To be honest, I didn’t look forward to seeing Riverbend’s current show, a play, not a musical.  But, Kimberly Akimbo took me complete by surprise as a truly delightful production.

Kimberly Akimbo centers around Kimberly, a soon to be sixteen year old girl with that disease that ages your body four-and-a-half years for every year of your life.  And, while that’s an interesting subject, it’s not the focus of the show.
Instead, the story follows life with her dysfunctional family.

The show is billed as a dark comedy.  It’s subject matter lends itself to a darker, uncomfortable humor.  However, almost the entire cast performs their roles with a bit of a smile on their faces, knowing the show is funny.  That makes it less dark, which isn’t a bad thing, in my opinion.  It lightens things up, making the dark comedy easier to take in as a comedy.  It’s been a while since I laughed so much during a live stage performance.

What’s key to the success of any production of Kimberly Akimbo is the actress playing Kimberly.  You have to cast an older woman to play a teenage girl.  It would be easy to overact and not be believable, which would ruin the show.  Fortunately, Peggy Freeman is Kimberly in RTC’s production and she’s perfect.  Not only is her vocal inflection and tone spot on for a teenager, but her body language is, too.  She’s absolutely believable as a 15 year old girl.  And, she’s darling, to boot.  You really like her Kimberly, which helps to invest in the show, wanting to know what’s in store for her.

While Freeman is the focus of the production, it’s Denise Yoder who steals the show, in my opinion.  Never have I seen Yoder so free and comfortable in a role.  She doesn’t hold back in this performance as Debra, Kimberly’s highly dysfunctional aunt.  Yoder seems to be thoroughly enjoying the role, which makes it easy to enjoy it along with her.  This is, hands down, the best performance I’ve ever seen out of Yoder.  Bravo.

While Yoder stands out, that’s not to say the rest of the cast is short on talent.  On the contrary, the production is perfectly cast, with not a weak performance in the bunch.  Dustin Oliver has the right youthfulness and “outcastness” about him, making him oh so lovable.  Jaci Entwistle’s pregnant, always injured Pattie is full of humor, garnering many a laugh from the audience.  But, Aaron Sullivan’s Buddy is perhaps the most developed character on stage.  Sullivan fully grasps the internal conflict of someone who wants to escape his not as expected life by drowning himself in alcohol and a father who wants to do right by his daughter.

Kimberly Akimbo is staged at the Village Theatre in the Village of East Davenport.  And, while there is a stage, the cast is often not on it.  A couple of the sets are on the floor, in front of the stage and at the feet of the audience.  It’s ideal for quick scene changes.  And, the director, Allison Collins-Elfline made a smart choice in using the room.  Side doors lead the basement of the house or the fridge or another part of the library.  This production makes excellent and impressive use of the space in which it is staged.

I can’t recommend Kimberly Akimbo to you enough.  It’s truly delightful and thoroughly enjoyable.  It’s a shame if this weekend doesn’t sell out.  Go see this show!

I must warn you, though.  There is a lot of strong language, so this isn’t one to take the kiddies to see.  Adults only.

Kimberly Akimbo runs tonight and tomorrow night at 8 p.m. at the Village Theatre in the Village of East Davenport.

Posted: June 26th, 2008 under Theater.
Comments: none

The show begins with George and Helene packing up their youngest son Keith and sending him off to college.  The front door closes and, phew, finally, after too many years, they have the house to themselves.  They can run around naked, if they want to.  They no longer have three sons in the home to invade their privacy and demand their attention.

That is, until they decide to get cozy on the floor in front of the fireplace.  As they snuggle, their son Michael sneaks in through the back door and up the stairs to his room.  It doesn’t take long for their other son, Elliott, to follow.  Oh, and then there’s the college freshman Keith just met the day before, Janie, who moves in to use his room, which he promised would be okay.

The laughs are centered around the frustrations of finally being free in your own home, but having it invaded again by the sons you finally got out of the nest.  Despite being a comedy, it’s actually short on laughs (until the first half of the second act), but when the laughs come, they’re good ones.

The show is okay, not great.  What actually makes it worth seeing is the cast.  There’s usually a few weaker cast members in Circa’s shows, but not this one.  Every actor is solid, funny and enjoyable.  There are no weakest links here, goodbye.

