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Croswell announces 2017-18 Special Event Series October 8, 2017

Posted by ronannarbor in Croswell Opera House, Entertainment, Theatre.
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Croswell announces 2017-18 Special Event Series

Concerts, musicals, a play, a children’s show, and more are coming up this fall, winter and spring at the Croswell Opera House.

The Croswell’s 2017-18 Special Event Series will run from October through April. It includes a few previously announced events plus several new shows.

“The Family Digs” (Oct. 13-22): This new play by Terry Hissong will be the first fully staged production in the Croswell’s new studio theater. A two-act comedy, it tells the story of an eccentric archaeologist, his long-suffering adult daughter, his freeloading New Age son, and what could be the greatest archaeological discovery of all time. Peter Stewart plays the father, Dr. Charles Edwards, with Meg McNamee as his long-suffering daughter, Eve, and Jonathan Stelzer as his New Age-aficionado son, Robert, who insists on being called Sunshine. Emily Allshouse and Karen Miller play Sophia and Hannah, two of Eve’s co-workers.

The play will be the first fully staged production in the Croswell’s new James E. Van Doren Studio, which is located on the second floor of the theater at 129 E. Maumee St. in Adrian. It is being presented in collaboration with Westfall-Hissong Productions.

“The Family Digs” runs the weekends of Oct. 13-15 and Oct. 20-22, with Friday and Saturday shows at 7:30 p.m. and Sunday shows at 2:30 p.m. Tickets are $25 for adults and $15 for students. The play is recommended for ages 13 and up.

Fun Pianos by 176 Keys (Oct. 28 at 7:30 p.m.): The Dueling Pianos return to the Croswell stage for a one-night event. This is an adult-oriented show. In addition to auditorium seating, a limited amount of on-stage table seating is available.

Local premiere of the film “All or Nothin’” (Nov. 4 at 7:30 p.m.): Beloved local icon Laura Haviland is among the characters in this new film about a group of slaves who escaped from bondage in 1853. The movie, by Ann Arbor filmmaker Charles Campbell, was partially filmed in Lenawee County. Admission will be by donation, and a Q&A session with the filmmaker will be offered afterward.

Branson on the Road (Nov. 11 at 5:30 p.m.): Classic country music takes the stage in this salute to American history and heroes. Led by Debbie Horton, who once played lead guitar for the late Johnny Cash, Branson on the Road presents a musical journey with a patriotic theme for Veterans Day.

“Meet Me in St. Louis” (Nov. 25 to Dec. 10):
Opening Thanksgiving weekend, the Croswell’s annual holiday musical is the heartwarming tale of a turn-of-the-century American family anticipating the wonders of the 1904 World’s Fair. The stage musical is based on the movie of the same name, and includes well-known tunes such as “Have Yourself a Merry Little Christmas,” “The Trolley Song,” and “The Boy Next Door.”

Carols and Candlelight with Michael Lackey (Dec. 21 at 7:30 p.m.): This evening of entertainment will take place in the James E. Van Doren Studio and feature Broadway veteran Michael Lackey performing a variety of Christmas favorites in a cabaret-style setting. Seating will be limited.

Wizards of Winter (Dec. 22 at 7:30 p.m.):
Wizards of Winter was founded by former members of the Trans-Siberian Orchestra and features a similar mix of rock-style holiday favorites, complete with spectacular special effects.

“Godspell” (Jan. 27 to Feb. 3): This Tony-nominated musical by Stephen Schwartz will be the Croswell’s annual all-area high school production. It will be directed by Michael Yuen, who played John the Baptist and Judas in the 2000-01 national tour of the show.

You Rock, Valentine! (Feb. 14 at 7:30 p.m.): This event, taking place in Van Doren Studio, will combine rock hits performed by Dave Rains with dinner catered by the Hathaway House. Seating will be limited.

“The Big Meal” (Feb. 23 to March 4):
This dramatic comedy, which won author Dan LeFranc the 2010 New York Times Outstanding Playwright Award, spans 80 years and five generations in the life of one American family.

Your Generation (March 10 at 7:30 p.m.): Formerly known as 50-Amp Fuse, Your Generation presents a tribute show that journeys through five decades of pop, rock, dance and R&B. This will be the band’s first Croswell appearance.

