Jayna Katz and Adam Woolsey create fireworks in The Last 5 Years (Review)

Those explosions you heard over downtown Jackson the last couple nights have been caused by Jayna Katz and Adam Woolsey blowing the roof off of the Jackson Symphony Orchestra performance space during The Last 5 Years, the Jason Robert Brown two-person musical.

Telling the story of a meeting, a wedding, and a breakup (hers from end to beginning, his from beginning to end), the song-cycle musical is a cult favorite of musical theater folks and a standard repertoire piece across the country. KW Productions/Ann Arbor Musical Theater Works does a spectacular job with their presentation. Performing in the lovely JSO space, the production brings the story to emotional life, backed up by an ever-present orchestra stage center (and they sound superb. Kudos also to sound engineers KJ Rowan and Amanda Mahoney). Conductor/Pianist Lora Knight and her ensemble make beautiful music together.

Artistic director Chip Mezo keeps the affair moving at a swift pace (90 minutes without an intermission) but the true stars of the show are Jayna Katz and Adam Woolsey, who infuse this powder-keg of songs with enough energy to lift the roof. Its hard to review either performance individually  because they are so interdependent on each other — and what they achieve here is spectacular: lilting ballads, bitter drama, and soaring emotion. Jayna has a strong background in musical theater and this performance sends her off to her move to Chicago in spectacular style. Adam has performed locally and in NYC, and was a contestant on American Idol Season 11. Together, they are a force to reckon with, and you should not miss it.

The near-sold out audience leapt to its feet at the conclusion of the show: and if you plan on seeing it, call your reservations in right now…the theater space is small and tickets will surely be gobbled up fast. Word of mouth is spreading like wildfire. Let me put it in print — do not miss this production.

Catch the fireworks two more times: Saturday night July 14th at 8:00, and Sunday the 15th at 3:00. Tickets can be reserved by emailing thelast5years.jso@gmail.com. Tickets are 15.00 at the door. JSO is located at 215 W. Michigan Avenue, downtown Jackson, MI. For you Ann Arborites, thats a short 35 minute drive.

Fiddler on the Roof at Encore Musical Theatre Company is hit-and-miss (Review)

Tevye (Stephen West) and family in Fiddler on the Roof (photo courtesy Encore Musical Theatre Company)

Fiddler on the Roof opened at the Encore Musical Theatre Company in Dexter, MI last night, and if the crowd response was anything like it will be throughout the run, Encore has another hit musical on its hands and you should get your tickets now.

Full disclosure: I am not a proponent of large proscenium-theater based musicals being crammed into black boxes with reduced orchestrations. That being said, this is the best “large cast” musical that Encore has presented in their theater space. That is both a compliment and a liability.

Guest Equity actor Stephen West is spectacular in his role of Tevye. The show belongs to him, and he commands your attention in every scene he is in. His voice resonates throughout the theater, and his charisma is infectious. He also has the acting chops to make the journey memorable from beginning to end. Do not miss this performance.

The leads in Fiddler are consistently good to excellent…among the standouts are strong performances by all three of-age daughters as played by Katherine Kujala (Tzeitel), Clare Lauer (Hodel) and Hannah Clague (Chava). Marlene Inman-Reilly holds her own as Tevye’s wife Golde, and their scenes together are musical theater gold indeed. “Do You Love Me?” is a highlight of the evening. Sebastian Gerstner turns in a dynamic performance as Perchik (and makes the most of being saddled with the musical’s worst song, “Now I have Everything”). Also good are Judy Dery as Yente the matchmaker; Tim Brayman as Lazar-Wolf; and John Hummel as Motel.

The Ensemble here is good, but insufficient. There is that liability I spoke of earlier. The show is lacking at least 8 men. I don’t blame this at all on Encore, but our over-saturated big-musical market in the Ann Arbor area where men who can sing and dance are at a premium and spread over at least 7 other musicals this summer.  When Encore veers from smaller musicals, they are in the same boat as all the other community theaters in the area: beg, borrow, plead, and cajole to get enough men into the ensemble. Want to know how to help out guys?  AUDITION!…But Fiddler is probably not the best choice for this small space. The Original Broadway Cast and 70‘s and 90’s revivals included 45 members. The 2004 revival 40. The Encore production 25.

