"Body of Work: Faces and Figures" opens at Gallery West Tuesday, July 8

Just as any vibrant summer gathering should be, Gallery West’s fast-forthcoming show is destined to take on qualities of a reunion and a first meeting of new friends – referring to both art and patrons. For a reunion with the past, work - created over three centuries - grace the walls at 118 State Street in West Columbia. New friends will show up as new work in all media; featured will be new work by outstanding Columbia artist Pat Callahan. Patrons will converge for the show opening Tuesday, July 8 with a wine and hors d’oeuvres reception hosted from 4 to 8 p.m.

Many Columbians are already familiar with the sensitive and beautifully-crafted figure drawings by Pat Callahan. On view for this summer exhibition will be a selection of Pat's work that showcases her refined viewpoint and poetic drafting skills. Callahan comes to art and to craft through graphic design. Perhaps to balance her computer-based career, Callahan draws a classical subject - the body - in traditional drawing media. She works from life, capturing beauty and strength embodied in her subjects. With descriptive line and gesture she captures exquisitely bodies of weight, ruled by gravity and time.

Among the many other highlights in Body of Work is a small, elegant photograph by internationally acclaimed photographer Edward Weston. This intimate, wistful portrait of Weston's friend, Mary Buff, is contrasted by a large, flashy oil on canvas by New York society portrait painter, Mabel Hatt. Hatt's painting of Evelyn Siegel looks like a direct descendent of John Singer Sargent, and for good reason - Hatt's father was a student of Sargent's. More contemporary is a brightly-colored painting by well-known South Carolina artist Jonathan Green of a family enjoying the beach.

In addition to paintings and photographs, there are numerous works on paper in Body of Work. Of note is a haunting etching by nationally-acclaimed printmaker and former head of the Yale University Art Department, William Bailey. A forceful graphic note is struck in Sigmund Abeles and his print of a mother and child. Among the most geometric works in the show is a large original print entitled, Builders, by renowned American artist Jacob Lawrence.

Side-by-side with these well-known artists will be paintings, photographs, prints, drawings and sculpture by artists of great talent. Gallery visitors will note a 1930s portrait of a young girl by Elsie Budd, an astonishing wood engraving by Alfred Tinayre, or the whimsical sculpture of Tom Soumalainen.

Gallery West has quickly become characterized by its director’s innate talent for unearthing affordable treasures and spotlighting them evocatively in the gallery. Several area artists are also featured in the exhibition, including Russell Jeffcoat, Philip Hultgren, and Bonnie Goldberg.

The exhibition remains on view through August.  Gallery West is located at 118 State Street in West Columbia.  For more information, call (803) 207-9265,  e-mail gallerywest.sara@aol.com , or visit their Facebook page.

~ Rachel Haynie

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

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

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

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

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

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

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

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

~ Jillian Owens

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

Trenholm Artists Guild at Still Hopes by Rachel Haynie

The curvaceous corridor winding around the Marshall A. Shearouse Center for Wellness at Still Hopes Episcopal Retirement Community became an art gallery Thursday evening as Trenholm Artists Guild continued its summer tradition of exhibiting there. More than 80 pieces, including two-dimensional (2-D), mixed media and photography filled the walls. In the corridor several makers of pottery and jewelry were set up showcasing their works.

Juror Maura Kenny of the Coastal Carolina University faculty said the choices she made “got my immediate attention. They had contrast, asymmetrical shapes, unexpected views, emotion and attitude.”

Best of Show went to Richard Lund for his mixed media, “Moon Rising.” First Place in the 2-D category was won by Erica Hoyt for her watercolor “Sunflower III.” Second Place in this category was awarded to Denise L. Greer for her mixed media piece entitled “Fast Waters.” Dale Bishop took third place for “Charleston on My Mind.”

Honorable mentions were given to Mark Conrardy for his oil – “John Deer – Bert’s Pumpin Patch,” and Barbara Yongue for her oil, “Floral Contata.”

Patty Gamburg received a Merit Award for her mixed media piece entitled “YaYa42,” and George Stone for his oil “Morning on the Farm.”

Top photography honors were given to Nancy Washington for “Betsy,” and second place to Brenda Konitzer for “Verdant.” Harold Blackwood took third place for his “Sunset at Jekyll Island.”

Trenholm Artist Guild has been encouraging and stimulating the practice and appreciation of the creative arts since 1971.

Art from the Ashes: Columbia Artists Respond to the 150th Aniversary of the Burning of Their City - Roster Announced

Jasper and Muddy Ford Press are pleased to announce the artist roster for a new project being conducted in conjunction with One Columbia and Historic Columbia's commemoration of the sesquicentennial of the burning of the city.

Art from the Ashes will bring together more than two dozen literary and visual artists with local historians for a series of informal, yet in-depth discussions exploring the days leading up to and following the burning of Columbia in 1865. While military history will necessarily form the structure for the discourse, the emphasis will focus on how the attack effected civilians as well as individuals already marginalized during the time period.

The first of the artist-historian sessions, which will include historians John Sherrer and Alexia Helsley, will take place starting mid-July. After meeting with their history guides both visual and literary artists will be asked to respond in their respective arts disciplines. The collected literary pieces will be gathered into a monograph to be published by Muddy Ford Press and released on February 1, 2015. The visual arts will be exhibited at the Tapps Arts Center with a gallery opening scheduled for the same day.

