"Our Town" at Longstreet Theatre - a review by Jillian Owens

The University of South Carolina’s second production of the 2014-15 academic year isn’t the most adventurous of choices, but it is a popular one. Often-produced, Thornton Wilder’s Our Town (directed by Steven Pearson in USC's Longstreet Theatre) tells the simple story of a simple town full of simple people,  but also tackles themes as heavy as why no one seems to appreciate life while they’re living it, and the meaning of eternity.

One of the reasons this play is so -- in my opinion -- over-performed is that it’s easy to produce. The script dictates that no props or sets be used. The actors must instead mime all action. Ladders become the second floors of houses where characters exchange secrets, and there are a few tables and chairs. That’s it. No real budget is required. Another reason this play is often-produced is that it’s extremely popular. It won the Pulitzer Prize for Drama in 1938, and its 1989 Broadway revival garnered a Tony and a Drama Desk Award for Best Revival.

Our Town is divided into three acts: Daily Life, Love and Marriage, and Death and Dying.  The play opens in the tiny town of Grover’s Corners, New Hampshire in 1901. An equally omniscient and nostalgic Stage Manager (Carin Bendas) introduces us to several of the townsfolk and explains the town’s not-very-exciting history. We see the Gibbs and Webb families sending their children off to school. It’s all a bit tedious, and it’s meant to be. We meet the two teenagers, George Gibbs (Matthew Cavender) and Emily Webb (Nicole Dietze.) Much like the town of Grover’s Corners, there’s nothing really remarkable about either of them. We begin to see them fall in love. We see them marry. Nothing remarkable.

The third act poses an intriguing question: If you were dead and could go back to any day in your life, what would it be, and how would your perspective change? If youth is wasted on the young, is life wasted on the living? Do any of us really appreciate life while we’re in the moments that stack upon other moments until it’s all over? According to the Stage Manager, "No. Saints and poets maybe...they do some.”

Most of it is frightfully simple and boring, as are most of our lives. And that’s kind of the point. If Our Town wasn’t written in this simplistic style and with so few things that actually happen, we wouldn’t be as able to empathize with the characters as we are. We can see ourselves in them...not in those exciting, electric moments that we wait for, but in the spaces in between when we’re cooking dinner, running errands, or just chatting with a friend. This is who we are.

This production of Our Town features a new crop of MFA students, as well as a few undergrads. Dietze and Cavender are naively pleasant enough as Emily and George. I enjoyed the easy and comfortable dynamic between Dr. and Mrs. Gibbs (Josh Jeffers and Candace Thomas), which was perhaps the most subtly touching and believable relationship in this production. The Stage Manager is usually cast as a male, but features a female actor, Carin Bendas, in this production. It’s a difficult role, as it isn’t really so much a character as it is a time-warping deliverer of exposition. Bendas comes off as off-puttingly smug at times, but still delivers some of the best lines of the show with empathy and compassion. All of the actors do an impressive job at miming props, and manage to deliver decent New Hampshire accents.

I was impressed by how visually interesting the “not really a set” set was. Neda Spalajkovic adhered to Wilder’s desires as much as she could, while still giving the audience something interesting to look at that establishes location and time changes. And even if you don’t care very much for this sort of show, you’ll be impressed with how she has worked with lighting designer Ashley Pittman to create a visually stunning final tableau.

The plot is slow. The language is plain. But then you get lines like this that jump out at you and stir something inside of you:

“We all know that something is eternal. And it ain’t houses and it ain’t names, and it ain’t earth, and it ain’t even the stars . . . everybody knows in their bones that something is eternal, and that something has to do with human beings. All the greatest people ever lived have been telling us that for five thousand years and yet you’d be surprised how people are always losing hold of it. There’s something way down deep that’s eternal about every human being.”

And this is why Our Town remains an American theatre classic.

~ Jillian Owens

Show times for Our Town are 8pm Wednesdays through Saturdays, with additional 3pm matinees on Sunday, November 16 and Saturday, November 22.  Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public.  Tickets can be purchased by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30pm-5:30pm, beginning Friday, November 7.  Longstreet Theatre is located at 1300 Greene St.

"King Lear" in Finlay Park - a review by Jillian Owens

The South Carolina Shakespeare Company opens their fall season with King Lear, one of Shakespeare’s best-known tragedies. George Bernard Shaw once said "No man will ever write a better tragedy than Lear,”  and one can definitely see where he’s coming from. Madness, betrayal, suffering, war, and death are all over this play, and the body count is nothing short of impressive.

The elderly King Lear (Chris Cook) is ready for retirement. He plans to divide his kingdom among his  three daughters, Goneril (Raia Hirsch), Regan (Sara Blanks), and Cordelia (Katie Mixon.) But there’s  a catch: the largest quantity of land will go to the daughter who can prove she loves him most. Goneril  and Regan are perfectly happy to deliver speeches of loyalty and devotion that drip with aspartame. But  Cordelia remains stoic, saying she has nothing to compare her love to. Her frankness leads to her father  disowning her and splitting his lands between Regan and Goneril. The King of France, impressed with her honesty offers to marry her:

“Fairest Cordelia, that art most rich, being poor; most choice, forsaken;  and most lov'd, despis'd!  Thee and thy virtues here I seize upon. Be it lawful I take up what's cast  away.”

And they hop off to France.

Lear quickly learns how fickle filial loyalty can be. As soon as he relinquishes his power, he loses all  respect from both of his daughters. They chide him for being raucous, and force him to let the majority of  his entourage go. This shocking fall from power and dignity leads Lear to become more and more insane as the play progresses. The former King quickly learns that his only true friends are his now-disguised former pal Kent (Tracy Steele) whom he banished for defending Cordelia, and his Fool (played by Jeff Driggers.)

Intermingled in this main plot is further drama with a troublemaking illegitimate son by the name of  Edmund (Bobby Bloom) to the Earl of Gloucester (Richard Purday.) He tricks Gloucester - way too easily - into thinking his legitimate son Edgar (William Cavitt) plans to steal his estate.   Eyeballs are removed, women are seduced, and lots of folks die in some pretty creative ways.

In this production of Lear, director Linda Khoury has assembled a large cast with varying skill levels and a  curious array of accents. Cook is a vulnerable and powerful Lear, and he captures his descent into madness with an intensity that evokes sympathy. Hirsh and Blanks are appropriately evil as Goneril  and Regan, and Mixon makes for a wonderful contrast as the honest and sincere Cordelia.  Edmund gets some of the best lines in the play, and Bloom delivers them with acerbic intensity:

“Wherefore should I stand in the plague of custom, and  permit the curiosity of nations to deprive me, for that I am some twelve or fourteen moonshines lag of  a brother? Why bastard? wherefore base?”

Driggers plays the Fool (see what I did there?) not so much as a clown, but as a terrified young man who grasps  the gravity of a dangerous situation from which he must save his friend. There’s an urgency about this Fool that is an unexpected take on the character. Cavitt delivers one of the most challenging and high-energy  performances in the play as the selfless, though hopelessly naive, Edgar.

A few members of the ensemble couldn’t quite pick an accent - which was distracting - but as I said  before, this is a large cast and every actor’s performance can’t always be golden. At the preview performance I attended, there was a moment of nudity that I’m not altogether sure was simply a wardrobe  malfunction. I can’t imagine bringing small children to something as heavy as a Shakespearean  tragedy, however, so this might not be an issue for you. The key players do interesting work, and the SC  Shakespeare Company takes a straightforward interpretation of King Lear to a few surprisingly creative  places.

~ Jillian Owens

King Lear runs Wednesday, October 22 through Saturday, October 25 in the Amphitheatre in Finlay Park. Curtain is at 7:30 PM, and the Wednesday performance is free!  For more information, visit http://www.shakespearesc.org/ .

Horror, Camp, Comedy, and Splatter Come Together in Trustus Theatre’s Gloriously Gory "Evil Dead: The Musical" - a review by Jillian Owens

What could possibly go wrong? Ash (played by Michael Hazin) is just an average S-Mart employee who wants to spend a relaxing spring break at a creepy abandoned cabin in the woods. Joining him on this vacation are his sweetheart, Linda (played by Elisabeth Baker), his jerk of a friend, Scotty (played by Patrick Dodds), his jerk of a friend’s recent hookup, Shelly (played by Abigail Ludwig), and his socially-awkward buzzkill of a little sister, Cheryl (played by Jodie Cain Smith.) When a mysterious trap door in the floor flies open, the fellas decide to investigate.

