Bye Bye Birdie--A Whole Lotta Shakin’ Goin On At The James F. Dean Theatre From August 4th To The 20th

If you plan on seeing the Flowertown Players latest stage presentation, you will need to put on a happy face. A little Conway Birdie told me that before I attended their opening of Bye Bye Birdie on Friday, August 4th. As it turned out, it was easy to do.

To be truthful, when I heard the lost-in-time Bye Bye Birdie musical would be revisited on the stage of the James F. Dean Theatre, the revelation immediately triggered only two recollections of the long ago original production; the song "Put on a Happy Face" and the name Dick Van Dyke. Other than that, the rest of it was just jailhouse rock. Understandably, I was only eleven when this glutinous play opened on Broadway at the Martin Beck Theatre on April 4, 1960 and fourteen when MGM studios adapted Birdie into a movie musical in 1963. Interestingly, Dick Van Dyke starred in both.

Based on a book by Michael Stewart with music by Charles Strouse and lyrics by Lee Adams, after opening at the Martin Beck Theatre, it was moved to the 54th Street Theatre and finally the Shubert Theatre, where it closed after a total of 607 performances. Bye Bye Birdie garnered 7 Tony Nominations, ultimately winning 4 of them: Best Musical, Best Featured Actor (Dick Van Dyke) Best Choreography (Gower Champion), and Best Direction (Gower Champion).

Aside from Dick Van Dyke, the original Broadway cast included Chita Rivera, Paul Lynde, Susan Watson, Kay Medford, Charles Nelson Reilly (understudied as Albert Peterson for Van Dyke), Michael J. Pollard, and Dick Gautier as Conway Birdie and the film adaptation included Maureen Stapleton, Janet Leigh, Paul Lynde, Bobby Rydell, Ann-Margret, and Jesse Pearson as Conway Birdie.

Originally titled Let's Go Steady, the play was billed as a "happy teenage musical with a difference." Then, things got all shook up. Rock-and-roll idol Elvis Presley was drafted into the United States Army in 1957. Before leaving the States for an eighteen-month tour in Germany, Elvis was to give one special member of the Women's Army Corps one last kiss, and with a little less conversation, the real life drama became the premise for the refreshed musical play. With the plot set, the team had to come up with a name for the rock and roll heartthrob lead.

The original name of the Elvis-inspired character was Ellsworth, but who would take a rock and roll idol with a name like that seriously. So, it was changed to Conway Twitty. Unfortunately, there was already a real life Conway Twitty, who took exception to someone using his name and threatened to sue. With a little more deliberation, the team finally came up with Conrad Birdie and Bye Bye Birdie was born with the idea to have the drafted singer give one last kiss to a girl by the name of Kim MacAfee in a place called Sweet Apple, Ohio.

With David Mclaughlin pulling the guitar strings as the play's Director/Musical Director and based on past experience, I was confident going in our journey back to the rock and roll mayhem of the late 50's characterized by swooning teeny boppers and a society fighting to hold onto its fragile naiveté would be fancifully entertaining, and true to form, David did not disappoint. The brick walls enclosing the modest stage of the James F. Dean Theatre reverberated with the energy and enthusiasm belted out by the play's capable cast from opening to close.

Always passionate about the characters she portrays, Elissa Horrell as Rosie Alvarez shined in “What Did I Ever See In Him?” and sizzled in the piece called "Shriner's Ballet". A woman on a mission with a suitcase of 8 wasted years and a vendetta to serve for a recent snub from long-time boyfriend, Albert, Rosie invades Maude's Roadside Retreat and as the new Spanish Rose, proceeded to set the all-male clientele’s pilot lights on fire with her spitfire charm and impassioned dance moves.

Charleston native Matthew Walker sings and dances his way through an obstacle course of relationship challenges as the conflicted Albert Peterson, songwriter and agent of Birdie. He helped a sadden Birdie fan (Jessica Zhou Seymour) “Put On A Happy Smile” and tries to win Rosie back with “Baby, Talk to Me”, but despite an impressive fermata finale to the rendition, his pleadings fell short.

Rosie wants more. She wants Albert to standup to his mother, Mrs. Mae Peterson (Cynthia McLaughlin), who shamelessly tries to cultivate a guilt trip in Albert and is highly critical of Rosie, labeling her a Latin floozy from South of the Border. Cynthia portrayed the heavy-footed, woe is me mother from Hades masterfully and in the process stole away some of the funnier moments in the play.

