REVIEW -- Village Square Theatre's SCHOOL OF ROCK by Jane Turner Peterson

Young Performers Rock the Stage in School of Rock at Village Square Theatre

Get ready for some good rock ’n’ roll…performed on stage by kids! Yes, kids! School of Rock the Musical, with music by Andrew Lloyd Webber, kicked off Friday night at Village Square Theatre in Lexington. Along with a superior band in the pit—Patty Boggs (drums), Nigel Grant (guitar), Camille Jones (piano), and Katie Miller (bass)—the young performers who make up the onstage “School of Rock” band absolutely rocked the house.

Directed by David LaTorre, Village Square Theatre’s artistic director, this high-energy rock musical is great fun for audiences of all ages. While the original School of Rock film leaned heavily on the antics of its adult lead, the stage version puts a stronger spotlight on the students and their families. LaTorre’s direction keeps the large production moving smoothly and energetically. With a cast of 35+—and several roles double cast—this was no small undertaking. Yet the ensemble remained fully engaged throughout the show, always in character and clearly listening and reacting to one another onstage.

Though a number of adults appear in the production, the majority of the cast is made up of teenagers and younger performers. If these young actors continue their involvement in community theatre, the future of the art form in our area looks very bright.

Based on the 2003 film School of Rock, this musical (originally based on a book by Julian Fellowes (known for Downton Abbey, and The Gilded Age) was adapted for the stage by Mike White. The show premiered on Broadway in 2015 at the Winter Garden Theatre. The story follows struggling rock singer and guitarist Dewey Finn (Taylor Dively, who—after being kicked out of his own band—impersonates his geeky friend, Ned Schneebly (John Carter), a seasoned substitute teacher, to land a high paying job at a prestigious prep school. When he discovers his students’ musical talent, Dewey secretly forms a rock band with the students and sets his sights on the winning the Battle of the Bands. Needless to say, he is not your average teacher!

The musical moves at a brisk pace, with numerous scene changes handled efficiently by the cast and crew. Add in live instruments both onstage and in the pit, and the result is a production that demands serious stamina and energy from everyone involved. Thanks to LaTorre’s strong direction, the show hits the mark.

As Dewey Finn, Taylor Dively is perfectly cast. His energy and enthusiasm propel the show, and his rock ’n’ roll persona—along with some solid vocals—keep the momentum going. Dively is simply a joy to watch. John Carter fits perfectly in the role of a semi-nerdy friend, whose girlfriend, Sophie (D’Asia White) nags him about his loser friend, Finn.

Shelby Sessler nearly steals the show as the tightly wound principal Rosalie Mullins. Her vocal power and impressive range shine throughout the performance, and she deftly reveals several sides of the character as the story unfolds.

Several young musicians deserve special recognition. Alex Lease, who plays Zack in both casts, portrays the talented young guitarist desperate for his father’s approval, delivering some seriously impressive electric guitar work, better than many adult performers. Leo Portney brings equally strong skills to the drum kit, with drum solos that are a highlight of the show. Keyboardist Westin Black and bassist Allison Wengerd are similarly terrific.

Another standout is Mackenzie Bruder as the delightfully bossy and rule-loving Summer. Her confident stage presence, comedic timing, and sharp characterization add plenty of fun to the production.

Kudos also go to the entire ensemble of band members and classmates, including Lydia Reed, Grace Carlton, Jo Davis, Jack Carlton, Zach Cieri, Jackson Livingston, Catherine Cieri, Scarlett Ellingson, Soph Carlton, Ciara Nash, Kate Bruder, Eliot Stewart, Janely Burgos, Finn Carlton, Selah Lyle, Graham Gibson, Alyssa Presutto, Reese Catalanotto, Mackenzie Miller, Pete Roberts, and Scarlett Powell. Each performer brought strong character work and plenty of enthusiasm to the stage.

The adult roles are capably handled by Andrew Coston, Will Dowd, Eric Jewell, Max Ferro, Zanna Mills, Tracey Lease, Megan Stewart, Chris Bender, and John Carter.

Depending on what night you go, there are a slew of other young actors in the other cast. They include Ethan Schalund, Grace Bender, Aleah Headen, Brighton Dunbar, Rilyn Boehme, Hunter Gibson, Cully Srikanth, Logan Blackledge, Emily Sippel, Charlee Gay, Adalynn Williams, Genevieve Savage, and Emma Grace Simpson.

Choreography by Maggie Pszenny is lively and well suited to the production, adding to the show’s overall energy. The production is produced by Tricia Miller, and musical direction by Julia Turner keeps the rock sound tight and exciting. It’s clear that everyone involved poured their hearts into this production.

If you’re ready for a fun night filled with great rock ’n’ roll—and a chance to see the promising future of community theatre and young performers—make plans to catch School of Rock: The Musical at Village Square Theatre in Lexington. The show runs through March 22. Tickets are available at villagesquaretheatre.com or by phone at 803-359-1436.

