An Evening at the Theatre, Becky's New Car

You know that if Kathy Cissna is in a show, it's going to be a great one! It's been such a long time since I've seen her on stage, and she was phenomenal!

Kudos to Ken Ashford and Michael Mitchell. Ken is always a pleasure to watch. I was surprised by Michael's performance. He needs to be on the stage more often! 

An Evening At The Theatre, "Heathers"

Ken had purchased several tickets to Queen City Theatre Company's production of "Heathers." We had seen it off Broadway several years ago, but he wanted Jamie and  Gray to see it for the possibility of Theatre Alliance to produce it. Since it was Mother's Day, Jamie and Gray couldn't go, so I tagged along.

I didn't much enjoy the show when we saw it in NYC. I think it was mostly because we were sitting in the front row, center, so I saw the wig netting, etc. I wasn't able to concentrate on the show because I kept being reminded that it was theatre.

In any case, I loved QCTC's production. KC Roberge was a fantastic Veronica Sawyer and Matt Carlson was wonderful as JD.

The set was very simple, the choregraphy was outstanding and it was directed beautifully by Glenn T. Griffin.

On the way home from Charlotte, I was surprised at how many songs I was quietly humming. "Candy Store" and "Our Love Is God" were two standout numbers.

Overall the production was stellar and I enjoyed the show quite a bit more than I had anticipated.

Journal Preview Article

The Receptionist ranges from humor to provocative questions
Posted: Saturday, April 30, 2016 10:30 pm
By Bill Cissna Special Correspondent

Since its founding in 2013, the tiny Spirit Gum Theatre Company has quickly built a reputation for excellent play selection. Often, the picks haven’t been produced often or they are little-known gems that are hard to find in the Triad.

The company’s latest production, Adam Bock’s “The Receptionist,” is no exception.

Bock’s play, which will be presented at The Actor’s Group in West End, starts with an average morning in a company’s “Northeast Office.”

In that office, Beverly Wilkins (Cheryl Ann Roberts) holds court at the receptionist’s desk. As Spirit Gum’s website says, “She’s the first in, the last out, makes the coffee, manages the office supplies and, of course, answers the phone.”

She also, as on any other day, finds time to gossip with her co-workers — including Lorraine (Britt Cannino) — about their lives and her own.

The routine takes a significant shift when a charming representative appears from the Central Office. Mr. Dart (Latimer Alexander V) has dropped in for a talk with Beverly’s boss, Mr. Raymond (Gregg Vogelsmeier).

Sarah Jenkins, Spirit Gum’s newest company member, is also directing her first full-length play with an adult cast. She studied directing in college, though, and worked with children on two different productions of “The Little Mermaid” last summer.

“I definitely learned a lot about thinking creatively on my feet with 6 to 13-year-olds last July,” she said.

Jenkins said that the show takes a turn partway through the script.

“Without giving too much away, it starts out like the TV show ‘The Office,’ then takes an abrupt turn into ‘1984’ territory. It’s really funny, but with a creepy edge.”

Jenkins was introduced to the script soon after joining Spirit Gum.

“I really love the natural flow of the language and the humor,” she said. “And I find the darker second half of the play to be really, distressingly pertinent, considering some of the current social and political goings-on in the country of late.”

She also decided that the characters were equally interesting. “I found them all to be compelling.”

Roberts, portraying the title character, had read the script, which in turn compelled her to audition. “It’s very much an ensemble piece that challenges the actors,” she said. “It’s not what we say; it’s also what we don’t say that adds a level of intrigue.”

Roberts has acted with a number of the live theater companies around the Triad. Her favorite roles have been Willa Dean in “The Trials and Tribulations of a Trailer Trash Housewife” at Theatre Alliance, Maureen in “The Beauty Queen of Leenane” at Open Space Café Theatre, and originating the role of Ellie in “Conversations in a Café.”

She also sat in the director’s chair for a Greensboro production of “All About Faith.”

“I’m finding that the script made it easy to bring Beverly to life,” she said. “She’s a very open character, in the sense that she’ll tell you what’s going on in her life and provide her opinions and advice about everyone else’s lives, too.”

“Sarah’s an actor’s director,” Roberts said. “She allows that freedom of character discovery in rehearsal, and her notes are spot on.”

Roberts worked with Alexander on “Beauty Queen of Leenane,” and she sees some similarities. “Our scenes for ‘The Receptionist’ have a ‘Beauty Queen’ quality.”

Though it’s her first time acting with Cannino and Vogelsmeier, she thinks the ensemble works well together. “I’m really excited to be working with Britt and Gregg. She cracks me up at every rehearsal, and I’ve seen him on stage several times in the area.”

Jenkins is bringing her extensive experience as an actor to her new role as a director.

