Other Reviews Archive



 

Please, if you have an addition or comment, send it to theatre@eBHM.org


Cabaret

April 16-20 – Theatre UAB

Reviewed April 16, 2008 by Billy Ray Brewton

      There was not much optimism rustling about in my head when I made the trip on Wednesday night to see UAB's production of Cabaret.  For starters, I had already seen two lackluster productions of Cabaret in about two years and neither of them lived up to what I consider to be the overall point of the show.  Secondly, I had never seen a musical produced at UAB, and am always worried about vocals when it comes to performers I haven't seen before.  To say I was pleasantly surprised by UAB's production of Cabaret would be an understatement.  I haven't enjoyed a musical so thoroughly in this town in well over a couple of years. 

The most dazzling aspect of the show from the get-go was the set design, lighting design and sound design, all of which complement one another well and prove to be some of the most affective I have seen in quite a while.  The set is simple, and the scenes changes are fluid and convincing, with the pace never slipping, except maybe in the scenes between Sally and Cliff.  The way in which director Karla Koskinen stages the ending of the show is just incredible and it really adds a sense of levity to the production, something that was missing entirely from the previous two productions I saw.  The choreography was spot-on and highly entertaining, most memorably in numbers like "Mein Herr", "Two Ladies" and "The Money Song". 

As for performances, the Emcee generally carries the show in the production, and there is no exception to that rule here.  Played by Michael Dunlap, the Emcee in this production is as nasty and frothy and entertaining as I have seen.  There is a big difference between someone who plays the Emcee as over-the-top and flashy and 'look at me, look at me' and someone who plays the Emcee as someone who is laid back, loose and 'I don't give a damn'.  This production features the latter and it's that performance that carries a large chunk of the show.  His best performance comes with the raucous "Two Ladies" and the beautifully scaled back and executed "I Don't Care Much".  Other highlights in the cast include Diann Gogerty as Fraulein Schneider – who is dressed up to look old and frumpy and really manages to play that role convincingly, with wonderful vocals; Katies Hine as Fraulein Kost, who has the best female vocals in the entire show; and a colorful assortment of Kit Kat Girls and Boys.

If I have one gripe with the production it's that there is always this tendency to cast the very best singer in the role of Cliff, even though that character sings less than anyone else in the show.  In turn, it always seems like the weakest vocals are given to the role of Herr Schultz, who sings quite a bit in the production.  This is how it has been in each production I have seen, and it always seems to boggle my mind.  But, that is really all I have to say in the complaint department about this production.  I went in expecting nothing and was thoroughly surprised and highly entertained.  More musical theatres in Birmingham should check out this production and take note of how to deliver an exciting, entertaining and consistently rewarding musical production.  Cabaret is certainly the best production I have seen UAB produce, and I hope they start producing more musicals.  If they are even close to as entertaining as this one, they will be worth the ticket price.


Glengarry Glen Ross

April 3-19 – Theatre Downtown

Reviewed April 15, 2008 by R. Daniel Walker

     With sell out houses and extended performances of Dog Sees God last month you may have thought it was just the one great show of their season; that is until you go see Glengarry Glen Ross, playing for one more weekend, April 17 – 19 at 8PM at the Playhouse across from the Alabama Theatre. It’s enough to make me wish I had seen more shows prior to Dog Sees God, and yet makes me regret that I didn’t.

Theatre Downtown has proven that you can still do the classics (well modern classics) and do them well. Billy Ray Brewton has assembled a stellar cast without a single weak link anywhere to be seen. If I went into detail about any one actor in this show it would just get repetitive.

David Mamet is well known for being some of the most difficult dialogue to speak for an actor, the interruptions, the lack of complete thoughts, the repetitive lines, the yelling and screaming, is all but distracting to this cast! Everyone was focused on their characters goals and stayed in the scene no matter what was happening. I have not seen a group of actors so focused and intense for an entire piece as I witnessed in this show. These are guys that I have worked with, and seen perform numerous times over the years and I have to say this was the best work I have ever seen any of them do. This goes to show that they loved the script, and just had one hell of a good time performing with each other. There is not much more praise I can give Billy Ray and his incredible cast, except give us more!


 

Funhouse

Presented by Jonathan Goldstein at the Virginia Samford Theatre

Reviewed on February 27, 2007 by Matt Morris

The last and final performance of Eric Bogosian's Funhouse by Jonathan Goldstein was attended by a middle-aged and younger crowd. As a fan of Goldstein, I waited with much anticipation for an exciting performance.  I knew the acting would be stellar and it was.  The play opens with Goldstein speaking passionately into a microphone in complete darkness.  Just as disturbing as his speaking, however, is his breathing.  His variety in breath and vocal rhythms are compelling to say the least. His commitment to the character sends a shock wave of fear through my body.  The opening scene feels so frighteningly real that I had to keep reminding myself it was just a play.  His voice grabs onto you and does not let go.  This incredibly creepy opening scene sets the tone for what is to come.  Thankfully, however, Goldstein changes gears.  He fosters an invitation to the audience to be relieved from the doom and gloom, by revealing himself to be vulnerable and human.  His characters are, in a word: neurotic.  In another word: dysfunctional.  The thorough depiction of the insurance salesman puts a sour taste in one's mouth.  The conniving salesman keeps bringing up fears of the customer and asking, "have you thought about that?"  It turns into a verbal boxing match with the insurance salesman throwing the knockout blow.  That people can be so cunningly mean to others is a tough pill to swallow. 

