Review: The Hiding Place is a Story That Still Resonates - By Jane Turner Peterson

Anyone who opposed the German regime risked being taken and punished. Sound familiar?

The Hiding Place, now playing at Soda City Theatre in West Columbia, is a haunting true story set during World War II in a quiet Dutch town. Directed by Debra Leopard, it tells the story of Corrie, Betsie, Willem, and Casper ten Boom—a Christian family who run a century-old watch shop and secretly shelter Jewish refugees in their home. As the Nazi occupation tightens its grip, the ten Booms create a hidden room within their house, forming part of an underground network that helps Jews escape arrest. Their courage and faith are put to the ultimate test when their efforts are discovered, leading to arrest, separation, and imprisonment in brutal concentration camps. It’s a stirring and heartbreaking look at the horrors faced by those persecuted by the Nazis, regardless of whether they were Jewish. Anyone who opposed the German regime risked being taken and punished. Sound familiar?

A.S. Peterson’s stage adaptation of Corrie ten Boom’s autobiographical book can feel somewhat disjointed, shifting between past and present. It’s easy to see the challenge of condensing such a far-reaching story into a stage production that moves across multiple locations. Even so, the script remains faithful to the source material. Soda City’s set design team, Debra Leopard and Todd Moles, make strong use of a limited space, creating effective playing areas. Costumes by Joanna Shaw and props by Lindsay Brown, Mark DiNovo, Debra Leopard, and Tracy Rice are well executed, and scene transitions are handled smoothly. There were some issues with the sound system—something not uncommon with body mics. It does raise the question of whether a stronger emphasis on vocal projection might better serve productions where sound consistency can be a challenge.

There are moments when the pacing lags slightly, but the emotional beats land well, providing enough tension to keep the audience engaged. The story itself is powerful and, at times, unsettling, with depictions and references to the violence and cruelty endured by those in the camps. Because of this, it may not be suitable for children under 12 or for those sensitive to such material. The production does not shy away from its truth.

Karen Herschell leads the cast as Corrie ten Boom, delivering a compelling and deeply human performance. She guides the audience through Corrie’s memories with clarity and emotional depth, capturing fear, doubt, resentment, and love in equal measure.

Bill Arvay brings warmth and strength to the role of Casper ten Boom. His portrayal of the family patriarch reflects both his deep devotion to his daughters and his steadfast faith.

Gayle Stewart’s Betsie ten Boom is filled with grace and quiet strength, serving as a spiritual anchor for those around her during their imprisonment.

Peyton Shumpert brings a heartfelt sincerity to young Corrie, delivering her lines with clarity and strength.

Within the large ensemble, several performances stand out: Ripley Thames as Pickwick, the loyal friend and co-conspirator; Shauna Lair as the chilling Hitler Youth, Otto; Bill LaLima as Lt. Richter, who interrogates Corrie; and Len Lesslie, whose German officer is convincingly menacing.

The cast also includes Mia Burke, Mark DiNovo, Nathan Wright, Olivia Nuvallie, Gina Saviola, Barry Smith, Rae Kostal, Katie Godfrey, Chiara LoBianco, Chase Umbarger, Bennett Shaw, Gail Carter, and Sabrina Schroeder.

The Hiding Place runs through April 19 with limited performances at Brookland Methodist Church in West Columbia. Tickets are available at sodacitytheatre.org.

 Jane Turner Peterson is the Theatre Editor for Jasper Magazine and a member of the board of directors for the Jasper Project.

Meet Jasper Board Member Jane Turner Peterson!

MEET JASPER!

JANE TURNER PETERSON

The Jasper Project is dependent upon its hard working board of directors to make our world go ‘round. In addition to sharing a wealth of information from their own experiences, the Jasper Project board is, what is called in the world of non-profits, a “working board.” Emphasis on the word WORK.

You’ll see our board members delivering Jasper Magazines, greeting and ringing up art sales at any of our gallery spaces, hauling bags of ice, cases of wine, and trays of food at our receptions and events, as well as planning, setting up for, and cleaning up after those events. Our board of volunteers also plan and program those parties! They schedule art exhibitions, review plays, install art, make labels, read plays, screen films, program concerts, write checks, balance the budget, communicate with their unique contacts, and so much more.

