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The Gin Game

3/30/2019

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The Gin Game is D.L. Colburn’s tragicomedy — or comitragedy? —that has been his most successful script, brought to life by many esteemed elder-actors, such as Hume Cronyn and Jessica Tandy, Dick Van Dyke and Mary Tyler Moore, John Peakes and Carmen Decker… and Williamston Theatre’s Ruth Crawford and Hugh Maguire — under the direction of John Lepard — lift the script to an amusing, touching, involving level.

Neither Weller or Fonsia has visitors on visitor’s day at the old folks home. Relatively recent residents, they share self-mocking banter about aging and disparage the other residents who are less able than they. A potential friendship is sparked when Weller teaches Fonsia how to play gin rummy but then the newbie coyly starts winning game after game. 

On the framework of many games of gin hang Issues of aging and broken relationships of the past. Veneers and lies are peeled away and repeated game losses provoke Weller’s irascibility, building to anger and ultimately to a rage that is about more than the gin game. Are we winning/losing at life, itself? 

Ruth Crawford has a history of excellence in many Williamston shows including A Painted Window, Christmas Carol , Miracle on South Division Street and Old Love. She lives up to her reputation, offering a multi-layered Fonsia. Hugh Maguire is doing his first Williamston show since the well-remembered Leaving Iowa. He manages to be a sympathetic character, despite his cranky outbursts. The potential for later-life-love is a carrot that dangles temptingly on this stage.

The set is maybe a little too nice (Gabriella Csapo) since this is not supposed to be a high-end establishment. But it works well, with overheard sounds modulated with the opening/closing of the sliding patio door. (Sound Design Julia Garlotte.) And I liked the touch of the orderly/caregiver-costumed Kevin Craig delivering pills to Fonsia as part of one of his prop-moving scene changes.

The Gin Game continues through April 20 8 pm Thur/Fri, 3 pm & 8 pm Sat, 2pm Sun
www.williamstontheatre.org

btw, if you want a more erudite review of this production, check out Ken Glickman’s take at glickarts.blogspot.com


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Three Tall Women

3/29/2019

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by guest reviewer T.E. Klunzinger

This play was the “second act” in Edward Albee’s long creative life, premiering in New York 25 years ago when he was generally considered to have burned out: in a spectacular rebound, he won the Pulitzer Prize for this witty, incisive look at the truths each generation must learn.

You’ll have to hustle to embrace the brilliance, since MSU’s student-driven Second Stage Productions has just two more shows in their Arena Theater, this Saturday at 7 pm and Sunday at 2 pm, cost $5. (“Women” is rarely done in our neighborhood due to casting requirements noted below.)

The Women have no names, just ages: “A” is 92, “B” is 52 and “C” is 26. (There is also The Boy [Quentin Nottage] who has no lines.) The real-time first act shows A in her dotage, principally cared for by B with some assistance from C. In the expansive second act, they become young-old-older versions of the same woman and get to bark good lines at each other.

Chloe Brandt excels as A, delivering her enormous initial line load with a well-controlled crankiness. Joie Raymond is all smooth moves as B, crisply professional in the first act, then jaded and cynical in the second, while Shelby Romatz’ C is actually somewhat more appealing in the first act than the pathetically naïve version in the second. They play off each other very well.

HOWEVER, as I am wont to say in such cases, “age has its own authority”: Glenda Jackson was 82 when she won last year’s Lead Actress Tony and Laurie Metcalf 62 when winning Supporting Actress. Outside of the fun snappiness of Act One, Albee’s demonstrative epiphany in Act Two is, “What if our generations could speak to each other? Would it make any difference?” No matter how well performed, the play loses some of its punch when all the women are about 20.

That said, this is an excellent production directed by Marshall Ross, of a seminal work by one of our greatest 20th Century playwrights. You should try to see it, if only because the play may not come this way again anytime soon.  

Saturday, March 30, at 7:00pm
Sunday, March 31, at 2:00pm
Arena Theatre - lower level of MSU Auditorium Building
Tickets: $5
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Pageant Play

3/29/2019

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Pageant Play at LCC’s Black Box brings back fond(?) memories of Honey Boo Boo and the Toddlers & Tiaras TV show as plotting mothers tart up their little girls for bragging rights and profit — with consultant/coaches raking in the cash to paint, prod and choreograph the little ladies into winners. Matthew Wilkas and Mark Setlock’s script is a clever spoof with several twists you don’t want to know about ahead of time — fast-paced and “FABulous” under the direction of Paige Tufford. 

