The holidays have ended. We look in the mirror and see the aftermath of one too many Christmas cookies, having just one more slice of ham, or in my case, chugging the gravy boat. Well, ladies and gentlemen, there is NO better way to give yourself incentive to work out and get back in shape than having a bevy of beauties strut their stuff for you! Pageant The Musical is playing at Actor’s Theatre of Charlotte through January 22nd.

Pageant is a hilarious spoof of those great beauty contests that later became known as “scholarship competitions”… yeah, right. Six lovely “ladies” compete for the title of Miss Glamouresse in all the classic categories… evening wear, talent, swimsuit, etc., with a panel of judges/audience members deciding on a winner. Oh, the grace, the style, the awkward feeling my dad is hitting the bottle again.

Male actors are cast in the roles of the contestants, and while I was a little leery at first, it makes perfect sense. Sure, a guy in a dress is funny, for a little while. With Pageant, the actors are all accomplished comedians, and the script delivers line after line of farcical material.

Our Master of Ceremonies for the night is the smarmy Frankie Cavalier, played by Billy Ensley. Billy delivers the smooth, velvet vocals superbly, and keeps the show moving quite nicely. 5 seconds into the show you can’t help but love the little guy.

The contestants are winners of their “regions”, and each bring a special sense of stereotypical flair to the stage. Miss Texas (Matt Kenyon) made me think of what Barbara Bush must have been like in the 1950s. Miss Great Plains (Robbie Jaeger) brought the house down (as well as herself) with amazing comedic timing during “I Am the Land”. Miss Bible Belt (Ryan Deal) is “Bankin’ on Jesus” to help her through life, and brought some wonderfully realistic preaching to the stage. Miss Industrial Northeast (Alex Aguilar of the Charlotte Royals) showed off that athletic ability with some top-notch roller skating. No doubt, if things don’t work out in rugby, Alex can always get a gig at Sonic! Miss West Coast (Clay Smith) looked as if she could lend our beloved Carolina Panthers a hand on the offensive line. Clay played the “blond Barbie” roll perfectly, with what I’m guessing is a natural, “dumb guy” look.

That brings us to the pageant winner on opening night (each night may be different, it’s up to the individual judges), Miss Deep South (Devin Nystrom). Devin is the smallest of the contestants, and probably has a skinny leg up on the rest of the guys in the “beauty” department. He delivered his lines with impeccable charm, and obviously put a lot of work into his “talent”. While no real threat to Jeff Dunham, it was still a hilarious bit of acting.

The second act seemed to plod along a little slower, with less energy. Former Queen Tawny-Jo Johnson (Gray Rikard) joins the cast and tries to add some pizazz, but by this time, we’re all growing a little tired of the “guy in a dress” thing.

Director Stuart Williams managed to squeeze an admirable job out of all of the actors. I never really felt a sense of a cohesive cast, as much as I did they were just a bunch of guys doing their own comedic bits, much like a night of stand up. However, that’s exactly what a beauty pageant is, so maybe it was intentional. Technically, the set was adequate, sound lacked a little, but music was well done. Costumes were wonderful, and I’m sure it was no small task to somehow make the audience think of those masculine physiques as feminine.

I had another wonderful night out at Actor’s Theatre, and while this particular show is not one of their own, but rather Stuart Williams Productions, in Association with Theatre 650, it still sends the same message. If you want to get out and share some great laughs with friends, without breaking the bank, the hard working folks at ATC are the ones to see! On one chilly night in Charlotte, I was thoroughly entertained by Frankie, Tawny-Jo, and six lovely contestants with “something extra”!

Photo: Aphrodite Photography

Every Christmas Story Ever Told (And Then Some!) is playing at Actor’s Theatre of Charlotte now through December 18th.  The premise is solid enough, a trio of talented actors fly through Christmas stories, bringing laughter and joy to all.  Well, yes, opening night had a few laughs, and the trio was most certainly talented… the script however was assembled with the expertise of a drunken dad out in the garage with a box of bicycle parts at 2am Christmas Eve.  No, the wheels didn’t fall off, but this show wobbled around for an hour and a half before the seat finally pointed sideways and the handlebars came off.

The show opens with Chip Bradley center stage, sharing the classic, “A Christmas Carol“, with the audience.  Fellow actors Joe Klosek and elf sized Maret Decker Seitz manage to talk him out of the traditional portrayal, and instead into giving the audience a hodgepodge of Christmas stories.  Seems like fun, and most of the time, it is!  Unfortunately, the script is long on marginally funny one liners, and when they do hit on a great gag, they ride that pony right into the ground until you’re begging them to move on.

The first act had some highlights however… Maret’s portrayal of a Thanksgiving Day Parade hostess was hilarious (for a while) and quite intoxicating, the “Rudolph” skit had some illuminating moments (I laughed out loud during Charlie in the Box), Chip was smooth as clockwork in “The Gift of the Magi”, and Joe blew us away with his interpretation of “Frosty the Snowman”.  If somehow they could keep all the gags and great one-liners, yet cut 10 minutes (The Grinch and The Game Show stories could have used some severe trimming), I would have gone to intermission excited about what was to come, instead of thinking “hell, I’m gonna need a beer to sit through more of this”.

We’re promised “A Christmas Carol” in the second act, and are treated to a mash-up with “It’s a Wonderful Life”.  Obviously, playwrights Michael Carleton, James FitzGerald, and John K. Alvarez put a lot of time and effort into getting this conglomeration to flow from one classic to the other, and director Craig Spradley did a remarkable job utilizing Chip’s strengths on stage.  Joe and Maret transitioned beautifully from narrator to character to character.  Those 20 minutes were the star of the show, and certainly worth the price of admission.  Comedic acting and timing, mixed with solid writing are much more entertaining than a big ol’ slab of Christmas ham!  You do NOT want to miss the Ghost of Christmas Yet To Come (my personal favorite).

The show ends with a very funny Christmas song, sung in three part harmony… I mean, two part harmony and one voice seemingly bouncing around, trying to find the right note.  I understand, it was opening night, and I’m sure they’ll iron it out, but those sour notes still happened … ouch!

