ASF "Encore": Bear Country

While Broadway is showing a play about the legendary football icon Vince Lombardi, the Alabama Shakespeare Festival is bringing back -- for a short revival on the Festival Stage -- its record-setting 2009 production of Michael Vigilant's Bear Country, a tribute to the University of Alabama's Coach Paul "Bear" Bryant.

The transfer from the Octagon Theatre, while it loses some of the intimacy of the smaller space, has kept the play intact and managed to explore Vigilant's text to reveal a wider range of relationships and characterizations both of its central character, the "older" Bryant masterfully played by Rodney Clark, and the "younger" version played by William Peden, who are supported by James Bowen and Christopher Burns who each play a number of roles with unflinching honesty.

Director Tim Rhoze and his capable cast bring us the now familiar story of Bryant's humble beginnings and his journey to iconic status as a football coach [with obstacles along the way], retaining always the simple humanity of the man who beleived in good sportsmanship on the field and good behavior off it...a class act.

Though the play is filled with historically accurate details and football statistics, this is not a play about football; rather, it is a play about a man -- one who has flaws and is often arrogant, but whose influence is felt even today. From what we see on stage, it is not surprising that Bryant's legendary impact on his players is treasured.

Playing to an almost full house on Katherine Ross's simple set, we are first introduced to "the Bear" as he is packing up his Tuscaloosa office on his retirement from the U of A, and reminisces about the important moments in his life that brought him to this point.

In his signature hat & blazer, Mr. Clark looks uncannily like the man himself, allowing us instant access to his story. But it is not just the physical similarity that is striking. As the two acts recount the ups and downs of Bryant's career with honesty and humor, Mr. Clark's stature, his commanding presence [especially as he addresses us from behind his desk], and his ability to engage the audience in ordinary human details creates a powerful presence: a man to admire.

Mr. Burns -- who plays nine roles -- easily segues from one to another, and imbues each with a distinct personality: Bryant's uncle who introduced him to football while listening to a game on the radio, no-nonsense coaches, television reporters, attorneys who try to trap him into confessing to fixing a game are all given full force by Mr. Burns's ability to instantly change demeanor and truthfully depict each one.

Mr. Bowen's impersonations of Bryant's boyhood friend as well as a small-town restaurant owner where Bryant once had a helping of chittlins, are presented with such natural charm, and are contrasted by his depiction of a hard-nosed student protestor demanding the inclusion of Blacks on Alabama's football team.

Mr. Peden's characterization of Young Bryant from teenage through early coaching jobs capitalizes on his ability to develop credibly in age and experience, from a gawky teenager to a settled adult. Along the way, we see him encounter the coaches who molded him by demanding his committment to the game and to sportsmanship.

Together, this ensemble is grounded in Mr. Vigilant's narrative and Mr. Clark's ability to get to the soul of the man...a man who loved his parents, wife & family; a man who drank Coca-Cola and ate Golden Flake potato chips; a man who kept his promises. As he says in the play: "Remember this if anything -- It doesn't cost anything to be nice...to be honest...to be a man of your word."

Millbrook: "Irving Berlin's White Christmas: the musical"

The holiday spirit has come to Millbrook in a charming production of Irving Berlin's White Christmas: the musical. Taking its cue from the 1955 film, but with several additional songs by Berlin interspersed throughout its two-and-a-half hour length, director A. John Collier's production is delighting its sold out audiences.

In part a backstage musical, in part a traditional love story, in part a patriotic statement so necessary in times of war, and in part just plain old nostalgic sentiment for the hoildays -- this version warms the heart from beginning to end.

Despite the limitations of a small stage [though Millbrook's stage has been permanently enlarged for this production], Collier & Company have created a workable space to house several scenic locations and a large number of actors -- 31 to be precise. Quite an accomplishment.

In addition, Collier has mixed some of the area's most experienced actors with a number of newcomers to his stage, built some stunning costumes, and delivered a solid show that could transform any Grinch or Scrooge in the audience.

In 1954, veteran song & dance team Bob Wallace [David Brown] and Phil Davis [Jason Morgan] are about to rehearse a new nightclub act in Miami, and are impressed by a new act by sisters Betty [Brooke Brown] and Judy Haynes [Lauren Morgan].

