OSF REVIEW: "Cocoanuts" (2) Absolutely NUTS!

Photos from the OSF production of "Cocoanuts" adapted by Mark Bedard.

It is my great privilege to review four of the eleven 2014 shows staged by the Oregon Shakespeare Festival. Of the seven currently running, I am reviewing:

• The Sign in Sidney Brustein's Window
• Cocoanuts
• The Comedy of Errors
• A Wrinkle in Time

This is our second year reviewing OSF productions. Last year we covered "A Streetcar Named Desire," "The Unfortunates" and "Two Trains Running." I do regret that I didn't start sooner. Since I was in high school drama I have had an interest in attending an OSF production. I just didn't have a real drive to see Shakespeare, I guess. My bad. I regret not coming sooner and more often. I highly recommend the wonderful experience and that YOU not put it off like I did.

This is our second review. To read the first review (and read more of this intro) click here or scroll down. Here's a couple of new facts: OSF was established in Ashland in 1935 and has the oldest full-scale Elizabethan stage (a replica of the Globe) in the Western Hemisphere. More than 125,000 patrons attended shows each year seeing and average of three shows per visit (that's more than 400,000 seats). They've won a regional Tony Award and they employ approximately 600 theater professionals.

Also you'll find more supplemental information to help you plan your own OSF visit with each post. Each play review will also offer an OSF Trip Tips section to help you better enjoy your visit as well as brief restaurant reviews.

Making Their Marx

I have NEVER seen a show I enjoyed so much. EVER.

Harpo (Brent Hinkley), Chico (John Tufts) and Groucho (Mark Bedard)
make an entrance. Photo: Jenny Graham.

"Cocoanuts:" always amusing, often funny, and at times uproariously hilarious, this adaptation of the Marx Brothers comedy, with music by Irving Berlin, is an absolute hoot. This play alone is worth a trip to Ashland. This should be on Broadway with these actors. If it were it would run for years.

The adaptation, by Mark Bedard (who also plays Groucho), is brilliantly modernized with contemporary relevance while holding true to the original. He is a comic genius who effectively channels the Marx Bros. leader. And while he,  Eduardo Placer (Zeppo),  and Brent Hinkley (Harpo) were extraordinarily exceptional, all the other players were top notch as well. However, I felt that Chico, played by John Tufts, could have been better matched, but overall the roles were ideally cast. I enjoyed the entire ensemble.

It should be noted that the cast, especially Bedard, were exceptional at ad lib and improvisation. There were several times that Bedard took the show off track to do an improv shtick usually involving an audience member and ad libbed puns off the top of his head. In many regards this was a very live performance and reminiscent of how Tim Conway would surprise the cast of The Carol Burnett Show and how even though you could tell he had thrown them, they were able to pick up and carry on with their own ad lib. In this particular showing Superman (a toddler in costume) even made an impromptu appearance, and they "flew" with it!

Detective Hennessey (David Kelly, center) has much to sing about at the
wedding rehearsal dinner. That's Mrs. Potter (K.T. Vogt, far right).
 Photo: Jenny Graham.

As mentioned, Bedard was simply amazing, as was the silent Hinkley, but two amazing actors exceeded their performance. K.T. Vogt as Mrs. Potter and David Kelly as Detective Hennessey were so stellar they were out of this universe. Not only were they extremely good sports, they threw themselves into their roles. Each had great comic timing and embodied their characters bodily, vocally, and facially. I absolutely loved Vogt's performance and she sang excellently, as well.

However, it was Kelly who truly stole the show for me. What appears, at first, to be a bit role, turns into a show stopping performance. Not only does he display perfect comic timing with a rubber face to boot, he has striking vocal chops. His was a most surprising and delightful performance.

Again, the entire ensemble was great, but I did want to mention the best voice of all was Jennie Greenberry. Whoa! And her duet "Always" with Eduardo Placer in the Zeppo role of Robert Jamison was the vocal highlight of the production. Placer, I could tell, is a musical theater triple threat master.

Making a Scene

Harpo (Brent Hinkley) and Groucho (Mark Bedard) cause havoc in
the hotel rooms. Photo: Jenny Graham.