Overall, well, yes, I’m glad I went to the show.  I’ll admit, there were times in the first act I wanted to scream “we got it already”!  However, these three actors are extremely talented, and give the audience their very all.  Heck, maybe I just needed a beer BEFORE the show to get more receptive to “goofy“, I don’t know.  I DO know though, I’ve come to expect amazing things from the hard working folks over at Actor’s Theatre of Charlotte, and this script doesn’t quite give them enough ammunition to blow me away … as I said, Ho Ho Thud … reindeer droppings on my rooftop, but I still got a present!

If you’re up for some silliness, and enjoy picking up on the little things like author O. Henry (The Gift of the Magi) being the inspiration for the Oh Henry candy bar (actually named for the greatest baseball player who ever lived, Henry Louis “Hank” Aaron), or Scrooge being referred to as “Binky”, there are plenty of laughs in this show.  Drop by Actor’s Theatre over on Stonewall, taste a bottle or two of their fine beverages, and cheer on these hard working actors as they do their best to bring some Christmas joy into your life! Playing now through December 18th.

Disney’s Aladdin flies onto the McColl Family Theater stage, and brings with it, huge entertainment for children of all ages!  We’ve seen the 1992 Disney film, some of us around 2,000 times, so when these actors take the stage, there are some pretty big pointy shoes to fill.  The kids are all expecting to see and hear exactly what they already know.  This cast not only carried the torch admirably, they actually gave us more to love.  Running now through October 24th, you will thoroughly enjoy this live performance of the Disney classic!

Outside the theater doors, prior to their opening, I could already feel the anticipatory giddiness of the 50/50 mix of theater patrons over and under 4 foot tall.  Jumping, running, playing… and that was just the moms and dads!

The audience takes their seats, looking at a large and simple stage, with a vendor’s cart in the center, spotlight reflecting off trinkets of all kinds.  Just perfect for little eyes to gaze upon, wondering if in the small pile of goods, there may be a lamp of some sort, but we learn from reading our Family Play Guide these are also, objects from previous productions at the theater.  Very cool.  It’s the attention to detail, such as giving the kids something to see and read and talk about with parents while awaiting the start of the show, that has made Children’s Theater so very successful!  Aladdin kicks off their 63rd season, so yes, they’re doing something right.

The show begins with a narrator (Olivia Edge) telling us the tale, and sharing some information about Agrabah.  Olivia’s beautiful smile and kind eyes draw the kids in right away as someone they can trust to tell them the story.  She comes back, every so often, to update us, and each time delivers a decent tune.  Intentional or not, she never shines so brightly as to take away from the rest of the story, simply delivering news as a good narrator should.

The marketplace has all sorts of characters, including a trio of Harem Girls (Sarah Borst, Eva Noblezada, Rachel Tate) who could actually sing and dance quite well.  Voices were strong and in key, and dance steps were flawless throughout each production number.  Some of the boys struggled, but choreographer Ron Chisholm did a good job of hiding them behind the more talented performers.

Then the fun begins, as the marketplace starts to bustle.  Our hero Aladdin (Erik N. D’Esterre) appears, clad in trademark vest and hat, accompanied by the cute and lovable monkey Abu (Caroline Farley).  Erik is a great Aladdin, with a very likable cuteness the audience takes to immediately.  He moves well on stage, and is adequate in the musical numbers.  His acting is great for the kids, but for a more sophisticated theater pallet, is a bit weak.  Caroline however, displays some real ability for performing, although as a monkey that’s pretty easy… I mean, everything is better with a monkey, right?  Her comedic mimics were well placed and well timed, not an easy thing to do for a 5th grader in front of a packed theater!

Which leads us right into the person who made that possible, Director Stephen Gundersheim.  All the actors performed at a high level.  Not once did I get the sense of bumbling or stumbling through a scene.  Everything flowed well, and moved quickly.  Very well done sir.

It’s at the marketplace when Aladdin first meets Princess Pickles… I mean, Jasmine (Cassandra Howley Wood).  Cassandra once agains shows Charlotte audiences she is one of the rising stars in the area, showing off an amazing voice, and simple honest acting.  Not a demanding role, she still nailed it, and was beautiful, as all the young girls in the audience dreamed of being a princess, just like her!

A trio of Princes (Alex Noto, Nicholas Delgadillo, Anthony Sims) ham it up as geeks, the Sultan (Jake Yara) is suitably sultan-ly, and Razoul (Jay Adriel Watkins) delivers his lines well and dances too.

Jafar (Mark Sutton) and Iago (Nicia Carla) are a wonderful team of evil-doers in the show, and while Mark does his best to get the audience to dislike his nasty character, Nicia is far too funny and energetic for that to happen.  Nicia plays the role of the parrot exactly like one should when dealing with kids in the audience.  She spoke loudly, and with just enough silliness for all of us to enjoy.  Great chemistry here between the two.

While trapped in a cave of treasures, Abu is teased by the Magic Carpet (Sam Faulkner).  Sam is fantastic as brief comic relief, and works very well with Caroline.  Just two kids goofing around on stage, being silly, but it totally worked.  Professionals could not have done a better job.

Of course, in the cave is where Aladdin finds the lamp, and with a little help from the kids in the audience, decides to give it a rub.  We’re not sure what kind of Genie we’re going to get, but are pretty sure it won’t be Robin Williams.  Jalila A. Bowie plays the silly and energetic Genie admirably.  She is extremely comfortable on stage, and really knows how to get the kids to listen, laugh, and participate.

One highlight I must mention is Aladdin and Jasmine flying on the magic carpet above the clouds.  Definitely the visual of the show, and the scene all the children will have in their dreams afterward.  Just beautiful.

The show is performed without an intermission, thank goodness, as they’ve learned you can’t let kids get up and run wild, then expect to settle them down again.  Sets were quite good, costumes a bit below par, music was solid though, and overall the audience absolutely loved it.  I recommend grabbing your kids (or a neighbor’s kids if you don’t have any) and heading over to Children’s Theater.  One of the surprises for me was how well behaved the youngsters in the audience were, and how they all simultaneously broke into song with the actors.  It was my first time there, and while not a typical show for a 50 year old single man, I had a great time, and will go back for each and every production this year.  Hope to see you all out at the McColl Family Theater.

