This has become the summer of “girl power” in Richmond. When one thinks of plays with all female casts, there are few classics beyond Steel Magnolias or Nunsense. Luckily for Richmond, local playwright Bo Wilson has added a strong entry to that list with a charming original comedy now playing at Hanover Tavern.

Virginia Rep is presenting The Charitable Sisterhood of the Second Trinity Victory Church, a comedy with a script as complex as its title; with numerous twists and dramatic turns broken up with comedy at its best.

The Charitable Sisterhood is a group of women in 1977 Coal Mountain Country Virginia, who get together to help those in need around the world. Every religious denomination has some form of the group (I remember as a child, my mother going to “Sisterhood” meetings) so the characters are in many ways universal and familiar.

Catherine Shaffner shines as the bossy Pastor’s wife, who runs every activity by stealing other’s ideas and then making them sound like her own: “Ladies, here’s what we need to do…” While Shaffner is one of Richmond’s most consistently stellar comediennes, the rest of the cast reaches the high bar that she sets. Their comedic timing is effortless and natural and they each interact so perfectly, you would think they have been doing this together for years not weeks.

Debra Wagoner is Lorraine, a super religious mother of nine, whose deadpan humor is filled with great facial expressions and wonderful asides. Jan Guarino portrays Jan, a hyperactive transplanted northerner, with a smile and supportive word for everyone. Donna Marie Miller is the vixen of the group. Without revealing too much, Miller’s Janet is one part Scarlett O’hara and one part Rhoda Morgenstern. Janet is new to the town and has a couple of secrets that are revealed along the way.

The last member of the group is Riley (Louise Keeton) a stranger who shows up suddenly to help the Sisterhood, while hiding some secrets of her own.

In a play filled with great moments, one highlight is utilizing the singing talents of Wagoner in a rendition of “Put Your Hand in the Hand.”

While some of the plot resolution is a bit contrived, the strong performances of the cast and the fascinating twists and turns of the story add up to one thing. To borrow a page from Bea, ladies (and gentlemen) what we need to do is support this wonderful piece of original local theater.

Photo Gallery

Jan Guarino, Cathy Shaffner, Debra Wagoner	Donna Marie Miller, Jan Guarino, Debra Wagoner, Cathy Shaffner
Donna Marie Miller, Jan Guarino, Debra Wagoner, Louise Keeton, Cathy Shaffner

Photos by Jay Paul

The Cast

• Tina Yates: Jan Guarino
• Lorraine Jensen: Debra Wagoner
• Bea Littleton: Catherine Shaffner
• Janet Murchison: Donna Marie Miller
• Riley Reynolds: Louise Keeton.

The Crew

• Director: Bruce Miller
• Playwright: Bo Wilson
• Stage Manager: Skyler Broughman
• Set Designer: Terrie Powers
• Lighting Design: B J Wilkinson
• Costume Design: Marcia Miller Hailey

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

To prepare to see Hair at Firehouse Theatre, I watched a couple of reruns of “The Partridge Family.” If you are old enough to understand why, then you are also from the Love generation. If not, let the History teacher in me step out and give you a brief history lesson.

The late sixties was a time when America first really explored our collective way of life, our values and our morals. The duality is exemplified in the fact that it was the time of “The Partridge Family,” “The Brady Bunch” and “Mary Tyler Moore,” and also “Love American Style,” Woodstock, and the rock musical Hair. The Vietnam War raged on. College sit-ins, street protests and the military draft all became a part of the American way of life.

It is against this backdrop that Hair first appeared in 1968. Thin on plot, the musical focuses on songs — with over 30 of them shattering cultural norms of the time by discussing sex, drugs, race, religion and war. There is simulated drug use, sex and even brief nudity — all relatively mild in our current culture, but shocking in its time.

The script itself follows a group of hippies who call themselves “the tribe.” Their nominal leader, Claude (Matt Polson) is faced with the dilemma of whether to burn his draft card or go and fight in Vietnam.

The young and exuberant cast is filled with amazing vocal and dance talent. Polson’s pure voice and innocent demeanor carry the show well. Carolyn Meade’s powerful vocals open and close the show with strength. Nicklas Aliff displayed a strong voice and stage presence; however at times his vocals overpowered others when he sang in duets or trios. In this strong cast, I found myself repeatedly drawn to the emotional power Sasha Wakefield put in to every dance number, and the expressiveness Morgan Meadows face exudes every time she is on stage. Maura Burroughs was warm and sensitive as pregnant Mother Earth-like Jeanie.

Director Jase Smith has assembled a top-notch cast and uses the audience and Benjamin Burke’s minimalist stage well (actually the Firehouse removed the stage in lieu of some platforms and Oriental rugs on the floor). Nathan Wunderlich’s lights and Joey Luck’s sound add a great deal to the atmosphere (be prepared for lots of flashes and loud booms). At times it seemed either actors missed their lighting marks or lights weren’t quite set right, as performers stepped in and out of darkness, especially in whole cast numbers. Karl Green’s costumes are period appropriate and visually appealing. Starrene Foster’s choreography is visually exciting and energetic; however, at times it left some of the cast rather sweaty and breathless.

