FCP’s Amélie Isn’t Hard for Dreamers as it Breathes Life and Love into the Flint Community.

Review by Stephen Visser

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.

Amélie features music by Daniel Messé, lyrics by Nathan Tysen and Daniel Messé, and a book by Craig Lucas. We’ve come to expect a level of charm from the Flint Community Players. From their message board that deconstructs whatever show is currently on the marquee to the floating Playbills© that offer a glimpse of the rich cultural texture that the organization has provided the community for the last 95 years; we can always count on FCP to provide a delightful night of theatre. And Director Zachery Wood’s fanciful and beautiful rendition does not disappoint.

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.

But Whatever They Offer You….Go See This Show!

Review by Bethany Leslie with Mary Coggins

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!

[TITLE OF REVIEW] or [A TWINK ATE MY SHRIMP WELL]

Reviewed By: Stephen Visser

On Thursday evening, The Flint Community Players opened their 95^th season with Hunter Bell and Jeff Bowen’s adorably kitschy [TITLE OF SHOW] to a sparce, but appreciative audience. [TITLE OF SHOW] is presented as part of Flint Community Players’ Ghostlight Series, which provides theatrical offerings to the community that are concerned with the human condition. [TITLE OF SHOW]’s inclusion in this series seems a natural choice as its powerful script delves deep into the challenges of the artist throughout the tumultuous creation process.

Director Matthew Cremeans has assembled a formidable troupe of players to embody the wild and zany characters written by Bell and Bowen beautifully. Leading this troupe is Maverick Purdue in the role of Hunter Bell, the struggling author. Purdue’s calculated comedic timing, and silky-smooth singing prowess give him authenticity in the role. Most notably, his rendition of An Original Musical is innovative and left the audience in absolute stitches.

LeRoy Marvin Russ takes on the role of Jeff Bowen, the awkward composer, and writing counterpart to Hunter Bell. Russ’ rich, professionally textured high tenor singing voice brings an additional layer of beauty to an already beautifully written piece of musical theatre. Moreover, Russ’ introverted characterization of Jeff and Purdue’s extroverted characterization of Hunter seamlessly achieve perfected theatrical syzygy, and unwavering chemistry to flawlessly pull the audience into their wild three-week journey to the New York Film Festival.

The union also agreed to let us mention Larry played by the incredibly talented Zachary Nash. When Nash isn’t immaculately playing the beautiful music in this show; you can find him admiring the characters of this show from his keyboard as their story unfolds.

While the men in this production ultimately set the bar abnormally high; Dominique Eisengruber (Susan) and Jaqui Clarke (Heidi) managed to effortlessly trapeze across that bar unashamedly, bringing the perfect dose of comedy. Eisengruber is brilliant as Susan. She gives the perfect amount of cringe to the role with her unapologetic sexualization of literally everything. On Thursday, her comedic timing took the spotlight, as she had the entire audience belly laughing through her dialogue on skin flutes. You heard it here, friends. [TITLE OF SHOW] has it all.

Clarke’s unbelievably beautiful singing voice also captivated the audience. One of my favorite moments of the night was the intense silence of the audience as we all breathed in her emotional performance of A Way Back to Then. It was raw, authentic and honestly gorgeous. Take that, Sutton Foster! Similarly, to the lovely pairing of Russ and Purdue’s characters; Eisengruber and Clarke’s characterization worked flawlessly together.

Music Director Wesley Ricketts has clearly dedicated much time to fine-tuning the solo numbers in this show, because there wasn’t a single performer who didn’t provide us with an incredible solo performance. Having said that, on Thursday there were certainly moments of disconnect among the troupe when harmonizing all together; and the sometimes-jarring choral singing posed an interesting juxtaposition to the strong solo performances.

[TITLE OF SHOW] features a whole slew of local designers; all of which contributed to the success of this production. Congratulations to Alexander Stimson, Ryan Filpansick, Thomas Kittell, Kirolous Meshraky, Levi Brownfield, Molly Boze and Diana Waara for their contributions to the local theatrical scene. Supporting local artists and valuing their contributions is crucial to the longevity of local arts initiatives. Support these local artists.

