For those of you who are in your early 20s and late teens, you could do worse than view Grease as a lesson in what “cool” meant for your grandparents during the Eisenhower era. Hot chicks, cool cars, and cigarettes were the necessary accoutrements of coolness. Though I must admit (being of that generation) most of us couldn’t sing as well as the principals in the cast of Grease being presented by the Shoestring Players at Olmscheid Auditorium, St. Helens High School in St. Helens Oregon. I’m assuming most viewers over six years of age have seen the movie or the play sometime, somewhere. It is often on TV. Therefore, I’ll dispense with a tedious plot description. Let’s just say cool guy meets hot chick, some misunderstanding occurs, but in the end cool guy really meets the chick.

Grease was first produced on Broadway in 1977 and was an immediate hit. The movie came out in 1978 to great success. The play has had several successful revivals on Broadway and is playing there now. (You can get tickets for $175).

It is easy to fathom the play’s success. The book, music, and lyrics capture the period perfectly and the music is great.

All these assets make for a great night’s entertainment if the production is well done. The presentation by the ShoeString Community Players passes the entertainment test with ease. The staging is clever, even if some of the delays between scenes are a bit long.

Now, let’s be honest, Grease is a musical, so its entertainment value rises or sinks with the musical staging and the quality of the singing. The ShoeStringers have done well on both counts. The leads can all actually sing and two can sing well, indeed. Seth Brock as Danny Zuko, the male lead, is an excellent vocalist, maybe better than excellent. He also has the physical characteristics (pencil thin) and dance moves necessary for the role. He fits my memory of a “greaser.”

Tabitha Rotter as Rizzo embodies the role physically and emotionally, and to top it off has a big, dramatic singing voice. The lady can sing!!! Her rendition of “There are Worse Things I Could Do” was a show stopper on Saturday night, and I suspect will slow down future performances, also.

Elizabeth Robbins as Sandy Dumbrowski is an able vocalist and scored very well on “Hopelessly Devoted to You.”

Kenickie aka Mike Cornell has the pipes to carry off the role, but I found it difficult to hear the lyrics to “Greased Lightnin’.” It could be a mike problem. Otherwise he is a greaser, through and through, and Scott Lowrey was the Teen Angel. Nice job, Scott.           

Everybody -- and I mean everybody -- proved more than able in the dramatic/comedy elements of the play. Both Patric Gump as Doody, and Joey Culp as Sunny had fine comic moments and reminded me of the types I avoided when I was suffering through high school in the mid 1950s.

Finally, every musical needs a band in the pits. “The Rydell Symphonic Band” was well pitted and played what must be ancient music to some, with style and verve. I felt like doing a dance step or two myself, but with arthritis and all, my wife prevented what might have become an ‘incident.”

I fail to see how someone could not enjoy themselves attending this production of Grease. I was happy to see a large audience clearly enjoying the experience. There were more than a few in the audience who viewed this production as a documentary on their youth, present writer excepted.

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 show has an upcoming matinee performance at 2 pm , July, 13^th).

Regular performances are on the 11^th,12^th, and the 17^th-19^th at 7 pm.

Tickets are $12 for adults and $8 for youth (damn youth!)

REP
by Greg Atkins
Directed and Produced by Don Correll
Lower Columbia College Center Stage at The Pepper Theatre

REVIEW of OPENING NIGHT: May 20, 2008
by Caroline Wood

I have felt for a very long time now that what I love most about theatre is that it’s about life. Life can too easily become something we pass by or something that passes us by. Theatre is a place outside of time and when we sit in a theatre’s enclosed darkened space we are given an opportunity to see and hear and feel. I mean really see, hear and feel. This is what I expect from a good night at the theatre and it is what I got tonight.

REP, written by Greg Atkins, is a play about a young repertory company struggling to survive, fighting to live while coming to terms with endings. If stillness is sought, often it is movement that will take you there; the movement in this play is propelled by the shifts that happen when growth insists it is time. The play takes place in a theatre that had once been turned into a furniture store. The plumbing is bad and the audience is thin-- out of such things visions are born!

The crisp production of this play takes its audience on a journey that is often both delicate and sincere and sometimes raucously funny. Don’t get me wrong: the funny parts of this play are just as sincere as the deep, dramatic parts, which makes for a very smoothly-delivered whole.

The play opens with an almost bare stage with Diane Krane appearing as The Repertory group’s stage manager. Ms. Krane does a beautiful, convincing job as a stage manager who is well weathered in the ways of “behind the scenes” relationships, as well as the chaos of keeping things running smoothly. I like the way this actor brings a lot to her character without making it look as though she’s working at it. It puts audience members at ease and when I’m comfortable in this way, then I’m open and can relax into the play.

