Monthly Archives: March 2023

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They May Rebel, But They Truly Excel

Experience one of the oldest forms of entertainment in a modernized way.  Enjoy the art of the radio play, only you’ll see the actors, musicians, and sound effects people performing the work live on stage as they create Black Women Rebel which is currently playing at Benson Theatre under the auspices of Radio Theatre Omaha.

In some ways, Radio Theatre Omaha is the spiritual successor to the Shelterbelt Theatre in that everything produced is original and local, but it does a marvelous job resuscitating the lost art of audio shows.  These shows can be enjoyed both visually as you can see all the bits of work that go into creating an audio show or they can be enjoyed with just the ears as you can close your eyes and let your imagination run wild and free.

Black Women Rebel features two audio shows:  Riot, Repeat by Viv Parr and Alexa, Siri and Cortana Enter a Juke Joint by Kim Louise.

Riot, Repeat tells the powerful story of women fighting for the right to vote.  Doing it through the voices of black women is especially intriguing as they were excluded from the fight for voting rights, but it serves as a stark reminder that equal rights need to be equal.  Karen Fox, Peggy Jones, and Allana Pommier excel as the voices of the suffragists as they share the story of their fierce battle to vote through the use of protests via picketing and hunger strikes and the humiliation and pain they suffered to get that right.  Jay Srygley serves as the voice of President Wilson and “the man” for lack of a better word and does yeoman work with his sneering and snide remarks about the inferiority of women to men. 

Alexa, Siri and Cortana Enter a Juke Joint is a comedy about three A.I. systems taking a vacation to get away from the hustle and bustle of information requests.  I found it quite amusing and a bit thought provoking as the world collapses with the A.Is. being out of commission which is an interesting commentary on the world’s overreliance on computers.

Karen Fox generates some chuckles as the weepy Cortana who is about to fade into obsolescence.  Peggy Jones is on target on the level-headed Siri who encourages the other systems to be responsible and get back to work.  Allana Pommier gets the guffaws as the sassy Alexa who gets into doing nothing and wants to start enjoying some of the simple pleasures of being human.  Jay Srygley keeps his cool as an anchorman relating the story of the A.I. systems going offline.

Breana Carodine does a nice bit of directing especially with the pacing of Alexa. . . and the emotional beats of Riot, Repeat though that show’s cue pickups need a little tightening.  Kim Alger and Brian Kokensparger serve as fantastic Foley artists (sound people) as they generate squeaks, footsteps, pouring beverages, and belches among other sound effects.  Jordan Smith’s gentle guitar work serves as fine intros and endings to the shows.

If you want to see some fine original work and the return of a classic style of entertainment, then give Black Women Rebel a whirl.

Black Women Rebel runs at Benson Theatre through April 2.  Showtimes are 7:30pm Fri-Sun with an extra Sunday performance at 2pm.  Tickets cost $20 and be purchased here.  Benson Theatre is located at 6054 Maple St in Omaha, NE.

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Love Octagon

Eighteen year old Anne Egerman is in an unconsummated marriage with her middle-aged husband, Fredrik Egerman who is having a fling with the actress, Desiree Armfeldt, who has her own boy toy in the form of Count Carl Magnus-Malcom who is cheerfully, to him, married to Countess Charlotte Malcom who happens to be a childhood friend of Anne who now has her stepson, Henrik, pining after her.  You can sift through this Baxter’s Box of a menage by watching A Little Night Music at Bellevue Little Theatre.

Hugh Wheeler’s script boxes a cast and director into one dilly of a corner.  Wheeler knows where he wants the script to go, for the most part, but he doesn’t know what he wants it to be.  Halfway through the first act, I realized I was watching a sex farce, but the show is presented drily so the comedy is hidden.  The dialogue is written so formally that it prevents a cast from camping it up because the words don’t have the elasticity needed to fire off jokes.  As such, a cast and director have little choice but to follow the route of formality thrust upon them.  That being said, this director and cast got all they could and a maybe a little bit more out of the story.

Todd Uhrmacher does a lot of nice little things to keep this show running.  He has staged it like a ballroom dance where the performers (particularly a Greek chorus) glide on and off the stage with the smoothness of ballroom dancers to transition between scenes.  He’s got a good grip on the emotional beats and knows where to emphasize them for maximum impact with the “Send In the Clowns” sequence being a firm yank on the heartstrings.

