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: Columbia Children's Theatre presents The Commedia Hansel and Gretel by Melissa Swick Ellington

Columbia Children’s Theatre presents a delightful summer treat with The Commedia Hansel and Gretel. Following numerous other commedia summer shows produced by CCT, Hansel and Gretel benefits from the collaborative nature of the Italian theatre tradition commedia dell’arte. Innovative director Jerry Stephenson aptly describes the entertaining characters as “beloved, rag-tag, fame-hungry players,” and audiences of all ages will enjoy their mischief.

The “Spaghetti and Meatball Players” include five commedia characters (Columbine, Pantalone, Arlequino, Punchin, and Rosetta) who take on multiple roles within the story. As Columbine, Mary Miles becomes an amusing Gretel, tap-dancing and pouting her way through the forest. Paul Lindley II’s Arlequino plays her long-suffering brother Hansel with charm and verve. The fairy tale siblings achieve effective rapport with the young audience through interaction that feels both genuine and satisfyingly silly. In the role of Punchin, Baker Morrison delivers a hilarious performance as two iconic stars of Food Network fame, while Noah Barker’s Pantalone succeeds as the humorously incompetent fairy tale father and other roles. As Rosetta, Kaitlyn Fuller does double duty as stepmother and witch; she skillfully creates distinctly memorable characters who menace Hansel and Gretel with flair. (At certain performances, alternate actors will play the following roles: George Dinsmore as Pantalone, Taylor Diveley as Arlequino, Julian Deleon as Punchin, and Frances Farrar as Rosetta.)

As audiences have come to anticipate, CCT puts forth first class production quality. Vibrant flag banners liven up the stage, which features a useful proscenium for backdrop changes in Patrick Faulds’ attractive set. Jim Litzinger’s lighting and sound design choices work beautifully to support the production, and Stevenson and Donna Harvey score a big win in the costume department with colorful creations that highlight appealing use of shape and texture. Company/stage manager Candice Fuller keeps everything on track in what must be a riotous backstage experience.

This high energy performance successfully combines popular culture and entertainment with classic fairy tale conventions. While some of the comical references will not be familiar to young children, there are plenty of jokes that make sense to the littlest audience members as the older crew snickers over references to the Kardashians, Paula Deen, and Lin-Manuel Miranda, among many more. The engaging actors capitalize on the improvisational aspect of the commedia tradition as they incorporate audience responses with quick-witted confidence. As the latest installment from the Spaghetti and Meatball Players, Hansel and Gretel is a welcome addition to the clever commedia tradition at Columbia Children’s Theatre.

Performances of The Commedia Hansel & Gretel at the Columbia Children’s Theatre will run through June 19 (Saturday at 10:30 a.m., 2:00 p.m., and 7:00 p.m.; and Sunday at 3:00 p.m.). Ticket prices are $10 for children three years old through adult, $8 for seniors and active duty military, and $5 for all tickets on Saturdays at 7:00 pm only. Tickets may be purchased from the box office (803-691-4548) or online at www.columbiachildrenstheatre.com.

-- Melissa Swick Ellington

A. R. Gurney's "The Dining Room" - Rachel Arling reviews the new Workshop Theatre production

“The trouble is, we’ll never use this room. . . The last two houses we lived in, my wife used the dining room table to sort the laundry.”

So says a modern home buyer during the first scene of A. R. Gurney’s The Dining Room, a series of vignettes that take place in an upper-middle-class dining room throughout several time periods. As someone whose formal dining room has been converted into a home office, I can relate to the home buyer in the play. Dining rooms are practically obsolete these days, right? However, Gurney’s play reminds us that there was a time when they were the center of family life. The decline of the dining room coincides with the weakening dominance of the “WASPs of the Northeastern United States.” Gurney alternates between satirizing this “vanishing culture” and showing nostalgia for it. Ultimately, though, the play is less concerned with documenting a specific society, and more concerned with presenting universal snapshots of human life.

Workshop Theatre’s production, directed by Daniel Gainey, uses six actors to portray over fifty characters.  It is a true ensemble show, so all of the actors remain visible onstage the entire time. The minimalist set by Richard Király consists of a single wall covered with picture frames, which are left empty so that we can imagine decor suitable for each household and time period depicted in the play.  There are no props--nearly everything is mimed.  Six high-backed wooden dining room chairs are the only furniture pieces.   I expected a table; however, Gainey’s decision to leave the table to the imagination is smart because it allows for more flexibility with blocking, keeping the show visually interesting.

The versatile cast includes Hans Boeschen, George Dinsmore, Samantha Elkins, Ruth Glowacki, Emily Padgett, and Lee Williams. The actors wear unobtrusive black clothing, relying solely on physical and vocal characterization to differentiate their parts. The show’s only costume piece is an apron that signifies servant status (all of the women play maids at some point). Each actor plays a variety of ages, from stern grandparents to excitable young guests at a birthday party.  The actors are especially effective when they play children; during the birthday scene, they burst with giddy energy, but try hilariously hard to contain it so they can placate the adults and receive their cake. Other notable acting moments include Boeschen and Elkins’ utter certainty that their family’s future is at risk because of a single remark someone made at their country club, and Glowacki and Dinsmore’s strong chemistry that develops while their characters crawl around on the floor (don’t ask.)

The show’s most touching vignette occurs at the end of the first act. Padgett plays an elderly woman who struggles with dementia and cannot recognize her own family during Thanksgiving dinner. Padgett masterfully portrays the woman’s attempts to overcome her confusion and hold on to her train of thought. The woman’s most devoted son (played by Williams) tries every method he can possibly think of to help her remember, and his refusal to give up is heartbreakingly beautiful.

In a play with so many separate stories, some are bound to be more engaging than others. Most of my favorite scenes happened during the first act, so the second act seemed to pass more slowly for me. Luckily, if a particular scene fails to catch your interest, you can rest assured that a completely different scene will replace it soon enough. With a running time of about two hours (including intermission), the show is not too long.

My only real complaint about this production is the fact that the actors never exit the stage even when their characters temporarily leave the dining room. In such instances, the actors just walk upstage, turn around, and stand stiffly until it is time for them to re-enter the scene. This situation becomes awkward when the actors have “offstage” lines, which they deliver while remaining rigidly still and facing backward. I would have been less distracted if the actors in question had simply exited the stage for a short time. I think Gainey was perhaps overly committed to the concept of keeping all the actors visible the entire time. However, this scenario only occurs a couple of times throughout the play, so it’s not a big deal.

On the whole, Workshop’s production of The Dining Room is a success. Gainey makes an admirable directing debut, and he has selected a cast of actors who are game to try anything. Watching them play with the material is a treat.  The Dining Room runs through this Sunday, November  9, at The Market Space at 701 Whaley, with evening performances at 8 PM Friday, Saturday and Sunday, plus matinee performances at 3 PM on Saturday and Sunday.  Visit http://www.workshoptheatre.com/TheDiningRoom.html or call (803) 799-6551 for more information.

~ Rachel Arling

Director Daniel Gainey Dishes on Workshop Theatre's "The Dining Room," opening Thursday 11/6 at 701 Whaley - a preview by Haley Sprankle

Chattering excitedly, the cast of The Dining Room at Workshop Theatre fills the room with energy as they await the start of rehearsal.

“Alright everyone, let’s get started.”

The cast immediately focuses, and Act I begins.

“And the dining room!  You can see how these rooms were designed to catch the morning light.”

