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.

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 6^th St in Council Bluffs, IA.

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.

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 8^th Ave in Topeka, KS.

The Blood in the Blizzard

An unsavory businessman is found murdered in his locked sleeper car on the Orient Express.  Who killed him?  Was it the obnoxious, man-hungry American?  Perhaps it was the pious missionary?  Could it be the Russian princess?  Match wits with Hercule Poirot and see if you can figure out who done it when you watch Murder On the Orient Express at Theatre Lawrence.

One thing I’ve discovered as a regional writer is that a certain show or two get hot every single season and hit the schedules of many theatres.  The last year or so, this show has been a sizzling property.  So much so that this marks my fourth review of it.  That being said, Theatre Lawrence’s version has been my personal favorite as all of the right elements came together to forge an incredibly intense and gripping night of theatre.

I was hooked on Jessica Franz-Martin’s direction from the very first voiceover.  Franz-Martin sets the mood for this tragic mystery with an ethereal voiceover held over the projection of a gently falling snow and it’s off to the races from there.  Not only does she lead her actors to pristine performances, but her staging is off the charts as she knows just how and when to bring in the technical elements to enhance the storytelling which will keep you on the edge of your seat until the final revelation.

As for the cast. . .well, there isn’t a weak link in the lot.  Under Franz-Martin’s skillful guidance, they work like an Olympic caliber relay team as they effortlessly pass the verbal baton back and forth between each other.  Don Hires is the model of efficiency as the conductor, Michel.  Kelli Szrot will have you grinding your teeth as the irritating Helen Hubbard who never knows when to shut her yap.  Richard J. Burt is ebullient and high-strung as Monsieur Bouc, the manager of the company that owns the Orient Express.  Erica Baruth’s tongue cracks like a whip as the blunt and direct Princess Dragomiroff.  Laura Burt strikes just the right note of piety as the missionary, Greta Ohlsson.  Malachi Swedberg is loyal, if put upon, as Hector Macqueen, the secretary to the murder victim.  Emma Webster’s physicality shows she’s hiding a secret as the former governess, Mary Debenham.

 I was quite impressed by the versatility of Dan Heinz who plays the dual roles of Colonel Arbuthnot and Samuel Ratchett.  As Ratchett (the murder victim), he comes off like a Neanderthal with his brutish temperament, his slumped shoulders, and mobster voice.  As Arbuthnot, he is every bit the honorable soldier with his ramrod posture and his strong, but firm voice that rings with the right level of authority which would make you follow and respect him.

Abby Ilardi Lowry has a very compelling performance as Countess Andrenyi.  Lowry brings a deep intelligence to the character who is more than capable of matching wits with the genius of Hercule Poirot.  I especially liked her banter with Poirot which strongly hinted that in another time and place, there might have been something more between them.  Lowry has a real gift for nimble wordplay with her dialogue during the corpse examination scene being a shining example.

In the midst of all the murder and mystery stands Hercule Poirot, incredibly essayed by Michael Juncker.  Juncker beautifully underplays the role and just exudes a sense of mastery and control.  His deductions are always spontaneous and extemporaneous, but what I truly enjoyed was the weightiness he brought to the role.  Poirot begins this mystery with a burdened conscience as his most recent case had tragic results.  This burden is always lurking in the background until his solution in this case forces him to face the reality that the law and justice may not always be one and the same.  Juncker shines with Poirot’s final decision in this moment and its aftermath.

I was blown away by James Diemer’s set.  It’s so functional as it changes from the walls and windows of a luxury hotel to the entrance to the Orient Express before splitting open to reveal a revolving set that smoothly rotates to show the conductor’s office, the sleeper car (wood outlines imply doors and walls), and the dining car (the snow frosted windows were a brilliant touch).  Diemer’s lights enhance the mood with the blood red of the murder scene and the almost sepia toned spotlights on the suspects during the denouement being especially nice flourishes.  Bob Newton’s sounds are a work of art that boost every moment whether it’s the jarring stop of the Express hitting a mountain of snow, to the old-time song playing from a radio, to my favorite moment, the metallic slashing of a knife in the murder scene.  Jane Penington’s costumes are period accurate with Michel’s tunic, Dragomiroff’s regal garb, and Poirot’s sedate suit being particular standouts.