     Favorite parts of the play, for me, are when Goldstein speaks in two different NYC/urban accents.  These accents add to the atmosphere and feel of the already fascinating characters.  He seems to use his accents as avenues to delve ever deeper into the character's unique feelings. His scene as the evangelist is convincingly disturbing while also being clever and humorous.  It paints a real-life picture.  The evangelist shows pictures of children starving in Africa and lays condemnation upon the audience for eating extra pieces of pie while letting it happen.  Goldstein does a great job of bringing some difficult characters to life.  His liberal addition of humor into the theatrical batter makes the audience feel safe along the journey through these neurotic characters.  A favorite scene of the ladies seems to be Goldstein's aerobic bit as his presence resembles an air of Richard Simmons.  A charming scene, for me, is when he reveals a country redneck boasting about his achievements and trophies.  As mentioned, most of the characters Goldstein presents are incredibly contemptible. 

     Funhouse lets people safely peek into dangerous characters and search for the humanity therein.  Are we similar to the characters or different from them?  How so?  I felt Goldstein exhibited a clear and precise understanding and sympathy for the unique character's he brought to life on stage.  His research into their intricate personalities allowed him to present full and thorough characters with built-in vulnerabilities and idiosyncrasies.  Never was there a lack of specificity between the characters. Goldstein brought an entirely different energy and tempo to each one.  The play is dark to be sure, but is also brought into the sunlight by Goldstein's charm and humor.  Goldstein can be admired for his willingness to tackle such extremely scary and disturbing characters.  His play asks us to question exactly which tendencies in society operate to bring out such filthy and neurotic beings. Funhouse is an invitation to embrace these by-products of our free, capitalistic system so that we may grow in our own humanity from our experience with them. .


 

Funhouse

Presented by Jonathan Goldstein at the Virginia Samford Theatre

Reviewed on February 21, 2007 by Frank Thompson

 

Friday night's second-night performance of Eric Bogosian's Funhouse, (currently playing at VST's Martha Moore Sykes Studio Theatre,) was well-received and enjoyed by a somewhat eclectic audience. The demographic seemed to run the gamut from elderly patrons who may have looked more at home attending Hello, Dolly! or My Fair Lady, to several twentysomethings ready for an evening out. As someone who falls somewhere between the two, I can honestly say that there was much I enjoyed about Jonathan Goldstein's tour de force. Goldstein acts as the show's director, producer, promoter, and sole performer. In less capable hands, this could have been a complete train wreck, but Goldstein has managed to assemble and present a well-rehearsed, passionate, and clearly thoughtful production.

     The show opens on an unnerving note, as a disembodied voice (Goldstein) wheezes menacingly in the pitch darkness. This sets a creepy, somewhat surrealistic tone, which is only partially dispelled by the following vignette featuring a buffoonish insurance salesman. Throughout the remainder of the evening's entertainment, Goldstein morphs himself into an effeminate aerobics instructor, a wino, a frenetic young man, and numerous other denizens of Bogosian's twisted psyche. These are not all nice people, nor are they all sympathetic characters. Goldstein succeeds, for the most part, in bringing them vividly to life. Occasionally there is a slight lack of specificity between the characters, especially in the second half of the second act. However, Goldstein has obviously invested great time and thought in his character choices, and this dedication is obvious in the enthusiasm and commitment he brings to the role(s.)

     Bogosian's script is somewhat edgy, and his language is definitely not for the easily offended. The script itself is mostly pessimistic and dark, so those who are looking for a bright, happy little show had best look elsewhere. For those who are interested in a more contemporary drama presented by a talented and dedicated actor, the Funhouse is the place to be.


 

“Don’t You Just Love Christmas”

Presented by Magic City Actors’ Theatre

Virginia Samford Theatre

Reviewed on December 19, 2006 by Howard Green

It seems like the same old thing, year after year at this time.  I get caught up in the Holiday rush, hustle and bustle, scramble for that last minute gift, write a check, swipe the plastic, no thanks I hate eggnog and yes my blood pressure is up!  So I decided to chill last Tuesday night and take in the latest production from MCAT “Don’t You Just Love Christmas”.  I’d seen an abridged version around this time last year in Gardendale so was fairly familiar with the story line and anxious to see it unfold on the glorious old stage at the Virginia Samford Theatre.

     Director Roy Hudson, along with an original concept by Steve Pennington and original music provided by Tom Paden, has woven together a Holiday treat for Birmingham theatregoers.  Carl Sloan, a recent widower, is trying to find his new direction in life, playing his guitar, writing songs and most importantly keeping in step with his brassy young daughter Samantha.  Brenda Angelo is trying to make the best of the Holiday season for her young daughter Chelsea while her husband is fighting the war overseas.  Brenda’s sister Katherine is single, career minded and certainly in no need of a man in her life.  Katherine is directing a benefit Christmas show and is planning to leave opening night for a well-deserved vacation alone in the mountains.  Brenda runs into Carl at the mall while waiting in line for their daughters to see Santa, which is actually Brenda and Katherine’s dad Bill.  With the help of Carl’s daughter Samantha, Brenda finds out Carl is a guitar player/songwriter and is available to help with the band as well as providing the show’s music.  He agrees, comes to rehearsal, meets Katherine and eventually they fall for each other, again with the help of Samantha.  Brenda’s daughter Chelsea has but one wish from Santa; that he bring her daddy home for Christmas.  Happy endings abound; daddy makes a surprise entrance at the end of the show, Katherine cancels her vacation plans to stay with Carl and her family, the Christmas show is a sellout and Carl has a recording contract on the table.

