Aphra Behn: Wanton. Wit. Woman - PREVIEW by Hallie Hayes

Hale’s Debut Play Aphra Behn: Wanton. Wit. Woman. Showcases the Life of Writer, Aphra Behn, and Her Role on Women

Aphra Behn: Wanton. Wit. Woman. is a 75-minute production by playwright Mariah Anzaldo Hale that pays homage to the little-known legend, Aphra Behn. Behn was a playwright, poet, novelist and spy for King Charles II during the Anglo-Dutch war. This play examines the captivating life that Behn led through dialog, movement, and music.  She was the first woman to make a living as a professional writer in Restoration London during this time-period, trailing a path for women through her scandalous and exhilarating life.  

Through the creation of this debut play, Hale combines her love for women’s history and theatre. Hale is a writer, historian and costume designer who has obtained a career in costume design for both theater and film, where her designs can be found on and off Broadway and in VOGUE magazine. Hale decided to do extensive research on Aphra Behn after receiving a journal from her daughter with Behn’s photo on it, resulting in Hale’s desire to create her own project as a costume designer.  Not only was her play created to tell the story of a trailblazer’s vivacity but also to educate the audience on the roles of women, both past and present.

Specifically, Hale’s goal with this series was to provide a “femme-adventure play which not only takes us on [Behn’s] many exploits but also examines women’s roles then and now,” she continues to explain the play’s significance, “and challenges how she’s been written out of history by ‘learned’ men [who’ve] taken credit for her philosophies, ideas and innovations.”

In order to bring this goal to life, Hale collaborated with UofSC Theater and Dance as well as Full Circle Productions. When director Robert Richmond heard of Hale’s Aphra Behn series, he invited Hale to expand her work into a play using the grant Full Circle won for the Incubator Program at Harbison Theater.

Executive Director of Harbison Theater, Kristin Cobb shares that “the Incubator Program has been in place at Harbison Theatre at Midlands Technical College for over 5 years now.  The idea behind the initiative is to give local artists a professional venue to launch new work, with the potential to eventually tour,”

Cobb continues to explain the Incubator Program in regard to Aphra Behn: “This has been a wonderful collaborative effort with Robert Richmond and the UofSC Theatre Department as well.  It is part of our mission here at Harbison Theatre at Midlands Technical College to support local artists, and to showcase their work on our wonderful stage.”

Other Full Circle member, Linsday Rae Taylor, was brought on to direct the play. Taylor is a third-year MFA candidate at the University of South Carolina who has directed productions such as UofSC’s The Wolves, Sense and Sensibility and Trustus Theatre’s Hir, among others.

For Taylor, this play was special to her from the moment she read the script: “If you open a theatre history book and look up Aphra Behn, who was essentially the first female playwright, you will only find two or three sentences about her.  We know very little about her, as she was kept hidden while the men of her time are documented and celebrated.  This is an opportunity to learn about an extraordinary woman who lived an extraordinary life.  We hope that, if you come see the play, it may prompt you to find out more about her.”

While directing the play, Taylor points out that one of her biggest challenges related to the development of this production is fitting an entire existence with so many details into a tightly focused narrative, where discovering a main focus is important to fit into their chosen time-span of 75 minutes.

“Developing a play takes a lot of time.  Most plays take years to realize before going into performance, so this process feels truncated in that regard,” Taylor explains overcoming the challenges, “Aphra Behn lived such an interesting life, so it has been challenging trying to edit and discover how to focus the story.”

Of course, there is no play without actors, and this one is cast with undergrad and MFA acting students. Third-year MFA student Leslie Valdez is playing the role of Behn, and others include Susan Swavely, Reilly Lucas, Sean Ardo, Luliia Khamidullina, William Hollerung and Full Circles Production member, Katrina Blanding.

While getting all these elements together was challenging, it was worth it for Hale and Taylor. One of the most important parts of this play for the women is that it is particularly relevant to today’s culture. As Hale states, “[Behn] was a fascinating woman 100 years ahead of her time, and we should all know who she was and what she’s done for us”

For Taylor, it is their “aim for audiences to witness ‘flashes’ of events in Aphra Behn’s life and understand her in a new way.  She was fighting the same battles that women are fighting today,” she continues to passionately describe the importance of the show, “we hope that it will ignite a feminist fire in both women and men, and that it will inspire us all to uncover more women’s stories that have been shrouded by history.”

In the end, with a ‘Me Too’ and ‘Time’s Up’ theme, Aphra Behn: Wanton. Wit. Woman is essential to our culture.  It is important to the voices that today’s feminism have created for each of us individually.

“I want us to leave the theater with more questions than answers,” Hale states on the end desire of her Aphra Behn series, “It’s funny.  It’s sexy.  It means something.”

Aphra Behn: Wanton. Wit. Woman. premiered on April 13th at Harbison Theater.

Following the premiere, you can then view the play at Uof SC’s Center for Performance Experiment every night at 8:00 p.m. from the 21st – 28th of April. Tickets are only $10 and are available at www.theatre.sc.edu.

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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/

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: Workshop Theatre's String of Pearls

Frank Thompson is a frequent theatre critic for JASPER, who is reviewing for his "home theatre.” Mr. Thompson wishes to freely disclose that he is employed as Box Office Manager for Workshop, is a frequent director with the company, and serves as Vice-President of the Board of Trustees. He has put on his blinders for what he thinks is a fair and unbiased review, and will do his best to deliver.

STRING OF PEARLS

 Presented by Workshop Theatre at Columbia College’s Cottingham Theatre, runs this Wednesday-Saturday at 8pm and Sunday at 3pm. Tickets can be purchased by calling (803) 799.6551

****

   A “McGuffin” is a term used mostly in film, to describe a single object or event around which a story revolves. The titular jewels in Workshop Theatre’s String Of Pearls serve just such a purpose, as a bevy of female characters find their disparate lives impacted by the temporary stewardship of a string of perfect pearls. Through the passing of several decades, we see the pearls elicit joy, sorrow, confusion, and hope, along with a multitude of different emotions and reactions from twenty-seven women, played by an ensemble of six actresses. Ellen Rodillo-Fowler, Cathy Carter Scott, Christine Hellman, Krista Forster, Sandra Suzette Hamlin-Rivers, and Alyssa Velazquez, each at the top of her game, manage to create believable, three-dimensional characters, some of whom we get to know quite well, and others we glimpse for only a moment or two. Each, however, helps to move along the plot, and there is scarcely a wasted word in the script, which makes for a streamlined, well-paced production.

