REVIEW: Celestial Stars Performing Arts' "The Christmas Angel" by Melissa Swick Ellington

If you are seeking a fresh and innovative holiday arts experience, you won’t want to miss The Christmas Angel by Celestial Stars Performing Arts at Harbison Theatre at Midlands Technical College this weekend. Written and choreographed by artistic director and performer Gabrielle Celeste, The Christmas Angel debuted in December 2001 and is now in its fifteenth year of production. The originality of the story, combined with the quality of dance, create a uniquely gratifying performance.

Celestial Stars Performing Arts is based in West Columbia, where Celeste leads a training program that includes ballet as well as other forms of dance. (Disclaimer: Although my young daughter attends class at the ballet school, we are not directly involved with this production.) While The Christmas Angel engages even the youngest of dance students in the cast, the production value is noteworthy. Theatrical elements such as costumes, scenic design, lighting, and sound are crafted with high standards. At the final dress rehearsal I attended, pride and poise radiated throughout this inspiring production.

The story explores the redemptive journey of the Christmas Angel, who reveals how purity of love and power of forgiveness can transform even the darkest of hearts. As the ballet opens, Father Frost brings the Christmas Angel and magical toys together in Christmas Land, where they celebrate Christmas Eve and look forward to the excitement of Christmas Day. When the Christmas Angel is kidnapped by the Goblin Queen, the brave toys set out on a dangerous mission to rescue their beloved friend. The Christmas Angel’s ability to see the Goblin Queen’s true identity – a banished princess, sister of the Fairy Queen – leads to change and reunion on Christmas Day.

The large company of forty-seven cast members performs with strength and conviction. Nora Mader shines in a lovely heartfelt portrayal of the Christmas Angel. Celeste creates a powerful and mesmerizing Goblin Queen whose vulnerable transformation is truly moving. In the roles of Father Frost and Fairy King, Blade Boulware establishes an appealing stage presence and admirable partnering skills, accompanied by the charming Nyna Dalbec as the Fairy Queen.  Jane Mader delivers a beautiful interpretation of the Bird of Paradise. Two delightful French Dolls (Katie McHugh and Anna Grace Powell) cavort with a crowd-pleasing Jester (Devin McCormick) in particularly exceptional dances. Perhaps the most remarkable accomplishment of The Christmas Angel is the palpable joy that pervades this entire production as each performer from the sassy Black Poodle (Grayson Smythe) to the tiniest of Pixies conveys capable confidence.

Director and choreographer Celeste guides a strong production team, with additional choreography by Debbie Spivey and coaching by Dalbec, Spivey, and Gene Reed. Reed also provides effective set design and construction; the visual transitions into three distinctly different worlds uphold the story line while offering exciting spectacle. Celeste’s costume designs are first-class, from the playful reindeer to the menacing Wraiths to the exquisite Silver Moon and Golden Sun. The production elements and choreography unify in striking tonal shifts, leading the viewer through the light-hearted joyous Christmas Land into the genuinely frightening dark world of the Goblin Queen, yet ultimately rejoicing in the fairies’ celebration of redemption. The impressive Wraiths and Imps succeed with fascinating rhythmic sequences that emphasize the peril of the Goblin Queen’s world, while airy Woodland Nymphs and Butterflies lift the mood into the jubilant fairy realm.

The Christmas Angel demonstrates how a community arts organization can achieve professional performance quality while nurturing a strong educational program. In this fifteenth year of The Christmas Angel, Celeste and her company have created and evolved an original Christmas tradition for our community. Their achievement reflects how performers collaborating in educational settings can make true works of art. Audiences will leave the theatre hoping to treasure this living gem for many years to come.

Performances of The Christmas Angel will take place Friday, December 18 and Saturday, December 19 at 7:00 pm at Harbison Theatre at Midlands Technical College, 7300 College Street in Irmo, SC. Tickets are $12 for adults and $8 for children under 12 and seniors. For more information and to purchase tickets, visit www.celestialstars.org or contact the box office at 803-407-5013.

Double Review: Br'er Rabbit - Columbia Children's Theatre and NiA Theatre

Theatre review by Melissa Swick Ellington

A NiA production in collaboration with Columbia Children’s Theatre is a sure sign of clever family entertainment, and the current offering of Br’er Rabbit will delight audiences of all ages. Written by Darion McCloud, H. Loretta Brown, and Heather McCue, this version of the trickster’s tale celebrates music and rhythm, vibrant characters, audience interplay, and cunning creativity. Recognizing the complex legacy of Br’er Rabbit in his director’s notes, McCloud envisions an approach to the folk character that “really does belong to all of us.” With this production, NiA and CCT present an interpretation of the tale which delivers “that upshot of joy.” (Further observations on the history surrounding the “Br’er” tradition are explored in the accompanying interview by young Kat Bjorn.)

A master storyteller himself, the magnetic performer McCloud is perfectly cast in the storytelling role of Anansi the spider. McCloud’s interaction with the young audience members seems natural and genuine. Even his dynamic facial expressions foster an atmosphere of encouraging warmth. As the crafty and appealing Br’er Rabbit, Bonita Peeples plays the resourceful trickster with quick-witted glee. Peeples draws in the audience with admirable skill, made evident by children’s eagerness to cover for Br’er Rabbit when the other animals realize they have been fooled by the rascal. At the performance attended by this reviewer, kids insisted “She’s nowhere!” and “Run for your life!” in their efforts to help the beloved main character. (An added treat: audiences even get to appreciate her glorious singing voice!)

The entire ensemble delivers first rate performances which include McCue as the brainy and sassy Br’er Tiger, Charlie Goodrich as Br’er Bear, Michael Clark as Br’er Lion, and Jimmy Wall as Mr. Man and Tar Baby.  Supported by percussionist Don Laurin Johnson, this talented group weaves a captivating web of magical sounds and sights. Moments of aural symphony encourage audience members to clap along, and in the case of my preschooler, offer an enthusiastic “Yeah!” At certain performances, alternate actors appear in the roles of Br’er Lion (Clark Wallace), Br’er Bear (Brown), and Mr. Man/Tar Baby (Julian Deleon and Goodrich).

An innovative approach to physical theatricality pervades the production. From the beguiling staging of the opening spider sequence to the finely tuned collaboration of Peeples and McCue in the big chase through the rousing group dance in the final scene, these performers embody characters and story with boldness and flair. Adults will particularly enjoy the pop culture references (check out that Scarecrow!) and wordplay such as the “arugula” jokes, while the kids relish the opportunity to offer ideas on sticky substances for the Tar Baby (peanut butter and jelly, gum, melted candy, and marshmallows were popular choices).

McCloud provides creative vision as director, costumer, and sound designer, and Wall conjures effective visuals as makeup designer. Costumes evoke animal identity while also inviting children to imagine. McCue (company manager), Crystal Aldamuy (stage manager), and Jim Litzinger (sound and light technician) contribute to a cohesive production team.

As one youngster declared early in the performance, “I knew it was going to be funny!” Columbia families have come to anticipate high quality theatre at CCT, and the collaboration with NiA to produce Br’er Rabbit is an enjoyable success. Treat yourself to the rollicking good time of Br’er Rabbit, and you will likely agree with my preschool son’s post-show exultation: “That was FUN!”

Rising Second Grader Interviews Cast of Columbia Children’s Theatre Br’er Rabbit by Kat Bjorn (with some help from her Papa, Arik)

Kat’s Papa:  Hey folks, technically this part isn’t a review of Columbia Children’s Theatre’s current production, Br’er Rabbit, but seriously, you have to see this show—even adults without kids.  You see, there’s a Scarecrow Formerly Known as Prince; Br’er Lions & Tigers & Bears, oh my!; plus more Zip-a-Dee-Doo-Da than you can shake a briar patch at.  Also—

Kat Bjorn:  Papa, shhh!!  I’m starting the interview now.

Papa:  Okay, time to go be scribe.  Seriously, see this show!

Kat Bjorn:  What does “Br’er” mean?

Darion McCloud (Anansi the Storyteller):  That’s a good question.  It means “brother,” but it can be used for boys and girls—all humanity, really.

Heather McCue (Br’er Tiger):  Lady tigers thank you!

Kat Bjorn:  (pointing at Br’er Lion) Are you a lady?

Michael Clark (Br’er Lion):  Are you referring to my fabulous wig—I mean mane?

Kat Bjorn:  Take off your mane.

Br’er Lion:  Don’t mind if I do; it’s getting hot in here.

Jerry Stevenson, CCT Artistic Director:  He’s not even a natural blonde.

Kat Bjorn:  If “Br’er” means “brother,” and they’re brothers, how come Br’er Lion, Br’er Tiger and Br’er Bear are always trying to kill Br’er Rabbit?

