An Emotional Roller Coaster Ride Of Love And Tragedy Not To Be Missed--West Side Story Now Showing

There was more than a few tears shed at the packed James F. Dean Theatre in Summerville for Friday night’s opening of the 1957 classic American musical West Side Story and please excuse my humble alteration of a well-known idiom, but you could have heard a Kleenex tissue drop after the deafening pop of gunfire cleared the emotionally charged atmosphere with Tony (Chris Berry) laying on the cold pavement mortally wounded and painfully heartbroken Maria (Olivia Juretich) tearfully kneeling at his side.

I did not see the 1957 Tony Award winning Broadway musical production of West Side Story, but I am well familiar with the 1961 Academy Award winning movie musical starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn--one of my all-time favorites.

Around the time of the musical's release, New York newspapers were filled with articles about gang warfare, thus making the story line timely. Set in the Upper West Side neighborhood of New York in the mid-1950s, the play explores the rivalry between two teenage street gangs of different ethnic backgrounds--the Caucasian Jets and the Puerto Rican Sharks. To make matters worse, a former member of the Jets, Tony, falls in love with Maria, the sister of the Shark's leader, Bernardo. The results are both uplifting and explosive. In this dark tragedy, hate seemingly wins out over love, but at the end, there is a glimmer of hope after the ultimate sacrifice had been paid and three Sharks assist three Jets with carrying the lifeless body of Tony away from the tragic scene as the darkness descended upon the solitary silhouette of devastated Maria.

Walter Kerr, a critic of the time, wrote this about the play, "The radioactive fallout from West Side Story must still be descending on Broadway this morning. Director, choreographer, and idea-man Jerome Robbins has put together, and then blasted apart, the most savage, restless, electrifying dance patterns we've been exposed to in a dozen seasons...the show rides with a catastrophic roar over the spider-web fire-escapes, the shadowed trestles, and the plain dirt battlegrounds of a big city feud...there is fresh excitement in the next debacle, and the next."

West Side Story is a powerful blend of acting, dance, and music. It requires a group of actors with a unique skill set--the ability to perform in all three categories. Kerr's words were a tribute to the play's cast, crew and director, and with those words in mind, Jerome Robbins and Company would unequivocally approve with what director, choreographer, and musical director David McLaughlin and Company assembled and accomplished on the humble stage of the James F. Dean Theatre.

The collection of changing scenes, masterfully handled by the crew, takes you on an emotional roller coaster ride carrying you to heights of ecstasy only to thrust you back down into the depths of despair. The set was phenomenal and the lighting was provocative. The dance choreography of 35 flailing bodies was a miracle of movement. The songs were executed near flawlessly and powerfully.

Olivia Juretich's captivating smile was only surpassed by her clean, crisp vocals, while her partner, Chris Berry, turned in a performance highlighted with power and passion, skillfully scaling fire escapes and fences to be with his beloved Maria. When together, their relationship was believably authentic and the two shined brightly in score favorites Tonight, One Hand, One Heart, and Somewhere.

Alex Shanko as Anita was a delight to watch executing her role and vocals with the necessary pizzazz demanded of her character. Honorable mentions go to Eric Brower (Riff), who advised his cohorts to play it Cool, Ethan Goodman (Bernardo) for great dance moves, and Robert Venne (Action) along with the rest of the Jets for their spot-on rendition of one of the more amusing pieces of the play, Gee, Officer Krupke. Zipping in and out of the shadows, Jean Gaston was the perfect choice for the wannabe a Jet tomboy, Anybodys. The more ominous figure of the play, Lt. Schrank, was skillfully played by towering Ernie Eliason and the least ominous figure, Glad Hands, was played by none other than, Ernie Eliason.

 

So many names, so many to mention. So, I will sum it up with this final note, beautifully done cast and crew. The provocative and artful blend of music, dance and plot in West Side Story was a great way to kick-off the 40th season at the James F. Dean Theatre in Summerville.

Now showing from July 31st to August 16th
To purchase tickets, go to West Side Story.

The complete set of pictures.

Interesting note: Four-letter curse words were uncommon in the theater at the time. Laurents ultimately invented what sounded like real street talk but actually was not: "cut the frabba-jabba", for example. You will hear words like this used by the Jets.

