PREVIEW: Finlay Park welcomes back SCSC with The Merry Wives of Windsor - By Alivia Seely

 

“Better three hours too soon than a minute too late.”

The words of William Shakespeare are not always as clear in their meanings as audience members would like them to be. Yet, that does not stop the talented individuals from The South Carolina Shakespeare Company from taking that difficult language from folio, to the stage.

Sharing the beautiful, historic language with audiences across Columbia, the SC Shakespeare Company will be gracing the Finlay Park stage for a two weekend production of The Merry Wives of Windsor.

The Merry Wives of Windsor is a story that chronicles the life of Sir John Falstaff, played by Hunter Boyle. Falstaff is an outrageous man. He is a retired bacchanal with vulgar wit and multiple schemes of seduction, as he plans to dazzle the hearts of Mistress Ford and Mistress Page, played by Libby Campbell-Turner and Becky Hunter. Yet, it does not take long before the two ladies and Ford’s husband Master Ford, to figure out why Falstaff is set on reeking havoc in Windsor.

“He is a very suspicious and jealous husband. I think that he is someone that always thinks that someone is up to something. So when all of this stuff with Falstaff starts happening, my character Master Ford very easily and rapidly buys the fact that his wife is cheating. He then sets out to discover if that is true,” says Scott Blanks, managing director for the South Carolina Shakespeare Company, and will be playing the role of Master Ford.

This production is directed by Linda Khoury, artistic director and co-founder of the company. Other notable characters are: Robert Shallow, played by Chris Cook, Dr. Caius, played by Tracy Steele, Master Page, played by Jason Sprankle, Mistress Quickly, played by Sara Blanks, Anne Page, played by Katie Mixon and Parson Evens, played by David Reed.

“It is captivating, energetic, and is a humorous take on marriage, miscommunication, and forgiveness. The wild and bawdy characters along with the fast-moving story full of mischief and trickery will keep the audience riveted,” says Khoury.

The outdoor performance environment is no stranger to these company members. Finlay Park has been home to numerous SCSC performances in the past. The only thing that will be keeping them out of the park is inclement weather.

“I really enjoy the outdoor environment. I think audiences enjoy the outdoor environment. I can tell your first hand it is a really great experience for an audience member; however, it is really rather difficult for actors and actresses,” says Blanks.

Although there are moments of scandal and humorous revenge, Khoury encourages the entire family to come out and enjoy the show.

The South Carolina Shakespeare Company is one of the most popular professional theatre companies and producers of classical theatre in South Carolina. Since its founding in 1992, the company has sought to bring language, art, and history to the community in order to foster the arts culture.

The show opens Saturday April 23 at 8:00 p.m. in Finlay Park, and will run again April 27-30 at 8:00 p.m. For more information about the show visit www.shakespeareSC.org.

Eugene Strikes Back! "Broadway Bound" at Workshop Theatre Completes Acclaimed Neil Simon Trilogy

"Being in love can be a real career killer.”

That's a classic quote from the beloved Eugene Morris Gerome, the protagonist of Broadway Bound, the final play in Neil Simon’s autobiographical trilogy, which opens this Friday, January 16 in The Market Space at 701 Whaley.   University of South Carolina professor David Britt, who directed both previous installments for Workshop Theatre, returns to finish out the series.

USC senior Ryan Stevens steps into the lead role to complete the Eugene trifecta.  “First and foremost, it’s a real honor to get to step in and be the culminating Eugene," says Stevens.  "Jared Kemmerling, who played him in Brighton Beach Memoirs, really created a very youthful, energetic portrait of Eugene as a kid.  Jay Fernandes, whom I’ve gotten the pleasure of working with personally, carried him through into young adulthood in Biloxi Blues.  They both, in their respective shows, had to show Eugene growing up and adapting to different things - to the Depression, to the War, etc.,” Stevens says.  "For me, in Broadway Bound, he’s older now - he’s starting his proper adult life. He’s got a chance here, a chance for efficacy. In the previous two plays, Eugene was really more observant, of family drama, of drama in his unit. With his career here, with the chance to become a writer, he’s getting an opportunity to actually do something for himself, for everyone to see.”

As a member of USC’s improv troupe Toast and a playwright himself, Stevens is no stranger to comedy and to the trials that a writer such as Eugene may face.