If you’re looking for a stellar night of mystery and intrigue, this is it.  Taut with tension, rife with intrigue, and murderously mesmerizing.  Murder On the Orient Express is a puzzling night of entertainment that will have you biting your nails and keep your attention from the first snowflake to the final somber note.

Murder On the Orient Express runs at Theatre Lawrence through March 12.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.  Tickets are $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com.  Theatre Lawrence is located at 4660 Bauer Farm Dr in Lawrence, KS.

The Dreams of Success

From L to R: Candace Gould, Karissa Denae Johnson, and Zhomontee Watson star in Dreamgirls

Follow the trek of a girls’ soul group as they struggle to make it as professional singers and then cope with the crushing weight of success.  This is Dreamgirls and it is currently playing at the Omaha Community Playhouse.

Hang on to your hats, ladies and gents.  Masterpiece #2 has arrived at the Playhouse with this exhilarating musical that’s a treat for the eyes and the ears.  It’s scary to think how great this show is going to be by the end of its run because this cast came out roaring with a virtually perfect preview night performance that had people swaying to the music and some even singing along to the tunes.

Tom Eyen certainly has a strong knowledge of this era of music with his references to payola and the obstacles facing black musicians trying to cross over to the pop charts in an industry already infamous for its brutal and cutthroat nature.  Eyen has a gift for creating indelible characters and his story is fairly strong.  I did think he gave some characters short shrift and didn’t completely wrap up some of the individual story arcs.  But these minor flaws get lost in the mesmerizing music which perfectly captures the Motown/soul/R & B sound of the 60s and the evolution to the disco craze of the 70s.

 Kathy Tyree guides this production with the hand of a grandmaster.  Every element has its place and all the pieces move like pistons in a well-oiled machine.  Tyree leads all of her thespians to superlative performances, cutting a brisk and efficient pace.  Her knowledge of the beats is spot on and she handles the show’s more emotional moments with grace and aplomb.  I truly enjoyed her inspiration of staging the performance with a literal stage complete with colorful lights and metal supports (skillfully designed by Jim Othuse).

Few things thrill me more than getting to see new faces on stage and this show is packed with OCP debuts who were packed with outstanding talent.  Some fabulous performances were supplied by Anthony Haynes who is dynamite as Marty, the fast-talking, tell it like it is music agent.  Vi Griffin brings a soft-spoken power to C.C,, the gifted songwriter who helps fuel the Dreams’ rise to stardom.  Candace Gould shines as the youngest member of the Dreams, Lorrell, who begins as a somewhat immature teenager, but evolves into a confident adult who finally makes the right choice for herself.

Jus. B continues to solidify my belief that he is one of the hottest talents in Omaha today. His versatility is on full display with yet another powerhouse performance.  This one is particularly impressive as his Curtis is the most down to earth antagonist I’ve ever seen.  Curtis isn’t really a bad person, he just has the fatal flaw of extreme ambition.  He wants success so bad that he can taste it and everything he does is designed to benefit him in that single-minded pursuit.  If others benefit along the way, well, that’s just icing on the cake.  His iron control over the Dreams does yield that success, but at the price of a lot of misery.  B also has a powerful voice just as versatile as his acting which has booming finality in “It’s All Over” or sincere sweetness in “You Are My Dream”.

Jordan Willis certainly did his homework with his sculpting of Jimmy “Thunder” Early.  Willis’ singing and dancing style evoke memories of James Brown and Jackie Wilson.  As good as his voice and moves are, it’s the tragedy he brought to the role that I found most compelling.  Wills’ Early is a soul singer.  That’s what makes him happy.  But his drive for superstardom allows him to be convinced to alter his style into a more approachable balladeer which brings him the success he yearns for at the cost of his happiness, especially when his star begins to dim.  Willis’ voice is perfect for soul music and he brought the audience to their feet with “Fake Your Way to the Top”, but he can also move your soul with the sensitive, “I Meant You No Harm”.

Karissa Denae Johnson has a showstopping theatrical debut as Deena Jones.  She clearly has the gift of performing as her ease on stage and delivery are the equal of actors with many years of experience.  I loved the arc she brought to her character as she wanted to make it as a singer, but as part of a unit.  She reluctantly takes center stage solely to help the group succeed.  Once that’s accomplished, she begins to search for what will make Deena Jones happy.  Johnson has a beautiful silky voice and incredible instincts as her first performance as lead singer in “Dreamgirls” strikes that right note of nerves and shyness, but her confidence grows until she nails the emotional finale in “Hard to Say Goodbye, (My Love)”.

