Reviews of local stage productions

NOTE BEFORE READING: If you see the show on your birthday, mention that to the ushers for a delightful surprise!

It might be hot outside, but inside Fenton Village Players it's nice and cool with A TASTE OF BROADWAY. This musical collage isn't your ordinary musical revue; it’s a fantastical theatrical experience that brings your love of Broadway, the intimacy of a cabaret, and the heart of a tight-knit community together into a delightful night of theatre. From the moment you step through the doors, you feel like a part of the action. The performance space has been transformed into an elegant dinner-theatre setting, complete with cozy candlelit tables, themed drinks, and softly glowing lighting that immediately pulls you in. 

As pre-show piano music, lovingly played by the talented Zachary Nash, fills the room, you’re already being drawn into the show. It’s like receiving a warm hug in musical form. Even before the first note of the show, the tone is set: this is a celebration! A celebration of theatre, of community, of human storytelling, and everyone in the room is invited to be part of it. The musical selections span decades of Broadway history, weaving through golden-age charm and contemporary edge with remarkable ease. From beloved hit shows like "Hello, Dolly", "Company", "Rent", and much more, each number feels carefully chosen to highlight both the performer and the song’s unique heart.

Director Mary Collins has crafted something special here. Her approach turns what could have been a simple series of musical numbers into a cohesive, emotionally resonant journey through Broadway’s past and present. Collins’s direction exudes warmth, humor, and purpose, and her fostering of connection with the audience ensures that everyone in the room feels welcomed.

The incredible cast includes: Trevor Allen, Raegan Barden, Mallary Bettendorf, Willow Collins, Tyler Easton, Kasey Julian, Kat Matthews, Matthew Muller, Janie Marie Patton, Allie Pethick, Caleb Petty, Daniel Ragan, Tammy Robison, Lindsay Tatum, and Zach Whitt. What makes this group exceptional isn’t just vocal talent (which is abundant), but the chemistry and camaraderie they bring to the stage. Each performer inhabits their moment with authenticity and heart, whether delivering a powerhouse solo or blending into an ensemble with grace. The only bummer of the show is that there was not a setlist of all the songs and who was performing each piece which makes it hard to add songs to your Spotify, or for the purposes of this review, give individual shoutouts. While I may not be able to name each singer-song pairing, consider this a heartfelt round of applause to every soloist: your work was enthralling!

Two numbers deserve specific shoutouts as showstoppers. First, “Suddenly Seymour,” from Little Shop of Horrors, performed by Raegan Barden and Caleb Petty, was a showstopper in every sense. Their vocal blend was impeccable, their emotional connection electric, and the sincerity of the story was hypnotic. It also served as a thrilling teaser for FVP’s upcoming Little Shop of Horrors in 2026.

My favorite moment was “Seasons of Love” from Rent. This ensemble-led rendition avoided cliché and instead created a moment of profound connection. Cast members distributed lyric sheets and gently encouraged the audience to sing along as everyone enjoyed a moment of euphoric joy that can only come from singing with your friends. What might have felt gimmicky in any other theatre setting became deeply moving. As voices filled the room, the show briefly transformed into something much larger than itself: a shared act of expression, a living testament to theatre’s power to unify. I saw audience members clapping, smiling, hugging, and one crying from the power of community. It was simply magical.

Though the space is unconventional, the technical execution is great. Lighting by Tammy Robison is soft, intimate, and flattering, highlighting performers with care. Sound, also by Robison, is balanced and crisp, no small feat given the open floor plan and dynamic staging! Lights and sounds helped blend into a crisp dynamic that made everything feel home-like and made it so no voice was lost and nobody was left in the dark. Choreography by Karen Whittaker is enthralling yet simple, allowing the cast to adjust to the needs of the audience while still filling the playing space with dance. Whittaker also brilliantly brought great lifts, taps, and kicks to the center of the performance area so that these actors could show they can dance as well without kicking a drink out of anyone's hands! At the heart of the show is Zachary Nash, who anchors the show from the piano with dexterity and emotion. His playing elevates every number and is responsive, lush, and always in service of the story being told.  And let’s not forget the behind-the-scenes crew! From the bartenders serving up themed cocktails to the attentive ushers and producer managing the charcuterie and seating, the hospitality team keeps everything running smoothly and lifts the mood at every step of the journey.