“Stellaluna and Other Tales” (March 23-31): Based on the book series by Janell Cannon, this hour-long musical is aimed at children from pre-K through fourth grade.

Disco Night at the Croswell (April 7 at 7:30 p.m.): Singer Tatiana Owens, who previously appeared in “Memphis” and “Million Dollar Quartet,” will return for a one-night concert featuring hits from performers like Donna Summer, Sister Sledge, the Bee Gees, and more.

“Disenchanted” (April 13-22): This comic, not-for-children musical follows fairy-tale princesses like Snow White and Cinderella to find out what happens after “happily ever after.”

Ben Daniels Band (April 28 at 7:30 p.m.): The Michigan-based Ben Daniels Band has become a favorite at venues like The Ark and The Blind Pig, as well as at concert halls around the country. This will be the band’s first Croswell appearance.

Tickets for all shows in the 2017-18 Special Event Series will go on sale Oct. 9.

Open auditions for “Godspell,” “The Big Meal,” “Stellaluna and Other Tales,” and “Disenchanted” will be announced soon.

For more information, go to croswell.org.

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Fiendishly Marvelous “Sweeney Todd” at Encore Musical Theatre Company (Review) September 29, 2017

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Sondheim’s “Sweeney Todd” is back at the Encore Musical Theatre Company, and it has arrived with a vengeance. You better get your tickets right now before the word of mouth and rave reviews send sales soaring — as best they should for this superior production.

Set in a 40’s London factory, Encore’s players “tell the tale” just beautifully, and with such terrific vocal direction and orchestra blend (by the always terrific Tyler Driskill) that you understand every word. And while Sondheim himself would cringe at the use of the term “opera” to describe this piece, that is, in essence, exactly what it is.

Staged non-traditionally in a fully immersive environment in which the audience surrounds the stage on three sides at various levels, and where actors interact in the aisles and stairways throughout, this is a whiz-bang production both directed and designed by the adroit and skilled Matthew Brennan, with actual scenic execution  by Sarah Tanner, Lighting Design by Tyler Chinn, Costume Design by Sharon Larkey Urick, Properties Design by Anne Donevan, and Sound Design by Chris Goosman and Joshua Thorington. I list all of these folks first because they are inseparable and they have done a tremendous job of bringing the technical aspects of this stunning production to fruition.

The show is nothing if you don’t have remarkable leads – and this production sure does. David Moan is exquisite as Sweeney Todd – his voice and acting are remarkable and lend the character both an eeriness and a liveliness that blend well in the intimate setting. Its a great performance and will resonate with you long after the evening has reached its grisly conclusion. Sarah Briggs is one of the best Mrs Lovett’s you could ever imagine. She is able to instantly convey humor, horror, and pity (sometimes at the same time) and she captures every moment with thoughtful acting and great vocal work. As the first act’s black and white schema bleeds away into a more colorful second act, so do their interactive moments which grow to a crescendo in the final moments. Well, that’s the play and we wouldn’t want to give it away, right? Though I doubt many of the folks going to see this musical don’t know that it ends badly for these two.

Sebastian Gerstner sounds great as Anthony, and Emily Hadick is lovely as Johanna. The couple have the musical’s prettiest songs and they are very up to the task. Emily Rogers is spot-on as the Beggar Woman and sings and acts beautifully. Keith Kalinowski is excellent as always as Judge Turpin (and what a joy to hear his very well acted and sung “Ladies in their Sensitivities Mea Culpa”, almost universally cut from productions) — though you might not know from the staging that he is committing self-flagellation unless you are already familiar with the show (but now you know).

Dan Johnson is very good as the Beadle, and his sometimes befuddled look on stage lends itself well to this multifaceted role, subservient to the Judge while trying to represent decorum and order at the same time to the outside world. Jamie Colburn is an entertaining Pirelli. Toby (“Nothing’s Gonna Harm You”) is well-performed by Billy Eric Robinson, though twice the size of Mrs Lovett, you never really get a strong sense of menace or that he is in any imminent type of danger. In fact, that is a running theme throughout the evening — while favoring character over menace, you never quite get a sense of your heart quickening or the hair standing up on your arms, like you do at some other productions of “Sweeney Todd”. Everything is kept to a symbolic minimum here but it works very well in this staging.