Attempting a love-match between Bob & Betty, Phil switches their train tickets for ones to Vermont where the girls have been booked for the Christmas holidays at an inn owned coincidentally by retired General Waverly [Roger Humber], who the men had served under in World War II.

The inn is on the verge of bankruptcy, and balmy weather threatens its holiday bookings. To help the General, Wallace & Davis conscript their entire cast & crew to rehearse in Vermont and add the Haynes Sisters as headliners.

As is to be expected, this chestnut of a play has assorted romantic misfirings, but all will turn out for the best...the show must go on, the inn saved, and the pairs of sweethearts united.

Solid performances and strong vocals hold this White Christmas together. Mr. Morgan is an excellent comic foil to Mr. Brown's more serious character. Their romances are innocently depicted and aided by the ingenuous style of Mrs. Brown and Mrs. Morgan. All four are effervescent in their roles.

Mr. Humber delivers one of the most convincingly truthfull and understated characterizations of his long community theatre career as the General. -- The General's granddaughter Susan is played by Maddie Hughes; she performs the role credibly and is featured in a rousing version of "I'm Happy".

The role of the housekeeper has been enlarged in this stage version to an Ethel Merman type known as Martha "the megaphone" Watson [Eleanor Davis], who also wants to be in the Wallace & Davis show. And deliver she does. Ms. Davis gives a standout performance as a feisty realist with a motherly concern for Susan and a loving attitude for the General. She can belt out her songs with the best of them, and her bright smile literally lights up the stage.

Irving Berlin's songs create a holiday atmosphere. Those who recall the film are irresistably drawn to novelty numbers like "Sisters" and sentimental favorites like "Count Your Blessings", but it is the signature "White Christmas" that has everyone in the audience singing along and exiting the theatre with the holiday spirit.

Faulkner: "Guys and Dolls"

Based on Damon Runyon's popular stories set in New York's world of gamblers and their women, the ever-popular 1950 Tony Award winning Frank Loesser, Jo Swerling, and Abe Burrows musical Guys and Dolls is currrently captivating sold out audiences at the Faulkner University Dinner Theatre.

From its first appearance on Broadway, Guys and Dolls has rarely been absent from professional and amateur stages -- and with good reason. It contains some of musical theatre's most memorable songs ["Luck Be A Lady", "I've Never Been in Love Before", "Bushel and a Peck", "Sit Down, You're Rockin' the Boat", and "Adelaide's Lament" among them]; and some of its most memorable characters in Sky Masterson & Sarah Brown, Nathan Detroit & Miss Adelaide, Nicely-Nicely Johnson, and Big Jule. Put these together with two untraditional love stories, Runyon's masterful mixture of street slang with formal speech patterns, and a tremendously sophisticated wit, and what emerges is a challenging show that reaches through time to remain as topical as when it was first written.

The combined efforts of director Angela Dickson and musical director Marilyn Swears have challenged their large ensemble cast to tell the story clearly and sing & dance their way through its complex moments with seeming ease. -- Favored with strong singing voices and some significant stage experience, the featured roles come across convincingly, especially as they have to manage the intentionally stilted Runyonesque dialogue.

Nathan Detroit [Chris Kelly] has his hands full: he is the organizer of "the oldest established permanent floating crap game in New York", but needs $1000 to keep it going; at the same time, he has promised the featured entertainer at the "Hot Box" nightclub, Miss Adelaide [Bethany Telehany], that he is giving up gambling and intends to marry her after a 14-year relationship. She has been more than patient, and he consistently finds excuses for staying away from the altar.

While Sarah Brown [Kari Gatlin], a soldier in the "Save a Soul Mission", tries valiantly to recruit & save the local sinners, Nathan sees in her a quick fix to his money problem: he gets the high-rolling Sky Masterson [Michael Morrow] to agree to a bet -- that Sky can get Sarah to accompany him to Cuba for a fling. Sky is such a slick operator, that he convinces some at the mission that he is a repentant sinner, and promises Sarah that he will fill her evening salvation session with at least a dozen sinners. Once in Cuba, Sarah falls for Sky, and he falls for her as well, having second thoughts about cheating her and the mission.

Runyon's characters, despite their shortcomings [drink, gambling, etc.], are really pretty decent sorts, and though he accordingly presents his men and women with different sets of priorities -- men want their freedom, and women want the security of marriage and a home -- they come across as likeable even with their faults, and especially when each realizes that no one side is perfect.

