Theatre
Season Starts With Music And Dance PDF Print E-mail
Written by Marcia Fulmer   
Wednesday, 02 November 2016 19:14

In anticipation of the upcoming season — and filling the gap between Halloween and Thanksgiving — Elkhart Civic Theatre presents a holiday classic,White Christmas  Elkhart Civic Theatre  Bristol IN “Irving Berlin’s White Christmas,” Friday through Nov. 19 at the Bristol Opera House. The feel-good script is filled with Berlin classics featuring the title tune as well as “Count Your Blessings,” “Sisters,” “Blue Skies,” “I Love A Piano” and “How Deep Is The Ocean.” It tells the story of two singing sisters, the duo of entertaining ex-soldiers who love them and the G.I.’s former commanding officer who needs all their help to save his New England lodge. Let the theatrical version of the ever-popular 1954 film classic light up your holidays. For show dates and times, call (574) 848-4116 between 1 and 5:30 p.m. weekdays or visit www.elkhartcivictheatre.org.

 
A Look At Something We Will Never Know PDF Print E-mail
Written by Marcia Fulmer   
Thursday, 27 October 2016 17:07

With the rising popularity or reality TV shows, it’s not unreasonable to expect its invasive fingers to stretch across the footlights and onto the “real live” stage.

The  Mpountaintop South Bend (IN) Civic TheatreSuch a reach is offered in “The Mountaintop,” which opened Friday evening in South Bend Civic Theatre’s Wilson Theatre.

For those who have no idea what’s ahead, the setting — The Lorraine Motel in Memphis, Tenn. — and the date — April 3, 1968 — offer definite clues. Ditto the main (and only) protagonists — 1) a middle-age African American man and 2) a definitely much younger African American motel housekeeper.

The man is Martin Luther King. Uneasily preparing to spend the last evening of his life before journeying on. Quite accurate, although his tomorrow and the one fate has in store for him are quite different.

The Mountaintop  South Bend (IN) Civic TheatreThe maid, who is most particular about the pronunciation of her name, Camae, comes to deliver towels and stays for an evening of shared cigarettes, bad jokes, personal revelations and something quite different (if you have not seen the play, I won’t spoil that reveal; if you have, I don’t have to).

As the thunder rolls (quite loudly) and lightning flashes (quite impressively), King (Ben Little) and Camae (Kelly Morgan) await the lessening of the storm while creating one of their own inside room 308.

Of course, no one really knows what conversations, if any, took place in that ill-fated motel, so playwright Katori Hall had carte blanche in creating her own scenario.

You may agree that her suppositions have validity or you may not. Whichever you choose, it does nothing to lessen the uncomfortable pleasure of “listening at the keyhole.”

It takes nothing away from the acknowledgement that Rev. King was, after all, a man. If there is a doubt, the hole in his sock erases it immediately. Difficult to put on a pedestal a man with a big toe wriggling visibly.

Little returns to the SBCT stage with a bang in this 90-minute, no intermission production. He is by turns charming, afraid, belligerent, compassionate, insightful and, when the lights go out, ready to face what ever comes, even though he is sure of what if not of when. His portrayal would benefit from a little less bombast, especially towards the end. Moderation is equally moving.

The Mountaintop South Bend (IN) Civic TheatreMorgan enters obviously impressed with the occupant. That doesn’t prevent her from sharing cigarettes (both are trying to quit) in a “don’t let the grownups catch us” attitude or sewing on a button or bolstering up King’s sagging confidence or participating in a pillow fight or sharing a touch of “Irish cough syrup.” Her voice is consistently high and her sometimes too-speedy delivery results in a loss of dialogue.

Their common thread is fear. “Fear makes us human” King says, admitting later that fear is his best friend. Whatever happened — or did not — in that Memphis motel room, (maybe he just got a good night’s sleep) Hall’s conjecture is only one imaginative offering.

The truth is that we will never know, but as presented by Little and Morgan, this view from this “Mountaintop” makes for a very interesting evening.

Fred Kiefer’s set — of necessity — couldn’t be drearier with special applause for the very realistic thunder and lightning, all under the direction of Shirley Gordon.

“THE MOUNTAINTOP” plays through Sunday in the SBCT Wilson Theatre. For show times and reservations call (574) 234-1112 between 3 and 6 p.m.

 
Chilling Tales Shared In 'The Weir' PDF Print E-mail
Written by Marcia Fulmer   
Monday, 10 October 2016 18:36

If you’re the type who likes their chill factor raised via slasher films or undead supernatural TV shows, the latest South Bend Civic Theatre production — "The Weir"— won’t seem overly frightening.

The Weir  South Bend (IN) Civic TheatreWhat the award-winning work by Irish playwright Connor McPerson will do is provide you with an evening of solid performances and frequently familiar characters whose easy banter reveals a universal connection.

Under the direction of Scott Jackson (one of the Michiana areas’s best!), "The Weir" focuses on the interaction of two regulars, one returnee, a newcomer and the bartender in a pub in northwest Ireland. Named for the low dam that regulates water level controlling the small town’s electricity, The Weir also serves as a safe haven for the men of the village.

The Weir South Bend (JN) Civic TheatreGathered in its familiar confines are the owner, Brendan (Marlon D. Deleon); Jack (Bill Svelmoe), a mechanic and owner of the local garage, and Jim (Ed Walin), another regular who cares for his elderly mother. They are joined by Finbar (Driscoll), a prosperous real estate broker who has just rented a house to Valerie (Dorea Britton), a young woman from Dublin.  

