REVIEW -- Amityville 1925

Seven years in the making, playwright and founder of Theatre Mysterium, Christofer Cook, brings his new play, “Amityville 1925” to the black box performance space at Columbia Music Festival Association, 914 Pulaski Street in Columbia’s Vista.

Inspired by mythology surrounding the famed house at the center of the Amityville Horror franchise, Cook’s cast enacts a tale about the Moynahan family, a real family who occupied the home in 1925. In Cook’s imagination, the Irish Catholic family of five is transplanted to Amityville, NY taking up residence at 112 Ocean Avenue, the same house that has appeared to be malevolently sneering down at us in all our scary movie-induced nightmares since the first film debuted in 1979.

In Cook’s play, the family arrives at their new home with their furnishings intact due to the kindness of Jesse Purdy, the patriarch John Moynahan’s best friend. They immediately have the home blessed in traditional Catholic fashion by the local priest Father Fitzgerald but, despite the ostensible blessings bestowed by the man of the cloth, something is awry from the start. Noises from beneath the floorboards, pops and snaps from the fireplace, toppled furniture and books flying through the air. Everything one would expect from a home we hope to be haunted.

But the Moynahan family of three adult children and parents are smarter than the average haunted household-dwellers and they use their deductive powers and Irish intellects to solve the mystery of a house that has a mind of its own.

Or do they?

Amityville 1925 is a world premiere play with exceedingly strong bones and quite a bit of meat on them, to boot. Having seen the first ever public performance of the play on its opening night of Thursday, October 21, I was engaged by where the story was going, where it took me, and impressed by the scenery along the way.

Cook has assembled an excellent cast of actors, each holding their own and contributing singularly significant pieces to the puzzle. The cast successfully performs as one expects an ensemble to do with no weak links and no characters overshadowing others.

The fourth wall having been delightfully broken from the onset as the players approach the stage via the audience, pausing on the steps of the home to acknowledge the beginning of their occupancy of the house, as well as the beginning of the play, various characters return to their conversation with the audience  throughout the performance. The convention works well as a comfortable narrative device with little to no meta-referential disruption.

As family matriarch Catherine Moynahan, Zsuzsa Manna neatly walks a narrow path of being both devoutly religious but still intellectually astute and perceptive. Her Irish accent was captivating as was that of her on-stage spouse, Frank Thompson in the role of John Moynahan.

The three Moynahan siblings, Stephanie Walker as Eileen, Katie Mixon as Marguerite, and James Nolan as Thomas, are strongly portrayed. Walker’s performance was particularly engaging, evoking comparisons with that of Samantha Sloyan’s Bev Keane on the Netflix drama Midnight Mass. Even on opening night the audience got a sense of the essence of the siblings’ unique personalities which, as the run progresses, I feel certain will acquire even more depth. James Nolan’s performance suggested a far more mature actor than I expected when I recognized his youth. As he more fully actualizes his role I would expect to see more of the youthful anger and frustration the character Thomas suggests as the play goes on.

In fact, the inference of a little more backstory for the family members as-a-whole might serve to further enrich the play. I would love to know more about the relationship between the children. While Walker’s Eileen appears naively boy crazy when she meets Father Fitzgerald, it is her (more mature or possessed?) sister who acts on those impulses later on. Why is this?

And no family with adult children under one roof get along so cordially and in such a non-confrontational manner as do the Moynahan siblings. The addition of inter-relationship awareness might add texture to the siblings’ characters. Similarly, I’d love to know some incidental history of the friendship between John Moynahan and his best friend Jesse Purdy, played devotedly by Landry Phillips.

The most challenging role of the play was that of Father Fitzgerald which Charlie Goodrich accomplished with ease. Goodrich fully possessed the variation required of his role, leading the audience to believe that Father Fitzgerald was quite the actor himself.

My only frustrations with Amityville 1925 were issues that could be avoided by two things: workshopping the play to address some of the small narrative gaps mentioned above, and the hard work of a good stage manager. As someone who appreciates the difficulty of presenting what is often a one-person production, I know well how frustrating it can be to have to put out fires when you’d rather be putting flowers in a vase to make everything pretty. A stage manager would make sure the set looked complete by finishing the painting and wallpapering so raw wood doesn’t peep through an empty grandfather clock. They would dust the lower shelves of tables at audience eye-level, replace an anachronistic plastic pesticide bottle with a glass jug marked with a skull and crossbones, and made sure the bed’s box springs couldn’t be seen on the floor.

That said, the fact that this playwright/production team put a performance of this caliber together is an unusual and quite remarkable accomplishment and they deserve high praise. The play is grounded, smart, wryly funny in unexpected places, (here’s to soda bread and rotting corpses), and thoroughly entertaining. It may, in fact, be the best thing you’ll see this Halloween season.

The next time I see it, and I really want to see it again, I hope it will be on a more professional and hospitable stage with a larger crew, a bigger budget—though Theatre Mysterium clearly did a lot with a little—and all the bells and whistles a well-conceived and soundly performed piece of theatre art like Amityville 1925 deserves.

October 21st, 22nd, 23rd, 24th
28th, 29th, 30th, 31st

These are Thursday - Sunday performances. 8:00 curtain, except Sundays which are 1:00 pm matinees.

General admission. Tickets are $20 per person. Go to TicketLeap.com to make reservations.

Better Late Than Never Review - Shakespeare in Love from USC

“I am very sorry, sir,” said Bob. I am behind my time.

