Mostly Musical Theatre

The iPhone 6 — what we know so far…(Updated 7/22/14)

Not long ago, I converted the entire office to Macs, iPhones, and iPads…our therapists use them, and so do all of our clients. Personally, I also use a Galaxy S5 (upgraded from an S4) as well as my iPhone 5S. I’ve used every version of the iPhone since the original.

Apple is looking at a new iPhone release this September (it will be released on or about Friday Sept 19th and officially announced at the beginning of September) but trying to keep things secret at Apple just isn’t possible anymore, and there has been more information about the iPhone 6 than any previous release that is being consistently reported with photos included.

What do we know so far?

First, if you like the current size of the iPhone 5S, then hold onto it, because its changing form factor with larger screens. There will be a 4.7 inch version, and a 5.5 inch version. There is some concern that the supply for the 5.5 version might be very limited and won’t be released until later in the year, or even early 2015.

The form factor, while generally similar to the current iPhone, will be larger, and the phone will be thinner. Here’s a comparison of the sizes, with the iPhone 5S in front, the 4.7 in the middle, and the 5.5 at the back…

Size comparison wise — the 4.7 is larger than the current iPhone 5s (4″) but not by much — its actually surprisingly NOT that much larger. Its nearest competitor (the Samsung Galaxy 5S) has a larger 5.1 inch screen. The 5.5 inch screen is larger than the current Galaxy Note 3 – a very large phone. This size is referred to as a “phablet” as it is larger than a phone really should be. The Apple 5.5 phone will be taller than the Note 3 – mostly because of its large bezel (the area that is not the screen but contains the touch ID button, the front facing camera, etc) at the top and bottom of the phone.

The back of the phone will look something like this (note that this is not a finished product, but a leaked image from today at uswitch.com) —

The Apple logo is cut out plastic, like on the back of the current iPads and on the lids of Apple laptops — the exact reason is unclear but speculation has it that it might finally allow radio signals for NFC for Apple’s tap-as-you-go payment system. Nothing about this is certain. Others believe it is merely ornamental. The phone will also have more rounded edges.

We also know the phone will be faster than the 5s. It will have an all-new iOS 8. It will have widgets (finally!!) but they will be locked onto the notification panel. They will also finally allow you to swap out different software keyboards — I assure you, once you download Swype, you’ll be embarrassed that Apple didn’t allow this before now. But for all intents and purposes, it will remain locked down by Apple except for the few things they are willing to allow developers access to (none of Apples internal workings). It will continue to allow only single apps on the home screens with folders. Those weather apps and note apps you envy on your friend’s Androids will remain there.

What are my general thoughts and recommendations?

First and foremost — if you are currently in the market for a new smartphone WAIT…you’ll want to check out the new iPhone 6’s before you make a decision now you might regret. If you want to get some idea of the sizes, for the 4.7 inch model, think about an additional quarter inch of width and about half inch of height addition to your current iPhone 4, 5 or 5S. If you want some idea of the size of the 5.5 inch version, go to your local phone store and check out the Samsung Note 3, and see its size. You might like that big size, or you might find it ridiculous.

Second — lets assume you are looking at the iPhone 6 4.7 inch version:

It will feel larger, and for those of us over 40 the screen size will be significantly more comfortable to read. It will NOT be as clear or as large as the current Galaxy S5. If the largest, clearest screen size is your primary concern you will not get it in the 4.7″ model — though you might with the 5.5 if you are into very large phablet phones.

It will feel significantly thinner and rounder — but is your current iPhone that large? Its a matter of degree, and newer is always better with Apple, but don’t expect big styling changes.

It will feel a bit faster for those who play graphically technical games — the rest of us will feel absolutely no difference in processor speed for our texting and facebook tasks. Screen resolution wise, those of us over 40 and/or those of us who wear eyeglasses will see zero difference is screen resolution. Reports from those 25 and under is that there is noticeable improvement. I do not see a difference between any screen I have looked at in the past 10 years.

It might or might not have NFC, so we’ll have to wait until early September to learn if you can use your phone to check out at store terminals, or change the channels on your tv and dvr box.

The 4.7 inch screen will be manageable with one hand — the 5.5 will not be manageable with one hand. Steve Jobs would likely throw a fit if he saw it.

Which phone will most people buy?

Get in line now for the iPhone 6 4.7″ model — its expected to have seismic sales — not only is it a larger screen which people want these days, but it coincides with the end of a massive two-year contract commitment for many users — and ATT, for one, has announced that it will allow early upgrades for anyone with more than 6 months no matter their contract commitment. I suspect the other major carriers will follow suit.