“It has been very weird to switch my brain from ‘actor’ to ‘director,’” she said. “I keep trying to remember exactly how I’ve been directed in the past in ways that were helpful to me. I do think that being an actor helps me. I know what little things drive me crazy in rehearsal and try to avoid them.”

Having each ensemble character hold an important position in the story helps, too. “I want to tell the overall story, the big picture, not take on an individual role,” she said.

“The Receptionist” opens on Friday for two weekends. If past Spirit Gum shows are any indication, reservations for the small space are recommended.

Cheryl Ann's Back On Stage

At the start of a typical day in the Northeast Office, Beverly deals effortlessly with ringing phones and her colleague's romantic troubles. But the appearance of a charming rep from the Central Office disrupts the friendly routine. As the true nature of the company's business becomes apparent, 'The Receptionist' raises disquieting, provocative questions about the consequences of complicity with evil.

"A twisted comedy that ripples with creepy currents" - NY Times

 After being away from the stage for almost 2 years, I’m excited to be returning in this show. I’m playing the role of Beverly, the receptionist.

The show opens a week from this Friday and will run 2 weekends. With tickets only $10.00, it’s a very affordable night out with your spouse, significant other, mother, father, sister, brother, non-immediate family members, friends, even a stranger on the street! I don’t judge and everyone could use a good laugh! Plus, it runs less than 90 minutes so there’s plenty of time to grab a(n adult) beverage after the show. (Or even one before the show!)

The venue is small, so if you would like to attend, and I’d love to see you there, please reserve seats viaspiritgumtheatreco@gmail.com. (You still pay at the door.)

There should be a preview article about the show in Sunday’s Journal and you can visit Spirit Gum Theatrefor more information on dates and times.

Preview Article Questions

From: Bill Cissna
To: Cheryl Ann
Sent: Sun, Apr 17, 2016 5:49 pm
Subject: RE: Preview article questions

Cheryl Ann, thank you so much. I believe these answers will work out fine, but if I run short when I get to the final draft, I will let you know!

I especially like, of course, your answer on past performance/directing credits. Those are definitely four of my favorites, too. As you know from seeing lots of shows as we do, some of them are memorable and a number slip into the slippery sands of forgotten memory. “Leenane” and “Trailer Park” are two that have stuck with me since the time they were done, and will continue to until the dementia sets in.

Thanks again, and be well. Looking forward to seeing the show!

Bill

From: Cheryl Ann
Sent: Sunday, April 17, 2016 2:31 PM
To: Bill Cissna
Subject: Fwd: Preview article questions

I answered on the questions below. Let me know if you need more or have questions. 

Cheryl Ann

Sent from my iPhone 

Begin forwarded message:

From: Spirit Gum Theatre Co.
Date: April 17, 2016 at 12:48:09 AM EDT
To: Cheryl Ann Roberts
Subject: Fwd: Preview article questions

Hi Cheryl Ann -

Apologies for forgetting to get this to you before.  These are the questions Bill has for the Journal article - if you'd just send him a quick response when you get a minute, that would be great.  Thank you!

Sarah

---------- Forwarded message ----------
From: Bill Cissna
Date: Fri, Apr 8, 2016 at 3:38 PM
Subject: Preview article questions
To: Spirit Gum Theatre Company

Hello! Here are some questions for Cheryl Ann to help with writing a preview article for the Journal. It would be helpful to have answers, via e-mail, in approximately one week (end of day Friday, the 15^th). As usual, anything anyone wants to add to the prepared questions is welcomed.

1). Had you encountered this script before auditioning? What about “The Receptionist” appealed to you?

I read the script and then decided to audition. It's very much an ensemble piece that challenges the actors. It's not what we say, it's also what we don't say that adds a level of intrigue.

2). What’s your character’s name? What work or research or discussions have you had that helped you know her better? 

My character is Beverly Wilkins. The script made it easy to bring Beverly to life. She's a very open character in the sense that she'll tell you what's going on in her life and provide her opinions/advice about everyone else's lives! Sarah and I did discuss a few choices and I still have a couple of decisions to make. It's been great working with Sarah as she allows that freedom of character discovery.

3). Some of your past roles in the Triad have included

Ohmigosh, so many! Favorite roles: Willa Dean in Theatre Alliances The Trials and Tribulations of a Trailer Trash Housewife, Maureen in Open Space's The Beauty Queen of Leenane, originating the role of Ellie in Conversations in a Cafe for Log-Inn Productions (and having that script published!), directing All About Faith for Log-Inn Production (and having that script published!). (I'm really not sucking up! These are my favorite and proudest moments! Lol.)

4). You know most of this stuff better than I do – anything else you’d like to add about the experience, the cast, the script – anything that doesn’t give away the story?

