Tag Archives: musical

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Love Octagon

Eighteen year old Anne Egerman is in an unconsummated marriage with her middle-aged husband, Fredrik Egerman who is having a fling with the actress, Desiree Armfeldt, who has her own boy toy in the form of Count Carl Magnus-Malcom who is cheerfully, to him, married to Countess Charlotte Malcom who happens to be a childhood friend of Anne who now has her stepson, Henrik, pining after her.  You can sift through this Baxter’s Box of a menage by watching A Little Night Music at Bellevue Little Theatre.

Hugh Wheeler’s script boxes a cast and director into one dilly of a corner.  Wheeler knows where he wants the script to go, for the most part, but he doesn’t know what he wants it to be.  Halfway through the first act, I realized I was watching a sex farce, but the show is presented drily so the comedy is hidden.  The dialogue is written so formally that it prevents a cast from camping it up because the words don’t have the elasticity needed to fire off jokes.  As such, a cast and director have little choice but to follow the route of formality thrust upon them.  That being said, this director and cast got all they could and a maybe a little bit more out of the story.

Todd Uhrmacher does a lot of nice little things to keep this show running.  He has staged it like a ballroom dance where the performers (particularly a Greek chorus) glide on and off the stage with the smoothness of ballroom dancers to transition between scenes.  He’s got a good grip on the emotional beats and knows where to emphasize them for maximum impact with the “Send In the Clowns” sequence being a firm yank on the heartstrings.

Sherry Josand Fletcher plays one of the show’s few likable characters in the form of Madame Armfeldt whose droll observations and life lessons added levity to the show.  Jack Zerbe adds the right dose of weariness to Fredrik Egerman who married a much younger woman in a desperate attempt to cling to his own youth, but connects with the more age appropriate Desiree Armfeldt.  Zerbe’s Egerman also has a sense of honor as he would rather be unhappy with his young wife than hurt her. 

Heather Wilhelm gets the show’s most complex character in the form of Desiree Armfeldt.  She’s not quite as unlikable as some of the other characters as she does truly love her daughter and would rather be with her.  On the other hand, she does manage her other relationships to suit herself.  She’s happily involved with a married man and just as easily sleeps with an old beau to rescue him from his sexless marriage.  Still, she is aware of her own foibles and makes an epic confession of them with a stirring rendition of “Send In the Clowns”.

The best roles in the show are those of Count Carl Magnus-Malcom and Countess Charlotte Malcom. These two characters come closest to matching the farce of the piece and have a lot of meat for the performers to sink their teeth into.

Jodi Vaccaro is splendid in the role of Countess Charlotte Malcom.  Vaccaro is sympathetic as the woman trapped in a seemingly loveless marriage and is the only decent person in this love octagon as she isn’t screwing around with anybody.  Her sardonic delivery is right on the mark for the bitter countess and I found myself rooting for her when she started giving her ogre of a husband a dose of his own medicine with her pretending to throw herself at Fredrik Egerman.

Scott Van Den Top plays said ogre with his portrayal of Count Carl Magnus-Malcom.  This man is at the center of his own universe and isn’t shy about living that openly.  If there’s one positive thing I can say about him is that he’s honest.  The Count doesn’t hide his affairs from his wife, but arrogantly believes she is OK with his flings and appreciates the scant hours he gives to her.  Van Den Top really plays up the Count’s obliviousness as he unabashedly drags his wife along on a hare-brained plot to prevent his mistress from cheating on him.

Dr. D. Laureen Pickle and her orchestra elegantly handle the classical score.  Kerri Jo Richardson-Watts keeps the choreography simple with a few waltzes.  Ibsen Costume Gallery’s costumes suit the turn of the century setting of the show.  Joey Lorincz has designed an incredibly simple set of streamers  reaching from floor to ceiling which suit the ballroom staging and can double as trees.  He also keeps a dark blue lighting present to suit a little night music.

Outside of the script not allowing itself to be the farce it wants to be, it also has a few unnecessary secondary story arcs that pull away from the primary action.  The show also suffers a bit from some mixed acting in some of the ensemble players.  But if you enjoy classical music and a traditional sitting room play, then this show might be up your alley.

A Little Night Music runs at Bellevue Little Theatre through Mar 26.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $25 can be reserved at www.theblt.org or calling 402-413-8945.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

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Be Careful What You Wish For

A baker and his wife embark on a quest to reverse a curse that prevents them having children.  Their path brings them into contact with some of the most famous fairy tales of all time and they learn to be careful what they wish for.  This is Into the Woods and it is currently playing at the Chanticleer Theatre.

