That Little Town Hurt

Chicagoan, Ren McCormack, relocates to the small town of Bomont after his parents separate.  His normal teen lifestyle and love of dancing quickly bring him into conflict with the town’s uber conservative adults and the local minister who holds the true power. Adding to the conflict is the fact that Ren is smitten with the Reverend’s wild daughter, Ariel.  This is Footloose:  The Musical and it is currently playing at Bellevue Little Theatre.

As I said when I reviewed this show earlier this summer, this show truly benefits from the fact that the film’s original scriptwriter, Dean Pitchford, also helped to write the musical.  This allowed the movie’s intended story to make a smooth and faithful transition to the stage.  Blend it with some original tunes, add some 80s hits, and throw in some energetic and raucous dancing and you’ve got the formula for a pretty good night of theatre and the best show I’ve seen mounted at Bellevue Little Theatre.

Joey Hartshorn provides a pretty deep piece of direction for the production.  One of the dominant themes of the show is personal pain and the show’s three leading characters are just buried in their personal woes.  This provides a rich field for nuanced and subtle acting and Hartshorn probes those levels to their depths and gets some truly dynamic performances out of her leads.  Hartshorn also knows how to have a bit of fun where needed as the kids clown about in the right moments.  The staging is wonderful and makes full use of the theatre space (both stage and the theatre).

The ensemble is solid and some excellent supporting performances come from Cynthia Jones who has a quiet strength as Vi Moore, the wife of Rev. Shaw Moore, and serves as his bedrock as he poorly copes with his own pain.  Donovan Carr is a base thug as Chuck Cranston and one of my true regrets of the script is that he never gets the comeuppance he’s got coming to him.  Madison Becker Is stalwart and loyal as Ariel’s best friend, Rusty.  Becker also knows how to be present in a scene and I chuckled at some of her reactions to the goings-on about her.  Becker also has a dynamite singing voice shining in “Let’s Hear It For the Boy” and “Somebody’s Eyes”.  The only small note I have is that Rusty is supposed to be a motormouth so Becker can speak much faster.

Will Hastreiter dominates as Ren.  He’s a touch too old to be playing the teenaged Ren, but summons such youthful energy and angst that one tends to be sucked into the illusion.  Hastreiter brings the proper blend of decency and bravado to Ren and well communicates the fact that Ren’s bravado is a defense mechanism to assuage his own unhappiness at having to leave Chicago and his anger at being abandoned by his father.  Still, this is a guy who I’d want as a friend as he’d march with you to the gates of hell.  Hastreiter has a potent tenor which takes center stage in “I Can’t Stand Still”, “I’m Free”, and raps a bit in “Dancing is Not a Crime”.  He is also an impressive hoofer as he flips, slides, and glides around the stage.

Aimee Correa explores every crevice of Ariel’s character.  Initially, Ariel comes off as, well, slutty.  True, her morals are a little lax, but it’s her defense against the stifling imprisonment of her home life.  Ariel is also a poet, intelligent, good-hearted, and just looking to escape from her unhappy life.  Correa shows all of these facets and then some at the proper moments.  She also has a wonderfully powerful singing voice whether she’s “Holding Out For a Hero”, “Learning to Be Silent”, or thinking her time with Ren is “Almost Paradise”.

Nick Knipe is the show’s breakout performer as Willard.  Knipe nearly steals the show as the hot-tempered hick.  Knipe’s Willard always seems to be looking for a fight, but he will fight to the death in support of a friend or a just cause.  Knipe also has amazing coordination as he is able to fake lack of coordination like a champ when he is attempting to dance for the first time.  Knipe also has a real flair for comedy as he shares the unique philosophy of Willard’s mother in “Mama Says”.

Justin Dehmer gives a very complex performance as Rev. Shaw Moore.  Something in the Reverend died when 4 teens died in a tragic car accident.  That event triggered an intense anger in Moore that manifests as extreme control.  Control over the town with morality laws and control over his emotions as he attempts to suppress them.  But the anger leaks out in cutting remarks and emotional outbursts.  It’s important to remember that Moore isn’t a bad person.  He’s wounded and actually motivated to protect the town’s youth.  He just goes about it wrong.  His realization of this and subsequent confession to his congregation is one of the most beautifully real moments I’ve ever seen acted on stage.

