An Ordinary Actress... Press and Reviews.

Sanders Family Christmas - Provision, Winter 2010

2010-12-02T15:16:00.000-08:00

Chicago Critic

The revisit to the Sander’s family rings hollow

The Sander’s Family Christmas finds the same white evangelicals in 1941 at Christmas time celebrating Jesus birth and the US entry into World War II. This hooky hillbilly show is a hollow remounting of Smoke On the Mountain mounted by Provision Theatre in May of 2008. That show worked on the intimate stage at the Viaduct Theatre as a novelty bluegrass musical.

The Christmas Sander’s show simply doesn’t work as the larger stage and all the ‘testifying’ (preaching and religious storytelling) slowed the show to a crawl. The dated references to the war and the down-home rural traits wore thin over 2 hours. The music also played poorly as many of the songs were difficult to hear as guitars and the piano drowned out some solos. But my biggest difficulty with this show were all the boring testifying. I thought I was going to see a Christmas show, not visit a Evangelical church service. I was also offended by the religious justification for war that came from the preachers in words and song.

I though Kevin O’Brien played the Reverend Mervin Oglethrope as a manic, obnoxious jerk who tried to upstage everyone to the point of being an irritant. With the sound problems and the bland bluegrass tunes (where was a banjo?), Sander’s Family Christmas is a too long and too religious a show that is more of a church service than a play or music concert. This sequel is a carbon copy of the original sans the fine musicianship. This formula bombs as a Christmas show. I wonder who the audience is for this turkey? It plays like a hillbilly church service that is not exactly fare for sophisticated Chicago audiences. A strange choice for a Provision Theatre Company that usually mounts outstanding shows.

Not Recommended

Tom Williams

Talk Theatre in Chicago podcast

Date Reviewed: November 27, 2010

For full show information, check out Sander’s Family Christmas page at Theatre In Chicago.

Sanders Family Christmas - Provision, Winter 2010

2010-12-02T15:12:00.000-08:00

Around the Town Chicago

“Sanders Family Christmas”
Alan Bresloff

somewhat recommended Provision Theater Company is devoted to producing works of hope,reconciliation and redemption;works that challenge us to explore a life of meaning and purpose. That is a portion of their “mission statement” and for the most part, they have truly lived up to this statement. This Holiday Season, they are presenting the sequel to “Smoke On The Mountain” , “Sanders Family Christmas”, a sort of hokey little musical story filled with Christmas songs and spirit. It is Christmas Eve, 1941 in the town of Mount Pleasant NC, home of the Mount Pleasant Pickle Factory. Reverend Oglethorpe ( Kevin O’Brien) has asked the Sanders Family, a local family that records Gospel music, to attend this service and help in getting the locals into the holiday spirit with their music. Many of the young men in town are about to ship out to help with the war efforts of World war II, including the Sanders’ son,Dennis.

There are 13 songs, mostly Carols, in this two hour show, and for the most part, they are not ones that are familiar to most of those in attendance ( at least not at the opening night performance). While there are some well known and talented performers in this cast, this is not a show that will be enjoyed by most theater-goers. It is a blue grass show and if you are into Gospel music and down home humor, you will feel at home, but if you are not one who enjoys religious shows and unfamiliar “church-type” music, this one will probably allow you to take a little nap.

Director Tim Gregory uses the stage at Provision to its best advantage and the set by Inseung Park certainly looks like a small rural church might, but the show itself isn’t strong enough for the talented cast members to make an impact. Susan Moniz as Vera sanders is quite motherly and has the southern drawl down pat, but the songs she does do not allow her to use her full vocal range which many of you have witnessed at other area theaters- it is much to good for this music. Richard Marlatt takes on the role of the Patriarch of the Sanders family, Burl. I was surprised to see him carry a bible at all times, it almost appeared that he had added the script to the good book, as he peeked down on several ocassons ( did he come into the show late? did he not learn his lines? Or was that a direction from Gregory?).

I was impressed with Amber Burgess as June, the eldest Sanders daughter, who unlike the others was not a singer, but plays a mean fiddle and does a great job with the bells. She signs the songs with her family, but along the way realizes that no one in their town is deaf! Burgess is adorable in her role and younger sister Denise , twin to Dennis , is well played by the adorable Christine Barnes. Uncle Stanley ( Ron Turner) is doing his own songs and has recently returned from Hollywood where he made a movie with Gene Autry ( for those of you who do not recognize this name, he was a big cowboy star back in the day and also made the original “Rudolph The Red Nosed Reindeer”.

While this show did very little for me, many of the audience members were laughing and clapping along with the characters, so my guess is that if you like “blue-grass” and you are into Gospel sound and services, you will enjoy the show. You can catch it through December 23rd ( I guess the Sanders family heads back to North Carolina for Christmas) with performances Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. The tickets range from $25-$28 and can be purchased by calling 1-866-811-4111 or online at www.provisiontheater.org

The theater is located at 1001 West Roosevelt Rd, ( on the campus of The University of Illinois-Chicago) with plenty of free parking.

They are also running a second holiday show, “The Best Christmas Pageant Ever” on Wednesdays at 10 am,Saturdays at 2 p.m. and Sundays at 12:30 p.m. tickets for this one are $15 for adults and 410 for children under 12. Runs 12/1-12/22. For more info check out www.provisiontheater.org

"Sanders Family Chirstmas" - Chicago Reader, Winter 2010

2010-12-02T15:06:00.000-08:00

Sanders Family Christmas
When: Through 12/23: Fri-Sat 8 PM, Sun 3 PM,
Price: $25-$28

This holiday sequel to Smoke on the Mountain revels in old-fashioned, downhome sentiment. Performing on the first Christmas Eve after Pearl Harbor, the title family regale the congregation of a North Carolina Baptist church (us) with affecting confessionals, heartfelt sermonettes, seasonal anecdotes, and a well-chosen slew of country carols, sing-along favorites, and lesser-known Yuletide gems--all to the accompaniment of fiddles, a piano, a double bass, and clapping hands. Tim Gregory's eight-person cast--featuring the always irresistible Susan Moniz--never condescend. The charm is never forced and the nostalgia never cloys. Above all, the show's vision of simple folks stepping up to fight Hitler and cherish Christmas suggests the promise of decency, not just a fond remembrance. --Lawrence Bommer

"Smoke on the Mountain" - Cornwell's Dinner Theatre, Fall 2010

2010-10-06T08:53:00.000-07:00

Cornwell's dinner Theatre has staged "Smoke on the Mountain" nine years ago. The show marked the first of it's 14th season and the first for new producer Dennis McKeen and his TopHat Productions. Now in its 23rd season, Cornwell's and TopHat are reviving the much-loved gospel musical with Paul Kerr who directed the show in 2001. This time Kerr takes a role in the cast as McKeen fills the artistic-diredctor's shoes.

Just like nine years ago, the show kills. Its distinctive brand of zany humaor keeps the audience in stitches while over 20 gospel number rock the house with live music.

The show's humor starts from lights up with a hilarious situation faced by the pastor of the First Baptist Church of Mt. Pleasant, N.C. Pastor Mervin Ogglethorp's (Travis Smith ) job is to kick off the first ever Saturday Night Sing with a performance by the Sanders Family Singers; except that the congregation has already been seated and still the Sanders Family has not arrived. Within seconds the audience flies into hysterics, laughing at Mervin's distress.

Soon enough, the Sanders Family makes its grand entrance with tales of a bus turning over on the road amid many shenanigans. From those opening moments of hilarity, the audience knows it is in for a real treat.

The show rotates through the Sanders family, with each taking a turn sharing a monologue revealing personal character as well as the character of the times: Depression-era, the South during 1938 and a traditional gospel revival. The Sanders family includes family partiarch Burl (Paul Kerr), his wife Vera (Amber Burgess) and their three children Stanley (David Goins) and the "twins" Denise (Molly Laurel) and Dennis (Tim Leonard). Burl's sister une (Brooke Beesley) rounds out the singing family group.

The Sanders sing many familiar and unfamiliar gospel tunes, such as "No Tears in Heaven", "Jesus I Mine", "Christian Cowboy", "Brining in the Sheaves", and "Smoke on the Mountain".

Some of the songs are exhilarating such as "I'll Fly Away" and "When the Roll is called up Yonder". But it is "I'll Live a Million Years" along with its dancing performed by Denise and June that sends Pastor Mervin into a tizzy and drives the Sanders family from the stage to close the First Act with cries of "No dancing! No dancing!"

Act Two starts off with a biblical debate of scripture quoting betwen the pastor and Vera in which the Sanders matriarch wins, proving that the bible is not opposed to dancing.

In the second act, the Sanders family continues to share experiences that have teste their faith or anecdotes that can be turned to a biblical homily or object lesson, Amber Burgess has one of the best moments with these soliloquies with a gut-busing laugh riot of a story about a June bug featureing comic business with an actutual insect (or well pantomimed facsimille).

Some of the stories are serious as well, such as David Goins telling a riveting tale about bridge building and bar hopping in answer to the sobreity sermons of the pastor. In the first act, Tim Leonard also shows off his preachy talents with a display of Bible-thumping and witnessing that is as powerful as it is funny. Likewise, the monologues by the rest of the cast are solid, if not as standout as those of the other three. Brooke beesley, Paul Kerr, and Molly Laurel all contributte with strong acting and great humor, especially Laurel whose attempts at sign language are constant source of hilarity throughout the show.

In nine years and dozens of shows, McKeen has grown into a masterful director/producer with a good eye for creating strong ensemble casts and assembling high produc tion values in the Cornwell's venue.

"Ring of Fire" - Battle Creek Enquirer, Summer 2010, Cornwell's Dinner Theatre,Michigan

2010-08-15T08:39:00.000-07:00

Cast succeeds in combined Cash tribute

Battle Creek Enquirer - Battle Creek, Mich.
Author: Christopher Tower
Date: Aug 15, 2010

When music legend Johnny Cash died in 2003, his loving fans thought they would never see him again. Though "Ring of Fire" does not feature Johnny Cash himself -- or even an impersonator -- his spirit can be seen in every note of this theatrical concert at Cornwell's Turkeyville dinner theater.

Staged by Top Hat Productions, a cast of nine musicians and performers bring to life the music of John R. Cash with great skill, energy and emotional intensity. Though the show skimps on biographical details of Cash's life, the music provides all that is lacking in terms of story.

The show, running through Sept. 4, opens with a musical number that makes clear there will be no one imitating Johnny Cash. Instead, all of the performers are Johnny Cash. This intelligent arrangement allows director Dennis W. McKeen to arrange performers in duets, trios and other sets that best serve each song.

Ben Jackson returns to Cornwell's after a two-year hiatus with deep bass renditions of songs such as "Big River," "Folsum Prison Blues" and "Ragged Old Flag" -- sure to give pleasant shivers up and down the spine. Amber Burgess, who is spending the year at Cornwell's, demonstrates strong vocal talents and shows off her celerity with the fiddle throughout the show.

The main band backing these performers includes Athens native Scott Pauley on drums, longtime Cornwell's musical director Denise Minter on keyboards and newcomer Kenneth McKeen on guitar and stand up bass.

Molly Laurel and David Goins both make their Cornwell's debuts in this show, teaming up on the beautiful "If I Were A Carpenter." Goins' rousing "A Boy Named Sue" is one of the highlights of the second act, but he also delivers stunning versions of "Man in Black," "Why Me, Lord" and "Daddy Sang Bass."

Madeline Fallier returns from her stint in "Church Basement Ladies 2" as a bass and guitar player along with some simply heart-wrenching, exquisite solos, including "I Still Miss Someone," and "Cry, Cry, Cry." Timothy Leonard rounds out the cast with guitar and mandolin playing, as well as some hilarious antics during "Flushed from the Bathroom of Your Heart." Leonard also shares a fun duet with Laurel early in Act One on "While I've got it in My Mind" and rocks out a version of "Cocaine Blues" in Act Two.

"Ring of Fire" is transformative. If you love Johnny Cash's music, you will leave loving it more (if that's possible), and if you have never loved the music, this show will win over your heart as it has the hearts of these performers. Don't miss your chance to relive the music of the great John R. Cash with this winning musical production.

Church Basement Ladies II - Cornwell's Dinner Theatre playing Vivian - Spring/ Summer 2010

2010-04-23T14:47:00.001-07:00

'Church Basement Ladies' cooks up fun
Christopher Tower • For the Enquirer • April 23, 2010

Have you ever wanted to know what goes on in the church basement kitchen? If you didn't learn the secrets of quality Scandinavian food preparation a la northern Minnesota in the first show, "Church Basement Ladies" returns with "The Second Helping" of town gossip, fear of the "cities," and life lessons seen through the window over the basement kitchen counter.

Though the first church basement musical packed the halls of Cornwell's so full in 2008 that the dinner theater ran it again in 2009, this version trumps both with a cast of solid professionals who polish this rough-cut stone into a glittering gem. And if that's not enough to lure people from the blooming spring weather, Cornwell's has installed a new sound system with ample microphones for performers and digital enhancements that separate vocals to provide every seat in the dining hall with perfect acoustics.

Two performers from "Dixie Swim Club" (Amber Burgess and Emily Bodkin) stay on to be church ladies with newcomers (Lyndsey Agron and Madeline Fallier), and they comprise one of the most solid, four-person ensembles ever to grace a Cornwell's stage. Marshall local Alan Elliott rounds out the cast, reprising his role of the Pastor Gunderson.

The show charts out three generations of women who volunteer in the church kitchen. Vivian Snudstad (Burgess) has retired as head of the kitchen. Mavis Gilmerson (Bodkin) is the quintessential farmer's wife with grown children, though not as much seniority as Mrs. Snudstad. Karin Engleson (Agron) fills the second generation of church ladies with a newlywed daughter, a new role as head of the kitchen, and many years ahead of her. Beverly Engelson (Fallier) plays the third generation, a young newlywed and newly pregnant kitchen worker who chooses the small-town Lutheran church over a more fast-paced life in the Twin Cities of Minneapolis and St. Paul.
The women's lives unfurl like a multi-faceted quilt (which is also a prop in the show) through four scenes, two acts, and a dozen musical numbers. Together, in their sanctuary of activity and fellowship, they cope with triumphs and tragedies that life serves them with humor and love. Some of the funniest lines include: "We're Scandinavian; we don't have feelings"; "Happy? We're Lutheran. Happiness has nothing to do with it"; and as a direction of what to do with bad leftovers: "Scrape it into the slop bucket and I'll take it home and give it to the pigs. Keeps 'em regular."
Even the pastor gets into the act, sharing news of the Viking Super Bowl of 1970 instead of the church meeting and learning to play the guitar as the church catches up with the "flower children" of the times. Alan Elliott plays a wonderful straight man to the zaniness of the four ladies.

And the ladies are the delightful main dish. Amber Burgess shows off once again why Top Hat Productions has locked her in to many of this season's shows. She remains consistently in character as Mrs. Snudstad, keeping all movements age-appropriate even when dancing. But at the same time, her low-key performance of the dour widow is brilliantly funny. Emily Bodkin shows the greatest range in the show, playing a character complete unlike the one from "The Dixie Swim Club." Bodkin also really belts out one of the show's earliest and best numbers: "God's Way of Saying."

Dixie Swim Club - Tophat Productions, Cornwell's Dinner Theatre. Winter, 2010. Playing Sheree Hollinger

2010-03-01T13:44:00.000-08:00

BATTLE CREEK ENQUIRER

'Dixie Swim Club' one of the best shows the theatre's ever done
Christopher Tower • For the Enquirer • February 27, 2010

You know you're in for a treat when the server at the dinner theater knows what's best on the menu.

"It's one of the best shows they've ever done," exclaimed Celeste Briegel of Battle Creek, a server at Cornwell's Professional Dinner Theatre in Marshall Township speaking of the new show that kicks off Turkeyville's 2010 season.

With a knowing half smile and a nod of the head, Celeste delivered her sincere preview of "The Dixie Swim Club" as she seated us for a Wednesday matinee in February. Seeing Celeste at many theatrical productions around the area, I knew her assessment was the well-considered reaction of a veteran theater patron.
"The Dixie Swim Club" lived up to Celeste's praise. It is one of the best shows ever to grace the stage of the turkey-themed dinner theater.

This delightful comedy drama by Jessie Jones, Nicholas Hope and Jamie Wooten has been described as "Steel Magnolias" meets "Same Time Next Year." But it resonates with notes of "Golden Girls" and even "On Golden Pond."
And yet such comparisons sell the show short. "The Dixie Swim Club" manages to grow into a unique experience that stands on its own.

The show spans 33 years in the lives of five Southern women, whose friendships began many years ago on their college swim team. Each year they gather together as they did in their competing days around the rallying cry of "the faster we swim, the sooner we win." With rules to leave spouses, kids and work at home, they meet at the same beach cottage on North Carolina's Outer Banks to drink, swim and enjoy their longtime friendships.

As all true ensemble shows, each character fits a different personality type. Sheree (Amber Burgess), the steadfast team captain, organizes the activities of each weekend. Dinah (Emily Bodkin), the career dynamo, drinks too much and cannot seem to find a man. The vain, sexpot Lexie (Brooke Beesley) believes the world revolves around her and her problems, until she has a problem too awful to share with the others. The epitome of bad luck, Vernadette (Kristin Danko), shows up each year with improbable injuries and even more outlandish events in her personal life, but she brings an acerbic wit and enthusiasm to each swim club gathering. And lastly, Jeri Neale (Laura Lynne Tapper), who had entered convent life, has a series of life-changing experiences that provide interest and opportunities for humor among the team.

The dialogue runs from hilarious to heart-wrenching as the lives of the women unfold and the years pass. These five actresses bond as the first of four scenes commences. It's clear that director Dennis McKeen has assembled a uniquely tight knit ensemble with the power to move emotions intensely. These women are five of the finest performers to ever grace the stage at Cornwell's.

