Under The Laughter, Food For Thought PDF Print E-mail
Written by Marcia Fulmer   
Monday, 10 June 2013 19:49

The debate between religion and science has never been so hilariously handled as it is in “End Days,” the comedy by Deborah Zoe Laufer which opened Friday evening in South Bend Civic Theatre’s Warner Studio Theatre.

End Days  South Bend (IN) Civic TheatreHave no fear that this is a ponderous philosophical discussion between studious opponents. Nothing could be further from the truth. In fact, the laughs come so quickly and frequently it’s difficult to describe the dysfunctions of the Stein family — and neighbor Nelson Steinberg — as any kind of a debate.

Excepting that the idiosyncrasies of the individuals begin to take on familiar— if not rings, then dingles, as they state/plead/demand attention to views that seem at firsdiametrically opposed but which, by the end (which really is the beginning), seem not so far apart.

The premise is ridiculous but unsettlingly familiar. Sylvia Stein (Andrea Smiddy-Schlagel) is a Jew who has converted and found a personal relationship with Jesus (Arthur Gilchrist). He brings her coffee and chats with her in the living room. She is certain the Rapture is coming soon and is determined to take this saving message not only to husband Arthur (Tucker Curtis) and daughter Rachel (Isabelle Gilchrist) but also to the rest of the unsaved population. To this end, she and Jesus head out daily to distribute pamphlets and recruit possible converts in front of the XXX video store.

End days  South Bend (IN) Civic Theatre

'Shrek' moves from film to musical stage PDF Print E-mail
Written by Marcia Fulmer   
Saturday, 08 June 2013 19:19

Wagon Wheel Theatre opened its 2013 season Wednesday evening with a monster musical aimed at the child in all of us.

Shrek the Musical  Wagon Wheel Theatre Warsaw IN“Shrek The Musical” is based on the 2001 Dreamworks film which evolved from William Steig’s 1990 fairytale picture book “Shrek!” There has been little lost in the translations, this one with book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori. The theatrical version, however, leans more obviously on the theme of being yourself and proud of it, no matter what.

Under the direction of Scott Michaels, who also is choreographer, the talented cast throws itself energetically into the tale of the swamp-dwelling ogre who winds up with a princess in spite of himself.

There is no question that this production, in addition to the aforementioned talented cast, is helped into the winner’s circle by the amazing outfits designed and built by WW resident costumer Stephen R. Hollenbeck. From the first appearance of young Shrek to the rousing finale in which EVERYONE (and there are many) sings and dances, the outstanding costumes just keep coming.

Family Conflicts Fill 'August: Osage County' PDF Print E-mail
Written by Marcia Fulmer   
Wednesday, 15 May 2013 15:09

The truth is, no one can resist gawking at a disaster, the bloodier the better. We just can’t look away.

August: Osage County  South Bend (IN) Civic TheatreThis may be one of the reasons audiences are fascinated by the incredibly dysfunctional interactions of the Westons of Pawhuska, Okla., the extended family in Tracy Letts’ Tony Award/Pulitzer Prize-winning play “August: Osage County” which opened Friday evening in South Bend Civic Theatre’s Wilson Mainstage Auditorium.

As the 31/2 hour drama (or comedy, could not decide which was more prevalent) unfolds, I kept hoping that the next character to enter set designer David Chudzynski’s amazing two-story house (plus front porch and attic) would have a least one redeeming quality.

No such luck.

The fairly mild atmosphere of the prologue during which Weston patriarch Beverly (Paul Hanft) interviews prospective live-in cook/caregiver Johnna Monevata (Lisa Blodgett), disappears quickly as the poet/professor lists his wife’s prescription drugs of choice — “Valium, Vicadin, Darvon, Darvocet, Percodan, Percocet, Xanax for fun, Oxycontin in a pinch, Black Mollies and Dilaudid.”

“She takes pills,” he says, explaining their “marital contract,” “and I drink.”

That’s putting it mildly.

Romantic Tale Offers Love, Laughter PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 30 April 2013 03:49

Every woman who has yearned for a little time away will empathize with the quartet of ladies who inhabit “Enchanted April,” the gently humorous and touchingly believable play which opened Friday evening at the Bristol Opera House.

Enchanted April  Elkhart Civic Theatre  Bristol INThe setting for the Elkhart Civic Theatre production moves from the unrelenting damp of England to the spirit-lifting sunshine of a small Italian castle on the Mediterranean Sea.

Although the time is the early 1920s, the motivations of the characters in this delightful romance are easily recognized as applicable today.

Under the direction of Penny Meyers and assistant director Chris Swendsen, the lives which intertwine like the wisteria vines in San Salvatore may begin as drearily stunted growths but as the enchantment spreads, each blossoms individually and together.

The background for this metamorphosis is supplied by the unfaltering artistry of set designer John Shoup (who also portrays Mellersh Wilton, one of the stodgy spouses). Shoup turns the small opera house stage from a variety of stuffy British locations to a real breath of Italian spring. In these surroundings it is easy to see why the ladies want to get away and then how the change of scene releases their inhibitions.

Leading the quartet of adventurous females is the always-excellent Annette Kaczanowski as Lotty Wilton, undoubtedly the most adventurous of all. Reading a rental add for the castle she not only determines to answer it but recruits three other ladies to follow her and share the expenses. Her enthusiasm is completely contagious, excepting for hubby Mellersh, a by-the-book soliciter, whose fixation on propriety could subdue if not crush a less positive person than his wife.

Enchanted April  Elkhart Civic Theatre  Bristol INHeading for the castle with Lotty are Rose Arnott (Valerie Ong), Lady Caroline Bramble (Sarah Rogers) and Mrs. Dayton Graves (Stacey Nickel), each of whom has reason to join this Victorian vacation club.

Excepting Lotty, Rose is the only married lady in the bunch. Her self-aggrandizing husband Frederick Arnott (Carl Wiesinger) is a romance writer whose pen name — Florian Ayres — is nearly his undoing.

Lady Caroline is a loner, a woman who drinks a bit too much, has few women friends and seemingly lives on her wit and her good looks. Mrs. Graves is a stiff-backed elderly widow whose adherence to the restraints of Victorian society persists until the atmospheric enchantment slowly wears them away.

All of the ladies inhabit their characters with distinction, allowing each both common denominators and individual characteristics. Here opposites not only attract, but bring out the best in each other. The results include some timeless truths and a good deal of genuine laughter.

The odd woman out is Joy Freude as Costanza, the local maid of all works at the castle. She speaks no English but there is little doubt as to her meanings. Rounding out the ensemble is Joshua D. Padgett as Antony Wilding, British estate agent and part-time portrait painter who serves as guide to his tenants

The lovely period costumes were coordinated/designed by Linda Weisinger and there is no doubt they are where they belong.

“Enchanted April” was a novel in 1922, a Broadway play in 1925 and 2003 and a film in 1935 and 1992. There is a good reason for its many incarnations. One of them is on stage at the Bristol Opera House.

“ENCHANTED APRIL” plays at 8 p.m. Friday and Saturday and 3 p.m. Sunday in the Bristol Opera House in downtown Bristol. For reservations, call 848-4116 between 1 and 5:30 p.m. weekdays or visit

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