Koger Center Announces Music Series Line-Up & Jasper Will Be There for All the Concerts!

The Jasper Project is delighted to partner with USC’s Koger Center for the Arts and all our amazing neighborhood arts groups on this lovely free concert series!

The Koger Center for the Arts has set the headliners for the first Levitt AMP Columbia Music Series, a series of free outdoor concerts sponsored in part by the LevittFoundation. The concerts will take place on the Plaza Stage on the Koger Center’s front lawn from 5 - 7 p.m., with the rain location being indoors in either the Black Box Theater or second floor lobby. 

The full lineup features ten concerts split between the spring and fall seasons. All concerts are free, open to the public and will have opportunities for off stage community engagement (that’s Jasper, y’all!) for the audience. The schedule is as follows: 

 

Spring

Saturday, April 18: River Shook Duo

Saturday, April 25: Sunny War

Saturday, May 2: Five OHM

Saturday, May 9: Carolyn Wonderland

Fall

Thursday, September 10: Admiral Radio

Thursday, September 17: Black Nerd Mafia

Thursday, September 24: Molly Martin

Thursday, October 1: Kuf Knotz & Christine Elise

Thursday, October 8: Sam Morrow

Thursday, October 15: Making Movies

 

Each concert will feature a local Midlands based opening act! The Levitt AMP Columbia Music Series is dedicated to uplifting Columbia as a cultural hub and destination for accessible entertainment. The series is supported by a variety of community partners, including the Jasper Project, ONE Columbia, ColaJazz, South Carolina Philharmonic, University of South Carolina Student Life, Black Nerd Mafia, the South Carolina Commission for Community Advancement and Engagement, the City of Columbia, the Columbia Chamber, and the Vista Guild. 

Geared to towns and cities with populations under 250,000, Levitt AMP grantees reflect the three goals of the LevittAMP Music Series program: Amplify community pride and a city’s unique character; enrich lives through the power of free, live Music; and illustrate the importance of inclusive and vibrant public Places. From rural Alaska to Appalachian Main Streets and Midwestern locales, Levitt AMP is a catalytic opportunity for towns and cities across America to realize a shared mission—building community through music to create a healthy and thriving future for all. Columbia is the only Levitt AMP location in South Carolina.

Columbia residents are encouraged to follow along with the development of the series over the next three years by visiting www.KogerCenterForTheArts.com, and following @LevittAmpColumbia and @KogerCenterForTheArts on Instagram.

REVIEW: Clayton King Reviews Town Theatre's The Secret Garden for Jasper

In The Secret Garden at Town Theatre, a team of theater artists use a wealth of talent to the task of bringing Frances Hodgson Burnett's beloved 1911 children's novel to the stage. The 1991 Tony award-winning musical's script and lyrics are by Marsha Norman, with music by Lucy Simon, who packed a lot of story into the script. The show won three Tony awards, including Best Book of a Musical, Best Featured Actress in a Musical, and Best Scenic Design.

The show leaves no stone unturned in telling the story of how a 10-year-old orphan, Mary Lennox (Bailey Bostic*), wins the love of her distant, widowed guardian, her uncle Archibald Craven (Lanny Spires), even as she finds her own self-worth by communing with nature in the locked garden of the uncle's vast Yorkshire estate. A catalyst for her journey comes from the character of Collin (Ezra Lindley*), Mary’s 10-year-old cousin and the bedridden, spoiled, and sickly son of Archibald Craven. Both children handled these complicated roles with equal aplomb. Other supporting roles included Martha, a housemaid (delightfully portrayed by Ashton Boland), and her brother, Dickon (unsurprisingly well done by Nathan Jackson). As the production moves forward, the performers are charged with unveiling many story threads and themes.

Under the direction of Jane Cato, the cast has accomplished their basic mission. Performances by actors with named roles were robust, and the deceptively difficult musical score was aptly led by Musical Director Michael Simmons, with a small band that delivered an orchestral sound. It was particularly nice to see the band on stage. In full disclosure, I was part of a production of The Secret Garden almost two years ago, which gave me insight into the wealth of information presented and devices used to convey it; because of this, some moments were easier for me to understand than for some other audience members with whom I had the opportunity to chat at intermission and after the show.

The production uses a combination of flashbacks and “past into present” devices to tell the tale. The production at Town Theatre offers a credible if sometimes confusing adaptation. Included in the ensemble were the Restorers, a group of dancers that appeared throughout the production, played by Whitney Allen, Meryn Creasman, Taryn Davis, Laura-Louise Rice, Lauren Sudduth, and Bethany Truel. As a theatrical device, this was especially effective in two places: the opening scene, where the spread of Cholera in Mary’s home in India kills everyone she knows, and in “Wick,” when Dickon (ably performed by Nathan Jackson) shows Mary that nurturing a garden can bring it (and humans) back to full life. Also in the ensemble are the Dreamers – ghosts from Mary’s past who serve as a kind of Greek chorus, carrying the score’s intricate, haunting musical themes and often interacting directly in scenes. In Town’s production, the Dreamers handle the score evenly and are played by Emily Banks, Gavin Slusher, Karly Minacepelli Shorter, Sam Derrick, Ethan Wilson, Caroline Lindler, Connor Etcheson, Emily Grace McIntyre, Sadie Slusher, and Gracelynn Wall (Young Mary).

Lanny Spires shines as Archibald Craven and is known to Columbia audiences for his strong vocals, offering a beautifully poetic, tortured soul as he tackled both musical and thematic demands. It was odd, though, that as a hunchback, he appeared without a hump and was encumbered with a cane. This limited his otherwise flawless performance. Lily (Carley Campbell Siglin*) in ghost form delivered soaring vocals and set the tone of the show in the opening, as she hauntingly beckoned, “Come to my Garden.”

Archibald’s younger brother and keeper of the estate (Austin Means) was solid in his vocal performance, and Carol Beis (unsurprisingly) nailed both the accent and character as Mrs. Medlock, the estate’s housekeeper.

Ashton Boland was absolutely delightful as Martha, a housemaid who gently pushes Mary to become more independent, and Todd Gustafson as Ben Weatherstaff, the head gardener at the estate, was delightfully crotchety and caring at the same time. Ezra Lindley, as Collin Craven, was another delight, rambling with questions or telling a story as children are wont to do.

Jeremy Hansard’s set was part representative and part literal, mixing a ramshackle, declining sort of house/garden combination and providing several staging areas in an effective way. Lighting, while sometimes too dim, was quite effective in setting the mood as performers moved to various spaces that included both indoor and garden locations. I should note that Town Theatre’s fairly recent practice of having a cast member record the preshow speech delights audiences, and last night was no exception.

Heather Gonzalez's costumes were a standout, providing period-appropriate garments, and had the Dreamers, all costumed in ghostly white, making it easy to distinguish ghosts from humans.

