YOU'RE A GOOD MAN, CHARLIE BROWN at Riverwalk is a show for all ages. It’s nostalgia for those of us who lived through the original Peanuts Era (and still get the paper with “Classic Peanuts”) but fresh and fun and philosophical for those not familiar with Charles Schultz’s characters and humorously downtrodden outlook — and also colorful and fun enough to hold the interest of youngish kids. There were a few preschoolers excited to meet the characters in the lobby afterward tonight. Still, it is a full two-hour show (that time includes intermission) so take that into account when considering bringing the little ones.

Director Bob Purosky has artfully assembled an all-star cast led by the soulful Brian Farnham as the endearingly depressed but hopeful Charlie Brown. Tricia Rogers is an enthusiastically “crabby” … shall we say assertive? Lucy Van Pelt. Taren Going is a true charmer as Sally, embracing her various “new philosophies” and joining Snoopy (Christopher Verhil) in a spirited rabbit hunt. Christopher celebrates his inner canine with impish abandon as Snoopy. Robert Mueller shines as the “serious musician” (and big fan Beethoven as well as Robin Hood.) And Braden Cooley encompasses the spectrum from sweet, blanket-addicted brother to intellectual philosopher and master of the book report.

The show is episodic, a collection of comic strips — but what the show lacks in plot, it makes up for by building a sense of community/family that loves each other despite the disappointments and confusions of childhood/life. “Happiness is those who sing with you."

The music is well done with keyboardist Jeff English leading four other musicians (hiding in the backstage orchestra loft) and excellent voices in the cast. The set is versatile and fun, with comic-strip-style scenography by Eric Chatfield and Travis Williams — and childlike projections drawn by July George Purosky that added fun backdrops and dimensions. There are some surprises in this show; a Wizard-of-Oz-worthy transformation from black and white to color, and a dancing blanket come to life. Choreographer Amanda Tollstam has captured the mood/character of this show with imaginative, child-like and dog-like dances that lift the songs to a higher level.

NOTE that Charlie Brown has an added 2PM PERFORMANCE TOMORROW (today?) Saturday the 30th - as well as the usual 8pm show. This performance, as well as both 2pm Sunday shows, share the parking lot with Impression 5 when it is open - so plan to ARRIVE EARLY for parking considerations. Tickets for this weekend are still available at the door. The show runs through December 8.

NOTE ALSO that there are TWO community/charitable projects associated with this show: 

The Linus Project  provides homemade blankets to comfort children who are ill or traumatized or otherwise in need — plus the opportunity to be a “blanketeer” creator of such blankets. There is a $5-per-chance raffle for a special quilt and opportunities to donate money or blanketeer-ing skills. 

Holy Cross Homeless Services is a charity right down the street in need of stocking stuffers for the homeless. Their requests for travel-size toiletries, diapers, new socks/undergarments, and gently used coats/hats/gloves are posted on cute little “stockings” displayed on the lobby fireplace. Charlie Brown patrons are encouraged to take a stocking, and bring that item to the donation box when they attend the Riverwalk Holiday Cabaret December 20-22 — or anytime during Riverwalk office hours, 10-5:30 Tuesday-Friday.

http://www.riverwalktheatre.com



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ORPHEUS IN THE UNDERWORLD
by Guest Reviewer T.E. Klunzinger

MSU Opera Theatre literally kicks off its current season with this show which is often cited as being the first operetta (as opposed to opera) and which features the iconic music which everyone has come to associate with the can-can dance. It’s a lively, colorful and very fun night at Fairchild Theatre.

When it premiered in 1858, “Orpheus” was viewed as bawdy, licentious and disrespectful of authority which of course helped at the box office. For composer Jacques Offenbach, it was his reaction against the ponderous, boring operas about tragic love triangles between gods and goddesses.

In case you don’t know, here Orpheus is a famous violin teacher whose wife Eurydice can’t stand him; she is coveted by a shepherd who is actually Pluto, god of the underworld. He takes her there, Orpheus follows, and many other godly beings from Mount Olympus descend to Hell to join in the fun. (This plot was borrowed for Broadway’s current “Hadestown.”)

This rather randy English translation by Buck Ross preserves the irreverent tone of the original while adding in a goodly number of contemporary political references, and several passages are laugh-out-loud funny. The 40-piece MSU Symphony Orchestra directed by Stephen Mosteller illuminates the classic score with precision.

Director Melanie Helton marshals her 27-member cast (most of them undergraduates) with equal verve and precision which produces engaging performances from all. (It must be noted that as always, there is an “A” cast of principals which performs Wednesday and Saturday, and a “B” cast which performs Friday and Sunday.) 