A good measure of the side-splitting hilarity was turned out by Carlos Nieto, whose facial contortions and comic demeanor launched a thousand laughs as the excitable and flustered Mr. Harry MacAfee. Carlos, along with S.E. Coy as Mrs. Doris MacAfee, effervescent Sidney Tarrant as Kim MacAfee, and Olivia Gainey (a natural talent with a killer smile) as Rachel MacAfee effectively collaborated on my favorite number of the night, “Hymn for a Sunday Evening (Ed Sullivan)”. It was a powerful piece of combined vocals at its best supported by eye-catching visual effects.

Attempting to mimic the spasmodic gyrations and famous pouty smirk of Elvis Presley, let alone match his unusual voice described as a lyrical baritone, is a tall order, but Lucas Holt was up to the task. He filled Conrad Birdie’s black pompadour nicely and showed off his own rock-crooner pipes in “Honestly Sincere,” “One Last Kiss”, and “A Lot Of Livin’ To Do.”

Did I mention the other boyfriend, the one that is sweet on Kim? Hugo Peabody has just pinned his object of affection, but not long after, finds out his beloved has accepted an invitation to receive Birdie’s last kiss on public television, and no less on the Ed Sullivan Show. Needless to say, he is beside himself with insecurity and jealousy (the persona that became Caleb O’Neal). What happens next? Rosie knows.

The set was colorful and functional, the supporting props and costumes accurately dated, the lighting effects were dazzling, the choreography explosive, and the sound was top notch, as were the timing and placement of the constantly changing backdrops handled by the play’s stage crew.

Bye Bye Birdie is fun, lighthearted entertainment. It is a total team effort of varying talents jam packed with oohs and aahs. Simply stated, there will be a whole lotta shakin’ goin on at the James F. Dean Theatre from August 4th to the 20th.

Purchase your tickets for Bye Bye Birdie.

"Legally Blonde The Musical" Now showing At James F. Dean Theatre--It Is Walkaway Feel Good Entertaining

In 2001, the film Legally Blonde, starring Reese Witherspoon, was released. For the most part, the consensus from the critics was positive based not on material, but performance, stating "though the material is predictable and formulaic, Reese Witherspoon's funny, nuanced performance makes this movie better than it would have been otherwise." Despite receiving positive reviews, I would not have paid the price of a ticket to see it at the theater, and my reason is a simple one, it just isn't my genre of movie.

Then, in 2007, Legally Blonde moved to the stage and opened on Broadway as Legally Blonde The Musical. Now, we have a curtain of a different color. As an avid theater goer, my interest was stirred. By the way, the color is Elle Woods' signature color, pink, and it will be splashed all over the stage of the James F. Dean Theatre in Summerville for the next three weekends.

In 2007, the original release of Legally Blonde The Musical, music and lyrics by Laurence O'Keefe and Nell Benjamin, received seven Tony nominations and ten Drama Desk nominations but did not win any. In 2010, it moved to the Savoy Theatre and The West End production was nominated for five Laurence Olivier Awards and won three, including the Best New Musical award. In drawing a comparison between the movie and the musical, one critic wrote, "It is, of course, preposterous: an LA fashion student conquers Harvard law school and becomes a courtroom star. But, for all its absurdity, I found this Broadway musical infinitely more enjoyable than the 2001 Hollywood movie on which it is based."

The opening night presentation of Legally Blonde The Musical at the James F. Dean Theatre was everything I expected from a Chrissy Eliason and David McLaughlin collaboration, even exceeding my expectations. Director Chrissy's penchant for relevant subtleties was unmistakable from set change to set change and David Mclaughlin's high energy approach to vocals as Musical Director supercharged the theater atmosphere with high spirited zing leaving the full house gushing in the pink with joy. The duo, with the assistance of Choreographer Ethan Goodman and Dance Captain Tiffany Eliason, squeezed every bit of immonium thygocolate from the plays talented and substantially youthful cast.

The cast more than willingly complied as they bent and snapped to the lighthearted and glitzy-ditzy script with Red Bull infused enthusiasm. From the opening number of "Omigod You Guys" to the appearance of the Delta Nu Queen of the Show, Elle Woods, the audience was primed and readied for what was yet to come, and Taylor Ann Spencer delivered the goods, or should I say, won the case. From head to toe the perfect Elle, her Disney influence was unmistakable. With clear vocals and striking body language complimented by dazzling wardrobe changes (designed by herself), Ann sang and danced her way into the hearts of everyone present.

