Wetumpka Depot: "Something Rotten"

Talk about a rollicking good time...director Kristy Meanor's goofy, irreverent, anachronistically hysterical production of the 2015 musical Something Rotten opened on Thursday, and had the audience in stitches throughout!

Two acts of mile-a-minute repartee with ribald double-entendre and countless references to English literature and history, and tongue-in-cheek nods to innumerable contemporary musicals, demands we pay strict attention for fear of missing out on the jokes.

A Minstrel [Taylor Finch] sets the time as 1595 in "Welcome to the Renaissance", and we're off with the Depot's 21-member ensemble actors on a madcap romp led by the Bottom Brothers -- impatient and competitive Nick [Jonathan Wilson] and even-tempered Nigel [Jay Russell] -- whose funding for their new play will be cut off by their patroness Lady Clapham [Jan Roeton] unless it's finished overnight. Stuck without any ideas, and jealous of their chief rival the narcissistic William Shakespeare [Jeff Langham in top form as "the Bard"], "God I Hate Shakespeare" sets up the battles yet to come.

Desperate for ideas and without ready cash, Nick rejects his wife Bea's [Sarah Kay] feminist suggestion that women are men's equals and that she could help by getting a job. -- Money-lender Shylock [Eric Arvidson at his best] is eager to help, but it's illegal to employ a Jew; so Nick settles on advice from soothsayer Nostradamus [Cushing Phillips], who predicts that the future of theatre will be in the form of plays where actors sing their lines and burst into song and dance for no apparent reason: "A Musical" is the highlight of Act I.

Nigel meanwhile falls in love with Portia [Rachel Pickering Seeley], the daughter of a Puritan Brother Jeremiah [Bradley Podliska], who does his best to thwart both his daughter's romance and the "immoral" theatre which, after all, features actors in drag, and contains subject matter that corrupts the local populace. -- Their romantic scenes are infused with a lot of tomfoolery: delightful.

And that's just the set-up in Something Rotten [book by Karey Kirkpatrick and John O'Farrell; music and lyrics by Karey and Wayne Kirkpatrick]. -- Complications build with each successive moment, disguises and cross-dressing manipulate the antic action, and Nostradamus's bewildering confusion turns the plot of Shakespare's most famous play into an "Omelette". Never mind: just go along for the ride with this talented crew, and Mr. Phillips's Nostradamus chews up the scenery with such relish that alone is worth the price of admission.

Daniel Harms creates dynamic, razzle-dazzle, and energetic choreography for the ensemble and for himself to support the story and characters.

The production is a visual delight, from the faux-Renaissance and brightly comical musical theatre Chorus costumes by Suzanne Booth, to clever scenery [Charles "Eddie" Moncrief III] and Thomas Rodman's robust lighting.

Music Director Dr. Damian Womack is assisted by Sound and Music Tech from Jerry Parker; together, they guide the company and feature some excellent voices [Ms. Seeley, Ms. Kay and Ms. Finch are standouts, with Mr. Wilson demonstrating a musical theatre triple threat actor/singer/dancer to center the conflict and its resolution. 

For a fresh take on musical theatre with a welcome dose of schmalz for good measure, Something Rotten hits all the marks for a fine evening out. 

Cloverdale Playhouse: "Next to Normal"

A stunning and powerful opening night performance of the 2010 Pulitzer Prize and multiple Tony Award winning musical Next to Normal received a well-earned spontaneous ovation from its full house audience at the Cloverdale Playhouse.

Meticulous direction by Randy Foster and Eleanor K. Davis guided an exceptional six-member ensemble through the rigors of a demanding vocal score [most of the 2+ hours playing time is sung, with little spoken dialogue] that tells the story of a suburban family grappling with the wife/mother's bipolar depression and the medical treatments she undergoes long after a traumatic event many years ago.

Groundbreaking in its time for stretching the content of musical theatre to objectively and compassionately portray the causes and effects of depression on ordinary families through Tom Kitt's rock-influenced score and Brian Yorkey's insightful lyrics, the Cloverdale Playhouse production rivets audience attention and challenges us to invest our own experiences with what happens on stage.

Arguably one of the most provocative adult-themed of the River Region's productions in recent memory, Next to Normal's center is Diana [Sarah Housley] who attempts to identify the cause of her depression, the effects it has on her family, and the increasingly aggressive methods the medical experts use to alleviate her condition.

