"Jack Frost" - Melissa Swick Ellington reviews the world premiere of the new show at Columbia Children's Theatre

jackfrost1 Columbia Children’s Theatre presents Jack Frost, a world premiere musical with book and lyrics by Crystal Aldamuy and music by Paul Lindley II, through Sunday, December 14. Here in Columbia, SC, we have plenty of reasons to be grateful for the presence of CCT in our community, such as high quality children’s theatre performed by professional actors, educational outreach programs, and theatre training and performance opportunities for youth. Yet another reason to cherish CCT emerges with the production of Jack Frost, which further establishes the theatre’s commitment to the development of new works. Past original productions have included adaptations of Puss and Boots, The Snow Queen, A Christmas Carol, and a number of commedia dell’arte shows. Any artist who has collaborated on the production of new work for the theatre can tell you that such endeavors require a special level of dedication, hard work, and ingenuity.  We are fortunate to have a children’s theatre in Columbia that persists in the development and presentation of new plays and musicals right here in our own community.  Audiences will be delighted by the enchanting and upbeat experience of Jack Frost.

Director Jerry Stevenson delivers an entertaining production of this clever new musical by Aldamuy and Lindley.  Creative characters, inventive humor, and enjoyable music delighted the audience at the matinee I attended with my husband and two young children. The story explores the family life of the title character, focusing on parent-child conflict over tradition and responsibilities. While Isis and Ike Frost expect their son Jack to become part of the family business, Jack would rather cause mischief and go on adventures than toil away producing individual snowflakes or painting leaves. The warm Kringle family poses a worthy counterpoint to the icy Frost folks. When Crystal, the Kringle daughter, switches places with Jack, both families have a lot to learn.

Composer/Music Director Paul Lindley II as Jack Frost, changing the colors of the autumn leaves

Not only have Aldamuy and Lindley created the material for their first original musical, they are also involved in this production. Aldamuy has devised crisp choreography for numbers such as “Reindeer Tango” as well as providing stage management expertise. As Jack Frost, Lindley captivates the audience with his agile antics and impressive singing voice, evident in “Jack’s Ballad” among other strong musical numbers. Julian Deleon provides a comforting paternal presence as Chris Kringle, thus achieving another successful foray on the CCT stage. Rachel Arling (Christine Kringle, and - full disclosure - a contributor to Jasper), Carol Beis (Isis Frost), and Charley Krawczyk (Ike Frost) energize their scenes with appealing performances, while Kaitlyn Fuller portrays Crystal with vivacity and charm. Anthony Harvey plays the dual roles of Old Man Winter and Elf; his impish Elf becomes the show’s comedic engine. My preschool son’s belly laughs testified to Harvey’s hilarious and skillful portrayal, not to mention the kid’s desire to imitate some of the Elf’s inventive shenanigans. (At certain performances, Toni V. Moore plays Isis Frost, Jerryanna Williams plays Crystal Kringle, and Lee O. Smith plays Chris Kringle.)

(L-R) Kaitlyn Fuller, Julian Deleon, Rachel Arling, Anthony

Costume design (Donna Harvey and Stevenson), scenic artistry (Jim Litzinger, Stevenson, D. Harvey and A. Harvey), and sound design (Lindley) maintain the high standards of artistic quality that distinguish CCT performances. Distinctive color palettes work effectively to differentiate the worlds of Frost and Kringle, especially through the superb costuming choices. Matt Wright (Sound Technician) and Brandi Smith (Light Board Operator) also provide valuable technical support.

It is a credit to the community’s enthusiasm for CCT that a brand new and unknown work can draw a packed house similar to audiences that attend more familiar plays. My first grade daughter is always eager to go whenever I suggest a trip to CCT. Show title, genre, characters?  No concerns of hers; she is just elated at the prospect of another show. You see, my daughter – like so many of us in Columbia – trusts that whatever production she sees at CCT, she will have a great experience. Thank goodness for the extraordinary talents at Columbia Children’s Theatre for their vision and artistry. We can’t wait to see what they dream up next.

