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Review: Best of Friends (RWT)

5/28/2015

BEST OF FRIENDS at Riverwalk is a mini-gem not to be missed. Four excellent actors actively pump life into Jeff Daniels’ frantic foxtrot of reciprocation and retaliation, under the masterful “choreography” of director Bob Robinson. The show is only about 80 minutes, with no intermission — which allows the fast-paced craziness of this script to effectively build to it’s twisted conclusion. You don’t want to know too much of “what happens” as these two couples bounce in and out of a beautiful interchangeable living room (set design Jeff Boerger) and also in and out of “then and now” — frequently breaking the fourth wall to let us in on their slights and conspiracies.

Real life spouses Jeff Magnuson and Amy Rickett are married to the others, onstage. Both bring a wonderful, vicious childishness to their roles. Former Frankenstein's “monster” Chris Goeckel proves he CAN speak, and provoke, and spar and banter with the best of them. Cassie Little, fresh from her excellent performance in The Little Dog Laughed, brings a vulnerable sincerity that also falls victim to the viral one-upmanship and game playing.

When I first read/saw a scene from this show at the pre-season director’s workshop, I thought I wouldn’t like it; it seemed mean and petty — but in the context of the whole show, the mean pettiness not only brings laughs but also makes a statement about the “evolution” of relationships and the fragility of our egos. And it’s a lot of fun!

Continues through June 7 - 7pm Thur, 8pm Fri/Sat, 2pm Sun.www.riverwalktheatre.com482-5700

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Review: Kinky Boots (WTN)

5/26/2015

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In preparation for seeing this much lauded Broadway Tony-Winner Kinky Boots , Mark and I rented and enjoyed the 2005 film on which the musical was based. Wikipedia tells us the film was inspired by a 1999 episode of the BBC2 documentary television series, Trouble at the Top, which followed the true story of Steve Pateman, struggling to save his family-run shoe factory from closure by producing fetish footwear for men, under the brand name "Divine Footwear”. This truth behind the story gives heart and heft to a musical that is also a full measure of flash and fun and fabulosity. (Hey, that IS a word!)

The exuberance and energy, humor, great voices and dancing are exhilarating, with a well engineered set that flowed easily from the shoe factory to London. drag club, Milan… with fun dancing at the club and especially on the moving factory assembly line. And of course. the costumes were fabulous with very flashy kinky boots!

Steven Booth played a frustrated/sincere/confused/eventually passionate Charlie Price we could root for, trying to find his identity in the midst of family/fiancee/business challenges. Kyle Taylor Parker was multifaceted and powerful as sensational yet insecure Lola, who had more in common with Charlie than Charlie would have at first expected — both “Not My Father’s Son". How Lola challenged the prejudices of the factory workers, especially Don (Joe Coots) bends the steel shank of prejudice.

The uplifting theme of accepting people for who they are, with the energetic performances of the many talented folks onstage, brought the audience to its feet. “Soul of a Man” and “Hold me in Your Heart” brought to mind some of our favorite diva songs of the past such as "And I Am Telling You I’m Not Going" and "I Am What I Am." Cindi Lauper deserves her Tony Award.
So all you ladies and gentlemen “…and those of you who have yet to make up your mind,” get to Wharton Center before this hit moves on. Continues through May 31www.whartoncenter.com

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Review: Mother's Nature (IX)

5/23/2015

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5/23-31 - Jeff Croff’s Ixion Ensemble is once again inspiring and provoking something new: “Mother’s Nature” — and kudos to him (I bet Sadonna’s opinion was heard on this issue) for counteracting his man-heavy “Disgracers” original scripts of last season with this series of three one-act premieres featuring women (with one capable token man.)

Jeff Croff directed the three refreshing and entertaining scripts — valiant survivors of Actress Fallout: Sue Chmurynsky deserves Extra Credit for stepping into her line-heavy Sandy/Grandma role with only two weeks’ notice, explaining and exploring her unique relationship to tornados. Oralya Garza Ueberroth stepped into the Abuela role in her own script. And with all due respect to the previous actress, I must say that Oralya brought just the right accent and a grandmotherly dose of sass.

Terry Palczewski’s "Enough Is Enough" was the first script, showing us a humorous triangle of translation where the Oracle of Delphi (Erica Beck) served as the diplomatic translator of the bitchy goddess Phoebe (Rikki Perez). Confused tourist with “daughter issues” (Sadonna Croff) tried to find answers and inadvertantly asked the right question to change the fortunes of both oracle and goddess.