Ms. Housley's exceptional performance [she sings with power and clarity, and portrays Diana's mental confusion and changing family relationships with subtle nuances] compels audiences to weigh each ambivalent moment as she carries them on her disorientating journey of self-discovery.

As her always supportive husband Dan, Gage Leifried elicits the conflicting impulses of a strong duty-bound spouse and father who doubts his ability to keep it all together. -- Tenth-grader Bella Posey as their over-achieving teenaged daughter Natalie delivers a mature debut performance at the Playhouse that belies her years and promises a bright theatrical future. -- Natalie's boyfriend Henry is an ingratiating Graham Butler, who becomes a counterpoint to Dan through his persistence in helping Natalie through her own emotional rollercoaster. -- As their son Gabe, Reese Lemaster's enigmatic portrayal is by turns a measure of Diana's condition and its cause, a help and a hindrance to her depression. -- And John Selden's dual roles as Diana's doctors [a "rock-star" and a "psychopharmacologist"], add some levity to the proceedings while also highlighting the seriousness of the medical profession's achievements and limitations.

With some 39 songs listed in the program, what we can and cannot know about our own or others' conditions is investigated and strategically dramatized in "You Don't Know", "I Am the One", "Superboy and the Invisible Girl", "Make Up Your Mind/Catch Me I'm Falling", "Song of Forgetting", among others. Individually and collectively, the ensemble actors interpret the informative lyrics with spot-on dramatic intention as well as with musical confidence.

The character driven costumes [Ms. Davis], evocative lighting [Chris Roquemore] and minimally appropriate props [J. Scott Grinstead/Sam Wootten] -- and the performances of the acting troupe -- are enhanced by another masterfully inventive set designed by J. Scott Grinstead: a multi-leveled exterior of a blue house architecturally defined by white trimming that has several cleverly disguised moving parts to define spaces and seamlessly segue from scene to scene.

Next to Normal stages a profound analysis of grief, depression, suicide. drugs, and medical ethics through an all-too-familiar scenario. The Cloverdale Playhouse's production targets our emotions and our appraisal of mental disease while leaving us with a suggestion that hard decisions determined by love can open the doors to a satisfactory resolution.

Way Off Broadway, Prattville: "The Hound of the Baskervilles"

Jon Jory's version of Arthur Conan Doyle's Sherlock Holmes masterpiece, The Hound of the Baskervilles, is currently playing to full houses at Prattville's Way Off Broadway Theatre.

True to Conan Doyle's short story's conventions -- mysterious deaths, an isolated manor house, strange characters, many red-herrings and misdirections -- Jory's adaptation sustains the tension through a series of short scenes that require audiences to follow all the details as they try to identify the culprits before master sleuth Holmes [Kevin Morton] and his assistant Dr. Watson [Savannah Brown] resolve everything to our satisfaction.

There's a centuries-long history of mysterious deaths related to a curse on the Baskerville family that are attributed to a fearful phantom hound, the most recent one at Baskerville Hall that urges Dr. Mortimer [Russ Tipton] to engage Holmes and Watson to figure it out and protect the new owner Sir Henry Baskerville [Nate Greenawalt] from a similar fate.

Whether any of the characters are reliable witnesses is hard to tell, as details conflict with reports from the butler Barrymore [John Hill] and his wife [Sandra Hill], and from neighbor Stapleton [Luke Fenn] and his sister Beryl [Haley Falcione] -- not all is what it seems, and is complicated by the introduction of the mysterious Mrs. Lyons [Meagan Tuck]. -- Doubling as a Cabman and as Mr. Frankland, Jon Darby adds some freshness and details to the goings-on, and does so with confident appeal.

Much of the enjoyment for audiences comes from trying to stay one step ahead of the plot and character development, so no spoilers here. -- Suffice it to say that director Tara Fenn's troupe keep us in suspense from start to finish, and allowing us to change our collective minds as new evidence is divulged.

It isn't a long play [though long blackouts during scene changes added several minutes to the playing time], and could have sustained the atmosphere and dramatic tension by performing it without an intermission. That notwithstanding, The Hound of the Baskervilles remains one of Conan Doyle's best, and appeals to audiences today as it did when first penned in 1901.

Millbrook: "The Odd Couple: the Female Version"

A story about two unlikely roommates -- Felix Unger, a neurotic, neatnick newsman; Oscar Madison, a slovenly, devil-may-care sports writer -- are separated from their spouses, but when Felix moves in with Oscar, each one's habits quickly become the central comical conflict.