~ Melissa Swick Ellington

 

The world premiere of Jack Frost continues through this Sunday, Dec. 14, with morning, matinee, and evening performances.  For ticket information, call (803) 691-4548 or visit http://www.columbiachildrenstheatre.com/jack-frost/.  And don't forget - there's also Late Night (i.e. 8 PM rather than 7 PM) Date Night for Mom and Dad on Friday, December 12, and when the kids are away, the actors will play!  The cast performs the same script, but loosen up and bring out double (and triple) entendres for a riotous evening of PG-13-ish fun.  This is an unpredictable evening of fun and surprises that is pretty much guaranteed to make you say, "I can't believe they got away with that in a Children's Theatre!" Recommended for ages 17 and up.  And while 8:00 may be late for Children's Theatre folk, it's still early enough (since the show only runs one hour) that you can head out into the night for more fun, in a great mood, after having laughed yourself silly!  For more info or tickets, visit http://www.columbiachildrenstheatre.com/event/late-night-jack-frost/

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"How I Became a Pirate" is a rollicking good time - Melissa Swick Ellington reviews the new show at Columbia Children's Theatre

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Get on board for a swashbuckling romp at Columbia Children’s Theatre! How I Became A Pirate is a rollicking good time for audiences of all ages. Director Jerry Stevenson and the exceptional cast and crew have created a delightful theatre experience with a crowd-pleasing band of pirates. Based on the book by Melinda Long and Caldecott Honor-winning illustrator David Shannon, this musical features book, music, and lyrics by Janet Yates Vogt and Mark Friedman. Kids will enjoy the action-packed plot, adults will snicker over clever wordplay, and everyone will leave the theatre grinning and snarling “Argh!” and “Ahoy, matey!”

Ashlyn Combs as Jeremy Jacob

While digging in the sand, young Jeremy Jacob encounters a raucous bunch of friendly pirates. Audiences will savor lively lessons that range from talking like a pirate to burying treasure. In the most rewarding educational settings, learning is a reflexive process; in this story, Jeremy Jacob is both student and teacher, as he leads the pirates through a tutorial on “soccer by the rules.” The script and lyrics capitalize on word jokes that will tickle audiences both youthful (“poop deck”) and seasoned (rhyming “flamingo” with “Ringo”). How I Became A Pirate allows even the more cautious younger viewers to revel in risk-taking by establishing a base of reliable security. We realize early on that this is no ordinary beach (“yo ho ho and a bottle of sunblock”), yet children are reassured of the boy’s well-being (“We’ll get you home safe and sound”). While kids shriek in gleeful anticipation as pirates invade the audience, they also recognize the fictional nature of the scurvy band. At the performance I attended, one small girl announced, “He’s not a real pirate – he doesn’t even smell bad!”

L-R Julian Deleon, Lee O. Smith, Anthony Harvey, Ashlyn Combs, Brandi Smith, Paul Lindley II, Andy Nyland

Although CCT has staged How I Became A Pirate previously, this production has a new script and music. The sole remaining element from the previous show is actor Lee O. Smith in the role of Captain Braid Beard – and what a marvelous captain Smith becomes. He snarls, grimaces, cajoles, and surprises, leading the energetic ensemble through a polished, exuberant jaunt. Ashlyn Combs demonstrates an appealing singing voice and earnest sincerity in the role of the young boy Jeremy Jacob. Complete with eye patch, beard, plumed hats, and sketchy dental care, the memorable pirate crew features capable performers who take full advantage of the characters’ distinct personalities. Brandi Smith as Maxine reveals a glorious voice and comedic flair, Julian Deleon shines as the congenial Pierre, and Andy Nyland relishes the complexity of Sharktooth, who demonstrates that outward appearances can be misleading. As the playful Seymour, Anthony Harvey delivers a dynamic performance, punctuated by an impressive spiel of pirate lingo. Paul Lindley II as the inimitable Swill is downright hilarious. Is there any role this talented actor can’t play?  With my faithful theatre-going companion (my six-year-old daughter), I have admired Lindley’s remarkable performances in numerous roles at CCT and elsewhere.

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Stevenson stages the musical with skillful wit. Through physical comedy, the actors inhabit a convincing pirate world, as in Jeremy Jacob’s wild steering of the ship. Particular sequences to watch for include the adept “minivan” staging, a fluid soccer game, and a blustery storm at sea. Crystal Aldamuy (Stage Manager and Choreographer), David Quay (Light Board Operator), Matt Wright (Sound Technician), and scenic artists Anthony Harvey, Donna Harvey, Jim Litzinger and Toni Moore collaborate with Stevenson to deliver a top-notch production.

 

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Crisp choreography and excellent vocal quality contribute to the musical’s success. From the opening scene’s impressive sandcastle to the seamless transition into the closing moments, the set design works beautifully to suggest multiple locations and changing moods. Donna Harvey and Stevenson achieve splendid richness in the pirate costumes, melding a vivid color palette with lush textures. Sharktooth’s eye-catching tattoos deserve special mention, along with noteworthy “mop” choreography. As an enthusiastic fan of the original picture book’s illustrator David Shannon (No, David! and Duck on a Bike, anyone?), I wondered how the book’s strong visuals would be interpreted onstage. I was happily delighted with the design team’s unified aesthetic that is both fanciful and functional.

