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.

‘Murder On the Orient Express’ is Making a Stop at Theatre Lawrence

Lawrence, KS–Just after midnight, a snowdrift stops the Orient Express. By morning the luxurious train is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

A stunning night of murder, mystery, and intrigue is in store for you when one of the finest whodunnits ever written is brought to life in front of your eyes. Written by the legendary Agatha Christie and adapted for stage by the inestimable Ken Ludwig, Murder On the Orient Express promises to be as puzzling as it is entertaining. Tickets are available now at Theatre Lawrence for $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com. The show runs from Mar 3-12. Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.

Murder On the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Venue: Theatre Lawrence (4660 Bauer Farm Dr, Lawrence, KS 66049)

Directed by: Jessica Franz-Martin

Cast

Hercule Poirot…..Michael Juncker

Monsieur Bouc…..Richard Burt

Hector Macqueen…..Malachi Swedberg

Colonel Arbuthnot/Samuel Ratchett…..Dan Heinz

Michel the Conductor/Head Waiter…..Don Hires

Mary Debenham…..Emma Webster

Princess Dragomiroff…..Erica Baruth

Greta Ohlsson…..Laura Burt

Countess Andrenyi…..Abby Ilardi Lowry

Helen Hubbard…..Kelli Szrot

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.

Community Players to Present ‘Murder On the Orient Express’

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.)

Community Players Proudly Present:

Murder on the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Directed by: Rachele Stoops

Venue: Community Players (412 Ella St, Beatrice, NE)
Show Dates: Feb 10-19, 2023
Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm

Synopsis
On the snowbound Orient Express, an American tycoon lies dead in his locked train compartment. With a killer in their midst, detective Hercule Poirot must expose the murderer before tragedy strikes again! Thrills and laughs abound in Ken Ludwig’s adaptation of this classic mystery by Agatha Christie.

Tickets go on sale Jan 30, 2023 and can be purchased at www.beatricecommunityplayers.com.

Cast
Scott Clark as Hercule Poirot
Merle Jobman as Monsieur Bouc
Morgan Fox as Megan Debenham
Mark Geist as Col. Arbuthnot/Samuel Ratchett
Ashley Hothan as Greta Ohlsson
Diane Kahnk as Princess Dragomiroff
Jenny Sutphin as Countess A’ndrenyi
Zoe Tien as Helen Hubbard
Vicki Cain as Michele
Dylan Warren as MacQueen

The Tracks of Death

A murderer is lurking aboard the famed Orient Express.  Unfortunately for the fiend, the world’s greatest detective is also riding the train.  Will Hercule Poirot be able to solve the baffling killing of a shady businessman?  Find out in Murder on the Orient Express currently playing at the Omaha Community Playhouse.

As I stated in a previous review of this production, I’m not going to delve into plot details as I want the audience to experience the story fresh so they get maximum enjoyment out of it.  However, I can say that Ken Ludwig does an admirable job adapting Agatha Christie’s classic novel.  Ludwig stays fairly close to the source material though he does eliminate several characters which is a salient plot point and clue in the novel, but works around it pretty well.  Though known for farce, Ludwig plays this show pretty straight, yet manages to work a little humor into the story with his vaunted wordplay.

Anthony Clark-Kaczmarek’s direction is, on the whole, very accurate and precise.  He cuts a brutally brisk pace which keeps the audience on the edge of their seats as Poirot peels back the layers of the case.  His staging is spot on, making us feel the enclosed nature of the train and always well placing his performers so you can see their reactions to the goings-on at any given moment.  Clark-Kaczmarek also proves adept at pulling out some truly masterful performances from his thespians.  That being said, it also seemed like he tried to force a little comedy into the production as several of his actors were a little over the top which made them feel like caricatures instead of characters and didn’t always gel with the more grounded performances.

Some of the highlights of the night were Brennan Thomas who is a pretty mean S.O.B. as the murder victim, Samuel Ratchett.  Olivia Howard gives a beautiful, underplayed performance as the governess, Mary Debenham.  Ethan Dragon gives a master class in animation as the affable, and theatrical, Monsieur Bouc.

Connie Lee dominates her scenes as the obnoxious Helen Hubbard.  When Hubbard starts talking, one starts looking for her off switch as she never shuts up and has a grating personality that would even rub Mr. Rogers the wrong way.  Whether she’s frustrating passengers with late night singing and dancing or flirting with the conductor in an attempt to nab a new husband, Lee simply lights up the stage with her effervescent presence.

