and Greek chorus figure, Che, played by Christopher Cockrell.  Sometimes sarcastically commenting on the action, sometimes interacting with the leads, and often functioning as a sort of antagonistic inner voice for them, Cockrell has a pleasant voice, earnest delivery, and terrific stage presence. 
 
Two performers stand out in supporting roles early in the first act.  Jon Taylor brings charisma and a magnificently rich voice to the role of Evita's first lover Magaldi, while Sydney Mitchell shines as Peron's previous mistress who finds herself suddenly displaced. Her plaintive ballad "Another Suitcase in Another Hall" is perhaps the prettiest number in the show, although somewhat out of place, as if Lloyd Webber wanted to insert an unrelated hit single, and created a character to sing it. 
 
The real stars of the show are the virtuosity of the composer and the cleverness of the lyricist; rock anthems, power pop ballads, a little Latin tango, some quasi-classical and faux-operatic numbers, and traditional Broadway schmaltz are all part of Evita's repertoire.  Thanks to musical director Jeanine Cully Marsh, a simple 5-piece band, and a strong and gifted chorus (containing many faces familiar to local theatre-goers) you may find yourself humming much of the score long after you've left the building. 
 
The Trustus stage is small, but Brandon McIver’s multi-level set utilizes every possible inch, and director Dewey Scott-Wiley and choreographer Cindy Flach keep the action in constant, fluid motion, creating a vibrant and energizing experience from start to finish.  Often stage conventions are played with, as when Peron’s rise to power literally becomes a game of musical chairs in “The Art of the Possible.”  Randy Hanna’s lighting design bathes everything in warm rosy hues and earth tones, enriching some otherwise nondescript set dressing of neutral fabric and drapes. 

All in all, Trustus’ Evita is a great opportunity to see a snappy and lively production of one of the great pieces of contemporary musical theatre. After the holiday break the show resumes and runs January 7-17. For reservations call Trustus at 254-9732.

Town Theatre’s “A Tuna Christmas” is a tasty comic treat.

Review by August Krickel.

With holiday carols and multiple Scrooges and Nutcrackers at every corner, Town Theatre takes a sharp detour into the Texas countryside with its new production of A Tuna Christmas, which dishes up homespun laughs and smiles galore. 

A Tuna Christmas is the second in a popular franchise of long-running, 2-man plays set in “greater” Tuna, Texas, the state’s fictional third-smallest town; all four Tuna plays celebrate and gently satirize rural Americana.  Written by actors Jaston Williams and Joe Sears and original director Ed Howard as a vehicle for Williams and Sears (who are still touring in it a quarter of a century later) the gimmick is that two male actors portray 22 Tuna citizens, even (and especially) the female ones. 

The structure is simple: each scene begins in a different locale, with two characters interacting.  One has a reason to exit, and the other receives a conveniently timed phone call, turns on the local AM radio station, or has a brief monologue, at which point the first actor returns in a different costume and wig or hat as a different character.  Sometimes two characters have an extensive conversation together, and sometimes the audience is teased, as the exiting actor returns in quicker and quicker succession as three or four different people. 

We know most of these characters all too well, not so much as stereotypes, but rustic archetypes.  They populate Mayberry and Hooterville, country singer Robert Earle Keene chronicles them in “Merry Christmas from the Family,” Carol Burnett and Vicky Lawrence immortalized them as Eunice and Momma, and their Yankee cousins surely live in Lake Wobegon. Here, some are more prominent and/or memorable than others, while some exist mainly for plot exposition and others for a quick sight gag. All are preparing for the holiday. 

The many characters move in and out of several broad but interwoven plots, primarily A) who will win the annual contest for Christmas Yard Decoration, B) will the struggling community theatre get its power turned off by the town clerk before they can mount their production of A Christmas Carol, and C) who is the mysterious Christmas “phantom,” who turns up annually to deface town decorations as a practical joke?

Everyone will have their own favorite duos, and mine were two boy-crazy waitresses from the local Tastee-Kreem diner, Helen Bedd and Inita Goodwin (say the names out loud if you don’t get it). Mixed in among the jokes and the copious laughter caused by all the quick-changes, however, are some genuinely touching moments of humanity and holiday goodwill. 

Kevin Roberts has perhaps the best comic moment as gravel-voiced DiDi Snavely, taking the world’s longest drag on a cigarette, then holding the delicious nicotine in for an impossibly long and hilarious amount of time before finally exhaling.  He also plays the Tastee-Kreem’s Helen, who becomes more and more frazzled right down to her last nerve, yet invariably pauses to answer the diner’s telephone seductively, while we wait in delicious anticipation for the moment when we know she is bound to snap. 

Bill DeWitt has some of the play’s more touching moments, as elderly Aunt Pearl, who enables her delinquent nephew to start a new life away from Tuna, and teams up with an old friend to keep up a mischievous holiday tradition of their own. He also shines as the town’s long-suffering Mother Courage-in-a-polyester-pants-suit, Bertha Bumiller, who tries in vain to hold together a good holiday experience for her fractured and dysfunctional family. 

Danny Harrington’s set follows the design of the original: a basic wall with a few doors to suggest a generic interior, but painted to depict a parched western landscape.  A simple table and two chairs are located center stage, and almost everything else is pantomimed, apart from a few Christmas Trees and a large old-timey console radio.  While the Tuna shows traditionally pantomime most hand props, one does wish at times for just a few more actual ones.  Some of the costumes are a bit extreme and outlandish, but this sort of show isn’t about realism, it’s about two men doing unbelievably quick costumes changes, switching accents at the drop of a hat (or bouffant wig) and becoming the entire population of a country town.   

The more one enjoys down-home humor, the more one will appreciate A Tuna Christmas, but there is no doubt as to the remarkable talent shown by the cast, who were capably directed by the sure hand of Allison McNeely. So get yourself on down to Town Theatre ‘fore they sell them tickets out.

A Tuna Christmas runs through Sun. Dec. 21st. For reservations call Town Theatre at 799-2510.

If you have never seen a production of the Columbia Children’s Theatre, now is the perfect time to change that by attending this ingeniously funny and original production loosely based on the Hans Christian Andersen classic fairy tale, “The Snow Queen.”

For those who are not familiar with the Columbia Children’s Theatre, it was founded in 2005 to serve a need in the Midlands for professional live theatre for young audiences. This is a theatre company where professional adult actors perform for youth, not theatre by youth actors.  

Jerry Stevenson, the show’s director, also wrote the book and lyrics of the show with additional material provided by Sam LaFrage.

The show, full of rich visuals, high energy and fun for little ones is also outrageously funny for adults, especially anyone who has ever worked in musical theatre. Not to give away the fun, Stevenson has inserted a bundle of references to musical theatre and even local theatre.  The material works very well.

Utilizing the Booker Washington Heights Cultural Arts Center auditorium effectively, the show follows the travels of Gerda on a cold Scandinavian day as she risks everything to save her friend Kai, who has been taken by the evil Snow Queen.

The hour-long performance is fast paced, containing all the strong elements that make great children’s theatre including fun audience participation and many moments of breaking through the fourth wall.  Don’t think this is easy work at all for the performers.  They just make it look easy.

The cast is near perfect.  From the start, talented Jackie Rowe, as a Mean Little Rascal, pulls us into the story with wonderful physicalizations and a strong voice. She is adorable and possesses wonderful skills for this type of theatre. Newcomer Joy Feider is charming as Gerda, especially strong when she lets loose with her Broadway vocal medley of tunes. Willowy William Shuler makes a strong Kai with a nice balance of fun with poignancy.   Sam LaFrage, playing multiple roles, is hilarious, especially as the guard of the Snow Queen. LaFrage thinks brilliantly on his feet, has a very strong stage presence and can make small moments project very large. Veteran actress/singer Toni Moore creates a comically wicked snow queen with a nice grasp of the nuances and a stellar singing voice to boot.  As the Snow Bear, Christopher Riddle possesses a marvelous sense of deadpan that is perfect for the role. His choices are very strong. Lovely Mickey Brantley rounds out the cast, playing multiple roles.