 

pirate2As Stevenson recognizes in the program notes, “Wouldn’t we all like to be swept away on the high seas where there are no jobs, no school, no rules and no bedtimes!” Although the story highlights the delicious prospect of endless amusements and boisterous shenanigans, the comforting allure of dependable family life also emerges. The ensemble finds a powerful balance between comic hijinks and poignant tenderness. Purposeful performances and clarity of direction enhance moments like a wistful ballad on the goodness of home. As my six-year-old explained, “My favorite part was when Jeremy Jacob sang about home because it made me feel happy to think about my home.” In the midst of upbeat humor and captivating storytelling, a shining vein of relatable honesty runs through a genuinely human experience.

While my daughter and I have become accustomed to looking forward to first-rate productions at CCT, this show feels especially terrific. Take it from me, matey: learning how to be a pirate is a fun-filled voyage in this high quality performance at the Columbia Children’s Theatre.

~ Melissa Swick Ellington

Show Times:   Friday, September 26: 8:00 p.m. – Late Night Date Night for adults Saturday, September 27: 10:30 a..m. , 2:00 p.m., and 7:00 p.m. (with tickets half-price for the 7 PM show!) Sunday, September 28: 3:00 p.m.

For ticket information, visit http://www.columbiachildrenstheatre.com/how-i-became-a-pirate/.

A Pirate's Life for ME!

 

 

The cast of "Commedia Snow White" tell all to intrepid reporter Kat Bjorn (age 6 and 1/2)

First Grader Kat Bjorn Interviews the Cast of Columbia Children’s Theatre Commedia Snow White

by Kat Bjorn (with some help from Papa)

Kat’s Papa:  Hey folks, technically this isn’t a review of Columbia Children’s Theatre’s latest production, Commedia Snow White (although visit Jasper early next week for just that - a review by Melissa Swick Ellington) but seriously, you have to see this show—even you adults without kids.  After all, there’s a dwarf named Truculent.  And Paul Lindley II (Punchin) performs several numbers from Cats.  And Anthony Harvey (Arlequino) gets stuck in an infinite regress watching himself as The Mirror.  And Elizabeth Stepp (Columbine) as that “Really Pale Brunette Girl” does cartwheels around Beth DeHart’s (Rosetta) smoking tan Evil Queen.  Also, Julian Deleon (Pantalone) has a Spanish pirate hat that belongs in a Captain Morgan commercial.

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Kat Bjorn:  Papa, shhh!!  I’m starting the interview now.

Papa:  Okay, time to turn into a transcriber.  Gotta go.  Seriously, see this show!

Jerry Stevenson, CCT Artistic Director:  How old are you now, Kat?  This is like your 30th interview.

Kat:  I’m six and a half.

Arlequino :  You seem old.

Kat:  I’m just tall for my age.  Who is your favorite dwarf and why?

Pantalone:  Effervescent.  No, Truculent.

Punchin:  Or did you mean the Disney ones?

Really Pale Brunette Girl (aka Snow White):  Dopey.  He’s got a purple hat.

Punchin:  Duck.

Kat:  Duck?

Punchin:  Duck!

[Entire Cast ducks.]

Kat:  Did you mean Doc?

Punchin:  Hee-hee.

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Kat:  If there were an 8th Dwarf, what would his or her name be?

[Kat whispers to Really Pale Brunette Girl (aka Snow White).] 

Really Pale Brunette Girl (aka Snow White):  Plumpy?

[Entire Cast exchanges looks with one another.]

Entire Cast:  Plumpy.

Evil Queen:  Hairy.

Kat:  If Snow White wears a yellow dress, why isn’t she Snow Yellow?

[Pause.  Laughter ensues.]

Kat:  What is Commedia dell’arte?

Really Pale Brunette Girl (aka Snow White):  Commedia dell’arte is a form of theatre that originated in Italy in the 1500s—

Punchin:  [in an outrageous Italian accent]  That’s why we have these outrageous Italian accents!

Really Pale Brunette Girl (aka Snow White):  Ahem.  All the characters are stock characters—

Pantalone:  We go great with soup!

Really Pale Brunette Girl (aka Snow White):  Sigh.

Pantalone:  I mean, I run the troupe!

Kat:  Next question.  My Papa said your Commedia dell’arte shows have lots of “ChapStick” comedy.  What does that mean?

Really Pale Brunette Girl (aka Snow White):  Something to do with Ruby Lip Smackers, I imagine.

Arlequino:  Did he mean “slapstick”?

Punchin:  I think she knows what she means.

Arlequino:  [standing]  You minda your own-a business!

Punchin:  [standing, grabs Arlequino’s nose]  No, you minda your own-a business!

[Arlequino roundhouses Punchin.]

Evil Queen:  I think you get the picture.

