We all know the story.  A British school teacher takes a job in the King of Siam’s palace to teach his many, many, many children, along with several of his wives.  Along the way, there’s singing and dancing and a lesson to be learned by the king about humility and treatment of others, especially women.  Of course, we’re talking about The King and I, on stage in the Quad Cities this weekend, thanks to Quad City Music Guild.

Posted: June 18th, 2009 under Theater.
Comments: 1

The beauty of The Last Five Years lies not only in the music, which is emotional, singable and funny, but in the way the story is told.  The show is populated by two characters, Jamie and Cathy and takes us through their five year relationship, from first meeting to final goodbye.  Only, it’s not that straightforward — at least not from Cathy’s perspective.  While we follow Jamie from beginning to end, we follow Cathy from end to beginning, as her account of their last five years is told in reverse, with their perspectives meeting in the middle.

Posted: June 11th, 2009 under Theater.
Comments: none

As expected, I was wrong about the final results of this season’s Dancing With the Stars.  I said Gilles should win, with Shawn in second and, thus, Melissa in third.  That’s not how it happened.  Shawn won it all.  In my opinion, she shouldn’t have.

I understand I’m saying this in Shawn’s homestate of Iowa, where fans are strong.  Don’t get me wrong, though.  I’m not saying Shawn didn’t deserve anything.  She was consistent throughout the competition, even improving on her fluidity.  She deserved to be in the top three.  She even deserves second place.  Again, she did not, in my opinion, warrant a first place finish.

I took time to go back and tally the total judges’ scores.  Adding up all scores earned this season, Shawn has a total of 401.  Gilles, on the other hand, earned a total judges’ score of 419.  That’s a full 18 points ahead of Shawn.  Averaging it out, Shawn earned an average score of 26.7 per dance.  Gilles earned an average of 27.9, a full 1.2 points ahead of Shawn per dance.  And yet, Shawn beat Gilles.  (For what it’s worth, Melissa scored 400 for an average of 26.6)

I will still argue Gilles is the stronger dancer and proved to be the stronger dancer throughout the competition.  I will also, however, acknowledge that this season, more than any other, has been more a popularity contest than a dance competition.  Shawn won the popular vote and that’s why she won.  My congratulations to her.  I just wish there were a judges’ trophy and a viewers’ trophy instead of just one.  Perhaps it would overlap sometimes and one star would win both.  In this case, however, I think Shawn would’ve won the viewers’ trophy, with Gilles taking the judges’ trophy.  This would’ve also proved valuable back when Stacy Keebler danced.  She deserved to win and could’ve taken the judges’ trophy.

Posted: May 20th, 2009 under Television.
Comments: 1

“The Graduate” opens in Benjamin’s bedroom.  He’s hiding from his own high school graduation party.  But, to his dismay, people keep barging into his bedroom — including Mrs. Robinson.  Who, yes Benjamin, is trying to seduce you.

Thus starts a summer long affair that’s entirely physical.  And, complicated by Mrs. Robinson’s daughter, Elaine, who could offer Benjamin a real relationship.  Except, would you date someone who’s slept with you mother multiple times?

The show is familiar, thanks to the film starring Dustin Hoffman.  But, that doesn’t mean what you see at Harrison Hilltop is expected.  James Bleecker adds his adorable meekness and solid comic-delivery to the lines, creating a Benjamin you just want to hug, who’s wrapped up in the sex of it all.

Stepping away from her usual, and always impressive, musical roles, Erin Lounsberry is stunning as Mrs. Robinson.  She’s strong, but not over the top bitchy.  She’s just stunning and grabs your attention whenever she’s on the stage.

The rest of the cast is also quite good, including Abbey Donohoe as Elaine.  The last I saw her on stage was in Little Women, when she played a very young girl, with an innocent sort of self-centered nature.  Here, Donohoe is a stronger woman, with some uncertainty as an undertone, making for a nice, nuanced performance.

It’s completely the opposite for former WQAD reporter Mike Kelly, who’s returning to the stage after years away from it.  As Mr. Robinson, he’s very over the top, but not annoyingly so.  His rage is hilarious because it’s so big.  It’s actually a laugh out loud delightful balance to Bleecker and Lounsberry’s more sincere performances.

One of my favorites, however, is Jan Golz as Benjamin’s mother.  She’s just so motherly, in that “embarrasing mother” sort of way.  And she’s funny!  She’s the one role I wished there was more of in the show.

Don Faust is also amusing as multiple characters, each of which he offers a different take, so it actually becomes fun to see how he’s going to play this new character whenever he enters the stage.

