Erma Bombeck's "At Wit's End" is an affectionate tribute to the late American humorist currently showing at the Wetumpka Depot. -- In his directing debut, Jeff Langham heads the team behind Alison and Margaret Engel's one-woman show.
Kristy Meanor inhabits the role in an extended monologue that traces the ups and downs of suburban home life that inspired Bombeck and triggered her career as an unlikely journalist -- a career that started small yet mushroomed to a syndicated column in some 900 newspapers, the writing of 15 best selling books, a successful lecture circuit, a stint on ABC's "Good Morning America", and a passionate support of the Equal Rights Amendment.
The audience at this brief sold-out run responded enthusiastically to the many quotes from Bombeck's writing that pepper the narrative, and admitted in the post-show talk back that clippings from her newspaper columns often found a place on their refrigerators as reminders of the homespun advice that endeared her to so many for so long.
The set [modified from the Depot's recent production of Southern Fried Funeral] shows the living room, kitchen, and bedroom of Bombeck's home, the place where she did most of her writing on a typewriter atop an ironing board. -- The quirky lighting design often left Ms. Meanor in semi-darkness or shadow that, while intended to focus attention on her, got in the way of clear communication.
Any one-person show is an acting challenge, and Ms. Meanor's veteran instincts kept her portrayal of Ms. Bombeck's cheerful self-effacing attitude at the fore, spinning a positive note even onto such serious issues as cancer, dementia, and the failure to pass the Equal Rights Amendment.
The script cleverly interjects Bombeck's epigrams into the narrative, and Ms.Meanor delivers them with expert comic timing and knowing glances that make the audience complicit in her analyses. We are instantly on her side, largely because she says things we would like to have said about our own experiences: how to deal with children ["The favorite child is the one who needs you the most"]; the myth of the perfect suburban housewife ["I never met a woman who would give up lunch for sex"]; the importance of the ERA ["I wrote for me and the rest of the Moms who need recognition"].
The one-hour running time is just right. Though we could listen to Ms. Meanor for a longer time, "always leave an audience wanting more" is a sure-fire way to ensure a hit, and Erma Bombeck's "At Wit's End" does just that.
Sunday, August 20, 2017
Sunday, August 6, 2017
ASF: Disney's and Cameron Mackintosh's "Mary Poppins"
A heaping "spoonful of sugar" is ladled out in the Alabama Shakespeare Festival's engaging family entertainment production of Disney's and Cameron Mackintosh's Mary Poppins, closing this weekend's successful extended run under Geoffrey Sherman's direction.
In reprising the title role, Alice Sherman's voice is in top shape as she confidently leads the large ensemble or delivers solo pieces with seeming ease, but it is her portrayal of Mary -- a no nonsense but craftily likable disciplinarian of Jane [Olivia Laine Scott] and Michael [Noah Henninger], her two rambunctious charges who have successfully sabotaged every other Nanny they've had -- that is especially notable. Her 2014 performance was charming, no doubt; but this time, Mary has taken on more depth in her understanding of the children's needs, her not-quite-romantic relationship with Bert [Bret Shuford], and her support of Winifred Banks' [Jean McCormick] emerging self-awareness as an equal partner with banker husband George [David Schmittou]. In short, this more mature Mary Poppins adds another level to our response to her; she is still charming, but is made an admirable role model.
When the Banks children successfully run off their latest nanny and write their own job description for a successor , Mary Poppins mysteriously arrives on the scene and proceeds to both entertain and discipline them; they can have fun, but must abide by certain rules. -- And while their father measures success as family provider in material terms, he too must learn the value of loving them, the quality that his wife and children all long for, especially young Michael who craves one-on-one father-son time with him.
The household servants -- the not so proficient cook Mrs. Brill [Toni DiBuono], and bumbling but earnest Robertson Ay [Billy Sharpe] -- add some high quality humor to the proceedings; Janelle A. Robinson renders two striking turns as Mrs. Corry and the "holy terror" nanny Miss Andrew. Her "Brimstone and Treacle" is a show-stopper.
When Mr. Banks almost loses his job by deciding to lend money to a "good" man rather than a shyster, he learns the difference between the value of a thing and its worth. When Mrs. Banks comes to his rescue after recognizing her own worth in "Being Mrs. Banks", she finds that the Bank Chairman [Paul Hebron] has already rewarded her husband for making the right choice in the first place.
Though Mary Poppins teaches several lessons to the children and the adults, the Bird Woman in the Park [Barbara Broughton] hits home with her sensitive treatment of "Feed the Birds", showing to one and all that a mere "tuppence a bag" for food for God's smallest creatures is a gift of far greater value. It is the little things -- small gestures that get no notice -- that mean the most. And Mr. Banks' finally flying a kite with his son seals their relationship.
There are quite a few production numbers that garner audience enthusiasm: "Step in Time", "A Spoonful of Sugar", and "Supercalifragilisticexpialidocious" fit the bill, even in somewhat restrained choreographed staging.
Sets by Peter Hicks are detailed, flexible, and ingenious is differentiating between the natural Edwardian house and the technicolor dream-like quality of the Park; Brenda Van Der Weil creates costumes that also give period detail and fantasy crayola vibrancy.
Mr. Shuford's Bert -- the sometime narrator, sometime magician, sometime cohort of Mary Poppins -- is ever likable as he guides the children and the audience into Mary Poppins' delightful world. -- The lessons they teach are worth remembering; but Mary Poppins can only stay with the Banks family till she is no longer needed, and when they have all learned her lessons, they must be left to carry on without her.
