‘Man of La Mancha’ provokes and delights in Little Theatre production

By Lynn Felder Winston-Salem Journal May 4, 2019

“Man of La Mancha” debuted on Broadway more than 50 years ago, during a time of political unrest and cultural upheaval in the U.S. That year, the Voting Rights Act passed, the Vietnam War was accelerating, Medicare and Medicaid were established, and Bob Dylan went electric.

The same musical opened to a packed and appreciative house Friday night against the backdrop of voting rights battles, another war somewhere, health care squabbles and Dylan still touring.

How can this musical feel so fresh when our ideals have undergone so many stalemates? It’s a sneaky show, really. It leaves us racked with sadness, reeling from ambiguity — and humming “The Impossible Dream.” Oh, and it’s pretty funny, too.

I think that’s the answer. The music is gorgeous, timeless — placeless too. Composer Mitch Leigh borrows from flamenco and classical guitar to transport us to Spain or Morocco or … La Mancha. Then he brings in the trumpet and the haunting clarinet, the ethereal piccolo, the vast and sweeping implications of the French horn.

Dale Wasserman based “Man of La Mancha” on his own non-musical teleplay, “I, Don Quixote” (1959), distilled from the 17th-century Cervantes novel, and Joe Darion wrote the lyrics.

The orchestra, led by David Lane is fine, but a sound technician is needed to turn up the vocal mics. Too often the very good band overwhelmed the singers.

The lead actors are spectacular, seemingly born to play these parts.

Chuck King, as Cervantes/Don Quixote, brings one of the finest voices in community theater to the role. When he swings into the first big number, “Man of La Mancha (I, Don Quixote),” with Ken Ashford as his squire/sidekick Sancho, you know that you’re in for a rollicking ride. The song is just rousing, and you’re ready to join Don Quixote on his quest, regardless of how wrong-headed and deluded it may be.

Ashford is splendid as Sancho, playing the comic servant with a raspy whine, twisted lip and twinkling eyes. He gets to shine on “I Really Like Him” and “A Little Gossip.”

Christine Gorelick is terrific as Aldonza/Dulcinea. It’s a tough role physically as she is handled by the Muleteers, a band of rough men; and emotionally, as she is whipsawed from hardened scullery maid to the object of Quixote’s adoration back to disillusioned viragos and ultimately idealist. Her introductory song, “It’s All the Same,” with the Muleteers is a bawdy delight.

Act I ends with King’s full-throated rendition of “The Impossible Dream,” and it’s impossible to resist his lure of delusion.

The ensemble players are all good, lively actors and singers, and the chorus numbers are gorgeous to hear.

Mark Pirolo directs and draws fine performances from everyone.

There are disturbing scenes: Dulcinea’s abduction and Quixote’s “cure,” with spectacular costuming, credited to Tara Raczenski.

The show is full of inspiration and terrible ambiguity, with a particularly seductive argument for idealism over pragmatism.

But when the full cast blend voice and band on the final “Impossible Dream,” it’s easy to see why “Man of La Mancha” — a show about a crazy old man with delusions of glory and nobility — won five Tonys in 1965 and why it still moves audiences today.

Little Theatre’s ‘Man of La Mancha’ focuses on the dream

By Bill Cissna Special Correspondent

The Little Theatre of Winston-Salem will open its production of the 1965 Tony Awardwinningmusical “Man of La Mancha” on Friday on the Dunn stage at Southeastern Center for Contemporary Art.

With a relatively small cast for a musical, “La Mancha” portrays parts of the story of Don Quixote, as performed by a cast of prisoners directed by the famous novel’s author, Miguel de Cervantes. 

The notion of Cervantes protecting the manuscript of the novel that secured his fame, mostly after his death, from the Spanish Inquisition and playing out his story with prisoners is a mostly fictional creation of writer Dale Wasserman. He based it on his own non-musical teleplay, “I, Don Quixote”1959). 

The songs that carry the tale forward, including the popular “The Impossible Dream,” were composed by Mitch Leigh (music) and Joe Darion (lyrics).

In short, as Wasserman repeatedly insisted, “Man of La Mancha” is not a musical version of “Don Quixote” the novel. But it takes its themes and shares segments from Cervantes’ sprawling novel — released in two parts in 1605 and 1615 — as inspiration.

Mark Pirolo, who directs “La Mancha” for Little Theatre, said that the show is “a very distilled version of the novel, which is to say that the novel is huge.”

Pirolo first directed the musical 35 years ago, but, for a variety of reasons, didn’t feel he understood it very well. This experience is turning out better.