Greg Golz rounds out the cast as Benjamin’s father, a nice counter to his real life wife’s stage wife performance.  Did you follow that?

Director Wayne Hess does a remarkable job of creating separate spaces with very minimal change to the set.  And, his decisions for Mrs. Robinson to avoid full nudity, but still convey it are exceptional.  I was shocked without being appauled.

The Graduate runs this weekend at Harrison Hilltop Theatre in Davenport.  Performances are tonight, tomorrow night and Saturday at 7:30 p.m. with a 2:30 matinee on Sunday.  Tickets are available by calling the theater or through Harrison’s website — harrisonhilltop.com.  Or, if you’re lucky, also available at the door.

Posted: May 14th, 2009 under Theater.
Comments: none

In the midst of classics that are entertaining, but safe, and barely funny murder comedies, Playcrafters tends to sneak in some truly remarkable productions — like The Children’s Hour, a play controversy at its core and in its past.

Martha and Karen are school teachers, having built their girls boarding school from the ground up.  It’s their passion, their life and it takes nothing more than a lie to destroy it.

Mary Tilford is the granddaughter of one of the school’s main benefactors, Amelia Tilford.  She’s a spoiled child with a vindictive nature, used at her whim whether justified or not.  After being punished for showing up an hour late to class, Mary runs away to her grandmother’s house where, with the help of secrets shared by her classmates, she ends up telling her grandmother that Martha and Karen are lovers.

It’s a lie and we, the audience, know it.  And there ends the entertainment and begins the discomfort of the play.

This is not passive entertainment, and that’s what makes The Children’s Hour beautiful.  It’s a rich story built on the lives of people and how words can destroy them.

Playcrafters’ production is well cast, well acted, well directed and, frankly, well costumed, which is something I don’t tend to notice.  There’s nothing bad about this show, other than that it’s progression is progressively difficult to stomach, emotionally.  But, that’s the point.  And, what’s well worth your time, to experience the raw, real discomfort of this “based on a true” story.

Frankly, this is one of the shows where I walked away with an unpleasant feeling, not sure I was glad to have seen it.  It’s quite uncomfortable and not all that fun.  It’s similar to my experience with the movie Fight Club.  There are just some shows that don’t sit well while viewed, but, upon reflection, become even more beautiful.  I did not enjoy sitting through The Childrens Hour, but I am so glad I did.  It’s an experience that must be mulled over, chewed on, contemplated, for then it becomes meaningful.

I would like to say that I find it unfortunate that Playcrafters’ logo for the show was designed around the lesbian theme.  Lesbianism is actually minor to the core of the play, as it’s centered around a child’s lie and that lie’s power.  The logo, therefore, with two female symbols is misleading, as you’re not in for a night of gay theater.  It would be most unfortunate if people chose to not attend the production because of the sexuality implied by the logo.

The Childrens Hour runs May 8, 9 and 10th and 16, 16 and 17th.  Friday and Saturday performances start at 7:30 p.m.  Sundays’ start at 3:00.  Tickets are $10 and available by calling the theater, (309) 762-0330, or through the theater’s website, playcrafters.com.

Posted: May 8th, 2009 under Theater.
Comments: none

As Truvy says, laughter through tears is my favorite emotion, even though it’s not an emotion.  But, the idea is there, and in The Green Room’s Steel Magnolias, so are the laughter and the tears.

The play follows the lives of six women through a couple of years or so, as told by way of their time in Truvy’s beauty shop.  And, the plotlines often center around Shelby, a diabetic who is getting married, is later having a baby and, even later, about to undergo a kydney transplant with her mother as the donor.

The film is one of my emotional favorites, with a special place in my mind and in my heart.  And, while I don’t like comparing a stage version with its film version and vice versa, I expected to struggle with this production, with the film’s characterizations so solidly engraved in my mind.  And, it did take some time to get used to The Green Room’s portrayals.

The first to win me over was Colleen Winters as Shelby.  Her portrayal is so un-assuming, so just being that she’s immediately likable and believable.  It didn’t take long for me to think Julia who?  Winters carries enough un-forced pathos in her performance that it’s easy to be moved to tears when the most emotional points of her story line arise.

The second to erase the movie’s character from my mind, and only because she portray’s the character with the latest entrance to the stage, was Dee Canfield as Ouiser.  To be honest, her delivery is so odd, so staccato, that it could easily come across as forced.  But, it’s not.  Her energy matches the energy of the character.  And, it’s so odd that it’s amusing, and likably so.  The best moments of the show are when Canfield enters the stage, with the second best simply being her presence in the room.