Apart from a few “opening night” issues with microphones or costumes, The Secret Garden is a success, and everyone involved should be proud. The audience sometimes had trouble locating the show's pulse in a few areas. For example, unlike traditional musicals, The Secret Garden does not employ full-scale production numbers. While the dancers were clearly enjoying their time on stage, I found that they sometimes distracted from other poignant moments, such as “I Heard Someone Crying” and “Quartet.” Both songs are individual soliloquies, performed introspectively by the principal characters. So much movement on stage took away from the strength of what each of these characters was relating to the audience. Early on, I was momentarily confused when Mary first got dressed and donned a white dress. Then, while I was trying to make sense of this, she added a richly colored coat, which instantly answered the question. At times while using the spaces available, scenes felt separated a bit too far making them hard to follow. Audiences should be prepared for a longer-than-usual running time, but the show's pace keeps them engaged and wondering what the resolution to Mary’s situation will be.

*The show runs March 13-29, with Caitlin Thomas White alternating as Lily, Molly Adams as Mary, and Carter Ellingson as Collin.

(Editor’s Note: In the original post the name Gracelynn Wall was inadvertently omitted. We apologize for this error.)

REVIEW: Jane Peterson Reviews Guys and Dolls at Workshop Theatre

Dames, Dice, and Plenty of Charm: Guys & Dolls at Workshop Theatre

Workshop Theatre raised the curtain Friday night on Guys & Dolls, the beloved musical comedy set against the colorful backdrop of 1950s New York, and the audience could not have been more receptive. The show traces its roots to the short stories of Damon Runyon, brought to the stage by Abe Burrows and Jo Swerling, with the irresistible score and lyrics of Frank Loesser. The production first dazzled Broadway on November 24, 1950, earning the Tony for Best Musical the following year, and later inspired a 1955 film featuring Frank Sinatra, Marlon Brando, Jean Simmons, and Vivian Blaine.

At its heart, the story follows two incorrigible gamblers who find themselves wagering on something far more unpredictable than dice — love. Sky Masterson (Evan Cook) accepts a bet from Nathan Detroit (Frank Thompson) that he can't convince straight-laced Salvation Army missionary Sarah Brown (Sara Slaughter) to join him on a spontaneous trip to Cuba. Meanwhile, Detroit is doing everything in his power to avoid walking down the aisle with his long-suffering girlfriend Adelaide (Maegen Hodges), a dancer at the Hot Spot nightclub. The two storylines weave together through a lively mix of gamblers, showgirls, Salvation Army meetings, and one memorable Cuban detour.

Workshop's production delivers a genuinely good time. The music is bright and infectious, though at times the music threatened to drown out the vocals — which is a pity, because the singing across the cast was commendably very strong.

Frank Thompson brings Nathan Detroit to life with wonderful energy, capturing the character's perpetually flustered, shifty charm as he scrambles to find a venue for his floating craps game while staying one step ahead of the law. His vocals were solid throughout, particularly in the duet Sue Me alongside Maegan Hodges, whose voice was simply outstanding. Hodges deserves real credit for holding her own in some of the more demanding passages, and her portrayal of the lovably scatterbrained nightclub performer was both sharp and thoroughly entertaining. Her turn with the Hot Box girls in A Bushel & A Peck was a genuine crowd-pleaser.

Sara Slaughter was a standout as the buttoned-up Sarah Brown, bringing a sharp comic sensibility and a wonderfully expressive face to the role. Her rendition of If I Were a Bell was a real highlight.

Evan Cook's take on Sky Masterson carried all the Brando-inflected cool the role demands — self-assured and magnetic, it's a performance well worth the price of admission on its own. His scenes opposite Slaughter were especially fun, and their duets ranked among the evening's best moments.

The gambling fraternity — George Dinsmore as Benny, Joshua Diveley as Nicely-Nicely, Davis Herndon as Harry the Horse, and Julian Deleon as Big Jule — gave the show much of its texture and flavor. Each brought something distinct to their role, and the ensemble felt cohesive and committed. The "confession" scene was another high point, and Deleon's turn as the menacing Chicago gangster was particularly fun to watch.

The ensemble featured Lisa Baker, Dylan Livingston, Sophie Legare, Caroline Leonard, Blythe Long, Abby Mathias, Ann McGaha, James Nolan, Absalom Oliver, Elizabeth Rawson, Katie Rooney, Joey Weaver, Dara Younce and Tyler Zangler, whose portrayal of the policeman added some great comedic moments.

The vocal performance of the night, for this reviewer, belonged to Rich Fisher as Arvide Abernathy, Sarah's grandfather. His solo More I Cannot Wish You was quietly moving and left a lasting impression — here is a performer worth watching. Also deserving of mention were Joshua Dively's spirited Sit Down, You're Rocking the Boat, and the entire ensemble’s rousing rendition of Luck Be a Lady Tonight.

Director Bakari Lebby kept things brisk and lively, moving the show along at a confident clip. That said, a couple of production details gave pause. A push-button pay phone appearing as a set piece was a noticeable anachronism — period-appropriate props shouldn't be difficult to source for a show so firmly rooted in its era. Similarly, one particular wig felt like an afterthought, lacking the period styling that the rest of the costumes — which were largely on point — carried off so well. On the technical side, Patrick Faulds' set and lighting design served the show admirably, Kathy Seppamaki's music direction was crisp and capable, and Katherine Brown's choreography kept the stage energized. Additional crew included Hayle Barry (assistant director), Jeni McCaughan (producer), Andie Nicks (costumes), and Adeline Huggins (stage manager).

Guys & Dolls runs through March 28th at Workshop Theatre. Tickets can be purchased online at workshoptheatreofsc.org or by calling the box office at 803-799-6551. Workshop Theatre is located on the Columbia College campus in the Cottingham Theatre, at 1301 Columbia College Drive, Columbia, SC.

Jane Turner Peterson

 

MEET JASPER -- NYJAH MITCHELL is one of our New Board Members

MEET JASPER!

The Jasper Project is dependent upon its hard working board of directors to make our world go ‘round. In addition to sharing a wealth of information from their own experiences, the Jasper Project board is, what is called in the world of non-profits, a “working board.” Emphasis on the word WORK.

You’ll see our board members delivering Jasper Magazines, greeting and ringing up art sales at any of our gallery spaces, hauling bags of ice, cases of wine, and trays of food at our receptions and events, as well as planning, setting up for, and cleaning up after those events. Our board of volunteers also plan and program those parties! They schedule art exhibitions, review plays, install art, make labels, read plays, screen films, program concerts, write checks, balance the budget, communicate with their unique contacts, and so much more.

Every board member is attached to at least one of Jasper’s primary projects (Jasper Magazine, galleries, Play Right Project, 2nd Act Film Project, or any of our one-off projects like the Degenerate Arts Project we just finished up or our upcoming Peter Lenzo Retrospective and Remembrance which will open at Stormwater Studios on April 3rd.)

New board members are officially elected into their seats at our annual board retreat in January, though when potential new board members come along throughout the year, we invite them “to date” Jasper until the next retreat. This gives the potential director time to learn how Jasper works and decide whether they can see themselves as part of our motley crew. And the reciprocal works for Jasper.

