The Amazing Maurice and His Educated Rodentswas a charming and insightful pied-piper-scam tale of trickery and intrigue with some spooky magical elements. Matthew Holmes’ script does a nice job of simplifying Terry Pratchett's relatively complex, entertaining and thought-provoking novel. 

Director/Founder of Young Artisans, Sadonna Croff does an amazing job of managing this large cast of 29 youngsters aged 10-18, some of whom are new to the stage. Kids not only learn acting, but other aspects of stage tech work, and teamwork as well. 

Music Director Katherine Wilson did a nice job of teaching the songs. The group singing/dancing numbers were a highlight thanks to the choreography of Roberta Otten. 

Kudos to Katy Kettles (with assistants Josh Golden Camara Lewis , Brynn Sullivan and Makena Martin) for the fascinating costumes, designed to look “created from the trash” (where the rats became magically “educated” by eating discarded magic potion that enabled them to speak and express their dreams — and want to have names and make fashion statements.) The costumes are wonderful from the audience and amazing seen up close. Even if you don’t know a kid in the show, go through the lobby receiving line just to examine those costumes. Some are made from fabric “pages of books” that the kids hand-wrote stories on - they are full of fun, trash-details.

Another impressive aspect of the set is Bella Croff’s projections, which set many scenes and are the real “scenography” of the show. Combined with Tom Ferris’s practical set, these projections create a variety of locations that can be changed quickly.

Outstanding performers include “The Amazing Maurice” played with swagger, energy and attitude by Simon Rebeck. Steven Wulfekuhler scares everyone as The Rat King, a spooky symbol of the spirit of revenge. Phineas Reed shines as “Sardines” the show-biz dancer rat, who maintains focus and energy even when not doing his adorable tap dance. Cecelia Cody is Malicia, our narrator, ably spinning the story and inviting us into the tale. Francis Melinn is “the Kid” who brightly outpaces the overpriced “professional” Rat Piper (Rachel Wilkes). Josie Croff is the strong leader Darktan, who rallies the troops when it counts. 

The Amazing Maurice is a fun experience for both participants and audience - (proud to have grandkid participants, both on and offstage.) It’s a relatively short show (about 90 minutes which includes intermission) ONE WEEKEND ONLY - general seating. 7pm Friday & Saturday and 4:30 pm Sunday. $10/$8
http://www.riverwalktheatre.com
517-482-5700

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MEMOIR at Williamston Theatre is more than memorable. It is “a funny and moving valentine to one of theatre’s great legends,” as director Mary Job says. Even if you don’t know much/anything about Sarah Bernhardt, you will be impressed by the power and depth of these two characters, Sarah (Karen Sheridan) and her servant/caretaker/friend/foil Pitou (John Lepard.) 

The script by John Murrell introduces us to Sarah, in her final years, harassing and charming Pitou into helping her write her Memoir — often by cajoling him into playing the roles of various others in her past life. This device opens up a wide range of emotions/experiences, brought to vibrant life by these two actors. 

Karen is majestic, elegant, eloquent, overbearing yet captivating, with a wonderful voice and a commanding presence… it’s easy to imagine she was the superstar of her time — and fascinating to watch her consider her accomplishments/conflicts and face death. Did she invent herself through all her roles? Is she “consuming herself” like the sun? 

As the always devoted, but sometimes exasperated Pitou, John Lepard demonstrates his wide range, playing the various roles in service of helping with the Memoir — yet retaining the underlying Pitou character in a subtle, layered performance. He is the practical and spiritual “other” that makes this play possible.

As always at Williamston, the technical aspects are outstanding: Bartley H. Bauer’s elegant “ironwork” patio, period costumes by Karen Kangas-Preston, a multitude of detailed period props by Michelle Raymond (including an antique, “working” gramophone with a record asst. stage manager Heath Sartorius told me has the correct record label on it.) In an intimate theatre like Williamston, the prop detail and set dressing conveys a lot because it’s so close and real.) Evocative lighting (Alex Gay) and sound (Julia Garlotte) ebbs and swells and changes as time passes and Sarah revisits scenes of her past.

Be sure to check out the assorted interesting quotes about Sarah Bernhardt that are featured in little boxes in the program. 

Memoir continues through 8/19
http://www.williamstontheatre.org

LCC Summer Stage Under the Stars offers a funny yet touching tour through that maze of emotional detours we take during high school trying to figure out exactly who we are. Victoria Martin: Math Team Queen is a whimsical comedy by Kathryn Walat, introducing us to a gaggle of fresh faces new to the the LCC Theatre program, led by director, Paige Tufford.

The daunting role of Victoria is tackled head on by Emma Paullin. She is the through-line character, active throughout, who traverses a wide range of identity territory as the “cool girl” swept up in the vortex of geekdom: The Math Team. She is, by turns, cool, bitchy, sassy, confident, insecure, confused, neglected, inspired, powerful, transformed…? 

The charming geeks of The Math Team are played by A. J. Hill, Seth Motz. Dillon Smith and Will Palmer. They are all fine, and each has his own distinct version of geekitude, and his own scene to shine — but I was particularly taken with “Jimmy” (Will Palmer) who brought the greatest degree of energy and sincerity to his “lowly freshman” role.
 
Victoria Martin: Math Team Queen continues through Sunday at 7 pm each day in the outdoor amphitheater in the central LCC Campus, between Dart Auditorium and the Gannon Building (if you park on Grand, you can walk through the Gannon Building… and there are bathrooms there, too.) Bring your folding chairs, blanket, maybe snacks (there are some for sale, too) The show is free of charge, but a tip for the scholarship donation box is appreciated.


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​DISNEY’s THE LION KING upholds its reputation as a grand celebration of Africa and “the circle of life” with astoundingly fabulous, inventive, artistic animal costumes? puppets? costuppets? They must be seen to be believed, dancing and stampeding across the Wharton stage, portraying all manner of animals — and even plants.The set is an effective, versatile backdrop with stampede and drought effects and lighted underwater fish effects, but the “costuppets” are the main attraction.


The show was not short (about 2 hours and 45 minutes which includes the intermission) and may be a little to serious and majestic for very young kids — and there are the topics of death and guilt…But of course, the mood was lightened by the humor of meerkat Timon (Tony Freeman, at our performance) and warthog Pumba (William John Austin at our performance) who were adorable and funny and brought the popular “Hakuna Matata” (no worries) attitude — along with Pumba’s fart jokes and Timon’s sassy remarks. 

Zazu the challenged-babysitter toucan (Greg Jackson) also brought the laughs as he tried to keep track of young Simba and Nala. (Unfortunately I forgot to check the sign that probably told which actors were portraying them at this performance. It wasn’t in my program inserts. Joziyah-Jean-Felixx or Salahedin Safi as Young Simba and Danielle W. Jalede or Gloria Manning as Young Nala) They were both charming.

The large cast is universally talented with lots of athletic dancing, aided by the two drum specialists each with a roomful of impressive percussion on each side of the stage. Gerald Ramsey was the strong, kind, doomed father, Mustafa; Mark Campbell was the easy to hate, malevolent Uncle Scar. Adult Simba (Jared Dixon) and Adult Nala (Nina Holloway) were noble and strong and gave us all hope for the future of the pride lands.

Don’t miss this majestic musical, one of the modern “classics” as it continues through July 29. You can see what seats are left at the website:
https://www.whartoncenter.com/events