Each performer creates a memorable character with crisp performances. At first, Laura Lynne Tapper's Jeri Neale seems the weakest of the lot, but then she precipitates the cause of what moved me to tears in the second scene. Though Lexie could easily be a caricature reminding some of Samantha from "Sex and the City," Brooke Beesley manages subtle changes and a richness of character. Though Danko and Bodkin deliver much of the comedy and the show's best lines, each shows a more serious side in scenes that are as funny as they are touching because of the talents of these fine actresses. And lastly, Amber Burgess proves why she is going to be featured in so many shows this season at Cornwell's. A consummate professional, Burgess also uses her considerable acting talent to create a character that rises above her stereotype in complexity and nuance.

"The Dixie Swim Club" deserves to play to packed houses every time the lights come up. If you make the time to see this show, you will be spreading the word about it just like Celeste Briegel and everyone who has filled the seats at the dinner theater.

"Anton in Show Business" with my theatre company - Lighted Match Theatre Co. Fall, 2009. Director.

2009-10-01T13:59:00.000-07:00

Anton in Show Business @ Theatre Building Chicago

Bob - CTA (Chicago Theatre Addict) Blog

The Lighted Match Theatre Company has kicked off its inaugural season with a winning production of Jane Martin’s* Anton in Show Business – a highly self-referential comedic play about the art and sacrifice of working in commercial theatre, featuring an all-female cast. (*Side note: Playwright Martin might not even exist.)

Jill Schmits, Kristin Danko and Emmi Hilger in "Anton in Show Business"
Anton concerns a trio of women cast in a struggling production of Anton Chekhov’s Three Sisters in rural Texas. Holly, played by the appropriately jaded and long-legged Kristin Danko, is the T.V. star whose only reason for doing serious stage work is to earn cred for future movie roles. As the sweet, southern and very green Lisabette, Jill Schmits shines brightly. And Emmi Hilger delivers an assured performance as Casey, a proud veteran of 200 non-salaried roles Off-Off Broadway. In supporting roles, Amber Rae Schafer excels playing various male roles, including the two directors (one a pompous Brit, one an elderly Polish Chekhov expert) who each attempt — and fail — at helming this play-within-a-play. Jacquelyn Prater and Faith Streng round out the cast with verve and gusto, playing everything from cowboy co-stars to lesbian producers to gay costumers.

Sounds insider-y? Yes, Martin is very aware of this. In fact, she’s even included a character in the play representing “the critic” (a droll Emily Bodkin), who calls out the pretentious B.S. from the audience as it plays out before us.

In other words, Anton laughs first at Anton.

The irony here is that Martin’s script strongly alludes to the dying art of theatre. And at this hugely entertaining production, currently squatting on the set of Griffin Theater Company’s The Hostage at Theatre Building Chicago, the seats were mostly empty. So, when Schmits touchingly delivered Lisabette’s final monologue about the state of theatre and the hope for its survival to the scattered audience of a few dozen, it was like holding a mirror up to its own reflection: An infinite corridor of…uncertainty? Fatalism? Irony? Who knows. But, damn! People need to get out and support local theatre!

Anton in Show Business plays through October 31 at the Theatre Building Chicago. For more information, go here.

Posted in Chicago, Theatre | Tags: Chicago, lighted match theatre company, Theatre
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Nunsense II - Cornwell's Dinner Theatre, 2009 Playing Sister Amnesia

2009-07-27T13:56:00.000-07:00

Like the first, 'Nunsense II' a chorus full of laughs
Battle Creek Enquirer - Battle Creek, Mich.
Author: Christopher Tower
Date: Jul 27, 2009
Start Page: n/a
Section: NEWS
Text Word Count: 710

Take a bunch of nuns and have their formal veneer crack and flake as they get sloppy and silly on the stage, and you have the premise of "Nunsense II" the latest show at Cornwell's Dinner Theatre at Turkeyville, U.S.A.

Those who went to Catholic school or attend Catholic Mass even semi-regularly love (or hate to love) nunnery humor, but this nunfoolery will work on non-Catholics as well. "Nunsense II" is a zany, madcap, breakneck romp that will propel even the staunchest soul through nearly 30 musical numbers in a hilarious and delightful two hours.

Those acquainted with Dan Goggin's nun musicals may have believed that the habit humor cloth had been wrung dry in the original Nunsense. After all, how much hilarity can Goggin wring from the five sisters of Mount St. Helens of Hoboken? But not only is there more gold in this conceit to mine, but the results will keep an audience in stitches and generate spontaneous cheers and applause.

"Nunsense II" extends the tale of the first Nunsense, which ended with Sister Mary Amnesia recovering her memory and realizing that she was the famous, lost country singer who had won the Publisher's Clearing House Sweepstakes. The sudden windfall of money ended the show's fund drive, necessitated when the convent cook killed most of the sisters with some bad soup, prompting the Reverend Mother (Gail Betts-Trader) to host a musical revue to raise money to bury them.

There are no dead nuns to bury in "Nunsense II," but the sisters are still in need of money as the Franciscans threaten to lay claim to Sister Mary Amnesia (Amber Burgess) and the sweepstakes. Amnesia is much the same as in the first show, but now, no longer an amnesiac, she's just loopy and loony.

Though the plot of this sequel is not nearly as strong as the first one (here the sisters are putting on a show not to raise money but because they've been "bitten by the show business bug"), there's plenty of great songs and time in the spotlight for each nun. Goggin's strong music carries the show and only occasionally relies on a reprise of a song from the first "Nunsense."

Director Dennis McKeen has assembled a strong ensemble cast, who not only work like an organic whole but are all strong enough that no one steals the show. Nevertheless, given the way the show is written, the best solos fall to Sister Robert Anne (Kristin Danko), who shows off her superb vocal talents with "Angeline" and "I Am Here to Stay."

On the flipside, Sister Leo (Viki Delicath), who had a special feature in the first show illustrating her desire to be a ballerina, has another very similar number here and is otherwise relegated to chorus support, which is a shame because Delicath is very talented and deserves more showcasing.

Though the show features less friction between Sister Hubert (Emily Bodkin) and Mother Mary Regina, the Reverend Mother, Bodkin has plenty of opportunity to show off her talents with strong signing and comic acting. Amber Burgess also makes a delightful Amnesia.

A great feather in the Cornwell's cap is the return of Gail Betts-Trader who played Regina in the first "Nunsense" at Cornwell's many years ago. Betts-Trader is a high-impact talent, and though her role is not as rife with opportunity to show off this talent as the first show, she makes best use of the chances provided.

In lesser hands, with its flimsy plot premise and the dredging up the dregs of Catholic humor barrel, "Nunsense II" would be a miserable flop. But this cast and the keen eye for humor of director/producer McKeen and crew, this show is a jet-fueled rocket of hilarity. And unlike other local theatre venues, this one comes with a sumptuous turkey dinner!

Christopher Tower is a freelance writer and theatre reviewer.

If You Go

WHAT: "Nunsense II," presented by Top Hat Productions.

WHEN: Now through Aug. 22 at 2 p.m. Tuesday through Saturday; and 8 p.m. Friday and Saturday.

WHERE: Cornwell's Turkeyville USA Dinner Theatre, 18935 15 1/2 Mile Road, Marshall.

COST: $38.50 for dinner and show; $29 for show only.

INFORMATION: Meals are served two hours before show time. For tickets or more information, call 800-228-4315.

"Amish Acres' 'Kate' a recession bailout" - RBT, "Kiss Me, Kate" playing Kate/Lilli

2008-10-24T08:54:00.000-07:00

Review
by Karen Rallo
South Bend Tribune Staff Writer

In the late 1940s, America had rebounded from a depression and World War II had ended. Sound familiar?

During that time, however, Cole Porter was in a bit of a recession himself. In need of a Broadway hit, Porter turned to Shakespeare for guidance, and the Peru, Ind., native wrote "Kiss Me Kate."

To explain, Porter's play is a play within a play as the cast of "Kiss Me Kate" portrays a cast producing "The Taming of the Shrew".

But, if thou doth not feel so enamored of Shakespeare, fear not, Porter's down-home sense of humor shines through in the Round Barn Theatre's production, which is being performed at Amish Acres in Nappanee through Nov. 2.

"Kiss Me Kate" was just as much a depression bailout for Porter as it is for Round Barn Theatre audiences today. There's plenty of toe-tapping, finger-clicking, jazzy tunes that had some older members of the theatre audience swaying with fond memories during this past Sunday's matinee performance.

Although Sunday's production seemed to start out on shaky ground, (the opening number seemed to drag almost as if it were the rehearsal itself), the audience was assured everything would turn out swell when Emily Thompson (who plays the flirtatious Lois Lane/Bianca Minola) came out, hips swinging and singing "Why Can't You Behave."

Matthew Sean Callahan (who portrays Fred Graham, the director of "Taming of the Shrew" and lead actor Petruchio) and his leading lady Amber Burgess had the wooden timbers in the theater shaking as the duo bleted out "Wunderbar." (Although, it's possible that the train rumbling outside the theater at just the same time may have played a part in the theater's vibration, but the audience didn't seem to notice as everyone was so enthralled with the couple's stage electricity.)

Burgess, who was the show stealer in Round Barn's production of "Carousel," was rightfully cast as the lead actress Lilli Vanessi/Katherine Minola. When Burgess came out banging her fists and throwing stage props about while singing "I Hate Men, " it was a wonder wives in the audience didn't turn to smack their husbands.

The tune "Tome, dick or Harry" with Thompson crooning away about how she would take any man for a husband, spotlighted the delightful singing trio of Lance Mullins, Scott Saegesser and production director Jeremy Littlejohn.

This play within a play is a tangled web of lead characters struggling with love-hate relationships, which means lots of emotions.

Red-headed Burgess plays the hot-tempered Katherine with such a vengeance that the audience begins to wonder if Petruchio will ever get his kiss. (In the end, the Shrew is tamed, or so she lets her man believe, anyway, and he does get a kiss, and then the audience gets a clever wink.)

But, throughout the production, the scene stealers (or quite possibly the show stealers), were mob gangsters JD Simper and David Smith. These two, in their pin-striped suis, had the spotlight to themselves as they enlightened the audience with their take on how to woo over a woman with the song "Brush up Your Shakespeare." The vaudevile-type act had the audience laughing nearly to tears.

A timeless production, "Kiss Me Kate" is smattered with Shakespeare's rather raunchy sexual undertones, and a few references to war and poitics (like the right to bear arms and the wearing of "Republican cloth" instead of foreign desiger dresses) that seems to ring just as true today as they did six decades ago when Harry Truman was running for president.

Amish Acres' "Kiss Me Kate" offers audiences the chance to come together to take a break from hectic schedules and the rhetoric or war and an impending election to just simply share in a delightful Porter song-and-dance moment.

"Cole Porter's 'Kiss Me Kate' at Round Barn Theater" - RBT, Playing Kate/Lilli, 2008

2008-10-09T09:23:00.000-07:00

By Jeri Seely
Editor in Cheif
the PAPER

The perfect way to spend a fall evening is by attending Cole Porter's "Kiss Me Kate," now on stage at Amish Acres; Round Barn Theater in Nappanee.

It's entertaining. It's fun. It features great songs by a very talented cast.

The musical is based on Shakespeare's "Taming of the Shrew" with Porter's own special touches. It's a play-within-a-play and fetures the antics of two couples during a presentation of the Brd's updated and musical play.

Lilli Vaness/Katherine Minola (Amber Burgess) and Fred Graham/Petruchio (Matthew Sean Callahan) were once married and have been drawn together again for the musical version of "Taming of the Shrew." They fight on stage as Shakespeare's Katherine and Petruchio. And, they fight off stage as former lovers.

This duo is extraordinarily talented as they bicker the night away. Burgess knows how to capture an audience and hold them in the palm of her hand. Likewise, Callahan, compliments her every move and their voices blend to perfection on such numbers as "Wunderbar, " and "Kiss Me Kate."

Lois Land aka Bianca (Emily Thompson) and Bill Calhoun aka Lucentio (Scott Saegesser) are perfect as the inspiring actors who are also a fighting/romantic couple. Thompson shines and gives a super rendition of "Always True to You in my Fashion." Saegesser, who has been at Amish Acres for a number of years, always knows what to do and when to do it. His "Bianca, " is delightful and his tap dancing is fantastic.

When Bill loses a large sum of money while gambling and signs Fred's name to the IOU the fun begins. Gangsters arerive to collect the money and end up as characters in the Shakespearean production.

To complicate matters, Lilli has just become engaged to General Harrison Hoell (Scott Emrick) but whom is she in love with? Harrison? Fred? Only time and the final curtain will tell.

Emrick makes the perfect general. He and Burgess are magnificent as they team up to sing, "From the Moment On."

The two men/Aids to Katarine (David Smith and JD Simper) are nothing but funny. Gangsters, they are not. Shakesperian actors, they are not. But, they can sing. "Brush Up Your Shakespeare" keeps the audience in stitches.

Adding talent and laughter to the production are Hattie (Rachel Black), who brings the house down with her solo in "Another Op'nin', Another Show"; Pups/Padua Priest (Don Johnson; Paul/Nataniel (Sam Brown), who turns in a first-rate performance in "Too Darn Hot"; Ralph/Gremis (Lance Mullins); Harry Trevor/Baptista Minola (Burke Fry); and the ensemble of Karen Courliss nad Kelly F. Geisel, who can stomp grapes with the best of them.

Carousel Review - South Bend Tribune, RBT Summer, 2008

2008-08-18T13:28:00.000-07:00

Round Barn’s ‘Carousel’ has its ups and downs
By KAREN RALLO
Tribune Staff Writer

NAPPANEE — When you think of a carousel, most of us, no matter the age, think of a happy time — riding up and down on a colorful sturdy horse with joyful music filling the air (albeit in tinny renditions).

Round Barn Theatre’s interpretation of “Carousel” features, of course, some delightfully cheery songs, but they’re not at all tinny as performed by the theater’s superb orchestra — although there are a few dips to go with the production’s ups.

Amish Acres prides itself on satisfying heart and soul: With its family-style meals and toe-tapping musicals, no one walks away hungry and everyone gets a serving of life’s lessons as well.

This particular musical isn’t going to have the audience members holding their stomachs from all the laughter, although there are a couple moments that are very funny and others where, on Aug. 9, it seemed as if the audience was relieved just to be laughing.

Round Barn’s version of the Rodgers and Hammerstein musical, which opened in 1945, begins with a lone silhouette of a man standing on a New England shoreline on a dark and foggy morning.

The scene is beautifully done — one can almost smell the salt air and hear the sea gulls crying out overhead, although asthmatics might want to sit a few rows back from the stage.

But this opening doesn’t really set the stage properly, in that some might know the film “Carousel” begins with the main character already dead and polishing stars in heaven.

Slowly, the small stage grows brighter and begins to fill with a colorful cast, all going about their duties as they literally set the stage with props for the carnival that has arrived in town. It’s the late 1800s, a time when children were entertained by a Punch & Judy puppet performance, young women might take a ride on a carousel, and young men would sneak away to be entertained by women in brightly colored short skirts and feathered head pieces.

All this is pulled together beautifully — without a single word from the cast, just the lovely playing of Round Barn’s orchestra resonating throughout the theater, showing how much the theater’s technical and production crew can do with so little.

With the stage set, the tragic love story between traveling carnival man Billy Bigelow (Brian Kaisen) and young factory worker Julie Jordan (Jennifer Jackson) begins to unfold.

The duo does a fine enough job with their first duet, “If I Loved You,” but the chemistry doesn’t really seem to be there, and at times, Jackson’s soft voiced is muffled by the orchestra.

As the robust Nettie Fowler, however, Rachel Black has no problem contending with the orchestra’s volume. When she breaks into “June Is Bustin’ Out All Over,” Black’s voice heartily carries up past the loft-perched orchestra and into the second level.

Amber Burgess is a comedic treat as the naïve and quirky red-headed Carrie Pippenridge. Her lovely, even voice stands out just enough over the music, and she never seems breathless as she moves about the stage. Some in the audience compared Burgess to Carol Burnett’s comedic sidekick, Vicki Lawrence, as a scene-stealer.

Burgess is able to sing above the audience’s laughter when Enoch Snow (Jeremy William Hilgert) is introduced. The very round, bald-headed Hilgert brings out the audience’s laughter with just a shake of his head, and his voice blends well with Burgess’ when they sing “When the Children Are Asleep.”

Just before intermission, Kaisen performs “Soliloquy,” a song about his unborn son or daughter.

Kaisen appears quite at ease, taking advantage of the entire stage all to himself. He leaps onto a crate box and then runs across the stage and jumps on a wooden bench, all the while singing easily.

The second act begins with promise, as the entire cast is assembled on stage singing “A Real Nice Clambake.” Together, the group sings in beautiful harmony, as the audience waits for the impending murder scene.

Shipshewana native Sam Brown does well as the thief, Jigger Craigin. The character’s Irish accent and his nervousness (constantly whittling away at a bit of a stick with his pocket knife) make Brown quite good at being the annoying bad guy.

After the shooting/knifing scene, however, the production becomes a bit gloomy and not just because the next scene opens to a darkened stage with a star-studded sky (although it is a nice touch to have the production’s artistic director, Jeremy Littlejohn, standing atop a ladder hanging stars as if he is a celestial big shot).

There is a bit too much melodrama throughout the death scene, and a couple of long and dull silences fill the spaces between some lines.

The show picks up with the appearance of Ryan Yoder (of Shipshewana and a Bethel College senior) and later Karen Courliss (a Bethel College graduate from Mishawaka), both of whom bring energy and passion to their roles.