Visual artists include Christian Thee, Kara Gunter, Susan Lenz, Jarid Lyfe Brown, Kirkland Smith, Whitney Lejeune, Cedric Umoja, Michaela Pilar Brown, Michael Krajewski, and Mary Bentz Gilkerson.

Literary artists include Ed Madden, Betsy Breen, Susan Levi Wallach, Al Black, Debbie Daniel, Ron Aiken, Tom Poland, Don McCallister, Jonathan Butler, Rachel Haynie, Ray McManus, Tara Powell, Shani Gilchrist, Darien Cavanaugh, Will Garland and Cindi Boiter.

Filmmaker Wade Sellers will also be creating an original short film to complement the project.

"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 cast of "Commedia Snow White" tell all to intrepid reporter Kat Bjorn (age 6 and 1/2)

First Grader Kat Bjorn Interviews the Cast of Columbia Children’s Theatre Commedia Snow White

by Kat Bjorn (with some help from Papa)

Kat’s Papa:  Hey folks, technically this isn’t a review of Columbia Children’s Theatre’s latest production, Commedia Snow White (although visit Jasper early next week for just that - a review by Melissa Swick Ellington) but seriously, you have to see this show—even you adults without kids.  After all, there’s a dwarf named Truculent.  And Paul Lindley II (Punchin) performs several numbers from Cats.  And Anthony Harvey (Arlequino) gets stuck in an infinite regress watching himself as The Mirror.  And Elizabeth Stepp (Columbine) as that “Really Pale Brunette Girl” does cartwheels around Beth DeHart’s (Rosetta) smoking tan Evil Queen.  Also, Julian Deleon (Pantalone) has a Spanish pirate hat that belongs in a Captain Morgan commercial.

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

Papa:  Okay, time to turn into a transcriber.  Gotta go.  Seriously, see this show!

Jerry Stevenson, CCT Artistic Director:  How old are you now, Kat?  This is like your 30th interview.

Kat:  I’m six and a half.

Arlequino :  You seem old.

Kat:  I’m just tall for my age.  Who is your favorite dwarf and why?

Pantalone:  Effervescent.  No, Truculent.

Punchin:  Or did you mean the Disney ones?

Really Pale Brunette Girl (aka Snow White):  Dopey.  He’s got a purple hat.

Punchin:  Duck.

Kat:  Duck?

Punchin:  Duck!

[Entire Cast ducks.]

Kat:  Did you mean Doc?

Punchin:  Hee-hee.

Kat:  If there were an 8th Dwarf, what would his or her name be?

[Kat whispers to Really Pale Brunette Girl (aka Snow White).] 

Really Pale Brunette Girl (aka Snow White):  Plumpy?

[Entire Cast exchanges looks with one another.]

Entire Cast:  Plumpy.

Evil Queen:  Hairy.

Kat:  If Snow White wears a yellow dress, why isn’t she Snow Yellow?

[Pause.  Laughter ensues.]

Kat:  What is Commedia dell’arte?

Really Pale Brunette Girl (aka Snow White):  Commedia dell’arte is a form of theatre that originated in Italy in the 1500s—

Punchin:  [in an outrageous Italian accent]  That’s why we have these outrageous Italian accents!

Really Pale Brunette Girl (aka Snow White):  Ahem.  All the characters are stock characters—

Pantalone:  We go great with soup!

Really Pale Brunette Girl (aka Snow White):  Sigh.

Pantalone:  I mean, I run the troupe!

Kat:  Next question.  My Papa said your Commedia dell’arte shows have lots of “ChapStick” comedy.  What does that mean?

Really Pale Brunette Girl (aka Snow White):  Something to do with Ruby Lip Smackers, I imagine.

Arlequino:  Did he mean “slapstick”?

Punchin:  I think she knows what she means.

Arlequino:  [standing]  You minda your own-a business!

Punchin:  [standing, grabs Arlequino’s nose]  No, you minda your own-a business!

[Arlequino roundhouses Punchin.]

Evil Queen:  I think you get the picture.

Kat:  Moving right along.  What’s the next project for the Spaghetti & Meatball players?

Jerry Stevenson:  Commedia Our Town!

Papa:  [to himself]  Cat on a Hot Tin Roof, Jr.

Kat:  I don’t remember seeing puppets at the Columbia Children’s Theatre before.  What was it like to work with puppets?

Pantalone:  Jerry and Jim have been using more and more puppets lately.

Arlequino:  Apparently they work for practically nothing and don’t complain about union violations.

Kat:  Guess my favorite part of the show.

[Entire Cast spends several hours guessing.]

Punchin:  [exhausted]  I give up…my excerpt from Godspell?

Kat:  When the Evil Queen was on fire.  I also liked it when Pantalone came and sat next to me.  I tickled him with my magic rose.

[Shameless Plug:  Bring $3 so your kid can buy a Magic Rose.]

 

Kat:  Okay, last question.  What does the fox say?

Entire Cast:  Ring-ding-ding-ding-dingeringeding! / Gering-ding-ding-ding-dingeringeding! / Gering-ding-ding-ding-dingeringeding!

Kat:  That’s a wrap!  Another slice of pizza, please!

................................

Kat Bjorn is a rising first grader who loves Riverbanks Zoo and Fancy Nancy chapter book mysteries—and math, if you can believe it.

