Workshop Theatre’s “John and Jen” Is A Solid Piece Of Theatrical Art

Review by James Harley.

It’s not that difficult to create a script that has “universal appeal.” You simply write about love or loss or something else that virtually everyone has experienced, right? Indeed, far too many productions rely on the power of the story alone to trigger the emotional reflex, satisfied to just flip the audience’s switch for a sure-fire response without really going further to create an actual piece of art.

“John and Jen,” currently playing at Workshop Theatre, is NOT one of the above shows, but rather a thoughtful, well-crafted and complete theatrical work that goes the extra mile to unite words, music, visuals and action in the artful telling of a poignant tale of loss and the lessons that follow. But if you want a little universality as well, don’t worry; as long as you’ve had a brother or sister, son or daughter, or mother or father, you’ll find “John and Jen” applicable to your life in some substantial way.

The text itself is very well-written, with each act being somewhat a mirror of the other, just with slightly different circumstances. We are introduced to siblings John and Jen via a musical slideshow of sorts, which chronicles their growth to the point that they become old enough to leave home and follow their own individual paths. Jen’s leads her to a hippie lifestyle in New York City while John’s takes him to battle in Vietnam. Their divergent aims create tension between the two, but the tragedy of his death reunites them in spirit, if not in person. Jen tries to come to grips with her loss, but also with herself for failing to embrace John for who he was – her brother. The memory haunts her and shapes her life for years to follow, while the viewer observes the effects.

Any two-person show creates a challenge as far as spectacle is concerned, and director Chad Henderson does an excellent job keeping this one visually engaging via a constant flow of meaningful stage pictures using all of the space and levels available. While the show is operatic in nature with virtually no spoken dialogue, there is no accompanying dance, which makes his success with this task even more impressive. Transitions are likewise smooth and polished, allowing the established energy within each scene to enhance the next.

The simple scenery aids in the telling of the story without getting in the way, serving as a rather neutral background for the evolution of the colorful characters whose feelings always remain the focal point of the action. None of the emotion is traded for glitter, leaving little room for audience distraction as John and Jen tell their tale.

Of course, it might take quite a bit of spectacle anyway to distract one from the vocal power of Kevin Bush and Linda Posey as John and Jen, as both veteran performers are outstanding singers, a requirement for any show with 25 songs. Both are also called upon to play an extremely wide age range as well, which they handle effectively. Bush shined particularly as a small energetic child, while Posey’s believability peaked when she became a welcome-to-the-real-world mother.

The fact that the show has only two characters is also a built-in strength, guaranteeing that there is no surrounding drop off in talent due to the presence of weaker supporting roles.

Musically the show is not outstanding in the sense of providing catchy numbers to hum on your drive home, but is perfect in that the music (like the scenery) does not overshadow the gripping story. Essentially the songs are just a beautified version of a serious conversation, where what is being said within them retains primary importance over how it is said. But, yes, note that there is beauty to be had here.

As with virtually any show there are some minor flaws, in this case on the technical side of things as lighting cues were off in several instances, but this doesn’t derail the experience significantly. “John and Jen” examines so many angles of familial relations and generational cycling that it would be difficult not to identify with it, and the production is so solid that it would be equally difficult not to enjoy it as a piece of theatrical art. If you tend to see most of the shows here in town you’ll likely see it anyway, but if you are selective in your patronage then this is one you should definitely consider selecting. Though it’s still early in 2012, “John and Jen” will probably be one of the best shows of the year.

Trustus Theatre's energetic “Spring Awakening” showcases new talent.

Review by August Krickel. 

Adolescent depression, pregnancy, child abuse, violence, pressure to succeed - there's a teenage wasteland erupting in Trustus Theatre's new musical production of Spring Awakening, based on the groundbreaking (and notoriously banned) Frank Wedekind play from the late 1800's. And there's sex.  Lots of burgeoning sexuality in every imaginable combination (boy-girl, boy-boy, boy alone in the bathroom with a photo, boy fantasizing about his teacher or a friend's mom, etc.). While the show is not for all tastes and is more successful in entertaining than in making any deep or lasting statement, Spring Awakening provides a chance for an audacious and energetic young cast and director to flex their creative and artistic muscles.

Such themes of teen angst are commonplace to today's audiences, and have been mined for dramatic and comedic effect for decades in literature (Catcher in the Rye and Portnoy's Complaint), on film (Splendor in the Grass and the American Pie movies) and on television (any episode of 90210 or Gossip Girl).  Set in the strict, repressive Germany of 1891, the play depicts a vastly more naive society, where learning is sterile, parents are stern, and the facts of life are not discussed with children. Melchior (Jay Zenger) stands out among his peers as a thoughtful, if rebellious, intellectual; his reading of books on his own gives him insight into the human condition, and he understands at some level the hormonal changes that are driving his contemporaries wild.  His hapless slacker friend Moritz (Patrick Dodds) feels overwhelmed by the pressures of school, parental expectations, and the chaotic thoughts that keep him up late at night. Wendla (Catherine Hunsinger) is a true innocent, whose mother refuses to explain in detail the changes Wendla senses in her body and spirit.  All three young actors embody their roles perfectly, and display strong singing voices as well. 

Duncan Sheik's score is technically rock music, although of the accessible Stephen Schwartz variety heard on Broadway for decades in shows like Godspell and Pippin (both of which also recount the search by young people for answers to questions they can't fully comprehend).  The basic rock line-up of guitar, bass, keyboard and drums are enhanced with a string section, reminiscent of the sound of the band Jump Little Children; under Tom Beard's capable musical direction, James Gibson alternates between double bass and bass guitar, effectively setting the right mood and tone in each musical number.  While Steven Sater's script somewhat recreates the more formal speech of an earlier era, his lyrics use the slang and vernacular of the 21st century.  Songs therefore are insights into inner thoughts, expressed via rock music, rather than characters actually singing to each other.  Microphones are used throughout, and reinforce the rock feel, although are hardly necessary given the small house and the vocal strength of the cast.  The wireless head microphones actually become a bit annoying, as when a character is stripping off his clothes in a disturbing seduction/rape scene, but leaves his microphone on.

Melchior, tall, vigorous and attractive, combines the sad sweetness and romanticism of the young McCartney with the iconoclastic intellect of Lennon.  In that vein, Moritz would then be the pale, gangly Pete Townshend, filled with rage and unfulfilled yearning.  While Zenger takes top vocal honors for the beauty of his voice, Dodds knocks it out of the acting ballpark with a perceptive, tragic portrait of a boy falling apart at the seams.  Resembling Robert Smith from The Cure (that high-hair look actually was popular a century ago, and it's only natural that Moritz forgets to use a comb) Dodds is more disheveled at each entrance, another button undone, another shirt tail or suspender hanging aimlessly.  Also of note are Avery Bateman as Martha, and Adrienne Lee as Ilse, especially in "The Dark I Know Well," where each confides a secret shame to the audience. While the actual characters never share this scene, Bateman moves her mic stand next to Lee, and the two hold hands while singing, symbolically giving each other strength in a powerfully effective yet subtle visual moment.  All the adults in the show are played by Vicky Saye Henderson and Christopher Cockrell; Cockrell is especially proficient at replicating the crisp manner of a German authoritarian, while never using an accent.  He also has the challenge of depicting grief in a very unsympathetic character over the course of a fairly long song, and his effort to hold back tears becomes far more poignant than actual crying could ever be.

Terrance Henderson's choreography is raw and filled with explosive energy. Virtually no traditional dance moves are used;  rather we see rhythmically gifted youths from a century ago, moving their bodies to the lively, frenetic beat of contemporary music, each doing his or her own thing but somehow strangely in unison at the right moments. Often they seem constricted by invisible chains, and when someone manages an upraised arm, a defiant stomp of a foot or a leap over a school room chair (as in the furious and passionate "The Bitch of Living") we see it as a triumphant victory.  Amy Brower's costumes (crisp school uniforms for the boys, sexless granny-dresses for the girls) define the era and Danny Harrington's set incorporates images from academia (anatomical drawings, Baroque nudes, Leonardo's Vitruvian Man) that make a clear if silent statement on the play's themes. Director Chad Henderson often uses the actors themselves to define locations, as when boys holding chairs at odd angles represent a large tree in a forest.  Henderson is to be commended for a very nuanced and well-crafted realization of the play's emotion, anger and pathos, as well as for completely color-blind casting, and for inspiring such professional-caliber performances from his very young cast, most brand-new to the Trustus stage. He paints appealing pictures on stage with his actors, as when Moritz, normally surrounded by a chorus of his peers, is all alone in a very narrow spotlight in his darkest hour.

Apart from its R-rated themes explicit sexuality and partial nudity, the show also may seem unfulfilling to some due to the original material's ending. At one level we are almost given a cautionary moral straight out of a silent movie or a 1950's school film: control your passions or tragedy will befall you. At another level we are given a kumbaya sing-along finale where we are assured that the anxieties of a teenage spring will mature into a wiser summer. There's an awfully fine line between timeless and universal truths, and cliché.  Ironically, the show’s lead producer on Broadway was Tom Hulce, best known for his screen portrayals of another unbridled intellectual in Amadeus, and of another naïve student desperate to explore his sexuality (Pinto in Animal House).

Camden Community Theatre Rises To the Challenge In Presenting “Chicago.”

Review by Larry Hembree.

The Kander and Ebb musical “Chicago” originally opened on Broadway in 1975, and a successful revival in 1996 inspired the Oscar winning film version in 2002.  The show is an interesting musical satire of legal corruption and criminal celebrity, and it is set in jazz era of Chicago during Prohibition.

This review of Camden Community Theatre’s current production of “Chicago” presented by the Fine Arts Center of Kershaw County in Camden is brief.  I could go on and on about what a great production has been mounted but you need to go see it for yourself. Get your tickets now. You won’t be disappointed.

With so much emphasis placed on the work of Columbia’s in-town theatres, smaller community theatres outside of Richland County sometimes get lost in the mix.  But theatres such as Chapin Community Theatre, Village Square Theatre in Lexington, and yes, Camden Community Theatre are doing notable and relevant work.  (If you have never been, Camden is a short drive from Columbia, and it has a booming Fine Arts Center complete with an art gallery, theatre, and an educational wing with visual art, music, and dance facilities. The Center is also currently in the process of constructing a new black box performance space on its campus.)

“Chicago” can be described as a glitzy and intense musical that is dark, complicated, and filled with many shorter Brechtian-like scenes, and I have to admit I was a little hesitant to see a production of this complex and difficult show mounted by a small community theatre.

But this production holds up beautifully.  The show boasts a tight well cast ensemble with fantastic musical direction by Andy Wells (and a terrific band to boot).  Director Frank Thompson creates a cohesive production where all elements from costumes and attitude to sound and lighting are nicely connected and balanced.  Thompson succeeds in creating a tightly knit show with great rhythm and pace as he develops both funny and poignant moments.

Thompson’s direction is well executed, creating very effective stage pictures on the ample stage with a totally functional set designed by Andy Mills.  Other production elements are stellar with smartly layered lighting designed by Bryant Herring.

The cast works endlessly and tirelessly to push the story out past the fourth wall and are mostly successful.   Notable are the leading actresses, Virginia Owen as Velma Kelly and Abigail Smith Ludwig as Roxie Hart, who succeed in creating memorable contrasting characters.  They work well both individually and in tandem, and they sing and dance well too.

The supporting cast is generally exceptional, especially Zack Gurley as Amos, who brings just the right amount of energy to the little naïve husband of Roxie.  Nancy Ann Smith also brings a remarkably rich performance to the show as Matron “Mama” Morton, and Leandra Ellis-Gaston stands out as June, who understands when to push and when to stand aside and let others have their moment.  As the novelty character, Mary Sunshine, A. Upchurch possesses the gift of comedic timing, which is quite fun to watch.

If you want to experience an evening of memorable rich performances in a show that celebrates the best in American musical theatre, take the short trip over to Camden this weekend, and enjoy this production of “Chicago.”  Kudos Camden Community Theatre for what will likely be in the theatre’s long history, a gem of a show.

Workshop Theatre's “The Dixie Swim Club” Makes A Splash With Older Audiences

Review by James Harley.

The willingness to target multiple audiences by offering a fairly wide range of productions is one of Workshop Theatre’s best qualities. From cultivating the next generation of theatre patrons through child-friendly shows to drawing the traditional Columbia theatre base via energetic musicals, all while not afraid to push the limits with spicy material here and there, Workshop is probably the most rounded venue in the city.

This fall the theatre commits itself to the middle-aged and older crowd, presenting “The Dixie Swim Club,” a comedic piece about the aging process and how it naturally changes one’s outlook on life and how to live it. A somewhat stereotypical story, it achieves this goal by following the same group of women, former members of a college swim team, over a 33 year period as they meet for their annual 3-day girls’ weekend at a North Carolina beach cottage. Over time we see each celebrate success and also struggle with misfortune, all while testing the limits and power of friendship. As you might expect, the ultimate message is to always stand by those that you care for and help them make the most of what life hands them, and to appreciate those who stand by you. 

The message, one that never grows old itself, is simple enough to be carried by the text alone, but is enhanced by a fairly good surrounding production. Drucilla Brookshire portrays a very believable Vernadette, a backwoods mother of multiple delinquent children who has lived a hard life from day one. Even while matter-of-factly blowing off as much of her personal drama as possible, she maintains enough range in her character to stay interesting, and excels at tossing out the numerous comic one-liners that keep the audience active throughout. Leigh Stevenson as Sheree, the former team captain and still organizer and motivator for the rest of the group, matches Brookshire’s realism with a constant attention to detail befitting both her character and her job as an actor.

For a realistic show there is certainly some over and under-acting, the former being a bit clichéd and the latter a touch monotonous as the actors play more of a type than an actual character. But everyone gets their job done at the end of the story, which isn’t so much about anyone in particular as it is about what happens to all of us.

Still, the show could benefit from some more fine-tuning, particularly with the visual aging of the characters. Granted, playing an age range of 33 years is always going to be a challenge, but believing these women were 44 was just as difficult as believing they were 77. Though the actors did display the shifts physically, they were not aided much beyond that.

On the technical front the scenery was outstanding, with Randy Strange’s cottage interior providing a perfectly realistic environment for the action, at least through the first few scenes. Some notable deterioration would have enhanced the second act experience, however, as the cottage did not seem to age along with its inhabitants. Lighting support was minimal and largely phoned in, with several opportunities for visual enrichment (sunsets, storms) remaining unexploited.

On the whole, the show is a good choice for Workshop Theatre, as it frequently references areas well-known to Columbians (Outer Banks, Atlanta, etc.) and goes so far as to include a regionally-patriotic monologue about the traditional ways of the South. Director Cynthia Gilliam probably could have widened her focus to add more thematic support to the dialogue, but the story is universal and is told well enough to remain entertaining, especially on the comic front. “The Dixie Swim Club” won’t be the best show of the year, but it’s far from being a flop. As for making plans, your likelihood of appreciating this one increases with age. If you or your parents are past middle-age, it will likely move you on some level. If not, it really isn’t a show for you.

“The Dixie Swim Club” runs through December 3. For reservations call the Workshop Theatre box office at 799-6551.

Vocal Talent Carries “Forever Plaid: Plaid Tidings” at Town Theatre

Review by August Krickel.

Town Theatre gets a head start on the holiday season with their new  production of Forever Plaid: Plaid Tidings, a cute musical homage that falls somewhere between spoof and re-creation of the clean-cut, close-harmony boy bands of the 50's and early '60's.  A sequel to the original Forever Plaid, this holiday version revives the titular white bread quartet, returning from the great beyond to perform a wholesome Christmas show, presumably to earn their wings in heaven.  Hoping to stage "the biggest comeback since Capri pants," The Plaids pull out all the stops, mixing doo-wop standards with Christmas carols, while recalling moments from their never-quite-famous career in show business.   With a fair amount of over-the-top wackiness and occasionally winking self-awareness, it's not so much Perry Como (the singer whose TV specials they yearn to emulate) as Carol Burnett.  One wishes for more of a parody of this musical style in the satirical Spinal Tap vein, or like Town's recent production of The Drowsy Chaperone, but this affectionate tribute is pleasant enough as it is.

 Like the real-life harmony groups of the era, The Plaids are relatively homogenous: four handsome, nearly-interchangeable young men with cute smiles and sublime voices.  Since there really is no plot beyond the framework above, their characters are never fully developed, but each has a sort of persona: Kyle L. Collins plays Frankie, the sensitive/sweet one, while Tracy Steele is Jinx, the skittish one who gets nosebleeds from nervousness before big shows. Frank L. Thompson III plays Sparky, the smarmy one who's a bit of a prankster, and Rob Sprankle rounds out the foursome as Smudge, the geeky one, who also gets the occasional chance to wax profound and philosophical. As in similar numbers in the recent Smokey Joe's Cafe at Trustus, a deep bass singer is always essential, and Sprankle was an instant audience favorite every time he deftly hit a low note. Sprankle also gets some of the show's best moments of physical comedy, taking a precipitous plunge off the stage when he tries to perform without his glasses, then getting lost, accidentally wandering offstage during a performance and out into the parking lot. 

While the four performers are excellent singers whose voices blend together beautifully (two especially pretty numbers are "Sha-Boom," and an atypical arrangement of "The Christmas Song" i.e. "Chestnuts Roasting") the humor of the show comes from the mashup of traditional holiday music with 50's pop songs. So "Hark the Herald Angels Sing" segues into "Earth Angel," and the line "Gloria in excelsis deo" becomes the lead-in to the "Day-O" song.  An extravagant and overly emotive rendition of "Besame Mucho" ends up as "I Saw Mommy Kissing Santa Claus," and "Little Town of Bethlehem" concludes with "Bethlehem...PA," a town where they performed.  At one point the audience is invited to join in a song called "Matilda." One Plaid holds up posters with lyrics, while another helpfully provides a bouncing red ball to follow;  after variations of "Now all the men... now all the women..." the audience is asked to "just think about the lyrics," at which point the Plaids sway and snap their fingers in time to the silence.  An R&B arrangement of  "The Night Before Christmas," with moves and postures from rap videos, is less successful, but a comedic highlight is their re-creation of Perry Como hits, with the Plaids doing the backup vocals only (i.e. all "oohs" and "aaahs," but with no lyrics).

This may all sound a little silly, although the humor occasionally rises higher.  Sprankle has a melancholy solo of "The Most Wonderful Time of the Year," after reflecting on the unpleasant family squabbles that sometimes accompany festive gatherings, and Collins, bravely clad in antlers in a red nose, retells the story of Rudolph as a cautionary tale of self-loathing and anger turned inward.

While the initial set, by Danny Harrington, is pretty threadbare, it's later filled with dozens of props that are rapidly rolled on and offstage to suggest certain locales, accompanied by quick changes of lighting that establish assorted effects (blue light projected on a flat backdrop with some dancing bright lights effectively depict a tropical ocean scene, for example).  The lighting (also by Harrington) and sound (by Chuck Sightler, with Billy Boleyn credited as Sound Board Operator) is synchronized perfectly for what must surely have been close to a hundred different cues.  Harrington also makes good use of drops that swing in and out, including a huge screen framed to resemble a vintage TV set, onto which a black-and-white clip is projected.

