Omaha Playhouse Announces 96th Season

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

OMAHA COMMUNITY PLAYHOUSE 2020/21 SEASON PRODUCTIONS

*Billy McGuigan’s Pop Rock Orchestra

Aug. 7–16, 2020

Hawks Mainstage Theatre

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

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

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

Clybourne Park

Aug. 21–Sept. 20, 2020

Howard Drew Theatre

By Bruce Norris

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

Disclaimer: Contains adult language and themes of racial tension.

Kinky Boots

Sept. 25–Oct. 25, 2020

Hawks Mainstage Theatre

Book by Harvey Fierstein | Music and Lyrics by Cyndi Lauper

Original Broadway Production Directed and Choreographed by Jerry Mitchell

Based on the Miramax motion picture Kinky Boots

Written by Geoff Deane and Tim Firth

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

Orchestra Sponsor: Woodmen Life

Hawks Series Sponsor: Immanuel Communities

Water by the Spoonful

Oct. 16–Nov. 8, 2020

Howard Drew Theatre

By Quiara Alegría Hudes

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

Disclaimer: Contains adult themes and language.

Presenting Sponsor: Conagra Brands Foundation

*A Christmas Carol

Nov. 20–Dec. 23, 2020

Hawks Mainstage Theatre

Written by Charles Dickens | Adapted by Charles Jones

Musical Orchestration by John J. Bennett

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

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

Presenting Sponsor: First National Bank

Artistic Team Sponsor: Omaha Steaks

Orchestra Sponsor: KPMG

Bakery Shoppe/Special Effects Sponsor: Rotella’s Bakery

*Yesterday and Today:  An Interactive Beatles Experience

Nov. 27–Dec. 31, 2020

Howard Drew Theatre

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

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

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

The Miracle Worker

Jan. 15–Feb. 7, 2021

Hawks Mainstage Theatre

By William Gibson

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

Hawks Series Sponsor: Immanuel Communities

The Scottsboro Boys

Feb. 12–March 14, 2021

Howard Drew Theatre

Music and Lyrics by John Kander & Fred Ebb

Book by David Thompson

Original Direction and Choreography by Susan Stroman

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

Disclaimer: Contains themes and language related to racial tension.

In the Heights

Feb. 26–March 21, 2021

Hawks Mainstage Theatre

Music and Lyrics by Lin-Manuel Miranda

Book by Quiara Alegría Hudes

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

Presenting Sponsor: Heider Family Foundation

Producing Partner: Physicians Mutual

Hawks Series Sponsor: Immanuel Communities

*THE CANDY PROJECT PRESENTS:

Gutenberg!  The Musical!

March 18–21, 2021

Howard Drew Theatre

By Anthony King and Scott Brown

Starring Steve Krambeck and Dan Chevalier

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

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

Agatha Christie’s Murder on the Orient Express

April 16–May 9, 2021

Hawks Mainstage Theatre

Adapted for the stage by Ken Ludwig

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

Producing Partner: UNMC

Hawks Series Sponsor: Immanuel Communities

Outside Mullingar

May 7–30, 2021

Howard Drew Theatre

By John Patrick Shanley

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

Roald Dahl’s Willy Wonka

May 28–June 27, 2021

Hawks Mainstage Theatre

Music and Lyrics by Leslie Bricusse and Anthony Newley

Adapted for the Stage by Leslie Bricusse and Timothy Allen McDonald

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

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

Presenting Sponsor: Mutual of Omaha

Orchestra Sponsor: Kiewit

Hawks Series Sponsor: Immanuel Communities

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

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

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

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

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

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

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

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

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

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

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

BLT Wants You to Take Part in a Murder

Bellevue Little Theatre presents
Murder on the Orient Express Auditions

Sunday, November 3 @ 7:00 pm
Monday, November 4 @ 7:00 pm

Location:  Ralston Performing Arts Centre (8989 Park Dr in Ralston, NE)

Interested parties need only attend one day of auditions, so please feel free to select the date that is most convenient for you.  Actors will be asked to read from the script.  No prior work with the text is required.

Rehearsals will begin on November 17
Performance Dates: January 17 – February 2, 2020
Performances are Fri., Sat. evenings at 7:30 and Sunday afternoons at 2 pm.