The Dining Room is a play by A. R. Gurney which features 18 vignettes set in various dining rooms, and the problems each family may face in theirs.

In director Daniel Gainey’s upcoming production, there is a cast of six actors (Ruth Glowacki, Samantha Elkins, Emily Padgett, George Dinsmore, Hans Boeschen, and Lee Williams) who portray all the characters, young or old.

"If I win the lottery, I'd form an acting troupe with this group and be a happy man. I look at them, and can't help but smile that six intelligent and talented people trust me enough to risk themselves and their craft for my vision.  It's humbling, and they are so brilliant," Gainey remarks.

Not only does having the cast play a multitude of characters of different ages showcase each actor’s versatility as a performer, but it also gives a sense of timelessness to the play; it shows that we all carry the issues we face throughout our lives.

"Nostalgia is a vicious plague or an effective sedative, depending on where you fall in history,” Gainey says. “Gurney is poking at a lot of nostalgic icons or scenarios, as if to make us diagnose ourselves. Are we holding on to our pasts because our futures are empty, or are we living in a past dream to avoid a current nightmare? What are we really missing, and is it worth the energy we spend to pass it to the next generation? Those questions are relevant everywhere and at all times, I think."

This generational difference plays a major part in the production. Each scene is set in a different time with people of differing ages trying desperately to understand each other.

“That’s your generation, Dad.”

“That’s every generation.”

“It’s not mine.”

“Every generation has to make an effort.”

Although new generations may bring change, people often still hold on to what they know, and hold on to the past.

"When you walk in a room, but forget why you went there - that pull, that path that leads you to that spot over and over again - like the pause in a seeming ridiculous, heavy handed run-on sentence - that feeling is what this show is all about,” Gainey says.

Gainey’s direction of the cast and minimalist use of props and costumes draws the audience in to what the story is really about: a sense of home.

The Dining Room connects, whether it is the room or the play. But I didn't want this to be a love letter to a room that is disappearing in many new home constructions,” Gainey says. “For me, it's the characters. I feel like I've known the people before--or even be related to them--and sometimes, I think I am these characters. When a play can do that, you have to dig into it."

The Dining Room runs at 701 Whaley’s Market Space from November 6-9. Thursday through Sunday performances are at 8 p.m. with additional matinees on Saturday and Sunday at 3 p.m. Go to workshop.palmettoticketing.com, or call (803) 799-6551 to reserve your tickets now.

~ Haley Sprankle

"Crimes of the Heart" - a review of the new show at Workshop Theatre

Tennessee Williams meets Steel Magnolias meets Charmed. That's how Crimes of the Heart might be pitched for a tv miniseries, as the power of three sisters reunited by family crisis enables them to navigate the murky swamp waters of Southern Gothic dysfunction. Beth Henley's dark comedy (or witty drama, depending on your perception) was all the rage in the early '80's, winning both the Pulitzer and the Critics' Circle Award for best play, receiving multiple nominations for Tony awards and Oscars (for its screen incarnation) and running for 535 performances on Broadway.  In ensuing years it has become a staple of regional and community theatre, due to its small cast, simple set, and easily-accessible-themes of love, loss, conflict and reconciliation among family members. These themes, being universal, have been addressed in other works before and since, and as a result, much of the material seems awfully familiar, but director Jocelyn Sanders has chosen a talented cast for her revival currently running at Workshop Theatre, and they ensure a spirited and lively evening of fun on stage.

The Magrath sisters can't get a break.  Their mother notoriously committed suicide when they were children, after their father abandoned them; the grandfather who raised them now clings to life in a hospital. Eldest sister Lenny (Allison Allgood) faces becoming a spinster as she turns 30 in small-town Mississippi in 1974, while free-spirited, scandalous middle sister Meg (Katie Mixon) is recovering from a failed show business career and a stay in a psychiatric hospital. Meg's return coincides with the arrest of youngest sister Babe (Erin Huiett) for the attempted murder of her abusive husband. As the play opens, we learn that even a beloved family horse was struck by lightning.  This all sounds pretty grim, yet most of the show plays like a situation comedy, as if Tennessee Williams had penned a terribly wicked episode of Designing Women. Lenny is a more functional version of The Glass Menagerie's Laura or Summer and Smoke's Alma, with Meg and Babe high-strung variations on Blanche Dubois.  (If in parallel time streams Blanche had either set out for California, or married a rich lawyer, only to give in to her penchant for young boytoys.)  Mixon portrays Meg fairly seriously, allowing the laughs to come naturally with the lines, while Allgood goes for a more comic interpretation, while nevertheless revealing assorted wounds and vulnerabilities.  Huiett faces the biggest challenge. In the notes I took during the performance, I see that at three different times I wrote "This is a woman on the edge."  Huiett employs an array of vocal mannerisms and affectations to convey a person repressing deep emotions, and some work better than others.  There's a detached, upwards lilt to much of her delivery, yet to me, it's indicative of her very tenuous grasp on stability.  Babe chooses each word very carefully, fearful that she may reveal too much about the shooting and what led up to it, and more fearful that recalling certain events may send her off the deep end.  It takes getting used to, but there is great power in her performance, especially in a riveting monologue midway through the show.  Huiett admirably sustains tremendous highs and lows over the course of more than two and a half hours. (There is only one intermission, in between Acts 2 and 3, so be forewarned.)

Denise Pearman, George Dinsmore and Hans Boeschen (alternating in his role with Lee Williams) do good work as supporting characters; all function as plot devices to provide exposition, and to give one or more sisters a challenge or obstacle to overcome, yet each performer has some good bits. Dinsmore, as Meg's ex-boyfriend, becomes frustrated as he falls into familiar patterns of behavior; the actor flails his hand with unspoken emotion and powerlessness, giving a visual echo to the thoughts we know are within.  Pearman is the sisters' nosy neighbor/catty cousin, and perfectly captures the parochialism of a small-town "Ladies' League" member. (Interestingly, her hair is far more beautiful than her nature. Bless her heart.) Boeschen is growing as an actor, and is convincing as a rookie lawyer determined to save Babe from jail, while trying to resist his attraction to her. Although as Huiett observed in a tv interview promoting the show, good luck with that.

Director Jocelyn Sanders has successfully helmed a number of big-cast, big-budget musicals in recent years, but is back in her comfort zone of character-centric drama, with plenty of opportunity to focus on characterization, line readings and mannerisms.  At times the sisters, each histrionic and often hysterical, talk at once in rapid fire, but then Sanders will allow for a long and uncomfortable period of silence, to accentuate a particular emotion or realization. The entire cast does well with body language. Characters find themselves alone on stage, sometimes pacing frantically, or engaging in frenzied stage business, alternating with quiet and meaningful moments of reflection. The action takes place in the kitchen of the Magrath family home, with a finite number of places to locate the actors (a table, some chairs, the counter, a cot placed by a stairwell) yet Sanders keeps her cast moving rapidly yet naturally. She also creates some interesting stage pictures, as when Lenny, ostensibly the eldest and most grounded, rests her head in the lap of her younger - and ostensibly more troubled - sister, looking for comfort and reassurance.

Randy Strange's set is up to his usual level of excellence. A glimpse of a tree outside the kitchen window is well-lit by Barry Sparks's lighting design, which incorporates subtle shades of violet and blue to remind us of the time of day during different scenes. Baxter Engle's sound design incorporates a very believable ring for a busy kitchen telephone that thankfully sounds exactly as if it's ringing (instead of a sound effect coming from a speaker somewhere else.) I might add that on opening night the rings were timed perfectly, since nothing ruins a mood on stage like a phone still ringing after the actor has answered it.  Costumes by Alexis Doktor are.... well, I can't say attractive, so let's just say they are quite authentic for the 1974 setting, and are exactly what these characters would think are attractive.