Sherry Josand Fletcher plays one of the show’s few likable characters in the form of Madame Armfeldt whose droll observations and life lessons added levity to the show.  Jack Zerbe adds the right dose of weariness to Fredrik Egerman who married a much younger woman in a desperate attempt to cling to his own youth, but connects with the more age appropriate Desiree Armfeldt.  Zerbe’s Egerman also has a sense of honor as he would rather be unhappy with his young wife than hurt her. 

Heather Wilhelm gets the show’s most complex character in the form of Desiree Armfeldt.  She’s not quite as unlikable as some of the other characters as she does truly love her daughter and would rather be with her.  On the other hand, she does manage her other relationships to suit herself.  She’s happily involved with a married man and just as easily sleeps with an old beau to rescue him from his sexless marriage.  Still, she is aware of her own foibles and makes an epic confession of them with a stirring rendition of “Send In the Clowns”.

The best roles in the show are those of Count Carl Magnus-Malcom and Countess Charlotte Malcom. These two characters come closest to matching the farce of the piece and have a lot of meat for the performers to sink their teeth into.

Jodi Vaccaro is splendid in the role of Countess Charlotte Malcom.  Vaccaro is sympathetic as the woman trapped in a seemingly loveless marriage and is the only decent person in this love octagon as she isn’t screwing around with anybody.  Her sardonic delivery is right on the mark for the bitter countess and I found myself rooting for her when she started giving her ogre of a husband a dose of his own medicine with her pretending to throw herself at Fredrik Egerman.

Scott Van Den Top plays said ogre with his portrayal of Count Carl Magnus-Malcom.  This man is at the center of his own universe and isn’t shy about living that openly.  If there’s one positive thing I can say about him is that he’s honest.  The Count doesn’t hide his affairs from his wife, but arrogantly believes she is OK with his flings and appreciates the scant hours he gives to her.  Van Den Top really plays up the Count’s obliviousness as he unabashedly drags his wife along on a hare-brained plot to prevent his mistress from cheating on him.

Dr. D. Laureen Pickle and her orchestra elegantly handle the classical score.  Kerri Jo Richardson-Watts keeps the choreography simple with a few waltzes.  Ibsen Costume Gallery’s costumes suit the turn of the century setting of the show.  Joey Lorincz has designed an incredibly simple set of streamers  reaching from floor to ceiling which suit the ballroom staging and can double as trees.  He also keeps a dark blue lighting present to suit a little night music.

Outside of the script not allowing itself to be the farce it wants to be, it also has a few unnecessary secondary story arcs that pull away from the primary action.  The show also suffers a bit from some mixed acting in some of the ensemble players.  But if you enjoy classical music and a traditional sitting room play, then this show might be up your alley.

A Little Night Music runs at Bellevue Little Theatre through Mar 26.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $25 can be reserved at www.theblt.org or calling 402-413-8945.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

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Be Careful What You Wish For

A baker and his wife embark on a quest to reverse a curse that prevents them having children.  Their path brings them into contact with some of the most famous fairy tales of all time and they learn to be careful what they wish for.  This is Into the Woods and it is currently playing at the Chanticleer Theatre.

Prior to last night I had never seen this show though I had heard of it.  Given its subject matter, I was expecting something geared more towards kids.  Instead, I got a well thought out tale suitable for kids and adults that teaches a powerful moral about the consequences of selfishness.

James Lapine really understood fairy tales.  Not only are the tales featured the original Brothers Grimm versions, but he blends them together with an original fairy tale of his own creation which follows the Grimm pattern.  In fact, the show can really be split into two parts with Act I being the fairy tales and Act II could be called “After the Happily Ever After” as it deals strictly with the fallout from the tales.  Add this to Stephen Sondheim’s score and you have the foundation for a spritely theatre outing.

Mackenzie Zielke really does a phenomenal job directing this piece.  Her sense of pacing is off the charts as this production just whizzes by and the cue pickups were razor sharp and tight.  I loved the staging as the show starts before it starts with the characters coming out on stage early to start living their fairy tale lives.  She led her actors to A list performances and there isn’t a squeaky wheel in the lot.

