Pulitzer Prize Play "Proof" to be Performed at Serendipity Playhouse

Vancouver, WA Serendipity Players is proud to present the Pulitzer Prize and Tony Award winning play, “Proof,” by David Auburn.

A family drama about the nature of genius, questions of legacy, and the willingness to trust. Catherine’s father was a mathematical genius who revolutionized the field. He also suffered from mental illness. Catherine may have inherited her father’s genius, but did she also inherit his burdens?

“This is one of the best scripts I’ve ever read,” Tony Broom, artistic director, said. “I knew before I was done reading it that we had to do it. Our director, Alicia Marie Turvin and I fought a little over who was going to get to direct it.”

About the Play 

and Cast

 Actors Valerie Martinka Davis (Catherine) and David Hudkins (Robert).
Photo courtesy of Christopher Paradee.

“Proof” is a contemporary drama in two acts, and features Valerie Martinka Davis, David Hudkins, Michael Lissman, and Sarah DeGrave. “Proof” is directed by Alicia Marie Turvin.

Performances

Opening night is March 8 with curtain at 8 p.m. The production run includes performances at 8 p.m. on March 8, 9, 14, 15, 16, 22, 23, 29, 30, with Sunday matinee performances at 2 p.m. on March 10, 17, 24, 31. Thursday, March 14 at 8 p.m. is a "Pay What You Will" performance. All performances take place at The Serendipity Playhouse, 500 Washington St, Vancouver Wash. Reservations are strongly recommended for all performances, and unclaimed seats will be sold five minutes before start of each show.

Tickets

Tickets are $15 general admission and may be purchased online at www.serendipityplayers.org, or reservations can be made by calling 360-834-3588. Tickets are also available at the door. Doors open 30 minutes before the performance.

Serendipity Players is a non-equity, semi-professional theater company.

Our Review by Dennis Sparks will be posted March 9.

AUDITIONS: Vancouver Comminity Concert Band Seeks Vocalists and Narrators

The Vancouver Community Concert Band is looking for vocalists and narrators for its 2013 season.

Call Jim Rourk at 360-735-7806 for information. Please leave a message you will be contacted.

ONE NIGHT ONLY: "The Legend of Jimmy Blue Eyes" at Seredipity

Smoky jazz, the girl, the guy, the devil who wants his soul..all join up in this unique presentation of Lumiere Players’ 2013 Oregon State AACT Competition winner for Best Play.

Serendipity Playhouse hosts this fundraiser to help Jimmy Blue Eyes get to the Regional competition.

Where: 500 Washington Street, Vancouver, Wash.

When: ONE NIGHT ONLY! 8 p.m., Friday, March 1.

Suggested Donation for tickets: $10. All proceeds go to Lumiere Players.

REVIEW: The Musical "RENT" Rocks with Tunes and Talent at Clark College

RENT the award-winning musical written by Jonathan Larson, is directed at Clark College by H. Gene Biby with musical direction by Jonathan Quesenberry and choreography by Lisamarie Harrison.

The Tale

This highly touted, and often produced Rock Opera, covers a year in the life of eight very individualist characters, representing many aspects of New York society. But this world is not located in the condos or penthouses of the rich, but focuses on the underbelly of the City in East Village. Humans, out-of-work and out-of-luck, but with a fierce will to survive, even in the most inhumane of situations, the slums. It is the world of drugs and aids, of struggle and loss, of love and, yes, even of hope.

The Company. All photos provided. For more photos click here.

The life of the author, Mr. Larson, mirrors in many ways, this story. A struggling, young writer, working in delis of NYC, with a fervent hope to be recognized as a true artist. Finally, when that end was within grasp and RENT was to open, he gave an interview to a New York journalist after a dress rehearsal of his play. He then went home alone to his apartment and quietly died during the night of an undetected heart ailment. His dream did come true, garnering a Tony Award for Best Musical and the Pulitzer Prize, but without him to appreciate the well-deserved accolades.

This story is one of dreamers, too. Mark (Sam Levi) aspires to be a film-maker. His roommate, Roger (Garrett Dabbs) longs to be a famous musician. Into their lives comes Tom (James Martine) a friend, and his new-found love, Angel (Bruce Kyte), a person with aids. To muddy the waters even more, there is also Benny (Andy Roberts), a former roommate, but now a slumlord, out to evict them. And Mimi (Lydia Fleming) with a drug problem, takes a shine to Roger and they embark on a shaky relationship. And let’s not forget the political activist, Maureen (Jazmyne Waters), Mark’s former love, who left him for another woman, Joanne (Dorinda Toner).

It all sounds like a merry mix-up from a Shakespeare comedy but is, instead, based on the [Italian] opera, La Boheme. This musical is tough for any troupe, as it is not only peppered with songs, but also most the dialogue is sung. But Mr. Biby and his cast, mostly young students at the college, are up for the challenge and, for the most part, exceed expectations.

For additional photos click here.

The Talent

Levi, as Mark, the POV for the audience, is very animated and believable. He is impressive throughout in his singing and acting, but especially in the number, Tango Maureen, which is a show-stopper. Also, powerfully impressive, is Fleming as Mimi, who has a voice that rocks the theater. She is vibrant, sexy, a dancing dynamo and a terrific actress to boot. A triple threat, as they say in the biz, with a Broadway future if she allows her talents to continue to soar.

For more photos click here.

Also very good are Toner as Joanne, and her partner, Waters as Maureen. Dorinda has a super voice and is good in exploring the various shades of her character. Jazmyne also has a voice that will knock your socks off. And her monologue about the cow is very well conceived. (You have to see it to believe it.) And the chorus is exceptional lending powerful support to this amazing production. The five-group band, continues this support, in a show that is almost all music, and difficult music, at that.

For more photos click here.

Dabbs as Roger has an exceptional voice, but needs to loosen up a bit more in the acting [department]. The same can be said of Kyte as Angel. The role is one of the stand-outs in the story and Kyte sings and dances it well, but needs to let go. The character is a free spirit and eccentric and needs to explode on the stage. Roberts as Bruce, also has a great voice, but his acting is limited in showing the complexities and doubts his character must feel in his relationships with others. Martine is equally timid about showing us his full range. But these roles may grow with time.

The Tech

The stark set and inventive lighting, by Mark Owsley, works very well in its favor to show the different settings [in which] the story takes place. A “black box” is perfect for this kind of play. Pat Rohrbach’s costumes are as eccentric as some of the characters and they work beautifully for this production. And Biby must be commended for staging such a difficult show in such a small space with a young cast and doing it quite splendidly.

