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.

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

Bellevue Little Theatre Announces Auditions for ‘Girls Weekend’

Bellevue Little Theatre Proudly Announces Auditions for:

Girls Weekend

Auditions will be February 26 & 27 at 7:00pm
Both nights at Bellevue Dance Academy (2264 Franklin St, Bellevue, NE)
Callbacks may take place on February 28​
Production will run weekends May 5-21
​Rehearsals to start in March

Click here for audition form. Please bring it with you to the audition.

Synopsis

​In this lightning-quick farce, four women travel to Dot’s Northwoods cabin to consume copious amounts of wine, laugh at their lives, trade stories and chat about their book club’s latest selection. However, after the third case of wine comes through the door, it becomes clear there will be more stewing than reviewing. Carol, who is monitoring her temperature for the best “window of opportunity” to get pregnant, gets a ride to the cabin from her husband, Rick, who is hoping the “time is right” for a quick tryst. She sends him home, frustrated, in a snowstorm, only to discover that her temperature shows she IS ready, and calls him to drive back and hide out in a shed until she can sneak him in with a special porchlight signal. Meg, recently widowed, is having a secret affair with Dot’s son, only to find he has shown up at the cabin unexpectedly and wants to further their relationship in stealth. Meg sends him to hide in a boathouse until he sees her special porchlight signal and the coast is clear to rejoin her in the cabin. Ellie, the youngest and Meg’s daughter, would rather not be a part of the weekend with her “elders” and meets a young townie, inviting him to hide out in a barn. When he sees her special porchlight signal, he climbs into her bedroom window and sneaks her out to a local bar after the other ladies retire. The only obstacle to each of the ladies’ secret endeavors is Dot, who wants to stay up all night and party with the girls. So they make sure they ply her with plenty of party favors, and Dot proceeds to pass out. The ladies move Dot’s lifeless body from floor to closet to room, as the bottles tip up, the secrets spill out and the men sneak in. The madcap, door-slamming chaos comes to a head when Dot wakes up and discovers her girls’ weekend is full of men!

Roles

Dot: 50-60 something. Orchestrates the weekend. Has a 30-something year old son, Stephen
Meg: 40s. Dating Stephen. has a 20-something year old daughter, Ellie
Carol: 30s. Trying to have a baby with her husband, Rick
Ellie: 20s. Single. Free spirit. Doesn’t really want to be there
Stephen: 30s. Dot’s son. In a relationship with Meg
Rick: 30s. Carol’s Husband
Sheriff Tom Lane: 30s. Divorced. Newly elected
​Bubba: 20s. Townie. Went to college with Ellie. Currently working for his dad.

The Lies We Weave

After breaking into the home of the Hailsham-Browns, a shady character is murdered.  For reasons of her own, the lady of the house tries to cover up the crime, but a relentless police inspector is bound and determined to bring the truth to light.  This is Spider’s Web and it is currently playing at Bellevue Little Theatre.

As an actor I understand the importance and the struggle of avoiding typecasting.  Actors often yearn for the opportunity to play something different from what brought them to the table for a change of pace, the challenge, etc.  In a sense, this play is Agatha Christie’s attempt to avoid being typed solely as a mystery writer.

Seeking to play a different role from the sinister characters for which she had become known, Margaret Lockwood requested Christie write a little comedy thriller for her.  Christie laid a little too much into the comedy side of things.  Had she brought her legendary gift for plotting into the mix, I think the show would have been better served.  What we have is a comedy with just the barest trappings of a mystery.

This particular production is boosted by two things.

1. Christie’s gift for unique characters remains intact.
2. A cast and director who found every bit of gold in the story and elevated it based on talent and effort.

Indeed, Christopher Scott shows an extraordinary level of theatre acumen in his direction of this piece.  He leans heavily into the character work and makes certain that all of his performers have well-defined characters who are grounded in reality, even with their quirks.  Scott crafts some fine moments of tension and shock with the murder scene being of a particularly fine vintage.  Some of my favorite moments were the slamming of drawers and the ominous sliding open of a secret passage just so I could hear the audible reactions of the audience member sitting in front of me.  Scott keeps the pace up as well as could be done as this show is just crammed with dialogue, especially in the lengthy first act and has his actors lean into the comedy which helped add vitality to long stretches of dry dialogue.

