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Greg & Suzanne Angeo

Greg &
Suzanne Angeo

“Drinking Alone” by Norm Foster at Avon Playhouse, Rochester Hills MI

By Greg & 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 Avon Players

Luigi Murri, Hosanna Phillips, Patty Hagel, Marie Burchi-Skipinski, Lee Davis

 

 

“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, Marie Burchi-Skipinski

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 16th) 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 77th anniversary.

 

“A Little More Alive” at Meadow Brook Theatre, Rochester Hills MI

By Greg & Suzanne Angeo

 

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

(seated) Noah Barnes, Amber Hurst Martin (standing) Liam Fennecken, Ron Williams

 

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.

Liam Fennecken, Noah Barnes

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).

Melanie Frasca, Liam Fennecken, Noah Barnes

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.

“The Curious Incident of the Dog in the Night-Time”, Avon Players, Rochester Hills MI

By Greg & 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 by Bryan Clifford

 

Christopher on High

 

 

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.

Christopher + Dog

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.

Siobhan + Christopher

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.

 

Christopher + Canis Major

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

 

“A Christmas Carol” by Charles Dickens at Meadow Brook Theatre, Rochester Hills, MI

By Greg & Suzanne Angeo

 

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

A Christmas Carol cast

Dickens’ Eternal Message Endures at MBT

Meadow Brook Theatre returns with yet another gorgeous, glowing production of “A Christmas Carol”. Now in its 41st 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 37th 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.

Marley returns

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.

Spirit of Christmas Present

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.

Merry Carolers

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.

“The Great American Trailer Park Musical”, Stagecrafters at the Baldwin Theatre, Royal Oak MI

By Greg & 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 by Bureau Detroit

N’Jeri Nicholson (center)

 

 

“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 68th 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.

(from left) Killian Elhaz, Alexa Carollo, Kirsten Renas, Aaliyah Flint

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.

Brian Depetris, Erika Fell

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

“Ken Ludwig’s Moriarty: A New Sherlock Holmes Adventure” at Meadow Brook Theatre, Rochester Hills MI

By Greg & 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)

“Moriarty” cast: (back row) Stephen Blackwell, Ron Williams, Jennifer Byrne (front row) Cheryl Turski, Phil Powers

A Hilarious New Chapter in the Sherlock Holmes Legend

Kicking off its 57th 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.

Ron Williams, Jennifer Byrne

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”.

Phil Powers, Ron Williams

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.

 

 

 

 

 

“The Full Monty”, a Musical by Terence McNally at Avon Playhouse, Rochester Hills MI

By Greg & 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 by Bryan Clifford

 

(from left) Patrick Sullivan, Nic Folson, Eric Rodman, Adam Wager, Clayton Hargrave, Matt Cason

 

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 76th 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.

Eric Rodman, Robby Carrigan

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”.

Lori Smith, Matt Cason

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.

 

Joy Oetjens, Caroline Dargay, Eric Rodman

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

“Monty Python’s Spamalot” at Stagecrafters, Royal Oak MI

By Greg & 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 by Bureau Detroit

 

Chris Bateson, Nick Cupelli, Jeffrey Weiner (with coconut shells) Dan Rose, Katie Fairgrieve

 

 

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.’ ”

Dan Rose, Jeffrey Weiner

To open their 68th 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.

 

Wyatt Setty, Chris Bateson, Nick Cupelli, Jeffrey Weiner, Dan Rose

 

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

“Noises Off” at Meadow Brook Theatre, Rochester Hills MI

By Greg & 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)

Photo courtesy of Sean Carter Photography

(Top Row L to R) Cory Cunningham, Cheryl Turski, Ron Williams; (Middle Row L to R) Phil Powers, Stephanie Nichols, Dani Cochrane;
(Bottom Row L to R) Anthony Guest, Jennifer Byrne, Stephen Blackwell

 

A Comic Cataclysm in Three Acts

 

A gentleman hopping up and down stairs with his trousers around his ankles. A lady clad only in her underwear running around in high heels. Seven different doors slamming at regular intervals. You may have rightly guessed it: “Noises Off” is a farce. But in its West End and Broadway beginnings in the early 1980s, it was also a broadly-textured spectacle acclaimed by critics and audiences alike. Meadow Brook Theatre now presents this very silly, very enjoyable farce-within-a-farce to close out its 56th season.

