ASF: "The Lehman Trilogy"

"They were all invincible until the were not."

Between their 1844 arrival to the USA from Bavaria and their 2008 bankruptcy, the Jewish immigrant Lehman brothers and their descendants built a financial empire through a combination of business acumen, intuition, ambition, adaptability, and family trust that was unrivaled in its time.

And the Alabama Shakespeare Festival is providing audiences a not-to-be-missed opportunity to witness a meaningfully accomplished production of The Lehman Trilogy that tracks this history with insight, humor, and a challenge for us to assess our own place in a complex society.

Ben Power's masterful adaptation of Stefano Massini's multiple-award-winning play, as deftly directed by Matt Torney, runs at about three hours with two intermissions; but have no fear, the time passes quickly under Power's three near-flawless virtuoso actors. Andrew Benator, Brian Kurlander, and Eric Mendenhall inhabit the roles of the three original brothers, their descendants, and multiple secondary characters with admirably attuned reflexes to one another, clear and rapid speech, quick pivots as they change from one character to another, and storytelling techniques that dazzle in their detail while making historical and personal moments ring true to life.

Their pursuit of "The American Dream" begins in Montgomery, forming the bedrock of what is to come, as they measure success with monetary profit in cotton and coffee, and precipitating a move to New York City, the epicenter of commerce.

As the generations evolve with the times -- from the Civil War and Reconstruction, to the 20th Century, the Great Depression, World War II profiteering, et al. -- the scope of their successes depends always on looking forward and anticipating the next steps by making adjustments to inevitable changes and taking risks before their competitors realize it.

Public business and the arc of global history are at the forefront, though we are also invited into the private history and the family's religious beliefs. They are rooted in the Jewish faith and its cultural practices, so we see the impact of prayers and rituals marking family events, major feasts, and holidays as the characters shift from strict adherence to mere signifiers as time goes on.

The Octagon Theatre's set by Isabel A. and Moriah Curley-Clay reflects a dry-goods store piled with cabinets and boxes, and strewn with bits and pieces of "goods" that remind us of the modest beginnings of the Lehman family no matter their amassed fortunes, and support the themes of control and profit. 

And, while the play has been criticized for paying slight attention to the Lehmans' engagement with slavery and some perceived stereotyping of Jews, The Lehman Trilogy purports to present a saga of multi-generational vicissitudes of capitalism that enthrall its audiences.

The end of the Lehman empire is well documented, so there should be no surprise at the end. Whether caused by accumulated hubris, the Lehmans and their descendants emerge as fully realized characters that fascinate in their complexity.

WOBT: "Closed for the Holidays"

Imagine being stranded by a snowstorm in the middle of nowhere on Christmas Eve-Eve with no cellphone service, a gaggle of theatre kids, runaway shoplifters, a harried Community Center custodian, a steadfast sheriff and his inept deputy, a distressed couple preparing for their wedding, and a mysterious elf -- well, you get the picture of Prattville's Way Off Broadway Theatre production of Closed for the Holidays in a witty script by Cindy Marcus and Flip Kobler...and hilarity ensues.

There's a lot to pack into two acts over an hour-and-a-half; but director James Henry adeptly herds his 20+ ensemble actors through the plot machinations at a brisk pace. -- The cast includes a number of actors in their stage debuts [and several first-timers at WOBT], who for the most part thy keep up with the veterans.

Of course, we see the entertaining quirks of the young theatre nerds: a diva, a mime, a superstitious complainer, for example; and many theatrical "in-jokes". -- The only thing missing was an aloof Goth character dressed in severe black costume and sunglasses.

And there's romance too, as the kids' teacher has to choose between a shy bus driver and a successful surgeon while her Jewish-mother urges in one direction and the bus driver's daughter in the other...no spoilers needed.

Just sit back and enjoy the ride. There's even a good message at the end that assuages any ill feelings people might have about the frenetic holidays: the true spirit of Christmas comes from believing in the essential goodness of humankind.

It's all in good fun, as the players provide a fine entertainment for the Holiday Season.

P.S. -- Prattville's downtown Christmas decorations are stunning, and driving through them on the way to the theatre ought to get audiences in the right mood for the show.

