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

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.

REVIEW: Prairie Ground's "Oliver" Glorious

Prairie Ground Drama opens the musical Oliver! November 7.

The PGD run is November 7,8,9 and 14,15,16 at the Prairie High School Auditorium and features Skyler Verity as the Artful Dodger, introducing Micah Foster as Oliver and starrring Ashlee Waldbauer, Austin Foley and Tristan Decker.

The show was directed nicely by Claire Verity. As expected, the students did a smashing job. We are especially excited to see Ashlee Waldbauer again, not to mention Skyler Verity and Austin Foley, too. The production featured a large cast, including a bevy of grade school students from the district.

It's a Fine Life

The primary cast of PGD's "Oliver."

The show, based on the Dicken's novel Oliver Twist, is a British musical, with music and lyrics by Lionel Bart, and is slightly depressing for a musical, but has several rousing songs.

After running away from the orphanage run by the heartless Mr. Bumble, Oliver meets the Artful Dodger and is recruited to pick pockets for Fagin. There, Oliver finds a friend in Nancy, but neither she nor the boy are fit for a life of crime.

Consider Yourself

The cast seemed a genuine family of fine performers. Vocal talent varied across the board, but was generally good. I was only slightly disappointed in that Micah Foster's (Oliver) vocals, which slid around a bit and were at times sharp or flat, though his vocal quality is quite nice. He's a good little actor, too.

Vocal standouts were many, and, really, all the cast did well. I will mention but a few of the leads first. Here goes: Ashlee Waldbauer as Nancy, Austin Foley as Bill Sykes, Julie Anne Chambers as Charlotte, Skyler Verity as The Artful Dodger, Tristen Decker as Fagin, and Sarah Demsky as Bet.

We were especially blown away by Ashlee Waldbauer, Austin Foley and Skyler Verity as much for their singing as for their exceptional acting. We have followed the trio for some time and they get better and better all the time.

The roles were great ones for all three, but I think it was Foley who really has risen to great heights since we first saw him as Mr. Big. Of course, Waldbauer nearly stole the show; I see a genuine star being made.

Tristen Decker was also wonderful in his role as Fagin--the singing, dancing and character quite well done--but he just didn't look the part (not crusty enough). The acting chops were good all around and most delivered excellent British accents of their class, and kept them throughout the show while speaking and singing--probably due to dialect coach, Margaret Carr.

Ashlee Waldbauer as Nancy.

Again, Foster, in his first role, was full of charm and spunk. I especially enjoyed the character roles of Alexa Millage-Fox as Widow Corney and Jared Lingle as Dr. Grimwig. And Matthew Dougal and Shanice Moore as Mr. and Mrs. Sowerberry (the undertakers) were funny and quite nice together.

Ensemble role standouts were: Mallorie Mendoza, Julie Anne Chambers, Rachel Hogan, Carson Verity and the sweet, little ball of smiles and energy Hannah Loyd. Mendoza, Chambers and Hogan each had their shining moment, but I was particularly impressed with Hogan's performances in "Who Will Buy."

Skylar Verity as
The Artful Dodger

I must mention that I was also struck by the actors discipline. A couple of things went awry (a set piece broken, a dropped prop) and the business was attended to in character. I will also mention that I didn't see the need for the distracting dog. Stage Management was handled well by Anna Stickney.

The choreography, by Clair Verity, was, once again, quite good, though didn't approach PGD's production of "Singing in the Rain." Some of the dance numbers were a bit complex and mostly modern musical theater in style (no tap or ballet), others were simpler, but charming none-the-less.

You've Got to Pick a Pocket or Two

Production values were, for the most part, top notch. The costuming, by Verity and others, was great! The set design, by Verity, was good by all standards and particularly good for PGD. Their best yet! I liked the unit design and use. Props, by Terry Maupin were also rather impressive. Maybe there's a little more money this year?

Lighting, by Anne Stickney and Verity, was well executed, but with a few shadowy areas around the edges. The orchestra, under the direction of Joseph Accuardi-Gilliam, did quite well. Kudos are also due Darcy Schmitt for music and vocal direction.

Who Will Buy?

Well, I think YOU should. This is good theater, folks. The doors at Prairie High School open at 6:30 p.m. and the show starts promptly at 7 p.m. Adults $10, Seniors $8, Students $5. Ticket may be purchased at prairiehighschool.org.

Review by Gregory E. Zschomler.
Photos, by Michael Verity, provided.