Unless you’re -- as Scotty would say (and says repeatedly) -- “a stupid bitch,” you’ve probably figured out that this is the standard set-up for countless horror movies, and that there is no possible way for this to end well for our young friends. The group discovers a tape recorder and a very strange book, written in Latin. The bizarrely helpful voice on the tape (contributed by Scott Blanks) reveals that they hold the Necronomicon, a book of the dead bound in human flesh and written in human blood that has the power to unleash an army of some pretty catty Candarian demons upon the world. They, of course, play the transcription of the cursed words and release these aforementioned demons. And what do you do when being attacked by demons? You sing a song (“You stupid bitch!”)

Even the most pedestrian lovers of campy horror films can guess that this musical is based on the three films of the Evil Dead franchise: Evil Dead (1981), Evil Dead 2 (1987), and Army of Darkness (1992.) The musical version, (created by George Reinblatt, Christopher Bond, Frank Cipolla, and Melissa Morris) was originally produced in 2003 in Toronto, Ontario where its success lead it to Off Broadway in 2006. The musical version combines the plots of the first two films, and contains several Army of Darkness references as well.

The songs in the show are silly and fun, and reminiscent of The Rocky Horror Picture Show. Song titles include, "All the Men in My Life Keep Getting Killed by Candarian Demons," “Bit-Part Demon","Do the Necronomicon", and –my personal favorite- “"What the F*ck Was That?" The music isn’t particularly challenging, and it certainly isn’t brilliant, but it’s also not trying to be. The simple score allowed director Chad Henderson to assemble a cast of very funny actors, some of whom are also very strong singers.

Michael Hazin pulls off the role of Ash with a terrific Bruce Campbell (star of the film series) swagger and a commanding voice, and Elisabeth Baker was an obvious choice for the role of Linda, his sweet love interest. She’s also no stranger to musical theatre, and it shows. Matthew DeGuire seems an unlikely Jake (a rugged and sort of sketchy Mountain Man) which makes his role all the funnier and he nails every note. The rest of the cast’s strength lies primarily in their comedic abilities...and that’s okay. Jodie Cain Smith’s Cheryl is hilarious, both pre- and post- Deadite (the term for bodies possessed by Candarian demons), even if some of her numbers pushed her out of her comfortable vocal range. Amy Brower is the most melodramatic archaeologist you’ll ever meet, with some serious wardrobe malfunctions that lead to much laughter, and Patrick Dodds is a complete and utter jerkoff as Scotty, which in this case is a compliment.

Evil Dead: the Musical is the definitely the first musical I’ve ever been to that featured a “Splatter Zone.” That’s right - this stage adaptation maintains the high levels of campy gore established in the films, and if you’re feeling particularly fearless, you can choose to be covered in fake blood as the body count rises. You’ll also get to see a beheaded corpse with a grudge, a feisty dismembered hand, and a really unpleasant evil moose. Scenic Designers Brandon McIver and Baxter Engle and Prop Designer Jillian Peltzman have made this production a 4-D experience.

Evil Dead: The Musical is a must-see for horror fans, fans of all things funny, and fans of really strange musical adaptations. Go ahead...heed the calling of the Deadites...Join Us...at Trustus Theatre.

~ Jillian Owens

Evil Dead: The Musical runs through Saturday, July 26; call 803- 254-9732 or visit www.trustus.org for ticket information.  Also, be sure to check out the artwork of Sean McGuinness, aka That Godzilla Guy, the featured artist in the Gallery at Trustus for the run of the production.

Transylvania Mania at Workshop Theatre - a review of "Young Frankenstein" by Jillian Owens

It seems appropriate that the last show ever to be performed by Workshop Theatre at their Gervais and Bull Street location would be Mel Brook’s Young Frankenstein. Emotions surrounding their move to 701 Whaley run high among the Columbia theatre community. Only something silly and fun will do for this occasion. Adapted from the 1974 film of the same name, Young Frankenstein tells the story of Dr. Frederick Frankenstein (pronounced “Fron-ken-steen”!), grandson to that other Frankenstein who terrorized the townsfolk of Transylvania with his monsters for decades.

Frederick is summoned to Transylvania to claim his inheritance when his Grandfather dies. At first, he has no intention of “joining the family business” of creating monsters, but then he meets Igor (played by Frank Thompson), a masterless hunchbacked stooge who pronounces his name “Eye-gor,” and who softens his resolve in the song "Together Again (for the First Time."  A visit from the ghost of his dead grandfather (played by Hunter Boyle), and the temptation of taking on a sultry local by the name of Inga (played by Courtney Selwyn) as his lab assistant remove it altogether. With the assistance of Igor, Inga, and his horse-scaring housekeeper Frau Blucher (played by Elena Martinez-Vidal, he builds a monster that-- you guessed it--ends up terrorizing the village.

This is one of the best put-together casts I’ve seen. Kyle Collins is a delightfully neurotic Dr. Frankenstein, and Thompson is a brilliantly hilarious Igor. Vicky Saye Henderson delivers a standout performance as the Doctor’s madcap socialite fiancée, Elizabeth Benning, who is more than a bit frigid with the good doctor in the song "Please Don't Touch Me." Selwyn is an exciting and relatively new talent, having only one other production under her belt (the recent Ragtime at Trustus.) With impressive vocal chops and other…ahem…assets, she is perfectly cast as Inga, and I look forward to seeing her talent grow in future productions. Martinez-Vidal earned the most laughter as Frau Blucher, sometimes without havingto say a thing.  Jason Kinsey is perfectly cast as The Monster, and his “Puttin’ on the Ritz” number does not disappoint.

This is one of those rare Columbia productions that has somehow managed to capture the best of our local talent, and has showcased it fantastically well. Even the ensemble is comprised of actors and actresses whom I’m accustomed to seeing in lead roles. And I’ve never seen a show where the cast is so clearly having such a ridiculous amount of fun.

That’s what this show is. Pure fun. Well, not all that pure. There are plenty of bawdy jokes, songs (such as the song, “Deep Love,” which is referring to exactly what you think it’s referring to) , and silly sight gags. But this is nothing that would surprise anyone who’s ever seen a Mel Brooks film.

Young Frankenstein is a big show, both in cast size, and technically speaking. Randy Strange has done a phenomenal job with the challenging set requirements, most impressively in Dr. Frankenstein’s laboratory. This is a bittersweet compliment, as this is to be Strange’s last show in his decades-long career-- but what a way to go out. What couldn’t possibly be built on such a small stage is created through the clever use of projections by Baxter Engle, also credited as Sound Designer for this show.

Director Chad Henderson, Choreographer Mandy Applegate, and Music Director Tom Beard have created a production that is truly a triple threat. Great direction, great choreography, and great musical talent have come together to make the last show on this stage something truly special.  Young Frankenstein runs though Saturday, May 24;  contact the box office at 803-799-6551, or visit www.workshoptheatre.com for ticket information.

Shakespeare's Epic Romance "Cymbeline" - a review by Jillian Owens

When I heard the South Carolina Shakespeare Company had chosen Cymbeline for their spring show, I was excited. This is one of Shakespeare’s least-performed plays.  I had never seen a production, and can’t remember the last time it was produced here in Columbia.

The South Carolina Shakespeare Company describes Cymbeline as an “epic romance,” and I have to agree that it certainly is. From its wildly complicated plot involving murder, kidnapping, attempted murder, gender-bending hilarity, deception, jealousy, battles, and a bizarre deus ex machina plot twist, “epic” seems an apt descriptor for this show.

The play opens in Ancient Britain. King Cymbeline’s daughter, Imogen (played by Katie Mixon) has married Posthumus Leonatus (played by Bobby Bloom) against her father’s wishes. Posthumus is banished, but the two vow to work this all out somehow. Meanwhile, Cymbeline’s new wife, the Queen (played by Libby Campbell Turner) has great plans to make Imogen marry her son from a previous marriage -- the loutish Cloten (played by Scott Means) -- and then to poison Cymbeline (played by Chris Cook) and Imogen in order to secure Cloten’s position as King.

Are you following along so far? Good -- because things are about to get weird. While in exile in Italy, Posthumus encounters Iachimo (played by Wela Mbusi) who  wagers that he can seduce Imogen. Posthumus, full of pride for his wife’s chastity, agrees to the bet. Iachimo meets with Imogen, who refuses his advances. Being the weirdo creepster he is, Iachimo hides in her bedroom to steal a token that will make it look as though he has been successful in his seduction while she sleeps.  Posthumus, not being the forgiving sort, sends his servant Pisanio (played by G. Scott Wild) to kill Imogen. However Pisanio, not being the murdering sort, warns Imogen, who then escapes, disguised as a young man.