A Taste of Broadway feels like you are being invited to the coolest Broadway themed party in town, and is more than a collection of show tunes. It’s a love letter to musical theatre, a heartfelt tribute to community artistry, and an invitation to experience joy, nostalgia, and connection all in one evening. Whether you’re a seasoned theatre enthusiast or simply looking for a night out that offers something truly special, this production delivers on every level. It’s funny, heartwarming, and brimming with the kind of creative energy that reminds us why live performance still matters.

The show runs through July 20th, and is likely to sell out fast. Don’t miss your chance to be part of this unique, joyful celebration of all things Broadway. Tickets are available now at fentontheatre.org. Grab them while you can!

“A Driving Beat” set during a cross country road trip from Ohio to San Diego, takes us through the struggles, awkward silences and emotional breakthroughs between a white mother and her adopted brown-skinned son.  Chosen from the New Works Festival of 2023, this work is a compelling and heartfelt exploration of family, identity, and the complexities of race. Playwright Jordan Ramirez Puckett crafts a story that follows Diane (Dani Cochrane) and her son, Mateo (Mikee Loria), on a road trip to uncover Mateo's origins with pit stops, some necessary and some surprise.  At each stop, they encounter a different version of Reina, all played by Clara Triston. This journey becomes a backdrop for examining the challenges of interracial adoption, the search for self, and the enduring power of a mother-son bond.

From the start, Diane and Mateo instantly grab us into a classic modern family relationship with their awkward silence of a single mother and her angsty teenage son forced into long chats with his cell phone taken away.  Using a car game to help break the silence, we're instantly charmed by these characters as they take turns inventing backstories for the cars they pass on the highway.  When there are no passing cars, Mateo tries to break the silence with the radio but only finds static.  The static generates a beat, “a driving beat”, which sparks Mateo to help process his anxiety through a mix of rap and slam poetry in which he literally steps out of the car and uses the full stage to bring the audience into his struggles and emotions.  

Mikee Loria delivers a standout portrayal of Mateo, capturing the character's teenage angst, vulnerability, and growing awareness of his place in the world. Dani Cochrane absolutely shines as Diane, conveying both her unwavering love for Mateo and her own struggles with grief and the limitations of her understanding of Mateo’s heritage. Clara Tristan embodies a variety of supporting roles with perfection, showcasing her versatility and adding depth to the narrative.  You both love her and hate her for all the right reasons for each of her characters.  Director Courtney Burkett shows her masterful dedication to capturing the story and making the audience feel right at home with every scene.

Every aspect of the environment of “A Driving Beat” from the set, to costumes to props, to lighting and sound is done with absolute precision and dedication to detail, something I’ve experienced with every show at The Rep.  As you walk into the theatre, you find yourself faced with a partial sedan on asphalt with highway lights above and billboards all around.  Gas stations, diners, hotel rooms all float in and out of scenes while the play never stops.  I felt like I was taken along for the car trip with Diane and Mateo.  While there were moments where the sound levels of the ‘beat’ overtook Mateo’s lines during his raps, Mikee’s portrayal in these moments never let us lose his character’s feelings even if we couldn’t quite decipher all the words.

What struck me most watching “A Driving Beat” as a father of teenagers, was how perfectly Jordan Ramirez Puckett captured how a parent struggles with embracing family tradition while letting their child grow and find their own identity.  My only criticism is that I wanted more… The show is so good that it goes by fast with no intermission.  I didn’t want my time with these characters to end.

Overall, "A Driving Beat" is a thought-provoking and moving theatrical experience. It's a story that resonates with its honesty, its exploration of timely issues, and its celebration of the enduring power of love and family.  Congratulations to the Flint Repertory Theatre and to this cast and crew on a powerful, moving and charming story.  You still have plenty of chances to see this fantastic show through March 30th.  Tickets are $30 for adults, $25 for seniors, and $10 for students 13+, Genesee county residents save 30%. Tickets can be purchased online at https://thefim.org/

CONTENT WARNING: This show contains discussion of suicide and verbal abuse. Need Help? Call 988 for Suicide and Crisis Lifeline.

After getting iced out by Michigan’s poor timing January weather, Flint Community Players came in hot Saturday night with the musical FUN HOME. This Tony Award winning musical adapts the book “Fun Home” and tells the story of real life lesbian cartoonist Alison Bechdel. The unique format of the show has Alison transporting the audience into her past as we see her childhood, early years of college, and current day while she draws her Fun Home graphic novel as her memories bring her story to life.