The entire ensemble is strong and the vocal work is outstanding. Most of these folks have played leads in other Encore shows and on other area stages so its like a who’s who of local theater: Logan Balcom, Nick Casella, James Fischer, Leah Fox, Bryana Hall, Angela Hench, Marlene Inman, Michael Jones, Chris Joseph, Gayle Martin, Dan Morrison, and Alexandra Reynolds populate the town, play all of the assorted characters from quirky to sympathetic, and carry chairs around. A lot. Leah Fox plays a mean accordion in a brilliant staging concept.

Oh, there is blood. Plenty of it in the second act. THANK YOU! The Encore’s last iteration of this show was a bloodless affair. There is plenty of it here, and it is well-staged and realistic. Although keeping with the evenings staging, everything is ultimately done symbolically. There is no tipping chair that dumps a body through the stage floor, down a slide, and into the bakehouse below.

To say that this production is excellent is an understatement. It is most likely the best production of this musical you are likely to see locally. It is a marvelous interpretation by a masterful director who well understands that you will never be able to stage the production like it was originally staged on the Broadway stage in this small house. So instead he takes what might be seen as a shortcoming and transforms the entire theater into something special. I loved the addition of “skylights” in the Encore’s ceiling and fans and electrical equipment to the walls to lend a sense of being a real space. The show is organic and feels like the building was  purpose-built for this production, rather than the other way around. (For the uninitiated, the original Broadway production actually imported the workings of a real factory from London to the stage of the Gershwin (then Uris) Theater).

I will leave it to the theater goer to ponder what’s up with the organ-versions of show tunes both before the show and during intermission (some of which are from the golden era of musicals, not from the 40’s). It left me scratching my head.

Very Highest Recommendation.

Sweeney Todd runs through October 22nd at the Encore Musical Theatre Company in Dexter MI. Tickets at theencoretheatre.org or 734-268-6200. Get them while you can. This is a don’t-miss production.

 

 

 

 

 

 

 

 

 

 

Whole Lotta Fun at this Trailer Park (Review) August 26, 2017

Posted by ronannarbor in musical theater, Musicals, Theatre.
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There’s a riotous new musical at The Dio, and you’ll laugh your ass off. The Great American Trailer Park Musical opened its run last night and a terrific cast, great tech design, and a fun show itself create a fun adult night out (cause there is some cursin’ and swearin’ and sexin’ in this show).

There isn’t much to Betsy Kelso and David Neil’s story: exotic dancer Pippi arrives at the trailer park, quickly hooks up with married Norbert (whose wife is agoraphobic and hasn’t left their trailer in 20 years), and soon Pippi’s ex-lover comes a callin’.  Alls well that ends well, and you will have a blast getting there.

The “story” is told by three trailer park girls — a side-splittingly funny Betty, er,  Sonja Marquis; foul-mouthed Lin (short for Linoleum, hilarious and almost unrecognizable Natalie Rose Sevick); and Pickles (played by the fantastic in every single ridiculous moment Tori Rogers).  Andrew Gorney has tremendous fun as Norbert, while Carrie Jay Sayer turns in another remarkable performance as Jeannie, his stay-at-home wife. Alaina Kerr adds another brilliant performance to her quickly growing musical theater repertoire as stripper (sorry, exotic dancer only) Pippi, and Mike Suchyta is wonderful as the menacing, marker-sniffing, roadkill-king Duke.

Steve DeBruyne directs the intermission-less evening with an eye to comedy at every turn; Music Direction and orchestra are under the capable leadership of Brian Rose; Kristin Renee Reeves has created some very funny choreography; Set, Lighting, and Sound Design is colorful and nifty by Matt Tomich; Properties by Eileen Obradovich are spot on and just keep coming and coming and coming; and there is great costume and hair work by Norma Polk and Madison Merlanti respectively. There is the usual delicious preshow meal by Chef Jared.

You will laugh yourself silly for most of the duration of this side-splitting musical. You’ll also be surprised by what a big little show this really is. There are dozens of costumes, and exteriors of trailers open to interiors of trailers. The show occasionally veers out of the trailer park off to the local strip club, and there’s a very humorous use of a rolling chair and headlights (literally in this case) when Duke comes to town.

