REVIEW: "The Adventures of Robin Hood" Made Merry by Prairie Ground Drama

Venture out among the trees of Sherwood Forest and enjoy an evening of lighthearted adventure as students with the Prairie Ground Drama Club, under the direction of Prairie High School Drama Instructor Claire Verity, light up the stage in "The Adventures of Robin Hood."

The family-friendly, humorous adventure, with sword-fighting scenes and witty characters will follows the schemes and ploys of this robbing hood as he leads his merry men and his dear Maid Marian on his quest to rid the rich of their wealth and redistribute it to the poor. (Sounds like a democrat to me.)

The play, by Larry Blamire, is part parody, part outrageous farce with a good measure of slapstick and swordplay thrown in.

The Cast

Little John (Ronnie McPherson) and
Friar Tuck (Tyler Wanke)

Why is it that the Battle Ground School District has such strong theater talent? Is it something in the water? I see a LOT of community theater and it often pales in the shining limelight of these amazingly talented kids. The good news is that once they graduate they can be siphoned in to the community scene.

The cast includes many of the talented individuals we've come to enjoy over the last few years. There are also a few newer faces that rise to the occasion.

Though most played their roles broadly--sometimes quite melodramatically--it worked. Caricature generally ruled the night and added to the humor intended by director Claire Verity.

The play is primarily carried by the male cast and all the female cast but the lead Maid Marian (played aptly by Ashlee Waldbauer, no surprise there) are background characters. However, Alexa Millage-Fox (as Meg) and Brittany Foley (new to the stage, deftly playing the Prioress) were standouts. Fox especially threw herself into the role (I expect she'll be hoarse by the week's end).

Will Gamwell (Jared Lingle), Marian Harper (Ashlee Waldbuaer)
and The Sheriff of Nottingham (Tristan Decker)

Austin Foley as the dashing leading man, Robin Hood, was excellent--just the right amount of suave and chauvinism. The best scenes of the play are the ones he plays with Waldbauer. Their tit for tat and playful romance is good chemistry.

While those mentioned were exceptionally good, really all the cast did well. However the standouts were many as well. Jared Lingle as Will Gamwell was a hoot, Tristen Decker as The Sheriff of Nottingham was excellent, Sean Poteet as the Bishop was a gas, Matthew Dougal as King John was absolutely glorious, Ronnie McPherson as Little John was marvelous, Skyler Verity as Alan-a-Dale was great, and Tyler Wanke as Friar Tuck was skillfully amusing. Also worthy of mention was Stephen Whitlock as the whiny Much and Chris LaValley as the very French assassin Guy.

Austin Foley as the charming Robin Hood on the
back of the witty Tyler Wanke as Friar Tuck.

I was especially taken by Decker's take on Nottingham; very much in the Tim Curry mode. And Poteet was just a whole lot of fun. However, I think Dougal was best. I just loved what he brought to the character. But everyone had their great moment like Skyler Verity's insane ninja war cry and the meltdown between Decker and Dougal, the tension between Waldbauer and Fox, and on and on. Just too much fun for all.

The Craft

The production's look was good overall--especially considering the club is trying to keep costs down in order to save for wireless mics. The set's drops and fly-in pieces were nice. The major drawback was the mix of real tree cuts with painted fantasy trees.

The lighting (by Claire Verity, who also did the scenic design) was exceptional, not a flaw I could see. I liked the cues and the colors. Costumes (by Anna Stickney, also the Stage Manager) were also quite good. The swordplay was excellent--nicely designed by Brandon McFarland, and executed by the cast with precision and conviction. The Sound Design (by Nick Perry) was also a delight.

Some of the many faces in the cast, including Skyler Verity.

I haven't heard so much laughter in one place for quite some time. The presentation was really funny and so much fun. The audience had a merry time and you will, too.

The night begins with dancing and dueling in a pre-show medieval faire you won't want to miss. The dance choreography by Ashlee Waldbauer and the fight design by McFarland were both enjoyable.

Remaining show dates are May 2, 3 and May 8, 9 and 10, all 7 p.m. at the Prairie High School Theater, 11500 NE 117th Ave., Vancouver, Wash. DO come early (doors open at 6:30) for the Medieval Faire proceeding the show. Tickets at the door or: www.seatyourself.biz/prairiehighschool

To the right one final photograph.

