WOBT: "Messiah on the Frigidaire"

Now in its eighth season, and with updated lighting equipment, Prattville's Way Off Broadway Theatre is currently showing Messiah on the Frigidaire, a comedy by John Culbertson co-directed by Stacey Little and Laura Morrison.

Set in a trailer park in a small South Carolina town, an image of what looks like Jesus [or is it Willie Nelson?] appears one night on the front-porch refrigerator of LouAnn and Dwayne Hightower [Dana Morrison and Wes Milton]. -- But, this shadow does not have the sensational appeal of other such apparitions with their bleeding or crying faces and associated "miracles": people who have been cured of disease or who have made life-changing decisions through associations with them.

So, what is this couple to do? Beset with failed dreams and disappointments in the ordinariness of their lives, Dwayne hatches a scheme to exploit their assumed good fortune by inventing a scenario that is published in the "National Investigator" newspaper, getting them into the national spotlight.

Conscripting neighbor Betsy Gridley [Hollie Pursifull] to pose as Regina Gomez, they soon have thousands of religious fanatic tourists responding to Regina's ever developing testimonials to the impact of the image of Jesus on the Frigidaire.

And a local preacher [Christopher Howard] and businessman [Zach McGough] support the enterprise in bilking the tourists as an economic stimulus for the town despite its obvious flim-flamming.

The comic potential is enhanced by recognizable character types and a good sense of Southern speech and mannerisms that the ensemble cast manage credibly. Numerous laugh-out-loud moments punctuate this two-hour production.

There are few surprises at the final outcome -- good will triumph over evil, after all -- yet along the way Culbertson's script shows us the humanity of the individual characters. They are not mere stereotypes, and there are more serious matters at hand, particularly for the threesome at the play's core.

Betsy's small-town reputation as the High School tramp follows her to adulthood, and Ms. Pursifull gives a feisty and outspoken portrayal; yet she is also shown to be the most stalwart of true friends and a person whose conscience will not allow her to continue the hoax when it injures others.

LouAnn's dilemma -- whether to stand by her man and his money-making scheme or to insist on doing the right thing even if it jeopardizes their marriage -- is given a sensitive conflicted characterization by Ms. Morrison...not an easy task to balance; yet her comfortable naturalistic voice and mannerisms keep her grounded in a truthful performance.

Dwayne's lackadaisical good-old-boy temperament is energized by the potential offered in a get-rich-quick scheme. Once a man who was "always thinking", he has become a victim of unfulfilled dreams and will grasp at anything to get himself out of this rut. Mr. Milton's frustrations in the role are almost tangible, and when LouAnn and Dwayne ultimately choose to do the right thing, their mutual relief and resolve shows them to be the classy people they dream of being, even thought they remain in the trailer-park.

So yes -- class is not determined by money or social level, everyone can enjoy life by just letting things happen, we all get distracted at one time or another, our potentials can be achieved by persistence, and love is a strong ally.

ASF World Premier: "Nobody"

After two years in development through the Southern Writers' Project, Richard Aellen's provocative play "Nobody" is being given its World Premier in the Octagon Theatre at the Alabama Shakespeare Festival. A nearly full house rose to its feet at the conclusion of Sunday's opening performance. Spilling out into the lobby for a reception, conversations were intense and candid as the audience grappled with the play's themes and challenges...just one of the things that makes live theatre exciting and important.

Set in the late 19th and early part of the 20th Century, "Nobody" traces the lives of two actual African-American vaudevillians, out of work and almost out of hope. Bert Williams [James Bowen] and George Walker [Sean Blake] meet in San Francisco and decide to team up and make their mark in the business. Williams is introspective and wants a career as a "serious" actor, playing Shakespearean roles; Walker is a ladies man and more brash, intending to make a lot of money by dazzling audiences with his quick wit. Neither is quite ready for the reality that faces them: they will only be considered for playing the stereotypical and degrading "Coon" roles; that is, until they decide to play in minstrel shows in burnt-cork Blackface, billing themselves as "Two Real Coons," a choice that leaves few alternatives from then on.