Neil Simon's 1965 The Odd Couple has been seen on Broadway and around the world, engendering a 1968 film and a popular 1970s television sitcom, and in 1985, The Odd Couple: the Female Version was born, and is currently playing in Millbrook.

Felix is now Florence, and Oscar becomes Olive; the weekly poker nights become a gathering of women friends playing "Trivial Pursuit"; and the upstairs British Pigeon sisters are now the Spanish Costazuela brothers. -- And pretty much everything else remains the same, continuing to pack a comical punch even though many of the popular culture references are now a bit stale.

Luckily, director Stephanie McGuire has conscripted a number of Millbrook's veterans in the featured roles [as well as in the supporting ones]. Karla McGhee shines as the messy and careless Olive, whose frustrations with Vicki Moses's fastidious Florence, afford audiences plenty of opportunities to identify with the conflict, laughing both at and with the two lead actors/roles.

The participants in the weekly board game, parallel the characters in the original male version, and each one -- Tracey Quotes, Tammy Arvidson, Donna Young, and Millbrook newcomer Ginger Connor -- creates a clear character believably.

When the brothers show up in Act II as "dates" for Florence and Olive, Manolo [Mark McGuire] and Jesus [Steve Phillips] add another dimension of cultural and language confusions, that are played with appropriate verve...what happens after the "date" is destined to repeat what we've just seen.

The Odd Couple: the Female Version is a lighthearted and pleasant evening out in Millbrook.

ASF: "Million Dollar Quartet"

If non-stop entertainment is what you're after -- a nostalgic compilation of some 22 songs performed without an intermission by a multi-talented ensemble -- you would be hard pressed to find a better example than the Alabama Shakespeare Festival's rollicking production of the award winning Million Dollar Quartet.

Based on an actual 1956 once-in-a-lifetime impromptu jam session at Sun Studios in Memphis, TN that brought together legendary music veterans Carl Perkins [Billy Finn], Johnny Cash [Chris Marsh Clark], Elvis Presley [Luke Monday] and then up and coming upstart Jerry Lee Lewis [Michael Kurowski], Million Dollar Quartet is a celebration of the early days of Rock'n'Roll spearheaded by Sun Records' founder, Sam Phillips [Josh Canfield], a man with a keen ear for raw talent that would have been passed over by establishment recording studios.

Narrated by Phillips, and joined by drummer Fluke [Tucker Cruz Marshall], Perkins' Brother Jay [Roy James Brown] on bass, and by Elvis's singer-girlfriend Dyanne [Fatima El-Bashir], the ensemble's infectious good will and impressive musical talents took ASF's opening night's audience on a fabulous ride.

They were treated to a variety of well and lesser known songs from each artist's repertoire: "Blue Suede Shoes", "Folsom Prison Blues", "Great Balls of Fire", and "Hound Dog" among them had the audience enthusiastically responding, sometimes singing along, and anticipating the next number throughout the hour and forty minute performance.

But there's a story here, too: Sun Studios (and Sam Phillips' pivotal role in giving unknown artists their starts in the early days of Rock'n'Roll), gave rise to the popularity of rock, blues, R&B, and rockabilly styles, and became renowned as the "birthplace of Rock'n'Roll". -- With each man at various stages in their careers, with a few personality clashes, and none of them content with the status quo, there are some hard decisions to make while acknowledging Phillips's role in their successes. History isn't always comfortable.

But this show is mostly about the music. And Million Dollar Quartet delivers a knock-out punch for a most satisfying evening out.

Theatre AUM: "Uncle Vanya"

Mike Winkelman is retiring from AUM, and his final directing project there -- a solid production of Anton Chekhov's 1898 comedy: Uncle Vanya -- brings students, alumni, staff and faculty as participants in a challenging piece of World Theatre.

And, in case anyone might wonder -- amidst the characters' restlessness, weariness, boredom, unrequited love, family disruptions, and wallowing in individual and group exhaustion from doing very little --  yes...it is a comedy that Winkelman taps for all its nonsensical glory, garnering well-earned laughs along the way, while allowing the serious matters equal attention.

In rural 19th Century Russia, Vanya [Neil David Seibel] and his niece Sonya [Yahzane Palmer] have been long-term caretakers of an estate controlled by Vanya's brother-in-law and Sonya's father Alexander Serebryakov [Sam Wallace], a "celebrated" Professor who has returned with his new young wife Elena [Amy May], setting the house in turmoil by changing the status quo of the daily routine. 