This is an extraordinarily well-balanced ensemble and each get their moment to shine.  Some of the night’s stellar performances come from Robyn Helwig who brings the mirth with her puppetry of the cow, Milky White.  Jay Srygley is a smooth-talking, predatory wolf looking for a meal or two.  Lily Sanow’s Little Red Riding Hood is a bit of a brat with a gluttonous sweet tooth.  Nicolette NuVogue’s larger than life presence is well suited for the Giant’s Wife.  Jerry Van Horn holds the multiple tales together as the Narrator.

Chanel Savage owned the night as The Witch.  Savage has an incredible presence that rivets one’s attention and she gives a deep and nuanced performance.  Her Witch isn’t evil, per se, just selfish and petty.  But she’s also incredibly lonely, hence her desire for a child.  She also seems extremely protective of innocence which is what motivates her to keep Rapunzel in a tower.  She knows growing up means a loss of that innocence and truly wants to keep that treasure intact and unsullied.  Savage also has a powerful singing voice as she brought down the house in “Our Little World” and “Children Will Listen”.

David James Zenchuk, Jr. and Megan Berger portray the Baker and the Baker’s wife.  These characters are originals and are the unintentional antagonists, at least to start, as their blind pursuit of a child enables the chaos that results.

Zenchuk makes for a fine everyman as the Baker.  Zenchuk’s Baker truly has a good heart which makes his quest for a child difficult as he is unable to steal and lie to obtain the items he needs.  Rather he relies on dumb luck, half-truths, innuendo, his far craftier wife, and, in one case, the out and out stupidity of another character to get what he needs.  But when push comes to shove, his true nobility does finally shine forth.  Zenchuk has a beautiful tenor with turns in “No More” and “No One is Alone” being particular highlights.

Megan Berger gets to run an acting gamut as the Baker’s Wife.  Berger merges comedy and drama into her take on the role.  The Baker’s Wife is fiercely loyal to her husband as she is resolved to help him in the quest whether he wants it or not.  But she is more than a little selfish as she can and does lie, steal, and finagle the items needed to overcome the curse.  Berger’s Baker’s Wife also seems to pine for a different kind of life with her fascination of the royal life and her succumbing to the wooing of Prince Charming.  Berger also has a lovely voice with dynamite turns in “It Takes Two” and “Any Moment”.

David Michael Galant’s musical direction is nimble and precise.  Not only do he and his orchestra adeptly perform the score, but they also make the notes characters in the show at certain moments.  Galant’s coaching of the singers is sublime with some achingly beautiful solos and harmonies.  Ibsen Costume Gallery supplies the costumes which makes the characters seem as if they stepped out of a fairy tale.  Most impressive is a golden gown worn by The Witch after regaining her youth.  Joey Lorincz has designed yet another award worthy set with long narrow tubing emulating the trees of the forest.  I loved Leviathan Noxvul’s ambient forest sounds with singing birds, crickets, and other denizens of the woods.  Jacy Rook’s lights add a nice bit of seasoning, especially the color changing backdrop which conjured images of sunrises and sunsets.  Jason DeLong’s choreography is simple, but effective.  There aren’t any huge, lavish numbers.  The dancing is subtle and gentle which is exactly what is required.

Into the Woods is a pleasant storytelling venture suitable for the entire family.  If you want to see fairy tales wrapped within a fairy tale, take advantage of the last two performances at Chanticleer for an easygoing bit of theatre.

Into the Woods run at Chanticleer Theatre through Mar 19.  Final performances are Saturday at 7:30pm and Sunday at 2pm.  Tickets cost $30 and can be purchased at www.paceartsiowa.org.  Chanticleer Theatre is located in the Hoff Family Arts & Culture Center at 1001 S 6th St in Council Bluffs, IA.

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‘The Marriage of Figaro’ Closes Opera Omaha’s Season

Omaha, NE. – Opera Omaha will conclude its 2022-2023 Mainstage Season with a production of Mozart’s The Marriage of Figaro.

The Marriage of Figaro is beloved, one of the world’s most popular and frequently performed operas. Mix-ups, mistaken identities, and secrets fly fast through this iconic tale of love, seduction, and guile. Omaha favorites conductor Steven White (Eugene Onegin, Opera Under the Stars, Faust) and director Dean Anthony (Opera Under the Stars) will join forces once again to lead a stunning cast including Sidney Outlaw in his Opera Omaha debut as Figaro, with Vanessa Becerra (Les Enfants Terribles, Medea) as Susanna, his betrothed.

