Clio Cast and Crew product of Cinderella of Loreland, directed by Shane Wachowics, is a 70’s retelling of the classic fairy tale we all know and love, with a comical twist that will delight families and cat-lovers everywhere.
We meet Cinderella, played by the young and beautiful Gracie Burger, living under the care of her greedy step-mother (Catherine Styles), who views our protagonist as more of a personal servant than a member of the family. The household also consists of her two step sisters, Gladiola and Tilliebell, who are as demanding as they are spoiled; as well as her ever loyal companion, Ashes the cat. Despite Cinderella’s bleak living condition, she remains determined to make the best of her situation; her grit and resilience is rewarded with a visit from her fairy godmother, played by the fabulous Kaitlyn Honnen. who offers to use her magic to help Cinderella attend the Prince’s birthday party, (with a midnight deadline of course). This is accomplished with the help of her fellow fairies through a delightful dance number performed by an ensemble of nearly a dozen youth actors showcasing some real talent. Although it must be said that the subsequent scene change went on far longer than necessary, allowing the audience to become rambunctious and distracted by their phones; this perhaps could be forgiven, if the following set was drastically different than the first, which was not the case, though the extravagant gowns with a flair from the 70’s, all but make up for it in the following scenes.
In Act II, Cinderella braves the Prince’s birthday party armed with the perfect outfit, carriage, and her furry friend Ashes, but panics when she realizes she forgot to bring the young prince a present.
Ashes saves the day by offering up himself, which ends up delighting the prince more than any other gift. As the party progresses, Cinderella seamlessly enchants everyone, including a reluctant king (Alex Vocoun) who is determined to marry his son off to the Princess in Gold (Bethany Taylor), known worldwide for her beauty (but not her humility). As the clock strikes midnight, the magic fades and Cinderella returns to her glum life, minus one furry friend.
Fortunately, the ever loyal and generous Ashes hasn’t forgotten her and aids the Prince in his search for the mysterious beauty with unusually tiny feet and a missing glass slipper. In doing so, this feline finds himself living happily ever after in a beautiful palace with two owners who absolutely adore him. What more could a cat ask for? Except a full house at the next performance.
It is impossible not to notice how Style’s years of theatrical experience bring her character to life creating a boorish demeanor that sets the tone for Cinderella’s miserable circumstances throughout the play. Unfortunately, her efforts are occasionally overshadowed by the loud and over the top performance of Taylor Kennedy as Tilliebell, who has great vocalization but could improve on stage presence. However, the true star of the show proved to be one miss Abby Schlosser, whose lively performance as Ashes keeps the audience on their toes and occasionally their backs from laughing so hard.
Cinderella of Loreland continues its runs through April 21, 2004 at Clio Cast and Crew. Call 810-687-2588 or go to cliocastandcrew.com for tickets.
On the 83rd anniversary of the death of Virginia Woolf, the Flint Repertory Theatre presented their interpretation of Edward Albee’s production of Who’s Afraid of Virginia Woolf? directed by Joshua Morgan. The opening night of this production had to be moved in order to accommodate a new lead actress, Emily Townley, and trust me-she does not disappoint!
The story focuses on two couples having a nightcap after a university mixer where Martha’s (Townley) father is the president of the university. Her husband, George, played by Rico Bruce Wade, is none too thrilled with having more guests invited to their home at 2 a.m. The relationship between George and Martha is an important piece of the storyline and Townley and Wade easily invite the audience into their complicated relationship. Even with limited time, the rapport between these two characters is well developed and the necessary quick witted beats in those first moments are flawlessly executed.
Before we know it, the younger couple arrives bringing with them a fresh take to an already brewing situation. Nick, played by Kevin O’Callaghan, and his slim-hipped wife, Honey, played by Amanda Kuo enter into the toxic playground of George and Martha’s home in stylish, over the top, formal black cocktail dress. The four characters easily laugh and drink and get to know each other in a light-hearted way, although it was hard to hear sometimes because the background music was very loud. Three different party games are played into the wee hours of the morning with each game bringing more turmoil and bedlam to each of the characters.
The actors have clearly done the work in developing their own characters, but this reviewer thinks that moments between the characters need more time to grow and evolve as the run of the show continues. The run time for this show is listed as 2 hours and 50 minutes with 2 intermissions, making it well over a three hour production. Be prepared for a story of how one night of havoc and chaos becomes filled with twists and turns that is sure enough to lead the audience to laughter and in a constant state of absurdity. It is a wild ride!
