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, "Sixty Miles To Silver Lake"

Last night Crystal and I attended Theatre Alliance's staged reading of Sixty Miles To Silver Lake. Ken, who played the father Ky, had alerted me to some of dialogue so I could prepare Crystal.

The material was very mature, allowing both uprorious laughter and some scratchy, ewww moments. The real power of the show is in the lighting and scenic transitions. Although Jamie Lawson read the stage directions, much was lost as just a staged reading.

Ken always does an outstanding job and this reading was no different. Spencer Absher, who played Ky's son, Denny, also did a great job.

I'd love to see this as a full production.

A Night At The Theatre, "tick, tick Boom"

I've been in love with tick tick Boom's music for as long as I can remember. The songs "See Her Smile" and "Why" and "Louder Than Words" are on the Top Played on my iPod. The music is absolutely outstanding.

Triad Stage did a wonderful production several years ago that Sam and I attended. When I heard Threate Alliance was going to do it, I was going to pass on seeing it. That is until I heard David Joy was going to be playing Jon.

Ken loves to tease me about my crush on David and he even gave me his comp ticket to see the show. He also reserved a seat which would offer prime David Joy viewing. I knew I'd be in for a very enjoyable night of Davi theatre.

Crush aside, David was absolutely fantastic as Jon. David has a great rock-n-roll voice so "No More" was especially kickin'. He can tear your heart out with his ballads and "See Her Smile" brought tears to my eyes. If ever there was a role David was born to play, this was that role.

Kaylee Gonzalez played Susan and other various characters. While she wasn't new to Theatre Alliance, I'd not seen her before. She certainly held her own with David. James Crowe played Michael and other various characters.

Overall, it was a great show. I was so thrilled about the production that I didn't even realize my boss was also in the audience. I didn't find out until this morning's training meeting. She also has a crush on David so we spend the first 15 minutes talking about him and the show.

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

A friend of mine recently became a Pure Romance consultant and invited me to her "trial run" party. I was all excited about attending, until I realized her party was the same night as Theatre Alliance's staged reading of God of Carnage.

When I first learned of the cast I was very worried. With Ken Ashford as Michael and Neil Shepherd as Allan, I knew the guys would be great. What really concerned me were the ladies; Steffanie Vaughan was playing Veronica and Sherri Masters was playing Annette. I've seen several of these ladies' shows and I've never been impressed with their acting. Still, I figured working with Ken and Neil would help raise Steffanie's and Sherri's performances.

Within the first 5 minutes I realized it was going to be a very long night. I quickly glanced at the "program" and inwardly groaned to learn there was no intermission. I was stuck.

I never got the sense that Steffanie had read the script, at all, until that very night. She had no characterization and simply read Veronica's lines. She was absolutely terrible; the weakest link in a role that won Marcia Gay Harden a Tony.

Sheri didn't fare much better. Instead of acting, she frequently swung her head which resulted in her hair being tossed around. This made her appear childishly petulant. The fact that she couldn't maintain eye contact, instead looking over the head of her scene partner as if there was an invisible someone (Harvey, maybe?) standing behind them, was extremely distracting. I won't even mention the lame vomiting scene.

Neil was the strongest in this ensemble. Having seen the show on Broadway, I always thought Veronica was the central voice. Not so in this show. Neil made Allan the strongest and most believable voice.

Walking to my car after the show was over I silently berated myself. I had traded fun discussions of adult toys and flavored lubes for an hour and a half of drek.

Theatre Alliance presents 'Sordid Lives' - again

Posted: Saturday, November 24, 2012 11:14 pm
Lynn Felder/Special Correspondent

Just when you thought it was safe to come out of the closet, Mama Peggy goes and ships you off to the loony bin to get you “dehomosexualized.” But that’s OK. She gets the ultimate comeuppance when she trips over her lover’s wooden legs, hits her head on the sink and dies.

Peggy’s Bible-thumping family is horrified, and chaos ensues. This is the stuff of Del Shores’ “Sordid Lives,” which opens Friday at the Theatre Alliance of Winston-Salem.

It’s the third time that Theatre Alliance has done “Sordid Lives,” the third time that Jamie Lawson has directed it, the third time that Gray Smith has played Brother Boy, and the third time that Cheryl Ann Roberts has played (sister) Latrelle.

As explained by Roberts, “Sordid Lives” is a play in four “chapters.” In the first, the sisters — Latrelle and LaVonda (Ally McCauley) get together with their Aunt Sissy (April Linscott) to discuss their mother’s death, argue over a fur stole, fight about whether or not to keep Brother Boy in the mental hospital and convince Latrelle that her son, Ty (John C. Wilson), is gay.

