Way Off Broadway Theatre: "Wait Until Dark"

Now and then, almost everyone enjoys a good "scare", especially from the comfort of a darkened theatre...and Wait Until Dark is a reliable conduit.

Written in 1966 by Frederick Knott [he also wrote Dial M for Murder], and adapted by Jeffrey Hatcher, it his perhaps best known for the 1967 film starring Audrey Hepburn, and the Prattville Way Off Broadway Theatre iteration as directed by Lily Farnworth ticks a lot of the boxes of the genre in her two-hour production. -- It's been a while since the River Region has been treated to this compelling play [2009 at Faulkner University and 2013 at the Cloverdale Playhouse], so a re-visit is worth the effort.

At its center is Susy [Tye Terrell-DeVore], who had been blinded in an accident, and whose war veteran photographer husband Sam [Evan Scott] goes away on an assignment, leaving her alone in their Greenwich Village basement apartment, a place she can maneuver easily as her other senses have been heightened by her blindness. Gloria [Ava Northington] is a neighbor child who reluctantly runs errands for Susy and looks in on her whenever Sam is away.

Of course, there's a problem: a dead body in a closet that must be removed, and a child's doll "given" to Sam by a stranger that contains a fortune hidden in it, and a trio of criminals who will stop at nothing to find the doll. The ringleader is Harry Roat [Eric Arvidson at his evil best], and his henchmen Carlino [Chase Massengale] who pretends to be a policeman, and Mike [Michael Moseley], allegedly Sam's soldier buddy who ingratiates himself with the trusting Susy.

The three criminals are constantly in and out of the apartment to interview Susy about a recent crime in the area, but actually to get Susy to reveal the doll's location. -- Susy gets suspicious about their behavior and figures out the trio's elaborate "signals", and as their threats become dangerous, she conscripts Gloria to assist in her determination to outwit them.

There is a lot of suspense that keeps audiences on the edge of their seats, and the climactic moments with all the apartment's lights out are riveting [too bad that the WOBT stage was not plunged into total darkness]. -- Ms. Farnworth's ensemble actors inhabit their roles fully, enabling audiences to get involved in their lives. Well done.

Wetumpka Depot: "Don't Dress for Dinner"

"Too many cooks" might well "spoil the broth", but not so in a wildly improbable farce. -- Robin Hawdon's deft adaptation of Don't Dress for Dinner, one of a number of collaborations with playwright Marc Camoletti [see Boeing, Boeing, for example], which opened on Thursday to a small but appreciative audience at the Wetumpka Depot.

With its sharp dialogue and fast action, any of the improbabilities of the plot get thrown out the window as audiences' laughter keeps them from anticipating the action, and generates even more laughter as the characters attempt to extricate themselves from each turn of events.

Director Kim Wilson [formerly Mason] guides her six ensemble actors through the rigors of farce that includes mistaken identities, infidelity, slapstick, elaborate lies, and coverups.

Bernard [Will Webster] plans an intimate catered dinner and assignation with his mistress, a model named Suzanne [Dani Lowery], while his wife Jacqueline [Amber Chapman] is away; but when Jacqueline decides to forego her visit with her Mother, Bernard conscripts his friend Robert [Brad Sinclair] to rescue him. When the cook Suzette [Sydney Broach] before Suzanne gets there -- and both are called "Suzy" -- well, imagine the confusions that build over time. -- It's all good-natured sophisticated fun, with a rescue in the nick of time by Suzette's husband George [Jason Sizemore] serving as a kind of deus ex machina to unravel the truth.

Opening night jitters perhaps slowed the action a bit as actors often took too long to respond to cues and needed more purposeful movement; hopefully these matters will be remedied as the run of the play continues. Regardless, Don't Dress for Dinner is a mirthful escapist romp: something we all need these days.

Wetumpka Depot: "Traveling with Truman and Nelle"

The Wetumpka Depot is featuring a limited run World Premier of Marianne Weber's Traveling with Truman and Nelle, in which she invents conversations between Truman Capote and Nelle Harper Lee as they drive cross-country in 1960 to Holcomb, Kansas where Capote will continue researching his non-fiction novel, In Cold Blood...recounting the brutal murders of the entire Clutter family by Perry Smith and Richard Hickock, then awaiting their trial.

Harper Lee's Pulitzer Prize-winning To Kill a Mockingbird is awaiting publication, and though Capote already has some notoriety for "A Christmas Story" and "Breakfast at Tiffany's", neither of them has yet achieved the iconic status that future generations admire.

Friends since childhood in Monroeville, Alabama, and social outcasts from the start [his homosexuality, and her aggressively independent tomboy], and filled from their youth with concerns about inequalities, racism, hypocrisy, fairness, and loss of innocence, the play promises to present quite a road-trip.

Ms. Weber fills her script with countless references to their lives in rural Alabama that loyal fans will instantly recognize, though first-timers in the audience could benefit from a glossary of terms and references; for example: his childhood memories of Sook and Buddy flying kites and making fruitcakes, and calling a group of New York socialites "the Darlings"; her sponsors who bankrolled a year in New York so she could write, as well as her failed draft of Go Set a Watchman that became To Kill a Mockingbird. -- It sometime feels that she is trying too hard to include every possible verifiable detail to establish credibility, but it tends to distract from the point of their journey. -- And Nelle's breaking the fourth wall to directly address the audience close to the end that narrates the breakdown of their relationship might have greater impact by being dramatized.

