items tagged with Sydney Crumbleholme

For our third-annual conversation on the Year in Theatre, Thom White – the Reader’s chief theatre reviewer – and I thought we’d shake things up a bit. So instead of meeting for an hours-long breakfast to discuss the area stage scene, we met for an hours-long dinner to discuss the area stage scene.

And while I managed to keep things lively by spilling a completely full glass of water not 10 minutes after sitting down, we also managed to touch on many of the varied experiences that Thom (occasionally accompanied by his partner’s daughter Madison) and/or I had during another eventful year for fans of the theatre. Pack a lunch, sit back, and dive in ... .

Sydney Crumbleholme is maturing. Not only is she physically more mature than the impressive young acting prodigy I fondly recall from the Playcrafters Barn Theatre’s Anne of Green Gables four years ago, she’s also much more skilled as an actress – and that “much more” is particularly impressive considering that Crumbleholme’s previous work was astounding, particularly for her age. In her return to the title role of Playcrafters’ current production, Anne of Avonlea, Crumbleholme shows distinct growth as an actress, showcasing knacks for nuance and subtlety. She alone is worth the money and time spent seeing the show.

Five Inspiring Ensembles

Powerful lead performances and scene-stealing supporting turns are always welcome; one- and two-character shows can be a gas. But for my money, nothing quite beats the theatrical pleasure of watching a tightly knit ensemble in action, and the following five productions ensured that this pleasure was a continual one.

The Playcrafters Barn Theatre's current, holiday-themed family presentation Papa's Angels begins on a note - or rather, a bunch of notes - of incredible sweetness.

As the lights come up on scenic artist Bill Marsoun's lovingly designed playing area, we find ourselves outside a mountain cabin in North Carolina, circa 1935 - a place and time elegantly conveyed through the live, off-stage sounds of a jaunty fiddle solo. After a few beats, the musician walks into view. And if, like me, you don't peruse the cast biographies before the show starts, you're likely in for a shock, as the gifted fiddler - Morgan Williams - doesn't appear to be a day over 12.

On Thursday night, I attended Quad City Music Guild's preview performance of Seussical, and if you include St. Ambrose University's 2008 production of the one-act Seussical Jr. - and I most certainly do - it was the third time I'd seen this show in as many years. (Eldridge's Countryside Community Theatre produced its version in the summer of 2007.) If theatres would only oblige, I'm reasonably sure I could see it, and without any complaint, every year for the rest of my life.