Kat:  Moving right along.  What’s the next project for the Spaghetti & Meatball players?

Jerry Stevenson:  Commedia Our Town!

Papa:  [to himself]  Cat on a Hot Tin Roof, Jr.

Kat:  I don’t remember seeing puppets at the Columbia Children’s Theatre before.  What was it like to work with puppets?

Pantalone:  Jerry and Jim have been using more and more puppets lately.

Arlequino:  Apparently they work for practically nothing and don’t complain about union violations.

Kat:  Guess my favorite part of the show.

[Entire Cast spends several hours guessing.]

Punchin:  [exhausted]  I give up…my excerpt from Godspell?

Kat:  When the Evil Queen was on fire.  I also liked it when Pantalone came and sat next to me.  I tickled him with my magic rose.

[Shameless Plug:  Bring $3 so your kid can buy a Magic Rose.]

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Kat:  Okay, last question.  What does the fox say?

Entire Cast:  Ring-ding-ding-ding-dingeringeding! / Gering-ding-ding-ding-dingeringeding! / Gering-ding-ding-ding-dingeringeding!

Kat:  That’s a wrap!  Another slice of pizza, please!

................................

Kat Bjorn is a rising first grader who loves Riverbanks Zoo and Fancy Nancy chapter book mysteries—and math, if you can believe it.

Commedia Snow White runs through June 22 with performances at the following dates and times:  Saturday, June 14 at 10:30 a.m., 2 p.m. & 7 p.m.  Sunday, June 15 at 3 p.m.; Friday, June 20 at 8 p.m. (late night date night for grown-ups, with possibly a little more mature humor added in); Saturday, June 21 at 10:30 a.m., 2 p.m. & 7 p.m.; Sunday, June 22 at 3 p.m. There are additional Thursday matinee performances at 10:30 a.m. on June 19, June 26 (sold out), July 10, July 17 and July 24. Tickets are $10 for adult and children 3 and up. Seniors & Military ticket prices are $8. Tickets are $5 for the Saturday 7 p.m. performance. The Columbia Children’s Theatre is located at the Second Level of Richland Mall, 3400 Forest Drive (corner of Beltline and Forest Drive) - or as they say in Forest Acres, over where the old S&S Cafeteria used to be. Enter the Second Level parking garage walkway and park in Level 2-L for easy access. Call 691.4548 for more information or to reserve tickets for groups. To learn more about Columbia Children’s Theatre , visit http://columbiachildrenstheatre.com/ .

 

"Ho Ho Ho" at Columbia Children's Theatre - a review by Melissa Swick Ellington

hoho3 Ho Ho Ho offers bright and energetic holiday entertainment at Columbia Children’s Theatre.  Designed to engage even the youngest audience members, this production features wacky humor in the custom of British pantomime.   As “panto” embraces audience participation and madcap folly, Ho Ho Ho keeps viewers shouting with gleeful laughter at the silly antics of familiar festive characters.  Father and Mother Christmas (i.e. Santa and Mrs. Claus) face rollicking chaos as they strive to reclaim elusive holiday spirit amid comical mishaps.  Tradition blends with pop culture references as elves cavort to contemporary hit songs. Audience members will enjoy participating in this rowdy ride through pursuit of Christmas magic.  The boisterous comic style of the show embraces broad physical jokes as in vaudeville, including slapstick sequences that may startle some of the youngest viewers, as well as a bit of potty humor that will appeal to a wide cross-section of audience members. (Truth be told, my husband and I laughed even harder than our children did during one particularly memorable sound cue sequence…I bet you’ll know which one if you see the show.)

As directed by Frank Thompson, the production maintains a brisk pace and admirable clarity. Cast members work together in a vibrant, captivating ensemble. In the central role of Father Christmas, Lee O. Smith brings empathy and warmth to his character in the midst of the wild hijinks. Will Moreau as the Musical Elf shares a special talent for mesmerizing the young audience, often without speaking a word. Mother Christmas (Christy Shealy Mills) drives the play’s narrative with vivacity, while the effervescent elves are portrayed with enthusiastic commitment by Elizabeth Stepp and Bill DeWitt. (Andy Nyland serves as understudy for the role of Elf Boy Len).

(L-R) Bill DeWitt, Christy Chealy Mills, Elizabeth Stepp, Will Moreau

As ever with a CCT play, commendable production values are maintained, with sound design by Frank Thompson and costume design by Donna Harvey and Jerry Stevenson. Costumes combine recognizable holiday attire (that iconic red suit) with surprising delights (an ever-changing parade of zany hats). Complex action onstage relies on offstage support; clearly, this production has a superb team in place. Stage manager extraordinaire Jami Steele-Sprankle keeps the mayhem under control and provides effective backstage organization. Sound technician Anthony Harvey delivers praiseworthy precision in the execution of numerous sound cues which are essential to the show’s comedy, while David Quay supplies dependable light board operation.

