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.

 

 

REVIEW: The Rocky Horror Show at Trustus Theatre Really Does Have Something for Everyone

 

What better way to kick off October and Trustus Theatre’s 38th season, “(Un) Familiar,” than with a familiar classic that explores what once were (and sadly for some might still be) very unfamiliar topics?

Cult classic The Rocky Horror Show at Trustus Theatre was, as expected, a great time had by all, and yet very different from the show longtime fans might have come to expect. A sold out showing on Friday, October 7th, the crowd was a mix of veteran fans ready to participate and soon to be new fans squirting each other with tiny water guns. Many viewers were decked out, ready to sing and dance along to the classics they know and love. Director, choreographer, and international award-winning performing artist, Terrance Henderson, has brought refreshing life and transformation to the Rocky Horror legacy.  

With this show, Henderson succeeds at making space for everyone. In his note to the  audience, Trustus veteran Henderson says he looked at the cult classic from his “unapologetically Black and Queer perspective honoring some of [his] own cultural languages and traditions.” Taking inspiration from “Black feminine and gender fluid beings, Black queer, Black trans, Black intersectional and FREE people” Henderson overtly celebrates duality, a classic attribute that is very much at the heart of the show. This blatant duality, arguably the point and purpose of the show, has been criticized for perpetrating harmful stereotypes while also mocking them, both hurting and celebrating the LGBTQ community. But Jasper was not moved toward criticism. In fact, we found that Henderson’s approach, and the alterations he made to the show, felt like a  better, more imaginative Rocky Horror and, most importantly, more inclusive.  

The casting choices for the show were excellent and reflected Henderson’s vision well, with almost every major character in the show being Actors of Color. The vocal talent of the cast members was beyond impressive and well matched by the live band in the theatre’s loft space lead by music director Chris Cockrell.  

Katrina Garvin (Magenta, Usherette), a member of the Trustus Company, mesmerized the audience singing the opening number “Science Fiction Double Feature.” Fellow company member, Samuel McWhite (Riff Raff), induced chills as he descended the staircase singing his solo in “Over at the Frankenstein Place.” It was hard to believe Mel Driggers (Columbia), was new to performing at Trustus, clearly belonging on that stage, and holding their own. Veteran of the role, Walter Graham’s incredible costume changes and perfectly over the top portrayal of Frank N’ Furter received roaring applause and gasps throughout the night while company members Michael Hazin and Katie Leitner kept the audience laughing as Brad and Janet.

 We won’t spoil any other surprises for you, but we can guarantee you will have a great time! 

The Rocky Horror Show will be performed at Trustus Theatre through October 29th.

Columbia Theatre Stars Come Together for Jasper Project Staged Reading of MOON SWALLOWER

SUNDAY AUGUST 28TH

DOORS AT 3:30 - SHOW AT 4 PM

CMFA - 914 PULASKI STREET

$10 W/ RECEPTION

MOON SWALLOWER BY COLBY QUICK

left to right - Chad Henderson, Chris Cockrell, Michael Hazin, and Becky Hunter

 

Join some of the city’s most exciting theatre artists this Sunday as they bring a brand-new play to the stage of CMFA. Directed by Chad Henderson, MOON SWALLOWER by Sumter playwright, Colby Quick, is the winner of the 2022 Jasper Project Play Right Series.

A one-act coming-of-age exploration that embraces the world of Youtube, gentle drug use, family dynamics, performative Christianity, and yes, the possibility of werewolves, this is not your typical staged reading.

Check all your expectations of straight back chairs and music stands at the door. Henderson has included lights, music, sound effects and more in this tease of what a full-blown production would look like. And the actors are anything but sedentary. From fight scenes to actors climbing on tables and hissing like creatures of the night, this is an exciting look at an exciting new project coming out of Columbia, SC.

Tickets are only $10.

Join this accomplished cast and crew for a fun Sunday reading complete with wine, snacks, and an opportunity for you to learn more about the page to stage process courtesy of the Jasper Project!

BECKY HUNTER

CHRIS COCKRELL

MICHAEL HAZIN

LONETTA THOMPSON

RICHARD EDWARD

CHAD HENDERSON

REVIEW: House Calls-The Strange Case of Dr. Gale is a Fine Follow-up to Last Week's Composure at Trustus Theatre

In the second of Trustus Theatre’s True Crime Rep series, the new play, House Calls—The Strange Tale of Dr. Gale by Charlie Finesilver, opened on Thursday night, August 18th. Directed by Ginny Ives, House Calls is the story of Dr. Ian Gale, an ostensibly successful psychiatrist who, in the 1970s, lived and worked in Columbia, SC by day, but by night burglarized the homes of 100 or more of his fellow Soda Citizens. Over the course of almost a decade, Gale, who was also an attorney and author, stole valuables amounting in worth to a half a million dollars, hiding the treasure away in a locked room in his home. He was finally caught and convicted in 1979 and served 15 years in prison. In 2017 and at 79-years-old, Gale shot himself in the head and set his home afire, taking many secrets and explanations to his grave.

Finesilver became fascinated with the story upon reading about Gale’s death in the newspaper and developed his own interpretation of contributing events into the original stage play which, like last week’s Composure by Jason Stokes, was intended to be staged in August 2020, before Covid shut the theatre down for health reasons.

Although it was originally intended to be directed by Lindsay Rae Taylor, Ginny Ives stepped in as director for the premiere of the show. Ives is a graduate of USC Aiken and has been a company member at Trustus since 2019.

