Rejuvenation

It’s been a long time since I’ve pumped out one of these.  But the pandemic ground my auditioning to a standstill so I haven’t had material with which to work.  But I did have one doozy of a tale at the height of the pandemic.  A story of rejuvenation.

This year marks an anniversary for me.  Mid-July will mark the twentieth anniversary of my audition for The Elephant Man.  For those of you unfamiliar with that saga, click here.

At the end of that tale, I had mentioned my belief that God used the play to pull me out of the depression from which I’d been suffering.  Little did I know He’d use it again to galvanize me.

One of the last theatre tales I wrote was to address the question of when would I be on stage again.  I answered honestly, but I had real time to further analyze that question during the pandemic with the sudden plethora of time I had on my hands.

When I did Leaving Iowa, I finally believed fully in my acting prowess.  Even better, I was now able to audition with a greater sense of freedom since I could enjoy being in the moment instead of worrying about whether or not I’d get cast.

Though I was now enjoying the freedom of the audition, the reality was that my fortunes didn’t change all that much.  Granted, I was auditioning much less, but I was back to giving great auditions, but unable to land parts.  In fact, I’ve only performed twice in the last 9 years and the gap separating those two performances was 5 ½ years. 

I no longer doubted my ability to act, but I did start to doubt my ability to get cast.  An x factor over which no performer has control.

I was starting to wonder, in my heart of hearts, whether or not my storytelling days were done and if my future involvement would solely be dedicated to writing.  I didn’t have any sadness as I could look back on my body of work with a sense of satisfaction, but I did have a sense of melancholy as I felt I had sped through the five stages of acting.

1.  Who’s Chris Elston?
2.  Get me Chris Elston.
3.  Get me a young Chris Elston.
4.  Get me a Chris Elston type.
5.  Who’s Chris Elston?

In my case, I felt I had skipped steps two and three.  And, yet, I also couldn’t say people were asking “Who’s Chris Elston?”  The Corner made me an ever present name in theatre.  It’s just that I was now far better known for my writing than I ever was for my acting.

But in recent times I began to hear that question more and more.  “When are we going to see you on stage again?”

One night I was pondering that question when I was suddenly struck by a powerful desire to break out my copy of The Elephant Man which I hadn’t looked at since the night of the audition back in 2002.

I scooted my coffee table out of the way.  Then, purely for my own enjoyment, I began acting out scenes from the play.  When I finished, I sank into my couch with a deep sense of satisfaction.

My time as a storyteller was not quite finished yet.  Maybe it was just getting started or restarted as the case may be.

This feeling has only continued to grow as theatre has begun to regain some sense of normalcy.  I can feel my creativity surging through my veins again.  I genuinely want to be back on stage again.

So I don’t know when I’m going to be back on stage again, but I firmly believe it will be soon because I know this much.

I am ready.

Shooting Star

Alice Murphy is the tough as nails, hard nosed editor of a literary magazine who takes an aspiring writer, Billy Cane, under her wing.  But. . .if you only knew her story.  And know it you shall once you watch Bright Star which is currently playing at the Omaha Community Playhouse.

This show has had quite the odyssey.  It was just getting ready to open at the Playhouse in March 2020 before things took a turn.  Finally, it was set to open in January 2022 when the pandemic again caused a delay due to a new surge in infections.  But, at long last, it has opened and, believe me, it was well worth the wait.  It may be getting a shortened run, but this show deserves to be seen whether you come in person or stream it.

I don’t know what it is about bluegrass musicals, but they really get a hold on me.  The scores tend to be fun and emotional and the storytelling seems to be of an unusually high quality and this show is no exception.

While this show is co-written by famed comedian Steve Martin, don’t expect the slapstick comedy that made him famous.  Martin and his writing partner, Edie Brickell, churned out a very sophisticated, mature piece of entertainment that will have you laughing, cheering, crying, and maybe even your blood boiling at certain points.  In the hands of this talented cast and crew, your appetite for satisfying entertainment will be thoroughly satiated.

If there was any good that came out of such a long delay for the show, it is that it allowed Roxanne Wach the opportunity to make certain she had everything just right for the production.  Her directing is splendid.  No false note is struck.  Her actors know how to emote and perform through the songs instead of just singing them.  Her guidance of the actors is dead on target.  Every emotional beat is true and every nuance of the story is completely analyzed and excavated.

The ensemble of this show has been one of my favorites to watch.  They created an entire world by always being in the moment.  Nobody ever stood around.  They were always busy with vital pieces of business that just fleshed out the story’s reality so beautifully.  And their harmonies?  Oh, heavenly!

Some truly wonderful supporting performances come from Mike Markey whose bosslike mayor clearly has ice water in his veins with some of his heinous and monstrous actions to keep a grip on his legacy and power; Kevin Olsen provides some terrific humor as a snotty, struggling writer; Analisa Swerczek is sweet as a bookstore owner whose friendship with Billy Cane blossoms into love; Mackenzie Zielke is stellar as a hard drinking party girl with a lustful eye on Billy.

