Macon, MO—Big River: The Adventures of Huckleberry Finn kicks off MRT’s Season of Memories, which features some of the classics in Maples Repertory Theatre’s illustrious history.
A bluegrass-inspired musical based on the classic novel, Big River follows Huck Finn and Jim on their journey to freedom down the Mississippi River. Their hilarious, suspenseful, and heartwarming adventures along the way feature your favorite Mark Twain characters and an award-winning score by Roger Miller. Last seen at Maples Rep in 2014, we are proud to bring back this brilliant theatrical celebration of pure Americana.
Where: Maples Repertory Theatre (102 N Rubey St, Macon, MO) When: June 14-July 9 (7:30pm showtimes June 14, 16, 24-25, 30 & July 5 and 9. 2pm showtimes June 16-18, 20, 25, 30 & July 1, 5, 9) Tickets: $36 for Main Floor & $29 for Balcony. Tickets can be purchased here or by calling the Box Office at 660-385-2924
Directed by: Marc Liby Musical Direction by: Justin Cowan
Macon, MO—Maples Repertory Theatre announces auditions for its 20th season: Season of Memories. This season’s shows consists of some of the biggest hits in Maple Rep’s history. They include:
BIG RIVERJune 14-July 9, 2023
DRIVING MISS DAISY June 23- July 22, 2023
MAMMA MIA!July 19-Aug 6, 2023
THE CHURCH BASEMENT LADIESSept 27-Oct 15, 2023
BAREFOOT IN THE PARKNov 3-12, 2023
SORRY! WRONG CHIMNEY!Nov 29-Dec 10, 2023
Audition opportunities are as follows:
2023 UPTA; Memphis, TN February 3 – 6.
2023 Open Audition at Royal Theatre; 102 N. Rubey St.; Macon, MO- Date TBD 102 N Rubey Street, Macon MO 63552 Please prepare one song and one comedic monologue. Accompanist provided. Email todd@maplesrep.com to schedule a 10-minute audition slot and with any questions. Walk-in’s welcome. We will see both Equity and Non-Equity.
2023 Auditions in Kansas City- Date TBD Please prepare one song and one comedic monologue. Accompanist provided.
2023 SETC in Memphis, TN; March 1-5
For audition appointment or to submit electronically, email todd@maplesrep.com to schedule a 10-minute audition slot and with any questions. Walk-in’s welcome. We will see both Equity and Non-Equity.
Note: If there is inclement weather, auditions may be postponed. Please double check by calling the box office (660-385-2924) or visiting our Facebook page on the day you plan to audition.
Six people are invited to the retreat of Col. Rancour with a request for the Colonel to visit each of them individually. However, when a storm washes out the bridge to freedom and guests start dropping dead, it becomes clear that among the guests, help, and trapped college student lies a murderer. This is Something’s Afoot and it is currently playing at Maples Repertory Theatre.
It is really difficult to engage in an analysis of the script without revealing a salient plot point of this mystery, so I’m just going to leave things lie with my opening paragraph and you’ll just have to come watch. What I can say is that James McDonald, David Vos, and Robert Gerlach definitely did a deep dive into detective fiction in general and Agathe Christie mysteries in particular to come up with the plot of this story. In fact, it’s a good combination of the plotting of Agatha Christie and the presentation of Rex Stout (in the sense that the solution to the mystery is secondary to the colorful characters). Wrapped in the stylings of an old-time British music hall performance, this show provides a unique twist to the musical genre and a fun night of theatre.
Colton Pometta gets this show. This show is a very satirical poke at mysteries and Pometta rides that wave for all it’s worth. He lets his characters go over the top just enough so that they’re larger than life and amusing, but keeps them away from the point where it would become farcical and gauche. Pometta’s timing is spot on as his performers picked up cues like lightning and kept driving this show along. His staging is strong with full use of the space and ratcheting up the tension once it’s clear the murderer is somewhere in the house. Pometta has also led his actors to well-defined characters and tight performances.