It's Winter, and they stop occasionally in remote places to stretch their legs, smoke cigarettes, or have a bite to eat from a box of provisions they packed. But we never know precisely where they are till fairly late in the play when they are some "25-miles to Dodge City". --And along the way they reminisce and bicker over seemingly inconsequential matters, all in friendly and often teasing manner, while they argue about the bigger issues at hand, both for Capote's book and their own places in a society that is undergoing rapid changes: what causes people to act in some brutal ways? how should people react to those who are different from themselves? will this new society accept outcasts? can we ever actually walk in another person's shoes? do you actually want to be known forever for the success of just one book?

With mutual respect earned from a lifetime of closeness, and with the longstanding jealousies each has for the other, they do recognize the parallels in their writing about justice, morality, truthfulness, the nature of fiction and how it reflects actuality. And that it seems impossible to separate writers from the fictions they create.

Under Tom Salter's solid direction, David Shelnutt [Truman] and Cami Phillips [Nelle] inhabit their roles convincingly; their rapport appears comfortable, like old friends; and we travel with them willingly. Mr. Shelnutt reflects Capote's well-known mannerisms and speech patterns; and Ms. Phillips shows a fine determination as Harper Lee. Whether we know their personal story or their writings, we all can learn a lot about relationships through Traveling with Truman and Nelle.

Way Off Broadway Theatre: "Godspell"

The closing performance of Godspell at the Way Off Broadway Theatre in Prattville played to an enthusiastic almost-full house on Sunday afternoon. And it's one of the strongest productions this company has done in recent memory.

High marks to director James Henry and his ten-member acting cohort for presenting the updated 2012 version of the 1971 Off-Broadway hit without any sense of "preachiness" in recounting many of Jesus's parables found in the Gospel of St. Matthew, and for accomplished physical and vocal comfort and a remarkable sense of ensemble acting.

Additionally -- and other River Region theatres [professional, community, university, high school] take note -- the WOBT managed one of the best balances between the amplified actor's voices and the recorded musical score. The lyrics were clear and audible, and the music supported the voices; nothing distorted or shrill. It can be done. -- Thank you.

In Godspell, a motley group gathers to tell important life lessons. With Jesus [Chace Harris] as narrator and guide, and Judas [Delano Williams] as his companion and kind of alter-ego, the remaining ensemble ask questions and act out the parables' universal messages in contemporary jargon that give them a modern spin. -- The script intentionally allows each producing company the leeway to add references to their location as well as to that time's social and political content.  -- Here, the actors riff off one another with seeming off-handed remarks that add to the immediacy of each moment.

The Company : Ashlee Lassiter Davis, Magdalene Dyson, Dakota Fowler, Jessica Scott, Natali Jimenez, Micah Posey, Ash Shanks, Mark Sanders manipulate simple set pieces while telling the various stories/messages/songs with committed vocal energy.

So, we get "Lazarus and the Rich Man", "The Beatitudes", "The Prodigal Son", "False Prophets", "The Woman Caught in Adultery"...all leading up to Judas's betrayal and Christ's crucifixion. -- We hear memorable songs "Day By Day" and "Prepare Ye the Way of the Lord" delivered with confidence.

There were a few moments that indulged for too much time, and a lighting glitch (?) left Judas in dark shadow for the entirety of a song/scene in which he should have been a central focus. -- These notwithstanding, the WOBT production of Godspell gave audiences an inspired experience in the theatre.

Pike Road: "Disney's The Little Mermaid"

The Pike Road Theatre Company continues its magic with their production of Disney's The Little Mermaid, a musical based on the 1837 Hans Christian Andersen story. Director Travis Clark guides his large company of actors with a sure hand, and with James Keith Posey's fine musical direction, Jordan Hollett's clever set designs, dazzling costumes by Emily Blossom, and the reliably challenging and enjoyable choreography by Kim Isbell and Marissa Moore, this is a non-stop family-friendly entertainment.

Though the Disney version takes a lot of liberties with the original source material, Anderson's spirit and important messages are retained: family values must be emphasized, love can be an antidote to many problems, respect the wishes of others to be independent, "If you really love them, you've got to let them go".

So it is with Ariel [Eden P. Jemison], a little mermaid who falls in love with Prince Eric [Kaleb Morton], and yearns to be human so they can be together; but it's not without consequences and opposition from all quarters: her father King Triton [Kevin Morton], her six jealous "Mersisters", and especially the sea witch Ursula [Jenifer Hollett] and her slimy eels Flotsam [Derek Handy] and Jetsam [Dalton Adair] who are trying to wrest the sea kingdom from King Triton.

Of course, Ariel has her defendants too, a motley set of characters who complicate her journey while trying to help: the comical seagull Scuttle [Robert Nave], a delightfully besmitten Flounder [Jacob Savage], and a commanding Trinidadian crab named Sebastian [Zaylon Johnson] are chief among them.

