Spitfire Grill serves up satisfying menu of musical entertainment

By Ed Phillips

Longview Stageworks at The Pepper Theatre, April 11, 2008

The opening night’s production of The Spitfire Grill presented by Longview Stageworksat the Pepper Theater promises three weeks of very satisfying musical entertainment. This musical adaptation of the 1996 movie of the same name works very well in the venue of the Pepper Theater. Friday’s audience left the theater well served. The movie was coolly received by the critics, but the musical has been critically well-received.

The plot isn’t new. A stranger comes to a small town, serves as a catalyst for a transformation and in the process is redeemed. Only in this case it isn’t Clint Eastwood and the town’s population isn’t significantly reduced.

It is Percy Talbott (Stephanie Steidley), a young woman recently released from prison after five years, who gets off the bus in Gilead, Wisconsin. She is damaged goods. She immediately meets her parole officer (Carl Jansen) who happens to be the town sheriff. He arranges employment for her at the Spitfire Grill, the town’s only diner, and the gathering place for the play’s characters. The diner’s owner, Hannah (Jamie Baker), is a reluctant employer, but agrees to hire Percy. The town’s character is revealed in the conversations and songs that take place in the diner. The town of Gilead is economically depressed and the play’s characters reflect this state of affairs

The play has eight characters, including the town. In addition to Percy and Hannah, there is the sheriff/parole officer, Joe Sutter, who is initially cool to Percy but warms to her later. In fact, his temperature goes up considerably. Hannah’s nephew Caleb (Pete Ouellette) is the play’s heavy but only a middle weight. He exercises his frustrations on his wife, Shelby (Julia Marsh). Shelby is meek and submissive (played a bit too meek at first) but gains strength and independence by working at the Spitfire Grill with Percy. Effy Krayneck (Cheryl Coast) is the town’s post mistress and quidnunc (look it up). Then, there is “the visitor,” a silent but significant presence (Dave Crayk) who holds the key to the town’s redemption. As the Bard said, “All’s well that ends well,” or something similar.

It’s a musical and succeeds or fails on the music and the musical performances, not plot. I don’t think the great 1930s musicals of Fred and Ginger were noted for intricate plot design, but for great music and dancing. The Spitfire Grill isn’t Fred and Ginger, but it’s very enjoyable.

A good musical score is one thing, good performances are another. The Spitfire Grill serves up both. All of the performers can, in fact, sing. Stephanie Steidley as Percy is exceptionally strong and opens the play from her prison cell (artfully staged with clever lighting) singing a wonderful rendition of “A Ring Around the Moon” which sets the play’s tone. The Julia Marsh/ Stephanie Steidley duet, “The Colors of Paradise,” is also a winner.

Every performer save “the visitor,” who remains mute, ably performed musical numbers during the April 11 show. This is to say, they carried the tune and the lyrics were clearly understood. These numbers revealed the person’s character and the insularity of the community. I suppose one could quibble slightly with the choreography on “Ice and Stone,” but this is a singing musical and the choreography plays a very minor role.

The musicians backing up the play were outstanding and seamlessly integrated their playing with the action on stage. Particularly inventive was the use of instrumentation to represent phone dialing. Me like a lot. I can’t say enough about the quality of our local musicians. They may have day jobs but their efforts are very professional.
I must compliment the set designer/builder (Mike Cheney). The Grill atmosphere was spot on. I was tempted to order coffee myself. But it would have kept me up too late. The outside environment was nicely tied to the Grill.

One minor quibble and it is a continual problem with Stageworks productions. They are inconsistent with representations of food and drink. In this case, the women are getting high on hard cider but no liquid is used. When Caleb is getting looped, the bottle is half full of liquid. I think consistency is called for.

I think this production ranks with the better musicals presented by Stageworks. The director of The Spitfire Grill is Jennifer Cheney. She and her staff deserve a full measure of credit for this effort.

The Spitfire Grill is playing at 7:30 PM on Fridays and Saturdays and 2 PM on Sundays through the 4th of May. Go to The Spitfire Grill and order from the musical menu.

Ed Phillips is a retired teacher, economic consultant and public employee. He taught economics at the University of Colorado, and was an adjunct professor at Linfield College and Clark College. He lives with his wife, Laurel Murphy, in Kalama. During their years in Alaska, the adventurous couple became avid subscribers to the Alaska Repertory Theatre. Ed describes himself as a musical theatre aficionado.

If you go...

