It’s Beginning to Look a Lot Like Christmas. . .At the OCP

A Christmas Carol Opens Friday at Omaha Community Playhouse

Omaha, NEA Christmas Carol opens this Friday, Nov 16, at the Omaha Community Playhouse.  The show will run in the Hawks Mainstage Theatre from Nov 16 through Dec 23.

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 filled with lovely costumes, exquisite music, beautifully crafted sets and special effects second to none.  Perfect for the whole family!

Tickets for A Christmas Carol are available at TicketOmaha.com or through the Omaha Community Playhouse box office by calling 402-553-0800 or visiting 6915 Cass St, Omaha, NE  68132. For more information, please visit www.omahaplayhouse.com.

Production:  A Christmas Carol by Charles Dickens.  Adapted by Charles Jones with musical orchestration by John J. Bennett.

Dates:  Nov 16-Dec 23, 2018 on the Hawks Mainstage Theatre (There are no performances on Nov 21 or Nov 22)

Show Times:  7pm on Wednesdays.  7:30pm Thurs-Sat.  2pm and 6:30pm on Sundays.

Tickets:  Tickets start at $40.  Prices may vary by performance.  Tickets available for purchase at the Omaha Community Playhouse box office, 6915 Cass St, Omaha, NE  68132, by phone at 402-553-0800 or online at http://www.ticketomaha.com.

Directors:  Kimberly Faith Hickman and Ablan Roblin

Choreographer:  Michelle Garrity

Featuring

Jerry Longe as Ebenezer Scrooge

Chris Berger as Bob Cratchit

Madison White as Tim Cratchit

Don Keelan-White as Jacob Marley

Lori Lynn Ahrends as Ghost of Christmas Past

Bob Gilmore as Ghost of Christmas Present

And a slew of Omaha’s finest theatrical talent!!

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She Rocks! She Rocks, Indeed!!

World, Tara Vaughan has arrived and she is tearing it up at the Omaha Community Playhouse in her new show, Tara Vaughan’s She Rocks.

Produced under the auspices of Rave On Productions, Tara Vaughan’s She Rocks is a killer revue focusing on the legendary female artists and/or songwriters of the 60s-80s with a splash of the 90s and today thrown in for good measure.  In a thrilling night of rock and roll suitable for people of all ages and presenting artists of all eras, you’ll hear numbers from Linda Ronstadt, Heart, The Go-Gos, Fleetwood Mac, Sandie Shaw, Amy Winehouse, Sheryl Crow, and even an original tune written by Ms Vaughan herself.

Long known as a talented singer/songwriter (and the keyboardist & vocalist for the Rave On Productions), Ms Vaughan’s talent explodes in a stunning tour de force performance for this revue.  Tara Vaughan does not play music. . .she exudes it.  It’s as if the notes just come from the very depths of her soul and she then shares it with the audience with every fiber of her being and her incredible alto voice.

Kicking it off with the sweet, but melancholic “When Will I Be Loved?” by Linda Ronstadt, Ms Vaughan proceeded to demonstrate an unmatched versatility with an extremely diverse set that included the Sandie Shaw version of “Always Something There to Remind Me”, Dusty Springfield’s “Son of a Preacher Man”, Heart’s “Barracuda”, and Blondie’s “Call Me”.  But she could also slow it down with sensitive and moving songs such as a little Cass Elliot in “Dream a Little Dream of Me”, Amy Winehouse’s “Valerie”, and Fifth Dimension’s “Wedding Bell Blues”.  However, I thought two of her best numbers in a night full of great ones were her take on Carly Simon’s “You’re So Vain” (a personal favorite song of mine) and her own original number written “in a similar vein of “You’re So Vain’”, “Blame it On My Youth”.

In between numbers, Ms Vaughan shared stories with the audience about the creation of the show, memories of her life, and gentle ribbing of her mother with a soft-spoken, almost shy stage presence that hooked the audience in from the first word.

