Sunday, December 4, 2016

Hay Fever—Portland Actors Conservatory—SW Portland

“Much Ado About Nothing”

This classic comedy by Noel Coward is directed by Brenda Hubbard.  It is playing at their space, 1436 SE Montgomery St. (parking is a challenge in this area, so plan your time accordingly), through December 18th.  For more information on this production, their season and/or classes, go to their site at www.pac.edu or call 503-274-1717.

Yes, my above title is actually from another classic comedy writer, Mr. S., but the phrase does seem to sum up the theme of this play.  It was written a few decades ago when life seemed free and easy (for some) and, as the song goes, “…the rich got richer and the poor got poorer, ain’t we got fun?”  For the elite, the privileged, the titled, the few, it must have been a fun time to go punting (boating with a pole), indulging in the Arts, traveling and spending money like it was going out of style.  It was also a time of falling in and out of “love,” gossiping, dressing up frequently, playing word games and dishing your friends and neighbors whenever possible.  And such is the life of the Bliss family.

There is the fastidious, Papa Bliss, David (Jacob Beaver), a writer of novels (of no consequence); his wife, the elegant Mama Bliss, Judith (Tyharra Cozier), a stage actress; the spoiled, fickled daughter, Sorel (Christa Helms); and the equally spoiled son, Simon (Aries Annitya), an artist (of no consequence).  They, with their mouthy maid, Clara (Caren Graham), make up the Bliss household.

But, not content to let things…continue to idle, they have invited some virtual strangers to their house for the weekend.  David has invited the introverted, Jackie (Melissa Buchta), someone he barely knows.  Clara has extended an invitation to an eager, “younger” man, Sandy (Bjorn Anderson), whom she met casually in a shop.  Sorel’s newest interest is the world traveler, Richard Greatham, an “older,” experienced gentleman, who Sorel feels she can “learn” from.  And Simon has a new “friend,” in the guise of the snobbish, Myra (Monica Fleetwood), a wit not to be trifled with.  But if all the visitors assumed that, there would be no play, of course.

And so, when everybody is through staking out their territory, the real game begins…musical chairs.  Of course, the only reason for the visitations is to see if you can get your partners goat, as it were.  In order to put a person in their place, of course, you have to give them some competition.  And so the comedy of manners (or lack of) continues.  They each pair off with different mates to get a rise out of another, with only the visitors being taken by surprise, as it all seems to be one great game.  Things are eventually resolved, at least for the family, and the visitors may have become sadder but wiser (or not).  Any resemble to reality is purely coincidental.  Or, as Queen Eleanor might conclude, “what family doesn’t have its ups and downs.”  

This is a fun, fluff piece as far as the story goes but its strength lies in the genius of Coward’s witty words and wry repartee between his characters.  The tale also probably does reflect Coward’s own “jet set” of friends at the time and so there is a definite self-indulgence on his part, as he also often played one of the characters himself and his dear friend, actress, Gertrude Lawrence, opposite him (see the film “Star” for more background information on them).  My own personal favorite of his was the drama, “Brief Encounter,” which is rarely done (a good film of this is the low-budget, 50’s movie, with Trevor Howard).

Any director at the helm of this piece (or any Coward piece) has to be aware of the intricate timing of the dialogue for the comedy to work.  Have, no fear, Hubbard is in charge and has things well in hand.  She knows exactly what she’s doing and has a cast to match her (and, I believe, Coward’s) vision.  And she has a good artistic team behind the scenes with Max Ward as the set designer and, especially, Jessica Bobillot, as the costume designer (for this and many of their shows) and has outdone herself with this one!

(A side note to this:  Some years ago Hubbard was going to direct this show as part of the SRO program for Portland Civic Theatre.  She had cast me as Richard Greatham.  Shortly after that we were informed that this theatre, which had been around for many years, was closing its doors for good.  Opportunity missed but the beat continued, as it has come full circle for her and I veered into writing.  But, curiously, I did direct the last show to grace their stage, through their school, “Anne of Green Gables.”)