Br’er Tiger:  Do you have any brothers and sisters?  I have a sister, and we fight like cats and dogs.

Anansi the Storyteller:  Also, let’s face it, they’re predators.  And rabbits taste good.

Kat Bjorn:  The characters, right?  People don’t really eat people.

Anansi the Storyteller:  Correct.  NiA Company does not endorse cannibalism.

Jim Litzinger, CCT Managing Director:  Nor does Columbia Children’s Theatre!

Kat Bjorn:  Next question.  My Papa says the Br’er Rabbit tales were sometimes codes for African-Americans a long time ago.  What does this mean, and what’s a code?

Anansi the Storyteller:  A code is when people say one thing but mean something else.  And your Papa is right.  During slavery, black people were treated really badly.  They used these stories to feel better.  Br’er Rabbit was code for black people; Br’er Fox and the other Br’er predators were the slaveholders.

Br’er Tiger:  It had a lot to do with power

Anansi the Storyteller:  Right.  They had to speak in code or risk getting punished.

Kat Bjorn:  Why does Br’er Rabbit carry a knapsack in the show poster but not in the play?

Anansi the Storyteller:  Um, director’s choice, I guess.

Papa whispers to Kat.

Kat Bjorn:  Did it have anything to do with budget?

Jerry Stevenson, CCT Artistic Director:  Knapsacks definitely would have broken the bank.

Kat Bjorn:  I’m pretty good at crafts.  I could make a knapsack pretty cheap.

Anansi the Storyteller:  We’ll have to hire you next time as a financial consultant.

Kat Bjorn:  Excuse me, Mr. Scarecrow, can you tell us about “Purple Rain”?

Anansi the Storyteller:  Actually, that’s the Actor Formerly Known as Scarecrow.  The scarecrow’s real name is Button-Bright.  It’s named after a character in L. Frank Baum’s Sky Island.  The Prince mask is another story altogether.

Kat Bjorn:  In the book we’re reading at home, Uncle Remus is the storyteller.  But in this play, it’s Anansi the Spider.  Why?

Anansi the Storyteller:  Actually, many of the Br’er Rabbit stories were originally African folktales.  And in Africa, Anansi the Spider narrates the tales.

Br’er Lion:  Well, I never got there, did I—thanks to Br’er Rabbit!  So we’ll never know!

Kat Bjorn:  How do you prepare to act like an animal character?

Bonita Peeples (Br’er Rabbit):  I use my imagination!  I try to think childlike.  And rehearsal is a great place for me to practice my imagination!

Kat Bjorn:  What was your favorite part of the show?

Jimmy Wall (Tar Baby):  When they’re planning to cook Br’er Rabbit.

Br’er Rabbit:  When Br’er Rabbit interrupts Sister Moon in the shower.

Br’er Lion:  The Tar Baby story.

Kat Bjorn:  Final question:  How come Br’er Rabbit always outsmarts Br’ers Lion, Tiger & Bear, but isn’t smart enough to realize Tar Baby isn’t really alive?

Br’er Rabbit:  You can’t be smart about everything—but I did get myself out of that jam, didn’t I?

Bre’er Rabbit runs June 12-21 with performances at the following dates and times:  Friday, June 12 at 7 p.m.; Saturday, June 13 at 10:30 a.m., 2 p.m. & 7 p.m.; Sunday, June 14 at 3 p.m.; Saturday, June 20 at 10:30 a.m., 2 p.m. & 7 p.m.; Sunday, June 21 at 3 p.m.  Tickets are $10 for adult and children 3 and up.  Seniors & Military ticket prices are $8.  Tickets are $5 for the Saturday 7 p.m. performance.  The Columbia Children’s Theatre is located at the Second Level of Richland Mall, 3400 Forest Drive (corner of Beltline and Forest Drive).  Enter the Second Level parking garage walkway and park in Level 2-L for easy access.  Call 691.4548 for more information or to reserve tickets for groups.  To learn more about Columbia Children’s Theatre , visit http://columbiachildrenstheatre.com/ .

"Jack Frost" - Melissa Swick Ellington reviews the world premiere of the new show at Columbia Children's Theatre

Columbia Children’s Theatre presents Jack Frost, a world premiere musical with book and lyrics by Crystal Aldamuy and music by Paul Lindley II, through Sunday, December 14. Here in Columbia, SC, we have plenty of reasons to be grateful for the presence of CCT in our community, such as high quality children’s theatre performed by professional actors, educational outreach programs, and theatre training and performance opportunities for youth. Yet another reason to cherish CCT emerges with the production of Jack Frost, which further establishes the theatre’s commitment to the development of new works. Past original productions have included adaptations of Puss and Boots, The Snow Queen, A Christmas Carol, and a number of commedia dell’arte shows. Any artist who has collaborated on the production of new work for the theatre can tell you that such endeavors require a special level of dedication, hard work, and ingenuity.  We are fortunate to have a children’s theatre in Columbia that persists in the development and presentation of new plays and musicals right here in our own community.  Audiences will be delighted by the enchanting and upbeat experience of Jack Frost.

Director Jerry Stevenson delivers an entertaining production of this clever new musical by Aldamuy and Lindley.  Creative characters, inventive humor, and enjoyable music delighted the audience at the matinee I attended with my husband and two young children. The story explores the family life of the title character, focusing on parent-child conflict over tradition and responsibilities. While Isis and Ike Frost expect their son Jack to become part of the family business, Jack would rather cause mischief and go on adventures than toil away producing individual snowflakes or painting leaves. The warm Kringle family poses a worthy counterpoint to the icy Frost folks. When Crystal, the Kringle daughter, switches places with Jack, both families have a lot to learn.

Not only have Aldamuy and Lindley created the material for their first original musical, they are also involved in this production. Aldamuy has devised crisp choreography for numbers such as “Reindeer Tango” as well as providing stage management expertise. As Jack Frost, Lindley captivates the audience with his agile antics and impressive singing voice, evident in “Jack’s Ballad” among other strong musical numbers. Julian Deleon provides a comforting paternal presence as Chris Kringle, thus achieving another successful foray on the CCT stage. Rachel Arling (Christine Kringle, and - full disclosure - a contributor to Jasper), Carol Beis (Isis Frost), and Charley Krawczyk (Ike Frost) energize their scenes with appealing performances, while Kaitlyn Fuller portrays Crystal with vivacity and charm. Anthony Harvey plays the dual roles of Old Man Winter and Elf; his impish Elf becomes the show’s comedic engine. My preschool son’s belly laughs testified to Harvey’s hilarious and skillful portrayal, not to mention the kid’s desire to imitate some of the Elf’s inventive shenanigans. (At certain performances, Toni V. Moore plays Isis Frost, Jerryanna Williams plays Crystal Kringle, and Lee O. Smith plays Chris Kringle.)

Costume design (Donna Harvey and Stevenson), scenic artistry (Jim Litzinger, Stevenson, D. Harvey and A. Harvey), and sound design (Lindley) maintain the high standards of artistic quality that distinguish CCT performances. Distinctive color palettes work effectively to differentiate the worlds of Frost and Kringle, especially through the superb costuming choices. Matt Wright (Sound Technician) and Brandi Smith (Light Board Operator) also provide valuable technical support.

It is a credit to the community’s enthusiasm for CCT that a brand new and unknown work can draw a packed house similar to audiences that attend more familiar plays. My first grade daughter is always eager to go whenever I suggest a trip to CCT. Show title, genre, characters?  No concerns of hers; she is just elated at the prospect of another show. You see, my daughter – like so many of us in Columbia – trusts that whatever production she sees at CCT, she will have a great experience. Thank goodness for the extraordinary talents at Columbia Children’s Theatre for their vision and artistry. We can’t wait to see what they dream up next.

