I had high expectations for the District Theatre's musical version of A Christmas Carol, given my knowledge of Tristan Layne Tapscott's and Danny White's talents. But Tapscott's book and White's music and lyrics actually exceeded my expectations during Friday's world-premiere performance, as the two have conceived a musical that I can see being produced by theatres across the country without requiring workshops and major rewrites. While their piece could still use some minor refinement, their version of the story of Ebeneezer Scrooge is remarkable for Tapscott's handling of the narrative, and White's cleverly crafted lyrics and gorgeous instrumentation.
I will admit that I had serious reservations prior to Wednesday night's performance of the Harrison Hilltop Theatre's The Last Five Years. As much as I enjoy Cari Downing's comedic stage work - I described how sensational she was in the Hilltop's I Love You, You're Perfect, Now Change earlier this year, and it's worth repeating - I wasn't so sure she was up to composer Jason Robert Brown's romantic musical. And the same went for Tristan Layne Tapscott, who I think is fantastically funny in comedy roles, but hit-or-miss in his more serious efforts. Under the direction of David Turley, though, they present a unique take on this criss-crossed storyline that has its own sweetness.
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!
I fall for Adam Overberg's onstage charm with every new performance. He has a demeanor, a presence, that captivates me, and he proves his diversity as an actor over and over again. With the Harrison Hilltop Theatre's I Love You, You're Perfect, Now Change, though, he adds singing to the long list of talents he possesses, and while his voice may lack polish, Overberg's vocals remain enthralling through his interpretations and comedic delivery.
I've never seen a production of Forever Plaid, but that didn't seem to affect my enjoyment of the Circa '21 Dinner Playhouse's production of the musical's sequel, Plaid Tidings. Thanks to a quick recap of the events from its predecessor, it was immediately clear that this show would concern a 1950s vocal quartet that had died, but was sent back to Earth to perform a Christmas show in order to prove their Plaid-itude. Or something like that.Subscribe & Listen to Reader Podcasts
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