Brad Hauskins, a Circa regular, plays the father.  While I enjoy his usually dry, sarcastic humor, this performance is a lighter style of comedy and quite good.

Vrenda Lee, fresh off of Smoke on the Mountain, once again plays the play’s mother.  This time, she’s able to stand out, with such humor carried through her non-verbals.  And such great 80’s style hair!

Tristan Layne Tapscott is Keith.  Tapscott was hilarious in Buddy: The Buddy Holly Story and is just as good here.

Michael Butler, who is usually serving you your drinks for dinner as a Bootlegger, really gets to let his brand of humor free in a role well-suited for his style.

Eddie Staver III, who I am not ashamed to say, once again, is my favorite Quad Cities actor, offers a surprisingly slimey portrayal of Elliott, the womanizing son.  It’s a far cry from his portrayals of classic characters with the Prenzie Players, but still impressive.

And then there’s Ashley Catherine Schmitt, the bubbly, gum-chewing, sky-high bangs freshman Janie.  Schmitt has such energy and sparkle, you can’t help but like her, which adds to the laughs she brings to the show.

Also worth mentioning, the set and the costumes.  When we first sat down, I did not like the set, wondering who picked the atrocious style.  Then, when Hauskins and Lee walked on stage in their 80’s style clothing, it clicked and I found the set fantastic.  It’s perfect and, with the spot on costumes, leaves no doubt what decade this show takes place in.

Empty Nest runs through July 19th at Circa 21 Dinner Playhouse in Rock Island.

Posted: June 12th, 2008 under Theater.
Comments: none

I am a sucker for animated features and Jack Black, so “Kung Fu Panda” has me in movie viewing overload, hoping two positives don’t make a negative.

Black is the voice of Po, a panda bear working in a noodle restaurant, who may be the prophesied chosen one to protect the Valley of Peace.  It helps that Po is a Kung Fu fanatic.  It doesn’t help that he’s also the laziest animal in all of China.

The cast is quite impressive, actually, with actors you might not expect behind colorfully drawn characters.  Well, except for Jackie Chan, maybe.  But, there’s also Dustin Hoffman, Lucy Liu and Angelina Jolie.

Yes, it’s another tale of an unlikely hero.  And, yes, it’s another lesson in being yourself is the best.  But, it’s so much fun!  For both the kiddies and the adults.

And, it’s simple.  While it has action, humor and heart, it’s not a whirling dirvish of c-g created explosions and chases that leaves your heart pounding with the stress of the excitment.  It’s enjoyable entertainment at a comfortable, but satisfying pace.

It’s hard to go wrong with animated features these days.  “Kung Fu Panda” is worth a family trip to the theater.  It’s one you won’t mind watching along with your children.

And then there’s You Don’t Mess with the Zohan with Adam Sandler as an Israeli secret agent who fakes his own death in order to move to New York to become a hairstylist.  Skip it at the theater.  It’s a sign Judd Apatow isn’t a sure bet.  But, it’s funny enough to make it worth renting.

Posted: June 5th, 2008 under Film.
Comments: none

The Green Room is perhaps the most intimate theater space in the Quad Cities.  It’s the closeness of the audience to the performers that heightens the intimacy of “john & jen”, a play with two actors, but three characters.

“john & jen” is mainly the story of Jen.  We travel with her through her life, from the time her brother is born to the moment her son is off to college.

The first act is Jen’s life with John, her brother.  With an abusive father, Jen promises to stay with John, always, to prevent John from becoming the man he adores, their father.  But, Jen can’t stay with him forever.  She leaves for college and the siblings continue on down very different political paths.  John’s leads him to his death in Vietnam.

The second act is Jen’s life with John, her son, named after her brother.  With this John, she’s determined not to leave him, to protect him from the pain she knew and the path that lead to her brother’s death.  But, the best laid plans of mice and Jen often go awry.

The story is meant to be a story of loss, or so the Internet tells me.  I didn’t find it nearly so poignant.  There are moments of loss, which did move me, but the show seems so much more about the interactions of John and Jen and John than it does about their losses, or, Jen’s specifically.  Yes, she sits with her photo album and remembers, but the impact of her loss isn’t conveyed to the audience as deeply as it could be.  The director is correct to describe the show in the director’s notes as more about Jen’s “journey to overcome the emotional trauma she has suffered”.  It still isn’t quite that poignant, but there is that underlying theme.