The band, at times, overpowers the actors, but there is no easy solution to moderating this perfectly.

WARNING: It should be noted, too, that this may not be everybody’s cup of tea. It is raw, deals frankly with sexual situations, and has R-rated language, as well. But, personally, I am glad to see Clark deal with edgier material, for the sake of young artists learning the craft, as well as education for the public. Bravo!

Photos provided. Link to photos on Flicker.

The Ticket

The play is showing in the Clark College Decker Theater, located at 1933 Fort Vancouver Way in Vancouver, Wash. The play runs through March 9th with showings February 23, March 1 & 2*, and 7-9. Evening shows at 7:30 p.m. *Saturday matinee on March 2 at 2:00 p.m. General tickets are $15, students are $10 and seniors are $12. For further information, contact them at www.clark.edu

If you choose to see this production, please tell them Dennis sent you.

By Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com

REVIEW: LCC Presents Three One-Acts by Pulitzer Prize-Winning Tennessee Williams

Tennessee Williams was an American writer (1911-1983) who worked principally as a play-wright in the American theater. He also wrote short stories, novels, poetry, essays, screenplays and a volume of memoirs.

His best-known works include "Cat on a Hot Tin Roof," "The Glass Menagerie" and "A Street Car Named Desire," the Pulitzer Prize-winning play set in New Orleans.

Lower Columbia College in Longview, Wash. presents three of his lesser-known one-acts, "The Long Goodbye," "The Purification" and "Something Unspoken" in An Evening with Tennessee Williams.

Something Unspoken

The weakest of the three plays, "Something Unspoken" is a bit of a commentary-comedy that explores the relationship between a southern aristocratic woman and her private secretary. There are only two actors in the piece. Scarlet Clark directs and plays the woman. Shizuka Wolf Moon plays the secretary. The material wasn't William's best and the presentation suffered some in it's lack of sincerity.

While Wolf Moon was enthralling, Clark could have benefited from an outside director. It is just difficult to to direct oneself, being so close to the work and unable to observe your own performance. She didn't carry herself as a southern woman, nor did she use a southern accent.

Furthermore the hairstyles weren't right, nor the costuming. (Paisley was NOT part of the 1930s deep south.) In fact little attention seemed given to the 1930s period. Overall I felt the execution should have been pushed/played more toward farcical comedy. I began to drift, having difficulty finding a plot or purpose.

The Long Goodbye

"The Long Goodbye" is a drama about a young man who moves out of the family house filled with memories of his family. Ably directed by Gian Paul Morelli, well dressed, designed and  very nicely lit. The show stars Corey Farmer, Timothy R. Laughlin, Shae Coleman, Dante Huffine, Tyler Donnely, Thomas Loren, Zack Lyon and Susan Laughlin.

Timothy Laughlin and Shae Coleman gave standout performances, with Coleman showing a special flair for her role as a 1930s woman. The best, most authentic performance by far was given by Susan Laughlin. There were many delightful moments.

Scenes, into the past and back to the present, were nicely shifted with the use of area lighting. There were many nice touches to the direction and performance and it was technically well done with the one exception of a non-period lighter (get a Zippo).

WARNING: Language is an issue and there are racial slurs.

The Purification

"The Purification" is a high drama piece about a woman who has died and the people who knew her gather to judge the man who killed her.  It is an extended poetry piece much like Shakespeare and includes musical undercurrents that augment the drama and lend an ethereal quality to the work. A very stylized mood piece dealing almost imperceptibly (due to the period) with infidelity, frigidity and incest.

The large cast consists of several leads and a group of eight "chorus" members. Standouts were Wolf Moon, Daniel Fox and Hanna Badger. Susan Laughlin also contributed her great talents to a small role, but all roles were played well, though I felt Spanish accents were in order (and they weren't used).

The set was delightful and the lighting outstanding! Lighting and direction by Donald A. Correll were top notch. The lighting in and of itself was perfection (with great use of color and texture) and lent a great deal to the feel and mood of the piece. From the dramatic opening to the very last line every moment was interesting and intriguing. It was a visual and auditory delight. Very, very classy.

An Evening with Tennessee Williams plays February 21-23, February 28-March 2, and March 7-March 9. General Admission Tickets are $8, Senior 55+/ Non-LCC Students are $7, and LCC Students and Staff are FREE. Performances are at the Rose Center for the Performing Arts, Center Stage at Lower Columbia College, 1600 Maple St.,  Longview, Wash. For more information contact them at www.lowercolumbia.edu/aande 

Review by Gregory E. Zschomler

SECOND BONUS REVIEW by Dennis Sparks:

The World of Williams

Tennessee Williams is, in my opinion, one of America’s best playwrights. And most of his plays have a relationship to other plays/characters of his, as well as his personal life. And so it is with the plays presented here: 

"Something Unspoken," late 1930’s Mississippi, directed by Scarlett Clark (directing debut); "The Long Goodbye," late 1930’s St. Louis, directed by Gian Paul Morelli (Executive Director of Columbia Theatre); and "The Purification," the Southwest, directed by Donald A. Correll (Producer of Center Stage).

"Something Unspoken" concerns a wealthy Southern spinster, Cornelia (Scarlett Clark, also the Director) caught up in the façade of the gentry of the Old South, with all its charms, manners and, totally out-of-date perceptions, of the current world and society. Her companion/secretary, Grace (Shizuka Wolf Moon) of 15 years, lives with her and has the dubious distinction of probably being her only real friend.

As Grace purports, in a touching monologue by Moon, their lives are shades of gray, but hers is reminiscence of cobwebs and Cornelia’s, of Emperors. But Cornelia lives in a world cushioned by classical music when things become dire. She feels music soothes things over rather than speaking them out-loud. Therefore, there is always, something unspoken. Williams’ lack of respect for high society are also clearly shown in the characters of Blanche in "A Streetcar Named Desire" and the matron in "Suddenly Last Summer."

Clark’s direction, in what could have been a static play, works well, as she keeps her characters moving. She does fine as the fussy aristocrat, but even better is Moon as Grace. She has a very touching monologue and seems to have a sense of purpose in her character, even in silent moments, as she listens, reacts and thinks. Nicely done piece.

