Reviews of local stage productions

The sequel to “Southern Fried Funeral”, “Southern Fried Nuptials” drops us into the life of the Frye family once again, this time, just days before the marriage of Frye daughter Harlene and her long time love Atticus Van Leer. And, as if preparing for a wedding couldn’t bring enough stress, we also learn that Frye daughter Sammy Jo and her husband Beecham are hiding a big secret from the family - well at least Sammy Jo is anyway. And if that wasn’t enough to raise the red flag of family feud, there are plenty of old friends - and new - that pop into the picture, keeping the Fryes on their toes.

One of the best things about this production is the chemistry on stage. From the effortless banter to the expertly choreographed couch wrestling, this cast is in step with one another from beginning to end. Nowhere is that chemistry more apparent than between the Frye sisters, Harlene (Lauren Kondrat) and Sammy Jo (Stacey Mrazik). Through spats and tiffs galore, the bond of these sisters shines through, strengthened by love, loss, and a bag of red Twizzlers. Of course, a little guidance from mother Dorothy Frye (Joy Bishop) keeps the girls in check ... most of the time. Major props to Joy for her ability to craft such a realistic vision of a quietly powerful matriarch with a swift perception and hilarious sense of irony.

This production feels like an episode of a well loved sitcom - and each character is bringing the laughs. From Atticus (Rob Conway) and his wide eyed expressions of exasperation, to Dewey Jr. (Matt Osterberg) and his fantastically executed timing, to Beecham (Kevin Emmons) and his well worn sarcasm. Family friend Martha Ann (Mary Powers) brings the sensibilities of a southern woman with a sharp wit. Ozella (Judie Santo) embodies the loveable balance of narcissism and naivete required for a comical town busy body. But no one brings more laughs than Fairy June (Patty Bracey) who shines in story crafting and the perfect delivery of a punchline. Newcomers Vester Pickens (Mike Dietz), a warm and kindly southern gentleman with a wink in his eye and a dill pickle tie, and Carter Canfield (Matt Morgan), a handsome lug that lets his charisma do the talking - bring a balance to the zany tomfoolery of the story.

Southern Fried Nuptials continues through April 21st at Fenton Village Players. This is a riot-a-minute show you don’t want to miss. Grab your tickets at https://www.fentontheatre.org/tickets and have a raucously good time at the Frye family rodeo, where ‘life don’t always have a plan - we just do the best we can’. Congratulations to directors Shannon Emmons and Tammy Robison, and producer Patti Lee on a great show.

The Bard’s work visits the Flint theatre scene once more, as this Thursday Shakespeare’s most famous tragedy took to the stage at Flint Community Players. 

The story of Hamlet is the ultimate tale of revenge and betrayal. In this interpretation set in a modern noir-feeling-setting, the despondent Hamlet is visited by the ghost of his recently deceased father who informs him of the terrible truth. That Claudius, Hamlet’s uncle, is the killer. Hamlet concocts a plan for revenge and in-between he deals with love, loss, and the wide gambit of emotions that come with grief. This tragedy has everything.

This play is a beast to tackle and takes monster stamina to perform, being Shakespeare’s longest show, and the actors tackled the challenge impressively well. Kevin Emmons assembled a strong team and tells the story with a fresh take on a classic. You can tell the passion he has for Shakespeare! His minimalistic set designed by Kirolous Meshraky is just enough to make us feel like we are trapped in the conflict and power struggle, though could have benefited from a little color on the backwall or floors. Complimenting blocking every step of the way are Kira Parker’s costumes which blend Shakespeare inspiration with a Mad Men feel. Each character’s costume feels wholly unique and fits the world Emmons has created brilliantly (standout costumes being The Ghost, Claudius, Rozencrantz/Guildenstern, and that stellar jacket Hamlet wears). Lights by Levi Brownfield brought emotion where it was needed. Sound design by Suzy Lobdell felt a bit unusual in the world created and didn’t mesh with the setting at times, but still did its part to tell the story.

