REVIEW: Dracula, A Comedy of Terrors by Jerry Crouch

Dracula, A Comedy of Terrors, opened Friday night, October 3rd at Chapin Theatre Company and grabbed the audience by their throats, tickling their collective funny bones, sucking every laugh possible from the applauding fans. In the slapstick, standup comedy tradition of Mel Brooks and Monty Python, this silly spoof of Bram Stoker's classic 1897 vampire novel is dazzlingly acted out by five of the most versatile actors Columbia theatre has to offer. Four playing a brew of manic, murderous multitude of roles, not unlike last Chapin Theatre season's role-switching The 39 Steps where the starring lead male then was none other than this show's fang-tastic director, George Dinsmore.

This 90-minute blood-thirsty play offers these actors—Debra Kiser, David Fichter, Frank Thompson, Katie Mixon and Josh Kern—the challenge of a theatrical lifetime,  throwing puns, punchlines, and naughty innuendos against the ever-changing castle walls amid the nimble narrative, with lightning quick costume changes (some hilariously done on stage) and with a plethora of accents! The big character role winners by a Transylvanian mile are Fichter and Kiser, blending proper British and German accents along with a variety of other dizzy dialects and personalities making for a madcap cocktail of fun. But let's toss kudos of garlic-laced funeral wreaths to the entire cast of this bawdy farce.

David Fichter is a dead-on hoot playing the misogynistic Dr Westfeldt, who begins as the arch-nemesis of Kiser's strict, straightlaced German Van Helsing. But their second act reactions take a decided turn for the better. Fichter's loony, bug-eating, straight-jacketed Renfield almost steals the night's spotlight from Kiser's redhead coiffed Mina, a desperate date-deprived spinster in need of some serious orthodontal intervention. Fichter also manages to step into the role of a salty Sea Captain with both actors early on, becoming ferocious howling wolves along with Mixon.

Mixon is the epitome of the courageous but romantically confused heroine, Lucy Westfeldt, hitting every nuanced note and her role switch to the kleptomaniac mental nurse, Kitty, is a delicious surprise. Mixon also plays a rowdy carriage driver in the opening scene. Master comedian, Frank Thompson plays the night's straight man in the role of the cowardly real estate agent, Jonathan, and in one scene (with a bow to Sesame Street) plays three characters at once in the guises of the Scottish Lord Cavendish, the very British Worthington, and the Texan, Lord Havemercy. Thompson also easily polished off the double roles of a scurvy Bosun and a drunken Gravedigger. 

But with all the night's multiple role switching, is the leading actor short-changed playing only a single role? Hardly. Josh Kern in the sexy buff role of Dracula proves a deadly, charming centerfold and an equal opportunity romancer of both Lucy and even her intended, Jonathan Harker. As Harker, Thompson enjoys a late act romantic renovation after his rendezvous with Kern which proves to be a neck-biter twist. Earlier this season, Kern perfectly played the comic lead of Paul in Barefoot in the Park, so here, his sly, narcissistic, revisited take on this horror icon shows his considerable versatility on the Chapin stage in two radically different performances in one season. Bravo!

Special honors goes to Dracula Producers, Jim DeFelice and Tiffany Dinsmore for bringing this comedy gem to their Chapin stage. The beautiful, facile set, sound, costume, props, and dramatic projection designs are ambitious, but all laser quick transitions came off with nary a hitch on opening night.

Dracula, A Comedy of Terrors 
Adapted by Gordon Greenberg and Steve Rosen plays for two more weekends
October 3, 4, 9-10-11 and 16-17-18 at 7:30 pm evening performances with 
October 12 and 19 on Sunday 3:00 pm matinees.

Chapin Theatre Company is located at 830 Columbia Avenue, Chapin 29036
For tickets: 
chapintheatre.org    [803] 240-8544

 

REVIEW: You’ll Leave Churched - Choir Boy Shines at Trustus Theatre By Jane Turner Peterson

I’ve been churched—and I loved it. That’s the only way to describe Trustus Theatre’s electrifying production of Choir Boy, a play with music that bursts with life, laughter, conflict, and harmony. Directed and choreographed by Terrance Henderson, this production is a moving, joyful, and thought-provoking journey that should not be missed.

The play begins at the Charles R. Drew Prep School for Boys, an elite all-Black academy. It’s graduation day, and Pharus (John Ballard), a flamboyant and gifted junior, is chosen to sing a solo. When his performance is disrupted by Bobby Marrow (Jlynn Montgomery) and his sidekick Junior (Jamal Davis), who sling racial and homophobic slurs, Pharus falters. But in a dazzling recovery—equal parts comedic and defiant—he riffs his way through the interruption, instantly capturing the audience’s admiration. Ballard’s performance sets the tone for the evening: witty, vulnerable, and utterly captivating.

As the new school year begins, Pharus is named leader of the choir, sparking conflict with Bobby. Their battle of wills plays out against the larger expectations of Headmaster Marrow (William Paul Brown), who struggles to discipline his nephew Bobby while remaining fair to Pharus. Brown brings both authority and humanity to the role, portraying a man who is equal parts stern administrator and conflicted guardian.

The student ensemble is a highlight of the show. Montgomery gives Bobby a fiery intensity, making him more than just a bully—his commanding vocals and emotional depth reveal the layers beneath the bravado. Davis, as Junior, captures the hesitancy of a follower caught between loyalty and conscience. Jonathan Adriel’s AJ, Pharus’s loyal roommate, is portrayed with warmth and sensitivity; his friendship with Pharus is one of the production’s most touching threads. Daniel Mason shines as David, the deeply religious student torn between faith and desire. Mason’s vocals are rich and heartfelt, and his emotional honesty gives his performance a memorable weight.

Adding depth and humor to the mix is Larry Hembree as Mr. Pendleton, a guest professor who challenges the boys to think critically and independently. Hembree’s performance is a welcome blend of charm and gravitas, bringing levity to tense moments while grounding the story in its themes of growth and change.

The music of Choir Boy is its heartbeat, and under the musical direction of Kristin Claiborne with arrangements by Katrina Garvin, it soars. The cast delivers rousing renditions of spirituals like Eyes on the Prize and Sometimes I Feel Like a Motherless Child, alongside modern selections like New Edition’s Can You Stand the Rain. The harmonies are powerful and deeply moving—sometimes jubilant, sometimes haunting, always resonant. The music is not just accompaniment but storytelling in its own right, carrying the history, faith, and struggles of the characters.

Henderson’s direction and choreography tie it all together with artistry and precision. His infusion of prayer dance and stylized movement elevates the production, turning moments of conflict and celebration into something almost transcendent. The staging is fluid and alive, reinforcing the themes of identity, resilience, and community.

At nearly three hours, the production is a full evening of theatre, yet it never feels long. The pacing is sharp, the performances captivating, and the music unforgettable. By the curtain call, the audience is left exhilarated, reflective, and deeply moved.

Trustus Theatre has delivered a production that is both entertaining and meaningful. Choir Boy doesn’t just tell a story—it invites its audience to feel, to question, and to celebrate. In the end, you don’t just watch the show—you experience it. And when it’s over, you too will feel that you’ve been churched.

Choir Boy runs through October 12 at Trustus Theatre. Tickets are available at trustus.org or by calling 803-254-9732. Don’t miss the chance to be part of this extraordinary experience.

REVIEW: Village Square Theatre Offers a Magical Experience in Freaky Friday

By Jerry Crouch

Freaky Friday  is a Disney-style musical that opened last weekend at Village Square Theatre about a controlling mother and a rebellious teenage daughter who magically trade places for a single day. It is about how a magical hourglass that, when pulled wide open, creates a dazzling couple of hours in the actors' lives on stage, and at Sunday’s matinee, the audience was transported on a magical, musical trip complete with fabulous leading performances, a trove of talented teens, a beautiful, evolving stage set, energetic choreography, and a lively orchestra. The lesson learned from the production is that if we stopped to see the world through each other’s eyes we would discover true understanding within our modern, frantically busy families. 

That ever-changing quest first appeared in Mary Rodgers’ 1972 book Freaky Friday and in the subsequent four film adaptations, and is now captured again as this spunky musical from Disney Theatrical Productions, aiming its target in laser focus on the teen market. 

Served at a bright, spunky pace by director Robert Harrelson, Freaky Friday has a relentless pop score by Tom Kitt and Brian Yorkey (Next to Normal) and by book writer Bridget Carpenter.

Thanks to Harrelson and his capable stage designers, husband and wife team Raymond and Jacqueline Elling, scenes switch briskly between the household’s kitchen, a wedding reception prep area, outdoor locations, as well as various high school locales, and are ably aided by beautiful projections against the back scrim. The Ellings do double duty by also playing roles on stage throughout the show with Raymond playing the mom's intended beloved delivering a solid vocal solo in Act Two.

As the personality-switching mom, Katherine and her spunky daughter Ellie, local theatre veterans, Leighton Creed Mount and Eliza England, definitely have the vocal goods to deliver with multiple heartfelt duets and solos. Mount, in particular, is a theatrical force to be reckoned with in scene after scene poignantly conveying the mother's love and concerned commitment.

But the uber talented teens owned this Sunday matinee! Village Square Theatre veteran youths – Cash Conroy, Jack Carlton, and Mackenzie Bruder shone brightly as true professionals as boyfriend Adam, little brother Fletcher, and resident mean girl Savannah. For added coolness, boyfriend Conroy slickly and confidently rides the stage on a blinking hoverboard in a piece of choreography like a young matinee idol.

