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
'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

Last Updated on Monday, 21 October 2013 19:46
Herman Heroine Never Gets Old PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 19 July 2016 15:28

There are many memorable ladies in the world of musical theater and among the best known is one of the creations of composer/lyricist Jerry Herman: Mrs. Dolly Gallagher Levi.

She is constantly recreated on stages around the world, the latest area incarnation being the Elkhart Civic Theatre production of “Hello, Dolly!” which opened Friday evening in the Bristol Opera House.

Hello, Dolly!  Elkhart Civic Theatre  Bristol INEven if you have never seen the entire production it’s a sure bet you can at least hum the title tune, possibly thanks to the late Louis “Satchmo” Armstrong whose recording took it to the top of the ‘60’s pop charts..

The original Broadway production opened in 1964, won 10 of the 11 Tony Awards for which it was nominated, played more than 2,800 performances and made a star of Carol Channing, who played her signature role again in two of the three Broadway revivals.

Based on Thornton Wilder’s 1938 farce “The Merchant of Yonkers” which became his 1958 farce ‘The Matchmaker,” the story of the meddling widow whose expertise in fixing everyone’s problems leads to innumerable mix-ups before the predictable happy endings still has a universal appeal, not the least of it due to its bubblingly tuneful score.

Hello, ,Dolly!  Elkhart Civic Theatre  Bristol INThe ECT production, under the direction of Jerry O’Boyle, is an excellent example of what community theater does best: Creating a cohesive company with available talent.

The assignment of creating the indefatigable Mrs. Levi is handled with laudable aplomb by Rachel Raska. Distributing “business” cards which declare her available for matchmaking, dance lessons and anything in between, she advances to her ultimate goal of making the “well-known half-a-millionaire,” miserly, misogynistic Horace Vandergelder of Yonkers, N.Y. (a properly dour David Dufour), her next husband.

The bravado she displays during her not-so-subtle assault is tempered with pleas for a sign of approval from her late spouse and a score of hummable melodies to mark the way.

Hello, Dolly!  Elkhart Civic Theatre  BristolAmong her other “clients” are two overworked, underpaid employees in Vandergelder’s feed store, Cornelius Hackl (Jacob Medich) and Barnaby Tucker (Matt Ambrosen). They take advantage of the boss’s absence to have their own adventure — a trip to New York City — with the ladies they meet in a hat shop, widowed owner Irene Molloy (Sandy Hill) and her giggly assistant Minnie Fay (Molly Hill).

Medich has a strong, mellow baritone that is best used in the lovely ballad “It Only Takes A Moment,” and provides solid support in the small ensemble numbers “Elegance” and ”Dancing.”

As assistant director and vocal director, Medich is behind the excellent chorus work in the many all-company numbers including the opening “I Put My Hand In,” “Put On Your Sunday Clothes,” “Before The Parade Passes By” and, of course, “Hello, Dolly!” all of which are worth the price of admission.

Hello, Dolly!  Elkhart Civic Theatre  Bristol INThe last-named follows “The Waiter’s Gallop,” a deliberately frantic dance number choreographed smartly by Tom Myers that is always a show-stopper, even when, as in this case, it also is a gallop for some waitresses. The mixed group does nothing to lessen the impact of the sharply delineated and extremely energetic dance.

Set in the summer of 1895, the scenic design by John Shoup, who also was a member of the ensemble, signals a delightful return to the “good old days” when memory tends to shade everything in cotton candy hues. It definitely is lovely to look at and, as always, transforms quickly with minimum distraction.

With the exception of Dolly’s traditional red Harmonia Gardens gown, Karen Payton’s costume design follows the same soft color palate. Only the sparkle-infused material used for several of the dresses seems out of time.

O’Boyle opted to use an orchestral sound track which supplies a solid base for solos and chorus numbers — all of which come with their own built-in reprises — as well as filling in scene changes.

It just makes listening to Herman’s award-winning score that much more pleasurable.

“HELLO, DOLLY!” plays Friday, Saturday and Sunday in the Bristol Opera House on SR 120 in Bristol. For show times and reservations, call (574) 848-4116 between 1 and 5:30 p.m. weekdays or visit

Last Updated on Tuesday, 19 July 2016 15:48
Life Under The Sea A La Walt Disney PDF Print E-mail
Written by Marcia Fulmer   
Friday, 22 July 2016 19:18

With the opening of The Barn Theatre production of “The Little Mermaid” Tuesday evening, it seems that this is definitely a Disney summer, theatrically speaking.