There isn’t a weak link in the cast and each is a vital part of the machine. Roger Williams has a very stiff upper lip as the very proper butler, Clive. Justin Barron is a solid caretaker and a bit of a lech with his pinching of ladies’ glutes. Deanna Mazdra is humorous as the very Cockney maid whose sense of self-preservation is exceeded only by her greed. Bob Wearing invokes the spirit of Terry Thomas with his take on the slimy, money-grubbing nephew of Col Rancour. Todd Davison is clinical as the family doctor. Mike Ott is a scream as the blustering Col. Gillweather with some of the best extemporaneous asides I’ve ever heard and the funniest death scene I’ve ever seen. Kim Braun is appropriately snooty as the grand dame, Lady Grace Manley-Prowe.
Licia Watson tickles the funny bone as Miss Tweed, the artist/amateur sleuth. Clearly she is meant to be a combination of Agatha Christie and her creation, Miss Marple. Most of her humor comes from the fact that she lacks the deductive prowess of Christie’s famed sleuth, though the dimes do eventually drop. Watson’s Tweed definitely isn’t lacking in courage as she confidently stumbles her way through the investigation. Watson also has a potent singing voice as she invokes British fortitude in “Carry On” and explains the secret to her deductive “brilliance” in “I Owe It All”.
Jacob Sefcak’s take on Geoffrey reminded me of a young Michael Crawford as Geoffrey definitely has that charming idiot vibe. Sefcak nails the puppy dog loyalty and looks of young love and is clearly not the brightest of bulbs. Sefcak also has a dandy tenor that captures every ounce of sap needed for “I Don’t Know Why I Trust You (But I Do)” and “New Day”.
Abigail Becker is darling as Hope Langdon. Becker’s Langdon operates on the same intellectual plane as Geoffrey, but is such a ray of sunshine. She is exactly what she appears to be (or is she?) and has a crystal clear soprano that joyously welcomes the guests in “A Marvelous Weekend” or moons over Geoffrey in “You Fell Out of the Sky”.
I was particularly impressed with the sound work of this production as Madison Phillips’ thunderclaps, creaks, and sounds of death traps add the proper atmosphere to the story. Todd Davison has designed an elegant retreat for the wealthy Rancour with its purple walls and use of outlines and light to depict a large window. Jenna Alley’s props help to flesh out the world, especially with the large portrait of Rancour. Kelby King’s costumes suit the class statuses of the characters as well as the time period with accurate dresses and suits. I also tip my hat to the lights which were suitably eerie when power was knocked out or the chandeliers were lit. The band also effortlessly handled the music hall score.
Trust me, you don’t need to be a fan of murder mysteries to enjoy this show. If you like comedy and some old-fashioned tunes, then you’ll like this show, too. But accept the challenge of trying to solve the mystery and you’ll find yourself most thoroughly engaged.
Something’s Afoot runs at Maples Repertory Theatre through Nov 6. Showtimes are 2pm on Oct 22-23, 25-26, 29-30 and Nov 1-2 and 4-6 and at 7:30pm Oct 23, 28, 30, and Nov 2. Tickets cost $33 for the Main Floor and $26 for the balcony and can be obtained at the Box Office or by visiting www.maplesrep.com or calling 660-385-2924. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
Macon, MO–Inspired by the works of Agatha Christie, Something’s Afoot is a musical murder mystery suitable for the spookiness of the season.
Ten people are stranded in an isolated English country house during a raging thunderstorm. Suddenly, one by one they’re picked off by cleverly fiendish devices. As the bodies pile up in the library, the survivors frantically race to uncover the identity and motivation of the cunning culprit. Something’s Afoot is a zany, entertaining musical comedy that takes a satirical poke at Agatha Christie mysteries and musical styles of the English music hall of the ’30s.