Literary aficionados will surely catch hints and traces of everyone from Faulkner to Eudora Welty and Carson McCullers, while theatre buffs will spot themes addressed in the plays above. Younger audience members will have seen similar plotlines in a dozen or more made-for-cable movies. Still Henley is working in a tradition, and her work, and in particular this work, has influenced a generation of successors and imitators.  Were this the miniseries I imagined above, there would also be preceding scenes focusing on the Magraths' childhood years, and a conclusion where we learn if Babe prevails in court, if Lenny finds a "fella," and if Meg can ever pull it together. Instead, the play ends in media res, with the assurance that the reunited family unit will somehow find the strength to prevail.  Which is almost disappointing, but I thought about the implications over the weekend, and realized the bigger message. As each parental figure leaves, the Magraths' lives slowly unravel, and each sister grabs at some possible escape. Had they stayed together, Babe might never have ended in a bad marriage, or at least might have found the strength to leave it sooner. Lenny seems quite confident and happy when her sisters are around.  Even Meg, who provides most of the liveliness that keeps the family unit going, might make fewer bad choices if she were secure in the knowledge that her (remaining) family loves her.  Indeed, the implication is that the power of three together is more than the sum of its parts. When the sisters laugh and giggle and gossip together, their problems seem smaller somehow, and easy to overcome.  None of that would succeed, however, without the talent of cast and director working in concert to bring out the nuances and themes within the text.

Whether by design or fortunate coincidence, Workshop is revisiting some of the more important plays of the last few decades this season, each representing a particular genre.  Last summer's Doctor Dolittle was a classic tale for small children, while Beehive was a musical revue featuring girl groups from the 60's. Sleuth was a male-centric, sophisticated comic thriller, and here Crimes of the Heart represents female-centric theatre that addresses....well.... affairs of the heart. Up next is a vintage but decidedly male-centric Neil Simon coming-of-age comedy, Biloxi Blues, and the season concludes with a wacky and broadly comic new musical straight from Broadway, Young Frankenstein. That's a nice and representative tour through the repertoire of modern theatre, and exactly what one expects from Workshop.

Crimes of the Heart runs through Sat. Jan. 25th, with a 3 PM matinee on Sunday the 19th.  Call the box office at 803-799-6551 for more information, or visit http://www.workshoptheatre.com .

~ August Krickel

Memorable Theatre Moments from 2012 - August Krickel's picks

This time last year, on a lark, I put together a stream-of-consciousness recollection of some things I had enjoyed on stage over the preceding year.  Would you believe - we set a new record for site visits with that blog post!  Sure, sure, the site and blog were still young, and most of it was folks logging in to see if they were mentioned or not, but still, it showed everyone involved that there is significant interest in theatre among the greater Columbia arts community.  As I wrote at the time, "theatre for me is sometimes not about the final product, but rather individual moments that move me, make me smile, or stay with me long after the show is done."  This year I have been fortunate to see most of the shows at the main theatres in downtown Columbia:  7 of 8 done on the Thigpen Mainstage (plus a late-night show) at Trustus, 3 of the 5 done at the Trustus Side Door, 5 of 6 at both Town and Workshop, plus a couple at Columbia Children's Theatre.  That's 23 freakin' shows, which sadly means that I didn't have time to see any at the many excellent theatres and venues on campuses and in the suburbs.  So with that disclaimer, I give you the best, funniest, and most memorable theatre moments for me from 2012: - the opening image as the curtain rose in Dirty Rotten Scoundrels at Town Theatre, with dancers frozen in exotic poses. In particular, Haley Sprankle, Grace Fanning and Becky Combs were draped over their partners with extension that went from here to the moon, and it perfectly captured the look and feel of the carefree and free-spirited Riviera setting.

- Doug Gleason in Scoundrels, goofing and camping it up shamelessly, then breaking into song with the voice of an angel, not a buffoon.  In my review, I wrote that he reminded me of the young Bill Canaday, a gifted comic actor now happily retired from the state and (at least temporarily) the stage. Several people mentioned to the real Bill that they saw his name in a theatre review, and he laughed and later told me that this was like the actor's nightmare - was he supposed to have been in a show somewhere?  Did he miss his entrance?

- Elizabeth Stepp as a huffy, haughty insect, miffed over being shooed away in Pinkalicious at Columbia Children's Theatre.  Lindsay Brasington, vamping and cooing for the press as she imagined being the first doctor to diagnose acute "pinkititis." George Dinsmore, dramatically confessing to his wife after all these years, his dark secret that he too secretly had a fondness...for the color ....pink.  (At which point Sumner Bender leaned over and whispered to me "But they named their daughter ... Pinkalicious?"

- Shelby Sessler's tour-de-force as three separate and distinct characters in Alfred

Hitchcock’s 39 Steps at Town.  Only a couple of weeks after portraying the titular tyke in Pinkalicious above,  she played a va-va-voomish German femme fatale,  a forlorn Scottish farm wife, and a proper yet spunky yet romantic British lady. As the German she somehow managed to not only play dead, but to feign rigor mortis, stretched out over an armchair... I still don't know how she managed it.  As the lady, she and her castmates mimed all the effects to convey a train speeding down the tracks.... and if you looked down, very subtly her hand was fanning the hem of her skirt back and forth to add the effect of wind.  Not surprisingly, she was one of three finalists for Jasper Theatre Artist of the Year, and organized the entertainment for the November issue release party at City Art.

- Avery Bateman and Kanika Moore playing multiple roles in Passing Strange at Trustus.  Bateman cracked me up as a materialistic princess-type whose life with hero Mario McClean was pre-planned within about 5 seconds; then she and Moore turn up as Dutch girls, then Germans. "Have a conversation vit' ze hand," Moore declares, almost getting American slang right. Even music director Tom Beard got a line in on stage, rising in outrage, when the cynical German nihilist characters dismiss the punk movement as commercialism, to protest "What about The Clash, man???"    Also loved the vivid colors that symbolized the free-spirited European setting of Passing Strange, provided via original paintings from ten local artists, and director Chad Henderson's always-moving, never-a-dull-moment, no-one-wasted-on-stage  blocking.  (And sure enough, Henderson was voted Theatre Artist of the Year by Jasper readers!)

- Randy Strange's lush, opulent, plantation-interior set for Cat on a Hot Tin Roof at Workshop Theatre. There was something to take everyone's breath away in this classic show, from Jason Stokes in a towel, to E.G. Heard (and on alternating nights, Samantha Elkins) in a negligee. Ironically, the beautiful and talented Heard teaches theatre at my old high school, while the equally lovely and gifted Elkins teaches drama at the one I was zoned for. I seem to recall my old theatre teacher was nicknamed "Sasquatch" - my how times have changed!

- G. Scott Wild utilizing the teeny Side Door Theatre space at Trustus more efficiently and realistically than I had ever seen before, with his set design for A Behanding in Spokane. The entire show takes place in a hotel room, and Wild wisely used every single

inch of available space, including the main entrance into the theatre as the room's only door, complete with deadbolt and peephole.  And Wild himself, perfectly capturing a world-weary, frustrated (possible) serial killer, then seamlessly segueing into the character's actual nature: a world-weary, frustrated, hen-pecked nebbish.  When you meet him, you realize Wild is quite young, but with little make-up and primarily mannerisms, he effectively embodied a character 20+ years older than he. Christopher Walken played this role in New York, but I somehow suspect that Walken played Walken, while Wild embodied and fleshed out the character.

