Local Author's Book "Imaginary Jesus" Adapted for Stage

THIS JUST IN: The Fine Arts Theatre at Fontbonne University will present a stage adaptation of "Imaginary Jesus" by Deanna Jent. The adaptation is derived from "a comic story" by Vancouver, Wash. author Matt Mikalatos. The play is scheduled to run Nov. 15 through Dec. 20, 2012. 

If the play is anywhere near as good as the book I'd like to see it produced here in Vancouver.

Source: stltoday.com

CASTING CALL

CASTING CALL: The Woodland, Wash. Love Street Playhouse needs a female actress (age 18-30) to play the part of Edna the maid in their upcoming production of "An Inspector Calls" by J.B. Priestly.

The gripping 1945 classic is a morality play which takes place in England, 1912. It is being directed by Gregory E. Zschomler. All other roles have been cast and rehearsals are in progress. The show opens April 20 and runs four weekends.

The character has about three scenes and a dozen short lines. The actress will double as the Properties Mistress. The actress is expected to take part in six rehearsals (incl. tech week).

For more information and to express interest (and set up an audition) contact the director at: zschomle@yahoo.com

REVIEW: Vancouver Community Theater One-Act Festival

The Vancouver Community Theater (VCT) has a twenty year track record in Vancouver. The talented sister duo of Joyce Brown and Louise Clair have made a point of making the dramatic arts accessible to family audiences and budding theater amateurs alike. Their productions are simple and low budget, but have a genuine charm. This is certainly true of their 18^th annual One-Act Festival. The festival runs this weekend and next and affords a chance to see some work you will likely not see elsewhere.

Dan Cox as Prof. Hammond and Regina Galbick as Anne Seagal in
"Forgotten Souls." Grace Skinner is not pictured.

Forgotten Souls

The evening begins with “Forgotten Souls” adapted nicely from a full-length play by Yiddish playwright David Pinksy and directed by Louise Clair. The romantic drama takes place in 1912 and has a little twist to it in the end.

“Forgotten Souls” features Regina Galbick as Anne Seagal, Grace Skinner as Beth Elrich and Dan Cox as Prof. Henry Hammond. While  Cox’s performance was a quite underplayed, he did move nicely as an injured hero. Galbick was the star of the evening—definitely one of the seasoned actors. She was, indeed, convincing and her performance touched the heart. Skinner’s part, while small, was nicely played.

Brian Davies as Ernest Doolittle, Jaclyn Mickelson as Kate Regan, Richard
Rothstein as Detective Fogarty and Carolle Davies as Eliizabeth Wilcox play
 in "The Tangled Web."

The Tangled Web

Second up was the not yet ready for public consumption presentation of “The Tangled Web” by Charles Stevens, directed by Clair. It was shaky from the get go with actors frequently halting, referring to the script close at hand and breaking character. Honestly, it just needed another week or two.

The story had potentially interesting characters, but was hard to follow due the clipped and halting pace. It could have possibly been great if the lines had been memorized and had it moved at the clip that such a comedy should.

Brian Davies played Ernest Doolittle, Jaclyn Mickelson played Kate Regan, Richard Rothstein played Police Detective Fogarty and Carolle Davis palyed Elizabeth Wilcox. The stand out performance was given by diamond in the rough Mickelson—who, while not quite off script was good with her dialogue (dialect) and emotional moments.

Dallas Garvey as Albert, Anya Kubineic as Serena, Macey Richert as
Annabella and Donna F. Weisser as the mother in "Females of Contrast."

Females of Contrast

The highlight of the evening was the original play “Females of Contrast” written by VCT’s Donna F. Weisser who also directed. It was a charming script even though it could use another ten minute to develop the romance that buds in the all too quickly wrapped up (too neatly) end.

The story contrasts well the snobbish, spoilt, rich girl Annabelle, played nicely by Macey Richart, with the humble and lovely servant girl Serena, played by Anya Kubineic. Kubineic’s role, although too small, was nicely performed; with talent she obviously has she deserved more.

The play also featured Donna F. Weisser (the director and playwright) as the mother and Dallas Garvey as Albert. Both did quite well, though Weisser’s performance needed a director to bring out what surely is there. (It is hard to direct and act in your own piece and she should not be slighted for not having that outside eye.)

The costumes and set dressing for “Females of Contrast” were superb. The other two plays were sparsely or under decorated (though the costumes were good); such is the nature of small budgets. After all, most local plays now run $12 or more and this is a steal at $7 or less. The lack of good theatrical lighting (hardware store floodlights were used) also hampered the productions a bit. 

The festival plays again today, Saturday March 17 and Friday and Saturday of next week. See below for location, show times, tickets and other information. The VCT is a small theater and I encourage you to show your support.

Story and Photographs by Gregory E. Zschomler

Vancouver Community Theater presents Annual One-Act Festival

Photo from the VCT 2011 production 

of "Train to Danger."

Photo Source: The Columbian.com

Three one-act plays will be presented at Vancouver Community Theater’s annual festival beginning this weekend. 

Selections for the 18^th annual event are:

• “Forgotten Souls” adapted from a play by Yiddish playwright David Pinski (1872-1959)
• “The Tangled Web,” a comedy from 1933, by Charles G. Stevens
• “Females of Contrast” by Donna F. Weisser

“Forgotten Souls” is set in 1912 and is about a young woman and her two renters; “The Tangled Web” about a professor that reluctantly helps a thief is set in 1930; and “Females of Contrast,” set in Victorian times, is about a spoiled girl who dumps a near-by neighbor when her new servant catches her eye.

The plays will be presented 7 p.m. March 16, 17, 23 and 24, with additional matinees at 2 p.m. March 17 and 24 at the Minnehaha Grange, 4906 N.E. St. Johns Road in Vancouver, Wash. General admission is $7, seniors and children are $5. For more information call 360-892-4292 or email: vancouvercommunitytheater@gmail.com.

