REVIEW: SWNW's "Laughter on the 23rd Floor"

Stageworks Northwest presents a comedy about comedy writers written by a comedy writer.

Neil Simon.

What can I say about this (still living) modern American playwright? He's written one of my favorite plays (God's Favorite); several I like very much (like The Odd Couple); some that are quite good, but not my cup of tea; and quite a few I could care less about.

He's prolific. He can be funny. And he can be crude, somewhat foul and even irreverent. A Jewish writer, he's not afraid to let you know it and then show that he's not all that dedicated to the tenets of his faith either.

"Laughter on the 23rd Floor" is a biographical work. How accurate, how realistic, how self-reflective, I don't know. But it is a look back at his days working as a comedy writer for Sid Caesar's "Your Show of Shows" a live comedy variety show which ran on NBC from 1950-1954. Simon was part of the writing team which included Carl Reiner and Mel Brooks.

The play takes place in 1953 in the writer’s room of the "Max Prince Show," a fictional comedy variety show, during the height of McCarthyism.

Comedy writers who work in teams bounce around a lot of ideas, it seems, while also making jabs at one another. You'll see this in television programs like "The Dick Van Dyke Show" (1961-66, developed by Carl Reiner) and "30 Rock" (created by Tina Fey, who developed as a team comedy writer for SNL).

I've seen maybe a season of "30 Rock." I watched "The Dick Van Dyke Show" as a child and have revisited it as an adult. The former had it's funny moments, but also things that moved beyond my taste. The latter I enjoyed very much.

But what did I think of this production?

Frankly, not fondly. My least favorite Simon play to date. It was far too vulgar and distasteful for me. Way far. And that is it's biggest flaw, because it needn't be.

Lots and lots of F-bombs and coarse language, the Lord's name in vain, and general swearing permeated the script. The 50's weren't like that (at with least the F-bomb). Still, the story was good.

Having said that, I will add that a lot of the comedy shticks were really well written. There's a lot of great humor in the script. And having said that, I have to say that the patter pace and comic timing of this presentation simply did not do the comedy justice.

The Look of It

A pretty good shot of the really good set.

The set for this show looks great! The overall concept and execution, marvelous. The set dressing and costuming were generally good, but some non-period "best we could dos" were present in both.

The overall production values were high and the lighting even and well conceived. Everything ran smoothly.
Kudos to Michael and Jennifer Cheney for a great design as well as Leslie Slape for making it all cue up.

The Lack of It

Michael R. Cheney, left, plays a tormented TV star.

The production, directed by Jennifer Cheney, I would classify as "good," but not exceptional (like their production of "9 to 5"). As mentioned the cast lacked zing in the zingers. And I felt the characters should have been pushed a bit more toward the zany. Performances generally lacked oomph. I just wasn't sold.

The cast, in order of appearance, includes: Dean Baker as Lucas, new writer (based on Neil Simon); Corey Farmer as Milt, staff writer (based on Sheldon Keller); Pip A. Kennedy as Val, head staff writer (based on Mel Tolkin); Ryan Lee Gaylor as Brian, staff writer (based on Tony Webster); Patrick Hale as Kenny, staff writer (based on Larry Gelbart); Lora Ressler as Carol, senior staff writer (based on Lucille Kallen); Michael R. Cheney as Max Prince, comic actor (based on Sid Caesar); Ashley Stevens as Helen, secretary; and Matt Olason as Ira, staff writer (based on Mel Brooks).

Pip A. Kennedy, right, is in top form and clearly the leading talent.

Michael Cheney's and Matt Olason's performances did rise above the rest, but the true star of the show was Pip Kennedy in top form. I believe he played his role near perfection.

I think the play has merit. It is interesting. And, if you are a person who can take a goodly dose of foul language without it bothering you, then you should see the play.

WARNING: This show contains a few adult situations and pervasive strong language--including the Lord's name used in vain and several F-bombs. I do not recommend this show for everyone.

The play runs 7:30 p.m. Fridays and Saturdays and 2 p.m. Sundays now through September 28, 2014 at the historical Longview Theater space of Stageworks Northwest. Click here for tickets.