REVIEW: Village Square’s The Odd Couple – Classic Comedy Done Right by Jane Turner Peterson

Neil Simon’s The Odd Couple opened Friday evening at Village Square Theatre in Lexington, bringing laughter, nostalgia, and a delightful dose of 1960s charm to the stage. Under the sharp direction of Allison McNeely, this production captures the timeless humor and heart of Simon’s beloved play while offering a fresh, lively take on the story of two polar-opposite roommates. From the first moments, the show delivers exactly what audiences hope for—snappy dialogue, hilarious physical comedy, and a genuine sense of camaraderie among its cast. 

Director Allison McNeely has crafted a production that feels both authentic and full of energy. Her attention to pacing and character dynamics keeps the comedy crisp without losing the play’s warmth. The 1960s setting is beautifully realized—Dell Goodrich’s costume design perfectly captures the era’s style, from the guys’ sloppy dress to the mod dresses and shoes for the girls, and the set transports the audience straight into Oscar Madison’s cluttered New York apartment. It’s clearly a labor of love, with many members of the cast and crew contributing to its creation. Every detail, from the furniture to the period-appropriate props, feels thoughtfully chosen and true to the time. 

While the production was strong overall, there were a few technical hiccups with the wireless microphones on opening night. But that’s live theatre—anything can happen—and the cast handled it with professionalism and ease, never breaking character or losing momentum. In fact, the moments when the mics faltered proved that the actors didn’t need them; their projection and clarity carried beautifully across the intimate space. In smaller venues like Village Square, strong vocal work often serves better than amplification, and this cast proved that point with confidence. 

The cast of The Odd Couple was uniformly strong, led by David LaTorre as the neurotic Felix Ungar and Davis Herndon as the lovable slob Oscar Madison. LaTorre fully embodied Felix’s nervous energy—his fussy mannerisms, anxious pacing, and relentless tidying perfectly captured the character’s comic tension. Herndon, by contrast, brought an easy charm to Oscar, a man who lives for poker nights, cold beer, and controlled chaos. Together, the two actors found a natural rhythm, their chemistry and timing making the famous odd pairing feel both believable and fresh. 

Adding to the fun were the delightfully ditzy Pigeon sisters, played by Ivy Munnerlin (Cecily) and Melissa Frierson (Gwendolyn). Their infectious giggling and lively energy lit up the stage, serving as a perfect foil to Felix’s nervous breakdown and Oscar’s barely contained frustration. The result was comedy gold. 

Oscar’s poker pals added another layer of humor and heart to the production. Clayton King, Charles Zuber, Steve Reeves, and newcomer Cole Allen created a believable band of mismatched friends who clearly enjoy one another’s company—both onstage and off. Each brought a distinct personality to the table: the sarcastic wit, the mild-mannered pushover, the no-nonsense realist, and the good-natured joker. Their overlapping dialogue and easy camaraderie made the poker scenes feel wonderfully natural, as if the audience were eavesdropping on a real group of lifelong friends ribbing each other through a Friday night game. Their chemistry grounded the show and reminded us why The Odd Couple continues to resonate—because friendships, however messy, are what make life bearable. 

In the end, Village Square Theatre’s The Odd Couple delivers exactly what audiences come to the theatre for—a night of laughter, nostalgia, and genuine connection. Under Allison McNeely’s direction, the cast brings Neil Simon’s iconic characters to life with heart and humor, reminding us why this play remains a timeless classic. Whether you’re a longtime fan of The Odd Couple or discovering it for the first time, this production is a delightful reminder that even the most mismatched friendships can endure. It’s smart, funny, and filled with charm—an evening well spent at Village Square Theatre. 

The show will run through November 2, so hurry and get your tickets before they are gone. You can purchase them online at villagesquaretheatre.com.

***

REVIEW: Chapin Theatre Company's 10 Minute-ish Play Festival

By Cindi Boiter

I wish I could tell you that if you’re looking for a fun time in the theatre this weekend you should make your way out to Chapin Theatre Company’s new space for the 5th year of their 10 Minute-ish Play Festival. But it would all be a tease unless you’re one of the lucky folks who grabbed a ticket to one of the upcoming three performances before they completely sold out! And THAT alone is a big enough hint to tell you how fun and entertaining this sequence of performances is!

Produced by Lou Clyde and Jim DeFelice, CTC’s 10 Minute-ish Play Festival offers the audience a total of 8 short plays written by SC playwrights and directed and performed by some of the stalwarts of the greater Midlands theatre arts community. Selected from close to 50 scripts submitted before May 31st, these eight plays are clever, innovative, and almost always funny. Playwrights include Jonathan Cook, Lou Clyde, Rae Kostal, MonaLisa T. Botts, Glen Farr, AKR Scott, Eduardo Oliviera, and Susan Demchak with directors Jerry Crouch, Elizabeth Stepp Oliviera, Debra Leopard, Glen Farr, MonaLisa T. Botts, Jane Peterson, and Ivy Munnerlyn.

