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.

A Comedic And Equally Heart-Wrenching Pilgrimage--"She Kills Monsters"

Rise up out of your dungeons all you once upon a time nerds and geeks of D and D. Rise up to unabashedly revel in your freedom and independence. Yes, rise up to celebrate your impact on "the social and intellectual structure of our world" with the Flowertown Players presentation of Qui Nguyen's comedic and equally heart-wrenching pilgrimage into the part real and part imaginary She Kills Monsters now showing at the James F. Dean Theatre. Hey, girls can be nerds as well as super heroes.

Qui Nguyen is a playwright, TV writer, pop-culture nerd, and a professed geek presently working for Marvel Studios. He is the Co-Founder of the OBIE Award-winning Vampire Cowboys of New York City. He is known for his innovative use of pop-culture, stage violence, puppetry, and multimedia. Branded as a break-the-rules writer, Nguyen produced the script for She Kills Monsters in 2011.

Set in 1995, Agnes Evans was making preparations to leave her childhood home in Ohio. Her parents and only sister were killed in an automobile accident. While packing her sister's belongings, she came across a notebook containing a Dungeons and Dragons quest written by Tilly. It was a world unfamiliar to Agnes.

While growing up, Agnes had nothing in common with her nerdy little sister--their dissimilar interests took them on different paths. As a result, she was now painfully confronted with the realization she knew nothing about Tilly, leaving a distressing void in her heart and a aching need to fill it. With hopes of filling the regrettable void, she seeks out and finds a "big where it counts" teenage Dungeon Master named Chuck to guide her through the D and D escapade. Together, they rolled the multi-sided dice to the discomfort of Agnes' insecure boyfriend.

Tilly comes to life onstage as "healer of the wounded and the protector of lights" Tillius the Paladin, an armor clad teenage heroine wielding a big sword. She is accompanied by a pointy eared she-elf named Kaliope and a bitchy warrior demon named Lilith. Needless to say, Agnes' initial introductions to Tilly's comrades in arms is contentious and bewildering as to why her sister would choose such companions, but she is driven by the need to understand. Agnes joins her sister's quest.

Along the way, the four of them hook up with a rude, cheese eating, TV watching demon lord named Orcus sporting horns and wearing brown, furry leggings. Set to rock music, they battled bugbears, a nasty winged fairy, an assortment of beasts, a gelatinous green cube, and blood-sucking demon vamps wearing cheerleader outfits by the name of Evil Tina and Evil Gabbi.

As Agnes moves between the real, her life as a teacher at the school attended by her sister, and the imaginary, the D and D quest, she discovers the companions and combatants of her sister's role playing fantasy have real life counterparts. The eye opening revelations are at times unsettling but also enlightening as she comes to know the geeky sister she avoided growing up.

I never had an interest in playing the game Dungeons and Dragons. I don't even recall being aware it was a board game that you played with dice. Adding to that, it was my first exposure to She Kills Monsters and its creator. So, when the play began, I was somewhat in a chilled fog. I didn't begin to warm up to the play until I became tuned into its unfolding poignant social message.

The plays successfully functional stage and props, dominated by misty laden greenish rock walls and accented by a changing array of colorful lights, set the necessary moods as the players fought and transitioned between the real and the imaginary. The wide variety of fanciful costumes skillfully designed and engineered by Nicole Harrison visually enhanced the fantasy and aided in the believability of the characters and their relevance within the story line. The numerous choreographed sword play and battle scenes set to the sounds of rock music were entertaining, but at times, a tad over dramatized.

Emma MacMillan was without a doubt emotionally committed to her character Tilly Evans and it showed at the end when the appreciative audience gave a standing ovation for a performance well done. Equally inspiring, Amanda Campeau as Agnes Evans was engaging, entertaining, and a pleasure to watch. Tilly's two cohorts, Kaliope and Lilith, were played by Jenny Aubrey and Michelle Jones. Lilith was by far the most intimidating of the quest characters both in dress and persona and Michelle projected that well, while Jenny projected Kaliope's softer side of female super power with grace.