In January 2026, Jasper voted in 7 new directors to join our already existing board of 14 sitting members. Over the next few weeks we will be introducing these amazing people to you via Jasper Online. We invite you to check back here daily to MEET JASPER, and we will introduce you to the hard-working and talented individuals who make up the Jasper Project Board of Directors.

Meet Nyjah Mitchell!

Nyjah Mitchell is a Columbia native with more than a decade of experience in creative production and digital strategy. She studied Human Services at Southern Wesleyan University, she is the Events & Marketing Manager for the Five Points Association, and she is the founder of the record label, Signature Sound, a space built for Black introverted independent artists who move different. She helps artists develop their visuals, prep for interviews, strategize their careers, and even plan their tours—all while making sure they stay true to who they are. She also created Cozy Concerts, a YouTube show where homebodies headline.

Nyjah sits on Jasper’s Project & Planning Committee, Galleries Committee, and Magazine Committee and she chairs our Marketing Committee.

Welcome Nyjah!

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CALL for Artists - Camden Public Art Committee

This Call for Artists is modeled after the South Carolina Arts Commission’s standards and the City of Camden’s recently established Public Art Committee guidelines.

Request for Proposals (RFP): “More Than a Revolution” Mural at Gallery 537
The Camden Public Art Committee invites individual artists and artist teams to submit proposals for a mural at Gallery 537, located at 537 East DeKalb Street in the Downtown Camden Cultural District.

I. Project Description
Location: Exterior wall facing west bound traffic on East DeKalb Street/U.S. Hwy 1, approaching the intersection of Broad Street/U.S. Hwy 521.
Theme: “More Than a Revolution” A visual narrative blending the heritage and history of Camden, SC along with the strong artistic and cultural contributions of the community, with a highlight on music, particularly incorporating piano keys.
Size: Approximately 32’ long x 20′ high.
Project Fee: $7,000 – $10,000 (inclusive of surface prep, materials, and anti-graffiti coating).

II. Artist Eligibility
Open to all professional artists 18+.
Local Preference: Preference may be given to artists residing in Kershaw County, South Carolina or those with a demonstrated connection to the community.

III. Submission Requirements
All applicants must submit a digital portfolio (PDF or via web link) containing:
Letter of Intent: Specify your artistic vision for this blending of Camden’s history and cultural landscape.
Annotated Portfolio: 3-5 images of previous large-scale public work.
Concept Sketch: A preliminary visual draft of your proposed design.
Itemized Budget: Breakdown of artist fees, materials, travel, and installation.
Project Timeline: Phased approach for design, feedback, and execution.

IV. Selection Criteria
Proposals will be evaluated by the Camden Public Art Committee based on:
• Artistic Excellence: Strength of vision and technical skill (40%).
• Thematic Relevance: Connection to Camden’s identity (35%).
• Feasibility: Durability of materials and realistic timeline (25%).

V. Key Dates
• RFP Issued: March 9, 2026
• Submission Deadline: April 8, 2026, 5:00 PM EST
• Finalist Interviews: April 15, 2026
• Project Awarded: April 30, 2026
• Target Completion: September 30, 2026

VI. Contact Information
Please submit proposal via this Google Form or via email to: Katharine Spadacenta, Staff Liaison / Camden Public Art Committee, kspadacenta@camdensc.org

FROM THE PRINT ISSUE: A Conversation with George Fetner By Kevin Oliver

photo by Perry McLeod

In local clubs and at festivals like St Patrick’s Day and Mardi Gras, George Fetner is well known for his funky party band George Fetner and the Strays, or the improvisational rock ensemble TenMileRide. His background, and his day job, is a bit more serious, however. Fetner holds a Bachelor’s and Master’s in Music Composition from the University of South Carolina, as well as a Master of Science in Data and Communication. He’s currently working as the school’s director of Donor Experience, but he’s never stopped creating music. Summer of 2025 saw the release of EPOCH, an instrumental soundscape of tones and textures that couldn’t be more different from his rock band, but it does connect elsewhere in his artistic endeavors. Fetner recently fielded questions from Jasper about all of his various musical personas.

 

JASPER: You've now been playing with George Fetner and the Strays (GFATS) for almost a decade, how has that changed for you over the years--has it accomplished what you first envisioned musically? 

GEORGE FETNER: It's always changing! Initially I wanted a two-guitar rock band with my friends. Then we added percussion, then horns, then keyboards, then did more vocal harmonizing, and more shows out of town. The influences and strengths of the band started guiding our live shows more and more, with the goal of having fun remaining a priority. Musically the band has blossomed. We're all much more confident in what GFATS is, in what works and what doesn't. I'm ok with doors that didn't open because others did that I wasn't expecting. When I look out from the stage, I see people who want us to deliver, and I take that responsibility seriously. Now, I'm almost 40, which is close to the median age of the band members. We all enjoy GFATS while also playing music outside of the band, and I'm thinking more about how to continue recording and performing graciously as we age. 

 

J: You've added TenMileRide, a looser, smaller ensemble with a different sound--what does that group do for you that your other outlets may not? 

GF: Have you ever seen the videos of skydivers joining hands and forming a circle while they're in the air? That's how playing in TenMileRide feels. I'm used to being a band leader in GFATS, but I don't do that much in TenMileRide. And every time we try to make a plan or follow a map, we lose the whole essence of in-the-moment playing. We've been trying it out in front of Grateful Dead fans and jam band fans but have picked up a lot of passionate fans who don't like the dead or the jam band sound. So, that's kind of a lesson in seeing where this ride takes us, too. I think people are deeply in need of real, shared experiences right now.  

 

J: Epoch, your latest project, is very different; explain how that one came about and how it fits in the George Fetner musical universe? 

GF: I wrote the piece as a sound installation in 2011, where people would wander into a room and be able to sit for a minute and experience it. But it didn't feel meaningful outside of that setting, so I put it away. I revived it last year to accompany a screening of silent home movies. It gave me an opportunity to experience it with fresh ears, a seasoned perspective, and the ability to fully support what it's trying to say. A big influence of mine, Pat Metheny, has a wide musical output in terms of style and ensemble. I've heard him talk about his career as "one long tune". I like that sentiment. What I release really is part of one larger statement. It's easier to see that after a few different albums, and very easy to see when I look back on all the music I've written. Epoch certainly fits into my electronic solar system with “Beneath the Ice” and other electronic media pieces I've written.

 

J: Your extensive compositional work has covered a lot of ground itself; and you graduated from the USC School of Music. How has that foundation helped you develop musically--the connections you have there? 

GF: It's hard to answer this question without going on tangents of gratitude, because I owe my musical and professional development to many, many people at the School of Music. But these people are inspiring. To be around people you admire musically, intellectually, and professionally is rare. These people also taught me to remain curious, to push myself creatively, and to be efficient with my creative time. I'm a natural daydreamer, so that last one has been particularly helpful as I've gotten older. 

 

J: What makes a good classical or instrumental composition, versus what makes a good rock song? Or are there crossover points that you've discovered after doing both?  