"The Long Goodbye" is probably the most personally connected of the three one-acts. It tells of a writer, Joe (Corey Farmer) in St. Louis who, unable to make ends meet, has to sell the family house and move into smaller quarters. He voices his qualms [and] regrets in leaving [by reveling] the memories of the past to his friend, Silva (Timothy R. Laughlin). The play even reveals flashbacks into his past, with his ailing mother (Susan Laughlin) and, possibly, whoring sister, Myra (Shae Coleman). But leave he must, as he reflects, “Life is just a long, long goodbye.”

Williams did live with his mother and sister in poverty in St. Louis, which is also reflected in his most personal full-length play, "The Glass Menagerie." And he did brush shoulders with communist sympathizers and was also gay in real life (Silva alludes to Joe as being, “a sissy”). The director, Morelli, does a good job of shifting the story back and forth in time, without confusing the audience. And Ms. Laughlin is particularly moving in the brief role she has as his cancer-stricken mother.

"The Purification," may be the hardest to explain. Williams, in addition to being a great playwright, was also a poet and essayist. This play is lyric, more in the style of a Greek tragedy (as it has a Chorus that comments on the proceedings) or related to Shakespeare’s "Romero and Juliet" (in which two warring families must face the truth of their children dealing with elicit love and death).

In brief, a daughter of one family, Elena (Hanna Badger) has been killed by her husband (Nathan Joel Clark), the son of a family "from the other side of the fence.” The families present this scenario to a Judge (Michael Cheney) to decide the outcome of the murder and how to satisfy “the waters/rain” so that they can go on with their lives. [Editor's Note: I felt Cheney performed well enough, but it was not his best opportunity to shine; he was so wonderful in last season's "A Flea in Her Ear."]

The director, Correll, does a beautiful job of staging this play and the cast is fully vested in presenting it. The Designers [the Set (Robert Cochran), the Costumes (Jennifer Cheney) and the Lighting (again, Correll)] have added immensely to the vision in this production. And, again, Ms. Laughlin, as the mother and Moon (as Luisa, a seer), stand out. And Cheney and Clark are especially good, as is Daniel Fox in the role of the son.

This dream-like play, again, has a basis in another Williams show, specifically, "Camino Real," (his only real failure on Broadway), which is also a lyric drama. And also in his awe of the awareness of the Spanish-Indian people, such as the flower seller in “A Streetcar Named Desire.” Stories of lives lived, perhaps, in alternate universes.

These are plays for people that wish to explore fuller the depths of an important writer and to experience the dedication of artists in an educational setting. For those lucky few, well worth your time.

Dennis Sparks, Guest Reviewer 
www.dennissparksreviews.blogspot.com

DEBATE: What Makes a Theater Presentation a SW Washington Theater Production?

I (Greg) posed the questions:

Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?

I got the following responses:

"Greg, I wouldn't presume to speak for another theater, but my opinion is that if the producing theater company is in SW WA, then it's a SW WA production. I know that when I'm casting a show, I don't look at the address on the resumes, but for the person I think is best for the role. I understand the perspective that we have many fine actors in this area and that we don't 'need' to import actors from across the river. But another way of looking at this is that Vancouver theater has reached a stage where we're attracting actors from a larger and larger area. That has to be a good thing, yes?" (Serendipity Players)

"Is a basketball team local if all the players live or are recruited out of the city? Magenta does not discriminate on where our actors come from as long as they can make the commitment. As you know Greg, the actors on stage only make up a small part of what goes into a show produced by many local talents." (Dave Roberts, Magenta Theater)

Interesting thoughts. Are there others who wish to chime in? My perspective is that if I wanted to see Portland talent, I would go to Portland.

Award-Winning "RENT" Opens at Clark College This Friday

"Rent" by Jonathan Larson, winner of the 1996 Pulitzer Prize and the 1996 Tony Award for Best Musical, opens this Friday at Clark Community College. The production is being directed by H. Gene Biby, head of Clark's Theater Department.

The show's run is February 22-23 and March 1-2 and 7-9; Evening performances are at 7:30 p.m. and there is a Saturday matinee on March 2 at 2 p.m. Tickets are available through the college bookstore on campus by mail, by telephone, or in person (or at the door if tickets are still available). To reach the bookstore, call (360) 992-2815.

To find out more about the show (you may want to know before you go) click here.

Look for our review by Dennis Sparks at noon on Saturday, February 23.

REVIEW: Attention Must Be Paid to Serendipity's "In White America" Though Acting Uneven

Editor's Note: The following is more of a commentary than a review, but note that the art we make comes from where our soul resides. As artists (playwrights, directors, actors, etc.) what we feel causes us to express who we are and what we want to share.

Attention Must Be Paid to "In White America" at Serendipity Playhouse. 

This play is proudly presented by Serendipity Playhouse as part of the celebration of African-American History Month. It is a documentary play and all the words spoken are from actual transcripts from the people involved. It covers from pre-Civil War up to the mid-50’s in a story that lasts a little more than an hour. At the end of this presentation, local Black presenters share their stories of growing up in White America.

The play, although powerful, barely scratches the surface of the approximately 100 years that it covers. But the marks that are made are deep and demand from the viewer/listener more investigation to get the complete story. Many familiar names appear including Lincoln, Fredrick Douglas, Sojourner Truth, Jefferson, Nat Turner, John Brown, Booker T. Washington, E. B. Dubois, and President Wilson, to name a few. But there are so many unnamed and unheralded, too, that laid the foundation for Freedom.

Through the stories, one will learn and, in learning, change can follow. You many think you know the whole story, but you don’t. Did you know that Africans aboard a slave ship who refused to eat the wormy mush they were fed, sometimes had molten lead poured down their throats? And that many threw themselves overboard preferring to take their chances with the sharks than the bleak future that awaited them in the New World.

And did you know that the Quakers, much to their credit, had instituted a school for black and white students in Connecticut before the Civil War? They discovered that the students got along just fine in this mixed class, it was the parents who objected. Eventually this noble experiment ended when the educators’ homes and school were ransacked. Echoes of the old song from the musical, South Pacific, in which a character sings about a child’s upbringing, “You have to be carefully taught, to hate and to fear….” In other words, there may not be anything inherently prejudiced in our young, so that must be taught by adults.

The stories told are about women’s right, too. President Andrew Johnson finally gave the right to vote to black men, but not women. Of course, the evil KKK was born out of this so even that small step forward was hampered. And, keep in mind, these repressions were done simply because a person’s skin was not white in color. “What fools these mortals be.” 