This reviewer had the pleasure of attending the dress rehearsal for the production Thursday night. It was my first time in CTC’s new space at 830 Columbia Avenue on the way into Chapin where the house was fairly full, considering it was a rehearsal. The space itself says a lot about the perseverance of Jim DeFelice and his board of directors and patrons. (Aside - In an article coming up in the fall issue of the print version of Jasper Magazine,  releasing on Saturday November 8th at Gemini Arts in Columbia, Jane Peterson explores the history of CTC, the conversion from Chapin Community Theatre to its current form, and more, stay tuned to learn more about the tireless dedication of this organization.)

The evening began with the hilarious Don’t Call Me Cupid, written by Cook and directed by Munnerlyn, featuring Hannah Peak, Tyler Zangla, David LaTorre, and Allison Allgood, whose exemplary work shows up in a total of three of the evening’s plays. DeFelice and Clyde made the right decision in opening the fest with Cupid. It’s funny, irreverent, and outside-the-box, setting the stage aptly for the evening to come.

Lou Clyde’s Heartbeat was next up, directed by Jane Peterson and featuring such  a strong performance by Tiffany Dinsmore that I don’t want to miss her next show. Dinsmore demonstrated a wide range of emotions and responses in this very sweet look at pregnancy and family.

Rae Kostal’s Offsides followed, cleverly turning societal expectations of romance and gender orientation on its head and bringing into question institutional biases many of us still adhere to. It was great to see Emily Harrill, who typically works as stage manager actually ON the stage and, again, Allison Allgood was strong, as was Abby Mathias.

Without a doubt, the funniest play of the evening was Taking Care of Business written and directed by MonaLisa T. Botts, who also played the character of Diane. But it was Debra Kiser who stole the show  with her performance of Grace, a dry-witted woman who had been wronged and, though hilariously inebriated, was taking matters into her own hands delivering lines in her best Southern drawl like, “He’s just got a bad case of lead poisoning because he’s got a bullet in him.”

Perhaps the most innovative script of the evening came from writer and director Glen Farr with his futuristic, I’m Dead, Jim. Featuring Frank Thompson, Barry Smith, Will Dowd, and Katie Mixon, I’m Dead, Jim is smart, well written, well directed, and right on the cusp of the reality/illusion divide where we tend to find ourselves these days as humanity contemplates potential new dimensions of existence. Like a brief and comical episode of Black Mirror, Farr was right on the money in offering audiences this play at this time.

Though at times following the arc of the play Sticky-Fingered Sailor by A.K.R. Scott was a little challenging, I was delighted to be introduced to Thurayya UmBayemake in the role of Esme, playing opposite David LaTorre as Jack. UmBayemake is a joy to watch, particularly in this very sweet tale, directed by Debra Leopard.

The Princess and the King, a tale of love and manipulation featuring Barry Smith as an Elvis impersonator, Christy Mills, Mark DiNovo and Len Lesslie, was written by Susan Demchak and directed by Jerry Crouch. With more moving pieces than the other plays, Demchak’s script also gave us the surprise ending that characterized most of the plays in the second half of the production. While Mills was a lot for her colleagues to keep up with, they all rose to the occasion with DiNovo holding his own as a well-dressed thug opposite Mills’ over-the-top camp. And in the end, it worked!

Easily my favorite play of the evening, Debt, written by Eduardo Oliveira and directed by Elizabeth Stepp Oliveira, was  the more serious of the festival’s plays and it gave us the best actors’ performances with Scott Stepp as Jerry Wakefield and Allison Allgood as his wife, Beth. While limited to 10minutes-ish, Debt was tight and succinct but it told a tale that could easily be expanded into a full-length play. It almost felt like what we saw was condensed from a lengthier piece and done so expertly. Kudos to the Oliveiras, Stepp, and Allgood, all of whom got my vote for best play and actors. (There is actually a ballot on which audience members can cast these votes.)  

This review would be remiss if we didn’t mention the stellar performance of the emcee for the evening, George Dinsmore. During what appeared to be off-the-cuff riffs between plays but were surely pre-planned, Dinsmore kept the audience entertained and looking as forward to his interludes as we did to the plays themselves. He was charming, entertaining, and thoughtfully humble, never making the show about him as the emcee—something we rarely see in theatre, but something to be appreciated and recognized when we do.

Congratulations to the 30-plus theatre artists of Chapin Theatre Company who put this huge production together, including sound and light engineer Simon Marchant, as well as to the smart and on-the-stick patrons who got their tickets while the getting was good!

Chapin Theatre Company’s 5th annual 10 Minute-ish Play Festival will be staged tonight and Saturday, August 22nd and 23rd at 7:30 pm and Sunday August 24th at 3 pm at 830 Columbia Avenue. For more information on CTC check out their website and look forward to their next production, Dracula: A Comedy of Terrors October 3 – 19, directed by George Dinsmore and featuring Frank Thompson, David Fichter, Katie Mixon, and Debra Kiser with Josh Kern as Dracula.