The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)
Community Players Proudly Present:
Murder on the Orient Express Adapted by Ken Ludwig from a novel by Agatha Christie
Directed by: Rachele Stoops
Venue: Community Players (412 Ella St, Beatrice, NE) Show Dates: Feb 10-19, 2023 Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm
Synopsis On the snowbound Orient Express, an American tycoon lies dead in his locked train compartment. With a killer in their midst, detective Hercule Poirot must expose the murderer before tragedy strikes again! Thrills and laughs abound in Ken Ludwig’s adaptation of this classic mystery by Agatha Christie.
Cast Scott Clark as Hercule Poirot Merle Jobman as Monsieur Bouc Morgan Fox as Megan Debenham Mark Geist as Col. Arbuthnot/Samuel Ratchett Ashley Hothan as Greta Ohlsson Diane Kahnk as Princess Dragomiroff Jenny Sutphin as Countess A’ndrenyi Zoe Tien as Helen Hubbard Vicki Cain as Michele Dylan Warren as MacQueen
Arrow Rock, MO–Local auditions, held at the Lyceum Theatre in Arrow Rock, will take place on Thursday, February 23 and Friday, February 24 from 11AM-6PM. Please email headshots and resumes and audition time preference to casting@lyceumtheatre.org. No phone calls please. All auditions are by appointment only. Please prepare 16 bars of 2 contrasting songs or a brief monologue. An accompanist will be provided. All levels of experience are welcome. A Lyceum representative will be in touch to confirm your time slot. We are not accepting video auditions at this time.
Equity Principal Audition (EPA) Procedures are in effect for this audition. An Equity Monitor will not be provided. The producer will run all aspects of this audition. The Lyceum is committed to diversity and encourages performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to attend.
New York Casting will be handled by Jason Styres, THE CASTING COLLABORATIVE.
2023 Season
The Addams Family June 9-23
BOOK BY MARSHALL BRICKMAN AND RICK ELICE MUSIC AND LYRICS BY ANDREW LIPPA BASED ON CHARACTERS CREATED BY CHARLES ADDAMS
They’re creepy and they’re kooky, mysterious, and spooky—and now they are the stars of a hilariously ghoulish musical! Storm clouds are gathering over the Addams family’s mansion as Gomez faces every father’s nightmare: his daughter, Wednesday, the ultimate princess of darkness, has fallen in love with a sweet, smart young man from a respectable family. And if that wasn’t upsetting enough, Gomez must do something he’s never done before– keep the secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. One thing is certain: the Addams family will never be the same.
Beautiful–The Carole King Musical June 30-July 9
BOOK BY DOUGLAS MCGRATH WORDS AND MUSIC BY GERRY GOFFIN & CAROLE KING, BARRY MANN & CYNTHIA WEIL MUSIC BY ARRANGEMENT WITH SONY/ATV MUSIC PUBLISHING ORCHESTRATIONS, VOCAL AND INCIDENTAL MUSIC ARRANGEMENTS STEVE SIDWELL ORIGINALLY PRODUCED ON BROADWAY BY PAUL BLAKE, SONY/ATV MUSIC PUBLISHING, MIKE BOSNER
Before she was hit-maker Carole King — she was Carole Klein, a spunky, young songwriter from Brooklyn with a unique voice. Beautiful tells the inspiring true story of one woman’s remarkable journey from teenage songwriter to the Rock & Roll Hall of Fame. From the string of pop classics Carole King wrote for the biggest acts in music, to her own life-changing, chart-busting success, Beautiful takes you back to where it all began—and takes you on the ride of a lifetime. Featuring over two dozen pop classics, including “You’ve Got a Friend,” “One Fine Day,” “Up on the Roof,” “You’ve Lost That Lovin’ Feeling,” “Will You Love Me Tomorrow,” and “Natural Woman,” this crowd-pleasing international phenomenon is filled with the songs you remember—and the story you’ll never forget.
State Fair July 21-30
MUSIC BY RICHARD RODGERS LYRICS BY OSCAR HAMMERSTEIN II BOOK BY TOM BRIGGS AND LOUIS MATTIOLI BASED ON THE SCREENPLAY BY OSCAR HAMMERSTEIN II AND THE NOVEL BY PHIL STONG
Rodgers & Hammerstein’s only musical written directly for the screen is now a Broadway musical! Set against the colorful backdrop of an American heartland tradition, State Fair travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers and Hammerstein songbook, State Fair is the kind of warmhearted family entertainment only Rodgers & Hammerstein could deliver!
Laughter On the 23rd Floor Aug 18-27
BY NEIL SIMON
A love letter to his early career as a TV writer on Sid Caesar’s Your Show of Shows alongside the likes of comedy legends Carl Reiner and Mel Brooks, Neil Simon’s Laughter on the 23rd Floor follows the roller coaster antics of a not-your-average 1950s writers’ room, as they frantically attempt to please their larger-than-life boss. Frantically scrambling to top each other with hilarious gags while battling with studio executives who fear the show’s humor is too sophisticated for Middle America, the writing and fighting of the team expose the social and political undercurrents of the 1950s.
The Mousetrap Sept 8-17
BY AGATHA CHRISTIE
From the Grand Dame of mystery, Agatha Christie’s The Mousetrap holds the world record for the longest running production, mesmerizing audiences for more than sixty years. Monkswell Manor welcomes a group of strangers in the midst of a snowstorm and on the heels of a murder in town. It soon becomes clear that the killer is among them, and the strangers grow increasingly suspicious of one another. A police detective, arriving on skis, interrogates the suspects: the newlyweds running the house; a spinster with a curious background; an architect who seems better equipped to be a chef; a retired Army major; a strange little man who claims his car has overturned in a drift; and a jurist who makes life miserable for everyone. When a second murder takes place, tensions and fears escalate. Will the identity of the murderer be revealed before they strike again?! The Mousetrap’s riveting plot will have you on the edge of your seat from start to finish!
Bright Star Sept 29-Oct 8
MUSIC, BOOK & STORY BY STEVE MARTIN MUSIC, LYRICS & STORY BY EDIE BRICKELL
Inspired by a true story and featuring the Tony®-nominated score by Steve Martin and Edie Brickell, Broadway’s Bright Star tells a sweeping tale of love and redemption set against the rich backdrop of the American South in the 1920s and ’40s. When literary editor Alice Murphy meets a young soldier just home from World War II, he awakens her longing for the child she once lost. Haunted by their unique connection, Alice sets out on a journey to understand her past—and what she finds has the power to transform both of their lives. With beautiful bluegrass melodies and powerfully moving characters, Bright Star unfolds as a rich tapestry of deep emotion. An uplifting and nostalgic theatrical journey that holds you tightly in its grasp, Bright Star is as refreshingly genuine as it is daringly hopeful.
Auditions will be held by appointment on Saturday, February 18 at The Cedar Street Playhouse, home of Ozark Actors Theatre. 701 N. Cedar St., Rolla, MO 65401
To schedule an audition time, please follow this link.