Prior to last night I had never seen this show though I had heard of it.  Given its subject matter, I was expecting something geared more towards kids.  Instead, I got a well thought out tale suitable for kids and adults that teaches a powerful moral about the consequences of selfishness.

James Lapine really understood fairy tales.  Not only are the tales featured the original Brothers Grimm versions, but he blends them together with an original fairy tale of his own creation which follows the Grimm pattern.  In fact, the show can really be split into two parts with Act I being the fairy tales and Act II could be called “After the Happily Ever After” as it deals strictly with the fallout from the tales.  Add this to Stephen Sondheim’s score and you have the foundation for a spritely theatre outing.

Mackenzie Zielke really does a phenomenal job directing this piece.  Her sense of pacing is off the charts as this production just whizzes by and the cue pickups were razor sharp and tight.  I loved the staging as the show starts before it starts with the characters coming out on stage early to start living their fairy tale lives.  She led her actors to A list performances and there isn’t a squeaky wheel in the lot.

This is an extraordinarily well-balanced ensemble and each get their moment to shine.  Some of the night’s stellar performances come from Robyn Helwig who brings the mirth with her puppetry of the cow, Milky White.  Jay Srygley is a smooth-talking, predatory wolf looking for a meal or two.  Lily Sanow’s Little Red Riding Hood is a bit of a brat with a gluttonous sweet tooth.  Nicolette NuVogue’s larger than life presence is well suited for the Giant’s Wife.  Jerry Van Horn holds the multiple tales together as the Narrator.

Chanel Savage owned the night as The Witch.  Savage has an incredible presence that rivets one’s attention and she gives a deep and nuanced performance.  Her Witch isn’t evil, per se, just selfish and petty.  But she’s also incredibly lonely, hence her desire for a child.  She also seems extremely protective of innocence which is what motivates her to keep Rapunzel in a tower.  She knows growing up means a loss of that innocence and truly wants to keep that treasure intact and unsullied.  Savage also has a powerful singing voice as she brought down the house in “Our Little World” and “Children Will Listen”.

David James Zenchuk, Jr. and Megan Berger portray the Baker and the Baker’s wife.  These characters are originals and are the unintentional antagonists, at least to start, as their blind pursuit of a child enables the chaos that results.

Zenchuk makes for a fine everyman as the Baker.  Zenchuk’s Baker truly has a good heart which makes his quest for a child difficult as he is unable to steal and lie to obtain the items he needs.  Rather he relies on dumb luck, half-truths, innuendo, his far craftier wife, and, in one case, the out and out stupidity of another character to get what he needs.  But when push comes to shove, his true nobility does finally shine forth.  Zenchuk has a beautiful tenor with turns in “No More” and “No One is Alone” being particular highlights.

Megan Berger gets to run an acting gamut as the Baker’s Wife.  Berger merges comedy and drama into her take on the role.  The Baker’s Wife is fiercely loyal to her husband as she is resolved to help him in the quest whether he wants it or not.  But she is more than a little selfish as she can and does lie, steal, and finagle the items needed to overcome the curse.  Berger’s Baker’s Wife also seems to pine for a different kind of life with her fascination of the royal life and her succumbing to the wooing of Prince Charming.  Berger also has a lovely voice with dynamite turns in “It Takes Two” and “Any Moment”.

David Michael Galant’s musical direction is nimble and precise.  Not only do he and his orchestra adeptly perform the score, but they also make the notes characters in the show at certain moments.  Galant’s coaching of the singers is sublime with some achingly beautiful solos and harmonies.  Ibsen Costume Gallery supplies the costumes which makes the characters seem as if they stepped out of a fairy tale.  Most impressive is a golden gown worn by The Witch after regaining her youth.  Joey Lorincz has designed yet another award worthy set with long narrow tubing emulating the trees of the forest.  I loved Leviathan Noxvul’s ambient forest sounds with singing birds, crickets, and other denizens of the woods.  Jacy Rook’s lights add a nice bit of seasoning, especially the color changing backdrop which conjured images of sunrises and sunsets.  Jason DeLong’s choreography is simple, but effective.  There aren’t any huge, lavish numbers.  The dancing is subtle and gentle which is exactly what is required.