The capable supporting cast includes accomplished musician John Henry Braun as Warner--Elle's I'll follow you anywhere, in this case Harvard, ex-boyfriend, sassy S. E. Coy as Vivienne Kensington--her antagonistic rival for Warner, Charleston native Matthew Walker as the corduroy wearing Emmett--the geeky student lawyer who takes Elle under his wing and helps her realize that she is more than a pink dress, Starbucks Manager Carlos Nieto as the self important and scumbag Callahan, Rebecca Wetherby as I've got a secret Brooke Wyndham, Jennifer Kliner as the under appreciated Enid Hoopes--Elle's dowdy lesbian classmate with extreme feminist views, and vocal powerhouse Sarah Daniel as Paulette, the lovable love-bruised manicurist with a heavy accent and new best friend of Elle at Hair Affair.

Carlos Nieto, rivaled only by John Henry for neatest head of hair, shined in the musical number "Blood in the Water," while Sarah Daniel blew the roof off the theater in her finale of "Ireland." Dustin Lack garnered uproarious laughs for his brief appearances as Paulette's trailer-trashed ex-boyfriend, Dewey and as her new Irish love interest, delivery man Kyle. Rebecca Wetherby whipped up a wicked routine of jump-rope and still had enough breath to sing. Tiffany Eliason, Allison Lee Zobel Brower, and Melissa Frierson, Elle's overjoyed sorority sisters, were vivacious and vibrant. I have to add some parts of the play went to the dogs, and their names are Bruiser and Rufus--two canines with stage presence.

Baily Gaines as Chutney

Truth be told, in time, I did unintentionally see the movie on TV, and after viewing the Flowertown Player's production of Legally Blonde The Musical, omygod, I have to agree with the critic's assessment, it is infinitely more enjoyable, and the cast and crew made sure of that. Despite the plays perfumed plot, buried under all the pink is a moral to the story. Elle's own words, "Don't judge a book by its cover," repeats an old adage warning not to a judge people based on looks, but she adds, "books with tattered covers stay on the shelf." Then, there is the "bend and snap"--a cheer leading move with real world applications. Apparently, it is a knock-out of a move to get the attention of a guy, but it also catches criminals. Don't know what I am talking about in either case, see the play. You will not regret it. It is walkaway feel good entertaining and you just may throw in a couple steps from the Irish River Dance.

Congratulation to the entire cast.

Dates and showtimes: March 24, 25, 30, 31, April 1, 6, 7, 8, 2017 at 8PM
March 26, April 2 and 9, 2017 at 3PM

Purchase tickets.

Crew not already mentioned:
Kelsey Palmer-Stage Manager/Props Master
Caitlin Skowronski-Assistant Stage Manager/Sound Operator
Nicole Harrison-Costume Design
Technical director-Ernie Eliason
Robert Venne-Set Designer/Painter
Lighting Designer/Light Board Operator-Jean Gaston
Spot Light Operator-Jeff Wolf
Artistic Director-JC Conway

A Feel-Good Play You Will Leave Smiling--"You're A Good Man Charlie Brown" Now Showing

The Peanuts gang is back in a huge way and despite a big screen debut in state of the art 3D animation, they haven't changed in the least bit since Charles M. Shulz created them in the 1950's. They are still riddled with the idiosyncrasies common to the childhood experience. In addition to their movie debut, they are making an appearance at the James F. Dean Theatre for the next two weekends singing and dancing in the 1999 Broadway revival of Clark Gesner's classic musical "You're A Good Man Charlie Brown."

The original musical premiered Off-Broadway at an East Village theater with a total of 1597 performances and a Broadway production opened in 1971 with 32 performances. It featured Peanuts characters Charlie Brown, Linus, Schroeder, Lucy, Patty, and Snoopy. A 1999 Broadway revival featured new dialogue and additional songs with one major change to the characters with the replacement of Patty with Charlie Brown's sister, Sally. The 1999 production is the one now playing at the James F. Dean Theater in Summerville.

The Peanuts comic strip, on which the play is based, is called the most popular and influential in history. It is largely based on Shulz's own childhood experiences. In this comic strip, kids rule. An adult has never appeared in the comic strip and in the television specials featuring the Peanuts gang. When an adult is heard, what they say is totally irrelevant and represented by a "WaWaWa," which to me is some of the funniest parts of the dialogue. It is utilized once in the play when Sally approaches her teacher concerning the "C" she received on her coat-hanger sculpture. It cracked me up.