For your in-person or video recorded audition, please prepare a monologue and short song selection that show off your vocal range and storytelling abilities – no more than 2 mins long. Material from the season is acceptable and encouraged.
Ozark Actors Theatre and Actors Equity Association’s contracts prohibit discrimination. AEA is committed to diversity and encourages all its employers to engage in a policies of equal employment opportunity designed to promote a positive model of inclusion. As such, AEA and OAT encourage performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit auditions.
A GENTLEMAN’S GUIDE TO LOVE AND MURDER won 4 Tony Awards, 7 Drama Desk Awards, AND it was nominated for a Grammy! This production is a hilarious farce following a young man’s luck at the prospect of inheriting a fortune, but he has 9 relatives ahead of him in the inheritance. This production will give one actor the opportunity to die 90 times on the OAT stage in this incredible comedy!
Character descriptions:
The D’Ysquith Family -The principal conceit of Gentleman’s Guide is that one actor plays all members of the D’Ysquith family. As such the actor portraying the D’Ysquiths must have a tremendous and transformational acting ability. Actor should have strong physical comedic skills and accent ability to help establish and differentiate multiple characters. Must have stamina to carry the different characters throughout the show and make extraordinarily quick costume changes.
Age: 30s to 50s
Monty Navarro – charismatic and cunning enough to ingratiate himself with both the audience and his prospective victims. He is a leading man, and often, the straight man, in the show. Monty should also have excellent physical comedy skills to adequately play along with the D’Ysquiths in their various incarnations. Charming and handsome, Monty is not upper class but has no trouble blending in with high society.
Gender: Male identifying
Age: 20s to 30s
Sibella Hallward – A beautiful and flirtatious social climber, Sibella has true affection for Monty but also true affection for social status. Sibella is smart, funny and stylish and, as far as relationships are concerned, she wants to have her cake and eat it too.
Gender: Female identifying
Age: 20s to 30s
Phoebe D’Ysquith – Monty’s cousin. Phoebe was raised high class with idealistic fantasies of love. As beautiful as Sibella, Phoebe foils Sibella in her interest in love over status, and a desire to find the true virtue in people. Though she is smart and earnest, she can also be naive. Must be an excellent singer with a legit, possibly operatic sound. A true soprano.
Gender: Female identifying
Age: 20s to 30s
Miss Shingle – Monty’s unexpected visitor. Sneaky and mysterious, Miss Shingle has an obvious sense of justice. She comes to tell Monty the secret of his D’Ysquith lineage with a pivotal song in Act 1 that sets up the story of the show. Actress should be a supreme and interesting character actress with a vocal style to match.
Gender: Female identifying
Age: 40s to 60s
The Ensemble – A group of strong and dynamic musical theatre performers who all play multiple featured roles. These actors will play 40+ roles including: Lady Eugenia, Miss Barley, Tom Copley, Detective Pinckney, The Magistrate, various clerks, newsboys, ancestors, maids, actors and many others. All Ensemble members are expected to be comfortable with some movement. Expected to work with the directing team to create dynamic characters.
Age: 16 to 99
Ensemble Vocal Ranges:
Soprano (coloratura) Ab4 Bb6
Mezzo Bb4 G5
Alto Gb3 Gb5
Tenor Ab3 B5
Baritone Ab3 G#4
Bass C2 G#4
Sunday in the Park with George
Rehearsals: June 19 – July 5
Performances: July 6 – 16
Director: Blane Pressler
Music Director: TBD
Summary:
SUNDAY IN THE PARK WITH GEORGE follows the story of the famous pointillist painter Georges Seurat. A fictional retelling of the painter and his immersive existence in creating a masterpiece. One of only 8 musicals ever to have won the Pulitzer Prize for drama. It was also nominated for 10 Tony awards and has had two major Broadway revivals. At OAT it will be under the direction of Artistic Director, Blane Pressler.
Character descriptions:
George – In Act 1: George Seurat, a rather cold artist obsessed with his work at the cost of his personal life. Constantly troubled and borderline obsessive. Act 2: Seurat’s burnt-out descendant and inventor-sculpture searching for his purpose.
Gender: Male identifying
Age: 25 to 40
Dot/Marie – As Dot, George’s headstrong mistress and occasional model so discontent with their relationship that she eventually leaves him. Age: 20 to 40. As Marie, George’s elderly wheelchair bound grandmother who helps him connect to his artistry through her grammar book notes.
Gender: Female identifying
Old Lady – George’s mother. A cranky and rather demanding fixture in the park. She is able to find solace in nostalgia and inspires George to find order in his art. Doubling as BLAIR DANIELS.
Gender: Female identifying
Age: 60 to 80
Nurse – The Old Lady’s attendant. She is calming and assertive. Doublings include HARRIET PAWLING and MRS.
Gender: Female identifying
Age: 40 to 60
Jules – A rival artist. Callous, critical, and ultimately shallow. He forces Frieda to engage in extramarital affairs. Doubling as BOB GREENBERG.
Gender: Male identifying
Age: 25 to 45
Yvonne – Jules’ pampered wife. She is as snippy and snooty as her husband. Doubling as NAOMI EISEN.
Gender: Female identifying
Age: 25 to 35
Boatman – A surly, blue-collared laborer, simple-minded and slovenly. Doubling as CHARLES REDMOND.
Gender: Male identifying
Age: 35 to 60
Celeste #1 – A young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Optional Doubling as A WAITRESS.
Gender: Female identifying
Age: 18 to 30
Celeste #2 – Another young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Doubling as ELAINE.
Gender: Female identifying
Age: 18 to 30
Louise – Jules and Yvonne’s spoiled little girl. She faces neglect and abuse from her parents, despite being honest. Doubling as BOY.
Gender: Female identifying
Age: 8 to 12
Franz – Jules’s German coachman and Freida’s husband. Disgruntled with his job. Has a bit of a temper and secretly yearns for the Nurse. Optional Doubling as DENNIS.
Gender: Male identifying
Age: 30 to 50
Frieda – As Frieda, Jules and Yvonne’s cook and Franz’s wife. Caring and positive as a surrogate nanny to Louise. Forced by Jules into an affair. Doublings include BETTY and YOUNG MAN.
Gender: Female identifying
Age: 35 to 55
Soldier – A French military man, polite and gentlemanly. Close with his companion, though he yearns for a separation. Doubling as ALEX.
Gender: Male identifying
Age: 20 to 35
Louis – A baker who Dot starts seeing to make George jealous. Kind, friendly, and very popular, but a bit dull. Doublings include BILLY WEBSTER and MAN.
Gender: Male identifying
Age: 35 to 55
Ken Ludwig’s Baskerville
Director: Suzanne Withem
Rehearsals: July 11 – 26
Performances July 27 – August 6
Summary:
BASKERVILLE A SHERLOCK HOLMES MYSTERY comes from multi-award-winning playwright Ken Ludwig and follows Sherlock Holmes and Dr. Watson cracking the mystery of “The Hound of the Baskervilles.” With an original piano score by Jeff Horger and direction by our own Suzanne Withem, our intrepid investigators will take the stage at OAT portraying more than 40 characters!
