WQAD’s Thom White offers his thoughts on movies, television shows and local theater productions

Papa’s Angels: A Christmas Story at Playcrafters Barn Theatre

This year, Playcrafters Barn Theatre hopes to get you into the holiday spirit with “Papa’s Angels: A Christmas Story”.  Originally a made for TV movie based on the book of the same name, the play follows a year in the life of the Jenkins family.  Early on, Mrs. Jenkins dies, leaving Mr. Jenkins stripped of all music and joy and five children to parent alone.  Wallowing in his sadness, he proves an unfit father, unwilling to invest much time in the lives of his children and making poor parenting choices that strip them of the joys of growing up, including Christmas.  But, being a Christmas story, the spirit of the season is a lesson learned by the closing curtain.

The script is a very dark one, hardly an uplifting holiday ride.  It possess an emotional depth somewhat lost on those behind Playcrafters’ production of the material and, therefore, lost on the audience.  At one point, Mr. Jenkins once and for all shoots down the hope his children still hold for the possibility of a Jenkins family Christmas.  It’s an emotionally abusive act that would very well negatively impact any child, but the audience laughed.  I don’t think it was out of cruelty, however.  Instead, I think the response was born out of the audience’s expectation of a happy Christmas story.  And that’s why a performance that floats emotionally above the dark depths of the script could be considered a blessing.

Part of the reason the production is not as dark as the script calls for is that the children cast are having so much fun on stage.  Their vibrant, often adorable performances are all too smile inducing to allow the weight of the material to fully fall upon the audience.  From Sydney Crumbleholme’s exhuberant portrayal of the mute eldest child, to Alyssa Castro’s happily bossy tomboy to Laila Haley’s attention grabbing, adorably dramatic youngest child, it is a delight to watch these young actors perform, interact and pretty much just play on stage.  It is these young actors, which also includes Andrew Hall and Katie Moore in equally vibrant performances, that instill a joy that’s not quite so prevalent in the script, but is a welcome lift to solidify the holiday spirit of the piece.

As for the script, I often wondered if it played better in a video format.  There are events that are too abrupt, from the mother’s death to the son’s development of a stutter, to allow for an emotional connection to their implications.  I was pulled out of the performance several times by the sudden revelation of something that wasn’t conveyed on stage, but instead was suddenly a part of the play.  I tend to think a video production of the script would allow for observation of these transitions that are not directly in the script, but could be conveyed through visual performances.

Still, there are some truly beautiful moments in Playcrafters’ production, starting right after the proverbial opening curtain when Morgan Williams performs a song on violin.  It’s a truly impressive performance from a young woman who has such excellent pitch at such a young age.

John Weigandt adds several beautiful moments while playing guitar and singing the songs his character wrote for his wife.  His ability is of little surprise to anyone who’s enjoyed his work with Quad City Musical Guild, most recently as Horton in Seussical.

Paul Workman and Dustin Oliver also offer solid, impressive performances, proving their worth as actors, even in small roles.

While there are beautiful moments, there are also a few cringe-worthy ones, mostly due to technical mistakes on the night which I attended the show.  From a music track seemingly played too early, and allowed to continue to play while Weigandt was singing, to a sudden, awkward and not too quickly corrected dip to black in the middle of dialogue, the technical aspects of the production could use some clean-up.  As could some of the actors, whom it wouldn’t hurt to brush up on their lines.  Some stumbled a bit on opening night, sometimes to distraction.

This weekend is your final chance to catch “Papa’s Angels: A Christmas Story” at Playcrafters Barn Theatre in Moline.  Performances are November 13th and 14th at 7:30 p.m. and November 15th at 3:00 p.m.  Tickets are $10, available by reservation at (309) 762-0330 or through the theater’s website, playcrafters.com.

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

On Stage — Glengarry Glen Ross at The Curtainbox Theatre Co.

