Winterlude celebrates with music

It’s only about an hour and a half long (plus intermission), but the annual holiday celebration by Elkhart Civic Theatre which opens tonight at the Bristol Opera House is time well spent. It’s titled “Winterlude: A Celebration of Holiday Cheer” and it more than lives up to its name. Granted, this is one production that is unashamedly sentimental. After all, ’tis the season. But this year’s combination of veterans and newcomers, adults and youngsters, gives the show an informal “welcome to the family” feeling as well as being very entertaining.

The there are 11 in the adult ensemble and the children’s group numbers six, although a few of the younger adults join with the “children” from time to time.  There is no doubt that the adult group contains some very fine voices, a few of which participate in this show only during the year. Undoubtedly, ECT would like to have them on stage more frequently, but is happy to welcome them “home for the holidays.” Soprano Sheryl Noblitt was a member of the first holiday singfest, then titled “A Season Serenade,” and has been in most (or all?) for the past decade. Baritone Michael Cripe is no stranger to ECT and South Bend Civic Audiences and his duet with first-timer Kristen Riggs on “Winter Wonderland” is a highlight of the first act. Riggs and Jeff Peat are the hidden treasures of this “Winterlude.” Noblitt and Peat are outstanding in blending “The Little Drummer Boy” with “Peace on Earth” and his full baritone warms the room with “Have Yourself a Merry Little Christmas.” Riggs echoes everyone’s wishes in “Grownup Christmas List.”  There is no doubt that John Shoup can sing — actually one wonders at times if there is anything he can’t do — but his discovery of “Christmas Cliches” adds another tune to the list of holiday must-hears, and he does full justice to “The Christmas Waltz,” danced by Noblitt and Cripe. Anyone who saw “Seussical” or “Once on This Island” is well aware that Wanzetta Arnett can literally raise the rafters. When she digs into “Go Tell It On the Mountain,” backed by the ensemble, or with a trio-ala-“Dreamgirls” in motion on “All I Want for Christmas Is You,” you have gotten your money’s worth! The young people hold their own, with Lincoln Bowers and Carson Collins (who played the leading role of Jojo in “Seussical”) delivering poignant solos, Preston Waggoner handling the one-liners and the girls delivering solid work throughout. Pianist Miriam Houck and drummer Mark Swendsen are “the Musicians” and they are all that is needed.  Jeffrey Barrick’s lovely snow drop, framed by trees and garlands trimmed with white lights all combine to make a lovely “Winterlude.” Performances are at 8 p.m. today and Saturday and 3 p.m. Sunday in the Opera House on Vistula Street in Downtown Bristol. Tickets are $10 for adults and $8 for students and senior citizens. Call 848-4116 and at the box office.

WW Carol celebrates the season

It would not be Christmas without Ebenezer Scrooge. In spite of all the adjunct holiday characters — Charlie Brown, the Grinch, George Bailey, Ralphie Parker et al — who appear annually in various Christmas stories, the hands-down favorite is old Mr. Scrooge and his overnight redemption. There have been many versions since Charles Dickens penned the tale in December 1843 to earn money to pay off his debts. There are more than a dozen movies/TV films of the story, with Scrooge played by a really diverse list of actors, real and animated. My favorite is the B&W 1951 British movie starring Alistair Sim, but that’s beside the point. In 1994, composer Alan Menken and lyricist Lynn Ahrens combined to turn the classic into a musical, which played every Christmas season for 10 years in the theater at Madison Square Garden, N.Y.