Choreographer Shannon Willis Scruggs accomplishes two goals:  she re-creates the non-dancing, synchronized movements of the era (singers facing the same way, turning at the same time, extending hands in sweeping gestures together, etc.). while still allowing for the appearance that the Plaids are hastily improvising most of their act. Director Allison McNeely ensures that the quartet maintains a frenetic comic pace throughout, while Musical Director Laura Roberts Adair points four gifted vocalists in the right direction and turns them loose.  The script is by Stuart Ross, with arrangements and "musical continuity" (i.e. crafting seamless transitions among the 34 songs credited by name, and at least as many briefly referenced within medleys)  by James Raitt, David Snyder, Brad Ellis and Raymond Berg.  David Fisher on piano and Tommy Thomas on bass capably keep up with all the action and hijinks.

At one point the Plaids quote a review proclaiming them as being "to contemporary music what formica is to marble."  Perhaps a little harsh, and a good example of the level of comedy here, but it does point out the show's only real shortcoming, however talented its performers are. Unlike plays that revive a musical sound from an earlier era (Grease, for example, scheduled for next spring at Town, or the recent Workshop production of Hairspray, or Town’s own Drowsy Chaperone  above) there are almost no original tunes here, nor are there satirical lyrics (as with Workshop's Forbidden Broadway, in which Collins appeared last year).  That's not an insurmountable problem, however, and there is no question that these are four of Town Theatre's (and Columbia's) most gifted regular performers, doing the type of show that Town does best, for an audience looking for exactly this type of entertainment.  Plus, if you've enjoyed these four in previous shows, here they have the stage all to themselves, and make the most of the opportunity to shine.  That said, I suspect that if ironic hipsters from the nearby Whig were forced to sit through the Christmas music, they would be dousing themselves in gasoline and looking for lighters within minutes.  And while it's certainly family-friendly, I doubt that too many of today's hip-hop-loving, music video-watching teens or tweens would care too much for it either.  A 30-something couple looking for family night out might do better to ditch the kids and instead take their parents.

All in all, Forever Plaid: Plaid Tidings accomplishes exactly what it sets out to do: recapture the wholesome music and conventions of a bygone era, with some zany comic antics and rich harmonies from four attractive and talented performers.  The show runs through Wed. Nov. 30th; call the box office at 799-2510 for ticket information.

Trustus Theatre’s Jim Thigpen Goes Out On a High Note With “August: Osage County”

Review by Jeffrey Day.

Trustus Theater founders Jim and Kay Thigpen plan to retire at the end of this season after 27 years. During those decades the theater has put on all kinds of plays and Thigpen has directed many of them. Some of the plays were great, others were stinkers; sometimes he was a great director, sometimes he wasn’t.

For what he’s called his “swan song” as a director, Jim Thigpen has taken on a monumental work, the Pulitzer Prize-winner “August: Osage County” by Tracy Letts. It’s the story of a big unhappy family, maybe not that different from your own. If you want to know why unhappy families are such good material, reread the opening line of Leo Tolstoy’s Anna Karenina. You might also check out Anton Chekov as well.

Not only is this play about family, so is the production. In the cast is Jim Thigpen’s daughter Erin Wilson, as one of three daughters around whom the play revolves, and his brother Ron Hale, who has done tons of stage, TV and movie work, as the booze-swilling father Beverly. Many cast members are part of the larger Trustus “family” as the Thigpens have long referred to the folks they work with. 

Among the Trustus regulars in this play are Dewey Scott-Wiley, Elena Martinez-Vidal, Paul Kaufmann, Kevin Bush, Robin Gottlieb, Gerald Floyd and Stan Gwynn. Libby Campbell Turner, who starred in the second play Trustus staged, plays Violet Weston, the pill-addled matriarch. It would not be casting aspersions on these actors’ previous stage appearances to say that many of them do their finest work ever in “August: Osage County.”

The play takes place mostly over a few days during a scorching Oklahoma summer, but covers a swath of human emotion and has a historical sweep across several generations of the Weston family. This is a play that has the audience laughing and crying at the same time – these people are hilarious and horrible. They are characters who you hate while at the same time relating to them. Some character, at some point, will touch on a least one thing that an audience member has felt. During the three-hours they’re on stage we watch the family come apart, come back together, tear one other apart again and make feeble attempts to make up once more.

“August: Osage County” opens with the father, Beverly, a poet who  was once sort-of famous, in his study interviewing a young Native American woman for a job as their housekeeper. It’s more of a discourse on life and poetry than an interview and it’s as good a five minutes of stage work as one is likely to experience thanks both to the playwright and Hale. When Beverly goes missing, Violet’s three daughters, Barbara, Ivy and Karen, her sister Mattie Fae, and various spouses, children and others descend on the family home.

This is very much an ensemble piece, but Violet and Barbara, played by Scott-Wiley, are the central characters, two sides of the same coin. Campbell Turner is perfect as the hateful, nasty, whacked-out and pathetic Violet. Campbell Turner can when needed make us feel for Violet, but is able to quickly transform back into the monster mom – sometimes holding a small sharp knife, sometimes with a bloody battle axe.

Barbara has arrived with her husband, but they’re separated. He can only talk about their problems in academic terms and she can only talk about it by battering him with cutting one-liners. Scott-Wiley handles the role perfectly, doling out the tough stuff and also turning vulnerable.

There are no unimportant roles in this play and most of the time Thigpen and the actors treat them with the attention they deserve.

Among the strong performances Martinez-Vidal as Mattie Fae and Gerald Floyd as her husband Charles are standouts. Both actors have often been typecast as ditzy, comical characters. That’s something they do well and the kind of folks they’re playing in “Osage County.” But they take it to a whole new level because these characters have depth – and so do these two fine actors. Daughter Karen, played by Gottlieb, is a character who would be easy to scorn – a vacuous, self-centered real-estate broker. But there is much more to her and Gottlieb makes us see that. As the plain daughter Ivy, Erin Wilson is dignified and elegant.

The set by Todd Clark is simple, effective and strange. It’s the house with living room, dining room, porch, study, and upstairs bedroom, but the walls and windows are covered with brown paper and all the furniture is muted as well. It is metaphorically close to a bare stage, which is the perfect place for this family affair to roll out.

The play presents many technical challenges. At one point 11 people occupy the stage having six different conversations. (When was the last time you saw a play with 11 people on stage that wasn’t a musical? Probably never.)  A pivotal scene takes place at a dining room table where most of the cast has its back to the audience - and it is completely successful.

During its quarter of a century, Trustus has brought to Columbia a long string of amazing, extremely well-produced plays and has made the theater scene in Columbia more inclusive, open and better. It has also often lost its way. Fans of serious theater have frequently become frustrated with Trustus’ uneven quality and more lightweight offerings, but that certainly can’t compare with the Thigpen’s frustration with the lack of local support for serious theater.

Who knows what the future holds for the theater. And do we really know what Trustus is anyway?

For now, let’s define Trustus as it is with “August: Osage County” on the stage. That’s the best anyone could wish for.

“The Homecoming” a Good Fit For Chapin Community Theatre

Review by Larry Hembree. 

Chapin Community Theatre’s final show of the 2011 season, Perry Clark’s “The Homecoming,” is a perfect vehicle for the talent and capabilities of the organization, mounted admirably in the Harbison Theatre at Midlands Technical College, a brand new and well equipped 400-seat venue in Irmo.

Directed by Tiffany Dinsmore, the heart-warming play is based on the classic book of the same title written by Earl Hamner, Jr.  The same book was the inspiration for “The Waltons” television series.

 Set in the mountains of Virginia, the story follows the journey of young Clay-Boy Spencer as he attempts to find his father, presumably lost, on Christmas Eve 1933.  Clay-Boy experiences a series of hazardous, touching and funny adventures.  However, the story is not all light-hearted and happy as these are poor people struggling with the tension and melancholy of the Great Depression.

Dinsmore has triple cast the Spencer children and one other youth role, most likely to give more youth the opportunity to perform.  This review highlights the cast from the November 4 performance.

One of the challenges of this show is in figuring out how to embrace and take advantage of the structure of the written play.  The play is presented in a linear fashion with short scenes and monologues one after another propelling the narrative to the final climax. Technically speaking, Dinsmore chooses to present the story  using the” lights up, scene, lights out” and then “lights up again on the next scene” method.  The danger in this is that is it allows for weak closure at the end of each scene and also allows the audience to potentially lose interest as each scene, in a sense, dies and the audience has to get new energy up for the next scene, of which there are many. This also creates an external pacing problem which allows the audience to get too comfortable and therefore not have to work as hard to stay in touch with the narrative.  More creative choices on how to connect the moments between scenes might have strengthened the show.

This being the case, Dinsmore has generally cast the show well, and gets some energetic work out of her performers.

An exception, unfortunately, is in the performance of Mrs. Spencer, the mother of the seven Spencer children.  I am not sure if it was choice of the performer, Esther Dennis, or the director’s vision, but the characterization is so defeatist from the first moment, that I had very little sympathy for her as she wondered if her husband was going to return or not.  Her worry and anxiety needed to be more multi-layered and filled with many more contrasting choices.  Assuming she didn’t really want her children to be worried, where was the mask that that she should have worn to protect them from the truth at their young age?  I think it’s written into the play, but it was not effectively explored, and this ultimately weakened the impact of the climax of the story.

This sad mood is established by the show from the start, and it doesn’t really get the spark it needs until about halfway through with the arrival of Chauntel Bland as Reverend Dooly.  From that point on, the play comes more to life.  Bland has a command of stage and comic timing that catapults the rest of the cast with him into some very funny moments.  Following him, we are introduced to the Staple Sisters, played beautifully by Gayle Stewart and Mona Lisa Botts.  They do a very nice job of propelling the show’s spark along as they banter between excitement and nostalgia as Clay-Boy calls on them unexpectedly on Christmas Eve.  In short the two are hysterical.

Phil Rowe makes an effectively funny sheriff, and Todd Kemmerling has a wonderful stage presence as Charlie Sneed, a more ominous character in the story.  Likewise, Jim DeFelice and Sandy Steffen add much needed comedy as Grandpa Homer and Grandma Ida.  And Glenn Farr, as the little seen but driving source of conflict in the plot, makes a charming and poignant Clay Spencer.  Of course, we know the outcome of the play from the beginning, but Farr never assumes it, and works hard to develop a rich and moving performance.

The Spencer children are all well-rehearsed and quite adorable.  Especially notable are Daniel Hudson as Mark and Ashley Ericson as Becky, both of whom dig deep to create some uniqueness to their performances.

Newcomer Tyler Kemmerling gives a strong performance as Clay-Boy, the most difficult role in the production. Part narrator, part brother and oldest in the family, Kemmerling possesses great control over the language and pace of the show, and has a nice natural and believable style.  He succeeds in moving the play along and staying present. 

Production qualities are fine, especially period costuming by Sandy Steffen and Tiffany Dinsmore, with lighting by Matt Pound and set by Danny Harrington.  I did wonder if the set could have been moved more downstage to allow for the actors to push more energy into the theater and allow for stronger articulation of some of the younger characters. 

Kudos to Chapin Community Theatre for a confident production that provides us with nostalgia, laughter and tears as we usher in the holiday season.

The show runs through November 12. For tickets, visit http://www.chapintheatre.org, or call Brown Paper Tickets at 1-800-838-3006.

Workshop Theatre Offers Pleasant But Less-Than-Spectacular “Anything Goes”

Review by August Krickel.

Workshop Theatre kicks off its new season with a revival of the classic Cole Porter musical Anything Goes, and while no uncharted theatrical waters are explored, it's by and large smooth sailing for a pleasant evening's entertainment.

Set aboard a posh luxury liner in the 1930's, assorted stock characters (ingénue, juvenile, haughty matron, befuddled gent, tough gangster, blonde bimbo) engage in romance, shenanigans and hijinks on the high seas.  Will true love prevail?  Will passengers and crew break into song at the drop of a hat?  Will all the leads be paired off, however improbably, by the end?  Will your toes be tapping to some of Porter's best-known melodies?  Signs point to yes.

The principal stand-out in the cast is Anna Dragoni-Logan as nightclub singer Reno Sweeney, a role tailor-made for a star turn by a charismatic diva. Dragoni dives into the role with relish, sporting a chic and stylish brunette bob cut, and looking quite glam in a number of dazzling evening gowns.  She gets many of the show's biggest hits ("You're the Top," "I Get a Kick Out of You," and the title song) and while everyone in the cast sings well, anyone lucky enough to duet with her sounds even better. 

Equaling her in vocal skills is Katie Leitner as Hope, the innocent love interest about to forsake her sweetheart and marry a rich lord for his money.  Said sweetheart is played by Danny Alston, whose bio indicates he is new to acting.  Alston is a decent singer and dancer, but a very believably sincere actor whose fresh earnestness carries over into his singing.

Lou Warth is notable as Erma, a gangster's moll, though like many in this production, she is cast somewhat against type. I still recall her wonderful turn two and a half years ago as the well-intentioned mom in Workshop's Caroline, or Change, but here she vamps and camps it up in high style, teasing poor sailor boys in "Buddy Beware." She's a tad more of a cougar than the sex-kittens usually cast in this role, but that somehow makes the character more interesting, and she makes every moment on stage count.

Also effective are Reno's backup quartet, the Angels (Maria Culbertson, Grace Fanning, Katie Foshee and Addie Taylor.)  Most of the big dance numbers feature them prominently; in scenes where they have no lines, they still manage to assume striking poses, connecting with the audience and their fellow castmates.  I recognize at least three of them from other shows I've enjoyed, and it's nice to see Fanning, a memorable Violet Beauregard in Workshop's Willy Wonka two summers ago, graduating into adult roles.

Anything Goes is almost 80 years old, and believe it or not, the show isn't really dated that much.  There are a lot of jokes and references to news and pop culture of the era, but in many ways that works, just as Mad Men on television throws in lines about Marilyn and Nixon, reinforcing the period setting. Director Cindy Flach keeps all the action running at a quick pace, and Musical Director Greg Boatwright capably leads three other musicians through a veritable hit parade of Porter standards.

That said, this production is quite good, but never exactly excellent, and I'm not sure why.  As above, the songs are pretty, the leads are appealing, and the jokes and banter (courtesy of 6 credited writers, including P.G. Wodehouse, Guy Bolton, Howard Lindsay and Russell Crouse, i.e. the Tina Feys and Stephen Colberts of their day) come fast and silly, just how I like 'em.  At the same time, I never forgot that I was watching a community theatre production. 

Randy Strange's set, for example, is serviceable but could have used some of the opulence we saw in last spring's Victor/Victoria.  An exception to that is a revolving panel that becomes the lord's stately stateroom; just a few set pieces and a different color paint give this little corner a rich feel.

Joy Alexander's choreography wisely allows the best dancers in the ensemble to dance, while the singers sing, but it's just never tremendously exciting.  There are a lot of good laugh lines and bits that ought to have had me laughing out loud instead of just smiling. I can't point to any particular flaw, however, and at the very least, this is a solid B-plus effort. 

The production may just suffer a little by comparison to some spectacular successes on the Workshop stage in recent years, which isn't the worst problem for a theatre to have.  Broadway revivals of older shows can always impress via expensive spectacle and pageantry on stage; here, what may have to save the day is more of the madcap enthusiasm that Flach captured so well in The Producers a few years back.  Casts often take a few performances to find the rhythm of a show, especially with the addition of feedback from live audiences, so the show you see by the time you read this may be a lot stronger. And let me stress, opening night was still quite enjoyable.

Anything Goes runs through Sat. Oct. 1st; contact the box office at 799-6551 for ticket information.

Town Theatre Fights a Losing Battle In “South Pacific.”

Review by James Harley.

Town Theatre gets off to a slow start with its season-opening production of Rodgers and Hammerstein’s classic “South Pacific.” Set on an island in the Pacific ocean during World War II, the musical examines the impact of racial prejudice as it follows the romantic relationship between French plantation owner Emile LeBeque and U.S. Navy ensign Nellie Forbush, and also Lieutenant Joseph Cable and native islander Liat.

Stationed far from home on the island in preparation for potential conflict with Japan, the Americans are under intense pressure on a daily basis and seek solace and relief in the companionship of the local islanders. When it comes time for military action, the relationships built during the occupation are tested, leading to the show’s examination of race, love, loyalty and the acceptance of differences.

While the massive cast is well-handled on the stage by director Frank L. Thompson III, the casting itself actually undercuts the impact of the show in many areas. When telling a story about the potential of love to overcome established racial separation and bias, it just seems odd not to actually establish that bias first on stage. Casting Native-American Will Moreau and African-American Kendrick Marion as the highest ranking, most powerful men in the story (the Navy Commanders) immediately dilutes any notion of systemic racial bias, regardless of how well the two men perform their roles. Either or both of these actors could have been much more effectively utilized on the other end of things, given their visible ethnic identities.

Compounding this odd choice, no effort seems to have been made to have Moreau actually visually reflect the nature of his character as a crotchety old Captain. The slightest touch of gray in his hair could do quite a bit to separate him from the youth around him and justify his nickname, “Old Iron Belly.” As is, he simply doesn’t fit the role.

Similar issues arise in some of the ensemble scenes, as the women that are supposed to attract the lusty attention of the sailors are outfitted in an extremely unflattering manner, to the point that one might wonder if it was a conscious choice to say “look, desperate men will go for anything they can get.” Alternatively it could be an effort not to promote overly-sexual behavior or appearance, but in whatever case it simply didn’t fit the purpose of the roles in the story, which is to stimulate the sexual attention of the men.

Finally on the casting front, Shannon Willis Scruggs is likewise not a good fit for her role as Nellie, given the constant references to the character’s youth and the importance of her age separation from her love-interest, Emile, played by Kyle Collins. The Nellie role is double cast, being played on alternate nights by Cortlin Collins.

Kyle Collins is the clear standout in the show, successfully reflecting his character consistently in both dialogue and song. Still, there is a lack of spark between Emile and Nellie that significantly diminishes the intensity of their quandary.

Solid support is offered by Rob Sprankle, who brings goofy energy to his role as Luther Billis, the company’s misfit social leader. Tracy Steele makes a good Lieutenant Cable and Kathy Hartzog is a very (appropriately) creepy Bloody Mary, the island’s hustling entrepreneur.

On the technical side, Danny Harrington gets the job done scenically, though without the breathtaking quality of his typical designs. The show is similar to a movie in its constantly changing scenes, so it is an accomplishment just to find a place to put everything that’s not being used in a given moment.

While not the best show Town Theatre has offered recently, there are reasons to see it, including simply its classic status in musical theatre history. The band is strong and most of the highly memorable numbers are well performed, including “Some Enchanted Evening,” “I’m Gonna Wash That Man Right Out Of My Hair,” “Dites-Moi” and “Bali H’ai.” The show runs about two and a half hours.

“South Pacific” runs through October 1. For reservations call Town Theatre at 799-2510.

Simple and Effective “Alexander and the Terrible, Horrible, No Good, Very Bad Day” at Columbia Children's Theatre 

Review by August Krickel. 

Judith Viorst's classic children's book, Alexander and the Terrible, Horrible, No Good, Very Bad Day, is brought to life for Midlands children in an enjoyable, if minimalist, new production by Columbia Children's Theatre. By never trying to be more than what it is - light entertainment for the youngest of audiences - Bad Day explores some universal themes via easily recognizable scenarios to which kids of all ages can relate.