What follows is one of the most bizarrely complicated plots I’ve seen since LOST. Someone gets beheaded. Someone is given a potion that was meant to kill them but only makes them seem dead for a bit. A battle is fought and people are imprisoned. And I promise you won’t see the twist at the end coming.

There’s a lot to like about the SC Shakespeare Company’s performance of Cymbeline. As I mentioned before, this play is rarely performed anymore, and it’s very different from most of Shakespeare’s other works. Theories exist that he didn’t even write Cymbeline entirely on his own. Its scarcity makes it a special treat to scholars and enthusiasts alike.

There are also some impressive performances, most notably by Bobby Bloom as Posthumus and Katie Mixon as Imogen. Bloom’s commanding resonance and passion are perfect for his role, and Mixon makes a lovely and surprisingly empowered Imogen. Wild’s role of Pisanio may be a small one, but his moments with Imogen show a beautiful empathy that is impressive to achieve with such little stage time. Scott Means has lightened what could have been a disturbingly dark role in his interpretation of Cloten, and this choice gives this production of Cymbeline moments of much-needed frivolity.

The extremely misogynistic themes of Cymbeline are difficult to watch, though. The men (those who don’t die anyways) have seemingly - and at times literally - earned favor with the gods, whereas Imogen, the most honorable person in the play, is continually victimized, preyed upon, and objectified. The plot is needlessly confusing at times, as if Shakespeare was just seeing how many strange things he could throw into a play. Who knows? That might be the case. You should also be warned that this is a long show, clocking in at about three hours with a 15 minute intermission, so be sure you’re prepared to make a night of it.

Even though I can understand why it isn’t one of the Bard’s most popular works, I admire the South Carolina Shakespeare Company and director Linda Khoury for taking on such a work as Cymbeline and bringing it to a public that might otherwise never see this strange part of his canon.

~ Jillian Owens

Cymbeline runs Wednesday through Saturday, May 7—10, 2014 at 8:00 PM in the amphitheatre in Finlay Park.  Admission is free, although  a donation of $10 is a suggested. If you will attend with a large party, please arrive early for the best seating.  The Finlay Park Amphitheatre is at 930 Laurel Street, Columbia, SC 29201.  So hie thee hence from thy computer screen and sally forth post-haste to Finlay Park!

For more information, please call 803-787-2273 or visit www.ShakespeareSC.org .

Come early (6:00PM) before the Thursday May 8th performance, and you and your family can also enjoy Shakespeare’s Kidz (the SCSC’s new school-aged company, directed by Imogen actress Katie Mixon) as they take the stage with a re-telling of a classic using humor, some modern language, and sword fighting in Don’t Say Macbeth!

Timely, relevant, and thought-provoking - a review of the NiA Company production of David Mamet's "Race" - by Jillian Owens

David Mamet is a playwright that has no problem leaving you feeling uncomfortable.  The NiA Company  production at the Richard and Debbie Cohn Trustus Side Door Theatre of his play, Race , is no exception.  Mamet is known for his dark, fast-paced dialogue and sinister plots.  Characters deceive and manipulate each other, all in a struggle for power.  They aren’t motivated by a desire to do what’s good or right per se, but by a desire to win.

The setup of Race is simple.  Three lawyers are defending a white man for an alleged crime against a black woman.  One of the partners is a self-made black man named Henry Brown (played by Darion McCloud).  He is juxtaposed by the slick, snarky, and white Jack Lawson (played by Harrison Saunders).  And because the issues brought up by sex are just as interesting as race, they are joined by their third partner, Susan (played by Ericka Wright), who happens to be black.

The brutal one upmanship that is so common in a Mamet play is more subtle in Race.  There is a level of camaraderie and respect among Brown, Lawson, and Susan (curiously, the only character without a last name).  Usually, when watching a Mamet play, I feel disturbed.  His characters are usually so shockingly sociopathic that you can’t help but feel squeamish.  They seem capable of anything.  The characters in Race don’t quite reach this level.  This would be fine if his characters were written in such a way that they’re given somewhere to go developmentally, but they aren’t.  The language is fast and edgy, with plenty of racial and sexual epithets to keep the audience on its toes – but none of the character’s actions seem all that surprising, and this makes establishing suspense difficult.

Race feels like an exercise in how our prejudices affect our perception of reality.  Was Susan offered her position because she was a woman and black?  Does Lawson truly believe is client is innocent?  Is Brown afraid to voice his own doubts about the innocence of his client out of fear of seeming racially biased himself?  Are any of these people self-aware enough to be concerned about any of these things?

As I said, this is a difficult script, and in my opinion not necessarily Mamet’s best.  Director Heather McCue could have gone with a much easier play, but this is not what the NiA Company is about.  They seek to challenge their audience and themselves, which is commendable.  This puts a great deal of pressure on the actors.  They were all very good, but the text they’re working with doesn’t do them any favors.  McCloud is the most explorative actor in this show as Henry Brown, who is both believable and compelling.   Saunders is quick and cunning as Lawson, but there are moments where he perhaps could have made the choice to give his character moments of weakness that would have made Race much more suspenseful.  The same can be said of Wright’s Susan.  As she never seems to reach a point where she’s in serious danger of losing anything, whether emotionally or professionally, I found it difficult to feel much suspense or surprise at her actions.   Nathan Dawson plays Charles Strickland, a rich and arrogant man who may or may not be a rapist.  Dawson, an Australian, opted for an American accent for this show, although not altogether successfully.  Nevertheless, I commend him for offering moments of vulnerability that left me feeling uncomfortably sympathetic for his character.

The small black box space of the Side Door is completely ideal for this type of small production that takes on some very large issues.  Race is a timely and relevant work that if nothing else, will encourage a lively discussion between you and your friends after the show.

~ Jillian Owens

Race runs for four more performances, April 16-19.  The doors and box office open thirty minutes prior to curtain, and all Trustus Side Door tickets are $20 for general admission and $15 for students. Reservations can be made by calling the Trustus Box Office at (803) 254-9732, and tickets may be purchased online at www.trustus.org . The Richard and Debbie Cohn Trustus Side Door Theatre is located at 520 Lady Street, behind the Gervais St. Publix. Parking is available on Lady Street and on Pulaski Street. The Trustus Side Door Theatre entrance is through the glass doors on the Huger St. side of the building.  For more information or reservations call the box office Tuesdays through Saturdays 1-6 pm at 803-254-9732. Visit www.trustus.org for all show information and season info.

"The 39 Steps" at USC's Longstreet Theatre - a review by Jillian Owens

Do you enjoy mystery, intrigue, espionage, ridiculous accents, and fast-paced gender-bending craziness?  Do you also happen to be a fan of the films of Alfred Hitchcock? If your answers to these questions is no, just stop reading this right now (because I  probably don’t like you very much). If your answer is yes, you’re in luck! Based on the 1935 Alfred Hitchcock classic of the same name, The 39 Steps (adapted by Patrick Barlow from the novel by John Buchan) at USC’s Longstreet Theatre is almost word-for-word the same script as the film.

The plot is simple. An innocent man by the name of Richard Hannay (played by Josiah Laubenstein) meets a beautiful German woman who turns out to be a spy. She ends up murdered in his apartment, but in her last breaths warns him that he must save England from an act of terrorism that could happen at any time. He ends up blamed for her murder and must try to stop this nefarious scheme without getting caught by the police who are hot on his trail. But there’s a twist! While the words and plot are essentially the same, the play veers off into being a zany comedy that reminds one of Monty Python or Benny Hill. Oh yes...and the multiple roles of the play are played by just 4 actors.

You might think this sounds like a mean-spirited jab at Mr. Hitchcock, but it isn’t. It’s more like poking fun at a dear old friend. Overdone and campy with silly sight gags and bawdy physical comedy, The 39 Steps is hilarious. While we only see 4 actors, the multitudinous technical crew is working its crazed magic behind the scenes, with rapid-fire costume, lighting, sound, and set changes. 22 of Hitchcock’s other works are referenced in this production as well...can you spot them all?

I was a bit nervous as I entered the theatre. This production of The 39 Steps appeared  to be cursed. The ice storm of the previous week led to every theatre technician’s worst nightmare...not being able to work for five days when your show is supposed to be in technical rehearsal the week before your opening. Whether the treacherous ice that shut down USC was a result of some unsuperstitious sort uttering the name of The Scottish Play or just lousy luck, the 50+ cast and crew members of The 39 Steps were in a bind. When department chair Jim Hunter explained all of this in his pre-curtain speech, I groaned a little inside. Was this basically a pre-emptive apology for what was going to be a sloppily-executed production?  I’m pleased to say: Jim, you can scrap that speech. All of the around-the-clock last-minute building and tweaking paid off, and The 39 Steps went off without a visible or audible hiccup.