Photos by Donna Bise

photos: Aphrodite Photography

Get involved in The 39 Steps

Actor’s Theater of Charlotte hitched their trailers to the pick-ups, and dragged them back to Texas, leaving behind nothing more than a few empty Pabst Blue Ribbon cans and a tattered Snugli… but wait, what is that on the horizon?  OMG, it’s an amazingly hysterical comedy disguised as a murder mystery!  The 39 Steps (27 more than I’m used to) hits the intimate stage with energy, talent, and a slew of laughs.  So, now that Mary Poppins has lifted her umbrella high, and floated out of town, come on over to 650 E. Stonewall for a whole lot of fun!

I’ll skip most of the background from the show because, quite frankly, I’m not one to regurgitate Wikipedia, and besides, this performance stands as a production of it’s own.  Sure, it’s cool to know that it’s a Hitchcock deal, and that alone will sell tickets, but for this theater patron, it was all about grabbing the little woman, getting a pair of tickets, and being entertained for a few hours.  Oh yeah, they did that, and then some.

We’re greeted by what appears to be an unfinished stage, but things come to life as Richard Hannay (Dave Blamy) starts to tell us his story.  As some of you theater fans may remember, Dave did a remarkable job as Edward in Embraceable me, and I’ll admit, it took me a scene or two to erase that character from my memory.  Richard somehow gets wrapped up in a murder mystery, and unlike the rest of the cast, can simply be himself for the entire show.  Dave was solid as the innocent but presumed guilty straight man of the night.  Comedic timing and slapstick play a substantial roll, and the hard work he put into the character really came through on stage.  If nothing else, seeing how he deals with a dead woman lying across him while seated in his chair, will leave you holding your sides from laughter.  I mean, come on now, who hasn’t been sitting there, trapped under a freshly murdered babe, thinking to themselves… “ummm, okay, now what?”.

The play moves quickly from scene to scene, very quickly.  The props are simple yet effective when coupled with the subtle movements from the cast.  This is really a show about timing.  Director Chip Decker took the Broadway show and condensed it to fit the theater perfectly, without losing one drop of entertainment.  Chip cast the most wonderful actors, led them from zero to 60 in only three weeks, and put an whole lot of theater goodness out on the stage.  If ever a show screamed “great director”, this is the one!  Bravo, Mr. Decker, bravo!!!

Getting back to the story, our hero Richard flees when it appears he is going to be hunted down for murdering our favorite German spy, Annabella (Maret Decker Seitz).  Yes, you remember Maret from Five Course Love.  Unfortunately, we don’t get to hear her singing voice here, but wow, once again, she proves beyond any doubt that we will only be seeing this Davidson grad for a short time.  Besides a dead and rigid Annabella, Maret gives us two other characters, most notably, love interest Pamela who narcs on poor Richard not once but twice.  In a show built on timing, this sweet young actress delivers each and every line perfectly… no, better than that… in my mind, i sensed what should have been the perfect time to deliver the next comedic line, and she’s better… Maret commands the stage with the presence of an experienced veteran.  It won’t be long, and you’ll be seeing her on the big stage, in movies, or even on your boob tube (i know, they don’t have tubes any more, just go with it, okay?) and you’ll snobbily  (no way that’s a real word) tell your friends “Oh, Maret, oh yes, I saw her when she was just getting started here in Charlotte”.  From German agent (minus boots and riding crop) to fish dishing Scott to mistrusting blond (with provocative stocking scene), The 39 Steps are way more fun with this petite star guiding the way.  All this praise, just because she tried to take a bite out of a sandwich as big as her head?  Yep, some things, you just have to see to believe!

So, where were we?  Oh, right, Richard and Pamela are somehow joined at the wrist by some would be good guys but really bad guys, as they run from the law.  There’s an interesting ride in a car, a stay at an inn (complete with Murphy bed), window manipulation, and my personal favorite, entanglement in a fence.  So who plays the other 100 roles on stage?  Well, let me introduce you to Clown #1 and Clown #2 (I guess thing 1 and thing 2 were busy).  Rory Dunn and Greg McGrath are… EVERYONE else (but not clowns)!  Talk about timing… the genius of these two actors, with the writing and directing, bring everything together.    There are so very many cues and details that are vital to the show.  It’s shocking to see a simple Englishman one second, and suddenly, with the quick change of a hat and an accent, you have a whole new character.  Rory and Greg were remarkable on this night, and helped us investigate the murder properly.  From Mr. Memory to quite a few lady roles, Rory never shyed away from delivering a solid laugh, and Greg gave us someone to hate  (the evil villain Professor Jordan) and love (a kind of creepy, kilt clad innkeeper).  Near the end of the play, you’ll notice what appears to be a stunt double taking a fall for Greg… watch closely and see if you can notice!  Speaking of that, we are also treated to Alfred Hitchcock’s trademark cameo appearance.  How cool is that?

Yes, pure entertainment again at Actor’s Theater!  The audience was a bit on the geriatric side the night I attended, but the roars of laughter spoke volumes.  These people really know how to do it right.  From general admission seating, to a great location and free parking, Actor’s Theater has become my absolute favorite place to see local talent here in Charlotte.  Get your tickets NOW because they will sell out quickly, arrive early, and drop an extra fin in the envelope if you’ve got it… this is an outstanding organization, and yet again, a can’t-miss show!!!  The 39 Steps, running now through October 2nd.  Be there, have fun, get IN-VOL-VED!

Opening night always carries a special sort of energy with it, but this time there were a few surprises.  I knew I was in for something a little different when the beautiful woman behind the counter asked for ID, and said my Costco card would be fine.  Then, I looked up to see Pabst Blue Ribbon at the concession stand.  Oh yeah, “this here’s gonna be good”.  Heck, even as I pulled into the parking lot, I was pink with envy seeing flamingos in the yard.  Made me laugh so hard, I almost dropped the magic marker I was sniffing.  Then, upon entering the theater, I was thrilled to see a packed house at Actor’s Theater Of Charlotte… always better that way!

The Great American Trailer Park Musical is a bouncy, quirky, entertaining show with all the stereotypes we’ve come to love.  We have a little sex, some psychosis, and a touch of potty-mouth, mixed in with your classic “call the neighbors, wake the kids” kind of fun.  The audience gets to take a peek into the lives of 7 characters in Armadillo Acres, a resting place for manufactured homes, and Betty’s former husband.  There is a love triangle involving a toll booth worker, his agoraphobic wife, and a well traveled stripper.  There’s a storm, ol’ sparky on death row, and my personal favorite, baby-daddy drama.  We laugh, we moan, we laugh some more.  This is just plain old fun, with a side of groove.