Daena Schweiger displays a superior dry wit as Princess Dragomiroff.  Seldom have I seen such potent hilarity come from such monotone delivery.  Schweiger knows just what words to emphasize or phrasing to utilize to get the fullest effect from Dragomiroff’s lines and her verbal sparring with Lee’s Hubbard was one of the show’s shining moments.

Seth Maisel wows in his Playhouse debut with a superb turn as Hercule Poirot.  Maisel easily conveys Poirot’s uber fastidious (bordering on OCD) personality with his hyper attention to details and the wiping of his hands after shaking with an old friend.  He also well communicates his genius with his rapid-fire deductions and ability to see through red herrings.  Maisel also brought a fantastic intensity to the role which I thoroughly enjoyed.  Maisel’s Poirot kowtows to nobody and has a highly developed sense of justice which is put to the test when that sense of justice is challenged by his dedication to the law.  His realization that, for once, justice and the law may not be one and the same leads to a haunting monologue excellently and subtly delivered by Maisel.

Justin Payne’s score had me ready for a night of mystery with its relentless eeriness.  Jim Othuse surpassed himself with this set as the Orient Express became another character with its luxurious sleeping compartments, elegant dining room, and imposing edifice during a scene done on the back of the train.  Lindsay Pape’s costumes were right on the money with the elegant suit of the impeccably dressed Poirot, the doughty dress of the uber religious Greta Ohlsson, or the spiffy uniform of Michel, the conductor highlighting some of her costuming prowess.  John Gibilisco and Tim Burkhart impressed with their sounds whether it be a gunshot, a chugging and braking train, or the flashback effect used on voices during the denouement.

The show will assuredly hold your attention and perhaps even have you white knuckling your armrests at points.  With its blitzkrieg pace, strong writing, assured direction, and solid performances, Murder on the Orient Express does provide a gripping night of mystery.

Murder on the Orient Express runs at the Omaha Community Playhouse through Oct 10.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm. Tickets start at $25 with prices varying by performance. Tickets may be purchased at the OCP 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.

Maples Repertory Theatre Announces 2021 Season: Looking Forward

I Love a Piano

June 16 – July 11

This celebration of music and lyrics of Irving Berlin follows the journey of a piano as it moves in and out of American lives from the turn of the century to the present. Along the way, the story comes to vibrant life as the cast sings and dances over sixty of Irving Berlin’s most beloved songs including “Blue Skies”, “There’s No Business Like Show Business”, “Puttin’ on the Ritz”, “Always”, “White Christmas”, and, of course, “I Love a Piano”.

Greater Tuna

June 23 – August 1

Two men play the entire cast of over twenty eccentric characters of both genders and various ages who live in the second smallest town in Texas. It’s an affectionate comment on small-town life and attitudes. Two of Maples Rep’s favorite comedic actors, Michael McIntire and Sean Riley, are slated to star.

Annie

July 16 – August 8

Everyone’s favorite orphan takes the Maples Rep stage to remind us all that optimism and hope will win the day.  Featuring a Tony Award-winning score including “Tomorrow” “Maybe” “It’s the Hard Knock Life” and “Little Girls”.  Annie is a lively, exuberant show loved by all ages.

Church Basement Ladies: You Smell Barn

September 29 – October  17

The ladies of the East Cornucopia Lutheran Church are famous for keeping the church running and meeting every hilarious challenge head on.  The new musical follows them home to see how chores family life test their mettle.  It’s nothing a hot dish can’t cure.

Ripcord

October 27 – November 7

Abby has always had a quiet room to herself at the Bristol Place Senior Living Facility. If a new roommate was assigned to the second bed, Abby – cantankerous and private – quickly got them out. That is until enthusiastic, optimistic Marilyn arrives. Soon Abby realizes that unseating Marilyn is going to take something special. A high-stakes bet quickly leads to an all-out war of comic proportions. Ripcord is an often slapstick, always surprising comedy about enemies who may or may not become friends.

Tis The Season: A Maples Rep Holiday Celebration

December 1-12

Christmas traditions come to life on stage in the all new, singing and dancing extravaganza.  Your favorite holiday songs and characters will delight the whole family.  It’s the perfect way to celebrate the season with your family and friends.