“I’m about his age, and as a senior here at USC, I’m about to be in a pretty similar career situation.  I know how he feels, absolutely!  When you’re writing, you want to believe what you’re writing in, and sometimes that carries over into a sort of syndrome where you just decide ‘This first draft? It’s flawless. Final draft. Done.’   Eugene’s brother, Stanley, in a lot of the scenes they share, is poking holes in the logic of what Eugene writes. Every critique he has is valid, but for Eugene, it’s infuriating!  Any writer, in having their work reviewed, has that feeling of ‘Dammit, I know the logic is weak and this joke didn’t land and there’s a huge plot hole there, but I’ll be DAMNED if someone who isn’t me is going to tell me!’ I like to think that I, as Ryan, have gotten better at taking critique, but Eugene still bristles a little when he has to do the dreaded thing that haunts all writers’ dreams: edit,” Stevens elaborates.

Alongside all these comedic moments there is still a serious story to be told.

Simon is “very deft at handling all the clashing moods that happen inside this little house," Stevens explains. "David Britt has been great at reminding us that all of the humor comes from the same place as the drama, because it comes from us, the characters, the people and our relationships to one another. Neither humor nor drama really occur in a vacuum -- there has to be the human element to tether it, to make it feel real (and) relatable,”

While the story may be set in a decade different to our own, audiences today can still cherish the lessons learned through the eyes of a young writer similar to Stevens himself.

“Right now, these days, there’s all this talk about how this generation is the worst generation ever, that we’re lazy and entitled, and all this nonsense, which I really think is nonsense, because we didn’t do any of this! We didn’t create the world’s problems - the generation before us did, and we’re just the ones footing the bill. But by the same token, we’ll stand a much better chance of solving our problems and closing this hostile generation gap if we quit believing it ourselves. A lot of people my age have heard it so much that they’ve started believing it themselves,” Stevens says.  "Broadway Bound is very clear in the fact that the previous generation of adults is always just as backwards and screwed up as the current one. It was true in the 1940’s, it’s true today, and it’ll be true in the future. There are always generation gaps. Broadway Bound wants the younger generation to realize that their parents are fallible, yes, and fallible because they’re people too. The age range in the play is at the point where the youngest character is 23, and therefore, nobody is a child anymore. Everyone is sort of on an equal playing field. Which is how it should be, for young and old. There’s no talking down in this play, there’s no pretension or condescension to anyone. The kids and the parents are on the same plane. Does that level of emotional honesty have some blowback? Of course. But it’s still better than acting like the people of yesterday, today, and tomorrow are too divided to communicate.”

Broadway Bound's cast includes Samantha Elkins and Lou Warth Boeschen, returning from 2013's production of Brighton Beach Memoirs, again playing Eugene's mother Kate and her sister Blanche respectively.  William Cavitt,who appeared in Britt's 2014 production of Biloxi Blues in a different role, will portray older brother Stanley, while Chris Cook, last as seen as Lear opposite Cavitt's Edgar in this past fall's SC Shakespeare Company production of King Lear, plays father Jack. David Reed, who performed with Cook and Cavitt in the 2013 High Voltage production of Dracula, rounds out the cast as grandfather Ben. Reed in a way comes full circle with this performance, having played Jack in a 1990 incarnation of Broadway Bound at Town Theatre. The original Broadway production ran for over two years, and was nominated for four Tony Awards and four Drama Desk Awards, winning two of each, and was a 1987 Pulitzer finalist. The original cast included Jonathan Silverman, and Jason Alexander (who went on to star in The Single Guy and Seinfeld respectively) as Eugene and Stanley, with Linda Lavin (a Golden Globe winner for the long-running tv series Alice) as Kate.

Workshop Theatre's new production of Neil Simon's Broadway Bound will run January 16-25 at The Market Space at 701 Whaley. Tickets can be purchased through the Box Office at (803) 799-6551, or online at www.workshoptheatre.com .

~ Haley Sprankle

A heart-warming tour of "Second Samuel" - a review of the new show at On Stage Productions

There may be snow and ice across most of the southeast, but there is warmth to spare in the little town of Second Samuel, GA (so named after the Yankees burned the first town down) where colorful Southern eccentricity blends with a timely message of tolerance and acceptance. Pamela Parker's Second Samuel has been produced at dozens of theatres, from Wetumpka, AL, to Perth, Australia, and off-Broadway by this production's director, Robert Harrelson. Harrelson, the founder of On Stage Productions in West Columbia, has a nice little under-the-radar hit on his hands, and it only runs through this Sunday at the On Stage Performance Center, at 680 Cherokee Rd.

