Midway Theater Company, still “the new kid in town” a theatre group has produced another big-cast extravaganza with the popular ANNIE playing ONE WEEKEND ONLY at East Lansing’s Hannah Center. Director Cole Groot has prepared 29 performers to sing and dance their way into our hearts, accompanied by an 11-piece orchestra conducted by Sean Duffy.

The orphans’ chorus was outstanding, with great attitude and creative, sometimes acrobatic dance moves. I didn’t see a separate choreographer listed, so double kudos to director Groot, if he was responsible. 

Lucy Ackerman displayed just the right mix of spunk and heart as our star, Annie. Her singing voice was also outstanding. Stacey Foote was another stellar singer as Grace, secretary to the gruff mogul with the heart of gold Daddy Warbucks (Nathan Knobloch). Sarah Davis was a formidable Miss Hannigan, bullying orphans with her shrill braying. Chase Buher played the slimy Rooster, with Veronica Hetke as his bimbo accomplice.

Though bothered by a few microphone glitches, all leads were miked and easy to hear. This show is challenging with all its different sets; Matt Stoll did a great job making them both manageable and effective.

Three more chances to see this crowd pleaser: 7 pm Friday and both 2 and 7 pm Saturday
Tickets $15 at:
https://midwaytheatercompany.org

My Fair Lady at Wharton Center was a wonderful but unnerving experience: extremely familiar (had to resist the temptation to sing along) but at the same time newly tinted/tainted by todays “Me Too”-colored glasses. Do the insults and abuse heaped on Eliza by Higgins seem less funny and more abusive, today? 

It’s 1912 England and pompous phonetics expert Henry Higgins and his avuncular friend Pickering make a bet challenging Higgins to transform an ill-spoken flower seller so she can pass for a proper lady at the Embassy Ball. She passes the test, and then act II gets complicated, exploring Eliza’s frustrations, “Just You Wait” “Without You."

The show is adapted by Alan Jay Lerner from George Bernard Shaw’s Pygmalion, a complex social comedy about class and gender. Shaw never intended Higgins and Eliza to end up romantically linked - but the demands of 50’s “happy ever after” required that interpretation. Though they have not changed the script, the treatment of the ending and the attitudes of the characters bring the show to present-day relevance.

The production values and performances are stellar, with Shereen Ahmed as a determined and strong Eliza, Laird Mackintosh as a self-absorbed, brilliant, childish, complicated Higgins. Kevin Pariseau is the more gentlemanly Pickering, who respects Eliza’s feelings, while remaining Higgins’ ally. Adam Grupper is a delightfully derelict Alfred Doolittle, Eliza’s ne’er-do-well father, a spirited performance in every way — with two show-stoppers. Sam Simahk is the doting Freddy, soaring on “The Street Where You Live.” JoAnna Rhinehart was elegant and knowing as Higgins’ mother. Wade McCollum was a fun shot of comic relief as Professor Zoltan Karpathy.

The show is almost three hours of excellence, with a fabulous set featuring a gigantic turntable house that seems to flow through time and doors - as well as 1912 London scenes… and the occasional almost empty stage that accents certain scenes. Fabulous costumes, choreography from elegant to rowdy. This excellent production shines new light on an old story. I think Shaw would approve.

Mu Fair Lady continues through March 1. 
https://www.whartoncenter.com/events/detail/my-fair-lady

Hey, all you Sam Shepard fans, he’s ba-a-a-ck with another grim descent into unbridled, toxic masculinity. There is an absurd layer of humor pervading this tangle of sibling rivalry, smashed typewriter parts and stolen toasters that keeps us entertained, as we gradually lose hope for these brothers both torn apart and bound together by sibling rivalry.

Daryth Lennox is the at-first-reasonable screenwriter, Austin, bullied by his belligerent, criminal, alcoholic brother, Lee, played by an overbearing Wyatt Wesley. When Lee subverts Austin’s pending screenplay deal with agent Saul (Gabe Weeks) the action spirals into an alcoholic chaos that cannot be tamed by the returning, appalled, ineffectual Mom (Priscilla Raven). 

Lee’s screenplay and his life in the desert reference a mythical  “true west” of rugged individualism that serves as a figurative backdrop for the brothers’ competitive spiral. The literal backdrop is a realistic “mom’s house of the 70’s” set designed by Bob Fernholz, complete with working outlets for all those toasters! An interesting playlist of old pop songs hinting at conflict/lostness play before each act (Olivia Hines). Director John Lennox has brought his considerable fight choreography skills to bear on this production. 

True West continues at 8 pm this Saturday and next week Friday/Saturday at LCC’s Black Box 1422 Gannon Building. Park on Grand Ave, and enter through the small door on the north end of the building. You can park in the ramp, but it is a longer walk to the black box stage.

https://www.lcc.edu/services/community-campus-resources/performing-arts/events.html 

Since I first saw Into the Woods — back in the 80s, between marriages (“Sometimes people leave you halfway through the woods”) — it has remained one of my all-time favorite shows. MSU has put up a remarkable rendition of it at Fairchild Theatre. In accordance with their “Invention/Reinvention” season theme, they’ve set the play in Detroit in the 1930’s — which may seem a little contrived, but also demonstrates the durability and universality of the themes of resilience and community. Whether experiencing “The Great Depression” or your own personal depression, loss, confusion… this show resonates and uplifts. 

Costumes (Jenna Grove) and scenic elements (Brandon Barker) suggest 30’s Detroit artfully abstracted into fairy tale scenes. The excellent music (14 piece orchestra under the direction of Dave Wendelberger) and the technical devices, lighting (Shannon Schweitzer) sound (Jason Painter Price) and especially media/projections (Griffin Irish) were outstanding and brought fairy-tale magic to life. The whimsical puppet/cow animated by Jason Dernay was a nice touch.

All the voices and performances are strong under the direction of Deric McNish with choreography by Alisa Hauser. The Princes’ “Agony” song was a highlight, spoofing the common human trait of always wanting what we can’t have. (Case DeKoning, Christopher Michael) The contradictory nature of the Witch is another delightful paradox (Naomi Blansit). The Baker and his wife (Kevin Craig, Sarah Gramercy) break your heart and give you hope, along with Little Red Riding Hood (Maeyson Menzel) and Jack (Quentin Nottage).

Though it is based on fairy tales, this is not a “kids show.” The moral complexities of these intermingled tales could be too much for younger kids, and unsettling/scary, maybe PG in act II. Also, it is not a short show — a bit over two and a half wonderful hours that might be a stretch for younger kids.

This musical is a classic in my book. Don’t miss this beautifully realized version, continuing through February 23 in Fairchild Theatre, through the back doors of the Auditorium Building at MSU.
https://theatre.msu.edu/woods/


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