Into the Woods is a pleasant storytelling venture suitable for the entire family.  If you want to see fairy tales wrapped within a fairy tale, take advantage of the last two performances at Chanticleer for an easygoing bit of theatre.

Into the Woods run at Chanticleer Theatre through Mar 19.  Final performances are Saturday at 7:30pm and Sunday at 2pm.  Tickets cost $30 and can be purchased at www.paceartsiowa.org.  Chanticleer Theatre is located in the Hoff Family Arts & Culture Center at 1001 S 6th St in Council Bluffs, IA.

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Pugilistic Playwrights

Nick Bottom has hit, well, bottom.  Unable to write a hit play and deep in debt, he discovers he and his wife are about to have a baby.  Desperate to achieve success he consults a soothsayer to discover the next great thing in theatre and Shakespeare’s greatest play (so he can get one over on his hated rival).  However, Bottom is going to discover that you can’t make an omelet without breaking a few eggs.  This is Something Rotten! and it is playing at Topeka Civic Theatre.

This seems to be my season for serendipitous discoveries.  For the second time this year, I discovered a theatre doing a show that caught my fancy while en route to another assignment and managed to squeeze in an extra review.  And, for the second time, I found myself having a marvelous time.

Shannon J. Reilly really gets this show.  He has a good grip on the show’s disparate elements and blends them together well.  Reilly knows when to lean into the absurdity and when to treat the show with heart attack seriousness.  He stages the show very simply as he focuses on the storytelling and uses a backdrop and a few simple set pieces (designed by Bryce Korf) to help enhance it.  Reilly has also had his actors create some truly delightful characters destined to leave their mark on your memories.

Some of the memorable performances in the supporting cast come from Bruce Smith who brings a childlike excitement to Shylock, the Jewish moneylender who is tickled pink to finally be part of theatre (in the form of his financial support).  Jayme Green makes for a fine Minstrel as he frames the show’s two acts for the audience.  Jaryl Perkins is outstanding as Brother Jeremiah whose overenunciating prudishness seems to barely mask his own sexual appetites.

Bethany Ayers nearly steals the show with her rendition of Portia, the daughter of Brother Jeremiah with a love for poetry.  Ayers’ Portia is a combination of Melissa Rauch and Carol Kane and she has comedic timing that can’t be taught.  Whether she’s getting soused at a party or waiting the precise number of beats for a humorous farewell, Ayers had the crowd laughing heartily at her wit and antics.  She also has a beautiful singing voice with “We See the Light” and “I Love the Way” being particular standouts.

Brett Broadbent makes his Nigel Bottom a bashful milquetoast at the top of the show, but his performance really begins to soar in Act II when the bashfulness gives way to his gentleness.  Broadbent just shines in the show’s quieter and sweeter moments and he has a wonderful tenor and falsetto.  His solo performance in to “To Thine Own Self Be True” is a bit of musical mastery.

Adam Groves is a cocky prick as William Shakespeare.  Shakespeare was a rock star of his era and this show takes that idiom literally as Shakespeare behaves and is adored as a rock star.  Groves comes off as a hybrid of David Bowie and Mick Jagger as he gyrates and heats up the audience with his poetry.  Groves’ Shakespeare isn’t afraid to take a few shortcuts to success as he enjoys the fruits of fame more than the work of fame.  Groves also has a blistering rock tenor which he uses well in “Will Power” and “Hard to Be the Bard”.

Daniel Kooser gives a superlative performance as Nick Bottom.  Kooser understands Bottom’s multifaceted nature and is able to project his decency, his frustrations, his fears, and his regrets.  His delivery is extremely extemporaneous and he has a gift for nimble wordplay.  Kooser also easily transitions from one emotional beat to another.  His hallmark moment is “Bottom’s Going to Be on Top” where he not only croons a fine tune, but engages in an epic tap and verbal joust with Shakespeare.

I enjoyed the period correct costumes of Chelle Decker which were replete with jerkins, tights, cod pieces, and billowing dresses.  Marilyn Foree and her orchestra hit all the right notes (pun intended) of the score and were epic and intimate as the need arose.  Kristin Ross has some fairly effective choreography with the tap battle in “Bottom’s Going to Be on Top” and the sweeping “A Musical” and “We See the Light” being the top moments.  Lauren McCauley-Jones has some nice lighting moments with the rock concert feel of “Will Power” being my favorite.