The set is stunning and the lighting and props for this show are spectacular. The staging at the end of the show is not conducive to building the climax to the point of no return because not all of the audience becomes privileged to see it. This could be easily fixed with some blocking changes and hopefully giving the actors a chance to intensify those last climatic moments together. I definitely recommend going to this show and bringing all of your friends-you don’t want to miss it!
Who’s Afraid of Virginia Woolf? continues through April 7 at the Flint Repertory Theatre 1220 E Kearsley St, Flint, MI 48503.
When one thinks of family, especially in the modern-day, there are various things to consider. Relationships, love, who takes of whom, struggles, support, acceptance, and much more. But does one also have to take into consideration medical and mental diagnosis?
Until the last ten years, give or take, mental health was not something that people openly talked about, especially when it was within their own family. Yet, the worry was still there—will I inherit what they had? That question, along with many others, is what author David Auburn explores in his play Proof now playing at UofM-Flint Theatre.
As the story starts, the audience comes to find that genius mathematician Doctor Robert (played by Dan Gerics) has recently died. The family and fellow mathematicians are gathering for his funeral the following day. However, leading up to this event, his daughter, Catherine “Cathy” (Bethann Sampson), has been taking care of him at home. Robert’s once sharp mind has been turning mush. Think along the lines of Alzheimer’s, but also with his long-term math memory also failing– “X equals four months of cold, November through February, cold, cold, X=cold, I am cold..”
The difficulty is that Catherine is not only dealing with five years of caretaker stress, but also her own balancing act of early early twenties life and decisions and her depression and fears that she will be like her dad mentally—both in the good and hard ways. While the audience does see aspects of where her fear may be coming from, one definition of the title Proof comes into question—where is the proof? Is Cathy’s struggles the same disease that her dad has? Will her own math career fail even before it starts?
The second side to the term Proof is that of a mathematical equation. This is where Hal (Logan Reeves), a former graduate student of Robert’s comes into play. Hal finds a notebook with an amazing new math proof. Since Cathy directed Hal to where to find this book, in Robert’s office, questions arise. Did Robert write the proof? Did Cathy? And where is the proof of who wrote the proof? Add in the ever-doubting sister, Claire (Layna Bollwitt), and you have the last of the four characters for this two-hour show.
At the start of the show, there was a lot of exposition to get through to lay the foundation for the rest of story. The cast covered much of this well, but, at times, it did feel too rushed and lacking the emotional depth. However, as the play progressed, the actors settled into the circumstances and took the audience with them. One in particular is the chemistry built between Hal and Cathy (Reeves and Sampson).
The stand-out couple though was father and daughter (Gerics and Sampson). Both of them had so much to balance with other relationships, past and present scenes, and the emotional and mental scope of the show. The choice to use UofM staff member, and professional actor, Gerics to play the father role was so wise by director Stephanie Dean. The role would not have been the same if a college student had played it. While, with age and experience the depth and richness of the character will grow, Sampson did quite well to bring Cathy to life in this production! She certainly held her own through all the dialogue, relationships, and complications of Cathy’s life.
On the technical side, the back porch setting that Lisa Borton and the team were able to put together was beautiful and felt so homey and real. Then the decision to move the audience seating even closer for more of a black box setting, along with Doug Mueller’s lighting design, added to the intimate relationships, topics, and overall feel of the show.
Applause to the University of Michigan-Flint for picking this production, and all the cast and crew for putting it together. May the conversations not stop about what one’s parents do impart to their children, while also areas where one can go above and beyond that genetic influence. The topic and material are quite powerful and worth taking a visit to the UofM-Flint Theatre to see.
Proof runs through March 30, 2024, at the University of Michigan-Flint University Theatre on Kearsley Street Downtown Flint. For tickets or more information, contact the box office at 810-237-7333 or go to https://www.umflint.edu/case/theatre-dance/.
The bard was alive tonight in Flint as the Flint Community Players opened their production of Hamlet by William Shakespeare and directed by Kevin Emmons. One of Shakespeare’s most famous tragic plays; complete with murder, intrigue, madness, and betrayal. This show includes some of the most iconic Shakespearen quotes including the to be, or not to be, soliloquy; get thee to a nunnery; and of course, cruel to be kind.
The story in this production focuses on an import/export company which was run by Hamlet Sr, (played by Patrick Munley) who has just recently died. His brother, Claudius (played by Bart Burger) then takes over the company which includes marrying Gertrude, (played by Sean O’Tuathal) Hamlet Sr’s widow and mother to Hamlet Jr (played by Michaela Floyd). The time period of the show was modern day and although this choice was an interesting take, it was not executed. From the beginning of the show to the end, nerves were apparent and lines were fumbled. It was clear that most of the cast did not understand the meaning behind Shakespeare’s words. Floyd was hard to hear and understand, often dropping their voice at the end of each line.