There isn’t a weak tire in the cast and you’ll see some fine character performances from Dennis Stessman as a very proper butler who knows how to make an exit.  At the age of 14, Lilli Westman has a sense of comfort on stage equitable to veteran adults which makes her Pippa a joy to watch.  Jon Roberson serves as a beacon of normalcy as the steady Henry Hailsham-Brown.  Ben Pearson brings an oily criminality to Oliver Costello.  Brandon Dorsey is stalwart as Constable Jones.  Jackson Newman and Randy Wallace have some extremely excellent chemistry as a comedy duo with their characters of Hugo and Rowland.  Matt Karasek is superbly charming as Jeremy and can speak volumes with an expression or a look.

As Christie deviated from her normal style of writing, this show doesn’t contain a proper detective character though the Inspector comes the closest.  In the hands of a less capable performer, this character could be very one dimensional, but Katie Otten adds multiple dimensions through sheer force of acting ability.  With her ramrod posture and steely-eyed gaze, Otten makes it clear her Inspector is not one to be trifled with.  She brings an intelligence to her character as she knowingly keeps the suspects separated so they can’t collude on stories and is able to spot the clues and make rapid fire deductions. She can also play good cop/bad cop on her lonesome as she can be ingratiating and sympathetic in one moment and then be as volatile as lightning in the next.

One always has the feeling that Sarah Dighans’ Miss Peake isn’t wrapped all that tightly.  She truly lives in her own little reality as she often walks into the Hailsham-Browns’ home as if she owns it and punctuates her speech with a piercing laugh that has the others potentially looking for a straitjacket in case she starts frothing at the mouth.  Miss Peake is assuredly one of the most original characters I’ve seen brought to life and Dighans’ rendition of this character is a highlight of the night.

Clarissa Hailsham-Brown has a fantasy life worthy of Snoopy.  Sara Scheidies’ interpretation of this character had me sensing that she was truly bored of the life of a housewife as she enjoyed playing little jokes on her friends and loved indulging in the game of “Supposing” where she invents little fantasies to enjoy.  Clearly she enjoys the game a little too much for, as she often says, people don’t believe her even when she tells the truth.  Scheidies brings a real innocence to the character as her addiction to “Supposing” gives her an appalling lack of common sense as she tries to cover up the murder instead of seeking the aid of the police.  Or maybe she has more crucial reasons for avoiding the police. . .

Chris Ebke has designed a lovely little country house with soft tan walls, elegant period furniture, a crystal chandelier, and a very neat secret passage that triggered memories of the old Batman TV series.  Joey Lorincz has some very effective lighting tricks as he has the chandelier exude a soft blue when the lights go down so you can see just enough of what’s going on to know what’s happening, but without revealing any salient plot points.  Lora Kaup has designed proper period correct clothes from the 1940s-50s with handsome suits, golf wear, and dresses.

While I prefer more mystery in my mysteries, the efforts of this cast and director turn a middling story into an enjoyable night of character work with a few shocks and surprises and elevate it into something far better.

Spider’s Web plays at Bellevue Little Theatre through Jan 29. Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $25 and can be purchased at the Box Office, at blt.simpletix.com, or calling 402-413-8945.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

Family Drama

Lon Smith has been offered a promotion that requires him to relocate himself and his family to New York.  Lon’s family, especially his headstrong and troublemaking daughters, are dead set against the move.  In trying to derail the move, Lon’s eldest child, Rose, ends up derailing his job.  To find out how the family copes with this turn of events, watch Meet Me in St. Louis currently playing at Bellevue Little Theatre.

This show is unusual in that it first began life as a series of short stories by Sally Benson called The Kensington Stories in 1942 and these stories were later novelized under the title of Meet Me in St. Louis. Arthur Freed would convince Louis B. Mayer to buy the film rights and the stories were turned into a musical starring Judy Garland in 1944. Later, Christopher Sergel would turn the stories into a straight play. This production happens to be the straight play and it is very much a period piece.  It does seem a bit stronger than others of its ilk as it isn’t quite so draggy as its counterparts.  This production was also aided by a cast who were able to infuse the words and characters with some whimsy and charm.