     The show boasts a wonderful cast, each of whom portray characters that most of us can relate to; caring, warm, every day people.  Carl Dean stars as Carl Sloan and as you watch him sing “What I Really Want For Christmas” and “This Christmas Eve” you’re reminded why he’s truly one of Birmingham’s premier performers.  Young Dee Dee Joehl plays his 10-ish year old daughter Samantha to perfection, complete with all the wisdom, courage, sensibility and logic it takes some of us lifetimes to gather!  Emily Herring and Kimberly Kirklin as sisters Brenda and Katherine turn in stellar performances also.  As you watch Kirklin sing “Someone I Don’t Even Know”, you see the wall around Katherine begin to crumble as she realizes her feelings for Carl.  Herring’s beautifully touching vocal on “Merry Christmas Wherever You Are” is certainly a highlight, and becomes even more so as her husband, played wonderfully by Jeff Johnson, makes a surprise homecoming and finishes the song with her.  There were hardly any dry eyes at this point in the crowd where I was seated.  Hal McIntosh and Martha Summey are a wonderful pair as parents Bill and Louise Sanders and are delightful in “Santa’s Song”.  Caroline Condon as Brenda’s daughter Chelsea tugs on the heartstrings throughout the show.  She never loses faith that Santa will bring her daddy home for Christmas and is the first to say I told you so in the end.  Mark Anthony Hardin II as Sid continues to impress audiences with his vocal stylings and brings the house down as he duets with Erin Johnson on the “The Spirit of Christmas in Me”.   The adult and children’s chorus were full of energy and presented Carl Dean’s choreography very effectively.  Music Director Michael King has once again put together a fine group of musicians that do great justice to the original score.

     Cheesy?  Syrupy sweet at times?  Perhaps, but while doing CenterStage’s “ A Christmas Carol” this year, we embraced the power of “cheese”.  And why not?  It’s the Holiday season!  With everything else going on in and around our lives, if we have a chance to experience something that causes us to feel a little happier, a little more joyful and have a little more faith I say God bless it!  Thanks, MCAT for your Christmas gift to the community!


 

Who’s Afraid of Virginia Woolfe

Theatre Downtown

Reviewed on December 7th, 2006 by Jason Carlton

Who’s Afraid of Virginia Woolfe is one of the cornerstones of American theatre.  Edward Albee is best known for his absurdism, but he left that at the door when he approached George and Martha, the two main characters of Woolfe, head on. 
     For those unfamiliar with the script, I’ll Cliff Notes it for you.  George (Terry Hermes) is a professor at a New England college where he is married to the college president’s daughter, Martha (Ellise Mayor).  They are both in their mid to late forties.  It is the beginning of a school term and George and Martha have just come back from a mixer.  Martha has invited a new college instructor, Nick (Jonathan Goldstein), and his wife, Honey (Melissa Bush), back to their place.  George and Martha like to play mind games, and Martha has decided to include the younger couple in on the “fun.”
     I went into this production with a healthy knowledge of the material from having seen the film adaptation featuring an engrossing performance from Elizabeth Taylor as Martha.  The movie is an extremely close adaptation of the play.  There is something about watching Taylor rip through the dialogue that makes me enchanted, and I just can’t stop watching it once I start. 
     There are some tricky things about Virginia Woolfe (actually this is true about almost every Albee play).  First off, the material is complex and alienating to the audience.  It really is almost too smart for most people to appreciate.  The characterizations are as layered as anything in modern dramatic literature.  Martha is probably the female equivalent to Hamlet, and Albee’s characters and complexity of themes rank up there with Chekhov, Ibsen, and Genet.  This is not light stuff.  It is the reason people leave during intermission, or choose not to see the play after seeing the movie.  Personally, I don’t understand how anyone could not sit on the edge of their seat waiting to find out what is going to happen next, or how it is going to be played by the actors.  This brings me to the second tricky thing about Woolfe, you have to have good actors. These aren’t roles that just anyone could play; it truly is a prime example of how the material lives or dies in the hands of the actors.
     Anyway, forget all that and let’s talk about this production.  Theatre Downtown’s decision to mount this production (with all it’s ability to fail in a spectacular way) is ballsy to say the least.  They pulled it off brilliantly.  The set is tight and efficient.  Setting it at Christmas time didn’t bother me, and the lighting was warm and inviting.  Then Ellise Mayor entered as the drunken Martha, and the real magic of theatre began.  This is an example of when the right actors, right director, and right script all come together.  It was as close to flawless as I could hope for in community theatre.
     Terry Hermes as George and Jonathan Goldstein as Nick were captivating and showed real depth to their characters.  I did feel that George was a little too spineless, but I also understand that may have been a director’s choice.  There were times when George would have read more interesting to the audience had he more energy.  However, it was a sound choice to play him so weak, and Hermes pulls it off in what is hands down the best performance I have seen him do.  Pulling off George is a hard feat, and Hermes’ interpretation is unlike anything someone familiar with the script would think to do.  It is original, fascinating, and it does work.
     Watching Goldstein’s Nick trying to figure out Martha and George is also fascinating.  Goldstein brings a light hearted, All-American quality to the stage.  Nick’s motives are obvious to the audience in large part because of Goldstein’s ability to convey them to us.  It is not always there in the dialogue, and Goldstein helps you see a part of yourself in him.
     Elise Mayor as Martha is pitch perfect.  As they say, this was the role she was born to play.  She pulls off every drunken slur, every jab, every barely able to walk moment.  She is miraculous in her performance and the true center piece of the work.  I couldn’t take my eyes off her, and her break down at the end was unbelievably convincing.  Does she remind the audience of Taylor?  Maybe a little bit, but then don’t we always see a little of Brando in every performance of Streetcar?  Mayor does make Martha her own creation, and it is worth the price of admission just to see her.
     Melissa Bush rounds out the cast as Honey; a role that really is nothing more then a plot device.  However, Bush might just be the best thing in the show.  She is dead on and funny as hell.  I believed every moment of her on stage, and I would love for her to take on the role of Martha in 20 years.
     The direction is even paced for the most part.  This is the third show I have seen Brewton do and he manages to always bring a lot of humor to his productions.  I always seem to hear this director’s timing in his comedy; his actors usually all have the same timing.  This time it truly is unique to each character.  He is growing as a director by choosing challenging pieces to pursue. 
     All in all, this is the best production I have seen in Birmingham theatre in quite some time.  If you have never seen this show you owe it to yourself to see this production.  If you have seen it before, see it again.  This is an incredible way to jumpstart a new theatre and I am waiting in anticipation of their next production. 