How big is this launch going to be? — well, the WSJ reported today that Apple has placed an order for 80 MILLION units of the iPhone 6. That’s the biggest launch of any version of the iPhone up to now.

From personal experience, your best bet if you want it the first day is to get up at one a.m. (or whatever time they announce) and ORDER IT ONLINE at apple.com — it will arrive the same day it is released, or even a day earlier, and you won’t be standing in those ridiculous lines. Apple now allows you to have it delivered to the Apple Store of your choice – so you can order online, go back to bed, and pick it up on release day at the Apple Store with a few-minute wait rather than that two hour line…Just like other releases, DO NOT go to a phone carrier store– they will get a dozen or so phones at their shops and THAT IS ALL, and there will be a hundred or more people getting in line for those 12 phones. Order directly from Apple or line up at the Apple store starting no later than 5 am on release day.

I’ll update as more is learned.

Powerhouse performers in “Catch Me If You Can” make for a show you definitely should catch (Review- Croswell Opera House)

Back in 2009, Marc Shaiman and Scott Wittman hoped to recreate their “Hairspray” success with a musical version of “Catch Me If You Can”. It never really caught on despite generally good reviews and lots of Tony Award exposure and nominations. The show did a decent tour — and now you can catch a dynamite production of the musical at Croswell Opera House in Adrian, MI

You probably are familiar with the autobiographical book, or the movie version of the story: young kid sets off to create a new life for himself and escape his marital-stress family background and finds himself becoming a millionaire by forging checks, creating new personas for himself (co-pilot, lawyer, doctor, teacher) and keeping the FBI chasing him for several years. The musical’s conceit is that it places the story into a “flashback variety show” like those that were popular in 60’s television. The tunes and numbers all reflect production numbers on a tv variety show. The ensemble cast play all the singers/dancers in these numerous scenes, and play minor roles in the “story” as it spills out over two and a half hours of non-stop entertainment. Michael Yuen directs with a sure hand, and things barrel along at lighting speed.

First and foremost — see the show for the terrific leads: Patrick Wallace is a superb singing/acting/dancing powerhouse as Frank Abagnale, Jr. Keep an eye on this young musical theater student from Siena Heights University because his next stop is going to be Broadway. Also terrific are Jared Hoffert as Frank Abagnale Sr, Lucy Hagedorn as Paula Abagnale, and Paul Manger as FBI Agent Carl Hanratty. Kyrie Bristle turns in a powerhouse performance as Brenda Strong, the wholesome southern girl to whom Frank Jr finally loses his heart (and clear thinking). Her parents are hilariously played by John Bacarella and Debbie Corbin.

Second, see the show for the terrific ensemble singing/dancing cast. They support the leads in the many many musical numbers, and the dancing (very creative and energetic by Sarah Nowak) is some of the best you’ll see on local stages. Keeping with the Broadway production, the orchestra is on stage (ala Lawrence Welk, Mitch Miller, etc) and they sound terrific under the musical direction of Dave Rains, who has also done wonderful work with the cast.

Third, see it for the marvelous technical production — from Leo Babcock’s multi-level set with light-up stairs, to Tiff Crutchfield’s lighting, and sound design by Phillip and Elizabeth Baugh. I lost count of the costume changes by Pam Krage, but they look terrific and every major number is a different color and style. Technical Director Keith Holloway clearly had his work cut out for him, and it all runs smoothly and efficiently.

Finally, see it for the clever and funny book by Terrence McNally, the melodic songs by Wittman and Shaiman, and the chance to see a musical theater piece that is a creative mix of classic and modern musical styles. You might even find yourself buying the cast album after seeing the show – the score is that “catch”y….see what I did there?….

With Les Miserables and Catch Me If You Can, The Croswell Opera House has two shows this summer that will be remembered many years from now as among the best of class…do not miss it. I’m going back next weekend. I loved it.

Highly recommended.

Catch Me If You Can continues at The Croswell Opera House through July 27th. Croswell.org or 517-264-SHOW for tickets.