On Friday, this version returned to the stage at the Ramada Wagon Wheel Theatre in Warsaw (it was first produced there in 2004) and, without exception, it is the best holiday production of this season. Let me count the ways. First there are the voices. Forget about good solo voices on principals only. Every member of the cast has what it takes to be center stage, even though some are primarily only in the ensemble. Solos are memorable and the chorus numbers blow you away. Then there is the plus that is always award-winning director Scott Michaels’ choreography and the fleet-footed dancers who turn his directions into dazzling production numbers, making the relatively small dance area seem to quadruple in size. There are young people in the cast, several who must be in elementary or middle school at most. All are amazingly professional, in crowd scenes or as featured characters — Stone Rager as Tiny Tim, tiny Lauren Housel as Fan, Derek Grose as 12-year-old Scrooge, Lucas Thomas as Jonathan and clear-voiced Tara Rusinack a motherless child — and they never miss a beat or a lyric or an entrance and stay in character throughout, something with which many adults have a problem. They are a real delight. Then there are the “leading players” — dashing John Hannes and equally dashing Jace Nichols who portray (among other things) the dapper ghosts of Christmas Past and Present, respectively; Adrian Aguilar as the hard-working Bob Cratchit; Mike Yocum as the chain-rattling ghost of Jacob Marley; Lars Hagland and the irrepressible Briana Borger as Mr. and Mrs. Fezziwig; Jennifer Dow as Ebenezer’s one-time fiance Emily; David Lepor as Scrooge’s forgiving nephew Fred; and, of course, the founder of the feast, Mr. Scrooge, played with an appropriately wavery baritone and Grinchly growl by Burke Frey. The costumes by Stephen R. Hollenbeck are period-perfect and bright as the ribbons on a Christmas package (excepting, of course, for Marley and his ghoulish spectres). Thomas Stirling leads the seven piece orchestra confidently through the show’s 15 numbers and Fritz Bennett’s lighting design is as atmospheric as always. Sound designer Chris Pollinow makes it possible for everyone to be heard  — and understood. Wagon Wheel regulars may find the set familiar.  It is the one designed for the ’04 production by the late Roy Hine, with necessary touch ups by technical director Michael Higgins. Vocally, visually, instrumentally and dance-wise, this “Christmas Carol”  definitely is an abundance of riches! If it doesn’t put you in the holiday mood, you need to see three spirits! “A Christmas Carol” plays Friday through Sunday and Dec. 19-21. For show times and ticket prices/reservations, check the website listed above.

A Christmas Story from film to stage

Twenty four hours, that’s the amount of time,  beginning Christmas Eve, that the story of Ralphie Parker airs on TNT, a marathon that began in 1997 and, like that “frightul” weather, shows no sign of stopping. The movie, based on short stories by Jean Shepherd, premiered on Thanksgiving 1983 and its popularity has increased since then. The theatrical adaptation of “A Christmas Story” is the newcomer. Written in 2000, it now is a the holiday choice of those companies brave enough to face off with the film version. The only such company in the Michiana area to date is South Bend Civic Theatre which still has two weekends to go on its four-weekend run.

All the familiar scenes are there and, even though I will always prefer Darren McGavin, Melinda Dillon, Peter Billingsley and the rest of the inhabitants of Hohman IN. (aka Hammond but here presented as South Bend), the local version has several assets including the two-story set which immediately gives the feel of a 1940s middle class home. Designed by Phil Patnaude, it is versatile enough to encompass several locations, both inside and outside the Parker home, with special applause for the department store’s “Santa slide.”  The actors, of necessity, bear some resemblence to the film’s cast. They do this well, especially the young actors — Alex Kilmore as the beleaguered Ralphie, Soren Campbell as his younger brother Randy, Brandon Myers as his triple-dog-dare buddy Flick, Braidon Nutting as Schwartz, Billy Miller as bully Scut Farkas, Lea Melton as Ralphie’s would-be girlfriend Esther Jane Alberry and Madison Schmucker as class feminist Helen Weathers. They also recreate the characters successfully beyond the physical appearance. Kilmore is empathetic as the pre-teen whose only wish is for “an official Red Ryder carbine-action 200-shot range model air rifle with a compass in the stock and this thing which tells time.” His every request elicits the same response “You’ll shoot your eye out” but his determination is laudable and his responses, heartwarming. The film has an off-screen narrator in the voice of author Shepherd. The play chooses to have the older Ralph represented in person. Here, as played by Mark Moriarty, he is obtrusively in the midst of every scene, delivering the subliminal dialogue in shotgun fashion. It is a memory play, not a sporting event.   Miller is every kid’s nightmare and his comuppence earns applause and, when Meyers advances to the frosty flagpole, tongue outstretched, the immediate urge is to warn him off. We wait instead for the inevitable hilarious result. Ralph’s dad, referred to as The Old Man, his mom, identified simply as Mother, are adequately represented by Greg Melton and Nicole Brinkman Reeves and Jennie DeDario is crisply assertive as Ralphie’s teacher Miss Shields. Seven performances of “A Christmas Story” remain. For show times and ticket information/reservations, check the SBCT website above.

