Sunday, June 19, 2011
Friday, March 25, 2011
RENT "A review by Chris Johnson and David Hammond"
Having never been to Shadowbox Live before Sunday night, we were unsure what to expect. Luckily, we were pleasantly surprised. Shadowbox is a wonderful example of modern theatre, splicing together the genre of Rock and Roll and the cvlassic feel of a speakeasy cabaret. The theatre boasts an interesting environment, a dimly lit collection of tables, surrounded by a bar, and over the entrance of the theatre, what appears to be a scaffolding and pipework. Shadowbox earns it name with its black box style stage. One of the most charming aspects of the space here is the way Shadowbox's other business is conducted. The actors also serve as the waitstaff, preparing and serving food, and allowing for a more of a personal connection between the audience and the cast members.
The story of "Rent" chronicles a year in the life of a group of young artists struggling to make a living and to make peace with themselves and each other in New York City's East Village in the late 1980's. Regardless of the time period it is set in, "Rent" is proving itself to be timeless, with themes and experiences that still resonate strongly with audiences. The narrative centers around roommates and friends Mark and Roger and their friends (and enemies). While a previous tragedy and the contraction of AIDS has made Roger all but numb to his future, Mark has tried to capture life from a distance through his attempts to make a documentary film. In the year that follows, Mark, Roger and their friends experience love, loss, success and failure, and the ever-present threat of AIDS.
"Rent" is nothing without well executed music. The pit being in full view of the audience, which appears to be the norm at Shadowbox, allows the audience to see the musicians rocking out. And they do rock out, noticeably moreso than usual. The score has been adapted, either cut or changed in several key places, and quite a few liberties are taken with the musical arrangements. The effects of this are welcome, however, creating a rawer, purer rock sound. There is a sense of camaraderie and teamwork among the musicians that is refreshing to find in a musical production, where musicians often come together out of necessity rather than a shared passion. At one point early on during the show, a particularly helpful guitarist cheerfully leaned over and turned the page for his keyboardist as the score began. I never saw him do it again, but it made an impression nonetheless.
The set for "Rent" is fairly minimal, consisting of a black box environment, a large projector screen that hangs behind the main stage, and a few literal black boxes, designed to be used as various pieces of furniture. The stage appears to be rather versatile. While initially appearing cramped and too small for such an ambitious production, it ultimately afforded more than enough space for both the musicians and the actors and a night of singing and wild dancing. The lone issue we both had with the set was the use of the projector screen, which serves dual roles here. As the show progresses, we are given glimpses on the screen of Mark speaking into his camera, narrating and giving us backstory, presumably for his documentary. The screen is then used to announce the various locales as scenes change. While this is a novel approach, and fitting with the pseudo "concert" version of this show, the story and dialogue make the context of these scenes obvious, the visuals of these location announcements are never striking enough to warrant its continued use, and something is lost when a brilliant screen with words on it shows up after a somber or touching moment. The effect left us wishing that some of the better moments in the show had been allowed a breathe a bit more, and to have more impact.
The costumes in "Rent" deviate slightly from the classic renditions of its characters. They tend to be just edgy enough to be visually and thematically interesting, without becoming distracting. A few characters are played safer and more traditionally, and others are experimented with. It is sometimes a bit awkward to see what we'll call "Classic Mark" in his striped sweater and scarf combo, and then see the other lead characters in broader variations of their "accepted" appearances, but it’s also an interesting approach to a classic show. Collins dresses like an intellectual, Maureen's costume is suitably outlandish, and Joanne's is suitably sensible, perhaps even a little repressed, while Mimi's outfits are trendy and tasteful. The chorus costumes are especially excellent, a mix of the homeless and downtrodden, the more casual, and even the wealthy and successful. Even the "skimpier" costumes used during a key dance number were relatively tasteful.
A director's work is usually evident in a production of this scale. Shadowbox's production of "Rent" is no exception. The show is approached with a more reserved and respectful approach than is generally seen in musical theatre, modern or otherwise. It is performed without slavish reverence to the original production or the movie, which could have limited what actors were able to do and robbed the audience of a great use of the unique Shadowbox environment. Here, the musical is not limited to simple chorus lines or quick entrances and exits. Though there is some "posing", the production largely consisted of memorable, definitive moments. Steve Guyer, Julie Cline and Amy Lay's stage pictures are not easily forgotten, and several of them are haunting, sticking with you long after the show is over. Choreographer Katy Psenicka creates a number of striking images with group movement, including a bold take on a sequence that even the original Broadway cast could not quite figure out how to make work, that being "Contact". Katy chooses not to put the sexualized dance under a sheet or to hide what is going on. This particular dance/movement sequence is a vital part of the show, as we see the nature of the characters' relationships, along with the consequences of their choices and actions, and sometimes, the relative beauty and horror of what is going on. The lighting for the show was adequate and occasionally explosive, often relying on multicolored or special lighting, which sometimes bordered on overbearing. This appears to have been done to create a particular atmosphere, but there are certain emotional moments when it would be nicer to see the faces of the actors than the colorful shading of actors. For much of the first act, the chorus consists of cyphers, seen mostly in shadow, though this may well have been a intentional approach. There is an attempt to present reality onstage going on during this production, and the lighting approach often clashes with this, as it implies more of a fantastical or whimsical look at these situations.
Alongside a fantastic production team is an equally strong group of actors and singers. Each lead is well cast, and every member of the chorus gives a performance that is more than believable, and that feels real, as if they have lived the lives of the characters they have created. Rent has no single lead. Each character is integral to the story and the themes of the show, and each individual lead deserves great recognition for their performance.
John Boyd plays Mark, the filmmaker and narrator of the group. He initially approaches the character with an almost casual detachment, a departure from the norm, as the character of Mark can be somewhat over the top. Seemingly attached to his camera, which he uses to pull us into the story, he is the steady presence that guides the story along. There are flashes of the classic character and his manic energy to be found in Boyd's performance, especially in numbers like "Tango Maureen" and "La Vie Boheme", but for the most part, he presents Mark as a real person. Some of his more subtle moments give us clues as to who the character really is, and there is a beautiful and somewhat surprising moment toward the end of the show, where Mark briefly shows his true colors, how he really feels, and why he has been chronicling their story all along.