Alexander (Paul Lindley II) is essentially Everyman...errr, make that Everykid, I guess, and on the day in question, he just can't catch a break. Leading an ensemble of four other boys and girls (all are played by college-age actors) plus two adults, he takes us on a musical romp through the challenges and calamities that have beset every one of us at some point.  From waking up to find his missing bubblegum in his hair,  to landing in the middle of his carpool's back seat while everyone else gets a window, the odds are just against him.  His teacher fails to see the creativity in his drawing of an invisible castle, his mother forgets to pack a dessert in his lunch, and if it were Halloween, he'd surely get a rock along with long-suffering Charlie Brown.  Now for those who assiduously avoid spoilers, you may want to skip to the next paragraph, as I'm about to reveal a crucial plot point:  Alexander does in fact have a terrible, horrible, no good, very bad day.

By day's end, after a litany of other complaints (he had lima beans for dinner, there was kissing on TV, he has to wear his least favorite pajamas, etc.) we almost are ready to write him off as a whiner......until he raises a quite existential question: why did it have to be him?  In particular, why couldn't it have been one of his bratty brothers who had the cavity at the dentist's office?  At the risk of sounding a bit pretentious when discussing a play aimed at grade 3 and under, I have to say that this isn't too far removed from the story of Job, with essentially the same answer: persevere, and maybe tomorrow will be better.  What's even better, the audience is left to realize on their own (without it being spelled out) that some of his experiences were just coincidences, some weren't really all that bad, and some he may be able to control on his own. He admits, after all, that he sometimes forgets to brush.  Plus, for this stage version, Viorst lets the audience understand right up front that everyone faces challenges. I had to smile as we heard one girl's lament about the demise of a series of gerbils, followed by her sister leaving open the cage door of the latest; she wishes that they could find her gerbil... but somehow lose the sister.

Lindley makes for a fairly believable child, as does William Woody (who doubles as a brother and a classmate.) Both have deep singing voices, however, which blend very nicely with those of the female cast members in group numbers, but sometimes stretch the suspension of disbelief.  Carolyn Chalfant, as another classmate, sings the prettiest song, "Lady Lady,” and Sara Jackson, doubling as another brother and a classmate, has some good vocal moments too.  Elizabeth Stepp is a hoot as Paul, a boy with a crush on one Lizzie Patofski, singing how he "can't get enough-ski."  Stepp does the role in heavy Brooklyn dialect, like Arnold Horshack's long lost son, and gets lots of laughs.  Stepp, who also choreographed, periodically turns up with Chalfant as backup choral singers and dancers for Lindley's big numbers, and they liven up the proceedings with some nice tap and jazz moves.  The five young actors have a pleasantly rich sound when performing together, thanks to Musical Director Dianne Palmer-Quay.  Matthew Wright (understudy for George Dinsmore, who will appear in subsequent performances) and Evelyn Clary play assorted adult roles, and Clary provides some unexpected comedy, shushing Alexander during his friend's song, with the sh-sh-sh sound becoming an amusing percussive accompaniment.

Viorst's book and lyrics and Shelly Markham's pleasant score (a recording is used) are reminiscent of Pippin/Godspell-era Stephen Schwartz, and director Jerry Stevenson employs that same, simple presentational style.  Actors move back and forth from named characters to chorus members, and Alexander alternately narrates and acts out his no good, bad day.  Props and costumes and set dressing are kept extremely simple, except for a lively number about Australia, where Alexander fantasizes that life must be better. Here the stage erupts in an abundance of color and spectacle, as 2-dimensional cut-outs of flora, fauna and the surf down under appear, along with cast members in nonsensical, and therefore effective, costumes suggesting kangaroos and koala bears.  Otherwise, Jim Litzinger's set is mainly a tone-on-tone grayish-blue backdrop, with faint images from a kid's life - a sneaker, an ice cream treat, a goofy expression. It's a nice piece of artwork in and of itself; stick a frame on it, hang it in the Vista and people would rave over its stark minimalism.  But I do wish that there had been just a few more efforts to suggest a classroom, a dentist's office, a shoe store, etc.   The show runs a quick 50 minutes or so.   

To ensure that you get a fair and balanced review, I actually tracked down a copy of the original book version of Bad Day, and I must say that Viorst's enhanced version here is superior, with a more uplifting conclusion. In the book, Alexander simply accepts his mother's advice that everyone has a bad day every now and then, even in Australia.  Here, he realizes for himself that tomorrow might just be better, and we see him fall asleep while two of the little Australian critters from earlier curl up at the head and foot of the bed to keep him company in his dreams.  It really was hard not to say "Awwwww..." at this moment.  

I'd recommend this show for probably no older than ages 7 or 8, but Columbia Children's Theatre definitely delivers a very simple yet effective piece of theatre.  Alexander and the Terrible, Horrible, No Good, Very Bad Day runs another week, through Sun. 9/25, with several matinees, so call the box office at (803) 691-4548 for ticket information.

Range of Solid Performances Power “Third Finger, Left Hand” at Trustus Black Box

Review by August Krickel.

If Quentin Tarantino wrote a chick flick, the result might look a little like Randall David Cook's Third Finger, Left Hand, the new Black Box offering at Trustus Theatre. With decidedly non-linear story-telling and abrupt shifts in time, place, and especially tone, Cook's newly-revised work is simultaneously a dark and violent slapstick comedy, a touchingly sentimental drama, and a Southern Gothic variation on Greek tragedy. While probably not for all tastes, there's no question that everyone involved puts their hearts into this little 90-minute production, presented in a 50-seat space.

Originally produced in New York a decade earlier, Cook has revived, expanded and partially re-written what started out as variations on a theme: frenzied bridesmaids at a dysfunctional Southern wedding.  It's almost impossible to explain the plot any further without giving away some unexpected and crucial twists; suffice to say that nothing is as it seems, and all hell breaks loose when the bride is a no-show at her own wedding. 

As the runaway bride, Sumner Bender has the most intense moments on stage, especially a chaotic breakdown scene that is part Ophelia, part Medea, and part Kara Thrace.  Bender is a very strong actress, perhaps moreso than one might expect to see in the vulnerable bride-to-be Rebekah. Her part didn't appear in the original version, and is to some extent still under-developed, but audiences this coming week will see an entire, newly-written scene, inserted over the weekend, that may reveal more about this complex character. 

Kristin Wood Cobb, as Cassidy, the bride's repressed, pill-popping best friend, gets some of the show's biggest laughs in a scene involving increasingly appropriate snippets from songs that turn up on a car radio.  Ellen Rodillo-Fowler, as the bride's cousin Sheryl, gets to display the most range (and skin!) gradually evolving from stereotypical Yankee to aggressive flirt, sympathetic shoulder to cry on, and grief-stricken mourner.  Both Cobb and Rodillo-Fowler are called on to be very brave on stage in some hilarious moments of farce.

Denise Pearman, as the bride's sister Joy, has the most traditional and sympathetic role as a small-town teacher, fearful of spinsterhood as she heads into her 30's still unmarried.  Her scene with Cobb is the show's most natural and believable, much like something from Steel Magnolias; a monologue spoken to her sister is the most touching, and her soliloquy on Spanish moss is the most poetic.

That said, Dell Goodrich takes top honors for playing the broadly-written Marsha Sue, an unctuous wedding planner. Ostensibly 2-dimensional and plasticene, the character is all-too familiar and believable to anyone who's been involved in a Southern wedding, and Goodrich knocks this one out of the ballpark.  Blocking in the very small performance space resulted in a number of Goodrich's lines being delivered about two feet away from me, and the nuances of her acting were quite intricate.  Each time she wanted to explode into fury, her self-control was evident, as she chose some innocuous euphemism, delivered through the clenched teeth of a smiling barracuda.  Bless her heart. 

Director Larry Hembree wisely opts for a thrust stage format (here essentially a thrust-piece-of-carpet) with the audience tightly surrounding the action on three sides.  In an inventive bit of staging, Joe Hudson provides accompaniment on the organ for all scenes taking place in the church, but also contributes a number of effective sound effects via the live keyboard; the ring of a cell phone or the beep of a hospital monitor are therefore in close proximity to the action, and don't come from a far-away speaker.

The bane of actors is a critic who reviews the material, not the production, but here we have a work-in-progress, and Cook actively seeks feedback.  At first my conclusion was that this is an intriguing oddity, sure to entertain in small venues, especially among theatre buffs and fans of experimental work, but unlikely to find mainstream success and longevity (i.e. a long run on Broadway, Tony Awards, movie deals, etc.)  due to its jarring and somewhat incompatible shifts in tone.   The climax in particular, while shocking and well-acted, is somewhat unsatisfying and unbelievable, and the coda that follows is to some extent anticlimactic.  Yet there are earlier and alternate versions of a number of works by Tennessee Williams (the author whose themes this play most closely channels in its more believable moments) and I can see a revised variation of this show, whether more comic or more tragic, becoming a big hit.  I can also envision a variation consisting of three one acts, all telling the same core story, but one done as a satirical farce, one as a straight drama, and one as a dark tragedy.  Whatever its future, Cook's Third Finger, Left Hand gives local audiences the opportunity to support new work from local playwrights, given life by talented local actresses.  

Only three performances remain, one on Wednesday 9/21, and the others late-night on Friday and Saturday.  Call the box office at 254-9732 for ticket information. 

“Swing ‘39” One of Best New Plays at Trustus

Review by Jeffrey Day.

At the center of the new play “Swing ‘39” is the fictional story of a brief love affair between the “King of Swing” Benny Goodman and a young woman. Several subplots are woven through the play, though none are as satisfying and well-handled as the main one. Trimming the subplots and beefing up the central one would make for a more traditional and probably more predictable play, but a better one as well.

The play by New York playwright Alessandro King is getting its first full production at Trustus Theatre. Every summer for 23 years, the theater has staged a new play and that has been a great service to playwrights all over the country, theater goers, the Columbia theater community and the theater itself. This reviewer has seen, and reviewed, every one of the new plays, and “Swing ‘39” ranks as one of the best. This isn’t to say it doesn’t have problems, but that’s to be expected from a first production.

The young woman Maggie, part of a Goodman fan club, meets the bandleader and they start a fast-moving affair. Goodman was known to be a rather strange bird who lacked social skills, but Maggie makes him a bit more comfortable in his own skin. This relationship and the interaction between the two characters, played by Rozlyn Stanley and G. Scott Wild, is by and large believable although King’s dialogue hits some bum notes.

All the subplots are connected to Maggie’s friends in the fan group: Sylvia, who takes care of her mother in the apartment where the play is set, and who is having trouble paying the rent and has a one-night stand with Goodman’s promoter; Hank, who works at his father’s store, but has bigger dreams as well as a fling with a female member of the Goodman entourage; and the flaky Alice who provides comic relief. These stories give the play complexity and depth, but often distract from the Goodman/Maggie story which is by far the most compelling. The playwright might want to seriously consider expanding this play into a novel because he has the makings of a good one.

The production, directed by Chad Henderson, has a messy start. The first half of the first act is confusing and isn’t helped by actors shouting lines and making exaggerated facial expressions. “Swing ‘39” is reminiscent of a play or movie from an earlier, less naturalistic time. Henderson tries to honor the play’s tone, but too often the result is cartoonish.

When the troubled Goodman arrives on the scene, the atmosphere takes a rewarding turn toward the more serious. Wild does an exceptional job with a contradictory character and physically demanding role (the Goodman character has a painful nerve condition in his leg requiring Wild to limp, wear a brace and fall down). During her scenes with Wild, Stanley also settles down a bit, but not enough. In the scenes leading up to their meeting we never get the sense that Maggie will be the one to hook up with Goodman – in fact it seems obvious that the no-nonsense Sylvia would be the one. As Hank, R. Carrier Bloom pulls off the comedy without being a clown, and Bianca Raso handled the more serious role of Sylvia well. Everyone else overdoes almost everything all the time.

Along with the side stories being distracting, the play and production are not as authentic to the times as one might like, even keeping in mind that this is not high realism. The apartment is too nice to be a late Depression-era home occupied by an invalid mother and her marginally- employed 18-year old daughter. It even has a telephone, something the play requires, but which would not have been common in a lower-middle-class home during the 1930s. Although the economy comes up in the play, we never get sense that these people have just lived through a decade of the Great Depression.

It’s probably a myth that all 18-year-old Italian girls living with their parents in apartments with a crucifix and picture of the pope on the wall were virgins, but it’s hard to believe that they were sleeping around as much as they do in “Swing ’39.” At one point the Goodman character uses the term “lifestyle” (it’s ’39 not ’79). Somewhere along the line we should be reminded that although Goodman is sleeping with an 18-year-old, he was only 30 at the time. The play also has a time problem – the Maggie/Goodman romance seems to have gone from a one-night stand to something serious in 10 days. The sort-of happy ending is a bit pat, but not completely unsatisfying.

The theater has put serious time and money into the sets and costumes, which isn’t always the norm for these new plays which run only two weeks and don’t sell well. It was probably tempting to load the production with the era’s music, but Henderson wisely resisted. A scene in which Wild has to pretend to be playing clarinet – always a difficult thing to do well - is handled perfectly.

“Swing ‘39” is a play with great potential and King is an obviously talented young writer. We expect him to go far and brag that we knew him way back when.

For A Night of Laughs, Reserve A Room At Chapin Community Theatre’s “Hotbed Hotel.”

Review by James Harley.

Chapin Community Theatre continues to make good choices with its latest offerings, producing shows that fit the community theatre mold perfectly. The current production, Michael Parker’s “Hotbed Hotel,” is a zany, twisting comedy that would likely be full of laughs on its own regardless of the production quality offered by any company doing it. It’s just one of those shows that is so wacky that it barely matters how well it’s done.

That said, Chapin’s production is actually fairly decent, with director Jamie Carr Harrington getting the most out of the available talent. The complicated show relies on a commitment to high-energy performance, precise timing, and is enhanced substantially by complementary visuals, all of which are carefully crafted by Harrington.

The story is that of Brian and Terri Cody, a couple trying to sell their less-than-successful hotel in the Florida Keys. With a potential buyer on his way to look over the property, the couple decide to create an impression of robust business there by having their employees pose as guests. This opens the door for all sorts of shenanigans and twists as the plan is challenged by numerous seemingly random occurances. Things escalate throughout the show, ultimately leading to an absurdly funny ending.

Kudos as usual to designer Danny Harrington, whose set meets the many challenges of a story ripe with near-misses and other quirky demands that I won’t ruin for you here. Suffice it to say that a lot of thought went into achieving the level of scenic success on stage.

Of the performers, David Reed and George Dinsmore are the clear standouts. Reed plays Hopkins, the hotel’s alcoholic maintenance man, bringing humorous energy to the stage with each appearance without going overboard. Dinsmore likewise manages to stay within the realm of funny believability as hotel owner Brian, his almost constant presence serving to anchor the other performers in situations that could have become simply cartoonish.

Others, such as Tiffany Dinsmore as Hayley the nymphomaniac and Andi Cooper as Dorothy, tightly embrace the wackiness within their roles in an appropriate manner. Elizabeth Stepp Cauthen also grows on you as Maureen the ditzy maid.

While a real laugh-generator, the production is not perfect, as there are some roles that go over the top and others that are a bit dull and/or monotonous. The body microphones taped to the temples of some actors are a bit distracting and probably unnecessary, and the spacious stage apron that could bring greater intimacy with the audience goes largely unutilized.

Still, on the whole Chapin Community Theatre’s production represents enjoyable community theatre and serves as a good vehicle for the text, making the play worth seeing just for the “read” if nothing else.

The show is playing at the Midlands Tech Harbison theatre building, through August 13. I would recommend taking a sweater and wearing cozy shoes. For more information call 345-6181.

Town Theatre's “Chitty Chitty Bang Bang” Aims High But Misses the Mark. 

Review by Larry Hembree.

Town Theatre’s production of the musical “Chitty Chitty Bang Bang” is a potpourri of color with energetic work by a huge cast. A massive undertaking by any community theater, the production succeeds in some respects and falls short in others.

The musical is based on the book by Ian Fleming and was made into the 1968 film starring Dick Van Dyke and Sally Ann Howes.  The story follows the Potts family as they go on a mission to save their grandfather who has been kidnapped and taken to Vulgaria, and in the process, they have to deal with the Baron and Baroness of Vulgaria and the Childcatcher.  The show features a memorable car that floats and flies. 

One of the more challenging aspects of staging a family show like this is figuring out the balance of pleasing the youngsters in the audience while also keeping the more mature audience members engaged.  This libretto contains plenty for both, and director/choreographer Shannon Willis Scruggs creates a fantastic show for the younger audience members but fails to deliver on capturing the depth and the texture that propels the story to its richness.  In short, the show simply becomes a shallow theatre experience that leaves the icing off the cake for those wanting more than a mere two and a quarter hours of flash, color and big.

With the lack of dimension, spark and life in the non-musical scenes, the script drags during these moments.  Relationships between characters are not solidified, and therefore there is little character development and tension that makes the story real.

Danny Harrington’s set is mammoth and works well for the most part.  The car is beautifully realized and a brilliant creation by Harrington.  But there are times during the show when the car seems to get very close to the edge of the stage while it’s in motion, making the audience somewhat tense (Harrington assures patrons that adequate safety measures have been taken to keep the car on the stage, including the placement of a hidden bumper guard). The use of realistic projections to create a sense of car movement is very smart, but having more room between the car and the backdrop would help make these scenes even more spectacular.

Lighting a show like this is also a complicated feat.  Mostly successful, there were still a good many dark spots on the downstage edge, leaving some scenes a bit dim. 

As for the acting, there are some very strong performances in the show.  Rob Sprankle as Caractacus Potts holds the show together and propels it forward nicely with a very nice voice to boot.  Shelby Sessler as Truly Scrumptious seems a little young for the part against the older Sprankle, but she has a gorgeous voice and produces the evening’s best number, “Lovely, Lonely Man.”  Sessler has an understanding of what she wants to accomplish in this number and does it well. 

The Potts children are double cast, and I was privileged to see wonderfully enthusiastic and polished performances by Luke Melynk and Abigail Odom, whose professionalism rose above many of the adult cast members.  Frank Thompson as the Baron possesses the energy and sense of comic timing that should have been the norm for the entire cast.  Chad Forrister as the Childcatcher does some of show’s most brilliant work in creating a fine line between funny and scary.  Nathan Dawson brings depth to both his roles as Coggins and the Toymaker.  Great with accents and a very natural presence, Dawson adds a welcomed groundedness and believability to the show.  Vision Wilkes-Davis is excellent in multiple ensemble roles, owning the theatrical hutzpa that musicals cry out for.

Christopher McCroskey’s musical direction is solid.  Principals possess perfect articulation and the ensemble’s vocal balance is pleasing, and the small instrumental ensemble creates an amazingly layered sounding score.

Chuck Sightler’s sound design and execution is near perfect.

“Chitty Chitty Bang Bang” teeters on the edge of being more than Town Theatre has the capability to produce, but children in the audience will be enchanted.  It also offers opportunities for young thespians to experience the many lessons learned in being part of a large theatrical production.  It’s like the lyrics in the musical says, “Teamwork can make a dream work.”

