“Dostoyevsky’s Crime and Punishment  offers particular insight into not only radicalization, but responsibility, forgiveness, and the possibility of a resurrection,” writes director, Andy Callis in LCC’s program note. Heavy stuff, somewhat reminiscent of last night’s “Mankind” but this script felt more sincere and universal, to me.

Kudos to Marilyn Campbell and Curt Columbus for condensing and crafting this 566-page mega-novel into a 90-minute script, a collection of episodes and interrogations that explore Raskolnikov’s crime and his theory that “extraordinary men” can justify a crime motivated by a greater good — and how that plays out for him. Must all “leaders” also be “criminals” in this way? Trump’s recent comments about Napoleon make me wonder what he would think of this play.

Simon Rebeck is intense and sincere as the troubled criminal/hero, Raskolnikov. All the other roles are well played and well differentiated by the versatile Camilla Trudell and Will Milstein. They are both remarkable provocateurs for Simon’s psychological/spiritual/moral struggles. 

The set is a wonderfully dark collage of doors and platforms that smoothly transform into various locations and cast an ominous mood. Violence is expressed with dramatic lighting effects. Lighting Designer was Steve Vangel and the Scene Designer Thalia Hollinger — and set praise goes to the collective tech/scene shop/construction team and painters.
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“Do you believe in God?”
“Does it matter?”
“It might.”

Crime and Punishment continues at LCC’s Black Box through March 1 Friday and Saturday @ 7 p.m. and Sunday at 2 p.m.

Admission is free. Audience members should visit the box office to pick up a seat voucher for entry into the theater. The box office will open ½ hour before curtain. Reservations will not be taken.

LCC Black Box Theatre, Gannon Building, Room 1422; entry door on Grand Avenue.
Free parking is available on Grand Avenue and on the first floor of the Gannon Parking Ramp.

Frankly, I found John Lepard’s director’s note more edifying than Robert O’Hara's script. John sees this play against the backdrop of current events, as a warning against intolerance, injustice and hypocrisy.

The script’s setup is audacious and often funny: In a futuristic dystopia, women are extinct and men have evolved an unexplained ability to procreate. Jason (Steve Lee) gets pregnant by his f*buddy Mark (Connor Kelly) - whose advice is, “Dude — get rid of it.”

But abortion is illegal. OBGYN doctor turns the fathers in and it’s off to jail. But the baby is born and, hallelujah, it’s a GIRL, sadly not long for this world due to some kind of air pollution (is that what killed off all the women?) And poof! The child “Crybaby” is deified, with Crybaby’s fathers and their dead baby becoming unlikely messiahs in a new feminist religion preparing the way for the return of the SHE.

It’s an allegory played up in wild style with Ndegwa McCloud, Jeff Magnison, M.D. Nelson and  Heath Sartorius in multiple roles. Jeff Magnuson’s evangelical abortion oration was fun. But I found myself flummoxed trying to understand the point of it all. Maybe it’s just with men in charge, things get “out of hand” as Connor attests. If or how the return of women would fix things is not explained.

Perhaps it’s just a fun 90-minute romp through man’s idiocy to man and the absurdities of religion — delivered by a lively and talented cast. But I found myself at the end asking, “Dude, what’s the point?”

Peppermint Creek’s Mankind continues through March 2 at Stage One Performing Arts Center 2200 Lake Lansing Road, across from McAllister’s. 
General Admission tickets at https://peppermintcreek.org

It was nearly 20 years ago when we were wowed by Lee Helder’s version of CROWNS at Riverwalk Theatre, a multi-award winning production  — and now it’s ba-a-a-ck, bringing raise-the-roof gospel spirit to our newest addition to the GLUT of theatres in the Lansing area: Transcendence Performing Arts Center, Inc. led by LaVonte Heard — and “heard” he is, as leader of a lively little band — and impressive singer, as well.


Director Vanessa Cunningham Sanders has assembled a powerhouse of gospel singers for this moving and celebratory play. Church hat “crowns” spark stories that paint a picture of faith, community and heritage that leads a young African American girl (an endearing Lynne Gude) to a new identity after being sent south to her grandmother following her brother’s murder in Brooklyn.

Grandma (Candace Potts) and her friends (Audra Carson, Kamara Crane, Linda Gordon, Lady Vivian Singleton) tell hat stories that are life stories tracing back to African rituals and slavery and forward to contemporary church and fashion. Eric Jones ably portrays the preacher and other men in the stories. Great voices are on display; I especially enjoyed Candace and Lady Vivian. The choir enhanced the music: Bonnie Sturdivant, Yvette Todd Morgan, Evita Embry, Yalanda Embry-Frazier, Angel Taylor and Braxton Brown.

The play was preceded by an artistic and acrobatic dance duet, Jehovah Sabbaoth by Donald Lawrence performed by TPAC Youth Dancers Ayana Payne and Gianna Allen, choregraphed by Ayana Payne. More TPAC info at https://www.tpacworldwide.org

The Bread House Bethlehem Temple Church, 1518 South Washington, just south of REO Town, is an appropriate, setting, as a church, enhanced by real-church video during preshow and intermission, and projected backdrop images (Videographer Matt Ottinger; photography Marge Mooney) It is not a complete stage with access to theatrical lighting, so I appreciated the extra “footlights” added so we could see the faces, even under some big-brimmed hats. Yes, the HATS, a wild and wonderful collection. No “costumer” is listed… perhaps these are “properties,” Bernie Lucas? 

Crowns continues through 2/23 - 7pm Fri; 2 & 7 pm Sat;  4pm Sun 
Tickets through Eventbrite: https://www.eventbrite.com/e/tpac-presents-crowns-by-regina-taylor-tickets-1119279588379?aff=ebdssbdestsearch

9 to 5 is a retro musical experience at MSU’s Fairchild Theatre. It tackles the challenge most movie-to-stage shows face—too many scenes—with well choreographed office furniture and effective media projections by Abigail Gracey and Nathan Zarkowsky on Kessler Jones’s efficient set.

Director Adam Yankovy's energetic cast of 23 kept set pieces and themselves in musical motion with the help of choreographers Sarah Basinger, Jenna Hemmes and Abby McCarty with dances from office-hustle to tap. The fantasy-revenge scenes were impressive. Dave Wendelberger’s 11-piece orchestra was excellent support to the onstage shenanigans.

As a woman who did work in an office in the 70s, I remember the newness of “women’s lib” and at least one office boss I could have happily strung up…  But, of course, this version takes it to an entertaining extreme, contrived into a fantastic conspiracy between beleaguered manager Violet (Brooke Cousins) presumed bimbo who knows more than you think, Doralee (Reese Martin) and insecure newbie Judy (Olivia Bath) eventually finding and embracing her power. 

This trio endures and eventually uproots their “sexist, hypocritical, lying bigot” boss Nick Torres. Everyone hates him— except the ditzily devoted Roz (Jordan Ivezaj) Her production number was a show stopper. There were many good singing voices; I especially enjoyed Olivia. 

Who would've thought back in 1980 when the movie came out that the 9 to 5 story would continue to resonate. Of course, progress has been made, but not so much that we can’t appreciate these women “sticking it to the man.” 

9 to 5 continues through February 23. General admission tickets at https://whartoncenter.evenue.net/events/WC-DOT-9TO5