Alex Horton and Dionne Hough create memorable songs, totally appropriate while moving the plot forward effectively. Especially moving is the final ballad performed by Feider and Shuler.

The costumes work, the set works and the production holds together well.  Conceived with a particular tongue in cheek style, it sticks to its mission the entire time.

Columbia is lucky to have the Columbia Children’s Theatre in our city, and how rare these days get to experience original work on our local boards. Stevenson’s writing is exceptional.  He understands the genre and gives his cast a great opportunity to create fun characters, entertain children and adults, and hopefully continue to embrace live theatre audiences for generation to come.

If you have as nearly a good a time watching this show as this cast does performing it, you will become a true Columbia Children’s Theatre fan.  Congratulations to the cast and crew on a truly inspiring production.  If you don’t believe it’s as good as I say it is, go prove me wrong.

"The Snow Queen" runs through December 7. For more information or reservations call 691-4548.

When someone tells me that something is one of a town’s “best kept secrets,” I am often skeptical, and think to myself that there must be a good reason why it is best kept a secret. But the Chapin Community Theatre, with its production of Pamela Parker’s “Second Samuel,” has lived up to this billing, presenting a piece of community theatre whose quality certainly outstrips the size of the town.

As with “Sordid Lives” or “Dearly Departed,” “Second Samuel” presents the comic story of a small southern town dealing with the death of a beloved member of its tight-knit community. We are introduced to the townsfolk by the mentally-challenged but charming Bernard Flat (known affectionately as “B-Flat,” despite his lack of musical skills), and in the process we hear numerous testimonials praising the late Ms. Gertrude’s generous humanity. 

However, when Omaha, the town hairdresser, visits the funeral home in order to style Ms. Gertrude’s hair for the final time, a disturbing discovery is made and the town is thrown into chaos trying to figure out how to respond. Through the often hilarious yet sincere soul searching that follows, we learn that judgments are just as empty and meaningless after death as they are in life, and that it is not our place to make them in either case. 

Director Debra Leopard does a good job creating visual appeal in the show. As the storytelling oscillates back and forth between the ladies at the “Change Your Life Hair and Beauty Emporium” and the men drinking at the “Bait & Brew,” Leopard uses almost constant “freezes” to create a series of humorous stage pictures. In each still shot, she captures the essence of the moment, aided by the simple setting designed by Earl Long.

Among the cast there are several standouts, most notably Pam Godfrey in the role of Omaha. She plays this caricature to the hilt without reducing her to a meaningless stereotype. Several of the male roles are dead on, including Dick Arnold as the grumpy old Mr. Mozel, Jeff Smith as the hard drinking, do-anything-to-avoid-working Mansel, and Jim DeFelice as the even-tempered town doctor. David Reed also brings a breath of life and energy to the production with his late entry as June, the undertaker. Dana Bolton gives a committed physical performance as B-Flat.

There are certainly some weaknesses in the production, among them the agonizingly slow pace of conversation, which at times had me feeling sorry for those actors who were “frozen” on the opposite side of the stage. Technical and onstage transitions between the freezes often drag as well, when a snappier pace would enhance the slideshow effect. In general, the cast excels at the low and slow drawling southern humor while not exercising many of the opportunities to momentarily raise the energy of their characters.

“Second Samuel,” however, is a very engaging and creatively structured story, and unlike “Dearly Departed,” it has genuine substance to it. As a community theatre production, its strengths and weaknesses rank with many of the smaller cast shows you might see on Columbia stages, perhaps minus the technical polish. In addition, driving out and seeing it in an actual small-town context adds a certain meta-quality to the production that I found interesting, and that it would be hard to duplicate in a downtown setting.

Finally, if the biblical title has you wondering if the show is religious in nature, know that it is not. The action is set in a Georgia town called Second Samuel (the original town, Samuel, was burned by Sherman’s troops, hence the new name…), and while the topic regards the judgment of our peers, it is not couched within a strictly religious context, and is not a preachy play.

“Second Samuel” runs through November 15. For reservations call 345-6181.

Stage 5 Theatre makes an auspicious entry into the world of local theatre with its premiere production of Paula Vogel’s “How I Learned To Drive.”  Tucked away in a former movie theatre in Columbia’s northeast, this production features an enthusiastic young cast in a thought-provoking one-act that won the Pulitzer in 1998. 

The show’s theme is pedophilia, but this is no cautionary lesson or didactic horror story.  Instead, this is a memory play, moving backwards and forwards in non-linear fashion through the narrator’s troubled 1960s adolescence, shifting gears via excerpts from a drivers’ ed manual (reverse, idle in neutral, move forward from 2^nd into 3^rd, etc.).  Our protagonist is known to us only by a family nickname, “Li’l Bit,” and she is capably brought to life by Victoria Jepson, who smoothly transitions from age 11 though the teen years and into adulthood with nothing but natural mannerisms and an occasional change of hairstyle.  Driving is presented as a metaphor for Lil Bit’s navigation though life, with her aunt’s husband, Uncle Peck, enabling her independence with lessons in both. 

A gifted child born into a family where heavy drinking and teen marriage/motherhood are the norm, Li’l Bit resists the notion that a woman’s place is in the kitchen and bedroom. Developing at an early age, she attracts Peck’s attention.  Horrifyingly at first, we discover that Peck in his own sick way is the closest thing to a father figure, confidante, even boyfriend that Li’l Bit has.  In one of the play’s many ironies, the self-confidence she gains from his attention enables her to realize how wrong it is, and on her 18^th birthday, the day Peck expects them to declare their undying love, she breaks off the relationship.

In a rare flash-forward to her late 20’s, we see the adult Li’l Bit as a teacher, choosing to believe a random youth’s assertion that he is a senior in high school, and allowing him to believe that it is he who has seduced her.  Is she a harmless Blanche Dubois figure (or even Stifler’s mom) offering tea and sympathy, in control at last of her sexuality?  Or is she too perpetuating a family cycle of abuse?  She concludes that someone once must have molested Uncle Peck as a child, making him a victim too.

Yet we’re never quite sure how reliable our narrator may be.  Amanda Faye, as Aunt Mary, gives an eloquent defense of Peck, depicting him as a lost soul,  a good neighbor and provider for his family, with   Li’l Bit seen as a Lolita who takes advantage of his kind heart and drinking problem to keep him wrapped around her little finger.  Is the playwright allowing Aunt Mary to speak to the audience directly?  Or is this simply the narrator imagining how things must have seemed to her family?

Top acting honors must go to Will McLeod as Uncle Peck.  New to the stage, his delivery on opening night was almost too soft at times, occasionally hesitant, but always earnest, sincere and believable.  Had the role been played by a Steve Buscemi or Harry Dean Stanton look-alike, one might not feel as empathetic.   But as depicted by the young, handsome McLeod, Peck seems a tragic figure, a genuinely nice guy with one terrible flaw.  Or have we too fallen for a sexual predator’s seductive façade?  Li’l Bit is still conflicted decades later, romanticizing her uncle as the Flying Dutchman, doomed to search in vain for love.  In McLeod’s best moment on stage, we see Peck’s attempted seduction of a young male cousin (portrayed silently but poignantly and believably by Sheryl Herr).  From the family dynamics presented, there is no way that Li’l Bit could have ever possibly known of this incident.  Again, is the author allowing us a “true” glimpse of the real Peck as a serial child molester?  Or does the narrator simply imagine this as something that must have happened at some point? 

