Suzanne Angeo

 

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 Sean Carter Photography

 

A Man-Eating Plant With Plans

To kick off their 56^th season (and just in time for Halloween), Meadow Brook presents the grisly, goofy comic book of a musical called “Little Shop of Horrors”. Sometimes raunchy, always irresistable, “Little Shop” became a cult favorite when it opened off-Broadway in 1982, running for five years. Based on Roger Corman’s 1960 noir-ish film of the same name, it was adapted for the stage into a big, raucous musical and garnered numerous awards, due in large part to the catchy songs by Howard Ashman and Alan Menken, who drew heavily from early Motown, Doo-Wop, Rhythm and Blues, and pop ballads.

The time and place: The early 1960s, the 21^st of September, on Skid Row. Down-on-his-luck flower shop owner Mr Mushnik (MBT veteran Chip DuFord) and his shy, nerdy assistant Seymour (recent matinee understudy Antonio Vettraino) see a sudden turn of fortune after Seymour buys an odd little plant from an old Chinese man one day during an eclipse. When he brings it back to the shop, his new discovery turns out to be an alien with an appetite for human blood and plans of – you guessed it – world conquest! The plant, who Seymour names “Audrey II”, keeps bellowing “Feed Me!” in a gutsy contralto. Seymour ends up making a Faustian bargain with his greedy friend. The human race is under threat. Sounds like fun, yes?

Seymour’s secret, unrequited crush is fellow employee Audrey (Katy Kujala), a girl with self-esteem issues and a weakness for bad boys. She talks fondly of her “semi-sadist” motorcycle-riding dentist boyfriend Orin (Dan Fenaughty). He keeps her happy with handcuffs and black eyes.

DuFord and Vettraino are a great team, especially in their tango number “Mushnik and Son”. Kujala and Vettraino have some wonderful duets, like “Suddenly Seymour”, where Vettraino’s fine voice is showcased. Kujala really shines as a singer in the lovely ballad “Somewhere That’s Green”. Her longing to escape Skid Row to a Donna Reed world of tidy houses and domestic bliss is incredibly touching. But the real show-stopper has to be Fenaughty, when he makes his first appearance onstage with his number “Dentist!”. He’s a quirky combination of Elvis and the Marquis de Sade, with groovy moves and a superb voice.

Sade Crosby, Meka King and Destyni Williams as Ronette, Crystal and Chiffon form a sort of girl-group Greek chorus, appearing at just the right times to offer sympathy, guidance and fabulous vocals. They help establish the downtrodden locale, where the residents of Skid Row seem to have given up on happiness. Director Travis Walter says it best: “We may not all be stuck in a rut in Skid Row, but everyone has aspirations and desires that are just out of reach. These characters give us something to root for, and as campy and funny as the show might be, at its center it has an abundance of heart.”

In most productions, the fiendish plant is usually voiced by a male singer, but in an interesting twist, MBT’s version is performed by a lady who can really belt ‘em out – Tamara Della Anderson. She gives powerful voice to Audrey II, gliding effortlessly between bluesy tunes and rock’n’roll. Not to be forgotten: the man behind the plant, puppeteer Tyler Bolda, who must have fantastic vibes in his arms and legs!

The five-piece band sounds much larger than it is, directed by Zachary Ryan. The versatile flower shop set by Jen Price Fick is perfect for the time and place, and converts to street scenes, dentist office and other locations with a simple curtain.

Walter’s many creative choices keep the show’s pacing lively, with relentless energy that keeps the audience fully engaged. Whether you’re a fan of sci-fi, campy horror or just great music, this show is sure to please!

 

Now through October 30, 2022

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)

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

 

Photos courtesy of Sean Carter Photography

 

Lyrical, Lovely “Ladies” in North American Premiere at MBT

 

If you need a break, there’s no better way to decompress than going to see “Ladies in Lavender” at Meadow Brook Theatre. Based on an Edwardian-era short story by best-selling author William Locke, this sweetly sentimental and poignant tale found its way onto the big screen almost a hundred years later, starring those famous Dames, Maggie Smith and Judi Dench, with a screenplay by Charles Dance. In 2012 the story was adapted yet again, this time for the British stage by Shaun McKenna, touring the UK to rave reviews. The creative team at Meadow Brook spent almost ten years in pursuit of the license to produce this rare, small jewel of a show, and now here it is, seeing its North American premiere at MBT.