Something’s Afoot runs at Maples Repertory Theatre from Oct 21-Nov 6. Showtimes are:
Fri. Oct. 21 – 2:00
Fri. Oct. 21 – 7:30 – Afterglow
Sat. Oct. 22 – 2:00
Sat. Oct. 22 – 7:30
Sun. Oct. 23 – 2:00
Tues. Oct. 25 – 2:00
Wed. Oct. 26 – 2:00
Fri. Oct. 28 – 7:30
Sat. Oct. 29 – 2:00
Sun. Oct. 30 – 2:00
Sun. Oct. 30 – 7:30
Tues. Nov. 1 – 2:00
Wed. Nov. 2 – 2:00
Wed. Nov. 2 – 7:30
Fri. Nov. 4 – 2:00
Sat. Nov. 5 – 2:00
Sun. Nov. 6 – 2:00
Tickets cost $33 for the Main Floor and $26 for the Balcony. Tickets may be purchased at the Box Office, by calling 660-385-2924, or by visiting www.maplesrep.com. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
Something’s Afoot features the talents of:
Kim Braun Todd Davison Bob Wearing Mike Ott Jacob Sefcak Deanna Marzda Abigail Becker Justin Barron Roger Williams Licia Watson
L to R: Noah Berry, Andy Harvey, Daniel Thompson, Karen Pappas, Kimberly Braun, Michael Perrie, Jr., Millicent Hunnicutt, Evan Raines, Horace Smith, and Matt Smolko star in “Hank Williams: Lost Highway”
He was a musical genius troubled by demons. He was the first megastar of country music. And he left this world far too soon. He was Hank Williams and you can watch his story in Hank Williams: Lost Highway currently playing at Maples Repertory Theatre.
On very rare occasions I actually attend a show purely as a patron. This was meant to be one of those times, but after seeing this show I felt obligated to put fingers to keyboard to share the gloriousness of this production.
Simply put, this is the finest show I’ve seen mounted at Maples Repertory since I first discovered this theatre. It’s brilliantly directed. It’s stellarly acted and sung. Randal Myler and Mark Harelik conjured a pretty intriguing way of sharing Williams’ story. It’s told in the vignette style, showing events from the life of Williams and using a nice touch of a pair of characters silently listening to Williams’ music on the radio. They are people involved in Hank’s life, but they also serve as his id and the fans of Williams, respectively. Williams’ numbers are skillfully placed as there’s no set up for each particular song, yet each song feels as if it was deliberately placed in its slot for a specific reason.
Todd Davison provided a spectacular piece of direction for this production. This is a tricky show to direct as it does not tell a complete and connected story. As such, each vignette is a mini-play in and of itself with its own build, climax, and resolution. But there still has to be a unifying x factor to tie the vignettes together and Davison has that factor firmly in the palm of his hand as the transitions felt seamless. He staged the show very effectively though some sightlines might be obscured from your view if you’re sitting at the farthest edges of the theatre. His coaching of his actors is beyond reproach. As my friend who joined me said, “There isn’t a flat tire in the lot.” The acting is pitch perfect and the singing is angelic.
The supporting characters carry a heavy load in this show as they not only help to tell Williams’ story, but also have to play their own instruments. Justin P. Cowan’s musical supervision is sure and certain with the cast nailing the interpretations of Williams’ songs to the floor. Evan Raines provides some fine fiddling while Daniel Thompson sizzles on harmonica and, I think, a mandolin. Amazing acting performances are supplied by Karen Pappas as Williams’ somewhat dominating mother, Mama Lilly. Kimberly Braun skillfully sings badly as Williams’ wife, Audrey, whose ambitions far exceed her talent. Andy Harvey brings a quiet leadership as Williams’ manager, Fred Rose. Matt Smolko and Noah Berry shine as Jimmy and Hoss, friends and bandmates of Williams. Berry especially impresses as the loyal friend who sticks by Williams until his demons become too heavy for him to support. Millicent Hunnicutt does sterling work as a waitress who gets a one-night fling with Williams and also being a spiritual representation of his fans. Horace Smith dominates as Tee-Tot, a street singer who inspires Williams’ career and serves as his emotional anchor and id as he appears to sing during Williams’ times of troubles to remind him of why he sings. Smith has a beautiful, deep baritone that is Heaven sent and transports you to the heights and depths of emotion.