Soon after, we meet the family of Polonia (expertly played by Marie Vanhorn) a close associate of the Denmark Imports and Exports company including her two children, Laertes (Katherine Lengyel) and Ophelia (Emma Orr). The relationship between these two families should have been made much more clear in the beginning of the play to set up the tragic ending. When Hamlet Jr is made aware of the betrayal of a family member by his close friend, Horatio (Tessa Isaacson) the plot starts to heat up. Here we have one of the best scenes in the entire play with the Ghost of Hamlet’s father and Hamlet. Munley’s choices are clear, chilling, and expertly executed. He alone is worth the price of admission.
A plan is set in motion to try to catch the killer and madness ensues, literally. Claudius sends for Hamlet’s school friends, Rosencrantz (Pamela Beauchamp) and Guildenstern (Willow Treece) to try to distract Hamlet from his melancholy. This does not work, but happily a troupe of actors are not too far behind. Hamlet convinces the players (played by Micah Blumner, Emma Scott, and Ryan Filpansick) to reenact what he believes to be a real life event to prove the betrayal. This scene is stolen by Micah Blumner and a hearty huzzah to him for making such bold choices!
The plot continues with bouts of madness, murder, revenge, and death. The cast is rounded out by Marcellus (Alexander Rossiter), Barnardo and Reynaldo (played skillfully by Steve Harris) and Osric (Rhea Treece). Another notable scene was between Claudius and Laertes who conspire together to sabotage Hamlet during a fencing match. The real steel added a nice effect, but Burger and Lengyel really made those scenes believable. The play does not end happily with most of the cast succumbing to the choices made by themselves or others to pursue revenge and/or power.
Most of this show is set during the evening hours and unfortunately, the lighting design by Levi Brownfield left this reviewer desperately wanting more. Actors were in the dark or the lighting did not match the mood of the scene. This show could have used some more music to set the frame of mind of the characters as well. The stage itself was not utilized well as only one side of the stage was primarily used for entrances and exits. This slowed the pace of the show and the momentum was lost, we often waited for actors to exit before others could enter.
The run time for the show is over 3 and a half hours and dragged on including some very slow and noisy scene changes where a few lighting and sound cues would have done wonders to pick up the pace of the show. There was no sense of urgency even from the characters whose lives were sent upside down. Another missed opportunity was with the script itself, more cuts should have been made to keep the run time down. While Friday night was a little shaky for the cast and crew, we feel the kinks and nerves will die down and the love of Shakespeare will shine through. Kudos to all of the cast and crew for a wonderful performance! We recommend making the effort to see this production.
Hamlet continues through March 10, 2024 at Flint Community Players, 12462 S Ballenger Hwy, Flint, MI 48507. For tickets call the box office at 810-441-9302 or go to https://www.flintcommunityplayers.com.
The Saints of St. John Street, written by Executive Director and resident playwright Charles H. Winfrey, is semi-autobiographical. Directed by McCree veteran Patricia Enright, the play is set in 1955 and the hapless schoolboys of the Saints baseball team are despondent at yet another loss, but remain hopeful of finding a coach. However, their innocence is shattered when a 14-year-old boy from Chicago is lynched in Money, Mississippi. He is Black, his murderers are white, and this horrific happening in U.S. history resonates all the way to St. John Street in Flint, Michigan.
The production opens with four boys named Stick (Josiah Grays), Leedell (Nathaniel Leonard), Kilboy (Javonte Booth), and Peewee (Christian Berry), who sit on the front porch of Stick’s home, near the corner of St. John and Leith Streets, and discuss baseball, Fairview Elementary School, the Columbia movie theatre, and music. When the neighborhood ne’er-do-well, Pawn Shop Shorty (Ulysses ‘BT’ Bailey) saunters past, he creates a ruckus. The boys begin to repeat things they have heard their parents and other adults say about the ‘old man.’ He is not unlike the character of Bad Leg in the book, entitled American Street by Ibi Zoboi, who has spent a lifetime sitting on the corner of American Street and Joy Road in Detroit. He absorbs the mistrust, secret fears, and bullying of others while never relinquishing his place. He is a constant in a small cosmos that is constantly changing.
