ON THE MARKET
by Guest Reviewer T.E. Klunzinger

This relatively new comedy by Jason Odell Williams opened last night at the Williamston Theatre, and for what seems like a long time you think there’s no plot, just a series of stale old visual set-ups about the dangers of online dating. But then, gradually, it starts to change: it’s a pleasant surprise.

Dani Cochrane deftly explores the full range of emotions as real-estate agent Charlotte, who lost her husband to cancer 29 months ago and has been trying to, well, find herself ever since. She has been helped, or not helped, in her quest by her well-meaning but clumsy co-workers' Diane and Frank, bumbling attempts to play Cupid which only mirror what’s happening in the real world – or is it the other way around?

Yolanda David and Patrick Loos get to play not only Diane and Frank but lots of other characters along the way, subtly deepening their accents and cornball characterizations as the play moves toward its logical denouement. The fact that this works is a true testament to the need to use Equity Actors at the local level.

And as the one character(s) whom you come to realize isn’t really there, Brian Sage shows how indispensable he is to the overall success of the play.

It should be noted that this is the third in as many normal-length plays to open in recent weeks, which have no intermission. Is this because volunteer candy-sellers are a dying breed? Is it because theatre candy is no longer profitable? For whatever reason, the intermissionless play is fast inflicting needless aggravation on the unwary audience member.

Oh, and, the basic plot of this play is: grieving real-estate agent happily finds love. Simple as that. So if you can see “On the Market” by October 22, you should.

Tickets and info at http://www.williamstontheatre.org

by Guest Reviewer T.E. Klunzinger

“Admissions,” which opened last night at Riverwalk, is a cleverly-titled and layered play by Joshua Harmon which not only explores the mechanics and consequences of higher-education administrative policies meant to achieve a diverse student body, but also reveals how the administrators of those policies feel about them, each other, and their own families and friends.

The school in question is Hillcrest prep school in New Hampshire, where the administrators Sherri and Bill have been working for years to get the enrollment up to 20% non-white, but at the same time have been working to get their multi-talented son Charlie into a prestigious legacy school, particularly Yale. This creates obvious conflicts.

​While it would be novel to get an audience to embrace a statistic as the protagonist, that just will never happen; so the default protagonist is the 17-year-old Charlie and what’s to become of him when he disagrees with the worldview of his parents.

Heath Sartorius rarely disappoints his audience; and as Charlie he has several powerful scenes, never more transcendent than in the middle of the play when he gets an e-mail from Yale. His extended monologue is worth the price of admission alone.

As his parents, Emily Clark and Jeff Kennedy try to talk reason to the teenager (!), not always successfully but nevertheless with the strength and sincerity of their lifelong convictions.

Colleen Bethea provides able support as the longtime family friend who just happens to have a biracial son at the school; and Jane Zussman is perfect as the career staffer who’s trying to produce a new admissions catalog but can’t quite get the message on what the pictures within it should look like.

Director Bob Robinson can indeed be proud of this seamlessly acted, well-produced ensemble show, including the comfy, tweedy sets by Leroy Cupp with set dressing and scenography by Ric Sadler, props by Bernie Lucas and lighting by Ted Daniel.

This award-winning script will make you think much about the topics therein and is well worth a visit to Riverwalk, but note – the play runs one hour and 45 minutes with NO intermission.

Admissions runs through September 24. Tickets are general admission and available at the door while they last. Reservations assure admission; arrive early for choice of seats. 517-482-5700 http://www.riverwalktheatre.com

The Minutes - wow. 
This is one of those reviews that won’t tell you much, because you will want to be free of expectations to experience the full impact of this satiric script by Tracy Letts. As Director Mary Job relates in her note, “It begins as a hilarious political sitcom and ends up somewhere in the Twilight Zone.” So true.

The Big Cherry city council meeting is populated by an entertaining assortment of board-member types who deliver the laughs as they scrabble over their various causes and alliances. Mr. Peel, endearingly and earnestly played by Edward Heldt, missed the last meeting because of his mother’s funeral. We share his frustration as his colleagues avoid spilling the beans about what happened to Mr. Carp, a board member mysteriously absent after an incident at the previous meeting.

Ed shares the stage with an all-star ensemble cast: Brandon Arnold, Doak Bloss, Joe Clark, Joe Dickson Daniel Dye, Judith Evans, Matt Land, Gini Larson, Debbie Lundeen, and Rachel Mender. Each one is a distinct delight, and will probably remind you of someone with whom you’ve served on a board or committee. Their stylized “reenactment” of the cherished town legend is a highlight.

I was struck — or maybe tangled — by common threads this script shares with Joshua Harmon’s “Admissions" (which I proudly plug for the subsequent two weekends at Riverwalk.) The plays are very different but share threads of hypocrisy and conflicting values/priorities. Theatre goers who enjoy a spirited discussion on the car ride home should not miss either of these shows.

The Minutes runs September 7 - 10 & 14 - 17 and is performed at Sycamore Creek Church, 1919 S Pennsylvania Ave, Lansing (Peppermint's new performance space at Stage One won't open until October 1). Tickets are available  at https://peppermintcreek.org/event/the-minutes/



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​I’ve got to hurry and write this in hopes that someone might be inspired to take in The Gentleman Caller  tonight at 8pm - or tomorrow at 2 — a very short run for this two-actor tour de force at MSU’s Studio 60.

MSU MFA actor candidates Oscar Rodriguez Quiroz and Stefon Funderburke are brave and vulnerable — and masters of a scary line load — in Philip Dawkins’s "fictionalized and fantasized version of the first meetings of two of America’s greatest playwrights: William Inge and Tennessee Williams.” As Black and brown actors, they present a sort of Hamilton-esque picture of the two white writers, perhaps adding a layer to the homophobic subject matter — or else, who cares? They are wonderful actors, whatever their race, portraying hope and despair and “beautiful pain."

As Tennessee Williams, Oscar is not only a character in 1944 — but also our current narrator/host of “a memory play”. His sassy, seductive charm was worthy of Blanche DuBois as he invited us into the black box set and decorated it with his words. Stephan was a strong counterpart, alternately charmed and repulsed and inspired by his guest.

Director Rob Roznowsk’s note includes the observation “The nerdy fun part for me is that every moment in the show contains an Easter Egg of the works of these playwrights. And yes, we must recognize the privilege and access that these two white men had at the time despite the plays sincerity that sees them as disadvantaged.” 

There are two more shows at MSU Studio 60 Theatre, today, September 2 at 8:00 PM and tomorrow, Sunday 9/3 at 2:00 pm. Admission is free with donations accepted for local LGBTQ+ Centers — so bypass the box office, enter at the northeast corner of the MSU Auditorium near the Summer Circle stage, cross over to the south side of the building and Studio 60 is on the lower level, down the ramp.
And The Gentleman Caller has ONE additional performance at Williamston Theatre on Sunday, September 17th at 7:00 PM. Admission is free but donations for this performance go to Williamston Theatre. 

Content warnings include adult language, sexual situations, and discussion of suicide.