Grounded—CoHo Productions—NW Portland

“When Worlds Collide”
This one-woman drama is written by George Brant, directed by Isaac Lamb and stars Rebecca Lingafelter.  It is playing at their space at 2257 NW Raleigh St. through May 23^rd.  For more information, go to their site at www.cohoproductions.org or call 503-220-2646.  It should be noted that it is only street parking, so plan your time accordingly.

After seeing this, I was reminded of the film, The Sniper, in which an autonomous individual must decide that fate of others, in essence, playing God.  I was also reminded of a short story I read called, Silent Snow, Secret Snow, in which a boy is being consumed by two worlds and must choose as to which one he belongs.  The story has those elements, in which a pilot (Lingafelter) is completely enveloped by the world she knows, which is as an aviator in the Big Blue.  She is at home…and at peace there.

But Fate has a different plan in store for her, a guy by the name of Eric.  Before you know it, she is in love and, not long after, pregnant.  Not so bad so far, as they get married, but not so good for her career.  Being pregnant, she is grounded, as the g-force would certainly kill her fetus, and must accept a desk job.  Now she enters other worlds not planned on.  She is now a wife and a mother but the Big Blue still calls her.  What to do…what to do…?

When she requests to be put back on her old job as a pilot, with her beloved plane, Tiger, she is told that is no longer the type of war they’re fighting.  Now they use drones, as they are more accurate and do not risk a pilot’s life.  She is skeptical at first, as she must now play on a team and the Big Blue is no longer in the picture.  Instead, it’s a just a gray, confined world.  And how do you content yourself with your passion, your duty and a family.  Not an easy decision to make…”and, thereby, hangs a tale.”  You’ll just have to see it to find out the outcome.

The story encompasses many issues, including guilt, choices, adapting, duty, morality, family, and love.  What we become, may not be what we, or the Powers that be, intended.  And how does one reconcile oneself with these choices?  What would have been at the end of …”the road not taken,” had we followed it?  She, and maybe we, must consider the answer.

This is done on a bare stage with one woman and a chair (and some very inventive lighting by Don Crossley).  And, it is enough.  Lamb’s directing is always worth watching and he has sprinkled this show with carefully placed movement so that it never becomes static.  And he has chosen just the right actress for the role.  I believe Anne Hathaway is now enacting it on Broadway but it would be hard to beat this performance.

Lingafelter absorbs us into her world so completely you believe you can see exactly which she is describing.  The emotional roller-coaster we enter with her is a journey of discovery…filled with peaks and valleys…never knowing what is around the next corner…or how we will deal with it.  She is totally in control and you believe her every step of the way.

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

American Night: The Ballad of Juan José—Milagro—SE Portland

“Home is Where the Heart is”

This comedy-drama is written by Richard Montoya and directed by Elizabeth Huffman.  It is playing at their space, 525 SE Stark St., through May 23^rd.  (It is only street parking, so plan your time accordingly.)  For more information, go to their site at www.milagro.org or call 503-236-7253.

This is a strange and wonderful piece, taking us on a journey through our history, via an Everyman, Juan José (Ozvaldo Gonzalez), an immigrant wanting to become an American citizen.  But, as mentioned in the story, are wanting and needing the same thing.  And so he must discover, through a time machine called dreams, our history’s treatment of “aliens,” specifically those of a different color.  And, although a painful history, it is told with humor.

Why such an approach?  Mel Brooks (The Producers) and Charlie Chaplin (The Great Dictator) may have expressed it best, when dealing with the issues of the Nazis.  The best weapon against tyranny or injustice is humor.  If you laugh at a person or organization that deals in this, you have taken all the wind out of their sails.  Their pursuits and actions then will seem petty.  Plus, fighting negativity with negativity is a no-win situation.

The story is told with nine actors playing a variety of roles, as well as a voice over by Adrienne Flagg, and they are quite amazing.  At the beginning, Juan has been befriended by some Mormons (Orion Bradshaw and Heath Hyun Houghton) to give him shelter, while he studies for his test to become an American citizen.  He has left his wife (Michelle Escobar) and his child in Mexico until he can establish himself here.  And, as he crams for the test, sleep overcomes him and he dreams of intervals in our history.

