"Over The River And Through The Woods"--A Love Letter To Grandparents Everywhere

"Over the River and Through the Wood" was originally a poem published way back in 1844, but whenever you see or hear the words, you can't help but sing it because the words were later set to music. More recently, that well known opening phrase has become a title of a play written by Joe Dipietro, which is now showing at the James F. Dean Theatre in Summerville.

Truth be told, the play and its premise was unfamiliar to me until this week, so on opening night of the Flowertown Players presentation, going in, I had no real expectations. After seeing it, Director Sue J. Vinick and her capable cast set the bar pretty high with their performance of Over the River and Through the Woods, so next time I see the play, I will have expectations to meet.

Joe DiPietro was born in New Jersey. He is best known for writing the book and lyrics to the musical comedy hit I Love You, You're Perfect, Now Change. His most recent works include the musical comedy All Shook Up; the 2010 Tony Award-winning musical Memphis; and the 2012 Tony-nominated "Nice Work If You Can Get It." He wrote Over the River and Through the Woods in 1998 in tribute to his Italian grandparents. It played Off-Broadway at the John Houseman Theatre for 800 performances over two years.

Nick is a young marketing professional living in New York City. His two sets of loving grandparents live where they have for many years, in Hoboken, New Jersey. For the grandparents, he is the only remaining son and grandchild of the family that has not moved away. Nick judiciously goes "over the river" to his grandparent's house every week for Sunday dinner. Frank laments about his Sunday visits, "You're here, but you are not."

Nick is a very anxious young man. His grandparents say it was the reason why he chewed on his rattle when he was a baby. This one particular Sunday, he had an important announcement to make, which makes him even more anxious compounded further by the fact he can't get the four of them to focus on what he has to say. His one grandfather is having driving issues, his one grandmother is fixated on preparing him food, and his other two grandparents are sidetracked by the revelation he is seeing a head doctor.

When he finally gets them settled down, he makes the announcement. He has been offered a promotion in Seattle, Washington and is considering the move. Frank, Aida, Emma, and Nunzio are heartbroken by that prospect. So, they cook up a matchmaking scheme to invite a lovely nurse by the name of Caitlin O'Hare over for the next Sunday dinner. Whoops. Generations apart in their thinking, he wonders how he could have come from "you people." They don't understand answering machines, VCRs, or the right way to play Trivia Pursuit.

"As the play unfolds, it does so as a memory, a recollection, a remembrance not only of Nick Cristano's grandparents, but of yours and mine, too. It does not matter what we called them, what their nationalities were, or even where they lived. This is a love letter to grandparents everywhere," stated Susan J. Vinick.

Nick is conflicted with a imprudent temperament and Chase Graham passionately portrayed that shortfall through the play with comedic flare, sometimes a bit over the top--he scared the girl away. Visiting his grandparents every Sunday for dinner was thoughtful, but as Caitlin pointed out, played by Ashley-Ann Woods, he lacked appreciation for what he had in his grandparents. The cure just might be a panic attack and guess what, a few days at his grandparent's house.

Susie Hallat and Mary Anne Dyne were superbly entertaining as the food peddling Aida and the Mass card pushing Emma. Susie's mannerisms were delightfully expressive and Mary Anne's endearing accent reminded me of Anne Meara and her bluntness reminiscent of Joan Rivers. Both were flawless in their script delivery.

Fred Hutter as Frank, who was put on a boat destined for America at age fourteen by his father, was the only one of the cast that delivered his lines with an attempted heavy Italian accent. Frank's life story was an emotionally touching moment and Fred conveyed it well.

Larry Wineland as Nunzio, an Italian who faked being an Irishman to get a job, rounded out the grandparent foursome as Emma's lifetime mate. Larry was paired well with Mary Anne, but I have to say, if it wasn't for the Perillo Tours and "Tenga familia," the couple did seem more Irish than Italian, or maybe, is it Americanized, sort a speak.

Congratulations Director Sue and cast for a performance well done. There were no discernible miscues. A couple interludes were a little slow in developing, possibly due to wardrobe changes. Set was decorated and furnished simple appropriate--the automatic revolving front door was genius. Got to give a shout out to those behind the scenes--prop management and lighting well done.

