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

Photos by Bureau Detroit

 

 

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

 

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

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

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

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

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

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

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

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

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

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

 

Adult themes and language – not recommended for young children

 

Now through November 19, 2023

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

Stagecrafters at the Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org

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

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

A Hilarious New Chapter in the Sherlock Holmes Legend

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

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

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

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

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

Now through October 29, 2023

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

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

 

 

 

 

 

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

Photos by Bryan Clifford

 

 

The Naked Truth

 

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

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

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

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

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

 

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

Now through September 30, 2023

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

Avon Playhouse

1185 Washington Rd

Rochester Hills, MI 48306

(248) 608-9077

 www.avonplayers.org

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

 

Photos by Bureau Detroit

 

 

 

A Look on the Funny Side

 

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

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

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

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

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

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

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

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

 

 

Not recommended for young children

Now through October 1, 2023

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

Stagecrafters at the Baldwin Theatre, Main Stage

415 S. Lafayette

Royal Oak, MI 48067

(248) 541-6430

www.stagecrafters.org

 

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

 

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.

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.

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.

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

 

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?

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 16^th”) 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.

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

 

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

Hilarious and Poignant “Harry”

In its Michigan Premiere at Meadow Brook Theatre, “Harry Townsend’s Last Stand” manages to be powerful, and funny, and bittersweet, all at the same time. It touches on a subject that is relevant to everyone, but that everyone wants to avoid talking about – what happens when we grow old. People are living longer than ever before, as families face the challenges of aging. This new play could be one of the most important works to come along in recent years.

It began life as a prize-winning short story by George Eastman, a retired Massachusetts teacher turned playwright, based on his own family. It changed titles a couple of times, gained admirers in Hollywood and New York, and built momentum in a staged reading off-Broadway. It then opened at the New York City Center’s Stage II to a sold-out performance in early December 2019. It was so popular with audiences and critics that its run was extended to April 2020.

It’s easy to see why. The story is so well written and unfolds in such a charming way, you can’t help but be drawn in. Pathos and sorrow are generously leavened with gentle humor and raunchy wisecracks. There is something so familiar about these people, these situations; the conversations are natural-sounding, the characters are irresistible, and real.

The trouble with Harry, an 84 year-old widower, is that he’s in stubborn denial about his declining health and growing dependence on his two middle-aged children. He’s a dynamo: a former local radio personality who helped build the lakeside community in Vermont where he has lived for many decades, in the lovely house he shared with his late wife. Harry falls a lot but refuses to use a walker. He has major health issues but won’t see a doctor. He does reckless things and scares his family. He has treasured lifelong memories, but can’t remember what was said five minutes ago. He has an endless supply of racy jokes and outrageous comments.

His son, Alan, a successful real estate agent in Southern California, is in Vermont visiting Harry for the weekend. Soon long-simmering tensions between the two boil to the surface. His twin sister (away with her new husband in New York) had been staying with Harry as his caregiver, but it’s getting to be too much for her, and a big change is in the wind. Harry has a decision to make, but doesn’t want to make it.

The two male cast members are effective counterpoints – contrasting personalities in the father/son dynamic that are interesting to watch.  MBT, TV and film veteran Mark Rademacher is simply wonderful as the spirited, gregarious Harry, grappling with the defiant desire for independence and the fear of the unknown. And another MBT and NYC veteran Craig Bentley, as strait-laced, intensely subdued Alan, captures a son’s frustration mixed with love.  Both have great comic timing, a rare talent and really essential to this show.

The set by Brian K Kessler is picture-perfect, representing a lovingly handcrafted home. The dramatic lighting by Brian Debs is a vital part of the story.

Director Travis Walter has done it again – his strong instincts for storytelling, pacing and natural dialogue drive the events. The show’s nearly two hours fly by, and you leave wanting to know more about this family, and how similar they may be to your own.

 

Now through April 16, 2023

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

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

 

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

Photos courtesy of Sean Carter Photography

 

 

Lady Sings the Blues, Steals the Show

 

Continuing their 56^th season, Meadow Brook Theatre offers a sizzling musical revue that should appeal to just about anybody that likes music. While “Blues in the Night” doesn’t have much dialogue, it more than makes up for it in spirit and feeling, expressed through 27 classic songs delivered by four talented performers. Chosen from among the best of the Great American Songbook, this music represents the genesis of popular music today. Director Tyrick Wiltez Jones says: “…if it weren’t for Blues, the music we listen to today wouldn’t exist. Pop, country, jazz, gospel, hip hop, rock and the list goes on.”