Emma Jane Hostetler sparkles as Bigelow’s 15-year-old daughter. Hostetler’s dance scene is graceful and in control, and her comedic sketch with Nappanee native Lance Mullins (as Enoch Snow Jr.) is adorable. As well, Goshen’s Emily Baer brings a strong stage presence to the spiteful Mrs. Mullin, the controlling manager of the traveling carnival.

The two-hour performance ends with the entire company singing the rather sullen “You’ll Never Walk Alone.” It’s ironic that the audience left the theater Aug. 9 humming the tune because one of the biggest disappointments of the evening was that the cast didn’t greet the audience, as it has done in other productions at the Round Barn.

"My Favorite Kind of Weekend" - Review for "Carousel", RBT Summer, 2008

2008-08-04T09:38:00.000-07:00

It was a two-show weekend -- my favorite kind.

"The Unsinkable Molly Brown," on stage at the Ramada Wagon Wheel Theatre, is based loosely on a real character. "Carousel" at the Amish Acres Round Barn Theatre, is based on a 1909 play. They are examples of the wide variety that makes up the American musical theater roster.

At Wagon Wheel, in addition to the always excellent singing and dancing ensemble, "Molly Brown" offers two leading players who are perfect for their roles.

As Margaret Tobin, the girl from Hannibal, Mo., who dreamed of learning to read and write and of having a red silk dress and a big brass bed, Sarah Goeke is feisty and vulnerable, equal parts wide-eyed child and defiant female. Her energy is boundless. From the moment she literally leaps onto the stage to the tender finale, there is no doubt she is definitely "unsinkable." She has a confident stage presence and a lovely soprano voice that handles ballads ("My Brass Bed") and uptempo romps ("I Ain't Down Yet," "Belly Up to the Bar Boys") with equal ease.

The object of her affection (and sometimes her anger) is J.J. Brown of Leadville, Colo., played with stalwart assurance by Brandon Springman. A miner who goes from a shack in the woods to a mansion on Denver's Pennsylvania Avenue thanks to his silver strikes, Springman looks the part of the rugged outdoorsman and delivers a full, rich baritone that adds depth to the show's most beautiful ballad "I'll Never Say No" as well as to the introspective "If I Knew" and "Leadville Johnny Brown." He goes toe-to-toe with his combustible spouse, whose desire to impress Denver's "Sacred 36" becomes an obsession that almost destroys their lives, and comes out a winner.

Whether or not the Browns' relationship is absolute fact, the acquisition of her nickname is in the history books. On Lifeboat 6, Molly Brown urged her band of survivors to row to safety as the "unsinkable" Titanic went down in the North Atlantic.

Surrounding this strong duo are the Wheel's usual assortment of excellent featured players: Mike Yocum as Molly's earthy dad; John Rapson as Christmas Morgan, saloon owner and lifelong friend; Mark Ayesh as a clergyman in search of a cathedral; Jennifer Dow as Princess DeLong, who bolsters Molly's self-esteem; Tanner Bollinger as her princely brother, who woos Molly with the lovely "Dolce Far Niente"; and Crystal VanArtsdalen as Mrs. McGlone, nouveau riche leader of Denver society who slams the door repeatedly on Molly's efforts for acceptance.

The tireless ensemble portrays citizens of Leadville, the Beautiful People of Denver and international royalty and society with equal ease, executing Scott Michaels' intricate and varied choreography with enthusiastic precision.

"Molly Brown" was penned by the late Meredith Willson, who also created "The Music Man," and there are echoes of "Trouble" in "Are You Sure" and "76 Trombones" in "I Ain't Down Yet," but who cares. It's fun to see and lovely to hear.

Martin Chapman-Bowman's costumes go from backwoods to drawing room with total believability. Recreating Roy Hine's set is more than just a tribute to the late artistic director, it's just right for the show.

Former Wagon Wheeler Tony Humrichouser directed and staged this 1960 musical, proving that in the right hands, it is still "Unsinkable."

("The Unsinkable Molly Brown" plays through Saturday in the theater at 2517 E. Center St., Warsaw. For reservations, call 267-8041.)

"Carousel" is one of Rodgers & Hammerstein's "big five" musicals.

It is a testament to the musical genius of R&H that their melodies here, penned more than six decades ago, still resonate with audiences today, most especially "You'll Never Walk Alone."

"Carousel" opened on Broadway in 1945 with John Raitt (father of Bonnie) as the charismatic carousel barker Billy Bigelow. It was the first musical "comedy" with a tragic plot which obviously did nothing to dampen its success.

The show, as originally conceived, is a "really big" musical, requiring a large cast of singers and dancers, the last especially for the ballet on the beach, in addition to strong singer/actor leading players.

The Round Barn production has a total cast of 18, including three children, and several are required to play more than one role. It is not an easy deficit to overcome but director Jeremy Littlejohn makes a real effort (and contributes a lovely characterization as the Starkeeper).

The minimal choreography depends more on gymnastic ability than on dancing. Ropes on each side of the stage are used for swinging, often out over the audience.

The voices are strong. Amber Burgess as flighty Carrie Pipperidge and Jeremy William Hilgert as her "intended," Enoch Snow, carry off their comic clashes with solid timing and an obvious rapport and their duets are right on the mark.

Rachel Black has the perfect voice for Nettie Fowler, who sings the well-known anthem. She never oversings and solidly delivers the familiar melody -- and lyrics -- with depth and warmth.

Brian Kaisen's Billy Bigelow reaches below the bravado to exhibit a softer side that makes his attraction to Jennifer Jackson's Julie Jordan more believable. He handles the vocal requirements of the "Soliloquy" well but the sound reverberation on his final notes is more annoying than impressive, as it is whenever used.

As malevolent Jigger Craigin, Sam Brown is much less than evil, no matter how many times he hocks and "spits" -- a disgustingly unnecessary bit of business.

The opening visual of the foggy docks at daybreak is impressive, as is all David Castaneda's lighting. The small orchestra handles the lovely score very well.

(Carousel" plays through Sept. 7 at the theater, 1600 W. Market St., Nappanee. Show times and tickets: (800) 800-4942 ext. 2 or www.AmishAcres.com)

Contact Marcia Fulmer at mfulmer@etruth.com

Music Man

2008-07-04T15:09:00.000-07:00

A picture from "The Music Man".

This is me and Derek Martin on the footbridge.

"The Music Man" RBT 2008 (Marian)

2008-06-21T19:58:00.001-07:00

By ED RONCO
Tribune Staff Writer

In the production notes for the Round Barn Theatre’s production of “The Music Man,” director Richard P. Snyder says he wants to add color to the sepia-toned pictures of life near the turn of the 20th century.

In other words, he wants you to realize that the people of 1912 Iowa (the setting for Meredith Willson’s classic 1957 musical) were just like us, except with bigger hats and a lower tolerance for scandal.

He and a brilliantly talented cast have done just that with their production, which continues through July 13.

“The Music Man” is the story of Professor Harold Hill (Derek Martin), a traveling con artist who convinces people in small towns that they need to form a boys’ band to keep their children out of trouble.

He sells them the instruments and then skips town before the bands can form, leaving the people with effectively useless pieces of metal they don’t know how to use.

But River City, Iowa, is different for Hill, who finds its stubborn residents teach him as much as he thinks he’s teaching them.

Martin and Amber Burgess, as the smart-and-single librarian Marian Paroo, have difficult tasks in portraying two characters who undergo massive personality changes during the show. Both do so beautifully.

As Hill, Martin is the epitome of a con artist — a character who’s lovable even though you know he’s up to no good. On his feet, Martin is as smooth as his character, showcasing some outstanding dancing, especially during “Marian the Librarian” late in Act I.

Burgess gives a lot of authority to Marian, who comes off as smart, savvy and serious. She does comedic moments well when evading Hill’s advances and trying to deal with her mother’s nagging (“If You Don’t Mind My Saying So”).

But Burgess also puts a lot of gravity into the role, commanding the theater with a hypnotizing soprano voice when pining at the window (“My White Knight”) or while falling in love (“Till There Was You”).

And that’s what has made “The Music Man” endure for more than 50 years — its characters have timeless virtues and flaws. They all want to be important. They get embarrassed. They fall in love. They get mad at one another.

Even the more cartoonish of the characters, such as Mayor Shinn (Jeremy William Hilgert) and his wife, Eulalie Mackecknie Shinn (Rachel Black), have glimmers of a real, actual human being in them.

Both Hilgert and Black, by the way, are a treat for audiences every time they set foot onstage.

Jennifer Jackson and Lance Mullins, as Zaneeta Shinn and Tommy Djilas, turn their forbidden love into some good laugh moments, and the River City school board, as played by David Smith, Jeffrey Funaro, Anthony Easterwood and J.D. Simper, is delightfully dimwitted.

The large chorus numbers, especially “Iowa Stubborn” and “The Wells Fargo Wagon,” are beautifully executed.

Although “Seventy-Six Trombones” is arguably the show’s most famous song and will make you want to get out of your chair and join the parade, “Marian the Librarian” ends up as the show-stopping number thanks to some nimble dancing.

Some technical issues, however, slightly distract from the show. The scenery is impressive, especially the fountain in the middle of River City’s town square, but other pieces need to be stabilized.

Also, there are some acoustic problems when actors play scenes at audience level in front of the stage. It’s hard to tell whether this is a problem with microphones or with sound being sucked up into the massive dome in the Round Barn Theatre.

“The Music Man” has a lot of songs that require actors to speak in rapid rhythm — a task at which most succeed. There are a few stumbles, though, during “Pick-a-Little, Talk-a-Little” and its various reprises. Some quick polishing of those rhythms would be helpful.

But outstanding costumes (including ridiculous but appropriate hats), strong voices, a frenetic pace and an emotionally versatile cast make the Round Barn Theatre’s “The Music Man” a must-see production for even the most Iowa-stubborn of patrons.

Staff writer Ed Ronco:
eronco@sbtinfo.com
(574) 235-6353

"Music Man" Article - South Bend Tribune, Summer, 2008

2008-06-20T09:48:00.000-07:00

Multiple Costume Changes

Repertory theater means actors play many roles simultaneously.

By JEREMY D. BONFIGLIO
Tribune Staff Writer
South Bend Tribune

Jeremy Littlejohn expects a lot from the actors he hires for Amish Acres’ Round Barn Theatre. Each January and February, the artistic director of the repertory company holds casting calls in New York City, Chicago and at the theater’s home in Nappanee to find the handful of theater professionals who can handle the grind of Round Barn’s annual nine-month season.

“If you look at 2007,” Littlejohn says, “we had singing nuns, a show where people needed to play instruments rather well, followed by a play where the cast had to tap really well. Then we added the ‘Will Rogers Follies,’ where you have to do everything well, and, of course, ‘Plain and Fancy.’ We usually go through about 200 people in an audition just to find our cast of 10.”

Repertory company members, who travel from across the country to reside and work on the farm’s property, are cast in roles in six musical productions. “Once the season gets rolling, they’ll have nine performances a week — six of the repertory show and three ‘Plain and Fancy,’ ” Littlejohn says. “Then there’s also 20 to 30 hours of rehearsal each week.” A weekly salary, housing and meal plans are provided in exchange for the grueling performance pace.

This year’s cast just wrapped its first production, “The Fantasticks,” a week ago today. Their next production, “The Music Man,” begins Tuesday with performances through July 13, and the theater’s staple, “Plain and Fancy,” which began May 13 continues its production through Nov. 1.

“There’s a lot of pressure for you to stay on your game,” Chicago actress Amber Burgess says. “When you start to think of this as your job, your organizational skills become very important. You have to know where you’re going and what you’re doing because if you are disorganized in this job, it shows.” Burgess, a company member in 2007 who has returned for part of this season, portrays Ruth Winter in “Plain and Fancy,” and Marian Paroo in “The Music Man.” She also is designing the costumes for “The Music Man,” and like all company members, will be involved in set changes during performances as well.

“I like to consider this in many ways to be a teaching theater,” Littlejohn says. “Company members are going to learn here. They’re going to know how to do different things and think on their feet.” That’s certainly been true for Derek Martin, who lives in Virginia Beach, Va., when he’s not in Nappanee. Martin has been part of the Round Barn company on and off since 2001. “I think I’ve been in ‘Plain and Fancy’ more than 300 times,” Martin says. “It’s a great place to put all your skills to work. You explore every part, and because of that, some of the best theater in the country happens not in New York City but in regional professional theaters just like this.” Martin will step into the role of “Professor” Harold Hill in “The Music Man,” Meredith Willson’s iconic story about a con-man who, in an effort to sell instruments, convinces the citizens of River City, Iowa, that he can teach their children to play in a magnificent marching band. In addition to the lead role,

Martin also is serving as the show’s choreographer. “My first professional gig as a choreographer was here,” Martin says. “There’s an allowance for that. I’ve made a small career out of both choreographing and working in shows. I wouldn’t recommend it to everyone, but I get to have direct input on what you’ll see on stage, and that’s exciting.” What may be less than exciting to some theatergoers is Round Barn’s limited repertoire. The theater season rarely deviates from a series of classic, traditional musicals.

The 2008 season, for example, also includes “Carousel,” “Kiss Me Kate” and, for the holidays, “A Wonderful Life.” “We don’t take a lot of chances because our audiences want to see what they want to see,” Littlejohn says. “But as professional actors get younger and younger, there’s not a lot of opportunities for ‘Oklahoma!’ or ‘Carousel.’ We’re keeping those classics alive.”

Then, of course, there’s “Plain and Fancy.” The musical that offered one of the first depictions of an Amish community in pop culture is in its 22 season at Round Barn. “You can’t go too many places and see anything else like it,” Littlejohn says. “It’s very rustic. I mean, we are doing theater in a barn after all.” Littlejohn is quick to point out that the relaxed atmosphere doesn’t mean the Round Barn takes its theater lightly.

Burgess, for example, says she read “The Music Man” script multiple times looking for every nuance of her character before rehearsals began. “I made sure I had a real understanding of the script, reading it and getting into the spirit of it,” she says. “It definitely deserves more credit than people give it. It’s not this flip little piece. There’s some depth there.”

Martin adds that in addition to the long days rehearsing, performing or working on choreography, the cast members often continue their work in the off hours. “I always find it interesting that in doing nine shows a week I still find the time to do my own homework (on my character),” he says. Littlejohn is convinced that the show schedule and training his company members receive during their nine months in Nappanee stays with them long after they leave for other roles.

“Not everyone does repertory theater anymore,” he says. “Because it is such a strenuous schedule, if they can come out of this as a more well rounded professional, pretty much any theater is going to seem easier.” For some actors, however, coming back to the daily grind in Nappanee is far more attractive than struggling for smaller parts in bigger venues. “When you’re doing what you love, it no longer makes it overwhelming, it makes it exciting,” Burgess says. “It’s just part of doing theater for a living.”

Marquee by Marcia Fulmer - Review for "Music Man" RBT, Summer, 2008

2008-06-19T09:43:00.000-07:00

For almost 60 years, one of the best known -- and best loved -- melodies in the American songbook has been "Over the Rainbow."

Since Dorothy & Co. followed the Yellow Brick Road into movie history in 1939, the MGM version of "The Wizard of Oz" has been repeated -- "live" -- to the delight of audiences of all ages around the world.

It's not that most audience members don't know what's coming. For a number of years, the film was an annual special event on TV. Then videos and DVDs brought it right into the living room, available for viewing -- and re-viewing -- at any hour.

This accessibility, however, has not stopped audiences from flocking to the stage version, as evidenced by the SRO crowd at the musical's opening night June 11 at the Ramada Wagon Wheel Theatre in Warsaw.

The first musical of the 2008 season was directed and choreographed by Scott Michael. Longtime WW choreographer, he proved a worthy successor to the late Roy Hine.

It was all there. The Munchkins, the Winkies, the Lion, the Tin Man, the Scarecrow, the Witches (good and evil), the Wizard and, of course, Toto. Although not resembling the cinematic pup (brown and white rather than black), Flower, the small canine actor, was well-behaved and absolutely adorable, even curling up on Dorothy's skirt during "Rainbow." For "basket time," however, he was replaced by a less flexible model.

The Oz-bound quartet found instant acceptance among the many young members of the audience who did believe even Dorothy's long blonde ringlets. All delivered performances that managed to incorporate the spirit of the film characters while making them their own.

Adrian Aguilar was a nimble and frequently shedding Scarecrow while Brandon Springman creaked beautifully as the Tin Man and Andy Robinson roared ferociously (and wept with abandon) as the Cowardly Lion.

As Dorothy, Annie Fitch displayed sense and spunk and a lovely soprano when faced with the fearsome green visage of the Wicked Witch of the West (Carrie McNulty), who shook her broomstick threateningly and delivered some of the show's most famous lines with an appropriate cackle. She gets major points for balance during her several swift entrances and exits.

As always, Mike Yocum was solid as both Professor Marvel and "the man behind the curtain," whose countenance was ingeniously projected on the circular scrim that surrounded his "throne."

The score in the stage version includes several verses to the "If I Only Had...." song and returns one song cut from the film, "Jitterbug." The bugs, sent as another deterrent to the four, proved that bugs rock!

In fact, the dancing was definitely up to Michael's standards, especially that which filled the "Munchkin Musical Sequence." From the Mayor to the Coroner to the Lollipop and Lullaby Leagues, the 20 young (some very young) actors playing Munchkins were amazing! They knew every move and step of the fairly intricate choreography, which they executed sharply, all the while clearly enunciating every lyric.

Dressed in wonderfully colorful outfits designed and built by WW's costume wizard Martin Chapman-Bowman (and sporting some great floral headgear!), they were an early highlight and well deserved the sustained cheers that followed their segment.

Under the direction of Thomas N. Stirling, the 10-piece orchestra interpreted the familiar score fluidly and blended well. Everything was played on the set designed by Hine for the last trip to Oz.

