It Is The Season For Tall Tales Of The Unexplainable--Two Old Hotels And Two Famous Ladies

It's that time of year again, the month of October. The moment in the calendar when the warmth from the light of day begins to sell out and the cool from the dark of night begins to cash in. Yet, the chill you feel brushing over your skin as the sun disappears into the blackening shadows of the fading day may be more than a change in the temperature. It's the perfect environment for telling tall tales dealing in the unexplainable and old hotels with storied pasts provide the best material. Let's check into two North American hotels where the promise of a sleepless night is a selling point.

Just an oyster toss form Charleston and located in Asheville, NC, the Grove Park Inn opened on July 12, 1913. In the decades to follow, it has become one of the South's most famous and highly venerated resorts with a long tradition of exceptional service and hospitality. Presidents William Howard Taft, Woodrow Wilson, Calvin Coolidge, Herbert Hoover, Franklin D. Roosevelt, Dwight D. Eisenhower, Richard M. Nixon, George H. W. Bush, William J. Clinton and Barack H. Obama along with notable personages, such as Harry Houdini and Thomas Edison to name a couple, have crossed its threshold along with many other visitors who came to bask in the spectacular views and revel in its lush amenities. One of those visitors, a young woman, who arrived one evening many years ago, has never left. She has become known as The Pink Lady by the Inn's staff.

It was the early 1920's--the decade of jazz music, speakeasies, flappers, and a dance craze called "The Charleston". The retreating sun's orange and red rays were filtering through the ghostly haze of the Blue Ridge Mountains and settling on the tree tops of Asheville just below the granite clad Grove Park Inn.

A young woman entered the Inn's Great Hall, secured a room at the lobby desk, and checked into room 545 where she put on a pink ball gown and waited for her love interest to arrive. Shortly thereafter, a message was delivered. The elegantly dressed lady left the room, positioned herself at the fifth floor balcony overlooking the Palm Court atrium, and flung herself over the rails ending her life. As the story tells, this was not an ordinary rendezvous. Her lover was a married man who decided to call an end to their affair that fateful night.

That account is just one version of the story. According to the Asheville Paranormal Society, the young woman, named Katie, was pushed from the upper floor of the Inn onto the stones of the Palm Court atrium. It seems she was a servant in a wealthy aristocratic household and her lover was the master of the house who had a reputation to protect. Katie had become an inconvenience. She was pregnant.

Picture courtesy of Ghost Hunters of Asheville

Whatever the case may be, since that tragic night the young woman has been seen by staff and guests in the form of a pink mist, or sometimes as a full-fledged apparition appearing in a pink ball gown throughout the Grove Park Inn, but with a particular attachment to room 545.

The apparition of the Pink Lady is also said to enjoy playing small pranks. She's been blamed for lights, air conditioners, and other electrical devices turning on and off by themselves. She seems to enjoy rearranging objects in the rooms. It's also been said that she will occasionally wake up a sleeping guest with a good tickling on the feet.

The Grove Park Inn has dedicated a drink to their ghost resident rightfully called The Pink Lady. A spectral mix of vodka, acai and pomegranate juices, and pistachio simple syrup.

For our next tale from the dark side, we head across continent to Vancouver, Canada. The first Hotel Vancouver was a five-story, brick structure that looked and functioned much like a farmhouse. The second, started in 1912 and completed in 1916, was built in a grand Italianate revival style, and was considered one of the great hotels of the British Empire. It was turned into a government administration building during World War II and torn down in 1949. The present Hotel Vancouver, at a cost of $12 million, took 11 years to build and opened in May of 1939, in time for the Royal visit of King George VI and Queen Elizabeth. The towering Fairmont Hotel Vancouver is also known as "The Castle in the City".

Back in the 1940s, the very elegant Jennie Pearl Cox was a regular at the Fairmont Hotel's ballroom. Then, one calamitous evening in 1944, she was killed in a car crash just outside of the hotel. She was wearing her favorite red dress. From that moment, she took up residence in the hotel and became known as The Lady in Red. She has been seen passing through elevator doors on the 1st and 14th floors.