The arrangement of the numbers gave the night’s music a familiar, but fresh feel and Ms Vaughan was epically supported by a powerful band which included Ryan McGuigan on keyboards, percussion, and backing vocals; Matthew McGuigan on bass and backing vocals (and a solo on The Supremes’ “Can’t Hurry Love”); Jess Errett on electric acoustic guitar and backing vocals (plus a solo with The Go-Gos “Head Over Heels”); Max Meyer, who provided some stellar solos on lead guitar, and Adam Stoltenberg on drums.  The night even included a guest appearance from Billy McGuigan who teamed up with Ms Vaughan to belt out Marvin Gaye & Tammi Terrell’s “Ain’t No Mountain High Enough”.

This is just a taste of what those of you lucky enough to have tickets to tonight’s sold out performance have in store for you.  And if you don’t have a ticket, don’t worry.  Tara Vaughan and She Rocks will return to the Omaha Community Playhouse in late June 2019 for a three week engagement.  Tickets go on sale November 20.  I promise you an experience you won’t forget and you will find that Tara Vaughan most.  Definitely.  Rocks!!!

Be Part of OCP’s “The Curious Incident of the Dog in the Night-Time”

The Omaha Community Playhouse is holding auditions for the upcoming production of The Curious Incident of the Dog in the Night-Time on Saturday, October 27 at 11 a.m. and Sunday, October 28 at 6 p.m. at the Omaha Community Playhouse, 6915 Cass Street, Omaha, NE 68132.

• Production: The Curious Incident of the Dog in the Night-Time
• Roles: Christopher, Siobhan, Ed, Judy, Ensemble (play multiple roles)
• Show Dates: January 18 – February 10, 2019
• Theatre: Howard and Rhonda Hawks Mainstage Theatre, Omaha Community Playhouse
• Rehearsals: Begin December 2, 2018
• Director: Kimberly Faith Hickman

SYNOPSIS
Winner of five Tony Awards, including Best Play, and based on the best-selling mystery novel, The Curious Incident of the Dog in the Night-Time tells the emotional story of Christopher, a 15-year-old boy with autism, who sets out to solve the mysterious death of a neighbor’s dog. As he embarks on an incredible adventure to find answers, his perceptions of trust and reality are turned upside-down. With stunning design and innovative staging, this impactful story is a must-see!

AUDITION DATES
• Saturday, October 27 at 11:00 a.m.
• Sunday, October 28 at 6:00 p.m.

AUDITION LOCATION
Omaha Community Playhouse
6915 Cass Street
Omaha, NE 68132

AUDITION INSTRUCTIONS
• Those auditioning should enter through the west “Stage Door” entrance and proceed to the check-in table.
• Actors only need to attend one of the audition dates to be considered for a role.
• Those auditioning will be asked to read from the script provided at auditions.
• If special accommodations are needed, please contact Breanna Carodine prior to auditions at (402) 553-4890 ext. 164 or bcarodine@omahaplayhouse.com.

PLEASE BRING
• All contact information, personal schedules and a list of rehearsal conflicts with which to fill out an audition form
• To expedite the check-in process, please bring a physical copy of a headshot or recent photo of yourself. Please note, photos will not be returned.

“She Kills Monsters” Opening at OCP

Omaha, Neb.–She Kills Monsters is opening this week at the Omaha Community Playhouse. The show will run in the Howard Drew Theatre from Friday, October 12 through Sunday, November 4, 2018.

Thrilling audiences with equal parts costume and combat, She Kills Monsters is a coming-of-age dramatic comedy play riddled with 90s pop culture and all things Dungeons & Dragons. Agnes Evans finds a notebook left behind by her deceased younger
sister containing a game scenario for the fantasy game Dungeons & Dragons. As Agnes delves into the world of D&D, she comes to discover more about the sister she often misunderstood.
Tickets for She Kills Monsters are available at OmahaPlayhouse.com or through the Omaha Community Playhouse box office by calling (402) 553-0800 or visiting 6915 Cass Street, Omaha, NE 68132. For more information, please visit www.omahaplayhouse.com.