The Spitfire Grill is playing at 7:30 PM on Fridays and Saturdays and 2 PM on Sundays through the 4th of May. Go to The Spitfire Grill and order from the musical menu.

Purchase tickets by phone at 360-575-8499 or at the CTPA Box Office, 1538 Commerce in Longview M-F 11:30-5:30 and 2 horus before show.

Lower Columbia College Symphonic Band
“American Classics,” Concert - March 15, 2008
Columbia Theatre for the Performing Arts, Longview, Wash.
Review by Fae Marie Beck

A full house of music lovers, including friends, family and students gathered to hear the Lower Columbia College Symphonic Band in concert March 15, 2008.

Someone has said that a picture is worth a thousand words. Music is surely worth a million words! Maestro Gary Nyberg led his musicians in glorious music with the verve and excellence we’ve come to expect over the 28 years he has been at the helm.

The opening number, “Swing Low, Sweet Chariot” was rich and tender.  The melody and lyrics soared on the new harmonic foundation written in 2001 by Steve Rouse.

“Buglers’ Holiday” by Leroy Anderson was uplifting and unleashed tapping feet. Trumpeter Bill Lewis was a welcome addition to the brass section which demonstrated its mastery of the art of double-tonguing.

An often unheard side of John Phillip Sousa appeared in the complicated suite, “Looking Upward.” The majesty of the three pieces shows depth of soul and mastery of musical expression. As we look into the night sky, we’ll hear again these moving compositions.  And each piece included a march!

“Hoe Down” from Aaron Copland’s “Rodeo Ballet” contains quick, varied rhythms. The symphonic band met this challenge, with the percussion section making a significant contribution to this lively piece.

In 2000, William Ryden wrote “Toccata and Rag,” a spoof on the rag genre. And a spoof it is!  All we could do was to listen and laugh.

There are several longtime section leaders in the band who serve as lynchpins to the organization:  Robert Mayclin, clarinet; Deena Martinsen, French horn; Sharon Lloyd, flute; Roxanne Knutson, oboe; Angie Boyer-Blum, percussion; and Mark Van Zanten, tympani.  Their excellence as musicians, and steadfast and dedicated participation are at the core of the brilliance and cohesion of the symphonic band. While there are many opportunities for sections or soloists to shine, the total ensemble is the memorable quality of the band.

 “Catfish Row Suite” from “Porgy and Bess” by George Gershwin, DuBose and Dorothy Heyward and Ira Gershwin was perhaps the highlight of evening.  It featured soprano Kelly Kerr and baritone Dan Johnson. Kerr’s fans and the rest of the house were delighted to hear her soaring high notes and to see her forceful stage personality.  She brought life to the role of Bess. Dan Johnson stole the show with “It Ain’t Necessarily So.” It was wonderful to hear a ‘live’ production of these familiar tunes.

The final offering of the evening was “Tribute to Irving Berlin.”  The presentation of Berlin’s well-known songs was heart-warming and soothing. We are so fortunate to hear thoughtful and careful renderings of these lovely songs right in our own home town.

Nyberg chose United States composers for this “American Classics” concert. To close the evening, he gave us an opportunity to express our pride in being Americans as we joined the band and soloists and sang from our hearts, “God Bless America.”

Area musician Fae Marie Beck served as organist at Longview's St. Stephens Episcopal Church and Westminster Presbyterian Church in Chehalis. She lives in Toledo, Washington.

Kelly Kerr returns to Longview; Dan Johnson sings for first time with LCC Band

Notes provided by Lower Columbia College on the vocal soloists, Kelly Kerr, soprano, and Dan Johnson, baritone:

Kelly Kerr was the soprano soloist years ago in a performance of Carmina Burana.  She was born and raised in Cowlitz County, left to make a career in music, and is currently writing music based on her life here and elsewhere. This was sort of a homecoming. 

She grew up in Cowlitz County (Mark Morris '74) where she was known as, "The little girl with the big voice." Ms. Kerr began her classical vocal study at age 9 and sang opera professionally until her mid-20's when she left the genre to search for more fulfilling music.

Her early, formal training and prolific performance experience allowed her to move effortlessly between grand opera, folk, love songs, country, blues, Broadway, and jazz vocal styles in diverse musical environments. She lives in Seattle where she teaches her own "Kelly Kerr Breathing and Singing Method," soon to be published as online singing lessons. She is also composing a multi-volume song cycle for soprano, titled, "Sirene."

