There is only ONE MORE PERFORMANCE of this powerful, ironically uplifting "suicide note" of a play, written by Sarah Kane, who did, in fact commit suicide at age 28, not long after this play was written.

The script reads like an epic poem with no character delineations. Director Deb Keller has assembled 15 actors to embody many voices of mental illness creating a "body of the cast" that sometimes feels like one pulsating organism of despair/anger/confusion... Deb has painted a compelling picture with these bodies and voices, "honoring the difficulties many people go through alone, or while feeling alone." (director's note) 

These voices are artfully combined with a dramatic variety of music, sound, light, and dance/movement to create a sort of sensory/extrasensory experience for the audience (and an even more intense one for the cast, I imagine.)

I found the script online at http://rlmalvin.angelfire.com/KaneSarah448Psychosis.pdf
Memorable lines include, "I have no desire for death; no suicide ever had." and also,  "It is myself I have never met, whose face is pasted on the underside of my mind."


But note, that reading the script will NOT give you the experience you will get in the LCC Black Box. This script is fleshed out and animated greatly by Deb's direction and interpretation. Her inspirational treatment of the ending brings a sense of hope and communion that is not a literal part of the script. It seems to be her interpretation of the final line,  "please open the curtains."

Come tomorrow (tonight?) and experience: TJ Allen, Jason Durr, Catie Eldridge, Yulia Fox, Cassie Hawley, Matthew Haworth, Anna Hill, Quinn Kelly, Kallie Marrison, Jacob Meier, Frankie Nevin, Brooke Niska, Vivian Thompson, Eric Vincent, Nicole Yabs)

8pm Saturday, April 29 at LCC's Black Box, 168 Gannon Building. (Park on Grand Avenue; enter the building at the southmost small door of the building.) 

Free of charge, but a collection is taken to support the LCC theatre program.

Owosso Community Players once again delivered a standing-ovation-worthy musical — PETER AND THE STARCATCHER was phenomenal - hitting that fine balance between flair and precision in an entertaining and demanding show.  

Dave Barry and Ridley Pearson’s book was adapted for the stage by Rick Elice in a clever script detailing the back story of Peter Pan, Captain Hook and the Lost Boys. Only eleven men and one woman inhabit all manner of characters and at the same time create many elements of the set through intricate, imaginative choreography… I want to say “fight choreography” but also “meteorological choreography” and “rope-room choreography.” Directors/choreographer Anna Owens and Garrett Bradley must be inspirational slave drivers. 

The fantasyland set tossed us on stormy seas, in two different ships, and onto a magical island in act two (set design Dirk Rennick and Dan Wenzlick.) The mermaids were sensational, with the help of Mistie Jordan’s wild costume design, realized by multiple “costume builders.”

Isabella Abuan was a very talented and heroic performer as the brave, charming and accomplished “leader” Molly (ALmost making me forget to pout about the only-one role-for-a-female.) Mathieu Wiesner was the beleaguered orphan who becomes Peter Pan — even more amazing when I realized we had recently seen him play an excellent Sky Masterson in East Lansing High’s Guys and Dolls. Joe Quick aced multiple roles, including a coquettish Mrs. Bumbrake. Michael Windnagle was an impishly pirate-ical Smee. The deliciously vain and evil role of Black Stache, the future Hook, was reveled in by the talented Adam Woolsey (who will next appear in Riverwalk’s Catch Me If You Can in June.)

It is well worth the drive to Owosso to catch some of this magical “star stuff.” Peter and the Starcatcher continues through April 30 - 8pm & 3pm Sundays. Adults – $15, Senior/Student – $13.50, Child (12 and under) – $7.50
All tickets carry a $1.50 ticketing fee
https://owossoplayers.com

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PINOCCHIO is the latest offering by All-of-us Express Children’s Theatre performed at Riverwalk Theatre. We are pleased to give these young actors an opportunity to perform on a thrust stage, rather than the proscenium venue (Hannah Center) where most of their shows are performed. It’s nice to be able to see the kids up close and personal.

Kudos to director Dale Wayne Williams for managing this large cast of 24 and the challenging script with its multiple scenes. John Baldwin’s adaptation of this story is a little preachy, and Fiona Breen as Glissandra the Blue Fairy did an earnest job of warning the prone-to-lying-and-selfishness Pinocchio (Avery Kirchensteiner) to be a good boy, in order to become a “real boy.” Rowan Blessing played the kindly Gepetto. Blake Weil brought some villainous energy to Mastroni, the evil puppet master. Mia Colony and Lucas Richey-Cook brought a little con-man attitude to the sketchy Fox and Cat.

Be sure to check out all the information about All-of-us Express in the lobby. Fill out a survey to win free tickets to a future All-of-us show. Pinocchio continues through April 29. $5/$7 - 7pm Fridays, 2 & 4:30 pm Saturdays and 2pm Sundays. Plan to arrive early for parking and best seats, as children’s shows have general seating.
http://www.Riverwalktheatre.com

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Thanks to guest reviewer T.E. Klunzinger for reviewing Urinerown when I was
out of town. Jane


*URINETOWN*
by T.E. Klunzinger

What can one say about a show that flies in the face of everything you know
about musical theater? Fearless. Appalling. Exhilarating. “Urinetown,”
MSU’s final season show (at Pasant Theater for almost all the next nine
days) is that and more, fabulously co-directed by Brad Willcuts and Rob
Roznowski with in-your-face choreography, the likes of which has not been
seen in quite some time.

The story: sometime in a parallel future, water has become exceedingly
scarce and its management has been privatized to the Urine Good Company
under whose benevolent oversight all citizens must pay to pee. This is
naturally unpopular and soon enough the people rebel, stuff happens and the
survivors try to live happily ever after. But they don’t.

The fun of this “entirely original version” of the Broadway hit comes in
getting to know the archly-played archetypes who populate “new Flint” (as
it’s introduced): the genial, cynical ringmaster Officer Lockstock (Matt
Greenbaum), the wise-beyond-her-years Little Sally (Bethany Heinlein), the
charismatic Bobby Strong (DJ Shafer), tough-talking Penelope Pennywise
(Anna Birmingham), megalomanic Caldwell B. Cladwell (Jonathan Hamilton),
his too-virtuous daughter Hope (Hannah Martin) and, well, another 14
sharply defined characters.

Authors Mark Hollman and Greg Kotis combine wicked satire with memorable
melodies for everyone, especially so for Shafer and Martin who sing their
love duet while spinning above the stage, and the powerful second-act
quartet “Why Did I Listen to That Man?” Music Director Dave Wendelberger
smoothly guides the five-piece orchestra through the syncopated rhythms of
the often-difficult score.

The success of this immersive grungefest owes much to Lee Jones’ set
design, Chris Stowell’s lighting, costumes by Karen Kangas-Preston, as well
as to Meredith Wagner’s makeup on Cladwell’s pasty-faced minions.

A quibble: several of the characters are stated to be the parents of other
characters but are obviously the same age – it doesn’t quite work. Age has
its own authority.

Much has been made of the show’s timely relevance to the Flint Water
Crisis. Well yes, but like anything it’s possible to beat one over the head
with it – the Broadway version skewered many targets very well. But if you
really want to pursue the subject, you’ll want to attend the free Symposium
next Saturday at 4:30 pm with a seven-person panel of experts.