“In many cases,” he said, “this cast is infinitely more talented than that cast was. There are no bad voices in this show, and the acting is strong as well.”

While the music is as important or more so than in most musicals to Pirolo, having that cast of actors is also making it easier to dig deeper into the characters.

“What makes this musical appealing to me as a director is that I actually get to deal with the actors as actors and not mostly in charge of traffic control,” Pirolo said. “We’re experiencing a rarity which is that we’re really finding time to sit down and to discuss who these people are.”

Pirolo also has the benefit of a lead actor with in-depth experience in the role of Cervantes/Don Quixote.

Chuck King was 23 years old when, in 1983, he was cast as Cervantes/Don Quixote at Little Theatre. He freely admits that he has a different perspective on the role now.

“I’m approaching it from the exact opposite end,” King said. “It all centers around one line in the show when Cervantes says ‘I have lived nearly 50 years.’ When I was 23, it was like, ‘oh, my God, I can’t even say this with a straight face.’ And now, I have to act backwards.

“All of a sudden, the idealism that is presented in the story starts to make more sense. And the notion of Cervantes, who is older in the story, and Quixote, who is quite a bit older, that they are still dreaming. For Quixote in particular, it’s the one thing that keeps him going.”

For Christine Gorelick, it’s her first time playing Aldonza/Dulcinea. She knew the songs growing up, particularly “The Impossible Dream,” and she brings the experience of acting in many musicals to the table.

Aldonza’s songs, however, are perhaps among the most character-driven songs she’s done.

“She’s a different kind of role, basically a kitchen slut, a servant in her life, and now imprisoned.”

Yet, Cervantes casts her in the female lead, and Don Quixote sees this Dulcinea vision of an ideal woman in the story. “She has a new vision of herself by the end,” Gorelick said.

The “La Mancha” cast also includes Rodney Allen, Chantel Bryant, Jamie Duncan, Amanda Hicks, Michael Hoch, Angela

Hodges,. Jonathan Howle, Troy Hurst, Sarah Jenkins, Trevor Ketterling, Deborah Koerner, David Nichols, Rebecca Perello, Ken Rogers, Dave Wils and Will Wright fill out the performing troupe.

The musical features David Lane (music director), Daniel Alvarez (lights), Tara Raczenski (costumes) and Elliott Riches

(stage manager). Desiree Cowan and Yvonne Truhon are handling props. Cheri Van Loon is choreographing dance sequences; Mark Boynton is the fight choreographer.

“To me,” Pirolo said, “what’s beautiful about the show is the message that you have to have dreams in order to have life. As Quixote says, ‘it doesn’t matter if you win or lose. What’s important is the quest.’”

“The whole idea is that it’s madness to see life as it really is,” Gorelick said, “as opposed to as it should be.”   

Mamma Mia - It's A Hit (Winson-Salem Journal Review by Lynn Felder)

Break out the champagne. We’ve got a hit, folks.

Photo by Danny Alverez

Oh, don’t bother with the alcohol. “Mamma Mia!”, which opened Friday at Little Theatre of Winston-Salem, has enough sparkle and bubble to make you feel like a dancing queen. The 100 percent natural and hangover-free high of “Mamma Mia!” is provided by a huge cast, a full orchestra and chorus; boatloads of energy — both youthful and not-so — and several bushels of sequins.

The irrepressible music of ABBA also helps. From “Dancing Queen” to “Money, Money, Money” and “Waterloo,” the hits just keep on coming, and this cast delivers them with gusto.

The plot is skimpy and convoluted, but ultimately sweet and funny.

Donna, the owner of a struggling taverna on a tiny Greek Island, had a daughter 21 years ago with somebody — either Sam, Bill or Harry.
Said daughter, Sophie, has summoned these three back to Greece on the eve of her wedding to Sky. Thus begins a 24-hour sprint to discover who’s her daddy. She wants her father to walk her down the aisle.

Donna is understandably flummoxed by the sudden appearance of these long-ago lovers, but she gets support from Tanya and Rosie. They all comprised a girl rock band back in the day, Donna and the Dynamos.

Jennifer deCoste is a lusty Donna, not at all subdued by time and financial struggles. She is a spitfire. DeCoste’s rich voice is particularly well-suited to the ABBA pop, which ranges from silly to soulful.
Jean-Marie Buckley as Tanya and Ruthie Tutterow as Rosie both display fearless physicality and great comic timing.

And, speaking of physicality, the Mutt and Jeff duo of Dru Billings as Pepper and Nic Zayas as Eddie are standouts. Stephen Gunter, a high school student at UNC School of the Arts, raises the performance level of the whole chorus.

