The “Bee” began on a small stage Off-Broadway and received such a great response that it moved quickly to a bigger house on the Great White Way. Having seen it on both sizes, trust me that it plays much better on a small stage with the audience in close proximity.

Spellers (from left: Matthew Dailey, Erica Wilpon, Caitlin Mesiano, Nick Laughlin and Dave Adamick. Kayla Roy is missing) get ready for "The 25th Annual Putnam County Spelling Bee."

The 2005 Tony Award winner for Best Book in a Musical starts off with a bang as the six middle school contestants take their places under the careful eyes former Bee winner Rona Lisa Peretti (Sophie Grimm ) and a vice principal just returned from an enforced leave of absence, Vice Principal Douglas Lanch (Ari Frankel). Each has their own story to tell, their own hidden (and not-so-hidden) agenda and their own unique way of approaching a spelling word.

Logainne SchwartzandGrubinierre (Erica Wilpon) writes on her forearm before spelling audibly; Olive Ostrovsky (Kayla Roy) spells into her cupped hand prior to facing the judges; Marcy Park (Caitlin Mesiano), who can speak six languages, steps up rapidly, spells quickly and sits down swiftly; Chip Tolentino (Nick Laughlin) is sabotaged by his “unfortunate distraction”; Leaf Conybear (Matthew Daily) is sure he can’t spell but each word comes out basso profundo; and William Barfee (“that’s BarFAY”) (David Adamick) has a “Magic Foot” with which he writes each word on the floor before spelling aloud. Mitch Mahoney (Zachary McConnell) is the “comfort counselor,” as part of his community service, and greets each eliminated speller with a hug and juice box.

Each performance four “spellers” are pre-selected from the audience and are a part of the contest until each is eliminated. How long each remains depends on how long it takes Panch to find a word he/she can’t spell.

In charge of the contest, Peretti recalls her win as the happiest moment of her life and Panch reads the word and supplies its origin and a use-in-a-sentence  definition when requested.  His definitions supply the largest and longest laughs throughout Act I.

William Barfee (David Adamick) gets ready to put his "Magic Foot" in action during "The 25th Annual Putnam County Spelling."

If the score is not familiar, each song becomes a treasure in itself as the contestants reveal their hopes, fears and hidden feelings throughout Act II. Each of the performers totally embodies the individual highs and lows of his/her character and succeeds in connecting with the audience almost instantly.

Director/choreographer Scott Michaels keeps the pace crackling along while David LePors set, Stephen R. Hollenbeck’s wonderfully quirky costumes and Fritz Bennett’s lighting design enhance the action and the characters as always.

The four-member band, lead by musical conductor/keyboardist Thomas N. Sterling, is as good as always and, unfortunately, marks Sterling’s finale at the Wheel. He will be missed.

“THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE” plays Tuesday through Saturday in the theater at 2517 E. Center Street in Warsaw. For performance times and reservations call (574) 267-8041.

Surprise, then, that I found this 400-year-old work (first on stsge in 1611) a real delight. Of course, the high standard of all NDSF offerings is still obvious in the external aspects of this production. Costumes, set, lighting, staging and original music are all, as expected, level with the best.

Posthumus (Wardell Julius Clark) and Imogen (Margie Janiczek) are torn apart by the Queen (Siiri Scott) in the Notre Dame Shakespeare Festival production of "Cymbeline."

Minimal research into the origin and heritage of “Cymbeline” reveal that it has been revamped and rearranged act-wise too many times to count since that 17th century debut. So it really doesn’t matter which of its formats has been chosen by director Jay Paul Skelton, since the one on stage through Aug. 29 in the Patricia Decio Theatre in the DeBartolo Performing Arts Center is strongly performed and has enough of everything — romance, intrigue, treachery, battles and, in a denoument in the best romance novel tradition, a happy ending.