- Also, in Spokane, Elisabeth Smith Baker embraced a challenging character role.   In my review, I wrote that she somehow managed "to be pathetic and sympathetic, winsome and adorable in a skanky sort of way, vulnerable, crafty and resourceful, yet sometimes just dumb as a post. She has some nice moments of physical comedy that would make Lucille Ball proud.   At one point she makes a quite logical decision to try to charm her way out of a life and death situation, yet her effort is so obviously contrived that only an idiot would fall for it... and of course, one does."

- Sumner Bender and Ellen Rodillo-Fowler, both getting a chance to sink their teeth substantial roles in In the Next Room, or The Vibrator Play at Trustus.  Color-blind casting is always a tricky challenge, and Bender and her infant's wet nurse need to be white and black respectively, because of specifics in the script, but Rodillo-Fowler played another society lady, and peer to Bender.  Was she perhaps the mixed-heritage daughter of a prominent admiral or missionary? Could she have simply been adopted, and raised in starchy whitebread Victorian society?  Or was she (as my spirit-guide Dr. Moreau suggested) a Native American? Most importantly, it didn't matter.

- Vibrator also featured the return of Steve Harley, not seen enough on local stages in recent years. I got some mileage out of this line of his:  "Hysteria is very rare in men, but then he is an artist.” The artist referenced was played by Daniel Gainey, one of a number of gifted young actors who seemingly came out of nowhere to captivate local audiences. (See Wild and Gleeson above, and Andy Bell below; with Gainey, "nowhere" was actually many roles in opera and operatic musical theatre.)

- Speaking of Gleeson, he played a vastly different type in Andrew Lippa's Wild Party at Workshop, still a clown, but a scary one. The extreme physicality of some of the choreography was impressive, as were his scenes with Giulia Marie Dalbec (his leading lady in Scoundrels above, but more on her in a moment.) Also in the cast as part of the ensemble was Grace Fanning, as an underage party girl in the Roaring 20's. At one point the lyrics describe each "type" as they enter: a dancer, a producer, a madam, a boxer, and.... as Fanning sashays in, anticipating something like "a flapper," "a beauty," "a vamp" .... all she gets is: "a minor." The look of shock and outrage on her face was priceless, a combo of "I'm busted!" and "Is that all I get?"

- the strong supporting cast in Grease at Town, finally getting to sing all their best songs. The film version cut out a lot of the 50's do-wop homages, and focused on Sandy and Danny.  Here, Sirena Dib got to break hearts with "Freddy My Lo-ove," and Patrick

Dodds (still sporting his high hair from Spring Awakening) not only got a chance to smile on stage, but rocked out with "Those Magic Changes," two of my favorite songs of all time. Hunter Bolton reclaimed Kenickie's "Greased Lightning" (complete with the original lyrics describing exactly what sort of wagon it is) while Jenny Morse and Mark Zeigler beautifully harmonized in "Mooning," a song I had forgotten entirely. Leandra Ellis-Gaston got to drop the (Italian) F-bomb on Town Theatre's stage (it's just the seemingly meaningless "fangu," but it means the same thing) and was another example of how color-blind casting rarely hurts

anything.  Sure, the script calls for Rizzo to be Italian, but who's to say her dad wasn't progressive, and married an African-American?  Dodds also got some incredible moments of physical comedy with Haley Sprankle, as he tries to match her, move for move, at the prom.

Elizabeth Stepp, a gifted comedienne, literally throwing herself into each scene with abandon, as a beautiful Cinderella (at Columbia Children's Theatre) who still managed to get plenty of laughs.

- Gerald Floyd's increasing frustration with life after death in Almost An Evening (at the Trustus Side Door) navigating obstacles that ran from a maddeningly matter-of-fact receptionist (Vicky Saye Henderson, another Theatre Artist of the Year finalist) to a smooth-talking, winking bureaucrat (Jason Stokes.) Followed by his sympathetic portrayal of a grieving Texas father, in his scene with Kendrick Marion, playing against type as a stuffy, repressed government operative.

- the graphic puppet sex and nudity in Avenue Q at Trustus. And Kevin Bush hastily inventing his girlfriend Alberta...from ...um... Vancouver...in Canada.  And Katie Leitner voicing and manipulating two very different-sounding characters, Kate Monster and Lucy the Slut, with the aid of Elisabeth Smith Baker, who voiced plenty of others too, including one of the Bad Idea Bears. "Important day at work tomorrow?  Let's do some shots!"

- the commitment by director Shannon Willis Scruggs and costumer Lori Stepp to go all the way into the absurd in Joseph and the Amazing Technicolor Dreamcoat at Town.  The musical numbers are pastiches of various styles (country, rockabilly, calypso, etc.) and here, almost like a live cartoon, the cast morphed quickly into Frenchmen with berets, cheerleaders with pom-poms, you name it. Frank Thompson as the King, baby, i.e. an Elvis-style Pharaoh, was particularly amusing.  James Harley noted in his review that "some of the show’s best energy comes from deep within the ensemble, Charlie Goodrich leading the way with 100% commitment to every movement he makes on stage."  There were dozens of people on stage at any given time, so I made a point to look for Goodrich within each number, and sure enough, whether or not he had any lines, he was always the best at reacting appropriately to whatever was going on.  And conceiving the "hairy Midianites" as members of ZZ Top was just inspired.

- Katie Foshee, who has enlivened the ensembles of about a hundred musicals in recent years, stepping into (and owning) the lead role in Camp Rock - The Musical at Workshop.  Avery Herndon and Alex Webster too were adorable as they as they succumbed to puppy-love-at-first sight, and Kathryn Reddic made a great mean girl.  From her bio, Reddic would have had Linda Khoury for drama in high school, meaning that she is well-versed in Shakespeare, and as a current English major at Vanderbilt she is surely immersed in Shelley and Keats, Joyce and Yeats, Chekhov and Strindberg, yet she rocked out like Beyonce in some complex hip-hop dance numbers.  Commodore girls represent, y'all.

- James Harley back on stage in Palace of the Moorish Kings at Trustus, under-playing a complex character who wasn't given a lot of lines or movement. Silence can sometimes speak volumes, and Harley had some great moments where he started to say something... then words failed him, and the point was nevertheless made.  But he did get a few memorable lines as a member of the "greatest generation," who never felt entirely comfortable as being seen as a hero, since he never killed anyone, never did anything heroic, and only served after being drafted.

- Elisabeth Smith Baker (yet again!) so sweet and natural in Next to Normal at Trustus.  And the show's big "reveal," which fooled me entirely, even though I more or less was familiar with the plot.  Andy Bell made a great transition from musician to actor/singer on stage, and the entire cast distinguished themselves as professionally as if they were the original cast on Broadway. The set too (by Danny Harrington, with input from Chad Henderson) showed how even the big-name New York shows are going for simple, stylized, low-cost sets these days, which often work better than trying to achieve realism.

