

So you know what she's doing, when she's doing it and who she's doing it with.




It's Christmas, it's the 1950s, and four guys with hearts as big as the world appear for a last performance. They're called the Plaids, a singing quartet who thrive on harmony -- in heart and song -- and they're the stars of the holiday musical,Forever Plaid: Plaid Tidings, that opened at the Winston-Salem Theatre Alliance on Friday night.Update 12/21: I was house manager for the show last night. WXII was there shooting a webspot. David and Jamie were both interviewed. Mary Barnhardt was shot handing the "patron" a ticket and I was shot handing the "patron" a program. It was kinda cool.
Put it this way: If you loved to sing and Rosemary Clooney had called to ask you to sing -- or if you had a chance to sing backup for Perry Como on his hit television show from the same era -- well, if you're the Plaids, you'd jump at the chance while also offering your own version of a holiday show. And that is what we see on stage.
The Plaids make it up as they go, so theirs is a holiday show unlike any other.
Carols, a few hymns, doo-wop dancing and some hits of the times -- everything from "Sh-Boom" to "Mambo Italiano" get their own Plaid version from these lovable singers.
Hosannas get thrown into the lyrics of ballads, and the popular Harry Belafonte hit, "Day-O," somehow comes out with a Christmas message, complete with grass skirts and maracas.
Laughs, puns and pratfalls round out the fun.
Written by Stuart Ross, Forever Plaid may sound confusing, but it's not, because the storyline is this: A quartet of just average Joes wants everyone to be happy, and they'll sing and dance their hearts out to make sure it happens.
Their names are Frankie, Sparky, Jinx and Smudge, and their true mission is "to make people feel cozy."
The rigors of singing and dancing non-stop are daunting, but each of the four actors handles solos admirably, while never overshadowing his buddies.
Gray Smith appears as Frankie, Craig Faircloth as Sparky and Neil Shepherd as Jinx.
The standout is David Joy as Smudge, the Sartre-quoting intellectual in the bunch who deadpans his way into your heart.
Director Jamie Lawson goes for big laughs in his remake of television's popular The Ed Sullivan Show that trots out everything from stuffed dogs being thrown through hula hoops to Groucho Marx and the singing Chipmunks.
Music director Travis Horton demonstrates fine talent with the keyboard, and we get to see his musical trio on stage.
If you lived through the '50s, you'll wonder how you ever got through all this the first time, but you'll definitely have a good time revisiting when it's the Plaids taking you there.
Harmony, they'll tell you, is something we can all create.
It wasn't just because we couldn't get tickets to see The Santaland Diaries. Dick Strohmeier was in Black Comedy, along with Chuck Powers. So Ken and I decided to attend opening night. GREENSBORO - With two minutes before the start of Open Space Cafe Theatre's production of "Blithe Spirit," I realize that with the exception of my date and the 12 other audience members sitting in the room, no one else was coming.
That's when Open Space's founder and artistic director Joe Nierle took on the difficult task of greeting such a paltry audience.
"As you can see," Nierle said, "the economy has begun to affect us also."
Then the play began, and I realized that even if the economy weren't in a downswing, the low turnout would have been just as well. With no less than two intermissions, the three hours and nine minutes it took to sit through "Blithe Spirit" was a gauntlet of endurance. There were few instances where this stuffy comedy about members of the British upper class dealing with a supernatural calamity gagged with signs of life.
For the most part, it was painfully dead.
The focus of writer Noel Coward's play is married couple Charles (Fred Nash) and Ruth (Cheryl Ann Roberts). A widower and widow, they open the play discussing their former marriages.
Meanwhile, Charles, who is a writer, is planning to take part in a seance so he can do research for his upcoming mystery novel. Add Charles' discussion of his late first wife Elvira to this scenario and it doesn't take a rocket scientist to guess that she will soon materialize and create all kinds of chaos on the married couple's lives.
It was Nash who delivered the most well-crafted performance of the show. His refined British accent sounded real enough to fool the Queen.
By the second act, he made it clear that he was the measuring stick by which all of his castmates should be compared. Co-stars Roberts, Betsy Brown and especially Jane McLelland fared well, but the rest of the cast was woefully lacking.
As the show's other wealthy British couple, Mary Janca and especially Michael Henry Carter, changed their accents more often than they did their costumes.
But the show's biggest sore thumb was actress Shelly Segal. For starters, Segal didn't seem too convinced with what was happening on stge. As the titular spirit, Elvira, she seldom made eye contact with her co-stars and continued to wave her nightgown back and forth like a small child in a Christmas pageant.
Was this a case of misdirection? I couldn't say, but Segal also was cheating towars the audience so much during the play that it encroached the fourth wall.
As I suffered through one of the more difficult scenes, I started to think that perhaps this was simply a case of a company doing the wrong play at the wrong time.
After all, with unemployment on the rise, it's truly difficult to sympathize with a character who says, "Servants are awful aren't they? Not a shred of gratitude."
Indeed, if local theatre is to survive an impending recession, arts groups would do well to seek out stories that will engage the rising number of groundlings hard-pressed to afford tickets.
Four years ago today a dream became a reality as the Children's Museum of Winston-Salem opened its doors.