NEW RELEASESis another Joseph Zettelmaier hit at Williamston Theatre. This Michigan native has produced ten world premieres at Williamston, a wide variety of scripts, and this one is an intriguing charmer — a character study and a mystery, deliciously sprinkled with wit, wisdom and laughs, directed by Paige Conway. 

The always-great Sandra Birch is Carol, pounding on the door of a not-supposed-to-be-closed-yet independent video store, finally to be greeted by lackadaisical clerk Jen, played by the talented Jamie Lien, dressed in her “sexy pizza” Halloween costume. Why is Carol so desperate to get that “Maria at Midnight” video?

With the aid of likable, fatherly video-owner/boss Bob (Scott Norman) these two women develop a quirky relationship as the surly clerk/film student warms up to the mysterious middle aged customer, introducing her to the “new release” movies she might like. I’m struck by the implications/ironies of the title, as this tale is set against the waning days of this particular video store. What is new? What is old? How do we cope with loss and change, as stores and people “close”? 

Bartley H. Bauer’s set recreates the familiar video store atmosphere. Quintessa Gallinat’s music plays over scene changes (which provide time for costume changes, since the set itself doesn’t change, except for the holiday decorations, moving us along in time) while customers come and go at the store in a realistic enactment of “business”, complete with video-return-slot. The whole show is about 90 minutes with no intermission.

New Releases continues at Williamston Theatre through June 9.
517-655-SHOW (7469)
http://www.williamstontheatre.org

HOPE is the theme for this year’s Ixion collection of NEW short scripts. As this tradition becomes established, they get more and more entries to consider, and this a real “variety pack” of theatrics. I always look forward to these new scripts because they are full of surprises.

“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -

And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -

I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.

Director Rose Jangmi Cooper read that Emily Dickenson poem as an intro, suggesting how Hope opened the door to a wide variety of stories, with serious drama as well as humor. She noted that the scripts are NOT presented in the order they are listed in the program. (We are HOPE-ing she will choose to announce the actual order before future performances, so we persnickety viewers won’t waste focus trying to identify each by title.)

Each story was brought to life by a two or three of a troupe of seven actors: Muthu Jayatissa, Jacquelyn Marks and Paul Schmidt were each new to me and refreshing new talents. The familiar Leo Poroshin, Sadonna Croff, and Lekeathon Wilson were very good, as usual. I particularly liked Ellie Weise, both as the military vet at the bus station (172 Pushups) and in Scripted by Mark Harvey Levine, which was, in my opinion, the most entertaining/thought provoking of the eight scripts. (It is the final one performed.)

I would have liked to have seen bios of the eight authors, and maybe some statement from them that would introduce each script. Chatting after, I was told that Be More 282 is by Rich Espey, from Baltimore, and 282 refers to the number of murders in that city in the year the script was written. That knowledge would have shed useful light on an otherwise interesting but mystifying story.

The staging was simple, with boxes rearranged to be a bus station, bookshelf, fishing pier, lunch table, bed… and sound effects (Clint Hoagland) and music between added atmosphere.

Three shows remain for this absolutely NEW theatrical experience. HOPE you can make it to the Robin Theatre 1105 S Washington Ave. Sundays at 2 and next Saturday at 8 - May 19, 25-26.
http://www.ixiontheatre.com

HAMILTON… wow.
How can it live up to the hype? But it does… bringing history alive in a complex, comprehensible, compelling, modern way through author Lin-Manuel Miranda’s brilliant book/music/lyrics, inspired by Ron Chernow’s biography, Hamilton.

The show hums with a relentless energy as young West Indies orphan immigrant Alexander Hamilton (Edred Utomi) makes his way into Revolutionary America and gets involved with George Washington (Paul Oakley Stovall), Marquis de Lafayette/Thomas Jefferson (Bryson Bruce) Hercules Mulligan/James Madison (Chaundre Hall-Broomfield) John Laurens (Jon Viktor Corpuz who also played Hamilton’s son, Philip) and Hamilton's nemesis, Aaron Burr (Josh Tower) all fighting for independence from the hilariously snarky King George of England (Peter Matthew Smith).

But it’s not just war and politics — the scope of the show is epic and also encompasses personal challenges and relationships with the Schuyler sisters, Eliza (Hannah Cruz) Angelica (Cherry Torres) and Peggy (Olivia Puckett - who also played Maria Reynolds.)

The entire cast is top notch, constantly singing in a rap-sung-through style, also including melodic, soaring ballads/anthems. The ensemble elevated and illustrated events through expressive choreography (Andy Blankenbuehler). The set (David Korns) is massive, and neutrally “period” with a turntable floor. It can become battlefield or a bedroom, or “the room where it happens", with the help of dramatic lighting (Howell Binkley). 

Note: Hamilton is pretty much sold out AND has extra, security where you go through a sort of air-port-style scanner and have your bags checked - SO GET TO THE WHARTON CENTER EARLY— like 45 minutes to an hour before showtime. Also, latecomers are not admitted until after the first song (6 minutes) or the second (13 minutes). The show runs about 2 1/2 hours not counting intermission. Hamilton runs through June 2.

Lottery tickets available: 

Forty (40) tickets will be sold for every performance for $10 each. The digital lottery will open at 11:00 AM ET on Sunday, May 12 for tickets to the Tuesday, May 14 performance. Subsequent digital lotteries will begin two days prior to each performance.

• Use the official app for HAMILTON, now available for all iOS and Android devices in the Apple App Store and the Google Play Store (http://hamiltonmusical.com/app).