Commedia Snow White runs through June 22 with performances at the following dates and times:  Saturday, June 14 at 10:30 a.m., 2 p.m. & 7 p.m.  Sunday, June 15 at 3 p.m.; Friday, June 20 at 8 p.m. (late night date night for grown-ups, with possibly a little more mature humor added in); Saturday, June 21 at 10:30 a.m., 2 p.m. & 7 p.m.; Sunday, June 22 at 3 p.m. There are additional Thursday matinee performances at 10:30 a.m. on June 19, June 26 (sold out), July 10, July 17 and July 24. 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) - or as they say in Forest Acres, over where the old S&S Cafeteria used to be. 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/ .

Expecting Goodness Short Film Festival Showcases Columbia Talent

If you're in the mood for a short road trip and short films this weekend then travel up to Spartanburg for the third year of the Expecting Goodness Film Festival. Two films from Soda City will be screened as part of the program this year. So Beautiful, by filmmaker Joshua Foster is adapted from Jasper Editor Cindi Boiter's short story "Alvin & Alvie." So Beautiful tells the story of a father and his struggling relationship with his daughter after the death of his wife. The film is a touching slice of time between father and daughter.

Columbia filmmaker Jeff Driggers presents his short “Happy Hour”. The film centers around the thoughts of one woman in a bar. It is a simple story about a complex character. This is Driggers' second year participating in the festival.

The Expecting Goodness Film Festival will present two shows on Saturday, June 14^th at the Chapman Cultural Center. The first screening starts at noon, and the second will take begin at 7 PM. Tickets may be purchased through the Expecting Goodness website at www.expectinggoodness.com.

Jasper Celebrates Fall Lines

Jasper is pleased to announce that Fall Lines -- a literary convergence is on the streets after two exciting celebrations of its release.

On Sunday, we launched Fall Lines with a celebration and reading hosted by our partner the Richland Library Many thanks to Tony Tallent not only for facilitating the partnership but also for hosting and feting us so well Sunday afternoon.

The Fall Lines Team -- left to right, Ed Madden of Jasper, Lee Snelgrove of One Columbia, and Tony Tallent of Richland Library with Cindi Boiter of Jasper seated (not pictured Jonathan Haupt of USC Press and Bob Jolley of Muddy Ford Press)

Left - Nicola Waldron, winner of the Broad River Prize for Prose; Right - Mary Hutchins Harris - winner of the Saluda River Prize for Poetry -- both sponsored by Richland Library Friends

The next day we were back on the podium with an extended reading hosted by Sara Cogswell at her beautiful gallery on State Street in West Columbia, Gallery West.

photo by Will South

Pick up your copy of Fall Lines at any of the Richland County Library branches, the One Columbia office on Lady Street, Jasper Studio in the historic Arcade at 1332 Main Street, Frame of Mind, Gallery West, and selected boutiques, galleries and venues in Columbia -- or order it online at Amazon.com or BandN.com.  And look for the Fall Lines e-book coming soon from Richland Library.

Many thanks to Roe Young of Roe Young State Farm, Tom Mack of the SC Academy of Authors, and the Richland Library Friends.

Spoleto USA Review: Lucinda Williams @ TD Arena

Continuing their recent tradition of incorporating a handful of roots-rock acts in their eclectic vision of high-culture arts programming, Spoleto USA brought one of the true legends of Americana to Charleston this past Wednesday, Louisiana-born Lucinda Williams. The daughter of acclaimed Southern poet and literature professor Miller Williams, the singer/songwriter has had a tumultuous, storied career, from her early Folkways Record releases to the painstaking birth of one the genre’s all-time classics, Care Wheels on a Gravel Road, which was released in 1998. Since then Williams has enjoyed steady sales and plenty of critical regard, but seems to have worked in the shadow of her greatest achievement.

That’s not to say, of course, that she hasn’t remained an exacting and engaging writer, as she’s capable of writing songs of anger and joy, lust and longing, with a sense of economy and painterly level of detail. Plus she's always had a one-of-kind weathered voice that's capable of a similarly broad palette of emotion. But it is to say that her arguably best material was released in the 1990s, on Car Wheel and 1992’s Sweet Old World. That the Spoleto set leaned heavily on newer material suggests that Williams will continue to be a relevant artist, even if her concert appearances are perhaps not as engaging because of it.

Leading a hot band through the paces, Williams sprinkled a number of new songs throughout the night that incorporated much of the band-oriented material from her last two records, Little Honey (2008) and Blessed (2011), that allowed her to showcase her sidemen's chops, particularly the explosive solos of electric guitarist Stuart Mathis, a longtime guitarist for the Wallflowers.  Mathis’ presence was key to the performance’s success, as the long instrumental passages made it difficult for Williams’ songwriting prowess to hold center stage for long. And while the set was peppered with stories and asides from the songwriter, and she was in fine vocal form for much of the night, too much of her time was spent playing the effacing frontman for the long jam-laden blues and rock excursions through some of her weaker material.

In my mind, the real highlight of the show was when Williams emerged for an encore with nothing but her acoustic guitar and sang “Passionate Kisses,” one of her most commercially successful tunes. Despite how good the band was, I would much rather have had a few more of Williams’ compositions in that more haunting and heartbreaking minimalist setting. That's not to say the night wasn't quite enjoyable, and kudos to Spoleto for bringing one of the true songwriting (and singing) greats to the Holy City, but I'm still left wishing for what could have been. –Kyle Petersen

Spoleto USA Show Review: Béla Fleck & Abigail Washburn at TD Bank by Chris Robinson

This quiet banjo duo performance actually took place in a basketball arena-turned-performance space that fit about a thousand people, but the excitement in the air was palpable and when the lights finally went down and Béla Fleck and Abigail Washburn came out on stage they were happy, confident, quickly engaging, and fiercely entertaining.