Assembled in progressive rising levels, the unchanging set designed by Robert Venne is crayon box colorful featuring square blocks, a small, purple piano, a giant, red doghouse and a live, sky-blue piano positioned at the top where Sarah Morrison flawlessly hammered out the musical cues and scores from start to finish. The costumes designed by Patti Kelly were exactly what they needed to be.

Sara Armistead is awesome as Sally Brown. She portrayed her character with child-like authenticity and shined as she led her dog Snoopy on an epic rabbit-chasing adventure in "Peter Rabbit" and as she charmed her teacher into upping the C-grade on her coat-hanger art saying, "Its the squeaky wheel that gets the grease." She then capped of her winning performance in "My New Philosophy."

Jessica Wells was the perfect choice for the crabby and bossy Lucy. She just physically emits that quality of being a force to contend with. She was convincingly endearing in the vignette "Little Known Facts" where Lucy teaches Linus about nature the way she views it explaining to him that bugs make the grass grow, clouds make the wind blow, snow comes up from the ground or eating eagles for Thanksgiving and Christmas.

Allison Brower secured many of the plays laughs as the ferociously imaginative, supremely confident, world-famous beagle, Snoopy. She safely and successfully succeeded at maintaining her balance high atop her big, red doghouse as her character pondered life and engaged in aerial combat with the notorious Red Baron. Her glowing moment was in the vignette "Suppertime."

Charlie Brown, the lovable loser dressed in the recognizable black zig-zag shirt, was pitifully played by Erik Brower, and I mean that in a complimentary way. He had the frowning expression, the slumping shoulders, and wilting walk down pat. Seeing him with a bag over his head was priceless.

Other notable scenes include Robert Venne dancing with his blanket as Linus in "My Blanket and Me" and Randolph Middleton as Schroeder leaning over his little, purple piano playing Beethoven's "Moonlight Sonata" and fending off Lucy's advances.

Chelsea DeRoche and Company did an excellent job bringing it all together with a well rehearsed and clearly executed presentation. The live piano play and performers were in complete sync throughout the play. As a group, the vocals were pleasant and suitably matched.

"You're A Good Man Charlie Brown" does not have a heavy plot nor does it have a social statement weaved within its storyline. It is simply a delightful, upbeat, and heartwarming play about a bunch of kids and a dog going about the business of dealing with their little, complicated lives. It is a feel-good play in which you just might see a little bit of yourself when you were that age. Your kids will love it and you will leave smiling.

You can purchase tickets at "You're A Good Man Charlie Brown."
Now showing December 4th to 20th and the Flowertown Players ask you to consider this:

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.

The Broadway Musical That Is "Supercalifragilisticexpialidocious"-Now In Charleston

"Supercalifragilisticexpialidocious! Even though the sound of it is something quite atrosicous! If you say it loud enough, you'll always sound precocious." Who could forget a word like that? For as long as it is, it is a simple word to repeat. Then there was "A spoon full of sugar makes the medicine go down."

Everyone remembers "Mary Poppins." She was the "Harry Potter" of the 1960's. Although, she did'nt fly around on broomsticks at the speed of sound waving a wand with magical powers. She floated around on a magical umbrella helping children everywhere when they were most in need and singing happy songs. Because Mary was "Practically perfect in every way."

"Mary Poppins" was a 1964 musical film starring Julie Andrews and Dick Van Dyke, produced by Walt Disney. It won the Academy Award for Best Actress and the film also won Oscars for Best Film Editing, Original Music Score, Best Song, Best Visual Effects, and received a total of 13 nominations. The movie was based on the Mary Poppins books series by P. L. Travers with illustrations by Mary Shepard.

As with all movies, the storyline sometimes goes alittle different than the book. In the movie, Mary was not only firm, but kind and gentle as well. In the book the character was strict and pompous. Not quite the kind of lead character you would see in a Disney movie unless you were casting for a cruel step mother or an evil queen with a magical mirror. And definately wouldn't be singing and dancing to "Supercalifragilisticexpialidocious". Also, Mary Poppins was George Banks(the children's father) own nanny when he was a child, but was left out of the movie, except for few hints, you would miss it if you aren't paying close attention.

Mary Poppins is now one of the biggest stage musical successes to emerge from London and New York in recent years. It is now appearing at the North Charleston Performing Arts Center for a four-day engagement, February 1 to 4. The New York Post gives it a 4 out of 4 star rating. Variety raved about it saying, "This is the rare touring production that over-delivers on every level." So, gather up the kids and join in the fun. They will forget about Harry Potter, at least for a short time, and will be singing "Supercalifragilisticexpialidocious." Tickets and times.