John Robertson and Ron Munsey in "In White America."
Photo courtesy of Christopher Paradee

About the Production

The acting in this production, as the lighting, is uneven, but the theme of this story is not in the enacting of it, but in the words. And, in that, it is a powerhouse! This play might be best delivered in a Readers Theater format, or possibly in a Church setting, where you would get a type of audience participation, as the opening night crowd seemed to want to interact with the stories being presented.

One audience member asked me after the play, that he sensed he should be feeling guilt as a white person and asked if that made sense. There is no easy answer. Guilt can be a personal and/or a collective journey. What is important is to make changes in your own lives to reflect a better outcome. Maybe then our children will not grow up being taught hatred or anger, but learn tolerance and understanding. Communication is the key which will unlock the door to a better tomorrow. An important document reads, “All men (humans) are created equal….” Any questions?!

This story is important to be heard and digested. If you choose to see it, tell them Dennis sent you. 

This production was written by Martin B. Duberman and directed by Bridgett Fahnbullah. The theater is located at 500 Washington St., Vancouver, Wash. This show plays through the month February as follows: February 16, 17, 22, 23, 24; 2 p.m. Sundays; 7:30 p.m. – Fridays and Saturdays. Special: 2 p.m. Sunday, February 17 is “Pay What You Will” (tickets available at the door only). 

Tickets: $15 – also available at the door 30 minutes before the performance. Reservations recommended, leave info at 360-834-3588. Reservations recommended. For further information, contact them at www.serendipityplayers.org or call 360-834-3588.

WARNING: These are raw issues and told in truth from actual events and documents. The 'n' word is used.

Review by Dennis Sparks, Guest Reviewer
www.dennissparksreviews.blogspot.com

REVIEW: Magenta Players Shine in the Dark Comedy "The Cemetery Club"

Magenta Theater presents Ivan Menchell's dark comedy "The Cemetery Club" as their first production of their 2013 Season.

The cast of Magenta Theater's "The Cemetery Club."

In the play three East Coast Jewish widows meet once a month for tea before going to visit their husbands' graves. Ida is sweet tempered and ready to begin a new life, Lucille is a feisty embodiment of the girl who just wants to have fun, and Doris is a master at one-liners. But all this starts to change when Sam the butcher visits his wife's grave and bumps into the threesome. Doris and Lucille plot to squash the budding romance between Sam and Ida, and the surprise appearance of 'cheap and cheerful' Mildred seems to help their ploy. The play is filled with witty lines and fascinating characters as well as touching and solemn moments.

The Stars

Magenta's Artistic Director, Jaynie Roberts, has directed the production with great aplomb. Roberts' approach is deft and delightful.

Lucille, Doris and Ida rehearse a scene from "The Cemetery Club."

Well-known Portland entertainer Francine Raften plays Lucille, Amalia Alarcon de Morris plays Ida, Patti Reynolds (the lone Vancouver resident) plays Doris, Tony Provenzola the pursued Sam, with KC Cooper rounding out the cast as Mildred. Patti and KC were most recently seen in Magenta Theater's production of "12 Angry Women," Tony in "The 39 Steps." Raften and Alarcon de Morris make their Magenta debut in this production. All of the cast members were stellar, with Raften shining so brightly she almost steals the show. She has great comic timing, physicality and a deep sensitivity.

The first half is a gas, full of humor, albeit at times leaning toward dark humor. The second act begins with several surprises and has the funniest bits, but then turns angry and ends on bitter-sweet note touched with humor. After all, the play deals with death.

WARNING: There is some language, smoking and drunkenness (as well as the death issue), so I wouldn't recommend it for young children (or even those suffering a recent loss, though, for some, this could bring healing).

The Setting

This photo does not depict the actual set which is really quite good.

The living room set is one of the best I've seen at Magenta, though the cemetery set suffered from several elements. Since the theater lacks a FOH curtain, the graves were set in front of the living room set. Even though lighting pools were utilized to separate the area, the effect did not create enough of a distance for the proper emotional remoteness. Other than that all things technical were top notch.

Performances are: Evenings at 7:30 p.m., February 16, 21, 22, 23, 27, 28, and March 1; 2 p.m. Matinees, February 23 and March 2. Tickets here.

Review by Gregory E. Zschomler

All photos provided.

[Editor's Thoughts: Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?]

Comedy "The Cemetery Club" Opens Friday at Vancouver's Magenta Theater

Magenta Theater presents Ivan Menchell's "The Cemetery Club" as their first production of their 2013 Season. 

Three East Coast Jewish widows meet once a month for tea before going to visit their husbands' graves. Ida is sweet tempered and ready to begin a new life, Lucille is a feisty embodiment of the girl who just wants to have fun, and Doris is a master at one-liners. But all this starts to change when Sam the butcher visits his wife's grave and bumps into the threesome. 

Doris and Lucille plot to squash the budding romance between Sam and Ida, and the surprise appearance of 'cheap and cheerful' Mildred seems to help their ploy. The play is a delightful yet touching comedy filled with witty lines and fascinating characters.

Magenta's Artistic Director, Jaynie Roberts, is directing the production.

Well-known Portland entertainer Francine Raften plays Lucille, Amalia Alarcon de Morris plays Ida, Patti Reynolds (the lone Vancouver resident) plays Doris, Tony Provenzola the pursued Sam, with KC Cooper rounding out the cast as Mildred. Patti and KC were most recently seen in Magenta Theater's production of "12 Angry Women," Tony in "The 39 Steps." Francine and Amalia are making their Magenta debut in this production. 

Performances are: Evenings at 7:30 p.m., February 15, 16, 21, 22, 23, 27, 28, and March 1; 2 p.m. Matinees, February 23 and March 2. Tickets here.

Our Review will be posted Saturday, by noon.

[Editor's Thoughts: Is it still SW Washington theater if you have a token resident in the show? Or is it Portland theater presented in a Vancouver venue? Would I be covering Vancouver theater if the play was in Portland and all the players were from Vancouver? Hmm, I have to think this over. Where are my coverage boundaries and loyalties?]

"Hate Mail" Staged as Reading in Longview

OPENS THIS FRIDAY! Staged Reading #1 Hate Mail by Bill Corbett and Kira Obolensky, starring: Adam Pithan & Janeene Niemi

Hate Mail, tells the story of Preston, a spoiled rich kid who meets his match in Dahlia, an angst-filled artist. Their worlds collide when Preston sends a complaint letter that gets Dahlia fired from her job, and then there's no turning back. The play stays with their increasingly crazed correspondence as they move from hate to love, and then right back again.