Frankly, This Is One Damn Funny Play You Don't Want To Miss--"Moonlight And Magnolias"

What happens when three Hollywood types, who respectfully despise one another and flaunt egos as big as a southern plantation, get locked in an office room for five days subsisting on bananas and peanuts? Oh, let's throw into the mix an overworked, somewhat ditsy secretary. For the answer, schedule a night out at the James F. Dean Theatre from January 16-25 for a viewing of the Flowertown Players latest presentation of "Moonlight and Magnolias."

The title, "Moonlight and Magnolias," was derived from the scene where Scarlett, after fashioning a dress made from green velvet drapes, visited imprisoned Rhett Butler in Atlanta in an attempt to get money from him to pay taxes on her home, Tara. She claimed to have everything she could hope for and "not a care in the world." Rhett noticed her hands, calloused from working in the crop fields, and knew she was lying and said, "You can drop the moonlight and magnolia, Scarlett! So things have been going well at Tara, have they?"

In this wacky farce, a highly paid script doctor and Jewish activist by the name of Ben Hecht and a demanding, volatile director by the name of Victor Fleming are voluntarily accosted by the highly dramatic David O. Selznick to hammer out a new script for the production of his recently stalled epic, "Gone With The Wind."

The problem: Hecht has not read the 1,037 page "big book" by Margaret Mitchell. The solution: Fleming and Selznick decide to act out some of the more important scenes for Hecht, so he can type out the dialogue for the script.

At times reminiscent of the "Three Stooges," the play touches on some of the more controversial issues of the day, which eventually leads to a situation where the three of them get entwined in a hilarious confrontation over the scene where Scarlett slaps Prissy, a young slave-girl. Hecht doesn't like it, Fleming has no problem with it. Fleming was rumored to have slapped Judy Garland while directing "The Wizard of Oz," which is brought up from time to time by Hecht during their incarceration.

Director Chrissy Eliason, over her many years with the Flowertown Players, has established a well deserved reputation for bringing together the perfect cast partnered with beautifully detailed sets, and with "Moonlight and Magnolias," she added another accent mark to that reputation. From props to costumes, Chrissy and her crew coordinate creative chaos on a set that will each night end up looking like an explosion in a paper mill.

Chad Estel as Ben Hecht and Daniel Rich as Vic Fleming were comically confrontational throughout. Chad's funniest moments came while agonizing over a typewriter distressingly pounding out the infamous script and Daniel's was the comical imagery of Vic laying on the floor mimicking Melanie Wilkes having a baby. David McLaughlin portrayed the dramatic and determined to preserve the integrity of the book David O. Selznick with Emmy flair and Hannah Weston as Selznick's compliant secretary immersed in a ocean of Hollywood machismo was delightful--ditsy accent included.

Frankly, this is one damn funny play. It is hands down the funniest I have seen at the James F. Dean Theatre in Summerville. It was masterfully directed and superbly entertaining. You will go bananas over "Moonlight and Magnolias."

Purchase tickets here.

I attended the "Friends and Family" showing.

(Kelsey Palmer; Assistant Director, Stage Manager; Dianna Devito, Sound/Light Operator; Jeff Wolf, Costumes; Dianna Reeves, Light Design; JC Conway, and Set Design and Construction; Ernie Eliason)

The "Ville" Is Alive With The "Sound Of Music"

It was "clothes from curtains" up for the opening performance of "Sound of Music" at the James F. Dean Theatre on December 5th--the enduring musical inspired by the music and lyrics of Richard Rodgers and Oscar Hammerstein II. The message from the melodious sound was loud and distinct--don't miss the remaining performances.

"Sound of Music" is a book written by Howard Lindsay and Russel Crouse turned into a musical loosely based on Marie Von Trapp's autobiography "The Story of the Trapp Family Singers." The original Broadway production starring Mary Martin and Theodore Bikel opened on November 16, 1959. Probably, the most remembered of the adaptations was the film released in 1965 starring Julie Andrews and Christopher Plummer.

Veteran director Monica Shows and musical director David McLaughlin pinned down a worthy cloud of singers and performers. From the collection of ladies portraying the symphonic nuns to the group of youngsters portraying the children of the Von Trapp family, they pooled together a successful partnership of talent. The youngsters ranging in age from 6-17 were a joy to watch and at times provided the "Ah" factor.