Todd Brooks’ musical direction is very good though the volume of the music needed to be increased at a few points.  I loved Dale Hartshorn’s set with the train bridge of the city, the exterior of the Moore home and their dining room, the lockers of the school, and the burger joint.  Best of all was the cross shining in center stage as the beacon of hope needed by Bomont.  Joey Lorincz’s sounds enhance the show’s moments, especially the roaring train and its whistle that Ariel likes to answer back at the top of her lungs.  Jacy Rook’s lights are clean and clear and her use of spotlights really enhance emotional moments.  Kerri Jo Richardson-Watts’ choreography is right on the money and the best I’ve seen at BLT especially in the monstrous opening and closing numbers.  The costumes of Nancy Buennemeyer and Marya Lucca-Thyberg will take you right back to the 1980s.

This show took a little bit to get going.  I could see the nerves going at the top of the show and it felt like the cast was holding back a bit.  But, by Act II, the switch had been flipped and the now relaxed performers were tapping the full potential of the show.  I’d like to go back again and see that same relaxation in the first act so the show can bask in its full glory.

BLT definitely has a hit on its hands and I would advise you to order tickets, pronto, as last night’s nearly full house makes me think they’re going to be very hard to come by.

Footloose:  The Musical plays at Bellevue Little Theatre through Oct 2.  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.

For Love of Ogre

Princess Fiona has been waiting all her life to find the true love who will rescue her from the clutches of an evil dragon and free her from the curse of a wicked witch.  At long last he arrives.  He’s brave.  He’s bold.  He’s. . .rude??  He’s. . .crude???  He’s an ogre!!!  It is Shrek:  The Musical and it will open Friday at the Schneider Performing Arts Center at Maryville High School under the auspices of Maryville Young Players Second Stage.

For full disclosure, I am related to two of the ensemble performers. 

I attended the penultimate rehearsal of this production and found it to be most enjoyable.  The show has a surprising amount of depth as it adds themes of racism and surface judgments to this fairy tale variation.  Mix in a peppy and moving score by Jeanine Tesori and David Lindsay-Abaire combined with some talented principal performers and you’ve got the recipe for a fun night of theatre.

Tye Parsons provides an effective piece of direction to the production.  He has some really great staging and well utilizes the rather large stage.  Actors are effectively placed and know how to use the space.  A particularly clever piece of staging occurs during “Morning Person” when the curtain falls to just shy of the stage so a line of actors playing rats follow Fiona’s merry tune.  Parsons has also guided his thespians to solid performances.

Some strong ensemble performances come from Emily Pearce as a screechy Pinocchio complete with a nose that grows with each lie.  McKenna Liles is a hoot with her puppetry and voicing of the Gingerbread Man and shines with a pre-show comedy bit and with Gingy’s interrogation at the hands of Lord Farquaad.  Speaking of Lord Farquaad, Brewer Wheeler shows immense promise as the show’s villain.  He has an excellent singing voice with energy to match.  Now he just needs to fuse that energy to his character work from the start.  Wheeler was doing just that by the end of the show and it really allowed him to revel in Farquaad’s over the top, theatrical nature.

Wyman Wheeler is marvelous in the title role of Shrek.  At one point, Shrek compares ogres to onions as both have layers and he certainly gives a layered performance.  Wheeler gives Shrek a crusty, curmudgeonly edge, but it’s clear this is just a façade that hides Shrek’s loneliness.  Wheeler maintains Shrek’s Scottish accent throughout the night and even maintains it in his singing.  Wheeler also has a beautiful tenor voice and is an expert in the fine art of acting through the songs with some shining moments being Shrek’s musical duel with Fiona in “I Think I Got You Beat” and the more somber and sweet “Who I’d Be” and “When Words Fail”.

Christy Pearce is almost there as Donkey.  Pearce is very entertaining as the non-stop chatterbox and faithful sidekick and has some nimble wordplay with Donkey’s wisecracks.  But it felt like she was holding back just a bit, though there were several moments when she let go and let er rip which was when she was in full Donkey mode and exactly what the character needed to be.