Michaela Floyd is awe-inspiring as the tragic Hamlet, and was truly born to play this role. This is many actor’s dream/nightmare role to play, as the line load and monologues Hamlet deliver is staggering. Floyd tackles each monologue with flawless depiction, delivering venomous anger and heart wrenching grief perfectly when the role demands. That line load alone makes Floyd deserving of the standing ovation at the end, everything else is icing on the cake. Move over “To Be or Not To Be”, wait until you see how Floyd delivers the monologue about their love Ophelia at the end of the show. Chills. 

Speaking of Ophelia, Emma Orr brings this iconic Shakespearean character to beautiful and heartbreaking life. You hang onto her every line as she delivers a captivating tight rope performance, as she balances Ophelia’s innocence and her fall into insanity in such a way you would think it was two different actresses.

Standing Opposition to Hamlet is the imposing Claudius, portrayed with ferocity by Bart Burger. Burger’s depiction of this takeover leader of Denmark Imports/Exports is chilling and makes your skin crawl in the best way. His booming voice, towering stature, and clear understanding of the text makes his performance stand out as a villain who you want to see fall.

Sometimes the best characters in Shakespeare are the side characters, and Willow Treece and Pamela Beauchamp prove this point as Rozencrantz and Guildenstern, along with the hilarious gravediggers. These two balance each other figuratively and literally, as the characters are almost glued to one another, and prove opposites attract as Beachamp delivers the delightful peppy energy and Treece balances with sophisticated dour. And they both bring humor and light heartedness in the third part of the show as gravediggers, where the audience truly needs an energy lift. 

Stealing the middle of the show are The Players, a ragtag troupe of traveling actors. Ryan Filpansick and Emma Scott delight with their meek but excited actor characters with facial expressions worthy of a Shakespeare farce, and are led by Micah Blumner who gives his entire heart and soul into his performance as the over-the-top troupe leader. Seeing the two more tame players mixed with Blumner’s over the top but genuinely captivating performance makes the perfect middle-of-the-show treat. I could watch an entire show with these three just recapping Shakespeare tragedies in slapstick ways.

I could go on and on about the actors, but this review would be as long as the play itself and I have a word limit, so big shoutout to the performances of Tessa Isaacson (Horatio), Seán ÓTuathal (Gertrude), Patrick Munley (Ghost), Katherine Lengyal (Laertes), Marie VanHorn (Polonia), Alexander Rossiter (Marcellus), Steve Harris (Barnardo/Reynaldo), and Rhea Treece (Osric). Featuring a new actor in the Priest role every night!

The biggest downfall of the show is the length. The show started at 7:30 and got done around 11:00 and is three and a half hours of dialogue. Scene changes felt long as they maneuvered massive tables and a multitude of chairs. Some monologues also dragged on where they probably didn’t need to, making certain emotional beats not land. And while performances were strong there were definitely large chunks of scenes that you could remove, and you would not miss a single important beat. Some chopping of scenes (thank you Public Domain) and tightening up of monologues could easily cut a half hour or more off this show. But if you can manage the long runtime, you will be treated to some seriously breathtaking and memorable performances showcasing the incredible talent in Genesee County. Bravo Kevin Emmons and the entire team of Hamlet.

HAMLET runs for 6 more performances at Flint Community Players. For tickets visit www.flintcommunityplayers.com or call their box office at 810-441-9302.

Break of Day is the story of a time in the life of Vincent van Gogh.  Vincent's search for love and his drive to create art are at the heart of who Vincent van Gogh was and the plot of this play.  I went into the show with a lifelong love for Van Gogh's art and a basic outline for the heartbreak of his life.  In just under two hours, the Fenton Village Players were able to carry the audience through the stage of Van Gogh's life as a misunderstood eccentric to a tragic genius.  