The history teacher in me must come back one more time to encourage those who remember the 60′s to come out and relive that time; and those who are too young to remember to come out and experience a two and a half hour acid trip of a show. You will leave with a tear in your eye, a smile on your face and will be humming the uplifting finale, “Let the Sunshine In.”

Photo Gallery

Photos by Laura Cliburn

The Cast

• Claude: Matt Polson
• Berger: Nicklas Aliff
• Sheila: Grey Garrett
• Jeanie: Maura Burroughs
• Dionne: Carolyn Meade
• Hud: Keydron Dunn
• Woof: Ian Page
• Chrissy: Morgan Meadows
• Dad, Principal, Margaret: Paul Major
• Mom, Hubert: Starlet Knight
• Ronny: Chloe Williams
• Steve: Austin Tate
• Walter: Cory Johnson
• Paul: ReShad Horton
• Suzzanah/Mary: Sasha Wakefield
• Emmaretta: Avia Fields

The Creative Team

Directed by Jase Smith
• Choreographer: Starrene Foster
• Music Director: Leilani Giles
• Costume Designer: Karl Green
• Light Designer: Nathan Wunderlich
• Set Designer: Benjamin Burke
• Sound Designer/Technical Director: Joey Luck
• Production Stage Manager: Nata Marconi
• Props Master: Katherine Wright
• Master Carpenter: Joshua Bennett

The Band

• PianoLeilani Giles
• Keys 2: Starlet Knight
• PercussionBentley Cobb, Jr.
• Lead GuitarGrant Oliver
• Bass Guitar: Joe Barry
• SaxophoneRon Fixx

Disclaimer: Firehouse Theatre Project provided two complimentary media tickets to ShowBizRadio for this review.

The Dixie Swim Club, currently playing at Swift Creek Mill Theatre, is “The Golden Girls,” “Designing Women” and “Steel Magnolias” all rolled into one. This is not surprising since one of the writers, Jamie Wooten, also wrote for “The Golden Girls.”

The play follows the friendships of five classically southern women, who met on their college swim team in North Carolina. Every August, they hold a reunion at a cottage on the beach in the North Carolina Outer Banks. The action takes place when the women are 44, 49, 54 and 77. It shows how the bonds of friendship and team camaraderie stay with them through the good times and bad; through love and loss; in sickness and in health.

Sheree (Joy Williams) was the team captain, who still tries to run and organize everything. Lexie (Georgia Rogers Farmer) is the “Blanche” of these Golden Girls; forever obsessed with sex and a nip and tuck to stay young and beautiful. Vernadette (Jennifer Frank) is the long-suffering, hard luck case who keeps her sense of humor while weathering everything life throws at her. Dinah (Jody Strickler) is the “Dorothy” of the group; a strong, independent woman who is married to her legal career. Jeri Neal (Jacqueline Jones) comes close to being the “Rose” of the group — sweet, naïve and optimistic.

Tom Width’s direction keeps the dialogue moving and the action flowing as the women throw out the frequent set-ups, zingers and one-liners. While all the women display exceptional comedic timing, Frank’s dead-pan humor brings the biggest laughs. All five also admirably portray the women over 33 years, with minimal time for costume, wig and make up changes between scenes, but it is Farmer who is mesmerizing as she makes Lexie get “younger” through surgical enhancement and then age gracefully and believably.

Width’s set uses the wide, shallow stage well and creates a realistic bungalow feel through accents and terraces. Joe Doran’s lights enhance the set, especially with blue lights representing the reflection from the water. There were a couple of technical drawbacks, however, with lights reflecting off the windows, and extremely long set changes in the middle of each act.

It was also a bit confusing trying to follow the time period, and I am assuming this was a script issue. If the initial scenes are around 30 years ago, then references to cell phone’s charging seemed odd.

The ending, which of course I will not reveal, is touching and sweet without being schmaltzy. The five women of The Dixie Swim Club show that while aging is no day at the spa; you can walk through it with dignity and laughter.

Photo Gallery

Jody Strickler as Dinah and Georgia Rogers Farmer as Lexie	Georgia Rogers Farmer as Lexie, Jennifer Frank as Verandette, Jacqueline Jones as Jeri Neal, Joy Williams as Sheree, Jody Strickler as Dinah
Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie	Jacqueline Jones as Jeri Neal and Jody Strickler as Dinah
Georgia Rogers Farmer as Lexie, Joy Williams as Sheree, Jacqueline Jones as Jeri Neal	Jennifer Frank as Verandette, Georgia Rogers Farmer as Lexie, Joy Williams as Sheree and Jacqueline Jones as Jeri Neal

Photos by Robyn O’Neill

The Cast

• Sheree: Joy Williams
• Dinah: Jody Strickler
• Lexie: Georgia Rogers Farmer
• Jeri Neal: Jacqueline Jones
• Vernadette: Jennifer Frank

The Crew

• Direction and Scenic Design: Tom Width
• Lighting Design: Joe Doran
• Costume Design: Maura Lynch Cravey
• Sound Design: Paul Deiss
• Stage Manager: Jesse Mattes
• Assistant Stage Manager: Cory Williams
• Props Coordinator: Tom Width
• Wigs: Robyn O’Neill
• Lights/ Sound Board Op: Becky Lussier
• Set Crew: Bob Foley, Jesse Mattes, Cory Williams, Eugene Mason
• Lighting Crew: Becky Lussier, Jesse Mattes, Stephen West

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

With our long, hot Richmond summer nights; there is no need to sit at home watching re-runs or lame TV pilots. An amazing summer of theater has become even hotter with Virginia Rep’s The Color Purple.