This show ultimately lives and dies by the performer playing Hank Williams and this show not only lives, but thrives, thanks to the talents of Michael Perrie, Jr. If Perrie doesn’t get a Broadway World nomination for Best Actor in a Musical, it’s going to be a crime because he pulls off something truly amazing with the role.
Perrie simply IS Hank Williams. Perrie perfectly duplicates his speaking and singing voice right down to the yodeling vibrato falsetto Williams often used in his songs. Perrie is so much fun to watch due to his animation and attention to detail, finding little bits of business that enhance action and doesn’t pull attention away from the primary moment. His body language was incredible as he well communicates Williams’ back issues from a botched spina bifida surgery with his grunts, grimaces, and twists. Perrie’s drunken staggering and slurred speech in Williams’ darker moments is natural and realistic. His song interpretation and emoting of said songs is so powerful that when he started crying during “I’m So Lonesome I Could Cry”, I wanted to cry along with him.
Charles Johnson has designed a simple set of a barn, farmhouse front, and steps to be all of the scenes of the show. Dominic DeSalvio’s lights really enhance the show, especially with his use of intimate spotlights to highlight the more emotional moments of the production. Eliot Curtis’ props helped to flesh out the world of this show while Pete Nasir’s sound work was pluperfect. Jack A. Smith’s costumes take you back to the late 40s/early 50s with the simple dresses of the women, the suspenders and dress clothes for the men, and, of course, Williams’ trademark white suit and Stetson hat.
A show like this serves to remind me of why I got into theatre and it deserves to be seen and appreciated. You don’t even have to be a fan of country music or even know anything about Hank Williams to enjoy the show because I’m certainly not and I truly didn’t. If you love great acting and music, you will love this show. You’ve still got 2 chances to see this remarkable production, so give it a try. You won’t regret it.
Hank Williams: Lost Highway runs at Maples Repertory Theatre through August 7. Final performances are tonight at 7:30 pm and tomorrow at 2pm. Tickets cost $33 for the Main Floor and $26 for the balcony and can be obtained at the Box Office or by visiting www.maplesrep.com or calling 660-385-2924. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
Willum Cubbert is dealing with quite a bit of frustration in his life. His creativity is being whittled down to blah by a dull client. The woman he loves is moving to D.C. to be a weather girl. On the upside, he’s about to meet the man who saved his life in Vietnam. But, when he arrives, Willum discovers he’s a creature beyond terror. He’s. . .He’s. . .The Nerd!!!! And it’s currently playing at Maples Repertory Theatre.
The plays of Larry Shue are enjoyable in every conceivable aspect (reading, performing, watching, and directing) and The Nerd is one of his finest and best known. Shue not only had a great gift for wordplay, but he also had a flair for the ridiculous and a penchant for creating a title character who takes absurdity to the zenith. As such, his farces are a rich source of fodder for directors and performers.
For a play of this type, I can think of no better director than Peter Reynolds who has a positive bent towards handling this kind of material. Once again, he rises to the occasion with his direction of this piece. Not only has Reynolds guided his actors to superior performances, but he knows how to get his thespians to mobilize the frenetic words so that they not only sound funny, but believable, no matter how outrageous the situation. Reynolds also knows how to craft bits so funny with timing so smooth and coordinated that you’ll laugh until your ribs ache.
Splendid supporting performances were supplied by Holden White who’s an obnoxious brat as Thor Waldgrave. Sandia Ahlers is darling as the meek Celia Waldgrave whose repressed anger manifests in the destruction of breakable objects. Trevor Belt is the blustering, unimaginative hotel magnate. Kimberly Braun is a unique blend of supportive friend and proponent of women’s lib as Tansy McGinnis.