It was well worth the wait. The setting is the windswept Cornish coast a few years before the start of World War II, at the remote seaside home of two unmarried sisters in their golden years. Their housekeeper, their radio, and occasional excursions to the nearby town are their only connections to the outside world. They share memories of lost love and longing, but seem content with their life. Until one stormy night, when their world changes forever.

A mysterious young man is washed up onto their beach, unconscious and injured. He’s bundled up into bed, the local doctor is called. He speaks no English, and they soon learn he is from Poland, swept off of a ship bound for America. The two ladies find a new mission in caring for and spoiling their castaway visitor. But he has a secret, and an amazing talent that serves as the fulcrum of the story – a story of the real meaning of love, of loneliness, of letting go and in doing so, finding happiness.

Ruth Crawford and Mary Robin Roth as sisters Janet and Ursula Widdington deliver endearing performances, full of charm and whimsy. Their no-nonsense housekeeper Dorcas, played by Stephanie Nichols, keeps them down to earth. Much like Sinbad the Sailor from the Arabian Nights, young Andrea Marowski washes ashore and into their lives. As everyone gets to know him, he unwittingly stirs up long-buried feelings and heartbreak. Jacob Ryan Smith brings sincerity and incredible energy to this pivotal character.

Dr Mead, recently widowed, is warmly portrayed by Phil Powers. The gentle, middle-aged doctor is smitten with Olga, the beautiful but much-younger tourist, in a fine performance by Cheryl Turski. But Olga has eyes for the handsome, romantic Andrea. And so does someone else.

The Arabian Nights is recalled in the musical score, as well. Excerpts from Scheherazade, the 19^th-Century Russian symphony, weave in and out of the story like the fragrance of a rose, working its magic, with splendid violin music by off-stage artist Allison Rhoades.

This has to be one of director Travis Walter’s finest works at MBT. The deceptively deliberate pacing and low-key performances in the opening scenes lead to a graceful build and a rewarding conclusion. The cozy set by Jenn Price Fick and lighting by Kerro Knox 3 evoke a happy life by the seaside. A cyclorama serves as the ocean sky, with ever-changing clouds and light, a beautiful effect.

“Ladies in Lavender” is utterly romantic yet bittersweet, and makes for a wonderful experience.

 

 

 

Now through April 10, 2022

Tickets $36 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

Note: Due to the ongoing pandemic, please check the Meadow Brook Theatre website for the latest information on efforts to keep everyone safe.

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 courtesy of Bryan Clifford

It’s A ‘Wonderful’ Homage to Auld Lang Syne

 

It’s that time again…for singing carols, giving gifts, warm memories. We look back not only on the year that just passed (which had more than its share of stress), but also on rose-tinted days gone by. Ah, nostalgia…

Continuing their celebration of 75 years of outstanding live theatre, Avon Players hits the spot with just the right holiday treat: “It’s a Wonderful Life”, Frank Capra’s classic film favorite from 1946, this time presented as a radio play that captures the era. Adapted from the film for the stage by Joe Landry, the message is universal and timeless, helped along with some angelic intervention. It tells the story of George Bailey, the embodiment of innocence, imagination and optimism. His hopes are dashed time and again, and finally, in desperation, he wishes he had never been born. Despite some dark themes, this is a story of true faith and friendship coming to save the day, with what is arguably the most heartwarming ending in history.

It’s Christmastime, just after the end of World War II. Radio station WAVN in New York City is about to go on the air with a coast-to-coast broadcast of a live dramatic presentation of “It’s a Wonderful Life”. The show opens with a pantomime of the radio station cast and crew preparing for airtime, in a series of amusing vignettes, some just killing time before the broadcast, others studying their scripts, kids playing.

An old-time radio station is something you don’t see every day, not even in theatre. Avon Players (courtesy of set designers JD Deierlein and Brad Holoday) has built one for us, complete with a flashing “applause” sign and that fabled collection of sound effect devices called “Foley” that recreates everyday sounds, from footsteps on crunching gravel and splashing water to phones ringing, doors opening and closing. Add in great period costumes (Anne Curtis, Sheryl Rissel, Maya Rockafellow), music, and fun vintage radio commercials, and you’re there, transported back 75 years – when Avon Players was born.