As a parent, I was particularly gratified by the actors’ knack for nurturing my preschool son’s focus throughout the performance. He was able to engage in the audience-actor transaction of live theatre at a level of understanding that I hadn’t seen from this little boy before. The youngsters in attendance at this matinee performance were charmed by the actors, and became visibly invested in the play’s events.

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Before the performance, cast and crew members involve children in coloring stocking ornaments and helping to decorate the onstage tree. A gentle approach to audience participation invites eager kids to take part in various opportunities, but does not overwhelm more reserved children. Stick around after the show to meet the cast, get autographs, and take photos. (My daughter observed, “I love when the actors autograph my program at Columbia Children’s Theatre!”)

Early in the performance, my youngest child chortled with laughter after a funny physical sequence and declared, “Ohhhh that is SO silly.” Yes, Ho Ho Ho, scripted by award-winning British children's playwright Mike Kenny, is indeed “so silly,” in the most affirming and affectionate sense of the term. Columbia Children’s Theatre offers our community a comedic gift this holiday season in a fast-paced and cheery romp. Head on over to Ho Ho Ho, jumpstart your holiday spirit, and laugh your cares away with Father Christmas and friends at Columbia Children’s Theatre.

~ Melissa Swick Ellington

 

"The Musical Adventures of Flat Stanley" - Melissa Swick Ellington reviews the new show at Columbia Children's Theatre

stanley-logo1With a charming production of The Musical Adventures of Flat Stanley, Columbia Children’s Theatre brings to life a beloved character and his exciting escapades. I first learned about Flat Stanley when my visiting aunt arrived in South Carolina with a cutout of the character, which she photographed in various places for a grandchild’s school project. Decades later, I enjoyed sharing the “original adventures” book by Jeff Brown with my young daughter, indulging in a sense of wonder at the wide world and its possibilities. The whimsical nature of the Flat Stanley book series inspires lasting affection in readers; Columbia Children’s Theatre crafts a surprising and delightful world that entices theatregoers. As realized in the musical (with book by Timothy Allen McDonald and music and lyrics by McDonald, David Weinstein, Jonathan K. Waller, and Stephen Gabriel), the Lambchop parents enjoy a cozy family life with Stanley and his younger brother Arthur. After bedtime, the two boys take the audience on an exuberant “I wish I were” romp through cherished adventures (think Harry Potter and Star Wars) complete with light sabers and air guitar.  Stanley’s “star wish” leads to his dimensional transformation after a fateful encounter with a mysterious bulletin board.  He learns that the life of a “flat kid” has drawbacks (getting stuck in a tree when flown as a kite) as well as perks (mailing himself to Paris.)  Clever wordplay transpires in the script, such as the “porkchop” versus “lambchop” confusion that delighted my daughter.   Characters advise young audiences to “find a little adventure,” “write a letter and drop it in the mail,” and “make a star wish.”

Anthony Harvey as Stanley achieves genuine commitment to a child role without condescension, a true gift of a performance. He shares talents in physical comedy (the hilarious doctor’s exam) as well as an appealing voice, with a particularly poignant song while stuck in a tree.  Harvey handles the flat costume with admirable confidence – who knew Flat Stanley could shake maracas and rock a time step, not to mention a kickline? As Arthur, Riley Smith dives into exuberant antics that delight the young audience; he avoids caricature by offering lovable honesty and real sweetness. Actors demonstrate versatility in diverse roles: Evelyn Clary plays a wacky postal worker and a serene Mona Lisa, while Julian DeLeon moves convincingly from sincere father to bumbling physician to flashy entertainer.  Diane Gilbert, Rachel Glowacki, David Quay, Imani Ross-Jackson, and Elizabeth Stepp give vibrant portrayals of various characters that develop depth through nuanced ensemble work. Two different casts share the roles; additional performers are sure to be equally strong in a production of this caliber.    (That second cast includes David Quay as Stanley, Ruth Glowacki as Mrs. Lambchop, Toni Moore as Mr. Lambchop, Elizabeth Stepp as Stanley’s brother Arthur, and Taylor- Noelle Hammond as Mrs. Cartero.)

Meet the Lambchops - clockwise from top: Anthony Harvey, Diane Gilbert, Riley Smith, and Julian DeLeon.

