Reviewed by Suzanne Angeo (American Theatre Critics Association), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

 Photos by Bryan Clifford

 

 

 

 

Deliciously Wicked

 

There’s a hole in the world like a great black pit
and the vermin of the world inhabit it
and its morals aren’t worth what a pig could spit
and it goes by the name of London.

                                 — A disillusioned Sweeney Todd, on his hometown

 

To kick off their 2024-2025 season, the Avon Players offer “Sweeny Todd: The Demon Barber of Fleet Street”, a gleefully macabre tale filled with bitter irony, the blackest of black humor, and simply fantastic music. Not just horror for horror’s sake, it has a massive sweep, addressing not just the desire for retribution on a personal level, but the inequities of society at large. Just the thing to get you in the mood for Halloween next month.

 

Opening on Broadway in 1979, the acclaimed musical, with book by Hugh Wheeler, and lyrics and music by Stephen Sondheim, won eight Tony awards, including Best Musical. The diabolical barber-turned-serial killer, “who served a dark and a hungry god”, is based on a literary character, dating as far back as the 16^th century. Sweeney Todd may or may not have actually lived, but he lives on in legend.

The time and place: early 19^th century London. Todd has just returned home from 15 years of imprisoned exile in Australia, and he’s an angry man on a mission. He craves revenge on the evil judge who ruined his life and stole his wife and child. He will stop at nothing to avenge the wrongs done to him, and decides to go back to work as a barber – using his sterling silver straight edge. He has a little help from his friends, including a slightly daffy pie shop proprietress named Mrs Lovett. The two concoct a scheme that soon gives a boost to Mrs Lovett’s business and has the whole neighborhood smacking their lips. If only they knew…

 

The cast and crew at Avon Players are working with the best of the best material, and they do a worthy job of holding up their end. Sondheim’s trademark – pithy, complex lyrics that unfurl with lightning speed – challenge even professional actors and singers. And due to the cast using English/Cockney accents, it can sometimes be hard to understand what’s being said or sung onstage. It’s well worth looking up the lyrics beforehand (or afterward) so you can get the full benefit of the Sondheim effect.

But that’s not a problem with Mario Simone, who as Sweeney Todd possesses a wonderful baritone and excellent clarity. Here’s an example of perfect casting. He assumes the role with relish, commanding the stage with his sturdy physical presence whenever he’s there, which fortunately is most of the time. He’s a pleasure to watch and to hear.

 

Joy Oetjens delivers a strong performance as Todd’s partner in crime, Mrs Lovett. She brings more than a little comic relief and witty rejoinders, although her accent is hard to decipher at times. Other notable performances: Nicholas Kwiechski as Anthony Hope, a young man in love whose name says it all; his beloved Johanna, played with wistful winsomeness by Maia Fetter; Steve Grady, sufficiently dastardly as Judge Turpin; Jack Stoll as the dull-witted Tobias Ragg, Mrs Lovett’s shop boy; and the engaging Adam Wager as the slippery-but-doomed Adolfo Pirelli. A deranged beggar woman, played by Tracy Murray, drifts in and out of the story but ends up being the key to a mystery. The rest of the large ensemble cast does well with the choreography and Greek chorus musical numbers.

Stoll and Oetjens have a touching duet, “Not While I’m Around”. What’s perhaps the best number in the show, next to “The Ballad of Sweeney Todd” sung by the company, is “A Little Priest”, a cynically tasty duet about what’s on the menu, sung by Simone and Oetjens.

 

Director John Deierlein’s tight pacing propels the story and keeps your attention glued to the stage. The impressive set design (Kevin Miller) allows action on two levels simultaneously, in silhouette or in spotlight. Stunning choreography (Maritoni Harte) and lighting and costumes (Deierlein) are picture perfect. The lighting and fog effects really create the seamy, mysterious atmosphere of 19^th century London. Although during a recent matinee, the follow-spot was a bit errant, wavering from side to side more than once, which was just a little distracting.

 

A capable 9-piece orchestra, directed by Tim Schoenherr, performs 24 numbers over the show’s 180-minute running time. The vast majority of the production consists of music, making it more like an opera than a traditional musical. From its foggy prologue to its finale, “Sweeney Todd” is at once thrilling, unsettling and profound. You can’t wait to see what happens next, and the three hours pass before you know it.

Now through September 21, 2024

Tickets $32.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

 

 

Avon Players Theatre is a registered 501(c)3 non-profit organization

 

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Sean Carter Photography

 

 

One Sparkling Gem of a Show

 

You’ll probably want to see this twice, just because it feels so good to immerse yourself in the great old jazz songs of the 1930s, 40s and beyond. But you will also learn the life story of an amazing woman and singer, and the rich history behind her success.