There is little chance of explaining the entire plot in this limited space. Once underway,  however, it is quite easy to follow. The title is the name of an ancient British king (John Neisler) whose only daughter, Imogen (Margie Janiczek), has married a non-royal Posthumus (Wardell Julius Clark) rather than Cloton (Ian Paul Custer), the loutish noble he has chosen for her who just happens to be the son of widowed Cymbeline’s second wife, the also-widowed Queen (Siiri Scott). The Queen, of course, has her own agenda, with all plots leading to the throne.

In true Shakespearean tradition, Cymbeline banishes Posthumus, who heads for Italy leaving his faithful servant Pisanio (Christopher McLinden) to keep an eye on Imogen. What he does is help her fake her death so she can follow Posthumus dressed, naturally, as a boy.

The plot thickens when Imogen encounters Polydore/Guiderius (Joshua Jeffers) and Cadwal/Arrivagus (Devin Preston) who have lived in a cave in the woods with Belaria (Maureen Gallagher), a former general of Cymbeline’s. Of course, the two boys are brothers Imogen thought dead, kidnapped by Belaria as payback when unjustly accused of treachery.

There is more — a lot more  —  but it unfolds with amazing clarity and arrives with final explanations, reunions, pardons and a declaration of peace, all within the last moments of the two-hour (including intermission ) production.

Although the action takes place in early England, Wales and Italy, scenic designer Marcus Stephens has created a pseudo Arabian Nights setting, the aim of which, according to program notes, was “to create a timeless world.” Combined with Kevin Dreyer’s lush lighting design which defines each locale and the elegantly graceful and equally defining costumes by Richard E. Donnelly, it definitely achieves its goal.

The company combines professional, community and student actors who talents allow them to blend seamlessly (and who deserve extra applause for working on the raked stage, which is probably the reason everyone is barefoot).The realistic fight sequences are directed by Kevin Asselin who also played the villainous Iachimo.  All are listed in the program as “ensemble,” whether they play non-speaking roles or leads.

The program bears the slogan “World-class theatre. Right next door.” It could not be more correct.

“CYMBELINE” will be presented through Aug. 29 in the theater on the University of Notre Dame campus. Tickets are $12 to $35.  For times and reservations, call 631-2800.

Some of its selections are very good, some not so, but they all tackle subjects that most community theaters, which keep their eyes on the box office bottom line,  wouldn’t  consider.

AnnMarie Kneebone and Jeff Blair in New World Arts production of "Love Lies Bleeding."

Friday evening (appropriately the 13th), NWA offered “Love Lies Bleeding,” a contemporary piece by Don DeLillo. The title refers to a flower common to the Southwest as well as to the struggle facing three characters who must make a decision about the future — long or short — of its major protagonist: an artist  in his senior years who has suffered two paralyzing strokes and now exists in “a persistent vegetative state.”

Gathered around Alex (Jeff Blair) are his current (fourth) and very young wife Lia (Stephanie Honderich),  his age appropriate second wife Toinette (AnnMarie Kneebone), and Sean (Jaron Kennel), the son of his first marriage and his “only blood relative.” Together and separately they share memories of Alex and recall the ties that bind. . .or not.

The arguments are nothing that have not been/are being debated in the courts, the press, the pulpit and the theater (think Dr. Kevorkian, “Wit” and “Whose Life Is It Anyway?”). As always, any answer is not definitive.

Toinette and Sean favor providing Alex with a morphine-assisted immediate demise. Lia  is against it initially but, if not completely convinced, goes along with the majority decision. Alex, of course, has no say although he does leave his chair and enter the action to converse in absentia with each of his wives and even relives his glory days as an artist with Toinette.

“Love Lies Bleeding” was presented originally in 2005 by a contemporary theater in Boise, Idaho and moved to Chicago’s Steppenwolf Theatre and Washington’s Kennedy Center in 2006. This production is its Michiana premiere.

The setting is minimal, both past and present, and the dialogue more representative of a debate than anything resembling impassioned pleas. Each character has its say, with Alex popping into the scene and back to his sedentary chairbound position as needed.

The fault is not with the actors, who carry out their respective assignments competently. It is with the script which treats a subject that, because of its very nature, calls up deep emotions, with almost complete and dispassionate stoicism.

