REVIEW: Town Theatre’s A CHRISTMAS CAROL: THE MUSICAL Shines! By Jane Turner Peterson

Don’t wait another minute—head to Town Theatre’s website or pick up the phone now! Tickets will go fast for this dazzling production of Charles Dickens’ A Christmas Carol the Musical, and you do NOT want to miss it. This spectacular musical, directed by veteran Jerry Crouch, is guaranteed to fill you with holiday cheer from the moment the curtain rises. With masterful choreography by Christy Shealy Mills and gorgeous vocals shaped by music director Kathy Seppamaki, this show is easily one of the standouts of 2025. 

Featuring music by Alan Menken, lyrics by Lynn Ahrens, and a book by Mike Ockrent and Ahrens, this adaptation remains one of the most beloved versions of Dickens’ classic—and Town Theatre’s massive, talented cast brings every note and moment to life with heart and precision. 

We follow Ebenezer Scrooge on his iconic Christmas Eve journey as the Ghosts of Christmas Past, Present, and Future visit him. Each encounter is beautifully realized, reminding us all of the timeless power of reflection, redemption, and the true meaning of Christmas. 

With a cast of more than 50 adult, teen, and child performers, this production is nothing short of impressive. Crouch’s direction is seamless, moving the company through polished scenes and picture-perfect vignettes. The multi-level set is both stunning and functional, transitions are smooth and choreographed, and the use of the trapdoor (a fan favorite!) adds a delightful theatrical flair. The period costumes are exquisite, adding authenticity and charm to every scene. 

The dance numbers alone are worth the price of admission. “Link by Link” and “Dancing on Your Grave” light up the stage with thrilling choreography and ensemble work, while “Mr. Fezziwig’s Annual Christmas Ball” bursts with joy and energy. Christy Shealy Mills—with some help from her daughter Zanna Mills—delivers showstopping choreography that elevates these big dance moments into true highlights of the night. 

Tracy Steele delivers a brilliant performance as Ebenezer Scrooge, effortlessly capturing every comedic beat and emotional turn. His vocals shine, his presence commands the stage, and his transformation is deeply satisfying to watch. Additional standout performances include Jerimy Woodall as Marley, Zanna Mills as the luminous Ghost of Christmas Past, Gavin Slaughter as the exuberant Ghost of Christmas Present, and Ashton Boland as the chilling Ghost of Christmas Future. And don’t miss Gina Saviola’s delightful moments as Mrs. Mops! 

This is the holiday production to see this season. A Christmas Carol runs December 5–21. Tickets are available by phone at 803.799.2510, online at towntheatre.com, or in person at the theatre from noon to 5 p.m., Tuesday–Friday, at 1012 Sumter Street in downtown Columbia. 

Make it part of your family’s holiday tradition—get your tickets today!

REVIEW: A Heartfelt and Hilarious Start: Second Samuel Kicks Off Columbia Soda City Theatre’s First Season by Jane Turner Peterson

Second Samuel is the kind of show that reminds you why community theatre matters. It makes you laugh, makes you think, and makes you feel connected — to the characters, to the town, and to each other. -JTP

Columbia’s newest theatre company has officially arrived — and what a debut! Located inside Brookland United Methodist Church in West Columbia, Soda City Theatre launches its very first season on a high note with Second Samuel, delivering a show that’s both laugh-out-loud funny and surprisingly moving.

Directed by Jeff Sigley, Pamela Parker’s Second Samuel takes us to a small Georgia town in the 1940s, where life seems simple… until it isn’t. When a beloved resident, Miss Gertrude, passes away, her friends and neighbors discover a secret that rocks their little community to its core.

This play may be set in another time, but its themes are as relevant as ever. One of the cast members, Ripley Thames, summed it up perfectly — Second Samuel touches on “the trifecta” of issues that still challenge us today: homophobia, racism, and prejudice toward people with disabilities. And somehow, the show manages to explore all of that with humor, warmth, and a whole lot of heart.

Sigley’s direction really shines here. He uses the stage cleverly to create three locations — the Bait and Brew, the beauty salon, and Miss Gertrude’s front porch — and the smooth scene transitions, supported by smart lighting, keep things flowing beautifully. The set design makes great use of the space, and the period-appropriate costumes and props (kudos to Joanne Shaw and team!) really help transport the audience to the 1940s.

Now, let’s talk about this cast — because hats off here.

First, keep an eye on Cash Conroy. His performance as B Flat, the young autistic man who narrates the story, is simply stunning. He brings so much heart and honesty to the role, guiding the audience through the story with charm and depth. It’s no surprise he’s already been in several local youth productions — this young actor is definitely going places.

