The Sound of Music - Owosso’s Lebowsky Center brings this Tony, Grammy and Academy Award-winning Rodgers and Hammerstein classic to life with Lebowsky's signature high production values and talented performers. Director Garrett Bradley has done it again, with the help of his outstanding team.

There’s not a weak link in the cast, led by the effervescent, sincere Kaila Szafranski as Maria. Quentin Brainard made the Captain-Von-Trapp transition from disciplinarian, to Maria’s spouse and fellow family singer — after the more glamorous charms of Else (Tricia Rogers, who also served as vocal director) proved false. Owosso favorite Mike Windnagle was perfect as Max the endearing friend with mushy principals in the face of the Nazi takeover. 

The children and the nuns were well-oiled machines of music. My only problem with Mother Superior Rachel Cupples, was that she was too young and beautiful to fit my wise-old-motherly stereotype. (Maybe I just can’t forget her star portrayal of the Most Beautiful Sister in last  summer’s Head Over Heels?) She did a wonderful job, despite her inappropriate youth and beauty, and totally delivered on the show-stopper song, Climb Every Mountain. 

I loved the set: a majestic mountain panorama (scenic painters Robyn King Lentz, Josh Holliday and Peggy Garikes) served as a backdrop for all the scenes. Lighting and dropping chandeliers and/or decorative columns or abbey window cutouts artistically delivered indoor/outdoor/abbey scenes (Set designers Dirk Rennick and Dan Wenslick) 

Having the fly space to run large pieces up and down is a theatrical luxury at the Lebowsky Center — as is the deep orchestra pit with conductor on a video screen on the face of the balcony so musicians can be “out of the way” and yet the actors can be cued/conducted. Musical Director, Jillian Boots led a wonderful 16-member orchestra.

Choreorapher Erica Bradley always shines in the more flashy “showgirl” shows at Lebowsky, but this show brought out her more subtle, playful, imaginative movements, simple enough to be well executed by the charming assortment of Von Trapp children ranging from high school senior to second grade: Lauren Schorfhaar, Evan Worden, Quinn Schemenauer, Isaac Feldpausch, Isla Britten, Leighton Latz, Scarlett Duffield. Leisl (Lauren Schorfhaar) and Rolf (Joe Gill) flirted sweetly through dance in the “16 Going on 17” number.

The Sound of Music can seem a bit of an “old chestnut” but it has earned its classic status — and feels a little more ominous in light of the new Ukrainian war sparking memories of the pre-World War II era when this show is set. It is loosely based on a true story of Maria and the real Von Trap Family Singers.

Shows continue through March 6 - 8pm Fri/Sat; 3pm Sat/Sun (two shows Saturdays) It is well worth the 45-minutes-ish drive to Owosso (less if you live on the east side.)

https://lebowskycenter.com/the-sound-of-music/

After last summer’s Lebowsky outdoor hit production of this punk-pop-juke-box musical, we were excited to see Head Over Heels again, this time performed by MSU students in Fairchild Theatre. We were not disappointed. 

MSU delivered this fun fairy tale of sexual open-mindedness and feminism with an exuberant style all its own. Like the popular “Hairspray,” it wraps a serious message of challenging the status quo and promoting acceptance and love into a fun bundle of humor and pop songs. “You Can’t Stop the Beat” - “We Got the Beat”… I guess you can’t “beat” these two shows.

This spoof of classic theatre is based on "The Arcadia" by Sir Philip Sidney, conceived and original book by Jeff Witty, adapted by James Magruder. It features an oracle (Mel Dyk) a too-macho king (Alex Cousins) a fed-up queen (Katherine Clemons), a devoted maid (Meleah Acuff), and fretful servant (Andrew Brown) two diverse daughters deigning to deny/pursue suitors (Sophie Psiakis and Rachel Vos) and a shepherd who temporarily becomes “one of the girls” (Zach Deande.)

The entire cast was talented and energetic - enhanced by wild lighting effects (Niklas Calella); fabulous, fairy-tale, Elizabethan-punk rock costumes, and amazing choreography. No surprise, as Director Brad Wilcuts is a noted choreographer, and was assisted by Sloan Lemberg and Jake Gerard Price. Dave Wendelberger led a five piece band that really rocked the house.

Note that this show is tastefully bawdy, and also lesbian-positive… which might deter some from bringing young children or conservative adults. The iconic 80’s girl-band Go-Go’s music gives it an irrepressible energy.

Tickets for Head over Heels are $23.50 for general admission, $21.50 for MSU faculty and staff and seniors, and $13.50 for students. Tickets are available online at whartoncenter.com, at the Wharton Center box office, or by calling 1-800-WHARTON.

Performances continue:
   • Tuesday, February 22, 2022, at 7:30 p.m.
    • Wednesday, February 23, 2022, at 7:30 p.m.
    • Thursday, February 24, 2022, at 7:30 p.m.
    • Friday, February 25, 2022, at 8 p.m.
    • Saturday, February 26, 2022, at 2 and 8 p.m.
    • Sunday, February 27, 2022, at 2 p.m.

For more information on the show and other MSU Department of Theatre productions, visit:https://theatre.msu.edu/productions/21-22/

Thanks to Guest Reviewer T.E. Klunzinger for giving us a jump on this show-packed weekend. (I can only see one show at a time!) Many choices this weekend with Lobby Hero, Guys and Dolls, Head Over Heels, 9 Parts of Desire, and Cabaret. Here’s Tom’s take on the latter:

CABARET
by T.E. Klunzinger

It’s very scary to realize how much more relevant this musical is to the world today, than in the 60’s when it premiered. Back then, it was about the last, bad days of the Weimar Republic and that was that; now, what with cancel culture, emergency powers in Canada and pre-war maneuvers in Europe, it seems you’re watching a commentary on current events – and we’re not even talking about the good ol’ USA.

