Omaha Playhouse Announces 96th Season

Omaha, NE.–The Omaha Community Playhouse (OCP) has announced the titles to be produced during their 96th season, which will run from August 2020 through June 2021. Subscriptions for OCP’s 2020/21 season are now available for purchase through the OCP Box Office at 6915 Cass Street, Omaha, NE 68132, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

OMAHA COMMUNITY PLAYHOUSE 2020/21 SEASON PRODUCTIONS

*Billy McGuigan’s Pop Rock Orchestra

Aug. 7–16, 2020

Hawks Mainstage Theatre

Featuring Billy McGuigan | Music Director Steve Gomez | ©2007 by Rave On Productions

Billy McGuigan’s Pop Rock Orchestra is a high-energy concert experience packed with rock ‘n’ roll mega hits from the 50s, 60s and 70s. Led by international touring artist Billy McGuigan and backed by the 14-piece Pop Rock Orchestra, these all-star musicians serve up fresh, original arrangements covering everything from the Beach Boys to Billy Joel, and everything in between.

*Special Event—Not part of the regular season series.

Clybourne Park

Aug. 21–Sept. 20, 2020

Howard Drew Theatre

By Bruce Norris

Pulitzer Prize and Tony Award®-winning comedy Clybourne Park serves as prequel and sequel to A Raisin in the Sun. A 1950s couple faces sharp backlash from neighbors for selling their home in the all-white Clybourne Park to a black family. Fifty years later, a white couple attempts to purchase the same home in the now predominantly black neighborhood, igniting fears of gentrification.

Disclaimer: Contains adult language and themes of racial tension.

Kinky Boots

Sept. 25–Oct. 25, 2020

Hawks Mainstage Theatre

Book by Harvey Fierstein | Music and Lyrics by Cyndi Lauper

Original Broadway Production Directed and Choreographed by Jerry Mitchell

Based on the Miramax motion picture Kinky Boots

Written by Geoff Deane and Tim Firth

Flashy, inspiring and downright fun, Kinky Boots is the Tony Award®-winning musical warming hearts around the world. After returning to his hometown to manage his late father’s failing shoe factory, Charlie meets Lola, an outspoken and unapologetic drag queen in need of a sturdy pair of exotic boots. Together, the unlikely pair cobble a heartwarming tale of acceptance and friendship.

Orchestra Sponsor: Woodmen Life

Hawks Series Sponsor: Immanuel Communities

Water by the Spoonful

Oct. 16–Nov. 8, 2020

Howard Drew Theatre

By Quiara Alegría Hudes

Winner of the 2012 Pulitzer Prize for Drama, Water by the Spoonful follows Elliott, an Iraq war vet struggling to care for his dying aunt, and Odessa, a recovering drug addict fighting to stay sober with the support of her online companions. When their two worlds unexpectedly collide, everyone’s progress comes crashing down in this thought-provoking and beautifully human tale.

Disclaimer: Contains adult themes and language.

Presenting Sponsor: Conagra Brands Foundation

*A Christmas Carol

Nov. 20–Dec. 23, 2020

Hawks Mainstage Theatre

Written by Charles Dickens | Adapted by Charles Jones

Musical Orchestration by John J. Bennett

It just isn’t Christmas without A Christmas Carol! Experience Omaha’s favorite holiday tradition as Ebenezer Scrooge takes us on a life-changing journey to discover the true meaning of Christmas. Filled with stunning Victorian costumes, festive music and crisp, wintry sets, A Christmas Carol is a beautiful reminder that love and generosity are the heart of the Christmas holiday.

*Special Event—Not part of the regular season series.

Presenting Sponsor: First National Bank

Artistic Team Sponsor: Omaha Steaks

Orchestra Sponsor: KPMG

Bakery Shoppe/Special Effects Sponsor: Rotella’s Bakery

*Yesterday and Today:  An Interactive Beatles Experience

Nov. 27–Dec. 31, 2020

Howard Drew Theatre

Featuring Billy McGuigan | Music Director Matthew McGuigan | ©2007 by Rave On Productions

Cap off 2020 with a shot of Beatlemania! Yesterday and Today is the smash hit, all-request Beatles show controlled by the audience. Share your favorite stories and relive your fondest memories with the songs that defined a generation. With no two shows the same, fans will be dancing in the aisles and singing along to all their favorite hits.