The cast all fit their roles perfectly and, being young performers, have certainly matched or surpassed other casts of Coward’s material.  This type of play would not be easy for any theatre to do but they have risen to the challenge.  If you can do this well, and they do, then you have just accomplished a giant step toward your goal of becoming a professional actor.  Bravo to all!

I recommend this play.  If you do choose to see it, please tell them Dennis sent you.

Comfort and Joy—Twilight Theater Company—N. Portland

Tis the Season…

This dark holiday comedy is written by Jack Heifner and directed by Jason England.  It is playing at their space, 7515 N. Brandon Ave. (off Lombard, parking available in the church lot across the street), through December 17th.  For more information, go to their site at www.twilighttheatercompany.org

Dickens probably wrote the definitive story about this Season in “A Christmas Carol.”  It pretty well covers the whole gamut of Christmas emotions, memories and types of people.  Part of that story involves the Ghost of Christmas Past taking Scrooge on a trip down memory lane, focusing on sad remembrances of being abandoned in a boarding school, losing the love of his life because of his greed, the death of his sister, et. al., allowing these tragic memories to dictate his present life.  But, knowing this, can he redeem himself?

Much the same thing happens in this story.  An ambitious PR man from a movie studio, Scott (Andy Roberts), lives a comfortable lifestyle in the Hollywood Hills of California with his new lover, Tony (Johnnie Torres).  But, on this Christmas Eve, they have acquired an uninvited guest in the guise of Tony’s brother, Victor (Josiah Green), a drunk who has been thrown out of his house by his ever-loving wife, Betsy, because he had a brief fling with a mouse (you’ll just have to see it for the rest of the story).

Not only that, but Scott’s homophobic mother, Doris (Angela Mitchom) from Texas, will be visiting and meeting Tony for the first time.  Things continue to get rocky when another uninvited guest pops in, Tony and Victor’s estranged sister, Gina (Adriana Gantzer), from South America, with a little surprise of her own (again, won’t give it away, as you’ll just have to see it).  And how do their pasts haunt them?  By a flighty gentleman with wings and a wand called the Christmas Fairy (David Alan Morrison).

It seems he’s been assigned to put things right in these people’s lives, so that present and future Christmas’s will truly be filled with “…good will toward men.”  So he must assume certain guises of various individuals from their pasts to accomplish this.  He becomes Scott’s former lover, Brian; Doris’s husband, Duke; the three siblings’ mother when they were children; Betsy, Victor’s wife; et. al.   By doing this it is hoped they will see the error of their ways and perhaps he, liked Clarence, the angel in another famous Christmas tale, will garner a reward for his efforts.  To learn the outcome, you’ll just have to see it, won’t you?

There is also in this play a significant bit of serious dialogue surrounding sexual orientation.  Humor and drama can be an uneasy partnership but, in this case, it works for the most part.  England has cast the play well and balanced nicely the light and the heavy in the story.  There is a clever lighting effect, too, when the Fairy is at work.  And Morrison, as the Christmas messenger, has his hands full playing at least a dozen different characters.  The cast are all quite good but Morrison is exceptional.

I recommend this play, but do keep in mind, it is definitely adult material.  If you do choose to see it, please tell them Dennis sent you.

Friday, December 2, 2016

Buyer & Cellar—Triangle Productions!—NE Portland

Underworld of a Star

This one-man comedy, starring James Sharinghousen, is written by Jonathan Tolins and directed by Donald Horn (Triangle’s Artistic Director).  It is playing at their space at 1785 NE Sandy Blvd. (parking lot to the West of the bldg.) through December 17th.  For more information, go to their site at www.trianglepro.org or call 503-239-5919.

We all have dreams—the biggest to the smallest—and we all have fantasies, too.  Perhaps it’s the collective tissue, our psyche DNA, that unites us all.  And in that vast wonderland of “could bes…” or “what ifs…” we find a Truth of sorts, that will get us through the night.  In the case of a mega-star like Barbra Streisand, it is a mini-mall under her Malibu home (true).  In the case of Alex Moore (Sharinghousen), a struggling actor, it is working there as a salesperson (fanciful truth).  It may be that “the truth will set us free” but it is the dreams, the fantasies, that sustain that “Truth.”