The two guest co-directors, Jim Helsinger and Brad DePlanche,prove to be a dynamic duo in executing an extremely demanding production. The set by Xuemei Cao is gorgeous and ever-changing, but it almost seemed too large for the play. The lighting design by Ashley Pittman and the sound design by Britt Sandusky were no small feats either. I’m going to do something that almost never happens in theatre reviews and congratulate the Stage Manager, Lacey Taylor, for managing and calling an extremely difficult show under some pretty scary circumstances.

But what good is a technically spot-on show without the actors to bring the story to life? Josiah Laubenstein is a fine and upstanding Richard Hannay with a talent for physical comedy. Melissa Reed handles the roles of his multiple love interests (with multiple accents) with endearing panache. Still...my favorite scenes in this production were with James Costello and Trey Hobbs who played countless characters. It’s rare to see two actors who have such a great comedic chemistry together. I overheard several audience members (who apparently don’t read their programs) ask, “Are they brothers?”

The 39 Steps is one of the funniest shows I’ve seen in over a decade, and definitely one of my favorite Theatre South Carolina Productions. Unfortunately, this show has a very limited run and this is your last weekend to catch it, which I hope you will. You’ll have a frightfully fun time.

~ Jillian Owens

Show times are 8pm Wednesday-Friday, and 7pm Saturday. There is an additional half-price late night performance on the final Saturday, March 1. Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public. Tickets can be purchased in advance by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30pm-5:30pm. Longstreet Theatre is located at 1300 Greene St.  For more information about The 39 Steps or the theatre program at the University of SC, contact Kevin Bush via phone at 803-777-9353 or email at bushk@mailbox.sc.edu.

Theatre and passion are always in fashion - the Refashionista reviews "Love, Loss, and What I Wore"

As a lover of fashion, my editor here at Jasper assumed I’d be a great fit to review Love, Loss, and What I Wore at Trustus Theatre.   I was a little worried that this show wouldn’t be for me.  I hate conventional shopping and consumerism (99% of my wardrobe comes from local thrift stores), and I was worried that this show was going to be some sort of Sex and the City knockoff - more style than substance.

Based on the book by Ilene Beckerman, the stage adaptation by Nora and Delia Ephron explores the adventures, loves, friendships, and tragedies of an array of women, and how the fibers of the clothes they’ve worn through the years are forever entwined with their memories and the women they’ve become.  This is something that just about any woman (life-long nudists excluded), can understand.  We all remember what we wore for our first dates and for our first dances.  We remember that really hideous orange leather jacket that seems tres chic in high school, but we wouldn’t be caught dead in now.  Objects have power when tied to memories, and what objects do we share a more personal relationship with than our clothes?  They are expressions of who we are and how we want the world to see us.

The five women of this ensemble cast are Amy Brower, Emily Deck Harrill, Tiffany James, Jodie Cain Smith, and Caroline Weidner.  They each play several different characters, each with their own unique stories.  Some are moving, while others are hysterically funny.  Each actress does a fine job, and with a show like this, where each of the women play off each other in such an intimate way, I would find it inappropriate to point out individuals.   Director Larry Hembree has done a superb job of getting a multitude of compelling characters from his cast.  The renderings of decades of fashions by USC Art student Miranda Fuller give us a visual landscape as we travel through each woman’s life.  That being said, I found a few of the vignettes to be trite and formulaically crafted to elicit an emotional response without any real character development, but overall this show is well-written.

Love, Loss, and What I Wore works well in the intimate Side Door Theatre at Trustus, due to its minimalist requirements.  A cast of five, a few chairs, a bar, and a slightly judgmental guy on guitar (who also happens to be the show’s musical director, Jeremy Polley) are all this production requires…oh yes…and a few drinks to loosen up the memories.

Are you excited about this production?  Do you want to gather your girlfriends and check it out?  Well…I hate to be the bearer of bad news, but Love, Loss, and What I Wore is completely sold out (even after adding on an additional Sunday matinee.)  However, perhaps if you pester Larry Hembree (he’s not just the show’s director, he’s also the Managing Director of Trustus Theatre), they’ll bring it back.  This has happened before. (And there's always the option to call the box office to check on any last-minute cancellations, and/or to see if there is any sort of waiting list in case of no-shows.)

~ Jillian Owens

Love, Loss, and What I Wore runs through Saturday, January 18th, 2013.  Shows on Thursdays, Fridays, and Saturdays start at 8pm. The Sunday matinee on January 12^th will be at 3pm. The doors and box office open thirty minutes prior to curtain, and all Trustus Side Door tickets are $20 for general admission and $15 for students. Reservations can be made by calling the Trustus Box Office at (803) 254-9732, and tickets may be purchased online at www.trustus.org .     Except that as of now, the rest of the run is SOLD OUT.

The Richard and Debbie Cohn Trustus Side Door Theatre is located at 520 Lady Street, behind the Gervais St. Publix. Parking is available on Lady Street and on Pulaski Street. The Trustus Side Door Theatre entrance is through the glass doors on the Huger St. side of the building.     For more information or reservations call the box office Tuesdays through Saturdays 1-6 pm at 803-254-9732. Visit www.trustus.org for all show information and season info.

"Sleuth" at Workshop Theatre - a review by Jillian Owens

Would you like to play a game?

No no no! This isn’t the latest installment of a poorly-written body horror series. This is Sleuth, a mystery/thriller by Anthony Shaffer. The title made me think this play was  probably a just silly British farce of some sort. I hadn’t seen it, or either of its film versions (both starring Michael Caine.) Upon entering the theatre, I was warned that  “There will be at least one, and possibly more gunshots in this show.” by at least three  ushers.

"Spoilers,” I thought.

The show opens in the lavish country home of Andrew Wyke (played by Hunter Boyle), a successful writer of many mystery novels and a man obsessed with games.  He’s clever, and he knows it.  Games of strategy and wit are what he lives for.  Shaffer once said he based parts of this character on his friend, Stephen Sondheim, who also  shared a love of games.

Unfortunately, his wealth and intelligence aren’t enough to captivate his much younger  wife. She has left him for the handsome young Milo Tindle (played by the also  handsome Jason Stokes). Wyke invites Tindle to his home to presumably discuss the  details of his pending divorce from his wife.

Sleuth surprised me in many ways. As I said, I didn’t expect this play to be much more than a witty farce. But it is much smarter than that. What begins as a situation comedy, with plenty of funny wit-matching and clever dialogue, becomes something far darker  and complex as the action unfolds. Wyke and Tindle aren’t the only ones playing  games here. This script was written to toy with the audience and their expectations as  well. Just when we’re comfortable and think we understand what this show is about,  Sleuth takes another turn - carefully placing its next piece.

Boyle and Stokes are well-cast in their roles as the jilted-but-proud novelist and the  young-but-not-so-dumb lover. It’s a tricky thing to go from quick banter to far scarier  places at the drop of a hat, but they do this fairly well. Their British accents aren’t bad, although a bit of Southern crept in every now and again. There were opportunities  where they could really brought out the more sinister moments of this play with even  more intensity, but I only saw this show on its opening night. With seasoned actors  such as these, I expect even more commanding performances as the show  progresses.

Randy Strange’s country manor set is impressive, with all the trappings of wealth  presented in a style you’d expect of Wyke. Alexis Doktor’s costumes are nicely done as well, although they seemed to lean towards the 1970 publication date of this play, rather  than the contemporary setting that is indicated by the use of a few modern bits of  technology throughout the show. There were a couple of technical glitches in the  performance I caught, but seeing Hunter Boyle play them off made me forgive thesesmall flukes.

I hope others aren’t put off like I almost was by what kind of play they assume Sleuth may be, because you really don’t know. Trust me. I would love to share more...but I’m afraid  that would just ruin the game.  The play runs through Sat. 11/23; call the box office for ticket information at 803-799-6551, or visit http://www.workshoptheatre.com.

~ Jillian Owens

Review -- Songs for a New World at Workshop Theatre

Workshop Theatre’s latest production, Songs for a new World is a dialog-free series of songs by Jason Robert Brown.  Each song transports you to a single moment in a character’s life where they have to make a decision, make a first step, or move forward in a way that will change their life forever.  There’s no singular story being told, but each of the songs are meant to form a sort of story arc nonetheless. Brown says, "It's about one moment. It's about hitting the wall and having to make a choice, or take a stand, or turn around and go back.”

