'Fiddler On The Roof' Plays In The Park PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 04 August 2015 20:09

Let me begin by saying it is very difficult to review a show if you can only see the stage by standing up, which is not an option when the show is close to three hours long.

Fiddler on the Roof SouthBend (IN) Civic TheatreThat was the problem Friday when we arrived at St. Patrick’s Park in South Bend for the South Bend Civic Theatre production of “Fiddler on The Roof.”

Curtain time was 7:30 p.m. and we foolishly thought getting there at 7 would be plenty of time, especially since we were informed that there was no spraying for bugs and the other outdoor hazer — cigarette smoke — was a thing of the past, so arriving when the park opened at 6 p.m. was really not an option.

In my younger days, I did a lot of standing for Broadway shows. But the key word is younger and the area was a solid floor and semi-wall on which to lean.

After weighing the options, we decided to stay. After all, a large number of people were in about the same location. We could see what they could see, which turned out to be not much.

Standing allowed a view of the stage and the performers who were, at this distance, more like miniatures than real people. Sitting down allowed a view of the backs of peoples’ heads.

We settled on standing for production numbers and sitting to listen to the rest. Having seen many productions, the visuals offered few surprises. Actually, the sound was much better in the park than in the SBCT Wilson Theatre. Dialogue and lyrics were, for the most part, easily understood and the voices, both solos and ensemble, were excellent, although the coming and going of bad accents was obvious.

Fiddler on the Roof South Bend (IN) Civic TheatreThere is no doubt that any “Fiddler,” large or small, depends for its success on the singer/actor portraying the leading role of Tevye, the dairyman of Anatevka. The father of five “daughters!” he deals with constant poverty in an increasingly hostile environment, but his strong relationship with God and strict adherence to the traditions of his race and faith, support him throughout.

Fiddler on the Roof South Bend (IN) Civic TheatreSBCT is fortunate in having a Tevye for all seasons in Jason Medich. Younger than most who play this role, his interpretation carried more suppressed anger and less meek subservience. It was different but it played well. His accent was consistent and his rich and powerful voice filled in all the gaps

Numerically, this has to be the largest production staged to date by SBCT. It numbers a cast of 27, an ensemble of 29, an orchestra of 14 directed by Roy Bronkema and a flexible, multi-wagon set designed by David Chudzynski. Director David Case is a SBCT veteran.

Fiddler on the Roof  South Bend (IN) Civic TheatreThe familiar Jerome Robbins choreography (I said we stood for the big numbers) is the basis for that done by Callie Lorenz. I missed the familial groupings for “Sabbath Prayer” and the mass exodus that brings the show to a close, but the Bottle Dancers were, as expected, drop-less, and the Russian dancers literally flew.

Rather surprising that “Miracle of Miracles” became a duo song-and-dance for Motel (Sean Leyes) and Tzeitel (Natalie MacRae) which rather undermined the shock value of Perchik (Justin Green) asking Hodel (Bree Haler) to dance at the traditionally segregated wedding.

It seems almost impossible that, after a nine-Tony Award Broadway debut in 1964 which played to more than 3,000 people, four revivals (a fifth is planned for this winter), a popular 1971 movie, countless tours and endless productions in schools and community theaters, some remain who have never seen “Fiddler on The Roof.”

It is most definitely a music theater classic.

Now is your chance.

NOTE: There are no programs. For cast, crew and other information, consult your smart phones or computers. Concessions available.

“FIDDLER ON THE ROOF” plays at 7:30 p.m. Friday and Saturday in St. Patrick’s County Park in South Bend. For information and reservations, call (574) 234-1112 or visit

'Midsummer' Laughter Spans Centuries PDF Print E-mail
Written by Marcia Fulmer   
Sunday, 02 August 2015 02:47

If you’ve ever heard that true love never runs smooth, believe it or not, you were hearing Shakespeare — almost.

Midsummer Night's Dream Wagon Wheel Theatre Warsaw INThe age-old explanation of the entanglements of that emotion is found, in it’s more erudite form, in the first act of “A Midsummer Night’s Dream,” Shakespeare’s most popular comedy (circa 1595), which opened Wednesday evening in Warsaw’s Wagon Wheel Theatre.

Whether you are an avid fan, avoid Shakespeare whenever possible or are a newcomer to his plays, the WW production is just right for all.

Ok. If there is a choice, you may never select Shakespeare over Ken Ludwig (“Lend Me a Tenor,” etc), but, at least, you’ll be willing to give The Bard of Avon another try.

Midsummer Nigjht's Dream Wagon Wheel Theatre Warsaw INThe WW show makes this a definite possibility, for a goodly number of reasons.

First: directors Andy Robinson and Ben Dicke work well at highlighting aspects of ageless humor that definitely appeal to all. Harking back to the silent screen days of Buster Keaton, Harold Lloyd and the great Charlie Chaplin, they allow the underlying humanity of each character to at least peep through the exterior. Even a jackass can shed a tear.