  Director Zsuzsa Manna has obviously put a great deal of thought and research into bringing each character, no matter how minor, into her overall vision. Watching the chameleon-like changes each actress made physically, vocally, and stylistically, truly created the illusion of a much larger cast. (Having known, and/or worked with most of the cast, even I had to occasionally squint and ask myself “now which one is that?”) Special commendation to Costume Designer Alexis Docktor, who created multiple eras and class levels, each of which were appealing and period-appropriate. Helping her create the magic is Wig Designer, Christine Hellman, whose skills clearly are not limited to performing. At one point, Velasquez, a natural brunette, sported thick, flowing, blonde locks that could have easily passed for a 1970s’ Farrah Fawcett hairdo, and Rodillo-Fowler’s scruffy pink punk ‘do is a true work of retro art.

   The set is simple, but effective. Two small platforms, a handful of moderately-sized props, and two elegant sheer curtains provide the representation for dozens of locales. Minimalism works well with this script, allowing the acting to shine as the central focus. Scenic and Sound Designers, Zsuzsa Manna and Dean McCaughan, respectively), have taken a subtle and most effective approach, with minor changes of lighting and/or the tiny ding of a single bell completely transforming the scene.

   Lest I seem completely biased, I will say that String Of Pearls is not flawless. At Sunday’s matinee, a line or two got dropped, but quickly corrected, and the occasional entrance seemed a bit late, most likely due to costume change issues, which tend to smooth out by any show’s second weekend.

   A word to parents, the extremely conservative, and the easily-offended. String Of Pearls contains a fair amount of grown-up dialogue, some of it extremely straightforward, and several adult situations. And yes, the pun you’re probably chuckling about right now is, indeed, mentioned in detail. (You may want to leave the pre-teens at home for this one, and let them enjoy Workshop’s June production of Shrek, Jr. )

   Columbia College’s Cottingham Theatre is a comfortable, easily-located facility (just GPS 1301 Columbia College Drive, and you’ll be able to drive straight to the door), and the acoustics are top-notch. Even stage whispers could be easily heard. The sight lines are clear, and the seats a bit small, but comfy. That said, it’s an older building without all the fancy bells and whistles that have now become industry standard, and has a slightly-frayed-at-the-edges feel, though I personally find that to be a charming asset to any theatre.

   String Of Pearls is a perfect show for those seeking an intelligent, funny, grown-up look at life. It made me think of the internet meme with words for familiar, but difficult-to-describe, feelings, specifically sonder, which is "the realization that each random passerby is living a life as vivid and complex as your own." Originally from the Dictionary of Obscure Sorrows, sonder has now entered the vernacular, and it was sonder that I felt while watching the show. One object, twenty-seven complex individuals, and one hilarious, poignant, thought-provoking trip through a cornucopia of human experiences.

-FLT3

21 May, 2018

REVIEW: Trustus Theatre's The Rocky Horror Show

By: Alex Smith

Trustus Theatre has made something of a one-show franchise out of Richard O’Brien’s 1973 musical THE ROCKY HORROR SHOW. Their current production of the show (the sixth in 24 years) is yet another fine production of a musical whose tightrope walk between cult status (the film adaptation, THE ROCKY HORROR PICTURE SHOW, has run in midnight showings at movie houses around the world since its release in 1975) and mainstream standing (countless tours, two Broadway runs, a brand new television film premiering at the end of this month) mirrors the fine line it also walks between over-the-top, drag/camp musical comedy, and something much more thoughtful, substantive, and, ultimately, timeless.

Pilfering tropes from the best and worst of A-, B- and Z- sci-fi and horror movies and mixing them into the melting pot of a gender-bending, sexually promiscuous and experimental London of 1973, still fully in the thrall of David Bowie’s bisexual starman Ziggy Stardust (who Bowie would officially “kill” onstage just over two weeks after ROCKY’s premiere at the Royal Court Upstairs theatre), O’Brien tells the story of a hapless, hopelessly square couple of “asshole” Brad Majors and “slut” Janet Weiss. A wedding, a proposal, a stormy night, a flat tire, and the light from a castle(?!?) they passed a few miles back, and suddenly, the recently betrothed graduates of Denton High find themselves plunged into a world of incestuous servants, tap-dancing lackeys, muscle-bound monsters, and otherwise unbound and unhinged partakers of the “absolute pleasure” which the “man” of the castle, Dr. Frank N. Furter, entreats the virginal lovers to give themselves over to. Being the good, red-blooded, all-American kids that they are, it only takes a nudge from Frank, a healthy dose of lipstick and eyeliner, some fishnets, stiletto heels, and “just a little bit of stee=hee-hee-hee-mmmmm…”, before Brad and Janet find themselves cavorting with the Doctor and his whole odd, unearthly(?!?) crew in the most intimate of manners.

Reanimation! Betrayal! Murder! Infidelity! Necrophilia! Heartbreak! Aliens! O’Brien throws in everything up to and including the kitchen sink, and ends the whole shebang (like any good sci-fi/horror romp, especially ones from the Cold War-era) with a “moral”: our hero and heroine, searching for each other in the dark, smoky air where the castle once stood, finding each other but lost to themselves, it would seem, because of their transgressions…but in the final analysis (did I mention there’s a narrator commenting upon and guiding us through this brilliant madness?), we are told, these kids are actually just foolish for being so hung up over such frivolity as sexual freedom and exploration because, you know, when you think about how minuscule we are on this tiny floating blue rock, does any of it really matter?

On its own, this odd, convoluted story would flounder, however fabulously, just as the stories in many B- science fiction and horror or exploitation films often did. But playwright O’Brien dipped into not only the pulpy murk of bad double features for inspiration, he also trolled the American rock and roll and R&B airwaves of the 1950s and 1960s, eventually mixing in a little fanfare and elegance via Hollywood studios themes, and came out with that rarest of gems in the deep mine of theatrical musicals: a set of songs that could each stand completely on their own as fine individual examples of the genre to which they belong, while at the same time providing a cohesive musical whole which leads us full circle from the opening number, “Science Fiction, Double Feature,” to its show-closing counterpart “Science Ficton (Reprise)”.

A further achievement of the songs (true musical classics: “The Time Warp,” “Sweet Transvestite,” “Hot Patootie, Bless My Soul,” “Toucha Touch Me,” “I’m Going Home”… if, for some reason, you don’t already know these songs, go see the show: you’ll never forget them once you have) is that, lyrically, O’Brien makes each one as integral a part of the overall story being told on stage as the dialogue and action - there is no filler here whatsoever - a far cry from what many musicals can claim.

The final triumph of O’Briens songs is that, in a musical theatre which, at the point ROCKY was being created, had hardly strayed from its classical cliches and methodology, he created a bunch of songs that sound and feel like they could be taken out of the context of the show and performed, one or all, anytime, at any place by a bunch of musicians with electric instruments, and they would sound just as good…in short, great songs that actually rocked.