Idol winner Ain't Misbehavin'

It was only the second season for “American Idol,” when a contestant dubbed the “Velvet Teddy Bear” soloed his way to the top prize. Ruben Studdard  took the title in the 2003 competition, arguably the most controversial in the brief history of the blockbuster show, beating out Clay Aiken by a mere (considering the millions of recorded votes) 130,000 votes. The years since then have been up and down for Studdard, plagued by lawsuits and disappointing record sales. But the old saying about not keeping a good (and talented) guy down definitely applies here.

Currently, Studdard is headlining the 30th anniversary tour of “Ain’t Misbehavin”, the award-winning show based on the music of the great Fats Waller. It will be on stage at Western Michigan University’s Miller Auditorium in Kalamazoo for performances at 3 and 8 p.m. Sunday.   He also is looking forward to the release of his fourth (and currently unitled) album in May and, in June, married Surata Zuri McCants, with whom he plans to open a spa and salon next year in his home town of Birmingham, Ala. And if that’s not enough on one plate, he is looking at the possibility of “Ain’t Misbehavin'” joining the growing list of revivals headed back to Broadway.  Why, when a production of “Porgy and Bess” at Alabama A&M University (where he majored in voice studies) was his only previous experience with “book” shows, did he opt for this one, and to tour in the bargain. “I wanted to do something different,” Studdard said, calling briefly from the tour stop in Akron, Ohio. “Ain’t Misbehavin” cetainly is. His role is “closely patterned after Fats,” but, he explained, “All the cast members play particular parts of his personality.” The cast includes a couple of Studdard’s competitors from “Idol” season two — Frenchie Davis and Trenyce — and audience members may be surprised by the fact that, according to the singer, he can dance, a requirement in most musicals but especially in this which has a small cast and finds the big baritone involved in most of the numbers. Although he reportedly dropped 70 pounds on a diet and fitness program, keeping the weight off is not so easy on the road and, not surprisingly, “I’ve gained a couple of pounds,” he admitted, adding “It’s hard to diet on tour, but I’m going to get back in to it.” Of his upcoming album, he said “It will be a different kind of music,” explaining “That’s difficult to do on a label run by the most influential man in music, Clive Davis. You don’t get a chance to sing what you want. Now I’m more able to do my own kind of music.” He hopes it will be the kind to which listeners — and buyers — respond. Maybe even a little Fats Waller. For tickets to “Ain’t Misbehavin'” call (269) 387-2300 or (800) 228-9858 or visit Prices range from $25 to $50.

King and I really big show

The Premier Arts production of “The King and I,” which played the first of its three performances at the Elco Theatre Friday evening is, to quote the late Ed Sullivan (ask your older friends), “a reeeeely big show.”  Bigger, however, does not always mean better. In fact, this “King and I” — one of Rodgers and Hammerstein’s “Big Five” — is frequently best when The King (Curtis Hill Jr.) and Anna Leonowens (Liberty Morgan Cantzler) are interacting alone. Cantzler has the majority of the production on her slim shoulders and, as the English widow summoned to the court of Siam in the late 1860s to teach King Mongkut’s many children, she is well up to the task. With five solos (plus two reprises), she is on stage most of the time and, when not, obviously is changing costumes. Still, she manages to deliver a sustained, solid and sensitive performance which is, at all times, very believeable. She also has a warm and true soprano which more than does justice to such familiar melodies as “Getting to Know You” and “Hello Young Lovers.” Her  angry soliloquy, “Shall I Tell You What I Think of You?” delivered after a confrontation with the king, is well done but would be more effective up to tempo. As the autocratic and absolute ruler, Hill reprises the role he created for Elkhart Civic