Brandon Anderson plays Roger, the tragedy-stricken musician who is forever trying to write "One great song". This role is a challenge, because when we first meet Roger, he has rehabilitated himself, and has little desire to connect with the world that destroyed his life. Charismatic Anderson plays Roger as a quiet, introspective man instead of someone full of seething rage or whining angst, and this was a fresh and welcome take on the character. There's a sense that he is powerless in his own life. Anderson's performance is sufficiently reserved and subtle, but his voice is powerful and clear, and eventually Roger begins to come out of his shell, and to take control of his life.
Niki Fagin excels as Mimi, the exotic dancer bubbling with optimism and a desire to be free. She lives her life like the last performance of a classic show, leaving nothing behind and with few regrets. Niki brings to disturbing life the pain of drug addiction, which is a constant issue here, but never one she overplays. Her performance is rich, emotional, and powerful. She begins the show in something resembling a drug-induced haze which carries over into "Light My Candle", a duet that is at once playful and daring. Niki's dancing during "Out Tonight" is nearly perfect; abrupt, sexy, and striking, and her voice is suitably powerful. Her multiple duets with Roger are intimate, genuine, and often heartbreaking.
Tom Cardinal takes on the role of Angel, excelling as the pivotal character in a unique casting. The other characters' stories largely revolve around the appearance of this tall queen. He has strange, infectious energy onstage, a unique voice, and killer dance moves to boot. His rendition of "Today 4 U" is frenetic and humorous. Tom’s performance reached its emotional climax during a scene when he and his lover share a kiss that is utterly believable, caring, warm and loving. True, he makes for an absolutely hideous woman. But that's really half the charm, and only makes it that much more powerful when he genuinely falls in love. His final sequence onstage that is especially powerful.
Jerrod Roberts plays Tom Collins, and succeeds in the role not just because his voice is smooth and soulful, but because his entire approach to the character is genuine. His Collins isn't just a cool guy who happens to be smart, but rather a true intellectual, and a somewhat pensive character. There are expectations that come with the role of Collins, and there are certain moments, such as in the song "Santa Fe" or the reprise of "I'll Cover You", when the "expected" riffs and approaches to certain songs taken by the role's creator and carried down throughout various casts are missed somewhat, but Roberts still impresses with his unique approach, selling emotional moments without having to add any frills. In a rock opera, the fact that he measures up to the other leads without going all out and being as intense and loud as possible is exceedingly impressive. Like his character, he makes it look easy.
Valerie Witherspoon plays Maureen, the vivacious shock rock performer. Valerie’s performance is humorous and outrageous, if a little over the top at times, which can be striking in contrast to who Maureen turns out to be. She is given a character who tends to be loud, brash and insistent, but Valerie manages to find room to show some welcome glimpses of Maureen's own insecurities and frustrations. This is a character who, especially once "Over The Moon" happens, can often border on caricature, but Valerie plays her mostly to fantastic effect, with a beautiful, ringing voice and plenty of charisma.
Kara Wilkinson is Joanne, Maureen’s latest flame and affection. She is a strong, bold woman who desires intimacy and fidelity, and Kara’s pitch perfect performance hits a wonderful note when she sings "Take Me or Leave Me" with Maureen, which is a true show-stopper. The actress does a lot with relatively little to work with character wise. We particularly appreciated her performance of an emotional phone conversation sequence during the number "We're Okay" that is often overlooked, and that many actresses would likely have thrown away.
J.T. Walker has something of a thankless role, as he plays Benny, the enemy of Avenue A. From the moment we meet Benny, we are meant to dislike him. He comes in with his suit and his hair and his attitude, and the idea that he is better than the lifestyle he used to belong to. It's simply not possible to dislike so earnest a performance. This may actually be the first portrayal of Benny that was remotely believable as a yuppie type. One could say Benny is the villain of the piece, as he seems almost aimless in his destruction of a community, and knowingly seeks to destroy an existing romance by exploiting the insecurities of those involved, but Rent also gives him a chance to redeem himself. J.T. gives us, in his few sequences, an antagonist who is both easy and difficult to hate at points, which is no easy feat.
A couple of the members of the chorus stood out, notably: Kaitlin Descunter, Dan Tucker and Don Frye. But the entire cast is packed with amazing musicians and vocal leaders. There is a clear standard that comes with Shadowbox. There's definitely a demand for the rock vocalist, and RENT is a rock opera. The show quickly arrives at a fast paced and loud version of the title song, beginning with just Mark and Roger and adding key members of the cast. By the time we hit the bridge of this opening number, we are struck with a wall of sound and emotion that rarely seems to waver throughout the show. The depth of this cast is truly impressive. It probably wouldn't be a stretch to say you could cast "Rent" appropriately two or three times over with the talent that was evident in the chorus. It's an incredible asset for Shadowbox to have at its disposal.
Musical theatre is often an exercise in homage. No one wants to play a character exactly the same as it's been done before, or to perform a show they've already seen, but many actors and directors tend to put nods to other productions or approaches into their own work. The creative team and cast for this production made an obvious effort to avoid this approach, altering aspects of the show itself, including elements of the finale, yet the original work shines through, having been newly polished. Shadowbox's "Rent" is something different, and often something new. But it's still "Rent", and fantastically realized.
RENT continues at Shadowbox Live in the Easton Town Center every Sunday until April 17th, with performances at 2 PM and 7 PM. For ticket information and times visit http://www.shadowboxlive.org.
The story of "Rent" chronicles a year in the life of a group of young artists struggling to make a living and to make peace with themselves and each other in New York City's East Village in the late 1980's. Regardless of the time period it is set in, "Rent" is proving itself to be timeless, with themes and experiences that still resonate strongly with audiences. The narrative centers around roommates and friends Mark and Roger and their friends (and enemies). While a previous tragedy and the contraction of AIDS has made Roger all but numb to his future, Mark has tried to capture life from a distance through his attempts to make a documentary film. In the year that follows, Mark, Roger and their friends experience love, loss, success and failure, and the ever-present threat of AIDS.
"Rent" is nothing without well executed music. The pit being in full view of the audience, which appears to be the norm at Shadowbox, allows the audience to see the musicians rocking out. And they do rock out, noticeably moreso than usual. The score has been adapted, either cut or changed in several key places, and quite a few liberties are taken with the musical arrangements. The effects of this are welcome, however, creating a rawer, purer rock sound. There is a sense of camaraderie and teamwork among the musicians that is refreshing to find in a musical production, where musicians often come together out of necessity rather than a shared passion. At one point early on during the show, a particularly helpful guitarist cheerfully leaned over and turned the page for his keyboardist as the score began. I never saw him do it again, but it made an impression nonetheless.
