​THROUGH THE LOOKING GLASS is fun showcase for The Studio dance students, but much more than a recital. Director PK VanVoorhees has created a “Wonderland” motif with narrative intros to each dance from Lewis Carroll’s second work in the Alice series. This gives us a thread of story, as Alice follows her two kittens through the looking glass into a magical world onstage at the Hannah Center with magical backdrop projections and imaginative costumes.

This format gave fun roles to dancers of all ability levels. The little ones made adorable kittens, hedgehogs and oysters, the middle ones were graceful flowers, feisty chess pieces and more — and the older dancers were impressive as Alice (Emily McWethy) The Crow (Marissa Beatty) The White Queen (Micaela McWethy) Jabberwock/Caterpillar/Butterfly (Katherine Knox) and the Red Queen (Kaleel Van Voorhees). I especially liked Katherine’s creative, modern-dance contortions, and Kaleel’s sassy-Queen attitude. 

The whole package was well done, with a wide variety of music and lots of imagination. There was even a tap number “dance off” between the Red and White Queens. 

The show repeats tomorrow (Saturday) at 2pm at the Hannah Center. $10 admission. 

​VISIONS FOR THE END OF THE WORLD is now on for ONE NIGHT ONLY (after last night) at the LCC Black Box and although brief (40 min), it manages to achieve some truly magical moments. Total credit goes to LCC theatre alum Scott Crandall who created and performs this virtuoso piece, billed as the “fantasy” climax to a week-long LCC program of “Climate Change – Film, Fact and Fantasy.” From the moment Mr. Crandall hurtles on as a lone man in a white suit on a bare black stage (albeit with a box of tricks), you often wonder, “Where is this going?” and he proceeds to take you there, with a bird, a boombox or just running in place. The title says it all and the visions are intensely personal, never uninteresting and often lyrical. It’s a great challenge for any performer to hold an audience single-handedly and Mr. Crandall pulls it off in fine fashion with his focused energy and creative stagecraft. 
 
“Visions for the End of the World,” a theatrical performance by Scott Crandall, LCC Black Box Theatre, 8 pm January 28 ONLY. Suggested donation $5 students, $10 general.

Tom Klunzinger, Guest Reviewer

​" I drink to make other people more interesting."

This quote, attributed to Ernest Hemingway, need not be adhered to in order to enjoy THE HEMINGWAY PLAY, currently gracing the Riverwalk main stage. I will say having a familiarity with Hemingway's life is helpful but director Bob Robinson has provided both a life timeline in the lobby and an excellent brief history on page 14 of the program. If you don't know Papa's life, take time to read either of these excellent mini-bios. The play opens in a charming Madrid cafe, complete with a bubbling fountain and wisteria trailing down the walls (set and scenography by Leroy Cupp and Bruce Bennett, lighting design by Ted Daniels). You'll catch on quickly and understand that the opening lines between the characters of Michael Shalley's Julio and Gloria Vivalda's Louisa, both well done with excellent Spanish accents, reflect their deep sadness at Hemingway's death, never speaking his name. Almost immediately we meet Wemedge, the great man as a boy of 19, back from WWI and wounded. Beautifully played by Jared Ross, the young journalist gives us an innocent (albeit randy) portrayal that nearly brings you to tears by the play's end. Next comes Hem, the man at 28, on the cusp of fame (THE SUN ALSO RISES has been published to kudos) and he knows his life is changing. This is a bold Hemingway, nicely developed by Jesse Frawley, a newcomer to the RWT stage. He is accompanied by his cynical friend Vas, another strong performance  by Todd Heywood. Young Wemedge awaits the rumored arrival of Earnest, Hemingway in his 50s, very famous but slow to produce after 2 air crashes that have seriously but secretly compromised his health. Joe Dickson is once again splendid, full of bon amie and swagger - deemed a "bag of wind" by the antagonistic Hem. He is joined by his lifelong friend Charlie, a man who sees clearly what Earnest has become and both chastises and protects as he can. Chris Goeckel is first-rate. Last but far from least Papa joins the fray, Michael Hays giving another superb performance both physically and emotionally as the 61 year old Hemingway, paranoid, full of regrets and bravura, confused and clear-eyed, knowing he's seeing Madrid for the last time. The final 5 minutes of this play were extremely moving for me as Papa seems to non-verbally recognize Wemedge for who he is/was. Sally Hecksel and Anna Szabo portray almost incidental women in and out of Hemingway's 4 lives but they are both very good. 

The production was stage managed by Sharon Straubel, sound design by Joe Dickson, hair design by Daniel Moore, assistant directed by Rita Deibler, props/set dressing by Ray Kurtis and Melody Tesoro Kurtis, costuming by Sue Chmurynsky, lighting tech was Ric Sadler, sound tech was Mark Mandenberg and fight choreography by Tobin Bates. 

I highly recommend this remarkable production. If you're reading this in Ripples, I hope you saw it.

You will never see another play quite like THE HEMINGWAY PLAY at Riverwalk Theatre. It’s a multilayered autobiography told from the points of view of four Hemingways at four different ages. In a bullfighter’s hangout in Madrid they drink, dream, fight, plan, regret, justify, pose, panic… At first confusing, it builds, layer by layer, as these four Hemingways defy the laws of time/space to interact with each other and their friends/associates. It adds up to a moving portrait of a great but troubled man. 

Jared Ross is the fresh-faced Hemingway at 19, just back from the war; Jesse Frawley is the macho Hemingway at 28; Joe Dickson is the successful but troubled Hemingway at 55, after his plane-crash injuries; Michael Hays is the tortured Hemingway at 60, battling a lifetime collection of demons. 

Frederic Hunter’s book is a script for a television production back in the 70’s. The author graciously gave permission to produce the show for the first time live, onstage, royalty-free. Noted Director Bob Robinson was fascinated by the script/concept and the challenges of bringing it to the stage. The production is at the same time realistic (lovely Spanish café setting (Leroy Cupp) complete with bubbling fountain) and surrealistic, as the magic-of-theatre time-travel brings the Hemingways together to confront and confound each other.

NOTE: There is a brief Hemingway history in the program, and a VERY HELPFUL and more detailed TIMELINE of his life on a series of POSTER BOARDS near the bathrooms in the Riverwalk lobby. Another reason to arrive early (other than to get a good parking space) is to peruse this real-time history of Hemingway — then imagine it folded up into itself and infused with emotion. That’s what you’ll see onstage.

Also be sure to read Bob’s thoughtful Director’s Note encompassing the many fascinating contradictions that were Hemingway, and encouraging the audience to use this play as a springboard to examine our own lives.

Mike Hughes wrote a major Michigan-related Hemingway article in today’s (Thursday’s) State Journal, if you want even more background to prepare your for the Riverwalk Hemingway experience.

http://www.lansingstatejournal.com/story/news/local/michigan/2017/01/12/michigans-summers-shaped-hemingways-writing-rugged-persona/96490320/

The Hemingway Play continues through January 22 - BARGAIN THURSDAYS, 7 pm $8/$10
http://riverwalktheatre.com
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