- Giulia Marie Dalbec dominating the year with not one but four bravura performances.  While she has played countless roles as vixens, ingénues, or someone'sgirlfriend or daughter, Dalbec made her mark as a name-brand lead in Scoundrels and Wild Party (above) and as Elle in Legally Blonde at Workshop. The word that immediately comes to mind to describe her on stage now is "confident" - and with that confidence, she bravely took on the role of the meek Honey in Who's Afraid of Virginia Woolf? (also at Workshop) and nailed that one too.  Half the time Honey was drunk, or passed out, or ignored by everyone else, but Dalbec was always engaged in believable action and movements, however subtle.

- Robert Michalski's swaggering cameo as a UPS delivery guy in Blonde; I don't think I've ever seen a performer simply walk across a stage and then through the audience and get such a big laugh.  As I wrote at the time, he definitely had a package, and was determined to deliver it.

- Elena Martinez-Vidal's characterization (complete with New England accent) of Martha (in Virginia Woolf) as an aging Snookie, the college president's scandalous daughter who bluffs her way through academia via booze, sex, humor and bravado.

- Paul Kaufmann playing 35 different characters in I Am My Own Wife at the Trustus Side Door. Clad for most of the time in a dress!  The main figure was an East German "tranny granny" who may or may not have been a pioneering cultural historian, a murderer, an informer for the secret police, and/or a courageous activist and supporter of the oppressed gay community in Berlin.  After a while you got used to most of the various German and American "voices" ...and out of the blue, he's also a crisp Anglo-Indian reporter called Pradeep Gupta, with the perfect, smooth, musical lilt to his voice that you'd expect.  And this was a week after playing the male lead in Next to Normal !

- the striking, sunset-hued panels that comprised most of the set for Next Fall at Trustus. And the banter between G. Scott Wild and Jason Stokes (both yet again!) as mismatched lovebirds who just happen to be guys.  And the odd (but probably fairly common) paradox of fundamentalist Christian characters as they try to rationalize their own "sinful" lifestyle, especially as detailed by Bobby Bloom.

- Abigail Smith Ludwig, conveying the flowing, soft, lyrical beauty of German syllables and consonants in a  disgruntled rendition of "O Tannenbaum" in Winter Wonderettes at Town. And Alexa Cotran, yet another remarkable discovery, a very young performer who matched her older castmates note for note, scene for scene. Cotran bears a striking resemblance to my first grade teacher, who had that exact same huge 1960's hairdo, perfectly coiffed here by Cherelle Guyton, who was responsible for most of the good-looking hair in the shows mentioned above.

- the wonderful cast of [title of show] at Trustus in just about every moment on stage. Laurel Posey recounting her recurring lead role as "corporate whore," and Robin Gottlieb segueing from a cute number on secondary characters into Aerosmith were especially funny, but somehow the genuine moments in this little show touched me as few usually do.  "Who says four chairs and a keyboard can’t make a musical?  We’re enough with only that keyboard - we’re okay with only four chairs. We’ll be fine with only four chairs - we’ll rock hard with only four chairs!"  That sort of do-it-yourself mentality and optimism can be applied to so many things in life, as can their conclusion that it's better to be "nine people's favorite thing, than a hundred people's ninth favorite thing."  Score one vote for the rice crispy treats, as this was far and away my favorite show of the year.

- the actual do-it-yourself production of Plan 9 from Outer Space - Live and Undead 2.0 presented at Trustus, but essentially cobbled together on a shoe-string six months earlier at Tapp's Art Center.  Thanks to enlisting the aid of some of Columbia's finest actors, the show almost became a real play, even though the basic idea was to do a tongue-in-cheek spoof of what many feel is the worst movie ever made. So many of the cast were inspired in their campy re-imagining of the film's original dialogue, including Jennifer Mae Hill as a sexy stewardess (Hill was a gifted actress at Trustus, Chapin, and elsewhere long before she got into doll-making) and Chad Forrister as the stolid hero. Forrister was also the hero of 39 Steps above, and has perfected the mock-heroic, ever-so-slightly-exaggerated tone required by these spoofs.  Victoria Wilson was beautiful as an evil alien, but used a

rich, serious, Shakespearean voice that reminded you of Judith Anderson or Maggie Smith. Some of Forrister's best moments came with Catherine Hunsinger, playing the soon-to-be-abducted heroine.  There's an exercise in acting classes called "give and take," where two actors alternate allowing each other to take focus and dominate a scene. Hunsinger could have gotten some laughs as a stereotypical 1950's housewife, and given some to Forrister; instead, she wisely chose to downplay her performance, setting him up for vastly bigger laughs than either would have gotten separately.  As I wrote in the review, "Another example of her generosity on stage comes when the zombie-fied Scott Means attacks her; she swoons melodramatically...but at the same time, falls over the actor's shoulder in a perfectly-timed movement, allowing him to lift her easily, with as much grace as two ballet dancers.  Well, or pro wrestlers."

Hunsinger is a fearless performer, taking an emotionally demanding role in Spring Awakening the year before as the (semi-compliant) victim of a disturbing rape/seduction by the show's protagonist, yet somehow she managed to allow him to still seem deserving of the audience's sympathy. And then she tackled the Olivia Newton-John role in Grease (above) which is surely a daunting vocal challenge for the most talented of singers, but she filled Sandy's saddle oxfords with ease.  That incredible voice had its biggest test in Plan 9, as Hunsinger's character was pursued across stage and into the house by zombies.  The

original villains' make-up from the film was absurd enough, and here it was made even campier, yet Hunsinger chose to play the entire scene straight. As Chris Bickel cued some vintage movie chase-scene music and Hunsinger gamely screamed her head off, just for a moment I was no longer at Trustus.  Just for a moment I was a 13-year-old watching the Mummy or the Wolfman or the Creature abduct some forgotten heroine on the Universal or Hammer Studios back lot. Just for a few seconds there was a genuine chill down my back, as a brave young actress fully committed to being a terrified damsel in distress, running for her life from unspeakable horror.   Theatre is supposed to transport you, to take you out of yourself, and so this was for me, however briefly, the most memorable moment on stage in 2012.

So there are some of the things I enjoyed in the last year.  How about you?  That "comments" section below is there for a reason. What did you enjoy on stage in 2012?

~ August Krickel

Dr. Jekyll & Mr. Hyde - a Review by Jillian Owens

Is it possible to gain serenity by isolating and removing all that is evil and full of rage from our minds?  This is the question Dr. Henry Jekyll seeks to answer in Chapin Theatre Company’s production of Dr. Jekyll and Mr. Hyde.  After much experimentation and late hours in his laboratory, Jekyll creates a concoction that transforms him from his kind-natured bookish self into a raging violent monster who calls himself Mr. Hyde.  In Jeffrey Hatcher’s adaptation of the famous novella by Robert Louis Stevenson, the lines of good and evil fade to grey.  In the beginning of his experiments, Dr. Jekyll remembers his alter-ego’s activities, but gradually he begins to “black out” for days at a time; as Hyde terrorizes London with violence, depravity, and murder.  Jekyll, through the testimony of his friends and colleagues is acutely aware of the dangerous and deadly extent of Hyde’s actions, but continues with his experiments regardless.  Hyde, on the other hand, becomes a sympathetic anti-hero.   Born with a rage he can’t control, we see surprising moments of tenderness to Elizabeth, a young chambermaid who falls in love with him.  He laments being unable to lament his cruel nature, and does all he can to defend himself from Jekyll’s threats to destroy him. This production of what could be a deeply moving exploration into the darkest corners of man’s soul doesn’t entirely work.  I applaud a small community theatre for attempting such a difficult production, but several elements of the show came off as hokey and/or unpolished.  Some of this is due to the challenging nature of the script.  Relying heavily on an ensemble cast, most of the actors end up playing a different aspect of Mr. Hyde -- a device that isn’t very effective, as it doesn’t really contribute to the story.   The constant “filling in the gaps” of the story by aside narrations and journal readings wouldn’t be so annoying if they weren’t so plentiful, often halting and killing any suspense that might have otherwise built up.  George Dinsmore’s performance of Dr. Henry Jekyll becomes much more powerful in the second half of this production, as we begin to actually see his inner turmoil and guilt for what he has done.  Nathan Dawson pulls of multiple roles, including the “main” Hyde well, although his Hyde is teeters on the edge of becoming a caricature, with a voice that is distractingly Tom Waits-ish.  The lack of erotic tension in the scenes between Hyde and Elizabeth (played by Emily Meadows) made their intense relationship seem quite unlikely.