*Special Event—Not part of the regular season series.

The Miracle Worker

Jan. 15–Feb. 7, 2021

Hawks Mainstage Theatre

By William Gibson

The Miracle Worker is the incredible true story of Helen Keller, deaf and blind since age one, and the extraordinary woman who changed her life. Unable to communicate with their daughter, the Keller family enlists the help of Annie Sullivan, a woman determined to rescue Helen from the dark, tortured silence imprisoning her mind. A story that has inspired audiences for generations.

Hawks Series Sponsor: Immanuel Communities

The Scottsboro Boys

Feb. 12–March 14, 2021

Howard Drew Theatre

Music and Lyrics by John Kander & Fred Ebb

Book by David Thompson

Original Direction and Choreography by Susan Stroman

The Scottsboro Boys follows the wrongful conviction of nine black teenagers in Scottsboro, Alabama in the 1930s—an infamous case that helped ignite the modern civil rights movement. From the composers of Chicago and Cabaret, this 12-time Tony® Award nominee alternates toe-tapping musical numbers with heart-wrenching ballads to tell a harrowing tale of bravery and strength in the face of great adversity.

Disclaimer: Contains themes and language related to racial tension.

In the Heights

Feb. 26–March 21, 2021

Hawks Mainstage Theatre

Music and Lyrics by Lin-Manuel Miranda

Book by Quiara Alegría Hudes

Before there was Hamilton, there was In the Heights. From the revolutionary musical mind of Lin-Manuel Miranda, this Tony® Award-winning musical recounts three days in the vibrant Latino neighborhood of Washington Heights, NYC, where the Spanish-speaking residents chase American dreams. This bubbly fusion of rap, salsa, Latin pop and soul music boasts an infectious enthusiasm from beginning to end.

Presenting Sponsor: Heider Family Foundation

Producing Partner: Physicians Mutual

Hawks Series Sponsor: Immanuel Communities

*THE CANDY PROJECT PRESENTS:

Gutenberg!  The Musical!

March 18–21, 2021

Howard Drew Theatre

By Anthony King and Scott Brown

Starring Steve Krambeck and Dan Chevalier

Join The Candy Project, friends of OCP, for a special presentation of Gutenberg! The Musical! A pair of aspiring playwrights audition their newest work—a big, splashy musical about the inventor of the printing press—for an audience of potential investors. This two-man musical spoof offers an unending supply of enthusiasm and laughs.

*Special Event—Not part of the regular season series.

Agatha Christie’s Murder on the Orient Express

April 16–May 9, 2021

Hawks Mainstage Theatre

Adapted for the stage by Ken Ludwig

A thrilling whodunit set aboard the world’s most famous luxury locomotive, Murder on the Orient Express will keep you guessing until the very end. When the Orient Express becomes stranded by a snow storm, a passenger is found stabbed to death in his private room. With the murderer still on board, a detective must solve the crime before the train reaches its destination.

Producing Partner: UNMC

Hawks Series Sponsor: Immanuel Communities

Outside Mullingar

May 7–30, 2021

Howard Drew Theatre

By John Patrick Shanley

This charming romantic comedy follows Anthony and Rosemary, two introverts who grew up on neighboring farms in rural Ireland. Rosemary secretly fell in love with Anthony at age six, but after a bought with heartbreak, Anthony swore off women forever. The now middle-aged pair must overcome their own aloofness—as well as a family property dispute—to find their way to one another.

Roald Dahl’s Willy Wonka

May 28–June 27, 2021

Hawks Mainstage Theatre

Music and Lyrics by Leslie Bricusse and Anthony Newley

Adapted for the Stage by Leslie Bricusse and Timothy Allen McDonald

Based on the Book Charlie and the Chocolate Factory by Roald Dahl

Oompa-Loompa-Doom-Pa-Dee-Doo! We’ve got a family favorite for you! Grab your golden ticket as Willy Wonka takes your family on a whimsical tour of the chocolate factory—with Charlie Bucket, Augustus Gloop, Veruca Salt, and all of your favorite characters. Featuring songs from the hit film, Willy Wonka will open up a world of pure imagination.