The powerful story based on the Pulitzer Prize-winning novel by Alice Walker (and turned into a 1985 film which introduced the world to Whoopi Goldberg and also starred Oprah Winfrey and Danny Glover) mixes serious topics with laughter and music that works on every level. The singing, the dancing, the acting and the music are all spot on; and each performer is perfectly cast in this technically breathtaking production.

The story follows the lives of two African-American sisters from the days of sharecropping through the 1930′s. One, Celie (Felicia Curry) is shy and unattractive. The younger, Nettie, Katrinah Carol Lewis, is beautiful and self-assured. The old widowed man who they believe is their father, treats them as property, both physically and sexually. Celie, after giving birth to two children by this man who has raised her as her father (and he promptly gives them both away) is sent to live with Mister (Jerold Solomon) an equally mean, abusive and cold widower. When Nettie comes to live with Celie, after tiring of her father’s sexual advances, she fights off a sexual advance from Mister, who then sends her away as well. Throughout the remainder of the plot, Celie seeks to find her sister, her children and her own self-respect, inner strength and inner beauty.

It is difficult to single out performers in this Broadway quality production; but Curry does stand out in her emotionally deep performance. She captures all of Whoopi Goldberg’s charm – right down to the shy, toothy smile, while still making the role her own.

Desiree Roots Centeio likewise is reminiscent of a young Oprah, yet makes the character of Celie’s spirited daughter-in-law, Sophia, a masterpiece of her own as she commands her husband and the stage. Solomon transforms from odious to penitent with skill and believability. Josh Marin brings youthful energy, charm and charisma to Mister’s son Harpo.

All the performers are amazingly true to life as they develop their characters over a span of more than 30 years of their lives. Curry is especially poignant in developing Celie from that shy and confused 14-year-old to a gray-haired, strong woman.

Carolyn Minor Daughtry brings a sultry sizzle to Shug Avery, a Juke singer who both Celie and Mister are in love with.

Comedic stand outs include Ciara McMillian as Harpo’s girlfriend Squeak and Shalimar Hickman-Fields, Stephanie M. Hill and Amanda Montague as three church ladies who serve at times as the musical’s Greek Chorus/narrators.

Director Chase Kniffen keeps the show energetic and visually appealing. Leslie Owens-Harrington’s choreography and Ben Miller’s Music Direction keep the audience enthralled, with huge applause following every number and a standing ovation even before the final number ended.

Ron Keller’s visually interesting set is made up almost entirely of old wood planks which sets the time and poverty. Various forms of doors, windows and clothing hang about to give a generic feel to the entire set. Hopefully, some opening night kinks with the set will be worked out.

Lighting Designer Joe Doran sets the mood perfectly, while also highlighting individual performers and singers. Costume Designer Sue Griffin also enhances the production with lavish costumes for African tribal dancers and club partiers; and simple, basic outfits for Celie and Nettie.

As Shug says, God created the color purple to say “look what I made.” Take the time this summer to enjoy the beauty of Virginia Reps’ The Color Purple to witness the rich, beautiful theatrical art they have made.

Photo Gallery

Felicia Curry as Celie	Cast photo
Cast photo	Cast photo
Carolyn Minor-Daughtry as Shug and Felicia Curry as Celie	Cast photo
Desirée Roots Centeio as Sofia and Josh Marin as Harpo	Cast photo

Photos by Aaron Sutten

The Cast

• Celie: Felicia Curry
• Shug Avery: Carolyn Minor Daughtry
• Mister: Jerold Solomon
• Sofia: Desiree Roots Centeio
• Harpo: Josh Marin
• Nettie: Katrinah Carol Lewis
• Squeak: Ciara McMillian
• Jarene: Shalimar Hickman-Fields
• Darene: Stephanie M. Hill
• Doris: Amanda Montague
• Preacher/Ensemble: Billy Dye
• Pa/Grady/Ensemble: J. Ron Fleming
• Ol’ Mister/Ensemble: Thomas Nowlin
• Church Soloist/Ensemble: Karla J. Brown
• Buster/Chief/Ensemble: Tybias Whitehead
• Young Nettie/Chief’s Daughter: Tyandria Jackson
• Young Celie/Mister’s Daughter: Ayana Williams
• Young Harpo/Young Adam: Donathon Arnold
• Young Olivia/Henrietta: Jada Evans
• Ensemble: Skye Hagood, Anthony Cosby, Taylor Walls, Trent Williams, Courtney Jamison, Alana S. Thomas, Cariel Hughes, Will Anderson, Pamela Shaw, Ashlee Heyward, Jessi Johnson, Andrew Reid, Devante J. Wells, Mike Brown

The Crew

• Director: Chase Kniffen
• Choreography: Leslie Owens-Harrington
• Musical Director: Ben Miller
• Scenic Designer: Ron Keller
• Lighting Designer: Joe Doran
• Costume Designer: Sue Griffin
• Stage Manager: Wendy Vandergrift

The Band

• Conductor/Keyboard 1: Ben Miller
• Keyboard 2: Anthony Smith
• Drums/Percussion:Joe Lubman
• Bass: Derrick Englert
• Guitars: Forrest Link
• Trumpet: Mark Ingraham
• Reeds: Susan Davis

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.

