All Roads in Summerville Lead You "Into the Woods"

I only saw brief portions of the movie called Into the Woods. However, anything with Johnny Depp in it is definitely going to have unmistakable weirdness weaved into the characters. So, going into the James F. Dean Theater to see Steven Sondheim's adaptation, I was totally unaware what to expect in the way of a storyline. The live stage production is loosely inspired by the Grimm Brothers' fairy tales including Little Red Riding Hood, Jack and the Beanstalk, Cinderella, and Rapunzel with a witch thrown in to conjure up a little chaos for an unfortunate baker and his wife who want a child. They can undo their bad luck by collecting four objects in three days: the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold.

The Flowertown Player's presentation of Into the Woods was an empty your bladder and settle into your comfy seat for a three-hour giant rompem' stompem' whopper of a tall tale, including the short intermission. As the play's red-caped little vixen (Mackenzie Comer) skipped between the trees from scene to scene, I inexplicably thought of the lyrics of the song of the same name by Sam the Sham and the Pharaohs, and it was surely looking good. The performance was everything a big bad review could want. So, listen to me.

The stage was set. The props were in place. The production team was intensely focused. Director Nina Kahn had her well prepared cast of 24 ready to hit the lights and hit the heights to kick off their three weekend "bag of magic beans". The musical performers were harmonious as a whole from the opening prologue to the closing finale, when they symbolically blew the roof off the theater. If there were any glitches in prop placement as they moved from scene to scene, I didn't see it. If there were any hick-ups in the casts dialogue as they moved from musical number to musical number, I did not detect any. However, I respectfully have to mention one tiny thing. I sat in row L, which was more than halfway back in the theater. I had to strain a little to hear some of the dialogue due to the music being a tad to dominant when the vocals were in less dynamic ranges, or maybe my hearing isn't what it used to be. I'll leave it to you to decide.

It was not so hard to hear one of the most entertaining singing collaborations of the play between Jonathan Ford and Elisha Black as Cinderella's prince and Rapunzel's prince, when they belted out "Agony" in confidence and stunning harmony. Along the line of upper decibels, there was no escaping the ear popping screams of "hair as yellow as corn" Rapunzel played by Rachel Hiester-Myers.

Other notable renditions were "Witch's Lament" sang by Sarah Daniel, "Moments in the Woods" performed by Liz Perez (the Baker's wife), who also teamed up with Justin Robinson (the Baker) in "It takes Two", "On the Steps of the Palace" executed by Meredith Lane (Cinderella) and singing "I Know Things Now" was Mackenzie Comer (Little Red).

Other cast notables were Bryce Beasley as bad boy giant-killer Jack, beside herself Rachyl Kissling as Jack's Mom, the well-dressed ravenous Wolf played by Zachary Henderson, Vance White II as the Narrator, long-time Flowertown Player Jamie Young, who did double duty as Mysterious Man and Cinderella's Father, Holly Matthew's as Cinderella's Stepmother, Angela Pinkham as Florinda, Julia Sorenson as Lucinda, Krissi Hardy as Cinderella's mother, Graycen Szalwinski as The Steward, and Leighton Winters (Sleeping Beauty), Maddie McCall (Snow White), Zach Rettig (Granny), Susie Hallat (Voice of the Giant), Patti MooPone (Milky White).

Finally, I must give special props to Julie Crist for her adept handling of one of the play's more challenging characters, "the cow as white as milk"--Milky White Puppeteer.

This musical fairy tale is unlike anything you have ever seen before. There is no yellow brick road that takes you to an Emerald City, but the witch is witchier, and who honestly said of herself, "I'm not good, I'm not nice, I'm just right. I'm the witch." And cute, bratty Little Red noted of the baker and his vow breaking wife, "You seem to argue a lot." Cinderella's not so pure, self-adoring prince confessed, "I was raised to be charming, not sincere." I could go on and on, but I will leave the rest for you to see and hear for yourself. 

I encourage you to purchase a ticket, slip on your shoes, and make your way to the little theater on Hutchinson Square to see one of the funniest scenes of the play that has to do with guess what, footwear, and gold ones at that.

The cast skillfully delivers plenty of laughs along their way Into the Woods where you will discover family life isn't always little blue birds chirping happy bird songs, but it can also be downright morally and ethically jaded at times. Nevertheless, there is a happy ending in there somewhere.