Narrating, is a trio of sunbathing beauties, Betty, Lin, and Pickles (The Girls).  They do a wonderful job of setting the stage and leading us through the story with great energy and a quick pace.  The ladies work well together, and play off each other nicely.  Betty (Taffy Allen) is the owner/proprietor of this little piece of mobile heaven, and provides strong vocals during the show’s opening number, This Side Of The Tracks.  Taffy seemed incredibly comfortable on stage, and easily pulled off this “mama” type role.  Lin (Carmen Schultz) is a sexually frustrated, soon to be widow who adds plenty of laugh lines along the way.  The third member of our trinity is Pickles (Cassandra Howley Wood), the underage waif who’s enjoying her hysterical pregnancy.  Cassandra delivered an unbelievable performance of the ditzy but loveable teenager.  Her comedic timing is crucial to the flow of the show, and she absolutely nailed it.  Well done!  The Girls were particularly entertaining during a second act show-stopper, That’s Why I Love My Man, where each describes what floats their boat.

Norbert (Matthew Corbett) and Jeannie (Lisa Smith Bradley) have been living in the trailer park since their shotgun wedding (would you expect any less) 20 years prior.  Norbert goes to work, Jeannie won’t leave the trailer, but sends him off with lunch and snacks, and that’s about all there is to it.  Matthew’s voice is a little weak, and his character was perhaps too mousey.  I enjoyed his performance, but felt it could have been supersized.  Lisa once again brought her awesome set of pipes to the stage, filling the intimate theater, and played the neurotic housewife perfectly.

Flying into town to cause a stir is Pippi the stripper (Heather Hamby).  Pippi is running from ex-lover Duke (Ryan Stamey), and after an almost titilating striptease, runs across Norbert.  The two realize they’re neighbors, and the cheatin’ begins.  When Duke finally finds her, after a long journey and a little Road Kill, all kinds of trouble ensue.  Heather is solid, not spectacular, but good manners prevent me from saying anything derogitory about a young lady who’s just flashed me her breasts.  Seriously though, it’s a good performance of the hardened stripper, and her above average voice helped make But He’s Mine/It’s Never Easy (Pippi/Norbert/Jeannie) the song of the night.  Ryan’s energy on stage is desperately needed by the time he joins the ensemble.  His overzealous ham-acting is much appreciated, and adds a new dimension to the show.   When things got a little slow, I could actually hear the audience thinking “I hope that crazy ass Duke comes back out soon”.

In the end, things turn out just fine for everyone (except the satellite dish) due to a shocking, “Sixth Sense” type of ending!  No, just kidding, it’s a trailer park… you’ll probably figure it out, but it’s funny, and funny is what this show is all about.  The actors are having a blast, and the audience joins right in.  So order yourself up a few PBRs, sit on down, and let your brain relax for a couple of hours.  We all know a trailer park dweller or two, and you’ll probably hear something like “damn, that was funny when that Pickles girl was saying them things about that flan… what is that anyway?” on the way out.  This comedy is not limited to the stage… it’s real life.

Director Dennis Delamar kept anyone from being too terribly awful, but could have asked the cast to be a bit “bigger”.  Musical Director Marty Gregory did a particularly good job with The Girls as their harmony was dead on.  Choreographer Eddie Mabry got a decent amount of movement out of most everyone, but we don’t get any real dancing in the show.  The set was cute, and it was especially fun to see the depth they managed to squeeze out of the tiny stage, most notably the inside/outside of Jeannie’s trailer.  Lighting and sound were good, and while at times the band overwhelmed the voices, we were still able to understand most of the lyrics.

Overall, this is a lot of fun!  The Great American Trailer Park Musical entertains the redneck in each and every one of us.  I’m coming back in two weeks to see it again, and to see how the cast has evolved.  It feels like, with this talented group, the show will continue to get better and better as it runs.  So grab you a pair of daisy dukes and your favorite tank top, and come on out to see what it’s like on this side of the tracks, playing now through August 14th.  You’ll laugh ’til you stop!

As the sun continues to punish Charlotte with it’s relentless rays of unbearable heat, isn’t it nice to hear of a way to spend the evening out, somewhere cool and entertaining?  Ladies and gentlemen, I present to you, the laugh a minute Five Course Love.

Actor’s Theatre of Charlotte is a character-rich locale just off 277 on Stonewall.  Easy to find (it’s even listed in your GPS), free parking, and on a muggy night in the Queen City, just as entertaining as the big boys.

Five Course Love takes us on a journey through 5 restaurants, each uniquely informal.  From a typical barbecue shack to a Mexican cantina and beyond, 3 actors sing and dance through their 15 different personas with contagious energy and style.

Writer Gregg Coffin has blessed us with an upbeat, peppy spectacle that is most certainly, a full blown musical.  I was amazed how the music really is the show.  I had anticipated yet another story with a song or two thrown in for fun.  Instead, we receive voices, choreography, acting and humor.  The writing itself is the true star in Five Course Love.  While not the most cerebral of humor, the silliness stands on it’s own, and is not just something Mr. Coffin had to throw in, because he couldn’t think of anything witty to say.  The script works, and works well.  The audience hangs on every whimsical word.

For those of you old enough to remember, this production has the feel of an old Carol Burnett sketch.  I couldn’t help but think of Davidson graduate Maret Decker Seitz as a young Carol, with a powerful voice, outstanding comedic timing, and a knack for slapstick.  Maret showed astonishing versatility as Barbie (the fun loving Texan), Sophia (right out of Jersey), and my personal favorite Gretchen (complete with boots and riding crop). There are more characters, but I never got past the boots… oh my!

Flanking Maret’s side are Jon Parker Douglas and Joe Klosek.  As Harvey Korman and Tim Conway were equals on the stage with Carol Burnett, Jon and Joe are stars as well.  The teamwork and camaraderie these three share is more than just a job, or a show.  These people are friends, and allow us to be a part of it.  Sure, the accents tend to drift, props play a huge role, and sometimes we’re laughing at them rather than with them, but it’s a comedy.  As long as we’re laughing, they’re doing an awesome job!