By Gregory E. Zschomler

Photos, provided, by Michael Verity

OPENING SOON: Some of the Best Theater in Clark County from these Two High Schools

The "Adventures of Robin Hood" presented by Prairie High School

Venture out among the trees of Sherwood Forest and enjoy an evening of lighthearted adventure as students with the Prairie Ground Drama Club, under the direction of Prairie High School Drama Instructor Claire Verity, light up the stage in The Adventures of Robin Hood.

This family-friendly, humorous adventure, with sword-fighting scenes and witty characters, will take place May 1, 2, 3 and May 8, 9 and 10 at 7 p.m. at the PHS Theater, 11500 NE 117th Ave., Vancouver, Wash.

Tickets at: www.seatyourself.biz/prairiehighschool

The Musical "GREASE" presented by Battle Ground High School

The classic '50s musical, directed by Stephan "Cash" Henry opens one week later at BGHS.

The cast list includes the following leads: Sarah Russell as Sandy, Ryan McNeal as Danny, Brianna Sievers as Rizzo, Tristan Tindall as Kenickie, Tanner Leeds as Doody, Jessie Akerley as Frenchie, James Dyer as Roger, Tiffany Jara as Jan, Bailey Baxter as Marty, Cade Hansen as Sonny, Brendan Groat as Eugene, Sky Ring as Miss Lynch, Emily Pulley as Patty, Teva Egar as Cha-Cha, and Skyler Denfield as Teen Angel. 

Sky Ring, also the choreographer, has been replaced in her role at the last minute due to personal matters.

Hear all the popular hits including "Summer Nights," "Greased Lightning," "Sandy," "You're the One That I Want," "Alone at the Drive-in Movies," "Beauty School Drop Out," "We Go to Together" and many more.

Tickets at http://payments.battlegroundps.org

We are reviewing BOTH shows on their opening nights; the reviews will be posted by noon the following day.

SNOW Postpones SHOW

UPDATE: ALL THREE REMAINING SHOWS OF THE IMPORTANCE OF BEING EARNEST at Prairie High School HAVE BEEN POSTPONED. 

We will announce the new performance dates as soon as we have all of the details.

REVIEW: Prairie -Ground's "The Importance of Being Earnest" is Nicely Presented

Oscar Wilde's "The Importance of Being Earnest" is a perennial classic. Very perennial it seems. I have seen it numerous times and recently as presented by Vancouver's Magenta Theater. It opened, once again, Thursday night at Prairie High School and I was there. 

As stated earlier: "I love the patter play and can't get enough of it. I also recently reread the work. It's fascinating. Wilde is one of my favorite writers. His work is full of double meaning and playful patter. It's also rich on social commentary. Just too much fun.

"The plot isn't essential; the play is about the dialogue [and commentary]. However, like many Shakespearean works, it is about mistaken identities. It's a humorous romp through London’s high society. Part satire, part comedy of manners, this is Wilde's most enduring and popular play [also his last].

"The consummate darling of London society, Wilde provides an inside look at the Victorian self-righteous moralism and hypocrisy. I won't tell you more because I want you to be pleasantly surprised."

Ironically Wilde, the once "darling of London," while Earnest was still on stage, was ostracized and imprisoned for his gay lifestyle. Sadly, a blow from which he never recovered.

Earnestly Enjoyable

Cast of "The Importance of Being Earnest" showing actual set and costumes.

The Prairie High School production was good. I think the work is a challenge because of the need to understand so much socially, historically and linguistically about the English. Thus, probably not the easiest material for high school students. I think the acting was fine, but I also felt that overall the production lacked punch. The pace was slow for the work (especially the second act "cat fight" where the subtle, verbal jabs from the pair of quick-witted "ladies" should have been flying).

Austin Foley chokes down
a muffin as Jack Worthing.

The principles: Austin Foley (Jack), Keiko Inouye (Gwendolen), Ashlee Waldbauer (Lady Bracknell), Casey Wardell (Cecily) and Zachary Ovall (Algernon), each had great moments and all proved to be quality actors.

Foley, with his boyish charm and seasoned acting chops, is a delightful dandy. Inouye is very funny and expressive with her face and eyes.

Wardell is lovely, spirited and, though not as experienced on stage as some of the other cast, held her own and shows great promise.

Ovall moves extremely well and embodies the cocky and confident playboy attitude of Algie quite well.