The production values were, in every aspect, exceptional. Overall, the singing, dancing and acting were extraordinary and credit is due director David Ivers for delivering a constantly moving and visually interesting show. The choreography by Jaclyn Miller  was superb and fun. Music direction by Gregg Coffin, scenic design (colorful and effective) by Richard L. Hay, costumes (very colorful as well) by Meg Neville, lighting (quite lovely and complex) by Marcus Doshi, sound, video, etc.--all stunning. The band, too, led by Darcy Danielson, was superb. Everything about the show was a delight.

It is unfortunate that I cannot find listed the person responsible for the video mapping on the set. That was a jaw-dropping surprise and so well done.

Robert Jamison (Eduardo Placer, center) and his staff (Katie Bradley,
Miles Fletcher, Erin O'Connor) review the situation. Photo: Jenny Graham.

It should be noted that the show, with original music and lyrics by Irving Berlin, does have a story line (book by George S. Kaufman) and basic musical theater themes, but it is relatively unimportant. It is the slapstick, shtick, gags and improv from an extraordinary cast--as well as the beautiful design and direction--that make this show a spell-binding spectacle.

Colorful, interesting, amusing Broadway-hit style theater, and right here in the PNW! I URGE you to get your tickets ASAP. They do sell out and in 2013 OSF had an 87% capacity crowd over their eight month season.

OSF Trip Tip

The Lithia River. Photo: Gregory E. Zschomler.

Another Ashland delight is Lithia Park directly to the northwest of the OSF grounds. It is a beautiful 93 acre green way park running along both sides of the Ashland Creek flowing out of the local hillside. Walking paths, picnic grounds, ponds, wading areas, grassy lawns, tennis courts, gazebos and all kinds of places to get away and relax are just some of the features that make this city park one of the best I have been in.

Buskers are also part of the flair of this artsy community, and they can be found playing cello, sax, didgeridoo, guitar, congas or any other variety of instrument along the parks paths. This is not as annoying as it may imply because there is plenty of space to find a quiet area if you wish--especially if you are willing to walk to the upper parts of the nature area.

There is also a variety of restaurants along the lower part of the creek where it flows out of the park and into the city along a river walk dining area not unlike the ones found in San Antonio and Oklahoma City (though on a smaller scale). Riverside dining is delightful this time of year before it gets to muggy and buggy.

The author at Louie's. Photo: Ruth Zschomler.

However, these establishments can be pricey due to their ambiance and convenience to OSF. One can easily pay $15 to $20 average (or more) for a simple meal, but it need not be so. One great place to eat  along the creek is Louie's, known for a wide variety of fairly price fare. The indoor ambiance is decidedly turn-of-the century western featuring a hardwood long bar and ceiling beams. Jazz and light funk music provides the background and the outside eating area is shaded and inspiring.

In a business where establishments come and go with regularity, Louie's has been open for twelve years. Likely because the wait staff is polite and on the ball and the main entrees [we had] were of good taste and well priced. I had a vegetarian black bean burger and Ruth had grilled salmon with a Caesar salad. Both were delicious, but the fries were nothing special (even though they offer a variety of toppings, these low quality fries cannot be saved). I should have opted for their in-house made kettle chips. Click on their link for the menu.

Though Louie's offers a delightful array of desserts I wanted to enjoyed an iced mocha  and Ruth wanted a white hot chocolate (it was 80 degrees out, but she's like that), so we strolled down a block to Mix a hipster espresso bar and bakery. Mix serves Stumptown coffee concoctions (why they don't use a local micro roast I don't know), teas, Italian sodas, wine, beer and "light" cocktails and in-house made baked goods. Ruth found their lemon bars delectable, but wasn't impressed with their steamer. I loved my mocha, though would have preferred a different bean.

By Gregory E. Zschomler

All production photos, by Jenny Graham, provided.
Other photos and video as noted.

For an additional perspective on this show, by Dennis Sparks, click here.

REVIEW: BGHS's "Grease" so Square and Clean it Squeaked; Seriously Squelches Sexual Steam

The Battle Ground High School Drama Club presents "Grease" the hot 50s musical by Jim Jacobs and Warren Casey now through May 17.

Without Sizzle, Show Fizzles

This "school version," directed by Stephan "Cash" Henry, was so cleaned up it could be titled "the church version." Don't get me wrong; the original "Grease" is pretty raunchy and risque, and I'm not saying it couldn't have used some discretion. I do generally like family friendly.