A2CT’s Studio Theatre has Big Fun with OR, (Review)

What follows is my first Guest Review by Thalia Schramm for Ann Arbor Civic Theatre Studio Series production of ‘Or,” …since I am the Producer of this production, it wouldn’t be right for me to review the show — so I thank Thalia for taking the time to see and review the show!….And without further delay it follows:

Currently performing in Ann Arbor Civic Theatre’s studio space is the period piece “OR,”. The story is based on the life of Aphra Behn: spy, poet, and first professional female playwright. Taking place for the most part during one night of Aphra’s life in the 1660s, Liz Duffy Adams’ hilarious script shows immense amounts of humor, intelligence, realism, and profanity. With a backdrop of long wars, a counter culture of free love, sex, cross-dressing, and artistic development, “OR,” draws inspiration from the Restoration Period, and the 1960s through the present.

The story starts as Aphra Behn (Erin Dion) is sprung from Debtor’s prison by King Charles II (Morgan Brown), and she is given a chance to write a show for a London theatre company by Lady Davenant (Sara Schreiber-Rose), if she can only finish the production by morning with a few well-timed distractions by new actor/lover Nell Gwynne (Rosemary Sullivan), demanding lover King Charles II, and on-the-run ex-lover and double agent William Scott (Morgan Brown again) who may know of a plot to murder the king. Phew! Director Wendy Wright has assembled a fantastic cast to carry out this zany script.

Dion leads the cast magnificently, executing every vocal nuance and joke in the best ways. She rides the line between classical and modern speech perfectly, and you are instantly drawn to her energy onstage. While Sullivan makes you laugh constantly, from the beginning of the show forcefully selling oranges to the audience, to brazen and sexy Nell Gwynne, to gross-but-loyal Maria (Aphra’s Maid); and as Lady Devenant, Schreiber-Rose is hilarious, knowing just the right amount of ridiculousness.

As an offering by A2CT’s Studio series, the set, hair and make-up do just the right things. Alexandra Berneis’ uses costume pieces from the Classical eras with selected modern touches that work wonderfully for the piece. Literally the only thing I would change is Kind Charles II’s long black curly wig (that often covered his face — and Dion’s.

All in all, as the first A2CT studio show I have seen, I loved it. I laughed the whole time, and the cast was great. Check out this show this weekend! Remaining shows are Saturday, June 21^st at 8pm, and Sunday, June 22^nd at 2pm. Tickets are available at the door, 322 West Ann Street.

Jersey Boys movie falls flat (Review)

Some of us have been waiting for this movie for a long time. Some of us heard about this movie about the 6th or 7th time we saw Jersey Boys on stage (my last time was in SF last year). Some of us were a bit worried when we heard that Clint Eastwood would be directing. Well, it turns out to be a legitimate concern. Those of us who have seen this electric musical on stage multiple times will appreciate the effort and know it falls short. And those of us who haven’t seen Jersey Boys on stage will wonder why it won all those Tony’s and audience accolades internationally. Because none of that electricity is evident in the flat, poorly edited, and quite frankly pedestrian movie adaptation.

John Lloyd Young (Frankie Valli), Erich Bergen (Bob Gaudio), Vincent Piazza (Tommy DeVito), and Michael Lomenda (Nick Massi)

So what goes wrong? Well, for a script that generally maintains the same script as the stage show, any addition to the original script is just bad. There are a couple scenes added to flesh out daughter Francine’s part that are painfully bad. The entire opening sequence of the musical (“Ces soirees-la”) is gone in favor of a dull sequence that is all talk and no music.

What else goes wrong — well, Clint Eastwood is just the wrong director for the musical — he directs as if it is a drama with music, rather than a musical with some dialogue keeping it all together. Either he (or the editing team) don’t understand what makes a musical moment…where closeups should come during a song…where climaxes in a musical line fall…and scenes drag on forever — you know that five minute scene in Act II where the band falls apart– it goes on for 11 minutes in the movie and it just gets longer and longer — and all without any noticable addition of dialogue!

The balance between the four members of the original Four Seasons is off here — so well done in the stage musical with each member serving as narrator for a quarter of the show — here that skews to entirely too much Tommy DeVito — in fact, the entire first three quarters of the movie feels like it is about him, and not Frankie Valli.

But here’s the cardinal sin of musical movies — almost none of the songs are performed in their entirety — in fact, except for the numbers I am about to list NONE of the songs are performed in their entirety. What specifically drives the musical on stage is the songs — which grow to an electric state near the end of the show. Here, songs start, then peter out – or the action carries elsewhere with underscoring – or its heard in the background over a radio.