Will Jeannie ever leave her house so she can attend the Ice Capades? Will Norbert end up with Jeannie or Pippi? Will Duke stay sober long enough to do anything once he finds Pippi? Will Pickles ever stop talking about her “hysterical pregnancy”?…(folks tell her she’s not pregnant but she has all the symptoms)

See for yourself at The Great American Trailer Park Musical which continues at the Dio Theatre in Pinckney  through October 8th.

Very Highly Recommended.

The Dio Theatre, diotheatre.com, or (517) 672-6009 Downtown Pinckney MI.

 

 

Hilarious and Well-Done 9 to 5 at Encore Musical Theatre Company (Review) August 25, 2017

Posted by ronannarbor in musical theater, Musicals, Theatre.
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When I saw 9 to 5 on Broadway, Dolly Parton and Patricia Resnick’s hilarious musical, I thought that for sure it would be done by every theater in the States once it was released…and that hasn’t quite been the case. So it’s with great eagerness that I report that the production now at the Encore Musical Theatre Company in Dexter is terrific – it is hilarious, well-polished, and just downright fun.

Based (almost scene by scene) on the 1979 movie, it has a life of its own on stage that makes it infectiously funny. Secretaries rule, Bosses get sent to Bolivia, and snoopy office managers get sent off to take language immersion courses (bien sur). While this entire ensemble is tight and funny, there are some standouts in this cast.

All three lead ladies are wonderful — Stacia Fernandez is a spirited and musical Violet (much more so than Alison Janney in the Broadway production) and her “One of the Boys” is a delight; Alex Koza is alternately sweet and tart as Doralee and knocks “Backwoods Barbie” out of the park; and Thalia Schramm is fussy and endearing and eventually sings a knockout “Get Out and Stay Out” near the end of the show. Its a powerhouse trio doing great work.

Sebastian Gerstner is a wholesome and desirable Joe, younger lover for Violet. Ernest William plays a hysterical boss (Franklin Hart Jr) – his “Here for You” is fantastically funny.

But the night belongs to Sarah Briggs as busybody Roz — she steals every single scene that she is in, in a good way – she mugs, she emotes, she sings, she dances, she prances, she lounges on a desk, she pratfalls, she chews up the scenery and spits it out. “Heart to Hart” is the highlight of the show, and for good reason. I can not wait to see Sarah as Mrs Lovett in Sweeney Todd later this season — in fact, I can’t wait to see her in anything she does.

You’re in for an evening of great acting, singing, and dancing, and a very funny production that looks fantastic on Sarah Tanner’s set; with great costumes by Sharon Larkey Urick; wonderful musical direction and orchestra under the direction of R. MacKenzie Lewis; Nifty properties by Anne Donevan (bonus points for Doralee’s cowgirl lunch box); Chris Goosman’s subtle sound design; and Daniel Walker’s lighting. It all moves at lightning clip under the capable direction of Ray Frewen. Meredith Steinke creates fun and fluid choreography.

Go, Laugh. Have fun. I’m a bit late to the game as I was otherwise engaged playing a lead in another show opposite this one — glad I caught it last night. You have a few more chances this weekend.

Very Highly Recommended.

9 to 5 continues at the Encore Musical Theatre Company through July 27th. Tickets at theencoretheatre.org or 734-268-6200

 

 

 

 

True to its Name, Croswell’s Forum is A Funny Thing (Review) August 15, 2017

Posted by ronannarbor in Croswell Opera House, Michigan, musical theater, Musicals, Theatre.
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Guest Review by Devon Barrett

To the uninitiated, A Funny Thing Happened on the Way to the Forum, the 1962 musical comedy by Stephen Sondheim, currently playing at the Croswell Opera House in Adrian, sounds like something that would be anything but funny.

Because, honestly, the list of characters looks like a laundry list of things nobody really wants to talk about: courtesans. Slaves. A nagging wife. A henpecked husband who spends 2/3 of the show considering adultery. A pompous, self-aggrandizing military captain. A young woman whose only skill is being “lovely.”

But when you weave them all together into a plot (the literary kind and the devious kind), that includes a couple of hilarious musical numbers, an epic, mind-boggling full-cast chase scene, and a happy ending with a delightful, surprising twist I guarantee you won’t see coming, well, you’ve got yourself a comedy.