Overall, this was such a fun, high-energy night of community theatre. [TITLE OF SHOW] continues at The Flint Community Players through November 12^th. For tickets, visit flintcommunityplayers.com or contact The Box Office: 810-441-9302. Support local theatre.

‘She Kills Monsters’ opens the UM-Flint Theatre season

Reviewed by Bethany Leslie

Escapism can be a lifesaver when life is just too hard to face. This is especially true during one’s teenage years of getting to know who you are and coming to see the beauty in one’s power. If one adds on struggles with family, friends, society, death, sexual orientation, or more—fantasy worlds can help. Be it from books, movies, or role-playing games like Dungeon and Dragons.

This game, or more so the balance between reality and fantasy, is the backdrop for the University of Michigan-Flint’s season-opening show She Kills Monsters. Directed by Associate Professor of Theatre Janet Haley, and written by Qui Nuygen, this timely story and journey is such a formidable choice for a present-day college student.

In the real world, the audience is introduced to two sisters– Anges (the plain of the plain) and Tilly (adventurer). However, tragedy strikes and leaves Anges behind to deal with life, pain, confusion, and grief. While cleaning out her sister’s things Anges comes to find her sister’s D&D notebook. With the help of high school kid Chuck as the dungeon master, Anges reluctantly journeys into the fantasy world that Tilly created. Anges ends up finding out who is her sister really—her friends, loves, and perspectives. Anges also finds that she has elements of herself she has to rediscover and find the strength in herself to kill her monsters—literally and figuratively.

There is such beauty in the bond between these sisters, so well played by Layna Bollwitt (Anges) and Bethann Sampson (Tilly)—giving to fights, understanding, care, love, and forgiveness. Then it was also fun to see the D&D characters playing out their travels and battles. One particular shout-out is to Leo Clark’s portrayal of Orcus. His comedic timing was spot-on and such a joy to watch.

Since the script takes the audience through various places, in real life, and throughout Tilly’s D&D journey, it was smart to have a one-unit set, designed by Lisa Borton. With the floor that looked like a Narnia or Lord of the Rings type of map and several books on their side as platforms, this lays the foundation for the story perfectly. To help with the magical and fantasy moments, the choice to use a backlight scrim and puppetry was well done. For the most part, this played well along with the other lights designed by Doug Mueller to direct the audience to know which world one was in—fantasy or reality. The costumes were also such a key aspect to the characters, especially those in Tilly’s world. With the script giving such details of personalities through their garments, Jane Lafleur rang true to that vision with her designs. The last bonus, to those who grew up in the 1990s, is all the music, various iconic references, and dancing. These elements brought us right back to our childhood, though may go over the 2020s generations’ head.

While there were a few minor bumps and tightening of the cues that are needed, this reviewer passes that off to opening night jitters. The material, scope, and beauty of the messages are all there and so worth the experience, even if one is not D&D knowledgeable.

She Kills Monsters continues their run October 28-29 and then again November 3-5, 2023, at the University of Flint Theatre. For tickets, call 810-237-7333 or go online at
https://tickets.thefim.org/shekillsmonsters.

“Into the Woods” Brings Fairy Tales To Life

Reviewed by Kathleen Kirby

Most folks have heard a fairy tale or two, so the attraction of Into the Woods, the Stephen Sondheim – James Lapine musical that opened at the Frankenmuth Community Players Friday evening, is pretty clear.

Watching the likes of Cinderella, Red Riding Hood, and Rapunzel come to life can be fun and intriguing all at once. As in all good tales, a narrator tells the story. Kevin Profitt plays both the Narrator and a Mysterious Man who pops up now and then.

The show begins with the “Into the Woods” Prologue that introduces the characters. Beginning with Cinderella (Lauren Masud Visor), we then meet Little Red Riding Hood (Hope Bellows), Jack (Liam Hamilton-Kraft) and his Mother (Louann Sscherzer) of beanstalk fame, the Witch (Madison Griffin) who imprisoned Rapunzul (Selah Rice) and two Lapine-invented characters the Baker (Jeremy Love) and his Wife (Bethanne Schmidt).

Contrasts abound with Rice’s Rapunzel portrayed as continually wistful but with her lovely voice echoing through the wood, while Visuri’s Cinderella is a bit spunky and certainly not shy. Griffin’s Witch nearly steals the show with her continual intrusions and amazing voice.

