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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A Comedic And Equally Heart-Wrenching Pilgrimage--"She Kills Monsters"

Rise up out of your dungeons all you once upon a time nerds and geeks of D and D. Rise up to unabashedly revel in your freedom and independence. Yes, rise up to celebrate your impact on "the social and intellectual structure of our world" with the Flowertown Players presentation of Qui Nguyen's comedic and equally heart-wrenching pilgrimage into the part real and part imaginary She Kills Monsters now showing at the James F. Dean Theatre. Hey, girls can be nerds as well as super heroes.

Qui Nguyen is a playwright, TV writer, pop-culture nerd, and a professed geek presently working for Marvel Studios. He is the Co-Founder of the OBIE Award-winning Vampire Cowboys of New York City. He is known for his innovative use of pop-culture, stage violence, puppetry, and multimedia. Branded as a break-the-rules writer, Nguyen produced the script for She Kills Monsters in 2011.

Set in 1995, Agnes Evans was making preparations to leave her childhood home in Ohio. Her parents and only sister were killed in an automobile accident. While packing her sister's belongings, she came across a notebook containing a Dungeons and Dragons quest written by Tilly. It was a world unfamiliar to Agnes.

While growing up, Agnes had nothing in common with her nerdy little sister--their dissimilar interests took them on different paths. As a result, she was now painfully confronted with the realization she knew nothing about Tilly, leaving a distressing void in her heart and a aching need to fill it. With hopes of filling the regrettable void, she seeks out and finds a "big where it counts" teenage Dungeon Master named Chuck to guide her through the D and D escapade. Together, they rolled the multi-sided dice to the discomfort of Agnes' insecure boyfriend.

Tilly comes to life onstage as "healer of the wounded and the protector of lights" Tillius the Paladin, an armor clad teenage heroine wielding a big sword. She is accompanied by a pointy eared she-elf named Kaliope and a bitchy warrior demon named Lilith. Needless to say, Agnes' initial introductions to Tilly's comrades in arms is contentious and bewildering as to why her sister would choose such companions, but she is driven by the need to understand. Agnes joins her sister's quest.

Along the way, the four of them hook up with a rude, cheese eating, TV watching demon lord named Orcus sporting horns and wearing brown, furry leggings. Set to rock music, they battled bugbears, a nasty winged fairy, an assortment of beasts, a gelatinous green cube, and blood-sucking demon vamps wearing cheerleader outfits by the name of Evil Tina and Evil Gabbi.

As Agnes moves between the real, her life as a teacher at the school attended by her sister, and the imaginary, the D and D quest, she discovers the companions and combatants of her sister's role playing fantasy have real life counterparts. The eye opening revelations are at times unsettling but also enlightening as she comes to know the geeky sister she avoided growing up.

I never had an interest in playing the game Dungeons and Dragons. I don't even recall being aware it was a board game that you played with dice. Adding to that, it was my first exposure to She Kills Monsters and its creator. So, when the play began, I was somewhat in a chilled fog. I didn't begin to warm up to the play until I became tuned into its unfolding poignant social message.

The plays successfully functional stage and props, dominated by misty laden greenish rock walls and accented by a changing array of colorful lights, set the necessary moods as the players fought and transitioned between the real and the imaginary. The wide variety of fanciful costumes skillfully designed and engineered by Nicole Harrison visually enhanced the fantasy and aided in the believability of the characters and their relevance within the story line. The numerous choreographed sword play and battle scenes set to the sounds of rock music were entertaining, but at times, a tad over dramatized.

Emma MacMillan was without a doubt emotionally committed to her character Tilly Evans and it showed at the end when the appreciative audience gave a standing ovation for a performance well done. Equally inspiring, Amanda Campeau as Agnes Evans was engaging, entertaining, and a pleasure to watch. Tilly's two cohorts, Kaliope and Lilith, were played by Jenny Aubrey and Michelle Jones. Lilith was by far the most intimidating of the quest characters both in dress and persona and Michelle projected that well, while Jenny projected Kaliope's softer side of female super power with grace.

As personalities go, Erik Brower was the perfect choice for the cheese consuming, testosterone driven, hairy-legged Orcus. Margaret Nyland superbly handled the plays narrative and as the in-your-face, cruelly honest Vera, audaciously charming. Ethan Goodman fit the bill as the perplexed Miles and cracked me up as he strutted around the stage as the gelatinous green cube. Zach Rettig was the paradigm of a Dungeon Master and Robert Venne played Steve, who appeared from time to time for no apparent reason. As for Evil Tina (Rebecca Sims) and Evil Gabbi (Minna Schubert), they were just plain evil.

