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Review: Telling Lansing at Peppermint Creek (by Gary Mitchell)

11/12/2015

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I am glad I rescheduled the brush-up rehearsal for Nuncrackers to last night so I got the chance to see Telling Lansing at Peppermint Creek. 
Wow. 


Thanks to Gary Mitchell for writing the first-weekend review, as it is my “GLUT policy” to try to see shows early enough that my emails may boost attendance. Now there are only three shows left, and I strongly encourage you to see one of them! (Unless it conflicts with your plans to see Nuncrackers, which is a good deal funnier and more heartwarming — well, this one is heartwarming, too — and heartbreaking at the same time. See both; one may be the antidote to the other…?)

Frankly, I was going to this show because I thought I “should” and was impressed by the importance of the subject matter, as expected — but was surprised by what a “real play” it is, turning real experiences into an entertaining script, delivered by the real people who had these experiences. It is about 75 minutes, with no intermission, and followed by a talkback. 

The Telling Project distills MANY hours of interviews into a script by Max Rayneard that is entertaining and dramatic — with the added punch that it is all REAL. Real photos from the participants’  collections are projected onto the backdrop and their stories are well paced and interwoven. Lighting and sound effects enhance the experience… It is an amazing project and the Lansing version takes a proud place in the ongoing mission to share veterans’ stories. thetellingproject.org 

Kudos to director Blake Bowen, lighting designer Joe Dickson, photography Trumpie Photography - and a “special thanks” to Lansing Media Project… maybe both share credit for the very well done projections? Dave Dunckel, one of the participants/actors, was also facilitator for the talkback and author of an insightful substitute for a “director’s note” in the program. He’s a real soldier and a real actor and a real asset to this production. All the other members of the ensemble were wonderfully brave and sincere sharing their stories: Theresa Bousson, Nan Casey, James Dunn, Jason and Tiffany Evans, Jodi Hancock, and Elaine Putvin.

8pm Fri/Sat; 2pm Sun
www.Peppermintcreek.org
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Review: Venus in Fur (PCT)

5/7/2015

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5/7-17 - VENUS IN FUR… wow. This intriguing evolution of power/sex roles/stage roles seemed to us more immediate and involving than the movie; the live stage is the perfect medium for this message. The audience circles the actors on stage-level as “voyeurs” of a sort. This 90-minute mind game is aptly done without intermission as the tension builds and there is “no way out” for any of us. 

The set is deceptively simple; it’s all about the acting, the in-and-out of real life and role-playing in the script that “Thomas" (Joseph Mull) has written. This play-within-the-play is an adaptation of the 1870 novel Venus in Furs by the Austrian author Leopold von Sacher-Masoch which is the novel that inspired the term masochism. How much of this play IS the author? How does sex destabilize the balance of power?

Multi-layered auditioner “Vonda” (Mary Dilworth) is amazingly able to bounce in and out of characters… in a whirlwind of energy and fluctuating intensity. Who is she REALLY? It was a wonderful ordeal to watch this dynamic play out. Both actors are excellent, well directed by MSU’s Rob Roznowski in this spooky dark funny intense script by David Ives. Lightning and thunder suggests the Gods of Olympus may be preparing vindictive thunderbolts. And the stage/work lighting fluctuations (James B. Brunk III) pull us into different states of reality/unreality.

Don’t miss this entertaining power struggle of sexual dynamics, continuing through May 17, 8 pm Thur/Fri/Sat & 2pm Sun.www.peppermintcreek.org
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Review: Dogfight (PCT)

3/20/2015

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3/19-29 - DOGFIGHT at Peppermint Creek is a beautifully realized musical that is hard to encapsulate, but firmly follows Peppermint’s mission to address vital issues and encourage dialogue…  What is it about? You can “dialogue” about that all the way home — especially if you lived through the Vietnam War era in which the script is set. It’s about the toxic machismo of war? the dehumanizing of both women and “the enemy”? The vulnerability that underlies the loudest machismo? America’s disillusionment or coming of age? Blame/forgiveness/hope…probably even more than that. The war story overlays an unusual and captivating love story, inviting a myriad of parallels and contradictions.