If I’m sure of one thing about Angela Jenson Frey’s portrayal of Alice Murphy is that it will make her a top contender for this season’s Fonda-McGuire prize.  Frey nails the role of Alice in both the present and the past.  In the past, her Alice has a bit of an arrogant air about her as she’s fully aware of her intellect and that she’s built for bigger and better than her little town of Zebulon and she joyously engages in verbal jousting with her paramour, Billy Ray Dobbs.  But she also has a heart of gold.  In the present, she has the toughness needed for an editor and a bit of a shell due to her painful past, but still retains her goodness and decency.

Her angelic alto easily batted all emotional pitches out of the park.  Some of my favorite numbers of hers were the heart tugging “I Can’t Wait”; the tragic “Please, Don’t Take Him”; and “So Familiar/At Long Last” which had me shedding real tears by its end.

Jay Srygley is truly a good man as Jimmy Ray Dobbs.  He loves his father, but disagrees with his pursuit of power.  He is kind and honorable and his love for Alice is palpable.  And, man alive, has Srygley got a youthful tenor.  He also wields it well, whether it’s the toe tapping “Whoa, Mama”; pointedly arguing with his father in “Firmer Hand/Do Right”; or sadly pining for what might have been in “I Had a Vision”.

Matt Karasek is spot on as Billy Cane.  Karasek has the drive of youth with Billy’s determination to make it as a writer and the folksy manners and politeness of a well brought up small town country boy.  He also has a fine tenor voice best displayed in “Bright Star” where he dreams about making it big or making you laugh out loud when he drinks for the first time in “Another Round”.

The handling of the score by Jennifer Novak Haar and her band is nothing short of genius.  Not only do they play it perfectly, but they infused some real soul into it.  You won’t just hear the music.  It’s going to reach inside of you and shake your soul.  Jim Othuse has designed a, for him, surprisingly bare bones set.  Bits of furniture and modest backgrounds slide and drop in to change locales from the magazine office to the simple home of the Canes and the occasional outlines of trees for a romp in the woods.  Tim Burkhart & John Gibilisco supply subtle sounds that enhance the story while Julian Adair adds some wonderful choreography.  Her dancers are always in step and on beat and two of the best numbers are the hoedown in “Whoa, Mama” and the rambunctious moves in “Another Round”.  Lindsay Pape’s costumes always suit the characters and the times from Alice’s sunny yellow dress in her youth to Daddy Cane’s overalls and the three-piece suit indicating the wealth and power of Mayor Dobbs.

The cast seemed to be holding back just a bit, but I think that was due to having waited so long to perform.  After the standing ovation they justly earned, I think the floodgates of their energies have been opened and they are really going to start turning up the heat.

I truly can’t say enough good things about this show.  It’s beautifully acted and splendidly sung and you will lose yourself in it.  Give this cast and crew its due and see it.

Bright Star runs at the Omaha Community Playhouse through Feb 13.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm (bonus show at 6:30pm on Feb 13) both live and streaming.  Tickets start at $25 and can be purchased by calling 402-553-0800, visiting www.omahaplayhouse.com, or at the box office.  The Omaha Community Playhouse is located at 6915 Cass Street in Omaha, NE.

Drive In to ‘Rave On’

Omaha, NE– Ready for a fresh take on an audience favorite?  Billy McGuigan’s Rave On! The Music of Buddy Holly returns to the Omaha Community Playhouse as an exciting new drive-in concert experience.  Rave On! will open Thursday, June 11, in the Playhouse parking lot, which will take on the atmosphere of a ’50s rock’n’roll drive-in.  The event will be unlike anything audiences have experienced at the Playhouse before:  a high-energy, nonstop outdoor concert that features McGuigan and his band performing Buddy Holly’s most popular songs.  The playlist also includes the hits of fellow rockers like Elvis, the Everly Brothers, Jerry Lee Lewis and more.  The show runs without intermission.

Rave On! replaces Tara Vaughan’s She Rocks, which had been scheduled to run June 11-28 in the Playhouse’s Howard Drew Theatre.  She Rocks has been canceled. Rave On! will play on all the same dates.

Billy McGuigan has received national attention and critical acclaim for his dynamic take on Buddy Holly hits.  The family friendly show’s roots trace back to when McGuigan was cast in the title role of the Omaha Community Playhouse musical Buddy! The Buddy Holly Story.  The smash hit led to McGuigan’s creation of his own show featuring Buddy Holly’s music.  Rave On! has broken box office records in theatres across North America. McGuigan is also known for the popular touring shows Yesterday and Today and Rock Twist, which have been performed at the Playhouse for many years.

To ensure audience safety during the COVID-19 pandemic, this will be a cashless event requiring a reservation.  Cars will be parked in a checkerboard pattern for social distancing.  Audience members can choose to bring portable chairs and sit outdoors on the driver’s side of the vehicle they came in, but they may mingle only with those who came in their vehicle.  No concessions will be sold.  No smoking or alcoholic beverages will be permitted.  Bathrooms in the Playhouse main lobby will be available, with COVID sanitation and social-distancing observed.  Early arrival is recommended to allow extra time for parking.  Parking spaces will be assigned as cars arrive.  Please, no lining up to park until 90 minutes before showtime.

Tickets, starting at $35 per person, are on sale now and may be purchased by phone at (402) 553-0800 or online at OmahaPlayhouse.com.