Next up at NWA is “The Pillowmam.” a play by Martin McDonagh scheduled  appropriately for the Halloween season, which is guaranteed to be anything but stoic!

“LOVE LIES BLEEDING” plays at 8 p.m. Friday and Saturday in the theater on Second Street (entrance and parking on Third Street) in Goshen.

The current Ramada Wagon Wheel Theatre production, “The Importance of Being Earnest,” is set in 1895 London. It plays through Aug. 14. There are only two opportunities left, however, to catch Elkhart Civic Theatre’s summer blockbuster musical, “Meet Me in St. Louis,” set in that city in 1903-04, which plays tonight and Sunday afternoon in the Jimtown High School auditorium.

“Earnest” displays the wicked wit of playwright Oscar Wilde. “St. Louis”— a 1989 Broadway musical based on the 1944 film — is filled from overture to skyrocketing finale with a warm look at the Smiths, a middle class family in a midwestern city which is  about to become, as one of the children puts it, “The center of the universe,” thanks to the 1904 World’s Fair.

The cast of the Elkhart Civic Theatre production of "Meet Me in St. Louis."

This production has one of the best orchestras ever heard in a community theater pit. From the opening  measures from the excellent brass section, it was possible to settle back and just enjoy the production without fear of the unfortunately too-common off notes. Under the director of Mark Swenden, the 14-piece orchestra was an integral and positive part of the show, supporting singers and dancers, providing melodic cover for the many scene changes and offering an overture and entre act that were worth listening to on their own.

Visually, director Michael Cripe and set designer John Jay Shoup collaborated to recreate the Smith home with its attendant architectural curls and flourishes, allowing it to open and close as needed to move the action from interior to exterior.  Cripe and Dawn Blessing are responsible for the creation and visual impact of the many costumes, elegant and colorful and moving easily whether on a trolley ride (and there definitely is a moving trolley!) or at a Christmas ball.

Cripe also has assembled one of the strongest vocal casts in recent memory. Kristen Riggs as Esther Smith takes on the role that is a signature for Judy Garland and makes it her own. Not only does her warm soprano add lustre to “The Boy Next Door” and “A Merry Little Christmas,” she blends beautifully with Jacob Medich as John Truitt, that boy and the object of her affections, in a duet “You Are For Loving,” which is not in the film.  The duo also hits just the right notes in their slowly blossoming romance and Riggs interacts with other Smith family members as if they really were her own.

Kristen Riggs of Esther Smith in the ECT production of "Meet Me in St, Louis."

Among the eight songs written to augment the movie score are “Whenever I’m With You,” a peacemaking tune that connects all the family members; “A Day in New York,” in which Mr. Smith (Richard Fansler) paints a picture his family doesn’t buy; “The Luck of the Irish,” with Katie (Jennifer Medich), the Smith’s Irish maid, offering romantic advice to Esther and her elder sister, Rose (Alex Pote); and “Wasn’t It Fun?” as Fansler and Stephanie Yoder as Mrs. Smith recall their years together.

Pote is another lovely soprano who is a pleasure to watch as well as listen to. The younger siblings — Amelia Greene as Tootie and McKenna Kaczanowski as Agnes — handle their assignments like veterans, especially in the Halloween sequence.

The men of the family — Fansler, Tyler Miller as son Lon and Charles Arnold as Grandpa Prophater — and Justin Williams as Rose’s about-to-be-fiance Warren Sheffield, also are strong vocally, with Fansler’s vocal outline of Manhattan a real show-stopper.

Then, of course, there is the trolley, which does run on stage more than once while the hardworking stage crew disposes of the Smith house. And the 1904 Fair fireworks do not disappoint. Technology is wonderful!

Whether you’re a fan of the film or have never seen it, this production bridges the years between screen and stage and does it with lovely music and heartwarming fun, making this St. Louis the perfect place for a family outing.