Character descriptions:
Sherlock Holmes – The world’s greatest detective is sophisticated, quick-witted, and passionate. He is an English gentleman who is very precise in speech and manner. A strong standard British or RP dialect is required. This actor plays only one role.
Gender: The character will be portrayed as male, but all genders will be considered.
Age: 25-40
Dr. John Watson – A kind amiable doctor and Sherlock Holmes’s faithful sidekick. A man of action, intellect and deep emotion. He is also very British. A strong standard British or RP dialect is required. This actor plays only one role.
Gender: The character will be portrayed as male, but all genders will be considered.
Age: 25-40
Actor 1 – Plays more than a dozen characters – primarily the male-identifying villains and baddies. Must be a versatile character actor adept in physical comedy and various accents and dialects.
Gender: Male identifying
Age: Any
Actor 2 – Plays nearly a dozen characters – primarily male-identifying heroes and gentlemen. Must be a versatile character actor adept in physical comedy and various accents and dialects.
Gender: Male identifying
Age: Any
Actor 3 – Plays more than a dozen characters – primarily female-identifying maids, nurses, and damsels in distress. Must be a versatile character actor adept in physical comedy and various accents and dialects.
Gender: Female identifying
Age: Any
Roustabouts and Foley Artists- These two or three nonspeaking roles 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 problem 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.
After breaking into the home of the Hailsham-Browns, a shady character is murdered. For reasons of her own, the lady of the house tries to cover up the crime, but a relentless police inspector is bound and determined to bring the truth to light. This is Spider’s Web and it is currently playing at Bellevue Little Theatre.
As an actor I understand the importance and the struggle of avoiding typecasting. Actors often yearn for the opportunity to play something different from what brought them to the table for a change of pace, the challenge, etc. In a sense, this play is Agatha Christie’s attempt to avoid being typed solely as a mystery writer.
Seeking to play a different role from the sinister characters for which she had become known, Margaret Lockwood requested Christie write a little comedy thriller for her. Christie laid a little too much into the comedy side of things. Had she brought her legendary gift for plotting into the mix, I think the show would have been better served. What we have is a comedy with just the barest trappings of a mystery.
This particular production is boosted by two things.
Christie’s gift for unique characters remains intact.
A cast and director who found every bit of gold in the story and elevated it based on talent and effort.
Indeed, Christopher Scott shows an extraordinary level of theatre acumen in his direction of this piece. He leans heavily into the character work and makes certain that all of his performers have well-defined characters who are grounded in reality, even with their quirks. Scott crafts some fine moments of tension and shock with the murder scene being of a particularly fine vintage. Some of my favorite moments were the slamming of drawers and the ominous sliding open of a secret passage just so I could hear the audible reactions of the audience member sitting in front of me. Scott keeps the pace up as well as could be done as this show is just crammed with dialogue, especially in the lengthy first act and has his actors lean into the comedy which helped add vitality to long stretches of dry dialogue.
There isn’t a weak tire in the cast and you’ll see some fine character performances from Dennis Stessman as a very proper butler who knows how to make an exit. At the age of 14, Lilli Westman has a sense of comfort on stage equitable to veteran adults which makes her Pippa a joy to watch. Jon Roberson serves as a beacon of normalcy as the steady Henry Hailsham-Brown. Ben Pearson brings an oily criminality to Oliver Costello. Brandon Dorsey is stalwart as Constable Jones. Jackson Newman and Randy Wallace have some extremely excellent chemistry as a comedy duo with their characters of Hugo and Rowland. Matt Karasek is superbly charming as Jeremy and can speak volumes with an expression or a look.
As Christie deviated from her normal style of writing, this show doesn’t contain a proper detective character though the Inspector comes the closest. In the hands of a less capable performer, this character could be very one dimensional, but Katie Otten adds multiple dimensions through sheer force of acting ability. With her ramrod posture and steely-eyed gaze, Otten makes it clear her Inspector is not one to be trifled with. She brings an intelligence to her character as she knowingly keeps the suspects separated so they can’t collude on stories and is able to spot the clues and make rapid fire deductions. She can also play good cop/bad cop on her lonesome as she can be ingratiating and sympathetic in one moment and then be as volatile as lightning in the next.
One always has the feeling that Sarah Dighans’ Miss Peake isn’t wrapped all that tightly. She truly lives in her own little reality as she often walks into the Hailsham-Browns’ home as if she owns it and punctuates her speech with a piercing laugh that has the others potentially looking for a straitjacket in case she starts frothing at the mouth. Miss Peake is assuredly one of the most original characters I’ve seen brought to life and Dighans’ rendition of this character is a highlight of the night.
Clarissa Hailsham-Brown has a fantasy life worthy of Snoopy. Sara Scheidies’ interpretation of this character had me sensing that she was truly bored of the life of a housewife as she enjoyed playing little jokes on her friends and loved indulging in the game of “Supposing” where she invents little fantasies to enjoy. Clearly she enjoys the game a little too much for, as she often says, people don’t believe her even when she tells the truth. Scheidies brings a real innocence to the character as her addiction to “Supposing” gives her an appalling lack of common sense as she tries to cover up the murder instead of seeking the aid of the police. Or maybe she has more crucial reasons for avoiding the police. . .
Chris Ebke has designed a lovely little country house with soft tan walls, elegant period furniture, a crystal chandelier, and a very neat secret passage that triggered memories of the old Batman TV series. Joey Lorincz has some very effective lighting tricks as he has the chandelier exude a soft blue when the lights go down so you can see just enough of what’s going on to know what’s happening, but without revealing any salient plot points. Lora Kaup has designed proper period correct clothes from the 1940s-50s with handsome suits, golf wear, and dresses.
While I prefer more mystery in my mysteries, the efforts of this cast and director turn a middling story into an enjoyable night of character work with a few shocks and surprises and elevate it into something far better.
Spider’s Web plays at Bellevue Little Theatre through Jan 29. Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm. Tickets cost $25 and can be purchased at the Box Office, at blt.simpletix.com, or calling 402-413-8945. Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.
Book by MARSHALL BRICKMAN and RICK ELICE Music and Lyrics by ANDREW LIPPA Based on Characters Created by Charles Addams
They’re creepy and they’re kooky, mysterious, and spooky—and now they are the stars of a hilariously ghoulish musical! Storm clouds are gathering over the Addams family’s mansion as Gomez faces every father’s nightmare: his daughter, Wednesday, the ultimate princess of darkness, has fallen in love with a sweet, smart young man from a respectable family. And if that wasn’t upsetting enough, Gomez must do something he’s never done before– keep the secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents. One thing is certain: the Addams family will never be the same.