If I had to pick a weak one of the bunch, it would be Kelly Lorenz, who portrays Annelle.  Her formal training as a Musical Theatre major shows, and it’s somewhat of a weakness.  Let me stop and say Lorenz is not bad, but any means, just a bit distracting.  While the rest of the cast is simply being their characters, Lorenz seems to be trying too hard.  Her Annelle lacks sincerity and comes across as acted.  This works, however, when Annelle embraces her faith wholeheartedly.  I’d bet we all know at least a few people in our local church who have that breathy, overly-done delivery, almost putting on airs as a Christian, if I may say.  Lorenz nails that part of her character.  It would benefit her just to relax into the character the rest of the time.

Pamela Crouch’s Truvy may be the most natural portrayal of a character I’ve seen from Crouch to date.  Not over the top.  Not silly.  She just delivers the lines as if they were her own.

The same goes for Angela Elliott’s M’Lynn.  She’s a bit too natural, though.  I enjoy Elliott’s performances, those that I’ve seen.  She tends to present characters without any pretension, which I like, but also with not quite enough energy.  She’s good, but could be great if she’d take her acting up a notch.

And we can’t forget Lisa Kahn’s Clairee.  While she stumbled on her lines several times the night I attended the performance, it’s forgivable thanks to her delivery throughout the show.  Kahn’s portrayal is arguably the closest protrayal to that of her character in the film.  It’s actually nice to have one character portrayed so familiarly.  But, that’s not to say Kahn is channeling Dukakis.  This character is still her own, and well played.

Steel Magnolias runs April 23, 24 and 25 at 7:30 p.m. and April 26 at 2:30 p.m.  Performances are at Harrison Hilltop Theatre, 1601 Harrison Street, Davenport.  Tickets are available by reservation - (563) 650-2396 - or, if you’re lucky, at the door.

Posted: April 23rd, 2009 under Theater.
Comments: none

While Nunsense may be the most well-known musical poking pun at church, it only takes aim at the Catholic church.
Protestants have a laugh at self option, too, in Church Basement Ladies, currently playing at Circa 21 Dinner Playhouse in Rock Island.

Church Basement Ladies takes place entirely in the basement kitchen of the East Cornucopia Lutheran Church of the Prairie in Cornucopia, Minnesota.  Vivian rules the roost, with Karin next in line to take over the reigns of running the church events behind the scenes duties.  This as her daughter, Signe, comes into her own as a young woman, with her own rebellious ideas (like marrying a Catholic boy.  Uff da!)  And then there’s Mavis, the trustworthy workhorse of a woman who keeps things interesting with a smile on her face and a laugh on everyone else’s lips.

As for my review, I’m going to have to bypass my opinion on this one and follow the crowd instead.  While I found the songs uninspired, the jokes a little too “inside” Lutheran and the whole thing not self-deprecating enough, the audience absolutely loved the show.  There were laughs a plenty and smiles on many a face, as the Circa crowd had a great time truly enjoying the show.  So, I’m in the minority here on the show overall.  Which means, based on the crowd, you’ll like enjoy a healthy helping of the Church Basement Ladies.

However, I do want to highlight Nicole Savitt, who portrays Mavis (for her fifth production of CBL, if I remember correctly).  She’s so cheery and likable, that I found myself just watching her whenever I was bored.  For me, she alone was worth the evening out.  That’s not to say the rest of the cast are slackers.  They’re all quite good.  But, Savitt was dealt a good hand in the role of Mavis and has the opportunity to shine.  In fact, there were times I couldn’t escape the thought that she could be Kristin Chenoweth’s mother.  She has that spunk, that bubbliness and a higher pitched voice that’s so trademark Chenoweth.

Church Basement Ladies runs through June 6th at Circa 21 Dinner Playhouse in Rock Island.  Tickets are available by calling the theater at (309) 786-7733 or through the theater’s website, circa21.com.

Posted: April 3rd, 2009 under Theater.
Comments: 3

Battlestar Galactica

Make Me a Supermodel

Celebrity Apprentice

Dancing With the Stars

Hell’s Kitchen

Posted: March 13th, 2009 under Personal, Television.
Comments: none

It happens to by my favorite work by William Shakespeare, so my expectations for “Much Ado About Nothing” are high.
But then, so too are my expectations for the Prenzie Players.

