We Welcome You to Munchkinland—Elisabeth Gray Engle on Directing This Summer’s Children’s Musical The Wizard of Oz

wizard  

Lions, and tigers, and bears! Oh My!

Sixty-five children of all different ages from the Columbia area came together this summer to bring you the youth edition of a beloved classic, The Wizard of Oz through Workshop Theatre.

“We are very excited to be doing The Wizard of Oz this summer! There are so many magical elements to this show already, so that is really fun to explore. But the real magical feeling comes from the cast members. We have a very large cast of kids of varying ages and schools who come together to create this show. They form bonds and friendships, and the excitement and energy that they bring to rehearsal is the real magic of the show,” director Elisabeth Gray Engle says.

The range of experience and ages might often lead to complications in the directing process, but Engle uses each child’s unique talents and personalities to create their own interpretation of such a well-known show.

“…Many of our roles are double cast, so there are two actors who alternate the role. This is really fun because you get to watch these two young actors create two very different characters from the same material,” Engle explains. “So much of the humor of our production has come from the actors, and I think that is what makes our production unique. We have a very talented group of kids who each bring something different to their characters.”

While the 4 to 18-year-olds bring a lot to the theatrical table, the production team has also put their own spin on things. With people like Alexis Doktor doing costumes and Baxter Engle doing set, the wonderful land of Oz is sure to excited audiences aesthetically.

“I cannot say enough good things about our Oz Team. Katie Hilliger (Choreographer), Jordan Harper (Musical Director), Jeni McCaughan (Producer), Braxton Crewell (Stage Manager), just to name a few, make this experience so positive and meaningful for our kids. We have high expectations for our cast, but we have a lot of fun along the way,” Engle affirms.

Engle, herself, is no stranger to the stage or directing. She is a company member at Trustus Theatre where she has taught, performed, and will be seen next in the world premiere of Big City. On top of all that, this is Engle’s 5th summer production through Workshop, her 11th year directing youth theatre, and she continues to teach theatre at Heathwood Hall Episcopal School.

“I love working with kids in the summer because it is such a joyous time of year in their lives. The summer musical is different than a school musical or a show during the year because the kids (and adults!) have that special energy that can only exist during the summer,” Engle elaborates. “…They come together during the summer to create this show, so that [in] itself sets the experience apart from school year productions. It’s really exciting to see so many kids from so many different schools who love musical theatre come together. They get along so well, and they love being with ‘their people.’”

The show runs June 25 through June 28, with both evening and matinee performances at the Heathwood Hall Episcopal School auditorium. Go to workshop.palmettoticketing.com for times and tickets!

“Theatre always has a unique way of bringing people together, and we have certainly seen that this summer with our cast,” Engle endearingly states. “Our cast is made up of kids from varying backgrounds, schools, locations, and experiences, and we have loved seeing them come together to create art.”

By Haley Sprankle

Rockin' the Beehive - a review of "Beehive the 60's Musical" at Workshop Theatre by Melissa Swick Ellington

There are plenty of good reasons why Beehive - the 60's Musical has been brought back to the Workshop Theatre stage after a successful run fifteen years ago, and eight of them light up the performance with stunning vocals and infectious energy. Jocelyn Sanders and Daniel Gainey provide expert direction that shapes a fluid journey through 1960’s music, as the eight performers celebrate female singers and songwriters. While the first act presents a vivacious stroll through girl groups of the early sixties, the second half of the show really rocks the house with the rough, raw sounds of Tina Turner, Aretha Franklin, and Janis Joplin. Medleys combine excerpts of familiar favorites through fictional characters, as in the extended party sequence that features “It’s My Party,” “I’m Sorry,” “You Don’t Own Me,” and “Judy’s Turn to Cry,” among others. beehive2

The Beehive ladies excel at inviting the audience into their world, as the performers handle the audience participation segments with friendly enthusiasm. Valdina Hall, a consummate musical theatre performer and a cast member in the first Beehive production at Workshop, launches the show with confidence. Her warmth and magnetism permeate the occasions when she addresses the audience directly, one of the show’s many strengths. (I enjoyed the good fortune of attending Beehive as the middle member of three generations of girls who love to sing. My mother observed, “When Valdina is on stage, you just feel like everything is going to be all right.”) Jordan Harper’s exquisite yearning and soaring vocals illuminate “Where the Boys Are” and “To Sir With Love,” while Tameshia Magwood thrills with her stirring rendition of “Proud Mary.” Devin Anderson is a true powerhouse who fires up the stage in “One Fine Day,” “Will You Still Love Me Tomorrow” and “Respect.” The rest of the cast (Rayana Briggs, Roxanne Livingston, Brandi Smith, and Safiya Whitehead) brings versatile talent to a slew of musical numbers; the directors deserve commendation for insightful pairings of singers with songs.