Lattimer and I worked together in Beauty Queen and our scenes for Receptionist have a Beauty Queen quality. I'm really excited to be working with Britt (she cracks me up every rehearsal!) and Gregg (who I've seen on stage several times). Sarah is an actor's director and she's doing an outstanding job for her directorial debut. Her notes are spot on.

An Evening At The Theatre, "La Cage Aux Folles"

Chad and I saw the show last night and, I must say, this article is spot on. Ken Ashford gave a great performance as Deputy Dindon. As Cagelle Frita, Stephen Rayfield was also one to watch.

The Real Family Values of W-S Theater Alliance’s La Cage aux Folles

September 19, 2014 5:27 pm·0 commentsViews: 371

By Chad Nance

Photos by Matthew Lopina & Dancing Lemur

One of the absolute best aspects of life in Winston-Salem is the stunning quality of talent just free-ranging around to be discovered at unexpected moments. While solid productions and performances are the norm for the Winston-Salem Theatre Alliance, nothing I’ve seen there before prepared me for the joy, the craft, the exuberance, and the passion of their 2014 production of “La Cage aux Folles”.

cast & crew

The production includes two of the best performances in a long run of strong work. Gray Smith as Albin and Chuck King as Georges give empathetic, moving, funny, and technically brilliant performances that manage to not only hold the stage, but also serve to support some amazing back up work by Tyler Carlson as Jacob and Dave Wils as Georges and Albin’s son, Jean-Michel.

The book, based on the French play and film series of the same name, was written by legendary LGBT activist and artist, Harvey Fierstein with music and lyrics by Jerry Herman.  It is a well known story about a gay couple, their love-struck son, and his moralizing, right-wing extremist future in-laws. What director Jamie Lawson and his crew accomplishes with Theatre Alliance’s “La Cage aux Folles” is significant, entertaining, and emotionally satisfying.

Gray Smith inhabits the role of Albin from his hilarious dramatics and deft physical comedy to revealing a heart that has been wounded and broken many times over the years. Albin is the raw nerve of “La Cage aux Folles” as well as acting as the musical’s conscience. Smith has a particular charisma in the role that makes the audience feel both Albin’s pain and his joy. (often within seconds of one another.) He is also more than believable as a popular Cabaret entertainer. Simply, when Gray Smith is on stage in this role it is hard to notice the other performers. It would be more difficult, however, if Smith were not such a giving performer. Not only does his Albin act out and bring the camp, he also listens and loves deeply. It is a bravura performance that will long be remembered for its power and grace. Gray also has an amazing singing voice and the ability to truly express hurt and loss while at the same time projecting strength. His First Act closing performance of “I Am What I Am” is absolutely magnificent and will send you into intermission deeply moved and completely hooked into the lives of these wonderful characters.

The generosity in Gray’s performance gives Chuck King time and space to do his more quiet work as Georges. King is able to make the middle aged night-club impresario’s deep and abiding love for his husband complex and believable. The role of Georges can be played as condescending to Albin or as an exasperated “straight man”. King’s performance is nothing of the sort. While there are repeated references to Albin’s personal sacrifices and efforts to raise Jean-Michel in a loving home, King’s Georges also lives in the service of Albin in a relationship that manages to be romantic, loving, and symbiotic at the same time. King handles all of the heavy-lifting and like Smith turns the cabaret scenes into an entertaining and seductive tour-de-force.

Dave Wils plays Jean-Michel with a soft enough touch that he never comes off simply as an unappreciative prick of a son. A character who could simply come off as a selfish pill instead becomes a three-dimensional human being that parents will recognize. This is a young man trying to find his own place in the world and finding that the constraints that our parent’s realities put on a child are sometimes difficult. In the end, however, Wils plays a loving and proud child who does not “accept” his parents (Georges & Albin both know exactly who they are and don’t need anyone’s approval.) he simply loves them with all of his heart.

Tyler Carlson’s performance as Jacob, the “butler” keeps the laughs coming so consistently that just his presence on stage signaled that something truly funny was about to happen. There is a clumsy sweetness and wicked humor to his performance that reveals a serious talent. Ken Ashford appears late in the second act as the right-wing Deputy Dindon. His physical comedy and willing to go all in for a joke is heroic and one of the funniest moments in the show is his Limbaugh-looking politician running headlong into a troop of transvestites. Charlena Cole’s singing as Colette and Danya Bray’s performance as the put upon Mrs. Dindon further feather this very ample nest of talent.