Dates: March 7 - 23

Times: Evenings at 7:30 pm, Sundays at 3:00 pm

Tickets for Into the Woods

Photographs by Flowertown Players

EVITA, now showing at South of Broadway Theatre, well worth your time to check out

My favorite all-time musical by Andrew Lloyd Weber is hands-down, no question about it, The Phantom of the Opera. The first time I had any exposure to the story of Eva Duarte was in the 1996 film release, where Madonna played the real-life, opportunistic lady of Argentina, using the designation "lady" loosely. According to the upper-class Argentinians of the day and the British royals, she was anything but ladylike. They had a few chosen words of the unflattering kind when referring to her. However, the definition of a lady can be subjective when you consider the behavior of some royals.

Evita the musical undeniably bears the mark of English composer Andrew Lloyd Weber with lyrics by Tim Rice. The stage production opened on June 21, 1978 at the Prince Edward Theatre in London with Elaine Paige in the title role and Joss Ackland as her formidable Juan Peron and then at the Broadway Theatre on September 25, 1979, where it had 1,567 performances. Harold Price was the director. It won an impressive seven 1980 Tony Awards including Best Book, Best Score and Best Musical of the year. In 1981, the Evita cast recording was awarded a Grammy Award.

Set in Buenos Aires between 1934-1952, the musical follows Eva Duarte on her journey from a poor, fatherless home, to an ambitious actress, to becoming the most powerful woman in Latin America. She left a trail of tears along the way, from dumping singer-songwriter Magaldi to giving Colonel Juan Peron's mistress the boot. In the meantime, Juan Peron was leaving a trail of bodies on his rise to power as depicted in a game of musical chairs, ending in an opponent's demise. Eva organizes rallies for the impoverished and gives them hope for a better future while Peron and his allies plot to dispose of anyone who stands in their way. For a short time, Argentina was hers, and the rest is history.

Director David McLaughlin, assisted by Chrissy Eliason, thoroughly prepared his well-chosen group of local actors for the task of winning over the audience. The large cast's finely tuned choreographed movements flowed as one, and when they sang all together, their vocals were harmonious and powerful.

Carlos Nieto was a dominant presence on the set as the antagonist Che, who seems to be a spokesman of the people. The character's attire was reminiscent of a Latin American revolutionary, and Carlos sings his words with the passion of a non-conforming rebel. He addressed the audience like they were a part of the play. His direct eye contact was engaging.

Elissa Horrell elegantly filled the role of the musical's protagonist, Eva, and shined in the play's signature piece "Don't Cry for Me Argentina." Elissa was paired with Steve Tarnow as the ambitious Juan Peron. Steve had command of his crisp vocals and strutted Peron's military-like demeanor.

Joshua Broome demonstrated his vocal abilities as Magaldi in his rendition of "On This Night of a Thousand Stars." As Peron's mistress, Olivia Gainey once again showed acting and singing are second nature for her as she performed "Another Suitcase in Another Hall."

The main characters did double duty in minor roles with talented supporting cast Sophie Marie Stanley, Savannah Cash, Andrea Catangay, Rusty Cooler, Michael James Daly, Anna Lin, Kenneth Mueller, Latanya Mueller, Dylan Rowe, Joseph Spiotta, and Robert Venne. Lighting handled by Ernie Eliason and set art by Robert Venne.

South of Broadway Theatre is a small venue and seating is very intimate. If you sit in the front row, you can literally reach out and touch the actors. In addition, you may experience temporary whiplash following the action from left to right. There were a couple of glitches with the sound, and a few times the spotlight was slightly off target, likely due to the quickly changing positions of the actors. However, I am sure with these minor mishaps addressed, Evita will be near perfect.

David McLaughlin's Evita is entertaining and compelling. The opening scene is dark and spellbinding, elevating your expectations for what will follow, and it does not let you down. Follow the progression of the characters closely, especially Eva, there are a few symbolisms for you to catch. If you are a fan of live theater, Evita is well worth your time to check out.

Purchase tickets.

"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

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
Purchase tickets for Boeing Boeing.

