Sheathing My Quill or The Healed Actor

I have sheathed my quill. . .well, mostly.

On May 30, 2024, after 11 years, 10 seasons, and 270 reviews, I penned my final full-time local review with OCP’s production of Hello, Dolly!  Now I’m a local actor (again) and a regional reviewer (still).

In looking back at the road I’ve traveled, I can say one thing for certain:  writing saved the actor. 

To be specific, a theatre community and audience who appreciated and enjoyed my little scribblings saved the actor because it allowed me to keep my hand in the game and rest and recuperate from the burnout that had engulfed me back in 2013.  A burnout that I didn’t even know I had until I started looking back on where I was so long ago.

If you’re new to my blog, I got my start as an actor waaaay back in 1995.  If you’re interested in reading about those times, I have a whole slew of stories logged under the theatre tales section of this site. 

Like all actors, I’ve experienced some big ups and downs in this business, but I had two really big down periods which were my first 4 years when I struggled to land any kind of role and again from about 2010-2013 (see series labeled “Drought” under theatre tales) when I, again, could not get cast in spite of my best efforts.

I finally managed to snap the drought when I was cast in Leaving Iowa back in 2013 with the most satisfying role I have undertaken.  Dubbing it “The Miracle Show”, it completely restored my confidence in myself as an actor, but what it didn’t do is restore my drive and confidence in my ability to get cast.

Instead of auditioning more, I actually started auditioning less.  Consciously, I told myself, truthfully, that I could be a little more selective about the projects I pursued, but, on a deeper level, I think I was still weary from the long period of rejection I had fought through to get to Leaving Iowa.

Without knowing it, I needed a real break.

The idea for writing kind of came out of nowhere.  I’d always had a knack for wordplay and I thought the theatre community might be able to use a writer who had a background in theatre and so I started it purely as a lark and an experiment.

Little did I know that it would catch on and catch on in the way that it did.  So much so that acting began to take a back seat more and more to my writing which gave me that precious break from the stage that I so badly needed.

That first season, everything came out of my pocket.  But at the end of that first season, I was placed on the media list at the Omaha Community Playhouse where I was able to watch shows for free in exchange for reviews.

This opened up a whole new path for me as I began working with other theatres in the community to review shows in exchange for tickets which allowed me to expand the work of the Corner and make it a viable source of theatre news and reviews. 

In 2016, I was able to expand things even further when Todd Davison and the good people at Maples Repertory Theatre granted me press tickets to review the first two shows of MRT’s 2016 season and I became a regional reviewer.  Since that notable day, I’ve gone on to review shows at nearly two dozen different theatres located in 9 different states.

It has been a real joy to shine a light on so many great talents over the past decade.  I’ve had a real sense of satisfaction by giving publicity to theatres and their talents, some of which had little or no coverage from the regular press.  Even more moving was learning that some of my reviews have been used by theatres to obtain grants to help fund them which has been an extra cherry on the sundae of writing.

And through it all, the actor slept and rested.

During the pandemic, he began to reawaken as I realized I might still have something in the tank as a storyteller after seriously considering retiring from the stage for good.

In October of 2022, I made my first return to the stage in a very long time when I served as a storyteller for BlueBarn’s Musings series.  That experience made me realize that I truly had missed being on stage.

In July of 2023, my acting juices reignited with the announcement that OCP would be producing The Play That Goes Wrong and I had my first real audition in over 5 years.  An audition that netted me a callback and that was a victory in and of itself.

An even bigger victory/change was a greatly altered outlook on auditions where I could now enjoy the experience of performing for just a few moments and letting the chips fall where they may afterwards.

So now, I find myself looking for that next big project.  I’ve even started engaging in practice auditions.  By that I mean I’m reading for shows that I’m likely not going to be cast in due to no seemingly fitting roles.  But I am, at least, getting my face back in front of directors and getting back into the swing of performing.  And, who knows, maybe one of these practice rounds may end up resulting in really getting to do a show.

As for my quill. . .

I’m still writing on a regional level.  I’ll even do a local review from time to time.

But will I ever return to local writing on a regular basis?

Yes.

On the day I decide to retire from the boards, I’ll likely return to reviewing on a regular basis in whatever locale I find myself.

But, until then, let’s see what stories I can tell.

You’re Looking Swell, Dolly

Matchmaker (and meddler) extraordinaire, Dolly Gallagher Levi seeks to match herself with Yonkers’ half a millionaire, Horace Vandergelder.  On the road to matrimony, she seeks to match a few deserving couples along the way.  This is Hello, Dolly! and it is currently playing at Great Plains Theatre.

This show really lends itself to the musical genre.  It’s not a complex story.  In a lot of ways it’s one unified story as all the characters are looking for the same thing:  love and marriage.  That singular focus allowed the show to really focus on some of the other hallmarks of musicals.  Namely, the songs and sweeping dance numbers.  GPT’s rendition of this show gives you those hallmarks, some indelible characters, and a whole lot more in a delightful evening of entertainment suitable for a date night.

Cody Walls has an auspicious debut as GPT’s new artistic director with his guidance of this production.  Using a cast that was about half the size of other productions I’ve seen, Walls still made it feel as if I were watching a production just as large due to excellent management of the space during group scenes.  Walls had the actors spaced out so they could all share the stage and have all of their smiling faces clearly seen by the audience.  Walls also stages the show well with a less is more set.  Just a few well-chosen set pieces (centered by an impressive set for Harmonia Gardens with a lighted archway and two private dining rooms) and imagination took care of the rest.  Walls also led his actors to some strong performances.