Among some of the many characters he meets along the Oz-like journey are explorers, Lewis (Houghton) and Clark (Bradshaw) and their Native American guide, Sacajawea (Escobar); the President, Teddy Roosevelt (Enrique E. Andrade); Viola Pettus (Shelley B. Shelley), an Afro-American sharecropper, compassionate fighter again the flu epidemic of 1918; Johnny (Houghton), an Asian-American in a relocation camp during WWII and his compassionate teacher, Mrs. Finney (Louanne Moldovan); Dodgers #42, the great, Jackie Robinson (Joe Gibson); labor leader, Harry Bridges (Garland Lyons); and even his own father (Anthony Green); and others.

It is an eye-opening trek for Juan and puts things in perspective for him (and us, as well).  One important aspect that is obvious, is that we are all immigrants, or of immigrant stock, except the Native Americans.  But when it comes time for prejudicial behavior in America from some, it appears that color of one’s skin is the main issue.  After all, you didn’t see any interment camps for German-American citizens during WWII, did you?  But language, religion, sexual orientation follow closely behind.

You’ll have to see for yourself how all these different elements play out and the conclusion that is drawn.  But I think the purpose of the play is not so much to answer questions for Juan but to have us ask questions of ourselves about the issues presented.  He (as we should) needs to walk around in another’s person’s skin for awhile to garner perspectives on the world at large.  Perhaps we will see not differences, but similarities, on how we approach things.

Huffman is absolutely amazing with what she can do with a small space, an epic story and a very talented array of actors.  She keeps the play moving and you never lose track of who the characters are and where they are.  And the set/lighting (Megan Wilkerson) and terrific video backdrops (Lawrence Siulagi) are a real plus to the production, keeping us apprised of where we are in time and space.  And the costumes (Sara Ludeman) are extraordinary, giving us a rapid-fire look and a huge array of characters.

The ensemble is exceptional, one of the best I’ve seen!  And Gonzalez stands out as the focal point.  He underplays the character perfectly, so that you can empathize with him and identify with his plight.  I’ve reviewed many of the actors in this show before and it’s to their credit that they have stretched themselves in roles that I haven’t seen them explore before.

And, a side note, some of the shows I’ve seen over the years have been played on elaborate stages with loads of money in producing them.  But, for me, as pleasing as some of these productions are, there is something I greatly admire about a “grass roots,” theatre and a black box presentation of a play.  An actor/theatre is, first and foremost, a storyteller, and all that is really needed is an author’s words, an actor/creator’s talent and an audience’s imagination.  All the rest, although perhaps, pleasant to look at, is just window-dressing.  This theatre is one of the best at exploring those possibilities.

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

Grease—Broadway Rose—Tigard, OR

“Thanks for the Memories”

This iconic musical is written by Jim Jacobs and Warren Casey and directed and choreographed by Jacob Toth with musical direction by Jeffrey Childs.  It is playing at their home location at 12850 SW Grant Ave. in Tigard through May 24^th.  For more information, go to their site at www.broadwayrose.org

Musicals of that “simpler time,” the 50’s & 60’s, are good reminders of our history, such as Hairspray and West Side Story.  Remember the days of drive-ins (both restaurants & theaters), piercing ears, rock ‘n’ roll, cheap wine, Twinkies, roller rinks, hot cars and chicks, acne, sock hops, et. al….when all the guys were in love with Annette and all the gals with Frankie Avalon….when 45’s (the records, not the guns) were all the rage, the Mickey Mouse Club or American Bandstand was top TV watching for teens and hot-rodding down Main Street was probably the worst trouble you could get in?  And we shivered with the original The Blob, I Was a Teenage Werewolf, Invasion of the Body Snatchers and The Thing.

Those were the days, my friends, we thought they’d never end…”  Well, in this production, we are treated to going back in time to relive them for a couple of hours.  Before there was Facebook and tweeting, Columbines and Sandy Hook’s, “friends with benefits” and Aids…a time before “…the music died.”  Believe me, it is time well spent, not only for the oldsters who lived them but for the young’uns who could learn from them.  Maybe those days are gone but not forgotten, as we take a stroll down memory…to Rydell High in the 50’s.

The two main species at large in this world are the Greasers, led by Danny (Peter Liptak) with Kenickie (Max Artsis), Roger (Bryce Earhart), Doody (Paul Harestad), and Sonny (Justin Canfield).  Their counter-parts are The Pink Ladies, led by Rizzo (Claire Rigsby), with Sandy (Kylie Clarke Johnson), a new recruit, Frenchy (Emma Holland), Marty (Sydney Weir), and Jan (Amanda Pred).  Then, of course, there are the Insiders (Cheerleaders), led by Patty (Kira Batcheller), the Outsiders (kids from another school), led by Cha-Cha (Lindzay Irving), the Nerds, led by Eugene (Collin Carver) and, finally, the dreaded adults, the principal, Miss Lynch (Quimby Lombardozzi) and the radio DJ, Vince (Adam Davis).  This is their world and welcome to it.