Runs February 15 - 24, 7:30 p.m. Friday and Saturdays. and 2 p.m. Sundays. Tickets, $10, available online and at the door.

www.stageworksnorthwest.org

WARNING: Contains adult language and content.

Sorry, due the volume of openings and the commitments of our reviewers, we will be unable to review this show.

Theater Woman of Excellence, Jaynie Roberts, Recognized with Iris Award

Jaynie Roberts

Jaynie Roberts is one of three recent winners of the 2013 Iris Awards. The annual awards are supported by Clark College, the Clark College Foundation and the Vancouver Business Journal, and "celebrate the lasting and far-reaching contributions of women in Southwest Washington and beyond."

Roberts is founder of Vancouver’s Magenta Theater Company and the Vancouver Area Theater Alliance. She will be honored 5 p.m. on Thursday, March 7 at Clark College. A reception will follow the awards ceremony at 6 p.m. According to the Daily Insider, KGW news anchor Laural Porter will emcee. Tickets cost $25 per person and are available here until Friday, March 1. The event is sponsored by Riverview Community Bank and YWCA Clark County.

For further details, visit www.clark.edu/news. See the original article. 

See our Artist Profile Roberts.

AUDITIONS: "Camelot" at Longview's Rising Star Productions

Rising Star Productions announces auditions for "Camelot" 7 p.m., Tuesday, Feb. 12 in their theater space at Three Rivers Mall (down by Macy's, across from Big 5) in Longview, Wash.

Bring a song if you've got one with sheet music for the accompanist. They will be doing a little bit of dancing with the women first at 7, then we'll listen to you sing (around 7:30) and finally we'll do some readings from the script. If you can't be there right at 7, just let them know and come as soon as you can.

They will be performing "Camelot" at Three Rivers Mall on April 12, 13, 19, 20, 26, and 27, 2013. Click here to see the rehearsal schedule.

If you arrive before the mall closes, they are down near Macys. If you come after the doors are locked, please enter through their outside door. It is near the bus stop between the food court and Macy's. There is a Rising Star Productions sign on the door.

Auditions are for adults and high school age teens. Please come prepared to sing a Broadway-style song. Bring sheet music for the accompanist. Be prepared to stay the entire time as we will do cold readings from the script after I have listened to you sing.

Don't let the singing keep you away -- we just need to know your range. There are a few non-singing roles, and many ensemble roles that do not require you to be a soloist.

A synopsis of the show and a cast list can be found here.

If you want to be certain you hear about future auditions, send them an e-mail and ask to be added to the actor's e-mail list. You can contact Rising Star through their email link.

Everyone gets nervous about auditions. That is normal and okay. This is not about perfection, it is about seeing you, hearing your voice and gauging your willingness to try and to follow direction. Rising Star encourage newcomers and veterans alike to come participate in their shows.

REVIEW: Love Street Theater "Sheps Naches" with Romantic Comedy "Crossing Delancy"*

Running now through February 24.

Love Street Playhouse presents "Crossing Delancy," a charming romantic-comedy set in 1980s New York City. The play explores the old age traditional roles of women as expressed by Bubbie, the lovable, feisty, sharp-witted Jewish grandma in her eighties (played by Love Street Playhouse owner and artistic director, Melinda Leuthold) contrasted by the liberated options of the "new woman" explored by her grand-
daughter, Isabelle "Izzy" Grossman (played by Jennifer Johnson, LSP's You're A Good Man Charlie Brown).

Susan Sandler's script is a gem. Funny, warm, thoughtful and surprising. This is some good and genuine writing. Can you say "love triangle?"

The Tale

When Bubbie and the matchmaker Hannah (played by Corrie Graham, LSP's Steel Magnolias) try to arrange a date for Izzy with Sam, the local pickle man (played by Christopher Cleveland, LSP's Seven Keys to Baldpate, No Op'rey... plus others) a generational and cultural clash erupts. Izzy has ideas of her own and is more interested in the famous author, Tyler (played by Paul Segren, LSP's Wait Until Dark, An Inspector Calls).

Christopher Cleveland, Jennifer Johnson and Paul Segren.

Isabel is a modern woman who lives alone and works in a book shop. When she is not pining after a handsome author, she is visiting her grandmother in Manhattan's Lower East Side. The conflict is resolved with a generous dose of humor, affection and wisdom.

The Talent

The play has been ably directed by the talented and popular theater personality Tony Bump (LSP's Steel Magnolias and You're A Good Man Charlie Brown). Bump has a keen eye for the interpersonal and brings warmth--in the eyes, in touch--to character interactions.

Jennifer Johnson plays Izzy with a gentle introspection. Her shining moments are when she breaks the fourth wall and shares her thoughts with the audience. Johnson plays emotion well on her face and in posture, which comes across well up close, but gets lost some behind the proscenium. Sometimes she is overshadowed by the more charismatic characters, but perhaps the role calls for a bit of "wallflower."

Christopher Cleveland brings a warm and genuine feel to the role of Sam. You can't help but fall in love with the man--good looking, hard-working, gentle, persistent--both the actor and the character. Charming is the word. Oh, and subtle; there's an undercurrent which runs through the characterization that exposes the soul.

Melinda Leuthold is too much fun as Bubbie. Very convincing; who knows, maybe she's really Jewish? Producer/Director Melinda hasn't acted on stage in 26 years, but you wouldn't know it. We all knew she had it in her and all we can say is: "It's about time!" (and don't let it be so long before your next role). Watch her hands (which need aged, BTW); much of the character is played there.

Paul Segren, it seems, gets to play these multifaceted characters that seem one way on the surface while a shifting magma rumbles below, waiting to rise. Segren is well suited for the role of the egotistical author Tyler. (I am NOT saying Paul has an ego or anything.) And isn't he dashing in that beard?

Corrie Graham tends to play some broad and comic characters and she's funny. Her role as Hannah was played in much the same manner--perhaps a bit over-the-top for this production. That is not to say I did not enjoy the characterization, but simply that it didn't match the "feel" the other actors brought to their roles. This is a "romantic-comedy," warm and introspective--meant, I think, to be more romantic than funny.

The Tech

Photo by Gregory E. Zschomler

Set Designer/Builder Jeff Leuthold is certainly challenging the amazing work of Clark College's Mark Owsley for "most authentic set realized in  the smallest space" (there ought to be an award). A truly remarkable set, depicting four locations. No other theater company comes close to the beauty and authenticity of Love Street Playhouse. I felt like I was looking into a real, lived in apartment, etc.

