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.

Dynamite Divas

From L to R: Dara Hogan, Dani Cleveland, Shirley Terrell-Jordan, Alisa Moore, Caitlin Mabon

If you like watching paint dry, grass grow, or wallpaper peel. . .well, to be honest, I worry about you and you’re reading the wrong review.  Now if you like sass, jazz, razzmatazz, soul, and rock n roll, buckle up your seat belts and get ready for four dynamite divas to add a little rocket fuel to your night.  They’re loud.  They’re proud.  They’re bold and they’re gold.  And all they want is a little Respect down at the Omaha Community Playhouse.

Respect is a 90 minute concert that pays tribute to the trailblazing women of music.  You’ll sway, bop, and dance to hits from legendary performers such as Aretha Franklin, Carole King, Dusty Springfield, Dionne Warwick, the Supremes, and many more.  While you’re “Dancing In the Street”, you’ll also learn some trivia and facts along the way.

How good is this show?

Why don’t you tell me?  How would you rate a show that gets people clapping, has them bouncing in their seats, earns spontaneous standing ovations, and has them roaring?

My sentiments exactly.

The four singers just dominate the stage and had the audience eating out of the palms of their hands.  All of them have big, beautiful, powerful voices that excelled in harmony and in solo work.  Their colorful, sequined dresses designed by Lindsay Pape sparkled just as much as their voices.  They clearly had a blast performing these numbers and that enthusiasm infected the audience with a frightening rapidity.

Dara Hogan’s star really shone tonight with her complete and utter ownership of her numbers.  Confidence just poured from her as she out-Tinaed Tina Turner with a thunderous take on “Proud Mary”; hit a bullseye with a solo moment in “Don’t Make Me Over”; and brought it all home with a classic performance of “I Am Woman” that would make Helen Reddy weep.

Dani Cleveland has a nice throaty voice that just wraps you in warmth and has a flair for comedy as shown by her witticisms.  And such skill!  Cleveland showed mastery of multiple genres from the country stylings of Connie Francis’ “Who’s Sorry Now” to the soft pop of Gladys Knight and the Pips’ “Midnight Train to Georgia”, and matched the mighty Diana Ross in “Stop!  In the Name of Love”.

Shirley Terrell-Jordan’s energy could power a bullet train and seemed imbued with the spirit of Dionne Warwick when she belted out “Don’t Make Me Over” and I thrilled to her take with Dusty Springfield’s “Son of a Preacher Man”.

Caitlin Mabon really had a wide emotional spectrum with her numbers.  Particular standouts were an intense, even a little angry, take on Lesley Gore’s “You Don’t Own Me” which was one of my favorite melodies of the night and a sweet take on Carole King’s “You’ve Got a Friend”.

Jim Othuse’s lights lent that big time concert feel to enhance the work of the larger than life quartet while Ananias Montague and his band (Myles Jasnowski, Darren Pettit, Jonathan Sanders, Raquel Taylor, and Jacob Sorensen) perfectly played the numbers of these legendary artists.

A few wonky microphone moments couldn’t stop the onslaught of this tuneful train and if you leave this show without having a good time. . .well, I fear you fit my opening sentence.

For the rest of you, you still have a chance to catch Respect, but move fast!  As of this writing, tickets are only available for June 23 and 25.  Tickets start at $35 and can be purchased by calling 402-553-0800, visiting the box office, or heading to www.omahaplayhouse.com.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

Searching For a Half

Internationally ignored musician, Hedwig, decides to tell her life story at a concert and perhaps discover her missing half at the same time.  This is Hedwig and the Angry Inch currently playing at the Waiting Room Lounge under the auspices of Rave On Productions and is the debut performance for their Omaha Series.

This was one of the most refreshingly original shows I have viewed.  Powered by hard hitting rock songs and power ballads by Stephen Trask, John Cameron Mitchell has written a pretty deep and moving tale framed within a rock concert.  Hedwig, born Hansel, has always been searching for her missing half i.e. her soulmate.  And she has gone through a lot to find that soulmate.  From living with a mother who showed no love to enduring a botched gender reassignment surgery to escape communist East Berlin to surviving as a hooker to having her songs stolen by a lover she thought was “the one”, Hedwig has lived a fascinating, if difficult life.  The pressure seems to be finally getting to her as she feels compelled to share her life’s story and her grip on reality weakens with each passing moment until the final song when. . .well, you’ll have to see the show to find that out.

Kimberly Faith Hickman’s direction soars throughout the production.  This show has beats aplenty and Hickman knows how to hit them all as she has guided her lead actor through the myriad twists and turns of Hedwig’s emotional journey.  She clearly understood the end game of this show and knew the most interesting and correct path to get her Hedwig to that point.  I especially liked how she made certain Hedwig was always at the right emotional pitch when segueing into the musical numbers making the transitions seamless.

Jesse White has placed himself thoroughly in the running for the OEA Outstanding Actor in a Musical prize for his performance as Hedwig.  White is so natural and believable as the glam rocker.  He snaps off Hedwig’s numerous double entendres with effortless ease and gently leads the audience down Hedwig’s emotional road.  The nuance in his voice is beautiful and captures the subtlest emotion usually best exemplified with Hedwig’s cruel treatment of her husband, Yitzhak.  White never gets loud, but his delivery has a barbed nature that really ticks you off.

White also has a good knack for improvisation with his reactions to the audience, especially in his handling of a couple of boisterous audience members on a few occasions.  He’s also got a knock out, power tenor singing voice that tore the house down in numbers such as “Tear Me Down”, “Sugar Daddy”, “Wig In a Box” and “Wicked Little Town”.