The original idea for “Ella, First Lady of Song” was crafted by Maurice Hines (brother of tap legend Gregory Hines) to celebrate the great music icon Ella Fitzgerald. It was designed around the formidable talents of Grammy-nominated recording artist Freda Payne, to bring Ella to life. Hines asked noted American composer and librettist Lee Summers (“From My Hometown”) to write and direct. Its world premiere was at the Crossroads Theater in New Brunswick NJ in December 2004. It has gone on to numerous regional productions and was awarded the 2022 New York AUDELCO Award for Best Musical.

But this is not a biographical play so much as a musical revue spiced with dramatic moments from Ella’s eventful life, and from history. The story begins, and ends, with Fitzgerald’s 1966 Cote D’Azur concert on the French Riviera with the Duke Ellington orchestra (released as a live album the following year). Her life story is then told in flashback, from her beginnings as a fledgling singer, using a series of projected images of historic photos. Young Ella faces incredible obstacles: poverty, racism, sexual abuse and scorn at her shabby clothes and hair. Obstacles she surmounts with the help of her devoted cousin Georgianna, sheer will, intelligence and astonishing talent.

In a touching performance, Debra Walton inhabits her role as the vivacious young Ella with outstanding vocals and charm, and in a second role as Ella’s sister Frances. Nicole Powell offers a vibrant portrait of Cousin Georgianna. Eric Coles rounds out the small supporting cast with his strong performances as Ella’s manager and producer Norman Granz, who led history-making efforts to abolish the “whites only” policies of nightclubs in the 1940s and 50s, and as her abusive stepfather Joe DaSilva.

The real star of the show is, of course, the dazzling Detroit native Freda Payne as Ella in all her glory. Payne’s voice convincingly recalls Ella’s own vocal style and phrasing, including scatting and be-bop, and really hits those high notes.

Direction by Summers, staging and sets by Kirk Domer, and lighting by Eric Van Tassell are some of the best seen at Meadow Brook. The projections by Jeromy Hopgood help tell the story in an intimate way, drawing you in to relive moments in history. Platforms on casters, serving as floors, slide back and forth to move players and furniture as the scenes demand. One area of criticism: the sliding set pieces were a little noisy on a recent matinee, and a distraction, but this hopefully will be fixed for future shows.

Each song in the show hangs, like a pearl, upon the fabulous six-piece jazz band, smoothly led by pianist and Duke Ellington stand-in Dionne Hendricks. Other band members serve as characters in the story – bass player Gregory Jones as Ella’s husband Ray Brown, and drummer Greg Bufford as band leader Chick Webb. One memorable number, “The Nearness of You”, has Payne dreamily singing and holding a rolled-up blanket, like the baby she could never have. A showstopper is “Any Place I Hang My Hat is Home”, belted with joyful gusto by Payne, Walton and Powell. But in truth, each song is a treasure, from beginning to end, all 30 of them, as is the pleasure of hearing Ms Payne sing them, and the band play them. It’s a most enjoyable way to pass the time.

 

 

When: Now through June 23, 2024

Tickets $37 to $46

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

 

Special Note: As COVID-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website for the latest information on efforts to keep everyone safe.

This production is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 56 years.

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Avon Players

 

 

“Drinking Alone”: Laughter With a Shot of Angst

 

If you’re only familiar with American playwrights, you’re in for a pleasant surprise when you see “Drinking Alone”, a glowing comedy about a dysfunctional family, presented by Avon Players.

Norm Foster is Canada’s most popular comic playwright, and for good reason. He has been at it for over 40 years, with 80-plus plays professionally produced all over the world. You might call him Canada’s Neil Simon. His earliest successes were in the 1980s, with his off-Broadway hit “The Melville Boys,” and “The Long Weekend”.

“Drinking Alone” premiered in June 1998 at Festival Antigonish in Nova Scotia. It’s got lots of laughs, witty dialogue and quirky characters we can all relate to.

The play opens in the living room of the Todd family home. With its avocado-green walls and dark paneling, it apparently hasn’t been redecorated since the 1970s. Friendless Joe lives there alone – except for his painfully dated décor – bored and depressed. He’s got nothing going on in his life except managing a dry-cleaning business, and evenings spent watching TV and drinking beer.  A family reunion looms ahead. Joe wants to impress his successful, flashy sister and his estranged father. So of course he hires Renee, an escort, to pose as his fiancée. What could possibly go wrong?