Cast requirements are:
Number of male characters: 5
Number of female characters: 5

Hercule Poirot
Monsieur Bouc
Mary Debenham
Hector MacQueen
Michel the conductor
Princess Dragomiroff
Greta Ohlsson
Countess Andrenyi
Helen Hubbard
Colonel Arbuthnot
Samuel Ratchett (doubles with the Colonel)
Head Waiter (doubles with Michel)

Synopsis:
Just after midnight, a snowdrift stops the Orient Express in its tracks. The luxurious train is surprisingly full for the time of the year, but by the morning it is one passenger fewer. An American tycoon lies dead in his compartment, stabbed a dozen times, his door locked from the inside. Isolated and with a killer in their midst, detective Hercule Poirot must identify the murderer – in case he or she decides to strike again.

Director: Todd Uhrmacher

The Game is Askew

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

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

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

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

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

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

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

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

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

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

A Most Unique Perspective

A teenager on the autism spectrum decides to investigate the murder of his neighbor’s dog.  His investigation leads to the discovery of an even weightier mystery and his investigation into that case may lead those closest to him to a remarkable discovery about him.  This is The Curious Incident of the Dog in the Night-Time adapted by Simon Stephens from Mark Haddon’s novel and is playing at the Omaha Community Playhouse.

To be up front, this is not a play about autism.  This is a play about family, trust, and love whose central character just happens to be on the autism spectrum (likely Asperger’s Syndrome).  I haven’t read the novel though, from the play, I suspect the book is also told from the point of view of the central character, Christopher Boone.  As such, Stephens’ adaptation creates one of the most original plays I have ever seen.  Not only is it a rock solid story, but it also allows the audience to vividly see just how Christopher processes information through writing and truly innovative staging that bring his internal processes to life.

Kimberly Faith Hickman has worked wonders with the show.  Her direction is nimble and nuanced.  Her cast virtually flawless.  But the real key to this show is its staging so the audience is able to see things through Christopher’s eyes.  Rest assured, Ms Hickman hits the bullseye with her staging through the use of silhouetted voices as Christopher recalls memories;  through the cast carrying Christopher around and flipping him over as he imagines himself an astronaut; through the duality of Siobhan reading about Christopher’s experiences while we watch Christopher living the experiences and see exactly how he behaved and reacted.

The supporting cast is exceptional and admirably fills out the people Christopher runs across in his adventures as well as the voices of memory inside his head.  Exemplary performances came from Julie Fitzgerald Ryan as Siobhan, Christopher’s teacher and, arguably, one true friend who encourages his writing and helps him better cope with the rules of society; Daniel Luethke as a pair of kindly policemen who try to help Christopher and a friendly reverend whose faith butts heads with Christopher’s logic and atheism; and Silvia Conley as the motherly Mrs. Alexander who attempts to befriend Christopher and ends up providing crucial clues that lead Christopher to an even deeper mystery than the death of his neighbor’s dog.

The role of Christopher Boone is a meaty, difficult part to play.  Due to its level of challenge, it is often played by young adults pretending to be the 15 year old.  That being said, Kimberly Faith Hickman played a gamble casting the 12 year old Dominic Torres in the role.  That gamble hits the jackpot.

Torres rises to the challenge of this arduous part and nails the characterization to the floor.  The character has similar traits and qualities to Sherlock Holmes to whom the play’s title subtly references.  Like Holmes, Christopher has genius level intellect, a keen eye for detail, and a rude, unfriendly nature.

Torres imbues all of these qualities into his character as well as having a solid grip on the tics and behavior patterns of a person with Asperger’s Syndrome such as his lack of eye contact with people, the blank facial expressions, the awkward poses he assumes with his hands and legs, the monotone quality to his voice, and the inability to articulate frustration.  He possesses an excellent sense of timing and handled the difficult wordplay well.  He just needs to slow down his rate of speech so chunks of dialogue are not lost.

Mike Palmreuter gives a weighty performance as Ed Boone, Christopher’s father.  Palmreuter well communicates the difficulties of a single father raising a son with special needs.  He clearly loves Christopher and has well adapted to his son’s needs such as touching fingers instead of hugs due to Christopher’s dislike of being touched.  But he also displays a lot of doubt as to Christopher’s ability to function in society as he tries to dissuade him from his investigation into the dog’s death and worries when he must leave Christopher alone.  Palmreuter’s slumped posture says more about the weight on his shoulders more than the wonderful dialogue he speaks.