~ Melissa Swick Ellington

The world premiere of Jack Frost continues through this Sunday, Dec. 14, with morning, matinee, and evening performances.  For ticket information, call (803) 691-4548 or visit http://www.columbiachildrenstheatre.com/jack-frost/.  And don't forget - there's also Late Night (i.e. 8 PM rather than 7 PM) Date Night for Mom and Dad on Friday, December 12, and when the kids are away, the actors will play!  The cast performs the same script, but loosen up and bring out double (and triple) entendres for a riotous evening of PG-13-ish fun.  This is an unpredictable evening of fun and surprises that is pretty much guaranteed to make you say, "I can't believe they got away with that in a Children's Theatre!" Recommended for ages 17 and up.  And while 8:00 may be late for Children's Theatre folk, it's still early enough (since the show only runs one hour) that you can head out into the night for more fun, in a great mood, after having laughed yourself silly!  For more info or tickets, visit http://www.columbiachildrenstheatre.com/event/late-night-jack-frost/

"Cheaper by the Dozen" - Melissa Swick Ellington reviews the new show at Lexington's Village Square Theatre

The Lexington County Arts Association presents Cheaper by the Dozen, dramatized by Christopher Sergel from the book by Frank B. Gilbreth, Jr., and Ernestine Gilbreth Carey, at the Village Square Theatre through November 16.   Based on the book authored by two of the Gilbreth children, Cheaper by the Dozen explores family life in the early twentieth century as the older girls begin grappling with the social and fashion issues of high school.  While the song titles and style choices are of a different era, the teenagers’ feelings are timeless. The real life inspiration for the father character, Frank Bunker Gilbreth, was an accomplished efficiency expert. His work in the field of time and motion study extended from factories to his own home, where Gilbreth and his wife Lillian Moller Gilbreth implemented procedures inspired by efficiency with their children. Several of these attempts are dramatized in the play, such as the use of Victrolas in the bathrooms for the purpose of learning foreign languages. Although the scene of Gilbreth modeling the most efficient way to bathe while fully clothed on the living room rug is undeniably humorous, he made serious contributions to his profession. (The book by Gilbreth and Carey was made into a film in 1950. Potential audience members may want to know that the more recent movie starring Steve Martin does not reflect the book’s characters or plot.  South Carolina connection: Gilbreth later wrote a popular column for the Charleston News and Courier for many years under the pseudonym of "Ashley Cooper.")

As the authors of the book that inspired the play’s creation, Frank and Ernestine provide a handy narrative framework, sharing glimpses of character and exposition as they remember their energetic and loving father’s impact on family life. The story focuses on Mr. Gilbreth’s goal of prioritizing efficiency as well as instilling strong character and values in his large brood. While the oldest child Anne rebels with silk stockings and a flashy cheerleader suitor, her younger sisters encourage her daring ways as ardently as her father tries to put on the brakes through insisting younger brothers accompany older sisters on dates. Although light-hearted matters of high school popularity and the family dog’s misbehavior suggest an insouciant romp, there is a dark cloud of illness that runs through much of the drama. The parents’ awareness of Mr. Gilbreth’s heart trouble contrasted with the children’s ignorance of the situation allows for moving exchanges such as one daughter’s careless declaration (“I wish I were dead”) met by her father’s troubled reply, “What a thing to wish.” As the audience comes to understand the motivation behind Mr. Gilbreth’s urgent need to organize his family and push the children through their education, the play moves beyond a simple comedy to a more complex depiction of the harsh struggle that mortality poses for any family.

This Village Square production boasts effective direction and an excellent cast. In the central role of the patriarch known for his “By jingo!” exclamations, Brian Andrews delivers a moving performance as Mr. Gilbreth. With the charming Lisa Pappas playing his gracious and clever wife, Andrews creates a highly convincing family dynamic. (Gariane Gunter plays the role of Mrs. Gilbreth for the November 14 – 16 performances.)  The idea that “what works in the factory” can improve the home helps to drive an entertaining script.  Andrews’ strong stage presence reveals a father who loves, gives firm direction, and teaches his children.

Although we don’t see all twelve children referenced in the title as the babies are being cared for “upstairs” throughout the play, the nine youngsters who appear on stage are vibrant enough for a full dozen and then some. The children craft a very believable sense of sibling camaraderie, transforming the living room set into a real home full of lively young people. As eldest daughter Anne, Maggie Hornacek achieves a skillful portrayal of the adolescent girl trying to date boys and become popular, while also learning adult truths about life.    Riley Goldstein and Cameron Eubanks share enthusiasm as Ernestine and Frank, making fluid transitions between reminiscences and scenes of the past. Kori Hays plays Martha with verve, and Paul Woodard becomes a genuine and funny younger brother in the role of Bill.   Isabella Gunter (Jackie), Kristen Hallman (Danielle), Cade Culler (Fred), and Annsyn Feinberg (Lillian) demonstrate spirit and charisma. It is rare to see a cast this young deliver such consistently strong performances, and the Cheaper by the Dozen kids succeed admirably.

Supporting characters are also well represented in this production. Graycen Szalwinski is appropriately flashy as the cheerleader Joe Scales, while Nick Holland makes a sympathetic impression as the beleaguered boyfriend Larry. Ben Sellers shares a memorable performance as the disapproving teacher Mr. Brill, and Rae Fuller’s effective appearances as Mrs. Fitzgerald remind us of the tremendous work required to keep the home running. Alternating in the brief yet significant role of Dr. Burton are Jeff Sigley, Steve MacDougall, and Troy Fite.

Village Square Theatre has once again assembled a talented production team, with producers Jill Larkin and Jeff Sigley at the helm. Debi Young provides insightful direction, and Daniel Woodard (Technical Director/Master Carpenter) has created a very attractive and functional set. Additional technical support includes experienced theatre artists such as Debra Leopard (Lighting Design), Nancy Huffines (Costumes), and Becky Croft (Sound Design and Control).

This lovely production gently affirms the idea of saving time for where one’s heart lies. Hard work, education, and family bonds: the Gilbreth clan’s experiences do not sugarcoat life’s challenges. My first grader shared that she enjoyed this play “about a family who learned about love.” I believe that audiences will leave the theatre feeling that they have learned something about love, and family, too.

~ Melissa Swick Ellington

Cheaper by the Dozen runs through Sunday, November 16; visit www.villagesquaretheatre.com/ for more information.

"Grease" Is The Word at the Village Square Theatre - a review by Melissa Swick Ellington

Poodle skirts, saddle shoes, leather jackets, rock’n’roll, and teenage love: surefire signs of the musical Grease that are lighting up the stage over at the Village Square Theatre in Lexington.

Written by Jim Jacobs and Warren Casey, Grease was first performed as a stage musical in the early 1970's and was followed by the well-known 1978 film version. Set in the late 1950s, Grease chronicles social tensions of high school and love lives of teenagers. Thinking their summer passion is a thing of the past, Sandy and Danny are surprised to encounter each other at high school, where he is part of the tough, cool crowd while she is seen as a prissy goody-two-shoes. The tug-of-war between peer pressure and forbidden romance leads to memorable scenarios, including an eye-opening slumber party and an exciting dance contest. Although the musical is often seen as a nostalgic journey through a simpler time, there is actually some harsh material in the show, as characters grapple with teenage pregnancy, violence, and rebellion. Within the toe-tapping upbeat musical numbers, glimpses of gritty reality peek through. While a feminist reading of the material can provoke criticism that Sandy compromises her true identity in order to fit in with the crowd, a whole lot of nifty singing and dancing holds the show together, and that’s plenty good enough for most folks.

I have a long, fond history with the musical Grease, launched by preteen viewings of the film version on VHS. Although I participated in just about every high school play available to me, Grease didn’t make it into the lineup those four years, though I wager there may still be a “Miss Lynch” portrayal somewhere in my future. I made it through second semester calculus my freshman year in college by playing the musical’s score over and over during panicky study sessions. (In fact, when I took the final exam, I found myself mentally singing certain Grease songs in order to solve specific kinds of calculus problems!) I finally had the opportunity to get involved in a real live stage production of Grease when I directed the show as a high school teacher. It was a special time in my personal life, too, as my then-boyfriend/now-husband helped out backstage, inspiring our soon-to-be-maid-of-honor playwright friend to dedicate a one-act play to us, aptly titled “Hopelessly Devoted.” All that personal rigmarole is offered here to build context: this reviewer was primed and ready for Grease.

Happily, the current production of Grease at Village Square Theatre in Lexington does not disappoint. Even ardent fans will be satisfied with the performances of a talented cast and marvelous musicians. Standout actors include Maddie Hammond as Sandy Dumbrowski and Tyler Inabinette as Danny Zuko, who capture the exquisite yearning of teenage romance. As Sandy, Hammond has enough verve in the goody-goody phase that she can make a convincing transformation to the closing scene’s knockout. Inabinette makes an appealing Danny, wavering between his tough guy persona and sensitive side. Ashley Manley nails the complexity of Betty Rizzo’s iconic bad girl with (maybe) a heart of gold. In the role of Kenickie, Stephen Fisher personifies a convincing greaser, constantly tangled in a web of hormonal excitement with Manley’s Rizzo or obsessed with his beloved car, “Greased Lightnin’.” Manley’s “There Are Worse Things I Could Do” is touching and formidable, showcasing the powerhouse voice glimpsed earlier in “Look at Me I’m Sandra Dee.” The leads’ considerable vocal talents are well suited to their particular singing roles, and both couples have great chemistry onstage.