Songs for a New World was originally intended for a four person cast.  In this production, the cast has been inflated to 9, plus 4 dancers.  This leads to several issues.  First off, there are differing levels of vocal talent and range among the actors in this show.  The actors who are capable of making their brief vignette powerful and moving stand in sharp contrast to those who are working outside of their vocal range, some of whom seem to struggle to hit the right notes. Another addition that detracted from this production [for me] was the dancers.  Wayland Anderson’s choreography was beautiful, thoughtful, and well-executed, but didn’t belong in the world of this show.  There is a beauty in simplicity and that is what this production needs.  The blocking was visually interesting, but less would have truly been more. It’s difficult to concentrate on the character bearing their soul in front of you when you’re surrounded by visual clutter.

Don’t think I’m saying this production is without merit.  There is too much talent involved in this production for that.  While I don’t agree with all of the decisions he’s made here, Chad Henderson (director) has choreographed some of the most striking scene transitions I’ve seen, all in keeping with a theme of traveling across the ocean to some unknowable land.  There are some amazing performances as well.  Vicky Saye Henderson makes a hilarious Park Avenue matron who threatens her husband from the ledge of their penthouse apartment—deciding whether or not to jump into the crowd below (Song:  “Just One Step”).  With a strong voice and a powerful presence, she steps into the shoes of her many characters and takes you with her.  Kendrick Marion’s determination and vigor inspires and moves from his first number ("On the Deck of a Spanish Sailing Ship, 1492.") until the very end.  I would have liked to have seen and heard more from Kanika Kay Moore, whose strong soprano would have been an asset in several pieces.  Andy Bell was another surprisingly underused talent.

Songs for a New World is a bold choice for Workshop, and I applaud them for choosing something this unique and difficult.  Theatre shouldn’t just be about making safe bets.   I eagerly look forward to the rest of their season.

-- Jillian Owens

"Good People" - Jillian Owens reviews the new play at Trustus Theatre

David Lindsay-Abaire’s Good People, the new show at Trustus Theatre,  takes place in Boston, but really exists in two separate worlds.  Margie Walsh (Dewey Scott-Wiley) isn’t doing well at life.  As struggling single mother with a severely disabled adult daughter, she’s barely getting by paycheck to paycheck.   When she’s laid off from her job at the Dollar Store for excessive tardiness –mostly from having to care for her daughter—she’s left with no prospects and a looming eviction. Her friends suggest she go talk to her old high school flame, Mike (Jason Stokes) to see if he can give her a job.  They all remember him as being “Good People” - surely he’ll help an old friend out. Mike is completely beating Margie at the game of life:  he’s a successful doctor with a home, a family, and a practice in Chestnut Hill, an upscale part of town.   Mike never says he’s rich, just “comfortable,” to which Margie snaps back, "Oh, comfortable.  You're comfortable. OK — I guess that makes me uncomfortable."  She manages to wheedle an invitation to a birthday party that his wife is throwing for him, where she hopes to meet her new future employer.

Lindsay-Abaire presents some truly interesting characters and concepts in this play.  Mike is that guy who managed to “get out” and make something of his life and Margie is that girl who just didn’t make it.  While Mike feels entitled to his success, since after all he did work extremely hard to get there, Margie points out that he had several lucky breaks that most people in the "Southie" end of Boston never had.  At what point are you truly just stuck?  When Margie, the self-proclaimed “too nice” girl attempts to blackmail Mike with frightening secrets from his past, you can’t help but wonder if any of these people are “good” at all.

This script is particularly compelling as Lindsay-Abaire grew up in Southie.  Like Mike, he grew up as the son of a fruit peddler, and was one of the lucky ones able to get out after getting a scholarship to Milton Academy when he was 11.  The author says that the reason it took him so long to write a play about his childhood home was that “I was terrified.  You love and care about these people deeply, and you don’t want to misrepresent them.”  His characters are treated with compassion and dignity here.

This production, directed by Jim O’Connor, is subtle and well-executed.  This show is a terrific example of what can be done with a terrific cast and a terrific director when they’re given a terrific script.  Dewey Scott-Wiley is a raw and intelligent Margie who interjects just the right amount of humor into a very serious story.  Jason Stokes plays Mike, and while he’s probably too young for this role (despite several references in the script to his looking good for his age), he manages to make you feel truly sorry for him when Margie starts laying in to him.  The supporting cast, consisting mostly of Columbia theatre veterans, all deserve mention as well.  Erica Tobolski, Barbara Lowrance Hughes, Kevin Bush, and Michelle Jacobs all deliver solid performances.

That being said, the set seemed hastily put-together, clunky, awkward, and not very well designed, which has been a recurring issue for Trustus.  For this performance it was downright distracting as actors struggled with some of the set pieces and curtains.  But that’s nitpicking.

Trustus Theatre has been spot-on with the plays they’ve chosen this season.  I’m happy to see them getting back to their mission of bringing some of the best new theatre to Columbia, SC, and I hope this continues.

Good People runs through April 6; contact the box office at 803-254-9732 for ticket information, or visit www.trustus.org (and try out the new Trustus online reservation system.)

~ Jillian Owens

"The Whipping Man" - Jillian Owens reviews the NiA Company/Off Off Lady Series production at the CMFA ArtSpace

At the end of the Civil War, a young Jewish soldier (Bobby Bloom) returns to his once-grand plantation in Virginia—now in ruins. The only remaining inhabitants of his childhood home are two of his former slaves, Simon (Darion McCloud) and John (Mario McClean), who were also raised as Jews in the DeLeon home. As they come together to celebrate Passover, secrets are revealed, alliances are severed and forged, and the meaning of freedom is explored.

As newly-free men, Simon and John are now left to discover how to fend for themselves when the only world they’ve known has crumbled around them. Simon, the older and gentler of the two, intends to stay on with the DeLeons as a servant—and to be well-paid for it.  John, wild with freedom, loots and ransacks the empty mansions around him.

“What’s all this?”

“Things.”

“Whose?”

“Mine now.”

“What are you going to do with it?”

“Own it.”

“Why?”

“Because I can.”

He plans on moving to New York City to make his fortune.  But do either of these men really see these dreams as possibilities, or are these just the stories they’ve told themselves in order to cope with the loneliness, hopelessness, and famine of their war-ravaged surroundings?

When Caleb returns in dire need of medical attention, questions of loyalty arise.  Why should Caleb expect the help from the men he used to own-- and even have whipped-- now that they are free?  It is possible for men of different races to truly be friends when one of the races has been repressed by the other?  How can one race with a history of being enslaved justify enslaving another?  As these men gather to literally break bread together, these questions are explored.  While it’s initially surprising to seeing two black men of Jewish faith in 1865, this isn’t all that strange for the time.  The tie-in to their observance of Passover, which commemorates the Exodus, is fitting, but it’s beaten to death (no pun intended) in this play. We get it.

Thankfully, Matthew Lopez’s script is deeper than this over-explored metaphor.  The secrets these three men share and keep from each other twist around them, chaining them to their ruined home.  While technically all “free” men, none of them can leave.  There is no emancipation from the sins of their pasts, and the sense of impending doom almost seems to play a fourth character in this play.

Darion McCloud delivers a beautiful performance as the kind and loyal Simon. You may be familiar with Mario McClean’s work as a local singer/musician. I would have liked to have seen a subtler take on the character of John, whose non-stop angry energy becomes more bombarding than moving at times. Bobby Bloom’s Caleb had a Southern accent that came and went and he yawned noticeably several times. Despite these distractions, Bloom’s performance was still powerful.

The Whipping Man by Matthew Lopez is a great fit for the NiA Company, whose mission is to bring actors of all colors and cultures together.  As the “Where’s Waldo?” of the Columbia theatre community, it’s challenging to find some of their venues, but the CMFA Artspace houses this show nicely.  I recommend sitting a few rows back to overcome the sight line issues of a stage that is too high for the first couple of rows to see well.

Co-directed by Darion McCloud and Heather McCue, The Whipping Man is a thought-provoking story of shame, regret, faith, and redemption.

~ Jillian Owens

The Whipping Man runs through Friday, March 22 at the CMFA ArtSpace at 914 Pulaski Street. Curtain is at 7:30 PM, and tickets may be purchased at the door.