Friday, March 31, 2023 | 7:30 pm Sunday, April 2, 2023 | 2:00 pm

CREDITS

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo Da Ponte

CONDUCTOR | Steven White
DIRECTOR | Dean Anthony

CAST

Figaro | Sidney Outlaw*

Susanna | Vanessa Becerra

Count Almaviva | Michael Adams

Countess Almaviva | Mary Feminear

Cherubino | Kristen Choi

Marcellina | Victoria Livengood

Dr. Bartolo | Rod Nelman

Don Basilio/Don Curzio | Graham Brooks*

Antonio | Matthew Sommer

Barbarina | Karina Brazas

*Opera Omaha Debut

TICKETS AND INFORMATION

Single tickets for Opera Omaha’s 2022/23 Season are priced from $19 to $99.

Visit www.ticketomaha.com for further details or call Ticket Omaha’s Box Office at (402) 345-0606. Ticket Omaha’s Box Office is open Monday through Friday 10 a.m.–5 p.m.

Opera Omaha performances are held at the Orpheum Theater located at 409 S. 16th Street.

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It May be Wrong, But It’s So, So Right

It’s the actor’s nightmare brought to grand and glorious life when everything that can go wrong does in a murder mystery play produced by a local theatre group.  It’s The Play That Goes Wrong and it is currently playing at Springfield Little Theatre.

I can’t remember the last time that I so looked forward to writing a review.  This, unarguably, is the best comedy I have ever seen.  The idea of a play going haywire is not an original idea, but the script of Henry Lewis, Jonathan Sayer, and Henry Shields raises the idea to an art form.  Poorly constructed sets, botched dialogue, godawful acting, inept stage management, and a useless crew are just some of the antics you’re going to see in this play about a play.  I seldom saw the punchlines coming which allowed me to laugh like a hyena and the antics of the cast prompted numerous ovations throughout the night.

Beth Domann and Marni Erwin bring an incredible pair of hands to the direction of this piece.  Farce is never easy and there is a real skill to making a show look bad intentionally, yet still feel natural and spontaneous. These two directors pull it off with flying colors.  They plotted some fantastic sight gags, kept the pace fast and furious, and led their actors to the best “bad” performances I’ve yet seen.  And their staging. . .well, you’ll have to see it for yourself, but I will say the show starts much, much sooner than you think.

It takes really good actors to come off as really bad actors and this show is crammed with that necessary talent from top to bottom.  Some of the gutbusting performances you’re going to see come from Matt Winston as an utterly inept light & sound operator constantly in search for his Duran Duran CD.  Sarah McQuiggan is hilarious as the stage manager turned understudy who shows she’s just as talented as the leading lady (trust me, it’s a low bar).  Corey Kilburn supplies great pantomime as the corpse of the show.

Jamie Bower gives a howling good performance as Thomas Colleymoore.  Bower’s Colleymoore gives a performance so over the top it makes a soap opera seem realistic.  He is also a master of physical comedy as he performs virtual gymnastics for some of his sight gags and I never knew a spit take could have so many different variations until watching Bower in action.

Joshua David Smith is every director’s worst nightmare as Perkins, the butler.  Perkins is the actor guaranteed to make directors and fellow actors grind their collective teeth.  As Perkins, Smith mispronounces words, hardly varies his delivery, and effortlessly loses his place in the script which makes you wonder why he wasn’t run out of town on a rail.

Rachael Arp reaches new highs in lows as the leading lady, Florence Colleymoore.  Not only is she a poor performer with her ridiculous histrionics, but she is also a scene stealer par excellence with her constant pirouetting and frozen stances.  Arp is pretty impressive in the physical comedic arts as well as she takes a door to the face like few can and her prolonged brawl with McQuiggan’s Annie over who gets to play the leading lady is one of the best bits I’ve seen conjured on stage.

Clayton Avery matches his leading lady step for step with his own lousy chops as Cecil Haversham.  His delivery is not only volcanically over the top, but he manages to match that delivery with gestures and movements that are so enormous, a blind man could see them.  Avery actually does double duty in a sense as he also plays the gardener, Arthur, but it’s not actually double duty since his character plays both roles exactly the same with only a change of costume to delineate them.