Set design was detailed elegantly with smooth transitions between changing scenes, which was creatively supported by the use of a blank curtain. The costumes were numerous and colorful thanks to Patti Kelly and team. Daniel Lungs choreographed dance scenes were executed well.

How did Monica and David solve the problem called Maria?--Sarah Farra. With excelling versatility and colorful body language, Sarah showered the stage with Champagne enthusiasm from the moment she descended the theater stairs. As the free-spirited, free-singing governess, her excelling moments were her interactions with the cast of Von Trapp children beginning with "Do-Re-Mi." Suitably paired with Sarah as the strict, military father was Keith Timmons(Captain Von Trapp). Keith graced the stage with the necessary determined and polished deportment reflected in his character, but puts you at ease with his soothing, baritone voice.

Olivia Juretich was a standout as the 16 year old love-struck Leisl. Her collaboration with Chase Street(Rolf) in "Sixteen Going on Seventeen" was a play highlight—both demonstrating controlled vocals and dance moves. Matt Sims(Max Detweiler) opportunistic ways and quirky sophistication provided some laughs. Cynthia McLaughlin as the understanding and authoritative Mother Abbess blew the top off the Austrian Alps with her operatic vocals. Congratulations to the whole cast and crew.

After returning home from the after party, I am not embarrassed to admit I caught myself singing some of the lyrics from play favorites like "Maria," "Do-Re-Me," and "My Favorite Things" to name a few. It’s just that kind of play and that kind of music. It is old-fashioned. It leaves you with a warm feeling. It leaves you with the idea light and virtue can still triumph in an otherwise dark and cruel world. "Sound of Music" is a play that grows on you like Edelweiss on the Alps and the Flowertown Players in Summerville.

Von Trapp Children - Group 1

Friederich, age 14-Trevor Bierd

Louisa, age 13-Riley Hatch

Kurt, age 11-Taran Gabriel

Brigitte, age 9-Lilly Smith

Marta, age 7-Caitlyn Campbell

Gretyl, age 6-Alana Armenti

Von Trapp Children- Group 2

Friederich, age 14-Andrew Hebert

Louisa, age 13-Rayleigh Deaton

Kurt, age 11-John Luke Taylor

Brigitte, age 9-Julia Maguire

Marta, age 7-Alanna Campbell
Gretyl, age 6-Lexia Woods

Purchase tickets at Flowertown Players.



Bram Stoker's "Dracula" Now Showing At The James F. Dean Theater In Summerville--Take A Bite Out Of Your Schedule

Outside the James F. Dean Theatre, the dark of the night had hours ago blanketed Hutchinson Square and Main Street. Most of the shops and stores locked down for the night. Across the street among the long shadows under the tall, moss covered oak trees, a cold rain coated the silent silhouettes of the numerous scarecrows and displays. It was the perfect setting for a Gothic horror story. Inside, a boisterous, near full house of blood-thirsty celebrants eagerly awaited 11:30 pm and the dimming of the lights--the final prompt Dark Star of the Night had arrived. It was opening night for "Dracula."

Jeff Messer and Andrew Gall's adaptation of Bram Stoker's masterful novel whisks you away on a geographical merry-go-round to Transylvania on the edge of the Carpathian Mountains to the shores of Victorian Whitby in England with stops in-between and back. It all translates into a set of constantly changing scenes throughout the play and a huge challenge for its director and company to improvise a seamless flow of events in a limited space. For JC Conway and Chris Skipper, the limited space was the stage of the James F. Dean Theatre.

I can convincingly state overall(despite some slower moving elements)the challenge was adequately executed on opening night with the assistance of stage manager, Nicole Wallace, and crew. The table that doubled for a ship's wheel and Dr. Seward's desk at the asylum and the five different entrance and exit points that gave Dracula mobility were a clever use of area and props, including the wooden crate center stage used for Dracula's coffin(a touch more detail in this prop would have elevated its realism).