Newcomer Jackson Newman really does get all that he can out of the script and any director that can manage to keep vibrancy with incredibly talky dialogue is clearly doing something right.  Newman strikes the right emotional beats with his control of the dialogue and gets his cast to project a strong sense of family.  He’s also led his cast to some effective performances and makes good use of the massive living room set.  It never feels empty in any spot and actors are well staged and blocked and can be seen at all points.

There were some exceptional performances in the supporting cast.  Chris Latta is an insufferable toady as Duffy.  Dannika Rees just bleeds snobbery as Lucille Pentard.  Randy Wallace amuses in the dual roles of the eccentric grandfather who claims he was once a king and as Lon’s blustering boss, Mr. Dodge.

This show had a real find in the form of Amy Wagner as Agnes.  Wagner struck all the right notes as the bratty and defiant tomboy who plays some pretty dangerous and mean-spirited pranks.  Wagner’s voice was clear and strong and could be heard throughout the theatre and her articulation was clear as a bell.

Francisco Franco is very sweet and fatherly as the family patriarch, Lon Smith.  Franco brings a real gentleness to Smith who is fully aware that he doesn’t have much control over the behavior of his children.  As such he uses persuasion and reason to convince his children of the soundness of his judgments as opposed to ordering them about.  What I truly admired about his performance was that he didn’t get angry when his kids screwed things up, he got hurt.  And his agony was more of a punishment to his children than his anger ever could hope to be.

Charity Williams imbues her Rose with the right blend of youth and nobility.  Rose has many positive qualities such as determination and forthrightness.  However, due to her youth, she can misuse these positive traits and can act with great idiocy.  Her mouth tends to run away with her and she often acts before she thinks which can lead to a world of trouble.  But sometimes her blitheness can save the day, too.

Joey Lorincz conjures yet another piece of theatrical magic with his gorgeous living room set that looks like it stepped right out of the early 1900s with its red patterned wallpaper and he closes the show with a colorful fireworks display shining through the living room window.  Rebecca Krause has the living room filled with period correct furniture.  Francisco Franco doubles up with sound design work with my favorite being a yowling cat used in a few gags.  Todd Uhrmacher’s costumes suit the period with dapper vests and suits for the men and fancy dresses, hats, and gowns for the ladies.

There were a few squeaks in today’s performance.  Pacing needed to be much quicker and cue pickups were lax.  Some of the movements seemed a little too staged and needed to be more natural.  Still, if you like a good vintage piece, then Meet Me in St. Louis will be right up your alley.

Meet Me in St. Louis runs through Nov 20. Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $25 and can be purchased at the Box Office, at blt.simpletix.com, or calling 402-413-8945.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

Bellevue Little Theatre Holding Auditions for “A Little Night Music”

Bellevue Little Theatre Announces Auditions for:

A Little Night Music

Directed By: Todd Uhrmacher
Musical Direction By: D Laureen Pickle

Audition Dates & Time: Dec 13 and 14, 2022 at 7pm
Location: Bellevue Dance Academy (2264 Franklin St, Bellevue, NE)

Production runs March 10-26, 2023; Fridays-Sundays
Rehearsals will begin in January
Masks are strongly recommended

Production is in need of young adult & adult actors of any gender or ethnicity. BIPOC are especially encouraged to audition. Please prepare 16-32 bars of any song, and bring PRINTED music for the accompanist. Please, NO acappella. Please wear comfortable clothing for light movement and waltzing and bring/wear appropriate shoes. (Ages 16+)

More info at theblt.org

About the Musical
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.

Character Overview
-Fredrik Egerman: Successful middle-aged lawyer. Baritone A2–E4[1]
-Anne Egerman: Fredrik’s new, naive wife. Soprano G♯3–A5
-Henrik Egerman: Fredrik’s son, 20 years old. Tenor G2–B4
-Petra: Anne’s maid and closest confidante. Mezzo-soprano F♯3–F5
-Desiree Armfeldt: Self-absorbed actress. Mezzo-soprano F♯3–E5[2]
-Fredrika Armfeldt: Desiree’s 13 year old daughter. Soprano C4–E5
-Madame Armfeldt: Desiree’s mother. Contralto C3–F♯4
-Count Malcolm: Desiree’s lover. Operatic Baritone G2–F♯4
-Countess Malcolm: Carl-Magnus’ wife. Mezzo-soprano G3–F5
-Frid: Madame Armfeldt’s manservant. Has a tryst with Petra.
-The Quintet: Mr. Lindquist, Mrs. Nordstrom, Mrs. Anderssen, Mr. Erlanson and Mrs. Segstrom. Act as a Greek chorus.
-Malla: Desiree’s maid.
-Osa: Maid at Madame Armfeldt’s manse.
-Bertrand: Page at Madame Armfeldt’s manse.

