​MSU Theatre’s A Hatful of Rain by Michael V. Gazzo is part of their Storefront Series. These are bare-bones productions that emphasize the art and craft of acting, without a lot of props/set pieces/costumes/lighting effects. This Studio 60 production relied on very few furniture pieces and props, with many items conveyed by pantomime. There was the ominous background sound of rain. More than a hatful, I imagine. The minimal program is a slip of paper with a QR code.

But no skimping on that ACTing!

Master of Fine Arts Acting Candidate Jacob Squire directed a dedicated cast of seven in a three-week rehearsal process for  this intense tale of a Korean war veteran coping with what we’d today call PTSD. In the 1955 era of this script, it was less recognized and help was difficult to find —yet similar stories of PTSD leading to addiction certainly persist today. A resource person named Jack (I didn’t catch the last name) participated in a talkback and noted not only the PTSD of the veteran character, Johnny, but also the “secondary PTSD” suffered by family members. He mentioned various resources available to veterans and recommended 1-800-michvet for help.

Oscar Quiroz simmered with intensity as veteran Johnny, under the stress of hiding his addiction from his unsettled wife (Lane Straub) who suspected him of being unfaithful with another woman, not with drugs. Brother (Advait Rathi) was wrenched between his loyalty to his brother, love for his brother’s wife, and duty to their father. Dad (Andrew Sang) was angry and confused, and probably part of the history of trauma for his sons. A welcome dash of humor was occasionally added to this dark mix by drug dealers Mother (Henry J) Apples (Madison Lemieux) Chuch (Gabriel Blaze) and Putski (Sam Dobrowlski) though they also augmented the darkness and danger of the piece. 

The show takes place in the Studio 60 Theatre in the basement of the Auditorium Building  on the south side. Go downstairs from either Fairchild or the Farm Lane side, down the south stairs and along that side hall. Studio 60 is next the the Arena Theatre.

You can get tickets at the door or at this link: https://commerce.cashnet.com/msu_3751 
 
If you buy tickets online, they will be waiting for you at the door of the Studio Theatre. If buying tickets at the door, cash is not accepted. All tickets are $10.  
 
Remaining shows:
Wednesday, September 28 at 7:30 PM 
Thursday, September 29 at 7:30 PM 
Friday, September 30 at 8:00 PM 
Saturday, October 1 at 8:00 PM 

A busy weekend for guest review Tom Klunzinger! Thanks for this last-minute review:

IN EMILY’S WORDS

Famous as it is, “Wuthering Heights” has already inspired at least three operas and a musical. Its latest incarnation, sort of, is “In Emily’s Words” by Jessy Tomsko, now being seen briefly at MSU’s Pasant Theatre as the featured attraction of the 9th Annual ImaGen program to showcase new musicals.

“In Emily’s Words,” sung-through as it is, approaches being an opera more than a musical; except that its music rarely has any of the grand flourishes one finds in an opera. Indeed, there is a present-day quality to the music that hardly evokes the mid-19th Century story being presented.

The words don’t help either, with a freewheeling use of anachronisms which clang in the ear when you’re trying to get into a Victorian frame of mind.

But enough of negativity (well, almost) – despite being billed as a “concert reading,” you hardly notice the few actors not yet off book. Everyone moves smartly around the stage, with even some choreography here and there. This is remarkable given that the performers barely had ten days of stage rehearsal (which is normal for the ImaGen program).

All the 25 student singers are top-notch, in addition to Equity actor Jordan Christopher as Heathcliff, with Mel Dyk as Emily, Rachel Vos as Cathy, Zach Deande as Hindley and Grace Heemstra as Isabella. As Edgar, Andrew Brown has a dynamic stage presence and a killer tenor voice.

Ah, but back to the negatives: there are really three story frameworks going on here – Emily Brontë and her sisters; Emily and the characters she is creating; and interactions between the Heights characters themselves. We see all the actors onstage; but which of them are supposed to be real, and which are not? It can be a little confusing.