In the play’s final flashback, we see the adult Jepson clearly regaling and luxuriating in the sensuality of the moment when her uncle first fondles her, while Herr voices the younger  Li’l Bit, frightened and telling him to stop.  Which version, if either, actually happened?  Does the mature narrator now miss her uncle’s unconditional (if twisted) love?  Does she wish that she had tried more assertively to get him to stop?  Or does she in some way instigate the event?  In retrospect, does she see this is the first step to her own sexual self-awareness? 

D.S. Jeffcoat, Amanda Faye and Sheryl Herr are credited as “Male, Female and Teenage Greek Chorus,”   and portray everyone else in Li’l Bit’s past.   A comedic high point of the show (and there are several, believe it or not) is Faye’s tour-de-force as Li’l Bit’s mother, rattling off a litany of dos and don’ts for when a lady drinks, becoming tipsier by the minute.  Eventually Jeffcoat must lead her off the stage, as if to say “I’m sorry ma’am, you’re going to have to leave this flashback.”

Stage 5 and director Michael Bailey wisely chose this piece, which requires minimal props, wardrobe and sets.  A few road maps of rural Maryland, the suggestion of a highway’s dividing line, a ramp that functions as a hotel bed and a fishing hole, a bench usually representing the front seat of Uncle Peck’s car, and a few random chairs (one doubling inventively as a kitchen sink) are it.  Located in a former movie theatre (in the strip mall across from Macy’s at Columbia Mall) this is a black box at its most basic, with some dust here, some peeling wallpaper there.  Thus, “How I Learned To Drive” is perhaps not the optimal choice for grandmom in her mink and granddad in his tux to attend in lieu of a posh night at the symphony.  However, for local enthusiasts of theatre and literature who want to see genuine raw emotions brought to life by a talented young cast, and who want to support local theatre, this show is a must.

After a shoot ‘em up action show at Trustus, a charming small town comedy in Chapin and a tragedy in Finlay Park, Town Theatre’s “Little Shop of Horrors” hit me just right. Frankly, I’m not a big fan of musicals, but I do love B-movies, and this production takes itself just seriously enough… to not take itself too seriously. If I lost you there, what I mean to say is that this is a fun and irreverent, over-the-top show, done well enough to let you laugh off any weaknesses you might notice.

Don’t slow yourself down by looking for deep meaning in this one. “Little Shop of Horrors” is based on a 1960s B-grade movie that tells the story of a Venus Fly Trap-like plant that eats humans. The plant is bred and raised by young Seymour, a homeless boy who has been taken in and trained in botany by Mr. Mushnik, the proprietor of a skid row flower shop. On the verge of bankruptcy, the shop is saved by the media attention it receives for Seymour’s unique flower, though no one but he knows the dark truth regarding its bloody diet.

Seymour, meanwhile, is in love with Audrey, a skid row girl with virtually no self-esteem, who has been abused all of her life and thinks that such a famous sweetheart as Seymour is out of her league. Needless to say, the two drift together and wackiness ensues, ending, of course in comic tragedy. The lesson we learn through it all is… okay, there really is no lesson.

Director Jamie Carr Harrington elects to play up the absurdity to full effect, creating stage images that are so ridiculous that one can hardly avoid appreciating their fine detail. The doo-wop ensemble pops up unexpectedly here or there to provide both scenic and aural background, actors disappear from the stage only to return in the blink of an eye as completely different characters, and the plant (named “Audrey II” after Seymour’s love) just keeps growing and growing, all adding to the comic atmosphere.

Seymour is well played vocally by Sean Stephens, though he is unable (along with everyone else) to keep up with the no-holds-barred portrayal of Audrey by Danielle Peterson. Peterson plays the ditzy blonde perfectly within the spirit of the production, reminding us that it is anything but reality that we are witnessing, and hitting her music with power to spare.

The supporting cast is well deployed by Harrington and gets its job done, though a special mention must be made of Audrey II’s impressive ability to physically emote. Kudos go to puppeteer Charles Francis and to the puppet’s designer, the late Walter O’Rourke.

Most of the songs are both catchy (I spent this morning humming the title tune) and funny, in style reflecting the 1960s era of the action. “Somewhere that’s Green” and “Suddenly Seymour” are among the musical highlights.

“Little Shop of Horrors” is not perfect theatre, just very fun. It has its flatter moments, a few opportunities to introduce real emotion are unexploited, some actors don’t dial it up high enough, vocals are often difficult to hear over the band, microphones ring a bit, and the set is a little shaky, with walls moving with each closing of the door. Indeed, Scenic Designer Danny Harrington was so pleased with his fine design for “West Side Story” that he repeated much of it for this show (though the new backdrop is a nice addition).

Still, because the play itself is anything but serious and the production is directed effectively to reflect this, it is quite easy to laugh away any inconsistencies as being part of the whole picture. In a sense, you might think of “Little Shop of Horrors” as the closest thing to “Rocky Horror” that you will see at Town Theatre. 

Other things you may want to know are that the play ends differently than the original film, and that there are a couple of brief instances of adult language.

“Little Shop of Horrors” runs through November 15. For reservations call 799-2510.

Review by Ann Dreher.

The second show of Workshop Theatre's season, Alan Ayckbourn’s “Table Manners,” opened to a meager crowd on Halloween night.  The house was small and so was the whole theatrical effort. 

Ayckbourn, a British comic playwright, was popular in the 1980s, though he was no more funny then than he his now. Briefly, “Table Manners” revolves around the efforts of Norman, a British man facing a midlife crisis, as he tries to charm his sister-in-law, Annie, into a weekend tryst. Norman’s extended family meets around the dinner table, and comic dysfunction ensues.

 This play contains nothing for the audience to think about, and not much to feel for either.  The laughter on opening night was sparse and gentle, and was heartiest when director Glenn Farr and his cast pulled off sight gags, most of which featured flatware and napkins.

 Farr has obviously worked on timing, and the whole cast approaches these flat, unbelievable characters with admirable commitment.  The production has been thoroughly rehearsed and there are lots of moments which approach comedy, not because of the script certainly, but because these actors are working and squeezing every precious opportunity for a laugh.

This cast is mostly new to Workshop Theatre.  Sarah Degn is winning as the neurotic Annie, while Tiffany Dinsmore plays her sister-in-law, Sarah, as an irritating harridan without losing sympathy. Joshua Bennett has Tom, Annie’s lackluster boyfriend, so pathetically socially retarded that one wonders about his childhood, and Scott Means' Reg (Annie’s brother) is a suitably pompous stuffed shirt and pants. George Dinsmore has the ratty infantilism necessary to cause all the ruckus, and Allison Manley makes a late entrance as Ruth, Norman’s wife, and is a welcome respite of sensibility, with nice vocal virtuosity.

On the technical side, the set by Randy Strange is country-stylish and lit well by Barry Sparks, and Ruth Mock's costumes get laughs on their own. 

All of these positives make it hard to slam this production, but the question is: why did Workshop Theatre select a script that is such a bloodless chestnut?  It wouldn't have been good with Sasha Cohen and Queen Latifa.

In the 1960s, Workshop Theatre split off from Town Theatre precisely over the issue of play selection. Cynthia Gilliam, Jim E. Quick, Mary Arnold Garvin and other Columbia theatre craftsmen created a theatre which they hoped would produce great, edgy, challenging plays.

Shame on Workshop Theatre's play selection committee.  If they are going to choose to produce such “safe” scripts they might as well forget building their new space and just move back over to Sumter Street. 

“Table Manners” runs through November 15. For reservations call 799-6551.