I enjoyed this related trivia page on the SWNW website.

By Gregory E. Zschomler
Photos, by Amanda Wilson Portraiture, provided.

Longview's Theater Sign Lights Up the Night

The new SWNW marquee goes up.

Stageworks Northwest (SWNW) continues to improve their theater space in downtown Longview, Wash. After months and months of work inside and out, new paint (and waiting), the new marquee arrived, was put up and, last night (Wed. Aug. 6, 2014), was lit up for the first time.

The new signage pays homage to the original motion picture theater's marquee that was originally housed in the building with a few modifications. The new sign includes the theater company's name.

The lighting ceremony featured musical performances from some of SWNW's recent shows sung by the players. Songs from 'The Secret Garden', 'The Great American Trailer Park Musical', and '9 to 5 The Musical' were performed.

SWNW players perform below their new marquee.

More than a year ago Stageworks Northwest purchased the building and has been renovating it since. It opened as a work in progress last year and there are still a number of refurbishment and improvement projects to go.

There are challenges to the space, such as no backstage area. Dressing rooms are in the balcony as are the restrooms. But these issues will be overcome in time.

For now there is much to celebrate--a theater, with its own space, is thriving in Southwest Washington!

You may view the ceremonial countdown and lighting video here:

Post by Stageworks Northwest.

Stageworks Northwest to Open Melodrama

This Just In: Stageworks NW Children's Theater

REVIEW: Zany "The Love of Three Oranges" at Longview's Dana Brown Mainstage a Peach

Forget all your dusty misconceptions about the traditions of commedia dell'arte (if you know anything about it at all) as "The Love of Three Oranges," by Hillary DePiano, based on a scenario (and opera) by Carlo Gozzi, provides a wild, raucous slapstick comedy that is completely retooled and revised for today's audiences.

A Mixed Fruit Salad

The play, based on the opera, is presented at the Dana Brown Mainstage in Longview, Wash. by the combined efforts of R.A. Long and Mark Morris High Schools. This is our first review for the theater/schools.

The basic plot involves a quest. Prince Tartaglia's life is filled with misery until an evil witch and her equally evil henchmen curse him to search for three giant oranges. But this quest proves more fruitful than anyone could have imagined as a once-lonely prince discovers love, friendship, and laughter when he encounters wizards, monarchs, and a wild narrator who isn't sure how far removed from the story he really is. Along the way much wackiness ensues.

For those unfamiliar with the form, Commedia dell'arte is improvisational 16th century Italian theater. The craft concerned troupes of actors (and actresses) which traveled about performing improvisational sketches wearing masks. This form is how improv and sketch drama came about.

Okay, enough of the history lesson (if you want to know more go to Wikipedia. Suffice it to say that what I experienced last night may have been a form of archaic theater, but it was also advent garde, experimental and...downright goofy.

Think of it as throwing equal amounts of Carol Burnett, Monty Python, Shakespearean comedy, Fractured Fairy Tales, Who's Line is it Anyway?, a melodrama, and one of those snarky-over-acted-Disney-channel kid shows (with a bit of Benny Hill tossed in for good measure) into a big blender and whirling it around on stage for a couple hours. Voila!

The Pick of the Crop

Honestly, I had never seen anything like the production I saw last night. I have no singular experience with which to compare it. So, how can I be qualified to comment on if it was done well or right? I do think it was creative and a very good exercise for the students. I would throw in the word bizarre, too. I would also note that it would be a challenge to direct and that I think, perhaps, that it might be a lot like herding cats.

So, with that said, I conclude in all my sophistication that director Susan Donahue did a fine job. Did I always laugh at the extremely broad, often bawdy, and brash comedy? No. Did I, for the most part, enjoy the show? Yes. And here's why:

Students were challenged, stretched and basically, "thrown to the wolves." And they ran with it. (I guess I'm kind of mixing metaphors there, but hodgepodge is in here.)