Dr. Astrov [Noah DePace] is on hand to treat members of the household, but seems more concerned with preserving the rapidly deteriorating forests nearby; Telegin [Worth Harris] and Yefim [Kelyn McIntyre] hang around with little to do; and Vanya's selectively hard of hearing mother Maria [Layne Holley], busies herself with socio-political pamphlets. 

There's not much of a plot in Uncle Vanya [subtitled: "Scenes from a provincial life"]; it's more about rich people complaining about their mundane existence, petty grievances against one another, and attempted love affairs doomed to failure. They bicker and chatter on without acting on their desires, and then cry and lament when things don't go their way. -- The best they can do by the end is endure. -- Only the family Nanny [Katie Pearson], has a reasonable voice in wanting the status quo to be restored, though when it is, and nothing much has changed, we are left with only a slightly optimistic future.

Production values are top-notch -- Chason Marvin [Lighting], Mike Mann [Sound], Mike Winkelman [Scenic], Val Winkelman [Costume] -- supporting the actors and director's vision throughout.

Too much rapid and vocally unsupported speech makes several characters [and some important information] hard to hear; though Ms. Holley, Ms. Pearson, Mr. Wallace, and Mr. Seibel are always clear and articulate, delineating their characters and relationships with confidence.

Mr. Wallace's depiction of Serebryakov ranks high in this experienced actor's repertoire. And Mr. Seibel's Vanya: the play's central and most complex character, is subtle and surprising in his fluctuating nature, commanding our attention from start to finish, and allowing audiences to connect with Vanya's self-assessment.

An excellent way for Mr. Winkelman to end his directing career at Theatre AUM.

Pike Road: "Gypsy"

"May we entertain you?" -- Indeed you do in a sparkling production of Gypsy at the Pike Road Theatre Company, directed and choreographed with an infectious flair by James Keith Posey.

Based on the memoirs of iconic striptease artist Gypsy Rose Lee, this 1959 Arthur Laurents-Jule Styne-Stephen Sondheim offering has been hailed by some as the "greatest American book-musical" for its powerful story, memorable songs, and extraordinarily forceful central character who has been played by such theatre icons as Ethel Merman, Bernadette Peters, Patti Lupone, Angela Lansbury, Rosalind Russell, Tyne Daly, and Imelda Staunton.

At Pike Road, Jennifer Hollett joins their ranks in taking on the role of Rose, a tunnel-visioned stage mother in a love-hate relationship with her daughters June [Bella Posey] and Louise [Kaylee Baker], who she drags around the vaudeville circuit in her quest for successful performing careers from their childhood to young adult women. They eke out a living while Rose conducts herself in ever more forceful ways for them to make it to the big time, while vicariously living out her own dreams of living in the spotlight. -- And it takes its toll on their relationships as well as on Rose's business and romantic relationship with Herbie [Eric Arvidson], a manager who wants to marry her and puts up with her demands and tirades until he can't take it any longer.

Over the course of almost a three-hour playing time [the time rarely lags as the Pike Road Company keep us entertained and engaged throughout], we see the un-glamorous side of show business, the ups and downs of several careers, the demands and sacrifices of theatre gypsies looking for their big break, the assortment of talents from these local actors, and the passion felt by those in thrall of greasepaint and lights.

From childhood versions of Baby June [Caroline Suggs] and Baby Louise [Maddie Otwell] prancing their way through repetitive updates to "May We Entertain You" to a cleverly staged segue to the grown up June and Louise, and the various chorus boys and girls invigorating the story line, audiences are treated to colorful production numbers -- and yes, there's a cow on-stage.

Key to both advancing the plot and demonstrating the talents of the cast are songs like "Some People", "You'll Never Get Away from Me", "If Momma Was Married", "All I Need Is the Girl", "Everything's Coming Up Roses", "You Gotta Get a Gimmick", and, of course "Rose's Turn", each of which has achieved permanency in the musical theatre repertoire.

No matter how much we feel for June [the talented headliner] and Louise [relegated to the background], and finding when June deserts them to marry tap-dancing Tulsa [Kevin Mohajerin], and understand Louise's reluctance to take to the burlesque stage on her mother's dictum to "strut and drop a shoulder strap...but always be a lady", the focus is always on Rose...and Ms. Hollett commands the stage and our attention and admiration. She never falters either vocally or in presenting a complex character.  It's quite a powerful performance from start to finish.