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

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

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

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

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

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

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

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

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

Purchase tickets here.

I attended the "Friends and Family" showing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

The Flowertown Players Open Their Grounbreaking Performance Of Rent-A Portrayal Of Love And Loss

The Flowertown Players sailed into unfamiliar waters Friday night with the opening of their
presentation of the rock musical Rent and navigated their ship successfully into the Port of Phenomenal.

Whether you agree or disagree with the moral implications of the play, it dives into the harsh and heartbreaking realities a group of struggling-to-find their-way-in-life young musicians and artists are forced to deal with while living in New York City's Lower East Side during the thriving days of Alphabet City and the Bohemian lifestyle. The harsh reality of struggling with the lack of money just to pay rent and the heartbreaking reality of finding love in the face of the AIDS virus. It was a world Johnathan Larson, writer of music and lyrics, was familiar with and that is what it is all about.

Congratulations to the director(Mark Gorman) who, for this ground breaking step by the Flowertown Players, pulled together from the available pool of talented local actors and actresses a cast that realistically mirrored the raw passion of the original play's characters and presented a vocally powerful performance.

The complicated choreography of the play, from my point of view, was executed flawlessly, especially during the scene of the party at the Life Café - my favorite. I liked the bare bones look of the background and the different colors from the lighting accentuated the atmosphere on stage.

The live musical ensemble, which I believe to be the foundation of a musical like this, was burdened with a heavy responsibility. If they make a mistake, the whole flow of the play could be in jeopardy. But they did not miss a beat and greatly attributed in a large way to the play's successful opening night.

I first met Cody Smith back when he played the vicious villain in Wait Until Dark and his acting impressed me. Then I saw him play Danny in Grease where I experienced his vocal skills for the first time and I thought he was great. But as the struggling musician trying to find that one inspirational song, Cody(Roger) blew the roof off the house with his explosive vocals. Andrew Turnball as Mark was equally strong and harmonized well with Cody. Equal to the task was Giulia Marie Dalbec(Mimi), Michelle Smith(Maureen), Jason Marion(hauntingly believable as Angel), Kevin J. Thorn(Collins), Alexandria Rashanko(Joanne), and Tyler Reed(Benny).

There were many highlights to speak of and in the end drew a resounding standing ovation. Here are a few of my picks. The tender but hesitant exchange between Roger and Mimi in Light My Candle was beautifully portrayed by Guilia Marie and Cody. You could feel the intensity of the emotions build as the scene progressed toward the climatic reluctant rejection. Guilia Marie additionally executed a superb dance routine when the beautiful Mimi attempted to seduce Roger in Out Tonight. Michelle drew a huge applause from the audience with her humorous and provocative performance of Over the Moon. The entire cast was riotously outstanding when all the friends gathered at the tables to celebrate their Bohemian lifestyle.

Commendations to JC Conway, Heather Pallay and staff for boldly going where you hadn't gone before. You have set the bar high with this one. It will be a tough act to follow, but I have confidence you will meet the challenge.

Purchase tickets for the next performances.

The Specter Of Change Arrives In Summerville Once Again-A Welcomed Visit

Change has been a persuasive specter in Summerville, appearing at times in different forms and making its presence felt over the passing years. Transformation, metamorphosis, development, modification, transition, contraction, refinement, destruction and reconstruction are just some of its hauntings. Sometimes visitations have been spontaneous and sometimes coerced, sometimes unwanted and sometimes welcomed.

This specter of change has returned to Summerville recently, but this visitation has been coerced. And if your powers of observation are acute, you would have perceived its presence downtown, taking the form of reconstruction.

Our community theater is getting a long needed facelift with a new marquee as the primary feature. This will be the third marquee since the theater was first built around 1935. The second marquee change took place during its much needed renovation when the theater became the home for the Flowertown Players around 1976. The new marquee will be a return to the look and feel of the original with some slight differences.

As part of the change, the brick flower boxes have been removed and needed repairs to the masonry are being addressed. If everything goes according to plan, the new marquee will make its debut within the next two weeks - just in time for the Flowertown Players next production of the Tony Award for Best Musical and the Pulitzer Prize for Drama winning musical Rent.

Rent, music and lyrics by Jonathan Larson, is based loosely on Giacomo Puccini's opera "La bohème." The off-Broadway show debuted exactly 100 years after Puccini's opera of 1896. On Broadway, it had a 12-year run of 5,123 performances and became the ninth longest-running Broadway show at the time. The production grossed over $280 million.

With their presentation of Rent, the Flowertown Players will be venturing into uncharted waters - it deals in adult rated material. The setting of the play is in New York City's Lower East Side during the thriving days of Bohemian Alphabet City, the artsy avant-garde neighborhood of marginalized artists, writers, journalists, musicians, and actors of Manhattan. Bohemianism was the practice of an unconventional lifestyle and Bohemians were associated with anti-establishment political or social viewpoints, which often were expressed by artists, writers, journalists, musicians, and actors through free love, frugality, and voluntary poverty.

This production of Rent follows a year in the life of a group of these impoverished young artists and musicians struggling to survive in that Lower East Side environment of New York City - falling in love, finding their voice and living for today. The cast consists of 20 of our locally dedicated actors.

On my recent visit to the James F. Dean Theatre, I got a preview of the near-completed set and a peek at Mark Gorman, Artistic Director of South of Broadway Theatre Company, and JC Conway working through procedures involved in setting the final mix of the scripts lighting cues. The play will open Friday, January 17th. I look forward to seeing some of you then and everyone else stay-tuned for my after-opening night review.