The illusion of four locations is aided by an exceptional lighting design by Kelly Ragsdale (TD at Columbia Theater) that uses only small PARs, a blue flood and whatever little strip of lighting thingies LSP has behind the proscenium. It was effective and controlled (with a lot of blackwrap)--pools come into place and fade out as if dissolving from scene to scene.

And the detailed period dressing of the set, by Melinda Leuthold, is the final selling point. There were a few faux pas, like the Michael Jackson "Moonwalk" book cover from 2009, but overall the application is rich and meticulous.

The show's only major downfall was its costuming (usually an LSP highlight). I didn't feel the outfits reflected the play's period (1980s) well and the first act, representing the passage of several weeks, didn't have a single costume change. It really needed costume changes to show that.

The production is suitable for all ages. The show runs now through February 24; 7:30 p.m. Fridays and Saturdays. 2 p.m. Sundays. Tickets are $12 general seating, $15 gold seating. For more information please contact the Love Street Playhouse ticket coordinator: tickets@lovestreetplayhouse.com.

SPECIAL VALENTINES DINNER SHOW

The Special Thursday, February 14, Buffet Dinner Performance, prepared by Chef Manny Gutierrez, is $50 per plate. Menu Advance online reservations required. Wine, sold separately: $15/bottle. Proceeds benefit Woodland Rotary. SOLD OUT!



* Sheps Naches is Yiddish for "Brings pride and joy."

Review by Gregory E. Zschomler 
Photo, by Darcie Elliott, provided, except as noted.

The Following REVIEW by Dennis Sparks:

A Valentine Wish

Love and romance permeate this gentle comedy. Sometimes it is loud and fairly leaps off the stage; sometimes it is a whispered, longing for the ideal mate; and, sometimes, it is just a fervent desire from a mother to dance at her daughter’s wedding. All in all, it is the rumblings and stumblings toward Happiness.

The story is of a Jewish mother, Bubbie (Melinda Leuthold, the theatre’s Founder and Producer), trying to secure a solid future for her daughter, Izzy (Jennifer Johnson). So she does what many Jewish mothers do to ensure this outcome, she hires a Matchmaker, Hannah (Corrie Graham), who is as bold as she is gluttonous.

Her offering to the party is Sam (Christopher Cleveland), a pickle maker. But Izzy has her own designs on a writer, Tyler (Paul Segren), who frequents her bookstore but doesn’t seem to know she’s alive. “And, therein, lies a tale.” A universal story of Love with its many faces. Familiar, yes, but rarely done with as much charm as exuded in this production.

Tony Bump, a veteran theatre director/actor/singer/writer, leads his cast with care down the winding road of human emotions. He deliberately picks the moments to be brassy with his creation and then to have his audience sigh with recognition. It seems to be a wonderful collaboration between he, the cast and the audience.

Leuthold truly shines as the aged mother. You would never know that she is truly an attractive young lady. Her make-up and dowdy dress give her the outer semblance of an elderly lady. But it is not just good make-up that sells us on the character, it [darn]-good acting. Her looks, the gestures, the amazing accent, all compliment her insightful abilities as an actress. Hopefully this will not be the last we see of her gracing the boards.

Johnson, as the focus character, is absolutely charming and your sentiments are with her the whole way. It is a tribute to her talent that she is able to mesmerize the audience into wrapping its arms around her and giving a loving hug.

Graham, as the Matchmaker, is bombastic, bold, brassy and instantly believable. Although pushy, one can’t help but know that her heart is in the right place.

Segren, as the writer, seems on unfamiliar ground, for audiences that have experienced his nastier sides, convincingly portraying the villains in Wait Until Dark and An Inspector Calls. But he seems comfortable playing the aloof Tyler with just the right amount charisma that might attract the Izzy’s of the world. One hopes to see all his faces in futures productions.

Cleveland is fine as the man-in-the-middle. At first your sympathies are not with him, but as the story grows, you see he is a sincere man that is simply as awkward as Izzy in exposing his feelings. A tender performance.

And the set, by Jeff Leuthold, should be applauded. It is so well done and convincing that one feels they could simply walk into it and be transported to an earlier time and place. This can also be said of the costumes by Mr. Bump. They range from the outlandish to the sublime with equal effectiveness.

The title, "Crossing Delancey," can be seen as a metaphor, for crossing from one neighborhood into another of a higher or lower class. Or, as Sam explains, "sometimes you have to put on a different hat, to see a larger world, or have it see you."  As Izzy proclaims, “The hat for the girl who sings to me in all my working dreams.” May we all be brave enough to “change our hats” when the need arises.

I recommend this show. If you choose to see it, tell them that Dennis sent you.

Review by Dennis Sparks, Guest Reviewer 
www.dennissparksreviews.blogspot.com 

Journey to Present the Musical "Honk!"

Journey Theater Arts Group Presents HONK!

In the London season featuring the appearance of THE LION KING, HONK! became a stand-out by winning the 2000 Olivier Award (the British equivalent of the Tony® Award) for Best New Musical.

"Written by George Stiles and Anthony Drewe (dubbed “The brightest hopes for the future of the British musical” by The London Daily Telegraph), HONK! is the story of Ugly, whose odd, gawky looks instantly incite prejudice from his family and neighbors. Separated from the farm and pursued by a hungry Cat, Ugly must find his way home. Along his rollicking and harrowing journey he not only discovers his true beauty and glorious destiny, but also finds love and acceptance in all its forms. Witty and hilarious, but also deeply moving, HONK! will treat you to equal amounts of laughter and tears."

Performances at Fort Vancouver High School. March 1 – 10, 2013. 7 p.m., Friday, March 1; 7 p.m. Saturday, March 2; 7 p.m. Friday, March 8; 3 and 7 p.m., Saturday, March 9th; and 2 p.m., Sunday, March 10. Advanced purchase: Adult tickets, $12. Youth, Senior and Group tickets, $9; Family Day Tickets for March 2, $9 in advance. All tickets are $2 more at the door. Best for ages 4 and up. School Day performances: 9:30 and 11:45 a.m., Tuesday, March 5. Tickets start at $5.00.

For tickets go to www.journeytheater.org, call 360-750-8550 or email info@journeytheater.org.