SPECIAL EVENTS
Women’s Stage Combat Workshop
The Omaha Community Playhouse will hold a special Women’s Stage Combat Workshop to celebrate the opening of She Kills Monsters. This women-only workshop will be held on Sunday, October 14 at 12:30 p.m. at the Omaha Community Playhouse and will be taught by Amy Elizabeth Schweid—fight choreographer for She Kills Monsters.

Participants are encouraged to stick around after the workshop for the 2 p.m. matinee performance of She Kills Monsters. Cost for the workshop is $15 and includes a drink ticket. Costumes are encouraged, but not required, for this female empowerment
workshop. Register at https://tinyurl.com/ocpworkshop.

Production: She Kills Monsters
Production Dates: October 12 through November 4 in the Howard Drew Theatre
Show Times: 7:30 p.m. Thursdays through Saturdays; 2:00 p.m. Sundays
Tickets: Tickets starting at $30 for adults and $18 for students; Prices may vary by performance.  Tickets may be purchased at the Omaha Community Playhouse box office at 6915 Cass Street, Omaha, NE 68132, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.
Written By: Qui Nguyen
Director: Beth Thompson

Cast

Catie Zaleski – Agnes
Chloe Irwin – Tilly
Kaitlin Maher – Narrator
Thomas Gjere – Miles
Riley Perez – Lilly
Jaiden Lindsey – Kaliope
Brendan Brown – Chuck
Kevin Goshorn – Ocrus
Carrie Beth Stickrod – Vera/Farrah
Ava Burk – Evil Tina
Amanda Overfield – Evil Gabbi
Will Rodgers – Steve
Jake Parker – Monster Ensemble
Ben Battafarano – Monster Ensemble

 

An Unusually Rocking Fairy Tale

Resized_DSC_0858It’s the show that lovingly lambasts fairy tales.  A surly ogre named Shrek reluctantly comes to the aid of the fairy tale characters banished to his swamp by evil Lord Farquaad solely to regain his isolation.  Farquaad’s price for removing the characters from Shrek’s swamp is for Shrek to rescue Princess Fiona from a tower guarded by a fire-breathing dragon so Farquaad can marry her and become king.  But love may be blooming between the princess and the ogre when they find they have far more in common than they realize.  It’s Shrek the Musical with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori and it currently plays at the Omaha Community Playhouse.

What I am about to say is a lie.  Something that isn’t true.  Shrek the Musical is the most insipid piece of juvenile garbage ever to disgrace a stage and should be shunned by every man, woman, and child.

Truthfully, this show is an out and out joy.  I can’t remember the last time I felt so energized by a play.  Lindsay-Abaire wrote a script that not only well translates the film to the stage, but one that I also believe surpassed the source material on nearly every level.  He even adds a subtle theme of racism and judging books by their covers that adds a surprising amount of heft to the production.  His lyrics and the rock operaesque score by Ms Tesori will have you laughing and bopping and pining for the next number.

Kimberly Faith Hickman’s direction is simply exquisite.  Not only did she guide the cast to superb performances without a weak link in the lot, but she also brought a phantasmagorical staging to the show.  Yes, that is indeed the right word as there was something otherworldly about the staging.  The entire theatre was used to tell this story and I mean the ENTIRE theatre.  Stage, orchestra pit, aisles, rows, you name it.  It was all fair game to share this tale.

I don’t think I’ve ever seen a cast as on as this cast was tonight.  Every single member brought their A game to the table and created a production that has instantly vaulted into my top ten list.  Some standouts among the standouts were Kerri Forrester whose presence devoured the theatre and whose mighty voice thrilled the crowd with her take as Dragon in “Forever”; Maddie Smith who delights as Young Fiona as she pines for her Prince Charming in “I Know It’s Today”; and J. Isaiah Smith who gleefully chews the scenery as Lord Farquaad.