The only songs performed in their entirety, and not surprisingly the highlights of the movie are “Cry For Me” (Gaudio auditions for the group); “Sherry” (performed in what looks like one take on American Bandstand); “Can’t Take My Eyes Off of You” (terrific and gives John Lloyd Young his sole “moment” in the show, given they cut “My Eyes Adored You” to a single phrase); and the superb “Oh What a Night” (Which is performed over the closing credits, and is the only scene in the entire movie that is staged similarly to the Broadway show and gives some spark of life — unfortunately that spark of life at my showing was with lights full up as the audience was leaving).

The performances here are uniformly superb — with John Lloyd Young and Erich Bergen being particular standouts, but Piazza and Lomenda also get their moments to shine. These four supply some much needed life. Unfortunately too much of that time is spent talking (or yelling) and not singing.

The decision to desaturate the color in the film does it no favors (though it does make the guys look a bit younger than their real ages, which is a benefit in the first half of the film where these 30-38 years olds are playing teens). Later scenes that should burst with color do not. Only the final sequence over the credits is in full color. There’s a particularly shoddily disturbing cinematography sequence that is set on a snowy day that is so clearly filmed in sunny California that you can actually see the demarkation line where snowfall outside stops and the sunny street in the background takes over.

You should see this movie. I am giving it 2 stars out of 4, but that doesn’t mean you shouldn’t see it — you SHOULD see it, but temper your expectations (as a friend stated earlier today) about seeing “Jersey Boys the Musical” — you are seeing a dramatic movie BASED on a stage musical — you are not seeing a musical. See it because we want to see more musicals on film (although it would be nice if they were actually musicals once they get translated to screen). See it because these four guys are terrific. You’ll be entertained, but you won’t be blown away like you should have been.

Days of Our Lives Kevin Spirtas Is Mr. Confidential At NYMTF

Hey folks — this summer, my friend Ronald Shore is producing a new musical at NYMTF called Mr. Confidential. If you are in the NYC area this summer, check it out! I’m going to try to get out to see it myself….

This summer, The New York Musical Theatre Festival (NYMF) and Babyhead Productions (Ronald Shore, producer) are pleased to present the new musical comedy Mr. Confidential. Directed and choreographed by Stephen Nachamie (director of NYMF’s award-winning 2012 production of Foreverman), Mr. Confidential features book and lyrics bySamuel Bernstein (Bobbie’s Girl) and music by David Snyder. The production plays five performances July 21-27 at the Alice Griffin Jewel Box Theatre at the Pershing Square Signature Center (480 W. 42nd St.), as part of the 2014 New York Musical Theatre Festival.

Before TMZ and Gawker, there was Bob Harrison’s Confidential Magazine. Its scandal and showbiz fizz went viral, fab ’50s style, outselling TV Guide and Time Magazine. But scrape away the hype, whipped cream and dirt, and what do you have? A mostly true story about heart, innocence, and family loyalty, set to a sexy, swinging, Big Broadway beat. But shhh! Keep it confidential…

In 1952, Bob Harrison dreams up Confidential Magazine. As part of a tight-knit family, he works with older sister, Edith, and her kids Michael and Marjorie — who trades her life as a young wife and mother for a chance to be Bob’s right hand in the business.

Bob’s creation is born of his own need to matter in the world. But he grows obsessed and enthralled by its spectacular success. Confidential’s mix of juicy true stories about Hollywood and Broadway stars, society swells and Washington big-shots soon dwarfs everything else around, with each issue selling over five million copies by 1957.

His dazzling rise, desperate fall and spectacular comeback take Bob to a triumph that’s beyond even his own imagination. Bob’s girlfriend Jeannie is at the center of everything glamorous he hopes to build. His nemesis is his own hire, a red-baiting writer named Howard Rushmore.

In the end, Bob must choose between fantasy and reality; family and infamy; legacy and longing.

With a cast of 13 lead by “Days of Our Lives” star Kevin Spirtas as Bob Harrison, Mr. Confidential co-stars Amy Bodnar as Jeannie Douglas, Erin Leigh Peck as Marjorie Meade and Paul Michael Valley as Howard Rushmore, and features Jane Blass, Joshua Dixon, Tony Award nominee Willy Falk, Badia Farha, James LaRosa, Michael Marotta, Rachel Alexa Norman, Elyssa Samsel and Aléna Watters.

The production features costume design by Vanessa Leuck, set design by Alan C. Edwards, lighting design by Peter Gragg and sound design by Matt Kraus. Kevin Cole serves as musical director.
Mr. Confidential is presented by The New York Musical Theatre Festival and Babyhead Productions, and was developed with the assistance of The York Theatre Company and The Anna Sosenko Trust.

Visit Mr. Confidential online at www.mrconfidentialmusical.com.