Every board member is attached to at least one of Jasper’s primary projects (Jasper Magazine, galleries, Play Right Project, 2nd Act Film Project, or any of our one-off projects like the Degenerate Arts Project we just finished up or our upcoming Peter Lenzo Retrospective and Remembrance which will open at Stormwater Studios on April 3rd.)

New board members are officially elected into their seats at our annual board retreat in January, though when potential new board members come along throughout the year, we invite them “to date” Jasper until the next retreat. This gives the potential director time to learn how Jasper works and decide whether they can see themselves as part of our motley crew. And the reciprocal works for Jasper.

In January 2026, Jasper voted in 7 new directors to join our already existing board of 14 sitting members. Over the next few weeks we will be introducing these amazing people to you via Jasper Online. We invite you to check back here daily to MEET JASPER, and we will introduce you to the hard-working and talented individuals who make up the Jasper Project Board of Directors.

Meet Jane Turner Peterson!

Jane Turner Peterson is a retired marketing professional in the non-profit sector with an arts background. She holds a BA in Theatre from the University of South Carolina. She has been involved in arts marketing in several areas, including graphic design, advertising, and sales, since the 80s. She was most recently the Director of Communications at Washington Street UMC in Columbia. Jane has been involved both on stage and as a director in the local theatre scene for numerous years. Jane is excited to begin her journey with Jasper to be a part of an organization whose mission reflects her love of the arts.

Jane is the Theatre Editor for Jasper Magazine and the project director for the Play Right Project. She also serves on the Project & Planning Committee, the Marketing Committee, and the Magazine Committee.

Welcome Jane!

REVIEW: Jane Peterson Reviews Guys and Dolls at Workshop Theatre

Dames, Dice, and Plenty of Charm: Guys & Dolls at Workshop Theatre

Workshop Theatre raised the curtain Friday night on Guys & Dolls, the beloved musical comedy set against the colorful backdrop of 1950s New York, and the audience could not have been more receptive. The show traces its roots to the short stories of Damon Runyon, brought to the stage by Abe Burrows and Jo Swerling, with the irresistible score and lyrics of Frank Loesser. The production first dazzled Broadway on November 24, 1950, earning the Tony for Best Musical the following year, and later inspired a 1955 film featuring Frank Sinatra, Marlon Brando, Jean Simmons, and Vivian Blaine.

At its heart, the story follows two incorrigible gamblers who find themselves wagering on something far more unpredictable than dice — love. Sky Masterson (Evan Cook) accepts a bet from Nathan Detroit (Frank Thompson) that he can't convince straight-laced Salvation Army missionary Sarah Brown (Sara Slaughter) to join him on a spontaneous trip to Cuba. Meanwhile, Detroit is doing everything in his power to avoid walking down the aisle with his long-suffering girlfriend Adelaide (Maegen Hodges), a dancer at the Hot Spot nightclub. The two storylines weave together through a lively mix of gamblers, showgirls, Salvation Army meetings, and one memorable Cuban detour.

Workshop's production delivers a genuinely good time. The music is bright and infectious, though at times the music threatened to drown out the vocals — which is a pity, because the singing across the cast was commendably very strong.

Frank Thompson brings Nathan Detroit to life with wonderful energy, capturing the character's perpetually flustered, shifty charm as he scrambles to find a venue for his floating craps game while staying one step ahead of the law. His vocals were solid throughout, particularly in the duet Sue Me alongside Maegan Hodges, whose voice was simply outstanding. Hodges deserves real credit for holding her own in some of the more demanding passages, and her portrayal of the lovably scatterbrained nightclub performer was both sharp and thoroughly entertaining. Her turn with the Hot Box girls in A Bushel & A Peck was a genuine crowd-pleaser.

Sara Slaughter was a standout as the buttoned-up Sarah Brown, bringing a sharp comic sensibility and a wonderfully expressive face to the role. Her rendition of If I Were a Bell was a real highlight.

Evan Cook's take on Sky Masterson carried all the Brando-inflected cool the role demands — self-assured and magnetic, it's a performance well worth the price of admission on its own. His scenes opposite Slaughter were especially fun, and their duets ranked among the evening's best moments.

The gambling fraternity — George Dinsmore as Benny, Joshua Diveley as Nicely-Nicely, Davis Herndon as Harry the Horse, and Julian Deleon as Big Jule — gave the show much of its texture and flavor. Each brought something distinct to their role, and the ensemble felt cohesive and committed. The "confession" scene was another high point, and Deleon's turn as the menacing Chicago gangster was particularly fun to watch.