In Alex’s case, he is simply looking on how to finance his next meal.  But, like all of us, I believe, he is also looking for sustenance to feed his soul, as well.  His dutiful lover, Barry, an out-of-work screenwriter, tends to his corporeal needs but for an artist, something more, something intangible, is needed, too.  He craves a space to let his imagination flourish.  His agent, Vincent, comes to the rescue and supplies him with a mysterious sales job at a Malibu estate.  His creative juices are about to be tested.

He meets the martinet housekeeper of the mansion, Sharon, and he’s brusquely shown to his new working quarters, an entire mini-mall equipped with a clothing department, antiques, dolls and toys, a gift store, a sweet shop, costumes and props, et. al.  He is to keep an inventory of the places, dust, wear a “costume” (straight out of Americana) and, most importantly, deal with the sole customer who will occasionally visit.  The customer is Sadie, sometimes known as Barbra, and then the juices flow.

Alex was a character at Disneyland, so knows how to role-play, and also was heavy into Improv, which is part of many actors background/training.  And so his imagination is set free and together they explore the boundaries and content of this fantasy world.  It begins with a ruse about the history of a French, bubble-blowing doll, through airing childhood memories, to becoming a coach for a proposed revival of a musical for the icon.  But when the fantasy world and the real world collide, choices must be made…but more I cannot tell you without being a spoiler.

It is not a coincident, I surmise, that Alex claims to be a distant relative of Sir Thomas Moore (author of Utopia), for this story, in part, is about creating that Eden-like world for ourselves.  For an entrepreneur it may be farmland on an idyllic, Greek isle, where life is lived simpler and at a slower pace.  For a writer it may be seeing his work published and/or presented on stage and screen.  For a religious icon it may be a world where bridges between cultures are built and not walls, et. al. (any resemblance to actual people is purely…intentional).  What is your Dream?

Horn, as always, has successfully transported a world of wonder and magic into the everyday lives of a viewer, which is not only entertaining but enlightening as well.  Tolins and Horn and Sharinghousen have planted a seed within us that the world of the mind is limitless and the only one stifling that is…us.  “The fault….is not in our stars but in ourselves.”  Too true.  And Sharinghousen, always…always…is magic incarnate when he appears onstage.  I couldn’t imagine anyone better to share this journey of discovery.  He is a treasure.  And he wisely (via the author’s suggestions) doesn’t try to imitate characters but, like a good storyteller, simply gives the flavor, the essence, of the characters he embodies.  You never lose track of who’s who or the settings (also thanks to some very simple but creative lighting by Jeff Woods).

I recommend this show.  If you do choose to see it, please tell them Dennis sent you.

Monday, November 28, 2016

A Civil War Christmas—Artists Repertory Theatre—SW Portland



United We Stand…
This Christmas offering with music and songs, as told from incidents in the American Civil War, is written by Paula Vogel, directed by Paul Angelo and produced in collaboration with Staged!  Music direction is by Andrew Bray and dance/movement choreographer is Kristen Mun.  Original music by Daryl Waters with the collaboration of various local musicians including Okaidja Afroso, James Beaton, Darrell Grant, Brian Adrian Koch, Edna Vázquez, Holcombe Waller, and Mark & LaRhonda Steele.  It is playing at their space, SW Alder St. & 16th Ave., through December 23rd.  For more information, go to their site at www.artistsrep.org or call 503-241-1278.