Steppin' Out Around Charleston And Rockin' Out At Piccolo Spoleto Summer Frenzy Block Party

Downtown Charleston, June 4, hot and humid. Revisited some old favorites in the Historic District. The Old Market was busy as usual. Strolled around observing people, took pictures, and gathered information for my next article. One man I passed was describing to what appeared to be visiting family the crepe myrtle and how it only blooms in the South. Although, he couldn't remember the name of the tree.

Stopped at Bubba Gumps for a "Boat Bucket of Trash", as it is called, and a refresher. The shrimp was good, but the fish was somewhat "trashy" or more appropriately, alittle "fishy". The waiter asked me how the food was and I politely said, "Good". I had no great expectations going in, its Bubba Gumps.

Back out on the street and on the move. Tour vendors were trying to coax patrons into signing up for their tours. One tour representative was offering couples, married or living together with an income, $125 to view one of their time shares down the road. Been there, done that, no thank you.

Walked around Queen Street and Church Street. Plenty of beautiful alleyways and cobblestoned roads to take pictures of. Nicely dressed groups of people were standing outside of the theaters waiting to get in to see the shows. Casually dressed and not so casually dressed individuals waited outside of restaurants. Thought about stopping at Boccis, but the line was too long. Walked past the Powder Magazine. The "Gentleman Pirate" had retired for the night. Admired the iron works on the Dock Street Theater.

It was now getting close to the time for the other reason I came downtown this evening. Walked over to King Street and headed towards Marion Square. There wasn't many shoppers at that time of night. I rounded the corner onto Calhoun Street. The various tents, food trucks, and stands lining the perimeter of the square came into view. I could hear the music ever so faintly in the distance coming from the direction where the stage was set up. The Piccolo Spoleto Summer Frenzy Block Party was underway.

The party-goers were just starting to gather around the stage and by the time the first band of the night, DJ TEC, had completed their set and the second band, Byog, was done setting up, the crowd had doubled. Gangrene Machine, Mingle and Calibrate, and Night School rounded out the entertainment for the rest of the evening.

There were a few spectators dancing to the rythmns of the night and as things progressed everyone had gotten into the party mood. The crowd battered around two beach balls for some added fun while they waited for each performance to begin. All in all, everyone appeared to have fun. It was a great night visiting my old friend, Charleston.

Disney's Timeless Tale Of Beauty And The Beast-Don't Miss It

It's a story that has been around since the 1700's. It has been told and retold countless times since its inception and has never lost it's enchantment. Several varying versions of the tale over the years have been produced in the form of prose, stage, and in the twentieth century, screen and television. Its most notable rebirth came in 1991 when Walt Disney Feature Animation produced a musical animated film based on an abridgement of the original work published in 1756 by Jeanne-Marie Le Prince de Beaumont. It was entitled "Beauty and the Beast".

"Beauty and the Beast", the musical animated film, won Academy Awards for Best Song and Best Original Score, in addition to becoming the first animated film to be nominated for an Academy Award for Best Picture and and also won the Golden Globe Award for Best Motion Picture-Musical or Comedy. Adding to its success was the musical version produced in 1994, which ran on Broadway for 5,464 performances between 1994 and 2007, becoming one of Broadway's longest running productions in history. It has been topped only by the likes of "Cats", "Les Misérables", "A Chorus Line", "Chicago", "Oh! Calcutta!", and another Disney production, "The Lion King". The longest running musical ever is "The Phantom of the Opera".

I have had the opportunity to see five of those Broadway shows at the historic Cleveland Playhouse Square, including the Phantom of the Opera at the famous Plantages Theater in Toronto, Ontario. They are all worth the money you pay for the tickets and then some. Residents in the Lowcountry of Charleston will have the opportunity to be enchanted and mystified by this timeless tale of "Beauty and the Beast" at the North Charleston Performing Arts Center. Two performances are scheduled for April 26 and 27 at 7:30 PM. Tickets are $62.00, $52.00, & $32.00 plus applicable fees. You can buy tickets now.

So, take the family, take the wife, or just take a friend and be enchanted by "the most beautiful love story ever told". This eye-popping spectacle has won the hearts of over 35 million people worldwide and will win your heart too. Coutesy of Vacation Rick Travel.