The ensemble featured Lisa Baker, Dylan Livingston, Sophie Legare, Caroline Leonard, Blythe Long, Abby Mathias, Ann McGaha, James Nolan, Absalom Oliver, Elizabeth Rawson, Katie Rooney, Joey Weaver, Dara Younce and Tyler Zangler, whose portrayal of the policeman added some great comedic moments.

The vocal performance of the night, for this reviewer, belonged to Rich Fisher as Arvide Abernathy, Sarah's grandfather. His solo More I Cannot Wish You was quietly moving and left a lasting impression — here is a performer worth watching. Also deserving of mention were Joshua Dively's spirited Sit Down, You're Rocking the Boat, and the entire ensemble’s rousing rendition of Luck Be a Lady Tonight.

Director Bakari Lebby kept things brisk and lively, moving the show along at a confident clip. That said, a couple of production details gave pause. A push-button pay phone appearing as a set piece was a noticeable anachronism — period-appropriate props shouldn't be difficult to source for a show so firmly rooted in its era. Similarly, one particular wig felt like an afterthought, lacking the period styling that the rest of the costumes — which were largely on point — carried off so well. On the technical side, Patrick Faulds' set and lighting design served the show admirably, Kathy Seppamaki's music direction was crisp and capable, and Katherine Brown's choreography kept the stage energized. Additional crew included Hayle Barry (assistant director), Jeni McCaughan (producer), Andie Nicks (costumes), and Adeline Huggins (stage manager).

Guys & Dolls runs through March 28th at Workshop Theatre. Tickets can be purchased online at workshoptheatreofsc.org or by calling the box office at 803-799-6551. Workshop Theatre is located on the Columbia College campus in the Cottingham Theatre, at 1301 Columbia College Drive, Columbia, SC.

Jane Turner Peterson

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: A Deadly Good Time - Over My Dead Body Delivers Laughs at Town Theatre By Jane Turner Peterson

Town Theatre’s production of Over My Dead Body by Michael Sutton and Anthony Fingleton is a delightful throwback to some of Agatha Christie’s murder mysteries. While it takes place in the 1990s, it evokes the feel of old-school whodunit plays. Skillfully directed by Allison McNeely, Over My Dead Body is a comedy-mystery that borders on farce, with some wonderful physical and situational comedy moments. There are several great twists in the plot that make the production even more fun. The entire cast was fun to watch.

The story is set in England and revolves around three elderly founding members of a mystery/crime writers’ literary club: Dora Winslow (Kathy Hartzog), Trevor Foyle (Bill DeWitt), and Bartie Cruikshank (Clayton King)—collectively known as the “Murder League.” A new, young writer, Simon Vale, has joined their ranks, and they are not fond of him. Vale makes fun of their old-fashioned style of writing, while the League mocks his inappropriate language used to describe his murders. The play spoofs the whodunit genre as the three members of the “Murder League” attempt to plan and execute the perfect crime to boost their careers—only to have their old-fashioned methods go comically wrong.

As the married couple Trevor Foyle and Dora Winslow, DeWitt and Hartzog bring their wonderful chemistry to full force. Having played opposite one another many times over the years, the pair are always a delight to watch. Their timing and delivery are spot-on. Clayton King’s Bartie adds a delightful dose of eccentric energy to a character who is shrewder than he first appears.

Wayne Wright’s portrayal of Vale strikes just the right mix of snobbery and cockiness to make you distrust—and dislike—his character. The club’s butler, played by Steve Reeves, adds another layer of comedy to the production. His slow-moving, dim-witted portrayal of the aging servant is fun, and even more commitment to the character would have been welcome. The murder victim—Simon Vale’s utterly despicable American literary agent, Leo Sharpe—is played by the imposing Sam Chamberlain, who dives into the role with great enthusiasm and makes you dislike him from the moment he appears.

Rounding out the production is the star-struck detective, Chris Kruzner, whose portrayal of the slightly dim-witted investigator, reminiscent of Jacques Clouseau (The Pink Panther), is spot-on. His self-assured partner, Sergeant Trask, portrayed by Chavous Camp, is also fun to watch. Together, the two make a strong comedic pairing.

