THE TEMPEST: Shakespeare romance has something for everyone (Shipwrecks, revenge, first love and family reunions)

By Sara Freeman, PhD

What’s not to love about The Tempest? This great, late Shakespeare play soars beyond genre distinctions. It’s not a tragedy, though it’s got tragic background; it’s not purely a comedy, though it turns frequently funny. Best to call it a romance, something magical and of mixed provenance that along the way has everything theatrical, sensational, and heart-wrenching: monsters, shipwrecks, fairies, jealousy, revenge, first love, attempted rape, not to mention celestial visitations, a court masque, songs, dances, drunken buffoonery, family reunions, new beginnings. In short, it’s got something for everyone!

Every production and adaptation of it reminds me why the play speaks so strongly. A gorgeous rendition at Chicago Shakespeare Theatre in 2002 where Ariel and all the fairies were acrobatically flown on wires throughout the theatre, for instance, captured the play’s jaw-dropping marriage of spectacle and language.  A warm, rambling local production at Longview’s R.A. Long High School directed by the late Dana Brown in 1995 featured hysterical classic physical comedy routines between the sloshed Stephano and Trinculo and provocatively followed some revisionist productions in casting a woman as Prospero. There are also several films inspired by The Tempest, like Peter Greenaway’s non-linear masterpiece Prospero’s Books, or the sci-fi gem Forbidden Planet.

Most recognizable of The Tempest’s language might be Miranda’s amazed “brave new world” speech, or Caliban’s tirade against his master Prospero where he storms “you taught me language, and my profit on’t is I know how to curse!” Some might recognize Ariel’s haunting song “full fathom five your father lies” or Caliban’s silly, drunken chant “ban ban Caliban.” But key to the play’s emotional wallop, and central to the theme of forgiveness and reconciliation that The Acting Company wants to highlight in the production they are touring through the Northwest is Prospero’s opening speech from Act 5, when he begins to resolve all the loose ends of the play, renounce his magic, and choose love over hate: Graves at my command have waked their sleepers, oped, and let ‘em forth by my so potent art. But this rough magic I here abjure (…) I’ll break my staff, bury it certain fathoms deep in the earth and deeper than did ever plummet sound I’ll drown my book.

When it’s right, this moment brings fireworks in the heart and the eyes.

This stunning moment is one reason it became conventional to associate Prospero with Shakespeare commenting on the coming end of his career, laying down his staff and book, putting away the theatrical magic. Indeed, The Tempest is one of the latest plays in Shakespeare’s body of work. The earliest recorded performance came in 1611, on November 1 at King James’s court. In 1613 it was performed again in the celebrations around the marriage of James’s daughter. The Tempest probably also greeted the audience at The Globe, a public outdoor theatre, or Blackfriars, one of London’s public indoor theatres, during those years, but records are scant. Shakespeare died in 1616. Some scholars call the play Shakespeare’s “swan song,” though he collaborated with John Fletcher on at least two more extant plays.

This last play business leads to a side note culminating to a book recommendation for a great Shakespeare thriller. After The Tempest there was also a play written, now lost, called Cardenio. Cardenio is the inspiration for a fun new book by Jennifer Lee Carrell called Interred with Their Bones. The book works like The Da Vinci Code but is about the Shakespearean authorship debates. Equally propulsive and equally preposterous as The Da Vinci Code, Interred with Their Bones spins out a high-stakes scavenger hunt chasing a newly found manuscript of the lost play, working through all the theories and possibilities about why “Shakespeare” may not have been Shakespeare (we know so little about the historical man Shakespeare) in an accessible and exciting way. See The Tempest, read the book and see what you think. Did he write it or did he not?

Authorship debates aside, the figure of Prospero remains potently connected to ideas about forgiveness, relinquishing of grudges, and “moving on.” Directors often choose it as the final play they direct as they retire. This is what Libby Appel did when she retired as Artistic Director of the Oregon Shakespeare Festival last summer. She directed The Tempest in OSF’s outdoor Elizabethan theatre, a production some CRR readers may have seen in their travels.

Many other productions of The Tempest abound in the coming year: Actor’s Theatre of Louisville in Kentucky is staging the play right now; in London, Jatinder Verma’s Tara Arts is getting rave reviews for its staging of the play, in Hawaii there’s a coming production of The Tempest with staging and design inspired by Balinese shadow puppetry, and The Tempest is on 2008 seasons of theatres from Arkansas to Massachusetts. Across the country, The Tempest is calling us and it’s playing in downtown Longview (see sidebar).
Maybe I’ll see you there.

Longview native Sara Freeman earned a BA degree in theatre from University of Puget Sound before completing her Master’s and doctorate degrees at University of Wisconsin, Madison, where she subsequently taught. She has just begun a new position as Assistant Professor of Theatre at University of Oregon. She lives in Eugene with her husband, Wade Hicks, and their two daughters. She has a special interest in dramaturgy, which includes doing research relating a production’s historical and cultural accuracy in costuming, set design and other dramatic details.

If you go:

The Tempest
By William Shakespeare
Sunday, Feb 10, 3 pm
Columbia Theatre for the Performing Arts, Longview
Tickets: $20-38 (www.columbiatheatre.com or 360-575-8499)

New York based classical touring group The Acting Company presents The Tempest under the direction of Davis McCallum at the Columbia Theatre on Sunday, February 10 at 3pm.
The play follows the story of royal Prospero and his daughter Miranda, who are living on an enchanted island. They landed there after Prospero’s brother usurped his Dukedom and set the two adrift at sea.