The acting was broad, often melodramatic and inventive. Much appeared to be off-the-cuff, but, unless the students are very brave and brilliantly imaginative, must have been well rehearsed. There were a handful of standouts, but the cast consisted of a mixed bag of talent levels. I will mention only those I felt were exceptionally adept at this type of theater.

Kristina Cox (Creonta and chorus), Jared Cox (wonderful as the aged Pantalone), Ashton Ruiz (Brighella) and Amy Raappana (Smeraldina) all presented memorable characters, acting chops and exercised good comic timing as did Ethan Feider (Leandro) and Anais Torres (Princess Clarice). All were daring in their approach.

Rising above these fine performances was Zach Christin (as King Silvio) whom I perceived to be a particularly strong actor, probably in many forms. However, the creme d' le creme of the crop were Carlie Arledge (Fata Morgana) and Andy Jones (the narrator).

Arledge was simply delightful as the wicked witch (loved the stockings). I loved how she played the role--part vanity, part mischievously playful, part malevolent, part sinister, part cocky--all with great comic timing. It was a complex and satisfying performance. A very strong and forceful actress who commands the stage. I see a future in show biz for this one.

Jones was amazing and engaging. If I could pick anyone (aside from Morgan Freeman) to be my narrator I would chose this young man. The sparkling delivery was storytelling at its very best. I loved his voice, his accent, his pitch, his cadence, his gentlemanly charm, his...everything. And there's certainly a dry, underlying wit and droll sense of humor. I could listen to him for hours, but he was also good to watch. There was a style to his acting (he did more than narrate) that set him apart and could take him far if he follows the glittery (and gritty) trail to the great white way.

Pruning the Production

The show was produced on a bare, but multileveled stage backed by a color-lit cyc. On the center's top most rise was a large book (pages turned to depict scene locale). The set was designed by director Donahue. There were many hand props and a few cubes used in the production. Masks, cheap elastic-attached beards, kitchen utensils and even a couple of rubber chickens were used.

The costumes (by Kim Barnwell who also served as her own assistant) were eclectic and colorful. The show was well lit (by Nick Powers, good name for an LD) with a variety of fixtures mostly gelled in bastard amber with some downward blue mixed in. I felt some surprise pink and lemon yellow could have been added to tickled the palette a bit.

The show might have benefited from a few special effects as well, but, then again, the show was presented well in its simplicity. There were several old-school music tracks used to good advantage in the show. None of the students would relate to these as well as the over 40 crowd. The sound and music design was also put together by the director. Presented in a lovely, old theater (you should see this) at R.A. Long high school, the show was acted--and well heard--without microphones of any kind.

What dancing there was was done well. The choreography, by the director and Rachel Schmaltz, was cute, concise, and tight. I especially liked the curtain call. And I should also give mention to the very rubbery antics of Rachel Schmatlz who is quite the gymnastic genius. She was also one of two musicians, along with Kendall Rogers, who nicely provided incidental pieces for the show.

So, yes, it was the weirdest form of theater that I've seen. It was briefly bawdy and so at times not to my taste. It had some PG language, too, so I recommend 14 and up at least. The thing is that some of the material is adult and some is quite adolescent, so it's hard to say at what audience the show is aimed. You could say "something for everyone," but then the opposite is equally true: "something not for everyone." All in all, I enjoyed the show, though I found it in several ways outside my norm. I was stretched and I learned some things from the viewing and from my research for writing my review. I think you might find it interesting, too.

Of special note: There are snacks (candy bars) available in the lobby for purchase, but, if you really want the good stuff, opt for the VIP tickets. For $5 extra you get to go to a special reserved, VIP dining area during intermission where you will meet part of he cast (still performing improvisationally in character) and be able to enjoy things like fruit juice, mixed fruit, veggie sticks, cookies, chips, etc. The group of cast members visiting the VIP area alternates every other  night between the "good" and "evil" characters.

Remaining performances are May 10, 16, and 17 at 7:30 p.m. and May 17 at 2 p.m. Tickets $5 (available at the door). For $5 extra, VIP tickets (reserved seating and snacks during intermission) may be purchased by calling 360.575.7133 in advance or at the door. The school is located just off Nichols directly across from Lake Sacajawea. Park in front of the school and go in the front doors to find the theater.

