Countryside Community Theatre's current, charming presentation of Annie Get Your Gun is directed by married couple Christina and William Myatt, and stars married couple Sheri and Wayne Hess as Annie Oakley and Frank Butler. (You'll also find the wedded Cheryl and John Wagner among the show's 38 cast members, plus several parent/child and sibling/sibling combinations.) Yet the production's most endearing, unexpectedly inspired couple turns out to be two performers who don't share 40 years between them, and whose characters you're probably unfamiliar with if your only exposure to this Irving Berlin classic comes via Ethel Merman's glorious blare.
Over the last five summers, I've attended more than a dozen productions directed by the Timber Lake Playhouse's artistic director, Brad Lyons, and the majority of them have been utterly sensational. But I can't recall ever being more knocked out by the man's skills and obvious love for his craft than I was during Friday night's Wait Until Dark, Timber Lake's current - and top-to-bottom stunning - presentation of playwright Frederick Knott's 1966 thriller.
This past Thursday, the Harrison Hilltop Theatre celebrated not only the debut of its latest stage offering - the Jonathan Larson musical tick ... tick ... BOOM! - but the first anniversary of the venue's opening. And both were celebrated in style, with pre-performance hors d'oeuvres, beer samples from the Great River Brewery, an unveiling of the new Harrison Hilltop logo, and the announcement of the company's 2009-10 season.
Even if you didn't know that Genesius Guild's Henry the Sixth: The Contention was an amalgamation of Shakespeare's Henry VI: Parts I and II - with Part III opening on July 17 - and didn't know that the production was directed and adapted by Guild founder Don Wooten, it's likely that your first glimpse at the program would be enough to intimidate you.
To my recollection, I haven't yet been formally introduced to frequent Richmond Hill Barn Theatre performer Jackie Skiles, who plays the lead in the venue's current mystery/comedy Busybody. But it's nice to know that we have something in common. In Skiles' program biography, she lists Lavinia Hubbard in 2005's Another Part of the Forest as her favorite Richmond Hill role to date. That was my favorite Skiles role, too. Until now.
Let's cut right to it: Yes. During the Clinton Area Showboat Theatre's presentation of Singin' in the Rain, it rained on-stage. And it rained well.
The Shakespeare-inspired Elvis Presley pastiche All Shook Up is too inconsequential and ridiculous - gloriously so - to feature anything resembling a moral. But if pressed, you could probably fashion one from the words of its motorcycle-riding hero, Chad: "It's like my daddy used to say: 'In the right light, with the right liquor, anyone can fall for anyone.'"
Area performer and radio-show host Shellie Moore Guy is slender in frame, and not particularly tall. Yet in the Playcrafters Barn Theatre's presentation of Lorraine Hansberry's A Raisin in the Sun, the actress -- in her role as matriarch Lena Younger -- projects such expansive love, pride, and strength of character that she appears larger than life. Lena's adult children, Walter Lee (Curtis Lewis) and Beneatha (Alysha McElroy-Hodges), may tower over her, but there's never any doubt that Guy's selfless, resolutely devout mother is the one in charge; she guides both her family and Hansberry's drama with an impassioned righteousness that would be mythic if it weren't so complexly structured, and so wonderfully human.
Director Lora Adams' Village Theatre production of The Boys Next Door opens and closes on the solitary figure of actor Jason Platt, and his portrayal here begs the question: Is there anything the man can't do?
On Thursday night, the Timber Lake Playhouse opened The Wedding Singer, the musical-comedy version of 1998's love-in-the-'80s movie hit starring Adam Sandler and Drew Barrymore. Imaginatively and exuberantly directed by Brad Lyons, it's a joyful take on stage material that (in a wonderful surprise) is pretty damned terrific to start with, and Thursday's production was so big-hearted, so funny, so brilliantly costumed, and so smashingly well-performed that I might as well get it out of the way and say that its technical presentation was so routinely clunky that it bordered on the infuriating.Subscribe & Listen to Reader Podcasts
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