The set for "Rent" is fairly minimal, consisting of a black box environment, a large projector screen that hangs behind the main stage, and a few literal black boxes, designed to be used as various pieces of furniture. The stage appears to be rather versatile. While initially appearing cramped and too small for such an ambitious production, it ultimately afforded more than enough space for both the musicians and the actors and a night of singing and wild dancing. The lone issue we both had with the set was the use of the projector screen, which serves dual roles here. As the show progresses, we are given glimpses on the screen of Mark speaking into his camera, narrating and giving us backstory, presumably for his documentary. The screen is then used to announce the various locales as scenes change. While this is a novel approach, and fitting with the pseudo "concert" version of this show, the story and dialogue make the context of these scenes obvious, the visuals of these location announcements are never striking enough to warrant its continued use, and something is lost when a brilliant screen with words on it shows up after a somber or touching moment. The effect left us wishing that some of the better moments in the show had been allowed a breathe a bit more, and to have more impact.
The costumes in "Rent" deviate slightly from the classic renditions of its characters. They tend to be just edgy enough to be visually and thematically interesting, without becoming distracting. A few characters are played safer and more traditionally, and others are experimented with. It is sometimes a bit awkward to see what we'll call "Classic Mark" in his striped sweater and scarf combo, and then see the other lead characters in broader variations of their "accepted" appearances, but it’s also an interesting approach to a classic show. Collins dresses like an intellectual, Maureen's costume is suitably outlandish, and Joanne's is suitably sensible, perhaps even a little repressed, while Mimi's outfits are trendy and tasteful. The chorus costumes are especially excellent, a mix of the homeless and downtrodden, the more casual, and even the wealthy and successful. Even the "skimpier" costumes used during a key dance number were relatively tasteful.
A director's work is usually evident in a production of this scale. Shadowbox's production of "Rent" is no exception. The show is approached with a more reserved and respectful approach than is generally seen in musical theatre, modern or otherwise. It is performed without slavish reverence to the original production or the movie, which could have limited what actors were able to do and robbed the audience of a great use of the unique Shadowbox environment. Here, the musical is not limited to simple chorus lines or quick entrances and exits. Though there is some "posing", the production largely consisted of memorable, definitive moments. Steve Guyer, Julie Cline and Amy Lay's stage pictures are not easily forgotten, and several of them are haunting, sticking with you long after the show is over. Choreographer Katy Psenicka creates a number of striking images with group movement, including a bold take on a sequence that even the original Broadway cast could not quite figure out how to make work, that being "Contact". Katy chooses not to put the sexualized dance under a sheet or to hide what is going on. This particular dance/movement sequence is a vital part of the show, as we see the nature of the characters' relationships, along with the consequences of their choices and actions, and sometimes, the relative beauty and horror of what is going on. The lighting for the show was adequate and occasionally explosive, often relying on multicolored or special lighting, which sometimes bordered on overbearing. This appears to have been done to create a particular atmosphere, but there are certain emotional moments when it would be nicer to see the faces of the actors than the colorful shading of actors. For much of the first act, the chorus consists of cyphers, seen mostly in shadow, though this may well have been a intentional approach. There is an attempt to present reality onstage going on during this production, and the lighting approach often clashes with this, as it implies more of a fantastical or whimsical look at these situations.
Alongside a fantastic production team is an equally strong group of actors and singers. Each lead is well cast, and every member of the chorus gives a performance that is more than believable, and that feels real, as if they have lived the lives of the characters they have created. Rent has no single lead. Each character is integral to the story and the themes of the show, and each individual lead deserves great recognition for their performance.
John Boyd plays Mark, the filmmaker and narrator of the group. He initially approaches the character with an almost casual detachment, a departure from the norm, as the character of Mark can be somewhat over the top. Seemingly attached to his camera, which he uses to pull us into the story, he is the steady presence that guides the story along. There are flashes of the classic character and his manic energy to be found in Boyd's performance, especially in numbers like "Tango Maureen" and "La Vie Boheme", but for the most part, he presents Mark as a real person. Some of his more subtle moments give us clues as to who the character really is, and there is a beautiful and somewhat surprising moment toward the end of the show, where Mark briefly shows his true colors, how he really feels, and why he has been chronicling their story all along.
Brandon Anderson plays Roger, the tragedy-stricken musician who is forever trying to write "One great song". This role is a challenge, because when we first meet Roger, he has rehabilitated himself, and has little desire to connect with the world that destroyed his life. Charismatic Anderson plays Roger as a quiet, introspective man instead of someone full of seething rage or whining angst, and this was a fresh and welcome take on the character. There's a sense that he is powerless in his own life. Anderson's performance is sufficiently reserved and subtle, but his voice is powerful and clear, and eventually Roger begins to come out of his shell, and to take control of his life.
Niki Fagin excels as Mimi, the exotic dancer bubbling with optimism and a desire to be free. She lives her life like the last performance of a classic show, leaving nothing behind and with few regrets. Niki brings to disturbing life the pain of drug addiction, which is a constant issue here, but never one she overplays. Her performance is rich, emotional, and powerful. She begins the show in something resembling a drug-induced haze which carries over into "Light My Candle", a duet that is at once playful and daring. Niki's dancing during "Out Tonight" is nearly perfect; abrupt, sexy, and striking, and her voice is suitably powerful. Her multiple duets with Roger are intimate, genuine, and often heartbreaking.
Tom Cardinal takes on the role of Angel, excelling as the pivotal character in a unique casting. The other characters' stories largely revolve around the appearance of this tall queen. He has strange, infectious energy onstage, a unique voice, and killer dance moves to boot. His rendition of "Today 4 U" is frenetic and humorous. Tom’s performance reached its emotional climax during a scene when he and his lover share a kiss that is utterly believable, caring, warm and loving. True, he makes for an absolutely hideous woman. But that's really half the charm, and only makes it that much more powerful when he genuinely falls in love. His final sequence onstage that is especially powerful.
Jerrod Roberts plays Tom Collins, and succeeds in the role not just because his voice is smooth and soulful, but because his entire approach to the character is genuine. His Collins isn't just a cool guy who happens to be smart, but rather a true intellectual, and a somewhat pensive character. There are expectations that come with the role of Collins, and there are certain moments, such as in the song "Santa Fe" or the reprise of "I'll Cover You", when the "expected" riffs and approaches to certain songs taken by the role's creator and carried down throughout various casts are missed somewhat, but Roberts still impresses with his unique approach, selling emotional moments without having to add any frills. In a rock opera, the fact that he measures up to the other leads without going all out and being as intense and loud as possible is exceedingly impressive. Like his character, he makes it look easy.