Millbrook: "The Best Christmas Pageant Ever"

With a rag-tag cast of 27, many of whom are neophyte actors, director Bre Gentry brings The Best Christmas Pageant Ever to the Millbrook stage; a pleasant addition to this year's holiday shows. 

Last seen some years ago at the Alabama Shakespeare Festival, the premise is simple [though the resolution is far from it]. -- Mrs. Armstrong [Jennifer L'Ecuyer] has conducted a local Christmas Pageant in the same way for many years, but when an accident confines her to a wheelchair, "Mother" Bradley [Samantha Legg] hesitatingly takes the helm and does her best to make it "the best one ever". Despite her inexperience and the continued advice from Mrs. Armstrong, despite her husband's [Brad Porter] reluctance to help, and her children's whining [Lillie Kate Porter and Drew Baltzell], despite the criticism of social-conscious ladies, despite the fault-finding note taking of a jealous and spoiled Alice [Sophia Ducote], and despite the Pageant "takeover" by the Herdman hooligan kids who transform the traditional story with their own welfare background take on the Nativity...imagine the mayhem that happens on stage.

It runs about an hour, though Millbrook has added an unnecessary 15-minute intermission that interrupts the frenetic action that has to be re-ignited afterwards. It is hard to pick up the momentum.

Regardless, the cast are mostly endearing or comical or frightening depending on their roles, and the script does have an important message for the Christmas Season.

The rambunctious Herdman's [Kaden Blackburn, Cambrie Baltzell, Quinn Tuck, Adam Gaston, Scarlet Andrews, Violet Andrews] -- who don't go to church or even know the Bible story -- play the Holy Family, Shepherds, Wise Men and Angel with conviction and empathy, showing kindness to a refugee family by sharing what little they have with them [it's often the poor people who are the most generous]; so perhaps we shouldn't judge people harshly on first impressions: honest lessons we could all take to heart at any time of the year.

Merry Christmas,

Pike Road Theatre Company: "A Christmas Story: the Musical"

The Festive Spirit is alive at the Pike Road Theatre Company's production of A Christmas Story: the Musical, from the charmingly decorated lobby to the spectacular Christmas tree at the proscenium edge, to the flexible sets and inventive costumes, to the rolicking production numbers, as we follow the antics of Ralphie [Judah Miller] on his quest for "a Red Ryder carbine action 200-shot range model air rifle with a compass in the stock and this thing which tells time" in this musical version of the popular 1983 Jean Shepherd holiday film of the same name. -- Constant warnings of "You'll shoot your eye out" come at him  from every corner, but Ralphie won't be dissuaded. 

Jaon Isbell [the adult Ralphie] affectionally narrates the story of his 1940 Christmas goings-on. To those familiar with the film, yes Ralphie's Old Man [Gary D. Thompson] still mutters curses under his breath and wins "a major award" in a contest [a leg-lamp]; the neighborhood boys "triple-dog-dare" one of them to lick a flagpole and get his tongue stuck to it; there are bullies who regularly get into trouble; Ralphie is forced to wear a pink bunny pajama set; his younger brother Randy [Zion Miller, and the real-life brother of the protagonist] muddles things up a lot; the local teacher Miss Shields [Jan Roeton] can be counted on to be a tough disciplinarian and a wonderfully comic vaudevillian; Ralphie's fantasies of grandeur are brought to effervescent light; a grumpy Santa [Jon Darby] can't wait to end his shift on Christmas Eve; and Mother [Tricette Savage], ever the peacemaker who is gifted with a fine singing voice and a calming demeanor, is the solid strength that holds the family together.

With a cast of countless adults and children, director Travis Clark keeps the action moving on a multi-leveled set; Kim Isbell's choreography captures the spirit of the piece; Emily Blossom's witty costumes complete the picture.

Lighting unfortunately had so many dark spots that actors faces were often obscured by deep shadows. And -- as in many local productions -- the sound imbalance between the recorded musical score and the actors' enthusiastic voices made many lyrics difficult to understand.

Running at just a bit over two-hours, the sheer energy of the company all but guarantees that audiences will leave the theatre in the right Christmas spirit.