John Shea deserves special mention. His comic timing, gleeful perversion, and expressive face make his appearances as stage-manager Francis and Tabarro the Fisherman small studies in comic brilliance.

albin and georges

The entire crew of transvestite performers (Les Cagelles) are absolutely magnificent. Their performances are funny, athletic, and supremely entertaining. Rather than simply becoming a faceless group of dancers in drag each of the performers take the time to create a character that is an individual with real personalities and peculiarities.

Music Director Charlie Kurtz and his musicians were tight and skillful. Scenic Designer Thad Templeton and Stage Manager Jamie Lawson have a new gadget in their toolbox that allows them to block and stage “La Cage aux Folles” in a more complex way than past Theatre Alliance productions. A new proscenium, donated by Dr. Maureen and Bob Ihrie, allows for scene changes to remain hidden and provides the performers and director to focus the audiences attention directly to specific moments and bits that have sometimes been lost in the bustle of changing the sets between scenes.

Wig Designer Caitllin Malloy and Costume Designer Emily Mays do yeoman’s work on “La Cage aux Folles”. Some of the costumes and wigs feel like sets unto themselves and without the detailed and meticulous work what comes across as real and authentic. Their efforts make this production the most visually entertaining and exciting that Theatre Alliance has put on for some time.

In the end “La Cage aux Folles” is about family. Not the kind of family that is thrust upon us by birth and blood, but the kind of family that we chose because it is where our heart is at. This is a more authentic sense of family that is truly the foundation of any working, egalitarian community. The decisions made by the characters in “La Cage aux Folles” are sometimes selfish and sometimes heartbreaking. What keeps the darkness at bay and makes this production such a wonderful experience is the bass-line that runs through every word, song, and step?  Love.

A Night At The Theatre - "Into The Woods"

Last night Chad and I attended the Final Dress/Preview performance of Twin City Stage's production of Into The Woods.

I have seen this show a couple of other times, though I must say that Twin City Stage's production is, by far, the best one I've seen. Yes, the performance was riddled with numerous and disappointing technical problems, but the quality of the actors, the costumes and sets allowed me to forgive the lighting, spotlight and mic hiccups.

Overall, the entire cast was very strong. There were two actors who frustrated me with their overacting. I felt the talent of Troy Hurst, who played the Steward, while effeminately funny, was wasted. I much would have preferred to see him in the role of Rapunzel's prince.

There were 3 actors who, in my opinion, gave outstanding performances.

(photo by Daniel Alvarez)

I'll be the first to admit, when I saw the cast list I cringed a bit at seeing that Sally Holmes Meehan had been cast as Jack's mom. I wasn't aware that she could sing and the only thing I'd seen her in, well, I wasn't at all impressed with her performance. From her first to final appearance she was spot on! Jack's mother can come off as a selfish, uncaring bitch. Sally played the role with the perfect amount of moxie and tenderness. Never did I doubt that she had Jack's best interest at heart.

(photo by Daniel Alvarez)

I've recently become acquainted with Sarah Jenkins. She ran lights and sound for our Saturday matinee performance of 5 Lesbians Eating A Quiche and I spent some time talking with her during one of our cast parties. While I've not seen her on stage, I knew she was talented. (Not to mention smart and pretty!) I was blown away by how good Sarah was. It was such a treat watching her! She is a stunning singer and actress. I thoroughly enjoyed watching her Cinderella bloom.

(photo by Daniel Alvarez)

My favorite performance was that of David Joy. Now, I'll admit, I am a bit biased. Like numerous other folks in the Triad area, I've got a little crush on David. It's not just because he's handsome. He's a bonefide talent. He played both the Wolf and Cinderella's Prince in the show. Both roles made me shiver in delight; his Wolf especially. While I'm in no way a singer, I've never wished so hard that I could have played Cinderella instead of Sarah!

An Evening at the Theatre, "Boeing Boeing"

The show's premise is simple. Bernard is an American architecture living in Paris. He's engaged to 3 flight attendants stewardesses: Gloria works for TWA, Gabriella for Alitalia, and Gretchen flys for Lufthansa. Each woman has no idea about the other women due to their flight schedules. Robert, a school chum of Bernard's comes to visit and due to faster airplanes and delays due to fog and weather, Bernard's carefully scheduled lifestyle is in danger of exploding.

I had read the script several years ago, and because I work for an airline, I've always wanted to see a production. I had hoped to see the revival on Broadway, but I never made it. So, I was thrilled to learn that No Rules Theatre Co. was bringing Boeing Boeing to Winston-Salem. I immediately emailed Chad and we made plans to catch the final preview performance. In anticipation, I purchased a copy of the script to read again at the Drama Bookshop in NYC . I was counting down the days to the performance.

I'd never been in the Hanesbrand Theatre and was pleased that there's great legroom and the seats are comfortable. The Boeing Boeing pre-show set was eye-catching. I just knew I was in for a very fun evening!