While this is a book musical, with dialogue in between songs, it’s barely so.  The story lies almost entirely in the string of songs performed by John and Jen.  Thankfully, they vary in style and emotion, adding interest and surprise, rather than feeling like one long song.

As I said, I didn’t find the show as poignant as I think it was meant to be.  Instead, I would call it cute.  And, it’s cute because of Ryan Westwood’s performance.  Both actors in the show are called upon to portray their characters at difference ages.  Ryan excels at presenting the uninhibited and unjaded excitement of youth.  He is cute at the age of five, seven, eleven and twelve, if I remember the ages correctly.  And, he’s able to remove just enough exhuberance at each higher age to make that age believable.  And his talk show host!  Well, I’ll leave that for you to see.  This show may be centered moreso around Jen, but it’s Westwood who owns the stage, captivating the audience with his exceptional performance as both John and John.

Sarah Ulloa handles the role of Jen.  I’ve enjoyed seeing Ulloa on stage at least twice before, as she seems to have so much fun.  So, I was surprised to see her hold back a bit in this role.  She has a fantastic, powerhouse of a voice.  Her strong vocals carry her through this show.  But, she’s stronger on singing than on acting.  Her age differences for Jen are fairly undistinguishable.  And, often, her movements seem staged.  She’s moving through her blocking, looking this way or stepping that way, because it’s her blocking.  Rather than being a spontaneous movement, she moves because she’s supposed to move.  It’s actually subtle and not a huge distraction, but it was something that caught my attention.  And, it shouldn’t be what defines Ulloa’s performance.  Again, her vocals are excellent.  With a truer feeling and motivation behind them, Ulloa would be truly exceptional.

“john & jen” is Tyson Wm. Danner’s first directing experience.  And I have to say, he does a find job of it on his inaugural effort.  There’s attention given to lighting, which adds wells to the drama unfolding on stage.  Particularly, placing Westwood behind a draping of fabric with a light on him to make him appear through it is quite effective.  I’m not sure red is the best choice for the light, but the effect is solid.  And, Tyson uses props and set pieces!  The set pieces are still minimalistic, but there are set pieces on stage, which truly helps the performers.  As a director, I think Danner could’ve pulled more out of Ulloa’s performance on the acting side.  That’s a directing ability that will only strengthen as Danner continues to sit in the director’s chair for future productions.

“john & jen” runs this weekend only, starting tonight, at The Green Room Theatre in Rock Island.  Performances are tonight, tomorrow night and Saturday at 7:30, with a 2:30 matinee performance on Sunday.  Tickets are $15 and can be reserved by calling the theater at (309) 786-5660.

Posted: May 29th, 2008 under Theater.
Comments: none

In death, a new theater group is born in the Quad Cities. Elegies: A Song Cycle marks the debut production of the new Riverbend Theatre Collective.

Being a song cycle, Elegies does not follow a plot. It’s a series of songs, each in and of itself a little story, with the central theme being death, memories of loved ones dying. Thankfully, most are fond remembrances told after the teller’s gone through the pain of dealing with the death.

Riverbend Theatre Collective’s Elegies is set in a bar, a piano bar, with the audience at the bar’s tables, watching the performers mingle at the bar, drink and tell their stories. It’s fitting, feeling almost like a reunion of old friends gathering to tell of the loved ones they lost.

In my opinion, I expected Elegies to be more poignant. These are stories about death, after all. I found myself moved to tears only twice in the show. And only a couple of lyrics caused me to give pause to ponder the point made. I’m sure there is poignancy galore, but it is not immediately apparent in the first hearing. For me, I think it would take a greater familiarity with the lyrics to begin to fathom the depth of the show’s emotion. Or, full disclosure, perhaps I missed the poignancy because I’ve not experience much death in my life.

Elegies, however, is presented by a fine cast of performers. It’s a small cast of just five (plus the pianist and the bartender). And yet, RTC managed to put together a very diverse cast, vocally and in the way these actors ply their craft.

Bryan Tank’s voice is, arguably, the strongest. A pleasure to listen to, Tank sings with dynamic authority, able to control the strength of his voice to fit the feeling of the song. Tank’s performance, however, is heavier on the singing side than the acting. His may be the most pleasant to hear vocal presentation, but the other actors manage to grasp the sense that they’re telling a story through their songs rather than only singing them well. I was quite impressed with Tank’s performance in “Jekyll & Hyde” a few years ago, so I know he has the acting chops. Perhaps his songs don’t call for it as much and I missed that in the listening. I must say, though, I still very much enjoyed the listening.