This is a tough musical to tackle, and director Dominique H. Eisengruber brought a great team of artists to tell Alison’s story. Fae Hall leads the cast as adult Alison Bechdel and brings a candid sincerity as she wraps the audience in a blanket of warmth in Alison’s past.  Moments later, Hall tears our hearts out in the best possible way as Alison grapples with reality. Adult Alison is onstage the entire time, and Fae Hall eats up every moment in and out of the spotlight. Hall’s stunning vocals are matched by her impeccable emotional connections to every word, a truly phenomenal rendition of the character as her charisma makes your heart attach to her from curtain rise to close. Her rendition of Telephone Wire was my favorite song of hers, with crisp vocals and emotions that invigorated the scene.

Playing Medium Alison is Arianna Moore, who brilliantly brings to life Alison’s Freshman year awkwardness and fumbling adolescence, embodying her giddy exhilaration delightfully. Her vocals in “Changing My Major” fill the audience with triumphant energy and was a show stopper. Rounding out the Alisons is Small Alison brought to life with beaming brilliance by Camrynn LeMay. LeMay skips in and out of scenes with the wonder and silliness that is needed in such a heavy show. “Ring of Keys” in particular was a crowd pleaser as she sings her heart out and pours every bit of her talent into this emotionally rich song. All three Alisons work in harmony to create a fleshed out and beloved person, and their combined vocals in the finale are breathtakingly stunning as they bring the story to a beautiful conclusion.

Serving as the center conflict are the Bechdel parents, brought stunningly to life by Jordan Climie and Nicole Lawrence. Jordan Climie (Bruce Bechdel) carries the balance between his character’s captivating charisma and his repressed vulnerability with impeccable care. FCP’s social media mentions Climie visited the Bechdel Family’s residence for research, and Climie’s homework pays off in strides as he calculatedly jumps between fits of rage and moments of fatherly gentleness. It all culminates in an emotional powerhouse number “Edges of the World” where Climie’s strong vocals and emotion left the audience metaphorically speechless. Staying toe-to-toe is Nicole Lawrence (Helen Bechdel) who captures the audience’s guts and hearts with her captivating portrayal of a wife’s turmoil in her unhappy marriage. Spitting venom at just the right moments, floating wistfully with her vocals the next, Lawrence’s journey is fantastic and the grand finale of her character with “Days and Days” shining with raw emotion. Her gut-wrenching belting of the reprise lyrics “Welcome to our house on Maple Avenue” will chill you to the bone.

Never apart and always bouncing off of each other, Dominic Ryder and Marigold Entrekin bring to life the siblings Christian and John. The script does not give these characters as much to do as the others, but when Ryder and Entrekin are onstage these two bring out laughter and child-like shenanigans at just the right moments. The way they play about the space is joyful, and the song “Come to the Fun Home” was dazzling with them at the helm, the audience was living for the talent of these young performers. Engard! Medium Alison’s girlfriend Joan is played by Abigail Hause. Abigail Hause exudes confidence and coolness in her body language and vocal quality and is instantly lovable. Hause’s level headedness and charisma allows the audience to breathe when they need to, and you can’t help but want to be on Joan’s side because, come on, she is just so cool!  Rounding out the cast is the man of many characters, LeRoy Russ.  Russ juggles four different roles, lending small differentiations to make each one stand out. Russ’ vocal quality lends brilliantly to his harmonies and worked very well in giving voice to a revolving door of characters. Russ also slays it with his Bobby Jeremy outfit, devouring “Raincoat of Love” with charisma and glee!!

The set by Matthew Cremeans captivates the imagination with a library-like aesthetic, creating a warm nostalgic feeling that accents the performers. The inclusion of the original Broadway Fun Home logo at the top of the set was a nice callback. Small locations on stage left and right also work to give each Alison a central location of their own, a wonderful touch that helped with the flow! Costumes by Courtney Kelly are a treat for the senses as the 60s – 70s fashion invigorates the character’s arcs. Specific costumes that really popped were Small Alison’s rainbow sweater, Bobby Jeremy’s dazzling raincoat of love, the subtle warmness of Medium and Adult Alison, and the rough and coolness of Joan’s look. Lighting design was a standout, with Aaron Cremeans bringing the emotions of the world into each lighting cue with subtle colors that illuminated conflicts just right. Sound Design by Jonas Blumner was simple yet effective, creating beats that made the world feel alive. Props by Micah Blumner ranged from simple and new, to old and dusty, and brought a warmth to each scene. Music direction by Zachary Nash was tight and melodic, and Nash helped bring out some truly stunning vocals and harmonies with this cast of 9 creating a feast for the ears as everyone balanced emotion and harmonies with precision. Dominique H. Eisengruber created a well-flowing show with well-timed character beats and a familiar yet heartbreaking setting for the audience to live in for the hour and a half story. Rounding out the tech were Molly Boze (Sound Operator), Briana Rhiel (Light Operator), Shannon Mosley (Backstage), and Swayamleen Kaur (Backstage), Micah Blumner (Backstage) who all worked so seamlessly and effectively with transitions and cues that they blended right in with the world around them.

