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Let's Hear It From The Girls! PDF Print E-mail
Written by Marcia Fulmer   
Thursday, 20 June 2013 18:20

If your instant visualization of a jazz musician is a middle-aged gentleman, possibly with a receding hairline, a slightly wrinkled face and a constantly tapping toe, visualize again!

Bria Skonberg at the 2013 Elkhart (IN) Jazz FestivalNothing could be farther from the reality of two of the most talented jazz musicians being featured in the Elkhart Jazz Festival 2013.

Both are young, very talented, very attractive and very well-versed on the subject of jazz — past and present — and undoubtedly will play an important part in its future.

The only difference is that Bria Skonberg plays trumpet and flugelhorn and Ariel Pocock can be found at the piano.

Both will be familiar to regular visitors at past EJFs.

Bria came to the 2009 EJF as a member of the west coast sextet Mighty Aphrodite, an all-girl group which was a definite plus that year. She not only played but sang. Today she leads the Bria Skonberg Quintet and has changed her “coast of residence” to New York City.

Last Updated on Sunday, 23 June 2013 21:29
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'Addams Family' To Visit Kalamazoo PDF Print E-mail
Written by Marcia Fulmer   
Monday, 21 October 2013 19:24

The Addams Family Miller Auditorium Kalamazoo MI“They’re creepy and they’re kooky,

            Mysterious and spooky,

They’re altogether ooky,

            The Addams Family.


Their house is a museum

            When people come to see-um,

They really are a scre-um

            The Addams Family.

   (neat, sweet, petite)

So get a witch’s shawl on,

            A broomstick you can crawl on

We’re going to make a call on

            The Addams Family!”

The familiar theme for the TV version of Charles Addams’ famous cartoons in The New Yorker magazine is one song you won’t hear in composer Andrew Lippa’s score for the touring production set to play Tuesday and Wednesday evening in Miller Auditorium at Western Michigan University in Kalamazoo, Mich.

All the Addamses — Gomez, Morticia, Wednesday, Pugsley, Grandma, Uncle Fester and even Lurch — will be ready to greet visitors at 7:30 pm. Also invited for dinner are Wednesday’s boyfriend Lucas Beinenke and his parents, Mal and Alice.

Word is this will be a ”spooktacular” meal. It seems everyone has something to hide and more than a few skeletons in their closets.

Book for this new Addams Family adventure is by Marshall Brickman and Rick Elice who also are responsible for “Jersey Boys.”

Tickets range from $35 to $58. For reservations, call (269) 387-2300 or visit www.millerauditorium.com.


Last Updated on Monday, 21 October 2013 19:46
 
'Nunsense' humor is habit-forming PDF Print E-mail
Written by Marcia Fulmer   
Wednesday, 11 March 2015 16:24

If you don’t think “Nunsense” can be habit-forming, just ask playwright/composer Dan Goggin or the literally millions of audience members who have enjoyed the results of his efforts for the past 30 years.

Nunsense  Elkhart Civic Theatre  Bristol  INThe proof is on stage at the Bristol Opera House where the Elkhart Civic Theatre production of Goggin’s initial effort — titled just plain “Nunsense” —opened Friday evening.

I say “just plain” because the six sequels and three spin-offs all have additions to the singular title. Having seen the original (and more sequels than I care to count), I will share my opinion that the first was (and is) the best of the lot.

“Nunsense” began as a line of greeting cards which expanded to a cabaret show and then to an off-Broadway production where it delivered “habit humor” for more than a decade and, in the process, became an “international phenomenon.”

The premise is silly but fun, the score is catchy if not memorable and the enthusiasm of the performers — a requisite for any of the seven incarnations — never wavers.

The setting is the auditorium of Mount St. Helen’s School where the background is the set for the school’s production of “Grease” or as the Mother Superior, Sister Mary Regina (Valerie Ong), mistakenly calls it, “Vasoline.”

Whatever the title, the opening number introducing the sisters is up-tempo and leaves no doubt that this is the direction for the evening (or afternoon).

Nunsense  Elkhart Civic Theatre  Bristol INSurvivors of a fatal batch of vichyssoise whipped up by the convent chef, Sister Julia, Child of God (groans start here!), the remaining quintet is determined to raise enough money to bury the deceased nuns left above ground after the mother superior purchased a flat screen TV with part of the burial fund.

Back home in Hoboken (NJ) after a stint in a leper colony, the ladies reveal their hidden talents by putting on a fund-raising revue. Time is running out as a visit from the health inspector is imminent.

Each nun takes her turn in the spotlight but it seems that only a miracle will save them — and bury the “Blue Nuns.”

Sister Mary Regina reminisces about growing up with tightrope-walking parents and provides one of the show’s most hilarious moments examining the contents of a confiscated bottle labeled “Rush.”

Sister Mary Hubert (Christa Norwood), Mistress of Novices, believes “The Biggest Ain’t The Best” and tackles temptation with a vigorous “Time Step.”

With Sister Mary Regina — or rather nipping at her heels — is Sister Robert Anne (Stephanie Zonker Isley), assistant to Mother Nunsense  Elkhart Civic Theatre  Bristol INSuperior. Obviously unhappy “Playing Second Fiddle,” she examines the pros and cons of “Growing Up Catholic” and finally declares “I Just Want to Be A Star.”

With the aid of her outspoken helper Sister Mary Annette, Sister Mary Amnesia (Christina Herrick) explains what it takes to be a nun and reveals, finally, “I Could’ve Gone to Nashville.” Sister Mary Leo (Rachael Hall) welcomes convent life on pointe.