What I am saying is that the version of the show is so sanitized and saccharinized that it has lost a most of it's power, punch and point.

It's okay that the language and lyrics have been cleaned up a bit. The substitutions are still quite creative and entertaining. What doesn't work is the removal of the story's sexuality--the very reason for the tension between Danny and Sandy.

Sandy (Sarah Russell) and Danny (Ryan McNeal) in Greased Lightning.

For example: When the two go to the drive in movie you really don't get the feeling that he's trying to put any serious moves on her.

There's not even a single kiss in this show! There is nothing believable about the relationship and absolutely no apparent chemistry between Sandy (Sarah Russell) and Danny (Ryan McNeal).

Notes from Wikipedia: "In order to make the original musical suitable for young performers and audiences, Jim Jacobs decided to write a 'School Version' of the musical. This edition eliminates all of the references and uses of cigarettes and alcohol, as well as any swearing or bad language. Practically all of the songs have undergone changes as well; the numbers are all shortened tremendously and edited for content/language. 

"Some plot lines are missing from the school version, such as Rizzo's pregnancy and her song 'There Are Worse Things I Could Do.' This section is entirely cut from the script and score. The beginning of the pajama party in Marty's bedroom is cut as well. (In this version, the Pink Ladies do not offer Sandy cigarettes or wine. Instead it begins directly with piercing her ears.) Overall, this version is considered to be G-rated.

The following songs of the School Version have undergone lyric changes: 'Alma Mater Parody,' 'Summer Nights,' 'Freddy, My Love,' 'Greased Lightnin',' 'Look at Me, I'm Sandra Dee,' and Beauty School Dropout.' The remainder of the songs have been edited severely for time, deleting several verses from the original songs."

The show runs less than two hours with the intermission and could have used more of the full show's content--some of which is actually quite relevant for modern students. Sadly missing are "Sandy" (my fave), "You're the One That I Want," and "Hopelessly Devoted to You" all of which were in the film and in several of the stage revivals.

We Go Together

Russell (standing left), McNeal (mckneeling), with Tristan Tindall as 

Kenickie, Dillon Zacharias, James Dyer as Roger, and Cody Bronkhorst

The cast, headed by Sarah Russell as Sandy and Ryan McNeal as Danny, was a generally well-matched ensemble.

However, of the three BGHS Drama Club productions I've now reviewed, this was the weakest presentation of the lot. Frankly, I expected better. What I got was only an average high school production.

Neither Russell (usually quite a stunning performer on all counts) nor McNeal particularly brought a lot of chutzpah to their roles. Russell sang wonderfully, as always; her pure and powerful voice is a delight. And McNeal also sang well. I especially loved his use and control of falsetto. Both delivered nicely together in"Summer Nights" and "All Chocked Up," but McNeal just didn't sell me on the "bad boy greaser" part.

While Russell didn't provide enough distinction in her before and after, she did embody the innocent Sandy well. She's a good actress and we are sad that, as a graduating senior, this is her last show with the district.

Tiffany Jara as Jan, Tanner Leeds as Doody, Jessie Akerley as Frenchy,
Brianna Sievers as Rizzo, Ryan McNeal as Danny

The chorus carried their tunes and danced well. However the dance steps (choreography by Sky Ring) were, for the most part, far from challenging and lacked dimension (meaning the performers danced in a single file line across the proscenium, rather than moving in layers).

Also, the dancers lacked precision and synchronization and could have used some more rehearsal (or flogging). However, "Born to Hand Jive" was good and "Shakin' at the High School Hop" was interesting and well executed (primarily due to the depth and variety). "We Go Together" really needed some work (there is so much that can be done with it).

Ramalama Kadingadi Ding Dong

A few of the secondary soloists either had a serious case of nerves or the melodies were too much of a challenge, as several notes slipped around off key. Some started rough and finished better, others couldn't pull out at all. In one case the melody was dropped an octave and it still suffered.

BUT there were good vocal performances, though lyrics were often impeded by a band that overpowered the stage feed. As mentioned, both Russel and McNeal delivered nicely, as did James Dyer (as Roger) and Tiffany Jara (as Jan) in their duet "Mooning." I think Dyer and Jara were the best vocalists in the show. They were also impressive actors, bringing quality, endearing characters to the stage and deft showmanship to the ensemble.