Jon didn’t seem very comfortable in the opening scenes as buckaroo waiter Dean, nor as mobster Gino, but that quickly changed.  His energy soared as Klaus, the bondage loving partner of both Gretchen and Heimlich (cough).  Watching Jon in the show’s finale was a riot, and alone, worth the price of admission.

Joe is the better actor of the three, and his vast experience shines through every time he takes the stage.  His portrayal of almost-but-not-quite-Third-Reich-loving Heimlich (cough) is a comedic memory I will have stuck in my head for a long, long time.  At one point, during a mostly staged mustache malfunction as Carlo the non-informant waiter, Joe was just about to crack himself up, and Maret was close behind.

Also, I also had no clue I was in for such a choreographic treat!  Christy Edney surprised me with not just basic steps, but actual dance and a professional flow from curtain to curtain (well, there are no curtains… you know what I mean).  With so many local productions failing to move their actors around the stage, I was thrilled with this performance.  The hard work by everyone on and off stage really comes through.

On the way out, I found myself checking my schedule to see if I have a free night to come back and see it again.  If that’s not the Mitch Metz stamp of approval, I don’t know what is.  Five Course Love is an upbeat musical comedy with great actors, a solid script, and a boatload of laughs.  Come on out to Actor’s Theater of Charlotte before this gem closes  July 3rd.  You will absolutely love it.

For more info, some videos, and tickets, visit the Actor’s Theatre website.

Fore more info on My Fair Lady, and to purchase tickets, visit CPCC’s ticket website.

With visions of Wicked continuing to dance through my head, my brain was still in theater mode as I pulled up to the very accessible parking deck over at CPCC.  My Fair Lady is currently running at the beautiful Halton Theater.  Sure, I knew I wouldn’t be getting a flying green Eliza Doolittle, but it’s been circled on my calendar since reading Susan Roberts Knowlson would be playing the role.  This girl can bring it!

For the one or two of  you who are unfamiliar with the show, it’s a musical adaptation of the 1913 George Bernard Shaw play, Pygmalion.  In Greek mythology, Pygmalion is the sculptor who fell in love with his statue.  Most of us recognize the story and music from the 1964 film with Audrey Hepburn and Rex Harrison.

The show opened as an immediate technical disappointment, when I caught myself leaning forward in my chair, straining to hear the actors.  Let’s remember, this is the south, and while they ARE speaking English, it’s with a strong English accent.  It’s pretty important that we hear everything, as we try to figure out what the heck they’re talking about.  Maybe y’all are better at cockney comprehension than I, but frankly I don’t hear a whole lot of people speaking that way while enjoying my biscuits at Bojangles’.  Next time they come out to beg for money before the show, perhaps they could tell us it would be used for a better sound system… I’d empty my wallet in a heartbeat!

In Dennis Delmar’s (Henry Higgins) opening number “Why Can’t the English”, he shows his frustration with the locals as they butcher their native language.  This sets the stage for his offer to transform a simple flower girl into a lady, with his phonetic and cultural influence.  I expected more from a veteran like Dennis, and was rather surprised by his portrayal of the character.  While we get glimpses of great acting, he’s inconsistent, and somehow failed to bring a gentle side to Higgins.  By the end of the show, when the audience should be rooting for Eliza to acknowledge Henry as her true love, I found myself saying “Darlin’, I think you were better off selling flowers”.  Henry may have fallen for his creation, as Pygmalion did, but to me it felt more like a guy who missed his dog.  Maybe that’s the point, I don’t know, but I didn’t like it.

Susan Roberts Knowlson (Eliza Doolittle) perfectly spews out the most annoying accent imaginable, much to our delight.  I still catch myself chuckling over her vowels.  “A-E-I-O-U“ never sounded so incredibly ghastly.  Strong vocals, impeccable timing, believable acting, stage presence, style, grace, beauty… she’s got it all.  The sweet and dreamy “Wouldn’t It Be Loverly” gives us a taste of her incredible voice, only to be upstaged by the hilarious “Just You Wait” when Eliza half shrieks to the audience about how sweet her revenge will be.  The crowd actually seemed to share Eliza’s joy when she finally “got it” during “The Rain in Spain”.  Susan truly nailed the spirit of Eliza.  Well done!

Craig Estep (Alfred P. Doolittle) brings energy and good comedic ability to the stage during songs “With a Little Bit of Luck” and audience favorite “Get Me to the Church on Time”.  Craig plays Eliza’s good hearted father who enjoys his time with friends at the local pub.  Interaction with Higgins was slow and awkward though, as if these two needed a little more time to rehearse.  Overall, Craig gave us more than a few laughs, and led the ensemble through the spirited production numbers.

Charles LaBorde (Colonel Pickering) is another veteran of the stage, but somehow missed the memo stating his character is a sophisticated gentleman.  Playing the Colonel as some sort of bumbling boob did NOT add comedic value to the show, only awkwardness.  However, he was one of the few who really projected on stage, and understood that bigger is better in theater.  I did enjoy his acting, even with his unusual portrayal of the role.

Andy Faulkenberry (Freddy) brings some real talent to the stage in a supporting role as the side love interest of Eliza the lady.  After meeting at the horse track, Freddy vows to wait “On the Street Where You Live”.  Andy’s vocals were perfect, and while I still see him as the very slick and loveable Cat In The Hat from a performance last year (which he played amazingly), I felt he shined in this role as well.

I’m going to go easy on director Ron Chisholm, because he is working with whoever might show up for an audition.  No one made any obvious blunders, and the show moves well on it’s own.  I do feel he could have pulled more out of his actors, but I don’t know the limitations they’re under with scheduling of rehearsals.

Choreographer Linda Booth did an amazing job with this show.  With so very many dance numbers, My Fair Lady needed a dedicated, hard working group.  She allowed the real dancers to get a little flamboyant and show their stuff, while still getting good, basic steps out of the non-dancers.  Most of us don’t realize just how tough it is to get your average beer guzzling, NASCAR watching redneck to step-ball-change.  Okay, I’m exaggerating, but you know what I mean.  Linda’s ensemble executed and entertained.

