The People's Critic

It was the first Thursday night performance ever offered by the Crighton Players, and the packed-house audience at Conroe’s Owen Theatre seemed to appreciate the mid-week opportunity. Based on the film of the same name, the musical comedy being offered was “Dirty Rotten Scoundrels,” directed with comic flair by Travis Bryant, and with a book by Jeffrey Lane and Music & Lyrics by David Yazbek. The minimal set (designer Brandi D. Baldwin) efficiently suggested the casino location on the Riviera, and was always well lit by lighting designer, Chris Johnson. Elegantly dressed in formal attire, the fine 12-piece onstage band (music director, Dave Englert) was nicely arranged and ever visible at the back of the stage, lending a kind of ballroom atmosphere to the proceedings.  The 18-member ensemble cast of singers and dancers lights up the stage immediately, and we can see it will be a collective star of the show during the cute “Give Them What They Want” number.

The nutty and fun-filled plot surrounds two con artists who like to scam the rich women who frequent the casinos. Jeffrey Baldwin portrays the pompous crook, Lawrence Jameson, who is well practiced in the art of the con, and Chris Johnson is his very French right-hand man. Addison Roush portrays Jameson’s hapless protégé, Freddy Benson, who longs to be as big a crook as he is. With one of the finest voices in the cast, Kimberly Bryant plays Muriel Eubanks and delivers a richly appealing, “What Was a Woman To Do,” as her first number.

If the show has a smooth takeoff, it really jets skyward when Roush hits the boards for the hilarious, “Great Big Stuff,” recounting all the things that cocky Freddy hopes to have if he is successful as a crook. Tipping its hat to both country and rap music, the song is a hoot, and Mr. Roush nails it as a highlight of the show. The biggest laugh of that song came as Freddy dreams that his hoped-for wealth will enable him to “…finally afford to live in The Woodlands.” That line must be changed to fit exclusive neighborhoods wherever the show plays. Jameson, of course, hesitates to take on the training of the lowly Freddy. Fans of “Pygmalion” and “My Fair Lady” got a laugh out of Jameson’s familiar speculation that Freddy might be a challenge to teach because “He’s so deliciously low, so horribly dirty!” Remind anyone of Eliza Doolittle?

Andre’s snooty French flair is on full display for the mockery he offers Freddy during “Chimp in a Suit,” with rhyming lines like, “Buy him a castle, he’ll still be an ass—–.” In the amusingly flighty role of Jolene Oakes, Andrea Arenales hits another winner with saucy country flair in the song, “Oklahoma?” (Maybe the inclusion of the question mark allowed the authors to get away with that Rogers & Hammerstein title). In square dance style, it featured fine whirling choreography (Heather Sanders), high-kicking and youthful energy, and some of the show’s many fine costume designs from Sue McClelland Hayes. Roush has another hilarious number in “All About Ruprech,” as the guys scheming requires Freddy to pose as Jameson’s idiot brother. It’s a laugh riot!

If not vocal perfection, beautiful and beaming Hilary Bryant (in the role of Christine) brings a joyous presence to “Here I Am,” and is joyfully supported by the ensemble. She joins Freddy for a song with the promising title of “Nothing is Too Wonderful,” but the lyric is weak in spite of the title’s good intentions.

By the time Act Two rolls around Freddy and Lawrence have made a wager as to which of them can more quickly con one of the ladies out of  $50,000. Freddy cleverly poses as a paraplegic to gain the sympathy of his victim. When Jameson learns of this he poses as Dr. Shüffhausen, the only doctor who can cure Freddy’s paralysis. That’s when the real hilarity begins. The scene is deliciously silly and Mr. Baldwin proves himself the ultimate “ham.” Another Act Two highlight is the extensive ballroom number, “The More We Dance,” with its lively and appealing Latin rhythms, beautiful costumes, and the elegant dancing of the ensemble cast. The exaggerated passion of “Love is My Legs,” though musically a bit harsh, was nevertheless a very funny comedy romp from Freddy, Christine and the company. A brief change of pace with the plaintive “Love Sneaks In” from Lawrence quickly returns to comedy with the hilarious “Reckoning” trio from Freddy, Lawrence & Andre.