What fun it was to see Village Square Theatre adult veterans steal their well-deserved moments in the supporting roles spotlight – Kristin Ferrante, Carissa Ferro, Tammy Smith, Amanda Scott, Kory Taylor, Robin Saviola, Teresa McWilliams, and John Fetner! In particular, Smith, Ferrante and Ferro made each of their moments count in roles as Grandma Helene, Torrey, and Ms. Meyers.

No community theatre musical can succeed without its orchestra, choreographer, and backstage crew, so I also salute Music Director, John Norris, and his musicians; Choreographer, Krista Haidle, and her dance captains; and Stage Manager, Lindsay Brown, and her crew.

Village Square Theatre is located at 105 Caughman Road, Lexington, 29072 (803) 359-1436 — click here for reservations.

Remaining Village Square Theatre Performances
Friday, September 19 @ 7:30 PM (Cast Freaky)
Saturday, September 20 @ 7:30 PM (Cast Friday)
Sunday, September 21 @ 3:00 PM (Cast Freaky)
Friday, September 26 @ 7:30 PM (Cast Friday)
Saturday, September 27 @ 7:30 PM (Cast Freaky)
Sunday, September 28 @ 3:00 PM (Cast Friday)

Jerry Crouch is celebrating his onstage and directorial credits for 107 productions in Columbia, Atlanta, and Asheville over the last half century.

REVIEW: Chapin Theatre Company's Once Upon a Mattress -- A Royal Treat for All Ages

by Jane Turner Peterson

Grab your kids, grandkids, aunts, uncles—and of course, moms and dads—and get your tickets now! Once Upon a Mattress is a hilarious, heartwarming musical that’s perfect for all ages, and Chapin Theatre Company’s production is one you don’t want to miss. With just one weekend left at Harbison Theatre at Midlands Tech, this charming retelling of The Princess and the Pea promises big laughs, catchy songs, and plenty of fun.

Originally debuting on Broadway in 1959, Once Upon a Mattress introduced audiences to the unforgettable Carol Burnett as Princess Winnifred. With music by Mary Rodgers, lyrics by Marshall Barer, and a book by Jay Thompson, Dean Fuller, and Barer, the show has rightfully earned its place as a musical theatre classic. Chapin’s version stays true to the spirit of the original while adding its own lively flair and fresh energy.

The plot takes us to a whimsical kingdom “long ago and far away,” where King Sextimus has been mysteriously struck mute, and his domineering wife, Queen Aggravain, has taken control. She’s decreed that no one in the kingdom may marry until her son, Prince Dauntless, finds a princess who can pass her ridiculously unfair test. This causes chaos for young lovers Sir Harry and Lady Larken, who have urgent reasons to wed.

Enter Princess Winnifred the Woebegone, found in a swamp and brought to court by Sir Harry. She’s bold, brash, and unlike any princess the kingdom has seen. But Queen Aggravain is determined to sabotage her son’s romance, leading to a series of uproarious schemes and surprises.

Maggie Baker is delightfully bold and brassy as Princess Winnifred, with a perfect mix of comedic timing, crystal-clear vocals, great dance moves, and a natural stage presence that lights up every scene she is in. Tyler Zanga charms as Prince Dauntless, nailing both the humor and sincerity of a young man struggling to grow beyond his mother’s grasp. Their chemistry is funny, sweet, and wonderfully genuine.

Queen Aggravain, played by Debra Kiser, literally stole the show as the irritatingly chatty and bossy Queen. Her comedic timing was impeccable, and the scenes with Prince Dauntless were hysterical. The pair was delightful to watch as the overpowering mother and son duo. Be sure to watch out for her “traveling” beauty mark!

Abigail Williams, in her first Chapin Theatre role, impresses with her powerful voice as Lady Larken, making it clear she is a rising star to watch in town. Frank Thompson as the Minstrel, Joel Yarborough as the Wizard, and Billy McNeill as the Jester are a comedic trio in the best sense—playful, sharp, and totally in sync, like a medieval version of the Three Stooges. Lonnie Owen is a commanding Sir Harry, with strong vocals creating wonderful harmonies with Williams’ Larken. And Jim DeFelice nearly steals the show as the silent King Sextimus, relying entirely on physical comedy to earn big laughs—he does it masterfully.

The creative team behind the scenes pulls it all together beautifully. Director Mary Jo Johnson and musical director McCall Bethurem, both Chapin summer show veterans, guide the production with confidence and care. Choreographer Meredith Boehme brings the stage to life with clever, energetic movement—especially in the showstopping “Spanish Panic” number, which earned rousing applause.

Everything from Queen Agrivan’s outrageous costume to the royal court's vibrant costumes to the whimsical set design adds to the fairy tale magic. And yes—the giant bed lives up to the hype!

With just one weekend left, Thursday, August 24 through Sunday, August 27—this production of Once Upon a Mattress is not to be missed. Evening performances begin at 7:30 pm, with matinees on Saturday and Sunday at 3:00 pm.

Don’t miss your chance to enjoy a delightful night at the theatre. This musical proves that fairy tales—and community theatre—are alive, well, and absolutely worth celebrating.

Tickets are available now at chapintheatre.org.

REVIEW: Elton John and Tim Rice's Aida at Trustus Theatre

by Cindi Boiter

Before attending Friday night’s production of Elton John and Tim Rice’s Aida at Trustus Theatre, I stopped by Ron Hagel’s new Gemini Studio complex to do my part in celebrating the work this talented collection of visual artists has created. I met an artist there who had already seen the show and they shared that it was so good that the audience had given an actual standing ovation after the end of the first act! I automatically assumed this was probably the result of a group of friends or family attending the musical and enthusiastically supporting their favorite cast member. Then I saw the show for myself and found myself on my feet, too, after the first act’s dramatic closing song, The Gods Love Nubia. That said, there were many times during this performance when I was tempted to stand at my seat, clap, cheer, whoop, and maybe even dance. The performance deserved this kind of enthusiastic response, and more.

The musical Aida, written by Elton John and Tim Rice, premiered on Broadway in March of 2000 and ran through September 2004, winning four of the five Tonys for which it was nominated. Based on Verdi’s opera of the same name, Aida is set in Egypt and tells the story of the Nubian princess, Aida, held captive by a sympathetic Egyptian general named Radames. Though their beloved nations are at war, Aida and Radames fall in love, even though Radames is engaged to marry the Egyptian princess, Amneris, a political move encouraged by his father, Zoser. The reconciliation of this love triangle is a story of love, devotion, social and familial expectations, and the challenge we all face to live an  authentic life and be true to one’s own sense of right and wrong. It is as beautiful as it is tragic.

It is difficult to determine where the magic of the Trustus production of Aida came from. Director Jessica Fichter placed it squarely on the performance of the players, while Patrick Dodds, in a lead role as Radames, named Fichter as the catalyst. Both are right.

The magic became evident early in the performance when Amneris, played by rising USC senior Rachel Vanek, gave us the song Every Story is a Love Story, followed by Radames’ stunning Fortune Favors the Brave sung by Dodds, and the equally stunning opening number from Aida, played  by Rayanna Briggs, The Past is Another Land. For this reviewer, the magic was in the music and how well the truly challenging numbers were executed. Vanek, Briggs, and so many other cast members were refreshingly new to me, but I’ve watched Dodds on the stage for more than a decade, I’m sure, and I had no idea his vocal talents could rise so successfully to the requirements of this role. Like Vanek and Briggs, Dodds was also able to merge the music with the demonstrative requirements of the role almost effortlessly, each bringing their own grace notes to the parts. Vanek, for example, helped us see how complicated her character was while at times providing comic relief that gave hints of Jennifer Coolidge. Briggs, originally from Columbia though now successfully pursuing opportunities that extend to film and TV, was, simply said, amazing, opening the hearts of the audience and crawling in to live there awhile.

These three lead actors and their unique and highly professional performances were clearly enough to carry the show, had they needed to. But they were not. In the role of the wily Nubian servant Mereb, Samaj Whitener was outstanding vocally, bringing an endearing quality to the role. Trustus veteran Kristin Claiborne in the role of Nubian enslaved woman Nehebka, gives a powerful and beautiful performance. Chris Cockrell, as Radames’  scheming father Zoser, similarly delivers the goods in his solo numbers, bringing elements of rock star to his performance. As Pharoah, Columbia theatre icon Hunter Boyle was stately and authoritative as well as inherently aware of his imminent fate. And as Aida’s father Amonasro, Joseph Scott exhibited powerful dignity in the face of despair.

With first-rate choreography by Terrance Henderson, musical direction by a partnership between Amanda Hines Wrona and Ayush Joshi, and scenic, lighting, and  costume design by Jim Hunter, Marc Hurst, and Rachel Turner, respectively, and a dozen-strong ensemble, the Trustus production of Aida checks all the boxes for a regional theatre block buster and it is not-to-be-missed. Not only immensely entertaining, the story of Aida reminds us that the measure of a person in power is how they use that power. Aida succeeds on all accounts.

Elton John and Tim Rise’s Aida runs through July 26 at Trustus Theatre. Visit Trustus.org for tickets and more information.

 

 

REVIEW: Workshop Theatre’s Legally Blonde is a High-Energy, Heartwarming Hit  

By Jane Peterson

Omigod, you guys—Legally Blonde has landed at Workshop Theatre, and it’s every bit as pink, peppy, and powerful as you'd hope! With performances continuing over the next two weekends, this high-energy musical comedy is an absolute must-see for Midlands theatergoers.

Based on the novel by Amanda Brown and the 2001 Reese Witherspoon film, the stage version features catchy, clever tunes by Laurence O’Keefe and Nell Benjamin, paired with a witty script by Heather Hach that stays true to the film’s spirit. Under the sharp direction of Sheldon Paschal, this production is a charming whirlwind of laughter, girl power, and unexpected triumph.