It took just one performance, Danny and the Deep Blue Sea, for me to fall in love with The Curtainbox Theatre Company.  It could be the company’s lack of fear of exceptional writing laced with mature themes.  It could be the quality of the production.  Or, it could because I adore co-founding member Kim Furness so much.  Or, it could be a combination of all of these and then some.

The Curtainbox is currently running Glengarry Glen Ross, David Mamet’s most honored play.  And, it deserves it.  By that I mean the play deserves the accolades.  And, The Curtainbox deserves to take on such an intense, well-written, funny, exceptional piece of theater.

Glengarry Glen Ross centers around a real estate agency with new orders to increase sales or people are getting pink slips.  In order to avoid the unemployment line, the salesmen must sell something.  In order to sell something, they need leads.  But, they can only get the good leads if they sell something.  With such a daunting task, a couple of them plot to break in to the office and steal the leads to sell them to a rival company.

The strongest piece of The Curtainbox Theatre’s production is unarguably its pacing.  This ensemble cast, under the obviously capable direction of David Bonde, has the pacing down to a “T”, which adds even more punch to Mamet’s clever script.  The words could hold up to a lesser performance as notable.  But, this is not a lesser performance, adding punch to the way Mamet plays with words and creating an altogether exciting, riveting and laugh-inducing experience.

The cast’s pacing is the star of this production, but only because it has a capable supporting cast.

And I have to mention to opening scene of each act, each of which include no dialogue, but an appropriate song to add a bit of silliness to the scene on stage to giddily amusing affect.  These scenes alone are worth the price of admission.

A warning, though.  Don’t let the girl in the pigtails taking tickets at the front door fool you.  Her youthfulness is not representative of the mature themes of this show.  Mamet is known for his sometimes vulgar language.  And, there’s plenty of it in this play.  That’s not to dissuade you from going.  I absolutely think you should go to experience such exceptional theater.  Just leave any children with a single digit to their age with a babysitter.

Glengarry Glen Ross runs September 18-19, 22 and 24-26 at 7:30 p.m. and September 20 and 27 at 3:00 p.m. at the Village Theatre in the Village of East Davenport.  Tickets are $15 and can be reserved by calling The Curtainbox Ticket Line at (563) 650-8121 or by emailing your reservation request to reservations@thecurtainbox.com.  Or, if you’re lucky and there are any left, they can be purchased at the door.

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

On Stage — Long Days Journey Into Night at Harrison Hilltop Theatre

Harrison Hilltop Theatre’s current undertaking is Eugene O’Neill’s Pulitzer Prize winning masterwork “Long Day’s Journey Into Night.”  The show takes place during the course of one day — from morning to midnight.   It centers around a family of four living in Connecticut in 1912.  And, it doesn’t take long to realize this family enjoys a drop or two of whiskey.  In fact, substance abuse seems to be at the center of their dysfunction.For Harrison Hilltop’s production, Ray Gabica takes on the role of James Tyrone, Senior — classically trained actor and father to the family, who’s also often accused of being a penny pincher.

Jackie Madunic brings an airy with bursts of harsh anger approach to his wife, Mary.  Madunic, in my opinion, is the most impressive, as her level of seeming craziness builds, leaving you increasingly wondering what is going on with this woman.

Jason Platt is the eldest son, James.  Platt consistently offers a unique style of acting to his roles, which seems as though he’s coming up with the words as he goes, offering an organic nature to his roles.

And, Harrison Hilltop regular James Bleecker is the youngest son, Edmund, who impressed me most by suppressing that boyish charm of his to present a melancholy, sickly character.

Maggie Woolley also offers a headstrong young woman as hired help, who doesn’t mind a sip of whiskey or too, herself.

While individual performances are good, there’s something lacking as an ensemble.  There was individual energy, but not an energy between characters, creating somewhat of a disconnect.  It may be due to the weight of remembering so much material and only slightly diminishes the experience.

