​The Good Doctor is playwright Neil Simon’s tribute to Anton Chekhov, a collection of independent stories, set in 19th century Russia - comedic, but with a dash of pathos (especially the Too Late for Happiness scene.) Perhaps this air of wistfulness is because it was written in 1973, shortly after Simon’s first wife’s untimely death from bone cancer. The title of the play refers to playwright Chekhov, who was also a doctor in real life.

The show has ten scenes and 21 characters - though this LCC version only presents eight of them performed by nine actors, without intermission in about 90 minutes. It’s a great vehicle, offering an array of little showcases for an assortment of actors. This is not the first time it has been the finale of the LCC Beginning Studio Theatre Class. It was taught/directed by Andy Callis (with some help from Anna Szabo on one of the scenes, as Andy announced she was left out of the program.)

I’m sure we’ll be seeing more of these actors, particularly Danny Hogan, the personable “Writer” narrator, who bonds/chats with the audience, and also charmingly steps into the action as “the man who seduces other men’s wives.” Kyle Haggard is also very good, first in agony of a toothache and later as the husband of the seduced wife, and the father taking his son to a brothel. Bobbi Newman displays a wide range of believable characters, topped by her deranged “Defenseless Creature.” Cassidy Greene is also convincing as the ill but impassioned auditioner.

Only ONE MORE SHOW of The Good Doctor — and it’s FREE
at LCC Black Box stage in the Gannon Building (park on Grand; enter by the small door facing Grand on the south end of the building.)

https://lcc.edu/cma/events/

It was another magical evening at the Wharton Center for FINDING NEVERLAND - combining fact and fantasy. (Music and lyrics by Gary Barlow and Eliot Kennedy and a book by James Graham, inspired by the 1998 play The Man Who Was Peter Pan by Allan Knee and his 2004 adaptation Finding Neverland.) This musical balances elements of the fictional Peter Pan story and and the life story of author J. M. Barrie and how he was inspired by the sons of Sylvia Llewelyn Davies.

Billy Harrigan Tighe was a perfect J.M Barrie, frustrated, then inspired, awakened to his inner child and the power of imagination. Barrie’s “inner Captain Hook,” powerfully portrayed by Matthew Quinn (standing in on this performance for John Davidson) challenged Barrie to find the courage to write his own story. Lael Van Keuren was lovely, engaging and touching as the mother Sylvia Llewelyn Davies. All had exceptional singing voices. Matt Wolpe as Mr. Cromer was particularly funny.

The boys were wonderful — especially Connor Jameson Casey as Peter, a role that demands more than the boyish cuteness and energy of his charming brothers, including struggles with what it means to grow up and face life’s troubling realities. There is quite a list of boys circulating through the child roles; check the sign on the way in to see who’s on for your performance. We also saw Colin Wheeler, Wyatt Cirbus and Tyler Patrick Hennessy — adorable and talented, all.

Of course, the staging/lighting/projections/effects were impressive. Of particular note was the storm/pirate-ship production numbers of “Hook” and “Stronger” that truly “shivered our timbers.” Also, the artistic shadow dance of J.M. and Sylvia was beautiful.

This is a show for all ages — about growing up but not letting it get you down — maybe helping us face life with the imagination and creativity and child’s-eyes that can ease life’s inevitable losses. 

Finding Neverland continues at Wharton Center’s Great Hall through December 17.
https://www.whartoncenter.com/events/detail/finding-neverland

Shakespeare lovers, time to rally — only two shows left of LCC’s Black Box production of ALL'S WELL THAT ENDS WELL performed by 3rd Semester Shakespeare Studio Class, directed by Mary Job. A spirited cast of 18 breathes varying degrees of life into this convoluted comedy where a worthy woman Helen (Sommer Bouknight) is spurned by her coerced husband Bertram (Jason Durr) but finds a tricky way to make all things “end well”.

Mary has the cast expertly choreographed juggling blocks and shapes on a plain but practical two-level set, efficiently transporting us from kingdom to kingdom to battlefield, etc. The costumes set the production in “the 1950’s of romantic comedy” and the period songs before the show evoke that era. Scene change music (sound design Quinn Kelly, Nicole Gabs) effectively promote the pace and the mood. 

Mary’s director’s notes are interesting and helpful, noting parallels between the possibly “antiquated” mores of the 17th century, and the “wish fulfillment and inversion fantasy where we root for improbable outcomes that meet our fondest popular fantasies” that is prevalent in romantic comedy movies of later eras… and even today.

As many of you know, I am not a Shakespeare lover — just not bright enough or prepared enough to process the period/poetic/archaic language - maybe if I read it in advance? (I felt comforted that I was not alone, when I overheard someone behind us say, “I never knew the story of this show,” and his companion remarked, “I still don’t know it.”) 

I did check out the Wikipedia summary in advance, so I wouldn’t be totally in the dark, and the actors were very clear on their diction (I particularly enjoyed the dignity and presence of Nicole Yabs as the Countess, the pretension and desperation of Tyler Frease as Parolles, and the campy jestering of “Fool” Frankie Nevin) but I still didn’t understand the meaning of half the lines.

So if you are a Shakespeare fan, don’t miss this free show! (Donations accepted for LCC theatre scholarships) There are two more performances - 8pm Saturday and 2pm Sunday.
LCC Black Box Stage
168 Gannon Building
Park on Grand Avenue and enter by the small door facing Grand, on the south end of the building.