Dan Johnson is the Director of Student Programs and Multicultural Student Services at Lower Columbia College. The Houston, Texas native is in his ninth year with the college, but this is his first performance with the LCC Symphonic Band.

His initial foray into theatre was as a member of the cast of Smokey Joe's Café, which had a very successful run at the Slocum House Theatre in Vancouver last year.

In addition to his Director position he conducts lectures and seminars, and served as the assistant coach of the Lower Columbia College Women's Basketball team the past four seasons.

The Underpants
by Lower Columbia College CENTER STAGE at The Pepper Theatre
February 27 -29 and March 1; March 6-8 and 13-15. 7:30 pm
Tickets: $9.50 adults, $8.50 students and seniors.

REVIEW By Caroline Wood (Opening Night, Feb 27, 2008)

When my children were little, just saying the word, underwear set them off into wild hysterics of naughty laughter; The Underpants has the same effect. Its a naughty play, in a little boy sort of way or should I say in a Steve Martin sort of way. Steve Martin adapted German playwright Carl Sternheims play called Die Hose and gave it a twist away from the somewhat dark satire that it was, and turned it into a highly laughable farce.

This play was excellently cast; I know this because I believed every character was exactly who they said they were. And even though a farce by definition is full of over-the-top acting, these actors gave me the person first and the slapstick second. I like that.

The play takes place in Theo and Louise Maskes middle-class, 1910 living room where the after shocks of Louise's fallen underwear come crashing down. Louise was waving in the crowd as the Kaiser paraded by, when her underpants fell to her ankles. This scandalous event caught the eyes of certain male onlookers who then fell besotted by the sight of the forbidden silk, accompanied by flash of flesh.

Theo always one to pinch a penny has been trying to rent out a bedroom in their home with no successuntil now! Now the room is in high demand. So much so that it must be partitioned and made into two rooms. Oh, Theo is so delighted. And with all his self- acclaimed intelligence he has no clue to what is really going on; men full of lustful intentions towards his wife!

The first to come is a romantic poet, the second a passionate but frail Jewish barber, who wants it to be clear that he is not Jewish, given the anti-Semitism in Germany at the time. (This is obviously some of the original theme of the play before Steve Martins more comical adaptation). There are some downright funny lines in this play, plus some smart and naughty innuendos.

Theo Maske is played confidently by Lechaun Baker. This is Mr. Baker's first play and it won't be his last. He's a natural. He has an ease on stage that is very appealing. Which is interesting that I say that because I didn't like his character AT ALL; he's narrow minded, high-handed and flatly treats his wife like a coffee table.

Gabrielle Braman does a sensual job of playing Theo's wife, Louise. I like Ms. Braman's quick and timely responses and her expressive face adds to the delight and fun of this play. There are moments when her character is forced to think on her feet and change her tactics on a dime. This actor does it right every time.

Diane Krane plays the nosey, wily upstairs neighbor who encourages the younger Louise to have an affair. She admits she is eager to experience Louise's affair vicariously. She even sews her some sexy under garments to wear for the special occasion and offers to play look-out for the husband. (What are good neighbors for right?) Ms. Krane plays perfectly the seductive woman; a woman who can't be trusted. This character could so easily have come off as one dimensional but Ms. Krane sees that she doesnt. Not an easy feat, because she's not on stage that much. But every time she comes back on there are more layers taken off. I like that in a character and in the ability of an actor to show this.

Frank Versati, the romantic poet who caught a glimpse at the parade and is now besotted, is played by Christian Womack. Frank Versati is in love with words and the passion that seeps from those words that are the rarest of all; the starved for words that only love can feed to you. Mr. Womack brings the dash to the dashing of his character and is just as eloquent when engaged in bantering conversation. His timing is precise which brings crispness to his character.

Seth McNally plays Benjamin Cohen, the nervous but nervy Jewish barber. Mr. McNally loves doing comedy and it shows. His comic sight gags and comedic timing are seamless. His eyes will be the first place on his face where expression begins. It lingers there for just the right a mount of time, then there's a shift and other parts of his face take over. You simply go wherever they're going. This is an actor who is willing to strip himself naked in order to put on the vulnerability wardrobe of the comic. Something I respect a lot because comedy is not easy. In fact, comedy that looks this easy is hard.

Then we have Klinglehoff, played by Nick Long. Klinglehoff is an old absent-minded scientist who shuffles on stage and off again earlier in the play and you wonder, after a while, if you didn't imagine the whole thing. But then he comes back and he wants to rent the room. Mr. Long is convincing at playing a bent old man who has wandered into a situation that confuses him more than he already is. Mr. Long delivers a great laugh through his character. It was one of those many, in the play, laugh out loud moments. So wonderfully unexpected from this intellectual gentleman.