Leading the charge is Camryn Cothran as Elle Woods, whose effervescent energy and powerhouse vocals make her a standout from the moment she steps on stage. She captures Elle’s transformation from an underestimated sorority queen to a confident legal eagle with heart and humor. And she’s not alone—the Delta Nu trio of Serena (Inaara Jadavji), Pilar (Kaeleigh Miller), and Margo (Raven Smith) are an absolute delight, adding sass and sparkle to every scene.

Other notable performances include Jessica Roth’s lovable Paulette, Bella Coletti’s poised Vivienne, Taylor Dively’s charming Emmett Forrest, and the hard-core professor played by Josh Dively. Brooke Blythe’s performance as the accused murderer, Brooke was another that stood out. Her vocals and breath control on “Whipped Into Shape,” was absolutely incredible. Each member of the ensemble brings depth and individuality to their roles, creating a vibrant, cohesive, and funny ensemble.

Paschal’s direction makes excellent use of Patrick Faulds’ dynamic multi-level set, with seamless transitions and clever staging that keep the momentum lively. Stephanie Wilkins’ choreography is terrific—especially the jump rope-intensive “Whipped Into Shape.” The dancing was expertly choreographed. No small matter with the large cast who were nearly flawless in their precision. Andie Nicks’ costume design adds a final layer of fun, with vibrant and era-appropriate looks for the entire cast. The musical direction by Kathy Seppamaki brilliantly blended the voices of this talented cast.

While the sound mix occasionally favored the recording over the vocals—a common hiccup in some older venues—it didn’t diminish the cast’s stellar vocal performances or the production’s overall charm. If anything, it is a reminder of how vital it is to continue supporting local theaters and the hard-working artists who bring these stories to life.

In all, Workshop Theatre’s Legally Blonde is a feel-good, high-energy celebration of resilience, friendship, and self-belief. It’s exactly the kind of uplifting experience that reminds us why community theater matters.

Catch the show May 15–17 and May 22–24 at 8:00 p.m., with a matinee on May 18 at 3:00 p.m. Tickets are available at workshoptheatreofsc.com. Don’t miss your chance to bend and snap your way to a fabulous night at the theater.

REVIEW: Hairspray at Workshop Theatre – A High-Energy, Heartfelt Hit!

By Jane Peterson

If you’re looking for a night of infectious energy, dazzling performances, and toe-tapping tunes, look no further than Workshop Theatre’s production of Hairspray! Under the direction of Julian DeLeon, with musical direction by Taylor Diveley, this production brings all the fun, heart, and powerful messages of the beloved musical to life.

With music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, Hairspray transports audiences to 1962 Baltimore, where Tracy Turnblad dreams of dancing on the local Corny Collins Show. Along the way, she fights for inclusion and racial equality—an ever-relevant message wrapped in a colorful, high-energy package.

From the moment the curtain rises, the cast delivers. Abby Brewer shines as Tracy, perfectly embodying the character’s charm, confidence, and powerhouse vocals. She captures Tracy’s optimism and determination, making her a protagonist you can’t help but root for. Charlie Grant brings classic heartthrob appeal as Link Larkin, effortlessly balancing Link’s internal struggle between fame and doing what’s right. Erin Niland is a scene-stealer as Amber Von Tussle, the spoiled and scheming rival who brings just the right mix of comedic villainy and show-stopping vocals.

Tracy’s delightfully awkward best friend, Isabella DeCola (Penny Pingleton), delivers an endearing and hilarious performance. Opposite her, Adai’shaun Cook (Seaweed J. Stubs), a newcomer to Workshop, is a standout, exuding cool confidence and bringing smooth dance moves that light up the stage.

The adult cast is equally phenomenal. Davis Herndon (Edna Turnblad) gives a warm, hilarious, and heartfelt performance, bringing both humor and humanity to Tracy’s devoted mother. Her chemistry with Chris Kruzner (Wilbur Turnblad) is a highlight, especially in their charming duet, You’re Timeless to Me. Jessica Roth (Velma Von Tussle) is delightfully devious as the controlling, bigoted producer of The Corny Collins Show, while Christy Shealy Mills (Prudy Pingleton) plays Penny’s overbearing mother with just the right amount of exaggerated sternness, but whose turnaround near the end is hysterical.

And then there’s Mia Oliver, a newcomer to the stage in Columbia, whose portrayal of Motormouth Maybelle is nothing short of extraordinary. Her soul-stirring rendition of I Know Where I’ve Been was an unforgettable, goosebump-inducing moment that left the audience in awe. Her presence on stage is magnetic, and her vocals are nothing short of breathtaking. Definitely some Gospel experience here!

The ensemble deserves immense praise for their energy, vocal strength, and commitment to their roles. Each performer brings a unique personality to the stage, ensuring that every scene feels vibrant and alive. Joy Alexander’s choreography is dynamic, especially with such a large cast.

Visually, the show is a treat. The set, though minimal, works seamlessly for this production, with smooth transitions that keep the pacing tight. The costumes are spot-on, capturing the vibrant spirit of the early ‘60s with bold colors and fun silhouettes.

Running through March 22 at Cottingham Theatre, Hairspray is a must-see for theatre lovers of all ages. Tickets are available at workshoptheatreofsc.com or by calling (803) 799-6551. Don’t miss your chance to experience this lively, heartfelt production!

REVIEW: Ain't Misbehavin' at Trustus Theatre

by Cindi Boiter

When the world is angry and disappointing, our nerves are frayed and our hearts are bruised, we turn to the arts to soothe and remind us of the things that matter most. High among those things we hold dear is the ability to lose oneself in joy. Luckily for Columbia theatre audiences, we have the opportunity to come together to laugh, pat our feet to the rhythm of the band, and experience the shared heart-flight of song when a vocalist takes us with them up and down the scales of music and emotion. We can do this by attending one of the performances of Ain’t Misbehavin’: The Fats Waller Musical Show which takes the stage at Trustus Theatre through March 22nd.

Directed by Terrance Henderson, this production of Ain’t Misbehavin’ features musical theatre veterans Katrina Garvin and Samuel McWhite, arguably two of the most talented and entertaining vocalists in the SC Midlands. Audiences have come to expect mighty performances and a heightened level of professionalism from both of these performing artists and, on the opening night of this run, we got what we came for.  John Ballard and Ara-Viktoria McKinney-Bookman both brought their A-games to opening night with vocals that ranged from soothing to soaring.

But the stand-out for this reviewer, and several other folks I spoke with in the audience, was Mel Driggers in the role originated by Charlaine Woodard. Having seen Driggers in several previous productions, Dandelion, Sweeny Todd, The Rocky Horror Show, and more, we knew that they brought their own uniquely cultivated style to a project, but opening night was the first time this reviewer has witnessed the level of comic acumen Driggers is capable of. As the Gilligan/Scooby Doo of the quintet, Driggers exhibited the kind of comfort with a comedic role that a lot of actors at the local level can’t quite pull off. That’s why, having clowned her way through an early song in the performance with missed notes and big-fun silliness, Driggers drew big-fun applause when they effortlessly hit the right notes, and hit them well, later in the performance.

Rather than being your typical musical theatre performance that adheres to a narrative punctuated by song, Ain’t Misbehavin’ is a musical revue written by Murray Horwitz and Richard Maltby, Jr, with arrangements by Luther Henderson. It opened at the Manhattan Theatre Club in 1978 with a stellar cast that included Nell Carter, Irene Cara, Andre DeShields, Armelia McQueen, and Ken Page. Playing these parts in the Trustus production are Garvin, Driggers, McWhite, McKinney-Bookman, and Ballard, respectively. Charlayne Woodard took over Cara’s part (Driggers) when the show moved to Broadway in 1982. While the playbill for the Trustus performance unfortunately does not provide a list of musical numbers and their performers, expect to hear all your Fats Waller favorites including, “I’m Going to Sit Right Down and Write Myself a Letter,” “Your Feet’ Too Big,” and “The Joint is Jumping,” among others. But don’t take your eyes off the actors who seem to be chilling at the set’s bar or comfy couch pit on the sides of the stage. Many times that is where the funny lives and, while one song is being sung, the cast is setting up the next song on the docket with clever direction and pantomime.

For this production director Henderson opted to make the six-member band a part of the show with the musicians positioned center back of the stage. Music director and pianist is Ayush Joshi, James Wolfe plays trombone, Nigel Ouzts is on trumpet, Ben Eidson on Woodwinds, Kris Phelps on drums, and Andres McNeil plays upright bass. Their presence on the stage exponentially adds to the performance and the little bit of interaction between band members and vocalists that we saw on opening night makes me hope that, with successive performances, the musicians will relax and become even more involved with the cast–because it really works when they are! Choral expert and recent Frank-N-Furter star in the Rocky Horror Show, also at Trustus, Walter Graham served as off-stage music director.

Other behind-the-scenes teammates include Trinessa Dubas as stage manager, scenic designer Corey Langley, whose life-sized characters from previous shows placed in the background of the set provided for some interesting detail, Garreth Hayward on lights with Matt Pound and Walter Kervin on sound, G. Scott Wild on props, and the multi-talented Mel Driggers on costumes. From the audience’s perspective, all these parts of the puzzle came together without a hitch.

There is little to critique about this show. One small detail that I’m sure will improve throughout the run is that, when McKinney-Bookman laughs or smiles, her face lights up and she pulls the audience helplessly into her part of the performance. It would be great to see even more consistent engagement with the audience and fellow cast members from this truly excellent vocalist.

