Introducing the Cast of Jasper's 2025 Play Right Series Winning Play - Busted Open by Ryan Stevens

Ryan Stevens - Jasper’s 2025 Play Right Series Winning Playwright & author of Busted Open

As we move toward July 20th and the first meeting of the Jasper Project’s 2025 Play Right Series Community Producers, we’re excited to announce the cast for Ryan Steven’s brand new original play, Busted Open!

Directed by Jane Turner Peterson, the cast of Busted Open includes the following —

Sunset: Ella Riley

Artemis: Kristin Cobb

Amy Bell: Maggie Baker

Jane Richmond: Allison Allgood

Painkiller: Beth DeHart

Rachel “Victory” Vance: Zanna Mills

Phil Kirkland: Clayton King

Trevor Richmond: Josh Kern

We’re still assembling our 2025 roster of Community Producers and we’d love to have you join us!

On select Sunday afternoons this summer you are invited to join with the cast, crew, and fellow Community Producers for an enlightening and entertaining session that pulls back the curtains of theatre development and illuminates how a stageplay goes from page to stage. Your first session will offer you a private viewing of the first step in a play production, the Table Reading – the first time the cast of the winning play will read their parts together.

Subsequent sessions will focus on essential ingredients in the production of a successful staged reading, such as the stage manager’s job; props, lighting, blocking, and sound; unique insights from the director; how the actors prepare for their parts; playwright perceptions from this year and past projects; and an invitation to the dress rehearsal. In addition to your invitation to gather with the cast and crew every Sunday in July, each session will also feature exciting snacks and beverages. And many more surprises each week!

Finally, you’ll take your reserved, best-in-the-house seats to a ticketed staged reading.

But there’s more.

Your name will be included as a Community Producer on programs, posters, press releases, and other promotional materials as well as in the perfect bound book published by Muddy Ford Press and registered with the Library of Congress, and you will take home your own copies as a souvenir of your experience.

What is expected of Community Producers?

We hope you can make it to every exciting Sunday afternoon meeting, but we understand if you have to miss some. Each session will last from 90 – 120 minutes.

The financial commitment for a Community Producer is a minimum of $250 per person, but other sponsorships are also available and appreciated.

Our hope is that you will be so enlightened and inspired by this experience that you will become a diplomat of live theatre, fresh playwrights, and the Jasper Project and encourage your friends and colleagues to participate in live theatre themselves!

Play Right Series 2025 Community Producer Schedule

SUNDAY, JULY 20: Introducing Ryan Stevens and Busted Open
Meet the 2025 Play Right Series Winning Playwright Ryan Stevens and witness the Inaugural Table Reading of Busted Open

SUNDAY, AUGUST 3: The Art of Stagecraft
The cast & crew of Busted Open explain the process of preparing for a role and tricks of the trade to demystify some of the magic of the theatrical arts   

SUNDAY, AUGUST 17: The Playwright's Craft
Learn about the processes of 4 award-winning playwrights including Ryan Stevens, Chad Henderson, Lonetta Thompson, and Colby Quick with your host Jon Tuttle, author of South Carolina Onstage, The Trustus Collection, and more

SUNDAY, AUGUST  31:  Sneak Peek Week!
Be a fly on the proverbial stage wall among an intimate group of guests to watch a working rehearsal of Busted Open – see how far the cast has come since the first ever Table Reading just six weeks earlier

SUNDAY: SEPT 14: The Big Event – Staged Reading of Busted Open
Take your reserved seat for the Premiere Stage Reading of Busted Open by Ryan Stevens at Columbia Music Festival Association and enjoy a post-show champagne toast to the cast, crew, and creator of Busted Open!

Purpose of the Play Right Series

Empower and enlighten audiences by allowing them insider views of the steps and processes of creating theatre art by

• Offering limited open table and stage readings of theatrical works as well as rehearsals of theatrical works to community members

• Offering Community Producer opportunities to the community members by keeping production costs low and involving community assets already in place. In exchange for an established minimal financial contribution, Community Producers are invited to attend designated open readings and rehearsals, informal presentations by cast and crew, and opening night performances with producer credits. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts.

Increase opportunities for theatre artists to create and participate in new art without the necessity of being attached to an existing theatre organization by

• Offering a space and arts engineering for playwrights to workshop their plays and one-off theatre arts experiences and potentially have them produced

• Putting out calls for new works of theatre art from new and existing playwrights, as well as work opportunities for on-stage and backstage theatre artists.

Provide more affordable and experimental theatre arts experiences for new and emerging theatre artists and their audiences; thereby expanding cultural literacy and theatre arts appreciation in the

REVIEW: Elton John and Tim Rice's Aida at Trustus Theatre

by Cindi Boiter

Before attending Friday night’s production of Elton John and Tim Rice’s Aida at Trustus Theatre, I stopped by Ron Hagel’s new Gemini Studio complex to do my part in celebrating the work this talented collection of visual artists has created. I met an artist there who had already seen the show and they shared that it was so good that the audience had given an actual standing ovation after the end of the first act! I automatically assumed this was probably the result of a group of friends or family attending the musical and enthusiastically supporting their favorite cast member. Then I saw the show for myself and found myself on my feet, too, after the first act’s dramatic closing song, The Gods Love Nubia. That said, there were many times during this performance when I was tempted to stand at my seat, clap, cheer, whoop, and maybe even dance. The performance deserved this kind of enthusiastic response, and more.

The musical Aida, written by Elton John and Tim Rice, premiered on Broadway in March of 2000 and ran through September 2004, winning four of the five Tonys for which it was nominated. Based on Verdi’s opera of the same name, Aida is set in Egypt and tells the story of the Nubian princess, Aida, held captive by a sympathetic Egyptian general named Radames. Though their beloved nations are at war, Aida and Radames fall in love, even though Radames is engaged to marry the Egyptian princess, Amneris, a political move encouraged by his father, Zoser. The reconciliation of this love triangle is a story of love, devotion, social and familial expectations, and the challenge we all face to live an  authentic life and be true to one’s own sense of right and wrong. It is as beautiful as it is tragic.

It is difficult to determine where the magic of the Trustus production of Aida came from. Director Jessica Fichter placed it squarely on the performance of the players, while Patrick Dodds, in a lead role as Radames, named Fichter as the catalyst. Both are right.

The magic became evident early in the performance when Amneris, played by rising USC senior Rachel Vanek, gave us the song Every Story is a Love Story, followed by Radames’ stunning Fortune Favors the Brave sung by Dodds, and the equally stunning opening number from Aida, played  by Rayanna Briggs, The Past is Another Land. For this reviewer, the magic was in the music and how well the truly challenging numbers were executed. Vanek, Briggs, and so many other cast members were refreshingly new to me, but I’ve watched Dodds on the stage for more than a decade, I’m sure, and I had no idea his vocal talents could rise so successfully to the requirements of this role. Like Vanek and Briggs, Dodds was also able to merge the music with the demonstrative requirements of the role almost effortlessly, each bringing their own grace notes to the parts. Vanek, for example, helped us see how complicated her character was while at times providing comic relief that gave hints of Jennifer Coolidge. Briggs, originally from Columbia though now successfully pursuing opportunities that extend to film and TV, was, simply said, amazing, opening the hearts of the audience and crawling in to live there awhile.