This results in curious moments like the Rabbi’s son drinking in the inn…and awkward costume/makeup changes like Jesse Barfield playing Russian Fyedka in one scene, and a bearded local in the next. Awkward. It also leads to a less-than-compelling “To Life” in the Inn — there aren’t enough men to cover both the Russian and the local factions, and the ensemble is out of breath after their dance number so that vocal highlights are missing throughout. Other ensemble scenes work better, but are generally hit-or-miss.

Toni Auletti has designed a beautiful woodwork village set; and the integration of Marc Chagall imagery works well. Costumes are generally serviceable, with more attention paid to the leads, and less to the ensemble. Lighting is good. Cheryl Van Duzen’s 5-piece orchestra sounds wonderful, though anemic. The Fiddler orchestrations are written for 19 pieces, and reduced to 10. 5 just is insufficient for this large musical.

There are some curious directing choices that have been made by director/choreographer Barbara Cullen. The use of the Fiddler on stage works in some scenes, while it is intrusive in others. Emily Slomovits is an accomplished violinist, and she is fun to watch on stage (usually). Scene changes are “danced” which is a brilliant addition in Act One, but becomes intrusive in later goings as things turn more serious. Things in Act One work generally better than those in Act Two as it makes its slow slogging march to the inevitable conclusion, shedding daughters as it goes. That isn’t Encore’s fault, nor the directors, but a function of the show itself. While the cast hits its marks in the bits of business required, Jewish (and Russian) intonations and accents come and go, and there is a sense that many in the cast are going through the motions and mannerisms without really understanding why they are doing them –and nobody touches a Mezuzah when entering through doorways in this very religious community. This is a very white-bread Jewish community to say the least.

But I save the most glaring problem for last. I don’t know why a decision was made to end Act One after Tevye’s Dream rather than as written to end after the wedding and the Russian demonstration. This is a glaring problem and I have never seen this done with Fiddler. One loses the passage of time, and the intended drama of the piece. Its a mistake.

Fiddler on The Roof continues at Encore Musical Theatre Company through August 12th. Tickets are available at the theater box office at 3126 Broad Street; by phone at 734-268-6200 or online at theencoretheatre.org


Energetic, colorful Legally Blonde The Musical at Center Stage Jackson (Review)

The third of eleven local productions of Legally Blonde the Musical in the SE Michigan area came by way of Center Stage Jackson at the lovely Potter Center Baughmann Theatre.

This production was a very solid community theater production, with an energetic cast, some great voices, and a fast-paced production that was colorful and funny. Very good performances were turned in by Mary Krzesicki as Elle Woods; Adam Woolsey (Warner); Chip Mezo (Emmet); Timm Richardson (Professor Callahan); and Lisa Ykimoff (Paulette). M0st supporting roles were well-played, with some exceptions. The women’s ensemble was top-notch (if too young for some of the “kids” who were supposed to be in college); but a bit raggedy in the men’s ensemble — with some downright terrible thrown in there as well (in particular some of the younger cast members who were called on to play adults).  Legally Blonde, like Annie, is a show that revolves around the younger folks, but it still requires a strong adult ensemble to back it all up. Not so much here.

The production was consistently high quality, with kudos to set designer Chris Fultz. Sound and lighting were also solid, and the costumes appropriate and colorful. I look forward to seeing future works by Center Stage Jackson, based on this very good community theater production. I would ask you to check them out as well — although I was able to only attend the last performance of Legally Blonde, so you’ll have to see what they have in store for next season at centerstagejackson.org

One final note: this is the first time that I have seen the use of The MT Pit musical recordings for a production. This is a company that records real orchestra tracks (not midi’s or reduced orchestrations) upon a company’s proof of paying the royalties and payment for the full orchestrations of the show. Instead of a live orchestra in the pit, the recorded tracks are played and sound-mixed with live voices on stage. The result was quite remarkable — it allows for the cranking of volume when needed, and decreasing volume where necessary to allow the vocalists to be heard. Don’t get me wrong, I will always opt for a real orchestra with live performers in the pit, and would never personally direct a musical without a live pit orchestra — that is what makes musical theater what it is — but for some community theater groups and high schools where this is not an option due to facility limitations; musician limitations, etc, this is a great option. In essence, you get a full orchestra without the physical players in the pit. It doesn’t save costs, though, as you still pay for the live orchestra recording, only those musicians were in LA, not in Jackson. I do not know what reasons Center Stage Jackson had to use the tracks, but it worked for this production.