Practical Evil

When a violent encounter with a creepy, conservative conspiracy theorist results in his death, a group of liberal master’s students decide to better the world by killing those they deem to be a potential danger. . . which happens to be those who disagree with their way of thinking.  This is The Last Supper and it is currently playing at Bellevue Little Theatre under the auspices of SNAP! Productions.

After two years, SNAP! returns to live theatre with a pretty dark and disturbing play by Dan Rosen.  This had actually been a movie and is a combination of a grislier version of Arsenic and Old Lace and the living out of the question, “Would you kill a young Hitler when he was innocent in order the prevent the horrible atrocities he would later commit?”  Rosen has a good grip on the current political climate and his play is actually an interesting commentary on the dangers of political extremism across all spectrums.

That being said, the script is weakened a bit by its lack of character development, dearth of sympathetic characters, and an ambiguous ending (though this becomes less so if you follow the clues.  Here’s a hint.  They’re all visual, so pay close attention.  Happy hunting!)

Todd Brooks has a tremendous sense of atmosphere as he bookends the play between a pair of thunderstorms which well represent the violence of the material and the moment.  He also does an excellent job with the subtlety of the final scene.  Brooks also has led his performers to fairly effective performances, especially with the victims who are the most compelling characters in the show.

Strong ensemble performances come from Dennis Stessman who exudes a cold and palpable menace as the creepy truck driver who gets the victim train going.  Don Harris provides some needed levity as the sheriff.  Randy Wallace is oblivious to his own hypocrisy as the man of God who has a horribly warped view on the horror of AIDS and perceives homosexuality as a disease.  Chloe Irwin is a blend of naivete and arrogance as a high schooler suing her school due to a belief that mandatory sex education is an invasion of her privacy.

As I stated earlier, there is a great lack of character development in the show.  As such, it’s hard to delineate the performances of the primary characters as they simply are what they are.  The only thing that seems to differentiate them is their degree of bloodlust.  The worst of them is willing to kill at the drop of a hat while the best of them comes to realize just how monstrous the group has become.

Roz Parr’s Jude is the primary character that gets the most character development.  At first, she is keen to get in on the killings and is one of the first to suggest eliminating those who don’t adhere to the groupthink.  But she is also the one who truly realizes how corrupted they have become through their heinous acts.  Parr really shines when the focus isn’t on her as her visceral reactions show how appalled and horrified she has become as the murders get easier, but the “crimes” justifying them get significantly minor.

Chris Scott does exemplary work with Norman Arbuthnot.  A conservative pundit in the vein of Tucker Carlson or Sean Hannity, Scott’s Arbuthnot is used primarily in interstitials promulgating more and more outlandish bilge until a chance meeting leads to him having dinner with the students where he seems to be a much more reasonable person.  He freely admits that a lot of what he says is just schtick to get attention onto a subject he cares about and almost convinces the students that there is room for differing opinions.  But just when he has you convinced he’s decent, he pulls an act that shows he fully buys his own hype which Scott handles with smarmy aplomb.

Sarah Kolcke has designed a very warm and welcoming home with a comfortable living room and kitchen which serves as a stellar counterpoint to its cold occupants.  Joey Lorincz should win an award for these lights especially with the lightning, the use of shadow, and use of spotlights on silent actors.  Daena Schweiger does some nifty A/V work with the use of the intros for the shows of several conservative pundits as well as her original creation of an intro for Arbuthnot’s show.  Connie Lee’s costumes are natural and suitable to the characters.

Act I felt pretty rough and almost like a rehearsal.  Cue pickups were very loose and the acting in the aftermath of the first death lacked a needed shock and intensity.  In Act II, the conversations felt a lot more natural and in tune with the ever-increasing stakes of the situations.