The Hotel was originally built with eight elevator shafts to accommodate the large number of guests. However, budget problems forced builders to install only six elevators, leaving two shafts empty. Porters, employees, and guests have all claimed to catch this mysterious woman after rounding the corner on the mezzanine level, just as she opens the door to get on or off the elevator. But here's the catch: the shaft is empty--there is no elevator or even a door.

It would seem one of these empty shafts is reportedly home to The Lady in Red, but her floor of choice is the 14th. She has also been seen in rooms and the Hotel's bellmen have claimed to witness her entering rooms just as they are checking in hotel guests. Her presence has been embraced by the Hotel and she is considered by many to be the nicest ghost in the city.

Notch 8

The Fairmont Hotel Vancouver's highly celebrated restaurant located in its lobby, Notch 8, honors The Lady in Red with a drink of its own called the Lavender Corpse Reviver 15. It is concocted with a eerily superb blend of Hendricks Gin, Fresh Lemon, Cointreau, Lillet Blanc, and Lavender Mist. Lavender enhances the natural botanicals in the gin.

The Importance Of Being Earnest--It All Unravels Right Here In The Lowcountry

The Importance of Being Ernest is a play written by Oscar Wilde in 1895. A trivial comedy written for serious people, its zany story line is a handbag packed with social escapists, secret personas, closet engagements, and lover’s entanglements with a mythical suitor. The whole whacky affair is now unfolding at the James F. Dean Theatre in Summerville with a bit of a twist--it all unravels right here in the Lowcountry--Charleston and Summerville to be specific.

The play opens in Charleston with Algernon Moncrieff (Erik Brower) receiving his best friend (Jacob Sunding) whom he knows as Ernest with last name Worthing. Ernest has come from Summerville to propose to Algernon's cousin, Gwendolen Fairfax (Minna Schubert), daughter of the formidable Lady Bracknell (Susie Hallatt). Algernon, however, refuses his consent to the engagement until Ernest explains why his cigarette case bears the inscription referring to him as Uncle Jack.

Ernest is forced to admit to living a double life. In Summerville, he portrays a respectable lifestyle for the benefit of his young ward, Cecily Cardew (Megan Fife-Malasky), and goes by the name of John also nicknamed Jack, at the same time pretending to be concerned about a brother living in Charleston named Ernest who indulges in wicked ways. On his visits to Charleston, John assumes the identity of the made-up philandering Ernest. Algernon confesses a similar deception. He pretends to have an invalid friend named Bunbury in the country, whom he can visit whenever he wishes to avoid unwelcome social obligations.

John refuses to tell Algernon the location of his country estate, but after proposing to Gwendolen as Ernest and unsuccessfully acquiring consent from Lady Bracknell after revealing he was adopted by an old man who discovered him as a baby in a handbag at a train station, Algernon overhears him giving his country address to Gwendolen. Next, Algernon makes a surprise visit to John's Summerville estate pretending to be his brother, Ernest Worthing and meets Cecily. Long fascinated by Uncle Jack's until now never before seen black sheep brother, she can't help but to fall in love with Algernon, who is pretending to be Ernest. Pretty wild stuff so far, but the best is yet to come.

Gwendolen soon arrives to see her fiancé, so named Ernest, meets Cecily, and bordering on a potential catfight, the genteel blue gloves come off as the two of them spar over their one and only Ernest. Exquisitely portrayed by Megan and Minna, the encounter generates one of the more exceptional and endearing acting moments of the play.

As usual, Chrissy Eliason and Company crafted a brilliant, and I emphasize brilliant, set for Earnest. The predominantly white theme of the proscenium evoked a sense of purity and respectability, but as with Earnest, the obvious is the ambiguous. From the perspective of the audience, the props and costumes stood out like a hologram against the stage's white backdrop and subtle pastel lighting.

Director Joseph Demerly did an excellent job at casting the character of the actor with the character of the script. Without a doubt, if I were to look at a photograph of the cast in full dress, I would have been able to match the body to the name. Likewise, the chosen actors did an excellent job bringing their character to life.