The May-December flirtation between Billings and Buckley is delirious. He defines lanky, and she is petite and curvy. They are hilarious and outrageous together.

Graham Harrington is sweetly appealing as Sophie, giving lovely voice to “I Have a Dream” and “Name of the Game.” Andrew Duggins as Sky is a good match for her. Becky Koza as Ali and Meredith Brown as Lisa, Sophie’s friends, are frothy, buoyant and a joy to watch.

The three dads, Sam played by Troy Hurst, Bill played by Mark Flora and Harry played by Glenn Otterbacher, are all in, fully committed.

The creative team, Justin Bulla, director; Garrett Saake, music director; and Kacy E. Crabtree, choreographer, have really pulled off an amazing piece of entertainment. Crabtree has made dances that suit the performers — pushing the ones who can handle it to great heights. In a show that is about free spirits singing and dancing, anything goes — even snorkels and flippers on “Lay All Your Love on Me.” It’s a lark!

Justin Hall has outdone himself on the costumes — all complement the performers and the movement.

I almost never think a show moves fast enough on opening night, but I’ve got to hand it to Little Theatre: This one is ready for prime time.

Need a little getaway to a Greek island, a night of total escape and joy? “Mamma Mia!” is just the ticket.

Little Theatre’s ‘Joseph’ is a colorful, fast-moving spectacle - Winston-Salem Journal Review

Originally a short pop cantata, Andrew Lloyd Webber and Tim Rice’s “Joseph and the Amazing Technicolor Dreamcoat” eventually blossomed into a longer recorded piece, a stage production and even a movie.

As envisioned and enlivened by Nick Zayas, directing the popular musical for Little Theatre of Winston-Salem, it’s the kind of storytelling that definitely benefits from visuals and spectacle.

The Little Theatre production, which opened Friday night, puts a large cast to good use throughout the show, and brings pizzazz and impressive technical work to the tuneful tale.

If you don’t know this musical, “Joseph” uses a mixture of mostly modern music genres — including western, go-go dance club, French café and a particular 1950s rocker — mixed with more traditional tunes.

As with other Webber-Rice works, the show has no spoken dialogue. Everything is related in song.

The Biblical tale of Joseph’s relationship with his 11 brothers, along with his dream interpretation skills, moves from his fawning father’s gift of the “coat of many colors” to his brothers’ plotting to get rid of him. Father Jacob thinks he’s dead and gone, while he works through challenging times in Egypt.

Saying more would give away too much, and the occasional nods to modern situations should be surprises. Let’s just say Joseph has his troubles, but holds on to the good.

Andrew Brodeur presents a firm but believably humble Joseph, with a youthful presence and a commanding voice.

The show primarily belongs, however, to the Narrator character, who pushes the story along with her information and observations. Charity Hampton was in very good voice from beginning to end in that vitally important role.

On the amusing “Those Canaan Days,” as they lament the downturn in their situation, brothers Mark Walek (Reuben), Glenn Otterbacher (Napthali) and Calum O’Boyle (Gad) get well-performed solo shots.

Jed Macosko (Pharaoh) also makes the most of his “Song of the King.” And from the lively “Jacob and Sons” near the beginning to the ending songs, the combined voices of the cast make a strong impression. Margaret B. Gallagher, music director, and her orchestra support them nicely.

Director Zayas and choreographer Becky Koza work the cast well with the song and dance aspects, but nowhere better than with the 12-member children’s chorus. The young performers are actively involved, which is not always the case.

The scene with “Go, Go, Joseph” impressed for color, costume and dance as well.

A nod must be given to Daniel Alvarez’s striking set design and lights, and LeeAnn Farrell’s costuming. A three-person “fly crew” hints at an impressive and aggressive scene design, which certainly turned out to be the case.

At its core, though, this “Joseph” is well-organized, transitions smoothly and keeps the action moving right along. For many audience members, it should be just plain fun to take the ride.

By BILL CISSNA Special Correspondent  Apr 2, 2017

Winston-Salem Journal Article: 'Joseph'

Little Theatre’s ‘Joseph’ is a song-filled telling of an ancient tale 

By Bill Cissna Special Correspondent Mar 26, 

Mariedith Appanaitis photo credit

                The biblical saga of Joseph has been told in many ways. None, perhaps, mixes story and musical motifs more thoroughly than the pop cantata first heard in 1969 on a vinyl record.

      After their success with “Jesus Christ, Superstar,” Andrew Lloyd Webber and Tim Rice expanded the musical story of “Joseph” and put “Joseph and the Amazing Technicolor Dreamcoat” on the stage.