I have to admit, this script is not of a style to my personal liking.  But, I think it a disservice to base my entire opinion upon that.  This is considered O’Neill’s masterwork for reasons I cannot understand.  There is too much rambling and repetition, with a fourth act that’s ungodly long.  With a bit of embarrassment, I admit I often lost focus and was often lost due to so much off set action being described rather than shown.  Even more stories of something that happened in the past were told, leaving too much to this theatergoer’s imagination.

Still, there is a reason this is O’Neill’s masterwork.  And, I’m a big proponent of seeing pieces held in such regard regardless of liking them.  Harrison Hillop’s production is good, with a cast that gives its all.  I have no reservation recommending “Long Days Journey Into Night” to those with a love of theater and who are willing to invest more than three hours of their time to take in the classic.

“Long Days Journey Into Night” runs August 20-22 and 27-29 at 7:30 p.m. and August 23 and 30 at 2:30 p.m.  Tickets are available by calling (309) 235-1654 or through the theater’s website - harrisonhilltop.com

Posted: August 21st, 2009 under Theater.
Comments: 1

On Stage — Seussical at Quad City Music Guild

The show is one big story, made up of several Seuss favorites   They’re all tied together by the Cat in the Hat, who serves as sort of our emcee for the evening.He’s causing mischief for JoJo, by way of Whoville, Horton and the Circus McGurkus, to name a few.

It’s a cute show with its main misgivings, in my opinion, being the songs that do not draw their lyrics from the works of Dr. Seuss.  They seem out of place and, lacking the Seussian language and with loftier lyrical ideas, are a bit hard to follow.  But, they don’t pull down the entire show.

Once again, Music Guild shines through its costumes — particularly of those protraying animals, but not directly dressed as animals themselves.  For example, Horton has no trunk, but is dressed in layers of gray with a pink necktie and pink shoelaces.

The actor in that ensemble, John Weigandt, is also well cast, with his gentile - humpty-hum approach — as are many of the main characters.  Emily Baker is fantastic as JoJo — pitch perfect and with such a range of acting skill for such a young person.  Eric Reyes is delightfully sly as the Cat in the Hat.

But it’s Jenny Winn’s Gertrude McFuzz who really impressed me. It helps that she has my favorite Seuss story.  But, also that she’s perfectly cartoonish and full of comical energy in the role.

And, I have to mention the set, particularly Who-ville, which pops out of the side of the stage unexpectedly in such a fun, dramatic way.Seussical runs August 7-9 and 13-16, with performances Thursday, Friday and Saturday at 7:30 p.m. and Sunday at 2:00 p.m. at the Prospect Park Auditorium in Moline.  Tickets are $15 for adults and $9 for children, available by reservation by calling (309) 762-6610.  For more information, check out Quad City Music Guild.

Posted: August 7th, 2009 under Theater.
Comments: none

On Stage — Bash at The Phoenix Theatre Company

 If you’re a local theater fan, you most likely know about the demise of what was once my favorite local theater, The Green Room Theatre.  This weekend, The Green Room is sort of re-incarnated thanks to one of its owners, Tysan Danner.  He now runs The Phoenix Theatre Company, setting up shop with a host of other local companies in the Village Theatre in the Village of East Davenport.

For the company’s first production, Danner chose Dash,  a play made up of three one-act plays, more monologues, really.  All three feature fairly normal people who just happen to have killed someone.

The first is a man who lost his infant child, who suffocated under a blanket.  Chris White plays the man with a subdued, everyday approach that works.  It’s not a dynamic performance.  White chooses to play it simply, without grand inflection or characterization.  While it’s not dynamic, it’s very natural, as if you’re really listening to a man tell you his story, face-to-face, rather than listening to an actor protraying a character through monologue.  That’s a good thing.  Without giving anything away, I will say White’s story also has a couple of twists to it, with an ending that literally made me gasp.