An audience member from The Woodlands, Debbie Little, earned the last word when she summed up her impressions of the show as follows:

“It’s so lively and colorful! It’s very entertaining!”

Scoundrels continues through September 4^th with performances at Conroe’s Owen Theatre at 8 pm Fridays & Saturdays and a Sunday matinee at 2 pm on Sunday, August 29^th.  Crighton Players continue their new season with the comedy, “Dearly Departed,” September 24^th through October 23^rd. For tickets and information call 936-539-4090 or visit the website at http://www.crightonplayers.org/.

(The Courier 8.27.10)

It was, after all, a night of journeys. First there was the continuing journey of Montgomery County’s young, but increasingly popular (and self-described, “edgy”) Aside Productions theatre company, founded a few years ago by director, James Canfield*. Then there was the journey of the ancient Greek hero, Odysseus (or Ulysses as he was known in the Roman mythology). It was that journey, taken from Homer’s epic Greek poem, “The Odyssey,” that inspired the brilliant play of the evening, “Anon(ymous),” by noted playwright, Naomi Iizuka. Yet another journey would be that of this incredibly energized and creative group of actors in so successfully realizing the theatrical vision Ms. Iizuka had laid out for them. Skillfully guiding that ultimate journey for last weekend’s Texas regional premiere of the play ,would be both Mr. Canfield and his co-director on the production, Rachael Camp*.

It was not clear at the outset that such success would be achieved. After all, the journey would begin in the small black box theatre of McCullough Junior High School, drearily draped in black curtains on three sides with a mere three rows of seats on the fourth, and a small floor in the middle that would serve as the stage. Who knew then that theatrical magic would follow? Central to that magic would be the remarkable performance of Cody Due* in the role of the hero, Anon. The leanly muscular physique of the handsome and barefoot lad was no secret in his costume of the evening: an athletic shirt and cutoff shorts. But there was much more than good looks at work here. Mr. Due’s wide-eyed and riveting performance had unrelenting focus as Anon travels the world in search of the mother he lost (Jessica Canfield* as Nemasani) when he swam ashore from a shipwreck. We learn what Anon does not know. His mother also survived the shipwreck that was taking them away from the war-torn and faraway land they had lived in, a land where wars could last “…so long that the people forgot what they were fighting for.” Advancing the plot between scenes is a sometimes wailing, sometimes chanting Greek Chorus of more than two-dozen cast members. They move about the stage freely in a kind of choreographed chaos, weaving, twisting, and whirling about in a virtual ballet, as in the opening chant of “Where I Come From.” That chant gives us to realize these are displaced persons and immigrants that find themselves far from the places they had called home. We hear the pounding rhythms of the lands, the animals, and the families they left behind, as Anon laments, “You dream of the persons you loved. You dream of going home.”

The action shifts to a clothing-manufacturing sweatshop where the cruel owner, Mr. Mackus (Vic Shuttee) makes unwanted advances to one woman in particular. By play’s end Anon will finish his long and searching journey there, for that woman is indeed his long lost mother. Touring the sweatshop is the pompous American Senator Laius (Kirk Van Sickle), who seems clueless about the suffering of the immigrant women who work there. Worse still is his empty-headed wife, Helen (Toni Casserly* in a purposely annoying characterization), who feigns her slobbering sympathy for these women but is clearly a self-absorbed moron with no intention of helping anyone but herself. In highly poetic style, Nemasani tells her the story of losing her son, Anon, at sea. Continuing the avant-garde flavor of the piece, the chorus is back in dramatic fashion with outstretched bolts of blue fabric they wave up and down to replicate the stormy sea Nemasani describes. Lovely music accompanies the wrenching scene, as Nemasani puts off Mr. Mackus’ advances by telling him she must first finish sewing the shroud for the son she has lost.

Next we find Anon has washed up on the tropical shore of the beachfront home of a selfish and spoiled American teenage girl named Calista (Makael Dennison), and her wealthy and powerful father. Miss Dennison is deliciously whiny, believing that having found Anon on the beach he should be her personal toy-boy. In spite of her hilarious protests, Anon has other ideas. Aiding his escape from Calista’s clutches is the sudden appearance of Naja, a goddess. (Cecily Breaux*, who by the way could pass very nicely for a goddess!) Naja advises Anon that she will “…come to you in your dreams…give you advice…sometimes save your life.”