Love and Schmidt anchor the story with their quest to break a curse. Given three days to find a red cape, a white cow, a yellow lock of hair and a golden slipper, they head into the woods and the plot begins to thicken.

By the end of act one, everyone seems to have achieved their wishes as they sing “Ever After.” But then comes act two when all of the stories begin to unravel with Princes Charles Allport and Nicholas Osburn chasing more than one girl and an angry giant threatening them all.

Director Barbie Carr’s troupe carries their characters well, and even a few musical numbers are memorable. I liked the Company in act one with “First Midnight” and the Witch in act two singing “Last Midnight.” The Princes were entertaining also with their versions of “Agony” in both acts.

Overall, with much of this show sung and with lyrics crucial to the story, the diction Friday was not as good as it could have been. The program neglected to list the musical numbers and that would have helped as well.

Generally, as a debut performance, the group is to be applauded for their efforts. I am sure they will continue to improve and learn from their experience with this musical.

Into The Woods continues today and tomorrow (Oct. 14 & 15) at the Bronner Performing Arts Center, 525 E. Genesee St, Frankenmuth, MI 48734.

The Legend Comes to Life at The New McCree Theatre

reviewed by Sherrema A. Oom-Dove

The Legend of Bass Reeves at The New McCree Theatre comes to life in two acts depicting scenes from the legendary lawman’s life. This return production first premiered on McCree’s stage in 2022 and was written by Flint playwright and Executive Director Mr. Charles Winfrey. Ms. Pat Y. Hill and Ulysses Bailey co-direct it. Bass Reeves (July 1838 -January 12, 1910) was appointed the first African American Deputy U.S. Marshal west of the Mississippi River by Judge Isaac Parker sometime between 1875 and 1883. Parker was known as ‘The Hanging Judge’ for his tough stance on crime and the play is set in 1880s Indian Territory, which became Oklahoma Territory in 1890 (pop. 60,417), otherwise known as the ‘Wild, Wild West.’ Reeves, with his highly strategic mind and masterful disguise, conducted more than 3,000 arrests across his 32-year career, approximately ninety-four arrests annually, while meting out frontier justice. 

In 1863, Bass Reeves took the Emancipation Proclamation seriously and told his master, Confederate Colonel George Reeves of Arkansas, that he was free. The Colonel disagreed and Bass Reeves fought him in a bloody fight before escaping to Indian Territory where he lived among the Cherokee, Creeks, and Seminoles. He learned five Native American languages, as well as how to ride, track, and shoot (owlcation.com). After being deputized, he returned to Arkansas and was assisted by a Native American lawman (portrayed by Fred Fife).  

This production is in two acts that are narrated by Doc Spenser (Daniel Lopez). Act I takes place at Boley Saloon, which is busy with men playing cards and drinking (Isaiah Baker, Rodney Porter, Reese Watts, Jamel Williams, Dwayne Towns, Chris Winfrey), while saloon girls (Sheryl Venerable, Martre’ ‘Blue’ Roberts, Alverine Simpson, Tajuana Steward, AnastayzaCook) flirt with the men and encourage them to spend their money. A ‘Soiled Dove’ (Marilyn Jeffries) takes a paying customer to ‘a place more private.’ Flora (DaChelle McDonald) is co-owner of the saloon with the bartender (George Warren) and leads the entertainment in song and dance. When a man (Baron Garrett) brings in a disheveled young woman (Zacaria Anderson), Flora pays and dismisses him darkly, and takes the girl under her wing. Deputy U.S. Marshal Bass Reeves (Kenn Hopkins, Jr.) is undercover to apprehend the ruffians Jack Scampi (Ulysses Bailey) and Rufus Banks (Chris Young) who happen to be paying customers at the saloon. 

Flora is in charge and in character, McDonald owns the stage. Her long metallic brown skirt with decorative rosette panels swirls around her ankles as she dances. Her curls, the same color as her skirt and synthetic whalebone corset, bounce as she moves, singing and leading the revelry. Warren plays rousing tunes on his upright piano – having the Music Director double as Bartender works beautifully in this production. They play and sing, including songs like, ‘Dem Golden Slippers,’ ‘The Jim Crow Count Down,’ and ‘Grandfather Clock.’ The saloon girls echo the lyrics as Flora leads, swishing their royal blue, yellow, black, and ivory cancan skirts around their knees. Their legs, clad in floral- and stripe-patterned nylons, dance in time to the music. Their corsets and silky curls (expertly styled by Sharon Butler) complete the look. Together with the lighting and sound, the overall effect is one of beauty, warmth, joy, and freedom. It is near the start of a new century and these women are free to make their own money and love whom they will. 

