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.

Stageworks Northwest to Present Neil Simon Comedy "Laughter on the 23rd Floor"

Neil Simon's "Laughter on the 23rd Floor" opens this Friday, September 12, 2014 at Stageworks Northwest in Longview, Wash. The run continues through the 28th. Showings are Fridays and Saturdays at 7:30 p.m., and Sundays at 2 p.m. The production is directed by Jennifer Cheney.

"Laughter on the 23rd Floor” takes place in 1953 in the writer’s room of the Max Prince Show, a fictional comedy variety show, during the height of McCarthyism. Its characters are based on the real-life comedy writers Neil Simon worked with in his early career as a comedy writer for Sid Caesar on “Your Show of Shows,” a popular weekly variety show that ran from 1950–1954.

Warning: This play contains strong language and adult subject matter.

Look for our review on Saturday, September 13.

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: Stageworks Northwest Clocks in with a Stunning "9 to 5: The Musical"

Stageworks Northwest presents a stunning production of  9 TO 5: THE MUSICAL.

Pushed to the boiling point by their boss, three female co-workers concoct a plan to get even with the "sexist, egotistical, lying, hypocritical bigot" they call their boss. They conspire to take control of their company and learn there's nothing they can't do -- even in a man's world.

Set in 1979, 9 TO 5: THE MUSICAL is a hilarious story of friendship and revenge in the Rolodex era with music and lyrics by country star Dolly Parton and book by Patricia Resnick. Outrageous, thought-provoking, and even a little romantic, 9 TO 5: THE MUSICAL is about teaming up and taking care of business.

You may have seen the 1980 movie starring Dolly Parton, Lily Tomlin and Jane Fonda.

The Talent

The production by Stageworks NW is slick and good looking, sounds great and features some fantastic talent. It's nice to have a group in the area sinking heart and soul (and some serious money) into musical-theater. The snappy production is beautifully directed by Janeene Niemi, with musical direction by Seth Burns and choreography by Teresa Jansen.

The generally talented cast features Julie Sumpter Earls as Violet Newstead, Bethany Pithan as Doralee Rhodes (the Dolly Parton role) and Ashley Stevens as Judy Bernly in the lead female roles, and Dean Baker as Franklin Hart, Jr. as the alpha male. The women performers far more often than not outshone the men by leaps and bounds. Baker and Caleb Pierce were really good with Pierce (in a supporting role that didn't really get a chance to shine until Act II) especially brilliant. A great vocalist and brilliant actor.

Earls, Pithan and Ashley Stevens (right) were fantastic. Together they made a trio of triple threats (which means they could act, sing and dance). Stevens had the best pipes--a beautiful, strong voice. Pithan, Stageworks NW Artistic Director, was the best overall. What a performer! And here she's been hiding in the wings. It's about time she hit the boards. And she really pulled off the southern accent, too.

Overall, the ensemble was very good; all sang well and carried out the dance moves. Some moved better than others, but those who lacked the snap...well, not everyone is a triple threat. As mentioned Caleb Pierce (as Joe) was a standout, but so were Patty Stevens (as Roz), newcomer Susan Brookfield (as Margaret, the office lush) and the versatile Laura Ouellette Tack in numerous roles. I think she played four bit roles other than her ensemble part for which she was the chorus standout bringing precision dance, energetic performance and quality stage presence.

The Tech

The lovely set for "9 to 5" from Stageworks Northwest in Longview, Wash.

Sad to say, the show was severely hampered by audio problems. Honestly, that's the only strike it had against it, but it is a serious one--especially for a musical. Especially irritating were the drop-outs from the wireless mics, and especially so from Ashley Stevens' mic. This is NOT acceptable.

Other than that, the production values were high. The set (above), by Teresa and Chuck Jansen, was a marvel with three revolves and several levels. The changes were smooth and impressive. The costumes, by Lynn Jansen, were quite good, but mostly found rather than constructed. There were numerous costume changes which added interest to the scenes.

So, you caught that, yes? The talent from Jansen family? Teresa (designer), Chuck (technical director), Lynn (costumer) and Teresa (choreographer). Seems an ideal tech team. Kudos also to Stage Manager Leslie Slape and Lighting Designer Jennifer Cheney.

Which brings me to the place where I want to point out the continued improvements the company is making to their space. The lighting continues to get better with more instruments, better illumination and more creative use. The theater has undergone an acoustical treatment and is looking better all the time.

Finally, I need to mention the great use of video designed into the show's package that features the real Dolly Parton. A nice touch.

The Tag

This is a production worth seeing; rich with talent and technical treasures. If you go, tell them we sent you.

There are 17 performances left today through June 8, 2014, Friday and Saturdays at 7:30 p.m., Sundays at 2 p.m. at their theater, Longview, Wash. Tickets: All seats $15. See their website for purchase.

CAUTION: The troupe has wisely rated the show PG-13 and for good reason. I, myself, was embarrassed by some of the content and I certainly wouldn't want my youngest kids (under 15) seeing the show. There is some raw language, a good amount of sexual innuendo and course sexist dialogue, pot smoking, some violence, sexual harassment, and several adult situations.

By Gregory E. Zschomler
Photo provided.

"9 to 5" to Clock in at Stageworks Northwest

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

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.

Arthur Miller's "All My Sons" at Stageworks NW

Look for our review of Arthur Miller's ALL MY SONS on Saturday, presented by Stageworks Northwest.

