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