Within the first 5 minutes, poor Nick Kowalczyk, who plays Bernard, was sweating at the pits. Ultimately that was the only remarkable thing about his performance. Sherry Berg, who portrayed Gloria, had such an affected, very high pitched New York accent, I was immediately put off. Knowing the character doesn't appear again until the second act, I overlooked it.

As soon as Jamie Smithson stepped onstage in the role of Robert, I knew I was going to regret the evening. There's absolutely nothing in the script that describes Robert as a nerd. From costume to characterization, that's how Jamie played him. His Robert was a mixture of Jerry Lewis' physicality, Jim Carrey's facial expressions and a smashup of Josh Gad's and Spongebob Squarepants' child-like vocalization. I was gobsmacked and trapped for the two hour first act.

Chad is usually into overacted farces, so I was surprised to notice that he wasn't laughing. We finally made it to intermission and quickly agreed that neither of us liked the show. We left at intermission.

As we walked back to the car, we both lamented the show. We wondered what the hell Matt Cowart, the director, had been thinking. Matt points out in his Director Notes that stewardesses "required not only an attractive appearance but higher education, fluency in at least two languages, and the flawless mastery of social etiquette." And yet none of his stewardesses were classy. Gabriella, played by Jenna Berk, was boisterious and Gretchen, played by Sarah Olmsted Thomas, was...well, let's just say that her performance left me speechless, and not in a good way. Her German accent was over-the-top (much like her performance) and difficult to understand.

As disappointed as I was with the show, I was grateful for one thing. Since it was a preview performance we only paid $15 per ticket. I'm so glad I didn't fork out a penny more.

Kudos

Absolutely LOVED your play! You did a GREAT job. All thoroughly enjoyed it. Lorraine (little lady in blue top) said she has been to many plays....enjoyed them but would not see them again....except this one....said she would enjoy seeing it again.....good story...well written and very well presented! You picked a good one to come out of retirement for. Really kept us laughing and even made us shed a tear! Great! Great! Great! And thanks for your last lines in your bio....that always touches my heart. Love you, Mom

Cast of "The Dixie Swim Club"

The Stained Glass Playhouse is proud to present the cast for our upcoming production of The Dixie Swim Club.

  

Sheree- Kathy Cissna

Dinah- Jean Wentz

Vernadette- April Marshall

Jeri Neal- Sandy Warren Scott

Lexie- Cheryl Ann Roberts

We would like to offer a sincere thanks to all who came out to audition. We hope to see you in a future production.

SEE YOU AT THE SHOW!

Performance Dates:  May 2, 3, 4, 9, 10, 11, 16, 17, 18, 2014

An Evening At The Theatre

One of my favorite actors is Ken Ashford. If he's in a show, I will try my best to go see it. After a quick chat with him that included an update on a particular costume, I wasn't so sure. If it weren't for Jamie Lawson and Heather Hamby playing the leads, I really think I would have skipped this show. But Jamie and Heather are such a pleasure to watch, that ultimately I decided to watch.

Honestly, I didn't much care for the show. Now, wait and hear me out before you jump to conclusions. Eating Raoul: The Musical is just not my kind of theatre. Very similar to how Refer Madness wasn't my kind of theatre. I guess I'm just not hip enough to really get into the cult campiness these kinds of shows offer.

But there were a great many things I loved about Theatre Alliance's production of the show, starting with the leads. I was blown away by Jamie's performance in Thrill Me and was really looking forward to seeing him back on stage. His portrayal of Paul Bland was spot on, and I enjoyed every minute of his performance, especially the biker outfit. I always, always enjoy watching Heather. She embodied Mary Bland with such empathy and uncanny comic timing. "One Last Bop" was my favorite musical number. Heather's a true talent with such professionalism that she never missed a beat when her ballgown got caught on her heel.

Natasha Gore was another talented standout. Cary Newberry and David Cole just made me smile. (I so want to party with them!) And the set! I loved the dayglo set.

I was absolutely impressed with the costume design by Shayla Henry and Lindsay McWilliams. The Raoulettes looked fabulous, as did Donna the Dominatrix. And Ken's costume that I almost decided to skip, priceless!

An Evening At The Theatre

Earlier tonight I had the pleasure of serving pre-show and intermission beverages to Twin City Stage patrons who were attending the final Friday performance of Dearly Departed. As "payment" for my time, I was able to say and watch the show. And what a delightful show it was!

First of all, I cannot tell you how proud I am of Dillon Robertson's stage debut. He was wonderful! I was also very proud of Beth Frazier, who played Delightful. She remained true to her character without stealing focus.