Mr. Confidential plays five performances only as part of the 2014 New York Musical Theatre Festival. The playing schedule is as follows:

Monday, July 21 at 8 p.m.
Thursday, July 24 at 1 p.m.
Friday, July 25 at 9 p.m.
Saturday, July 26 at 1 p.m.
Sunday, July 27 at 5 p.m.

All performances take place at the Alice Griffin Jewel Box Theatre at 480 W. 42nd St. (9th/10th Aves.).

Tickets are $25 each and are now available by calling 212-352-3101 or by visitingwww.nymf.org or www.mrconfidentialmusical.com.

Kevin Spiritas (Bob Harrison) from the start of his career, has been celebrated as one of the true, rare, tour-de-force performers in the world of entertainment. Be it theater, film or television, he thrills and captures the hearts of audiences in every medium. Spirtas is, perhaps, best known to millions around the world as television’s dashing “Dr. Craig Wesley,” a character he portrayed, for 7 years on NBC’s Emmy award-winning drama “Days of Our Lives.” After becoming a huge fan favorite, Spirtas was cast to play his “Days” role opposite Matt Leblanc’s “Dr. Drake Ramoray” on NBC’s “Friends.” Spirtas’ career began at 18, when he landed his first professional job as Mike (“I Can Do That”) Costa, in Michael Bennett’s Broadway seminal musical A Chorus Line. Spirtas has also starred on Broadway and Regional tours including Hairspray, Meet Me in St. Louis, Company, Damn Yankees and Into the Woods. A tribute to Spirtas’ high-octane talent came in 2003 when he was cast as the standby for Hugh Jackman in Broadway’s smash hit musical The Boy from Oz. His television and film credits include: “L.A. Heat,” “V.I.P.,” “Fired Up,” “Silk Stalkings,” “Quantum Leap,” Embrace the Darkness, Striking Resemblance and Green Plaid Shirt. Spirtas has been featured opposite Sir Ian McKellen in Bryan Singer’s Apt Pupil, and Ben Affleck in Mark Steven Johnson’s director’s cut of Daredevil. Spirtas can also be seen starring in those fantastic cult classic slasher sequels: Friday the 13th VII, Subspecies II, Subspecies III, Wes Craven’s The Hills Have Eyes II and Albino Farm. In October 2009, Spirtas made his debut as a Broadway producer with the critically acclaimed revival of Finian’s Rainbow. He was also one of the producers on the smash hit Broadway musical Priscilla Queen of the Desert. While continuing his work in film and television, Spirtas tours the world with his highly acclaimed one-man musical shows: Night & Days, Jersey Men and Let There Be Love. kevinspirtas.com

Downriver Actors Guild gets a new home (and puts on a great Superstar)

Downriver Actors Guild in Wyandotte (that’s 38 minutes away to the southeast for you Ann Arbor folks) have much to celebrate in their new home — The Theater on Avenue at 2656 Biddle Avenue.

Born in only 6 months in an abandoned warehouse (about 4 times the size of the Encore in Dexter), the theater has come to life these past two weekends with a great production of John Sartor’s directed Jesus Christ Superstar, a show he knows well. This isn’t so much a review of the show (except to say its terrific and go see it if you can get a ticket), but a kudos to the new theater building itself. Paid for by donations and in-kind services, the theater was clearly a labor of love for the good folks involved.

Raked seating for 208 in comfortable theatre seats donated by the Dearborn Players Guild provides good views of the moderately sized stage. The 50 member cast easily fit on the stage and its multi-tiered set designed by Leo Babcock. The orchestra had its own area on stage right, and while sound issues are still being worked out is a good solution for fitting musicians into a limited theater space.

Lighting is superb — Dave Reynolds puts on a show with the new equipment, and it is colorful and lights the space well. He’s even brought in a couple moving units for this production, which allows not only movement of light and color on stage, but occasional splashes of light in the audience as well, in keeping with the show’s rock-opera look and feel.

The lobby is spacious and the bathrooms are gorgeous — thanks to Sartor Tile. And it is abuzz with life — there’s a bake sale preshow and during intermission, and a 50/50 raffle going strong. There are also photos of the entire cast and people were busy circulating throughout the area. Its a great space, and it will be comfortable and out of the elements on cold winter nights.

And finally, there is plentiful parking in the lots behind and around the theater, and how great is it to have a theater literally across the street from a Tim Hortons/Cold Stone Creamery. Arrive an hour early and go grab a sweet cream cone.