“Chitty Chitty Bang Bang” runs through July 23. For tickets call the box office at 799-2510.

To read the Town Theatre press release for the show, CLICK HERE.

Trustus Theatre's “Smokey Joe's Cafe” is a rocking good time.

Review by August Krickel.

Jerry Leiber and Mike Stoller were pioneering songwriters and producers in the early years of rock and roll, penning singles for acts like the Drifters, the Coasters, and Elvis; many of their songs are better known through remakes by the Beatles and a host of later performers. Smokey Joe's Cafe, the new show at Trustus Theatre, takes some of their biggest hits as well as lesser-known gems, and presents them cabaret-style, many re-arranged as smooth R&B numbers. While ultimately nothing more (or less) than some vintage music given new life and pizazz by some gifted performers, Smokey Joes' Cafe is undeniably a rockin’ good time.

With no actual plot or dialogue, one song segues into the next in somewhat logical progression, via inventive choreography and stage business, depicting the themes and sentiments contained within the lyrics. The first act opens with a reflective ballad on the "Neighborhood" back in the day, followed by a number of songs related to young romance and flirtation. A highlight is Linda Posey, just cute as a button, believably recounting first love in "Falling." Eventually the locale shifts to the more urban (and urbane) setting of "Kansas City," and Posey vamps up a storm in a seductive version of Elvis's "Trouble," aided and abetted by an equally alluring Jocelyn Brannon. Brannon, sleek, svelte, sporting a feather boa, and virtually unrecognizable from the bitter, depressed housekeeper she played just two years ago in Workshop's Caroline , or Change, later brings the sexy back in "Don Juan," an ode to a beau whose luck with her ends as his money runs out. Most of the second act is set in a posh club, where couples slowly dance, while Terrance Henderson croons a soulful rendition of "Loving You." The shapely young Ariel Asouzu sashays in as "Little Egypt;" the male ensemble harmonizes (and drools) that she is "struttin', wearing nuttin' but a button and a bow." Valdina M. Hall then declares her man nothing but a "Hound Dog," and the female ensemble asserts their strength and solidarity in a rousing rendition of "I'm A Woman." The men lament "There Goes My Baby," but then devise a solution, via "Love Potion #9." And so it goes throughout, with many of the lyrics much clearer than when one first heard them on the radio. There really is a marked difference when a vocalist sings a song, and when a gifted actor performs and interprets it. 

While the thirteen cast members are uniformly talented vocalists and/or dancers, one standout is Joseph Scott; you always need a deep bass on songs like these, and he deftly carries off essential parts such as the "leave my daughter alone" line from "Young Blood," "don't talk back" from "Yakety Yak," and "why is everybody always picking on me?" from "Charlie Brown." Scott and Arischa Conner are featured in a pretty duet called "You're the Boss" that showcases both of their deep ranges. Bobby Craft gets most of the laughs, especially when he dons a Sherlock-style deerstalker hat and magnifying glass, leading the men in a comic version of "Searching," re-imagined as a paean to stalking. A different female dancer will be featured each week, but on opening night, Ariel Asouzu shimmied and shook it like there was no tomorrow as "Young Blood," "Little Egypt," and "Poison Ivy," then joining Henderson in a slow and sweet "Spanish Harlem." Obviously these songs have stood the test of time, so there was no need for the cast to have committed so much energy and enthusiasm, but commit they certainly did.

Terrance Henderson directs, choreographs, and performs (can there be a local theatre triple crown?) and Musical Director Walter Graham likewise doubles in the cast. While the songs were all written or co-written by Leiber and Stoller, and the show was first produced on Broadway (where it ran for over five years) I'm unclear on how much of the arrangements and choreography can be credited to Henderson and Graham. Someone did a remarkable job at taking a mixed bag of rock, soul, doo-wop, bubblegum pop, and rockabilly music, and melding them all into a fairly consistent, cohesive, stage-friendly show, and I'm inclined to give most of the credit locally. The five piece band is capable if a bit restrained, but I suspect this is so as not to drown out the singers. The cast all sport the now ubiquitous but relatively inconspicuous microphones with the little mouthpieces, but they're hardly needed in such a small space, and with such strong vocalists. Danny Harrington's set is simple but functional, depicting first an older brick exterior in a neighborhood, then later the titular cafe; some bulky rolling flats used to enable appearances in the middle of the stage aren't really necessary (and one imagines the poor actresses having to schlep them off in stilettos afterwards) but in the second act they are reversed, and feature a nice simple black and white pattern that defines a bar area.

Lest one be tempted to gripe about Trustus producing a blatantly commercial summer musical, we must remember that they did a popular production of Ain't Misbehavin' back in their second year of existence in 1987, on Assembly Street, and since then have occasionally produced other plot-free, dialogue-free revues like Jacques Brel is Alive and Well and Living in Paris. Does Columbia actually need another revival of a popular song and dance revue, however well-performed and slickly produced?  Probably not. Are there any number of lesser-known musicals from off-Broadway and beyond that might entertain as much, but challenge audiences more?  One would hope so, especially given the recent success of shows like Sondheim's Assassins.  But would fun-seeking local summer theatre-goers actually buy tickets to any of those?  Sadly, probably not.  By the finale, baby boomers (and older) in the audience were on their feet, rocking out like tweens at a Justin Bieber concert. Perhaps the best way to describe Smokey Joe's Cafe is to imagine Eartha Kitt and Tina Turner joining the Temptations for an intimate venue performance in a club. As above, it's not exactly theatre, but it sure is fun to see.

Smokey Joe's Cafe runs at Trustus Theatre through Sat. July 23rd. Call the box office at 803-254-9732 for ticket information.

To read the Trustus Theatre press release for "Smokey Joe's Cafe," CLICK HERE.

The Shoe Doesn't Quite Fit Workshop Theatre's “Cinderella” 

Review by James Harley.

Well, it’s a non-season summer show featuring a lot of relatively inexperienced talent, but I still hoped Workshop Theatre’s “Cinderella” would be a little better than it is under the direction of seasoned Columbia actress E.G. Heard.

The story is that of Cinderella, a young woman emotionally abused and neglected by her pompous stepmother and her equally arrogant step-sisters, Joy and Portia. Condemned to a life of servitude, Cinderella is constantly berated by her family, who mock her as they make their plans to attend the ball hosted by the local Prince, who is seeking a wife among the guests. While all the young women of the kingdom are invited, Cinderella is told by her stepmother that she is not good enough to attend.

Fortunately for Cinderella she has a fairy godmother watching over her who provides her with a suitable outfit and she is able to make the ball after all, where she quickly catches the eye of the Prince. It is love at first sight, but then Cinderella has to leave the party early to make her curfew and fails to identify herself to the Prince. His only clue to her identity is the shoe she inadvertently leaves behind in her rush to get home, and so he seeks her out the following day by having every maiden in the land try on the shoe, eventually leading to the pair’s happy reuniting.

The story is told clearly and the message comes across just fine, the production simply lacks the polish to stand out as a memorable night of theatre. Scenes frequently close abruptly rather than magically, making transitions between them seem especially awkward at times. Whether due to direction or inexperience on stage or a combination of both, many such moments ripe for bold pictures are abandoned early and remain unexploited, giving the impression that one is watching a rehearsal rather than a finished work.

This is not to say that there is no talent onstage, as several roles are well played within themselves, but worked connections between characters are lacking. The biggest exception would be the relationship between the family members, who commit to their positions fairly fully. Elissa Horrell and Brandi Smith make a good pair of annoyingly entitled sisters, while Allison Manley certainly earns a call to child protective services as their heartless mother. Kate Huggins, while a touch monotonous in her physical manifestation of a potentially dynamic role, is a welcome shift in energy as the Godmother.

Sirena Dib takes a step up from previous roles and does a good job as the shy but internally strong Cinderella. Unfortunately she had little external help in making her transition from servant to Princess, as she was never really costumed or made-up as the “grimy” servant she is described as. It was simply not believable that no one at the ball recognized her, as there was virtually no physical distinction between her two identities. It was this kind of important detailing that the show lacked in many cases.

Kendrick Marion filled the role of the Prince, but where Cinderella’s visual manifestation was too uniform it was his emotional highs and lows that were not as clearly distinguished as they need to be to show just how big a difference love makes in someone’s life. He just didn’t seem to have it so bad to start with.

The strength of the production is found in the music, as the band is quite worthy under the direction of Lou Warth. With the musicians placed almost out of sight the virtual perfection of the music, including a beautifully played harp, almost makes it seem recorded. Add to that the short and lyrically simple songs of Rodgers and Hammerstein and you have a solid musical component.

Also on the positive side of the experience is Randy Strange’s set design, which provides plenty of interesting details to entertain the eye while serving its purpose well.

As for attending “Cinderella,” I would consider it purely an event for the kids, who likely won’t consciously miss the touches of polish that the show needs to move an adult heart. Seeing lots of other new kids on stage having fun in the adorable roles of mice, fairies, and horses may also inspire them to seek out performance opportunities for themselves. With the show’s short length and fast pace you won’t be babysitting there for long, and can probably be home by ten o’clock.

For tickets call the Workshop Theatre box office at 799-6551. To read the press release, CLICK HERE.

Columbia Children's Theatre Scores With “The Princess and the Pea: Commedia Style”

Review by Larry Hembree.

Because of the success of its “Commedia Pinocchio” two seasons ago, Columbia Children’s Theatre decided to bring it back this summer, and put it in repertory with a new commedia offering, “The Princess and the Pea: Commedia Style,” written and directed by CCT’s artistic director Jerry Stevenson.

For those not familiar with the commedia style, it began in Italy in the sixteenth century with unscripted, improvisational comedy embracing a pre-established scenario. The work requires a strong sense of ensemble playing with characters originally defined by the masks, costumes and props they used.

This classic story of the 35-year old prince looking to find a princess unfolds on the theatre’s small but well designed stage loaded with great sound and sight gags.  The narrative is clear, the show is colorful and the cast has a blast (even at the 10:30 a.m. production I attended).  As with most CCT shows, both adults and children are able to enjoy this show on different levels, with some mature humor interwoven into what is actually a children’s production.

There are two different casts performing this show throughout its run each with five performers playing a variety of roles.  Utilizing a great amount of audience participation, the cast connects well with the audience as it both dramatizes the story and teaches a few lessons along the way, such as physical violence is not acceptable in life.

The cast I saw included an adorable Matt Wright as Arlequino, possessing a youthful sense of play as he searches for his princess.  Nicole Scola as Columbine creates some very funny moments in multiple roles, including a matchmaker obsessed with her hair bangs and a wonderfully earthy princess whom we pull for to win the title in the end.  Chris Riddle as Punchin uses his dry wit and low, but perfect, energy to create a hysterical princess candidate and very funny father of the prince.  Both Elizabeth Stepp as Pantalone and Catherine Curl as Rosetta possess a very strong understanding of actor/audience relationships. They have wonderful articulation and are a joy to watch as they explore the stage world around them.

One of the great attributes of this cast is the variety of different energies each cast member creates to define the different characters they play.  The contrast of the characters’ energies working against each other helps create a great deal of layering and depth that is both effective and comedic.

I attended the first performance for this particular cast (except for Stepp who plays Pantalone in all the shows).  A lot of the opening dialogue was about upcoming happenings at the theater, and the pace at the beginning was a little slow but steadily picked up.  The script also leaned to more sophisticated humor with a lot of local, contemporary references, sometimes feeling less accessible for the youngsters in the audience than previous CCT shows.  However, given the improvisational nature of the work, this is likely to change with a few more performances for this cast, which will also help create a tighter and faster performance.

Treat yourself and your young friends to some fun and laughter at CCT’s sizzling summer of commedia shows, and learn a few lessons along the way.

In a Columbia theatre season loaded with musicals Workshop Theatre saved the best for last, rendering an outstanding production of “Hairspray” as its season finale. Well presented from top to bottom, this is one you probably don’t want to miss.

Based on the 1988 John Waters film, the story is that of Tracy Turnblad, a talented overweight teenager ridiculed for her figure,  whose hunger for stardom leads her to audition for a competitive local television dance show in 1962 Baltimore. Landing an appearance despite the corrupt machinations of her rival Amber, whose racist mother Velma is the show’s producer, Tracy uses her new-found popularity to spearhead an effort to integrate the show, which previously has allowed only one token “Negro Day” per month. Fighting boldly through the many obstacles in her path she learns to love herself for who she is despite the disapproval and abuse from many around her.

In perfect step with the message, Jennifer Morse makes a very lovable Tracy, with just the right positive spirit for the inspiring role, not to mention the vocal skills to handle it. Other standouts include Hunter Boyle, who as Tracy’s mother Edna makes comic acting seem almost too easy, and also Jamie Harrington as the uptight Prudy, expressing the stiffness of her mindset wonderfully through her every movement.

Show stealing honors, however, clearly go to Danielle Peterson as Tracy’s best friend and socially maladjusted sidekick, Penny. Peterson’s physical manifestation of this comically awkward character is so consistently well crafted that it is difficult to watch anything else on the stage while she is present.

Indeed, the true strength of this production is the extreme depth of talent within the cast. Featuring a huge ensemble of minor roles, nearly every actor brings all they’ve got to the table rather than simply going through the motions as so often happens in such cases. The performance savvy of even those in the third line of dancers who never utter a word is exceptional, allowing director Cindy Flach to imbue the show with lots of finer visual subtleties that actually work. As a result of this full commitment, the stage pictures are always engaging no matter where the eye wanders.

This likewise applies to the numerous dance numbers choreographed by Katie Hilliger to perfectly fit the show’s setting as well as reflect the individual and group characterizations.

The overall energy level is very high in both dancing and acting, which is matched by the extremely catchy selection of songs. Musical highlights include the pace-setting opening number, “Hello Baltimore,” and also “Welcome to the 60s” in the first act, as well as the toe tapping show closer, “You Can’t Stop the Beat.” It’s true. You really can’t, as you will likely note 30 minutes later, when you find yourself still humming it.

The show is also strong on the technical front, with a fairly simple but well-used set that includes the very thoughtful positioning of the musicians on the roof of the downtown record store. This has both practical and scenic advantages in that it contributes to the urban feel of the setting while allowing the actors to be heard more easily over the music.

With so many strengths and few weaknesses, “Hairspray” is simply one of the best all around theatrical productions in town this year. A feel-good show full of playful humor, it still manages to engage a significant topic in a thoroughly constructive manner, allowing you to leave the theatre smiling both on the surface and deep down inside. Get your tickets soon, this one will probably sell out.

“Hairspray” runs through June 11. For information or reservations call the Workshop Theatre box office at 799-6551, or visit www.workshoptheatre.com.

William Shakespeare’s long-lived fame as a playwright may have to do primarily with the poetic beauty of his language, which is an art unto itself, but in an era where attention spans are short and the archaic construction of such language is no longer as well understood, a successful production of the bard’s work hinges at least as much on physical storytelling through stage images and character interaction.

Grasping this reality firmly, director Linda Khoury brings the South Carolina Shakespeare Company’s “Much Ado About Nothing” to life with well-crafted stage pictures and movement from the opening scene to the closing moment.

The play focuses on the sharp-witted flirtation of two notorious singles, Beatrice and Benedick, who, through typical human psychology reveal their attraction for each other by the extent to which they deny it. Meanwhile Claudio does not deny his open love for Hero, prompting his friend Don Pedro to help him by wooing her on his behalf while in disguise. Of course, this opens the door for all sorts of chicanery, as Don John, Don Pedro’s evil brother, learns of the plan and attempts to upend it by spreading misinformation regarding the two couples.

Sara Blanks plays a good and sassy Beatrice, her swaggering confidence digging into Benedick’s resistance as he tries to look the other way nonchalantly only to become fired up with each crossing of her path. Harrison Saunders could use some vocal diversity in the role of Benedick, but his energy level is right on, as is seen each time his desire is not-so-secretly triggered.

Max Highsmith brings a pleasant air to the stage as Don Pedro, and Bobby Bloom offers quiet subtlety as Claudio, perhaps offering the most realistic performance of the night. Marcus Thomas is somewhat invisible as the soldier Balthasar, that is, until he picks up the guitar and enchants the audience with his song. Katie Mixon is well cast in the role of Hero.

On the evil side, the prolific George Dinsmore makes a good Don John, all the more impressive because he probably had to be at rehearsal for another show or a film shoot immediately after the final curtain.

Though the original “Much Ado About Nothing” did not include a show-within-a-show, Clark Wallace puts on his own production in the character of Dogberry, the chief watchman of the court. Every word a song, every movement a dance, Wallace certainly steals every available moment in one way or another.

But even with solid performances in the key roles, the strength of the show is its visual detail, with an inviting opening scene setting the stage for what follows. Indeed, there is rarely a moment when there is not some interesting activity in the background, yet none of this movement is so heavy as to distract the focus from where it needs to be. Rather, all action is properly integrated in a way that furthers either the atmosphere or the story, thereby enhancing the understanding of the language.

There are a few small technical issues, including the inconsistent microphones, but to nitpick this production would be to make much ado about nothing, as it is worthy overall.

“Much Ado About Nothing” runs through May 29 at the Saluda Shoals Park. For more information visit www.ShakespeareSC.org.

“The Drowsy Chaperone” ends Town Theatre's season on an up note.

Review by August Krickel.

Town Theatre closes out its 92nd season with The Drowsy Chaperone, a winking, self-aware parody/homage of the posh Broadway musicals of the 1920's.  Filled with flappers breaking into the Charleston, and dashing young gentlemen saying "Tennis, anyone?" these shows were lightweight fare even at the height of their popularity, but were the source of most of the hit songs of the day and the bread and butter of composers like Gershwin and Porter.  The Drowsy Chaperone is simultaneously an affectionate tribute to these musicals and their fans, as well as a gentle satire of the conventions of such shows, and the eccentricities of said fans. 

Billed as "a musical within a comedy," the production centers around a narrator, billed only as "Man in Chair," and played impishly by Larry Hembree.  The Man is a mild-mannered theatre buff; when depressed, he listens to albums of his favorite shows, including an original cast recording of the show-within-the show, also called The Drowsy Chaperone. As the record plays, the characters come to life on stage, presenting us with a typical frothy romance of mistaken identities and urbane quips at a lavish estate.

The gimmick is that the narrator periodically pauses the album, causing the actors to freeze in place until he finishes his commentary on some favorite part or performer.  Occasionally the needle gets stuck, or the narrator repeatedly replays a particular moment, with the expected comic results, as the live performers react accordingly.  One comedic highlight involves the wrong record being played, causing the actors to enter in radically different attire, launching into a performance of a different show entirely, until the Man realizes his mistake.

 Vocally, the cast is uniformly strong, with top honors going to Elissa Horrell and Tracy Steele as the romantic leads (the characters are named Robert and Janet, but they could just as easily be John and Marcia, and in fact they're also referred to by the names of the actors playing those characters on the record). Their voices blend very nicely on "Accident Waiting to Happen," and Horrell displays an impressive range in "Bride's Lament," described by the Man as a beautifully sad song marred by absurd lyrics; reflecting on her love for her little monkey, i.e. the pet name for her fiancé, Horrell segues into a ridiculous and hysterical production number that the Man concludes is part Busby Berkeley, part Jane Goodall.  