Jordan Smith triumphs as Donkey, the wise-cracking sidekick of Shrek.  Smith strikes a perfect balance between being the loyal friend and the hyperactive annoying chatterbox that just might test the patience of saints.  His tenor voice is stupendous and he excelled in numbers such as “Make A Move” and “Don’t Let Me Go”.  He completed his triple threat with his fluid and nimble hoofing which was made all the more impressive as he was doing it with hooves.

Mackenzie Dehmer makes for an absolutely perfect Fiona.  She ain’t your ordinary fairy tale princess.  She’s temperamental.  She’s high-strung.  She’s got a singing voice that can literally make birds explode.  She can be sweet, but also incredibly crude and crass as she happily engages Shrek in belching and farting contests.  Ms Dehmer possesses a deadly alto which can inflect ultra competiveness in “I Think I Got You Beat”, be excessively cheerful and caffeinated in “Morning Person”, or just flat out rock out in “I’m A Believer”.

I’m going to steal a descriptor from a friend and say that Steve Krambeck “ogre”achieves as Shrek.  Krambeck manages to capture the many layers of Shrek from his outer hide of irritability and crabbiness to his inner core of sensitivity and loneliness.  I don’t think I’ve ever heard Krambeck’s tenor in finer form than tonight as he managed a combination of hopefulness and sadness in “Who I’d Be” as he confesses to wanting to be a hero, despite being destined to being an ogre and the beautiful “When Words Fail” as he sweetly tries to work out a way to tell Fiona he loves her.  He handled the difficult Scottish accent well, though it did weaken at a few points, especially when he sang.

Lindsay Pape’s costumes set a new bar with spot-on reproductions from the film for Shrek, Fiona, and the other fairy tale denizens and beautifully creative outfits such as Donkey’s furry bodysuit.  Paul Pape’s prosthetic for Shrek was brilliant as it was built around Krambeck’s face and allowed him to emote with both face and eyes.  Tim Burkhart and John Gibilisco crafted some truly unique sounds, especially for the “emissions” battle between Fiona and Shrek.  Melanie Walters supplied some stunning choreography especially with the company numbers of “What’s Up, Duloc?”, “Make A Move”, and “Freak Flag”.  Jim Othuse’s sets will take you from a quiet forest to a lonely tower to a dragon’s lair to the castle of a would-be king.  His lights will give you beautiful sunrises and romantic forest evenings.  Jim Boggess and his orchestra truly score with this score as they not only played it perfectly, but you could hear the fun they were having as well.

If you miss this show, you truly don’t know what you’re missing.  It’s fun.  It’s memorable.  It has something for the whole family with jokes aplenty for the adults and cartoony enough for the kids.   And it even teaches a little something about accepting yourself and the uniqueness of others.

Shrek the Musical performs at the Omaha Community Playhouse through Oct 14.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.   Tickets start at $42 and can be purchased at www.ticketomaha.com or at the Omaha Community Playhouse box office.  Contact the box office at 402-553-0800.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

“Shrek: The Musical” Launches OCP’s Mainstage Season

Shrek The Musical Opening This Week at Omaha Community Playhouse
Omaha, NE.–Shrek The Musical is opening this week at the Omaha Community Playhouse. The show will run in the Hawks Mainstage Theatre from Sept. 14 through Oct. 14, 2018.
Based on the 2001 DreamWorks Animation film, Shrek The Musical follows everyone’s favorite green ogre as he embarks on a life-changing journey, discovering his place in the world along the way. Full of beloved fairy tale characters and endless humor that will captivate children and adults alike, Shrek The Musical is a must-see show for the whole family.
Written by Jeanine Tesori (Fun Home, Caroline, or Change) and David Lindsay-Abaire (Ripcord, Rabbit Hole) and nominated for eight Tony Awards, Shrek The Musical will inspire audiences to let their freak flags fly!
Shrek The Musical opens at the Omaha Community Playhouse on Friday, Sept. 14 and runs through Oct. 14. Tickets are available at TicketOmaha.com or through the Omaha Community Playhouse box office by calling (402) 553-0800 or visiting 6915 Cass Street, Omaha, NE 68132. For more information, please visit www.omahaplayhouse.com.