“Noises Off”, which in stage lingo means sounds coming from offstage, was created by English playwright Michael Frayn in 1982. It uses the popular play-within-a-play theme, with the added twist that it’s also observed from backstage in the second act, which is the most fun (and revealing). It tells the story of a hopelessly inept acting troupe struggling to rehearse and perform the touring production of a British sex farce called “Nothing On” set in an aristocratic country home. We see opening night descending upon them in less than 24 hours, and it’s not going well. Lines are flubbed repeatedly.  Plates of sardines mysteriously disappear and reappear. Tempers flare between director and cast. The show moves on to secret romances, pratfalls and wardrobe malfunctions galore. And there’s a surprise wedding in there someplace.

Stephen Blackwell, Stephanie Nichols, Anthony Guest, Phil Powers

This excellent ensemble cast includes nine energetic MBT veterans, some with impressive Off-Broadway and TV credentials. Now this is where things can get complicated: six play dual roles – as the actors in “Noises Off”, they are also playing the actors in “Nothing On”. Phil Powers creates more than his share of funny business as the boozy old trouper Selsdon Mowbray, who in turn is playing the Burglar. Anthony Guest is superbly goofy as dimwitted actor Freddy. He keeps dropping his trousers and getting nosebleeds while trying to play the character Phillip, the owner of the country home. Jennifer Byrne has a smoothly jovial stage presence as the actress Belinda playing the role of Flavia, Freddy’s wife. Stephanie Nichols is charming as Dotty, an older actress playing the Cockney maid Mrs Clackett. She keeps forgetting what she’s supposed to do with those all-important plates of sardines. Notable is the lovely Cheryl Turski as aspiring actress Brooke (playing Vicki, a visitor). Brooke loses her contact lenses as often as Freddy drops his trousers. She spends the rest of her time posing and gesturing lavishly, galloping across the stage in the aforementioned underwear/high heels outfit.  Stephen Blackwell shows his flair for physical comedy as mediocre actor Garry (playing Roger, a rental agent determined to seduce Vicki).

The other three cast members play the director Lloyd Dallas (Ron Williams), stage manager Tim Allgood (Corey Cunningham) and assistant stage manager Poppy (Dani Chochrane). Williams delivers a strong performance as the befuddled director. He’s got quite the active love life that includes Brooke and Poppy and who knows who. Cunningham and Cochrane are especially good as they desperately try to hold everything together, sometimes in tears.

The sturdy, well-designed set by Kristen Gribben is a revolving country home on casters, transforming from the audience-facing set of “Nothing On” to the backstage view, so we can observe the shenanigans from behind the scenes. In all, we see three different versions of “Nothing On”. Act I: the dress rehearsal, where nothing goes right; Act II: the backstage view of a matinee where only some things go wrong (the most entertaining of the three); Act III: the final performance, were everything descends into hilarious chaos. At this point, everyone is moving so fast and in so many directions, it’s a marvel they can even stand at the end of the show to take their bows.

Cheryl Turski, Jennifer Byrne, Anthony Guest, plate of Sardines

There are incredible physical demands on the cast, a wonder to behold. It can also be a rollercoaster ride watching the actors switch back and forth between their farce-style acting to a more ‘realistic’ comedy style. As they move in and out of different characters, this contrast of styles seems to be muted much of the time, although the cast carries it off well.

Kudos to director Travis Walter, who has made this incredibly challenging, crazy show a marathon comedy of errors and nonsensical silly bits. It can be hard to follow at times, but the pacing is frenetic, the timing is spot-on and the energy is high. It does run a bit long at nearly three hours (with two ten-minute intermissions), but the laughs and the non-stop frenzy will leave you breathless.