For tickets, visit http://maplesrep.com/tickets/. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

OCP Needs Some Sleuths to Solve a Murder

Omaha Community Playhouse Announces Auditions for:

Agatha Christie’s Murder on the Orient Express
Adapted for the stage by Ken Ludwig

Directed by Anthony Clark-Kaczmarek

Production Dates: Feb. 26–March 21, 2021 | Hawks Mainstage
Rehearsals: Begin Jan. 17, 2021

In-Person, by appointment only Auditions
Sunday, Nov. 29 | 2 p.m. in Dance Studio at OCP (6915 Cass St, Omaha, NE)

To schedule an audition time and to receive paperwork, email Becky Deiber at bdeiber@omahaplayhouse.com

Enter through the Stage Door on the West side of the building. For those auditioning in person: Temperatures of auditioners will be taken upon arrival. Auditioners will be required to wear a facemask. Auditions will be held individually. Callbacks may include small groups. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be appropriately sanitized. When arriving to audition, please enter through the Stage Door entrance on the West side of the building.

Virtual Auditions via Zoom
Monday, Nov. 30 | 6 p.m.
—Email Becky Deiber at bdeiber@omahaplayhouse.com to schedule a virtual audition via Zoom. Video Submission Auditions being accepted now through Nov 29. You can also submit a vocal audition video to Becky Deiber.

The Sun Will Come Out. . .Sept 13. . . at OCP

Stella Clark-Kaczmarek as Annie and Toby as Sandy

Omaha, NE–Heartwarming musical Annie will open Friday, Sept 13 at the Omaha Community Playhouse.  The show will run in the Hawks Mainstage Theatre from Sept 13 through Oct 13.  Performances will be held Wed-Sat at 7:30pm and Sundays at 2pm.

Annie is the beloved tale of a young girl who never gives up hope of one day reuniting with her parents.  After enlisting the help of Depression-era billionaire Oliver Warbucks, Annie finds herself in a tangled web of con artists, kidnappers, and–worst of all–Miss Hananigan!  With a little help from her orphan friends and her dog, Sandy, Annie ultimately finds a place where she belongs in this heartwarming classic.  Featuring timeless songs like “Tomorrow” and “It’s the Hard Knock Life”, Annie has been delighting audiences of all ages for decades.

Tickets are on sale now starting at $32 for adults and $20 for students with prices varying by performance.  Tickets may be purchased at the OCP Box Office, located at 6915 Cass Street, by phone at 402-553-0800, or online at http://www.omahaplayhouse.com.

Directed by:  Kimberly Faith Hickman

Cast

Stella Clark-Kaczmarek as Annie

Jay Srygley as Daddy Warbucks

Angela Jenson Frey as Grace Ferrell

Allison Wissman as Miss Hannigan

Christopher Violett as Rooster

Cathy Hirsch as Lily

Brinlee Roeder as Molly

Olivia Bryant as Pepper

Cleo Washington as Tessie

Pieper Roeder as Kate

Amina Teri as July

Madalynn Johnson as Duffy

And an ensemble featuring Marcus Benzel, Mark Haufle, Peter Barrett, Jared Dominguez, Sadie Langemo, Mary Trecek, Isabelle Rangel, Serena Johnson, Brittney Thompson, Carrie Trecek, Aidan Schmidtke, Andrew Schnitker, Sheldon Ledbetter, Judson Cloudt, Otto Fox, Meghan Essner, Anina Frey, Annabella Mosher, Lily Sanow, Sophia Srygley, Madison White, Andrew Karolski, Camden Park, Will Seim.

Photo provided by Colin Conces Photography

 

Forget About Tomorrow, “Annie” Shines Today

At the height of the Great Depression, Little Orphan Annie is giving hope to the populace one song and optimistic outlook at a time as she searches for her own parents.  When she meets crusty billionaire Oliver Warbucks, there may be a light at the end of the tunnel. . .for both of them.  This is Annie:  The Musical by Thomas Meehan with music by Charles Strouse and lyrics by Martin Charnin.  It is currently playing at the Rochester Civic Theatre.