Staged Reading of "Hate Mail" Coming to Stageworks Northwest

Longview's Stageworks Northwest presents a Staged Reading of "Hate Mail" written by Bill Corbett and Kira Obolensky, February 15 - 24; 7:30 p.m., Fri. and Sat. and 2:00 p.m., Sun.

Starring: Adam Pithan and Janeene Niemi

"Hate Mail," tells the story of Preston, a spoiled rich kid who meets his match in Dahlia, an angst-filled artist. Their worlds collide when Preston sends a complaint letter that gets Dahlia fired from her job, and then there's no turning back. The play stays with their increasingly crazed correspondence as they move from hate to love, and then right back again.

Tickets available online and at the door. www.stageworksnorthwest.org

WARNING: Contains adult language and content

Play "In White America" Draws Media Attention

How did Serendipity Playhouse manage to get The Columbian out to cover local theater? Scott Hewitt doesn't cover the arts!  Honey, they done sent out a photographer an' averathang!

So what gives?

It's all about spin, my friends. You put the right spin on things; push the right buttons at the right time and you get some column inches, baby. (Hewett does cover social issues.)

This is bigger than mere entertainment! 

You see, February is Black History Month and this Drama Desk Award-winning play is about black history in America.

The play covers slavery, the Civil Rights movement, the Civil War, the abolitionist movements, the era of Reconstruction, and early twentieth century racism and segregation. The performance is also slated to include storytelling by the following members of the local community: Belva Jean Griffin, Huarleen Bane, Kenneth Smith, Charles L. Simmons, Deena Pierott, Dolly England, and Reverend Marva J. Edwards.

John Robertson and Ron Munsey -
Photo courtesy of Christopher Paradee

AND the play, of course, features people of color which is something you just don't see much of in Vancouver's homogeneous artsy crowd. But Serendipity wants to change that; they wish to embrace people of all creeds and colors, the young and the old, the disabled and of all sexual persuasions.

And that, my friends, is newsworthy. (Of course, I happen to believe the Arts are culturally relevant and newsworthy at all times.) None-the-less, kudos to Serendipity!

See The Columbian's story here.

"In White America" opens at the Serendipity Playhouse, 500 Washington St., Vancouver, Wash. 7:30 p.m., Friday, February 15 and plays through the 24th . Showtimes are 2 p.m. Sundays; 7:30 p.m. Friday and Saturdays; February 15, 16, 17, 22, 23, 24. Special showing 2 p.m. Sunday, February 17 is “Pay What You Will.” A “Meet the Players” Q&A event will take place after the February 24 matinee.
Tickets, $15, available at the door only, but reservations are recommended; leave info at 360-834-3588.

See our review by Dennis Sparks at noon, Saturday, February 16.

By Gregory E. Zschomler

VSAA to Present "Where Trees Talk" by VSAA Alum Playwright Kendra Jae

According to Oregon LIVE! the Vancouver School of Arts and Academics Children's Theatre Company will celebrate "its fifth anniversary...with the production of a play by one of its own." They original play "Where Trees Talk: Tales of Wings and Wolves and Cantankerous Rivers," was written by Kendra Jae, a 2008 VSAA alum. She "began taking theater classes in sixth grade, performing in shows before realizing that her real passion was for writing plays. She went on to study writing and history at Evergreen State College." [Source: Oregon LIVE!]

The World Premier of "Where Trees Talk" will be presented as follows:

When: 7 p.m., Feb. 8; 2 p.m., Feb. 9. ASL interpreters accompany the Feb. 8 show.
Where: VSAA Black Box Theatre, 3101 Main St., Vancouver, Wash.
Tickets: FREE (but donations will gladly be accepted)
Information: 360.313.4600 or arts.vansd.org

We at swwastar encourage you to turn out and support our young artists!

See the original Oregon LIVE! post.

Battle Ground/Prairie Drama Teacher, Claire Verity, Awarded Teacher of the Year!

Claire Verity, "Teacher of the Year." Photo from Facebook.

Battle Ground School District drama teacher Claire Verity has just been awarded Teacher of the Year by the Battle Ground Chamber of Commerce. Our January 16, 2013 Artist Profile featured Verity, highlighting her history, teaching career, and passion.

Lisa Henry commented on the post saying, "Amen, amen and amen! Claire is one of the best teachers I have ever known, and her students go on to excel in their fields of study from Arts to zoology at prestigious universities. We in BGSD are so grateful for Claire's passion and follow through!"

To which I commented, "Thanks Lisa. And that just goes to: A) Show how important the Arts are in education, B) argue for merit pay, and C) beg the question: Why hasn't Verity been nominated for (or won) the "Teacher of the Year" award?" (I didn't know she had been nominated on January 7.)

That answers that.

Lisa Henry also wrote: "As my daughter stated in her letter co-nominating Claire (with Jason Perrins, principal; Sue Cranke, community activist; and myself) 'It's really easy to be a great teacher to great students. For example, if you're teaching an honors English course, then your students obviously care enough to do well in English. I'm grateful for these teachers who were able to take something I love and enlighten me even more in the subject.

The current show at Prairie-
Ground, directed by Verity.

"'But then there's an even greater teacher who takes the not-so-great students, and gives them a chance to fall in love with school. That's what Claire Verity does; she takes students that normally become overlooked and gives to them a purpose and meaning in their high school education. Claire cares for every student by name, and puts in countless unpaid hours to give these students, who sometimes have no where else to go, a chance to excel and succeed. The greatest part is that she inspires these students so much that they do succeed!

"'I dare you to name a more selfless, talented, kind, and charitable director in all of the State. And guess what? You can't.'"

Henry adds that "she was very humble and gracious as always when we presented her with her plaque last night."

This morning Verity wrote on the Prairie/Ground Drama Facebook page: 

"I share my Chamber of Commerce award for Teacher of the Year with the incredible students who inspire me everyday, the parents and friends who support the work, and the best family in the world who puts up with this crazy labor of love! Thank you all!"

See our story here about this truly inspirational teacher and dramatist.

By Gregory E. Zschomler

AUDITION NOTICE: Golden Garter Theater Announces Auditions for "A Magical Melodrama"

Attention friends and actors (and those of you who are both). Golden Garter Theater announces auditions for their original show "A Magical Melodrama" (coming in May 2013 to Woodland, Wash.)

If you are interested in auditioning to be in a fun fun show, please drop Artistic Director Steve Taylor a note immediately. Rehearsals will be in April, shows in May. Great parts still open. 