Luigi Murri (“The Curious Incident of the Dog in the Night-Time”) plays Joe in a very dry and laid-back kind of way. The contrast between his soft-spoken dweeb and Marie Burchi-Skipinski (“Lend Me a Tenor”) as the gregarious first-time call girl is fun to watch (and hear). Joe’s snarky sister Carrie, a local newscaster and glamour-puss celebrity, arrives and the tension and hard feelings build. Hosanna Phillips (Night of January 16^th) expresses equal amounts of vanity, scorn and emotional pain that she tries to drown with liquor. When Ivan Todd, the type-A family patriarch, finally shows up, all hell breaks loose. Lee Davis as Ivan is vulgar, hostile and loud. But he has one redeeming quality – he tells jokes. Not always funny ones, but he tries. He also has some great lines. Example: Joe says, “I’m a good catch.” Ivan responds “Halibut is a good catch. You’re no halibut.”

Ivan has brought Phyllis, his new-ish wife, that he left Joe and Carrie’s alcoholic mother for 15 years ago. She is not exactly welcome, needless to say. Patty Hagel, another Avon Players veteran, infuses the role with kindness and affection, and soon begins to thaw the frosty atmosphere.

But the pivotal character, the one who ultimately brings everyone together, is warm-hearted Renee. Even though she suffers from chronic foot-in-mouth disease and doesn’t know how to dress, she is irresistable. Especially to Joe.

Direction by Joy Oetjens is subtle. At first there doesn’t seem to be any character or story development, just a series of funny lines and mugging throughout the first act. But the crux of the story sneaks up on you, and soon you see through the characters’ posing and defensiveness. A real crisis is at hand.

Costumes by Lana Hastings are decade-neutral but may be from the 1990s (Clue: no one has a cell phone, but there’s one reference to “the internet”). Sets by Jeff Stillman and Jonathan Farrell will make you yearn for reruns of “That 70’s Show”.

“Drinking Alone” offers lessons for those who have dealt with alcoholism and serious illness in their lives: forgiveness, patience and unwavering support are what matters most. And sometimes it takes a loving “outsider” to really see into the heart of a family, even one with a messy past, and to help it heal.

 

Now through March 23, 2024

Tickets $25.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

Avon Players Theatre is a registered 501 ©3 non-profit organization. Founded in 1947, it is celebrating its 77^th anniversary.

 

 

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos courtesy of Sean Carter Photography

 

Secrets Revealed in “A Little More Alive”

Meadow Brook Theatre’s latest offering marks the Michigan premiere of “A Little More Alive”, a 2014 musical dramedy about a family secret revealed at a mother’s funeral that could change forever the lives of two brothers and their father.

American actor/writer Nick Blaemire created “A Little More Alive” while he was still in his 20s, after the one-two punch of appearing in John Waters’ “Cry Baby” and his own one-night wonder, the rock musical “Glory Days”, in 2008. Blaemire went on to star in the 2016 revival of Jonathan Larson’s “Tick Tick…Boom” off Broadway (Larson had achieved fame in 1994 with his revolutionary musical “Rent”, transforming musical theatre, before his untimely death in 1996). “A Little More Alive” had its premiere in April 2014 at the Kansas City Repertory Company. Larson’s influence is everywhere throughout the show, from its non-rhyming lyrics to its contemporary free-form musical style to its creative storytelling that includes home movies projected onto an upstage wall.

Maggie, a wife and mother, has died too young, and her grieving husband, Gene, and their two twenty-something sons, Nate and Jeremy, gather with friends at the family home for her funeral. There’s tension in the air between the estranged brothers – rudderless Nate and workaholic Jeremy (nicknamed “Germ”). The opening number, “Pot at a Funeral”, pretty much sums up Nate’s attitude towards life. Jeremy can’t wait to get away, back to work and his girlfriend. But letters written by Maggie turn up and reveal something that rewrites every memory the boys have of their mother, all preserved in the home movies they watch after the funeral. This revelation ultimately brings everyone closer, and brings forgiveness and insight back into their lives.

MBT veteran Ron Williams delivers a powerful performance in song and movement as Gene, a father in denial. Newcomer Noah Barnes possesses an outstanding voice and real authority in the role of hard-driving Jeremy. Liam Fennecken as the depressed and aimless Nate infuses his character with likeability and empathy. Rounding out the excellent cast is Amber Hurst Martin as hospice worker Lizzie, Melanie Frasca as Molly and last but not least, Katie Johnson as the vivacious Maggie (as seen in the home movies).

Director Travis Walter puts all of his creative talents to work in keeping the 95 minutes (no intermission) moving along. There are nice touches in staging, with moveable set pieces forming different rooms, a basement and even another house.

Even with all this amazing talent assembled and brought to the fore, it struggles to overcome the inherent weakness in the material. The plot seems thin and undeveloped, and the music is repetitive, with many songs sounding almost the same. This show could possibly be more effective as a shorter one-act, with the running time and musical numbers cut in half.

It’s a pleasant enough show, well-executed and worth seeing for the marvelous cast, director and stagecraft.