Big kudos to the entire set, costume, and prop crew—Nathan Jackson, Jeremy Hansard, Julian Harley, Shannon Willis Scruggs, and Jodie Harris—whose work was very well done and served the production beautifully. Town Theatre is lucky to have such a wonderful space. A few technical elements could be tightened up, but it is live theatre, after all.

If you’re looking for a fun, lively evening at the theatre, this one is for you. Over My Dead Body runs Thursdays through Sundays until Feb. 1. For tickets or more information, visit towntheatre.org.

REVIEW: The Comeuppance Delivers a Fearless, Ensemble-Fueled Night By Jane Turner Peterson

Trustus Theatre’s Side Door production of The Comeuppance, by Branden Jacobs-Jenkins, is a modern-day dramedy set in Washington, DC. It’s an intense evening of angst, truths, secrets, and lasting friendships, as a group of five diverse millennials gather for a pre–20th high school reunion party for their “gang” of misfits—known as MERG (Multi-Ethnic Reject Group). Think of the play as a grown-up The Big Chill. This particular group of friends has faced a lot in their lifetimes so far, including 9/11 and COVID, to name just a couple. Some of these friends see each other on a fairly regular basis; others have not been together in nearly 13 years.

While alcohol—and a little pot—soothe some, others find themselves stuck in the past with doubts, unrequited love, anger, and regret. Each character has been shaped by history and by time itself. The group’s anchor, Ursula, has lost an eye due to diabetes and has endured tremendous loss; Kristina, a doctor and vet, numbs herself with alcohol to escape the pressures of being a mother of five stuck in a suffocating marriage; Emilio is a bitter, brilliant artist who has self-exiled to Europe; and Paco, a veteran suffering from PTSD, is treated as an outsider and haunted by abuse from his high school years. Each character breaks the fourth wall, speaking directly to the audience about mortality and the stories they tell themselves to survive.

Be prepared: the play runs two and a half hours with no intermission. Yet it never feels indulgent or slow. The momentum of the piece is part of its power, and it is difficult to imagine where an intermission could even exist without disrupting the emotional current. Ginny Ives’ direction honors the depth and complexity of this script. Her fluid use of the intimate Side Door Theatre at Trustus (a 50-seat space) allows the audience to feel like silent members of the group, fully immersed in their reunion.

Patrick Dodds delivers a riveting performance as Emilio, capturing both the character’s caustic wit and profound ache. His opening monologue—where he reveals that we may know him as Death—is haunting, intimate, and immediately pulls the audience into the world of the play. Dodds sustains this emotional precision throughout the evening with a richly layered performance.

Jessica Francis Fichter shines as Caitlin, bringing emotional clarity and vulnerability to a character torn between nostalgia and disappointment. Her performance is filled with subtle shifts that reveal Caitlin’s longing, regret, and unresolved affection, grounding the play with honesty and heart.

Tashera Pravato brings warmth, strength, and a deeply human gentleness to Ursula. As the emotional center of the group, she radiates compassion and quiet resilience, giving the production its moral and emotional anchor.

Ellen Rodillo-Fowler fully commits to the chaos of Kristina, delivering a fearless performance that is at once biting, funny, and heartbreaking. Her portrayal captures both the bravado and the devastation of a woman unraveling, making Kristina’s pain impossible to ignore.

Mario Haynes gives Paco a moving sense of restraint and inner conflict. His performance thoughtfully conveys the weight of PTSD and long-held wounds, allowing Paco’s vulnerability and dignity to emerge with authenticity and care.

Jonathan Adriel adds resonance and gravitas as Simon, the friend who is only heard on the phone and who cancelled on them at the last moment. His rich voice and grounded presence bring an unexpected depth to the ensemble and underscore the themes of erasure, reinvention, and accountability.

The chemistry among the cast is exceptional. Their relationships feel lived-in, volatile, and deeply rooted, creating an ensemble that is emotionally transparent and compelling from start to finish.

The set, designed by Trustus company member Dewey Scott Wiley, is ideally suited to the space and supports the storytelling beautifully. Costumes and props are equally strong and specific. I highly recommend seeing this powerful and affecting production. The Comeuppance runs Thursdays-Sundays through Feb. 1 at the Side Door Theatre. Showtimes are at 7:30 p.m. Tickets are available at trustus.org or by calling 803-254-9732.

 

 

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: 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.