After music’s widely known Top 40 stars, popular recognition for most is mixed and spotty, but if you are a music aficionado and listen to public radio, TED talks, or the like, you know both Fleck and Washburn’s names and virtuosity.

Fleck is easily one of the most innovative banjo pickers in the world, with a reputation for expanding the musical range of his instrument, and Washburn, also a banjo player, is a warm singer with a fascinating backstory. Fluent in Chinese, she almost ended up studying law in Beijing, but was cold-offered a recording contract while being heard “jamming” on the sidewalk of a music convention and hasn’t looked back since. Together, this husband and wife are consummate musicians, entertaining storytellers, and have a wonderful balance of contemporary sensitivity and calm with a feeling of down-home, sit-in-the-parlor friendship.

The two played a far-reaching and near-perfect single set, from Doc Watson and Earl Scruggs standards to progressive jazz and classical compositions, and traded some laugh out loud anecdotes between songs. They missed separate Spoleto invitations last year due to the birth of their baby (Juno Jasper!), and the tyke has since spent his first year traveling with mom and dad as they have wrapped their way back around to Charleston.

The music really is a so widespread and varied, from traditional roots to contemporary innovation and international influences, and although self-effacing with no apologies for their banjo-only approach. The two in fact make you realize how the simple stringed instrument can transcend most others.

The only possible flaw is that steady, slightly sad realization that the goodhearted guy-gal spouse bantering of slightly different preferences in similar pursuits just seems a little too good, crisp, and clean, indicative of how produced, choreographed, and scripted, and has been presented many times before.  It is only a brief moment of disquiet, though, before recognizing that although you are not really in a parlor and have been duped a bit by the seeming spontaneity of the performance. And yet, finally, the duo is ultimately so captivating and accomplished you really don’t mind. - Chris Robinson

My Cousin Rachel at Spoleto - Mini-Review

The Columbia arts scene has kept us so busy at Jasper this season that we haven't had the time (or need?) to make it down to this year's Spoleto Festival nearly as much as in years past. It's not because there haven't been some exciting events going on down there -- this year's festival roster was as impressive as ever, from the Westminster Choir's El Nino to Hubbard Street Dance Chicago to the upcoming production of the Gregory Maqoma/Vuyani Dance Theatre.

My Cousin Rachel -- Dock Street Theatre

We did make it down to see a matinee of the Gate Theatre's My Cousin Rachel at Charleston's always inspiring Dock Street Theatre. My Cousin Rachel is a romantic-mystery novel written by Daphne Du Maurier in 1951  and adapted for the stage by Joseph O'Connor -- with more than a hint of the macabre added, at least in this interpretation. The play picks up at the part in the novel after which Ambrose, the owner of a Cornish estate has died following an extended health-related stay in Italy. In Florence, Ambrose fell in love with a cousin Rachel who, after his death, travels to Cornwall to pay her respects to Ambrose's adopted heir, Philip, with whom she soon develops an intimate relationship. The conflict in the play centers around trust -- but not the casual kind of trust, rather a life and death kind of trust. There's a beautiful subtlety to this version of the story interspersed with tense scenes that aptly address the misery of doubt. Of particular interest is the use of carnival masks on familiar cast members when Philip is tormented by dreams while in a feverish sleep.

The Gate theatre out of Dublin brings another fine example of their work to the Spoleto Festival in Charleston. We highly recommend you catch My Cousin Rachel before it closes at the end of the week.

Win Passes to World Premiere of Cinema Purgatorio

Yes, summer is finally making its way to Columbia after a spring that teased far more than delivered and, before you know it, events will thin out, you might not have to wait to get a table at Cellar on Greene, and you may even find a booth at The Whig. Those who know Columbia know that part of our culture is to sort of go underground during the summer months. We’re not sure whether it’s because we’re a college town or whether we’re so perfectly positioned between the mountains and the shore that it’s hard to stay put during summer days – or whether it’s just so damn hot here in July that we just can’t stand it. But we are what we are, and you have to love us.

That said, don’t put away your opera glasses and pearls quite yet. (Pfft! Who has opera glasses or wears pearls to most of Columbia’s events? Show off!) Jasper has several important arts events on our upcoming radar, so don’t pack your bags just yet.

Sunday, June 1^st – Cinema Purgatorio World Premiere

We’re delighted that SC filmmaking team Emily Reach & Chris White of Paris Mountain Scout productions chose Columbia to premiere their latest film, Cinema Purgatorio. You might remember the Whites from their previous feature films Taken In (2011) and Get Better (2012). Not only do the husband-and-wife team of Chris and Emily have strong ties to Columbia, but two of the actors in the film walked right off of Main Street.

While local filmmaker/actor Jeff Driggers plays the pushy documentarian Clark Wiggins, Alex Smith, whose work ranges from the stage to the studio to the screen, plays a pretentious filmmaker named Dos Midler. (Alex is also a staff writer for Jasper, and Jeff won the Jasper Award at Hub City’s Expecting Goodness Film Festival last June. Both were chosen to participate in Jasper’s Second Act Film Festival last October.) In addition, Columbia photographer Sean Rayford will be shooting red carpet photos at the first screening and the reception at Bourbon.

What’s more, the after party at The Art Bar will feature live music by  Shallow Palace and Mel Washington. Tickets to either screening include admission to the after-party.

As a sponsor of Cinema Purgatorio, Jasper invites everyone to come out and support independent filmmaking for the premiere showing on June 1^st at IT-ology.  By purchasing your tickets at this special Jasper site, you’ll also be supporting Jasper Magazine.