The other Pink Ladies (Lydia Kemmerlin, Lydia Carter, and Miranda Campagna) and Burger Palace Boys (Zach Lambert, Chance Morgan, and Harrison Carter) contribute enjoyable performances. As Patty Simcox and Eugene Florzack, Riley Goldstein and Marshall Mishoe fulfill the overachiever and nerd stereotypes while also discovering very real teenagers within their roles. The cast members do a great job of evoking goofy immaturity that coexists with earnest attempts at worldliness and sophistication, a classic dichotomy in teenage life. Debra Leopard plays a delightful Miss Lynch, while Jeff Sigley hits the right notes as the sleazy radio personality Vince Fontaine. Melissa Hanna as Cha Cha Degregorio infuses the dance scene with infectious energy and impressive skill. In the role of Teen Angel, Joshua Wright conveys clever comic timing and mellifluous crooning essential for “Beauty School Dropout.” Hannah Presor makes an adorable cameo appearance as a dancing box of popcorn. Additional cast members include John Carter, Bailey Gray, Connor Gray, Jessie Miller, Martha Smith Miller, Kara Rabon, Elizabeth Rawson, Katarina Shafer, Griffin Todd, and Sydney Torbett.

Noteworthy musical numbers include the lovely “It’s Raining on Prom Night,” Kemmerlin’s soulful “Freddy My Love,” the enthusiastic “Summer Nights,” a slickly synchronized “We Go Together,” and Inabinette’s heartfelt “Sandy.” Grease just isn’t Grease without an awesome “Greased Lightnin’” – both the song and the car – and at Village Square, Fisher, his buddies, and top-notch choreographer Hanna pull off a crowd-pleasing number, supported by the spiffy work of “master car technician” Matt Marks.

Director Becky Croft achieves a unified vision with a complex production. In a show where the songs are so familiar and vital, strong musicianship is essential. Musical director Stephanie Nelson leads an excellent onstage band, energized by Mike Nelson as Johnny Casino. Creative and crisp choreography by Hanna provides a great strength for Village Square Theatre. The show’s capable support team includes Tonya Hammond (Producer), Jamie Presor (Stage Manager), Daniel Woodard (Technical Director), Nancy Huffines and Heidi Willard (Costumes), Debra Leopard (Lighting Design), and Brian Rabon (Sound).

Varying levels of theatrical experience and stage presence exist, as the cast covers a spectrum from first-time actors through performance veterans. A quality that makes community theatre so valuable is how artistry and education can co-exist. Grease is a very effective vehicle for entertaining audiences while also developing young performers.

Potential viewers should realize that this show has a bit of an “edge,” with some mild language and raunchy content, so families with young children will want to make informed decisions.

Grease will spark happy memories for long time fans of both the stage musical and the film. The production will surely create new devotees in first time audience members. Drive your own “Greased Lightnin’” right on over to the Village Square Theatre and “doowop da doobee doo” your heart out at this swell show.

~ Melissa Swick Ellington

For more information on tickets, visit http://www.villagesquaretheatre.com/.  Show dates and times are:

Friday, October 3- 7:30 pm Saturday, October 4- 7:30 pm Sunday, October 5- 3:00 pm Friday, October 10- 7:30 pm Saturday, October 11- 7:30 pm Sunday, October 12- 3:00 pm

"How I Became a Pirate" is a rollicking good time - Melissa Swick Ellington reviews the new show at Columbia Children's Theatre

 

Get on board for a swashbuckling romp at Columbia Children’s Theatre! How I Became A Pirate is a rollicking good time for audiences of all ages. Director Jerry Stevenson and the exceptional cast and crew have created a delightful theatre experience with a crowd-pleasing band of pirates. Based on the book by Melinda Long and Caldecott Honor-winning illustrator David Shannon, this musical features book, music, and lyrics by Janet Yates Vogt and Mark Friedman. Kids will enjoy the action-packed plot, adults will snicker over clever wordplay, and everyone will leave the theatre grinning and snarling “Argh!” and “Ahoy, matey!”

While digging in the sand, young Jeremy Jacob encounters a raucous bunch of friendly pirates. Audiences will savor lively lessons that range from talking like a pirate to burying treasure. In the most rewarding educational settings, learning is a reflexive process; in this story, Jeremy Jacob is both student and teacher, as he leads the pirates through a tutorial on “soccer by the rules.” The script and lyrics capitalize on word jokes that will tickle audiences both youthful (“poop deck”) and seasoned (rhyming “flamingo” with “Ringo”). How I Became A Pirate allows even the more cautious younger viewers to revel in risk-taking by establishing a base of reliable security. We realize early on that this is no ordinary beach (“yo ho ho and a bottle of sunblock”), yet children are reassured of the boy’s well-being (“We’ll get you home safe and sound”). While kids shriek in gleeful anticipation as pirates invade the audience, they also recognize the fictional nature of the scurvy band. At the performance I attended, one small girl announced, “He’s not a real pirate – he doesn’t even smell bad!”

Although CCT has staged How I Became A Pirate previously, this production has a new script and music. The sole remaining element from the previous show is actor Lee O. Smith in the role of Captain Braid Beard – and what a marvelous captain Smith becomes. He snarls, grimaces, cajoles, and surprises, leading the energetic ensemble through a polished, exuberant jaunt. Ashlyn Combs demonstrates an appealing singing voice and earnest sincerity in the role of the young boy Jeremy Jacob. Complete with eye patch, beard, plumed hats, and sketchy dental care, the memorable pirate crew features capable performers who take full advantage of the characters’ distinct personalities. Brandi Smith as Maxine reveals a glorious voice and comedic flair, Julian Deleon shines as the congenial Pierre, and Andy Nyland relishes the complexity of Sharktooth, who demonstrates that outward appearances can be misleading. As the playful Seymour, Anthony Harvey delivers a dynamic performance, punctuated by an impressive spiel of pirate lingo. Paul Lindley II as the inimitable Swill is downright hilarious. Is there any role this talented actor can’t play?  With my faithful theatre-going companion (my six-year-old daughter), I have admired Lindley’s remarkable performances in numerous roles at CCT and elsewhere.

Stevenson stages the musical with skillful wit. Through physical comedy, the actors inhabit a convincing pirate world, as in Jeremy Jacob’s wild steering of the ship. Particular sequences to watch for include the adept “minivan” staging, a fluid soccer game, and a blustery storm at sea. Crystal Aldamuy (Stage Manager and Choreographer), David Quay (Light Board Operator), Matt Wright (Sound Technician), and scenic artists Anthony Harvey, Donna Harvey, Jim Litzinger and Toni Moore collaborate with Stevenson to deliver a top-notch production.

Crisp choreography and excellent vocal quality contribute to the musical’s success. From the opening scene’s impressive sandcastle to the seamless transition into the closing moments, the set design works beautifully to suggest multiple locations and changing moods. Donna Harvey and Stevenson achieve splendid richness in the pirate costumes, melding a vivid color palette with lush textures. Sharktooth’s eye-catching tattoos deserve special mention, along with noteworthy “mop” choreography. As an enthusiastic fan of the original picture book’s illustrator David Shannon (No, David! and Duck on a Bike, anyone?), I wondered how the book’s strong visuals would be interpreted onstage. I was happily delighted with the design team’s unified aesthetic that is both fanciful and functional.

As Stevenson recognizes in the program notes, “Wouldn’t we all like to be swept away on the high seas where there are no jobs, no school, no rules and no bedtimes!” Although the story highlights the delicious prospect of endless amusements and boisterous shenanigans, the comforting allure of dependable family life also emerges. The ensemble finds a powerful balance between comic hijinks and poignant tenderness. Purposeful performances and clarity of direction enhance moments like a wistful ballad on the goodness of home. As my six-year-old explained, “My favorite part was when Jeremy Jacob sang about home because it made me feel happy to think about my home.” In the midst of upbeat humor and captivating storytelling, a shining vein of relatable honesty runs through a genuinely human experience.

While my daughter and I have become accustomed to looking forward to first-rate productions at CCT, this show feels especially terrific. Take it from me, matey: learning how to be a pirate is a fun-filled voyage in this high quality performance at the Columbia Children’s Theatre.

~ Melissa Swick Ellington

Show Times:   Friday, September 26: 8:00 p.m. – Late Night Date Night for adults Saturday, September 27: 10:30 a..m. , 2:00 p.m., and 7:00 p.m. (with tickets half-price for the 7 PM show!) Sunday, September 28: 3:00 p.m.

For ticket information, visit http://www.columbiachildrenstheatre.com/how-i-became-a-pirate/.

"Simple Cindy" - Melissa Swick Ellington reviews the new original children's musical at On Stage Productions

On Stage Productions presentsSimple Cindy: A Full Fledged Musical? at their West Columbia  location with five more performances June 19-22. This original musical represents a unique collaboration between writer and theatre director Robert Harrelson and his young niece Sydney Porth. About five years ago, Harrelson wrote the book and lyrics for Simple Cindy and offered his then eight-year-old niece the opportunity to compose the music. Just fourteen years old and attending Governor’s School for music this summer, Porth has musical theatre experience well beyond her years.