I will be posting photos and reviews of all three works by noon March 17.

By Gregory E. Zschomler

Slocum House Closes its Doors with the Final Production of "Greater Tuna"

Tim Klein and Mark Osborn sign off from KKKO radio at 

their final performance of "Greater Tuna" at Slocum House 

Theater.                              Photo by Gregory E. Zschomler

Today I attended an historic event: the last showing of the last show by Slocum House Theater at the historic Slocum House. Sadly, after 43 years the theater is closing its doors.

A number of factors contributed to the closure. The theater was struggling financially when the city of Vancouver—who owns the building—cold-heartedly decided to raise their rent (while, BTW, giving themselves raises) from a few hundred dollars a month to thousands. A definite actions-speak-louder-than-words—blow to the arts.

Theater at the Slocum House will be greatly missed. Thank you all those dedicated and talented actors, stage hands, designers, and directors that have helped to entertain us over the past four decades!

The Show

I’d heard of “Greater Tuna” for years, but never had the chance to see it. This was my opportunity. The audience genuinely enjoyed the production—a piece written for two actors that play numerous characters from the small town of Tuna, Texas.

The show, written by Jaston Williams, Joe Sears and Ed Howard, was directed by long time Slocum House board member and entertainer, Jim Fully. (Incidentally, Fully met and married his wife at the theater.)

The parts (both male and female) were all played with great ability by Tim Klein and Mark Osborn. Billed as a comedy, the show provided plenty of laughs for the audience but also had its darker moments. The term “black comedy” comes to mind.

The show was humorous and entertaining, but I would not rank it as a great work even though it has been playing to rave reviews. This opinion does not in any way slight Klein and Osborn who performed marvelously. It takes quite a bit of talent to play multiple characters at the (quick) change of a costume.

And so, with the thought of change in mind, I salute the Slocum House community of artists and supporters who have made us laugh and cry and think these many years. I wish them well in their new theatrical endeavors and hope to see a soon transformation. Break a leg!

Story and photo by Gregory E. Zschomler

REVIEW: Tony Bump’s “You’re a Good Man, Charlie Brown” plays nicely (and doesn’t run with scissors) at Love Street Playhouse in Woodland, Wash.

Jeanna Reed as Snoopy and Tony Bump as Charlie Brown in the Love
Street Playhouse production of "You're a Good Man Charlie Brown."
                                                                         Photo by Ruth Zschomler

Somehow, as a 1970s high school theater geek, I acquired an LP of “You’re a Good Man Charlie Brown” and played it repeatedly while singing along to the title track, My Blanket and Me, Happiness and the show’s other catchy songs.

Since then I’ve seen a production or two—but that was before it was re-envisioned in the 1999 Broadway revival. Love Street Playhouse (LSP) produced the new version. And I must say, with a few new songs and a character swap (Sally for Patty) the show is now better.

Can’t say I ever really loved the show for more than its music. It’s quirky and silly and lacks a through story. Still, if you’re a fan of the Peanuts gang comic strip, you will probably like the show for its strip style vignettes.

Don’t get me wrong, I actually enjoyed the LSP presentation very much. It was an uplifting, fun evening and the cast was near perfect. The ensemble, headed by director Tony Bump in the leading role, cranked out plenty of energy and enthusiasm.

And never have I seen a cast try so much to look like the Schultz characters. Bump even shaved his head and Gary Bock (Schroeder) went sans goatee! Not only did they look like the kids, they acted like them, too.

“Charlie Brown” kicked off Love Street’s sixth season with their first ever Broadway musical. Bump not only directed and starred, he was choreographer and musical director. The result was very nice.

And I say nice because, not only was it pleasant, Bump didn’t do anything “out there” with it (as he did in his racy, post-apocalyptic production of “Pirate of Penzance” several years back). In other-words I did not want to walk out on this. The only problem with the direction was that on several occasions the characters sat on the floor where they could not be seen by anyone but the patrons in the front rows.

Musically, several of the songs were nicely harmonized, while others were a little rough—even beyond those which seemed intentionally off tune for comic relief. The simple set—designed by Bump to look like comic strip panels was quite effective. And the costumes by Jennifer Johnson were absolutely amazing.

Johnson also played the part of Lucy Van Pelt with true vitality and humor. Garry Bastian played her little brother Linus quite well. But, the three players that stood out were Gary Bock as Schroeder, Jeanna Reed as Snoopy (yes, a female) and Dorinda Toner as Sally Brown.

Bock is really talented; just watching his face is a joy. He sings nicely and seems to live his character. The clash between him and Johnson’s love-sick Lucy was hilarious.

Reed (Snoopy) was so much fun. There’s a lot of energy and talent in that compact package. The energetic wiggles and woofs are convincingly full of puppy love. The production’s show stopping number is Suppertime for which she did her own choreography—the best dance of the show (she teaches dance at CYT, etc.). I only wish that her small voice could have belted the tune out a bit more.

I got the most kick out of Toner’s portrayal of Sally. It was a hoot! I was sold that she was a little kid. She played it with all she’s got—it’s on her face, in her posture, in her voice—it must truly be in her heart.

All in all, the Love Street Playhouse production of “You’re a Good Man, Charlie Brown,” directed by Tony Bump, was a joy to experience and a fine presentation--great for the whole family. LSP Producer and Artist Director Melinda Leuthod has chosen wisely.

The show runs now through March 31, Friday and Saturdays at 7:30 p.m. and Sundays at 2:00 p.m. Tickets are available at www.lovestreetplayhouse.com, at Columbia Bank in Woodland or by calling 360.263.6670.

Review by Gregory E. Zschomler