Like on “Lost” or “Survivor” in our age, Miranda and Prospero must figure out how to survive in a new world and decide if they want to return to civilization. Having mastered magic, Prospero commands the inhabitants of the isle. A sprite named Ariel does his bidding and an ungainly creature named Caliban is his rebellious slave. As the play begins, Prospero conjures a storm that wrecks his brother’s boat on the island. Prospero aims to take revenge. But as his daughter falls in love with a member of the marooned court and the clownish servants and monsters serving Prospero and his brother seek to better their own lives, a more happy reconciliation unfolds.

Chaps! A Jingle Jangle Christmas

REVIEW by Elaine Cockrell

Opening night for "Chaps! A Jingle Jangle Christmas" was held appropriately on Pearl Harbor Day, December 7th.  Although the Yanks took their sweet time getting into WWII, London was being bombed nightly by the Germans.  It is in this setting that the BBC hosts Tex and his singing cowboys for the boys on the front lines—and a live theatre audience.

Directed by Jessica Blaszak, the Pepper Theatre presents the fun, immensely entertaining Chaps! written by Jahanna Beecham and Malcolm Hillgartner. 

The musical opens with the new producer, Miles (Adam Pithan) having an allergy attack because Tex and his cowboy round-up haven’t yet arrived and the radio show begins in 10 minutes.  Archie (Wayne Nichols) plays the guitar and sings sympathetically while Leslie (Johnny Wayne Winningham) makes fun of the new producer. 

When Tex and his entourage fail to appear, Mabel (Julia Marsh) arrives alone with a trunkload of costumes and the script of Old Western songs.  As Clive (Rick Little) reminisces with his “Saltey’s Fish and Chips” jangle, Miles convinces his crew that they’ll all lose their jobs if they don’t impersonate the cowboy act.  The fun begins, chaos reigns, and the show must go on!

Julia Marsh’s character, Mabel, is the only one who knows how the show goes.  She alternately encourages the others and stumbles along herself as she struggles to find the courage and the voice to lead out.  Wayne Nichols as Archie looks and acts like a real cowboy, strutting around the stage and leading Mabel in a classic “Back in the Saddle Again.”  Johnny Wayne Winngham’s Leslie will have nothing to do with the whole thing and sits out the numbers he’s not in, nipping from his flask and filing his nails.  Leslie does a great job adlibbing his first number “Wahoo!” when he rewrites the lyrics and tells the audience what he really thinks of the Old West, much to our delight.  As the radio show gets moving, Miles reluctantly plays a dummy for Clive.  Their jokes and songs really take off, while Clive uses his own arms for Miles—until Miles needs a third one!  

In the background, Stan the sound man (Bob Burgoyne) plays rhythm, sounds the chimes signaling the show is live, winds up to play a horse, and eventually convinces the audience that the cattle are stampeding!  Stan yowls like a coyote, trots a horse, and fires the bullets.  I groaned when Stan got out the whoopee cushion to accompany “beans for dinner, beans for supper….”

Kudos to the set designer and scenic consultant, Jennifer Cheney and Michael Cheney.  The BBC radio set design worked well.  I liked the little touches, like signs pointing to the bomb shelter and the posters warning the public not to talk about secrets.  The “On the air” and “Applause” signs lit up giving us the proper cues, although we didn’t need the “applause” nudge as the show earned every round of appreciation.  The best costume designed by KC Andrew according to sixth grade theatre goers was Leslie’s red dress trimmed in faux white rabbit.  I was pleased to note that the quartet which accompanied the many, varied numbers were local students and teacher Chris Jacob, R.A. Long High School; Kory Randall, Kelso High School; and Kristin Ross, music teacher at Catlin Elementary.  The fourth member was Dennis Yalch, bass player and band leader.  

After seeing many variations of The Christmas Carol, it was wonderful to see a holiday play that made me laugh.  The audience consisted of all ages.  I was especially delighted to see children enjoying themselves.  One young lady was at the play with her grandmother.  “We know Mabel, Julia Marsh.”  Two other boys loved Leslie’s second act persona.  It’s a great play to introduce children to their first musical.  It would be a shame if you missed this wonderful play at the Pepper Theatre, running through December 30th.  If you don’t see it, “I’m going to tell Santy Claus on you!”

Elaine Cockrell has a degree in English and a lifelong love of live theatre. She taught 9th grade literature and drama for 21 years before becoming Principal at Huntington Middle School in Kelso.

Chaps! A Jingle-Jangle Christmas
At the Pepper Studio Theatre
Dec.7– 30 • Fri. & Sat. 7:30 pm, Sunday pm
(Review by Caroline Wood)

Longview Stageworks has a play to be extremely proud of here. The minute the lights go down the corners of your mouth come up. “Chaps” is a delight all the way through. I can’t remember the last time I’ve seen so many smiling faces in an audience. This is holiday entertainment that kick-starts the Christmas spirit and takes you for a English jolly ride that reminds you how much fun it is to laugh.

These actors make their characters so accessible to their audience. It’s effortless to imagine we are they and they are we and that we’re all in this hilarious game of life together.

First off, if you go and really you must, must -- you’ll realize right away that you’ve been transformed into a 1940’s Christmastime radio studio audience and that there is trouble afoot. An American Country Western band hasn’t shown up and they’re to go on the air in 15 minutes and counting! What to do? Panic! Adam Pithan plays a marvelous Miles, a very nervous hyperventilating station manager, who knows his head is going to roll if this show doesn’t go on. Johnny Wayne Winningam is Leslie, the station’s very pompous broadcaster with a perfectly trained BBC radio voice. He imagines himself more than a step above the others at the station.