As personalities go, Erik Brower was the perfect choice for the cheese consuming, testosterone driven, hairy-legged Orcus. Margaret Nyland superbly handled the plays narrative and as the in-your-face, cruelly honest Vera, audaciously charming. Ethan Goodman fit the bill as the perplexed Miles and cracked me up as he strutted around the stage as the gelatinous green cube. Zach Rettig was the paradigm of a Dungeon Master and Robert Venne played Steve, who appeared from time to time for no apparent reason. As for Evil Tina (Rebecca Sims) and Evil Gabbi (Minna Schubert), they were just plain evil.

Director Josh Bates and Crew get a thumbs up well done venture.

She Kills Monsters is a D and D themed play filled with comedic one liners and jaw dropping references wrapped up in a slice of cheese served on a silver platter of love, loss, regrets, acceptance and closure. I leave you with this warning: if you tend towards the emotional, you just may shed a tear after all is said in done.

Get your tickets for She Kills Monsters now showing through February 4th.

"Oliver" Will Warmly Pick The Pockets Of Your Heart--Now Showing At the James F. Dean Theatre

First published as a serial from 1837 to 1839, Oliver Twist became Charles Dickens second novel in 1838. A story about an orphan named Oliver, the boy starts his life in a cruel workhouse where he is branded as a troublemaker after asking for more gruel and then sold into an apprenticeship with an undertaker. He escapes from there and travels to London and meets the Artful Dodger, a member of a gang of juvenile pickpockets led by the elderly criminal Fagin. As the story progresses, a bit of a "twist" is revealed--a turn in the plot that may have influenced Dickens in the naming of his main character.

Actually there are varying explanations for the name Oliver Twist. In the story, Mr. Bumble randomly picked the name Oliver for the orphaned child and used an alphabetical system to come up with Twist. Twist could also be a play on the words "all of a twist." However, Oliver and his name may have been based on a young workhouse boy Dickens knew while growing up named Peter Tolliver.

In 1960, the story was loosely turned into an English musical called Oliver with music and lyrics by Lionel Bart. It premiered in the West End of London and enjoyed a successful long run. In 1963, David Merrick brought Oliver to Broadway. Since, there have been numerous tours and revivals, and now has found its way to the humble stage of the James F. Dean Theatre.

The Flowertown Players successful and entertaining opening night production of Oliver was a coordinated group effort of 30 youngsters and adults nicely choreographed and musically orchestrated by director Jenney Aubrey and Company. With a Victorian London skyline painted across the upper portion of the stage for a backdrop, Kem Welch's realistically appointed set, constructed by Chrissy and Ernie Eliason, fostered the crucial atmosphere for this period piece based off of the inspirations and recollections of England's beloved writer of the 1800's.

As the story of Oliver's life and travels were paraded across the stage from the workhouse scene to the streets and establishments of Gothic London, the constantly changing scenes were managed with precision by Ashley-Ann Woods and Crew.

Aiding visually to the play, Nicole Harrison's cleverly designed costumes from the workhouse orphans to Mr. Brownlow are imaginative and fittingly portray the dress and styles of London's 1800's social hierarchy as Charles Dickens would have seen it.

The capable cast of performers infused Oliver with high energy and dedicated passion. It is unmistakably obvious each and everyone of them thoroughly enjoy doing the show and go all out to sell the plays song and dance routines.

Jonah Streff, in his first singing role with the Flowertown Players, is the epitome of Oliver. Meaning, if I were to picture in my mind what the real Oliver would have looked liked according to the imagines of Dickens, Jonah would be it, and of course, the costume greatly helped in this regard. He hit the right notes in his rendition of "Where is Love?", when Oliver was forced to sleep on a coffin and his collaboration with Sam Daniel, The Artful Dodger, in "Consider Yourself", when he is invited by the kindly pickpocket to come and live in Fagin's lair--definitely a play favorite and admirably executed by Sam Daniel.

Fagin (Bill Terranouk) is an elderly criminal who oversees the gang of young pickpockets. When Oliver is brought to him, he teaches the boy their ways. Cloaked in a tattered overcoat and haloed in a briny appearance, Bill Terranouk, in a crusty grumble, delivered his signature songs of the play "You've Got to Pick a Pocket or Two" and "Reviewing the Situation."