The script and score of this show almost feel like a draft as opposed to a final product.  The script is definitely cute and has several amusing, breaking the fourth wall moments.  Likewise, most of the songs are catchy and memorable, if reprised a bit much.  With that being said, the script also lacks a little in character development and fails to further several ideas it introduces.  For example, it’s clear that Annie has a transformative effect on the lives of the people she meets, but we only get to see the aftermath of her charm on people and never the transformative process itself.

Fortunately, the cast and crew are able to perform a bit of Annie magic on the script’s shortcomings.

Under the steady direction of Lee Gundersheimer, this show assuredly becomes more than the sum of its parts.  Gundersheimer guided his troupe to solid, effective performances.  He also has a sure sense of staging with good utilization of the theatre space.  One of the strongest staging moments was the orphans entering Warbucks’ house for Christmas.  Every possible entrance point was used including the auditorium and orchestra pit.

I salute the chorus of this production as they helped to animate the group scenes with the little bits of business crucial to creating this world.  Some standout performances came from Alyssa Keller who shines in a solo (and demonstrates unbelievable breath control) in “N.Y.C.”; Chad Campbell and Gabrielle Hensrud as the slimy, swindling couple, Rooster and Lilly St Regis; Rocco Ruggeri is spot on as the puppeteer for Sandy the dog; and I was especially impressed with Jessica Carey’s performance as Molly.  Though she be tiny, she is fierce as she has an exceptional sense of comedic timing and a larger than life presence.

Shea Morrey makes for an utterly natural Annie.  She’s adventurous.  She’s friendly.  She’s gutsy.  She’s feisty.  She’s determined.  She’s sweet.  I couldn’t help but smile at her nearly limitless optimism and she has a deadly accurate singing voice which soared in “Tomorrow” and “I Think I’m Gonna Like it Here”.  She just needs to be certain to keep up the breath support in some of her higher registers.

Mark Morrey is pretty darn good as Oliver Warbucks.  I liked his firm, but fair take on the character.  Arguably, Warbucks is the most developed character in the show as he begins as being focused solely on his business, but peels off the layers to show a terribly lonely man who has a lot more in common with Annie than one would think.  Morrey is permitted to give Warbucks some surprisingly deep moments with “Something Was Missing”.  I also liked how he adapted his singing to the character voice he used for Warbucks, managing to be on key, yet sound as if he were off key at the same time.

Emily Watkins very nearly steals the show as Miss Hannigan.  Ms Watkins clearly had a ball with the role as the drunken, cruel head of the orphanage who forces her wards to clean the orphanage every single day, works them in a sweatshop, and shamelessly throws herself at any man with a pulse who walks through the door.  Ms Watkins skillfully takes this role right to the very brim to the cup, but never goes over the top.

Ellen Huston has supplied a pretty nifty piece of choreography, especially in two show stopping numbers with the children, “It’s a Hard Knock Life” and “Fully Dressed”.  Sarah Wood Lieske and her orchestra provided a spritely night of music.  Kevin Dobbe and Doug Sween make for a good tandem with the set.  Dobbe’s projections of NYC, alleys, and bridges melded well with Sween’s bunk beds, lavish Warbucks mansion, and conference table of FDR’s Cabinet room.  Marco Magno’s costumes were of excellent quality with the rags of the homeless, the cheap clothes of the orphans, and the elegance of the Warbucks household.  Paul Sund’s lights were exceptional and well suited to each scene and emotional beat of the play.

The show definitely needed much tighter cue pickups last night, but the warm and winning cast has provided a real crowd pleaser for the holiday season.

Annie:  The Musical plays at the Rochester Civic Theatre through December 16.  The show is sold out for the remainder of the run.  Rochester Civic Theatre is located at 3773, 20 Civic Center Dr in Rochester, MN.

“A Christmas Carol” is Sleeker, But Chipped Around the Edges

Greedy miser, Ebenezer Scrooge, is given one chance to redeem his soul.  Will a visit by the three spirits of Christmas be enough to gain salvation?  This is the story of A Christmas Carol adapted by Charles Jones from the classic novel by Charles Dickens and celebrating its 40^th anniversary at the Omaha Community Playhouse.

Question:  How do you breathe new life into a 40 year old tradition?

Answer:  You put Hilary Adams at the helm.