Congratulations on the launch of a beautiful civic theater space – one that many other community theaters (and some professional ones) will be envious of. It wouldn’t be fair to end this without listing the people and affiliations involved in making this happen, so to the best of my knowledge they are:

Many many donors at all levels of giving…Dearborn Players Guild, Dearborn…Daly-Merritt Properties, Wyandotte…the Babcock Design Studios, Saline…Wagner Structural Solutions, Howell…McDowell & Associates, Ferndale…Sartor Tile, Dearborn Hts…Denken Engineered Electric, Madison Hts…Murrell Plumbing, Canton…Temperature Control, Wyandotte…Gandol Door, Romulus…Advance Plumbing, Detroit…Virginia Tile, Troy…Total Facility Storage, Wyandotte…Wyandotte Mini Storage, Wyandotte…Ryan Building Materials, Southfield.

“The Dixie Swim Club” at The Dio is sparkling fun (Review)

The Dixie Swim Club, by Jones Hope Wooten is the current terrific offering at The Dio in Pinckney. What, you say? You’ve never heard of Jones Hope Wooten? Well, Jessie Jones, Nicholas Hope, and Jamie Wooten are only one of the most produced play-writing teams in America today — and not only that, they are apparently nice people too, as they called Steve DeBruyne and Matthew Tomich at The Dio to wish them luck on their opening this week.

Let me preface this by saying, I love sitcoms — and the best current sitcom is not on TV, it’s at The Dio. And its no wonder, since the playwriting team has prolific television writing credits, including Wooten’s long-running The Golden Girls, and The Five Mrs. Buchanans. It comes as no surprise then that The Dixie Swim Club plays as a mash-up of Steel Magnolias, Designing Women, and The Golden Girls.

Five best friends from college (they were on the swim team) meet up every year at a cottage on North Carolina’s Outer Banks for a not-specificed period of time each summer (it appears to be about 22 minutes per visit – not unlike the actual minutes of a half-hour sitcom). Each of the 4 scenes contains real laugh-out-loud moments, larger-than-life yet still relatable characters, and a “mini-drama”. Its a little like watching four episodes of your favorite tv show back to back. And its a very good tv show at that.

Steve DeBruyne directs a very assured five-women ensemble cast. Sonja Marquis is the “controlling one”; Amy Morrisey is the “carreer-driven one”; Sarah Burcon is the “flirty one”; Laura Mandernack is the “super-ego one”; and Brenda Lane is the “poor but funny one”. Think Dorothy, Rose, Blanch, and Sophia….with Julia Sugarbaker mixed in as a special guest star.

All five of the women are terrific in their roles, and the ensemble work here sparkles. Its impossible to point out anyone without mentioning all five — and their interactions feel real, comfortable, and plausible (sort of, in a sitcom sort of way). Its not hard to predict who will end up where 28 years down the road — and there is a bit of pathos thrown in for the final scene that solidifies the “Steel Magnolias” angle…but its a sparkling confection that goes down easily and knows its target market well (women over 40) but which is assessable to husbands, friends, and youngsters as well. Give it a slight PG-rating, though only just for some frank sexual talk.

The show is highly entertaining, and it is no wonder that it has been sweeping the country, produced nation-wide at regional, community, and dinner theaters. It goes down remarkably well after Chef Jarod’s delicious Chicken and Beef Kabobs. Quite frankly, I thought it was all-around terrific (both comedy and kabobs!)

Among many favorite moments, mine occurred during a discussion of none of the ladies getting any younger over the years and Mandernack’s assuring explanation of Noah living to the ripe old age of 950…and of course, “nobody lives to be 950…anymore…”

The Dixie Swim Club continues through July 6th at The Dio, 177 E Main Street, Pinckney, MI 48169. 517-672-6009 — tickets also at http://www.diotheatre.com

Directed by Steve DeBruyne, Lighting, Sound, Stage Management and Set Design by Matthew Tomich, Costumes, Hair, and Makeup Design by Thalia Schramm, Props by Eileen Obradovich, Meal by Chef Jarod.

AACT’s “Little Shop” is Big Entertainment (Review)

You, yeah you…you think you’ve seen enough Little Shop of Horror productions that you don’t need to see one more? Well. yeah, you really do. Because you’ve never seen Little Shop like this before.