I needed an ice cold drink to cool me down after being lit up by the fire in the voice of Zhomontee Watson.  Watson can belt a song like few can while also acting up a storm as Effie White.  The Dreams were clearly inspired by the Supremes and Effie is assuredly this group’s Diana Ross.  But that story gets inverted as Effie’s better voice is forced to take a back seat to Deena’s better look.  Watson gives Effie a definite ego as she saw herself as the focal point of the group and she ends up tripping herself up as her jealousy (and other factors) tank her career until she learns a little humility to launch a comeback.  Watson’s singing is a hallmark of the production and she had the crowd enraptured with the thunderous Act I finale, “(And I’m Telling You) I’m Not Going”, but my favorite number was her humble and self-revelatory “I Am Changing”.

Justin Payne’s musical direction is auditory nirvana.  Payne’s band skillfully handles the night’s numbers as if they wrote the score themselves and the harmonies of his singers are like eating a decadent dessert.  Lindsay Pape rises to the costuming challenge like never before and has achieved the best costumed production I have ever seen.  My favorite piece of costuming was the evolution of the Dream’s dresses which evolve from attractive, but affordable, orange dresses in their salad days to gorgeous sequined gold outfits at the height of their success.  Ray Mercer’s choreography is flowing and natural.  There’s nothing huge or flashy about it (except for Jimmy’s larger than life dancing) and is exactly what I’d expect from a pop group.  Tim Burkhart and John Gibilisco’s sounds are subtle, but add that vital piece of seasoning to the production.

The Playhouse is certainly on a tear with two straight bangers and I envision this one to be a big awards season darling.  More crucially, I also envision it to be a monster sellout so get those tickets before they vanish.

Dreamgirls plays at the Omaha Community Playhouse through Mar 26.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm. Tickets are on sale now, starting at $25 and may be purchased at the Box Office, by phone at (402) 553-0800, or online at OmahaPlayhouse.com. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo provided by Omaha Community Playhouse

Hypocrisy’s Bloom

Elaine Alvarez stars in the title role in Opera Omaha’s Suor Angelica

Sister Angelica has been sentenced to a convent by her aristocratic family to atone for the sin of having a child out of wedlock.  Virtually disowned, she yearns for nothing more than to be restored to her family. . .especially to the son she was forced to surrender.  This is the tragic tale of Suor Angelica which is currently playing at the Orpheum Theatre under the auspices of Opera Omaha.

This opera is part of Il trittico, a trio of one acts written by Giacomo Puccini dealing with death.  And death is definitely a prominent theme.  Not just physical death, but also emotional death.  Spiritual death.  The death of hope.  And all of it wrapped in a fetid box of hypocrisy masquerading as faith.  In the midst of all this tragedy and gloom rises that mustard seed of faith which truly does have the power to move mountains and grant true peace.

Keturah Stickann really does yeoman work with this production.  When a show is this short (barely more than an hour), a director doesn’t have the luxury of a methodical build and resolution.  The beats come fast and furious and compel the director to help her or his performers reach emotional highs and lows on the turn of a dime and the spur of a moment.  Stickann does this effortlessly.  Her direction especially shines with the intense meeting between Sister Angelica and her aunt, La Principessa and Sister Angelica’s descent into a depressive fugue.  Stickann even manages to add some humor at the top of the opera with some of the nuns trying to outpious each other with vows of ridiculously demeaning and self-abusing acts of penance for minor “sins”.

Ronnita Miller is an imperious presence as La Principessa.  Miller uses her powerful mezzo-soprano like a sword as she cuts down Sister Angelica with her scorn.  Clearly she holds no love for her niece and is implied to be the force that motivated the family to deposit Sister Angelica at the convent with her litany of atonement.  Even her kindness, such as it is, is wrapped in a terrible cruelty as she shares the status of Sister Angelica’s son with a frigid coldness, albeit a slight reluctance to indicate she truly did want to avoid causing her niece pain.