Ashlee Waldbauer as the
persnickety Lady Bracknell.

And, as always, Waldbauer (playing a role well above her actual age) nearly steals the show. Her talent, honestly, never ceases to amaze me. The cadence of her delivery, her facial expressiveness and the acting in her very voice (tonality) in this role is just above and beyond what you would expect from your average high school student. She is definitely not average and is a true professional.

Emily Anzalone (Miss Prism), Jared Lingle (Lane/Merriman) and Tristan Decker (the Reverend) also do a fine job in the smaller roles and each have their own moment to shine as well.

The lovely Casey Wardell
as Jack's young ward Cecily.

Anzalone is very expressive and emotionally convincing. Lingle plays his two butler roles with distinction and subtle humor. Decker is both comedic and oh, so much better than the last person I saw in the role (which goes to show that an actor can really make or break even a small role); he makes it. Anzalone and Decker are quite funny together as the flirting teacher and preacher pair.

Zack Ovall as the gad-
about playboy Algernon.

British accents among the cast are essentially non-existent. [And you know my feelings about that.]

Notes of Importance

The production was designed and directed by Claire Verity. The three-act play (it runs long) was written before the turn-of-the-20th-century and it's expensive and difficult to accurately stage a period piece like that. Costumes and sets came from a hodgepodge of eras, but a sincere attempt was made. To Verity's credit she kept things as simple as possible with some nice stylized theatrical touches (such as the art deco floor and the tasteful teasers).

Keiko Inouye shows a
comic flair as Gwen.

The lighting was a bit uneven across the stage and dipped at the fringes of the acting areas which were awkwardly "enhanced" with a follow spot (as, uh, needed); not really the best practice. There was a lot of down light, but not enough front light, as eyes were often shadowed.

And those muffins seemed a bit dry (muffling lines) but, generally things looked good and the play was nicely presented. Get your tickets ($10 adults, $6 seniors, $5 students) at: www.seatyourself.biz/prairiehighschool 

Info: Show dates are January 30, 31 and February 1, 6, 7 and 8; doors open at 6:30 p,m., show starts promptly at 7 p.m. BUY TICKETS ONLINE FOR BEST SEATS AND NO WAITING IN LINE.

Review by Gregory E. Zschomler
All photos by Michael Verity.

To read the review of Magenta's production click here.

Prairie Drama Club Presents "The Importance of Being Earnest" by Oscar Wilde

This play was presented by Magenta Theater in Sept/Oct. 2013.

See the review of that production here. And watch for our review

of the Prairie High School production coming January 31.

OLIVER Coming from Prairie Ground Drama

Prairie Ground Drama to present the musical telling of Charles Dicken's OLIVER opening in November 2013 at the Prairie High School Auditorium.

Directed by Clair Verity, the high school production is sure to be top shelf.

Our review will appear here on November 8 by noon.

The show opens November 7 at 7 p.m. Tickets are available here.

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

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.

GONNA BE GOOD: Prairie/Ground Presents Three Short Plays by Thornton Wilder

7 p.m., January 31, February 1, 2 , 7, 8 and 9 

at Prairie High School.

Our Review posted by noon February 1.

ARTIST PROFILE: High School Teacher Inspires Students to Excellence, Professionalism

Claire Verity

She began her career as a dancer, touring while in high school, and is a graduate of Penn State, where her father was the play writing professor, with a BA in theater. She has performed in regional and New York theater, appeared in commercials, print and television.

She's a third generation theater professional, the daughter of famed playwright Roger Cornish (his plays are performed at every major repertory theater in the country); her mother is the writer Violet Ketels Cornish. Her grandfather was a very well-known English stage actor and her grandmother was one of the original Radio City Music Hall Rockettes and performed in the Corps de Ballet at the Met in New York City.

Today she brings her "strong gene pool for the arts" to both Battle Ground and Prairie High Schools where she inspires students to amazing theatrical heights.

She is Claire Cornish Verity. 

Verity began directing shows at Battle Ground High School six years ago and at Prairie four years ago. She currently teaches drama classes, technical theater and creative writing at Prairie High and directs the theater productions at both schools. She will also begin teaching dance this coming fall.

She began her educational career as "Drama Adviser" under a "conditional certificate" for her life experience, but was urged by her principal to obtain her Masters in Education so she could teach full-time. She received her Masters in Secondary Education, graduating Summa Cum Laude, from Jones
International University of Colorado in 2010.