When their daily life is disrupted by radio reports of the death of Emmett Till at the lynching hands of white men, St. John Street residents, young and old, viscerally feel his loss. Although Mississippi is far away in the American Deep South, the realities of life for Black people, even in the North, brings the truth of unbridled racism home. Twelve-year-old Esther (Jenna Sweet) has had enough of watching the baseball boys go where they please and finally leaves the safety of her front yard to join them, only to come up missing. When a racist white police officer (Lennie Brousseau) shows up to investigate Esther’s disappearance, he instills little hope in the family and their neighbors, and her grief-stricken mother Lucy (Alina Oliver) becomes a proxy for Mamie Till. Although Lucy organizes a search party and the play comes to a satisfying conclusion, the underlying tension brings home the truth that many Northern and Southern whites meet in their mean-spirited prejudice and Blacks are left feeling isolated and without true citizenship.
In Saints, Stick (Grays) and Leedell (Leonard) are natural leaders and as the play unfolds, their characters deepen with understanding about the world around them. Stick performs a spontaneous rendition of ‘Why Do Fools Fall in Love,’ while Leedell demonstrates the common phrase of being apprehended when ‘walking while Black.’ Kilboy (Booth) and Peewee (Berry) hold their own as friends and fellow teammates who listen and contribute to the boys’ banter and adventures. When they ask Jomo (Clifford Sykes), Stick’s father, to coach their team, Jomo immediately begins by laying out a three-point plan and calls for team practice the same day. He quickly sees that his work is cut out for him.
Next door are Esther and older sister Willie Bell (Surenity Boone), with Friend (Lavae Thompson), and they provide gender juxtaposition as they play with dolls, talk coyly about the boys, and remain close to home. The girls’ mother Lucy, beautifully and dramatically played by Oliver, is the center of family life on St. John Street. Her husband and daughters’ father Roscoe (Gene Bowen) is employed at ‘The Buick’ when GM denies feeding chemicals to the Flint River, defends his position to Jomo. The two nearly come to blows in an argument that thunders down the annals of Flint history to the present day. Jomo’s wife Anna Pearl (Shyran Thompson) is a quiet source of support to her family. Their teenage daughter Alma (Za’nayjah Johnson) is dating ‘Bum Beatle,’ also called Jerome (Navarrio Harper). He is socially conscious, having conversation with Jomo about W.E.B. Du Bois’s The Souls of Black Folk, proves himself to be a good match. Clara Mae (Martra’ Roberts) ably portrays the neighborhood spiritual whose unshakeable devotion to God makes her a holy eccentric. Her opposite, Slap-God-Almighty (Michelle Bryant), boldly stands up to the racist police officer and their juxtaposition seems to represent justice as a spiritual practice. Cleo (Alverine Simpson) provides comic relief as a transgender character.
McCree costumer and Marketing Director, Pat Y. Hill, is known for her elegant and intricate costume designs. However, she said, the simplicity of the clothing in Saints presented challenges in accurately portraying residents of a working-class, 1950s neighborhood in Flint. The costumes are offset by wigs and cosmetics artfully arranged by Sharon Butler. The set (Al Foster and Reggie Bingham) was beautifully constructed and designed as one section of St. John Street, representing two homes and a pawn shop. Yet, the play’s rich dialogue helps portray the broad array of daily life, complete with shops, trades, churches, and places of entertainment. Sound (Kathy ‘Tess’ White) and lights (Eric Williams) appropriately provide audio and illumination to the set.
Finally, no Charles H. Winfrey production is complete without his signature setting of music, and in “Saints,” The Calvacades – consisting of McCree veterans Phillip Young, Chris Young, Johnny Person, and Fred Fife – set the tone. Standing on the corner at Leith and St. John Streets, they sing about the vibrant life of a community that is now 50 years gone but still lives on in the heart, soul, and memory of Flint residents.
Background History Highlights about Flint’s St. John Street Neighborhood
According to Michael W. Evanoff, author of St. John Street: Through the Melting Pot (1989, 4th Ed., pp. 1-4, 322-25), St. John Street first appeared in an 1874 Flint city directory. The first plat was recorded in October 1907 and named ‘Fairview’ because the original regional land, inhabited by the Algonquin and Chippewa nations, was ‘fair to behold.’ With the establishment of Buick, adjacent to St. John Street, in 1908, the community reached maturity in 1925. Immigrants from Eastern European nations came to Flint to work at The Buick and other General Motors (GM) factories that sprang up across the city’s landscape. Assyrians, Bulgarians, Croats, Greeks, Hungarians, Macedonians (among which Evanoff and his family numbered), Poles, Serbians, and many other nationalities converged on the St. John Street neighborhood and built it into community. The International Institute of Flint was originally located at the same corner where Stick’s family resides in “Saints.”