Valerie Witherspoon plays Maureen, the vivacious shock rock performer. Valerie’s performance is humorous and outrageous, if a little over the top at times, which can be striking in contrast to who Maureen turns out to be. She is given a character who tends to be loud, brash and insistent, but Valerie manages to find room to show some welcome glimpses of Maureen's own insecurities and frustrations. This is a character who, especially once "Over The Moon" happens, can often border on caricature, but Valerie plays her mostly to fantastic effect, with a beautiful, ringing voice and plenty of charisma.
Kara Wilkinson is Joanne, Maureen’s latest flame and affection. She is a strong, bold woman who desires intimacy and fidelity, and Kara’s pitch perfect performance hits a wonderful note when she sings "Take Me or Leave Me" with Maureen, which is a true show-stopper. The actress does a lot with relatively little to work with character wise. We particularly appreciated her performance of an emotional phone conversation sequence during the number "We're Okay" that is often overlooked, and that many actresses would likely have thrown away.
J.T. Walker has something of a thankless role, as he plays Benny, the enemy of Avenue A. From the moment we meet Benny, we are meant to dislike him. He comes in with his suit and his hair and his attitude, and the idea that he is better than the lifestyle he used to belong to. It's simply not possible to dislike so earnest a performance. This may actually be the first portrayal of Benny that was remotely believable as a yuppie type. One could say Benny is the villain of the piece, as he seems almost aimless in his destruction of a community, and knowingly seeks to destroy an existing romance by exploiting the insecurities of those involved, but Rent also gives him a chance to redeem himself. J.T. gives us, in his few sequences, an antagonist who is both easy and difficult to hate at points, which is no easy feat.
A couple of the members of the chorus stood out, notably: Kaitlin Descunter, Dan Tucker and Don Frye. But the entire cast is packed with amazing musicians and vocal leaders. There is a clear standard that comes with Shadowbox. There's definitely a demand for the rock vocalist, and RENT is a rock opera. The show quickly arrives at a fast paced and loud version of the title song, beginning with just Mark and Roger and adding key members of the cast. By the time we hit the bridge of this opening number, we are struck with a wall of sound and emotion that rarely seems to waver throughout the show. The depth of this cast is truly impressive. It probably wouldn't be a stretch to say you could cast "Rent" appropriately two or three times over with the talent that was evident in the chorus. It's an incredible asset for Shadowbox to have at its disposal.
Musical theatre is often an exercise in homage. No one wants to play a character exactly the same as it's been done before, or to perform a show they've already seen, but many actors and directors tend to put nods to other productions or approaches into their own work. The creative team and cast for this production made an obvious effort to avoid this approach, altering aspects of the show itself, including elements of the finale, yet the original work shines through, having been newly polished. Shadowbox's "Rent" is something different, and often something new. But it's still "Rent", and fantastically realized.
RENT continues at Shadowbox Live in the Easton Town Center every Sunday until April 17th, with performances at 2 PM and 7 PM. For ticket information and times visit http://www.shadowboxlive.org.
Tuesday, March 22, 2011
Curtains
"Curtains", presented by the Gallery Players, is an example of what 62 seasons of building a theatrical legacy can lead to.
It is often considered very difficult to work much story into a musical, because the plot has to both drive itself and resolve, in the case of the average musical, within just under an hour. CURTAINS is a production that requires a skillful and delicate merging of plot and musical spectacle with its book and libretto, more-so in fact, than the average musical does. It is the fantastic execution of this delicate balance that has made the Gallery Players production such a satisfying endeavor.
The plot of this charming piece of theatre, set in 1959, revolves around a company that finds itself in previews for a Robin Hood-centric musical, and without a leading lady. When a professional movie actress, Jessica Crenshaw, is hired to headline the show, disaster strikes, but not in the way one might expect, especially in a murder mystery musical. Well, at least not at first. Shortly thereafter, avid theatre-goer Lt. Cioffi is brought in to investigate a sinister murder, and begins to conduct an investigation into the cast, crew and those around the production. As he continues his investigations, he finds himself beginning to help shape the production. Add in thrilling, energetic dance numbers, an engaging murder mystery with more than a dash of "Whodunnit?", and you have a recipe for theatrical success.
The spacious stage at the Jewish Community Center of Greater Columbus allows for more than a glimpse into the world of the theatre in 1959. I was initially concerned when the curtain rose on Curtains because we have to experience what takes place back stage and I saw this massive, single piece of set and wondered how could a set piece like this even move, let alone fluidly. But when the full functionality of the set, and its ability to completely rotate, was revealed, I was quite impressed. The use of this technique calls to mind an obvious connection to "Noises Off", which has a similar front stage/backstage theme, with an entirely different purpose, here, one far more sinister.
The one drawback to this element is the necessity of two stagehands. Though, to their credit, they both did an admirable job with a set piece that looked like it may require five people or more to rotate. Had there been a way to disguise the presence of the stagehands somehow, the effect would have been even more delightful.
The overall technical aspects of the show were solid, but I did notice a few key lighting issues. Though there were several well-chosen hues for some of the background scenes, there were occasionally areas of the stage occupied by actors and actresses in important sequences that were not adequately lit., in particular, in the downstage left area.
But the stage and the set is hardly the only thing of value in this show, the most valuable aspect is of course the actors! This production allows a unique Chorus to create and showcase their lives and stories, and I am happy to say as the show progresses we get to see them truly come to life! Vocally, this show is amazing! the minute the curtains rise, we hear the beginning lines of “Wide Open Spaces” and its the shot of adrenaline we need! The chorus was wonderful, however, there were a few moments where the chorus can become distracting to the overall flow of the action onstage.
The costumes of the show, lend us the much needed time-machine to deliver us to the late fifties!
I would like to take a moment or two to focus on a handful of the actors whose performances stood out and grew dear to my heart as the show played on.
To Doug Joseph, who plays the Outlandish British Director (who takes credit for everything, most likely this review as well!) his performance was outstanding, a healthy mixture of empowerment, Tyrannical possession of the chorus and a healthy love and affection for the old theater cat (and chorus boys)! His delivery of myriad one liners and the facial expressions alongside his whimsical walk on and off the stage makes for an unforgettable experience.