Her life experience

Verity directs "White Christmas"

At first it was dancing; she did not pursue theater while in high school as her father did not encourage it. He believed "children should be at home playing outside." None-the-less she found herself touring as a dancer during those years. It wasn't until college that she got involved in the dramatic arts. She chose a school where she could remain close to her father and, for the most part, gave up dance for the time being. She began performing theatrically and, after a while, in her late twenties or early thirties, she became an interior designer in New York, married and began a family.

Eventually, with a third child and wishing to spend more time with her children, she spoke with her husband about being a "stay-at-home mom." He said, "Not in New York," (the expense of living in the city required two incomes) and they moved out west. As her children grew, a soccer mom friend told her about the Drama Adviser opening for the Battle Ground School District. She applied, on condition she could bring her children to work with her, and got the job. Consequently,  two of her three children are now working actors (one appeared in last fall's Grimm)--fourth generation theater family.

"At the time," she said, "it never occurred to me to work with children, [but] I knew after directing these kids for five minutes, I knew this was where I was supposed to be." And that's what she's been doing ever since.

Her teaching

"Directing high school students," she has said, "is the first thing I have done, other that being a mom, that I love as much as I loved performing." Verity finds satisfaction in teaching students to reach inside themselves and find their best.

Sure, there are naturally talented individuals within every school, but high school productions seldom are great. I've seen many that made me wish I hadn't gone. But Verity says, "you can teach anyone to act" [even dance] if you work with them and help them believe in and challenge themselves--inspiring them to "want to win." 

[Note: We have been amazed at every Prairie Ground Drama performance we have seen. Links to our reviews and slideshows: http://swwastar.blogspot.com/2012/04/review-battle-groundprairie-high.html and http://swwastar.blogspot.com/2012/11/review-gotta-dance-for-prairie-grounds.html]

Verity's students seem to excel at theater. Their performances are top notch--some of the best shows in Southwest Washington. So how does she do it? How is she able to inspire her students and pull from the the very best performance?

She's tough, but she also loves and believes in her students. You can see it in their interaction. How they speak to one another as equals. How they hug and feel comfortable around each other. She challenges and corrects, encourages and makes her students think, but also disciplines. During rehearsals, if you aren't projecting, you drop and do ten push-ups.

Not all of her students are up to the challenge and don't continue, but most see her as just wanting the best for them. She said, "It's not my job to be liked...I've made kids cry." She admits to being "incredibly controlling [and] competitive."

How she does it

"You have to want to win," she said. And that is how she inspires.

She doesn't believe in mediocrity and sees that mindset as one of the major problems in education and society. She admits to being hard on her students. "I know what you're capable of," she tells them, "better then what you know what you're capable of." With that she earns student respect and it seems they will go to the ends of the earth for her.

Students will give her ten to twenty hours of after school time a week to hone their craft and become excellent at being the best they can be. Non-dancers will master amazing routines. Actors will pull off stunning performances. Backstage personnel will spend hours toiling to put on a flawless show. Singers fine-tune their chops [under the direction of Darcy Schmidt]. And all do it with heart and soul. They work hard and play hard, but Verity stresses it's not all fun and games. She runs rehearsals like a professional theater, she said, taking into account that she is working with students just beginning to understand what professionalism really is. She strives to help students truly appreciate the craft. 

After every rehearsal and performance she gives notes (critiques and tips) to her students. "I think," she said with animation, "this is part of the key to our success."

The program is rigorous and disciplined. Upper classmen help set the standard of excellence for the newbies. During rehearsals Verity stops the performance giving direction and calling her students to go deeper--to search within themselves for some life experience that will bring motivation to the action or character. She runs from the back of the auditorium to the front, hurdles the stage, gestures wildly, bangs on the floor and compliments with enthusiasm.

Why she does it

Believing in her students, loving what she does, wanting to win, and the appreciation for the craft are what makes Verity invest all that she is into her job. And that's what makes her and the Prairie Ground productions the special things that they are.

Soren Gillaspy, a 2010 graduate now pursuing a theater degree at Seattle's Cornish College of the Arts, said that his former instructor "inspires respect [for her] knowledge and professional experience." He returns when he is able to assist students because of what the program, and Verity, did for him.