CAUTION: The play is rated PG for language and sexual innuendo.

By Gregory E. Zschomler

MORE COMING SOON High School Productions

The SW Wash. high school stages are busy, busy, busy. In addition to those we listed in last weeks post here are two more high school shows to put on your radar:

• Hockinson High School Theatre Company will present "Once Upon a Mattress" (the musical-comedy re-telling of the fairy tale "The Princess and the Pea"): 7 p.m. May 8-10 and 15-17 at the high school. Tickets are $10 general, $8 for seniors, students, and youth (11 and under). 360-448-6450 x 5519.
• Longview's R.A. Long and Mark Morris high schools combine as Dana Brown Mainstage Theatre to present "The Love of Three Oranges" a play by Hillary DePiano. The play runs May 9, 10, 16 and 17 at 7:30 p.m. with an additional matinee at 2 p.m. on May 17 at R.A. Long High School, 2903 Nichols, Longview, Wash. Tickets: $5 all seats (available at the door). For $5 extra, VIP tickets (reserved seating and snacks during intermission) may be purchased by calling 360.575.7133 in advance or at the door. The play is rated PG. See Our Review by noon on Saturday May 10.

"9 to 5" to Clock in at Stageworks Northwest

Coming to Stageworks NW: "9 to 5" the Musical

Spring Out of the Winter Blues with RSP's "Enchanted April"

Rising Star Productions presents "Enchanted April" this April. Ain't that a coincidence?

In the gray gloom of a London winter at the end of the World War, a group of ladies wonder if life will ever be happy again. Struggling in relationships, drudgery and general "blah"-ness, they rent a villa in Italy for a spring holiday. 

During this enchanted April, full of warmth, sunshine, and wisteria, the women rediscover what is really important to make life full and satisfying once again.

If you love wisteria, springtime, or warmth, go see "Enchanted April." Alexis Bloomfeldt makes her directorial debut.

April 11, 12, 18, 19, 25, and 26 at 7:30 p.m.; matinees on April 19 and 26 at 2 p.m. $10 general, $5 children (12 and under), $8 seniors (65+). Tickets online here or call 360-749-5212.

All performances at the Rising Star Theater inside the Three Rivers Mall in Kelso, Washington. (Enter through the food court and head down towards Macys. On the right, across from Big 5.)

REVIEW: "All My Sons" at Stageworks NW is Quite Good

ALL MY SONS explores a “Sins of the Father” theme as well as others.

This play is the one that put Arthur Miller on the map. Afterwards, he wrote The Crucible and Death of a Salesman, both also considered classics. Ghosts from the past, the legacy and heritage of one’s name, the blurred lines between right and wrong in basically good people, and paying with your life for what you believe or atoning for perceived wrongs, were all prominent themes in his works. This play starts that ball rolling.

Joe Keller (Michael Cheney) seems to be the ordinary businessman during the late 40’s in Ohio. He has a prosperous business, loyal friends and a good family with his wife, Kate (Jamie Hegstad) and his son Chris (Christian Womack). His other son, Larry, went missing during the war. Currently they have Larry’s finance’, Annie Deever (Shae Coleman), staying with them. Her father, his former partner, is now in prison, serving a term for manufacturing faulty airplane engine parts.

They have neighbors in Jim (Caleb Bayliss), a doctor, and his wife, Sue (Shannon Cahoon), living in

The set for Stageworks NW's  production of "All My Sons."

the former Deever home next door. And Frank (Ryan Lee Gaylor) and his wife, Lydia (Ashley Stevens), a former girlfriend of Annie’s brother, George (Chase Smell), and their young son, Bert (Thomas Dennis), live on the other side of the Keller’s. It all seems idyllic until the news that his former partner is being released from prison and a visit from his son, George, now a lawyer, arrives to set the record straight.