“Why say it when I can show you in an extravagant musical number?” asks a Hollywood character; engaging songs and dances illuminate Stanley’s world with infectious vitality. Cindy Flach directs and choreographs her talented cast with creativity and ingenuity, and Paul Lindley II guides enjoyable singing voices with skillful music direction. The design team (Donna Harvey and Jim Litzinger) proves that Columbia Children’s Theatre really can take us anywhere: characters travel through the Lambchop home, a park, a doctor’s office, California, Paris, and Hawaii.  Lambchop family members’ costumes and even their tabletop décor reflect a patriotic red, white, and blue motif.   Forgotten lollipops stuck on top of the bulletin board illustrate the designers’ meticulous approach; details like these bring a child’s world alive onstage.  Go see the show to find out how acting, directing, and design can collaborate on laugh-out-loud visual comedy with particular effectiveness in Stanley’s museum experience.  CCT shows last season included marvelous puppetry (Knuffle Bunny, Goodnight Moon); Anthony Harvey’s puppet design maintains this high standard.  Stage managers Ruth Mock and Susan Hitt keep the backstage domain moving with fast-paced fluidity and seamless transitions. Visual effects are very well done, especially the picture frame imagery and the lasting impact of Stanley’s unique and astonishing flatness.

But what do the kids think? The children at the matinee I attended were rapt with attention throughout the show.  Light saber hijinks, surf music and “wipe-out” moves, sharp and sassy tap dancing, surprising mailbox revelations, and exciting pursuit of the “sneak thief” proved riveting for even the smallest viewer.  My own five-year-old daughter, while skeptical before the big transformation (“Is Stanley REALLY going to be flat onstage?”), became firmly convinced of the production’s integrity: “My favorite part was when Flat Stanley got flat. I really love and appreciate this show. I think kids will like the show because it is cheerful.”

The mind-opening power of travel, discovery of adventure through sending and receiving mail, and lasting love of family will resonate with audiences of all ages. Through the ongoing development of Columbia Children’s Theatre, Artistic Director Jerry Stevenson, Managing Director Jim Litzinger, and their collaborators make our city a better place – to learn as part of a welcoming community, to raise a family, to love the arts. Thriving theatre for young audiences produced with gratifying commitment to quality in all areas: who could ask for anything more?

The Musical Adventures of Flat Stanley runs through this Sunday, September 29. Call the box office at (803) 691-4548, or visit www.columbiachildrenstheatre.com for ticket information.

~ Melissa Swick Ellington

 

 

"Knuffle Bunny - A Cautionary Musical" - Alex Smith reviews the new play at Columbia Children's Theatre

Mo Willems is something of a rock star if you’re a kid between the ages of 4 and 11 (or even if you’re just the parent of a kid that age.)  His career in children’s entertainment began illustriously on Sesame Street, where as an animator and writer he won six Emmy awards between 1993 and 2002.  During that time he also created two animated television series, The Off-Beats and Sheep In The Big City.  Since 2003, he has been a wildly successful author of children’s books, introducing the world to such immortal characters as Cat the CatPiggie and Elephant, Edwina, The Dinosaur Who Didn’t Know She Was Extinct, Leonardo The Terrible Monster, Naked Mole Rat and Big Frog.   His lovely illustrations and easy storytelling simultaneously create tales whose worlds are complex and self-contained, yet are wrought in such a simple way that the lessons they teach are so subtle that you don’t feel like you’re being beaten over the head with them.   Above all his writing and his drawings are VERY funny, making them a joy for both children and adults. All of the same qualities which make Willems’ books so appealing are on full display in the Columbia Children’s Theatre’s musical staging of Knuffle Bunny, subtitled A Cautionary Musical.  With book and lyrics by Willems and music by Michael Silversher, this adaptation of the Caldecott Medal-winning adventures of the beloved stuffed animal of the title, Trixie (the toddler who loves the bunny), and Trixie’s Mom and Dad, is staged as confidently as ever by director Chad Henderson, whose genre-defying talent as a theatrical director shines in this family-friendly production.   Henderson, as usual, has brought together a cast and crew whose talent coalesces to create a brisk, wonderfully entertaining evening in the theatre for children and their grown-ups alike.

This "cautionary tale" is straightforward enough: Dad, in an attempt to give Mom some time to herself, decides to take their daughter Trixie to the laundromat a few blocks from their home in the big city.  Trixie drags along her favorite stuffed animal, Knuffle Bunny. In the process of laundering the family’s clothes, Knuffle Bunny is accidentally put in the washing machine, and not until they return home between cycles does Dad realize what Trixie (who hasn’t learned to speak yet) has been trying to tell him throughout their journey home: Knuffle Bunny has been left behind. Mom, Dad and Trixie all rush back to the laundromat, where Dad embarks on a hero’s journey to recover Trixie’s missing doll. To say that hilarity ensues would cheat all of the above described action of how wildly entertaining and very funny it is.