Second up are Abby VanGerpen and Ben Simkins as a college age, church going couple telling the story of a special church event in Manhattan.  During a stroll through Central Park, Simkins character ends up overly moved by two men kissing in the park.  And by moved, I don’t mean in a positive direction.  Simkins is believable, with just a hint of a held back uncertainty about his actions.  While I think he may have missed the homo-eroticism of an encounter with his girlfriend’s ex on a running track, Simkins successfully brings an understanding of his characters conviction, yet uncertainty about himself.

VanGerpen is absolutely sweet.  She uses these little nuances in her delivery, like inflection and dropping the end of a line in ways that are spot on, truly admirable.  A couple of times, I think she used her acting skills to add emotional meaning to a line that probably wasn’t originally written into that line.  It was so impressive, it actually pulled me from the story, wondering at her performance.

Jessica Sheridan brings us the final story, as a girl who, at the age of 13, had an inappropriate relationship with one of her teachers.  She ended up pregnant and in love with the teacher who continued to foster a relationship beyond something sexual and really should’ve known better.  At least, he fosters the relationship until he learns she pregnant.

Sheridan, arguably, offers the strongest, most dynamic performance.  She brings a feigned hard edge to a broken character trying to deny her love for someone.  Her character is uncomfortable, trying to come across as confident.  Her performance speaks highly of Sheridan’s skills as an actress.

A warning, though, you will not be entertained.  Bash is not Peter Pan.  It’s thought-provoking theater with dark contexts and unpleasant themes.  And, there’s not much action on stage.  The monologues are pretty much presented with the actors staying in place on stage.  All of the action is in the delivery, leaving me struggling to focus, with little to do but listen.  That’s not to say the performances are not good enough.  It’s just to say, if you share my short attention span when there’s little visual stimulation, you may have a hard time focusing, too.

Performances are July 31 through August 1 and August 6-8 at 7:30 p.m. at the Village Theatre in the Village of East Davenport.  Tickets are $15.  For more information, check out the theaters website – thephoenixtheatrecompany.com

Posted: July 31st, 2009 under Theater.
Comments: none

tick, tick… BOOM!!! at Harrison Hilltop Theatre

I like Harrison Hilltop Theatre.  I like the location (parking issues aside).  I like the space.  And, I’ve been impressed with almost all of their productions.  And so, as Harrison expressed excitement about its first anniversary production, I wanted to like “tick, tick… BOOM!!!”, too.  Perhaps my raised expectations were part of the problem.

“tick, tick… BOOM!!!” follows Rent composer Jonathon Larson as he prepares for the workshop of his musical “Superbia” –  a futuristic take on Orwell’s “1984″ and Larson hopes it’ll reshape Broadway with its rock inspired score.  The auto-biographical show (tick, tick… BOOM!!!, not Superbia) was written by Larson as a one-man show, but reworked for a cast of three after Larson’s death.  Unfortunately, it feels like it’s a musical for musical’s sake.

In my opinion, Jonathon Larson was not a great composer.  Sure, Rent enjoys tremendous success and popularity.  But, I don’t think that’s due to the strength of composition of the songs themselves.  I think as a whole, the feeling of the shows lifts the songs beyond their mediocrity. They’re just not all that well composed. But, the ones in “tick, tick… BOOM!!!” are even worse!  There are some clever turns of phrase, but the melodies and harmonies are too simplistic and weak.  It makes “tick, tick… BOOM!!!” seem pieced together as a show about Jonathon Larson, so we have to pepper it with his songs.  There’s seemingly little regard for whether or not the songs are any good and even less for whether or not they actually advance the story, which they do not.  While I enjoyed the book, finding the dialogue truly interesting, with the storyline holding my attention, I felt like I was enduring the songs simply to get back to the story.