The script is beautiful but heavy and a tad long for a one act, and would have benefited from an intermission. Chemistry fell a bit flat towards the middle of the show with some tension moments feeling too easy or not as high stakes. While projection across the board was great, some scenes were hard to understand the words/diction particularly when energy dipped or actors were yelling at one another.

Fun Home is a beautiful story and a great evening of theatre, and if you are able to balance out the heavy subject material with these winter blues, you will be in for a treat to kick off your 2025 year. Fun Home runs for 3 more performances, and tickets are available on the website www.flintcommunityplayers.com!

Gossip, girl power, and hearts of gold fill the theatre space these next two weekends, as Flint Community Players continue their 96th season with Robert Harling's beloved classic "Steel Magnolias". The story follows six women in a small town in Louisiana, a group of colorful characters who are both gentle as a magnolias and tough as steel. Throughout the play, we see these character's lives play out over a few year's time span. The women gossip together, laugh together, cry together, and show the power of lasting friendship through the sky highs and crushing lows of life, always loving and lifting each other up no matter what. A theme that certainly will resonate with people now more than ever.

Debut director Kira Mailey-Parker's passion shines throughout the show, as she brings together a tight nit team of incredibly powerful female performers and a fluid team of behind the scenes tech to tell this much beloved story. Mailey-Parker sculpts a world that is a brilliant mix of love, loss, laughter, gossip, and friendship that is easy and fun to connect with emotionally. This show can be quite difficult to sit through if the cast does not feel like a tight nit unit, and the chemistry between these women is outstanding. It is natural and electric, making you feel like a part of the friend group with every beat. When they laugh, you laugh along with their contagious comedic timing. When they sob and hold each other, you cry along with them. You hope for them to stop fighting when the going is getting tough, and you celebrate those moments of bliss and joy with each of them. This cast works so well together, and each cast member fits like a glove in the world crafted.

Truvy Jones is brought delightfully to life by Stacey Daniels. In the film, this role is played by Dolly Parton, so anytime an actor inhabits these shoes it is a massive undertaking, and Stacey Daniels does Dolly Parton proud with her rendition. Daniels is a knockout, dancing and grooving through every emotional beat and making every relationship meaningful and unique. She leads this crew of women with confidence and clarity that is needed, and Daniels eats up every second of stage time, with her personality that is just as infectious as her laugh. 

Following close by is Annelle Dupuy, brought so sweetly to life by Tessa Isaacson. Isaacson brings a multitude of levels to the role, as she handles the role with a tender meekness that blossoms into joyful confidence, and carries this character with a gentleness that allows it to shine brightly in the group of loud and proud friends, never once getting left in the background and always bringing heart to a scene. Her Christmas joy is contagious, and the chemistry between Daniels and Isaacson is also touching, and the two clearly put so much work into bringing this found family dynamic to life.

Bringing grace and pink to both the posters and the stage is Shelby Eatenton-Latcherie, romantically brought to the stage by Laylah Gojcaj. Gojcaj makes you dream along with her when talking about her romantic love of the world, and shows off Shelby's tough perseverance with respect and care. Gojcaj's heart shattering interaction in scenes 2 and 3 are powerful and emotionally charged, as she shows off her range of acting skills with humor and hope.

Shelby's sometimes overbearing mother M'Lynn Eatenton is next, bringing the audience to tears by Dawn Bassakyros. Bassakyros commands your attention like a mother who knows best, making you simultaneously adore and resent her, like you might with your own parents. The emotional highs of Bassakyros performance are matched by the tenderness of her voice, as she wraps the audience in a blanket of comfort before giving your heart a gut punch with her impressive act 2 monologues. The tennis match of emotions on full display between Bassakyros and Gojcaj was fabulous, making you ache for arguments you probably had with your own parents. 

Clairee Belcher is played by Jane Turner, whose delivery of lines is the crispest of all, handling the accents of the show spectacularly and attacking every line with clarity and precision. Turner deals out sass and love throughout the entire show, and you will be excited to see what new quips and outfits she will bring out next. Her delivery of "I slapped Ouiser Bourdeax" is hilarious, and will be one of the humorous moments that sticks with you the most.