Live theatre has a reputation, deserved or not, for being a bit on the stuffy side. Many factors contribute to this: Shakespeare’s unwillingness to fade into the background and take his place as a niche draw, the difficulty of achieving spectacular scenic effects on stage, the concentration required of the A.D.D. generation to stay focused on any scene lasting longer than 45 seconds, and the list goes on. That being the case, many will find Trustus Theatre’s production of Martin McDonagh’s action-packed “The Lieutenant of Inishmore” to be a breath of fresh air.

The play tells the story of Padraic, an angry young Irish man who has split from the infamous I.R.A. and formed his own violent “splinter group” (which consists of two people). While doing his volunteer civic duty (brutally torturing a drug dealer in an empty warehouse for selling dope to neighborhood kids), Padraic gets a call from his father, Donny, and is informed that his beloved black cat, Wee Thomas, is in poor health.

This news finds the soft spot in Padraic’s heart, and he immediately heads back to Inishmore to care for his longtime pet. When he discovers that the cat in question has actually died from a vicious head wound, Padraic goes ballistic, literally, determined to make someone pay for neglecting to care for “his only friend.”

When three former associates from the I.R.A. show up at the same time, looking to punish Padraic for his desertion, all hell breaks loose and the violent acts of vengeance pile up in rapid succession. By the end of the bloody spectacle, we have learned why cooler heads tend to prevail in the face of conflict.

From the above description, you may not expect to hear that “The Lieutenant of Inishmore” is a comedy, but it is the plentiful black humor that, in fact, allows us to arrive at the message. The show, resembling an action movie at times, is fast-paced and extremely witty, taking advantage of constant humor from the lowest to the highest levels.

The production itself is reasonably well done. Director Chad Henderson’s scene transitions are active and visually engaging, leaving no dead space in the performance, and his stage pictures are thoughtful and effective.

Ben Blazer does a marvelous job handling the mercurial character of Padraic and making him believable even in some of the show’s most absurd moments. Martha Hearn is generally consistent as Padraic’s love-interest, Mairead.

The supporting cast works almost as an ensemble under Henderson’s direction, though each member embraces his opportunity to shine. Hunter Boyle and Andrew Stepp are well-cast and entertaining as Donny and Davey, while Joe Morales, Gene Aimone and Andrew Quattlebaum look perfect as the I.R.A. ruffians. However, the “commitment to your art” award goes to Alec Grooms, who spends an entire scene hanging upside down while being tortured (a close runner-up is Raine, the cat who puts up with these chaotic humans long enough to play the role of Wee Thomas).

Other strengths of the show include Brandon McIver’s appealing scenic design, Henderson’s trademark integration of lively music, and, at times, the special effects.

The show’s weaknesses are generally overridden by the constant laughter, but they do exist and include some inconsistent Irish dialects, a few clichéd moments played to the hilt, and some poorly executed stage combat. Given the amount of violence and its inherent difficulty, however, the latter is easily excused.

There are also a couple of scenes in the second act when our willing suspension of disbelief is challenged by actors failing to commit physically to their onstage activities.

On the whole, Trustus does a good job with a challenging play, and as long as you don’t expect to see movie-quality special effects, you shouldn’t be disappointed. If, however, you want a stuffy night at the theatre, you will be.

In closing, you should be aware that “The Lieutenant of Inishmore” is not a show for young children due to the level of violence and language, and that there are lots of loud gunshots and plentiful blood on stage. Finally, if dark humor bothers you at all, you should probably skip this one.

“The Lieutenant of Inishmore” runs through November 8. For reservations call 254-9732. 

To see the Trustus Theatre video teaser for “The Lieutenant of Inishmore,” CLICK HERE.

With the sheer number of competing shows running in the Columbia area this coming weekend (I count at least seven), one might consider it important for each company to bring its “A” game to the table in order to draw a good share of the audience. Unfortunately for the SC Shakespeare Company, its production of “Othello” at Finlay Park fails to represent the level of quality established in some of its past offerings.

As far as Shakespeare goes, “Othello” is one of the simpler plots to follow. Iago, an underling of the great General, Othello, is incensed that Cassio has been promoted above him in the army, despite Cassio having less experience. In retaliation for this slight, Iago undertakes a sociopathic campaign to punish both men and to bring them in conflict with one another, primarily by spreading lies about the faithfulness of Othello’s wife, Desdemona. The web of deceit ensnares all and leads, of course, to bloody tragedy.

The production tells the story clearly, which is indeed an important component of any presentation of Shakespeare, but it really does not do much beyond that. More sparsely cast than a typical SC Shakespeare Company show, and with a set that almost disappears into the background, there is not a lot of visual activity to keep the outdoor audience focused on the stage.

Stage veteran Scott Blanks is engaging as Iago, his fluidity a breath of fresh air in contrast with some of the wooden characters around him. Still, it is apparent that both he and Darion McCloud, as Othello, were not quite ready for opening night. The number of line interruptions and late cues was exceptionally high among the entire cast, leaving me with the impression that I was watching an early dress rehearsal rather than a finished product. Perhaps the last weekend of the show will exhibit more polish.

Much of the remaining cast simply falls into the background, their rendering of the complex language falling something short of conversational and thus failing to create believable characters. Some exceptions to this include Harrison Saunders as Cassio, who is earnest in his best moments, and Richard Purday as the Duke of Venice, whose voice and appearance were seemingly designed by nature to portray bombastic Shakespearean roles.

The strength of the show is its clarity, allowing audiences to follow the story regardless of their level of experience with Shakespeare. The costuming is also notably elegant, providing some color and enhancing the visual interest on stage. Of course, the show is also performed outdoors in an amphitheatre, which makes for an interesting experience on its own, and one which everyone should try at some point. I suggest bringing your own lawn chair for comfort’s sake, and a blanket if the weather is chilly when you attend.

“Othello” runs through November 1. For information call 787-2273.

Trustus Theatre’s season opener, Douglas Carter Beane's “The Little Dog Laughed,” is both a delicious satire of modern show business and a bittersweet character study of four lost souls, adrift in a sea of unfulfilled life goals and sexuality.

Mitchell is a boy-next-door movie actor on the brink of superstardom (think perhaps James Franco or James Marsden) with an adoring female fan base.  Unable to admit to them (or himself) that he is gay, he seeks solace with male prostitutes, each time rationalizing that he’s drunk, and/or only curious. 

 Alex, his latest “rent boy,” likewise lives in denial, convinced that he sleeps with men solely to pay the rent.  A club kid fallen on hard times away from mummy and  step-daddy’s nest, his solace is sought in the arms of  BFF-with benefits Ellen, those benefits being that Ellen gets to pretend someone in her life cares about her, while Alex gets to pretend he’s still straight.

Presiding over this triangle is Mitchell’s Machiavellian agent/manager Diane, a mad morphing of Sheridan Whiteside, Kim Cattrall’s Samantha, and Satan.  Eager to become a full producing partner in Mitchell’s career, Diane has dragged him to NYC to acquire a stage property for his next film.  But all threatens to come asunder when Mitchell begins to have feelings for the local hustler Alex, who in turn seems to reciprocate.  As Mitchell ponders the value of living a lie to further his career versus living his own life freely and openly, Diane schmoozes, finagles and manipulates the system like a barracuda. 

While asides, soliloquies and a narrator commenting on the action are nothing new, this is perhaps the most extensive use of them since O’Neill’s “Strange Interlude.”  Initially Diane’s speeches are simple self-contained monologues on the quirks of show biz and power lunches, while Ellen’s are vignettes of her sad and unfulfilled life.  Yet as the plot progresses, Ellen’ narrative begins to form a cohesive storyline on its own, while Diane’s becomes an eerie/comic Greek chorus-like commentary on the play we are watching.  The fourth wall is utterly torn down when we the audience become both the playwright that Diane and Mitchell are courting, and the beneficiary of line-by-line asides from both on what they’re really thinking. 