Once upon a time, some 2,000 years ago, three Wise Men followed a star hoping to discover a salvation for all at the end of that arc.  Less than 200 years ago, three wise men, Lincoln, Grant and Lee attempted, again, to find a common ground for all beings.  Nowadays, we are still engaged in that immortal struggle to find a Peace on Earth and Good Will for All Mankind.  It seems to be a Battle that will be waged for many Ages to come…

The time:  Christmas, mid-1860’s, during the Civil War in these United States.  President Lincoln (Ted Rooney) is trying not only to mend a Nation, but find the perfect Christmas present for his beloved wife, Mary Todd (Susannah Mars).  But his task for this Nation, seems insurmountable, as there is still major disarray on the fabric of that blanket which covers our Land.  An Afro-American mother, Mrs. Keckley (Ayanna Berkshire), seamstress to Mrs. Lincoln, is mourning the loss of her son, George (Blake Stone), a soldier fallen in battle and who’s memories of him are still vivid.

Another Afro-American mother, Hannah (Andrea Whittle), has successfully smuggled her daughter, Jessa (Miya Zolkoske) into Washington, D. C., only to lose track of her in the bustling city.    Another little girl, Raz (Kai Tomizawa), has escaped toward the throbbing metropolis also, with her horse, Silver (John San Nicolas), looking for a better life.  Meanwhile, an Afro-American Union soldier, Bronson (Vin Shambry), has declared lethal war on all Rebs, declaring, “take no prisoners!,” after his beloved, Rose, (Crystal Ann Muñoz), was kidnapped by the enemy.

Back on the home-front, Lincoln claims to have a recurring dream where he is aboard a Captain-less ship, sailing toward a distant horizon, just out of reach.  His security agent, Lamon (Jimmy Garcia), is equally concerned about his welfare, as are cabinet members, including John Hay (Laila Murphy).  And their fears are well-founded, as conspirators, John Wilkes Booth (Val Landrum), the Surratt’s and Louis Weichmann (Seth Rue) are meeting secretly to avenge the South by kidnapping the President.  All these elements, combined with music and songs from that era, through the company of players, including Amy Hakanson, bring you a Christmas, perhaps, little known but unforgettable.

This cross-cultural and cross-gender cast, playing many roles from a dozen different stories, bring a message for the upcoming Season, conveying that the quilt that binds us together may be multi-colored and multi-layered and, woven together, it forms a protective covering that benefits all.  Celebrate Diversity in all its many-splendored incarnations.  These stories, from a by-gone Age, remind us of that but, perhaps, in my opinion, the actual blending of the mix of talents involved, and how they cross all borders of talents and humanness, to present this production, may be the best example of how we can form “a more perfect union.”  Angelo has certainly seen to that with his wise casting of the show, onstage and off.
"

The cast is all first-rate, as I’ve seen many of them onstage before and lauded their talents.  This production encompasses a microcosm of the world and, perhaps, humanity, as the stories may be specific but the message of tolerance and acceptance is universal.  It is said that “a child shall lead them,” for in that innocence, perhaps, we may all re-discover ourselves, and our purpose, individually and collectively.

I recommend this show, as it is a perfect Christmas Card for this generation.  If you do choose to see it, please tell them Dennis sent you.

Friday, November 18, 2016

PREVIEW: Spectravagas: Holidazed!—Shaking The Tree Theatre—SE Portland

“Comedy Tonight!”

Art, Humor, Theatre and Entertainment have been around from the beginning of time, perhaps.  And, with that, those who choose to push the envelope.  Wonder what early Man might have found engaging in that vein?  Risque Cave Paintings of bare-skinned beauties?  Dino-Fights in an arena against Cave Men?  Rock Concerts---with real rocks?  Who’s to know…?!  But the early Greeks and Romans came up with some enduring writings.  According to Sam Dinkowitz, creator of this sketch-comedy type of theatre, in Aristotle’s Poetics it lists “Spectacle” as one of the ingredients to create drama and, thus, a concept was born.

Of course, who couldn’t forget Aesop, a Greek slave, with his gentle moralistic tales, or the Romans with their bloody, arena-style extravaganzas?  And then there was Shakespeare and his wise clowns, and medicine shows, music halls, Buffalo Bill’s Wild West Shows, melodramas, et. al.,  graduating from that into Vaudeville and finally to film, stage and TV, like SNL, Weird Al, Monty Python, Lenny Bruce, George Carlin, Kids in the Hall, et. al., all inspirations for Dinkkowitz.  And so we come to his recent “spectacular,” on-the-edge humor and his most recent incarnation,“…using theatre with ulterior motives.” Their shows were originally staged at Post 5 Theatre, late-night fare.  Jessi Walters, a part of his company and also an audience member sometimes, put it this way, “…it’s a bit of anti-theatre…you’re invited to come in and let your hair down…fun catharsis…dangerously funny…whip-smart commentary on the topic de jour.”