Jackie Madunic is, again arguably, the most fun to watch. The moment she opened her mouth and let fourth her first notes, she had my attention. Her solo is five songs into the show, and yet, she’s the first to really tell her song’s story. With inflection, eye contact and body language, she drives home the song’s intention. And, she’s the only performer who managed to bring a tear to my eye, at the end of “14 Dwight Ave., Natick, Mass.” This is my first time enjoying a performance by Madunic and, even before the song is through, I find myself anxious to see her in other roles, to see what else she can do.

Patrick Gimm returns to the stage after a thirty year absence from it. And, I find myself asking, why so long? This man is a crooner. With a smooth, rich quality to his baritone voice, he could’ve sung me to sleep. Not out of boredom, mind you, but out of ease of listening. Like Tank, Gimm, too, could perhaps use a little more direction in the telling of the song’s story. Then again, does it matter? It’s such a calming joy to listen to him, that I almost don’t care what he’s singing about in each song. Hopefully, Gimm doesn’t withhold his talent from us for another thirty years.

If Madunic were not in the picture, err, on the stage, then Dana Joel Nicholson would be the most fun to watch. It may help that he has more of the songs that include humor, which allows him to play them out. “My Dogs”, a song about the dogs he loved, and hated, and their deaths just might be my favorite song from the show. And, Nicholson’s performance certainly contributes to making it my favorite. Like Madunic, he’s a story teller. He’s in touch with the tale told and tells it as a tale teller would. (Yes, I’m proud of that alliteration.)

Last, but not least, we have the woman behind RTC, Allison Collins-Elfline. She, too, gets it. There’s a certain, simple sultriness to her style. Also fun to watch, she’s got a powerhouse of a voice, with excellent control of it. While there seems to be some question of casting, with some claiming Collins-Elfline intended to cast herself all along (which I don’t believe), the argument is irrelevant, as this woman proves she’s worthy of the role. If she were so-so, or terrible, then I could see a point to questioning the casting of herself in her own show. But, Collins-Elfline is far from so-so. I’m confidant any other director would’ve cast her, too.

I must say Bravo to Robert Elfline, who manages to play the piano non-stop for two hours. In addition to playing without a break for 90 minutes in the show, he also offers background music for the “piano bar” prior to the show as the guests enter. Here’s hoping there’s a hand massage in his contract.

And, Esther Clement manages to pull off a realistic Bartender, even without any lines. The actors manage to use her well, to maintain the illusion of being in an actual bar.

Riverbend Theatre Collective presents “Elegies: A Song Cycle” in conjunction with AIDS Project Quad Cities, with a portion of the proceeds going to APQC.

Elegies runs May 16 and 17 and 22-24 at 8 p.m. and May 18 at 3 p.m. Tickets are $10 and can be reserved by calling Riverbend Theatre Collective at (309) 757-1387 or purchased at the door.

Posted: May 15th, 2008 under Theater.
Comments: 1

As a theater-goer, I go to the theater to escape for a while, losing myself in a story of others’ lives played out before me on a stage.  I don’t want to be aware of my presence, only of the presence of the characters before my eyes.  That’s my preference, but it’s not Prenzie Players’ policy.  As they say, “theater is not a passive experience.”  And, knowing that, I approached the group’s latest production with trepidation, with anxiety.  Despite efforts to approach the show with an open mind as a reviewer, I dreaded the prospect of being pulled into the show and shuffled from room to room.  Yet, I walked away with a bright smile on my face, having enjoyed, yet again, another non-passive Prenzie Players performance.

The production of “Life’s a Dream” is already begun when the audience enters.  Those there to enjoy a night of theater walk into a darkened room with a black floor and a man lying naked in the center of the room.  We’ve entered the tower cell of Prince Sigismund, locked there for most of his life by his father for fear of a prophecy.  It is forecast that Sigismund will be a tyrant, destroying his father to obtain the throne.