Seth White’s bad acting as Inspector Carter is topped only by his bad directing.  To be fair, Carter’s acting is passable since he, at least, knows his lines, but when you realize that he staged and guided this monstrosity, you wish he would stick to acting since he does less damage in that regard.  Still, you have to admire his honesty because, in his “real” self of Chris Bean, he is rather open about the deficiencies in his troupe.

Keith Nisbett’s set is quite elegant and comes off as a proper manor with its gigantic window, mantlepieceless fireplace, fine bookcase, and impressive upstairs study.  But its functionality is the key to this show as the set becomes a character of its own and, believe me, it’s just as, ahem, “talented” as the cast of the murder mystery play.  Kaley Jackson’s costumes are right on the mark as they have the look of the turn of the century with the hunting wear of Colleymoore, the dressing gown of the corpse, and the lovely red dress of the leading lady.  Jamie Bower pulls double duty with lighting and sound design and excels on both with ringing telephones, unexpected Duran Duran music, and the red lights for the “dun dun dun” moments.

If you’re looking for a show to forget your troubles for a spell, this is it.  You’ll laugh until your sides ache with the best botched performances you’re apt to see.  Get a ticket if you still can because I imagine the sellouts are coming quick for this one.

The Play That Goes Wrong runs at Springfield Little Theatre through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets range from $17-$37. For tickets, visit http://www.springfieldlittletheatre.org or call the Box Office at 417-869-1334.  Springfield Little Theatre is located at 311 E Walnut St in Springfield, MO.

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Pugilistic Playwrights

Nick Bottom has hit, well, bottom.  Unable to write a hit play and deep in debt, he discovers he and his wife are about to have a baby.  Desperate to achieve success he consults a soothsayer to discover the next great thing in theatre and Shakespeare’s greatest play (so he can get one over on his hated rival).  However, Bottom is going to discover that you can’t make an omelet without breaking a few eggs.  This is Something Rotten! and it is playing at Topeka Civic Theatre.

This seems to be my season for serendipitous discoveries.  For the second time this year, I discovered a theatre doing a show that caught my fancy while en route to another assignment and managed to squeeze in an extra review.  And, for the second time, I found myself having a marvelous time.

Shannon J. Reilly really gets this show.  He has a good grip on the show’s disparate elements and blends them together well.  Reilly knows when to lean into the absurdity and when to treat the show with heart attack seriousness.  He stages the show very simply as he focuses on the storytelling and uses a backdrop and a few simple set pieces (designed by Bryce Korf) to help enhance it.  Reilly has also had his actors create some truly delightful characters destined to leave their mark on your memories.

Some of the memorable performances in the supporting cast come from Bruce Smith who brings a childlike excitement to Shylock, the Jewish moneylender who is tickled pink to finally be part of theatre (in the form of his financial support).  Jayme Green makes for a fine Minstrel as he frames the show’s two acts for the audience.  Jaryl Perkins is outstanding as Brother Jeremiah whose overenunciating prudishness seems to barely mask his own sexual appetites.

Bethany Ayers nearly steals the show with her rendition of Portia, the daughter of Brother Jeremiah with a love for poetry.  Ayers’ Portia is a combination of Melissa Rauch and Carol Kane and she has comedic timing that can’t be taught.  Whether she’s getting soused at a party or waiting the precise number of beats for a humorous farewell, Ayers had the crowd laughing heartily at her wit and antics.  She also has a beautiful singing voice with “We See the Light” and “I Love the Way” being particular standouts.

Brett Broadbent makes his Nigel Bottom a bashful milquetoast at the top of the show, but his performance really begins to soar in Act II when the bashfulness gives way to his gentleness.  Broadbent just shines in the show’s quieter and sweeter moments and he has a wonderful tenor and falsetto.  His solo performance in to “To Thine Own Self Be True” is a bit of musical mastery.

Adam Groves is a cocky prick as William Shakespeare.  Shakespeare was a rock star of his era and this show takes that idiom literally as Shakespeare behaves and is adored as a rock star.  Groves comes off as a hybrid of David Bowie and Mick Jagger as he gyrates and heats up the audience with his poetry.  Groves’ Shakespeare isn’t afraid to take a few shortcuts to success as he enjoys the fruits of fame more than the work of fame.  Groves also has a blistering rock tenor which he uses well in “Will Power” and “Hard to Be the Bard”.