This isn’t to say this production is without merit -  far from it.  The ensemble cast pulls off their rapidly-changing characters well,  changing their voices, postures, and mannerisms seamlessly and impressively.  Somehow a scene where one of the characters (played by David Reed) oversees an autopsy of the character he played in the previous scene doesn’t seem at all strange or out of place.  While the individually ever-rotating Mr. Hydes aren’t very effective, the scenes where they converge together to torment Dr. Jekyll are downright chilling.  

The set is stark, raw, and adaptive – perfect for this production.  The music plays a major part in creating this show’s haunting mood.  A few costume changes would have been helpful in establishing character changes, but became unnecessary, due to the strength of the cast’s ability to change so effortlessly and distinctly from role to role.

Chapin Theatre Company is making bold strides in moving away from being just another community theatre.  While they haven’t reached the caliber of other theatre companies in the Columbia area yet, they are well on their way.  Despite its flaws, Dr. Jekyll and Mr. Hyde will make a great addition to your Halloween season.

~ Jillian Owens

Dr. Jekyll and Mr. Hyde, adapted by Jeffrey Hatcher from the Robert Louis Stevenson novella Strange Case of Dr. Jekyll and Mr. Hyde, runs Oct. 19-Nov. 3, 2012 at the Harbison Theatre at Midlands Technical College, 7300 College St., Irmo, SC 29063. Visit www.chapintheatre.org for information on specific performance dates and reservations.

Dr. Jekyll and Mr. Dinsmore - a guest blog, or two

Extract from the Journal of Dr. Henry Jekyll...  As 1882 draws to a close, I find myself returned to my home in London.  The two years I spent abroad studying alternative medicines in the Amazon Basin have proven quite fruitful.  Some of the tinctures and extracts that were introduced to me by the natives are rather potent.  They provide me with a previously unimagined freedom of thought and conscience.  I can’t help but believe that I am on the cusp of something monumental.  After numerous successes, I felt it was time to move my tests from the field, as it were, to the real world where I may see more accurate results of my work in real-life environs.

No longer shall I be tortured by the darkness that hides in the deepest recesses of my mind, hinting and prodding and begging for release. I am a civilized man of the modern era, who need not be burdened by such desires.  Today marks the first substantive step of my journey toward peace of mind.  I have successfully separated my more base ambitions from my intellectual designs, thus allowing me a sense of serenity that heretofore was simply not possible.  For now, while I am able to detach these two… “streams of consciousness,” for lack of better terminology, I still seek a method to strip away the unwanted “stream” and discard it.

Naturally, my labors must be kept confidential until they can be more fully evaluated, especially from Sir Danvers Carew.  As Chief Surgeon, he holds considerable sway with the Board of Governors, and he already seeks to undermine me at every turn.  But I am hesitant to share this work even with my closest friends and colleagues.  While Dr. Lanyon is a lifelong friend, he has a tendency to strictly adhere to accepted methodologies, and my experiments are outside those standard channels.

Aside from all of my achievements to date, one thing gives me pause.  I feel as if my work is being observed by someone else; as if I am being watched.  Almost as if there was someone in the room with me, but I have shared my research with no one.  Perhaps this is simply a side effect of the treatment, yet it gnaws at me....

Today I rid myself of my inner beast!

 Extract from the Journal of George Dinsmore...

When I learned that Chapin Theater Company was performing Dr. Jekyll and Mr. Hyde, I admit I was not initially excited. Drink a potion, become a monster. It seems like everyone has taken a stab at the idea, including Sylvester and Tweety’s Hyde and Go Tweet.  Only Dickens’ A Christmas Carol is more overdone. But I read the script, which is a new adaption by Jeffrey Hatcher.  And I’m glad I did.  This isn’t the story of a good man and the evil monster inside of him.  It is a story about people in general, and the journey of self-discovery we all go through, although most people’s deep dark secrets are expressed with fewer physical manifestations

Before I even started learning lines, I started taking my own emotional inventory, looking back on my own experiences for specific emotions that Jekyll goes through: terror, self-loathing, hubris, etc.  Some were easy to draw on. Some were harder. And some I thought I didn’t possess -- at first.  But they were all there. It’s surprising what you can find inside if you’re honest with yourself.

As everyone knows, Jekyll and the Hydes’ personalities overlap as the show progresses. So, preparing for that wasn’t a case of two actors deciding something arbitrary like, “Hey, let’s both have a limp.” There are four Hydes (played by Jeff Sigley, David Reed, Nathan Dawson, and Kathy Sykes) who have their own distinct traits.  Jekyll starts as an individual, and gradually takes on some part of each Hyde. And if we don’t see each Hyde somewhere in Jekyll’s demeanor, then we have no reason to believe they are the same person.

It has been an incredible challenge for me because let’s face it, most -- not all, but most -- of my stage work has been comedy.  I had to remind myself not to “find the funny” as director Glenn Farr puts it whether intentionally or not. But harder, was to show Jekyll’s human journey, not as a candlestick, rock star, or New Jersey con man, but as a real person with whom audiences could sympathize and relate.

So did I succeed?  Well, I admit I’ve always been a little nervous before every performance, but this one is different.  Dr. Jekyll is way outside my comfort zone, and there is more of “me” in this character than I’m accustomed to sharing.  But I am surrounded by fantastic talent onstage and off, and I feel like I have grown leaps and bounds as an actor, so from a personal standpoint it is already a success.  I guess I’ll find out if other people agree when we open this Friday and audiences get their first look at the finished product.

Dr. Jekyll and Mr. Hyde: The “Musical” I Swore I’d Never Direct - a guest blog by Glenn Farr

When I began directing local live theatre five years ago, I intuitively knew where my strengths lay: helming casts of four to 12 players in boxed set productions, no matter whether they be comedies or dramas. After all, those were the types of shows I most enjoyed being in – plays that allowed even a supporting actor to actually have time to develop a character and present it without being interrupted by a sudden song or choreographed routine involving almost everyone else in the cast. Don’t get me wrong. I enjoy musicals when they are well done, and in Columbia, now that we’ve reached a point when many who populate them have had the luxury of singing and dancing lessons, many such productions are actually quite good. For my part, in my 20s, when I lived in Newberry, SC, I so much wanted to be a part of musicals that I secretly studied with a retired voice professor who had been something of a legend during his days on the faculty of Newberry College. After a year, he had whipped me into good enough shape to score the lead in a production of Man of La Mancha. In the years since, I’ve had the opportunity to play and sing roles ranging from Cinderella’s Prince in Into the Woods and Scrooge to Professor Bhaer in Little Women: the Musical and perhaps the role for which I was best suited, Captain Hook in Peter Pan.