But there’s more. Everyone who joins the Jasper Guild this week – at any level – will be entered to win two Gold Pass tickets to the premiere, including passes to the Producer’s Reception.  (Those who join at the $25 level will be entered once; those at the $50 level - twice, those at the $100 level - four times, at the $250 - 10 times.) Drawing will take place on Saturday afternoon, May 31st and the winner will be notified by email and announced on Facebook and Twitter. For more on the Jasper Guild -- see Below.

~~~

Isn’t it time for YOU to join the Jasper Guild?

The Jasper Guild is a group of supporting artists and arts lovers who appreciate not only the vital Columbia, SC arts scene, but the magazine devoted to promoting it. Members of the Jasper Guild recognize the labor-of-love that is Jasper and work to do their parts to ensure that Jasper continues to publish a 100% LOCAL & artist-produced magazine. You’re invited to join us in our mission to make Columbia, SC the Southeast arts capitol by becoming a member of the Jasper Guild. And the next time you open a copy of Jasper you’ll be able to say,

“I helped make this happen and here’s my name to prove it!”

• Apprentice – 1 year delivery of Jasper & your name listed in Jasper for 1 year $50
• Journeyman – above + your name in print in LARGE LETTERS $100
• Master – above + a non-transferable Econobar PASS for 1 year $250
• Centerfold Sponsorship – above + your name/dedication printed on the centerfold $500
• Publisher – above + your choice of 3 books from the Muddy Ford Press catalogue $1000

 “But I’m just a starving artist myself,” you say?

• Artist Peer - Practicing artists in dance, theatre, music, film, visual & literary arts are invited to join The Jasper Guild at a reduced rate & see your name in Jasper for 1 year $25

Join NOW!

Fall Lines Contributors & Events Announced

The Columbia Fall Line is a natural junction, along which the Congaree River falls and rapids form, running parallel to the east coast of the country between the resilient rocks of the Appalachians and the softer, more gentle coastal plain.

It was almost a year ago when I first asked Tony Tallent, Lee Snelgrove, Jonathan Haupt, and Ed Madden to meet with me to talk about the prospects of a  professional quality literary journal based out of Columbia, SC. My hope was for a yearly journal that we could publish as a summer reader in lieu of the July/August issue of Jasper Magazine. In the best of all possible worlds the book would be the same size as Jasper--but with more pages--perfect bound, and free, both to submit to and to take home. I wanted the advice of these gentlemen on whether this was a feasible endeavor. Once we had batted the ball around the room several times and decided it could and should be done, I wanted their help. They delivered it generously.

On June 8th, the city of Columbia will celebrate the launch of Fall Lines - a literary convergence. We chose the name Fall Lines because we wanted to honor our city and the energy that the falling waters of the Broad and Saluda Rivers bring our way. Almost 500 submissions were entered into consideration for publication in Fall Lines. From them, 30 were accepted and seven others came to us via  invitation. In addition to winners in the fields of poetry and prose, Fall Lines will also publish work by the SC Academy of Authors 2014 fellowship winners Nancy Brock and Jo Angela Edwins; three essays from USC Press's upcoming second volume of Aida Rogers' State of the Heart (by Christopher Dickey, Josephine Humphreys, and Ray McManus); as well as poetry by SC Poet Laureate Marjory Wentworth, (sponsored by Roe Young and the Roe Young State Farm Insurance Agency.) Local designer and Jasper art director Heyward Sims designed the cover of the book. It is 98 pages long and, as always, Muddy Ford Press made it all happen.

Thank you to Tony Tallent for bringing in Richland Library as a major partner on Fall Lines, as well as the Richland Library Friends who are generously awarding the cash prizes ($250 each) to the winners of the Saluda River Prize for Poetry and the Broad River Prize for Prose. Richland Library will also offer the book in its entirety as an E-Book through the library system. Thank you to Lee Snelgrove and One Columbia and to Jonathan Haupt and USC Press for partnering with us. Thanks to Tom Mack and the SC Academy of  Authors and to Roe Young and the Roe Young State Farm Agency. Thanks to our advertisers: Trustus, Ed's Editions, Gallery West, and The Whig. Thanks most of all to Ed Madden who, of late, is more often my partner in crime than not. And my dear, dear friend.

It is with great pleasure that we announce the contributors to the 2014 inaugural issue of Fall Lines - a literary convergence literary magazine.

Dig and Delve – Nicola Waldron

April, 1965 – Betsy Breen

Soon – Jonathan Butler

Accidentals – Mary Hutchins Harris

Forgotten – Marjory Wentworth

Militants Ban School Bells in a Town in Somalia – Marjory Wentworth

Taste the Sound – Jennifer Bartell

Davy Crockett’s Last Stand – Nancy Brock

Like – Jo Angela Edwins

Island Time – Josephine Humphries

What I wish I had said to Billy Collins – Brandi Perry

Queens – Alexis Stratton

Almost – Angie Zealberg

Ghost Crabs – Hastings Hensel

Lap – Robert Petersen

Like a little bell he trembles III – Matthew Stark

Pilgrimage – Christopher Dickey

Want a ride? – Aïda Rogers

A Bike – Bob Blencowe

Cancer Voodoo II – Melissa Johnson

The Ache of Beekeeping – Tony Tallent

Ruts – Ray McManus

At Congaree Swamp – Nicola Waldron

My Father’s Chest – Jarred Coffin

Jumping into the Abyss of History, A Prologue – Megan Volpert

you burn me – Susan Laughter Meyers

The Gunpowder Craze – Doug Berg

One Quiet Morning – William Claxon

In May’s Blue Box – Linda Lee Harper

What Tassio Fulgrass Thinks of Life – Susan Levi Wallach

Letting You Die – Marlena Impisi

early November – Laura Rashley

Crazing – Lisa Hammond

Mission – Tara Powell

The Ride Back – Jo Ann Hoffman

Open Windows – Matt Mossman

Fishing for Bream – Ivan Young

Through a Glass Darkly – Debra Daniel