 

When: Now through March 10, 2024

Tickets $37 to $46

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

Special Note: As COVID-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website for the latest information on efforts to keep everyone safe.

This production is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 56 years.

 

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos by Bryan Clifford

 

 

 

Captivating and Inspiring Whodunnit

 

What better way to enjoy Avon Playhouse’s snazzy new seating than to come see their newest presentation, the Tony award-winning play “The Curious Incident of the Dog in the Night-Time”? This uniquely brilliant show offers a glimpse of the world through the eyes of a courageous 15-year-old math genius named Christopher, who just happens to be on the autism spectrum. He finds himself in the middle of a (canine) murder mystery that leads down a rabbit hole of secrets held by those around him, including his family.

“The Curious Incident…”, by noted British-Irish playwright Simon Stephens, premiered in August 2012 at the Royal National Theatre in London, winning seven Olivier Awards. It went on to Broadway in October 2014 and ran for two years, winning multiple awards, including the Tony award for best play.

Christopher lives with his father in the southwestern English town of Swindon. It’s obvious the youngster has issues: He is an excellent student but can’t look people in the eye, cannot relate to others on an emotional level. When someone touches him, he reacts violently, sometimes striking out, sometimes collapsing on the floor in a fetal position. Despite these challenges, he is interested in the world and the universe beyond, determined to learn all he can. Then, suddenly his life is changed forever when he discovers his neighbor’s beloved dog has been killed, impaled by a very large garden fork. He is suspected of killing the dog but embarks on his own investigation to find out who did it, and clear his name.

The story is presented in such an original and disarming way that you will be drawn in immediately, starting with the opening sequence featuring a backdrop of streaming projected images from the James Webb telescope, courtesy of projectionist Bryan Clifford. These images change dramatically during the course of the show and help tell the story, almost like another character. Christopher’s teacher Siobhan, played by Caitlin O’Brien with lyrical concern, serves as de facto narrator by reading from Christopher’s own writings about the mysterious happenings. You can see that Christopher (a remarkable Robert Carrigan) refuses to allow his so-called disability to limit his progress or stifle his bold curiosity. His father Ed (Luigi Murri in a strong performance) is trying to protect his son from the world, and from the truth. Joy Oetjens, as the wayward mother Judy, effectively shows the anguish and conflict in her own hidden life that leads Christopher on a dangerous journey in search of answers.

Six precisely positioned actors, identified only as Voice 1, Voice 2, etc, bear witness to Christopher’s strained interactions with his parents, teacher and neighbors. These Voice actors serve as inanimate objects (a microwave oven, a door, train station signs), and are also characters within the story, creating vignettes and pantomime in between various roles. Several black cubes, each about two feet square, serve as key set pieces that are moved around by the Voice actors into various configurations, depending on the scene.

Lighting by JD Deierlein is stark and crisp, like the mind of the young protagonist. Lia DiFonzo’s precise, steady direction keeps the energy focused and keeps us fascinated from beginning to end. Under her guidance, the cast (as ensemble, and as individual actors) works with harmony and purpose.

Besides being a wonderful and entertaining mystery, this is a truly inspiring show for those who know anyone on “the spectrum”. Even in a world where people and objects are interchangeable, experiences are compartmentalized and comfort comes from mathematical calculations, there is great joy in achievement and discovery.

 

Rated R for language and mature concepts

 

Now through February 3, 2024

Tickets $25.00

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

 

 

Reviewed by Suzanne Angeo (Member, American Theatre Critics Association)

and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

 

Photos courtesy of Sean Carter Photography

Dickens’ Eternal Message Endures at MBT

Meadow Brook Theatre returns with yet another gorgeous, glowing production of “A Christmas Carol”. Now in its 41^st year, many of the cast and crew are long-time veterans. This is must-see holiday theatre at its best, and is a longstanding tradition for many families in the Metro Detroit area. If you haven’t seen it yet, do so, and you will understand why.

Although the story is so well-known, and nearly ubiquitous this time of year ever since it was first published in 1843, “A Christmas Carol” by Charles Dickens remains an important and culturally relevant work. The timeless themes explored in this tale – charity for the poor, the treatment of children, love of home and family, hope and forgiveness – have become a central part of the Christmas celebration.

In his 37^th performance, Thomas D. Mahard returns as the ideal Scrooge. He’s a man who lives a haunted, joyless existence, a pathologically greedy and unpleasant character. Can he find redemption with the help of four ghostly messengers? Or is Dickens telling us there is hope for everyone, no matter how far they’ve fallen, as long as someone still living believes in them? Aside from pondering the metaphysical, it’s fun to watch Mahard interact with the other characters, even if we know what’s coming.

