Pike Road: "Tuck Everlasting: the Musical"

Tuck Everlasting: the Musical, an exuberant family-friendly show by the Pike Road Theatre Company, has audiences captivated by James Keith Posey's solid direction, Kim Isbell's challenging choreography, and the combined talents of an excellent acting troupe who inhabit their characters to tell an important story about family love and what it means to be immortal.

It's a blend of a magical story, relatable characters, a pleasant musical score, and an energetic cast of triple-threat actors-singers-dancers in both the principal roles and ensemble players, which make its two-hour playing time go by in a flash. 

It doesn't hurt that three of the River Region's prominent theatre families [Habercorn, Isbell, Posey] are featured here, and are complemented by PRTC's largely veteran performers.

Based on Natalie Babbitt's novel, it tells the story of 11-year old Winnie Foster [a most engaging Emery White] who happens upon Jesse Tuck [masterfully played by Micah Posey] at a spring in the woods nearby the home she's running away from; you see, her Mother [Candi Morton] and Nana [Sarah Viswambaran] don't understand her need for adventure and new experiences.

There are complications, of course: though Jesse appears to be seventeen, he's actually several decades older; he and his family had tasted the spring water which magically granted them "everlasting" life without any apparent physical aging...and Winnie is intrigued. -- When Jesse introduces her to his family -- his mother Mae [Jennifer L. Habercorn], father Angus [Jason Isbell], and brother Miles [Tanner Parrish] -- Winnie sees in them a surrogate family unlike her own, and wants to become like them. Be careful what you wish for.

Meanwhile, Winnie's family has hired Constable Joe and his naively inept assistant Hugo [Thomas G. Habercorn and Jack Posey are a hilarious comical double-act] to find her; and when the "oily" Man in the Yellow Suit [Kevin Morton] gets wind of the spring water's effect, he sets out to make his fortune in selling it.

Fluid operation of moveable set pieces transition from one scene to the next; lighting enhances atmosphere, though often leaves actors' faces hard to see; costumes help develop characters; the play's many songs develop the plot and character conflicts, and are presented with clear diction and a good balance with the recorded sound-track.

And the choreography -- Kim Isbell is in top form with this production, creating complex dance patterns and movement; requiring the cast to give full commitment to extensions in footwork and arms, and in faces that tell their story. They are highly disciplined and confident. Well done.

Ultimately, a decision must be made: should Winnie drink the water and join the Tucks, or should she remain with her family and live as Nature dictates? While there are pros and cons on both sides, Tuck Everlasting: the Musical dramatizes it in a striking ballet sequence that requires no dialogue to communicate a satisfying conclusion.

ASF: "ReCON$truXion"

"Those who cannot remember the past are condemned to repeat it." -- George Santayana

The world premiere of multi-award-winning playwright Robert Schenkkan's [The Kentucky Cycle, All the Way] ReCON$truXion opened at the Alabama Shakespeare Festival on Friday night, receiving enthusiastic responses from the Octagon Theatre's capacity crowd.

In it, Schenkkan tracks the largely ignored story of John Lynch -- an African-American man who rose through the ranks of the political landscape in Reconstruction Era Mississippi all the way to the United States Congress -- and the pitfalls and temporary triumphs of a Reconstruction agenda that failed or was betrayed by the very people who lauded it at its start.

Many of the issues concerning the rights of freemen of color to exist on a level with their white counterparts in all social and political arenas have yet to be completely resolved, points which the playwright makes clear through historical references and sometimes anachronistic vocabulary that bridges then and now. Schenkkan skillfully shifts time periods, beginning in the twentieth century and going back and forth in time, allowing us to witness the impact that history has on the present. It's an easy link to today.

Eden Marryshow plays Lynch as an agent whose moral authority is always demonstrated with an urgency that commands respect, and who conscripts the audience into his memory-play.  He is abetted by a dexterous ensemble of eight men and one woman who all play multiple historic figures: Grant [Liam Craig], Lamar [Grant Chapman], Garfield [Matt Wolpe], and others; in an otherwise powerful male dominated world, Devin Kessler portrays Mabel, Lynch's love interest, and his niece Agnes who assists him in editing his book while demonstrating against the controversial film Birth of a Nation; you have to pay strict attention, since some appear briefly and actors change roles quickly.

There are some stunning projections [Rasean Davonte Johnson] that visually enhance a monochromatic set [Robert Brill] and costumes [Richard St. Clair].

ReCON$truXion has a very short run at ASF; perhaps it will find a wider life elsewhere. As we approach America's 250th celebrations, there is still a lot at stake for "We the People". 

