We ventured “out of the GLUT Zone” 45 minutes south to Center Stage Jackson to catch Lansing favorite Brian Farnham as Seymour Krelborn in that inimitable Faustian, doo-wop musical with puppets:Little Shop of Horrors.Lansing’s Angie Schwab also played keyboards, leading the well balanced combo orchestra of four.

Brian was charmingly pathetic as Seymour, suffering under the thumb of his employer/adopter Mr. Mushnnik (Brian Weber) and pining after the sweet, abused Audrey (played by Lindsey Hemming with a lovely voice and an appropriately weathered manner.) Bradley Jayne played her abuser, the sadistic Orrin Scrivello, the dentist we love to hate. The skid row quartet included Carly Buchbinder, Stepfanie Steinkopf, Katima Dickenson and Danielle Allore Taylor, who also created the plant puppets.

The demanding carnivore plant starts out cute, and promises fame and fortune to poor Seymour as long as he keeps feeding it, blood. Seymour eventually discovers Audrey II’s intent is global domination! The puppeteering demands of this character are great, and often the puppets are rented, but Center Stage’s puppets were designed and created by Danielle Allore Taylor and operated by puppeteer Gabriel Kobbe. The domineering Voice of Audrey II was Betsy King, who appeared for the curtain call in full goth-glamour-space-alien costume, which was a fun, final garnish to a fun show.

Lisa Cryderman’s preshow into acknowledged a PG-13 rating and noted the sensitive subject of abuse, which is in no way condoned… but still may trigger some. The “AWARE” empowering survivors hotline phone is included in the programs. 

Jackson's Potter Center had a fire this summer. Center Stage Jackson usually performs big musicals there but is at East Jackson Secondary School 1566 North Sutton Rd. Jackson, 49202, for this production. 7:30 pm Fridays/Saturdays and 3pm Sundays. Masks are optional, and I did not see many in the smallish audience. It’s general seating, and a pretty large house, so plenty of room for social distancing… and this show deserves more “meat in the seats” … so take a little color-tour drive south - check it out!
https://mailchi.mp/centerstagejackson/littleshoptickets

Even if you’re not a Baby Boomer who remembers this era personally, you will get a kick — and a think — out of A Contemporary American’s Guide to a Successful Marriage © 1959 by Robert Bastron. It marks MSU’s return to full production values (as opposed to the “storefront” simplicity of Penelopiad.) 

The expansive set fills the Wharton Center’s Pasant stage with period furniture on a platforms set against artistic renderings of blueprints from actual homes built in the 1950s. (Scenic Designer Kasee Arnett ) The costumes of the two young couples are at first covered by tan, sewing-pattern pieces, which are shed through the play, as these couples stray from the prescribed life patterns. (Costumes, Zech Saenz)

This entertaining satire is told in the style of “social guidance films” of the era and contrasts the prescribed marital bliss with the reality of broken myths. Arrive early to enjoy the 50s media screen (Alison Dobbins) including a real film on the career opportunities for women studying home economics. The projection screen is an effective period-scene-setter throughout, and also features video of the Narrator, and occasionally other actors, unmasked. (All do very well onstage projecting and understandable with masks.)

Christopher Eastland is perfect as the pleasant, authoritative Narrator, never straying from “the style” even when delivering some jarring pronouncements to the adorable 9-year-old Clara Lampe, a pawn in the not-entirely-happily-ever-after story. Andi Nash, Sebastian Barnett, Stefan Funderburke and Joie Raymond bring to life couples trying to follow — and/or break — “the rules.”

I had seen some publicity pictures of an interracial couple and thought this play might be about civil rights/mixed marriages, but it is obvious early on that “Mason” is “The Football Guy” not “the Black Guy” and color-blind casting works well. There is a brief reference to race attitudes of the time when adopting kids “from AFRICA?!” is discussed.

Director Rob Roznowski states in the press release, “The play follows two young couples from courtship to marriage and explores the complications of how gendered roles impact married life. It is set in a time when the nation was returning from World War II and ‘The American Dream’ seemed in reach. History looks back on this time with the fondness of how Americans ‘should’ be living. Many still believe in this myth, despite it being a homogenous, patriarchal, homophobic, and white reality.”
 
Tickets are $23.50 for general admission, $21.50 for MSU faculty/staff and seniors, and $13.50 for students — available online at http://whartoncenter.com, at the Wharton Center box office, or by calling 1-800-WHARTON.
Audience members must remain masked throughout.
 
Remaining Performance Dates and Times
    • *Sunday, October 17 at 2 p.m.

    • Tuesday, October 19 at 7:30 p.m.

    • Wednesday, October 20 at 7:30 p.m.

    • **Thursday, October 21 at 7:30 p.m.

    • Friday, October 22 at 8 p.m.

    • Saturday, October 23 at 2 p.m.