These three lead actors and their unique and highly professional performances were clearly enough to carry the show, had they needed to. But they were not. In the role of the wily Nubian servant Mereb, Samaj Whitener was outstanding vocally, bringing an endearing quality to the role. Trustus veteran Kristin Claiborne in the role of Nubian enslaved woman Nehebka, gives a powerful and beautiful performance. Chris Cockrell, as Radames’  scheming father Zoser, similarly delivers the goods in his solo numbers, bringing elements of rock star to his performance. As Pharoah, Columbia theatre icon Hunter Boyle was stately and authoritative as well as inherently aware of his imminent fate. And as Aida’s father Amonasro, Joseph Scott exhibited powerful dignity in the face of despair.

With first-rate choreography by Terrance Henderson, musical direction by a partnership between Amanda Hines Wrona and Ayush Joshi, and scenic, lighting, and  costume design by Jim Hunter, Marc Hurst, and Rachel Turner, respectively, and a dozen-strong ensemble, the Trustus production of Aida checks all the boxes for a regional theatre block buster and it is not-to-be-missed. Not only immensely entertaining, the story of Aida reminds us that the measure of a person in power is how they use that power. Aida succeeds on all accounts.

Elton John and Tim Rise’s Aida runs through July 26 at Trustus Theatre. Visit Trustus.org for tickets and more information.

Jasper Project Announces Jane Peterson as Director for Our 2025 Play Right Series Winning Play - Busted Open by Ryan Stevens

At the Jasper Project we’re excited to announce that Jane Peterson will be directing our 2025 Play Right Series winning play, Busted Open by Ryan Stevens.

A Greenville native, Peterson studied theatre at the University of SC before working for the National Association of Campus Activities and ultimately serving as Communications Director for Columbia’s beloved Washington Street United Methodist Church. A community theatre veteran, Peterson has served as a Theatre Reviewer for Jasper Online for the past few years. The Director is in the process of casting up to 8 actors for the Ryan Stevens play now.

Jasper’s Play Right Series is a collaboration between area theatre artists and Jasper Community Producers—or theater aficionados, supporters and even newcomers. The project culminates with the staged reading of a brand-new South Carolina play. This year’s premiere staged reading of Busted Open will be performed for the public on Sunday September 14th at the Black Box Theatre at Columbia Music Festival Association.

Jasper Community Producers are audience members invested in the development process for new theatre and supportive of the state’s literary talent. In exchange for a modest financial contribution Jasper Community Producers are offered insider views of the steps and processes inherent in creating theatrical art by attending readings and rehearsals, and informative talks and presentations including conversations with the actors, director, playwright, stage manager, costumer, and sound and lighting designer. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts. If you have a passion for knowing more, understanding process, inspiration, and impetus, and seeing how a virgin play goes from page to stage, you are a good candidate for becoming a Jasper Project Play Right Series Community Producer.

Jasper Project Play Right Series Winning SC Plays To Date

2025 - Busted Open by Ryan Stevens

2024 - Letting It Grow by Chad Henderson

2023 - Therapy by Lonetta Thompson

2022 - Moon Swallower by Colby Quick

2017 - Sharks and Other Lovers by Randall David Cook

Introducing the Jasper Project's 2025 Play Right Series Winning Playwright – Ryan Stevens

It’s the 5th season for Jasper’s innovative project, the Play Right Series and we couldn’t be happier to announce that Ryan Stevens is our 2025 winner.

A native of Greenville and a 2020 graduate of USC with an MFA in Playwrighting, Stevens received his MA in Theatre in 2017 and BA in English in 2015, also from USC. Currently a Playwriting Fellow at Emery University, Stevens will commute from Atlanta during the upcoming summer to workshop his play, Busted Open, alongside a group of Midlands-area Community Producers, a process  that will ultimately lead the play to the staged reading phase of development. In addition to this performance at summer’s end, Jasper will also publish his manuscript and register it with the US Library of Congress.

The purpose of Jasper’s Play Right Series is threefold: to empower and enlighten audiences by offering insider views of the process of creating theatre art via the roles of Community Producers; to increase opportunities for theatre artists to create and participate in new art without being attached to a theatre organization; and, to provide more affordable and experimental theatrical experiences for emerging theatre artists and their audiences.

This year’s Community Producers will witness the first ever table reading of Stevens’ new play, Busted Open, as well as attend a private rehearsal and informal presentations by the playwright, director, cast and crew, and ultimately be celebrated for their financial and personal contributions (minimum investment $250) to the project at the staged reading premiere of Busted Open in late summer.

Previous Community Producers, several of whom have re-invested year after year, have included community members like Bill Schmidt, Ed Madden, Linda Khoury, Paul Leo, and James and Kirkland Smith. Additional financial support has also been generously provided by folks like Jack McKenzie, Hunter Boyle, Robin Gottlieb, and many more.