Act II opens at Sewell’s Way Station where the sheriff (Isaiah Baker) is investigating a murder. Bass Reeves, disguised as a traveler, assists in questioning Mr. Johnnie McGruder (Chris Young) and Marjorie Sewell McGruder (Alverine Simpson) on the death of Mrs. McGruder’s sister. Wealthy folks from ‘back east,’ they are disdainful of what they deem to be the ‘backward’ ways of these western lawmen and comedically attempt to subvert the investigation. Prospector Glen Lever (aptly portrayed by newcomer Taylor Watts) is also a suspect. The cook (Michelle Bryant) is graceful and assertive in her innocence as she serves those who enter the transportation station on their way someplace else.

Certain moments stand out in this quick-moving production. Fife, as Reeves’ Native American ‘Posseman,’ bears a dignified, silent presence. He speaks via body language and facial expressions that are easily understood. Hopkins, Jr., as Bass Reeves, is commanding in his embodiment of the extraordinary lawman who was never wounded in the line of duty. Lopez brings energy to the narration and creates a sense of expectation.

Four characters played by Jasmine Crowder and Marilyn Jeffries are compellingly portrayed with gender fluidity. In Act I, Crowder plays a member of Rufus’s gang and in Act II, portrays José, a Mexican immigrant. With carefully constructed costumes, she wears these characters’ masculinity effortlessly and makes them believably real. In Act I, Jeffries plays a sweet, smiling Soiled Dove or prostitute; in Act II, she portrays Stagecoach Mary, the first African American woman to become a star route mail carrier for the U.S. Postal Service. Gun-toting and rough-speaking, Jeffries’ Stagecoach Mary is not to be trifled with.

In a post-show interview, Jeffries spoke of how grateful she was to have the experience of playing both roles, which was new in her repertoire as an experienced performer. ‘Everyone has been so supportive,’ she said. ‘Playing both of these characters was therapeutic for me.’  

Legend’s Stage Manager was Baron Garrett, who recently arrived in Flint after nearly a decade spent as a Motown vocalist performer in Knoxville, Tennessee. McCree’s professional Costume Designer Pat Y. Hill said that inspiration came from her lifelong love of Westerns. ‘My dad loved Westerns and I watched them with him; Gunsmoke, Rawhide, all the movies,’ she said during a post-show Q&A with the audience. ‘I’m still watching them and tweaking the costumes for things I see on screen.’  

Legend’slighting beautifully conveyed the scenes, per McCree’s expert Lighting Tech Kathy White, and sound was excellently administered by Sound Tech Eric Williams. Stage Constructer Reggie Bingham was assisted by Jerry Johnson and Janine Holliman, and beautifully portrayed locations of the American Wild West, as ensured by Art Directors Al Foster and Shauna Holcolm.

Audience members were exuberant in their praise. Austin Bishop, a theater student at the University of Michigan-Flint said, ‘The music was upbeat, and the show action packed!’ Although it was his first time at McCree, he said he was already making plans to return and audition for an upcoming show. Another audience member said, ‘I came last night to see this show and after I got off work today, said, ‘I want to go back and see it again!’’ Ms. Clara Blakely, a long-time audience member of McCree productions, said she enjoyed being in their new location. She was formerly a mentor of Kenn Hopkins, Jr., she said, and had come to see him portray Bass Reeves.

The Legend of Bass Reeves runs through October 14. Show times are Thursday, Friday, and Saturday nights at 7pm with a matinee on Saturday at 2pm. For ticket information, please see The New McCree Theatre’s website at https://www.thenewmccreetheatre.com/. 

For Flint Stages’ review on McCree’s first production of The Legend of Bass Reeves (September 2022), please go here.  

Clio Cast and Crew continue their 2023/24 season with an homage to Halloween.