Jillian Owens reviews "Boeing-Boeing" at USC

Fasten your seatbelts…it’s going to be a bumpy ride. Some theatre is aimed at starting intellectual discourse and delving  into complex societal issues…but not this show. Theatre South Carolina’s Boeing-Boeing is a high-flying farce from the swinging sixties.  The decade isn’t the only thing that’s swinging.  Meet Bernard.  He has a bit of a thing for airline hostesses….three of them!  A connoisseur of international relations, he is engaged to a feisty American named Gloria, a sassy Italian named Gabriella, and an extremely romantic German named Gretchen.  Bernard has taken a Pan Am approach to polygamy by only dating stewardesses with conflicting flight schedules, using his book of airline timetables as his handy guide.

Of course none of his fiancées know about his philandering ways.  When the new Boeings are introduced as commercial aircrafts, layovers and flight times are reduced, leaving Bernard scrambling to keep his constantly rotating mini-harem under wraps.

Luckily, Bernard is not alone.  His saucy/exhausted maid, Berthe and his socially awkward college chum Robert do their best to help him hide his three little secrets…but will they be able to keep up the ruse before they collapse from exhaustion?   

Boeing-Boeing is no comedy masterpiece, but it is a very fun farce.  It was originally written for French audiences by Marc Camoletti, and later adapted for the London stage in 1962 (where it ran for seven years) by Beverly Cross.  In 1991, Boeing-Boeing was listed as the most performed French play in the world.  It even had recent Broadway revival in 2008, garnering a Tony Award for Best Revival of a Play.

This a solid, even if formulaic, buddy comedy.  You’ve seen this type of duo in dozens of movies before.  Bernard is the handsome and charming ladies’ man, while Robert is his clumsy wisecracking sidekick.  Trey Hobbs plays Bernard well, although it’s a rather one-dimensional character.  Josiah Laubenstein gets to have much more fun with the role of Robert, who gets some of the funniest lines and best bits of physical comedy in the show.  Josiah’s performance is reminiscent of Jerry Lewis (which makes sense—Boeing-Boeing was made into a film in 1965 starring Lewis and Tony Curtis). He’s charming, flirtatious, and likeable.  By the end of the show, you’ll want to hang out with Robert for a drink or two…but you won’t want to leave him alone with your girlfriend.

Let’s not forget the intensely well-traveled ladies of the show! Melissa Peters plays Gloria, the American with an accent and an appetite as large as the state of Texas.  Kate Dzvonik plays the domineering Italian who’s ready to settle down already, and Laurie Roberts steals the show as Gretchen, the hilariously aggressive German.  Bernard’s overemployed maid Berthe, played by Leeanna Rubin, does her best to keep the whole scheme together, but is most certainly not pleased about it.  It would be easy for a feminist to be offended by this show, as all of the women fall into ridiculous sexual stereotypes with absurd accents—but this is a farce.  Such things are to be expected.  Keep in mind the fellas end up being pretty ridiculous themselves.

All of the action takes place in Bernard’s swanky two-story flat.  When I first saw the set (designed by Meredith Paysinger), I immediately wanted to ask how much it would cost to rent it as my new dwelling.  It’s fabulous and perfect for the period.   The costumes (by Caitlin Moraska) are simple and fun.  The air hostesses each have their own unique and very form-flattering uniform, and the gents look nice and snappy.  USC has amazingly consistent high-quality sets, costumes, and lighting.  This show is no exception.

If you’re in the mood for a silly bit of escapism, Boeing-Boeing is what you’re looking for.  If not, don’t worry—King Lear is coming to USC in April.  Tragedy tomorrow…comedy tonight!

 ~ Jillian Owens

Boeing-Boeing, directed by Richard Jennings,  runs through March 2 at Longstreet Theatre. Show times are 8 pm Wednesdays-Fridays, 7 pm Saturdays and 3 pm on the first Sunday.  There is an additional half-price late night performance on Saturday, March 2 at 11pm.   Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public.  Tickets can be purchased by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30 pm-5:30 pm.

"5 Lesbians Eating a Quiche" - Jillian Owens reviews the new Trustus Side Door Theatre production

Love, loss, secrecy, catharsis, and the vast importance of egg-based protein in one’s diet are all parts of the wonky comedy that is 5 Lesbians Eating a Quiche. Welcome to 1956! It’s time for the annual Susan B. Anthony Society for the Sisters of Gertrude Stein quiche breakfast-- and you’re all invited!  So grab a seat by a fellow “widow” *wink* and a nametag, and let the festivities begin!

But wait…can these five ladies maintain decorum and adhere to their motto: "No men. No meat. All manners."  even when nuclear Armageddon is upon them?!?!  Of course not! (and would it be any fun at all if they did?)  This play is absurd.  If it were a quiche, it would be filled with marshmallow fluff and bananas.  It’s silly, bawdy, and not at all deep.  That’s not a bad thing, friends!

The first 10 minutes or so made me wonder if I could tolerate the next 70.  This show is over-the-top, and I was worried that it was about to get downright annoying.  Not to worry.  As I settled in with my fellow “widows” *wink*, I really began to have fun!

As we begin our meeting (we’re all a part of this…check your name tag), our five officers take care of all necessary business and explanations.  Dale (played by Emily Meadows) hasn’t spoken to a man since she was three.  Ginny (played by Katie Mixon) is one of our newest members from across the big pond who loves her quiche …quite… ahem... graphically.  Vern (played by Dewey Scott-Wiley) is our pantsuit-loving DIY enthusiast.  Wren (played by Vicky Saye Henderson) is the epitome of barely contained ladylike excitement.  Lulie (played by Elena Martinez-Vidal) is our matriarch — protecting the sanctity of our eggs and quiches at whatever the cost.

This ensemble cast works really well together.  The role of Dale could have been written for Meadows, and Scott-Wiley’s Vern is terrifically farcical.  Martinez-Vidal comes off as distractingly heavy-handed (even for this production), but it all somehow manages to work.

The original NYC incarnation of this show has just arrived Off-Broadway after a sold-out run at the New York International Fringe Festival.  The director of this humbler (but still hilarious) production, Robin Gottlieb, has been talking with the show’s writers, Andrew Hobgood and Evan Linder throughout the rehearsal process, getting rewrite and edit upon rewrite and edit.

While the NYC cast’s Off-Broadway venue may be a bit larger than our more intimate Trustus Side Door Theatre, the smallness of Trustus’ black box venue is great for the audience participation this show demands.  Don’t worry — you’re not going to be pulled onstage, but you very well might be addressed directly by one of the officers of the Susan B. Anthony Society for the Sisters of Gertrude Stein!

5 Lesbians Eating a Quiche is a short (80 minutes) and utterly silly show that grownups (this show is NOT for the kiddos) with a bawdy sense of humor will enjoy — specially if they get a cocktail or two in them beforehand.  I’m rating Quiche R for lady-on-lady passion, lascivious quiche-eating, and partial disrobing.  So why in the world would you want to miss it?

5 Lesbians Eating a Quiche runs two more weekends, Thursday-Saturday, at the Side Door Theatre (off Lady Street) and closes on February 2nd; for ticket information, contact the Trustus box office at (803) 254-9732.

~ Jillian Owens

Jillian Owens reviews [title of show] at Trustus Theatre

Trustus Theatre has just launched their production of [title of show] , and no…that’s not a misprint.  Jeff Bowen and Hunter Bell are two nobodies in New York who have only three weeks to write a musical to enter in the inaugural New York Musical Theatre Festival.  Unable to come up with an original work (not a show based on a book or a movie), they decided to write their musical about their experience writing their musical, along with their talented friends, Susan and Heidi. How meta!

This probably sounds like one of the most trite, gimmicky, and self-aggrandizing ideas you’ve ever heard of, right?  Don’t worry, you aren’t alone in thinking this.  Jeff, Hunter, Susan, and Heidi all have their doubts and fierce insecurities about this work-in-progress about their work-in-progress, and that’s what makes this tiny show with only four chairs and a keyboard really special.

Keep in mind: this show is a true story about four friends who played themselves in show about themselves.  Director Dewey Scott-Wiley had the unenviable task of casting this show with four real people who could fully embody the characters of four other real people who custom-made a show for themselves.  I’m happy to say, she nailed it.  Kevin Bush (Jeff), Matthew DeGuire (Hunter), Robin Gottlieb (Heidi), and Laurel Posey (Susan) are all Columbia theatre veterans whom you’ve probably seen before, and they’re all absolutely terrific in this production.  Randy Moore isn’t just the Musical Director for this show;  he also plays Larry, the oft-neglected keyboard guy who doesn’t really get any lines, and doesn’t even get to be in the publicity photos (song: “Awkward Photo Shoot”).   With this group of local all-stars, it would be hard to go wrong.  It’s important for the actors in this show to have chemistry.  We need to believe they are the tight-knit group of pals they are portraying in order to care about them.  Otherwise [title of show] would be a total bore.  As you learn more about these people, you begin to feel an odd sort of comfiness.  I really felt like these were my friends, and I found myself rooting for this little show with a big heart the entire time.