Act I seemed to suffer from a bit of the Thursday doldrums and needed a bit more energy at some points.  That being said, they found their full groove in Act II and came out swinging.  Some of the dancing also needed to be a bit cleaner.

Something Rotten! is one of the hottest musicals making the rounds on the regional/community theatre circuit. It has great songs and a story that’s meta (the show is aware that it’s a musical), but also funny, sweet, and a little bit dramatic.  Add a director and cast that understands this and you have the recipe for an amusing night of theatre like the one waiting for you in Topeka Civic Theatre’s production.

Something Rotten! runs at Topeka Civic Theatre through April 1.  Showtimes are Thursdays at 7pm, Fri-Sat at 7:30pm, and Sundays at 2pm.  Tickets cost $25 ($46.50 for dinner option on Fri-Sat and $40.50 for Sunday brunch) and can be purchased at www.topekacivictheatre.com.  Topeka Civic Theatre is located at 3028 SW 8th Ave in Topeka, KS.

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Enjoy ‘A Little Night Music’ at Bellevue Little Theatre

Bellevue, NE–Set in 1900 Sweden, A Little Night Music explores the tangled web of affairs centered around actress, Desirée Armfeldt, and the men who love her: a lawyer by the name of Fredrik Egerman and the Count Carl-Magnus Malcom. When the traveling actress performs in Fredrik’s town, the estranged lovers’ passion rekindles. This strikes a flurry of jealousy and suspicion between Desirée; Fredrik; Fredrick’s wife, Anne; Desirée’s current lover, the Count; and the Count’s wife, Charlotte. Both men – as well as their jealous wives – agree to join Desirée and her family for a weekend in the country at Desirée’s mother’s estate. With everyone in one place, infinite possibilities of new romances and second chances bring endless surprises.

Dates: Mar 10-26, 2023
Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm.

Ticket Prices

Adults $25
Seniors $20
Students $15

Tickets can be purchased at www.theblt.org or calling 402-413-8945.

Venue: Bellevue Little Theatre (203 W Mission Ave, Bellevue, NE)

Directed by: Todd Uhrmacher
Musical Direction by: D. Laureen Pickle

Cast

Fredrika Armfeldt- Amanda Pelley

Madame Armfeldt- Sherry Josand Fletcher

Anne Egerman- Chloe Rosman

Petra- Suzanne Birnley

Desiree Armfeldt- Heather Wilhelm

Countess Charlotte Malcom- Jodi Vaccaro

Malla and Osa- Jenny Cupak-Carroll and Aimee Correa

Ladies Maid- Elizabeth Planck

Henrik Egerman- Rider Mattheis

Fredrik Egerman- Jack Zerbe

Count Carl Magnus- Malcom- Scott Van Den Top

Bertland- Elliot Kerkhofs

Frid- Eric Henery-Cavanaugh

Liebeslieders-

Mrs. Andersson – Kate Simmons

Mrs. Olsson – Samantha Shatley

Mrs. Segstrom – Emily Peklo

Mrs. Karlsson- Phyllis Cremonini

Mrs. Nordstrom – Brooke Lewis

Mr. Gustafsson – Tim Pagett

Mr. Lindquist – John Arnsdorff

Mr. Erlanson – Chris Latta

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The Dreams of Success

From L to R: Candace Gould, Karissa Denae Johnson, and Zhomontee Watson star in Dreamgirls

Follow the trek of a girls’ soul group as they struggle to make it as professional singers and then cope with the crushing weight of success.  This is Dreamgirls and it is currently playing at the Omaha Community Playhouse.

Hang on to your hats, ladies and gents.  Masterpiece #2 has arrived at the Playhouse with this exhilarating musical that’s a treat for the eyes and the ears.  It’s scary to think how great this show is going to be by the end of its run because this cast came out roaring with a virtually perfect preview night performance that had people swaying to the music and some even singing along to the tunes.

Tom Eyen certainly has a strong knowledge of this era of music with his references to payola and the obstacles facing black musicians trying to cross over to the pop charts in an industry already infamous for its brutal and cutthroat nature.  Eyen has a gift for creating indelible characters and his story is fairly strong.  I did think he gave some characters short shrift and didn’t completely wrap up some of the individual story arcs.  But these minor flaws get lost in the mesmerizing music which perfectly captures the Motown/soul/R & B sound of the 60s and the evolution to the disco craze of the 70s.

