Friday, February 17, 2017

In the Blood—Portland Actors Conservatory—SW Portland

The Wages of the Poor

This intense drama about the plight of the homeless is written by Suzan-Lori Parks and directed by Victor Mack.  It is playing at their location, 1436 SW Montgomery St. (it is only street parking, so need to plan your time accordingly), through February 26th.  For more information, go to their site at or call 503-274-1717.

There is a price tag on everything, nothing is free.  Watch your ads on television, the bottom line is that they want your money so that you are poorer and them richer.  The same goes for the “do-gooders” that work the more run-down sections of the urban jungles.  They, too, have a racket.  These observations are all contained within Parks’ play.

The reasons people are living outside the “so-called” civilized world are as varied as the people who inhabit those confines.  Some may be lazy and looking for a free ride; some may have emotional, physical, and mental problems that “polite” society doesn’t want to deal with; and some may have little or no education and work experience, thereby possibly, unemployable.  But, one thing is certain, as a Prince once observed, “the fault…is not in our stars, but in ourselves.”  Yes, we may just be our own worst enemy.

Hester (Monica Fleetwood) is just such an individual, illiterate and uneducated, living under a bridge, with five young children, all with different fathers and, of course, none of them around now to help with the burden.  There is Jabber (John D’Aversa), the eldest and Baby (Jacob Beaver), the youngest, with the “in-betweeners,” Bully (Tyharra Cozier), Trouble (Aries Annitya), and Beauty (Kristin Barrett).  On the outside, they seem happy enough, but their mother is all too aware of the struggles and sacrifices she must make to keep the brood from being caught up in the web of deceit and despair, as she knows from first-hand experience.

Jabber’s father, Chili (D’Aversa, again) was a drug addict when they connected and now is a slick salesman/con-artist.  The local, street-smart, bible-thumping preacher, the Reverend D. (Beaver, again) is Baby’s father but is loath to repeat that news to his congregation.  Trouble’s daddy is the local, smarmy, free-clinic Doctor (Annitya, again) who is as high on pills as he is on sex.  And the Welfare Lady (Cozier, again) lives by using Hester and others as slaves for her, or else she’d have to turn them in for violations.  And even her “friend,” Amiga (Barrett, again) is using her to sell items she has and then giving her only a pittance of what she garners from the sales.  In other words, to say the least, these are not very nice people.

We, like Hester, are dumped into this world in which we must confront the alternate lifestyles that exist next to ours in this shadowland.  All these characters must also face the spot…or, perhaps, more accurately…”God-light,” in which they must explain their actions and motivations.  Whether they are accepted, or perhaps, do we accept them, is totally up to us?  To tell you more would be a spoiler and I will not do that.  Needless to say, this is for adults only, as it doesn’t pull any punches as to the reality of their situations.

The set by Max Ward is super.  It puts the audience in direct contact with the setting, giving one the feeling you are intruding on their world (or, is it that they are intruding on ours?).  Mack, an excellent actor himself, certainly is the right choice to direct fledging actors, as he understands all too well the process of creating characters.  And the actors are all powerful in creating the dual roles they portray.

Most of all, Fleetwood as the central character, is a gifted actor.  She needs to be multi-faceted in her interpretation.  On one hand, she may be as corrupted as the rest.  But, on the other hand, she needs to show a vulnerability, a certain naivety, so that we can sympathize, perhaps, empathize with her.  She manages to traverse that razor-thin line so that we can see how she can be so many things, to so many people.  Quite a feat of acting!

I recommend this play, keeping in mind it does have rough language and adult situations.  If you do choose to see it, please tell them Dennis sent you.

Monday, February 13, 2017

The Pillowman—The Headwaters Theatre—NE Portland

Twisted Tales of Terror

This intense, abstract, horror tale is presented by Life in Arts Productions at the above space, 55 NE Farragut St., through February 25th.  (Note:  although parking does not seem to be an issue, finding the theatre is no easy task, even with electronic devices.)  The play is written by Martin McDonagh and directed by Jamie M. Rea.  For more information, go to their site at

“Fairy Tales can come True…it can Happen to You…” goes the old song but one must remember that the original tales, specifically the Grimm Bros., were designed to frighten children into submission to obey their parents or the bogey man would get them.  So when kids went to sleep at night, they dreamed all right, but Nightmares are dreams, too, you know.  And this tale (or tales) are designed to keep you up at night, not lull you into a peaceful dreamland.  They are a delicious combination of Stephen King, Kafka and George Romero, sprinkled with bits of The Pied Piper, Folklore and, even the Almighty Christ, for flavoring.

