REVIEW: Ain't Misbehavin' at Trustus Theatre

by Cindi Boiter

When the world is angry and disappointing, our nerves are frayed and our hearts are bruised, we turn to the arts to soothe and remind us of the things that matter most. High among those things we hold dear is the ability to lose oneself in joy. Luckily for Columbia theatre audiences, we have the opportunity to come together to laugh, pat our feet to the rhythm of the band, and experience the shared heart-flight of song when a vocalist takes us with them up and down the scales of music and emotion. We can do this by attending one of the performances of Ain’t Misbehavin’: The Fats Waller Musical Show which takes the stage at Trustus Theatre through March 22nd.

Directed by Terrance Henderson, this production of Ain’t Misbehavin’ features musical theatre veterans Katrina Garvin and Samuel McWhite, arguably two of the most talented and entertaining vocalists in the SC Midlands. Audiences have come to expect mighty performances and a heightened level of professionalism from both of these performing artists and, on the opening night of this run, we got what we came for.  John Ballard and Ara-Viktoria McKinney-Bookman both brought their A-games to opening night with vocals that ranged from soothing to soaring.

But the stand-out for this reviewer, and several other folks I spoke with in the audience, was Mel Driggers in the role originated by Charlaine Woodard. Having seen Driggers in several previous productions, Dandelion, Sweeny Todd, The Rocky Horror Show, and more, we knew that they brought their own uniquely cultivated style to a project, but opening night was the first time this reviewer has witnessed the level of comic acumen Driggers is capable of. As the Gilligan/Scooby Doo of the quintet, Driggers exhibited the kind of comfort with a comedic role that a lot of actors at the local level can’t quite pull off. That’s why, having clowned her way through an early song in the performance with missed notes and big-fun silliness, Driggers drew big-fun applause when they effortlessly hit the right notes, and hit them well, later in the performance.

Rather than being your typical musical theatre performance that adheres to a narrative punctuated by song, Ain’t Misbehavin’ is a musical revue written by Murray Horwitz and Richard Maltby, Jr, with arrangements by Luther Henderson. It opened at the Manhattan Theatre Club in 1978 with a stellar cast that included Nell Carter, Irene Cara, Andre DeShields, Armelia McQueen, and Ken Page. Playing these parts in the Trustus production are Garvin, Driggers, McWhite, McKinney-Bookman, and Ballard, respectively. Charlayne Woodard took over Cara’s part (Driggers) when the show moved to Broadway in 1982. While the playbill for the Trustus performance unfortunately does not provide a list of musical numbers and their performers, expect to hear all your Fats Waller favorites including, “I’m Going to Sit Right Down and Write Myself a Letter,” “Your Feet’ Too Big,” and “The Joint is Jumping,” among others. But don’t take your eyes off the actors who seem to be chilling at the set’s bar or comfy couch pit on the sides of the stage. Many times that is where the funny lives and, while one song is being sung, the cast is setting up the next song on the docket with clever direction and pantomime.

For this production director Henderson opted to make the six-member band a part of the show with the musicians positioned center back of the stage. Music director and pianist is Ayush Joshi, James Wolfe plays trombone, Nigel Ouzts is on trumpet, Ben Eidson on Woodwinds, Kris Phelps on drums, and Andres McNeil plays upright bass. Their presence on the stage exponentially adds to the performance and the little bit of interaction between band members and vocalists that we saw on opening night makes me hope that, with successive performances, the musicians will relax and become even more involved with the cast–because it really works when they are! Choral expert and recent Frank-N-Furter star in the Rocky Horror Show, also at Trustus, Walter Graham served as off-stage music director.

Other behind-the-scenes teammates include Trinessa Dubas as stage manager, scenic designer Corey Langley, whose life-sized characters from previous shows placed in the background of the set provided for some interesting detail, Garreth Hayward on lights with Matt Pound and Walter Kervin on sound, G. Scott Wild on props, and the multi-talented Mel Driggers on costumes. From the audience’s perspective, all these parts of the puzzle came together without a hitch.

There is little to critique about this show. One small detail that I’m sure will improve throughout the run is that, when McKinney-Bookman laughs or smiles, her face lights up and she pulls the audience helplessly into her part of the performance. It would be great to see even more consistent engagement with the audience and fellow cast members from this truly excellent vocalist.

There were too many stand-out songs to name them all, but I’ll mention that Ballard’s rendition of “The Viper’s Drag,” with Ballard fully engaging with the double entendre of the song, was a favorite of this reviewer and many other audience members—especially on a cold Friday night in 2025 when lighting “that tea” and letting “it be” sounds like a pretty good idea.