What good is sitting along in your room? Come hear the music play. That’s what three generations of my family did for Father’s Day, enjoying the renowned musical Cabaret at Richmond Triangle Players cabaret-like atmosphere.

Director Penny Ayn Maas, who appeared for five years on Broadway in the last Broadway revival (before the current one), uses the small, intimate RTP stage to her advantage, creating a two-level set. The lower level is where most of the action takes place; while the upper level houses the band and some of the performers at the Kit Kat Klub Cabaret.

For those not familiar with the plot of the play (or the 1972 movie starring Liza Minnelli and Joel Grey) Cabaret juxtaposes the horrific changes in 1930′s Germany with the insular life inside the Kit Kat Klub.

British Cabaret singer Sally Bowles (Nicole Foret Obertleitner) meets American writer Clifford Bradshaw (Stevie Rice) who has just arrived in Berlin. Bradshaw has already met Ernst Ludwig (Evan Nasteff) on the train to Berlin. Ludwig refers Bradshaw to rent a room in a Boarding House run by a single old woman, Frauline Schneider (Jeanie Rule). A sub-plot follows Schneider’s doomed romance with elderly Jewish fruit vendor Herr Schultz (Doug Schneider).

The entire play is overseen by the Emcee at the Kit Kat Klub (Chris Hester). Maas makes an interesting directorial choice in making the Emcee less dark and menacing than in the movie and earlier productions; and more of a god-like figure watching over the action from the band stage and interacting at times with the other performers as more of a puppet master. As the play, and the history it captures, turns darker, the Emcee remains the voice and face of optimism and hope — right to the end. Hester is perfectly cast in this adaptation as he masterfully maintains the Emcees’ likeability and charisma and immerses himself in the role. Likewise his pleasant vocals are spot-on and he capably carries the role as the show’s voice and narrator.

Obertleitner does not have Liza Minnelli’s powerful belting voice, but compensates with strong dancing and acting chops — making Sally even more eccentric than Minnelli’s performance. I’m not sure if it was a directorial or acting choice, but I do wish Obertleitner hadn’t remained stagnant behind a microphone stand for powerhouse numbers like “Maybe Next Time” and the signature “Cabaret.” The lack of movement or even hand gestures eliminated some of the potential emotional content.

Rice carried off the innocence and initial naiveté of Bradshaw well. His character (and the audience’s) awakening to what was going on in Germany was well-developed in his performance.

Nasteff perfectly portrayed the changes in Ludwig as well, starting as almost a comedic German version of Steve Martin and Dan Akroyd’s “wild and crazy guys,” then becoming a Nazi officer and clearly delineating him as a hateful representation of all that was evil in Germany at that time.

Rule and Schneider carried the heart of the production, as two empathetic figures caught in the hatred and fear of their time. Their beautiful voices and tender and heartfelt performances added a whole other dimension to the story.

One other stand out was Lanaya van Dreisen as Fraulein Kost whose powerful vocals (and accordion playing) in the haunting “Tomorrow Belongs to Me” built to the climax of Act 1.

Michael Jarrett’s lights enhanced Frank Foster’s simple two-tier set and artistically added to the emotion of several numbers through shades of yellow, blue and orange. Holly Sullivan’s costumes (or at times lack thereof) perfectly set the time and characters.

“Life is a Cabaret;” and as the Emcee says “leave your troubles outside” because life at this Cabaret at RTP is a beautifully staged, well-cast production.

Photo Gallery

Cabaret	“Come hear the music play!”
Nicole Foret Oberleitner as Sally Bowles

Photos by John MacLellan

The Cast (in order of appearance)

• Emcee: Chris Hester
• The Kit Kat Girls
  • Lulu: Lesie Pumphrey
  • Texas: Bethaney Bagley
  • Fritzie: Lanaya van Dreisen
  • Helga: Brianne Chin
• The Kit Kat Boys
  • Victor: Andrew Etheredge
  • Bobby: Dan Cimo
  • Hans: Mahlon Raoufi
• Sally Bowles: Nicole Foret Oberleitner
• Clifford Bradshaw: Stevie Rice
• Ernst Ludwig: Evan Nasteff
• Fraulein Schneider: Jeanie Rule
• Frauline Kost: Lanaya van Dreisen
• Rudy: Mahlon Raoufi
• Herr Schultz: Doug Schneider
• Max: Andrew Etheredge
• Gorilla: Brianne Chin

The Kit Kat Band

• Piano: Kim Fox
• Drums: Steve Raybould
• Bass: Pete Dennis
• Clarinet: Michael Goldberg
• Accordion: Lanaya von Dreisen
• Flute: Brianne Chin
• Trumpet: Mahlon Raoufi
• Boy singer: Christopher Chavez

The Crew

• Director/ Choreographer: Penny Ayn Maas
• Associate Director: Keith Fitzgerald
• Musical Director: Kim Fox
• Stage Manager: Sharon Gregory
• Assistant Stage Manager:
• Production Manager:
• Set Designer: Frank Foster
• Lighting Design: Michael Jarett
• Associate Lighting Designer: Cody Richardson
• Costume Design: Holly Sullivan
• Costume Assistant: Alex Valentin
• Dance Captain: Brian Baez
• Sound Design: Joey Luck

Disclaimer: Richmond Triangle Players provided two complimentary media tickets to ShowBizRadio for this review.

