​Garrett Bradley and the Owosso Community Players have done it again: another fabulous, standing-ovation-worthy musical. Beauty and the Beast was just luscious - amazing costumes, choreography, set, music (11 players under conductor/music director Jillian Boots) and super voices/acting from all. It was a treat, equally approved by my 10 year old granddaughter. 

Some Lansing-ites were notable, the cherubic/motherly Stephanie Banghart as Mrs. Potts warmed our hearts with the title song. As Lefou, the impish Isaac Orr (of Cat in the Hat fame) was adorably abused by Austin Elieff who played Gaston, the bully you love to hate, with delightful egotism. The glamorous, talkative Madame de la Grande Bouche was Alexsandria Clift — and Claire Canfield was perfect as the beautiful, bookish, independent Belle. (You may remember her as the charming Gigi at Riverwalk years ago.)

Beast Troy Seyfert was appropriately untamed at the start but made an endearing transition with the help of smoke and mirrors. Speaking of mirrors, it took me awhile to figure out how Chip (Evan Worden) the teacup-head on a cart, could convincingly appear to have no body through most of the show.

Cogsworth (Michael Windnagle) and Lumiere (Vinnie Lindquist) were perfect foils for each other as the worrier and the romantic clock and candlestick. Babette (Alissa Britten) flirted and fluttered her feathers well. Belle’s Father, Michael Crawford, was eccentric and lovable - and looked cute with his weird log-chopping invention and its matching headpiece.

The line between costumes and set pieces was blurred with the amazing candlestick hands, clock, teapot, armoire, feather-duster,  “enchanted” bodies these characters wore. Cheers to the large costume team and set team. 

The group dances were show stoppers - like the Follies Bergere with dishes and cutlery and acrobatics. Kudos to Garrett Bradley and Erica Duffield.

Beauty and the Beast is pretty much sold out - but you STILL should call for reservations… in hopes they could add a performance? I’d say it could fill the house with at least one more! It continues next weekend, 8pm Fri/Sat and 3pm Sunday.

http://www.owossoplayers.com
989-723-4003

​At this point the audience is divided into four groups and herded to other areas of the theatre to witness interactions between cast members, their parents, the dean, tech people…and more. “Deputies” lead the groups, but we soon disperse and individuals are left to wander throughout the building where mini-scenes are in progress. Periodically, the deputies herd audience groups together to “debrief” and share what they’ve seen — which gives us access to info from scenes we may have missed. 

I must admit I am not a fan of immersive theatre. My level of confusion, self-consciousness, wondering what parts I’m missing, and where I should go next tend to make me feel less “immersed” than I feel when I am in my theatre seat and participating only by identifying with actors onstage. Still, this play is a fascinating and well engineered concoction by Rob Roznowski, evolved and co-directed by him with five assistant directors, and collaboration with the cast. 

The Deputies do a good job of herding and directing the wandering audience so that we all converge to view several pivotal scenes: the posting of the cast list; the directing of the kiss scene, and the director’s speech to the cast. 

Note that the whodunit is different with each performance. Many characters have a motive, and, we’re told, the sheriff reading the “confession” is not aware of the culprit’s identity until he opens the envelope.

I’d advise all adventurous theatre aficionados to leap into this experience with curiosity and a sense of exploration. Posters and props of the period add a Jim Crow flavor to the venue; projected news reports add historic perspective, leading up to today. 

Thus With a Kiss I Die continues Tuesday through Sunday. 
Note that there is an hour or so of standing and walking up and down stairs. Wear comfortable shoes.
http://www.theatre.msu.edu

ANNIE
by guest reviewer T.E. Klunzinger
 
The Blue Light Players just keep getting better and better, to the point where their current production of “Annie” is easily a contender for Best Musical of the season. Too bad that you may not get to see it, since it only plays twice more at Hannah Center and may already be sold out. (Friday’s performance was sold out, which means all the auditorium and the balcony.)
 
While this 40-year-old show has proved to be somewhat indestructible and eternally popular, it can always be done badly; but that’s certainly not the case here. First among its assets is Katie Schupbach as Annie, an amazingly talented 6th grader who shows her star power in belting out a flawless “Tomorrow” while tethering a live dog, a 9-month-old standard poodle that’s almost bigger than she is. Her infectious, confident optimism permeates story and the show.
 
The experienced Mike Stewart as Daddy Warbucks is at first aloof but quickly shows he cares about the cheerful little red-haired girl who comes to live with him. Kathryn Mulcahy as his secretary Grace – new to Lansing theater – is so good and comfortable onstage that she seems to be perhaps on loan from one of the Wharton Center’s touring Broadway productions.
 
Jean Burk is a hoot as the deliriously hideous orphanage overseer Miss Hannigan, forever frustrated by her “Little Girls” and even in her dreams of “Easy Street,” partnered in the latter with Dale Williams and Caitlyn Christenson as the hapless and amusing Rooster and Lily.
 
I could go on about the many other good people in the cast of 52 – that’s fifty-two – but suffice it to say that, taking their cue from Annie, they all work well together and seem to be having a great time which clearly comes through in their performances. Choreography for platoons of people is difficult to pull off, but Director/Choreographer Helen Hart makes it work very well here, repeatedly, including the big tap number(!).
 
A couple of drawbacks: except for the Warbucks mansion, the set(ting)s are minimalist, but that’s not really a distraction; and the pre-recorded musical track using electronic instruments (which lends an appropriate, carnival-like quality) can be tricky if you complete a dance/dialogue part of a number too soon or too late and the music goes along by itself, or not.
 
Costuming 52 people, with much doubling, is a daunting task, but the onstage colors seemed to get better and brighter as the show moved along, to a glorious riot of red-themed color in the final, joyous Christmas scene.
 
ANNIE is presented by Blue Light Players at Hannah Center, this Saturday at 7:00 p.m. and Sunday at 4:00 p.m. only. You can call (517) 490-4567 or visit http://bluelightplayers.com to see if any tickets remain.
​

​I imagine that LET THE RIGHT ONE IN, a self-proclaimed “enchanting, brutal vampire myth/teen love story,” probably works better in John Ajvide Lindqvists’s novel/film versions than it does in Jack Thorne’s stage adaptation. Despite efficient running crew and sturdy/functional rolling set units (including a climbable jungle gym - set design Violet Jones) — and evocative music continuing the mood during the changes — the many, many, mostly-short scenes left me with a disjointed, awkward reaction to the show. 

Of course, part of the script was about awkwardness, and the tender/mysterious scenes between charming vampire girl Storm Boyer, and bullied teen Jason Durr were engaging. They both did a good job.

The bullying, candy-store, and parental conflict scenes were less engaging… but maybe they related to the concept of deciding who “the right one” is? Director Andy Callis says in his note, “Just like a Rubik’s Cube, the solution isn’t easy, but it can be solved."

Let the Right One in continues through Sunday Feb. 25 at LCC’s Dart Auditorium 500 N. Capitol Ave. Lansing, MI
8 p.m. Saturday, February 17, 2018 
8 p.m. Friday, February 23, 2018
8 p.m. Saturday, February 24, 2018
2 p.m. Sunday, February 25, 2018
http://www.lcc.edu/showinfo

$5 students
$10 seniors, LCC faculty/staff/alumni
$15 general seating