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:

"Little Shop Of Horrors" Is One Bloody Good Show--Now Showing At The James F. Dean Theatre

What does the 1980's musical spoof Little Shop of Horrors strangely have in common with the classic fairy tale story of Sleeping Beauty. Well, for one, the plot eerily includes someone pricking their finger, which in turn changes their life. Second, the script contains a boy falls in love with girl element, a cranky, demanding shop owner who adopts the boy to benefit himself, and a malevolent character with evil designs. But despite these similarities, the two diverge at their climax. There is no happily-ever-after for the Little Shop of Horrors. Although, the final analysis can be dependent on one's point of view. Whatever way you may see it in the end, you will be happy you came to the James F. Dean Theatre in Summerville because Little Shop of Horrors is a bloody good show.

With a story line loosely taken from a B-rated film of the 1960's bearing the same name, the musical Little Shop of Horrors is a wacky combination of comedy horror and rock musical--lyrics by Howard Ashman and music by Alan Menken; Alan Menken ironically has a Disney connection, but Sleeping Beauty was not one of his works. Ashman and Menken use a combination of rock and roll, doo-wop and early Motown music sang by a trio of street urchins to set the scenes and tell their story.

Set in the 1960's with a Skid Row backdrop, the character who pricks their finger is a down-and-out, socially inept employee of the run-down Mushnik's Skid Row Florists by the name of Seymour. Perplexed over the dire condition of a mysterious plant he had been caring for since coming into possession of it, he accidentally pricks his finger and in the process discovers what the plant craves--blood. The realization changes his life profoundly. Audrey II, named after a fellow employee Seymour has been secretly in love with, flourishes on Seymour's finger pricking's. As it grows, so does its appetite and its demands. Mushnik's flower shop also flourishes due to the plants fame and fearful of losing Seymour and the monetary benefits to other suitors, offers to adopt Seymour. With the help of Audrey II, Seymour gets the girl and unwittingly a whole lot more. In the end, the malevolent plant's evil design is revealed.

Director Jean Gaston and Company successfully synchronize a true winner. The plays eye-popping set and props are beautifully constructed and functionally serve the scene changes well. The sound system delivered the lines and numerous musical scores with a rich clarity.

The four Doo-wop Girls, Allison Brower, Tiffany Eliason, Chanel Mariette, and Alex Shanko, delivered their harmonies in Supreme style. In his usual high energy fashion, David McLaughlin showed his musical talent and was spot-on convincing as the nebbish Seymour. In her first production as a Flowertown Player, Elissa Horrell as Audrey will win you over with her quirky Jersey girl accent and affectionate smile--loved her delivery and vocals in Somewhere That's Green. Danny Jones was a dead ringer for a Mushnik and Tyler Reed was a gas as the obnoxious, abusive dentist, Orin. Tyler also played a host of other characters in the play.

The show stealing character, and rightfully so, was the blood-thirsty, talking Audrey II, which was a collaboration between Robert Venne and Daniel Rich. Robert artfully designed the plant and operated it through its various stages of growth and Daniel provided the deep, booming, voice--at times reminiscent of Otis Redding. Watching the flawless synchronization between the two of them was spellbinding. You are totally persuaded into believing the voice was coming directly from the plant, when in reality, it wasn't. That's how good Robert and Daniel were. Daniel also made a brief appearance in the beginning as a homeless person on Skid Row.

The play is loaded full of musical favorites with a 60's flavor such as Skid Row (Downtown), Mushnik and Son, Sominex/Suppertime, and my play favorite, Suddenly, Seymour.

The Flowertown Players close-out the 2015 season with another blockbuster hit. Little Shop of Horrors was both delightfully entertaining and comically humorous. Just plant yourself in a seat and it will grow on you. I guarantee it.

Purchase tickets at Flowertown Players Little Shop of Horrors.

8PM Shows May 15th, 16th, 21st, 22nd, 23rd, 28th, 29th, and 30th

3PM Shows May 17th, 24th, and 31st

Director-Jean Gaston, Musical Director-David McLaughlin, Asst. Director-Chrissy Eliason, Choreographer-Karyn Ellis and Tiffany Eliason, Stage Manager-Alex Skipper, Assistant Stage Manager-Adriana Melendez, Run Crew-Sarah Smith and Erik Brower, Set Design-Jason Olson, Set Carpenter-Ernie Eliason, Light Board Operator-Jeff Wolf, Lighting Designer-JC Conway, Costumer-Diana Reeves.

"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.

Sassy "Chicago" At The James F. Dean Theatre In Summerville Razzle Dazzles

Chicago blew into Summerville this week with obscenely riotous results-A packed James F. Dean Theatre and a standing ovation once the two leading ladies of the show, Kelly McDavid(Velma Kelly) and Lindsay Marie(Roxie Hart), made their final appearance. After seeing Chicago advertisements plastered on billboards throughout the area, I went into this with high expectations. I wasn't disappointed.

Many may not know that the two main characters of this musical were based on the true life 1924 trials of murderesses Beulah Annan and Belva Gaertner. A reporter by the name of Maurine Dallas Watkins was assigned to cover these trials for the Chicago Tribune. Her resulting sensational columns documenting these trials proved so popular she decided to write a play based on them. "Roxie Hart" was patterned after Beula Annan and "Velma Kelly" after Belva Gaertner. Lawyers William Scott Stewart and W. W. O'Brien were models for the character "Billy Flynn". Both ladies were acquitted of their murders just weeks apart and Chicago was born.