I must applaud how well Jeff Rogner embodied the artist in his portrayal of Vincent.  Not only does the actor bear a striking resemblance to the artist, but he captured the highs and lows of the artist's emotions.  It was lovely to hear the audience laugh at Vincent's taboo first love.  The awkwardness of the love between Vincent and his cousin, Kay Vos (played by Shelley Spotts) was palpable and convincing, playing Shelley's coy search for words against Jeff's enthusiastic replies. The relationship portrayed between the brothers Van Gogh (Theo van Gogh played by Killian Elhaz) was touching and relatable, especially as Killian balanced both exacerbation for his brother's behavior with loyalty in his support through his expert facial expressions.  Similarly, Vincent's mother Anna van Gogh (played by Kim Ellison Giacchina) captured a mother's unconditional love in the face of a frustrating son with her use of head-pats and hugs.  The dichotomy of the artist Vincent to his Protestant Clergy father, Pastor Theodorus van Gogh (played by Richard Hingst) is just the right amount of tension to move the story from comedy to drama. Richard's dress and posture brought the dry and inflexible Pastor to life.  Shannon Cody (portraying Sien Keller) did a nice job of contrasting Jeff's puppy-dog love behavior with her own portrayal of a world-weary working girl.  The character of Magda was brought to life by Samantha Stratton who not only dressed and looked like a farm-fresh country girl, but was fun to watch as she teased Vincent throughout the show. Mike Dietz had a great tone as he portrayed the town's Catholic priest, Reverend Peterson.

I must also applaud the use of Van Gogh's own works, projected onto a sheer backdrop.  Amidst some of the uncomfortable truths of Van Gogh's life, his work was profound and added a level of sincerity to the story portrayed.  The simple yet effective scene changes worked well for the fast pace of the narrative, managed by Shiloh Lichowid.  It did take a minute to follow the use of the side stage to portray the inner workings of Vincent's mind, but by the end the use was effective in showing the mental struggle of the artist.

I highly recommend anyone, regardless of your love for Van Gogh, take a night to see Break of Day at the Fenton Village Playhouse.  Performances will continue Saturday, February, 17 at 7:00pm, Sunday, February, 18 at 2:00 pm, and again next week Friday and Saturday at 7:00pm (Feb 23 and 24) and Sunday at 2:00pm (Feb. 25). Be prepared for just enough awkward laughter to make the heartbreak of Van Gogh that much more poignant. Purchase tickets at www.fentontheatre.org

The world premiere of "Into the Side of a Hill" opened officially on February 3rd, 2024 at the Flint Repertory Theatre. This show, developed in Flint Rep’s 2022 New Works Festival, follows the days leading up to the homecoming step show at a historically black university and the place where the lives of six young men collide in the bonds of brotherhood. Through their rehearsal for the upcoming show each of these powerful characters are also rehearsing the next steps of their lives, pushing and pulling at the boundaries and expectations of fraternity and love. 

Playwright James Anthony Tyler achieved his hopes and then some with ‘Into the Side of a Hill’. This show rang of one fundamental aspect of storytelling that audiences long for and too seldom find - truth. Each moment felt as real as observing our everyday lives. Through perfectly timed pregnant pauses in exquisitely crafted lines of dialogue one could easily become lost in the depth and authenticity of each character. 

From the first moment entering the intimate venue of the Elgood Theatre the audience is transported into a world now twenty years past. From the fluorescent work lights on chains to the vintage PA speakers, to the music being played as the excited crowd waited for the show to begin, each aspect of this production was meticulously chosen, plucked directly from personal memory and experience. 

Each laugh, from the chuff to the roar, was an honest connection- a feeling recognized. And more than laughter- the audience’s physical response- the shaking heads laid into hands, the leaning- forward in anticipation and interest, backward in stunned silence- the truth of this play went right to the core of our humanity and said, “I have something to say. Hear me and understand.”

Every member of this cast provided a masterclass in character work. Distinct individuality, turned up to eleven, in each gesture, expression, and inflection. David Guster (Allen) showcases heart and integrity. In a character that could easily have had their gentle nature reduced to tropes of weakness, there is instead a purity and strength to his resolve. 

Brian Sullivan Taylor (Stanley) expertly illustrates the intense fluctuations of emotion brought on by the trauma and subsequent grief of losing a loved one. They navigate painful memories, overwhelming depression, and the difficulties of self awareness with refreshing candor, giving a true display of courage for this character in an environment steeped in toxic masculinity. 

Brandon Michael Hall (Zarrel) gives a remarkable performance, the embodiment of stress boiling beneath the surface, escaping in fits of steam from fissures in a facade of strength. Freddie Fulton (Perry) plays the tumultuous transition into leadership and the fear of responsibility with sincerity and hope. Victor Musoni (Fred) is a gifted storyteller, guiding the audience with a beautiful delivery into a layered world with anecdotes and memories. Antonio Michael Woodard (Vic) balances levity with earnestness, conveying a very human and fallible morality with wit and charm. 