GF: If the songwriter or composer's intent is clear through the work itself, it's as close to "good" as you're going to get. You should concern yourself with making your intent clear using all the musical tools you have. Then challenge yourself by listening to what the piece is trying to say or do and support that. At a certain point you realize you're a translator of sorts: it's your job to translate what already exists in the music of the spheres and deliver it to your friends. I think that goes with any creative work. It's real. 

And if you're a participant, can you recognize a "good" work that you don't like? That doesn't move you? That's "taste" and it is constructed by every part of your history with music. If music moves you, what's the purpose of concerning yourself with what's "good"? It doesn't really matter. Music is language. Sometimes the message is simple and sometimes it's complex. There's nothing more important than the meaning you get from it, except of course sharing it. 

 The above article appeared in the fall 2025 print issue of Jasper Magazine.

MEET JASPER! Today We're Featuring New Board Member AMANDA MCSWINE!

MEET JASPER!

AMANDA MCSWINE

The Jasper Project is dependent upon its hard working board of directors to make our world go ‘round. In addition to sharing a wealth of information from their own experiences, the Jasper Project board is, what is called in the world of non-profits, a “working board.” Emphasis on the word WORK.

You’ll see our board members delivering Jasper Magazines, greeting and ringing up art sales at any of our gallery spaces, hauling bags of ice, cases of wine, and trays of food at our receptions and events, as well as planning, setting up for, and cleaning up after those events. Our board of volunteers also plan and program those events. They schedule art exhibitions, review plays, install art, make labels, read plays, screen films, program concerts, write checks, balance the budget, communicate with their unique contacts, and so much more.

Every board member is attached to at least one of Jasper’s primary projects (the magazine, galleries, Play Right Project, 2nd Act Film Project, or any of our one-off projects like the Degenerate Arts Project we just finished up or our upcoming Peter Lenzo retrospective and remembrance that will be opening at Stormwater Studios on April 3rd.)

New board members are officially elected into their seats at our annual board retreat in January, though when potential new board members come along throughout the year, we invite them “to date” Jasper until the next retreat. This gives the potential director time to learn how Jasper works and decide whether they can see themselves as part of our motley crew. And the reciprocal works for Jasper.

In January 2026, Jasper voted in 7 new directors to join our already existing board of 14 sitting members. Over the next few weeks we will be introducing these amazing people to you via Jasper Online. We invite you to check back here daily to MEET JASPER, and we will introduce you to the hard-working and talented individuals who make up the Jasper Project Board of Directors.


Meet Amanda McSwine!

Originally from Indianapolis, Indiana, Amanda has called South Carolina home since 2012. She earned her undergraduate degree in Theatre from Butler University, an experience that shaped her lasting commitment to the arts and to the power of creative expression in building strong, connected communities.

Amanda went on to earn her Master of Social Work from the University of South Carolina, and has built a career in organization management. She currently serves as the Grants Manager for the South Carolina Arts Commission, where she supports artists and arts organizations across the state.

In addition to her role at the Arts Commission, Amanda is the owner of a consulting business that helps individuals and organizations turn ideas into actionable, sustainable realities. Her work is rooted in servant leadership, collaboration, and a strong commitment to equity and community impact. 

Outside of her professional life, Amanda enjoys anime, Dungeons & Dragons, and anything nerdy…She also loves to spend time with her black cat, Chadwick (yes, named after the Black Panther).

Amanda is on Jasper’s Membership & Development Committee and is working on the 2026 Play Right Series Project.

Welcome Amanda!


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Meet Jasper! Today featuring Roxy Lenzo Douthit- New to the Jasper Project's Board of Directors

MEET JASPER!

ROXY LENZO DOUTHIT

The Jasper Project is dependent upon its hard working board of directors to make our world go ‘round. In addition to sharing a wealth of information from their own experiences, the Jasper Project board is, what is called in the world of non-profits, a “working board.” Emphasis on the word WORK.

You’ll see our board members delivering Jasper Magazines, greeting and ringing up art sales at any of our gallery spaces, hauling bags of ice, cases of wine, and trays of food at our receptions and events, as well as planning, setting up for, and cleaning up after those events. Our board of volunteers also plan and program those events. They schedule art exhibitions, review plays, install art, make labels, read plays, screen films, program concerts, write checks, balance the budget, communicate with their unique contacts, and so much more.

Every board member is attached to at least one of Jasper’s primary projects (the magazine, galleries, Play Right Project, 2nd Act Film Project, or any of our one-off projects like the Degenerate Arts Project we just finished up or our upcoming Peter Lenzo retrospective and remembrance that will be opening at Stormwater Studios on April 3rd.)

New board members are officially elected into their seats at our annual board retreat in January, though when potential new board members come along throughout the year, we invite them “to date” Jasper until the next retreat. This gives the potential director time to learn how Jasper works and decide whether they can see themselves as part of our motley crew. And the reciprocal works for Jasper.

In January 2026, Jasper voted in 7 new directors to join our already existing board of 14 sitting members. Over the next few weeks we will be introducing these amazing people to you via Jasper Online. We invite you to check back here daily to MEET JASPER, and we will introduce you to the hard-working and talented individuals who make up the Jasper Project Board of Directors.

Roxy Lenzo Douthit is a Detroit native who spent her childhood going back and forth between Detroit and Columbia. Raised by artists, she rebelled by becoming a scientist and working for the man. She has her Bachelors and Masters in Environmental Science from USC and currently works as a consultant in Products and Technology. Despite the corporate day job, Roxy finds time to create art and get involved in the Columbia arts and activism scenes. Previously known for resurrecting a feminist southern magazine and making dresses out of trash (She won Columbia Design League's Bruce Bahr Award at Runaway Runway in 2013 for a dress made out of phone books), Roxy now spends her time showing her two young daughters as much art and adventure as possible. She's excited to help foster, promote, and expose even more art and adventure as a member of the Jasper Board.

Roxy sits in the Jasper Project’s Project & Planning Committee and she is the chair of our Membership & Development Committee. She is also heading up the next one-off Jasper project coming up April 3, 2026 at Stormwater Studios - PETER LENZO: A RETROSPECTIVE AND REMEMBRANCE.

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Meet The Jasper Project's Board of Directors Starting with JENNI BRENNISON

MEET JASPER!

The Jasper Project is dependent upon its hard working board of directors to make our world go ‘round. In addition to sharing a wealth of information from their own experiences, the Jasper Project board is, what is called in the world of non-profits, a “working board.” Emphasis on the word WORK.

You’ll see our board members delivering Jasper Magazines, greeting and ringing up art sales at any of our gallery spaces, hauling bags of ice, cases of wine, and trays of food at our receptions and events, as well as planning, setting up for, and cleaning up after those events. Our board of volunteers also plan and program those events. They schedule art exhibitions, review plays, install art, make labels, read plays, screen films, program musicians, write checks, balance the budget, communicate with their unique contacts, and so much more.

Every board member is attached to at least one of Jasper’s primary projects (the magazine, galleries, Play Right Project, 2nd Act Film Project, or any of our one-off projects like the Degenerate Arts Project we just finished up or our upcoming Peter Lenzo retrospective and remembrance that will be opening at Stormwater Studios on April 3rd.)