On Elaine Alvarez’s shoulders rides the weight of this show in the title role of Sister Angelica and she bears that weight with incredible strength and grace.  Alvarez has a crystal-clear soprano with superhuman projection power that always suited each emotional beat from utter joy to complete devastation.  Alvarez also has some formidable acting chops as she strikes just the right note of anger and defiance with her aunt to shedding genuine tears when she learns of the tragedy of her son.

The baton of Judith Yan is a paintbrush creating a beautiful landscape.  From the gentle tolling of a church bell to a nearly audible gasp of realization after poison has been drunk, Yan and her musicians create an almost living presence that serves as the opera’s lifeblood.  S.A. Panfili has designed a simple and effective set highlighted by a chapel and fountain.  Betty Fredrickson’s clerical garb is right on target.  J. Isadora Krech has created some very atmospheric lighting especially in the final scene where a bit of fog and a backlight create a hopeful and heavenly vision.

My only disappointment is that the story takes a back seat to its themes.  A lot of crucial story elements are implied rather than explicitly stated and it seemed there was a fuller story waiting to bloom.  Still, the music, acting, and singing serve to fill in those gaps mighty well and make for a more than effective tragedy.

Suor Angelica has one more performance on Feb 26 at 2pm.  Tickets range from $19-$99 and can be purchased at www.ticketomaha.com.  The Orpheum Theatre is located at 409 S 16^th St in Omaha, NE.

Photo Credit: Opera Omaha–Casey Wood

Godspellbinding

Billy McGuigan stars as Jesus in “Godspell”

Experience the teachings of Jesus and His sacrifice as told by the Gospel of Matthew in Godspell which is currently playing at Benson Theatre under the auspices of Rave On Productions.

In a sense this show marks the full circle of my theatrical life as this was the first show that made me aware of theatre waaaaay back when I was in the third grade and we listened to “Day by Day”.  However, this was my first time actually seeing the production.

I was very glad to see Rave On tackle a show outside of their usual métier and they passed the challenge with flying colors.  This show is a load of fun due to an incredibly talented cast and deft handling of Stephen Schwartz’s score.

The actual script is surprisingly simple.  There’s very little originality in the dialogue as it’s a nearly verbatim lifting of the Gospel of Matthew.  The originality comes in the handling of the dialogue and the music (many tunes were actual hymns) and that’s where the show’s strength lies. 

Many varied styles of storytelling are utilized in the production:  spoken word, pantomime, charades, vaudeville, even a bit of performance art and it all makes the words of the Gospel come alive.  Matthew McGuigan’s musical direction is especially superb as he brought many genres into the music from Gospel to rock to a bit of blues and jazz and even adult contemporary.  Yet he still gives it a flavor as if the music were just written today.

Kimberly Faith Hickman is a triple threat for this production as she not only directed and choregraphed the piece, but she also designed the costumes for the actors. 

As director, Hickman does no wrong.  The actors are always lively and energetic and each story has its own unique flavor.  She well guides the ensemble who often have to play many different roles and each one is unique and well-defined.  Hickman also handles the more emotional scenes, especially Jesus’ Passion, with power and grace.

As choreographer, the numbers each have their own indelible mark.  Whether from the purely fun vaudevillian dancing of Jesus and a follower in “All for the Best” to the use of flashlights and arms in a most literal kind of line dancing in “Light of the World” to the spontaneous freestyle of “We Beseech Thee”, each number is just as much fun to watch as it is to listen to.

As costumer, the costumes are very casual and bring the characters into the modern times though some have a definite taste of the show’s 1970s roots with the vests.

The show has a strong ensemble which features powerful performances and singing from Jonathan Berger who does double duty as a jubilant John the Baptist preparing the way of the Lord and a tragic Judas who calmly offers to betray Jesus, yet has a moment where he nearly reconsiders that’s going to punch you in the gut.  Megan Berger can belt a song like few can and gets the freight train rolling in “Tower of Babble”.  Brittney Thompson nails the show’s signature number “Day by Day” with a light bluesy interpretation with a voice as soothing as running waters.

The bulk of this show lies on the shoulders of the actor playing Jesus and Billy McGuigan proves he’s as formidable an actor as he is a musician as he turns in a performance likely to have him in the mix for Best Actor in a Musical at next year’s OEAs.  His energy and versatility are astonishing as he can be light and amusing in one moment and then tell a simple story in the next.  But his best moments are his dramatic ones in Act II as Jesus’ death draws near.  His simple, clean request to the Father to avoid death will melt your heart.  His refusal to succumb to Satan’s temptations are fused with a desperation to hold onto God’s truths in Jesus’ darkest hour.  And his agony on the cross will silence you with its sadness.