Presenting Sponsor: Mutual of Omaha

Orchestra Sponsor: Kiewit

Hawks Series Sponsor: Immanuel Communities

Pardon Me, Boys, is that the Murdering Choo-Choo?

A shady businessman is found murdered in his locked sleeping compartment on the Orient Express.  Will the famed Belgian detective, Hercule Poirot, be able to solve the mystery with his formidable “little gray cells” or has he finally met a killer too cunning for him?  Find out in Murder On the Orient Express adapted by Ken Ludwig from a novel written by Agatha Christie.  It is currently playing at the Bellevue Little Theatre.

It’s awfully hard to write about the plot without being too spoilery so I’ll simply say that Ludwig does an admirable job hitting the essential points of the classic mystery.  With his involvement, I was expecting more of a comedy, but Ludwig plays this script surprisingly straight, though he does leave room open for a bit of over the topness with some of the characters.  The mash-up of comedy and drama weaken the first act slightly, but he sticks the ending on the second act as he seems to have decided to be almost totally dramatic with that act.

Todd Uhrmacher provides a solid piece of direction for the production, handling the dual natures of comedy and drama in the first act quite well and excelling with the nearly purely dramatic second act.  I liked the staging of his show as he placed his actors well in the cramped confines of the train without the actors ever seeming bunched up or blocking each other.  Uhrmacher guided his actors to well-defined performances as each imbued a distinct character.

Some enjoyable performances were supplied by Michael Taylor-Stewart who comes off as somewhat off-kilter and creepy as the secretary of the murder victim and Gene Hinkle as the genial CEO of the company that owns the Orient Express.  But Jeff Garst deserves special notice for an exceptional performance as the conductor, Michel.  He gives Michel a very efficient nature and he nails a brief, heart-wrenching moment at the show’s finale.

Jon Flower is an extremely worthy Hercule Poirot.  He has a firm grip on the sleuth with a flawless Belgian accent, well communicating Poirot’s genius with his deductions, displaying a very gentlemanly and cultured nature, and demonstrating Poirot’s fastidious personality with the care he gives to Poirot’s signature moustache.  Flower also brings a certain weightiness to Poirot who has to wrestle with a choice between his devotion to the law and his dedication to justice which, for the first time in his career, may not be one and the same.

D. Laureen Pickle is utterly obnoxious as Mrs. Hubbard. Almost from the get-go one begins looking for a muzzle to clamp shut the mouth of the man-hungry, stuck-up, grating American snob. Pickle plays this character slightly over the top, but always keeps it in the realm of believability.  She also deftly handles the character’s more dramatic moments when certain secrets begin to come to light.

I don’t think Joey Lorincz could design a bad set even if he was working blindfolded.  He has created one of the most ambitious sets I’ve seen on the Bellevue stage with a three room revolving set that shows an elegant dining room, an office/rear of the train, and the tiny, sleeping compartments one would expect to find on a train.  Lorincz does double duty on lights which were also quite effective, especially the dark blue of the recalling of clues during the denouement.  Todd Urhmacher also pulls double duty with his designing of the costumes which evoke memories of the 1930s with the elegant dresses of the ladies and the snappy suits of the men and the classic conductor’s tunic for Michel.  My program lacked a credit for sound effects, but liked the sounds of the train whistle and the rumble of the wheels on the track.

I thought the pace of the first act could have had a snappier pace and there were a few moments when speaking actors were in darkness.  Volume and projection could have been a bit stronger on the parts of some of the actors and accents were a bit of a mixed bag.

Ultimately, this show is a very pleasant theatre experience with the combination of a faithful telling of a legendary mystery and compelling characters making for a respite from the real world for a few hours.