Most of the actors – children and adults – are called on to play multiple characters, just like in real radio. It’s fun seeing and hearing them create a different voice and demeanor for each character. No costume changes here, just voice changes. This, and watching the Foley artists do their stuff, is what is so fascinating to watch, let alone following the dramatic developments onstage.

No real surprises for those familiar with the movie (which is just about everybody). The script is almost word-for-word from the film. Director Kevin Curtis keeps the interest up, and the action moving, in this play-within-a-play. Tom Arwady is sympathetic as the beleaguered George. There are solid performances by Dan Muldoon (absent-minded Uncle Billy),  Mark Misch (sweetly goofy Clarence the Angel) and Nikki Mullaly (George’s devoted wife Mary).

Max Schein could have a future in radio. He’s perfect as the golden-throated Announcer, then does a complete character turnabout as the stern Joseph, Senior Angel and Clarence’s heavenly boss. Other notable performances are by Jonathan Farrell (Harry Bailey, Bert, Schultz, Horace the Teller) and Richard G Marcil (Henry Potter, Old Man Gower, Mr Welch, Cop). During opening weekend, parts of the show seemed under-rehearsed, and there were a few uneven performances. Some of the actors didn’t project loudly enough to be heard clearly, all of which should improve with time.

But we can’t get enough of those Foley effects, and the warm atmosphere at WAVN. The effects – and the show – are delightful. There’s no better way for the whole family to get into the holiday mood.

 

Now through December 11, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, 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 courtesy of Bryan Clifford

Murder Mystery Welcomes You Back To Avon Playhouse

 

After more than a year-and-a-half, Avon Players welcomes theatregoers back home with a unique play by a controversial author and plenty of food for thought. Players president JD Deierlein and company have presented many remarkable shows over the years that showcase our amazing local talent. Now, to kick off their 75^th season, they offer “Night of January 16^th by Ayn Rand, the Russian-American writer and philosopher, best known for her groundbreaking novel “The Fountainhead”.

“Night of January 16^th”, a courtroom drama about a sensational murder trial, introduced the novel concept of asking members of the audience to serve as the jury. There are two possible endings, depending on what the jury decides. The story is crafted as a classic whodunit, with red herrings and plot twists galore, especially near the end.

Rand’s original play was called “Penthouse Legend” and revolves around the alleged murder of Swedish businessman Bjorn Faulkner, a giant of ruthless capitalism who faced bankruptcy. His secretary and paramour, Karen Andre, stands accused. Rand has said she designed the play to illustrate the conflict between individualism and collectivism (much like “The Fountainhead”). This is not clear in its modern-day presentation, which could be due to numerous rewrites over the years. It premiered at Hollywood Playhouse in 1934 as “Woman on Trial” and ran for a month with generally positive reviews. After a major rewrite that Rand objected to, it went on to Broadway the following year and was a moderate hit (especially when celebrities in the audience served as jurors). Since then it has had more rewrites, regional productions and revivals, a film in 1941 and a final, “definitive” rewrite by Rand in 1968.

The action takes place entirely in a New York City courtroom. There is only the testimony of witnesses to tell the story and from which the audience/jury must decide the verdict. A question arises: did Faulkner fake his death?

The opening scene gets off to a good start and is pretty engrossing, but soon the starchy dialogue and inert staging take their toll well into the first act. Without emotional outbursts, a courtroom doesn’t offer much chance for excitement.

A strong performance by Scott Welborn as District Attorney Flint moves the story forward as he compels testimony and grills the witnesses. Hosanna Phillips, as Faulkner’s accused murderer and mistress Karen Andre, spends most of the first act in a silent and sphinxlike pose, showing no emotion, except perhaps distain. When she finally does speak, it’s with one-dimensional anger. Later, on the witness stand, she gets the chance to demonstrate some passion, although she seems to underplay the role more often than not.

Faulkner’s widow, the platinum-blonde Nancy Lee (played for comic relief by Tara Makar), arrives to liven things up. Makar has a good stage presence, with the perfect little-girl voice and tough-girl attitude to take potshots at Karen, her haughty rival.

And at the end of act one, when Avon Players veteran Richard Marcil shows up as wiseguy gangster “Guts” Regan, it really gets interesting. He has some of the best lines, and mugs shamelessly whenever he gets the chance. The act ends with an amazing cliffhanger, and suddenly you can’t wait to find out what happens next. The second act builds on the momentum that carries the show to a lively conclusion. How does it end? The audience decides, and it’s different every night.