For me the big stand-out about this play is how well these actors support one another on the stage. You get the feeling this is a really tight cast. But then again, they could be just really good actors.

The costumes designed by Mary Rayon were nicely done, adding authenticity to this period piece. We see lots of ruffle and lace on Lousie's underpants when she flashes Klinglehoff, sending him into spasms of gasping. Because the Pepper is an intimate setting and I was sitting in the front row I was glad to see the details on the female characters shirts and dresses. Attention was paid to detail. Just think of it this way, if the costumes aren't true are you going to believe anything the person says that's in them? I dont think so.

The Technical Staff ran the show without a flaw. The set worked very well, it gave the atmosphere of the period with minimalist feel. The music was perfect and the lighting came and went with a fluidity that Ive come to expect from a Don Correll's directed and produced play.

My one criticism of this play is that I would have liked the opening scene to have been bigger for sparks to have flown just a little higher. It didnt take long for the sparks to start flying though. This is a play with a wonderful cast that has been thoughtfully directed. Its always a pleasure to see the talent that comes through Don Correll's work!

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.

“A Midsummer Night’s Dream,” by William Shakespeare
Presented by the Dana Brown Mainstage Theatre, Susan Donahue, Director
Review by Jennifer Cheney

The course of true love never did run smooth, as the company of one of William Shakespeare’s most mirthful, mixed-up romantic comedies can well attest! But an appreciative crowd of more than 300 enjoyed the opening night performance of A Midsummer Night’s Dream at R.A. Long High School’s Dana Brown Mainstage Theater. 

The play centers around four social groups – royalty, lovers, mechanicals, and fairies – whose crossed paths intertwine to create a magical maze of love potions gone awry. Theseus, Duke of Athens, amidst planning his upcoming wedding to Hippolyta, hears Egeus' complaint of her daughter Hermia’s refusal to marry her chosen suitor, Demetrius. Hermia is in love with Lysander, to Egeus’ chagrin. Theseus gives Hermia an ultimatum of marriage to Demetrius, death for parental disobedience, or life as a nun. Lysander and Hermia then flee the city with plans to elope.  But Hermia's friend, Helena, who is in love with Demetrius, informs him of the lovers’ flight in an attempt to regain Demetrius’ spurned love. 

In the forest, Oberon, King of the Fairies, argues with Titania, the Fairy Queen, over custody of an orphan boy. Oberon orders his servant, Puck, to fetch him a flower with magical love-potion qualities, with the intent to charm Titania’s eyes as she sleeps.  Upon awakening, she will fall in love with the first vile thing she sees and in turn give him the child. 

Demetrius appears, with Helena in hot pursuit. Oberon instructs Puck to anoint the young Athenian man with the flower so he'll love Helena rather than Hermia, while he in turn anoints Titania. But Puck later encounters Lysander and Hermia sleeping in the forest, mistakes Lysander for Demetrius, and anoints the wrong Athenian man. Helena appears and awakens Lysander, who immediately falls in love with her. And meanwhile, a group of mechanicals – misfit, blue collar laborers – are also in the forest, rehearsing a play to be performed at Theseus' wedding.  Puck appears and transforms Bottom’s head to that of an ass, causing the actors to flee and Titania to awaken and fall in love with Bottom. Of course, hilarity ensues!

The technical aspects of this show were no less than wonderful.  A golden moon shimmers in a majestic blue summer evening sky above a sleek and simple multi-level set, its platform edges trimmed with just enough glitz to hint at the promise of magic to come.

The modern costuming complimented the play nicely (I know some are purists about this, but in my opinion, the modern touches made the audience more comfortable and easily able to relate to the characters). A great deal of work and planning went into costumes and makeup for the sprites and fairies, and I can only describe them as absolute fun! 

The lighting design by Hal Phillips was almost sparkling, with an ethereal feel throughout. My only suggestion here would be a more enveloping darkness when Oberon orders Puck to overcast the night for the staged fight between rivals Demetrius and Lysander.  And special kudos to sound designer Nathan Drake, for his tasteful choice of modern music that flowed gracefully with each scene, be it comic, romantic or mystical.

One particularly creative touch to this production was the occasional projection on the back wall of key quotes from the script at the onset of each scene, detailing the theme of the action to follow.  It reminded me of a modern technical incarnation of the old-fashioned scene cards carried across the stage in a western melodrama, and added visually interesting flair.

