Thanks to Guest Reviewer Tom Klunzinger, since I am in the ensemble for this show, we needed an “outside eye”. Jane
JAMES AND THE GIANT PEACH
By T.E. Klunzinger
 
Riverwalk’s “James and the Giant Peach” is certainly a fun, feel-good family musical which is something in woefully short supply these days. It’s a delightful way to finish up the theater season which, although it’s child-friendly, is still sly enough to appeal to adults.
 
It’s hardly a spoiler to say that as the show starts, James (Nicholas Pasko) parents are killed by a rhinoceros and he is sent to live with two terrible aunts. He does, however, have a sort of guardian angel in Ladahlord (Luka Pawsek) who gives him a magic potion meant to taken orally but which gets dumped on the old peach tree in the backyard from which a great adventure ensues.
 
It's worth noting that the pleasantly tuneful score is by the Oscar-winning Benj Pasek and Justin Paul, who a few years later would go to create the scores for the films “La La Land” and “The Greatest Showman.” (The actual “live” music is provided via a recording from the publisher which is often the case these days.)
 
Young Mr. Pasko (age 12) is excellent as James, and for a magical moment during the song “Middle of a Moment” he “takes the stage,” showing that he is truly a star in the making.  Pawsek complements him with the right amount of swagger and mystery.
 
Among the larger-than-life insects who become James’ new “family in the second act, Riley Hiraj stands out as the lowly earthworm who rises to heroism, ably assisted by Brian Farnham, Ava Taube, Sophia Bernard and Garrett Manor as other family members.
 
Last but not least among the principals are Holly Kay-Cannon and Joyce Kramer-Cox as the hilariously awful aunts who leave the audience cheering at their demise.
 
The set, costumes and choreography are simple and sincere, while the possibly-cumbersome giant peach ends up as a very cozy dwelling place for many of the characters we’ve grown to embrace.


But why take my word for it? You can experience this Peach-y wonderland yourself, now at Riverwalk through May 26. Shows at 7, not the usual 8 - plus the usual 2pm Sundays. Tickets at www.riverwalktheatre.com - 517-482-5700


P.S. Jane says: Learn more about the remarkable puppets built for this show by Adam Carlson in this LSJ article: https://www.lansingstatejournal.com/story/life/2024/05/16/puppets-riverwalk-theatre-adam-carlson-james-and-the-giant-peach/73669984007/

Thanks to Guest Reviewer Julie Linderleaf for this great/terrible review of SIX! (“Terrible” only in that it makes ME regret having to miss this show due to James and the Giant Peach rehearsals; come see us at Riverwalk next two weekends!) Kudos, Julie, for staying up until 1:03 a.m. to produce this rave.


East Lansing, Are you ready for a royal happy ever after? 

"Six" The Musical delivers a captivating fusion of history and modernity, reminiscent of "Hamilton". Transforming England's Tudor period into a vibrant, empowering "HER-story", Toby Marlow and Lucy Moss ingeniously weave the tales of King Henry VIII's six wives, each vying to one-up the other with their traumatic marriage stories.

Kristina Leopold, Cassie Silva, Kelly Denice Taylor, Danielle Mendoza, Alize' Cruz, and Taylor Sage Evans shine as the dynamic ensemble cast. Their amazing chemistry seamlessly blends their voices, infusing each character with depth and spirit. Leopold's (Divorced) Catherine of Aragon exudes resilience, Silva's Anne Boleyn (Beheaded) brims with fiery defiance, and Taylor's Jane Seymour (Died) radiates sweet sadness. Mendoza's Anna of Cleves (Divorced) injects humor, while Cruz's Katherine Howard (Beheaded) adds a poignant layer of tragedy. Evans' Catherine Parr (Survived) emerges as a symbol of hope, survival, and strength.

The production's concert-like atmosphere adds a contemporary edge, keeping audiences howling with its infectious energy. Marlow and Moss masterfully took a classic history lesson and blended it with themes of female empowerment and resilience. "Six" is not just a musical; it's a celebration of history, femininity, and the enduring power of sisterhood.