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Mom and Dad are expertly played by Kathy Sykes and Paul Lindley II, respectively. They are portraying archetypes, which can easily be overplayed and stereotypical in lesser hands, but as Mom, Ms. Sykes conveys all the frustration, patience, nurturing and love which mothers exercise with their children (and, often, with the fathers of their children) in such a sincere and earthy way that we laugh at and with her because of the familiarity her portrayal evokes. Lindley as Dad is all bluster and bravado which mask his genuine sensitivity and insecurities about his ability as a parent and a spouse; in other words, he is every dad.  Lindley, in addition to serving as the show's musical director, is a comic actor of immense talent (he was side-splitting as "Snail" in CCT's recent staging of Frog and Toad), and in his hands Dad is the perfect over-serious, overwrought and over-compensating foil to Ms. Sykes’ “straight-man” mom. Their performances, individually and as that archetypal institution of “mom and dad,” are worth the price of admission alone.

And then there’s Trixie. Having an adult play a child onstage is another dangerous proposition: the temptation to over- or under-play the impossibly endless and variant characterizations which make up the earliest eras of childhood make the task a difficult one for any actor...or, as one of the show's songs explains, "Trixie Is Tricky".  Hats off, then, to Sara Jackson, who embodies the pre-verbal toddler Trixie with all of the requisite foibles of a child that age without ever falling into the easy traps of being too cutesy or commenting on them.  The strength of Ms. Jackson's performance lies in the fact that despite the fact that, for instance, the role calls upon her to do something as outlandish as speak for 95% of the play in incomprehensible toddler-speak, she takes Trixie as seriously as an actor would take any adult role. This not only makes her character completely clear and interesting, it allows her to nearly bring down the house with laughter when she delivers, with straight-faced sincerity, a ballad about her troubles whose lyrics consist of no recognizable human language. It is a high point of the show.

There are so many other elements which make Knuffle Bunny such an excellent show: the hard work of a fine ensemble of actor/puppeteers (Julian Deleon, Anthony Harvey, Brandi Smith and Christina Whitehouse-Suggs) who play multiple roles and are particularly wonderful in a scene where Dad does battle with some troublesome clothes in an attempt to find Knuffle Bunny; Donna Harvey's costume and puppet design which ably bring those troublesome clothes, Knuffle Bunny, and all the other characters, animate or not, to colorful life; Baxter Engle's superb projections, which build upon Willems' own layout in the Knuffle Bunny books, creating a living backdrop out of actual photographs of New York city and otherwise broadening the staging possibilities in the Children's Theatre's modest space (this may be the first production in Columbia to stage a musical number inside a washing machine); and, of course, a cameo appearance by Willems' other Caldecott Honoree, the troublesome Pigeon - in the form of an excellent marionette, designed and built by Lyon Hill - who in the play's final moments literally "steals the show," and opens up the welcome possibility that this may not be the end of Knuffle Bunny's stage adventures...

The Columbia Children's Theatre's top-notch production of Knuffle Bunny is so well-crafted and performed, that it makes the prospect of further musical journeys with Mom, Dad, Trixie and Knuffle Bunny a tantalizing prospect indeed. It is the best kind of family entertainment around, and it should not be missed.

~ Alex Smith

Knuffle Bunny - A Cautionary Musical runs Friday, April 19th at 7:00 PM, Saturday, April 20th at 10:30 AM, 2:00 PM, and 7:00 PM, and a final matinee Sunday, April 21st, at 3:00 PM.  For ticket in formation, visit their website, or call (803) 691-4548.

Goodnight Moon at Columbia Children’s Theatre: An Udderly Mush-See Lunar Odyssey - A review by Arik Bjorn (plus a special interview with the cast by guest blogger Kat Bjorn, age 4)

Doubtless I am one of millions of parents who have read aloud Margaret Wise Brown’s classic bedtime tale, Goodnight Moon, at the conclusion of a marathon parenting day in soft, poetic fashion, a nocturne prelude to my child’s sojourn into sleep.  Our interpretations were all wrong; my eyes have now seen the moonlight thanks to writer Chad Henry and Columbia Children’s Theatre (CCT) artistic director Jerry Stevenson.  Instead, the cute gray Bunny, tucked under the green blanket and played with exquisite, thumping animation by Paul Lindley II, is no less a precocious daydreamer than Maurice Sendak’s Max.

Why we parents were so easily duped remains a mystery.  After all, what child’s bedroom is replete with a fireplace, telephone, tiger skin rug and 19th-century French mantel clock?  Parental instinct should have told us something was going on.