 Kathy Tyree guides this production with the hand of a grandmaster.  Every element has its place and all the pieces move like pistons in a well-oiled machine.  Tyree leads all of her thespians to superlative performances, cutting a brisk and efficient pace.  Her knowledge of the beats is spot on and she handles the show’s more emotional moments with grace and aplomb.  I truly enjoyed her inspiration of staging the performance with a literal stage complete with colorful lights and metal supports (skillfully designed by Jim Othuse).

Few things thrill me more than getting to see new faces on stage and this show is packed with OCP debuts who were packed with outstanding talent.  Some fabulous performances were supplied by Anthony Haynes who is dynamite as Marty, the fast-talking, tell it like it is music agent.  Vi Griffin brings a soft-spoken power to C.C,, the gifted songwriter who helps fuel the Dreams’ rise to stardom.  Candace Gould shines as the youngest member of the Dreams, Lorrell, who begins as a somewhat immature teenager, but evolves into a confident adult who finally makes the right choice for herself.

Jus. B continues to solidify my belief that he is one of the hottest talents in Omaha today. His versatility is on full display with yet another powerhouse performance.  This one is particularly impressive as his Curtis is the most down to earth antagonist I’ve ever seen.  Curtis isn’t really a bad person, he just has the fatal flaw of extreme ambition.  He wants success so bad that he can taste it and everything he does is designed to benefit him in that single-minded pursuit.  If others benefit along the way, well, that’s just icing on the cake.  His iron control over the Dreams does yield that success, but at the price of a lot of misery.  B also has a powerful voice just as versatile as his acting which has booming finality in “It’s All Over” or sincere sweetness in “You Are My Dream”.

Jordan Willis certainly did his homework with his sculpting of Jimmy “Thunder” Early.  Willis’ singing and dancing style evoke memories of James Brown and Jackie Wilson.  As good as his voice and moves are, it’s the tragedy he brought to the role that I found most compelling.  Wills’ Early is a soul singer.  That’s what makes him happy.  But his drive for superstardom allows him to be convinced to alter his style into a more approachable balladeer which brings him the success he yearns for at the cost of his happiness, especially when his star begins to dim.  Willis’ voice is perfect for soul music and he brought the audience to their feet with “Fake Your Way to the Top”, but he can also move your soul with the sensitive, “I Meant You No Harm”.

Karissa Denae Johnson has a showstopping theatrical debut as Deena Jones.  She clearly has the gift of performing as her ease on stage and delivery are the equal of actors with many years of experience.  I loved the arc she brought to her character as she wanted to make it as a singer, but as part of a unit.  She reluctantly takes center stage solely to help the group succeed.  Once that’s accomplished, she begins to search for what will make Deena Jones happy.  Johnson has a beautiful silky voice and incredible instincts as her first performance as lead singer in “Dreamgirls” strikes that right note of nerves and shyness, but her confidence grows until she nails the emotional finale in “Hard to Say Goodbye, (My Love)”.

I needed an ice cold drink to cool me down after being lit up by the fire in the voice of Zhomontee Watson.  Watson can belt a song like few can while also acting up a storm as Effie White.  The Dreams were clearly inspired by the Supremes and Effie is assuredly this group’s Diana Ross.  But that story gets inverted as Effie’s better voice is forced to take a back seat to Deena’s better look.  Watson gives Effie a definite ego as she saw herself as the focal point of the group and she ends up tripping herself up as her jealousy (and other factors) tank her career until she learns a little humility to launch a comeback.  Watson’s singing is a hallmark of the production and she had the crowd enraptured with the thunderous Act I finale, “(And I’m Telling You) I’m Not Going”, but my favorite number was her humble and self-revelatory “I Am Changing”.

Justin Payne’s musical direction is auditory nirvana.  Payne’s band skillfully handles the night’s numbers as if they wrote the score themselves and the harmonies of his singers are like eating a decadent dessert.  Lindsay Pape rises to the costuming challenge like never before and has achieved the best costumed production I have ever seen.  My favorite piece of costuming was the evolution of the Dream’s dresses which evolve from attractive, but affordable, orange dresses in their salad days to gorgeous sequined gold outfits at the height of their success.  Ray Mercer’s choreography is flowing and natural.  There’s nothing huge or flashy about it (except for Jimmy’s larger than life dancing) and is exactly what I’d expect from a pop group.  Tim Burkhart and John Gibilisco’s sounds are subtle, but add that vital piece of seasoning to the production.

