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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Review by Ann Dreher.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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