Reviews of Currently Running
Shows
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The Best Little Whorehouse in Texas by Larry L.
King & Peter Masterson Music and Lyrics
by Carol Hall Directed by
Jack Mann January 19-29,
2012 at the Virginia Samford Theatre Reviewed by
Leonard Jowers What do you say after a play that you expect to be wonderful? “Wonderful.” I try to ignore the star-studded cast when looking at a production that is so packed full of many of the best of Birmingham’s talent. I try to think of it from a perspective of an out-of-towner who may have come from Chicago, Sarasota, Los Angeles, or New York to the historic Virginia Samford Theatre. Certainly, everyone knows the basic storyline: the 100+ year old “Chicken Ranch” is thriving, getting ready for the party after the annual Texas A&M vs. Texas game. Unfortunately, a Dallas television show picks the best little whorehouse as a rating bonanza. Through the power of TV, public opinion is turned against this “national treasure” and the governor mandates its closing. The story is much more than that. When the show opened in 1978, although the word “whorehouse” was still censored on TV, Alabama did not outlaw prostitution in unincorporated areas until this century; and Texas had ignored the “Chicken Ranch” in La Grange, Texas, famous for its quality ladies and good times, until 1973 when, in fact, the governor did order it closed. From the opening scene, we were engaged. There are so many good things going on with this production that it is difficult to cover them all. The storyline itself is interesting and deep. The play points out the financial value of the brothel to that community. It reminds us of the humanity of prostitutes. It reminds us that the power of TV can overturn institutions. It warns us of private agendas that prey on zealots. It does this and more. Such a great production does not happen by accident. It requires a lot of hard work and diligence to make sure that little things do not detract from the performances. No little or big things did. The set (Ben Boyer) was a real construction project, sturdy, versatile, effective. Costumes (Kim Dometrovich) were spot on also. The Chicken Ranch Band, who we do not really get to see, were excellent (directed by Katie Holmes). These aspects of a grand musical production are very important to a well run one. When you see the show, note the choreography (Carl Dean). The dance numbers were fantastic. Thanks to the director (Jack Mann), Carl was allowed show time to do so much. The dances and dancers were as enjoyable as one could want; it was clear that talented folks were chosen and took their contribution seriously. Kristi Tingle Higginbotham was the star among stars. She was Miss Mona Stangley, mistress of the house; her story was the main thread. Kristi is such a fantastic performer. One cannot help but feel sorry for Mona, and yet not. Mona is kind and strong. A surprise for me was Kyle Holman’s rendition of “Good Ole Girl”. I have my stage favorites; Kyle is now one of those. His portrayal of Sheriff Ed Earl was good, but the way he presented “Good Ole Girl”, in character and flawlessly, was amazing. It was just one song for him, but what a song it was! Musical and stage performances were great all over. Melvin P. Thorpe’s (Barry Austin) quintet was great a cappella. Jan Dixon Hunter as Doatsy Mae; love her. The church ladies (Kim Dometrovich, Valerie Paulin, Julia Hixon, and Jan Dixon) were so much fun to watch. Julia also was a great domineering wife to the dominative mayor (Andrew Duxbury). The Governor’s song “The Sidestep” was just wonderful; great dance and voice (Stephen Fister), great choreography, great ensemble. It is just a really great production. I rate it as good as Off-Broadway. I hope you get to see it. Thank you sponsors, and Virginia Samford Theatre Productions. Virginia, it’s worth a run extension. |
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Becky Shaw by Gina Gionfriddo
Directed by Mel
Christian January 12-28,
2012 at the Birmingham Festival Theatre Reviewed by
Leonard Jowers Let’s start by letting you know that this is a wonderful play for adults. Becky Shaw had its world premiere in 2008 and has been well-received, sometimes for extended runs, wherever performed. It was a 2009 Pulitzer Prize Finalist. Opening night at Birmingham Festival Theatre validated Becky Shaw’s reputation. BFT is not the easiest place at which to find a parking place, but Five Points South is. We started with appetizers at a restaurant there and sallied over in the freezing weather about 7:40 to the comfortable and cozy theatre behind Golden Temple. The set’s design and artwork (kudos to Mindy Wester Egan) was interesting and pleasant. A video presentation screen was effectively used during the play; before the play began, it blended with the background as would a large wall mural. Our audience consisted mostly of “over-40’s”; and I felt 60%-70% capacity for a cold winter’s night was not too bad. Becky Shaw is sort of a satirical dark comedy. In case you have not read, the birds-eye view is that it is about a young married couple (Suzanna and Andrew), and a blind date they arranged between the bride’s “adopted” brother (Max) and her husband’s co-worker, Becky Shaw. Add to that the bride’s mother (Susan), deceased father, and never-to-be seen Mother’s gigolo boyfriend, Lester. It takes a comic look at the lives of these players and points out major questions about our lives and inabilities. A particularly admirable part of this play is that it develops the character of each of its players. You may go, “I’ve been there, Ouch.” Funny? Yes it is, in a nervous kind of way. There were numerous one-liners; some drew hearty laughs; some made us widen our eyes in a smile. For fear I may ruin the show for you, let me just give you some background on the characters. Mother, Susan Slater (Pam Elder), says things we know in our hearts, but would never admit. For me, Pam was the most consistently on-point performer in the play. She was, however, the least of the characters who made the stage. There truly was no lead performer. Max (Hal Word) is a Type-A, Theory X, investment specialist with serious sexual issues. Max knows the meaning of pathos, but has never experienced it. Hal, thanks for great delivery and with pace in the first scene. Suzanna (Annalisa Keuler Crews) was mostly, to me, normal; except she and Max have a propensity toward gratuitous use of the F word. She loves Max more than as a brother. Andrew (Cris Morriss) is that son-in-law you don’t want your daughter to have married. He’s a barista who surely would give milk to any stray cat that came to his door. He does have another job at the moment, but he wants to go back to barista-ing so he has more time to be free for his art, writing. Cris does a great job of making us feel and Andrew’s point of view (even if we are a Max). Oh, but Becky Shaw (Holly Croney Dikeman), I cannot tell you much about Becky Shaw to preserve the show. Holly, well I take back a statement above, Holly was also consistently on-point. She took the play up to its climax and brought it home. At the end, I really felt sorry for Max. I’d be remiss if I did not point out one issue with the play that I hope the director (Mel Christian) can address. Something did not work as well as it should have in Act I, Scene 1. Hal and Annalisa were fine, but I did not find myself integrated into the play. I felt the stage blocking had Hal and Annalisa too far upstage; we, the audience, were not “there”. Perhaps, if the bed were closer in that first scene to the audience, it would help. In her, Mel’s, defense though, research showed me that Act I, Scene 1 has a reputation of being difficult for the show. It is a very important scene; as mentioned above, Hal was instrumental in its success. This is a really good production
of a really good script. The show will run for
three weekends on Thursday, Friday, and Saturday nights at 8 pm through January 28, with one
matinee performance on Sunday, January 22 at 2 pm. Tickets (933-2383) are $20
for general admission and $15 for students or groups of ten or more. Keep in
mind too that BFT's Pay What You Can
Afford night on January 19 with a $7 minimum; that’s
less than a movie ticket. I am sure you will enjoy it as much as we did. |
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Here is a link to a neat site that has reviews of the film versions of musicals: http://www.geocities.com/TelevisionCity/Studio/8849/moviemusicals.htm |
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