The design team makes cohesive choices that support the production with efficiency and purpose. Randy Strange’s scenic design features dynamic visuals and useful levels, while Barry Sparks provides masterful lighting design. The placement of the excellent band onstage proves valuable, as the music (directed by Roland Haynes, Jr.) is front and center throughout the performance. The band’s presence also enables energizing interaction with the performers. Singers and musicians benefit from Baxter Engle’s effective sound design. Choreography by Barbara Howse-Diemer evokes the girl groups of the sixties, evolving through different movement styles as the decade progresses. Costume designer Alexis Doktor provides visual evidence of the decade’s social changes as the performers replace pastel florals with psychedelic miniskirts.  Expectation of impressive wigs and hairstyles comes with the territory in a show called Beehive, and this production does not disappoint. Bobby Craft’s expertise as stage manager keeps the energetic show running smoothly. Design elements work very well together; the lighting and choreography establish a definite shift in tone with “The Beat Goes On.” A few issues with clarity of spoken dialogue over band accompaniment early in the show and a couple of awkward transitions are minor quibbles in light of Beehive’s audience-pleasing power. My young daughter proclaimed upon leaving the theatre, “That was a great show!”

Beehive at Workshop Theatre delivers an entertaining showcase of 1960’s music through the considerable talents of eight versatile and hard-working performers. Beehive earned great buzz from responsive audiences on opening weekend and deserves to pack the house with sixties music lovers through the remaining performances. Be assured that this production is not a series of imitations of the original singers. These Beehive performers make unique contributions to create something that is at once both nostalgic and new.

Beehive the 60's Musical  continues at Workshop Theatre through Saturday, September 28, with curtain at 8 PM, except for a 3:00 PM Sunday matinee on September 22. Contact the Workshop Theatre Box Office at 803-799-4876 for ticket information, or visit www.workshoptheatre.com.

~ Melissa Swick Ellington

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Jasper   welcomes a new critic to our theatre team.  Melissa Swick Ellington earned a Ph.D. in Educational Theatre from New York University. She has directed or performed in numerous productions in professional, community, and educational theatres in New York and South Carolina. She taught theatre in K-12 and university settings for over a dozen years.

A Poor Man’s Götterdämmerung (God bless you!) or Everything You Ever Needed to Know About Wagner from Fools in Thule - Arik Bjorn reviews Das Barbecü

  Somebody somewhere - probably with the encouragement of a little Schnapps - declared 2013 “The Year of Richard Wagner.”  And this wasn’t even an article in The Onion.  For this reason, opera companies and classical orchestras the world over have been scrambling to place the greatest of German composers on their season schedules.  This includes Opera at USC, which for its part has chosen to bless our community with a three-night performance beginning Friday, February 1, of Das Barbecü, a best-lil’-Ragnarök-in-Texas reworking of the fourth opera of Wagner’s Ring Cycle, Götterdammerüng.

 

There are more than a handful of Wagner enthusiasts none too pleased to witness the canonical characters Siegfried and Brünnhilde hogtied and dragged to a dusty, smokehouse world of armadillos and Dallas pompadours.  (For this we can credit Seattle Opera General Director Speight Jenkins, who commissioned the work in 1991 in order “to counteract the heaviness of the Ring.”)  Then again, those who find Das Barbecü an irreverent toying with Wagner’s Ring Cycle might themselves wonder how the immortals of Asgard felt when Wagner lifted and rearranged so many elements from the Norse Eddas.  Stick that in your Texas crude and smoke it, Herr Komponist.

When asked why she chose this of all possible Wagner (or quasi-Wagner) showcases, director Ellen Schlaefer (also the director of Opera at USC) admits that “it’s fun and midwinter.”  She pauses to consider the fact that a Columbia winter does not exactly threaten the leaves of Yggdrasil with hoarfrost.  She explains that USC opera students have their own matriculating cycle:  during the course of their studies, students get performance shots at a Mozart opera, an operetta, and a musical.  (Over this year, community members have the opportunity to see Opera at USC perform Copland’s The Tender Land, the baseball opera Bambino, and Don Giovanni.)  Thus, the planets were simply aligned to fit into the worldwide Wagner celebration with a fun musical.

Schlaefer also notes that it is not necessary to know Wagner’s Ring Cycle in order to enjoy the performance.  While that is the case, to my mind, it actually works the other way around.  Das Barbecü could become the quintessential Wagner primer for 21st-century theatregoers.  After all, Götterdämmerung is not the easiest tale to follow, especially if you do not have the time to read the complete works of Snorri, nor to learn German.  There are Norns, rings of fire, various personages from Valhalla, plus two fairytale lovers Siegfried and Brünnhilde.  Oh, and there’s a Ring of Power which every character seems determined to possess - yet instead of a Gollum, there is a sniveling, greedy dwarf named Alberich.  In fact, what audience members quickly realize is there are more characters in this tumbleweed plot than you can shake a horny toad at — yet only a handful of actors.  For the innumerable costume and character transitions, the cast, led by long-time Columbia musical veteran Stann Gwynn (as Wotan, Gunther, et al.) and USC student Jared Ice (as Siegfried, Dwarf, et al), plus stage manager Kaley Smith, are due copious accolades.

The show is replete with just about every honkytonk stereotype in the book, including requisite songs about guacamole and hails to the great Lone Star State.  About halfway through the performance, the thought dawned on me that perhaps every literary stage epic should be rewritten with a Texas backdrop.  I would love to see Les Mis with a storming of the UT-Austin bell tower, or Tevye in a ten-gallon hat.