Jacqui Conn’s Fiona is a very different kind of princess.  At first, she seems like the typical damsel in distress, then shows a very crass, blue collar streak as she happily engages in belching and farting contests with Shrek.  Conn also has a delightful soprano which she uses to literally charm a bird to death (the exploding bird is my favorite moment) in “Morning Person” or pluck a heartstring in “I Know it’s Today”.

Regrettably I did not have a program so I can’t properly credit the scenic designer, but I loved the forest screen and the imposing castle.  Nor can I credit the costume designer who did an excellent job duplicating the looks of the famed fairy tale characters along with Donkey’s full body suit complete with hooves, Shrek’s green make-up, antennae, and mammoth gut, and Fiona’s iconic green dress.

Some cue pickups needed to be tighter, but all this show is really lacking is an audience to add that vital piece of performing energy to the cast and then Shrek will really kick into high gear.  Give it a chance and lose yourself in a merry tale.

Shrek:  The Musical runs at the Schneider Performing Arts Center at Maryville High School from June 24-26.  Showtimes are 7pm on Friday and Saturday and 2pm on Sunday.  Tickets cost $10 and can be purchased at http://bit.ly/MYPShrek.  Maryville High School is located at 1503 S Munn Ave in Maryville, MO.

Cut Loose. . .Footloose

Ren McCormack relocates from Chicago to the small, rural town of Bomont.  He struggles to fit in as he is eyed with suspicion by the town’s adults who beat him down spiritually with their morality laws banning dancing and rock music within the town limits.  A budding relationship with the rebellious daughter of a powerful, influential preacher inspires Ren to challenge the town’s ordinance and provide some emotional healing for himself. . .and others.  This is Footloose currently playing at Great Plains Theatre.

If you’re a child of the 80s like myself, then you know this play was inspired by a hit teen movie of the same name.  Teen movies of this time frame embraced similar themes and characters.  You had the loner hero, the rebellious kid trying to escape from under the thumb of controlling parents, the crusty authority figure, and the smug and pompous bully that you can’t wait to see pulverized.  Well, this show has all those cliches and then some.  It’s also one of the five best musicals I’ve ever seen.

The show is helped greatly by the fact that Dean Pitchford, who wrote the original film, also helped write the musical.  This allows the show to mostly retain its original themes and ideas.  It’s also a surprisingly sensitive story whose dominant theme is finding peace.  A great many of this show’s primary characters are emotionally wounded or broken and all are following a path towards patching up those spiritual injuries.  Throw in a fun score laced with original songs plus hits from major 80s stars and you’ve got a fun-filled night that might even squeeze some tears from your eyes.

Mitchell Aiello’s direction is precisely on point with this show.  He definitely embraces the 80sness of the show, but does an excellent job emphasizing the show’s themes with the quieter, more emotional sequences being quite potent and mesmerizing.  He’s staged the show well, utilizing the whole theatre and well placing his actors so all faces can be seen.  Aiello has also guided his troupe to very strong, developed performances.

There were way too many good performances for me to cite in this review, but some of these performances come from Hannah Hill who’s a lovable motormouth as Rusty and, man, can she belt out a tune, especially the show’s namesake number and “Let’s Hear it For the Boy”.  Erica C. Walker is sweet and sensitive as Vi Moore, wife of Rev. Shaw Moore and her beautiful, plaintive voice shines in two of the show’s saddest numbers “Learning to Be Silent” and “Can You Find it In Your Heart?”.  Dylan Ray Herrin is utterly punchable as the local thug and bully, Chuck.

Carson Zoch is not only a gifted actor, but he’s also, in my nearly thirty years in the business, the best hoofer I’ve seen grace a stage.  He brings an irresistible charm to Ren and is immensely likable, yet you can see the anger bubbling under the surface.  The anger takes the form of his fighting against authority and ramming his foot into his mouth when he gets nervous.  But he’s also a guy you’d want as a friend as he is noble and would follow a friend to the gates of hell to provide support.  That nobility is important because it allows Zoch to really reflect the pain he feels from the distrust, poor treatment, and outright hostility from Bomont’s denizens.  Zoch has a fantastic tenor to go along with his flaming feet which lets him shine in numbers such as “I Can’t Stand Still” and “Dancing is Not a Crime”.