Kerri Forrester provides a good yang to Palmreuter’s yin.  As Christopher’s mother, Judy, Ms Forrester’s body language communicates a longing that Christopher was like other children.  She clearly wants to be able to hug Christopher and hold his hand, but will never experience that joy due to Christopher’s different way of living.  Ms Forrester’s eyes have a deep sadness to them when she realizes that she will never be able to make the emotional breakthroughs that her husband has when it comes to parenting Christopher.

Steven Williams and Chris Wood team up for a deceptively simple looking set that is a boxed grid, but pulses with lights and colors to express scene changes and emotional beats.  Jay Hanson and John Gibilisco join forces for a little music and sound effects from the zapping effects of the flashing lights to the light dings as the background lights assume new Tetris shapes to the crowd noises of subway and railroad stations.  Lindsey Pape’s costumes convey the blue collar nature of the Boone family as well as Christopher’s fixations with the nearly identical clothes he wears and the everyday outfits of the everyday people in the show.

As I said earlier, this is not a story about a boy with Asperger’s Syndrome.  It’s a story about family and, truly, about seeing things from a different point of view.  I think the best way to sum up this play is from a Sherlock Holmes quotation, “Circumstantial evidence is a very tricky thing.  It may seem to point very straight to one thing, but if you shift your own point of view a little, you may find it pointing. . .to something entirely different.”

The Curious Incident of the Dog in the Night-Time runs at the Omaha Community Playhouse through Feb 10.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets start at $28.  For tickets, contact the OCP box office at 402-553-0800 or visit www.ticketomaha.com.  Due to adult language, this show is not recommended for children.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

Get a Clue

The classic board game comes to life.  Six people at Boddy Manor have motive to kill Mr. Boddy.  One of them did.  Can you figure out who done it before the show ends?  It’s Clue:  The Musical by Peter DePietro with music by Galen Blum, Wayne Barker, and Vinnie Martucci and lyrics by Tom Chido.  It is currently playing at the Bellevue Little Theatre.

Theatre doesn’t always have to be high art and Tony Award winners.  Sometimes a hokey, fun filled good time makes for the best night of theatre and this show is a shining example of that type of show.  DePietro’s script is very intriguing in that the show is actually a game.  Just as in the board game, a killer, weapon, and room are drawn at the top of the show and placed into a confidential envelope.  During the show, Mr. Boddy provides clues to help the audience deduce who done it, with what, and where.  And it does take a bit of careful listening and observational ability to figure it out.  This tactic helps to make for a pretty engaging production and ensures a different denouement almost every time.

With that being said, the focus on the game results in the loss of plot.  There really isn’t much of a story.  Rather there are little vignettes showing a bit about these characters and their connection to Mr. Boddy, an interrogation, the denouement, and then a real ending which feels unnecessarily tacked on.  On the other hand, I appreciate the use of meta as the characters are aware they are part of a board game and have done this on many occasions.  I also liked the rather catchy, occasionally hilarious, musical numbers.

Daena Schweiger’s direction makes full use of the play’s strengths and masks its weaknesses.  She understands the play’s farcical nature resulting in some really great caricatures from her actors.  The play is also well staged with the characters constantly moving about, making full use of the space.  I was especially impressed with a search scene immediately before Boddy’s murder with the actors running hither, thither, and non and was the show’s best moment.

It’s hard to analyze the performances of the actors as they can only be caricatures and the story does not allow them to develop in depth characters.  But there were several performances that did stand out.

Jesse Black plays Mr. Boddy, our host and murder victim.  I thought he came off a little too nice in Act I due to his underplaying of the role.  Boddy is a rather unlikable chap and Black had the room to go big and ram home that unlikability.  However, he has wonderful facial expressions which he used to the fullest in Act II as he is almost like an ever present spirit manipulating events and I rather enjoyed watching his reactions to the events swirling about.  He’s also got a very pleasant tenor voice best utilized in his keynote number “The Game”.

Patrick Wolfe delightfully chews the scenery as Colonel Mustard, an army man limited to administrative duty due to a condition where he sees living people as inanimate objects.  Wolfe has fantastic bluster and bombast as his off kilter Mustard always wants to play war games, even as foreplay.  Wolfe also has a great lower tenor voice as he joyfully declares “Do Unto Your Enemies” and searches for a good weapon in “Everyday Devices”.  Wolfe also has tremendous projection power, easily overcoming the black boxy acoustics of the theatre.