If you’re a person of faith, you’re apt to find this show wonderfully worshipful.  If you’re not, I’m betting you’ll really reflect on this show’s message as you’re being entertained.

Godspell runs at Benson Theatre through Feb 26.  Showtimes are 7:30pm Fri-Sat and 2pm on Sundays.  Tickets start at $35 and can be purchased here.  Benson Theatre is located at 6054 Maple St in Omaha, NE.

Photo provided by Rave On Productions

The Essence of Justice

The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)

While riding the Orient Express, famed Belgian detective Hercule Poirot finds himself investigating the locked room murder of an unsavory businessman. Will Poirot’s little gray cells penetrate the smoke and mirrors or has he finally been outwitted by a murderer who always seems to be one step ahead?  Find out by watching Murder On the Orient Express at Community Players.

This is actually my third time reviewing a production of this show and, as always, I’m not going to get into the plot outside of my opening paragraph as I want the audience to be able to enjoy the mystery to its fullest.  As I’ve noted in other reviews, Ken Ludwig not only adheres very closely to Agatha Christie’s novel, but he also plays the show pretty seriously and eschews his normal style of broad farce though his knack for humorous wordplay is still very much present.

Rachele Stoops surprised me by approaching the show from a very comedic angle.  Where the humor was natural and organic, it was a dead center bullseye.  The landing and feel of some of the other jokes is going to rely on one’s familiarity with the show or story.  If you’re a newbie, you’re likely to laugh uproariously.  If you’re super familiar with the story, some of the jokes might feel a little forced.

That being said, the quality of Stoops’ direction is very good indeed.  I really liked the staging of the production as it felt small and confined which really upped the sense of danger as one quickly realizes the killer is among the passengers on the train.  Pacing was incredibly brisk though some quicker cue pickups and closing spaces around words would enhance it even further.  Stoops has guided her thespians to well defined performances as each has developed a fully three dimensional person.

This is truly an ensemble play as each character plays a vital role and some strong performances came from Mark Geist as the hot tempered and protective Col. Arbuthnot.  Dylan Warren has a nice everyman quality as the put upon secretary of the murder victim.  Vicki Cain shows some versatility as the head waiter at a hotel restaurant and the efficient conductor of the Orient Express.

Zoe Tien brought an angle to Helen Hubbard that I’ve never seen before and, by golly, I loved it.  Not only was she perfectly obnoxious as the man hungry, childish American, but she was a moron.  Clearly this was a woman who just doesn’t get it and her obliviousness and pettiness made for some of the show’s best moments.  Of particularly fine vintage were her tap routine to irritate her mean-spirited train neighbor and her constant sniping with Princess Dragomiroff.

Diane Kahnk is deliciously droll as Princess Dragomiroff.  If you look up unflappable in the dictionary, you’re going to find Dragomiroff’s picture.  Nothing seems to faze her and she can more than hold her own with the formidable Poirot.  Kahnk’s bon mots are always on the mark and you can almost see the lightning bolts fly between her and Tien’s Hubbard during their arguments.

Scott Clark is a most effective Hercule Poirot.  Clark not only brings Poirot’s intelligence to the role, but he also brings his sense of mastery.  He is always in control of every situation and I liked the comfort he found in the law for, in his mind, justice and the law were always one and the same.  This makes his inner turmoil all the more intense when, for the first time, he is faced with a situation where justice and the law are on opposite sides of the line.  Scott foreshadows this struggle beautifully at the top of the show with a reference to a recently solved case and you can see that weighing on his mind when he is faced with the human factor of this denouement.

