The Ghost Light of the James F. Dean Theatre

The James F. Dean Theatre had its quirks—creaking steps, misaligned doors, a draft that whispered down the back stairs. It was the kind of place where shadows lingered a little too long, and the hush between scenes felt thick with memory. On show nights, the old brick walls seemed to breathe with anticipation, as if the building itself leaned in to listen.

Outside, the newly installed marquee brightly lit the front entrance. Inside, the rejuvenated community theater glowed with promise. Prop lighting radiantly illuminated the beautifully prepared set—an assemblage of weathered timber fashioned into a rustic old fishing pier, overshadowed by moss-laden trees and unforgotten recollections.

It was during Catfish Moon, a play about friendship and forgiveness, that the theater revealed one of its quirkiest secrets. I was offered an invitation to work backstage with the prop manager. We sat tucked behind the wings at a table full of props—fishing poles, tackle boxes, dried swamp grass, and a single lamp to light our corner.

As the play unfolded—three old friends on a dock, casting lines into memory—the lamp inexplicably flickered on and off. Not just once. Not just twice. It pulsed like a heartbeat, on and off, throughout the play’s run. Sometimes it glowed steadily during a monologue, then blinked out as if punctuating a line. We checked the cord. We checked the bulb. We even switched it off. Still, for no reason, it would turn on and off. While we sat at the table, I’d say, “I wonder if the light is going to turn off,” and as soon as I said it, it did.

The actors never noticed. The audience didn’t see. But backstage, we watched in silence, the hairs on our arms rising with each flicker. Between cues, we whispered theories. Faulty wiring. A short in the circuit.

On closing night, just before the final scene—when the characters reconcile under a moonlit sky—the lamp flared bright, then dimmed to a soft glow. It stayed lit until the final bow. Then, as the applause faded, it blinked once and went dark.

We left the light on the table after strike. It remained a mystery, and this story, unexplainably true.

Some say every theater has its ghost. Maybe James F. Dean's just wanted to see Catfish Moon one last time.

James F. Dean Theatre now showing Murder on the Orient Express.

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

Help! I think My Characters Are Trying to Kill Me--A Hilariously Bring the House Down, Feel-good Time

I have walked past its door quite a few times on my treks through the French Quarter just a few steps from Market Street. On those occasions, I would unmistakably hear the waves of laughter emanating out its entrance as the sound spilled onto the sidewalk of Church Street. As I curiously looked in, I saw a very intimate space with a mock stage, bar seating, booths along the walls, cocktail tables spread throughout, whodunit games hanging near the entrance, and pictures of well-known theatrical sleuths lining the walls. I finally decided it was time for me--and this is a fitting word to use in this situation--to investigate.

The name of this small Mom and Pop establishment is the Black Fedora Comedy Mystery Theatre. The owners are Darryl and Sherry Wade, entrepreneurs from Atlanta who spent two decades producing live entertainment for corporate audiences. After working more than a decade in the Lowcountry with other talented and funny people, many of whom have performed in the area's community theaters, they established the Black Fedora Theatre with a mission to share the theatrical spirit of humor, playfulness, and joy with their paying patrons. Help! I Think My Characters Are Trying To Kill Me was the name of the show we attended at 8 pm, which opened for the first time that evening. The first showing was at 5 pm.

We were greeted at the door and escorted to our table by one of the evening's performers who explained in detail what we were about to experience, shown a game card where we would compete with the other guests in identifying the sleuths hanging on the walls, and given an explanation as to what was available in the way of food and drinks--appetizers, homemade desserts, beer, wine, teas, and sodas. Another one of the performers handed out printed sheets containing dialogue to eager volunteers in the audience.

The premise: A playwright(Chad Estel) with severe writer's block must finish a murder mystery script with the audience already seated before him, else face the wrath of the Director. As he writes, his characters, Igor(John Brian), Della Demarco(Maddie Casto), the Zombies, and the Evil Queen(Suzanne Robinson Muoio), come to life to solve the crime, but the playwright soon begins to suspect that his own creations are out to kill him...as they begin to fear it is he who is out for them.