Ray Stewart as Ray-Bud and Becki West as Suzanne were fun and hilarious to watch. I was so excited to see Ally McCauley and Paul Van Loon. I wished their characters could have had more stage time. The Joy of Life Singers (Katie Abel, Holly Bostick, Kirby Carespodi, and Diana Coe) were, well, a joy.

And I absolutely loved the set designed by Larry Hurych.

An Evening At The Theatre

Mallorie and I attended this 5th show in the 2011 Greensboro Fringe Festival early last night. I enjoyed the show. Mallorie did not.

We both agreed that the show might have been better as a straight play. The story was engaging in and of itself and we felt the music impeded the flow of the story. It did not help that two of the actors were not strong singers. One particular dance number was almost unbearable.

Outside of the musical numbers, what made the show enjoyable was the strong acting from a talented cast. Phil Powell was wonderful as Wellman, Tom Barker was a winner as Joe, and Kalen Gaulden was good as Kay.

My favorite was Laurel Ullman as Sarita. She had the least amount of stage time, but she commanded an indelible presence in flashback movie shots.

An Evening at the Theatre

Last night Chris, Mallorie and I saw just how beautiful life is at the Cabaret. For Theatre Alliance's revival, it's less beautiful and more dark and gritty.

Gray Smith revived his role as the Emcee, and he was outstanding! Danya Bray also reprised her role as Fraulein Kost and I was impressed with the nuances she brought to her questionable character. Tim Brown returned to the Cabaret, though in a different role. For this show he portrayed a despicable Ernst. Cheri Van Loon was the only returning Kit Kat Klub girl.

Jaye Pierce assumed the role of Sally Bowles, and I'm enjoying watching Jaye grow into these leading lady parts. Jaye has a wonderful voice, and while vocally she nailed "Maybe This Time" and "Cabaret," she stood too stiffly behind the mic. I kept hoping she'd let loose and allow the music to power these solo performances.

I was most surprised by Gesh Metz, who played Fraulein Schneider. She breathed such real life into her character, I couldn't take my eyes off her! Except when Mark Armstrong joined her onstage. This was Mark's second time at the Cabaret, though this time he portrayed Herr Schultz. Gesh and Mark were perfectly matched and heartbreakingly sweet. I so loved watching them. (Unfortunately the erroneous Pineapple Dance during "It Couldn't Please Me More" took me out of such a beautiful, romantic number.)

It is a Theatre Alliance show, so of course, there is token nudity. The finale, I could tell, bothered Mallorie. Not because of the boobs and butt shots, but the depiction of the fate of the Jews.

A Night At The Theatre

Stephen and I volunteered to help with concessions so we could see Twin City Stage's All Shook Up for free. We usually man the wine table, but tonight we were in charge of the ice cream. (Actually it's Wolfie's Frozen Custard and it's outta the world yummy!)

I absolutely enjoyed the show! There were so many great things about it, I'll see if I can break it down.

First of all, the set was wonderful. Bland Wade never ceases to amaze me with his sets. Shawn Hooper's lighting design complimented Bland's sets so beautifully. I loved the rich background colors.

One of my favorite numbers was "Let Yourself Go" where garden statues come to life and perform a ballet number. Beautiful choreography by Angela Fuller, and the statue costumes were amazing. The entire time I was transfixed.

Miriam Davie was wonderful as the sexy librarian Sandra. Michele Groneck and Angela Hodges were hoots in their various ensemble roles. Roberts Bass was touching as Jim, and his "Don't Be Cruel" number was too, too funny. Jeremy Kuhn, who I worked with for the staged reading of The Velveteen Rabbit, was very impressive as Dean. I so enjoyed watching him on stage.

Maggie Gallagher almost stole the show with Matilda's "Devil In Disguise" guitar number. I say "almost" because in my opinion it was Danny Alvarez's Sheriff Earl who actually stole the show. Sheriff Earl doesn't speak until the last 10 minutes of the show when he finally has enough of Matilda's antics. He speaks his mind and also professes his love for Matilda. Danny took Maggie in his arms, dipped her and proceeded to kiss her with such passionate abandon. The audience roared!

But it was Lalenja Harrington's portrayal of Sylvia that most impressed me. She is astoundingly talented and has such a beautiful voice. I was mesmerized.

Unfortunately, I did not think the leads really stood out. Darren Fuller played Chad, the Elvis-like Roustabout. Watching him I truly missed the energy and verve I knew David Joy would have brought to that role. Katlyn Shaw, who played the dual roles of Natalie/Ed just seemed too young.

Overall the show was highly energized and entertaining. And the Wolfie's Frozen Custard was the perfect compliment to a great evening.