Michael Perrie, Jr. darn near steals the show as Axel Hammond. Perrie is perfect for the role and just glows as the cynical theatre critic. His witty asides are so extemporaneous that I wondered if some of them were improvised. Perrie is also a great deal of fun to watch as he always finds bits of business that keep him involved in the scene, but enhance the primary action as opposed to drawing attention away from it. He’s also great at the absurd parts of farce and his chant at the play’s climax is one of the show’s hallmark moments.
Nick Ferrucci is the consummate everyman as Willum Cubbert. Cubbert epitomizes most of Shue’s leads: a nice guy who has difficulty standing up for himself and going for what he wants until an outside force galvanizes him. Ferrucci is completely believable as the kind-hearted architect, but his life spirals out of control when he finally meets his nerdy pen pal who once saved his life. Ferrucci skillfully walks that line of a man trying to maintain his gratitude while simultaneously losing his mind. His meltdowns are hilarious especially when he practices speeches throwing out his pesty acquaintance and has a knack for farcical improv with his machinations to get Steadman out the door.
And the source of all this turmoil is Rick Steadman, brilliantly essayed by Andy Harvey. Anything you can think of when you hear the word “nerd” is embodied in Harvey’s take. Steadman has a nasally, adenoidal voice. His dress sense is godawful. He’s completely oblivious to social cues. He has weird hobbies like adapting songs for tambourine. He’s also good-hearted and well-meaning, but he has the Sadim (read that backwards) touch as everything he touches turns to blech. Harvey doesn’t chew the scenery. He devours it and has a grand time doing so and brings you along for the ride.
Dana Weintraub has designed a comfortable apartment for the level-headed Cubbert and the properties of Eliot Curtis give it that homey atmosphere (bonus points for digging up the Fry Guy on the bookcase to give the place that 80s feel). Jack Smith’s costumes suit the personalities of the various characters from the suits of the urbane Axel and business minded Walgrave to Steadman’s rainbow-colored suspenders and ill-fitting clothes to the smart dresses of Tansy.
This show is pure escapism. Grab a ticket and laugh yourself into a happy place. It’ll cure what ails you.
The Nerd plays at Maples Repertory Theatre through July 31. Showtimes are 7:30pm on July 16, 22, and 30 and 2pm on July 12, 17, 22, 26-27, and 31. Tickets cost $33 for the Main Floor and $26 for the balcony and can be obtained at the Box Office or by visiting www.maplesrep.com or calling 660-385-2924. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
From L to R: Millicent Hunnicutt, Lisa DeChristofaro, Andy Harvey, Sandia Ahlers, Julia Rocchio, Noah Berry, Alexis Reda star in “The Great American Trailer Park Musical”
A love quadrangle breaks out at Armadillo Acres Trailer Park between a toll collector, his agoraphobic wife, an exotic dancer, and her crazed, fume huffing ex-boyfriend. It may sound like an episode of Jerry Springer, but it’s The Great American Trailer Park Musical and it’s currently playing at Maples Repertory Theatre.
Betsy Kelso seems to have been heavily influenced by both Little Shop of Horrors and The Rocky Horror Show. Like Shop, the story is narrated by a trio of women who serve as the Greek chorus and the weird characters definitely hearken back to Rocky. Two big differences are that this show lacks the darkness of the others and the songs of David Nehls are much deeper and add some character depth that the dialogue does not. The end result is a truly fun show.
Deep this show is not, nor is it intended to be. What sells it is that the characters are such, well, characters. It’s an actor’s delight as they can throw caution to the wind, chew the scenery, and blow the lid off as they go over the top.