The numerous rotating light cues will help you follow the scene changes as well as set the mood. The incorporation of the two cello players(Abby Maynard and Chris Anderson) located on each side of the stage added a sorrowful, soulful ambiance to the theaters atmosphere during transitions. The prerecorded dialogue was somewhat muffled at times, so you will need to pay attention more intently during those moments.

For a play of this nature to be successfully portrayed with a setting unfolding in the late 1800's and characters physically changing in appearance, realistic costumes and artful make-up are vital. Costume designer and whig maker, Diana Reeves and Mary Miller, did a superb job with the nearly 200 different pieces worn by the 25 cast members while Hana Ryll, Jean Gaston, and Eddie Hall provided the special effects make-up notably worn by Andrew Turnball as Renfield and Kate Berry, Megan Fife, and Michelle Smith as the seductive three brides of Dracula.

A well deserved applause goes out to the entire cast for making it all work with notable performances by Lindsey Marie as vivacious, young Lucy Westenra; Dracula's first love interest in England, Julie Hammond as the more reserved Mina Murray; engaged to Jonathan Harker and Dracula's second seduction, Zach Smith as the journal writing, often traumatized Jonathan Harker, Chris Miller as the eloquent and ambitious asylum administrator Dr. Seward, and Ian Bonner as the alluring, blood-thirsty and love-starved Dracula. Ion's standout moment was when he slowly rose from his lifeless slumber in the climactic encounter with Dr. Van Helsing(Fred Hutter) and company. Edwin Hall as Authur Holmwood owned the funniest moment with his improv during a costume mishap.

An outstanding performance was achieved by Andrew Turnbull, who was insanely masterful in his picture perfect portrayal of the carnivorous mad man, Renfield--by far the most complicated character in the play. An inmate at the lunatic asylum overseen by Dr. Seward and under the influence of Dracula, he spends his time consuming flies in the hope of obtaining their life-force for himself, which transitions into a scheme to feed the flies to spiders, to feed the spiders to birds, and finally feed the birds to a cat, which he was denied, so he consumed the birds himself. Andrew's body movements, facial expressions, make-up, and hair-do all blended nicely for a provocatively entertaining as well as psychotically whimsical depiction.

The Flowertown Players presentation of the iconic "Dracula" will keep your interest from the moment the lights darken to the encore. Congratulations to the cast and crew for another successful opening night. To purchase tickets for remaining performances running to November 9th, go to "Dracula" or call (843) 875-9251.

"Hairspray" Immerses You Into An Energized Blast Into The Past--Now Playing in Summerville

Without splitting the hairs of Penny's bouffant hairdo, the Sixties have been perceived as a decade of change. Some denounced it as a time of irresponsible excesses, flamboyance and social upheaval while others celebrated it as an era of cultural and social revolution inspiring changes in clothing, music, dress and forcing the relaxing of taboos related to race and sex.

Well, good morning Summerville, the Sixties inspired musical, Hairspray, is bringing it all back for a two week romp and on opening night sprayed its feel-good stickiness all over the stage of the James F. Dean Theater.

On Friday night, the community theater on Hutchinson Square was the place to be. Upon entering the modest entryway at the top of the steps and rounding the corner into the auditorium to claim my seat, I sensed something huge was about to be unleashed. From the moment Tracy Turnblad descended the stairs of the darkened theater bathed in the rays of a spotlight singing "Good Morning Baltimore" to the final triumphant, standing ovation chorus, the sold out crowd was immersed into a energized blast into the past.

Director David McLaughlin uncannily assembled a cast eerily reminiscent of the 2007 musical film of the same name starring wildly versatile John Travolta(Edna Turnblad), Queen Latifah(Motormouth Mayebelle), Nikki Blonsky(Tracy Turnblad), Zac Ephron(Link Larkin) and beautiful Michelle Pfeiffer(Velma Von Tussle) in his selection of Chris Williams, Denetra King, Alex Shanko, Christopher Berry, and Sarah Farra for corresponding roles.

Chris Williams as shy, plus-sized Edna Turnblad was a stand out--comically convincing in every respect from his pantyhose to his curlers. His rendition of "Timeless To Me" with Robert Venne as goofy, madly in love with his wife Wilbur Turnblad was heartwarming.