When she leaves -- upraised umbrella carrying her over the heads of the audience -- we are all the better for having spent some time with her. She is, after all, "Practically Perfect".
In reprising the title role, Alice Sherman's voice is in top shape as she confidently leads the large ensemble or delivers solo pieces with seeming ease, but it is her portrayal of Mary -- a no nonsense but craftily likable disciplinarian of Jane [Olivia Laine Scott] and Michael [Noah Henninger], her two rambunctious charges who have successfully sabotaged every other Nanny they've had -- that is especially notable. Her 2014 performance was charming, no doubt; but this time, Mary has taken on more depth in her understanding of the children's needs, her not-quite-romantic relationship with Bert [Bret Shuford], and her support of Winifred Banks' [Jean McCormick] emerging self-awareness as an equal partner with banker husband George [David Schmittou]. In short, this more mature Mary Poppins adds another level to our response to her; she is still charming, but is made an admirable role model.
When the Banks children successfully run off their latest nanny and write their own job description for a successor , Mary Poppins mysteriously arrives on the scene and proceeds to both entertain and discipline them; they can have fun, but must abide by certain rules. -- And while their father measures success as family provider in material terms, he too must learn the value of loving them, the quality that his wife and children all long for, especially young Michael who craves one-on-one father-son time with him.
The household servants -- the not so proficient cook Mrs. Brill [Toni DiBuono], and bumbling but earnest Robertson Ay [Billy Sharpe] -- add some high quality humor to the proceedings; Janelle A. Robinson renders two striking turns as Mrs. Corry and the "holy terror" nanny Miss Andrew. Her "Brimstone and Treacle" is a show-stopper.
When Mr. Banks almost loses his job by deciding to lend money to a "good" man rather than a shyster, he learns the difference between the value of a thing and its worth. When Mrs. Banks comes to his rescue after recognizing her own worth in "Being Mrs. Banks", she finds that the Bank Chairman [Paul Hebron] has already rewarded her husband for making the right choice in the first place.
Though Mary Poppins teaches several lessons to the children and the adults, the Bird Woman in the Park [Barbara Broughton] hits home with her sensitive treatment of "Feed the Birds", showing to one and all that a mere "tuppence a bag" for food for God's smallest creatures is a gift of far greater value. It is the little things -- small gestures that get no notice -- that mean the most. And Mr. Banks' finally flying a kite with his son seals their relationship.
There are quite a few production numbers that garner audience enthusiasm: "Step in Time", "A Spoonful of Sugar", and "Supercalifragilisticexpialidocious" fit the bill, even in somewhat restrained choreographed staging.
Sets by Peter Hicks are detailed, flexible, and ingenious is differentiating between the natural Edwardian house and the technicolor dream-like quality of the Park; Brenda Van Der Weil creates costumes that also give period detail and fantasy crayola vibrancy.
Mr. Shuford's Bert -- the sometime narrator, sometime magician, sometime cohort of Mary Poppins -- is ever likable as he guides the children and the audience into Mary Poppins' delightful world. -- The lessons they teach are worth remembering; but Mary Poppins can only stay with the Banks family till she is no longer needed, and when they have all learned her lessons, they must be left to carry on without her.
When she leaves -- upraised umbrella carrying her over the heads of the audience -- we are all the better for having spent some time with her. She is, after all, "Practically Perfect".
Friday, August 4, 2017
Millbrook: "The Music Man'
Wow! An 18-piece orchestra led by Ken Lantz, brings a welcome "brass" complement to the Millbrook Community Players' lively nostalgic production of Meredith Wilson's Tony Award-winning The Music Man (1957). -- Set in fictional River City, Iowa in 1912, the play is an unabashedly upbeat look at an idyllic America.
Wilson's story centers on irrepressible flimflam man "Professor" Harold Hill [Brady Walker] and his attempts to con the citizens of River City into investing in instruments and uniforms for a brass band, and thus avoid the horrors of wasting their youth in pool halls, dens of iniquity that can corrupt them. Hill is so adept at his game that almost everyone succumbs. One of his tougher "sells" is with local librarian Marian Paroo [Sarah Missildine], who tries to research Hill's background; and Mayor Shinn [Ron Harris] also has his doubts, while his wife Eulalie [Carol Majors] easily falls under Hill's spell. And Marian's mother Mrs. Paroo [Michon Givens] provides a sincere Irish approval of a match between her daughter and the "Professor".
Anyone who has seen the play or the 1962 film version knows the outcome, but the journey to it is worth the two-and-a-half hours with The Music Man under Angie Mitchell's adept direction of the 40+ actors in her able cast. -- They're a likable group who bring bright-eyed energy to every moment. Combined with Lantz's steady musical direction and Daniel Grant Harms' peppy choreography, the time goes by quickly.
All this is carried by Wilson's remarkable score -- songs that hearken back to a more innocent era while retaining a freshness that appeals across all social and economic borders. Many of them are indelibly in the canon of great American musical theatre songs: "Trouble", Hill's rapid fire energy driven song to convince the River City folks to invest in a brass band, sets everything in motion, and Mr. Walker commands the stage as he prods them unceasingly; "Good Night My Someone" and "Till There Was You" feature Ms. Missildine's lyrical soprano voice to excellent effect; novelty songs "Pick a Little, Talk a Little" that highlights the choral groups and "Shipoopie" has the charm of Lee Bridges playing Hill's cohort Marcellus Washburn; "Gary, Indiana" affords Marian's young brother Winthrop an opportunity to sing a song with very few "S" sounds so he won't be embarrassed by his lisp; arguably the most popular songs "Lida Rose" by the Barbershop Quartet combined with Marian's "Will I Ever Tell You" steal the audience's collective hearts. Of course, there's the rousing "Seventy-six Trombones" to get everyone's feet tapping.