Brandon McShaffrey understands that and his actors are sterling with their larger than life, stereotyped performances. Any cliché that pops into your mind when you hear “trailer park” is found in this show and then some. McShaffrey gets his actors to lean into it with everything they’ve got and mixes it with their golden voices to serve up a rib-tickling good time. McShaffrey also throws in suitable choreography. Nothing fancy or flashy. Just fun and catchy.
Millicent Hunnicutt, Lisa DeChristofaro, and Alexis Reda kill it as the Greek chorus. Unlike other choruses, each actress has actually molded a well-defined character which adds a vital bit of pep to the production. Hunnicutt is the group’s leader as Betty, the trailer park manager with an Ethel Merman type presence, but a more powerful and developed singing voice. DeChristofaro is hilarious as Linoleum who moons over her death row husband and constantly seeks to prolong his life by keeping the power on to prevent the electric chair from working. Reda is a riot as Pickles, a dumb as a post ditz suffering from a hysterical pregnancy.
All three ladies have beautiful singing voices and maintain perfect harmony and shine in “This Side of the Tracks”, “That’s Why I Love My Man”, and “Storm’s A-Brewin’”.
Noah Berry excels in the role of Duke, the fume huffing, loose cannon ex-boyfriend. Berry knows how to be big and just eats the role with shining teeth. What I like best about Berry’s interpretation is that he makes Duke unpredictable, but not excessively dangerous. Rest assured, he’s got a screw loose, but wouldn’t really hurt another person. Small animals, on the other hand, need to be wary, lest they become the “Road Kill” he seems likely to create when driving and sniffing.
Julia Rocchio brings a new take to the stereotypical “bad girl with a heart of gold” role. Rocchio’s Pippi does not have a heart of gold. To be honest, she’s downright selfish as she gladly fools around with a married man, but she manages to be sympathetic at the same time. Pippi has been wounded a lot in her life and is constantly on the run from her ex so one can understand that she would grab happiness wherever and whenever she could find it. Rocchio does a fantastic job of showing that woundedness in her best number “But He’s Mine”.
Andy Harvey gets the deepest character with Norbert Garstecki. Harvey’s Garstecki seems like a pretty decent and likable guy at the top of the show. He’s deeply in love with his wife and has been trying to help her through her agoraphobia for the entirety of their marriage. He only gives up when an anniversary outing to the Ice Capades fails to entice his wife out of their trailer and it is then that his eye starts to rove. Harvey actually does a good job of making Norbert’s behavior understandable, if not acceptable. Harvey also has an amazing bass voice and gets some of the show’s more emotional numbers including brilliant renditions of “One Step Closer” and “It’s Never Easy”.
Sandia Ahlers is very sweet as Jeannie Garstecki and she makes Jeannie’s struggle with agoraphobia a very real battle. It’s almost as if her phobia is a physical enemy as she painfully (and humorously) works her way down the patio stairs by any means necessary (think ropes and flotation devices) in an attempt to conquer her fears. Ahlers can also belt out a tune like nobody’s business and has mighty turns in “Owner of My Heart” “Panic” and “Flushed Down the Pipes”.
Justin P. Cowan and his band (Chris Fritschie, Kate Hutton, and Nick Ferruci) rock out with the show’s score. Denise Warner’s costumes fit the trashiness of the characters from cheap dresses to jean shorts and T-shirts to tight leather pants and tops to cowboy hats and cut-offs. Dana Weintraub’s set is perfect with the dilapidated trailers of Armadillo Acres and the cheap furniture inside the Garstecki trailer. Dominic DeSalvio’s use of spotlights bring the right focus on characters during musical numbers and the malevolent red and shade used for the nightmare sequence really sells it. Mike Ekelburg’s sounds help to enhance the show from radio static and stations at the top to the gunshot in the final confrontation.
There were some moments when the microphones went soft and I lost pieces of dialogue and songs, but that did little to detract from the entertainment. It’s truly fun theatre and definitely an escape from life for a while. If you want to feel better about yourself, go immerse yourself in the plight of these characters.