Beautiful–The Carole King Musical June 30-July 9
Book by Douglas McGrath Words and Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil Music by Arrangement with Sony/ATV Music Publishing Orchestrations, Vocal and Incidental Music Arrangements Steve Sidwell Originally Produced on Broadway by Paul Blake, Sony/ATV Music Publishing, Mike Bosner
Before she was hit-maker Carole King — she was Carole Klein, a spunky, young songwriter from Brooklyn with a unique voice. Beautiful tells the inspiring true story of one woman’s remarkable journey from teenage songwriter to the Rock & Roll Hall of Fame. From the string of pop classics Carole King wrote for the biggest acts in music, to her own life-changing, chart-busting success, Beautiful takes you back to where it all began—and takes you on the ride of a lifetime. Featuring over two dozen pop classics, including “You’ve Got a Friend,” “One Fine Day,” “Up on the Roof,” “You’ve Lost That Lovin’ Feeling,” “Will You Love Me Tomorrow,” and “Natural Woman,” this crowd-pleasing international phenomenon is filled with the songs you remember—and the story you’ll never forget.
State Fair July 21-30
Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Tom Briggs and Louis Mattioli Based on the screenplay by Oscar Hammerstein II and the Novel by Phil Stong
Rodgers & Hammerstein’s only musical written directly for the screen is now a Broadway musical! Set against the colorful backdrop of an American heartland tradition, State Fair travels with the Frake family as they leave behind the routine of the farm for three days of adventure at the annual Iowa State Fair. Mom and Pop have their hearts set on blue ribbons, while their children Margy and Wayne find romance and heartbreak on the midway. Set to the magical strains of an Academy Award-winning score and augmented by other titles from the Rodgers and Hammerstein songbook, State Fair is the kind of warmhearted family entertainment only Rodgers & Hammerstein could deliver!
Laughter On the 23rd Floor Aug 18-27
By Neil Simon
A love letter to his early career as a TV writer on Sid Caesar’s Your Show of Shows alongside the likes of comedy legends Carl Reiner and Mel Brooks, Neil Simon’s Laughter on the 23rd Floor follows the roller coaster antics of a not-your-average 1950s writers’ room, as they frantically attempt to please their larger-than-life boss. Frantically scrambling to top each other with hilarious gags while battling with studio executives who fear the show’s humor is too sophisticated for Middle America, the writing and fighting of the team expose the social and political undercurrents of the 1950s.
The Mousetrap Sept 8-17
By Agatha Christie
From the Grand Dame of mystery, Agatha Christie’s The Mousetrap holds the world record for the longest running production, mesmerizing audiences for more than sixty years. Monkswell Manor welcomes a group of strangers in the midst of a snowstorm and on the heels of a murder in town. It soon becomes clear that the killer is among them, and the strangers grow increasingly suspicious of one another. A police detective, arriving on skis, interrogates the suspects: the newlyweds running the house; a spinster with a curious background; an architect who seems better equipped to be a chef; a retired Army major; a strange little man who claims his car has overturned in a drift; and a jurist who makes life miserable for everyone. When a second murder takes place, tensions and fears escalate. Will the identity of the murderer be revealed before they strike again?! The Mousetrap’s riveting plot will have you on the edge of your seat from start to finish!
Bright Star Sept 29-Oct 8
Music, Book & Story by Steve Martin Music, Lyrics & Story by Edie Brickell
Inspired by a true story and featuring the Tony®-nominated score by Steve Martin and Edie Brickell, Broadway’s Bright Star tells a sweeping tale of love and redemption set against the rich backdrop of the American South in the 1920s and ’40s. When literary editor Alice Murphy meets a young soldier just home from World War II, he awakens her longing for the child she once lost. Haunted by their unique connection, Alice sets out on a journey to understand her past—and what she finds has the power to transform both of their lives. With beautiful bluegrass melodies and powerfully moving characters, Bright Star unfolds as a rich tapestry of deep emotion. An uplifting and nostalgic theatrical journey that holds you tightly in its grasp, Bright Star is as refreshingly genuine as it is daringly hopeful.
When a violent encounter with a creepy, conservative conspiracy theorist results in his death, a group of liberal master’s students decide to better the world by killing those they deem to be a potential danger. . . which happens to be those who disagree with their way of thinking. This is The Last Supper and it is currently playing at Bellevue Little Theatre under the auspices of SNAP! Productions.
After two years, SNAP! returns to live theatre with a pretty dark and disturbing play by Dan Rosen. This had actually been a movie and is a combination of a grislier version of Arsenic and Old Lace and the living out of the question, “Would you kill a young Hitler when he was innocent in order the prevent the horrible atrocities he would later commit?” Rosen has a good grip on the current political climate and his play is actually an interesting commentary on the dangers of political extremism across all spectrums.
That being said, the script is weakened a bit by its lack of character development, dearth of sympathetic characters, and an ambiguous ending (though this becomes less so if you follow the clues. Here’s a hint. They’re all visual, so pay close attention. Happy hunting!)
Todd Brooks has a tremendous sense of atmosphere as he bookends the play between a pair of thunderstorms which well represent the violence of the material and the moment. He also does an excellent job with the subtlety of the final scene. Brooks also has led his performers to fairly effective performances, especially with the victims who are the most compelling characters in the show.
Strong ensemble performances come from Dennis Stessman who exudes a cold and palpable menace as the creepy truck driver who gets the victim train going. Don Harris provides some needed levity as the sheriff. Randy Wallace is oblivious to his own hypocrisy as the man of God who has a horribly warped view on the horror of AIDS and perceives homosexuality as a disease. Chloe Irwin is a blend of naivete and arrogance as a high schooler suing her school due to a belief that mandatory sex education is an invasion of her privacy.
As I stated earlier, there is a great lack of character development in the show. As such, it’s hard to delineate the performances of the primary characters as they simply are what they are. The only thing that seems to differentiate them is their degree of bloodlust. The worst of them is willing to kill at the drop of a hat while the best of them comes to realize just how monstrous the group has become.
Roz Parr’s Jude is the primary character that gets the most character development. At first, she is keen to get in on the killings and is one of the first to suggest eliminating those who don’t adhere to the groupthink. But she is also the one who truly realizes how corrupted they have become through their heinous acts. Parr really shines when the focus isn’t on her as her visceral reactions show how appalled and horrified she has become as the murders get easier, but the “crimes” justifying them get significantly minor.
Chris Scott does exemplary work with Norman Arbuthnot. A conservative pundit in the vein of Tucker Carlson or Sean Hannity, Scott’s Arbuthnot is used primarily in interstitials promulgating more and more outlandish bilge until a chance meeting leads to him having dinner with the students where he seems to be a much more reasonable person. He freely admits that a lot of what he says is just schtick to get attention onto a subject he cares about and almost convinces the students that there is room for differing opinions. But just when he has you convinced he’s decent, he pulls an act that shows he fully buys his own hype which Scott handles with smarmy aplomb.
Sarah Kolcke has designed a very warm and welcoming home with a comfortable living room and kitchen which serves as a stellar counterpoint to its cold occupants. Joey Lorincz should win an award for these lights especially with the lightning, the use of shadow, and use of spotlights on silent actors. Daena Schweiger does some nifty A/V work with the use of the intros for the shows of several conservative pundits as well as her original creation of an intro for Arbuthnot’s show. Connie Lee’s costumes are natural and suitable to the characters.