Shakespeare’s writings can intimidate young actors when lines contain obscure references that had greater meaning to audiences 400 years ago than to audiences today.  So directors will often choose to delete some lines, making the text easier to learn.  But it still demands a greater level of “homework” on the actors’ part to comprehend the meaning of what they are saying, while still painting beautiful pictures with words.  This can be a tall order on a young cast, some of whom are experiencing their first Shakespeare play. As an audience member, it seemed to me that while some of the younger actors did not comprehend all of the meanings behind their lines, they did understand most. And overall, what was missing in comprehension was made up in strong energy throughout the play. The actors’ eagerness, even excitement, about their presentation was contagious.  

The true richness of this play was in the wonderful comic bits generously sprinkled throughout.  Double-takes, reactions and clever improvisational stage play abound. I giggled aloud many times at the brazen antics of opportunistic fairies, and their interactions with the foolish mortals around them. Much of the comedy was heartily served up by the mechanicals; this rough-around-the-edges bunch has great rapport and garnered a number of hearty laughs, both with one another and with the audience. I was tickled by the comic timing of Darby Erickson as Peter Quince, the leader of the mechanicals. Erickson portrayed Quince as a stressed-out, stereotypical computer nerd full of angst when all goes awry, resulting in some nice moments of competitive animosity with the whimsical Nick Bottom (Michael Cheney).

The one thing that really didn’t work for me as an audience member was the removal of sleeping characters from the stage after their scenes. Albeit cleverly masked under the guise of sleepwalking, it created unnecessary congestion by adding scene changes that can slow the pace of the show, and seems somewhat contrary to the story’s establishment that the charmed subject is to fall in love with the next thing they see. The stage is large enough and the plot of the play fast enough that, in my opinion, allowing the sleeping actors to stay in place would have been a stronger choice.  Notwithstanding, these bits were nicely offset with appropriate music and mystical movement.      

Titania (Kylee Gano) and Oberon (T.J. Wistrick) looked great together. The invisibility of the fairies and sprites was a nice touch, allowing them to easily observe the sparring lovers’ spats.  But I would suggest a greater distance between them and the pairs of lovers, as their movement in close proximity to the humans occasionally detracted from the focal point of the scene.   

I’ve never much liked the character of Hippolyta, the fiancé of Duke Theseus, until I saw this version of the play.  Based on text alone, Hippolyta tends to be somewhat shallow and sardonic.  But I was impressed with director Susan Donahue’s choice to selectively reassign some of Theseus’ lines to Hippolyta. The pleasant result was the creation of a witty, wise and compassionate Hippolyta, beautifully played by Sara Brown. Brown’s impeccable diction and clear understanding of the text made her a riveting focal point of her scenes.  She and Adam Wolfer as Duke Theseus had nice chemistry together, and their mutual affection as the newlywed royalties melted the audience’s hearts. 

The play-within-a-play interlude was pure delight.  This scene typically oozes belly-laugh comedy, and the audience was certainly not disappointed when the mechanicals all delivered with flying colors. But an unexpected twist was Chris London’s heartfelt and touching death scene as Thisby, which added a dimension of depth and richness that stole both the heart and the scene. 

Three cheers for the Bergomask dance!  This was the true highlight of the play, a real visual treat bursting with joy and high energy. I laughed out loud during fun dance cameos by mechanicals Peter Quince and Robin Starveling (Corey Farmer), and between Philostrate (Tyler Whitlock), assistant to Duke Theseus, and Moth (Stephanie Ryan), a fairy of Titania’s train.  No surprises spoiled here – you’ll just have to see it!

This show is definitely a “don’t miss.”  The overall quality and high production values contribute to a wonderful evening of feel-good entertainment. While the craziness may not seem to have much reason…to say the truth, reason and love keep little company together nowadays. 

Jennifer Cheney is an artistic director for Longview Stageworks and has been involved in local theatre for more than 20 years as an actor, director, stage manager, designer, and producer.  She works locally as a legal assistant and private investigator, and is a member of the Storytellers’ Network. She lives in Longview with her husband of 18 years, Michael Cheney, and their three children.

The King and I

Review by Elaine Cockrell

With the faint sounds of the state basketball play-offs in the background, the second night audience of Rising Star Production of The King and I  fell under the musical spell of 1860’s Siam and the king who didn’t want the world to see him as a barbarian. 