Flash forward to the distant Future (perhaps, not too far) to a Totalitarian State (“form of government in which political authority exercises absolute control over all aspects of life and opposition is strongly discouraged”—sound familiar?) where a writer, Katurian (Benjamin Philip), of adult/graphic fairy tales is arrested.  He pleads ignorance to his interrogators, the matter-of-fact, Tupolski (Bobby Bermea) and the brutish, Ariel (Jonah Weston), as to what might have upset the Government.  It seems that the death of three children, all of which died in similar manners to some of his horror stories, have put him on the police radar.

They have also arrested his mentally-challenged, timid brother, Michal (Gary Strong), and has him held in another room, insisting that they are going to torture (approved by the Government—again, sound familiar?) him if Katurian doesn’t confess that they are responsible.  As they try to put together a case, they all participate in relating and, in some cases, acting out the stories (Carter Christianson, Sydney Jordan, Amelia Harris, Adam Goldthwaite and Mandy Khoshnevisan).  But not all is as it seems, either with the prisoners, or the detectives.  It seems that this 1984-ish type of atmosphere they are living under has brought out the “beast” in men in which they all must face their primal fear, in this case, perhaps, as FDR once said, Fear Itself, and the only way out might be meeting up with, The Pillowman!

I cannot go into any more details without giving away aspects of the story you yourself should discover.  But suffice to say, they all have secrets…and secrets within secrets.  It should be obvious that this is not for the faint of heart, OR FOR CHILDREN!  It is a powerful indictment against ruling bodies that do not consider the people they are governing when they make laws.  It also hints strongly that, as in the excellent film, “Network,” there is no real leader or government of a country, as we know it, but only a network of interconnecting secret bodies that rule the world:  A frightening Conspiracy of Silence.

The story(s) are presented simply with little distractions from elaborate set pieces/props, as it really doesn’t need any, as the story and actors are compelling enough to hold your attention.  The play itself is a bit overwritten and repetitious at times, but the basic story(s) and actors are riveting.  Rea has wisely kept it simple and has an outstanding cast to present this haunting piece.  Bermea (also an exceptionally good director) and Weston are powerful as the good/cop, bad/cop combination of authority.  They are a fearsome duo but, like any so-called unbreakable combinations, they do have chinks in their armor and, once exposed, they show their true colors.  Both these actors command your attention when onstage.

Philip, in the lead role, is riveting!  You feel for him as he’s unwillingly thrust into this situation; discover with him the darkness of his stories and their true meanings; and are horrified with him as secrets are exposed.  Certainly he is one of the best performances onstage this Season.  The other amazing performer is Strong, as the child-like brother, with a secret.  I’ve seen him before onstage before, often in comedic roles, and always good, but this is his tour-de-force!  He runs the gamut of emotions from child-like innocence, to smoldering anger, to intense rage and, even at times, an odd sort of wisdom.  Strong has raised the acting bar to the highest level and this performance is up there in the clouds!

I recommend this production but, as I’ve said, it is not for everyone, as it has strong language and very adult situations.  If you do choose to see it, please tell them Dennis sent you.

Sunday, February 12, 2017

Marjorie Prime—Artists Repertory Theatre—SW Portland

“Windmills of the Mind”

This inventive production, written by Jordan Harrison and peopled by some of the core members of this company in the cast, is directed by Profile’s former Artistic Director, Adriana Baer.  It is playing at their space, SW Alder St. and 16th Ave., through March 5th.  For more information, go to their site at or call 503-241-1278.

Several connections raced through my head after I saw this show, some of them random but, as its party about memory and its inner workings, I think appropriate…Flash--I am reminded of an old adage, that we all carry three secrets within us:  The first, a secret that you only relay to a close friend; next, one that you don’t tell anyone; and, three, a secret you aren’t even aware of yourself…Flash—King’s, “Pet Semetary,” where a child misses his pet so much, he is willing to risk a curse to bring it back to life…Flash—a crying child loses his coin down a sewer grate while people pass him by, unmoved.  Finally an Android witnesses this and hands the child another coin, as he thinks, and they say I am a unemotional machine…Flash—Scientists from all over the world hook up their computers to each other to create a Super-Brain.  They ask it, “Is there a God?”  After a moment, the answer, “There is now!”