As Mitch, Kevin Bush shines as a pre-fab screen idol who struggles to find himself.  He has the unenviable task of portraying the three faces of Mitchell: the gushing public persona, the aloof and sarcastic side he uses to avoid relationships, and the “real” man inside wondering if it’s safe to come out, in every sense of the term. 

 Alec Grooms as Alex would seem, from his bio, to be quite young, but has an earnest, ultra-natural delivery and stage presence that provides an excellent contrast to three far more outrageous characters.  One hopes Columbia will see more of his work. 

Stephanie Price, as Ellen, has the least stage time, yet perhaps the most poignant moments, often accomplished with only a few words and with wonderfully expressive eyes. 

As Diane, Becky Hunter takes an already over-the-top character and pushes the limits, yet never quite devolves into caricature.  It’s close at times, but I suspect she is a remarkably accurate depiction of the often-cartoonish Hollywood power-brokers we hear of.  Only once do we see the briefest glimmer of her own internal issues--a passing memory of being patronized by a sexist client when she was an industry novice, and her glee at having risen to the top of the Hollywood food chain.  We learn that she too is gay, or nominally so, but love of women was clearly abandoned long ago for love of the game of show biz power and manipulation.  It is to Hunter’s credit that she never once telegraphs her character’s inner wounds, but rather allows us to discover them on our own. 

The set, by returning Trustus alum Todd L. Clark, is breathtaking in its minimalism.  Consisting of a series of overlapping and intersecting white drapes, it provides a monochromatic backdrop that  delineates the stage’s three main areas: Mitchell’s hotel room in NYC (a bed, a nightstand, a table and two chairs are all that is necessary) Diane’s office in LA (a lush chair and an elaborate modern sculpture suffice) and a middle ground, bare but for several modular white seats that, with the help of lighting, becomes everything from a posh lunch spot, to a disco, to the subway.  

Make no mistake, while the subject matter might have made a fine drama about the hypocrisy and predatory nature of modern Hollywood, this is a sidesplitting comedy too, although one with moments of true insight and sadness.  The title, if you’re wondering, is a reference to Mother Goose, and we learn its significance only at the end. 

One can in no way fault Town Theatre’s earnest effort to present something special with its extravagant production of “West Side Story.” The show exhibits extraordinary production values and has a very high visual appeal. Unfortunately, however, the talent level of the largely unseasoned cast diminishes the emotional impact of the potentially powerful story.

The popular 1957 musical by Arthur Laurents, Leonard Bernstein and Stephen Sondheim is based loosely on Shakespeare’s “Romeo and Juliet,” re-set in New York City. Tony, a white American teen, and Maria, a Puerto Rican immigrant, fall in love despite the condemnation of their respective families and friends. Complicating matters, most of these friends are members of racially based, rival street gangs who are already in the midst of a violent territorial feud. Confounding the community’s best efforts to ease tensions, the interracial romance only ignites a more passionate hatred between the stubborn groups, ultimately leading to unnecessary tragedy and a strong lesson on tolerance.

Director Scott Blanks and the production team do everything they can to bring this tale to life, presenting a beautiful series of stage pictures and visual transitions from the opening moment to the finale. Danny Harrington’s set and lighting are a striking combination and are very well utilized in the overall composition. Debra Bricker Brewer’s dance and fight choreography are nothing short of spectacular, especially where the two are unified. Indeed, the opening sequence is probably worth the price of admission on its own.

The problems begin when the movement stops. Most of the supporting character portrayals (and some of the principals) are severely over the top, almost to the point of caricature. While this is not unusual for a musical, even the stylized nature of such acting does not excuse fundamental problems such as poor diction, which is rampant in this production in both songs and spoken scenes. Due to bad articulation and inappropriate speed of delivery we simply cannot hear the words in far too many instances--a classic sign of inexperienced talent. 

Likewise, while there are some fine singing voices on display, the vocal quality wavers sharply among the cast, and sometimes within a single character. Michael Hazin, as Tony, is a prime example. Though at times he clearly demonstrates the raw skill to deliver, his vocal inconsistency hints at either a problem with basic breathing technique or perhaps a low level of confidence.

With several major, large-cast musicals currently running in the area (“Into the Woods” at Village Square Theatre and “Fiddler on the Roof” at Workshop Theatre), such problems might be expected. However, this is not to say that there are no standout performances. Lauren Tolcher does a fine job vocally as Maria, as does Abigail Smith as her best friend Anita. Their final number together is a musical highlight of the show.

In terms of acting, Smith also stands out, presenting the most believable characterization in the show. Tony Carbone fulfills his role as Bernardo, the leader of the Sharks (the Puerto Rican gang). Several others may be noted for their commitment, among them Shelby Sessler as Anybodys and Toby Lovell as Glad Hand.

On the whole, however, this group of actors does not bring a lot to the script, their effect essentially being to have read us a tragic story of love. Fortunately, they move well and the production team (the real stars of this show) have painstakingly framed and employed them in an exceptionally spectacular manner. So, if you want to feel emotionally or intellectually involved in the drama you might want to skip this one. But, if you enjoy the pure spectacle of big theatre, I recommend you take a look at “West Side Story,” as it really doesn’t get much bigger around here.

"West Side Story" runs through September 27. For reservations call Town Theatre at 799-2510.

When I objectively consider the strengths and weaknesses of Workshop Theatre’s “Fiddler on the Roof,” I am somewhat ambivalent about the production. Why? Well, there are but a handful of standout performances among the huge cast, the generally solid stage execution effectively offsets the lack of a notable artistic concept, and even the set is a mixture of professional quality intricacy and standard community theatre fare.

However, when I factor in my own emotional response to the show, I am left to conclude that, in this case, the whole is definitely greater than the sum of its parts. “Fiddler on the Roof” is truly engaging, and on that basis it is a worthy evening of entertainment.

Centered on the family of Tevye, a dairy farmer, the play tells the story of a small Jewish village in Russia during the early 1900s. The theme of the story is change, as we see the residents of Anatevka struggle to integrate social progress (and harsh political reality) into its strict and proud sense of tradition. In the process, we learn the value of placing family above all else.

The universal appeal of the story is, of course, a built-in strength of the production, as are the many memorable musical numbers (though there are times when subtle vocal moments are drowned out by the volume of the band). Also in the realm of mixed-results is the choreography, by director Cindy Flach, which is certainly highly appropriate even if rarely spectacular. Indeed, with so many people on stage on the same level, it is an achievement to create any movement that is not cluttered.

Given its many oscillations, however, what really tips the balance and makes this show a success is the strong work of Kyle Collins in the lead role of Tevye. Collins characterizes the patriarch with empathy-producing understatement while demonstrating an exceptional comic sensibility. These subtleties extend to the acting within his musical numbers as well, making his classic “If I Were a Rich Man” one of the highlights of the night. In short, it is Collins' believable, human portrayal which allows the audience to fully suspend its disbelief, look beyond any inconsistencies (such as the miscasting of Golde, Tevye’s wife), and invest emotionally in the outcome of the story.

Other notable performances include Giulia Marie Dalbec as Tevye’s daughter, Hodel, whose “Far From the Home I Love” is a high point of the second act. Nancy Ann Smith is suitably ominous as Yente, the matchmaker, and Steven Hillard absolutely steals the dream sequence as the fiery Fruma-Sarah.

Though Flach’s stage pictures are not so highly crafted, the story is told clearly, and the music is well-delivered under Jonathan Eason’s direction, making the show a positive experience on the whole. Be aware going in that the first act runs a bit long, and you should enjoy yourself.

“Fiddler on the Roof” runs through September 27. For reservations call Workshop Theatre at 799-6551.