This house of cards comes tumbling down around them all, as Chris and Annie declare their love for each other and plan on marrying, despite the fact that Larry has never been declared officially dead, a hope that Kate holds dear that he is still alive. George discovers the full complicity of Joe in the airplane parts scandal and wants to bring it to light. Chris finds out his father may not be the saint he envisioned. Many good pilots crashed because of defective engine parts. And the neighbors may have two faces, toward Joe, and their real feelings about him finally come to a head.

To reveal too much more would be spoiling the climax. But, suffice to say, the common Miller elements I mentioned above, all come into play in this production.

The Production and Players

Christian Womack as Chris Keller (right), the son, and
Shae Coleman as Annie Deever, his soon to be finance'.

The music nicely sets the mood for this show. The set design by the directors is quite good, giving wide berth for the actors to explore. The costumes (Lynn Jansen) also set the stage for us for this bygone era. And, especially the lighting (Jennifer Cheney), is very impressive, layering the illuminations for the best dramatic effect. The direction, by Bethany Pithan and Katherine Jansen (who also designed the set), captures the mood and atmosphere of this gut-wrenching story and lets it build slowly to its tragic ending.

They have cast it well, too. Cheney is perfect as the father, a man ridden with guilt, but putting on a pleasant facade. Hegstad, as his wife, the vessel for attempting to hold onto dreams but choosing not to face realities, is excellent. Womack, as the surviving son, gives us slowly the build from the obedient, dutiful son to a young man with shattered illusions, and performs it well. And Coleman, as the young lady, torn between two worlds, emits a subtle air, waffling between the two.

In a smaller role, I especially liked Stevens, as Lydia, giving us a flighty, flirty neighbor who seems to bend whichever way the wind blows. And, a real prize, is Smell as Annie’s brother. He carefully balances his performance, showing the justifiable anger of his discovery and the deceptive lulling of Kate to remember a more congenial past. He does this beautifully and stands out in the show.

A suggestion I would make is that, at times, the lines become inaudible from some of the cast, partly from volume and partly from articulation. This is a cavernous space, so actors need to take care when expounding in it. I recommend this show.

 If you do go, please tell them Dennis sent you.

This classic Arthur Miller play is being staged by this theatre at their space, 1433 Commerce Ave., Longview, Wash. It will be running through March 2. For more information on this show, and their next production, the musical of 9 to 5, go to www.stageworksnorthwest.org or call 360-636-4488.

Review by Dennis Sparks, Guest Blogger

http://dennissparksreviews.blogspot.com/

Photos provided.

REVIEW: "Uh-Oh, Here Comes Christmas" Presented by Longview's Rising Star Prod.

UH-OH, HERE COMES CHRISTMAS, based on Robert Fulgram's book, and adapted to stage by David Caldwell and Ernest Zulia, and presented by Rising Star Productions, opened December 6 at the Rising Star Theater in Kelso, Wash.

"I'm not often aware that I am happy, but I am aware that I have been happy often." ~ from the show

The Story

The show features fifteen holiday stories from the international best-selling author of All I Really Need to Know I Learned in Kindergarten which have been crafted into an engaging evening of storytelling and song. This charming show takes a funny, heartwarming and often poignant look at the struggle to find the spirit of the holidays amid the avalanche of commercialism, stress and chaos that crashes down every December. 

There are many delightful, inspiring, often humorous and sometimes touching stories--generally delivered as monologues, though some are given as vignettes. This is the ideal vehicle for this theater and ensemble and an excellent alternative for those tired of the "same ol', same ol'" holiday play (another "Christmas Carol" anyone?).

The Songs

There are a couple of familiar Christmas songs as well as five others you may not know that will delight audiences. One of them, "The Christmas Wrap," was composed by Greg Moore, the show's able accompanist. Each song was presented perfectly--the right harmony, the right feel--and could be heard well. I especially enjoyed "The Marvelous Toy" which I remember from my youth.

Note: There are two stage versions of this work and it can be offered with four musical pieces written for the show or there is a version without music. RSP chose the non-musical version and then added their own songs (which I think were better).

The Stars

L to R: Melanie Portwood, Laurel and Greg Moore (seated),
Jueanne Meyers, and Eric Gerdlund. Photo provided.