Act I felt pretty rough and almost like a rehearsal. Cue pickups were very loose and the acting in the aftermath of the first death lacked a needed shock and intensity. In Act II, the conversations felt a lot more natural and in tune with the ever-increasing stakes of the situations.
In the end this show takes a pretty absurdist look at the dangers of extreme political thought, but it also points out the very real threat posed by those who close their minds instead of truly opening up to discuss and debate our differences in order to reach a place of true understanding.
The Last Supper plays at Bellevue Little Theatre under SNAP!’s auspices through July 24. Showtimes are 7:30pm Thursday and Friday and Sunday at 2pm. Tickets start at $30 and can be purchased at the BLT Box Office or by visiting www.snapproductions.com. Due to strong language and mature subject matter, this show is not suitable for children. Bellevue Little Theatre is located at 203 W Mission St in Bellevue, NE.
Lovely little nutcracker, isn’t it? Well, this nutcracker has a very interesting story behind it. This nutcracker is both a trophy and a reminder of the time I assisted Mr. Sherlock Holmes and Dr. John Watson in solving a murder at the Victorian Villa in Union City, MI.
I had alluded to this story when I wrote my remembrance of the inn back in 2014, but enough time has passed that it is now safe to share the tale. Some elements must still remain hidden, so some names may be changed and some details removed and altered, but those that know the truth will understand.
Many believe Holmes and Watson to be fictional characters, but that is a myth perpetuated by Dr. Watson’s literary agent, Sir Arthur Conan Doyle, who published Dr. Watson’s stories under his name. In truth, they are real and much older than one would believe.
In his retirement, Holmes had cultivated a royal jelly elixir and ingestion of it had greatly extended his life span and that of Dr. Watson. Over the years Holmes and Watson had regularly visited the Victorian Villa as its owner, Ron Gibson, is the great-grandson of Senator Neil Gibson referenced in the case known as “The Problem of Thor Bridge”. Aside from their friendship, Holmes also enjoyed visiting Union City as, in his own words, “it is a hellhole of crime of great depth and brilliance”.
When I learned that Mr. Holmes and Dr. Watson would be visiting, I immediately booked a weekend stay to meet the famed detective and his trusted associate.
It was September of 2005 and I was making my second foray out to the Villa. I was a bit weary as I had mistakenly forgotten to schedule myself as unavailable for Hamlet rehearsals the night before so I had put in a long night of rehearsing before setting off on my drive at 10pm. By midnight, I was exhausted and collapsed at a Motel 6 in Des Moines, IA before driving another 8 hours to Union City the next morning. The welcome sight of the gorgeous Victorian mansion served as a salve to my spirits and boosted my energy level as I pulled into the tiny parking lot.
The Victorian Villa
Once more, I was greeted by Ron and his two sons, Zach and Josh, before being led to my room for the weekend: the Victorian Country Bedchamber. As I got myself situated, I found a note under my pillow. It was rather snarky and, I noted, written in a feminine hand. I put it away before freshening up and reacquainting myself with the Villa.
Around 6pm, Mr. Holmes and Dr. Watson arrived at the inn. I introduced myself to Mr. Holmes and Dr. Watson who politely shook my hand. Holmes was just as Watson had described him with his aloofness and unmistakable air of authority. Watson was friendly and every bit the gentleman.
I retired to the parlor with Holmes and Watson and the other guests who had come to meet the legendary duo. Among them were Ted and Rhonda Cowell and their Holmesian scion society, The Stormy Petrels of Maumee Bay; the Mallon family; George Ault; and Mr. and Mrs. Glenn Harbaugh.
We opened up the night with a round of Sherlockian Trivial Pursuit. We formed into two teams and Mr. Holmes asked diabolically difficult questions relating to the many cases he had investigated. As the two teams battled back and forth, Mr. Holmes would vacillate between contentedly smoking his pipe and brooding about some vexing problem. On several occasions he alluded to a case he was working on before returning to the game.
Sherlock Holmes relaxes
By the end of the game, the two teams were locked into a tie, though I ended up stealing a symbolic victory for my side when I answered the question “Who killed Victor Savage?” After the hard-fought game, we entered the dining room where Mr. Holmes gave us a demonstration on the art of observation and deduction while we dined on one of Ron’s fine meals which consisted of English Cheshire Cheese Soup and roasted loin of boar among other delicacies. I did note that Ron had brought on some help for the event as a placard on the table said the meal had been partially catered by Maxine Simons.
Upon finishing our meal, we returned to the parlor where Mr. Holmes told us he was investigating a murder that had taken place at the Villa a few days prior. A man had shown up at the Villa around 11am on the fateful day and asked Ron if he could have a room. As Ron had no reservations, he rented a room to the man who gave no name, but simply went upstairs to his bedroom with his dressing bag. A short while later, Ron saw him descend the stairs sans bag and enter the parlor. Ron left him to his own devices as he had to leave the Villa to run some errands. When he returned later, he found the man collapsed on the floor, arm outstretched in front of him, and clearly dead. Ron contacted the police who found no identification on the man nor in his room. The labels on his clothes had been cut off and the only items found on him were a handkerchief, some cigarettes, and a pen. Ron had told Mr. Holmes of the baffling death and he agreed to look into it.
Mr. Holmes wanted us to be his eyes and ears and help him investigate. He asked us to discover the following:
Who was the victim?
How was he killed?
Who killed him?
Find a way to link the killer to the crime and unmask him or her.
Certain rules were set in place for us. As Mr. Holmes had already investigated the private areas of the mansion, we were not to enter them. He also told us not to snoop into Ron’s desk as only he would be allowed to investigate it. Short of that we were free to investigate as we chose. If we managed to discover any evidence, we were only to hold onto it for 10 minutes before returning it exactly where it was found. Mr. Holmes and Dr. Watson bade us good evening and left the Villa promising to return after breakfast in the morning.
Exhaustion had found me again so I retired to my bedroom, vowing to rise early and begin looking into the case.
I arose the next morning feeling refreshed. After heading to the dining room and enjoying some of Ron’s special scrambled eggs and sausage patties, I began to look into the case.
From re-reading Ron’s statement, I realized that the victim had not carried his dressing bag back down with him so I immediately went to the second floor and began searching for it, but was unable to find it. I searched the mansion from top to bottom and then made my way over to the Carriage House. Up in the Sherlock Holmes Bedchamber, I discovered George Ault and Glenn Harbaugh discussing something and they froze when they saw me. I asked if I could enter and Glenn said I could. I quietly closed the door and noted they had the dressing bag.
“So you found it,” I said.