That’s no mean feat in musical theatre, where, often, everything is necessarily softened, watered down, caricatured, or otherwise compromised in such a manner as to make it palatable and easily disseminated by the audience. This works terrifically when you’re, say, telling the story of an impressionist painter, or a gang of singing cats, or bohemians in New York in the early nineties. Rock & roll is not soft, however, and so it always seemed out of place or as though it were being turned into Muzak (with rare exceptions) when it played any part in musical theatre up to ROCKY HORROR. Just as O’Brien made a terrific set of individual songs that could stand on their own, he also proved that there was a place for harder edged music in musical theatre, that rock & roll could sustain a whole show. With ROCKY, he effectively created the Rock Musical.

THE ROCKY HORROR show changed so much about the musical theatre (and eventually the movies and the world). It un- self-consciously tipped its hat to all of its influences while simultaneously sending them up and utilizing them as the glue that held the pieces in place. Put together, O’Brien’s clever book and brilliant songs, his unforgettable characters and that never-ending sense of wonder over the idols it was at once holding up and smashing (which is nothing so much as a parallel for the pubescent feeling of liberation and awe upon one’s discovery of those old friends sex, drugs and rock & roll) melded perfectly to create what has become one of the great musicals of all time. Trustus Theatre’s 24-year hold on the ROCKY HORROR brand continues, starting this Saturday 8pm (after a slight delay for Hurricane Matthew), and the production, from front to back, could not have been placed in better hands.

Scott Blanks, an actor of the highest calibre, stood tall, over the course of almost twenty years, in the stack-heeled shoes of ROCKY’s antagonist and bustier-bedecked master of ceremonies, Dr. Frank N. Furter. Blanks played the role in no less than five separate productions over two decades (full disclosure: this reviewer portrayed the doomed “delivery boy” Eddie in the third production of ROCKY at Trustus and has fond memories of being chased every night to his offstage “doom” by a pick-axe wielding, rubber gloves wearing, surgeon’s gown draped dervish in the form of Blanks-as-Frank from December, 1999 to January 2000). His spot-on portrayal of the fetching, gender-fluid “Doctor” cast a long shadow over any hopes of a subsequent revival of ROCKY at Trustus when he announced that with the theatre’s fifth production in 2009 that he would be hanging up his fishnets for good, and that he would not portray Frank again.

So what better choice of a director to oversee the proceedings in Trustus’s ROCKY #6, could there have been than the man who stood, onstage, at the center of each previous production, Scott Blanks? Having seen the latest incarnation of the show, one would be hard-pressed to make a better selection. Blanks’ direction of the show is lean and tight, and each act flashes by swiftly in a trail of glitter and pheromones. Blanks’ solid choices with regard to staging, along with Caitlin Britt’s elegant, energetic choreography, make the action of the play, which gallops apace from start to finish, convey far more nuance than a show which runs as fast might lead one to expect.

Brandon McIver’s set and Barry Sparks’s lighting design are of the usual excellence which Columbia theatergoers have come to expect from these two veterans. Baxter Engle’s projections add the perfect amount of texture to the entire stage picture when and wherever they are utilized, especially in the opening and closing use of rainfall. From a technical angle, the stand-out part of the evening is the sound. The show’s excellent band, lead ably by Musical Director Chris Cockerel, could be heard loud and clear, each instrument coming through the system without any distortion, and none of it interfering whatsoever with the actors voices coming from the stage. Trustus has always been problematic when it comes to amplified sound, so to hear everything so clearly was an absolute revelation.

Costumes by Clay Owens and props by Nathan Herring are appropriately campy and kitsch, respectively, and the wigs were an unexpectedly tacky delight. But, “I see you shiver with antici…pation.” So let’s get to the heart of things.

Blanks has assembled a remarkably young performance ensemble for the sixth incarnation of THE ROCKY HORROR SHOW at Trustus, whose collective youth is only matched and exceeded by its talent. This is an excellent cast.

The always outstanding Katie Leitner starts the show out in the guise of the oft-forgotten “Usherette,” and returns in short order as the servant Magenta, who she plays with eerie, unblinking and hilarious “bride of Frankenstein” look frozen on her face. We also meet the “Phantoms” or Transylvanians as they are sometimes called, the “background” players who seem to constantly be everywhere at all times, as dancers, singers, windshield wipers, party guests, and just about any other thing the show requires. They are excellent here, turning the stage from flats and platforms into something more akin to a living, breathing organism, and their collective work is so good that they deserve to be pointed out individually: Allison Allgood, Sara Blanks, LaTrell Brennan, Brittany Hammock, Parker Byun, Jackie Rowe, Abigail McNeely, Mario McClean, Blair Baudelaire, and Matt Wright.

Possibly the youngest member of this young cast, Gerald Floyd plays the no-named, no-necked Narrator with the poise, dignity and sophistication of a much older gentleman, even when doing the pelvic thrust. Cody Lovell and Anna Lyles are hilarious as, respectively, everybody’s favorite asshole and slut, Brad Majors and his fiancée Janet Weiss. It’s especially fun to watch these two transform from the sweet kids from Denton High at the beginning to the insatiable beasts of excess they become by the end of the show. Michael Hazin is great as the “butler with a secret” Riff Raff, playing him with a barely perceptible half grin and hunchbacked swagger.

Kayla Cahill is fabulous as tap-dancing groupie Columbia, her portrayal significantly less ditzy and squeaky than most, which is a breath of fresh air. Josh Kern is more than sufficiently well-suited to play the titular “creation” Rocky, and Percy Saint Cyprian is terrific as Eddie, ex-delivery boy and organ donor. And GREAT SCOTT! I swear I recognized that (uncredited and unlisted in the program) actor playing Eddie’s uncle, Dr. Everett Scott, from somewhere…something about a pig and a spider, maybe? Anyway, whoever he was, he was, and is, always fantastic.

Have I forgotten anyone? Ah! The “man” himself, Dr. Frank N. Furter, played with fearless bravado and boundless talent by Walter Graham, who clearly benefitted from the tutelage and direction of one who knew the character inside and out, but who also brings such a fundamentally different take on the “sweet transvestite” to this production that he does what any actor playing this legendary role must do: make it their own. Graham meets and exceeds this task (“In abundance!”), gliding through his performance as though he’d been preparing his whole life for it. To point out any one moment in his performance as Frank is unfair to the strength of the whole (harharhar), but, in all seriousness, if Graham’s emotional, soulful, show-stopping delivery of ROCKY’s most gentle, beautiful number, “I’m Going Home,” doesn’t bring tears to your eyes, then you simply must not have eyes. Or a heart. Where’s Eddie? He might have one for you…

Blanks, Cockrell, Britt, and the whole cast and crew have done Trustus Theatre proud with this sixth incarnation of THE ROCKY HORROR SHOW, bringing such a wealth of talent and energy to the production that, like Brad Majors, you would have to be an asshole to miss it. So, put on your fishnets, slather on mascara and lipstick, make sure to pack a spare tire if it’s a rainy night, and get ready to swim the warm waters of sins of the flesh: there’s a light over at the Frankenstein place, and it’s the glow coming from this production of THE ROCKY HORROR SHOW at Trustus Theatre, which absolutely sparkles!