Roxanne Livingston gets some good laughs as a saucy dame, Frank Thompson does good work as the hero's best friend, and Chad Forrester is a riot as the butler (wonderfully named "Underling") who remains unflappable on the receiving end of repeated "spit-takes."  Kathy Hartzog shines as the heroine's boozy best friend, a stock character in the vein of Mame's Vera and Patsy from Absolutely Fabulous, and nearly brings the house down with an overdone star turn called "As We Stumble

Along."  Hartzog is a much better comedienne than singer, but that's the odd charm of this show - many songs intentionally have some flaw, often a stereotype or cliché, which the narrator then gushes over, explains, or concedes. A number of the supporting cast over-act and mug outrageously, but to some extent that's all part of the genre being depicted.

 As with director Scott Blanks’ recent production of Victor/Victoria, this production depends on energy and timing, particularly in the pause/freeze/replay moments above, and largely succeeds.  Giulia Dalbec, a master of saucy dame roles herself, takes the choreographer's reins here and displays excellent creativity in the midst of what could have been stock Roaring 20's dance numbers.  The five musicians led by Musical Director Christopher Cockrell sound like ten, and capture the lively tone of the era.  Lori Stepp's costumes are excellent, and Hembree's drab olive/brown slacks and sweater sum up his character perfectly, right down to his white socks and sensible shoes.  Danny Harrington's set design makes good use of drops that often only suggest the outlines of the swank setting.

I recognized a number of set pieces from Town's recent production of Harvey, and here a hanging skylight and faux-marble pilasters combine with a fountain and a lush green painted backdrop to create a very attractive garden scene that comes on and off stage in just seconds. Another well-crafted component of the set is a bed that folds down from the wall, revealing a lounging Hartzog, martini still firmly in hand.  The miking for the performers was good, although often laugh lines were drowned out by the music, a challenge given that much of the dialogue is Hembree talking while the music is playing.

 The book is by Bob Martin and Don McKellar, with music and lyrics by Lisa Lambert and Greg Morrison, all of whom have roots in Canadian television and sketch comedy, and the show does indeed play like a cute parody sketch, although a very well-done and entertaining one.  Had I been told this was a popular cult classic that ran for months in a Greenwich Village nightclub, I would have believed it, but in actuality, the show ran for almost two years on Broadway and won Tony Awards for best book and score.  There's no doubt that the play is a love letter to show tune fanboys, the ones who had Cats sweatshirts and knew all the lyrics long before ever seeing the actual show. Ironically, in accurately recreating the look, sound and feel of frothy, disposable entertainment from another era, the playwrights have essentially created a different type of equally cute and equally disposable entertainment.

Case in point: I made notes about a number of songs that were "pretty," or moments that made me laugh, yet 12 hours later, I could hardly remember them. This doesn't diminish the enjoyment I experienced at the time.  Some of the humor is a little risqué - no more than a PG, no worse than anything you would see in a Friends rerun, but a nice change of pace for Town Theatre.  My only real question is how well a typical theatre-goer might appreciate a musical pastiche filled with in-jokes about a specific genre, aimed at a niche audience of theatre buffs. My conclusion is that the music is pleasant enough, and the comedy appealing enough to mildly and pleasantly entertain just about anyone, even if most may not rush out to buy the original cast album.

 The Drowsy Chaperone runs at Town Theatre through Sat. May 28th; call the box office at 799-2510 for ticket information. 

To read the Town Theatre press release for "The Drowsy Chaperone" CLICK HERE.

Review by James Harley.

There are shows with universal appeal and there are niche shows geared towards specific audiences. Trustus theatre’s current production of Bryan Fogel and Sam Wolfson’s comedy “Jewtopia” clearly falls into the latter category. Essentially a vehicle for a long list of Jewish-oriented jokes, this Trustus offering is carried largely by the text in a production that has the feel of being somewhat thrown together.

The story is that of Chris and Adam, two old friends who reunite by chance at a Jewish singles mixer. Chris, a gentile, has a thing for Jewish girls and longs to marry one so that he will “never have to make another decision” himself, while Adam, a Jew, seeks a Jewish wife merely to please his stubbornly intolerant family. The problem is that Adam is horrible with women in general, so he works out a deal with Chris wherein he will coach the gentile in Jewish tradition and behavior in order for Chris to pass as a Jew, while Chris will coach Adam in the art of meeting women. Of course, wacky complications arise with each new scene, providing the backdrop for the clash of cultures and stereotypes that are the core of the comedy.

While some of the humor is very specific to Jewish culture and vocabulary, there is potentially enough universal material within to keep any audience laughing. What limits the production is that beyond their words the lead characters are not the source of much of it.

Daniel Bumgardner and Trey Hobbs have their moments as Chris and Adam respectively, but are in general a bit mundane, with their constant presence as such dictating a fairly slow tempo that often works against the frenetic nature of much of the comedy. This begins with the stiff opening scene and extends throughout the evening.

Some technical support might have enhanced the onstage atmosphere and fueled their energy, as little was done via sound or lighting to support the party setting at the opening, and likewise several other scenes along the way. While the sparse scenery serves its purpose adequately, secondary support in general seems neglected.

Indeed, in addition to the absence of designed support, technical aspects were also a bit sloppy in many ways, with scene pieces falling out of place, unintentionally soiled surfaces spoiling stage pictures and constant gaps in the curtains which allowed distracting views of backstage activity.

In the realm of performance, however, it is the secondary support that breathes life into the show. Most of the minor roles are very well cast with experienced veterans of the local stage. Robin Gottlieb, in particular, stands out in several supporting roles, with each appearance bringing much needed energy and pace to the stage. Gerald Floyd likewise commits fully to his roles as a father and a rabbi, his notable physical antics generating laughs even in the instances where his words are lost as a result. Becky Hunter’s vocal power and confident stage presence are perfect for her multiple roles as domineering Jewish mothers. Bill DeWitt and Ellen Rodillo Fowler carry their weight in brief appearances as well.

The show would certainly be a bit more universally appealing to theatre-goers if the production values were higher and the pacing more effective, but for those tuned into Jewish culture the list of jokes is still pretty funny and is probably reason enough to attend. After all, a live show with a glass of wine in hand is still preferable to just reading the play at home. The fact that “Jewtopia” is the longest running off-broadway play in history should also tell you that at least the words are worth experiencing.

“Jewtopia” runs through May 28. For reservations call the Trustus Theatre box office at 254-9732.

Village Square Theatre’s “On Golden Pond” is a little shallow, but fun to swim in.

Review by James Harley.

On its own, Earnest Thompson’s “On Golden Pond” is a poignant comic work that puts focus on the delicate and fleeting nature of life. A topic that will resonate with virtually anyone living, it would be almost impossible to drain the piece of its outward significance in performance. On the other hand, it isn’t necessarily that easy to tap into the story’s true depth and power, which is expressed in the level of connection between Norman and Ethel, the aging couple spending their last summers on a remote lake in Maine.

Village Square Theatre’s current production, under the direction of Glenn Farr, adequately preserves the basic “enjoy life while it lasts” message of the play in what is a suitable community theatre comedy, but in playing for the laughs it never really reaches the poignant depth that makes you leave the theatre truly grateful to be alive.

In the story Norman and Ethel host their daughter Chelsea and her new lover, Bill, for a week at the lake house, and then Bill’s 13 year-old son, Billy, for a month while the younger couple vacations in Europe. During the process of tending to the boy, the elder couple are revitalized enough to again embrace the power of life, where they had been letting it begin to slip away.

Debra Leopard plays an appropriate Ethel, constantly negotiating the fine (and moving) lines between her husband’s stubbornness, absent-mindedness and outright deterioration. Her vocal affectations, aimed at providing regional specificity, seem out of place at times, but this is primarily due to the lack of similar efforts from other cast members, most of whom could be from anywhere. Her biggest strengths are her emotional shifts in moments of crisis, which are quite committed and believable.

The same cannot be said of Don Songer as Norman, who looks the part but doesn’t display much subtlety in movement or voice, tending to shift rapidly in those same moments, to the extent that one cannot be sure he isn’t simply joking when he is really in need. His vocal monotony as a grumpy old man is good for laughs, but not so much for moving the heart or truly connecting with his wife.

Jeff Koenig as Charlie the mailman joins Leopard in boldly going for the regional affectations, but steps a touch too far, almost seeming like a Saturday Night Live skit character at times. Nathan Dawson plays Bill conservatively, not intriguing the audience but not boring them either. Tiffany Dinsmore plays a similar Chelsea, and Ryan Rogers completes the cast as Billy.

On the technical front the show looks good scenically and is well supported with lighting and sound, though the choice to use body microphones in such an intimate space seems a little odd, and takes something away from the more touching moments by making them less human.

Of course, this is not high-end professional theatre, and so on the whole the production works at the community level. I’m not sure I would drive out from Columbia just to see it, but if I lived in the area I’d probably take advantage of the opportunity to experience “On Golden Pond” on the stage, as it is a meaningful story and does not get produced that often.

Somewhat bland for parents, “The Somewhat True Tale of Robin Hood” is true fun for the kids.

Review by August Krickel.

Robin Hood and his band of merry men ride again, in Columbia Children's Theatre's new production of Mary Lynn Dobson's The Somewhat True Tale of Robin Hood.  As expected, they rob from the rich, give to the poor, thwart the evil Sheriff via archery prowess and feats of derring-do, saving the day and living happily ever after. It's reminiscent of the droll tone of Fractured Fairy Tales, updated with the self-aware chaos of Pee-wee's Playhouse.  The youngest of audience members will giggle at all the antics and surely have a grand old time, although the older you are, the less patience you may have for some of the tomfoolery. 

The plot, while paper-thin, is a condensed version of the traditional story.  As Robin Hood, Nathan Dawson is appropriately dashing, masterfully enunciating lots of crisp, wordy, British-sounding dialogue (full of vocabulary that may be a little beyond the grasp of most younger children). A partially developed sub-plot depicts Robin as being a little full of himself, overly confident in his prowess and leadership skills. In due time he learns a little humility, albeit with the boast that he is now the MOST humble hero in the land. That's as close to a message as this play ever gets. 

Kayla Cahill as Marian is regal, haughty, yet attractive, sporting a cascade of sandy curls that occasionally obscures her face, making her hard to understand every now and then. Chris Riddle portrays the Sheriff with a deadpan sneer that ensures laughs on most of his lines. As the evil Prince John, Robbie Haynes looks like the Jack of Diamonds as played by Dr. Frankenfurter... by way of the Cat in the Hat.  He minces, he prances, he fawns, he swishes flamboyantly, and it's pretty clear what he's supposed to be an exaggeration of. One almost - but not quite - is uncomfortable at humor being mined from such a broad stereotype.  I was prepared to say that he does a decent job, until I noticed in the program that the actor is a junior in high school, so I must say it's a quite remarkable and professional job for such a young performer.  I can imagine these four leads credibly playing these roles in a straight play on the topic.  

The supporting cast varies in age and proficiency, and there were some opening night issues with projection, accents that didn't quite work, and stumbling over lines, but much of this surely will have been resolved by the time you read this.

 Prince John aside, however, this is by no means a straight play, and it's not always successful in trying to be all things to all ages. Billed as a mix of Monty Python and Mel Brooks, the script clearly steals fr..... errrr... is influenced by these sources and many others, but often falls short in comparison.  Some of the jokes aimed at adults are quite funny, as when the Sheriff suggests that to punish Robin, they "should whip him, whip him good," or when a grand procession at the archery contest turns into a sort of red carpet premiere for local Nottingham celebrities. Sadly, these come too infrequently, and more often the comedy is broad chaotic slapstick with no real punch lines, as when the Merry Men respond to Robin's commend to "Scatter!" by running in every direction while screaming their heads off.  Everyone in the audience age six and younger loved it, but it doesn't really advance any plot component, or theme.  

The author appears to have incorporated any number of stock comic moments, like a frenetic chase scene accompanied by strobe lights and Boots Randolph's "Yackety Sax," without actually figuring out how to make them particularly funny, or how to fit them into the plot.  Indeed, most of the storyline is advanced by breaking the fourth wall, and addressing the unseen technical director, calling for a flashback effect or scene change. The intent is a wink to the audience, but it's also sloppy story-telling.  I realize thematic integrity and dramatic continuity aren't something we necessarily demand from a children's play, but the author clearly is trying to entertain adults as well, and some of the shtick just gets a little tiresome.

Jerry Stevenson's direction keeps the action and jokes coming fast and furious, and I suspect some of the funnier lines may have been improvised by the local cast. If so, I'd recommend they do so even more!  His costumes are quite believable, and (like the performances by the leads) could work in a more traditional version of this story. No credit is given for the set design, but a number of  "scenic artists" are mentioned, and their rendering of Sherwood Forest (mainly a large painted drop) is very pretty. Sound technician David Quay deserves much praise for some excellent moments, ranging from the chirping of birds that instantly define the forest setting, to lush incidental music that fits the period,  to ultra-realistic and perfectly timed arrow-on-target sounds, to bowling balls knocking down pins (don't ask - it's supposed to be funny).

 Let me be clear: if you have very little children, I'm sure they will think this show is adorable, even if some of the wordy dialogue may go over their heads.  They will root for the good guys, boo and hiss on cue at the bad guys, and want to run out to play Robin Hood as soon as they get home.  Adults will likely smile here and there, perhaps even laugh a little, and then be out in under 85 minutes. 

 The Somewhat True Tale of Robin Hood runs through Sunday, April 17th, with multiple matinee performances.  Call the box office at 691-4548 for ticket information.

“Assassins” Hits the Bull’s Eye.

Review by Jeffrey Day.

Ever heard of Leon Czolgosz? How about Charles Guiteau?

No? Maybe these names will ring a bell: John Wilkes Booth and Lee Harvey Oswald.

Do we only remember presidential assassins who have three names? That’s one of Booth’s musings in the magnificent musical Assassins by Stephen Sondheim. What’s also addressed are the “good” reasons for such an act (revenging the South in the case of Booth), completely crazy motives (Giuseppe Zangara’s stomach problems prompting him to take aim at president-elect Franklin Roosevelt), or mainly mysterious ones (Oswald). In the process we also get an excellent and darkly hilarious history lesson that hits home today. Czolgosz is upset by the exploitation of workers which would lead to the labor movement (a hot topic right now), so he shoots William McKinley. Our distrust of leaders, fear of globalization, and sadness over the loss of the American dream is something Sam Byck understood in his own kooky way and that’s why he wanted to crash a plane into Richard Nixon’s White House.

Assassins is a brilliantly-written, thought-provoking, and entertaining show and Trustus Theatre has mounted a production worthy of the material. This is a production made up of finely meshing parts: decisive, fast paced directing by Chad Henderson and music director Tom Beard; a roundly excellent 15-member cast; and sets and costumes that look good and function well (mostly). This is an extremely ambitious undertaking and the company usually hits its target.

The show is set in a carnival shooting gallery with an old-fashioned lighted sign that shouts “Shoot! Win!” when someone does. The first shooter we see is the first shooter of a president – Booth. His bookend, Oswald, shows up not long after, although for most of the show it isn’t specifically stated that this balladeer/narrator is Oswald. These two characters are the most familiar to us, thus the most difficult to portray. And since they weren’t as crazy as the rest, they don’t get a lot of funny lines. G. Scott Wild (Booth) and Kevin Bush (Oswald) are solid actors and singers, but don’t always hit the right notes in demeanor and attitude. The Balladeer/Oswald role calls for hints of what’s to come, but that never quite happens.

Some of the assassins or wanna-be assassins have better lines and songs than others, but everyone makes the most of it. Kim Harne, as the ditzy housewife Sarah Jane Moore who tried to shoot Gerald Ford, and Steve Harley (as Byck) almost steal the show with their well-tuned comic portrayals. Paul Kaufmann as Guiteau is the most charmingly crazy of the shooters. Kyle Collins does a creepy turn as John Hinckley, who shot Ronald Reagan in an attempt to win the heart of Jodi Foster, and Jessica Leach brings her own level of comic creepiness as Charles Manson follower Squeaky Fromme, who also tried to shoot Ford. Leach and Harne have a wonderfully ridiculous park bench scene involving a joint, a bucket of Kentucky Fried Chicken, and of course, guns. Lots of guns in this show. Being fired frequently. And often pointed at the audience, so you’ve been warned. You should also be warned of the sick, sticky-sweet song Collins and Leach sing to images of Jodi and Charlie. Chip Stubbs and Christopher Cockrell (as Czolgosz and Zangara) don’t get that kind of spotlight, but we’d hate to consign them to the same “Who were they?” category as their characters.

The large supporting cast – playing everything from witnesses to presidents – is solid. Why their costumes consist of underwear is unclear.

The band sounds good playing the score based upon American popular music from the past 150 years, which is much more accessible than most Sondheim. Details, from elaborate set to lighting to costumes, wigs and makeup, are well-made, accurate and functional. Two video monitors showing historical images and film clips are well integrated into the set and story and not overused.

Still, on opening night a technical glitch occurred at the show’s climax. It’s unforgivable really, but you have to feel bad for everyone involved – and not just the audience. Someone probably got chewed out over that and it’s unlikely to happen again.

And since it won’t, this is the show to see for those who like a few bullets with their ballads. This is the level of play and production too rarely seen on local stages. Don’t miss it.

Assassins runs through April 16. For reservations call the Trustus Theatre box office at (803) 254-9732.

To read the Trustus press release for the show, CLICK HERE.

Chapin Community Theatre’s “Curtain Up On Murder” A Middle-of-the-Road Production.

Review by James Harley.

With as many twists and turns as there are in Bettine Manktelow’s “Curtain Up On Murder,” it is virtually impossible to review the show in detail and offer any specific critique without spoiling at least some portion of the story. All that can really be said in this case is that at the final curtain the production ends up being better than you thought it was while watching the previous two hours of action. In a sense, it redeems itself cleverly, though it doesn’t necessarily reimburse the viewer for the time spent in waiting.

The play cannot even be described accurately without giving away some essentials, but it sort of goes as follows. The plot is that of a basic murder mystery. A group of community actors are rehearsing in a theatre situated in isolation on the end of a pier. Somehow during a raging storm the players become locked in the building, unable to leave, and are forced to spend the night. The power goes out, and in the darkness disturbing things begin to happen. Ghosts are seen, poisoned drinks discovered, and members of the troupe begin to disappear only to be found dead minutes later under odd circumstances. Tension builds, and naturally the viewers’ minds start working on the riddle of who is behind the deaths.

Manktelow provides plenty of possibilities to ponder, as two of the characters (Alex and Sylvia, played by Jeff Koenig and Tiffany Dinsmore) are discovered to be having an affair by Alex’s girlfriend Linda (Lindsay Brasington). Sylvia is married to the troupe’s gruffly egomaniacal director, Martin (played by Jim DeFelice), who is also on hand for this revelation. A creepy old man, Harry (played by Walt Overbay), also lurks on the pier, allegedly filling in for the absence of the normal theatre administrator.

One by one the players are knocked off, with each death seemingly more bizarre than the last, until the unexpected truth is finally revealed.

On the technical front the show is fine, with simple but effective lighting and set design by Danny Harrington. If anything, the action could have been moved forward a bit, as the new Midlands Tech Harbison stage and audience space strongly support intimate proscenium viewing, and much of the area closest to the spectators went unutilized.