‘MEET ME IN ST. LOUIS” plays at 7:30 p.m. today and 3 p.m. Sunday in the Jimtown High School auditorium. Tickets at the door.

Such a play is “The Importance of Being Earnest,” a brilliant, satirical look at the follies and foibles of the English upper class at the turn of the century — the 19th century, that is — by Oscar Wilde, one of only two playwrights of that era whose works still are played and replayed today. The other is George Bernard Shaw.

The company of "The Importance of Being Earnest" opens the Oscar Wilde comedy with a song at the Ramada Wagon Wheel Theatre.

“Earnest,” which premiered in London in February 1895, is the one non-musical (I would say straight play but there is little straight about this production) on the Ramada Wagon Wheel Theatre 2010 season. Actually, Wilde’s final theatrical work has been called “a verbal opera,” so lyrically does his crisply-paced dialogue ebb and flow and most often hit the mark square on.

Wilde’s mark was the society in which he lived and he was frequently less than subtle in his barbs.”That is the whole truth, pure and simple,” says John (Jack) Worthing (Nick Laughlin).  ”The truth is rarely pure and never simple,” replies his friend Algernon Moncrieff (Ari Frenkel). “Modern life would be very tedious if it were either and modern literature would be a complete impossibility.”

The two gentlemen compare romantic personas. Jack reveals that he is called Earnest in town and Jack when at his Manor House in the country, while Algernon relies on a conveniently  ill friend Bunbury, whenever he wishes to escape tiresome social obligations. Bunbury, of course, is a complete fabrication but he serves a purpose.

Jack is enamoured of Algernon’s cousin, Gwendolen Fairfax (Caitlin Mesiano), who is watched closely by her mother Lady Bracknell (Dannielle Robertson), an arbiter of all things socially acceptable. “Never speak disrespectfully of society,” she declares. “”Only people who can’t get into it do that.”

Algernon, meanwhile, is determined to meet Jack’s ward, Cecily Cardew (Kayla Roy), who lives in the country. As each woos his lady, they discover that the two girls share one fixation: a determination to fall in love with someone named Earnest.

Both men schedule baptisms in a rush to become Earnest, enlisting the aid of the Rev. Canon Chasuble (Dave Adamick). He harbors a secret admiration for Cecily’s governess, Miss Prism (Sophie Grimm), a woman with a connection to Lady Bracknell and a certain missing handbag. Hovering on the periphery  of  the social swirl are Lane, Algernon’s manservant (Matt Gottlieb), and Merriman, Jack’s manservant, (Zachary McConnell).

Lady Bracknell (Dannielle Robertson) and her daughter Gwendolen Fairfax (Caitlin Mesiano) are entertained by Algernon Moncrief (Ari Frenkel, seated left) and his friend Jack Worthing (Nick Laughlin) in this scene from "The Importance of Being Earnest."

Everyone is paired correctly by the final blackout, although Jack mourns the fact that “It is a terrible thing for a men to discover that all of his life he has been telling nothing but the truth.”

Directors Ben Dicke and Andy Robinson added  a great deal of physical comedy  a la The Three Stooges which obviously entertained the opening night audience but turned the gentlemen into foolish fops. Ensemble songs at the opening  set the scene (“London Town”) and added a nice ending touch (Noel Coward’s  ”Mad Dogs and Englishmen”). At times the girls were difficult to understand, although their English accents were the most believable, but Lady Bracknell lacked the commanding presence that should immediately identify her as a force to be reckoned with.

The use of instrumental music from Gilbert and Sullivan”s “The Pirates of Penzance” made the scene changes a delightful and viable part of the production.

“THE IMPORTANCE OF BEING EARNEST” plays through Aug. 14 in the theater at 2517 E. Center Street in Warsaw. For show times and reservations, call 267-8041.

Mark (John Raab) and Mimi (Amada Rivero-Aguero) meet in this scene from the South Bend Civic Theatre production of "Rent/"

Since that time, I have seen this MTV version of Puccini’s beautiful opera “LaBoheme” four times — three professional productions and the current South Bend Civic Theatre offering which opened last weekend and will run through Aug. 8 — as well as the film version which featured most of the original cast.

