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With Imaginary Friends Like These ... : "Mr. Marmalade," at the Village Theatre through April 1 PDF Print E-mail
Theatre - Reviews
Written by Thom White   
Monday, 26 March 2012 06:00

Pat Flaherty and Jessica Denney in Mr. MarmaladeNew Ground Theatre’s current offering, Mr. Marmalade, is about four-year-old Lucy and her imaginary friends. Suicidal, coke-snorting, physically and mentally abusive imaginary friends. And it’s incredibly funny. One particularly dark scene during Thursday's performance, in fact, had me laughing so hard, for so long, that I was wiping away tears by the end of it.

 
Upbeat Depression: "Southern Crossroads," at the Circa '21 Dinner Playhouse through April 14 PDF Print E-mail
Theatre - Reviews
Written by Thom White   
Monday, 12 March 2012 06:01

Rachelle Walljasper, Brad Hauskins, Chad Willow, Tristan Layne Tapscott, Andrew Crowe, and Steve Lasiter in Southern CrossroadsA sign in front of the Circa '21 Dinner Playhouse includes a description of the theatre’s current show, Southern Crossroads, as “an inspiring and hilarious story about one musical group’s struggle against impossible odds, as they find new hope through music.” That line fits Circa '21's production to a T, as the tone of director Curt Wollan’s offering is clearly joyful, despite the sense of desperation in its setting. With the appropriate exceptions of those playing villains, Wollan’s cast does not play up any silliness written into their comedic lines. Instead, they choose to play them straight, and in doing so, add to the musical's air of Great Depression uncertainty.

 
Club Meh: "If It's Monday, This Must Be Murder," at the Playcrafters Barn Theatre through March 18 PDF Print E-mail
Theatre - Reviews
Written by Thom White   
Monday, 12 March 2012 06:00

Tom Bauer, Pami Triebel, and Faith R. Hardacre in If It's Monday, This Must Be MurderApparently, director Gary Clark doesn’t think Playcrafters Barn Theatre audiences will get author Pat Cook’s jokes in the venue’s current If It’s Monday, This Must Be Murder, because almost every already-obvious punchline is accented with a combination of slow, careful enunciation and a physical action. For example, the main character, Michael Schmidt's Monday, is referenced in another character’s line, “Rainy days and Monday always get me down.” On Saturday, though, the actor saying this put vocal emphasis on the “Monday” and grandly gesticulated toward Schmidt, as though this rather lame attempt at humor needed to be clarified. It was one of many not-so-clever quips that were rendered even less funny through Clark's, and his cast's, efforts to make sure they weren't missed.

 
Dressing Roomies: "Scenery," at the District Theatre through February 25 PDF Print E-mail
Theatre - Reviews
Written by Thom White   
Monday, 13 February 2012 06:00

Ed Villarreal and Molly McLaughlin in SceneryThe District Theatre’s production of Scenery boasts the most range I’ve yet seen from actor Ed Villarreal, who is obviously growing as an artist after notable performances in the (then-) Harrison Hilltop Theatre’s Sweeney Todd: The Demon Barber of Fleet Street and Jesus Christ Superstar last year, and New Ground Theatre’s Bad Habits last month. During Thursday night’s show, he incorporated an accent, plus shifts in vocal inflection and projection, to punctuate either the humor or emotion of his lines, and in so doing, successfully shaped his Richard as an aging actor resigned to his status.

 
Not Getting Married Today: "Company," at the District Theatre through February 18 PDF Print E-mail
Theatre - Reviews
Written by Thom White   
Tuesday, 07 February 2012 06:00

John VanDeWoestyne, Christopher Tracy, Mark Ruebling, Bryan Tank, Brian Nelson, and Paul Workman in CompanyAt the start of the intermission to Friday night’s District Theatre performance of Company, my partner turned to me and said, “I don’t remember this show being that funny.” He was right, because director David Turley accentuates the funny parts in this musical by composer Stephen Sondheim and writer George Furth. He does so, however, with subtle nudges and winks that almost cross over into silliness but don't, and that keep the production from sinking into sappy sentimentality.

 
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