Cloverdale Playhouse: "Miss Bennet: Christmas at Pemberley"

It's the 250th Birthday of English novelist Jane Austen [1775-1817], and her avid fans -- "The Janeites" -- are celebrating worldwide; so what better way for River Region fans to celebrate than with the Cloverdale Playhouse's seasonal offering, Miss Bennet: Christmas at Pemberley, co-authored by Lauren Gunderson and Margot Melcon.

Billed as an imagined sequel to Pride and Prejudice, this witty comedy is sure to please by anticipating audience reactions and approvals through clever nods to the original source that many of us know from reading the novel or watching an assortment of filmed versions.

The play takes place some time after the events of Pride and Prejudice in Mr. Darcy's [John Selden] ancestral home, where he and wife Elizabeth (Bennet) [Bethany Warman] are hosting family during the Christmas holidays, and where much fuss is made of Lizzie bringing a "Christmas tree" indoors.

Lizzie's now pregnant sister Jane [Hilary Taylor] is there with her husband Mr. Bingley [Jalan Pedonesi]. Bookish sister Mary Bennet [Sydney Hermans] has joined them and entertains herself with reading and playing the piano. Unhappily married Lydia [Jacqueline Ishmael] irritatingly insists that her marriage to husband Mr. Wickham is ideal, though she fools no-one.

So, when socially awkward Arthur DeBourgh [Ethan Montgomery] arrives and meets Mary, Austen's opening line of Pride and Prejudice -- "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." -- suggests that there ought to be another romantic match between these two misfits.

Arthur's entitled cousin Anne DeBourgh [Katelyn Sides] insists that her arranged marriage to Arthur be settled immediately, and Lydia's interference between Arthur and Mary complicates matters; and Gunderson and Melcon's script keeps everyone guessing till the end. -- There is a good balance of scenes that demonstrate men's views and women's views, each argument worthy of our attention.

And though we never see the Bennet parents and sister Kitty, or Mr. Wickham, or Mr. Collins, their presence is felt at key points in the action.

Mary is central to the plot, and the spokesperson for Austen's feminist agenda that posits equality of the sexes, women's individualism, and the possibilities of their advancement through their own choices even within a paternalistic society. -- Ms. Hermans and Mr. Montgomery show us clearly that even the least witty individuals are worthy of finding happiness and romantic love. We're definitely on their side.

Scenic designer J. Scott Grinstead's grand interior of Pemberley is a presence in itself, establishing a Regency assurance with a comfort that invites us all in. -- Katie Pearson's period-looking costumes complete the tone of a luxurious past.

The strength of family is never in question here, and director Sarah Kay's able ensemble cast provide an excellent reminder that the love we share for one another is the greatest gift at Christmas.

ASF: "Disney's Frozen; the Broadway Musical"

Last Saturday night's Alabama Shakespeare Festival performance of Disney's Frozen: the Broadway Musical didn't suffer much from the Iron Bowl, as the audience was engaged for the full two-hour running time. -- Based on Hans Christian Andersen's "The Snow Queen" and the popular animated Disney movie version, the move to the stage kick-started the Christmas Season in the River Region and offered some lessons on the value of family relationships.

Director Quin Gresham takes us to the kingdom of Arendelle, where young princesses -- Elsa [Chrisette Nichols] and Anna [Sabrina Santana] on Saturday night -- discover Elsa's unchecked power to turn everything into snow and ice, and when she accidentally injures Anna, their parents [Darian Troy and Grace Brad "GB"] separate them for their mutual safety, and only Elsa knows why.

Years later, their parents having died at sea, Elsa [Kyrie Courter] is about to be crowned Queen while Anna [Sabrina Santana] tries to re-connect with her sister. -- With the help of Kristoff [Dominic Giovanni] and a reindeer named Sven [puppeteer Zae Clark], the assistance of a comical snowman Olaf [puppeteer Dana Snyder], and the persistent attentions of Prince Hans [Spencer LaRue], Anna and Elsa eventually show us the firm bonds of family that encapsulate the importance of family love.

Gifted with accomplished singing voices, the principal roles are at their best in solos and duets. Mr. Troy and Ms. Brad shine in "Northern Lights". Mr. Giovanni's presentation of "Kristoff Lullaby" is especially touching; Ms. Santana's duets with Mr. LaRue ["Love is an Open Door"] and with Mr. Giovanni ["What Do You Know About Love"] challenge our perceptions of love. And the sisters' rendering of "I Can't Lose You" reaches a significant emotional depth. The production's singular anthem "Let It Go" by Ms. Courter is powerful.