Once upon a time…it seems that Danny and Sandy met for brief romance in a summer of love.  But, now that reality, the school year, has set in, he must assume the role of a cool dude, meaning that he’s expected to play the field.  She is heartbroken and aligns herself with friends that try to straighten her out from her straight-laced upbringing to face the facts of life.  It is a harsh world out there not reflected by the movies with Sandra Dee, Doris Day, Troy Donahue or Rock Hudson.

It involves growing pains, “Those Magic Changes,” like dealing with long distant romances, “Freddy, My Love,” and reality, “Beauty School Dropout,” and “Alone at a Drive-In Movie.”  But one still can dream of the ultimate, a hot car, “Greased Lightning,” or the perfect mate, “Summer Nights,” to find out, in the long run, “You’re the One I Want.”  It is a dream, well-told, with music, songs, tears, laughter and dance.  The lost years are here again to tantalize us, challenge us and direct us to what was then our goal…to “…live happily ever after.”  After all, those “salad days” never really left us because they are still there, inside us, waiting to be revived.  The ball is now in your court…?!

The cast is uniformly excellent, proving they are all at the top of their game, “a triple threat” in dancing, singing and acting.  Rigsby is hot and owns the stage when she’s on.  Johnson is the perfect girl-next-door, the one that is dreamed of, but just out of reach.  Liptak is super as Danny, looking, as well as performing the part, to a tee.  I couldn’t imagine anyone else in the role.  And Carver, as the nerd and the Teen Angel, proves once again, “there are no small parts….” He’s is electric whenever he’s onstage and knocks his solo number out of the park, as well as being the ultimate, nerdy guy.  (A side note, I also touted him in productions at OCT’s Young Professionals Company and he’s still got the clout.)

Toth’s direction and choreography is amazing.  He could have had the audience rocking with them, as his song and dance numbers are very contagious.  Only thing stopping us may have been that all “the right stuff” is now in the wrong places.  And Childs music compliments the show as well, never overpowering but inspiring.  The designs, Costumes, Jessica Carr, Scenic, Owen Walz, Lighting, Phil McBeth and Sound, Tim Richey, are likewise a perfect fit for a dream show.

(Another side note, I directed Liptak some moons ago in the title role in the musical, Oliver.  His whole family is involved with show biz, as his sister is connected with cable TV series’s, his Mother is a House Manager in many Portland theatres and his Dad is a Musical Director of shows.  It is good to know that “greasepaint” is in their blood and that they support and encourage their children in the Arts.  Parents, take note.)

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

The Little Mermaid—NW Children’s Theatre—NW Portland

The Magical, Misfit Mermaid

This original musical is adapted for the stage by Milo Mowery and Rodolfo Ortega, directed by John Ellingson, choreography by Sarah Jane Hardy (NWCT Artistic Director) in partnership with A-WOL Dance Collective, Heather Shrock and Alicia Doerrie, and musical direction by Ortega.  It is playing at their space, 1819 NW Everett St., through May 25^th.  For more information, go to their site(s) at www.nwcts.org or www.awoldance.org

The original story by Hans Christian Andersen was made into a very popular Disney, animated musical a few years back.  It takes place under the sea and, in this incarnation, in Havana, Cuba, too.  The story’s narration (Sophie MacKay) tells of a sort of ugly duckling mermaid called Ariel (Annie Willis), who doesn’t fit in with her peers, sister mermaids, Melody (Chrissy Kelly-Pettit), Minuette (Maddy Ross) and Aria (Signe Larsen).  They have beautiful, ballet moves and lovely, singing voices, while Ariel’s voice sounds like a mad hen and her movements jerk every which way but loose.

But, at least, she has a bosom friend in Hippos (Gracie Jacobson), the Sea Horse, who listens to her and teaches her how to play.  But the main purpose of mermaids, according to legend, is to enchant sailors with their mesmerizing voices, so that they will shipwreck on the rocks.  (Why they have a need to do this is unclear.)  But Ariel even fails at this, as she rescues one of the seamen, who is actually a Cuban prince, Miguel (Brendan Long).  And, like in all good fairy tales, she is immediately smitten by him, and longs to become human so she can be with him.