The Great American Trailer Park Musical continues at Maples Repertory Theatre through July 10. Showtimes are 2pm on June 28-29, July 3, 8, and 10 and 7:30pm on July 2, 6, and 9. Tickets cost $33 for the Main Floor and $26 for the balcony and can be obtained by visiting www.maplesrep.com or calling 660-385-2924. Parental caution is suggested due to some language and themes. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
There’s a new tenant at Armadillo Acres—and she’s wreaking havoc all over Florida’s most exclusive trailer park. Pippi, the exotic dancer on the run, comes between agoraphobic Jeannie and her tollbooth collector husband, and storms begin to brew. A musical comedy that has a little bit of everything: spray cheese, road kill, hysterical pregnancy, a broken electric chair, kleptomania, strippers, and disco!
When Willum has an unexpected party guest, who turns into an unwanted houseguest, he executes an elaborate plan to rid himself of the wacky nuisance. Aided by a rag-tag team that includes friends, a would-be lover and an oblivious boss, creative acts of desperation quickly dissolve into utter mayhem. The twists and turns of this madcap comedy lead to an ending that leaves you feeling happily hoodwinked!
Travel the road with country music’s first music star! This musical follows Hank Williams’ journey from backwoods Alabama, to his triumphs on the Grand Ole Opry, and to his self-destruction at twenty-nine. Audiences will be treated to an unforgettable tribute of more than 20 hits, including “I’m So Lonesome I Could Cry”, “Move It on Over”, “Jambalaya”, and “Hey, Good Lookin’”.
Back together again! This favorite girl group from the Jersey Shore reunites to raise money for the good folk s at Sandy Shores Mobile Home Beach Resort. Reliving their heyday from the summer of ’64, these four inseparable friends offer a nonstop celebration of song from their early days through the next two decades. Featuring the hits “Yellow Polka Dot Bikini,” “These Boots Are Made For Walkin’,” “Ain’t No Mountain High Enough,” “I Will Survive,”and “It’s Raining Men,” The Bikinis is a musical beach party!
Ten people are stranded in an isolated English country house during a raging thunderstorm. Suddenly, one by one they’re picked off by cleverly fiendish devices. As the bodies pile up in the library, the survivors frantically race to uncover the identity and motivation of the cunning culprit. Something’s Afoot is a zany, entertaining musical comedy that takes a satirical poke at Agatha Christie mysteries and musical styles of the English music hall of the ’30s.
A Tuna Christmas
November 30 – December 11
It’s Christmas in the third-smallest town in Texas. Radio news personalities Thurston Wheelis (played by MRT favorite Michael McIntire) and Arles Struvie (played by MRT favorite Sean Riley) report on various Yuletide activities, including the hot competition in the annual lawn-display contest. With the “Christmas Phantom” on the loose and the local Christmas production in peril, there is lots of mayhem to report. In this hilarious sequel to Greater Tuna, two actors play all of the crazy citizens of Tuna, Texas.
Macon, MO–Maples Repertory Theatre prepares to ring in the holidays and close out the season with Tis the Season: A Maples Rep Holiday Celebration.
Synopsis
Christmas traditions come to life on stage in the all new, singing and dancing extravaganza. Your favorite holiday songs and characters will delight the whole family. It’s the perfect way to celebrate the season with your family and friends.
Directed By: Brance Cornelius
Featuring the Talents of: Tyler Lord, Emily Gardenhire, Josh Bernaski, Todd Davison, Olin Davidson, Lauren Longyear, and Kimberly Braun
Showtimes
Wed. Dec. 1 – 7:30
Fri. Dec. 3 – 2:00 & 7:30
Sat. Dec. 4 – 2:00 & 7:30
Sun. Dec. 5 – 2:00 & 7:30
Tues. Dec. 7 – 2:00
Wed. Dec. 8 – 2:00
Fri. Dec. 10 – 2:00 & 7:30
Sat. Dec. 11 – 7:30
Sat. Dec. 12 – 2:00
Tickets cost $33 for the Main Floor and $26 for the Balcony and may be purchased at www.maplesrep.com or calling 660-385-2924. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
From L to R: Sean Riley and Michael McIntire play the citizens of Tuna, TX in ‘Greater Tuna’
Welcome to Tuna, TX, home of the most eccentric, bizarre, and moronic people you’re likely to find on the planet. Join them for a day in their lives in Greater Tuna which is currently playing at Maples Repertory Theatre.