Granted, this all boils down to Censorship and the right to voice what we want, regardless of social taboos, language, nudity, politics, religion, violence, etc.  Anything and anyone is game.  Sam says, “I have always been inspired by the more burlesque side of performance. The seedy theatres where the fun stuff happens late,” or, as he later espouses, “Revel in the fuckery.”  Walters adds, regarding the rehearsal process, “…always be looking for what we find as fresh and funny…quick, dirty, super challenging, and the most fun anyone could possibly have…a delightful beast…best part about Spectravagasam is that you can’t do wrong—it’s impossible….”

Of course, an audience may not think the same way so it works best for people who, at least, have an open mind.  In my reviews I am always alert people to possible harsh language, nudity, adult situations, etc. and then let the readers make up their own minds.  But it has never deterred me, either, from recommending a show.  And, keep in mind, the Eye of the Beholder, what offends one may not offend another.

So, if that is so, where do you draw the line?  Or do you even draw one?  In their estimation—No.  Jessi comments that we all wear masks, “…one that says, ‘I’m clean-cut, I’m buttoned-up, I’m a professional.’”  She goes on to say about this type of sketch comedy, it “encourages you to drop the entire premise…it challenges our assumptions of what is politically correct…and shake our heads in unison…it’s okay to be audacious…to color outside the lines, and that realistically we have a lot more in common with each other than we usually let on.”

Sam’s viewpoint is, it’s “…unorthodox and vulgar.  We say things you’re ‘not supposed’ to say (and do) onstage…We seek to evaluate cultural norms through comedic evisceration of the subject matter.  Our mission is to hyperbolize the human condition to the point of absurdity.  We will mock fanatics on all sides, without bias, and while busy laughing at yourself, you might think a thought worth thinking.”

My own views?  As a reviewer, pretty open to anything.  Probably the most controversial, from a global perspective, would be the Nazis and the Holocaust, but Chaplin, with his brilliant film, The Great Dictator and Mel Brooks with his To Be or Not to Be (based on a rather good earlier film version, with Jack Benny) and, of course, his Tony award-winning, The Producers, have destroyed that premise.  The Masters showed us how to break even that seemingly, iron-clad barrier.  Brooks view is that what villains hate most is to be laughed at, the best kind of ammo for hatred is laughter, according to him, and I agree.  In contrast, what is not funny, is a certain politician physically mocking an ill rival stumbling into a car.  “And the beat goes on…”

Future visions for them include looking for a permanent venue to call home, “a more consistent online presence with video content,” and, possibly, tour the show on the West Coast.  I’ve attached the info for his most recent show.  Personally I’ve seen both these artists in action in various other shows and have found them to be true professionals.  I would recommend seeing whatever they offer realizing, of course, the adult material of this type of entertainment.

Sam may put it best, “The world is so ridiculous right now, that if you can’t laugh about it, the only other option is crying all the time.  Find the joke in everyday life.  Open your eyes and see the punch-line…” Amen to that!

Monday, November 14, 2016

One Man, Two Guvnors—Lakewood Theatre Company—Lake Oswego, OR

“All Well That Ends Well”

This Vaudevillian-type comedy is written by Richard Bean, with songs by Grant Olding, and is based on the Italian play, The Servant of Two Masters by Carlo Goldini.  It is directed by Don Alder and is playing at their space, 368 S. State St., in Lake Oswego, through December 11th.  For more information, go to their site at www.lakewood-center.org or call 503-635-3901.