“Beauty and The Beast” has already come and gone with “Mary Poppins” waiting for good weather.

The Little Mermaid  The Barn Theatre Augusta MIThe tale of Ariel, youngest daughter of King Triton, is based on Hans Christian Anderson’s classic story of the watery miss who dreamed of a life on land, as retold by Disney animators in 1989 and eventually reimagined for the stage. Unlike the Anderson original, it has a typically Disney happy ending, much to the relief of small fans everywhere.

The tuneful depiction has gone through several changes since it opened on Broadway in 2008, most of them aimed at creating an undersea location that is, if not completely believable, at least lovely to look at.

The Barn’s 30-fathoms deep setting uses a projected background of bubbles (also expressed “live” from an overhead bubble machine), side cutouts resembling lacy seaweed and several “merpeople” holding sea green/blue lengths of shimmering material stretched between two stakes.

The Little Mermaid  The Barn Theatre Augusta MIMost impressive is the creation of rolling waves which break gently in the calmer scenes and as ragingly as possible in the storms.

The other problem facing all productions is that of making the merpeople move silkily through their H2O environment. No one really expects them to “swim,” but the use of three mermen to lift and carry Ariel in every entrance/exit is rather disconcerting, especially since all other underwater folk stand upright in their finny garb and shuffle cautiously on and off.

Wearing Ariel’s fish tail and requisite red wig, Melissa Cotton Hunter does her best to add motion in a costume that, until Act 2, keeps her movement restricted to wherever she is placed. Her warm soprano served her well in her familiar solos “Part of Your World” and “If Only” and her “odd-mermaid-out” family situation translated well to human conditions.

Choreographer Jamey Grisham is Prince Eric, the typical stiff-but-smitten Disney hero, who ignores what is silently in front of him in his search for “Her Voice.”

The Little Mermaid  The Barn Theatre Augusta MINo surprise, the audience favorites here are the marine creatures (well, it is Disney after all), good and evil, and the definitely all-evil sea witch Ursula, played with delicious anticipation (and assisted wavering of her octopus-like tentacles) by Penelope Alex, always great to watch — in any wig!

That her malevolent plan will fail is (again, Disney) a given, but watching her spin her aquatic web with the sinuous assistance of her electric eel henchfish Flotsam (Brooke Evans) and Jetsam (Nicholas R. Whittaker) is much fun.

So is watching Ariel’s friends Sebastian (Michael Fisher), a Jamaican crab; Scuttle (Quinn Moran), a dyslexic seagull; and Flounder (Kasady Kwiatkowska), a fishy puppet a la “Avenue Q,” scramble to save her.

Moran leads a trio of “gulls” in a high energy tap,”Positoovity,” designed to pump up Ariel’s drooping self confidence. It is a highlight of Act 2 along with Patrick Hunter as Chef Louis in a frantic chase aimed at putting Sebastian on the dinner table.

The Little Mermaid The Barn Theatre Augusta MIUndoubtedly the most familiar song in Menken’s score is “Under The Sea,” sung by Sebastian and a large group of sea creatures. It is designed to remind Ariel of the wonders of a watery life. Unfortunately, the lyrics here are unintelligible. Time for Disney diction!!

Eric Parker’s King Triton, father of Ariel and her six rainbow-hued sisters and brother of Ursula, is all too human as the conflicted parent whose authority is contested.

Overall, the marine atmosphere is achieved, the ensemble numbers are solid and the costuming, human and not, is satisfyingly colorful. Conductor/keyboardist Matt Shabala controls his four-piece orchestra well and it supports rather than overpowers.

Under the direction of Hans Friedrichs, this “Mermaid” moves along swimmingly (oops!), coming in at a satisfactory (for young audience members) two hours plus intermission.

“Disney’s THE LITTLE MERMAID” plays through July 31 in the theater on M-96 between Galesburg and Augusta, MI. For show times and reservations, call (269) 731-4121 or visit

Last Updated on Friday, 22 July 2016 19:38
'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

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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