Theatre in 2000, but here with lots more glitter and eye shadow. He has lost none of the commanding physical presence required for the monarch (a la Yul Brynner). The stance is there, but rapid delivery sometimes results in the loss of dialogue. Whatever the few flaws, there is no doubt he will forever be associated with this character, no matter what roles he may undertake in the future. He IS The King!   The ill-fated lovers Tuptim and Lun Tha are played, according to the program, by Maddy Whitby and Peter Sessions. On Friday evening, however, Whitby, who was in a minor car accident on Wednesday, was replaced by choreographer Ashley Frost, a fact that was not announced to the audience. Hopefully, Whitby will be on stage tonight and Sunday. Frost was a very acceptable substitute and she and Sessions blended well on their two duets, “We Kiss in the Shadow” and “I Have Dreamed.” Don’t look for the last  in the film version. It was not included, nor were “Shall I Tell You” or “My Lord and Master,” Tuptim’s initial solo. Laurie DuBois was Lady Thiang, first wife to the king and mother of the crown prince, who expresses her feelings about the king in “Something Wonderful.” There are so many “Siamese children” in this production (80 in the children’s ensemble) that one wonders how the King who fathered them all had time to do anything else.  All know where to go and when and how to behave on stage, which definitely is a plus and hopefully will  be put to good use in future productions. But the sheer magnitude of the numbers tends to make them all blur together, unless, of course, you’re a friend or relative, and there were many among the 1,200 people in the Elco Friday evening. The youngsters in featured roles — Jackson Fann as Crown Prince Chulalongcorn, Brayden Cantzler as Louis Leonowens and DeAnn Veatch as Princess Ying Yaowalak — carried off their assignments with aplomb, and the adorable Veatch was a real heartbreaker. Unfortunately, the dancers in the second act ballet, “The Small House of Uncle Thomas,” were not named in the program (nor were any of the scenes or musical numb ers). So I can say only that Eliza and Co. did a very fine job in the Siamese version of “Uncle Tom’s Cabin.” “The King and I” plays at 7:30 p.m. today and 3 p.m. Sunday at the Elco. Call 293-4469.

King and I is a family affair

For the leading players in the Premier Arts production of “The King and I,” playing next weekend at the Elco Theatre, calling the classic Rodgers and Hammerstein musical a family show definitely has a double meaning,  especially for the man who portrays the extremely prolific King of Siam.   Not only is Curtis Hill, Jr. recreating the role of the autocratic ruler which he played first in the 2000 Elkhart Civic Theatre production, also in this cast are wife Theresa and all five of the Hills’ children: Halle, 14; Mallory, 12; Curtis III, 10;  Bella, 8; and Abraham, 7.

All are among the seemingly endless flow of royal offspring who fill the stage during the famous “March of the Siamese Children,” and several are in the second act ballet “The Small House of Uncle Thomas,” with Halle as Topsy. Theresa, no surprise, is one of the King’s wives. All of the youngsters have a surprising amount of theatrical experience, via youth theater programs, and all were definite about wanting to do more. Once the bug bites … For Theresa, however, “This is a one time deal, just because it’s a family affair.”  Her role has in past shows has been to help on a production committee or just wait for the young thespians to finish rehearsal. “I love watching their shows,” she said, noting that her only regret is that being on stage, “I won’t be able to see this one.”  The final weeks before opening have left time for nothing but school (all are honor students and in pep programs), dinner and homework, usually done at the theater. ” We’re used to having mom in the audience,” Halle said. “So this is interesting.” And what’s it like, living with the King?  No problem, according to his kids. “This is kind of his personality,” Halle volunteered. It is a personality that dominated his first royal outing and promises to do the same on the Elco’s much larger stage. Not an easy task in the role so completely associated with the late Yul Brynner, who played it for more than 4,000 performances from 1951 almost until his death in 1985. Hill was, and obviously still is, up to the challenge. “I’ve always been a big Yul Brynner fan,” he said. “Even before ‘The King and I.’ I watched him in ‘The 10 Commandments” and ‘The Magnificent Seven’ and thought he was great.” “I am not a theater guy,” Hill declared, but when he saw the ECT audition notice, “I thought if ever it was the time, this was it.”  Recalling his initial experience at the Bristol Opera House, he  has good memories of that production. “The Civic was a much more intimate crowd,” he said, adding “This big stage is better for ‘The King and I’.” The only drawback has been “I remember things from eight years ago,” he said with a chuckle. “I know the part and I know the show. It’s frustrating for some people.” His job as Elkhart County Prosecutor doesn’t allow much time for extra curricular activities, but “Doing a part in this show is much more fun as community service than sitting on a board or a committee.” Especially when the whole family can have fun with him. His Elco co-star is a young and talented theater veteran, Liberty Morgan Cantzler. As Anna Leonowens, she brings her young son Louis to the court of Siam. In keeping with the familial theme (more than 15 families are among the 118 actors and 40 crew members involved in the production), Louis is played by Liberty’s 9-year-old son, Brayden, who, his mother said quickly, auditioned and got the role all on his own.  “In fact,” she added. “He begged me to audition.”