Richmond is so fortunate, not only to have summer Shakespeare in the Park performances, but to have them in the courtyard of the regal Agecroft Hall. The 16th season of Richmond’s Shakespeare Festival, presented by the recently combined Henley Street Theatre and Richmond Shakespeare kicks off with A Midsummer Night’s Dream.

Director Jan Powell has assembled an A-list of Richmond comedic actors who bring life and laughs to this classic complicated comedy. Mischievous Fairies cast love spells that wreak havoc among characters in multiple story lines surrounding the impending marriage of the Duke of Athens.

First there is Hermia (Audra Honaker) who loves Lysander (Charley Raintree) but her mother Egeus (Anne Carr Regan) wants her to marry Demetrius (Dixon Cashwell) who is loved by Hermia’s friend Helena (Maggie Roop).

Then there are the mechanicals – a rag-tag group of amateur actors rehearsing a play written by Quince (Elisabeth Ashby). Among them are Bottom (David White), Flute (John Mincks), Snug (Lucas Hall), Starveling (Eddie Webster) and Snout (LaSean Greene).

In the final story line Oberon, King of the Fairies (John Moon) with the assistance of his mischievous assistant Puck (Raven Lorraine Wilkes) is responsible for casting the love spells on various characters including his wife Titania (Melissa Johnston Price), who is quarreling with him over an Indian changeling boy that she has taken custody of, but he wants as his aide.

Stand out performances include White as Bottom (a pompous actor who gets turned into an ass) and Mincks as Flute (who, as was common in Shakespeare’s time, is cast in the play within a play as a woman). But it is Wilkes’ Puck that truly is the highlight of the show. Her personable Puck commands the stage with an impish smile and an infectious laugh. The elements of slapstick comedy liberally sprinkled throughout the production work well – especially with the Mechanicals and Audra Honaker and her suitors.

Richard Moxley’s set is basic, with interwoven sticks used as the fairy forest where most of the action takes place. BJ Wilkinson has the difficult task of lighting the stage, while competing in Act 1 with natural sunlight. In Act 2, dim blue lights in night scenes contrast with oranges at dawn and pinks in the “magical” scenes to enhance the mood. Virginia McConnell’s costumes are novel; with an early 1900′s type theme that is never quite explained with Shakespeare’s storyline.

Aptly timed, with ambient fireflies (or fairies?) to light up the sky; A Midsummer Night’s Dream makes for a magical early summer evening of entertainment.

Photo Gallery

The Mechanicals	John Moon as Oberon, Melissa Johnston Price as Titania and Paxton Martinez as the boy
The fairies	Raven Wilkes as Puck
Allison Blanton as Mustardseed and Raven Wilkes as Puck	Raven Wilkes as Puck and John Moon as Oberon
Melissa Johnston Price as Titania, David White as Bottom

Photos by Eric Dobbs

The Cast

The Nobles

• Theseus: John Moon
• Hippolyta: Melissa Johnston Price
• Hermia: Audra Honaker
• Lysander: Charley Raintree
• Helena: Maggie Roop
• Demetrius: Dixon Cashwell
• Egeus/Philostrate: Anne Carr Regan

The Fairy Kingdom

• Titania: Melissa Johnston Price
• Oberon: John Moon
• Puck: Raven Lorraine Wilkes
• Peaseblossom: Patrick Bello
• Cobweb: Catherine Smith
• Moth: Johanna Rozycki
• Mustardseed: Allison Blanton
• Indian Boy: Paxton Martinez

The Mechanicals

• Quince: Elisabeth Ashby
• Bottom: David White
• Flute: John Mincks
• Snug: Lucas Hall
• Snout: LaSean Greene
• Starveling: Eddie Webster

The Crew

• Director: Jan Powell
• Assistant Director: Melissa Rayford
• Production Manager: Austin R. Cooper
• Stage Manager: Hannah Adaway
• Costume Design: Virginia McConnell
• Lighting Design: BJ Wilkinson
• Set Design & Construction: Richard Moxley
• Sound Design: Andrew Craig
• Properties Management: David Plotnick
• Movement Specialist: Kaye Weinstein Gary
• Text Coach: Shirley Kagan

Disclaimer: Richmond Shakespeare provided two complimentary media tickets to ShowBizRadio for this review.