Having been given sneak peeks into the full step routine throughout the show, the audience was on fire for the culminating step performance which left them impressed and electrified. The show closed to a well deserved standing ovation, the buzz of excitement brought on by the difficult topics and powerful thoughts presented carried out the doors of the theatre and into the night. Congratulations to Playwright James Anthony Tyler, Director and Choreographer Ken-Matt Martin, Producing Artistic Director Michael Lluberes and the entire cast and crew on a truly phenomenal show.

"Into the Side of a Hill" continues through February 18th at the FIM’s Elgood Theatre. Purchase tickets at https://tickets.thefim.org/side-of-a-hill and do not miss the opportunity to take in the world premiere of this powerfully moving play. 

Flint Community Players brings us the Michigan premiere of a new musical that tells the story of Amélie, a woman who grew up never learning how to connect with people or even how to love from a troubled childhood and tries awkwardly as an adult to make connections by becoming an anonymous do-gooder.  Along the way, her story intertwines in the lives of several characters, some real, some whimsical, some imaginary but all very unique.  The breadcrumbs of these small connections help shape Amélie to who she can become and perhaps guide her to find true love along the way. "What's going to happen?  I don't know.  Will you enjoy it?"  I hope so...

The imagery within Amélie is bright and vivid and for such a fantastical story, FCP does not disappoint.  As you walk in, the set is absolutely breathtaking in design and color.  A tremendous amount of kudos goes to Remy Treece (Set Art Design) and Kirolous Meshraky (Set Design) for their work whisking us away to Montmatre, France with their expert and beautiful set.  Costumes were perfectly on point by Alexander Stimson and Ryan Filpansick. Each character's costume was as colorful as their personality.  

This is a big cast. 24 total actors on stage!  They all have individual moments, (if not many!) where they shine in this show.  But, there are a couple of very special moments that really need attention.  Fae Hall has some big shoes to fill in portraying the lead character, Amélie Poulain.  It's a challenging role both vocally and dramatically. The original Broadway run of this show featured Phillipa Soo in this role, who is most known for playing Eliza in Hamilton. Fae is a truly talented singer and does not disappoint in her performance.  Fae's rendition of "Where Do We Go From Here" will leave that song in your head on your drive home as she sings opposite Adam Coggins's lovely and sweet vocals for Nino Quincampoix.  Jordan Climie brings such charm and passion into his role as Julien Dufayel, a neighbor with a rare bone disease that leaves him brittle and a recluse.  I have seen Jordan many times on stage but this is the first time I've heard him sing.  I do hope it's not the last.  Oh, and then there's Lele Miller.  She is an absolute powerhouse with her vocals in every show she's in and she does not disappoint at all as Suzanne Sacripant.  But, put her together with two more outstanding performers, Annie Leslie as Georgette and Taylor Boes as Gina, and the house nearly lost it during "A Better Haircut"!  Wow.  Just wow. One of the true stars of this show is Halle Hoover as puppeteer.  It is amazing how engaging Halle brings us into the depths of characterization with props and puppets.  I have to give her a big "hand".  She really steals the show with her artistry and will absolutely bring a smile to your face.  

Speaking of props, Zach Wood lovingly incorporated many unique prop elements into the action from subway doors that seem to come to life to charming hearts of love that pop up at just the right times. There are quite a few surprises that Zach Wood has for the audience in this show and I don't want to spoil them.  However, I need to point out that this show is rated PG-13 as some of those surprises are for a more mature audience.

If you have time, stop in and take a selfie in the photo booth and maybe, just maybe, you'll leave a breadcrumb behind for someone else's story...

"AMÉLIE THE MUSICAL" continues through January 21st at Flint Community Players, 2462 S Ballenger Hwy, Flint, MI 48507 

Visit https://www.flintcommunityplayers.com/ to purchase tickets.2462 S Ballenger Hwy | Flint, MI | 48507

The bard was alive tonight in Fenton as the Fenton Village Players opened their 51st season with a production of Much Ado About Nothing by William Shakespeare and directed by Shannon Emmons. One of Shakespeare’s beloved romantic comedies; complete with overheard conversations, the case of mistaken identity, and of course the cynical bachelor/bachelorette who secretly hopes for love should have been a rollicking good time.  The title of this show might seem random, but it is actually a pun.  Nothing, pronounced as noting in Shakespeare’s time, refers to gossip and rumor which the main plot is centered around.    