____________________________________________________

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ALSO, the MPAA production of "Oliver" runs November 15-17, 2013 right on the heels of the PGD production. It will play at Portland's Winningstad Theater (where director Noah Scott says its cheaper than renting a space in Vancouver). Presented by MPAA’s Musical Theatre Program students, all ages. There are three shows only! Friday, November 15, 7:30 p.m.; Saturday, November 16, 7:30 p.m.  and Sunday, November 17, 2 p.m.

Tickets: $14.25 Children (12+ under and Seniors 62+), $16.25 Adults online booking and service fees will be applied using PCPA's secure seat selector.

Winningstad Theatre, Antoinette Hatfield Hall, 1111 SW Broadway, Portland, Oregon.

Oliver! Oliver! Oliver!

Prairie Ground Drama opens the musical Oliver! November 7. And right on its heels, the show will be presented by Metropolitan Theater Arts Association. Why not see both productions?

The PGD run is November 7,8,9 and 14,15,16 at the Prairie High School Auditorium and features Skyler Verity as the Artful Dodger, introducing Micah Foster as Oliver and starrring Ashlee Waldbauer, Austin Foley and Tristan Decker.

Directed by Claire Verity, it's sure to be a treat. The students always do a bang up job. AND we are especially excited to see Ashlee Waldbauer again, not to mention Skyler Verity and Austin Foley, too.

The primary cast of PGD's "Oliver." Photo provided.

The show, based on the Dicken's novel, is slightly depressing for a musical, but has several rousing songs. After running away from the orphanage run by the heartless Mr. Bumble, Oliver meets the Artful Dodger and is recruited to pick pockets for Fagin. There, Oliver finds a friend in Nancy, but neither she nor the boy are fit for a life of crime.

Doors open at 6:30 p.m., Show starts promptly at 7 p.m. Adults $10, Seniors $8, Students $5. Ticket may be purchased at prairiehighschool.org.

Since the show opens on a Thursday our review will be live here by noon Friday, Nov. 8.

• 
  

The MPAA show runs November 15-17, 2013 at Portland's Winningstad Theater (where director Noah Scott says its cheaper than renting a space in Vancouver). Presented by MPAA’s Musical Theatre Program students, all ages. There are three shows only! Friday, November 15, 7:30 p.m.; Saturday, November 16, 7:30 p.m.  and Sunday, November 17, 2 p.m.

Tickets: $14.25 Children (12+ under and Seniors 62+), $16.25 Adults online booking and service fees will be applied using PCPA's secure seat selector.

Winningstad Theatre, Antoinette Hatfield Hall, 1111 SW Broadway, Portland, Oregon

Get Directions >

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.

REVIEW: Prairie-Ground's "Once Upon a Mattress" Is No Sleeper

"Once Upon a Mattress" is a musical comedy, music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller, and Marshall Barer. It opened off-Broadway in May 1959, and then moved to Broadway.

The play was written as an adaptation of the Hans Christian Andersen fairy tale The Princess and the Pea. "Once Upon A Mattress" marked the Broadway debut of later stage and TV legend Carol Burnett, who originated the role of Princess Winnifred (Fred) on the Great White Way. [Source: Wikipedia]

Austin Foley as the Jester.

The Subjects

The telling is quite involved with a bit of mystery, magic, a mistaken identity, love and laughs, twists and turns, but the basic idea is that only a true princess cannot sleep on a single pea--even when disguised under twenty mattresses. That's over-simplification to be sure because there is a lot going on in this wonderful tale that offers up plenty of fun and funny.

The Kings and Queens

Calin Breaux as Queen Aggravain. Photos Provided.

This production brings some of the Battle Ground school district's best talents to the stage including familiar-faced veterans like Josh Snider, Calin Breaux, Diana Ferar, Olivia Riggs, Nick Hulscher, Sarah Russell and Austin Foley--whom we have so enjoyed in the past--and many others. Some of them will graduate this year and move on; this could be your last chance to catch their quality performances. Others are fresh faces now stepping into the spotlight (and doing quite well).

There wasn't a bad performance in the show and even the smaller parts were well played (examples: Ronnie McPherson as Sir Studley and Rose Caughie as Lucille). Everyone sang and danced well.

Exceptional performances were given by Josh Snider (Minstrel), Diana Ferar and Nick Hulscher (as the couple Lady Larken and Sir Harry) and Austin Foley (Jester), but it was Calin Breaux (as Queen Aggravain), Jordon Hamann (as Prince Dauntless), Cole Johnson (as King Sextimus), and especially Olivia Riggs (as Princess Winnifred) who stood out above all the rest.

Josh Snider as the Minstrel.

