​Blake Bowen is rightfully proud of his third time directing a new and compelling “show” of personal story-telling for Peppermint Creek Theatre. If any of you saw the shows featuring military veterans and refugees/immigrants, you will appreciate the format. 

Blake’s brother Morgan, a psychiatric nurse practitioner based in Mason, was co-creator/director, and Morgan served as a welcoming emcee. They partnered with seven Lansing area health care professionals — plus one non-health-care-professional who shares an intense health care exPERience. 

Each story was a unique personal portrait  — all relating to mental/physical health, stress, mortality, trauma, coping with Covid 19… Sounds like a downer but each story included elements of insight, strength, resilience and growth that were uplifting and inspiring, and uniting us in that “human thing." 

Storytellers were Melissa Black, psychiatric nurse practitoner; Erik Grill, local actor and survivor of Covid; Margaret Keeler, family and psychiatric nurse practitioner; Debra Klueger, D.O. and practitioner of Lifestyle Medicine; Peter Liu, a musician who is also a urologist — and played wonderful preshow music; Ada Mbono, local actress “pivoting” though health care work; Mike Stratton, Licensed Master Social Worker; and Linda Vail, recently retired Ingham Community Health Officer.

Barb Whitney’s beautiful watercolor abstract art created a “set” of wall hangings, plus framed smaller art that can be purchased; email contact included in the program.

Tickets are free (so bring some buck$ to donate to the Peppermint Pete piggy bank) still with reservations requested at:   https://peppermintcreek.org/event/an-incredibly-human-thing/  Director Blake Bowen says “we’ll squeeze you in” if those reservations turn up full for the FINAL SHOW Saturday, May 13; the production runs approximately two hours with no intermission. 

An Incredibly Human Thing is performed at McLaren Hospital Greater Lansing, located in the Karmanos Cancer Institute wing, 3520 Forest Road, Lansing, MI 48910. Parking is free; enter the hospital through the Karmanos Cancer Center entrance (NOT the main hospital entrance), and then take the elevator or stairs to the third floor. Signs and an usher-is person are there to help.

Wicked is ba-a-a-ck at Wharton Center’s Great Hall to the delight of a full house of fans, old and new. This complicated prequel to The Wizard of Oz, with music and lyrics by Stephen Schwartz and book by Winnie Holzman, evolved from the the 1995 Gregory Maguire novel Wicked: The Life and Times of the Wicked Witch of the West — which, of course, is based on the Frank Baum, Wizard of Oz books and the 1939 movie.

Wicked brings spectacle with fabulous sets, costumes, effects — all the smoke and mirrors and show-stopping musical numbers, dancing, flying all over the stage. We are led through an entanglement of origin stories that somehow relate more to our lives, today, than to a fairy tale storybook past. We witness the origins of the Cowardly Lion, Tin Man and Scarecrow, the motivation behind the twister that flattened the Wicked Witch’s sister…. and more. And in the process we experience the blurred lines between good and evil, the temptations of power and attention, the complications and strength of true friendship.

Celia Hottenstein is wonderful as glittering Glinda, at first the entertaining embodiment of the self-obsessed “mean girl” but maturing into a much deeper character. Olivia Valli is a knockout as Elphaba the green outcast who learns to own and use her power — both women “changed for good” as the song says. Interestingly, Olivia has understudied Elphaba for years, and brings her own deep perspective to the character. Learn more about her in Dave Winkelstern’s City Pulse interview:
https://www.lansingcitypulse.com/stories/olivia-valli-brings-humor-and-heart-to-wickeds-lead-role,54533

Other standouts were Sharon Sachs, understudy who took over the role of Mrs. Morrible for Natalie Venetia Beacon, who may be appearing in other performances but will have to be amazing to top the deliciously evil Sharon Sachs. Christian Thompson gave us a layered Fiyero, flashy enough to attract Glinda, but revealing deeper layers to align with Elphaba’s cause. Boise Holmes was inspiring as Dr. Dillamond, the last animal teacher at Shiz. Timothy Shew had a beautiful voice and manner as the compromised Wizard. Tara Costmayer was sweet as Elphaba's beloved wheelchair-bound sister Nessarose. Her conflicted un-boyfriend Boq (Kyle McArthur) touched our hearts as he lost his own.

Wicked has become one of those classic must-sees, and wears well upon RE-seeing. It continues through May 28. Tickets at http://whartoncenter.com

​A play about a death row inmate whose lethal injection fails to kill him may not sound like a festive evening of entertainment — but When I Come To Die is riveting. We were drawn in by the spot-on performances by director Rose Jangmi Cooper’s excellent cast and by Nathan Louis Jackson's fascinating script. (He also wrote Broke-ology, a memorable show from Ixion’s 2018 season.)