Murder On the Orient Express plays at Bellevue Little Theatre through Feb 2.  Showtimes are 7:30pm Fri-Sat and 2pm on Sundays.  Tickets cost $20 for adults, $18 for seniors, and $10 for students.  Tickets can be obtained at bellevuelittletheatre.weebly.com or calling 402-291-1554 during the hours of 10am-4pm Mon-Sat.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

The Game is Askew

Sherlock Holmes and Dr. Watson are called in to investigate the mysterious death of Sir Charles Baskerville and to protect his heir, Henry Baskerville, when he receives an ominous warning to stay away from the moor.  Is there a human hand guiding this evil or is there truth to the curse of the Hound of the Baskervilles?  Find out when you watch Baskerville by Ken Ludwig and currently playing at Bellevue Little Theatre.

I had been looking forward to this show all season.  Hearing the name “Sherlock Holmes” is like ringing the chow bell as I’ve been an avid reader of these mysteries since childhood.  As a result of this, I admit to being a bit biased when it comes to Holmesian entertainment.  But that bias takes the form of having rigorous standards whenever I watch a Holmesian production or read a Holmesian story.  With that being said, I am pleased to say that Ludwig’s take on this classic tale more than meets my standards.  It’s almost completely faithful to the original story and manages to add its own unique flavor with a high dose of farcical humor well executed by a contingent of comedic clowns.

Suzanne Withem is the ringmaster of this circus and she stages it as a classic Vaudeville production with a bare-bones set.  Her direction is sterling as she never allows the energy to wane and she knows how to mine the funny out of the production with a series of well-timed jokes and fourth wall breaking moments.  Ms Withem leads her actors to strong, brilliant performances with a pell mell telling of this mystery.

I salute the superhuman efforts of the 3 actors of the play (Kevin Goshorn, Sara Scheidies, and Guillermo Joseph Rosas) as they rotate between playing nearly 20 different characters requiring complete shifts in costume, body language, accents, and voice to portray the numerous roles.  Some examples of their stellar work are Goshorn’s highly Texan Henry Baskerville, his obnoxiously crude Inspector Lestrade who constantly hocks loogies and scratches his behind, and a hilarious cameo as a charwoman cleaning 221B Baker St; Ms Scheidies’ overwrought Mrs. Barrymore who overgestures and oddly shuffles her feet, her busybodying Mrs. Hudson, or her energetic Cartwright, one of Holmes’ Baker Street Irregulars; Rosas shines as the Baskerville butler, Barrymore who has a permanently stooped posture and a wonky back; the giddy naturalist, Stapleton who has an affinity for butterflies, and a proud Castillian concierge of the Northumberland Hotel.

I’d also like to applaud the work of the roustabouts, Kaitlin Maher and Gillian Pearson, who add their own humorous touches as they bring on props, make sound effects, and sometimes are the props.

Catherine Vazquez’s Dr. Watson is the show’s straight man and narrator.  She does a wonderful job exhibiting Watson’s stalwart loyalty to Holmes, his courage under fire, and his own keen intellect, though his powers of observation and deduction are far less pronounced than those of Holmes.  She does need to project a bit more to overcome BLT’s backbox nature.  Unlike the other characters, Watson needs to be the most grounded, which Ms Vazquez certainly was, but I think she still had some leeway to elevate his energy a bit.

Ben Beck is a pitch perfect Sherlock Holmes.  Not only does he well exude Holmes’ rude, unfriendly nature, but he also well communicates Holmes’ manic energy when the thrill of an investigation is on him.  Beck well handles Holmes’ complex dialogue as he often speaks in almost stream of consciousness cadences as he makes his rapid-fire deductions. And I was particularly impressed with how quickly he was able to transition from being Holmes to being the actor playing Holmes when miscues and other errors sprang up to throw off the Vaudeville troupe.

Brendan Greene-Wash has skillfully designed a cheap looking set of cutout woods and boxes that look like they could be packed up and whisked to the next town on a moment’s notice.  Zachary Kloppenborg’s costumes are spot-on and quite elegant from Holmes’ dressing gown, to Watson’s sharp suits, to the Texan garb of Henry Baskerville, the buttling suit of Barrymore, and the raggedy clothes of the Irregulars.  Joshua Mullady’s lights always enhance any production with the eerie ghostly lights used in the story of the curse of the Baskervilles to the shadowy night scenes in Baskerville Hall.