Next to appear is Christian Womack as Richard Townsen, the newest actor to join the rep group. He plays an actor who is at the top of his game; he keeps himself in top physical condition and puts himself through disciplined voice warm up routines before rehearsals and performances (which are funny and brings easy laughter to the beginning of the play). His character is always on time. Christian Womack, with his good looks and smooth acting, has no problem bringing his character to romantic reality. But he can get really angry -- this Richard Townsen -- and Christian Womack is smooth at erupting his character into fumes. It’s great when an actor has this range. I love to see it. Because we all, if we’re not robots, have these ranges in us and if we’re going to believe a character we must see him/her as human.

Caitlin Nolan brings honest, authenticity to her character, Anglea Delmonte. Anglea has the reputation of sleeping with most of the men she acts with and she’d be the first to tell you. As soon as she sees Richard Townsen she lets him know what she has on her mind.

I laughed when she asked him if he had a girlfriend. His reply (he’s obviously really attracted to her) is, “I don’t know.” The truth is he “kinda” does, but that doesn’t stop them. It doesn’t stop Anglea. Don’t dismiss Anglea as just being ‘easy.’ She is a complex character that experiences some major growth in this story. Ms Nolans’ beautiful, poignant speech at the end of the play brings this home wonderfully. Both Ms. Nolan and Rachel Fielding (as is natural for an actor to do backstage in their dressing room) remove their street clothes and put on their costumes…right in in front of us! Now for me, this is the stuff that anxiety-filled nightmares are made of. But these two stand before us in their underwear quite unabashed! Which is what good actors would do. Maybe next time I have that dream of walking down the street in my underwear, I’ll dream I’m an actor! Oh, and along with everything else that Caitlin Nolan is able to deliver, her delivery of comedy is perfectly timed.

Gabrielle Braman plays actor Rachel Fielding. Oh, the complex relationships these people have with one another! I would tell you more about who loves whom, but you’ve got to see it for yourself. All this would make your head swim if it were not for the fact that you are so gently taken by the hand and let feel the realness of their feelings and fears. Ms. Baman is really great at being funny and wise at the same time, a lovely combination in an actor.

Mike Rader as Mike Norris and Corey Farmer as Mel Whiteside are hilarious! The two are members of the rep group but want to go out on their own. Which they do. And you know they’re going to be successful because they have you in stitches laughing. What is so enjoyable about watching these two actors together is that their playfulness awakens the playful spirit in yourself. You find yourself laughing not only because they’re very funny, but because you’re feeling good. Isn’t that what comedy should be -- medicine? These two were generously dispensing it all night. And when it was time to get serious, these two were there, too. Great casting!

I first saw Seth McNally in Center Stage’s production of “The Foreigner.” I was impressed with him then and my opinion has only grown. Mr. McNally plays Ken Rothman, the artistic director of the theatre company who has put everything on the line to get this rep company going. He’s reclaimed an old theatre that was used as a furniture store, he struggles to make mortgage payments while at the same time tries to make sure his actors are okay. He’s the one that has to have the level head or else all would go sliding! Seth McNally brings an egoless, eloquence to his character by giving what he possesses to his character. No better gift can an actor bring to a character.

Mary Rayon designed costumes that brought authenticity to the play. The play’s action takes place from 1985- 1995. That 10-year span was subtly covered smoothly. The costumes seemed to grow from the characters. It was just like they reached into their closets and put on what they had.

Meghann Rice is a name that I’ve come to associate with smoothness. Things just seems to run smooth when Meghann is managing things. And Robert Cochran as Technical Director was right on cue.

High marks go to the Technical Staff Light Board Operator Nick Long and Running Crew, Le Shaun Baker and Richie Laursen.

Don Correll understands the theatre in a way that only someone who has lived it as long as he has can. I can’t help but think he must have a real passion for this play. I believe it shows in the care he obviously took in the directing of this play. I’m used to high standards from a Don Correll production. Tonight, I felt there was a deep affection threaded through the delicate garment of this play and I know that such delicate threads can easily get lost if they are not held and watched carefully. This play displays what draws me to the theatre. It is that complex and fragile and brave place that is the heart of the actor. It’s a heart that would break if it could not open. Thank you, Mr. Correll, for being so careful with something so precious.
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.

Southwest Washington Symphony

May 20, 2008
by Fae Marie Beck

A full and appreciative audience heard a stirring concert May 20 performed by the SWW Symphony and 100-voice choir.  The occasion was a homecoming for area musicians and school administrators.  Honorary batons were presented to the superintendents of Longview and Kelso schools and to Christopher Leach, Donald Kirkpatrick and Clark Potter, products of the Longview school system.Thankful acknowledgment was expressed for the support of the music programs by the school systems and the community. 