Who are the “others?” Well, you’ve got Stan the sound effects man played to sweet perfection by Bob Burgoyne (you want to take Stan home in your pocket!) and Wayne Nichols as Archie, a level-headed singer/guitar player and Rick Little who brings Clive to enthusiastic life. Clive sings a radio jingle about fish and chips that he’s just mad about! Julia Marsh enters this mix as Mabel, the American country western band’s logistics person who shows up without the band. Now it’s eight minutes to air time! And guess what? The band’s trunk arrives with song lyrics and costumes. There’s only one thing to do…the show must go on!

This cast is chock full of talent. And I must say this, because it’s such a wonderful thing to see with a cast, they are so generous with one another. What do I mean by that? It’s something you feel, it’s a warmth that spills from the stage onto the audience and it’s a wonderful splash! There are many great musical pieces in the play that are sung with wonderful voices and passion. And what I really love about this play is that the characters don’t get lost in the musical productions. I think this must be hard to do because the actors are playing characters that aren’t supposed to be able to sing. So there’s this amazing tight rope these actors walk and they do it as though without effort. But this kind of slight -of -hands smoothness comes only after a tremendous amount of work. This is what I mean by generous, too; these actors give their audience a performance that is made to look like amateurs are giving it, but what we get is pure delight!

I delight in the humanness of these characters. When Mabel leans close to the radio microphone and tells the British lads and their allies fighting in World War 11 that they are being thought of, the Pepper Theatre audience went silent like a church in prayer and I know we were all thinking about our own ’lads’ in Iraq. I love it when a play brings humanity with its humor and fragility together.

Julia Marsh (Mabel) also did the choreography. No easy job I’m sure but you’d never guess it. There were maybe six stand-up radio station microphones on the stage and the actors sang into each of them at unpredictable times, which kept changing and then there were the dance numbers that went with the American western band’s routine that the stoic and brave radio station crew did their best to, well, perform.

One especially funny part in the play was when Adam Pithan as Miles was forced to “become” a ventriloquist puppet. Words will not suffice; you must see this! I could go on writing about how wonderful all the actors where but I must stop here and bring up the off-stage musicians who brought an important ingredient to this play; great music professionally played. I was fortunate, sitting in the upper right corner of a side section, to be able to see in the shadows Chris Jacob playing the fiddle and Dennis Yalch on bass. I could hear Kory Randall’s guitar and Kristin Ross at the piano. The music coming from these well-rehearsed musicians was just another piece of this play that soared.

Director Jessica Blaszak must have had her hands full because you don’t get actors working a stage as elegantly as these do without a lot of hard work. This is orchestra mayhem at its best.

Instead of on-stage this time, one of my favorite actors Caitlin Nolan “played” behind the scenes as stage manager. KC Andrew, the production’s costume designer, gave us delightful splashes of 1940s England and American county western. Jennifer and Michael Cheney’s team playing on set design and lighting added to this show’s polish and shine.

I can’t end this review without a final word about the actors. First, this is a tight cast, all giving their very best. Bob Burgoyne’s Stan the sound-effects man fills your heart with his little jig and his delicious mischievous pleasures. Rick Little is a big man with an amazing baritone voice, Julia Marsh moves so gracefully on stage -- her every move is clean and clever. Wayne Nichols has an easiness about him when he sings and strums his guitar that bespeaks of the elegance of one human soul. And you see this was the notice brought to ‘our lads’ catches and holds you. I saw Johnny Wayne Winningham in Stageworks’ “To Gillian on her 37th Birthday” and enjoyed his ‘at ease’ acting on stage then. Seeing him as this eccentric character who doesn’t look bad (well he does. really) in a red dress, tells me a lot about this actor’s range. I always enjoy seeing an actor play characters that are really different from one another.

In my opinion. this play deserves a sold out house every night. And I don’t think it’s going to have a problem doing just that. Thank you Artistic Director and Stage Manager Bethany Pithan and Artistic Director Jennifer Cheney for bringing some heartening laughter to Longview with “Chaps.”

Longview playwright Caroline Wood has written 13 plays, including “The Immigrant Garden,” showcased in New York Reader's Theatre, "The Open Book," and “The Orchard” and “Uncommon Wings,” both produced in festivals in New York. She enjoys being a member of The Columbia Theatre Guild.

“Chiaroscuro”
Lower Columbia College Symphonic Band Concert
Dr. Gary Nyberg, Director
November 27, 2007

In what is expected to be the LCC Symphonic Band’s final concert of its 26-year history of performing in the Columbia Theatre, Director Dr. Gary Nyberg chose music that explored the many shades and tones of darkness and light.

The concert opened with a stirring rendition of Also Sprach Zarathustra, the introduction/fanfare from Richard Strauss’ masterpiece that was inspired by Nietzsche’s epic poem of the same name. We mortals recognize the work as the theme music to the film 2001: A Space Odyssey. The program notes indicated that Richard Strauss directed Zarathustra at its premier in Frankfurt, Germany, on November 27, 1896, exactly 111 years prior to this LCC Band concert.

American composer Louis Moreau Gottschalk wrote Night in the Tropics Symphony in 1859. The piece sounded remarkably modern with tastes of Caribbean rhythms and African-American folk melodies mixed in. Gottschalk was the first American composer to become popular in Europe and South America. In addition to his innovative compositions, he was revered by the likes of Chopin and Berlioz for his virtuoso piano playing. The band performed this uplifting piece with precision. I was particularly impressed with the cascade of snare drum and cymbals clashes near the end of the piece.