The story focuses on a group of soldiers, including the Prince of Aragon, Don Pedro, (Calvin Ito) returning from a glorious military campaign, and deciding to spend time with Leonato, the governor of Messina, (effectively played by Bart Allen Burger) at his estate. Along with Don Pedro, comes his half-brother Don John (played expertly by Jason M. Lesiewicz), Claudio (played adeptly by Julie Ross), and Benedick (played skillfully by Zach Whitt).  The time period of the show was unclear and the entrance of the soldiers left the audience wondering what war they were returning from.  From the beginning of the show to the end, nerves were apparent and lines were fumbled.  It was clear that the cast was not comfortable with the language of Shakespeare. 

Soon after, we meet the ladies of Leonato’s estate; including his daughter Hero (Ashley Putnam), his niece Beatrice (Kaitlyn Honnen), and their gentlewomen Ursula (Bethany Folland) and Margaret (Emily Matticks).  Claudio and Hero instantly fall for each other and their wedding date is set, while Leonato, Don Pedro, and Claudio assume the task of bringing bachelor Benedick to admit he is in love with Beatrice and Hero and Ursula take on the role of matchmaker for Beatrice.  However, Shakespeare wouldn’t be Shakespeare without a plot twist; therefore; the path is set for a jealous Don John to hatch an evil plan with the help of Borachio (Nick Brazeal) and Conrade (Madison Whitt) to discredit Hero’s virginity.  

The plan goes off without a hitch and Hero is slandered in the church by Claudio.  Only Benedick rushes to aid the women and challenges Claudio, which only deepens his unspoken love for Beatrice.  Luckily, a drunken Borachio boasts of his part in the evil plan and is overheard by the members of the watch.  These two comedic characters, Seacole (Dani Beslagic) and 1st Watchman (Bethany Folland) brought about the only laughter and comedic play within this comedy.  This reviewer cannot say enough good things about their scenes.  Borachio and Conrade are brought forth to the local constable, Dogberry (Richard Hingst) and his assistant Verges (Don Stork) for their sentence.  Kudos must be given to Mr. Stork for taking on this role with little notice. 

The play ends happily though when Leonato’s brother, Antonio (Pedro Melchor) pretends to allow Claudio to marry his daughter after it is revealed that Don John has been the mastermind behind the plot to ruin Hero’s reputation and the truth has been uncovered.  Benedick and Beatrice also end up finally admitting to their love and marry alongside Hero and Claudio.  The ensemble is rounded out by Laura Slack who adds a level of spunkiness to the household of Leonato.  

The run time for the show is over 3 hours and dragged on including some unnecessary blackouts without any scene changes.  There was no sense of urgency even from the characters whose lives were sent upside down.  The special touches before and during intermission added a level of sophistication to the show and greatly highlighted Fenton Village Players’s community mindset.  While opening night was a little shaky for the cast and crew, we feel the kinks and nerves will die down and the love of Shakespeare will shine through.  Kudos to all of the cast and crew for a wonderful performance!  We definitely recommend making the drive out to Fenton to see this production.

Much Ado About Nothing continues through October 8 at the Fenton Village Playhouse, 14197 Torrey Road, Fenton, MI 48430.  

Set in the early 1950s at the height of the red scare and the beginnings of the gay rights movements, Topher Payne's Perfect Arrangement sees State Department colleagues Bob Martindale (Zach Whitt) and Norma Baxter (Briana Jackson) broaden their search of high risk staffers to include sexual deviants.   However, each of them has a major secret that they themselves are the targets of this search being closeted homosexuals themselves.  To maintain the ruse, a perfect arrangement is made.  Bob's partner Jim (Josiah Jackson) married Norma and Norma's partner Mildred (Allie Pethick) married Bob.  The two married couples share adjoining apartments that can be easily accessed away from private eyes through the connected closet.  I was lucky enough to be invited to see a dress rehearsal of this powerful cast.