Celebration of youth and emphasis on learning characterize the welcoming theatre community of On Stage Productions.  In addition to providing a forum for a young teen composer’s appealing music to be realized in full production, Simple Cindy also features the capable work of a high school student (Ryan Rogers) as the show’s director. The cast of Simple Cindy includes first-time actors as well as youngsters with more extensive theatre backgrounds. All performers are valued and encouraged in this engaging production, as Harrelson and his company of hard-working parents and theatre supporters create potentially life-changing opportunities for young people.

Simple Cindy’s script brings numerous classic tales together; children in the audience will be delighted to recognize familiar characters such as Dorothy, Snow White, Wendy, Goldilocks, Rapunzel, Sleeping Beauty, and more. With the help of an energetic Narrator and a friendly Musician who endeavor to manage the lively characters, Cindy explores “the real story” of her life. Clever revisions to the well-known tale abound, such as silver slippers because “glass is so dangerous.” Families will appreciate the gentle nature of this play that encourages kids to “make a wish with all your heart, and you will see the magic start.” The performers’ sincerity is strong and touching.

Hannah Presor plays the role of Cindy with great charm. She exudes comfortable stage presence during interactions with fellow performers as well as appreciative viewers. (My young daughter eagerly volunteered to follow Cindy onto the stage during an audience participation sequence, and was determined to give Cindy a rose after the show.) Macey Coats shares infectious energy and a lovely singing voice as both the Narrator and the Godmother; she also does fine work as the show’s choreographer. Katie Edelson creates memorable characters as the Musician and Glenda, Olivia Lesniak becomes an expressive Dorothy, and Grace Beasley plays a sweet Wendy. Emma Yankowitz is charming in three roles (Rapunzel, Young Cindy, and Old Lady), while Danielle Mejias (StepMother), Gracie May (Antasheneezia) and Mia Coats (Drowzilla) embrace their outrageous characters with gusto and flair. James Conner Rabon as the Prince communicates volumes with his humorous facial expressions while dancing with the would-be princesses.

The cast also includes Izzie Cruea, Carrissa Mejias, Maddie Cruea, Pierce Mejias, Alana Armstrong, Dominick Campbell, Victoria Harbin, and Brianna Northcutt. Every performer appears confident on stage. Take it from this former drama teacher – that is one remarkable achievement.

Opportunities for audience interaction abound but never overwhelm. Viewers are invited on stage to help open a fairy tale book and later to fold clothes with Cinderella. The friendly Narrator thrilled my six-year-old by giving out invitations to the ball during intermission.  Participants can also join the cast photograph following the performance, which was a big deal  for my daughter. (Small children will benefit from front row seats, as the sight lines can be challenging for shorter audience members.)

Simple Cindy is a homegrown delight. Harrelson shares that “We try our best to make everyone feel special at our shows,” and the On Stage community succeeds. When the Prince quizzes her on possible identifying characteristics, Cindy responds with the simple and powerful statement  “I’m just me.” At On Stage Productions, anyone can be “just me” and feel welcomed, included,  and celebrated. During the car ride home following the performance, my daughter confided that On Stage makes her “feel the happiest.” Happily ever after, indeed.

~ Melissa Swick Ellington

Upcoming performances:

Thursday June 19 - 7:30 pm

Friday June 20 - 7:30 pm

Saturday June 21 - 2:30 pm and 7:30 pm

Sunday June 22 - 2:30pm

For more information, visit htp://www.onstagesc.com, or call 803-351-6751.  The On Stage Performance Center is located at 680 Cherokee Lane in West Columbia.

Columbia Children’s Theatre’s Spaghetti and Meatball Players Stir Up Delicious Fun - Melissa Swick Ellington reviews "The Commedia Snow White"

We’re smack in the middle of that sweltering heat for which Columbia is famous, so thank goodness for the cool, original commedia play at Columbia Children’s Theatre. A rollicking band of players bring to life the meaning of commedia dell’arte, or “the very creative comedy of actors,” as described by the gifted (and hilarious) director and writer Jerry Stevenson. The collaborative nature of this Italian theatre tradition soars through the vibrant efforts of an exceptionally talented cast. Melding popular culture, current news items, Broadway musicals, and classic fairy tales with high energy slapstick, the ensemble sparkles in this gem of a production. Skillfully staged by Stevenson with special commedia choreography by Cathy Brookshire, The Commedia Snow White and the Seven Dwarves features five excellent actors who play traditional commedia characters: Punchin (Paul Lindley II), Rosetta (Beth DeHart, with Kendal Turner in the role for certain performances), Pantalone (Julian Deleon), Columbine (Elizabeth Stepp),and Arlequino (Anthony Harvey). These “Spaghetti and Meatball Players” take on various roles within the story, leading to some nifty meta-theatrical moments (such as Stepp’s matter-of-fact observation on what can’t happen if she’s playing Snow White instead of another role.)

The actors capitalize on the fun interplay of the commedia characters’ tension and discord through the fairy tale framework. Lindley realizes his character’s desire to star in a musical with brilliant commitment and impressive vocals; musical theatre fans will be particularly enthralled by his Broadway mash-up. DeHart’s gift for physical comedy fuels zany sequences like an uproarious running gag with sound cues. Her wicked queen is a hoot, especially in scenes with the magical mirror (the delightful Harvey) who belts out hit singles with attitude. Harvey’s considerable talents are put to good use throughout the engaging production. In a charming performance, Deleon creates effective rapport with the audience as Pantalone the narrator. Stepp achieves both the ridiculous (in a good way) and the sublime in her hilariously enchanting portrayal of the title role. One of the veterans from past commedia productions, Stepp is a marvel onstage; you don’t want to miss her magnificent “All By Myself” breakdown among other triumphs.

Some of the wit (Voltaire, anyone?) will be over the heads of younger children, but there are plenty of jokes that land for the kids while the grownups giggle over references to Instagram, Photoshop, Divergent, and Twitter. My six-year-old loved the wordplay of homonym humor such as “hair/hare” and “pi/pie.” This is definitely a show that works on multiple levels. When Snow White can’t eat gluten or high fructose corn syrup, hilarity ensues. The ingenious staging of the seven dwarves is simply too good to describe – go see the show and be ready to laugh yourself silly.

Production design choices hit all the right notes. Ragtag patched curtains frame anappealing proscenium with simple backdrops for efficient scene changes. Costumes by Donna Harvey and Stevenson evoke the stock commedia characters vividly while also giving a nod to contemporary figures such as a certain well-known animated female mouse. Extraordinary attention to detail went into the sound design (Stevenson) and operation (Jim Litzinger), and David Quay provides effective light board operation. Stage manager Crystal Aldamuy must possess superb organizational skills to keep track of all the mayhem this production instigates.

These actors are quick-witted, clever, and multi-talented (singing, dancing, the ability to turn awesome cartwheels in a big puffy princess gown...) They are also experts at connecting with the child audience members who seek autographs after the show. I continue to be impressed by how the CCT performers relate to individual kids. It is no small feat to deliver a raucous performance and immediately thereafter exude kindness and intuitive understanding of young people.

The only thing I’d like more than attending a performance of The Commedia Snow White and the Seven Dwarves? Watching what must have surely been a laugh riot of a rehearsal and development process. CCT has produced commedia offerings for five consecutive summers; let’s hope for more delicious fun in future from the Spaghetti and Meatball Players.

~ Melissa Swick Ellington

Show Times:

Friday, June 20: 8:00 p.m. Late Night Date Night for Mom and Dad Saturday, June 21: 10:30 a.m., 2:00 p.m., 7:00 p.m. Sunday, June 22: 3:00 p.m

Weekday matinees (perfect for day cares & camps):

Thursday, June 19, 10:30 a.m.

Thursday, June 26: SOLD OUT Thursday, July 10: 10:30 a.m. Thursday, July 17: 10:30 a.m. Thursday, July 24, 10:30 a.m.

Call 691-4548 to reserve seats for your campers at a discounted group rate.

For more information, visit http://www.columbiachildrenstheatre.com/.

"The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales " at Columbia Children's Theatre - a review by Melissa Swick Ellington

During my years as a drama teacher, I observed that students loved creating “fractured fairy tales” to perform. Taking a well-known story and turning it into something new, usually to humorous effect, was a guaranteed classroom success. Thus, it was a special treat to enjoy the current offering at Columbia Children’s Theatre and to savor audience reactions of surprise and delight. Directed by Jerry Stevenson, The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales provides the kind of high quality family production that audiences have come to anticipate from CCT. Adapted by Kent Stephens from the children’s book by Jon Scieszka, with music by Gary Rue, Stinky Cheese Man offers a bright romp through classic stories told in unexpected and uproarious ways. In Scieszka’s Caldecott Honor book (with illustrations by Lane Smith), the title story spoofs the Gingerbread Man, “Cinderumplestiltskin” parodies those two enduring characters, and the “Really Ugly Duckling” becomes…well, check out this show to see (and laugh) for yourself.