The play tells the story of Anna and her son Louis arriving in Siam, where Miss Anna will be the tutor for the King’s children and his wives. Miss Anna encounters cultural differences right from the beginning, with arguments of whether she will live in the palace or get the red brick house she was promised in her contract.

The King marvels at a new map of the world where Siam is so small and snow is described as falling lace.  Miss Anna rebels against the King’s authority, refusing to be called his servant and creating a rift that is healed only by Lady Thiang, the King’s first wife, who seems to understand Miss Anna and the King better than anyone.

The King wants to move Siam forward into the modern world, but finds dangers on every side.  While he is willing to send President Abraham Lincoln male elephants to win the Civil War, he is chagrined at his own slave Tuptim’s play of Uncle Tom’s Cabin where the slave owner dies trying to recover his runaway slave.  The cultural differences and the King’s ultimate authority climax with the question of what to do with Tuptim, when she tries to escape with her lover. When the King faces Anna’s cry of being a barbarian for whipping Tuptim, he loses face. Phra Alack, the King’s advisor, and Anna agree on one thing:  both are sorry Anna ever came to Siam.

Interwoven into this tale of cultural conflict is a wonderful musical, filled with intricate costuming and detailed sets. The sets include the deck of a ship, the King’s palace, Anna’s bedecked bedroom, and the gardens surrounding the palace. Kelso High School’s stage was big enough for the scene changes and a huge cast.  The costumes were well done, especially Anna’s traveling clothes and her ballroom gown. Tuptim and Eliza’s headdresses were beautifully intricate. The King and his son, Prince Chululongkhorn, wore rich fabrics as suited their positions. The masks for Uncle Tom’s Cabin for King Simon of Legree, Uncle Thomas, and the scientific dogs worked well.

The King, played by Steve Thorpe, was witty, slyly humorous, and alternately full of power and questioning his role as king.  Mr. Thorpe used his role to battle an upstart English woman, winning their personal war by insisting Anna keep her own promises and keep her head below his as he slowly acquiesced to her demands for a house and a rise in salary.  Mr. Thorpe won the ultimate battle of getting the audience to fall in love with his rendition of the king, with Yul Brenner’s ghost haunting the stage.

Anna, played by Jueanne Meyers, was true to her character in that she was “a very difficult English woman.”  While she fought the battles with the king with subtleties such as teaching the children songs about her home, sweet home, the 21st century woman’s voice could be a bit softer to stay true to the 19th century role.  Ms. Meyers’ voice occasionally wavered, perhaps due to nerves, but was in general quite pleasing while complimenting her strong acting.

As Number One Wife, Lady Thiang (Laura Ouellette) had the strongest, most beautiful voice of the cast.  She played her role as peacemaker between Anna and the King to perfection.  Her understanding of her husband, sung as “Something Wonderful” was the vocal highlight of the evening.

Tuptim, played by Debi Meyers, did an outstanding job with the play-within-a-play of “Small House of Uncle Thomas.”  She narrated the play her character wrote very well.  Her voice is a sound in training, with lots of promise, but needs to sing on top of the pitch.  The same can be said for her lover, Lun Tha, acted by Robert Larson.

Two strong supporting roles were the young sons, Louis, played by Daniel Hull, and Prince Chululongkhorn, acted by Kole Musgrove.  Both acted well and sang a difficult piece “Is a Puzzlement.”  The boys reflected upon the adult’s world, wondering how a strong woman and strong king could also be unsure of themselves.

The cast at large was very talented.  Cast numbers sounded full-bodied and were choreographed well.  The sub-plot of Uncle Tom’s Cabin was delightful, with great dancers, singers, and set.  The children and wives played their parts well and added to the story line with believable nuances showing character. 

In all, The King and I is an excellent community production.  Kelso High School, without the state playoff games, is a bonus to Rising Star Productions as a venue worth repeating.  Get your tickets now, and sink into the wonderful story of a king, an English lady, and their musical cultural conflict.  

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.

IF YOU GO

Rogers and Hammerstein's "The King and I"
presented by Rising Star Productions

Feb 22, 23, 29, Mar 1, 7, 8 at 7:30 pm; Mar 1 and 8, 2 pm Kelso High School Auditorium, 1904 Allen St., Kelso, WA

Tickets: Adults $10, Seniors $8, Children under 16 $5. At the door
1/2 hour before curtain time or in advance at www.risingstarproductions.org or by phone. Tickets or more info, 360-749-5212.