The signature piece of the concert, Chiaroscuro: Shades of Darkness and Light, was the most complex and probably the most demanding. The band pulled it off in grand style. One minute the music was discordant, the next flowing, then brash, flowing, heroic, flighty, concluding with majestic. Composed in 2002 by American Robert Sheldon, portions of the piece were dark and menacing. Others were light and pastoral. He brought many rhythms and almost jazzy elements into the work. The band kept up admirably with the tempo established by Dr. Nyberg’s active baton.

Persistence of Time was composed in 2001 by Jim Colonna. Perhaps second in complexity to Chiaroscuro, its constant shifts in tone and forcefulness created movement that was not dependent on melody to make it enjoyable. Roxanne Knutson’s oboe added a warm richness throughout the concert.

Another standout was Robert Mayclin on the B-Flat Clarinet whose instrument virtually danced through Franz von Stuppe’s beautiful Overture to Morning, Noon, and Night in Vienna. Mayclin has been with the band since its beginning. The entire clarinet section supported his solos as the audience felt the sun rising as a day in Vienna got underway. With Morning, Noon, and Night Dr. Nyberg moved the audience back into the light.

When composer Melvin Shelton was first inspired in 1993 to compose his masterful Grand Tetons, he must have been standing with the rugged Teton Mountain Range spread out before him. Hearing the horns’ mighty and elevating strains, you can almost feel the jagged peaks rising up, followed by a feeling of peacefulness. I imagined standing waist deep in wildflowers in the high meadowlands.

Moving from light bouncing off the snowcapped peaks of the Tetons, Dr. Nyberg slipped in a piece that transported the audience into an underground cave, where Ryan Fraley set his fascinating work titled The Darkness is Always Soft. The band accomplished a number of unique tones, tones that brought to mind the wonder of an underground cave while suggesting feelings of claustrophobia. Credit the percussion section with much of the success of this piece.

In Richard Wagner’s Lohengren: Introduction to Act III, the horn section really stood out, especially the French horn players, performing with precision, playing strong melodic, soaring tones in unison. This piece appeared to be familiar to many in the audience, eliciting strong applause and setting us up for the final piece of the night.

Before bringing to the stage the evening’s featured French horn soloist, Joseph Berger, the band of 57 musicians was pared down to 20. It took a few moments of re-arranging the chairs, but it was worth the wait. Joseph Berger received a music degree at the famed Juilliard School of Music. After performing with orchestras in Honolulu, New Jersey, North Carolina, Los Angeles and Seattle, he joined the Oregon Symphony and has held the position of Associate Principal Horn since 1988.

With the ensemble ably supporting him, Berger performed Mozart’s Concerto for Horn and Orchestra. Dr. Nyberg explained that Mozart wrote the piece for stringed instruments, but it was transcribed for wind and brass instruments by Robert W. Rumbelow. The effect was wonderful. Berger’s playing was absolutely crisp. The French horn, artfully played, produces a regal tone. In Joseph Berger’s hands the quality was majestic.

The concerto alternates between a lyrical singing style and the more raucous, exuberant sound of the hunting horn. I particularly enjoyed the third movement of the piece, which reminded me of a fox hunt in Merry Olde England. It definitely represented the “light” side of the evening’s theme. Berger captured the essence of the dual character of the singing horn versus the hunting horn, bringing both parts to life. He had excellent control of the instrument, interpreting Mozart's charming lyrical style and conveying the deliberate humorous passages. Kudos for an excellent performance, as this work contains many technical challenges for the French horn.

Dr. Nyberg and his band members deserve praise for not only producing excellent music, but also for having the ability to draw on the talents of performers in Joseph Berger’s class.

Oh, and when I said at the beginning of this review that the LCC Symphonic Band was performing their final concert in Longview’s historic Columbia Theatre for the Performing Arts, I didn’t mean they are retiring. The new Rose Center for the Arts at Lower Columbia College should be completed in time for the band’s March 14 concert.

Mark your calendar and plan to attend what will surely be a memorable evening, perhaps your first opportunity to enjoy the new performing arts facility on the LCC campus.

THE FOREIGNER
Lower Columbia College Centre Stage at the Pepper Theatre (1235 Vandercook Way, Longview, Wash)
7:30 pm Nov 7-10, 15-17, 23 & 24.
Tickets: $9.50 Gen’l, $8.50 Students & Seniors.
CTPA Box Office 360-575-8499.

REVIEW by Caroline Wood

How does one acquire a personality? And how is it that one often sees oneself more clearly through the non-judging eyes of another?

The Foreigner, brilliantly written by Larry Shue and smartly staged by LCC’s Center Stage director Donald Correll, entertains us with such questions. And without asking the questions and without telling the audience, the audience leaves the theatre with what it hopes for after a comedy: amusing satisfaction.

The satisfaction in this case could not have come without the play’s impeccable timing and empathy for the characters created by the cast. Not bad work, for a cast of mostly new actors to the college theatre scene.

The veteran in this play is Julisa Lyn Smith, who plays Catherine Simms. It was a delight seeing Julisa in this role. I remember enjoying her as Scout in LCC‘s production of to “To Kill A Mocking Bird” a few years ago. As Catherine, she brings an in-the-moment realism so that we’re not watching an actor, but experiencing a person. I like that. A lot.

