Five Guys Named Moe: Workshop Theatre Opens New Season at 701 Whaley - by Haley Sprankle

New beginnings spark for Workshop Theatre as they open their 2014-2015 season with the  jukebox musical Five Guys Named Moe.   The biggest change the company is facing is their new  performance location in The Market Space at 701 Whaley Street. guysnamedmoe3

"Five Guys Named Moe is the first production in this new space," says the show's director, Lou Boeschen.  "No precedents have been set indicating how we should transform this completely empty space into an intimate theatre. This  can be both good and bad. You are open to think outside the box and set the stage any way you  like, but you don't have the experiences of a prior production to show what works or doesn't  work in the space.”

This new space opens up vast opportunities for inventive, fresh new staging opportunities, which add a new level of artistry that audiences may not have seen at Workshop before. Each director is able  to completely create his or her desired environment, allowing a lot of liberties with blocking and  staging.

“When I first started to visualize Five Guys Named Moe, it was difficult not to see it in the  familiar setting of Craft Auditorium at the corner of Bull and Gervais Streets," said Boeschen.  "After meeting with  set designer, Lee Shepherd, I was able to quickly adjust my thinking. I came to Lee with several  ideas about how I wanted the stage area to be arranged with different levels and a dedicated  place for the band. He took those ideas and, using his expertise for building a set off-site and  moving it into a performance space, came up with a fantastic design.”

The front porch at the Market Space at 701 Whaley

Not only will the new space be created to fit the musical and the vision that Boeschen has, but it also  must accommodate a live band, which is not always the case with every theatre.   “There will be a live band led by our musical director, Roland Haynes, Jr. He's assembled a quintet of  talented musicians, a few of whom he plays jazz gigs with regularly," explained Boeschen. "The music is the core of this  piece, a character in a sense. It is important to me that the band be a part of the action on stage.  From their bandstand on the right side of the stage area, the cast members are able to interact  with Roland and the other musicians.”

The cast has been rehearsing in the Workshop Theatre rehearsal space on Elmwood Avenue, and will be able to  move into the theatre just a short four days before they open.

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“Throughout the rehearsal process, I referred to the ground plan design often when explaining  blocking and spacing to the cast," Boeschen recalls.  "The cast is using some of the smaller set pieces already in the  rehearsal space, which is not much smaller than the area that will be set as a stage at 701  Whaley.  Joy Alexander, the choreographer, has worked hard to create perfect choreography for  this style of show, but she has also kept it very flexible. The first night on the set, Sunday, will  be used for blocking and adjusting choreography spacing. I am anticipating needing to  make a few adjustments, but nothing major,” said Boeschen.

Along with all the adjustments and accommodations that the theatre faces as they debut in their  new performance space, Boeschen will also debut as a director.

fiveguys1“I felt it was time to get my feet wet and direct a show. I didn't want to tackle a huge musical  production my first time at the helm, however, so a small revue-style show seemed like a good  starting point. I submitted my interest to direct and was chosen by the play selection committee  at Workshop to direct Five Guys Named Moe. I love Louis Jordan's music, and the story written  by Clarke Peters that connects the songs is genuine,” said Boeschen.

fiveguys3Although Workshop has produced Five Guys Named Moe before, this new cast brings a fresh  take on the musical.  “There are a couple of names and faces in the cast that audiences will recognize from previous  productions at Workshop, Town Theatre, Trustus and even Opera USC, but we have some  newcomers as well. The guys all have rich musical backgrounds, which is a blessing for a show  like Five Guys Named Moe. I've enjoyed working with both the seasoned performers and the  first-timers, as they each bring a distinct energy and eagerness to the process,” Boeschen said.

Five Guys Named Moe runs September 18-21 in The Market Space at 701 Whaley. Regular priced adult tickets are $22, senior and active military tickets are $20, student tickets are $16,  and children (12 & under) are $12.  Come out for a new experience at a new location with an old friend, Workshop  Theatre.

~ Haley Sprankle, Jasper intern

From press material:

The Story: His woman left him, he’s broke, and it’s almost five o’clock in the mornin’. But don’t be worryin’ ’bout our hero, Nomax. Out of Nomax’s ’30s-style radio pop Five Guys Named Moe. They cajole, wheedle, comfort and jazz him with the whimsical hit songs of Louis Jordan, one of the most beloved songwriting talents of the twentieth century. With more than fifty top ten singles on the rhythm and blues charts, this great composer and saxophonist brought a popular new slant to jazz that paved the way for the rock-and-roll of the 1950’s.