A Night At The Theatre

Last night I attended Theatre Alliance's Spooky Dog And The Teenage Gang Mystery, an irreverent adult spoof of the Scooby Doo cartoons I grew up watching every Saturday morning. Originally scheduled to be a staged reading, the cast chose to memorize their lines. And with an actual set, props and amazingly accurate costumes, it was a full scale production.

The show begins with the audience being asked for 3 things:

1.) The name of a celebrity
2.) Advice your mom would give you
3.) A personal item

Heather suggested Ricky Martin for our night's celebrity, and the Spooky Dog cast handled the improv well with "Livin' la Vida Loca", "Shake Your Bon-Bon" and Menudo references. (Madonna, Britney Spears and Kathy Bates were suggested celebrities during their rehearsals. I'd have loved to have seen how they handled the latter celebrity.) "Don't put that in your mouth." was the sage advice from one audience member and fit right in with the adult comedy of the show, as did the egg shaker provided by Cheri.

It was an uproariously hilarious show complete with a couple of musical numbers. All embodied their "Scooby Doo" alter egos extremely well, including Nichelle Wright and Stephen Holley as the token villains. But it was Danielle Barnicle's "Daphne" posturing that continuously cracked me up and Sean Farrell's vocalization of "Shaggy" that most impressed me.

A guest appearance by Fred Flintstone rounded out a highly enjoyable show.

Can't Wait To See This

Playing Rent
Mary Martin Niepold
SPECIAL TO THE JOURNAL

Putting one of America's most beloved musicals on stage is a good call for Theatre Alliance. The company that is known for edgy fare expands its horizons and lures MTV and Facebook generations to witness how a musical can speak to them and render stagecraft as relevant as tweeter blogs. Rent opens Friday night.

Rent has been impressively popular since its workshop production in 1994 and its Broadway debut in 1996. Winner of Tony, Drama Desk and Pulitzer prizes, Rent was unstoppable during its 12-year Broadway run, which was followed by a motion picture and tours in the U.S. and abroad.

The story is simple enough: A group of young people living in New York's East Village struggle to keep their art alive while battling menial jobs, crisscrossed romances, the devastation of AIDS and just about every bias that can exist. They used to live together in a loft in the East Village, and their lives have taken various turns. What has remained true for all of them is the idea that we only have today, make the most of it, and love is love, however it looks.

To underscore this message, playwright Jonathan Larson mixes a wide assortment of cultures, socio-economic classes, genders, sexual preferences and ethnic backgrounds in his rock opera. Among the group of friends are an exotic dancer, musician and bisexual performance artist who have HIV, and a drag queen percussionist and philosophy professor who have AIDS.

Some of the songs have graphic lyrics, but there is no frontal nudity in the show, which is recommended for audiences 16 and up.

Larson wrote some 40 songs in his work, which is based on Giacomo Puccini's opera, La Boheme. He spent seven years writing and refining Rent and died unexpectedly from a rare disease shortly before the play debuted on Broadway.

Like his characters, he was an artist determined to make a mark and not sell out, and he waited tables in a New York diner to support himself.

"It's a rock opera, not a rock musical," said Christy Johnson. Johnson, who lives in Greensboro, has a master's degree in Liberal Studies with a concentration in acting from UNC Greensboro. She plays Maureen, a character very similar to herself.

Johnson says she has always wanted to act. Her start was in the sixth grade when she earned the title role in Heidi for the Livestock Musical Theatre Company in Greensboro.

It's been nonstop stage time for her ever since -- and, yes, if she could, she says she would love to live in New York and be an actor there. Just like her character, Maureen.

Maureen is a Southern woman who has left a boyfriend for a relationship with another woman. The man she leaves, Mark, is played by Michael Hoch, a chemical engineer from Clemmons, who loves to act and has been listening to Rent ever since he found a bootleg version of it when he was a high-school kid in Detroit.

"The main theme is there is no day but today," Hoch said. "Live for today. Love for today, because we're not guaranteed tomorrow. Another major theme is that love is not bound by race, or gender or social status. Love is love."

Jamie Lawson, the director and artistic director of Theatre Alliance, appreciates the fine crafting of the play. "I was taught in theater and English writing classes, if it's extraneous, cut it. Rent is a well-oiled machine. It just grinds it out, and a lot of the songs are hummable."

Six live musicians will play from somewhere on the set that is ingeniously arranged on multiple levels to resemble the brick interiors of industrial buildings in New York's lower East side.

And through it all, Rent shows us that friends are also family. They love one another, pure and simple, and sing their hearts out along the way.

Theatre Alliance presents Rent at 8 p.m. Friday and Oct. 26, 28, 29 and 30; at 4 and 8 p.m. on Saturday and Oct. 31; and at 2 p.m. next Sunday and Nov. 1 at 1047 Northwest Blvd. Tickets are $16, $14 for students and seniors. Call 723-7777.