“He was doing stuff (shows) as a baby,” his mother said of the Pinewood Elementary School pep program student. Like the Hill children, his grades do not suffer because of his theater involvement. Unlike Hill, however, Liberty has always wanted to do theater.  She began here. Her first role, at age 4, was a passenger on the liner American in ECT’s first “Anything Goes.” After high school, she went to the American Musical and Dramatic Academy in New York City, focused on a career in the theater. “I have always wanted to do this,” she said. “There was never a question. I want to do it as much as possible.” She married Sean Cantzler, then a lieutenant in the Navy, with an eye to regional theaters wherever he was stationed. Then Brayden was born and “I wanted to be a mommy,” said the petite blonde. Cantzler left the service and they returned home. After daughter Mady was born, the couple divorced, but theater has always  been Liberty’s through-line.  Now a single mom with a part-time job and going to school full time at Ivy Tech, Liberty’s love of the theater and performing has never wavered. It is a love she has passed on to both her children.  “I know theater helped my brother Seth (Morgan, now working professionally in New York) to focus.” she said. “Brayden is kind antsy. I hoped theater might help him, too. It has.” Next up, a summer production of “Quilters” at Das Dutchman Essenhaus. After that .. anything goes.

“The King and I”   By Richard Rodgers and Oscar Hammerstein II Presented by Premier Arts and Wachovia Securities Elco Theatre 7:30 p.m. Friday and Saturday, 3 p.m. Sunday Tickets: $15 adults, $12 students and senior citizens, $10 children to age 10. Call: 293-4469 or visit

Brotherly Love Shepard style

If you think your family is dysfunctional, take a look at the brothers in “True West.” The 1980 work by playwright/actor Sam Shepard is on stage through Sunday in South Bend Civic Theatre’s Barbara K. Warner Studio Theatre. I guarantee it will have you looking at your own sibling squabbles in a different light. After a beginning in San Francisco, the play was first produced by Chicago’s fledgling Steppenwolf Theatre with John Malkovitch and Gary Sinese as the brothers. Most recently John C. Reilly and Philip Seymour Hoffman starred in the limited run Broadway revival and even switched roles at different performances. “True West” is very rarely produced by community groups, the obvious reasons being the language (not profane but skewed) of the script and the demands of the two major roles, the brothers Lee and Austin. Lee (the amazing Scott Jackson) has dropped in on Austin (an equally adept Aaron Nichols) after an absence of five years.  Austin, a screenwriter with a wife and family “in the north,” is working on a project he hopes to sell to a producer and house-sitting in Southern California for their mother, on vacation in Alaska. Lee, an alcoholic hustler more inclined to steal than work, has been living alone in the desert and is definitely an unexpected — and increasingly unwelcome — guest. As Lee picks away at his more and more uncomfortable younger brother, he insinuates himself into more and more of Austin’s life, to the point of usurping his place with the producer, Saul Kimmer (Jim Jones), by creating an unrealistic screenplay outline about the new — the “true” — West which Kimmer buys to the extent of dropping Austin’s project when he refuses to write the script for Lee. This is the proverbial straw that exposes the other sides of both brothers. Shepard  has been quoted as saying that he wanted the play “to give a taste of what it feels like to be two-sided.” He more than exceeded his expectations. By the final blackout, the brothers have completely exchanged personas … or have they? Have their true natures finally surfaced? And, after the last confrontation, where will they go from there? Watching Lee weave an insidious and frighteningly familiar web around his initially compliant brother is like watching a snake charm its prey. Downing beer after beer and circling the struggling writer, Jackson is an hypnotic presence. You want Austin to stand up and throw him out for good. When he does, it is only because the brothers have become the worst of each other.  The inevitable collision is, to say the least, explosive and chaotic. Returning briefly from her cruise, their Mother (Mary Ann Moran) can only survey the wreckage before heading to a hotel and admonish them not to fight in the house.     The juxtaposition of these two fine actors draws you in to this absurd nightmare of sibling rivalry and keeps you riveted.  Whether or not you want to dissect Shepard’s work symbolically, metaphorically or psychologically —  or just sit back and be hilariously horrified at the mayhem — is up to you. There is no doubt that it has been given an excellent production and one that should be seen. The direction is by Leigh Taylor with a “toast” to the hard working props crew. For show times and tickets, check the SBCT website listed here.

