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 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

 

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

 

Photos courtesy of Sean Carter Photography

 

A Man-Eating Plant With Plans

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

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

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

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

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

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

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

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

 

Now through October 30, 2022

Tickets $37 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

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

 

 

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

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

 

Photos courtesy of Sean Carter Photography

 

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

 

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

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

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

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

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

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

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

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

 

 

 

Now through April 10, 2022

Tickets $36 to $46

Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

www.mbtheatre.com

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

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

 

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

Photos courtesy of Bryan Clifford

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

 

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

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

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

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

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

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

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

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

 

Now through December 11, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

 www.avonplayers.org

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

 

Photos courtesy of Bryan Clifford

Murder Mystery Welcomes You Back To Avon Playhouse

 

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

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

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

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

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

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

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

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

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

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

 

 

Now through October 9, 2021

Tickets $21

Avon Playhouse

1185 Washington Rd

Rochester, MI 48306

(248) 608-9077

 www.avonplayers.org

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

Photos courtesy of Meadow Brook Theatre

           

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

                                                   **A World Premiere**

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

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

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

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

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

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

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

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

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

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

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

When: Now through October 3, 2021

Tickets $36 to $46

Where: Meadow Brook Theatre at Wilson Hall

Oakland University

378 Meadow Brook Rd

Rochester Hills, MI 48309

(248) 377-3300

 www.mbtheatre.com

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

Meadow Brook Theatre is a nonprofit, cultural institution serving southeast Michigan for 55 years, supported in part by the Michigan Council for Arts and Cultural Affairs, the National Endowment for the Arts, the Kresge Foundation, the Fred and Barbara Erb Family Foundation, the Shubert Foundation and the Meadow Brook Theatre Guild.