Ms Adams’ direction gives A Christmas Carol a new lease on life.  More importantly, her direction went a long way in giving me the A Christmas Carol that I’ve long wanted to see.  Ms Adams accomplished this task by trimming a lot of unnecessary fat from the play, cutting a whiplash pace, and, for the most part, guiding her actors to natural, realistic performances.  I applaud Ms Adams for her staging of the story and she and the stage crew deserve especially high praise for the seamless and effortless scene changes.  The only critiques of her direction are that she needed to rein in some of the more cartoony performances that weakened this incredibly realistic production and to slow down the pace just a little bit.  Some of the actors were talking so fast that diction suffered and some important beats got glossed over.

I was extraordinarily pleased with Jerry Longe’s performance as Scrooge.  This was actually my third go-around in watching this play and the two previous times I thought Scrooge was missing something crucial.  This time I got a pitch-perfect Scrooge.  Longe’s Scrooge is cold-hearted, mean, greedy, selfish, and those are his better points.  This is a man that needs redemption.  I thought Longe was especially effective in making Scrooge’s salvation a drawn out process.  He fights changing tooth and nail and changes just a little with each interaction with the spirits until he finally sees the error of his ways.  That slow process makes the light-hearted, giddy Scrooge utterly believable when he is, at long last, redeemed.

Longe does need to slow down his delivery.  I lost some of his dialogue in Act I because he was speaking so quickly, though his speed was much more controlled in Act II.

David Krenkel was a wonderful surprise as he made his Playhouse debut as Bob Cratchit, Scrooge’s long-suffering clerk.  Krenkel was utterly natural as Cratchit.  He imbued a wonderful fatherliness and goodness into his role which had me believing him from start to finish.

I was underwhelmed by Don Keelan-White’s portrayal of Jacob Marley.  Keelan-White’s rushed line delivery resulted in the loss of character and made it feel like he was simply going through the motions.  Marley should exude a sense of otherworldliness and he seemed all too human to me.  Instead of speaking faster, Keelan-White just needs to close up the spaces between his words.  This will allow him to retain nuance without sacrificing pace.

Bridget Robbins strikes all the right notes as the Ghost of Christmas Present.  Ms Robbins found quite a few nice character moments in her role.  I was especially impressed with how her Spirit was concerned about Scrooge’s welfare, yet had no qualms about giving him a metaphorical shot to the mouth by using his own cruel words against him.

I am not quite certain what Michael Farrell was trying to accomplish with his interpretation of the Ghost of Christmas Present.  His phrasing was rather odd which made it difficult for me to understand what he was saying.  Farrell’s vocal quality also made it seem like he was trying to be jolly (which did come through) and magisterial (which did not quite hit the mark).

The ensemble was always engaged in the action, but there were several notable performances in smaller roles.  Don Harris impressed as Jake, especially in a scene where he tries to stand up to the usurious Scrooge before caving into him.  Emily Mokrycki is splendid as Mrs. Cratchit and strikes the perfect balance between love for her family and disdain for Scrooge.  Megan Friend excels with a sweet turn as Belle Fezziwig, the one-time fiancée of Scrooge, and a hilarious turn as the thieving Mrs. Dilber.

Jim Boggess and his orchestra add to the feeling of Christmas with bright and spritely renditions of Christmas carols.  Georgiann Regan’s costumes perfectly fit the Victorian tale.  Jim Othuse’s sets, lighting, and special effects are absolutely marvelous.

I understand that over 70% of the cast was appearing in this play for the first time.  That much new blood combined with opening night jitters may account for some of the bumps I saw tonight with diction, volume, and interpretation, especially in Act I.  The cast seemed to find their groove in Act II which is a good sign that they will reach their full potential for this 40^th anniversary run.  All quibbles aside, I still consider this to be the best version of A Christmas Carol that I’ve seen at the Playhouse in the nearly 19 years I’ve lived in Omaha.  Even if you have seen the play before, I promise you surprises that will make it new all over again.

A Christmas Carol plays at the Omaha Playhouse through December 23.  Performances are Wednesdays at 7pm, Thurs-Sat at 7:30pm, and Sundays at 2pm and 6:30pm.  There are no performances on Nov 25 or 26, but two additional performances will be held on Dec 22 and 23 at 7:30pm.  Before Dec 15, tickets are $36 for adults and $25 for students.  Tickets for the Dec 15-23 performances are $40 for adults and $29 for students.  For reservations contact the OCP box office at 402-553-0800 or visit www.omahaplayhouse.com or www.TicketOmaha.com.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.