Kicking down the door last is Melanie Poisson as the grumpy gossip with a heart of gold (somewhere deep inside). Poisson enters every scene with bravado and boldness, and carries on with humor that picks you right back up when a scene needs it. Poisson's facial expressions are to die for in the back of every scene, and she earned the rousing applause and laughter at curtain call. Her dour demeanor never bores, and she hits every joke excellently. Poisson and Turner deliver a fantastic humorous duo, always setting one another up to spike a brilliant joke.

The actors bring the characters to life beautifully, with the tech elements being icing on the pink and green cake. The set of Truvy's Beauty Salon feels cozy and familiar, with walls decorated with style and gaudiness that blend together and create the iconic playground. Props by Peter Verhaeghe helped bring authenticity to the world, and the wall and tables of beauty supplies went hand in hand super well. 

Costume design by Diana Waara, with assistance from Karimah Franklin and Mel Gourand, felt nostalgic and beautiful, transporting us to the 80s and complimenting every character's strengths well. Hair and Makeup by Annie Leslie and Anjewel Lenoir were big bold and fresh in the world, as the hair popped with each actor's personality. Lighting design by Aaron Cremeans, assisted by Madi Dekalaita, is simple yet effective, feeling florescent and familiar, with a neat window lighting effect to sprinkle in season feelings. Sound design by Adam Coggins is subtle but natural, with great timing sound effects and well timed music choices. Rounding out the tech team are the stagehands Charlie Cooper and Lorelei Thompson, who help the sometimes-long scene changes move as fluidly as possible. Stage Manager Megan Wood and Assistant Stage Manager Tyler Schachinger keep the ship charting along, with the timing and flow of the show feeling consistent and natural as they tie the team together.

No show is perfect however. The accents work, but it will definitely take you a few minutes to get adjusted, with moments where everyone talking over each other being difficult to understand at times. While the set and props were nice, I did feel that the missing elements of a beauty salon like sinks, blow dryers, and more appliances kept the setting from feeling authentically like a salon, and often made the world feel incomplete. Projection of voices made some lines hard to hear from further back in the audience. Lastly, the script often leans into the gabbing gossip a bit too much, so several story beats feel like talking in circles, with stories that get built up and inevitably go nowhere. This team being as strong and entertaining as they are kept the slower moments of gossip from getting monotonous. 

A story of community, friendship, and love is exactly what we need right now in the midst of world events and winter blues. Steel Magnolias is a sure fire way to take you away for a couple hours. This team brings the beloved story to life, and is sure to "Steel" your heart. They have already sold out 2 of their performances, so be sure to get your tickets at their website www.flintcommunityplayers.com and see Steel Magnolias this weekend or next!

The Flint Rep opened their 2024-2025 season with an incredibly innovative take on the classic musical, “Godspell.” Yes, you read the title correctly. This production is staged in a literal pool. Initial concerns that this unique, aquatic setting would end up being a kitschy gimmick with little to no redeeming value to the story were washed away once the performance started and we were left with one of the most compelling theatrical performances of the year. Regardless of if you’ve never seen Godspell or seen it dozens of times, this is a performance unlike any other.

The cast and creative team, led by director Michael Lluberes, deserve endless praise for making this quirky and bonkers vision a reality. Chiefly, A. J. Guban is to be commended for the absolutely marvelous execution of this undoubtedly daunting scenic design. A large, circular pool with three sets of concentric steps leading up to it and an arched bench behind served as the stage for the production. 

Lluberes and choreographer Cy Paolantonio brilliantly utilized both the obvious and more subtle levels this set lends itself to for blocking and choreography. The placement of characters throughout the show, from standing on the bench looking down on the others to being above or under the water, gave this production a profound dynamic quality. At times, the water itself felt like an eleventh cast member by splashing through the air and enveloping each character. Staging this performance in a pool was a remarkably bold decision that resulted in a truly captivating theatrical experience.

However, this unique choice came at a cost to other aspects of the musical. Most notably was the utter inability to hear any of the performers when they had a solo. Ceiling mics are hung around the pool to compensate for the actors’ inability to wear body mics. However, they only are effective for the cast members who are able to project to them. Unless you either know the show by heart or are an expert lip reader, you will miss out on at least 60% of the lyrics due to the performers being drowned out by the band, ensemble, or both. 