There were too many stand-out songs to name them all, but I’ll mention that Ballard’s rendition of “The Viper’s Drag,” with Ballard fully engaging with the double entendre of the song, was a favorite of this reviewer and many other audience members—especially on a cold Friday night in 2025 when lighting “that tea” and letting “it be” sounds like a pretty good idea.

Certainly, the most moving song of the night had all cast members seated center stage to sing the Waller classic, “Black and Blue,” reminding us for a moment that the world is wrong in so many ways, but sometimes, for a few moments at least, the best thing to do is to sing about it. This performance of the well-known song gave this reviewer chills it was so expertly performed.

How will it end? ain't got a friend
My only sin is my skin
What did I do to be so black and blue?

Jasper recommends that you turn off the news, silence your phones, and grab someone you love to take them out for a night of fun and a fine performance from the cast and crew of Ain’t Misbehavin.’ We need this kind of joy now. It reminds us of what we’re here for, what we have to preserve, and that if artists like Fats Waller could see the sun shine through the cloudy culture that he had to deal with to have his music heard, we should celebrate the example he set by laughing, patting our toes to the rhythm of the band, and rejoicing in the songs he left us.

REVIEW: Steel Magnolias Shines with Heart and Humor at Town Theatre By Jane Peterson

Steel Magnolias, written by Robert Harling, running Thursday through Sunday, February 13-16, at Town Theatre, is not to be missed. While matinee tickets may be sold out, seats are still available for evening performances, so I highly recommend reserving your tickets now. And as a bonus, this show marks the debut of the theater's new, incredibly comfortable seating, which is sure to enhance your experience.

Based on a true story, playwright Harling based the play on his sister. He grew up in Natchitoches and based the characters on some of his mother's friends. He believed that the women in his community were witty and clever, and that the juxtaposition of strength and fragility was typical of Southern women.

A big shout-out to director Allison McNeeley for her expertly crafted direction of this play, bringing a smooth and authentic portrayal of the story to the stage. The staging worked well keeping the characters alive within the set at all times. This is a cast of real people, and you’ll find yourself loving every one of them.

The play centers around a group of six women who gather at Truvy’s Beauty Salon in a small-town in Louisiana to prepare for the wedding of Shelby Eatenton (Zanna Mills) and her beau, Jackson Latcherie. M’Lynn Eatenton (Debra Kiser), Shelby’s mother, is at the heart of the story. Joining them are Truvy (Syhaya Aviel), who runs the salon, a newly hired assistant named Anelle (Emily Clelland), and longtime friends Clairee Belcher (Gayle Stewart) and Ouiser Boudreaux (Kathy Hartzog). These women share a deep bond of friendship, supporting each other through thick and thin. You will laugh and cry with them as their stories unfold.

The chemistry between the cast members is real. Emily Clelland, as the naive and innocent Annelle, brings humor and charm with her well-timed comedic moments and expressive and sincere performance. Syhaya Aviel shines as Truvy, infusing the character with warmth and authenticity, making her incredibly relatable and endearing. Gayle Stewart nails her portrayal of Clairee, delivering her lines with perfect timing, and Kathy Hartzog’s hilarious Ouiser is a character we all know and love.

But the standout performances for me were Debra Kiser as M’Lynn and Zanna Mills as Shelby. Their on-stage relationship is full of heart—both tender and tense, with every moment feeling true to life. Zanna’s portrayal of Shelby radiates a love for life, while her performance through Shelby’s health decline is heartbreakingly real. Watching Zanna grow as an actress over the past few years has been a pleasure—she’s one to watch. And Debra Kiser? Prepare yourself for an emotional rollercoaster. Her performance is nothing short of breathtaking, especially in the final moments of the play. Trust me, bring tissues—Kiser’s performance will leave you in tears.

The creative team also deserves a round of applause. The set design perfectly captures the essence of a beauty salon, while the period-appropriate props and costumes further immerse the audience in the world of the play.

This production is a beautiful blend of humor, heart, and poignant moments, making for a wonderfully entertaining evening at Town Theatre. Don’t miss it!

Tickets are available by calling Town Theatre at 803-799-2510, Tuesday to Friday, 12 noon to 5 pm, or online at towntheatre.com/tickets/.

REVIEW - Workshop Theatre's HARVEY--A Classic American Comedy by Jane Peterson

At its heart, Harvey is a story about

acceptance, kindness, and the freedom to be yourself …

Harvey, currently running at Workshop Theatre, is a Pulitzer Prize-winning and classic comedy written by Mary Chase. It premiered in 1944 and ran on Broadway for four years. The play was adapted in 1950 into the classic film of the same name starring Jimmy Stewart.

Directed by Bakari Lebby, the story centers around Elwood P. Dowd (Marshall Spann), a gentle, mild-mannered man who claims to have a best friend—a six-foot-tall, invisible rabbit named Harvey whom he introduces to everyone he knows in town. Elwood’s eccentricity is a source of embarrassment for his sister Veta Louise (Katie Mixon), who is desperate to climb the social ladder and fears Elwood’s behavior will hold her back. When Veta’s patience reaches its limit, she attempts to have him committed to a sanitarium, only for the staff to start questioning who’s truly the "crazy" one. This leads to some entertaining, if not a bit absurd, twists and turns as Veta finds herself drawn into the strange world of Elwood’s imagination.

Marshall Spann shines as Elwood, embodying the character’s warmth and innocence with remarkable ease. His performance is the heart of the show, making Elwood’s outlandish belief in Harvey feel both natural and endearing. His interactions with the invisible rabbit are a joy to watch—there's something genuinely magical about how Spann connects with Harvey, even though we (the audience) can't see him.

Katie Mixon brings a lot of energy to her role as Veta, though at times her performance edges into the over-the-top territory. Her dedication to the role and comedic timing earned her plenty of laughs.

… there's something genuinely magical about how Spann connects with Harvey …

A standout in the ensemble is Emily Padgett, who impressively juggles two roles—Ethel Chauvenet, the quirky aunt, and Betty Chumley, the wife of the head psychologist at the sanitarium. Her facial expressions and impeccable timing elevate her performance, proving that sometimes less is more when it comes to comedy.

Some of the other performances, however, felt a bit forced, and there were moments where actors seemed to be going through the motions rather than fully embracing their characters. The characters were very lively and will keep the audience entertained.

Visually, the set was a bit of a mixed bag. While the barebones design worked in some instances, the frequent entrances and exits felt awkward and confusing. A more cohesive use of props and period-specific details could have helped ground the production more firmly in its 1940s setting. I would like to have seen everyone in period-specific costumes which I know can be a difficult task.

The play runs a little over two hours, with two intermissions, so be prepared for a longer evening. Despite its minor flaws, the production offers plenty of charm, humor, and thought-provoking moments. At its heart, Harvey is a story about acceptance, kindness, and the freedom to be yourself—lessons that feel just as relevant today as they did when the play first premiered.

Catch Harvey at Cottingham Theatre before it closes on February 2. It is a fun, quirky escape into a world where imagination and kindness rule the day. Tickets are available by phone and online. Don’t miss your chance to meet Elwood and his invisible friend Harvey!

REVIEW: The Revolutionists at Trustus Side Door Theatre - A Lesson (or Two) in History Reviewed by Jane Peterson

The Revolutionists, written by Lauren Gunderson at Trustus Theatre’s Side Door Theatre is a vibrant blend of humor, intensity, and bold historical imagination. Gunderson is known as one of the most produced playwrights today. Set during the tumultuous Reign of Terror in 1793 France, the play introduces us to four women—three of whom were real historical figures—who grapple with the injustices and struggles of their time. Their conversations, filled with passion, rebellion, and hope for a better world, feel surprisingly relevant given the political unrest in our country today.

The first of these women is Olympe de Gouges (Kathleen Arcovio Pennyway), a French playwright and activist who fought for women’s rights. As de Gouges declares, she is “happy that my plays piss off the right kind of people.” She is approached by Marianne Angelle (Courtney Sims), a fictional character who symbolizes the Haitian rebels and revolutionaries of the time. Angelle persuades de Gouges to write pamphlets supporting the abolition of slavery, particularly in Haiti, where the enslaved are fighting for their freedom. Alongside them is Charlotte Corday (Nicole Perez), the infamous assassin of revolutionary Jean-Paul Marat, who justifies her act of violence by accusing Marat of inciting mass murder. Poised for her execution, Corday seeks de Gouges’ help to craft a memorable last line before killing Marat in his bathtub. Finally, there is the deposed Marie Antoinette (Elane Werren), who wants de Gouges to rewrite her story in a way that will make the people love her again. She desperately seeks “better press” in the wake of her fall from grace.

Written by Laura Gunderson, the play is dialogue-heavy and, at times, could benefit from some tightening. However, the cast delivers the material with such verve and energy that it’s hard to look away. The actors frequently break the fourth wall, drawing the audience into the action, and this direct engagement never feels forced. Kudos to director Martha Hearn for expertly utilizing the intimate space of the Side Door Theatre, ensuring that every audience member feels like part of the action. Hearn's character direction is particularly strong, bringing out the best in each performer. Courtney Sims, as Marianne Angelle, is the standout performer of the evening. Her deeply emotional portrayal brings richness and depth to her character, making her both powerful and poignant. Elane Werren, as Marie Antoinette, follows closely behind, showcasing impressive comedic timing and playful expressions that add much-needed levity to an otherwise heavy narrative. Werren shines in her humorous moments, making Antoinette’s desperation both tragic and entertaining.