Absolutely Murder

Reviewed by Mary C. Bontumasi

   The Clio Cast and Crew kicked off the Halloween season this weekend with the murder mystery “Absolutely Murder” by Guernsey LaPelley. Produced with special arrangement with Samuel French, Inc. and directed by Judy Harper, this play brings-to-mind the stories of Agatha Christie. It was a chilly evening, but a few die-hard theatre fans managed to make the trip and provided enthusiastic support.

   Starting with the great set designed by Rick Doll and Judy Harper, we are transported to an abandoned (gun)powder mill on a remote island. The two principles, Kate (Harper Court) and Sky (Alex Vokoun) enter on a stormy evening. They are there to help Kate’s Aunt Bess (Madeline Speed) decide whether to buy the property to renovate. Mrs. Ranch (Mary Powers) is the “real estate lady” showing the property. Also on hand is another suitor for Kate’s attention, Lane (Ryan Filpansick) who is a neighbor to the mill and would love for Kate to be close by so he can continue to date her and show his “color slides”. As the day continues, more people show up – Dr. Hooker (William Kircher) who is lost on his way to a mental hospital; with him are three “girls” (Emma Gagnon, Izabelle Arms-Whitman, Kim Norrington); the caretaker (Tim Maughtew) and his wife (Kathy Wilhite). Kate has a past that may have finally caught up with her, thus setting up the murder(s) and suspense. Court and Vokoun are very strong as the leads. They play well with each other, and you really feel the fear and love they have for each other. Mary Powers turns in another stellar performance – she almost sold me on the property! Kircher is convincingly suspect, and the girls are flighty and funny. The caretaker is just scary! Rounding out the cast are Carl Frost and Becky Wilhite. Their characters are instrumental to the plot, so I don’t want to give too much away! With grandmother, mother and daughter in the cast, you can see talent runs in the Wilhite family.

   If I had one complaint, it would be the lighting in the first scene. Kate is supposed to be practicing a speech in the (almost) dark. She only holds a flashlight to light her paper. Her face is in the dark most of the time. This may have been the director’s choice, but holding the flashlight on her face or maybe a small spot on her face would have made it easier for me to understand her. The rest of the lighting was great – the small lamps and subdued stage lighting fit the mood perfectly. There is one set change near the end that works very well. It is a year later, and the mill has been renovated, so the stagehands in special clothing change the furniture and wall hangings. Very cool!

   This show has it all – murder mystery, love triangle, suspense, comedy – a very enjoyable evening at the theater. “Absolutely Murder” continues next weekend, October 13 and 14 at 7:30pm and October 15 at 2:30pm at Clio Cast and Crew, 2220 W Vienna Rd, Clio, MI. Call (810)687-2588 for tickets.

MUCH ADO ABOUT NOTHING IS REALLY SOMETHING

Kicks off Fenton Village Players 23/24 Season

Reviewed by Amber M. Dillard

The bard was alive tonight in Fenton as the Fenton Village Players opened their 51st season with a production of Much Ado About Nothing by William Shakespeare and directed by Shannon Emmons. One of Shakespeare’s beloved romantic comedies; complete with overheard conversations, the case of mistaken identity, and of course the cynical bachelor/bachelorette who secretly hopes for love should have been a rollicking good time.  The title of this show might seem random, but it is actually a pun.  Nothing, pronounced as noting in Shakespeare’s time, refers to gossip and rumor which the main plot is centered around.    

The story focuses on a group of soldiers, including the Prince of Aragon, Don Pedro, (Calvin Ito) returning from a glorious military campaign, and deciding to spend time with Leonato, the governor of Messina, (effectively played by Bart Allen Burger) at his estate. Along with Don Pedro, comes his half-brother Don John (played expertly by Jason M. Lesiewicz), Claudio (played adeptly by Julie Ross), and Benedick (played skillfully by Zach Whitt).  The time period of the show was unclear and the entrance of the soldiers left the audience wondering what war they were returning from.  From the beginning of the show to the end, nerves were apparent and lines were fumbled.  It was clear that the cast was not comfortable with the language of Shakespeare. 