Aellen's script makes good use of historical facts, merging them into his dialogue to establish authenticity, while telling a poignant story of the sacrifices to personal dignity made in order to achieve professional success. -- It is true, for example, that their major success was a production of "In Dahomey", the first major musical on Broadway with an all African-American company, including Paul Laurence Dunbar as lyricist and Will Marian Cook as composer, establishing all of them as household names, with Bert lauded as "the funniest man [white or black] on Broadway". It is true also that Bert was the first and only African-American to perform in the famous "Zeigfeld Follies"...and not in Blackface.

Their lives off-stage where they can drop the facades necessary for performance success help us to comprehend the struggles they faced in a world that regarded them as second-class citizens. Bert's wife Lottie [Erika LaVonn] and George's wife Ada [Angela K. Thomas] provide the strength to pursue the men's goals, often by gentle proddings or occasionally by defiant in-your-face confrontations. It is through them that we see the men's choices, compromises, and achievements even more clearly.

On-stage, they are forever trapped in degrading caricatures; off-stage it is different. They can afford expensive homes and clothes, taking their place in the upwardly mobile African-American community, and George has his pick of women [including a white showgirl named Eva (Margaret Loesser Robinson)] to satisfy his sexual cravings, giving them a sense of success that is, however, not enough, and the source of the conflicts that threaten their professional partnership and their marriages.

As a kind of Greek Chorus, the roles of Tambo and Bones are played by Gerrit VanderMeer and Jonathan C. Kaplan [they play assorted other roles as well] -- white men in Blackface, and a standard minstrel show double-act that exaggerated the behavior of Blacks, showing them to be simple, shuffling dullards and the brunt of degrading jokes. -- What Aellen's script does, however, is to show them as reflections of Williams and Walker and of societal changes; as the two real men achieve success, Tambo's and Bones' Blackface disguise deteriorates and their own confidence in telling jokes dwindles to meaningless dribble.

Performed on a bare set comprised of platforms, and an upstage area that houses a piano [Joel C. Jones] and drumset [Brett Rominger] and a vaudeville stage area, the play allows audiences to focus on character and conflict.

Songs that made the Williams & Walker duo famous are intertwined with the plot to showcase their abilities and to comment on the prejudices against them. "Bon Bon Buddy (the chocolate drop)", the "cakewalk", and "Jonah Man" all contribute to the one dimensional perception of Blacks in America while simultaneously showing us the effect they have on those very people they caricature. Characterizations emerge under Tim Rhoze's capable direction as thoroughly credible human beings caught in situations over which they have little or no control. And the title song -- "Nobody" -- incongruously shows both the stereotype and the determination to not be defined by it.

Wetumpka Depot: Congratulations

The Wetumpka Depot Players represented the State of Alabama at the Southeastern Theatre Conference's "Community Theatre Festival" last week. -- They returned with the "Mass Congeniality Award" for their efforts.
Congratulations to the Depot Players for excellence in performance and for so finely representing Alabama.

Faulkner: "Jane Eyre"

One of the most popular novels of the nineteenth century, Jane Eyre has been adapted for stage and screen numerous times. The latest incarnation of Charlotte Bronte's masterpiece is being performed at the Faulkner University Dinner Theatre, this time as a musical by John Caird and Paul Gordon.

The story foillows Jane [Anna Sailors] from her youth as an orphan under the severe charge of her aunt, Mrs. Reed [Rebekah Goldman], to her time at the Lowood School where she fares no better as a charity case, to her eventual departure on her own to become a governess at Thornfield, owned by Mr. Edward Rochester [Chase McMichen], with whom Jane falls in love.

Bronte's novel contains a lot of criticism of the harsh Victorian practices of class discrimination and rigid governance at all levels; yet it also is a passionate work, with Gothic and Romantic overtones, that encourages the breaking of stereotypes, and favors people who are true to their principles. As an early feminist, Jane rejects traditional religion, proposes forgiveness as an important element in relationships, and shows that love between equals is attainable.