The show opens with Pseudolus, a slave in the House of Senex, and the show’s buoyant instigator-in-chief, played by Jared Hoffert who could not be more perfect for the role. He introduces us to the three Proteans, played by John Bacarella, Mark Hyre, and A.J. Howard, who toggle between roles—as slaves, soldiers, and, in that epic chase scene I mentioned earlier, courtesan-catchers—so rapidly that you start to wonder whether they’ve all got body doubles hiding in the wings.

The year is 200-ish B.C. The place: a residential street in ancient Rome. And the deal: Pseudolus will be granted freedom if he can get his young master Hero (played by Xavier Sarabia, who sings through a boyish, crinkly-eyed grin perfectly befitting his character’s innocence), hooked up with Philia, the virginal, empty-headed courtesan-next-door (played by Emily Hribar, who has a lovely, clear voice, and a gentle presence) before Hero’s parents, Senex and Domina, return from visiting the in-laws.

Hero’s proud, domineering mother Domina and her namby-pamby husband Senex are played by Julia Hoffert and Ron Baumanis, respectively. Senex’s lighthearted joy and light-footed dancing during “Everybody Ought to Have a Maid” was his standout moment. And Domina’s moment came in the form of a deliberate, fourth-wall-breaking evil-eye during the second act, when she unexpectedly burst back onto the scene, eliciting a gasp and a whooshing chorus of “uh-oh’s” from the audience, who knew stuff was about to hit the fan. She stood, alone, center stage, for two or three beats, staring right out at Orchestra Center with one eyebrow raised as if to say, “Excuse me? Uh-oh? I am a strong woman who knows what she wants in life and you say UH-OH when I enter the room?” Reader, IT. WAS. FANTASTIC.

Possibly the best part of A Funny Thing Happened on the Way to the Forum, is that it employs nearly every comedic device available, and every character gets a chance to partake.

Marcus Lycus, Senex’s neighbor to the left, is in the business of selling beautiful young women. Played by Stephen Kiersey, Lycus isn’t the slimy salesman-of-women you would expect him to be. He’s kind of a wuss, and his fear of facing one of his powerful clients—a captain named Miles Gloriosus, who we’ll discuss later—sets the show up for its first case of mistaken identity: when Pseudolus impersonates Lycus while Lycus hides in his home and, later, runs around with a cloak over his head pretending to be a leper.

The six courtesans (played by Jessica Adams, Tara Althaus, Madeline Auth, Jamie Lynn Buechele, Beth Felerski, and Sarah Nowak) of the House of Marcus Lycus each get a chance to show off their…er…skills to poor Pseudolus, who tries to play it cool as they dance, perform tricks, caress his hair, and in some cases, sensually threaten him with a whip. Their costumes, designed by Meg McNamee, were colorful and fun, and perfectly befitting of each of their personas.

Senex’s neighbor to the right, Erronius, played by William E. McCloskey, who is no stranger to the role, has his moment in the sun in the second act as his running gag (no spoilers! Witness it for yourself!) keeps time during the utter chaos playing out onstage.

Miles Gloriosus, the pompous Roman army captain who stands in the way of Hero’s chance at marrying Philia, is a sight to behold in his shiny, silver, chiseled armor. Played by Cordell Smith, Miles Gloriosus inflates his greatness at just about everything, but Smith’s rendition of “Bring Me My Bride” requires no inflation…it’s just great.

Then there’s Hysterium, played by John MacNaughton. Hysterium and Pseudolus spend a great deal of time together throughout the show, and Hoffert and MacNaughton play off of one another so brilliantly. As Pseudolus’ plot to affiance Hero and Philia goes further and further off the rails, Pseudolus himself continues to roll with the punches, while Hysterium, despite his insistence to the contrary, grows increasingly…well…hysterical.

And so, too, does the audience. Because, bottom line, Forum is funny, and it doesn’t even need to try to be anything else.

Directed by Mark DiPietro, with musical direction by Jonathan Sills, choreography by Delle Clair, and scenic design by Leo Babcock, A Funny Thing Happened on the Way to the Forum runs through Sunday, August 20th at the Croswell Opera House, Michigan’s oldest theatre, located in downtown Adrian. If you haven’t been to the Croswell since its major renovation (or—HORRORS—if you haven’t been there at all!) now is the time. It is truly a sight to behold.