THE ROCKY HORROR SHOW Book, music and lyrics by Richard O'Brien Directed by Scott Blanks Musical Direction by Chris Cockrell Choreography by Caitlin Britt Runs Saturday, October 8 through Saturday November 5

trustus.org/

REVIEW: Trustus Theatre's Tail! Spin!

by: Kyle Petersen

Tail! Spin! is quite the appropriate beginning to Trustus Theatre’s 32nd season. Smart, raunchy, irreverent, and curious, it takes the audience’s incessant interest in the current political season and steers it into the recent past to take stock of the peculiar sexual preoccupations and peccadillos that seem to come along with politics.

The play, written (or assembled?) by Mario Correa, uses exclusively previous statements, interviews, dialogue, and social media content to tell the stories of the sex scandals of four politicians: Idaho Senator Larry Craig, who was caught soliciting gay sex in an airport bathroom; New York Representative (and failed NYC mayoral candidate) Anthony Weiner, who has a sexting addiction; Florida House Representative Mark Foley, who had inappropriate relationships with many underage male pages; and our own South Carolina Governor (and current House Representative) Mark Sanford, who handled a dopey extra-marital affair in the most clumsy way possible.

The premise is a challenging one, particularly given that just five actors (and only one woman) are tasked with bringing to life these rapid-fire, often fragmented narratives to life without sacrificing any comic timing, but Trustus, as usual, shines. Although a more-barebones and unadventurous set and sound design than is typical for the theatre, the acting and directing here is top-notch, elevating itself clearly above the world of SNL sketches and late night show fodder with which it shares similar DNA in its witty and puerile subject matter. Stann Gwynn delivers a note-perfect, awkwardly fastidious Larry Craig alongside Kevin Bush as the undercover agent who arrests him and Ellen Rodillo-Fowler as his hilariously in-denial wife. Both Bush and Rodillo-Fowler end up being MVPs throughout, darting through such a dizzying array of roles that makes the play double as an acting showcase. Bush’s nuanced, complex take on Mark Foley, the lone sinning politician which inspires some sympathy here, is perhaps the best moment, and the fact that he couples it with scene-stealing imitations of Stephen Colbert and the South Carolina State House Speaker is fairly incredible.

For her part, Rodillo-Fowler has to tackle every single female role in the piece, often leading to her having to literally interview herself as both Barbara Walter and Jenny Sanford (her Walters impression is priceless). While she delivers a remarkably graceful performance given the circumstances (there were a couple of moments where clarity suffered, although the writing seems the most likely culprit), the fact that the play doesn’t add a second female actor is either an intentional nod to the relative absence of women in politics or a reification of the boys club-default that exists in both political and comedic worlds. Either way, it would have been nice for her to have some help.

Joseph Eisenreich as Anthony Weiner and Clint Poston as Mark Sanford also perform nicely as both main characters and reliable sidemen—Eisenreich in particular comes in handy as he moves from the lascivious braggadocio of Weiner to the innocent adolescent that Bush’s Foley is obsessed with. Neither plays their main parts to type—Eisenreich is more All-American boyish in the Marco Rubio mold than the wiry, nervy real-life Weiner, while Poston plays Sanford with every bit of the principled conviction and quaint narcissism of our former governor, but without the aw-shucks bizarreness that characterized many of his even less-famous press appearances.

Director Jason Stokes, along with his top-rate cast, deserve credit for honing the fragmented give-and-take nature of this challenging script into clear punch lines and playfully subversive juxtapositions. You could see the play falling apart if performed by a lesser crew, instead of delivering two hours of solid laughs.

As far as any larger meaning or political statement, I’m not sure if I quite see one beyond the fact that it’s our current, sexually-charged and politically-saturated media culture  that makes this collage-like production possible, and that the hypocritical positions that we demand (or that politicians demand of themselves?) is a historical reality that gets endlessly repeated.

The bottom line, though, is that if the all-too-painful comedic reality of the current Presidential race has you down, Tail! Spin! serves as a reminder that absurdity is par for the course for our political landscape, and we might as well laugh at it.

REVIEW: Kimi Maeda's Ephemera Trilogy at the Trustus Side Door Theatre

By: Kyle Petersen

Ephemera (noun):

1. things that exist or are used or enjoyed for only a short time.
2. items of collectible memorabilia, typically written or printed ones, that were originally expected to have only short-term usefulness or popularity.

"The year the law of gravity was abolished the moon wandered away. In the excitement we didn't notice that the Nakashimas disappeared. You had to hold on tight or things floated off. I suppose they never really put down solid roots."  –Kimi Maeda

It’s difficult to leave a performance of Kimi Maeda’s Ephemera Trilogy, which runs through May 7th in the Trustus Side Door Theatre, without your head buzzing with questions. What is the relationship between storytelling and art, art and memory, memory and identity, identity and truth?

Maeda is not offering up answers, of course, but is certainly providing provocative new ways of tackling these questions. Her work is deeply invested in interrogating the act of storytelling itself, of how we come to know ourselves through creative expression, with all of its messy contours and murky revelations. Using stories of her parents (and, perhaps more to the point, the stories they have told her) as logical guideposts to understanding herself, Maeda’s work is grounded in sorting through the thorny reality that the telling of a story is an ephemeral act and, yet, also the fundamental way we come to make sense of our memories and ourselves as people. Each section of Ephemera, which was developed over a period of six years, employs a different stunning and innovative method of telling a story, each of which foregrounds its storytelling artifice while at the same time reaching for something that feels true, that feels real, in the process.

In the first part of Ephemera, “Homecoming,” Maeda uses a flashlight to bring paper cutouts to life as she ponders questions about her parent’s homes as well as the kind of fables and myths we all tell about home, what it’s supposed to say about who we are. The idea is that how we think about home is a kind of storytelling in and of itself. Maeda is both fascinated and distrustful of these questions, and you can sense that lack of sureness in both the pre-recorded narrative and the ever-so-slight shake of the flashlight as she moves across and through the miniature tableaux and brings it to life. This story doesn’t, can’t, exist without Maeda there, providing that thin light and fragile movement necessary to make sense of this piece of visual art. This phenomenon is something that occurs in each of the sections, a kind of implicit recognition that how both viewer and artist are being swayed and prodded by a distinct viewpoint, one that only exists in precisely this way in this one particular moment in time. Each performance, then, is a reminder of both the power of storytelling and its ephemeral, magical nature.