The Faulkner production under Angela Dickson's direction runs over two-and-a-half hours, partly because the script attempts to include so very much of the novel's narrative. We do get a rather complete picture on the stage, though some script editing would be in order.

Art Williams is the musical director who accompanies expertly throughout. The music, while pleasant enough, is dependent on a single motif for its numerous songs whose lyrics contain much of the narrative scope of the plot and characterizations. And much of it is played at a slow and deliberate pace which reinforces the atmosphere, though the plot plods along as a result.

The ensemble acting here is good, with some actors playing double roles. And the principal roles are effectively drawn through the actors' committment and the excellent singing voices. -- Sophia Priolo's operatic soprano is clear and light in keeping with her portrayal of the socialite Blanche Ingram. Abby Roberts plays Mrs. Fairfax whose deafness is the cause of much of the needed humor of the piece, and her rich voice blends well especially in duets.

Ms. Sailors and Mr. McMichen are well matched actors playing the fated lovers Jane and Rochester. It is clear from their first meeting that they are meant for each other, not so much in a superficial romantic way, but rather as intellectual and emotional equals. And their voices link them even more securely in the performance.

Faulkner continues to tap into their student resources, and the younger roles are played by talented local students; and some original artwork has been supplied by Madison Faile, whose portraits and sketches show promise of a successful future.

Millbrook: "Nunsense"

Starting off their fourth season, the Millbrook Community Players have a sure-fire hit on their hands with the very popular and zany comic musical, Nunsense. The play has made the rounds of countless community and educational theatres for years, some in the local area, and each one has had its own particular take on it.

Under John Collier's direction, and with Chris Perry's musical direction and Katy Hoffmaster on the piano, the seven featured actresses exhibit individual talents and a fine sense of ensemble performance.

The "Little Sisters of Hoboken" are holding a fundraiser performance event showcasing the assorted talents of the convent: singing, dancing, stand-up comedy, and ventriloquism are all included in the selections. -- It seems that they must raise sufficient funds to bury the four remaining of the fifty-two sisters who died of food poisoning accidentally brought on by tainted vichyssoise prepared by one of the nuns, Sister Julia (Child of God) [Shari Taylor]; and this must be done before the local health authorities inspect their kitchen.

The assorted talents of the sisters are showcased in the variety show they produce under the stern guidance of Mother Superior [Angie Mitchell]. Their black and white habits disguise their internal yearnings for performing: Sister Robert Anne [Brooke Brown] wanted once to be a musical star and can belt out a song with the best of them; Sister Mary Leo, the novice, [Victoria Martin] dreamt of being a ballet diva, the novice mistress Sister Mary Hubert [Felicia Swanner] sings gospel music, and Sister Mary Amnesia [Daphine McCormick] is an amazing country-western singer as well as a very funny ventriloquist. Even Mother Superior finds her untapped talent when under the influence of a street drug called "rush".

There is a lot of silliness in the script -- corny jokes and cliche witicisms about Catholicism and convent life, with songs like "Nunsense is Habit Forming" a throwaway line about "penguins", a Carmen Miranda impersonation, a tap-dancing chorus line, and a disastrous video called "Nunsmoke".

Yet all of it is good-natured fun that requires precise comic delivery, various high quality vocal styles, and an ability to be slightly risque without offending anyone.

There are still a few unresolved technical issues in Millbrook's new theatre space. Lighting has been improved but not yet enough for much dynamic variety; this should be resolved as new instruments are added. And the acoustics are so lively that the piano often drowns out the singers' voices or causes both tempo and pitch problems by blurring its sound to the actors.

The actresses in this production unquestionably have the requisite talents, and they also work as a tight ensemble unit. Hats off to them in this adventure.

AUM: "The Cherry Orchard"

Theatre AUM's season continues with a lively ensemble performance of American playwright David Mamet's spot-on adaptation of Anton Chekhov's masterpiece, The Cherry Orchard. Mamet's trademark concise language and attention to the comic nuances of serious situations is true to the spirit of the original Russian play, making its down-at-heels aristocrats and upwardly mobile bourgeoisie more credible than they have been in a long time. No more a dusty relic, this version of The Cherry Orchard is a truthful and provocative analysis of very pertinent modern dilemmas.