The ensemble did some wonderful work.  Their harmonies were fantastic and almost seemed to blend into one voice.  They were so involved in the world of the show and it added such a delightful bit of seasoning to the show.  Strong supporting performances came from Nolan Hall who might be a Fred Astaire in the making with his hoofing ability; Willa H. Walberg whines on the same frequency as a siren as Ermengarde; Malia Horst shines as the obnoxious Ernestina Money; Jenna Gaston is amusing as Minnie Fay whose gossipy instincts are always at war with her polite manners.

Melody Lieberman is a jewel as Dolly Levi.  Her presence fills the room and she plays the role with a confidence that makes one feel there’s nothing that Dolly can’t do.  Lieberman has an excellent sense of timing, knowing just how long and far to take a gag.  Lieberman also seems to channel Barbra Streisand’s take on the role, throws in a sprinkle of Phyllis Diller, and mixes it with her own personality to produce a magnificent character.  Lieberman’s voice is every bit as potent as her presence as she soars with renditions of “Before the Parade Passs By”, “Motherhood March” and “I Put My Hand In” where she delights in her knack for busybodying.

Sam VanKampen brings an original take to the role of Cornelius Hackl.  Gene Kelly once described the role as a charming idiot and VanKampen is assuredly charming, but not an idiot.  I liked that VanKampen brought a lot of confidence to Cornelius as it made him funnier as his inexperience with women makes him anything but a smooth operator.  While Cornelius may not be smooth with the ladies, there is nothing unsmooth about VanKampen’s dancing as he effortlessly glides about the stage.  VanKampen also has a sweet tenor and is incandescent in his solo “It Only Takes a Moment”.

Chloe Grace Kenyon brings some sizzle to the role of Irene Molloy.  At one point, Kenyon’s Molloy remarks that she is perceived as a wicked woman and her take on the role makes one wonder if there isn’t a tiny bit of truth to the perception.  Kenyon’s Molloy has the manners and attitude of a proper lady, but she infuses a bit of naughtiness into the character with her delight at her original intention of flirting and then dropping Cornelius as practice for going into a marriage purely for security and her zest for adventure.  Kenyon has a glistening soprano which takes center stage as she sings about love remembered and hoped for again in “Ribbons Down My Back”.

Dylan Blackwood dazzles with his choreography as he’s designed several epic moments of dance.  Specifically, “The Waiter’s Gallop” and the extended dance sequences for “Hello, Dolly” and “Put On Your Sunday Clothes”.  Susie Jolink’s musical direction is spot-on.  As previously noted, the harmonies of her ensemble are some of the best I’ve heard and her soloists nail their numbers to the floor.  Becky Dibben’s costumes suit turn of the century America with tweed suits, tuxedos, and elegant dresses.  Kent Buess’ lights add a needed flavoring to the show with a standout being a pinkish, feminine hue on Irene Molloy’s hat store.

There were a few minor blips with the show as there were some moments where the cue pickups needed to be much, much tighter and there were a couple of instances where the singing didn’t quite feel in time with the pre-recorded soundtrack.  That being said, it did little to dampen a thoroughly charming night of theatre.

Get out your feathers and patent leathers and enjoy an evening with Hello, Dolly! before the parade passes by.

Hello, Dolly! runs at Great Plains Theatre through June 30.  Showtimes are Thurs-Sat at 7:30pm and Wednesday, Saturday, and Sunday at 2pm.  Tickets cost $40 and can be purchased here.  Great Plains Theatre is located at 215 N Campbell St in Abilene, KS

Dolly, Don’t Go Away

Sarah Ebke stars as Dolly Gallagher Levi in Hello, Dolly! at the Omaha Community Playhouse

Professional busybody, Dolly Gallagher Levi, schemes to marry half a millionaire, Horace Vandergelder and do a little matchmaking along the way.  This is Hello, Dolly! and it is currently playing at the Omaha Community Playhouse.

This show is one of the true classics of musical theatre with a timeless story, heartwarming songs, and sweeping dance sequences.  The Playhouse ticks all of these boxes and then some with its rendition of this legendary musical and will have your spirit soaring by the end of the night.

Susie Baer Collins brings a confident hand to the guidance of this production.  With a cast this large and a show known for lavish dance numbers, I half expected Baer Collins to use the aisles to help stage the show.  Instead, she had the stage expanded outwards to accommodate the cast which ensured that each and every actor would be able to be seen by the audience.  Baer Collins has a good grip on the feel of the story as she extracts the sweetness, humor, warmth, and, yes, sadness of each scene where appropriate.  She has also guided her actors to solid and strong performances.

The ensemble did an admirable job pumping life into the world of this show.  Each was fully engaged in the production and added little bits of business that made them a joy to watch.  Dave Campbell has a dandy OCP debut with his rendition of the drill sergeantlike head waiter, Rudolph Reisenweber.  Belle Rangel is a whining weepfest as Ermengarde.  Tyra Smith and Megan Ingram team up to create a very realistic horse at the start of the play.

Sarah Ebke is delightful as Dolly Gallagher Levi.  As Dolly, Ebke could sell ketchup to a gentleman wearing white gloves.  She’s a meddlesome marvel who, thankfully, uses her manipulative might to better the lives of those around her.  I liked Ebke’s use of a New York accent to really add local flavor to the character of Dolly and by the end of Act I, she was really reveling in the role and I could tell she had utterly lost herself in the persona of Dolly.  Ebke has a powerful voice and dominates the stage with Dolly’s signature numbers, “Before the Parade Passes By” and “Hello, Dolly”.