Ross Shirley plays Lieutenant Cioffi, originally performed by the stellar David Hyde-Pierce. Ross shows us that we do not need the role's creator onstage to have an unforgettable performance of this character. He brings to life what all of us in the community theater wish we could have...a career in the professional theatre! Every one wants to be a show person! Ross’s enthusiasm and energy is rarely matched in this production.
And to the wonderful Wilma Hatton, playing Producer Carmen Bernstein: It is a business, and a hard one to play the mother of the infamous BAMBI! Her performance is colored with some of the funniest muttering dialogue. What makes the performance so memorable is the perfectly measured and timed delivery of every line and the accuracy of the wink, wink, nod, nod humor. Wilma has mastered this technique and rarely misses the mark.
Julie Russell plays the bubbly and cute Niki Harris, and the love interest to our Cioffi. she brings to this performance a silly nature and what I call the lovers eyes! the minute she starts to “flirt”. We see her emotional layers peel back and her affections come forward. Not to mention her wonderful dance numbers a must see!
Danielle Mann and Todd Lemmon, Play our writers and lyricist Georgia and Aaron! these two bring to this show the very definition of what love songs in the musical theater have been trying to teach us since Rogers and Hammerstein! I miss the music, I made with my friend. it is a heart-breaking and warming number performed by both of these outstanding actors. they will break your heart, then mend it and warm it to its core!
Oh. And keep your eyes peeled for the magic bullet. Or is that the magic of theatre that went whizzing by?
The show currently is running now through Sunday April 3rd. If your plans between now and April 3rd do not include Curtains presented by the Gallery players, you will miss a wonderful night of music, dance and mystery. Reserve your tickets now for this wonderful broadway show in the heart of the city of columbus! for more information visit http://www.jccgalleryplayers.org/ today!
It is often considered very difficult to work much story into a musical, because the plot has to both drive itself and resolve, in the case of the average musical, within just under an hour. CURTAINS is a production that requires a skillful and delicate merging of plot and musical spectacle with its book and libretto, more-so in fact, than the average musical does. It is the fantastic execution of this delicate balance that has made the Gallery Players production such a satisfying endeavor.
The plot of this charming piece of theatre, set in 1959, revolves around a company that finds itself in previews for a Robin Hood-centric musical, and without a leading lady. When a professional movie actress, Jessica Crenshaw, is hired to headline the show, disaster strikes, but not in the way one might expect, especially in a murder mystery musical. Well, at least not at first. Shortly thereafter, avid theatre-goer Lt. Cioffi is brought in to investigate a sinister murder, and begins to conduct an investigation into the cast, crew and those around the production. As he continues his investigations, he finds himself beginning to help shape the production. Add in thrilling, energetic dance numbers, an engaging murder mystery with more than a dash of "Whodunnit?", and you have a recipe for theatrical success.
The spacious stage at the Jewish Community Center of Greater Columbus allows for more than a glimpse into the world of the theatre in 1959. I was initially concerned when the curtain rose on Curtains because we have to experience what takes place back stage and I saw this massive, single piece of set and wondered how could a set piece like this even move, let alone fluidly. But when the full functionality of the set, and its ability to completely rotate, was revealed, I was quite impressed. The use of this technique calls to mind an obvious connection to "Noises Off", which has a similar front stage/backstage theme, with an entirely different purpose, here, one far more sinister.
The one drawback to this element is the necessity of two stagehands. Though, to their credit, they both did an admirable job with a set piece that looked like it may require five people or more to rotate. Had there been a way to disguise the presence of the stagehands somehow, the effect would have been even more delightful.
The overall technical aspects of the show were solid, but I did notice a few key lighting issues. Though there were several well-chosen hues for some of the background scenes, there were occasionally areas of the stage occupied by actors and actresses in important sequences that were not adequately lit., in particular, in the downstage left area.
But the stage and the set is hardly the only thing of value in this show, the most valuable aspect is of course the actors! This production allows a unique Chorus to create and showcase their lives and stories, and I am happy to say as the show progresses we get to see them truly come to life! Vocally, this show is amazing! the minute the curtains rise, we hear the beginning lines of “Wide Open Spaces” and its the shot of adrenaline we need! The chorus was wonderful, however, there were a few moments where the chorus can become distracting to the overall flow of the action onstage.
The costumes of the show, lend us the much needed time-machine to deliver us to the late fifties!
I would like to take a moment or two to focus on a handful of the actors whose performances stood out and grew dear to my heart as the show played on.
To Doug Joseph, who plays the Outlandish British Director (who takes credit for everything, most likely this review as well!) his performance was outstanding, a healthy mixture of empowerment, Tyrannical possession of the chorus and a healthy love and affection for the old theater cat (and chorus boys)! His delivery of myriad one liners and the facial expressions alongside his whimsical walk on and off the stage makes for an unforgettable experience.
Ross Shirley plays Lieutenant Cioffi, originally performed by the stellar David Hyde-Pierce. Ross shows us that we do not need the role's creator onstage to have an unforgettable performance of this character. He brings to life what all of us in the community theater wish we could have...a career in the professional theatre! Every one wants to be a show person! Ross’s enthusiasm and energy is rarely matched in this production.
And to the wonderful Wilma Hatton, playing Producer Carmen Bernstein: It is a business, and a hard one to play the mother of the infamous BAMBI! Her performance is colored with some of the funniest muttering dialogue. What makes the performance so memorable is the perfectly measured and timed delivery of every line and the accuracy of the wink, wink, nod, nod humor. Wilma has mastered this technique and rarely misses the mark.
Julie Russell plays the bubbly and cute Niki Harris, and the love interest to our Cioffi. she brings to this performance a silly nature and what I call the lovers eyes! the minute she starts to “flirt”. We see her emotional layers peel back and her affections come forward. Not to mention her wonderful dance numbers a must see!
Danielle Mann and Todd Lemmon, Play our writers and lyricist Georgia and Aaron! these two bring to this show the very definition of what love songs in the musical theater have been trying to teach us since Rogers and Hammerstein! I miss the music, I made with my friend. it is a heart-breaking and warming number performed by both of these outstanding actors. they will break your heart, then mend it and warm it to its core!
Oh. And keep your eyes peeled for the magic bullet. Or is that the magic of theatre that went whizzing by?
The show currently is running now through Sunday April 3rd. If your plans between now and April 3rd do not include Curtains presented by the Gallery players, you will miss a wonderful night of music, dance and mystery. Reserve your tickets now for this wonderful broadway show in the heart of the city of columbus! for more information visit http://www.jccgalleryplayers.org/ today!