New Rhythm for Familiar Tune

The story of the Little Mermaid is among the most popular of Hans Christian Anderson’s fairy tales. It also ranks high with Disney which has turned the story into an animated feature film and a Broadway musical.   Unlike the original, both Disney versions have a happy ending for the mermaid and her prince. Still another telling of the story began off Broadway in 1990 and, although it basically follows the same narrative with different characters, “Once on This Island” is based on “My Love, My Love,” a book by Rosa Guy and is set on a Caribbean island.

The Elkhart Civic Theatre production of “Once on This Island,” the show’s regional premiere, opened Friday evening at the Bristol Opera House. It is more of an operetta than a standard musical. There is very little spoken dialogue. The show is the creation of composer Stephen Flaherty and lyricist Lynn Ahrens, the duo responsible for “Ragtime,” “Seussical” and “Lucky Stiff,” three very different shows which  serve to underscore their obvious versatility. The ECT cast if 16 (including director/choreographer Tom Myers) is “on” almost constantly, portraying gods, peasants, aristocrats, island animals and even the elements as required. When the chorus sings, the results are definitely outstanding. The story centers around Ti Moune (played as a child by Jacqueline Kelley-Cogdell and as a young girl by Alex Pote), found in a tree after a violent storm by two old peasants (Eula Milon and John Jay Shoup) who save her, adopt her and, eventually, let her go to follow her heart. Of course, that leads her to Daniel (Justin Williams), a young man from the other (aka wealthy) side of the island. Her love, no surprise, is stronger than his, and class trumps romance resulting in the bittersweet denoument. Along the way, Ti Moune is aided (and sometimes deterred) by the island gods — Asaka, the earth mother (Stephanie Yoder); Agwe, god of water (William Diggins); Ezulie, goddess of love (Wanzetta Arnett); and Papa Ge, sly demon of death (Steve Salisbury) — always to irresistible rhythms and hauntingly lovely melodies. Pote does a beautiful job as the young dreamer who follows her heart through wind, rain and prejudice, eventually defying death to save her love. She has a clear, true  voice and meets the heavy vocal demands of the role with easy grace. It is about worth the price of admission to hear — and see —Salisbury and Diggins, both big men with big voices who are at ease on stage and obviously relish their roles. Their fellow “gods” work hard with solos that sometimes are out of their vocal range and sometimes hidden by the orchestra. Which is a concern in this production.  The seven-member instrumental ensemble plays very well.  The problem, as in any theater that has no orchestra pit, is that of balance. Soloists are too often overpowered, definitely detrimental when the Storytellers are speaking the narrative that moves the plotline. I have no solution to this, but it is a problem that plagues all community theaters as well as some with much more experience. Myers’ choreography is engaging and dares you to sit still and Shoup’s silhouetted set pieces, which move on and off as the mood requires, are just right for this fanciful tale.

“Once on This Island” plays Friday through Sunday. Check the web/p>

Struthers takes comedy seriously

Calling from a bus headed for … whatever is the next tour stop … actress Sally Struthers sounds incredibly bouncy and up beat. Not an easy task when the “Nunsense 25th Anniversary Tour,” in which she plays the Mother Superior Mary Regina, began with rehearsals in August, will be on the road until the end of January and lists more than 40 stops in 19 states, most of them one nighters. But the demands of a rigorous schedule definitely don’t faze the actress who has made her mark in all areas of the entertainment business and calls work “My favorite thing.” If touring vaudeville-style seems a change of pace for someone who has received two Emmy Awards, it’s nothing new and it’s definitely not easy. Sometimes “You are so tired you wake up in the morning and don’t know where you are,” she admitted. And, with no understudies, good health is important. ‘You keep your fingers crossed to stay healthy,” she said, only half joking.

Salley Struthers in NunsenseHer journey began in 1968 when Struthers left her home in Portland, Ore., and headed for Los Angeles and the Pasadena Playhouse College of Theater.  Before her first year was out, she was getting professional jobs on shows including “The Tim Conway Comedy Hour and “The Smother Brothers Comedy Hour”  and soon was working so steadily she dropped out of school. (Note: The school closed soon after and, although the Pasadena Playhouse remains, the school is no more.) Then fate, in the form of writer/producer Norman Lear, stepped in and changed her life forever. Even 30 years later, the petite blonde is best known as Gloria Stivic, wife of Michael and daughter of Edith and Archie Bunker, the terrific quartet that was “All in the Family.” Lear’s ground-breaking comedy aired from 1970 to ’78 and endowed Struthers with a persona she carries to this day. It does not, however, weigh her down. “I am so grateful for that show,” she declared. “It was an opening door. It gave me a name and face people in American knew. And it was a wonderful show to work on. We couldn’t believe we got paid to laugh all day long.” Although the spinoff series “Gloria” lasted only one season, it joined the actress with her TV person in a partnership that continues, no matter what role she is playing or in what medium. Her characters are many. On the stage, she has  become Truvy in “Steel Magnolias,” Golde in “Fiddler on the Roof,” one half of “The Female Odd Couple,”Miss Hannigan in “Annie” and Miss Lynch in “Grease.” She played the last three on Broadway and, as Miss Lynch, was on stage in South Bend’s Morris PAC several years ago during the show’s national tour. Her films include “Five Easy Pieces” and “The Getaway” and her TV roles, “Gilmore Girls” and “Still Standing.”