In the end this show takes a pretty absurdist look at the dangers of extreme political thought, but it also points out the very real threat posed by those who close their minds instead of truly opening up to discuss and debate our differences in order to reach a place of true understanding.

The Last Supper plays at Bellevue Little Theatre under SNAP!’s auspices through July 24.  Showtimes are 7:30pm Thursday and Friday and Sunday at 2pm.  Tickets start at $30 and can be purchased at the BLT Box Office or by visiting www.snapproductions.com.  Due to strong language and mature subject matter, this show is not suitable for children.  Bellevue Little Theatre is located at 203 W Mission St in Bellevue, NE.

After Two Years, SNAP! is Back with “The Last Supper”

Omaha, NE– The second event in the “SNAP! @ Large” Series is the stage version of the 1995 film The Last Supper. Adapted for the stage by the screenwriter himself, Dan Rosen, this play will have its Omaha premiere and will mark the first full production for SNAP! in two years.

The Last Supper is a dark and fiercely witty comedy set in a small Iowa town. The story follows a group of liberal grad students and their well meaning descent into murder.

Would you play God if you could? It’s 1921. You’re in a bar. In Vienna, Austria. You’re sitting across from a young man, his name is Adolf Hitler. He hasn’t done anything inherently evil. . . yet. But he will. You know he will. He might even start a world war, one day. So… Do you kill him? Do you kill him because you know you can save all those millions of innocent people? Do you kill him because, deep in your soul, you know you’re doing the right thing? It’s a question that has been posed by many, but what would happen if you and a group of friends actually decided to take a conviction so far that the lines of right and wrong get blurred? Would you play God if you could?

Directed by Todd Brooks and boasting a cast of veteran actors: Christopher T. Scott, Kerron Stark, Ethan Dragon, Roz Parr, Breanna Mack, Adam Bassing, Dennis Stessman, Randy Wallace, Kaitlin Maher, Jared Dominguez, JJ Davis, Mary Beth Slater, Don Harris and Chloé Irwin. The Last Supper is a funny and fascinating look at human nature, conviction, creative gardening, politics and hypocrisy of the highest sort. The production staff includes Brian Callaghan (Stage Manager), Sarah Kolcke (Set Design), Connie Lee (Costume Design), Daena Schweiger (Audio – Visual Design / Producer), Joey Lorincz (Lighting Design), Joey Hartshorn (Property Design), Gary Planck (Food Wrangler) and Seth Maisel (Fight Choreographer). The Last Supper will run for three weeks, from July 8 – 24, 2022 at Bellevue Little Theater located at 203 W. Misison Street. Ticket prices are $35 with discounts for students, military and seniors. Curtain times are 7:30 pm, Friday and Saturday; 2:00 pm on Sundays. The theater opens a half hour before showtime. For tickets or more information, the public is invited to visit www.SnapProductions.com.

Bellevue Little Theatre Announces 54th Season

Bellevue Little Theatre Announces Season 54

Footloose: Sept 16- Oct 2, 2022

–Footloose celebrates the exhilaration of youth, the wisdom of listening to one another, and the power of forgiveness.

It’s A Wonderful Life: Nov 4-20, 2022

-It’s the gorgeous love story of George and Mary Bailey, a vivid portrait of the Greatest Generation, a descent into the darkest hour of a man trapped by circumstance and a powerful meditation on what makes a meaningful life.

Agatha Christie’s Spider’s Web: Jan 13-29, 2023

-A conscious parody of the detective thriller, Christie delivers a unique blend of suspense and humor in a intricate plot of murder, police, drug addicts, invisible ink, hidden doorways and secret drawers.

A Little Night Music: Mar 10-26, 2023

-Stephen Sondheim’s romantic nineteenth-century waltz whisks us away to a weekend in the country.

Girls’ Weekend: May 5-21, 2023

*Our 250th Production!*

-From the writer of our World Premiere: Temporary Insanity. Karen Schaeffer’s Girls’ Weekend is “Marvelous … successfully punchy … be prepared to laugh”

D.O.A.

A gathering at the home of the Bennetts results in a murder and nobody is above suspicion.  Find out who done it in Death by Design which is currently playing at Bellevue Little Theatre.