The "cast" of Uh-Oh consists of Eric Gerdlund, Jueanne Meyers (Artistic Director), Melanie Portwood, and the husband and wife team Greg and Laurel Moore. (A mime is also performed by Kyrie Huggins.)

The ensemble was a near ideal grouping. They each sang well on their own and harmonized very well together, too, voices blending nicely. They had their parts down and diction was clear.

Each player had their moment to shine and each shared the spotlight as well. If I were to choose a standout--and this is a hard one since the cast was so well matched--I'd choose Gerdlund. He seemed to convey a real connection with his material--especially the one about wanting his childhood back.

The Staging

As usual with Rising Star Productions, the set was not very complex or expensive. One simple "Christmassy" set here did the trick just fine. Remember, this was not so much a play as it is something of a "variety show."

This show was well suited to Rising Star Productions and accomplished what they aim for: Good, clean, family entertainment that builds and showcases community talent. The show runs less than two hours and can be enjoyed by the whole family (although I think that those who've been around for a few holiday seasons may relate better than the young).

The Seats

All performances are presented in their space at the Three Rivers Mall; December 6, 7, 13, 14, 20 and 21 at 7:30 p.m. with additional matinees on December 14 and 21 at 2 p.m. Tickets are $10 general, $5 for children (12 and under) and $8 for seniors (65+). Come early and enjoy the pre-show Christmas sing-a-long. Tickets at: http://www.risingstarproductions.org/tickets.html

Review by Gregory E. Zschomler.

Photo provided.

Stageworks NW Presents the Christmas Comedy "A Christmas Tuna"

A TUNA CHRISTMAS opens Friday, December 6 and runs through December 29. Friday and Saturday shows are at 7:30 p.m. and Sunday shows are at 2 p.m. at the Stageworks Northwest Theatre, 1433 Commerce Ave. Longview, Wash. in the old Longview Movie Theatre.

The two-man play features Michael Robert Cheney and Joseph LeBard playing over twenty characters in this hilarious sequel to "Greater Tuna." It's Christmas in the third smallest town in Texas. Radio station OKKK news personalities Thurston Wheelis and Arles Struvie report on various Yuletide activities, including hot competition in the annual lawn display contest. In other news, voracious Joe Bob Lipsey's production of "A Christmas Carol" is jeopardized by unpaid electric bills.

Michael Robert Cheney and Joseph LeBard

"So funny it could make a raccoon laugh affectionately at Davy Crockett...It's far too good for just Christmas." - The New York

Tickets are only $12 (all seats) and you can purchase them online at www.stageworksnorthwest.org

We'll be reviewing the show on Saturday, December 7 and the review will be posted here Sunday morning, December 8.

Coming to the LCC Stage

Opened Last Weekend, Reviewed This Coming Weekend at Rising Star Productions

Rising Star Productions (Longview, Wash.) opened two shows last weekend that continue this weekend. The two musicals, "How I Became a Pirate" and "Pickalicious." Both are based on children's books and leap frog one another--one playing alternately Friday night, the other Saturday afternoon and so on.

We weren't able to review the shows last week, but will do so this coming weekend. However, do not wait to see our critiques as that may be too late. If you've got kids, take them out and see the shows with us. We're sure they will enjoy them. (And, BTW, buy them a copy of the appropriate book.)

For more information about show times visit the RSP website.

Reviews will be up Saturday night.

REVIEW: A Second Take by Dennis Sparks on "The Harder Courage"

This staged, one-act reading, based on a true story, is written and directed by Leslie Slape. It plays through this weekend at Stageworks Northwest Theatre at 1433 Commerce Ave. in Longview, Wash. For more information on this production and their season, go to www.stageworksnorthwest.org or call 360-636-4488.

“Sterner Stuff”

Shakespeare purported that we “…are made of sterner stuff.” In this, story, two men were forced, by circumstances, to prove just that. 

The first hanging in Washington State happened in 1892 in Cowlitz County. The man that was executed for murder was Robert Day, a farmer near the Lewis River. The victim was Clint Beebe, a local logger.