Played by Antonio Vettraino, Scrooge’s good-natured nephew Fred offers a relentlessly cheerful contrast to his grouchy uncle. Scrooge’s dear departed business partner, Jacob Marley (in a brief but impressive turn by Anthony Guest), makes a dramatic entrance though a trap door, bound by heavy chains, accompanied by a riff of heavy metal music and a blast of smoke from the depths of you-know-where. He’s on a mission to save old Scrooge from a similar fate.

The gentle Spirit of Christmas Past (played to angelic perfection by Mary Magyari) transports Scrooge to his childhood and youth, where he sees the love he once had before he abandoned light for darkness. In an ingenious bit of casting, Tamara Della Anderson embraces the role of the boisterously jovial and kindly Spirit of Christmas Present (typically played by a bearded male actor). She presents Scrooge with delights and treats of the season – making us hungry – and takes him on a journey around London town this Christmas Eve night. He realizes, more than ever, what he’s missing and how he needs to change. In what is perhaps one of the most dramatic moments in the play, she reveals from beneath her flowing skirts two bedraggled children: a boy named Ignorance, and a girl named Want. Both are dangerous, the Spirit warns, but especially beware of Ignorance. It’s a message that reaches through the centuries.

Tolling bells and a crowd of mysterious people wielding black umbrellas, one of many unusual touches throughout the show, herald the arrival of Jacob Lipski as the towering, ominous Spirit of Christmas Future. If Scrooge’s tombstone is any indication, this spirit means business, and no humbug.

Other notable return performances include Stephen Blackwell as Bob Cratchit, Kristina Riegle as Bob’s wife, Chip DuFord as good old Fezziwig, and Stephanie Nichols as Mrs Fezziwig. On a recent Sunday matinee, fourth grader Conrad Nichols played the ever-adorable Tiny Tim. He alternates the role with another local lad, Chase Thomas.

Lovely costumes by Mary Pettinato lend the perfect early Victorian touch. Peter W. Hicks has created a massive, amazingly versatile rotating set that, combined with lighting by Reid G. Johnson, and sound design by Mike Duncan, transports you to Dickensian London.

Terry W. Carpenter’s direction is solid and well-practiced; he’s been involved with the show at Meadow Brook for most of its 41 performances as either director or stage manager. He’s also working with great material. The original adaptation and staging by Charles Nolte, a 30-plus-year veteran of Meadow Brook, is graced with wit and affection. There are some lively dance numbers (with original choreography by Jan Puffer) and general onstage merrymaking that lends a festive sparkle. Other creative touches include original use of music and sound effects, and other bits of stagecraft that set this production apart from previous years. But, an observation: Some of the child actors in key roles were difficult or impossible to hear in the back rows, so perhaps put mikes on the tykes?

Note: Be sure to arrive at least 30 minutes before curtain so you can catch the excellent a cappella choral group under the direction of CT Hollis, with arrangements by Caitlin Burke. They’re all dressed to the nines in period costumes, singing traditional Christmas carols and interacting with the audience, encouraging us to sing along. Then, when the curtain rises, they join their fellow Londoners onstage in a seamless transition to begin the play.

When: Now through December 24, 2023

Tickets $36 to $49

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

Special Note: As COVID-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website for the latest information on efforts to keep everyone safe.

This production of A Christmas Carol is made possible through the generous support of the Michigan Arts and Cultural Council, the National Endowment for the Arts, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

Meadow Brook Theatre is a professional theatre located on the campus of Oakland University in Rochester, Michigan. MBT is a nonprofit cultural institution serving southeast Michigan for more than 56 years.

 

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos by Bureau Detroit

 

 

“The Great American Trailer Park Musical” Promises a Cheeky, Raunchy Good Time

 

It’s safe to say that Stagecrafters has never featured pole dancers, roadkill, agoraphobia, false pregnancies and guys sniffing magic markers all on the same stage before. Well, there’s a first time for everything. To kick off their 68^th season, “The Great American Trailer Park Musical” at Stagecrafters is one rockabilly-rowdy, enjoyable show.

“Trailer Park” premiered off-Broadway in September 2005, and has seen sold-out shows in regional performances all over the country ever since. Music and lyrics are by David Nehls, and the book is by Los Angeles comedy writer Betsy Kelso, known for her irreverent spoofs and risqué humor.

As the curtain rises, we find ourselves in a north Florida trailer park called Armadillo Acres, where the park’s little travel-type trailers (minus the wheels) are just like the residents: really very cute, but slightly smudged and dilapidated, bravely scraping the bottom of the barrel of life. Park manager Betty, and her cohorts Lin and Pickles, worry about their neighbor Jeannie, who hasn’t left her trailer in 20 years. And now it seems like Jeannie’s husband Norbert has taken to canoodling with the new gal in town, a stripper named Pippi.  When Pippi’s slightly crazed roadkill-obsessed boyfriend Duke shows up with an impressive supply of magic markers, you don’t need much imagination to guess what happens next. This is part of the show’s lowbrow charm.