Susie Hallatt as Lady Bracknell is snobbish, domineering, and as presumptuous as her brown patterned dress, Minna Schubert as Gwendolen graced the stage with an air of southern sophistication and pretentiousness, and Megan Fife-Malasky as Cecily was naive and unspoiled as a pink rose. Jacob Sunding as John a.k.a. Ernest was spot on with his character's gentleman-like southern swag with an accent to match and Erik Brower was as witty and confrontational as his character Algernon, who is given to making pronouncements that either make no sense at all or touch on something profound.

Robert Venne (Butler Merriman) and Jason Pallay (Butler Lane) serve up some goodies and Deb Abbey as the rigid Miss Prism carries some of her own baggage and has romantic feelings for Reverend Canon Chausable played by David Hallatt.

The Importance of Being Earnest is Oscar Wilde’s social version of Bud Abbott's and Lou Costello's "Who's on first, what's on second, and I don't know is on third." You need to pay close attention to the dialogue throughout or you may miss a key piece of revelation that will later leave you scratching your head and trying to catch up. It is profoundly interesting, entertainingly trivial, and seriously humorous.

Now showing September 23rd to October 2nd.

Purchase your ticket for The Importance of Being Earnest.

Boone Hall Plantation And The Taste Of Charleston 2016--The Old And The New

Lining both sides of the earthen driveway, the procession of evenly spaced ancient oaks stretched for a distance of three quarters of a mile. Their broad branches extended skyward like outstretched welcoming arms intertwining into a embracing green canopy high above where light beams from the sun cut through the open areas of the tree's thick leaf clusters. A charming and unforgettable southern reception for visitors entering the resplendent Boone Hall Plantation. NBC Daytime television called it "a must see stop on any trip to Charleston, S.C."

There is no official documentation pointing to when the famous trees were planted. Boone Hall's web page states the son of Major John Boone planted the live oak trees in 1743. Other research seems to indicate that the Horlbeck’s planted the avenue a hundred years later in 1843. There is only one sure way to settle the controversy. It would involve cutting down one of the trees to count its rings, but such an action would constitute desecrating a symbol of long standing southern heritage and spoiling an idyllic narrative.

Boone Hall’s beginnings go way back in American antiquity. Theophilus Patey was granted 470 acres on Wampacheeoone Creek (Boone Hall Creek) in 1681, who at some point in time gave 400 acres of the land to his daughter, Elizabeth Patey, and John Boone as a wedding gift. It is not known when John Boone built a house on the property, but at his death, he left third of his estate to his wife and the rest to his children, Thomas, Theophilus, Susanna, Sarah, and Mary.

Thomas, at some point in time before 1749, took over Boone Hall. He is credited with planting the two evenly spaced rows of live oaks in 1743 according to the narrative of Boone Hall. If true, the Avenue of Oaks is at least 273 years old. In 1749, at his death, he willed the plantation to his son, John Boone. He left the plantation to his nephew, whose name was also John, and in turn, in 1792, John the nephew left it to his wife Sarah Gibbes Boone and his children, Thomas, Susan, and Maria.

The working plantation left the Boone family when Sarah Gibbes Boone sold it to Thomas A. Vardell for $12,000 in 1811. By then, it had expanded to 1,452 acres and included buildings on the property. It changed hands a couple more times before Henry and John Horlbeck took possession of the plantation, which now included a brickyard. The other component of the controversy, the Horlbeck family is credited with planting the Avenue of Oaks in 1843, according to the opposing research. The brickyard was producing 4,000,000 bricks per year and at some point during their ownership, pecan trees were planted on the property. By the late 1800s Boone Hall was one of the leading producers of pecans in the United States.

In 1935, Thomas Archibald Stone and his wife, Alexandra, purchased Boone Hall Plantation from John S. Horlbeck consisting of 4,039.5 acres. The Stone's demolished the 1790 wooden house. It was a two-story frame house with a one-story front porch. In its place, they built the much grander Colonial Revival-style house that stands there today and presently owned by the McRae family. Along with the house there are nine of the original slave cabins which date back to 1790-1810, a smokehouse dating from 1750, and a Cotton Gin house dating around 1853.