The second section, “The Crane Wife,” has Maeda performing elegantly wrought shadow puppetry as she weaves together the story of her mom coming to America from Japan with an old Japanese folktale. Framed by (real?) historical letters that Maeda pens and reads aloud in real-time, the interpretation of the crane wife tale she tells becomes intertwined with how the artist understands her Japanese-American identity. Maeda renders it lovingly. She also ponders the story’s intrinsic message about sacrifice and feminism, testing what identifications she has with the story and the limits to which it can function as a genuine link to her Japanese heritage. That a folktale like “The Crane Wife” is endlessly told and retold, revised and reshaped, makes such tests of authenticity quite fraught. Yet this particular version will always have meaning for Maeda and her mother, will structure their identities and how they understand themselves. It’s an ancient practice of making new.

The final section, “Bend,” uses archival footage of Maeda’s father, suffering from dementia, and the famous Japanese sculptor, Isamu Noguchi, both of whom were assigned to the same Japanese internment camp in 1942 -1943. This footage and audio, which often features Maeda talking with her father about the past, is juxtaposed and blended with live sand drawings of figures and places, memories and fragments that are constantly erased, literally disappearing as Maeda draws over or sweeps them away with a broom the last image to make way for the next one. The idea of Maeda’s father, who is clearly a man of extraordinary intellect, warmth, and ambition having to grapple with his own shifting sands of memory makes this method of storytelling particularly significant and brings home the reality of the ephemeral nature of both memory and art.

These are by necessity brief and incomplete descriptions of what goes told through the incredibly innovative and evocative visual language that Maeda uses, but what’s even more difficult to translate is the sheer creativity at the heart of it all. The way she uses light and crumbled papers to conjure up a fire, the way layers of design and shadow move us through airports and palaces and soar us through the sky or into the interior of phone lines in “Homecoming.” The casual virtuosity of the shadow puppet illustrations of “The Crane Wife” that feel more keenly alive than any picture book. And perhaps most profoundly, the unusual framing and living transitions that exist over the course of one of her many sand drawings, each of which is remarkable in each distinct moment. It’s wholly distinct and different from simply watching a painter paint or an illustrator draw. I can’t help but think about a performance like this in spiritual and ritual terms, of finding some solace, some beauty, and some redemption in these symbolic and repetitive acts. Ritual is something that keeps tradition alive even as it changes, that gives us new spins on ancient questions, and that remind us all that all creative acts are storytelling ones, each with their fair share of an older narrative inextricably grafted to a new thread.  

To that end, art-as-ritual, or storytelling-as-ritual, or perhaps even storytelling-as-truth, feels at the heart of Maeda’s trilogy. Our stories are who we are. Even if there is something lost in translation, there is also something invented, something new, something you.   

And I can’t say that everything I pulled out of her Ephemera Trilogy is what Maeda necessarily intended. But I can without qualification say that such a rich, nuanced, and simply extraordinary piece of artwork is a treasure that contains multitudes and is very much worth spending your time with. 

https://vimeo.com/110097232

Why I Said Yes - Tess DeMint (aka Ed Madden) Explains Love of Trustus

This is the fourth in a series of blogs written by Tess DeMint (aka Professor Ed Madden), a contestant in the 18th annual Vista Queen Pageant, a fundraiser for our beloved Trustus Theatre.

Please support Tess by visiting Trustus Theatre. Each vote costs $10 and all money goes to Trustus Theatre.

You can also donate to Trustus (and support Tess!) at Tess's donation site:  https://www.gofundme.com/fxudjbhs

I know my favorite row in the theatre.  I know my favorite seats.

I remember when Trustus Theatre staged Angels in America, one of the first if not the first regional theatre in the nation to do so.  I had seen the original New York production as a graduate student, and I taught the play at USC, so I was inclined to be critical.  But Trustus overwhelmed me with a beautiful, profoundly moving, and memorable production.

I remember Lonesome West and The Lieutenant of Inishmore by Martin McDonagh and other crazy Irish plays at Trustus.  The playwright was savagely funny, and the local production amplified his ability to make violence simultaneously hilarious and horrifying.

Which one of those plays was it that Alex Smith as the suicidal priest broke my heart?

I remember the rocking productions of Spring Awakening (yes they did that here and it was fucking amazing) and Hedwig and the Angry Inch—and being so tickled when Hedwig clearly directed the song “Sugar Daddy” to a couple of dear friends in the front rows.  (I won’t call out your names, Gordon and Doak.)

I remember taking my honors seminar to see Standing on Ceremony last spring as the semester began.  A collection of one-act plays about same-sex marriage, the performance introduced most of the very issues we were about to discuss.  The Trustus production (and talkback after) helped to set a tone for the rest of the semester as we began our own serious study of marriage politics.  I usually give students the option of a creative final project rather than a traditional research paper, and a couple of students wrote their own one-act plays, adding to the political and emotional complexity of what they had seen at Trustus.

More recently, I remember Chad Henderson’s haunting and gorgeous production of The Brothers Size.  The extraordinary acting (my Vista Queen fellow contestant Bakari Lebby and his colleagues were amazing), the minimal but strangely beautiful and convincing staging.  The intimacy of the sidedoor theatre.  The fireflies.

I remember Jim Thigpen—and later Larry Hembree—introducing a play and reminding us that we could always trust the theatre (trust us), even if we didn’t know the play or the playwright, because it would be good and it would be done well.  And I remember Kay’s smiling face at the ticket window, her easy laugh.

I remember working so hard for years with gay and lesbian organizations in South Carolina, and the way that Trustus would open their doors to us, the way they’d let us buy out the final dress rehearsal for a show as a fundraiser for our local community center.  The way the place filled with GLBT folks and their friends, laughing through The Most Fabulous Story Ever Told, laughing at Hunter Boyle as the bitchy Santa Claus, laughing through tears at the end as the lesbian couple gave birth to a child and the gay couple resigned themselves to the new HIV drugs not working.  I remember a room full of people I loved laughing and feeling giddy and connected to one another, giggling at the silliness of When Pigs Fly, or stunned by the professional production of Take Me Out.

It was the Jim and Kay Thigpen School of theatre and aesthetics and collaboration and community and inspiration and love.  It was and is the theatre’s mission: “a safe space for exploration of the political, the personal, and all things human.” It was and is the theatre’s artistic mission: to produce works “that start and nurture dialogues.”  As they say on the webpage: “Our success will be measured by our commitment to collaboration and innovation, while our impact will be measured by the creation of a more diverse and vibrant Columbia.”

I remember that fundraiser at Most Fabulous, the huge spread of food Bert prepared, and the enormous bouquet of flowers—mostly from our yard—and a potted night-blooming cereus Bert put on the table, the large prickly arm of it reaching over the spread, ending in a tight white blossom.  I remember that it opened up during intermission, the incredible smell filling the bar.  A magical night.

I know my favorite row in the theatre, my favorite seats.  I know Bert and I will order a bottle of white wine, and he will have to get the basket of popcorn refilled at intermission.  I know it feels like home to be there.