As with many Webber musicals, “Joseph” has a sung-through format, meaning that the song lyrics tell the entire story, with virtually no dialogue.

The recently renamed Little Theatre of Winston-Salem will put a large cast on stage for two weeks starting Friday.

The musical traces the story of young Joseph, who is sold into slavery in Egypt by his jealous brothers. It features songs such as “Any Dream Will Do,” “Jacob and Sons” and “Close Every Door.”

“One of the biggest challenges is putting a different spin on the proceedings, balanced by practicality,” said Nick Zayas, the director. “The show has been seen in the area previously, including a Little Theatre version. How do we create a version that so far is unseen?”

As Zayas looked back on the original release and the stage adaptation, he wondered why the show has a narrator and, especially, why it includes a large group of children. Zayas ultimately concluded that “what we’re seeing is a projection of the kids’ imagination. Thematically, that concept fits well with the overall theme in ‘Joseph’ about dreams and becoming who you were meant to be.”

Zayas wants to find a way to do justice to the real story of Joseph, but faces the fact that composer Webber and lyricist Rice make light of some of the drama. “We’re finding that balance,” he said, “and in some cases, finding the justification for those musical numbers,” which often jump genre and style. But with the dream-world concept, the musical changes can be seen as fitting the circumstances.

“These random things happen in dreams all the time,” Zayas said. “It’s a roller-coaster fluidity through the show. Time and musical style are not really relevant in dream world.”

Andrew Brodeur, tackling the centerpiece role of Joseph and his coat, has more to deal with than just his singing responsibilities.

“Nick’s approach to Joseph’s story has that story happening around me, to me and about me. I’m almost a separate entity in my own story,” Brodeur said. “A challenge for me as an actor is to weave myself into the dream world but keep Joseph as real as possible.

“I’m working very hard to connect the biblical story to the show’s take on it,” he said. “In both, there are lots of ups and downs. It’s not smooth sailing for Joseph at all. I’m finding it both very interesting and difficult.” Brodeur will have plenty of support with a cast of 38 filling a number of roles

In addition to Charity Hampton (Narrator), Roberts Bass (Potiphar), Shelly Beard (Mrs. Potiphar), Jed Macosko (Pharaoh) and Kirk House (Jacob), actors of all ages portray Joseph’s brothers and the wives, along with the 12 youngsters in the children’s chorus. Margaret Gallagher handles the musical direction.

Both Zayas and Brodeur feel that the PG-rated production tells a story that will appeal to audiences of all ages. “One exciting aspect for me,” Brodeur said, “is that we have a line-up of powerhouse singers. The show is a mix of references to the ancient story and to modern times. You’ll come to the theater and have fun. It’s fun to be in and fun to see.”

Zayas sees a musical with something for everyone.

“’Joseph’ is an uplifting show with lots of style, genre-shifting and references,” he said. “It’s going to be a spectacle, especially in terms of set, lights and costumes. It clips right along with movement and choreography. That’s why we think young people will enjoy it as much as older audience members.”

By Bill Cissna Special Correspondent Mar 26, 2017

Winston-Salem Journal Review - "Fiddler"

‘Fiddler’ inspires us to weigh tradition’s place
Sunday, November 4, 2012 12:00 am

Matchmaker

Ken Keuffel/Winston-Salem Journal

Do we uphold tradition or let it erode?

That’s the principal question at the heart of “Fiddler on the Roof,” the popular musical that Twin City Stage is reviving. And it’s a question we’re inspired to care about in numerous ways as we take in the often-funny show, which opened Friday at the Arts Council Theatre.

The show, directed with aplomb by Bobby Bodford, also thrives on the able music direction of Margaret B. Gallagher and the imaginative choreography of Benji Starcher. The cast often fills the stage, but you never feel that it becomes unwieldy or unmanageable.

“Fiddler” is set in a Jewish settlement in a Tsarist Russia that is intolerant of it and ultimately shuts it down. The musical transports us to a time when resistance to “modern” ideas was beginning to weaken.

One result: a man and a woman might just bypass a matchmaker and marry because of their love for one another, even if such a union meant financial struggles, dislocation or being stigmatized for marrying outside one’s faith.

Tim Austin as Tevye

Tevye (Tim Austin), the loveable milkman, contends with revolutionary notions taking hold in his three oldest daughters as they find love and pursue marriage. The daughters are Tzeitel (Mary Lea Williams); Hodel (Katie Skawski); and Chava (Gracie Falk).

Austin is at his best when the rest of the play’s action freezes and he engages in a mini-soliloquy, weighing the pros and cons of a momentous dilemma. Tzeitel, for example, might not enter an arranged marriage with a wealthy butcher old enough to be her father, opting instead for Motel (Latimer Alexander), a poor tailor.