But, that’s the show.  As for Harrison’s production, I think Adam Lewis well cast.  His usual quirkiness is toned down, but not absent, making for a likeable Larson.  He’s simply endearing, which makes it easy to overlook some pitch problems throughout the course of the show. Tracy Pelzer-Timm and Michael Crowe are also amusing, but mainly in their secondary characters.  That’s not to say their performances as their main characters are bad.  They’re adequate, at least.  But, they each make use of fun accents and quirks for some of the more minor characters they portray, making them stand out.  Unfortunately, they too suffer pitch problems throughout the show, which didn’t help with the fact I already didn’t like the songs.  (And I find this odd, because I know Pelzer-Timm can sing, so I’m unsure of the reason for her pitch problems.)

If anything truly deserves praise in this production, it’s the set.  Set Designers Jeff Stone and Chris Walljasper created a fantastic two level set with two sets of stairs, allowing for the actors to move about and make it matter, make it interesting.  And, as is all too rare at Harrison Hilltop, they’re allowed to make use of the windows at the top of the room.  It may seem odd to note, but if you’ve seen other productions at Harrison Hilltop, you’ll understand the significant interest added by the “tick, tick… BOOM!!!” set.

Straightforward, I didn’t care for this production.  But, I’ve heard from others who did enjoy it, even liking the songs.  With that, I remind you that this is simply my opinion and I would want nothing less than for you to form your own by seeing the show.  If you’re on the fence, don’t let my review dissuade you from attending a performance.  Take it as food for thought, sure.  But, see the show and make up your own mind.

“tick, tick… BOOM!!!” runs this weekend at Harrison Hilltop Theatre, 1601 Harrison Street in Davenport.  Performances are Friday and Saturday at 7:30 p.m. with a matinee on Sunday at 2:30 p.m.  Ticket information is available at the theater’s website — harrisonhilltop.com.

Posted: July 24th, 2009 under Theater.
Comments: none

On Stage - Peter Pan at Circa 21 Dinner Playhouse

if you’re having trouble thinking lovely thoughts these days — circa 21 may be able to help you out.  Peter Pan isn’t only full of them, but the fun you’ll have will push any unlovely thoughts right out of your head.

We know the story.  Wendy catches Peter Pan looking for his lost shadow in the nursery.  She sews it on for him, after which he teacher her and her brothers, Michael and John, to fly.  They’re soon off to Never Neverland — where they battle indians and pirates.In all honesty, I’ve not had so much fun at Circa since I started reviewing local theater.   The story may be inspired by a children’s story, but that doesn’t mean the musical is only for children.  On the contrary, I couldn’t help but feel like a child at heart as I joined the Darling children’s adventure.  At no moment did I stop and think I was watching a musical meant for children.  I didn’t have a moment to stop and even think it, I was enjoying the production so much!

And, a lot of that enjoyment has to do with the pirates — particularly Tom Walljasper as Captain Hook.  Walljasper is pretty much in every Circa production.  But, this is the first time that I’ve seen him truly let go and just enjoy the role.   And, his performance is all the better for it.

And then there’s the flying.  I have to admit, I expected it to be kind of annoying.  Whoop dee doo, they’re flying.  It was anything but.  The moment Peter flies through the window, my excitement flew, too.  The flying actually heightens the fun of the performance.  And, it may just be my penchant, but I watched closely for any mishaps, like tangled wires or actors banging into the set, which I also would’ve found really fun.  That anticipation helped increase the fun level, although there were no mishaps.I tend to be tougher on Circa, since the Dinner Playhouse is the predominant professional theater in town.  Productions should be at a higher level than all community theater in the area.  That’s not always the case (perhaps because some local community theater productions rise about community theater, themselves.).  But, Circa 21’s Peter Pan truly is an evening of pure joy, one that I cannot reccommend enough.

Peter Pan runs through August 29th at Circa 21 Dinner Playhouse in Rock Island.  You’ll find ticket information at Circa21.com.

Posted: July 9th, 2009 under Theater.
Comments: none

On Stage — The King and I at Quad City Music Guild

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.