• You can also visit http://hamiltonmusical.com/lottery to register.

• The lottery will open at 11:00 AM ET two days prior to the performance date and will close for entry at 9:00 AM ET the day prior to the performance.

• Winner and non-winner notifications will be sent at approximately 11:00 AM ET the day prior to the performance via email and SMS (if mobile number is provided).

• No purchase or payment necessary to enter or participate.

• Each winning entrant may purchase up to two (2) tickets.

• Only one entry per person. Repeat entries and disposable email addresses will be discarded.

• Tickets must be purchased online with a credit card by 4:00 PM ET the day prior to the performance using the purchase link and code in a customized notification email. Tickets not claimed by 4:00 PM ET the day prior to the performance are forfeited.

• Lottery tickets may be picked up at will call beginning 2 hours prior to the performance with a valid photo ID. Lottery tickets void if resold.
Patrons must be 18 years or older and have a valid, non-expired photo ID that matches the name used to enter. Tickets are non-transferable. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice.

Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final - no refunds or exchanges. Lottery may be revoked or modified at any time without notice. No purchase necessary to enter or win. A purchase will not improve the chances of winning.

Tickets for HAMILTON are currently on sale. Patrons are advised to check the official HAMILTON channels and http://www.whartoncenter.com for late release seats which may become available on short notice.

NOTE: The Hamilton cast is scheduled to perform a benefit concert at The Loft May 27
https://www.lansingstatejournal.com/story/news/2019/05/10/hamilton-broadway-fundraiser/1166249001/?utm_source=lansingstatejournal-Daily Briefing&utm_medium=email&utm_campaign=daily_briefing&utm_term=hero

This is Jane — and I was wowed by this intriguing gem of a two-hander at Riverwalk’s Black Box, Freud’s Last Session. Michael Hays and Brian De Vries are very believable and entertaining… in what I was afraid would be too “history-ish” for my little brain and that I wouldn’t know enough about Freud and C.S. Lewis to appreciate it. Not so. They and their ideas were/are very real, though this is a fictionalized meeting/debate between the two imagined by playwright Mark St.Germain. It’s sure to inspire further debate on your ride home. 

I am going to be “lazy” and/or “not reinvent the wheel” since I agree with her — and give you Oralya Garza’s detailed review of last night’s performance that she promptly wrote for the next Ripples newsletter. Her only bad note was on some sound-balance issues that seem to have been fully corrected at tonight’s performance. (The sound was integral and added dimension and context.)

Here’s what Oralya had to say:

As World War II rages in the background, theology and ideologies rage in two men who debate all of the elements that make us human.  Humans continue to debate God or no God, pain and punishment, doubt and faith.  As long as the struggle continues within us and we remain humans without clear answers, as long as we continue to muddle through life hoping there will be resolution, or are willing to make it up as we go, the script remains relevant.  This is a thought provoking script.  A joust, a debate, a dance where you are at first on one side, then you recognize your partner is actually leading.  

While the story slowly opens, it quickly begins to simmer and then comes to a boil, rising with the passion of differing views, then resting again into the compassion and respect these two men have for each other.  Building new ideas and compromises for each other, building...relationship.

Mike Hays (Sigmund Freud) was so believable it made me wonder who the portrait of the man on the program was.  His portrayal was strong, consistent and drew you into the story.  It is a point of interest for audience members to be able to watch a character "working it out" with their facial expressions, then smoothly having the dialogue confirm that the person you are watching, is who you think he is.  We got to know Freud, and we got to like him.

Brian De Vries (C.S. Lewis) — what can I say? I guess you can go home again.  Brian took the stage like a welcome breeze that swelled and receded as he kept time with the sometimes frustrating Freud.  Brian returns to the stage after an eight-year absence.  We have missed a lot in that time!  Thank you for returning Brian, we hope to see more from you.  

The two were paired well, matching each other in intensity, pace, emotion and engaging in a tug-of-war that was expertly choreographed by director Rob Roznowski.  When I see Rob's name attached to any production, I have no fear of whether or not I will like it, I know that I'm going to leave the theatre with some gem in my pocket that I didn't have when I walked in.  This show was no different.  

Josiah Masvero (production designer) put us in the room.  The way I would have imagined it, every small touch adding a necessary reminder of the period, of the status, creating a comfortable picture of Freud's study.  I may have to hire him to design the layout for my house!

The sound design by Beth Lake (purchased from Dramatists Play Service) was excellent in content, but unfortunately very difficult for us to hear.  There seems to be some problem with the level, which I sincerely hope is resolved, as this technology was the weakest point of the show.  I couldn't help but feel I was missing some significant points because of what I could not hear. 

Morgan Pohl (stage manager) kept the show running smoothly and got us started on time.  Sounds small - but it's important and respectful to the audience - I appreciated it.  I had the benefit of arriving early and watched Morgan doing all of the little preparatory things that a good stage manager does - though it might not be her job - and nobody in the audience really knows the extent of her efforts.  Good job Morgan, great way to steward the show.

Morgan's dedication should not be a surprise to anyone though, she's had an experienced teacher.  Scott Pohl acted as producer for this selection, and looked the part of a proud father, not just because of Morgan, but you could tell that he was proud of the show itself.  And he should be - they all should be.  It was a good show that I may need to see again, if only to try to decide which side of the arguments I'm really on. 
Oralya Garza
​

Freud’s Last Session was NOT the “last” tonight but continues Thur - Sun through May 19, and is well worth 90 through provoking minutes of your time. Riverwalk’s Black Box stage is general seating, so get there early for best seats.
http://www.riverwalktheatre.com