The District Theatre's production of Next to Normal may feature the best performance I've ever seen from Sara King, one that even tops her notably angst-ridden, humorous Van's Sister in the former Harrison Hilltop Theatre's Dog Sees God two years ago, and her subtle, hurt, hopeful Lucille in the District Theatre's Parade earlier this year.
Prior to seeing Saturday's performance of The Musical Adventures of Flat Stanley at the Circa '21 Dinner Playhouse, my partner's daughter Madison was most interested in seeing how the production would show Stanley getting flattened. I'll admit: I was most curious about that part, too.
A 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.
I really like Chicago. Its tuneful score, uniquely vaudevillian presentation, and delightfully naughty nature make it one of my favorite stage musicals. There's one number in the show, however, that tops them all for me: "Cell Block Tango," which is sexy, fun, and what I consider the benchmark for the overall production. And on Friday night, my entertainment needs would've been met, and then some, had the District Theatre's production actually ended after this number, even thought it's only the fourth song in the piece.
Odd as it may seem now, there actually was a period in the Harrison Hilltop Theatre's history - a run of 12 shows, to be precise - in which the company didn't produce any musicals whatsoever. Yet after staging a dozen plays between June 2008 and May 2009, co-founders Tristan Tapscott and Chris Walljasper chose to open the theatre's second season with a production of Jonathan Larson's rock musical tick ... tick ... BOOM!
In the program's director's notes, Matthew Helton reveals that he stepped into the role of director for the Harrison Hilltop Theatre's production of Rent hours before the first rehearsal, not giving him enough time to do much more than reproduce the Broadway staging of the show. The replication is arguably forgivable, given his time constraints, but also unfortunate, as little of the performance possesses the mark of being the local theatre's own take on composer Jonathan Larson's work. That being said, however, the production lives up to and even exceeds expectations, due to the singing ability of its cast, and the high energy of its band.
Maybe it's because co-founders Tristan Tapscott and Chris Walljasper are finally appearing in one of their venue's shows, or maybe because it's tough not to have fun when watching a dozen people in heavy eyeliner singing and dancing "The Time Warp." But whatever the reason, the Harrison Hilltop Theatre's joyous and fearless production of The Rocky Horror Show feels, to me, like the very first production that's truly the Harrison Hilltop's. Not the author's, not the performers', but the company's as a whole. And it's an inspiring sight to see.Subscribe & Listen to Reader Podcasts
On Stands Now
Tagged Content
Two Ways to Subscribe
1. Subscribe to free weekly e-mail content updates.
You'll get both the current official narrative challenge and What's Happenin' in the Quad Cities.
(Did you know we publish a new Amy Alkon Advice Goddess, Real Astrology, Red Meat cartoon and RCR Crossword every week?)
2. Get 12 monthly issues mailed first class for $48
Get the printed Reader edition mailed to you (or anyone you want) first-class for 12 months for $48.
$24 goes to postage and handling, $24 goes to keeping the doors open!