In each mini-soliloquy sequence, Austin goes back and forth thoughtfully between two extremes, beginning each scenario with “on the other hand.” His struggles emerge as genuine, exposing the tensions between rigid inflexibility and greater openness.

For some reason, I hadn’t seen a production of “Fiddler on the Roof” until I reviewed the current Twin City production. But I had certainly heard parts of it many times in the great songs by composer Jerry Bock and lyricist Sheldon Harnick. These were powerful enough to enter the collective consciousness and stay there for almost 50 years, delighting young and old alike. The original Broadway production of “Fiddler” opened in 1964, spawning numerous professional and amateur revivals.

On Friday, it was a joy to experience such classics as “Matchmaker, Matchmaker”; “If I Were a Rich Man”; and “Sunrise, Sunset” in their original contexts. The humor in Joseph Stein’s book, though sometimes a bit corny, usually hits the nail on the head in its expression of universal truths about life, money or the lack thereof.

Winston-Salem Journal Article"Twin City Stage presents "Fiddler on the Roof"

Katie Skawski, Tim Austin, Mary Lea Williams and Gracie Falk   Credit:  Photo Daniel Alvarez

By: LYNN FELDER | Special Correspondent Published: October 28, 2012
On a warm October night, in the parking lot just outside the rehearsal hall of the Arts Council Theatre, people in groups of two, three and more interacted intensely. One group worked out complex musical harmonies. Another group danced a simple routine. Yet another shouted their lines to each other.

Small groups like these are the threads that ultimately will come together to form a big, sprawling tapestry of a musical, "Fiddler on the Roof." It's a story that is as intimate as family and as epic as the Jewish diaspora. Twin City Stage will present it starting Friday night.

"That's exactly what you have to do," director Bobby Bodford said of the need to break the show into bite-sized pieces. "First of all, it helps when you have a really good musical director (Margaret B. Gallagher) and choreographer (Benji Starcher). I have to put it all together, but I don't have to teach music and dancing. It's really about collaboration, and when you have three professionals, right off the bat things go well."

Gallagher hires the musicians, conducts the orchestra and teaches the music to the cast, so she's working closely with professionals and amateurs.

"It's really rewarding working with community theater," she said. "There are people who haven't been in a show since high school and some who have never been in a show. It's great to see friendships form, and it's great to see people get bitten with the theater bug."

The music is by Jerry Bock, who won Tony awards for "Fiddler." "It's beautiful, beautiful music," Gallagher said. "It's not as complicated vocally as, say, Sondheim, but the music really helps the story unfold. In the opening piece, 'Tradition,' you get introduced to the families the children, the parents, the grandparents."

And "Fiddler's" music has stood the test of time. It opened on Broadway in 1964. "I know people who still use 'Sunrise, Sunset' in their weddings," Gallagher said.

Inside the recently renovated rehearsal hall, a big piece of the tapestry was enacted in "Tevye's Dream" scene, which includes special effects and nearly the entire 60-person cast. Another big piece of the tapestry is the performance of "Sunrise, Sunset," a longtime audience favorite. The large chorus created a full, rich sound in the rehearsal of this scene.

"That's now, in a raw rehearsal hall with no dramatic lighting," Bodford said. "Imagine how effective it will be when it's finished. And when it gets on the stage, it's never exactly what you envision in the rehearsal hall."

Gallagher concurred. "I'm very happy with the chorus. The more experienced people help the less experienced," she said. "And we just do it till they get it. The music is simple enough that we can spend time on nuance."

"Fiddler" is set in Tsarist Russia in 1905. Tevye, a poor dairyman played by Tim Austin, tries to teach his five daughters the value of traditions in a changing world. Charlene Martin plays Tevye's wife, Golde. Mary Lea Williams (Tzeitel), Katie Skawski (Hodel), Gracie Falk (Chava), Logan Welborn (Shprintze) and Isabella Ellis (Bielke) play their daughters.

The original Broadway production opened in 1964 and was the first musical-theater show in history to surpass 3,000 performances. "Fiddler" remains Broadway's 15th longest-running musical. It was nominated for 10 Tony Awards and won nine, including best musical, score, book, direction and choreography. It has been revived four times on Broadway and was made into a film in 1971.

"It's such a well-structured musical," Bodford said. "I totally understand why it's timeless. Some musicals are hard to sit through, but I don't think 'Fiddler' will ever be like that. It's about change and tradition. Tevye's children are going to go away, and he'll probably never see some of them again.