In 1945, the demographic shifts brought by the end of the Great Depression and WWII found a changing population in the St. John Street neighborhood. European whites and their descendants moved out and American Black families, especially those who migrated from the Deep South for employment at GM, moved in. The community continued to thrive as a self-contained community where people lived, shopped, worshiped, and entertained. Still, the deterioration that began before 1945 continued. Historic houses and buildings were leveled by the wrecking ball and in the early 1970s, construction and completion of I-475 brought about the end of this history-rich community.
The reviewer’s paternal step-grandmother, from birth in December 1914, spent her girlhood, youth, and early married life in homes on Michigan Avenue and Dakota St., respectively, in the St. John Street Neighborhood. She attended Fairview Elementary.
The Clio Cast and Crew opened The Hallelujah Girls this past weekend to a warm reception by appreciative audiences. I attended Saturday night with a group of theatre revelers engaging with the actors telling this funny tale.
First to make an appearance are three friends meeting up after another friend’s funeral. Judy Harper plays “black widow” Carlene with irreverent care. She is joined by Paula Price-Anthony portraying a romance novel quoting Nita, full of vigor in the face of family troubles. Completing this trio is Madeline Speed bringing Mavis to life and revealing unfulfilled desires with mastery. Each of these ladies helps tell the story with wit and sarcasm, each with her own delivery and backstory.
The simple, sweet, and ever-well-intentioned Crystal is brought to us with humor and grace, complete with a costume and song for any (and every) occasion by Dawn Sabourin. Crystal is literally cloaked in joy and offers innocent understanding in some tough situations.
At the heart of the story is eternally (until now) heartbroken Sugar Lee, played with stalwart confidence by Joy Bishop. This beautiful rose has thorns and seeks to soothe them with her new business and bring comfort to her community.
No story is complete without a villain, and we have the perfect catty cat in Bunny, dramatically delivered with the proper pomp by Judy Santos. She walks in and tries to own the place but gets her in the end.
Two love interests are featured in this piece: Porter, the town’s postperson, who takes a shine to Carlene, is brought eagerly to the stage by William Kircher. Then there’s Bobby Dwayne who broke Sugar Lee’s heart so many years ago, played earnestly by Alex Vokoun.
The set was perfectly situated for the many set decorating changes. Each scene was a new holiday, marking the passage of time. The changes were a bit long for me, but that will tighten with repetition. More upbeat music may have helped too.
The actors looked comfortable in their clothes and well-suited for their roles. Kudos to designer Dennis Swedorski and the cast for assembling a cohesive pallet. The only costumes that stood out were those of Crystal, which were supposed to be over the top. Mission accomplished!
Hats off to director Allison Szyperski, who aptly directed women older than herself to play women older than herself. That’s vision!
This adorable show has another weekend, February 16 and 17 at 7:30 pm and February 18 at 2:30 pm. To buy tickets call the box office at 810-687-2588 or go to https://www.cliocastandcrew.com/buy-tickets.
The bard was alive tonight in Flint with the University of Michigan-Flint’s Theatre and Dance’s production of The Complete Works of William Shakespeare [Abridged] by Adam Long, Daniel Singer, and Jess Winfield and directed by William Irwin. The large crowd was greeted with an eclectic mix of classical music, rock music, and oldies. Seating for this production is on the main stage to create a more intimate setting. No latecomers will be allowed, so please be on time. You will not be disappointed!
The story focuses on a group of three young people whose job it is to give the audience a very scaled-down version of all of William Shakespeare’s works including the Sonnets. You don’t need to be a lover of the bard to enjoy this production-it has something for everyone. Our actors, Jillian Tate, Ava Ward, and Logan Reeves serve as our tour guides through all of the twists and turns of Shakespeare’s works.
It begins with one of the most well-known tragedies, Romeo and Juliet, where the actors play the cliff notes version and only focus on the most central characters in the main plot. Next, we are transported to a cooking show with our host, Titus Andronicus. Then Othello’s plot is summed up with a rap. All of the comedies are summed up in a matter of minutes and it is back to the tragedies. Macbeth, Julius Caesar, and Antony and Cleopatra are briefly highlighted as well as Two Noble Kinsmen and Troilus and Cressida. The histories are summed up in a football game and we end with the great tragedy of the Prince of Denmark, Hamlet.
The actors have clearly done their homework and understand what they are saying, but this reviewer had a hard time understanding them despite the intimate setting. It was nice to see women getting the chance to play Shakespeare’s fleshed-out characters such as Romeo, Hamlet, and Macbeth and Tate and Ward gave a wonderfully fresh take on these well-beloved characters. However, Reeves’s interpretation of Shakespeare’s female characters left this reviewer with a sour taste. All of the female characters were portrayed as helpless, frail, wailing caricatures of how real women would behave.