Realizing I had already deduced the clue, George and Glenn opened the bag and we all looked into it. Among the toiletries, we found a letter addressed to James Fitzsimmons requesting a meeting in the parlor of the Villa to discuss the matter of a deadly toxin that had been developed by the writer of the letter. Apparently Fitzsimmons had been the letter writer’s boss and had aspirations of selling the toxin to the highest bidder who would likely weaponize it. The toxin caused almost instantaneous paralysis before shutting down the body’s vital organs. Death would occur in a matter of minutes. The writer wanted Fitzsimmons to destroy the toxin and begged for a meeting to convince him of this. It was simply signed Max, though I recognized the handwriting as being the same as that on the note in my bedroom.
After examining the evidence, I asked the two men if they had found notes as well. They admitted they had and let me read them. Red herrings and smart alecky comments. After reading this, we looked at each other and I suggested pooling our resources to which George and Glenn readily agreed.
“All right, we’re now a team,” I said.
Upon forming our alliance we headed down to the parlor to meet Mr. Holmes who asked if anybody had anything to share. I casually blurted the bag clue to which Mr. Holmes looked at me and said, “You’re a rather blithe young man, aren’t you?”
After unintentionally giving out the clue, the race was on. Though we were investigating a crime, it was treated more like a competition and ended up as a three way battle between The Stormy Petrels, the Mallons, and my little triumvirate. The Petrels played for keeps and were not above providing a few red herrings. The Mallons were smart and crafty, though I engaged in a little quid pro quo with Mrs. Mallon which I’ll get to in a bit.
Mr. Holmes was always available for private consultation where we could bring our discoveries and theories and he would make comments and subtle suggestions to help light our path. When we first informed Holmes about the letter we found, Glenn kept referring to the writer as a he, to which Mr. Holmes asked, “Why do you keep saying ‘he?’”.
“What do you mean?” asked Glenn.
“He means how do we know it’s a man,” I replied.
“Precisely,” said Holmes as he clasped my shoulder.
A vital clue, indeed. While not a guarantee, we did have to open our minds to the possibility that Max, if that was the real name, was a woman.
We continued to investigate. I realized that no matches or lighter were found on the corpse, though cigarettes had been discovered. No smoker would ever lack those items and there was no reason for the killer to take them. Remembering the outstretched arm, I assumed the position of the corpse and found a book of matches under the coal scuttle.
Taking them, I opened up the packet and found a scrawled message which said “Beware TR-70”. The name of the toxin had been found!!
Outside the parlor, I found a business card book on a stand and began thumbing through it and saw Mrs. Mallon watching me. When I leafed to the third page, she suddenly coughed. I looked up and saw her smiling at me, I took a hard look and found the business card for Maxine Simons—Caterer. However, “caterer” had been written in pen over a blacked out word. Reversing the card and holding it up to the light, I saw “chemist” written under it. I had the name of the killer!! I then shared with Mrs. Mallon the name of the poison out of gratitude.
My team had another consultation with Holmes where Glenn spun an amusing, but outlandish, theory that Ron Gibson was the killer or, at least involved with her. Mr. Holmes and I shared some glances and after Glenn finished his theory, Holmes simply stated, “I sense you have some misgivings about his theory.”
“One or two,” I replied.
I then finally had a chance to fill in Glenn and George on my discoveries and had a private conversation with Mr. Holmes and Mrs. Mallon while I made my deductions. When I finished, Mr. Holmes looked to Mrs. Mallon and said, “You know, I have great faith in this young man. He’s quiet, thoughtful, and observant and everything he says is based soundly on logic.”
Then we took a break and had a reading of one of Watson’s stories followed by a pop quiz. I ended up winning the quiz contest and surprised Mr. Holmes with one of my answers.
“This number is the square root of the number alluded to by Watson,” said Holmes.
“Sixteen,” I readily answered.
“Sixteen is correct!!” said Holmes with some wonderment. “Tell me, young man, how did you come up with that answer?”
“Watson mentioned the wait was like the night the two of you faced the Andaman Islander which was a reference to the case known as The Sign of Four,” I said.
Holmes smiled and nodded approvingly.
After the quiz we had afternoon tea where Ron had prepared a whole turkey and we helped ourselves to little sandwiches with a bit of homemade mustard and fixings.
The case was solved, but there was still one last item: how to unmask Maxine. There was no real proof tying her to the death and all my deductions wouldn’t hold water in court. I had a final consultation with Holmes where I told him everything I had learned, but felt I was just one step away from the total truth.
“Think of the problem of the three Moriartys. All of them were named James and were identical. How would one tell them apart?” said Mr. Holmes.
I began to see the light when he gave me one final nudge.
“You have two pieces of vital evidence. What you need is a third.”
The truth hit me like a thunderbolt. The letter on my pillow plus the letter in the bag were my pieces of evidence. What I needed was a way to get a third example of Maxine’s handwriting to connect her with the other two. Handwriting was how you’d distinguish the Moriarty boys from each other.
Piecing the puzzle together
I expressed this problem to Glenn and George and we threw around ideas until I said, “Maybe we could get a card of some sort.”
“My son is serving over in Iraq. We could get him a Wish You Were Here card,” said George.
“Yes, and we’ll have everybody in the inn sign it!!” I exclaimed.
The three of us dashed to Mr. Holmes where I laid out the scheme.
“An excellent plan,” said Holmes.
I shook hands with Holmes and Watson and dashed to the bar area where I found Ron.
“Is there a drug store nearby?” I asked.
“Yes, just a few blocks up on Main Street,” said Ron.
“Thank you,” I said.
Then I speed walked through the front door and vaulted over the steps to the sidewalk. I then sprinted and I do mean SPRINTED to the drug store where I bought the card and repeated the process back to the Villa where I hurdled the steps once more. George later said it was the funniest thing he ever saw.
As I walked back in, I heard Mrs. Mallon’s daughter ask if there were a drug store nearby. I then politely coughed and gently waved the card. Knowing that the game was up, the Mallons signed the card and Mrs. Mallon’s daughter assisted me with finishing the job by asking Ron if there were any other people in the kitchen as Maxine was also helping to cater tonight’s dinner. Ron stepped into the kitchen and asked Maxine to step out. I told her about the card while George showed a picture of his son and Maxine signed the card.
I then led my team back to the parlor where the other guests had gathered.
“Do you have something to show me, young man?” asked Mr. Holmes.
I presented the card to him and he looked at it.
“Were there any witnesses?” he asked.
“Yes, sir. Myself, (Mrs. Mallon’s daughter), George, Ron, Zach, and Josh all witnessed this.”
“Very good,” said Mr. Holmes. “This case has been solved.”
Then we proceeded to have a debate about what to do with the killer. Her motivations were understandable. Fitzsimmons would have unleashed a plague of death on the world. He had committed no crime, but would have had the blood of countless people on his hands had he sold the toxin. Maxine shouldn’t have killed him, but her act had thwarted a much greater evil so I pleaded for leniency. Holmes said he would consider the situation.
Glenn gave me a hug and then bought George and myself a drink at the bar. Mr. Holmes approached me privately and asked me to present the denouement after dinner.