The show was a hoot, and reminded me of the many fairy-tale children’s-shows-by-adults I’ve participated in over the years. It had cartoonish, over-the-top characters, a couple of “wicked queens” and a wild chase scene. The contestant daughters were portrayed by two little, empty, starched dresses, pink and blue. They were tossed, hugged and abused willy nilly as the “props” these characters were. There is a fun plot and a dash of real human sympathy that warms the heart as well as the funny bone.

Ben Guenther is the sweet but put-upon “Bob” — business partner (NOT “assistant”!) of “Bobby,” played with excruciating hilarity by Kyle Haggard. These two offer a seminar for parents (the audience) on how to transform our ugly daughters into beauty pageant winners. Between seminar sessions, we meet Pinky (Nicole May) mother of contestant “Chevrolet," wickedly gushing to pageant winner “Puddle’s” mother Marge — an earnest if misguided and mistreated Bobbi Newman. Pinky offers to pay for Marge’s daughter’s future pageant coaching with Bob and Bobby — with a predictable ulterior motive to handicap the competition. Bobbi Newman also plays Pinky’s mom in a couple telling flashbacks. Pinky’s husband (Quinn Kelly) is rich and well intentioned but no match for his wife’s demanding Beauty Witchy-ness. Marge’s jailbird abuser husband is Liam Patrick Lynch. Robert Fernholz’s set offers pink-ness and sparkle — with areas for Pinky’s home, the pageant stage, and the jail visiting room, so scenes can speed on without set changes.

This show does have a dash of “adult language and situations” but is mostly just 75 minutes of FUN!

Pageant Play continues Saturday March 30 & April 5-7 - at 8 pm Fri/Sat and 2 pm Sun.
LCC Black Box is easiest to find entering the Gannon Building from Grand Avenue, small door on the south end of the building. Room 1422 Gannon Building. Tickets available at the door a half hour before the performance. $5 students $10 general public.


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A Behanding in Spokane

3/28/2019

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A Behanding in Spokane is absurd — in the Theatre-of-the-Absurd sense where existence has no meaning and life makes no sense — so the only answer is to laugh at it? This is a Dark Comedy — teeming with F-words and N-words — even one C-word — sure to turn some audience members off — but completely “natural” to the confused/insane/trapped low-lifes populating this seedy hotel room.
John Lerma plays Charmichael, a haunted, unpredictable, sadistic stranger looking to buy his long-ago-severed hand from drug-dealer and girlfriend Toby and Marilyn (Ngegwa McCloud and Rebecca MacCreery) with the non-assistance of Mervyn (Hunter Folleth) the nosy “receptionist guy.”

Christopher Walken was nominated for a Tony playing Charmichael on Broadway. He remarked, “You don’t have to know what an actor is talking about; you just have to know that HE knows.” Lerma brought his own version of “Walken-esque” strangeness, and was scary enough, as he toyed with his scam-hand-selling prey. 

Playwright Martin McDonagh has been praised for his other scripts such Beauty Queen of Leenane, The Lieutenant of Inishmore and The Pillowman— but may not have as firm a grip on the American psyche. Some critics have found the racist insults by Charmichael (and his mother, by phone) to be offensive, and accused author McDonahh of presenting a racist stereotype in the Toby character. 

That said, Ndegwa offered the most convincing and impassioned performance in this show, ranging from desperation to tears to placating pleas and girlfriend exasperation. Rebecca was both annoying and charming — and Hunter was weirdly cute and inscrutable, with an adorably strange affection for monkeys - and unrealized heroic aspirations.

As the script progresses, the absurdity blooms and provokes laughter; it is “F-ing funny” to quote the director’s note. I applaud Heath Sartorius in his directorial debut, and bid him a reluctant farewell as he moves to New York in a couple weeks. Heath has worked on over 50 shows in the past 13 years in the Mid-Michigan area and will be sorely missed.

A Behanding in Spokane continues through April 7 in Riverwalk’s Black Box Thursdays at 7, Fridays/Saturdays at 8 and Sundays at 2. 
General seating; arrive early for best seats.
http://www.riverwalktheatre.com
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