("The Wizard of Oz" plays at 8 p.m. through Saturday in the theater a 2517 E. Center St., Warsaw. For tickets: 267-8041.)

ANOTHER FAVORITE MUSICAL, albeit with a shorter stage history, has strong ties to Elkhart, which once claimed the title "Band Instrument Capital of the World." It is, of course, Meridith Willson's "The Music Man," on stage at the Amish Acres Round Barn Theatre through July 13.

Going back to the turn of the century, when the music of John Phillip Sousa set everyone's toes tapping, it follows the effects of con artist Harold Hill on the straight-laced residents of River City, Iowa, in his attempt to start a boys' band.

Taking orders for instruments and uniforms while advocating his "think system" method of musicology, Hill (Derek Martin) makes the mistake of getting too close to librarian/piano teacher Marian Paroo (Amber Burgess). As the last train out of town chugs away, Hill finds his foot "stuck in the door" and his life about to change tempo -- from march to waltz.

The production starts on a very high note, with traveling salesmen on an Iowa-bound train debating methods of selling and agreeing that Hill is a detriment to the profession because "He doesn't know the territory."

Bouncing along the rails, "Rock Island" requires excellent rhythm in a number that is spoken rather than sung. It is a real test of the ensemble and they rose to the challenge.

The always-anticipated school board quartet (here played by David Smith, Jeffrey Funaro (great deadpan!), Anthony Easterwood and J.D. Simper) were equally successful in blending their voices for several of the show's best numbers -- "Good Night, Ladies," "Sincere," and "Lida Rose." The counterpoint offered by the ladies ensemble was not as successful.

Burgess has a clear and lovely lyric soprano and is a sensitive actress, but she primarily stands and sings, concert-style, which lessens the dramatic impact of her solos and her character. And there must be a reason for her thin ballet slippers in Act 2, but we were unable to determine why.

For two weeks before returning to Chicago, Joe Ford is playing anvil salesman Charlie Cowell. Catch him if you can.

("The Music Man" plays through July 13 in the theater at 1600 W. Market St., Nappanee. For show times and reservations, call (800) 800-4942, ext. 2, or visit www.AmishAcres.com)

"Smoke..." Provision, 2008 Chicago. From "TimeOut Chicago"

2008-05-23T08:01:00.001-07:00

In the theater, satire and religion are as cozy as Satan and sin. No sooner do you hear a hearty “Can I get an ‘Amen’?” than you begin to anticipate Elmer Gantry–esque acts of hypocrisy. So, it’s not until a few songs into this charming revue of Appalachian-tinged gospel that a thought dawns: Oh, they’re serious. Smoke celebrates old-time values and old-tyme music, interweaving folksy monologues with rousing renditions of gospel favorites.

That’s not to say that Smoke eschews all satire. Set in a Baptist church in 1938, this plot-light, music-heavy revue pokes the gentlest of fun at human foibles—smugness, intolerance, parochialism—while unapologetically celebrating the power of God’s love. Playwright Ray weaves it all together with the loosest of plots: The Sanders Family Singers hold a concert at a rural Baptist church; personal histories and deeply held philosophies are revealed. The premise provides just enough character and backstory to add resonance to Ray’s lineup of traditional songs and save the proceedings from preachiness. And thanks to Ray’s sharp writing, it’s often laugh-out-loud funny.

Gregory and his remarkable company mine the material for all it’s worth. His skilled actors craft nuanced, sympathetic characters while accompanying themselves on a dizzying array of instruments (check out the multitalented Amber Burgess on guitar, piano, violin and mandolin). From Susan Moniz’s smug matriarch to Alex Goodrich’s beaming, eager preacher to Jeff Harms’s haunted ex-con, each character is engaging and rich. Add accomplished musicality (refreshingly unmiked) and a simple but lovely set design, and you’ve got yourself one foot-stomper of an evening.

— Kay Daly

"Smoke..." Provision, 2008 Chicago. From "TimeOut Chicago"

2008-05-23T08:01:00.000-07:00

"Smoke on the Mountain" - Provision, 2008 Chicago

2008-05-23T07:33:00.001-07:00

Smoke on the Mountain

Critical Evaluation: **** out of ****

My hat goes off to actor Tim Gregory, who is the founding artistic director for his Provision Theater. We only hope to encourage theatre lovers through print, the Internet and word of mouth to attend their productions. "Smoke on the Mountain" is a small, folksy musical under the direction of Gregory and musical direction of the astonishingly talented Michael Mahler, soon to be appearing in "Buddy: The Buddy Holly Story" at Drury Lane Oakbrook. The show features two very talented Equity actors, Susan Moniz and Richard Marlatt, who play Vera and Burl Sanders. When the show opened with "Rock of Ages," it brought back memories of when I soloed on it in church many years ago.

"Smoke on the Mountain" was written by Connie Ray and conceived by Alan Bailey. The show takes us back to a simpler time and the audience becomes the congregation of the Mount Pleasant Church. The cast sings and plays instruments and the dances are staged by one of Chicago's top choreographers, Stacey Flaster. Pastor Oglethrope (played by Alex Goodrich) has decided to invite one and all to the "first ever Saturday night songfest" and he is determined to move his flock into the "modern world" by inviting the singing Sanders family to join him. In addition to Vera and Burl, the family includes Denise (Christine Barnes), June (Amber Burgess), Stanley (Jeff Harms) and Dennis (Shaun Whitley).

"Smoke on the Mountain" features many familiar Gospel songs, such as "Church in the Wildwood" and "I'll Fly Away". This is a small scale musical that not only features music but stories, hilarity and honest emotion. And it should leave you not only tapping your feet but also lifting your spirit. It's a show of inspiration, which is the purpose of this theatre company. It's a hard task finding shows that fit the theme of this company but I'm sure there are more out there. "Smoke on the Mountain" runs through June 8, 2008 at the Viaduct Theatre, 3111 North Western Avenue in Chicago. Tickets are $25, students are $20. Call (773) 506-4429.

"Smoke on the Mountain" 2008, Provision theatre co., Chicago

2008-05-16T12:03:00.001-07:00

Blurb from the "Chicago Reader"

SMOKE ON THE MOUNTAIN Provision Theater's gospel musical can be an awfully sweet treat--but every time my teeth started to itch, one of writer Connie Ray's hairpin turns to comedy saved the day. Set in 1938, the show transforms the audience into the congregation of a Baptist church at its first-ever Saturday night sing, hosted by the annoyingly earnest Reverend Oglethorpe. His invited guests, the musical Sanders family, play and sing a range of traditional numbers, from the familiar ("Rock of Ages") to the oddball ("The Filling Station"), the touching ("Blood Medley") to the rousing ("Angel Band"). In between, family members relate their generally hilarious inspirational stories. Director Tim Gregory keeps things precise but light, and all the performers are chock-full of the musical and comic spirit. --Laura Molzahn Through 6/8: Thu-Sat 8 PM, Sun 3 PM, Viaduct Theater, 3111 N. Western, 773-506-4429, $20-$25, industry shows Thu.

"Smoke" family photo, Provision Theatre Co, 2008 Chicago

2008-05-15T11:07:00.000-07:00

"Smoke on the Mountain" Review, May, 2008, Chicago w/ Provision Theatre Co.

2008-05-12T21:23:00.001-07:00

Smoke on the Mountain, first produced in 1988, has become a stable of rural American regional theatre. Kudos to Provision Theater for mounting this musically satisfying glimpse back into an innocent time in rural America when many folks lived close to their religious beliefs and celebrated with it with blueglass gospel music. Filled with many styles of music ranging from toe-tapping acoustic bluegrass to plaintive hymns and praise-the-lord songs, Smoke on the Mountain is a enjoyable musical treat.

Smoke on the Mountain is the story of the 1938 North Carolina Mount Pleasant Church’s first Saturday night ”sing.” Reverend Mervin Ogethorpe (Alex Goodrich, a traffic banjo player) has invited the “Singing Sanders’ family to lead the church’s first ‘sing.’ Burl Sanders (Richard Marlatt) and wife Vera Sanders (Susan Moniz) together with Burl’s brother Stanley (Jeff Harms) and their children June (Amber Burgess), Denise (Christine Barnes) and her twin Dennis (Shaun Whitley) form a gospel bluegrass band. The Sanders’ family play guitar, fiddle, bass, mandolin and piano. The have nice voices too. They mix their wide range of white gospel tunes with down-home personal antidotes and religious ‘testimonies.’ These sentimentally sweet stories are humorous adding a spiritual revival element to the show. The musicianship here is first class.

The cast have a blend of fine voices (Susan Moniz and Richard Marlatt are terrific), offering truthful performances, especially from Shaun Whitley and Christine Barnes as the teen twins smitten with the spirit of the Lord. I enjoyed the rich harmonies and the nice mixture of bluegrass and gospel tunes. The stories give a glimpse of the Fundamental religious influence of Christianity. These rural folks’ lives are centered on their religion. Their faith explodes through their music and their general store and auto garage in rural North Carlonia.

This fun show contains a tad too much preaching for my heathen mentality but the terrific old-time bluegrass music carried the show for me. Modern audiences see how the strong religious influence ruled these folk’s lives. It almost plays as cautionary tale warning about the fanatical influence of the religious right. This spirited show will get your toes tapping and your hands clapping—what’s wrong with that?

Recommended

Tom Williams

Tom99@chicagocritic.com for comments

Talk Theatre in Chicago podcast

Date Reviewed: May 11, 2008

Poster for "Smoke on the Mountain", 2008 Provision Theatre Co, Chicago, IL

2008-04-15T08:29:00.001-07:00

The Bailiwick Cabaret Festival - Bailiwick Theatre, Chicago, 2008. Press Release

2008-03-17T08:30:00.000-07:00

The Bailiwick Repertory is thrilled to announce the upcoming Bailiwick Cabaret Festival. The Festival will include two different performances by two different cabaret performers each night, totaling 9 nights and 18 performers! It will run Thursdays at 7:30, Saturdays at 7:00 and Sundays at 4:00 and will play for three weekends starting March 20th (see complete schedule below). The tickets are $10 for one performance or $15 for both. The performances will take place in the Studio Theater at the Bailiwick Arts Center, located at 1229 West Belmont Avenue.

COMPLETE BAILIWICK CABARET FESTIVAL SCHEDULE WEEKEND 1 THURSDAY: MARCH 20 AT 7:30PM: MICHELLE GREENBERG & MISSY MORENO

SATURDAY: MARCH 22 AT 7:00PM: KATE PARKER & ELIZABETH DOYLE

SUNDAY, : MARCH 23 AT 4:00PM: MATT GRIFFO & FRANCESCA AMARI

WEEKEND 2

THURSDAY: MARCH 27 AT 7:30PM: DANIEL RILEY & KT MCCAMMOND

SATURDAY: MARCH 29 AT 7:00PM: AMBER BURGESS & GRETA POPE

SUNDAY : MARCH 30 AT 4:00PM: RACHEL RENEE & HELENE ALTER-DYCHE

WEEKEND 3

THURSDAY: APRIL 3 AT 7:30PM: CARLA GORDON & HARMONY FRANCE

SATURDAY: APRIL 5 AT 7:00PM: MELISSA YOUNG & BRADFORD NEWQUIST

SUNDAY : APRIL 6 AT 4:00PM: STEVE KIMBROUGH & YOLANDA DAVIS

Founded in 1982, Bailiwick Repertory is dedicated to reflecting on our stages the diversity of our world in works ranging from classics to world premieres. Our Primary Series features plays and musicals - many by Chicago authors – appealing to the traditional theatergoer, while our Community Based Initiatives – Pride Series, Directors Fest, Summer Youth Initiative, and Second Sex Series featuring women in prominence – develop new artists and audiences. Bailiwick has earned over 150 Jeff Recommendations and Citations, including Best Musical Awards for the last three seasons for the world premiere of Dr. Sex, the Chicago premiere of Parade, and a revival of Kiss of the Spider Woman. In addition the company has won several Black Theater Alliance Awards, two dozen After Dark Awards, the Community Service Award from the Chicago Hearing Society, and is the only theater in the country given the Torch Award from the Human Rights Campaign. For tickets and reservations call 773-883-1090. Bailiwick also offers flexible subscription packages including Bronze (8 admissions for $165), Silver (12 admissions for $230) or Gold (16 admissions for $275) that can be used in any combination for any show in the building any day of the week. Tickets and subscriptions may also be purchased at http://www.bailiwick.org/.

White Christmas 2007, RBT Indiana (don't let the title fool you, it's about "White Christmas") "'Cinderella' remains a magical musical"

2007-12-08T09:46:00.000-08:00

Get Ready Folks!!
This is a review for another show (not my show, but "Cinderella" at the Wagon Wheel Theatre). In which I am MENTIONED.

My first bad review has officially become my BEST REVIEW EVER!!ENJOY!

The Truth - LifeMarquee/Marcia Fulmer —

'Cinderella' remains a magical musical

Published: Wednesday, December 05, 2007 -- The Truth,
DLast updated: 12/4/2007 10:30:44 PM

The old show business adage, "The show must go on," has to be one of the most difficult to fulfill.Although sometimes used in comic situations, when invoked after a disaster, it can be heartbreaking. But it does go along with another old bromide: "What does not kill us makes us stronger." Certainly the cast and crew of the current Wagon Wheel Theatre production of "Cinderella" must be working their way up to solid steel.From the recorded opening curtain speech to the final girl-gets-prince romantic waltz, it was a show of which the late designer/director Roy Hine, who began the process two short weeks ago, would have been proud.The reins of directorship moved to Scott Michaels, always, as now, a marvelously inventive choreographer, with longtime technical director/production manager Michael Higgins and his crew creating the palace-to-cottage scenes and, of course, Cinderella's enchanted coach.Producing a theatrical version of a show that has been immortalized in books, on television and in the magical Disney animated film is a challenge on many levels. And it's a challenge this production meets head on.A first-rate cast created the familiar fairy tale characters. The lovely score by Richard Rodgers and Oscar Hammerstein II was delivered by an ensemble and a solid lineup of principal players who proved there was not a weak vocal link in the bunch.In the title role, the lovely Jennie Sophia brought the easily-cardboard character to life. Her warm and lyrical soprano more than did justice to the beautiful R&H ballads as well as to the up-tempo numbers and she gave depth and honesty to the mistreated but ultimately happily-ever-after heroine. This young leading lady is on her way in Chicago. "Cinderella" is a wonderful opportunity to see her up close rather than from the second balcony.Opposite Jennie is Jeremy Rill, who also appeared with her in Gary Griffin's recent Chicago Shakespeare production of "Passions." Rill's Prince Charming is exactly what his character name implies. Tall and good looking and with a smooth and easy voice that is a pleasure to hear. Solo or in a duet with his leading lady, he is the best WW prince in many a season.The comedy roles are in the more than capable hands of Lisa Liaromatis and Carrie Weis as stepsisters Portia and Joy, respectively. Liaromatis' uncontrollably contagious laugh is reminiscent of Janice, Chandler's on/off girlfriend in "Friends," and her "creaking" knee is second only to the rusted Tin Man. We marveled at how Weis was able to maintain Joy's "handicap," constantly batting her eyelashes, without stabbing herself. But she did and the duo, refereed by Alyssa Trasher as the nasty stepmother, evoked well-deserved laughter.As the Queen and the King, Kira Lace Hawkins and Mike Yocum made a perfectly royal pair. Her voice is rich and full and left listeners wanting more. She was the calming influence to Yocum's frequently explosive king, who reminded this reviewer of a comic character in the funny papers. Their duet, "Boys and Girls Like You and Me," was a tender highlight that spoke to all parents, royal or regular.Crystal Vanartsdalen overcame a frightwig and a less-than magical costume to deliver a commandingly delightful Fairy Godmother. There is no "Bibbity Bobbity Boo" here but "Fol-De-Rol" and "Impossible" more than fill the gap.In the "no small parts" category, Prescott Seymour created a caustically autocratic Herald. As always, Michaels' dancers delivered the high energy choreography with timing and enthusiasm that never cease to amaze me.Patrick Chan's lighting design, the orchestra directed by Lee Harris, costumes by Chib Gratz and the hear-everything sound design by Chris Pollnow completed the enchanted evening.Roy would have had no complaints.NOTE: There will be a memorial service for Roy at 7 p.m. Monday at the Wagon Wheel, 2517 E. Center St., Warsaw. A reception will follow.JUST TO UNDERSCORE the fact that reviews are definitely subjective, I have to share my opinion, formed about the same production viewed by one of my "colleagues," that Joe Ford and his on-stage opposite, Amber Burgess, are the best things in the Amish Acres Round Barn Theatre production of "White Christmas."Admittedly not the best book in recent memory (even cornier than the movie), it is filled with Berlin melodies, many of which never appeared in the film version, and Ford and Burgess deliver them solidly, as well as creating characters as believable as possible, given the awkward dialogue and contrived situations. I also would love to know how any actor can be "too professional." Never thought of that as a negative.The other side -- the very much less than professional -- is played by second bananas Brance Cornelius and Stephanie Long, who obviously subscribe to the "louder is funnier" and "broader is better" theories, which make their delivery, especially of dialogue, painfully screechy and definitely not funny. There is such a thing as trying too hard. Close runner-up in these departments is Donna Schulte, whose Ethel Merman wannabe doesn't even come close to the mark. Actually, comic timing seems to be lacking in all the character roles.On the up side, teenager Emma Jane Hostetler as an aspiring actress displays a strong and sure vocal talent and an engaging personality.