“Our mother has died under very interesting circumstances.” Roberts said. “Latrelle, LaVonda and Aunt Sissy have come to town for the funeral.

“Brother Boy is locked up in a mental institution because he wears women’s clothing, sings country songs and thinks he’s Tammy Wynette.

“Latrelle is self-righteous. She believes that Brother Boy should stay locked up.

“By the end of the show, though, she has kind of come to terms with her son, Ty, being gay. We see her realizing that it’s OK to accept the truth about things. She’s not necessarily a bad guy, but she has a journey that she takes, kind of an awakening.

“Latrelle allows me to be comedic but also to push making her as believable as possible and to push her to make that journey. She’s definitely a three-dimensional character.”

In the second “chapter,” LaVonda and her best friend hold up a bar and force the patrons to put on makeup and women’s clothes.

In the third chapter, we see Brother Boy in a session with his psychiatrist. In the fourth chapter, all the characters meet up at Mama Peggy’s funeral.

“Brother Boy, the role that I play, is in love with Tammy Wynette,” Smith said. “He dresses like her, he sings like her, and he wants to be her. But, out of all the characters, he’s the most true to himself. His mother has put him in a mental institution, and he’s been there for 23 years.

“What is funny, when you see the show, is all the other people are the crazy ones. They say he’s a nut, but he’s who he is. The others are hiding things.”

Writing for the L.A. Times, F. Kathleen Foley called playwright Shores the master of Texas comedy, saying, “His colorful eccentrics are dead on, teetering on a Bowie knife’s edge between the hilarious improbable and the achingly real.”

Smith agreed. “The audience members will go, ‘Oh, there’s my aunt.’ You see people that you know in these characters. Brother Boy may not be so relatable, but all the characters have their moments when they’re very funny.”

The actors cited two reasons for doing “Sordid Lives” a third time.

One, it is likely to make some money for the not-for-profit theater company.

“A lot of times we have patrons who say, ‘Please do this show again.’ ‘Sordid Lives’ is at the top of the list of things that people want to see again,” Smith said. “Plays are a lot less expensive to produce than musicals, so if we sell out a play, we actually get to put a little money in the bank.”

Two, it’s funny and fun.

“It is one of the funniest Southern comedies,” Smith said. “It’s just hysterical.”

Roberts agreed. “The people that I work with — my castmates — are absolutely fabulous,” she said. “We are cracking up watching each other on stage.”

© 2012 Winston-Salem Journal. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

 

An Afternoon At The Theatre, "Nunsense A-Men!"

I'm a little embarrassed to admit that I can't remember if I've ever seen a Nunsense show. I think I saw it back in the 90's at Kernersville Little Theatre, but I can't be sure.

So when Theatre Alliance needed someone to work the box office, I readily volunteered. And, as it turns out, there was an extra seat available. After I finished my box office duties, I slipped into the seat and enjoyed the show.

First of all, you can't go wrong with a cast that includes Mark Armstrong, Justin Hall, Tim Brown, Gray Smith and John C. Wilson. Each of them are talented in their own right. As an ensemble of singing nuns...divine!

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

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.

Facebook Message

• Conversation started April 11, 2010
• 4/11, 12:00pm
  

  Heather Hamby
  

  Trials & Tribulations
  

  
  

  Hi Cheryl,

  I wanted to apologize for not speaking to you last night at the show. Honestly, I didn't know what to say to you that hadn't already been said and I needed time to process my feelings about it.

  I was so enthralled by your performance. It was honest, elegant, simple and graceful. I truly admire your talent and I hope you are as proud as you deserve to be of this show and what you are presenting.

  I worked for two years in a domestic violence shelter right after college and I left because I couldn't bear to see so many stories like Willadean's played out in front of me each day. It wasn't until years later that I realized it is because such sad stories take place behind closed doors and not in front of us each and every day that they can still exist.

  Thanks for telling her story so beautifully.

  Heather
• April 20, 2010
• 4/20, 12:41pm
  

  Cheryl Ann Roberts
  

  
  

  
  

  Heather, I hope you will accept my apology for the delay in my response.

  I received your message via texts just as I was headed to the theatre. It was all I could do to keep from crying. It had been a taxing tech week and I was emotionally on edge going into that Sunday matinee. Your beautiful message threatened to push me over, so I quickly tucked it away.