Judges for this year’s competition were Linda Khoury, executive director of the SC Shakespeare Co.; Stan Brown, professor of acting at Northwestern University and professional actor who recently enjoyed his Broadway debut in Water for Elephants; and, Jayce Tromsness, a longtime multifaceted SC theatre artist.

~~~~~

Play Right Series 2025 Community Producer Schedule

SUNDAY, JULY 20: Introducing Ryan Stevens and Busted Open

Meet the 2025 Play Right Series Winning Playwright Ryan Stevens and witness the Inaugural Table Reading of Busted Open

~

SUNDAY, AUGUST 3: The Art of Stagecraft

The cast & crew of Busted Open explain the process of preparing for a role and tricks of the trade to demystify some of the magic of the theatrical arts   

~

SUNDAY, AUGUST 17: The Playwright's Craft

Learn about the processes of 4 award-winning playwrights including Ryan Stevens, Chad Henderson, Lonetta Thompson, and Colby Quick with your host Jon Tuttle, author of South Carolina Onstage, The Trustus Collection, and more

~

SUNDAY, AUGUST  31:  Sneak Peek Week!

Be a fly on the proverbial stage wall among an intimate group of guests to watch a working rehearsal of Busted Open – see how far the cast has come since the first ever Table Reading just six weeks earlier

~

SUNDAY: SEPT 14: The Big Event – Staged Reading of Busted Open

Take your reserved seat for the Premiere Stage Reading of Busted Open by Ryan Stevens at Columbia Music Festival Association and enjoy a post-show champagne toast to the cast, crew, and creator of Busted Open!

For more information  about the 2025 Play Right Series schedule and Community Producer opportunities please visit the Projects section of our website JasperProject.org.

REVIEW: Workshop Theatre’s Legally Blonde is a High-Energy, Heartwarming Hit

By Jane Peterson

Omigod, you guys—Legally Blonde has landed at Workshop Theatre, and it’s every bit as pink, peppy, and powerful as you'd hope! With performances continuing over the next two weekends, this high-energy musical comedy is an absolute must-see for Midlands theatergoers.

Based on the novel by Amanda Brown and the 2001 Reese Witherspoon film, the stage version features catchy, clever tunes by Laurence O’Keefe and Nell Benjamin, paired with a witty script by Heather Hach that stays true to the film’s spirit. Under the sharp direction of Sheldon Paschal, this production is a charming whirlwind of laughter, girl power, and unexpected triumph.

Leading the charge is Camryn Cothran as Elle Woods, whose effervescent energy and powerhouse vocals make her a standout from the moment she steps on stage. She captures Elle’s transformation from an underestimated sorority queen to a confident legal eagle with heart and humor. And she’s not alone—the Delta Nu trio of Serena (Inaara Jadavji), Pilar (Kaeleigh Miller), and Margo (Raven Smith) are an absolute delight, adding sass and sparkle to every scene.

Other notable performances include Jessica Roth’s lovable Paulette, Bella Coletti’s poised Vivienne, Taylor Dively’s charming Emmett Forrest, and the hard-core professor played by Josh Dively. Brooke Blythe’s performance as the accused murderer, Brooke was another that stood out. Her vocals and breath control on “Whipped Into Shape,” was absolutely incredible. Each member of the ensemble brings depth and individuality to their roles, creating a vibrant, cohesive, and funny ensemble.

Paschal’s direction makes excellent use of Patrick Faulds’ dynamic multi-level set, with seamless transitions and clever staging that keep the momentum lively. Stephanie Wilkins’ choreography is terrific—especially the jump rope-intensive “Whipped Into Shape.” The dancing was expertly choreographed. No small matter with the large cast who were nearly flawless in their precision. Andie Nicks’ costume design adds a final layer of fun, with vibrant and era-appropriate looks for the entire cast. The musical direction by Kathy Seppamaki brilliantly blended the voices of this talented cast.

While the sound mix occasionally favored the recording over the vocals—a common hiccup in some older venues—it didn’t diminish the cast’s stellar vocal performances or the production’s overall charm. If anything, it is a reminder of how vital it is to continue supporting local theaters and the hard-working artists who bring these stories to life.

In all, Workshop Theatre’s Legally Blonde is a feel-good, high-energy celebration of resilience, friendship, and self-belief. It’s exactly the kind of uplifting experience that reminds us why community theater matters.

Catch the show May 15–17 and May 22–24 at 8:00 p.m., with a matinee on May 18 at 3:00 p.m. Tickets are available at workshoptheatreofsc.com. Don’t miss your chance to bend and snap your way to a fabulous night at the theater.

REVIEW: Hairspray at Workshop Theatre – A High-Energy, Heartfelt Hit!

By Jane Peterson

If you’re looking for a night of infectious energy, dazzling performances, and toe-tapping tunes, look no further than Workshop Theatre’s production of Hairspray! Under the direction of Julian DeLeon, with musical direction by Taylor Diveley, this production brings all the fun, heart, and powerful messages of the beloved musical to life.

With music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, Hairspray transports audiences to 1962 Baltimore, where Tracy Turnblad dreams of dancing on the local Corny Collins Show. Along the way, she fights for inclusion and racial equality—an ever-relevant message wrapped in a colorful, high-energy package.

From the moment the curtain rises, the cast delivers. Abby Brewer shines as Tracy, perfectly embodying the character’s charm, confidence, and powerhouse vocals. She captures Tracy’s optimism and determination, making her a protagonist you can’t help but root for. Charlie Grant brings classic heartthrob appeal as Link Larkin, effortlessly balancing Link’s internal struggle between fame and doing what’s right. Erin Niland is a scene-stealer as Amber Von Tussle, the spoiled and scheming rival who brings just the right mix of comedic villainy and show-stopping vocals.

Tracy’s delightfully awkward best friend, Isabella DeCola (Penny Pingleton), delivers an endearing and hilarious performance. Opposite her, Adai’shaun Cook (Seaweed J. Stubs), a newcomer to Workshop, is a standout, exuding cool confidence and bringing smooth dance moves that light up the stage.

The adult cast is equally phenomenal. Davis Herndon (Edna Turnblad) gives a warm, hilarious, and heartfelt performance, bringing both humor and humanity to Tracy’s devoted mother. Her chemistry with Chris Kruzner (Wilbur Turnblad) is a highlight, especially in their charming duet, You’re Timeless to Me. Jessica Roth (Velma Von Tussle) is delightfully devious as the controlling, bigoted producer of The Corny Collins Show, while Christy Shealy Mills (Prudy Pingleton) plays Penny’s overbearing mother with just the right amount of exaggerated sternness, but whose turnaround near the end is hysterical.

And then there’s Mia Oliver, a newcomer to the stage in Columbia, whose portrayal of Motormouth Maybelle is nothing short of extraordinary. Her soul-stirring rendition of I Know Where I’ve Been was an unforgettable, goosebump-inducing moment that left the audience in awe. Her presence on stage is magnetic, and her vocals are nothing short of breathtaking. Definitely some Gospel experience here!

The ensemble deserves immense praise for their energy, vocal strength, and commitment to their roles. Each performer brings a unique personality to the stage, ensuring that every scene feels vibrant and alive. Joy Alexander’s choreography is dynamic, especially with such a large cast.

Visually, the show is a treat. The set, though minimal, works seamlessly for this production, with smooth transitions that keep the pacing tight. The costumes are spot-on, capturing the vibrant spirit of the early ‘60s with bold colors and fun silhouettes.

Running through March 22 at Cottingham Theatre, Hairspray is a must-see for theatre lovers of all ages. Tickets are available at workshoptheatreofsc.com or by calling (803) 799-6551. Don’t miss your chance to experience this lively, heartfelt production!

News from WOW -- WOWStudioOne!

WOW Productions is back and they are now WOWStudioOne.

The wait is over! The story that captured your heart (Confessions of a Good Man) is back with more drama, revelations, and life-changing moments!

Confessions of a Good Man 3: The Ultimatum is debuting THIS SATURDAY and SUNDAY, and trust us, you don’t want to miss it! Come enjoy a brand new show at a brand new venue!

 What to Expect:

• Powerful performances that will make you laugh, cry, and cheer.

• A gripping storyline packed with twists and turns.

• A message that inspires and ignites the soul.