 

Veronica’s Room

Playhouse, Inc. – Presented by Twisted Dog Productions

Reviewed on October 18th, 2006 by Jonathan Temple

If one of the main purposes of the thriller genre is to incite those dark, unspoken emotions which reside in each one of us, then let it be said that Chris Burch and his fantastic cast have reached an uncanny level of emotive response with their superb production of Ira Levin’s Veronica’s Room.  Having read and seen some of Levin’s previous work (i.e., Rosemary’s Baby, The Stepford Wives), I fully expected something that gravitated towards the macabre.  What makes this play so effective however, is not its ability to be dark and brooding.  That’s the easy part.  Instead, the most chilling aspect of this production is the eerie level of normality that is achieved by each actor. 

     Russell Jones as the young man portrays a certain intensity that gives way to his own character’s depth.  Instead of honing in on one specific emotion or response, Jones is very diverse in the way he molds and shapes his character.  Without giving away too much of the story, I can say that Jones’s ability to manipulate his character is outstanding.

     David Gregson, in his portrayal of the old man, conveys a sense of geniality that gradually descends into a detached apathy for those around him.  Gregson’s responses are very subtle yet very effective.  His belief in the character exudes through every line of dialogue.  Once again, without revealing the depths of the play, Gregson’s ability to change without being overbearing makes his performance all the more captivating to watch.

     Lyndsay Antos as the young woman absolutely succeeds at showing her deepest and darkest fears as they become realized throughout the play.  It’s fairly easy to give off the emotion of fear, but for Antos, she promulgates the emotion so well that it becomes the very definition of her character.  Antos also presents a wide degree of diversity in her character as well. 

     Donna Love’s performance as the older woman is perhaps the most chilling of all.  Love is absolutely captivating in her character’s metamorphosis throughout the play.  Her ability to swing the pendulum of emotions from one end of the spectrum to the other leaves the audience in utter awe at what her character is or isn’t.  Love’s ability to transcend the normalcy of her character’s surroundings while still maintaining a sense of control is a testament to her talent. 

     To say that this play is entertaining would be an understatement.  The play is perfectly cast, and that is a testament to Chris Burch and the others who helped in the process of this production.  The cohesiveness felt from each of the four actors was as good as any show that I’ve seen in recent memory.  There is a certain level of professionalism and work that comes from being in such an emotionally and physically draining production.  With just four cast members, one might tend to take advantage of the limelight.  With this cast however, there is such a balance and blend that they all four are blended together in one horrifying tale that will leave you breathless not just by its subject matter but by those actors who give it to us as well.  If you haven’t made your way to the Playhouse to see this show, you are missing one of the best shows in Birmingham this year.     


 

How To Succeed In Business Without Really Trying

Virginia Samford Theatre - Presented by Magic City Actor's Theatre

Reviewed on September 20th, 2006 by Frank Thompson

A medium-sized but extremely festive audience was on hand for opening night of How To Succeed..., the premiere production of the new Magic City Actor's Theatre. Director/Choreographer Carl Dean and Musical Director Michael King have loaded the cast with talent, and a solid, respectable performance was enjoyed by all. The show's highlights included Jacob Pollard in the leading role of J. Pierrepont Finch, a role made famous by Robert Morse in the original production and Matthew Broderick in the 1995 Broadway revival. As a performer, Pollard is everything Finch should be...young, charming, and a reliably strong singer/actor. Of particular note was his superb desktop turn in the rowdy "Brotherhood Of Man" number. As good as he was in the role, this was the one moment when Pollard literally became Finch. Having watched Pollard  slightly understate his antics for the first three-quarters of the show, I was happy to see him really cut loose in this eleventh-hour number.

     As love interest Rosemary Pilkington, Kristen Bowden was another high point in the show. Her sweet demeanor and baby-doll vocal inflections gave Rosemary an authentic 1960's femininity, yet she managed to skillfully create a strong and determined character at the same time. My favorite song in the show is Rosemary's "Paris Original," and Bowden did not disappoint with this humorous and fun number.

     Wes Seals just about steals the show in the role of Bud Frump, the obnoxious nephew of the boss. I have always been impressed with his performances, and this one was no exception. He was simply hilarious. Matching him laugh-for-laugh was Juliet Brooks as Smitty, the wisecracking secretary and buddy to Rosemary.Her performance was also a comedic gem.

     In smaller roles, a real standout was Jennifer Gamble as Hedy LaRue, the bombshell "secretary who can't type." Gamble brought a Betty Boop-style sexiness to the character, and played her as daffy but never truly stupid. (Given how things turn out for her in the end, you are left wondering if Hedy may have been the smartest character all along...) Birmingham favorite Dwayne Johnson was a delight in several small roles, and Valerie Lemmons and Vicki Goldstein literally made me almost fall out of my seat laughing at their antics as a pair of cleaning women.

     And the list goes on...I could literally go through the entire cast and mention each person in the show and talk about something good that he or she brought to the production. There truly were no weak links in this group.