A minor dispute had happened over land use and cattle and Day’s son, Dexter, was slapped by Clint. Day, returning from a hunting trip and hearing about the incident, went out in search of Clint. When he found him, a shot rang out, and Clint was dead. The only witness was Beebe’s young brother, David, who testified that his brother was unarmed and was shot, without provocation, by Day.

But this story might be deemed simply routine, if that were what it was about. It’s not. It’s about how a friendship developed, over a period of several months, between the Sheriff, Ben Holmes (Scott L. Clark) and Robert Day (Michael R. Cheney), his prisoner. It is, at this point, a staged reading, about forty minutes long and a work-in-progress, hoping to be expanded into a full-length play.

The two actors are terrific in their parts and, hopefully, will be able to inhabit these characters in a fuller version. Having created the roles and, as I understand it, contributed ideas for their, and the play’s, development, they would be ideal for the future prospects of the story incarnations. The two men talk about the crime, their upbringings, families, the Civil War (in which they both fought, but on different sides), secrets, and their values. Through this relationship, a bond is formed and, for the survivor, maybe, a change in the perspective of life itself.

Looking at this case through modern lens, Day would have probably gotten off on involuntary manslaughter or self-defense (since his son was assaulted) and served a minimum sentence. My sense of it was that the Beebe’s were probably a powerful influence in this part of the country, embedded for years in the community, whereas, Day was a transplant from a Southern State. And the only eyewitness was the victim’s brother?! Give me a break, a good defense lawyer would have had that testimony thrown out as prejudicial.

I would guess, also, that most of the citizens here would have fought on the side of the Union, whereas Day had joined with the Confederacy. And, as my fellow blogster, Greg Zschomler, mentioned, the capital punishment law was just newly instituted, and the State/County may have been just itching to see it in action.

In comparison, nowadays, we have two cases in which military men are accused of mass killings and will probably get life sentences, not execution. Not that I’m advocating capital punishment. I’m not. But if you’re going to use it, employ it where it makes the most sense. It’s fairly clear that Day was a victim himself of prejudice. His only friend being the man that has to execute him.

Since this play is being developed, here are a few suggestions: 

The dialogue by Slape is rich and the strongest part of the show. She has a great ear for it and her characters come alive for us because of it. It could be still two main characters, but I would have background action taking places of key points in both their stories of their upbringing, the Civil War actions, their family memories, the crime, etc. The leads could walk in and out of these scenes, as if they were re-living them, and lighting/sound and minimal setting/props could be employed to enhance this experience. It would mean adding some characters, double-casting, possibly, when necessary.

Also it would be nice to have seen the first encounters with Day and Holmes and how their friendship started. And it would be good to see the aftermath, after Day’s death, on what affect/changes were made in Holmes’s life/philosophy. I would be interested to see future results of this production, as it has a promising beginning.

For another perspective by Gregory E. Zschomler, go to http://swwastar.blogspot.com/2013/08/review-harder-courage-new-play-by.html

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

REVIEW: "The Harder Courage," a New Play by Leslie Slape

This evening I saw the staged reading of local playwright Leslie Slape's new play "The Harder Courage" about the first Washington State hanging. It is the story of a developing friendship between a sheriff and a convict as he awaits his death. Several moral dilemmas are discussed without casting judgement so that the viewers can wrestle with the issues on their own. The play is based on actual historical events.

It is a work in progress with audience discussion and feedback after the show designed to help the playwright further develop the piece. In fact, I am told, this week's presentation was different from last week's. While destined to be a full-length play, the work is currently the length of a one act (about 40 minutes), though has the structure of a two act written for two men.

I really liked much of the dialogue and felt it allowed us into the psyche and emotions of the convicted man. One really feels like you get into the head of the man and sympathize with his remorse, regrets and reminiscence. This was not the case for the sheriff so much--at least until the he begins to reveal his secret. And that secret could have had more impact if the dialogue revealed more shame. As it is, it does not equal the crime of the convict and, therefore, has a lessor impact. With the right touches it could just as damning.