Certainly, the most moving song of the night had all cast members seated center stage to sing the Waller classic, “Black and Blue,” reminding us for a moment that the world is wrong in so many ways, but sometimes, for a few moments at least, the best thing to do is to sing about it. This performance of the well-known song gave this reviewer chills it was so expertly performed.

How will it end? ain't got a friend
My only sin is my skin
What did I do to be so black and blue?

Jasper recommends that you turn off the news, silence your phones, and grab someone you love to take them out for a night of fun and a fine performance from the cast and crew of Ain’t Misbehavin.’ We need this kind of joy now. It reminds us of what we’re here for, what we have to preserve, and that if artists like Fats Waller could see the sun shine through the cloudy culture that he had to deal with to have his music heard, we should celebrate the example he set by laughing, patting our toes to the rhythm of the band, and rejoicing in the songs he left us.

Two Greek Tragedies Kick Off the Season for USC Theatre & SC Shakespeare Company

Elaine Werren as Antigone

In this politically fraught time, how clever of two of our local theatre companies to program political productions that focus on the power of the individual – in both cases, individual female characters – to rise up in protest against their own uniquely perceived injustices. USC Theatre opens their 2024 – 2025 season with Antigone, and SC Shakespeare Company opens similarly with Electra, both during the first weekend in October.  

Both plays are based on characters from ancient Greek mythology, both are being performed in Columbia, SC, and both open the first weekend in October, but most of the similarities end there. 

While the SC Shakespeare Company’s production of Electra runs from October 3 – 5 and 10 – 12, outside in Historic Columbia’s beautiful Woodrow Wilson House Gardens, the University of SC’s Theatre program presents Antigone October 4 – 12 at the historic Longstreet Theatre on campus. 

The mythological characters of Antigone and Electra are both examined frequently by writers of antiquity in a number of classic plays, each serving as a catalyst for the call of moral fortitude by the titular women involved.  

Antigone is a tale of civil disobedience. When her two brothers are killed while fighting each other for the throne of Thebes, newly seated ruler Creon forbids the burial and mourning of one of her brothers, Polynices, and Antigone rebels by mourning and burying him against Creon’s decree.  

Elektra, whose story has received treatment by everyone from Sophocles and Euripides to Richard Strauss and Eugene O’Neill, is best known for her part in the Trojan cycle, as well as for being the namesake of Carl Jung’s psychological Elektra Complex. 

Here’s what you need to know to take in both promising productions: 

Electra will be performed outside at the historic Woodrow Wilson Gardens at 1705 Hampton Street. The performance starts at 7:30, is free, and attendees are invited to bring blankets and picnics to enhance their viewing experience. The cast and crew include Hunter Boyle, Katie Mixon, Brittany Lewis, Nekoda Moses, Kira Nessel, J B Marple, and Tristian Brown and is directed by Tracey Steele.

 Antigone will be performed at Longstreet Theatre, 1300 Greene Street, with showtimes at 7:30 Wednesday through Saturday with 3 pm matinee performances on October 6 and 12. Tickets are $15 - $22 and may be purchased here. Lauren Wilson will direct the play. The cast and crew include Elaine Werren (Antigone), Dominic DeLong-Rodgers (Creon), Olan Domer, Didem Ruhi, and Elizabeth Wheless; undergraduates Meagan AuBuchon, John Ballard, Eliza Dojan, Ben Doub, Mel Driggers, Ash Leland, Kyleigh McComish, Angie Tamvaki, Carlos Turner, and Olivia Wamai; and guest artist Talha Karci.

-Cb

REVIEW -- Trustus Theatre's Workshop Premiere of Dandelion: An Original Musical

by Chad Henderson

Trustus Theatre opened its doors on Friday, August 9th to a sold-out audience that had been long-anticipating the first downbeat of Dandelion. This original musical was created by composer and lyricist Colleen Francis and book writers Jessica Fichter and Sean Riehm, with some additional music and lyrics from Hailee Beltzhoover-Zuniga and Bill Zeffiro. This work is a slick and well-devised exploration of trauma, mental illness, and the sinewy bonds of family. It will move you, you will relate to one or more of the characters in this multi-generational story and it will actually make you laugh quite a bit. So, if you’re reading this to find out if you should see Dandelion at Trustus - then let me go ahead and direct you to their website to buy tickets: trustus.org. Your Columbia artists are in your own backyard creating something new and you don’t have tickets yet? Shame on you. This is why we can’t have nice things in this town. The show runs through August 25th, so you’ve got plenty of chances to experience Dandelion and stick around for talkbacks after every performance if you wish.  