Seth McNally is Charlie Baker, the foreigner. This young actor takes on the challenge of this difficult role, showing not a tinge of strain. The foreigner is asked to tell the others at the Fishing Lodge Resort a story. And he does and you have to see it, you just have to see it. How Seth McNally keeps a straight face when the audience is screaming with laughter, I don’t know.

Ellard Sims, played by Corey Farmer, is, I suppose you would say, the simple-minded brother of Catherine Simms. The sister and brother own the Lodge and because of this, there is an evil plot to get rid of Ellard and control Catherine. The English lessons Ellard gives to the foreigner are hilarious. And the way these two men connect through the generosity of their hearts is really inspiring. It makes me think that humanity has hope.

The evil-to-doers are Catherine’s fiancé, the Reverend David Marshall Lee, played by Nick Long and corrupt city building inspector Owen Musser, devilishly played by Trever Clark. Both actors do a convincing job making us believe the world would be better off without them. I love it when, well I can’t tell you because it would spoil it. But I can say that these two characters lead us to the edge of darkness where we peer over and see -- really see -- beneath their cloaks of pretense.

Christian Womack plays a splendid Froggie LeSueur. Womack is wonderfully at home in his character, which is great for the play because it’s Froggie who first appears at The Lodge with Charlie Baker (not yet the foreigner) dragging along behind him. It’s this first conversation between the two men that informs us of so much and they do it without letting us know they are doing it. Good acting is that. It is Froggie who, unknowingly, comes up with the plan that sends the whole play spinning.

Betty Meeks, an aging widow, runs the lodge. Diane Krane, who plays the role, is 19 and you’d never know it. As Betty, she walks and talks and complains about how life has lost its luster, as do some aging women we might know. Women we don’t blame or pity. Sometimes that’s just the way things are. In this story, this woman finds a new joy in her life and she might think it’s coming from the foreigner, but it’s not; it’s all coming from her. Okay, maybe it bounces off the foreigner and then back to her. I have a hunch she can play the harmonica and make you weep from the pure humanity of the music; music understood by those who have their feet in the mud of the earth.

The lighting and sound of this play add mood and reveal emotion in subtlety and sometimes  (perfectly so) not so subtle ways. This play is a comedy with layers -- satisfying layers. Enough so you have some to take home and enjoy for a long time afterwards. A good night well spent. Well done, all.

Longview playwright Caroline Wood has written 13 plays, including “The Immigrant Garden,” showcased in New York Reader's Theatre, "The Open Book," and “The Orchard” and “Uncommon Wings,” both produced in festivals in New York. She enjoys being a member of The Columbia Theatre Guild.

Steel Magnolias,
a play by Robert Harling
Review by Ned Piper
 
The ShoeString Community Players of St. Helens, Oregon, have done it again. I’ve never been disappointed with a production mounted by this talented theatre group.
 
On one set, the interior of a small town beauty parlor, and with only six characters, playwright Robert Harling has woven a story that centers on newlywed Shelby Eatenton-Lacherie’s struggle with diabetes and her mother’s distress over Shelby risking her life by becoming pregnant. Swirling beneath this plot is the friendship of the six women who spend a part of their day in Truvy’s beauty parlor. Truvy Jones, ably played by Kristina Waggoner, has a saying that guides her career as a hair stylist: “There’s no such thing as natural beauty.” I suspect a number of women in the audience were wishing that Kristina actually owned a beauty parlor. She was very believable in the part. This is her ShoeString Players debut. We hope to see more of her in future productions.
 
As the play opens, we meet the character of Annelle, portrayed by Shawna Sykes, on her first day of work as a stylist. In the first act, Annelle lacks self confidence. Her mousy appearance and soft voice give the impression that she would apologize for something she didn’t do, and run off the stage. As the play progresses, however, she grows in confidence and in her dress. Her conversion to a religious fundamentalist adds much humor to the later scenes.
 
In the opening scene, Elizabeth Robbins’ character, Shelby, is preparing for her wedding. She comes across as a bit of a brat, but throughout the play, her character develops maturity. Elizabeth does a fine job of making her southern accent believable. Shelby and her mother, M’Lynn, don’t always see eye-to-eye, especially when it comes to Shelby’s husband, Jackson. Though they argue, Shelby shows her love for her mother. Elizabeth balanced this well. By the way, Miss Robbins also directed the play.
 
Late in the play, M’Lynn, Shelby’s mother, played by Jo Ellen Pachelbel, has an emotional meltdown. This scene touched me, causing chills down the spine, lump in the throat, and water welling up in my eyes. This scene alone may be worth the price of admission.
 
Betty Fischer’s portrayal of Clairee Belcher is a show stealer. I don’t recall Clairee ever having her hair done by Truvy or Annelle, but she constantly hangs out at the parlor. Betty plays the role wonderfully brassy. She says her lines with perfect elocution. She’s brash and her comic timing is on the mark.
 
The final character in this super ensemble is Ouiser Boudreaux, played by Mary Burgess. Her first entrance is one that any actor would die for. She bursts onto the stage, strides to center stage, arms outstretched and shouts her opening line. Bang! There she is, and she doesn’t slow down much after that. She and Clairee get into it a lot and the bantering is fun. Behind the bravado, though, their friendship seeps through.
 
The set is stylish; actual salon chairs and accoutrements. It looks very much like a real salon. Because much of the action takes place with the characters having their hair done, to me much of the blocking seemed static. As it was opening night, I noticed a few moments of uncertainty with the lines. I expect the flow will improve as the actors get more performances under their collective belt.
 