Unfortunately, there are several times in this production when song lyrics and/or spoken dialogue containing important expository information are hard to hear [I overheard a number of audience members discussing this during the intermission]. -- This is a common occurrence in local theatres; whether from over-amplification of the musical score, or from energetic stage action during "production numbers", a better sound balance might be achieved.

Production values continue the excellent standard expected of ASF's creative team: deceptively simple set designs [Scott Davis] are enhanced by creative projections [Kylee Loera and Taylor Gordon]; a stunning array of costumes [Brad Musgrove] for both principal actors and ensemble performers; masterful puppets [Big Top Theatre Company] that the actors inhabit well; atmospheric lighting [Christopher Brusberg], all of which contribute to character development and furthering the plot.

Whether you know the play well from watching the Disney movie, or are a newcomer to this version of Andersen's story, you will probably get caught up in the story, delight in the songs and the visuals, and leave the theatre feeling a bit better about the possibilities of human relationships.

Wetumpka Depot: "Over the River & Through the Woods"

"We aren't loud; we're passionate!" -- True, that. The six ensemble actors in Joe DiPietro's heartwarming comedy Over the River & Through the Woods ramp up the volume for two "passionate" hours on the Wetumpka Depot stage, as they deliver the goods with clarity, conviction, humor, pathos, and thick New Jersey accents. -- This talented company under Beth Butler's astute direction, entertain from start to finish.

Nicholas [David Shelnutt] serves as the narrator of his own story -- an up-and-coming 29-year old young man who struggles to tell his two sets of Italian-American grandparents that he plans to move away from New Jersey and their Sunday lunchtime rituals [*see note below] in order to advance his career. -- He, as well as other characters, frequently breaks the theatrical fourth wall, thereby conscripting audiences into private thoughts.

We're in the comfortable middle-class home that grandpa Frank [James Ward] built many years ago for his bride Aida [Janie Allred]; and though we only get a glimpse of her kitchen, it is the source of all that food and the love with which it is prepared. -- Also gathering are Nicholas's other grandparents Nunzio [Reagan McLane] and Emma [Jan Roeton]; and later Caitlin [Sarah Smith], brought in by the doting grandparents in a not-at-all-subtle matchmaking ploy to convince Nicholas to stay in New Jersey.

Of course, Nicholas doesn't want to hurt his grandparents, and they do want their grandson to be happy and successful...but old age limitations creep inevitably forward while the "passionate" banter and the eccentricities that provoke our enthusiastic laughter turn more serious.

DiPietro's well-crafted script and the individual and collective talents of the director and the acting ensemble bring distinction to each role, so that audiences insert themselves into the true-to-life depictions on the Depot stage. We believe them always. And it doesn't matter that these are an Italian-American family from the Northeast; they are familiar to us all.

Nostalgic and sentimental as it might be, this rendition of Over the River & Through the Woods avoids its inherent corniness, and gives us a slice of life that celebrates family, traditions, and love as things that matter most.

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* If you've never been to an Italian-Amerian Sunday lunch in New Jersey, here's how it might go: it will last a few hours, and all the family issues are on the table along with the food. (1) on arrival there's wine and nibbles, and loud ["passionate"] welcomes to and from everyone. (2) Then the first course is an antipasto platter of assorted cold salami, prosciutto, and other meats; cheeses, olives, artichoke hearts, mushrooms, peppers, and fruit; more than an appetizer....accompanied by animated conversations amplified by wine; (3) this is followed by pasta that could be lasagna, or manicotti, or baked ziti that the hostess dishes out in huge portions and insists that you have a second helping; there's usually a debate on whose recipe is the best, and the volume increases; (4) then there comes a main course, either a roast turkey with all the trimmings or a beef roast, served family style, and conversations loosen by even more wine consumption -- It is here that family secrets are exposed for everyone's opinion; arguments often ensue at high "passionate" volume; (5) finally it's desert time: huge platters of mixed cannoli, bomboloni, cheese cakes, sfogliatelle, zeppole -- and coffee, over which disagreements are settled and everyone goes home with a sense that they have contributed to making the world a better place.