     As for the negatives...well, there were very few. If I had one main criticism, it was that the overall energy seemed to drop once in a while, but that could well have been opening-night fatigue. A few set changes were less-than-perfect, and as is usual at Virginia Samford Theatre, the orchestra occasionally drowned out the singers. These negatives are quite minor, however, when compared with the far more numerous and substantial high points of the show.

     How To Succeed...is a fun, entertaining, and enjoyable show. Magic City Actor's Theatre has done an excellent job with its' first production, and if subsequent shows maintain this level of quality and professionalism, the company will most definitely have a bright future ahead.


 

Long Day’s Journey into Night , Dane Peterson Theatre Series at The Virginia Samford Theatre

Reviewed on February 2, 2006 by Billy Ray Brewton

 

Alcohol.  Morphine.  Consumption.  Fog.  Those are the only five words you need to know to prepare yourself for the four hour 'journey' provided by the great Eugene O'Neill.  But, once you leave the theatre, you might add one more word to that list...amazing.  "Long Day's Journey Into Night" is one of the great cornerstones of American drama, and Dane Peterson & Co. masterfully bring this classic to the stage, incorporating all the drama and all the tragedy we have come to expect from this tale of regrets and denial.

     The piece centers around the Tyrone Family.  Father, James, is a former actor turned alcoholic and landowner who lives life to pinch pennies.  Mother, Mary, is a morphine addict who is finally back at home after being 'away' for treatment.  Their two sons, Jamie and Edmund, are more than a handful.  Jamie is thirty-four and still comes home for Summer, broke and needing work.  He is also an actor.  Edmund has been at sea for a while, but is now home and sick with something quite serious.  The play centers around these four characters coming to terms with their own faults and realizing the faults within one another.  This play deals with the regrets we all have in life, though those found in this piece are the kind that cause the greatest of tragedies.  This family is not so much dysfunctional as it is unrealized.  There are so many 'what ifs' in this play that we also start to question what might have happened...if...

     What makes this undertaking so successful (and, at four hours, it is very much an undertaking, which is why very few theatres perform this piece for the masses) are the performances.  My God, the performances.  I can honestly say I have never seen a better female performance onstage than that of Carole Armistead, and that goes for shows I have seen on Broadway, in London, or anywhere else.  She is phenomenal, and perfectly captures every single aspect of Mary's disillusion and subsequent 'journey'.  She is flawless...absolutely flawless.  Jerry D. Sims, as James, is equally amazing in one of the best male performances I have seen in a long while.  His Irish is pitch perfect.    While some at the show found some of his mumbling to be bothersome, I thought it was absolutely in keeping with character.  I didn't necessarily need to hear what he was seeing because I could see it written all over his face.  As Jamie, Jonathan Goldstein hit all the right buttons.  He was cocky...he was biting...he was sympathetic when he needed to be...and he was cowardly to an extent in Act Two.  And, though he was just a little too wooden at times, I also found Daniel Walker's performance as Edmund to be in keeping with the talent level of the show.  These actors did their homework.

     Though Act Three stays on track for a while, it eventually loses steam and we finally start seeing why this show is so difficult to pull off.    But, just as we think it is getting a little too long, in comes Jonathan Goldstein and, eventually, Carole Armistead, and the show heats up once more.  The best scenes of the show were between Armistead and Sims -- both of whom work instantaneously off one another.  Their chemistry is the stuff directors dream of discovering and cultivating.  Kudos to director Dane Peterson for giving us one of the most powerful and enjoyable shows of the year...or any year.  I feel I will be hard pressed to find a better show in Birmingham in 2006...or 2007...or 2008.  This was professional theatre.  So, don't let the four hours distract you from this show...by the time the wedding dress makes its way onto the stage, you are sitting there hoping it has more left to offer.  Eugene O'Neill's masterpiece if only made better by this director, these actors, and the phenomenal showplace of the Virginia Samford.


 

South Pacific  at The Virginia Samford Theatre

Reviewed on January 15, 2006 by Andrew Duxbury

In 1949, Richard Rodgers and Oscar Hammerstein II were the reigning kings of Broadway.  Separately, they both had long and distinguished careers in musical theater but, when they teamed up for the first time in 1943 to create Oklahoma!, their creation of the first fully integrated musical play announced the mature arrival of an uniquely American art form.  They perfected the tying together of strong dramatic themes, rich characters, melody and dance two years later with Carousel, detoured into the concept musical with Allegro, and bounced back from that relative failure ready to surpass themselves again.  The source material for their new project was James Michener’s book of short stories about World War II in the Pacific theater, Tales of the South Pacific, a Pulitzer Prize winner published the year before.  The war, only four years finished, was still at the forefront of American culture and America was still wrestling with its impacts on its people and society.

     Hammerstein took Michener’s stories, full of an evocative feeling of place, and peopled with ordinary American servicemen and women on an extraordinary mission, French planters, and Polynesian natives and wove from them a full tapestry of human relationships against the backdrop of war.  Most of the musical was drawn from the stories, Our Heroine, about the romance of military nurse Nellie Forbush with the older French planter Emile De Becque and Fo’ Dolla, about the mercenary Tonkinese trader, Bloody Mary and her scheming to get herself an American son-in-law but characters and incidents from other stories were seamlessly worked in.  The result was South Pacific, which opened to rapturous reviews, enormous box office success, a Pulitzer for drama, and a raft of Tony awards.  The original cast recording, the first ever issued in the new LP format, brought the music to the masses and songs such as ‘Some Enchanted Evening’,‘Bali H’ai’ and ‘I’m Going To Wash That Man Right Out Of My Hair’ became cultural touchstones.