New board members are officially elected into their seats at our annual board retreat in January, though when potential new board members come along throughout the year, we invite them “to date” Jasper until the next retreat. This gives the potential director time to learn how Jasper works and decide whether they can see themselves as part of our motley crew. And the reciprocal works for Jasper.

In January 2026, Jasper voted in 7 new directors to join our already existing board of 14 sitting members. Over the next few weeks we will be introducing these amazing people to you via Jasper Online. We invite you to check back here daily to MEET JASPER, and we will introduce you to the hard-working and talented individuals who make up the Jasper Project Board of Directors.

Today we’re starting with NEW board member, Jenni Brennison!

JENNI BRENNISON

Jenni Brennison is a Columbia native who grew up in a family of visual artists, musicians, and the people who love them. It was inevitable she would develop a lifelong love of the arts as both a participant  and observer. She is a graduate of Winthrop University’s political science program, and holds a Master’s Degree in Special Education from the University of South Carolina. In 2022 she completed coursework to become a Board Certified Behavior Analyst (BCBA) through the Clemson University Center for Applied Behavior Analysis.

Brennison is a passionate advocate for creating a more inclusive society that embraces nuerodiversity as a defining characteristic of the human experience. Before working in education and behavior analysis, she worked as a copywriter in creative services for the OC Tanner Company in Salt Lake City, UT. She is a Girls Rock Columbia volunteer alumnus, served on the editorial board of Unsweetened Magazine, and is also a proud City Year Columbia grad.

Brennison lives downtown with her partner Scott and their two dogs, Gigi and Sammy. In her free time, you’re most likely to find her on a hiking or biking trail, or supporting local music and arts events.

Jenni sits on Jasper’s Membership & Development Committee, our Galleries Committee, and our Magazine Committee.

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REVIEW -- Village Square Theatre's SCHOOL OF ROCK by Jane Turner Peterson

Young Performers Rock the Stage in School of Rock at Village Square Theatre

Get ready for some good rock ’n’ roll…performed on stage by kids! Yes, kids! School of Rock the Musical, with music by Andrew Lloyd Webber, kicked off Friday night at Village Square Theatre in Lexington. Along with a superior band in the pit—Patty Boggs (drums), Nigel Grant (guitar), Camille Jones (piano), and Katie Miller (bass)—the young performers who make up the onstage “School of Rock” band absolutely rocked the house.

Directed by David LaTorre, Village Square Theatre’s artistic director, this high-energy rock musical is great fun for audiences of all ages. While the original School of Rock film leaned heavily on the antics of its adult lead, the stage version puts a stronger spotlight on the students and their families. LaTorre’s direction keeps the large production moving smoothly and energetically. With a cast of 35+—and several roles double cast—this was no small undertaking. Yet the ensemble remained fully engaged throughout the show, always in character and clearly listening and reacting to one another onstage.

Though a number of adults appear in the production, the majority of the cast is made up of teenagers and younger performers. If these young actors continue their involvement in community theatre, the future of the art form in our area looks very bright.

Based on the 2003 film School of Rock, this musical (originally based on a book by Julian Fellowes (known for Downton Abbey, and The Gilded Age) was adapted for the stage by Mike White. The show premiered on Broadway in 2015 at the Winter Garden Theatre. The story follows struggling rock singer and guitarist Dewey Finn (Taylor Diveley, who—after being kicked out of his own band—impersonates his geeky friend, Ned Schneebly (John Carter), a seasoned substitute teacher, to land a high paying job at a prestigious prep school. When he discovers his students’ musical talent, Dewey secretly forms a rock band with the students and sets his sights on the winning the Battle of the Bands. Needless to say, he is not your average teacher!

The musical moves at a brisk pace, with numerous scene changes handled efficiently by the cast and crew. Add in live instruments both onstage and in the pit, and the result is a production that demands serious stamina and energy from everyone involved. Thanks to LaTorre’s strong direction, the show hits the mark.

As Dewey Finn, Taylor Diveley is perfectly cast. His energy and enthusiasm propel the show, and his rock ’n’ roll persona—along with some solid vocals—keep the momentum going. Diveley is simply a joy to watch. John Carter fits perfectly in the role of a semi-nerdy friend, whose girlfriend, Sophie (D’Asia White) nags him about his loser friend, Finn.

Shelby Sessler nearly steals the show as the tightly wound principal Rosalie Mullins. Her vocal power and impressive range shine throughout the performance, and she deftly reveals several sides of the character as the story unfolds.

Several young musicians deserve special recognition. Alex Lease, who plays Zack in both casts, portrays the talented young guitarist desperate for his father’s approval, delivering some seriously impressive electric guitar work, better than many adult performers. Leo Portney brings equally strong skills to the drum kit, with drum solos that are a highlight of the show. Keyboardist Westin Black and bassist Allison Wengerd are similarly terrific.

Another standout is Mackenzie Bruder as the delightfully bossy and rule-loving Summer. Her confident stage presence, comedic timing, and sharp characterization add plenty of fun to the production.

Kudos also go to the entire ensemble of band members and classmates, including Lydia Reed, Grace Carlton, Jo Davis, Jack Carlton, Zach Cieri, Jackson Livingston, Catherine Cieri, Scarlett Ellingson, Soph Carlton, Ciara Nash, Kate Bruder, Eliot Stewart, Janely Burgos, Finn Carlton, Selah Lyle, Graham Gibson, Alyssa Presutto, Reese Catalanotto, Mackenzie Miller, Pete Roberts, and Scarlett Powell. Each performer brought strong character work and plenty of enthusiasm to the stage.

The adult roles are capably handled by Andrew Coston, Will Dowd, Eric Jewell, Max Ferro, Zanna Mills, Tracey Lease, Megan Stewart, Chris Bender, and John Carter.

Depending on what night you go, there are a slew of other young actors in the other cast. They include Ethan Schalund, Grace Bender, Aleah Headen, Brighton Dunbar, Rilyn Boehme, Hunter Gibson, Cully Srikanth, Logan Blackledge, Emily Sippel, Charlee Gay, Adalynn Williams, Genevieve Savage, and Emma Grace Simpson.

Choreography by Maggie Pszenny is lively and well suited to the production, adding to the show’s overall energy. The production is produced by Tricia Miller, and musical direction by Julia Turner keeps the rock sound tight and exciting. It’s clear that everyone involved poured their hearts into this production.

If you’re ready for a fun night filled with great rock ’n’ roll—and a chance to see the promising future of community theatre and young performers—make plans to catch School of Rock: The Musical at Village Square Theatre in Lexington. The show runs through March 22. Tickets are available at villagesquaretheatre.com or by phone at 803-359-1436.

Jasper Welcomes First Thursday Artist LUCAS SAMS to the Gallery at Sound Bites Eatery

Jasper is so happy to still have a home for First Thursdays at Sound Bites Eatery, and we’re thrilled to welcome our March First Thursday Artist, Lucas Sams!

