I have to admit I haven’t been to many All-of-us Express shows, since I have to see SO many adult-acted shows, and I get lazy — but my granddaughter wanted to go, so … 

Anyway: Wow. Matilda Jr. is an impressive show — incorporating LOTS of youngsters in a wide range of ages into a well choreographed, fast moving, energized production. Kudos to director/choregrapher Jocelyn France, assisted by Elena Forman.

All the leads a very good: Nadia Cuthrell as sweet sympathetic Miss Honey, Liam Van Der Heide as despicable Mr. Wormwood, Ella Koenigsknecht as selfish, mean Mrs. Wormwood, Taylor Stallings as the overfed Bruce, Molly Tait as Mrs. Phelps enthralled with Matilda’s stories, Ollie MacDonald as the vain, over-the-top dancer Rudolpho…. there really was not a weak link. And Olivia Hallan was a delight as our heroine, Matilda — just the right mix of woebegone and rebellious, and with a lovely voice.

The highlight of the show, however, was Simon Rebeck as Miss Trunchbull. I have enjoyed the full version of this show at both Lebowsky and Evolve, and I must say, Simon is right up there with the stellar Garrett Bradley and Bill Henson, despite his young age (I think 18 is the limit for All-of-us) he acted a convincing 40-plus in age, and had the physical discipline and overbearing, vicious glee to dominate the production in more ways than one.

See this show; you will like it even if you do not have children in it.
Matilda Jr. continues through August 7 at the East Lansing Hannah Center. Tickets at https://www.cityofeastlansing.com/allofus

It’s amazing how engaging this script is, even though it doesn’t make any sense… not unlike life, I guess. The Realistic Joneses is an absurd slice of life. The two couples, both named Jones, are keeping up with each other as they muddle through the strange improv of life, marriage, mortality…

The Samuel French description of this script is, "As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities.” 

But must they decide? Can they tell the difference? Can the audience?

Director Miranda Sue Hartmann guides four talented actors through Will Eno's challenging script. The desperately cheerful Jennifer is deftly played by Debbie Lundeen, trying to engage her under-communicative spouse Bob (Michael Phelps). New neighbors Pony and John (Rachel Mender and Joe Dickson) pop in and liven up the party. Joe gives John a smart-ass edge, and Rachel is effervescent as his wife, Pony. 
We eventually learn that both husbands suffer from Harriman Leavey Syndrome, a fictional degenerative nerve disease which is a specialty of a local doctor. The couples prattle on and reach out to each other. Eno’s witty non sequiturs dance along to build a strange story of looming existential crisis. It’s melancholy, unsettling and funny. 

Chris Jones, a Chicago Tribune critic wrote this cryptic description: “If you like marital comedies and hate them both at the same time, this is your show.”

The Realistic Joneses plays only THREE MORE TIMES, by Over the Ledge Theatre, guest-performing at Riverwalk Theatre’s Black Box. 8pm Fri/Sat; 2pm Sunday. Get tickets ($10-$12, plus credit card processing fees) at http://overtheledge.org or by calling 517-318-0579 — or at the door.

This is a challenge because it’s one of those scripts you don’t want to know too much about in advance. I love new scripts and their twists and surprises. The Hat Box by Eric Coble at Williamston Theatre is full of them. (And kudos to Eric for bucking the lotsa-men-and-only-young-women trend and writing a script for four older women and only one man!)

The hat box in question is discovered in the process of two middle aged sisters, Winnie and Claire, clearing out the belongings of their deceased father. This funny and touching script is more about the relationship between the sisters than solving the mystery of the hat box — which serves as a proverbial “can of worms” challenging their assumptions about their parents, and more. The sisters’ search for answers leads to more questions and a peek into other lives that are more complicated than expected. 

Sandra Birch and Suzi Regan are wonderful as the sisters, bickering and challenging and mis-remembering as siblings do.  Their contrasting take on the controversial gravy boat paints them as not exactly close. Their visit to Aunt Esther (Karen Sheridan) adds new levels of hilarity and more “worms out of the can” with her delightful, eccentric portrayal. She leads them to Stanley and Marcia’s house (Bruce Rico Wade and Brenda Lane), and it’s a veritable “worm storm” of new possibilities, explanations, conflicts and laughs. Director John Lepard can be very proud of this cast.

The relatively neutral scenic design by Aaron Delnay floats from a realistic base to an artistic cloud of hatbox-shaped, wallpaper hexagons. It changes little in the scene shifts to the different abodes  — because it’s about the people, not the locations — and trying to make sense of what perhaps never will. Sharing the search may be therapeutic in itself.

The Hat Box world premiere continues through August 14. Tickets at http://williamstontheatre.org
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​Yes, it IS worth the drive to Lake Odessa!

Evolve Theatrics' fun and festive production of Meredith Wilson’s The Music Man is a celebration of nostalgia and hit songs (Till There Was You, Goodnight My Someone, 76 Trombones, Trouble…) This tale of the con man that wakes up a stubborn Iowa town with his infectious enthusiasm and slick salesmanship brings back fond memories of my high school production where I played the Mayor’s Wife, Eulalie.

Sallee Kallenbach earns the laughs in that role. One of my favorite parts was the intentionally awkward choreography for Eulalie and her Del Sarte dance ladies. The opening salesman-train number was also a choreographic treat, more complex than the simple bouncing I’ve seen before. Kudos to choreographers Andrew Muylle and Lauren Mudry for these and all the other choreography that got this large cast of 42 (aged 7 to 70+) moving, bringing the large Lakewood High School stage to life.

Harold Hill was impressively played by Nick Kreider whose operatic training/experience put extra luster on his songs. Marion the Librarian played by Lindsay Campbell, was another with operatic cred on display, at first prim and stand-offish, but later seeing through Hill’s scam to the faith and heart behind it. Marion’s mom, Widow Paroo (Abbie Tykocki) dispensed her motherly admonitions and wisecracks with style, and a polished Irish accent. 

Andrew Muylle was an engaging Marcellus, Harold’s partner in crime, with his fun-loving girlfriend Ethel Toffelmeier (Christine Glassman); Lucas Whitlock and Leah Thelen were cute as the rebellious teens Tommy and Zaneeta upsetting gruff mayor Marty Snitgen; Kayla Campbell was a winsome Amaryllis and Liam Grams earned the spotlight for formerly shy Winthrop with his confident “Gary Indiana.”

Perhaps the highlight of the show was the charming Barbershop Quartet: Bill Henson, Don Graybiel, Nathan Tykocki and Jordan Taylor. It’s a hoot how easily Harold can trick them into distraction through song. The first three are trained musicians, and Jordan is just… the cherry on top, vocally and figuratively. I was told he doesn’t read music but has a wonderful voice, more soprano than tenor, and the pros blended him in for that barbarshop sound, with a little extra flair. 

Director Helen Hart and Music Director Kait Wilson can be proud of this production, set against a fully orchestrated recorded track. Only TWO MORE CHANCES to see this show! 7pm Saturday and 2pm Sunday. 

Lakewood High School in Lake Odessa is pretty far west, but easy to find — straight out Saginaw, M-43. (Rumor has it Evolve is planning a move east for future shows!) 

Audience members are encouraged to wear masks. Tickets at http://www.evolvetheatrics.com. You can pick your own seats. Adults $20; children (18 and under) and seniors (60+) $15.