The Playhouse is certainly on a tear with two straight bangers and I envision this one to be a big awards season darling.  More crucially, I also envision it to be a monster sellout so get those tickets before they vanish.

Dreamgirls plays at the Omaha Community Playhouse through Mar 26.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm. Tickets are on sale now, starting at $25 and may be purchased at the Box Office, by phone at (402) 553-0800, or online at OmahaPlayhouse.com. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo provided by Omaha Community Playhouse

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‘Dreamgirls’ Coming Soon to OCP

Omaha, NE.– Dreamgirls opens at the Omaha Community Playhouse on Friday, March 3. A trio of women soul singers catch their big break during an amateur competition. But will their friendship—and their music—survive the rapid rise from obscurity to pop super stardom? With dazzling costumes and powerhouse vocal performances, this Tony and Grammy Award-winning musical is inspired by some of the biggest musical acts of the 1960s—The Supremes, The Shirelles, James Brown, Jackie Wilson and more.

The show will run on the Hawks Mainstage from March 3 through March 26, with performances Wednesdays through Sundays. Tickets are on sale now, starting at $25, with prices varying by performance. Tickets may be purchased at the OCP Box Office, 6915 Cass St., Omaha, NE 68132, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

Directed by: Kathy Tyree
Musical Direction by: Justin Payne
Choreography by: Ray Mercer

Cast

Anthony Haynes – Marty

Justin Blackson – Curtis Taylor

Karissa Johnson – Deena Jones

Candace Gould – Lorrell Robinson

Zhomontee Watson – Effie White

Corbin Griffin – CC White

Jordan Willis – Jimmy Early

Monica Weber – Michelle Morris

Ensemble features talents of: Alicia Amedee, Michelle Bester, CynFranecia Brooks, Raymond Butler, Denzell Clements, Brannon Evans, Ashari Johnson, Kevin Jones, Alisa Moore, Shirleena Terrell, Nyarok Tot, Justin Tyree, and Nina Washington

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On the Poor Side of Town

Billy Ferguson stars as Mark Cohen in “Rent” at the Omaha Community Playhouse

Come experience a year in the lives of the people of a poor neighborhood in NYC.  This is Rent and it is currently playing at the Omaha Community Playhouse.

I’ll make this short and sweet.  This is the season’s first masterpiece.  Good night, everyone!

Oh, very well.  I’ll share some more.

I actually had never seen this show before tonight and did not know any of its songs, though I did remember this show being extremely hot property back when it debuted in 1996.  Little did I know what I had been missing.

Jonathan Larson wrote an incredible tour de force with compelling stories and amazing songs.  I detected influences from Andrew Lloyd Webber and Shakespeare mixed in with Larson’s heart and vision.  His show is also very prescient with its powerful theme of inclusiveness which makes it very much a show that fits in today’s environment.

I’ve occasionally referenced theatrical kismet when a show gets all the right elements in place to create an indelible piece of magic and this show has that from top to bottom.  Superior musical direction.  A perfectly cast ensemble.  Dead on the mark direction.  Flawless technical elements.  Lovely voices and brilliant choreography.  Spot on acting.  There’s even a little audience participation (and I mooed with the best of them).

Stephen Santa is on fire with this show.  Not only is his direction pluperfect, but it’s one of the very best, if not the best, pieces of staging I’ve ever seen.  Santa uses the entire theatre with his actors joining the audience on the risers to make us part of the story.  And “Contact” is, without question, the single most perfectly staged moment I’ve ever witnessed.  Santa also led his actors to superlative performances.  Never did he let them cheat or shortchange an emotional moment and this show has them in droves.

This show has the truest ensemble I’ve ever seen.  By that I mean that each role holds a crucial level of vitality and necessity and everyone gets a moment to shine at some point.  Some stellar performances come from Evelyn Hill who is larger than life as Maureen, a performance artiste trying to fight the good fight against a lot owner attempting to evict the homeless.  Brandi Mercedes Smith is incredibly effective as the no nonsense lawyer, Joanne, who is in a tumultuous relationship with Maureen.  DJ Tyree Is not only eminently likable as Tom Collins, but he has a voice like a warm and comfortable quilt and an unbelievable vocal range from soaring tenor to deep baritone.  I defy you to listen to him sing “I’ll Cover You” and not start crying.