Sandy (Sarah Russell) sings "It's Raining on Prom Night" on the upper set;
note the show banner is missing from this pre-production photo.

Emily Pulley stood out as Patty, giving a strong supporting performance. Brendan Groat was exceptionally entertaining as the nerdy Eugene. And Markus King (as the main brain Vince Fontaine), Anthony Barnes (as Johnny Casino) and Skyler Denfield (as Teen Angel) were all delightful in the bit character roles; King rising enthusiastically to the top.

The showstopper, however, was Tristen Tindall's delivery of "Greased Lightnin'." His singing was very good and his performance--throughout the show--was the best of the best. He had the swagger and vocalization of a greaser down. The performance was top notch. Really impressive for a newbee.

Bailey Baxter belted out "Freddy, My Love" very nicely and Brianna Sievers sang "Look at Me, I'm Sandra Dee" with aplomb (however she could have been more mockingly animated).

Some More Lovin', Had Me a Blast

From right to left: Anthony Barnes as Johnny Casino, Ryan McNeal as 

Danny and Teva Egar as Cha-Cha

Even though I've offered more criticism than usual, I did enjoy the show. It brought back a lot of memories. I have, of course, seen the movie, but I've also seen the professional stage play. Additionally, I played in a greaser band for a number of years and performed many of the songs from "Grease" (the original) as a high-schooler at the Oregon Speech and Arts Festival. So, I know the show very well. Perhaps I am too close to the music.

Which brings me to the band (under the direction of Greg McKelvey). They were absolutely excellent! Very tight, very professional. The ensemble included: Aaron Tuchardt (piano), Elliot Shannon (bass and guitar), Miles Meyer (what an excellent name for a drummer) and whichever of the three sax players  was playing opening night. The sax, especially, was absolutely stunning. Note: It would have been nice to have both guitar and bass at the same time.

Jessie Akerley as Frenchy, Brianna Sievers as Rizzo, Ryan McNeal as Danny,

and Bailey Baxter as Marty

Sundance Wilson Henry once again delivered well on the set and costume designs (how many pair of Chuck's did you buy?). The set used four levels and three staircases. Especially impressive was the use of the show banner which slid up and down to change the set from the lower high school/street set to the upper bedroom set.

I also wish to note that the drive-in movie voice overs (by Clifford Armstrong, Teva Egar and Cameron Olsen) were very well done...and amusing.

This presentation of "Grease" is very "safe" for the entire family and runs Thursday through Saturday nights at the high school Lair (cafetorium) at 7 p.m. (doors open at 6:30). Tickets on sale at: https://payments.battlegroundps.org/ or at the door.

By Gregory E. Zschomler
Photos, by Glenn Erickson, provided

For another perspective on this show by Dennis Sparks click here.

MORE COMING SOON High School Productions

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

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

REVIEW: NWCT's "Riding Hood" is a Gas, but Sometimes Drags

This is Little Red "Riding Hood" like you have NEVER seen her before. She's empowered. She's sassy. And she's hitting on all eight cylinders. Les Zawada, as Ruby "Little Red" Miller, is a gas!

In this telling "Red" has her dreams and she won't be shut down or pigeon-holed. She wants to fix and race cars. Yes, this Little Red isn't the old fairy tale you may know and love, it's set in 1958 and women are discovering they have a place other than in the kitchen.

While this Northwest Children's Theater production didn't quite seem up to the usual snuff, it's good none-the-less. Set to a 50s rock-n-roll score the musical is rollicking fun and well performed.

The Well-Oiled Cast

Les Zawada as Ruby "Little Red" Miller truly jump starts the show.

The cast is good overall with a few really strong performances standing out. Despite the puttering material the show managed to punch the gas--mostly. The direction, by Sarah Jane Hardy, is super-charged.

Zawada is a fuel-injected dynamo; never failing to entertain. Spunky and full of adolescent expression. Jenny Bunce, playing both Granny and Miss Mary Kay (the high school home ec teacher), belted out her two numbers and was genuinely entertaining on all counts.

I felt that Dane Shroy, as The Wolf, performed well, but should have had more charisma and grease. Lindsey Koehler whom I've seen in both "Zombie in Love" and "Anne Get Your Gun," was a standout among the chorus. She is a strong performer overall and a joy to watch. Kevin-Michael Moore, whom I last saw as Smee in NWCT's "Peter Pan," was also quite good as the auto shop teacher. And Thom Hilton, as the beatnik, was, like, groovy, man.