This play marks Lia DiFonzo’s directorial debut, and it shows. Dry performances from many of the cast and an initial lack of energy don’t help. In the hands of a more experienced cast and director, with more imaginative stage business, better blocking choices and stronger reactions from the characters, it may be more engaging.

Even with the slow first act, the audience really seems to enjoy being in the theatre again after so long, even while wearing a mask, and most of the seats were occupied. Great period music before the show and during intermission helps set the mood.

 

 

Now through October 9, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, 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 courtesy of Meadow Brook Theatre

           

        At Long Last, Live Theatre! Brand-New “Fancy” Strikes a Welcome-Back Note

                                                   **A World Premiere**

The story of “Fancy” has its origins in the 1969 hit song of the same name by Bobbie Gentry (of “Ode to Billie Jo” fame). The stage musical, in turn, draws from Reba McEntire’s 1990 music video of her chart-topping cover of the song, which provides extra visual and narrative details to flesh out the fictional title character’s life. It’s a classic “rags to riches” tale, in a similar vein as “Coal Miner’s Daughter”.  And because this is Country, there’s plenty of cheatin’, drinkin’, line dancin’ and down-home charm laced with just the right amount of pathos.

Co-librettists Susan DiLallo, a noted theatrical lyricist and writer, and Dan Wackerman, artistic director of Peccadillo Theatre Company in New York, created the book for their new jukebox musical “Fancy” several years ago. It had a two-day developmental lab presentation in March 2017 in New York City. It was never produced, however, until now, at Meadow Brook, under the skilled and watchful eye of director Travis W Walter and company. It’s the jubilant season kickoff marking MBT’s eagerly-awaited return to live theatre.

Eighteen-year-old Fancy lives with her dying mother and baby brother in a tiny, run-down shack. Knowing they are starving, with nothing else to do, Mama turns Fancy out of the house.

Mama’s parting words to her confused and frightened daughter? “Be nice to the gentlemen, Fancy, and they’ll be nice to you.” Thus begins her journey from streetwalker to country music icon. As her star ascends, her life heads downhill: her son in prison, her marriage in shambles, she begins to draw closer to her sleazy manager for solace. The real question is, can Fancy ever forgive her mother?

We hear a parade of familiar classic and crossover country hits, made famous by the likes of Hank Williams, Johnny Cash, Merle Haggard and Bonnie Raitt: “Take This Job and Shove It”, “Friends in Low Places” and “He Stopped Loving Her Today”.

Larissa Klinger (“Spitfire Grill”) in the title role has a fine, strong voice well-suited for the wide range of songs, from “Mama He’s Crazy” to “I Never Promised You a Rose Garden”. She has an aura of directness and sincerity that makes her likeable no matter what she does. Her bold and brassy gal-pal Sally, with an eye for the gents, is played by the equally bold and brassy Jacqueline Petroccia (“Always…Patsy Kline”), delivering powerhouse vocals every time. She’s especially good in the lively toe-tapper “Redneck Woman” and “If You’re Going Through Hell”, a rowdy duet with Klinger.

In his MBT debut, lanky Max Falls is convincing as Ned, Fancy’s moody, boozy husband. Besides his strong performance, Falls offers good vocals and moves in some really excellent ensemble dance numbers (choreographer Debbie Williams) like “Long Neck Bottle”, and moving solos like “I Can’t Make You Love Me”. Newcomer Wyatt Cleaveland as rebellious son Travis and MBT veteran Ron Williams (“The It Girl”), memorable as manager Charley, round out the cast.

The first act is slow-paced, but over all, “Fancy” has some nice staging by director Walter, and Phillip Hall’s lighting effects range from mellow to creative. There’s a fine five-piece band directed by Zachary Ryan that accompanies the action. The flexible, bare-bones, rustic set by Kristen Gribben consists of panels on wheels that transform into barrooms, apartments, abandoned shacks, fancy hotels, and the Grand Ole Opry.

There’s a need to better connect the dots, which could be due to holes in the script, like hazy transitions that can make it hard to follow what’s happening. One scene moves from Fancy living on the street to working in a glass factory in the blink of an eye; another scene changes suddenly from a nightclub to her apartment with no explanation; in the absence of a better script, these could have been more clearly defined with lighting or set changes.