Millbrook: "The Chicken-Fried-Fabulous Spa-Dee-Dah Sisterhood"

With the death this month of actress-playwright Jessie Jones, the decades-long collaboration of Jones-Hope-Wooten has come to a close, though their many popular Southern female centered comedies will no doubt continue to be performed.

One of them -- The Chicken-Fried-Fabulous Spa-Dee-Dah Sisterhood -- concludes its two weekend run by the Millbrook Community Players this weekend. And from the audience laughter and applause, and Millbrook's commitment to producing their plays, they've clearly hit the funny-bone of the River Region. 

Sure, they're formulaic; sure, the jokes are familiar one-liners; sure, the endings are predictable -- but, "So, what?!" -- they're entertaining and an excellent antidote to the serious issues surrounding us every day.

Director Cheryll Phillips has conscripted a fine ensemble of neophyte and veteran actors for her production, some of them reprising roles from other shows in the Jones-Hope Wooten repertoire. And they deliver.

This time, vindictive Glorietta DeWitt [Amanda Ledbetter] contrives to commandeer a cookie recipe and the attendant business though whatever means she chooses. And the combined efforts of Carlene [Vicki Moses], Nita [Angie Head], Mavis [Karla McGhee], and Sugar Lee [Blair Berry], together with Bobby Dwayne [Bill Rauch] and surprise twist by Hardy [Steve Phillips] put an end to Glorietta's scheming. A lot goes wrong along the way, and a lot of silliness occurs, but the resolution is satisfying, so audiences can lap it up gleefully.

WOBT--Prattville: "Twelve Angry Jurors"

From Perry Mason to Law and Order, from Anatomy of a Murder to My Cousin Vinny, courtroom drama remains a popular entertainment in American households; but, while we eagerly watch the proceedings in the court, we are rarely invited into the Jury Room where life-and-death decisions are often made.

Reginald Rose's compelling Twelve Angry Men [television, film, and stage versions] takes a different stance; the entirety of it is located in the Jury Room, where twelve men from an assortment of backgrounds, races, and ages convene to deliberate what went on at the trial, and must decide the fate of a 19-year-old reform school suspect accused of murdering his father. -- An updated version by Sherman L. Sergel, now entitled Twelve Angry Jurors to accommodate female jurors and their enhanced perspectives, is currently on offer in director Alex Rikerd's compelling production at the Way Off Broadway Theatre in Prattville.

At the outset, we hear a judge's "charge" to the jurors that their decision must be unanimous, that the decision must be made "beyond reasonable doubt", and that a guilty verdict will result in the death penalty.

So the drama begins: it's a hot day, only one window is open, the fan doesn't work, and the jurors are hot, tired, impatient, and short-tempered. To most of them it's an open-and-shut case, but one of them has doubts; and it will take a lot of sifting through the details of the evidence, and questioning the validity of some witnesses' testimonies in order to get unanimous agreement. At a time when there were no cellphones, internet, or AI, they must deliberate on their own.

Ms. Rikerd has a tight ensemble of actors at her disposal; though they are identified only by their Juror Number and not by name, their backgrounds, biases, and personalities become abundantly clear as the tensions rise moment by moment. -- The main contenders are Juror #8 [Scott Rouse] who first admits he has doubts about the perpetrator's guilt, and Juror #3 [Matthew Givens] who is adamant on both the guilt and for the jury to reach a quick unanimous verdict.

As their arguments heat up, evidence is re-considered, and several other jurors change their minds, audiences too might well change their own opinions. -- And while this creates a good deal of frustration, the play is not only about their ultimate verdict. In fact, perhaps the more interesting elements of Twelve Angry Jurors are about the jury process itself, a deliberation on what constitutes "reasonable doubt" and "justice", and a challenge to audiences to recognize their own beliefs.

Theatre AUM: "Fool for Love"

Actor, director, multi-award winning playwright Sam Shepard was in the 1970s and 1980s the most fashionable playwright in the USA and abroad, his edgy, surrealistic plays dissecting some very uncomfortable social and family issues in bare-bones naturalistic dialogue. -- Alas, none of his plays have been performed in the River Region for decades: our loss.

But now, Theatre AUM [true-to-form in producing plays from across a wide international and stylistic spectrum] is bringing Shepard's compact Fool for Love to their stage. In a seedy Mojave desert motel, we meet May [Sam Crevensten], and Eddie [Samuel "Goose" Alford]; they are half-siblings and on-and-off lovers for about fifteen years, and while Eddie obsesses their relationship can be resumed, May wants nothing to do with him; in fact, she's expecting her date Martin [Nicholas Hall] any minute.