SPECIAL EVENTS
Opening Night Celebration
The Omaha Community Playhouse will hold a special opening night celebration for Shrek The Musical on Friday, Sept. 14 at 6:30 p.m. for guests attending the opening night performance. The celebration will feature cookies, “swamp juice” and Shrek-themed activities that promote self-esteem and celebrate individuality.
As part of the “Let Your Freak Flag Fly!” activity, guests will design and decorate their own “freak flags” with words and images that represent their unique qualities that make them individuals. These flags will later become part of the performance, as guests are invited to proudly wave their designs while singing along to the song “Freak Flag” in the second act.

Guests will also be invited to contribute to the “This Is Our Story” wall—named after a song in Shrek The Musical that embraces individuality as a necessary path to social unity. Guests will write down a quality that makes them unique and special and display it on the “This Is Our Story” wall in the Owen Lobby.

Ogre Parties with Special Appearances by Shrek The Musical Characters
The Omaha Community Playhouse will host four special engagement Ogre Parties on Sept. 16, Sept. 23, Sept. 30 and Oct. 7 prior to the Sunday matinee performances of Shrek The Musical. Ogre parties will be limited to 30 guests, and will include appearances by characters from Shrek The Musical, an ogre-themed snack bar, “swamp juice” and fun, child-friendly activities including jelly bean roulette and “pin the tail on the donkey.”
As part of the “Let Your Freak Flag Fly!” activity, Ogre Party guests will design and decorate their own “freak flags” with words and images that represent their unique qualities that make them individuals. These flags will later become part of the performance, as guests are invited to proudly wave their designs while singing along to the song “Freak Flag” in the second act.

Ogre Parties will run from 12:45 p.m. to 1:45 p.m. and will be held in the Guiou Boardroom on the second floor of the Omaha Community Playhouse. Tickets for the Ogre Parties are $15 per person and may be purchased through the Omaha Community Playhouse box office. Availability is limited, and only 30 tickets will be issued to each Ogre Party. Tickets to Ogre Parties are separate from tickets to performances of Shrek The Musical, and each must be purchased individually.

Production: Shrek The Musical
Based on the 2001 DreamWorks Animation film
Production Dates: Sept. 14 through Oct. 14, 2018
Hawks Mainstage Theatre
Show Times: 7:30 p.m. Wednesdays through Saturdays; 2:00 p.m. Sundays
Tickets: Tickets starting at $42; Prices may vary by performance
Tickets available for purchase at the Omaha Community Playhouse box office, 6915 Cass Street, Omaha, NE 68132, by phone at (402) 553-0800, or online at ticketomaha.com.

Location:  Omaha Community Playhouse (6915 Cass St, Omaha, NE)

Music By: Jeanine Tesori
Book and Lyrics: David Lindsay-Abaire

Director:  Kimberly Faith Hickman

Cast

Steve Krambeck – Shrek
Mackenzie Dehmer – Fiona
Jordan Smith – Donkey
J. Isaiah Smith – Lord Farquaad
Justin Dehmer – Pinnochio
Kerri Forrester – Dragon / Happy Person / Duloc Performer / Dragon / Mouse
Erin Florea – Gingy / Sugar Plum Fairy / Happy Person / Duloc Performer / Mouse / Rat