 Showtimes:

 Saturday: March 8th at 7:00 pm

 Sunday: March 9th at 3:00 pm

 Venue: Richland 2 Performing Arts Center | 763 Fashion Drive | Columbia, SC 29229 (A stunning, new, 1200-seat venue located in Sandhills next to R2i2)

Get your tickets NOW before they’re gone!

www.WOWStudioOne.com

Join us for the VIP EXPERIENCE including an exclusive black-carpet experience, a pre-show reception with exquisite hors d’oeuvres, a meet-and-greet with the cast, prime seating, and more.

Seats are limited, and the buzz is real! Gather your family and friends, and join us for a night of unforgettable storytelling.

REVIEW: Ain't Misbehavin' at Trustus Theatre

by Cindi Boiter

When the world is angry and disappointing, our nerves are frayed and our hearts are bruised, we turn to the arts to soothe and remind us of the things that matter most. High among those things we hold dear is the ability to lose oneself in joy. Luckily for Columbia theatre audiences, we have the opportunity to come together to laugh, pat our feet to the rhythm of the band, and experience the shared heart-flight of song when a vocalist takes us with them up and down the scales of music and emotion. We can do this by attending one of the performances of Ain’t Misbehavin’: The Fats Waller Musical Show which takes the stage at Trustus Theatre through March 22nd.

Directed by Terrance Henderson, this production of Ain’t Misbehavin’ features musical theatre veterans Katrina Garvin and Samuel McWhite, arguably two of the most talented and entertaining vocalists in the SC Midlands. Audiences have come to expect mighty performances and a heightened level of professionalism from both of these performing artists and, on the opening night of this run, we got what we came for.  John Ballard and Ara-Viktoria McKinney-Bookman both brought their A-games to opening night with vocals that ranged from soothing to soaring.

But the stand-out for this reviewer, and several other folks I spoke with in the audience, was Mel Driggers in the role originated by Charlaine Woodard. Having seen Driggers in several previous productions, Dandelion, Sweeny Todd, The Rocky Horror Show, and more, we knew that they brought their own uniquely cultivated style to a project, but opening night was the first time this reviewer has witnessed the level of comic acumen Driggers is capable of. As the Gilligan/Scooby Doo of the quintet, Driggers exhibited the kind of comfort with a comedic role that a lot of actors at the local level can’t quite pull off. That’s why, having clowned her way through an early song in the performance with missed notes and big-fun silliness, Driggers drew big-fun applause when they effortlessly hit the right notes, and hit them well, later in the performance.

Rather than being your typical musical theatre performance that adheres to a narrative punctuated by song, Ain’t Misbehavin’ is a musical revue written by Murray Horwitz and Richard Maltby, Jr, with arrangements by Luther Henderson. It opened at the Manhattan Theatre Club in 1978 with a stellar cast that included Nell Carter, Irene Cara, Andre DeShields, Armelia McQueen, and Ken Page. Playing these parts in the Trustus production are Garvin, Driggers, McWhite, McKinney-Bookman, and Ballard, respectively. Charlayne Woodard took over Cara’s part (Driggers) when the show moved to Broadway in 1982. While the playbill for the Trustus performance unfortunately does not provide a list of musical numbers and their performers, expect to hear all your Fats Waller favorites including, “I’m Going to Sit Right Down and Write Myself a Letter,” “Your Feet’ Too Big,” and “The Joint is Jumping,” among others. But don’t take your eyes off the actors who seem to be chilling at the set’s bar or comfy couch pit on the sides of the stage. Many times that is where the funny lives and, while one song is being sung, the cast is setting up the next song on the docket with clever direction and pantomime.

For this production director Henderson opted to make the six-member band a part of the show with the musicians positioned center back of the stage. Music director and pianist is Ayush Joshi, James Wolfe plays trombone, Nigel Ouzts is on trumpet, Ben Eidson on Woodwinds, Kris Phelps on drums, and Andres McNeil plays upright bass. Their presence on the stage exponentially adds to the performance and the little bit of interaction between band members and vocalists that we saw on opening night makes me hope that, with successive performances, the musicians will relax and become even more involved with the cast–because it really works when they are! Choral expert and recent Frank-N-Furter star in the Rocky Horror Show, also at Trustus, Walter Graham served as off-stage music director.

Other behind-the-scenes teammates include Trinessa Dubas as stage manager, scenic designer Corey Langley, whose life-sized characters from previous shows placed in the background of the set provided for some interesting detail, Garreth Hayward on lights with Matt Pound and Walter Kervin on sound, G. Scott Wild on props, and the multi-talented Mel Driggers on costumes. From the audience’s perspective, all these parts of the puzzle came together without a hitch.

There is little to critique about this show. One small detail that I’m sure will improve throughout the run is that, when McKinney-Bookman laughs or smiles, her face lights up and she pulls the audience helplessly into her part of the performance. It would be great to see even more consistent engagement with the audience and fellow cast members from this truly excellent vocalist.

There were too many stand-out songs to name them all, but I’ll mention that Ballard’s rendition of “The Viper’s Drag,” with Ballard fully engaging with the double entendre of the song, was a favorite of this reviewer and many other audience members—especially on a cold Friday night in 2025 when lighting “that tea” and letting “it be” sounds like a pretty good idea.

Certainly, the most moving song of the night had all cast members seated center stage to sing the Waller classic, “Black and Blue,” reminding us for a moment that the world is wrong in so many ways, but sometimes, for a few moments at least, the best thing to do is to sing about it. This performance of the well-known song gave this reviewer chills it was so expertly performed.

How will it end? ain't got a friend
My only sin is my skin
What did I do to be so black and blue?

Jasper recommends that you turn off the news, silence your phones, and grab someone you love to take them out for a night of fun and a fine performance from the cast and crew of Ain’t Misbehavin.’ We need this kind of joy now. It reminds us of what we’re here for, what we have to preserve, and that if artists like Fats Waller could see the sun shine through the cloudy culture that he had to deal with to have his music heard, we should celebrate the example he set by laughing, patting our toes to the rhythm of the band, and rejoicing in the songs he left us.

Chapin Theatre Company’s Stilt Girl Representing SC at Southeast Theatre Convention Competition

Chapin Theatre Company recently participated in the South Carolina Theatre Association (SCTA) Community Theatre Competition with a production of Act I of Stilt Girl, an original comedy written by Lou Clyde, CTC’s Playwright in Residence. The result? Stilt Girl was selected to represent South Carolina in the Southeast Theatre Convention (SETC) in Baltimore in March 2025!

The SCTC convention is the nation's most comprehensive theatre where theatre practitioners unite to spark creativity and collaboration. Stilt Girl will be competing with eight other community theatre productions from across the Southeast United States.

Jamie Carr Harrington will be directing Stilt Girl, and the cast includes Debra Kiser, Jane Peterson, Zanna Mills, Josh Kern, and Jacob Cordes.

There will be a send-off dress rehearsal fund raising event on March 19 at 7:30 PM at Chapin Theatre Company. Tickets for the event are $20, and include a beverage (soda, wine, or coffee) and can be purchased at Stilt Girl goes to Baltimore Tickets | Chapin Theatre Company. Limited tickets will be available at the door.

Can’t make in to the March 19th event but want to support Chapin Theatre Company as they travel to Baltimore? Donate here!

REVIEW: Steel Magnolias Shines with Heart and Humor at Town Theatre By Jane Peterson

Steel Magnolias, written by Robert Harling, running Thursday through Sunday, February 13-16, at Town Theatre, is not to be missed. While matinee tickets may be sold out, seats are still available for evening performances, so I highly recommend reserving your tickets now. And as a bonus, this show marks the debut of the theater's new, incredibly comfortable seating, which is sure to enhance your experience.