Andy Head’s “Generations” featured three generations of women exploring their relationship with tornadoes and each other. The charming Isabella Croff played 8-(and a HALF)-year-old Elie, cheerfully listening to Grandma Sandy (Sue C.) spin her vortex of tornado tales. Lansing newcomer Rachel Wilder was excellent as the distraught mother who may well use the first show’s title to express her attitude about the twisters.

Bizarre and funny with a twist, O.G. Ueberroth’s “Family Traditions” introduced us to Tina (Rikki Perez, again) the eager young hispanic fiancee bringing her rich, caucasian intended, Morgan (Jacob Crosby) to have dinner with her Abuela (author, Oralya). The “too plain” dinner of rice and beans is spiced up with a traditional dose of poison and a dark layer of humor questioning whether he is “the one.”

With mothers in mind, all concession proceeds will be donated to the Greater Lansing Food Bank. Tickets can be purchased online before the show at eventbrite.com or at the door. They are encouraging everyone to bring a food donation for the Greater Lansing Food Bank. If you do, you'll save $5 off of the ticket price. Note that they can now accept credit and debit cards at the theatre.

Tickets are $15 ($10 with a food donation for the Greater Lansing Food Bank)

AA Creative Corridor, 1133 S. Washington Ave. Lansing, MI — Look for the address; there is no obvious sign. This is an easily-missed storefront on the east side of the street, just south of the open lot with the rocks and the colorful graffiti wall. Street parking available. The whole show is only about an hour and a half.

Mother’s Nature continues 7pm Sunday the 24th - 8pm Saturday May 30 and 7pm Sunday May 31.

To make reservations or for more information email [email protected] or call 517.775.4246

www.ixiontheatre.com_

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Review: CAMELOT (STL)

5/9/2015

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CAMELOT!! - this epic Lerner and Loewe musical on a middle school stage? The brave insanity of Starlight Dinner Theatre Director Linda Granger made it happen, expanding the stage with a dramatic ramp that allowed for creative blocking and more space to play. Her Director’s Notes credit the two key ingredients she needed to take on this show: “a great costumer and a great King Arthur” and she was blessed with both. The many, many stunning costumes by Costume Designer/Seamstress Chris Kennedy evoked the period and we’re a joy to behold. Marty Underhill delivered an Arthur with charm and depth, and a beautiful voice that came through despite a few microphone problems.

Paula Sheynerman was another star, with the voice, beauty, and acting chops to embody the multi-faceted Guenevere. Joe Baumann was appropriately stalwart and obnoxious as Lancelot, but with a noble charm, sincerity, and sensitivity under his bravado that made us understand how Guenevere could fall for for him in spite of herself. Josh Martin was a puckishly evil Mordred, gleefully throwing a monkey wrench into the “don’t ask don’t tell” status quo, bribing his mysterious, magical, candy-holic aunt Morgan Le Fey (Charlotte Ruppert) to imprison Arthur in the forest.

Bill Woodland’s last great set before a well-earned retirement was versatile and efficiently changed by the cast of 23 humans - plus one dog. Set changes were quick, but even with a couple songs cut, this remains one of those traditional, long shows of the early 60s clocking in at three hours, even without the intermission. But it’s three hours of classic songs we know and love, well choreographed by Elizabeth Todd (and fight choreographed by Austin Elieff.) Fresh faced young Wyatt Beasley as Tom of Warwick, was probably up past his bedtime, as he carried the Camelot legend/ideal into the future.

James Geer rehearsed/taught the music and led the intrepid 5-piece orchestra (that I’m told survived having to switch out a failed electric keyboard for a piano, mid-show!) Tech/lights/sound were not without glitches, but I have performed with Starlight and know the time limits the middle school imposes on rehearsals, due to custodian-hours. How could a show of this magnitude be completely smoothed out in a week? The show was bigger than any tech issues, and it will only get smoother as the run continues - Saturday night, and next weekend Friday/Saturday and a Sunday “dessert only” matinee. Reservations are required for the tasty buffet chicken dinner (great cheesecake, too); and reservations are also recommended for show-only tickets $18, though some may be available at the door. (Dinner 6:30; show 7:30 — Sunday dessert at 1 and show at 2 pm).

If you love Camelot, you will not be disappointed, and if you’ve never seen it, this is a great opportunity to experience a classic.www.starlightdinnertheatre.com
Reservations - 243-6040

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Review: Best of Friends (RWT)

Review: Kinky Boots (WTN)

Review: Mother's Nature (IX)

Review: CAMELOT (STL)

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