Although some of the set changes can be a little clumsy—an ongoing challenge in a small space—the overall design works well and does not distract from the performances. The minimalism of the set complements the play’s focus on character and dialogue. The Revolutionists not only serves as a fascinating history lesson but also acts as a timely meditation on the fight for justice, equality, and freedom. The language can be strong, so if you are sensitive to rough language, you may want to consider that.  I appreciated how the play encouraged me to revisit French history and the revolutionary women who shaped it. The show runs through February 1 at Trustus Theatre. With limited seating, be sure to grab your tickets soon at trustus.org!

REVIEW: Antigone at USC's Longstreet Theatre by Libby Campbell

Sophocles’ Antigone, written in the 5th Century BCE  is the final chapter of the Oedipus Trilogy. Our story starts in the city of Thebes. Didem Ruhi’s beautiful lamentation provides the perfect beginning to this tragic tale.

Oedipus’ sons, Polyneices and Eteocles, have killed each other in battle during a civil war fought over succession to Oedipus’ throne. Antigone and Ismene, sisters of the fallen soldiers, reside in the city of Thebes where their uncle, Creon, reigns as king by default. Polyneices attacked the city defended by Eteocles. Creon decrees that Polyneices proved himself a traitor, an enemy of the crown, and vows that Polyneices shall remain unburied, to be devoured by dogs and vultures. He warns the citizens that anyone disobeying his command will be punished.

Antigone mourns the loss of her brother and determines to give Polyneices the burial he deserves. Her sister, Ismene, warns her of  the price she will pay for disobeying the crown. Thereby hangs a tale…

Antigone, portrayed by Elaine Werren, is a strong-willed woman determined to stand up to the demands of her uncle. More than once women are referred to as “mere women” whose words are to be dismissed. Antigone refuses to back down from the misogyny of men in power and buries her brother, punishment be damned.

What a marvelous production. Director Lauren Wilson has done an excellent job of emphasizing the feminism inherent in the script. As we all know, the themes explored by the ancient Greek philosophers and playwrights still ring true today (more’s the pity). Wilson brought together a good, strong cast and crew to tell this story. Werren is a strong, unbending Antigone, willing to pay the price of her defiance. Kyleigh McComish’s Ismene is a hesitant heroine at first, begging her sister not to rebel against Uncle Creon then growing sympathetic to Antigone’s decision. Olan Domer gave a strong portrayal of Teresias, the blind seer. His impassioned warning to Creon of the price he will pay should he execute Antigone was one of the most moving scenes of the evening. (His costume and makeup were outstanding).

There is not a weak link to be seen in the cast. Dominic DeLong-Rodgers’ Creon is unbending and unforgiving in his power. He is a commanding presence. The chorus was beautifully choreographed, using their voices and movement to drive the action of the play. Haemon, Creon’s only surviving son and fiancé, is played by Carlos Turner. He brings a rationality and composure to the story and is put in the position of having to choose between loyalty to his father or loyalty to Antigone. He implores his father to listen to the wisdom of others, to no avail. Mel Driggers’ sentry is fearful of Creon yet sympathetic to Antigone; Driggers does a great job of portraying the tug-of-war between these two emotions.

The set is absolutely beautiful. Andy Mills’ scenic design combined with Jim Hunter’s lighting design and Danielle Wilson’s sound design come together to create what to me is the perfect setting. Kristy Hall’s costumes are timeless. My only quibble with this production is with the costuming. The costumes are   timeless, however, when Creon enters in his uniform, barefoot as is the rest of the cast, it looks as if he heard his cue and dashed onstage without putting his shoes on. And that’s the extent of “things I didn’t like about this show.”

Antigone runs October 9 – 11 at 7:30 pm, and October 12 at 3:00 p.m. and 7:30 p.m. at Longstreet Theatre. The show runs a bit less than 90 minutes without intermission. Tickets range from $15.00 to $22.00. It’s worth every cent. Parking is at a premium, as usual. There is parking beside Drayton Hall; some street parking is available along Greene St.

           

REVIEW: Trustus Theatre's People Places & Things by Kristine Hartvigsen

The Trustus Theatre stage play People, Places & Things by English playwright Duncan Macmillan is not feel-good entertainment. But don’t let that stop you from seeing it. 

It isn’t pretty, this sobering depiction of the messy, meandering journey from drunken debauchery to addiction to detox to denial to relapse to denial to acceptance to the beginnings of lifelong recovery.  

The play follows Emma, a troubled actress, through the process of acknowledging her debilitating addiction to drugs and alcohol. Portrayed with authenticity and skill by Christine Hellman, Emma is a drunken, self-absorbed mess who suffers from imposter syndrome on the stage. As a result, she is crippled by self-doubt and has difficulty distinguishing between her stage roles and her often mind-bending, party-filled reality. “If I am not in character, I am not sure who I am,” Emma reveals. 

The most riveting scenes in People are when Emma is agonizing through detox. She shakes and writhes and suffers a terrifying madness complete with hallucinations as many versions of herself emerge repeatedly from her hospital bed like cloned apparitions also seizing and retching and screaming in pain. All the Emmas together reach a cacophony of terrifying volume.  

Incredibly compelling stage design, lighting, and sound convey the emotion and multi-sensory torture Emma experiences. Background screens run video behind the actors that further strengthen the performance. Recorded sound, including broadcast static and echoing narratives, as well as flashing overhead lights contribute to the feelings of confusion and mania. 

When Emma expresses that the therapist and administrator of the facility cannot possibly understand what she and the other patients are going through, it is poignantly revealed that each themselves is a longtime recovering addict.  

In her alternating roles as doctor, therapist, and “mum” to Emma, Erin Wilson is believably straightforward, authoritative, and empathetic as group therapy facilitator. Josh Kern is equal parts likeable and knowing as the rehab facility’s administrator Foster. Each patient’s story adds depth and complexity to the multi-faceted struggles of recovery. Some of the therapy role-play scenes dragged some but included notable performances from William Paul Brown and Alex Malvern

While Emma’s first attempt at inpatient rehab fails, she has taken the lessons of therapy to heart and finds her way back to pick up the pieces once more. In trying to rationalize her substance abuse, Emma says things common among addicts like: “I needed something to take the edge off,” and “drugs and alcohol have never let me down.”  

There are moments of needed comic relief that emphasize the subtle contradictions inherent in the culture of substance abuse. In one nonsensical scene, the patients almost competitively spit out stories demonstrating how much more “fucked up” they are than the others — as if there was a certain dysfunctional pride in fucked-up-edness.  

Ultimately, the patients agree contextually that “The problem is not us; it’s the world.” However they also take responsibility for their behaviors and find comfort in realizing “We’re all the same.”  

Director Dewey Scott-Wiley is to be commended for delivering a brilliant play that bravely takes on an ugly topic with empathy and wit. The entire cast performing in People tackle unflattering and starkly challenging roles to tell an insightful story that touches nearly every American family on some level.  

The play does end on a positive note, with Emma acknowledging the “gift of desperation” and — having done the work — eventually resuming the necessary practice of going to auditions. This recovery milestone shows that it is possible to return to some semblance of a normal life. This revealing play is well worth seeing.

 

People, Places & Things (produced in partnership with LRADAC and The Courage Center) runs at Trustus Theatre through Oct. 12.

 

 

Review: The 39 Steps Opens at Chapin Theatre By Jane Peterson

The 39 Steps, a comedic gem originally crafted by Simon Corble and Nobby Dimon, debuted at Chapin Theatre Company Friday night to a packed house. Directed by Frank Thompson, this farcical adaptation spoofs Alfred Hitchcock’s 1935 film and John Buchan’s 1915 novel, blending the intrigue of a murder mystery with a comedic flair reminiscent of Monty Python, Mel Brooks, and chaotic productions like Noises Off and The Play That Goes Wrong.

In this witty reimagining, the entire plot of the 1935 Hitchcock film is recreated by just four actors, a feat that leads to boundless hilarity. George Dinsmore shines as the lead, Richard Hannay, an unsuspecting hero entangled in a spy conspiracy. Jennifer Kraus takes on the roles of three women (Pamela, Annabella, and Margaret), each of whom Hannay encounters in his desperate bid to clear his name. Ripley Thames and Julia Hudson steal the show as they juggle dozens of other roles, from innkeepers to police officers, to businessmen, showcasing their talent for rapid character shifts and physical comedy.

The plot centers on Hannay’s efforts to prove his innocence after being accused of murdering a mysterious spy, played with captivating charm by Kraus. Her portrayal of the dark-haired femme fatale Annabella sets the stage for the wild ride that follows. As Hannay evades capture, he crosses paths with a variety of eccentric characters, all hilariously brought to life by Thames and Hudson, who skillfully switch between personalities and accents with minimal costume changes. Their impeccable comedic timing keeps the audience in stitches as they bring the absurdity of the story to life.

Dinsmore plays Hannay with both charm and earnestness, effortlessly embodying the role of an accidental hero. His scenes, particularly the daring stunts—like hanging from the side of a train—are a delight to watch. Kraus, as his three love interests, excels in her ability to bring distinct personalities to each woman, with perfect comedic timing and facial expressions that add depth to the humor. Thames and Hudson, as the "clowns" of the show, provide endless gags, sight humor, and quick-witted dialogue, managing to make each character memorable despite the dizzying pace of their transformations.

A highlight of the production is the creative use of multimedia and projections, which are brilliantly integrated into the minimal set. Black-and-white and color images are used to transport the audience to various locations, riding on a speeding train, and in a car. We even witnessed a plane crash. Thompson’s direction ensures that the actors' movements, particularly in scenes involving the moving train and car chases, are synchronized perfectly with the projections, adding another layer of visual comedy to the show.