Southwest Washington Symphony Concert: A guest cello virtuoso, no score and plenty of smiles
Feb. 12, 2008 Longview, Washington.
Review by Fae Marie Beck

What a thrill it was to hear in Longview's historic Columbia Theatre a full concert of Dvorak's music, performed by the Southwest Washington Symphony. The orchestra's director, Maestro Ryan Heller, who is also a skilled choral conductor, often smiled broadly while conducting; on occasion, players returned his smile. Singers know that smiling changes the vocal tone; is instrumental tone also changed when players smile? Whatever the case, the orchestra's tone was full and warm and its members, playing with vigor and sensitivity, were fully present. Many looked frequently at the conductor and played with intention and absorption.They seemed to have taken the music inside themselves, before offering it back to the audience.

Czech composer Antonin Dvorak (1841-1904) wrote the New World Symphony and the Cello Concerto in B minor during three years spent in the United States. Finding inspiration in the music he heard here, he was especially interested in the music of the blacks and Native Americans. Dvorak said he didn't use melodies from that music; rather, he used the rhythmic ideas.

The Slavonic Dances were perfect for opening the program and setting the scene for Dvorak's glorious and exciting music. Dvorak wrote sixteen Slavonic Dances and we heard two. They glistened and were spirit-lifting.The dances, sometimes dramatic and at other times light and dainty, were played with competence and familiarity.

Dvorak wrote only two cello concertos. The other was never published. When Johannes Brahms read the score for Dvorak's B Minor cello concerto, he is reported to have lamented not writing a concerto for the cello, having previously thought the cello was too weak an instrument for a concerto.

The Southwest Washington Symphonys guest solo cellist, John Michel, was brilliant. His cello sound was vibrant, penetrating, soulful and jubilant. His technique is outstanding and accurate.

The orchestra never overpowered the cello as the concerto was played. In fact, it seemed as if the orchestra and the solo cellist had played together for years! The second movement especially showed this mastery. The third movement solo part is sometimes quite virtuosic, and Michel played with complete aplomb. Central Washington State University is fortunate to have him as professor of cello. And we are fortunate to have heard him. Later, Michel joined the orchestra for the performance of the New World Symphony, adding substance to the already sizeable cello section.

The New World Symphony is perhaps the best loved of all symphonies. I certainly love it more after studying it for this review and hearing it performed last night!

An aspect of all Dvoraks music on this program is the egalitarianism. The woodwinds and brass have significant parts and are not relegated to background accompaniment for the strings.The oboe, English horn, flutes and clarinets have a chance to play the beautiful melodies in this magnificent symphony.The brass play like thunder the powerful melodies assigned to them. At other times the brass were required to play softly or singly and that was sometimes tricky. In the third movement, there is much interplay between the oboe, flute and clarinet as if a ball were being tossed back and forth.Then the strings and the woodwinds play toss. The effect is light-hearted. The fourth movement is dramatic and big, ending with much sound from the full orchestra, and then tapering off with a chord from the woodwinds.

Maestro Heller conducted this symphony without a score, a sign of how well he knows the music. And some of the players seemed to know it almost as well. The orchestra has flourished under his tutelage. The violin section has grown. The orchestra can hardly fit on the Columbia Theatre stage! The intonation is good. The group plays with cohesion.

I have been listening to the Southwest Washington Symphony for about 30 years. I've made music with many of the members. Hearing them play is like having a concert in my living room. If you are not a frequent member of the audience, I encourage you to become one!

The Symphony's next concert is set for Sunday, April 20 at 3 p.m. at The Columbia Theatre.

Area musician Fae Marie Beck served as organist at Longview's St. Stephens Episcopal Church and Westminster Presbyterian Church in Chehalis. She lives in Toledo, Washington.

The Imaginary Invalid by Moliere

REVIEW By Michael Cheney

Ahh, the classics!  Longview Stageworks’ production of The Imaginary Invalid, written by Moilere and adapted by Merritt Stone, is just that…classic. As a young actor I was painfully subjected to the litany of classic writers that every good actor needs to study.  Yet years later, I have come to respect and understand the nature of these classics and how their themes relate to a modern society. 

Moilere’s last play, written over 450 years ago, The Imaginary Invalid, has managed to stand the test of time and relate so much to a modern audience. In a day and age where some doctors will scribble out a prescription for just about anything, and the more white coats you have in the background of some pill commercial, the more it means that it must work wonders, should we really be surprised that The Imaginary Invalid feels as relevant today as it did when healers swore by snake oil and holy water rather than Nexium and Zoloft?  Invalid, directed by Lorraine Cink, was well received opening night.  Ms Cink has done a wonderful job in relating this play to a modern audience and bringing some good ol’ fashion slapstick to Longview.