Conceived by American theatre director Sheldon Epps, with vocal arrangements, musical direction and orchestration by Chapman Roberts and Sy Johnson, “Blues in the Night” was first presented off-Broadway in 1980, then on Broadway in 1982. It went on to nods for a number of awards, including a Tony for Best Musical, and a Lawrence Olivier Award for Best New Musical on London’s West End.

The setting: It’s 1938 Chicago, birthplace of the blues. There’s a depression on, President Roosevelt is in office, and war looms in Europe. Three lonely ladies, all in separate rooms, and a lone gent, hanging out in the bar, are at a cheap hotel reminiscing about past lives and loves, good and bad. Songs tell the story, from “Blue Blues” (by Bessie Smith) to “Taking a Chance on Love” (from the iconic musical “Cabin in the Sky”) to “Lover Man” (made famous by Billie Holiday) to “Nobody Knows You When You’re Down and Out” (also by Bessie Smith).

The characters are presented as archetypes:  The Woman (Jameela Leaundra), with lots of experience and bitter memories; The Girl (Jackey Good), very young, very hopeful, very disillusioned; The Lady (Angela Birchett), world-weary and wise-cracking, with fond memories of her life onstage and the men in her life; The Man (Parnell Damone Marcano) all smooth moves and a good line, looking for his next conquest.

While the cast is excellent both as an ensemble and as individual performers, the real standout is Birchett, through her stage presence, body language and powerful voice. She is funny, sophisticated and raunchy. Plus she has some of the best lines – and songs! When she sings “Kitchen Man” you sure know what’s cookin’.

The band, led by Musical Director Brian E. Buckner on piano, is worth the price of admission, more than just an accompaniment or backup. With Russ Macklem on trumpet, Don Platter on sax, Jackson Stone on bass and Louis Jones III on drums, they could have a regular gig in any of the best clubs in town. A special shout-out to costume designer Karen Kangas-Preston who provided some of the most gorgeous dresses ever for the lucky ladies in the show.

Nicely staged and choreographed by Director/Choreographer Tyrick Wiltez Jones, with great lighting (Neil Koivu) and set design (Kristen Gribben), “Blues in the Night” is thoroughly entertaining, pleasing in sight and sound. You can just sit back, relax, and enjoy some of the best music of the past 150 years.

Now through March 12, 2023

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

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

 

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

Photos courtesy of Sean Carter Photography

“Birthday Club” is Good, Raunchy Fun

Continuing its 56^th season, Meadow Brook Theatre, located on the campus of Oakland University, offers a delightful Michigan premiere, “Birthday Club” by Minnesota playwright, author and sports star Phil Olson. Several years ago, MBT staged another of Olson’s works, “Mom’s Gift”, starring Cindy Williams (star of TV’s “LaVerne and Shirley”) and one of the current “Birthday Club” cast, Dani Cochrane. Olson specializes in lightweight, slightly risqué but very entertaining comic shows, set mostly in the upper Midwest. They have yet to see the lights of Broadway, off-Broadway, or even off-off Broadway, but they are very popular with community theatre groups all over the US.

The story takes place entirely in the home of small business owner Cheryl, one of five members of a club she and her friends created some years earlier to celebrate their birthdays and to support a dying friend – no men allowed. During each birthday celebration, the ladies really let their hair down and spend their time together dishing dirt, poking fun, complaining about menopause, their kids and the men in their lives, all the while drinking much, much too much. Besides Cheryl, there’s the hugely pregnant Kathy who knows she shouldn’t be drinking but does, anyway, for her own reasons. And Abbie, a homemaker married to a wealthy man, has too much time on her hands. Plus the slightly trashy and flirtatious Emily, looking for the ultimate “brown chicken brown cow” experience, a source of a big part of the laughs onstage and in the audience. If you need to, look it up. You’ll be surprised at the absolutely transcendent cultural significance of this phrase!

The audience surrogate, if there is one, has to be club newbie Sarah, who’s a cultural symbol all by herself as a member of the super-strict “Heemish” religion. According to Sarah, they’re just like the Amish, except the Heemish use coasters. Sarah doesn’t drink, cuss, gossip or even think about sex – even though she’s engaged. The perfect setup for many moments of low-brow humor, lame jokes, and amazing plot twists. Through her, we learn about the other ladies, and of the touching origins of the Birthday Club – the friend who died and whose spirit presides over their gatherings like a cooling breeze.