-          Charles Dickens, A Christmas Carol

Much like Bob Cratchit, I must apologize profusely to the cast and crew of USC’s outstanding production of Shakespeare In Love. After seeing last Sunday’s matinee, I planned to have a review ready within a couple of days. A series of storms, both literal and figurative, got in my way this week, and I’m afraid my review will serve more of an archival purpose than a promotional one. Nonetheless, the show deserves the accolades I have been carrying around in my head for six days, so here goes:

~~~

Based upon the Tom Stoppard film of the same title, Lee Hall’s Shakespeare In Love retains “about 90%” of Stoppard’s film dialogue, according to Kevin Bush, Marketing Director for USC’s Department of Theatre and Dance. The old adage of “if it ain’t broke, don’t fix it” is wisely heeded by Hall, who still manages to bring a freshness and slight opening-up of the film to his stage adaptation. Also impressive is the Elizabethan-meets-Techno music by composer Paddy Cunneen, which underscores (pun intended) the timelessness of not only Shakespeare’s works, but also the message that tumultuous love affairs existed well before gossip tabloids and tell-all books. Having live musicians onstage, augmenting the recorded bits was an excellent choice, and the overall aesthetic was that of an Elizabethan love story that could just as easily happen today.

Staying faithful to the movie’s plot, the play, a young William Shakespeare is having difficulty finishing his “comedy” of Romeo and Juliet. With opening night creeping ever closer, Shakespeare’s anxiety and frustration put production of the show into increasing unlikeliness, until he finds his muse in Viola, a young woman of the upper classes who disguises herself as “Thomas Kent,” and manages to land the role of Romeo (ironically, opposite a boy in female dress as Juliet, given the era’s ban on women performing onstage.) A romance quickly blossoms, despite Viola’s engagement to a nobleman whom she neither loves nor understands, and who  seeks her dowry to prop up his estate in the Colonies. As in the film, mistaken identities, double-and-triple layers of deception, and Shakespeare’s Cyrano-esque courtship of Viola (with his friend, Kit Marlowe, supplying romantic dialogue from a nearby hiding place,) propel the plot. As one might presume, chaos obviously ensues, but to paraphrase the title of another of The Bard’s works, all’s well that (almost) ends well, and though Viola does, indeed, depart for The New World, the ensuing heartbreak prompts Shakespeare to reconceptualize Romeo and Juliet as a tragedy, overcoming his writer’s block, and finishing what eventually becomes one of his most celebrated and oft-performed plays.

As Shakespeare, John Romanski is less the dashing Bard of legend, and much more an ordinary young artist, struggling to find fame and love. Bravo to Romanski for taking a role that could have been played as a whinier version of Charlie Brown mooning over The Little Red-Haired Girl, and embracing the joy and enthusiasm he has for his writing and performing troupe. Though not a doppelganger, Romanski’s look definitely offers a reasonable approximation of what Shakespeare may have looked like as a young man. I particularly enjoyed Romanski’s layering of emotions and reactions to the series of successes and failures his character faces. To say that his fortunes swing like a pendulum is an understatement, yet Romanski never makes his transitions from happiness to despair to fear to ecstasy jarring or overly sudden. He plays the subtlety of Shakespeare as expertly as the bombast, and never allows himself to veer into a parody or exaggerated comic version of the role.

Olivia Hensley’s Viola is another “perfect fit” for her role, with her pluck and determination paired with softness and genuine care for the playwright with whom she finds herself falling in love. Hensley’s look is gently beautiful, with the flowing hair and stylish dresses of an Elizabethan lady of means and stature, which makes her successful disguise as a boy even more impressive. As with Romanski, she never falls victim to caricature, but does change her voice and bodily movement to create both an elegant ingénue and a male commoner who is honestly believable. Her final letter to Shakespeare is a mini tour-de-force, and Hensley is spot-on with her delivery, mixing resignation, sadness, and “smiling against tears” into a brio of emotions that provide one of the show’s most touching moments.

Wessex, the “designated baddie” of the show, is brought to life by William Hollerung, who combines a scheming con man’s superficial charm with a few moments of genuine menace. You don’t like him very much, but you can almost feel sympathy for him, despite the atrocities he commits against Viola, and his overall pomposity and conniving. I would stop short of describing him as a comedic villain, but there is a sprinkling of bumbling humour underpinning his rogueish misdeeds, and Hollerung plays the laugh moments (an especially funny bit involving rotating clothing racks brought the house down Sunday afternoon) perfectly straight, which makes them even funnier. As the most ill-intentioned character in the show, he is ironically dressed in all white, reinforcing his outer layer of respectability. (Nice choice, Costume Designer Molly Morgan.)

The rest of the cast is uniformly solid, which speaks volumes of Director Andrew Schwartz’s skills at casting and direction, as well as the quality of education USC Theatre students are receiving. This was a good play, period; not just a “good college show.” I would personally place it in competition with most professional shows I have seen. The cast was well-rehearsed, the timing and delivery were impeccable across the board, and was over long before I wanted it to end.

Scenic Designer Nate Terracio’s set is semi-minimalist, with a few flourishes of grandeur, which perfectly reflects the events and encounters Shakespeare experiences throughout. I’m not sure whether or not that was the motivating force behind his design concept, but it was most effective in tying together the physical locations and the mindset of the protagonist.

Again, I offer my mea maxima culpa for my tardiness to all involved with this most enjoyable production. Yours faithfully promises to be Johnny-on-the-Spot with getting his job done next time. Bravi, Shakespeare In Love company! You truly created a work of which you can be quite proud.

Frank Thompson is proud to serve as Theatre Editor for JASPER.

REVIEW -- OnStage Production's Hairspray is a Jewel Worth the Trip

“…your eyes can deceive you; don’t trust them.”

-Obi-Wan Kenobi,
“Star Wars: A New Hope”

Tracy sends a cheerful "Good Morning, Baltimore!" to her hometown.

Okay, I will freely admit that the first couple of times I attended a show at OnStage Productions, my eyes concealed a perfect gem, literally at my feet. When one arrives at The Old Mill in Lexington, it looks like someone converted a couple of ancient warehouses into an upscale brewpub, added a small shop or two, then called it a day. While these establishments do exist, there’s also something quite special just a few feet underground.

Housed in a renovated downstairs area, OnStage has created  the look, feel, and atmosphere of a cozy, hip, Off-Broadway house. The space is a bit cramped, and has a slightly “rough at the edges” feel, as I firmly believe all good playhouses should. Be prepared to sit close to your seatmates, but that’s all part of the aura and style OnStage has created in building what could easily be a 100-seat, upstairs, Greenwich Village theatre. Just set your personal space requirements to “NYC mode,” and you’ll have a blast.

Speaking of blasts, Director Robert Harrelson truly blew us away with Saturday night’s performance of Hairspray, The Musical, which continues its run this Thursday-Sunday. With a cast full of talent, and some most innovative staging, Harrelson makes the show work like a well-oiled machine. The set, though simple in design, effectively creates the show’s various locales through a quartet of four-sided columns, outstanding use of lighting to suggest a specific space, and a never-ending flow of kinetic energy from the cast, who all move things around just in time to be perfectly in place for the next scene. The action of the play never wanes, nor does the seemingly boundless energy of the cast. One of the highest compliments I can give a musical is that it “never stops moving,” which perfectly describes this version of Hairspray.

And of the performance, itself? Well, it had me singing along with half the score, and laughing uproariously, often at the most inappropriate jokes and one-liners. Again, I must sing Harrelson’s praises for DOING THE SHOW AS WRITTEN. Hairspray, the John Waters film which gave rise to the musical, was subversive as hell, made fun of cultural stereotypes, and embraced the taboo with mischievous glee. The musical has toned down a bit of Waters’ signature vulgarity, but keeps its norm-shattering and cheeky storyline intact. Harrelson has not altered the script in any way, nor has he “bleeped out” a single potentially-controversial line. This is Hairspray as it was written to be played, not a sanitized-for-grandma production. (Incidentally, I saw several grandma-types laughing and enjoying the show right along with me.) Bravo for Harrelson for his faithfulness to the work, and the ensuing quality that comes with that integrity.

Charity Gilbert, Laiyah Smith, and Jamila Wicker raise the roof as "The Dynamites."

The cast has some double-casting, with about half the roles being played at all performances, with others alternating between two actors. My friends and I saw “Cast A,” and they delivered a fast-paced, turbo-charged, roller coaster of a ride that I’m sure is matched in quality by “Cast B.”

Leading the cast as Edna Turnbladt is Bradley Watts (who shares the role with Jeffrey Sigley.) Watts is great fun to watch, and throws himself enthusiastically into the part. There’s a definite nod to Harvey Fierstein’s Edna, but Watts makes the role his own, not only vocally, but also through the creation of a slightly softer, somewhat less acerbic Edna than we’ve seen from other productions. Without ever losing the comedy or the no-nonsense personality, Watts gives us an Edna that retains her strength, but never at the cost of her femininity. Her rapport with husband Wilbur, played in both casts by Theodore Reynolds, is spot-on, and the two clearly trust each other as scene partners, creating a snapshot of the trust and affection between Edna and Wilbur. Reynolds is appropriately goofy without ever resorting to mugging for the audience, and makes Wilbur the lovable doofus with great success.

As Tracy Turnbladt, Whitney McDonald shines in a role she is clearly delighted to be playing. Her talent is undeniable, and she’s clearly confident in the character choices she has made. A “plus-sized” social warrior and crusader for justice, McDonald’s Tracy is also quite lovely. (Think Nigella Lawson meets a Designing Women-era Delta Burke, with a dash of Adele thrown in,) and serves as a perfect example of how beauty not only comes from within, but also that outer beauty can take many forms. McDonald allows Tracy a sweetness that never compromises her commitment to equality and progress. As for her vocals, one word. Wow! Harrelson has clearly followed the old theatrical adage of “cast the best singers first,” and McDonald can deliver on a ballad or belt the paint off the back wall, without ever losing pitch or sincerity. (Tracy is played on alternate nights by Katie Edelson.)

As foils for the Turnbladt women, we meet Velma and Amber Von Tussle, a former pageant star, and her beauty-queen daughter, Lisa Baker and Zanna Mills, respectively, who share the roles with Leslie Dellinger and JoJo Wallace. Baker brings down the house with her “Miss Baltimore Crabs” number, and Mills, who demonstrated her skill at playing sweet and innocent as Mary Ann in last season’s Gilligan’s Island: The Musical, shows that she can play “mean girl” Amber with equal aplomb. Mills also makes her debut as a choreographer in this production, and the result is a series of well-rehearsed, toe-tapping, fun choreography that almost pulls the audience members into the aisles to boogie down.

As David LaTorre performs with both casts, I can quite literally say that there isn’t a weak (L)ink in the show. (Thanks, folks, I’ll be playing here all week.) In what could easily be a standard, Richie Cunningham-esque boyfriend role, LaTorre find’s Link’s humanity in every sense of the word. Neither Superboy nor “bad boy,” Link finds himself at several personal and ethical crossroads, and LaTorre conveys well his sense of conflict, as well as his desire to do what is right, even if it costs him. Ara-Viktoria Goins is a somewhat sexier Motormouth Maybelle than devotees of Hairspray may be used to, but it works brilliantly with the character’s believe-in-yourself philosophy. Goins, like McDonald, has a huge voice that can shake the rafters, as well as purr seductively, as she demonstrates in her performance of “Big, Blonde, and Beautiful.”

Ara-Viktoria Goins as Motormouth Maybelle.

Much of the social statements in Hairspray center around the budding romance between Seaweed Stubbs (Joshua Wright) and Penny Pingleton (Camryn Harsey, alternating with Kari Tilghman.) Seaweed is black, Penny is white, and it’s 1962, so there’s plenty of era-based controversy over their relationship. While never preachy or heavy-handed, their story strikes at the core message of the play, which is that what’s on the outside doesn’t matter. Both performers approach the material with a light touch, but their message of social justice, equality, and the strength of unity comes through loud and clear. Wright and Harsey both bring strong voices and considerable stage presence to their roles.

Debra Leopard and Mark DiNovo, as usual, turn in memorable, fully-realized, enjoyable characters. While Leopard is a hoot as Penny’s religious-fanatic mother (and also shines in a smaller role as the High School principal,) DiNovo had me doubled over with laughter every time he took the stage. His two “bonus” roles in “Good Morning, Baltimore” and “The Big Doll House” are absolute side-splitters, and his lame-clad Mr. Spritzer is a delight. Linda Lawton Brochin serves up a couple of hilarious cameos, and Karlton Timmerman’s Corny Collins hits all the right notes as a smarmy-but-charming dance show host, and manages to show off a very nice singing voice, as well.

Were there a few negatives? Yes, but none that marred the experience. The musicians (yes, Hairspray utilizes live musicians, which I strongly support) could be a bit overpowering at times, but to be fair, we were seated fairly close to them. A couple of the soloists had to struggle with a note that was too high or too low, and I occasionally missed a lyric or two. There was one small glitch during a scene change, but by the time I even noticed, it had been corrected.

OnStage Productions is a short, 20-minute drive from Downtown Columbia, and I strongly encourage everyone to make that drive. Hairspray is slick, polished, well-paced, and provides a subtle reminder of the importance of equality and acceptance in society.

Hairspray concludes its run this Thursday-Sunday. Tickets can be purchased by visiting www.onstagesc.com

Frank Thompson is Theatre Editor for Jasper.

Next up for the Jasper Project?

Keith Tolen is our first featured artist in the

Tiny Gallery Series

Thursday, October 4th in

Studio #7 of Tapp’s Arts Center https://www.facebook.com/events/975033929365281/

REVIEW: South Carolina Shakespeare Company's The Liar

“Tell me lies, tell me sweet little lies…”

-Fleetwood Mac

 Due to Hurricane Florence, The Liar will end its run tonight!

There are plenty of lies in South Carolina Shakespeare Company’s production of The Liar, previously scheduled to run through Saturday at Columbia Music Festival Association, and not all of them are sweet or little. Actually, there are some absolute whoppers thrown down in this hilarious prevarication-palooza, which playwright David Ives has skillfully translated and peppered with contemporary references, some Shakespeare here and there, and just a hint of sympathy for the eponymous character. Based on the 1644 French comedy, Le Menteur, by Pierre Corneille, the plot is a delightful confection, with a storyline straight out of an episode of Three’s Company. Misunderstandings and mistaken identities abound, lechery is played for laughs, and the bungling anti-hero grows increasingly frantic as his schemes unravel. A somewhat deus ex machina conclusion solves everything by play’s end, and The Liar becomes an honest man…perhaps.

The show opens with a hilarious introduction by Cliton, manservant to Dorante, (who is the titular liar.) As Cliton, Sam Hetler  hits the bull’s-eye with his interpretation of the servant who is much more intelligent than his master. Though this archetype is a stock character in farce, Hetler brings a freshness and sincerity to the role. His is the only character to “break the wall” and address the audience, until Dorante concludes the show with a brief address. Hetler’s opening monologue is part rap, part straight pentameter, and part free-style. Were it not for his period costume (more on that in a minute), one might mistake him for the hands-down winner of an open-mic poetry slam. With his witty delivery and slightly-put-upon demeanor, Hetler masterfully draws the audience into the tale from the very beginning.

Played by SCSC regular, Jeff Driggers, Dorante is an eager young man who abandons his study of  Law to experience all the pleasures and diversions of Paris. (In a delicious twist of irony, Dorante is practically incapable of telling the truth, while Cliton has a comparable inability to tell a lie.) As Dorante, Driggers is a veritable dervish for most of his stage time. Constantly in motion, telling one falsehood after another, with his anxiety growing with every close call, I couldn’t help thinking of The Music Man, and how Driggers is surely destined to play Professor Harold Hill someday. His energy is seemingly boundless, and his delivery and timing are outstanding. My one complaint was that occasionally he spoke so quickly in his con-man patter, I had a difficult time catching each word, but his absolute commitment to the role and slightly over-the-top physicality left no doubt as to his meaning.

Soon enough, he meets two lovely young women, Clarice (Hillary MacArthur), and her friend, Lucrece (Mary Miles). Immediately proving himself a BS artist extraordinaire, he regales the ladies with stories of his battlefield heroism against the German Army. He immediately falls for Clarice, only to misunderstand when Lucrece’s maid, Isabelle, (Brittany Hammock, who turns in a delightful double role) describes her mistress as “the most beautiful one,” and sets his cap to win his inamorata, whom he now thinks is named Lucrece. The three female actors have no difficulty in keeping up with their male castmates, delivering unique, individual, characters who manage to create a cohesive trio (quartet?) without sacrificing or diluting any of their differences. Miles’ Lucrece is appropriately befuddled, without ever resorting to caricature, and uses her facial expressions to communicate just as clearly as her voice. As always, her time onstage is professional and artfully crafted. (After the show, I commented to Miles that if ever I open a playbill and see her name, I know to expect a high-quality performance, and The Liar was no exception.) As Clarice, MacArthur demonstrates not only comedic proficiency, but also an ability to play her unhappy moments with authenticity, while never compromising the overall texture of the silliness surrounding her. Although frequently distressed, MacArthur also provides a sort of calm within the chaos, treating the audience to a layered and complex character. Hammock, with a distinctive half-flowing, half-braided hairdo adding to the illusion, also plays Isabelle’s twin sister, Sabine, who just happens to be Lucrece’s maid. Though played by the same actress, the two roles are somewhat Jekyll-and-Hyde in their differences. Hammock proves that she can play sweet and salty with equal aplomb, and creates two characters with easily-identifiable differences in style and temperament, though I wouldn’t have minded a tiny costume change, such as a hat or scarf, to further punctuate the duality of the roles.