The set is stunning and the lighting for this show is spectacular. The amount of quick costume changes and the number of props is incredible, and all three actors handle each with skillful mastery. Kudos to the cast and crew for such seamless transitions!
There is an intermission in this show, despite its short run time, and one that this reviewer found unnecessary. The upbeat funny momentum of the show was abruptly stopped, and the actors could never get it back in the second half. Overall, the show is a rollicking good time with plenty of laughs, audience participation, and a great chance to get more familiar with the Bard’s works. I recommend going to this show and bringing all of your friends-you don’t want to miss it!
The Complete Works of William Shakespeare [Abridged] continues through February 11 at the University of Michigan-Flint Theatre. One can get tickets by calling 810-237-7333 or going to https://tickets.thefim.org/.
Step back into the pre-pandemic times of 2004, three years after 9/11, into an Ohio HBCU college classroom where a step team is preparing for a homecoming competition. Like many other college students, these six men not only balance academics with fun and parties, but they also have to deal with life—sometimes circumstances so much bigger than them.
Originally from the 2022 New Works Festival, author James Anthony Tyler brings his back his script of Into the Side of A Hill to Flint Repertory Theatre for its world premiere production playing throughout February, under the direction of Ken-Matt Martin. The timing of this work is not lost on this reviewer, as the community celebrates Black History Month and so many talented Black artists and their creations.
As the audience walks into the space, they are greeted by Sydney Lynne’s scene design, along with Mia Irwin’s props, taking them back to a college band room, with a drum, equipment, original projector, VCR player, and multiple CD players. As the production opens Levi J. Wilkins’ lighting design helps set the tone for those brotherly banters of jests and choice language, special intimate moments of raw emotions, and the step routines themselves—and it all works so well together. Speaking of step routines, choreographers Ken-Matt Martin and Victor Musoni stole the show with their work. Wow! These routines (both in practice and performance) were so full of detail, technique, and power! If you have never seen step before, you are in for a treat!
Moving to the six-fraternity brother ensemble played by Brandon Michael Hall, David Guster, Antonio Michael Woodard, Victor Musoni, Freddie Fulton, and Brian Sullivan, they are the heart of the show. All of them bring depth and athleticism to their roles. A couple of actors that do stand out though include Guster who is currently a college student at U of M-Flint and holds his own with the rest of the cast. Another is Hall, who plays Zarrel. Starting his journey at such high stakes himself, he still finds levels throughout the show as the older brother and leader (alumni) of the group. Then with the step routines themselves, Fulton embodied the heart and soul of the rich history of stepping along with the drive for perfection for the competition.
But with most activity groups—there is always more behind the scenes that is going on. That is where the audience finds the richness of this piece. Not only do the struggles of financial circumstances, death, grief, family dynamics, double standards, duty, young love, new life, and more weigh on each of the characters. But it is how they finally open themselves up and share with the brotherhood that is not easy. Historically, for anyone during this time to be open about matters and challenges it is just not the case, but for young men who may not have had role models or fathers to ask, it is doubly difficult. These actors and Tyler address that tension so well throughout the show—like boxers, we fight in the ring, but we are all fighting outside of the ring too. It is truly through the support, heart, and community that one gets through it all.
Bravo to Into the Side of the Hill on a winner of a show and such a beautiful heartfelt journey into these men’s lives! This highly recommend show continues through February 18, 2004. For tickets, go to https://tickets.thefim.org or call the box office at 810-237-7333.
It was this reviewer’s pleasure to be treated to a night of theatre at Flint Community Players on Saturday night to Amélie; a musical adaptation of the incredibly whimsical film of the same name.
While I do possess a self-proclaimed (and unwarranted) superiority complex when it comes to the English language, it does not translate to French. So please take pity on me as I navigate through these challenging é-acutes to give all creatives and characters their necessary credit. Let’s start with the set design because it was one of my favorite parts. So, my rules. I must bow down to KIROLOUS MESHRAKY (Set Design) in combination with REMY TREECE (Set Art Design) for their artistic prowess. I cannot overstate how perfectly these artists were able to accomplish the whimsical elements of this show so seamlessly. From the adorable hearts that made an appearance every time Amélie and Nino’s paths crossed in a very serendipitous manner to the floating leaves on the set that forced the audience to stop and feel the breeze of this beautiful love story; the artistic design team’s efforts should be congratulated.