Spurred on by anvil salesman Charlie Cowell [Tim Griggs] and about to be driven out of town on a rail for failing to uphold his part of the bargain, Hill is saved by the delivery of instruments and uniforms; though the boys are terrible musicians, they look good in the band uniforms, and their parents are so proud of them. And it is clear that Hill and Marian will be a match.
This affectionate production of The Music Man adds a well needed relief from the heat of the Summer and the political issues glaring from daily headlines by reminding us that the values inherent in an America of not so long ago are still worth the investment.
Wilson's story centers on irrepressible flimflam man "Professor" Harold Hill [Brady Walker] and his attempts to con the citizens of River City into investing in instruments and uniforms for a brass band, and thus avoid the horrors of wasting their youth in pool halls, dens of iniquity that can corrupt them. Hill is so adept at his game that almost everyone succumbs. One of his tougher "sells" is with local librarian Marian Paroo [Sarah Missildine], who tries to research Hill's background; and Mayor Shinn [Ron Harris] also has his doubts, while his wife Eulalie [Carol Majors] easily falls under Hill's spell. And Marian's mother Mrs. Paroo [Michon Givens] provides a sincere Irish approval of a match between her daughter and the "Professor".
Anyone who has seen the play or the 1962 film version knows the outcome, but the journey to it is worth the two-and-a-half hours with The Music Man under Angie Mitchell's adept direction of the 40+ actors in her able cast. -- They're a likable group who bring bright-eyed energy to every moment. Combined with Lantz's steady musical direction and Daniel Grant Harms' peppy choreography, the time goes by quickly.
All this is carried by Wilson's remarkable score -- songs that hearken back to a more innocent era while retaining a freshness that appeals across all social and economic borders. Many of them are indelibly in the canon of great American musical theatre songs: "Trouble", Hill's rapid fire energy driven song to convince the River City folks to invest in a brass band, sets everything in motion, and Mr. Walker commands the stage as he prods them unceasingly; "Good Night My Someone" and "Till There Was You" feature Ms. Missildine's lyrical soprano voice to excellent effect; novelty songs "Pick a Little, Talk a Little" that highlights the choral groups and "Shipoopie" has the charm of Lee Bridges playing Hill's cohort Marcellus Washburn; "Gary, Indiana" affords Marian's young brother Winthrop an opportunity to sing a song with very few "S" sounds so he won't be embarrassed by his lisp; arguably the most popular songs "Lida Rose" by the Barbershop Quartet combined with Marian's "Will I Ever Tell You" steal the audience's collective hearts. Of course, there's the rousing "Seventy-six Trombones" to get everyone's feet tapping.
Spurred on by anvil salesman Charlie Cowell [Tim Griggs] and about to be driven out of town on a rail for failing to uphold his part of the bargain, Hill is saved by the delivery of instruments and uniforms; though the boys are terrible musicians, they look good in the band uniforms, and their parents are so proud of them. And it is clear that Hill and Marian will be a match.
This affectionate production of The Music Man adds a well needed relief from the heat of the Summer and the political issues glaring from daily headlines by reminding us that the values inherent in an America of not so long ago are still worth the investment.
Sunday, July 30, 2017
Wetumpka Depot: "Southern Fried Funeral"
Another River Region sold-out run just closed at the Wetumpka Depot. Southern Fried Funeral, a genuinely funny if somewhat familiar and derivative comedy, strongly directed by Kim Mason, received a lot of belly-laughs in recognition of the assorted characters' foibles and he play's clever dialogue.
Ms. Mason's 11-member ensemble of Depot veterans and some in their acting debuts, exhibited confidence and clear storytelling for the 2-hour performance. Performed on Kristy Meanor's finely detailed kitchen and dining room set, Southern Fried Funeral takes audiences immediately into familiar territory.
Family and friends of Dewey's [a good man who died in the middle of telling a joke to the local Rotarians], meet at the home of his widow Dorothy [Lynne Taunton] to grieve and sympathize and plan his funeral. But Dorothy has a lot to contend with besides the funeral: her feuding adult daughters -- black sheep Harlene [Catherine Barlow] and stereotypical Southern belle Sammy Jo [Janet Robinson] harbor childhood resentments; Sammy Jo also has some marital issues with her loving and misunderstood husband Beecham [Brad Sinclair]; her "simple" son Dewey, Jr. [Morgan Baker] seems oblivious to his father's death; and her smarmy brother-in-law Uncle Dub [Lloyd Strickland] tries to wrest away her land and home on the day of the funeral.
Add a bevy of neighbors -- toupee wearing Benny Charles [Alan Patrick], slightly dim Fairy June [Judy Savage in an understated pitch-perfect performance], steadfast friend Martha Ann [Susan Montgomery] and her nemesis, the over-zealous Ozetta [Hazel Jones] a pretentious busybody and (as she continually reminds everyone) the Chairwoman of the church's "Sunshine Committee" that plans all funerals according to strict social norms.
And then there's Atticus [Will Webster] a one-time lover of Harlene's and a local lawyer whose skills (shades of Atticus Finch in To Kill a Mockingbird) will be brought into play to save Dorothy's home and land from the dastardly Uncle Dub.