The multiple viewings were not because I was so enamoured of the show that I had to see it again and again. (And there are shows about which I definitely feel that way.) Rather it was so that (a) I might be able to understand the lyrics which, for the most part, still remain a mystery; (b) that I could find at least one memorable melody (and I do NOT consider the second act opener “Seasons of Love” memorable, just unrelenting rather like the title song from Andrew Lloyd Webber’s monochromatic “Aspects of Love”); and (c) that I could find an emotional connection with any of the characters. They are, after all, cold, hungry, addicted, impoverished, angry and lonely and many are fatally ill.

I’m still looking.

Maureen (Stephanie Salisbury) and JoAnne (Laurisa Le Sure) have an argument in this scene from "Rent."

The setting is the lower East Side of Manhattan in the days of rampaging HIV/AIDS. The characters are struggling artists —musicians, dancers, filmmakers, singers— all estranged from their biological families who find another family in their fellow  residents of Alphabet City. It is Christmas Eve and the atmosphere is bleak. The leading characters Mark (John Raab), a filmmaker, and Roger (Alex Leachman), a musician, are facing eviction by their landlord and former friend Benjamin (Benny) Coffin III (John Michels).  Mark’s lover Maureen (Stephanie Salisbury), a performance artist,  has left him for JoAnne (Laurisa Le Sure), a lawyer, while Roger, who lost his girlfriend to suicide, is searching for one great song.  He meets the love of his life Mimi (Amada Revero-Aguero), an exotic dancer, when the lights go out. Another friend Collins (Josh Griffin) finds his significant other in Angel (Fernando Gonzalez), a street drummer and drag queen.

The outlook for all is less than optomistic, but they soldier on, mostly always in high gear vocally, with a decibel level consistent with that of a rock concert. It is to the credit of the young cast that they can deliver the nearly non-stop high energy belt requirements of the show, which contains very few lines of spoken dialogue. The South Bend cast boasts some excellent voices, namely Raab, Leachman, Salisbury, Revero-Aguero, Griffin and Gonzalez plus ensemble soloists Steve Salisbury, Stephanie Berry, Anna Barncord and Kathleen Raab. They all do better with lyrical diction than most of the casts I have seen, but much of the significant “dialogue” still remains a mystery.

JoAnne (Laurisa Le Sure) and Mark (John Raab) discuss their present and past girlfriend in "Tango: Maureen" in "Rent."

Technical director David Chudzinski delivers an imaginative set which utilizes well every inch of the Warner Theatre stage and the six piece orchestra, under the direction of keyboardist Anthony Beer, is (finally!) completely supportive without being overpowering

Director David Case keeps the multi-level action moving and I was thankful for the program notations of location and action preceding each musical scene which gave brief indications of what was going on and who was doing what.

I still prefer Puccini.

“RENT” plays Wednesday through Sunday and Aug. 4-8 in the Warner Theatre in the SBCT at 403 N. Main St. South Bend. For show times and reservations, call 234-1112 noon to 6 p.m. weekdays or visit www.sbct.org.

Jake Klinkhammer as John the Baptist gathers the disciples in this scene from the Ramada Wagon Wheel Theatre production of "Godspell."

In case the title eludes you, it is “Godspell,” the high inventive production of which opened Wednesday at Warsaw’s Wagon Wheel Theatre, proving once again that anything old can be very new again.

Trust me. This is not your mother’s “Godspell.”

From the highly creative mind of director Tony Humrichouser with solid assists from musical director Thomas N. Stirling, choreographer Lesa Dencklau, lighting designer Greg Griffin, some modern technology and a non-stop cast of 10, it is a very new look at an old favorite.

Godspell is the Anglo-Saxon word for gospel and, loosely translated, means “good word.” The words here are very good and very familiar. The series of actions come from the Bible, primarily from the Gospel of Saint Matthew (with a definite assist from the Gospel of Saint Luke), and as the parables unfold, they mark the life and teachings of Christ from baptism to resurrection.