Boone Hall is one of America's oldest working, living plantations producing strawberries, tomatoes, and pumpkins, as well as many other fruits and vegetables. It also is host to some of Charleston's most popular festivals held throughout the year: Lowcountry Oyster Festival, Lowcountry Strawberry Festival, Scottish Games and Highland Gathering, and of course, the Taste of Charleston, which this year takes place on Sunday, Sept.25, 2016.

The Taste of Charleston is a 3-day event showcasing taste-tempting delights served by 40 of the Lowcountry’s favorite casual and fine dining restaurants. Highlights of the Main Event include a specialty and imported beer tasting tent, live music, the legendary "Waiters’ Race" and the "Kid's Kitchen Sideshow." Food and drink tickets are sold separately.

The present house was built in 1935. The only other house mentioned in known historical records of the plantation is the house that was demolished to make way for the present house. This is where the controversy arises. This house was only a two-story house with a one-story front porch. Looking at the photo taken of the house, it only has a short flight of stairs leading onto the porch.

Photo by Leonard Hayes 1899

Sadly, that original house has faded away with the passing of time, but the unforgettable Avenue of Oaks remains along with other historical features, which makes Boone Hall a must-see.

A Charleston Architectural Relic Of Great Importance Rises Above Its Surrounding Landscape

While driving along Washington Street between Laurens and Pritchard, your attention is promptly drawn to an eye-catching brick formation hauntingly rising above the concrete landscape of the Union Pier Terminal. I have from time to time on outings along this section of the Charleston waterfront seen the curious structure. In those previous encounters, I have with a passing interest pondered about its existence and fostered a temptation to photograph it, but since it was not my primary focus at that moment, its reality would drift from my speculations and consciousness. This day, it would be more than just a fleeting fancy.

I was in Charleston for the afternoon visiting the Coast Guard tallship, Eagle. The 295-foot training vessel was in port for the weekend and moored at the Union Pier Terminal. I came in on Calhoun Street and parked my truck along the heavily bush-covered security fence of the Union Pier Terminal on Laurens Street and walked through the Concord Street gate to the pier and awaiting ship. After touring and photographing the magnificent ship and on my way to leave the pier, an unanticipated opportunity with a bizarre twist presented itself.

For on the horizon and within walking distance, there stood the infamous brick oddity of prior fleeting contemplation. I excitedly navigated the numerous cement barriers that blocked my approach. From the backside, it was a three story, singular wall heavily supported by a maze of steel girders. On its frontside, its true character was revealed. I raised my camera to take my first picture, when suddenly I heard someone shout, "Sir. Sir. You cannot take a picture." I turned around and walking towards me was a husky gentleman dressed in a guards uniform. I responded in disbelief, "What? Are you serious?" He repeated, "Sir, you cannot take a picture," and added, "You are not even supposed to be in here. This is a secure area." Again, I expressed my disappointment in that revelation and asked, "Is this some kind of protected city icon?" He informed me of the possibility of being arrested. I explained to him where I came from and it seemed to appease him. He proceeded to direct me to a sign that was posted at the front guard gate warning no photographs were permitted of the facility.

I returned to the Concord Street gate and exited. Not to be deterred from getting a picture, I did warily sneak a photograph of the brick structure while standing on Washington Street, all-the-while worrying whether I would be swarmed by a bunch of policeman mistaking me for a possible infiltrator scoping out a secure facility.

The brick oddity is actually the remnants of a building facade belonging to the one-time Bennett Rice Mill. It is considered to be one of the finest examples of 19th century American industrial architecture. In its 171 years, it has changed ownership several times and survived an equal amount of natural catastrophes, but the most dire threat hanging over its continued existence is the wrecking ball.

The Bennett Rice Mill was built in 1844 by Governor Thomas Bennett, who was one of the wealthiest of the Lowcountry plantation owners and a gentleman architect. The Classic Revival building, with Palladian windows and brick columns with stone caps and lintels, was impressive. It had 11 foot ceilings, hand-dressed wood timbers, cased wooden columns and arches and cast iron interior columns. Interior wrought iron railings were used around the different platforms. The smallest of six Charleston mills, it was located in an industrial area that was served by rail, ships and a mill pond. The schooners brought in the rice, which was then loaded onto tramways and brought over to the steam-powered mill.