This show has two things working against it.  The first is the pandemic.  Due to the surge in infections, the actors masked up for the performance which robbed them of their ability to use facial expressions.  The second is the script itself.

Not only is the story pretty weak with a lack of build, poor motivations for the murder, and an unsatisfactory denouement, but I think writing it in the vein of a 1930s sitting room drama hampered it even further.

Sitting room plays are exceedingly hard sells because the dialogue drives everything.  If the dialogue is sharp enough and the cast talented enough, it can be done.  Unfortunately, the dialogue of this show’s first act had all the snap, crackle, and pop of a soggy bowl of Rice Krispies.  Act II was a bit better as it focused on the investigation which made it a tad more gripping.

This story and lack of expressions would have buried a lesser cast, but it’s a tribute to the strength and talent of this show’s cast and director that they pulled out what they did given the circumstances.  Through the use of gestures and vocal animation, they managed to overcome the limitations of the masks.  They also managed to have colorful characters and inject a few jump scares which helped to make the tepid tale more palatable.

Jon Flower’s direction got everything it could out of this story.  He staged the show brilliantly.  The actors were always well placed as I could see all of them at any point and watch their reactions to the events bubbling around them.  I was also especially impressed with the murder scene at the end of Act I.  Easily the show’s best scene, it was chock full of tension as every suspect loomed over the body of the victim in almost total darkness masking the murderer and method of death.  Flower also led his cast to solid performances with nary a weak link among them.  That being said, accents were a bit of a mixed bag and some actors really needed to tighten the cue pickups.

This is truly an ensemble piece and each actor more than held up her or his end of the bargain.  Bill Bossman makes a fine Omaha debut as an arrogant hypocrite who hides his own moral shortcomings under a façade of moral superiority.  Nicki Sitler projects the needed vanity and vapidness of an ingenue actress.  Devon Moore is a suitable everyman as the chauffeur, Jack.  Adam Kerr has the youthful energy needed for an advocate for the workingman.  Charity Williams is a delightful, blubbering mess as the young mistress of Bossman’s Walter Pearce looking to escape from him once and for all.

Sarah Ebke is a delight as the maid, Bridgit.  Clearly the show’s smartest character, Ebke’s Bridgit actually becomes the show’s detective character and it’s well foreshadowed as Bridgit silently observes the shenanigans of the other characters as she tidies up the home, putting her in the ideal spot to unmask the killer.  Ebke is sharp and clever in the role and her energy really drove the show’s second act.

Chris Ebke does sterling work as Edward Bennett.  He utilizes a flawless British accent and has a slightly snooty, upper-class attitude and his “polite” sparring with his vain actress wife provided some needed levity in the show.  I also liked the ambiguous malevolence he gave the character.  From his first appearance, it’s clear he has ill intent for somebody, but who the identity of that somebody is the real question.

God bless Connie Lee.  Her appearance as Victoria Van Roth in latter half of Act I helped kick it out of the doldrums.  She definitely got the show’s most interesting character as her Van Roth lives in some outlier of reality where she translates her feelings into interpretive dance.  Lee masks her talent as a dancer with a series of ludicrous gyrations that made her look like an Egyptian hieroglyphic on crack, though her movements still had an ugly grace about them.

The show’s technical elements were outstanding.  Joey Lorincz continues to show why he’s one of the city’s best scenic designers with the elegant living room of the Bennetts with its striped walls and glass doors.  His lights were also of top quality, especially in the crucial murder scene where he left just enough light to see the silhouetted bodies of the actors.  Todd Uhrmacher’s costumes well suited the period with the traditional working gear of the maid and chauffeur to the lovely gown worn by Sorel Bennett to the dapper evening wear of the gentleman and the elegant, almost mystic wear of Lee’s Van Roth.

Though the story may try to pull them down, this cast and crew managed to pull it up to a higher level in spite of itself and I salute them for their efforts.

Death by Design plays at Bellevue Little Theatre through Feb 5.  Showtimes are 7:30pm Fri-Sat and 2pm on Sundays.  Tickets cost $20 and can be reserved at bellevuelittletheatre.weebly.com or by calling 402-291-1554.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.