So when Chad Henderson walked up to me at the Deckled Edge literary festival’s opening night and asked me to be in Vista Queen, I said yes.  I didn’t think about it: I said yes.  I was immediately terrified at what I had agreed to (though Bert was clearly delighted), but I said yes.

Why?  Because I love this theatre.  Because of so many good memories and so many amazing plays.  Because of the community Trustus makes possible and the community it enables and sustains.  Because Chad asked me.  Because I know which seats are my favorites.

Vicky Saye Henderson Offers Improv Event Based on The Stone Necklace

Jasper: You're involved with One Book, One Community's 2016 selection, The Stone Necklace by Carla Damron, in a couple ways, right? I know you created the audio version of the book - what was that like?

VSH: Partnering with the USC Press team, Carla, and Ron Whitten at the SC State Library has been incredibly rewarding and a great joy. I feel so fortunate to have been invited to participate. This was a completely different way of exploring a narrative for me compared to simply reading a novel or preparing text for stage. It challenged me to prepare differently and stay in touch with the tempo, tone, and pulse of the story and its characters.

Jasper: Was this the first book you've recorded?

VSH: Yes, this was the first audio book I've done. In preparing for the audition taping, I asked the Richland Library staff to assist me in pulling some award-winning high quality audio books, I took them home and studied them. I noted and considered what seemed distinctive regarding the narrator's choices for voicing the text, and employed some of those things in both my audition and ultimately our recording of the book. Luckily, those things seemed to work!

Jasper: Tell us about the process. How long did it take?

VSH: A week before we started recording, I met with Carla to talk about the book, its characters, her writing process, and more. We then began recording in mid-October.Typically, we would record for 2-3 hours a session twice a week. Ron Whitten (recording director) and I found that we made for a great team. His years of experience and knowledge got me quickly acquainted to this new medium, and our intuitive combined ear for keeping the quality consistent kept us on target. We logged over 40 hours in the recording studio. Jonathan, Carla and other key staff came by during sessions to listen in and were consulted during our process. It was a highly collaborative experience.

Jasper: Have any of your friends or family listened to your recording and, if so, what did they have to say about it?

VSH: Yes, Jim Dukes listened to some early parts of the first few chapters. What he said was interesting to me---that he could very distinctly see in his mind's eye all the colors and textures of the story in ways that just reading a book had not afforded him in the past.

Jasper: Is it something you'd like to do again?

VSH: Absolutely! I loved doing it. I really like the team of people I've come to know, I grew as a performing artist, and I found and added a totally new means of being a storyteller.

Jasper: Now, can you tell us about the improv event you'll be conducting for The Stone Necklace on Tuesday, February 11th at 7 pm at Tapp's Arts Center?

VSH: I've heard it said that two ways we can create more empathy in our lives are to read more novels and take an improv class. This event combines both elements! We will be "walking through the halls" of this book and exploring its story lines, characters and settings (the book is set in Columbia, SC) via interactive improvisation techniques. It's not about performance, but rather about becoming co-explorers of story using Carla's existing elements as prompts. A whole new way to appreciate an author's work.

Jasper: How can the public be involved in this and what do they need to do to prepare?

VSH: There's nothing to bring or do to prepare for the event. Come with a curious spirit and willing heart to learn about the book, engage your creativity, see things from a new perspective, and apply your own point of view.

Jasper: How would we benefit from participating?

VSH: It will be a new and more intimate way to meet a story and its creator. People will get to know one another in the room, and hopefully learn a little about the highly versatile medium of improv as a tool for discovery and collaboration.

Jasper: Do we need to have read the book first?

VSH: No prior reading is necessary. An overview of the story will be given and excerpts from the novel will be read.

Jasper: Finally, what's your favorite thing about (or part of) the book The Stone Necklace?

VSH: The two things I appreciate most about this book is the keen, intuitive and seamless way Carla weaves the stories of these seemingly different people into a common tapestry, and her choice to set it in Columbia, SC. I became very emotionally invested in the characters very quickly (especially one character, Joe), grew to appreciate their individual and combined roads of healing, and saw my city through a new lens.

---

Vicky Saye Henderson is a performer and teaching artist, whose projects include live stage, film, TV, voice-overs and cabaret. On staff at Trustus Theatre, she serves as Director of Education and Professional Development.  She is also a member of Trustus' residential performing ensemble, appearing most recently in The Great American Trailer Park Christmas Musical. She is the recipient of the SC Arts Commission's 2015 Individual Artist Fellowship in Acting and was named the 2013 Jasper Artist of the Year in Theatre. She received her improv training in Orlando, FL (KVG Studios) and is co-director of Trustus' Improv and Sketch Comedy master track Apprentice Company program. Vicky recently provided vocal narration for USC Press' audiobook of Carla Damron's novel, The Stone Necklace. 

PROGRAM DESCRIPTION:

Come and be introduced to Carla Damron's new novel, The Stone Necklace, in a highly active way! Trustus Theatre Ensemble member and Director of Education, Vicky Saye Henderson will use the versatile medium of improvisation to explore the novel's narrative, its characters and setting, the author's process in fun, unexpected and non-traditional ways using readings, music, audience interaction and more.

REVIEW: Jingle Arrgh the Way! at Columbia Children's Theatre by Melissa Swick Ellington

Holiday cheer abounds at Columbia Children’s Theatre with the lively production of Jingle Arrgh the Way!: A ‘How I Became a Pirate’ Christmas Adventure (book, music and lyrics by Janet Yates Vogt and Mark Friedman; based on a story by Melinda Long). Snappy dialogue and raucous physical comedy amuse audiences of all ages in this companion to the popular How I Became a Pirate, also produced previously at CCT. Young Jeremy Jacob goes on another adventure with Captain Braid Beard and his crew; this time, their destinations include the North Pole and his school’s Christmas play. The show’s comedic success was made evident in the enthusiastic audience’s glee at the opening night performance I attended with my eight-year-old daughter and our friends. (My daughter was hooked before the show even started, as she declared with excitement: “I love that the title of the play is a joke! Jingle Arrgh the Way is supposed to be Jingle ALL the Way, get it?”)

Top-notch performers bring the holiday romp to life, led by the engaging Ashlyn Combs as Jeremy Jacob and the captivating Lee O. Smith as Braid Beard. The hilarious pirate crew features talented actors including Julian Deleon as the charming Pierre, Andy Nyland as the irrepressible Sharktooth, and the marvelous Brandi Smith in the role of Maxine. Charley Krawczyk makes a memorable appearance as Santa, and Paul Lindley II delights viewers in the role of Swill as he spouts information to a hilariously excessive degree. (Kaitlyn Fuller plays Swill at certain performances.)