Ariel's voice has captivated Prince Eric, and in this production, we can hear why: Ms. Jemison's precise and lyrical soprano seems effortless as she engages with the Prince and with the audience; we understand his attraction from the minute she opens her mouth...and their on-stage chemistry and Mr. Morton's ample baritone become the centerpiece of this production. Her rendition of "Part of Your World" and his "Her Voice" seal the deal.

There are several entertaining numbers by the company members ["She's in Love", "Positoovity", "Les Poissons", for example] that enhance the story and showcase the ensemble talents of the cast. And the sheer energy brought by Mr. Johnson in "Under the Sea" is in itself worth the price of admission.

As a counterpoint to Ariel/Ms. Jemison's sweetness, and as a character we love to hate, Ms. Hollett's Ursula earns every "boo" and "hiss" that the role demands. We look forward to her every moment on stage, and her presentations of "Daddy's Little Angel" and "Poor Unfortunate Souls" garner all the appropriate audience responses.

There are many nautical and seafood references ["something's fishy", for example] that are glossed over so  quickly that we might miss them, and there are occasional lighting issues with characters in shadows that mask their faces; but the 2+ hours running time seem to go quickly because we are being entertained by a very talented company at the Pike Road Theatre Company.

Millbrook: "Alice in Wonderland: the Musical"

Welcome to "Wonderland" -- the lobby, the auditorium, and the stage are all decorated in technicolor renderings for the Millbrook Community Players' production of Alice in Wonderland: the Musical, and keep audiences delighted for two hours every performance. 

Adapted by Janet Yates Vogt and Mark Friedman from Lewis Carroll's classic story, we follow Alice [Reagan Rolling] down the rabbit hole to a land full of strange characters and magical events, as she tries to get back home.

Directors Michael Proper and Missy Price have their hands full with a cast of almost 50 actors of all ages in both principal roles and an ensemble dressed in a dazzling array of costumes [Cheryl Phillips, Lynn Parker, Wanda Harms] while singing and dancing to Daniel Harms' effective choreography.

Occasionally hard to keep track of what's going on due to vocal energy and articulation or a lot of stage "business" that covers up the words, the sheer energy and commitment of the cast is enough to deliver the several musical styles of songs that intersperse the script.

Ms. Rolling is the center of all the action, and her strong singing is a highlight of this production. She is guided by the always-in-a-hurry White Rabbit [Lillie Kate Porter]; and she encounters all of the author's major characters along her way. Chief among them are the marvelous comical double act Tweedle Dum [Clint Collins] and Tweedle Dee [Jeanice Harrison], the almost-disappearing Cheshire Cat [Jessi Gordon], the "Off With Their Heads" shouting Queen of Hearts [a powerful Blair Berry], and the quietly heroic Mock Turtle [Danika Lawson].

There's even a bit of political commentary that Carroll makes in his story about a Caucus Race in which the participants spend a lot of time and energy to accomplish very little or nothing at all. [Sound familiar?]

The show is playing to almost capacity crowds, so if you plan to attend the last performances this weekend, be sure to secure tickets. It's a lot of family-friendly fun.

Pike Road: "The Fantasticks"

It's been a minute since there was a River Region production of the Tom Jones and Harvey Schmidt musical The Fantasticks, now having a limited one weekend run with the Pike Road Theatre Company. -- Its long run at NY's Sullivan Street theatre started in 1960, and has been on the boards in countless theaters ever since.

Director James Keith Posey has conscripted many local stalwarts into the current show, and their efforts follow through with a magically inventive and masterfully realized production in the Pike Road Town Hall's intimate space that invites the audience to experience it directly. Minimalist by design [platform set, colorfully character driven costumes, only a few hand-props delivered from a box on-stage by a Mute (Hank Posey)], the focus is on the romantic story and the glorious musical score.

Luisa [Bella Posey in fabulous soprano voice] and Matt [Andrew Clem] are in love, but are separated by a wall constructed by their fathers: Hucklebee [Mr. Posey] and Bellomy [Jason Isbell] approve of the match, but built the wall because they believe their children would resist if they knew the dads approved -- does reverse psychology work on kids!?!

So, to ensure the couple will get married, they hire "El Gallo" [Brandtley McDonald] and his motley crew -- an Old Actor named Henry [Lee Bridges], and The Man Who Dies named Mortimer [Eric Arvidson] -- to stage an abduction wherein Matt will rescue Luisa by thwarting El Gallo, and be seen as worthy to wed.

Everything goes according to plan with lots of comic melodrama, but as El Gallo/Narrator warns in the opening number "Try to Remember", be careful what you ask for, as real life experiences will intervene to test the reliability of romanticized beliefs. -- And in Act II, we see that disappointment and resistance make reality a better option.

The sheer good will and abundant talent of the actors is infectious; audiences applaud each number enthusiastically [standouts are "Soon It's Gonna Rain", "Never Say No", "They Were You", "Plant a Radish" and the aforementioned "Try to Remember"] and cheer at the end. Well deserved.