Valerie Braun – Queen Lillian / Duloc Performer / Rat / Robin Hood
Stella Clark-Kaczmarek – Happy Person / Duloc Performer / Ugly Duckling
Judson Cloudt – Happy Person / Duloc Performer / Baby Bear
Jared Dominguez – Happy Person / Guard / Thelonius / Knight / Rat / Bishop
Samantha Gillotte – Happy Person / White Rabbit / Duloc Performer / Rat
Cody Girouex – Happy Person / Mad Hatter / Duloc Performer / Knight / Rat
Andrew Hedin – Little Shrek / Duloc Performer / Cow / Elf
Olivia Howard – Happy Person / Wicked Witch / Duloc Performer / Rat
Ejanae Hume – Happy Person / Duloc Performer / Mouse / Rat
Emma Johnson – Happy Person / Teen Fiona / Rat / Choir / Jiminy Cricket
Francesca Kerkhofs – Happy Person / Duloc Performer / Rat / Choir / Tinkerbell
Sheldon Ledbetter – Happy Person / Rat / Guard / Knight / Dwarf / Lion
Austin Lempke – Happy Person / Peter Pan / Duloc Performer / Knight / Rat
Brodhi McClymont – Happy Person / Duloc Performer / Dish / Choir
Emily Mockrycki – Happy Person / Humpty Dumpty / Duloc Performer / Rat / Surprise Princess
Joseph Mokrycki – King Harold / 3 Pig / Guard / Knight / Pied Piper
Brian Priesman – Papa Ogre / Papa Bear / Guard / Knight / Rat
Tessa Priesman – Happy Person / Duloc Performer / Spoon / Flower Girl
Belle Rangel – Happy Person / Fairy Godmother / Duloc Performer / Rat
Boston Reid – Happy Person / 3 Pig / Duloc Performer / Knight / Rat
Danielle Smith – Mama Ogre / Mama Bear / Duloc Performer / Rat
Maddie Smith – Happy Person / Little Fiona / Velveteen Rabbit (Bunny) / Choir
Matthew Tolliver – Happy Person / Big Bad Wolf / Duloc Performer / Knight / Rat
Scott Van Den Top – Happy Person / 3 Pig / Guard / Knight / Rat
Bella Washington – Happy Person / Tweedle Dee / Duloc Performer / Choir
Cleo Washington – Happy Person / Little Red Riding Hood / Duloc Performer / Choir
Rylie Washington – Happy Person / Tweedle Dum / Duloc Performer / Choir

A Life Captioned

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The Three Faces of Alison (From left to right: Analisa Peyton, Sasha Denenberg, and Angie Heim)

Alison Bechdel is a lesbian cartoonist drawing her life story.  As she draws, she struggles to remember something about her father.  And in her struggle she revisits her relationship with her dad through the course of her life and through the lenses of her adult eyes.  Join her on this journey through the halls of memories at the Omaha Community Playhouse in Fun Home with book and lyrics by Lisa Kron and music by Jeanine Tesori based on Bechdel’s autobiographical graphic novel.

I salute Ms Bechdel for opening herself to the world with this deeply personal tale.  In conjunction with Kron and Tesori, these three women have managed to create something beautifully original and eminently poignant.  The story does not follow an ordinary narrative track as it weaves back and forth between the present and the past, yet it is remarkably cogent and Ms Tesori’s music makes it blossom with magic.  This story is a true slice of life that is warm and witty and also raw and heartbreaking.

Roxanne Wach brings some true directorial splendor to this piece.  It’s the most unique piece of staging I’ve ever seen in a production and also some of the best as it is so precisely suited to the story.  Characters flit on and off the stage like living thought balloons as Adult Alison keeps a measured distance away from them as they are only her memories.  Her guiding of the piece is magnificent as each of her actors give their all and immerse themselves in their characters, drawing the audience deeper into Alison’s world.