Things get even more turned-around when we meet Alcippe, Dorante’s best friend. Did I mention that Alcippe is engaged to Clarice? The traditional Comedie –Francaise misconceptions and mutually cloudy understandings leave Alcippe constantly vacillating between fury and thick-headed amiability. As played by Josh Kern, Alcippe has the capacity to turn his emotions on a dime (centime?) and clearly revels in playing a hothead and a pleasant fop. Having worked with Kern several times over the last seven or eight years, I have enjoyed watching a kid with a hell of a lot of raw talent grow into a seasoned pro who is quickly mastering his craft.

Also in the melee are Alcippe’s friend, Philiste (Morgan Wood) and Dorante’s father, Geronte (Douglas McConnell), who further complicate matters through relaying inadvertent half-truths and misinformation (Philiste), and arranging for Dorante to marry Clarice, whom Dorante thinks is named Lucrece. While these two roles are somewhat smaller than the rest, both Wood and McConnell make the most of their onstage moments, matching the rest of the cast in skill and commitment to the “reality” of the script.

A story about a midnight boat ride, a hilariously mimed duel, and countless moments of ensuing confusion add to the insanity, with a tidy-if-contrived happy ending for everyone. Director Scott Blanks clearly had a good time creating the frenetic insanity of the piece, yet never allows the chaos to go too far off the rails. Discipline and precision are essential when half the characters are frequently out of control, and Blanks expertly keeps the lunacy tightly blocked and well-rehearsed.

Costume Designer Janet Kile made the interesting choice of dressing each character in a combination of classical and contemporary fashion. (Kern’s plush blue great-coat and Driggers’ ornate vest work particularly well with blue jeans.) While not at all distracting, the costumes helped establish the timelessness of the plot, as does modern scene-change music. (Lady GaGa’s “Bad Romance” was an especially nice touch.) As Cliton, Hetler was the only character to appear in all-period dress, which served his character well, as he not only opens the show by addressing the audience, but comments frequently on the wild events that sweep him along for the ride.

The Liar is a perfect show for those who love classic farce, but it never shies away from its moments of modernity. Playwright David Ives not only translated, but also re-wrote parts of the script, adding multiple modern-day terms and expressions. As with Kile’s costumes and the 21st century music, the dialogue occasionally reinforces the message that similar shenanigans go on in 2018 as went on in 1645.

-FLT3

Frank Thompson is proud to serve as JASPER’s Theatre Editor, and can be reached via email at FLT31230@Yahoo.com

REVIEW: Misery is Optional at Trustus Theatre

"Rest assured there isn’t a weak or underdeveloped character or a wasted moment." - Frank Thompson

Director and Co-Writer Dewey Scott-Wiley

“Words were spoken, hearts were broken, but now I hope you see it was the whiskey talking, not me.”  - Jerry Lee Lewis

--

Though The Killer’s famous ditty about the perils of drinking was considered humorous in the 1950s (and still has a great tune), it’s no longer acceptable to laugh at alcohol/drug induced misbehavior. That’s why I was so pleasantly surprised at how much I laughed during Misery Is Optional, running tonight through Sunday at Trustus Theatre. Developed through the Midlands Tech-based Harbison Theatre Incubator Project, Misery Is Optional is a collection of vignettes and short monologues, taken verbatim from interviews with those suffering from chemical addiction. Their stories are often tragic, but Director Dewey Scott-Wiley wisely includes moments of hilarity throughout the show, without ever abandoning the seriousness of the disease or its impact on its victims and those in their personal orbits. Scott-Wiley’s staging is simple and minimalist, placing the focus squarely on the people and their experiences. While often colorful and eccentric, the many characters embodied by the cast of four are never lampooned or made into cartoonish figures. Scott-Wiley adds a glaze-thin layer of heightened reality at just the right moments, and at other times deals with stark reality head-on. The result is an immersive, emotionally engaging, and accurate-yet-respectful look at the world from the addict’s perspective. Character changes are done seamlessly onstage, with a simple change of hats or donning a pair of glasses, etc.
 

Co-Writer, Christine Hellman

The cast is uniformly strong, and features Scott-Wiley, alongside Christine Hellman, Arischa Conner Frierson, and Jason Stokes. This ensemble of four well-known Columbia actors flows seamlessly from one character to the next. Many are recurring, while others we glimpse only once. From well-heeled society alcoholics to homeless heroin addicts, the entire socio-economic spectrum is explored, subtly driving home the point that addiction cuts across all cultural lines. There is no linear plot, per se, but there is an unmistakable thematic arc, taking us from the darker, hopeless stories through the process of intervention and treatment, and ending on a bright note of hope.

Each of the four performers presents a chameleon-like ability to seamlessly navigate the waters of dialect, social class, education level, and a spectrum of emotions, which will likely leave each theatre-goer with his or her favorite characters, so I won’t prejudice anyone by sharing mine. Rest assured there isn’t a weak or underdeveloped character or a wasted moment. Scott-Wiley utilizes a circular-pattern style of blocking throughout the show, which creates a perpetually kinetic atmosphere. Whether physically or emotionally, there is always motion, and the overall pacing and fluidity of the show are clearly well-rehearsed and perfected.

Misery Is Optional is a non-season special event, being hosted by Trustus, so there are only three more chances to catch it. I would urge anyone who enjoys good theatre to experience this production. This isn’t a “Hey kids, don’t do drugs” Afterschool Special, nor does it speak only to those in recovery. It has a message, but it’s also a fascinating, funny, and enjoyable show.

REVIEW: Jon Tuttle's Boy About Ten at Trustus Theatre

“A talent for drama is not a talent for writing, but is an ability to articulate human relationships.” 

-Gore Vidal

John Tuttle is, by any standard, a man with a talent for writing, but after seeing the world premiere of his play, Boy About Ten, I can affirm that he is also quite adept at articulating human relationships. Indeed, the oft-troubled intertwining of Boy About Ten’s dysfunctional, but (somewhat) connected nuclear family of four, drives the plot of Tuttle’s work, taking a well-written piece to the level of a performance bristling with all the sharp edges relationships can provide. This is not to suggest that the production currently running at Trustus is without laughter or light-hearted moments. It may be a tragicomedy, but Boy About Ten doesn’t hesitate to let the tragic cede the stage to the comedic in a legitimate, story-faithful way. In his program notes, Trustus Artistic Director, Chad Henderson, comments that “this play has undergone a more involved development process than our previous Playwrights Festival winners or commissions,” which no doubt contributed to the feeling of polish and streamlining found in the script. I managed to make notes on some of the truly standout lines, but by no means is my list comprehensive.

The play opens with D’Loris (Lonetta Thompson), a kindhearted but world-weary social worker, dealing with what is clearly a family in distress. She is trying to prepare Todd (Tommy Wiggins), the elder son, to go to his mothers’ house for a week. Todd is obviously troubled in multiple ways, but is largely nonverbal, using a set of oversized headphones to drown out the conflict which surrounds him, while hiding his face behind his chin-length bangs.  As usual, Thompson creates a fully-realized, textured character, who has flaws as well as sincerely caring nature. I never tire of seeing Thompson onstage, as she is always completely immersed in and committed to her character and the moment. It would have been the easy way out to depict D’Loris as either a hyper-idealistic Wonder Woman, or as a “honey, I’ve seen it all,” world-weary cynic, but Thompson chose to create someone in-between, and in the process, gave the audience a layered, complex, and realistic performance. Kudos also to Wiggins, a former Trustus Apprentice Company member, making his mainstage debut. Though Todd doesn’t speak much, especially in the early scenes, his body language, movement style, and a sort of self-embrace clearly establish him as a damaged human being, doing his best to avoid his psychic pain. When it is revealed that he is a self-cutter/burner, it is a bit of a shock, but totally believable for the character he has, by that point, made three-dimensional. I suspect we’ll be seeing much more of Wiggins on the Trustus stage in seasons to come, and I look forward to watching his development as an actor.

The arrival of Tammy (Jennifer Hill), lightens the mood by, ironically, introducing the least likeable of the five characters. Hill’s Tammy is brash, flashy, loud, and obnoxious, fancying herself far above the rest of the family. She dresses herself in designer clothing, while a couple of mentions are made of the kids’ clothes coming from Goodwill, and she personifies the cliche of the “helicopter parent,” dispensing screechy advice and criticism thinly veiled as “encouragement.” Hill’s comedic timing is absolutely spot-on, and she brought Friday night’s house down with such well-penned verbal spewings as “I was once a Sweet Potato Queen, now I’m a Cyclops!” (It seems that Tammy has a glass eye, which is broken, requiring her to wear an eye patch.) Clearly proud of her somewhat meager accomplishments, she touts having played Yum-Yum in a community college production of The Mikado, along with a few other small successes, in an attempt to impress D’Loris, who is eventually prompted to ask “what the hell is wrong with you people?” The moments of conflict between Tammy and D’Loris establish a curious dynamic. Tammy, in her own twisted, control-freak way, wants the best for her children, while D’Loris tries to help establish exactly that, which eludes the self-centered Tammy.

One gathers fairly quickly that Tammy is at her ex-husband’s house to swap out the younger son, Timmy, (Daniel Rabinovich), who is a straight-A, rule-abiding, do-gooder, complete with Webelos Scout uniform, and practically a stranger to Todd, and the two react somewhat cautiously to each other. (I may have missed an important line or mention of the situation, but it is clear that the brothers have not spent much time together.) Rabinovich demonstrates an actor’s sensitivities quite impressively, especially for a young actor. His character arc may well be the most dramatic in terms of growth and change, and he handles it like a true pro. As with Wiggins, this is a young man to watch.

Once all is settled, Timmy is left alone with his father, Terry. Played by Trustus mainstay, Paul Kaufmann, Terry is an affable, childlike n’ere-do-well, whose love for his sons manifests in an “at my house, there are no rules” dynamic. (When asked by Timmy if they can attend an Imax film or visit the Planetarium, Terry immediately scoffs at the thought of an educational outing, at least in the traditional sense.) Kaufmann, without ever breaking the established reality of the play, or mugging to the audience, brought to life an enchanting man-child, reminiscent of Tom Hanks in Big, with a dash of Bertie Wooster and Falstaff tossed in. To Timmy’s growing amusement, the two of them chug Cheerwine (no sodas allowed at Tammy’s house), fight ludicrous pretend war games against “Vagicilla, Dark Queen of the Nether Regions” (inspired, no doubt, by Tammy), and Timmy frequently receives his father’s military decorations, which may or may not be legit. It was at this point that I began to wonder about the show’s eponymous title. Was Timmy the Boy About Ten, or was his father? Had the parent/child dynamic between them already shifted before the action of the play began? Kaufmann, incidentally, scores one of the biggest laughs in the show while telling Timmy about his days in an ersatz KISS cover band. “You can always tell when chicks dig you. They chew their gum at you…like meat!”

A brief in-one scene gives us our sole glimpse of life at Tammy’s house, when the focus is, both literally and figuratively, on Todd, who is passively receiving an unwanted haircut from his mother. A special tip of the hat to Lighting Designer Laura Anthony, for transforming a simple floor lamp into a “where were you on the night of the robbery?” beacon. This is an occasion upon which the lighting truly made the scene for me. We, the audience, are semi-blinded by the intensity of the same light shining into Todd’s eyes, and subject to the same jabber from Tammy. Like a police officer in a bad, made-for-TV crime drama, she prattles on and on about how Todd should want to be “normal” and make friends “like all the other boys,” painting a Leave It To Beaver lifestyle, which will supposedly emerge with a haircut and a suit from Goodwill. Interrogation/indoctrination and “tough love” establish an uneasy coexistence at Tammy’s house, and the two children she raised reflect that. Timmy’s unblinking obedience earns him praise, so he obeys. Todd, whom I assumed to be somewhere on the autism spectrum, is unable to deal with what his senses perceive as blinding light and a barrage of impossible commands. Though short, this scene impacted me. I began to wonder through whose eyes we were seeing any given situation, and then viewing each scene from each character’s angle. Thank you, Jon Tuttle, for this (I’m guessing) three-page scene, which widened the lens through which I saw the rest of the play. Though she was the antagonist of the scene, it allowed a glimpse into Tammy’s desperate desire for a “normal, happy, family,” and humanized her for me.

I won’t go into too much detail about the second act, as it is, essentially, a minefield of spoilers, and much of what happens requires the elements of shock and surprise to work. While not without laughs, the second act takes a somewhat darker turn, with a grim family story, involving animal abuse, being revealed. (*While no violence is depicted onstage, a gruesome monologue could be mildly to moderately triggering for some.*) Terry childishly endangers his and Timmy’s lives at the end of act one, the aftermath of which, we see in act two. Todd returns, neatly trimmed and besuited, but still distant, albeit with the occasional smile of hope. Toward the end of the play, we discover that Terry suffered physical wounds far worse than Timmy’s while saving the boy from the dangerous results of his (Terry’s) recklessness. Romantic impossibilities are pondered and argued, D’Loris loses another crumb of her idealism, but hangs on to hope, Timmy takes his first step toward adult cynicism, Tammy reveals some game-changing information, and the family is left as we found them; bruised and battered, but oddly okay. The playwright leaves us with the idea that life will simply go on, and with the insanity and bizarre love in this family, who can even speculate on the eventual outcome?

Director Patrick Michael Kelly has taken an artfully written play, refined by much workshopping, and brought to the stage a world of slightly-heightened reality, never losing sight of the connecting themes of family and what it truly means to care for someone.

So, who is the Boy About Ten? I have my suspicions that each character, with the exception of D’Loris (who serves as the impartial observer and voice of reason) is that boy. Perhaps that answers my earlier question, and tips us off that the show is seen from D’Loris’ perspective.

Boy About Ten is an engaging, thought-provoking, and most enjoyable play, and a worthy addition to the Tuttle ouvre. Only four performances remain, so get your tickets now!

-- Frank Thompson

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Tickets can be purchased online at Trustus.org , or by calling the Trustus Theatre box office on 803.254.9732

Remaining performance dates are:

Wednesday, August 22 – 7:30pm

Thursday, August 23 – 7:30pm

Friday, August 24 – 8:00pm

Saturday, August 25 – 8:00pm

Frank Thompson is the theatre editor for Jasper Magazine - contact him at flt31230@yahoo.com

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Jasper Magazine Welcomes New Theatre Editor - Frank Thompson

The Jasper Project is delighted to announce the addition of Frank Thompson to the editorial staff of Jasper Magazine effective immediately. Frank will serve in the role of Theatre Editor. You can learn more about Frank below.

FRANK THOMPSON holds a BA from The University of Alabama, and a JD from Cumberland School of Law. Originally from Alabama, Frank's two great passions in life have always been writing and the theatre, and he is excited to embark on this new journey, combining the two.

Frank had an auspicious start to his writing career at age 8, with a story printed in an ARCHIE comic book, to the far loftier achievement of having his short story, 'Que, published in A SENSE OF THE MIDLANDS by Muddy Ford Press, Frank has never stopped scribbling down his thoughts and hoping someone will read them. Along the way, he has written several plays for children, produced by Tuscaloosa Children's Theatre, (more years ago than he cares to admit,) short essays and observations for his college newspaper, radio comedy and original sketches for Tuscaloosa's Z-102 and FOX96 radio stations, where he also worked as on-air talent, theatre reviews for the Birmingham theatre website, (ebhm.org), local spots for WBHM, (Birmingham's NPR affiliate), and is currently working on his first book, tentatively titled "A CANCER SPOUSE'S SURVIVAL GUIDE," chronicling his wife's successful battle with breast cancer, from a husband/caretaker's point of view.

In the Columbia blogosphere, Frank's writing can be found on "The Goodlife Blog" for Goodwill Industries "Broke In Columbia," and in JASPER.

Theatrically, Frank has performed professionally with THE LOST COLONY, Birmingham Childrens' Theatre, and was cast as General Glossop in the first non-Equity national tour of JEKYLL & HYDE, again, more years ago than he prefers to recall. Before moving to Columbia in 2010, Frank was active since childhood in the the Birmingham, AL, theatre community, serving seven years as Artistic Director for CenterStage, and three years in the same capacity with Theatre LJCC. As a performer, his favourite roles include Freddie in NOISES OFF, The Proprietor in ASSASSINS, Igor in YOUNG FRANKENSTEIN, Thurston Howell III in GILLIGAN"S ISLAND:THE MUSICAL, and Gomez Addams in THE ADDAMS FAMILY: THE MUSICAL.

Directorially, he is most proud of his work on THE KING AND I, and CAT ON A HOT TIN ROOF (Birmingham), and AROUND THE WORLD IN EIGHTY DAYS, CHICAGO, Ho! Ho! Ho!, and PEOPLE ARE STRANGE, a cabaret which he produced and co-wrote (Columbia.)

Frank is proud to serve as Vice-President of Workshop Theatre's Board of Trustees, and has presented his one-week sketch comedy class, "Funny By Friday" at Trustus Theatre and Fine Arts Center of Kershaw County.