Cork Ramer is a lovable grump as Horace Vandergelder.  As Vandergelder, Ramer has an awful lot of bark, but very little bite as he uses Vandergelder’s bluster to cover a heart of gold even if he does think that 99% of the population are fools.  Ramer has excellent timing and a good sense of physical comedy especially with his reactions to the chorus that spontaneously appears in his store as he explains why he wants to marry again in “It Takes a Woman”.

Mackenzie Zielke has a stellar turn as Irene Molloy.  Zielke initially brings a sense of resigned acceptance to Molloy who is prepared to be matched with Vandergelder simply because she wants some security and to escape the millinery business.  But you soon realize that her sense of resignation is largely due to the fact that she doesn’t expect to find true love a second time.  One of the best parts of Molloy’s arc is to watch the coals of love reignite as she becomes smitten with Cornelius Hackl.  Zielke has a beautiful and stirring soprano and will chill you in the best way possible when she remembers her late husband in “Ribbons Down My Back”.

Kyle Avery is adorkable as Cornelius Hackl.  Avery brings just the right amount of social awkwardness to Hackl who has never spoken with a woman despite being 33 years old.  Yet when under the influence of true love, Avery’s Hackl becomes quite well-spoken (or perhaps well-sung) when he declares his love for Irene in “It Only Takes a Moment”.

Jim Boggess and his orchestra had me lost in the throes of musical bliss with their rendition of the charming score and Boggess’ guidance of the singers is dead on the mark with potent solos and entrancing and mesmerizing harmonies.  Jim Othuse has designed one of the biggest sets in the history of the Playhouse as he transports you from the rustic hay and feed store of Vandergelder’s to the skyline of turn of the century New York to the imposing edifice of Harmonia Gardens and its elegant interior with curtained dining rooms and grand staircase.  Aja Jackson’s lights boost the story from the intimate dining experience at Harmonia Gardens to the changing colors of the sky peeping behind the buildings of New York to the use of the focused spotlight on Dolly for her hallmark tunes.  Michelle Garrity has choreographed some epic dance numbers with the highlights being the marathon dance sequence of the waiters at Harmonia Gardens and the dance of the citizens of Yonkers in “Put On Your Sunday Clothes”.  Lindsay Pape’s costumes fit the turn of the century with bustles, elegant dresses, tweeds, and dapper dress clothes for the Harmonia Gardens staff.  Tim Burkhart has the actors’ voices sounding clear as bells while John Gibilisco adds some sound effects, notably a series of exploding cans.  Andrew Morgan’s props and Janet Morr’s artistry further boost the reality of this world.

It took a little bit for the show to hit second gear, but I could physically feel the switch flip from the nervous “Oh, man, we have an audience” to “Oh, boy!  We have an audience!” where the cast started feeding off the energy of the crowd and relaxed into their roles which activated their maximum potential.  There were also some moments where cue pickups could be a bit tighter.

This is a lovely show and a fitting close for the Playhouse’s 99^th season.  Don’t let Dolly go away without making that visit to New York and enjoy a soul salving, feel good show that will give you an inner glow.

Hello, Dolly! runs at the Omaha Community Playhouse through June 30. Performances are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $25 and can be purchased at omahaplayhouse.com, visiting the OCP Box Office, or calling 402-553-0800.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

Photo Credit: Omaha Community Playhouse

OCP Bids Good-Bye to the MainStage Season with “Hello, Dolly!”

Sarah Ebke and Cork Ramer star in Hello, DollyI at the Omaha Community Playhouse

Omaha, NE–Dolly Levi is coming to the Omaha Community Playhouse stage! Hello, Dolly! opens on Friday, May 31, 2024. The show will run in the Hawks Mainstage Theatre through Sunday, June 30, with performances on Wednesday through Sundays.

Winner of 15 Tony Awards, including Best Musical and Best Revival, Hello, Dolly! is classic musical theatre at its finest. Hello, Dolly! is bursting with showmanship, glamour, romance, dance, humor and some of the greatest songs in musical theatre history. Whether you’re new to Dolly! or you’ve seen her 100 times, this colossal production is bound to be historic.

Tickets are on sale now, with prices varying by performance. Tickets may be purchased at the OCP Box Office, by phone at (402) 553-0800 or online at OmahaPlayhouse.com

Director: Susan Baer-Collins
Musical Director: Jim Boggess
Choreographer: Michelle Garrity

Cast

Dolly Levi – Sarah Ebke

Horace Vandergelder – Cork Ramer

Ambrose – Tabor Cross

Ermengarde – Belle Rangel

Cornelius Hackl – Kyle Avery

Barnaby Tucker – Brandon Fisher

Irene Molloy – Mackenzie Zielke

Minnie Fay – Charlotte Hedican

Ernestina Money – Haylee Grosvenor

Rudolph Reisensweber – Dave Campbell

Mrs. Rose – Ginny Hermann

Stanley – Bowen Nowak

Ensemble – Peyton Banks

Ensemble – Maya Bartee

Ensemble – Rachael Brich

Ensemble – Adam Clayton

Ensemble – Mary Kay Dejardins

Ensemble – Audrey Glaser

Ensemble – Mark Haufle

Ensemble – Scott Hegenbart

Ensemble – Angel Hernandez

Ensemble – Conner Holben

Ensemble – Megan Ingram

Ensemble – Cayenne Johnson

Ensemble – Elliot Kerkhofs

Ensemble – Alexis Rooker

Ensemble – Sarah Schrader

Ensemble – Tyra Smith

Ensemble – Leticia Tavarez

Ensemble – James Verderamo

Ensemble – Randy Wallace

Ensemble – Jaylin Wiese

Photo Credit: Colin Conces

Great Plains Theatre Announces Auditions for 2024 Season

Abilene, KS—Great Plains Theatre announces auditions for its 30th season. This season’s shows are:

Legally Blonde: The Musical (May 31-June 9)
Hello, Dolly (June 21-30)
Bright Star (July 19-28)
Honky Tonk Angels (Oct 4-13)
Forever Plaid: Plaid Tidings (Dec 6-15)

Virtual Submissions

Please send a current headshot, resume, and an audition video package for consideration. Your audition video package should contain a 32-bar song cut, a 60-second monologue,and any dance/movement footage for consideration. No acapella submissions will be considered. All videos MUST be sent via an unlisted YOUTUBE link. All materials required should be emailed directly to the casting team at auditions@greatplainstheatre.com. All of these videos will be considered for our 30th Season. Thank you for your time, talent, and commitment!

DEADLINE TO SUBMIT : Monday, March 18 at 5pm

Local Auditions

Local auditions will be held in person at Great Plains Theatre(215 N Campbell, Abilene, KS, 67410) on Friday, March 22nd from 4 pm-8 pm, with a dance call from 8pm-9pm, and Saturday, March 23rd from 9am-1pm, with a dance call from 1pm-2pm. Callbacks will take place from 5pm-8pm.

Please prepare 16-32 Bars of any song that shows you and fits the style of any show in the season. To set up an appointment, please fill out the audition form using this link where you will upload a current headshot and resume. Once we receive your form, we will contact you with your audition time. Please bring sheet music to the audition. An accompanist will be provided!

The English Experience, Day 12: The Music of the Night

Despite waking up to another beautiful day, I was really feeling the blues that morning.  I couldn’t believe we had reached the final day.  How had it come so quickly?

We had a very early bus call today as we had to be on the road at 7:30am.  It was a long drive back to London and Stewart wanted us to get back by mid-afternoon to avoid rush hour and to give us time to relax before any evening activities we travelers may have planned.

The drive was broken up by one final stop and that was in Stratford-On-Avon, birthplace of William Shakespeare.

Upon entering the village, we made a brief stop outside the home of the Bard’s wife, Anne Hathaway, We got a group photo in the field across from the cottage and then had a few minutes to get some photos of the house before hopping back on the bus and heading to the town centre where we would visit Shakespeare’s family home.

Anne Hathway’s Cottage

The home was well to do for the time. It was two stories and the possessions appeared to be of high quality. Shakespeare’s father, John, was a glove maker and only the very rich could afford gloves so John was able to earn a good living, though later financial setbacks would pauperize him. 

Shakespeare’s childhood home

A guide was present in each room of the house to give a little spiel on the room and provide a little history on Shakespeare’s younger days.

After examining the house, the rest of the time was ours to spend as we wished.  I wandered about the town, took a walk to the river, and enjoyed lunch as I thought it would be easier than attempting to have dinner that night for reasons I’ll get into in a moment.

At 1:10pm, we began the final leg of the journey.  As we raced through the countryside, I started looking through my album and reminiscing about the tour.  The adventures enjoyed.  The friendships forged.

At 3:30pm, we arrived at the place we began:  Park Plaza Westminster Bridge.

I said good-bye to Bruce and wished him well on his upcoming excursion to the Antarctic.  I then made arrangements with Dave and Peggy to meet in the lobby at 5:15pm for the event I had been looking forward to since before I arrived:  a jaunt to His Majesty’s Theatre to watch The Phantom of the Opera.

Globus did have a show night of their own planned as an optional activity, but it was going to be to Les Miserables.  I thought about signing up for it, but I decided that to do this right, I wanted to be able to pick the show.  And to see my favorite musical in the place where it all began was too enticing a proposition to ignore.  It also proved to be a wise choice as the show night event was canceled due to only 7 people signing up for it.

I zipped up to my sixth floor room and was stunned as I entered as I was greeted by a living room.  “No way!” I thought.  I rushed over to the bedroom and saw that I had, indeed, been given a suite.  This helped to make up for the fact that I had a hideously early wake up call as my transfer to the airport would be at 5:45 the next morning.

I got myself cleaned up and dolled up for the night before meeting Dave and Peggy in the lobby and we were off.

Now, you might remember in my very first post that I had made a point of mentioning that I located the Underground station for Lambeth North.  The reason for that is the we would be taking the famed London subway to the West End to see the show.

Once you figure out what lines are served by which stations, the Underground is pretty easy to use.  From doing research I know there are various options for tickets.  Our group bought a round trip fare to Piccadilly Circus.  I know the rates vary based on peak travel times, but I was still a little surprised at the nearly 14 pounds I had to pay for the ticket, but it was still worth it.

Once we figured out whether we needed the northern or southern line (either would get you there, but northern got you there more quickly), we chugged our way over to Piccadilly and made the three minute walk to His Majesty’s Theatre.