After year after year in the tower, with Sigismund now an adult, the king has a change of conscious.  Perhaps this was not the right thing to do, to play God. And so, the king devises a plan.  Sigismund is to be drugged into a sleep, dressed as the prince he is and then allowed to rule as he sees fit.  If Sigismund is a tyrant, then he will be drugged again and returned to his tower cell, where he will be convinced it was all a dream.

Director J.C. Luxton (whom I adored in Taming of the Shrew) labored over the script for months.  Pulling together lines from several different translations of Pedro Calderon de la Barca’s work, Luxton created a script using only the best lines of each version.  The results meanders in and out of rhyme, with a natural flow of some of the most beautiful formation of words I’ve ever heard.  It has the feel of Shakespeare, with the poetic use of words, but is easier for the ears to digest.

As I said, the audience enters into Sigismund’s cell, with him lying naked on the floor, literally.  It was extremely uncomfortable.  I found myself looking for anything else at which to look in order to avoid looking at the naked body just a short distance from my feet.  That discomfort poured into a prayer for the show to begin, and quickly.  Anything to escape this uncomfortable feeling.  And yet, that lack of comfort is perfect.  We are in a prison cell, after all.  This is Sigismund’s life, which can’t be comfortable.  This is not passive by any means and a wise choice by Luxton.

Eddie Staver III portrays Sigismund, a man who’s learned all he knows about life and “human nature” from observing the animals on the hillside through the window in his tower cell.  Taking on the grunts, the animal like movements, Staver strips himself of himself and embodies Sigismund.  His solid performance is enrapturing.  Once his mouth opened and he uttered his first lines, I couldn’t take my eyes off of him.  Despite focus intended to be centered elsewhere, I watched Staver, awed by his continual channeling of the character.  Not once did he merely wait for his next line.  He is Sigismund from before the audience enters to the curtain call.  This is only the second performance I’ve seen with him, but Staver is already my favorite Quad Cities actor, hands down.

In fact, the entire cast is impressive.  Somehow, the Prenzie Players consistently manages to bring together the strongest cast of actors available in the Quad Cities.  I am both awed and inspired all the more with each performance I am blessed to experience.

Maggie Woolley offers yet another nuanced and strong performance, this time portraying Rossaura, a traveler with vengeance on her heart.  Woolley expertly offers moments of confusion, where she’s moved from the path of vengeance, distracted by an attraction to others in the play.  Woolley’s Rossaura is in no way a one-note character and truly intriguing.  I enjoyed studying Woolley’s face to catch the subtle and not so subtle changes created from the inside of this actress rather than simply by speaking the lines from the script.

Jeff De Leon provides the comic relief as Bugle, the traveling companion of Rossaura and then a servant.  De Leon’s portrayal is never over the top.  Instead, he offers a nice, natural comic inflection to his delivery and I was delighted by it.

Jeremy Mahr is also impressive as Clothold.  He stands on the stage with authority, confidence.

Again, the entire cast is impressive.  While there are weaker performances, that is not to say there are weak performances.  Any weakness is only relative to the strength of others in the cast.

The lighting is also worth noting.  I must admit, lighting is not something I notice.  So, if I notice it, it’s either really good or distractingly bad.  Here, it’s good.  With limitations, Lighting Master Jennifer Kingry’s conceived the right feel with her lighting.  The dungeon is appropriately dark, oppressive.  The court is bright.  The intermission has the feel of twilight or pre-dawn.  It just always has the right feel to it.

As I said, I prefer a passive theater experience.  Prenzie Players do not allow that, what with scenes taking place in various places off stage before the show, during intermission and even after the show.  And then there’s the shuffling of the audience from one room to another.  Still, only once was I annoyed by it, at the final move from the tower to the King’s court, but only because I felt lazy and just wanted to sit.  One more Prenzie performance and I may be converted, preferring an active theater experience.  Sadly, the Prenzie Players do not return with another production until the Fall.

And so, I urge you to take in this production.  A warning, though.  It is adult in nature.  There is language, nudity and a death scene which even disturbed me (nice work, Denise Yoder).  If you can handle that, then catch “Life’s a Dream” at the Masonic Temple in Rock Island.  The show runs this Friday and Saturday and next Thursday through Sunday.  All performances begin at 8:00 p.m.  For more information, visit the Prenzie Players website.

Posted: May 8th, 2008 under Theater.
Comments: none

Iron Man

The summer movie season officially kicks off this week with Iron Man, the first major movie release of 2008.