The dialog starts off as being a bit too try-hard with cliché gay and sex jokes that feel forced.  As the play (and our understanding of the characters) develops, it becomes more real—and really quite funny!  The score is cute, witty, and at times truly moving.  The lighting design by Frank Kiraly makes the most of an intentionally simple set in brilliant and clever ways.

[title of show] explores the terrifying excitement of creating something new.  In the song “Change It, Don’t Change It”, our fab four begin to doubt the quality of their work and themselves.  Is their play really good enough for Broadway?  Are they good enough?  As Susan says, "Why is it that if a stranger came up to me on a subway platform and said these things, I'd think he was a mentally ill asshole... but when the vampire in my head says it, it's the voice of reason?"

If you have ever created anything, or thought of creating anything, this show will inspire you.  It will inspire you to finish that novel that’s been languishing in your desk drawer for over a year.  It will inspire you to write that screenplay that you don’t think will be clever enough.  It will inspire you to try out for that play.  It will inspire you to stop “procrasturbating” (as Hunter says), and put something new out into the world.

~ Jillian Owens

[title of show] runs on the Trustus Main Stage through December 16^th, 2012. After the New Year, the show returns on January 3^rd, 2013 and runs through January 12^th, 2013. Main Stage shows start at 8:00pm Thursdays through Saturdays, and Sunday matinees are at 3:00pm. Tickets are $27.00 for adults, $25.00 for military and seniors, and $20.00 for students. Half-price Student Rush-Tickets are available 15 minutes prior to curtain.

Trustus Theatre is located at 520 Lady Street, behind the Gervais St. Publix. Parking is available on Lady St. and on Pulaski St. The Main Stage entrance is located on the Publix side of the building.

For more information or reservations call the box office Tuesdays through Saturdays 1-6 pm at 803-254-9732. Visit www.trustus.org for all show information and season information.

Jillian Owens reviews "Compleat Female Stage Beauty" at USC's Longstreet Theatre

  The timing could not be better for Theatre South Carolina’s production of Jeffrey Hatcher’s Compleat Female Stage Beauty, directed by Gary Logan.  Gay rights and gender equality have been hot button issues this election season, and both of these are woven intricately into the tapestry of this poignant and bawdy production.

In 1660, Edward Kynaston is sitting pretty as the most famous leading lady in the London theatre scene.   After 18 years of Puritan rule, England is experiencing a renaissance of theatre, fashion, and decadence.  Called "the loveliest lady that ever I saw in my life" by Samuel Nicolas, Edward is loved and admired for his brilliant portrayal of tragic female roles.  When King Charles II signs a law allowing women to act on the stage, his career is ruined, and his entire identity is called into question.

This show features a new crop of USC Theatre's MFA candidates.  Melissa Peters immersed herself in  extensive movement and vocal work to develop the role of Kynaston.  “The shape of the pelvis changes a lot about how we move,” she told Otis Taylor of The State.  Her hard work has paid off.  You completely forget that she is a she, and instead can only see her as Edward Kynaston.  While Kynaston was the last of his kind, his rival Margaret Hughes was the first of her kind.  Kate Dzvonik is lovely and charismatic in this role.  However, she is difficult to understand through her thick accent.  Most of her performance comes off as one-dimensional, but she is positively winning in her final scene.  Leeanna Rubin makes a hilarious and raunchy Nell Gwynn, the popular mistress of King Charles II (played by Cory Lipman).  Stephen Ingle is  playfully perverse as Kynaston’s  fey and foppish antagonist, Sir Charles Sedley—who suceeds in being both mincing and menacing.

April Andrews has earned accolades for her amazing costumes, and Xuemei Cao’s set is cleverly transformative.  The transitions between scenes are scored by Matthew Nielson, and are evocative of the period.

Compleat Female Stage Beauty reminds us of the progress that has been made in our society’s acceptance those who are gay and transgendered.  Yes—there is much progress to be made, but at least gays can marry in nine states.  The risk of being pelted with excrement onstage for being a homosexual has lessened considerably since the 1600’s as well.  But, the question of what it means to be man or a woman is still a question that continues to pop up in conversation…whether we’re discussing transgendered youths being admitted into the Girl Scouts, gays in the military, or even whether boys should be allowed to wear pink.  The discussion of sexual and gender identity have become major political issues.

While addressing serious subject matter, this show still manages to be quite funny.  Hatcher has written a cleverly witty script, and the cast manages the delicate balance of capturing  every humorous moment without becoming farcical or irreverent.

Compleat Female Stage Beauty is a darkly comical, but  touching production.  It brings humanity to issues that are easy to think of as being merely political and abstract.  Due to its mature subject matter and some partial nudity, this is definitely an adults-only show.

~ Jillian Owens

Show times are 8pm Wednesdays-Fridays, and 7pm Saturdays.  There is an additional half-price late night performance on Saturday, November 17 at 11pm.   Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public.  Tickets can be purchased by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30pm-5:30pm.

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.

"The Importance of Being Earnest" at USC's Longstreet Theatre - a Review by Jillian Owens

Originally billed as “A Trivial Comedy for Serious People,” The Importance of Being Earnest gets a fun and funky 1960’s reboot in the new Theatre South Carolina production of Oscar Wilde’s last and best-known play. The plot of this rollicking farce is perhaps best expressed in the line, “The truth is rarely pure, and never simple.”  John and Algernon are close pals with double lives.  John (aka Jack) avoids his somber life of responsibilities in the country by inventing a brother by the name of Ernest, whom he constantly has to visit, to rescue him from some scrape or another.  Algernon (aka Algy), on the other hand, frequently escapes to the country to avoid unwelcome social obligations, claiming to visit his imaginary (and always sickly) buddy, "Bunbury."

This arrangement serves them both well, until John (who is living as "Ernest" in the city) falls in love with Algy’s cousin Gwendolen.  Gwendolen’s mother, Lady Bracknell, is appalled to discover Ernest/John is an orphan, found in a handbag at Victoria Station.  To escape her disapproval, Gwendolen and Ernest/John plan to elope in the country.  Little do they know, Algy overhears their plans, and decides to have a bit of his own fun.  After finding out John has a beautiful young ward by the name of Cecily at his country estate, he shows up posing as John’s rascally younger brother...."Ernest."

Traditional Wildean wit, hilarity and clever banter ensue.  Even those who have never seen this play performed live will remember many of Wilde’s signature one-liners.  Both Gwendolyn and Cecily are determined that they can only love a man by the name of Ernest, and certainly not John or Algy!  The play is a searing commentary on the frivolity and insincerity of Victorian culture.  Wilde believed “that we should take all the trivial things of life seriously, and all the serious things of life with sincere and studied triviality.”

This production was cleverly re-set from 1895 to some time in the 1960’s with go-go dancers, a terrific retro score, a set that would be any Anglophile’s dream, and wildly flamboyant costumes.  And it works.  Director Robert Richmond is obviously aware that with a show so dialogue-heavy, a modern audience could easily get bored.  There is absolutely no opportunity for boredom in this intensely high-energy production.  The actors are constantly in movement (a benefit of this production being done in the round), and the dance numbers between scenes are expertly choreographed by Emily Gonzalez (more on her later).

I always look forward to seeing a production at USC, as their shows easily have the most consistently high production values in Columbia.  This show was no exception.  The fun and adaptive set by Kimi Maeda transforms perfectly from a swinging 60’s bachelor pad to a happy hippie garden.  The costumes are simply brilliant.  Elizabeth Coffin displays an amazing amount of talent here, especially for an undergrad.  They are wild, colorful, clever, and beautifully executed with an intense attention to detail.

Pictured: From left, Danielle Peterson (as Gwendolen), Liam MacDougall (as Algernon) and William Vaughan (as Jack)

I was surprised to discover that the cast for this show was all undergraduates.  Usually Theatre South Carolina relies much more heavily on its graduate students.  Emily Gonzalez makes a delightfully naive Cecily Cardew, and her choreography gives this show the jolt of energy it needs to maintain the interest of a modern audience.  Rocco Thompson delivers a particularly hilarious standout performance as Lady Bracknell.  Liam Macdougall’s Algernon is funny and fey, though difficult to understand at times.  Danielle Peterson seemed a bit stiff and uncomfortable in her role as Gwendolen, almost as if she were playing the role 15 years older than it was intended.  But her spot-on sense of comedic timing more than compensates for this.  William Vaughan plays off his fellow actors well as an exuberant though put-upon John/Ernest.  All of the actors do a fine job, especially for being such a young group with varying levels of experience.