The director's hand is very clear in this production: Ms. Mason guides her actors to give credible performances without going over the top into broad caricatures. And though there are only a few surprises -- a deftly staged food fight, for example -- the sibling rivalries and humorous takes on familiar "Southern" archetypes, make for a comfortable audience reception.
Beneath the froth of this confection lie some perceptive notions about how some people grieve (anger, denial, etc.), and while Dorothy's outburst when she can no longer take all the mayhem around her is reminiscent of M'Lynn's behavior in Steel Magnolias, it captures the very real limits to which anyone can be subjected under these circumstances.
Ms. Mason's 11-member ensemble of Depot veterans and some in their acting debuts, exhibited confidence and clear storytelling for the 2-hour performance. Performed on Kristy Meanor's finely detailed kitchen and dining room set, Southern Fried Funeral takes audiences immediately into familiar territory.
Family and friends of Dewey's [a good man who died in the middle of telling a joke to the local Rotarians], meet at the home of his widow Dorothy [Lynne Taunton] to grieve and sympathize and plan his funeral. But Dorothy has a lot to contend with besides the funeral: her feuding adult daughters -- black sheep Harlene [Catherine Barlow] and stereotypical Southern belle Sammy Jo [Janet Robinson] harbor childhood resentments; Sammy Jo also has some marital issues with her loving and misunderstood husband Beecham [Brad Sinclair]; her "simple" son Dewey, Jr. [Morgan Baker] seems oblivious to his father's death; and her smarmy brother-in-law Uncle Dub [Lloyd Strickland] tries to wrest away her land and home on the day of the funeral.
Add a bevy of neighbors -- toupee wearing Benny Charles [Alan Patrick], slightly dim Fairy June [Judy Savage in an understated pitch-perfect performance], steadfast friend Martha Ann [Susan Montgomery] and her nemesis, the over-zealous Ozetta [Hazel Jones] a pretentious busybody and (as she continually reminds everyone) the Chairwoman of the church's "Sunshine Committee" that plans all funerals according to strict social norms.
And then there's Atticus [Will Webster] a one-time lover of Harlene's and a local lawyer whose skills (shades of Atticus Finch in To Kill a Mockingbird) will be brought into play to save Dorothy's home and land from the dastardly Uncle Dub.
The director's hand is very clear in this production: Ms. Mason guides her actors to give credible performances without going over the top into broad caricatures. And though there are only a few surprises -- a deftly staged food fight, for example -- the sibling rivalries and humorous takes on familiar "Southern" archetypes, make for a comfortable audience reception.
Beneath the froth of this confection lie some perceptive notions about how some people grieve (anger, denial, etc.), and while Dorothy's outburst when she can no longer take all the mayhem around her is reminiscent of M'Lynn's behavior in Steel Magnolias, it captures the very real limits to which anyone can be subjected under these circumstances.
Saturday, July 29, 2017
WOBT: "Hairspray"
Director Mary Katherine Moore and her expert team of designers, choreographers, musicians, and actors, transform Prattville's tiny Way Off Broadway Theatre into 1962 Baltimore for a joyous production of the 2002 musical Hairspray that's been getting spontaneous standing ovations at every performance.
Based on John Waters' 1988 film, this multiple Tony, Drama Desk, and Olivier Award-winning musical was made into a popular 2007 film, a TV special in 2016, and has had an enviable international production record. -- With a book by Mark O'Donnell and Thomas Meehan, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, the pedigree speaks for itself; and the WOBT company are certainly up to the task.
Two-and-a-half-hours fly by, as the 30+ member ensemble act, sing, and dance their collective ways into our hearts, telling the story of "pleasantly plump" teenager Tracy Turnblad [Merelee Robinson] as she attempts to secure a role as one of the "nicest kids in town" on the Corny Collins [Tate G. Pollock] afternoon television dance show, and on the way discovers love for teen idol Link Larkin [Michael Armstrong], and leads the way to racially integrating the Corny Collins Show.
Tracy gets sent to detention where she meets several African-American students, among them Seaweed Stubbs [Matthew Mitchell], who teaches her some new dance steps. When she realizes that "Negro Day" on the Collins show is only once a month, she doesn't understand why Blacks and Whites aren't allowed to dance together, and determines to do something about it. And when her friend Penny [Lucie Chesser] falls for Seaweed, things get even more complicated, especially since Penny's bigoted mother Prudy [Elizabeth Bowles] would never approve.
But Tracy's parents are there to support her. Wilbur [Michael Buchanan], the goofy owner of a joke shop, encourages his daughter to follow her dreams; and Edna [Jon Darby], a self-consciously plus-sized woman who runs a laundry business at her home which she hasn't stepped out of in years, delights in Tracy's new-found fame.
There are other obstacles in Tracy's way -- from the cool kids' mocking her weight, to the resistance against integrating the TV show -- but love and inclusion will win the day.
Amber Von Tussle [Kiersten Mattox], a local beauty used to winning the "Miss Hairspray" contest and Link's long time girlfriend, does her best to obstruct Tracy's chances; and her mother Velma [Olivia Crutchfield], a former beauty contest winner and producer of the Corny Collins Show, conspires against Tracy and any attempt to integrate the show.
With the assistance of Motormouth Maybelle [Makayla Matthews], the "Big, Blonde, and Beautiful" hostess of "Negro Day", the kids march on the Corny Collins Show, get thrown into jail, and ultimately rock the house with a "now and forever" integrated show.