Over the River and Through the Woods is a play with two different temperaments like its main character, Nick, only in a different way. The first act is lighthearted and the laughs came as fast as Aida's food, the dinner scene with Caitlin was priceless. The second act pulls a switch and takes on a more dramatic tone that tugs at the heartstrings. I would cross over the river and through the woods to see it again.

Purchase your tickets for Over the River and through the Woods.

January 17, 18, 23, 24, 25, 30, 31, and February 1, 2020 at 8pm, January 19, 26, and February 2, 2020 at 3pm

Flowertown Players A Doublewide, Texas Christmas--So Good You Can't Pass It Up

Now showing at the James F. Dean Theatre, A Doublewide, Texas Christmas is as wacky as a play can get and despite a couple glitches, after all was said and done, it all ended up putting a doublewide smile on the opening night audience.

A Doublewide, Texas Christmas, written by Jessie Jones, Nicholas Hope, and Jamie Wooten, is a comedy about the newest and tiniest town in Texas with double trouble. Not only are the trailer park residents dealing with the stress of the holiday season, but they've just discovered that Doublewide's official incorporation papers are in jeopardy. So, to bolster their legitimacy, this enclave of eccentric Texans determine to throw themselves into the County-wide "Battle of The Mangers" competition and then, conspire to win this contest with their "Nativity At The Alamo" entry, by any means possible.

Certainly, Mayor Joveeta Crumpler has her hands full, but there is more. She has to somehow wrangle in her celebrity-obsessed mother, deal with her besieged brother who is being harassed by a army of vengeful Santa Anna raccoons, and attend to a best friend who has been dating every loser this side of Tugaloo and Tinsel. To make matters worse, Joveeta finds herself increasingly wary of the newest fresh out of the loony bin resident, Patsy Price.

With his foot propped up on a chair and dressed in festive pj's at final dress rehearsal, veteran Larry Spinner did what is expected of director's; he honed the finer details of the crazy chaos about to be unleashed unto the opening night stage and orchestrated the capable kookie cast with carefully employed suggestions. But, he did not accomplish this on his own. He was assisted by the very talented queen of wacky, Heather Hogan. A stand out from one of the funniest shows of the year, The Red Velvet Cake Wars, Heather is usually seen on stage. This was her first go at assistant directing.

If being wacky was a prerequisite to land a part in Doublewide Christmas, each of the cast members fit the tone of the script nicely. Jennifer Post as Big Ethel Satterwhite superbly set the tone for the play in her opening address with a slew of one liners.

Courtney Bates stole the show in her portrayal of the frazzled Mayor Joveeta Crumpler, who found herself in compromising positions on a couple occasions, one being on an exercise ball with Texas sequenced across her Doublewide ars, the other manifested her prowess to think on her feet.


The honorary title of most wacky goes to Chase Graham as Baby Crumpler. From the moment his character got zapped by the Christmas lights to being harassed by menacing raccoons, he convincingly appeared to be having fun as he energetically ran from scene to scene like he was one sweet potater away from a certifiable psychotic breakdown, and the two-legged elf hat he wore was the crown of wackiness.

The character, Lark Barken, is wacky sprinkled with sweetness and Maddie Latham was the perfect choice. Her facial expressions are priceless and delivers her lines laced by a matching overtone with a lilting inflection. Maddie's character is pivotal to a plot that gets muddled in all the wackiness, until the end, when like a balloon suddenly springing a major leak, drops out of nowhere.

Erin Larsen plays the part of vengeful Patsy Price who is said to be about as fun as a case of shingles by her brother, Haygood Sloggett, portrayed by John Lowther. Unlucky in love Georgia Dean Rudd is played by the hard working Joy Springfield. As Joveeta's wanna-be celebrity mother, Caprice Crumpler, Debra Glovier's moment in the spot light was when she sang a solo outfitted in a sparkling red dress and Jonathan Quarles carried the double role of Nash Sloggett and Texas' gift to women, Harley Dobbs.