"It's very easy to grasp this and get into these characters or find one you can identify with. They have three days to get everything sold or given away. I don't know if there's a sadder scene than seeing those villagers say goodbye to each other. Their faith and hope keeps them alive.

"Then, at the end of the scene, Golde says, 'Anh, it's just a place.'"

In addition to occasionally directing shows at Twin City Stage, Bodford is the artistic director at The Children's Theatre of Winston-Salem and directs for other youth groups. He places a high value on the relationships that theater fosters.

"You saw the elements of it," Bodford said. "These young people are forming friendships that will last forever."

Those relationships also extend to the larger theater community.

"What the job has done is give me contacts in a 30-mile radius," Bodford said. "It's a small world, and it's great to be connected and know all the talent in the area.

"Our sound designer is from UNC School of the Arts. They get to come in and do their thing without a professor grading them."

As far as getting a good performance out of his cast of 60, plus musicians, Bodford isn't worried. "The job has a certain amount of stress built into it, but I've been doing it for a long time, and I know what's needed," he said. "It needs to be a good experience for the audience and for the participants, too." 

And that's the definition of community theater, isn't it?

Winston-Salem Journal Review - "Annie"

'Annie' brings 'magic time' to the stage'
By: LYNN FELDER | Special correspondent
Published: November 06, 2011

Annie and Sandy

It may be a "Hard-Knock Life" out there in the world, but the audience at the opening night of Twin City Stage's production of "Annie" was on "Easy Street" Friday night.

Annie and the 11 other orphan girls set a high standard of performance in the first scene with "Maybe" (Annie's solo) and "Hard-Knock Life" (a great production number). They proceed from there to fairly run away with the show, and there's plenty to run away with: Benji Starcher's choreography is exuberant; Bland Wade's gold-and-sepia-toned sets are elegant; Justin Hall's 1930s-style costumes are pitch-perfect.

The orchestra, under the talented leadership of Margaret B. Gallagher, often sounds much fuller than its 10 pieces, and the singing is fine throughout.

Anytime the girls are on stage, it's magic time, and the same goes for the orphanage supervisor Miss Hannigan, played with wicked relish by Peggie Kaan. Miss Hannigan, one of the juiciest roles in the repertoire, loves booze as much as she hates "Little Girls." Kaan rips into her role, stomping and reeling about with one sock up and one sock down as she hectors her charges and bemoans her fate.

Hooverville

But the orphans are far too plucky to seem like victims. Annie, well-played by Beatrice Howell, 11, and the littlest orphan, Molly, played by the effervescent Isabella Ellis, lead the others in numerous assaults on poor Miss Hannigan's dubious dignity.

The villains and the heroes are pretty clear-cut in "Annie," but director Steven LaCosse stays away from comic-book characterizations and lets his actors develop real personalities.

LaCosse's opera-director hand can be seen in some wonderful ensemble staging and in his collaboration with choreographer Starcher: "I Think I'm Going To Like It Here," the number when the servants welcome Annie to her new (maybe) home; and "NYC," when Daddy Warbucks (Ken Kennedy) and his secretary Grace (the graceful Miriam Davie) take Annie out on the town.

Many of the 32 cast members play multiple roles and perform amazing feats of quick-costume change. Mark Pirolo does a fine turn as Franklin Delano Roosevelt. Joshua Gerry as Rooster Hannigan (Miss Hannigan's ne'er-do-well brother) and Mary Lea Williams as his girlfriend, Lily, are deliciously sleazy and fun to watch. Drake, Warbucks' butler, played by Miles Stanley, has a grand sonorous voice.

And there's something just irresistible about a little red-haired girl standing on a desk in the Oval Office advising FDR and his Cabinet to believe in "Tomorrow."

Act I is a little long, and the energy dropped a tad before intermission, but things picked up fast in Act II. In fact, there are too many wonderful moments in this show to note them all here. Suffice it to say, it's a show that's so full of love and optimism that you will likely leave the theater feeling a whole lot of both.