Steel Magnolias is the perfect title for a play about the lives of six strong, sturdy Southern women. Perhaps better known as an iconic 1989 movie starring Sally Field, Dolly Parton, Julia Roberts and Shirley MacLaine, it creates a challenge for the actresses in the roles to make the characters their own and avoid comparisons.

Director Sherri Edelen has cast the current production at the Riverside Center in Fredericksburg wisely; choosing actresses with enough similarities to their legendary counterparts to make the characters recognizable, yet with enough talent to make these women their own unique creations.

As Artistic Director Patrick A’Hearn points out in pre-show announcements; Steel Magnolias marks the first non-musical production in Riverside’s 16 year history and it is a strong choice.

The play takes place in the 1980′s in Truvy’s beauty shop in the small southern town of Chinquapin, Louisiana. It focuses on the bonds of love and friendship between six local women.

The shop is not only the heart of the entire play, but its owner, Truvy is the heart of the group of women. As portrayed by Andrea Kahane, Truvy is a more down to earth, southern version of Roseanne, throwing out one-liners of greeting card wisdom and dishing out the gossip.

Her group of friends include bride-to-be Shelby and her domineering, protective mother M’Lynn. Emily Perkins is warm, spunky, optimistic and child-like as Shelby. Constance Shofi is steady and controlled as the rock of the group M’Lynn.

Jennifer Joyner truly develops Annelle, from Truvy’s shy, self-conscious and mysterious new assistant to a stronger, deeply grounded religious young woman. Rounding out the group are two of the town’s older and wealthier residents, widow and former town first lady, Clairee and local curmudgeon Ouiser. Carol Hagy is proper and dignified as Miss Clairee, but it is Kathy Halenda who steals the show as Ouiser. Her every movement and line demonstrated her comedic timing. Even when preparing coffee on the sidelines, Halenda was a joy to behold with her campy business.

As the play advanced, the six actresses gelled in creating characters who were not caricatures rather were quirky, and funny yet believable. The dialogue and rapport were natural, as the actresses maintained an energetic pace and cut one another off or talked over one another as real people and friends tend to do. This all makes the ending even more powerful as you feel their love for one another and their shared pain.

The only thing I would have changed with this production involved the set from scenic coordinators Matthew P. Wetscott and Stefannie Smith. While the set itself was appropriate as Truvy’s 1980′s beauty shop, I found a backdrop where the ceiling would have been, filled with alternating white cloudy skies and solid white bare trees a bit distracting and out-of-place. Gaye Law’s costumes were appropriate and highlighted the characters’ quirks while Joseph Wallen’s lights helped set the mood and highlight the action and emotion.

One nice touch didn’t go unnoticed — a Dolly Parton song playing on the radio!

Strong performances filled with laughs and tears make Riverside Center’s production of Steel Magnolias a strong choice for southern charm and entertainment on a warm spring evening.

Photo Gallery

Photos provided by Riverside Dinner Theater

Cast (in order of appearance)

• Truvy Jones: Andrea Kahane
• Annelle Dupuy-Desoto: Jennifer Joyner
• Clairee Belcher: Carol Hagy
• Shelby Eatenton-Latcherie: Emily Perkins
• M’Lynn Eatenton: Constance Shofi
• Ouiser Boudreaux: Kathy Halenda

Production Staff

• Producer/ Artistic Director: Patrick A’Hearn
• Direction: Sherri Edelen
• Scenic Design: Matthew P. Westcott, Stefannie Smith
• Lighting Design: Joseph Wallen
• Costume Design: Gaye Law
• Production Manager: Carole Shrader
• Technical Director: Phil Carlucci
• Stage Manager: Ben Feindt
• Rehearsal Stage Manager: Marc Brunhofer
• Assistant Stage Manager: Ashton Banks
• Senior Stage Technician: Steve Thompson
• Stage Technicians: Geoff McPherson, Eric Jones
• Lighting Technicians: Emily Griffith, Kim McDowell, Kathryn Moncure
• Audio/ Lighting Technician: Hannah Shrader
• Costume Master: Chris Hlusko
• Costume Assistants: Amber French, Shania Stewart
• Head Rigger: Paul Johannes
• Properties Supervisor: Kylie Clark

Disclaimer: Riverside Dinner Theater provided two complimentary media tickets to ShowBizRadio for this review.

Judy Garland is probably the most impersonated performer there is; making Swift Creek Mill Theatre’s production of Beyond the Rainbow a great challenge. Fortunately, Grey Garrett is up to the challenge of taking on the role.

While there was only one Judy, Garrett is fascinating in creating many of Garland’s mannerisms, body motions and facial expressions. Vocally, her performance contains much of Garland’s range and emotion. While she doesn’t always reach the depths of Garland’s vibrato, and it is clear you are not listening to the legend herself, she is believable and authentic in her characterization.

Beyond the Rainbow uses Garland’s famous 1961 come back concert at Carnegie Hall (slightly before my time) to frame Garland’s life story. Through brief vignettes, writer William Randall Beard shows the pain and turmoil Frances Gumm went thru to become the emotionally damaged Judy Garland. The portrayals of each chapter of her life shows what lead up to her committing suicide at such a young age, as she desperately sought someone to love her and someone she could lean on and rely on.