The capable cast and crew members bring the comical tales to life with energy and wit. At the performance I attended, children were riveted by the engaging ensemble. B. Scott Vaughan as Jack (of beanstalk fame) guides the viewers through the theatrical experience. Vaughan’s inviting stage presence makes audience members feel like they are part of the journey.  Lee O. Smith creates a sly Foxy Loxy, whose mischievous interactions with Toni V. Moore’s vivacious Little Red Hen ignite lively shenanigans. Julian Deleon delivers a dynamic turn as the obnoxious stepmother to Evelyn Clary’s charming albeit detail-obsessed Cinderella. Elizabeth Stepp revs up the comedy as Rumplestiltskin and the frog princess, while Paul Lindley II becomes the marvelously boisterous and unforgettable Stinky Cheese Man himself. Not only does stage manager Crystal Aldamuy keep the action flowing offstage, she also joins in the hijinks onstage as a helpful Pinocchio.

Costume design choices by Stevenson and Donna Harvey evoke familiar characters with an inventive twist. In particular, the Stinky Cheese Man’s garb proves to be downright hilarious, producing roars of laughter from audience members. Stevenson and Jim Litzinger provide clean, reliable sound and lighting choices. Clever choreography by Aldamuy punctuates key moments, while Lindley’s valuable music direction drives effective vocal performances. Physical humor abounds in this production, with a fast forward/pause/play sequence sending my young daughter and her friend into fits of giggles. My kindergartener recommends, “Kids should come see this show because it is funny and silly!”

Rather than retread timeworn ground by retelling the same old yarns, these theatre artists aim to “change it, derange it, do anything but bore us.” And do they ever succeed: traditional characters embrace the Giant’s declaration of “fee fi fum fory” to make up “my own story.” Stinky Cheese Man imparts the delightful message that established narratives can be reinvented and infused with vibrant originality. By sharing this well-crafted production, CCT may inspire young audience members to create their own imaginative versions of well-known stories. Why stop at “once upon a time” when you can try “time upon a once”?

~ Melissa Swick Ellington

There are three more days to catch The Stinky Cheese Man and Other Fair(l)y (Stoopid) Tales:

- Friday, April 4: 8:00 p.m. (which is a Late Night (ok, CCT shows generally start at 7 PM, so this is late for them!) Date Night for Mom and Dad, and young-at-heart adults.  There will be a cash bar available, so if you don't have kids, or just want a night out on your own, do not miss this performance. - Saturday, April 5: 10:30 a.m., 2:00 p.m., 7:00 pm. - Sunday, April 6: 3:00 p.m.

For ticket information, call (803) 691-4548, or visit http://www.columbiachildrenstheatre.com.

"Puss in Boots" is the cat's meeow! A review of the new show at Columbia Children's Theatre

Columbia Children’s Theatre brings back a hit play from their very first season, and audiences will enjoy a wild and clever journey with the current production of Puss in Boots. The lively tale chronicles the adventures of a suave cat and his master Tom as adapted from the original Perrault story by director Jerry Stevenson. In Stevenson’s version, Puss and friends cavort through the Old South, complete with lavish costumes and splendid scenic elements. Cast and crew deliver high quality performances at CCT, and this solid production is no exception. Children will enjoy sassy Puss in Boots and his companions, relishing the rollicking slapstick humor and broad characterizations, while adults will snicker (and snort, truth be told) over the more sophisticated wordplay.

Columbia’s beloved storyteller Darion McCloud played the title role at the performance I attended. His infectious charisma infuses the character with irresistible charm and saucy swagger. With McCloud at the helm, the entire cast achieves energetic commitment and memorable magnetism. In the central role of Tom, Paul Lindley II creates an appealing character that pursues “riches beyond compare” through a riotous escapade guided by the wily Puss in Boots. Along the way, the pair encounters a vivid assortment of villains and heroes portrayed by top-notch actors, including Denzel Devereaux (Lee O. Smith), Miss Sassafrass St. Simmons (Toni V. Moore), Prissy Pat (Elizabeth Stepp), Voodoo Vickie (Kendal Turner), and Governer O’Grovener (Julian Deleon). Matt Wright and Stepp deliver memorable performances as Tom’s dim-witted brothers Buford and Shuford. Bonita Peeples plays the role of Puss in Boots at certain shows, and her captivating portrayal of several other parts in the performance I attended suggests her certain success in the title role.

Stevenson (Director) and Evelyn Clary (Assistant Director) have crafted a strong production that looks great and will “wow” audiences. Clever staging, inventive scenic design, and impressive costumes invite viewers into an entertaining version of the Old South. Donna Harvey and Stevenson achieve considerable success with costume design and construction, particularly with many actors playing more than one role. Crew members pull off a complicated production with nary a hitch, thanks to stage manager Crystal Aldamuy and light board operator David Quay.

While physical humor abounds in this production, the cunning use of words provides much hilarity as well. McCloud’s rapid delivery of a speedy recap of the entire plot is astonishing. Word-based jokes (“catastrophe,” “catapult,” “catwalk”) appeal to viewers of all ages. During the “chipmunk” sequence, my preschooler laughed himself silly; the kid actually exhausted himself with full-on belly laughs. (Go see the show and you just might do the same.) As the actors keep young audiences engaged with visual surprises, they also challenge children’s minds with thought-provoking words. My six-year-old guffawed at wordplay with “Grovener” and “red rover,” while her parents chuckled at Gone with the Wind references. The convoluted plot can be a bit perplexing to follow, especially during the fast-paced conclusion, but this will not diminish audience affection for Puss in Boots.

Opportunities for audience involvement include children providing Puss and Tom with “gifts for the Governor” as well as more informal moments, such as an onstage drum roll that inspired my four-year-old son to join in with his own impromptu drumming. After a vibrant performance, actors demonstrate admirable energy when interacting with the young audience members during the post-show autograph session. (This “meet and greet” opportunity has become such a highlight for my kindergartener that she now proclaims “Time to get autographs!” during every curtain call.)

Check out Puss in Boots and add a delightful spark of warmth and laughter to your winter weekend. At CCT, theatre artists love kids, and they inspire kids to love the art of theatre. Visit http://www.columbiachildrenstheatre.com for ticket information; the show runs through Sun. Feb. 16.

~ Melissa Swick Ellington

Village Square Theatre Pours a Cup of Ambiton with "9 to 5: The Musical" - a review by Melissa Swick Ellington

The Lexington County Arts Association presents an enjoyable production of 9 to 5: The Musical, running through this weekend at the Village Square Theatre.  With music and lyrics by Dolly Parton and book by Patricia Resnick, the musical is based on the 1980 film. The show explores the power of friendship in the struggle against workplace discrimination, as three unlikely allies band together to take revenge on a sexist boss and to revolutionize office life in the process. Audience members will recognize the familiar voice of Dolly Parton as the friendly, down-home guide through 9 to 5: The Musical.

Director Brandi Owensby, musical director John Norris, and producers Leslie Dellinger and Courtney Long are at the helm for this Village Square offering. A capable production team includes choreographers Wes Williams and Kaitlyn Yaworksi, technical director Shepherd Pinner, stage manager Aryel Toup, and costume designers Heidi Willard, Nancy Huffines, Gina Calvert, and Barbara Bise. Highlights of their achievements include the complex and humorous staging of a vengeance fantasy sequence, costumes that evoke character traits effectively, and simple sets that get the job done.

In the role of company veteran Violet, Janice Holbrook blends maternal empathy with a sardonic, no-nonsense demeanor. Her mentorship of the office newcomer Judy (Rachel Rizutti) builds a sincere connection that bolsters the emotional life of the show, while Rizutti’s convincing character development and lovely singing voice invite audiences to invest in Judy’s theatrical journey. As irrepressible “Backwoods Barbie” Doralee, Susie Gibbons overcomes stereotypes to craft a resonant portrayal of a savvy and resourceful woman. Audiences will savor the first glimpse of this trio’s combined strength as their powerful delivery of “I Just Might” revs up the show.  The three women soar in the rallying cry “Shine Like the Sun.”

Andrew Coston plays Joe the accountant with sincerity and sweetness, sharing a particularly appealing vocal approach to “Let Love Grow.” Harrison Ayer commits to the role of sexist boss Franklin Hart, oozing cringe-worthy sleaze that makes skin crawl and stomachs churn. Robin Saviola brings humanity to Roz, the coworker who yearns for the man others condemn as a “sexist, egotistical, lying, hypocritical bigot.” A large ensemble of employees generates a credible depiction of bleak misery in the office “bullpen” that transforms to hopeful empowerment in the second act’s workplace metamorphosis.