Winston-Salem Journal Article - "Annie"

'Little Girls' have big shoes to fill in beloved 'Annie'

By: LYNN FELDER | Special correspondent
Published: October 30, 2011

Twin City Stage

     "Little cheeks. Little teeth. Everything around me is little," sings Miss Hannigan, the orphanage supervisor who is hilariously unsuited to care for the "Little Girls" whom she's singing about in "Annie." The musical opens Friday night at the Arts Council Theatre
     Eighty-five girls from in and around Winston-Salem auditioned for "Annie" in September. That's a lot of little cheeks and little teeth; a lot of little voices for singing and feet for dancing, too.
     "It was a tough decision to pare it down," said director Steven LaCosse. "We had a first round (of auditions) and a second round, and just sort of pulled it in little by little.
     "There were several girls who stood out … and we had them reading together and singing together."
     Beatrice Howell, 11, won the coveted title role. She is slender with a piping voice and a sunny personality. But there was so much talent on display that LaCosse ultimately selected 11 girls to play the orphans instead of the usual seven in the script.
      Rehearsals for the all-volunteer cast are nightly from 7 to 11 p.m.
     "We try to only call the orphans for rehearsal on a couple of school nights," LaCosse said. "But Annie's in every scene, and she has to be there every night."
     Despite the grumpy Miss Hannigan, played by newcomer Peggie Kaan, and a few other n'er-do-wells, love and optimism are at the heart of "Annie's" appeal.
     The time is 1933, in the midst of the Great Depression. The setting is New York.
     Annie was left at the orphanage in 1922 with a note from her parents saying that they would return for her one day. She's hopeful, but decides to take things into her own hands.
     After comforting the littlest orphan, Molly, played by a lively and bespectacled Isabella Ellis, Annie escapes from the orphanage to search for her parents.
     Annie is taken in temporarily by Oliver "Daddy" Warbucks, a millionaire, who offers a $50,000 reward to anyone finding her parents.
     "Annie is able to bring light and change back into Daddy Warbucks' all-business world," LaCosse said.
     This is LaCosse's fifth show in 13 years for Twin City Stage. He is the opera director and the assistant dean for enrollment in the music school at UNC School of the Arts. He has sung and directed with Piedmont Opera.
     A quiet man in interviews and conversations, LaCosse is animated in rehearsals. He bounces from room to room for the first run-through of the Act II opener, "You're Never Fully Dressed Without a Smile." The number is done in two scenes: One, a radio show, includes Annie and some of the adults. The second, a room in the orphanage, includes all the other Little Girls.
     In the rehearsal hall, Daphne Nichols plays accompaniment on piano, and Margaret B. Gallagher directs the singing. LaCosse gives a few instructions to the girls and to choreographer Benji Starcher, who then teaches the dance steps and staging to the Little Girls.
     The girls fidget and chat a little among themselves. But they mostly pay rapt attention to LaCosse, Gallagher and Starcher, and concentrate on the words and movements.
     After he has them do the dance for what seems like the 2,000th time, Starcher smiles with infinite patience and says, "Don't worry. You've got it. It will happen."
      Down the hall in the theater lobby, LaCosse works with Annie and the adults on the radio-show version of the song.
     "I enjoy directing, and it's always fun working with people. This show has a lot of heart," LaCosse said. "It rings very true to what's happening in the country today. The real heart of the story is in the relationship between Daddy Warbucks and Annie. He came to realize that all he ever wanted was money and power. What was missing was someone to care for — who could count on him and he could count on."
     LaCosse said that planning and preparation are essential to working with a 32-member cast. "Musicals are the ultimate collaborative project," he said. In addition to the music director and choreographer, the scene designer Bland Wade, costume designer Justin Hall and stage manager Edwin Martinat are also key team members.
     LaCosse said that he has directed more than 600 productions in his career, and he has learned how to work with the volunteers and the professionals.
     "You've got people volunteering their time, so you really want to treat them with respect," he said. "If you have patience and people are doing their job, it will get done."
     So he plans, prepares and then remains open to suggestions. "If they make a suggestion, we try it. That's how we rehearse," he said.
     "We need a show that has optimism and says that things are going to get better, and they will get better," LaCosse said. "Sometimes, it's hard to remember that."

Playhouse marks 30th year with special 'Sound'

When the Stained Glass Playhouse presents "The Sound of Music" beginning Friday, the occasion will mark the organization's 30th season in the old sanctuary of Marvin United Methodist Church on Indiana Avenue.
By KEN KEUFFEL
Published: July 17, 2011
Photo Credit: BRUCE CHAPMAN/JOURNAL

The Stained Glass Playhouse cast rehearses for "The Sound of Music." This is the playhouse's 30th year. The director credits the affordability and community appeal as factors in the group's success.