As for characterizations, what you see isn’t necessarily what you get, and so all I’ll note is that Jim DeFelice and Linda DuRant (as Moppet, the quirky actress who craves attention) stand out in regard to believability. Tiffany Dinsmore fits in well as the story unfolds, Walt Overbay’s over-the-top creepiness is eventually justified, and Brasington and Celeste Morris (as Ginny, the young apprentice) play adequate supporting roles.

There is some comic relief in “Curtain Up On Murder,” though it could use a little more here and there, and a few opportunities were missed on odd or rushed line readings that seemed to miss the point.

Could “Curtain Up On Murder” be done better? Yes, though once you’ve seen it the ends could also be said to justify the means. It’s just a little plastic at points, a bit like a character recital in that it doesn’t quite draw us in through empathy as much as it could with somewhat less presentational characters. Still, while it may not be one of the best shows Chapin Community Theatre has produced recently, it’s not bad considering that the company no longer has a stable home. I will say that it is definitely nice to not have to cross the street to use the bathroom, and I certainly didn’t miss the sound of trains rolling by the theatre during climactic moments.

Fast-Paced Comedy Makes Workshop Theatre’s “Victor/Victoria” a Treat.

Review by August Krickel. 

Workshop Theatre’s new production of Victor/Victoria is without a doubt the most fun on stage I've seen in years. A happy convergence of local talent, all working at the top of their theatrical game both on stage and behind the scenes, as well as excellent source material, combine to create a musical and comedic treat that’s not to be missed.

 Based on the popular movie from the 80’s (which the same creative teamed adapted for Broadway a decade later) Victor/Victoria centers on a female singer in the (literally) gay “Paree” of the 30's, who performs as a female impersonator, i.e. a woman pretending to be a man pretending to be a woman.  The expected hijinks ensue when a tough guy falls for her (or him) and jeopardizes his (or her) cover.

In the title role, Laurel Posey has big vocal shoes to fill, given that those shoes were once worn by Julie Andrews in both stage and screen incarnations, but Posey is more than up to the challenge.  As a singer, she easily moves up and down her impressive range, first light and conversational, then rich and operatic. As a comedienne, she channels greats like Lucille Ball, especially in an elaborately physical and hysterical tango (conveniently titled "The Tango"). Her biggest production number, backed by a strong chorus, is "Le Jazz Hot," which could easily be a lost Parisian cabaret gem from the 1930's.  Stann Gwynn as her friend Toddy is likewise in fine voice, suavely introducing us to "Paris By Night," the show's opening song.

 Giulia Dalbec nearly steals every scene she's in (but that's a good thing) as Norma, a bimbo with legs akimbo who finds herself losing her boyfriend (played by Jason Stokes) to not just another woman, but possibly another man. Dalbec has portrayed plenty of temptresses in her day, but as more than one audience member noted afterwards, here she really commits to the role. The whiny gangster's moll voice she employs is not so much stereotypical as archetypical.  She shines in "Paris Makes Me Horny," a litany of double entendres and inventive rhymes about her escapades across Europe, and I snickered in anticipation of a "Munich/eunuch" rhyme. I wasn't disappointed. 

Clint Clayborn also does good work as "Squash," a burly bodyguard with a secret. While not as gruff or menacing as one might expect, he and Gwynn play well opposite each other, just as they did in Love Valour! Compassion! last spring; at one point I found myself smiling and thinking "Aww, they're together again!"  Strong voices and familiar faces fill the ensemble and supporting cast.  Many have been featured in lead roles around town over the years; Matthew DeGuire for example takes a smallish stock comic villain role and plays it to the hilt.

 The book is by Blake Edwards, the Hollywood legend (and husband of original star Andrews) behind the Pink Panther films, and so the show is full of the rapid, chaotic slapstick and over-the-top comedy one might expect. The cast, enabled by director Scott Blanks and choreographer Lanny Spires, embraces the chance to go for baroque.  I don't know that I've ever seen a play locally where the pacing was this fast, or where timing worked so perfectly, especially in tiny moments or gags, like a lighting effect involving DeGuire unexpectedly appearing at an upstairs window, or a stage punch delivered quite believably by Posey.  At one point an extravagant nightclub brawl breaks out among 20+ people; later, the leads slam multiple doors, entering and exiting various locales on various levels within seconds of each other with intricately timed overlapping dialogue.  In each case, had one person missed a mark or dropped a line, a train wreck might have occurred, but instead, the action and hilarity continued apace.  Teachers might do well to use this show as a textbook example of how good pacing and timing can really enhance a performance.

 Much of the effectiveness above is also enabled by Randy Strange's masterful set, which is not exactly ornate or elaborate, but still somehow manages to suggest just that, helped by a spectacular spiral staircase.  A good bit of important action (including a crucial "reveal" by Posey) takes place in rooms on an upper level, and there's never a problem hearing, seeing or following any of it.  Barry Sparks' lighting also helps to define time and place as the action jumps back and forth during those door slams above, but eventually I gave up trying to follow who was where, or doing what to whom, and just tried to hold on for the ride.  Chuck Sightler's sound design must also be praised; microphones and acoustics work perfectly throughout, even from remote corners of the stage, and an essential running sound gag from off-stage gets plenty of laughs. Randy Moore's musical direction of the score by Henry Mancini and Leslie Bricusse (with additional songs by Frank Wildhorn) is quite pretty, especially an accordion effect that periodically reminds us that we are in Paris.  One wishes that Mancini and Edwards had done more stage work, but this was their only real venture away from Hollywood, late in their careers.
 
Is there ANYthing wrong with the show?  Technically, I suppose the script doesn't fully develop the attraction of the main couples in the first act, instead just presenting it as love (or lust) at first sight, but the plot moves along so speedily that you don’t pause to question it.  The score is quite lush and melodic, much like many of Mancini's classics from the 60's, but I doubt you'll be humming any of the songs the next day.  Many indeed seem to be inserted as filler; an atmospheric reprise of "Paris By Night" and a lively number where Norma extols the virtues of Chicago really have nothing to do with advancing the plot.  Still, they're awfully nice to watch and hear.  The plot itself is a fairly simple, frothy comedy of errors and manners, and a less experienced or energetic cast might not have been able to carry off the speed-of-light comic timing that makes everything so enjoyable.  Possibly a pre-schooler might ask "Mommy, why is the man kissing a man?" but beyond that, I’d give this at most a PG rating; it’s just about the most clean-cut and heart-warming story about drag performers and “coming out” that one can imagine.  I often find myself hedging my recommendations with disclaimers like "If you like this type of show," or "if you don't mind such-and-such."  Here, I must simply say: go see this show.  It’s funny as all get-out.

Victor/Victoria runs through April 2^nd; call the Workshop Theatre Box Office at 799-6551 for ticket information.

Town Theatre and “The Marvelous Wonderettes.” A Perfect Fit.

Review by James Harley.

Town Theatre’s production of Roger Bean’s “The Marvelous Wonderettes” can be described with one word: silly. Not silly in a bad way, but rather silly in the jovial sense of the word, meaning that the show will keep you chuckling without requiring you to contemplate the fate of the world or anything else very serious. It’s all about good times, not necessarily for the Wonderettes themselves, but for the audience watching the girls’ dreams take shape, meet reality and adapt accordingly.

“The Marvelous Wonderettes” is essentially a musical revue of popular songs from the 1950s and ‘60s, with some adaptations which allow them to be used as a framework for expressing the hopes of the four characters. Suzy, Missy, Cindy Lou and Betty Jean are high school best friends who have formed a singing group set to perform at their prom in 1958, and who put their feelings on display for all to see through their choice of music. After establishing their personas, they return ten years later at their reunion and we see just how their lives have progressed, for better or worse.

The strength of director Allison McNeely's production is that it does not try to be anything more than it is, embracing the silly nature of the beast and running with it. Thus, we can laugh at the on-again off-again rivalry between the flippant Betty Jean (Abigail Smith) and the arrogant Cindy Lou (Shannon Willis Scruggs) without wishing ill for either one. There is no pressure to convince the audience that any of the sentiments are real, as the music says most of what we need to know, and so the characterizations are appropriately over the top and colorful.

Musical Director Laura Roberts Adair succeeds in bringing the old tunes to life, Scruggs’ choreography plays the humor card to the hilt, and as usual Danny Harrington’s set perfectly captures the essence of the high school gymnasium where the action takes place.

Vocal highlights of the show include the group’s rendition of the Everly Brothers’ “All I Have To Do Is Dream” and Missy’s “Man of My Dreams Medley.” Indeed, Lou Warth as Missy stands out as the vocal star of the show, successfully exhibiting beauty, range and character in each of her numbers.

Kudos also to George Dinsmore for his surprise appearance on stage, pulled from the audience to briefly represent the role of Mr. Lee, the girls’ music teacher. Rarely will an actor have such a literal scene stealing opportunity, and Dinsmore served his ham with admirable restraint.

Sarah Bennett rounds out the cast as Suzy, most effectively expressing the look of a high school girl.

As with all shows there are some imperfections. Bennett’s voice, while quite pleasant, could use a bit more power behind it, there are some minor age/believability issues within the casting, and the second act isn’t as bouncy as the first (though largely part of the girls growing up a bit).

Be warned that the show also has a couple of moments that are relatively risqué for a typical Town Theatre production, though nothing offensive. Both such instances were well integrated into the text and action and the patrons found themselves laughing.

Indeed, the show is a very good fit for Town Theatre’s general larger-than-life style and if you are a regular patron or if you attend just seeking a break from the real world and a few laughs, chances are you will enjoy yourself.

“The Marvelous Wonderettes” runs through March 19. For reservations call the box office at 799-2510.

Trustus Theatre's Cabaret-Style “Mahalia” Resonates Musically, Thin Dramatically.

Review by August Krickel.

Trustus Theatre's new production of Tom Stolz's gospel musical Mahalia takes a glimpse into the career of an American icon.  It's an affectionate if not particularly deep account of a beloved figure in American music, Mahalia Jackson, often called "the Queen of Gospel."  The show is not so much a biography as a cabaret performance, featuring a greatest hits selection of Mahalia's songs, interspersed with vignettes from her life.  Along the way, we also follow the rise and acceptance of gospel music as its own genre, and the growth of the civil rights movement.

As Mahalia, Valdina Hall is alternately feisty, reverent, reflective and folksy, as she recounts significant moments in her career, each punctuated by a related song.  Mahalia was a contralto, i.e. she had a fairly deep voice, but on a number of the songs, Hall wisely avoids the highest notes, which one presumes Mahalia reached, given that these were her concert standards.  Still, what we see is a very talented and popular local performer perhaps not recreating Mahalia literally, but nevertheless doing a warm and touching tribute to her musical legacy.  This is a star turn for Hall, and she belts out nearly two dozen numbers, captivating the audience on each.  A particular highlight is the Act One closer, "How I Got Over."

With most stage time devoted to music, Stolz's script only touches on more dramatic themes that might have been developed more fully in a straight bio, such as Mahalia's wide-eyed wonder when she leaves the segregated South and discovers a beautiful new world in Chicago, where seemingly limitless opportunities abound for people of color.  We see in passing a Chicago minister's outrage over Mahalia's expressive, emotional vocal style,  which he considers to be sacrilegious hip-shaking, and we witness her resistance to achieving mainstream success by recording secular music, insisting that gospel is neither jazz nor blues, but simply the word of God.  

I'm not sure if it's a weakness in the text, or if some lines were dropped, but towards the end of the first act, there was a noticeable drop in momentum, as Mahalia frets over her debut at Carnegie Hall.  There and towards the end of the second act, the dialogue drags between musical numbers, leading what should clock in at around two hours to run almost two and a half. Still, the second act contains some very powerful moments, although Mahalia herself is more of a spectator in these scenes, as she befriends the young Martin Luther King, Jr., and performs at some of his most famous appearances. 

 King is portrayed by the very talented and versatile Malik Squire, who is also seen as other men in Mahalia's life: a supportive cousin back home, a number of ministers, and her organist, "Blind Francis."  At several points, Hall reads passages from Scripture, detailing the story of Moses, while Squire recreates some of King's most moving language (including the "dream" speech where historically, Mahalia sat on the platform with him) with remarkable eloquence and passion.  The third cast member is Chandra Sadler, playing the women in Mahalia's life, including her longtime pianist, Mildred Falls.  Sadler's winsome smile, rich voice, energy, and comic timing are delightful, especially at times when the action slows down.  She and Squire provide 100% of the musical accompaniment for the show, and Sadler shakes, rattles and rolls that keyboard with zest. Both performers make their Trustus debuts here, and one hopes to see them on local stages in the future.

 Director Jocelyn Sanders and Scenic Designer Brandon McIver reunite after last year's Crowns, and the set is not only reminiscent, but I think literally borrows a few components from the earlier show.  A few chairs, a table, some steps leading to a pedestal, and the backdrops for piano and organ are all that's necessary to convincingly function as a family home, a car on the highway, a dressing room, and even the stage of Carnegie Hall.  A small thrust has been added to the Trustus stage, enabling Hall to connect with the audience more closely, and this adds to the feel that we're at an actual small venue performance by Mahalia herself.

If you were a fan of Mahalia Jackson's music in her lifetime, or if you’re just looking for some good old-time gospel songs performed live, you won't be disappointed by this tribute, and Squire's performance as Dr. King is a highlight not to be missed.  Mahalia runs through March 5^th ; call the Trustus box office at 254-9732 for ticket information.

Columbia Children's Theatre Puts Together a Magical “Alice in Wonderland.”

Review by Larry Hembree.

I’m not really sure if the musical that is currently being produced by Columbia Children’s Theatre is called “Alice in Wonderland” or “Wonderland” or “Through The Looking Glass.” The director says in his program notes that this musical is not the one the company originally chose to produce (which was called “Alice in Wonderland”) so I think it might have another title even though the program cover says “Alice in Wonderland.” Is this confusing? Well have you ever read “Alice in Wonderland?” This version, I believe, is based on the second Wonderland book called “Through the Looking Glass.” But in the end I suppose it really doesn’t matter. It only matters that what you will see when you go to the production is 75 minutes of musical funniness with a very talented and cohesive ensemble of performers. 

If you’ve never been to the Columbia Children’s Theatre, it’s on the second floor of the Richland Mall in Forest Acres, a space that used to be maybe “The Junction” or one of those clothing stores of the past.  There are chairs for the adult audience to sit in, an additional large area just for younger folks on the floor directly in front of the stage, and a recent addition of a raked platform with wooden park benches in the rear of the theatre to make room for even more patrons.  There is also a proper lobby with concessions and even a space to host a birthday party, one of which occurred the day I attended. The company has done a fantastic job of creatively creating a theatre out of space not originally intended for that purpose.

From past experiences seeing shows at CCT, audiences routinely consist of an even mix of adults and children of all ages, and usually packed houses (but that doesn’t mean there is not room for you too).

Columbia Children’s Theatre has been consistently strong in terms of professionalism, sticking to its mission and offering a story and performance that actually appeal to both children and adults.  This show is no different. The cast is strong, with both younger, (say 20 years old at the lower end of the age scale) and older actors (say not as old as me but close), most playing several roles.

The production includes an outstanding set, a visual feast of checkerboard squares, LED lights that transform the audience space and some vibrant and very funny costumes by Corinne Madeen and Sadie Martin.

The score is fun and highlights a variety of genres from ballads to country music to even a little rap and is well sung with strong and focused musical direction by Jane Brutto and simple yet effective choreography by Nicole Scola and Elizabeth Stepp.

The cast of a dozen deliver the right energy and move the show along at a consistent pace. I did have a hard time with articulation in some of the songs and dialogue but I am sure it will be remedied as the cast adjusts to the bodies in the audience. 

Lee O. Smith makes an hysterical Humpty Dumpty, portrayed as a country singer, who was a “good egg that done went bad,“ and supporting a backup trio of bizarre country “chicks.” Jane Brutto does a splendid job creating very different characters as the White Queen and Tweedle Dee with a fantastic voice to boot.  Catherine Curl is an adorable Alice, smartly acted and completely convincing and totally present. Kudos to Rozlyn Stanley who uses her strong improvisation skills portraying three very funny characters.  Stanley is a fresh performer with a strong sense of the stage and of her audience. 

The rest of the ensemble bring just the right touch of fun and theatrical presence to the piece and work well together giving and taking appropriately.

It’s hard work to pull off this kind of fantasy on a small budget in a challenging space but, once again, director Jerry Stevenson and his team of magicians, both on and offstage, keep children’s theatre alive and well in the Midlands.

Please note: there is a Mad Hatter’s “Un-Birthday Party” Saturday, February 19 from 6-8 p.m. The event is a fundraiser for the company and includes food, games and activities and even a special concert by local kids’ indie band “Lunch Money.”

Without even considering the quality of the show itself, Trustus’ “Our Lady of 121st Street” is a refreshing literary offering, reflecting the founding mission of the theatre by bringing thought-provoking material to the Columbia stage. Add a solid, actor-driven production with engaging characterizations and you have a good reason to go to the theatre this weekend, especially if you’d like to feel like you’re in a bigger town than you are.

Performed by the NiA Company in the Trustus black box space, “Our Lady of 121^st Street” is a fast moving parade of dysfunction, as a dozen emotionally troubled New York City natives are brought back together by the funeral of a beloved nun and community activist, Sister Rose. Adding a twist to the tragedy, Rose’s body has been stolen from the funeral home, ramping up the tension and igniting the volatile grievers who must face police interrogation even as they mourn. Conflict ensues as their dated relationships with each other are rekindled, exposing the prejudices, jealousies, mistakes, regrets and outright failures that this group has battled and lived through.

Interestingly enough, all this serious drama is an excellent formula for comedy, as the cast embraces and perfectly expresses the defining quirks of these freaky folks. None are more expressive than Trinessa Dubas as Norca, a sassy tart who humorously bursts into violence at the drop of a hat. Virtually without speaking Katie Mixon generates laughs in physically showing us the bottled up self-doubt of Sonia, a frustrated shadow-dweller almost ready to blossom but lacking the internal fertilizer needed to do so. Kenny the Poet, as an outwardly successful L.A. DJ whose choices have left him empty inside, keeps our eyes rolling as he displays the absurd level of cocky self-absorption that his character relies on to keep from having to truly acknowledge the consequences of his actions.

A true strength of the show is that these roles effectively walk the line between caricature and reality, often leaving the audience laughing even as we feel genuine concern for their situations.

Other standouts include Gerald Floyd as wheelchair-bound Father Lux. His gruff manner penetrates the typical priestly façade, particularly vocally as he performs largely in the dark with his back to the house. Jabar K. Hankins produces a believable Flip, an uptight young professional struggling with his partly-closeted homosexuality. His partner Gail is played with relaxed naturalism by Daniel Zuzalek. The remainder of the cast delivers as well, with no substantial weaknesses.

The energetic acting certainly drives the show, as it lacks luster visually. While scenery in the small black box space is generally minimal, it could certainly be jazzed up a bit more for the eye’s pleasure in this case. A few effective lighting choices help somewhat, but clearly director Darion McCloud has placed most of his attention on the interaction of these intriguing characters, and with enough success to easily overlook the minor shortcomings.