Soon after, we meet the ladies of Leonato’s estate; including his daughter Hero (Ashley Putnam), his niece Beatrice (Kaitlyn Honnen), and their gentlewomen Ursula (Bethany Folland) and Margaret (Emily Matticks).  Claudio and Hero instantly fall for each other and their wedding date is set, while Leonato, Don Pedro, and Claudio assume the task of bringing bachelor Benedick to admit he is in love with Beatrice and Hero and Ursula take on the role of matchmaker for Beatrice.  However, Shakespeare wouldn’t be Shakespeare without a plot twist; therefore; the path is set for a jealous Don John to hatch an evil plan with the help of Borachio (Nick Brazeal) and Conrade (Madison Whitt) to discredit Hero’s virginity.  

The plan goes off without a hitch and Hero is slandered in the church by Claudio.  Only Benedick rushes to aid the women and challenges Claudio, which only deepens his unspoken love for Beatrice.  Luckily, a drunken Borachio boasts of his part in the evil plan and is overheard by the members of the watch.  These two comedic characters, Seacole (Dani Beslagic) and 1st Watchman (Bethany Folland) brought about the only laughter and comedic play within this comedy.  This reviewer cannot say enough good things about their scenes.  Borachio and Conrade are brought forth to the local constable, Dogberry (Richard Hingst) and his assistant Verges (Don Stork) for their sentence.  Kudos must be given to Mr. Stork for taking on this role with little notice. 

The play ends happily though when Leonato’s brother, Antonio (Pedro Melchor) pretends to allow Claudio to marry his daughter after it is revealed that Don John has been the mastermind behind the plot to ruin Hero’s reputation and the truth has been uncovered.  Benedick and Beatrice also end up finally admitting to their love and marry alongside Hero and Claudio.  The ensemble is rounded out by Laura Slack who adds a level of spunkiness to the household of Leonato.  

The run time for the show is over 3 hours and dragged on including some unnecessary blackouts without any scene changes.  There was no sense of urgency even from the characters whose lives were sent upside down.  The special touches before and during intermission added a level of sophistication to the show and greatly highlighted Fenton Village Players’s community mindset.  While opening night was a little shaky for the cast and crew, I 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! I definitely recommend making the drive out to Fenton to see this production.

Much Ado About Nothing continues through October 8 at the Fenton Village Playhouse, 14197 Torrey Road, Fenton, MI 48430.  

“Rain on Fire” Premieres at Flint Repertory Theatre

Reviewed by Kathleen Kirby

Michigan’s Upper Peninsula is a place onto its own. Filled with forests, small towns, history and often breathtaking scenery, it also experiences its own angst.  Playwright Karen Saari’s script describes the range of living in Rain on Fire as well as the love, fear, fun and frustration that can characterize the likes of a place like the “UP”.

            One family is facing grief caused by death and addiction. Marie Peterson (Sarah Price) has returned home to plan her opioid-addicted mother Lorraine’s funeral. Having lost her father only two years before, she is of course sad and unsure about the future.  Her aunt Nan Peterson (Karen Sheridan) arrives to offer solace and help if needed.  At first she seems a positive presence but that will begin to fade later.

            Marie’s cousin Caleb Peterson (Bello Paolo Pizzimenti) also wanders in, guitar in tow.  A meth user, he seems nervous and although genuinely wanting to help, he is also clearly distressed. It is through him that Marie learns her mother wrote a poem, and her last wish was for he and Marie to sing it at the funeral.

            When Gloria Pizzi-Ramirez (Jazmine Kuyaki Broe), a physician’s assistant, knocks on the door, we are introduced to the outsider who has been calling on Marie’s mother, Rain.  While having access to medical help would seem good, Marie seems to feel more concern here about her mother’s illness.

            Nan’s husband, Eino Peterson (Mark Gmazel) offers help and as part of the family he seems anxious to be of service. He may also be keeping an eye on Nan. We hear him come and go as his truck revs outside, an interesting touch.

            Finally, we meet fiancé, Chuck Thomas (Kevin O’Callaghan). Chuck is the father of Marie’s son. He is clearly a good influence. His demeanor is well apart from the Peterson clan and will be part of a positive outcome.

            Many moments will be remembered here. There is sorrow but also there are surprisingly funny occasions as well.  The impact of drugs on small towns especially ones like these in the fairly isolated areas of the UP is scary and intriguing at the same time.