Christopher Leach was the guest conductor of the Presto movement of Mozart’s Sinfonia Concertante, featuring Donald Kirkpatrick, violin and Clark Potter, viola.  These three fine musicians are former students of Ray Clithero, longtime Longview public school music teacher.  How rewarding it is to see the fruits of the labors of these men. Potter’s viola tone was deep and lush.  Both men displayed virtuosity and intense involvement with the piece.  The audience expressed its pride enthusiastically. 

This piece is for strings, two oboes and two French horns.  Brian Huffman and Ron Joslin, French horn, played especially beautifully, redeeming the French horn section after some trying moments in the previous two concerts.

The concert opened with the tone poem, Les Preludes, by Franz Liszt.  The piece illustrates the many emotions we experience in life, including awareness of death.  The orchestra’s performance was sensitive and passionate.  Liszt gives each section a chance to shine, and again we are aware of the contribution of not only the strings, but the woodwinds, brass, harp and percussion. The woodwinds were mellow and sweet, especially Roxanne Knutson’s oboe.

I found it unfortunate to note that the acoustics of the R.A. Long auditorium lost much of their excellence in a past remodeling some years ago.  The reverberation is very small and the sound of the orchestra and chorus was not as robust as one would prefer.

After intermission, 100 singers joined the orchestra and brilliantly sang three choral works by Gwyneth Walker under the direction of Maestro Heller, who has much experience as a choral singer and conductor.  His brilliance in this arena produced wonderful singing from a group which had minimal rehearsal as one choir.  Gwyneth Walker’s choral compositions based on existing poems are dramatic, compelling and uplifting.  Heller’s work with the choir resulted in clear diction and marvelous, rich tone.  Not once did the orchestra overpower the choir.  Again, kudos to Heller.

The crowning glory of the evening was the performance of the Battle Hymn of the Republic.  Peter J. Wilhousky’s arrangement of this favorite American hymn is lush and emotional. We can only imagine the thrill Heller must have experienced in conducting both the orchestral accompaniment and the choir during this piece.  The audience rose to its feet to join the choir for the last chorus.  We were ecstatic.

The concert was a wonderful end to a full season for the orchestra and its audience.
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On Sunday afternoon, April 20, 2008, an appreciative audience gathered at the Columbia Theater in Longview to hear the Southwest Washington Symphony under the direction of Ryan Heller.  We heard the work of two well-known Russian composers, and the guest young artist, baritone Seth Burns.

Maestro Ryan Heller led the orchestra with verve, energy, gusto and great sensitivity.  The quality of musical performance continues to improve under his leadership.

The Russian composer, Rimsky-Korsakoff (1844-1908), gives the listener an intense experience of the passion surrounding the Greek Orthodox celebration of Easter Eve and Easter Sunday.  Rimsky-Korsakoff used melodies from the Obikhod, a collection of the best known canticles of the Greek Orthodox Church.  This piece gave us many opportunities to hear the orchestra’s fine woodwind section.  Oboists Roxanne Knutson and Lisa Sudar, flutist Ellen Bercovitz, clarinetists Dick Uthmann and Kris McElroy-Weber and bassoonists David Taylor and Ray Clithero form a solid, dependable and accurate core for the orchestra.  Their playing is simply beautiful.

The audience was completely charmed by the baritone soloist Seth Burns.  His selection of three very different pieces was delightful and demonstrated the solid musical foundation he has achieved so far.  His performance was polished, his diction superb, his intonation accurate and he had a good grasp of his material.  Emotional depth, more shape in line and phrasing and more passion will come as this fine young singer matures.  It is thrilling to hear such a promising young man.  His development bears watching!

P.I. Tchaikovsky’s Symphony No. 4, in F minor was the tour de force of the afternoon.  It is a huge, demanding work that stretched the orchestra.  Critics and musicologists describe the fourth symphony as a work of the mature Tchaikovsky.  Tchaikovsky states that the work is full of sadness and depression.  He says it demonstrates that we are victims of fate.  He admonishes us to look to our dreams and the happiness of others.  He uses waltzes and folk melodies to provide lightness.  Even so, the work is one of intense emotional drama.  This very difficult composition had its brilliant moments as performed by the orchestra.  The third movement’s pizzicato by the strings brought smiles to our faces.  Again, we had the pleasure of listening to the various woodwinds. And the fourth movement was clear and quite well done.  There was cohesion and accuracy in the brass sections.  The entire orchestra seemed to bring fresh energy to this movement.

The audience rose in standing ovation to express its gratitude for an afternoon of outstanding music.

The Symphony's next concert is scheduled for 7:30 pm, Tuesday, May 20, at R.A. Long High School, Longview. For ticket information, call Deena Martinsen, 360-577-7919.
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