The Covid-19 pandemic has had a brutal effect on live theatre (and everything else). The ensemble cast may have been pared down from when the show was first scheduled to be presented last year. In some scenes where Fancy is performing in a concert venue, there are only a few in the cast playing audience members, where three or four times that number would have been more appropriate to simulate a large crowd.

“Fancy”, as it is, is a diamond in the rough. The potential of this show remains unfulfilled, despite the impressive talents of the Meadow Brook cast and crew. Perhaps another developmental lab is in order. But it’s still well worth seeing: Fancy’s compelling story, and the music, linger in the mind long after the show is over. You want to know more, and hear more, about this lady.

When: Now through October 3, 2021

Tickets $36 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

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.

Meadow Brook Theatre is a nonprofit, cultural institution serving southeast Michigan for 55 years, 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 courtesy of Meadow Brook Theatre

The Extraordinary Dreams of Ordinary People

You may just see yourself, or recognize someone you know, working onstage at Meadow Brook Theatre.

“Working” is an enduringly likeable musical based on Studs Terkel’s 1974 book Working: People Talk About What They Do All Day and How They Feel About What They Do.  A celebrated radio personality from the 1950s through the 1990s, Pulitzer Prize-winning author and oral historian, Terkel interviewed dozens of ordinary people all over the country from all walks of life for his book, which offers insight into the often-overlooked “everyday American”.

A few years later, in 1977, Working was adapted for the musical stage, with the book by noted American composer Stephen Schwartz (“Godspell”, “Pippin”, “Wicked”) and writer/director Nina Faso (“Rocky Horror Show”, “Godspell”). Based on the stories of real people and their jobs, it moves through a series of 14 short vignettes revealing the deeply personal feelings people have about their means of livelihood. It also celebrates the joy of meaningful work, although that joy is dished out in small portions.

It premiered in Chicago in December 1977, then on to Broadway in May 1978 where it garnered several Tony nominations and two Drama Desk awards. It had multiple revisions over the years, gaining contributions by many popular songwriters like James Taylor and Lin-Manuel Miranda. The version presented at Meadow Brook is the 2012 revision which has six main performers – three women (Emily Hadick, Yemie Sonuga, Kim Rachelle Harris) and three men (Cory Cunningham, Gregory Rodriguez, Ron Williams). Their characters have no names other than number designations (Woman 1, Man 3, etc). Rounding out the cast are Katie Akers and Tyler Bolda, identified simply as Ensemble.

“Working” is a nice tribute to the working class – the “salt of the earth”. They share their views on the meaning of life and work, from the mundane to the profound. “Brother Trucker” by James Taylor is a folksy, funky number, performed by Cory Cunningham, that stays in your head long after the show is over. “Delivery” by Lin-Manuel Miranda has a lively, Latin-pop beat. Fine vocals by Gregory Rodriguez and company make this one of the best songs in the show.

Craig Carnelia’s “Just a Housewife”, is a stark reminder that after all these years, being a stay-at-home mom is still a thankless job. It’s performed with great feeling by the amazing Yemie Sonuga and the three other ladies in the cast. Yet another highlight is “It’s an Art”, where a waitress (played with sassy sparkle by Kim Rachelle Harris) shares her trade secrets for providing top-notch service. Another notable story-song by James Taylor is “Millwork”, featuring Emily Hadick and the other ladies.

“Joe” is arguably the most touching number by Carnelia. In a powerfully poignant turn by Ron Williams, a retired elderly gentleman finds himself trying to fill his too-long days, struggling to stay relevant to his shrinking world, and ultimately failing.

Even though the musical numbers and individual stories have no real connection to each other, director Travis Walter manages to find a common thread through the incandescent energy of the multi-talented ensemble cast. Starting off as a single unit, they break off into their individual characters, then merge once again to sing the anthems of the American worker with one voice.

This musical was created over 40 years ago, before the internet, computers and social media transformed the workplace. But despite some dated material, the central message of “Working” is timeless and underscores the sometime uncomfortable truth: Work can define who you are and your place in society, for good or bad, and the lack of it can make you feel isolated, useless and irrelevant. But work can also inspire you to dream of a better life.

When: Now through March 8, 2020

Tickets $36 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

Meadow Brook Theatre 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 courtesy of Meadow Brook Theatre

High-Spirited High Jinks

Laughter is the best medicine, and for good reason. It helps us mere mortals cope with the unpleasant and scary things in life. Scariest of them all is the “undiscovered country” that Hamlet talks about in his famous soliloquy, the place from which no one ever returns. Or do they? From Abbott and Costello to Ghostbusters and countless others, the comedy doctors have been busy making death funny.