Some of the more unsavory characters Oliver interacts with include Mr. Bumble, the workhouse manager, played by Fred Maidment and Widow Corney, played by Kate Berrio, both heartless and greedy individuals. Fred and Kate are paired in one of the more humorous songs of the play, "I Shall Scream", where Kate showcased her expressive facial skills ranging from flirtatious to standoffish. Then, sold by Mr. Bumble, Oliver comes in contact with the equally unpleasant Mr. and Mrs. Sowerberry (Charles Soderlund and Gretchen Gabriel). But the most odious of the characters is the brutal Bill Sykes (Jason Olson), introduced into the play by the song "My Name". He commits the worst of offenses, murder.

Not all the characters Oliver confronts are interested in what they can do to him rather than what they can do for him. Mr. Brownlow (Chad Estel), a victim of the young pickpockets, and Bet (Casey Dorman) ultimately seek Oliver's best interests. Mr. Brownlow is a key part of the twist in the story line.

Finally, there is the unfortunate Nancy, who also has a tender heart. Unfortunate because she loves Bill Sykes and tender because she ultimately seeks to do right by Oliver and makes the ultimate sacrifice. Nancy is played by Sarah Daniel, who is no stranger to the stage and is the lead singer in a local Summerville band. She partakes in two of the plays favorite songs--the lighthearted "Oom Pah Pah" and the highly emotional "As Long As He Needs Me." One, bringing out her playful side and the other, her passionate side--highlighted by powerful vocals.

Honorable mentions goes to Ben Soule for his portrayal of Charley Bates. Ben was a delight to watch and his enthusiasm was indisputable as was the entire group of young actors in the opening number of "Food Glorious Food."

Oliver is the Flowertown Players at their best. It will warmly pick the pockets of your heart and leave you repeating the orphan boy's opening words "Please, sir, I want some more."

Showing June 3-19. Purchase tickets for Oliver.

'I Hate Hamlet' Opened April 15th At The James F. Dean Theatre--A Ghostly Great Play With Gregarious Implications

Unlike some of the older surviving buildings in and around the town of Summerville, the James F. Dean Theatre is not known to have any spectral inhabitants. That is, not until recently and more specifically, April 15th, opening night for Paul Rudnick's 1991 wacky play I Hate Hamlet--and its arrival unleashed a stage load of laughs.

With his doublet all unbraced, no hat upon his head, his stockings fouled, ungarter'd, and down-gyvèd to his ankle, and parading all the faux pas amassed through his life, but clothing can be, and often is misleading, this specter has come back for a noble reason. This specter is the onetime famous actor John Barrymore (JC Conway).

TV-star Andrew Rally's (Tyler Van Lott) hit medical series has been cancelled. His glamorous elderly agent, Lilian Troy (Arlena Withers), has encouraged him to give the stage a try and casts him as Hamlet at Shakespeare in the Park--a role for which John Barrymore was famous. He makes the move from L.A. to New York where his kooky real-estate broker, Felicia Dantine (Heather Jane Logan), convinces him to acquire an old brownstone ironically once owned by the famous actor. Andrew hates the idea of playing Hamlet, but his longtime girlfriend, Dierdre McDavy (Melissa Frierson) loves it. Adding to Andrew's frustrations is the fact Dierdre has been tenaciously holding onto her virginity, not thoroughly convinced he is the one she wants to marry, but hints his acceptance of the role is seductive and the very thing that could end their long celibacy.

With Andrew, Dierdre, Felicia, and Lilian all together at the brownstone, Lilian reminisces about her brief romance with John Barrymore many years ago and Felicia, who claims to talk to her deceased mother, suggests they have a seance to summon the ghost of John Barrymore.

After everyone leaves and Dierdre retires to an upstairs bedroom, with blinking lights and a rumble of thunder, a slightly inebriated John Barrymore appears toting a bottle of champagne and spouting an ego even more pretentious than his black tights. He presses Andrew to accept the role and fulfill his destiny. Compounding things further, fast-talking Gary Lefkowitz (Robert Venne) arrives trying to lure Andrew back to L.A. with a high-paying contract for the pilot of a lame new sitcom. With all the necessary components now in place, Andrew clashes with his conscience and Barrymore's sword. Will the summoned ghost of John Barrymore succeed at helping Andrew appreciate the art of the curtain call, not to leave out life and love? Will Andrew fill his pocket book or nourish his soul?