Under the direction of Penny Meyers and Annette Kaczanowski, the action rarely falters, with “Father” Mark Swendsen and his ecclesiastically-garbed quintet providing heavenly tempos.

As a final note, attendance past or present at a Catholic school is not necessary to “get” the jokes which have a universal appeal. And if there are some you don’t understand, Sister Mary Regina will be happy to explain it all for you — but that’s a different play.

“NUNSENSE” plays Friday through Sunday and March 20-21 in the Bristol Opera House on SR 120 in Bristol. For information and reservations, call 848-4116

Last Updated on Wednesday, 11 March 2015 17:43
 
Precision Missing In SBCT Search For Grail PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 17 March 2015 18:55

In October 1989, six of the wackiest minds ever to join forces created a TV show for the BBC titled “Monty Python’s Flying Circus.”

Spamalot  South Bend (IN) Civic TheatreTo my knowledge, there never was an actual Monty Python, but the off-the-wall humor of its writer/performers (Graham Chapman, John Cleese, Terry Gilliam, Eric Idle Terry Jones and Michael Palin) resulted in a form of comedy that continues to flourish more than 25 years later.

Spamalot  South Bend (IN) Civic TheatreThe TV show ran for 45 episodes which led to five motion pictures and several Python-like comedy groups. From one of the films, 1975’s “Monty Python and the Holy Grail,” came the Broadway musical “Monty Python’s Spamalot.”

With book and lyrics by Idle and music by Idle and and John Du Prez, “Spamalot” earned 14 Tony Award nominations and three wins, including Best Musical of 2005. In the years since then, Idle’s hilarious distortion of the Arthurian legend has played in 20 countries and on the stages of countless community theaters throughout this country.

Among these is the production that opened Friday evening in South Bend Civic Theatre’s Wilson Theatre. It is not necessary to be familiar with Python to get the humor. “Spamalot” is a farce which, as some may be aware, if my least favorite form of comedy.

Unless it is done well.

Doing it well requires knowing that precision is a necessity in making the seemingly shapeless physical humor more than just a bunch of bodies flailing around as plague victims or Laker Girls or Broadway tappers who (not intentionally) can’t tap or … you get the idea.

Spamalot  South Bend (IN) Civic TheatreIt’s attention to details. For example, in order to land the joke, the mourning monks should have been hitting themselves with their tablets (think that’s what they were carrying) in unison and not randomly. It’s making sure that guards absurdly arguing the merits of swallows as coconut-carriers are able to be seen (and heard) by all sections of the audience, ditto the French Taunter whose verbal abuse from high up on a castle wall defeats the cowering English knights.

Once again, the directionless acoustics of the auditorium made it difficult for anyone not sitting in the center section to comprehend most of the dialogue and a large portion of the lyrics.

“The Song That Goes Like This,” sung endlessly by Sir Galahad (Jeremy Weyer) and The Lady of the Lake (Allison Jean Jones), is a blatantly unmistakable homage (?) to Andrew Lloyd Webber, while Jones’ “Diva’s Lament” is more “pitchy” than funny and both are oversung.sbct.org.

Spamalot  South Bend (IN) Civic TheatreThere are some plusses here, although not nearly enough. Patsy, the keeper of the coconut hoofbeats and Arthur’s dogsbody, is played by William Heckaman who sings well and taps well and is in control of his character. The Black Knight is handily dismembered, the Knights Who Say Ni are reasonably annoying and the Killer Rabbit is deliciously bloody. These, however, are small islands of coherent humor in a flimsy sea.

Choreography is mostly non-existent and uncoordinated. The rear-screen projections are used well, making the graphics one of the major assets of this show.

The ”orchestra” is on a recorded track with which the singers — solo and ensemble — primarily keep track.

King Arthur (Mark Torma) and his knights (William Loring, Nicholas Hidde-Halsey, Weyer and Gary Oesch) have more than a dozen performances remaining in which to find their grail while continuing to look on the bright side of life.

“SPAMALOT” plays Wednesdays through Sundays through April 4 in SBCT’s Wilson Theatre. For performance times and reservations, call (574) 234-1112 or online at SBCT.ORG.
Last Updated on Tuesday, 17 March 2015 19:57
 
'Hair' Plays Tonight At Miller Auditorium PDF Print E-mail
Written by Marcia Fulmer   
Wednesday, 27 February 2013 15:30

The Age of Aquarius, it seems, is always with us.

hair  tour Miller Auditorium  Kalamazo MichiganOriginally on Broadway in 1968, the James Rado/Gerome Ragni/Galt MacDermott musical appropriately titled "Hair," returned to the Great White Way in 1977 and 2009, winning numerous awards with each incarnation. The most recent is now on tour, bringing its look at the movement of the '60s and '70s that changed America forever to theaters across the country. From its score, many songs have joined the list of hits on the Great American Songbook. Among these "Let The Sun Shine In," "Aquarius," "Good Morning Starshine" and the title tune.

Claude and his peace-loving friends will be on stage in (and out) of appropriate hippie attire at 7:30 p.m. today in Miller Auditorium at Western Michigan University. For tickets, call (800) 228-99858 or (269) 387-2300 or visit www.millerauditorium.com.

For those who were "there" — and those who were not— its one way to review past mistakes and keep them from repeating themselves.  

Last Updated on Thursday, 28 February 2013 03:38
 
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