Sarah Ebke clearly is having fun as Mrs. Peacock, the wife of Mr. Boddy.  She is the one true villain of the piece as she is an unconvicted murderer which she gleefully admits to in “Once a Widow” as her alto tells us the story of the deaths of her five previous husbands.  Ms Ebke’s Peacock is a scheming, vile piece of work and one of the best characters of the night.

Carrie Beth Stickrod got the night’s biggest laughs with her rendition of Mrs. White, the put upon housekeeper of Mr. Boddy.  Ms Stickrod is beautifully acerbic as the housekeeper desperately searching for a way to escape the crushing debt she owes her employer.  I also loved her uneducated nature as her constant misspellings made for the best running gag of the show.  She’s also got a powerful soprano which kept the audience in stitches when she lamented “Life is a Bowl of Pits”.

Lindsey Tierney-Jack is all woman and then some in her portrayal of Miss Scarlet.  Ms Tierney-Jack brings a great sultriness to the role.  This is a woman fully aware of her sensuality and knows how to use it to get what she wants.  Ms Tierney-Jack also really emphasizes Scarlet’s performing heart as she breaks into random dance numbers during the chase scene in Act I.

Chris Ebke and his orchestra (Kim Hansen, Kyle Moeller, and Christina Allred) do justice to the musical score as Boddy Manor’s house band.  Gary Bosanek’s costume coordination was spot on with the bright, vibrant colors matching the character’s names.  Joshua Mullady’s lights enhanced each moment.  And Chris Ebke’s set is an awesome reproduction of the board game.

The energy of the cast seemed at a low ebb in tonight’s performance, resulting in a slow pace and loose cue pickups.  With the exception of Mr. Wolfe, the cast also needed to put the same projection of their singing into their dialogue.

Clue:  The Musical is definitely worth a watch, especially with the added thrill of getting to play the game during the show.  You’ll get some catchy music, some scene chewing hilarity, and a fun spectacle.

Clue:  The Musical runs at the Bellevue Little Theatre through April 9.  Performances are Fri-Sat at 7:30pm and Sun at 2pm.  Tickets are $20 for adults, $18 for seniors, and $10 for students with proper identification.  Bellevue Little Theatre is located at 203 W Mission Ave in Bellevue, NE.

 

BLT Holding Auditions for ‘CLUE: The Musical’

Auditions for Bellevue Little Theatre’s production of CLUE: The Musical will be held on Sunday, January 22 and Monday, January 23 at 7:00 PM at St. Timothy Lutheran Church (510 N 93rd Street – 93rd and Dodge) in Omaha and will consist of a music audition (1 minute of music appropriate to the style of the show – an accompanist will be provided), a dance audition, and cold readings from the script. Please come dressed to move. 4 Men and 4 Women (of various ages) are needed.


PLEASE NOTE THAT AUDITIONS ARE NOT BEING HELD AT THE BELLEVUE LITTLE THEATRE. Callbacks, if needed, are scheduled for Tuesday, January 24th at 7:00 p.m., also at St. Timothy Lutheran Church. A read thru with the cast is tentatively scheduled for Sunday, January 29th , and rehearsals will begin on Monday, January 23rd (lasting 8 weeks). The show runs from March 24 – April 9, 2017. Please bring a calendar so you can list ALL conflicts from January 15 – April 9, 2017 on your audition form. The show will be directed by Daena Schweiger, with music direction by Chris Ebke and choreography by Kerri Jo Watts. Pam Matney serves as producer. Questions about auditions, the rehearsal process, or the show can be directed to daena.schweiger@gmail.com.

Characters

Mr. Boddy (B Flat 2 to F Sharp 4)

Professor Plum (B Flat 2 to F 4)

Colonel Mustard (B Flat 2 to E Flat 4 (#7))

Mr. Green (G Sharp 2 to F Sharp 4)

Mrs. Peacock (B Flat 3 to D Flat 5)

Miss Scarlet (G Sharp 3 to F 5)

Mrs. White (B Flat 3 to F 5 (#4))

Detective (no set vocal range)