Mike Winkelman directs his cast with a keen understanding of various eccentricities of individual personalities -- the self-centeredness of some, the naivete of others, and the fact that many of us talk a lot without holding meaningful conversations; in fact, it is easier sometimes to avoid uncomfortable problems than to face them. We are nonetheless drawn into their lives through the flexibility of the individual voices and through Winkelman's wizzardly choreographic vocal and physical style.

In 1904, as the middle class is overtaking the aristocracy in her homeland, Mme. Ranevskaya [Rebecca Dennard is solidly making her mark as one of local theatre's strongest actors in the role] returns from France to her home in Russia on the brink of bankruptcy. Steeped in the class restrictions of her day, she is both unwilling and incapable of comprehending her situation, and does everything to avoid it until it is too late.

She is surrounded by her younger daughter Anya [Ariel Taunton plays her as a charming yet petulant adolescent], and various hangers-on in her retinue. At home, her older daughter Varya [Vivian Walker's prim behavior belies an undercurrent of passion] and her brother Leonid [Lee Bridges's erratic behavior & befuddled demeanor can speak volumes] have been keeping the house and estate in order during Ranevskaya's absence; yet neither of them has the ability to directly face the problem at hand.

Greeting them on their return is Lopakhin, a former serf on the estate who has come up through the ranks into the middle-class; he advises her to sell off the estate and cut down the celebrated cherry orchard on it to make room for holiday cottages and earn a steady income. In the role, David Wilson's practicality is ignored as incomprehensible, partly because he is their social inferior, and partly due to his stumbling behavior -- a mix of awe in his new-found social place, his admiration of Ranevskaya who had treated him kindly when he was a child, and his inability to break the social codes and declare his love for Varya.

The social boundaries keep everyone locked in place, even as the new order is being established; it is hard for all social ranks to adjust to the inevitable changes in their lives. When Lopakhin buys the estate at an auction, that is the last straw; the social order can never be the same, yet he is prevented from taking his place among the aristocrats.

Both serious and absurdly comical in subject matter, Winkelman has his actors speak more at each other than to each other -- each living in his or her own world for most of their stage time -- and much like today, most attempts at direct communication fail.

Val Winkelman's exquisite costumes are among the best ever produced for Theatre AUM. Her attention to period detail of shape and fabric, and her choice of colors and styles perfectly suited to the ages and personalities of each character completely support the director's vision and the playwright's intentions. Stunning.

Even the old servant Firs [Bill Nowell is masterful in this role], the last remnant of the devoted servant, lives so much in the past; he is left in a vacant house at the end of the play, ignored and forgotten while the cherry orchard is being chopped down.

Guest Review: ASU "A Soldier's Play"

Guest Reviewer: Layne Holley--Critic & Actress

Eager audience members mingling in the lobby of Alabama State University were surprised to find themselves joined by a company of young soldiers at attention, setting the tone for what proved to be an admirable staging of Charles Fuller's "A Soldier's Play", which ASU is entering into the 2010 Kennedy Center American College Theatre Festival.

Fuller's play, which also won the N.Y. Drama Critics' Circle Award for best American play when it debuted in 1981, is a classic "whodunnit". The mystery is used to deliver an exploration of racism [both interracial and intra-racial] and the power struggles it creates. It uses well the red herrings created by people's mischaracterizations of others through stereotyping.

Set in 1943 at the then segregated U.S. Army's Fort Neal, LA, the play opens with the murder of Sgt. Vernon C. Waters. A light-skinned black man, Waters has schemed to use his rise through the military NCO ranks to raise his station in life, hoping one day that, by his successfully emulating white people, his children will rub elbows with the children of well-to-do white people.

The chief obstacle in his trajectory is "lazy and shiftless Negroes", especially "Southern Negroes", whom Waters says make a mockery of their race and damage any hopes of respect from whites. -- Throughout his military career, he has targeted these "geechees" in an effort to clear them from his environment, going so far as to kill a black soldier who donned a tail and danced like a monkey for white soldiers' entertainment.