His Majesty’s Theatre

Now I wasn’t certain there would be time to enjoy a meal before the play which is why I actually ate lunch.  But we seemed to have some time to spare, so our trio stopped in at Spaghetti House.

I wasn’t very hungry so I sipped water and enjoyed one slice of the margherita pizza ordered by Dave and Peggy.  Thin sliced American pizza was pan compared to the thinness of this pizza.  But it was tasty, especially the homemade sauce.

Then it was off to the theatre where I soaked in every joule of its energy.  I had booked myself a front row center seat on the first balcony.  Dave and Peggy managed to get on my balcony but a few rows back and to my right.

The seat was perfect.  I had a pristine view of the stage and was able to see every expression and reaction on the parts of the actors once the show got going.

I had thought about reviewing the show, but ultimately opted to enjoy it as a patron which I haven’t done in years.  This show may very well have been the most perfectly performed piece I have ever seen.  The cast and orchestra were ready to perform and came out with all guns a blazing.  The nuances and details the actors added enhanced their performances so much.  Some choices which might have been played a little more broadly in America worked simply because these performers played them so naturally and seriously.

But I was seriously blown away by the performance of Jon Robyns as the Phantom.  He brought such power and regalness to the role.  And he nailed my favorite moment in the show which is when the Phantom finally understands real love and loves Christine enough to let her go.  I’ve always been fascinated as to the choices the actor playing the Phantom makes at this pivotal moment to express his agony at losing Christine.  I’ve seen some great ones over the years:  Brad Little plaintively shouting “I love you” over and over; Anthony Crivello looking so confident when Christine returns only to watch his chest cave in when she returns his ring; Stephen Tewksbury’s simple, “Christine, I love you.”  But Robyns got some real tears flowing from me when he caressed Christine’s wedding veil and deeply inhaled her scent from it before breaking down into agonized sobbing.

It was definitely a show that I’ll be remembering for a long, long time.

The three of us excitedly chatted about it as we returned to the hotel.  I made my final good-byes to my new friends before retiring to my suite to get a final snap of London and as much sleep as I could before returning home the next day.

Good night, London.

And thus, The English Experience has come to an end.  But I’m already planning the next international excursion.  So, In the fall of 2024 or the spring of 2025, please join me once again as I visit a place where the locales will be as much fun to say as they are to visit.  A land of waterfalls and fjords.  A place where I can ride the Flam Railway.  A country where the Winter Olympics were held.

Destination:  Norway

Omaha Community Playhouse Announces Season 99

Omaha, NE.–The Omaha Community Playhouse (OCP) has announced the titles to be produced during their 99th season, which will run from August 2023 through June 2024. OCP also shared that the new Ebenezer Scrooge in A Christmas Carol is Cork Ramer, who has played Scrooge on the Nebraska Theatre Caravan tour for 18 years. Subscriptions for OCP’s 2023/24 season are now available for purchase through the OCP Box Office at 6915 Cass Street, Omaha, NE 68132 or by phone at (402) 553-0800.

99th SEASON PRODUCTIONS

Clyde’s

By Lynn Nottage

August 18-September 17, 2023

Howard Drew Theatre

Fresh from Broadway, Clyde’s is serving up fire and ferocity. Famous for sandwiches and second chances, Clyde’s is where previously incarcerated individuals who are part of a transition program work with pride and resilience while showing great reverence to sandwiches. As the employees strive for redemption, the restaurant owner, Clyde, ensures they can’t leave their own purgatory. Full of dark humor, Clyde’s shows that a fresh start is attainable…if you pay the price.

Disclaimer: Contains adult language and content

Beautiful The Carole King Musical

Book by Douglas McGrath, Words and Music By Gerry Goffin and Carole King, Barry Mann and Cynthia Weil, Music by Arrangement with Sony/ATV Music Publishing

September 15-October 15, 2023

Hawks Mainstage Theatre

Tony Award winner Beautiful The Carole King Musical is the inspiring true story of singer/songwriter Carole King’s remarkable life, her journey to fame, and the mammoth impact she and her work had on the music industry. While not without strife and heartache, King’s story and unbreakable spirit will capture your heart. With songs like “Will You Love Me Tomorrow,” “One Fine Day,” and, of course, “(You Make Me Feel Like) A Natural Woman,” Carole King’s music is the soundtrack of a generation.

Presenting Sponsor: Mutual of Omaha Artistic Team Sponsor: Security National Bank Hawks Mainstage Series Sponsor: Immanuel Orchestra Series Sponsor: CHI Health

Pipeline

By Dominique Morisseau

October 6-November 5, 2023

Howard Drew Theatre

Where does the pipeline to prison begin? A gripping, thought-provoking, harrowing drama, Pipeline is the journey of a mother and educator who tries desperately to keep both her son and her students on straight-and-narrow paths. Masterful storytelling woven with cinematic elements, Pipeline is an examination of the American education system and the obstacles that students, educators, and parents encounter to achieve success.

Disclaimer: Contains adult language and content

*A Christmas Carol

Written by Charles Dickens, Adapted by Charles Jones, Musical Orchestration by John. J. Bennett

November 17-December 23, 2023

Hawks Mainstage Theatre

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. The must-see holiday event for the entire family, filled with stunning Victorian costumes, festive music and crisp, wintry sets.