It is a bit of a conundrum to evaluate the performance of Grace Mincks as the younger Judy, starting at age 4. Clearly, it is a challenge for any one actress to cover over 30 years of a person’s life. Mincks is not very believable as a toddler, but as Garland ages, Mincks becomes more and more authentic both emotionally and vocally. While she does not come as close as Garrett in replicating Garland’s trademark vocals, she definitely has a powerful, booming and appealing voice of her own.

Lisa Kotula is stoic and cold as Garland’s stage mother, Ethel Gumm. Three other actors round out the cast playing multiple roles. The multi-talented ensemble add humor and energy throughout the play. Vicki McLeod is hilarious as Hedda Hopper, among others. Frank Creasy capably shifts between several of the villains in Garland’s life including Louis B. Mayer and Sid Loft. Richard Koch is spot on as Ray Bolger and George Jessell; but it is a bit creepy having him portray Garland’s father, Frank Gumm at some points, then make out with her as her husband Vincente Minelli in others.

One of the biggest weaknesses in this production however is in the technical areas. As even my 15-year-old son pointed out, Tom Width’s set is rather visually boring with just classic white pillars and a black back drop curtain. Joe Doran’s lights are very directional, causing the cast to often walk in and out of spotlights into darkness while still performing. Also, a center stage ramp, added to the smallness of the stage and tended to inhibit Garrett from turning some of the big numbers into the full-fledged productions they could have been.

Still, since Garland has been gone for 50 years, Garrett and Mincks’ talents make Beyond the Rainbow the closest we can come to experiencing the legend live today.

Photo Gallery

Grey Garrett as Judy Garland	Frank Creasy as Louis B. Mayer and Vickie McLeod as Mayer’s Assistant
Grey Garrett as Judy Garland, Lisa Kotula as Ethel Gumm, Grace Minks as Young Judy Garland, Frank Creasy as Louis B. Mayer, Richard Koch as Vincente Minelli	Frank Creasy as Sid Luft, Grey Garrett as Judy Garland, Grace Minks as Young Judy Garland

Photos by Robyn O’Neill

The Cast

• Judy Garland at Carnegie Hall: Grey Garrett
• Judy Garland in memory: Grace Mincks
• Ethel Gumm: Lisa Kotula
• Kay Thompson, Hedda Hopper, Mayer’s Assistant, Wardrobe Assistant: Vicki McLeod
• Stage Hand, Frank Gumm, Vincente Minelli, George Jessell, Ray Bolger, Mickey Rooney, Walter, Bob Hope, Reporter, Attendant, TV Director: Richard Koch
• Announcers, Lousi B. Mayer, Sid Loft, Manager, Reporter, Jack Haley, Minelli’s Trick: Frank Creasy

The Crew

• Director: Tom Width
• Musical Director: Paul Deiss
• Stage Manager: Tom Width
• Set Designer: Tom Width
• Lighting Design: Joe Doran
• Light Board Op: Becky Lussier
• Costume Design: Maura Lynch Cravey
• Sound Board Op: Stephen West
• Follow Spot Op: Jesse Mattes
• Props: Tom Width
• Photography: Robyn O’Neill

Disclaimer: Swift Creek Mill Theatre provided two complimentary media tickets to ShowBizRadio for this review.

As I have said before, one of the many great things about theater in the Richmond area, is that there are such diverse offerings available to satisfy everyone’s taste. With that said, TheatreLab’s current production of Closer, just wasn’t close to suiting my tastes.

TheatreLab generally presents plays with a young, hip vibe. Closer is a very stylized play that is more like watching an art film live. Visually and aesthetically, the staging of the production is fabulous. Michael Jarrett’s lighting creates a foggy film-like quality with shadowy very directional shades of reds, pinks and yellows. McKenzie Sherwood’s costumes are overwhelmingly black and white to add to the dark dramatic atmosphere, with splashes of red added to more emotional scenes. Deejay Gray’s scenic design utilizes the RVA event space well, with much of the action right in the audience’s face in sets on the floor, and a variety of scenes rotated on the stage area itself.

However, it is the elaborateness of these multiple sets that in part drags the show down. In a play that relies heavily on stilted dialog in lieu of action; long set changes and slow, dark, repetitive music made the 2 1/2 hours seem much longer. Stagnant blocking and acting that tended to stay on one level added to the draggy feeling of the show. There is little emotional depth, which leaves little opportunity to feel or empathize with the characters.

Another problem is in the casting. While the cast is capable, many of the actors are just too young to play the parts in which they were cast. The plot itself is very basic; where three people in England living very dull, ordinary lives have drama added to their lives in the person of a young stripper, Alice (Theresa Mantiply). Dan (Thomas Cunningham) is an obituary writer, Larry (Evan Nasteff) a dermatologist and Anna (Liz Earnest) a portrait photographer. The play follows the four as they meet and then bounce back and forth between one another in purely sexual relationships. The themes are blatantly stated as life without risk is death and the best sex is anonymous.