Jeff Driggers was cast in the part of Dr. Ian Gale at the request of the playwright who had seen Driggers perform in another show and thought him an excellent choice for the part. Driggers, whose background lies primarily in Shakespearean roles, physically plays a bit young for the part although he does strive to create a mature presence that he consistently maintains throughout the play. Driggers is a lot on the stage, and we would have liked to have seen just a bit more variation in his character, more nuance to balance the bigness of his vocal expression, given that he is on stage almost constantly. Even so, Driggers shows fidelity to his interpretation of the part throughout his lengthy stage time.

Driggers is primarily cast against veteran actor Chris Cockrell (Inspector Anderson), one of Columbia’s most accomplished performers, and Deon Turner (Inspector Cummins), both of whom skillfully embody the roles of 1970s era gumshoes with finesse. It was also a pleasure to see Clark Wallace on the stage in the role of Solicitor Egan, reminding audiences of how much this experienced actor brings to a project.

Both Jordan Postal (Stacey) and Kathleen Pennyway (Jodi) gave astute and complex performances which promise more to come from both young women. And Sheldon Paschal, in the role of Gale’s memory of his mother (Vera) was decidedly creepy and intimidating.

Sharing the foundation of a set with last week’s premiere, Composure, once again we have Danny Harrington to thank for a set that is both functional and architecturally appealing. Sound and lights were fine and costuming by Andie Nicks was judiciously designed and era appropriate.

While in all likelihood Finesilver thoroughly researched the subject matter, a substantial part of the story was still conjecture by necessity and at the discretion of the playwright’s imagination in terms of what direction it would go. It would be interesting to know whether there were clues that led the author to point fingers at Gale’s mother Vera, so menacingly portrayed by Paschal, for the doctor’s mental instability or whether the playwright simply adhered to the old Freudian trope of blaming the mother whenever a son failed.  In a hearing that resulted in the revoking of his medical license it was noted that Gale prescribed amphetamines for a romantic interest as well as himself, had multiple false IDs, and exhibited other behaviors that indicated a sociopathic if not psychopathic  personality disorder. Ideally the conflict depicted in the action would have led the audience to additional possible explanations for the protagonist’s mental affliction, outside that of a domineering mother.

Certainly, like all new projects, House Calls would benefit from additional workshopping to sort out the possibilities for plot direction, and the pacing could be increased and the motivation of the lead actor finetuned. Compared to last week’s premiere by Stokes, House Calls may be less sophisticated in its storytelling methodology but, like its series companion Composure, which continues to run alongside it until August 27th, both have exceedingly strong bones and are triumphs for Midlands’s area theatre arts in that they were skillfully presented before enthusiastic audiences by accomplished casts and crews in a professional theatre.

Congratulations once again to the playwrights, casts, and crews for both performances and to Trustus theatre for trusting Columbia audiences to support new theatre art by talented local playwrights.

 

   

PRESS RELEASE: THE JASPER PROJECT PRESENTS A STAGED READING OF COLBY QUICK’S NEW PLAY, MOON SWALLOWER, WINNER OF THE 2022 PLAY RIGHT SERIES PROJECT

Sunday, August 28th at 4pm

Columbia Music Festival Association

914 Pulaski Street

Panel Presentation and Reception to Follow

The Jasper Project is excited to present the staged reading of MOON SWALLOWER a new play by Sumter playwright Colby Quick. MOON SWALLOWER is directed by veteran theatre artist Chad Henderson and features Michael Hazin, Lonetta Thompson, Richard Edwards, Becky Hunter, and Chris Cockrell.

MOON SWALLOWER is the winner of the Jasper Project’s 2022 Play Right Series, an endeavor in which unpublished playwrights are invited to submit their work in competition for a cash prize, publication of their play in book form, and workshopping and development of the play with skilled professional theatre artists, culminating in a staged reading. Dr. Jon Tuttle, playwright in residence at Francis Marion University and member of the Jasper Project board of directors, is the director of the Jasper Project Play Right Series.

MOON SWALLOWER is an alternative coming-of-age story of a young man who finds himself stuck somewhere between small town ideologies and big world expectations with a heavy influence of social media, domestic awkwardness, and the possibility of werewolves. It is a comedy that has kept the case laughing throughout rehearsals.

The Play Right Series is a unique machination for bringing new plays and playwrights to the forefront of local performing arts by calling on Community Producers to invest a modest amount of money in the workshopping and ultimate staged reading of the play in exchange for their intimate involvement in the processes involved in taking a play from page to stage. Community Producers for MOON SWALLOWER are Bill Schmidt, Bert Easter, Ed Madden, Paul Leo, Eric Tucker, Kirkland Smith, James Smith, Wade Sellers, and Cindi Boiter.

The first iteration of the Play Right Series involved a new work from SC playwright Randall David Cook whose play, SHARKS AND OTHER LOVERS was produced in 2017 and directed by Larry Hembree. SHARKS AND OTHER LOVERS has gone on to win multiple awards and be presented throughout the US.

The Staged Reading for MOON SWALLOWER will be held Sunday afternoon, August 28th at 4 pm (doors at 3:30) at Columbia Music Festival Association, 914 Pulaski Street. Tickets are $10 in advance and $12 at the door. The performance will be followed by a panel discussion including cast and Community Producers, hosted by Jon Tuttle, with a reception following. Copies of the play, MOON SWALLOWER, will be available for purchase at the event or online at Amazon.com.

Tickets are available at  The Jasper Project.