Around 1940

The Civil War changed the Southern economy and rice production declined, but the mill continued to operate into the early 1900's. In 1924, it was converted into a peanut plant under the ownership of the Planters Peanut and Chocolate Company and later used as a storage facility by its next owners, Seaboard Air Line Railroad Company. A tornado blew off its roof in 1938, so the new owners decided to demolish it, but concerned citizens of Charleston protested. In 1952, the city of Charleston declared it unsafe and the wrecking ball reared its ugly head. Some heavy hitters became involved in the protests, such as the American Institute of Architects in New York. The mill, rated as one of twenty-six nationally important buildings in Charleston, survived, but not unscathed. One of its wing buildings was demolished. In 1958, the State Ports Authority took ownership with plans of restoring the structure, but that same year the City ordered its destruction again. Preservationists stepped in and won their argument with the City to have it designated an architectural relic of great importance. Then, in 1960, Hurricane Donna struck a near fatal blow. The storm spawned a tornado and the building crumpled in the intense winds leaving only the brick facade we see today. The steel girders were added for reinforcement and in 1987, it weathered the fury of Hurricane Hugo.

The Bennett Rice Mill facade's future still remains uncertain. The SPA is committed to its restoration, but legal challenges have prevented the port from completing its phase one plans. After all this architectural relic of great importance has endured, it would be a crying shame if while the powers that be argue over legalities a hurricane or an earthquake should take down this surviving time portal to Charleston's glorious past.

Next time you are driving down Washington Street near the Union Pier Terminal, look towards the waterfront. The Bennett Rice Mill facade rises above the surrounding landscape like a solitary island in the open ocean. In a way, it reminds me of the famous Arch of Triumph in Paris, France. If you dare, stop and take a picture because now you see it.

A Charleston Bed And Breakfast Where You Can Smell The History--Govenor's House Inn

In this part of Charleston, you can smell the history as distinctly as the city's Confederate Jasmine. Its distinguished aroma trickles down through the dense overhead canopy of green leaves that dangle from the entangled branches of the areas antiquated oaks and permeates the wood, brick, and iron of the elegant estates and charming residences lining the old streets. Its odor is as overpowering as the yellowish liquid sometimes left on the concrete surfaces by the numerous horse drawn carriages that frequently pass by. This part of Charleston is the highly traveled and visited neighborhoods of the downtown quarter slightly south of Broad Street.

The various bed and breakfasts located throughout the Lower Peninsula of Charleston offer the discerning traveler an opportunity to bath their imaginations in the soul of Charleston's enchanting history. One place you may want to consider to do that is the Govenor's House Inn. It dates back to the colonial years of the 1700's when the Holy city was called Charles Towne and has a connection to a well-known Charleston family.

While staying at the Govenor's House Inn, some of the history you will smell is the fragrance of oranges. Built in 1760 by James Laurens, the traditional Georgian double house occupies a parcel of land that was at one time called the Orange Garden--a public garden used for concerts and other events in the late 1600's and early to mid-1700's, which--and this should be no surprise--also believed to have contained an orange grove.

Looking at the house from Broad Street, you will notice it is extremely symmetrical, which was a typical attribute of that style. Inside, there is a center stairway with large rooms on both sides, another characteristic of that design. During an extensive renovation in 1885 by then owner, Captain Wagener, a Victorian spiral staircase was added. Original interior features include heart of pine floors, fireplaces, triple-hung windows, and solid slate fireplaces located in the formal living and dining rooms. A portrait of Edward Rutledge hangs in the foyer.

Rutledge leased the home from James Laurens in 1776, the same year he signed the Declaration of Independence at the age of 27, and eventually purchased it in 1788. A copy of the Declaration of Independence hangs in the foyer with his portrait. He was married to Henrietta, a Charlestonian woman from the prominent Middleton’s.

The Govenor's House Inn is formidable in its length and breadth. On the first and second floor exterior, a spacious veranda porch runs the full length of the house on one side and wraps around to the back. A great space to catch a refreshing breeze, read a book, drink a glass of wine or just watch the comings and goings of eclectic Broad Street with the periodic horse drawn carriage passing by. Your own piece of relaxation on your visit to Charleston.