Transferring a timeless, if not somewhat abstract, classic children’s story into an engaging musical is a daunting theatre challenge.  (I would rather be charged with turning Coriolanus into a ballet.)  But foremost props—pun intended—should be lavished upon the CCT set design team of Jim Litzinger, Patrick Faulds, Donna Harvey & Co.  Immediately upon entering the auditorium, one is presented with a vibrant, life-size mirror image of illustrator Clement Hurd’s nocturnal bedroom world.  By the time the metaphorical curtain rises, patrons of all ages are convinced they are inside the pages of a cosmos where all the universe’s inanimate objects are accorded equal rights to a kind goodnight.  So well-crafted is this stage that neither children nor adults suspect that it is about to spring to life, including choreographed argyle socks, gyrating lampstands, trap door frames, literal clock faces, prankish blankets, and an anthropomorphic telephone that scared me into thinking it was a green version of comedian Carrot Top.

For every child, hare or human, bedtime is a diurnal odyssey in which the 60-minute period between hitting the sack and falling asleep leads to under-the-covers-flashlight adventure—no matter how many times Old Lady Bunny appears to operatically croon, “HUSH!”  While parents are pleasantly amused by the night-time imagination of Bunny, every child in the audience will likely consider the events on stage a familiar evening occurrence in his or her bedroom.  What’s so unusual about wall pictures coming to life and breaking into a Fosse chair and tap number?  Or dolls in the dollhouse crying out to their master?  Or a hula-hooping mouse?

The between-the-lines key to every successful children’s show in this genre is of course a sufficient number of adult-targeted puns and slapstick gags—of which this show has no shortage, thanks to the cross-dressing antics of Lee O. Smith as a hirsute bovine and balding tooth fairy.  Another key is an audience filled with children who could care less about the cache of candy their parents have lavished upon them, because they are so eager to behold what happens next.  Several times I surveyed the throng of crisscross applesauce-seated children and saw nothing but riveted eyes.

Other performances of note include Elizabeth Stepp as the Bronx vaudevillian “ya-da-da-da-da” Dog; Anthony Harvey and Hannah Mount as the playful Kittens-turned-tap dancing Musical Bears; and Evelyn Clary as the Mouse, which my four-year-old daughter could not stop talking about until her head hit the pillow; then again, her name is Kat.

Director Stevenson once again regales us with a children’s play which is a worthy venture for every Columbia family in the next few weeks—only this time, he has demonstrated a bit of literary magic, proving that every story, even the most seemingly simple, is an open work, as complex in interpretation as all the “looth tooths” in the sky.

~ Arik Bjorn

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 Kat Bjorn’s Interview with the Cast of Goodnight Moon

KB:  Why is the play called “Goodnight, Moon”?

Cast:  [deep thoughts]  That’s a good one.

KB:  Why is the mouse young?

Mouse:  Are you suggesting I’m old, kid?

KB:  No,  I think you’re a teenager.  [big hug from mouse]  You’re supposed to be four; I’m four, too!

Mouse:  I’ll take teenager.

KB:  What is mush?

Cast:  [more deep thoughts]  It’s like oatmeal but has completely different ingredients.

KB:  Why would the bunny rabbit not go to sleep?

Bunny:  There’s just so much to do!  I don’t want to go to sleep.  I have so much energy!

Director:  He ate chocolate in bed.

KB:  Have you read the book Goodnight Moon?  Did you like it?

Bunny:  I read it as a child.  I really did like it; it was really fun to bring it to life on the stage.

KB:  Do you say goodnight to everything in your house?

Black Kitten:  Yes.

Dog:  Only animate things.

[general commotion]

KB:  Quiet, everybody!  Raise your hand if you say goodnight to everything in your house.

[Black Kitten raises hand timidly]

KB:  Thank you.

Cow:  I do, too.  But I have serious OCD.

KB:  Ahem!  Have you ever eaten mush?

Dog:  I like grits better.  It’s very mushy.  It’s like soggy rice oatmeal.

Director:  It’s actually spray insulation.

 

Goodnight Moon runs September 21-30 with performances at the following dates and time:  Friday, September 21 at 7 p.m.; Saturday, September 22 at 10:30 a.m., 2 p.m. & 7 p.m.; Sunday, September 23 at 3 p.m.; Friday, September 28 at 7:00 p.m.; Saturday, September 29 at 10:30 a.m., 2 p.m. & 7 p.m.; and Sunday, September 30 at 3 p.m.  Tickets are $8 for adults and children 3 and up.  The Columbia Children’s Theatre is located in the second level of Richland Mall, 3400 Forest Drive (corner of Beltline and Forest Drive).  Enter the second level parking garage walkway and park in Level 2-L for easy access.  Call 691.4548 for more information or to reserve tickets for groups of 10 or more.  To learn more about Columbia Children’s Theatre , visit http://columbiachildrenstheatre.com/ .