Gone is the clown-style makeup usually donned early on by the eight singer/dancer/actors portraying disciples. Black and white are the only costume colors for all save Jesus (Benjamin Maters), who adds a blue shirt. Jake Klinkhammer in the dual role of John the Baptist/Judas sports suspenders and a snappy fedora and is obviously more stylishly slick than the others, but still in white shirt and black trousers. And they are the only ones with character names. The others use their given names.

Benjamin Maters as Jesus and Caitlin Mesiano in a scene from "Godspell."

One of the definite challenges to any production of “Godspell” is to create a new atmosphere while retaining the unchanging  messages. Humrichouser achieves this with the use of four very large video screen which change images according to the action or emotions on stage. “Alas For You” features a montage of faces, some better known than others, each proclaiming innoccnce.

Musical underscores-for-emphasis include many melodic themes — Charlie Brown, Looney Tunes, “Law & Order,” “The Godfather,” “Chariots of Fire” — and even a tip of the toes to Tina Turner as Katie McCreary unleashes her roof-raising belt voice in “O Bless The Lord” a la “Proud Mary.” Tony’s twist on “Turn Back, O Man,” which traditionally has the singer slinking through the audiences, instead keeps Sophie Grimm center stage while ensemble members imitate an Egyptian-style frieze.

There is a great deal of laugh-out-loud humor in this “Godspell,” which offers ensemble members many opportunities to showcase their comedic abilities, while the sobering endgame brings the action — and the music — to a much more dramatic level. There is NEVER a doubt about their vocal talent. In solos, duets or choral work, they stand individually or blend beautifully, as required.

With Klinkhammer, Maters, Grimm and McCreary, ensemble members are Erica Wilpon, Ashley Travis, Nick Laughlin, Caitlin Mesiano, Matthew Dailey and Zachary McConnell. Each has an opportunity to shine and each makes the most of it, creating a “Godspell” to remember.

“GODSPELL” plays Sunday and Tuesday through Saturday in the theater at 2517 E. Center Street. For tickets and show times, call 267-8041 or (866) 823-2618 or visit www.wagonwheeltheatre.com.

With a cast of four and one basic set, the story of  Catherine (Emily Shenk), her father Robert (Darryl Gillikin), her sister Claire (Libby Unruh) and Hal (Aaron Schwinn) makes for a fascinating evening. The title refers to several kinds of proof, all of which are important to Catherine, who  literally is fighting for her sanity and her independence.

Robert (Darryl Gilliken) and daughter Catherine (Emily Shenk) have a heated discussion in this scene from the New World Arts production of "Proof."

At her home near the University of Chicago, she celebrates her 25th birthday awaiting her older sister’s arrival from New York for the funeral of their father, in his 20s a ground-breaking mathematician who fought dementia in his later years. Following in his academic footsteps, and afraid she is following his mental descent, Catherine left school to care for Robert during the final five years of his life when, excepting one nine month period, reality and all semblance of rational thought slipped quickly away.

With Claire’s authoritative arrival comes the announcement that she plans to sell the family home and wants her sister to return with her to New York where she and her fiance can take care of her. As Catherine faces this challenge, Hal, her father’s former graduate student now a teacher himself, arrives to search the mathematician’s notebooks in search of anything of importance. After going through more than 100 books of “gibberish,” he finds a different sort of equation with Catherine.  This immediately precedes his discovery of one notebook that contains “historic proof”of a theory about prime numbers.

A shocking relevation by Catherine leads to the final determination of  her ability to care for herself and for her father’s legacy.

Claire (Libby Unruh) and Hal (Aaron Schwinn) debate the authorship of a newly discovered mathematical theorum in "Proof."

The NWA is fortunate to have found Shenk, a Bethany Christian High School senior, for the major role. She delivers a strong performance, delivering the many facets of the conflicted young woman honestly and believeably, no small accomplishment, especially in a teenager. Her fellow players make up a very solid and intelligent ensemble, especially Gillikin who, it becomes apparent, is a spirited character.