Playwright Harling gives us scores of memorable, hilarious lines, even in the more tense moments of the play. I learned that he wrote the entire script in just 10 days, to deal with the death of his sister. The play opened off Broadway on March 29, 1987. Film producer, Ray Stark, chanced to see the play and turned it into a movie with an all-star cast, which opened November 15, 1989. The screenplay was also written by Robert Harling.
 
The Olde School auditorium makes a good setting for this play. I sat in the Mezzanine section and could hear every line. During intermission, I moved to the front row downstairs, so I could snap a photo of the girls during their curtain call.
 
Make plans to attend "Steel Magnolias." Whether you live in the immediate St. Helens area or a bit out of town, you might want to call for ticket reservations. I have a hunch that word of mouth is going to fill up this auditorium. The show is a treat for residents all around the River  (and definitely worth the short drive, just 30 minutes from Longview) to see some excellent theatre.

Ned Piper earned a B.A. degree in drama at the University of Washington and is a life insurance agent in Longview. He also serves as a Commissioner for Cowlitz County Public Utility District.

IF YOU GO
Where: Olde School, 251 St. Helens Street, St. Helens, Oregon
When: October 12th, 13th, 18th, 19th, 20th, 7 p.m.
            October 14th, 2 p.m. Matinee
Cost: $10 adults, $8 students/seniors 60+
 $14 Mezzanine seating (over 21), includes Hors d’oeuvres and a no-host bar.
Info: 503-366-4406,  www.sscpmusicals.com.

SWW Symphony opens concert season

FALL POPS CONCERT, SOUTHWEST WASHINGTON SYMPHONY
By Susan Branscom Taylor

October 7, 2007


At their Fall Pops concert at Longview’s Columbia Theatre for the Performing Arts, the Southwest Washington Symphony treated a packed house to some of the best vocal and instrumental talent in town. 

Sandwiched between tunes by Rogers and Hammerstein, Ryan Heller and the orchestra performed Benjamin Britten’s “Young Person’s Guide to the Orchestra.”  The title makes it sound like a walk in the park, but the piece is deceptively difficult, highlighting the role of each section in the orchestra. This piece will actually expose the strengths as well as the weaknesses of each section, so lots of practice and careful counting is required to pull it off.  The clarinets played skillfully, the bassoons sounded beautiful, trumpets, trombones, tuba and percussion were awesome. 

Unfortunately, tonight the violins were not up to the standard I’ve come to expect and look forward to over the past year.

Great solos were heard from instruments not often featured, such as harp and string bass.  I have to say that during all of my years in the Seattle Symphony, I never  heard the bass solo played better than tonight.  Bravo, David Turner! The second half of the concert was a hit, featuring selections by Rogers and Hammerstein from the “Sound of Music,” “South Pacific,” and “Oklahoma.”  Even the six year old in the row in front of me could sing along with most of the tunes.  The hoots and hollers, bravos and bravas got more and more enthusiastic after each marvelous vocal solo performed by Dennis Boaglio, Bob Giles, Bryan Mitchell, Barbara Futrell, Allison Askeland and Vickie Giles. 

It is amazing to realize what fabulous talent we have right here in Longview.  Finally, thanks to our Southwest Washington Symphony for hosting school concerts this past week for our area youngsters. Your efforts will help inspire a whole new generation of musicians and keep live concerts  a part of our community’s future. 

Susan (Branscom) Taylor is a former violinist with the Seattle Symphony. She grew up in Longview and recently moved back to the area with her family.

To Gillian on her 37th Birthday
presented by Longview Stageworks

REVIEW BY CAROLINE WOOD
Longview Stageworks’ has kicked off it’s season with a play that not only touches your heart but holds it for the entire play. “To Gillian on her 37th Birthday” is a richly woven story that is splendidly cast. This night at the theatre will linger well after the curtain falls.

It has been two years this weekend since David’s wife, Gillian, fell to her death from the mast of their sailboat. David’s grief is heavy and we feel the weight of it, thanks to the fantastic job that Scott Clark does in the part of David. I have seen Scott Clark in many local productions and have always enjoyed his work. His timing in comedy is perfect, and there are times in this play where he flexes those muscles, as well, but what I enjoyed so much about his performance in this play is the raw and vulnerable emotions he brings to his role. Scott Clark has to walk a fairly fine line and he does it with seemingly no effort. If Scott Clark would have played his character weak we would not have felt empathy for him, if he had played the character strong we would have felt no empathy for him. Lucky for us, Scott Clark plays it just perfect!

Caitlin Nolan is Rachel, David’s daughter. Rachel grieves for her dead mother but, unlike her father, she has not retreated from life; she instead is desperately trying to get closer to her father, who, although close enough to touch, is too far away to feel. Caitlin Nolan has real tears in her eyes when her character hurts and there is not one artificial facial movement on her face; she plays her character “bone marrow honest.” Nolan gives herself up to her role and there is nothing sweeter; no better gift for an audience than this.

Jennifer Cheney is Esther, Gillian’s sister and a psychologist. All the characters in this play are webbed to one another; touch one and all feel the vibration. Esther is where many of the threads cross. Esther has lost her sister, is worried sick about her despairing, motherless niece and is angry at her brother-in law for wallowing in self pity, which she really doesn’t believe is self pity but it looks an awful lot like it. Jennifer Cheney brings to life the intelligence and emotion of Esther, her tenderness as well as her strength. I love seeing such a well rounded female role on the stage!