Uneven sound choices interfere with the performance at times. Cleaner sound design and less cumbersome set changes would benefit the production considerably, but these are minor quibbles in light of the enjoyable theatre experience provided by Village Square. At the matinee I attended, it became very clear that the audience appreciated the performance: Doralee’s threat to Hart (“change you from a rooster to a hen”) prompted an audience member’s spontaneous affirmation, “God bless country girls!”

9 to 5: The Musical uses humor and music to illuminate disturbing problems. While it might be tempting to write off the show’s central conflict as indicative of a different era, the play’s themes resonate today in immediate as well as global ways. While wrestling with uncomfortable social realities, viewers can tap their toes to charming songs and chuckle over unpretentious humor. Tough issues wrapped up in a sassy package? Thank you, Dolly Parton.

Performances will run through Sunday, January 26 (Friday and Saturday nights at 7:30 p.m. and Sunday at 3:00 p.m.). Ticket prices are $19.00 for adults and $15.00 for children and can be purchased at www.villagesquaretheatre.com or by calling the box office at 803-359-1436. Village Square Theatre is located in Lexington just off highway 378 at 105 Caughman Road. Parental guidance is appropriate for 9 to 5: The Musical because of adult situations and language.

~Melissa Swick Ellington

"Yes Virginia - The Musical" at On Stage Productions - a review by Melissa Swick Ellington

The On Stage Productions performance of Yes, Virginia The Musical offers plenty of heartfelt holiday spirit.  Drawn from an animated television special, the stage musical (with music by Wesley Whatley, lyrics by William Schermerhorn, and book adapted by William Schermerhorn from the animated special and storybook by Chris Plehal) has been developed by Macy’s as a performance opportunity for young people.

Based on a true story, the action unfolds during the year 1897 in New York City. Eight-year-old Virginia O’Hanlon questions whether Santa Claus is real. The search for truth takes her to the library as well as through the holiday bustle in the city, where Virginia encounters a bell-ringing “scraggly Santa” who reveals gifts for friendship and wisdom. Since she has been told “If you see it in The Sun, it’s so,” Virginia writes a letter to The New York Sun, asking “Please tell me the truth; is there a Santa Claus?” While the answer to her query is well known, the journey to that answer provokes curiosity.

Highlights of the performance feature the lovely singing voice of Liberty Broussard as Virginia, the clever timing of Rachael Sprankle as the whimsical Librarian, and the dynamic exuberance of Olivia Lesniak as Virginia’s best friend. Zach Tenney as Scraggly Santa exudes strong stage presence and communicates believable character development. JoJo Wallace conveys the mean girl role of Charlotte with vigorous energy, supported by her snooty cat Mrs. Whiskers (Mia Coats). Sincerity and sweetness emanate from the entire cast, particularly in the closing reprise of the title song. Additional cast members include Ella Johnson, Grace Beasley, Emma Cathryn Eubanks, Pierce Mejias, Perry Raines, Zavery Johnson, Paul Woodard, Heyward Moak, Cameron Eubanks, Turner Carson, and Major McCarty. The capable and dedicated production team includes Robert Harrelson (Director), Ryan Rogers (Youth Director), Rebekah Cheatham (Youth Choreographer),

Michelle Cheatham (Choreographer Coordinator), Debi Young (Rehearsal Music Coach), Brandon Moore (Stage Manager), and Tony Vaccaro (Stage Design and Props). April Wallace and Gina Moak Cotton designed costumes, Harrelson and Rogers planned lighting and sound, and Jill Larkin and Niane Szalwinski shared producer responsibilities. Production design establishes numerous locations effectively, such as Virginia’s home, the Sun office, the library, and the streets of New York City. Projections of images featuring different Santas from around the world emerge in the library sequence. Younger viewers will benefit from front row seats, as the audience arrangement can obstruct the view of little ones. The intimate performance space creates a cozy and welcoming environment; carol-singing and piano-playing plus a hot chocolate “bar” (and the delectable dessert offerings for sale) make intermission feel like a friendly holiday party.

The focus on youth engagement at On Stage Productions is commendable, as evidenced by inclusion of the student directing intern in the opening remarks, and the production’s involvement of an eleven-year-old choreographer. The young actors appear comfortable and confident on stage. The audience’s enjoyment of the performance is buoyed by the children’s delight in performing. (My six-year-old daughter confided after the first act, “Mommy, this seems like a GREAT place to be in a play!”) The earnest ensemble entreats in song: “Believe in joy. Believe in love. Believe your whole life through. Keep bright the light of childhood.” The light of childhood shines brightly at On Stage Productions this holiday season.

Want to learn more about the script and score? The website yesvirginiathemusical.com provides production resources which will delight young theatre artists. Interested in attending the On Stage performance? Visit www.onstagesc.com for tickets and further information. Yes, Virginia The Musical will be presented at the On Stage Performance Center (680 Cherokee Lane in West Columbia) at 7:30 pm on December 7, 12, 13, and 14, and at 2:30 pm on December 7, 8, 14, and 15.

~ Melissa Swick Ellington

"Planet Hopping" at the Harbison Theatre - a review by Melissa Swick Ellington

 

Planet Hopping Is Out of This World

The actor questions, “Is everybody ready to go back to earth?”

“No!” declares a young boy in the audience.

He was certainly not the only one who wanted to prolong tonight’s premiere performance of Planet Hopping: An Intergalactic Puppet Musical. This luminous collaboration between the puppet artists of Belle et Bête and popular “kindie” rock band Lunch Money reveals the theatrical magic possible when innovators imagine together. The performance quality easily rivals family-oriented productions I have attended at national theatre education conferences as well as various venues in New York City. Planet Hopping is a marvel that has been created right here in Columbia, and you don’t want to miss it.

Developed as part of the Harbison Theatre @ MTC Performance Incubator, Planet Hopping shares a voyage from earth to outer space with an emphasis on the power of friendship. Kimi Maeda brings engaging charisma to the play’s puppet hero (Stella Spark, “an astrophysicist when she was just a lass”), while Lyon Hill skillfully characterizes Stella’s sidekick marionette, the lovable and quirky robotic assistant Jack. Through Stella’s Planet Hopping technology, the audience accompanies the characters on a dramatic journey through the solar system, led by the appealing tour guide Mollinda (Molly Ledford). The incorporation of fantasy with scientific facts will delight both children and their adults.

The Lunch Money band members (Ledford, J.P. Stephens, and Jay Barry) are as captivating as ever, sharing clever lyrics and rocking tunes that resonate with music lovers of all ages. One of the production’s greatest strengths is the seamless inclusion of the multi-talented band members as purposeful characters in the story. The “Amazing on the Moon” musical number melds band, projection screen, puppeteer, and marionette in a charming sequence made extra special by a puppet moonwalking…on the moon. The crowd-pleasing “Big Ball of Gas” Jupiter rap performed by P.J. the “new guy” (Stephens) with beatboxing by Jack the robot (Hill) becomes a highlight of the show.

Planet Hopping benefits from an admirable unity of production design, with creative use of lighting effects, video projections, and shadow puppetry. Want to learn about zoetropes, moveable cutouts, marionettes, transparencies, scrims, and more? Check out a fascinating behind-the-scenes look at the production here: http://www.harbisontheatre.org/behind-the-scenes-with-planet-hopping/. You can also read composer/lyricist Molly Ledford’s insights into the development of the show’s music, which includes “a bubblegum pop song about orbiting” and “a rockin’ number about enjoying 1/6 of our normal gravity on the moon.”

What a gift this collaboration is to our community. My six-year-old daughter spotted a promotional poster weeks ago and has been pleading to “go see the show Planet Hopping” ever since; I am grateful for her awareness and persistence, because this production is a one-of-a-kind experience. Upon receiving a sticker badge when exiting the theatre, my kid sighed happily, “It is amazing to be an official Planet Hopper.”

You can go hop planets with Captain Stella Spark and crew on Saturday, November 16 at 2 pm at the Harbison Theatre at Midlands Technical College (803-407-5011 or www.harbisontheatre.org).