White Christmas 2007, RBT Indiana "Cherished title song saves 'White Christmas'"

2007-12-04T09:48:00.000-08:00

Cherished title song saves 'White Christmas'INTERMISSION: REVIEWJACK WALTONTribune CorrespondentNAPPANEE --Two fellows who love to sing and dance get out of the U.S. Army after World War II, meet some girls and embark on an adventure filled with one cliché after another. If the plot mattered in the slightest, "Irving Berlin's White Christmas" would be in big trouble as a theatrical event.Fortunately, the show is about the songs. The story line merely serves as a series of segues between numbers.Based on the 1954 Bing Crosby movie "White Christmas," the current musical version adds a few songs that weren't in the film version, thus making it even less of a Christmas story. The script, written by David Ives and Paul Blake, also drops some of the movie's dramatic parts, leaving a skeleton of dialogue to frame Berlin's great songs. This is really much more of a "revue" than a "musical." Thursday night at Nappanee's Round Barn Theatre, a company of mainly professional performers (along with a few locals) trotted the show out somewhat successfully.Leading man Joe Ford, as Bob Wallace, was downright too professional in the way he carried himself. His gestures were huge, his demeanor stiff and cloying. It was as if he were playing to a bigger room (or trying to sell something). His strong voice bears some resemblance to Barry Manilow's, but rather than use his abilities to convey soul in Berlin staples such as "Blue Skies" he poured on the shtick.The rest of the cast fared much better. Ford's counterpart, Brance Cornelius, lent to his character Phil Davis a more believable sense of fun and pizzazz. Amber Burgess and Stephanie Long, as the boys' love interests, the Haynes sisters, were also excellent.Their techniques were not as honed as Ford's, but their personalities came through clearly.Burgess is not a gifted singer, but managed to use that to her advantage: Her character is insecure, and it came across poignantly in every just-missed note.Cornelius and Long's tap dancing interlude in "I Love a Piano" was a showstopper.Four small roles were also a much-needed shot in the arm in a show that too often dragged between musical numbers.The fantastic, cartoonish glamour girls Rita and Rhoda (Vanessa Altshuler and Jessica Chesbro) regularly stole scenes with their helium-voiced hilarity. Also noteworthy were the oldest and youngest performers: Donna Schulte was both moving and funny as Martha, a washed-up singer, and Emma Jane Hostetler was a sparkplug as precocious young Susan, a girl trying to get the attention of the grownups.Still, the show was scarcely better than a strict revue format would be. There were just a few elements in the production that made it preferable to just gathering a few people around a piano to sing the tunes.A small, unseen musical ensemble played nicely, the sets (especially the train car) were effective, and the costumes (notably those of Rita and Rhoda) were a treat, as well. But in the end, all director Jeremy Littlejohn needed to worry about was getting the fake snow to fall properly inside the fabulous structure that is the Round Barn, and to hope the crowd would sing along with the title song.The snow came down just right, and of course the audience sang that beloved tune.Everyone smiled on the way out, and the show was a hit.

White Christmas 2007, RBT Indiana "White Christmas Revue"

2007-11-15T09:50:00.000-08:00

They are having a “White Christmas,” Irving Berlin style, at Amish Acres Round Barn Theatre this year. It’s one of those Christmas productions that makes theatregoers feel warm and cozy about the holidays as they relax and listen to 18 Berlin hits. The curtain opens in Europe in 1944. It’s Christmas Eve and World War II is in full swing. Bob Wallace, a song-and-dance man (Joe Ford), and Phil Davis (Brance Cornelius) are entertaining the troops. Enter General Henry Waverly (Brian Kaisen) who is being relieved of his duties and sent stateside.The next 10 years pass quickly. It’s 1954 and Wallace and Davis have teamed up and are performing on the “Ed Sullivan Show.” They plan to head to Miami for Christmas break but because an Army buddy sent them a letter requesting they take in the show featuring his sisters, Betty (Amber Burgess) and Judy (Stephanie Long) Haynes, at a theater in town, they plan to do that prior to boarding their Sunshine State bound train.No surprise. Boys meet girls. Plans change as Phil and Judy decide Bob and Betty were made for each other. The girls are headed to Vermont for a holiday show. Phil manages to get Bob and himself on the same train.Problem: There is no snow in Vermont. The holiday skiing season is a bust. Gen. Waverly owns the lodge where the girls are to perform and is having problems meeting ends meet because no one is coming to Vermont this year.Answer: They will bring Bob and Phil’s show to the inn and feature Betty and Judy, too. That will solve everything. Or will it? Joe Ford has returned to the Round Barn Theatre after a three-year hiatus. Brance Cornelius is making his Round Barn debut. These fellows are great. Bing Crosby and Danny Kaye would be proud to have them following in their footsteps.Amber Burgess and Stephanie Long team up as sisters, again. This duo was seen on stage earlier this year as the Cupp sisters in “Pump Boys” and have been delighting Amish Acres audiences the entire season. We can say in all honesty they both turn in super performances and Rosemary Clooney and Vera-Ellen would approve. The duo gives a perfect rendition of “Sisters.”In case you don’t know, Crosby, Kaye, Clooney and Ellen were featured in the movie version of “White Christmas,” which puts a little different twist on things although all the important ingredients are found in the musical, too. They have just been moved around a little to make for a better on-stage production. We could find no fault with this.Long and Cornelius are light on their feet and their dance routines are the greatest. They even tap to “I Love a Piano.” Ford and Cornelius bought down the house with their rendition of “Sisters” and Ford and Burgess capture the hearts of the audience with such duets as “Love and the Weather,” “Count Your Blessings Instead of Sheep” and “How Deep is the Ocean?”Kaisen plays the part of the general to the hilt, limping a little from his old war wound, trying to get back in the Army and endeavoring to keep his inn open.Capturing the hearts of the audience and bringing many a laugh was Donna Schulte who gave Martha Watson a personality all her own. An employee at the inn and a well-known busybody, she spends her time going above and beyond as she tries to help her boss during this down time at the inn. And, guess what? She is a former stage performer who would do anything to have a part in Bob and Phil’s show.And, 16-year-old Emma Jane Hostetler steals the spotlight whenever she in on stage. As Susan Waverly, the general’s granddaughter, she is visiting Vermont from California with hopes of enjoying snow during the holidays.Others in the cast and crew deserve bouquets, too, for super performances, great music, beautiful costumes and a special kudo to Ryan Clause who is celebrating his 50th Round Barn Theatre production.This much-loved Christmas musical is a delight for all who have tickets for the magical production. And, for an even more special evening for the entire family enjoy one of the theme buffets in the Barn Loft Grill Nov. 30, Dec. 7, 21 or 28, or do as we did and partake of the Thresher’s Dinner, which is served family style in the century-old barn restaurant. Both feature all you can eat menus with no one going away hungry.For reservations for the musical and the theme buffet call (800) 800-4942.

Thouroughly Modern Millie - 2007 RBT Indiana, "Tired 'Millie Fresh at Round Barn"

2007-08-10T09:52:00.000-07:00

Article published Aug 10, 2007
Tired 'Millie' fresh at Round Barn
ANN MARIE STEWART
Tribune CorrespondentNAPPANEE --

A trip out to the Round Barn Theatre at Amish Acres is a pleasant journey. Time seems to slow down a little bit as one enters the green countryside, speckled with clusters of pure white barns and houses, and horses and buggies.But the production currently on the stage at the Round Barn, "Thoroughly Modern Millie," isn't about simple country life. Rather, it is the story of a naïve girl, Millie Dillmount, who abandons her Kansas home to seek adventure and -- most importantly -- a husband in New York City in 1922. Upon her arrival, she is immediately mugged, meets a handsome yet abrasive stranger, and soon begins her hunt for employment, only to meet multiple obstacles to her happiness along the way.Truth be told, the story isn't particularly fresh or engaging, and those who enjoy musical theater will certainly recognize that this plot walks a well-worn path.Millie attempts to redefine herself as a "modern woman": She bobs her hair, shortens her skirts and declares that marriage should be about achieving the greatest financial gain instead of attaining love. Without revealing the ending, Millie manages to achieve her goal, but in a most unexpected way. The moral of the story is that romantic love is fickle, duplicitous, and futile -- while also being simultaneously full of surprises. At least for Millie, it is utterly worth the effort. Other characters, however, are not so lucky. It's in this way that the production sends mixed messages and poses unanswered questions, resulting in an ambiguity that sounds more "modern" than one might expect.The role of Millie, first performed on Broadway by the brilliant Sutton Foster, requires a tremendous amount of sparkle and flair, a voice of considerable range, and the ability to tap-tap-tap with resounding energy. Stephanie Long, who takes on the role with dedication and focus, is up for the task and fulfills the challenging requirements. Long is best in companionship with the perfectly cast Miss Dorothy played by Katie Fox-Kirsch, and with her utterly believable love interest, Jimmy Smith, played by Martin Fox. During her solos, Long's performance sometimes becomes a bit self-conscious or strained despite her efforts.Long and Fox-Kirsch dance and sing with playful effortlessness in their numbers together, such as "How the Other Half Lives." In their love scenes, Long and Fox tackle the challenging but beautifully written score in "I Turned the Corner" with seeming ease. Fox's voice is exceptional not only in his sense of pitch and tone, but also his ability to shape a musical phrase with the nuanced sensitivity of a seasoned vocalist.In "Only in New York," perhaps the strongest musical number of the score, Muzzy, played by Tracy Funke, positively takes over the stage with an overwhelmingly wonderful presence and a rock-solid voice. Funke also deserves praise for her choreography, most memorably the drunken dancing in the "Nutty Cracker Suite."Matthew C. Scott produces a believable, grounded performance as Mr. Trevor Graydon, despite the lackluster ending the script provides him. Rachel Greene captures the audience in "Forget the Boy" with her highly interesting and often grotesque characterization, movement and facial expressions as Miss Flannery. Amber Burgess offers delightful comic timing and develops a well-rounded, wicked performance as Mrs. Meers.Energetic and sometimes surprising, "Thoroughly Modern Millie" is worth the lovely drive through Amish country.

Pumpboys and Dinettes, RBT 2007 Indiana, "OnstageMusic-making pumps up 'Dinettes'"

2007-06-24T09:53:00.000-07:00

Article published Jun 24, 2007

OnstageMusic-making pumps up 'Dinettes'

Lighthearted show puts actors' talents in the spotlight

KAREN RIVERS

Tribune Staff Writer

NAPPANEE -- The great thing about the Round Barn Theatre is that you can go one night and see Amber Burgess and Stephanie Long totally at home in a pair of habits, playing two wise-cracking nuns. Show up a few weeks later, and they're lighting up the stage as saucy, sassy, gum-chewing waitresses.From convent to diner, they don't miss a beat."Pump Boys and Dinettes" is the latest offering on the Amish Acres' summer theater schedule, following "Nunsense."This Tony-nominated musical revue is a kind of celebration of small-town life. There's one number that's all about the beauty of a farmer tan and another that stresses the importance of tipping (and yes, the waitresses come out into the audience and actually take your change).The show is all song, dance and silly jokes, no story to sweat over. It stars two diner waitresses/proprietors, Prudie (Burgess) and Rhetta (Long), and four gas station workers who happen to be aspiring musicians.Unlike Prudie and Rhetta's famous pie, "Pump Boys" is pretty light fare -- but it still asks a lot of its actors.The show is pumped up by the fact that the actors are making the music. The men take on guitar, bass, accordion, keyboard and percussion between the four of them. The women help keep the beat in a big way, using drumsticks and various diner items. Burgess also plays guitar and a killer violin.It's fun to see the actors show off their multiple talents, especially in the intimacy of the Round Barn (although the volume on the instruments could be kicked up a notch).Don Hart, as Eddie, is excellent on bass. He also shines when he picks up the guitar to accompany Long and Burgess on "Sister," one of the show's sweeter moments. Ross Hannon is charming as Jackson and has some impressive guitar solos on the show's more rocked-out numbers. As L.M., Brian Kaisen brings a warm presence to the stage, and his rendition of "The Night Dolly Parton Was Almost Mine" is well-sung and surprisingly tender.On Wednesday, Scott Saegesser, a Round Barn veteran who is currently the theater's costume designer, steps into the role of Jim (usually played by Shaun McGuire). The playbill doesn't list Saegesser as an understudy, and it appears he is more of an emergency stand-in.That's a scary prospect in a show that demands so much of its actors, but Saegesser sings, jokes, plays the washboard -- and when it is time for him to harmonize with the three other guys a cappella, he nails it. There are shaky moments, but he hangs on with poise and a smile.From one song to the next, the Dinettes are always ready to kick things up. Burgess and Long have great chemistry, great energy and stellar voices. When they wander the audience, asking men to dance and giving out free pie, they prove they have a flair for improv, too."Pump Boys" is all about having some down-home country toe-tapping fun. The cast pulls together to put on an enjoyable show -- one more challenging than its sometimes silly vibe would suggest.Staff Writer Karen Rivers:krivers@sbtinfo.com,(574) 235-6442

Nunsense, RBT 2007 Indiana "'Amish' nuns earn benediction"

2007-04-29T09:55:00.000-07:00

Article published Apr 29, 2007
Onstage
'Amish' nuns earn benediction
KAREN RIVERS
Tribune Staff Writer

To say that people like the musical "Nunsense" would be something of an understatement.After opening with a bang off-Broadway in 1985, this show of singing sisters started playing all over the world. To date, it's been translated into more than 20 languages and spawned a catalog of spinoffs, including a Christmas version, a country-western version, a Vegas version, a drag version and even a Jewish version: "Meshuggah-Nuns."In other words, bringing a little Catholic humor to Amish country isn't all that strange."Nunsense" opened at the Amish Acres Round Barn Theatre this month, and at a recent matinee, the production had the audience howling.According to director Jeremy Littlejohn, "Nunsense" is founded on a strong premise."It's basically a variety show with nuns," he says. "Right off the bat, it's nuns singing and dancing, so that's going to work pretty well."The show is presented as a fundraiser put on by the Little Sisters of Hoboken in the cafetorium of the local junior high school (hence the "Grease" backdrop).The nuns' cook has just poisoned the congregation -- accidentally, of course -- killing 52 sisters. Only the nuns who were off playing Bingo survived. The sisters couldn't afford to bury the last four bodies, so they're putting on a show to raise some cash.Who knew dead nuns were so funny?Littlejohn says "Nunsense" both "celebrates and pokes fun at Catholicism," and although the show's humor is pretty broad, the writing is quite intelligent and the comic timing particularly sharp.Even though "Nunsense" comes packed with joke after joke, the show draws a good deal of humor from the sisters' diverse personalities, which means casting is vital. To make the indulgently silly script sparkle, the actors really have to the sell their characters.The five women who star in the Amish Acres production do exactly that.There's not a weak link on the stage as the nuns sing and dance their way through the raunchy punchlines, sight gags and goofy one-liners.Amber Burgess offers an utterly organic portrayal of the stodgy, sputtering Reverend Mother. She punches things up with a number of funny asides and has excellent comic rapport with the second nun-in-command, Sister Hubert.Hubert is played by Tracy Funke who, lively and lovable, brings the show home in a big way with the gospel number "Holier Than Thou."Katie Fox-Kirsch and Stephanie Long are both perfect for the roles of, respectively, the wide-eyed novice (and ballerina wannabe) Sister Mary Leo and streetwise cut-up Sister Robert Anne. Long offers a great vocal performance on her solos as well.As Sister Amnesia (the one who got conked on the head by a crucifix and can't remember who she is), Rachel Green is a master of the comic facial expression. Her sweetly vapid smile could practically carry the show. She also shines, and doesn't miss a beat, when the show calls for audience interaction and a little improvisation.Another nice touch in this production is that the band is seated onstage rather than occupying its usual spot in the theater's orchestra loft. Whether the sisters are recounting their days at a leper colony ("A Difficult Transition"), tap dancing up a storm ("Tackle That Temptation") or lamenting that they must defrost those last four sisters by order of the health department ("We've Got to Clean Out the Freezer"), it's always great to have the music pumping right beside them.The show moves pretty quickly, and the actresses keep it going strong to the end. Although things may look grim in the second act, let's just say it appears the sisters of Hoboken are going to be OK.Certainly, those who had their knuckles wrapped in grade school may get a special amusement out of "Nunsense," but it's really a show for anyone who thinks songs about lepers, jokes about conventwide poisonings and hearing a nun say "well- endowed" is funny.Staff Writer Karen Rivers:krivers@sbtinfo.com,(574) 235-6442

I Love You, You're Perfect, Now Change, Cornwell's 2006 MI "Great acting, music, writing make 'I Love You' must-see theater"

2006-06-06T12:15:00.000-07:00

Great acting, music, writing make 'I Love You' must-see theater

Christopher Tower For the Enquirer

"It's different, but it's very good, very funny," said one patron attending the opening week Saturday matinee of the latest offering from Top Hat Productions and Cornwell's Dinner Theatre at Turkeyville, USA.

It's that kind of qualified praise that may keep people from turning out in droves to see "I Love You, You're Perfect, Now Change," a funny, sentimental, and thoroughly enjoyable musical.

And that would be a shame. When a theater takes a chance on a musical that's not "Oklahoma" or "Grease," it should be rewarded by having huge audiences and sell outs.

"I Love You, You're Perfect, Now Change" is worthy of such accolades and success. The four-person ensemble (Dion Stover, Amber Burgess, Amy Picar and Reid Kirkhoff) meshes into an organic whole orchestrated by ingenious stage direction from Thom Mienk and deft musical direction by Denise Minter.

Written by Joe DiPietro and Jimmy Roberts, "I Love You, You're Perfect, Now Change" is a musical revue of vignettes about dating and marriage in the modern world. In 20 scenes and more musical numbers, the cast of four adopt various personas to reveal the hideous and hilarious truths of blind dates, rocky relationships, rockier marriages, video dating services and even the woes of being single over 65.

The script and score alone are both hilarious and original, but in the hands of these fabulous actors the result is two hours of completely entertaining musical theater.

