Frankie & Johnny in the Clair de Lune...wow — two flawed people connect in spite of each other. The combination of Terrance McNally's funny, insightful script and these two exceptional actors delivers an experience of two genuine human beings, with pasts, fears, frustrations and hope. We almost feel like we shouldn't be watching because it seems so real and intimate. John Lepard plays the aggressively "in love" Johnny to the more hesitant, why-don't-you-go-home Frankie (Suzi Regan). They alternately tangle and retreat during a post-sex night of mutual self-discovery. It is a privilege to watch.

Bartley H. Bauer's  set is a realistically run-down apartment (perhaps reflecting the "run-down-ness" of these two characters, no longer young.) It has a working sink and hot-plate for cooking, refrigerator with real food, and a bathroom so realistic that a crew member stands by to make sure patrons continue their walk through to the back lobby bathrooms and don't mistakenly make use of it. John Manfredi's direction and "choreography" of the dressing/undressing/cooking and all is masterful in that it seems so effortless. The lighting (Genesis Garza) enhances all from sexy blackout to golden dawn.

I'm always impressed with Williamston Theatre's professional shows, and this is one of the best.Frankie & Johnny in the Clair de Lune continues through April 20. Don't miss it.www.williamstontheatre.com(517) 655-7469

TRIBES could be be short for "diatribes" because that's what it largely consists of, especially in the first act. Of course, it's also about the "tribes" we split ourselves into, looking for self-worth and a sense of identity.

Like all Peppermint Creek shows, this one is well done and gives us plenty to think about. The script by Nina Raine did a great job of demonstrating the ways we fail to communicate, and then tied it up a little bit abruptly at the end with the "bow" of "love" — which is, of course, the underlying quest, the unexpressed.... the family we belong to in spite of ourselves.

Deb Keller directed a fine cast — and it was refreshing to see Peppermint's Artistic Director Chad Badgero on stage for a change embodying the challenging role of troubled brother, Daniel, suffering under overbearing dad's (Michael Hays) criticism and struggling to express himself and connect with his brother. Devin Faught was the heart of the play as the deaf brother, Billy, being introduced to sign language and the deaf "tribe" by the charming yet conflicted Sylvia (Megan Malusek) who has deaf parents and is going deaf, herself. Crysta Harper is the angst-ridden sister, Ruth, failing to find her voice as a singer, and Jackie Payne is the also-criticized novelist Mom, trying in vain to make the family "play nice" as they punch each other with words.

The set was beautiful and homey (Jeff Boerger) A couple scenes took place "elsewhere" which was a tad confusing, but they were set off by lighting, so we figured it out. Many scenes had sur-titles projected on the wall, translating sign language, and occasionally translating what people were thinking, but not saying. The music was divergent and evocative, from classical to Janis Joplin.

NOTE that the Friday, April 4 performance will be sign language interpreted.Tribes continues through April 5 at the Miller Performing Arts Center, 6025 Curry Lane, Lansing, MI 48911(off Miller Road, west of the Miller/South Cedar intersection) 8 pm Thur/Fri/Sat and Sunday March 30 only at 2.$15/ $10 student/seniorwww.peppermintcreek.org

It was a trip down memory lane for Mark and I to see Lend Me a Tenor at Owosso Community Players tonight directed by Lyn Freeman. 15 years ago, I directed it at LCP, with Mark playing the Opera Manager. It's a super-farce script by Ken Ludwig, starting out with swooning and panic and riding a roller coaster of frantic situations and crazy characters throughout.

The ubiquitous Bob Murrell who has acted on most stages in the area, brought the frantic to Max, nerd-ily wooing Maggie (Alaina Kraus) and trying to follow orders from boss Saunders (John Morovitz) when Italian opera star Tito (Quentin Brainerd II) and his wife (Nicole Davis) arrived late/sick/fighting - with Maggie, the Opera Guild matron (Deb Knipe) the bellhop (Doug Strong) and the sexy soprano (Mary Jo Damm Strong) all finagling to meet the celebrity. When the star is accidentally drugged to a presumed "death," Max is persuaded to stand in and sing Othello - and soon there are TWO bewigged, black-faced tenors bounding through the many doors.  Kudos to Greg Freeman for a  sturdy door-filled set where hiding in closets/bathrooms and slipping in and out of hallways and between rooms kept them slamming throughout.

Bob does his best to bring the necessary energy and pace to this wacky script, but is not always matched by his colleagues. The best scenes are with Bob and Quentin, the two "tenors" who played off each other well, had good comic timing - and were fine singers, too, in their opera duet -- a musical highlight of this "nonmusical" show.

Owosso is a bit of a trip but it's easy to find the "Studio Theatre" on the main street right next to the famed, historic, Lebowsky Theatre that is almost done with its RE-renovation and will open with SHREK May 9-18.

Lend Me a Tenor continues to offer farcical fun through March 30 - Fridays & Saturdays at 8; Sundays at 3.http://owossoplayers.com/

I tend to be a little flustered by plays that originate in a century I haven't lived in, and The Serpent Lady was challenging at the beginning when the stylized, masked "commedia dell'arte" characters told various tales that didn't seem to be related to the main "fairy tale" of the Serpent Lady testing her husband's love and turning into a snake. (I noticed too late that there is a detailed list of scenes in the program outlining the action; and since the audience is mixed into the set, and therefore lit, you can refer to these as you go.)

The 1762 Carlo Gotti script was translated and adapted by theatre historian Daniel Smith (who directed) with Valentina Denzel. It moved with an in-your face energy, peppered with improvisational spirit and dashes of modern humor. As the director's note stated, they drew on "a variety of theatrical and literary traditions beyond commedia, including melodrama, Greek tragedy, blason poetry, epic and myth." Each actor overtopped the next in extreme physical comedy. There was a lot of running and yelling — and impressive masks and costumes (Stephanie Eubank) and lighting (Hernando Claros).

NOTE: This is in the new Studio 60 in the basement of the MSU Auditorium Building on the corner of Auditorium and Farm Lane. Park in the Auditorium Lane lot and enter on the front, Farm Lane side for tickets, and then head downstairs through the long hall, which has interesting posters explaining some of the "commedia dell'arte" characters and history. COME EARLY so you'll have time to read that -- AND because it's a small performing space, holding maybe 100-ish audience, with only about 40 chairs, with the rest of the "seating areas" being pillows, rugs, and low stools spread around the room. Most of the audience was students, lounged around on the floor. It is an unusual setup with the audience serving as "islands" around which actors chased and collapsed and expounded just inches away.

The Serpent Lady continues Wednesday and Thursday at 7:30; Friday and Saturday at 8pm and Saturday and Sunday at 2pm - general admission $10** Post-Show Discussion on Thursday, March 20, 2014 (Following the Performance)*Director Pre-Show Discussion Sunday, March 23, 2014 at 1:15 PMtheatre.msu.edu