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Reviews
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Written by Mike Schulz
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Tuesday, 15 November 2005 18:00 |
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Christmas from the Heart, which opens the Circa ’21 Dinner Playhouse’s 29th season, is a holiday-themed musical revue, and as such, it has a built-in advantage that many stage works don’t: Audiences don’t make many demands of it. When presented with a piece of this sort – in which the production is essentially an excuse for linking together a diverse group of carols and holiday hits – no one really cares what the story is about or whether the characters have any depth; all we ask is that the numbers are well-sung and that the show maintains a lively pace, and if it’s funny or touching or particularly well-designed, those are just added bonuses.
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Reviews
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Written by Mike Schulz
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Tuesday, 15 November 2005 18:00 |
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I love attending local college and university stage productions, partly because it’s such a wonderful reminder of my days as a theatre major – ah, the reassuring familiarity of Augustana College’s Potter Hall! - but also because the shows’ participants are generally involved with theatre because they truly want to be; with the possible exception of staff members, no one’s doing it just for the paycheck. (No one should ever be doing theatre for the paycheck, but that’s another issue entirely.)
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Feature Stories
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Written by Mike Schulz
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Tuesday, 15 November 2005 18:00 |
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For many stage actors, the chance to perform a one-person show would be a dream come true. For Adam Michael Lewis, this dream has come true, but not, it turns out, for the first time. Or the second. Or even the third.
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Reviews
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Written by Mike Schulz
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Tuesday, 08 November 2005 18:00 |
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Your enjoyment of the stage version of It’s a Wonderful Life – at least the James W. Rogers adaptation currently playing at the Playcrafters Barn Theatre – will likely depend on your familiarity with the classic film. I’m guessing that those who don’t already know the story will get more out of the experience than those who do, but how many of us, exactly, does that leave?
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Feature Stories
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Written by Mike Schulz
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Tuesday, 08 November 2005 18:00 |
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It’s no newsflash that playwrights often find inspiration in their personal pasts, and use young leading characters as theatrical alter egos; if you want to better understand Tennessee Williams, listen to Tom’s monologues in The Glass Menagerie, or watch Edmund’s scenes in Long Day’s Journey into Night for greater insight into Eugene O’Neill.
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