The rest of the cast is just as strong. Debra Leopard is a joy as Omaha Nebraska — her timing is impeccable, and it’s wonderful to see her back on stage. Nathan Wright had the audience in stitches as June Cline, the town caretaker, with his expressive reactions and storytelling flair. Ripley Thames made Mr. Mozel perfectly intolerable (in the best way), and Bill Arvay brought a grounded, easy energy as Doc.

In the beauty shop scenes, Gayle Stewart (Marcella) and Ginny Walker (Ruby) were a hoot, trading zingers, and sass with Tammy Smith as the bigoted Jimmie Dean. And rounding out the Bait and Brew gang — Roderick Haynes (U.S.), Mark DiNovo (Frisky), and Barry Smith (Mansel) — each added their own spark to the mix.

All in all, Second Samuel is the kind of show that reminds you why community theatre matters. It makes you laugh, makes you think, and makes you feel connected — to the characters, to the town, and to each other.

If this production is any indication, Soda City Theatre has an exciting road ahead. Here’s to a fantastic start and many more stories to come!

Catch Second Samuel at Columbia Soda City Theatre before it’s gone. Performances run November 8, 13-15 at 7:30 pm and on Sunday, Nov. 9 at 3:00 pm. For tickets and more information, please visit their website at sodacitytheatre.com.

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.

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

by Jane Turner Peterson

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

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

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

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

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

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

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

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

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

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

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

Tickets are available now at chapintheatre.org.

Introducing the Cast of Jasper's 2025 Play Right Series Winning Play - Busted Open by Ryan Stevens

Ryan Stevens - Jasper’s 2025 Play Right Series Winning Playwright & author of Busted Open

As we move toward July 20th and the first meeting of the Jasper Project’s 2025 Play Right Series Community Producers, we’re excited to announce the cast for Ryan Steven’s brand new original play, Busted Open!

Directed by Jane Turner Peterson, the cast of Busted Open includes the following —

Sunset: Ella Riley

Artemis: Kristin Cobb

Amy Bell: Maggie Baker

Jane Richmond: Allison Allgood

Painkiller: Beth DeHart

Rachel “Victory” Vance: Zanna Mills

Phil Kirkland: Clayton King

Trevor Richmond: Josh Kern

We’re still assembling our 2025 roster of Community Producers and we’d love to have you join us!

On select Sunday afternoons this summer you are invited to join with the cast, crew, and fellow Community Producers for an enlightening and entertaining session that pulls back the curtains of theatre development and illuminates how a stageplay goes from page to stage. Your first session will offer you a private viewing of the first step in a play production, the Table Reading – the first time the cast of the winning play will read their parts together.

Subsequent sessions will focus on essential ingredients in the production of a successful staged reading, such as the stage manager’s job; props, lighting, blocking, and sound; unique insights from the director; how the actors prepare for their parts; playwright perceptions from this year and past projects; and an invitation to the dress rehearsal. In addition to your invitation to gather with the cast and crew every Sunday in July, each session will also feature exciting snacks and beverages. And many more surprises each week!

Finally, you’ll take your reserved, best-in-the-house seats to a ticketed staged reading.

But there’s more.

Your name will be included as a Community Producer on programs, posters, press releases, and other promotional materials as well as in the perfect bound book published by Muddy Ford Press and registered with the Library of Congress, and you will take home your own copies as a souvenir of your experience.

What is expected of Community Producers?

We hope you can make it to every exciting Sunday afternoon meeting, but we understand if you have to miss some. Each session will last from 90 – 120 minutes.

The financial commitment for a Community Producer is a minimum of $250 per person, but other sponsorships are also available and appreciated.

Our hope is that you will be so enlightened and inspired by this experience that you will become a diplomat of live theatre, fresh playwrights, and the Jasper Project and encourage your friends and colleagues to participate in live theatre themselves!

Play Right Series 2025 Community Producer Schedule

SUNDAY, JULY 20: Introducing Ryan Stevens and Busted Open
Meet the 2025 Play Right Series Winning Playwright Ryan Stevens and witness the Inaugural Table Reading of Busted Open

SUNDAY, AUGUST 3: The Art of Stagecraft
The cast & crew of Busted Open explain the process of preparing for a role and tricks of the trade to demystify some of the magic of the theatrical arts   

SUNDAY, AUGUST 17: The Playwright's Craft
Learn about the processes of 4 award-winning playwrights including Ryan Stevens, Chad Henderson, Lonetta Thompson, and Colby Quick with your host Jon Tuttle, author of South Carolina Onstage, The Trustus Collection, and more

SUNDAY, AUGUST  31:  Sneak Peek Week!
Be a fly on the proverbial stage wall among an intimate group of guests to watch a working rehearsal of Busted Open – see how far the cast has come since the first ever Table Reading just six weeks earlier

SUNDAY: SEPT 14: The Big Event – Staged Reading of Busted Open
Take your reserved seat for the Premiere Stage Reading of Busted Open by Ryan Stevens at Columbia Music Festival Association and enjoy a post-show champagne toast to the cast, crew, and creator of Busted Open!