A splendid dinner was served and after we were all satiated, Mr. Holmes signaled for silence, indicated my two partners and then clasped my shoulder acknowledging our victory. He then presented me with the nutcracker as a trophy for the case. Then he brought Ron, his two sons, and Maxine into the dining room where I presented my findings.
I walked the group through the maze of the case, casually keeping an eye on Maxine who whitened with every revelation. When I explained about the card we had purchased and how the killer had sealed her fate by signing it, I calmly looked at Maxine and said, “Isn’t that right, Maxine?”
At that point, Maxine begged for mercy and Holmes gently led her out of the dining room while discussion resumed. Shortly afterwards, he returned and he and Watson made their final farewells and exited.
And that was how I helped Mr. Holmes solve The Adventure of the Nameless Corpse. I would later learn that Holmes did show mercy to Maxine, letting her leave the country. George did send the card to his son with an incredible story. I had made new friends and had a reminder of the case forever gracing my mantle. And the next morning, I enjoyed some of Ron’s incredible cream cheese stuffed French Toast.
Little did I know that I would return to the Villa a few years later with my trusted friend, Mat O’Donnell, to engage in a peculiar investigation centering around a crying woman.
On the night of October 6, 1998, Matthew Shepard was brutally beaten, tortured, and left to die, tied to a barbed wire fence. His assailants were caught within a day, but the revelation that the vicious attack was, at least, partially motivated by Shepard’s orientation and his subsequent death six days later shone an ugly spotlight on the small town of Laramie, Wyoming. In an attempt to understand the factors that led to the savage crime and to share the truth, Moises Kaufman and Members of Tectonic Theater Project traveled to Laramie to conduct interviews with the town’s citizens and those who knew him. The end result of these interviews and news stories was The Laramie Project and it is currently running at The Barn Players.
This is certainly the most ambitious play that I’ve ever seen as Kaufman and Members of Tectonic Theater Project conducted nearly 200 interviews, spliced in news stories, and somehow managed to edit it into the most real play I’m likely to view in my lifetime. And the reason it’s so real is that is real. Every word said in this show was said in reality and everything that occurs happened in real life. The show completely eschews the normal narrative style as each scene is a disparate, standalone bit. Yet, somehow, it all has a natural flow and tells a gripping tale about the evils of prejudice. It was both an education and a privilege to watch this masterful bit of storytelling by an ensemble of talented performers that were universally up for the game.
In order to do true justice to this production, I would have to write a 50 page review. But let me say that this show is an actor’s dream as each and every performer has to play multiple characters. This requires a cast of top flight, versatile thespians and this show has that in spades as there isn’t a weak link to be found.
Some of the many stellar performances to be found in this production come from Christa James who excels as Shephard’s close friend, Romaine Peterson; Gideon Madison who is particularly convincing as Jedidiah Schultz, a young theatre student who also has the biggest character arc in the show; Larissa Briley as the compassionate Officer Reggie Fluty who cared for the brutalized Shephard at great personal risk after it was discovered he was HIV positive; Christoph Cording who provides levity and wisdom as Doc O’Connor; and Matt Fowler who has the night’s most heart rending moment with his portrayal of Shepard’s father, Dennis, who will get tears flowing with his victim’s statement at the sentencing of his son’s killer.
I was quite taken with Ron Meyer’s portrayal of Father Roger Schmit. He was gregarious. He was bold. He was even humorous with his preciseness of speech. Most importantly he had a powerful sense of justice. Schmit helped to organize the vigils for Matthew Shephard, believing it to be right. But he was also bound and determined to see the truth of the situation be told about the situation. He wanted justice for Matthew and believed part of the sentencing of his killers should include them telling their story to explain how they reached their particular point and he also insisted that the makers of the play “tell the story correct”.
Brent Custer has some incredible versatility and an epic example of this ability is demonstrated in his beautifully disparate renditions of Aaron McKinney, one of Shephard’s killers, and Matt Galloway, the bartender who was the last person to see Shephard before the crime.
As Galloway, Custer is friendly and observant as he proves to be a potent eyewitness for the prosecution and a bit of a philosopher. He helps to damage the credibility of the defense’s gay panic theory (claiming that McKinney murdered Shephard in a fit of rage after an unwanted sexual advance) with his theories on territoriality as he claims Shephard’s killers approached him and not the other way around. His Galloway is also a bit of a ham who clearly enjoys his 15 minutes of fame as a star witness and is quite amusing with his explaining the art of testifying.
With a snap of the fingers, Custer changes from the affable Galloway to the cold and sullen Aaron McKinney. As McKinney he is as cold-blooded as a reptile and as remorseless a human as you’ll ever see as he calmly admits to his dislike of homosexuals and casually describes the horrific beating he inflicted on Shephard while callously ignoring his pleas to stop. His only concern is whether he gets 25 to life or the death penalty.
Josh Jackson gives a tour de force performance with the many different roles he portrays in the night’s production. Seldom have I seen an actor with such transformative abilities as he becomes different personas with slight changes in body language and vocal control. Through the night, he’ll tug at your heart as Greg Pierotti, a theatre member who felt a kinship with Shepard, repulse you as the hate-mongering Fred Phelps, and make you laugh as the bar owner, Matt Mickelson.
Guiding a show of this difficulty requires a steady and confident director and this show assuredly had one and then some in the form of Ashton Botts. Her staging is immaculate and struck a unique dichotomy with static movement combined with unyielding energy. The actors don’t move much, but that’s actually crucial for this show as the energy needs to be on the words in order to draw in the viewer. It’s also one of the most impressive pieces of coaching I’ve ever seen as the energy of her actors never wanes and each of the sixty characters they play are well-defined and different. There’s never a point when you don’t know which character an actor is playing.
Nathan Wyman’s simple set of risers and chairs unlock the theatre of the mind as the actors adjust the chairs to suit the scenes and let the audience’s imagination do the rest. Chuck Cline’s use of lights enhance the story so much with his minimalist application to put the focus squarely on the essential performers of each scene. Brenna McConaughey’s costumes are as real and natural as the performances of the actors.
This is a very hard show to watch, but it is also a very necessary show to watch due to the challenging themes it presents and the difficult questions it asks. Where are our values? Why do we hate that which is different? Why does society relish sensationalism? There are no easy answers to these questions, but a statement from Jedidiah Schultz points us in the direction we should be going when he says, “How could I ever think they were different from me?” When society makes that same realization and starts pulling together like the family it is, this world will be a marvelous place.
The Laramie Project runs at The Barn Players through May 30. Showtimes are Thurs-Sat at 7:30pm (and for a showing on Monday, May 24) and Sundays at 2pm. The show is only available via livestream and tickets may be purchased at https://www.showtix4u.com/event-details/52153. Tickets cost $15. Due to mature themes and language, the show is not suitable for children. The Barn Players is located at 1000 E 9th St, Ste 225 in Kansas City, MO.
I was looking forward to this outing even more than normal. After getting fully vaccinated, I was ready to experience the most normal adventure I had enjoyed since the pandemic began and I wasn’t let down.
