PREVIEW - Blithe Spirit at USC

Blithe Spirit by Noël Coward, and directed by Stan Brown, opens this weekend and serves as a close to Theatre South Carolina’s 2015 Mainstage Season. Blithe Spirit serves as the first Coward production at Theatre South Carolina since Present Laughter was staged in February of 2012. Both Blithe Spirit is a lighthearted and farcical comedy that follows author Charles Condomine (Josh Jeffers), who invites a medium, Madame Arcati (Marybeth Gorman), to his house one evening to conduct a séance in order to study her for his next novel. Charles, wholeheartedly believing the medium to be a hoax, is proven very wrong when he finds himself haunted by his first wife, Elvira (Candace Thomas). He is then caught in a supernatural love-triangle between his living wife, Ruth (Nicole Dietze), and the strong-willed Elvira.

Director Stan Brown explains, “I'm intrigued by two questions the play asks. As we move from one relationship to another, what “ghosts” do we take with us? I also believe…as the play implies, that genuine love is eternal.” And despite the show being nearly 75 years old, that is what makes the show still accessible to modern audiences. “Mr. Coward wrote Blithe Spirit in 1941, yet the story deals with what "we" would consider contemporary relationship issues. Its timelessness marks it as a classic”, explains Brown.

Coward originally wrote Blithe Spirit in the midst of World War II as a means of escapism. Audiences could go to the theatre for a few hours and enjoy a few laughs together as a way to temporarily flee the problems facing their lives.  And that is something about theatre that will always be relevant. Whether your problems are large or small, everyone can use a good laugh every once in a while. “…There's no reason why it can't be an escape for us during today's dark realities.  My hope is that our audiences have fun and forget their every day burdens for the two hours they're with us,” Josh Jeffers says, “Stan has encouraged us to play because ‘they're called plays for a reason,’ … It's always fun to see what people bring into rehearsal. We've spent a lot of time laughing.”

So join Theatre South Carolina for a few laughs with its last Mainstage show of the year! Show times for are 8pm, Wednesdays through Saturdays, with additional 3pm matinees on Sunday, November 15and Saturday, November 21.  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, beginning Friday, November 6.  The Longstreet Theater box office is located at 1300 Greene St.  Drayton Hall Theatre is located at 1214 College St.

-- Rebecca Shrom

For more information about Blithe Spirit or the theatre program at the University of South Carolina, contact Kevin Bush by phone at 803-777-9353 or via email at bushk@mailbox.sc.edu.

PREVIEW: USC's Threepenny Opera

The Threepenny Opera, written by Bertolt Brecht and directed by Steven Pearson, is back at the University of South Carolina. This production brings about USC’s first musical Mainstage production since another of Brecht’s works, Mother Courage and Her Children, was performed in April of 2009!

The Threepenny Opera follows the deeds of the charming, but innately vile, Macheath (Josh Jeffers). Macheath is a notorious criminal who is widely admired by beggars and thieves of Victorian London, and is known for thousands of heinous crimes, including thievery, adultery, and murder. Macheath only sees wild success in all of his endeavors until he takes the young, and naïve, Polly Peachum (Candace Thomas) as his wife in secret. For when Mr. and Mrs. Peachum (Benjamin Roberts and Rachel Kuhnle), discover that Macheath has ‘stolen’ their daughter away, they vow to have him arrested and hanged.

“[The play] was radical when Brecht first introduced it as a sort of anti-opera, anti-establishment sort of theatre,” Pearson explains.  “It has a sociopolitical bent which says, ‘Look at what is going on the country and in society, at thieves and beggars and the commodification of people.” Threepenny is Brecht’s adaption of John Gay’s 1728 satirical ballad opera entitled The Beggar’s Opera. Both plays take a socialist standpoint to make social commentary on the inequality of the classes in capitalist societies. “Brecht was talking about the same things that are happening now, and even though the play is set in the 19th-century, it has a very contemporary feel,” says Pearson.  “It all keeps coming back, people wanting to cut funding that supports the poor, the discrepancies between the haves and have nots…  Really, nothing has changed.”

By placing such a self-serving, ironic-hero in a role that one is intended to sympathize with, it forces the audience constantly question who in the play they should be identifying with or fighting for. Even Mr. Peachum, who is the strongest supporter of traditional morality, still only gains income through the exploitation of others and only truly has selfish intentions. “The play centers around beggars, thieves, and whores, or “the poorest of the poor”, trying to lift themselves from their current socioeconomic state,” explains Josh Jeffers (Macheath).  “…Not a single character has the luxury of remaining incorruptible, nor bears shame because today, not only is the financial gap between the poor and the wealthy significantly wide, but we’ve become profoundly desensitized to corruption.  If our audiences feel confronted with this theme in either capacity, then I think we’ve succeeded. “

And being a Brecht production, which focuses on the alienation of the audience, or verfremdungseffekt, Threepenny should be considered less a ‘musical theatre production’ and more ‘a play with music’. “The audience plays a major role.  We use music and, occasionally, direct address to include them in this story because the themes are so universal,” Josh Jeffers explains, “…The music in a Brecht piece is a tool used to comment on the theme of the moment, rather than advance the plot or reveal characters’ intentions.  Brecht’s music isn’t necessarily as melodic as we’re used to.  It’s rough and messy because the characters and themes are rough and messy. “

Mack is back! Show times for The Threepenny Opera are 8pm Wednesdays through Saturdays, with additional 3pm matinees on Sunday, October 4 and Saturday, October 10.  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, beginning Friday, September 25.  Longstreet Theater is located at 1300 Greene St.

The Threepenny Opera by Bertolt Brecht and Kurt Weill English Translation by Robert MacDonald Original German text based on Elizabeth Hauptmann's German translation of John Gay's The Beggar’s Opera

Directed by Steven Pearson Musical Direction by Matthew Marsh

Preview by Rebecca Shrom

"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.