Potent performances come from Julia Ervin who plays Alison’s first love and Jennifer Gilg who plays Alison’s mother, Helen.  Ms Gilg does an extraordinary job playing a woman who seems distant from her family, but is actually broken from carrying the burden of her husband’s secret.  Ms Gilg is especially impressive when she reveals all to Alison in “Days”.  Josh Peyton does admirable work playing the entire male ensemble altering his voice, attitude, and posture to suit each character.  He also has a nice, light tenor voice which shines brightly in “Raincoat of Love”.  Ryan Laughlin and Tyson Bentley provide vital energy as two of the Bechdel children and, along with Sasha Denenberg, brought the house down in the night’s best number “Come to the Fun Home”.

Michael Trutna excels in the role of Bruce, Alison’s father.  Trutna astutely shows the difficulty of being a closeted gay man in the 60s and 70s.  His inability to come to grips with his orientation causes him to adopt some dangerous sexual practices.  Indeed, his lack of control in this aspect of his life compels him to exercise extreme control over other aspects.  His family must always look perfect.  He personally restores his home to meet exacting specifications.  He’s willing to talk about anything and everything as long as it deflects from himself showing how sad and alone he truly is.

Trutna also has a wonderful tenor voice and uses it to fullest effect in “Edges of the World” where he finally takes a hard and honest look at himself.

In the case of Sasha Denenberg, big things really do come in small packages.  The theatre barely contained this little dynamo’s talent and energy and she gives a remarkable performance as Small Alison.  She is ever so much the imaginative child who wants to play airplane with her dad and draw cartoons.  And yet she shows wisdom beyond her years as she knows she’s different from other girls with her desire to wear pants and shirts, let her hair be wild, and her fascination with women shown when she humorously belts out “Ring of Keys” when she sees “a classic butch” for the first time.

Analisa Peyton creates a delightful coming of age character with Medium Alison.  Ms Peyton wonderfully essays Alison as she makes that awkward transition from childhood to adulthood as she enters college.  Along with the struggles of making the grade and making new friends, she believably wrestles with her burgeoning sexuality until she happily comes to terms with it in “Changing My Major”.  Then she just as easily plays the nervousness of sharing this truth with her parents as well as the shock of learning the truth about her father.

Through all of this looms the presence of Adult Alison as played by Angie Heim.  Ms Heim is spellbinding as she narrates the tale, makes wry and honest observations about herself and her family, or simply stays in the background reacting to her memories.  Ms Heim does a sensational job building to Alison’s epiphany about her relationship with her dad and the peace and sorrow that epiphany brings her.  Ms Heim also has a wide vocal range as she seems to be a natural alto who easily jumps to soprano when the need arises.  Her magnificent voice gets the night’s most thought provoking number, “Telephone Wire”.

Jim Othuse has crafted a small, but simple set of the Fun Home’s music room that evokes a real sense of elegance and is further enhanced by Darin Kuehler’s props of piano and antiques.  Othuse’s lights are also very emotional.  They change with the feelings of the characters from happy pink to melancholic blue to depressed black.  Amanda Fehlner’s costumes not only capture the appearance of the real Alison Bechdel with Adult Alison’s glasses, shirt, and pants, but also the clothes of yesteryear with the late sixties style clothing of the Bechdel family and the 70s style outfits of “Raincoat of Love”.  Courtney Stein provides some clever choreography especially with “Come to the Fun Home”, a song and dance routine so fun and funny that I may come back again just to watch it.  John Gibilisco and Tim Burkhart team up to craft some subtle sounds to drive the tale, especially the sound of night traffic in New York City.  Jennifer Novak Haar and her orchestra bring their A game to the score adding crucial zip and pizzazz.

The Playhouse has kicked their latest season off with a red hot production and it is well worth your while to see it.  You’ll laugh.  You might cry.  But you won’t have a bad time.  Come to the Fun Home.

Fun Home plays at the Omaha Community Playhouse through Sept 16.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm.  Tickets range from $24-$50 and can be obtained by calling the box office at 402-553-0800 or visiting www.omahaplayhouse.com or www.ticketomaha.com.  This show contains strong language and mature themes and is not recommended for children.  The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.