A Funny Thing Happened on the way To The Forum runs through August 20th. Tickets at Croswell.org

Very Funny “Criminal Hearts” at Ann Arbor Civic Theater (Review) June 18, 2017

Posted by ronannarbor in Ann Arbor, Community Theater, Plays, Theatre.
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Cami Fussey has directed a very funny production of Jane Martin’s “Criminal Hearts” at Ann Arbor Civic Theater, and you have one more chance to catch it as it only plays this one weekend (the usual Ann Arbor Civic Theater dilemma).

Telling you much about the plot would ruin the twists and turns, but as stated in the program, Bo,  a streetwise burglar breaks into Ata’s apartment which has already been completely emptied out of furniture by her philandering husband, Wib – the two of them, together with getaway driver Robbie, join forces to take Wib for all he’s worth.

With multiple twists and turns, the (very) funny script takes these two oddball women for a ride.

Elisha Kranz is a fine agoraphobic (and that’s only the beginning of it) Ata, and Tomi Dres is a good Bo. The two of them play off of each other well (as should be in a piece that primarily focuses on the two of them). Christopher Ankney makes his stage debut as the funny Robbie, and David Widmayer is hilarious as he creates a strange and nasty Wib.

Cami Fussey has directed the piece with an eye to character development while letting the jokes flow naturally and rapidly — things feel like the characters are discovering these quirks (and strengths) as the audience does, and it all flows nicely — no matter how absolutely bizarre. The 1:40 piece flies by (there is one intermission). Everything looks terrific on the set designed by Cami and built and lit by Scott Fussey.

Stage Managed by Lisa Gavan, Produced by Christopher Ankney, Light and Sound operated by Nate Dewey, and Production Assisted by Dane Larsen.

Today’s educational moment: nobody really knows who playwright “Jane Martin” is — though almost all of his/her works originate at Actors Theatre of Louisville and there is constant speculation online about who the writer (or possible writers) are. The playwright’s name is a disambiguation.

I had a great time, and I think you will too. There’s only one more chance to see it today – this afternoon (sunday June 18th) at AACT’s studio – 322 W. Ann Street — tickets at the door.

Highly Recommended.

 

 

The Mystery of Edwin Drood is Satisfying, Enjoyable, First Rate (Review – Ann Arbor Civic Theatre) June 2, 2017

Posted by ronannarbor in Ann Arbor, Broadway Musicals, musical theater, Musicals, Theatre.
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“DroooooooooD!”

Do you find reading this name to yourself is a little amusing? Bet your lips puckered without your realizing it. Try saying it aloud; bet you can’t without having a little fun with it. At A2CT’s hilarious production of  “The Mystery of Edwin Drood” at the Lydia Mendelssohn Theatre this weekend, you can think it, say it, sing it, even stand up and shout it at the top of your lungs and you will be in good company. It is encouraged and it is satisfying, much like the performance that surrounds it. It’s no wonder this interactive Rupert Holmes musical won several Tony Awards. It’s that fun.

As the real story goes, The Mystery of Edwin Drood is the final novel written by Charles Dickens, who died before completing it, leaving the explanation of the title character’s mysterious disappearance unresolved. However, in the musical, we, the audience, get to affect the show’s ending by voting for the murderer (if, in fact, Drood was murdered) as well as decide the fate of other characters. Actors find out live if they have been selected and they have seconds to step into their role. There is a blackboard in the lobby after the show so that you can see the actual audience vote count as you leave.

The musical is a show within a show so every actor plays two roles: “The Mystery of Edwin Drood” is performed by various characters in a London music hall aptly named, Music Hall Royale, in 1892. The music hall story centers around Drood (flawlessly played in trousers by Vanessa Banister), who is affianced from birth to the lovely Rosa Bud (lovely in looks and voice Kimberly Elliott), who is the object of her opium-addicted choirmaster John Jasper’s affection (brilliant Roy Sexton). But Jasper is not the only one who craves the affection of Miss Bud. Ceylonese refuges Neville Landless (Brandon Cave), twin sister Helena (Becca Nowak) and Reverend Crisparkle (Brodie Brockie) have desires of their own. The facial expressions these players give are worth the price of admission. Then there is the drunken cemetery watchman Durdles (Jimmy Dee Arnold) and Deputy (Peter Dannug) who know the whereabouts of the living and the dead. Opium mistress Princess Puffer (Alisa Mutchler Bauer) and Bazzard (Michael Cicirelli) add their own spice to the mystery. As mentioned earlier, all of these characters are portrayed by second-rate Music Hall Royale actors with their own agendas. If any of this is confusing, be assured the Chairman of the Music Hall Royale (Jared Hoffert) will guide you along and make sure you are properly sated in more ways than one [wink wink]. Hoffert is a wonderful master of ceremonies. The supporting cast is a hearty shephard’s pie of talent: Julia Fertel, Ashleigh Glass, Chris Joseph, Kari Nilsen, Sarah Sweeter, Kelly Wade, Heather Wing and Lisa Gavan (Stage Manager, both real and in the Royale), who make the evening that much more satisfying and enjoyable.