"The Musical Adventures of Flat Stanley" - Melissa Swick Ellington reviews the new show at Columbia Children's Theatre

With a charming production of The Musical Adventures of Flat Stanley, Columbia Children’s Theatre brings to life a beloved character and his exciting escapades. I first learned about Flat Stanley when my visiting aunt arrived in South Carolina with a cutout of the character, which she photographed in various places for a grandchild’s school project. Decades later, I enjoyed sharing the “original adventures” book by Jeff Brown with my young daughter, indulging in a sense of wonder at the wide world and its possibilities. The whimsical nature of the Flat Stanley book series inspires lasting affection in readers; Columbia Children’s Theatre crafts a surprising and delightful world that entices theatregoers. As realized in the musical (with book by Timothy Allen McDonald and music and lyrics by McDonald, David Weinstein, Jonathan K. Waller, and Stephen Gabriel), the Lambchop parents enjoy a cozy family life with Stanley and his younger brother Arthur. After bedtime, the two boys take the audience on an exuberant “I wish I were” romp through cherished adventures (think Harry Potter and Star Wars) complete with light sabers and air guitar.  Stanley’s “star wish” leads to his dimensional transformation after a fateful encounter with a mysterious bulletin board.  He learns that the life of a “flat kid” has drawbacks (getting stuck in a tree when flown as a kite) as well as perks (mailing himself to Paris.)  Clever wordplay transpires in the script, such as the “porkchop” versus “lambchop” confusion that delighted my daughter.   Characters advise young audiences to “find a little adventure,” “write a letter and drop it in the mail,” and “make a star wish.”

Anthony Harvey as Stanley achieves genuine commitment to a child role without condescension, a true gift of a performance. He shares talents in physical comedy (the hilarious doctor’s exam) as well as an appealing voice, with a particularly poignant song while stuck in a tree.  Harvey handles the flat costume with admirable confidence – who knew Flat Stanley could shake maracas and rock a time step, not to mention a kickline? As Arthur, Riley Smith dives into exuberant antics that delight the young audience; he avoids caricature by offering lovable honesty and real sweetness. Actors demonstrate versatility in diverse roles: Evelyn Clary plays a wacky postal worker and a serene Mona Lisa, while Julian DeLeon moves convincingly from sincere father to bumbling physician to flashy entertainer.  Diane Gilbert, Rachel Glowacki, David Quay, Imani Ross-Jackson, and Elizabeth Stepp give vibrant portrayals of various characters that develop depth through nuanced ensemble work. Two different casts share the roles; additional performers are sure to be equally strong in a production of this caliber.    (That second cast includes David Quay as Stanley, Ruth Glowacki as Mrs. Lambchop, Toni Moore as Mr. Lambchop, Elizabeth Stepp as Stanley’s brother Arthur, and Taylor- Noelle Hammond as Mrs. Cartero.)

“Why say it when I can show you in an extravagant musical number?” asks a Hollywood character; engaging songs and dances illuminate Stanley’s world with infectious vitality. Cindy Flach directs and choreographs her talented cast with creativity and ingenuity, and Paul Lindley II guides enjoyable singing voices with skillful music direction. The design team (Donna Harvey and Jim Litzinger) proves that Columbia Children’s Theatre really can take us anywhere: characters travel through the Lambchop home, a park, a doctor’s office, California, Paris, and Hawaii.  Lambchop family members’ costumes and even their tabletop décor reflect a patriotic red, white, and blue motif.   Forgotten lollipops stuck on top of the bulletin board illustrate the designers’ meticulous approach; details like these bring a child’s world alive onstage.  Go see the show to find out how acting, directing, and design can collaborate on laugh-out-loud visual comedy with particular effectiveness in Stanley’s museum experience.  CCT shows last season included marvelous puppetry (Knuffle Bunny, Goodnight Moon); Anthony Harvey’s puppet design maintains this high standard.  Stage managers Ruth Mock and Susan Hitt keep the backstage domain moving with fast-paced fluidity and seamless transitions. Visual effects are very well done, especially the picture frame imagery and the lasting impact of Stanley’s unique and astonishing flatness.

But what do the kids think? The children at the matinee I attended were rapt with attention throughout the show.  Light saber hijinks, surf music and “wipe-out” moves, sharp and sassy tap dancing, surprising mailbox revelations, and exciting pursuit of the “sneak thief” proved riveting for even the smallest viewer.  My own five-year-old daughter, while skeptical before the big transformation (“Is Stanley REALLY going to be flat onstage?”), became firmly convinced of the production’s integrity: “My favorite part was when Flat Stanley got flat. I really love and appreciate this show. I think kids will like the show because it is cheerful.”

The mind-opening power of travel, discovery of adventure through sending and receiving mail, and lasting love of family will resonate with audiences of all ages. Through the ongoing development of Columbia Children’s Theatre, Artistic Director Jerry Stevenson, Managing Director Jim Litzinger, and their collaborators make our city a better place – to learn as part of a welcoming community, to raise a family, to love the arts. Thriving theatre for young audiences produced with gratifying commitment to quality in all areas: who could ask for anything more?

The Musical Adventures of Flat Stanley runs through this Sunday, September 29. Call the box office at (803) 691-4548, or visit www.columbiachildrenstheatre.com for ticket information.

~ Melissa Swick Ellington

Rockin' the Beehive - a review of "Beehive the 60's Musical" at Workshop Theatre by Melissa Swick Ellington

There are plenty of good reasons why Beehive - the 60's Musical has been brought back to the Workshop Theatre stage after a successful run fifteen years ago, and eight of them light up the performance with stunning vocals and infectious energy. Jocelyn Sanders and Daniel Gainey provide expert direction that shapes a fluid journey through 1960’s music, as the eight performers celebrate female singers and songwriters. While the first act presents a vivacious stroll through girl groups of the early sixties, the second half of the show really rocks the house with the rough, raw sounds of Tina Turner, Aretha Franklin, and Janis Joplin. Medleys combine excerpts of familiar favorites through fictional characters, as in the extended party sequence that features “It’s My Party,” “I’m Sorry,” “You Don’t Own Me,” and “Judy’s Turn to Cry,” among others.

The Beehive ladies excel at inviting the audience into their world, as the performers handle the audience participation segments with friendly enthusiasm. Valdina Hall, a consummate musical theatre performer and a cast member in the first Beehive production at Workshop, launches the show with confidence. Her warmth and magnetism permeate the occasions when she addresses the audience directly, one of the show’s many strengths. (I enjoyed the good fortune of attending Beehive as the middle member of three generations of girls who love to sing. My mother observed, “When Valdina is on stage, you just feel like everything is going to be all right.”) Jordan Harper’s exquisite yearning and soaring vocals illuminate “Where the Boys Are” and “To Sir With Love,” while Tameshia Magwood thrills with her stirring rendition of “Proud Mary.” Devin Anderson is a true powerhouse who fires up the stage in “One Fine Day,” “Will You Still Love Me Tomorrow” and “Respect.” The rest of the cast (Rayana Briggs, Roxanne Livingston, Brandi Smith, and Safiya Whitehead) brings versatile talent to a slew of musical numbers; the directors deserve commendation for insightful pairings of singers with songs.

The design team makes cohesive choices that support the production with efficiency and purpose. Randy Strange’s scenic design features dynamic visuals and useful levels, while Barry Sparks provides masterful lighting design. The placement of the excellent band onstage proves valuable, as the music (directed by Roland Haynes, Jr.) is front and center throughout the performance. The band’s presence also enables energizing interaction with the performers. Singers and musicians benefit from Baxter Engle’s effective sound design. Choreography by Barbara Howse-Diemer evokes the girl groups of the sixties, evolving through different movement styles as the decade progresses. Costume designer Alexis Doktor provides visual evidence of the decade’s social changes as the performers replace pastel florals with psychedelic miniskirts.  Expectation of impressive wigs and hairstyles comes with the territory in a show called Beehive, and this production does not disappoint. Bobby Craft’s expertise as stage manager keeps the energetic show running smoothly. Design elements work very well together; the lighting and choreography establish a definite shift in tone with “The Beat Goes On.” A few issues with clarity of spoken dialogue over band accompaniment early in the show and a couple of awkward transitions are minor quibbles in light of Beehive’s audience-pleasing power. My young daughter proclaimed upon leaving the theatre, “That was a great show!”

Beehive at Workshop Theatre delivers an entertaining showcase of 1960’s music through the considerable talents of eight versatile and hard-working performers. Beehive earned great buzz from responsive audiences on opening weekend and deserves to pack the house with sixties music lovers through the remaining performances. Be assured that this production is not a series of imitations of the original singers. These Beehive performers make unique contributions to create something that is at once both nostalgic and new.

Beehive the 60's Musical  continues at Workshop Theatre through Saturday, September 28, with curtain at 8 PM, except for a 3:00 PM Sunday matinee on September 22. Contact the Workshop Theatre Box Office at 803-799-4876 for ticket information, or visit www.workshoptheatre.com.

~ Melissa Swick Ellington

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Jasper   welcomes a new critic to our theatre team.  Melissa Swick Ellington earned a Ph.D. in Educational Theatre from New York University. She has directed or performed in numerous productions in professional, community, and educational theatres in New York and South Carolina. She taught theatre in K-12 and university settings for over a dozen years.