Sunday, March 6, 2011
The Music Man
I was fortunate enough, to be one of the people who were able to make it into the sold out opening performance of Meredith Willson's The Music Man! This timeless show was produced with the help of "The Little Theater Off Broadway" In Grove City, The fantastic Directing of Kate Charlesworth Miller, Kate has brought the town of River City Iowa to life, Kates choices of Minimal set design opens our audiences imaginations to build the town itself, with only a few issues, in this writers opinion, and they are few and far to be found, call it an instinctual pickiness. the only issues that arose for me in this opening night production were scene changes were a tad long, and the use of a painted town on a curtain makes the actors seem larger than life, and certain vocal arrangements were rough at the start but warmed up quickly. with this said you must keep in mind that the chorus themselves lend us to see the growth of the town, they are River City! My congratulations to Kate on her wonderful casting, interpretation and for making a show many of us have seen a hundred different times new, exciting and memorable!
With strong direction, comes a strong cast. I would love to dote on every member of this stellar production but I must only pick a few. but let it be known that every member of this production put on there "character" and made me believe who they were.
We must start with the leading man our "Harold Hill" played by the strong Dave Hammond, Dave has appeared in many shows over the last few years, but this was his shining moment. The minute Dave took the stage I could see a young Robert Preston, but don't let this fool you Dave may start with a Preston style cadence but we learn quickly, there is much more than copy-cat acting to this strong actor. his subtle facial expressions and booming voice give you a whole new Harold, one you may not be prepared for and one you shall not soon forget. My only Criticism to this performance comes in volume, Daves singing is thunder to vocal lightning but can over-power members of the chorus and other leads at the same time.
But what is a leading man without his leading lady, Nancy Miller, she shows us the sweet side to River City Iowa. This is Nancy's first leading role in the Ltob scene, but I daresay it shall not be her last! When playing Marian "The Librarian" Paroo you can only go two ways, loud and bold or shy and meek. Most woman will pick the Loud and Bold and to there credit that is a fine choice, but it is the easier of the two. Nancy has chosen to take the difficult version of Marion and show us the shy sweet side along with a contained protection of her family, town and its citizens. but the highlight of her performance is her strong and resolute delivery of one of the hardest songs in Musical history "My White Night". this song has been re-arrange so many times in so many versions of this show no one has the chops or the guts to sing it as is, that is except for Nancy she sings the emotions of the song alongside the notes. It truly was a heartfelt moment not to be missed. The only singular thing I found misplaced in her performance was merely reactionary in points of the show. we never lost her characterization but we did loose her concern in her face when Winthrop runs off after being teased the first time.
Tanner Sells, plays the lisp ridden and lovable Winthrop, there is nothing but good to say about Tanner, he is a strong performer and singer and he is still in grade school. not only can he melt your heart, but he can also wow you. It is hard if not imposible to find a young actor like this in theater and say when he grows up, look out because he is everyones competition!
There is a song in every heart of this production, and it begins with the slow beating of a bass drum, then add the trumpets, and then the cymbals and don't forget those 76 trombones in the big parade! The Little Theater off Broadway brings the whole family, fun and entertainment this month shows are still running every Friday Saturday and Sunday through March 26th! Reserve your tickets at ltob.org and climb aboard the train to Grove City "Next Stop River City"!
With strong direction, comes a strong cast. I would love to dote on every member of this stellar production but I must only pick a few. but let it be known that every member of this production put on there "character" and made me believe who they were.
We must start with the leading man our "Harold Hill" played by the strong Dave Hammond, Dave has appeared in many shows over the last few years, but this was his shining moment. The minute Dave took the stage I could see a young Robert Preston, but don't let this fool you Dave may start with a Preston style cadence but we learn quickly, there is much more than copy-cat acting to this strong actor. his subtle facial expressions and booming voice give you a whole new Harold, one you may not be prepared for and one you shall not soon forget. My only Criticism to this performance comes in volume, Daves singing is thunder to vocal lightning but can over-power members of the chorus and other leads at the same time.
But what is a leading man without his leading lady, Nancy Miller, she shows us the sweet side to River City Iowa. This is Nancy's first leading role in the Ltob scene, but I daresay it shall not be her last! When playing Marian "The Librarian" Paroo you can only go two ways, loud and bold or shy and meek. Most woman will pick the Loud and Bold and to there credit that is a fine choice, but it is the easier of the two. Nancy has chosen to take the difficult version of Marion and show us the shy sweet side along with a contained protection of her family, town and its citizens. but the highlight of her performance is her strong and resolute delivery of one of the hardest songs in Musical history "My White Night". this song has been re-arrange so many times in so many versions of this show no one has the chops or the guts to sing it as is, that is except for Nancy she sings the emotions of the song alongside the notes. It truly was a heartfelt moment not to be missed. The only singular thing I found misplaced in her performance was merely reactionary in points of the show. we never lost her characterization but we did loose her concern in her face when Winthrop runs off after being teased the first time.
Tanner Sells, plays the lisp ridden and lovable Winthrop, there is nothing but good to say about Tanner, he is a strong performer and singer and he is still in grade school. not only can he melt your heart, but he can also wow you. It is hard if not imposible to find a young actor like this in theater and say when he grows up, look out because he is everyones competition!
There is a song in every heart of this production, and it begins with the slow beating of a bass drum, then add the trumpets, and then the cymbals and don't forget those 76 trombones in the big parade! The Little Theater off Broadway brings the whole family, fun and entertainment this month shows are still running every Friday Saturday and Sunday through March 26th! Reserve your tickets at ltob.org and climb aboard the train to Grove City "Next Stop River City"!