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

Presenting Sponsor: FNBO Artistic Team Sponsor: Omaha Steaks Bakery & Special Effects Sponsor: Rotella’s Orchestra Series Sponsor: CHI Health

*Sister’s Christmas Catechism

November 24-December 23, 2023

Howard Drew Theatre

Sister’s Christmas Catechism: The Mystery of the Magi’s Gold is a holiday extravaganza full of laughs and audience participation. A brassy and bossy nun formally known as “Sister” retells the nativity story and unwraps the mystery that has intrigued historians throughout the ages—whatever happened to the Magi’s gold? Employing her scientific tools, assisted by a local choir and audience banter, Sister delivers a humorous and irresistible satire that will keep you on your toes.

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

The Play That Goes Wrong

By Henry Lewis, Henry Shields, and Jonathan Sayer

January 26-February 18, 2024

Hawks Mainstage Theatre

Tony Award Winner The Play That Goes Wrong is the side-splitting farce that has taken the theatrical world by storm. Called “the funniest play Broadway has ever seen” (The Huffington Post), this tour de force is filled with mayhem, pratfalls and a set that has a life of its own. A masterpiece of malfunction, The Play That Goes Wrong is the can’t-miss theatrical experience of the season.

Hawks Mainstage Series Sponsor: Immanuel

Cabaret

Music by John Kander, Lyrics by Fred Ebb, Book by Joe Masteroff

February 23-March 30, 2024

Howard Drew Theatre

Winner of 12 Tony Awards, including Best Musical and Best Revival, Cabaret is one of the most groundbreaking musicals of the 20th Century. Set in Germany as the Nazi party gains power, the iconic Emcee welcomes audiences (“Willkommen”) to the seedy Kit Kat Klub where performer Sally Bowles has a rendezvous with an American writer. You’ll be transported to another time with iconic songs such as “Maybe this Time” and “Cabaret.”

Disclaimer: Contains adult situations

Orchestra Series Sponsor: CHI Health

Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery

By Ken Ludwig

March 8-30, 2024

Hawks Mainstage Theatre

Packed with quick changes and zany characters, Baskerville is a must-see mystery. Five actors play more than 40 characters to bring this classic novel to life. Sherlock Holmes and Watson are on a mission to solve the family curse of the Baskervilles. An energetic and thrilling rendition of a class Sherlock Holmes mystery, this classic whodunit is a complete delight from start to finish.

Presenting Sponsor: Physicians Mutual Hawks Mainstage Series Sponsor: Immanuel

Chicken and Biscuits

By Douglas Lyons

April 19-May 12, 2024

Hawks Mainstage Theatre

Who knew a funeral could be so fun? Laughter and love seep from this uproarious new family comedy. When the Jenkins family comes together to celebrate the life of their patriarch, skeletons in the closet are revealed. Family members at odds are challenged to accept each other for who they are – the good, the bad, the ugly, and the hilarious. Love and commitment to family is at the heart of Chicken and Biscuits.

Disclaimer: Contains mild adult language

Hawks Mainstage Series Sponsor: Immanuel

Hello, Dolly!

Music and lyrics by Jerry Herman, Book by Michael Stewart, Based on the play The Matchmaker by Thornton Wilder

May 31-June 30, 2024

Hawks Mainstage Theatre

Winner of 15 Tony Awards, including Best Musical and Best Revival, Hello, Dolly! is classic musical theatre at its finest. Hello, Dolly! is bursting with showmanship, glamour, romance, dance, humor, and some of the greatest songs in musical theatre history. Whether you’re new to Dolly! or you’ve seen her 100 times, this colossal production is bound to be historic.

Producing Partner: Valmont Hawks Mainstage Series Sponsor: Immanuel Orchestra Series Sponsor: CHI Health

That Meddlesome, Magical Matchmaker

Matchmaker (and jane of all trades) Mrs. Dolly Gallagher Levi schemes to marry half a millionaire Horace Vandergelder and make a few more happy couples while she’s at it.  This is Hello, Dolly! with book by Michael Stewart and music and lyrics by Jerry Herman and it is currently playing at Springfield Little Theatre.

If I ever relocate, I’m going to make certain Springfield is one of the cities I consider due to the sheer quality of entertainment available here.  I heard Broadway grinding its teeth as SLT’s production of Hello, Dolly! blows away anything currently playing on The Great White Way.  If you want a great night of theatre, catch a showing of this production.  Costumes?  Gorgeous!  Set?  Fabulous!  Orchestra?  Pluperfect!!  Singing?  Phenomenal!!!  Acting?  Superlative!!

Chyrel Love Miller takes on the grueling double role of director and choreographer for this production and comes up aces on both counts.  Miller’s direction is of shining quality.  She knows every beat of the show, both musically and theatrically and nuances the tar out of it while keeping a brisk pace.  Her staging is top of the line and makes maximum use of the space which was doubly impressive in this case as the actors had to navigate around the orchestra pit for a great many of the musical’s showstopping numbers.  Her actors are all sublime and have crafted well-developed characters from the leading performers to the ensemble roles.

The only word I can think of to describe her choreography is epic.  This show has huge, flashy numbers and a lot of them.  But each is an original delight and the performers nail the dancing with nary a mistake.  Some especially impressive numbers include “Put On Your Sunday Clothes”, “Dancing”, “Hello, Dolly”, and “Polka”.

I give a standing ovation to the ensemble of the show.  I can never stress enough how a committed ensemble adds so much life and vitality to a production and they helped this show blossom.  All were having a good time and that sense of fun really communicates itself well to an audience.  They harmonized perfectly on the numbers and their dancing was entrancing.