Maddie Allen really gives a multifaceted performance as Ariel Shaw, daughter of the town’s preacher.  At first, she comes off a little mean-spirited, even slutty.  Then you realize the mean-spiritedness is really a reflection of her own anger at her crumbling relationship with her father and her looseness is her attempt to escape from the prison of her life.  But underneath she’s got a heart of gold and hidden depths.  Allen really does a superlative job letting Ariel’s real nature peek out and regain control over the course of the show as she opens herself up to Ren.  Allen’s voice is ideal for rock and she sizzles with turns in “Holding Out For a Hero” and “Almost Paradise”.

Tim Falk is the crusty authority figure as Rev. Shaw Moore.  However, there’s a twist to this character.  He isn’t a villain because he’s nasty.  On the contrary, he’s actually motivated by very good intentions which is the element from which the best villains arise.  And villain is probably too strong a word.  Antagonist would be better.  Falk’s Moore can be unbelievably cold.  He never loses his cool.  He just has a matter-of-fact way of talking that leaves you feeling like you were slapped.  A devastating loss in his past prompts him to try to protect Bomont’s youth with morality laws, but also blinds him to the reality that he is just promulgating his own pain on the town.  Falk is good at showing flashes of the inspirational person he once was and the conflict between the man he was and the man he is gets center stage in “Heaven Help Me” where he asks God to help him reach others again.

Matthew Glen Clark is a joy to watch as Willard.  The character is a bit of a stereotype as he is a hick all the way from clothes to personality.  But his Sean Astin-like charm makes you forget all that.  Clark’s Willard is a decent kid and a loyal friend who will jump into a fight wherever he sees a wrong that needs to be righted, be it with his words or his fists.  Clark has got some impressive dance moves which is best proven by the character’s seeming inability to dance in “Let’s Hear it For the Boy”.  But when he learns how to dance, watch out.  His feet are greased lightning.  Clark’s Willard is also a bit of a town philosopher as he often shares the wisdom (and insanity) of his mother particularly in his featured number “Mama Says”.

Melissa Ford has provided one of the two best pieces of choreography I’ve seen on stage.  She truly excels in large group numbers as her performers flawlessly execute her moves with smooth as silk dancing with the finale being a particular success.  Alicia Santee and her honkytonk band (Gaby Fluke and Jacob Andres) do an incredible job of playing this score with simply keys, guitar, and percussion.  Becky Dibben’s costumes suit the locale and the personality of the characters from the southwestern/rural clothes of Bomont’s youth to the more formal gear of Bomont’s adults to the more laid-back Midwest clothes of Ren.  Mitchell Aiello has designed a simple, bare bones set of water tower and phone lines to depict Bomont and uses a wooden entryway to depict a club entrance and a window to show a private home.  Kent Buess’ lights really add a certain zip to the musical numbers with their use of colors and spotlights.

The only disappointment of the show is that the bully never gets the comeuppance he deserves.  There were also some sound difficulties in Act I when microphones seemed to go dead at various points.  Still, that did little to stop the momentum of this show which is truly fun and has more than a bit of heart.  So pardon me for being a little corny, if you gotta cut loose, go see Footloose.

Footloose plays at Great Plains Theatre through June 12.  Showtimes are 2pm on Wed, Sat, and Sun and 7:30pm Thurs-Sat. Tickets cost $40 ($20 for students) and can be purchased at www.greatplainstheatre.com.  Great Plains Theatre is located at 215 N Campbell St in Abilene, KS.

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”

Professional Auditions for Great Plains Theatre

Great Plains Theatre Announces Audtions for Season 28: Season of Possibilities

Artistic Director, Mitchell Aiello, will be holding in person auditions as well as accepting video submissions. All shows listed below will be cast by February 2022. Please see the audition details below.

IN PERSON AUDITION

Where: Great Plains Theatre – 215 N. Campbell St, Abilene, KS 67410

When: Saturday, December 11, 2021 – Registration @ 8:00am – Auditions begin @ 8:30am

What: Please prepare one 32-bar cut of a song that showcases you as well as a 60 second monologue. You may be asked to sing something else from your repertoire. A group dance call will be held at 11:00am. Any needed callbacks will be discussed at 11:45am or conducted virtually. Please bring one copy of a current head shot and resume for the Artistic Director to keep. Must sign up below to audition.