A Doublewide, Texas Christmas is sure'nuff funny, but that ain't all there is to the play if you are able to dig through the "-ness" of "a few pickles short of a barrel." Larry Spinner summarized it this way, "Through the laughter, it reminds us of the need to be compassionate and forgiving. Anger and revenge are self-destructive, and everyone deserves a second chance. Most of all, I feel this show is a story of hope: never give up hope for a better future."

As a Texan would say: A Doublewide, Texas Christmas--"you can't beat that with a stick". So, "you have two different buckets of possums"--first, picking your day to see the show and then, purchasing your ticket.

Purchase tickets.
November 29, 30, December 5, 6, 7, 12, 13, and 14 at 8pm, December 1, 7, and 14 at 3pm

Stage Manager/Sound Operator-Alexa Jordon, Costume Designer-Patti Kelly, Props Master-Nicole Coke, Set Design-Ernie Eliason and Courtney Bates, Lighting Designer-Ernie Eliason, Sound Design-Larry Spinner and Courtney Bates, Set Construction-Ernie Eliason and Chrissy Eliason, Wardrobe Assistant-Emma Wood, Set Construction/Lighting Operator-Ayla Camp

"Hands On A Hardbody" Now Showing--A Sizzling 100 Degrees Of Pure Musical Pleasure

Though the title seductively insinuates the idea, the play is not a musical about famous body builder Arnold Schwarzenegger or the world's top fitness model Michelle Lewin. The implication is furthest from the truth. Hands on a Hardbody is about 10 ordinary people looking for a break in life and the hardbody is a brand new red pick-up truck. It is now playing out at the James F. Dean Theatre in Summerville.

The musical play adaptation by Doug Wright was inspired by a true event lived out in a 1977 documentary by S.R. Bindler with lyrics by Trey Anastasio and Amanda Green. The affair took place in the 1990's at a dealership located in Longview, Texas. Though I disagree with Doug Wright's implication the Darwinian concept of survival of the fittest is a determining truth in life's plan for humans, being fortunate with a high dose of resoluteness have a far greater influence on the path we tread. It was true of the contestants who lived out the self inflicted competition, and the winner was anything but physically, emotionally, and mentally the fittest.

Hands on a Hardbody is an exploration into the lives of a cross section of Texans loaded down with despair and riddled with the human blight of race, class, and income inequality, but at the same time lifted up by the flickering light of hope. To stand by a truck on hot asphalt in 100 degree weather wearing cotton gloves, in my calculations, would require a profound need or something to prove. And as the hours whittle by, it becomes painfully clear each contestant has their own story to tell and a burning need to tell it. Let the contest begin.

As Taryn Wetherington (Cindy Barnes), Rusty Cooler (Mike Ferris), and Daniel Rich (Frank Nugent) one by one strolled out from behind the black curtain to the front of the stage and harmoniously delivered the opening number, I anticipated we were hands down in for a entertaining night, and it was just the beginning.

Musical Director and Choreographer David McLaughlin, as usual, met all expectations. The constantly spinning truck--which would be no simple task to maneuver while singing and dancing--was masterful and the piece "Joy of the Lord" was mind blowing as Alex Shanko (Norma Valverde) accompanied by the rest of the cast joyously sang and drummed out the gospel rhythms on the steel body of the little red truck.

Melanie Morton and Gary Hubbel played the wife and husband team of happy rednecks with kids at home, Janis Curtis and Don Curtis. Melanie, with blackened teeth and a strong redneck drawl, was delightfully humorous as the outspoken Janis who claimed "It's a Fix." She was the contestant with a conscience. Michael Locklair and Dianne Corbin played the other husband and wife team of JD Drew and Virginia Drew. As the recently injured and out of work JD, who didn't like to be coddled, Michael was steady throughout the play and I enjoyed his rendition of "Used to Be" as he teamed up with Alex Shanko and play standout Matthew Walker. Dianne shined with heartfelt, spot-on vocals in "Alone With Me" as Virginia pleaded "I wish I knew what I could do to make myself enough for you. The way that you're enough for me."

Elissa Horrell as the naughty Heather Stovall had the look of Daisy Dukes and moved like J. Lo in "Burn That Bridge." There was a little something going on between her and Mike Ferris, the dealership owner. With fire and passion, Carlos Nieto played Jesus Pena. Insinuated to be an illegal immigrant, he was actually born in Laredo and deeply loved his dog.