He is also a Certified Teaching Artist with South Carolina Arts Commission.

REVIEW: A Bright Room Called Day by Frank Thompson

“It was the best of times, it was the worst of times, it was

the age of wisdom, it was the age of foolishness, it was the

epoch of belief, it was the epoch of incredulity, it was the

season  of  Light,  it  was  the  season  of  Darkness,  it  was  the 

spring  of  hope,  it  was  the  winter  of  despair,  we  had 

everything before us, we had nothing before us, we were

all  going  direct  to  Heaven,  we  were  all  going  direct  the 

other way—in short, the period was so far like the present

period…”

-Charles Dickens

“A Tale Of Two Cities”

   After seeing Trustus Theatre’s production of A Bright Room Called Day on opening night, I have made it a point to “talk up” the show as much as possible, but (with sincere regret) I have just now been able to write a review. With all due apologies and a promise not to make a habit of late-posting, I would like to now offer my thoughts on what may be the most riveting show I’ve seen at Trustus since August: Osage County, a couple of seasons ago. There are two remaining performances, Friday and Saturday, 2 and 3 February. In brief, you need to see one (or both) of them.

   While a completely different show in almost every way, A Bright Room Called Day does have a quite literal kinship with its predecessor. August: Osage County was the last show directed at Trustus by its beloved founder, the late Jim Thigpen, and his daughter, Erin Wilson, masterfully directs A Bright Room Called Day. This is the first of Wilson’s work I have seen, and it’s quite clear that both her professional training and the lessons she no doubt learned at the knee of her father have come together to create an insightful, skilled directorial eye and style all her own. Wilson’s attention to the small details of movement and human interaction in a confined space creates a pleasantly cozy feeling in the early scenes, which slowly morphs into a trapped, claustrophobic aura by the end of the performance. (Ironically, as fewer people occupy the room, it seems to grow smaller and more prisonlike.) 

   Pulitzer-winning playwright Tony Kushner wrote A Bright Room Called Day in the 1980s, outraged at then-President Reagan for his (Reagan’s) lack of any apparent concern over the AIDS crisis. (Indeed, Reagan is invoked in the modern-day side story that serves as a point of comment on the main story. More on that in a moment.)

   Though Reagan was the bete noir when the show was penned, Wilson has, without changing the script, clearly suggested that we examine the politics of 2018 and what’s going on all around us. The story, while interesting, is an oft-told one. A group of what might well have been called “undesirables” share good times together, only to be divided both philosophically and literally by the rise of The Third Reich. The scenes set in early 1932 could easily have been played in a contemporary 2016. Liberalism seems firmly established, there’s toasting and optimism (the show opens on a New Year’s Eve celebration), and the charmingly eccentric group of characters we meet are leading happy, bohemian lives and freely share their common views as well as their disagreements without rancor. There’s an opium-addicted film star, a devout Communist, a homosexual man-about-town, a one-eyed film-maker, and a seemingly meek actress of lesser fame, who owns the apartment and revels in their company.
 

   As the scenes and time progress, we sense a growing feeling of unease as Germany begins to undergo a multitude of bad decisions and changes for the worse. Through dialogue and a positively masterful use of projected titles, we follow the Nazi party’s initial defeats, its growing influence, and President von Hindenburg’s eventual hesitant appointment of Adolf Hitler as Chancellor. From there begins the inevitable unraveling of the social fabric, both large-scale and among the small circle of leftists who inhabit the small apartment.

   Without beating the metaphor to death, or even mentioning his name, the “Trump as Hitler” theme rings loud and clear, speaking not only to the skills of the director and cast, but also to the timelessness of Kushner’s script. The 1930s scenes are intercut with a series of 1980s monologues by a young woman of high-school age (remember the side story?), who writes daily hate-mail letters to President Reagan, and offers a great deal of commentary that is just as applicable today as it was in the days of The Love Boat and the Commodore 64 computer.

   The second act brings to the forefront the horrors of Berlin in the early 1930s. The Reichstag fire, book-burnings, and the official opening of Dachau are mentioned, one of the characters suffers a beating, another essentially chooses to collaborate, still another flees for his safety, and Agnes, the owner of the flat, wonders aloud if she will ever leave.

   There are also other visitors to the apartment, none terribly welcome. A pair of friendly-but-don’t-push-us bureaucrats visit Agnes to “encourage” her to rethink her upcoming performance of a skit involving a “Red Baby”, complete with painted baby doll to emphasize the message. There can be tremendous intimidation in ersatz kindness and calm, and the actors in these roles convey just that.

   The story takes two turns toward surrealism in the characters of Die Alte (which, thank you Google, translates to “the old” or “the ancient”) and Gottfried Swetts, who just happens to be Satan. As the representatives of the otherworldly, each is clearly defined as unique in the reality of the main story. Die Alte is wraithlike, eerie, and seems to move freely about within the darkness. Swetts, by contrast, is dressed spiffily in an expensive-looking suit and topcoat. (A word to the wise: don’t pet the Devil’s dog.) At first the inclusion of these characters seemed out-of-place to me, but upon further reflection, what could be more appropriate than vaguely malevolent absurdity in a play about a historically significant collapse of reason and sanity?

   By now you have probably noticed that I haven’t mentioned any actors by name. That’s because director Wilson and her team have produced an almost-flawless piece of ensemble theatre by a cast of top-tier performers. There is no “standout” because this group contains no weak links. The roles are superbly cast, and the chemistry amongst them is clear. Therefore, I offer my congratulations and unfettered praise to Krista Forster, Jonathan Monk, Jennifer Hill, Becky Hunter, Alex Smith, Mary Miles, Frederic Powers, Elena Martinez-Vidal, Paul Kaufmann, and Avery Bateman. Each of you truly disappeared into your characters.

   Danny Harrington does a commendable job with the set, somehow making a pre-war German flat and a 1980s classroom cohesively exist on the same stage. In what may or may not have been a deliberate choice, one of the paintings on Agnes’ wall is partially obscured by what seems to indicate either fallen plaster or water damage. This image spoke strongly to me, and seemed an apt representation of how none of the characters, from the most innocent to the most evil, ever seemed to grasp the larger issues, or “see the whole picture” if you will.

   With one final apology for being so late in turning in my homework, I strongly encourage anyone who hasn’t yet seen A Bright Room Called Day to catch one of the two remaining performances. You’ll leave thinking.

Reviewer Frank Thompson

REVIEW: Building the Wall at Trustus by Frank Thompson

“Your eyes can deceive you. Don’t trust them.”
- Ben (Obi-Wan) Kenobi, Star Wars

  As is often the case in my experience with Trustus Theatre, I left Saturday night’s performance of Robert Schenkkan’sBuilding The Wall with a completely different story in mind. Just as their recent production of Barbecue had me humming a tune from Jekyll & Hyde: The Musical as I walked to my car, Building The Wall  left me contemplating the Star Wars saga, specifically the themes of redemption and the oft-blurred lines between good and evil.  This speaks well to the universality of the themes being examined this season at Trustus. If a new piece of work can activate the emotions and associations of the audience member, there’s an immediate sense of connection with the story. Not to get overly existential about it, but (with only a slight wink at the company’s name) it creates an immediate sense of trust in the script. Part of Trustus’ overall philosophy is that theatre is storytelling, and the story in Building The Wall is tightly and unapologetically told through two characters, each of whom is much more than our eyes reveal.

   Staged in Trustus’ “Side Door” black box theatre, Building The Wall is a touch claustrophobic and uncomfortable, especially pre-show, when one of the play’s two characters sits and waits for someone to arrive, for something to happen, or perhaps simply passes the long, boring day of a prisoner in solitary confinement. Rather than being drawbacks, the forced intimacy and uncertainty about the silent, orange jumpsuit-clad man onstage establish an overcrowded jail atmosphere, enhanced by subtle sound effects that go from barely audible to noisy and back to near-silence in no particular order or pattern. Director Jim O’Connor puts a masterful touch on establishing place and theme well before the show begins, and his skill remains on display through the next 90 minutes, which leave the collectivemoral vision of the audience inside a fun-house mirror room.

   The story is a simple one, but chilling in the way only a “this could actually happen” cautionary tale can be. Security guard Rick, played by J.B. Frush-Marple, is in prison in 2019, for crimes against humanity, and he is visited by a History Professor, Gloria (Lonetta Thompson), who seeks to understand his actions. Their initial meeting provides a stark contrast in visual types, with Frush-Marple bearing a strong resemblance to a taller, slightly leaner Hugh Laurie of House fame, complete with requisite stubble. He slouches and paces, as his emotions motivate him, and his jumpsuit immediately establishes “criminal.” Thompson, by contrast, is very put-together and professionally dressed. Given the sophistication of her vocabulary compared to Rick’s, there is clearly an education gap, but once again, the eyes (and ears) can deceive. Rick turns out to be far from the cornpone stereotype he first seems, and Gloria has much more to her than a “liberal female academic” stock character.

   During the interview, Rick tells Gloria a story many of us fear is all too possible. Following a terrorist attack on Times Square, the president declares martial law, and begins rounding up immigrants from multiple countries for deportation. Not understanding the incredibly challenging logistics of such an operation, the government sets up holding stations…which become tent cities and worse.  As this gruesome progression continues, Rick is all too aware of what’s happening, but needs his job for the insurance to care of his two children, at least one of whom has serious medical difficulties. Rick is a man caught in a place of terrible conflict.  Rick speaks with sincerity about his black friends, and the audience actually feels a touch of sympathy for this most unsympathetic (at first glance) character. Even when pressed about Muslim friends, he admits to not having any, but says he’s “got no problem” with them, commenting that “they kinda keep to themselves”. Don’t misunderstand – Rick is still a shitkicker Texan, and unlikely to join the ACLU, but there’s no hate in him, and certainly not homicidal tendencies. The more we get to know him, the more we understand his plight, and feel a begrudging sympathy for this lower-middle-class Sad Sack who seems to have caught every bad break life could offer, including taking the fall for “just doing his job”. Frush-Marples manages to capture the conflict between what one would imagine to be prejudices learned from the cradle, and new perspective brought about through the horrors he has witnessed.

   As Gloria, Thompson brings her signature coolness and poise to the role. One of the things I admire about her acting style is that she always seems to be the person in control of the situation, even when she isn’t. As mentioned above, Gloria’s use of academic terminology and an advanced vocabulary suggest a well-to-do, Ivy League type, yet she mentions her Ford Fairlane which has needed a full engine rebuild for at least a year, indicating that she is not as affluent as she may appear. This could easily have “knocked her down a peg or two,” but Thompson’s most effective combination of full acceptance of what we now know to be the life of a struggling teacher, combined with her utter calm (well, practically utter) at the raging, doubletalk, and moments of true sincerity from Rick establish her as the voice of calm and reason. It is Gloria with whom we naturally sympathize, yet even she loses her cool for a second or two here and there. Neither the demon nor the saint is fully without a drop of the other’s virtues, which kept bringing me back to the light and dark sides of The Force. I won’t beat the Star Wars comparison to death, but some strong thematic parallels are there.

   The set is simple, slightly cramped, and a bit harshly lit, as would be the case in a prison interview room. Props to Brandon McIver and Frank Kiraly, respectively, for these nice touches of verisimilitude.

   Building The Wall is a thought-provoking, frightening, and realistic play that will leave you thinking. Also, the entire show is performed in one act, so if you order an interval drink before the show, you’ll wind up hanging out and drinking it, chatting away to various production team members, while the company closes up shop for the night. I speak from experience.

   When I was a kid, one of my favorite comic books was a Marvel title called What If…, an anthology series, which featured monthly stories on how changes to canonical history would have changed the outcome. (“What If Spider-Man Had Joined The Fantastic Four”, as I recall, had a fairly tragic ending, and the writers weren’t afraid to make a hypothetical turn out badly from time to time.) In many ways, Building The Wall is a real-life version of that comic book. This is a What If… that has the potential to come true.  I responded to it both as a piece of political theatre and as a master class in textured acting from two talented, experienced, pros.

   It isn’t a night full of laughs, nor should it be, but Building The Wall is an important work with a message that needs to be heard. Bravo to Trustus for once again being unafraid to address controversial and sometimes disturbing situations and themes. This is “Grown-Up Theatre” at its best.

-FLT3

REVIEW: Barbecue at Trustus Theatre - Frank Thompson

“There’s a face that we wear in the cold light of day.
  It’s society’s mask, it’s society’s way,

  But the truth is that it’s all a façade…”

-Jekyll And Hyde: The Musical

   When Frank Wildhorn penned the above lyrics for his adaptation of the classic tale of The Strange Case Of Dr. Jekyll And Mr. Hyde over two decades ago, he probably didn’t anticipate them being used in the introduction of a review for a yet-to-be-written play about a family staging an intervention, but the song has been stuck in my head since seeing Friday night’s performance of Robert O’Hara’s Barbecue. As usual, Trustus Theatre has selected a multi-layered, thoughtful, and well-crafted piece of work to open the 2017-2018 season. It also happens to be hilariously funny at times, especially early on, as we are introduced to a series of social misfits gathering for a cookout/confrontation in hopes of persuading the meth-addicted Barbara (Christine Hellman and Devin Anderson) to get the help she desperately needs. Known also as “Zippity-Doo”, Barbara is the loosest cannon on a full deck; her would-be rescuers each have substance and/or personal issues, and the family is a nigh-stereotypical dysfunctional, lower-middle-class bunch.

   It would be impossible to adequately review the performance without revealing a few spoilers, so if you want to go in completely blind, stop reading now and take my word that Barbecue is well worth your time and money.

   If you’re still reading, I promise not to give away all of the surprises, but to avoid confusion, I’ll go ahead and say that each role is double-cast, with one family entirely African-American, the other entirely white. The two families are identically named and costumed, with only minor (or so it seems) differences between them. Both Barbaras are addicts, and the set-up for the intervention, etc., utilizes almost identical dialogue, with a few cultural colloquialisms and stylistic choices unique to each group. The first act alternates scenes between the groups, with a fairly close-to-real-time overlap until a big reveal at the end of the first act, at which point we realize that we’re watching a reality show onstage. (The TV series Intervention is actually mentioned several times). But which “reality” is real? Over drinks at intermission, several friends and I guessed what would happen as well as what was going on. We were all incorrect, which illustrates the artistry of the playwright in avoiding the obvious in a play populated by what seem at first to be two-dimensional characters.

   The show opens with a laugh-riot, profanity-laden, monologue by Christopher Cockrell as Barbara’s n’ere-do-well brother, James T., who wants nothing to do with any of it, yet is forced to set up for the party alone. Having seen Cockrell mostly in dramatic, serious roles, I was most impressed with his flawless comedic timing, as well as his ability to convincingly play a lowbrow redneck. It’s always enjoyable to see familiar faces in roles outside their personal norm, and Cockrell’s James T. is just that. Matching Cockrell’s stage presence and skill, Kendrick J. Lyles appears as the black James T., who, while slightly more laid-back, is the same scruffy, beer-swilling schlub as his white counterpart. One has a mullet, the other dreadlocks, but they’re both reluctant, unimpressed with the plan, and would rather be anywhere else.

   Krista Forster and LaTrell Brennan share the role of Barbara’s sister, Marie, who has plenty of her own secrets. As with Cockrell and Lyles, both performers manage to create the same character with just enough differences to keep things interesting. While each Marie is self-serving and hypocritical, Forster’s is a bit more aggressive somehow, with Brennan’s interpretation bringing out a slightly softer side. Rather than being a distraction, this adds another layer to the almost-but-not-quite-identical nature of the two families. One gets the idea that Marie is following fairly closely in Barbara’s footsteps, which is supported by slight differences in the two Barbaras that mirror the personality of each Marie. Kudos to director Ilene Fins for weaving such subtleties into the parallel universes.

   Trustus mainstay Elena Martinez-Vidal plays the white incarnation of Aldean, a chain-smoking opioid addict who is battling breast cancer. With her edgy, crass, and selfish nature, Aldean could easily be the most-disliked of this crew of undesirables, but Martinez-Vidal brings a raffish lovability to the role. She’s the cranky old aunt or neighbor lady whose nastiness is somehow endearing. Her counterpart, Mahogany Collins, is just flat-out hateful, with hilarious results. In the hands of a less skilled actress, this approach could have fallen flat, but Collins brings such sincerity to Aldean, you can’t help cracking up at her most venomous lines. This was my first time seeing her onstage, and I certainly hope it won’t be the last.

