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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
 
'Fiddler On The Roof' In A Circle Of Life PDF Print E-mail
Written by Marcia Fulmer   
Sunday, 20 July 2014 16:56

It seems like only a short time ago that  I was writing about a production of “Fiddler On The Roof.”

Oh, wait. I was.

fiddler on the Roof Wagon Wheel Theatre Warsaw INWell, currently there is another Tevye pulling his dairy cart onto the stage of another area summer theater, this time at the Wagon Wheel Theatre in Warsaw.

Which proves you can never get too much of a good show, especially when differences — one is on a proscenium stage and the other, in the round — allow for creative challenges.

Directed and staged at WW by artistic director/choreographer Scott Michaels, the story of the Jewish dairyman, his wife and five daughters and their neighbors in the Russian village of Anatevka moves along at a steadily up-tempo pace. The aim, no doubt, is to reduce “Fiddler’s” almost inevitable running time of three hours (including intermission). With the elimination of one song, some dialogue and advancing the exodus, Michaels & Co. succeed by about 15 minutes.

Must concede that the difficulty level of putting Anatevka and its population into what is essentially a circle (side areas are elevated for interior scenes) is at least an 11 out of 10 on the difficulty scale. There also is no doubt that Michaels, as always, rises to the challenge. He also is responsible for successfully recreating the dances based on the original choreography by Jerome Robbins — who had a huge proscenium space in which to work.

From the introductory kaleidoscope that is “Tradition,” to the rousing celebration of “To Life,” to the gasp-inducing fantasy of “The Dream,” to the mesmerizing slow motion of the Bottle Dancers, the number of ensemble dancers proves no problem, and the duo, trio and solo numbers are equally at home.

Fiddler on the Roof Wagon Wheel Theatre Warsaw INHeading the large cast is Robert Joseph Miller as Tevye. His portrayal of the bushy-bearded patriarch is well-layered, a gruff exterior hiding a caring interior and struggling always to determine the right thing to do for his family and his village. He bends whenever possible but refuses to break. His interpretation of Tevye’s famous “If I Were A Rich Man” (and its accompanying “shimmy”) received well-deserved cheers. The intimacy of his frequent conversations with God, however, is somewhat  lessened by focusing them partially on the Fiddler who appears, unnecessarily, whenever Tevye looks heavenward.

Tevye’s long-suffering wife Golde is played by Kristen Yasenchak, whose vitriolic delivery softens only infrequently. Katie Finan does double duty as Yente the Matchmaker, who proposes a match for Tzeitel, and Fruma-Sarah, the deceased wife of the intended groom. Her vocal appearance in Tevye’s “nightmare” underscores one of the show’s most impressive scenes.

Fiddler on the Roof  Wagon Wheel Theatre Warsaw INAs Tevye’s oldest daughters, Tzeitel (Rachel Eskenazi-Gold), Hodel (Monica Brown) and Chava (Alison Schiller) express their feeling humorously in “Matchmaker,” and Brown’s “Far From the Home I Love” poignantly echoes the parting of all parents and children, no matter the distance. Their (eventually approved) fiances Motel (Dan Smith) and Perchik (Matthew Janisse) deliver their solos (“Miracle of Miracles,” “Now I Have Everything” respectively) in strong, clear baritones. The Russian fiancé, Fyedka (Jeremy Seiner), stands out in “To Life” but never wins Tevye’s approval.

Fiddler on the Roof Wagon Wheel Theatre Warsaw INMusical director Thomas N. Stirling’s lush arrangements for the nine-piece orchestra do justice to Jerry Bock’s emotional score. Familiar choral highlights — “Sabbath Prayer” and “Sunrise, Sunset” — do not disappoint and the bittersweet “Anatevka” provides the perfect description of the pain of leaving home and hearth for an uncertain future.

Special praise to the designer for “The Dream,” which is not credited in the program but is a definite show-stopper! Stephen R. Hollenbeck’s costumes are necessarily drab (they all are peasants and soldiers, after all) with enough touches of color to brighten the special occasions.

If the set and the design hold to shades of brown and gray, the dances and vocals supply enough brilliance to lighten this familiar tale of undying faith and hope.

“FIDDLER ON THE ROOF” plays through Saturday in the theater at 2517 E. Center St., Warsaw. For performance times and reservations, call 267-8041 or (866) 823-2618 or visit www.wagonwheeltheatre.org.