With that Anon is off on a new adventure finding himself with the family of Ali, the blind owner of a curry shop (Santiago Delgado in a convincing portrayal). Shelby Escamilla* plays Ali’s wife, Ritu, and Alison McKinney is their daughter, Nasreen. More exotic music lends flavor to the scene, and we hear Anon’s poignant recollections of how his mother used to hold the young boy in her arms. The undulating chorus returns and lift Anon high overhead depicting the scene when he was swimming alone while lost at sea.

Continuing his wandering journey, Anon takes a dreamy train ride with a street punk named Pascal (Daimion Spikes). They encounter a weird, one-eyed sausage maker named Mr. Zyclo (Charlotte Byrd), whose sausage may remind one of the pies in “Sweeney Todd.” Pascal falls victim to Zyclo, but not before some hilarious nonsense from Mr. Zyclo’s screeching pet bird (Keenan Hurley, looking ready for Mardi Gras in a riotous portrayal). Mr. Delgado returns briefly as the ghost, Ignacio. Anon is joined by another nomad, a girl named Belen (Erica Rascon), and the two hitch a ride with a truck driver named Strygal (Mr. Van Sickle back in another amusingly animated performance). Anon even finds his way briefly into a bordello where a sexy siren named Serza (Kaytie Markfort*) is ready to seduce him. But fate and the gods are with him, and he finds his way back to the sweatshop and the disbelieving, but ultimately joyous arms of his mother. What lingers in the mind is the final immigrant chorus in the dramatic “Remember Me” segment. I can still hear their chanting cries of desperation:

“Will you remember me?
I changed my name.
I became anonymous.
My name is Anon(ymous)!”

* Denotes member of the Aside Resident Company

(The Courier    8.13.10)

Courier Staff Photo: Eric S. Swist

It was a packed house, and the audience in Conroe’s historic Crighton Theatre was abuzz with excitement in advance of the curtain rising on Stage Right’s current production of the much loved musical, “Annie.”

Director, Tina Cafeo, should probably be put in charge of the Gulf oil spill after demonstrating her management skills here with a cast and crew that included more than 100 local people who had clearly worked very hard to produce a fun-filled show for the Montgomery County community.

With its book by Thomas Meehan, the tuneful music of Charles Strouse, and the witty lyrics of Martin Charnin, this familiar story of Little Orphan Annie (and the search for her parents that takes her to the highest corridors of wealth and power in America), continues to delight audiences since its Broadway opening in 1977. Making Cafeo’s effort even more challenging was the use of alternate casts (A & B) for several of the lead roles. This allowed even more community participation for eager youngsters who always turn out for a chance to perform in “Annie.” The performance I attended featured the Cast B line-up.

As the house lights dimmed, the sprightly orchestra (musical director, Ana Guirola) struck up the cheerful Overture and I heard a woman seated near me whisper, “This is such a beautiful theater.” Then it was off to the orphanage (set designer, Greg Kelly) where we first encounter the large cast of area youngsters that would display their boundless enthusiasm for the next two hours.

Another important anchor for this production was Kaylie King (alternate, Hope Harris) in the role of Annie. She has a splendid voice that captures all the innocent charm of Annie, while at the same time delivering sweet melodies like, “Maybe,” and her radiant and soaring, “Tomorrow,” with evident skill. Joined by her rowdy fellow orphans they sing fiercely of their sad existence explaining that “It’s the Hard-Knock Life.”

Actually, they sang a bit too fiercely, as I suspect the director had over-cautioned them to make it LOUD, and had them stamping their feet much of the time. All of that tended to overwhelm the inherently sweet sounds of children’s voices and the pleasant music and lyrics here, which really speak quite well for themselves without extensive shenanigans. Happily there would be numerous other songs treated much more gently, although a couple of numbers suffered from microphone failures that were very distracting.