Mantiply captures Alice’s flirty, coy seductress nature with a bit of bratty, self-absorbed likeability. Cunningham captures Dan’s duality as a bit of a nerd yet a bit of a perv. Nasteff comes across as more kind, naïve, sensitive and charming than diabolical as Larry (with his British accent he reminded me of Andrew Garfield on SNL this weekend — who knew he was British?) Earnest is the more prim and proper of the four, and captures Anna’s cold, stoic nature.

Director Chanelle Vigue’s blocking creates beautiful portraits and utilizes the large staging area well; but often gets bogged down in still-sitting talking heads.

Be warned there is strong sexual language and action as well as a great deal of cigarette smoking. For those who enjoy a dark, artistic study of the more sinister sides of human nature, Closer is the play to see.

Photo Gallery

Thomas Cunningham (Dan) and Evan Nasteff (Larry) with Liz Earnest (Anna) in background	Theresa Mantiply (Alice) and Thomas Cunningham (Dan)
Thomas Cunningham (Dan), Theresa Mantiply (Alice) and Liz Earnest (Anna)

Photos provided by TheatreLab

Cast

• Dan: Thomas Cunningham
• Alice: Theresa Mantiply
• Anna: Liz Earnest
• Larry: Evan Nasteff

Crew

• Director: Chanelle Vigue
• Stage Manager/ Assistant Director: Chelsea Burke
• Directing Intern: Joe Toscano
• Props Design/ Assistant Stage Manager: Maggie Bavolack
• Scenic Design: Deejay Gray
• Lighting Design: Michael Jarrett
• Assistant Lighting Design: Ashley Swiger
• Costume Design: McKenzie Sherwood
• Original Music and Sound Design: Greg Elingburg
• Production Manager: Aaron Mowles
• Run Crew: David Plotnick, Angie Judson, Emily Sargeant
• Poster and Program Design: Deejay Gray
• Promotional Photography: Lucy Dacus
• Promotional Videography: Annie Colpitts

Disclaimer: TheatreLab provided two complimentary media tickets to ShowBizRadio for this review.

It is hard to find fault with the script of a play that was nominated for Pulitzer and Tony Awards; yet that is just the situation I find myself in with Other Desert Cities. The script is talky, often contrived and predictable, frequently does not sound like natural conversations and is very preachy in its anti-Republican slant. However, strong performances by a flawless cast help breathe life into the current Virginia Rep production.

Brooke Wyeth (Sandi Carroll) returns to her conservative Republican parents’ Palm Springs home for Christmas, 2004. She has just finished writing a tell-all memoir about the death of her brother back in the 70′s, but has not yet sprung it on her parents; former actor Lyman (Joe Inscoe) and former Hollywood writer Polly (Irene Ziegler). The pair represent the old guard Hollywood Republicans who travel in social circles with the likes of Ron and Nancy Reagan, and playwright Jon Robin Baitz takes every opportunity to blame every problem in the last 40 years on the Republicans — from the Vietnam War to current wars in “other desert cities.” Also present are her other brother Trip (Mike Long) who is producing a cheesy TV courtroom show and recovering alcoholic aunt Silda (Melissa Johnston Price).

Much of the conflict is presented through divergent truths and differing accounts of past family history. The cast gels as a family being torn apart. Their casual conversations (sans some awkwardly written dialogue) are just as believable as are the angry outbursts in a typical family dynamic. The most captivating and heartfelt moments are the dramatic ones, except for Long, who is more effective in the light-hearted moments. Johnston Price is strong in both modes, in a role that plays perfectly to her laid back earthy talents.

Ben Burke’s set is both functional and eye-popping as the Wyeth’s living room that has been frozen in time in the desert and looks as if it came from a ’70′s Andy Williams Christmas special. Lynne M. Hartman’s lights add nice touches, especially in lighting a desert mountain backdrop and reflections from an unseen swimming pool. With the cast not miked in the large November Theatre it does get difficult at times to hear some pieces of the dialogue, especially when actors turn partially upstage.

Under the direction of Chase Kniffen, the cast makes Other Desert Cities a theatrical oasis of dramatic performances you don’t want to miss.

Photo Gallery

Joe Inscoe, Irene Ziegler	Mike Long, Melissa Johnston Price
Irene Ziegler, Melissa Johnston Price, Sandi Carroll, Mike Long, Joe Inscoe	Irene Ziegler, Joe Inscoe, Sandi Carroll
Melissa Johnston Price, Sandi Carroll	Mike Long, Sandi Carroll
Joe Inscoe, Irene Ziegler	Irene Ziegler, Sandi Carroll, Joe Inscoe

Photos by Aaron Sutten

The Cast

• Polly Wyeth: Irene Ziegler
• Brooke Wyeth: Sandi Carroll
• Lyman Wyeth: Joe Inscoe
• Trip Wyeth: Mike Long
• Silda Grauman: Melissa Johnston Price

The Crew

• Director: Chase Kniffen
• Stage Manager: Wendy Vandergrift
• Assistant Stage Manager: Luke Robinson
• Set Designer: Ben Burke
• Lighting Design: Lynne M Hartman
• Costume Design: Sarah Grady
• Light Board Operator: Linwood Guyton
• Cover art: Robert Meganck

Disclaimer: Virginia Repertory Theatre provided two complimentary media tickets to ShowBizRadio for this review.