Based on a true story, playwright Harling based the play on his sister. He grew up in Natchitoches and based the characters on some of his mother's friends. He believed that the women in his community were witty and clever, and that the juxtaposition of strength and fragility was typical of Southern women.

A big shout-out to director Allison McNeeley for her expertly crafted direction of this play, bringing a smooth and authentic portrayal of the story to the stage. The staging worked well keeping the characters alive within the set at all times. This is a cast of real people, and you’ll find yourself loving every one of them.

The play centers around a group of six women who gather at Truvy’s Beauty Salon in a small-town in Louisiana to prepare for the wedding of Shelby Eatenton (Zanna Mills) and her beau, Jackson Latcherie. M’Lynn Eatenton (Debra Kiser), Shelby’s mother, is at the heart of the story. Joining them are Truvy (Syhaya Aviel), who runs the salon, a newly hired assistant named Anelle (Emily Clelland), and longtime friends Clairee Belcher (Gayle Stewart) and Ouiser Boudreaux (Kathy Hartzog). These women share a deep bond of friendship, supporting each other through thick and thin. You will laugh and cry with them as their stories unfold.

The chemistry between the cast members is real. Emily Clelland, as the naive and innocent Annelle, brings humor and charm with her well-timed comedic moments and expressive and sincere performance. Syhaya Aviel shines as Truvy, infusing the character with warmth and authenticity, making her incredibly relatable and endearing. Gayle Stewart nails her portrayal of Clairee, delivering her lines with perfect timing, and Kathy Hartzog’s hilarious Ouiser is a character we all know and love.

But the standout performances for me were Debra Kiser as M’Lynn and Zanna Mills as Shelby. Their on-stage relationship is full of heart—both tender and tense, with every moment feeling true to life. Zanna’s portrayal of Shelby radiates a love for life, while her performance through Shelby’s health decline is heartbreakingly real. Watching Zanna grow as an actress over the past few years has been a pleasure—she’s one to watch. And Debra Kiser? Prepare yourself for an emotional rollercoaster. Her performance is nothing short of breathtaking, especially in the final moments of the play. Trust me, bring tissues—Kiser’s performance will leave you in tears.

The creative team also deserves a round of applause. The set design perfectly captures the essence of a beauty salon, while the period-appropriate props and costumes further immerse the audience in the world of the play.

This production is a beautiful blend of humor, heart, and poignant moments, making for a wonderfully entertaining evening at Town Theatre. Don’t miss it!

Tickets are available by calling Town Theatre at 803-799-2510, Tuesday to Friday, 12 noon to 5 pm, or online at towntheatre.com/tickets/.

REVIEW - Workshop Theatre's HARVEY--A Classic American Comedy by Jane Peterson

At its heart, Harvey is a story about

acceptance, kindness, and the freedom to be yourself …

Harvey, currently running at Workshop Theatre, is a Pulitzer Prize-winning and classic comedy written by Mary Chase. It premiered in 1944 and ran on Broadway for four years. The play was adapted in 1950 into the classic film of the same name starring Jimmy Stewart.

Directed by Bakari Lebby, the story centers around Elwood P. Dowd (Marshall Spann), a gentle, mild-mannered man who claims to have a best friend—a six-foot-tall, invisible rabbit named Harvey whom he introduces to everyone he knows in town. Elwood’s eccentricity is a source of embarrassment for his sister Veta Louise (Katie Mixon), who is desperate to climb the social ladder and fears Elwood’s behavior will hold her back. When Veta’s patience reaches its limit, she attempts to have him committed to a sanitarium, only for the staff to start questioning who’s truly the "crazy" one. This leads to some entertaining, if not a bit absurd, twists and turns as Veta finds herself drawn into the strange world of Elwood’s imagination.

Marshall Spann shines as Elwood, embodying the character’s warmth and innocence with remarkable ease. His performance is the heart of the show, making Elwood’s outlandish belief in Harvey feel both natural and endearing. His interactions with the invisible rabbit are a joy to watch—there's something genuinely magical about how Spann connects with Harvey, even though we (the audience) can't see him.

Katie Mixon brings a lot of energy to her role as Veta, though at times her performance edges into the over-the-top territory. Her dedication to the role and comedic timing earned her plenty of laughs.

… there's something genuinely magical about how Spann connects with Harvey …

A standout in the ensemble is Emily Padgett, who impressively juggles two roles—Ethel Chauvenet, the quirky aunt, and Betty Chumley, the wife of the head psychologist at the sanitarium. Her facial expressions and impeccable timing elevate her performance, proving that sometimes less is more when it comes to comedy.

Some of the other performances, however, felt a bit forced, and there were moments where actors seemed to be going through the motions rather than fully embracing their characters. The characters were very lively and will keep the audience entertained.

Visually, the set was a bit of a mixed bag. While the barebones design worked in some instances, the frequent entrances and exits felt awkward and confusing. A more cohesive use of props and period-specific details could have helped ground the production more firmly in its 1940s setting. I would like to have seen everyone in period-specific costumes which I know can be a difficult task.

The play runs a little over two hours, with two intermissions, so be prepared for a longer evening. Despite its minor flaws, the production offers plenty of charm, humor, and thought-provoking moments. At its heart, Harvey is a story about acceptance, kindness, and the freedom to be yourself—lessons that feel just as relevant today as they did when the play first premiered.

Catch Harvey at Cottingham Theatre before it closes on February 2. It is a fun, quirky escape into a world where imagination and kindness rule the day. Tickets are available by phone and online. Don’t miss your chance to meet Elwood and his invisible friend Harvey!

REVIEW: The Revolutionists at Trustus Side Door Theatre - A Lesson (or Two) in History Reviewed by Jane Peterson

The Revolutionists, written by Lauren Gunderson at Trustus Theatre’s Side Door Theatre is a vibrant blend of humor, intensity, and bold historical imagination. Gunderson is known as one of the most produced playwrights today. Set during the tumultuous Reign of Terror in 1793 France, the play introduces us to four women—three of whom were real historical figures—who grapple with the injustices and struggles of their time. Their conversations, filled with passion, rebellion, and hope for a better world, feel surprisingly relevant given the political unrest in our country today.

The first of these women is Olympe de Gouges (Kathleen Arcovio Pennyway), a French playwright and activist who fought for women’s rights. As de Gouges declares, she is “happy that my plays piss off the right kind of people.” She is approached by Marianne Angelle (Courtney Sims), a fictional character who symbolizes the Haitian rebels and revolutionaries of the time. Angelle persuades de Gouges to write pamphlets supporting the abolition of slavery, particularly in Haiti, where the enslaved are fighting for their freedom. Alongside them is Charlotte Corday (Nicole Perez), the infamous assassin of revolutionary Jean-Paul Marat, who justifies her act of violence by accusing Marat of inciting mass murder. Poised for her execution, Corday seeks de Gouges’ help to craft a memorable last line before killing Marat in his bathtub. Finally, there is the deposed Marie Antoinette (Elane Werren), who wants de Gouges to rewrite her story in a way that will make the people love her again. She desperately seeks “better press” in the wake of her fall from grace.

Written by Laura Gunderson, the play is dialogue-heavy and, at times, could benefit from some tightening. However, the cast delivers the material with such verve and energy that it’s hard to look away. The actors frequently break the fourth wall, drawing the audience into the action, and this direct engagement never feels forced. Kudos to director Martha Hearn for expertly utilizing the intimate space of the Side Door Theatre, ensuring that every audience member feels like part of the action. Hearn's character direction is particularly strong, bringing out the best in each performer. Courtney Sims, as Marianne Angelle, is the standout performer of the evening. Her deeply emotional portrayal brings richness and depth to her character, making her both powerful and poignant. Elane Werren, as Marie Antoinette, follows closely behind, showcasing impressive comedic timing and playful expressions that add much-needed levity to an otherwise heavy narrative. Werren shines in her humorous moments, making Antoinette’s desperation both tragic and entertaining.