Then, the show began, and the laughs were non-stop. Most of the time, audience volunteers were on queue, but some were not, but that aspect of informality only added to the hilarity as the actors prompted for a response. All the performers knew their lines well and skillfully engaged the audience volunteers. The character I volunteered to read was the Mad Doc, and I got coaxed into being one of the Zombies. I had a blast interacting with Igor, the character who we thought stole the show, but I am not saying the other performers did not because they were all superb in their own way.

The shows are approximately two hours long, with no foul language or anything crude. The ticket is $27.00 and is well worth the price. There are other shows offered throughout the week, but Help! I think My Characters Are Trying to Kill Me is one show you do not want to miss. It was a hilariously bring the house down, feel-good time.

164 Church Street, Charleston, SC, 843-937-6453

Purchase tickets.

It was a Dickens of an Evening at the Historic Dock Street Theatre--Bravo Charleston Stage

It was a Dickens of an evening in the old French Quarter at Charleston's almost three hundred year old theatre venue. Standing on Church Street, positioned in front of the lighted, tall trees across the way, we had a magical view of the theatre doors and windows brightly lit with the colors of the season. The entranceway and box office lobby was busy with paying patrons filled with anticipation of what was yet to come. Their expectations would not be scrooged.

The original Dock Street Theatre opened in 1736. It was the first building designed for theatrical use in the Americas. Quite a privileged distinction that set it apart from all other theatres. One month after the it opened, Queen Street replaced Dock Street. However, the theatre retained its original name. The original theatre was probably destroyed by the Great Fire of 1740, along with many of the buildings in Charleston's French Quarter.

In 1809, it was replaced by Planter's Hotel, where wealthy planters stayed during Charleston's horse-racing season. In 1835, the wrought iron balcony and sandstone columns of the Church Street facade were added. After the Civil War, the Planter's Hotel fell into disrepair. It became a derelict building and nothing more than a shell slated for demolition.

In 1935, it went through a restoration. The new theatre was constructed within the shell of the Planter's Hotel. The new stage house and auditorium were modeled after eighteenth-century London playhouses. The local carpenters, who were put to work as a part of this Depression-era relief effort, utilized locally grown and milled native black cypress for the beautiful warm, wooden interior and used mantels salvaged from the Radcliffe-King Mansion. The theatre's second grand opening took place on November 26, 1937.

In 2007, a full-scale renovation brought the historic theater into the 21st century with state-of-the-art lighting and sound, modern heating and air conditioning, and new restrooms and seating. In addition, the theatre was made seismically secure and fully handicapped accessible. Extensive soundproofing was added to ensure that outside noises no longer intruded on performances inside. It reopened in March 2010, ready to dazzle and gratify its patrons with a taste of Broadway.

Dock Street Theatre became the home for Charleston Stage, its resident performing arts group, in 1978. Ironically, their first show in 1978 was a production of A Christmas Carol. However, this year's production is brand new, with all new sets, costumes, and updates to Wile's original script adaptation. The stunning scenery features a dozen hand-painted drops and sets created by Guest Scenic Designer Susan Crabtree, faculty member of the North Carolina School of the Arts and one of America’s premier scenic painters. Over 80 original, colorful costumes have been built by Charleston Stage's professional costume staff and designed by Guest Costume Designer Janine McCabe, chair of the College of Charleston’s Department of Theatre and Dance. While the score features many familiar traditional carols, Charleston Stage's Resident Music Director, Sam Henderson, has created new and bright arrangements and orchestrations for each number.

Guest Actor Gabriel Wright, a former Resident Actor with Charleston Stage, now appearing on behalf of the Actor's Equity Association, played the squeezing, wrenching, grasping, clutching, covetous, old sinner Ebenezer Scrooge, who was solitary as an oyster. Gabriel walked the walk and talked the talk of the old, cold-hearted miser with masterful poise. He was surrounded by an energetic and up-to-the-task cast consisting of Cody Elsensohn as Bob Cratchit, Raymond Cronley as Fred, Brietta Goodman as The Ghost of Christmas Present, K'nique Eichelberger as Young Ebenezer and The Ghost of Christmas Future, Louie Chaplin Moss as Tiny Tim, and Jenna Barricklo as Belle.