Credit director Brodie H. Brockie who has conceived a production that looks great as it moves from Black and White to full color as the plant comes to life and takes over the stage — costumes subtly at first add greens and browns…and eventually not so subtly add red and other colors that burst into life, particularly in the second act. And credit his technical crew with the chops to make it all happen — from Cami Ross & Scott Fussey’s set design, to Kelly Fraser Greunke’s costume design, Thom Johnson’s lighting design, and Matthew Stewarts sound design. Credit also the fine plant designed by Dave Hettmer (with puppeteering by Rob Roy, and assuredly voiced by Jared Hoffert). Finally, credit to music director Laura Swierzbin and her ten-member band (even though there were some tuning issues at Thursday’s premier, and at times some sound balance issues, though these resolved as the evening progressed). Her vocal work with the large ensemble is very good. How great it is to hear this fun score played by a full orchestra, and not reduced down as it has been in local professional productions lately.

Then there is the excellent Dan Clair as Seymour Krelborn. He is the light of all that happens in most of the scenes, and he is able to convey humor, pathos, pathetic-ness, and charm (sometimes all at the same time). There are some great scenes here between him and the plant, and with the very strong Amanda Burch (Audrey). There’s a remarkable stage image in the second act, when Clair stands inches away from the closed mouth of the now-grown plant, in which his facial expressions mark everything that is both good and morally wrong about the entire affair.

Mark Bernstein turns in a very good performance as Mushnik, and Matthew Kurzyniec nearly brings down the house with his hysterical Orin Scrivello (“DDS”)…his scene with Clair in the dentist’s office is the acting zenith of this production, and the two of them play off (and at times on top of) each other with delightful consequence. Also very good is the trio of urchins (a vocally very strong Jennifer Burks, Linzi Bokor, and Lottie Prenevost.)

The rest of the cast is rounded out by Michael Joseph, Krinn Hess (in an oh-my-God-awesome one-off random bit that had be laughing for minutes after the scene), Chris Grimm, Alexandria Watson, Mark Alan, Austin Terris, Lindsey Burch, Kate Appold, Linda Lee Austin, Angel Elowsky, Tina Mayer, and Gianna Zampardo). The ensemble is strong and well-utilized, at times differently from past productions of the show, and it works well.

And what makes this entire production doubly delightful is that, as civic theater, it matches (and in some instances bests) local professional productions of Little Shop from the past few seasons. One can’t help but admire the work, dedication, and energy that has gone into this production, where not a single actor is paid in anything but sweat-labor and their love of musical theater.

If I have one quibble — its the sloppy ending of the show — after what has been a tightly-focused production, the finale (Don’t Feed the Plants”) here seems to fizzle a bit, and lose its focus. While the stage bursts with color, the eye isn’t quite sure where to look, and it ends with a firecracker, not a burst of fireworks.

SO — the be all and end all…get yourself out to Ann Arbor Civic Theatre’s production of Little Shop of Horrors — you have 4 more chances this weekend to see this very differently conceived piece — the horror here is toned down, though the language remains intact…if you’re worried about taking the kids, it’s appropriate for 13 and up, with perhaps a warning that if you hear the kids repeat some of those words on the drive home, their is some soap waiting for them. Otherwise, there isn’t anything particularly scary, or too over-the-edge in this production. Rate it PG-13, pack the SUV up, and head to the Lydia Mendelssohn Theater for a highly entertaining musical.

Also, arrive early enough to catch the pre-show “movie previews” of next year’s A2CT season…its a hilarious take-off on sci-fi movies of the 50’s, and you might especially look for that “Space President” scene….

Continues through June 8th, tickets at 734-971-2228, at the door, or online at a2ct.org

Cedar Point Live Entertainment 2014

Cedar Point’s summer season is off to a good start — with one of its best Live shows in over a decade: Lusty Lil’s at the Palace in Frontiertown scores points for the best entertainment CP has seen in years.

Following the “Wild West” theme, while using almost no older music and mostly pop and Broadway tunes, the show is funny, well directed, well choreographed, and very well presented by its cast that come from across the country. Also adding to the fun is a colorful versatile set, and some great costumes. Its harmless for the entire family, and there isn’t much in the way of anything “lusty” at all…true to its opening number from Best Little Whorehouse in Texas’s “Nothing Dirty Going On”. Throw in some can-can, soft-shoe, barbershop quartet, and a nifty turn on “Favorite Son” from The Will Rogers Follies and its clear that someone smart and musical theater savvy is at the helm. Running a swift 30 minutes, the production features a live pianist and percussionist that play to a recorded track of other instruments. Be sure to stop by The Palace for a fun family show that you will truly say, “wow, I had no idea they did things like this at CP”…Here’s a glimpse:

Down the Frontier Trail, Rockin’ Country is the newest show at the Red Garter Saloon. Its a mish-mash of country pop tunes, none of which are memorable nor would you have ever heard them unless you listen to exclusively country stations. The cast here is excellent, with a great guitarist, percussionist, and gitfiddle player that play live to a recorded track. Vocals are strong, and they are at their best when the track drops out every now and again so you can actually hear them. The problem here, as has been the past three summers, is the horrendous sound system — the track is far too loud, causing the live musicians to play even louder, and leaving the vocalists shouting to be heard — the result, the vocals are incomprehensible mush…all of which could be solved with proper sound levels. But they are definitely going for the “loud rock sound” here, and its a failure. You’ll leave the teensy Red Garter with your ears ringing. It bears repeating that the cast here is very strong, its too bad they are handed such poor sound equipment to work with. Here’s a glimpse of what’s going on there:

At the Aquatic Stadium, Extreme Wheels returns again in a show that is nothing but crowd pleasing, but basically the same thing they do every summer: the stunts look great, the cast is enthusiastic, and the music selections are upbeat and fun. I admire the physicality of these folks…I just wonder how much longer until this attraction is gone. Its rumored that entire area is due for the next big CP facelift, and that will virtually guarantee this stadium will be gone a few seasons down the road. It looks like this:

On Broadway has opened late afternoon performances at the front of the park (same show as last year). It suffers bit from over-amplifiction issues this season, but the college cast is strong and it remains a solid offering which for many park goes on the way to the front of the park will end their day.

The brand new ice skating show Snoopy Unleashed (with a strangely phallic logo) is a series of a half dozen or so “scenes” in which live skaters join Snoopy for some ice skating fun. The cast is strong, and the choreography here is particularly good in small-group (5 or 6) skater units — the footwork is good, and the charisma is excellent. Lacking a strong pairs skating team (the featured pair is adequate but not Shelton siblings from a few years ago) its none-the-less a solid and very professionally presented production. Audience favorite Trey Ayers performs several energetic routines. Its a fun show, beautifully designed, lit, and costumed and you and your wee ones will have fun together.

Also back this year with all new songs (and flying stunts) is the end-of-the-day park celebration “Luminosity” with all new songs and a huge high-energy cast, lots of flame, lasers, and fireworks. Not everything works (A strange chinese-dragon type roller coaster for example) but overall its a superb way to wrap up your day at Cedar Point — and stay and dance awhile with the cast. Great fun.

Be sure to take some time off from Coaster riding to enjoy one of Cedar Point’s fine live entertainment productions. There are also many times during the day that special theatrical offerings are presented for the tiny tot set featuring Peanuts characters – both in Camp Snoopy on the Gemini midway, as well as on the Luminosity stage. These are very well done, and include plenty of mingling/photo time afterwards.

Romantic and Fun “Closer than Ever” at Encore Musical Theatre Company (Dexter) Review

“Closer than Ever” is quite simply, the kind of thing that that Encore Musical Theatre Company does best — small scale musicals with a small, excellent cast, creating good musical theater.

This production is no different — four performers on a bare stage with a piano and stools that comprise the set and lay the framework for a series of songs presented in revue/staged concert format. Some of the music was written directly for the production by Richard Maltby Jr, and David Shire, other songs are culled from other shows they have written, or cut from them (for example, the song “Patterns” was cut from their modest hit “Baby” somewhere halfway through the run). Together, they tell a story about relationships, being in couples, not being in couples, divorce, death, love, regrets and hopes.

Steve DeBruyne, Mahalia Greenway, Tobin Hissong, and Katherine Kujala create lovely music together, in pairs, in solos, in trios, and every imaginable combination. They also have good stage chemistry with each other.

The show breezes by in two short halves, and it makes for a great date night: bring your husband, wife, boyfriend, girlfriend, or combination…or enjoy the show by yourself. It hits every mood just right and has that rare combination of revue: it entertains while keeping you thinking as well.

The show is part of the Encore’s annual weekend fundraiser event — Friday night includes silent and live auctions, wine, and hors d’oeuvres starting at 6:00…but there are also two more performances on Saturday at 3:00 and 8:00 pm.

But make haste — this production only has 4 performances, and opening night has already come and gone. You can get your tickets at theencoretheatre.org, or at 734-268-6200 — but get them — you’ll enjoy this breezy production, and so will whomever you bring with you. It’s a great introduction for an Encore newbie to what makes Encore special…and repeat visitors will find it to rank among its stronger productions.