All of the show takes place in the Martindale home in the style of a classic 1950s Sit-Com complete with hilarious product placements.  Bob and Norma's boss, Theodore Sunderson (Larry LaFerriere) and his ditzy... or is she?... wife Kitty (Erica Suszek) start the show at a dinner party at the Martindale's where Theodore announces the new task for Bob and Norma.  The hunt for "sexual deviants" causes all kinds of challenges for the Martindales and Baxters with a constant need to create elaborate ploys to keep Theodore and Kitty in the dark. 

And we can't forget about Barbara Grant (Katherine Carswell), another state department employee who just happens to know Mildred from their mutual past.  A no-nonsense woman who knows who she is and is damn proud of it.

While the 2nd Stage at Fenton Village Players is setup like black-box theatre, the stage is well designed and the space effectively utilized.  Great use of lighting and mood music helped set the scenes well.  One great highlight of this show is the vintage costuming, sophisticated and timely.  But the best highlight of all is the skill all of these seven actors put into these roles.  They know when to play up the comedy and when to pull at your heartstrings.  There is so much chemistry on stage between the actual couples and the pretend couples.  While all of the actors deserve praise, I need to call special attention to Allie Pethick's performance of Mildred.  Mildred struggles with keeping up appearances and her own needs to be true to herself.  Allie plays this role with impressive finesse.

Big kudos to Laura Slack for her directorial debut.  Very challenging roles and a poignant story even in today's society makes for incredible storytelling and character development.  I left feeling tremendous empathy with these characters and overwhelmingly proud of everyone's performance.

There are only three performances of Perfect Arrangement this weekend.  Friday, June 16th & Saturday June 17th at 7:00 pm as well as a matinee show on Sunday June 18th at 2:00 pm.  You can purchase tickets at fvp.ludus.com

William Shakespeare’s The Taming of the Shrew has seen controversy over the years, but the Fenton Village Players turned this outdated comedy into an empowering satire. In his directorial debut, Kevin Emmons made the ambitious decision to set the 1590s story, Shakespearean English and all, in the 1960s during the women’s liberation movement. This mash-up of language, costumes, and ideology set the stage for a unique experience on Saturday night.

The Taming of the Shrew centers around two sisters and their suitors. Katherina/Kate (Lauren Kondrat) is the elder sister known for her brash, uninviting personality. The younger sister, Bianca (PJ Sallans), is beautiful and sweet with several admirers. After an argument, their father, Baptista (Jimmy Wright), has decided that Bianca can only marry once her older sister Kate does. This declaration sparks a series of events of disguise and deception that will have you laughing and wondering which suitor it will be, Hortensio (Rob Conway), Gremio (Mike Dietz), or Lucentio (William Blake). While the rat race ensues for Bianca’s hand, the focus shifts to Kate. Hortensio has convinced the arrogant and stubborn Pertruchio (Jason M. Lesiewicz) to marry Kate for her dowry. Kate is betrothed to Pertruchio, and they are abruptly married in a hilarious fashion. For the entire second half of the show, Pertruchio uses several tactics to tame his shrew, but does all of his effort work? You have to see it yourself to find out. 

While several individuals had noteworthy performances, three stood out to us. The first was Lauren Kondrat as Kate. She was perfect for the role; her disdain for Pertruchio and his treatment was palpable, and her resting shrew-face was always on point. Next was Rob Conway, as Hortensio. Every time he was on stage, he had us in stitches, from his music teacher ruse to the time he stuffed his face silly. Finally, kudos to Zackery Champman in his role as Traino. We were blown away when we learned this was his first speaking role. His entire performance was a full send, especially his physical comedy. We loved it! 

The Fenton Village Players is a smaller venue that guarantees every seat in the house is good. The set, blocking, and actors used every inch of space to tell the story. However, there was an opportunity to tighten the stage combat. In addition, we enjoyed and appreciated the 1960s setting and craved even more subtle and not-so-subtle hints from the period. Overall, bravo! The entire cast and crew should be proud of their work.

You have one more weekend to see the Fenton Village Players’ The Taming of the Shrew. There are three opportunities, two evening shows on April 21 and 22 and a matinee on April 23. It would be a perfect date or fun time with friends! You can purchase tickets at fvp.ludus.com