Ride the Paddlewheel at Cedar Point (2012)….No, it’s not what you think…

So, as you most likely know (or if not, here’s the scoop) Cedar Point closed down the Paddlewheel Excursion last year to make way for this year’s Dinosaur’s Alive! animatronic display on Adventure Island (nee Millennium Island)…but that’s not the only Paddlewheel in town at The Point…

One of the ORIGINAL Paddlewheels (from the 70’s) has been retrofitted and makes daily sailings on the hour from the CP Marina (the same pier as Famous Dave’s Restaurant). It provides a tremendous 45 minutes trip out onto Lake Erie, past CP, and back again — and I guarantee you the absolute best views of Cedar Point, from the most unique angle. The boat is freshly painted; it is in remarkably good shape, and it provides a really comfortable ride.

Captain Brian and his assistant Caitlyn make your trip enjoyable and personable, and the cruise sails rain or shine (unless the rain is severe or blowing sideways). Its a remarkably breezy trip on a hot sunny day…and need I mention again the best views of The Point.

The cost is 10.00 per adult, 8.00 if you are a Platinum Pass holder, and children 5 and under are free. You can reserve in advance by calling 1 (419) 627-2334…or you can purchase your ticket at the Marina Office, which is located right next to Famous Daves. You can bring beverages onboard with you.

If you are Cedar Point, it is attraction Number 4 on your map — and it is located just outside the Marina Entrance — Get your hand stamped, just walk across the street and down the pier toward Famous Dave’s and the Paddlewheel is located at the end of the pier.

Please help support this awesome attraction! Cedar Point doesn’t seem to do a very good job of advertising it, and it really is a wonderful way to spend an hour of your day – relaxing and enjoying the Lake as well as the most unique view of the park available from anywhere. I might suggest the sunset cruise for some amazing color.  If you are staying in the resorts, their flyer is inside your Resort Guide Notebook.

These photos were all taken on my cruise the other day. I highly recommend it.

Marlena Hilderley’s Elle Woods is superb in Legally Blonde (Croswell Opera House) – Review

It seems you can’t turn a corner without running into Legally Blonde The Musical this summer/fall in Michigan — in fact, there are 11 productions slated in just a 30 mile radius of each other, several of them playing on the same weekend. But it would be hard to find a better Elle Woods than Marlena Hilderley in Croswell Opera House’s current production.

Uncanny resemblance to Paris Hilton aside, Hilderley grows the character from sorority girl to lawyer with believability, and singing chops to spare, which is a good thing since she is onstage nearly the entire performance. Even more surpisingly, if you have seen the Broadway production, or the tour, or the MTV airings ad-nauseum of the Broadway production, Hilderley (who is still studying theater and voice at Michigan) gives any of the professional Elle’s a run for their money.

Nicely matched here is Natasha Ricketts’ Paulette, whose “Ireland” brings down the house in the show’s second funniest number (the funniest is “Gay or European”, though not apparently to the elderly couple who sat next to me). She has acting and singing skills that help her convey both loud and intimate, sometimes at the same time. Also superb is Darin DeWeese as Emmett. The ensemble is strong throughout (although there were missed dance steps by some at Sunday’s performance); although there are also a couple glaring miscasts: one involving a male who can sing but not act (and who has zero chemistry with Hilderley), and one involving a fine actor with weak vocal support (turning one of the better-written Act I songs into not much of anything).

Jen Letherer directs a fast-paced comic-driven production that has few gaps, and a strong sense of heart. Dave Rains’ orchestra sounds great, and his musical direction is excellent — the diction and tone are very good in this cast, even if they at times are overwhelmed by the orchestra (particularly in large ensemble numbers).