The play is set in the reception room of Monsieur Ardin.  Ardin is a rich man with severe hypochondria. He decides to marry his eldest daughter, Angelique, to a young doctor from a family of doctors in order to have them always around to tend on him for free. She, however, is in love with another young man named Cleante. When Angelique refuses, Ardin gives her four days to agree or become a nun. Hilarity ensues as Cleante, Toinette the maid, and Ardin’s brother Beralde, all try to change his mind. Eventually he is convinced when, while pretending to be dead, he discovers that his new wife is only in the marriage for the money, but his daughter truly loves him. He consents to her marriage with Cleante, and Beralde convinces Ardin to become a doctor and treat himself.

Monsieur Ardin, the lovable hypochondriac and central character played by Dale Hillman, was enjoyable. Dale’s energy and silly portrayal brought much laughter and giggles throughout the show.  The pairing of master to servant is never what you expect – you just can’t get good help these days – however Toinette, played by Janeene Stephens, pairs well with Hillman and her comedic timing and delivery keep the show moving.

A lot of work and effort went into this production; the sets and costuming are stunning.  KC Andrew has skillfully dressed and carefully coiffed wigs to bring forth the beautiful character and picture of seventh century France.  Chris Cook and all involved in the set construction have captured the very feel of Baroque architecture. I often thought while watching this production that if the actors stood still they could be a painting. The technical aspects of the show were well run and practically unnoticeable, which is equivalent to the actors’ standing ovation. However, the actors and technicians need to realize that the space is small and that they can be heard moving back and forth behind the audience, which draws attention from the play.

The show benefits from good direction. Cink and the actors do a good job bringing the audience into the action and keeping them there, however some of the staging brought me back out of the scene.  Most of the action is played to the center section with little attention to the sides, and with the wigs and costumes I missed a lot of the reactions. I felt that the show kept pace and the timing was good; however, there were a few scenes in the second act that needed some sparkle. For example, the scene where Toinette disguises herself as a doctor to sully the name of Doctor Purjon didn’t quite have the “laugh out loud” feel that it could have. That being said, one of the show’s funniest moments was for me was Louie’s (Eric Rakestraw) exit line “berries and cream.”

Still, the great Frenchman's last contribution to the world's stage – he died
onstage while playing Ardin – proves that time stands still when it comes to the eternal nature of the hypochondriac.  Longview audiences will enjoy this show just as much as audiences did in Moliere’s time.

A technical designer, director, and actor, Michael Cheney has been involved in local theatre for over 20 years.  He has worked locally with LCC, Longview Stageworks, Cascade Players and Dana Brown Mainstage Theater companies.  He resides in Longview with his wife, Jennifer, and their three children.

IF YOU GO

Moliere’s “The Imaginary Invalid”

Jan 24 – Feb 17; Fri and Sat 7:30 pm, Sunday matinees, 2 pm
Pepper Studio Theatre, 1235 Vandercook Way, Longview, Wash
Tickets: 888-575-8499The Imaginary Invalid
Directed by Lorraine Cink
Starring: Dale Hillman, Janeene Stephens, Caitlin Nolan, Jamie Hegstad, Adam Pond, Mark Bergeson, Mike McElliott, Phillip Kennedy and Eric Rakestraw.

Synopsis: A classic comedy of treachery foiled by trickery! Jean Baptiste Moliere’s classic satire of the medical profession will have audiences in stitches when an eccentric, wealthy man crippled by severe hypochondria tries to marry his daughter Angelique, off to a physician just to always have a doctor around. Toinette, the maid and Beralde, Ardin’s brother, do everything possible to dissuade Ardin in his determination to marry Angelique to the stupid Thomas. Beline, Ardin’s shrewish wife, is determined that Angelique shall become a nun so that there will be no one else but she, Beline, to inherit Ardin’s estate. Hilarity ensues as our dramatic hypochondriac spends all of his money to his imaginary ailments, romantic twists evolve, and Disaster must surely follow. A hysterical caricature of society’s childlike devotion to the healthcare systemas well as a prescription for a fabulous evening of laughter.

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Other reviews: Chaps - Chiaroscuro (LCC Band) - The Foreigner - Steel Magnolias - SWW Symphony Fall Pops Concert