Any medium, it seems, is a good fit for the versatile Struthers. “The best part is not getting bored,” she said, although she would prefer work closer to her home in L.A. and her daughter, Samantha Struthers Rader, who, mom said proudly, “Is one semester away from getting her PhD in clincial psychology.” Currently, Struthers is leader of the surviving Little Sisters of Hoboken, who gather to present a benefit variety show to pay for the interment of their fellow nuns, victims of a poisonous vichysoise created by the convent cook Sister Julia Child of God. “Nunsense” is the first — and the best — of the many “Nunsenses” created by Dan Goggins. It has become a regular in the lineup of community groups around the country. In the hands of a first rate cast, it certainly bears seeing again. With theater offers waiting when this “Nunsense” tour ends, Struthers continues to follow an axiom from her friend actress Brenda Vaccaro, “You gotta keep moving; it creates a breeze.”

“Nunsense 25th Anniversary Tour” Starring Sally Struthers 3 p.m. Sunday (Nov. 2) Miller Auditorium Western Michigan University Call (269) 387-2300 or (800) 228-9858 or visit

Dracula Can Be Deadly

With Halloween right around the corner, it’s no surprise that vampires are making their annual appearance. Especially THE vampire, the infamous Count Dracula. Steven Deitz’ theatrical version of Bram Stoker’s classic novel opened Friday evening in a production by South Bend Civic Theater in the Wilson Mainstage Auditorium. Written in 1996, it is more akin to Francis Ford Coppola’s 1992 film than to the 1931 classic that gave Bela Lugosi his cinematic  signature role. The Dietz play is reportedly more like the novel.  Having never read it, I cannot attest to this.       Enough to say that it definitely is a challenge to present and one on which the SBCT cast and crew obviously expended a great deal of time and energy. Unfortunately, the results are disappointing. The initial impact of the towering set — it stretches way above and beyond the usual restrictions of the proscenium — is encouraging. Designed by director Rick W. Ellis and technical director David Chudzynski (who also plays vampire hunter Abraham Van Helsing), it contains at least six curtained openings which move the action from one location to another without having to actually change the set. Two major projection areas on the right and left walls are used to depict visually the second act journey from London to Transylvania. Their size blurs the scenes, however, and the accompanying voice-overs are equally indistinguishable. After the prologue by Renfield (Steve Gergacz), whose “entree” is a large “rat,” the opening scene between Lucy Westenra  (Sarah Obren) and her close friend Mina Murray (Kim Iwaszewski)  was, from our location right center, entirely unintelligible. Not a good thing when it sets up much of relationships as well as much of what is to come. Excepting Chudzynski, Nathanial Smith as Jonathan Harker, Gergacz and Anthony Panzica (the youthful Dracula, pictured) the majority of the dialogue was delivered in the same way. When I can’t hear and, in several scenes, can’t see what is going on, it tends to make me lose interest long before the 2 1/2 hour vampire hunt draws to its familiar conclusion. Eventually, everything takes on a comic aspect.When Van Helsing proclaims “There is no joy” and the first thing that pops into my mind is “in Mudville,” it’s obvious my focus shifted from blood-sucking, insect-eating, baby-crunching horror.Rumbling set pieces — an understandable necessity but, in scene changes, one which can be masked with music — and a seeming uncertainty as to whether to play the often unwieldy dialogue straight or kamp resulted in an unsettling  mixture and made me really miss Bela Lugosi. I wish a better reaction from local theater-goers whose demand for tickets has increased the scheduled eight show run to 10, with a midnight show Oct. 31 and an additional matinee Nov. 1.