I am constantly amazed by the talent of Evelyn Hill whenever she takes the stage.  Though she’s only a high school senior, she’s already built a reputation as one of Omaha’s finest musical talents.  This time her pantomime skills are on fine display in this production.  Her Yitzhak rarely speaks, but his expressions speak volumes with the utter disdain and hatred he harbors towards Hedwig for suppressing his far greater natural talent and keeping him from performing as a drag queen which he loves.  Hill even gets a few moments to wow us with her musical chops as she briefly belts out “I Will Always Love You” and takes over on “Exquisite Corpse”.

But what is a singer without a band?  Under the musical direction of Matthew McGuigan, the Angry Inch (Matthew McGuigan, Ryan McGuigan, Larell Ware, Max Meyer, Jay Hanson) shines as they superlatively rock out the score of this show.  Amanda Fehlner nails the costumes with the glam look of the Angry Inch which conjured images of Twisted Sister and the look of Hedwig who appears to be the next coming of Ziggy Stardust.

Hedwig and the Angry Inch is an explosive theatrical debut for Rave On Productions and one I feel has the potential to be a big awards season darling.  If you’re ready for a night of safe, socially distanced entertainment, give this rocker a try.

Hedwig and the Angry Inch plays at the Waiting Room Lounge (6212 Maple St, Omaha, NE) through Feb 27. Ticket prices are $35 and can be purchased at https://www.etix.com/ticket/e/1016517/hedwig-omaha-the-waiting-room. Showtimes are Thursdays at 7:30pm, Fri-Sat at 7:30pm and 10pm and Sundays at 7pm. Due to mature themes and language, this show is not suitable for children.

Don’t Stop Them Now

From L to R: Jonathan Berger, Evelyn Hill, Jesse White (back row), Eric Perlstein, Brittney Thompson, Ejanae Hume

Look!  Up on the stage!  It’s a chord!  It’s a bard!  No, it’s Don’t Stop Me Now!  A Celebration of Rock Musicals.  This joint production between Rave On Productions and the Omaha Community Playhouse is currently playing in the Storz Parking Lot at OCP.

This rollicking revue of rock musicals is a rather ambitious production and hits the right notes (pun intended) for the most part.  Rave On and OCP give the audience a potpourri of tunes ranging from hard rockers to soft ballads to some pretty emotional works.  I especially enjoyed the fact that not only were classic well-known numbers and shows utilized, but they also selected songs from lesser known productions which really spiced up the evening.

Kimberly Faith Hickman’s direction brought some fun theatricality to the night while Matthew McGuigan’s musical direction was utterly flawless.  He and his band were in fine fettle as they played with a rich gusto and energy that gave the songs a familiar feel, but imbued them with a unique vibrancy.

The show is blessed with a talented troupe of troubadours who each get their moments in the sun and occasionally blend in glorious harmony.  Some shining moments were Brittney Thompson’s rendition of the power ballad “And I Am Telling You I’m Not Going” from Dreamgirls and Ejanae Hume’s killer take on “Take Me or Leave Me” from Rent.  Eric Perlstein kicked things off with the sonorous “Heaven On Their Minds” from Jesus Christ Superstar, gave us a little Four Seasons with “December, 1963 (Oh What a Night), but his shining moment was his interpretation of “Boulevard of Broken Dreams” from American Idiot with his sensational, soulful emoting.  Jonathan Berger’s lower tenor got to glow with Billy Joel’s “Movin’ Out” and “Tear Me Down” from Hedwig and the Angry Inch.

But in a group of standout performers, Evelyn Hill and Jesse White really stole the show.  Hill is a worthy successor to Brenda Lee’s moniker of Little Miss Dynamite as her talent is explosive.  Hill threw herself into her numbers and stunned with performances including a high powered rendition of ABBA’s “Mamma Mia” and her half of “Suddenly, Seymour” from Little Shop of Horrors. 

White is a performer’s performer with his own animated performances.  His tenor is both soaring and searing as he tore through the night outdoing Frankie Valli’s falsetto in “Sherry”, was shyly comforting in his half of “Suddenly, Seymour”, nailed David Bowie’s “Changes” from Lazarus to the floor, and capped the night with Queen’s “Don’t Stop Me Now”.

But the night’s capstone number came from Ryan McGuigan with his tragically haunting version of “Gethsemane” from Jesus Christ Superstar.  Aside from his formidable musical chops, McGuigan brought a little top notch acting as he was shedding real tears by the end of the song and if you can listen to it without your soul stirring, then you probably don’t have one.

But I can’t end this review without mentioning the splendid work of Jim Boggess who hosted the festivities.  His wit, warmth, and humor really enhanced the night and his introduction of each number was a real aid for those who may not be familiar with each song and show.

There were some moments of singers not having enough breath for certain notes and numbers that were fine technically, but needed a bit more commitment to bring them to that next level, but these were minor quibbles in a thoroughly entertaining night.

It’s a rocking good time and a pleasant, and socially distant, way to get out and have some fun.  Take a break from these strange times and get a ticket to see this one before it’s too late.

Don’t Stop Me Now! A Celebration of Rock Musicals plays at the Omaha Community Playhouse through Sept 20. Showtimes are Wed-Sat at 7pm and Sundays at 6pm. Tickets cost $35 and can be purchased online at www.omahaplayhouse.com or by phone at 402-553-0800.  This is a cashless event and reservations are required.  CDC guidelines are being followed and parking spaces will be assigned upon arrival.  Please do not arrive earlier than 60 minutes before showtime.  The Omaha Community Playhouse is located at 6915 Cass Street in Omaha, NE.

Photo provided by Zach Wagner Photography