The set by Justin Lang is serviceable, and projections are fine throughout. One really great gimmick is the scrolling Facebook page pre-show and intermission…Elle has 2698 Friends on Facebook!  Lighting is generally good. The costumes by Natalie Kissinger are hit-and-miss; her designs for the women look great — the designs for the men are another story altogether, and particularly glaring is a suit for Warren early in the show which makes him look neither handsome nor manly.

Overall, this is a great production at the Croswell Opera House. Also coming down the pike are the student version of Les Miserables (with countless high school kids) and 7 Brides for 7 Brothers. Legally Blonde continues through next weekend.

Kings Island Live Shows 2012 (Review)

Kings Island has an interesting array of live entertainment this year….and lets start with the oddest:

ED ALONZO’S PSYCHO CIRCUS OF MAGIC & MAYHEM at the Kings Island Theater is one of the oddest shows I’ve ever seen in a theme park. Fresh from Knott’s, the show mixes music, dance, comedy and magic that is really quite good. There is a bit of psycho, there is a lot of magic, and there is a modecum of mayhem (at the performance I saw, the show exploded in an unexpeted frenzy of mayhem when one of the children asked to participate in the magic peed on stage, leading to plenty of jokes, and (quite seriously) really really bad parenting on display as Ed Alonzo begged the parents to come get their wet kid, while a stage hand mopped the stage and the parents took photos thinking it was all hilarious.

AMERICAN COUNTRY is back at the Festhaus for the late afternoon/evening shows. Its a 25 minute mix of new country music. Its best suited for watching/glancing while you are chowing down on your Panda Express or your Pizza. At least it has a good cast and a decent mix of country music that goes down well with your chicken and rice.

BRITISH INVASION is the new daytime show at the Festhaus. The show is an entertaining mix of British pop rock, from the Beatles to Elton John. The costumes here are colorful, the cast very good, and the sound and light design adequate for the very large space. The problem here is not the enthusiasm of the cast, or the songs, or the sound. Its the god-awful show-choir staging of this 25 minutes canned-music mix entertainment. Its the worst kind of show choir, and you are likely to cringe my the time they get to the umpteenth set of touch-steps in the background while the lead stands front and center in the  triangle.

Several of the Kings Island shows are not yet open. See them and comment when you do, since I won’t be back to KI for a few years. Just a side comment: seen on a Sunday, the park itself was very quiet. I spent 5 hours in the park and saw all three shows and rode all of the coasters and major rides and still had time for dinner along the way. KI is a great amusement park, but it doesn’t hold a candle to my homepark: Cedar Point, where a day isn’t enough to get everything in.

Bunheads on ABC Family is the real deal (Review)

Set your DVR for June 11th — thats when ABC Family begins airing their new show BUNHEADS — and based on the pilot episode, the show does everything right that SMASH does so wrong week after week.

Broadway’s Sutton Foster stars as a ex-ballerina/Broadway dancer now washed up Vegas Showgirl who impulsively weds a kind middle-aged man who is infatuated with her (Alan Ruck) and they move to his home in seaside Paradise California, where (surprise) he lives with his mother (Kelly Bishop).

Mamma runs a dance school, and is an ex-ballerina herself. The upper-level girls of the same school make up the teenage cast in this (kind of) family friendly show. Like a lot of the fare on ABC Family, it’s suitable for mid-teens and up, but not necessarily for pre-teens. And that’s all the setup you need to know. There’s a major surprise at the end of the otherwise upbeat first episode, and it clearly spells out the direction the show is going to take.

But what is striking here is the writing (storytelling is always a strongpoint for ABC Families original family drama shows). Within one episode, all the major characters, conflicts, wants, and desires of each of the main characters has been spelled out. The musical numbers serve to enhance the show, not detract from it, and its just right.

Opening with a Vegas number (ironically, “Jet Set” from “Catch Me If You Can” — a nod-to or a shot-across-the-bow for Marc Shaiman?), the performances are integrated fully into the script — showgirls dance….ballerinas dance…and in an exquisite sequence in which Sutton teaches a Broadway audition combo, is more humanly realistic than anything on SMASH has been all season.