     Given this pedigree, a production of South Pacific, such as the one currently running in Birmingham at the Virginia Samford Theater, is something of an event.  The theater, a home to several local production companies, is venturing into producing its own shows for the first time and the result of this maiden voyage is mostly a success.  As directed by noted local director and performer, Dane Peterson, this South Pacific mostly manages to strip away memories of countless lackluster high school and community theater productions to reach the emotional truths regarding love, war, and racism that are at the heart of this show. He is helped by an exceptionally strong cast of local musical theater veterans headed by Kristi Tingle Higginbotham as Nellie Forbush and Bill Bugg as Emile De Becque. 

     South Pacific is a very tricky show.  The first twenty minutes, rather than consisting of large chorus numbers or huge production values, is an intimate scene for two on a terrace between Nellie and Emile.  If the two performers cannot engage our attention and our interest, the show will fail, no matter what comes later.  Ms. Higginbotham and Mr. Bugg are up to the task with stellar voices and a touching chemistry.  Ms. Higginbotham is a tad too sophisticated to be the self confessed ‘hick’ that Nellie professes herself to be, but by the end of her first number, her angelic voice and her winning personality keep us from caring.   Mr. Bugg is physically imposing and his rich bass-baritone is almost enough to banish memories of Ezio Pinza wafting from your parents hi-fi. 

     The supporting leads are strong as well.  Lucas Pepke, as the doomed Lieutenant Cable, has a glorious voice and the looks of a virile juvenile. Ginger Goodall as Bloody Mary, sells her numbers and finds the comedy in her role as well as the pathos and Jeff Johnson is a riot as the perpetual screw-up, Luther Billis.  Frank Thompson barks his way through Captain Brackett with suitable authority and Don Garrett quietly steals every moment he can as the pompous Commander Harbison.  The ensemble acquits itself well although, like many musicals produced in Birmingham, the male ensemble is a bit anemic in its numbers, and while there are no weak voices,  the lack of bodies leads to some odd doubling in bit parts.

     The voices are so strong, that the dual piano combo in the pit, under the direction of Michael King, while musically proficient, makes you long for the original lush orchestrations to set off the singers.  The cost of good musicians to fill a full orchestra is beyond the capacity of many or our local theater groups and keyboards have become an economic necessity.  It’s a shame.  Mr. King is quite capable of putting together a bang up pit when given appropriate resources.

     Ben Boyer’s set is well executed and gives a sense of place.  His scenic painting of palm trees and tropical foliage in particular is well done.  The set is dominated by an enormous projection screen at the rear, where photo real projections of sunsets, beaches and islands carry us to an exotic locale.  While the projection technology is a major step forward for local theater, it doesn’t always live up to its promise.  At the top of the show, the use of newsreel clips is very effective, but this is immediately undercut by a silly movie credits sequence which is entirely too reminiscent of the bloated 1958 film version with its bizarre Technicolor filters.  The static backgrounds of sunsets or skies work well, but the tourist picture postcard scenes clash with the more abstract work in the foreground.  When the projections are video clips of lapping waves, they distract from the actors in the same way that an unwanted television does and the occasional technological snafu is disastrous in breaking emotional moments.  Costumes, by Mary Gurney and Kim Dometrovich, are appropriately colorful and delineate character well, but a bit more attention could be paid to shoes which are occasionally way out of period.

     Even with the minor flaws, South Pacific remains one of the better evenings I’ve spent at the theater recently and a good deal better in terms of performance than the touring version of Forty Second Street recently presented at BJCC.  Birmingham audiences flock to second-rate national tours.  They need to start looking at the first rate offerings in their own back yard.


 

PERSONAL REACTION TO ANTIGONE AS DIRECTED BY DR. HAARBAUER
Reviewed May 5, 2005 by M.L. Carlisle

When Dr. Haarbauer first mentioned his ”Feral” approach to this production, my response was that it would either succeed wonderfully or be a total failure.  It took a day to digest it after leaving the theater.

             Perhaps for the first time, the philosophy of Bertold Brecth really came alive for me.  The play maintained the aesthetic distance which is required to assimilate the philosophy which underlies the story.  The audience was kept from an empathetic association with the pathos of the situation and forced to regard the main message, that stubborn defense of an unpopular idea can destroy a leader.  Whether or nor Creon had a real point in denying Polynicius his burial rights seemed lost in the actual play by Sophocles.  The production by Dr. Haarbauer did not stoop to the level of human tragedy that is so often represented by ANTIGONE, but kept the burden on the audience members to think about what has happened.

             The set accomplished a great deal.  It both humanized the action and provided distance.  The huge sculpture at center stage, broken and looking like an antiquity kept the audience in mind of the time distance from this tragedy.   The set also gave an appearance of columns while not engaging in Doric or Ionic capitals which would identify the actual time period.  The scaly floor was lost on those sitting too close to the stage, but could be seen when entering the theatre and departing. The scale of the set, with its deep reveals, also created a sense of permanence, a solid connection to this universal problem of when is the good of the state above the good of the individual.

             Likewise, the lighting provided a superior atmosphere while allowing adequate lighting on the faces of the actors throughout and at critical moments.  There has been a proliferation of lighting designers in our area who think that ?Dark is Dramatic?.  Sorry, Dark is Dark.  Most of the audience has to read lips to get the actual words in so many productions.  The use of Lekos which could be shuttered and swiveled like follow-spots provide just the right amount of light on the characters while never creating an illusion of a musical number.