The action comes at a quick pace, though scene changes need to be managed more quickly & efficiently, and many of the characterizations are absolutely delightful. As we watch the romantic relationships develop, we get thoroughly engaged in their lives, and root for them to resolve their differences.

Mr. Morrow and Ms. Gatlin convince us of their affection in "I've Never Been in Love Before", appearing to have real feelings for each other. Mr. Kelly's bumbling efforts at avoiding marriage are quite funny. He is matched with Ms. Telehany's sensitive [and hilariously funny] "Adelaide's Lament"; and in "Marry the Man Today" with Ms. Gatlin, Ms. Telehany demonstrates a real talent for the comedic musical stage: a standout.

Tony Davidson's rousing rendition of "Sit Down, You're Rockin' the Boat" nearly brings down the house; and Paul Blount's grandfatherly advice to Sarah in "More I Cannot Wish You" is the singular most touching moment in this production.

In a brilliant casting choice, Bill Nowell plays Big Jule -- the toughest, meanest, and biggest gangster of them all. Mr. Nowell's slight frame and diminutive stature are no hindrance to his depiction of Big Jule; he gets away with it brilliantly and dominates the stage as if he physically filled it up.

With the entire company of 34 actors performing together only a few times, the stage does get a bit crowded, but all in all the staging remains fluid, the action moves along, and we are swept away by the energy of the actors and the brilliance of the script and the music.

Red Door: "Wise Women"

It is getting close to Christmas in 1944. World War II is raging in Europe. And in Knoxville, TN, over-protective single mom Florence [Susie Priori Turner] keeps a close eye on her teenaged daughter Rose [Haley Greathouse] who is a dreamy-eyed fan of Frank Sinatra and wants to go to a local concert featuring her idol.

To make ends meet, and as part of the War Effort (and unknown to Rose and much to her disdain), Florence agrees to have two boarders come to live with them temporarily: the outspokenly enthusiastic Jiggs [Anna Perry] and the shy Sarah Ruth [Eve Harmon] who is dominated by her preacher father, and who will share Rose's room.

The 2003 "Southern Playwrights Competition" winner that debuted at Virginia's Barter Theatre in 2004, Ron Osborne's Wise Women is now in the capable hands of Artistic Director Fiona Macleod at the Red Door Theatre in Union Springs.

On a detailed "homey" set placed at an angle to provide interest and space on the Red Door's small stage, Ms. Macleod sensitively guides her ensemble cast through what could become mere sentimentality into a touchingly recognizable story of the various women's journeys as they accept one another and themselves, emerging more aware and trustful. Each has at least one secret; each somehow mistrusts either herself or others. And each one's story makes us think and care about them.

As each of these women opens up to others, telling stories of their backgrounds and experiences, we learn that talking through our problems helps. -- Florence has created an ideal picture of Rose's father, one that we learn is untrue but which remains a secret from Rose. Rose herself learns that an innocent relationship with a Marine named Howard [Travin Wilkerson] does not have to be hidden from her mother, and Florence understands that she must allow her daughter to experience things for herself.

Sarah Ruth, though embarrassed in competing for the "Miss Bombshell" title, understands that doing so enabled her to step out on her own and relax the control of her father. And Jiggs is relieved to know that the false bravado she exhibits, charming though it might be, is unnecessary, and even the callous Donnie [Joseph Crawford] can't provide the love she so wants.

The plot unfolds in a series of short scenes, some serious and some humorous, keeping us involved in the lives of the characters. -- So many recognizable traits are treated with conviction by the actors appearing in the roles that they emerge as credible individuals, even though the language & references to the time-period might render some of it nostalgic.

Chief among the characterizations is Anna Perry's portrayal of Jiggs. Exhibiting confidence and providing subtle understanding of the dialogue's shifts from pathos to humor, detailed movement and gesture, and full committment to character relationships, Ms. Perry is a model of a truthful portrayal of a person we come to care about.

Wise Women -- set as it is during the Christmas season -- encourages all of us to find the true meaning of Christmas in our hearts.

ASF: "Peter Pan"

Just in time for the holiday season, the Alabama Shakespeare Festival is bringing back a lively musical production of Peter Pan, the beloved story by James M. Barrie in the Jerome Robbins adaptation with lyrics by Carolyn Leigh, Betty Comden & Adolph Green, and music by Mark Charlap & Jules Styne.