Now, for posterity, I will pontificate about the production as it stood on opening night. (As this is a workshop production, that means it can and probably will change on its journey to the next production. Hell, it might have already changed before the second weekend.) 

Dandelion tells the story of a teenager named Jane and her family. They live in Georgia, USA. Jane’s mother, Lilah, has endured a long struggle with mental illness and opioid addiction. Jane’s parents have split up, but her fun-loving parrothead of a father is still in the picture. At an impasse with Lilah, Jane’s brother Jordan has also left the house and raises a family away from his mother’s illness. So, this leaves Jane as the sole caretaker of her mother for quite some time, but she finds solace in the company of her best friend Gabbie as they begin the process of applying for college and going to the prom. Will Lilah find a pathway to a healthier life? Will Jane make the move to North College without her mother getting in the way? Are the systems that are supposed to protect those with mental illness totally fucked in America? Well, the audience will hope for the best as the inevitable answers to these questions are revealed. All the while, we’ll keep truly wishing the best for these characters, because they’re all really likable (and word on the street is that the story is based on an actual family from around these parts).  

On the road to this workshop production, one would assume that the script has undergone alteration and subtraction. The end result is a satisfyingly paced production that is dense but moves with plenty of locomotion. The play’s translation from page to stage was directed by co-book writer Jessica Francis Fichter (and Trustus Executive Director), and it is a winsome evening in the theatre through her collaboration with music director Steven Gross, choreographer Terrance Henderson and the production’s design team.

left to right Stann Gwynn, Sadie Wiskes, Katrina Garvin, and Sean Stephens photo by Thomas Hammond

Colleen Francis’ music and lyrics are clearly the result of an industry professional. Her work in her career spans from country to hip hop, and if you listen to Franky C (her performer name) you will joyfully experience music that would be at home on top 40s stations. The songwriter’s prowess comes front and center with the haunting “Lullaby” that serves as the introduction of Lilah’s mental illness, and one of the play’s most useful devices: the utilization of three actors to personify the character’s depression, rage, and paranoia. This storytelling gambit seems to have given Francis the permission to dive into some inventive places with numbers like “Nightmare,” “Throwing Me Away” and, truly one of the strongest of the production, “Bottom of a Bottle.” These tunes feel connected and original to this musical. Also noteworthy is “Not the Perfect Daughter,” which is a moving solo from Jane that boasts a memorable melody and hook.  

With Francis’ ability to be a songwriting chameleon, it was somewhat surprising that the team behind the show desired to lean into some of the more prosaic tropes of modern musical theatre. Much of the music that doesn’t center around Lilah’s internal journey sounds like some other song you’ve heard from some other musical in recent history, and sometimes even the moments in the show can seem (intentionally?) echoic. For example, with the device of having a present-day and younger Jane to demonstrate the story’s links to the past - one could remember Alison Bechdel in Fun Home. It was also hard to ignore the similarities between the Act II opener and Next to Normal’s “My Psychopharmacologist and I” - right down to the waltz and the list of side effects in the lyrics that end in “death” (or “use could be fatal” in N2N). It is entirely possible that a different approach to the arrangements or orchestrations could bring something unique to the sound of the show.

Left to right Mel Driggers and Hannah Bonnett — photo by Thomas Hammond

There are plenty of theatre fans that love the familiar, and Dandelion will ultimately feel safe with a cutting edge here and there to jar the viewer on occasion. The team and the cast give this new work sturdy legs to stand on, because it is indeed tight, well-crafted, and realized by professionals with proven track records. That is undoubtedly why the audience connected to the characters, pulled for them, related to them, and wiped the tears from their eyes as they stood for an ovation that was well-deserved by the cast and all in the show’s orbit.  

Speaking of the cast: new work can be stressful, fast-paced and a bit disorienting - but this group didn’t flinch. The quartet of Katrina Garvin (Lilah) and the voices in her head played by Kristin Claiborne, Terrance Henderson and Brittany Hammock provide the thrills in this story - both narratively and musically. As these characters build into moments of destruction (literally), the group illustrates the expanse of Lilah’s inner-struggle and how powerful her illness can be when confronted by others. Katrina as Lilah uses her toolbox to keep the character teetering on the brink of a possible breakthrough, while believably navigating the waters of hitting rock bottom (we hope they record  “Bottom of the Bottle” so we can relive her powerhouse performance).  