The plot of this story, by itself, would offer almost no hope of getting a thumbs-up from anyone.  But add the comedic style, which is its saving grace, and you have a certified winner on your hands!  This reeks of Shakespearean-style comedy with its wise servants (stupid bosses/elite), disguises, gender-swapping, messages misconstrued, and downright silliness…all of which the Bard happily embraced.  It also complements the commedia dell’arte with it broad humor and incorporates Improv, magic, stand-up comedy, pantomime, slapstick, clowns, risqué humor, asides, word play/puns, audience participation, beautiful damsels, songs and dances, and as mentioned, a whole lot of vaudeville.

This incarnation takes places in Bristol, England around the mid-1960’s and is presented in a music hall type of environment.  The plot is a messy menagerie of misinformation and mistaken motives minus major mayhem but marrying merry mischief to many, mutinous minions.  Whew!  In this incarnation it involves a certain wandering servant, the industrious, Francis (Grant Byington), aka, Paddy, his Irish twin, aka also, Henshall.  He is simply looking for a job, mainly so he can eat, which he is very fond of.

One Guvnor he is enlisted to work for is the shifty, Stanley (Tom Walton), who is escaping to Australia, because he killed a man in a bar fight, a certain Roscoe, related to a rival gang, headed by the unforgiving, Charlie Clench (Gary Powell) who, with his daughter, the beauteous blonde, Pauline (Kailey Rhodes)--not the sharpest knife in the drawer--who is to wed the hammy actor, Alan (Joseph Murley).  Charles’s ensemble also includes his old cell-mate and current pub-owner, the menacing, Lloyd (Ted Shulz), his lawyer friend, Harry (John Morrison), father of the groom-to-be and his luscious secretary, Dolly (Rosalind Fell), an avowed feminist.

But it seems that Roscoe (Melissa Whitney), aka, Rachel, may not be dead after all and has returned for his share of the family loot.  The plot becomes even stickier when Francis is confronted with serving both “masters” when they are in the same restaurant.  Into play then comes Gareth (Brad Bolchunos), the headwaiter and his ancient sidekick, the bumbling, Alfie (Burl Ross), who are of little help in keeping things straight.  And, with the aid of a couple of “customers” (Lily Harris and Hannah Quigg), the plot becomes even more strained.  And, oh, yes, I haven’t even told you about the rock bands that perform at interludes, have I?  Guess that treat will have to await your curious eyes, as well as the ending.

The style of this is exceptional in the execution.  This type of production, along with children’s theatre, is probably the toughest kind to perform successfully, as you have to have a director (Alder) that understands how to present it (and he does) and a cast that is up to the challenge of delivering it (and they do)!  The timing has to be impeccable for it to succeed and this is an excellent example of everything working to a tee!  Alder is, indeed, a genius at it, as is his whole cast.  And the set, by John Gerth, the master-designer at Lakewood, in my opinion, is a masterpiece.  His toon-town like city is a joy to behold.

Much of the burden of the show rests squarely on the shoulders of the lead, Byington, and he is more than up to the challenge.  His body movement, facial expressions and vocal timing are brilliant!  The three ladies are very lovely and their characters are an important part of the fun and story, not just window dressing, as in some comedies, and they make the most of it, all very talented.  And an absolute hoot is Ross, as a Tim-Conway sort of waiter, with his elaborate pratfalls, mime, comedic gestures, timing and expressions, reminding one of an early Buster Keaton and his silent routines.  He is a master at this type of comedy and it shows!

I highly recommend this production.  If you do choose to see it, please tell them Dennis sent you.

The Mystery of Edwin Drood—Metropolitan Community Theatre Project—downtown Portland


What the Dickens!?

This musical, based on Dickens’s unfinished novel, is written by Rupert Holmes, directed by Livia Genise, produced by Barbara Richardson and Matt Storm, choreographed by Juliet Prosser and musical direction by Rebecca Chelson.  It is playing at the Brunish Theatre, 1111 SW Broadway (4th floor), through November 20th.  For more information, go to their site at www.metropaa.org or call 360-975-1585.

