by Guest Reviewer, Tom Klunzinger

There is great good fun to be had at Ixion Ensemble’s “Begets” – providing you can find it (see below). This show completes the Qui Nguyen trilogy (She Kills Monsters, Fight Girl Battleworld) which celebrates the triumphs of female martial arts, here seen as a samurai template fitted over the fiefdoms of a typical suburban High School.

Our protagonist is Emily (Storm Kopisch), an Invisible Girl who rises to become Shogun through a desire for justice and a devastating knack for martial arts, shadowed at every step by her tough-talking Inside Girl (Jillian Tosolt) who is sometimes surprisingly at odds with Emily’s actual persona.

Speaking of surprises, there are more than a few to be had among the various boyfriends and girlfriends (really?) who pop up to populate this high-energy production.

The decidedly episodic but tightly-written script gives many familiar Ixion faces a chance to shine, however briefly; in no particular order:
*Cole Bennett, an hilariously pathetic nerd with a girlfriend you’ll never forget;
*Sara Frank-Hepfer as the spectacularly clueless woke principal;
*Tobin Bates in a shirt-off Taylor-Lautner-style love scene, remarkable in that he doesn’t look much like Mr. Lautner;
*Rachel Steffens as the ruthlessly domineering Older Sister who’ll stop at nothing to stay on top of the pecking order;
*Kris Vitols as the valiant Vice Principal who sadly believes that academic success should matter.

Kudos to Fight Choreographer Richard Kopitsch who has mixed in all the martial action the script requires, apparently with no injuries to anyone involved. Spectacular moves by Storm!

And now to the drama behind the scenes:

With barely a week to go before opening, Ixion’s performance space in the Lansing Mall became unavailable; but in a neat piece of theater magic, the show has transferred to an otherwise-unnamed space just west of downtown Grand Ledge. 908B West Jefferson which is not really marked, just before Fitzgerald Park. On the south side of Jefferson is the Grand Ledge Ravines Mobile Home Park; you will turn north, directly across, at the sign which says, “Deep Kneads Therapeutic Massage” and the performance space is at the far northwest corner of that building. (For better or worse, it is not in an actual massage parlor.)

You should arrive early as we are told the seating capacity is 47 and last night “Begets” had no trouble attracting a nearly-full house. 

Whatever the plan was, “Begets” is cheerfully low-tech in its presentation, with faux-strobe lights and banners which apparently move and fall of their own accord. But the show works, and well, as one of the sleeper surprises of this season.

RESERVE TICKETS AT https://www.onthestage.tickets/show/ixion-ensemble/63b6d06bf94f12350f796934 Tickets at the door while they last, but SMALL venue, so reservations highly recommended.
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Daddy Long Legs Returns for One Weekend Only

Speaking of unusual performance spaces with limited capacity — Don't miss Peppermint Creek's revival of the excellent musical DADDY LONG LEGS, a love story in the style of Jane Eyre and Downton Abbey, presented at Bestsellers Books & Coffee, 360 S Jefferson, Mason. Tickets are available now for the limited revival run of three shows next weekend, March 24 - 26, with show times Friday and Saturday at 7pm, and Sunday at 2pm. Reserve tickets at https://peppermintcreek.org/event/daddy-long-legs/ and plan to arrive early, as it is general seating.

​The Wharton Center crowd was wowed by an eye-popping romp through the nether world of Beetlejuice - a fun musical about DEATH, inspired by the popular 1988 movie directed by Tim Burton. (Music & Lyrics by Eddie Perfect; book by Scott Brown and Anthony King) It opens with a sad goth-girl ballad, Lydia bemoaning the death of her mother — and then Beetlejuice explodes onto the scene with demonic (de-MAnic?) energy and ghoulish charm — and we’re off to show-stopper after show-stopper. Still, the heart of the sad ballad is not lost and we are rooting for Lydia throughout in her journey to be seen and loved, process her loss and reinvent family.


Lydia was well played by the amazingly talented and amazingly young (first professional show; just graduated high school) Isabella Esler. She was a highlight in a sea of more seasoned professionals. Justin Collette lived up to his Micheal-Keaton-inspired star turn as the title character — delightfully disgusting and a killer song-and-dance man — also obliterating the fourth wall with a host of charming asides.

Brittney Coleman and Will Burton were fun and relatable as the newly-dead couple studying the Recently Dead Guidebook and developing their relationship and personal empowerment. Jesse Sharp was a believable distracted Dad, bulldozing his plans to remodel the newly-dead couple's house and masking the loss of his wife by hooking up with “life coach” Delia played by Kate Mariley - who was an absolute hoot in every scene.
The set was fun, with the wacky-angle house, attic and nether world — all enhanced by animated projections and very emphatic lighting. 