The Lydia Mendelssohn Theatre is the perfect venue and the audience is greeted by the cast in character prior to curtain. Director and set designer Ron Baumanis, lighting designer Thom “TJ” Johnson, sound designer Bob Skon, Choreographer Debra Calabrese and costume designer Molly Bourneman complete the atmosphere so you really feel like you have been taken back in time — there are footlights, bustles, old-fashioned drops, and wonderfully zany mis-cues by the “Company” and crew. Great work. There is a surprise set piece build by Patrick Johnson and unique props by Aaron C. Wade. The orchestra, who also play a role within the story, is led by Daniel Bachelis and is first-rate. The show clocks in at 2:30 including the intermission and it is non-stop. There is also a special surprise guest appearance that had the audience laughing and applauding last night, and you’ll find it referenced in the program hidden in plain sight once you do.

Very Highly recommended.

—–Guest Review by Patricia Mazzola

Only three more chances to experience A2CT’s “The Mystery of Edwin Drood” at the Lydia Mendelssohn Theatre, University of Michigan, Michigan League Building, 911 Fletcher, Ann Arbor.  June 2-3 at 8 pm, June 4 at 2 pm. a2ct.org/tickets, or available at the door. Please note that tickets go off-sale online a few hours before showtime.

Charming “Morning’s at Seven” – AACT (review) April 20, 2017

Posted by ronannarbor in Ann Arbor, Community Theater, Theatre.
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There is a lovely production of Paul Osborn’s “Morning’s at Seven” (yes, that apostrophe is correct, the title comes from a Browning poem) at Ann Arbor Civic Theatre at the Arthur Miller Theatre on UM’s North Campus this weekend. Under the able direction of TJ Johnson, excellent veteran acting of the show’s older characters, gorgeous set design by Chuck Griffin (built by Gregg Blossom and Alen Fyfe with Christine Blossom) and beautiful lighting of Tiff Crutchfield, the comedy is the essence of “charming”.

Set in 1938 (the play was first performed on Broadway in 1939 with several revivals, radio broadcasts, and a television adaptation) the story concerns 4 aging sisters and their families and is set into motion when “change” rears it’s head. There’s a nice subplot about a middle-aged son bringing his fiancé home for the first time in 12 years (you know where that is going) and the men in the family get plenty of their own antics. In short it is an ideal ensemble piece for veteran actors and Civic has them in abundance here.

The sisters are played by Laurie Atwood, Ellen Finch, Barbara Mackey King, and Lenore Ferber. They are each terrific individually and believable as sisters when together. Long suffering fiancé is nicely played by Melissa Stewart and mamma’s-boy is played by Jay Fischer in a stammering, tic-filled performance that is so realistic it made me wince. Charlie Sutherland will forever live in my memory looking for “the fork” and Theo Polley and Larry Rusinsky are equally delightful.

It is not easy growing old. Families today are a bit more splintered than they were during most of the twentieth century when it wasn’t unusual to have your spinster sister live with you and have family homes next door to each other or just a few blocks away. But what if the boundaries break down — and eccentricities start to become, well, annoying. And then there is the show’s ending…there’s a suitcase, there’s tension, and there is that final moment that makes the entire affair charming as heck.

Cassie Mann’s properties are period perfect, and Molly Borneman outfits everyone nicely. In addition to the terrific building design, there’s an awesome green lawn that covers the Arthur Miller stage. It serves to tie together these family connections where boundaries are not only lacking indoors, but also outdoors where yours is mine and mine is yours…until it isn’t.

Highly Recommended.

Morning’s at Seven continues at the Arthur Miller Theater through Sunday April 23rd. Tickets at a2ct.org/tickets, 734-971-2228, or available at the door.