Although some of the set changes can be a little clumsy—an ongoing challenge in a small space—the overall design works well and does not distract from the performances. The minimalism of the set complements the play’s focus on character and dialogue. The Revolutionists not only serves as a fascinating history lesson but also acts as a timely meditation on the fight for justice, equality, and freedom. The language can be strong, so if you are sensitive to rough language, you may want to consider that.  I appreciated how the play encouraged me to revisit French history and the revolutionary women who shaped it. The show runs through February 1 at Trustus Theatre. With limited seating, be sure to grab your tickets soon at trustus.org!

CALL for PLAYWRIGHTS -- Jasper Project Opens its Call for Scripts for the Play Right Series 2025

Play Right Series: 2025 Call for Submissions

The Jasper Project announces the 5th cycle of its Play Right Series, a collaboration between area theatre artists and Jasper Community Producers—or theater aficionados, supporters and even newcomers. The project will culminate in summer 2025 with the staged reading of a brand-new South Carolina play. 

Submitting A Play

The play submission window is now open. 

• Playwrights must be natives or residents of South Carolina.

• The winning playwright must be present for development sessions with Community Producers in Columbia during the summer, 2025 (specific dates to be determined later), and must agree to offer program credit to The Jasper Project at any subsequent productions or publications.

• Plays may address any topic, using language appropriate to the subject matter; we are not, however, considering musicals or children’s plays. 

• Submissions must be one-act plays, 45-75 minutes in length, typed according to industry-standard format (see our Sample Format). 

• Please include, as a cover sheet, a one-page bio of the playwright and description of the play, including cast size and any unusual technical demands, bearing in mind that smaller and fewer are usually preferable.

• One submission per playwright, please.

• Please submit your play no later than February 15, 2025  to playrightseries@jasperproject.org

Play Selection

When the submission window closes on February 15, 2025, the Play Right Series committee will read and select a play for development through the spring and summer.  “Development,” in this case, means round-table readings with paid actors and directors and attended by Community Producers and Professional Others, followed in the summer by rehearsals and presentation at Harbison Theatre in early September. 

The process will be facilitated by Jasper Community Producers—audience members invested in the development process and supportive of the state’s literary talent. In exchange for a modest financial contribution Jasper Community Producers will be offered insider views of the steps and processes inherent in creating theatrical art by attending readings and rehearsals, and informative talks and presentations including conversations with the actors, director, playwright, stage manager, costumer, and sound and lighting designer. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts.

Previous winning plays have included:

Sharks and Other Lovers by David Randall Cook

Moon Swallower by Colby Quick

Therapy by Lonetta Thompson

Letting It Grow by Chad Henderson

REVIEW: Antigone at USC's Longstreet Theatre by Libby Campbell

Sophocles’ Antigone, written in the 5th Century BCE  is the final chapter of the Oedipus Trilogy. Our story starts in the city of Thebes. Didem Ruhi’s beautiful lamentation provides the perfect beginning to this tragic tale.

Oedipus’ sons, Polyneices and Eteocles, have killed each other in battle during a civil war fought over succession to Oedipus’ throne. Antigone and Ismene, sisters of the fallen soldiers, reside in the city of Thebes where their uncle, Creon, reigns as king by default. Polyneices attacked the city defended by Eteocles. Creon decrees that Polyneices proved himself a traitor, an enemy of the crown, and vows that Polyneices shall remain unburied, to be devoured by dogs and vultures. He warns the citizens that anyone disobeying his command will be punished.

Antigone mourns the loss of her brother and determines to give Polyneices the burial he deserves. Her sister, Ismene, warns her of  the price she will pay for disobeying the crown. Thereby hangs a tale…

Antigone, portrayed by Elaine Werren, is a strong-willed woman determined to stand up to the demands of her uncle. More than once women are referred to as “mere women” whose words are to be dismissed. Antigone refuses to back down from the misogyny of men in power and buries her brother, punishment be damned.

What a marvelous production. Director Lauren Wilson has done an excellent job of emphasizing the feminism inherent in the script. As we all know, the themes explored by the ancient Greek philosophers and playwrights still ring true today (more’s the pity). Wilson brought together a good, strong cast and crew to tell this story. Werren is a strong, unbending Antigone, willing to pay the price of her defiance. Kyleigh McComish’s Ismene is a hesitant heroine at first, begging her sister not to rebel against Uncle Creon then growing sympathetic to Antigone’s decision. Olan Domer gave a strong portrayal of Teresias, the blind seer. His impassioned warning to Creon of the price he will pay should he execute Antigone was one of the most moving scenes of the evening. (His costume and makeup were outstanding).

There is not a weak link to be seen in the cast. Dominic DeLong-Rodgers’ Creon is unbending and unforgiving in his power. He is a commanding presence. The chorus was beautifully choreographed, using their voices and movement to drive the action of the play. Haemon, Creon’s only surviving son and fiancé, is played by Carlos Turner. He brings a rationality and composure to the story and is put in the position of having to choose between loyalty to his father or loyalty to Antigone. He implores his father to listen to the wisdom of others, to no avail. Mel Driggers’ sentry is fearful of Creon yet sympathetic to Antigone; Driggers does a great job of portraying the tug-of-war between these two emotions.

The set is absolutely beautiful. Andy Mills’ scenic design combined with Jim Hunter’s lighting design and Danielle Wilson’s sound design come together to create what to me is the perfect setting. Kristy Hall’s costumes are timeless. My only quibble with this production is with the costuming. The costumes are   timeless, however, when Creon enters in his uniform, barefoot as is the rest of the cast, it looks as if he heard his cue and dashed onstage without putting his shoes on. And that’s the extent of “things I didn’t like about this show.”

Antigone runs October 9 – 11 at 7:30 pm, and October 12 at 3:00 p.m. and 7:30 p.m. at Longstreet Theatre. The show runs a bit less than 90 minutes without intermission. Tickets range from $15.00 to $22.00. It’s worth every cent. Parking is at a premium, as usual. There is parking beside Drayton Hall; some street parking is available along Greene St.

REVIEW: Trustus Theatre's People Places & Things by Kristine Hartvigsen

The Trustus Theatre stage play People, Places & Things by English playwright Duncan Macmillan is not feel-good entertainment. But don’t let that stop you from seeing it. 

It isn’t pretty, this sobering depiction of the messy, meandering journey from drunken debauchery to addiction to detox to denial to relapse to denial to acceptance to the beginnings of lifelong recovery.  

The play follows Emma, a troubled actress, through the process of acknowledging her debilitating addiction to drugs and alcohol. Portrayed with authenticity and skill by Christine Hellman, Emma is a drunken, self-absorbed mess who suffers from imposter syndrome on the stage. As a result, she is crippled by self-doubt and has difficulty distinguishing between her stage roles and her often mind-bending, party-filled reality. “If I am not in character, I am not sure who I am,” Emma reveals. 

The most riveting scenes in People are when Emma is agonizing through detox. She shakes and writhes and suffers a terrifying madness complete with hallucinations as many versions of herself emerge repeatedly from her hospital bed like cloned apparitions also seizing and retching and screaming in pain. All the Emmas together reach a cacophony of terrifying volume.  