Johny Wayne Winningham is Esther’s husband. His character often brings us the laughs in this play. His comfort and ease on the stage blends so well with his character, a happy guy who just wants to see everybody else happy. I love the scene where he has his heart-to-heart with David, toward the end of the play. And it’s just lovely. There isn’t anything lagging or wasted in this play; it is all wonderfully woven and generously giving -- over and over again, from the heart.

Rachel Brown is Cindy, a close neighbor and friend of Rachel’s and David’s. She’s the same age as Rachel, but in a way, has fallen in love with David and doesn’t like the idea that a surprise woman has been invited for the weekend. Rachel Brown does a very fine job of bringing to Cindy all the hopefulness and frustration of youth. Again, a wonderful job of being real. I can’t tell you how many times I marveled over the easy accessibility these actors had into my heart. a place I keep pretty well guarded.

Deborah Wornick plays Kevin, the mystery woman brought by Esther and Paul to David’s beach house for the weekend. This is Deborah’s acting debut and she is amazing. It’s so easy for a new actor to ‘act’ as though they’re acting. Much to Deborah’s credit, she leaps easily over this early obstacle in acting, instead bringing a self-confident ease to her character that serves the story very well. Kevin is able to share with David some of her own past and some of the lessons learned. Kevin is first rejected by David and made to feel quite unwelcome. She had no idea that this weekend is the second anniversary of David’s wife’s death. She knew David many years ago, before his marriage. I like it when she says that in some ways David seems younger, “more unsure.”

The chemistry between all the characters is incredibly strong, there is no one here that doesn’t belong; all are here on this weekend to grow just a little closer to the stars.

And now, we have Gillian, played by Janeen Stephens. Gillian is the reason for this play and she is infused in it like a late summer sun coming through a window, so that all of the house becomes that light. There is no one in this story that is not changed by her. I have seen Janeen Stephens in other Longview Stageworks’ productions and every time I think the same thing: thank goodness for grown up women who play grown up women!

Janeen Stephens walks onto the stage, sits on the edge of that splendid deck on that magnificent set and trails her toes through the sand and, because as an actor she is so comfortable, her comfort becomes yours and before you know it you were wearing her skin and feeling her emotions. Gillian sorts some things out for David. She makes him listen to her and we all hear her. Every scene she is in is wonderful, but two that stand out are when she comes to her daughter; (you have to see it, I won’t tell you more) and the scene of her death is acted out. So much is revealed about Gillian in this scene. The play’s lighting and sound come through with a real powerful wallop in this scene.

KC Andrews directed this play and she was invisible, as all good directors must be. The blocking in this play was natural and the timing was on the mark.

The lighting brought us night skies and warm balmy afternoons. The set, built by the cast, is one of the very best I’ve seen in The Pepper Studio.

I look forward to seeing this play again in its closing weekend; one trip to this beach house is not enough for me.

Longview playwright Caroline Wood has written 13 plays, including “The Immigrant Garden,” showcased in New York Reader's Theatre, "The Open Book," and “The Orchard” and “Uncommon Wings,” both produced in festivals in New York. She enjoys being a member of The Columbia Theatre Guild.

 “All I Really Need to Know I Learned in Kindergarten”
Adapted from Robert Fulgham’s book by Ernest Zulia and David Caldwell

A Rising Star Productions Community Theater presentation directed by Jueanne Meyers
Review by Ned Piper

Back in 1988, were you one of the millions who read Robert Fulgham’s best selling self-help book, All I Really Need to Know I learned in Kindergarten?  Whether you did or not, after experiencing Rising Star Production’s stage play of the same name, you may wish to lay your hands on a copy and touch base with Fulgham’s simple but pithy philosophy of successful living.

The play’s title suggests it may appeal to young children, but most of the humor will fly over most kids’ heads. However, I chanced to sit beside a 10 year-old boy named John. He may be unique among his peers, but he not only “got” the many funny lines and physical humor, but he laughed himself silly at it. I learned at intermission that his mother, Stacie Hunt Kelley, was one of the eight actors performing on the stage.

The playwrights did a nice job of mixing humorous vignettes with segments that were touching and poignant. There were times during the 25 or so scenes when the entire cast participated; others where two or three were on stage and some when a solo cast member stool alone in the spotlight. All eight cast members take on different characters in each of the segments. In one scene, Adam Pond portrays both the mother-of-the-bride and the bridegroom. The “mis-casting” adds greatly to the bit. He must be six feet eight or nine inches tall.

There is no plot in “Kindergarten,” only short vignettes packed with meaningful, almost spiritual, lessons that, if taken seriously, can help each of us to get through life with greater ease. The costumes, set design and props, while colorful, are simple and minimal, so as not to distract from the message.

The cast truly works as an ensemble. You can tell they enjoy working together. Laurel Moore’s singing voice is the best of bunch. When they sing together, the cast makes a formidable choir. Alone, some of their voices remind us that this is, indeed, a community production. What some cast members lack in a strong singing voices, they make up for in acting ability.

It was an excellent move for Jueanne Meyers to relocate Rising Star’s productions to the Kelso High School Auditorium. The acoustics are excellent and the lighting and seating are vastly improved over Rising Star’s last venue, Kessler Elementary School. I counted a crowd of about 60 enjoying opening night. The audiences should grow when the community learns what a fine production this is.

Rising Star Productions perennial musical accompanist Greg Moore provided transition music between scenes, background sounds, and accompaniment behind the singers on the piano and electric piano. He is a very gifted musician.