Workshop Theatre offers a rousing two hours of family-friendly musical entertainment with its summer production of “High School Musical,” based on the Disney Channel movie, album, and pop culture phenomenon.

Chances are that almost any child between the ages of 6 and 16 is not only familiar with, but is a fan of this show, knows all the characters and can sing all of the songs.  A built-in audience exists, but the question for me was: can an adult w/ no prior familiarity and no children-in-tow appreciate a Disney product about… well, a high school musical?   

The short answer is yes; the show is very cute, the songs are catchy and innocuous, and the young cast is full of energy and commitment.  There’s no deep meaning beyond “be true to yourself,” but that’s not exactly a bad message. 

The title notwithstanding, the play actually concerns auditions for a high school musical, and the accompanying teen-age drama of cliques, peer pressure, academic pressure and young love.  Troy is a star athlete, and Gabriella is a scholastic champ, yet both discover an inner desire to sing on stage.  Their dreams of breaking out of their molds, however,  threaten to thwart the plans of East High’s reigning theatre duo, the wonderfully-named Sharpay and her twin brother Ryan, born eight minutes after his sister and dominated by her ever since.

Caleb Jernigan and Laura Deneen are perfectly cast as the opposites-attract couple Troy and Gabriella; a squeaky clean, modern Frankie and Annette whose voices blend together beautifully in forgettable but sweet love duets (Okay, “like duets” might be more accurate.)  As Troy, Jernigan manages to depict the big man on campus, uncomfortable with the burden of being the star play-maker for the basketball team, and with everyone from his best friend and teammates to his father, the coach, depending on him.  Yet we see that he is indeed a natural leader, as he manages to coax the shy Gabriella into joining him onstage.

 As Gabriella, Deneen has a lovely, rich voice and good stage presence.  We discover that much of her reticence stems from having been perceived as the freaky science girl at her old school.  She struggles to avoid attention, but still wants to fit in with her math class buddies, dubbed the “Brainiacs” in the school’s caste system which is ruled by the jocks, the cheerleaders, and the prima donna Sharpay. 

As Sharpay, Giulia Marie Dalbec chews the scenery magnificently, portraying a driven, flamboyant teen queen with wit and flair.  We learn that she too is just trying to fit in and be accepted by her peers:  as long as she is acknowledged as the star of every show, then she too has an identity.  Especially amusing are her vocal warm-ups with her brother (played by Ryan Archer) and her imitation of a diva-like ostrich as part of an acting exercise.  Plus, Dalbec takes an icing-laden cake in the face like a trouper.  Gracious in defeat, she agrees to understudy Gabriella in case something happens… then cheerily says, “So break a leg!”

Other standouts in the large cast of 31 include Gabrielle Peterson as Taylor, the leader of the Brainiacs, and Lauren Shealy as Kelsi, the music-geek who has written the original musical that inspires the auditions.  Additional comic relief is provided by Ellen Rodillo-Fowler as an especially theatrical theatre teacher, and Corey Law as Jack Scott, East High’s techno-wonk (imagine a morphing of Urkel, Gilbert Gottfried and Cheap Trick’s Rick Nielsen)  whose school PA system announcements provide a running commentary on the action, and are an audience favorite. 

Thirteen writers are credited for the score (the book is by David Simpatico, based on Peter Barsocchini’s screenplay) and so the songs are a mixed bag, with the group numbers being more up-tempo and memorable than the duets.  “Get’cha Head in the Game” has nice funky groove, reminiscent of early 80’s Stevie Wonder, while “Stick to the Status Quo” is a lively effort by the ensemble to squash the dreams of each teen who steps outside of what is expected by their clique.  Director Walter Graham, Choreographer Terrance Henderson and Musical Director Camille Jones make good use of the small stage and ensure that each cast member gets a few moments to shine, not just the leads.

The set itself is threadbare by Workshop’s usual standards, just a suggestion of an institutional interior, but this is necessitated by extremely quick scene changes that require the main performance space to become a lunch room, a class room, a theatre and a basketball court, even doubling as several simultaneously. 

Reportedly there have been over 1300 local productions of this show in the last year across the country, many at middle and high schools.  Ironically, what originated as a television movie is encouraging kids to get up and go see live performances, and maybe even more: to actually audition for them--an admirable message indeed. 

“High School Musical” is HELD OVER and now runs through July 26 at Workshop Theatre. For reservations call 799-6551.

Trustus Theatre’s latest offering is an energetic, irreverent, over-the-top musical parody of the 1936 cult film classic “Reefer Madness.”  The production provides a fun, campy evening of theatre with a very capable cast, and a light, but rather forgettable score.

Kevin Murphy and Dan Studney took the 1936 exploitation film, a serious warning to parents and their children about the perils of marijuana, and turned it into a musical satire, which originally ran off Broadway in 2001.

Young Jimmy Harper has everything going for him until the demon drug menace turns his happy, virtuous life into one of debauchery and murder.  Along the way, his sweet, goody-two-shoes girlfriend Mary Lane also becomes involved.  Jesus himself appears along with his angels to help steer Jimmy back to the light, but the attraction of the reefer is just too strong.

Director Dewey Scott-Wiley keeps the production’s pace moving well. She creates the right wacky atmosphere and gets as much as she can out of the campy material.

Dedra Daniels Mount’s choreography is also big and lively in the spirit of musical parody.  But with an oversized chorus ensemble of eight and the aforementioned set filling the stage, the dance numbers could use a little more breathing room.  Without room for variation, there are a couple of numbers that fall flat toward the end.

B. Scott Vaughan and Carin Bendas are outstanding as the young ill-fated couple Jimmy and Mary Lane.  Vaughan’s natural ability to make any role look easy is a joy to watch, and Bendas has a terrific grasp on her role with just the right amount of give and take.  Both also have wonderful singing voices, and their performances keep the production full of life.

Jon Taylor, as the Lecturer, shows nice versatility bringing a wide range of characterizations to what is probably the most difficult role in the show, and Chad Henderson gives a marvelous performance as the maniacal reefer addict, Ralph.  Henderson brings an almost frenzied energy to the role, and shows strong comic ability and a great understanding of physical comedy.  Also notable is Stephanie Price as the Placard Girl, whose nicely understated performance gets big laughs.

Musical Director Christopher Cockrell gets a nice vocal blend from the entire cast, and the performance of his band is flawless. However, there are some sound issues with some voices amplified louder than others.

Scenic Designer Brandon McIver makes good use of the space on the small Trustus stage, dividing it into several multi-functional spaces.

Finally, Costume Designer Corinne Robinson does stellar work on the massive amounts of costumes that the show calls for.  Her work further enhances the wacky show, making it even more fun.

Get yourself down to Trustus Theatre to experience the high of “Reefer Madness,” a delightfully fun evening of theatre.  The show runs through July 26.  Call 254-9732 for reservations.

Workshop Theatre closes out its 2007-2008 season with a surprise hit, a gentle two-character play that focuses on the process of dying and the lessons about life contained therein.

Based on Mitch Albom's bestseller, and co-written by Albom and Jeffrey Hatcher, "Tuesdays with Morrie" tells the true story of Mitch, a driven and successful sportswriter and radio commentator who reconnects with a beloved college professor, Morrie, when he learns that the latter is dying of ALS (Lou Gehrig's Disease). Originally intending only a one-time visit, Mitch realizes how influential Morrie was to him 16 years earlier at Brandeis, and how far his life has strayed from that of the young man he once was. So Morrie Schwartz teaches his last class to a student body of one, as Mitch begins weekly visits that profoundly impact both men.

As Mitch, Lee O. Smith has the challenge of depicting an accomplished communicator in his professional life who nonetheless often cannot express or even understand his own feelings. Smith easily moves back and forth from narration, describing his frustrations and conflicts to the audience, to direct interaction with Morrie. As Morrie's mobility declines, it falls to Mitch to provide most of the "action" in what is primarily a play of ideas. He keeps the audience alert, leaping up to take a call on his cell phone, quickly rising to help his mentor, flashing back and flashing forward into different moments and memories from his life. 