Though a few of the set changes felt slightly prolonged on opening night, it’s a small nitpick in an otherwise polished production. The actors' chemistry and energy more than compensated for any technical issues, delivering an engaging and highly entertaining experience from start to finish.

The 39 Steps runs from October 10 to 20 at Chapin Theatre, with evening performances and weekend matinees. Tickets are $15 in advance and range from $18 (seniors) to $20 (adults) at the door. Don’t miss this uproarious homage to classic cinema—this is a theatrical event full of laughs that you won’t want to miss! Visit www.chapintheatre.org for tickets.

REVIEW—Pater Noster and the Mission of Light By Wade Sellers

The entire cast carries you through the film, but Bickel’s tongue-in-cheek record store comedy turned blood-soaked escape film pays off in a great way that I haven’t seen in any level of filmmaking in quite some time. 

Mike Amason stars as Pater Noster in Pater Noster and the Mission of Light

Simply put, Chris Bickel knows how to hit you in the face with his movies. His third micro-budget indie feature, Pater Noster and the Mission of Light, is a wonder of what pure will, a solid vision, dedication from indie-film lovers, new technology, and a load of talent can create in the current indie-film world. An end card after the credits states that Pater Noster and the Mission of Light was made in West Columbia for what you can buy a used car for. Bickel gives that number as $20,000. Every dollar of that budget ends up on the screen along with pints of blood and sweat from a crew that found a labor of love, and a cast that is both seasoned and practically pulled off the street. 

On the surface Pater Noster and the Mission of Light is a cult film. Pater Noster and the Mission of Light is a 70s religious group that has been off-the-grid for decades. What they do have is a slightly sought after catalogue of self-produced music that is worth a lot of cash to collectors. That’s how we meet Max, played by newcomer Adara Starr. Max works at the local indie record shop when a local vinyl trader tries to cash in one of his Pater Noster records and not so subtly mentions that he has a secret spot where more of the Pater Noster catalog sit. Max sweet talks and slips the collector a few bucks and hits the store herself, hoping to cash in. Max does find the stash and heads back to the record shop with her PNATMOL find. 

After bragging to store owner Sam, played perfectly sly and bitter by Bickel regular Morgan Shaley Renew and her co-worker and friend Abby, played smartly by another familiar face to Bickel films Sanethia Dresch, Max and Abby head to Max’s house to get high and soak in the Pater Noster find. Later, the co-workers hit a blood-soaked show featuring a local thrash metal band “Lunacide,” filled in by Columbia area band and Metal Blade recording artist Demiser. Filling out the group of friends is Gretchen and Lunacide drummer Jay Sin, played by Shelby Lois Guinn and Josh Outzen, respectively. Bickel’s curation of this group is a great homage to past horror film friend group dynamics. The friends head back to Max’s for a post-show afterparty. Max finds a mutual Pater Noster lover in Jay Sin and the Mission of Light mystery grows from there. With a brilliant cameo by the saxophone swinging 80s film icon Tim Cappello as Dennis Waverly, a conspiracy filled radio host leaning heavily on Art Bell, the friends get a stern warning of swimming in the Pater Noster pool. Moments later, another mysterious call is received from supposed Pater Noster surrogates, and the next morning the friends are in a car being chauffeured to the Pater Noster compound.

He mixes his blood with the blood spilled later in the film.

Bickel wastes no time getting his group of friends, and the audience, into the meat of the white robed, smile just a bit too wide, Pater Noster welcoming committee and their compound. Soon getting us in front of reclusive Pater Noster himself. Mike Amason plays Pater Noster, and brilliantly chews every line of dialogue Bickel gives him through to the end of the film. Once the friends enters the interior of the Pater Noster compound, that’s when Bickel starts cocking his fist further back, readying it for the audience’s face. 

Pater Noster and the Mission of Light’s greatest strength is Bickel’s growth as a filmmaker and growing chops as an editor. His willingness to inject a fair amount of tongue-in-cheek humor in the first half of the film also loosens up the audience for the bloodbath to come. He mixes his personal experiences working in a local indie record store with locally known Columbia fixtures, name play, and street addresses that will only resonate with locals. This makes the movie better because it adds Bickel’s personal roots with his loosely fictional settings and characters in the films. He mixes his blood with the blood spilled later in the film. 

Adara Starr stars as Max in Pater Noster and the Mission of Light

As the film gets into its 20th minute, the pacing seems to slow a bit- not boring, but methodical. Make no mistake Pater Noster is a micro budget B-Movie, but Bickel doesn’t rush the story. With B films there is pressure to get the blood before the eyes of the audience as soon as possible. And that audience is quick to give up and walk away. Bickel does a fantastic job of allowing us to know what we need to know with each of the characters as we get to the first level of the last act. 

Technology is the other advantage Bickel has with his third film. The visual look of the first half of the film is what it needs to be, nothing fancy, straightforward. There is no pretention here. When we move into the insanity of the third act, Bickel starts to flex the experience he has gained from his previous two features. Losing his Director of Photography two weeks prior to the first shoot day, Bickel took control of the camera himself. For a movie with a decent budget this can be incredibly stressful, for an indie horror feature with a 20k budget and 100 or so volunteers, off and on, crew members, you lose years off your life.  

Visually the last act is a bit of a marvel. Lit just enough to set the tone but not distract, the direction and camera work create an atmosphere of insanity. Bickel’s slow(ish) pacing at the top of the film is balanced with a frenetic pacing at the end. Somehow, he makes this digestible. Add a soundtrack of aural horror and everything blends into a beautifully psychotic escape sequence by those left alive. He successfully takes the audience into the maddening world that Capello’s radio host warns us about. Yes, there is blood. Gallons more than in previous Bickel films. But as the deaths mount when the Pater Noster cult reveals their true intentions, and their naked bodies, the audience can only grip their seats tighter and move closer to the screen. I viewed the film at a private screening with a small audience of 25 or so. We all gleefully soaked it in with the slyest grins on our face. 

A last-minute addition for the lead role, Adara Starr brilliantly turns Max from a cherub faced 20 something into a Carrie-esque crazed young woman over the film’s 90 or so minutes. All other supporting friends make the most of their life-or-death moments with no fear. Intentional or not, Bickel’s casting of the round-faced Starr contrasts her beautifully against her sharply featured friends.

This is the type of indie movie that is possible now. The camera that Bickel used is affordable to everyone. It allows capturing beautiful images in low light. It allows a filmmaker with Bickel’s experience and talent to create the horrific moments he makes in this film. Would a larger budget have served him well, of course. But how much larger? These movies aren’t made for a wide audience. They certainly are made with a pure love and Bickel’s love for the medium is caked all over Pater Noster. You can see Tobe Hooper and the Texas Chainsaw Massacre here. You can see some Rosemary’s Baby mixed in with Friday the 13th, even a taste of Clerks (if unintentional). And you can imagine the many gruesome horror titles that Bickel knows, and we don’t, that he is wearing on his sleeve at every part of the production process. 

Morgan Shaley Renew, Adara Starr, and Shelby Lois Guinn in Pater Noster and the Mission of Light

Pater Noster and the Mission of Light is a wild punch in the face of a horror film, and I suggest seeing it no matter your taste in movies. It’s a testament to the new way filmmakers can make the film they love in the city or town they live in. The entire cast carries you through the film, but Bickel’s tongue-in-cheek record store comedy turned blood-soaked escape film pays off in a great way that I haven’t seen in any level of filmmaking in quite some time. 

The Nickelodeon’s indie film roots no longer exist in this city and it is time to seek other outlets.

Pater Noster and the Mission of Light has its world theatrical premiere at the Independent Picture House in Charlotte on October 5th. The film is mixed in 5.1 Dolby Digital surround sound. It will stream on Night Flight during the month of October. 

The film features a soundtrack created by musicians local to Columbia, South Carolina. Prior to the film’s release, Bickel premiered music videos for each song of the soundtrack. These videos will be available on the Blue Ray release in 5.1 Dolby. An 18-minute short film prequel will also be included on the Blue Ray. 

Pater Noster and the Mission of Light is premiering in Charlotte, North Carolina and not Columbia. The Charlotte premiere is due to the Nickelodeon Theatre, located on Main Street in downtown Columbia and Bickel’s preferred theatre for the premiere, not being able to find time in their schedule to screen the film. There has been a lot of back and forth through social media about this situation, and reasonable arguments can be made from both sides. 

As an independent filmmaker who has made his living as a filmmaker in Columbia for 25 years, my take is simple. You can’t be taken seriously as a supporter of independent filmmakers and independent films in the city you operate if you don’t have a plan in place to screen local filmmakers and their work at a reasonably short moment’s notice. 

No film on the Nickelodeon’s current schedule starts past 9:30pm. Pater Noster is a perfect midnight film. The first showing in Charlotte, 100 miles away, sold out in a few hours. The Nickelodeon has deep roots in the independent film community in this city. It is where most local filmmakers, including myself, first saw their work on a theater screen. The Nickelodeon staff should be seeking out and celebrating local filmmakers. The answer should not be “we won’t have room for a few months” but should be “we will make this work.” I would gladly like to pop my head in to a 9:30 screening of Beetlejuice 2 on an upcoming Monday screening to count heads. The Nickelodeon’s indie film roots no longer exist in this city and it is time to seek other outlets.