There is a certain amount of nostalgia for 1960s music, and the score delivers the spirit of the era without sentimentality; the songs have familiar sounds and lyrics, but manage to be current as well. "Good Morning Baltimore" opens the show with a feel-good sensibility that hardly goes away, "Mama, I'm a Big Girl Now" has the three girls and their mothers spatting about growing up, and "Welcome to the Sixties" is a reminder that social and societal change is on its way. And "I Can Hear the Bells" and "It Takes Two" are universal paeans to young love.
"Run and Tell That", "Big, Blonde, and Beautiful", and the powerful anthem "I Know Where I've Been" drive home the serious messages of racial inclusion and social acceptance that were 1960s' imperatives that resonate as strongly today as our world is confronted by obstruction, name-calling, and fear-mongering from every quarter.
Layne Holley's masterful use of periaktoi in her stage design makes the simple set pieces serve numerous purposes; costumes by Carol Heier, Cheryl Jones, Faye Parker, Judy Savage, and Danny Davidson replicate the 60s and are character driven in their choices; Daren Eastwold's and Ms. Moore's choreography is energetic, capturing the spirit of the period and challenging the ensemble. Marilyn Swears' musical direction gives attention to the strong solo voices as well as the dynamic chorus.
The ensemble is terrific as they depict a variety of characters [done in a twinkling with the able assistance of off-stage dressers], as they drive the plot forward and support the featured actors -- specially noteworthy is the African-American girl trio who command the stage on every appearance. -- Two cameo roles are played with verve by Scott Page as Mr. Pinky, the owner of a line of clothes for plus-sized women who "dresses" Tracy when she gets some acclaim; and Leslie Bailey as the mean-spirited Prison Matron who gets her kicks from abusing inmates. Both are enjoyable.
Ms. Moore is fortunate to have gathered an ideal cast in the major roles: Ms. Chesser and Mr. Mitchell seem so well paired and comfortable with each other, and her shy and nerdy Penny is a perfect foil to his self-assurance as Seaweed. -- As the nasty Von Tussles, it is clear how parents often influence the worst behavior in their offspring; Ms. Crutchfield's domineering Velma is replicated in Ms. Mattox's impersonation of the spoiled Amber. -- Mr. Pollock imbues Corny Collins with all the slick show-biz elan he can muster; Corny is the consummate TV host with one eye on the camera and one eye on his appearance, and a smile he turns on on cue. Good work.
Ms. Matthews' depiction of Motormouth Maybelle is passionate and compassionate; she shows a clear understanding of the racial situation and rises above the stereotypical. A powerful performance.
Almost a match made in heaven, Mr. Darby's Edna and Mr. Buchanan's Wilbur register a comfort that is admirable; their heartfelt support of Tracy is sincere, and their love-duet -- "Timeless to Me" -- is the sweetest declaration of love and respect between two unremarkable individuals that nonetheless leave a lasting impression on the audience. Mr. Darby in drag is so committed to the role that one thinks of him only as Edna.
Mr. Armstrong's Link -- a heartthrob if ever there was one -- has the youthful good looks the role requires; and his ability to ingratiate himself through audience "asides" and swoon-inducing swaggers makes it possible for Tracy to fall for him hook-line-and-sinker. Add to this a pleasant singing voice, able stage presence, and a confident connection to Ms. Robinson's Tracy, and you have a solid performance.
Ms. Robinson, though, is the heart and soul of Hairspray; it is her story that holds everything together, so it is important that we are on her side from the start. And from the top of the show to its rousing conclusion where she leads the company in "You Can't Stop the Beat", there is never a moment when she is onstage that we are not rooting for her. Whether she is cajoling her parents or Penny, or standing up to Amber and Velma, or connecting with Seaweed and Motormouth Maybelle, or pining away with love for Link, or rallying the troops to demonstrate for inclusion, tolerance, and acceptance of all people, Ms. Robinson's commitment, energy, vocal endurance, and persistent optimism are the major forces in this production. Kudos.
This WOBT production of Hairspray should have River Region audiences talking for some time. In meeting the play's many challenges, in cooperative and collaborative work from numerous local theatres and their personnel, in addressing the serious themes of inclusion that are still too much with us, and in providing a dynamic and provocative and delightful evening's sold-out entertainment, there's more than enough evidence that live theatre is thriving here.
Based on John Waters' 1988 film, this multiple Tony, Drama Desk, and Olivier Award-winning musical was made into a popular 2007 film, a TV special in 2016, and has had an enviable international production record. -- With a book by Mark O'Donnell and Thomas Meehan, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, the pedigree speaks for itself; and the WOBT company are certainly up to the task.
Two-and-a-half-hours fly by, as the 30+ member ensemble act, sing, and dance their collective ways into our hearts, telling the story of "pleasantly plump" teenager Tracy Turnblad [Merelee Robinson] as she attempts to secure a role as one of the "nicest kids in town" on the Corny Collins [Tate G. Pollock] afternoon television dance show, and on the way discovers love for teen idol Link Larkin [Michael Armstrong], and leads the way to racially integrating the Corny Collins Show.
Tracy gets sent to detention where she meets several African-American students, among them Seaweed Stubbs [Matthew Mitchell], who teaches her some new dance steps. When she realizes that "Negro Day" on the Collins show is only once a month, she doesn't understand why Blacks and Whites aren't allowed to dance together, and determines to do something about it. And when her friend Penny [Lucie Chesser] falls for Seaweed, things get even more complicated, especially since Penny's bigoted mother Prudy [Elizabeth Bowles] would never approve.
But Tracy's parents are there to support her. Wilbur [Michael Buchanan], the goofy owner of a joke shop, encourages his daughter to follow her dreams; and Edna [Jon Darby], a self-consciously plus-sized woman who runs a laundry business at her home which she hasn't stepped out of in years, delights in Tracy's new-found fame.