Key members of the orphan cast included pint-sized gem, Ashley Gibson as Molly (alternate Amber Navarra), Cori Dalton as Pepper (alternate Lauren Galley), Lena Torluemke as Duffy (alternate Carly Ellyce Williams), Peyton Crenshaw as July (alternate, Kendra Kelly), Rebekah King as Tessie (alternate, Alexas Magro), and Olivia Holley as Kate (alternate, Payton Russell). Subjecting all these poor orphans to cruel treatment is the mean spirited (and often tipsy) orphanage matron, Miss Hannigan, here played a bit heavy handedly by Yvonne Neslon, who brought lots of fun to the production, but sometimes seemed to be working too hard at it. Her more natural ease of grace, warmth, and charm was pleasantly apparent during the curtain call as she took her deserved bows (in one of costumer Kathleen Zaritski’s glamorous designs). There she somehow reminded me a bit of Ethel Merman. Of course it is recognized that Miss Hannigan is not a role designed for “grace and charm.”

A fine supporting cast includes talented baritone, Harold E. Wood Jr., as the millionaire, Daddy Warbucks, who offers a $50,000 reward for the location of Annie’s real parents. Statuesque Julia Stinson plays Warbucks’ sweet secretary, Grace, and Tommy Hunter plays Hannigan’s conniving brother, Rooster, who conspires with his girlfriend, Lily (Maredith Zaritski) to capture the reward by pretending to be Annie’s parents. Cameron Collier cheerfully lights up Act II as Bert Healy, host of radio’s “Hour of Smiles,” and sings a delightful “Your Never Fully Dressed Without a Smile,” with the singing Boylan Sisters (Jillian Nolan, Jenny Hoofnagle, and Kylee Michele Huddleston). Mackenzie Goode is a comic howl as the puppet, Wacky. Philippe Clarke warmly plays President Franklin D. Roosevelt, and there is plenty of cute political humor to add to the fun.

Courier Staff Photo: Eric S. Swist

While the printed program sadly omitted the shows song list, catchy tunes like “Easy Street,” and “N.Y.C.” abound. A fine adult chorus played both impoverished, Depression-era Hooverville residents (for the song “We’d Like to Thank You” that seems oddly contemporary in view of current economic conditions), and servants in the Warbucks’ mansion for wonderful tunes like, “I Think I’m Gonna Like It Here.” Robin Galley’s choreography nicely compliments many of the numbers. Of course all ends well in the opulent holiday scene at the mansion, with more eye-popping Christmas-red costumes from Zaritski than we could find at the end of the popular film, “White Christmas.” As the full cast sang the finale of “New Deal For Christmas,” faces in the audience lit up with smiles — even those who were not parents or grandparents of the many youngsters on the stage.

One sad note: The sweet dog that played the role of Sandy was not credited in the program. I hope her union is looking into it. Researching the matter at Stage Right’s website, I learned the dog is a Labrador Airedale mix named, “Ginger” who has been adopted by the Hope Harris family.

“Annie” continues at Conroe’s Crighton Theatre through Aug. 8 with performances on Fridays and Saturdays at 8 p.m. and Sunday matinees at 2 p.m. For tickets and information visit the website at www.stage-right.org, or phone the box office at (936) 441-7469 ext. 201.

(The Courier   8.1.10)

Courier Staff Photo: Eric S. Swift

I believe it has been about 10 years since I saw the Alley Theatre production of Dale Wasserman’s disturbingly brilliant play, “One Flew Over the Cuckoo’s Nest.” Memory fades, of course, but I cannot imagine that the Alley version was any more skillfully produced than that just presented by the Crighton Players at Conroe’s Owen Theatre. With a flawless cast, and the equally flawless direction of Don Hampton, this “Cuckoo” was a real winner. My one regret is that a recent trip out of town prevented my seeing it in time to advise readers not to miss it before last weekend’s close.