Denetra Williams as Motormouth Mayebelle was vocally superb. This was Denetra's first production for the Flowertown Players and said, "I am loving it." She rocked the house with "Big, Blonde and Beautiful" but brought the house down with her inspirational performance of "I Know Where I've Been."

Tracy Turnblad is the lead character the play revolves around. She is a "pleasantly plump" teenager, who dreams of fame and Link Larkin, and ultimately fights to racially integrate The Corny Collins Show. It was unmistakably obvious Alex Shanko owned her part and loved every minute of it. Her opening execution of "Good Morning Baltimore" was performed well and set the tone for the rest of the play..

Christopher Berry fit the bill as the Corny Collins Show teenage heartthrob, Link Larkin. He had the Sixties rock n' roll thing going on with the "do" and the gyrating moves akin to hipster Elvis Presley. Even more impressive was his acrobatic body flip during a sequel in the first act.

Which now brings me to the malevolent and beautiful, but scheming mother of Amber Von Tussle and producer of The Corny Collins Show, Velma Von Tussle, played by Sarah Farra. Crowned Mrs. South Carolina in 2011 and thrilled to be part of the cast, Sarah's moves on stage were captivatingly chic. You will end up hating to love the cheeky ways of her character.

Finally, Kelly McDavid's portrayal of slightly flaky but pert Penny Pingleton was amusingly entertaining, at times reminding me of the crazy antics of Carol Burnett. Kelly's past achievements include being nominated for "lead actress in a musical" at the 2013 Theatre Charleston Awards as Velma Kelly in "Chicago" where I described her as "unshakably confident and her dance routines were executed with audacious swag." Two characters on the opposite end of the spectrum, Kelly demonstrated her resourcefulness once again.

Other notables were Melissa Frierson(Amber Von Tussle), J.D. Lewis(Corny Collins), and Treshawn Ford(Seaweed J. Stubbs). The set was bright and colorful. The record album painted on the floor genius. Costumes all 60's appropriate and well done.

Congratulations to the entire cast and crew for their successful, near perfect execution of Hairspray with just a couple of hiccups in the dialogue. Hey, they are only human. Opening night exceeded all expectations. With 10 shows to go, it will be a tough act to follow, but I know they will be up to the task.

Purchase tickets for Hairspray.

"The Three Musketeers" Is A Sword Cut Above The Rest--Now Showing At The James F. Theatre

In earlier times, a gentleman's way of addressing personal insults was to cross blades in an affair called the duel, which was all done in a very orderly fashion, and the insult could be something as simple as making fun of a man's horse or bumping shoulders on the street.

Can you imagine; Sir, I prefer you not park your Fix Or Repair Daily truck next to my Dodge Ram." "Sir, how dare you insult my truck. I demand satisfaction. Prepare to draw your sword." "I will be honored to accommodate you, Sir. Perhaps, we can settle this at 2 pm behind the James F. Dean Theatre."

You can get a glimpse of those colorful days, when tyranny and treachery were cloaked in elegance and le savoir-faire, in Jason Olson's adaptation of Alexandre Dumas' "The Three Musketeers." It slashed its way onto the stage at the James F. Dean Theatre on Friday, May 23rd. The Flowertown Players cast and crew delivered a perfectly executed "coup de main,"--they killed it.

Alexandre Dumas was a practicing fencer and like many other French gentlemen of his generation he attended all the tops schools. With this knowledge, he created the ever popular story of "The Three Musketeers." It is a tale about the adventures of a young man named d'Artagnan(Zach Smith) and his quest to join the Musketeers of the Guard in Paris. D'Artagnan becomes a companion to the inseparable friends Athos; a man with a secret(Alex Smith), flamboyant Porthos(Jason Olson) and the younger, religious Aramis(Ian Bonner). Together they form a bond characterized by the motto "tous pour un, un pour tous"--"All for one, one for all."

As an adaptation, the incorporation of the narrative was brilliant and handled brilliantly by Adolphus Williams(Dumas) and Jamie Young(August). The pair drew much of the laughs as they set the scenes and filled in the finer details.

Behind the scenes, top honors go to the costume designers under the direction of Bruce Bryson. The costumes were appropriately fashionable to the time and quite colorful. They infused the play with life and added a sophisticated realism to the single set stage--the study of Alexander Dumas.