Thanks to Susan, this was a great night out!  If you’ve already seen Wicked, or are on a budget (only $21, are you kidding me?), My Fair Lady will put a smile on your face and a tune in your head.   Thank you CPCC, for a nice evening of entertainment.

Just when I was starting to think Shrek could replace Yoda as my favorite green character, along came … the Wicked Witch of the West? No! How in the world could anyone love that mean ol’ thing? Welcome to Wicked!

The National Tour of Wicked has blessed Charlotte’s with it’s “good news”: the story of Elphaba (EL-fa-ba, named for the initials of Oz author L. Frank Baum) and Glinda (formerly GA-linda… “with a Ga”), the Yin and Yang of sorcery in Oz.

Based on the novel by Gregory Maguire (an interesting read, but a little too perverse for my taste), Wicked shows us what it’s like to deal with society when we’re a little different, and don’t quite fit in… a.k.a. green. Winnie Holzman wrote a wonderful script, Stephen Schwartz added music and lyrics, and the result is what I feel is the greatest musical of our generation.

Imagine if you will, you show up at college, and you’re the green kid. The first act takes us through Elphaba’s relationship with Galinda, from their “loathing” each other, to Elphie becoming “popular”. All great fun, as the bubble headed (and bubble riding) Good Witch (Natalie Daradich) brings high energy and an even higher voice to the stage. A very demanding role for an actress, as she’s truly a ditz at times, yet we adore her!  Like the citizens of Oz, I had no problem falling in love with the vision of “good” Natalie brought to the stage.  An outstanding performance!

By the end of the first act, we get to see (and feel) how Elphaba (Vicki Noon, but I saw standby Anne Brummel) has turned from awkward green girl to Wicked Witch. She’s caring, thoughtful, yet headstrong, and oh yeah, magical!  Let’s say like a woman you know is having a bad day, and may be just a little grumpy … it could happen. Anyway, now add in the ability to fly and cast spells … hmmmmm … I believe I’d be afraid too! Anne gave me goose bumps when she finally told us she’s bucking the system, and is doing things in her own way, by defying gravity.

The second act is when we catch up to “The Wizard Of Oz” movie we all know and love, and takes place simultaneously. A sort of “behind the scenes” look, but with laughs, music, and drama … “just take that one road … the whole way” says the directionally challenged Glinda.

Anne truly shined on the night I attended. Her voice, comedic timing, and dramatic acting were flawless, as was the rest of the cast. Once I got over the WOW factor, I noticed the choreography and that too was immaculate. The ensemble moved with precision and grace. The orchestra, with conductor Adam Souza, was spot on with every note, every subtle sound. The costumes, the sets, the lighting… all superb. It’s hard to imagine these performers get up on stage every night, doing the exact same thing hundreds of times, yet give us their very best each night. I felt they were performing just for me; the sign of an amazing show. They are truly professionals and the reason Wicked has remained THE show to see when it comes to town, or you happen to be in one of the major cities around the world where it plays year round.

The supporting cast was admirable. Chris Peluso (Fiyero) is the happy go lucky rich kid who is just “Dancing Through Life” and reminds us “life is fraught-less when you’re thoughtless”. Zach Hanna (Boq, not “Bic”) has a huge heart, as he cares for the Witch’s sister, Michelle London (Nessarose), who did a particularly good job of portraying strength and evil as she went from wheelchair to feet (with the help of some slippers y’all might have heard of). I really wasn’t saddened at all when that farmhouse landed on her!  Marilyn Caskey (Madame Morrible) plays the schoolmarm with “definish vocabularistic abilityism“ and keeps the story rolling along. Don Amendolia (The Wizard) is immediately recognizable from his work in movies and television.  While solid, his performance may have been the least energized of the troupe.

Ticket prices may seem a little high, but it’s well worth it. You will love this show! For those of you on a budget, Charlotte Blumenthal has a lottery 3 hours before curtain for $25 seats at Ovens.  See their website or give ‘em a call for more details. Following them on Twitter (@BlumenthalShows) and Facebook is a great way to learn of deals on shows! I highly recommend it.

Go green, go to Ovens, go enjoy the awesome performance of Wicked!  It will change you … for good!

“Take your clothes off!” the incredibly sexy Allison shouted at a shocked Edward during a heated argument.  That get your attention?  Well, it got mine.

On a rainy Sunday afternoon in uptown Charlotte, Johanna Jowett and Dave Blamy walked out onto a simplistic yet insightful stage and gave the curious patrons of the Stage Door Theater a moving performance of Victor L. Cahn’s Embraceable Me.  This love story is presented in “he said, she said” style, with the actors breaking down the fourth wall of the set and speaking directly to the audience throughout the play.

First of all, let me say the Stage Door Theater is located on College and 5th, and is quite literally, the “stage door” for the actors at the Belk Theater.  Open for about a year and a half now, the softly lit, intimate setting was the absolute perfect place to experience this production.  Throughout the show, I found myself becoming more and more connected to the actors, as they led us through a “When Harry Met Sally” type of relationship.  As Billy Crystal says, “Men and women can’t be friends, the sex thing always gets in the way.”  Same is true of Allison and Edward, college pals who somehow go their separate ways, only to discover, life is far better for each of them when they are together.

The play itself has run off-broadway, and now, still in it’s infancy stage, has made it to Charlotte, due to the genius of Douglas Young, Director of Theatrical Programming with Blumenthal PAC.  Reviews of the New York production were unkind, but I have a feeling it was more to do with the actors than the content of the show.  I found the characters very interesting, and followed along intently as they led us from college life to the real world, through failed relationships, and finally to the complete understanding that their love for one another is strong enough to overcome any problems.  They realize that their individual quirks are not only tolerated by the other, but actually embraced!  The couple also realizes, as many of us do in our real lives, that when we find that one true love, no one else could ever fill their shoes.  Edward finally realizes their individual personalities make them obligated to love the other… to see it through and make it work… that the love will overcome all other differences.   Allison and Edward’s story is one of acceptance, compromise, true friendship, and a deep appreciation of each other.  A love that neither can deny, no matter what life throws at them.