I was extraordinarily impressed with Jamie Ulmer’s set design.  He has an amazing sense of proportion as he was able to make the Orient Express feel like a behemoth in the small confines of the theatre.  He skillfully blends three sleeper rooms with the dining car and the design allows the actors to all be present and seen without feeling bunched up or blocking and upstaging each other.  His lighting is also excellent especially with the use of the spotlight on Poirot to bookend the start and finish of the play and his use of light and dark to get the audience looking in the wrong direction like a magician performing sleight of hand.  Ashley Hothan, Morgan Fox, and Diane Kahnk have well costumed the cast with period accurate clothing that suits the personality of the characters from Poirot’s elegant and perfectly measured suit to the royal dress of the proud Dragomiroff.  Jamie Ulmer, Brandon Clark, Doug Stokebrand, and Brielle Toland team up for some spot on sounds from the gentle chugging of the Express to this eerie siren sound that would blast at key moments of the case.

All in all, this is a very worthy show and the size of the audience and their proportional enjoyment have me convinced that Community Players has a definite hit on their hands.

Murder On the Orient Express plays at Community Players through Feb 19.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $20.43 and can be purchased at www.beatricecommunityplayers.com.  Community Players is located at 412 Ella St in Beatrice, NE.

On the Poor Side of Town

Billy Ferguson stars as Mark Cohen in “Rent” at the Omaha Community Playhouse

Come experience a year in the lives of the people of a poor neighborhood in NYC.  This is Rent and it is currently playing at the Omaha Community Playhouse.

I’ll make this short and sweet.  This is the season’s first masterpiece.  Good night, everyone!

Oh, very well.  I’ll share some more.

I actually had never seen this show before tonight and did not know any of its songs, though I did remember this show being extremely hot property back when it debuted in 1996.  Little did I know what I had been missing.

Jonathan Larson wrote an incredible tour de force with compelling stories and amazing songs.  I detected influences from Andrew Lloyd Webber and Shakespeare mixed in with Larson’s heart and vision.  His show is also very prescient with its powerful theme of inclusiveness which makes it very much a show that fits in today’s environment.

I’ve occasionally referenced theatrical kismet when a show gets all the right elements in place to create an indelible piece of magic and this show has that from top to bottom.  Superior musical direction.  A perfectly cast ensemble.  Dead on the mark direction.  Flawless technical elements.  Lovely voices and brilliant choreography.  Spot on acting.  There’s even a little audience participation (and I mooed with the best of them).

Stephen Santa is on fire with this show.  Not only is his direction pluperfect, but it’s one of the very best, if not the best, pieces of staging I’ve ever seen.  Santa uses the entire theatre with his actors joining the audience on the risers to make us part of the story.  And “Contact” is, without question, the single most perfectly staged moment I’ve ever witnessed.  Santa also led his actors to superlative performances.  Never did he let them cheat or shortchange an emotional moment and this show has them in droves.

This show has the truest ensemble I’ve ever seen.  By that I mean that each role holds a crucial level of vitality and necessity and everyone gets a moment to shine at some point.  Some stellar performances come from Evelyn Hill who is larger than life as Maureen, a performance artiste trying to fight the good fight against a lot owner attempting to evict the homeless.  Brandi Mercedes Smith is incredibly effective as the no nonsense lawyer, Joanne, who is in a tumultuous relationship with Maureen.  DJ Tyree Is not only eminently likable as Tom Collins, but he has a voice like a warm and comfortable quilt and an unbelievable vocal range from soaring tenor to deep baritone.  I defy you to listen to him sing “I’ll Cover You” and not start crying.

Isa Gott has one killer Playhouse debut as Mimi.  Gott displays some masterful versatility with her depiction of the old before her time teenaged exotic dancer/junkie further bolstered by her sizzling chemistry with Jesse White’s Roger.  In one moment, she’s hungrily eyeballing Roger as she flirts with him while trying to get a candle lit.  In another, she’s emotionally gutted by Roger’s constant distrust and pushing her away.  Her reactions are always natural and right on the money and her jones for heroin when overpowered by stress is palpable.  Gott also has the voice of an angel and just smacks emotional pitches out of the park with the flirty “Light My Candle”, the seductive “Out Tonight”, and the haunting “Without You”.

Over the past few years, Jesse White has made his mark as one of Omaha’s finest musical actors and is in especially fine fettle as Roger.  There’s a real nimbleness to White’s portrayal of the recovering junkie musician as he leaps from emotional beat to emotional beat and those beats swing huge as Roger can go from upbeat to broken on the turn of a dime.  White even had a remarkable way of making his eyes seem hollowed out to show his former dependence on drugs and his sickliness from battling HIV.  White shows Roger’s weariness, his distrust, his reluctance to open up emotionally, and even his hopefulness, especially as he struggles to write one great song before he shuffles off this mortal coil.  White has got a sensational voice as he fights to achieve that “One Song Glory” which he certainly does with a phenomenal take on “Your Eyes”.