I thought I saw a few blips such as fading or dropped accents and the mixing of pronouns in regards to Watson, but as the show is presented as a troupe doing a production of The Hound of the Baskervilles, I can’t help but wonder if these “blips” were more subtle jokes to tie into the show’s running gag of little things going wrong here and there.  In any case, Baskerville is an extremely satisfying romp that does justice to a classic Holmes mystery while making bellies jiggle with laughter.

Baskerville plays at Bellevue Little Theatre through May 19.  Showtimes are 7:30pm Fri-Sat and Sundays at 2pm.  Tickets are $18 for adults, $16 for seniors, and $10 for students.  Reservations can be made by calling 402-291-1554 or visiting the web page at bellevuelittletheatre.weebly.com.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

The Game Will be Afoot at BLT

BELLEVUE LITTLE THEATRE PRESENTS
“BASKERVILLE” AUDITIONS

Saturday, February 9, 2019 @ 1:00 – 4:00 pm
Sunday, February 10, 2019 @ 1:00 – 4:00 pm

Interested parties need only attend one day of auditions, so please feel free to select the date that is most convenient for you.

Actors should come prepared to move (not dance), demonstrate a variety of accents and dialects, and read from the script.

Please bring a resume and head shot if you have them and a list of conflicts between March 18 and May 19. Excessive conflicts and conflicts after April 19 may affect casting decisions.

Callbacks: Sunday, February 17
Rehearsals will begin February 18 (evenings and weekends)
Performance Dates: May 3 – 19, 2019
Performances are Fri., Sat. evenings at 7:30 and Sunday afternoons at 2 pm.

Questions? Contact Director, Suzanne Withem at suzannewithem@gmail.com

“Baskerville,” by Ken Ludwig, is a comedic retelling of “The Hound of the Baskervilles,” the classic Sherlock Holmes mystery written by Sir Arthur Conan Doyle. In Ludwig’s version, three actors play nearly 40 supporting characters to the leads, Holmes and Dr. Watson.

Actors of all genders will be considered for all roles, and actors of any gender, race, or ethnicity who are 18 or older are encouraged to audition. All actors will utilize various dialects, but a strong standard British dialect is required.

Characters:
* Sherlock Holmes: (any age; any gender) The world’s greatest detective is sophisticated, quick-witted, and passionate. He is an English gentleman who is very precise in speech and manner. This actor plays only one role.
* Dr. John Watson: (any age; any gender) A kind amiable doctor and Sherlock Holmes’s faithful sidekick. A man of action, intellect and deep emotion. He is also very British.
* Actor 1: (any age; any gender) Plays more than a dozen characters – primarily the villains and baddies. Must be a versatile character actor adept a physical comedy and various accents and dialects.
* Actor 2: (any age; any gender – though likely male identifying) Plays nearly a dozen characters – primarily heroes and gentlemen. Must be a versatile character actor adept a physical comedy and various accents and dialects.
* Actor 3: (any age; any gender – though likely female identifying) Plays more than a dozen characters – primarily maids, nurses, and damsels in distress. Must be a versatile character actor adept a physical comedy and various accents and dialects and willing to challenge traditional gender roles.
* Roustabouts and Foley Artists: (any age; any gender) – These two or three nonspeaking roles will be cast and treated as members of the acting company. They will assist with scene changes, participate in comedy bits, and serve as Foley artists providing live sound effects for the production from onstage. They should be creative problems solvers adept at physical comedy and familiar with silent storytelling. They are vital to the success of keeping the “trunk show” design of the production moving forward and creating the world of the theatre in which the play is performed.

The Bellevue Little Theatre, an all volunteer organization, maintains an “equal opportunity” policy for volunteer recruitment of both board and production positions. Auditions are open to the general public, with the same “equal opportunity” policy. All roles are open for audition except an occasional role is precast and is so noted in the audition notice.