So, such is the power of loss, of memory and the human brain, of sustaining Life, in any form, and Fear of the Unknown.  The time is more than a hundred years from now.  Remarkably, humans have managed to survive the turmoils of Today and opened up a whole new Vista for Tomorrow—a world where loved ones, via Primes (a type of Android), will replace the loss of a dear one in looks and memories.  Many authors have toyed with this type of concept over the years, notably Ray Bradbury (one of my favorite authors) with, “I Sing the Body Electric,” in which a grandmotherly type of Android helps to raise children after their mother has died.  But these Primes have the exact look and memories of loved ones.  The tricky part is, what fodder do you “feed” them and who does the “feeding?”

In this case Granny, Marjorie (Vana O’Brien), is 85 years old and is coming to the end of her natural life.  Sustaining her during this period are her combative daughter, Tess (Linda Alper), and her understanding son-in-law, Jon (Michael Mendelson).  But, perhaps, most helpful of all, is Walter Prime (Chris Harder), who is (we assume) an exact replica of her late husband at a younger age.   He reminds her of happier times, continuing dialogues with her of facts (?), he has been fed, of their lives together.

But, as time passes, Marjorie must “shuffle off her mortal coil” and give way to her Prime to continue the legacy.  Then, as Jon and Tess, separately at times, feed the Prime info, we see how delicate data is, when actual live beings infiltrate the process.  Our individual perceptions of events, as well as personal feelings and biases, tend to slant the Primes’s memories of actual events.  In some ways they become a type of therapist for the living and, as time passes, we may have a tendency to try to create a perfect being, perhaps, out of the Prime…a slippery slope.

More I cannot tell you, as there are discoveries an audience should make.  But a question might come to mind by the end.  If we will someday be engaged in trying to create a perfect replica of ourselves…our world…”Primes” may ask, why then do we need Humans…but, then again, if no Humans…where does the fodder for Primes come from?!  The old adage, perhaps of, which came first, the chicken or the egg?  It’s a dilemma.  Am I reading too much into this play, or not enough, or simply going in the wrong direction?  But, the best part of it is, the author has given us a whole range of “what ifs,” and so, like my friend Dave, who saw the show with me, one may be tempted to spend time afterwards discussing  those, “what ifs,”…and isn’t that the best of all outcomes to a story--to think, to discuss and to question?  One last thought that this play also points out, I believe, the need to make the most out of our short time upon this earth and to embrace all the positive possibilities.

Baer has given the actors much room for creation, as even the pregnant pauses are filled with ideas.  And she has a marvelous cast to work with, all of them pros.  Possibly the most difficult aspect of the characters they portray is, when some are enacting the Primes, they cannot betray emotion but only an “imitation” of it.  Not easy, but they do it with conviction, especially Harder.  And the set (Kristeen Willis Crosser), being that takes place in the future, could have become too overwhelming with gadgets and futuristic styles, but she has wisely chosen to keep it simple, so as not to distract from the story and actors.  Kudos to all involved…Primes and Humans!

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

Saturday, February 11, 2017

Swimming While Drowning—Milagro—SE Portland


This insightful, two-man play is written by Emilio Rodriguez and directed by Francisco Garcia.  It is playing at their space, 525 SE Stark St., through February 25th (parking is a challenge in this area, as it’s only street parking, so plan your time accordingly).  For more information, go to their site at or call 503-236-7253.

The title of this play reminds me of my interpretation of swimming as a kid—keeping alive in water!  I was a sinker and never have enjoyed swimming.  But that perception is possibly relevant with this story, too, in that, just because you may be splashing around in water (swimming) doesn’t mean you won’t drown.  Mastering the art of keeping your head above water is no guarantee you won’t eventually sink.

The Arts, as long as I’ve been involved with them (some 40+ years), have always been a safe haven for people, no matter what their culture, religion, politics, sexual orientation, et. al.  And especially in these turbulent times, it important to still have that sanctuary    for all that seek it.  This play focuses on LGBT group, as well as homelessness, and the very common human need for love and a place to call home.  It is said that, “home is where the heart is,” and so, the home we may seek, as Dorothy discovered, may be no further than the pulsating within, which is always in reach.

In the case of Angelo (Michel Castillo), who seems to be the narrator of this story, he has possibly run away from a house that may have raised him but in which he had found no love.  He is in a homeless shelter for the LGBT community and has found a refuge in poetry.  In fact, he has created an alternate identity for himself (a sort of super-hero, if you like) that will take charge when the real persona falters.  But, despite it all, there is still a loneliness within that seeks human contact and validation.