During especially scary times, in the summer of 1941, Sir Noel Coward’s ghostly comedy “Blithe Spirit” premiered in Manchester and London, to wild acclaim and smashing box office success. Coward served as both playwright and director. It went on to a successful run on Broadway later in 1941, just before the U.S. entered the war. Coward was, and is, one of the most influential and prolific of British talents. Playwright, author, actor, songwriter and performer, he achieved success in nearly every endeavor. “Blithe Spirit” continues to be one of the most enduring and popular plays in his repertoire.

Coward said he purposely crafted the characters in “Blithe Spirit” as unrelatable and cartoonish, all the easier for his grief-stricken and fearful wartime audiences to laugh at them and their predicaments. But there’s substance amid the ectoplasm: Disguised as light comedy, this is really a dark farce, challenging our notions about love, trust and eternity.

At Meadow Brook Theatre, under director Travis Walter’s skilled guidance, the 1940s-era characters are vividly rendered by the actors, with a warm affection and earnestness that makes this such an enjoyable comedy. Fueled by Coward’s sparkling dialogue and crisp action, the time flies.

Timothy Goodwin stars as popular writer Charles Condomine, who‘s looking for inspiration for his next book. He invites a local medium to conduct a séance in his home and ends up with more material than he ever could have imagined. Goodwin’s considerable gifts for witty dialogue and physical comedy are on display, as his glib and nonchalant character gradually descends into frenzy, then acceptance. The medium, Madame Arcati, is played by Lynnae Lehfeldt with a grim eccentricity that builds in volume over the play’s three acts.

Spoiler alert: Charles’ two wives, Ruth (Dani Cochrane) and Elvira (Leslie Ann Handelman), make excellent sparring partners, both in this world and the next. Charles’ first wife, the moody and flamboyant Elvira, has been dead for seven years. Courtesy of Madame Arcati, she appears among the living once again, but is seen and heard only by Charles. None too pleased that Charles has married again, she does her best to sabotage his happiness with Ruth.  Some of the funniest moments onstage are watching Charles trying to talk with the invisible Elvira and Ruth thinking her poor husband has gone bonkers. Cochrane has arguably the more difficult role as Ruth, deftly transitioning from loving wife to skeptic to firm believer with great panache. The showstopper, however, has to be Handelman as Elvira. In her gray makeup and filmy gray gown, she swoops across the stage, terrorizing and teasing one and all. Her performance is a little more one-dimensional (pun intended), but she’s great fun to watch.

Rounding out the excellent cast is Katie Akers as the Condomine’s goofy housekeeper Edith, and Phil Powers and Stephanie Nichols as their friends the Bradmans. Almost like another character, the sweet old Irving Berlin ballad “Always” drifts in and out of the story as a reminder of what was, and what may be.

Lighting by Phillip Hall and costumes by Corey Collins help create a semi-supernatural mood. The simple but lovely set by Kristen Gribbin represents the kind of house you’d feel at home in, even if you’re a ghost. The little blast of music and dancing at the end makes a fun and surprising finish for this very entertaining show.

When: Now through February 2, 2020

Tickets $36 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

 

Meadow Brook Theatre 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 Courtesy of Avon Players

 

 

Comfort Food for the Soul

 

Just like getting together with old friends and family at this time of year, “Forever Christmas” is joyfully familiar and comes with surprises. This sweet and gentle musical revue – an Avon Players original – offers songs, comedy sketches and inspired storytelling that is not unlike a holiday party with some very talented guests.

Recorded music, along with dreamy video projections of snow falling and outdoor Christmas scenes, provides the cast of five singers and four actors a cheerful backdrop. A special appearance by legendary broadcast personality Chuck Daugherty lends a magical touch with his spellbinding narratives of the history of the Christmas tree and the origin of “O Little Town of Bethlehem”. His melodious speaking voice, honed through his many decades on the radio, makes you clearly see the people and places he talks about, and yearn for more.