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."

Spoleto and Piccolo Spoleto Festivals Showcase Charleston's Charisma and Charm-Pick Your Event

It's Spoleto time in historic Charleston. Charleston showcases its charisma. The Spoleto Festival and its complement, Piccolo Spoleto, begins May 24th. The Spoleto Festival is patterned after a yearly festival held in Spoleto, Italy called the Festival of Two Worlds.

Charleston was chosen by the festival's founders as the perfect counterpart of Spoleto because it mirrors the classic charm of Spoleto as well as its wealth of preserved architecture, intimate theaters, natural beauty, churches and other charming performances spaces. Although compact in size compared to other U.S. cities, Charleston's closeness allows for the entire city to be submerged into the festivities, yet it is cosmopolitan enough to provide an enthusiastic audience.

The main difference between the two festivals-Spoleto concentrates on international artists where Piccolo Spoleto concentrates on artists of the Southeast. Other standout features of Piccolo Spoleto-It provides access to the festival for every person, especially children and half of its events are admission-free. Some examples of free outdoor concerts include the Sunset Serenade concert behind the U.S. Custom House featuring the Charleston Symphony Orchestra, the Children’s Festival, the Memorial Day Concert, and the Piccolo Spoleto Finale at Hampton Park.

A favorite of mine is the Piccolo Spoleto’s Sand Sculpting Competition. You can enjoy the natural beauty of one of Charleston's barrier island beaches and express your appreciation for art.

At times, I have been known to dig around in the sand to see what my imagination could come up with. Once, while vacationing on  Estero island, I conjured up a sand sculpture of a man buried in the sand. An older couple passing by asked me if I sculpted for a living and thought I worked for the resort. Come and try your hand for the fun of it or just come on down and see what creative minds and talented hands can do with the shaping and sculpting of sand. Isle of Palms, Front Beach is the place. June 1 from 9am-12noon is the time. Admission is free. Hopefully the rain stays away.

Two Spoleto events I have been eyeing are Rosanne Cash at the TD Arena at College of Charleston June 2 at 7:30pm and The Red Stick Ramblers at Middleton Place, June 9 at 8:30pm. Rosanne Cash's music career has spanned three decades. She has a sound that blurs the lines between country, rock, roots, and pop. Eleven number one singles, a Grammy and nominations for twelve more, and three books including the bestselling Composed are among her achievements. Recently, her endeavors have turned toward the South, her ancestry and the people. The finale at Middleton Place features the Red Stick Ramblers known for their unique hybrid of Cajun, honky-tonk, and swing. Enjoy craft beer at the Finale Beer Garden located at the Pavilion and sample the food. A spectacular post-concert fireworks display will bring the Festival to its traditional celebratory close.

Forever Plaid at the James F. Dean Theatre February 1, 2013-Riotous Fun For All

In the 1950's, I was very young. At most, by 1959 I was 10 years old and in elementary school grade 5. Prom night for me was yet in the distant future. Unknown to me at the time, as I hula hooped my way to fame and batted my wiffle ball around my yard, I would be part of a generation that would usher in a time of great cultural change, both socially and morally. Yes, I hula hooped and I was very good. Poodle skirts, greased quiffs, and brightly colored clothes were popular. The infamous bikini was beginning to make its appearance.

The music of the time reflected both the changes that were being nurtured while tentatively still holding on to the societal norms of the past. The Beatles were an English rock band quietly making a name for themselves in the clubs of Liverpool in preparation of setting the music world on fire. This was the backdrop that inspired the off-Broadway musical revue written in 1990 by Stuart Ross in New York called Forever Plaid.

The Plaids were a quartet of high-school chums with dreams of recording an album. Their aspirations ended in a collision with a bus filled with Catholic schoolgirls on their way to see the Beatles' American debut on The Ed Sullivan Show. The play begins with the Plaids returning from the afterlife for one final chance at musical glory. Standing before a packed house, the four of them apprehensively evaluate their unexpected predicament and seized the moment.
 

With plaid bow ties and cumber buns, John Black(Jinx), Robert Culbreth(Francis), Jonah Klixbull(Sparky), and Christopher Williams(Smudge), each with a their own distinct and unique personalities, took to the stage on the night of February 1st in the James F. Dean Theatre and won the hearts of the largely senior audience who gave them a resounding standing ovation at the end. They sang a long list of songs near flawlessly accompanied by Richard Davis on the piano and Ken Gee on the bass. Their comedic choreography was humorous and at times down right hilarious. Robert, nice touch on the short legged pants.

A sincere actor's commitment is to give their best performance regardless of the size of the crowd, but any actor will tell you when a theater is packed out and aroused it lifts them to higher levels of empowerment. To quote one of the cast members,  "The audience was energized, so we were feeding off their energy."

At one point, they pulled an apprehensive young girl from the crowd who graciously submitted and surprisingly danced very well. It was equally amusing to watch the older couples in the audience thoroughly enjoying themselves. My friend, who is not easily impressed, couldn't resist the contagion and added a few robust chuckles to the chorus of laughter. A few of my favorite songs performed were Perfidia, Sixteen Tons, Jamaica Farewell, and Matilda, Matilda.

Congratulations to the entire cast and production team for a thoroughly enjoyable evening. Despite the fact many of the songs were unknown by me, after all I was just a young kid in the 50's, this was by far one of the more entertaining productions released by the Flowertown Players. I recommend it to all. Go to Forever Plaid for show times.

After party at the Ice House with the cast