You won’t even realize there isn’t an intermission. The show is 80 active minutes filled with neon lights, spikes, fishnets, and diamonds sparkling from the tips of their crowns to the toes of their boots in costumes designed by Gabriella Slade. Creatively blending Tudor fashions of the yesteryear with modern stage presence, complete with microphone holders, the production immerses audiences in a visually stunning experience, the actresses often breaking the fourth wall to talk to their “besties.” 

In this same concert style, the musical utilizes hand-held cordless microphones, adding to the concert dimension while the cast dance and sing their way through their personal tragedies. Sound Designer Paul Gatehouse and Choreographer Carrie-Ann Ingrouille work together to showcase dances incorporating microphones, enhancing the storytelling.  During the song "All You Wanna Do" by Katherine Howard (Cruz) the cast incorporates touch to truly touch on the seriousness of the words. Even though the tune is lighthearted and fun, their movements show the darkness behind the true history.

The set designed by Emma Bailey may seem simplistic in its basic staging, with musicians on stage dressed in studs and diamonds, but it explodes in its use of lighting, designed by Tim Dieling, creating a visually captivating experience I wish they used more of it throughout the show instead of just as a grande finale light show. 

In essence, "Six" The Musical is a dazzling, empowering journey through history, showcasing the strength of its female protagonists while delivering an unforgettable theatrical experience.
We may not be able to remember all of the royal wives throughout history, but with this musical you can’t forget “THE SIX!”

Tickets are selling out quickly and you will need to go to http://www.whartoncenter.com or call 517-432-2000 to get tickets before May 19th. Yasss Queens!

I like to admit my prejudices so you can take my reviews with the appropriate grains of salt. For example, you probably know I’m not a fan of Shakespeare (though director Mary Job keeps trying to change my mind with her excellent renditions; don’t miss As You Like It, LCC Summer Stage outdoors June 26-30.)

So, I must admit, I LOVE the mini-shows-on-a-theme collections that Ixion Ensemble produces every season. They are always fresh and imaginative and surprising — and hardly ever use confusing Shakespearean language. This year’s “Let’s Fight” collection is no exception.

I’m not sure where all the scripts came from. I believe Ixion has a writers group and also solicits scripts from far and wide. I recognize local playwrights Adam Carlson and Heath Sartorius but there is no info on the authors in the program. Wherever/however they find them and whoever selects them (Jeff Croff?) the mini-scripts are mostly funny, twisted, creative, and sprinkled with insights into the human condition. Casts are small and sets are quick-change and contain common elements that reinforce the cohesion of the collection.

Director Rose Jangmi Cooper (and her A.D. Ny’kieria Blocker who directed one of the nine scripts) have assembled a versatile gang of actors to “fight” for us: Ann Carlson, Sarah Hayner, Teresa Hurd, Quinn Kelly, Jeff Kennedy, Rich Kopitsch, Nick Lemmer, Maureen Sawdon, Dillon Smith, and Ian Whipp. Most play multiple roles. 

Because “surprising” is one of the selling points of this collection, I don’t want to give much away, but I can say that Kung Foolery by Brett Hursey offered a hilarious contrast between the fed-up Sarah Hayner and the fired-up Quinn Kelly. Jeff Kennedy aced two scripts that were near monologues. I really liked Fighting for Mr. Right by Barbara Lindsay, where Dillon Smith artfully countered Maureen Sawdon’s daunting dating requirements. Adam Carlson’s Kortal Mombat was a little scary. Nick Lemmer and Ian Whip were hilarious in The Heist by Lisa Dellagiarino Feriend. Rich Kopitsch was an amazing and necessary fight choreographer — as well as an acrobatic onstage fighter along with Ann Carlson in Heath’s script Not Part of the Choreography. 

Only two more chances (5/17-18, 8pm) to see this entertaining collection “Let’s Fight!” at Stage One at Sycamore Creek Eastwood 2200 Lake Lansing Road, directly across from McAllister’s Deli. The driveway is down east side of the building and entry on the lower level in the back. (There is an elevator, and handicap parking in front.) $15 general admission tickets at: 
https://www.onthestage.tickets/show/ixion-ensemble/6609cfd78a69770e3f3e69a7/tickets