Sign up for In Person Audition at https://www.signupgenius.com/go/10c0d4fabae23a3face9-gptseason

​VIRTUAL AUDITION SUBMISSIONS

Where: All audition submissions must be sent to the Artistic Director at mitchell@greatplainstheatre.com

When: Audition Submissions must be received by January 28, 2022 for consideration. All callbacks will be virtual and sent/received between January 31 and February 28.

What: Please submit a current head shot and updated resume. In addition, please send one 32-bar cut of a song that showcases you, a 60-second monologue, and any dance footage. All videos MUST be submitted as a viewable YOUTUBE link. You may be asked to sing something else from your repertoire. You may also submit any musical theatre reels for considerations. 

Thank you and happy auditioning!

Great Plains Theatre’s 28th Season (Main Stage):

Footloose (Rehearsals: May 23-June 2, Performances: June 3-12)

Matilda the Musical (Rehearsals: June 13-23, Performances: June 24-July 3)

Jersey Boys (Rehearsals: July 4-14, Performances: July 15-31)

Baskerville: A Sherlock Holmes Mystery (Rehearsals: August 29-September 8, Performances: September 9-25)

The Christmas Schooner (Rehearsals: November 20-December 1, Performance: December 2-18)

Great Plains Theatre’s 28th Season (Live Literature Series):

The Ugly Duckling (Rehearsals: February 23-March 4, Performances: March 5-12)

Baskerville: A Sherlock Holmes Mystery (Rehearsals: August 29-September 8, Performances: September 9-25)

Questions? Contact Artistic Director, Mitchell Aiello, at mitchell@greatplainstheatre.com

​

Great Plains Theatre Announces Season 28: Season of Possibilities

Abilene, KS–Great Plains Theatre has announced its 28th season. Dubbed Season of Possibilities, the season will consist of the following productions starting in the summer of 2022:

Footloose
June 3-12

Kick off your Sunday shoes with this classic movie turned musical about inspiring a town through the importance of love and dance while witnessing the powers of wisdom and forgiveness. Gotta cut loose!

Matilda: The Musical
June 24-July 3

Follow the classic Roald Dahl story of an astonishingly witty girl with special powers that teaches us to use our extraordinary imaginations to change our destiny. Sometimes you have to be a little bit naughty!

Jersey Boys: The Story of Frankie Valli and the Four Seasons
July 15-31

Join us for the international musical phenomenon that takes you behind the story and music of Frankie Valli and the Four Seasons. Come be a part of the challenges, the rise, and the ultimate triumph a group’s music that became symbolic of a generation. Oh, what a night!

Baskerville: A Sherlock Holmes Mystery
Sept 9-25

The classic literary character of Sherlock Holmes is teamed up once again with John Watson and over 40 other characters to solve a kooky and educational whodunnit. “Elementary, my dear Watson, Elementary.”

The Christmas Schooner
Dec 2-18

This Holiday treat will have you leaving the theatre with warm fuzzies about a story of the Great Lakes voyages of Christmas Tree ships and a family’s positive spirit to share the power of classic inspiration and Christmas miracles. The heartbeat of life is in our stories and our songs!

Season Tickets are on sale now! Early Bird Season Tickets are only $150. This is $10 off per ticket in savings! You can buy your season tickets online or by calling the office. Individual Main Stage tickets will go on sale Monday, January 31. Season Tickets and more information are available at www.greatplainstheatre.com or (785) 263 – 4574.

An Unusually Rocking Fairy Tale

It’s the show that lovingly lambasts fairy tales.  A surly ogre named Shrek reluctantly comes to the aid of the fairy tale characters banished to his swamp by evil Lord Farquaad solely to regain his isolation.  Farquaad’s price for removing the characters from Shrek’s swamp is for Shrek to rescue Princess Fiona from a tower guarded by a fire-breathing dragon so Farquaad can marry her and become king.  But love may be blooming between the princess and the ogre when they find they have far more in common than they realize.  It’s Shrek the Musical with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori and it currently plays at the Omaha Community Playhouse.

What I am about to say is a lie.  Something that isn’t true.  Shrek the Musical is the most insipid piece of juvenile garbage ever to disgrace a stage and should be shunned by every man, woman, and child.