The personal issues touched upon are wide ranging, and at least some of them should resonate with any audience member who has been alive for more than 20 years. Though ultimately there is no coherent message tying everything together, it is impossible not to gain some new perspective on one’s self by seeing others bear crosses similar to our own.

Overall this edgy, high-intensity show balancing humor and tragedy is a nice break from the flood of musicals and formulaic comedies dominating the Columbia theatre world this season, though it may not appeal to everyone. Be warned that there is a high level of crudeness in the dialogue that is not appropriate for children, and that some smoking takes place on stage, permeating the small room for a few minutes.

“Our Lady of 121^st Street” runs through February 5 in the black box space at Trustus Theatre. Seating is limited. For reservations call 254-9732.

High Production Values Keep Workshop Theatre’s “Sealed For Freshness” From Being Too Stale.

Review by James Harley.

Is “Sealed For Freshness: A Tupperware Party Gone Awry” a bad play? Yes, yes it is. Does Workshop Theatre overcome this by infusing its production with loads of theatrical magic? No, it really doesn’t. Does this mean you should find something else to do this weekend and avoid the show? Well, not necessarily.

“Sealed For Freshness” is one of those “it is what it is” shows, and in this case it is a pure vehicle for laughter. It neither rewards you nor bogs you down with any substantial message to consider, leaving you to simply chuckle at a collection of jokes around a loose theme. Be forewarned: for maximum enjoyment you will want to turn your humor dial back to its High School setting, as many of the laughs are unabashedly bathroom-oriented.

Set somewhere in the Midwest in 1968, “Sealed For Freshness” introduces us to five women via a neighborhood Tupperware party. Bonnie, the host, is experiencing marital tarnish as she and her husband of 20 years age, while Jean and her highly abrasive sister, Sinclair, are struggling with the results of their own life choices. Diane, the successful saleswoman, has career issues and Tracy Ann, the young farmgirl still in her prime is present to witness what the world does to these women over time.

During the course of the evening some standard feminine topics are discussed, including motherhood, the loss of beauty with age and the balance of career with home life. Of course to make this entertaining much of this talk, fueled by increasing intoxication and radically differing personalities, is less than civil in nature.

The strength of director Dewey Scott-Wiley’s production is clearly in its overall look. Randy Strange’s realistic set design is absolutely fantastic, and Clay Owens’ colorful costumes match both the set and the era perfectly. While far from realistic, each actor also carves out a look and manner for her character which remains consistent throughout. Yes, it is another one of those over-the-top acting presentations that resemble a cartoon, but in this case that seems to be the goal rather than a simple failure to be believable.

Even without many real moments, several actors work some subtlety into their roles, most notably Libby Campbell as Bonnie. Easily the most engaging character, her moments alone at the bar while the focus is on everyone else are the strongest of the night in terms of acting. Sumner McLain Bender thoughtfully presents the young ditzy blonde as the young ditzy blonde (if that is possible), and while there is little subtlety in Christina Whitehouse-Suggs’ characterization of Sinclair, she certainly achieves the objectives of making you hate her and hoping she can change.

So, on the whole, the comedy is presented in a consistent manner from a group of capable actors within a visually appealing environment. Other production choices may provide “Sealed For Freshness” with more meaning or substance, but one certainly cannot say that it is poorly executed.

The audience demographic is a good indicator of who may enjoy the show the most, as at least 75 percent of the house consisted of upper-middle-age to elderly women, a group probably comprised largely of those with actual Tupperware party experience. Benefits for male patrons include absolutely no line at the restroom at intermission, and if you are 55 or older and single, a room full of hot prospects.

“Sealed For Freshness” runs through January 29. For reservations call the Workshop Theatre box office at 799-6551.

Spirited Performances Make Town Theatre's “Harvey” Pleasantly Amusing.

Review by August Krickel.

Mary Chase's play Harvey is a) a Pulitzer Prize-winning, timeless classic of the American stage, b) an often-revived staple of community theatre that's safe for the kids and grandma at a matinee, c) a whimsical allegory about individuality and self-expression vs. conformity, or d) a relic from last century’s heyday of screwball comedies with minimal relevance to contemporary issues.  The answer of course is "all of the above," depending on your tastes and preferences.  For me, Town Theatre's new production of Harvey was a pleasantly amusing and entertaining two hours, highlighted by some lively and spirited performances. While I may not have been rolling on the floor while laughing anything off, I smiled throughout the evening. 

The title notwithstanding, Harvey is never seen on stage, and may not exist; he's an invisible, 6-ft. tall white rabbit, thought to be the hallucination of one Elwood P. Dowd, a gentle aristocrat who “wrestled with reality for years,” and happily proclaims that he “finally won out over it.”  Elwood's charm and social skills (and willingness to pick up the occasional bar tab) make him quite popular at local taverns as he chats with his imaginary friend, while society ladies are appalled by his delusion, leading them to shun Elwood’s widowed sister Veta and her daughter Myrtle Mae. One day Veta has enough, and decides to have her unfortunate brother committed, conveniently giving her control of the family fortune and estate; hijinks ensue.  Mistaken identity, family dysfunction, slapstick, outrageous characters, and subtle commentary on social mores are typical of screwball comedies like Arsenic and Old Lace and You Can't Take It With You, and this play falls squarely into that genre, which goes back past Oscar Wilde and the Restoration, all the way back to the Greeks and Romans.  Indeed, at times the dialogue channels Wilde or Shaw, with gems like “In this world you must be oh so smart, or oh so pleasant; for years I was smart - I prefer pleasant.”   As we grow to like Elwood, we see where this must ultimately end: will Elwood be forced to conform, will society have its way with him, or will individualism triumph?
 
As Veta, Kathy Hartzog has the toughest role, a would-be society matron in classic Lovey Howell/Mrs. Drysdale mode. Her language is the most formal, and rooted in the 1940's.  We need to see Veta as a villain, in order to enjoy some manhandling she suffers, but not so much that we can't empathize with Elwood's concern for her, or believe her change of heart later on.  Hartzog more or less succeeds, especially in the second act when anger and frustration bring out a far coarser side of her nature.  As Elwood, Allan Fulmer, Jr. does just fine.  His role is by definition so peaceful, serene and charming that most of the rest of the cast needs to be manic by comparison just to keep the comedy rolling.  This really kicks in halfway into the first act when the locale shifts to Dr. Chumley's sanitarium.  

Hunter Bolton and Lindsay Brasington have the huge challenge of playing juvenile love interests in a subplot, but also being the show's principal straight men, enabling the audience to accept the antics of the more flamboyant characters.  In a play about a 6-ft. tall invisible rabbit, they have to be completely believable as medical professionals.  I cannot praise them too highly, and the snappy 1940's dialogue, when spoken by these two, could have been written yesterday.  This is the fifth role I've seen Bolton do in fifteen months; in each he's played his own age, plus or minus a few years, and with no particularly special makeup, wigs, or costumes, he has managed to depict and define five very different characters.  The other standout in the cast is Frank Thompson as Dr. Chumley; he has a wonderfully affected, officious manner, much like Niles and Frasier Crane, or the holographic Doctor from Voyager, which contributes to the growing frenzy and zaniness on stage.

Normally sets and costumes aren't that important to me, one way or another, but special mention needs to be made here. Donna Harvey's costumes go beyond visually appealing, and actually contribute to our understanding of the characters.  When we first see Elwood clad in a nice tweed jacket, waistcoat, bow tie, argyle socks and comfortable tan bucks, we instantly "get" his social status and nature (a wealthy gentleman who doesn't care too much about his wealth) long before he ever speaks a word. Some fancy dresses and furs on characters like Myrtle Mae (played by Sirena Dib) and Mrs. Chumley (played by Melinda Collins) are likewise quite stunning, and both actresses help with the fast-paced banter in smallish but memorable roles.  

Director Allison McNeely makes sure that the 1940's dialogue speeds along with a contemporary sound, which it does by the second half of the first act.  Unfortunately she and the cast are somewhat handicapped in their blocking by the cramped feel of Danny Harrington's set.  There are only two locations, both realistic interiors, and one would think that the main set piece, which revolves 180 degrees to become each setting (first the Dowd mansion library, then a reception room in Dr. Chumley's sanitarium) would be the perfect choice, especially given that Town has a decent-sized stage.  For unknown reasons, there's only a tiny sliver of space left for furniture, props and eleven actors. Likewise, while the mansion features a fairly impressive piece that drops in from above to suggest an elegant skylight, the rest of the set dressing falls far short of suggesting wealth. The script calls for a mantelpiece, for example, but the fireplace below has no logs, no screen, no andirons, just a flat black piece of material taking up a large amount of space.  The sanitarium set has the same problems, with a large picture window (necessary for us to see some funny physical comedy outside) looking out on nothing but gray flats, instead of the suggestion of doors to other areas, a breezeway or external corridor, or perhaps just the front lawn of the facility.  Even the doors, necessary for many quick entrances, exits and comic slams, seem randomly placed, and not designed with any thought to how such a building might actually be constructed.  I can't say that any of this detracted from my enjoyment of the show... but it was rather surprising and disappointing.

With no topical references to any particular time period in the text, the show is by no means dated, although perhaps a few of its notions and plot devices seem a bit quaint, such as a "formula" devised by Dr. Chumley that will forever cure Elwood of his delusions within minutes after taking one dose.  It would be all too easy to fault Town Theater for reviving such a "safe" choice, so I'm not going to.  Harvey won the Pulitzer for Drama in 1945, in a season that included shows like The Glass Menagerie.  It won no Tonys, as they were created two years later, but the original Broadway production was directed by Tony herself, Antoinette Perry, for whom the awards are named, and it ran for over 4 years, back when long runs were much less common.  The show is an enduring and perennial crowd pleaser and audience favorite.  Case in point - I'm personally rather fond of this sub-genre of comedy, as well as a fan of Turner Classic Movies, yet I'd never seen either the stage play or its famous film incarnation with James Stewart.  As a commercial once said, if you haven't seen it yet, then it's new to you.  

Trustus Theatre's “The Great American Trailer Park Musical” is achingly funny while pathetically poignant. 

Review by Larry Hembree.

Let’s just consider the title: “The Great American Trailer Park Musical.”  The show is set in a trailer park in Starke, Florida and considers, among other things, agoraphobia, adultery, 1980’s nostalgia, spray cheese, road kill, a broken electric chair, kleptomania, strippers, flan and disco, not to mention astroturf.  That about says it all.  Or does it?   Not at all.  Rarely does live theater take a glimpse into the world of the lower income community, but this fantastic little musical gem is as pathetically poignant as it is funny.  And it is really, really funny and should be a very big hit for Trustus Theater.

The show is a two-act musical written by David Nehls and Betsy Kelso, which opened off-Broadway in 2005, and this production, with strong direction by Robin Gottlieb, brings to the Trustus stage one of the most talented groups of local musical performers seen in quite some time.  Gottlieb frames the piece simply with a great hand in keeping it balanced, and then lets her ensemble do its thing, and they do it splendidly.

Gottlieb’s direction leans toward the ridiculous, but still respects the show’s characters. This isn't a play that makes fun of people and lifestyles; it makes light of some of the more off-kilter things in life. While it’s achingly funny, it's never mean-spirited, and that’s where Gottlieb shows her strength.  There is very fine line between overdoing or understating comedy of this brand, and this show embraces the middle beautifully.

The casting of the show is perfect.  Catherine L. Bailey, Vicky Saye Henderson and Trustus newcomer Shelby Sessler are a sort of Greek chorus providing background, commenting on situations, and just keeping an eye on all the happenings at the Armadillo Acres mobile home park.  They are the glue that keeps it all together, and they are as vocally powerful as they are brilliantly comedic.  Henderson, as Betty, once again shows her acting versatility and actually is able to put some class into trash.  Bailey’s commitment to her bizarre character Linoleum is absolutely believable, and Sessler’s performance as Pickles is ridden with a powerful freshness and naivety.

Trustus veterans Kim Harne and Matthew DeGuire play long time Armadillo Acres residents Jeannie and Norbert, who fell in love years ago, got pregnant, had their baby kidnapped and then turned very strange.  Harne’s blend of appropriate restraint combined with an amazing voice and DeGuire’s masterful comedic timing as the slightly depressed middle-ager, are a joy to watch.

Rounding out the cast are Elissa Horrell, successful at bringing out stripper Pippi’s many layers with a great belting voice to boot and Chad Henderson as the outrageous marker-sniffing bad boy Duke.

The production team even blends in some comedy on its own.  Hilarious thrift store costume design by Brandi Smith is appropriately over the top. Trey Hobbs’s smart lighting design even gets a few laughs.  The set, consisting of two trailers complete with bug zapper and inappropriate Christmas lights, functions well in giving room and atmosphere to the required locales. 

Terrance Henderson’s tight and fast moving choreography provides the perfect blend of fun, accentuating the camp and capturing the many genres of tacky that the show screams for.  Especially captivating is the use of toilet bowl brushes in the hilarious number, “Flushed Down the Pipes.” Music direction by Randy Moore is solid and balanced, effectively showcasing a diverse plate of music ranging from jazz to blues to bebop.  Baxter Engle produces exceptional and appreciated sound design.

This show could easily serve as a new campy substitute for Trustus’ production of “The Rocky Horror Picture Show,” which is presented every three or four years.  What else could you want in a musical?  ‘Tis the season for giving, and I would suggest that you give a present to yourself and everyone you like by putting tickets to this show under the tree.  It runs in two chunks, the first through December 12 and the second in 2011 from January 6-22.

Larry Hembree spent the first few years of his life living in a trailer and then got an MFA in Directing from the University of Georgia. He is currently the Executive Director of the Nickelodeon Theater. 

Columbia Children's Theatre's gift to Columbia: “A Nutty Nutcracker Christmas.”

Review by August Krickel.

Columbia Children's Theatre's new production of A Nutty Nutcracker Christmas is cute, adorable, at times quite funny, and the perfect holiday treat for those tykes and moppets when a break from shopping is needed.  I'd be the biggest Grinch ever if I said otherwise, but it's true.  So Merry Christmas to all, and to all a good... what?  Details?  You want details?  You don’t need no holly-decking details - it’s a Christmas play for kids, which is self-explanatory.  Oh, very well, if you must.
 
This contemporary update on the traditional Nutcracker story was written by Ralph Covert and G. Riley Mills, with original pop-rock-candy songs by Covert, a popular children’s recording artist.  As in the well-known ballet, Drosselmeyer the kindly toymaker gives a soldier-shaped Nutcracker to a little girl, Clara, which is then broken by her bratty brother Fritz; magic kicks in on Christmas Eve, as the evil Mouse King attacks, and we are transported to a dream world of dancing candy and toys. The title notwithstanding, this new incarnation, directed by Jerry Stevenson, is neither nutty, nor a ballet, but rather a modern boy’s adventure version for the Facebook generation.  Here Fritz becomes the protagonist, an avid video-gamer especially proficient at the new Mouse Hunter 5000 (which just happens to feature similar characters to the lame ballet that his sister is in).  Grounded, Fritz sneaks in some covert game time, and becomes the first kid to crack the fabled Level 22.  This in turn releases the nefarious Mouse King, pursued by his arch nemesis, the heroic Nutcracker, who, to Fritz's surprise, is actually a winsome teen babe. Fritz and the Nutcracker join forces, enter the fantasy world, and hijinks and feats of derring-do ensue.

Fritz, presumably a middle-schooler, is played by an adult actress, Amy Brower, who is utterly convincing as a tween boy.  A number of her songs are done Rex Harrison style, half-singing, half-speaking, which is important, since if she used a mature woman's full voice, the illusion wouldn't work as well. Brower always makes a point to connect directly with the audience, especially the little ones who get to sit on the floor right in front of the stage.   As the Mouse King, Lee O. Smith channels classic villains like Captain Hook, although at times he goes way over the top, in the style of Rip Taylor from Sigmund and the Sea Monsters, or Charles Nelson Reilly in Lidsville.  Indeed, those Sid and Marty Krofft shows from our youth give you an idea of this production's tone: enjoyable for ages 3-5 (although they may miss some of the jokes and nuances of plot) perfect for ages 6-8, and still fine for 9 and older.  Still, the kids in the front row loved Smith's flamboyance and outrageousness, as he plots to ruin Christmas.  His climactic duel with the Nutcracker where he uses everything from an axe to a candy cane to a lollipop is a comic highlight.

 
As the Nutcracker, Libbs Carbone swashbuckles with panache, like a dashing junior Catherine Zeta-Jones.  Sporting a crisp white uniform and a crisper British accent, she easily bests the Mouse King in combat (until Fritz repeatedly gets in the way) while teaching Fritz that girls may not be so lame after all.  Her harmony parts, first with Toni Moore (who doubles as Fritz's mom, and as the Mayor of the fantasy realm) and then with Brower in a song towards the end are really quite pretty (There are no musical number details in the program, but the song must surely be called "Almost").   When she gives Fritz a goodbye kiss on the cheek, at least one little audience member exclaimed "Eeeww!" which got as many laughs as anything else in the show.    

Nicole Scola and Roz Stanley cracked me up as Valley Girl-ish, teen-speaking Sugar Plum Fairies, gossiping about Barbie and Ken breaking up, and Joy Felder was cute as a dancing bear.  There's only a cast of seven, squeezed onto a tiny stage, so choreography and vocal arrangements are minimal, but there's a fairly rocking "Welcome to Christmas Wood"  number that would fit in nicely with, say, the work of the Archies or the Partridge Family.  It's repeated for the curtain call, and I found myself humming the tune as I left, and several hours later too, which says something right there.  Most of the rest of the songs are pleasant if forgettable, but no worries there, since you can buy a copy of the cd, and a storybook version of the play, on your way out! 
 

Mission accomplished with Workshop Theatre's “A Few Good Men.”

Review by August Krickel.

Before the movie version, A Few Good Men was a stage play that ran for over a year on Broadway, and launched the career of author Aaron Sorkin, best known for TV dramas like The West Wing and films like Charlie Wilson’s War and The American President.  Workshop Theatre’s new production of this character-centric courtroom drama raises a few troubling and thought-provoking issues, and gives some talented actors a chance to shine. You’ll enjoy the unraveling of the layers of plot as they play out before you, and the fireworks and theatrics as attorneys struggle with witnesses on the stand, but much like a good episode of any crime/legal-themed TV series, you may not take much away beyond a pleasant evening's entertainment.   

Two young Marines (Chad Tolson and Hunter Bolton) are on trial for the murder of a misfit (Esteban Nevarez) in their unit, stemming from a "Code Red," an unofficial, off-the-books form of discipline (basically violent hazing) designed to whip slackers into shape.  Their defense is assigned to Lt. Kaffee (Nathan Dawson) , a brilliant young Harvard law grad treading water for a few years in the JAG corps before moving on to private practice.  Like the victim, Kaffee has little interest in military regimen and protocol, preferring to settle all his cases quickly via plea bargains, leaving him time for off-duty softball and drinking.  In other words, a lawyer version of M*A*S*H 's  Hawkeye Pierce.  Pushed/cajoled/harangued by the the feisty and idealistic Lt. Cdr. Galloway (Samantha Elkins) , Kaffee and his buddy Lt. Weinberg (David Galloway) come to believe in their clients' innocence, but the Corps may have a darker motive to make this case go away as quietly as possible. 