The Three Voices — Brittany Hammock, Kristin M. Claiborne, and Terrance Henderson - photo courtesy of Trustus Theatre

It must also be mentioned that the Three Voices get to play a grab-bag of other characters in the story, especially in “Welcome to Your New Life.” Some of these briefly-lived creations are some of the funniest in the show. Case in point: Brittany Hammock as Carla, the college tour guide. Some of the laughter she generated lasted longer than the built-in holds-for-chortle. 

New to the Trustus stage is guest artist Hannah Bonnet in the role of Jane. Bonnet is a magnetic performer, and she does a commendable job of holding the audience’s hand throughout the story and bringing them along. Jane’s best friend Gabbie is played by local actor Mel Driggers, who gets to play the clown a lot in this performance. Driggers’ Gabbie is an homage to all of our best friends in high school, and the friend who pushed us harder because they truly loved us. Seeing these two actors work together presents much needed levity between some of the darker moments. However, we did wonder if there might be more signaling in the playing of Jane that shows how her mother’s conditioning has set in over 18 years. Beyond her own guilt as a caretaker, what else is the character escaping in herself? 

Also in Jane’s sphere are her father Daniel (Stann Gwynn), her brother Jordan (Sean Stephens) and the memory of her younger self played by Sadie Wiskes. Young Sadie is there to show us Jane’s innocence, the child before the veneer is chipped away - and she does a lovely job. Stann Gwynn and Sean Stephens’ characters provide a lot of the uncomplicated familial love for Jane, though both characters have clearly abandoned her in some form or fashion. Both actors shine throughout the proceedings, but their turns in the chaotic “Get Your Shit Together” really turns up the energy on stage and the anxiety in the audience.  

The show’s title references an endearing moment early on in the play where Lilah tells the young Jane that when you blow a dandelion and make a wish, that your “wishes have wings.” I might be compelled to pick up the next few dandelions I come across. I hope I won’t jinx it by publishing it here, but I think I’ll wish for the following: 

1. More original plays and musicals by local artists

2. More producing organizations presenting new works 

3. Audiences showing up for new work

And I think to myself, what a wonderful world. Check out the show's dedicated website, see Dandelion and enjoy the conversation afterwards. 

REVIEW: The Rocky Horror Show at Trustus Theatre Really Does Have Something for Everyone

What better way to kick off October and Trustus Theatre’s 38th season, “(Un) Familiar,” than with a familiar classic that explores what once were (and sadly for some might still be) very unfamiliar topics?

Cult classic The Rocky Horror Show at Trustus Theatre was, as expected, a great time had by all, and yet very different from the show longtime fans might have come to expect. A sold out showing on Friday, October 7th, the crowd was a mix of veteran fans ready to participate and soon to be new fans squirting each other with tiny water guns. Many viewers were decked out, ready to sing and dance along to the classics they know and love. Director, choreographer, and international award-winning performing artist, Terrance Henderson, has brought refreshing life and transformation to the Rocky Horror legacy.  

With this show, Henderson succeeds at making space for everyone. In his note to the  audience, Trustus veteran Henderson says he looked at the cult classic from his “unapologetically Black and Queer perspective honoring some of [his] own cultural languages and traditions.” Taking inspiration from “Black feminine and gender fluid beings, Black queer, Black trans, Black intersectional and FREE people” Henderson overtly celebrates duality, a classic attribute that is very much at the heart of the show. This blatant duality, arguably the point and purpose of the show, has been criticized for perpetrating harmful stereotypes while also mocking them, both hurting and celebrating the LGBTQ community. But Jasper was not moved toward criticism. In fact, we found that Henderson’s approach, and the alterations he made to the show, felt like a  better, more imaginative Rocky Horror and, most importantly, more inclusive.  

The casting choices for the show were excellent and reflected Henderson’s vision well, with almost every major character in the show being Actors of Color. The vocal talent of the cast members was beyond impressive and well matched by the live band in the theatre’s loft space lead by music director Chris Cockrell.  

Katrina Garvin (Magenta, Usherette), a member of the Trustus Company, mesmerized the audience singing the opening number “Science Fiction Double Feature.” Fellow company member, Samuel McWhite (Riff Raff), induced chills as he descended the staircase singing his solo in “Over at the Frankenstein Place.” It was hard to believe Mel Driggers (Columbia), was new to performing at Trustus, clearly belonging on that stage, and holding their own. Veteran of the role, Walter Graham’s incredible costume changes and perfectly over the top portrayal of Frank N’ Furter received roaring applause and gasps throughout the night while company members Michael Hazin and Katie Leitner kept the audience laughing as Brad and Janet.

 We won’t spoil any other surprises for you, but we can guarantee you will have a great time! 

The Rocky Horror Show will be performed at Trustus Theatre through October 29th.