          Patrons can count on seeing four shows a year in a 90-seat venue, most being revivals of tried-and-true musicals and plays. What accounts for such staying power?
Alvin Tyndall, Stained Glass' artistic director, provided intriguing answers. "We're very inexpensive," he said. "We have the lowest ticket prices anywhere: $15 for adults, $10 for seniors and students. … We want everybody to be able to come. We want to get more people to enjoy theater. It's not a matter of restriction by pocket book."
           Remarkably, Stained Glass relies on ticket sales for most of its operating income, keeping costs down by paying virtually no one — directors sometimes receive a modest honorarium — and by recycling sets and costumes. Many materials are loaned or donated rather than purchased.
            The company got started when church members wanted to present concerts and youth productions in a venue other than the church sanctuary. The church's current sanctuary is next door to its old one, which was converted into a performance venue.
             Stained Glass Playhouse benefited from an unusual set of theater-related talents and connections in its founding members, several of whom are still active with the company.
             It started out as a part of Marvin United Methodist. It then became a separate entity. In return, Stained Glass donates a portion of profit from ticket sales to the church. When refreshments are served during intermission, they are free. But patrons can make a donation to a church cause. A desire to be inclusive has contributed to Stained Glass' longevity. Stained Glass gets no financial support from Marvin United Methodist, but it uses the church's old sanctuary for free.
             "We think we involve a large part of the community, all kinds of people, not just a certain clique of people, not just a certain economic level of the community," Tyndall said.
             Tyndall, who is directing "The Sound of Music," said that a homeless person has appeared in Stained Glassshows and worked behind the scenes. The homeless person worked with the likes of Cameron Williams, a physician from Lewisville. Williams, a veteran of community-theater shows in the area, will play Capt. Georg von Trapp in "The Sound of Music."
             Numerous neophyte actors try out for Stained Glass productions, having likely been encouraged by whatTyndall calls an "open" audition process that keeps the playing field as even as possible. Kate Kellum, a rising junior at Reagan High School, will make her acting debut as Liesl in "The Sound of Music.""I love singing and acting," she said. "I'm a huge 'Sound of Music' person. I thought, why not? I work in the mornings and then I come here. I love it."Until the opportunity to perform in "The Sound of Music" came along, Kellum had only taken drama classes at Reagan. Now she will "definitely do" school shows as well.
            The repertory of Stained Glass likely has something to do with its enduring appeal. Each February, for example, the company presents a show in celebration of Black History Month. This year's show will be "A Raisin in the Sun," Langston Hughes' classic. Other Black History Month shows have included "Miss Evers' Boys" and "Mahalia."
           "It's an opportunity to involve a group in the community who kind of felt left out," Tyndall said. "We really appeal to that community. We've been delighted at the number of people who've become a part of it."


kkeuffel@wsjournal.com (336) 727-7337

Winston-Salem Journal Review - "Children of Eden"

Twin city Stage

Biblical stories sing in 'Children of Eden'

There are lots of people out there who've either never seen a live performance of musical theater or haven't attended one in years. Which show is best for them?


By KEN KEUFFEL | Winston-Salem Journal
Published: March 28, 2011

Twin City Stage makes a good case for "Children of Eden," which opened Friday at the Arts Council Theatre and will run there through April 10. I attended Sunday's show.

Congregations of churches and synagogues should flock to see "Children of Eden," as should families with young children, especially those who have read or heard the most popular stories in the Bible.

Twin City Stage

Stephen Schwartz wrote the music and lyrics for "Children of Eden," and John Caird the book. The show dramatizes several familiar parts of the Genesis story, including the Creation; Noah (Art Bloom) and the Flood; and the stories of Adam (Justin Hall) and Eve (Amanda Martin). The tale of Cain and Abel is also retold.

Some liberties are taken in the retelling of these stories, but not enough to alter the most important basics.

We sympathize with Father, aka God (Chuck King), who lays down the law only to find that his children either keep questioning said law or ignore it altogether because, well, that apple is just too tempting.

The first act of "Eden" takes us through Cain's murder of his brother and the hardscrabble wandering in the wilderness that the sins of Adam and Eve have unleashed. Act II is given over to Noah and the Flood. Each character convincingly shows his or her personal growth, and we better understand their difficult choices.

Twin City Stage

I liked the Flood parts of "Eden" the best. Here Bloom adopts the stereotypical mannerisms and accents of the Jewish ghetto to great comic effect. We're also prompted to sympathize with the plight of the passengers and animals of the ark. God, if the rain doesn't stop and dry land doesn't appear, our provisions will run out. Will we be forced to eat the animals on board?

Schwartz wrote the music and lyrics for "Godspell" and "Pippin," two Broadway success stories that revealed his mastery of the pop idiom.

In "Children of Eden," by contrast, I sense songwriting and choral music of greater range and ambition. Sure, the peppy sound of Broadway is frequently evident. But so is more potent and challenging ensemble writing that would be appropriate for opera or oratorio. The cast sings it well.

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KKeuffel@wsjournal.com
(336) 727-7337