Played on John Iacovelli's evocative fairytale set with its bright colors and exaggerated comic-book inspired shapes & sizes, and aided by Patrick Holt's delightful costumes that distinguish between the real world and Neverland, the script and its familiar musical numbers ["I Won't Grow Up", "I Gotta Crow", "Tender Shepherd", and "I'm Flying" among them] moves along at a steady pace that sustains interest & engagement of the audience.

The 1904 story of the boy who lives in Neverland where he never has to grow up and take on adult responsibilities, and who spends his time in adventures with the Lost Boys fighting Pirates and Indians, appeals to children of all ages -- young ones who can actually play all day and older ones who would like to relive their carefree youth.

Peter Pan, played here with impish charm by Sarah Litzinger, visits the nursery of the Darling family where he has been enthralled by various bedtime stories he overhears Mrs. Darling [Lynna Schmidt] tell her children. The kids are soon in bed with Mr. Darling's [Rodney Clark] admonition to have "a little less noise". Peter soon arrives searching for his shadow that got left behind, and meets Wendy [Emily Kinney] and her younger brothers John & Michael [played alternately by Greyson Hammock/Tyler Lewin & Joseph Sims/Crispin South], who are so infatuated with his life that he teaches them to fly and they go with him to Neverland where Wendy will be "mother" to the boys and tell them stories. They are accompanied by the fairy Tinker Bell, who is jealous of the attention Peter gives to Wendy.

Once in Neverland, adventures come fast & furious. The Indians, led by Tiger Lily [Eleni Kanalos] and the Lost Boys await Peter's return and are interrupted by the arrival of the dastardly pirates. Rodney Clark, now transformed from Mr. Darling into the effete Captain Hook, is Peter's arch-enemy, his devious plans against Peter accompanied each time in the play by music -- a march, a tatantella, and a waltz -- that inspire him in assorted and increasingly comic ways as he poses and prances his way through them.

Wendy takes her new role as "mother" very seriously, and conscripts Peter into the role of "father" -- one which he reluctantly plays with the proviso that is is only in play, and not for real. After all, he "won't grow up".

When the pirates capture the Lost Boys and the Darling children, it is up to Peter to come to their rescue, abetted by Tinker Bell and the Indians...and though the pretense has been fun, John & Michael & Wendy all want to return to their home, to their loving parents, to the real world -- to grow up. Pretending has been enjoyable, but it is time to leave Neverland.

Peter promises to come back once a year to bring Wendy back for Spring cleaning, but "time" in Neverland passes ever so swiftly that when he does return, Wendy is grown up and has a child of her own who takes her place with the eternal child: Peter Pan.

For audiences, the journey too is fun. For a while, we revel in the pretense and adventure of childhood, vicariously duel with pirates, and transport ourselves to Neverland with the assistance of Tom Griffin's adept musical direction and Karen Azenberg's energetic choreography.

Director Geoffrey Sherman has put together a production that, while a bit tentative and rough around its technical demands at the opening performance, should settle into a solid show for the holidays.

AUM: "A Delicate Balance"

Theatre AUM's challenging season continues with a student directed and designed production of Edward Albee's 1967 Pulitzer Prize winning "A Delicate Balance", once again bringing to the local stage a play that no other theatres in the area are willing to mount, and the large opening night audience welcomed it enthusiastically, leaving the theatre eagerly talking about its often puzzling themes and situations.

With an ensemble of faculty, staff, and student actors, director Sarah Worley deftly guides them through their paces, recognizing both the serious and comical elements Albee is noted for -- absurd situations and contradictory facets within individual characters, unexplained conflicts, and recognizable human emotions and behavior.

Welcome to a dysfunctional family: Agnes [Katie Pearson] and Tobias [Mike Winkelman] are a well-to-do couple who have become so accustomed to each other's foibles that they tolerate oddities at any time. Agnes fears she is going mad, and Tobias pays scant attention. Agnes's sister Claire [Laura Bramblette's superb comic timing and in-your-face interpretation of the role is a standout] an alcoholic harridan, upsets the equilibrium of the household, as does the return of their grown up and spoiled daughter Julia [Tina Neese], on the brink of her fourth divorce.