Iron Man stars Robert Downey, Jr. as Tony Stark and, well, Iron Man.  While in the Middle East showcasing his war technology, Stark is taken captive by an evil mastermind.  To fight his way to freedom, Stark builds a high tech, but clunky looking suit of armor… the first of the Iron Man suits.

What’s interesting about the story of Tony Stark is he continues to be Iron Man to stop the misuse of his own war technology.  In essence, he comes to a point where he has a new understanding of peace.  He’s now set on cleaning up the violent mess he created.  And, he’s very much human.  He’s not just a billionaire playboy with a perfect life.  He’s an alcoholic with very real, very personal demons to fight.

First off, casting Downey as Stark is brilliant.  It’s somewhat typecasting, allowing Downey to pour his real life problems of the past into a role that allows him to sort of poke fun at himself.

And that’s also what’s great about Iron Man.  There’s nothing brooding about this movie.  It’s pure fun with truly awesome technology and great humor.

So, here’s to the summer movie season of 2008!

Posted: May 1st, 2008 under Film.
Comments: none

For the next few months, Circa is not a theater and we are not an audience, but a church congregation enjoying Smoke on the Mountain.

The show is set in the 30’s really has no plot.  It’s a service at the Mount Pleasant Baptist Church featuring the singing Sanders family.  Pastor Oglethorpe presides over the evening, in a bumbling sort of way, as the Sanders share testimony and gospel and bluegrass songs.  The show plays like an actual service, rather than a show, with the audience meant to be the congregation.

There are no weak performances in this show, though a few do stand out.

Vaughn M. Irving returns to Circa fresh off of Buddy: The Buddy Holly Story as Ritchie Valens.  Irving is now Pastor Oglethorpe, a country baptist preacher who knows his Scripture, but doesn’t wield much authority.  Irving is a delight.

Bob Payne, however, delivers the most real performance of the cast.  He’s not over-playing in order to reach the back of the audience.  He understands the magic of this show is that it’s meant to feel like a real service.  He’s natural, believable.  He even nails that slight sense of superiority without a smugness that I’ve often seen in church musicians.  I didn’t doubt his Burl Sanders for a minute.

Kimberly Furness is the one who gets the most laughs as June Sanders.  She is the most over the top of the performers, but that’s what’s called for in this role.  June doesn’t sing, she signs, as in for the deaf.  But, she’s apparently self-taught, as her signs are rather literal, which brings down the house.  When things get serious, and a tad dull, during the show, she’s in the background or on the side of the stage stirring up deep, loud laughs from the audience.

If Vaughn Irving is the most real, Brad Hauskins is the most sincere in his performance.  He plays Stanley, Burl’s way-faring brother, the black sheep of the righteous family.  Hauskins doesn’t overplay his role, keeping more to the shadows, as would his character.  His performance is just right, which is just perfect.  And, he delivers the most sincere and most truthful testimony of the bunch.

Andrew Crowe is absolutely endearing.  As the nervous and awkward Dennis Sanders, he’s, well, nervous and awkward.  Second only to Furness, Crowe offers several good laughs.

Jenny Stodd plays Dennis’ twin sister, Denise, who is a bit rebellious and flirty.  There’s something about Stodd’s voice, with a slight squeak to it, that always brings a smile to my face.  I enjoyed her as Little Sally in Urinetown at St. Ambrose and I enjoyed her here.  I just hope to enjoy her in a performance that doesn’t involve braided pigtails sometime in the near future. 

Rounding out the family is Vrenda V. Lee as the matron of the family, Vera.  Lee captures that sense of piety in church people (I’ve known) who seem to simply be ignoring the darker sides of life.

I have to stand up and applaud the fact the performers play their own instruments.  My biggest complaint about Circa 21 is the use of pre-recorded accompaniment.  I understand the cost, but so much more enjoy a performance with live musicians.  To have a cast that is also the band is an extra joy.  I get the sense some of the actors learned how to play a little on some instruments just for this performances and pulled it off quite well.  I’m truly impressed.

And, once again, I am amazed by Circa’s set.  They nailed the feel of a country baptist church, with an old feel to it.

I laughed harder than I’ve laughed during a theater performance in quite some time, particularly during the second half of the first act.  Having experienced similar church events, I found the show hilarious, with the inside jokes so enjoyable.  While I found the preaching parts dull and not very poignant and the songs a bit too similar sounding, it didn’t matter because I had so much fun.