But, easier said than done, as she must go to the unscrupulous Cecelia (Jenny Bunce), the Sea Witch, in order to get her wish fulfilled.  But this demanding diva has conditions of her own.  Ariel can be transformed into a land-lubber to be with her love for two days.  If, by the end of this time, he has not kissed her, than she must return to the sea and forfeit her soul.  And she is to be mute, having her voice taken away, so that she cannot tell the Prince who she is or express her love for him.  The contract is agreed to but Cecelia has her own devious plans to thwart the little mermaid….

To tell more would be giving away some plot devices, so I will stop the story at this point.  One unique thing about this adaptation is that neither of the young lovers are the sharpest swordfish in the ocean.  Miguel is rather vain, none too bright and is use to getting his own way.  Ariel has a good heart but is awkward in social situations and is easily duped by dishonest hags.  In this interpretation, they become much more human and, thereby, identifiable to the common man.

Another outstanding aspect to this production are the aerial artists (Kelsie Young, Lacey McGraw and Paulina Muñoz).  Watching them perform their “flying” maneuvers are worth the whole show.  They are absolutely amazing.  And a third element that gives this show a boost is the Sea Witch puppet, designed by Ellingson.  It is probably my favorite creation from all the shows I’ve reviewed here, scary, silly and intricate in its conception and performance.

The performers are all first-rate.  Willis gives us the ungainly teen striving to find her place in the world and doing it convincingly.  Mackay is clear and concise and portrays the story interestingly for us.  Jacobson has a great voice and you want to hug her for being such a true friend.  And Bunce, as the Witch, is truly talented, both in voice and acting.  She is the villain you love to hate.  I’ve reviewed her before and given her high marks.  She is easily up to that standard here and I look forward to seeing her in her next project.

Hardy is always first-rate with her dance numbers, as she is here.  Mary Rochon has outdone herself with the very colorful and fanciful costumes.  And Ellingson is always at the top of his game as a director, designer, as he is here, and actor.  And, as mention, Shrock and Doerrie, and their performers, are exciting to watch, bringing back good memories of going to a circus when I was a child.

Although the songs and music by Ortega and Mowery are pleasant and well performed, they fall slightly short of being memorable.  And the story, likewise, does not have the intricacies that other pieces NWCT has done.  The story seems a little too simple to be, although mildly entertaining, not really thought-provoking, as other productions they’ve done.  Even the applause for numbers was polite but not roaringly enthusiastic, as I’ve heard from other shows.

I would recommend this show.  But, be warned, parking in this area is a real problem, so plan accordingly or best use public transportation, be dropped off, and/or car pool.  If you do choose to see it, please tell them Dennis sent you.

Nana’s Naughty Knickers—Twilight Theater Company—N. Portland

Wily Wicked Women

This adult comedy is written by Katherine DiSavino and directed by Sue Harris.  It is playing at their new space, 7515 N. Brandon Ave. (just off Lombard), through May 10^th.  For more information, go to their site at www.twilighttheatercompany.org or call 503-847-9838.

Some Golden-agers in New York City, Sylvia (Jodi Rafkin) and her best friend, Vera (Bonnie Littleton), not quite ready to give up the ghost yet, have decided to go into business for themselves in Sylvia’s apartment, unbeknown to her landlord, Mr. Schmidt (Rob Harris).  The business involves making and selling naughty lingerie items to other mature women.  And it seems the apartment was once owned by a notorious bootlegger and so has plenty of hiding places for such items.

But complications arise when Sylvia’s grand-daughter, Bridget (Taylor Lane), a rather straight-laced young lady, decides to move in and stay with her for the summer.  And it also doesn’t help that the local beat cop, O’Grady (Breon McMullin), has taken a shine to her (and she to him).  But when Sylvia is sent, mistakenly, a rather large order for some X-rated, sex toys and clothing, people become suspicious and her daughter is unceremoniously drawn into this web of wanton women.

Also, it doesn’t help when the UPS Woman (Sophie Schmidt) tries to hit on Bridget and a strange, saucy lady, Heather (Amanda Andersen) shows up on their doorstep, and the landlord threatens to evict Sylvia, and their best client, Clair (Kimberley Anne Gray) arrives to further confuse the issue…well, you just have to see it for yourself to see how it all turns out.  But, it is safe to say, that the machinations of love, laughter and…lingerie will succeed in winning the day.

