From the Prologue, we get into the spirit with Willmorth’s rhyming verse with references to King Phycus being a found play performed by “…six players, mostly hacks…”
While Shakespeare patrons will cherish King Phycus, the references still will get newbies to The Bard to laugh because they are clearly and cleverly written and presented. This is one funny good time
Suicide, Incorporated is a finely polished, hauntingly engrossing 90 minutes of theatre. It starts out as a sardonic look at suicide as a business opportunity and ends up a refreshing glimpse into the ultimate spirit of man…Joshua Rollins and Michael Patrick Thornton bond in a moving manner that presents tw0 souls deciding to be strong enough to feed off each other in an attempt to ease their pain.
Dawkins vividly depicts the drudgery of someone trying to sort out mislabeled and wrongfully addressed letters. This highlights our inability to communicate both with the written word and in person.
Jim Corti has remounted Sugar with a film in progress motif with terrific staging (set design by Brian Sidney Bembridge) and featuring a spirited cast of gifted comic actors and stellar voices. Jennifer Knox plays Sugar with a cuteness reminiscent but not imitative of Marilyn Monroe.
The six main characters are delights to watch and bring a great deal of energy to their roles. Patrick Tierney is a solid Danny, Jason Jackson deftly handles the role of Nick, Christine Pfenninger brings a certain special realism to Pam and Hannah Sielatycki’s Lizzie is pure dynamite
Molusi’s story is both comic and sad as he tells of the closing and destruction of the shopping center that allowed his community to have employment and a place to buy the goods they needed. He also speaks of his childhood sweetheart, who for many years he saw as something other than he remembered her.
The loneliness, that sexual urges and the pain of living the blues is honestly presented and sung here. “Good Morning Heartache,” “Lord, I Tried” and “Everyday I Have the Blues” each aptly describe the earthy feelings of this fabulous troupe of blues singers. Felicia P. Fields leads a fine group of blues folks here
Light Opera Works sure knows how to mount Gilbert & Sullivan’s operettas. Their latest production is a wonderful production of what this reporter believes is Gilbert & Sullivan’s finest work – The Yeomen of the Guard. Yeomen contains all of the wit and satire expected in a G & S operetta yet it has the sweet charm and lovable characters with one in particular that brings us to tears at the end – Jack Point, played with comic aplomb and empathy by George Andrew Wolff.
While there is promise here in Dana Lynn Formby’s play, it has hints of Lanford Wilson and Tracy Letts in the emotionally charged family dynamics, it develops too slowly with all the early speechifying monologues.
The orchestra, under Ryan Brewster’s direction was excellent and not too loud. They made Menken’s score soar. Jonathan Hymen played the nerdy Seymour with gusto. Ashley Bush, as Audrey and Peter Verdico, as Mr. Mushnick offered sincere performances. The chorus of Irene Parino, Jill Valentine and Erin Elle East sang their hearts out.