Kelli Mangrum and Greg Wilhote are nicely played by Jana Weber and Zach Rettig. These two contestants develop a romantic tie over the span of the contest and when one of them drops out, the other must make a crucial decision. Malcolm Powell plays the contestant who eats too many candy bars, Ronald McCowen. With bluesy vocals, Malcolm soulfully sang "My Problem Right There."

Last but not least, two of the plays highly stirring pieces were performed by Jon Quarles as a traumatized war veteran, Chris Alvaro, and Matthew Walker as the antagonistic and disliked Benny Perkins, a man who is haunted by a deep, dark secret involving his son. The two of them filled the theater with high octane emotion in their separate renditions of "Stronger" and "God answered My Prayers."

Director Larry Spinner and Assistant Director Chrissy Eliason have done themselves proud. The passion Larry has poured into this play is evident from beginning to end. The musical is packed with a highly capable crew from set design accented by a complicated light show to costumes and sound with recognition going to Nicole Coke as she tirelessly worked behind the scenes as Stage Manager.

I will give Hands on a Hardbody a rating just shy of five stars due to the occasional annoying crackling mike, but with that being said, sometimes technology can go haywire and end up doing its own thing.

Hands on a Hardbody is a sizzling 100 degrees of pure musical pleasure and thought provoking dialogue. You will be entertained. You will be moved. You will want to put your hands on a ticket and join the contest.

Purchase tickets here
May 24, 25, 30, 31, June 1, 6, 7, and 8, 2019 at 3pm May 26, June 2 and 9, 2019 at 3pm

"Crimes Of The Heart" Now Showing At The James F. Dean Theatre--The Ups And Downs Of The MaGrath Sisters

Beth Henley's trio of the idiosyncratic MaGrath sisters guilty of Crimes of the Heart are now neurotically center stage at the James F. Dean Theatre in Summerville.

The play won the 1981 Pulitzer Prize for Drama and was nominated for the Tony Award for Best Play. The 1986 film adaptation was directed by Bruce Beresford. It garnered three Academy Award nominations and Beth Henley was nominated for Best Adapted Screenplay. In 1986, the play was novelized and released as a book, written by Claudia Reilly. Originally a three act play, the Flowertown Players rendering is done in two acts.

The MaGrath family sisters have suffered tragedy in their young lives. Their father left them and their mother hung herself and their cat, leaving an unresolved question as to why.

Lenny is the oldest of the three. She is a responsible soul who has taken on the task of caring for their Old Granddaddy in Hazelhurst, Mississippi, who is presently in the hospital with "all those blood vessels popping in his brain." She has just turned 30 and believes she has gotten old and is unwanted by any man, "But I have this underdeveloped ovary and I can't have children and my hair is falling out in the comb. So what man can love me?" On top of this, her whimsical younger sister Babe has shot her husband because she didn't like his looks and her 20 year old horse, Billy Boy, was struck by lightning. Making matters even more worse, nobody has remembered it is her birthday. So, she sticks a candle on top of a cookie, lights it, and sings happy birthday to herself. Well, not everyone has forgotten. Her cousin, Chick Boyle, brings her a box of chocolates and a few unwelcome, distasteful tidbits of opinions.

Summoned by Lenny, the second oldest sister, Meg, arrives in Hazelhurst from Los Angeles where her singing career had stalled resulting in her suffering a nervous breakdown. Even though Lenny summoned her, Meg's presence is an annoyance. There are some unresolved, deep-seated hard feelings between them. Lenny ponders "why should Old Grandmama let her sew twelve golden jingle bells on her petticoats and us only three?" Meg has never had a problem attracting men. Chick Boyle describes her as a "low-class tramp." She went to Los Angeles after Hurricane Camille where she left her boyfriend, Doc, who got his leg crushed during the hurricane because she insisted on riding out the storm instead of seeking shelter. He now walks with a limp, is married, and has two kids. And so, the story and stage are set.