The cast and crew in this play are numerous. I counted 34 participants. At times, the action was furious and what I observed on opening night, was executed very smoothly. There are numerous duels and sword fights, a few chase scenes, and a fair share of romantic encounters. After all, it was an age of chivalry and they are French, for the most part. There is an Englishman called the Duke of Buckingham played by Christopher Miller. After observing his mannerisms and speech on stage, he could very easily pass for a renaissance man--nicely done Christopher.

 

Katie Sigg(love torn Queen Anne), Blair Cadden((the treacherous Milady de Winter), and Kaitlin Berry(irresistible Constance Bonacieux) added the softer, female touch to a story that was otherwise oozing with gentlemanly testosterone.

To close out the action, d'Artagnan finally gets satisfaction and faces-off in a duel with Rochefort(JC Conway). This in itself is worth the price of the ticket.

JC Conway, along with David Hatch, were the Fight Choreographers for the play. A salute goes to the director, Julie Hammond. This is her first production for the Flowertown Players. The play required a huge cast and was filled with complicated choreography. She brought it all together along with her supporting team. Other notables: Larry Wineland(Cardinal Richelieu) and Chad Estel(enthusiastic Treville); and congratulations to the rest of the cast--too many to mention here by name.

"The Three Musketeers" will be running from May 23rd to June 8th. Purchase your tickets here.

"Betrayal"--Opening Night At The South Of Broadway Theater--Absorbing

Betrayal is an absorbing and intimate Harold Pinter play about three friends and their duplicitous relationships with one another over an eleven year period. The inspiration for the writing of the play came from Pinter's own personal experience. It is considered one of his best dramatic works. A notable highlight of the play is his use of an unconventional format in the structuring of the sequence of events.

The production begins with the end and ends with the beginning. Emotionally entangled in an extra-marital affair, Emma and Jerry meet at a pub two years after breaking off the adulterous affair that started 11 years earlier. During their meeting, Emma tells Jerry that her marriage to Robert was over; who is also a close friend of his with related careers. A revelation that would in due course uncover more betrayal.

The absorbing drama opened at the South of Broadway Theater on Thursday, February 13th. It was my first visit to the South of Broadway Theater and first experience with its seating in the round. The Harry Pinter production of Betrayal was the perfect introduction.

The Play's nine scenes were as open and as bare as the relationships of its characters. A window, a door, a chair, a couch, a changing table setting, and some necessary other props were all that were needed for transitioning from scene to scene. I was too absorbed with following the intimate exchanges between Emma, Jerry, and Robert to even notice the absence of walls and ceilings. Besides, walls were of no consequence because you, the audience, were endowed with the symbolic power of x-ray vision to peer through any such barriers directly into the characters private lives from all angles. Ultimately, in the end, all artifices had become stripped away.

The well-seasoned three person cast was exceptional. Kristen Kos portrayed a persuasive Emma. From the opening scene to the last, her body language, facial expressions, and voice inflections were convincingly realistic and captivating. Sitting in the audience as an observer, I at times felt the discomfort Emma was experiencing, especially the opening moments in the pub while she awaited Jerry's arrival. Equally convincing was Craig Trow's rendering of the anxious and totally-unaware-of-some-pertinent information Jerry and Larry Perewiznyk's depiction of the composed and not-so-in-the-dark Robert.

Afterward, I hung out with the crew and cast to discuss some of the finer points of the play and satisfy some of my more inquisitive questions--one of the benefits of community theater. Thank you South of Broadway for the delicious treats and celebratory champagne.

You now know the ending, which is the beginning, and the obvious beginning, which is the ending, but you still don't know how it all started. For that and everything in between, you will have to experience it for yourself. Betrayal will be playing February 13, 14, 15, 16, 17, 20, 21, 22 at the South of Broadway Theater and later in the month, beginning on February 27, it will have a two week run on the proscenium stage of the James F. Dean Theatre in Summerville. Purchase tickets here for South of Broadway and here for the James F. Dean Theatre.

Other notables are Jason Pallay; the waiter, Jean Gaston; stage manager, Angelique Cunningham; costume design, Janet Peck; lighting design, Mark Gorman; set design, Mary Gould; set decorator, and JC Conway; director.