Location:  203 W Mission Ave, Bellevue, NE

‘Ladies’ Leave ‘Em Laughing in the Aisles

Meet Leo Cark and Jack Gable.  They are 2 struggling Shakespearian actors of dubious talent and meager means.  When they stumble onto a chance to steal 2/3 of a multimillion dollar fortune by posing as the long lost relatives of a dying woman, they throw caution to the wind and put their acting skills to the test.  And it is a mighty difficult test as the missing relatives happen to be women.  This is Leading Ladies by Ken Ludwig and currently playing at Maples Repertory Theatre.

A big part of the magic of theatre is that if you change a few elements of a production it becomes brand new all over again.  Just a few months ago I reviewed this show for the Omaha Community Playhouse.  With that performance still fresh in my memory, I got to see an exciting, rib tickling new take on it due to a simple change of director and cast and crew.  This is why one can see the same show over and over and over again and it is still something unique and original.

Brandon McShaffrey truly knows what makes for good farce.  His direction of tonight’s show was genius as he not only knew where and when to add the ludicrous elements, but he also managed to add a sizable amount of realism to the production.  His actors were honest to goodness people as opposed to caricature and he led the lot of them to sterling performances that left the audience rolling in the aisles.

This show is truly an ensemble piece with every actor getting a chance to shine.  Madeline Thomas is simply cute as a button and deliriously ditzy as Audrey.  She may not be too bright, but she’s building her brain one complex word at a time.  Todd Davison and Sean Powell make for a great father/son act as the talentless physician, Doc Myers, and his nerdy, willowy son, Butch.  Andy Brown provides some laughs as Rev. Duncan Wooley, the cheapskate, milquetoast fiancée of the play’s leading lady.  But watch out for Jonna Wiseman as barbed tongued Aunt Florence as she steals every scene she’s in with her acidic antics.

With the supporting cast providing such a strong foundation, it would be nearly impossible for this show to fail and it gets a further boost from its three leads, Michael McIntire, Sean Riley, and Kara Overlien, who admirably carry the bulk of the show on their formidably talented shoulders.

I was extraordinarily impressed with Kara Overlien’s portrayal of Meg.  Ms Overlien is just so. . .genuine as the young heiress.  She plays Meg as a decent woman with a strong streak of integrity as she plans to marry Rev. Wooley for taking care of her after the death of her parents.  But she also gets a lot of joy out of life.  She has passion for the theatre and has a surprising amount of potential as a performer.  She loves music and is a skilled dancer.  In fact, her solo dance number to a radio song is one of the best moments of the night.  Ms Overlien also has incredible facial animation as her reactions to the events swirling about her were always extemporaneous and spot-on.

Sean Riley does so much with so little in his interpretation of Jack Gable.  A slight grin here and a little gesture there had the crowd eating out of Riley’s hand.  Riley’s Gable may be the less talented member of the acting duo, but he might be the mentally swifter of the two.  Riley comes up with absurd sign language as the deaf and dumb “Stephanie” and also knows how to sneak hugs out of Audrey.  He’s also got a bit of the devil in him as he makes Leo’s wooing of Meg more difficult with his insinuations about why we never seem to see Leo and “Maxine” together as well as messing with Leo during their performance at the Moose Lodge.  Riley clearly had a ball with the role and it showed with a stellar performance.

I don’t think I’ve ever seen such a skilled blending of over the topness and realism as the one provided by Michael McIntire’s rendition of Leo Clark.  McIntire’s Clark is truly a good actor, but can’t seem to catch a break.  When he hatches the plan of stealing the fortune he throws, and I mean THROWS, himself in the role of “Maxine”.  McIntire is larger than life as Clark playing Maxine and he dazzlingly moves between the over the top “Maxine” to the natural Leo without missing a beat.  His howlingly funny reactions and expression asides to the audience only further fueled his dynamic performance.

Outstanding technical elements further helped create the world of this show including Charles Johnson’s set which creates the illusion of a well to do home without being ostentatious.  Jack Smith’s costumes were snappy and elegant from the suits and tuxes for the men and the gowns and dresses for the ladies and the “leading ladies”.

Tighter cue pickups and a faster pace would have further bolstered tonight’s production, but it is still one terrific night of comedy.  The best stamp of approval I can give is that this show caused me to laugh myself into a coughing fit at several points and I saw many members of the audience doubled over in hysterics at numerous moments.  But, hey, don’t take our words for it.  Buy a ticket and experience the mirth for yourself.