SWEENEY TODD is mesmirizing to the point of being surreal--a bloody good show

Step aside Lavinia Fisher, you have been upstaged by a frazzle-haired, razor wielding barber named Sweeney Todd--a cut-throat proprietor who once upon a time had a shop on foggy London's famed Fleet Street and was known for his quick shaves. His provocative tale is unfolding on the stage of the James F. Dean Theatre April 6-22.

Inspired by a weekly fictional series published in the mid 1800's known as a "penny dreadful" and enthusiastically consumed by the British masses, the evolved tale of Sweeney Todd: The Demon Barber of Fleet Street slashed its way onto Broadway in 1979 and won the Tony Award for Best Musical (music and lyrics by Stephen Sondheim, book by Hugh Wheeler). Sondheim first conceived his musical version after seeing Christopher Bond's spooky melodrama of the story in 1973.

Sondheim's adaptation possesses an underlying theme that explores the darker impulses of the human condition. Impulses relating to lust, treachery, rape, cruelty, greed and revenge. Impulses that could drive a person to madness, sometimes unjustly. Although tragic in nature, Sondheim softens the impact with timely humor. It is a lyrical juggernaut performed to haunting music jam packed with surprises.

Director David McLaughlin, assisted by Kelsey Palmer, orchestrates a fine-tuned production that plays with Sondheim precision from prologue to climax. Possessing the uncanny ability to squeeze every bit of talent out of everyone around him, his unique trademark of musical excellence seen in all his works permeates every song and underlying musical number. A mix of both seasoned performers and first timers, his carefully selected actors, from main to supporting cast, are as sharp as Sweeney Todd's sterling silver straight edge razors.

Steve Tarnow's digital image speaks volumes. It is a picture that paints a thousand words. In full makeup and costume, he is the epitome of the character Hugh Wheeler calls for in his description of the Demon Barber of Fleet Street. But, not only does Steve look the part, he owns it. With unbridled passion and explosive vocals, he brings the tragic story of Benjamin Barker, aka Sweeney Todd, to life in full bloody living color.

Kristin Cotton plays the outrageous and somewhat deranged Mrs. Lovett, who has a thing for Sweeney Todd and with whom she enters into a twisted partnership. Aside from serving up to die for meat pies filled with grade-A homo sapien courtesy Sweeney, Kristin serves up spot on vocals with a Cockney accent and bakes up the humorous flavor of the play with well-timed one-liners. After the demise of Fleet Street's flamboyant street huckster dressed in red, Pirelli (Tyler Reed), Mrs Lovett takes in his abused young assistant, Tobias.

Olivia Gainey, a natural talent at fourteen years young, knows how to pluck your heartstrings, which she does with spellbinding artistry as young Tobias. She is so compelling, she could sell you on a "miracle elixir" purported to make your hair grow faster even though Sweeney describes it to be "concocted of piss and ink"--a snippet from one of the Play's most entertaining scenes.

The contemptible Judge Turpin, a morally decadent beast of a man and the main reason for Sweeney's spiral into a mental abyss, is played by multi-talented Jamie Young. Rusty Cooler plays the Beadle, the Judge's henchman who takes pleasure in others pain. His icy demeanor comes full circle in the scene where he is playing on the harmonium.

Rounding out the cast with strong voices and pivotal portrayals are Charissa Word--the sweetly innocent Johanna, Larry Lewis as Anthony--friend to Sweeney Todd and a love-struck and devoted suitor of Johanna, Sara Armistead as the Beggar Woman, and Shaffer Ripley as Madam Fogg, owner of an insane asylum.

The Victorian costumes are eye-popping and beautifully crafted (Emma Scott and Kristen Bushey). The multi-scene rotating stage doubling as Mrs. Lovett's pie shop and Sweeney Todd's barber shop, ingeniously equipped with a mechanical sliding barber chair and revolving trap door engineered by Ernie Eliason, was visually eye-catching and was accentuated by a complimenting lighting design that set the necessary moods (Jean Gaston). Each of Sweeney's numerous victims slip into pie crusted oblivion in a bloody red glow.

The Flowertown Players presentation of Sweeney Todd is mesmerizing to the point of being surreal. Captivating, positively. Entertaining, guaranteed. Sinfully funny, thankfully. You would be hard pressed to spot a flaw in this deservedly 5-Star theatrical performance. A bloody good show you do not want to miss, it is one play I would return to see a second time, and maybe a third.

Tickets for Sweeney Todd.

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.