The actors’ appealing banter draws children into the pirates’ world, highlighted by nifty special effects and plenty of “wow” moments. Director Jerry Stevenson steers this ship with gratifying expertise, and Crystal Aldamuy contributes entertaining choreography. Lindley provides strong musical direction; audience members will especially enjoy singing along with “pirate” versions of familiar holiday favorites.  Donna Harvey’s vibrant costumes work beautifully with the inventive set (designed and constructed by Harvey and Jim Litzinger). The capable production staff also includes Mary Litzinger, Toni Moore, Deleon, Nathan Fuller, Natalie Combs, Candice Fuller, Betsy Siemers, and Dianne Lee.

My young companions both gave Jingle Arrgh the Way! rave reviews. Our nine-year-old friend observed: “Swill is really funny. My favorite part was when Santa met the Captain. That was fun.” My daughter contributed: “I loved that the play is about the pirates from How I Became a Pirate. It was great that the pirates helped Jeremy Jacob with his school Christmas play! Also, there are some scenes that remind me of the book Pirates Don’t Change Diapers. I liked that the actors were the same performers from when they did How I Became a Pirate. Jeremy Jacob, the main character, is my favorite. Kids should go see this funny play!” Audiences will want to stick around after the show, as the traditional post-performance cast appearance for autographs and photos is always a hit with families at CCT.

Columbia Children’s Theatre will present Jingle Arrgh the Way! on Saturday, December 12 at10:30 a.m., 2:00 p.m., and 7:00 p.m. and Sunday, December 13 at 3:00 p.m. There will also be a special “Late Night Date Night” adults-only performance on Friday, December 11 at 8:00 p.m. Tickets are $10 for children ages three through adult; tickets for seniors and active duty military are $8. (For Saturday 7:00 p.m. performances, tickets are $5.00). To purchase tickets, visit http://www.columbiachildrenstheatre.com or call (803) 691-4548.

What’s the Buzz: USC Lab Theatre produces The Bee-Man of Crighton County

By Haley Sprankle Eight chairs line the center of the Lab Theatre at USC. The cast gathers and quickly fills the empty theatre with warmth and energy, as they joke with great wit and chemistry. Director and cast member Grace Ann Roberts engages with her team, interjecting a quick quip or two as they all settle in their seats.

This is the cast for the staged reading of an original play, The Bee-Man of Crighton County, by Ryan Stevens. We last heard from Stevens when discussing his original work Player King, which included Bee-Man cast members Jasmine James, Megh Ahire, and Carrie Chalfant. Other team members for the staged reading include Elizabeth Krawcyzk, Freddie Powers, and USC Theatre MFA student Nicole Dietze.

“Well of course we drew heavily on the USC theater community,” Roberts explains. “We’d all seen each other work, taken classes together, things like that. So there’s already an element of familiarity there, and it’s so much fun.”

The cast has a unique added element of familiarity, however.

“You mean I get to sit next to my daughter?”

Roberts’ father sits down, puts his arm around her, and smiles as bright as day while Roberts dons a look of loving embarrassment that I know all too well.

“The other member is, well… it’s my dad, Kevin Roberts. He plays the Bee Man himself. He’s done several plays before, but we’ve never worked on anything together. That has been such a new experience, for both of us, but it’s also really cool. It’s been fun to watch each other work,” Roberts lovingly adds.

The play follows a story about the people in the small town of Sheol. The people are hopelessly trying to gather historical documents from the local hermit, Ogden Flass (Bee Man), while Julie Guest witnesses it all in the midst of her own existential crisis.

“He [Stevens] and I have worked together a ton, and we really trust each other. He’s a great friend, and I think he’s a great writer too, and I’m happy to have a hand in doing this with him,” Roberts says.

A Columbia native and graduate of both the South Carolina Governor’s School for the Arts and Humanities and the University of South Carolina with a focus in theatre at both schools, Roberts is taking on the part of Julie as well as directing the reading.

“I’ve never directed a staged read before, and I’m also cast in it. That wasn’t the original plan but really, at the end of the day, that arrangement has taught me a lot—not only about what you can do as an actor, or how you can bring it to life, but also just how different it is to direct a staged read,” Roberts elaborates. “It’s like… I’m learning too, and I share those lessons with the other cast members. It really feels more like ‘guiding’ than ‘directing.’”

The element of learning doesn’t just end from a directorial or performance perspective, though. Through shared experiences with the South, early adulthood, and family life, Roberts has been able to connect and learn from her character.

“Funny enough, she and I are currently going through pretty similar given circumstances,” she admits. “I just graduated from USC, and am still living in Columbia. Honestly, that wasn’t my initial plan, and I’ll probably be here for a while. Julie is in the same boat: she moves away to start a business, which tanks, and she has to move back to her small town and live with her mom. She and I had similar feelings about the whole thing, too—those feelings being ones of disappointment, sadness, and some anger, too. But, in the same way that her perspective on that changes, I find mine to be changing too. So it’s pretty fun to have that very literal connection to her. She’s helped me to understand how to redefine ‘failure,’ and that feels really good.”

The Bee-Man of Crighton County reading is this Saturday in USC’s Lab Theatre at 7 pm. Admission is free, so come out to support original, local work produced by young emerging artists on the Columbia scene!

“To me, the Bee Man is about blooming where you’re planted. Instead of resisting where you are—geographically, professionally, existentially, what have you—really embracing it, and making the best out of something you once perceived as the worst. I do think, too, it’s unique to the idea of southern community,” Roberts says. “What it means to live in a place where everyone knows everyone, and everyone’s looking out for each other.”

Preview: NiA Company Brings Back the Complex Slavery Tale The Whipping Man for an April 11-13th Run

By Haley Sprankle

So often, when the topic of slavery arises, many make the rash assumption that all slave owners were bad and that all slaves hated their masters. It is assumed that slavery is solely an issue of racial prejudice. This clouds our understanding of slavery, all of its complexity and paradoxes, and how it ultimately comes down to incredibly personal and fraught relationships.

Fortunately, Matthew Lopez’s The Whipping Man, which the NiA Company is performing once again after a 2013 production, breaks that pattern.

“The Whipping Man is on the surface about a Jewish Confederate officer that returns home at the end of the Civil War to find two of his former slaves waiting among the ruins,” says Charlie Goodrich, who plays Caleb, the aforementioned office. “However, more specifically, I think that it is simply about a family, one that exists beyond biological or socio-economical barriers.  The three men that appear on stage fight, poke fun, celebrate, and enjoy each other’s company as members of a family do.  No matter the political circumstances, the familial bond still exists between them.”

The play revolves around three characters; Caleb, John (played by Michael Clark), the elder of the two remaining slaves of Caleb’s family, and Simon (played by Darion McCloud), the younger of the two. The three characters celebrate the traditional Jewish holiday of Passover together as they attempt to ascertain the nature of their new relationship.