“Trailer Park” aims for non-stop laughs and relentless, high energy music, very much in the spirit of “The Rocky Horror Show”. The characters could have stepped right out of a comic book. Sure, they’re crude and vulgar, and maybe they play on broad trailer-trash stereotypes, but they’re likeable. And the ladies are nearly matched in tawdriness by their cheap-chic clothes and over-the-top hairstyles (all tributes to the talents of costume and wig designers Michelle Miller, Ari Holland and Jessica York). But these are mere accessories. What really makes this show is the excellent vocal performances.

Betty, played by local music teacher and performer Kirsten Renas, captures your heart with her wonderful voice and unfailing concern for her neighbors. Also noteworthy is Alexa Carollo as Lin (short for Linoleum!), the park’s resident bad girl whose bad boy hubby is on death row. Aaliya Flint (a Stagecrafters newbie) plays the charmingly goofy teenager Pickles. After using a pillow to fake her pregnancy, she produces a big surprise for everybody at the end of the show. Each of these ladies delivers great individual vocals, but it’s their three-part harmonies that really get the joint a-jumpin’.

Erica Fell is the neurotic Jeannie, who just can’t make herself leave her dingy trailer ever since her baby boy was kidnapped 20 years ago. Her character is less one-dimensional than the others, one you can identify with. She’s sympathetic and real, and serves as the pivot point around which the other characters revolve. Her two-timing buffoon of a husband Norbert is played by Off-Broadway and TV veteran Bran Depetris.

Jeannie’s nemesis is Pippi, the sleazy but fiercely proud stripper who moves into the trailer next to theirs, played by N’Jeri Nicholson, veteran of the Baldwin stage. It’s not long before Pippi’s loony boyfriend Duke, played by theatre and film-trained actor Killian Elhaz, comes a-lookin’ for his woman. His performance provides the veritable icing on the cake.

The ensemble cast, accompanied by a four-piece band directed by Christopher Smith, is especially memorable in numbers like “Flushed Down the Pipes” featuring the ladies twirling toilet brushes and plungers, the pulse-pounding disco beat of “Storms A-Brewin”, and the rousing Finale. There is also a lovely duet, “Owner of My Heart” performed by Jeannie and Norbert. The ingenious set, including those little travel-type trailers, is the creation of set designer Gene Czewski.

Says first-time director Kathryn Stewart: “Please take into consideration that while the stereotypes in the show are painted with a very broad brush, it is done with a kind heart…where everyone is included…”. There are no pauses between scenes (except for intermission) but even so, the pacing seems to lack a certain urgency and energy needed for such a show. And the set might be scaled back a little to allow more room, since there are 12 folks moving about onstage (including not only the cast but the “Onstage Crew”, which also takes part in the performance). Acting and stage technique could use some further development, but Stewart allows ample opportunity for the cast and crew to break the Fourth Wall and mingle with the audience, so you really feel a part of the story, and the fun.

Brassy, sassy “Trailer Park” is what musical theatre is all about – pure escapism. You think you got troubles? Nothing compares with the back-breakin’, heart-achin’ comic strivings of these zany folks. But be forewarned – the characters are colorful, and so is the language, with F-bombs galore. You may want to leave the kiddies at home.

 

Adult themes and language – not recommended for young children

 

Now through November 19, 2023

Tickets $35; $25 on Thursdays ($3 ticket fee for all tickets purchased online, by phone or at the door)

Stagecrafters at the Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org

Stagecrafters is a 501(c)(3) nonprofit performing arts organization with support from: Michigan Arts & Culture Council; National Endowment for the Arts; Royal Oak Arts Council; Oakland County; Royal Oak Downtown Development Authority; and DTE Foundation

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

A Hilarious New Chapter in the Sherlock Holmes Legend

Kicking off its 57^th season, Meadow Brook Theatre presents the Michigan premiere of noted American playwright Ken Ludwig’s newest comedy, “Moriarty”. A gleeful sendup of all things Sherlock Holmes, the MBT crew offers up a generous serving of laughs and suspense in equal measure.

Ludwig is best known for his popular farce-style comedies, many of which have appeared on the MBT stage, like “Lend Me a Tenor” and “A Fox on the Fairway”. His most recent work, “Moriarty”, premiered April 2023 at the Cleveland Play House in Cleveland, Ohio. Acquiring the rights was a real triumph, according to artistic director Travis Walter. “We owe this production to Cheryl L Marshall, MBT’s managing director, who worked so hard to secure the rights for the show even before it had been published, working with Ken’s agent and the licensing company…”, says Walter.