That not being enough for Albee, Tobias and Agnes's "best friends" Harry [David P. Wilson] and Edna [Janice Wood] show up on the doorstep seeking refuge; they are afraid of something unnamed, and depend on their friends for help. -- These interlopers set family issues on fire as they move in, apparently to stay, and begin to exercise their new "rights" by ordering people around and assuming theey have a new home.

Of course, avioding the real issues is a talent most of these characters have developed over time. What is not said is just as important as direct statements, and the presence of "outsiders" prompts the more direct discourse, with Agnes as the "fulcrum" that holds the family together, maintaining a delicate balance between reality and appearance, truth and fantasy, honesty and hypocrisy, inaction and determined action. -- Mix with this a lot of drinking, and defenses are down, making for both an entertaining and provocative production.

Ms. Pearson & Mr. Winkelman are a good match for one another; her determination is balanced by his tacit acceptance. Mr. Wilson's wimpish excuses are balanced by Ms. Wood's deadly persistence. Ms. Neese's screeching tirades and pouting are balanced by Ms. Bramblette's no nonsense unapologetic directness.

Maddie Bogacz and Sarah Fish have provided costumes that suit each character well; Mickey Lonsdale's lighting provides ample illumination but little variety; Frank Thomas's sound elements are integrated into the production to punctuate the action; and Jason Huffman's scenic design of an upper-class home has appropriate architectural elements but few decorative touches that would establish ownership by a person or family, and looks unfinished.

This is a challenging script that is managed pretty well by the student team who show promise of future endeavors. Theatre AUM has placed a lot of trust in these individuals; the payoff is a solid production.

Faulkner: "All My Sons"

Arthur Miller's Tony Award winning 1947 play "All My Sons" is currently playing at the Faulkner University Dinner Theatre, reminding us that concerns of family and business in war time are as resonant today as they were when the play was written.

Directed by Jason Clark South, this production features some of Faulkner's veteran actors whose acting abilities are challenged by Miller's naturalistic treatment; and they are mostly up to the task.

Joe and Kate Keller [Chris Kelly and Kari Gatlin] have been keeping mum for some years about Joe's responsibility of manufacturing faulty airplane parts that were installed and caused the deaths of numerous pilots during World War II. Joe had also let his partner suffer the consequences of a long jail sentence, while he returned to work and made a very successful business for himself and his family. -- The townspeople have been suspicious of Joe ever since he got out of jail.

Their son Larry was "lost" on a flight mission, and Kate is resolute in believing that he is still alive, while others know that he is dead.

Younger son Chris [Chase McMichen] also served in the war, returning home safely, and idolizing his father; he invites former neighbor and Larry's sweetheart Ann Deever [Jaynie Casserly] to their home in hopes of igniting a romance between them, a sensitive issue, since Kate insists that she is "Larry's girl"...and it becomes difficult for the young people to break their news to Joe & Kate.

When Ann's brother George [Tony Davidson] arrives after visiting his father in jail, he knows that Joe had allowed his father to rot in jail, and will do most anything to announce it to the world and rescue Ann from the corruption of the Keller family.

Neighbors Dr. Jim & Sue Bayliss [Michael Morrow & Abby Roberts] have moved into the Deever's house next door to the Kellers, and neighbors Frank & Lydia Lubey [Daniel Fausz & Hailey Beene] who have known the Kellers all their lives, serve as reminders of the past, and Frank writes a horoscope for Larry, insisting that he is not dead and thereby giving hope to Kate, while Lydia -- pregnant with her fourth child -- is an ideal wife & mother.

Young Bert [Trish Wampol] is a protege of Joe's in serving as a policeman for the community -- upholding the strongest moral principles instilled in him by Joe...an ironic comment on Joe's secrecy.

As secrets are revealed, and the truth about Larry's demise becomes clear, Joe is left in a desperate condition: he has lost the love and trust of his remaining son; and Kate's belief that Larry is alive is shattered.

There are some fine moments of impassioned conflict between father and son, and of budding romance & trust between Ann and Chris, but much of the dialogue -- and therefore our understanding of the themes and conflicts -- is inaudible. There are two reasons for this which can be fixed: first, naturalistic dialogue still needs to be projected, and many of the actors in this production speak so softly that they can not be heard; second, the set has a wide expanse of white stones filling the back-yard of the Keller's house that make loud gravelling sounds with every step on them by an actor, and while the set-design looks good, when dialogue is covered, it must be changed...especially since much of the acting is good and ought to be heard.