"It's adorable," opined another patron at intermission. "That's the perfect word for this show."
The two patrons summarize the show well. It moves easily from well-played comedy to heartfelt sentiment. Scenes such as "Satisfaction Guaranteed" about litigating for sexual dissatisfaction and "Scared Straight," which features dating advice from a convict, provide some of the show's biggest laughs.

But it's the sweet moments that may make the show must-see theater, such as "Shouldn't I Be Less in Love With You" (Kirkhoff), a song about the enduring love of marriage that is supposed to fade and doesn't, and "I Will Be Loved Tonight" (Burgess), chronicling finding love with someone after a few dates.

Inventive direction from Mienk fuels the show's success, but it's the actors who carry the show with excellent performances.

Burgess has some of the show's best acting with her video dating scene in Act Two. She's stellar throughout the show with fabulous comic turns in "A Stud and a Babe" as well as the heart-wrenching "I Will Be Loved Tonight."

In addition to his wonderfully sweet "Shouldn't I Be Less in Love With You," Kirkhoff plays baby-talking men, shy men, bratty children, studly men, nerdy men, self-involved men and assorted other characters with great commitment and professionalism in his debut at Turkeyville.

Picar also makes her debut at the Marshall dinner theater with a crystal clear voice, which she shows off in her solo "Always a Bridesmaid," a cute, countrified lament to the dresses women never wear again. She also serves great acting, especially in a scene with Stover late in the show.

But it's Stover who is the biggest surprise of the show. Well-known to Turkeyville audiences, Stover has grown as an actor and shows the greatest range in his characterizations. Though he offers up worthy efforts with his pressuring father in "And Now The Parents" and the driving father in "The Family That Drives Together," his rendition of a widowed senior in "Funerals Are For Dating" (with Picar) ranks among his best work ever and is one of the best sequences in the entire show.

"I Love You, You're Perfect, Now Change" is an exciting, new show with a great cast and fantastic production values. It may not have a narrative like a Rodgers and Hammerstein opus, but it's fresh, funny and hits home for anyone who has dated or been married.
Christopher Tower of Richland reviews theater and teaches at Western Michigan University.

Originally published June 6, 2006

Run for Your Wife, Cornwell's 2006, Marshall, MI "Run for Your Wife; is very, very funny"

2006-04-11T12:14:00.000-07:00

'Run for Your Wife' is very, very funny

Christopher Tower For the Enquirer

Though the latest Top Hat Production at Cornwell's Turkeyville is packed with lies, falsehoods, and half-truths, there's one thing that remains true through the entire show: it's very, very funny.

If you haven't had a laugh that made your sides hurt in a long time, then "Run For Your Wife" delivers what you need.

Written by British farce scribe Ray Cooney, "Run For Your Wife" has made the local circuit with productions at the Barn Theatre and the Battle Creek Civic. Though the show makes fun of serious subjects such as polygamy, homosexuality, and adult sexual activity, it handles all with a story line that's captivating.

Taxi driver John Smith (Derek Martin) leads a double life. He spends evenings with wife No. 1, Mary (Amber Burgess), and mornings with wife No. 2, Barbara (Abby Hayward).

The show opens to Sinatra's "Love & Marriage" as the two wives nervously wait for their husband John, the same John. But the man who adheres strictly to his schedule and his secret codes to keep straight his double life has suffered a head injury. There's a mix up between police and hospital records as he gives both his addresses at different times to different officials. To try to "suss out" his dilemma, John must enlist the aid of his upstairs neighbor (above Mary's) Stanley Gardener (Dennis W. McKeen), who doesn't so much help but adds to the concoction of even more outrageous stories.

As with all Cooney farces, the simple truth of John's double life soon becomes lost in lies, complications and various tomfoolery. Add to this mix, two police officers (Jerry Post and Donna Schulte), another upstairs neighbor (above Barbara's) Bobby Franklin (Ben Jackson) and a newspaper reporter (also Ben Jackson), and John's situation goes from worst to unbelievably horrible. The results are madcap fun.

Designed by Sean Martin, the set is cleverly divided into Mary's house in prim yellow on stage right, and Barbara's house done up in baby blue on stage left. Set in the 1970s, the costumes are brilliantly chosen by Amber Burgess with additional set accouterments added by Lisa and Roger South.

The show moves through a zany cavalcade of hilarity with the discerning direction of Matthew C. Scott. Though some of the directions are lost in the show's madly careening pace, Scott adds so much comic business that what does receive proper emphasis is successful.

The real show stopper of "Run For Your Wife" is McKeen. Usually helming the production or directorial responsibilities, McKeen slips into the role of Stanley in such a way that will make him unrecognizable to regular Cornwell's patrons. Not only does he transform himself with costume, but McKeen uses his considerable acting talent to take on the styles and manners of his character ingeniously. He's 100 percent hilarious.

The other performers have varied success. Of the two wives, Burgess has more of a handle on the comedy and her accent than Hayward. Post is serviceable, but he needs to stop seeming as if he's in on the joke and be more stiff and severe as his character is written.

Schulte delivers yet again another fluid and endearing performance. Jackson lacks impact in the first act but really comes on strong in the second. Martin also is better in act two, especially when he must pretend to be gay, but throughout he's neither flustered enough nor as funny as he should be.

Despite these minor limitations, the entire cast comes together perfectly for the outrageous finale, complete with slamming doors, multiple stories to hide the truth, and a whole carousel of tomfoolishness.

Though the ending is disappointing and misplayed, the show as a whole is one of the funniest to grace the Cornwell's stage in its illustrious history.

Christopher Tower of Richland reviews theater and teaches at Western Michigan University.
Originally published April 11, 2006

My Way, Cornwell's, Marshall, MI 2006 "'My Way' cast delivers a worthwhile tribute to Sinatra"

2006-02-21T09:33:00.000-08:00

REVIEW'My Way' cast delivers a worthwhile tribute to SinatraChristopher Tower For the Enquirer The poster advertising the first show of 2006 at Cornwell's Turkeyville dinner theater lists the Frank Sinatra tribute "My Way" as "the hottest musical revue since 'Forever Plaid.'" Conceived by former Kalamazoo Civic Dzirector David Grapes and Todd Olson, "My Way" is neither hot nor by any stretch of the imagination comparable to the zany and delightful "Forever Plaid." The only similarities between the two are that both shows feature music from the 1950s. "My Way" does not deliver enough Sinatra trivia or biography, though it does deliver a lot of Sinatra songs. Artful direction by Dennis McKeen and often solid performances by the four singers/actors make up for the fact that "My Way" amounts to a lot of standing around and singing. If you love Sinatra music and want an evening of often well-rendered music by Ol' Blue Eyes, you will enjoy "My Way" (and the turkey dinner is always worth the trip). But if you're looking for story, comedy and originality like "Forever Plaid," you won't find that here. As a straight musical revue, "My Way" lacks anything in its composition or premise to provide the kind of chemistry or sizzle that would allow it to be described as "hottest" compared to anything. More Sinatra anecdotes, impersonations or even Rat Pack film clips might have spiced up the show, but all of it would have meant less music. And it's the music that's the best thing about the show. Unfortunately, it takes the four performers a few numbers to warm up. The first number, "Strangers in the Night," falls flat as a rug. But slowly, the performers show that pacing required for a musical revue such as this one is much like running a marathon. You might start a little wobbly and weak but if you finish strong that's all that matters. And these four finish very strong. Act Two far and away outperforms Act One. Heidi Ferris is the first to really sell one of the songs with a version of "My Funny Valentine," which is worth the price of admission alone. In the final evaluation, Ferris may be the best of the four. Matthew Scott is the next to have a good showing with "Makin' Whoopee," "My Kind of Town (Chicago Is)," and "Should I Reveal." Benjamin Lee Jackson is underutilized in the first few medleys, but he really closes out the first act strong with "The Lady is a Tramp" and "I've Got You Under My Skin." Amber Burgess' voice is perfectly suited for songs like "Love and Marriage," and though "Indian Summer" is a stretch for her, she renders it well. But it's Act Two where she really shines, playing the violin to stunning renditions of "You Go To My Head" and "The Best Is Yet To Come." Ferris delivers another show stopper with "Guess I'll Hang My Tears Out To Dry," followed by a powerful version of "One For My Baby" by Jackson and later "I'm Gonna Live 'til I Die." Jerry Post's piano and occasional bass cello accompaniment is a wonderful change from the usual pre-recorded music. But it's duets and quartets that make the second act so special. Ferris and Jackson team up brilliantly for "Something Stupid," Ferris and Scott make "You Make Me Feel Young" special, and Jackson and Scott belt out "Fly Me To The Moon" with gusto. But it's the quartets of "I'll Be Seeing You" and "My Way" that give the show the strong finish it needs. "My Way" is not the best show ever staged at Cornwell's, but it is a worthwhile tribute to Frank Sinatra by four singers with voices like sweet honey and directors with a keen eye and a keen ear. It may not be the hottest thing since anything else, but it's definitely enough to heat up a cold February or March afternoon or night. Christopher Tower of Richland reviews theater and teaches at Western Michigan University. Originally published February 21, 2006

Beauty and the Beast, RBT Indiana, 2005 "'Beauty and The Beast' a familiar story"

2005-12-01T12:11:00.000-08:00

'Beauty and The Beast' a familiar story

Published: Thursday, December 01, 2005 --
The Truth, A4Last updated: 11/30/2005 11:44:52 PM
By Marcia FulmerEntertainment Editor

NAPPANEE -- "Tale as old as time" sings one of the Enchanted Objects in Walt Disney's "Beauty and The Beast."
As the familiar story unfolds on the stage of the Amish Acres Round Barn Theatre, it is easy to see why this particular tale has survived in this particular format.
Bringing the popular 1991 cartoon feature film (the first ever nominated for an Oscar) to the stage is no easy task. The musical is now the sixth longest-running show on Broadway, and has been recreated throughout the world, from professional tours to regional stages.
At whatever level, it poses several technical problems.
Right off the bat, an old lady morphs into a beautiful enchantress while a selfish prince turns into The Beast, a form in which he remains until his final "transformation" back to Prince, accomplished -- just to make it a bit more difficult -- in mid-air.
To pull this off this while the audience looks on is tricky and the Round Barn production achieves both credibly, especially the finale.
In between, the action moves from the village square to the woods to an enchanted castle and back several times, accomplished primarily by rotating free-standing wagons which are castle interiors on one side and village exteriors on the other.
In and around these settings, a hard-working cast brings to life -- and enchanted life -- the familiar characters. Several take on multi-character assignments -- Derek Martin goes from kindly bookseller to ferocious wolf to Enchanted Object to evil Monsieur D'Arque -- while the Three Silly Girls, Amy Franklin, Emily Laudeman and Kristal Lockyer, also double as Objects, shifting costumes and personas frequently throughout. And almost everyone available is a townsperson.
Leading the way are Jennifer Grunseth as Belle, Jason Whicker as The Beast, A. Michael Tilford as Gaston, Jeff Salisbury as Maurice (Belle's father) and an excellent quintet of semi-human Enchanteds -- Melinda Parks as Madame de la Grand Bouche, diva/wardrobe; Amber Burgess as Mrs. Potts, housekeeper mom/teapot; Heidi Ferris as Babette, housemaid/feather duster; Sam Brown as Lumiere, footman/candelabra; and Jeremy Littlejohn as Cogsworth, major-domo/clock.
Their interaction, even though familiar to "B&B" fans, is hilarious, with Littlejohn especially finding new "ticks" (check that walk!) that happily liven the usually stodgy timepiece. All are costumed appropriately -- and beautifully -- in keeping with their Object status. Young Phillip Daniel West is winning as son Chip Potts, the young cup-in-a-teacart.
Tilford flexes all his many muscles -- and a booming baritone -- as the town braggart, whose decorating style includes lots of antlers. His self-aggrandizing tribute to "Me" is right on the money but it's no surprise when his evil side surfaces.
It's also no surprise that Grunseth delivers a lovely, independent Belle. Her warm soprano does full justice to the haunting ballads -- "Is This Home?" and "A Change in Me" -- and her interaction with the Beast changes believably from anger to sympathy to love. At the performance I attended, however, her mic level was frequently unnecessarily high.
Whicker is charged with conveying a similar range of shifting emotions, but from under a full-head mask. He does this well but could use additional costume support to make references to the larger-than-life-sized Beast more credible.
To their credit, the ensemble works very hard at the song and dance numbers -- "Gaston" and "Be Our Guest" -- which actually require at least twice their number to be really effective. The last, with only a knife, fork, spoon and four napkins, is more picnic than banquet.
Brett Schrier leads the orchestra through the 21/2-hour (including intermission) show, which does a creditable job with Menken's score and overrode dialogue only infrequently, which may be a technical sound balance problem. David Castaneda's lighting is, as always, a plus and director/choreographer Scott Saegesser works as well as possible given the limited cast numbers.
Contact Marcia Fulmer at mfulmer@etruth.com.

Smoke on the Mountain - RBT, Indiana Published: 2005 "Music, laughs fill this 'Smoke'"

2005-09-20T09:29:00.000-07:00

Music, laughs fill this 'Smoke'Published: Tuesday, September 20, 2005 --NAPPANEE -- It's been five years since Amish Acres Round Barn Theatre first lit the theatrical fire that was "Smoke on the Mountain."It was one of the top productions in the 2000 season and, in 2005, nothing has changed but the cast which, this time around, supplies its own instrumental accompaniment.Don't let the setting -- the Mount Pleasant (N.C.) Baptist Church, June 1938 -- or the "score" -- more than two dozen old-time gospel hymns -- fool you into thinking that this is anything but a truly hilarious, albeit plotless and character-driven, musical.The seven-member cast -- with the audience as the congregation -- gathers for an evening of firsts: The first year for the pastor and the first "tour" stop for the recently revived Sanders Family Singers.The singers are overdue, a fact which make the Rev. Mervin Oglethorpe (Sam Brown) increasingly nervous. The breathless arrival of June Sanders (Amber Burgess) results in the explanation that the family bus rolled into a ditch as the riders all moved to one side to watch thousands of baby gherkins rolling down the street and away from the Mount Pleasant Pickle Factory.June is followed quickly by mom, Vera (Heidi Ferris), and dad, Burl (Jeff Salisbury), twin siblings, Dennis (Justin Liebergen) and Denise (Kristal Lockyer), and uncle, Stanley (Scott Saegesser). When everyone is in place, the singing -- and the witnessing -- begin.Each family member -- and the minister -- not only sing and act but also play a wide variety of instruments and there is not a sour note in the group.Ferris, who also serves as Round Barn music director, is at the piano when she is not engaging in a contest of biblical quotations with the reverend or pushing her reluctant son into the pulpit or delivering a "children's sermon" about a June bug that hits the funny bone of all ages.Brown is just right as the nervous preacher, caught up in the music but with one eye -- and a large grin -- always on major contributors Miss Maude and Miss Myrtle, seated somewhere in the front row.As the head man of the family and the owner of a "filling station/grocerette on Highway 11," Salisbury delivers vocally, instrumentally (guitar) and on his explanation of how the group came into being, which had to do with a swift-talking beer salesman and some new competition.Subbing for A. Michael Tilford, director Saegesser did well as the former convict/bass player who saw the light and is struggling, with the help of his family, to stay on the righteous path after 18 months at hard labor.Comedic highlights are supplied by Burgess, who not only sings but plays violin and "signs" a number of the hymns, an accomplishment of which she is most proud and which defies identification with any known sign language but is definitely -- and very hilariously -- understandable.The "twins" are perfectly portrayed by Liebergen and Lockyer. Her confession of stealing away from home to audition for "Gone with the Wind" in Atlanta is, as are the other "testimonies," a mixture of humor and pathos, difficult to deliver but most effective when done well, as all are here.Liebergen, who was an excellent Linus in the earlier "You're A Good Man, Charlie Brown," has found his comedic groove as the younger (by four minutes) twin who was a "complete surprise" to his mother. His "sermonette," which progresses from painful to show-stopping, is one of the evening's highlights.The interaction of the siblings, which could easily be over the top, is almost subliminal but totally accurate and genuinely funny.The "family" members not only play well but sing well, from wonderful a cappella moments to full-out foot-stompers, many of which had the audience singing along to the familiar melodies.In spite of the all-gospel score and the Baptist church setting, "Smoke on the Mountain" definitely is a nondenominational show.It's impossible to keep those toes from tapping and, after all, laughter is universal.

Smoke on the Mountain - RBT, 2005 Indiana "Smoke a Delightful Family Experience"

2005-09-05T12:12:00.000-07:00

Headline -- ‘Smoke’ a delightful family experience
Review by Jim Hekel
Managing Editor
NAPPANEE --

The latest offering from the Round Barn Theatre at Amish Acres in Nappanee featured plenty of laughter and smiles from the audience.“Smoke On The Mountain” is set at Mount Pleasant Baptist Church in Mount Pleasant, N.C., in 1938.

Nappanee’s own Sam Brown plays the Rev. Oglethorpe who senses that his congregation needs something extra to spark them. Upon meeting the Sanders Family when his car breaks down near their repair shop/country store and learning that they have in the past sang together as a family, Oglethorpe books them to play at the church on a Saturday night in June.The family hasn’t played together in five years since their mother passed away.

The father of the family, Bourbon’s Jeff Salisbury does his best to hold the performance together. Heidi Ferris is delightful as the mother.

Also performing their roles in an outstanding manner were Kristal Lockyer and Justin Liebergen, who play the twins -- Denise and Dennis. Denise and Dennis get into a little hot water while performing a song and -- Heaven forbid -- break into a dance!!! This of course is frowned upon very much in the Baptist Church of the day.