Truly deserving of praise is scenic designer Teddy Moore, who has turned the stage of Drayton Hall into a sprawling, ocher, bourbon bottle label, with cartoonesque backdrops and set pieces that play like candy to the eye during scene changes.  Equally pleasant are the splendid singing voices of the quartet of female actresses, Shelby Sessler, Christa Hiatt, Stephanie Beinlich, and Jordan Harper (Brünnhilde), as well as the live musical student performances directed and joined by USC faculty member Rebecca Phillips.  A final note of thespian praise goes to the aforementioned Ice, who plays the entire role as Alberich the Dwarf in a bent-knee-catcher position, which left my 40-year-old knees wincing all night long.

Asgard & Co. do not make rounds to Columbia very often.  I highly recommend a trip to the USC campus this weekend for a Lone Star/Valhalla hoedown.  You will laugh to beat the barbecue band, and then can brag to all your friends that you too participated in the great Global Wagner-Fest of 2013.

Das Barbecü runs February 1-3 at Drayton Hall on the University of South Carolina campus.  Drayton Hall is located at the corner of Greene and Bull Streets.  The February 1 and 2 performances are at 7:30 p.m.  The February 3 performance is at 3:00 p.m.  Performances are $5 for students, $15 for seniors/USC faculty & staff/military, and $20 for other adults.  For tickets, please call:  803.777.5369.  To learn more about Opera at USC, visit them on Facebook.

~ Arik Bjorn

 

Barefoot in the Park, Night of the Living Dead, Das Barbecu running this weekend!

Neil Simon's classic Barefoot in the Park runs another weekend at the Village Square Theatre in Lexington, this Friday, February 1st through Sunday, February 3rd. From press material:  Paul and Corie Bratter appear as different as they can be.  He's a straight-as-an-arrow lawyer, and she's a free spirit always looking for the latest kick. Their new apartment is her most recent find:  too expensive with bad plumbing and in need of a paint job. After a six-day honeymoon, they get a surprise visit from Corie's loopy mother, and decide to play matchmaker during a dinner with their neighbor-in-the-attic Velasco, where everything that can go wrong, does. Paul just doesn't understand Corie, as she sees it. He's too staid, too boring, and she just wants him to be a little more spontaneous, running "barefoot in the park" would be a start.

The show features the talents of Rachel Goerss as Corie Bratter, Michael Hazin as Paul Bratter, Gina Calvert as mother-in-law Ethel Banks, Dennis Kacsur as their eccentric neighbor Victor Valasco.  Harrison Ayer and Steven Nessel complete the cast.   For more information or tickets, contact the box office at (803) 359-1436.

 

 

 

 

 

Opening downtown on Main Street in the Tapp's Art Center on Friday, Feb. 1st is Night of the Living Dead, based on the 1968 film by George Romero.  From press material:  High Voltage Theatre, the Southeast’s premiere performance company dedicated to presenting classic and modern horror on stage, brings to Columbia the granddaddy of all zombie stories! The play is adapted and directed by Chris Cook and features Hollywood-level special FX make-up, stage combat,  firearms, and hordes of man-eating zombies! A true classic of American cinema is now the hottest theatrical event in Columbia of 2013! Reviving the edgy, off-beat, Chicago-style theatre that put High Voltage on the Midlands map in 2002.

Night of the Living Dead promises to shock, thrill, chill, and excite audiences currently on a steady diet of The Walking Dead. Yes, "We're coming to get you, Columbia!"

 

For reservations please call: 803-754-5244

Tickets: $15 per person

8 PM curtain for all the performances at the Fountain Room in the bottom of Tapp's Art Center.

Runs: Friday and Saturday February 1st, 2nd, 8th, 9th, 15th and 16th!

 

 

Starring: (In order of appearance)

Mary Miles as "Barbara" Harrison Ayer/ Michael Layer as "Johnny" Marques Moore as "Ben" Chris Cook as "Harry Cooper" Jenna Sach as "Judy" Evelyn Clary as "Helen Cooper" Mazie Cook as "Karen"

Meanwhile, over on campus, Opera at USC presents: Das Barbecu by Jim Luigs and Scott Warrender on Friday, February 1st and Saturday, February 2nd at 7:30 PM, and Sunday February 3rd at 5:30 PM, at Drayton Hall.    "A re-telling of Wagner's Ring Cycle. This time set in Texas.”

Featuring Jared Ice (recently seen as Don Giovanni) Jasper Theatre Artist of the Year Finalist Shelby Sessler, Jordan Harper, Stephanie Beinlich (recently seen as Cendrillion) Stann Gwynn (recently seen as George in "Who's Afraid of Virginia Woolf") and Christa Hiatt.

 

$5 - Students $15 - Seniors/ USC Faculty & Staff/ Military $20 - Adults

FOR TICKETS CALL (803) 777-5369

Rebecca Phillips, Conductor Ellen Schlaefer, Director Lynn Kompass, Musical Preparation Anna Dragoni, choreographer Teddy Moore, scenic designer Chet Longley, lighting designer