Under the watchful eye of Director Julie Hammond, all-in all it was a triumphant opening. With a staircase and upper balcony allowing for various height levels and free movement, the beautifully appointed stage furnishings evolve much like Andrew Rally, from the modern drab to the Victorian, setting the appropriate mood after he begins to embrace the inevitable and dawn the necessary black tights. Key to the success of the play, the diverse cast did an able job at timely delivering the plays witty zingers and comical absurdities, which was confirmed by the opening night audiences responsive laughter and applause. Nicole Harrison dressed the cast for success.

In her inaugural role as Lillian Troy, Arlena Withers illustrious theatrical experience shined through. From the moment she appeared draped in a fur coat and puffing on a cigarette, she filled the stage with a flamboyant German accent and stylish grace. Rightfully deserved of an honorable mention, the touching scene where Lilian reconnects with John Barrymore and the two of them playfully spar with one another about their brief romance was graciously executed by Arlena.

Playing the incarnation of the legendary actor, JC Conway confirmed John Barrymore's black tights, though liberating, is not a preferred look for most men, but when it came to his shoes, he filled them nicely. When he wasn't juggling glasses of booze and wooing the women, he showcased his sword skills and how to bow to an audience. JC's shining moment came when he passionately delivered John Barrymore's deeply moving and tragic monologue in defense of his decadently tainted and esteemed acting career. You would've heard a pin drop.

Robert Venne was a good choice for the role of Gary Lefkowitz and decently delivered some of the more thought provoking dialogue of the play when he declared television as the most evolved art form because the audience can talk, eat and enjoy commercial breaks, while theater is all about figuring out whose armrest is whose, and as for Shakespeare he said, "You can't even tell when it's good." Not to leave unmentioned, "You don't do art, you buy it."

Heather Jane Hogan's crazy exuberance once again served her well as Felicia. Her what-I-call New York Valley girl accent cracked me up. Oozing with innocence and romantic idealism, Melissa Frierson, turned in a respectable performance as Andrew's beautiful girlfriend and Tyler Van Lott's Paul Newman-like persona, boyish smirk and casual demeanor, was a suitable match for the frustrated and befuddled Hamlet consideration--qualities he aptly portrayed in his character's pity me looks.

To quote John Barrymore's ghost, don't stay at home and watch television like an American. I Hate Hamlet is lighthearted, goofy fun. It is at times deeply moving, but most of all hilarious.

Purchase your ticket at Flowertown Players April 15th to the 24th.

Director Julie Hammond and Friends

Flowertown Players 2015 Season--A Nostalgic Peek Into The Past Year

Nathaniel Hawthorne once said, "Time flies over us, but leaves its shadow behind." This year of 2015 is rapidly flying by and soon will be out of sight. Looking back over this past year, it clearly can be stated 2015 has been a highly successful one for the James F. Dean Theatre and its committed group of local actors called the Flowertown Players, who unselfishly volunteered their time to spread their wings of talent over the community of Summerville and in the process of doing so, left behind a silhouette of excellence.

Through the year, I had the pleasure and privilege of attending and photographing the steady procession of entertaining musicals and theatrical plays--a privilege for which I am truly honored and appreciative. Aside from the memories imprinted on our minds, the numerous photographs compiled through the year are a huge part of the shadow left behind.

As a tribute to the staff of the James F. Dean Theatre and the Flowertown Players, I have picked from the hundreds of photographs taken some of my favorites, which was not an easy task because there are so many favorites worthy of another look. I hope you enjoy this nostalgic peek into the past at some of the finer and funnier moments of the 2015 season.

"You're A Good Man, Charlie Brown" will be showing December 4th to the 19th to close out 2015--photos will follow. You can purchase tickets here.

If you are visiting Summerville or you plan on visiting and you love community theater, be sure to visit the James F. Dean Theatre on historic Hutchinson Square. The theater building has been around since the early thirties when it was simply known as "The Show." It is cloaked with history. The Flowertown Players were formed in 1976. Check the schedule and catch a production.

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.

"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.