There are seven suites in the main house; two are on the terrace level, two suites in the Kitchen House, and all are elegantly appointed. Six have their own attached private porches and two have exterior entrances. There is no elevator service to the third floor where two suites are located. It offers breakfast and afternoon tea, wine and cheese. It is one of the only properties in downtown Charleston to offer complimentary onsite parking. Depending on the time of year, prices range from $236 to $360 winter and $408 to $508 summer. Check out the full list of amenities, special packages, and things to do.

The John Rutledge House Inn is across the street from the Govenor's House Inn. If you are looking for a pet friendly accommodation, it could be a consideration.

Charleston's Hottest Cocktail Chillingly Lives Up To The Hype--Served At The Market Pavilion Hotel

Teased by the salty scent of the bay and stroked by its balmy breezes, it is indisputably a cornerstone of the ever popular French Quarter. Built on land formerly below sea level, the 19th century European grand hotel style building rises to a height of four stories on the district's busiest crossroads, the Old City Market and East Bay Street. Many of the Revolutionary War-era bottles and historic artwork that adorn its public areas and guest rooms were pulled from the seabed of the very same waters that once held it in its pluff mud embrace.

Additionally, more than 300 pieces of original art, including oil paintings of former U.S. leaders, such as George Washington and Abraham Lincoln, are displayed throughout. Gas lanterns, mahogany foyers, crown moldings, French-style chaises, marble baths, and chandeliers hung from high ceilings recall the charm of early Charleston. While teeming with this impressive collection of historical artifacts, contemporary works have been gracefully intermingled for a successful marriage of what Charleston was once upon a time and what it is today, the number one destination in the world. This is the Market Pavilion Hotel.

On this August day, I was not at the Market Pavilion Hotel to experience its luxury accommodations. I was not there to dine at its prestigious Grill 225, famed for its steaks that are "hand-selected and wet-aged 42-50 days to ensure tender texture and unsurpassed flavor." I was not there to experience its rooftop oasis called the Pavilion Bar, complete with views of historic Charleston, a cascading pool, signature cocktails, eclectic cuisine offerings, and the city's most spectacular sunsets. I was there to revel in its "dramatic, sexy and delicious" Nitrotini--Charleston's only cocktail infused with liquid nitrogen. It is Charleston's coldest cocktail at 320 degrees below zero.

There are 33 different Nitrotinis on the menu. Jessica, the expert on duty, specially trained in the art, science and safety of the Nitrotini, helped me narrow the long list down to a couple selections by pointing out what were her personal favorites. It came down to a choice between the Champagne Nitrotini and the Pomegranate Nitrotini.

The Champagne Nitrotini is a blend of Louis Perdrier Champagne, Pomegranate schnapps and Cointreau orange liqueur, garnished with an orange slice at $18 and the Pomegranate Nitrotini is a blend of Pomegranate flavored vodka and schnapps with a splash of Pomegranate juice at $17. I tend to favor vodka as a personal choice in liquors and am fond of anything containing pomegranate. So, I went with the Pomegranate Nitrotini. Jessica artfully prepared the ingredients and carefully topped it off with the colorless, odorless, tasteless and inert liquid nitrogen cooling the concoction to a frosty -320 degrees Fahrenheit.

Immediately, the ghostly cloud of condensed water vapor reacting with the warmer air of the bar area steadily ascended above the glass and flooded over its edges onto the bar top as she set it in front of me with early jazz music playing in the background. The temptation, to immediately raise the drink to my lips, was almost irresistible, but that would have resulted in a stiff upper lip in the form of a horrific frost bite followed by the zenith of brain freezes. A warning tag on the glass instructed to simply wait 1-2 minutes for the cloud and invisible liquid nitrogen to evaporate entirely, and then enjoy responsibly, and I did just that.

Dramatic--it was absorbingly entertaining to watch the cool wisps of water vapor spill out into the air and across the bar top. Sexy--there was an alluring and titillating feel to the 'affair', pun intended. Delicious--I would say, absolutely. It is a cocktail that irrefutably lives up to the hype. In the final analysis, the Nitrotini is "Charleston's hottest cocktail minus 320 degrees" and is quite refreshing.