Purpose of the Play Right Series

Empower and enlighten audiences by allowing them insider views of the steps and processes of creating theatre art by

• Offering limited open table and stage readings of theatrical works as well as rehearsals of theatrical works to community members

• Offering Community Producer opportunities to the community members by keeping production costs low and involving community assets already in place. In exchange for an established minimal financial contribution, Community Producers are invited to attend designated open readings and rehearsals, informal presentations by cast and crew, and opening night performances with producer credits. The result: Community Producers learn about the extensive process of producing a play and become invested personally in the production and success of the play and its cast and crew, thereby becoming diplomats of theatre arts.

Increase opportunities for theatre artists to create and participate in new art without the necessity of being attached to an existing theatre organization by

• Offering a space and arts engineering for playwrights to workshop their plays and one-off theatre arts experiences and potentially have them produced

• Putting out calls for new works of theatre art from new and existing playwrights, as well as work opportunities for on-stage and backstage theatre artists.

Provide more affordable and experimental theatre arts experiences for new and emerging theatre artists and their audiences; thereby expanding cultural literacy and theatre arts appreciation in the

REVIEW: Stilt Girl Chapin Theatre Company

Izzy's dream is to make it in New York, but ever since an “incident" at an audition, auditions have dried up.  She eeks by on a part-time job at a cleaning company and has just discovered she’s been temporarily evicted from her roommate’s sofa. When she realizes the condo she and her bestie Jonathan (oops, “Stephon”) are cleaning, she comes up with the notion to spend the week in the condo, with the rationale that she'll deep clean the place during her stay. When Tina and Debi and their friend Therese arrive quite unexpectedly from Atlanta to celebrate their five-year survival of breast cancer, hilarity ensues, but so does a delightful evening of friendship, confession, optimism, and charm.

Zanna Mills’ Izzy is delightful to watch. Mills’ timing, and her skill at physical comedy – even when she’s stock still – is excellent. Her “floor work” is hysterical. Josh Kern is fabulous as Jonathan/Stephon. He throws himself into a belly dancing routine which had me truly laughing aloud, and that doesn’t happen too often. Debra Haines Kiser and Jane Turner Peterson play Atlanta bosom buddies Debi and Tina and it’s easy to believe these two have been friends for life. Their timing, their commitment to character, and their ability to toss off delicious throwaway lines is excellent. Jane Turner Peterson is a theatrical gem and it’s good to see her getting back onstage after a long absence. Her face is made of rubber, and she is fearless in her actions and reactions. She completely embraces her inner #ShimmyChick. She is gleeful. Jacob Cordes is Debi’s grandson, Max. His transformation from a concerned, uber-cautious grandson to someone willing to loosen up and “go with the flow” is seamless.

Jami Carr Harrington was certainly gifted with an excellent troupe of actors to bring Lou Clyde’s play to life. Working to put an original piece onstage is no easy task but these artists have succeeded in producing a delightful evening of theatre. Corey Langley’s set is exactly as a generic New York City Airbnb condo would look. The décor is perfectly bland and modern, except for one specific piece of décor which you won’t be able to miss.

There were a few times when volume was an issue. The theatre is small, and the audience seating is almost an extension of the stage so it’s easy to fall into a more conversational volume. I was seated in the middle of the house so I imagine some in the back row might have had difficulty hearing some of the dialogue. There were some scene changes when the music stopped rather abruptly when the lights came back up; a fadeout would have been more effective and less jarring. The Mancini was perfectI must confess I was pleasantly surprised. I fully expected Stilt Girl to be yet another Steel Magnolias knock-off about Southern Women of a certain age. I was dead wrong. There is nothing stereotypical about Lou Clyde’s script nor the characters these actors have so deftly brought to life. I regret that scheduling didn’t allow me to see the show earlier in its run. There are only 3 performances left, and the brevity of this piece is to allow this to be published in time for more readers to see it and made the decision to spend an evening in Chapin this weekend. The house seats 82, and there were only 5 empty chairs last night. The show lasts 2 hours, including a 15-minute intermission.

It is a drive, not gonna lie. Give yourself plenty of time to get there for the 7:30 curtain. There is a lot of construction on I-26 (quelle surprise), there are lots of orange and white barrels, and it’s dark out there! Wine is available for a donation, so do bring a little piece of money. The theatre is also taking donations for the South Carolina Oncology Association, which makes funds available to women who are unable to pay for cancer treatment.

Stilt Girl plays tonight and tomorrow night at 7:30 p.m., and on Sunday afternoon at 3:00 p.m.