Despite this drawback, the cast delivered an impressive performance. At the beginning of the show, the hectic “Tower of Babble” showcased the brilliant orchestration of this show. While the vocals in this number were rather muddy, the cast was able to rally and find a cohesive, consistent harmony in “Save the People.” This number was the first of many to highlight the cast’s clever use of the water to accentuate the themes of baptism, cleansing, and renewal.

Standout performances from the ensemble include Gia Mae Chessa’s spectacular rendition of “Bless the Lord” in which she displayed a stunning vocal range matched by an enthralling ability to embody the character she represented. Similarly, Jason Briggs delivered textbook powerhouse performances of “All Good Gifts” and the introduction of Act II - where he adeptly played off the audience and brought us back into the story. Finally, James Cech performed the Parable of the Sower with engaging ASL interpretation and even did a hilarious “not my arms challenge” interpretation with Jesus in the latter half of the story.

Leading the cast of apostles is Kyle Patrick portraying Jesus Himself. The chemistry between him and Judas (Enrique Miguel) in “All for the Best” was magical and had us smiling for the entire number. For the rest of the show however, Patrick’s portrayal was very shy and reserved, even when it felt like the character called for more bold representation. This carried through even in some pivotal songs like “Beautiful City” where it seemed like the opportunity to make the vocals more grounded and sure was looked over and left the performance rather watered down. 

The crucifixion was executed (pun intended) in an extravagant and innovative manner akin to the aquatic premise of Lluberes’ vision. Making use of Patrick’s “quadruple-threat” acrobatic skills, a trapeze was lowered and Jesus performed an enthralling routine symbolizing the crucifixion. While this performance was absolutely stunning, it seemed misplaced and somewhat ostentatious as Jesus mysteriously became more and more agile as he came closer to death. A reversal of the routine where the flashy spins and energy devolve into a lethargic crucifixion pose would have been far more impactful to the story. Closing the show, Patrick and the company delivered a reviving (literally) finale and received a well-deserved standing ovation to close out the performance. 

The Flint Rep’s production of Godspell offers a unique perspective on storytelling that is not to be missed. The show runs through October 20th and tickets are available at www.thefim.org/event/godspell. Be advised that the first two rows will likely be splashed throughout the performance and the atmosphere in the auditorium will be warmer and more humid than normal.

Audacity, affairs, and over the top humor lit up the Fenton Village Players stage with “Bathroom Humor” opening the 2024/2025 season. This farce by Billy Van Zandt and Jane Milmore takes place entirely in the bathroom in a home during a party. As our cast of oddball characters enter and exit the bathroom, they spew gossip, ignite affairs, stumble in and out, and see if they can hold their liquor as well as they can hold their pee.

Farces can be a tricky genre to tackle, too much and it is too over the top, too little and it feels boring, but director Shannon Emmons assembled a team of stellar artists who were up to the task and handled this fast-paced farce with hilarious precision! This show is physical comedy GOLD, with humor that felt so natural, bits that felt crisp, and a treasure trove of new props to delight and enhance scenes at every corner of the stage. Emmons’ world built is quick and clever, taking something as simple as a bathroom and some gossip and throwing them into a blender without the lid on, and what comes out is a controlled glorious mess (in a good way!) that you can’t take your eyes off of, and will have you laughing until the final line is delivered.

Laura (Heather Ade) metaphorically kicks down the door and starts this play off on a high note. Her crisp delivery of the lines, mesmerizing confidence, and physical and vocal comedic timing all combine to make her what feels like the glue holding all these characters together. Every time Ade entered the stage she brought stellar energy and comedy, while balancing out the lovable nature of this bit of a mess woman. These are big shoes to fill, and Ade plants her feet in those heels and sprints with it!

Following up next is Babette (Nadja Tirrell) who will instantly capture the senses with her first line. Tirrell’s fantastic voice cuts through each line with the exact emotions needed, as she also dazzles the audience with party swagger. She is the type of character you want to be friends with, even if you know she would probably stab you in the back, and Tirrell makes Babette a memorable hilarity to enjoy. And let me just say, the 180 flip that Ade and Tirrell did the second that the character Peg first leaves the stage was a fantastic slap in the face of the audience, and the crisp and specific change of tone, body language, and snarky laughter makes you realize there are multiple sides to each of these characters and secrets to be had.