There are other obstacles in Tracy's way -- from the cool kids' mocking her weight, to the resistance against integrating the TV show -- but love and inclusion will win the day.
Amber Von Tussle [Kiersten Mattox], a local beauty used to winning the "Miss Hairspray" contest and Link's long time girlfriend, does her best to obstruct Tracy's chances; and her mother Velma [Olivia Crutchfield], a former beauty contest winner and producer of the Corny Collins Show, conspires against Tracy and any attempt to integrate the show.
With the assistance of Motormouth Maybelle [Makayla Matthews], the "Big, Blonde, and Beautiful" hostess of "Negro Day", the kids march on the Corny Collins Show, get thrown into jail, and ultimately rock the house with a "now and forever" integrated show.
There is a certain amount of nostalgia for 1960s music, and the score delivers the spirit of the era without sentimentality; the songs have familiar sounds and lyrics, but manage to be current as well. "Good Morning Baltimore" opens the show with a feel-good sensibility that hardly goes away, "Mama, I'm a Big Girl Now" has the three girls and their mothers spatting about growing up, and "Welcome to the Sixties" is a reminder that social and societal change is on its way. And "I Can Hear the Bells" and "It Takes Two" are universal paeans to young love.
"Run and Tell That", "Big, Blonde, and Beautiful", and the powerful anthem "I Know Where I've Been" drive home the serious messages of racial inclusion and social acceptance that were 1960s' imperatives that resonate as strongly today as our world is confronted by obstruction, name-calling, and fear-mongering from every quarter.
Layne Holley's masterful use of periaktoi in her stage design makes the simple set pieces serve numerous purposes; costumes by Carol Heier, Cheryl Jones, Faye Parker, Judy Savage, and Danny Davidson replicate the 60s and are character driven in their choices; Daren Eastwold's and Ms. Moore's choreography is energetic, capturing the spirit of the period and challenging the ensemble. Marilyn Swears' musical direction gives attention to the strong solo voices as well as the dynamic chorus.
The ensemble is terrific as they depict a variety of characters [done in a twinkling with the able assistance of off-stage dressers], as they drive the plot forward and support the featured actors -- specially noteworthy is the African-American girl trio who command the stage on every appearance. -- Two cameo roles are played with verve by Scott Page as Mr. Pinky, the owner of a line of clothes for plus-sized women who "dresses" Tracy when she gets some acclaim; and Leslie Bailey as the mean-spirited Prison Matron who gets her kicks from abusing inmates. Both are enjoyable.
Ms. Moore is fortunate to have gathered an ideal cast in the major roles: Ms. Chesser and Mr. Mitchell seem so well paired and comfortable with each other, and her shy and nerdy Penny is a perfect foil to his self-assurance as Seaweed. -- As the nasty Von Tussles, it is clear how parents often influence the worst behavior in their offspring; Ms. Crutchfield's domineering Velma is replicated in Ms. Mattox's impersonation of the spoiled Amber. -- Mr. Pollock imbues Corny Collins with all the slick show-biz elan he can muster; Corny is the consummate TV host with one eye on the camera and one eye on his appearance, and a smile he turns on on cue. Good work.
Ms. Matthews' depiction of Motormouth Maybelle is passionate and compassionate; she shows a clear understanding of the racial situation and rises above the stereotypical. A powerful performance.
Almost a match made in heaven, Mr. Darby's Edna and Mr. Buchanan's Wilbur register a comfort that is admirable; their heartfelt support of Tracy is sincere, and their love-duet -- "Timeless to Me" -- is the sweetest declaration of love and respect between two unremarkable individuals that nonetheless leave a lasting impression on the audience. Mr. Darby in drag is so committed to the role that one thinks of him only as Edna.
Mr. Armstrong's Link -- a heartthrob if ever there was one -- has the youthful good looks the role requires; and his ability to ingratiate himself through audience "asides" and swoon-inducing swaggers makes it possible for Tracy to fall for him hook-line-and-sinker. Add to this a pleasant singing voice, able stage presence, and a confident connection to Ms. Robinson's Tracy, and you have a solid performance.
Ms. Robinson, though, is the heart and soul of Hairspray; it is her story that holds everything together, so it is important that we are on her side from the start. And from the top of the show to its rousing conclusion where she leads the company in "You Can't Stop the Beat", there is never a moment when she is onstage that we are not rooting for her. Whether she is cajoling her parents or Penny, or standing up to Amber and Velma, or connecting with Seaweed and Motormouth Maybelle, or pining away with love for Link, or rallying the troops to demonstrate for inclusion, tolerance, and acceptance of all people, Ms. Robinson's commitment, energy, vocal endurance, and persistent optimism are the major forces in this production. Kudos.
This WOBT production of Hairspray should have River Region audiences talking for some time. In meeting the play's many challenges, in cooperative and collaborative work from numerous local theatres and their personnel, in addressing the serious themes of inclusion that are still too much with us, and in providing a dynamic and provocative and delightful evening's sold-out entertainment, there's more than enough evidence that live theatre is thriving here.
Friday, July 28, 2017
Cloverdale Playhouse: "Peter Pan"
Disclosure: the reviewer is a member of the Board of The Cloverdale Playhouse.
The Cloverdale Playhouse's sold-out run of J. M. Barrie's beloved Peter Pan, with its mix of young and adult actors, continues this weekend under Jason Morgan's inventive direction. Time passes quickly in this production, as we are caught up in the dynamic energy of the strong ensemble actors, the flexibility of the Playhouse's long thrust stage, the inventive and colorful costumes, and the uninhibited truthful reactions from several younger members of the audience. -- There is some magic going on here.