Isa Gott has one killer Playhouse debut as Mimi.  Gott displays some masterful versatility with her depiction of the old before her time teenaged exotic dancer/junkie further bolstered by her sizzling chemistry with Jesse White’s Roger.  In one moment, she’s hungrily eyeballing Roger as she flirts with him while trying to get a candle lit.  In another, she’s emotionally gutted by Roger’s constant distrust and pushing her away.  Her reactions are always natural and right on the money and her jones for heroin when overpowered by stress is palpable.  Gott also has the voice of an angel and just smacks emotional pitches out of the park with the flirty “Light My Candle”, the seductive “Out Tonight”, and the haunting “Without You”.

Over the past few years, Jesse White has made his mark as one of Omaha’s finest musical actors and is in especially fine fettle as Roger.  There’s a real nimbleness to White’s portrayal of the recovering junkie musician as he leaps from emotional beat to emotional beat and those beats swing huge as Roger can go from upbeat to broken on the turn of a dime.  White even had a remarkable way of making his eyes seem hollowed out to show his former dependence on drugs and his sickliness from battling HIV.  White shows Roger’s weariness, his distrust, his reluctance to open up emotionally, and even his hopefulness, especially as he struggles to write one great song before he shuffles off this mortal coil.  White has got a sensational voice as he fights to achieve that “One Song Glory” which he certainly does with a phenomenal take on “Your Eyes”.

Personally, I saw the character of Angel as the lynchpin of this group of friends.  His indefatigable joie de vivre serves as the fuel for everyone’s happiness.  When he hits the scene, the day gets a little brighter and when he’s not around, things go awry.  In Wayne Hudson II’s hands, the role is a piece of acting gold.  Hudson’s Angel just eats life with shining teeth.  He never seems to have a bad day and is always willing to be a supportive rock for those struggling emotionally.  Hudson is incredibly sweet in the role and he and Tyree’s Tom Collins make for an adorable couple.  Hudson has got a nice light tenor which he uses well in “You Okay, Honey?” and the gut wrenching “I’ll Cover You”.

Mark is the closest thing this show has to a central character as he serves as narrator and I got the sense that the show might have been the great documentary he was trying to create.  Billy Ferguson gives a top rate performance as the hopeful documentarian.  Ferguson’s take on Mark is that he’s always searching for something.  He’s searching for that great documentary.  He’s searching for that sense of connection in a community.  Heck, he’s even searching for the rent money.  It’s interesting to watch Mark’s inner turmoil as he battles suppressing his artistic vision to the expediency of money when a tabloid show wants to employ him after his footage of a riot hits the news.  At the same time, he is tormented by watching friendships fray and decay in Act II and fears being the only one of his group left alive as nearly all of his other friends suffer from HIV and AIDS.  Ferguson shows some emotional musical versatility of his own as he commiserates with his ex’s new girlfriend over her selfishness and libido in “Tango Maureen”, snarkily sticks it to a former friend in “La Vie Boheme”, and frets over his future and the potential deaths of his friends in “Halloween”.

Jim Boggess was in especially rare form (and that’s saying something!) with his work on this show.  Not only was his conducting of the orchestra infallible, but his molding of the singers was of tremendous quality with their beautiful harmonies and blended voices.  I’d also like to tip my hat to the band as Colin Duckworth, Mark Haar, and Vince Krysl did yeoman work.  But I especially want to laud Jennifer Novak Haar’s keyboard work as it just transported me to another realm.

Aaron Derell Gregory supplies some phenomenal choreography for the show.  What I liked best about it was its spontaneity.  It never felt staged.  It always seemed so natural as if the characters just felt like dancing for the sheer fun of it.  And “La Vie Boheme” is easily the most infectious piece of choreography I’ve ever seen as I almost succumbed to the temptation to get up and start dancing with the cast. 

Nora Marlow Smith has designed a fantastic set as it looks like a dingy street in NYC with the placement of ladders and lights really feeling like the industrial loft of Mark and Roger.  I especially liked the rotating crosswalk which Santa skillfully used to represent emotional distance between characters in key scenes.  Andrew Morgan’s properties add that sense of poorness with discarded TVs and is enhanced by Janet Morr’s protest graffiti.  Darrin Golden adds some technical wizardry with snowfall, confetti, and balloons.  Josh Wroblewski’s lights add something special especially with the Christmas lights and the street corner light used when the homeless comically deride another Christmas season.  The sounds of Tim Burkhart and John Gibilisco suck you in even before the show starts with the horn honks, bustling traffic, and police whistles pulling you into another morning rush hour in NYC.  Lindsay Pape’s costumes well communicate the bohemian lifestyle of the denizens of this neighborhood.  But she also gets to show off some other personalities with the rigid business wear of the TV exec trying to hire Mark and the matronly wear of the mothers of Mark and Roger when they’re leaving voice mails. 