             At the beginning of the production, the exaggerated pronunciations were very annoying, but as the play progressed, it was engaging to understand every word and to feel more like one was entering the ancient mind instead of a modern one.  Similarly, the dance-like movements and continued hugging of the ground gave a symbolic connections to the turmoil of that times; the seeking of how to handle such situations; of Creon?s desperate attempts to demonstrate his fitness to rule.  The hissing and growling of various characters informed the audience of the feral nature of this moment in human history, when law is not settled and power is the rule.

             It goes without saying that the cast had a difficult assignment.  The testimony to their success is the fact that no one in the audience ever laughed.  Actors have to be totally committed to such characterizations for them to work.  The tension of this play is not relieved by any comic moments.  It builds and builds.  When an audience is partly composed of college students who are there to get extra credit in another class, the tendency is to laugh at things that they are not sold as being real.  No matter what concept a director may have, the cast has to make it work.  They cannot let down for one second on stage or the entire production becomes a parody.  Kudos to this cast.  It is impossible to select any one from such an ensemble piece.

             The sound effects, while distracting at times, also gave an immediate sense of ancient times.  The Australian instrument, so well known to us because of various movies and commercials, was recognized immediately as being pre-history.  A little less volume was warranted at certain moments, but the effect was what the director seemed to have envisioned.

             The only weakness that I saw was in some of the logic of the script.  Yes, in the script.  Traitors on the battlefield are shot.  They are not given a place at Arlington cemetery, nor have they ever been honored by the country they turned against.  Creon has a right to maintain the allegiance of his troops by denying this traitor a proper burial.  As important as a proper burial was in the time of Sophocles, I am surprised that his justification was not provided to support the case for Creon.  Perhaps this translation from 1939 skirted the issue more.

 All in all, this was a production that succeeded in a way which should make everyone involved very proud. 

 

 May 5, 2005 M.L. Carlisle


 

My Fair Lady at the Virginia Samford Theatre, by Little Theatre Players

Reviewed January 23rd  by Frank Thompson

In staging the Lerner & Loewe classic My Fair Lady, Little Theatre Players have embraced an interesting and most effective concept. The entire show is performed by a cast of thirteen highly skilled and versatile performers. While it is unusual to see this show (which typifies the traditional large-scale musical) presented by such a small ensemble, the enthusiasm and talent of the actors more than makes up for the absence of a large troupe.

Director Jack Mann has assembled an "all-star" cast, led by Kristi Tingle-Higginbotham as Eliza Doolittle and Bill Bugg as Professor Henry Higgins. In her role as the cockney flower girl turned elegant lady, Higginbotham shows not only the glorious voice for which she is known, but also tremendous range as an actress, smoothly transitioning Eliza from a brash and ignorant lower-class urchin to a grand and refined lady under the tutelage of her curmudgeonly teacher. Vocally, Higginbotham is in fine form, particularly on the soaring "I Could Have Danced All Night" which somehow seems fresh and new, even as the show nears it's 50th anniversary. Matching her note-for-note is Bugg, who uses his powerful baritone voice to provide Professor Higgins with an operatic gravitas. Bugg's Higgins is not as flighty or bombastic as that of Rex Harrison, but rather brings to mind the performance of Leslie Howard in the film version of Pygmalion, the non-musical play upon which My Fair Lady is based. His performance is understated, yet completely engaging, and works splendidly. Bugg has made the role completely his own, and, like Higginbotham, breathes new life into a classic piece of theatre while remaining true to the original character.

In supporting roles, Jeff Johnson is superb as Alfred P. Doolittle, Eliza's n'er-do-well father, Barry Austin turns in a marvelously bumbling yet endearing Colonel Pickering, Jeanette Stelzenmuller is a wonderfully daffy Mrs. Eynsford-Hill, Lonnie Parsons stops the show with a magnificent "On The Street Where You Live" in the role of Freddy Eynsford-Hill, Boots Carroll provides a delightfully crotchety Mrs. Pearce, and Virginia Mae Schmitt is a sweet-but-sassy Mrs. Higgins who provides a calming force within the chaos surrounding Eliza's education.

In the ensemble roles, Mike Curry, Regina Harbour, Neal Hunter Hyde, Mark Roberts and Kristy White blend seamlessly into numerous roles, spanning all ages, social classes (and in one hilarious case, genders.) This My Fair Lady is an ensemble piece in every way, and the entire cast seems to work together perfectly.

The show is not without a few minor flaws. The sets are sometimes less-than-beautiful, there is an occasional inaudible line or two of dialogue, and a couple of the costumes would look a bit more at home in 1980 than 1912, but these small imperfections are quickly forgotten when this brilliant troupe of actors and singers share their considerable talents with the audience. Overall, the production is solid, with outstanding performances across the board. Melissa Bailey's chorography is bright and inventive, and Derek Jackson's musical direction has produced a clear, well-trained sound from the vocalists. This is a show not to miss!

threeandahalfStar


 