Personally, I saw the character of Angel as the lynchpin of this group of friends.  His indefatigable joie de vivre serves as the fuel for everyone’s happiness.  When he hits the scene, the day gets a little brighter and when he’s not around, things go awry.  In Wayne Hudson II’s hands, the role is a piece of acting gold.  Hudson’s Angel just eats life with shining teeth.  He never seems to have a bad day and is always willing to be a supportive rock for those struggling emotionally.  Hudson is incredibly sweet in the role and he and Tyree’s Tom Collins make for an adorable couple.  Hudson has got a nice light tenor which he uses well in “You Okay, Honey?” and the gut wrenching “I’ll Cover You”.

Mark is the closest thing this show has to a central character as he serves as narrator and I got the sense that the show might have been the great documentary he was trying to create.  Billy Ferguson gives a top rate performance as the hopeful documentarian.  Ferguson’s take on Mark is that he’s always searching for something.  He’s searching for that great documentary.  He’s searching for that sense of connection in a community.  Heck, he’s even searching for the rent money.  It’s interesting to watch Mark’s inner turmoil as he battles suppressing his artistic vision to the expediency of money when a tabloid show wants to employ him after his footage of a riot hits the news.  At the same time, he is tormented by watching friendships fray and decay in Act II and fears being the only one of his group left alive as nearly all of his other friends suffer from HIV and AIDS.  Ferguson shows some emotional musical versatility of his own as he commiserates with his ex’s new girlfriend over her selfishness and libido in “Tango Maureen”, snarkily sticks it to a former friend in “La Vie Boheme”, and frets over his future and the potential deaths of his friends in “Halloween”.

Jim Boggess was in especially rare form (and that’s saying something!) with his work on this show.  Not only was his conducting of the orchestra infallible, but his molding of the singers was of tremendous quality with their beautiful harmonies and blended voices.  I’d also like to tip my hat to the band as Colin Duckworth, Mark Haar, and Vince Krysl did yeoman work.  But I especially want to laud Jennifer Novak Haar’s keyboard work as it just transported me to another realm.

Aaron Derell Gregory supplies some phenomenal choreography for the show.  What I liked best about it was its spontaneity.  It never felt staged.  It always seemed so natural as if the characters just felt like dancing for the sheer fun of it.  And “La Vie Boheme” is easily the most infectious piece of choreography I’ve ever seen as I almost succumbed to the temptation to get up and start dancing with the cast. 

Nora Marlow Smith has designed a fantastic set as it looks like a dingy street in NYC with the placement of ladders and lights really feeling like the industrial loft of Mark and Roger.  I especially liked the rotating crosswalk which Santa skillfully used to represent emotional distance between characters in key scenes.  Andrew Morgan’s properties add that sense of poorness with discarded TVs and is enhanced by Janet Morr’s protest graffiti.  Darrin Golden adds some technical wizardry with snowfall, confetti, and balloons.  Josh Wroblewski’s lights add something special especially with the Christmas lights and the street corner light used when the homeless comically deride another Christmas season.  The sounds of Tim Burkhart and John Gibilisco suck you in even before the show starts with the horn honks, bustling traffic, and police whistles pulling you into another morning rush hour in NYC.  Lindsay Pape’s costumes well communicate the bohemian lifestyle of the denizens of this neighborhood.  But she also gets to show off some other personalities with the rigid business wear of the TV exec trying to hire Mark and the matronly wear of the mothers of Mark and Roger when they’re leaving voice mails. 

Truly, this was an extremely satisfying night of theatre and one of the top five musicals I’ve had the pleasure of watching.  It’s a nearly perfect story with wonderful characterizations and unforgettable music.  Do yourself a favor and get a ticket yesterday because this one is already selling out.

Rent runs at Omaha Community Playhouse through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm. Tickets are on sale now, starting at $45 and may be purchased at the Box Office, by phone at (402) 553-0800, or online at OmahaPlayhouse.com. Due to strong language and some mature themes, parental discretion is advised. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo by Colin Conces