There is a great cast of young teenage performers, but this is Sutton Foster’s show, make no doubt about that — from sassy showgirl (“I live next door to a hooker”) to fish-out-of-water bride (“Oh, how very Turning Point”).  Kelly Bishop plays a delightfully droll and insightful mother-in-law (“If we don’t find that tutu, we’ll have to cut Clara which will make us look ridiculous”) uncovering nuanced layers of her character even in the first episode. Alan Ruck plays a warm, kind, and love-besotten Hubble.

If you are interested in auditioning for Bunheads, the casting information is here: DO NOT READ THIS RELEASE unless you want to see some major spoilers about the first several episodes. Suffice it to say that they are particularly looking for female dancers over the age of 18 that can play 15-17. Filming in LA.

http://www.abcfamilyauditions.com/2012/04/abc-family-casting-actors-and-extras_30.html

Cedar Point Live Entertainment 2012 (Review) – Updated including Luminosity and all shows

Note that this will be updated throughout the year as new shows open at Cedar Point.

ABSOLUTE COUNTRY at the Red Garter Saloon (former home of Tropical Heat Island Beat the last few seasons) looks like this:

Talented Alex Mack is back, playing guitar and singing. The electronic fiddle is back from a few years ago. And the cast has great voices singing through a set of grade-C semi-popular country songs. The sound mixing is horrendous — the singers are often drowned out by the three-piece band accompaniment which is pumped up to such levels that there is no possible way to mix the voices on top without mic-mush rendering the words incomprehensible for most of the production. When things settle down a bit, you can see that this is an incredibly talented cast — but call them seven pretty white kids in search of a soundboard mixer.

The show is a step down from the extraordinarily entertaining Tropical Heat Island Beat which played the Red Garter Saloon in years past. Primarily, the problem here is the music — a selection of country radio pop songs that are not standards and which have nowhere near the entertainment value or general audience accessibility of THIB’s “Turn the Beat Around” et al. I listen to country music and even I didn’t know one of the songs in this collection. Meant to be a clap-along, sing-along, drink-along entertainment, it ends up being primarily only the latter.

The show is what it is, so that’s not going to change for the rest of this season: but what can easily be changed (and must be changed) is the sound mixing, otherwise it’s just an exercise in drum-thumping futility. The very talented cast sing, dance, and entertain to their best ability given the circumstances…I’ll revisit this a few weeks down the road to see if sound problems have been adjusted.

UPDATE 06/08/12 – The sound remains as terrible as it did a few weeks ago — the music overpowers the singers , and the majority of the lyrics here are indecipherable. Not surprisingly, this is NOT the place to be this summer at The Point, as seen twice this past week and not a full house either time.

LUMINOSITY, Cedar Point’s new evening entertainment is in a word spectacular. Live performances (singing, dancing, aerials, drumming, DJ-ing) mix with lights, fire, fireworks, lasers, smoke, and a myriad of other special effects in a 30 minute evening spectacular that ends with decent Fireworks. The largest cast I have ever seen in a CP show (I counted 25 performers, 3 drummers, and countless staff) work their way through a pop rock set of familiar and current tunes, and while some of the voices and dancing here are terrific, some are downright awesome. All four lead singers are strong soloists, together they are forceful. Take time to see this show on your next trip to CP. My only complaint: the show ends when the fireworks do — but the DJ continues to spin music and the implication is that you are invited to stay and dance as if in a big open-air dance club (think Pleasure Island in its heyday)…The problem here is, nobody dances except for the cast. The last thing most tired, coaster-weary, headachy guests want to do at the end of a long evening is to dance. And nobody does. It’s kind of surreal. The lights and music continue, and the audience just sort of stands there after the fireworks asking themselves “Is this over?”….they need some kind of announcement to “stay and dance the night away at Cedar Point” — but no such announcement comes, and that’s that.

I have never been a fan of ALL WHEELS EXTREME, but this years incarnation almost won me over — tightened to 20 minutes, and getting rid of its dancing/cheerleading bimbos, the show is at its absolute best. The stunts are better than ever. The gymnasts more talented than ever, and better integrated into the show. The music is better than that used in the past, and more assessable to the general audience. I…wait for it…liked the show this year!