 

Now through June 25, 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.

“First Date” a Musical Presented by Avon Players, Rochester Hills MI

By Greg & 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 by Bryan Clifford

Hosanna Phillips, Christiaan Lafata, Adam Silorey, Lori Smith, Jonathan Farrell, Emily Brown, Adam Wager

 

Bright and Breezy “First Date”

 

The musical romantic comedy “First Date” may (or may not) be the best place to take a first date. For one thing, there’s controversial subjects, and frank discussions about sex and religion. And for another thing, it’s about everything that can go wrong on a date that’s set up by well-meaning folks who think you’re missing out on life. So for a first date, who knows? But for everybody else…

Starting life in 2012 as a world premiere in Seattle, Washington, “First Date” made its way to Broadway the following year, where it enjoyed a mostly successful five-month run. It was inspired by the personal experiences of writer/producer Austin Winsberg, with music and lyrics by Alan Zachary and Michael Weiner. It has been produced around the world and is very popular with local theatre groups.

Geeky money manager Aaron and the fashionably artistic “serial dater” Casey are meeting for the first time in a trendy New York restaurant, just for a drink, on a blind date. Aaron is almost paralyzed by nerves and a lack of self-confidence. Casey, bitter and jaded, is sure this is all a major mistake. They order, sit down and soon they regret they even came. Visions from the past haunt each of them by turn – family, friends and past relationships make appearances, of course providing an excuse for a series of musical numbers – some raunchy, some funny, some introspective. Aaron and Casey ask themselves: should they stay or leave?

Emily Brown, Christiaan Lafata, Adam Silorey, Hosanna Phillips, Lori Smith, Adam Wager, Jonathan Farrell

Avon veteran Lori Smith (“Hunchback of Notre Dame”) shows off her top-notch voice and strong stage presence in the role of Casey. Her date, Aaron, is played by Adam Silorey with gawky charm in his Avon Players debut.

The other five cast members are identified simply as Woman #1 and #2, and Man #1, #2 and #3, so they are free to assume multiple roles. But some of those roles emerge as standouts: one is Casey’s watchful sister Lauren played, and sung, with polished flair by Emily Brown (“Bright Star”). Another is the versatile Hosanna Phillips (“Night of January 16th”) as the slinky Allison, Aaron’s former fiancée. Jonathan Farrell is dryly funny as the waiter, and Adam Wager (“Clue the Musical”) shows his comic chops in roles like Aaron’s friend Gabe and “The Stoner Guy”.

But the absolute show-stopper has to be the hysterically funny Christiaan Lafata (“The Producers”) as Casey’s “BFF” Reggie, a person of uncertain gender with some of the best lines in the show. His three “Bailout Songs” (especially #3) lift things to a whole new level.

Christiaan Lafata

Together, the five “numbered” performers also serve as a sort of Greek chorus, suddenly springing up from the shadows to burst into song at just the right moment. Some memorable ensemble numbers include “The Girl For You” (oy vey!) and “The World Wide Web is Forever” (you Google me, I Google you). Kudos for clever choreography by Maritone Harte and for Bryan Clifford’s amazing video graphics and projection design. The 7-piece orchestra under the capable direction of David Mety handled the score well, from pop to soft rock to jazz.

A bold and sleekly colorful set, by JD Deierlein and Clifford, represents the New York City restaurant. Four monitors are mounted on the wall upstage that change images and colors to fit the scene, pulsing to the music…a striking effect.

During a recent matinee, the spotlight wandered off-target in the first act and seemed to have a mind of its own. If possible, some performers could more clearly articulate the lyrics, and maybe projecting a bit more for the folks in the back rows.

Witty dialogue by Winsberg and brisk staging by director Ryan Moore make this a very lively and entertaining show with lots of laughs, but it can be provocative, and it’s not necessarily original; some of the scenes feel like Saturday Night Live skits. It has a somewhat predictable story (with a happy ending), but the audience seemed to be having a great time, if laughter and applause are any indication.

Now through June 10, 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