   Two more familiar faces on the Trustus stage, Dewey Scott-Wiley and Marilyn Matheus, provide what semblance of stability the family has in Lillie Anne, the harried organizer and driving force behind the intervention. It goes without saying that each of these seasoned pros turns in a solid, well-developed performance, but as an added layer to an already complex set of circumstances, the two Lillie Annes also helped define each family. Each has seen tragedy and loss, but seemingly from different directions. With Scott-Wiley’s Lillie Anne, there’s a slightly frantic quality which suggests a family in decline, while Matheus’ solid, no-nonsense Lillie Anne has the aura of someone who has pulled herself up beyond her beginnings. The script does not address the issue, but the performances suggest one person who is desperately trying to fix something broken, while the other is calmly determined not to let things get any worse.

   And of Barbara, herself? Well, that’s where things get complicated, and (SPOILER ALERT!!!!) once we discover that Hellman’s is the actual Barbara, the story splits open, and we see Anderson in her true identity: a successful singer who plans to conquer Hollywood by bringing Barbara’s story to life onscreen. (While in rehab, Barbara wrote a best-selling book about her experiences). In one of the show’s strongest scenes, the two play a game of cat-and-mouse over identity and reality, with Barbara claiming to have made up the entire story, which doesn’t seem to matter at all to the singer, who has her eyes on the Oscars and nothing else. Without giving away too much, I’ll just say that everything from race to sexual identity is addressed in the scene, with the overwhelming message being that reality is subjective and what you see isn’t always what you get. By the end of the scene, the two have merged in a way, and the audience is left wondering how many layers of deception and fakery just occurred, and if a “real” Barbara has faded into a pastiche of lies and re-writes. Hellman and Anderson manage to create just enough doubt about…well, almost everything. Watching their interaction and the game of one-upsmanship literally had me on the edge of my seat and figuratively doubting my sanity as each “revealed” something that may or may not have been true.

      By the end, all is made clear, but the path takes several more twists along the way, dropping in one or two more revelations that tie the two worlds together. The final moment of the show (which I won’t reveal) brought laughter from some, gasps from others, and a whispered-but-distinct “daaaaaaaamn” from someone in the row behind me. For a script which addresses and bases itself on relativism and skewed perspective, I can think of no better reaction. Barbecue is a fresh, thought-provoking, mind-twisting, funny, vulgar, and intelligent piece of theatre, with a strong cast and ambiguous storyline that leaves you scratching your head a little. It’s a perfect show for Trustus, and Artistic Director Chad Henderson is clearly committed to continuing the theatre’s goal of bringing new works of high quality to the stage. His opening night welcome to the audience included a tribute to his mentor, the late Jim Thigpen, whom I have no doubt would have taken great pride in Barbecue.

Frank Thompson is a graduate of The University of Alabama and Cumberland School of Law, who has made his home in Columbia since 2010. He has performed, taught classes, and/or directed with several local theatres, and co-writes a column for "The Good Life" blog for Goodwill Industries, along with his wife, Laurel Posey. His essay, 'Que, was featured in the 2014 edition of Fall Lines by Muddy Ford Press.

Jasper Announces 2014 JAYS

Jasper Magazine is delighted to announce the winners of the 2014 Jasper Artists of the Year awards. Winners were announced on Friday, November 21^st at a fundraiser gala for the magazine at Columbia’s historic Big Apple at Park and Hampton Streets, amongst a crowd of 150 guests.

Winners include Katie Smoak for dance, Darien Cavanaugh for literary arts, Greg Stuart for music, Kathleen Robbins for visual art, and Catherine Hunsinger for theatre.

The evening’s entertainment was provided by swing dance masters Richard Durlach and Breedlove, who are featured in the November/December issue of Jasper Magazine, and who demonstrated and taught attendees how to dance the Big Apple dance, made famous in 1937 at the historic Columbia location. Vicky Saye Henderson and the Apple Jacks, a new period musical ensemble comprised of Greg Apple, Christopher Cockrell, Chase Nelson, and Henderson, entertained with songs from the era, and Terrence Henderson emceed the event. Catering was provided by Scott Hall Catering. Rob Sprankle was the photographer.

Sponsors for the evening included Bourbon Columbia, City Art Gallery, HoFP Gallery, Peter Korper Realty, Coal Powered Filmworks, Burt Pardue, Billy Guess, Jody and Jeff Salter, Pura Wellness Spa, and an anonymous donor. The gala committee was comprised of Lauren Michalski, Bohumila Augustinova, Rosalind Graverson, Margey Bolen, Annie Boiter-Jolley, and Jasper editor Cindi Boiter.

Nominees for Jasper Artist of the Year (JAY) were solicited from the public early this fall based on individual artistic achievement from September 15, 2013 until September 15 2014. Committees of experts in each of the disciplines reviewed the nominations and narrowed the candidates down to three finalists in each field. The public was then invited once again to vote on their choices in each of the five categories. Finalists in dance were Smoak, Thaddeus Davis, and Caroline Lewis Jones; in literary arts, Cavanaugh, Julia Elliott, and Alexis Stratton; in music, Stuart, the Can’t Kids, and the Mobros; in visual arts, Robbins, James Busby, and Eileen Blyth; and, in theatre, Hunsinger, Robert Richmond, and Frank Thompson.

Outgoing JAYS for 2013 include Terrance Henderson for dance, Vicky Saye Henderson for theatre, the Restoration for music, Philip Mullen for visual art, and Janna McMahan for literary art.

For more information on Jasper and the 2014 JAYS visit www.Jaspercolumbia.net.

Jasper Announces Finalists for 2014 Artists of the Year - Time to VOTE!

Jasper and Muddy Ford Press and delighted to announce the finalists for

Jasper 2014 Artists of the Year

in Dance, Theatre, Music, Visual, and Literary Arts

Theatre

Catherine Hunsinger, actress

• Eponine, Les Miserables (Town Theater)
• Seven roles and cello, A Christmas Carol adapted by Patrick Barlow (Trustus Theater)
• Willowedane Poole, Constance [by the Restoration] (Trustus Theater)
• Fest 24 actor, Group 5 – Prom Night (Trustus Theater)
• Actress/Soloist in “The Orchestra Moves”, a South Carolina Philharmonic childrens’ concert series
• Actress/Soloist in the Americana concert of South Carolina Philharmonic’s pops series (St. Andrews Sisters)
• “Nasty” in Larry Hembree Bring Your Own Dinner Theater Fundraiser (Trustus Theater)
• Actress in First Citizens Commerical with Mad Monkey
• Actress in Pillar Awards short film with Larry Hembree
• Ensemble in Young Frankenstein (Workshop Theater)
• Veronica, Carnage (Living Room Theatre)
• Katherine, Blue Moon (Short film by Jeff Driggers)

Robert Richmond, director

• TEMPEST at the Warehouse in Greenville, SC
• FINDING RICHARD – USC  – Undergraduate female production of Richard III that exposed 26 students  and gender bended a Shakespearean history play, while exploring acting in a close up and personal arena.
• DREADFUL SORRY  – The winner of the South Carolina 2010 Film Commission grant was screened in the Orlando Film Festival. This movie gave on screen and behind the camera experience to over 45 students at USC.
• RICHARD III at the Folger Theatre, Washington, DC
• HAMLET USC – Set in an asylum the production focused on Hamlet’s madness and was inspired by America Horror Stories.
• Audio Book of RICHARD III – Folger Shakespeare Library – Continuing my passion to bring Shakespeare into the 21st Century this recording is the 6th fully dramatized production published by Simon & Schuster.
• WINTERS TALE at the Academy for Classical Acting, Shakespeare Theatre Company, Washington, DC
• A TALE TOLD BY AN IDIOT at Clark Studio, Lincoln Center, New York
• Audio Book JULUIS CAESAR Folger Shakespeare Library

Frank Thompson, actor and director

• September 2013: Thenardier in Les Miserables at Town.
• November/December 2013: Charlie Baker in The Foreigner at Town.
• November/December 2013: Directed Ho! Ho! Ho! at Columbia Children’s Theatre.
• March 2014: Directed Stand By Your Man at Town.
• May 2014: Igor in Young Frankenstein at Workshop.
• July 2014: Dialect Coach/Captain Hook in Peter Pan at Town.
• August 2014: Wrote/Directed A Night At The Previews fundraiser for Town.

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Music

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Can’t Kids

• This year we released Ennui Go which was a lot of hard work for us and many people who aren’t in Can’t Kids.
• We were the house band for the Indie Grits puppet slam where we collaborated with Bele et Bete.
• We put out ‘The Twist’ music video that was directed by Katherine McCullough.
• We released a song on the Tidings from the Light Purple Gam comp.
• We just finished our side of a split “7 record with Schooner out on Sit and Spin Records next year.
• We had a pet baby squirrel for about 3 weeks.
• We’ve obtained an early model Prius.

Greg Stuart

• 11/18/13 –organizes world premier of Los Angeles-based composer Michael Pisaro’s asleep, forest, melody, path (2013) for large, mixed ensemble and field recordings at the Columbia Museum of Art. Ensemble includes students from the USC Honors College, USC School of Music, and members of the greater Columbia music community. The field recordings used in the concert (i.e., environmental sound recordings) were made by Stuart and Pisaro in late 2012/early 2013 in Congaree National Park.
• 2/24/14 –Organizes a performance of the legendary Japanese percussionist Tatsuya Nakatani’s acclaimed Nakatani Gong Orchestra with 12 local musicians at the Columbia Museum of Art. The piece is an innovative, community-based ensemble consisting of large gongs suspended on custom hardware and played with handcrafted bows designed by Nakatani.
• 12/06/13 – Stuart plays a set at the Conundrum Music Hall concert of Mind Over Matter Music Over Mind’s (the brainchild of ethnomusicologist and eminent Sun Ra scholar Thomas Stanley). The piece is a collaboration with Columbia-based visual artist Nathan Halverson, Asleep in the watchtower (2013).
• 2/20/14 –Stuart’s USC-based experimental music performance group, the New Music Workshop, performs John Cage’s One7 (1992) at Conundrum Music Hall.
• 7/20/14 – Composes a new work for bowed bell and electronic sound, slab (2014) as a solo set opening for electronic powerhouse Jason Lescalleet’s July 2014 Columbia appearance at Conundrum Music Hall.
• Between 9/15/13 and 9/15/14 Stuart released the following recordings: Closed Categories in Cartesian Worlds Michael Pisaro/Matthew Sullivan, “Add Red” With Joe Panzner: Live at the Issue Project Room Joe Panzner/Greg Stuart + Jason Brogan/Sam Sfirri: Harness (Tape)

The Mobros

• handpicked to open for B.B. King on a few of his summer dates. July 23rd & 24th 2013
• on the road since January 17th traveling the east coast up to New York, through the Midwest to Chicago, and down through Texas going as far south as New Orleans. Having played 50 cities, The Mobros will finish their tour December 22nd in Charleston, SC.    January 17th- December 22nd 2014
• released their first full record February 25th  2014

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Visual Arts

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Eileen Blyth

• Juried in Vista Studios – Sept 2013
• Vista Lights – Group Show – Vista Studios – November 2013
• Big Paint Project – Jan-Feb 2014
• Volumes II – Women Bound by Art – group exhibition at The Curtis R. Harley Art Gallery- Spartanburg, SC, Jan – Feb 2014
• Artista Vista – Group Show – Vista Studios – April 2014
• Art Fields – Lake city – April 2014
• Big Paint Exhibition – Columbia College- August/October 2014
• One Columbia Public Art Installation – Sept 2014

James Busby

• James Busby, Figure 8, 701 Center for Contemporary Art, Columbia SC
• James Busby, New Paintings, Randall Scott Projects, Washington DC
• Slow is Smooth, Smooth is Fast, Kravets|Wehby Gallery, New York, NY
• Smoke & Mirrors, Randall Scott Projects, Washington D.C.

Kathleen Robbins, photographer

• Into the Flatland / Gandy Cultural Arts Center / University of Southern Mississippi / Long Beach MS (November 2013 – February 2014), University of Nebraska / Lincoln NE  (March – April 2014), Halsey Institute of Contemporary Art / Charleston SC (August – October 2014), University of Central Arkansas / Conway AR (September – October 2014),  Rebekah Jacob Gallery / Charleston SC (September – October 2014)
• The Kids are Alright: an exhibition about family and photography / Addison Gallery of American Art / Andover MA / (traveling exhibition) (September 2013 – January 2014)
• Photographers from the Permanent Collection, Ogden Museum of Southern Art / New Orleans LA /
• Somewhere in the South, Rebekah Jacob Gallery / Charleston SC  /
• CRITICAL MASS TOP 50: Color and Light, Southeast Museum of Photography / Daytona Beach FL /
• Sense of Place: Picturing West Greenville / Clemson University Center for Visual Arts – Greenville
• oxfordamerican.org, Borne, Eliza. “Interview: Kathleen Robbins on the landscape of the Delta,” oxfordamerican.org, September 19, 2014; Oxford American Magazine, Mar, Alex. “Issue 86: Sky Burial” Oxford American, Fall 2014; Oxford American Magazine, Brenner, Wendy. “Issue 82: Telegram” Oxford American, Fall 2013; Oxford American Magazine, Giraldi, William. Issue 84 / Oxford American, Spring 2014
• Lenscratch.com, Smithson, Aline. “Your Favorite Photographs of 2013 Exhibition”; Lenscratch.com, January 1, 2014 The Southern Photographer: Blog about Fine Art Photography in the American South
• Wall, John. “Kathleen Robbins at Rebekah Jacob Gallery” southernphotography.blogspot.com, August 12, 2014
• Artist Salon Series: Kathleen Robbins (October 2013) / Columbia Museum of Art, Columbia, SC
• Visiting Artist Lecture / Workshops (April 2014) , University of Nebraska, Lincoln, NE
• Artist Lecture (August 2014) / Halsey Institute of Contemporary Art, Charleston, SC
• Gallery Talk (August 2014) / Halsey Institute of Contemporary Art, Charleston, SC
• Patron Party Artist’s Talk (May 2014) / Halsey Institute of Contemporary Art, Charleston, SC
• Panel Discussion: “Southern Photography” (March 2014) / Rebekah Jacob Gallery, Charleston, SC

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Literary Arts

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Alexis Stratton, writer

• Published prize-winning fiction chapbook “Fratricide” (Dec. 2013) (published by BLOOM)
• Awarded 2nd Prize in Blue Mesa Review Fiction Contest (and publication) for short story, “The Ambassador’s Wife” (Dec. 2013)
• Wrote and directed short film, “Crosswalk,” which received the Audience Award at the Second Act Film Festival (Oct. 2013)
• Short fiction published in A Sense of the Midlands, ellipsis… literature & art, Fall Lines: A Literary Convergence
• Proposed and led the Imagine If project at Sexual Trauma Services of the Midlands, which was a collaborative, community-driven arts and anti-violence initiative asking community members to imagine a world without violence and show us what that world might look like through various arts media and genres. The project (which consisted of free monthly arts workshops at Tapp’s Arts Center and in community groups, an art exhibition in Tapp’s Arts Center in April 2014, and a kickoff event in April 2014 featuring musicians, spoken-word artists, dancers, and others) brought together local artists, musicians, activists, and others, connecting arts and community groups in the idea of envisioning a better world.

Julia Elliott, writer

• Book: The Wilds (short story collection) out with Tin House Book, Fall, 2014
• Book: The New and Improved Romie Futch (novel), Tin House Books, forthcoming
• The Wilds     receiving positive advance buzz,     including a starred review from Publisher’s Weekly, "The     International News Magazine of Book Publishing and Bookselling"
• Published short story “The Love Machine” on Granta.com,     September, 2014
• Featured in “18 Short Story Writers on Why They Decided     to Write a Novel,” BuzzFeed Books, August 15, 2014
• Interviewed by New York Times Bestseller Jeff     Vandermeer in “Julia Elliott and Jeff Vandermeer in Conversation,” Tin House     Blog, September, 2014
• Published short story “Caveman Diet” in Tin House     61: Tribes, Fall 2014
• Published short story “Bride” in Conjunctions: 62:     Speaking Volumes, Fall 2014

Darien Cavanaugh, writer and editor

• Founding director of The Columbia Broadside Project which pairs artists and poets from Columbia and throughout SC to work together to create an original “broadside” painting/image comprised of an original work of art and an original poem. The 2014 Columbia Broadside Project exhibit featured work from 28 poets and artists and was held at the Tapp’s Arts Center in downtown Columbia from February 6th to February 28th.
• Named as the recipient of the 2014 Arts and Humanities Award for Inspiration from the Cultural Council of Richland and Lexington Counties for work on work on The Columbia Broadside Project.
• Founding co-editor of The Frank Martin Review, a print and online literary journal.
• Poems published or accepted for publication in A Sense of the Midlands (Muddy Ford Press), Blue Earth Review, Burningword, Drunk Monkeys, Found Anew (USC Press), Coe Review, The Gap-Toothed Madness, Grievances, I-70 Review, Juked, Kakalak, Main Street Rag, San Pedro River Review, See Spot Run, and Sou’wester in the past year.

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Dance

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Caroline Lewis-Jones

• Oct. 2013 Vista Unbound Zombie Bar Crawl
• Nov and Dec 2013 Unbound performed at 3 different Christmas Events downtown
• Unbound performed at the Charleston Dance Festival
• Traveled every weekend to a different part of the country to teach on the dance Convention, Adrenaline and to choreograph at various dance studios. Cities visited were Dallas, Los Angeles, Salt Lake City, Detroit, Oklahoma City, Atlanta, Charlotte, Columbia, St. Louis, New York City, Kansas City, Houston, Phoenix, San Francisco, and more
• Caroline was off from May till the end of August having her first baby

Katie Smoak

• Over the 2013-2014 season Katie retired from the Columbia City Ballet after 16 Professional seasons, and 26 consecutive years of performing with the company-from childhood through professional career.
• Katie started off as a Junior apprentice as an 11 year old, climbed the ranks through the Corps de ballet, then Soloist, and spent the last 4 years of her career as a Principal Dancer.  Never missed a Nutcracker in 26 years — Alice in Wonderland was her final performance.
• the longest standing company member (never out with an injury, never missed part of a season) of any dancer

Thaddeus Davis – Wideman/Davis Dance Co.

Information to come

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After you view our finalists profiles, head over to the Jasper 2014 Artists of the Year Ballot and cast your vote.

The winners of Jasper 2014 Artists of the Year in Dance, Literary Arts, Music, Theatre, and Visual Arts will be announced on November 21, 2014 at the release of the November/December issue of Jasper at the Jasper Artists of the Year Celebration and Fundraiser at The Big Apple in Columbia, SC with a limited supply of tickets. Ticket info coming soon.

"Oklahoma!" opens this weekend at Town Theatre - a preview by August Krickel