Set in the London of 1891, with occasional forays into Bohemian Europe, the story unfolds with Holmes (a brilliant Ron Williams) and his loyal sidekick Dr Watson (an equally brilliant Phil Powers) trying to discover who stole the King of Bohemia’s letters, with madness and mayhem ensuing. For an added theatrical touch, Watson serves as first-person narrator for the happenings onstage. There is wonderfully absurd visual comedy and slapstick, courtesy of three of the five cast members playing spies, housekeepers and kings. Stephen Blackwell as criminal mastermind Moriarty (as well as Holmes brother Mycroft, and others) is especially good, even when he’s being bad. There’s even a little romance in store for Holmes when the beautiful American actress, Irene Adler (played by the charismatic Jennifer Byrne) needs his help. Rounding out the excellent cast is Cheryl Turski in multiple character roles. All of the professional Actors Equity cast are MBT veterans, and all were in the recent production of “Noises Off”.

The set by Jen Price Fick and lighting by Brian Debs are superb, as are the costumes by Liz Goodall. Keeping it all together and moving at breakneck speed is director Travis Walter. He inserts marvelously funny and original visual and sound effects that set the tone for the entire production.

If you like international intrigue, a good laugh and engaging, Broadway-quality performances, you are sure to love “Moriarty”.

Now through October 29, 2023

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

A special note: As Covid-19 is a constantly changing situation, MBT will be monitoring and adhering to the guidance given by the CDC, the State of Michigan, the Actor’s Equity Association, and Oakland University. Check the Meadow Brook Theatre website at www.mbtheatre.com for the latest information on efforts to keep everyone safe.

This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States. The theater operates under the agreement with the International Alliance of Theatre Stage employees, Local 38.

Meadow Brook Theatre’s season is supported in part by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, the Kresge Foundation, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.

 

 

 

 

 

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

Photos by Bryan Clifford

 

 

The Naked Truth

 

Based on the popular 1997 British comedy film of the same name, “The Full Monty” is being presented to sold-out audiences in all its raunchy, fun-loving glory by Avon Players, now in its 76^th season. The award-winning musical adaptation by noted American playwright Terence McNally, with music and lyrics by David Yazbek, ran for almost two years on Broadway starting in 2000, and is now seen almost everywhere. The story’s premise is a little skimpy (pun intended) and highly implausible. But maybe that’s why it’s so much fun to watch. The original movie was set in the steel mill town of Sheffield, England. In the local slang, “The Full Monty” means “the whole lot”…full nudity.

The musical’s new, Americanized setting is Buffalo NY, where a steel mill is laying everyone off, including best friends Jerry and Dave, due to hard times. If this wasn’t bad enough, as luck would have it the Chippendale Dancers are performing in their town. When they see how much the local women love the Chippendales (including Dave’s wife and Jerry’s ex), and how much money these guys make just stripping down to their G-strings, they get the idea to form their own striptease act with four other out-of-work men. They even consult with one of the Chippendales, a hunky guy named Keno, played by the amazing Matt Druminski. (Warning: He opens the show with a bang, by stripping down to his bare…well, let’s leave something to the imagination.) Jerry and Dave need to beat the Chippendales at their own game, so their act (called Hot Metal), will come with a daring, naughty twist. They will bare all – The Full Monty.  What could possibly go wrong? These are just ordinary guys, after all. Some of them start to lose their nerve, especially when they confront their own “shortcomings”. The real fun starts as they recruit, then train and finally rehearse their act, with hysterical results.

The ten-piece orchestra, led by Ron Pietrantoni, plays some splendid jazz, rock, and lovely ballads to accompany the enjoyable cast. Leading the way is Eric Rodman, who really shines as Jerry, especially with his vocal in the touching “Breeze off the River”. His ex-wife Pam (Lia DiFonzo) is breaking his heart over his desire to see his 12-year-old son, Nathan (Robby Carrigan). Clay Hargrave as Jerry’s best bud Dave offers another sympathetic character. He’s incredibly unsure of himself and his relationship with his wife, the vivacious Georgie, played with energetic charm by Emily Brown. She and her girlfriends relish their new-found independence in the number “It’s a Woman’s World” (with Caroline Dargay, Joy Oetjens and Pamela Plewa). While the whole cast is great, standouts include Nic Folson as Horse, with his excellent voice and dance moves in “Big Black Man”; Adam Wager as the goofy Ethan; nimble-footed Patrick Sullivan as Malcolm; and the tall and gorgeous Caroline Dargay as Estelle/Ensemble. Plus a special shout-out to the dynamic Lori Smith as Vicki. She shows real star power whenever she’s onstage, especially in the jazzy bossa nova number “Life With Harold”.