The Importance of Being Earnest makes for a delightfully witty way to spend an evening.  So go ahead…take a walk on the Wilde side.

~ Jillian Owens

The show runs through Sat. Oct. 13th at USC's Longstreet Theatre.  Show times are 8 pm Wednesdays-Fridays, 7 pm Saturdays and 3 pm on the first Sunday.  There is an additional half-price late night performance on Saturday, October 13 at 11 pm.   Tickets for the production are $12 for students, $16 for USC faculty/staff, military personnel and seniors 60+, and $18 for the general public.  Tickets can be purchased by calling 803-777-2551 or by visiting the Longstreet Theatre box office, which is open Monday-Friday, 12:30 pm-5:30 pm.

"Next to Normal" at Trustus Theatre - a Review by Jillian Owens

When I was asked to review Trustus Theatre’s first show of the season, Next to Normal, I was hesitant.  I don’t usually like musicals.  It seems like the vast majority that are being launched on Broadway nowadays are pure fluff – adaptations of 80’s and 90’s movies hoping to bank on an easily entertained populace’s desire for nostalgia and escapism.  But then there was this little gem that won the Tony for Best Score, Best Orchestrations, and Best Book by Tom Kitt (Music) and Brian Yorkey (Book and Lyrics).  It also won the 2010 Pulitzer Prize for Best Drama - an uncommon honor for a musical.  “What am I in for?” I wondered. The story of a family being ripped apart by mental illness seems an unlikely subject for a musical, which is one of the reasons this one works so well.  The play opens on what appears to be a typical morning with Diana Goodman (played by Vicky Saye Henderson) preparing lunches for her husband, daughter, and son, and devolves into her throwing sandwiches on the floor.  Diana is not well.  She suffers from severe bipolar disorder, accompanied by hallucinations.   In the next few weeks, Diana visits her psychotherapist (played by Terrance Henderson) who adjusts and readjusts her meds until she is mentally numb, but deemed “stable”.   But she misses her highs and lows…making her something less than the most cooperative patient.

This show’s power comes from the twisted but strong ties between the characters.  Dan (Paul Kaufmann) loves Diana, but wonders who is crazier: her for her illness, or him for staying with her?   Natalie (Elisabeth Baker) is perhaps the most sympathetic character in the play.  She is struggling to be the perfect daughter, but gets lost in competition with her brother (the song “Super Boy and the Invisible Girl”), while living with the very real fear that her mother’s illness might be lurking somewhere in her DNA as well.  Fortunately, she has found a friend in her new love, Henry (played by Chase W. Nelson) whose struggle to keep her out of trouble is a haunting mirror image of the struggle between Dan and Diana.  I won’t give any spoilers here, but rest assured, the plot twists in surprising and heartbreaking ways that will leave you agog.

The entire cast is simply terrific.  Vicky Saye Henderson’s vocal chops are on perfect display here, and Paul Kaufmann’s numbers will make you tear up.  Terrance Henderson’s voice is powerful and lush, and he gives great dimension to what could easily have ended up being a throwaway role.  It’s exciting to see terrific young talent cropping up in Elisabeth Baker, Andy Bell, and Chase W. Nelson – all relative newcomers to the Trustus stage.  I look forward to seeing more from them.

Next to Normal, directed by Chad Henderson,  is the type of show Trustus does best.  They have taken an amazing script, combined it with a small but amazing cast, and put it on a simple but well-designed set.  Musical Director Tom Beard's orchestra is subtle and effective.  The music melds with the story seamlessly.  Spectacle and shows with huge casts have never been the ideal for such a small stage, and this one doesn’t need it.  This show is powerful…spine-tinglingly so.  This is a beautifully challenging piece of theatre that needed to be created, and demands to be seen.

You should see this show.  Yes…you.  Even if you don’t like musicals, and especially if you or anyone you love has been affected by mental illness.  You will leave the theatre profoundly affected.

This is the first show without Jim and Kay Thigpen at the helm (Happy Retirement!), and proof that you can still put your trust in Trustus.

~ Jillian Owens

Next to Normal runs at Trustus Theatre through Sat. Sept. 29^th; contact the box office at 803-254-9732 for ticket information.

Jon Tuttle's "The Palace of the Moorish Kings" - A Review by Jillian Owens

Jon Tuttle’s new play, The Palace of the Moorish Kings (based on the short story by Evan S. Connell) makes for a powerful and thought-provoking night of theatre.  Tuttle is no stranger to  Trustus Theatre – he’s their Playwright-in-Residence.  You may remember him from such works as The Sweet Abyss, Holy Ghost, and The White Problem. It’s Thanksgiving Day, 1970.  Dave and Millicent, played by Gene Aimone and Christina Whitehouse-Suggs, are a seemingly happy upper middle class couple full of smiles with a lovely home (newly renovated!) and dear friends whom they’ve invited over for their traditional holiday feast.  But there’s more than a hint of worry behind their cheerful expressions:  there’s one guest that hasn’t RSVP’d.  Their son has gone missing in Vietnam, but traditions must continue.

As the guests arrive, we learn theirs is not the only family in concealed crisis.  Aileen and Art (played by Becky Hunter and Christopher Cockrell), have a marriage whose foundation is beginning to show its cracks.  Leroy and his daughter Junie (played by James Harley and Erin Huiett) seem to be a content pair, but why has Junie dropped out of college?  Barbara and Al (played by Kim Harne and Shane Walters) are still deeply in love after many years of marriage, but Barbara’s sporadically shaky right hand indicates trouble on the horizon.  This coming-of-middle-age story explores what this group of friends, who have known each other since high school, has given up in their quest for the American Dream.  They’ve all achieved their own levels of success, but still have become wistful and jealous when they hear from their friend J.D., a draft dodger who chose a life of travel and adventure over college, a job, and marriage.  They all live vicariously through his letters from around the world, which curiously never ask about their own, considerably more predictable lives.

All of the actors do an excellent job with their roles.  Huiett makes a wonderfully subtle Junie, which is perhaps the most important character in the play.  We see her asking all the questions the rest of the group wishes they had asked themselves at her age.  She’s not quite so easily sold on the idea of a marriage and a split level being the ingredients for happiness and fulfillment.  Hunter’s Aileen is spot-on and sassy, with unwavering energy and passion.  Aimone, Suggs, and Cockrell deliver powerful and dynamic performances. Other characters, however, seem to exist merely as sounding boards for their more fleshed-out counterparts.  James Harley does what he can with the role of Leroy, who doesn’t say or do very much, except get a little sad about his divorce, and worried about his daughter.  Harne and Walters also fall victim to being good actors with weak characters.  They make a convincingly loving couple, and Harne’s portrayal of a woman who is in the beginning stages of a serious illness is truly touching -- but it seems like Al only exists to provide exposition about the adventures of the well-traveled J.D.  Once again, Walters does what he can, but this script doesn’t give him anywhere to go.  As  director, Dewey  Scott-Wiley has gotten the most out of her cast with this demanding script.

A great deal of dialog is dedicated to how beautiful and amazing Dave and Millicent’s home is, and the set really needed to show the 1970's ideal of beautiful and amazing.  I wasn’t feeling it.  It seemed almost unfinished and quickly thrown together.  An implied set would have worked better for this production if budget or time constraints were the issue. 

The Palace of The Moorish Kings leaves you in a state of thoughtful contemplation.  I would like to see this show 20 years from now, to see if I still identify with the youthful idealism of Junie, or if I find myself agreeing with the older, more conservative Dave.  It’s a show I’d like to take my parents to see with me and discuss over dinner afterwards. Perhaps you’ll go see it with yours?

~ Jillian Owens

The Palace of the Moorish Kings  continues its run on Wednesday, August 15th, and runs through this Saturday, August 18^th.   The Wednesday and Thursday night performances  start at 7:30 PM, while Friday and Saturday nights begin at 8:00 PM.  Note that half-price student tickets are available 15 minutes prior to every curtain.  Trustus Theatre is located at 520 Lady Street, behind the Gervais St. Publix. Parking is available on Lady St. and on Pulaski St.  The Main Stage entrance is located on the Publix side of the building.  For more information or reservations, call the box office at 803-254-9732, or visit http://www.trustus.org .