Last Updated on Sunday, 20 July 2014 18:54
 
Playing Who's Who in Barn's 'Mrs. Markham' PDF Print E-mail
Written by Marcia Fulmer   
Friday, 25 July 2014 19:33

“farce (fars) n. Fr 1(an) exaggerated comedy based on broadly humorous situations 2 an absurd or ridiculous action, pretense, etc.”

These, according to Webster’s, are definitions for the goings-on going on at The Barn Theatre where “Move Over. Mrs. Markham” opened Tuesday evening.

Move Over, Mrs. Markham The Barn Theatre Augusta MIWhat it doesn’t say is that the broader and more absurd the situations, the more difficult it is to create and enact them properly. In other words, playing farce is not as easy as it has to seem to the audience.

Farces by British playwright Ray Cooney were frequent additions to The Barn seasons in a good many of its 68 seasons. In recent years, his spot has been taken by playwright Ken Ludwig, whose locations were more Americanized (and required no accents, just distinct enunciation).

For “Mrs. Markham,”by Cooney and John Chapman, the accents are back, some with more successful than others. The plot (?), however, remains as frustratingly stupid as ever. Must confess that my aversion to farce is because one honest statement early on could avoid the increasingly involved situations; but then, it wouldn’t be farce, so here goes!

This production is more than fortunate to have veteran comedic actress Penelope Alex in the title role. Her timing is impeccable and the more frantic the situations, the more she pulls incredible explanations out of — thin air! Her ability to remember the many fictitious names — and connections — she has given each character is enviable. Her delivery — audibly and physically — is equally “spot on,” as they say, with facial reactions responsible for more than half of the increasing hilarity.

Move Over, Mrs. Markham The Barn Theatre Augusta MIThe same can be said of Kevin Robert White in the role of Alistair Spenlow, Mrs. Markham’s decorator. Although there is a bit too much of the “poof” in his early scenes (is he really anxious to get sexy maid Sylvie (Bethany Edlund) alone?), it proves there is nothing “really” about any of this. His reactions hit home with the opening night audience. Watching his exits, each one with a different take on the on-stage shenanigans, drew more and more extended (and well-deserved) laughter. And his gymnastic turns give new meaning to bedroom acrobatics.

Mr. Philip Markham is played with pompous naivete by another Barn veteran Eric Parker, who blunders blindly through the obvious until he receives a sharp-but-totally-misinterpreted “wakeup call” that rouses his inner Jeeves.

With the exception of the Markhams, every character has his/her own agenda, all focused on the use of that couple’s flat which each of the pairs supposes to be empty — and available — for the evening.

In and out in various stages of undress are Melissa Cotton as Linda Lodge, wife of Philip’s partner Henry, who has an assignation arranged with stuffy Walter Pangbourne (Patrick Hunter), who never goes anywhere without his bowler and his brolly.

Move Over, Mrs. Markham The Barn Theatre Augusta MIHenry Lodge is played by Bruce Hammond with the unflappably dashing demeanor associated with philandering Englishmen whose “stiff upper lip” never quivers.  His target for the evening is Miss Wilkinson (Lindsay Maron), a telephone operator he has heard but never seen, an omission that adds greatly to the eventual mass confusion. Both she and Sylvie are costumed primarily in their underwear, a requisite for attractive girls in a Cooney farce.

The only fully-clothed female is Jillian Weimer as Miss Smythe, prudish author of a series of children’s books in search of a new (and sex-less) publisher. Consider that her main characters are dogs and the double entendre rises to a new level.

The split set (side by side rooms) by Kerith Parashak works well and the one necessity in any farce — ultra sturdy doors — do not fail the actors who slam in and out with increasing speed and intensity.

Sex (implied, never demonstrated), mistaken identity and the double entendre are the building blocks of farce. What holds them together is timing. There is no way to teach good comic timing. If it’s there, it’s there. If it’s not….but there is enough in this “Move Over, Mrs. Markham” to make it a fun evening.

MOVE OVER, MRS. MARKHAM’ plays at The Barn Theatre on M-96 between Galesburg and Augusta, MI through Aug. 3. For performance times and reservations call (269) 731-4121 between 10 a.m. and 10 p.m. daily or visit www.barntheatre.cob

Last Updated on Friday, 25 July 2014 20:29
 
'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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