Oklahoma!  - yes, the exclamation point is part of the title - is one of those those shows that everyone knows by heart - or do they?  It's part of our shared cultural heritage, and most of us can probably sing the first line or two of the title song, since it actually begins with the title.  You know, "O-o-o-o-o...klahoma, where the... something something goes something something..." and that's where our memories start to cloud.  It's actually now  the official state song of Oklahoma. A few of us may also connect the familiar song "Oh What a Beautiful Morning," to the musical, and might even know the next line "oh what a beautiful day," and the basic tune. We may even have heard or used the expression about the corn being "as high as an elephant's eye," whether or not we knew its source. Having been a mainstay of high school and community theatre repertoires for decades, Oklahoma! is something we all know backwards and forwards.

Or is it?  I fell into that trap too, realizing only recently that I have never seen the show live, and to my knowledge have only seen the famous film version once, when I was in 5th grade or so.  And in those days I was much more interested in spotting the mom from The Partridge Family  (i.e. Shirley Jones) in the lead, playing opposite the real-life father of one of the girls from Petticoat Junction (i.e. Gordon MacRae, father of Meredith), with Mr. Douglas from Green Acres (Eddie Albert) providing comic relief.  Then I realized that for years, I've been mistakenly thinking one of the big hits from the show, "People Will Say We're in Love," was from South Pacific!  That's not too bad a lapse, though, since the same composers, Richard Rodgers and Oscar Hammerstein II, wrote both.  Along with Sound of Music, The King and I, and the tv Cinderella. Wait, the same guys wrote all of those?  Exactly.  Meaning that Oklahoma! may be worth a little more attention than we might naturally be inclined to give something that we think is so familiar already.  Especially since it's opening at Town Theatre in just a few days, featuring some of Columbia's top talent.

Would you believe Hugh Jackman - yes, The Wolverine - starred as the lead, heroic Curly the cowboy,  in a London revival in 1998?  Yep, he was doing big musicals long before the film of Les Miserables. When that version transferred to Broadway in 2002, Curly was played by Patrick Wilson.  Yes, the second Nite Owl in Watchmen!  That revival was nominated for many Tony Awards; the Tonys didn't exist yet when the musical first came out in 1943, but it's a frequent nominee and winner whenever it's revived. Harry Groener was even nominated for a Tony as Will (the juvenile love interest in a subplot)  in a 1979 revival, and yes, that's the guy who later played the evil Mayor of Sunnydale on Buffy (well golly!)  so there's that.

So why is Oklahoma! such a big deal?  The music of Rodgers and Hammerstein is certainly a large part.  This was their first collaboration together, after many hits with other writing partners. How it came into being is fascinating though. The story was originally a non-musical play from 1930 called Green Grow the Lilacs, that wasn't a big hit, even though it was about settlers in Indian Territory only a few decades removed from when that was actually happening, and even though there was serious star power in the cast:  future film star Franchot Tone as Curly,  future country music star Tex Ritter (yes, father of John!) as a cowpoke, and Lee Strasberg (yes, the Method acting teacher, and Hyman Roth in Godfather II !) as a comic peddler.   Producers saw a summer stock production of Lilacs, years later, that incorporated authentic square dancing and folk music from the period/locale, and thought this might make a better musical than straight play.And boy did it.   It ran for more than five years, a  record for Broadway in those days, unbroken for twelve years, and was awarded a special Pulitzer Prize. And this was right in the middle of World War II, when there were plenty of other things on the public's mind, and not a lot of disposable income for entertainment.  The two biggest components that both critics and audiences raved about then, as now, were the way in which the songs and dances became an integral part of the story-telling process - previously musicals often just stopped the action long enough for the leads to break into song, as a chorus entered to back them up - and an unheard-of extended ballet sequence (it's part of a dream that plays out live on stage) choreographed by Agnes DeMille, one of the titans of the dance world in those days.

So that's the show.  What's special about this production?  I'd say the people - lots of good folks that Jasper loves are in this one.   Frank Thompson directs - he's better known as a prolific comic actor, appearing as everyone from Captain Hook in Peter Pan to Igor in Young Frankenstein,  but he has directed shows like Chicago and A Christmas Story at the Kershaw Fine Arts Center,  Ho Ho Ho at Columbia Children's Theatre, and 9 to 5,  Stand By Your Man, and South Pacific at Town Theatre.  Plus he brought his Chicago cast to perform at the first even Jasper ever held at the Arcade, back in early 2012.   I had just recently met him, after reviewing him in Forever Plaid: Plaid Tidings, and making some wisecrack about how ironic hipsters from the Whig would douse themselves in lighter fluid and look for lighters rather than sit through that show's wholesome Christmas music... and he still thought he got a good review!  Well, he did, after a fashion.  Christy Shealy Mills choreographs, and we interviewed her last spring for this blog; you can still read all about her here. Daniel Gainey is music director, and he's done outstanding work as both actor (in In the Next Room at Trustus and Legally Blonde at Workshop) and as music director for shows like Songs for a New World and Camp Rock the Musical at Workshop. Lori Stepp is costumer,  Danny Harrington is scenic designer, and we profiled  him in the July 2012 issue of Jasper - there's an expanded version of that story here.

Then there's the cast. Heroine Laurey is played by Haley Sprankle.  Yep, one of Jasper's new interns, whose work has already appeared on this blog twice in the past week.  The first time I ever saw her on stage was in the ensemble Dirty Rotten Scoundrels; as the curtain opened, she and several other dancers were frozen in place, and her extension went up to Mars.  A few months later I wrote of her in Grease:   "She has one of the stronger voices in the cast (you can always tell where she is in group numbers) and is one of the better dancers as well. Add comic timing to that, and Sprankle is a remarkable triple threat."    Two years after that I wrote this about her performance in Biloxi Blues:  "Winsome Haley Sprankle shines as Daisy, the adorable sort of red-headed Catholic school girl that we’d all go fight Hitler for in a heartbeat."  In other words, I was a fan long before she came aboard the Jasper team.  Bryan Meyers, who was in the cast of Les Miserables (winner of the Free Times Best of Columbia award for best production) plays Curly opposite her.  Will Parker, the second lead, is played by Parker Byun, who's done good work in plenty of shows recently, including playing the lead in Tarzan the Musical last year.

But wait, there's more!  Haley's father Rob Sprankle, who joins Jasper as a staff photographer in the issue that comes out in about 48 hours, plays the peddler Ali Hakim.  He's had roles ranging from the King in The King and I  to Caractacus Potts in Chitty Chitty Bang Bang. Opposite him (in a triangle with the Will character) as Ado Annie  is Sirena Dib, seen as Fiona in Shrek the Musical this past spring, as the lead in Cinderella at Workshop, and as Martie in Grease when Haley Sprankle was playing Frenchy, and Frank Thompson was Vince Fontaine.   She too will be joining the Jasper staff, plus we featured her in the centerfold of the November 2012 Jasper,  along with some other talented young performers.  That same issue also profiled Will Moreau, who plays Annie's father. Other principal roles include Kathy Hartzog as Aunt Eller,  Kevin Loeper as Jud Fry, and Kristy O’Keefe dancing the ballet role of Dream Laurey.

And that, parders, is why I think Oklahoma! is worth checking out. Good people, good material, and the chance to see it done live.   Oklahoma! opens this Friday, September 19 and runs through October 11;  Thursdays through Saturdays are at 8 p.m. and Sundays at 3 p.m.  Tickets are $15-25 and may be purchased by calling the box office at 799- 2510. For more information, visit www.towntheatre.com.

 ~ August Krickel

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Bringing to life Stephen Sondheim’s "Follies" in concert (pt. 1) - a guest blog by Charlie Goodrich

It all started with Yvonne De Carlo.  Yes the actress, Yvonne De Carlo.  I happened to pick up a book entitled Broadway Musicals: The 101 Greatest Shows of All Time one afternoon in the spring of 2009 during my final semester of grad school in the USC Russell House Bookstore.  I opened it up, looked through a few pages, and knew I had to have this book in my personal library.  That evening, I began to flip through and read about all of the various shows that the authors had designated as “The Greatest.”  When I got to the “F’s,” I noticed a rather long article about a musical simply entitled Follies.  As I read, what caught my eye immediately was that the Stephen Sondheim musical had starred Yvonne De Carlo. De Carlo was an actress that I had been a fan of for as long as I could remember, beginning in elementary school, when I would watch reruns of The Munsters on Nick At Nite. As I went through middle and high school, I became what one might call a “film buff,” and began to watch every classic movie that I could get my hands on.  I began to notice De Carlo in such films as The Ten Commandments and McLintock!  Remembering my fondness for The Munsters, I always watched any and every film I came across with her name in the credits.  Not only was De Carlo beautiful, talented, and a joy to watch perform; she had something so engaging about her, a quality that surely had a lot to do with her stardom.  It always baffled me that such a beautiful and classy lady took on a role as a Bride of Frankenstein-esque horror film housewife, but I was extremely grateful that she did.  Her approach to the role of Lily Munster was by all means brilliant.  I noticed De Carlo’s name and photo in Broadway Musicals, and began to read the article on Follies more in depth.

Follies, as I found, was designated by many critics, as perhaps THE greatest Broadway musical ever produced, despite the fact that it was a financial failure when originally staged in 1971.  It had a very loose script, and primarily focused on a group of former chorus girls and boys attending a reunion at the fictional Weismann Theatre, the night before its demolition.  I began to read about all of the classic show-stopping moments in the original production, including De Carlo’s marvelous rendition of the now classic Sondheim tune, “I’m Still Here.”  I had to hear one of my favorite actresses belt this number, which I read was written specially for her about her life.  Within 10 minutes, I had downloaded the Original Cast recording off ITunes and in less than 24 hours was hooked on Follies.  I began to research the show obsessively. My research was aided in part by the definitive tell-all book on the original production entitled Everything Was Possible: The Birth of the Musical Follies, by Ted Chapin, who worked as the Production Assistant.

The first thing about the 1971 production that I noticed had made it so great was the casting. Everyone among the cast of actors had in one way or another lived the life of the characters that he or she portrayed.  De Carlo, for example, was a former chorus girl that transitioned into movie stardom and now appears on a campy television series, just like her alter ego Carlotta Campion.  Alexis Smith had started out as a ballet-dancing chorine, who went onto a successful career in films that showcased her dramatic and sophisticated capabilities.  This career was not a far cry from the cool Phyllis, her stage counterpart, a chorine turned society woman.  Dorothy Collins, also formerly a chorine and now a warm, witty, and talented television personality, singer, and devoted mother, embodied perfectly Sally, the “everywoman housewife,” with an emotionally crippling vulnerability lurking beneath the surface.  Gene Nelson was a former tap dancing acrobatic movie star, best known for his portrayal as Will Parker in the film adaptation of Oklahoma.  Now retired from acting and dancing and primarily a director and family man, he too mirrors his character Buddy all too closely.  I could go on forever about how each original cast member WAS in fact his or her character, but to save time, I will quickly mention a few noteworthy personalities.  Fifi D’Orsay, former French Canadian chanteuse and comedienne, portrayed Solange, also a chanteuse and comedienne.  Ethel Shutta, a huge Broadway musical star from the 1920’s, played Hattie, who had the same history.  Ethel Barrymore Colt, the daughter of Ethel Barrymore, portrayed Christine, a former chorus girl.  While Colt spent the majority of her career appearing in straight plays and singing soprano arias in supper clubs, she started out as a chorine in The George White Scandals.  Finally, Helon Blount, now a seasoned character actress, portrayed Dee Dee, another former chorus girl.  Before drifting into character work, Blount had been a dancer and Off-Broadway musical star for a number of years.

I soon began thinking about the perfect actors in Columbia to portray this plethora of interesting characters.  I wanted to  direct a production of Follies with the same intricate casting as the original production.  A number of names popped into my head, and while I soon had the entire show cast in my mind, I set my plans aside for a few years.  The time didn’t seem right, and I was not sure of an available venue to direct such a show.  And I didn't feel confident in my directorial skills yet.  It was not until I went back to school to study Theatre,  finishing in 2011, that I felt ready.  I directed a production of Tennessee Williams’ Suddenly Last Summer at USC’s Benson Theatre.  I also directed an original Bob Fosse revue that I entitled Damn Sweet Pajama Cabaret, while working professionally at The Lost Colony in the Outer Banks.  Upon returning to Columbia in the fall of 2011, I again became super-involved in local theatre.  While performing in numerous productions, Follies always remained in the back of my mind.  With each show I worked on came one or two more perfect candidates for my dream production.  Finally, in 2013, I spoke with a friend, local actor and director Frank Thompson, about the many fundraisers that he organized to benefit Town Theatre, all of which contained his original ideas.  He then encouraged me to approach Sandra Willis, Executive Director of Town, with my vision of Follies as a fundraiser that could benefit the theatre.  Fortunately, Mrs. Willis loved my idea, and we made plans for the production to occur in the summer of 2014.  Obviously mounting the entire show was too big an undertaking for a fundraiser.  However, a concert version of the major hits from the show would be perfect for August, a month between Town’s summer show and its next season opener.

It was now time to choose what numbers from Sondheim’s score I wanted in my concert, and which actors to  invite.  Being faithful to James Goldman’s original Libretto for the show, I wanted to use all original 38 characters, because I knew that there was enough talent to fill these parts in the Columbia area, and then some.  19 of these characters are the reunion attendees that I spoke of earlier, former chorus girls and boys that sang and danced enthusiastically in their youth, but were now retired for the most part.  The other half are the ghostly “young” counterparts of these characters.  Part of the brilliance of Follies is the fact that while the former Weismann performers are attending this reunion, the ghosts of their youth wander throughout the action, sometimes performing, sometimes not, but always serving as a constant reminder, a memento mori if you will, of the natural human occurrence of aging and decay.  These youths physically embody the major metaphor of the show: “all things beautiful must die,” a line from “One More Kiss.”  The innocent rapture of our youth gradually gives way to the harsh and abrasive reality of adult life. Marriages careers, families, etc are never what we envisioned them to be.  Using this brilliant dichotomy, Goldman and Sondheim fashion a show that reflects upon the decay of our society as a whole, particularly in post-World War America.

When casting the “reunion attendees,” I needed 19 local actors of a certain age that had been doing theatre for a number of years and seemed to embody their characters as well as the original Broadway cast members did. The first part I cast was easy, Ruth Ann Ingham as Sally Durant Plummer.  Ruth Ann has been my music teacher, vocal coach, and friend for going on twenty years now.  I could not wait to hear her beautiful operatic voice tackle the classic Sondheim ballad, “Losing Mind.”  Then I asked Andy Nyland, an expressive and talented singer and actor with whom I had appeared in 6 productions to play Sally’s husband Buddy.  Andy has the perfect voice for the part and agreed to join the project. Next, it was extremely simple to cast Kathy Hartzog as Carlotta.  Kathy has been entertaining audiences in Columbia theatres for many years with her impeccable comedic timing and warm personality.  “I’m Still Here,” would be a piece of cake for her.  The rest of the soloist casting began to happen even more quickly:  Nancy Ann Smith to sing “Broadway Baby,” as the wry and witty Hattie; Jami Steele to portray the fabulous Solange and sing “Ah Paris;” Frank Thompson and Shannon Willis Scruggs to portray the fun and adorable vaudevillian couple, Emily and Theodore Whitman, and sing “The Rain on the Roof;”  and Will Moreau to play the humorous former director Dmitri Weismann.   All of these actors are staples at Town Theatre, and the audience will recognize each of them from the numerous memorable roles that they have created over the last twenty years.

I then enlisted Christy Shealy Mills to portray Stella Deems, a former tap soloist and ensemble leader in the former Weismann showstopper, “Who’s That Woman,” which Stella and her friends recreate at the reunion.  Stella is backed up by 6 former chorine tappers in the number, including Sally, Carlotta, and the yet to be cast Phyllis.  The other female characters in the number are: Meredith, the youngest former Weismann Girl; Christine, the former leader of the parade of beautiful girls in the follies opening numbers; and Dee Dee, a serious and confidant former chorine.  I easily found 3 women that could tap dance and bring to life these ladies: Becky Lucas Combs, who I had grown up with, to play Meredith; my cousin and frequent costar Agnes Babb as Christine; and my friend and co-performer Robin Blume as Dee Dee.

I still had a few more roles to cast.  I also decided to expand upon the role of Sandra, who in the original production was a swing understudy, portrayed by the retired Russian ballerina and pin-up girl Sonja Levkova.  I cast a highly talented actress that I had worked with in Elvis Has Left the Building and Les Mis, Resi Talbot, who was relatively new to Columbia theatre, in this role.  I also chose a song that was cut from the original production for Resi to perform: the hilariously smart “Can That Boy Foxtrot.”  “Foxtrot” was intended as Yvonne De Carlo’s big moment, but when the actress couldn’t make the largely euphemistic lyrics work, it was cut and replaced with “I’m Still Here.” The song has become a cult classic over the years, and was included in the Sondheim Revue, Side by Side by Sondheim.  Knowing Resi had the comic timing necessary, I gladly offered her the chance to sing it, and she took me up on my offer.