I also felt the story jumps in at a point where more set-up is in order. Perhaps this is part of what needs added. I see the play as three acts. The first act would begin with the convict turning himself in and progressing through some of the developing friendship. Act two would consist of much of what has, thus far, been written, ending with the question about the sheriff's secret and the prisoner's request for strawberries on the morning of his hanging. Act three would begin with the serving of the berries atop pound cake with whipped cream as a dessert, thus prompting the officer to reveal his secret. The act would then finish with the second scene as written.

Also, perhaps, some of the scenes could be developed into flashbacks, utilizing more of the players in the stories (and thereby more actors), as the men tell their stories. As a staged reading it was interesting for those of us who can appreciate words, but for most theater-goers it might lack needed visual interest. While the dialogue is very good--with some excellent word choices--I believe some good business would make this play riveting.

It will be interesting to see the final version of this play staged in full production. I believe this could be a most interesting and griping work. The play was directed by the playwright and the parts were read by two very talented Longview favorites: Scott L. Clark (as Sheriff Ben Holmes) and Michael R. Cheney (as the convict Robert T. Day).

The workshop play is showing at Longview's Stageworks Northwest through Sunday, August 25. Admission is by donation. Times and information can be found in the banner at the top of this post. For more information check out the website.

For another take on this play see the review at this site by Dennis Sparks.

Stageworks NW to Open a Can of Trailer Trash

Click on the pic to enlarge for a better view.

Longview's Stageworks Northwest presents "The Great American Trailer Park Musical," music and lyrics by David Nehls, book by Betsy Kelso, runs September 6-29, 2013; Fridays, Saturdays at 7:30 p.m., Saturdays and Sundays at 2 p.m.

The Concept:

There's a new tenant at Armadillo Acres—and she's wreaking havoc all over Florida's most exclusive trailer park. When Pippi, the stripper on the run, comes between the Dr. Phil–loving, agoraphobic Jeannie and her tollbooth collector husband—the storms begin to brew.

We understand this is PG-13 and NOT for the whole family.

True, Tragic, Touching Tale at Stageworks NW

The Stageworks Northwest Staged Reading series kicks off the 2013/2014 season with the world premier of local playwright Leslie Krausch Slape's new play "The Harder Courage" a drama based on the true story of Sheriff Benjamin Holmes and his prisoner, Robert Day, the first man to be hanged in Washington state.

The true, tragic and touching tale is directed by the playwright and will be presented by actors Michael Robert Cheney and Scott Clark. This is the first time this story has been fully told anywhere.

For more of the story behind the story follow this link: http://tdn.com/lifestyles/stage-an-murder-a-condemned-man-an-unexpected-friendship/article_6bdf9afc-053d-11e3-aead-001a4bcf887a.html

Run dates: August 16-18 and 23-25. 

Times: 7:30 pm. Fridays and Saturday; 2 p.m. Sundays. 

Place: Stageworks Northwest, 1433 Commerce, Longview, Wash. 

Tickets: By donation.

We weren't able to attend opening weekend, but we will be reviewing this new work next weekend.

AUDITIONS: Two Shows at Rising Star

Rising Star Productions Announces Auditions as follows:

Children Auditions: ages 8 - 14 are invited to audition, 6 p.m. at the Rising Star Theater at Three Rivers Mall on Aug. 20th. 

A parent or guardian MUST accompany and remain with the child during auditions. 

Adult Auditions: 7:45 p.m,, Aug. 20. 

Shows are "Pinkalicious" and "How I Became a Pirate." 

Full info: www.risingstarproductions.org/auditions.

Melodrama on Tap at Stageworks Northwest

This one crept up on me unawares. The melo-drama "Dirty Deeds at the Crossroads" is coming to Stageworks Northwest in Longview.

The show opens July 12 and runs through the July 28 with 7:30 p.m. performances on Fridays and Saturdays. Sunday performances are at 2 p.m.

Stageworks' melodramas are always a hoot and done quite well. We'll see if we can review it opening night.