The show opens this Friday and Dennis Sparks will be there to write our review.

Here's What's Coming Soon

"A Christmas Tuna" On The Air at Longview's Stageworks Northwest

A TUNA CHRISTMAS opened last night (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 (both male and female) in this 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

Both Cheney and LeBard have little time to come up for air while "on the air" in this celebrated Christmas comedy from the south. It's sure to be a wild and wacky ride.

WARNING: The content of this play may not be for everyone and I have chosen not to review it due to other online reviews. Several cited issues with course language and possible crude humor. I have seen "Greater Tuna" and found it funny. I just think you should be forewarned, it might not be what you expect, but then it just might be your cup of Christmas cheer, too.

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

Photos 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.

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.

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.

AUDITIONS TONIGHT: SWNW Melodrama

TONIGHT at 6:30 p.m.-- auditions for the summer melodrama at Longview's Stageworks NW  "Dirty Deeds at the Depot."

There are roles for young men and women, a small role for a youngster (10-13 years) and a role for a more mature man. Some roles feature songs, but there are non-singing roles, too. 

REVIEW: Stageworks Northwest Presents the Musical Version of "The Secret Garden"

I have long been aware of "The Secret Garden" as a novel, a play, a musical and a movie, but I have never seen nor read the work. I have attributed its popularity to children (as it is primarily a children's tale) and have been disinterested, believing it to be a syrupy tale akin to Heidi.

I was scheduled to review "Camelot" at Rising Star, but I assigned that task to Dennis J. Sparks (read his review here) after my wife showed interest in seeing "The Secret Garden" (Winner of 3 Tony® Awards, the "reimagined" musical adaption brought to life by composer Lucy Simon and Marsha Norman, the Pulitzer Prize-winning playwright of Night Mother), presented by Stageworks Northwest. It is with some trepidation that I went into this viewing since it was probably, as they say, not my cup of tea. It wasn't.

The work, the company's first full-length production in their new space, by Brit  Frances Hodgson Burnett, was first serialized beginning in the fall of 1910 and novelized in 1911. The children's classic concerns the tale of a sassy eleven year-old orphan and her 'spiritual' transformation as well as the physical transformation of a crippled boy she befriends and, it seems, a bunch of other stuff. It is a far too complex and convoluted of a story for stage--especially as a musical.

The Garden Plot

The story is full of symbolism and ideology inspired by the works of Christian Science writer Mary Baker Eddy (for whom the work was originally named as Mistress Mary) and is somewhat involved; it jumps forward and back in time and involves several threads that could be simplified. It would be best to be familiar with the story before seeing the production as it is hard to follow. To read more about the work, its themes and story you may view the Wikipedia site. One thing that might be helpful is to understand right up front that anyone dressed in white is either a ghost or spirit.

While Pollyannish at times, it is still a dark tale of death and life. The 'spiritual' themes are twisted and unsatisfying on some levels. I don't see how this can be considered a children's tale. Most of the few adult themes in the work will pass over the younguns heads; there are no language issues or suggestive actions.

Cultivating the Show

Seth Burns and Eleanor Stalick in "The Secret Garden"

All performers were very good vocalists--some quite exceptional (especially the leads). The show features many great melodies and harmonies which the actors nailed. The work has more than twenty-four songs with only a smattering of dialogue between numbers making it almost an opera. Which was, for me, somewhat taxing.

The male leads (Phillip Kennedy, Seth Burns and Caleb Pierce especially) were excellent vocalists and quite good in their diction. The female leads (especially Lorraine Little, Teresa Jansen and Ashley Stevens) were also outstanding and enunciated fairly well. While Katherine Jansen had a wonderful operatic voice, she, unfortunately, failed to hit a lot of consonants, making it hard to understand her.

Fourth-grader Adam Burckhardt did wonderfully, but truly amazing was thirteen-year-old Eleanor Stalick in the lead role. A charmer, fine actress and great vocalist! Formerly a chorus performer, this being her first lead...well, hard to believe. She is superb! Many of the performers were a bit stiff while singing and could have used more animation. However, Seth Burns was excellent at all times and quite adept at acting through his songs.

Weeding out the Technical

While opening night was hampered with some audio difficulties (at two points the show was stopped to correct them) and the lighting only barely adequate (a problem they are aware of and working on improving for future productions when they have more money for instruments) the show was beautifully executed. The faux-painted set, designed by Adam Pithan and Janeene Niemi, was stunning (Melissa Gilbertson also deserves credit in the paint department), and the score (pre-recorded tracks) was quite lovely.

Costumes, by Lynn Jansen, were quite nice as well. A scrim and some textured lighting would have greatly enhanced the show's look and helped separate some of the foreground scenes (especially the garden). [In the future I hope they will put in a fly loft since there is room.] The choreography was simplistic and uninspiring.

Direction, by Bethany Pithan, was good, but could have been better had the actors been given more business (especially during their musical numbers). Dialects (several English accents as well as a Scottish brogue) were excellent and consistent--even during singing. Vocal direction and styling by Michelle Myre were tight and beautiful.

Stageworks Northwest's new space.

The play runs now through May 12 with showings 7:30 p.m. Fridays and Saturdays, and 2 p.m. Saturdays and Sundays (except for Sunday April 21 only when it shows at 1 p.m.) at the Historic Longview Theater (which is now home to Stageworks NW), 1433 Commerce Ave., Longview, Wash. Tickets are $12 and can be purchased online.


Review by Gregory E. Zschomler.