HAPPINESS IS…SNOOPY is this year’s new ice-skating show at the Good Time Theater (old IMAX theater). It’s an import from Knotts, where it opened last year. This cast seems comprised of some of those folks, as well as some of last year’s CP skating cast, including returning brother/sister pairs skaters Lara and Neill Shelton. The show is an easy-going, elevator-music/smooth pop multi-set and costume change production, that features the season’s best sets (though arguably the Costumes are, um, the most bizarre to say the least). Neill and Lara present two terrific pairs sets, the ensemble skates well, and there are several featured performers whose names are nowhere listed in print at the Point. Trey Ehre (High School Musical on Ice) is the only recognizable one – and he does some terrific work here. The show itself is well-choreographed and colorful, although not as good as the last two seasons (while the skating is actually better). The musak gets tiresome after awhile, and the show seems more geared toward the kiddees than in past seasons….although the Peanuts characters are well-integrated overall, and the plushies skate quite well — sorry to any of you inside those plushies, it must be hell to do that 3 or 4 shows a day. It’s a “cool” way to spend 30 minutes during your visit, so don’t miss it.

SUMMER DAZE is the new show at the Palace Theater in FrontierTown. This is the most unique show I’ve seen at The Point in years. The music is a mishmash of “summer vacation” type songs — but it mixes in some “Pump Boys and Dinettes” and “Ragtime” numbers along the way — and the choreography and staging are the most inventive I’ve seen back in this space. It gives the “front of the park” show a run for its money. The show originally suffered from poor sound mixing, but that has been fixed over the past few weeks.  “What a Game” is the  best-staged number in the show (actually in any show in the park this summer). The cast is strong overall, and sing and dance through their sets well. The scenic design is clever and the pieces move rapidly on and off the small stage. Everything here looks great and this is easily the best directed and choreographed show in the park for 2012.

And that brings me to the “front of the park” show — a repeat run of ROCKIN’ THE POINT at the Jack Aldrich Theatre…spanning music from the early years of rock to the 80’s, the show is a tight, 30-minutes of entertainment that features the strongest men’s ensemble at The Point, and most vocally pleasing cast overall. The harmonies here sound great, and the kids are definitely having a great time. The show (and Luminosity) have the best sound design of the season — everything here sounds great, you can understand every single word, and its all very professional. The downside? The front of the park show always takes the least risks (except for the awful Rock Idol ripoff a few seasons ago), and it’s squeeky-clean. The best musical theater singers/dancers of the indoor shows get the worst choreography and everything feels like show-choir after a few numbers….and in an age where Glee sets the bar for show-choir, this is poorly directed and choreographed. Still, it’s a really fun show, the cast is very very good, and you should see it.

Funny Business at Encore Musical Theatre Company — Nunsense (Review)

Back in ’86, I was onstage at the Met Opera House in NYC singing and dancing backup in one of the nation’s first big AIDS fundraisers. Among the stars and large-cast Broadway show ensembles there was a sudden rush of excitement as the habit-attired actresses from then Off-Broadway smash hit Nunsense whipped the audience into a frenzy with their rousing number “Holier Than Thou”.  Amidst the glittering stars including Bette Midler, these actresses had achieved something akin to cult status with one single number.

Something similar  happens at the end of Encore’s NUNSENSE which opened last night in Dexter. After a fast-paced evening of hit-and-miss jokes, skits, and gags, the stage explodes with energy as Amy Smidebush leads the ensemble of superb performers in the rousing “Holier Than Thou” and you can forgive Dan Goggin’s misfires, and take pleasure in the wonderful things he does create. It is really not worth reviewing Nunsense the musical for content since it has entered the amateur  and regional theater reportoire and is done virtually everywhere.

Barbara Cullen’s direction and choreography is fast-paced and fluid; Leo Babcock has designed an excellent parochial-school gymnasium set; George Cullinan’s musical direction is very good and he and his ensemble sound great (no orchestra members are credited in the program); Dan Walker’s lighting works well; an Sharon Larkey Urick’s nun’s habits are both classic and adaptively hilarious. Sue Booth “wrings” the most out of hers, to be sure.