Verity loves her job. She said, "I think you're incredibly blessed if you love your work." Her mother always told her, "Do what you love and do it well." And she, and her students, do it well.

Prairie Ground's next show is "Wilder, Wilder, Wilder" three short plays (The Long Christmas Dinner, Pullman Car Hiawatha, and The Happy Journey to Trenton and Camden) by Thornton Wilder, 7 p.m., January 31, February 1, 2, 7, 8 and 9. Tickets are available at www.prairiehighschool.org. In the spring they will present "Once Upon a Mattress."

By Gregory E. Zschomler
Photos provided

REVIEW: Gotta Dance for Prairie Ground's Splashing "Singin' in the Rain"

SINGIN' IN THE RAIN

"Singin' in the Rain" was made 60 years ago and is, perhaps, the greatest film musical ever made. If you've never seen it, you should. The movie stars Gene Kelly as Don Lockwood, Donald O'Conner as Cosmo Brown and Debbie Reynolds as Kathy Seldon in the leads, with Jean Hagen as Lina Lamont. You would be hard-pressed to find performers who could fill those shoes--especially Kelly's dancing shoes. I would be afraid to even try at a high school. But Prairie Ground theater director (and the show's choreographer) Claire Verity did try and pretty much pulled it off.

I read the program's Director's Notes by Verity for Prairie Ground's "Singin' in the Rain" and tears came to my eyes. I could not say it any better than she has so I'm going to quote her (in part) here:

"Debbie Reynolds...was 18 when she was cast as Kathy in the film. She was a gymnast, not a dancer. The film was a challenge for her. She has said, 'Gene Kelly made me work so hard that I'd almost pass out trying to keep up.' She maintains, 'The two hardest things I ever did in my life are childbirth and "Singin' in the Rain".' She reported that after 14 hours of shooting the song and dance number 'Good Mornin',' when she took off her little blue shoes, her feet were bleeding from all the dancing. She also admitted that, 'He worked me hard, but he taught me so well...'

"Many of the students you will see tonight have worked harder than they ever imagined they could, to accomplish things that they might not have imagined themselves doing even a year ago. Kids who never danced are dazzling us with tap numbers. Kids who never sang have discovered their voices. Why have the worked so hard? For love -- love of the theatre, love of each other, of this remarkable process -- this work, and for friendships and memories that will last the rest of their lives. It has been my great privilege to teach and direct them and to witness that love grow."

Ashlee Waldbauer as Kathy Seldon and Nick Hulscher as Don Lockwood.

The story is simple: A movie studio makes the transition from silent pictures to the talkies. It is also a story of friendship and of the love between a star and a rising star and the falling starlet who stands in the way.

Star Power

It is the school district's own student star power that make this production worth seeing. That and the delightful, enduring song and dance numbers. Not to mention the hilarious and expertly done film sequences by Jason Foster. Kudos Jason!

Hoofing Hulscher, tapping to the title tune.

Nick Hulscher plays the dashing silent film star Don Lockwood. He has a nice voice, acts well, is indeed good looking and he can dance. I mean, he can dance. He nearly tore up the floor while performing the title tap sequence which was so nicely choreographed by Verity. Hulscher, according to director Verity, is not a formally trained dancer. No years of lessons. However, he had to have put in hour upon hour to master the title tap alone. And it wasn't just going through the steps either; it was graceful and expressive. Not all of his dance numbers were as clean, but they were all quite good. (A good safety pin will do wonders for that fly, BTW.)

Ashlee Waldbauer delightfully plays Kathy Seldon, Don's love interest. Her singing voice is truly lovely, very much like Reynolds, and spot on. She nailed the song "Good Mornin'" and performed her dance numbers with great aplomb. Plus she is pretty and expressive and her acting was top notch. In all these ways she reminds me of one of my favorite actresses: Amy Adams.

Josh Snider as Cosmo.

Josh Snider plays Cosmo Brown, Don's lifelong buddy. Cosmo provides much of the show's comic relief. He also has one of the most creative and dynamic dance sequences in the musical, "Make 'em Laugh." You'd have to channel Donald O'Conner to get it 100% right since he was an amazing fireball of a performer. Well, Snider comes pretty close. He has that boyish charm and class clown playfulness. Not quite the same intensity and skill, but he is good. Opening night some of the props for the number didn't come out as they should have; he moved through the dance seamlessly and professionally anyway. I only know because I was told.