The commotion of this dance causes their uncle Stanley to mutter a four-letter word that is also frowned upon in the Baptist Church. Stanley is played by A. Michael Tilford, an Elkhart native.

But the star of the show, no doubt was daughter June Sanders, played by Amber Burgess. She was hilarious and multi-talented. For me, the highlight of the show was when June did sign language for one of the family’s songs. Let’s just say that her animated sign language had very little in common with any sign language I had ever seen before.

I was amazed to see Amber pull out about five different musical instruments and play them remarkably well during the evening. Her violin playing was outstanding.

Having seen almost a full season of shows at the Round Barn now, I have to say it is fascinating to see these young talented actors display their talents in a variety of roles.

“Smoke On The Mountain” continues through Oct. 30. Then “Beauty and the Beast” is set for Nov. 8 through Dec. 31. Also, “Plain and Fancy” will continue through Oct. 29.Also, the 2006 season performances has been announced. The 20th season of “Plain and Fancy” will kick off the season in April. “Forever Plaid” is set for May 3 to June 4; “Bye Bye Birdie” June 13 to July 23; “Camelot” Aug. 1 to Sept. 10; “Fiddler on the Roof” Sept 19 to Oct. 29; and “A Christmas Carol” Nov. 7 to Dec. 31.

What could make next season’s great lineup any better? Simple, sign up Amber Burgess for the full season.

Smoke on the Mountain - RBT, 2005 Indiana "Stars of the show reflect on craft"

2005-09-05T09:21:00.000-07:00

Headline -- Stars of the show reflect on craft
By Jim HekelManaging EditorNAPPANEE --

As the 2005 season winds down at the Round Barn Theatre in Nappanee, thecast of the brilliant “Smoke on the Mountain” gathered together to talk about theircraft, the future and their experiences in Nappanee.All cast members agreed that “Smoke” was one of the most enjoyable of the season.“It’s a great play, but also enjoyable because there are no scene changes andvirtually no costume change,” said Sam Brown, a native of Nappanee. Brown plays theRev. Mervin Oglethorpe in the current production, which will run through Oct. 30.“I like this play because you can play so much off of the audience,” saidJeffSalisbury, who plays Burl Sanders, the father and leader of the singing group withventures to Oglethorpe’s Baptist church in Mount Pleasant, N.C., in June of 1938.“The audience plays along, claps and sings,” said the Triton High School graduate.Asked why he continues to act, Brown deadpanned, “We’re not qualified to do anythingelse.”“When we are on the stage, we couldn’t be happier,” said Elkhart native A. MichaelTilford. Tilford plays Stanley Sanders, brother of Burl who has just been releasedfrom prison. Tilford was brilliant as the male lead in the most recent Round BarnTheatre production of “Aida.”“It’s worth the bad pay and the six months away from friends to be on the stage,”Tilford said.Amber Burgess, June Sanders in “Smoke,” enjoys the variety. “You get to doeverything,” she said. Burgess stole the show with her crazy antics of a signlanguage never seen in conventional educational settings.“We act because it’s what we do,” Brown said. “Birds fly, kangaroos hop. We act.It’s who we are.”If they couldn’t act, the stage entertainers expressed a wide variety of things theywould like to do. Brown picked writing while Kristal Lockyer expressed a desire towork at Sea World.Justin Liebergen said with a straight face, “Probablyaeronautical engineering. Seriously, I always liked messing with science in school.It was either acting or aeronautical engineering.”Lockyer and Liebergen played twins in “Smoke.”“I would either play baseball or be a youth pastor,” said Salisbury.Heidi Ferris, who plays mother Vera Sanders in the current play after playing abrilliant lead in “Aida,” saw herself with a house in the country with a whitepicket fence and lots of kids if she could not act.This is the third season in Nappanee for Ferris, who was musical director beforebecoming more active on the stage this year.In the future, Tilford sees himself as writing a Tony award winning play. “Ofcourse, if I save a part for all the actors who have asked to be in my play, we willhave to have about 95 parts.”Liebergen said he planned to host the 100th anniversary of the Academy Awards.Ferris loves to sing and would love to be able to develop her singing career.Tilford said he loves people. “What other career can you impact so many people,”asked the enthusiastic actor. “We perform in front of 1,200 people a week. That isso cool.”Burgess added, “People clap when you are done. You don’t get that in most jobs.People don’t cheer you when you send an inner-office memo.”Also, added Tilford, “When we are on stage, we can forget our crap for a couple ofhours.”Burgess, who has now acted in 12 different states on her way of achieving her goalof working in all 50 states (I want to work in Hawaii next, she says), enjoyed astint working at the Theatre at Lime Kiln in Lexington, Va, the most in her youngcareer. “It was an outdoor theatre. We lived by the river and grilled outside a lot.It was fun.”The best for Liebergen was an 8,000-seat outdoor theatre in Kansas City. Lockyersaid the most gratifying was working with a group of young kids in Dallas, Texas,putting on a play.Brown said his favorite was working with kids in Nappanee during Vacation Bible School.The year in Nappanee has given the cast a lot of memories. Brown remembers how hardit was for the guards to carry out the last scene in “Aida” without cracking up inlaughter.“Aida” also provided the best memory for Ferris. As she was beginning her last soloof the Tony-award winning show, she noticed a bat in the theatre flying straight forher head. But true to her craft, she managed to finish the number.Salisbury recalls playing Snoopy in “You’re A Good Man, Charlie Brown.” Whilesinging a number, Salisbury was to descend from his doghouse to perform a dance. Buthe tripped while getting down, then the house moved, further throwing him offbalance. Finally while dancing around, Salisbury managed to stomp on his glass dogdish, shattering it into many pieces that went all over the stage.The cast has various role models, but many picked family members. Ferris picked hermother, calling her the strongest woman she has ever known. Burgess picked her grandmother, who is a very positive person and a real rock forthe family.Lockyer picked her father, who sacrificed to put all four of his children throughcollege.“I would have to pick my family -- my parents and my little sister,” said Salisbury.“They show me how much more important a kind word is than all the screaming andyelling.”Tilford picked his niece, now 3 ½ years old. “When I looked at that little girlshortly after she was born, it really changed me. I knew that my crap didn’tmatter.”Probably the most unique answer came from Brown, who chose Superman. “He lovespeople and wants to help them above everything else. I like that.”

"He Keeps Me Singing", Cornwell's 2005 Marshall, MI "Cornwell's delivers an inspired musical"

2005-02-20T12:05:00.000-08:00

REVIEW

Cornwell's delivers an inspired musical

As one of the characters proclaims in "He Keeps Me Singing," the debut show of Top Hat Productions and Cornwell's Dinner Theatre 2005 season, "God works with you not for you." Whether one believes in God or not, and no matter which God one believes in, the cast and crew of "He Keeps Me Singing" has something greater and powerful on their side, working with them. The cast delivers two hours of uplifting, fulfilling and heart-warming musical theater to patrons of the turkey-themed dinner theater."He Keeps Me Singing" is a send-up to 1950s style, middle America gospel revival shows held in tents in the sweltering summer heat. A cast of nine perform 20 gospel favorites mixed with witness stories of the characters' personal experiences with the Lord's work in their lives. The songs are as sweet, dulcet and powerfully moving as are the character-revealing witness stories shared by the performers. The show begins very realistically as the performers enter from the back, interacting with audience members, in a very natural and casual way. This easy interplay continues throughout the show and becomes one of its greatest strengths. Director Dennis McKeen — who seems to become better and better with each show he stages — has masterfully orchestrated the feel of a family improvising its way through a revival show. Humor also binds the show together, often with several bits of comic business taking place on stage simultaneously as the cast performs what a banner hanging above the stage announces is the "Singspiration 52." Sing and inspire is what they do. The musical performances are some of the very best at the Cornwell's stage in years. Orval Hatfield (Paul Kerr) plays lead guitar accompanied by wife Opal (Heidi Ferris) on piano. Jimmy Ray (Derek Martin) has some wonderful banjo and guitar solos as does Kimberly Sue (Amber Burgess) on the fiddle. Zeke (Jerry Post) keeps the bass line humming while Mary Ellen (Kiersten Vorheis) adds some guitar turns. Her husband the Rev. Virgil Hathaway (Todd R. Norris) adds his sweet tenor voice to the proceedings accompanied by the children Robert (Gregg A. Norton) and Sarah (Karrly Sykora or Kennedy Smith). The show features a mix of a cappella and instrumentally-accompanied musical numbers, such as "Talk About Jesus," "Going Down the Valley," "Springtime in Heaven," and "Love Lifted Me." The cast cuts up naturally and with ease on "Who Am I," a biblical trivia game set to music, but also slows down for somber moments, such as Orval's passionate rendition of "Old Rugged Cross," Opal's beautiful beginning to "Heavenly Sunlight," Kimberly's sweet "Precious Moments" and Jimmy Ray's thoughtful and somber "How Great Thou Art." Though costumes are authentic to time period and locale, some set pieces don't fit well, such as the metal folding chairs in lieu of wooden and the padded stool instead of a plain wood one. One of the last messages comes from Zeke who says that "if you lose your direction, God allows U turns" just before the cast launches into "May the Circle be Unbroken" as the majority of the audience, unable to contain themselves, sings along loudly. This is sage advice for a viewing public headed the wrong way — away from good theater: make some U turns into Turkeyville to see this show. Originally published February 20, 2005

A Christmas Carol - Covedale CPA Cincinnati, 2004 "Christmas caroling"

2004-12-01T12:01:00.000-08:00

Christmas caroling
Local theater companies offer up diverse takes on this holiday classic
TABARI MCCOY CIN WEEKLY

Greater Cincinnati, the time to go a'caroling has returned.The Covedale Center for the Performing Arts and Cincinnati Playhouse in the Park will both present renditions of Charles Dickens' A Christmas Carol this December. The Cincinnati Shakespeare Festival will present a production of the holiday classic with a comedic twist, Jacob Marley's Christmas Carol, by Tom Mula.Each production brings a different interpretation to the classic story.SCROOGE TO MUSICA musical version of the redemption of notorious penny-pincher Ebenezer Scrooge takes center stage this December at the Covedale Center.But don't let the music fool you - Covedale Center business director and Carol choreographer Jennifer Perrino says the production isn't your average song and dance."Our version is a little bit on the spooky side. We're trying to contrast love, home and family and all the things that are really, at its core, the mostrtant things to people. So there's the spooky part of life against the very happy moments," Perrino says. "It's family-friendly, it appeals to all ages and it symbolizes the real meaning of Christmas."CLOSE ADAPTATIONCarol is returning to the Playhouse for the 14th year, which will be the last for veteran actor Joneal Joplin in the role of Scrooge. Carol director Michael Evan Haney says the Playhouse's presentation is "the closest adaptation to Dickens' novel of any production" he's seen."What I love about this adaptation is that it's a bit scary and dark at the beginning, so that when Scrooge finally has his revelation at the end, his rebirth, there is something truly joyous to celebrate because he goes from such a dark place to a place of light," he says. "It's one of those stories you look forward to seeing every year, because what it tells us about Christmas and the spirit of what it is to be human never changes ... We need to be reminded every year to appeal to the better angels of our nature."BEING JACOB MARLEYCSF's version of Carol looks at the story from the perspective of Scrooge's late business partner. Condemned to a wretched eternity, Jacob Marley explores how he could be redeemed himself if he can redeem Scrooge first.CSF director Matt Johnson says Marley's Carol is a very entertaining show."It's very funny, and you have four actors doing hundreds of characters jumping in and around and having lots of fun," Johnson says.He says Mula's interpretation will change the way theatergoers see the traditional Carol."A Christmas Carol inherently has some really tremendous values as far as themes, as far as living in a capitalist society. It reminds us what it means to be generous and to share and why that's a good thing," he says. "This show helps you look at those themes and values and confront them from a different perspective and lets you be with them for the first time again."NOW PLAYINGLooking to get into the holiday spirit? You have three 'Carols' to choose from!A CHRISTMAS CAROLAT PLAYHOUSE IN THE PARKWHEN: 7 p.m. Tuesday-Friday and 2 and 7 p.m. Saturday-Sunday through Thursday, Dec. 30, except for Friday, Dec. 24 (Christmas Eve) and Saturday, Dec. 25 (Christmas Day). Additional performances 2 p.m. Dec. 22-23 and 7 p.m. Dec. 27.WHERE: Cincinnati Playhouse in the Park, 962 Mount Adams Circle, Eden Park PARKING: Garage parking is $5 when reserved in advance, $6 day of show (if available). PRICE: $33.50-$48.50, $15 to $20 children 5-12 (children under 5 are not permitted). Any unreserved tickets are half-price when purchased the day of the show at the Playhouse between 11 a.m. and 5 p.m. Tuesday through Saturday and from noon to 5 p.m. Sunday. Children's tickets are not eligible for the half-price offer.CONTACT: www.cincyplay.com or (513) 421-3888; for Telecommunication Device for the Deaf (TDD) accessibility, call (513) 345-2248.CRATCHIT FAMILY FOOD DRIVEThe Playhouse will partner with the Society of St. Vincent de Paul this holiday season for the "Cratchit Family Food Drive." Audience members are invited to bring canned goods to the Playhouse any time between now and Thursday, Dec. 30 to help the society provide basic necessities to area families. For more information, call (513) 421-2273 or visit www.svdpcincinnati.org. A CHRISTMAS CAROLAT COVEDALE CENTER FOR THE ARTSWHEN: 8 p.m. Thursday-Saturday and 2 p.m. Sunday through Thursday, Dec. 23.

Songs for a New World - DreamLight Theat. 2003 Cincinnati "Teen unleashes his dream in 'Songs'"

2003-09-05T09:24:00.000-07:00

Teen unleashes his dream in 'Songs' Jackie DemalineTheater notes Drew Hackney has always thought big. "Ever since I was a little kid," he confides. "Even my English teachers comment on how I like to use big words." The 17-year old Mason High School senior's current big deal is a Saturday performance of the Jason Robert Brown musical revue Songs for a New World that will benefit Actors Fund of America. He'd love to sell all 1,168 tickets. Songs, which employs a 16-song cycle to look at 500-plus years of life in America (starting aboard the Santa Maria in 1492) is Hackney's senior project. Of course it was going to be theater, because he fell in love with performing when he was 10 and his parents took him to Phantom of the Opera. Hackney is producing, directing, choreographing and performing in Songs. (Mom Carol is house manager.) Joining him on the Mason High School stage will be Amber Burgess (they met when both appeared in The Secret Garden aboard Showboat Majestic) and Michael Fielder, who choreographs the Mason High musicals. Songs is the beginning of a bigger dream. In his spare time Hackney is establishing dreamLight Theatricals and he's huddling with friends in California and Cincinnati to put on a production of Ruthless! at the Aronoff's Jarson-Kaplan Theater next summer. He figures he needs to raise $25,000 and will start looking for investors after Songs, say, starting next Sunday. (Hopefully rehearsals for Cincinnati Music Theatre's Ragtime, in which he's an ensemble member, won't interfere too much.) "Sleep? What's that?" Hackney laughs. The five-year plan looks like this: enrolling in college (ideally in New York University's lauded program) with a general musical theater major and using dreamLight as a vehicle for the next 10 years "to bring something back to Cincinnati." The show he's most looking forward to seeing is Playhouse in the Park's My Fair Lady. "I saw (the actor playing Henry) Higgins in Aida. He was wonderful. And the two piano thing sounds awesome." Tickets to Songs for a New World are $10. Call 459-0634.