Daniel Kooser gives a superlative performance as Nick Bottom.  Kooser understands Bottom’s multifaceted nature and is able to project his decency, his frustrations, his fears, and his regrets.  His delivery is extremely extemporaneous and he has a gift for nimble wordplay.  Kooser also easily transitions from one emotional beat to another.  His hallmark moment is “Bottom’s Going to Be on Top” where he not only croons a fine tune, but engages in an epic tap and verbal joust with Shakespeare.

I enjoyed the period correct costumes of Chelle Decker which were replete with jerkins, tights, cod pieces, and billowing dresses.  Marilyn Foree and her orchestra hit all the right notes (pun intended) of the score and were epic and intimate as the need arose.  Kristin Ross has some fairly effective choreography with the tap battle in “Bottom’s Going to Be on Top” and the sweeping “A Musical” and “We See the Light” being the top moments.  Lauren McCauley-Jones has some nice lighting moments with the rock concert feel of “Will Power” being my favorite.

Act I seemed to suffer from a bit of the Thursday doldrums and needed a bit more energy at some points.  That being said, they found their full groove in Act II and came out swinging.  Some of the dancing also needed to be a bit cleaner.

Something Rotten! is one of the hottest musicals making the rounds on the regional/community theatre circuit. It has great songs and a story that’s meta (the show is aware that it’s a musical), but also funny, sweet, and a little bit dramatic.  Add a director and cast that understands this and you have the recipe for an amusing night of theatre like the one waiting for you in Topeka Civic Theatre’s production.

Something Rotten! runs at Topeka Civic Theatre through April 1.  Showtimes are Thursdays at 7pm, Fri-Sat at 7:30pm, and Sundays at 2pm.  Tickets cost $25 ($46.50 for dinner option on Fri-Sat and $40.50 for Sunday brunch) and can be purchased at www.topekacivictheatre.com.  Topeka Civic Theatre is located at 3028 SW 8th Ave in Topeka, KS.

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‘The Chinese Lady’ Coming to BlueBarn

Omaha, NE–Brought from Guangzhou in 1834 as an “exotic oddity” The Chinese Lady follows the true story of the first woman from China to enter America. Afong Moy is paraded around for the American public to indulge their voyeuristic curiosities by delivering a performance of her “ethnicity.” Over the course of 55 years, Afong Moy begins to challenge her views of herself, her culture in the hands of others, and her disconnect from her homeland while grappling with her search for her own identity in America.

Venue: BlueBarn Theatre (1106 S 10th St, Omaha, NE)
Ticket Prices: $37 (Tickets can be purchased at www.bluebarn.org)
Show Dates: Mar 30-April 22 (Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm. April 16th performance will be held at 6pm)

Directed by: Wai Yim

Cast
Lisa Tejero as Afong Moy
Jimmy Nguyen as Atung

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Enjoy ‘A Little Night Music’ at Bellevue Little Theatre

Bellevue, NE–Set in 1900 Sweden, A Little Night Music explores the tangled web of affairs centered around actress, Desirée Armfeldt, and the men who love her: a lawyer by the name of Fredrik Egerman and the Count Carl-Magnus Malcom. When the traveling actress performs in Fredrik’s town, the estranged lovers’ passion rekindles. This strikes a flurry of jealousy and suspicion between Desirée; Fredrik; Fredrick’s wife, Anne; Desirée’s current lover, the Count; and the Count’s wife, Charlotte. Both men – as well as their jealous wives – agree to join Desirée and her family for a weekend in the country at Desirée’s mother’s estate. With everyone in one place, infinite possibilities of new romances and second chances bring endless surprises.

Dates: Mar 10-26, 2023
Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm.

Ticket Prices

Adults $25
Seniors $20
Students $15

Tickets can be purchased at www.theblt.org or calling 402-413-8945.