Second: the assembled cast brings each role to life, whether a noble or a fairie or a working man, and their joy, even when in deep “sorrow,” is highly contagious.

Third: the events (with apologies to R&H) of this enchanted evening are played out on a set designed by David LePor and in beautifully fantastic costumes created by Stephen R. Hollenbeck that could not be anything but magical. Elves and fairies pop in and out of the swirling platforms which collectively resemble a giant seashell, all in frequently shimmering light by Alexander Rodgers.

Everything takes place in one night during which mortals and fairies alike become hilarious entangled but, by dawn, manage to pair properly and resolve all differences.

The story begins stolidly with an approaching wedding, veers to a romp with mis-matched lovers, sidesteps to the preparation of a theatrical production and careens around spells mislaid by a mischieveous fairie.

Leading the earthly contingent are Hermia (Laura Pyler), Helena (Kira Lace Hawkins), Lysander (Angel Lozada) and Demetris (Alex Dorf), gathered for the wedding of Theseus, Duke of Athens (Jordan Edwin Andre) and Hippolyta,          Queen of the Amazons (Elaine Cotter).

When it becomes evident that Demetrius is engaged to Hermia who loves Lysander, who loves her, while Helena is in love with Demetrius, who also loves Hermia, it’s obvious that there is trouble ahead.

Midsummer Night's Dream Wagon Wheel Theatre Warsaw INAll four wind up in the nearby enchanted wood where fairie King Oberon (Danny Burgos), is quarreling with fairie Queen Titania (Ellen Jenders), who refuses to give him a changeling boy in her care. To expedite his demand, Oberon sends Puck (Jennifer Dow) with a magic flower that, when applied to sleeping eyes, makes the sleeper fall in love with the first person he/she sees when awakening.

Of course, Puck applies the flower’s juice to all the wrong eyes and mayhem ensues.

Midsummer Night's Dream Wagon Wheel Theatre Warsaw INTo add to the confusion, a group of workmen are in the woods to rehearse their play, to be presented at the reception. Peter Quince (George O. Vickers V) assigns roles to Bottom the Weaver (Scott Fuss), Flute (Sean Watkinson), the Bellows Mender, Snout the Tinker (Keaton Eckhoff), Starveling the Tailor (Asher Durbin) and Snug the Joiner (Dylan Troost). Bottom, sure he can play every part, loudly directs everyone.

No surprise then, that Puck puts the head of a donkey on the braying Bottom and the flower’s juice on the wrong Athenian resulting in a chaotic mix-up of lovers.

It would be difficult if not impossible to name a standout in the talented cast. Dow is consistently delightful as the impish Puck and Fuss is hilarious as the arrogant would-be actor (check his instruction on attention to consonants). Hawkins is perfect as the neglected Helena who responds with outrage — and outrageously — to sudden romantic attentions, while Lozada and Dorf earn applause for their overkill in proving who is the best man.

The “finale,” the workers’ presentation of “Pyramus and Thisbe,” is the comedic icing on this frothy fare which proves with century-spanning accuracy “What fools these mortals be!”

“A MIDSUMMER NIGHT’S DREAM” plays through Saturday in the theater at 2517 E. Center Street in Warsaw. For performance times and reservations, call (574) 267-8041u

Juke-Box Musical For Fans Of '80s Rock PDF Print E-mail
Written by Marcia Fulmer   
Friday, 31 July 2015 03:50

For lovers of rock music who just can’t get out of the ‘80s, you have until Aug. 9 to visit The Barn Theatre in Augusts, MI for two hours-plus of tunes from that decade literally “mashed” together in an ear-shattering production titled “Rock of Ages.”

Rock of Ages The Barn Theatre Augusta MIIt is a tribute to the decline of originality in the world of musical theater, but obviously not a deterrent to ticket-buyers. It played more than 2,300 performances on Broadway and now is permanently in residence in Las Vegas.

The “score,” in which many of the songs are literally mashed together, does not contain one song original to the show. Instead, all are classic rock hits from the 1980s, easily identifiable to fans of the era, even though only the ballads are lyrically decipherable.

It is the perfect example of a jukebox musical — existing taking music and forcing it around a totally (and ridiculously) contrived “plot.” Which is not to say that the predominantly young company at The Barn does not give it their all.

In leading roles, Kevin Robert White, Michael Tuck, Eric Parker, Jamey Grisham and Julie Grisham never let down for a minute, even under the weight of some of the ugliest and most ludicrous wigs since Halloween. They obviously can belt vocally and let no chances go under-sung.

Rock of Ages  The Barn Theatre  Augusta, MIThe band is on stage throughout as Arsenal, the band with which rock star Stacee Jax (Jamey G.) is about to connections. He is convinced by Dennis Dupree (Parker), owner of The Bourbon Club, to play his final concert in the club. Aspiring songwriter Drew Boley (Tuck), a Bourbon busboy, is encouraged by new waitress Sherrie Christian (Julie G.), who is falling in love with him, to follow his dream of opening for Arsenal.