As the story unfolds, we realize that Mitch in many ways is symbolic of his generation. He is still in his thirties, he fears aging, he delays the commitments of marriage and children and he allows his career to overshadow his sensitive, artistic side. Smith does a fine job capturing the inner conflict of the character, struggling to become a better and more compassionate man, and realizing his own limitations as he does.

As Morrie, Robert Triplett has an even greater challenge. Apart from a few scenes in the first act where we see him as a vital man in his 60's, he is mainly confined to an armchair, then a wheelchair, and finally a hospital bed. Accordingly, he must act with his voice, and Triplett does this with great emotion and poignancy.

It would have been all too easy to depict Morrie as a stereotypical, crotchety or cantankerous old professor, given the numerous wisecracks he makes. But Morrie's wit is gentle and wry, not biting. The teacher in him makes him want to reach out to the conflicted Mitch, to ask the tough questions that will cause his student to examine his own life. Morrie provides no definitive answers or truths, although at times he suggests the idea of trying to live each day a little better than the day before, and of asking yourself if you are indeed a good person, if you're happy, and if you're making the right choices for the right reasons. Through Triplett's many-layered characterization, we see Morrie's humanity and vast capacity for feeling, even as his body begins to shut down.

There were a few moments of opening-night awkwardness. Both actors rushed to some extent in the first act to get to the laugh-lines, and much of the first act involves rapid changes of location and time frame, and on several occasions the actors had to move to find their spotlight.

As a two-character play which focuses on dialogue, characterization, and intangible ideas, "Tuesdays" doesn't require much in the way of a set, and could indeed be done on a bare stage with a few chairs and other props. There are some odd choices. Most of the narrative takes place in Morrie's realistically-designed living room, full of the clutter that you would expect from an elderly college professor. Yet Mitch often exits to and enters from the adjacent kitchen, which is simply an exit past the stage's black curtains into the wings. Likewise, there's an amusing bit in Mitch's car when he first drives out to visit Morrie, pantomimed capably and in detail by the actor while sitting in a chair. Yet seconds later, he walks into Mitch's realistic living room through a presumably invisible and immaterial door.

In one of the plays' most genuine and touching moments, however, as Morrie progresses into the last days of his life and is confined to bed, director Jocelyn Sanders makes an excellent staging choice. The change could easily have been done in a blackout, but instead the actors remain in character, and Smith gently lifts the immobile Triplett all by himself into his hospital bed.

I must add that not one of the quibbles above detracts in the least bit from enjoyment of the performance. In the end, we are left with the feeling that we too have had the chance and privilege to know Morrie Schwartz, even if just for a few hours, and our lives are better for it.

        Chapin Community Theatre’s “But Why Bump Off Barnaby?,” a little known farce by Rick Abbott, offers comedy, murder and suspense, and a little slapstick, adding up to a light and fun evening of theatre. 

The play is basically a classic mystery farce with Barnaby Folcey meeting an untimely demise following a dinner with a group of colorful family and friends, who come together at an old English mansion on a dark and stormy night.  Typical comedic chaos follows as the other guests try to figure out “whodunit” before the police arrive.

The show marks the directorial debut of Jane Brutto, who has the potential to be a fine director, but this is a show that’s a bit too difficult for a first timer to pull off effectively.  She has assembled a very fine and talented cast of players, but directing a farce presents a challenge even for seasoned directors, for it is all about pacing and timing.  Farce must be presented at a fast pace with builds and pauses very deliberately laid in, creating tension and allowing for funny character development.

Instead, this production is treated in a rather linear manner with characters talking even slower than they would in reality, and little attention is given to creating builds, contrasting highs and lows and highlighting punch lines.  As a result, the ends of all three acts fizzle instead of building to the intended punch.

The set and costumes are very effective with work by Earl Long and Rebecca McCune respectively.  The placement of a massive table down center is a confusing set choice since it hides much of the action, and it dictates quite a bit of awkward blocking around it during the entire show.

The ensemble works well together, creating moments that are fun to watch despite the acting being a little uneven throughout the show.  

The most effective work is done by younger cast members Elizabeth Stepp as Magnolia, the maid, and Dana Bolton as Jeff Barnett.  Both performers articulate well and seem totally comfortable onstage.  They are focused and seem to understand the dynamics of farce well.

Jim DeFelice creates a wonderfully bizarre butler, Medkins, and Denise Pearman flaunts nice attitude as the diva Cleo Barton. 

Jeff Smith as the old man, Orion Leduc, needs to pick up the pace, and while Evelyn Clary as Dora Dunstock has the right look for the role, she addresses the audience directly at odd times. Clary could also do a better job of listening and staying in the moment while other actors are speaking.

Chapin Community Theatre has been doing shows for over 25 years, and is to be commended for continuing to present fun work for its audiences.  If you have never been to the theatre, it’s not nearly as far from Columbia as one imagines, so give it a shot.  The theatre is always filled with appreciative audiences who support their own community, and the performers and production crews seem have a great time presenting their work.

“But Why Bump Off Barnaby?” runs through May 31.  For ticket reservations, call 345-6181.

       Leevy, known for his casting, has done a fine job assembling his talent. Caleb Jernigan is appropriately buoyant as Joe Hardy, and nails his vocal performance, which is highlighted by the touching duet "Near to You." Nancy Ann Smith delivers the role of Joe's melancholy wife, Meg, with highly effective understatement. It is primarily her performance which connects the audience with the emotional power of the show.

        Trustus’ current show, “Southern Baptist Sissies,” continues the theatre’s noble tradition of bringing to Columbia edgy, risky material to challenge the open-mindedness of our audiences. Written by Del Shores (“Sordid Lives”), “Southern Baptist Sissies” deals openly with the rejection and guilt experienced by many male homosexuals living within unapproving cultures. Despite the heaviness of the topic, however, this production is lively, thoroughly involving, and is stopped a dozen times by hearty audience laughter.

The story centers around four young men--all regular churchgoers, all gay. Jonathan Jackson stars as Mark, the lead role and narrator. Jackson, who has a way with sincerity, works his way into the audience’s empathy with aplomb. His fear, his rage, and his deep love become ours. His three best friends, played by Brandon Martin, Nate Herring, and Sean Stephens, are all winningly sincere and heart-breakingly innocent as they struggle with the ramifications of their newfound identity.

            Monica Wyche plays all the young men’s mothers, when just being one mother is strain enough for most women.  As usual, Ms. Wyche is mesmerizing in the widest range of emotional situations imaginable. Note particularly her role as the mother who visits the preacher wearing a dress that is two sizes too small.

Gene Aimone portrays the fire and brimstone Baptist preacher with an oily sincerity which never seems fake.

Dewey Scott-Wiley and Gerald Floyd, however, walk away with the show under their arms as bar-buddies Odette Barnette and “Peanut.” The two are hilarious, yet curiously affecting. They are old and have broken their lives, but their humanity lifts them to almost iconic levels. And don’t worry about foul language. Ms. Barnette has a running joke about hating the “f” word.

The set, designed by Samantha Hayford (“Dog Sees God”), is heavy on cross imagery. The two higher levels are Aimone’s pulpit and the catwalk at the “Rose Room” gay dive bar: apt juxtapositioning.

Alex Bergeron’s lighting design is filled with wonderful little surprises like hymnals that light the faces of their users, and there are numerous special electronic effects, including television monitors displaying preachers preaching, and a live feed of Aimone’s pulpit performance.