Venue: Bellevue Little Theatre (203 W Mission Ave, Bellevue, NE)

Directed by: Todd Uhrmacher
Musical Direction by: D. Laureen Pickle

Cast

Fredrika Armfeldt- Amanda Pelley

Madame Armfeldt- Sherry Josand Fletcher

Anne Egerman- Chloe Rosman

Petra- Suzanne Birnley

Desiree Armfeldt- Heather Wilhelm

Countess Charlotte Malcom- Jodi Vaccaro

Malla and Osa- Jenny Cupak-Carroll and Aimee Correa

Ladies Maid- Elizabeth Planck

Henrik Egerman- Rider Mattheis

Fredrik Egerman- Jack Zerbe

Count Carl Magnus- Malcom- Scott Van Den Top

Bertland- Elliot Kerkhofs

Frid- Eric Henery-Cavanaugh

Liebeslieders-

Mrs. Andersson – Kate Simmons

Mrs. Olsson – Samantha Shatley

Mrs. Segstrom – Emily Peklo

Mrs. Karlsson- Phyllis Cremonini

Mrs. Nordstrom – Brooke Lewis

Mr. Gustafsson – Tim Pagett

Mr. Lindquist – John Arnsdorff

Mr. Erlanson – Chris Latta

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Theatre Lawrence Announces 2023-2024 Season

Theatre Lawrence Proudly Announces 2023-2024 Season

CROWNS

Adapted by Regina Taylor from a book of the same name

A moving and celebratory musical play in which hats become a springboard for an exploration of black history and identity. In the show, a young black woman comes to stay with relatives after her brother is killed.  Weaving together faith, fashion and family, CROWNS traces the tradition of hats back to African rituals and forward to current fashion. Filled with gospel music and a little rap, the show pulses with energy and was hailed by the New York Times as “a show that seems to arise out of spontaneous combustion…”

SEPTEMBER 22, 23, 24 ; 28, 29, 30 |  OCTOBER 1

THE ROCKY HORROR SHOW

Book, Music and Lyrics by Richard O’Brien  

The original kitsch rock ‘n’ roll sci-fi gothic musical returns!  The cult classic deals with mutating identity and time warps, as innocents Brad and Janet meet a houseful of wild characters as they sing and dance their way to Frank-N-Furter’s latest creation.

OCTOBER 26, 27, 28

A CHRISTMAS STORY, THE MUSICAL

Book by Joseph Robinette | Music and lyrics by Benj Pask and Justin Paul

Based on the Warner Brothers movie and the book by Jean Shepherd  

The perennial Christmas favorite! Set in the 1940’s, the musical follows 9-year-old Ralphie Parker and his quest for the Holy Grail of Christmas gifts—an Official Red Ryder BB gun. Watch for the tongue stuck to the flagpole; the snowsuit; the bullies, the leg lamp award; the bunny suit; the Christmas dinner, and other iconic moments.

DECEMBER 1, 2, 3; 7, 8, 9, 10; 14, 15, 16, 17

DEAD MAN’S CELL PHONE

A dramatic comedy by Sarah Ruhl

An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man – with a lot of loose ends. `A wildly imaginative new story about how we memorialize the dead – and how that remembering changes us, as we confront assumptions about morality, redemption, and the need to connect in a technologically obsessed world

JANUARY 19, 20, 21; 25, 26, 27, 28

AGATHA CHRISTIE’S A MURDER IS ANNOUNCED

A mystery by Agatha Christie | Adapted by Leslie Darbon

An announcement in the local paper states the time and place of an imminent murder.  When an unknown visitor to Miss Blacklock’s Victorian home dies under the prescribed circumstances, Miss Marple turns up to solve the case in a classic Christie puzzle of mixed motives, concealed identities, twists and turns.

MARCH 1, 2, 3; 7, 8, 9, 10

I HATE HAMLET

A comedy by Paul Rudnick    

A young and successful television actor relocates to New York where he is offered the opportunity to play Hamlet onstage. The problem: He Hates Hamlet. His dilemma deepens with the entrance of John Barrymore’s ghost, who arrives intoxicated and in full costume to the apartment that once was his. The contrast between the two actors leads to a wildly funny duel over women, art, success, duty, television, and the apartment. 

APRIL 19, 20, 21; 25, 26, 27, 28

FIDDLER ON THE ROOF

Book by Joseph Stein | Music by Jerry Bock | Lyrics by Sheldon Harnick

A musical theatre tradition! This is a tale of Tevye and his family in a changing Russia. The plight of traditional values in the face of changing social mores and ethnic prejudice cuts across barriers of race, class, nationality and religion to touch audiences on a universal level with laughter, sadness and joy.

JUNE 7, 8, 9; 13, 14, 15, 16; 20, 21, 22, 23