DiSavino is by no means up to the standards of other comedy writers about NYC, such as Neil Simon or Woody Allen, but there is a gentle, albeit risqué, humor to the plot, sort of like Golden Girls meet Best Little Whorehouse in Texas.  And the cast is easily up to the task of complimenting the story.  Rafkin plays the stereotypic, mature New York Jewish lady to a tee.  And McMullin as the befuddled cop, Schmidt as the unscrupulous deliverer and Gray as the important client, add to the fun.

Lane, usually behind the scenes in shows, is a welcome addition to the onstage personas.  She is appropriately upset, then baffled, then a partner in the proceedings….and she looks just fine in lingerie.  Littleton is great as the somewhat deaf, best friend.  Her comic delivery is some of the best in the show.  R. Harris gives us a typical, Archie Bunker type of character, all smoke with little fire and is fun to watch.  And Andersen, as the kooky visitor, is a hoot.  She adds an extra dimension to the liveliness when she arrives onstage.

Harris has done a good job of keeping the blocking fluid so that none of the scenes get static.  And she has chosen her cast well.  This is a new space for their theatre and it is very well put together.  It is neighborhood parking at present, so allow time for that.  Also the show would probably be PG-13 rated, so be aware of that, too.

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

Cyrano—Portland Center Stage—NW Portland, Pearl District

The Measure of a Man

This classical, tragic love story is by Edmond Rostand (translated by Michael Hollinger) and adapted for the stage by Hollinger and Aaron Posner.  It is directed by Jane Jones and is performing at PCS’s space, 128 NW 11^th Ave., through May 3^rd.  For more information, go to their site at www.pcs.org or call 503-445-3700.

Heroic and Love are two words that are bantered about so often that they have lost much of their punch.  But Cyrano is a man who knows the deepest meanings of these words and shows us by his actions.  The sub-sets for those words might be courageous…sacrifice…unconditional…honor, and Cyrano is the embodiment of those meanings.  A man cursed to be anything but himself.

The play was written in the late 1800’s and has been performed many times.  Jose Ferrer gave an Academy-award winning performance on film in the 50’s (as well as being involved with a musical version some years later); Depardieu brought us a rich, French version; Christopher Plummer did if for television on Hallmark Hall of Fame; Steve Martin performed a rather good, modern update called Roxanne; and Kevin Kline was on a PBS showing in the 2000’s.  All good pedigrees for this story.

Once upon a time, there was a man, Cyrano (Andrew McGinn), who loved a woman, Roxanne (Jen Taylor), but from afar.  For you see, although this man was a brilliant soldier and swordsman, a witty and erudite fellow, a poet, an honorable man, he was also cursed with what he thought to be a rather large imperfection, a big nose, and so he considered himself ugly.  It came to pass that a rather handsome, young man, Christian (Colin Byrne) caught the eye of his beloved.

But it seems that this pretty, young fellow also had an imperfection, too, he was a mess when it came to expressing himself, he had no way with words.  Besides, a rather powerful Lord, De Guiche (Leif Norby), was also jockeying for the attentions of Roxanne.  And Cyrano, being an honorable man, wanted his love, albeit unrequited, to have her heart’s desire.  So he agreed to act as the voice for Christian.

It was all going well, Cyrano as Love’s voice and Roxanne’s nurse, Desiree (Damon Kupper), protecting her maidenhood. Then, a war intervened and he and his troop (Darius Pierce, Chris Harder, Gavin Hoffman) and his Captain, Le Bret (Brian Gunter) were called to the Front.  More I cannot tell you for spoiling future discoveries.

And, although this tale may not end with a “…happily ever after,” like all good fairy tales, it concludes more like an Aesop fable, with a moral or lesson.  That being, perhaps, be happy with who you are and the world will respond in kind, or so one hopes.  If not, shame on the world, not the person.

Jones has done a wonderful job of presenting a complicated story on an essentially bare stage with few props.  She moves us along quickly but taking time out for the more poetic moments as well as allowing some comedy to come through.  And she has a very talented cast, some playing two or three roles.  Some I have reviewed before, like Pierce as a very funny dept. store elf in his one man show at PCS; Hoffman as a terrific Iago in their Othello; and Norby, wonderful as the Beast in Beauty and the Beast with Pixie Dust Productions.  McGinn is a super Cyrano, showing his prowess as well as his vulnerability.