Another Evening At The Theatre

Tonight was opening night for Twin City Stage's The Shadow Box. I read the script back in the early 90's, so I was very interested in seeing it. I volunteered to work concessions so I could see the show for free.

I was aware of the trio of terminally ill patient "stories", so I was prepared for a heavier evening. But I was not prepared for some very lackluster performances.

I was most disappointed in the vignette with Brian (Gregg Vogelsmeier), his lover Mark (Mark March) and his floozy ex-wife Beverly (Gesche Metz). All three actors are seasoned players and yet each failed to bring their characters to believable life. March's attempt was honorable, but with nothing much given to him by the other two, all three were simply "acting" on stage.

Joe (Ken Ashford), his wife Maggie (Star Lee) and teenage son Steven (James Kuhn) featured in another vignette. These actors were a mix of seasoned and "green". The success of this story was carried by Ashford. Both Lee and Kuhn had to raise their game to keep up with Ashford's talent.

The most intriguing, and, in my opinion, the most heart wrenching vignette involved Agnes (Miriam Davie) and Felicity (Carole Midura). Felicity is hanging on, waiting for the arrival of her favorite daughter, Claire, who has been sending regular letters. Agnes explains to us that Claire has been dead for many years. We ultimately learn that Agnes has mistakenly created her own prison, as it is she who authors the letters. Midura's Felicity was barely likeable. Not recalling the specifics of the script I caught myself hoping Agnes would do in her mother! I've long admired Davie for her singing talent, and was pleasantly surprised by her acting ability. I know she has been taking acting classes, and her hard work is definitely paying off.

Michael Cristopher's play won a Tony and a Pulitzer. His movie adaptation won a Golden Globe and several Emmy nominations. Unfortunately, for me, Twin City Stage's production did not rise to award level.

An Evening At The Theatre

While watching The Laramie Project over the weekend, Mallorie asked about Angels in America which was referenced several times in the movie. I didn't know much about the play, other than it was a two-part play, dealt with homosexuals and AIDS and had been made into a movie miniseries with Emma Thompson. Fortunately, Part One: Millennium Approaches was being produced by UNCG. Armed with a free ticket (thank you, Jody!) Mallorie and I caught the show last night.

We are introduced to Prior Walter (Matthew Delaney) and his boyfriend Louis Ironson (Matt Palmer). Prior is developing symptoms of a relatively new, and fatal, disease called AIDS. Louis is wracked with guilt; he cannot remain committed to Prior and watch him die. Harper Pitt (Shay Lydick) is the pill-popping, hallucinating wife of Joe Pitt (Joshua Yoder). Their marriage is falling apart; both suspect he is homosexual. Ray Cohen (Anthony Scarscella) discusses the politics of the time, and assures his doctor that he is not a faggot; he is merely a man who occasionally sleeps with other men. (He also doesn't have AIDS; he has cancer.)

I was most impressed with Anthony's performance. I met Anthony last year during SETC's Fall auditions. He was looking for a grad school. UNCG was very lucky to get him. His portrayal of Ray Cohen was spot-on. Matthew Delaney also turned in a realistic performance, as did Joshua Yoder. And while Shay Lydick's voice was grating at times, her performance was enjoyable.

As of right now, UNCG is not sure it will produce the second part next season. I hope they do. Just as things were getting started, the play was over.

An Evening At The Theatre

Tonight, my Moonlight and Magnolias cast/crewmates were treated to Kernersville Little Theatre's production of Don't Cry For Me, Margaret Mitchell. Both shows deal with the story of how the Gone With The Wind screenplay was written.

Having just closed our production, I tried to view things as objectively as I could. I had also heard this production might be representing NC during SETC's Community Theatre Festival. I tried to watch as if I was an impartial adjudicator.

The set was nice, and it was a very good use of the Folly stage. Bill and Kathy Cissna designed lights, and it was very nice to see more than just off/on at the Folly.

Judith Gillis, who played Mrs. Peabody, was my favorite. She was spot-on in her realistic portrayal of Mrs. Peabody.

I don't know whether it was because it was a Wednesday performance or whether they were nervous because the playwright was also in attendance, but the guys had some line issues. That, combined with very poor pacing, made the production painful to watch at times.

I was also surprised that neither the actors (save Peabody who had at least 5 costume changes) nor the set showed signs of wear and tear during the 7 days. And while Hecht lamented about being starved on a diet of bananas and peanuts, Selznick was the only one who partook. (Peabody must have been very efficient-no banana peels, peanut shells - no litter at all!)

It was a good production for the normal KLT audience, and they were appreciative in their response. I think the overall production, especially the male actors, need some more work if the production is selected to represent NC.