  I did break down after Sunday's performance, and I tried to stay away from all things relating to Willadean for the 3 days we had off. Heading into the second weekend I knew would be tough. As Mikey and I settled into our roles we both got caught up in the moments; emotions became more raw and the "beatings" more brutal. (Danya and I both gave him as much as we got!) I took yesterday off, to decompress, but am still feeling the ghost of Willadean and still hearing the songs of the Blues Singer.

  But enough about that.....

  Thank you, Heather, for the above message. I'm so very honored by your comments. Your words mean more to me than I can possibly tell you. I stressed myself so much over my desire to do the role justice. I so appreciate you letting me know that I did.

  - Cheryl Ann

Kudos, Trials and Tribulations

What a fantastic job you did in ". . .Trailer Trash. . ." phenomenal!
~ML 4.20
**********
I was very impressed. I thought you were always connected and consistent. I believed you all the way. I felt for your character, was sorry for her and then mad at her. It worked. I thought the scenes between you and Mikey were especially impressive but all of it was a tight and entertaining and a thought provoking show. I laughed, I cried…well you know. But absolutely true. Great job. Wonderful job on a very difficult role.
~HK 4.19
**********
Came and saw your performance...Congratulations, you were wonderful! An honest, sincere, vulnerable and heartwrenchingly hopeful presence on stage. I truly enjoyed watching you.

What a role. You must be wiped! BRAVO!
~AD 4.19
**********
Super, fabulous, amazing show on Saturday night!!!
~NG 4.19
**********
I had to take a shower after the show this evening...I can ONLY imagine how you process this every night! Your performance was outstanding to watch, very touching.
Great work.
~BR 4.15
**********
You are doing an awesome job with Willadean...
~NU 4.13
**********
Oh My Cheryl Ann, the Show was absolutely wonderful!! You, Danya and Mikey were GREAT!!
~RRM 4.12
**********
I was so enthralled by your performance. It was honest, elegant, simple and graceful. I truly admire your talent and I hope you are as proud as you deserve to be of this show and what you are presenting.

Thanks for telling her story so beautifully.
~HM 4.11
**********
Fantastic performance yesterday! You did a beautiful job bringing Willadean to life.
~MD 4.11
**********
Incredible performance! So happy 2 see it!
~SH 4.10
**********

Love and Support

Mallorie, Mikey, Andy, Ken, Mimi, Jamie, Bill and Kathy, Chris, Beth F., Allan and Barbara, Norman, Miriam, Dad, April, Myla, Cathy, Stephen, Angela, Heather, Christina, Dillon and Karen, Beth R., Amy, Mom, Travis and Trina, David and Betsey, Allan, Don and Gina, Brian and Quiana, Michael, Gwen, Michele, Charlene, Natasha, Becki, Joe, Fran and Mary Ann, Hardy, Nanette and Craig...

thank you so very much for your encouragement, your faith, your hugs and your tears, your praise, and especially all your love and support during The Trials and Tribulations of a Trailer Trash Housewife. I could not have brought Willadean to such life without each of you sharing in her journey.

The Journal Review

poignant: Play reflects dark side
By Mary Martin Niepold
SPECIAL TO THE JOURNAL

Del Shores is known for his plays that use humor to expose small towns in Texas and the stereotypical characters who inhabit them -- hypocritical Christians, hard-drinking locals and people who wear prejudice like badges of honor.

His Trials and Tribulations of a Trailer Trash Housewife, which opened Friday night at Theatre Alliance, targets something more demonic: domestic violence.

As funny as some of the lines can be -- give a boozy barmaid an opportunity to trash her own string of five husbands, and you'll get funny wisecracks -- in this play, the tone is darker. Shores places violence at the center of the action.

Willadean Winkler takes beatings from her alcoholic, rageaholic husband, and Shores' dedication of his play says, "To all the ‘Willadeans,' may you find the light."

This is a powerful play, and it isn't for young people under 18. Nor is it for anyone who doesn't want to see and hear violence.

But beatings are the reason that Willadean struggles to find her own identity. "I will not shrivel up and die," she keeps telling herself.

She is alone against her husband -- her teenage daughter died in a car wreck, and her gay, teenage son was kicked out of the house by his father.

Fortunately for Willadean, the other side of violence is liberation, and we see freedom slowly evolve, thanks to the sensitive portrayal of Willadean by Cheryl Ann Roberts.