For more information contact Golden Garter through their Facebook page.

REVIEW: Prairie Ground Drama, You Can't Get Any More WILDER Than This

"Because so many of the plays we see nowadays are really suited to the small screen, it is easy to forget that a stage, no matter its size, can contain the cosmos. No one understood this better than Thornton Wilder, whose plays show us how to see the infinite in the utterly mundane."
                                                    ~Howard Kissel, New York Daily News

"WILDER, WILDER, WILDER" (three one-acts by Thornton Wilder) was first presented on Broadway in 1993. Perhaps you, like me, are most familiar with Wilder's Pulitzer Prize-winning three-act play "Our Town" about everyday lives in an everyday town. (He also wrote "The Matchmaker" and "The Skin of Our Teeth".) His plays are indeed about the mundane...and death. Okay, not my cup of tea.

The Long Christmas Dinner

Of the three plays presented by Prairie Ground Drama, I liked "The Long Christmas Dinner" the best. The play was first produced November 25, 1931 in a joint performance by the Yale Dramatic Association and the Vassar Philalethis at the Yale University theater in New Haven, Connecticut.

It is a thirty-minute one-act play covering nine decades, show-casing moments in the lives of several generations of the Bayard family. In it Wilder breaks the boundaries of time presenting one long Christmas of past, present and future. Generations are born, grow up, have children, age and die within a matter of minutes right before your eyes. Without a break, the generations come and go in one very fascinating presentation.

Concerning "The Long Christmas Dinner" Thornton Wilder wrote (in a letter written April 11, 1960): "Of all my plays it is the one that has found the widest variety of receptions. At some performances it has been played to constant laughter; some listeners are deeply moved and shaken by it; some find it cruel and cynical."

The play was artfully presented. The set, while simple, was perfect and well lit. The symbolism presented by the white and black-sparkly drape legs worked really well and there was elegant beauty in the blocking and delivery. A challenging play, the young actors did well in their transformation from youth to old age with Josh Snider (Cosmo Brown, Singing in the Rain) and Calin Breaux particularly standing out.

Pullman Car Hiawatha

"My earlier one-act plays, before "Our Town," were free of scenery too and things went back and forth in time...In my plays I attempted to raise ordinary daily conversation between ordinary people to the level of the universal human experience." ~Thornton Wilder, 1974.

The first licensed production of "Pullman Car Hiawatha" took place March 19, 1932, at Antioch College in Yellow Springs, Ohio. Set in a Pullman car on a train traveling from New York to Chicago in December, 1930, it was the first Wilder play to introduce the minimalist techniques he would use in future three-act plays. The stage is virtually bare, with only a raised platform and two flights of stairs. Black risers were used in this production. The play is narrated and set by a Stage Manager. The actors perform on chairs arranged to represent the berths.

Of the three plays presented, this is the most experimental and bizarre. While it must certainly be an interesting showcase for character study and as a literary piece for "high-brow" thespians, I found it dull and difficult. It was just too "out there" for me. "It is a metaphorical journey by train through the American landscape, a diverse band of travelers encapsulated in a Pullman car hurtle through time, space and a range of emotions."

Two archangels, played by Nick Hulscher,
and Tristan Decker, come for Harriet
played by Sarah Russell (center).

The script calls for actors to personify the hours of the day, the weather, the planets, and archangels. Swirling lighting represented the planets in this production. The angels reminded me of Men in Black. "Conventional time is suspended, and the only true measures of existence are life and death."

I didn't really see the point of the hours and the planets (and some other things "outside the car" for that matter). In fact, I'm not really sure about the point of the play, unless it is to contrast the unimportance of earthly existence to the singular transcendence of death and the afterlife. The axis of the play seems to be the character Harriet, played nicely by Sarah Russell (Lina Lamont, Singing in the Rain). However, Olivia Riggs nearly steals the show--even when she's "sleeping." I loved the inspired blocking (in fact, that's what kept me awake) by director Claire Verity, but I liked this play least of the three.

The Happy Journey to Trenton and Camden

"The Happy Journey to Trenton and Camden" was first produced November 25, 1931, at the Yale University theater in New Haven, Connecticut, by the Yale Dramatic Association and the Vassar College Philalethis (with "The Long Christmas Dinner" and other Wilder plays). Like the other Wilder pieces, it requires no scenery; just an empty stage.

In a nutshell, a family of four travels by car to see their married daughter who recently lost her baby in childbirth. The play is all about the things they talk about on the journey. "In this family drama, nothing much happens, and yet everything important happens." As Ma Kirby (Olivia Riggs shined in the starring role) says, "There's nothin' like bein' liked by your family." In this play Ma Kirby is like a planet about which three moons revolve, her gravity keeps them in orbit and she is the center of their universe.

"It should constantly be borne in mind that the purpose of this play is the portrayal of the character of Ma Kirby...the director should constantly keep in mind that Ma Kirby's humor, strength and humanity constitute the unifying element throughout. This aspect should always rise above the merely humorous characteristic details of the play." ~Thornton Wilder, "Notes for the Producer," 1931.

Skyler Verity and Olivia Riggs.

Riggs delivers a nearly non-stop string of dialogue with the other characters chiming in from time to time. With that said, Skyler Verity nearly steals the limelight from her with his charming antics and comic relief. The piece was well staged and my only criticism is: Hot dogs don't just conveniently disappear and car doors are always there, not just sometimes.

Note: I feel that "Leaving Iowa," by Tim Clue and Spike Manton, as presented by Woodland's Love Street Playhouse, was a much more appealing, interesting and better written "driving-in-the-car-journey."

Other Notes

I realized I just dissed on one of the great playwrights of the 20th Century. While I may not have liked the material so much (with the exception of "Christmas Dinner") I loved the direction (all by Verity) and the overall acting. It has been fun to watch many of these students in a variety of roles over the course of a year and a half. Many of those appearing in these three plays have had previous moments where they shined in starring roles. I have especially enjoyed the varied characterizations and growth of Olivia Riggs, Austin Foley and Diana Ferar since first seeing them in "Get Smart."

All three plays dealt with the concept of death and will be hard to follow for children. While there is some humor, the plays are quite serious and younger children will likely find them difficult to sit through.

Remaining shows are 7 p.m., February 1, 2 , 7, 8 and 9 at Prairie High School. Tickets are available here or at the door.

Review by Gregory E. Zschomler

All photographs provided. More can be seen the PGD Facebook page.