I also needed to cast the role of Heidi Schiller; an 80-year-old retired opera singer, and the oldest attendee at the Weismann Reunion.  I approached Mrs. Carmella Tronco Martin, the retired owner of Villa Tronco (also my place of employment.)  Mrs. Martin is the daughter of the late Sadie Tronco, who founded the restaurant in 1940.  In her 80s, Mrs. Martin is just as sharp and witty as ever, and at first nervously dismissed my offer, stating, “I can’t sing.”  What Mrs. Martin didn’t know was that I had heard her sing karaoke at an event I helped the restaurant cater a few years back, and knew that she possesses a lovely voice.  When I informed her that she would share the stage with the “ghost” of her younger self, she seemed more confident, and agreed to make her stage debut at the age of 89 (!!) in Follies.  I was delighted, because it is a rare in a production of the show, including even the 1971 production, to have an actress actually in her 80’s play the part.

Coming up in Part 2:  more casting challenges!

Selections from Stephen Sondheim's "Follies" in Concert  goes up on Friday, August 15, at 8:00 PM at Town Theatre. Tickets are $10/General Admission, and are available by phone (799-2510) or at the door.

Selections from Stephen Sondheim’s Follies in Concert

Friday, August 15, 2014 at 8:00 PM

Directed by Charlie Goodrich

Musical Direction by Jeremy Buzzard

All Choreography (after Michael Bennett) by Charlie Goodrich

Except: Bolero D’ Amour Choreography by Tracy Steele

Costumes by Christy Shealy Mills

Scenic/Tech Design by Danny Harrington

Lights by Amanda Hines

Sound Design by Robert Brickner

Stage Manager: Jill Brantley

Assistant Stage Manager: Russell Castell

Dance Captain: Allison Allgood

Pianist: Susie Gibbons

Photography by Rebecca Seezen, Britt Jerome, and Charlie Goodrich

Transylvania Mania at Workshop Theatre - a review of "Young Frankenstein" by Jillian Owens

It seems appropriate that the last show ever to be performed by Workshop Theatre at their Gervais and Bull Street location would be Mel Brook’s Young Frankenstein. Emotions surrounding their move to 701 Whaley run high among the Columbia theatre community. Only something silly and fun will do for this occasion. Adapted from the 1974 film of the same name, Young Frankenstein tells the story of Dr. Frederick Frankenstein (pronounced “Fron-ken-steen”!), grandson to that other Frankenstein who terrorized the townsfolk of Transylvania with his monsters for decades.

Frederick is summoned to Transylvania to claim his inheritance when his Grandfather dies. At first, he has no intention of “joining the family business” of creating monsters, but then he meets Igor (played by Frank Thompson), a masterless hunchbacked stooge who pronounces his name “Eye-gor,” and who softens his resolve in the song "Together Again (for the First Time."  A visit from the ghost of his dead grandfather (played by Hunter Boyle), and the temptation of taking on a sultry local by the name of Inga (played by Courtney Selwyn) as his lab assistant remove it altogether. With the assistance of Igor, Inga, and his horse-scaring housekeeper Frau Blucher (played by Elena Martinez-Vidal, he builds a monster that-- you guessed it--ends up terrorizing the village.

This is one of the best put-together casts I’ve seen. Kyle Collins is a delightfully neurotic Dr. Frankenstein, and Thompson is a brilliantly hilarious Igor. Vicky Saye Henderson delivers a standout performance as the Doctor’s madcap socialite fiancée, Elizabeth Benning, who is more than a bit frigid with the good doctor in the song "Please Don't Touch Me." Selwyn is an exciting and relatively new talent, having only one other production under her belt (the recent Ragtime at Trustus.) With impressive vocal chops and other…ahem…assets, she is perfectly cast as Inga, and I look forward to seeing her talent grow in future productions. Martinez-Vidal earned the most laughter as Frau Blucher, sometimes without havingto say a thing.  Jason Kinsey is perfectly cast as The Monster, and his “Puttin’ on the Ritz” number does not disappoint.

This is one of those rare Columbia productions that has somehow managed to capture the best of our local talent, and has showcased it fantastically well. Even the ensemble is comprised of actors and actresses whom I’m accustomed to seeing in lead roles. And I’ve never seen a show where the cast is so clearly having such a ridiculous amount of fun.

That’s what this show is. Pure fun. Well, not all that pure. There are plenty of bawdy jokes, songs (such as the song, “Deep Love,” which is referring to exactly what you think it’s referring to) , and silly sight gags. But this is nothing that would surprise anyone who’s ever seen a Mel Brooks film.

Young Frankenstein is a big show, both in cast size, and technically speaking. Randy Strange has done a phenomenal job with the challenging set requirements, most impressively in Dr. Frankenstein’s laboratory. This is a bittersweet compliment, as this is to be Strange’s last show in his decades-long career-- but what a way to go out. What couldn’t possibly be built on such a small stage is created through the clever use of projections by Baxter Engle, also credited as Sound Designer for this show.

Director Chad Henderson, Choreographer Mandy Applegate, and Music Director Tom Beard have created a production that is truly a triple threat. Great direction, great choreography, and great musical talent have come together to make the last show on this stage something truly special.  Young Frankenstein runs though Saturday, May 24;  contact the box office at 803-799-6551, or visit www.workshoptheatre.com for ticket information.

"Ho Ho Ho" at Columbia Children's Theatre - a review by Melissa Swick Ellington

Ho Ho Ho offers bright and energetic holiday entertainment at Columbia Children’s Theatre.  Designed to engage even the youngest audience members, this production features wacky humor in the custom of British pantomime.   As “panto” embraces audience participation and madcap folly, Ho Ho Ho keeps viewers shouting with gleeful laughter at the silly antics of familiar festive characters.  Father and Mother Christmas (i.e. Santa and Mrs. Claus) face rollicking chaos as they strive to reclaim elusive holiday spirit amid comical mishaps.  Tradition blends with pop culture references as elves cavort to contemporary hit songs. Audience members will enjoy participating in this rowdy ride through pursuit of Christmas magic.  The boisterous comic style of the show embraces broad physical jokes as in vaudeville, including slapstick sequences that may startle some of the youngest viewers, as well as a bit of potty humor that will appeal to a wide cross-section of audience members. (Truth be told, my husband and I laughed even harder than our children did during one particularly memorable sound cue sequence…I bet you’ll know which one if you see the show.)

As directed by Frank Thompson, the production maintains a brisk pace and admirable clarity. Cast members work together in a vibrant, captivating ensemble. In the central role of Father Christmas, Lee O. Smith brings empathy and warmth to his character in the midst of the wild hijinks. Will Moreau as the Musical Elf shares a special talent for mesmerizing the young audience, often without speaking a word. Mother Christmas (Christy Shealy Mills) drives the play’s narrative with vivacity, while the effervescent elves are portrayed with enthusiastic commitment by Elizabeth Stepp and Bill DeWitt. (Andy Nyland serves as understudy for the role of Elf Boy Len).

As ever with a CCT play, commendable production values are maintained, with sound design by Frank Thompson and costume design by Donna Harvey and Jerry Stevenson. Costumes combine recognizable holiday attire (that iconic red suit) with surprising delights (an ever-changing parade of zany hats). Complex action onstage relies on offstage support; clearly, this production has a superb team in place. Stage manager extraordinaire Jami Steele-Sprankle keeps the mayhem under control and provides effective backstage organization. Sound technician Anthony Harvey delivers praiseworthy precision in the execution of numerous sound cues which are essential to the show’s comedy, while David Quay supplies dependable light board operation.

As a parent, I was particularly gratified by the actors’ knack for nurturing my preschool son’s focus throughout the performance. He was able to engage in the audience-actor transaction of live theatre at a level of understanding that I hadn’t seen from this little boy before. The youngsters in attendance at this matinee performance were charmed by the actors, and became visibly invested in the play’s events.

Before the performance, cast and crew members involve children in coloring stocking ornaments and helping to decorate the onstage tree. A gentle approach to audience participation invites eager kids to take part in various opportunities, but does not overwhelm more reserved children. Stick around after the show to meet the cast, get autographs, and take photos. (My daughter observed, “I love when the actors autograph my program at Columbia Children’s Theatre!”)

Early in the performance, my youngest child chortled with laughter after a funny physical sequence and declared, “Ohhhh that is SO silly.” Yes, Ho Ho Ho, scripted by award-winning British children's playwright Mike Kenny, is indeed “so silly,” in the most affirming and affectionate sense of the term. Columbia Children’s Theatre offers our community a comedic gift this holiday season in a fast-paced and cheery romp. Head on over to Ho Ho Ho, jumpstart your holiday spirit, and laugh your cares away with Father Christmas and friends at Columbia Children’s Theatre.

~ Melissa Swick Ellington

Confessions of a Good Man Opens at Harbison, Tarzan + Doctor Dolittle Continue at Town and Workshop

Walking on Water (WOW) Productions playwrights Tangie Beaty and Donna Johnson have teamed up with author Kevin A. Rasberry to present their brand new production, Confessions of a Good Man.  The show is a prelude of sorts to Rasberry’s book, Evolution of a Good Man, which will be released in 2013 as well. WOW will be returning to the Harbison Theater at Midlands Technical College to bring this show to life for FOUR  nights only! Run  dates are Thursday July 25 - Sunday July 28, and tickets range in price from $20 - $30 (with group rates available.)

Confessions of a Good Man is an inspirational stage play that gives a glance into the mind and struggles of one man. The production tells the tale of three brothers who grew up in the same household, but ended up with three vastly different lives. Each of the brothers takes his own path to try and become like their father, the epitome of a good man. Although the goal seems to elude them all, each of their paths lead to the same place...home. Family secrets, lies and love both bind this family together and keeps them bound. Will a confession free or destroy them?

National Gospel recording artist Blanche McAllister-Dykes, a South Carolina native, will join cast members Kayla Baker, Dana Bufford, Deon Generette, Rod Lorick, Regina Skeeters, and Will Young, IV.   WOW Productions' mission is to inspire, educate, encourage and empower artists and audiences to make communities more conscious and compassionate places. WOW believes in utilizing local and upcoming artists who also share the desire to utilize the performing arts in making a difference in not only their surrounding communities, but nationwide.  For more information about WOW Productions and Confessions of a Good Man please visit www.wowproduction.org or call 803.807.2969.

Town Theatre meanwhile continues its run of Tarzan the Stage Musical, based on the animated Disney film, which was in turn based on the classic novel by Edgar Rice Burroughs.

Tarzan’s adventure begins when a shipwreck leaves him orphaned on the shores of West Africa. This helpless baby is taken under the protection of a gorilla tribe and becomes part of their family. Growing into a great hunter and leader, Tarzan is much-loved by his ape mother, Kala, but yearns for acceptance from his ape father, Kerchak. When he eventually encounters his first human – Jane Porter, a curious young explorer – both of their worlds are transformed forever. Despite challenges, foes and differences, Jane and Tarzan find that together they can overcome all odds. This unlikely love story, full of adventure and songs by Grammy winner and rock icon Phil Collins promises touch your heart, while thrilling you as Tarzan literally swings over the heads of the audience and onto the stage.

Alternating in the role of Young Tarzan is Luke Melnyk (The Music Man) and Jadon Stanek (Chitty Chitty Bang Bang) with newcomer Liberty Broussard and Caroline Quinn (Annie) alternating as Young Terk. Parker Byun (Miss Saigon, The Music Man) plays the grown Tarzan, with Town newcomer Celeste Morris as his leading lady, Jane Porter. The influence of parental guidance pervades the show in ape form with Kala, portrayed by Laurel Posey (Guys & Dolls) and Kerchak, taken by Scott Stepp (Annie Get Your Gun, The Odd Couple), and in human form with Professor Porter, played by Frank Thompson (White Christmas, Harvey). And what is a Disney tale without a scoundrel or two? Creating strife from the-get go is Kristy O’Keefe (Joseph…) as the leopard and Chad Forrister (The 39 Steps) as the conniving Clayton, a nefarious hunter. On the opposite end of the mischief spectrum is the feisty adult Terk played by Jackie Rowe (Peter Pan.)

Director/Choreographer for this production is Shannon Willis Scruggs; the Scenic Designer/Technical Director is Danny Harrington; and the Costumer is Lori Stepp. Don’t miss this opportunity to see Tarzan come to life on Town's stage, with only four shows remaining: Thursday July 25- Sunday, July 28. Curtain is at 7:30 pm, and 3 pm on the fimal Sunday matinee. Tickets are $15-25. Call the box office at 803-799-2510, or for more information visit www.towntheatre.com.

Workshop Theatre meanwhile continues its production of the family-friendly musical Doctor Dolittle , with book, music and lyrics by Leslie Bricusse, and based on the classic film.  This is a tale about the adventures of a doctor who learns to speak to animals, and who takes a journey from the small English village of Puddleby-on-the-Marsh to the far corners of the world. In the beginning, Doctor Dolittle is wrongly accused of murder and the animals and his friends rally together to prove his innocence. Once Dolittle is pronounced innocent, he continues with his search for the Great Pink Sea Snail -- the oldest and wisest of the creatures on earth. This is the classic tale of kindness to animals based on the stories of Hugh Lofting.

Lee O. Smith (Roald Dahl's Willy Wonka) plays Doctor Dolittle, the wacky, but kind doctor who can talk to animals. He is joined by Kate Huggins (Rodgers and Hammerstein's Cinderella) as Emma, Hans Boeschen (Legally Blonde the Musical, Rodgers and Hammerstein's Cinderella) as Matthew Mugg, Liza Hunter (Disney Camp Rock) and Marra Edwards (The Color Purple, Disney Camp Rock) as Polynesia, Doctor Dolittle's parrot, and Workshop newcomer Ben Connelly as Tommy. along with a host of youth actors.

E.G. Heard Engle (Disney's Camp Rock, Rodgers and Hammerstein's Cinderella) directs a talented cast of veteran actors and up-and-coming youth. Music director Daniel Gainey (Disney's Camp Rock, Songs for a New World) helps create a harmonious sound, and choreographer Katie Hilliger (Disney's Camp Rock, Hairspray) brings her energetic style to the dances.  For ticket information, call the box office at 803-799-6551 from noon to 5:30 p.m., Monday through Friday, or visit www.workshoptheatre.com.  Only three performances remain:  Thursday July 25 - Saturday. July 27.

You can read reviews by August Krickel for both Tarzan the Stage Musical and Doctor Dolittle at Onstage Columbia.

Memorable Theatre Moments from 2012 - August Krickel's picks

This time last year, on a lark, I put together a stream-of-consciousness recollection of some things I had enjoyed on stage over the preceding year.  Would you believe - we set a new record for site visits with that blog post!  Sure, sure, the site and blog were still young, and most of it was folks logging in to see if they were mentioned or not, but still, it showed everyone involved that there is significant interest in theatre among the greater Columbia arts community.  As I wrote at the time, "theatre for me is sometimes not about the final product, but rather individual moments that move me, make me smile, or stay with me long after the show is done."  This year I have been fortunate to see most of the shows at the main theatres in downtown Columbia:  7 of 8 done on the Thigpen Mainstage (plus a late-night show) at Trustus, 3 of the 5 done at the Trustus Side Door, 5 of 6 at both Town and Workshop, plus a couple at Columbia Children's Theatre.  That's 23 freakin' shows, which sadly means that I didn't have time to see any at the many excellent theatres and venues on campuses and in the suburbs.  So with that disclaimer, I give you the best, funniest, and most memorable theatre moments for me from 2012: - the opening image as the curtain rose in Dirty Rotten Scoundrels at Town Theatre, with dancers frozen in exotic poses. In particular, Haley Sprankle, Grace Fanning and Becky Combs were draped over their partners with extension that went from here to the moon, and it perfectly captured the look and feel of the carefree and free-spirited Riviera setting.

- Doug Gleason in Scoundrels, goofing and camping it up shamelessly, then breaking into song with the voice of an angel, not a buffoon.  In my review, I wrote that he reminded me of the young Bill Canaday, a gifted comic actor now happily retired from the state and (at least temporarily) the stage. Several people mentioned to the real Bill that they saw his name in a theatre review, and he laughed and later told me that this was like the actor's nightmare - was he supposed to have been in a show somewhere?  Did he miss his entrance?

- Elizabeth Stepp as a huffy, haughty insect, miffed over being shooed away in Pinkalicious at Columbia Children's Theatre.  Lindsay Brasington, vamping and cooing for the press as she imagined being the first doctor to diagnose acute "pinkititis." George Dinsmore, dramatically confessing to his wife after all these years, his dark secret that he too secretly had a fondness...for the color ....pink.  (At which point Sumner Bender leaned over and whispered to me "But they named their daughter ... Pinkalicious?"

- Shelby Sessler's tour-de-force as three separate and distinct characters in Alfred

Hitchcock’s 39 Steps at Town.  Only a couple of weeks after portraying the titular tyke in Pinkalicious above,  she played a va-va-voomish German femme fatale,  a forlorn Scottish farm wife, and a proper yet spunky yet romantic British lady. As the German she somehow managed to not only play dead, but to feign rigor mortis, stretched out over an armchair... I still don't know how she managed it.  As the lady, she and her castmates mimed all the effects to convey a train speeding down the tracks.... and if you looked down, very subtly her hand was fanning the hem of her skirt back and forth to add the effect of wind.  Not surprisingly, she was one of three finalists for Jasper Theatre Artist of the Year, and organized the entertainment for the November issue release party at City Art.

- Avery Bateman and Kanika Moore playing multiple roles in Passing Strange at Trustus.  Bateman cracked me up as a materialistic princess-type whose life with hero Mario McClean was pre-planned within about 5 seconds; then she and Moore turn up as Dutch girls, then Germans. "Have a conversation vit' ze hand," Moore declares, almost getting American slang right. Even music director Tom Beard got a line in on stage, rising in outrage, when the cynical German nihilist characters dismiss the punk movement as commercialism, to protest "What about The Clash, man???"    Also loved the vivid colors that symbolized the free-spirited European setting of Passing Strange, provided via original paintings from ten local artists, and director Chad Henderson's always-moving, never-a-dull-moment, no-one-wasted-on-stage  blocking.  (And sure enough, Henderson was voted Theatre Artist of the Year by Jasper readers!)