The physical set, dominated by many entrances and exits in a completely moveable fashion, served this script well as the show heavily relies upon moving from thought to thought quickly. There were many instances where these transitions were so beautiful (like the goldfish scene) that Wood utilized his ensemble well to accomplish this. And anyone attending this show will not easily forget the transition into Nino’s place of employment. That’s all I will say about that. However, I did find myself wanting more in a few other scenes where the pace of the show got somewhat halted by the sound of the wheels of set pieces moving abruptly. These instances were few and far between.
When using canned (pre-recorded) music, as opposed to a live band, there are specific challenges that arise especially with balance. While the balance was labored in some songs over others, it would appear that the Sound Designers (MEGAN WOOD and ZACHERY WOOD) navigated this pretty well. There is a part of me that wonders if this could have been combatted more efficiently with live musicians. The sound designers’ inclusion of all the other sound effects throughout the show seemed perfectly placed and aligned the sound design quite appropriately with the fanciful nature of the show.
The Lighting Design of this show similarly worked in coordination with the other elements of the show to bring forth the colorful elements of the love story. The Lighting Designer (MATTHEW CREMEANS) did a wonderful job bringing forth the colorful aspects of this story. There were some instances throughout the show where we lost the lighting of key players faces, and this may just be a symptom of such a quickly transitioning show, but overall it appears that the lighting design brought Wood’s vision to life appropriately.
RYAN FILPANSICK and ALEXANDER STIMSON’s costume design was everything. It provided the show with the perfect amount of nuance to bring forth the characters of the story which are at the heart of this story. From Gina Well’s stark, black domineering get-up to Georgette’s newsprint dress placed opposite that lovely green blouse; this team understood the assignment.
Amélie Poulain (FAE HALL) is at the very heart and soul a dreamer. We are forced to fall in love with her naivety, and all of her eccentricities. HALL fits the bill perfectly, bringing comedy and mischief to the character flawlessly. Her incredible singing voice offers moments of nuanced interpretation. She is beautiful. She is lovely. And her performance, though not what we have come to expect from the role, was memorable in the best of ways. HALL’s interpretation of Sister’s Pickle was among some of the best I’ve ever seen.
Similarly, Nino Quincampoix (ADAM COGGINS) interpretation was impeccable. I have had the opportunity to see COGGINS onstage a few times, but in this role, we really got an opportunity to see just how sophisticated his acting chops have become. He is tender, flighty, argumentative, and beautiful in many moments of the show and transitions through these emotions wonderfully. And if that’s not enough to hate him for, there is that silky smooth tenor prowess that just floats out of his instrument effortlessly.
Let’s talk about Suzanne Sacripant (LELE MILLER), Gina Wells (TAYLOR BOES), and Georgette Cornuel (ANNIE LESLIE). These three women were absolute standouts in this production. MILLER’s interpretation of Sacripant is boisterous, and comical, is all about the timing which she conquers perfectly. BOES’s Wells may be my favorite part of this entire production. She is shrill, calculated, and could honestly teach a masterclass in diction. And when she sings, it is pure beauty.
Finally, LESLIE’s interpretation of Cornuel is hilarious. From her constant gagging to her impromptu bathroom trysts she will leave you in absolute stitches. But her superpower is her crystal clear, beautiful singing voice which is unrivaled by anyone in this production. Together these strong, beautiful, musically adept women come together to provide the most memorable moment of the night with their rendition of “A Better Haircut” which I may or may not have been listening to all day today and wanting a recorded version of their rendition. It was THAT good! Congratulations ladies.
Other standout performances include AVA MCQUADE’s Young Amélie. She is absolutely fantastic and sets the tone of the show early on. JESSE GLENN and LISA TREECE’s interpretation of Amélie’s parents is spectacular. GLENN’s immovable personality and TREECE’s beautiful soprano voice complement each other quite nicely. EMMA ORR’s imaginary friends are terrific. You will not be able to unsee her dying face as the goldfish or her goofy, high-energy interpretation of the gnome too easily.
JORDAN CLIMIE’s Dufayel is truly incredible. He is a beautiful character that Amélie encounters, and his interpretation is absolute perfection. He is the perfect mentor for her and may have made me cry when he pulls out the painting at the end. HALLE HOOVER’s puppeteer is beautiful, balletic, and just the perfect amount of nuanced whimsy to tie all of the characters in Amélie’s universe together. GRAHAM PARKER and JASON BROWNFIELD provide wonderful comical relief. PARKER’s Jenuet is specifically memorable, and he brings an uncontested charm to the character. Finally, LEROY RUSS’ remarkable singing voice brought forth a beautiful, tender nature to the characters in Amélie’s head.
