Williamston’s THE TAMING is a must-see. 

It manages to be both sassy and scholarly and a whole lot of fun. A three-woman team romps through Miss America and the constitution and red/blue state impasses and James Madison and… You don’t want to know too much about this show before seeing it. It will take you by delightful surprise and throw in a perceptive but painless history/civics lesson as a bonus. 

Lauren Gunderson’s script is disarmingly deep — somewhat reminiscent of Rob Robnowski’s wonderful Great American Road Trip of last Summer Circle. Both scripts are entirely entertaining while raising real questions about how we are either “taming or trashing” our constitution and our country. There’s a dusting of feminism in The Taming, as well — with the all-female cast, female director (Lynn Lammers) and all female crew designers (except lighting by Brian M. Scruggs.)

Melisa Mercieca opens the show vamping in a delightfully over-the-top gown, including skirt lights and patriotic wings (costumes Holly Iler) in a hilarious scene that sets up expectations that will not be fulfilled. Alysia Kolascz (blue state) and Angela Dawe (red state) appear as a militant environmentalist blogger and an uptight staff-handler of a womanizing senator. An unpredictable three-ring circus of clashes, compromises, coercion and time-travel makes for an hour and a half of historical and hysterical entertainment - plus dance moves and confetti. All three actresses are on top of their games. 

Do not miss this gem. It continues through October 22.
http://www.williamstontheatre.org

Coyote on a Fence by Bruce Graham is a wonderful complex of conflicting truths about capital punishment and human nature. This challenging but enthralling script is well set in an artful but realistic prison set, enhanced by creative lighting that is both threatening and symbolic of the tangled points of view represented. (Set/lighting by Bob Fernholz) The script moves from past (prison) to present (bar) as we get to know two very different inmates on death row.

Director Paige Tufford leads a strong cast on this journey. An outside perspective comes from a reporter (Steve Lee) and an inside perspective from the prison guard (Cassidy Addis Greene) being interviewed in the bar. The “odd couple” of inmates are both fascinating characters, clashing and collaborating. Ben Guenther is the child-like racist we come to understand. “The only one who loved him taught him how to hate.” Michael Banghart was excellent as the intellectual, righteous fighter against the system — also a drug addict and murderer. 

This thought-provoking script is well realized in LCC’s Black Box (169 Gannon Building - Easiest entrance is the small door facing Grand Avenue, on the south end of the building) It’s well worth catching one of the only three remaining shows - 8pm Fridays/Saturdays through October 7.
http://www.lcc.edu/showinfo

Master Harold…and the boys is Athol Fugard’s autobiographical play about growing up in apartheid South Africa. Sixteen-year-old Hally (Ayden Soupal) is befriended by Sam and Willie, two black waiters (Ndegwa McCloud and Caleb Liggett) who work at his parents’ tea shop (nicely created by Randy Craven with 1950 props by Arlena Craven). We learn about Hally’s parents only through phone calls and the reports of others. It becomes apparent that Sam and Willie are more of a family to Hally than his biological parents. Father-figure Sam may be the key to broadening the horizons of both younger men.

The play started a little slow, as we got used to the Afrikaner accents that were sometimes difficult to understand. Sam tried to coach Willie for his ballroom dancing competition. Hally arrived and the course of his homework led to a discussion of values and what constitutes a “Man of Magnitude.” Hally’s difficult relationship with his disabled, drunken father was revealed though memories and phone calls. The image of a kite Sam made to distract Hally from trouble with his dad gave him something to look up to, literally and figuratively. Hally’s writing assignment became inspired by the beauty of ballroom dance, “a world without collisions.”

Caleb was a cute if awkward ballroom dancing student; I found it hard to believe his reports of beating his dance partner if she didn’t know her steps. Ayden was glib at first, mastering this demanding role with its large line load, but developed believable emotion later in the script, confronting his anger and barricading himself in his white privilege. Ndegwa had the fatherly gravitas, vocal power and wisdom to serve as a mentor, and offer hope of moving toward a world with fewer collisions.

Director Gabe Francisco offered this Nelson Mandela quote in his director’s note: "A man who takes another man’s freedom is a prisoner of hatred; he is locked behind the bars of prejudice and narrow mindedness.” 

Master Harold…and the boys continues through next weekend in Riverwalk’s Black Box. Remember, Black Box shows now include the 7pm “Bargain Thursdays” popular with Main Stage shows. Friday/Saturday at 8 and Sunday at 2.

http://www.riverwalktheatre.com

I NOW PRONOUNCE is a cynical, comedy poking fun at marriage and the contradictions among traditions, expectations and what individuals might actually want. Tasha Solmon-Gordon’s script includes a good measure of "adult language and situations” so I’d call it at least PG-13. I looked for the author online and found a quote: " I’m really interested in ritual and taboos and characters who are a little delusional - and weddings have all of that.” 

Director Jordan Climie directs this three-ring circus of “heartache, hope, sadness and strife” dashing in and out of a simple serviceable set (Jeff Boerger) providing many entrances and escape routes for the episodic snippets offering different perspectives on marriage… none of them particularly optimistic. Younger, single people who’ve been to one too many weddings will find it hilarious. 

Adam and Nicole’s wedding starts with an awkward fatality, as rabbi Jeff Boerger collapses after a meandering homily, repeatedly getting the groom’s name wrong. At the end, he returns as his own widow. Jeff’s sincerity and heart, which serves well in most roles, made these two more sad than funny. Perhaps a more stereotypical Jewish persona would have tilted it to the funny side. Sally Hecksel as bridesmaid Eva (who will be replaced by Hannah Feuka in week 2) also brought enough sincerity to strike me as more sad than funny.

On the funny side, Taylor Rupp, Lauren Kreuer and especially Angela Dill (who did not let her age or height keep her from being the most believably childlike) brought many laughs as three flower girls run amok, spooked first by imagined ghosts and later by one of those “adult situations.” Grace Hinkley was excellent as bride-zilla, Nicole, alternately alienating and gravitating toward her confused fiancé/spouse, Adam (Joe Clark.) Bridesmaid Kathleen Egan was appropriately over-the-top, portraying a wide spectrum of well modulated drunkenness, delusion and ditziness that were both entertaining and touching. 

This is a comedy twisted toward tragedy — probably better enjoyed by the newly divorced than newlyweds. It runs 95 minutes without intermission and continues 8pm Thur/Fri/Sat and 2pm Sun through October 1.


http://www.peppermintcreek.org

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