Wednesday, February 23, 2011
Predictions
Actor in a Leading Role
Javier Bardem in “Biutiful”
Jeff Bridges in “True Grit”
Jesse Eisenberg in “The Social Network”
Colin Firth in “The King's Speech”
James Franco in “127 Hours”
Winner: Colin Firth in "The King's Speech"
Actor in a Supporting Role
Christian Bale in “The Fighter”
John Hawkes in “Winter's Bone”
Jeremy Renner in “The Town”
Mark Ruffalo in “The Kids Are All Right”
Geoffrey Rush in “The King's Speech”
Winner: Geoffrey Rush in “The King's Speech”
Actress in a Leading Role
Annette Bening in “The Kids Are All Right”
Nicole Kidman in “Rabbit Hole”
Jennifer Lawrence in “Winter's Bone”
Natalie Portman in “Black Swan”
Michelle Williams in “Blue Valentine”
Winner: Annette Bening in “The Kids Are All Right”
Actress in a Supporting Role
Amy Adams in “The Fighter”
Helena Bonham Carter in “The King's Speech”
Melissa Leo in “The Fighter”
Hailee Steinfeld in “True Grit”
Jacki Weaver in “Animal Kingdom”
Winner: Melissa Leo in "The Fighter"
Animated Feature Film
“How to Train Your Dragon” Chris Sanders and Dean DeBlois
“The Illusionist” Sylvain Chomet
“Toy Story 3” Lee Unkrich
Winner: "Toy Story 3" Lee Unkrich
Cinematography
“Black Swan” Matthew Libatique
“Inception” Wally Pfister
“The King's Speech” Danny Cohen
“The Social Network” Jeff Cronenweth
“True Grit” Roger Deakins
Winner: : “The Social Network” Jeff Cronenweth
Directing
“Black Swan” Darren Aronofsky
“The Fighter” David O. Russell
“The King's Speech” Tom Hooper
“The Social Network” David Fincher
“True Grit” Joel Coen and Ethan Coen
Winner: "The King's Speech" Tom Hooper
Film Editing
“Black Swan” Andrew Weisblum
“The Fighter” Pamela Martin
“The King's Speech” Tariq Anwar
“127 Hours” Jon Harris
“The Social Network” Angus Wall and Kirk Baxter
Winner: "The Social Network" Angus Wall and Kirk Baxter
Foreign Language Film
“Biutiful” Mexico
“Dogtooth” Greece
“In a Better World” Denmark
“Incendies” Canada
“Outside the Law (Hors-la-loi)” Algeria
Winner: "In a Better World" Denmark
Music (Original Score)
“How to Train Your Dragon” John Powell
“Inception” Hans Zimmer
“The King's Speech” Alexandre Desplat
“127 Hours” A.R. Rahman
“The Social Network” Trent Reznor and Atticus Ross
Winner: "The Social Network" Trent Reznor and Atticus Ross
Best Picture
“Black Swan” Mike Medavoy, Brian Oliver and Scott Franklin, Producers
“The Fighter” David Hoberman, Todd Lieberman and Mark Wahlberg, Producers
“Inception” Emma Thomas and Christopher Nolan, Producers
“The Kids Are All Right” Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray, Producers
“The King's Speech” Iain Canning, Emile Sherman and Gareth Unwin, Producers
“127 Hours” Christian Colson, Danny Boyle and John Smithson, Producers
“The Social Network” Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin, Producers
“Toy Story 3” Darla K. Anderson, Producer
“True Grit” Scott Rudin, Ethan Coen and Joel Coen, Producers
“Winter's Bone" Anne Rosellini and Alix Madigan-Yorkin, Producers
Winner: "The King's Speech" Ian Canning, Emilie Sherman and Gareth Unwin, Producers
Sound Editing
“Inception” Richard King
“Toy Story 3” Tom Myers and Michael Silvers
“Tron: Legacy” Gwendolyn Yates Whittle and Addison Teague
“True Grit” Skip Lievsay and Craig Berkey
“Unstoppable” Mark P. Stoeckinger
Winner: "Inception" Richard King
Sound Mixing
“Inception” Lora Hirschberg, Gary A. Rizzo and Ed Novick
“The King's Speech” Paul Hamblin, Martin Jensen and John Midgley
“Salt” Jeffrey J. Haboush, Greg P. Russell, Scott Millan and William Sarokin
“The Social Network” Ren Klyce, David Parker, Michael Semanick and Mark Weingarten
“True Grit” Skip Lievsay, Craig Berkey, Greg Orloff and Peter F. Kurland
Winner: "Inception" Lora Hirschberg, Gary A. Rizzo and Ed Novick
Visual Effects
“Alice in Wonderland” Ken Ralston, David Schaub, Carey Villegas and Sean Phillips
“Harry Potter and the Deathly Hallows Part 1” Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
“Hereafter” Michael Owens, Bryan Grill, Stephan Trojansky and Joe Farrell
“Inception” Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
“Iron Man 2” Janek Sirrs, Ben Snow, Ged Wright and Daniel Sudick
Winner: "Inception" Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb
Writing (Adapted Screenplay)
“127 Hours” Screenplay by Danny Boyle & Simon Beaufoy
“The Social Network” Screenplay by Aaron Sorkin
“Toy Story 3” Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
“True Grit” Written for the screen by Joel Coen & Ethan Coen
“Winter's Bone” Adapted for the screen by Debra Granik & Anne Rosellini
Winner: "The Social Network" Screenplay by Aaron Sorkin
Writing (Original Screenplay)
“Another Year” Written by Mike Leigh
“The Fighter” Screenplay by Scott Silver and Paul Tamasy & Eric Johnson;
Story by Keith Dorrington & Paul Tamasy & Eric Johnson
“Inception” Written by Christopher Nolan
“The Kids Are All Right” Written by Lisa Cholodenko & Stuart Blumberg
“The King's Speech” Screenplay by David Seidler
Winner: "The King's Speech" Screenplay by David Seidler
Thursday, February 3, 2011
No sex Please Were British!
Well this is the Big week!! Opening night, always makes me feel a bit on the queasy side! But that is what drives me to perform, I always think its interesting how we as human beings thrive off of those feelings, the only way I can describe how I feel as lights fall on the stage and I prepare to run on with my first lines is my stomach is on a roller-coaster my heart is filled with popping Pop-Corn and my head is swimming with the words DONT SCREW UP!!! then I hit the stage and I am shocked that the minute my mouth opens I don't puke or spew out silence! I deliver me lines and the rest falls into place! It can be the biggest leap of faith for an Actor walking onto the stage. But that leap is only matched by the amazing firm and steady foundation of those you are working with! and Now is my Chance to Brag on my Co-Stars!!
Ian Ernsberger (Brian Runnicles) ! Has been not only a great director, and amazing friend but one of the strongest Comedic actors I have had the pleasure of working with. His interpretation of Brian Runnicles Has been zany! and spot on!! I am blessed to be working under his tutelage, and his vision of the Stage and show has be eye-opening!!
Kate Redfield (Frances Hunter) !! An amazing old friend of mine, playing my strong sassy and loudish wife! she has proven to me time and time again that she is a professional Actress who can keep her cool and focus in any situation! You will be astounded by her use of Comedic timing and poise, he facial reactions and attitude toward her mother in law are so true to what (many) have to deal with! she has been a guiding light for and my characters performance!