- Randy Strange's lush, opulent, plantation-interior set for Cat on a Hot Tin Roof at Workshop Theatre. There was something to take everyone's breath away in this classic show, from Jason Stokes in a towel, to E.G. Heard (and on alternating nights, Samantha Elkins) in a negligee. Ironically, the beautiful and talented Heard teaches theatre at my old high school, while the equally lovely and gifted Elkins teaches drama at the one I was zoned for. I seem to recall my old theatre teacher was nicknamed "Sasquatch" - my how times have changed!

- G. Scott Wild utilizing the teeny Side Door Theatre space at Trustus more efficiently and realistically than I had ever seen before, with his set design for A Behanding in Spokane. The entire show takes place in a hotel room, and Wild wisely used every single

inch of available space, including the main entrance into the theatre as the room's only door, complete with deadbolt and peephole.  And Wild himself, perfectly capturing a world-weary, frustrated (possible) serial killer, then seamlessly segueing into the character's actual nature: a world-weary, frustrated, hen-pecked nebbish.  When you meet him, you realize Wild is quite young, but with little make-up and primarily mannerisms, he effectively embodied a character 20+ years older than he. Christopher Walken played this role in New York, but I somehow suspect that Walken played Walken, while Wild embodied and fleshed out the character.

- Also, in Spokane, Elisabeth Smith Baker embraced a challenging character role.   In my review, I wrote that she somehow managed "to be pathetic and sympathetic, winsome and adorable in a skanky sort of way, vulnerable, crafty and resourceful, yet sometimes just dumb as a post. She has some nice moments of physical comedy that would make Lucille Ball proud.   At one point she makes a quite logical decision to try to charm her way out of a life and death situation, yet her effort is so obviously contrived that only an idiot would fall for it... and of course, one does."

- Sumner Bender and Ellen Rodillo-Fowler, both getting a chance to sink their teeth substantial roles in In the Next Room, or The Vibrator Play at Trustus.  Color-blind casting is always a tricky challenge, and Bender and her infant's wet nurse need to be white and black respectively, because of specifics in the script, but Rodillo-Fowler played another society lady, and peer to Bender.  Was she perhaps the mixed-heritage daughter of a prominent admiral or missionary? Could she have simply been adopted, and raised in starchy whitebread Victorian society?  Or was she (as my spirit-guide Dr. Moreau suggested) a Native American? Most importantly, it didn't matter.

- Vibrator also featured the return of Steve Harley, not seen enough on local stages in recent years. I got some mileage out of this line of his:  "Hysteria is very rare in men, but then he is an artist.” The artist referenced was played by Daniel Gainey, one of a number of gifted young actors who seemingly came out of nowhere to captivate local audiences. (See Wild and Gleeson above, and Andy Bell below; with Gainey, "nowhere" was actually many roles in opera and operatic musical theatre.)

- Speaking of Gleeson, he played a vastly different type in Andrew Lippa's Wild Party at Workshop, still a clown, but a scary one. The extreme physicality of some of the choreography was impressive, as were his scenes with Giulia Marie Dalbec (his leading lady in Scoundrels above, but more on her in a moment.) Also in the cast as part of the ensemble was Grace Fanning, as an underage party girl in the Roaring 20's. At one point the lyrics describe each "type" as they enter: a dancer, a producer, a madam, a boxer, and.... as Fanning sashays in, anticipating something like "a flapper," "a beauty," "a vamp" .... all she gets is: "a minor." The look of shock and outrage on her face was priceless, a combo of "I'm busted!" and "Is that all I get?"

- the strong supporting cast in Grease at Town, finally getting to sing all their best songs. The film version cut out a lot of the 50's do-wop homages, and focused on Sandy and Danny.  Here, Sirena Dib got to break hearts with "Freddy My Lo-ove," and Patrick

Dodds (still sporting his high hair from Spring Awakening) not only got a chance to smile on stage, but rocked out with "Those Magic Changes," two of my favorite songs of all time. Hunter Bolton reclaimed Kenickie's "Greased Lightning" (complete with the original lyrics describing exactly what sort of wagon it is) while Jenny Morse and Mark Zeigler beautifully harmonized in "Mooning," a song I had forgotten entirely. Leandra Ellis-Gaston got to drop the (Italian) F-bomb on Town Theatre's stage (it's just the seemingly meaningless "fangu," but it means the same thing) and was another example of how color-blind casting rarely hurts

anything.  Sure, the script calls for Rizzo to be Italian, but who's to say her dad wasn't progressive, and married an African-American?  Dodds also got some incredible moments of physical comedy with Haley Sprankle, as he tries to match her, move for move, at the prom.

Elizabeth Stepp, a gifted comedienne, literally throwing herself into each scene with abandon, as a beautiful Cinderella (at Columbia Children's Theatre) who still managed to get plenty of laughs.

- Gerald Floyd's increasing frustration with life after death in Almost An Evening (at the Trustus Side Door) navigating obstacles that ran from a maddeningly matter-of-fact receptionist (Vicky Saye Henderson, another Theatre Artist of the Year finalist) to a smooth-talking, winking bureaucrat (Jason Stokes.) Followed by his sympathetic portrayal of a grieving Texas father, in his scene with Kendrick Marion, playing against type as a stuffy, repressed government operative.

- the graphic puppet sex and nudity in Avenue Q at Trustus. And Kevin Bush hastily inventing his girlfriend Alberta...from ...um... Vancouver...in Canada.  And Katie Leitner voicing and manipulating two very different-sounding characters, Kate Monster and Lucy the Slut, with the aid of Elisabeth Smith Baker, who voiced plenty of others too, including one of the Bad Idea Bears. "Important day at work tomorrow?  Let's do some shots!"

- the commitment by director Shannon Willis Scruggs and costumer Lori Stepp to go all the way into the absurd in Joseph and the Amazing Technicolor Dreamcoat at Town.  The musical numbers are pastiches of various styles (country, rockabilly, calypso, etc.) and here, almost like a live cartoon, the cast morphed quickly into Frenchmen with berets, cheerleaders with pom-poms, you name it. Frank Thompson as the King, baby, i.e. an Elvis-style Pharaoh, was particularly amusing.  James Harley noted in his review that "some of the show’s best energy comes from deep within the ensemble, Charlie Goodrich leading the way with 100% commitment to every movement he makes on stage."  There were dozens of people on stage at any given time, so I made a point to look for Goodrich within each number, and sure enough, whether or not he had any lines, he was always the best at reacting appropriately to whatever was going on.  And conceiving the "hairy Midianites" as members of ZZ Top was just inspired.

- Katie Foshee, who has enlivened the ensembles of about a hundred musicals in recent years, stepping into (and owning) the lead role in Camp Rock - The Musical at Workshop.  Avery Herndon and Alex Webster too were adorable as they as they succumbed to puppy-love-at-first sight, and Kathryn Reddic made a great mean girl.  From her bio, Reddic would have had Linda Khoury for drama in high school, meaning that she is well-versed in Shakespeare, and as a current English major at Vanderbilt she is surely immersed in Shelley and Keats, Joyce and Yeats, Chekhov and Strindberg, yet she rocked out like Beyonce in some complex hip-hop dance numbers.  Commodore girls represent, y'all.

- James Harley back on stage in Palace of the Moorish Kings at Trustus, under-playing a complex character who wasn't given a lot of lines or movement. Silence can sometimes speak volumes, and Harley had some great moments where he started to say something... then words failed him, and the point was nevertheless made.  But he did get a few memorable lines as a member of the "greatest generation," who never felt entirely comfortable as being seen as a hero, since he never killed anyone, never did anything heroic, and only served after being drafted.

- Elisabeth Smith Baker (yet again!) so sweet and natural in Next to Normal at Trustus.  And the show's big "reveal," which fooled me entirely, even though I more or less was familiar with the plot.  Andy Bell made a great transition from musician to actor/singer on stage, and the entire cast distinguished themselves as professionally as if they were the original cast on Broadway. The set too (by Danny Harrington, with input from Chad Henderson) showed how even the big-name New York shows are going for simple, stylized, low-cost sets these days, which often work better than trying to achieve realism.

- Giulia Marie Dalbec dominating the year with not one but four bravura performances.  While she has played countless roles as vixens, ingénues, or someone'sgirlfriend or daughter, Dalbec made her mark as a name-brand lead in Scoundrels and Wild Party (above) and as Elle in Legally Blonde at Workshop. The word that immediately comes to mind to describe her on stage now is "confident" - and with that confidence, she bravely took on the role of the meek Honey in Who's Afraid of Virginia Woolf? (also at Workshop) and nailed that one too.  Half the time Honey was drunk, or passed out, or ignored by everyone else, but Dalbec was always engaged in believable action and movements, however subtle.

- Robert Michalski's swaggering cameo as a UPS delivery guy in Blonde; I don't think I've ever seen a performer simply walk across a stage and then through the audience and get such a big laugh.  As I wrote at the time, he definitely had a package, and was determined to deliver it.

- Elena Martinez-Vidal's characterization (complete with New England accent) of Martha (in Virginia Woolf) as an aging Snookie, the college president's scandalous daughter who bluffs her way through academia via booze, sex, humor and bravado.

- Paul Kaufmann playing 35 different characters in I Am My Own Wife at the Trustus Side Door. Clad for most of the time in a dress!  The main figure was an East German "tranny granny" who may or may not have been a pioneering cultural historian, a murderer, an informer for the secret police, and/or a courageous activist and supporter of the oppressed gay community in Berlin.  After a while you got used to most of the various German and American "voices" ...and out of the blue, he's also a crisp Anglo-Indian reporter called Pradeep Gupta, with the perfect, smooth, musical lilt to his voice that you'd expect.  And this was a week after playing the male lead in Next to Normal !

- the striking, sunset-hued panels that comprised most of the set for Next Fall at Trustus. And the banter between G. Scott Wild and Jason Stokes (both yet again!) as mismatched lovebirds who just happen to be guys.  And the odd (but probably fairly common) paradox of fundamentalist Christian characters as they try to rationalize their own "sinful" lifestyle, especially as detailed by Bobby Bloom.

- Abigail Smith Ludwig, conveying the flowing, soft, lyrical beauty of German syllables and consonants in a  disgruntled rendition of "O Tannenbaum" in Winter Wonderettes at Town. And Alexa Cotran, yet another remarkable discovery, a very young performer who matched her older castmates note for note, scene for scene. Cotran bears a striking resemblance to my first grade teacher, who had that exact same huge 1960's hairdo, perfectly coiffed here by Cherelle Guyton, who was responsible for most of the good-looking hair in the shows mentioned above.

- the wonderful cast of [title of show] at Trustus in just about every moment on stage. Laurel Posey recounting her recurring lead role as "corporate whore," and Robin Gottlieb segueing from a cute number on secondary characters into Aerosmith were especially funny, but somehow the genuine moments in this little show touched me as few usually do.  "Who says four chairs and a keyboard can’t make a musical?  We’re enough with only that keyboard - we’re okay with only four chairs. We’ll be fine with only four chairs - we’ll rock hard with only four chairs!"  That sort of do-it-yourself mentality and optimism can be applied to so many things in life, as can their conclusion that it's better to be "nine people's favorite thing, than a hundred people's ninth favorite thing."  Score one vote for the rice crispy treats, as this was far and away my favorite show of the year.

- the actual do-it-yourself production of Plan 9 from Outer Space - Live and Undead 2.0 presented at Trustus, but essentially cobbled together on a shoe-string six months earlier at Tapp's Art Center.  Thanks to enlisting the aid of some of Columbia's finest actors, the show almost became a real play, even though the basic idea was to do a tongue-in-cheek spoof of what many feel is the worst movie ever made. So many of the cast were inspired in their campy re-imagining of the film's original dialogue, including Jennifer Mae Hill as a sexy stewardess (Hill was a gifted actress at Trustus, Chapin, and elsewhere long before she got into doll-making) and Chad Forrister as the stolid hero. Forrister was also the hero of 39 Steps above, and has perfected the mock-heroic, ever-so-slightly-exaggerated tone required by these spoofs.  Victoria Wilson was beautiful as an evil alien, but used a

rich, serious, Shakespearean voice that reminded you of Judith Anderson or Maggie Smith. Some of Forrister's best moments came with Catherine Hunsinger, playing the soon-to-be-abducted heroine.  There's an exercise in acting classes called "give and take," where two actors alternate allowing each other to take focus and dominate a scene. Hunsinger could have gotten some laughs as a stereotypical 1950's housewife, and given some to Forrister; instead, she wisely chose to downplay her performance, setting him up for vastly bigger laughs than either would have gotten separately.  As I wrote in the review, "Another example of her generosity on stage comes when the zombie-fied Scott Means attacks her; she swoons melodramatically...but at the same time, falls over the actor's shoulder in a perfectly-timed movement, allowing him to lift her easily, with as much grace as two ballet dancers.  Well, or pro wrestlers."

Hunsinger is a fearless performer, taking an emotionally demanding role in Spring Awakening the year before as the (semi-compliant) victim of a disturbing rape/seduction by the show's protagonist, yet somehow she managed to allow him to still seem deserving of the audience's sympathy. And then she tackled the Olivia Newton-John role in Grease (above) which is surely a daunting vocal challenge for the most talented of singers, but she filled Sandy's saddle oxfords with ease.  That incredible voice had its biggest test in Plan 9, as Hunsinger's character was pursued across stage and into the house by zombies.  The

original villains' make-up from the film was absurd enough, and here it was made even campier, yet Hunsinger chose to play the entire scene straight. As Chris Bickel cued some vintage movie chase-scene music and Hunsinger gamely screamed her head off, just for a moment I was no longer at Trustus.  Just for a moment I was a 13-year-old watching the Mummy or the Wolfman or the Creature abduct some forgotten heroine on the Universal or Hammer Studios back lot. Just for a few seconds there was a genuine chill down my back, as a brave young actress fully committed to being a terrified damsel in distress, running for her life from unspeakable horror.   Theatre is supposed to transport you, to take you out of yourself, and so this was for me, however briefly, the most memorable moment on stage in 2012.

So there are some of the things I enjoyed in the last year.  How about you?  That "comments" section below is there for a reason. What did you enjoy on stage in 2012?

~ August Krickel

Complete History of America (abridged) at Town, Little Mermaid at Lexington

Some of Jasper's favorite performers are opening in shows tonight.  Bill DeWitt, who played a dozen different residents of Tuna, TX a few years back in A Tuna Christmas, is joined by Frank Thompson, who along with DeWitt portrayed several dozen separate characters in The 39 Steps this past spring; teaming up with Charlie Goodrich, who has been acting nonstop this year (Andre in Dirty Rotten Scoundrels, Gooper in Cat on a Hot Tin Roof, Sonny in Grease, Judah in Joseph and the Amazing Technicolor Dreamcoat, and many other roles) the trio set out to recreate the complete history of America... just slightly abridged.  Yes, it's another production originally created by the Reduced Shakespeare Conpany, with three performers doing madcap, semi-improv comic versions of the story of our nation.  Jamie Carr Harrington directs, and her assistant director is Shelby Sessler, one of the three finalists for Jasper's Theatre Artist of the Year, and the female lead(s) in 39 Steps with Thompson and DeWitt. From press material:

From Washington to Watergate, yea verily from the Bering Straits to Baghdad, from New World to New World Order – The Complete History of America (abridged) is a ninety minute rollercoaster ride through the glorious quagmire that is American History, reminding us that it’s not the length of your history that matters – it’s what you’ve done with it!

The Complete History of America (Abridged) is a delightfully zany evening and wildly inaccurate crash course in American history. In only an hour and a half you'll have a screwball evening of fun starting with who actually discovered America, all the way to the current  President! See Bill DeWitt (The 39 Steps), Frank Thompson (Harold Hill in The Music Man) and Charlie Goodrich (Judah in Joseph and the Amazing Technicolor Dreamcoat) attempt to put history in its place. Proceeds will go to Town's Repair-the-Roof Campaign.

Town Theatre will present this two night only engagement on Nov. 2nd and 3rd at 7:30 PM.  Tickets are ONLY $12 in advance and $15 at the door. This will be the funniest history lesson you'll ever have.  Call 803-799-2510 for more information.

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On the other side of the river, the Lexington County Arts Association presents Disney's The Little Mermaid, Jr. at the Village Square Theatre; it runs tonight through Sun. Nov. 18th, with shows at 7:30 PM Fridays and Saturdays, plus Saturday and Sunday matinee performances at 3 PM. We're especially excited to see Haley Sprankle step into the lead role of Ariel - this young actress has stood out in the ensembles of everything from Legally Blonde to Dirty Rotten Scoundrels, and was a memorable and hilarious Frenchie, the beauty school dropout, in Grease (which coincidentally featured Goodrich and Thompson from above.)

From press material:

In a magical kingdom fathoms below, the beautiful young mermaid Ariel (Haley Sprankle) longs to leave her ocean home to live in the world above. But first, she'll have to defy her father King Triton (Tanner Connelly), make a deal with the evil sea witch Ursula (Bailey Gray) and convince Prince Eric (Rut Spence) that she’s the girl with the enchanting voice.  Based on the Hans Christian Andersen story and the Disney film, directed by Debra Leopard, Eliza Caughman Spence and Becky Croft, with musical direction by Jonathan Eason; lyrics by Howard Ashman and Glenn Slater, music by Alan Menken, and book by Doug Wright.