Incredibly compelling stage design, lighting, and sound convey the emotion and multi-sensory torture Emma experiences. Background screens run video behind the actors that further strengthen the performance. Recorded sound, including broadcast static and echoing narratives, as well as flashing overhead lights contribute to the feelings of confusion and mania. 

When Emma expresses that the therapist and administrator of the facility cannot possibly understand what she and the other patients are going through, it is poignantly revealed that each themselves is a longtime recovering addict.  

In her alternating roles as doctor, therapist, and “mum” to Emma, Erin Wilson is believably straightforward, authoritative, and empathetic as group therapy facilitator. Josh Kern is equal parts likeable and knowing as the rehab facility’s administrator Foster. Each patient’s story adds depth and complexity to the multi-faceted struggles of recovery. Some of the therapy role-play scenes dragged some but included notable performances from William Paul Brown and Alex Malvern. 

While Emma’s first attempt at inpatient rehab fails, she has taken the lessons of therapy to heart and finds her way back to pick up the pieces once more. In trying to rationalize her substance abuse, Emma says things common among addicts like: “I needed something to take the edge off,” and “drugs and alcohol have never let me down.”  

There are moments of needed comic relief that emphasize the subtle contradictions inherent in the culture of substance abuse. In one nonsensical scene, the patients almost competitively spit out stories demonstrating how much more “fucked up” they are than the others — as if there was a certain dysfunctional pride in fucked-up-edness.  

Ultimately, the patients agree contextually that “The problem is not us; it’s the world.” However they also take responsibility for their behaviors and find comfort in realizing “We’re all the same.”  

Director Dewey Scott-Wiley is to be commended for delivering a brilliant play that bravely takes on an ugly topic with empathy and wit. The entire cast performing in People tackle unflattering and starkly challenging roles to tell an insightful story that touches nearly every American family on some level.  

The play does end on a positive note, with Emma acknowledging the “gift of desperation” and — having done the work — eventually resuming the necessary practice of going to auditions. This recovery milestone shows that it is possible to return to some semblance of a normal life. This revealing play is well worth seeing.

People, Places & Things (produced in partnership with LRADAC and The Courage Center) runs at Trustus Theatre through Oct. 12.

Review: The 39 Steps Opens at Chapin Theatre By Jane Peterson

The 39 Steps, a comedic gem originally crafted by Simon Corble and Nobby Dimon, debuted at Chapin Theatre Company Friday night to a packed house. Directed by Frank Thompson, this farcical adaptation spoofs Alfred Hitchcock’s 1935 film and John Buchan’s 1915 novel, blending the intrigue of a murder mystery with a comedic flair reminiscent of Monty Python, Mel Brooks, and chaotic productions like Noises Off and The Play That Goes Wrong.

In this witty reimagining, the entire plot of the 1935 Hitchcock film is recreated by just four actors, a feat that leads to boundless hilarity. George Dinsmore shines as the lead, Richard Hannay, an unsuspecting hero entangled in a spy conspiracy. Jennifer Kraus takes on the roles of three women (Pamela, Annabella, and Margaret), each of whom Hannay encounters in his desperate bid to clear his name. Ripley Thames and Julia Hudson steal the show as they juggle dozens of other roles, from innkeepers to police officers, to businessmen, showcasing their talent for rapid character shifts and physical comedy.

The plot centers on Hannay’s efforts to prove his innocence after being accused of murdering a mysterious spy, played with captivating charm by Kraus. Her portrayal of the dark-haired femme fatale Annabella sets the stage for the wild ride that follows. As Hannay evades capture, he crosses paths with a variety of eccentric characters, all hilariously brought to life by Thames and Hudson, who skillfully switch between personalities and accents with minimal costume changes. Their impeccable comedic timing keeps the audience in stitches as they bring the absurdity of the story to life.

Dinsmore plays Hannay with both charm and earnestness, effortlessly embodying the role of an accidental hero. His scenes, particularly the daring stunts—like hanging from the side of a train—are a delight to watch. Kraus, as his three love interests, excels in her ability to bring distinct personalities to each woman, with perfect comedic timing and facial expressions that add depth to the humor. Thames and Hudson, as the "clowns" of the show, provide endless gags, sight humor, and quick-witted dialogue, managing to make each character memorable despite the dizzying pace of their transformations.

A highlight of the production is the creative use of multimedia and projections, which are brilliantly integrated into the minimal set. Black-and-white and color images are used to transport the audience to various locations, riding on a speeding train, and in a car. We even witnessed a plane crash. Thompson’s direction ensures that the actors' movements, particularly in scenes involving the moving train and car chases, are synchronized perfectly with the projections, adding another layer of visual comedy to the show.

Though a few of the set changes felt slightly prolonged on opening night, it’s a small nitpick in an otherwise polished production. The actors' chemistry and energy more than compensated for any technical issues, delivering an engaging and highly entertaining experience from start to finish.

The 39 Steps runs from October 10 to 20 at Chapin Theatre, with evening performances and weekend matinees. Tickets are $15 in advance and range from $18 (seniors) to $20 (adults) at the door. Don’t miss this uproarious homage to classic cinema—this is a theatrical event full of laughs that you won’t want to miss! Visit www.chapintheatre.org for tickets.

Eclectic Mix of Short Plays Featured in USC’s 10 Minute Play Festival Oct. 24 – Nov. 3

The USC Dept. of Theatre and Dance will present the 10 Minute Play Festival, a fun and eclectic evening of short plays, October 24 – November 3 at the Lab Theatre.

Show times are at 7:30pm, October 24-26 and November 1-2, and 3pm on Sunday, Nov. 3.   Tickets are $10 and are available online at sc.universitytickets.com or at the door.  The Lab Theatre is located at 1400 Wheat St. on the first floor of the Booker T. Washington building.  

Enjoy a fast-paced evening of laughter, heartbreak and everything in between as we present a collection of (very) short plays, each directed by a different member of our theatre performance faculty. “A ten-minute play is a streak of theatrical lightning. It doesn’t last long, but its power can stand your hair on end.” (Take Ten, Vintage Books).

Featured plays include:

The Lobster Quadrille (Directed by David Britt)
Playwright Don Nigro’s quirky story depicts a casual encounter that quickly becomes a chaotic dance, as two lovers navigate the neurotic pitfalls of a one-night stand. 

So I Was Visiting Dad on His Birthday... (Directed by Lyle Browne)
In this sensitive and witty script by DC Cathro, a chance meeting between two women in a cemetery – one visiting her deceased father and the other hoping to join him in the afterlife – sparks an unlikely bond. 

Dead Giveaway (Directed by Mario Haynes)
Daniel Guyton’s unorthodox exploration of romance is set on Valentine’s Day, as Robert gifts his wife arrangements of the "final" variety, leading both to question the meaning of “’til death do us part.”

Tea Time (Directed by Patrick Michael Kelly)
Stabbings. Missing tea. A dropped goose. Something is afoot in Lady Gertrude's manor, and it is certainly not a game. Class and reality are dissected in Will Dunne's absurd comedy of manners and murder.

Cast in the plays are undergraduate students Isnerys Carrasquillo, Josh Cooke, Calvin DeLude, Donovan Dempsey, Destiny McCorvey, Reagan Michael, Aza Nyberg, and Morgan Passley.

While the wide variety of situations presented in these compact stories makes for a uniquely entertaining experience for the audience, the faculty directors say that the actors’ work is just as challenging and fulfilling as doing a full-length play.

“While the audience only sees these characters for 10 minutes, the actors have to develop characters that have lived full lives up to [the performance of] the play,” says instructor Lyle Browne. “Just as with a full-length play, that time has to be spent to engage the audience and bring them in.