A mystery by Dickens, you say!  It’s a first, right?  No, not actually, as most of his stories had surprises, twists and turns, disguises and revelations, all of which are part and parcel of a good mystery.  But, in this case, the mystery surrounds what happened to the title character on one fateful night, as he disappeared and, since Dickens had the audacity to die before he finished it, leaving no notes as to the outcome, the rest being speculation.

The BBC did a reasonably good, non-musical adaptation, finishing the story for him but, although it made sense from a modern, mystery-writer’s vernacular, it wasn’t Dickens style.  He’s not considered one of the great writers for nothing, you know.  This musical version turns the story upside-down, doing a tongue-and-cheek variation on it, plunking it down in a music hall of the 1800’s, with an acting troupe doing a parody of it.  Not sure Dickens would have approved (but he was a bit of a ham himself, doing one-man shows of readings from his novels and loving the attention) but it’s an entertaining concept.

The play stops at the point that Dickens did and then the audience is enlisted to add their input as to what happened and, if murdered, who did it.  The script bogs down at this point, going on far too long and so it drags a bit here.  But the interaction of the actors with the audience at many points, reminding one of an old-fashioned melodrama, is quite amusing.

The plays hinges together with a type of M/C (James Montgomery), with the aid of his Stage Manager (Kyle Ulrich), introducing the actors/characters and then narrating, at times, parts of the story.  It seems that the industrious, Edwin Drood (Kelly Jean Hammond), is a young man engaged to his childhood sweetheart, the lovely, Rosa Bud (Nicole Rayner).  But she has another interested suitor, the scheming, John Jasper (Matthew Storm, also a co-producer of this show), the church’s choirmaster and Drood’s uncle.  But his romantic advances are unrequited.

Into this world enter the twins from Ceylon, the exotic, Helena (Kate Cummings) and her bombastic brother, Neville (Paul Cosca), and their benefactor,  the flamboyant, Rev. Crisparkle (Kevin Newland Scott), who will be staying with Jasper, as well.  His assistant is Bazzard (Kyle Urban), a fledgling playwright.  Neville also takes an instant liking to Rosa and a dislike to Drood, as he’s competition.  Curiously, they all seem to be orphans, too.

Meanwhile, back at the manor, Jasper seems to be leading a double, if not triple, life.  He has an unhealthy interest in old crypts from the skanky, Durdles (Andrew Hallas), a gravedigger, with his deputies (Gloria Galland and Olivia Ashdown).  He is also a frequenter of an opium den, headed by the unscrupulous, Princess Puffer (Rachelle Riehl).  The crime, if there is one, all comes to a head on one stormy, Christmas Eve, where many of the participants have been having dinner at Jasper’s.  Edwin and Neville decide to take an evening walk along the river and that is the last that is seen of Drood.  Months pass but Puffer is still searching for what happened to Drood and she is joined by a mysterious detective, Dick Datchery (?) and together they begin to investigate the disappearance.That’s where Dickens ends, and then comes, as I mentioned, the audience to get in on the act.

The songs add to the story line.  Particularly effective are “The Wages of Sin” (Puffer); “Perfect Strangers” (Drood & Rosa); “Never the Luck” (Bazzard & Company); “Don’t Quit While You’re Ahead” (Company); “Jasper’s Confession” (Jasper); and the rousing, “The Writing on the Wall” (Company).  The music by the orchestra was effective and did not overpower the actors.  The specialty dance numbers were very well done in “Jasper’s Vision,” “Off to the Races,” and “Don’t Quit While You’re Ahead.”  This is a complicated show for a director but Genise pulls it off well and her casting of it is excellent.  Also the costuming by Alyssa Rands added immensely to the success of the production!

Some extraordinary voices here, too, especially Rayner, operatic; Hammond, powerful; Riehl; very animated; and Storm, haunting.  Hammond is a performer of the first magnitude and she has a career in front of her if she chooses it.  She came across as confident, had wonderful stage presence and has a voice and beauty to match.  And bravo, also, to the chorus, who added greatly to the story.

I recommend this production.  If you do choose to see it, please tell them Dennis sent you.