            Under young phenom Chad Henderson’s direction, the show, really, borders on being a musical. There are the old familiar hymns, performed with live piano played by William Shuler, and beautiful church harmony; there is lip-synching to modern disco tunes, as well as some nice solo ballads sung by Sean Stephens.  All ten performers, expecially Tony Moore, dance, crawl, ooze, jive, and pop.  A couple even get naked.

            Henderson’s judicious use of the laying on of hands, his choreography, the seamless flow of the whole production, and his attention to physical detail as well as the secrets of the human heart make this production crackle with entertainment. 

        “Southern Baptist Sissies” continues through May 31 at Trustus Theatre in the Vista. For reservations call 254-9732.

With its current production of David Lindsay-Abaire’s Pulitzer Prize winning play “Rabbit Hole,” Trustus Theatre lives up to its founding goal of bringing thought-provoking, professionally staged drama to the midlands.

“Rabbit Hole” is the story of a family dealing with the emotional aftermath of the death of its youngest member, Danny, a four-year old boy killed in a tragic and random accident. Eight months have passed, but the wounds have not healed for the surviving Corbetts, who must find a way to cope with not only their individual sorrow, but with each other’s destructive emotional degeneration. In the process of their struggle we learn that acceptance is not a choice at all, but a simple and unavoidable reality.

      Simple is a good word to describe “Rabbit Hole.” With such a powerful premise there is little need for striking stage action, and this is certainly a text-driven drama. Director Jim Thigpen embraces this fact and presents a clean and elegant production which tells the story without distraction.

This, however, is not to say that the show is not visually appealing. Todd L. Clark’s handsome set and lighting design mirror Thigpen’s direction perfectly, providing a simple yet artistic environment for the actors.

            Among the cast, Vicky Saye Henderson clearly stands out as Danny’s distraught mother, Becca. She maintains a believable consistency of character even as Becca rides the waves of emotion that naturally confront her in her situation. While Glenn Rawls may be a bit too consistent as Danny’s father, Howie, he also has his finer moments.

Despite the seriousness of the topic, the play is surprisingly funny throughout. Indeed, there are moments when teary-eyed audience members actually burst into laughter. Elisabeth Gray Heard is the driving force behind many of the laughs. As Izzie, Becca’s younger sister, her comic delivery is notable.

Kudos must also go to young Max Winslow Brabham as the voice of Danny. Although he does not appear on stage, his recorded voice is remarkably effective, especially for an actual four year old actor.  Kay Thigpen and Alec Grooms round out the solid cast respectively as Nat, Danny’s grandmother, and Jason, the teenage boy whose car took Danny’s life.

“Rabbit Hole” won the 2007 Pulitzer Prize for Drama for a reason. The story alone will make you laugh and make you cry. Add to that basic appeal a quality production that registers theatrical professionalism and you have a night of meaningful entertainment.

“Rabbit Hole” runs through April 19. For reservations call the Trustus box office at 254-9732.

It is ambitious, to say the least, for Workshop Theatre to tackle Stephen Sondheim’s “Sweeney Todd: The Demon Barber of Fleet Street.” The iconic piece represents the height of the American musical in terms of complexity, weaving story and music together to an extent that borders on opera. Under the direction of Ellen Douglas Schlaefer, Workshop’s production meets the musical and storytelling challenges admirably, painting the “big picture” successfully with broad, clear strokes. On the downside, the show lacks the type of theatrical finishing details which would serve to establish a suitably macabre atmosphere around the storytellers. In other words, the tale is well told but it isn't very scary.

The highly engaging tale is set in London, where barber Sweeney Todd has returned to seek revenge on the corrupt judge who put him behind bars fifteen years prior. As unwitting innocents obstruct his murderous plan, he coldly eliminates them with a slash of his razor and passes their corpses to his struggling landlady, Mrs. Lovett, who happily bakes them into meat pies to sell to hungry Londoners. Despite the joyful discovery of his daughter Johanna, Todd’s obsession for revenge above all else blinds him to the promising future before him, yielding the show’s ultimate lesson in its tragic climax. 

Musical talent abounds in the production, with Stann Gwynn vocally delivering the role of Sweeney Todd with great strength. His entranced characterization is also effective. Ann Benson is an entertaining Mrs. Lovett, her comic skills providing many of the night’s much-needed lighter moments.

Also standing out vocally are Lauren Tolcher as Johanna and Brian Parker as Pirelli, the charlatan. Kevin Bush is solid as Anthony, Johanna’s suitor, as is Daniel Gainey as Tobias. Among the ensemble players, Catherine Bailey attacks her role with great spirit.

Other strengths include the musical direction of Tom Beard, who gets the most out of his ensemble. Beard’s and Schlaefer’s direction merge most effectively in the opening number of the second act, “God, That’s Good,” which is both a visual and aural highlight.

The show’s weaknesses reside primarily in the technical and visual areas. As a horror show of sorts, one expects to see shadows and blood, both of which are in short supply in this production. The lighting seems somewhat “one size fits all,” without really enhancing the dark tone of the action or of Todd’s character, though there are many opportunities to do so. Indeed, this edgy text invites spectacle of all sorts, but little of it seems to show up at the party.

Still, if you have not seen a production of “Sweeney Todd,” this one is a good introduction to a brilliant work of American theatre. While not as tight and visually appealing as last year’s “Urinetown: The Musical,” it rates as good community theatre, and you will likely find yourself humming the ominous “Ballad of Sweeney Todd” for several days after the show… and perhaps canceling your next visit to the salon.

“Sweeney Todd: The Demon Barber of Fleet Street,” runs through March 22. For reservations call the Workshop Theatre box office at 799-6551.

        “Something’s Afoot,” currently at Town Theatre, offers a light-hearted and superficial evening of theatre that lacks substance, but still works largely due to the passion of a group of well cast performers.

        Enjoying a brief run on Broadway, the show is a murder mystery musical that is a spoof of Agatha Christie’s “Ten Little Indians.”

        The script is weak with a contrived plot in which the play’s characters are killed off by complex and comical booby traps in an old English mansion, each of which is part of a tangled web of deception.  That’s pretty much all there is to it.

       Director Scott Blanks’ biggest accomplishment is casting a group of top-notch performers who seem to be having a blast onstage.  Blanks’ direction is strong despite being a little uneven in its understanding of the level of “spoofness” in the rather thin material.

        Notable among the cast is Rex Wilson (Colonel Gillweather) who understands give and take and whose death scene is quite amazing in terms of comic timing.  Sara Blanks (Lettie) brings a nice comedic freshness to the work, and Giulia Dalbec-Matthews (Hope Langdon) has a strength that moves the play forward with conviction.  Leah Tudor (Miss Tweed) commands the stage well but anticipates moments before they happen and needs to be more present.  Jonathan Jackson plays a great uninvited guest, and Kyle L. Collins (Nigel Rancour), while not nearly as good as he was in “The Secret Garden,” sings beautifully.  But the performance of the show goes to Jamie Harrington, stepping in a day before opening to replace an injured actor.  Her Lady Grace Manley-Prowe is truly funny to the core; she understands pacing and pausing to perfection.

       The fully filled stage, designed by technical director Danny Harrington, is a character of its own in the show. Harrington has designed it cleverly with unanticipated stage pieces becoming weapons of murder at a moment’s notice.  But Harrington’s choice to mix real doors with “fake” cartoon painted doors on the upper level is somewhat perplexing.

        Sound is an issue in the show, with most of the actors being difficult to understand in the first act due to the band being too loud and with high-pitched British accents not being compromised on the sound board.

        The music in the show does little to further the plot, but the band is fine with Jeanine C. Marsh getting adequate work out of actors who sometimes have a hard time pulling off solos through entire pieces.

        Donna Harvey does a marvelous job costuming the show and Harrington’s light design is effective.