Audiences are transported to "Neverland" along with Wendy [Piper Doyle], John [Dan Jordan] and Michael [Jake Jordan], as their nursery-bedroom becomes the home of the Lost Boys, a Pirate Ship, and the several other locations in "Neverland" where Peter Pan [Kendrick Golson] -- the leader of the Lost Boys who is determined to "never grow up" -- has brought them, with a sprinkling of pixie-dust compliments of Tinkerbell [Emily Witcher, who also plays the children's mother Mrs. Darling] -- so that Wendy can regale them with stories and become their surrogate Mother. Tinkerbell's jealous streak almost dooms Wendy, and Peter sends her away.
Peter's arch-enemy, the dastardly Captain Hook [Matthew Klinger] -- pursued by the Croccodile that bit off his hand [Steven Majors also plays Nana, the children's "nanny" dog] -- and his cohort of pirates, have captured Tiger Lily [Percionna Hale]; the ever resourceful Peter and his crew rescue her, and things seem to settle down for the moment.
When the children get homesick, their plans of returning are temporarily thwarted by Captain Hook, who also poisons Tinkerbell; but their return home, to be reunited with their doting parents [Ms. Witcher and John McWilliams as Mr. Darling] with all the Lost Boys except Peter in tow, is guaranteed; and Peter promises to return each year to take Wendy back to Neverland at Spring-cleaning time.
While there are a few rushed moments [for example: bringing Tinkerbell back to life by asking: Do you believe in Fairies? and needing time for "clapping" to bring her back], and a lot of rapid speech that blurs articulation of important plot details, the story and its characters are clear.
The ensemble is a good one, but special notice goes to Mr. McWilliams's portrayal of the stuffy Mr. Darling who nonetheless endears himself with his resistance to display emotion; and to Mr. Klinger's sly and nasty Captain Hook; and to Ms. Doyle's truthful depiction of Wendy's charm, intelligence, and awkward-age need to be treated as an adult.
Holding it all together is Mr. Golson's Peter Pan. Not only does he turn in a remarkably athletic performance, but his ever-ready smile and optimistic outlook in the role makes him completely believable as the boy who won't grow up, and his generous shared relationships with the Darling children, the Lost Boys, Tiger Lily, the Mermaids, the Pirates and Captain Hook keep him the center of attention throughout.
This is the first time the Playhouse Troupe has had a production in the main season at the Cloverdale Playhouse. -- If this is any indication of the quality and audience support, let us hope it continues.
The Cloverdale Playhouse's sold-out run of J. M. Barrie's beloved Peter Pan, with its mix of young and adult actors, continues this weekend under Jason Morgan's inventive direction. Time passes quickly in this production, as we are caught up in the dynamic energy of the strong ensemble actors, the flexibility of the Playhouse's long thrust stage, the inventive and colorful costumes, and the uninhibited truthful reactions from several younger members of the audience. -- There is some magic going on here.
Audiences are transported to "Neverland" along with Wendy [Piper Doyle], John [Dan Jordan] and Michael [Jake Jordan], as their nursery-bedroom becomes the home of the Lost Boys, a Pirate Ship, and the several other locations in "Neverland" where Peter Pan [Kendrick Golson] -- the leader of the Lost Boys who is determined to "never grow up" -- has brought them, with a sprinkling of pixie-dust compliments of Tinkerbell [Emily Witcher, who also plays the children's mother Mrs. Darling] -- so that Wendy can regale them with stories and become their surrogate Mother. Tinkerbell's jealous streak almost dooms Wendy, and Peter sends her away.
Peter's arch-enemy, the dastardly Captain Hook [Matthew Klinger] -- pursued by the Croccodile that bit off his hand [Steven Majors also plays Nana, the children's "nanny" dog] -- and his cohort of pirates, have captured Tiger Lily [Percionna Hale]; the ever resourceful Peter and his crew rescue her, and things seem to settle down for the moment.
When the children get homesick, their plans of returning are temporarily thwarted by Captain Hook, who also poisons Tinkerbell; but their return home, to be reunited with their doting parents [Ms. Witcher and John McWilliams as Mr. Darling] with all the Lost Boys except Peter in tow, is guaranteed; and Peter promises to return each year to take Wendy back to Neverland at Spring-cleaning time.
While there are a few rushed moments [for example: bringing Tinkerbell back to life by asking: Do you believe in Fairies? and needing time for "clapping" to bring her back], and a lot of rapid speech that blurs articulation of important plot details, the story and its characters are clear.
The ensemble is a good one, but special notice goes to Mr. McWilliams's portrayal of the stuffy Mr. Darling who nonetheless endears himself with his resistance to display emotion; and to Mr. Klinger's sly and nasty Captain Hook; and to Ms. Doyle's truthful depiction of Wendy's charm, intelligence, and awkward-age need to be treated as an adult.
Holding it all together is Mr. Golson's Peter Pan. Not only does he turn in a remarkably athletic performance, but his ever-ready smile and optimistic outlook in the role makes him completely believable as the boy who won't grow up, and his generous shared relationships with the Darling children, the Lost Boys, Tiger Lily, the Mermaids, the Pirates and Captain Hook keep him the center of attention throughout.
This is the first time the Playhouse Troupe has had a production in the main season at the Cloverdale Playhouse. -- If this is any indication of the quality and audience support, let us hope it continues.