Senior instructor David Britt concurs. “It really gives the actors a chance to study a character and flesh them out in one scene. It’s all or nothing, and that is exciting to an actor.” 

For more information on the 10 Minute Play Festival or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.  

Two Greek Tragedies Kick Off the Season for USC Theatre & SC Shakespeare Company

Elaine Werren as Antigone

In this politically fraught time, how clever of two of our local theatre companies to program political productions that focus on the power of the individual – in both cases, individual female characters – to rise up in protest against their own uniquely perceived injustices. USC Theatre opens their 2024 – 2025 season with Antigone, and SC Shakespeare Company opens similarly with Electra, both during the first weekend in October.  

Both plays are based on characters from ancient Greek mythology, both are being performed in Columbia, SC, and both open the first weekend in October, but most of the similarities end there. 

While the SC Shakespeare Company’s production of Electra runs from October 3 – 5 and 10 – 12, outside in Historic Columbia’s beautiful Woodrow Wilson House Gardens, the University of SC’s Theatre program presents Antigone October 4 – 12 at the historic Longstreet Theatre on campus. 

The mythological characters of Antigone and Electra are both examined frequently by writers of antiquity in a number of classic plays, each serving as a catalyst for the call of moral fortitude by the titular women involved.  

Antigone is a tale of civil disobedience. When her two brothers are killed while fighting each other for the throne of Thebes, newly seated ruler Creon forbids the burial and mourning of one of her brothers, Polynices, and Antigone rebels by mourning and burying him against Creon’s decree.  

Elektra, whose story has received treatment by everyone from Sophocles and Euripides to Richard Strauss and Eugene O’Neill, is best known for her part in the Trojan cycle, as well as for being the namesake of Carl Jung’s psychological Elektra Complex. 

Here’s what you need to know to take in both promising productions: 

Electra will be performed outside at the historic Woodrow Wilson Gardens at 1705 Hampton Street. The performance starts at 7:30, is free, and attendees are invited to bring blankets and picnics to enhance their viewing experience. The cast and crew include Hunter Boyle, Katie Mixon, Brittany Lewis, Nekoda Moses, Kira Nessel, J B Marple, and Tristian Brown and is directed by Tracey Steele.

 Antigone will be performed at Longstreet Theatre, 1300 Greene Street, with showtimes at 7:30 Wednesday through Saturday with 3 pm matinee performances on October 6 and 12. Tickets are $15 - $22 and may be purchased here. Lauren Wilson will direct the play. The cast and crew include Elaine Werren (Antigone), Dominic DeLong-Rodgers (Creon), Olan Domer, Didem Ruhi, and Elizabeth Wheless; undergraduates Meagan AuBuchon, John Ballard, Eliza Dojan, Ben Doub, Mel Driggers, Ash Leland, Kyleigh McComish, Angie Tamvaki, Carlos Turner, and Olivia Wamai; and guest artist Talha Karci.

-Cb

About Last Night - A Magical Evening of New Theatre & Unique Visual Art with Chad Henderson & Nate Puza

L to R: Jon Tuttle - PRS director, Chad Henderson - playwright, Marybeth Gorman Craig - director, Kayla Machado - very pregnant actor, Libby Campbell - actor & Jasper Project board member, G. Scott Wild - actor

Last night was a wonderful night for the Jasper Project as we were privileged to celebrate two artists from two different disciplines at Harbison Theatre for a double dose of Jasper goodness. We opened the evening with a reception for our featured visual artist in the Harbison Theatre Gallery, Nate Puza and ended it with the premier staged reading performance of the 2024 Play Right Series winning play, Let It Grow by Chad Henderson.

Visual Artist Nate Puza offers and artist talk at the opening reception for hi exhibition at the Jasper Project’s Harbison Theatre Gallery

Nate Puza is a South Carolina based artist, designer, and illustrator with over a decade of experience working with some of the biggest bands and brands in the world including Jason Isbell, the Avett Brothers, Chris Stapleton, Phish, and more. Internationally known for his meticulous attention to detail and high level of craftmanship, Puza created the new design for the Columbia, SC flag. When not creating art for your favorite band Nate can be found playing music with friends, being outside, wrenching on his motorcycle, mowing the lawn, or drinking a beer on the back porch.

Chad Henderson is a professional theatre artist from South Carolina. He is known for directing contemporary plays, musicals and original works that mix music, movement, imagination and invention to create unforgettable works for the stage. Henderson served as the Artistic Director of Trustus Theatre (2015-2021) in Columbia, SC, and is the current Marketing Director for the South Carolina Philharmonic, where he most recently produced Home for the Holidays at Koger Center for the Arts. Selected Trustus Theatre credits include: The Brother/Sister Plays, Green Day’s American Idiot, Evil Dead, Bloody Bloody Andrew Jackson, The Curious Incident of the Dog in the Night-Time, The Last 5 Years, Assassins, The Great Gatsby, Next to Normal, and The Restoration’s Constance - an original musical for which Henderson also authored the book.

Libby Campbell and David Britt on the stage for Let It Grow!

L to R: Libby Campbell, David Britt, G. Scott Wild, Kayla Machado

Jasper expresses our sincerest appreciation to Kristin Cobb, executive director of Harbison Theatre at MTC and her team for welcoming us into their home and supporting our mission. Check out all the exciting performances coming up at Harbison theatre here and support this state-of-the-art performance space the way they support the SC Midlands performing artists!

Kristin Cobb, executive director - Harbison Theatre at MTC welcomes the crowd.

Midlands Light Opera Presents Gilbert and Sullivan's Iolanthe!

Midlands Light Opera Society is pleased to present Gilbert and Sullivan’s operetta Iolanthe September 27 - 29. Performances will be at 7:30 on the 27th and 28th and at 3:00 on the 29th. All performances will be in Bennett Hall at First Christian Church (2062 N Beltline Blvd, Columbia - enter through the double doors under the driveway). 

The Queen of the Fairies (Felicia Torres) has just pardoned Iolanthe (Evelyn Clary), whom she had exiled for 25 years for having married a mortal. Iolanthe spent her banishment at the bottom of a pond, so she could be near her half-fairy and half-mortal son, Strephon (Terry Artis), who is engaged to Phyllis (Christi Pirkle). Phyllis is a ward of the court, so the Lord Chancellor (Roddey Smith) must give his consent for her to marry, but he wants to marry her. So do Lord Tolloller (Nikki Anderson) and Lord Montararat (Ben Palmer). Leila (Stephanie Villamizar), Celia (Shelby Sessler), and Fleta (Amy Thomasson) lead the fairies in helping Strephon win Phyllis’s hand. Private Willis (Andrew Skaggs) attempts to keep order once deep seated family secrets come to light and the fairies start meddling in politics. The cast is rounded out by an all ages chorus of fairies and peers (Sophia Almeida, Lilith Clary, Mark Foil, Kim Foil, Harmony Hayslette, Julie Lumpkin, Alex Mabrey, Janice Boan Mabrey, Maria Martinez, Sara Martinez, Ashley Mize, and William Thomasson).

The production is directed by Roddey Smith, accompanied on piano by Ashleigh Morse,  musically directed by Ronnie Wise, costumed by Susan Scaccia, stage managed by Hollie Smith, choreographed by Leighton Mount and produced by Evelyn Clary.

“Even though this work premiered in 1882, the show is still captivating audiences. The tunes are catchy, people love fairies, and everyone likes to make fun of politicians,” says Roddey Smith. “This is a true community production,” says Clary. “It is a delight to see the diversity of talent. We have some cast members who have performed professionally, some who are back onstage after taking a break, and some just starting out. It is fun to watch everyone work together. The camaraderie of the cast and crew is beautiful.”

Tickets for seniors (over 65) and students are $10, all others are $15, and may be purchased with cash or check at the door, or online. There will be a $1 processing fee added to each ticket purchased by card at the door. Online tickets may be purchased here.

Midlands Light Opera Society is a 501(c)(3) nonprofit organization. For more information, and behind the scenes sneak peaks, visit our website!