I started the journey by taking the scenic route through Fort Dodge where I enjoyed a quick bite to eat at Taco Tico before continuing my drive to my stopping point of Northwood, IA. Cashing in some points, I enjoyed a free night at the Holiday Inn where I was also upgraded to a suite which was much appreciated after a long day of work and driving. After a full night of uninterrupted sleep, I spent the morning puttering around before hitting the road again at 11:30am.
It was a gray day with sporadic, steady rainfall, but it didn’t dampen my spirits and I found myself in the North Shore town of Duluth and A.G. Thomson Bed & Breakfast, owned by Tim and Angie Allen, before I knew it.
I admit to being wowed when I pulled into the mansion’s parking lot. A.G. Thomson is a 1909 Dutch Colonial mansion, but looks absolutely pristine and brand new both inside and out. This property is so meticulously maintained that shoes are left on shelves at the front door.
The inn is absolutely immaculate and has loads of room to spread out with a massive living room, dining room and side porch. Wine is also sold by the bottle and a room under the staircase contains a refrigerator with water, soft drinks and wine (one complimentary glass per guest) along with a variety of snacks and a large DVD library.
The house had been built for William Ryerson for the sum of $17,000 (roughly $492K today) and passed through the hands of a number of prominent Duluth families. The name of the house comes from its second owner, Adam G. Thomson, who had a two story addition added to the rear, built the two story carriage house with a four room dwelling on the upper floor and a tool house.
My room was the Mayor’s Chamber, named for John Fedo who owned the house from 1986 to 1989. Fedo had been the mayor of Duluth and was one of the city’s most controversial figures. He is credited with the renaissance of Duluth’s lakefront, but was also the only mayor in history to be charged and tried for criminal offenses while in office though he was eventually acquitted.
The room contains the same elegance as found in the rest of the house. A queen-sized bed takes up a corner of the room. A tiled gas fireplace is set into one of the walls while the opposite side contains a 2 person whirlpool tub. The floral wallpaper lends brightness to the room and a leather chair and footstool takes up the center of the room where one can watch the TV set on the wall in comfort.
After getting myself set up, I decided to take a walk around the neighborhood. A.G. Thomson is located in the Congdon district AKA the Mansion district. The area practically shouted wealth as I wandered past the million dollar homes while occasionally communing with nature. Deer were plentiful and let me get within a few feet for photos before bounding away. I enjoyed a phone conversation with my best friend, Josh, but eventually called it quits as the late afternoon was becoming a real pea souper and I didn’t need to literally get lost in a fog.
Even without a full vaccination, I would have felt safe visiting this town as Duluth set the bar for social distancing with protocols set in place for local businesses and a strict mask mandate. At Sara’s Table is certainly no exception as seating is set six feet apart.
The bistro reimagines traditional American food and it is quite tasty. I was seated in the library and it does have books you can read. For my dinner I enjoyed a hearty Rachel with fries and tried a cream ale with has the smoothness of a black beer, but lacks the bitterness. After my fine meal, I returned to the inn where I organized photos and took a long whirlpool bath before collapsing on the softest mattress I have ever lay upon and didn’t crack an eye until morning.
At breakfast I met Chris and Jessie Peterson and enjoyed some conversation with them while enjoying a repast of chocolate chip muffin, warm butternut squash soup, herb and black pepper scrambled eggs, sweet potato mash and French Toast with a blueberry compote. A truly fine and filling meal which gave me the energy I needed to visit Glensheen.
Glensheen was the home of Chester and Clara Congdon and their family. Chester was a lawyer and investor who was one of the first millionaires of Duluth. He had Glensheen built on a 22 acre tract of land located by Lake Superior for the princely sum of $854,000 in 1908 (modern day equivalent of $22 million). The Jacobean style mansion contains a jaw dropping 39 rooms and the property also contains a boathouse, gardener’s cottage, carriage house, tennis court and a stone arch bridge built over Bent Creek.
Glensheen
In 1968, the property was given to the University of Minnesota-Duluth by Elisabeth Congdon through a life estate and it continues to run the property to this day. Tragically, Elisabeth Congdon’s life was cut short when she was killed by her son-in-law, Roger Caldwell. It was theorized that the crime was committed so Elisabeth’s daughter, Marjorie (charged with & acquitted of the murder), could obtain her $8 million inheritance of which he was to receive $2.5 million. Caldwell would end up accepting a plea deal for second degree murder, but recanted his guilt in his suicide note. He never received the money.
I was quite fortunate to get a last blast of Christmas as Glensheen was still decorated for the Christmas season. Twenty-five Christmas trees and a plethora of decorations adorned the mansion. For social distancing purposes, the tours are self-guided, but placards containing the tour information are present at every stop and an audio tour can be had courtesy of the Glensheen app.
The mansion has been lovingly maintained and I was floored by the luxury in which the family lived.
The Congdons were also noted for their charity and generosity. Most notable was that the servants were permitted to enjoy the same menu as that of the family at meal times which was not the tradition of the day. Chester was also known as a dutiful and loving husband who kept a spare room that he could retire to on nights he worked late so he wouldn’t disturb his wife and gifting her with $14K worth of pearls each Christmas.
All in all, I spent 2 hours at Glensheen before returning to the inn to post photos and begin writing.
For the first time since the pandemic started, I would finally attend worship services instead of taking in an online service. A six minute walk took me to the Cathedral of Our Lady of the Rosary. The chapel is gorgeous and I enjoyed a pleasant service.
Cathedral of Our Lady of the Rosary
Then it was time for a little dinner and I opted for one of the inn’s favorite restaurants, Tavern On the Hill.
Tavern On the Hill is a bar/restaurant and must be quite popular as it was packed to socially distant capacity. I ended up taking a seat at the bar where I enjoyed a Thai Chicken Tender Melt. The sandwich is served on sourdough bread with the chicken glazed in a Thai curry sauce and covered with swiss cheese and bacon. I contentedly nibbled away on the sandwich while reading my latest volume of Sherlock Holmes pastiches. Once satiated, I returned to the inn for a quiet night of writing, reading and another whirlpool bath.
Sunday morning found me polishing this article a bit before making my way to breakfast. Today’s repast consisted of a dark chocolate raspberry scone with fruit plate and a main course of spinach artichoke baked potato, grape arugula salad and mushroom & asparagus cheese encrusted quiche. I spent a bit conversing with Chris & Jessie who told me about their day and I spoke a bit with Kirsten, the innkeeper, who regaled me with a story of how she and a friend traveled from Alaska to Duluth. I also got to meet with Tim, one of the owners, who had once lived in Omaha when he was stationed at Offutt Air Force Base.
And all too soon, it was over. But I had an amazing time here in Duluth and it was a much appreciated return to normalcy. Rest assured, I will be back in the area again, possibly for my annual Christmas review. But take the time to experience the peace and tranquility of Duluth and enjoy a night or two at A.G. Thomson House. As an ornament says at the second floor, you’ll enter as a stranger, but leave as a friend and you’ll enjoy some world class dining and luxury.
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.
Chris' Corner 