It is 2005 in Mesquite, Texas, where we also witness strong friendships, like the one Willadean has with her black neighbor, La Sonia, played to the bone by Jae Campbell. Adrienne Smith appears as a blues singer who threads songs through the scenes as a guardian angel-like figure for Willadean. Smith's voice is a beautiful and welcome counterpoint.

But Mikey Wiseman as J.D. Winkler, the abusive husband, is why this play, ultimately, works. His performance is brilliant, and as much as you don't want to see his rage, Wiseman makes his character evolve like a coiled snake who can mesmerize, then strike, then mesmerize again.

Jamie Lawson is the director, Kevin Mundy is an onstage pianist, and Andrew Lopina's set is a true-blood rendering of the inside of a mobile home and the seedy interior of the local bar.

Sales from popcorn and drinks benefit the Family Services Shelter for battered women. It is a fitting reminder of the story that Shores tells from a trailer park, which could be from anywhere.

Theatre Alliance presents The Trials and Tribulations of a Trailer Trash Housewife today and next Sunday at 2 p.m.; Thursday through Saturday at 8 p.m.; and Saturday at 4 p.m. at 1047 Northwest Blvd. Tickets are $16, $14 for seniors and students. Call 723-7777.

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.

The Journal Review

OK, OK: Fighting gets old in play
By Mary Martin Niepold
SPECIAL TO THE JOURNAL

Put a group of women together in the fellowship hall of a Texas church, watch them throw hissy fits and tangle over past slights and present insults, and you've got the makings of the latest Del Shores play, Daughters of the Lone Star State. It opened Friday night at Theatre Alliance.

Shores, who can master down-home humor and does a good job of satirizing small-town customs, is particularly good at skewering customs that reek with hypocrisy. Director Jamie Lawson has already guided Theatre Alliance's staging of two other plays by Shores, Daddy's Dying, Who's Got the Will and Sordid Lives.

In Daughters of the Lone Star State, which features an all-female cast, the target is the uppity attitude, prejudice and hypocrisy of a few local churchwomen in the small town of Lowake, Texas, 1992.

This particular group at the First Baptist Church call themselves the "Daughters of the Lone Star State," and their motto is "We are the privileged helping the underprivileged."

They may have a well-meaning mission, but on this night right before Christmas, they're struggling with failing membership, the admission of a lower-class woman who married a Mexican, a member who drinks too much, and one who flushes away another member's banana pudding because it's too common. There's even discussion about whether to admit a black member or dissolve altogether.

The plot is thin in this moral tale, but Shores offers his zingers: "Better to leave 'em wanting than wanting to leave" and "I almost forgot I decided to ignore you for the rest of my life."

The problem is that just about all the women can do is fight. Yes, there are some funny lines and some tender moments, but the clawing is relentless. On opening night, the pacing of the play also dragged a bit.

"Daughters" does make its point about prejudice and snobbery, and helping to hold our attention are two wonderful characters. Carol Roan is very funny as "Cookie Hawkins," the original founder who lapses in and out of lucidity. Mostly, Cookie thinks she's Lady Bird Johnson. Cheryl Ann Roberts plays "Virgie Hopkins" in this, her third Del Shores play at Theatre Alliance, and it shows. Roberts is tough, confident and won't put up with much.

Theatre Alliance presents Daughters of the Lone Star State at 2 p.m. today and Nov. 22; at 8 p.m. Nov. 19-20; and at 4 p.m. and 8 p.m. on Nov. 21. Theatre Alliance, 1047 Northwest Blvd., Winston-Salem. Call 336-723-7777.

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.

Rehearsal, Daughters Of The Lone Star State

Rehearsal was again at the scene shop. I was prepared tonight, wearing my Pepsi sweatshirt and polar fleece jacket. Even still my toes were cold!

We have a new Clara Bell. Mimi felt it wasn't fair to us that she can't make rehearsals since she's in Rent, so she dropped out of the show earlier this week. Angela Hodges will replace Mimi. (I saw her in the Collaborative's Summer Showcase. I'm looking forward to working with her.)

Tonight we learned that Lysandra is moving to Asheville, and so she's dropping out! Becki West, who I worked with during WSTA's staged reading of Betty's Summer Vacation, will now play Ima Jean Gomez.