Over a pint (or more), they share the events of their day and, as Jack puts it, “Bullshit about all and nothing.” Tales of local events and residents somehow slip into stories of experiences with the supernatural. Each of the regulars has his own encounter to recall but the one shared by Valerie is the most chilling, being obviously her own real, and painfully recent, experience.

The Weir  South Bend (IN) Civic TheatreThere is not much physical action in “The Weir,” but the emotional currents run with increasing swiftness and, as the focus shifts from one to another, the truth of Jack’s statement “There is no dark like a winter night in the country” becomes chillingly real as does the fact that the warm lights in the Weir offer each at least a temporary shelter from the wind that blows incessantly, providing an increasingly ominous underscoring of the world outside..

The strength of the production is in the performances. Each of the actors takes hold of his/her character and delivers a realistic and sometimes painful look behind the universal exterior. Relationships are revealed, restated, renewed and begun before the last lights in The Weir are shut off for the night.

There is a relaxed and easy camaraderie between Jack and Brendan that speaks to a real friendship. Jim, the third point in the triangle, seeks equal footing but is somehow frequently the odd man out. Finbar, who never forgets his economic status, is more the outsider than the new girl in town and the hostility between he and Jack is frequently palpable.

All the players are relaxed and easy with their roles, with Svelmoe perhaps the most riveting as he lets go of his initial bravado to tell of a lost love. All are perfect examples of “less is more.”

Sam Jones scenic design sets the locale immediately and the sound design by director Jackson is almost a sixth character.

“THE WEIR” plays Wednesday through Sunday in the intimate Warner Theatre in the theater at 215 W. Madison St. For performance times and reservations call (574) 234-1112 between 3 and 6 p.m.

 
:Laughter Necessary Element In ECT Farce PDF Print E-mail
Written by Marcia Fulmer   
Sunday, 11 September 2016 20:57

“Dying is easy, comedy is hard.”

The origin of this comment is ascribed to a variety of sources including George Burns, W.C. Fields and one (or both) of “The Sunshine Boys.”

Unnecessary Farce Elkhart Civi Theatre Bristol INWhoever said it or wherever it came from, the current Elkhart Civic Theatre production of Paul Slade Smith’s “Unnecessary Farce,” which opened Friday evening at the Bristol Opera House, is proof of its accuracy.

There are certain requisites for any farce, the most important being good timing. Add to this a large number of sturdy doors to slam; a cast of characters most of whom are several cents short of a dime and therefore manage to totally miss the obvious, even when it is staring them in the face; and a definitely absurd plotline that begins almost rationally and ends up so far off the rails it’s difficult to determine just who is who.

Unnecessary Farce  Elkhart Civic Theatre Bristol INUndaunted, and under the direction of ECT veteran David Dufour, assisted by Demaree Dufour Noneman, the intrepid septet of actors who make up the cast plunges ahead with increasing gusto. Of course, several wind up in their underwear (also a requisite in farce) which slows them down not one bit!

It doesn’t take long for the laughs to start rolling in and the premise to become even more convoluted.

In two adjoining rooms in a sleazy motel (and nobody does sleazy rooms or sturdy doors — and there are eight here and all get a really good workout — better than set designer John Shoup) the setup is focused on two cops (Angie Berkshire and Mike Nichols) waiting in one room ready to get the goods on the town mayor (Rick Nymeyer) and his accountant (Libby Uruh) reported to be meeting in the other in a matter of embezzlement.

Their visual proof will be whatever is caught on tape via a hidden camera in the mayor’s room feeding images to the TV set in the cops’ room.

Simple right? Wrong!! This is farce, remember.

Unnecessary Farce  Elkhart Civic Theatre Bristol INAdd to this mix the mayor’s wife (Jennifer Ross), looking for her husband; a security agent (Keith Sarber) who may or may not be on official business; and a mysterious (?) intruder (Tony Venable) known only as the Highland Hitman, bagpiper and enforcer for the local Scottish Clan (“That’s clan with a C”).

Officer Billie Dwyer (Berkshire) is at the end of her official training and announces frequently and eagerly “Today I become a cop.” Officer Eric Sheridan (Nichols) is her reluctant partner, who has his doubts. Together they share donuts (of course!) and the inability to successfully apprehend anybody!

Accountant Karen Brown (Unruh) is not involved in the crime but is there to catch Mayer Meekly (Nymeyer) with his hand in the till. Her undercover (literally!) relationship to Officer Sheridan is revealed to Dwyer who sits next door eating donuts and watching the video feed.

Unnecessary Farce Elkhart Civic Theatre  Bristol INAgent Frank (Sarber) is the push-me pull-you of law enforcement , especially when confronted by Highland Hitman Todd (Venable) and Mary Meekly (Ross), whose entrances are very well ill-timed.

And that’s just for starters

The gentlemen of the ensemble do well with lines and the physicality their situations demand. Berkshire and Unruh deserve applause for both verbally and physically making the most of the their characters and situations. Berkshire most especially stands out (and up!) for achieving the most hilariously convoluted semi-escape on record.

The wait for laughs and the ability to pick up the pace without losing lines are the most difficult parts of farce, as is the realization that louder does not always mean funnier.

At whatever level, “Unnecessary Farce” provides two hours (including intermission) of laughter and, today especially, there is nothing more necessary than that.

UNNECESSARY FARCE” plays Friday through Sunday in the Bristol Opera House on SR 120 In Bristol. For show times and reservations, call (574) 848-4116 or on line at www.elkhartcivictheatre.orgh

 
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