Five outstanding singers (Sherri Angelotti, Matt Cason, Clayton Hargrave, Kirsten Renas and Lori Smith), each of whom could have their own career in cabaret, blend their voices in beautiful harmonies and vibrant solos. Most of the singers were featured in last season’s spectacular “Hunchback of Notre Dame”. This show is a nostalgia trip for sure: A couple of numbers by the three lady singers recall the Lennon Sisters of the long-ago Lawrence Welk days, and some songs could have been sung by Bing Crosby or Perry Como. Granted, there are some modern twists to old standards, but by and large, this show takes you back to mellower times. Standout numbers include the sparkling “Jing A Ling” and lovely “Breath of Life”, arguably the best in the show.

Bodi Johnson, Katie Jostock, Anthony Sherman and Johannah Steinbrecher-Booker, the four actors doing comedy sketches sprinkled between musical numbers, give their all to the zany mix. There’s funny bits about co-worker crazies, a frenzied visit with Santa, a crabby TV hostess and a brutally frank dysfunctional family.

One critique would be the blocking – the singers have a chorus-line look at times, with minimal choreography. Breaking them up into small groups more often would give the musical numbers more depth and movement between sketches.

Projection design by Bryan Clifford gives just the right effect, as does lighting and set design by the show’s director, JD Deierlein. He’s also spot-on as the vocal director. Deierlein first conceived this show 27 years ago, over the years evolving the cast, music and stories so that now it’s a holiday tradition at Avon Players.

So sit back and relax. All you need to do is enjoy. But just one thing…

As of this writing, all but one of the remaining performances is sold out, but you can call or drop by the box office for cancellations. Or if you’re really lucky, they may decide to add some more shows. Then again, there’s always next year.

Now through December 14, 2019

Tickets $22

Avon Playhouse

1185 Washington Rd

Rochester, 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 courtesy of Stagecrafters

Funny Business at the Baldwin

 

If your idea of a good time is watching gentlemen cavort onstage with their trousers around their ankles, ladies clad only in their (very pretty) underwear and seeing eight different doors slam at regular intervals, then “Noises Off” is for you.

You may have guessed that this show is intended to be a farce, but it is more than that. In its West End and Broadway beginnings in the early 1980s, it was a broadly-textured sophisticated comic spectacle that was acclaimed by critics and audiences alike. On the Baldwin main stage, it’s a pleasant-enough comedy that, as one audience member put it, “has its moments”.

“Noises Off”, by English playwright Michael Frayn, uses the popular play-within-a-play theme. It tells the story of a less-than-competent troupe of actors who are struggling through the final dress rehearsal of a British sex farce called “Nothing On”. Opening night descends upon them in less than 24 hours’ time and it’s not going well. Lines are dropped, errant plates of sardines (yes, sardines) go AWOL and tempers flare between director and cast. Secret romances and wardrobe malfunctions abound.

There is a cast of nine, with six playing the actors in “Nothing On”. The others play the director (Jason Dilly), stage manager (Casey Coulter), and assistant stage manager (Brooklyn Nicole). Stagecrafters veteran Dilly delivers an intense and memorable performance as the wise-cracking, world-weary director Lloyd Dallas, who, as it turns out, has quite the active love life. Making a show-stopping entrance is Jeff Weiner as the eccentric senior actor Selsdon Mowbray, who also happens to be playing the Burglar in “Nothing On”. The rest of the cast is enjoyable in their dual roles, including Julie Fuller, Scott Welborn, Tara Makar, Kenyada Davis and Erica Gunaca.

The flexible set by Obie Burch is a marvel of moving parts. With some simple stagecraft maneuvering, It transforms from the audience-facing set of “Nothing On” to the backstage view of the same set, so we can observe the shenanigans from behind the scenes.

A key source of laughs is, or should be, watching the “Nothing On” actors swing wildly back and forth between  exaggerated histrionics during their rehearsal of the farce, and a more typical comic style when they are dealing with “real life” as they move in and out of character. This much-needed contrast seems to be missing much of the time, although most of the cast has a good grasp of basic comedy and carries it off well.

Director Vince DeRita and his assistant Tony Battle have made this show a simple comedy of errors and nonsensical silly bits, which is a lot of fun as it is. But it could have been more.

 

Stagecrafters is proud to partner with Gilda’s Club of Metro Detroit for the production of Noises Off. Gilda’s Club provides an environment of free support for men, women, teens and children living with cancer as well as their families and friends. Stagecrafters is collecting donations for Gilda’s Club throughout the run of Noises Off.

 

When: Through November 24, 2019

Tickets $23-$27

Where: Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org