Truthfully, this show is an out and out joy.  I can’t remember the last time I felt so energized by a play.  Lindsay-Abaire wrote a script that not only well translates the film to the stage, but one that I also believe surpassed the source material on nearly every level.  He even adds a subtle theme of racism and judging books by their covers that adds a surprising amount of heft to the production.  His lyrics and the rock operaesque score by Ms Tesori will have you laughing and bopping and pining for the next number.

Kimberly Faith Hickman’s direction is simply exquisite.  Not only did she guide the cast to superb performances without a weak link in the lot, but she also brought a phantasmagorical staging to the show.  Yes, that is indeed the right word as there was something otherworldly about the staging.  The entire theatre was used to tell this story and I mean the ENTIRE theatre.  Stage, orchestra pit, aisles, rows, you name it.  It was all fair game to share this tale.

I don’t think I’ve ever seen a cast as on as this cast was tonight.  Every single member brought their A game to the table and created a production that has instantly vaulted into my top ten list.  Some standouts among the standouts were Kerri Forrester whose presence devoured the theatre and whose mighty voice thrilled the crowd with her take as Dragon in “Forever”; Maddie Smith who delights as Young Fiona as she pines for her Prince Charming in “I Know It’s Today”; and J. Isaiah Smith who gleefully chews the scenery as Lord Farquaad.

Jordan Smith triumphs as Donkey, the wise-cracking sidekick of Shrek.  Smith strikes a perfect balance between being the loyal friend and the hyperactive annoying chatterbox that just might test the patience of saints.  His tenor voice is stupendous and he excelled in numbers such as “Make A Move” and “Don’t Let Me Go”.  He completed his triple threat with his fluid and nimble hoofing which was made all the more impressive as he was doing it with hooves.

Mackenzie Dehmer makes for an absolutely perfect Fiona.  She ain’t your ordinary fairy tale princess.  She’s temperamental.  She’s high-strung.  She’s got a singing voice that can literally make birds explode.  She can be sweet, but also incredibly crude and crass as she happily engages Shrek in belching and farting contests.  Ms Dehmer possesses a deadly alto which can inflect ultra competiveness in “I Think I Got You Beat”, be excessively cheerful and caffeinated in “Morning Person”, or just flat out rock out in “I’m A Believer”.

I’m going to steal a descriptor from a friend and say that Steve Krambeck “ogre”achieves as Shrek.  Krambeck manages to capture the many layers of Shrek from his outer hide of irritability and crabbiness to his inner core of sensitivity and loneliness.  I don’t think I’ve ever heard Krambeck’s tenor in finer form than tonight as he managed a combination of hopefulness and sadness in “Who I’d Be” as he confesses to wanting to be a hero, despite being destined to being an ogre and the beautiful “When Words Fail” as he sweetly tries to work out a way to tell Fiona he loves her.  He handled the difficult Scottish accent well, though it did weaken at a few points, especially when he sang.

Lindsay Pape’s costumes set a new bar with spot-on reproductions from the film for Shrek, Fiona, and the other fairy tale denizens and beautifully creative outfits such as Donkey’s furry bodysuit.  Paul Pape’s prosthetic for Shrek was brilliant as it was built around Krambeck’s face and allowed him to emote with both face and eyes.  Tim Burkhart and John Gibilisco crafted some truly unique sounds, especially for the “emissions” battle between Fiona and Shrek.  Melanie Walters supplied some stunning choreography especially with the company numbers of “What’s Up, Duloc?”, “Make A Move”, and “Freak Flag”.  Jim Othuse’s sets will take you from a quiet forest to a lonely tower to a dragon’s lair to the castle of a would-be king.  His lights will give you beautiful sunrises and romantic forest evenings.  Jim Boggess and his orchestra truly score with this score as they not only played it perfectly, but you could hear the fun they were having as well.

If you miss this show, you truly don’t know what you’re missing.  It’s fun.  It’s memorable.  It has something for the whole family with jokes aplenty for the adults and cartoony enough for the kids.   And it even teaches a little something about accepting yourself and the uniqueness of others.

Shrek the Musical performs at the Omaha Community Playhouse through Oct 14.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.   Tickets start at $42 and can be purchased at www.ticketomaha.com or at the Omaha Community Playhouse box office.  Contact the box office at 402-553-0800.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.