Shakespeare’s romantic comedy centers around two couples, Claudio and Hero who are engaged and Beatrice and Benedick who outwardly enjoy taunting each other in a joyfully hateful relationship.  Their friends set out to get them to both realize and confess their love for each other, which carries the bulk of the comedy in this romantic comedy.  Claudio and Hero are more so responsible for the romance.

Oh, but there’s another player in this game, Don John, who’s jealousy fosters a scheme to sabotage Claudio and Hero’s wedding.  He sets in motion a seemingly confirmed rumor of Hero’s unfaithfulness.

The Prenzie’s production of Much Ado deserves much ado about it.  This show is a perfect example of the strength of the Players.  Director Stephanie Burrough’s choices, in collaboration with the cast, are truly inspired.  From Don John’s sparring practice to a yoga session, she’s set the play in everyday modern settings, adding a believability an an approachability to the material.  And, in some cases, some humor to add entertainment value (Denise Yoder’s yoga is one of the strongest points of humor in the production.)

The choice of costumes are also inspired.  All are modern, but with a fluidity reminiscent of a more classic time.

While, personally, it always takes me a bit to get used to the language of Shakespeare, it took me longer to do so when I attended Much Ado, due to fatigue, not anything on the Prenzie’s part.  But, it actually points to the strengths of the show.  First, the Prenzies are comfortable with the language, knowing full well what they are saying and, thanks to solid acting skills, are able to convey the meaning of the words even if they are not fully understood by me, for example.  On top of that, the direction, blocking and humor are so delightful, I don’t think it would matter if one could not follow the words.  The production is still thoroughly enjoyable.

As for the cast, once again, it’s solid.  While each and every cast member deserves a right up, I cannot take the time, nor the space to do so.  But, on top of the solid cast, I would like to mention a few standouts.  Cait Bodenbender is enrapturing.  So comfortable in the role and with the language, she’s an absolute delight.  Beth Woolley is also impressive as Don John, here as Dona Jane instead, thanks to gender-bending casting.  There are times I thought Woolley was about to cross that line and take things over the top.  But, she always remains in control, maintaining nuance to her performance.  And, the anger she maintains control of actually makes her stunning.  It adds to her physical beauty, making for a mix of a villain who is so enticing.  Truly remarkable.

Much Ado About Nothing runs this Friday, Saturday and Sunday night (March 13-15) at 8:00.  If you arrive late, you will not be seated, so be sure to arrive early.  Doors open at 7:30 at the Village Theatre in the Village of East Davenport.  Tickets are only available at door for eight dollars.

Posted: March 12th, 2009 under Theater.
Comments: none

Having just dealt with a friend who’s up in arms about a new movie based on the board game Clue, I’m inspired to write about my annoyance at people who get so upset about remakes.  (That said, this new Clue is not a remake, but a new movie inspired by the board game.  There’s a difference.)

Some people get so upset when a movie is remade.  They’ll rant and rave about how good the original is and how the studio is going to muck this one up.  I mean, seriously, people get upset!  It’s ridiculous.

I have absolutely no problems with remakes.  For one, the original movie doesn’t instantly disappear from the face of the earth.  It still exists.  If you, the viewer, prefer the original, THEN WATCH THE ORIGINAL and ignore the remake.  No one is forcing you to foresake the original and suddenly put your passion behind the remake.  You can completely ignore the fact that the remake even exists.  There is no reason to waste emotion energy on a remake.

For two, sometimes the remakes are better.  Technology is the main area in which this is true.  Go back and watch a horror movie from the 70’s or 80’s.  The thrill and scare may be there, but the blood and effects are laughable.  Today’s technology allows for a much more realistic look.  I’ll concede that remakes of horror films tend to lose some of the thrill and scare in favor of better effects, but that’s not always the case.  I think it worth the risk to remake a movie, with the chance it could be equally as good, script-wise, and undoubtedly better effects-wise.

“Clash of the Titans” is a great example.  The remake is in the works as I write this.  It’s such a classic, that some would say it’s untouchable.  In my opinion, no film is untouchable.  As for “Clash of the Titans”, I love the original.  It’s a great story and truly fantastic.  But, it’s dated.  The effects are not that good.  I’m quite anxious to see it with today’s movie technology.  This movie has the potential to top the original.

And, for three, it’s a movie.  Seriously.  IT’S A MOVIE!  Life, history, the universe is not changed in any way by the fact your favorite movie is getting a remake.  It’s not worth losing sleep over.  So, calm down and tell me what you love about the original.  There’s no need to work up a storm in your soul over a measily movie.

Posted: March 6th, 2009 under Film, Personal.
Comments: none