 

Pater Noster and the Mission of Light 

Written and directed by Chris Bickel

 

Starring

Adara Starr as Max

Sanethia Dresch as Abby

Morgan Shaley Renew as Sam

Shelby Lois Guinn as Gretchen

Josh Outzen as Jay Sin

Mike Amason as Pater Noster

REVIEW -- Trustus Theatre's Workshop Premiere of Dandelion: An Original Musical

by Chad Henderson

Trustus Theatre opened its doors on Friday, August 9th to a sold-out audience that had been long-anticipating the first downbeat of Dandelion. This original musical was created by composer and lyricist Colleen Francis and book writers Jessica Fichter and Sean Riehm, with some additional music and lyrics from Hailee Beltzhoover-Zuniga and Bill Zeffiro. This work is a slick and well-devised exploration of trauma, mental illness, and the sinewy bonds of family. It will move you, you will relate to one or more of the characters in this multi-generational story and it will actually make you laugh quite a bit. So, if you’re reading this to find out if you should see Dandelion at Trustus - then let me go ahead and direct you to their website to buy tickets: trustus.org. Your Columbia artists are in your own backyard creating something new and you don’t have tickets yet? Shame on you. This is why we can’t have nice things in this town. The show runs through August 25th, so you’ve got plenty of chances to experience Dandelion and stick around for talkbacks after every performance if you wish.  

Now, for posterity, I will pontificate about the production as it stood on opening night. (As this is a workshop production, that means it can and probably will change on its journey to the next production. Hell, it might have already changed before the second weekend.

Dandelion tells the story of a teenager named Jane and her family. They live in Georgia, USA. Jane’s mother, Lilah, has endured a long struggle with mental illness and opioid addiction. Jane’s parents have split up, but her fun-loving parrothead of a father is still in the picture. At an impasse with Lilah, Jane’s brother Jordan has also left the house and raises a family away from his mother’s illness. So, this leaves Jane as the sole caretaker of her mother for quite some time, but she finds solace in the company of her best friend Gabbie as they begin the process of applying for college and going to the prom. Will Lilah find a pathway to a healthier life? Will Jane make the move to North College without her mother getting in the way? Are the systems that are supposed to protect those with mental illness totally fucked in America? Well, the audience will hope for the best as the inevitable answers to these questions are revealed. All the while, we’ll keep truly wishing the best for these characters, because they’re all really likable (and word on the street is that the story is based on an actual family from around these parts).  

On the road to this workshop production, one would assume that the script has undergone alteration and subtraction. The end result is a satisfyingly paced production that is dense but moves with plenty of locomotion. The play’s translation from page to stage was directed by co-book writer Jessica Francis Fichter (and Trustus Executive Director), and it is a winsome evening in the theatre through her collaboration with music director Steven Gross, choreographer Terrance Henderson and the production’s design team.

left to right Stann Gwynn, Sadie Wiskes, Katrina Garvin, and Sean Stephens photo by Thomas Hammond

Colleen Francis’ music and lyrics are clearly the result of an industry professional. Her work in her career spans from country to hip hop, and if you listen to Franky C (her performer name) you will joyfully experience music that would be at home on top 40s stations. The songwriter’s prowess comes front and center with the haunting “Lullaby” that serves as the introduction of Lilah’s mental illness, and one of the play’s most useful devices: the utilization of three actors to personify the character’s depression, rage, and paranoia. This storytelling gambit seems to have given Francis the permission to dive into some inventive places with numbers like “Nightmare,” “Throwing Me Away” and, truly one of the strongest of the production, “Bottom of a Bottle.” These tunes feel connected and original to this musical. Also noteworthy is “Not the Perfect Daughter,” which is a moving solo from Jane that boasts a memorable melody and hook.  

With Francis’ ability to be a songwriting chameleon, it was somewhat surprising that the team behind the show desired to lean into some of the more prosaic tropes of modern musical theatre. Much of the music that doesn’t center around Lilah’s internal journey sounds like some other song you’ve heard from some other musical in recent history, and sometimes even the moments in the show can seem (intentionally?) echoic. For example, with the device of having a present-day and younger Jane to demonstrate the story’s links to the past - one could remember Alison Bechdel in Fun Home. It was also hard to ignore the similarities between the Act II opener and Next to Normal’s “My Psychopharmacologist and I” - right down to the waltz and the list of side effects in the lyrics that end in “death” (or “use could be fatal” in N2N). It is entirely possible that a different approach to the arrangements or orchestrations could bring something unique to the sound of the show.

Left to right Mel Driggers and Hannah Bonnett — photo by Thomas Hammond

There are plenty of theatre fans that love the familiar, and Dandelion will ultimately feel safe with a cutting edge here and there to jar the viewer on occasion. The team and the cast give this new work sturdy legs to stand on, because it is indeed tight, well-crafted, and realized by professionals with proven track records. That is undoubtedly why the audience connected to the characters, pulled for them, related to them, and wiped the tears from their eyes as they stood for an ovation that was well-deserved by the cast and all in the show’s orbit.  

Speaking of the cast: new work can be stressful, fast-paced and a bit disorienting - but this group didn’t flinch. The quartet of Katrina Garvin (Lilah) and the voices in her head played by Kristin Claiborne, Terrance Henderson and Brittany Hammock provide the thrills in this story - both narratively and musically. As these characters build into moments of destruction (literally), the group illustrates the expanse of Lilah’s inner-struggle and how powerful her illness can be when confronted by others. Katrina as Lilah uses her toolbox to keep the character teetering on the brink of a possible breakthrough, while believably navigating the waters of hitting rock bottom (we hope they record  “Bottom of the Bottle” so we can relive her powerhouse performance).  

The Three Voices — Brittany Hammock, Kristin M. Claiborne, and Terrance Henderson - photo courtesy of Trustus Theatre

It must also be mentioned that the Three Voices get to play a grab-bag of other characters in the story, especially in “Welcome to Your New Life.” Some of these briefly-lived creations are some of the funniest in the show. Case in point: Brittany Hammock as Carla, the college tour guide. Some of the laughter she generated lasted longer than the built-in holds-for-chortle. 

New to the Trustus stage is guest artist Hannah Bonnet in the role of Jane. Bonnet is a magnetic performer, and she does a commendable job of holding the audience’s hand throughout the story and bringing them along. Jane’s best friend Gabbie is played by local actor Mel Driggers, who gets to play the clown a lot in this performance. Driggers’ Gabbie is an homage to all of our best friends in high school, and the friend who pushed us harder because they truly loved us. Seeing these two actors work together presents much needed levity between some of the darker moments. However, we did wonder if there might be more signaling in the playing of Jane that shows how her mother’s conditioning has set in over 18 years. Beyond her own guilt as a caretaker, what else is the character escaping in herself? 

Also in Jane’s sphere are her father Daniel (Stann Gwynn), her brother Jordan (Sean Stephens) and the memory of her younger self played by Sadie Wiskes. Young Sadie is there to show us Jane’s innocence, the child before the veneer is chipped away - and she does a lovely job. Stann Gwynn and Sean Stephens’ characters provide a lot of the uncomplicated familial love for Jane, though both characters have clearly abandoned her in some form or fashion. Both actors shine throughout the proceedings, but their turns in the chaotic “Get Your Shit Together” really turns up the energy on stage and the anxiety in the audience.  

The show’s title references an endearing moment early on in the play where Lilah tells the young Jane that when you blow a dandelion and make a wish, that your “wishes have wings.” I might be compelled to pick up the next few dandelions I come across. I hope I won’t jinx it by publishing it here, but I think I’ll wish for the following: 

  1. More original plays and musicals by local artists

  2. More producing organizations presenting new works 

  3. Audiences showing up for new work

And I think to myself, what a wonderful world. Check out the show's dedicated website, see Dandelion and enjoy the conversation afterwards. 

REVIEW: Letters to Karen Carpenter by Richard Allen Taylor - Reviewed by Lawrence Rhu

The heart of Richard Allen Taylor’s new collection, Letters to Karen Carpenter (Main Street Rag, 2023), is “Undeliverable,” the first of its four sections. There Taylor apostrophizes the late singer of poignant hits and anthems of romantic promise like “Close to You” and “It’s Only Just Begun,” as he struggles directly with his book’s core premise and challenge. The intimate beauty of Carpenter’s voice, combined with the pathos of her early death due to complications of anorexia nervosa, often served Taylor and his late wife, Julie, as a compelling soundtrack to their life together, especially during her last days when she was dying of leukemia.

 

In “Recruiting You, Karen, as a Pen Pal,” Taylor acknowledges his own mother’s quiet disappointment in him for rebuking his daughter’s impulse to address her dead grandfather during a Thanksgiving prayer. Thus, Taylor both confesses and disavows his paternal inclination to lay down the law about communication with the dead. Such religious inhibitions give way to imaginative play audible in this poem’s title and its transformation of “a brass lamp” into a magic lamp that delivers his late mother’s “unsolicited advice.” Moreover, that maternal heirloom, duly capitalized in the next poem, names the record company that released the Carpenters’ first single, Magic Lamp.

 

You’ll recall that, before there was writing, Orpheus sang as he descended to rescue Eurydice from the land of the dead. Those who turn the feelings such a story relates into compelling songs or poems can deeply affect us. We understand what they are saying, or we know that, someday soon enough, grief will teach or remind us, and we will understand again. In Letters Taylor achieves such effects in representing the process of grief and mourning. His serious yet playful approach enables him to bear the weight of such heavy loads both honestly and nimbly. The epistolary form opens a space for tones of confidentiality and intimate exchange. It puts Taylor in conversation with addressees who are out of reach but familiar and loved. Of course, there are darker sides to such imaginary conversations, and Taylor does not pretend otherwise. In a down-to-earth way, he expands our horizons, so they include mercy and gratitude along with suffering and loss. You can hear it in “Note to Karen about Mortality,” the opening poem of Letters:

 

                        I watch a lone hawk ride thermals, rise

                        without effort—and think of mortality’s leaden

                        weight, sloughed off like last year’s molting.