Almost, Maine – terrific theater at AACT (Review) March 13, 2017

Posted by ronannarbor in Plays, Theatre.
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This past weekend, Ann Arbor Civic Theatre presented John Cariani’s play ALMOST, MAINE – and it was COMPLETELY, PERFECT.

I wish I had been able to get a review out after opening night, but I was opening my own show this past weekend so I didn’t get a chance to see the play until its final Sunday performance. None-the-less I didn’t want to let this one slip by.

Kat Walsh did a remarkable job of directing this hilarious (and at times whimsical and romantic and dramatic and heartbreaking and uplifting) production — tightly directed and spot-on throughout — never losing site of its actors, and never making a mis-step at any point. In fact, some of the scenes here were clearer and better directed than any other production of this play that I have seen. Kudos to Kat.

It helps when you have a remarkable cast like the one assembled for this production. By expanding the cast to have different actors portraying the different people (the show can also be done with a handful of people playing all of the different roles), the town of Almost felt well populated and (almost) like you knew every one of them.

Andrew Benson, Elizabeth Docel, Matthew Flickinger, Chris Grimm, Lawrence Havelka, Chris Joseph, Rachel Kohl, Alexandra Berneis, Joe Lopez, Matthew Miller, Scot Mooney, Sara Rose, Codi Sharp, Megan Shiplett, and Michelle Weiss comprised the excellent ensemble cast, and I really can’t point to one over another. There are scenes in the show that I like more than others, but this group of talented actors were each terrific.

Nathan Doud’s set design was sparse and gorgeous – I particularly liked the constellation design on the stage floor. Angeline Fox Maniglia’s costume design was wonderful – and the peeling of layers in one particular scene one of the funniest things I’ve seen in ages (and even funnier because those of us who live in cold climes know exactly what was going on there). Chris Simko’s lighting design was wonderful and tightly integrated into the scene work. In short, this production was beautifully designed and executed.

Congratulations to cast and crew on a wonderful production of Almost, Maine. One that was so cuddly and warm it (almost) made you want to move to that fictional town.

Very Highest Recommendation.

Almost, Maine has concluded it run, which appeared March 9 – 12th 2017 at the Arthur Miller Theatre, presented by Ann Arbor Civic Theatre. 

Lively and funny “Barefoot in the Park” at The Dio (Review) February 13, 2017

Posted by ronannarbor in Theatre.
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The Dio is offering a lively and funny mid-winter treat in Neil Simon’s first mega-hit “Barefoot in the Park.”

Newlyweds Corie and Paul Bratter (Mary Dilworth and Peter Crist) have just moved into their 5th Floor walkup in New York City, and the comedy quickly mines the travails of too-small, overpriced, crumbling starter apartments, surprise visit by Mother (Sonja Marquis) and quirky neighbor Victor Velasco (Dan Morrison), along with telephone installer Steve DeBruyne and Delivery man Stephen Dean.

Directed by Greg Bailey, the production breezes by with its one-liners and jokes.  There are terrific performances all around, and  the cast play off of each other well. Marquis in particular brings a genuine feel to Mrs Banks that is funny and refreshing. Dilworth and Crist play off of each other well in both more loving as well as angrier scenes.

Matt Tomich has designed an excellent set which looks unlike anything else you have ever seen at The Dio. Dominated by a center stage skylight (used to terrific effect in some very funny sequences) his lighting also looks terrific throughout, but in particular during some lovely moments with light shining in through the skylight.

Costumes look terrific, although I did have a minor quibble with a few prop items that were not period correct. I did like the condensation of three acts into two as well as the cleverly staged furniture arriving with Velasco supervising.

Greg Bailey’s program note states that one of the goals for the show was to bring warm hearted, funny theater to Livingston County. That the Dio has done terrifically well with Barefoot in the Park. Glad to see local theaters rediscovering this comedy – Ann Arbor Civic Theatre did an award-winning production of it last season as well. I enjoyed both of these productions in different ways. Chef Jarod’s pre-show meal, as usual, is tasty and filling. The New York cheesecake ice cream at dessert time was a particular treat.

You’ll find yourself laughing heartily at this Barefoot, and its well done fun.

Recommended.

Barefoot in the Park continues at The Dio through March 5th. diotheatre.com or (517) 672-6009