Sarah Russell as Lina Lamont

Sarah Russell as Lina Lamont nearly steals the show. Why? First of all Lamont is probably the hardest character to play. Secondly, there is a big expectation for the character from the movie and Russell does homage to that iconic role. Thirdly, you have to be willing to be self-effacive. And finally, Russell's talent is a jewel. She also is quite expressive and seems to have genuine comic timing. She has the right voice down pat. Her responses/reactions are a joy to watch. And her solo number "What's Wrong with Me?" was great, just the right amount of character and real voice (to let us know she has a good one).  So fun and funny! Nothing wrong with this performance.

Other standouts were Rose Caughie who played the bit role of Zelda Zanders with panache; Cole Johnson in various bit parts, but especially as the villain; and Brady Foley as the director Roscoe Dexter. The ensemble as a whole was enjoyable.

Diana Ferar, (center) as the Sexy Green Lady;
Austin Foley (left) as Rod [or is it Mr. Big?].

The chorus and dance numbers were ably executed. All the choreography was excellent. I especially liked the cake dance and "Gotta Dance" and, though it certainly taxed Hulscher's abilities, it was very well done. But it was his dance to "Singin' in the Rain" that, like in the movie, was the piece de reistance. Original, yet a great homage. Diana Ferar (we loved her as 99 in "Get Smart"), always a good dancer, was pretty wild as the Sexy Green Lady.

Sycronization of Sound and Picture

While the costumes were stunningly glorious, the sparse sets were rather simple and sometimes dressed quite shabbily. They had the Hollywood glitz in the apparel, but it was not apparent in the set. Some pieces needed a touch-up from shabby (the piano, the ladder, etc.) to make them musical-quality chic. The excellent period hair and make-up was a real plus.

As mentioned, one of the best parts of the production was the well-conceived "film" sequences created by Jason Foster (please put them on YouTube). Well worth the price of admission alone.

There were some small technical glitches like lagging light cues and crackling mics on opening night. Most of the lighting issues could be corrected by using more standard fixtures to light scenes and not relying on followspots to perform the duty. However, most of the lighting was well conceived. The use of color-mixing fixtures on the cyc and the use of scrim with projection (especially the curtain warmer) were lovely. I also like the use of the stage wall in the title dance though I was hoping for a better rain effect.

The band, "prepared and conducted" by Greg McKelvey, was not prepared quite well enough evidently. The volume level was good, but there was a lot of "lippage slippage" around the right notes from the brass, so much so it was hard, at times, on the ears. This was not generally true for the vocalist (vocal and musical direction by Darcy Schmitt) both soloists and chorus who, in spite of a wavering band, stayed on melody.

A Happy Ending

Featured Dancers in their flapper costumes. All photos by Michael Verity.

I think you will be amazed at the talent in the cast of Prairie Ground's "Singin' in the Rain."

I was.

The two high schools really have some great performers and I'm pretty sure Claire Verity, true* to her calling, loves her job. She seems to really pull a lot out of the teens she works with, inspiring them, encouraging them and pushing them to do their best.

*Verity, BTW, is Latin for truth.

This is truly a delightful production, directed with great love and homage, that you really MUST see.

WARNING: There's an awful lot of kissing in the show. ;) lol

Prairie/Ground Drama (the combined theater departments of Prairie and Battle Ground High Schools) offer "Singing in the Rain" at Prairie High School, 11500 N.E. 117th Ave., now through November 17. Show dates are 8, 9, 10, 15, 16, and 17. Curtain at 7 p.m., doors open at 6:30.

Tickets and ticket information are available online at http://www.seatyourself.biz/prairiehighschool.

By Gregory E. Zschomler
All photos by Michael Verity, provided

COMING SOON: Four New Shows; Four New Reviews

A new batch of shows open this November adding to the Fall theater line-up of Southwest Washington. While there are others, these are four which we have been asked to share with you, so here's the heads-up:

Clark College opens the month of November with "Who's Afraid of Virginia Woolf?" by Edward Albee (Winner of the 1963 Tony Award for Best Play) beginning November 2. 

Our review will appear on this blog by noon Saturday, November 3.

The play is directed and designed by Mark Owsley and runs November 2-3, 9-10, and 15-17 with evening performances at 7:30 p.m. and a Saturday matinee on November 10 at 2 p.m.