Snider is a great comic and he was wonderful in this show (as he has been in the past), but he was overshadowed this time around by Cole Johnson who's mime antics, facial expression and physicality were perfect! Hamann, too, was ideally childish as Dauntless.

Ferar also proves herself a great comedienne, great with the facial and able to take a pratfall. Hulscher was good with Ferar--especially in their duet In a Little While--but he did not seem as perfected or shine quite as brightly as he did in "Singin' in the Rain." Austin Foley was a great surprise--definitely growing in talent. His soft shoe song and dance was fantastic!  Breaux was a genuine gas; she played the Queen perfectly, though her energy level (animated gestures) seemed to dip in Act II.

Olivia Riggs rises to the top as Princess Fred.

BUT, who really shined was Olivia Riggs. She was meant to play Princess Fred. I have seen her in several other productions, but this was her shining role! Just the right amount of tenderness mixed in with the perfect comic timing and physical comedy--the laugh, the singing, her dance, everything, top notch. The swamp song and Shy (as well as Happily Ever After) were delivered just as they should have been.

Jordon Hamann as Prince Dauntless
gets a kiss from his mommy.

While the students are certainly gifted, I have asked this before: How could one district have a monopoly on talented actors? They don't; statistically it isn't possible. The secret, therefore, has to be in something else and Battle Ground's secret is the 2013 Teacher of the Year, Claire Verity, who directs theater at both Prairie and Battle Ground high schools. [First link and second link are different articles.] Verity is the show's director, set designer and choreographer.

Additionally, recognition must be given to Vocal/Musical Director Darcy Schmitt, who like Verity, loves her job and her students and wants the best for them. Long a SW Wash. talent in her own right, she knows how to inspire students to greatness, having led her students to many victories at the Clark College Jazz Festival. Equal parts enthusiasm, "task-master," and faith bring out the best.

The Kingdom

Dustin McFarland (foreground) as The Wizard  and Cole
Johnson as King Sextimus on the set of "Once Upon a Matress."

Like most PGD productions the costumes are great. Unlike many of the PGD plays I have seen  the set was--well, "more there." Yes, it was still rather "highschooly," but at least there was more to it than there has been in the past productions I've seen. Though I'd rather see a well performed show on a blank stage than shoddy acting on a masterpiece set any day, it's nice when you get both. I like it when everything tickles all my aesthetic senses. So, nice set, too.

It seemed like the show could have used another tech run or so. Mic levels were unbalanced and drifted up and down and several light cues lagged or seemed odd. These are not problems I have noticed too much at PGD before and I hope they are ironed out.

The four-piece band, led by Vicki Burton, played well and did not overpower the vocalists, though their execution of the overture and entr'acte was a little clumsy. It sounded like the drummer was trying to follow the wandering tempos of the pianist instead of setting it.

Diana Ferar and Nick Hulscher.

The dances, as usual, were involved, interesting and very nicely executed. Definitely worth seeing.

The Treasury

The show plays 7 p.m. Thursdays, Fridays and Saturdays; April 26 and 27, May 2-4 only at Battle Ground High School's cafeterium. Tickets at SeatYourself.com are a steal--a lot of bang for your buck.

NOTE: You can use our search feature to read other PGD reviews from past shows.

Review by Gregory E. Zschomler
All photographs by Michael Verity, provided.

To See or Not To See? It's Not Even a Question; Prairie-Ground is Always Worth Seeing

Just one of the great publicity
photos we have to share.

Prairie-Ground Drama presents "Once Upon a Mattress." 

The two weekend run opens April 25 and runs through national Star Wars Day, May 4, at BGHS. (May the 4th be with you.)

The troop (combining Prairie and Battle Ground High Schools) has a good track record for showcasing young, rising talent and presenting quality performances.

The musical-comedy's story is derived from the faerie tale The Princess and the Pea and features song and dance numbers sure to please.

Our review will appear here the morning of April 26.

Prairie-Ground Drama to Present The Princess and the Pea Production "Once Upon a Mattress"

Also offered in this month's theater line-up is Prairie-Ground's production of "Once Upon a Mattress."

The two weekend run opens April 25 and our review will appear here the morning of April 26.

The troop has a good track record for showcasing young talent and presenting quality performances.

The musical-comedy's story is derived from the faerie tale The Princess and the Pea and will feature song and dance numbers sure to please.

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

"Wilder, Wilder, Wilder" Three Short Plays by Thorton Wilder Presented by Prairie Ground

The Long Christmas Dinner, Pullman Car Hiawatha, 

and The Happy Journey to Trenton and Camden

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