The strongest part of Music Guild’s production is its vividly colorful costumes and gorgeous set.  Even during moments when I was a bit bored by the script or the performances, I enjoyed taking in the colors and background, so it was never really boring.

As for the performance, Music Guild’s production suffers from some community theaterisms.  Almost all of the songs are sung directly to the audience.  Despite a beautifully staged space, most of the action takes place downstage in the front third portion of the available area.  And, while Music Guild could’ve presented an original take on the material, there’s more than a passing nod to the film version of the show.  Then again, this IS community theater, so expectations should be at the community theater level.

But, there are some standout performances.  Harold Truitt is delightful as The King.  His accent is surprisingly consistent and the joy mixed with superiority on his face is perfect.

Stephanie Moeller actually shocked me as Tuptim.  I’ve enjoyed her acting before, but this is the first time I’ve heard her sing.  And, after hearing the first few notes I’ve ever heard her sing, I immediately wondered why I’ve never heard her sing before.  Her acting is, once again, solid.  But, it’s her voice that fascinated me most.

The King and I runs this Thursday, Friday and Saturday at 7:30 p.m. and Sunday at 2:00 at Quad City Music Guild in Prospect Park in Moline.  Tickets are $15 for adults and $9 for children, available by reservation — (309) 762-6610.

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

On Stage - The Last 5 Years at Riverbend Theatre Collective

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.

It’s fantastic.

As is Riverbend Theatre Collective’s production.  Except for a few minor flaws (in my opinion), Riverbend does an exceptional job bringing this exceptional piece of musical theater to the Quad Cities.

Allison Collins-Elfline offers a subtle, realistic take on Cathy.  Subtle in that I think Sherie Renee Scott offers a much more wildly emotional take in the original cast recording.  From that recording, I always thought Cathy was to blame for the break-up, although she starts off accusing Jamie for it.  With Collins-Elfline’s performance, the fault lies in neither and lies in both.  Thanks to her Cathy, the show comes across as a natural telling of the course of a relationship, rather than a relationship destroyed by one of its occupants.

Dana Joel Nicholson, whom I adored in Riverbend’s Elegies, also brings his vocal strength to The Last 5 Years.  And what I appreciate about Nicholson is that he’s not simply a singer with a good voice.  He, like Collins-Elfline, is a stage singer, able to craft a character through his songs.  While the character makes a few poor decisions, Nicholson’s Jamie is not a jerk doing things to intentionally hurt Cathy.  Instead, as with Collins-Elfline, he adds to the natural course of a relationship take on the material.

Because it struck me so strongly, I have to mention the lighting, which is used quite well to add to the production.  It’s especially well used during the number “Climbing Uphill” to help the audience know when we’re hearing what Cathy is singing at an audition and when we’re hearing what she’s thinking during that audition.

As for the minor flaws I mentioned, they fall in the direction and staging.  For instance, the song “See I’m Smiling” begins with Cathy facing the audience, speaking to Jamie, who has his back to the audience.  I thought that a great choice, as I dislike characters speaking to an imagined person on stage.  But, we need to know that we’re seeing Cathy’s perspective and not Jamie’s, so it was smart to include him on stage, but with his back to the audience.  It’s a staging I think could’ve been used even more than it was during the performance.  But, partway into “See I’m Smiling”, Jamie gets up to take a phone call, which is a switch to his perspective four or so years ago.  Instead of returning to his spot behind Cathy, he exits the stage and Cathy is left to speak to an imagined Jamie.  It’s incongruent.  However, it’s also minor and only mentioned because it actually pulled me out of the moment during the performance.

 The Last 5 Years runs this weekend, June 11, 12 and 13, at 7:30 p.m. at the Village Theatre in the Village of East Davenport.  Tickets are $12, available at the door on a first come first served basis.  You’ll want to arrive early, as this is one you’ll want to be sure not to miss.

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

Shawn Johnson Wins, but Shouldn’t Have

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

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