When Waters, wel played by Andrew Preston, targets a beloved member of his unit, Private C.J. Memphis, to teach him a lesson and to set an example for the other black soldiers at the base, he sets his own demise in motion.

Captain Richard Davenport, assigned to investigate the murder, is a rarity himself. A Howard University graduate and an officer, he sees possibly more racial discrimination from his equals and superiors than does any other black soldier in the play. In his initial encounter with the white Captain Charles Taylor, he is told that his color signifies that the Army does not take seriously the investigation of the murder of a black sergeant.

Sayyed Shabbaz cooly plays Davenport as an "all business" sort who expects respect, if not for himself as a black man at least for his rank. His foil, Taylor, is matter-of-fact about the Army's regard for black soldiers and oficers. You expect Taylor to be derogatory and condescencing, and he is -- "Being in charge just doesn't look good on a negro," he tells Davenport. Yet Taylor sincerely wants to find Waters' killer or killers, even if they are, as he suspects, white officers within his own command. As for the suspects in Waters' murder, they are the usual ones when the victim is a black man: Ku Klux Klan members, white coldiers. But Davenport's keen eye detects something deeper.

When the silly and jocular, but oh-so observant Memphis saya of Waters, "Any man not sure of where he belongs must be in a lot of pain," he heralds an outcome for the audience: When power, pain and hatred mix, the damage will be great. Nepierre Green plays the "fool" Memphis with a touching authenticity; it's believable that this character can have sympathy for a man who constantly belittles him and his fellow soldiers for simply being who they are: young men who delight in their women, music, baseball, and hopes of getting a chance to fight Hitler's army.

The history between Waters and Memphis is relayed to Davenport during his investigation by Private James Wilkie, whom Waters stripped of his corporal's stripes for being drunk on guard duty, and Private First Class Melvin Peterson, who is the only soldier to stand up to Waters' abuse. Mikell Sapp and Julius Thompson, in the roles of Wilkie and Peterson respectively, deliver good performances throughout, particularly in their contributions to the ensemble in scenes with fellow enlisted men in their segregated unit.

While there are key elements of the story that are relayed in dialogue between a handful of central characters, much understanding of the world within the play is communicated by the ensemble that comprises the company of enlisted men. This young cast, featuring many of ASU's freshman and sophomore actors, manages admirably to convey life in a segregated Army and in a segregated country. The characters' life experiences as black men and black soldiers is complimented by the actors' honest portrayal of frustrated and energetic young manhood.

All this plays out on Alton England's cleverly designed set. The soldiers' barracks is authentic looking, and a moving set piece doubles as an interior and exterior setting. An obstacle course element triples as a roadside murder scene and a stockade. England makes good use of the theater's versatile but small stage.

The production's authenticity is greatly enhanced by the efforts of costume designer Ramona Ward. Even the creases in the soldiers' uniforms appeared to be military regulation.

Often overlooked, but powerful in this production, is sound design. Brandon Hubrins and Alexandra Phillips use percussion to convey presision, tension, and danger. -- Wednesday night's production pas somewhat plagued by sound cue troubles that have likely been cured for future performances.

"A Soldier's Play" tells an engaging story that all fans of mysteries and stories on the human condition and war will surely enjoy. It is imperative that the audience hears every line. This is sometimes made difficult however, by the young cast's mistaking fast delivery of dialogue for pacing [common among young actors], but it is not insurmountable. It is obvious too that some scenes were worked harder in rehearsal than others, but nothing truly falls short, and nothing seems overwrought. If anything, a larger flaw is that the physical tension and action in the smaller scenes between Taylor and Davenport and Davenport and the soldiers, does not match the tension in the dialogue. A few cases of tentative line delivery slow the pace and interrupt the strong characterization, but this too is minimal.

Director Brian Martin and his cast have taken on a complex and hefty pplay, and despite some unevenness among the major characters, they have delivered a strong production that took the audience in and earned their appreciative applause.