Speaking of Peg, Ashley Squires brings a relatable, down to Earth, and quirky humor to her role. Squires makes the audience sympathize and root for Peg, and is instantly lovable. Her comedic timing and loud and proud voice would be enough to entertain, but in Act 2 Squires brings the heart with her break down scene, causing reactions of all sorts from Friday’s audience as we felt like we were watching a friend hit rock bottom. Squires does a brilliant job making us want Peg to come out on top.

Zachary Chapman arguably steals the show as Stu, the very far gone bumbling party goer, and the epitome of a farcical character. Every single time Chapman entered the stage, he not only made Stu even more of a mess, but he also set new tricks and traps for the audience to ponder and laugh at when characters inevitably set those traps off. Chapman’s absolute control over his bombastic movements, mixed with his perfect physical comedy, range of vocal intensity, and arc of non-soberness kept the audience on our toes, and there was no predicting what would happen next. An absolute delight, and well deserved of the multiple applause he had when exiting the stage.

Nick Paquette brings a relatable self-deprecation to the role of Sandy, and his delivery of his line about living in a trailer home had me rolling. Paquette delivers a hilarious performance of doubt, frustration, and cleverness that almost makes the audience put themselves in his shoes (or envision a friend who is similar). If the audience wants to see Peg succeed, arguably they want to see Sandy continue to flounder and fall, and Paquette brings a fabulous humor that lets the audience not only laugh at the character but laugh at themselves.

Patrick Lavey balances out the over the top-ness with a milk-toast-like man named Arthur. An awkward guy stuck in the middle of weirdness, Lavey gives off a fun and hilarious performance that I can only equate to Rick Moranis. The way he lives in each moment of misfortune, wallows in the oddity of a farce, and Lavey’s delivery of reactions balances out the over the top brilliantly. Act 2 is where his comedic muscle really shines!

Steve Grob has probably the oddest role as the Old Man, but also gets some of the best bits. Grob waddles into scenes with hilarious movement that throws new weirdness into scenes, and he will always be at the back of your mind throughout the show. Grob’s charming, gentle, sympathetic delivery of lines makes you want to see him succeed in finally being able to use the bathroom like it is supposed to be used…but also, you kinda want to see how long he can hold it. Superb physical comedy!

Rounding out the cast is Matthew Muller as The Big El! I don’t want to spoil his character, but Muller earns the payoff of the reveal. Turning the bathroom into his own performance hall, Muller makes you feel like the rockstar you think you are when singing in your shower. Muller takes the stage by storm and eats up every inch of the stage, delivering his lines with hilarious confidence, brilliant timing, and utilizes his costume to extenuate his already memorable performance. In Act 2 he also shows that he isn’t just hilarious, but he also can bring things down to Earth for a heart-warming pep talk. He earns the title of The King.

Tech elements brought this fast paced world to life in subtle yet brilliant ways. The lighting of Kevin Emmons was basic, but didn’t need to be flashy, instead it makes the space feel very familiar and safe, which is a great accent that makes you feel the uncomfortableness when the bathroom becomes a mixing bowl of chaos. Sound design was subtle but super effective, with crisp timing that made you always keep in mind the party that is happening just below the madness of the bathroom. Props were a treasure trove of comedic goodness, and I looked forward to every time a character explored a new area and brought out new props to heighten the madness. Costumes were familiar and natural, making you start to think of yourself or your friends that would be at a party. With the exception of Heather Ade and Nadja Tirrell’s costumes, which were FABULOUS and got the best reaction of the night, someone saying “yaasss queens”! Kevin Emmons’ set felt very homey, with the colors creating an air of familiarity, and offered many ways for these characters to interact in the world. Bravo to the stage manager Brooke Kirkpatrick for steering a smooth ship with impeccable timing and execution!

While I could gush about the show and how much it made my sides hurt, there were a few areas lacking. While the set felt very homey and familiar, it was very large for a bathroom, and the size made it a little too easy for characters to evade certain situations. If there was a way to make it more cramped for the characters it would have brought higher stakes to the world and new comedic timing for actors to play with. The romantic scenes also were lacking in the chemistry and urgency that other scenes excelled with, and burying faces into shoulders to simulate a kiss brought scenes to a bit of a halt. However these could be more script issues than FVP things. The one thing I would have loved to see more of though was the use of the center bathtub, which sadly was underutilized save for a few memorable moments of hilarity.

Fenton Village Players should be super proud of this hilarious show, contagiously funny cast, and strong team for delivering a captivating farce to kick off their season! And even cooler is the incorporation of ASL Performers for the ASL Interpreted show on October 6 th ! Bravo to FVP for continuing to make theatre accessible in the Genesee County Area! Be sure to grab your tickets for this delightful comedy performing through October 6 th . Tickets available on the website fentontheatre.org.