The Flowertown Players presentation of this highly acclaimed and sizzling Broadway hit with its Academy award-winning film version was nothing less than spectacular for Summerville's intimate theater venue. I was thoroughly captivated by Kelly McDavid's rendition of Velma. Her body language was convincingly brash and facial expressions definitively sassy, exactly what you would expect from a cabaret singer accused of murder. Her portrayal was unshakably confident and her dance routines were executed with audacious swag.

On the other hand, Lindsey Marie exuded the appearance of innocence, a dead-ringer for Roxie, and that's no play on words. Lindsey's scene with Brendan Kelly as Billy Flynn portraying Roxie's press conference turned into a ventriloquist act with Billy dictating a new version of the truth to the press while Roxie mouthed the words was executed impeccably and one of the more engaging highlights of the play, in my humble opinion.

John Black played timid Amos Hart, Roxie's husband, a.k.a. 'Mister Cellophane should have been my name. Mister cellophane cause you can look right through me, walk right by me, and never know I'm there'. The scene where John sang this song was another highlight of the night as was Kristen May's(Mama Morton) execution of "When You're Good to Mama".

From "All That Jazz" to the "Finale" the whole cast put on a highly energized performance with know let up. The punch lines were delivered successfully. The stage was simple, but appropriate. The live orchestra with trumpet, trombone, saxophone, and percussion added to the realism and jazziness. Victoria Malone and Linda Wills accompaniment on the keyboard was superb(It's not easy to play simultaneously on the same keyboard and stay in sync.) Congratulations to JC Conway and the production team for a successful, razzle dazzle evening.

Thank you to the Flowertown Players for my front row seats, I was up close and personal-close enough to smell the perfume and see the sweat. Go see it-purchase tickets. "What can I say, it's Chicago."

Flowertown Players Present "Much Ado About Nothing"- A Humorous Shakespeare Play Done With Pirates

The first day of the Flowertown Festival had ended, which I had attended earlier. The Smoke at the Lodge was underway and I could hear the music of the bands playing across the street. I was now back in town to attend a play at the James F. Dean Theatre called Much Ado About Nothing. I planned on enjoying a glass wine before the show at Accent on Wine. I was surprised to see there were numerous parking spaces available on Hutchinson Square. I made the short walk from where I parked to Accent on Wine. It was packed with patrons. I engaged in some brief small talk and savored a glass of Pinot Noir. I was now primed and ready for the evening.

Much Ado About Nothing is a comedic play by Shakespeare about two pairs of lovers with two different approaches to their relationships and the part their associates play in their success in love. Benedick's and Beatrice's relationship is somewhat antagonistic because of their outspoken disdain for love and marriage. Claudio and Hero are two young people who are rendered near speechless in their love for one another, but there is villainy a foot. This is pretty much the premise of the play. Now, present all of this with pirate's as the characters. But these are sophisticated pirates and you will hear no "arghs" or "shiver me timbers".

Shakespeare's plays can be very daunting with its voluminous dialogue and biblical dialect. It takes a little time to acclimate your ears to the vocabulary and to navigate through the interchange to understand what is unfolding and if you pay attention, in time it makes complete sense. The last time I heard this much Shakespeare, I was watching Star Trek VI: The Undiscovered Country.

The cast of Much Ado About Nothing handled the Shakespearean lingo eloquently. There were no noticeable hiccups or bumps in their elaborately interconnected conversations and with all the action and movement on stage throughout the play, it all came off without a glitch. If there were any glitches, the cast and crew covered them very nicely. Chrissy Eliason, stage manager, did an excellent job in managing its coordination.

The play has a very large cast and its successful presentation was due to all involved. Cast members, Ernie Eliason(Don Pedro), Brent Dorwart(Claudio), Shannon Marie Johnson(Innogen), David Hatch(Benedict), Emma Scot(Beatrice) and Tiffany Eliason(Hero), portrayal of their characters was engaging. The sparring scene where David Hatch and Emma Scott crossed blades was entertaining and well choreographed.

I particularly enjoyed Adrianne Dukes's(Dogberry) and Dody Jean Gaston's(Verges) collaboration on the constable and the constable's partner. They reminded me of Laurel and Hardy at times. Adrianne's dialogue was particularly tricky since it consisted of malapropisms, which is defined as the use of an incorrect word in place of a word with a similar sound, resulting in a nonsensical, often humorous utterance, also known as a Dogberryism, so named for this character. She was also amusing both in her acting and costume.

Not to leave unmentioned, Ernie Eliason and Robert Venne did a top notch job on the elaborate scenery with its crow's nest. The portrait was a nice touch. I raise a mug of grog in a toast to the whole cast, crew and director, Alex Smith, for their hard work and a pleasant evening.

Spend a night at the James F. Dean Theatre in the coming week. There isn't much you can do about nothing, but Much Ado About Nothing is worth the effort to come on down to the theater for an evening, especially if you like pirates and Shakespeare. For a unique night of fun, the Flowertown Players are offering a Dress-Like-A-Pirate Night on Thursday April 11th. Dress up like a pirate and receive $10 off at the door. Purchase tickets here.