Please join us in celebrating Fall Lines and it's contributors with a signing and reception on one or both of the following dates:

Sunday, June 8th at 4pm at Richland Library, 1471 Assembly Street in Columbia

RSVP on the

Facebook event

Monday, June 9th at 6 pm (readings will start closer to 7) at Gallery West, 118 State Street in West Columbia

RSVP on the

Facebook event here

Pick up your Fall Lines this summer from one of the following primary distribution sites:

Richland Library -- all branches

One Columbia on Taylor Street

USC Press on Devine Street

Jasper Studio at the Historic Arcade

Ed's Editions in West Columbia

Gallery West in West Columbia

Trustus Theatre

HoFP

iF Art

701 Whaley CCA

Nickelodeon

The Whig

Congratulations to the winners and the contributors and thanks once again to everyone whose individual efforts made a very important thing happen. Columbia now has her own literary journal -- Fall Lines - a literary convergence.

-- Cindi Boiter

Art Across the River -- Love, Loss and What I wore at Saluda Shoals Park

The Saluda Shoals Foundation, Irmo Chapin Recreation Commission, and Trustus Theater will present Love, Loss and What I Wore, May 22-May 24, 2014, at 7:30 p.m.  Performances will be held at the Environmental Education Center Outdoor Deck at Saluda Shoals Park, 5605 Bush River Road, Columbia. Tickets are $15 per person and can be purchased by calling 803-213-2025. Seating is limited.

Proceeds from the event will support the future construction of Nature’s Theater at Saluda Shoals Park, a unique outdoor performing arts center which will provide an opportunity for people to enjoy musical, dance and theatrical performances surrounded by the sights and sounds of nature. This state-of-the-art facility will feature a covered stage, fixed seating for approximately 500 people, lawn seating for nearly 500 more, and a treetop event space.

“Our theatrical performances are magical,” says Dolly Patton director of the Saluda Shoals Foundation. “The outdoor deck is a wonderful setting, but when we complete Nature’s Theater, theater lovers will receive the full glory of not only theater but also dance and musical performances. We invite the Greater Columbia community to support this tremendous investment in arts and culture for the region.”

Innovative and dynamic, Trustus Theater has gained a well-earned reputation of bringing the best new and original plays to an audience craving professional theatre in a setting that is comfortable and unique.  Under the direction of Trustus Managing Director Larry Hembree, Love, Loss and What I Wore, features five actresses as they recall poignant, touching, and transformative moments in their lives through the clothing they wore at the time.

Proving that a great show is always in fashion, Love, Loss, and What I Wore has become an international hit. With its compulsively entertaining subject matter, this intimate collection of stories by Nora and Delia Ephron celebrated an accomplished two-and-a-half year run in New York’s Westside Theatre.  Love, Loss, and What I Wore is based on the best-seller by Ilene Beckerman as well as the recollections of the Ephrons’ friends.  The show uses clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women can relate to, creating one of the most enduring theatergoing experiences domestically and overseas. Prepare for plenty of laughs and an exploration of why and how we’re connected to the clothes we wear.

For more information regarding Saluda Shoals Park and Foundation contact Dolly Patton at, (803) 213-2035 or visit www.saludashoalsfoundation.org.

MFP Writers at the SC Book Festival w/Special Signing Schedule

Join Jasper and Muddy Ford Press Writers this weekend at

the South Carolina Book Festival

Saturday from 12:40 - 1:30 A Sense of the Midlands Panel with Ed Madden, Tom Poland, Randy Spencer, and Cindi Boiter with signing to follow

Table Signings

Table 416

Saturday 2 pm Debra Daniel will be signing Woman Commits Suicide in Dishwasher

Saturday 3 pm Ed Madden will be signing Nest (from Salmon Poetry - www.salmonpoetry.com)

Sunday 12 pm Don McCallister will be signing Fellow Traveler

Cindi will be at the table throughout the weekend signing Buttered Biscuits, A Sense of the Midlands, Limelight, & Red Social 

"A New York Minute: An Original Musical Revue" - a review (of the revue) by Melissa Swick Ellington

A high school junior. A film producer. A graduate student. A physician assistant. An elementary school administrator. A ten-year-old. These are just a few of the talented cast members lighting up the stage in the vibrant and polished production A New York Minute: An Original Musical Revue at the Village Square Theatre in downtown Lexington. The show provides an enjoyable education in musical theatre history, spanning from the early days of vaudeville up through hits like The Producers, Hairspray, and The Book of Mormon. While familiarity with the full musicals will help audience members connect with some of the humor, anyone can enjoy this show, regardless of musical theatre background. Produced by Fred Holbrook, Janice Holbrook, and Courtney Long, A New York Minute involves over fifty dedicated theatre artists in the cast and crew.

Directors Leslie Dellinger and Vicky Jackson demonstrate the admirable ability to compress a vast amount of Broadway musical theatre history into an entertaining performance. Their combined expertise and knowledge propel wise song choices and clever arrangements. Fluid transitions and skillful staging choices are noteworthy, especially with a large cast in tight quarters. The clever Sondheim versus Webber scene directed by Jolie Frazer-Madge offers a delightful frame for exploring the works of two renowned composers. In a cast of this size and variety, skill levels differ, yet the directors emphasize the ensemble’s diverse strengths.