This play is the first in a series about the peculiar citizenry of Tuna. The shows are constructed as a combination of sketch comedy and soap opera. The characters and situations are over the top and some storylines don’t get wrapped up until future shows. One thing the shows have in common is that only 2 actors play the town’s citizens making it a showcase for character performers.
Marc Liby provides some skillful direction for this production. He keeps the pace going at the speed of a bullet train to rev up the comedy’s momentum and knows how to keep the many individual story arcs bright and interesting. His shaping of the actors’ numerous characters is stellar as each character has his or her own life with a change in costume, voice, and posture.
With only 2 actors to play a town of oddballs, skilled, versatile actors are a must and this show has got them in the form of 2 of MRT’s favorite sons: Michael McIntire and Sean Riley.
McIntire and Riley’s timing is polished to a fine sheen and I think they set a record with their blitzkrieg costume changes. Both also brilliantly essay the many lunatics of this town and are guaranteed to have you laughing from the diaphragm by the time the night is through.
Michael McIntire plays most of the town’s intense characters. Some favorites were his rendition of Bertha Bumiller, a tough as nails morality freak who leads an organization to ban literature such as Romeo & Juliet due to its depiction of teenage sex and Roots because it only presents one side of the story; Elmer Watkins, a conspiracy theory fueled survivalist; and radio host Harold Dean who delights in blaring the town’s issues while dodging a stalker. But his capstone character was Reverend Spikes who gives a rather energetic and lascivious eulogy which had the audience howling.
Sean Riley plays most of Tuna’s dopes and nerds. Some of his classic performances include his take on the dorky Petey Fisk, the head of the local SPCA who often smuggles dogs to the Bumillers through their youngest child; the deadpan and potentially deadly Didi Snavely who runs the local weapons shop; his laconic Arles Struvie who hosts the thrice daily news broadcasts and is one of the few townsfolk with a couple of brain cells. But his most surprising character is Stanley Bumiller, the ne’er do well son of Bertha who takes one of the show’s storylines in a shockingly dark direction with his grudge against a judge who sentenced him to reform school.
Kerri Packard certainly had her work cut out for her with this show, but her costumes suit the personalities of each of the town’s characters with the overalls and flannels of some of the hick characters, the frumpy dresses of the town’s elderly women, the con artist suit of Rev Spikes, and the clothing of Stanley Bumiller which seemed inspired by Mike Myers’ Wayne character from Wayne’s World. Clayton Dombach keeps his set fairly simple with a large friendly sign welcoming people to Tuna and his backdrop depicting a farm community. Mike Ekelburg’s sounds boost the comedy especially with the UFO scene which was influenced by Close Encounters of the Third Kind. Shon Causer’s lights always suit the emotional thrusts of the various scenes.
This is pure escapist comedy which will make you forget about life for a while and provide the healing magic of laughter. Take a night to lose yourself in humor.
Greater Tuna runs at Maples Repertory Theatre through August 1. The show has 2pm showtimes on June 26, July 2-3, 7, 13, 18, 20-21, 30, and August 1 and 7:30pm showtimes on July 9, 17, 23, 28, and 31. Tickets begin at $26 and can be obtained by calling the box office at 660-385-2924 or visiting www.maplesrep.com. Maples Repertory Theatre is located at 102 N Rubey St in Macon, MO.
Chris' Corner 