And why should one see this story.  Claudie Jean Fisher, PR Manger for PCS, put it best:  “To cheer for Cyrano is to cheer for the triumph of intellect over appearance; kindheartedness over bullying; and panache over self-doubt…the hero for those who want to be accepted for who they are and are loved despite their imperfections….” Amen.  I couldn’t have said it better myself.  And for all those teens who are going through the angst of school and growing up, pay attention.  This one’s for you.

I recommend this show, but know that parking in the Pearl District can be a bear, so plan your time accordingly.  If you do choose to see it, please tell them Dennis sent you.

Twelfth Night—Post Five Theatre—SE Portland

Masking Reality

Considered one of Shakespeare’s best comedies, this production is directed by Cassandra Boice.  It is playing at their space in the Sellwood area, 1666 SE Lambert St. (parking lot in the rear), through May 16^th.  For more information, go to their site at www.post5theatre.org.

It is amazing how many of the Bard’s comedies have similar plots.  They are all about finding one’s true love via disguises (often as the opposite sex), secret letters and poems, witty servants, mistaken identities and cross purposes.  But, as the director has pointed out in her notes, it takes a mask or disguise to discover the real nature of another being.

Actually, not a bad subterfuge for finding out a person’s true motives.  Nowadays, we have a controversial government surveillance system that checks up on individuals, ferreting out only the bad eggs, or so we hope.

This story is no stranger to these above mentioned common threads.  At the opening, there has been a shipwreck near an island and some lives are lost.  Viola (Jessica Tidd), having been washed up on shore, fears her twin brother, Sebastian (Sean Kelly), to have been lost at sea.  To discover the truth on this strange island, she disguises herself as a boy, Ceasario, and eventually allies herself with the Duke, Orino (Tom Walton), who she is immediately smitten with.

But the Duke only has eyes for the lady, Olivia (Chip Sherman), who has no interest in him but does seem to favor Ceasario, who has been sent by Orino to plead his case of love.  Meanwhile Olivia has some very odd but witty servants among them, Malvolio (Ty Boice), a rather droll, petulant manservant and Maria (Tori Padellford), a mischievous merrymaker who only adds more chaos to the proceedings.  And, if that wasn’t enough, Olivia has an uncle, Sir Toby Belch (Jeff Gorham), a drunk, his friend, Sir Andrew (Stan Brown), a buffoon and a servant, Feste (Jim Vadala), a witty troubadour.

Without the servants, clowns and fools in these plays, where would we be.  They are the heart and soul of the humor.  Needless to say, everybody eventually ends up with who they should and the morose or malicious beings get their come-uppens.  It is said, it takes a whole village to raise a child.  In this case, it takes a cluster of clowns to put love back on its true course.

As in all his comedies, it is not the actual plot that will win accolades but the machinery that is put in motion to achieve the those ends.  It is the duping of the duped and the awakening of blind lovers and the insights of the lowest of creatures, the servants, that will win the day.  We, who only seek happiness, sometimes ignore those who make us merry.  But, without them in these plays, or Life, where would we be?

Post 5 always does an excellent job of presenting Shakespeare.  And with Ms. Boice at the head of this project, there is no doubt Mr. S. is in good hands.  She has the training in clowning, as well as the language and does a super job with this.  Sherman is one of the primo actors in Portland and his Olivia is outstanding.  We get attitude, wit, humor, lust, and a gal who is at the top of her game, from his characterization.  An actor always worth watching.

Tidd, playing a boy for most of the show, does a convincing job of it, relying on female instincts and wit but always keeping within the male bonds of companionship.  Walton is also good at keeping his feelings for her in check but you can see him melting under her spell.  Gorham and Brown make a good comedy team with lots of funny physical interplay between them.  This is unlike the usual stately or evil characters I’ve seen Gorham portray and it is a real delight to see him “expand” in this, as he does it well.

Vadala is a nice “emcee” for the proceedings and his singing and comedy quite accessible for the audience, making them feel part of it.  And Ty Boice is a real treat.  His lisping, morose clown is a delight.  He can get more out of a cold stare or a silence or a limp, than all the asides possible.  He is a master of humor and his portrayal of this malcontent is a classic.  “May you live long and prosper.”

The setting, Aaron Kissinger, is very versatile allowing many different scenes to be played out without the audience getting confused as to where and when.  And the costumes, Gina Piva, are equally fun, giving a taste of each character without overpowering them.

I recommend this show.  If you do go, please tell them Dennis sent you.