But oh what a jolly gaggle of nuns we have in Encore’s very strong all-female cast: The aforementioned Amy Smidebush plays Sister Mary Hubert who is second-banana to Barbara Scanlon’s hilarious Mother Superior Sister Mary Regina. Barbara’s “unexpected discovery” is worth the price of admission by itself. But wait, there is a terrific performance by Mary Rumman as Sister Mary Amnesia (and low and behold, the theater gods have finally smiled upon Encore as they present their first DIRTY JOKE in their otherwise too-family friendly fare…albeit a joke that all 9-year old Catholic boys are well familiar with). And then there is dancing Sister Mary Leo, a spot-on Madison Deadman who as the ensemble’s youngest member brings strong stage presence throughout. Top it all off with the self-assured performance by Sue Booth as Sister Robert Anne and you have a dynamite cast of nuns.

By the way….did you catch that?…Sister MARY Regina….Sister MARY Leo…Sister MARY Amnesia…Sister MARY Hubert…Sister ROBERT Anne…Yeah, the whole night is filled with gags like that. Its almost incomprehensible that Nunsense has spawned not one, but six sequels. But it is what it is — and that makes for a highly entertaining evening of nonsense, er, nunsense….Play on, ladies, play on.

NUNSENSE continues at Encore Musical Theatre Company through June 10th. Tickets can be ordered online at theencoretheatre.org, the box office, or by phone at 734-268-6200.

Avenue Q is a stunner at Croswell Opera House (and thats a good thing) — Review

There are those of us who have already been initiated into the cult of Avenue Q on Broadway (where it is still running, Off Broadway); or on tour; or one of the sit-down productions across the country…and Croswell Opera House should be extremely proud of their current production onstage in Adrian as it ranks right alongside those professional productions of the show. This is a slick, great-looking, and very funny adult musical.

Directed by Eric Parker (who also plays human character Brian), the show races along the many Sesame-Street-For-Adults-Only type scenes exploring challenges facing humans and monsters alike: work, roommates, relationships, sex, homelessness, and finding your “purpose” (with a side-visit to the world of internet porn which ranks among one of the funniest songs ever written for a stage musical).

Matthew Bowland (Princeton/Rod) and Kelly Fandrey (Kate Monster/Lucy) are excellent in difficult roles that keep them onstage virtually the entire time. Erik Wright-Olsen turns in a terrific performance as both Trekkie Monster and roommate Nicky. Natalie Kissinger is a hilarious Christmas Eve (in a role into which she stepped only a few weeks ago — kudos!) and Jamie Lynn Buechele, Joshua Mohler, Jesse Montie and Rebecca Craig are great in their many supporting parts (and limbs!) throughout the production. Melissa Paschall takes on the role of Gary Coleman.

The set design by Janine Woods-Thoma recreates the intimacy of the Broadway production. Jonathan Sills musical direction and orchestra are super. Sets, lights, costumes,sound and projections all work well here (including my favorite moment in the show — I won’t give it away, but it involves nightstands).

There is very little to distinguish that this is not a touring company, the production is that good (although there are a few mis-steps here and there that remind you that not all of the performers on stage are professionals). My sole gripe — the overuse of blackouts that stop the proceedings in a few places, rather than allowing the natural flow of scene to scene. Since most scene changes involve little more than the opening or closing of a flap or door on the set, it would have been more entertaining to allow the audience to watch that happen, especially the times that it was clear that the stage had been reset and the actor was waiting in darkness onstage for their light to come up. A minor quibble in a spectacular production.

And of course, the disclaimer needs to be made….NO YOUNG ONES AT THIS SHOW PLEASE!…which presents a challenge in itself. Audience members unfamiliar with this Tony-Award-Winning-Best-Musical (it surprisingly won over Wicked!) see the puppets in the advertisements and think it is for kids….then you see the disclaimers that it is NOT for kids, and it makes for a difficult sell.  Well let me shout it from the internet to your house: GO SEE THIS SHOW. Leave the kids at home, but by no means should you miss this production at Croswell Opera House. It is stunningly good.

Tickets can be ordered online at Croswell.org, by phone at 517-264-7469, or at the Box Office, 129 E. Maumee Street, Adrian, MI 49221.