“The Whipping Man addresses how it was possible for believers of a Faith that reveled in its celebrations of freedom could live with, condone, and put into practice an institution that vehemently juxtaposes itself against what they believed in the first place,” Goodrich explains. “Foremost, the play takes place during Passover in April of 1865.  The Jewish Festival of Passover commemorates the Israelites exodus from their enslavement in Egypt.  The three characters celebrate Passover with a Seder meal not long after the two former slaves were freed.  Throughout the dialogue leading up to this meal, various characters address what it meant to exist in the Jewish Faith as slaveholder and slave, and how this existence proved to be sometimes problematic in their understanding of this faith.”

Aside from the religious aspect, the play also calls into question not only the humanity of the situation the characters face, but the humanity of each character.

“Playing the aforementioned Confederate soldier has created an interesting crossroads between my personal feelings and the history of my family in this state,” confesses Goodrich. “It’s no secret that I’m a pretty liberal individual who has not always felt at home in a state that has historically been primarily conservative.  So, it’s no shocker that I went into the production thinking that a Confederate soldier would probably be a total 180 from myself.  However, a portion of my Grandmother’s family has been in this state since the 1690’s.  Towards the end of the 18^th century, a portion of them moved from the Lowcountry to York County.  Most of this land, near the town of McConnells, is farm country, and my ancestors owned and ran plantations.  Coming across some of their wills in my ancestral research years ago, I discovered that they were slave owners.”

“This discovery got me to thinking: while I am liberal now, how would I have thought 150 years ago?  While I, in no way, support slavery or oppression, would I have gone along with my family then or rebelled against them? It’s so easy for me to judge slaveholders now, but how do I know what my ancestors in the same situation were thinking? Did they like owning slaves or was it just Southern tradition that they were observing?  To make a long story short, researching my ancestors has opened me up to approaching Caleb without bias.  He’s just a man, and like every other man, he has strengths and weaknesses as well as assets and flaws.  He makes mistakes and is faced with a lot of the same life decisions that exist to this day. I’ve even been able to find parts of myself within him, and vice versa. Becoming Caleb has proven to be not just a fascinating and rewarding experience, but a relevant one as well.”

Throughout the production, the cast and crew have partnered with Historic Columbia, Columbia Commemorates, One Columbia, and the Unitarian Universalist Congregation of Columbia in tandem with the end of Historic Columbia’s Burning of Columbia celebration that began in February.

“Partnering with all of these institutions has been highly beneficial, most especially in bringing in different audiences to see our show.  Columbia Commemorates and Historic Columbia will bring in history buffs; One Columbia will bring in artists; while Unitarian Universalist will bring in an entire congregation of people that are curious to see the play that will be produced in their sanctuary.  Unitarian Universalist also used to be a synagogue, and performing the piece there will add to the atmosphere of the play.  Furthermore, all of our rehearsals have been at the Unitarian church as well, and the staff and members there could not have been more kind, receptive, and helpful. It has been a pleasure to work with them in such close proximity,” Goodrich says.

So now we ask, what did it mean to be a slave? What did it mean to be a slave owner? What does it mean to be a family?

With some intriguing answers to such questions, The Whipping Man runs April 11-13 at the Unitarian Universalist Congregation of Columbia. Tickets can be purchased through reservations@historiccolumbia.org or at the door.

“I hope the audience will leave with a stronger insight into what it meant to be a slave or a slaveholder at the time of the Civil War,” Goodrich concludes. “Also, I hope audience members leave with a better understanding of what it truly means to be a ‘slave.’  The word is not, for a lack of a better phrase, all ‘black and white.’  There are countless ways that people can be enslaved or enslave themselves, and the playwright does an astute job of bringing up this issue.”

Director Bakari Lebby and Workshop Theatre Tackle Race, Class, Gender & Privileged with Stick Fly

by: Haley Sprankle

“I originally pitched this show as The Cosby Show with a sex scandal.”

Bakari Lebby definitely adds his own quirky spin on Lydia R. Diamond’s Stick Fly, the fourth show he has directed this season at Workshop Theatre. No rookie to the stage, Lebby has been involved a myriad of productions for the theatre, but this is his debut as a main season director.

“It has been cool. It feels like home,” the young director says. “I brought over a show that I directed at Carolina for a two-night run about two years ago and that was my first time working behind the scenes there. I did two [productions] last year with two directors that I really respect, Chad Henderson and David Britt, so that was cool, but yeah, Workshop is home.”

While his theatrical home has changed a bit, Lebby adapts to working and staging in 701 Whaley’s Market Space where each of the previous shows this season were produced.

“Theatre can be done anywhere. The only thing is the time constraints,” Lebby elaborates. “We've already pretty much built everything, and it all has to go up in about a day which is totally cool because we have a great set designer, Billy Love. It's a cool space. It's pretty intimate, so I'm excited for close contact with the stage.”

The play itself revolves around the LeVays, a wealthy African-American family who come together for a weekend vacation. The conversations focus on the issues the family faces with race, gender, and privilege.

“They're like any other family,” Lebby explains. “Loving, protective. There are secrets. But they  are also extremely wealthy. Martha's Vineyard homeowners wealthy. Homes in Aspen and New York and Atlanta wealthy. On the surface, they could seem like the Huxtables [The Cosby Show] grown up.”

Lebby brings the audience into this world through his eccentric style in performance and design.

“Well, the play is set in Martha's Vineyard, so it will all be on the first floor of a beach house,” he says. “It will be like watching a Wes Anderson-type set (mostly thinking of in The Life Aquatic) where each room is very specifically different, but the actors very easily flit from one room to another while all still feeling like one all-encompassing space.”

“I wanted the set to be a bit sitcom-y. I've accelerated the dialogue a bit to match my style more. Actors are occasionally interrupting each other mid-conversation. That's also more my style. We've also taken the script and used it to make any character the protagonist or antagonist depending on the viewer's opinion or emotions.”

These opinions and emotions address very real controversy in what may be perceived as a surrealistic life.

“The play not only addresses race, but also class and gender roles. There are relationships where race is an issue more than class, race is an issue including class, class is an issue more than race, and so forth. Even within race, there are colorism issues which are still prevalent in current society,” Lebby points out. “It also brings up the whole point that racism is still alive, but no one wants to talk about it past pleasantries. Kimber [a character in Stick Fly] has a line that rings true, ‘They don't even want people to say that it still exists.’ It does, and I think this play brings up the point that the only way to make it better is to talk about it.”

Stick Fly opens March 27 and runs through April 4 and 701 Whaley’s Market Space. Call the box office at 803-799-6551, or order online at workshop.palmettoticketing.com for tickets.

“I wanted to take a play that could have been only entertainment and turn it into a piece that makes people think and consider their relationships with family, friends, lovers, and strangers,” Lebby eloquently adds. “Oh, and I want you to be able to laugh also. Gotta have some laughs. And there are definitely some laughs.”