One of the great challenges in a musical revue involves capturing character depth and particular styles of different shows within just a brief glimpse, and this production succeeds. Rachel Rizzuti reveals magnetic stage presence and a supple voice as beloved characters including Eliza Doolittle from My Fair Lady and Elphaba from Wicked. Melissa Hanna revs up Thoroughly Modern Millie with gutsy boldness, as Christian McClaran demonstrates remarkable range in contrasting roles -  earnest Seymour from Little Shop of Horrors, and the decadent Emcee in “Wilkommen” (Cabaret.) Tim Privette delivers El Gallo’s wistful wisdom in “Try to Remember” (The Fantasticks) and T.J. Daley becomes a marvelous Nicely Nicely in “Sit Down You’re Rockin’ the Boat” (Guys and Dolls), while a “women in musicals” sequence brings characters to life from shows like Funny Girl (Courtney Long), Wildcat (Mellie Boozer), and Sweet Charity (Ingram Trexler). Young performers share sweetness and sincerity in well-known numbers including “Where is Love?” (Paul Woodard) and “Castle on a Cloud” (Caroline Quinn). Although the narrative interludes are somewhat uneven and less confident than the musical numbers, actors such as Harrison Ayer, Rae Fuller, and SuzAnne Smithson are particularly successful by engaging viewers as if their monologues are conversations with the audience.

Musical director Camille Jones leads the way for a cast with inspiring singing voices. Group numbers highlight beautiful vocal blend and musicality, as in the melodious “Carolina in the Morning,” and a sprightly Rodgers and Hammerstein sequence. Particular standouts include Jody Jackson’s hauntingly genuine “I’m Still Hurting” (The Last Five Years), Zack Hill’s mesmerizing Pippin solo, a poignant Cole Porter duet by Brian Andrews and Olivia Johnson, and a truly lovely “Tonight” quintet from West Side Story with the extraordinary Katie Gatch and Stephen Fisher, both of whom dazzle in several featured roles (Urinetown, Spamalot). Even short bits of songs can become gems, as in the exquisite “Someone to Watch Over Me” (Gatch and Jody Jackson). Many other individual and group performances are equally notable in this talent-packed triumph.

Strong choreography by Hanna and Vicky Jackson provides solid visual appeal, including demanding dances such as the Fosse number “Steam Heat” (Hanna, McClaran, Emma Rocheleau) as well as effective musical staging for large group medleys. A rock opera montage (choreographed by Kendall Hutcheson) and a Disney montage feature impressive work by highly skilled dancers, although I must admit feeling a bit deflated at recorded vocals in these sequences; with such capable performers, I would have loved to hear the music sung live. However, that is a minor quibble in the light of well-crafted dance sequences. From crisp tap numbers in the Cole Porter and Gershwin medleys to a spirited romp of “Run Freedom Run,” the choreography sparkles.

Simple, classy set design choices by Daniel Woodard and Debra E. Leopard’s lighting design offer attractive support for the production. Sound engineer Becky Croft achieves a clean balance for the singers. Costume design by Barbara Bise, Nancy Huffines, and Heidi Willard is quite an accomplishment: there are a lot of people to clothe, and the costumes evoke movement through time with familiar styles and recognizable lines. Stage managers Kayla Checkovich and Aryel Toup make it all happen backstage – a big job done well.

My six-year-old daughter enjoyed a more thorough musical theatre history education in two and a half hours than I could give her in months, perhaps even years. (This child was so impressed by A New York Minute that she has been studying the program with devoted interest ever since we attended the Sunday matinee.) As for me, I savored the opportunity to imagine casting dozens of musicals with the talented ensemble. Musical theatre lovers will be delighted by A New York Minute, and I’ll wager that plenty of folks who might walk in thinking they aren’t crazy about musicals will leave this show singing a different and appreciative tune. A New York Minute: An Original Musical Revue runs through Sunday, May 18 at the Village Square Theatre; call 803-359-1436 for ticket information, or visit www.villagesquaretheatre.com.

~ Melissa Swick Ellington

"The House of Blue Leaves" at Trustus Theatre - a review by August Krickel

There's a speech at the beginning of the second act of The House of Blue Leaves, the new show at Trustus Theatre, delivered by Philip Alexander as the son in the story's central family. Speaking directly to the audience, he details a missed opportunity for stardom; as a child, he had the chance to be cast as Huck Finn in a Hollywood film, and so naturally he tried to impress the director by dancing, singing, and cavorting about with a child's typical joyous lack of inhibition. The director assumes he must have some emotional or developmental challenge, and the boy's ambitions, along with his ego, are crushed.

That's a fair representation of the themes addressed in the show. Ordinary people aspire to greater things, sometimes with great self-deception, while struggling with the emotional burdens they carry. Rarely do things work out as planned, although sometimes fate seems to give them a break - but only if they are paying attention. Scott Herr takes the lead role of Artie, a mild-mannered New York zoo employee who composes and performs songs, partly as a hobby (which he thinks is his passion) and partly to distract him from his home life. His wife, whom he called "Bananas," suffers from some form of mental illness, which is only getting worse. As Bananas, Monica Wyche drifts in and out of incoherence, sometimes passively crumpling into a ball, sometimes delivering rambling monologues that are occasionally quite poetic, and sometimes giving us glimpses of the well-adjusted wife and mother she must have once been.