Director Mark Colson has crafted a tight show which gains greater force as it barrels toward the sadly inevitable conclusion, complimented by equally tight music direction by Jeff English which sometimes must master devilishly tricky cues.

Someone said in the recent past that the key to creating a top-tier production of Cabaret is that Sally Bowles, and the other Kit-Kat performers she works with, is/are not that good as performers and they know it, but they give it all they’ve got because they have nothing else, not even hope for something better in their lives.

That is excellently realized here, no more so than in Connor Kelly who as the Emcee is the decadent, shape-shifting heart of the show.  As Sally, Meghan Malusek manages to teeter into mediocrity when she has to, but still sing to the rafters with "Maybe This Time" and the angry desperation of the title song.

With "What Would You Do?", Judith Evans as Fraulein Schneider comes close to stealing the show, while Drew Clark, Doak Bloss, Lewis Elson and Sally Hecksel stand out in the smaller roles.

Again, the ensemble of the Kit-Kat Club – girls and boys – are hardly the kind of glamorous group you might see in a Broadway show; but they’re exactly the kind of mismatched misfits you would encounter as they sing and dance their little hearts out while the civilized world is collapsing around them.  

It’s also worth noting that this is the 1998 Broadway version which is a better show than the original since it incorporates Kander & Ebb songs not previously used. Cabaret runs this weekend and next at LCC’s Dart Auditorium, and it’s well worth seeing.

February 18-19, 25-26 @ 8 p.m.
February 20 @ 2 p.m.
LCC Dart Auditorium
Masks are required for all attendees, regardless of vaccination status.


Tickets    $15 – General admission
        $10 – LCC faculty, staff and senior citizens
        $5 - Student
Only 150 pre-sale tickets will be sold online for each performance. An additional 100 tickets will be sold at the door - cash only. Online tickets can be purchased at: www.lcc.edu/mall

Contact           LCC Performing Arts Production Office, 517-483-1122

Web                http://www.lcc.edu/showinfo

Facebook    https://www.facebook.com/LCCPerformingArts/
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When I heard “concert version” I thought Starlight Dinner Theatre's Guys and Dolls would be set up like a choir, with the leads stepping out for their solos, duets and such — but it’s more like “a real show” than a “concert."

Granted there are a few music stands and books-in-hand, and no set, per se — but there are background projections of period scenes and most of the show is memorized and costumed (Abby Villarreal) It’s all up-close-and-personal in an in-the-round setting at First Christian Church. There is also a real, mini orchestra of six, led by Music Director Kait Wilson, on keyboard.

Admittedly “new” director, Nicole Martin, is only new to directing. She is a theatre veteran who brought imagination, pace and style to this format, with just enough choreography and blocking to bring the nostalgia, humor and romance of this Frank Loesser classic to life. Narrator Matt Ottinger added clever, scene-setting interjections with his signature, wry congeniality. 

Kelly Sandula Gruner and Dan Templin are a proven musical duo known for their stylish Clique Vocals shows. They slip smoothly into the prim but smitten Sarah Brown and the incorrigible/redeemable bad-boy Sky Masterson. Josh Martin charms as Nathan Detroit, the challenged organizer of “the oldest established permanent floating crap game in New York,” a perfect foil for his fiancée of 14 years, Hot Box dancer Miss Adelaide (Rachel Mender). Rachel brings a delightful enthusiasm to my favorite “Adelaide’s Lament” and more.

“Fugue for Tinhorns” opens the show with a stellar trio: Matt Eldred, Ben Cassidy and Elijah Burton, and general musical excellence flows from there. Matt Eldred’s “Sit Down You’re Rockin’ the Boat really raises the roof. Smaller roles I particularly enjoyed were Gordon Hicks’ feisty but frustrated Lieutenant Brannigan, David Sincox’s endearing Arvide Abernathy, and Lee Helder’s commanding General Cartwright, boss lady of the mission system.

Yes, Starlight is still a DINNER theatre, even in it’s different performing locations. The rosemary chicken and fixings were tasty, just down the hall from the church sanctuary, where there is general seating in the pews. Of course, no masks when eating, but masks ARE required for all audience members throughout the show. Guys and Dolls continues February 19 and 25-27.
Location: First Christian Church, 1001 Chester Rd. This is northwest of Frandor, just northwest of the Sparrow medical building.

Friday and Saturday shows:  Box office opens at 6 p.m., dining opens at 6:30 p.m., show starts at 7:30 p.m.
Sunday matinee:  Box office opens at 1 p.m., dessert and beverages served at 1:30 p.m., show starts at 2 p.m.

Ticket prices: Show & dinner $40 regular adult; $37 seniors (62 +) and students (age 13-22); $23 children (age 12 and under).
Show-only prices: $22 regular adult; $20 seniors (62 +) and students (age 13-22); $13 children (age 12 & under).
Sunday matinee with dessert: $27 adults, seniors (62 +) and students (age 13- 22), $18 children (age 12 and under).
HEARING ASSISTED DEVICES are available and must be requested when making your reservation

For reservations and more info call 517-599-2779 or visit the website at http://starlightdinnertheatre.com