Some especially strong supporting performances were provided by Heath Hillhouse who makes a stellar debut at SLT with his potentially tyrannical take on Rudolph Reisenweber, the head waiter at Harmonia Gardens; Hayden Gish as Minnie Fay, the milliner’s assistant whose nosiness clashes with her attempts to be proper; and Wyatt Munsey whose energy as Barnaby Tucker could light up a city.

Kim Crosby IS Dolly Levi!  I don’t mean she plays the role.  She IS the role.  Crosby had the audience in the palm of her hand from her first word and didn’t let go for one nanosecond.  Crosby’s delivery is satin smooth which is essential to the silver and glib tongued matchmaker who has a positive genius for meddling, but always uses it as a force for good with her heart of gold.  Crosby uses stage space like few performers I’ve seen and it always gives her Dolly an animated, realistic feel.  She also has a lovely alto which she modulates according to number from her confidence in her abilities to do just about anything in “I Put My Hand In” to her determination to start living life again in “Before the Parade Passes By” to her joy at returning to Harmonia Gardens in “Hello, Dolly”.

Eric Eichenberger is a likable grump as Horace Vandergelder.  He claims that 99% of society is foolish, but does have a soft spot once you peel away enough layers.  Eichenberger does superb work walking the fine line of keeping Vandergelder a curmudgeon while also showing that he’s still decent even if he is a bit rough around the edges.  Eichenberger also has a fine upper baritone which he utilizes to explain why he needs a wife in “It Takes a Woman”.

Gene Kelly once described the role of Cornelius Hackl as an attractive idiot and I believe that description suits Clayton Avery’s interpretation of the role.  Avery’s Hackl is a bit repressed and has lived a sheltered life.  At 33, he’s never even talked to a girl.  Avery does superior work communicating Hackl’s inexperience around women and has a remarkably sincere delivery.  He also well displays Hackl’s lack of mental swiftness.  It’s not that Cornelius is dumb.  He just improvises poorly when the pressure is on.

Avery has a dandy, crystal clear tenor which was quite entertaining with “Put On Your Sunday Clothes” and genuinely moving in “It Only Takes a Moment”.

Kassandra Wright is both sweet and tart as Irene Molloy.  At one moment, she’s delighting in a potential bit of devilry as she plans to flirt with Cornelius before dropping him cold and then wistfully remembering the real love she shared with her late husband, Peter, in “Ribbons Down My Back”.  This song is sung with a heavenly soprano that nearly brought me to tears.

John R. “Chuck” Rogers has designed a winning set with backdrops that bring one to the cobblestoned streets of turn of the century New York and drills the sheer elegance of Harmonia Gardens with a massive staircase and a pair of curtained, private dining rooms.  Ginny Herfkens and Sandy Balsters designed some brightly colored, period appropriate costumes sometimes bordering on the pastel.  The elegant gowns of the ladies and snappy suits of the men evoke memories of a long ago era.   Parker Payne and his orchestra provide a night of musical ambrosia and I’d like to note Lysander Abadia’s particularly meticulous work in his choreography of “Waiters’ Gallop”.

As I said earlier, if you’re looking for a musical that ticks all the boxes for a great night of entertainment, then this is the one for you.  And as much as we hope, “Dolly’ll never go away”, you’d best grab a ticket before she does.

Hello, Dolly! plays at Springfield Little Theatre in the historic Landers Theatre through Feb 23.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets range from $16-$32.   For tickets visit http://www.springfieldlittletheatre.org or call the Box Office at 417-869-1334.  Springfield Little Theatre is located at 311 E Walnut St in Springfield, MO.

Springfield Little Theatre Invites You to ‘Put On Your Sunday Clothes’ With ‘Hello, Dolly!’

Springfield, MO–Springfield Little Theatre is proud to present Hello, Dolly! at the historic Landers Theatre from Friday, Feb 7 to Sunday, Feb 23, 2020.  Performances are at 7:30pm Thurs-Sat and 2pm on Sundays and on Sat, Feb 22.

Hello, Dolly!, the 14 Tony Award-winning blockbuster Broadway hit, bursts with humor, romance, high-energy dancing, and some of the greatest songs in musical theater history. The romantic and comic exploits of Dolly Gallagher-Levi, played by Broadway actress Kim Crosby, turn-of-the-century matchmaker and “woman who arranges things,” are certain to thrill and entertain audiences again and again.  

Recently revived on Broadway in 2017 with Bette Midler in the title role, Hello, Dolly! originally opened on Broadway in 1964 and was, at the time, the longest running Broadway show with 2,844 performances. 

The show’s memorable songs include “Put On Your Sunday Clothes,” “Ribbons Down My Back,” “Before the Parade Passes By,” “Hello, Dolly!,” “Elegance,” and “It Only Takes a Moment.” 

Hello, Dolly! is rated PG.  Ticket prices range from $16-$32.  Group pricing is available for parties of 10 or more.  Please visit www.springfieldlittletheatre.org to purchase your tickets and select seats 24/7.  You may also call the Box Office at 417-869-1334.