 As Kaffee, Dawson is quite vigorous and eloquent in trial, and captures the lackadaisical whimsy of the character when we first meet him, yet it was somewhat difficult to see (or believe) the transition as he reaches within himself for the skills and gravitas needed to take on the entire military establishment.  David Galloway as Weinberg provides both comic relief and the moral voice of the story, but the role is under-written, much as his character is assigned literally to do nothing but appear to back up Kaffee.  Samantha Elkins, however, takes the role of Lt. Cdr. Galloway and makes it as much of a lead role as Kaffee, even though the script gives her little to do in the second act. Her rich voice is strong and commanding, her demeanor regal and imposing, yet we can also see a playful and impish side.  

As the main antagonist, Col. Jessep, Chip Stubbs projects a facade of disarming, soft-spoken charm, disguising a fierce and ruthless nature lurking just below the surface.  The choice is interesting; his Jessep is not so much the stereotypical gung ho military man, but more of a selfish sociopath, covering up the murder so that his own career prospects are not damaged.  Jessep claims to be motivated solely by desire to keep his troops strong, for the greater good of defending our freedom.  As Stubbs plays him, it's easy to blame the character's own narcissism, but to some extent that lessens any indictment of a greater problem within the military, such as a sense that civilian laws and ethics may not apply to those who risk their lives for us. Sorkin's script only skims the surface of these weightier themes, however; really, this is a showcase for actors, and for Sorkin's crisp dialogue. 

The real standouts are the supporting cast, Tolson and Bolton in particular, whose complete commitment to the "Ooh-rah" mentality of the Corps is always believable.  With few lines and little time on stage, both actors display remarkable depth as we learn that all is not as it may seem at first.  Each character has flaws of his own, but we see that the Corps has molded them into men, indeed the few good men of the title.  Bolton, as the more timid of the two, says more with a stammer or a chagrined look than many actors can do with a monologue, and his trial testimony, especially as he plaintively looks to his squad leader Tolson for guidance, is a highlight of the show.  Carlton Boyd is also quite effective as a Corporal whose testimony perfectly depicts the credo of "Unit, Corps, God and Country." A number of actors double and triple in smaller roles as assorted Marines and do just fine; I hardly even noticed the victim doubling as an MP at the trial for his murder.

 Director Amy Boyce Holtcamp largely succeeds in her staging of the material. But as with her production of Our Country's Good just 5 weeks ago at USC, there were a number of lines that were lost or thrown away, with the actors looking down, turning their heads away from the audience at critical moments, or just not projecting enough (Tolson, Bolton and Elkins are notable exceptions).  In fact, the similarity between the two shows is remarkable: both center around a young lieutenant in conflict with a rigid Marine officer at a remote, tropical military outpost, discovering inner talents and advocating for underdogs. Both feature courtroom and prison scenes, and both raise thematic questions about the nature of law, duty, and punishment.  As with her previous show, scene shifts and changes are accomplished via a minimalist and largely implied set, and expert lighting (by Barry Sparks) that smoothly delineates time and place. One wishes that Randy Strange's capable set were more elaborate, but it does the job, and this is what one sees on Broadway with non-musicals these days.   

By the time you read this, the show will have had several performances in front of live audiences, and my guess is that the cast will have worked out the issues with audibility and some of the nuances of characterization referenced above.  A Few Good Men is a good play, if not a great one, but Workshop's production is lively enough, with enough compelling portrayals, to make this worthy of your time.  That's the truth - and I know you can handle the truth.  

A Few Good Men  runs though November 20th.  Call the Workshop Theatre Box Office at 799-6551 for ticket information.

Trustus makes a valiant attempt to render “Reasons to Be Pretty” tolerable.

Review by James Harley.

There’s certainly no doubt that Trustus theatre’s latest offering, Neil Labute’s “Reasons to Be Pretty,” is a solid theatrical production from top to bottom. All of the standard elements of production are carefully crafted, and director Chad Henderson brings his usual cinematic sensibility to the stage, effectively entertaining the audience in unexpected moments where other directors typically take a coffee break. If only he had a worthy piece of literature to work with, this might just be a memorable show.

Unfortunately he doesn’t, and while I tend to shy away from literary reviews of theatrical productions, this is an instance in which the script truly handicaps anyone attempting to produce it. While billed as “hilarious,” the play itself is actually extremely tedious and dominated by such negative, unlikable characters that one can hardly wait for the final curtain to drop so that they can be forgotten and left behind like annoying drunks at a tailgate party.

The topic is modern dating, and the story follows Greg as he negotiates the relationship path with his girlfriend, Steph. While speaking with his friend, Kent, Greg makes a remark about his strong dedication to Steph despite her “normal” appearance. The comment is overheard and reported to Steph by her friend, Carly. Of course, rather than embrace the sweet sentiment, Steph interprets the statement as an insult and her controlling sociopathic nature is exposed as she responds by trashing Greg in a transparent effort to justify her own hypocritical desire for a different type of man. The situation causes friction between all parties involved, and ultimately Greg grows up and learns to distance himself from such insanity. 

Trey Hobbs handles the role of Greg well, making this life lesson a matter of realization regarding others more than a transformation of his own. This allows him to maintain a high level of believability while also giving the story the tidbit of value it possesses. It is crucial in this piece to have at least one sympathetic character, and Hobbs accomplishes this.

Elisabeth Gray Heard, as Steph, makes the perfect psycho girlfriend, to the point that I felt sympathy for her real-life partner just by seeing on stage what she’s capable of when she wants to show displeasure! Since after seeing that display one really, really does not want her to misinterpret one’s comments as insults, let me make it clear that the above is DEFINITELY A COMPLIMENT regarding her acting skills.

Charlie Stabile is likewise commendable as the self-absorbed jerk, Kent. I almost wish he didn’t do such a good job, as his role is probably the one which most taints the play with tedium, as we wish he would just shut up and go away. LaBute tries to give us some comic relief amidst Kent’s childish and egomaniacal rants, but he would need a full time sidekick in clown garb to make this character’s seemingly unending scenes tolerable.

Rachel Smith starts a little flat and monotonous as Steph’s opportunistic and mildly manipulative friend (and Kent’s girlfriend), Carly, but picks up steam and also earns some sympathy in the second act as her story becomes integral and her character more real and reasonable.

Production values are fairly high, with a realistic set designed by Danny Harrington and effective lighting by Aaron Pelzek. Both utilize appropriate subtleties to capture the essence of the various settings, from the zap of fluorescent lighting in the workroom to the worn paint on the bedroom walls. The set also includes two rotating turntable areas which are creatively used by Henderson during both scenes and transitions.

Indeed, the best moments in “Reasons to Be Pretty” are those created by Henderson in between scenes and after all the talking and shouting have stopped. Integrating thematic music and relevant movement, he advances the story in these brief interludes far more enjoyably and artistically than author LaBute does textually.

There is a message in “Reasons to Be Pretty,” but because it is so slight and puts you through so much dramatic annoyance to get there, it makes one wonder if it is worth the time and effort. With characters written as so overtly abrasive, by the second act we really don’t care if they transform themselves into something better or not, we just want them out of our lives. But then again maybe this is a sort of genius, as that is precisely what Greg also discovers. Of course, he’s not my friend, so I really shouldn’t have to be subjected to all of the drama around him.

Reasons to go see it? There are some. Albeit a bad play, this is indeed a worthy production with appreciable talent. It may also give you an opportunity to internally vent if you’re bitter regarding any recently ended relationship. You’ll certainly enjoy it if you like watching people argue and shout. In addition, it is a rare straight-play-island amidst of a sea of musicals this season. And last but not least, supporting the arts in general is a noble act.

Okay, you may also leave feeling much better about your own relationship choices. Blessed even. 

“Reasons to Be Pretty” runs through November 13. For reservations call Trustus theatre at 254-9732. 

Populated by exiled convicts (primarily petty thieves and prostitutes) and the Royal Marines sent to guard them and oversee their labor, the settlement that will become Sydney is a sort of purgatory for all, with dwindling rations, few books, and fewer people able to read them; the main form of entertainment is watching other convicts being hanged.  The Governor, an educated navy officer, has loftier goals for his colonists, hoping that rehabilitation can make productive citizens out of prisoners. In a classic nature vs. nurture debate, he argues that most of the convicts were born into their lot in life, and that education and exposure to culture may show them the limitless possibilities offered by a new start in the new colony.  A young officer is selected to direct a production of "The Recruiting Officer," a comedy of manners from the beginning of the century, and prisoners will fill out the cast.

Town Theatre’s “Gypsy” needs a defining identity.

Review by James Harley.

Town Theatre’s current production of “Gypsy” is a bit confusing. Over the years I’ve grown accustomed to the caricature-heavy style of direction prevalent at Columbia’s oldest theatre, but in this case the juxtaposition of that style with a truly passionate protagonist leaves one wondering whether or not the show is a parody or simply lacks a coherent directorial identity.

“Gypsy” tells the story of Gypsy Rose Lee, a famous burlesque performer of the 1930s, and her relationship with her hard-driving mother, Rose. Having failed to fulfill her own dreams of stardom, Rose pushes her daughters mercilessly toward showbiz success, disregarding all obstacles in her path, including any objections from the girls. In the process Rose favors daughter June over Louise (later known as Gypsy) due to her greater talent, creating tension in the family and feelings of worthlessness in Louise. Rose’s unrelenting need for control eventually drives everyone away from her, ultimately leaving her with only Louise and forcing her to finally evaluate her own nature and motivations.

Catherine Bailey absolutely pours passion into the role of Rose. The character is completely unsympathetic by design, and Bailey really makes us want to hate her with her realistic, high energy portrayal of the manipulative mom. Giulia Dalbec-Matthews, as Louise, also embodies her role well in general. The problem is that they are surrounded largely by characters we can’t believe at all due to overdone accents and what appears to be purposeful shtick in the manner of a parody. One minute we’re watching Louise’s heart genuinely break and the next we’re rolling our eyes at a stereotypical angry cigar-smoking producer or sassy secretary. Not that these characterizations are not funny and skilled, their extremes just seem inconsistent with the tone of the lead story.

Indeed, characters who should be completely over the top, such as Rose’s showgirls, are a bit flat in energy while the everyday people emit that “look at me” radiance almost constantly. One exception is Rob Sprankle as Herbie, Rose’s love interest, who seems a bit dull at first but whose understated charm grows on you rapidly as the show progresses and becomes more outlandish around him.

Highlights of the production include a beautifully choreographed and acted dance number (“All I Need is the Girl”) between Louise and Tulsa, played by Travis Roof, and also the dancing cow’s first appearance (don’t ask for an explanation, it’s one of those things you just have to see). A good fit for the style of production is the humorous number “You Gotta Get a Gimmick,” performed by three strippers (Cortlin Collins, Lou Clyde and Tiffany Dinsmore) who give Louise her first lesson in burlesque.

On the visual front, the show looks fantastic, with sumptuous costuming that must have cost a fortune and been a tremendous amount of work considering the extremely high number of roles in the play. Likewise, I shudder to think of how many hours of sleep scenic designer Danny Harrington must have sacrificed in completing the set for this show, as virtually every one of the 17 scenes takes place in a different location, nearly all of which were carefully delineated and detailed.

Musically the show isn’t stunning or filled with memorable tunes, but it doesn’t really lack anything important either, outside of some amplification problems.

So, on the whole the production is a mixed bag with some strong moments and some awkward direction, some nice visuals and some bothersome microphone issues. The story itself isn’t that engaging or subtle and the climax arrives far too late, structurally speaking. This perhaps could have been offset a little with some cuts here and there, but it is primarily a literary rather than a production problem. As it is, however, the show runs fairly long, so make sure you’re well fed prior to attending.

“Gypsy” runs through October 2. For reservations call the Town Theatre box office at 799-2510.

Short on substance, big on laughs, Workshop Theatre's zany “The 25th Annual Putnam County Spelling Bee” will make you smile.

Review by August Krickel.

chronicles exactly what the title implies: the misadventures of six middle-schoolers as they compete onstage in a spelling bee. Workshop Theatre's new production of this long-running Broadway smash features a talented and spirited young cast, and some cute and zany jokes and routines that are sure to make you smile.
 
With its roots in improv comedy, Rachel Sheinkin's and William Finn's musical recreates all that we remember from our own childhoods: the nervous anticipation as the next word is announced, the unfairness of random luck when a competitor is given a ridiculously easy word to spell, and the child whose name is mangled and mispronounced a dozen different ways.  This year's contestants are five typical over-achievers, plus one misfit (played by Josh Payne) who actually finished third at his school's bee, but steps in by default when the top two can't make it to the finals.  One gimmick of the show is that a number of "volunteers" are invited from the audience to join the competition, and on opening night several who are familiar performers around town were among them, including Bobby Craft. His "bit," completely improvised when called on to spell an impossibly hard word, was the highlight of the evening.  Another huge crowd-pleaser were the examples of words used in sentences, courtesy of George Dinsmore as Assistant Principal Panch; I suspect many of the more outlandish were either improvised, or adapted for the local audience.
 
As each contestant steps up for successive turns, we learn more about them via monologues, solos and flashbacks. Often one or more of the other actors fills in as someone else - a parent for example - or provides harmony, while sometimes the entire cast becomes a backing ensemble. Barry Sparks's lighting and Chuck Sightler's sound design really help with delineating some fairly rapid jumps in tone and locale.  Highlights include Jackie Rowe's "Woe Is Me," a tune that sounds like Company-era Sondheim, in which she recounts being pressured to succeed by her two dads, and Caitlyn Oenbrink as an archetypal Catholic school girl who has a literal epiphany about living up to expectations. Hunter Bolton, earnest and sincere as Bobby in Love! Valour! Compassion! last spring and as Romeo the preceding fall, shows a flair for slapstick in the show's only PG-13 moment, when he is eliminated after being distracted by an attractive audience member.  Don't despair - he turns up again in two hilariously unexpected vignettes.
 
Top vocal honors go to Vicky Saye Henderson as the event's emcee, and to Bethany Locklear as a lonely and neglected girl who finds companionship in her dictionary.  The I Love You Song, is a plaintively beautiful lament by Locklear, missing her  oblivious parents, while Henderson (doubling as her absentee mother) and Charles McKenley as the workaholic dad, sing of how much they love their daughter. The overlapping shades of meaning and irony, and the nuances of different manifestations of love are a genuinely moving and touching moment, vastly different from the very light tone of the rest of the material.

All of that said, there is not a tremendous amount of depth to the script, and the songs, with the few preceding exceptions, are largely forgettable.  Then again, I'm not thinking one usually attends a show with a title like this looking for depth.  If this were a semi-improv, semi-audience participation cabaret piece from Greenville's Cafe and Then Some, or Charleston's Cabaret Kiki, I'd say it was their best effort ever.  How it ran for more than 1100 performances on Broadway and garnered six Tony nominations, winning two (including best book of a musical) is a mystery to me. 
 
The cast are in their early 20's, and all could easily pass for 16, so the leap from 16 to 12 is really not much of a stretch for the audience. Yet often they try a bit too hard, especially in the first half of the first act, to capture the disruptive, bratty, boisterous playfulness of middle-schoolers, pushing and poking each other, sticking out their tongues, squirming and fidgeting in their seats; it becomes distracting, especially when we are first getting to know them. As competitive nerds/brainiacs, these characters should remind us more of Harry Potter's Hermione, than the rambunctious Weasley twins. Most of the performers fare much better in their moments on stage alone, where they drop affected higher-pitched "child" voices and let the lines take care of the youthful characterization.  Some of the best include Bobby Rogers off-handedly saying "I know" whenever he gets a word right, as any smart kid might, not realizing that it might make him look conceited, and Jackie Rowe defiantly telling her dad that she can do it on her own without his help. That's another drawback to the script: most of the backstories are fairly similar, with each child feeling pressure to succeed for various reasons, but none feeling really happy about it. 
 
All in all, the play is little more than an extended and well-done SNL skit, albeit with excellent performers capably directed by Jocelyn Sanders.  The barebones set by Randy Strange perfectly recreates the bleachers of a high school auditorium, and Barbara Howse-Diemer's choreography and Caroline Jones Weidner's musical direction are just fine.
 
Did I have a good time?  Yes. Did I laugh? Yes, a good bit. Did I find myself caring about the characters, and even rooting for my favorites to win?  Absolutely. Was some of that due to the talent and attractiveness of the performers, which sometimes surpassed the material?  Probably.
 
Therefore should you see the show?  If what has been described above sounds silly, shallow, and/or tedious to you, then probably no, although that may mean that you're a big ol' sourpuss.  If it sounds cute and adorable, then by all means go and enjoy.
 
The 25th Annual Putnam County Spelling Bee runs through Sat. Sept. 25th; call 799-6551 for ticket information.

Searching for dirty secrets in dirty ways on “Paradise Key.”

Review by Jeffrey Day.

“Paradise Key” by Dean Poynor, the annual new play at Trustus Theatre, lays out an intriguing scenario that covers familiar ground and has a production that loses focus during the second act.

The play is set on a remote Florida island in the early 1950s where an aging, former Nazi doctor has been whisked for interrogation by a young CIA agent. The doctor has hidden away with his secret in Argentina and now the Americans have come for it in the shape of a cocksure agent who has bought into Cold War rhetoric hook, line and sinker. It’s just the two of them in a barren room, with a bare light bulb above and the sound of the ocean in the background.

The playwright grew up in Columbia, was an actor at Trustus for several years, lives in New York, and has won a great deal of acclaim for his work. And one can see why. He’s a master at tricky dialogue and building tension. He has also done his homework, laying out infectious disease information in a believable but accessible manner. Several times during the play the actors have monologues they give directly to the audience and these are some of the best moments of the play.

Alex Smith as the interrogator David is appropriately earnest and gives a sense that the agent is in over his head. He has a sadistic streak, which he tries his best to show that he disdains, but we wonder if he really does.

Larry McMullen as the doctor brings a stubborn resolve to the character, enhanced by his bushy white hair and hangdog look.

In the play, the disease – polio – becomes a metaphor for the sickness, such as racial impurity, that the Germans attempted to remove from their world. How they went about this most of us know – torture, medical experiments, genocide. But the good German doctor says the horrible things he did were justified for the greater good. This topic has been covered in dozens of plays, movies and books for decades.

The bigger point of the play is that David, and by extension the U.S. government, is doing the same sort of thing in its methods of getting what it wants. While that is a timely topic in this an era of water boarding, indefinite incarceration and extraordinary rendition, it feels like a stretch.

As the plays continues some facts emerge that are a bit too convenient – such as why the doctor wanted to find a polio vaccine in the first place.

During the second act, things get messy and hard to follow mainly because McMullen appears to have forgotten half of his lines. When finally revealed the secret doesn’t sound any worse than what we already know, but that may simply be because it was so hard for the audience to get there.

The play is directed simply and clearly by artistic director Jim Thigpen. The show was to have opened last weekend, but an illness delayed it, so it runs only through Saturday.

As it is, it still isn’t ready, but even with problems, nearly all these new plays are worth doing and seeing. Including this one.

Additional performances of “Paradise Key” are at 7:30 Thursday, Aug. 12 and 8 p.m. Friday, Aug. 13 and Saturday, Aug. 14. For reservations call the Trustus Theatre box office at 254-9732.

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.