Other talents included Acting Ensemble Member Colin Waters as The Ghost of Christmas Past, and former Resident Actor Patrick Brett as Jacob Marley. Over twenty additional actors from the Resident Acting Company, Charleston Stage Performance Troupe, and local community rounded out the cast as the Ensemble.

There is nothing humbug about Charleston Stage's heartwarming adaptation of  Charles Dickens timeless story of redemption and transformation. You will be thoroughly entertained by its colorful and artistically presented production. Without a doubt, the cast successfully connected with their appreciative audience. I will give you this one parting valuable hint, pay close attention to the initial arrival of each ghost.

135 Church St, Charleston, SC

Nov. 30 - Dec. 21, 2022

Purchase tickets.

The Best of Edgar Allan Poe--Piccolo Spoleto's Spellbinding "Cognac and Roses" at Threshold Repertory Theatre

You could see it in his eyes. You could see it reflected in his demeanor's shadow. Dark was the medium of his world, the source of his intellectual power. His words were a palette of shades of black. The chill of dusk was the beginning of his day, and the warmth of dawn was its end. Thus was the story and life of Edgar Allan Poe, and what a poem he brushed, what a picture he versed.

Edgar Allan Poe left his imprint on Charleston, particularly the sands of Sullivan's Island, where he served in the military for 13 months at Fort Moultrie. The Gold Bug, his most famous story written 15 years after leaving the Lowcountry, takes place on the island.

It is believed his ghost walks the beach of Sullivan's Island, as recounted in a 2005 encounter with a 26-year-old woman on a family vacation. While picking up shells, she noticed a gentleman, standing fully clothed, watching the ocean waves break on the shore. She found his appearance to be odd. He wasn't dressed for a day at the beach, and his long dark hair and very dark eyes made him stand out in her mind as a unique presence. He approached and spoke to her about the shell she was holding in her hand. Bending down to pick up another to inquire about it, the gentleman vanished. While at Poe's Tavern that evening, she identified the mysterious man by the portrait on the restaurant's wall.

The Baltimore Sun's Laura Lippmann wrote an article in 2000 about an individual who would become known as the "Poe Toaster." From around 1949 until 2009, this somebody—or somebodies—toasted the famous author, who was born a hundred years earlier in 1849. They usually came sometime between midnight and 6 a.m. Even though a small group of onlookers watched his ritual, no one ever tried to unmask the visitor. The traditional uniform of the "Poe Toaster" was an all-black outfit with a white scarf and big hat. This somebody would leave three red roses and a bottle of cognac on his grave.

The story of the "Poe Toaster" is the basis for Threshold Repertory Theatre's presentation of Cognac and Roses: A Toast to Edgar Allan Poe. A dark and dreary night of dramatic retellings of Poe's most famous works of literature will be presented, including The Raven and The Tell-Tale Heart. Expect performances so dark and terrifying they will have your heart beating so hard you'll be sure it was buried under the floorboards. The cast includes Paul O'Brien, Ernie Eliason, Andrea Catangay, Tara D Holwegner, and Jonathan Quarles, all orchestrated by veteran director Chrissy Eliason.

Paul O'Brien and The Raven

Paul O'Brien set a high bar for the evening with a dramatic opening tribute to the "Poe Toaster" and followed it with an emotionally superb rendering of the Raven. Without missing a beat, the rest of the cast delivered absorbing, passionate renderings with the metaphorical power to arouse Poe from his grave to bestow his approval with a standing ovation.

Tara D. Holwegner and The Lake

Andrea Catangay and Dream Within a Dream

Ernie Eliason and The Black Cat

Jonathan Quarles and The Tell Tale Heart

If you love Edgar Allan Poe, this is a must see, spellbinding through and through. Remaining shows are June 10 at 7:30 pm and 9:30 pm, with a final performance June 11 at 3:00 pm--purchase tickets.

You can see Poe today, though neither in the flesh or the spirit. Go to Poe's restaurant on Sullivan's Island, stand before his mesmerizing portrait painted on one of its walls, and if you dare, look him in the eyes. Take care you do not get sucked into one of his nightmares.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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