Some of the vocals can be somewhat uneven, and the story, for the most part, resembles a typical sitcom. But it displays unexpected depth in a number of ways, addressing the issues of suicide, depression, and same-sex attraction. It also turns traditional gender roles upside-down. We see female empowerment: ladies can earn their own living, be independent, and can see men as sex objects, too. We see male vulnerability: needing the approval of their mates, disappointment in their own bodies, and feeling despair at the loss of their traditional role as providers. But at the end of the day, it proves one thing – that even ordinary guys can be sexy.

Director John “JD” Deierlein handles the comedy, musical numbers, and the more sensitive moments with flair, but his strategic lighting at the end of the show really shows his skill – and timing. A fraction of a second too late, and we really would see “The Full Monty”. It’s lots of laughs, lots of fun, and really worth seeing – especially for Ladies Night Out.

 

Note: Due to frequent flashes of male nudity, this show is recommended for mature audiences

Now through September 30, 2023

Tickets $26.50 at box office, $3.50 fee online, $2.00 fee for phone order

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

Reviewed by Suzanne Angeo (member, American Theatre Critics Association; Member Emeritus, San Francisco Bay Area Theatre Critics Circle), and Greg Angeo (Member Emeritus, San Francisco Bay Area Theatre Critics Circle)

 

Photos by Bureau Detroit

 

 

 

A Look on the Funny Side

 

Monty Python’s Flying Circus revolutionized television back in 1969, breaking all the rules with off-the-wall sketch comedy and bizarre animated sequences. The legendary comedy troupe Monty Python (Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin) soon branched off into music, films and live shows, including a number of successful musicals.

One of these is “Spamalot”, based on their 1975 film “Monty Python and the Holy Grail” that totally skewers the Arthurian legend. “Spamalot” became a critically acclaimed smash hit, previewing on Broadway in February 2005 and running for four years. Seen by over two million people, it garnered 14 Tony nominations, winning three, including for Best Musical, Best Actress in a Musical and Best Direction of a Musical. It went on to performances and tours worldwide, with a Broadway revival coming up in November 2023. According to Idle, who wrote the book and lyrics (with music by Idle and John DuPrez), the title “comes from a line in the movie which goes: ‘we eat ham, and jam, and Spam a lot.’ ”

To open their 68^th season, Stagecrafters has really pulled out all the stops, talent-wise. Their bright and jubilant presentation of “Spamalot” offers wonderful performances from cast and crew. Everything is top notch – from staging, costumes, song and dance (even real tap-dancing!) to the excellent 14-piece orchestra. Colorful animated backdrop projections really make the show, allowing for scene changes in the blink of an eye and some memorable images.

Trying to describe the plot would be futile. As Jones (co-director of the film version) said: “Spamlot is utterly pointless…it’s full of air.” A souffle of silliness, to be sure. In no particular order, expect flying cows, gross dismemberment, singing plague victims, the mysterious hand of God, a Trojan rabbit, cancan dancers, and shrubbery. Plus a Very Expensive Forest. Oh, and of course, Spam. You get the idea.

Deanna Daly makes a strong directorial debut with her fast-paced, never-a-dull-moment staging and guidance of the 22-member cast (some playing multiple roles). Among the standout performances: Katie Fairgrieve as the Lady of the Lake (“Whatever Happened to my Part?”) has just the right balance of great comedy chops, dance skills and a real belter’s voice. Stagecrafters set design and directing veteran Dan Rose, as King Arthur, can deliver a song and kick up his heels with the best of them, even though his last outing onstage was almost ten years ago. Nick Cupelli as Sir Belvedere, and Jeffrey Weiner as Patsy (a virtuoso on coconut shells), really ham it up with authority.

The rest of the ensemble cast demonstrates some notable dancing (splendid fan kicks) and comedy skills in numbers like “Not Dead Yet”,  and the show stopping “You Won’t Succeed on Broadway (if You Don’t Have Any Jews”), which features a dance sequence that has to be seen to be believed. “Always Look on the Bright Side of Life”, performed near the start of Act II, also closes the show in a dazzling, exuberant finale.

Also deserving a shout-out: choreographer N’Jeri Nicholson; music director Matthew Kush; costume designer Kimberly Wallace and technical director Becca Wisniewski.

Whether you’re a fan of Monty Python or never heard of them, you’re sure to enjoy this joyful, irreverent and hopelessly silly show. For a little over two hours, you get to look on the bright side of life. Well worth a visit.

 

 

Not recommended for young children

Now through October 1, 2023

Tickets $35; $25 on Thursdays ($3 ticket fee for all tickets purchased online, by phone or at the door)

Stagecrafters at the Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org

 

Stagecrafters is a 501(c)(3) nonprofit performing arts organization with support from: Michigan Arts & Culture Council; National Endowment for the Arts; Royal Oak Arts Council; Oakland County; Royal Oak Downtown Development Authority; and DTE Foundation