Our narrator and tour guide is B-Flat (Sam Edelson), an appealing, innocent young man (or older teen) given his ironic nickname by piano teacher Miss Gertrude for his lack of musical ability. (His actual surname is "Flatt," first initial "B.") B-Flat is just a little slow, or what they used to call "simple" in the play's 1949 setting. Think Jethro from The Beverly Hillbillies, or Eb from Green Acres, just more loveable. As played by Edelson, one imagines that B-Flat is probably just awkward and perhaps dyslexic, with minimal education. His description of his hometown's quirks is fairly eloquent and insightful, in the manner of Big River's Huck (another under-educated outcast thought to be simple), and one local accurately observes that the boy may have more sense than anyone else. Plus his big heart makes up for any intellectual shortcomings. Like Steel Magnolias, the local ladies gather to chat at the beauty parlor, while the men convene at "Frisky's Bait and Brew," the kind of place where you can get a Nehi and a Moon Pie as easily as a cold beer or a shot of whiskey. Every character would be at home in Mayberry, Hooterville, or Faulkner's Yoknapatawpha County. I mention these iconic rural settings from fiction not to imply that author Parker is necessarily influenced by them, but rather to note that she is working in an easily recognizable tradition, with all the stock character types - archetypes even - that we expect. What she does with them, however, is quite creative, and caught me completely by surprise.

1949 was the summer that the beloved Miss Gertrude died, and the play's action commences with preparations for her funeral, as everyone recalls how she touched so many lives in some way. Assorted plot twists transpire, taking the broad, southern-fried comedy of the first act into slightly more serious and meaningful territory in the second. Hilarious characters still are funny, but they face decisions that will define just who they are, both as individuals and as a community. A good parallel might be socially conscious sitcoms from the 70's like All in the Family, or warm family-themed shows from the 80's (e.g. Family Ties or The Golden Girls) where outrageous characters engage in outlandish antics, but there's still an "Awwwww" moment at the end.

A friend noted that everyone seemed perfect for his or her role. A few of the cast are clearly newer to acting, while some have been shining in lead roles for decades, especially at community theatres in Lexington and Chapin, but everyone plays a specific type convincingly. Parker's dialogue flows very naturally, and all the cast has to do is go where the words take them. Debra Leopard and MJ Maurer are especially convincing as histrionic ladies with big hair, while Courtney Long as pretty young Ruby has fewer lines, but is always enaged in the action on stage. As Leopard and Maurer squabble with the town troublemaker (Anne Snider) Long is giggling silently at every word, indicating how seriously the audience should take them. David Reed as the local funeral director has some inspired comic moments. Full disclosure: he and I did a show together 20+ years ago, and so I am familiar with his real voice and mannerisms. Here he affects the soft, high voice of a prim Southern gentleman, and creates a very believable character. Some of the show's biggest laughs come from physical comedy where Reed is drinking, while the beauty parlor ladies are screaming: everyone's pace and pitch is perfect, while Brandon Moore's split-second timing on light cues makes everything flow at a lively pace. Also deserving of praise is the sincerity that A.T. Marion brings to the pivotal role of "U.S." In rural 1949 Georgia, the challenges faced by U.S. as a person of color are obvious, and Parker never sugar-coats the historical context. U.S. wisely explains to B-Flat that each of them is different, but then, who isn't in some way? The charm of the town, and the play, is the way in which the town's residents ultimately look out for their friends. (They even pretend to believe the man who swears he was kidnapped by Nazis from a U-boat off Myrtle Beach , when everyone knows this was a story concocted to explain a week-long bender.)

The space at On Stage, a former retail shop that probably specialized in country-western attire, is limited, and director Harrelson does an excellent job of blocking, given the close quarters. More importantly, he has cast the right types to bring out the depth and nuances of the work, which can be enjoyed at face value as a variation on Mayberry or Vicky Lawrence's Momma's Family, or taken at a much deeper level.