Falsettos at UAB Theatre
Reviewed February 20, 2003 by Frank Thompson, III

     If you are in the mood for a VERY polished and professional musical, UAB Theatre's Falsettos is for you. Director Dennis McLernon has assembled an extremely talented cast and has guided them towards a performance of excellence. Falsettos deals with the sexually ambiguous Marvin, a New York lawyer in the early 1980's. When Marvin leaves his wife and 12-year-old son, he starts a love affair with Whizzer, a gay man who gets by on good looks and other people's money. The traumas and joys of Marvin's new life run the gamut from the mundane (preparing for his son's Bar Mitzvah) to the comic (getting to know "The Lesbians Next Door") to the tragic (Whizzer's battle with AIDS.) Tying each of these worlds together is Mendel, a psychotherapist who treats both Marvin and his ex-wife, eventually falling in love with the ex-wife. As Marvin, Wes Stewart Seals is phenomenal. His vocal abilities make the difficult William Finn score seem effortlessly sung, and he commands the stage without ever overshadowing the other performers. Matching him note-for-note is Tammy Hyatt as Trina (the ex-wife.) Hyatt brings a graceful elegance to her tragic character, particularly in the "Making A Home" number, in which we see her enjoying an orderly, polite, (if passionless) marriage to Mendel.
     As Mendel, Lee Turner finds all the right levels of comic relief and serious drama. It is essentially through Mendel's perspective that we see these characters, and Turner creates a character who truly "is what he sees." That is, all of life's emotions, from joy to fear to sadness, etc. Other standout roles came from Will Lacey as Jason, Marvin's son, and Audra Yokley as Cordelia, a lesbian kosher caterer. Both Lacey and Yokley had excellent moments and played their roles beautifully. Fine, solid performances were also given by George Milton as Whizzer and Tawana Johnson as Dr. Charlotte. As always, Musical Director Michael King performed magnificently. Michael's name on a show always means that the music will be first-rate, and this one was no exception. And the list goes on...bright, fun choreogaphy by Amanda Barrett Hayes, a fabulous set by Cliff Simon, stellar costuming by Russell S. Drummond...there just isn't room to complement all the talented people who helped make this show work. Falsettos does deal with some adult themes such as sexuality, AIDS, and divorce, so parents may want to decide whether their children are ready for the show. However, each subject is approached with respect, intelligence and wit, and the show should be fine for teenagers and older children. There is some adult language, so be prepared. (I almost died laughing when Will Lacey, as Jason, asked himself "What was that bitch's name?" when trying to recall a classmate.) The closest thing I saw to a "negative" was the occasional microphone glitch, but that's stretching to criticize...this truly is a sophisticated, fun, well-done production. Go and enjoy!


 

Company at the Birmingham-Southern College
Reviewed May 15, 2000 by Valerie Whitfield

     On Robert’s 35th birthday, his married friends gather to wish him many happy returns.  Through a series of flashbacks, Robert explores the idea of marriage and partnership by interacting with his friends and his three vastly different girlfriends.  The intimate setting of Birmingham-Southern’s black-box theatre is perfect for this show.  Audience members can relate to Robert, as they too observe the craziness of his friends’ relationships. 
     While the cast was universally strong, certain performances stood out as exceptional.  Among these performances were Brooke Hoffine as the nervous Amy, Kim Byram as the daffy flight attendant April, and Amy E. Miller as the enthusiastic Marta.  The entire cast worked well as an ensemble. Chris Hardin was excellent in the lead character of Robert, but was at his best when surrounded by his fellow cast members.  In fact, the strongest moments in the show were when nearly the entire cast participated in a scene. 
     The technical aspects of the show also helped maintain the ensemble emphasis.  The few set pieces were slightly adjusted in order to indicate where the scene took place.  The liquor cart, in particular, linked each couple’s home.  The costuming was also effectively utilized in linking characters, as each couple wore color-coordinated outfits, while the three girlfriends were dressed in wildly different ways. 
     Overall, Michael Flowers directed a polished, professional production of a wonderful show. 

 


 

Desire Under the Elms at the Morris K. Sirote Theatre
Reviewed May 12, 2000 by Franklin Thompson, III

     If you have an opportunity, try and catch one of the remaining performances of O'Neill's Desire Under the Elms now playing at UAB's Alys Stephens Center. Director Ward Haarbauer has done a masterful job at taking material which could have easily come off as dull or dry in less capable hands and creating a vibrant, timely piece of theatre. The decline and fall of a 19th-century New England farm family is seen from various perspectives in this story of greed and forbidden love. 
     Haarbauer has made three-dimensional characters out of roles that could easily be caricatures (especially the two gold-driven brothers played by Douglas O'Neil, Jr. and Stephen Wilcoxon.) The multiplicity of layers in each character is vividly illustrated: no one is all "good" or all "bad" and the evening leaves one wondering whether to feel avenged at justice served or sorrowful for a myriad of victims. 
C. David Loggins is particularly strong in the role of Ephraim Cabot, the elderly farm owner. Loggins uses his sturdy frame and powerful voice to create an image of strength within the body of a character of advancing years. Artfully combining an old man's movements with a younger man's passions, Loggins shows us an elderly man who can still hold his own in a world of young men. 
     As Abbie, Rachel Steele is appropriately alluring and crafty. She brings a powerful and self-assured sex appeal to the role, yet never loses Abbie's internal frailty. This is clearly a woman who has only her wits and physical charms as tools for survival in this society, and Steele shows Abbie's desperation without ever revealing the panic that may (or may not) be there. Her scenes with Loggins are particularly strong in the second act, when Abbie's disgust with Ephraim replaces the cool calculation of the first act. 
     Michael Hicks turns in a well-formed performance as Eben Cabot, although one might have wished to see less explosive wailing and more brooding in the early scenes. As an adolescent farmboy experiencing his first love (and an illicit one at that) Hicks shows a quiet yet constant flow towards maturity, and his final scenes with Abbie are among the play's most powerful and moving. 
Haarbauer has made use of Adrienne Reid's lovely voice as a sort of transitional accompaniment, bringing her on-stage to sing a few lies from era-appropriate songs at the scene shifts within the show. This device works well, and provides a thematic richness which may have been otherwise lost. 
    With it's dark storyline and sometime talky script, Desire Under the Elms may not be for everyone, but Eugene O'Neill fans and those who enjoy a more serious evening at the theatre will certainly enjoy this polished and majestic production.

 



Our sponsor is  AuditSoft