The plot, based on the novel by Ken Kesey, is a troubling one as it takes place in a psychiatric hospital full of confused souls who have apparently lost their way. But a new patient, Randle P. McMurphy (a stunning performance from Bill Geffen), is a kind of hustler who suddenly arrives to energize these sad mental patients and mischievously turn their ward on its head. He very quickly locks horns with the cruel and heartless head nurse, Miss Ratched (a deliciously evil characterization from Brandi Baldwin). The sometimes comic, sometimes tragic events that follow played out on the appropriately sterile and very authentic set design from Master Carpenter Wes Bush and Lead Carpenter Jason Wright. Dramatic lighting (Roger Ormiston/Sherry Sellers) and special effects (David Fitzgibbons) punctuate many scenes. Beverly Townsend’s costumes add to the realism of this sad world, and musical interludes offer ironic touches such as Roy Orbison’s, “Only the Lonely.”

The uniformly excellent cast brings an agonizingly grim and ghastly realism to this group of patients. There are wonderful performances from Trevor Hall as the sweet, stuttering, Billy Bobbit in search of his manhood, Rick Sellers as the endlessly twitching, fidgeting and giggling, Scanlon, Craig Campobella as Martini, Dale Trimble as Buckley and Mike Ragan as Cheswick. There was heroic work from both W. Ryan Willingham (who brilliantly took over the role of Dale Harding for a cast member called out of town), and from Micah Taylor in the pivotal role of Chief Bromden, the gigantic, troubled, and most-often silent Indian who links various scenes together when stage lights dim and he stands in the spotlight delivering numerous touching soliloquies addressed to his late father, as he recalls the waterfalls, melting snow, and jumping salmon of happier days on their reservation before a government takeover.

The hospital staff was also well cast with Steve Murphree, Dan Tippen, and Luke Cowan as aides, Megan Nix as nervous Nurse Flinn, and John Ogden as the compassionate Dr. Spivey who tries to resist Nurse Rached’s cruelty toward the patients. Taking the edge off all this sadness are the lively performances of Lindsay Morris and Jennifer Marshall as the good-time girls McMurphy has smuggled into the ward for a late night party.

One other touch added to the very realistic atmosphere established in this production. Four of the patients are so severely mentally disabled they cannot function more than to simply sleep, slump in their chairs or stare blankly into space. Skillfully acting the parts of these “chronic” patients were Joe Kolb, Jim Walker, Butch Walker and Jim Murph. May I say that doing nothing has never been done so well!

In the Woodlands, the ever-growing popularity of Class Act Productions brought a sellout crowd to the Nancy Bock Center for the Performing Arts to attend Sunday’s final performance of the blockbuster production of “The Wizard of Oz.” Company founder/producer/director, Keith Brumfield, operates on such a grand scale (this cast included over 160 area youngsters) it continues to amaze me, even as I am in my second decade of reviewing his outstanding musical productions. Tens of thousands of dollars go into each effort, and it shows in the set design/technical direction of Jonathan Shelledy, the dazzling lighting designs of Lauren Gallup, eye-popping special effects and pyrotechnics of Phoenix Design Group’s Michael Svatek, airborne flying effects coordinated by Dan Kondas of ZFX Flying, stunning choreography from Tony Smith, scenic artistry from Joan Rothhammer, and the superb musical direction from Rae Moses & orchestra. (The cast’s wonderful singing throughout even included several songs and introductions dropped from the familiar MGM film). As for the gorgeous, endlessly colorful, and very Broadway-worthy costumes, designer Caroline Zirelli should probably have her name listed above the title for her outstanding work.

But of course it is the talented young performers of all ages that make a Class Act performance so special. Leading this cast was vocally gifted Whitney Brandt in the familiar role of Dorothy Gale, who finds herself suddenly transported (here by a very convincing onstage tornado) from the family farm in Kansas to the magical Land of Oz that was created so many years ago by the story’s author, L. Frank Baum. All the usual characters were on hand, including Auntie Em (Cecily Breaux, who also sweetly played the good witch, Glinda), Uncle Henry (Joe Dougherty who doubles as Emerald City’s guard), and the three farm hands that become Dorothy’s Oz companions, the Scarecrow (Josiah Miller), the Tinman (Keith Hale), and the Cowardly Lion (Travis Meador). The latter three are an especially fine trio, and perfectly capture the fun of those amusing characters. In the dual role of Almira Gultch & Wicked Witch, Abby Moss is spooky enough to haunt any house. She has some help from Heather Garsen as the Witch Flying Double in airborne sequences. George Downham cheerfully plays both Professor Marvel and the Wizard, while adorable Coco Whitaker plays Dorothy’s dog, Toto.