The Market Pavilion Hotel front bar at the East Bay Street entrance is the only place it is served (not available at the Pavilion bar on the rooftop). The spacious atmosphere of the bar area with busy East Bay Street and the majestic United States Custom House for a backdrop adds to the experience.

"A Funny Thing Happened On The Way To The Forum"--Rome Like You Never Seen it Before

Friends, Romans, and Summervillians, lend me your ears. Director JC Conway and crew are up to some funny business at the James F. Dean Theatre in Summerville with Stephen Sondheim's uproariously rumpus, sumptuously pompous, and abnormally anomalous musical A Funny Thing Happened On The Way To The Forum. Shall they be buried or shall they be praised?

A Funny Thing Happened On The Way To The Forum is a book by Burt Shevelove and Larry Gelbartis turned into a musical with music and lyrics by Stephen Sondheim. It is a historically wacky story set in a Roman neighborhood of three homes. The house of Senex is in the center. He lives there with wife Domina, son Hero, and several slaves, including head slave Hysterium and the musicals main character Pseudolus. One of the neighboring houses is owned by Marcus Lycus. He is a buyer and seller of beautiful women. The third home belongs to the aged Erronius. He is abroad searching for his long-lost children, who were stolen in infancy by pirates.

Pseudolus is fortuitously presented with an opportunity. His young, boneheaded master, Hero, confides to him he has fallen in love with the golden haired beauty that lives next door in the house of Lychus, who happens to be a virgin courtesan by the name of Philia that has a problem with the numbers three and five. Pseudolus promises to help him win Philia's love in exchange for his own freedom, and the romp takes off. Pseudolus' road to freedom becomes fraught with doubt, temptation, deception, chastisement, and a surprising twist in the end.

Debuting with Pseudolus (Joseph Demerly) and incrementally incorporating the full cast, the opening number of the play, "Comedy Night", blew the roof of the house. It was a momentous start. From there, Demerly's high octane energy gloriously propelled the musical romp all the way to its "Finale". A multifaceted talent, Demerly is no stranger to "Forum" having done it on three other occasions playing different characters.

Alan Rosenfeld (Senex), Corey Geddings (Hysterium), and Jamie Young (Marcus Lycus) put in noteworthy performances. The three of them teamed up with Demerly in one of the plays more delightful and humorous songs as they fantasized the fringe benefits of "Everybody Ought to Have a Maid". In addition, larger-than-life Geddings, sporting a blonde wig and masquerading as a much bigger Philia, drew a special hurrah from the audience for his scene-stealing rendition of "Lovely" (elegantly sang earlier in the play by Anna-Noelle Kassing) and Jamie Young's snaky, slimy, lecherous procurer of courtesans character was nicely portrayed with a splash of comedic paranoia.

The rest of the supporting cast included Lisa Grooms as the battle-ax wife of Senex, Domina, and Christian Mahon as the lovesick Hero. Anna-Noelle Kassing as the young, beautiful, and dumb virgin courtesan-in-training, Philia, provided some crisp vocals. Daniel Rich's voluminous volcanic voice erupted throughout the theater as the pompous and braggart soldier, Miles Gloriosus, and Barry Gordon as the befuddled old man who is the Roman equivalent of Mr. Magoo taking it around one more time.

Kudos to Robert Venne, Tabatha Doetsch, and Alan Garner as the Proteans. whose load also included portraying slaves, citizens, soldiers, and eunuchs. Likewise to Sarah Morrison, whose accompanying piano music was flawless.

It is Rome like you never seen it before and makes you wonder how they ever conquered the then civilized world. The set is eye-popping, functional to the action, and a brightly painted stage on which a thousand dramas can be played. The costumes designed by Nicole Harrison were historically convincing and colorful. And, like any decent Roman farse, there is a bevy of beautiful dancing girls and plenty of sight gags, puns, and laughs.

Returning to the earlier question: Shall they be buried or shall they be praised? I have put in my twenty mina worth. What say you? Check it out for yourself and put in your 500 mina worth.

Now showing from August 5th to 21st. Purchase your tickets.