Susan Moreland (Elanor Hunter)! Plays my mother!! and No-one could have asked for a better one than I have been blessed with!! Susan brings the Ideal "Mother-in law" to life with her condescending words contradicting her smiles as she checks every room in the old apartment, her dis-approval and love of her son ooze out of every word! and her choice of Aqua colored clothing screams!! I AM HERE NOTICE ME!
Richard Mcinley (Mr. Bromhead)!! I have worked a few times with this man and every-time has been better than the last!! he is no stranger to the Alcove stage, and by all means never a disappointment. His role of Leslie Bromhead Bank Manager brings to life the essence of all my fears! Failure, negativity, and of Course loss of my Job!! Richard will not be anything but stellar in this show!!
Jerry Redfield (Mr. Needham)!! Jerry has become my new favorite person, he is a strong actor who brings the mischief in this farce, no-one else I know could pull off the Narcoleptic like this man!! Jerry is new to me but I dare say I will be seeing more of him and soon!! you will be taken a back by his performance with "THE LADIES" and of course his puns (though sometimes hidden in the chaos) are ones you will be repeating on your car ride home!!
Jim Miller (Super intendant Paul)!! Jim takes the stage with grace and Poise and looks dashing in police uniform, and as the show progresses we learn of Paul's little (double) problem!! Jim's voice is smooth and slow, that alone will have you laughing in your seats but his timing and delivery! will surely make you role onto the floor!
Jakie Hatch-Miller (Susan)!! The minute she comes in I say Good Heavens! and there is justifiable reason this vixen in scarlet holds no letter in the same color on her blouse but surely has gained the title!! you will laugh and love her portrayal of the young mistress of the night Susan!! Jackie has become one of my dearest friends but don't let that fool you, this naughty Minx must be set straight (out the door)!!
Jennifer Walters (Barbara)!! Susan's intern Laced in black enters with a young girlish charm, but soon shocks you with her fierce (ahem.....fill in the blank!), though she never says much she doesn't need too her face will show you all thats going on! Having just met Jennifer this production I am very glad to have her as a friend she is very sweet and just a blast to work with!!
Bonnie Pickett (stage manager)!! what is a show without its back bone and Bonnie is just that, many nights spent painting, e-mailing, following on book and handling mini-meltdowns has earned this woman the bronze star in theater!! we all love ya bonnie thank you for all you do!!
Please come see this outstanding farce and Dinner is provided!!
Dinner Theatre Menu Options
Prime Rib- $35
Phyllo Wrapped Chicken- $32
Vegetable Linguini- $28
Call 740-392-3076 to reserve your seats.
Ian Ernsberger (Brian Runnicles) ! Has been not only a great director, and amazing friend but one of the strongest Comedic actors I have had the pleasure of working with. His interpretation of Brian Runnicles Has been zany! and spot on!! I am blessed to be working under his tutelage, and his vision of the Stage and show has be eye-opening!!
Kate Redfield (Frances Hunter) !! An amazing old friend of mine, playing my strong sassy and loudish wife! she has proven to me time and time again that she is a professional Actress who can keep her cool and focus in any situation! You will be astounded by her use of Comedic timing and poise, he facial reactions and attitude toward her mother in law are so true to what (many) have to deal with! she has been a guiding light for and my characters performance!
Susan Moreland (Elanor Hunter)! Plays my mother!! and No-one could have asked for a better one than I have been blessed with!! Susan brings the Ideal "Mother-in law" to life with her condescending words contradicting her smiles as she checks every room in the old apartment, her dis-approval and love of her son ooze out of every word! and her choice of Aqua colored clothing screams!! I AM HERE NOTICE ME!
Richard Mcinley (Mr. Bromhead)!! I have worked a few times with this man and every-time has been better than the last!! he is no stranger to the Alcove stage, and by all means never a disappointment. His role of Leslie Bromhead Bank Manager brings to life the essence of all my fears! Failure, negativity, and of Course loss of my Job!! Richard will not be anything but stellar in this show!!
Jerry Redfield (Mr. Needham)!! Jerry has become my new favorite person, he is a strong actor who brings the mischief in this farce, no-one else I know could pull off the Narcoleptic like this man!! Jerry is new to me but I dare say I will be seeing more of him and soon!! you will be taken a back by his performance with "THE LADIES" and of course his puns (though sometimes hidden in the chaos) are ones you will be repeating on your car ride home!!
Jim Miller (Super intendant Paul)!! Jim takes the stage with grace and Poise and looks dashing in police uniform, and as the show progresses we learn of Paul's little (double) problem!! Jim's voice is smooth and slow, that alone will have you laughing in your seats but his timing and delivery! will surely make you role onto the floor!
Jakie Hatch-Miller (Susan)!! The minute she comes in I say Good Heavens! and there is justifiable reason this vixen in scarlet holds no letter in the same color on her blouse but surely has gained the title!! you will laugh and love her portrayal of the young mistress of the night Susan!! Jackie has become one of my dearest friends but don't let that fool you, this naughty Minx must be set straight (out the door)!!
Jennifer Walters (Barbara)!! Susan's intern Laced in black enters with a young girlish charm, but soon shocks you with her fierce (ahem.....fill in the blank!), though she never says much she doesn't need too her face will show you all thats going on! Having just met Jennifer this production I am very glad to have her as a friend she is very sweet and just a blast to work with!!
Bonnie Pickett (stage manager)!! what is a show without its back bone and Bonnie is just that, many nights spent painting, e-mailing, following on book and handling mini-meltdowns has earned this woman the bronze star in theater!! we all love ya bonnie thank you for all you do!!
Please come see this outstanding farce and Dinner is provided!!
Dinner Theatre Menu Options
Prime Rib- $35
Phyllo Wrapped Chicken- $32
Vegetable Linguini- $28
Call 740-392-3076 to reserve your seats.
Tuesday, December 21, 2010
Christmas Time is here
I have had a recent wonderful experience, I was preparing for Christmas with Kristina and we set up her Christmas tree! I had not set up a tree and laughed and taken in the spirit of the moment in years, we sat back after we were finished and truly enjoyed our accomplishment, the room was lit in the glow of nearly 1,500 lights! a feat for the size of the tree. and it was just a wonderful moment, the room was laced in the shades of red and gold, blazing white lights and the bow from which neither of us could make look awesome ha! it was just a reminder of how blessed I am this season to have so many wonderful things in my life. and people to care about as well I hope you enjoy the pictures of our tree fellow readers!
~Chris~
~Chris~
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