Frances Cansler is perfect in the opening scene as a school teacher. She was, after all, a teacher in real life. She does an equally fine job with her other roles, though she appeared to be searching for her lines on occasion. It may have been first-night jitters.

Dave Crayk, the current drama director at Kelso High School, portrays a number of touching roles, including the old man in the hospital. That scene brought tears to my eyes.

Andrew Hays is a talented young man. The dance scene with Debi Meyers had my 10 year-old seatmate, John, practically rolling in his seat. And Hays’ portrayal of the barking, dancing pig had the young boy doubled over with laughter.

According to the program, Stacie Hunt Kelley hates spiders. Even so, she plays one with a gleam in her eyes.

Debi Meyers may go far if she intends to pursue acting as a career. She conducts herself naturally on stage. Her mother, Jueanne Meyers, not only acts in the production, but she also directs it.

I mentioned Laurel Moore’s beautiful singing voice earlier. She is also a fine actress who is fun to watch.

Last, but not least, the actor everybody looks up to, Adam Pond. One might assume that his height would make him self-conscience, but it doesn’t seem to. Adam is cut out for comedy, but even in the more serious scenes, he holds his own.

The creative effects in the play appeared to be the work of Jueanne, rather than the playwrights’. I will attend any production that Jueanne mounts. Next up: “The King and I,” coming February 29 – March 15, 2008. Mark your calendars.

Note: About a year ago, when CRR started publishing local play reviews, I ran into Adam Pond uptown somewhere. I knew that his parents, Steve and Diane Pond were on a three-year mission for their church in Paris. I asked how they were doing. Adam told me that his mother really missed seeing his plays. I suggested that, even in Paris, she could access CRR’s website and get a review of her son’s stage activities. So, if you’re reading this, Diane, “Hello” from Longview. Your boy did himself (and you) proud in this production of “All I Really Need to Know, I learned in Kindergarten.”

Ned Piper earned a B.A. degree in drama at the University of Washington and is a life insurance agent in Longview. He also serves as a Commissioner for Cowlitz County Public Utility District.

Lower Columbia College Center Stage is flying its colors in high style at the Pepper Theatre with its hilarious and naughty production of Beyond Therapy. This play is an outrageous (I mean that in the best possible way) romp on the therapist’s couch of the 1980s. Don Correll’s well-seasoned direction drives this mostly dialogue-driven play to uproarious heights.

Here’s the story: Bruce, played by Scott Lawrence, places a personal ad in a newspaper to meet a woman, while at home he has Bob, his boyfriend. Prudence answers the ad and meets Bruce in a restaurant. They make a handsome couple. Prudence doesn’t understand why Bruce would want a relationship with her when he already has a relationship with a man. But she finds herself becoming attracted to Bruce, even though it doesn’t make sense to her. But they argue, throw a glass of water on each other and leave. And you think, “Well, that’s the end of that,” but it’s not. Bruce’s wacky therapist, Charlotte Wallace, played by Leslie Wheeler, advises him to give it another try.

Meanwhile, Prudence has a session with her egotistical sex maniac therapist who can’t keep his hands off her and pleads with her to go to bed with him and drop any idea of having a relationship with anyone else.

Although this play would have you believe it is a madcap comedy (which it is), there are also plenty of great lines that lay open very honest statements about what it means to be perfectly, imperfectly human. For instance, Bruce is sitting on his couch uncomfortably sandwiched between boyfriend Bob, played by Yoshi Higa and Prudence, who has just met Bob for the first time. This is a very funny scene, but it is also one of confusion and, at times, hopelessness. I would say that satire more than farce describes this play.

Scott Lawrence as Bruce and Jessica Converse as Prudence take us on a believable journey through the often scary, often hopeful road of relationship. Their first meeting opens the play. I thought the play rushes a bit in establishing them as characters and by doing this, runs the risk of making them appear one- dimensional. But that goes away as their characters swirl in the familiar steps of the dance of intimacy and the fear of it. Both actors are evenly matched, which makes the tension between their characters believable and strong. Both actors display excellent timing, enabling them to bring to their characters a naturalness that belies the hard work of weeks of rehearsal.

Eric Wainwright plays Prudence’s sexed-crazed therapist with just the right amount of sleaze; you dislike him perfectly.

I have seen Leslie Wheeler in other Center Stage Productions and thought her work was very good, but let me tell you, in this play she is nothing less than brilliant! Some of her dialogue is the reason you need to leave the kids at home. This is mature humor. And it feels good to laugh at things that are funny and naughty and so very human.

Yoshi Higa, as Bob, brings wonderful range to his character; he broods perfectly and then can flash with wickedness. Paul Scarberry brings just the right amount of “scary” to his role as Andrew, the waiter and future lover.

Both Don Correll’s lighting and set design are excellent; the shifts from therapists’ offices to apartment to restaurant are seamless. Mr. Correll has more than a little of the magician’s touch when it comes conjuring up the magic of theatre.

The play got off to a bit of a slow start but then picked up and heated up into a delightful boil. And -- going by the laughter coming from the slight, but engaged audience -- I was not alone in being imperfectly, perfectly human -- which is to say, able to laugh at naughty things which are very honest things. This reviewer enjoyed herself very much, just don’t tell her mother. Actually, I think her mom would enjoy this one, too.

Longview playwright Caroline Wood has written 13 plays, including “The Immigrant Garden,” showcased in New York Reader's Theatre, "The Open Book," and “The Orchard” and “Uncommon Wings,” both produced in festivals in New York. She enjoys being a member of The Columbia Theatre Guild.