Director Allison Brower did an excellent job casting her three main characters. Taylor Fleming (Lenny MaGrath), Jana Weber (Meg MaGrath), and Maddie Latham (Babe Botrelle) are as different as the MaGrath sisters. Taylor looked the part, dressed the part, and portrayed the subdued and doleful personality of Lenny in fine detail, to the point where you were sympathetic to her undeserving lot in life. Quite the opposite, Meg's irresponsible, I don't care what you think swagger was smartly rendered by Jana as she strutted her stuff about the stage. Rounding out the trio, Maddie was captivating as the flighty and impulsive Babe who was one step behind reality. Her confectionery disposition was as compelling as Babe's sugar craving. Maddie craftily made sweet lemonade of some of the plays more humorous dialogue despite its dark overtones. The scene where Babe recounts the incident of her offering lemonade to her husband after shooting him is comedically priceless.

What would a good dark comedy be without an antagonist to make matters worse. Alex Shanko as the gossipy Chick Boyle fit the bill very nicely. And with an attempted murder as part of the story, a good lawyer is needed, especially when the person who was shot is a lawyer also. But there is a little more going on with Barnette Lloyd (Daniel Rich) other than just handling Babe's case. Finishing out the cast was Anthony Parenti as the jilted Doc Porter.

There is no change of scenery in Crimes of the Heart. The whole play takes place in the nicely rendered kitchen of Old Granddaddy's home in Hazelhurst. There are moments where the dialogue moves a little slow, but possibly it was intended that way.

The Flowertown Players presentation of Crimes of the Heart accomplishes what Beth Henley intended. It will leave you wondering whether you should shed a tear in the three sisters behalf or laugh at the sheer madness of it all, and that is due to the plays capable crew and talented cast.

Purchase tickets for Crimes of the Heart.
March 8, 9, 14, 15, and 16, 2019 at 8pm
March 10 and 17, 2019 at 3pm

"Next To Normal" Is A Next To Extraordinary Performance By The Flowertown Players

Considered "one of the best musicals of the 21st century and its soundtrack one of the best original soundtracks in a musical due to its graceful handling of its dark, complex subject matter and its moving and brutally honest exploration into pain," Next to Normal is next to gut wrenching and is presently showing at the James F. Dean Theatre Summerville.

A 2008 American rock musical with book and lyrics by Brian Yorkey and music by Tom Kitt, Next to Normal opened on Broadway in April 2009. It was nominated for eleven 2009 Tony Awards and won three: Best Original Score, Best Orchestration and Best Performance by a Leading Actress in a Musical for Alice Ripley. It also won the 2010 Pulitzer Prize for Drama, becoming the eighth musical in history to receive the honor.

What appears to be a seemingly normal household in suburban America is anything but. Within its walls lurks unrelenting family tragedies, a traumatized mother who struggles with the crippling effects of Bipolar Disorder, and a husband and daughter who are silently dealing with their own phantoms while dividing out time for doctors visits and medications. Despite all this, there remained a glimmer of hope, maybe not to be normal, but at least next to normal.

For Director Erik Brower, Next to Normal is personal having seen this kind of tragedy for himself with people he knew in college and you can see that personal touch in the passionate performances of the cast he brought together to portray this most difficult subject material.

Assisted by a live musical ensemble, Musical Director Kevin Thorn handled the musical score superbly. Alison Harvey(violin/synthesizer), Vanessa Chambers(cello), Megan Lamont(guitar), Josh Autrey(bass), David Carter(percussion), and Kevin Thorn(piano) didn't miss a beat.

The most capable cast poured their emotions out on the stage with powerfully moving performances and vocals. Sarah Daniel as Diana(mother) and David McLaughlin as Dan(father) fed off one another's heart wrenching portrayals with emotionally charged vocals. Allison Brower as Natalie and Johnathan Harper as Gabe(the brother) were equally gripping in their renderings. Impressively completing the full cast was Justin Borak as Henry(Natalie's boyfriend) and Carlos Nieto as Dr. Madden.

Set design, lighting, costumes, and choreography completed what was a top-notch presentation.