Allison is a driven woman, a social butterfly, always on the go, looking to be incredibly successful in journalism reporting, while Edward is quite happy to succeed in a more easy going atmosphere, and often pulls back into his own safe zone claiming “too many people“.  At times, this “odd couple” reminds us of Felix and Oscar, with Edward having to constantly pick up and organize Allison’s room/work/life.

Johanna and Dave have put in hours and hours of time together, and the chemistry on stage shows just that.  There is a LOT of dialogue during their 90 minute marathon, neither of them ever getting a chance to take a breather.  The style of breaking away from a conversation to tell the audience what they’re really thinking is a very risky proposition.  Fortunately, these two actors seem to pull it off flawlessly.  I was very comfortable with both actors telling me a secret or two, and the transition was never awkward nor confusing.

At times, I found some of the dramatic scenes a little much, almost like a reality show where people argue, just to argue, but for the most part, Mr. Cahn’s script moves along nicely, and keeps us in the heads of the characters.

Overall, this is a rewarding night at the theater.  You’ll laugh, you’ll poke your partner in the ribs during certain lines, and you’ll thoroughly enjoy Embraceable Me, now playing at the Stage Door Theater through April 17th.

”He flew… he flew… the dude freakin’ flew!” Those were the words I used, as I tried to explain to a friend exactly what I had seen this spectacular Thursday night at the Knight Theater in Charlotte, North Carolina.

Parsons Dance rolled into town, and Charlotte, you missed it Thursday! You missed the greatest choreography this reviewer has ever seen in his 49 years of existance. Look, I know the rule is ”it’s not about you, it’s about the show”, but ladies and gentlemen, let me tell you something, I grew up picking cabbage in southern Wisconsin. I like my beer, drink my whiskey straight up, watch nascar, and have been a blue collar worker for 31 years. I am NOT some sissy dude, telling you how the arts are wonderful, and you should experience it all. I AM someone who can honestly say, I LOVE people who are the absolute best at what they do. David Parsons, in my opinion, is the greatest choreographer this world has ever seen.

The Parsons Dance Company has entertained audiences all over the world. They have more than 70 works under their belt, and are gracing the good people of Charlotte with an hour and a half of unbelievable entertainment.

The show opened with ”Wolfgang”, a series of three dances performed to the music of Mozart. The movement and fluidity of this number is to dance what Mozart himself was to music. The tune is familiar, but the vision takes your mind to a place you never knew existed. I found myself smiling, just sitting there with a big ol’ stupid grin on my face, because the sight of these 3 couples took me to an entirely new dimension in my cranium. The balance, the grace, the beauty touched me while the music set the stage for Mr. Parsons’ interpretation.

Next came the whimsical ”Hand Dance”. As advertised, it’s simply 10 hands flowing through space. So very simple, yet so very entertaining. Throw in a little mime, some silliness, and a very talented troupe, and you have an audience laughing, applauding, begging for more. What an amazing display of the genius of movement!

The first act ended with ”Swing Shift”, a journey through life. This number, more than the others, lends itself to different interpretations. While the program states it’s about a ”journey… exploratory sentiment”, I found it fascinating as a tale of society and individuality. Couples break away from the masses, and express themselves beautifully, each of them saying ”when we’re alone, just the two of us, life is so very, very good”. I especially enjoyed when a single female dancer stood in the spotlight, and visually told us she too is happy with life… that she too, although alone, is enjoying ”the good, the bad, the happy, the sad” that life gives her. With staccato movement, she says ”look, I’m a strong woman, I’m on my own, but I’m happy with my choices.” The entire ensemble nailed this number, and sent us off to intermission simply giddy about what would come next.

The second act was dominated by David Parsons’ signature number ”Caught”. Although choreographed in 1982, it’s easy to understand how this one dance has seen the stage for 28 years now. One dancer, one brief moment in our lives, and we are forever changed. This is not simply a dance number. The audience members are treated to a vision that all other sights will be compared to, for the rest of our lives. The artistry of movement, coupled with lighting and music, brought a Thursday night audience to their feet, offering up thunderous applause for this surreal experience. Yeah, ”he flew, he flew, the dude freakin’ flew…” rolled off the lips, but looking back, it was as if the poetry of movement was suspended in mid air, for all to absorb and consume. These green eyes have never seen such a spectacle, and I can not wait for Saturday evening to get here, so I can see it again. Sometimes, even a reviewer needs to say ”go see it for yourself… this can not be described”.

Thursday night’s show ended with some funk, as the troupe came out and danced flawlessly to ”Shining Star” and a few other well known hits. Again, the movement was so very fluid and lyrical, Mr. Parsons extremely talented dancers brought that ”smilex” smile back to my normally reserved countenance. You’ll tap your foot, you’ll groove in your seat, you’ll stand and clap and say ”he flew, he flew, the dude freakin’ flew…”!

Saturday and Sunday are going to be different production numbers, except for ”Caught”, but one things for certain… this is choreography that can not be missed. Maybe you’re a life long dance student, maybe you’re like me, and would rather put on a Dale Jr. hat and empty a few brown bottles… I will tell you one thing though, the David Parsons Dance Company will fill your senses with wonderment and awe. Please Charlotte, do not miss out on this entertainment. I personally guarantee you, you will thank me for the heads up! Playing at the Knight Theater through March 28th.

photo credit: Andrew Eccles

Two short days ago, I sat in my living room, munching on a few snacks, watching the New Orleans Saints defeat the Indianapolis Colts.  Little did I know, that would be the second most entertaining display of athletic ability I would see this week.  The Alvin Ailey American Dance Theater rolled into town Tuesday night, bringing grace, style, and talent to the Knight Theater.

photo credits: Andrew Eccles

I will admit, I was a little skeptical.  Yes, I studied (and loved) dance in my youth, and yes, I consider myself open minded, and willing to appreciate all forms of art.  However, these days, 90% of the tunes leaking from my ipod are performed by someone wearing a cowboy hat, so can this dance troupe deliver the goods?  Oh my God, yes!