Taking her on a date to the Hollywood Hills, Drew (who loves her) ruins the budding relationship by saying they should just be friends. This makes Sherrie so angry that she has sex with Jaxx in the Bourbon men’s room.

Drew, who has opened for Arsenal and scored a record contract from a producer in the audience, knows what Sherrie did and drops her, as does Jaxx who has her fired. She winds up in the nearby Venus Club where owner Justice Charlier (Penelope Alex) convinces her that stripping is the easy way to make money.

Rock of Ages The Barn Theatre Augusta MIMeanwhile, developer Hertz Klinemann (Charlie King) and son Franz (Hans Friedrichs) are about to bulldoze everything on the Sunset Strip, including the Bourbon Club, to make way for a mall. Against this plan is the mayor’s secretary Regina Koontz (Kasady Kwiatkowska) who leads protesters to save the strip.

Along the way Dennis’ assistant Lonny Barnett (White), who also serves as narrator, and Dennis discover they are in love.

All this — and a lot more — is played out to appropriate ‘80s rock hits by Styx, Journey, Bon Jovi, Steve Perry, Pat Benetar and many others, although not the title tune either in hymn form or from Def Leppard. Fans of the music obviously have to overlook the laughably unbelievable book by Chris D’Arienzo and just go with the flow, which stops more often than it starts.

The multi-level set by Shy Iverson covers many locations but primarily seems to serve as a workout site for the unidentified young man who constantly exits and enters on a variety of levels to bring on/take off props and set pieces. He deserves applause for knowing just when and where he is to be.

We got tired just watching him!

ROCK OF AGES’ plays through Aug. 9 in the theater on M60 between Galesburg and Augusta, MI. For performance times and reservations, call (269) 731-4121.


Green Day Album As Musical Theatre PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 21 July 2015 16:39

In the 1986, two friends formed a punk rock band which they called Sweet Children.

Now a quartet of musicians known as Green Day, they have been at the top of the pop music scene for almost three decades, are one of the world’s best-selling bands of all time and a 2015 inductee into the Rock and Roll Hall of Fame.

American Idiot The Barn Theatre Augusta MIAmong their top albums is a rock opera titled “American Idiot.” Released in 2004, it followed in the footsteps (or tracks) of other album-first, stage-musical-second — “Jesus Christ Superstar” and “The Who’s Tommy,”

In 2010, with an expanded story line, new characters and a couple of songs from a later album, “American Idiot” opened on Broadway where it played for a year, winning Tony Awards for scenic and lighting design and a Grammy for Best Musical Show Album.

“American Idiot” opened last Tuesday at The Barn Theatre in Augusta, MI to an audience filled (as all, I suppose, will be) with Green Day fans who obviously (and enthusiastically) enjoyed the theatricalization of the award-winning album.

American Idiot  The Barn Theatre Augusta MIAt an hour and a half with no intermission, is it not difficult even for a non-Green Day fan to enjoy. Three of The Barn’s hard-working performers — Kevin Robert White, Jamey Grisham and Michael Tuck — portray the “idiots” who decide to leave their humdrum hometown — Jingletown — to experience LIFE!

Actually Will (Grisham) never makes it past the city line as girlfriend Heather (Bethany Edlund) presents him with a reason to stay, at least for nine months.

In the large and wicked metropolis, Tunny (Tuck) becomes disenchanted quite rapidly and turns to the safety (?) and discipline of the Army where he loses a leg and finds, in a nurse, The Extraordinary Girl (Sarah Lazar).

Johnny (White) wanders the city looking for a girl glimpsed in a window and, with the help of his alter-ego St. Jimmy (Jake Rura) and heroin, stirs up enough courage to find Whatshername (Samantha Rickard).

The experiences of the three rise and fall before reaching their respective conclusions which certainly are not all happy endings but allow at least a glimmer of hope.

American Idiot  The Barn Theatre  Augusta, MIBeing a Green Day fan, indeed knowing the music of Green Day at all, is not required to enjoy “American Idiot” — but, understandably, it helps in following the storyline which can get lost in the full-power vocals.

The six piece rock band, under the direction of keyboardist Matt Shabala, is on stage throughout and, for the most part, its music is driving but not overpowering.

A large turntable divided in three segments is center stage and moves the action from one location to another easily, also providing ramps and levels on which the singer/dancers move freely.

The entire ensemble replicates the drive of the instrumentalists, most especially White, Gresham (who is choreographer) and Tuck and their respective female partners. They never slow down. At times the lyrics are lost but, like that energetic hare, “American Idiot” just keeps on ticking.

The framework of the “plot” is a series of 10 letters written by Will, which chronicle their adventures from the wish to escape to the need to return home.

If you are a Green Day fan, this is for you. If you are not, it is a solid introduction to their music.

“AMERICAN IDIOT” plays through Saturday in the theater on M96 between Galesburg and Augusta, MI. For performance times and reservations, call (269) 731-4121.

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