The setting, the porch of the family home in a Chicago suburb, is minimal and doesn’t add much to the essence of the play. The lighting is adequate, although too deliberately dim for the opening scene. There is, however, one very annoying aspect. The screen door screeches at every exit and entrance, whether part of the action or during a scene change. If it was meant to support  the delapidated condition of the house, that was accomplished by the torn screen. The noise become increasingly mood-shattering and was not fair to the work being done by the actors. I would have been glad to provide an oil can.

“PROOF” plays at 8 p.m. Friday and Saturday and July 23-24 in  the theater  on Main Street in Goshen. Entrance from Third Street. Tickets at the box office or call(800) 838-3006.

The third 2010 production on the Ramada Wagon Wheel Theatre’s Warsaw stage follows the infectious 1950s rock ‘n roll rhythms of Elvis (in “All Shook Up”) with equally infectious  melodies which make the  early 20th century an era that appears much better than today. No matter how many times one sees this gem, either on stage or the 1962 film which follows the Broadway score-and-script almost to the letter, it is one show that bears many return visits.

The citizens of River City celebrate in the finale of the Ramada Wagon Wheel Theatre production of "The Music Man."

Actually, I defy anyone to see “The Music Man” and reach the deliberately cacophonous finale without a wide grin on his/her face. The grins begin immediately as the lights go up on a Rock Island Line railroad car filled with disgruntled traveling salesmen bemoaning that one who “doesn’t know the territory” is giving them all a bad reputation.

The challenge posed by the “Iowa Stubborn” inhabitants of River City is eagerly accepted by Hill (Ari Frenkel), who plans to convince the population they have “Trouble” which can only be overcome by the formation of a boys’ band. He, of course, will supply the music, instruments and uniforms — for a price.

The only hitch in his well-oiled plan, beside suspicious Mayor Shinn (Andy Robinson), is doubting piano teacher Marian Paroo (Caroline Kobylarz). She  resists Hill’s charm in spite of the frequent warnings by her widowed mother (Danielle Robertson) that “He could be your very last chance.”

One by one, Hill finds the chink in each River Citian’s armor and moves steadily toward closing his deal. Of course, when the last train leaves the junction, it is the salesman who finds himself with his foot caught in the door. The way to Hill’s final sale is paved with unabashedly feel good music, beautifully interpreted by an excellent ensemble of young (and a little older) singers and dancers.

Marian Paroo (Caroline Kobylarz) gives advice to Amaryllis (Molly Hill) in this scene from "The Music Man."

A personal favorite is the barbershop quartet created by Hill from quarreling school board members  played by Phil Randall, Mike Lewis, Jerry Frush and Jim Geller (who harmonize off stage as The Chaingang). They raise their voices at the drop of a pitch pipe in some of the show’s loveliest melodies including “Sincere,” “Lida Rose” and “It’s You.”

Their “wives,” definitely resembling cheeping hens, deliver “Pickalittle” with great glee, led by the mayor’s wife, Eulalie Mackecknie Shinn (Jennifer Shepherd). The ladies devotion to del Sartre creates a Grecian urn unlike anything found in Pompeii.

Ashley Travis as the Shinn’s oldest daughter, Zaneeta, is paired with Zachary McConnell as town bad boy Tommy Dijlas. They lead the dancers in director Scott Michaels’ beautifully high-stepping choreography, made all the more eye-filling by Stephen K. Hollenbeck’s cotton candy-hued  costumes.

The “cute” factor is well-handled by Lauren Housel as Amaryllis and Dustin Barkley as Winthrop Paroo. They display an admirable degree of professionalism as do the other seven youngsters who also are River City pre-teens.

Leading the parade are Kobylarz and Frenkel. She displays a beautiful soprano, obviously classically trained, delivers her solo assignments and duets with ease and believably details Marian’s segue from hostile to lovestruck. Frenkel is a capable salesman although he displays little of the charismatic charm that is Hill’s primary asset. They blend well in the show’s best-known ballad “‘Till There Was You.”