Nevertheless, this barebones production of “In Emily’s Words” is a worthy effort, with plenty of good material to tweak and nudge into a truly effective work of theatre. Bravo! to the ImaGen program for getting it going – but if you want to see it, you only have one more chance, this Sunday (9/25) at 2:00 pm at the Wharton Center’s Pasant Theatre, 517-432-2000.

by T.E. Klunzinger

Thanks, Tom Klunzinger, for this Guest Review!


“Bell, Book & Candle,” a visually delightful period piece now playing at Riverwalk Theatre, is what used to be called a drawing-room comedy, except that it takes place entirely within the living room of an upscale apartment in New York City, circa 1950. 

Curiously, despite the cozy setting, this production has a decidedly British ambience to it, not least because lead Lewis C. Elson is actually British. Or maybe it’s due to the play’s heritage of being a popular vehicle for the real-life duo of Rex Harrison and Lilli Palmer.

In any case – and stop me if you’ve heard this before – the basic plot presents a modern-day witch who sets her sights on the publisher guy upstairs, then puts a spell on him so he falls in love with her, but then regrets the unintended consequences which ensue. “Bewitched,” anyone?

As Gillian Holroyd, the witch in question, Caila Conklin is statuesquely icy in the first part of the show but then is charming to watch as she melts into a more human character as the action progresses.

The experienced Mr. Elson is pitch-perfect as Shepherd Henderson, who goes from being the so-what neighbor to head-over-heels suitor in the twinkling of an eye.

A slight problem with the script is that author John Van Druten has the (few) onstage characters refer to unseen characters like Bianca DePass and Merle Kittredge with such fun phrases that you really, really want to meet them – but that will have to wait until you see in 1958 movie with Kim Novak and James Stewart (and Hermione Gingold and Janice Rule).

Also in the film was Elsa Lanchester who seemed perfect as Gillian’s slightly-daft Aunt Queenie, so a decidedly-younger person in the role could seem a little off; but Margo Guillory makes the role her own with much flourish and gusto. And a little randiness.

Nick Lemmer flows deftly through his scenes as Gillian’s fey brother, while Jeff Magnuson brings extra life to his too-few appearances as binge-drinking writer Sidney Redlitch.

Special mention must be made of Pepper the Cat as Pyewacket, who on opening night not only scratched Henderson as scripted, but then opened wide to bare his fangs in triumph. Leave it in!  

In the best period style, the show runs about 2½ hours with three acts and two intermissions. You can see it this weekend and next, 8 pm on Friday-Saturday, 2 pm Sundays, 7 pm Thursday. Reservations 517-482-5700  - or at http://www.riverwalktheatre.com

by T.E. Klunzinger

“Science both confounds and enlightens” was a line that seemed to apply to the whole production of Incognito by Ixion Ensemble. 

This convoluted script by Nick Payne was brought to life under the direction of Heath Sartorius by four remarkable actors: Doak Bloss, Kate Clark, Edward Heldt and Gini Larson. Each was amazing, instantaneously shifting identities by donning a hat, jacket, bag or a pair of glasses to become one of 21 characters within three interwoven stories.

As the description explains, “A pathologist steals the brain of Albert Einstein, a neuropsychologist embarks on her first romance with another woman; a seizure patient forgets everything but how much he loves his girlfriend.” It often seemed like there were more than three stories going in this piece, but the character transformations and believability were impressive, in themselves. As “pathology,” “memory,” and “behavior” signs lit up alternately, props and costumes and tables/chairs were efficiently juggled — as were the minds of the audience. 

Sometimes amusing, sometimes touching, the Incognito experience is a thought-provoking brain challenge.

Only two more performances next Friday and Saturday at 8pm in the Lansing Mall. Enter at the west (Lenscrafters) entrance, turn right at the first crossroads, and it’s several stores down on the left, across from “Journeys” storefront. Tickets are available for $15 at the door or via the ticketing website, https://our.show/ixionincognito. For more information call 517.775.4246 or email [email protected]
​