Truly, this was an extremely satisfying night of theatre and one of the top five musicals I’ve had the pleasure of watching.  It’s a nearly perfect story with wonderful characterizations and unforgettable music.  Do yourself a favor and get a ticket yesterday because this one is already selling out.

Rent runs at Omaha Community Playhouse through March 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm. Tickets are on sale now, starting at $45 and may be purchased at the Box Office, by phone at (402) 553-0800, or online at OmahaPlayhouse.com. Due to strong language and some mature themes, parental discretion is advised. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Photo by Colin Conces

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The ‘Rent’ is Coming Due at OCP

Billy Ferguson stars as Mark Cohen

Omaha, NE.–Rent opens Friday, February 10, 2023 at the Omaha Community Playhouse (OCP). This is the first time that OCP has produced this iconic show.

Production Dates: February 10-March 19, 2023

Show Times: Thursdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.

Description: The cultural phenomenon that has inspired audiences for a quarter century. A raw and emotional year in the life of a diverse group of friends and struggling artists, chasing their dreams under the shadow of drug addictions and the HIV/AIDS epidemic. Winner of the Tony Award for Best Musical and the Pulitzer Prize, this iconic rock musical has become a cultural touchstone, rite of passage and source of joy and strength for millions.

Disclaimer: Contains adult content and language.

Tickets: Starting at $45. Prices vary by performance. Tickets are available for purchase by phone at (402) 553-0800, online at OmahaPlayhouse.com, or in person at the OCP Box Office, 6915 Cass St., Omaha, NE 68132

Cast

Mark Cohen–Billy Ferguson

Roger Davis–Jesse White

Tom Collins–DJ Tyree

Benjamin Coffin III–Allen Griffin

Joanne Jefferson–Brandi Smith

Angel Dumott Shunard–Wayne Hudson

Mimi Marquez–Isa Gott

Maureen Johnson–Evelyn Hill

Ensemble #1–Addie Barnhart

Ensemble #2–Xavier Carr

Ensemble #3–Kylah Calloway

Ensemble #4–Joey Galda

Ensemble #5–Aiden Poling

Ensemble #6–Matt Bailey

Ensemble #7–Maddy Stark

Directed by: Stephen Santa
Musical Director: Jim Boggess
Choreographer: Aaron Gregory

Photo by Colin Conces

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OCP Looking For Actors to be “In the Heights”

Omaha, NE–The Omaha Community Playhouse (OCP) is holding in-person auditions for In the Heights on February 11 and 12. To schedule an audition, please visit the website here.

Director/Choreographer: Rebecca Kritzer

Music Director: Boston Reid

Show Dates: June 2-25, 2023

Omaha Community Playhouse, Hawks Mainstage Theatre

Rehearsal begin April 26, 2023.

Show Synopsis: Before there was Hamilton there was In the Heights.

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

Auditions: Saturday, Feb. 11, 2023, 10 a.m.-4 p.m. (Latino Center for the Midlands in the SOUTH building 4937 S. 24th St., Omaha, NE 68107). This audition is for those interested in principal and ensemble singing roles.

Sunday, Feb. 12, 2023, 10 a.m.-4 p.m. (Omaha Community Playhouse, 6915 Cass St., Omaha, NE 68132). This audition is for those interested in ensemble dance roles. Please still be prepared to sing.

Callbacks: Monday, Feb. 13, 2023, 6-10 p.m. (Omaha Community Playhouse)

Notes: Auditions are by appointment only. Please complete the audition form to schedule a time. When arriving to audition at the Playhouse, please enter through the Stage Door entrance on the West side of the building. Those auditioning should be prepared to spend 60-90 minutes at the audition.

Audition preparation: 16-32 bars of pop/rock song, or a song in the style of the show, that showcases your voice. Singing from the show is okay. No legit/standard musical theatre/opera.

Auditioners are welcome and encouraged to also sing in Spanish, but please have another option as well.

Those wishing to be considered for Usnavi or Sonny are welcome to also prep a short rap, but not required.

Roles: Click here for character breakdown.

Contact: For more information, please visit omahaplayhouse.com.