In the “A” cast, Justine Alexander’s soaring soprano make her a very endearing Eurydice, who is really the only lead character as everyone else is mostly supporting. First among those equals is John Henrikson as Pluto, who has at times the biggest voice on the stage, even managing a killer soprano. 

Ben Reisinger is a suitably heroic Jupiter and Savannah Hegyi an endearing Cupid. Cole Harvey as Mercury wonderfully channels Squidward from the “Sponge Bob” musical, while the eponymous violinist is endearingly played by Sean Holland whom Riverwalk fans will remember as Seaweed in last season’s “Hairspray.”

The resourceful Ms. Helton also designed the vibrant, glittery costumes and those, combined with the lighting design of Brent Wrobel, give the production great sparkle. And then there’s the bang-up can-can choreography by Grace Reberg.

An esteemed critic once observed, “In an opera, it’s all about the music; in a musical, it’s all about the words.” As an operetta, this is somewhere in between, so you should thoroughly enjoy both. 

Three performances left:
Friday, November 22 at 7:00 p.m.
Saturday, November 23 at 7:00 p.m.
Sunday, November 24 at 3:00 p.m.

Preview lectures are held 45 minutes prior to each performance.

Reserved Seating Tickets: $22 for adults, $20 for seniors, $7 for students and those under age 18. Add a $1.50 convenience fee for each ticket ordered online or over the phone. Tickets may also be purchased at the door if available. College of Music Box Office: 517-353-5340, mailto:[email protected]
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It was an almost full house at the large Dart Auditorium for I Have A Name - a remarkable conglomerative show about homelessness. It has been developed into a theatrical piece from a seed planted when a student in Judy Allen’s LCC classroom in 2015. Judy became the playwright of this team effort.

Fellow students’ compassion led to a project interviewing homeless people at the VOA and has culminated (or will it go further?) into an involving hour learning diverse life stories of six homeless people, portrayed by actors Quinn Kelly, Kayla Henry Jeffry Wilson, Ny’Kieria Blocker, Bob Robinson, and Olivia Hines, who took over for another actress at the last minute. 

Though this project was years in its evolution, and actors did have scripts ahead of time, this multimedia event was put together in just four days under the direction of Paige Tufford. Original music and lyrics were by Chelle Peterson. Choreography by Luren Muddy provided artistic illustration of original poetry by Cruz Villarreal, Deborah Esther Nyamekye, Jonah Mixon-Webster and students in Barbara Clauer’s Fall 2018 Community Generated Poetry Project. Dramatic projections by Julian Hendrickson added yet another dimension.

This production is not much more than an hour, but an engaging, one. At the end, we meet most of the real people portrayed by the actors, and can put their names, JP, Shyla, Reuben, Dominique, Dick and Jillian with their real faces. We learn about the wide variety of circumstances, choices, and bad luck that can lead to homelessness — and grow our compassion. 

ONE MORE SHOW - 2pm tomorrow (Sunday) at Dart Auditorium.
DONATIONS of scarves, gloves, mittens, hats, and new socks are welcome.

A card included with the program lists 13 local resources for the homeless deserving of our contributions, including the former VOA, now Holy Cross Services http://holycrossservices.org/programs/homeless-services - and also the LCC Cares Fund to support LCC students in need https://lcc.edu/foundation/lcccares.html




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Les Miserables lives up to its legend in Wharton Center’s current, spectacular production. A cast of amazing singers deliver the beloved ballads and anthems (as well as the fun upbeat “Master of the House”) with polish and passion. This is a truly Romantic epic musical that seems to gain popularity every time it comes around.

The set is a dark and foreboding place in 19th century France, sometimes nearly empty to isolate a poignant soloist (Eponine, Phoenix Best at this performance - heart rending) and sometimes full, as when the infamous barricade rolls in. Lighting was very dramatic, especially during the battle scenes. 

Destiny and redemption and moral conundrums are presented with noble passion. Josh Davis’s Javert is a worthy adversary; Mary Kate Moore’s Fantine was wonderfully sad. Cosette (Jillian Butler) was the ideal heroine. Allison Quinn and Jimmy Smagula were delightfully greedy and devious as the comic-relief Thenardiers. All the performers were stellar but Nick Cartell led the constellation of stars as the fantastic conflicted hero, Jean Valjean. His “Bring Him Home” was transcendent. (UPDATE: I have been told, by "Fantine" herself, that on opening night, I saw Kelsey Denae as Fantine, and Erin Ramirez as Eponine.) Fantastic job by all.

The show is not short (three hours, which includes intermission) but you will enjoy every minute. It is a sung-through musical (no dialogue) with a complicated plot that is helpfully described on page 32 of the program. Plan to arrive early for parking/logistics reasons AND to read that synopsis, if this is your first time at Les Mis. 

Tickets are almost sold out; you can see how many are left for each performance through Sunday at https://www.whartoncenter.com