So, here's the current cast list:

Mildred Keifner - Karen Robertson
Liddy Bell Cartwright - Danya Bray
Clara Bell Ivey - Mimi Cunningham Angela Hodges
Darlene Parsons - Clara Yarbro
Lola Faye Barnes - Reba Birdsall
Lois Wheelis - Maggie Gallagher Betsey Pugh Charlene Watkins
Cookie Hawkins - Carol Roan
Ima Jean Gomez - Lysandra Sykes Becki West
Vergie Hopkins - Ally McCauley Cheryl Ann Roberts
Sharon Johnson - Natasha Gore
Doll Johnson - Kiki Fisher Lauranita

We were off book for the first time, and I did much better than I thought I would. I did call for lines a few times, but at least I knew it was my line!

Carol has graciously offered her apartment as rehearsal space. While I don't think it will be much bigger, at least it will be warmer!

A Mega Audition and a Rehearsal

There's only one other show in the remainder of Winston-Salem Theatre Alliance's season that I'm interested in doing. And I'm not just interested, I am dying to do one particular role.

As soon as I read Del Shore's The Trials and Tribulations of a Trailer Trash Housewife Willadean went on my "Roles I'm Dying To Do" list. I immediately gave the script to Mikey, who added JD to his list. Since Mikey would be touring during the scheduled auditions, he and I read together for the roles after striking for Sordid Lives. I must say, he was frightening as JD.

I attended this morning's Part 2 Mega Auditions. Sordid Lives castmate April was there for the role of Rayleen, as was a KLT friend, Beth. Another KLT actress, Linda, also read for Willadean. There were two men auditioning for JD; Mike who worked backstage for The Great American Trailer Park Musical and Don, my hilarious castmate in Moonlight and Magnolias. Don was also frightening.

Overall I was very pleased with my readings. We won't find out who got cast until Wednesday. Thank goodness I've got The Laramie Project: 10 Years Later to occupy my mind.

And speaking of The Laramie Project: 10 Years Later, we had a very good rehearsal tonight. There were still some changes to the script, but they were minor. We are all definitely ready to move into the theatre tomorrow night. We need to determine if the work lights will allow ample light to read.

If you haven't reserved your ticket(s) for the reading, you need to go to Paper Lantern Theatre Company and do so NOW. Really, you don't want to miss this very important production.

Sordid Lives Kudos

I just want to tell you how much we enjoyed the play.

I learned recently that my hours at work are being cut and am losing my health insurance (at almost 62 years old) & have been in bummed mode lately. I bought the tickets thinking that I may get a laugh or 2, especially after having enjoyed "Plaid Tidings" so, so much.

Well, I just want you to know how much we enjoyed Sordid Lives and how much it brought my head up. It was the best $25 bucks I ever spent. The whole cast was terrific. The play just lifted my spirits. Thank you all so much for helping me to feel better.
~U 7.10
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A most hearty congratulations to you, Cheryl Ann, for (yet another) amazing performance! And FINALLY discovering and believing you truly are elite as a performer. Take the confidence and run with it. You've worked so hard over the years, and you deserve the respect and the "fame" that comes with the level of achievement you have attained. I am so proud of you!
~M 6.28
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You get betterer and betterer.
~LSM 6.28
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you were phenomenal in Sordid Lives!
~N 6.25
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You seriously did such a good job in the show...I've never seen you act before! SOO good!!
~CR 6.22

Final Performance, Sordid Lives

According to Jamie, we could still have done several more performances and sold them out. But alas, last night was our final show, at least for this year. (I've already blocked my schedule for the 2012 revival!)

The show went well. Similar to opening night, and in the same spot, April went up on one of her lines. She recovered last time, but I had to ad-lib last night. If my actual line had been on the tip of my tongue, I could have simply gone on, filling the space. But I needed April's line to prompt mine. My cover sounded contrived, at least to my own ears. Still, the audience probably never knew.

Also in that scene I caught myself planning out how I was going to vary my delivery to a set of repetitive lines. My planning worked, the audience collectively laughed. But thinking about it took me slightly "out of the moment" and I didn't work up to my usual power ending. Again, the audience never knew the difference.

The audience did, however, see the curtain fall off the window and onto a small table during the funeral scene. GW (Don) drunkenly proclaims that "Life is a big ol pile of shit, Latrelle", exits slamming the door behind him. The force of his slam caused the curtain to fall, pretty much right in front of me. The audience started tittering, and in the two seconds it took me to decide whether to put the curtain back, the tittering became infectious. Remaining completely in character and with a slight nod of my head toward the fallen curtain, I delivered my next line "Well, he's right about that" directly to the audience. They laughed, and I continued on with the scene, choosing to leave the curtain over the table. The audience "got" my intention that it was just one more thing poor put upon Latrelle had to deal with.