The fourth character is The Old Man [Jay Walker Russell] who fathered both May and Eddie with two different women, and who had abandoned them some time ago; he serves as a kind of narrator-conscience as he sits outside the action though he "communicates" with his children individually as his attempts to assuage his building guilt consumes him. The past haunts the present.

Eddie is also being stalked by his most recent lover, the unseen "Countess', who wreaks havoc on Eddie's truck in the parking lot.

There's a lot of tension in the one-hour stage time, and the actors give credible renderings of their roles. Ms. Crevensten -- a late addition to the cast -- gave an admirably intelligent interpretation on opening night, despite reading from the script she held in her hands. [While this has been done before, there is no doubt that holding a script inhibits physical movement and eye-to-eye contact with scene partners, and hence the rhythms and intensity of the dialogue, as well as the emotional impact on the audience.] -- Expectations are high that she will be off-book soon to ensure her talents are better displayed for future performances.

ASF: "Much Ado About Nothing"

During the opening night of the Alabama Shakespeare Festival director Bruce Longworth's merry production of Shakespeare's Much Ado About Nothing, spontaneous laughs, sighs, and applause punctuated its two-and-a-half hours, and testified to local audiences' appreciation of the Bard -- if only there were more productions from the Classic repertoire at ASF. One need not be afraid of understanding a 400-year-old text when it is delivered with such clarity and assurance.

ASF is publicizing Much Ado as a "rom-com", a term unknown in Elizabethan England, but familiar in our contemporary jargon; so we can anticipate a story focused on romance, replete with lovers whose relationships are tested, along with conventional misunderstandings, deceptions, mishaps, clever dialogue, a duplicitous villain who interferes with wedding plans, and a bumbling policeman who accidentally uncovers the culprit to ensure a happy ending with dancing.

It's the Summer of 1919, some months after the end of World War I, and Don Pedro [Chauncy Thomas] and his retinue of soldiers arrive for a month's stay at Leonato's [J. D. Webster] in Sicily. Young soldier Claudio [Felix Torrez-Ponce] falls in love with Leonato's daughter Hero [Sigrid Wise]; they're a lovely couple we root for immediately.

And sparks fly between affirmed bachelor soldier Benedick [Christopher Gerson] and Hero's cousin Beatrice [Tarah Flanagan] whose long-term spat is carried out with entertaining witty dialogue...to everyone within earshot they're obviously made for each other, though neither of them admit it. They too earn every bit of our admiration, even as we witness their potential embarrassment.

Spoiler alert: With a Claudio-Hero wedding about to transpire, Don Jon [Patrick Halley] plots to stop the celebration by ruining Hero's reputation; and though successful at first, his ploy is discovered by a clownish policeman named Dogberry [French Stewart -- best known for tv's Third Rock from the Sun], whose Act II antics elicit well-earned laughter.

Mr. Longworth's creative team enhance every moment, from Josh Smith's detailed set, to Dottie Marshall Englis's attentive costumes [check the color-coded women's dresses, and her masterfully distinct costumes for actors playing multiple roles], to Nathan W Scheuer's evocative lighting, to Melanie Chen Cole's rich soundscape, and period-sounding music from composers Brien Style and Matt Pace...and of course the ensemble actors bringing Shakespeare's words and characters to life. 

Performances end on April 5th, so there's still time to welcome Spring at the Alabama Shakespeare Festival's offering of Much Ado About Nothing; it's well worth the effort.

Wetumpka Depot: "Pump Boys and Dinettes"

If memory serves, the only other time Pump Boys and Dinettes was performed in the River Region was an Alabama Shakespeare Festival production a few decades ago; having ended its three-weekend run at the Wetumpka Depot last Saturday, it played to a sometimes raucously over-enthusiastic audience. 

Set at a rural North Carolina Highway 57 "roadstop" gas station [the Pump Boys] and its next door neighbor Double-Cupp Diner [the Dinettes], the multitalented guys and gals showcase a host of toe-tapping high-octane songs through a slim plot that does little other than delineate character and relationships while stringing the songs together.

Never mind -- the whole point is to entertain, and director Kristy Meanor's ensemble cast come through in spades. Kaylee Baker, Mike Higgins, Sarah Kay, William Moncrief, Matthew Mitchell, Lloyd Strickland, and David Whitfield accompany themselves on a variety of musical instruments, and dance to Daniel Grant Harms's clever choreography for a rousing 90-minutes.

Whether they're singing country-rock or pop songs about fishing, working for tips, childhood nostalgia, female independence, or sibling relationships, the charisma they establish with one another and with the audience is never questioned. They're a likable group whose good-nature interacts with audiences.

There's a lot of talent on the Depot stage that brings Pump Boys and Dinettes back to vibrant life at a time when we need to enjoy one another's company, even for just a short time.