Leading Ladies plays at Maples Repertory Theatre through July 22.  Showtimes are 7:30pm on July 1, 5, 15, and the 21 and at 2pm on June 24, 28, July 2, 7, 16, 18, 21-22.  Tickets cost $29 for the Main Floor and $22 for the balcony.  For tickets contact the box office at 660-385-2924 or visit the website at www.maplesrep.com.  Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.

Lead On, “Ladies”

Two broke, out of work Shakespearian actors hatch a plan to steal an inheritance from a wealthy old maid by pretending to be her long lost nieces.  Wrenches start to get thrown into the plan when the two cross dressing con artists fall in love with a pair of women and word comes that the real nieces are on their way.  This is Ken Ludwig’s Leading Ladies currently playing at the Omaha Community Playhouse.

Ludwig is a masterful writer who knows all the ins and outs of good farce.  You’ve got the slamming doors, the over the top characters, the mistaken identities, and the ludicrous scenarios.  But Ludwig also adds a story that has got quite a bit of heart and includes a couple of surprising plot twists before the tale ends.  His terrific script is supported, nay, enhanced by a sterling cast that runs like a well oiled machine and obtains the maximum amount of yuks possible.

Jeff Horger paints a beautifully funny picture with his direction.  He clearly has an excellent grasp on farce with his use of broad, comedic strokes on the canvas.  Horger’s staging is top notch with his actors constantly moving about the performance space and his sight gags are completely organic and always apropos to the situation.  He’s also led his actors to strong, humorous performances and they made nary a misstep throughout the production.  Horger’s use of a melodramatic score composed and arranged by Vince Krysl is a positively inspired touch.

The supporting cast provides an excellent foundation for the comedy as each has developed a unique, zany character with his or her own particular quirks that brought vivid life to this world.  This includes Catherine Vazquez as a not overly bright waitress who builds a more complex vocabulary one word at a time, Sue Mouttet as the acid tongued matriarch with a heart of gold, and especially Don Harris and Christopher Scott who provided me with some deep belly laughs as the inept and lusty Doc Myers and his dopey son, Butch.

Will Muller stuns with his portrayal of Rev. Duncan Wooley.  With his unyielding posture, monotone voice, and limited, robotic movements, Muller has crafted one of the funniest characters I’ve seen in quite some time.  Muller’s Wooley may be a man of God, but he isn’t very likable as he is a stick in the mud’s stick in the mud who never wants to have any fun, plans a dull, businesslike wedding, and schemes to do God’s work using his fiancée’s wealth.  Muller is at his comedic best when his buttons get pushed to the point where his emotions finally explode out of him.

Victoria Luther is absolutely darling with her interpretation of Meg Snider, Wooley’s fiancée and heiress to a large fortune.  In many ways, Ms Luther is the glue of this cast as her character fuses the play’s unreality to its reality.  She is the most natural character in the show and brings a bright vibrancy with her character’s love of theatre and life.  Ms Luther shows impressive versatility as she easily switches from believable, grounded moments to over the top reactions when the need arises.

As important as the other characters are, the heaviest burden of this show lies on the shoulders of its “leading ladies” and the burden is well and ably carried by Kevin Goshorn and Michael Judah making their Playhouse debuts.

Michael Judah arguably does the most heavy lifting with his rendition of Leo Clark.  Clark is not only a sucky, over the top actor, but he is always on and has a mouth with an inexhaustible energy source.  Judah’s energy is unbelievably phenomenal as he rises to the challenge of this role with a feat of skillful overacting that would make John Carradine proud.  How he maintains that energy without collapsing is beyond me as he easily transitions from the theatrical Clark to the equally over the top “Maxine”.  Yet the over the topness of the character still seems completely natural.  It’s as if Clark doesn’t know how to just be himself until he falls in love with Meg and FINALLY drops his defenses and is able to engage in some lovely softer moments with her.