But perhaps one of the best facets of this show is the truly hard-working ensemble who effortlessly brings forth all of the moments of Amélie’s imagination to life. SARAH EDGERTON, TESSA ISSACSON, RHEA TREECE, TODD CLEMONS, MICAH BLUMNER, AUDRA AUSTIN, LEVI BROWNFIELD, KAT GEE, ALEXANDER STIMSON, and JESSI ELDRIDGE work together to bring countless characters to life. ELDRIDGE’s many distinct characters are specifically noteworthy.
Zachery Wood has truly outdone himself with his incredible rendition of Amélie. The finished product is full of beauty and authenticity. Megan Wood is credited as dramaturg, and the authenticity lends to a terrific amount of work on her part. While the artistic choices of the production draw in the most daft of theatergoers; the incredible vocals, coordinated by CHRISTOPHER RODRIGUEZ, should not go unmentioned.
Amélie continues at Flint Community Players through January 21st. For tickets, visit flintcommunityplayers.com or call The Box Office at 810-441-9302.
Glam, sparkle, rock, and man-eating plants—who could ask for anything more on a wintery night? Flint Repertory Theatre treats the community to a two-night event of the cult-classic Little Shop of Horrors In Concert. Act quickly, so you can catch the final show at 8:00 p.m.!
Playing at the Capitol Theatre this fun and campy adventure shifts the audiences’ favorite musical to the 1980s with the help of wonderful costumes by Whitney Loche and an atmosphere designed by Eli Sherlock. Just because it is “In Concert” take note—the director, creative team, and actors went all out with atmosphere, costumes, props, and choreography. The only typical thing that was missing from the production was the puppetry of Audrey II. However, director Michael Matthews had a plan for that! More in a minute.
Pulling Actor’s Equity, this is a STRONGLY voiced show! So many powerhouses that push the music from Broadway show and movie to the next level. Side note, if you only know the movie, there is one plot difference at the end so be aware. You cannot walk away from this show without a smile on your face, respect for the actors, and a bounce in your step, despite the topic at hand.
Two particular actors that stood out for this reviewer were Jason Veasey and Terren Wooten Clarke. Veasey plays Orin and all other side characters in the show—from the street bum to multiple agents. Veasey did amazing with ALL of these creations! But it was indeed his Orin that stood out with so much weight to his voice and demeanor toward Audrey that one has not seen before. Being in concert, as egoistical Orin, Veasey was the only character that breaks the fourth wall to get praise and cheers from the crowd. For some shows, it could have been distracting, but for this one, it completely works!
Terren Wooten Clarke as Audrey II is the other that stands out—figuratively and literally. If the music or acting of the other character is what brought you in, Terren’s Audrey II is what will keep you there until the very end. One finally gets to see the voice and character all in one, as Terren’s physical body is the plant growing through the three stages of the show. This is helped with such fun costumes and make-up. The versatility of drag adds just another layer to rectify having a female Audrey II voiced by a male and making it work.
On the flip side, this reviewer struggled with Lesli Margherita’s Audrey. Not sure if it was character choices or trying something different with this 1980s version of Little Shop… too many times there was too much of a nod to the original Audrey–Ellen Greene’s portrayal crossed with Carol Burnett’s secretary character Mrs. Wiggins, a nervous twitch, and the belting shouts of Cher during “Suddenly Seymour.” Either way, I was missing the deep-down sweet woman who still dreams of that white-picked fence home and family despite everything life has dealt her.
Another tricky spot in this 1980s show is the lyrics to “Somewhere That’s Green” Due to the multiple 1950s and 1960s references like Howdy Dowdy, Donna Reed, 12’ screen television being a big deal, it was hard to stay in the 1980s world. Realizing one cannot change the lyrics to Howard Ashman and Alan Menken’s work, I wish there would have been a way to guide younger audiences through these cultural icons so as not to lose the meaning of Audrey’s “I Want” song.
With that being said, Little Shop of Horrors in Concert is still an amazing show that is silly, heartwarming, and so talented and fun. And yes, feel free to break out your 1980s clothing for a chance to win your own Audrey II. Another option is to get an “Audrey II” cocktail or mocktail at a local bar Poprox nearby.
The final concert show is tonight, November 18, 2023, at 8:00 p.m. at the Capitol Theatre downtown. Tickets range from $10-$40 and can be bought through tickets.thefim.org. So whatever you are doing—go see the show!
Flint Area Theatres 