Enter Mila (Blake Stone), a street-wise, street-tough, that came also from a family where there was no love, excepting his Tia (Aunt), who read him bedtime stories when he was a child.  Those stories seem to be his rock, his foundation, for a piece of what he would call “home.”  As it is, he finds his connection to warmth in the money he makes from selling himself to others.  His meeting with Angelo is a mixing, at first, of oil and water but, as they begin sharing their stories of pain and dreams of what tomorrow may bring, they form an uneasy alliance.

I really can’t give you too much more detail, as much of the dialogue delves into their pasts, as well as exploring the power of poetry, which is beautiful, to communicate inner feelings.  But the author, Rodriguez, has managed in his story to transcend individual stories and catapult it into the universal need to find love, a place to call home (not just a house), the beauty and healing powers of Art/Poetry and the seeking of our own, individual place/purpose in this Grand Cosmos.  It is not without cause that their names translated mean Angel and Miracle.  And stars may not be just isolated, burning orbs, but loved ones, providing light to find our way Home.

This is a powerful play, as both the author, Rodriguez and director, Garcia, have created a world of immense proportions within the confines of one, small, cluttered room.  It is never boring and the space expands as your imagination opens it up to their possibilities.  The two actors, Castillo and Stone, are excellent!  I couldn’t imagine anyone else in these roles.  They play off each other with such believability that you feel you are in the room with them.  Kudos to all involved!

I highly recommend this play.  There are also some poetry and art events connected with it, which you can check out on their website.  In these “Pensive” times, do not let yourself be “Trumped” by hate and fear (puns, intended).  Tolerance is the key to a better tomorrow.  If you do choose to see this show, please tell them Dennis sent you.

Monday, February 6, 2017

Elliot, A Soldier’s Fugue—Profile Theatre—SW Portland

Generational Defenders

This drama about the emotional effects of War on people is written by Quiara Alegría Hudes and directed by Alice
Reagan.  It is playing at Artist’s Rep.’s space, SW Alder St. & 16th Ave., through February 19th.  For more information, go to their site at or call 503-242-0080.

War is a double-edged sword.  On one hand, it is an excuse to quell conflict, on the other, an instrument of aggression.  It is said that the history of a war is written by the victors and so the actual Truth is rarely known.  Why does one group of people spend so much time and energy in squashing another, when all that’s left as a result are broken bodies and cities in rubble?  Is it worth all that effort to gain a plot of dirt and rocks and steel?  But, when the word patriotism is used, by friend or foe, then the conflict somehow gains a certain worth.  One Truth of it is simply that one group of people cannot tolerate another and so they fight to force their way of life onto the masses.

But another, more sinister reason, may be that some people just like to fight and kill, just for the pure enjoyment of it.  It seems that some may just have an insatiable appetite for destruction.  A line from the biker movie with Brando, “The Wild One,” the sheriff asks, What are you fighting against?  The reply from the biker, Whadda got?  Could it be that simple in some cases?  The bottom line seems to be, in a conflict, there are winners and, if winners, than losers, too, who will someday then rise up, and it starts all over again.  Tolerance, folks, is the key…now we just have to find the door that it fits….

This story is about four people and three generations of a family that feel a strong sense of duty to defend and protect our American ideals.  Perhaps, stronger, because the Ortiz family comes from a Latino heritage and are familiar with the struggles of minorities.  It is a memory play as it skips back and forth in time, reflecting sometimes on Grandpop (Anthony Green), a veteran of the Korean conflict, in which he would play the flute as a solace to sooth the savage beast.  His son, Pop (Jimmy Garcia), became a veteran of the Viet Nam War, fighting in the jungles.  Becoming wounded, he met Ginny (Cristi Miles), a military nurse, fell in love and eventually married.  The result being their son, Elliot (Anthony Lam), who choose to fight and, he too, was wounded, in the early 2000 conflicts in Iraq.

I don’t want to tell you the whole story because some of it is expressed in monologues by the characters and is beautifully told, by the actors, as written by Hudes. In their poetic presentations, akin to Tennessee Williams’ style of writing, my descriptions would pale by comparison.  The play is also done on an essentially bare stage, focusing on the author’s words, the actors/director’s vision and the audiences’ imagination to enliven the story which is, perhaps, the purest form of theatre.  What is also of interest is that you might expect these three generation of military people to have major differences in the ways they dealt with such things as death of comrades, the hardships of the environment, killing of another human being, the dreams they had that sustained them, et. al.  But just the opposite is true, they find a sense of comradeship between the generations as to war experiences.