Prior to curtain, I could already feel the excitement in the house.  There was more than the usual hushed buzz in this audience.  It was more of a giddy anticipation.  The lights dimmed, the show began, and there it was… an average first act entitled “Uptown”.  The company moved flawlessly through a series of historical numbers with the help of emcee Jamar Roberts.  The numbers were fun and upbeat, yet common.  It gave the average theater patron an opportunity to say “yep, I know those dance moves, this is dancing, and they’re doing it well”.  This is not to say the dancing itself was average.  The performers nailed every move, impressed us with energy and strength, and were obviously having fun throughout the act.  My favorite was the young man who danced as drunk, yet was amazingly crisp and concise.  All eyes were drawn to his comedic maneuvers.  However, Roberts is a dancer, not an actor, and his hokey proclamations were probably better left to a pre-recorded voice-over.  The costumes were true to Harlem in the 1920s, and helped dress up the mostly bare stage.  Again, a simple, solid Act I, much like the first half of the Superbowl… good, steady entertainment.

“Dancing Spirit” is the name of the second act.  A 38 minute dance number that takes us through a celebration of living, and exactly what I came to see!  The music took some odd twists and turns, as the troupe, clad in white with blue trim, seemed to move in and out of the rhythm.  It was just beautiful to see the progression, as one dancer would give way to another, then again, and again.  I got the impression of life, continuing on, no matter the tune nor individual, life kept marching on.  This choreography was a little too complex at times for me to completely understand, but I knew I liked it, and I guess that’s what’s important.  Somehow, they danced two beats to a 3/4 time measure, and I was totally baffled, yet again, it was stunning dance.  A visual wonder that had the audience in suspended awe.  This was the onside kick to start the second half.

photo credits: Jack Mitchell

Finally, we get to Ailey’s trademark piece of choreography, “Revelations”, a story of faith presented through the old spirituals.  It was originally choreographed in 1960, and 50 years later at the Knight, brought a packed theater to it’s feet.

“Pilgrim Of Sorrow” starts us off with dancers moving together in some sort of a united foundation of faith, gesturing upward in stirring unison.  That leads into “Fix Me Jesus”, by far my favorite dance of the night.  Amos J. Machanic Jr. and Charlotte’s own Constance Stamatiou brought the house down as the couple leans on one another displaying the stability of their faith.  It’s absolutely breathtaking the way music and movement reach out to the crowd during this performance.  A more powerful display of passion in dance, I have not seen.  “Take Me To The Water” is a more whimsical dance, complete with soul saving baptism.  The symbolism during this number is simple, yet strong, and leads us to rejoice for the couple who have found the Lord.  The final part of the act is “Move, Members, Move” and begins with quite the opposite of the baptism, as three men scramble around the stage of sin, looking for the way out.  Lastly, the entire company goes to church, and we celebrate our beliefs.  Touchdown Saints!

This dance production is not about race, nor religion, nor sending a message.  The Alvin Ailey American Dance Theater is about the beauty of movement.  Maybe you don’t dance, maybe you can’t even tap your toe without losing the beat, but when you see this show, your body, your mind, your inner appreciation of art, will be inspired and entertained.  This is truly a magnificent and elegant performance, playing now through February 14th at the Knight Theater in Charlotte.

photo: Kevin H.; view this photo on Flickr

Playing now through 2/7 at the Belk Theater

An 1891 German play? Rock musical? What is this, a mix between Tommy, Jesus Christ Superstar, and The Sound Of Music? Well, you know what, I loved those musicals, and on a rainy Tuesday night at the Belk Theater in Charlotte, I fell in love with Spring Awakening too.

The somewhat controversial winner of 8 Tony Awards has been reviewed thousands of times since it hit Broadway, so I’ll save you the same old thing you could learn via Wikipedia. I’ll instead concentrate on this particular touring cast of youngsters who performed so brilliantly.

Christy Altomare (Wendla) opens the show by asking her mother where babies come from with ”Mama Who Bore Me”. Christy not only nails all her numbers in this performance, but during ”Whispering”, I found myself thinking ”when I go to heaven, I hope the angels sing as well as this”. The young actress/vocalist is well worth the price of your ticket. You will be seeing more and more of her in the future, I guarantee it.

The show progresses at a high energy pace through some very tough subjects. One would not think erotic dreams, self exploration, and sexual abuse to be the typical ”fun night out at the theater”, and not only does it work, but these actors show amazing ability as they take us through the taboo spectrum, enlightening and embracing us along the way.

Taylor Trensch (Moritz) was fantastic, and somehow seemed naturally neurotic (yes Taylor, that’s a compliment) as a young man struggling with all sorts of new feelings as he progresses into manhood. I believed his confusion, his pain, and enjoyed the peek into his mind during ”The Bitch Of Living”.

Sarah Hunt (Martha) and Steffi D (Ilse) were the duet of the night with the very powerful ”The Dark I Know Well”. A touching tale of child abuse that left the audience so moved, we sat in respectful awe, not wanting to break the moment until we just HAD to applaud their gift. An honorable mention would be Taylor and Steffi performing the heartwarming ”Don’t Do Sadness/Blue Wind”.

Angela Reed and John Wojda play all the adult roles, and moved from character to character flawlessly. Without the benefit of a wardrobe change, they still made it most obvious to all theater patrons which role they were playing, not an easy task at all.

Which brings us to the male lead, on this night played by Matt Shingledecker (Melchior), who stepped up from his understudy role due to Jake Epstein suffering a back injury. Jake may be able to join the cast again in a few days, and I’ll be looking forward to his performance as well. In the meantime, Matt filled his shoes admirably. The first act was a little rough, and at times, I felt like the lines were a little scripted (yes, I know they ARE scripted, I just don’t want them to sound that way), however, when the second act opened up, Matt opened up as well, and took us through some incredibly powerful emotions. He delivered the musical numbers with passion and verve, and took command of the stage. During ”Totally F’ed”, with the rest of the ensemble joining in, I thought Matt might fade, but instead, the young man stepped up to the plate and hit it out of the park!

Another star of the show would be how it’s presented technically. Lighting and sound are balanced, the set is open and inviting, and the freedom with which characters moved on and off stage was unique and well done. The band was on stage throughout the performance, making it seem like a rock concert at times.

Overall, this is one of the most fantastic shows you will ever see. It will entertain and touch you. You’ll remember confusion and frustration from your own adolescence, your heart will pour out to the abused, you’ll laugh with Melchior when he realizes he’s F’ed, and you’ll tell all your friends, just as I am … you must see Spring Awakening at the Belk, playing now through February 7th!