The cast, all MBT veterans, is nothing short of spectacular, with great timing and really strong characterizations, all vividly drawn in attitude and movement under the guidance of director Travis Walter. This worthy ensemble takes what could be mediocre material and transforms it into something special. In some ways, it’s reminiscent of “The Women”, Clare Booth Luce’s Broadway smash and hit film from over 80 years ago, with an all-female cast who loved to dish and gossip.

Lynnae Lehfeldt as Cheryl leads the way, skillfully balancing snark and sympathy. Sophisticated Abbie, the envy of her friends because she “doesn’t have to work”, is played with lively, likeable charm by Tamara PiLar. Dani Cochrane tackles the role of the expectant Kathy with just the right amount of tough, crusty bitterness, a nice contrast to Sara Kmiec’s babe-in-the-woods innocent Sarah. She’s goofy, naïve but non-judgmental, always chirping and optimistic. Which, naturally, really irritates everybody. Debbie Williams plays mankiller Emily with sexy gusto, strutting her stuff at every opportunity, and soon has all of her friends up in arms.

A really nice touch: At the beginning of each scene, the cast makes a flamboyant entrance (courtesy of choreographer Debbie Williams), one-by-one, dancing to various birthday-themed songs, each in character.

The audience at a recent matinee performance included what looked like many groups of women, seated  together and all having a great time. If you’re looking for laughs and raunchy fun, join the “Birthday Club” and bring some friends.

 

Now through February 5, 2023

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

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

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

 

Photos by Bryan Clifford

A Riveting “Few Good Men”

Joe Danz (left), Chris Stepnitz (center) 

 

In a timely move, Avon Players launched their production of “A Few Good Men” on Veterans Day, November 11. This absorbing show will be of special interest to veterans, the military and their families.

Created by fledgling playwright Aaron Sorkin (written on the backs of cocktail napkins while he was tending bar), “A Few Good Men” had its world premiere at the University of Virginia in September 1989. By the time it was first presented on Broadway two months later, Sorkin had already sold the film rights to Hollywood producer David Brown, on the condition that Brown also produce the play on Broadway. It ran for over a year (497 performances), and then the film went into production for a 1992 release. It’s arguable which version was more successful. But who can forget the iconic line “You can’t handle the truth!” bellowed by Jack Nicholson?

Based on actual events, this intense courtroom drama centers on the approaching court martial of two U.S. Marines, Lance Corporal Harold Dawson and PFC Louden Downey, based at Guantanamo Bay, Cuba. They may or may not have been falsely accused of the murder of a fellow platoon member, PFC William Santiago. Lieutenant Commander Jane Galloway, an investigator from the legal division of the Navy, arrives on the base with a suspicion that the two Marines may have actually carried out a “code red” retribution on Santiago, ordered by someone high up in the chain of command. She endures ridicule and sexist comments from the base commander, Colonel Nathan Jessep – and everyone else, it seems.  She asks to defend Dawson and Downey, but to her bewilderment, an inept attorney is assigned to the case instead – Naval officer Lieutenant Daniel Kaffee. He has a reputation for being a flippant misfit (a Navy man who doesn’t like boats?), careless and too willing to accept plea deals. But Kaffee quickly discovers that Galloway may be on to something. He rises to the challenge, and risking redemption or ruin, he and Galloway begin to unravel the threads of a terrifying coverup.

The wordy, complex script reveals a compelling story that commands your full attention. Noteworthy in the cast: Joe Danz as Kaffee, skillfully evolving his character from a smart-aleck to a committed investigator; Matt Druminski in a vivid, emotional performance as the super-patriot Dawson; Marie Burchi-Skipinski as the doggedly determined Galloway; and Chris Stepnitz as Jessep, who has an especially intense stage presence.

The simple set evokes a courtroom or a command office. Excellent lighting by Nick Frederick enhances the dramatic effect, putting some characters in shadow to drive the story. In Patrick Daniels’ directorial debut, there are good choices that utilize the space and movements of the actors, like making scene changes with lighting only (Example: Danz, as Kaffee, walks briskly across the stage as the lights change and – presto! – he seamlessly walks into a different office). There are impressive effects using silhouettes and voices of offstage actors in cadence calls between scenes. But some characters could be more clearly defined to help make the story easier to follow. And there was a certain lack of military uniformity and discipline in some actors’ portrayals. Some uneven performances allow the energy to sag a bit in places, but dramatic tension builds relentlessly throughout the show nonetheless.

Checking out “A Few Good Men” at Avon Players is a good way to celebrate our military, and enjoy a captivating story of conspiracy and the code of honor.

 

Now through November 26, 2022

Tickets $25

Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

 www.avonplayers.org