They all dreamed of home, women, food…all found a certain solace in music…they carried trinkets of home in their packs…they abhorred having to kill another…thoughts of plants/flowers…memories of childhood/youth, etc.…all common elements of being “a stranger in a strange land.”  And they, like all our current, brave veterans of war, need understanding, acceptance and a place to call home in these uncertain times.  We are all a brotherhood…a sisterhood…a peoplehood, under the same sun and moon and stars, as are all living things, and it is necessary to share this space in Peace, in the limited time we have on this grand, green earth.
Reagan has done well in her use of a basically bare space and has the actors be inclusive with the audience, making them part of the process of creating and exploring as well.  Hudes has a powerful story to tell, gleaned, in part, from personal observations and conversations, as well as a unique, poetic style of expression.  The actors are all very believable and pull from within the necessary emotions to tell their tales, not relying on the trappings of elaborate sets and props.  Well done to all.

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

A Streetcar Named Desire—Twilight Theater Company—N. Portland

“The Kindness of Strangers”

This classic, Tennessee Williams’, play is directed by Tony Bump.  It is playing at their space, 7515 N. Brandon Ave. (just off Lombard), through February 19th (limited parking in the church lot across the street).  For more information, go to their site at

Williams is unique among playwrights in that his plays are both deeply personal, as well as beautifully poetic.  Another author that has these same attributes is one of my favorites, Ray Bradbury.  Williams wears his feelings on his shirtsleeves and so it evident, under the guise of drama, for all to see.  He was strongly influence by women growing up and had no father figure and his plays reflect that, as his women are the focal points for his stories and men are either brutes or wimps.  Blanche is looking for Heaven (Elysian Fields), as she feels she has been in Hell, so boards a vehicle called “Desire” to take her there.  In an odd sort of way, she achieves this in the end, through “the kindness of strangers.”

Blanche DuBois (Dorinda Toner, Twilight’s Artistic Director) lived the life of the elite of Southern, “polite” society at their estate, Belle Reeve, as did her younger sister, Stella (Lynn Greene).  But Stella felt a disconnect with this privileged world and fled to the Big City, New Orleans, and the French Quarter, to meet up with a working class brute of a “common” man, Stanley Kowalski (Ted Hartsook).  He yanked her down from those lofty columns of poetic romance to the wet, hot pavements of “colored lights” and the “real” world…where anything can be forgiven by moans in the dark…and she loved it.

But into this concrete jungle, having lost Belle Reeve, appears Blanche one day, arriving on a streetcar named Desire, for one last, desperate attempt to revive her old world dreams.  But her, and Stella’s worlds, have nothing in common now and so allowances must be made.  Blanche finds some solace in the sensitive, Mitch (Colin Trevor), a friend of Stanley’s from work.

But reality has a way of raising its ugly head and the outside world, consisting of their upstairs neighbors, Steve (Jason England) and Eunice (Crystal Lemons) and a friend, Ruby (Sarah Fuller); the drunken poker games played with guys from his work, consisting of Steve, Mitch and Pablo (Johnnie Torres); and an attractive, tempting, young news boy (Ned Grade), all seem to conspire to destroy the illusions that Blanche has tried so hard to maintain.  And so, like the fabled walls of Jericho, they are destined to collapse.

Also, Stanley discovers that Blanche’s high ideals and stories of lofty romances may be just so much fictional fodder that a fairy tale writer might have trouble believing.  And so her Ivory Tower begins to crumble and, on one fateful night, it will explode.  The details of the story you will have to experience for yourself, for there are discoveries only an audience should make.

Elia Kazan directed both the stage and screen versions of this play, utilizing most of the stage cast for the movie.  The play’s climax got a lot of flack from the public because it seemed to condone abuse and so the film soften that somewhat, which I approve.  This play is difficult for even professional companies and I must admit that Twilight does an admirable job of presenting it.  They have only a small space but it works to its advantage here, so that the story appears out of this confined clutter, making it almost stifling in its claustrophobic atmosphere, designed by the director, Bump, Fuller and Robin Pair.  It is to Bump’s credit, also, that he has chosen a cast that does embody the characters so well.  And, as mentioned, his set and furnishings have that cramped feel to it that makes us, and especially Blanche, feel that the world is crowding them and penning them in, leaving no room for illusions or dreams.