I would call it sort of PG with some adult language and sexual references, and the show is not short, about 2 1/2 hours which includes intermission — but the audience had a generous smattering of children — and quite a few folks in Beetlejuice costume — and everyone seemed to be having a great time.

Beetlejuice runs through March 19. Tickets at http://whartoncenter.com — with matinees almost sold out. Reserve soon!

​Kinky Boots have hit the Riverwalk stage dancing (Choreography Karyn Perry) in this a funny and FABulous musical by Harvey Fierstein and Cyndi Lauper. It’s based mostly on true events: a failing British shoe company was saved by turning to the niche market of drag queen footwear. The show also deals with identity issues in light of fathers’ expectations, and celebrates accepting people as they are.

Director Kelly Stuible Clark has assembled an enthusiastic crew of shoe factory workers and drag queens who learn to love and support each other, culminating in a finale number “Raise You Up/Just Be” that features a wild and wonderful assortment of kinky boots. 

Charlie (Zach Husak) is at loose ends, being coerced by his beautiful and bossy fiancée Nicola (Giselle Ulep) into a London life he’s unsure of. Daddy dies and the failing shoe company falls into his lap. An attempt at chivalry introduces Charlie to Lola/Simon (Jordan Taylor) a drag queen star complaining of flimsy high-heels — and an unlikely partnership is born. 

Miles McEvoy and Camryn Cardwell were sweet representations of the boys Charlie and Lola/Simon had been. Dale Wayne Williams was the poster child for prejudice and the way it can melt. Elaina Coscarella as Lauren, offered a more compatible and supportive partner than the overbearing Nicola.

The ANGELS were a highlight, singer/dancers showcasing their star, Lola, with glitzy flair and panache. Little did I know, 20 years ago, when I did Hansel and Gretel Meet Goldilocks, that my little Hansel would grow up so glam! (Go Ben English! and also other dazzling Angels: Drew Doman, Dayfran Camacho and Drew Birchmeier.)

The set (Andrew Snyder) is a versatile practical backdrop for the fun costumes (Costumer Zoe Schultheiss and her team of Kris Maier, Jana Nicol, Kelsey Southwick and Carin McEvoy)  Carin was also Music Director and led the 6 piece orchestra. Drag design by Delicious was assisted by Aaliyah.

Tickets are selling fast for this extravaganza, so go online or call soon. Remember, Thursday shows are “socially distanced” with only half the seats sold, and masks required for the audience. Other shows are masks optional and potentially all seats sold.
Kinky Boots continues through March 12.

http://riverwalktheatre.com - 517-482-5700

It’s a challenge writing reviews for Lebowsky’s musicals in Owosso because I run out of superlatives. Another amazing hit: Billy Elliot the Musical wowed us with a fabulous and touching experience. Lebowsky's magical combination of talent, resources, hard work and strong direction produces stage magic.

This complex, upsetting and uplifting show began with historic film footage of the 1984-85 coal miners strike in northern England, the backdrop against which widowed miner’s son, Billy, aspires to dance lessons in place of the expected boxing lessons. The rustic, practical set below the screen echoed the real-life miners’ surroundings. (Set design Dirk Rennick, Dan Wenzlick)

Of course, choreography is key — done by both Erica Bradley and Garrett Bradley, who was also the overall director. He has a personal understanding of a boy in dance class as explained in his director’s note. I was impressed by the quality and quantity of dance and the range of emotions expressed, from total cuteness of young, silly ballerinas to some real anger and violence. I particularly liked the number where ballet and the miners' strike were literally combined. 

7th grader Isaac Feldpausch was excellent as Billy, navigating some rocky emotional territory as well as dancing up a storm. Alissa Britten was both gruff and loving as the dance teacher who believes in Billy, both inspiring and evoking the memory of his deceased mother - the angelic Mary Catharine Maurer. I needed a kleenex for the lost-mother scenes/songs.

Lebowsky favorite Michael Windnagle played the full range of Billy’s Dad, angry and macho, but reachable… and Anthony Mandalari was a force as Billy's older brother. All the miners presented a believable community of threatened men, not the “ballet type” but still… Anna Owens was a fun Grandma and Micah Dahlgren was adorable as the Michael, the friend who likes to dress in women’s clothes. The clothing-partnered choreography for him and Billy was a real treat.

Billiy Elliot the Musical runs through March 5. Tickets at http://lebowskycenter.com Definitely worth the drive to Owosso!