Nevertheless, that quarter century of performing in musicals taught me some things I knew I would not want to deal with as a director. First of all, you don’t really control the complete vision of the story you’re telling. You share it with a musical director and a choreographer. And the older I get, the more I find I want to tell the entire story myself, thank you very much. You also share casting decisions. I knew I’d never want to be in the position of casting an inadequate actress because she happened to be a superb singer, or not being able to cast a superior actress who happened to have two left feet.

Musicals are also logistically complex. No lights up and lights down on two acts with perhaps a maximum of two scenes per act. Instead, many lighting and set changes that must be coordinated with music and large numbers of bodies entering and exiting the stage. I feel a brain cramp coming on just thinking about it.

And finally, after having been in a fair number of musicals, I knew the kinds of egos they often attract, often some of the most “special” among those of us who enjoy stagecraft, many of whom have set up housekeeping at the very center of the Universe. Did I really want to deal with nursing egos to ensure the actors attached to them would give the performance they should? Could I ever develop the diplomacy such action might require?

I really didn’t know.

Nevertheless, my first directing job was Chapin Theatre Company’s A Murder Is Announced, an Agatha Christie mystery. They took a chance on me as a new director and I did everything I knew how to make sure my efforts – and the show itself – would succeed. I broke the script into French scenes, organized a rehearsal schedule that prevented actors from waiting in the wings for their scenes to begin, assembled a strong cast (with a few people playing against type), and staged a show that was well received by the theatre’s patron base. I did find myself massaging an ego or two, but nothing that compared to what I had experienced by being in musicals.

I directed a second show for Chapin, and in short order, one for Workshop, ultimately also being offered a directing opportunity at Village Square in Lexington. In a few short years, I had directed eight productions with varying degrees of success, but among all of them, there was nary a musical.

Until Dr. Jekyll and Mr. Hyde.

Let me be clear, the production of Dr. Jekyll and Mr. Hyde Chapin Theatre Company is staging at the Harbison Theatre at Midlands Technical College is not a musical. When it was announced as part of the current season, many in the community confused it with Jekyll & Hyde, the actual musical by Frank Wildhorn, Leslie Bricusse and Steve Cudin. It’s not that show.

This Dr. Jekyll and Mr. Hyde is a non-musical play adapted by Jeffrey Hatcher from the novella Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson. It was commissioned by the Arizona State Theatre in 2008 and has since become fairly popular among local theatres throughout the country.

It’s easy to see why. The show retains the essential elements of the Stevenson story, but introduces a modern sensibility in that there are four incarnations of Mr. Hyde (one of whom is a very sexy woman) and treats Dr. Jekyll’s metamorphosis into the various Hydes as something of a personality disorder triggered by experimentation with drugs. It is also economical to produce, in that there is no fixed set and uses one rolling door and a few pieces of furniture to define spaces. And, it employs only eight actors, some of whom play up to five or six distinct characters, each, with no significant costume changes.

On paper, the show looks simple. It’s just a black box staging and reinterpretation of a classic horror tale, right?

Ah, but just as Dr. Jekyll morphs into Mr. Hyde, this production began showing signs of trying to transform itself into a sort of musical in its own right.

First, it is structured so that the rolling door moves from scene to scene to define space as the characters move from London streets to Jekyll’s home to a London medical college to a slum room where Hyde lives to a police morgue to a local park and back again. Quick scene changes that must be executed flawlessly so that music and lighting match and actors don’t stumble over themselves getting to where they need to be, with the correct props in hand at the right moments – that sounds an awfully lot like a musical to me. I found as I pre-blocked the show (it is my habit to work out blocking in my head, writing it down in the script, before the first rehearsal with actors) that I had to view this show as if it were a musical. The play has a shifting foundation and its own fuzzy logic as one scene melts into another and an actor who was one character in the first scene becomes someone entirely different in the next. I know I’ve seen musicals that operated on a similar premise.

Enthusiasm about this project began to build as soon as it was announced and I subsequently learned that J.S. Lee, who was already on board as the sound designer, is also a composer. He expressed interest in creating an original ambient score for the production. He let me hear a sample of his work and I immediately saw an opportunity to make this production even more special by enhancing its scenes with original music.

In addition, the lighting designer was eager to develop an atmospheric lighting plot that would give the story the dark moods it requires while still enhancing the actors’ work on stage. Lighting is one area of stagecraft in which my knowledge is limited, and during discussions with lighting designer Matt Pound, I found my contributions to be limited to utterances such as, “Make the cyc glow red here,” or, “Make this look really dark and creepy.”

Finally, we decided to take advantage of some of the unique technical capabilities of the Harbison Theatre, which is only two years old. It can actually be used as a movie theatre due to its retractable screen mounted near the proscenium. We decided to create a video opening credits sequence that will be accompanied by an “overture” composed by J.S. Lee.

As I look at the elements we’ve added to what arguably could have been a very simple show, I see that about the only thing keeping it from being a true musical is song lyrics and choreography for the actors. Otherwise, compared to other shows I’ve directed, it’s evolved into a technical beast requiring a degree of conceptual thinking from me that, at times, has threatened to wrap my brain around a fence post.

Still, I would not trade the experience. As I write this, we are a few days from our first technical rehearsal and a few more days further from our opening night. We have yet to add the music and lighting, along with the video opening sequence, that we’ve spent the past six months developing and I have no idea how well the parts will assemble into a whole. Yet, I have faith it will be impressive.

What I do know is that the actors are ready. This project attracted some of the Midlands’ most talented, if sometimes underrated, performers. David Reed and Nathan Dawson are masters of accent and character shifts; George Dinsmore moves far beyond the physical comedy for which he is known as he offers a portrait of a good, but haunted man who fears he is losing his grip on reality. Kathy Sykes makes her female version of Mr. Hyde a true vamp and Emily Meadows brings a gentle, realistic energy to her role of the chambermaid who falls for the ultimate bad boy, Edward Hyde. Jeff Sigley has grown significantly as he brings to life the paternal attorney who tries to help Jekyll as his world falls apart and Teresa McWilliams and Dennis Kacsur support the main cast as they engender a number of small supporting roles. And nowhere among them is an out-of-control ego residing at the center of the universe.

No, Chapin Theatre Company’s production of Dr. Jekyll and Mr. Hyde is not a musical, but in several key ways, it does feel like one. Nevertheless, it has shown me that I might have to “unswear” that I’ll never direct a genuine musical.

~ Glenn Farr

Glenn Farr has acted, sung and even danced on Midlands stages for nearly 40 years. In the past five years he has directed for Chapin Theatre Company, Workshop Theatre and Village Square Theatre in Lexington.

Dr. Jekyll and Mr. Hyde, adapted by Jeffrey Hatcher from the Robert Louis Stevenson novella Strange Case of Dr. Jekyll and Mr. Hyde, runs Oct. 19-Nov. 3, 2012 at the Harbison Theatre at Midlands Technical College, 7300 College St., Irmo, SC 29063. Visit www.chapintheatre.org for information on specific performance dates and reservations.