Description: George and Martha invite a new professor and his wife to their house after a party. Martha is the daughter of the president of the college where George is an associate professor of history. Nick (who is never addressed or introduced by name) is a biology professor who Martha thinks teaches math, and Honey is his mousy, brandy-abusing wife. Once at home, Martha and George continue drinking and engage in relentless, scathing verbal and sometimes physical abuse in front of Nick and Honey. The younger couple are simultaneously fascinated and embarrassed. They stay even though the abuse turns periodically towards them as well. (From Wikipedia.)

Tickets for individual plays go on sale three weeks before the first performance. Tickets may be purchased through the Clark College Bookstore by mail, by telephone, or in person (or at the door if tickets are still available). To reach the bookstore, call (360) 992-2815.

WARNING: While this play (which runs three hours) will be unsuitable for children (for psychological realism, alcohol abuse, domestic violence and foul language) the following options are kid-friendly.

CYT also opens "Great American Tall Tales" on November 2. 

Our review will be posted Saturday, November 3. 

Description: When several kids stumble into a dusty exhibit during a museum field trip their adventure comes to life. Together they meet the beloved characters of American folklore; Annie Oakley, Davy Crockett, Pecos Bill, Annie Christmas, John Henry and more. Through story, dance, and song, they learn that history is alive and vibrant while discovering that sometimes fact and fiction work together to create unforgettable legends.

Performances are at Fort Vancouver High School, Nov. 2 through 11. Friday, Nov. 2 at 7 p.m., Saturday, Nov. 3 at 7 p.m., Friday, Nov. 9 at 7 p.m., Saturday, Nov. 10 at 3 and 7 p.m., and Sunday, Nov. 11 at 2 p.m.

Advanced purchase adult tickets are $12, youth, senior and group tickets are $9; family day tickets for November 3 are $9 in advance. All tickets are $2 more at the door. There are also school day performances as follows: Tuesday, November 6 at 9:30 and 11:45 a.m. Tickets for these performances start at $5.

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

Prairie/Ground Drama (the combined theater departments of Prairie and Battle Ground High Schools) offer "Singing in the Rain" at Prairie High School, 11500 N.E. 117th Ave., beginning November 8. 

Our review will be posted by noon November 9. Note: The last  Prairie Ground show we reviewed was awesome.

Dates: Nov. 8, 9, 10, 15, 16, and 17. Show starts at 7 p.m., doors open at 6:30. 

Description: Same as the beloved movie with lots of singing, dancing and comedy. A silent film production company and cast make a difficult transition to sound.

Tickets and ticket information are available online at http://www.seatyourself.biz/prairiehighschool.

CYT also offers "Bugsy Malone," November 9 at the Washburn Performing Arts Center, 1201 39th St., Washougal Wash.

Click here for directions

Our review will be posted by noon on November 10.

Description: A slapstick musical comedy following the rivalry between two half-witted street gangs and the washed up, well-intentioned, one-time boxer who steps in to take control of Fat Sam’s gang and give Dandy Dan and his boys what they’ve got coming. In this film noir spoof, the message is one of good, clean fun; the characters are wonderful 1920's cartoon cutouts; and the weapons of choice are "splurge" whip cream guns, flour bombs, and custard pies. Written to be performed by younger cast.

Public Performances are Friday, Nov. 9 at 7 p.m.. Saturday, Nov. 10 at 7 p.m., Sunday, Nov. 11 at 2 p.m., Friday, Nov. 16 at 7 p.m., Saturday, Nov. 17 at 3 and 7 p.m., and Sunday, Nov. 18 at 2 p.m.

School Day Performances are Thursday, Nov. 15 at 9:30 a.m. and 11:45 a.m.

Advance Ticket Information: Adult (ages 19 and up) - $12, Youth (ages 2 to 18) - $9, Senior (ages 62+) - $9. Groups of 10 or more - $9 and Family Day $9 (November 10 at 7 p.m. only).

School Day Advance Ticket Information: Groups (10 to 99) - $6 with one free ticket with each 15 purchased. Groups (100 or more) - $5.

Sales at the Door: $14. - Adult (ages 19 and up), $11. - Youth (ages 2 to 18), $11. - Senior (ages 62+), $11. - Groups of 10 or more. Family Day $11. each (Nov. 10 at 7 p.m. only).