Ndegwa McCloud was impressive as lethal injection survivor Damon Robinson — powerful and believable both as a criminal and as a searching human being. Doak Bloss added humor and humanity as the annoying but endearing fellow-death-row-inmate James “Roach” Teagle — ultimately a very touching character. Drew Cook is a new face on stage in our area — convincing as Father Adrian Crouse, a multidimensional priest dealing with Damon’s agnostic rebellions/confusions in an earnest and creative way. Janell Hall was a complicated ray of sunshine, stress, and hope as Damon’s sister, Chantel, visiting after too long, opening a window onto their past and her present. 

Joseph Beaman played an authentic, but seemingly minor role as Corrections Officer Cooper, making his acting debut. It was only after casting him that director Rose learned that he is actually a former Corrections Officer from one of the prisons in Jackson. Joseph became her Prison Consultant, and played a crucial part in getting things right about life behind bars. The two-cell, death-row setting is simple — with a small chaplain’s office down front. The scenes are brought to life by Julio Caceres’ wonderful sound design of appropriate background noise and jail-door sounds. 

This play is an hour and a half, no-intermission experience of weighing the meaning of time, the need for contact, and the complex humanity we all share. You have two more chances to see this Ixion production in a Lansing Mall storefront on the north side of the west wing, between the center entrance and the Lenscrafters west entrance. Look for the black curtains in the storefront windows. 

When I Come To Die continues for two more shows: Friday/Saturday May 12 & 13 at 8 PM Tickets are $15 at the door or online via https://our.show/ixion-ensemble/whenicome. For more information visit the show website, https://our.show/ixion-ensemble/whenicome.

​Did I see these shows in the wrong order? No. Even though Peter and the Starcatcher is a prequel to Peter Pan, part of the fun is spotting its references, filling in the origin stories of Peter Pan, Captain Hook, Mrs. Darling and Tinkerbell. And that is only the tip of the iceberg, fun-wise.


This somewhat convoluted script by Rick Elice based on the novel by Dave Barry and Ridley Pearson is an adventure story, mystery and juggling act. Two ships with two mysteriously switched trunks and a father and daughter on separate vessels, make their way to Rundoon Island. Adventuring daughter meets orphan boys — pirates and mayhem ensue and the magic of “star stuff” is demonstrated in many ways.

Director/choreographer Brian Farnham has become a master-juggler, in service of this script, with the help of a lively cast/crew flipping crates and ropes and more, flying and tossing folks overboard in artistic and dramatic ways — aided by a razzle dazzle of lighting effects from designer/programmer James Brunk. Music director Angie Schwab led a small but excellent combo with keyboard, piano and percussion. Elisha Smith’s scenography was lovely. Costumes (Amanda Macomber) were wild and wonderful (especially the fabulous tie-patchwork robe) and Kayla Henry produced magical makeup and hair. (Black Stache’s mustache was Joe Dickson's own creation, however — and he also designed the appropriately scary sound.) 

Yes, Joe Dickson was allowed to escape the tech world and let his Actor Flag fly as the hilarious villain wannabe Black Stache, destined for fame as Captain Hook. His swishing and swashing and deliciously snide comments were a treat, enhanced by the silly devotion and helpful corrections of his right hand man, Smee, wonderfully played by Jillian Stauffer.

Matthew Weisner was a tall but boyish “no name” orphan destined to become Peter Pan, abetted by his very cute fellow orphans, Daniel Beaver and Lyla Pople. Brave Molly Aster was beautifully played by Ava Taube, a bit too independent for her noble Starcatcher dad, Lord Aster, played with a dash of fatherly frustration by Frank Boston. Molly’s delightful attendant/nurse Mrs. Bumbrake was charmingly played by the tall but demure Luka Pawsek, romanced by the ruffian pirate Alf (Joe Clark). 

Anthony Mandalari was powerful as pirate Bill Slank, and Lainie Plunkett scared us a bit, too, as the Fighting Prawn leading her mollusk army. Sara Lehman was particularly graceful as all manner of animals and mermaid “Teacher”. The ensemble was amazing, performing dancing/lifting/special effects, pirate-ing and the rest. The mermaid scene that opens the second act is a highlight!

This show is “family friendly” but a bit complicated for young children, and lasts a full two and a half hours, (including intermission, which may stretch kids’ attention spans, and many of the fun jokes and references could be lost on the youngsters. Still — a load of fun for most, with impressive effects and pace.

Peter and the Starcatcher continues through May 14, Thur-Sun - reserved tickets at http://riverwalktheatre.com or call 517-482-5700.