The title of Sams’ new exhibition is Drawn & Quartered. In explanation Sams writes, “This show marks my return to my first and favorite medium, drawing. As I learned from my favorite art teacher in college, everything can be drawing, and everything goes back to drawing. Before entering the world of ‘fine arts,’ I was a comic and manga artist. Learning that painting was just drawing with paint helped me become a ‘fine artist,’ but the core was still drawing. Everything is abstraction; all representation is cartooning. It has brought me infinite joy returning to simple tools at this scale, and a challenge to build the biggest worlds I can in the span of a sketchbook page.”

Lucas Sams is a multi-disciplinary visual artist and experimental musician with works exhibited locally and regionally in major art festivals, galleries, and alternative spaces; he has been featured in Jasper Magazine, The State Newspaper, Garnet and Black Magazine, and the Timber Journal of the University of Colorado, Boulder. Born and raised in Greenwood, SC Sams spent most of his life in SC until his freshman year in college, when he studied painting in Tokyo, Japan and became heavily influenced by contemporary Japanese Pop Art. A graduate of the SC Governor’s School for the Arts and Humanities and the University of SC, his post-graduate work continues explorations of postmodern abstraction and figuration with far-ranging influences, encompassing everything from religious art, alchemy, and the unconscious- to science fiction and anime. He is currently pursuing a graduate degree as an MLIS candidate at the University of SC.

Please join us this Thursday March 5th from 5:30 - 8:30 pm at Sound Bites Eatery at 1425 Sumter Street, just one block off Main. And come hungry! Sound Bites has a delicious menu of sandos, soups, snacks, and salads as well as good beer and wine. Plus, all the cool kids hang out there, so you’ll be right at home!

Announcing the Winners of Jasper's Degenerate Art Project Artist's Awards

Jasper’s Degenerate Art Project II is a wrap!

Janet Kozachek - Pufferfish

Jasper is excited to officially announce the winners of the Degenerate Art Project Artist’s Awards presented Saturday, February 28th at the exhibition’s Closing Party at Stormwater Studios in Columbia.

In a night that included verboten swing dance demonstrations and lessons by Columbia’s Richard Durlach and Breedlove, the launch of Ed Madden’s new book, I Asked Him What He Needed, with a sweet little surprise chapbook titled, My Students Want to Talk About Ice: Political Poems, the reading of a banned children’s book by our favorite Drag King Marty McGuy, freshly spun tunes from Scotty Tempo, and an amazing menu by MidiMarc, the presentation of the awards was an appropriate addition to the fun.

Ivan Segura with Untitled

Congratulations to Ivan Segura for winning the Jasper Degenerate Art Project II ZEITGEIST AWARD for his painting Untitled, presented to the artist whose work best exemplified the socio-political spirit of the times while also exhibiting proficiency in execution, originality, and strong engagement with the viewer.

The Adjudicators for the Zeitgeist Award included Peter Chametzky, Harriett Greene, and Xavier Blake.

Cam Moore with Heavy

Congratulations to Cam Moore for winning the Jasper Degenerate Art Project II ARTISTS’ CHOICE AWARD for his painting HEAVY. The winner of the Artists’ Choice Award was determined by the participating artists, each of whom cast a single vote for their favorite contribution to the show.

In addition to framed certificates the winning artists also received cash prizes made possible by the generosity of our sponsors Bill Schmidt and Muddy Ford Press.

Nolan Wright - Resilient Standing Strong

Ginny Merrett - 100 Worry Dolls

Stephen White - No More Closets

Kirstin Dow - Artist

Janet Kozachek - Liberty Snakes

Thank you to everyone who came out for the Degenerate Art Project II, and thanks to Maya Smith and the welcoming artists at Stormwater Studios for hosting us. Thanks to Curiosity Coffee for keeping our thirsts at bay and to MidiMarc for feeding us so well and to WeCo Bottle & Biergarten for donating the bubbles we used to celebrate our opening night.

Thank you to our Zeitgeist judges: Xavier Blake, Harriett Greene, and Peter Chametzsky.

Sadly, it is highly likely that we will need to do this again in 2027, so please be thinking about ways to make the third iteration different and unique unto itself while still engaging with artists from all disciplines and their patrons.

WE WANT TO HEAR YOUR IDEAS!

Hit us up at info@jasperproject.org

Ed Madden Launches Newest Book of Poetry at Jasper's Degenerate Art II Closing Party

A new book by Ed Madden, postcard poems against the Trump deportation regime.

The Jasper Project is excited to announce that Ed Madden will launch his latest book of poetry — I Asked What He Needed (Squares and Rebels, 2026) — at our Degenerate Art Project II Closing Party on Saturday, February 28th at Stormwater Studios. Madden will read at 7 pm and sign books immediately after.

In addition to being a book of postcard poems, Madden’s I Asked Him What He Needed is part of the Chaps Poetry Series which is an imprint of the Squares & Rebels publishing house. Madden explains the series on the back cover of the book:

“The morning that I read Mahmoud Khalil had been arrested, I wrote a short meditation on a postcard. I had written postcard poems before, drawn to the brevity and the link between the poem and the image. I asked him what he needed for the journey. I dropped the card in the mail to a friend. But the stories kept coming. My morning meditations, contained by the small message space of the postcard, began to take into their ambit not just the deportation regime but the administration’s broader attacks on history, truth, law, democratic norms—and in the face of such fears, my own mortality. What kind of disaster did I think was coming?”

The title poem follows:

I asked him what he needed

for the journey. He said,

Write down what you saw.

Maybe, someday, the world

will want to know.

Join the Jasper Project Saturday from 3 - 9 for an exciting close to our Degenerate Art Project II at Stormwater Studios, 413 Pendleton, Columbia, SC. In addition to Madden’s book launch and reading we’ll have a banned book reading and performance by Marty McGuy, Swing Dance demonstrations and lessons from The Big Apple’s Richard Durlach and Breedlove, music from DJ Scotty Tempo, beer and wine from Curiosity Coffee, and delicious food prepared by Midi Marc.

We will also be awarding Jasper’s Degenerate Art Project II Zeitgeist Award as well as the Artists’ Choice Award, decided by a vote from the project’s participating artists.

This will be your last chance to check out the art exhibition everyone has been talking about. Don’t miss it!

The Jasper Project Welcomes Trahern Cook -- "Easel Cathedral" -- to the Nook Gallery at Koger Center

Born in 1970 in Columbia,  SC, Trahern Cook, aka Easel Cathedral, has been drawing and painting and telling stories his entire life. In 1992, Cook graduated from the Ringling College of Art and Design with a focus on Illustration and worked as a full-time freelance illustrator from 1993 until the 2000s. When he moved back to Columbia in 2006, he took his easel outside and has been painting all over the southeast and abroad ever since. His work is shown in private galleries, homes, and businesses throughout the country. 

Dubbing his style of painting as relational and experiential, Easel Cathedral has coined himself a “Jam Painter” given that so much of his subject matter is musicians from various genres performing everywhere from small taverns to large outdoor festivals, exploring brush strokes and colors, and matching the rhythm of the music he hears. 