Director & Choreographer:  Chyrel Love Miller

Cast

Kim Crosby as Mrs. Dolly Gallagher Levi

Hope Horton as Ernestina

Conner Paulson as Ambrose Kemper

Eric Eichenberger as Horace Vandergelder

Rachel Christopherson as Ermengarde

Clayton Avery as Cornelius Hackl

Wyatt Munsley as Barnaby Tucker

Hayden Gish as Minnie Fay

Kassandra Wright as Irene Molloy

Also featuring:  Miriam Stein, Ryan Mattix, Heath Hillhouse, Michael Grover, Seth Walley, Sean Scarborough, Brian Kress, Decker Ames, Derrick DeVonne King, Andy Phinney, Joshua David Smith, Robert Reed, Daniel Bush, Sisilia Shaffer, Millie Wade, Amber Eggimann, Heather Crosby, Emma Elliott, Jennifer Yerganian, Lori Harmon, Sandy Johnson, Seth Dylan Hunt, Kristy Stacy, Natalie Regenold, Sarah Foster and Wesley Brown

 

Have Yourself a Plaidful Little Christmas

A musical group returns to life. . .again. . . to spread some holiday cheer.  This is Plaid Tidings by Stuart Ross and is currently playing at the PART Theatre.

This show is less musical and more musical revue as the group, Forever Plaid, spend the evening entertaining the audience (sometimes even involving the audience) with a series of Christmas songs, standards, and pop tunes.  The revue is tied together by the story that Forever Plaid was a musical group that died en route to their big break.  They got to come back once to do the show they never got to do and now have mysteriously returned again for a new mission:  spreading the joy of Christmas.

Since this show doesn’t have the traditional narrative track, there isn’t much acting in the sense of storytelling though those playing Forever Plaid are truly characters with delightful idiosyncrasies and quirks.  Smooth, this group is not.  Forever Plaid definitely has a raw talent musically, but they lack polish which leads to much of the show’s humor.  But this show also has some deeply sensitive, bittersweet, and sad moments that will give your heartstrings a little tug.

Gordon Cantiello provides admirable direction with the piece.  He has staged the production almost as a tiny club or lounge performance and well utilizes the theatre space as Forever Plaid engages with the audience and sings throughout the performance area.  He well defines each member of the group as each person has a distinct and unique personality and history.  Cantiello has also created some of the most amusing choreography I have ever seen with some of the dance moves of Forever Plaid.

The key to this show is casting as those playing Forever Plaid need a vibrant chemistry plus be able to powerfully play off each other along with performing well musically.  Well, this cast certainly has that in spades as I genuinely believed this group had been together for years due to how well they bantered with each other.

In a group of sad sacks, Justin Dehmer’s Smudge was definitely the saddest sack of all.  Projecting the image of a high-strung nerd with his taped-up glasses and complaints about his ulcer.  Dehmer has good vocal range and usually sang the deeper parts of the harmony on the night’s many numbers.  Dehmer also has the acting moment of the night as his Smudge shares the tearjerking story of why Christmas was his favorite time of the year.  The centerpiece of his story is his using the emotion of it to turn one of the most jubilant Christmas songs, “It’s the Most Wonderful Time of the Year”, into a moving heartbreaker.

Jon Hickerson’s Frankie struck me as the de facto leader of the group as he was the one pushing the team to keep focus on their mission.  He has an excellent 2^nd tenor voice and a good grip on humor as he had the most amusing monologue of the night with his psychological and emotional observations on Rudolph, the Red-Nosed Reindeer and Frosty the Snowman.  Hickerson also led the night’s most entertaining number, “Matilda”.

Roger Bunnell’s Jinx just might have the potential to be the breakout member of Forever Plaid.  Jinx is the shyest member of the group with a propensity for nose bleeds, but once he gets into the music, his is a rare talent.  Bunnell’s singing voice evokes images of Gene Pitney in natural setting and range, Michael Crawford in timbre, and Lou Christie for sheer falsetto power.  Some of his standout moments are his solo scene when he busts out “Besame Mucho” and “Kiss of Fire” and shows some Gene Kellyish dancing skill when he hoofs it up with “Singin’ in the Snow”.

Josh Dewberry’s Sparky is a human joke machine.  Dewberry has a superior sense of comedic timing and knows how to be physical with his comedy, especially with his rendition of “Fever”.  His lovely tenor was also featured well in “We Wish You a Perry Christmas” which was a segue from the story Sparky shared about the night Forever Plaid met Perry Como.  He does need to be careful with his diction on that lengthy story as it got a bit mushy at some points.

Peggy Holloway’s musical direction is top of line and she does excellent song interpretation on the piano and is ably supported by Bud Phillips on bass.  Mary Mullen Ferzely and Rob Lohman did a wonderful job decorating the theatre and making it feel like the perfect setting for a festive holiday show.  Jackson Hatcher’s sound effects were spot on, especially his ominous claps of thunder.  Josh Dewberry pulled double duty with a nifty bit of lighting design.  Lee Meyer and Gentleman’s Choice teamed up to properly costume Forever Plaid with tastefully gaudy plaid tuxedos and Comoish Christmas sweaters.

If you are a fan of standards and pop tunes, you are going to enjoy this show.  And if you’re a fan of Christmas songs (and I know I am) you are REALLY going to enjoy this show.  Spend a bit of the Yuletide season with Forever Plaid.

Plaid Tidings runs at the PART Theatre through Dec 15.  Showtimes are 7pm Thurs-Sat and 2pm Sat-Sun.  Tickets cost $35 ($30 for seniors and $25 for students).  For ticket information, contact 402-706-0778.  PART Theatre is located inside Crossroads Mall at 7400 Dodge St in Omaha, NE.