For Covedale Center for the Performing Arts, 2003 "Arts flow from four culture centers"

2003-05-01T09:31:00.000-07:00

Arts flow from four culture centers
College, community band, Bible school and theater supply By Jenny CallisonEnquirer contributorFrom the sounds of salsa to the smell of greasepaint, from barbershop to ballet, there's arts in them thar (Western) Hills. Four well-established institutions consistently provide cultural confections. • The College of Mount St. Joseph in Delhi Township is a source for both visual arts and music. The Studio San Guiseppe, the school's gallery, mounts exhibitions of work by regional artists as well as by students and faculty. "We serve the student and the Tristate communities by acquainting people with a diversity of expression and a wide range of approaches to the visual arts," said Jerry Bellas, chair of the art department and the gallery's director. Information: 244-4200. • The Mount Community Band welcomes new members to its blend of about 60 college and community musicians, said director Kenny Bierschenk. "We practice once a week and we're open to instrumentalists with no auditions," he said. The ensemble plays serious concert band music, show tunes and patriotic music. It performs for many outdoor events as well as a three-concert series on campus. Information: 244-4956. • Music activity abounds at Cincinnati Bible College in East Price Hill. "The Winds of Praise Community Band, directed by Gary Gregory, is made up of college students and community musicians," said Jeannine Geans of the nondenominational school's music and worship department. "It plays concert band repertoire and some hymn arrangements, and performs both on and off campus." The college's Concert Choir and Celebration Singers perform for the public, and each December the music department joins the campus drama group for a dinner theater production. Information: 244-8165 or www.cincybible.edu. • Westminster Presbyterian Church's Community Concert Series has been on hiatus since that church merged with St. John's United Church of Christ in Delhi Township. Now that the two congregations have meshed, however, a new series will start this fall, according to the Rev. Kathy Barlow Westmoreland. "Historically, the series did a variety of things: gospel, classical, barbershop and contemporary Christian music," Westmoreland said. "We drew good numbers but each performance attracted a different audience. We hope to continue to reach people with different interests." Information: 922-2703. • Now that the Covedale Cinema has been renovated and reborn as the Covedale Center for Performing Arts, it's the home of Showboat Majestic's September-May season. "Our subscription series consists of four productions plus A Christmas Carol," said group member Amber Burgess. "We're seeing so many more people and such a different audience. People come from out of town to see our productions, and we're seeing a lot more interest from this community as well." The center is the venue also for Cincinnati Young People's Theatre, a summer teen program that's staging The Wizard of Oz July 25-Aug. 3. CYPT formerly performed at the Westwood Town Hall and consistently sells out its performances. Information: 251-4200. E-mail jcallison@zoomtown.com

The Lysistrata Project, Self-Produced, 2003 Newport, KY "To Do: Make Love, Not War"

2003-03-03T12:04:00.000-08:00

To Do: Make Love, Not War

In the halcyon days of anti-war protests in the '60s the cry was "Make Love, Not War." But the concept goes back a lot further than 40 years. How about 2,300 years? That's when Greek comic playwright Aristophanes penned LYSISTRATA, an anti-war satire in which women from opposing sides of an armed conflict join forces to end the war by withholding sex until peace is declared. What's that got to do with us? On Monday, Aristophanes' play will be offered in the first-ever worldwide theater event for peace. At last count there will be 538 readings in 38 countries around the world. The Lysistrata Project has encouraged readings of the play to raise a collective voice against possible war with Iraq. The organizers have suggested that attendees make a contribution at the door to support a cause deemed in keeping with the event. The Lysistrata Project has three goals: (1) To provide events where citizens can unite to enjoy an evening of spirited theater while raising public awareness about the rising volume of war opposition. (2) To provide a humorous entrée into a healthy community dialogue about what can be done on the local level to stop "diplomacy by violence" in our world. And (3) to raise money for organizations that work for peace and human rights. The project was conceived by Kathryn Blume, an actor in New York, who decided to organize a reading to benefit humanitarian organizations working in Iraq. "It snowballed," she says. "Before I knew it, we were producing an international grassroots peace movement by uniting the voices of theater artists throughout the world." In Greater Cincinnati, you have two choices: A reading at Xavier University's Gallagher Center Theater at 7:30 p.m., which will include CEA winners Dale Hodges and Sherman Fracher, will benefit the Intercommunity Justice and Peace Center. A donation of $5 is suggested. (Info: 513-604-8545) A different reading, directed by Amber Burgess and produced by Isaac B. Turner, will be offered on Monday evening at 7:30 and 10 p.m. at Newport's Monmouth Theatre (639 Monmouth St., info: 859-655-9140). Proceeds there will benefit MADRE, an international women's rights charity, and EPIC, the Education for Peace in Iraq Center. But there's lots more: two opportunities in Dayton, one in Yellow Springs, one in Oxford, two in Lexington and four in Louisville! Go to www.lysistrataproject.com for details of these and other events. (See Onstage.) -- RICK PENDER

Medea, StageFirst Cincinnati, 2003 "Mixed Medea"

2003-02-28T09:39:00.000-08:00

Mixed Medea Review By Tom McElfresh These are theatrically valid and politically correct reasons for mounting a cross-dressed Medea such as the Stage First Cincinnati production on view in the Fifth Third Bank Theater. It's been translated into serviceable language and staged briskly by Stage First's executive director, Nicholas Korn. If you cast women in all the speaking roles, they will electrify the female characters with passion, illuminate the males with subtle feminine insight and add provocative undercurrents to the play's violent male-female confrontations, right? Medea is, after all, about a wronged woman who wreaks revenge upon her husband by murdering their young sons. (The case of Andrea and Russell Yates might come to mind, although Korn denies programming Medea for any newsy topicality.) Medea's philosophical and political overtones about the cultural subordination of females to males, as well as its bloody plot and its powerful leading role, have kept Euripides' script alive for 2,500 years. Euripides created more realistic, more humanized and human-sized, more ambivalent, less overtly metaphoric women than the other Greeks. Author G. M. A. Grube (Trinity College, Toronto) notes how audiences sympathize with the abandoned wife while loathing the murdering mother. "No true realist," he writes, "would preach a black and white morality." Medea's husband, Jason, abandons her for the advancement that attaches to marrying a royal princess. His new father-in-law, King Creon of Corinth, banishes sorceress Medea before she can attempt revenge. But, she charms him into one day's delay. That's all she needs to execute her vengeance on Jason and, incidentally, Creon. She murders Jason's princess bride in a particularly vicious manner, slaughters her own sons, then escapes with the divine aid of Apollo. Yeah, she gets away with it. Guess how many males have trouble with that. So by cross-casting the men, you add new resonance to the women's issues, right? Not necessarily. Like the good reasons to do it, there are excellent reasons not to do it unless your company is blessed with female performers strong enough to invigorate the male characters while illuminating them. I don't mean women who strive to appear masculine. That would blunt the point. I mean strong actresses who build vigorous characterizations. Unhappily, Stage First in not so blessed with its not quite all-girl Medea. (The young sons are played by boys: Zachary Stewart and Joe Oelling.) Validity and insight evaporate whenever Joanna Tyler wafts through another scene as Medea's husband, Jason. Her performance is as wispy as her pitiful fake beard. We are talking here about the Jason who snatched the Golden Fleece from the dragon of Colchis. Tyler's wimp couldn't score a gold-toned swatch off Buddy of Buddy's Carpet. Pace and passion depart when Shelly Halter arrives as a messenger with graphic news of Medea's fiery murder of Jason's wife. Her feathery delivery and under-exact enunciation make the long speech numbing and endless. Susan Loveridge is ineffectual as Creon. There is theatrical validity to Ellie Shepherd's fleeting appearance as the doddering King Aegeus, who comes to consult sorceress Medea about his procreation problems and, in exchange, offers her sanctuary in his Athenian palace. Still, Shepherd's characterization, though strong, does not become the comic respite Euripides probably intended. Kristen Clippard, Amber Burgess and Natasha Randall appear to reasonable effect as the women of the chorus. Which brings us to Corinne Mohlen-hoff, who has been seen often and to fine advantage at Cincinnati Shakespeare Festival. She is a powerful and versatile performer. Her Medea is powerful and persuasive, if a little balletic and posed in its movement and a little contrived in its clawing gestures. You can readily believe how this woman can charm men to any purposes. You can just as readily believe how, once wronged, she can sacrifice her own sons to bloodthirsty vengeance. Medea is played in an arena with audience seated on four sides, and no set at all. The lighting design (Tammy Owens Slauson) works well. Costumes (Melanie Mortimore) are sweeping and sumptuous, though Creon's headgear is just peculiar. Makeup (Cincinnati Costume Co.) has Egyptian overtones. If you go, avoid the seats at the very corners. Performers frequently stand there, blocking the view of the rest of the arena.

Medea, StageFirst Cincinnai 2003 "'Medea' is smart production"

2003-02-28T09:37:00.000-08:00

'Medea' is smart production
Theater reviewBy Jackie Demaline, jdemaline@enquirer.com
The Cincinnati Enquirer

Stage First artistic director Nicholas Korn has always shown an affinity for the great theatrical storytelling of the ancient Greeks, but never more than in the current Medea, which continues for only a handful of performances in the Aronoff's Fifth Third Bank Theater. Put it on your show-going calendar this weekend. The tragedy of sorceress Medea, who abandoned her homeland for love of Jason (of Argonauts fame) only to be abandoned in turn by her vain and ambitious husband, plays out in an urgent, 80 intermissionless minutes in a bare space surrounded by the audience. Euripides is among the first, but not the last, dramatist to observe that “hell hath no fury like a woman scorned.” There are many smart things about this production, not the least of which is Mr. Korn's translation. (As usual, he gives himself a playful nom de plume in the program.) Translations are perhaps his greatest strength and again with Medea he finds the language that speaks to the playwright's purpose even as it rests easily and intelligently on contemporary ears. All the smart choices in the world wouldn't matter much without a strong performance in the title role. Corinne Mohlenhoff, draped exotically in a palette of black and dried blood red, is an admirable Medea. She's been one of the theater scene's most consistently fine actresses and it's a pleasure to see her take center stage. Medea first appears in a mad rage, which can give an actress not much room to maneuver. Sustaining that well of rage and a pain-driven commitment to horrible revenge, and finding the lights and shadows to keep it interesting over the course of more than an hour, is a daunting task. Ms. Mohlenhoff uses her voice and body to weave a web around the audience. She makes a compelling argument that speaks to her role and offers chilling echoes of headlines about other mothers who have committed atrocities in the name of love. Mr. Korn makes an inspired choice in casting women in all the roles, except the two young boys who are Medea's sons. It gives the action a feminist edge that works very well. It not only supports the central role, but the gender twist invites us to take a fresh, contemporary and deeper look at the men who carelessly decide Medea's fate. Joanna Tyler plays Jason who so blithely justifies his despicable behavior. Susan Loveridge plays King Creon, Jason's new father-in-law who wants to protect what he loves, is wise enough not to trust Medea for a second, and is ultimately felled by a moment of misplaced compassion. Both women give strong performances, greatly aided by the makeup design by Cincinnati Costume Co. Medea's wonderfully exotic sense of place comes courtesy of its so-important makeup design, the flowing costumes of Melanie Mortimore and the headpieces by Sara Havens. As director, Mr. Korn does frame a number of dramatic stage pictures, particularly with the Chorus, but he doesn't quite master the arena-style performing space he's chosen. Far more importantly, he makes sure his ensemble tells its story clearly and passionately, with Shelly Halter doing a good job of setting the stage in the first act and returning in the second for a dramatic telling of off-stage action.Medea, through Sunday, Stage First Cincinnati, Aronoff Center Fifth Third Bank Theater, downtown, 241-7469.

Fellowship of the Ring - Ovation Theat. Co., 2002 Cincinnati, OH 'Fellowship' falls into some bad hobbits

2002-10-01T09:26:00.000-07:00

'Fellowship' falls into some bad hobbits By Joseph McDonough Enquirer contributor Playwright Blake Bowden and the Ovation Theatre Company have undertaken a gargantuan challenge in adapting J.R.R. Tolkien's The Fellowship of the Ring. How do you retain enough of the enormously rich detail of the book to satisfy the Hobbit lovers, while creating an exciting work of theater that is enjoyable for those who have never ventured to Middle-earth? Ovation's production at the Aronoff Center is a hard-working, often-imaginative attempt, but it only brings the book to the stage rather than bringing it to life. The plot of Fellowship (which is the first part of The Lord of the Rings trilogy) boils down to good-guy hobbit Frodo Baggins' possession of a ring of enormous power that he must take on a journey and destroy before the bad guys get it. Frodo meets all kinds of creatures along the way who have battles and adventures that often take the focus off him. Unfortunately, Jaimss R. Carpenter plays Frodo as a dim-witted wimp of a hobbit. He doesn't project any of the resourcefulness or inner strength that is needed to carry the show. The other 20 cast members under Mary Lenning's direction are inconsistent. Some hobbits have exaggerated wobbles and voices and others don't. Actors are in near-constant motion as they sing songs (from the book, set to music by Joel Underwood) and portray numerous characters, trees, rivers and whatnot in inventive ways on the two-level set. But few of the actors allow us to feel a part of what is going on as they race to get through Fellowship. Faring the best are Mr. Bowden as sidekick Sam Gamgee and Amber Burgess as the wizard Gandalf (though she is still referred to as "he' even though Ms. Lenning seems to have made the choice to portray the character as a woman.) We can suspend our disbelief that these hobbits aren't 3 feet tall and don't have hairy feet. But for the production to be successful, it needs to have more than great ambition. We must be emotionally involved and care what happens next. There is some terrific puppet work by Carus Waggoner, Rick Couch and Aretta Baumgartner. The horses are particularly fun to watch, as is a giant fire-eyed Balrog that descends from above. The Fellowship of the Ring, through Saturday, Ovation Theater Company, Jarson-Kaplan Theater, Aronoff Center, 241-7469.

Fellowship of the Ring - Ovation Theat. Co., 2002 Cincinnati, "Ring of Fellowship"

2002-09-18T12:07:00.000-07:00

Ring of ‘Fellowship’
Bringing Tolkein classic to stage an odyssey
for Ovation crew
By Jackie Demaline
Cincinnati Enquirer

The ponies are Julie Taymor-esque, elaborate headpieces attached to streamlined, curving frames that allow the audience to see the actor inside manipulate a near-life-sized ‘‘puppet.’’
The troop of Dark Riders wear sinister masks that glow under black light. Horns resembling tusks rise out of the Orc leader’s helmet. He stares evilly from behind a blood-red mask at a rag-tag group of heroes setting off on a Quest.
The action starts and stops, again and again, as well-loved characters time their movements to the accompaniment of music director Matt Trossman.
In late August, Ovation Theatre Company was midway through the grueling rehearsal process for its daring season opener, a mask and music-filled interpretation of J.R.R. Tolkien’s The Fellowship of the Ring.
Friday, the company raises the curtain on Fellowship, which all the production’s creators agree — strongly — isn’t meant to be definitive.
‘‘We’ve taken a great deal of theatrical license,’’ director Mary Lenning says, ‘‘but the heart of the story is in the script.’’
In Middle Earth
Tolkien’s classic fantasy is approaching 50, but great Quests are forever young. On the Jarson-Kaplan stage is Shire 1418 in the Third Age of Middle Earth.
Hobbit Frodo (Jaimss Carpenter) is, of course, in possession of a powerful magical ring so filled with evil that it corrupts even the good. If it returns to the possession of Sauron, Lord of Barad-Dur, the Dark Tower in the Land of Mordor, he will control Middle Earth.
The ring must be destroyed, but it is so dangerous it can only be dealt with in one way in one place. And so an unlikely band of heroes courageously face great peril to save their world.
‘‘Yes, two of the Hobbits are women, and everyone is over 5 feet tall, but this is about the spirit of the story. I focused on the author and the book itself,’’ Ms. Lenning says.
Hence the decision to offer pieces — like the clearly visible actors inside the puppet frames — and clues to Fellowship rather than visually define the characters and scenic elements.
‘‘It’s an invitation to come with us,’’ Ms. Lenning says. ‘‘The audience has to work a little harder — but I think they’ll want to.’’
Labor of love
‘‘That’s what good storytelling does,’’ Blake Bowden inserts. ‘‘It brings the audience in.’’
Mr. Bowden is the man at the center of this theatrical quest, which has been a three-year labor of love.
He adapted the book into a script, and approached several local theaters. Now a key member of Ovation (he plays sidekick Sam in the play), his relationship with the company started with Fellowship.
He recruited Ms. Lenning and the creative team, including puppet designers and composer Joel Underwood. Mr. Underwood lives in Seattle, but he and Mr. Bowden began their friendship in a Northwestern University dormitory. In their freshman year, Mr. Bowden noticed they were both reading Fellowship. ‘‘We were on the same chapter.’’
Puppet director Aretta Baumgartner joined the team in its early days. She’s in the acting company and coached company members on the mask and puppet work.
Tolkien has been ‘‘part of my family’s fabric,’’ she says, laughing. ‘‘Frodo has the same birthday as my brother — Sept. 22. His birthday parties were always for Frodo, too.’’
Emotional attachment
She recruited mask and puppet designer Carus Wagoner who has been working almost around the clock. All summer into fall he worked at his job at Madcap Puppets, then started on Fellowship at about 6 o’clock until ‘‘whenever Conan (O’Brien) ends.’’ There were a lot of 12-hour days on weekends.
Its that kind of emotional attachment that the Ovation team is committed to honoring.
‘‘The books I read (for research) weren’t about what other people thought about Tolkien, but were about his perspective, which came from telling his children stories. There’s simplicity in that. This is a story that grows in the telling.’’
Simple — but big. Ovation moves from its base in the Aronoff’s modest Fifth Third Bank Theater (150 seats) to the Jarson-Kaplan (437 seats) to take on Fellowship.
It is, of course, the first third of a trilogy. What next?
‘‘People always ask me about that,’’ Mr. Bowden acknowledges. ‘‘It’s either, ‘are you?’ or ‘you aren’t, are you?’ ’’
He has. A draft of Part Two, The Two Towers, is already written. Whether it sees the light of a stage depends a great deal on what happens tonight.

Festival, Beechmont Players, 2001 Cincinnati, "Trouble in Tin Pan Alley"

2001-05-15T12:09:00.000-07:00

Trouble in Tin Pan Alley

By Paul Kreft

Call Bill Clinton. We need one more pardon. On second thought, call Dubya. Stephen Downs and Randall Martin, the creative team who wrote and scored the musical, Festival, just might deserve capital punishment.
The book and music for this horror of a theater piece, presented by The Beechmont Players, are devoid of substance, style or grace. At its best, the dialogue is weak TV sketch comedy, and the music forgettable. At its worst, it is simply annoying.

It's worth noting that this show opened in New York on May 16, 1979, and ran just 7 performances. Those New Yorkers know a bad show when they see it -- and then they don't see it.
Despite this theatrical "Immunity Challenge," some of the performers will survive to tread the boards another day. Ian Dahlman, as The Troubador, provides some genuinely funny moments, particularly during his henchman scenes. Amber R. Burgess' Nicolette sings in a pure and sensitive soprano. A more mature soprano voice, Faye Crawford, shines through the uninspired tunesmithery of the aforementioned Tin Pan Alley fugitives. Katherine Ruckle as the Queen of the Gypsies and several other roles, shows great comic timing and delivery as well as providing authoritative vocals.
A well-prepared orchestra performs somewhere off in the distance, perhaps avoiding any possible connection with the music that lay before them.
Admittedly, the show starts with a disclaimer, saying the production is intentionally cavalier in its approach to production values. One could, however, at least expect a decent script.
And this brings us to direction. Jef Brown, one of Cincinnati community theater's most talented directors, directed Festival. Brown is frequently willing to try unconventional works. Sometimes his boldness pays off, giving us shows a lesser talent wouldn't dare. Other times we applaud his courage and look eagerly for subsequent offerings.
I'll be at his next show.

FESTIVAL, presented by Beechmont Players, Inc., at the University of Cincinnati's Clermont College campus is onstage until Saturday.