The Technicolor splendor of Dorothy’s arrival in Munchkinland was a memorable scene with the aerial decent of lovely Glinda, and some of the youngest members of the cast adding to the charm, including the Mayor, the Coroner, the dancing Lullaby League, the Lollipop Guild and many others. In addition to the countless citizens of Oz and Munchkinland, numerous others pepper this huge cast with Crows, Apple Trees, Snowflake Dancers, Winkies, a Girls Chorus, Jitterbug Dancers and Flying Monkeys that really do fly. Class Act is soaring in more ways than one!

Readers can learn about upcoming Crighton Players productions at www.CrightonPlayers.org and Class Act productions at www.classactproductions.org.

(The Courier    7.30.10)

Though I am not at liberty to reveal everything I learned about the real “Best Little Whorehouse in Texas” while working toward my degree as a student at The University of Texas back in the early 1960’s, I can say that I have never seen a better production of the musical version than the one I saw off-Broadway somewhere in downtown Manhattan years ago. That was shortly before the show’s rapid rise in popularity brought it to a full Broadway production in 1978 at the 46th St. Theatre. There, it would run successfully for nearly four years. In my opinion, the star-vehicle film that followed (showcasing the pairing of Burt Reynolds and Dolly Parton) totally missed the charm of the original in bringing the story to the screen. On the other hand, the current Crighton Players production, now playing at Conroe’s Owen Theatre, has done a very fine job of capturing the sweet innocence that one would not expect to find associated with a whorehouse.

Courier Staff photo: Brad Meyer

With a talented cast and sharp direction from Marty Craig, the familiar story of the show’s witty book (Larry L. King & Peter Masterson), tells the tale of a longstanding house of ill repute brought down by media spotlights and self-serving politicians. Here it comes to life with a perfect mixture of comedy and sentiment. Meanwhile, musical director, Caleb Ackerman, certainly does justice to the delightful music and lyrics of Carol Hall, while his orchestra, carefully sequestered beneath the stage, gives vibrant life to the score while never overwhelming the singers. The saucy costumes of designer, Lynn Peverill add to the fun, and the versatile, two-tiered set of designer, Wes Bush, is shown off well amid the lighting designs of Travis Bryant. I was a bit surprised that the song, “20 Fans,” was not complemented by any visible ceiling fans. Mr. Bryant, by the way, does plenty of scene stealing during the show in his role as the sometimes blustering, sometimes tender, Sheriff Ed Earl Dodd. His fits of anger are a riot, but may be taking a toll on his voice before his featured song, “Good Old Girl,” in Act II.

Kerri Edwards’ sensitive performance as the madam gives us a warm Miss Mona, and anchors the show with singing that is consistently quite wonderful. Speaking of wonderful singing, Samantha Coombs in the role of Jewel was an absolute sensation singing, “Twenty-Four Hours of Lovin’.” She could have been on Broadway right then and there, and no one would have blinked an eye! It was a highlight of the show. Linda Holleman showed comic flair as the folksy, wise, restaurant waitress, Doatsey May, who sings poignantly of the lost opportunities in her life.

The show pokes gentle fun at politicians well represented here by Steve Murphree (the senator), Joe Visor (the mayor), and Tom Leroy (the governor). Of course the featured character of Melvin P. Thorpe (sometimes known as Watchdog) is based on real life investigative reporter and TV newscaster, the late Marvin Zindler, who rose to fame crusading against the notorious “Chicken Ranch” in LaGrange, Texas. Jeffrey L. Baldwin portrays Thorpe here with uproarious fun, and his singing staff of Dogettes adds to the merriment. A lusty group of Aggie Boys provides a foot-stomping good time (choreographer, Kimberlee Childress), and the seductive “Miss Mona’s Girls” are ready and waiting when the lads arrive. Perhaps it is time for you to arrive at Conroe’s Owen Theatre for one of the remaining performances on Fridays and Saturdays at 8p.m. and Sunday’s at 2 p.m. through June 6th.

For tickets and information call 936-539-4090 or visit the website at www.crightonplayers.org.

(The Courier    5.23.10)