As a “live painter” of events and weddings, Cook creates visual stories of his surroundings in his own unique painterly style, marrying a free folk recklessness with a trained and practiced deliberateness. This performance shares the space with everyone in attendance, enhancing the moment and using the moment to inform the painting itself. 

As The Jasper Project’s featured Third Thursday artist for the month of February, Cook’s art will be exhibited from Thursday February 19th until the third week of March in Jasper’s Nook Gallery on the 2nd tier of the Koger Center for the Arts.

An opening reception will be held Thursday February 19th from 5:30 - 7 pm. The event is free and open to the public.

SC Chapter of Authors Against Banned Books Joins Jasper’s Degenerate Art Project II with a Banned Books Free Library

The Jasper Project is excited to welcome the SC chapter of Authors Against Banned Books (AABB) to the Degenerate Art Project II opening Thursday Feb. 12th at Stormwater Studios. Headed up in SC by Columbia Poet Laureate Jennifer Bartell and Jonathan Haupt, founder of the Pat Conroy Literary Center, AABB SC is supporting Jasper's Degenerate Art Project II by providing a Banned Books Free Library that will be available at the exhibit.  

Authors Against Book Bans, a single-issue anti-censorship collaboration among published writers, poets, illustrators, editors, anthology contributors, and other book content creators engaged in protecting our freedoms to read and to write. AABB now has more than 3,500 members nationwide, and over 80 of them are here in South Carolina. 

In 2024, Jonathan Haupt and Jennifer Bartell Boykin took on the responsibility of serving as co-leads for the SC chapter of AABB. They work with the AABB national leaders, other state chapter leaders, and with our AABB members across SC to share information and resources, and to coordinate pro-literacy service activities and anti-censorship advocacy.  

According to Bartell, “Authors Against Book Bans SC has sponsored this Banned Books Free Library in support of Jasper's Degenerate Art Project II. Nazis banned and burned books. South Carolina currently leads the country in banned books.  

“Books in this library have been banned in SC and are books commonly banned across the country. This library will operate on a ‘take a book, share a book’ honor system, allowing anyone to take books for free without needing to return them, though replacing them is encouraged. Please limit yourself to taking only one book. When you have finished reading the book, please pass it on. Consider placing the book in a free library in your community for another reader to experience. You are welcomed to come back with a banned book to help us keep the library stocked.”

 

Banned Books List 2025 (National)

Books Banned in SC

 

Authors Against Banned Books SC needs your help! We encourage you to donate a book or money towards the purchase of banned books. We are looking for books banned in SC and books that are commonly banned across the country. See the list above to see if you have any copies of these books on your shelves that you are willing to part with: 

·  You can bring a banned book to contribute to the library when you visit the exhibit

·  You can mail a copy of the book to Bartell and she will drop it off

·  You can donate money and Bartell will purchase a banned book on your behalf. CashApp: jenniB2005; Zelle: jennifer.sharain@gmail.com; Venmo & PayPal: jennib55.

“We hope you’ll consider joining us in these efforts,” Bartell says. To learn more about AABB—and to join yourself (at no cost), please click here.     

For more about book bans in South Carolina and nationwide, Bartell recommends that you take the opportunity to stream the documentary film Banned Together, featuring many of SC’s DAYLO students alongside authors and advocates from across the country. 

REVIEW: Chapin Theatre Company's HOW TO SUPERVISE WOMEN

By Cindi Boiter

At the Jasper Project, we are committed to supporting, promoting, and celebrating new art wherever we can find it. Last night I found an outstanding example of new theatre just down the road from me at Chapin Theatre Company in the dress rehearsal for Lou Clyde’s new play, How to Supervise Women.

A tight two-act comedy, How to Supervise Women features an equally tight ensemble cast of loveable characters who make one of the most important cultural changes in the history of American women cogently understandable even for folks who might be hesitant to identify as feminists. Set in an aircraft assembly plant in San Diego in 1942, the play introduces us to four women who, though demographically different, find commonality and community during World War II. The women are answering the call to leave their lives as homemakers and take on the responsibilities of the men in the workforce who left to fight in the war.

The playwright does a fine job of representing four recognizable domestic situations in the backgrounds of her lead characters. Shirley Kaminski, played by Debra Haines Kiser, is a widow with three sons serving overseas. The wisdom of knowing what is at stake in the country weighs heavily on Shirley, but Clyde gives her the defense mechanism of humor, which she readily shares with her cohort, helping them all to cope. Loretta Beutel, played by the perpetually cute Zanna Mills, is a young woman with a secret reflective of the limited options available to women at the time. Millie Kram, played by Jill Brantley, is a young mother with a third baby on the way and a husband overseas.

But my favorite character was Joyce Johnson,  a young Black woman who starts out relegated to the role of custodian but clearly has much more to offer Consolidated Electronics, if not the world. Played by poet, singer, songwriter, and now actor, Alyssa Stewart, Joyce is aware of the power her almost invisibility in the workplace affords her and uses it to her and her work mates’ advantage. But Joyce is all-seeing. Her smirks, chuckles, and knowing glances are priceless. Having worked for years at Consolidated Electronics, her awareness that poor women and women of color were already a part of the labor force long before the war even started, informs her approach to her job and to dealing with the men in supervisory positions. Let’s hope Alyssa Stewart, the actor, finds herself on another stage soon!

Speaking of the men, the characters Herman Mueller, played adorably by Jack Bingham, and his supervisor and the play’s antagonist George Perroni, played by CTC executive director Jim DeFelice, served the play’s narrative well. While George’s character is somewhat informed by the stereotypical mid-century husband, who offers much sound and fury on the job but ultimately submits to his powerful wife, DeFelice gives his role the kind of humility that makes his character receptive to growth and change. George’s long-awaited epiphany that women are strong, capable, and let’s face it, amazing is facilitated by the pure kindness of Herman’s character. In his words and actions, Herman consistently conveys the message that everyone is really just doing the best that they can under world-altering conditions. In this role, Bingham could not have been more authentically open and vulnerable. I look forward to seeing Bingham on a local stage again, as well.

The cast is rounded out by Samantha Hansford playing the role of Phyllis and Barry Smith as the announcer/messenger, both of whom took smaller roles and made them meaningful. Jamie Carr Harrington directed the play with sound and lights by Simon Marchant. Tiffany Dinsmore and Abby Mathias did an excellent job with costume design, not only remembering to make the characters’ shoes fit the time period but giving some of the characters charming spectator styles that made even a non-shoe person like me swoon a little.

Similarly, Jane Peterson took no short-cuts with the show’s props, putting her graphic design skills to good use wherever she could. To that end, don’t miss the pin-up calendar she designed for the first act! (Full disclosure, Peterson is a member of the Jasper Project board of directors and theatre editor for Jasper Magazine.) And kudos again to DeFelice and Dinsmore for creating an appropriately industrial set complete with uncomfortable aluminum chairs à la The Whig.

How to Supervise Women is more than a comedic play. Lou Clyde has created a rich narrative full of grace notes that subtly pepper the play with hints that give nuance to the culture in which the story is set. Whether it be an off-the-cuff comment by a female character that after working a double shift she still works a third shift when she gets home, or notes left in the women’s un-locked lockers with messages like, “Broads belong on their backs,” or the bathroom signage that changes from MEN to WOMEN to POWDER ROOM, How to Supervise Women is a portrait of a period in American history that spurred changes in gender roles, workplace dynamics, the way women viewed their value, and so much more.