                        Not that I believe in reincarnation. Not that I

                        disbelieve. I mean the hawk reminds me

of you, and my wife—who loved your music.

 

“Undeliverable,” the book’s second section, represents raw encounters with the Grim Reaper in “Chemotherapy” and “Untitled Poem about Dying,” as mute acknowledgment of the limits of language reveals in the first word of the latter poem’s title, “Untitled.” In the following quote, the memorable simile, “like a canal lock,” provides the title for a poem about a waiting room where caregivers bide their time while cancer patients undergo tests and procedures on the day after Valentine’s Day: “The room has filled and emptied many times today, // like a canal lock passing ships into the darkness.”

Though the book’s first two sections display Taylor’s resilience and wit in the face of daunting loss, its final two sections, “Postcards” and “Change of Address,” give those qualities freer range and greater opportunity to shine in his lines. Taylor’s elegiac imperative inspires many poems, but it also leaves room for hope and recovery as well the play of language that gives delight.

-Lawrence Rhu

Lawrence Rhu is the Todd Professor of the Italian Renaissance emeritus at the University of South Carolina. He has written books and essays about the American and European Renaissances, and he edited Shakespeare’s The Winter’s Tale for the Evans Shakespeare series from Cengage. His poems have appeared in Poetry, Two Rivers, South Florida Poetry Journal, Forma de Vida, Jogos Florais, Quorum, Fall Lines, Pinesong, and the Poetry Society of South Carolina Yearbook. In 2018-19, three of his poems received named awards from the Poetry Society of South Carolina. A fourth, “Reading Romance with a Lady Killer,” received the 2018 Faulkner-Wisdom Poetry Award from the Pirate’s Alley Faulkner Society in New Orleans. In 2019, his unpublished poetry collection, “Pre-owned Odyssey and Rented Rooms,” was runner-up for that Society’s Marble Faun Award. In 2020, Conversations: The Journal of Cavellian Studies published or reprinted a dozen of his poems together with his essay on poetry and philosophy, “Other Minds and a Mind of One’s Own.”

REVIEW: Frankie and Johnny in the Clair de Lune

Frankie and Johnny in the Claire de Lune

Trustus Side Door Theatre

April 11 – 20, 2024

The play opens on a darkened apartment, with a couple making love. After working together for several weeks Frankie, a waitress has agreed to a date with Johnny, a short-order cook, and the two have ended up in Frankie’s one-room walk-up apartment. Johnny (played by Jason Stokes) has fallen madly, absurdly, head-over-heels in love with Frankie (Marybeth Gorman Craig). Frankie thinks this is an absurd notion. She’s had a lovely evening but would be happiest if Johnny would just get dressed and leave so she could get in her pj’s and eat ice cream and watch television. 

The evening unfurls as our two world-weary, battered souls talk and listen and question and argue about love and the notion of love, and whether any of us are really and truly prepared to meet the love of our lives, that one soul without whom we cannot live. A late-night classical music radio station provides the score, complete with a velvet-voiced deejay. 

Johnny is persistent and obnoxious and relentless and meddling and romantic, and he NEVER SHUTS UP in his quest to convince Frankie that she is in fact his soulmate. There were several times when I wanted her to push him out the window or split his head open with an axe. He’s just adorable. This may be the best work I’ve seen from Stokes, and I’ve seen him in any number of roles. His shading, his timing, his nuance, his unending enthusiasm is all spot on. 

I’m not sure how Marybeth Gorman Craig is able to pull off world-weary and luminous at the same time, but she does it beautifully. Her Frankie has been burned and disappointed by men over and over. Her skepticism is as relentless as Johnny’s enthusiasm. She would like to believe him, but her experiences won’t let her. Yet.           

When I first heard this was being produced in the Side Door, I was  concerned that it would be too “cozy” for this show. In fact it’s the perfect space. We feel as claustrophobic as Frankie. Jayce Tromsness’ scene design and Erin Wilson’s set dressing is true to tiny NYC apartments. There’s a working kitchen! I love a working kitchen on stage; Frankie’s need for a late-night nosh (cold meatloaf sandwiches – delish) resulted in real meatloaf sandwiches ON TOAST. (I went home and made toast after the show.)  There’s a later scene where Johnny whips up a western omelet; there is a soupçon of menace to his chopping skill. 

For any of you who might hesitate to see this show because you’ve heard that there would be  NAKED PEOPLE onstage, relax. There are no naked people onstage in this production, and it didn’t affect the story one iota.

 We’ve all had those all-nighters, where we argued and made up and loved and snacked and made discoveries about ourselves and each other and made love again until the sun rose. Hopefully, we’ve sometimes even had “the most beautiful music ever written” as a soundtrack. Erin Wilson has given us a lovely, lovely show. Frankie and Johnny are tired and resigned and hopeful and hopeless. You don’t necessarily get a “happy ending,” but you don’t get a sad one, either. I was sad and hopeful and wanted a cigarette at the end of the evening.

Sadly, you only have 4 more chances to see this production: April 17 – April 20 at 8:00 p.m. There is limited seating in the Side Door Theatre so make your reservations now. Tickets may be purchased online or by calling the theatre at 803-254-9732. Beer and wine are available for purchase in the lobby.

 

           

 

REVIEW: The Visit at USC Theatre and Dance

THE VISIT

USC Department of Theatre and Dance

April 5 - 12

This writing is woefully late for a number of reasons; none of them particularly good, and for that we do apologize. However, the excellent work by everyone involved deserves an acknowledgement.

USC Theatre and Dance closed out the season with Friedrich Dürrenmatt’s The Visit, and what a production it was. The piece was first produced in 1956 in Zürich, Switzerland, and was adapted for British audiences in a production directed by Peter Brook and starring Alfred Lunt and Lynn Fontaine. After touring Britain in 1957 – 58, the play was taken to Broadway. Ingrid Bergman and Anthony Quinn starred in a film adaption in 1964, and Kander and Ebb (along with a book by Terrance McNally) flipped it into a musical starring Chita Rivera in 2001. In 2020, Tony Kushner’s  new English language adaptation was produced in London.

The story takes place in the “somewhere in Europe” village of Güllen, a village which has not fallen on hard times, but under them. A miserable, poverty-stricken, dingy little hamlet. The one bright spot is the impending visit of Claire Sachanassian, the wealthiest woman in the world. Claire grew up in Güllen, and the townspeople are hopeful and desperate that she will provide them with much needed financial assistance. The scene opens with villagers, desperate to make a good impression, frantically preparing for Ms. Zachanassian’s arrival. And arrive, she does.

As a young girl, Claire fell in love with Anton Schill, who has grown up to be a model Güllenite – a successful shop keeper with a devoted wife and children, and on his way to becoming the next Bürgermeister. Alas, young Claire finds herself  with a brӧtchen in the oven. Her beloved Anton abandons her, denies his paternity, and turns the townspeople against her. She is run out of town in shame. Claire will gift the town and each of its citizens a grand fortune, in exchange for the life of the man who abandoned her. Anton’s life is about to go to hell in a ham biscuit.

Revenge is a dish best served cold…

Rachel Vanek, a Sophomore (repeat – A SOPHMORE) nailed the role of Claire. She moves like a glacier across the stage – all icy, brittle perfection. I have no doubt that if you touched her, you’d get frostbite. Cruella Deville notwithstanding, there is a shimmer of that very young woman who was shamed by the people of Güllen so very long ago, and Claire begins to win us over. Vanek’s Claire is the Ice Princess personified. (She does not “Let it Go”). I look forward to seeing this young performer in other productions.

Olan Domer plays Anton Schill to smarmy excellence. If you met him in a bar, you’d keep your cocktail covered. His expression when he realizes that he is the fee for Güllens future  prosperity is priceless. Domer played the equally smarmy Karl Lindner in USC’s production of A Raisin in the Sun earlier this year.

There truly isn’t a weak link in this cast. Maggie Davisson as Bobby, Claire’s assistant, Dominic DeLong-Rodgers as the Bürgermeister, Cameron Eubanks, the village doctor, Didem Ruhi, the priest, Elaine Werren as Fraü Schill, and Elizabeth Wheless as the teacher were all very well-cast. Along with the rest of the ensemble, many of whom were double and triple cast, the story builds in intensity and suspense. I must mention Koby Hall and Rafe Hardin, who play the two blind men. Not only are they hysterically funny (until we learn how they came to be blind), but they are also blind and on stilts.

Lindsay Wilkinson’s costume design is amazing. Working with Kristy Hall, she develops a costume plot which is a bit art-deco, a bit Weimar Republic, a bit Picasso, and a smattering of A Clockwork Orange…. It was fascinating to watch the costumes change  as the characters  wearing them changed. Her use of patterns and color brought another dimension to the production.

The stage at Drayton Hall is massive, and the set/lighting/sound designers (Ashley Jensen, Lorna, Young, Danielle Wilson) filled it completely. The use of beautifully painted scrims allowed the set to change completely with a light cue. The sound was very well done. The train station serves as a focal point, and the sounds and the smokestacks turned me into a gleeful five-year old kid again. (I must confess I so wanted Claire to burst into “Don’t Cry for Me, Argentina” when she stepped out onto the balcony.)

The Visit is not only a story of revenge, but also a warning tale about avarice, integrity, loyalty, and the effects of soul-searing capitalism. Director Craig Miller, a USC alum, brought all of this together in an entertaining, provocative production. The only negative to this show is the all too short length of its run.

USC’s Department of Theatre and Dance has long been a contributor to some of the very best of Columbia theatre. Its students and faculty share their talents with theatres throughout the city. Many of them have gone on to teach, perform, and share their gifts on stages and in schools across the country.