“THE MUSIC MAN” plays through July 17 in the theater at 2517 E. Center St., Warsaw. For show times and reservations: 267-8041 or (866) 823-2618 or visit www.wagonwheeltheatre.com

Make it Warsaw, and you’re close!

The King has been reincarnated (with a touch of Brando) in the person of Chad, aka Roustabout, the leading character in “All Shook Up,” a musical that blends 25 songs associated with the late Pride of Memphis and a plot based on several works penned by the Bard of Avon, aka Will Shakespeare.

Chad (Jake Klinkhammer) and Natalie (Caitlin Mesiano) get ready to "Follow That Dream" in the Ramada Wagon Wheel Theatre production of "All Shook Up."

It is the current production at the Ramada Wagon Wheel Theatre and, judging from the reaction of the nearly full house Thursday evening, it could stay on indefinitely rather than just the scheduled two weeks.

Director/choreographer Scott Michaels has pulled out all the stops on this one. The energy level of the extremely talented cast generates enough amps to light a small city. From the opening “Jailhouse Rock” to the “Burning Love” finale, “All Shook Up” leaps from song to dance to song and dance, laughing all the way and, in addition, makes some very definite points about relationships — the good, the bad and the ugly.

Michaels turns the small arena stage into a space that rivals an auditorium. His dancers do amazing things. . .and then do them again. Even the scene changes become terpsichorean interludes. There is something going on all the time!

The same is true of the scenic design by David Lepor. In his WW design debut, Lepor had created several specific areas — a café, a garage, a museum — for the first act. In the second, the entire stage becomes an abandoned fairgrounds. There is so much attention to detail that it is worth second, third and even tenth looks to check out all the little things that add up to the big picture.

Stephen  R. Hollenbeck’s ingenious  costume designs are eye-filling and right on the money. They are the obvious exteriors of some complicated characters. When the town turns from drab to daring, the clothes not only make the man, they make the women, too.  Thomas N. Sterling’s orchestra (nine pieces) again is a real joy, especially in a score with music and lyrics “by varied artists.”  The lighting design by Greg Griffin sharply  highlights the humor.

But of course set, costumes, lights and music would not be enough if the cast was not up for the assignment. The young performers take a super-convoluted story line and make the audience able not only to follow each twist, turn and intersection, but love every minute!

At the head of this joyous revolution is a leather-clad Jake Klinkhammer as Chad,  who hits town on his motorcycle, lights up the long-dead juke box.— “A broken down juke box means broken down people” — before leading the teens in a rainbow-hued  rock ‘n roll romp. Instantly love struck at the sight of Chad is Natalie Hammer, a lonely young girl in mechanics’ overalls. As played by Caitlin Mesiano, she is absolutely delightful and speaks to anyone who ever pined for a lover who is pining for someone else.  Almost everyone here gets love struck, a state signified by an uncontrollable outburst of the opening bars of “One Night With You,” aimed straight at the object of desire…whoever that may be.

Tracking the mis-matched duos to their way to final perfect pairings is two-plus hours of absolute en joyment! With Klinkhammer and Mesiano leading the way, the amazing featured players are Katie McCreary and  Britney Coleman as café owner and daughter respectively; Tiffany Dissette as a museum owner right out of “Mad Men”;  Jennifer Dow as the uptight mayor;  Mike Yocum, as Natalie’s widowed dad;  Nick Laughlin as the perfect “sidekick’; Matthew Dailey as the mayor’s rebellious son; and Andy Robinson as the dorky silent sheriff.

Along with the irrepressible ensemble (which NEVER stops),  they make “All Shook Up”   a wonderfully fun ride and a highlight of the season, no matter what comes next.

And “That’s All Right” for any age.

“ALL SHOOK UP” plays at 8 p.m. Saturday and Wednesday through next Saturday, at 2 p.m. Sunday and Thursday and 7 p.m. Tuesday in the theater at 2517 E. Center Street in Warsaw.  For reservations, call  267-8041.

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