School Day Sales at the Door: All Tickets - $10.

Purchase tickets at: https://www.cytvanport.org/gettickets.aspx

REVIEW: Battle Ground/Prairie High Present One Smart "Get Smart"

When it comes to quality productions, High School Theater can be hit and miss. The delightful and campy Battle Ground/Prairie High [Prairie Ground Drama] production of “Get Smart” is one of the hits. I never knew such a play existed, but it was written in 1967—an adaptation of the (1965-1970) TV show’s pilot done by Christopher Sergel. [The original episode, “Mr. Big,” was written by creators Mel Brooks and Buck Henry.]

The play is quirky, corny and fun, though doesn’t move along quite at the TV show’s pace. There are a couple places where the script drags and it is certainly no literary work of art, but it’s mostly amusing and was made all the more so by the talent delivering it.

In a nutshell, Maxwell Smart (Agent 86) and Agent 99, assisted by Agents 13 and 44, must thwart KAOS plans to use a ray gun to destroy the Statue of Liberty, recover the device’s kidnapped creator, and, well, save the day. Smart, and his assisting agents, cleverly bumble through to do just that.

James Martine as Smart

James Martine is excellent in the role of Smart. While he doesn’t attempt to play the role in homage to Don Adams’ iconic character, he fills the shoe (phone) well. His rubber-faced performance reminded me a lot of Danny Kaye or Jim Carrey. Maybe it was more Pet Detective than Inspector Gadget, but it worked very well. I really hope Martine will continue to pursue comedic acting—he has a real gift.

Most students—there were 28 on stage and 14 additional in-house performers—played their respective roles well enough, but many stood out in addition to Martine. While Diana Ferar was lovely as 99, the part didn’t give her much to do—really playing down the role that was done so well by Barbara Feldon in the TV series. And that is a shame; Ferar, I feel, may have deserved something better.

The members of the house improv troupe were amazing, playing their roles from the moment the doors opened. While in character, they served as hosts and ushers as well as providing distraction during the scene changes.

Our party was passed off from agent to agent upon entry as we were surreptitiously seated. Later a young man “accidentally” dropped some change near our table and whispered, “The eagle flies at dawn.” All around us extreme espionage ensued.

I just loved how they let their inhibitions down and kept in character at such close contact with audience members. It is one thing to do a play from a stage, quite another to do it interactively.

Amanda Hoffman as Ingrid

The cast stand outs were Robin Becar as Prof. Zalinka, Nick Hulscher as Agent 44, and Amanda Hoffman as Princess Ingrid.  Becar, with her thick German accent and stellar command of the stage, was charmingly two-faced. Hulscher was calm, cool and collected with a touch of zany.

Hoffman was marvelous; she just threw herself into the role. She threw herself at Max (with more than a polite stage kiss), she was thrown into a shopping cart, and she threw all caution to the wind to pull off the quirky and ditzy Scandinavian.

Also worthy of mention were Josh Snider as the ever cool Agent 13, Austin Ebert as the wacky Prof. Dante, Thoni Holbrook—who stood out from the four kidnapped blonds—and the three nutty ninja Wong sisters played with much aplomb by Sky Ring, Rose Caughie and Grace Cook. The Wongs were weally wonderful.

Director Clair Verity—drama teacher at both schools—did an amazing job. She really pulled the best out of these students, helping them fully immerse themselves into character. The overall look and comic timing that a good director brings to such a show was certainly evident.

The mid-show dance number to “Secret Agent Man” was nicely choreographed and winningly performed.

The sets were simple but effective; changed quickly while the audience was entertained and distracted by the in-house improv players. The lighting and sound nicely executed. The costumes were altogether fun and often quite snappy. (There were so many trench coats in the opening scene, I’m thinking half the production budget went to London Fog.)

Don’t be in too much of a hurry to use the restrooms during intermission or you’ll miss some of the half-time improv. Do show up when the doors open at 6:30 p.m. to see even more. The whole experience is an interactive, immersive show.

Opening night was snack theater as are April 26 and May 3 ($7 online/$10 at the door). Dinner theater nights are April 27 and May 4 ($25 online/$30 at the door). Advance tickets can be purchased at www.seatyourself.biz/bghs.

Review by Gregory E. Zschomler
Photos by Ruth Zschomler