The third principal character is Artie's new mistress Bunny, as loud and brassy a New Yorker as her name implies. Sumner Bender, normally a willowy, chic and sophisticated young actress, somehow manages to play a significantly older and frumpier character through mannerisms and line delivery alone, although costume design by Dianne Wilkins helps. Resembling a younger version of a Far Side lady, Bender dominates the stage whenever she appears, engaging in non-stop chatter. She's annoying, yet ultimately she grows on you, sort of like Snookie. Part of that appeal derives from her (seemingly) genuine desire to help Artie move on to a better place in his life. Unfortunately that involves placing Bananas in an institution, which Artie describes as surrounded by trees full of lovely bluebirds, creating the illusion of the title's blue leaves. All three performers employ every trick in the actor's handbook to create nuanced characters, and their accents, especially those of Bender and Alexander, are just perfect (if a little grating to the Southern ear.)

With that inter-personal backdrop, the play begins in 1965 as the Pope is visiting New York. Most of the characters are Irish Catholic, and see this as a potentially life-changing event. Artie's connection is vastly more important, as he not only hopes that he will somehow be blessed/forgiven/vindicated as he prepares to leave his wife, but also that the Pope will somehow convince the country to end the Viet Nam War, in which his recently-drafted son will otherwise soon be involved.  The story I have just described seems quite realistic, but there is a pervasive tone of the Absurd (with a capital A, signifying the dramatic form) as events that technically could happen transpire, but become progressively surreal. Among the visitors to Artie's home in the second act are three nuns (Becky Hunter, Rachel Kuhnle, and Erin Huiett) Artie's childhood friend Billy, now a Hollywood bigshot (Bernie Lee), Billy's girlfriend (Kayla Cahill), and a couple of authority figures (Robert Michalski and Clark Wallace.) Everyone is perfectly cast, and Lee especially looks the part, with simple things like a turtleneck and facial hair instantly defining his character.  Cahill in particular has some incredible moments where she's not saying a word, but her silence and pained expression speak volumes.

Then a lot of wild comedy breaks out, and there are some good laugh lines, as well as a lot of eloquent ones. Especially poignant is Herr's realization that "I'm too old to be a young talent." If at any time we lose track of a particular character's purpose or motivation, playwright John Guare incorporates a number of revealing and sometimes soul-baring monologues, spoken directly by the characters to the audience. Director Robin Gottlieb is a master of timing, and she has her actors working every possible detail of their roles, making unlikeable characters accessible to the audience.  All of this is significantly enhanced by Heather Hawfield's wide, expansive set design. It's just a realistic interior of a shabby apartment in a big city, but she somehow manages to open the stage up, as if she's taking a dollhouse and unfolding it, allowing us to see every corner. I can think of a half dozen shows or more at Trustus that would have benefited from this type of staging.

As I have said previously, actors hate it when you review the material, not the performance. After all, they can't rewrite the script. So let me be clear: there is not a single flaw in acting or staging - everything is done quite proficiently and professionally, and I think everyone involved can be proud of their work on this show. That said... gentle reader, I just didn't get it. The play is a famous work from an important author; its original production won both the Obie and the Drama Critics' Circle Awards for Best Play, and subsequent revivals have garnered multiple Tony nominations and wins. Lots of famous people have appeared in versions of this show over the years. It's usually described as a comedy, or a dark comedy. There were certainly funny moments, and funny lines, but to me this was a serious drama that involved some witty characters and some surreal moments where you had to laugh. I'm told the audiences the night before and the afternoon after I saw the show were boisterous and laughing throughout the performance, whereas it was a much quieter house the night I attended.  This may well be. And given the fame and reputation of both the work and its author, I'm inclined to think I just somehow missed something.

There is certainly a broader theme of hope vs. reality, and the perils of life's curveballs. At some level I'm sure Artie represents humanity, with Bunny as the voice that tells us "you can do it," even if we can't. Bananas is probably the hurt child within us, the never seen Pope is surely symbolic of the redeeming panacea we all wish for, while the naughty nuns can probably be seen as representations of the random chaos surrounding and affecting us all. But again, let me be clear - while there are some Absurdist moments, this is by and large a straightforward, realistic play with a linear plot.  Possibly my tastes are changing as I get older, because parts of this play reminded me of Pinter's The Caretaker, Fugard's A Lesson from Aloes, even Beckett's Waiting for Godot, all difficult and challenging works which I enjoyed and admired as a young man. But for whatever reason, and no matter how well the cast delivered the author's well-chosen words, it never all came together for me in a way that I could understand, or benefit from some message or realization.  So that probably means it's just me. There are only seven shows remaining, and I encourage anyone who wants to be challenged by thought-provoking drama to go see the show right away.  I want to hear that you loved the comedy and were touched by the pathos, and I want you to tell me what I missed.  And I want you to tell me if the ending is literal or metaphorical. Seriously - we have a "comments" section below that is almost never used. So have at it, and tell me how I completely missed the boat on this one. And either way, enjoy some great actors while sipping on a tasty adult beverage in a cool, intimate performance venue.  The House of Blue Leaves runs through Saturday, May 24; call the box office at 803-254-9732 or visit www.trustus.org for ticket information.

~ August Krickel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~ Jillian Owens

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

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

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