Next to Normal will be completing its run the 23rd to 26th. It is a next to extraordinary performance.
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You Will Roll In Your Seat Laughing--BOEING BOEING Now Showing At The James F. Dean Theatre

"Oh what tangled web we weave when first we practice to deceive" is an old quotation by Sir Walter Scott. When you tell lies or act in a dishonest way you create problems and complications which ultimately end up out of your control. Tragic as that may be, as an observer of such manic mischief, the resulting implications can be almost comical to witness, and what a tangled web of comedic foolishness was woven on the stage of the James F. Dean Theatre in its opening night presentation of Marc Camoletti's high flying parody Boeing Boeing.

The play is set in the 1960s. It centers around a American bachelor by the name of Bernard who has a spacious flat in Paris outfitted with more emergency exits than a 737. For some time now, he has been having his cake and eating it too all with a little coffee, tea, or me times three. He is engaged to three attractive air hostesses who are totally clueless to his nefarious arrangements. With the assistance of his housekeeper, Berthe, it has been smooth flying so far. Everything has been taking off and landing as scheduled. Then, Bernard's flight pattern enters some unexpected major turbulence when his friend Robert comes to stay, and a new, speedier Boeing jet disrupts his careful planning. With all three air hostesses having landed on his doorstep on the same day, Bernard's web of deception begins to unravel with a not so innocent Robert stepping in as a beneficiary. What happens next? The fasten your seatbelt light has been turned on, so take your seat, buckle up, and enjoy the ride.

Chrissy Eliason, a director who has a penchant for detail and an uncanny skill for matching real life personalities to their characters, added another winner to her list of triumphs. Boeing Boeing is a play whose success is based on the premise that timing is everything. Set designer Ernie Eliason provided Chrissy and crew with a beautifully drafted, functional set. Accented by 1960s style abstracts painted by his own hand and equipped with seven different doors spread across a curved stage furnished with a long bar outfitted with a ingeniously constructed motorized pop-up map, Chrissy masterfully directed the concerto of timely swinging doors from the numerous entrances and exits like an experienced air traffic controller with no noticeable blips. As for the cast, she had them fueled up and they were firing on all turbines.

With a devilish smile, black book in hand, and aided by a well planned pop-up map any respectable self made cad would envy, self assured Bernard (played by boyishly handsome Jonathan Quarles) was feeling pretty good about his arrangement as he explained it to a newly arrived and dumbfounded Robert. And then, the inescapable happens, his arrangements begin to spin out of control. Apprehensive Robert, now enlisted as his co-pilot, steps in to help steady the plane, but this is where the comedy begins and its fun to watch Robert go from being apprehensive to conspiring, the type of character that seems to suit Rusty Cooler just fine having just come off a spectacular showing as Beadle Banford in Sweeney Todd.

To say the least, the relationship between Berthe and Bernard is antagonistic. After all, trying to uphold her employer's demanding lifestyle and keep three young ladies of the airways with varying tastes happy is a tall order, and thespian Heather Jane Hogan as the French firecracker of a housekeeper uproariously juggles her duties and feelings with skillful simplicity.

Having engaged in conversations with all three leading ladies, I can rightly say they are perfectly matched to their characters. All three are as different as their hair color. Christiana Blun, a no-nonsense, straightforward individual, plays Gloria--a tall and leggy TWA dressed-in-red American who has a surprise of her own. Joy Springfield, a carefree and fun-loving sort, portrays Gretchen--the flirtatious German redhead of Lufthansa outfitted in yellow. Alex Shanko, a bubbly, sassy spirit, is cast as Gabriella--the voluptuous Italian dressed in the green of Alitalia. Newcomers Christiana and Joy, along with veteran Alex, were entertaining to watch as they seduced, flirted, and charmed their way from being the manipulated to being the manipulators after all was said and done.

The diverse cast handled their varying lingual accents and crucial cues well. The brightly colored 60s style costumes (costume designer Nicole Harrison) blended with the multi-colored set nicely. The props were era appropriate down to the smallest details. The lighting was complimentary and pleasant.

Yes, it is a play about a selfish cad who wants to have his cake and eat it too served with a little coffee, tea or me times three, but you can revel in the idea he reaps what he has sown and at the same time, smile at the irony of it all. The Flowertown Players presentation of Boeing Boeing accomplishes what the play's writer Marc Camoletti intended, to make you roll in your seat laughing.

Showing May 25, 26, 31, June 1, 2 at 8pm May 27 and June 3 at 3pm
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