On Stage Productions is now in its fourth season (see the current print issue of Jasper - vol. 3 no. 3 - for some details on its origin) and is a wonderful little gem that's not nearly as out of the way as you might think. From downtown Columbia, you simply cross the Blossom St. bridge and head out Charleston Highway, veering on to Airport Blvd. Cherokee Lane is the right just before I-26, which it parallels, and you're there in not much more than 5 minutes. When my friend Melissa saw and reviewed their last production, her young daughter told her "This looks like a fun place to do a show," and I heartily agree.

Second Samuel runs through Sunday, Feb. 16th - visit http://www.onstagesc.com for ticket information.

~ August Krickel

Dr. Jekyll & Mr. Hyde - a Review by Jillian Owens

Is it possible to gain serenity by isolating and removing all that is evil and full of rage from our minds?  This is the question Dr. Henry Jekyll seeks to answer in Chapin Theatre Company’s production of Dr. Jekyll and Mr. Hyde.  After much experimentation and late hours in his laboratory, Jekyll creates a concoction that transforms him from his kind-natured bookish self into a raging violent monster who calls himself Mr. Hyde.  In Jeffrey Hatcher’s adaptation of the famous novella by Robert Louis Stevenson, the lines of good and evil fade to grey.  In the beginning of his experiments, Dr. Jekyll remembers his alter-ego’s activities, but gradually he begins to “black out” for days at a time; as Hyde terrorizes London with violence, depravity, and murder.  Jekyll, through the testimony of his friends and colleagues is acutely aware of the dangerous and deadly extent of Hyde’s actions, but continues with his experiments regardless.  Hyde, on the other hand, becomes a sympathetic anti-hero.   Born with a rage he can’t control, we see surprising moments of tenderness to Elizabeth, a young chambermaid who falls in love with him.  He laments being unable to lament his cruel nature, and does all he can to defend himself from Jekyll’s threats to destroy him. This production of what could be a deeply moving exploration into the darkest corners of man’s soul doesn’t entirely work.  I applaud a small community theatre for attempting such a difficult production, but several elements of the show came off as hokey and/or unpolished.  Some of this is due to the challenging nature of the script.  Relying heavily on an ensemble cast, most of the actors end up playing a different aspect of Mr. Hyde -- a device that isn’t very effective, as it doesn’t really contribute to the story.   The constant “filling in the gaps” of the story by aside narrations and journal readings wouldn’t be so annoying if they weren’t so plentiful, often halting and killing any suspense that might have otherwise built up.  George Dinsmore’s performance of Dr. Henry Jekyll becomes much more powerful in the second half of this production, as we begin to actually see his inner turmoil and guilt for what he has done.  Nathan Dawson pulls of multiple roles, including the “main” Hyde well, although his Hyde is teeters on the edge of becoming a caricature, with a voice that is distractingly Tom Waits-ish.  The lack of erotic tension in the scenes between Hyde and Elizabeth (played by Emily Meadows) made their intense relationship seem quite unlikely.

This isn’t to say this production is without merit -  far from it.  The ensemble cast pulls off their rapidly-changing characters well,  changing their voices, postures, and mannerisms seamlessly and impressively.  Somehow a scene where one of the characters (played by David Reed) oversees an autopsy of the character he played in the previous scene doesn’t seem at all strange or out of place.  While the individually ever-rotating Mr. Hydes aren’t very effective, the scenes where they converge together to torment Dr. Jekyll are downright chilling.  

The set is stark, raw, and adaptive – perfect for this production.  The music plays a major part in creating this show’s haunting mood.  A few costume changes would have been helpful in establishing character changes, but became unnecessary, due to the strength of the cast’s ability to change so effortlessly and distinctly from role to role.

Chapin Theatre Company is making bold strides in moving away from being just another community theatre.  While they haven’t reached the caliber of other theatre companies in the Columbia area yet, they are well on their way.  Despite its flaws, Dr. Jekyll and Mr. Hyde will make a great addition to your Halloween season.

~ Jillian Owens

Dr. Jekyll and Mr. Hyde, adapted by Jeffrey Hatcher from the Robert Louis Stevenson novella Strange Case of Dr. Jekyll and Mr. Hyde, runs Oct. 19-Nov. 3, 2012 at the Harbison Theatre at Midlands Technical College, 7300 College St., Irmo, SC 29063. Visit www.chapintheatre.org for information on specific performance dates and reservations.