Kevin Goshorn’s Jack Gable is a worthy sidekick to Leo Clark.  Goshorn marvelously plays the loyal friend who gets caught up in Clark’s machinations.  Forced to impersonate Stephanie, the deaf and dumb niece, Goshorn has stupendous facial expressions and body language as he invents his own sign language to communicate with others and is especially amusing when he uses that sign language to tell “Maxine” he’d like to throttle “her”.  But he’s no shrinking violet.  As decent a person as Gable is, he isn’t above worming hugs out of the lady he likes or standing up to Clark by manipulating him to become “Maxine” just to screw with him.  Goshorn also gets the play’s funniest moment when he tries to bait Wooley into seducing him in order to help Clark get Meg.

The Snider estate, designed by Steve Wheeldon, is absolutely gorgeous with its soft blue walls and fancy double doors.  John Gibilisco’s sounds almost become extra characters with Clark’s idea moments and Meg’s entrance theme.  Amanda Fehlner’s costumes are extremely elegant, especially the gowns worn by Ms Luther, Judah, and Goshorn.  Darin Kuehler’s properties, especially the furniture, really liven up the stage.

This is the type of show that’s sure to take you out of yourself for a little while.  It’s not only laugh out loud funny, but it’s also got just the right touch of warmth and heart.

Leading Ladies runs at the Playhouse through May 7.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets are $36 for adults and $22 for students Thurs-Sun.  Wednesday show tickets are $28 for adults and $18 for students.  For tickets, contact the box office at 402-553-0800 or visit www.omahaplayhouse.com or www.ticketomaha.com.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

‘Leading Ladies’ is Next on OCP’s Mainstage

Omaha, Neb. – Leading Ladies, running April 14 – May 7, 2017 in the Hawks Mainstage Theatre at Omaha Community Playhouse, is a hilarious comedy by Ken Ludwig.

The story centers around two English Shakespearean actors, Jack and Leo, who find themselves so down on their luck that they are performing “Scenes from Shakespeare” on the Moose Lodge circuit in the Amish country of Pennsylvania. When they hear that an old lady in York, PA is about to die and leave her fortune to her two long-lost English nephews, they resolve to pass themselves off as her beloved relatives and get the cash. The trouble is, when they get to York, they find out that the relatives aren’t nephews, but nieces! Romantic entanglements ensue, especially when Leo falls madly in love with the old lady’s vivacious niece, Meg, who’s engaged to the local minister.

Award-winning playwright Ken Ludwig is known for such comedies as the Tony Award-winning Lend Me a Tenor, the Tony Award-winning Crazy For You, Moon Over Buffalo and Shakespeare in Hollywood. Leading Ladies falls right in line with his other titles, where cross-dressing, impersonating and falling in love lead the way.

Production:        Leading Ladies

Credits:                Book by Ken Ludwig

Director:              Jeff Horger

Cast

Michael Judah as Leo Clark

Kevin Goshorn as Jack Gable

Victoria Luther as Meg Snider

Catherine Vazquez as Audrey

Don Harris as Doc Myers

Sue Mouttet as Florence Snider

Will Muller as Duncan Wooley

Christopher Scott as Butch Myers/Frank

Show Dates:       April 14 – May 7, 2017 (Wednesday – Sat at 7:30pm, Sun at 2pm)

Tickets: At the OCP Box Office at 69th & Cass, by calling (402) 553-0800 or online at www.OmahaPlayhouse.com or www.TicketOmaha.com. Single tickets are $36 for adults and $22 for students (Thursdays – Sundays) and $28 for adults and $18 for students (Wednesdays). Tickets for groups of 12 or more are $24 for adults and $16 for students (Thursdays – Sundays) and $20 for adults and $14 for students (Wednesdays).

Twilight Tickets – A limited number of tickets are available at half price after noon the day of the performance at the Box Office. Cash or check only. Subject to availability.

Wednesday Performances – Discounted tickets are available for Wednesday performances only at $28 for adults and $18 for students

Whatta Deal Wednesday–Discounted tickets for $10 will be available for the first Wednesday performance on April 19, 2017.  $10 tickets will be available in person at the box office starting at 4pm the day of the show.

Sponsored by:   Carter and Vernie Jones

Location:  Omaha Community Playhouse, 6915 Cass St in Omaha, NE