Talented Young Cast Rocks the House at Workshop - A Review of Disney's Camp Rock - The Musical

Workshop Theatre's summer show, Disney's Camp Rock - The Musical, is enjoyable, family-friendly fun, set to an energetic rock beat, providing a nice chance for some talented teens and tweens to take center stage.  Based on two popular Disney tv movies that were vehicles for Demi Lovato and the Jonas Brothers, the show isn't exactly Sondheim, but aiming for the 8-18 age bracket means it's by no means a children's show either. Instead, we re-visit comfortably familiar themes of puppy love, teen rivalries, and summer camp hijinks, accompanied by a lively, contemporary pop-rock score. Sure, like any Disney product there is a little sense of some pre-packaging for a target demographic.  The book, by Robert L. Freedman and Faye Greenberg, is based on scripts and characters from five authors, while the score, "adapted, arranged, and orchestrated" by David Lawrence (a veteran Disney composer, who worked on all three High School Musical films, and is the son of Steve Lawrence and Eydie Gorme) incorporates numbers from 20 (!) songwriters, meaning that there was just a little assembly line work going on. Chief among those writers is Kara DioGuardi, the American Idol judge who has written hits for former Disney starlets like Brittany Spears, Christina Aguilera and Hilary Duff, while others have worked with everyone from Kelly Clarkson to Katy Perry.  What impressed me most was how admirably and professionally the cast of 33 local youngsters (only a few are past their teen years) acquitted themselves on stage, demonstrating yet again that there is an entire generation of new local performers waiting in the wings.

The titular Camp Rock is a summer performance/music camp for kids, run by Brown Cesario (George Dinsmore), an aging rocker from the early MTV era, who capitalizes on the popularity of his three nephews, members of a popular boy band, Connect 3. When rival Camp Star (more luxurious, more regimented, and founded by the drummer Cesario fired 15 years before) threatens Camp Rock's future, it's no plot spoiler to reveal that the protagonists will have to overcome personal issues and teen drama, to pitch in together for a battle of the bands.

Katie Foshee has done nice work in any number of ensemble and supporting roles in recent years; here she graduates to romantic lead, the rocker chick Mitchie, and doesn't disappoint. Resembling a prettier Danica McKellar (Kevin's dream girl on The Wonder Years) Foshee displays a strong, appealing voice, and a talent for quick bantering dialogue. Nominal male lead Alex Cowsert, as Shane, likewise distinguishes himself vocally, especially in a couple of sweet love songs with Foshee. I say "nominal," since middle brother Nate (Avery Herndon) gets a romantic sub-plot too, and he very nearly steals the show with the song "Introducing Me," also featuring Alex Webster as the winsome Dana.  I recall Herndon from the ensemble in Spring Awakening this winter at Trustus, but, like Foshee, here he gets a chance to showcase some serious vocal talent.   When he and Webster sing together, they are just adorable; if they were any cuter, they'd be puppies.  Of course, there has to be a teen diva in the show like this, and Kathryn Reddic plays "mean girl"  Tess with gusto, plus gets some of the best dance numbers. Also of note is Marc Smith as Tess's rival Luke; his R&B-themed song "Fire" is done in an ultra-deep, resonant baritone, quite rare in a world of Ushers and Chris Browns.  Catherine Davenport, Tara Wallace and Mellie Boozer make the most of supporting roles as Mitchie's fellow campers, while the tiny Quincy Sykes gets some good laughs as a precocious and mischievous drummer-girl-in-training.  As above, the entire cast does fine in the group numbers, and even the youngest performers (some seem about age 8) keep up move for move, step for step, with their older peers.

Musical Director Daniel Gainey (also a gifted actor, as we saw in In the Next Room at Trustus just a few months ago) achieves a full, rich sound from his young and largely female cast.  At no time do we ever hear "Hard Knock Life"-style, sing-song children's voices; instead we hear the same catchy harmonies featured in any top 40 song on the radio today.  Choreographer Katie Hilliger also ensures that everyone's movements on stage are fluid and similar to the moves in any popular rock or hip-hop video.  The cast sings to a recorded score; that combined with 33 wireless mikes guarantees that there will be some issues with volume and feedback, but I have to say that any minor glitches were resolved almost instantly, and by and large, Baxter Engle's sound design is effective. Most of the cast have long hair and/or hats, and so for a pleasant change, head mikes were inconspicuous.

Director E.G. Heard makes everything flow and sound quite naturally; most of these kids could do a quite credible job playing these same roles in some professional touring version of this show.  Randy Strange's set incorporates a lush, realistic, painted drop (credit also goes to scenic artists Ed Sexauer, Beth Burnside and Pam Johnson) that depicts a lake and adjoining dock. Combined with the stage floor painted to suggest the shadows of foliage overhead (Barry Sparks' lighting design contributes to this effect too) and a couple of basic log cabin facades, the location is instantly and clearly defined, while leaving most of the stage free and uncluttered for the dance numbers.  Sparks also includes some nifty and inventive lighting effects in the pieces performed by the Star Campers, including "Tear It Down," featuring Reddic and Smith.  While most of the costumes are ostensibly "street clothes" and typical casual wear, Alexis Doktor plays with a lot of fine nuances; one camper wears a sequined shirt, another prefers tie-dye, and a third wears a plaid mini-skirt with dark leggings, each embodying a particular "type" of high school fashion and preference.  The Star Campers, on the other hand, all wear uniform-like, general issue t-shirts, making a subtle statement about the difference between the two groups.  When we notice one Star Camper wearing a slightly different and more attractive design, it's no surprise that she will turn out to be important to the plot. Even Dinsmore sports an authentic CBGB shirt, immediately defining Cesario's era before he has to say a word. I do wish that Cowsert and Herndon were clothed in a bit more glam fashion, to signify that they are actual rock stars, but youngest brother Jason (Ethan Cash) sports a funky hat and short pants, capturing the look of a pre-teen idol.

Don't get me wrong - like most Disney fare, much of Camp Rock is light-weight, derivative, and enjoyable for the moment, yet disposable. The plot is resolved via a deus-ex-machina slipped in so quickly you almost miss it.  Few of the many supporting characters are really developed, even though the entire play runs under an hour and 45 minutes.  A central conflict (stemming from Mitchie alienating her friends, by driving them so hard to succeed) was echoed in at least two reruns of The Big Bang Theory this past week alone, as well as in the final season of Buffy, at least one episode of Saved By the Bell, and probably many others previously.  Herndon's inability to communicate with the girl he's crushing on goes all the way back to She Stoops to Conquer in the 1700's.  The rousing Act 2 opener "Heart and Soul" is very reminiscent of the late 80's hit "Wild Wild West" by The Escape Club, while Mitchie and Shane's power ballad "Wouldn't Change a Thing" reminded me a bit of the Ann Wilson-Mike Reno duet "Almost Paradise."  And just about every musical number has a parallel scene in High School Musical.   Still, these are excellent sources to borrow from, and most audience members won't recognize how familiar it all seems.  The joy of Camp Rock is in the accessible, upbeat music, and how proficiently the local cast brings it all to life.  An earlier generation followed Jem and the Holograms; for me, it was the Monkees, Scooby Doo and the Partridge Family, and those older still may recall Dobie Gillis or even Andy Hardy;  Camp Rock is simply the latest incarnation of this same youthful, escapist entertainment.  I cannot imagine any teen or tween not enjoying it.  As for adults?  Well, I had an excuse to go: reviewing the show.  And my first thought when the lights went up?  "Those kids rocked the house!"  So I'd advise you to take your children or grandchildren, or find some younger siblings, cousins, or neighbors' kids, and treat them to an evening of theatre, one tailor-made for their musical tastes.  They’ll have a blast, and you might just too. Disney's Camp Rock - The Musical runs through July 28th at Workshop Theatre; contact the box office at 803-799-6551 for ticket information.

~ August Krickel