Three marine buddies headed for Vietnam in 1963 participate in a “dogfight” game where each contributes $50 to a pot to be awarded to the one who brings a party date judged to be the ugliest “dog.” Eddie (Patrick Harney) flatters shy, folksinging waitress Rose (Jayna Katz) into her first date for this twisted event. These two are both excellent. Patrick conveys Eddie’s conflicting emotions; Jayna is a perfect Rose, with a wonderful voice and sincerity, naiveté and charm — not “conventionally beautiful” but doing a gorgeous job in this role.

All the voices are good with impressive group numbers. Matthew Bill and Joe Quick are great as Eddie’s two marine pals. The men’s chorus rocks — with appropriately macho and fun choreography by Karyn Perry. The versatile women who play the “dogs” and others are wonderful, too. Amanda Harvey is affecting as the hardened “Marcy.” Karol Garrison is a particularly versatile chameleon.

Katy Kettles’ costumes transform the many chameleon characters and also set the era so we know when four years have passed. Edric Haleen leads a wonderful, well balanced 6-piece orchestra; with the help of Sound Technician Bill Bartilson, (and a little help from the actors) the lyrics are clear.

The set is amazing in its versatility and rustic beauty — with the Golden Gate Bridge rising like a cathedral over a series of platforms and movable beams that allow for seamless scene transitions — kudos to designer/builder Jeff Boerger.

Despite the serious topics, this is an entertaining show with catchy music and a good sprinkling of humor. Director Chad Badgero can be rightfully proud. Well worth a trip to the south side!
Dogfight continues Thurs-Sat at 8pm and Sundays at 2pm through March 29.Miller Performing Arts Center on Curry Lane off Miller Road, next to North Elementary School

www.peppermintcreek.org
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Or You Could Kiss Me (PCT)

1/22/2015

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We have come to expect the fresh and thought-provoking from Peppermint Creek Theatre… and Or You Could Kiss Me does not disappoint. It is really more than a play. It is a poem, it is a dance, it is a trip back and forth in time. “The Story” is ostensibly about a gay couple who met in 1970s South Africa when being gay was a “crime” and their present selves looking back on their beginnings from a perspective of an impending death bed. Yet, it is not just “one of those gay plays” because the universal themes of love, and mortality and memory and imagination… apply to all couples.

Jeff Boerger and Bill Henson play the couple, but they are only part of the two characters portrayed. “Assistants” Michael Banghart, Keenan Kangas, Jordan Climie and Danny Bethea join the two to operate four abstract-yet-realistic puppets, representing the past and future versions of these two men. It is remarkable how they have been choreographed and attuned to each other to bring the puppets to life. Lauren Ezzo, as MC narrates and becomes a host of extra characters as well. (Loved her cab driver.) 

This is a very “black box” show, with hardly any set, and actors all in black. We’re told the unusual script (by Neil Bartlett and the Handspring Puppet Company) does not have the usual, linear, stage-direction type format. Much is left to the director and cast to create. Kudos to director Scott Crandall, the first director in Peppermint’s “Launching Pad” which gives new college directors a platform. He recently earned his BFA in Directing from  of M. Not only did Scott “choreograph” this “poem” of a play but he also created the wonderfully realistic/abstract puppets.Scott says in his note that they are “blank slates” and “distinctly not real” which challenges/engages the imagination of the puppeteers as well as the audience.

Yardain Amron at the keyboard provides a soundtrack he improvises as he goes along, matching his music to the movements onstage. It is such an organic part of the production that I hardly noticed it as a separate element; it melded with the moods created. Even though he is sitting at the side, he is “tied” to the web of people on stage. He said the music will be somewhat different every night.

This is a short show, only about an hour… and strange…  but I think it can speak to everyone, gay, straight, young, old...

Or You Could Kiss Me continues 1/23-25 & 1/29-2/1, 8pm Thur-Sat; 2pm Sun. Miller Performing Arts Center, 6025 Curry Ln, Lansing MI  48911 (two blocks west of the Cedar/Miller intersection in South Lansing)Single ticket prices (includes a $1 service fee):                       
$16  general admission
$11 student/senior 65+www.peppermintcreek.org
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