Five Guys Named Moe show dates and times: Thursday, September 18 @ 8 pm Friday, September 19 @ 8 pm Saturday, September 20 @ 3 pm and 8 pm Sunday, September 21 @ 3 pm and 8 pm

Go to workshoptheatre.com to purchase tickets online or call the Box Office at 803-799-6551 between noon and 5:30 pm. Workshop Theatre’s Box Office is located at 635 Elmwood Ave., Columbia, SC, 29201. Box Office hours are from noon to 5:30 pm. Reservations can be made online 24 hours a day through the website.

 

Workshop Theatre’s "The Color Purple" Offers a Beautiful Rainbow of Colors for Columbia Audiences - a review by Stephen Ingle

When a stage musical is based on a very popular movie, in turn based on a very popular novel, it is often almost impossible to accept the new format, actors, and plot adaptations as genuine. However, when I attended Workshop Theatre’s presentation of the musical adaptation of The Color Purple, I had no problem separating the live performance from the film. This was because the stage production was so fantastic. For those not familiar with the film plot, The Color Purple is a coming-of-age story about Celie, an African-American girl (Devin Anderson) in the early 1900s who is forced by her father to marry "Mister" (Shawn Logan) in exchange for some livestock. Mister mistreats her, abuses her, forces her to wait on him and all of his sons hand and foot, and breaks off all communication between Celie and her sister/best friend Nettie (Kanika Moore.) This naturally causes Celie to feel completely alone in this world, and hopeless that she will never see Nettie again or ever know what it’s like to feel happy, safe, and secure. The mirror image to this story line is that of Sofia (Michelle Rivera) who is married to Mister’s son Harpo (Bobby Rogers). Sofia is a very strong-willed woman who refuses to let any man abuse her or tell her what to do and, in fact, is the abuser to her husband. However, when she leaves Harpo (ending up as a maid for a white family) she finds that her temper lands her in jail. When she is released, she is a shell of the woman she once was, and has become docile and closed off. caption

The other influence on Celie’s life comes in the form of a sassy singer named Shug Avery (Katrina Blanding). She is a boozy, juke joint singer, and the object of Mister’s desire. Her character reflects the independence that Celie so desperately needs, but also reflects the sadness of living a lonely life. All of the performances are, for lack of a better word, riveting. Although they do not really look 14 years-old, Devin Anderson (Celie) and Kanika Moore (Nettie) truly inspire both through their touching and playful scenes together and their beautiful harmonies during their duet. Devin Anderson, however, does a spectacular job guiding the plot along through Celie’s life. As Sofia, Michelle Rivera performs at a level that could rival Oprah’s depiction of the film role. Her transition from strong, loud, and independent matriarch to beaten down and muted victim was handled brilliantly by the actress. As Shug, Katrina Blanding seamlessly handles the role of a gin-soaked club singer turned responsible married woman, and the scene between her and Celie where she helps Celie discover her femininity is performed with both sensitivity and effectiveness. Another performance worth mentioning is that of Shawn Logan as Mister. From the character you love to hate as the abusive and controlling husband, to becoming a submissive pleaser to Celie, his performance perfectly illustrates the traits of shameful, funny, and charming.

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All of the aforementioned kudos would not have been possible without the stellar direction of Jocelyn Sanders, beautiful musical direction of Roland Haynes, Jr., and energetic and inspirational choreography of Barbara Howse-Diemer. Unlike straight plays where there is one director, musicals are unique because of the combined visions of these three roles. In The Color Purple, it appeared that all three of these brilliant directors came together and shared a vision that paints a masterpiece of sadness, inspiration, humor, and humanity. Typically in big musicals with huge casts, one’s eye will directly be drawn to a weak link or “dead zone” in the cast. It is always a nice surprise to not be able to find one. Additionally, hats off to the costume designer Alexis Doktor specifically for the wonderful African costumes that took the audience to a whole new place, time, and feeling of joy. Unfortunately, the one African scene where the village is attacked by some sort of outside forces was very unclear. When the members of the tribe ran off, the sound effects were muddy. Had I not seen the movie and known it was an invasion, I would have thought they were running from an oncoming storm. In fact, as has been the problem with other musicals, some of the dialogue and songs suffered from the lack of microphones. Also, the show does run very long at almost 3 hours. There are several extraneous scenes towards the end with songs that simply delay the wonderful ending we are all waiting for. However, that is my issue with Marsha Norman, who wrote the book, and not with anybody connected with this production.  Jocelyn Sanders weaves together a beautiful tapestry that even Alice Walker (the original novelist) would be proud of. The Color Purple is a show that will quite literally make you laugh, cry, sing, dance, and cheer.

~ Stephen Ingle

Show Dates: March 20-24 & 27-30

Show Times: 8:00 p.m. except March 24, which is a  3:00 p.m. matinee

Prices: $22 for adults, $20 for seniors/military, $16 for students, $12 for children

Contact the box office at 803-799-6551 for ticket information, or visit http://www.workshoptheatre.com.