MarciaMarciaMarcia
'Dearly Beloved' Aims at Funnybone PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 03 May 2011 20:02

The focus is on happily-ever-after in “Dearly Beloved,” the wild and wooly comedy on stage at the Bristol Opera House through Sunday.

The Elkhart Civic Theatre production, the first in a trilogy by Jessie Jones, Nicholas Hope and Jamie Woolen, looks at a very special day in the life of the Futrelle sisters deep in the heart of Fayro, Texas.

Dearly Beloved Elkhart Civic TheatreIn and around the anticipated nuptials of Tina Jo Dubberly (Karen Hoover) and her never-seen fiancé Parker Price, swirl a parade of slightly off-center characters. The bride’s mother, Frankie Futrelle Dubberly (Amy Pawlosky), is determined that the “Gone With the Wind” wedding theme will be strictly enforced. Her husband, Dub (Tom Doughty), does his best to keep out of the way. Her sisters Twink (Susan Curtis) and Honey Raye (Valerie Ong) are attempting to help but their efforts only result in increasing the chaos in and around The Tabernacle of the Lamb Church, site of the wedding and reception.

The bride’s twin sister, Gina Jo (also Hoover), has found her calling as Fayro’s chief cow inseminator but is struggling with a hidden crush on Justin Waverly (Ricky Fields), a UPS man working his way through the seminary.

Completing this definitely unusual set of individuals are Miss Geneva Musgrove (Karen Johnston) who runs the local flower shop/bus depot in addition to her duties as wedding planner; Sheriff John Curtis Buntner (Anthony Venable), who practices his quick draw at any opportunity “just in case”; Nelda Lightfoot (Lorri Krull), the town medium; Patsy Price (Pati Banik), the groom’s mother whose main object is to derail the wedding; and Wiley Hicks (Kevin Ong), the town drunk and Twink’s boyfriend of 15-plus years.

Last Updated on Tuesday, 03 May 2011 21:17
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Changes PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 26 April 2011 17:14

John Brian QuinnI have always been a big fan of musicals, especially old musicals and the timeless tunes they introduced. It seems appropriate then that my tune for today is “There’ll Be Some Changes Made.” The title applies specifically to MarciaMarciaMarcia.net which is about to undergo some great changes, thanks to my dear friend (and former Elkhartan) the multi-talented John Brian Quinn! He has taken on the task of turning my website from static and one-dimensional to WOW! Beginning now, not only will there be a spot for reviews, but also for just about anything I can think of that deals with the arts AND a place for anyone to shoot me a question — serious or silly — about any and all things theatrical. Can’t guarantee to find all the right answers, but I guarantee to try. So please enjoy the new me! I know I do!

Last Updated on Saturday, 30 April 2011 19:18
 
Laughs Are A Fact at ECT's 'Rumors' PDF Print E-mail
Written by Marcia Fulmer   
Tuesday, 15 March 2011 00:00

Elkhart Civic Theatre is offering two hours (plus intermission) of solid laughs in its current production of “Rumors,” one of the good ones from the extensive library of comedy master Neil Simon, which opened Friday in the Bristol Opera House.

Like his classic hit “The Odd Couple,” “Rumors” takes a rather unusual situation, inhabits it with characters that can be very familiar, peppers it with hilarious one-liners, shakes it all together and lets the hilarity escalate to frequently side-splitting proportions.

Rumors at Elkhart Civic TheatreThe increasingly frantic proceedings take place in the home of Charles and Myra Brock in Sneden’s Landing, N.Y. He is the Deputy Mayor of New York and they are giving a party to celebrate their 10th anniversary. At the opening curtain, first arrivals Chris and Ken Gorman (Julie Castello and Rick Nymeyer) are obviously in panic mode. The reason? Charlie is upstairs in the bedroom with a bullet hole in his earlobe, Myra is nowhere to be found and the cook and butler have left with the dinner uncooked in the kitchen

Because of his political position, the Gormans decide to keep what they believe is a failed suicide attempt to themselves and, as the three other couples arrive, begin a chain of outrageous tales to explain the absence of their hosts.

Last Updated on Saturday, 16 April 2011 22:54
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Sprawling 'Ragtime' Rather Ragged PDF Print E-mail
Written by Marcia Fulmer   
Friday, 18 March 2011 00:00

"Ragtime," the 1998 Broadway musical based on the book by E.L. Doctorow, has always been one of my favorite shows. It opened March 11 in the Wilson Mainstage Auditorium of South Bend Civic Theatre.

Ragtime at the South Bend Civic TheatreCounting that, I have seen five “Ragtime” productions, including the Broadway extravaganza, two touring companies and a Michigan community theater. The last was my “rule of thumb ” for this show. Producing “Ragtime” is biting off a huge chunk of musical theater and sometimes it is just too huge to be well digested.

“Ragtime” earned Tony Awards for Best Book (by Terrence McNally), and Best Score (by composer Stephen Flaherty and lyricist Lynn Ahrens). It was edged out for the Best Musical honor by “The Lion King.”

Under the direction of Ted Manier, with music direction by Mrs. Rebecca A. Wilson, the narrative looks at three diverse groups in turn-of-the-century America. These are represented by upper class suburban whites in New Rochelle, African-Americans in Harlem and and Eastern European immigrants at Ellis Island.

As their lives cross-cross in the sprawling libretto, which is primarily sung-through with very little dialogue, a number of historical figures including Henry Ford, Booker T. Washington, J.P. Morgan, Stanford White, Harry K. Thaw and Admiral Perry, appear briefly, with longer appearances by Harry Houdini, Evelyn Nesbit and Emma Goldman.

Heading the primary groups are Kelli Armentrout and Michael Snyder as Mother and Father, Dominic Go as Mother’s Younger Brother, Matthew Pruitt as The Little Boy, and Gary Oesch as Grandfather; Quinton McMutuary and Terrilyn J. Dennie are Coalhouse Walker Jr. and Sarah, respectively; with Steve Chung as Tateh and Natalie Rarick as his Little Girl.

The lush and lovely score is a blend of rousing choral numbers and powerfully poignant solos, some of which lead become duos and trios, The music almost never stops. Outstanding among the soloists is Armentrout, whose clear solid soprano voice expresses the changes Mother experiences going from unquestioning wife (“Journey On”) to a individual who can never go “Back to Before.”

Last Updated on Saturday, 16 April 2011 23:00
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