Marie and Caleb’s duet at the funeral is wonderful. They may not come together on much, but they certainly did on this moment. Nan and Eino wrestle over their influence on ‘Rain and that outcome, but they seem to survive together. And, ultimately, we may hope to see Chuck and Marie headed for a life together with their son.

Rain on Fire is definitely an unusual show and one that stands visually apart from much that we have seen at the Elgood. The set alone is unique with its two-story house and main room filled with boxes and litter. Then there’s the outdoors with working hose, grass and wading pool! Kudos go to Shane Cinal for this scene design, and also to Ted Schneider for his ability to move players around with such skill and reality.

We urge folks to take advantage of the next two weeks and find a time to see this show. It will definitely be worth it!

Rain on Fire runs through October 1 at the FIM Elgood Theatre. Tickets are available at 810-237-7333 and online at www.tickets.thefim.org

Flint Community Players Open 23/24 Season

PIPPIN

Reviewed By Maggie Harmon

          It was a gorgeous autumn night in Michigan, full of anticipation, excitement, fun conversation, and lots of laughs!  And THAT was just during our ride to the Flint Community Players Theatre to attend their opening night of their 95th season with PIPPIN, a musical story by Roger O. Hirson, music and lyrics by Stephen Swartz.  It originally hit the Broadway stage in 1972, directed and choreographed by Bob Fosse.  FCP’s director/choreographer, Colorgio Romello had BIG shoes to fill!!  He did not Disappoint!

          This production, presented through special arrangement with Music Theater International, hit the stage with the electric calm, commanding presence and strong voice of the character called LEADING PLAYER (Harvey) with “Magic to Do”.  Leading Player was soon joined by the vocally astounding, energetic troupe of characters who help tell the story of PIPPIN.  In this number, and often throughout the performance the lighting seemed a bit wonky.  It could have been better used if the cast would have moved into their light.  Although I knew this production was going to reveal some of the backstage action, the occasional stagehand movement during onstage business was a bit distracting.  However, I found there wasn’t a terrible clinker in any of the remarkable scenes and songs throughout the production.

          A wee bit of the story….Pippin, a young prince (played beautifully by Emma Orr) leaves his father’s castle to go out in the world to find himself and his mission in life.  With that said, let me offer a few of the memorable songs, scenes, and characters:

          KING CHARLEMAYNE (Jordan Climie) explains to Pippin that “War is a Science” with full, strong, manly voice and comical choreography.  We soon learn that the King is a commanding BUFFOON! Leading Player and Co. present “Glory” with pretty good moves, including the highly anticipated (by this reviewer) iconic dance number by Fosse, “The Manson Trio”, sadly lacked precision.  We then meet Pippin’s Grandma Berthe,(Joy Bishop), who, with Pippin, show their love together in thoughtful acting and choreography.  Grandma’s flowing costume and achingly beautiful choreography show that she is a woman not ready to be categorized as elderly. Her rendering of “No Time at All” was simply breathtaking.  Some wonderful comic relief was presented by Lele Miller as FASTRADA, Pippin’s stepmother in “Spread A Little Sunshine” who unabashedly delights us all in this fun number.  Pippin makes a tragic decision which throws him into extreme confusion and doubt.  He is then joined by LEADING PLAYER and Co. who finish Act One with the BEST ensemble song of the show, “Morning Glow”.

          Pippin, now King, still confused, leaves his throne, even though LEADING PLAYER tries to get him on the “Right Track”.  Along his journey, he meets the beautiful CATHERINE (Dominique H. Eisengruber) who performs “Kind of Woman” with a strong, pitch perfect voice full of confidence and kindness that Pippin realizes he had lacked from his father.  He then presents his best song of the show -”Extraordinary”.  Maybe now he can rule the kingdom? He leaves, but Catherine and her son, THEO (Ava McQuade) find him in time before he throws himself into the fire.  They reunite in love at the end of the FINALE  with everyone back onstage.  This director (Gio) knew exactly how to push his cast and trust his audience to stay enthralled!

          PIPPIN continues with 8 more performances between tonight Sept. 15-24th.  Call the box office @810-441-9302.  The theatre is located at:

                                        2462 S. Ballenger Hwy

                                        Flint, MI 48507