Director Josh Bates and Crew get a thumbs up well done venture.

She Kills Monsters is a D and D themed play filled with comedic one liners and jaw dropping references wrapped up in a slice of cheese served on a silver platter of love, loss, regrets, acceptance and closure. I leave you with this warning: if you tend towards the emotional, you just may shed a tear after all is said in done.

Get your tickets for She Kills Monsters now showing through February 4th.

Take A Journey Into The Obviously Not So Obvious "Accomplice"--Now Showing At The James F. Dean Theatre

"In South Carolina you cannot take a picture of a man with a wooden leg. Why not?" Obviously, this opening dialogue, by all appearance, is a silly way to start a play review, but then again, maybe not. As you will see, my not so obviously at-first-glance meaningful illustration has everything to do with the obvious. This is called a brain teaser. As with all brain teasers, the clue to the answer is so blatantly obvious, the obvious may escape you. The obviously not so obvious has everything to do with Rupert Holmes brain teasing murder mystery, Accomplice--presently being performed by the Flowertown Players. If you are not yet confused, just take a seat at the James F. Dean Theatre in Summerville from October 20-29 and you will be, but don't bring your wooden leg with you.

The setting is an English cottage in Dartmoor, England owned by Derek and Janet Taylor. Jon, Derek's business partner, is the first to arrive on the scene and begins a dialogue with the audience. It was at that moment I first sensed something odd was afoot. Janet enters shortly after and reveals a few unflattering revelations about her husband. He has not been fulfilling her sexual needs. It becomes obvious she is involved in an adulterous affair with Jon. The two of them plan on murdering her financially successful but decidedly boorish husband. Jon leaves and Janet makes a discovery that forces her to improvise the plan upon her husband's arrival. From that time on, nothing is as it seems. There was a couple of brief moments I puzzled over where Holmes was going with the material and its relevance, but write it off as part of British satire.

After the play's director, Susie Hallatt, quoted Alfred Hitchcock, she immediately peaked my curiosity--Hitchcock is a long time favorite. A well seasoned performer having acted on the Lowcountry stages of The Flowertown Players, The Footlight Players, and Dockstreet Theater, Accomplice is Susie's debut as a director and unquestionably a good fit to her personality; charmingly unconventional, delightfully twisted, and just enough acquired English influence to bring Holmes' British farce to life. With high praise, Susie stated, "Productions like this are never possible without the full and enthusiastic participation of cast and crew...I would certainly be swinging from the rafters without the amazing support of my stage manager, Hannah Weston."

Before the play began, it was announced Malcolm Powell suddenly had to take his leave and his understudy, Paul Del Gatto, would be taking over the role of Jon. I had an uneasy feeling about the disclosure. I wondered if it would affect the coherence of the play and whether Paul would be up to the task. As it turned out, with only a couple of detectable stumbles in his lines and one big one at the end, the understudy's performance was commendable.

Playing opposite Jon is the young and demure looking Melinda played by Hailey Selander, but here again, is the obvious the reality. Seemingly unsteady at times, Hailey is interlaced into the most sensitive and seedy scene of R rated Accomplice. She holds her own in her confrontation with Derek and come to think about it, navigating a complicated set in stilted heals would make anyone just a little unsteady.

Pat Cullinane was eye-catching as Janet Taylor. With legs rivaling Betty Grable's, Pat was wickedly charming and sexually tenacious as she slinked across the stage weaving her characters web of infidelity and trickery. Touting an impressive catalog of acting credentials and not to be upstaged, Rob Hazelip's commanding stage presence well suited his role as the domineering and emotionally detached character of Derek Taylor.

The complex set containing several levels with numerous entrance and exiting points was magnificently constructed by Ernie and Chrissy Eliason. The ingeniously designed cottage retreat included an operating mill wheel doubling as a wine rack. Nicole Harrison's costumes were 1970's appropriate and titillating, and the lighting design assured nothing would be missed. All contributed harmoniously to the evening's success.

Truth be told, I went into this one limping, if you get my click. I had never seen the play before opening night at the James F. Dean Theatre and purposely did not read up on any background information. As a fan of Hitchcock and Clue, I pride myself at being very good at solving murder mysteries, and usually early on. With this one, I was not quite sure about anything. Rupert Holmes beguiling tryst into the obviously not so obvious succeeded at playing me the fool. The play is a mixed bag of obvious scheming and tawdry shenanigans sprinkled with a lethal dose of laughs. While the intended murderer and the intended victim are quite obvious, the not so obvious blatantly remained throughout: Who is the Accomplice?

Purchase your tickets for Accomplice.

Do you know the answer to the brain teaser?