In her Playwright’s Note, Lou Clyde writes, “My mom was one of the six million women who worked in a factory while my dad served in World War II. … This play is meant to honor these trail-blazing women who proved they could not only do the jobs of men but do them well.” Not only does How to Supervise Women accomplish Clyde’s mission, but it does so with an abundance of humor and theatre artists who bring their meticulously designed characters to life with sensitivity and finesse.

Go see How to Supervise Women at Chapin Theatre Company

February 7,12,13,19, and 20 at 7:30 pm

and February 8, 14, 15, 21, and 22 at 3 pm.

Visit Chapin Theatre Company for tickets.

 

REVIEW: Village Square Theatre’s 12 Angry Jurors Demonstrates the Power of Diversity in the Live Theatre Experience

by Amanda McSwine with Cindi Boiter

Village Square Theatre’s current production of 12 Angry Jurors  has a storied past. Originally written by Reginald Rose as a teleplay titled Twelve Angry Men that premiered on CBS in 1954, the now well-known tale of the power and contagion of reasonable doubt was adapted as a stage play, a film, and a different stage play written by a different writer during the first decade of its life. While many viewers think of Twelve Angry Men as the 1957 film directed by Sidney Lumet featuring an ensemble cast that included Henry Fonda and Jack Warden, the loose premise of the play has inspired everything from parodies likeTwelve Angry Elvises to TV shows like Sesame Street, Murder She Wrote, and Happy Days (“12 Angry Fonzies”) that used the practice of entertaining reasonable doubt as the loose structure for a weekly episode. A 2015 star-studded, sketch parody written by Amy Schumer for her series, Inside Amy Schumer, garnered rave reviews as it debated the question of whether Schumer was “hot enough” to have her own show. Village Square Theatre’s straight production of 12 Angry Jurors is a thoughtful and inclusive update to the original that better resonates with a contemporary audience. 

The show opens in the jury room of a seemingly clear-cut murder case—so clear-cut, in fact, that before we even meet the jury, the bailiff tells the audience that the defendant “doesn’t stand a chance.” As our jurors enter, we see the intentionality of director Glenn Farr in his selection of a diverse cast. Almost any member of the audience may see themselves represented. 

As the jurors begin to deliberate, we witness a clash of perspectives and an unveiling of biases. We see how the jurors negotiate with each other—and themselves-–as their worldviews are put to the test. In this age of echo chambers and curated algorithms, 12 Angry Jurors invites us to sit with the discomfort of differing opinions.

Katie Mixon’s compelling performance as Juror #3 (played in the original film by Lee J. Cobb) captures the defensiveness, anger, and desperation that surfaces when deeply held beliefs are challenged. Charles Zuber’s heated monologue as Juror #10 (played in the film by Ed Begley, Sr.), exposes the danger of how using rhetoric that includes terms like “those people” can turn bias into blind prejudice and discrimination.

The VST ensemble included LaQuana Aldridge, Tristan Brown, Beth DeHart, Will Frierson, Pat Gagliano, Kathleen Godwin, Rae Kostal, Kyle Mason, Jeff Sigley, and Brian Teusink. And, while all of the performers give their characters life with feeling and depth, as well as diversity, there were some production elements that were lacking. While many of the costume choices supported the director’s intention to set the piece “outside the normal timestream,” a handful of accessories distracted from this illusion due to their distinct association with a specific time period. 

I appreciated the minimalist set which kept the focus on the exchanges between the jurors and the system in which they existed. But pacing was awkward at times. I would have liked for the cast to have found a smoother rhythm in order to better build tension during heated exchanges. 

Overall, Village Square Theatre’s production of 12 Angry Jurors is a timely examination of the strength it takes to stand alone in the face of overwhelming odds, and the courage it takes to put aside one's pride and change one’s mind.

12 Angry Jurors runs through February 1. An additional show has been added on Thursday, Jan. 29 to accommodate the cancellation last week due to weather. For tickets call 803-359-1436 or visit the theatre’s website online.

 

REVIEW: A Deadly Good Time - Over My Dead Body Delivers Laughs at Town Theatre By Jane Turner Peterson

Town Theatre’s production of Over My Dead Body by Michael Sutton and Anthony Fingleton is a delightful throwback to some of Agatha Christie’s murder mysteries. While it takes place in the 1990s, it evokes the feel of old-school whodunit plays. Skillfully directed by Allison McNeely, Over My Dead Body is a comedy-mystery that borders on farce, with some wonderful physical and situational comedy moments. There are several great twists in the plot that make the production even more fun. The entire cast was fun to watch.

The story is set in England and revolves around three elderly founding members of a mystery/crime writers’ literary club: Dora Winslow (Kathy Hartzog), Trevor Foyle (Bill DeWitt), and Bartie Cruikshank (Clayton King)—collectively known as the “Murder League.” A new, young writer, Simon Vale, has joined their ranks, and they are not fond of him. Vale makes fun of their old-fashioned style of writing, while the League mocks his inappropriate language used to describe his murders. The play spoofs the whodunit genre as the three members of the “Murder League” attempt to plan and execute the perfect crime to boost their careers—only to have their old-fashioned methods go comically wrong.

As the married couple Trevor Foyle and Dora Winslow, DeWitt and Hartzog bring their wonderful chemistry to full force. Having played opposite one another many times over the years, the pair are always a delight to watch. Their timing and delivery are spot-on. Clayton King’s Bartie adds a delightful dose of eccentric energy to a character who is shrewder than he first appears.

Wayne Wright’s portrayal of Vale strikes just the right mix of snobbery and cockiness to make you distrust—and dislike—his character. The club’s butler, played by Steve Reeves, adds another layer of comedy to the production. His slow-moving, dim-witted portrayal of the aging servant is fun, and even more commitment to the character would have been welcome. The murder victim—Simon Vale’s utterly despicable American literary agent, Leo Sharpe—is played by the imposing Sam Chamberlain, who dives into the role with great enthusiasm and makes you dislike him from the moment he appears.

Rounding out the production is the star-struck detective, Chris Kruzner, whose portrayal of the slightly dim-witted investigator, reminiscent of Jacques Clouseau (The Pink Panther), is spot-on. His self-assured partner, Sergeant Trask, portrayed by Chavous Camp, is also fun to watch. Together, the two make a strong comedic pairing.

Big kudos to the entire set, costume, and prop crew—Nathan Jackson, Jeremy Hansard, Julian Harley, Shannon Willis Scruggs, and Jodie Harris—whose work was very well done and served the production beautifully. Town Theatre is lucky to have such a wonderful space. A few technical elements could be tightened up, but it is live theatre, after all.

If you’re looking for a fun, lively evening at the theatre, this one is for you. Over My Dead Body runs Thursdays through Sundays until Feb. 1. For tickets or more information, visit towntheatre.org.