In the Shop

The songs were okay [I spent seven years performing in greaser band], but the show wasn't Tim Rice and Andrew Lloyd Webber by any means. The script, by Melody Bridges, and lyrics, by composer Bob Hardy and Bridges (with arrangement and composition by Adam Brock) lacked octane. While amusing at times (especially the narrator's parts), it wasn't hysterical or particularly witty. It did have a good message that anyone, regardless of gender, could be anything they want to be, but sometimes you do have to fight for it.

Jenny Bunce, Les Zawada and Dane Shroy in NWCT's "Riding Hood"

The set, by Kristeen Willis Crosser, was fine, but I've mostly seen even better from NWCT. The show moved quickly with all but two scenes that dragged.

Set changes were well done and the lighting, also by Crosser, top notch. Costumes, by Mary Rochon, were, well, rockin'. The dance numbers, nicely choreographed by Elizabeth Gibbs were simple but well styled.

The show, which opened April 26, runs now through May 26. Remaining performances at the Northwest Children's Theater, 1819 NW Everett Street, Portland, Ore., are at noon and 4 p.m. May 10, 11, 17, 18, 24, 25; 7 p.m. May 9, 16, 23; and 2 p.m. Mon, May 26. Tickets are: Adults $18-22, Youth $13-18. Recommended for 4 and up.

By Gregory E. Zschomler
Photos provided.

For another perspective by Dennis Sparks click here.

"9 to 5" to Clock in at Stageworks Northwest

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

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

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

The Story

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

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

The Songs

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

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

The Stars

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

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

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

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

The Staging

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

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

The Seats

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

Review by Gregory E. Zschomler.

Photo provided.

Stageworks NW 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.

Classic Gilbert and Sullivan "The Mikado" over 4th of July Weekend ONLY

The Wittiest Execution in Town!

For one weekend only, Pacific Stageworks presents Gilbert and Sullivan’s comic opera THE MIKADO, July 5-7 ONLY at the Heathman Lodge, 7801 NE Greenwood Dr., Vancouver at 2 p.m. Saturday and Sunday, and at 8 p.m. Friday, Saturday and Sunday.

Director Tony Bump has set the performance "in a modern cocktail party/fundraiser for a local theatre company."  Audience members are encouraged to dress in a kimono and sing along with familiar songs such as “Three Little Maids from School,” “Tit Willow,” and “To Sit In Solemn Silence.”

Will Johnson (L) and Kristen Johnson (R)
with Tony Bump in "The Mikado."

The show was set in the town of Titipu, where the tailor Ko-Ko (Tony Bump of Vancouver) is promoted to Lord High Executioner. His ward, Yum-Yum (Kristen Johnson of Vancouver), whom he plans to marry, has fallen in love with a traveling musician, Nanki-Poo (Will Johnson of Bellingham). Nanki-Poo is, in fact, the Mikado’s son, and has escaped the court to avoid the attentions of an intimidating older noblewoman, Katisha (Jennifer Johnson of Camas). Ko-Ko learns of a decree from the Mikado (David Hicks of Portland) that, unless an execution occurs within a month, the city will be reduced to the rank of a village. Neither the noble lord Pish-Tush (Gary Bock of Ridgefield) nor the Lord High Everything Else, Pooh-Bah (IZ Darling of Portland), will volunteer to be executed. Complications occur with the arrival of the Mikado, accompanied by the ever-formidable Katisha.

Additional cast members include Jeanna Reed (Battle Ground), Kathleen Jung (Ridgefield), Ashley Hall (Bellingham), Garry Bastian and Zak Campbell (Vancouver), and Kaylen Ostrom (Camas).

Witty lyrics and brilliantly constructed plot twists make this light-hearted tale of forbidden love, deception, and beheadings a favorite among theatre-goers since 1885. This is a zesty operetic musical-comedy sparkling with wit and whimsy. 

Tickets are $15 in advance or $17 at the door. Audience members wearing a kimono will receive a $1 discount. Tickets may be ordered at www.pacificstageworks.com or 360-213-5174. Please do not contact the Heathman Lodge with questions.