Sunday, May 7, 2017
Millbrook" "The Odd Couple"
Ten years ago, The Millbrook Community Players, Inc. opened its inaugural season with Neil Simon's The Odd Couple at the Robinson Springs United Methodist Church. Now housed at the nearby old Robinson Springs Elementary School, their current production of The Odd Couple boasts a cast of veteran actors, several of them reprising roles they played in 2007.
It seems that Simon's works never go out of style: The Odd Couple [1965] is the fourth Simon production to hit the River Region since February -- Fools at Faulkner University, Brighton Beach Memoirs at Prattville's Way Off Broadway Theatre, and Last of the Red Hot Lovers at the Wetumpka Depot. His popularity stems in part from his likable and decent characters [imperfect as they are], as well as his witty dialogue replete with zingers and snappy one-liners.
The Odd Couple is most familiar from the successful 1970-1975 television sitcom of the same name, so there are built in expectations of seeing conflicts between good friends -- the easygoing and sloppy Oscar Madison [John Chain] and his unexpected housemate, the uptight neat-freak Felix Unger [Roger Humber].
When Felix arrives late to the weekly poker game at Oscar's 8-room Manhattan apartment [at $240 a month, a probably rent-controlled bargain even in 1965, when cigarettes went for .38-cents a pack and newspapers cost a dime], the motley crew of poker buddies are all concerned for their friend. Felix reluctantly tells them about his upcoming divorce, and Oscar generously offers to take him in as a temporary housemate. Longtime friendships are put to the test, and disaster is predictably on its way.
Of course, Felix wants to be helpful, and at first everyone is happy that his cooking outshines Oscar's and his tidying-up is a blessing; but things get out of hand as Felix's obsessions with cleanliness and deadlines destroy their camaraderie. Roy [Wes Meyer], Speed [Bill Rauch], Murray [Mark McGuire], and Vinnie [John Collier] have numerous fallings-out, but Oscar eventually reaches a breaking point when his plans for him and Felix to double-date the Pigeon sisters -- Gwendolyn [Karla McGhee] and Cecily [Rae Ann Collier] -- ends catastrophically.
The play is really about friendship more than anything else: male-bonding over poker, cigars, booze, and bad food; friends who tolerate each others' extreme idiosyncrasies, even friendships between divorced husbands and wives. -- Both Oscar and Felix are devoted to their families [Oscar's sincere phone conversations with his ex-wife show a genter side of his otherwise brusque demeanor, and Felix's declarations of still loving his soon-to-be ex-wife can soften even the hardest hearts].
Directors Susan Chain and Stephanie McGuire have an acting ensemble who appear comfortable in their respective roles and with one another. But some static movement and unclear articulation get in the way of Simon's witty script. [Perhaps the unfortunately small audience had an effect on their performances; greater numbers responses would add to a lively interaction between actors and audience.]
Nonetheless, this production of The Odd Couple delivers on the playwright's intentions, garners some laugh-out-loud moments, and sends a gentle reminder that friendship is important to everyone.
It seems that Simon's works never go out of style: The Odd Couple [1965] is the fourth Simon production to hit the River Region since February -- Fools at Faulkner University, Brighton Beach Memoirs at Prattville's Way Off Broadway Theatre, and Last of the Red Hot Lovers at the Wetumpka Depot. His popularity stems in part from his likable and decent characters [imperfect as they are], as well as his witty dialogue replete with zingers and snappy one-liners.
The Odd Couple is most familiar from the successful 1970-1975 television sitcom of the same name, so there are built in expectations of seeing conflicts between good friends -- the easygoing and sloppy Oscar Madison [John Chain] and his unexpected housemate, the uptight neat-freak Felix Unger [Roger Humber].
When Felix arrives late to the weekly poker game at Oscar's 8-room Manhattan apartment [at $240 a month, a probably rent-controlled bargain even in 1965, when cigarettes went for .38-cents a pack and newspapers cost a dime], the motley crew of poker buddies are all concerned for their friend. Felix reluctantly tells them about his upcoming divorce, and Oscar generously offers to take him in as a temporary housemate. Longtime friendships are put to the test, and disaster is predictably on its way.
Of course, Felix wants to be helpful, and at first everyone is happy that his cooking outshines Oscar's and his tidying-up is a blessing; but things get out of hand as Felix's obsessions with cleanliness and deadlines destroy their camaraderie. Roy [Wes Meyer], Speed [Bill Rauch], Murray [Mark McGuire], and Vinnie [John Collier] have numerous fallings-out, but Oscar eventually reaches a breaking point when his plans for him and Felix to double-date the Pigeon sisters -- Gwendolyn [Karla McGhee] and Cecily [Rae Ann Collier] -- ends catastrophically.
The play is really about friendship more than anything else: male-bonding over poker, cigars, booze, and bad food; friends who tolerate each others' extreme idiosyncrasies, even friendships between divorced husbands and wives. -- Both Oscar and Felix are devoted to their families [Oscar's sincere phone conversations with his ex-wife show a genter side of his otherwise brusque demeanor, and Felix's declarations of still loving his soon-to-be ex-wife can soften even the hardest hearts].
Directors Susan Chain and Stephanie McGuire have an acting ensemble who appear comfortable in their respective roles and with one another. But some static movement and unclear articulation get in the way of Simon's witty script. [Perhaps the unfortunately small audience had an effect on their performances; greater numbers responses would add to a lively interaction between actors and audience.]
Nonetheless, this production of The Odd Couple delivers on the playwright's intentions, garners some laugh-out-loud moments, and sends a gentle reminder that friendship is important to everyone.
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