    • Saturday, October 23 at 8 p.m.

    • Sunday, October 24 at 2 p.m.


*Director Pre-Show Discussion Sunday, October 17 at 1:15 p.m.
**Post-show discussion with Patrick Arnold, Advisor for the MSU Center on Gender in Global Context, on Thursday, October 21 following the performance.
For more information on the show and other MSU Department of Theatre productions, visit:https://theatre.msu.edu/productions/21-22/.

Evita — wow. 

You don’t have to totally understand the politics of Argentina in the 40s-50s to be blown away by Lebowsky Center’s stellar production. The legendary Eva Peron's epic rise from poverty to power is compelling beyond its politics. The helpful director’s note is all the orientation you need. 

This is a fully sung musical, with little or no dialogue, so the excellent voices, singing, orchestra and dancing are all the more critical and challenging. The score is difficult and sometimes discordant (in a good way) driving powerful moods, and soaring with the “Don’t Cry for Me Argentina” theme.

The soul of the show is the outstanding Megan Meyer as Eva Peron, once again shining her star-power throughout the Lebowsky Center. (She was a killer Sally Bowles in Cabaret a couple years ago.) Hers is a tale of triumph, charm and ruthlessness and she is exceptional. 

Diego Perez plays a wry Che Guevara, Argentine Marxist revolutionary, the cynical, sometimes wisecracking commentator, shining his own perspective on Eva Peron and her strong-man husband Juan Peron, proudly played and beautifully sung by Benji Cates. Jake Przybyla and his stellar voice shine as one of the stepping-stone men on Evita’s way up. Kaila Szafrasnski is another remarkable voice as the displaced mistress, and 7-year-old Raelynn Dahlgran has a sweet solo as a child receiving Eva’s philanthropy. The very busy and versatile ensemble seamlessly embodies Evita’s fans, mourners, soldiers and more.

Lebowsky lives up to its professional production values once again, under the direction of Garrett Bradley with the outstanding, tango-flavored choreography of Erica Duffield and Taylor Engel. Music Director Jillian Boots and orchestra were great (take a peek behind you when you attend; there’s a tv screen so actors on stage can be conducted/cued by Jillian, even though the musicians are invisible, deep in the orchestra pit.) The versatile set (Josh Holliday) allows for both grand-balcony and intimate scenes. Costumes are amazing (Alissa Britten & team) During one song, the super costumes and super choreography combine to dress Eva in several different dresses without missing a beat.

It’s well worth the drive to Owosso to experience Evita continuing through October 24.
Lebowsky Center is  at 122 E. Main Street in Owosso
Tickets at http://lebowskycenter.com

NOTE that masks are required for all except cast members actively performing; there are no concessions sold and the cast and crew meet and greet after the show has been temporarily canceled in an effort to keep safe distances.

Women Playing Hamlet is my kind of Shakespeare! Of course, it’s not literally authored by The Bard; it's a delightful, insightful script by William Missouri Downs which uses Shakespeare as a launching pad for a myriad of identity issues and a LOT of humor. To be or not to be — or to be… what, exactly? To boldly choose — or be forced into — our roles? Why is a woman right/not right to play Hamlet? 

Director Blake Bowen has choreographed and energized a talented, all-female cast, as the script turns the Shakespearean men-playing-women tradition upside down. Pace and energy and occasional audience interaction keep it lively.

Laura Nguyen leads the pack as the aspiring, young actress cast as Hamlet - or maybe an alternate soap-opera role — under the tutelage of Olivia Hines as her Humanities Professor/Acting Coach. Both give strong performances and are relatively easy to understand, despite the challenge of the actors being masked. The plexiglass “mouth windows” in the masks helps, but I would like to read this script and get every word.

Amélie Lepley, Makayla Morrison, Lydia Castilhos and Kallie Marrison play a myriad of fun auxiliary characters. I was particularly impressed by Makayla as Starbucks Actress and Bike Messenger and Kallie as Minnesota Mom and Bartender. 

The set is minimal but a series of  “media” slides (designer RaeAnna Blanck-Asbury) are wonderful enhancements - and vital to the Sir Patrick Stewart interactions. (I imagine the actor himself must have blessed this playwright with permission to use his image.)

This script is a gem for Shakespeare lovers and haters alike — with some real food for thought among the laughs. Don’t miss the THREE MORE SHOWS in this one-weekend treat at LCC’s Black Box. 

Enter LCC's Gannon Building from Grand Avenue, at the small door on the south end, now with a LCC Black Box lighted marquee, which is new to me, and helpful to new audiences.

8pm Friday & Saturday; 2pm Sunday
$5 - students
$10 – general admission
Tickets sold at the door- cash and checks accepted. Limited Seating.

LCC Performing Arts Production Office, 517-483-1122
www.lcc.edu/showinfo