Hartsook’s, Stanley, gives us the brutish guy that you dislike from the beginning.  It’s obvious that he is a bully and preys on people like Blanche (and Mitch) because it makes him feel superior.  Greene is believable as the abused wife in which the daylight is tolerable as long as she has her man in the night.  Toner’s, Blanche, reveals how delicate her condition is in from the beginning.  Her monologues about her dead husband, memories of her youth, and her description of Stanley, are very touching and well delivered.  Trevor, as the sensitive male with the ill mother, is spot on in his portrayal.  You see the pent up frustrations he must feel and when his illusions are also destroyed, he is a broken man.  Well done by these troopers and the whole cast and crew.

I recommend this play but it does deal with adult material, so be advised.  If you do choose to see it, please tell them Dennis sent you.

Friday, February 3, 2017

Forever Dusty—Triangle Productions!—NE Portland

The Dusty Trail

The West Coast premiere of this musical bio of Dusty Springfield is written by Kirsten Holly Smith & Jonathan Vankin, directed by Donald Horn (Artistic Director for Triangle) and Musical Director, Jonathan Quesenberry.  It plays at their space, 1785 NE Sandy Blvd. (parking is free in the lot next to the bldg.), through February 25th.  For more information, go to their site at or call 503-239-5919.

I must confess, although I had heard the name and was familiar with some of the songs she sang, I really didn’t know anything about Springfield.  She was a popular singer during my Youth, the 60’s & 70’s (yes, I do remember the 60’s) and I was there during the social revolution, but I was more into the folk singers of that era.  And so, somehow, she slipped through the cracks for me.

Becoming acquainted with her via this play, I didn’t realize what an icon she was.  Here was a young, white girl from England who was in love with the Black music experience.  Not only that, but she had a lover (named Clare in this play) and eventually proclaimed her bi-sexuality, proving one thing most clearly, she was her own person, knew what she liked and nobody was going to stop her!

Mary, later Dusty (Leah Yorkston), was educated in a repressive Catholic girls’ school in England and soon discovered that being a singer or entertainer was not considered God-like.  It was her brother Dion, later Tom (Dave Cole), that believed in her and her talent.  He put her in his newly formed band, The Springfield’s as the lead singer, gave her the name “Dusty,” and from there she grew.

It wasn’t long before she was noticed by agents, producers and recording labels but it was Dusty, as a solo, they wanted and she was soon to find out that breaking off with her brother was only one of the many trials and tribulations she was to encounter on her journey to stardom.  The Black music also drew her to the South, where she immersed herself in that music scene, in Memphis.  Producers and recording studios were not crazy about the “crossover” music she was singing but the critics seemed to love her.  It came to a head in South Africa when she refused to play to only all-white audiences.

But she made headlines and future producers, Becky (Tasha Danner) and Jerry (Gary Wayne Cash) decided to take a chance on her.  She also had found a lover in Claire (Kayla Dixon) and their long relationship would go through many twists and turns as the years went on.  She recorded music in The Big Apple but eventually sought alcohol and drugs, a common refuge for stars in demand, when they are depressed and stressed, and soon moved to LA.  She had achieved the stardom she sought but at a price to her personal life and health.  Eventually she went home to England where she died in 1999.  Her fans still remember her for the progressive inroads she made in her business, and life, as she is…“Forever Dusty.”

Although I admit to not recognizing her music back then, it certainly strikes a chord now, as it highlights and reflects her life.  And Yorkston is a powerhouse when exploring the dreams, hopes and hurts of such a talented lady.  Her renditions of “Son of a Preacher Man,” “Crumbs Off the Table,” “I Just Don’t Know What to do with Myself,” “Quiet Please There’s a Lady Onstage,” “I Found My Way,” and “Don’t Forget About Me” are my favorites and, put in perspective of her own life, are also very revealing as to who she was and what she believed.  She certainly succeeded as a “crossover” singer and aided others on this rocky road to their own successes.  Yorkston is perfect as both the singer, as her voice soars, and an actress, as you truly feel for the character through her!

Equally good is Dixon, both as an actress and singer.  Early on she does a medley of songs popular from that birthing era of Black music and she is terrific.  She does some duets with Yorkston and they are an amazing team together.  She is also a fine actress and the explosive, as well as the tender, scenes between the two of them are very powerful.  I applaud them both, with the rest of the cast, including Sarah DeGrave in background roles, a very impressive talent in her own right.

Horn has kept the settings simple, so as to focus on the music and story.  His love of musical legends and social inroads seems boundless, as I am always educated, as well as entertained, by his productions.  “May he live long and prosper!”  Quesenberry is his long-time musical collaborator on his shows and the final product seems seamless as these two ole pros manage to create Magic every time!

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