I will say, though, that I don’t think this is a show for everyone.  It’s great for church groups, of which there were four filling half the audience the night I attended the performance.  If you’ve experience good, old-fashioned church, this show will likely delight you.  My companion for the evening has very limited church experience and did not like the show at all.  That said, I think it’s perfect for an organized church outing.

 The show runs through May 24th with performances Wednesday through Sunday, more or less.  Circa 21 Dinner Playhouse is located in Rock Island, Illinois.  You can get tickets by calling the theater at (309) 786-7733 or through Circa’s website.

Posted: April 4th, 2008 under Theater.
Comments: none

21 — Columbia Pictures

Based on true life events, dramatized for effect, 21 centers around six M-I-T students who are trained by their professor, played by Kevin Spacey, to count cards.  They take their extra curricular activity to Las Vegas, where math plays a major role in making millions.  And, may drown these kids in danger.

Kevin Spacey is a perfect fit for the M-I-T professor without scruples.  But, while his performance is stellar, it’s Jim Sturgess who’s getting raves as the student most focused on in the film.

You may remember him from Across the Universe?  No?  Didn’t see it?  Oh, well.  21 is much more palpable than that inspired drug trip, anyway.

But, this isn’t a review about Across the Universe.  So, back to 21, which won’t wow you, but will engage you enough to leave feeling like you got something more than just passive entertainment.

Stop Loss — Paramount Pictures

Even less passive is the Iraq War dram — Stop Loss — a film that wears its war stance on its sleeve.

The often under-rated Ryan Philippe stars as a soldier fresh off a tour in Iraq.  His future looks bright, until a sort of military loophole allows the military to call him up immediately for another tour in Iraq.  Philippe’s character refuses, creating the tension for the movie.

Kimberly Peirce directs.  She’s also the director behind 2000’s Boys Don’t Cry, so she’s no stranger to controversy.  And, she doesn’t seem to be trying to avoid it in any way shape or form with Stop Loss.

With presidential campaigns underway, the five years anniversary of the war and continuing outcries over it, this film is well timed.  It’s easier, as an audience, to get into the film because you can relate, knowing what’s going on in real life now as a story inspired by it plays out on the screen.

21 could be considered Ocean’s Eleven for the teen set.  But, it’s not juvenile.  I say see it in the theater, as it’s a thinking movie with enough excitement to keep you riveted.

Stop Loss is also a thinking movie, which I think is worth a look on the big screen.  Just be ready for a biased tale, which will either anger you into action or confirm your stance on the Iraq War.

Posted: March 27th, 2008 under Film.
Comments: none

Drillbit Taylor — Paramount Pictures

Owen Wilson is back in this week’s new comedy, Drillbit Taylor, a John Hughes film, slapstick style.

Wilson is hired by two freshmen who are tired of being bullied after just the first day of high school.  He’s supposed to protect them, teaching them to defend themselves.  Unfortunately, those are skills he, himself, doesn’t have.
This film has so much going for it.  Well, other than Owen Wilson.  Unless, of course, you like Owen Wilson.  Then, it’s got everything going for it.

The great John Hughes came up with the idea for this film several years ago.  Judd Apatow, the Superbad guy, developed it.  And, as he’s apt to do, Apatow put it in the hands of Seth Rogen, who wrote Superbad, and Kristofor Brown.  Add Steve Brill, the director behind “Without a Paddle.”  Uh, nevermind.

Shutter — 20th Century Fox

If you’d rather laugh with fear, then Shutter might be more your style - another Asian horror import.  And, do we really need another one?

This time, it’s not a deadly videotape nor a catlike pale child nor a dripping apartment we must fear.  It’s ghostly images in photographs taken by an American couple honeymooning in Tokyo.  (So, is the moral of these stories that Americans should never go to East Asia?)  But, in true Asian horror style, they must solve the mystery behind the images in order to get a Scooby Snack.  Or, something like that.

This one stars Joshua Jackson, of Dawson’s Creek fame, or non-fame, depending on what you thought of that show.

It’s a little too familiar, for my taste.  But, fans of Asian horror imports may like it.

Of note, the original was made in Thailand, not Japan, as you’ll likely hear.

Posted: March 20th, 2008 under Film.
Comments: none