The Flint Community Players took us on a wild ride during their preview performance of “Ride the Cyclone” where a group of high schoolers meet their end on a roller coaster, only to find themselves stuck in a carnival-esque Purgatory. While awaiting their fate, they share their life stories through song. It's a dark comedy with a touch of heart, perfect for those who can keep up with its spiraling plot.

Walking into the theater space, we were met with a plethora of carnival-themed games and activities. From the classic “ring toss” to getting your fortune told by the Amazing Karnak, FCP offered its audience an engaging and thematic opportunity to immerse themselves in the carnival atmosphere prior to the show. However, with all the activity, background music, and band warmups, it may be a bit overstimulating for some. 

The stage features the fabulous set design and artwork of Matthew Cremeans and Remy Treece. The live six-piece band, conducted by Molly Boze, did a wonderful job following the actors and setting the mood throughout the show. Combined, the set and band provided a stunning backdrop for the production.

The show is introduced by the all-knowing automaton, Karnak (Kristen Rossiter). Rossiter is to be commended for her masterful performance, displaying a remarkable ability to capture the mechanical movements and intonations of a carnival automaton with impressive realism. Her portrayal was truly a highlight of the performance. Likewise, Karnak’s Marionette (Halle Hoover) was a constant source of intrigue and entertainment masterfully portrayed throughout the multitude of characters she inhabited.

The ensemble of tragically fated teenagers is more or less led by Ocean O’Connell Rosenberg - portrayed by Devon Marinco. This character is the distillation of an overachiever Type-A personality which Marinco executes perfectly. Unfortunately, her rendition of “What the World Needs” was almost impossible to hear due to mic difficulties and the band overpowering Marinco’s vocals. 

This balance and other tech issues were an unfortunate theme throughout the show. A phantom remote-wielding hand changing the color of Karnak’s crystal ball made frequent, distracting cameos. Most notable (or lack thereof), was the TV used to enhance the storytelling. The placement was such that if one was seated anywhere other than the first couple rows near stage left, it was very easy to miss and required considerable craning to see.

This production requires each cast member to be on stage and in character for the vast majority of the performance - a daunting challenge to achieve and this cast certainly rose to it. A notable example of this is found in the character of Ricky (Adam Coggins). If you find yourself attending this production and in need of a laugh at any point, you need simply to find Coggins on stage. He was a constant source of side-splitting amusement. Similarly, the characters Micha Bachinski and Noel Gruber (Charles Cooper & Kira Parker, respectively) were charming and thought-provoking throughout the performance. 

Anjewel Lenor’s performance of Constance Blackwood had a marvelous blend of comedy and profundity. While the character is rather two-dimensional in the first half, Lenor adeptly transitioned the character during the monologue and lead-up to the song “Sugar Cloud” - fascinatingly discovering the meaning of life by meeting its end.

In a similar fashion, Diana Waara absolutely enthralled the audience with her portrayal of the marionette-like Jane Doe. From the creepy black eyes to the spot-on marionette body movements, Waara had us on the edge of our seats throughout. “The Ballad of Jane Doe” was a marvelous exposition of the depth of the character and Warra’s talent. However, we felt it was left slightly wanting by Wood/Orr not utilizing the vertical space to truly accentuate the marionette theme.

Throughout the show, the stark contrast between each character's song highlighted a lack of continuity, creating a jarring and off-putting experience. While this unique approach is a hallmark of “Ride the Cyclone,” it may be challenging for some audiences to adapt to. If you are looking for a production that will force you to experience theater in a different manner, I hope you are one of the lucky few who already have tickets to FCP’s production. If not, I encourage you to keep an eye out for added performances.

“Ride the Cyclone” runs Sept. 13th - 22nd at Flint Community Players. Tickets and show information can be found at www.flintcommunityplayers.com.

The Flint Repertory Theatre ends their 2023-2024 season with a powerhouse production of “Spring Awakening” - a 2006 musical based on the potent and often censored 1891 play of the same name. The story tackles constrictive social norms with a rebellious flair and is interwoven with themes of teen sexuality, abuse, rape, homosexuality, suicide, and abortion. With such deep and heavy issues, this musical can be a challenge to effectively produce… and the Flint Rep rose to this challenge.

Upon walking into the performance space, the audience is struck with the first of many bold and creative choices made by Director Derek Van Barham and Scenic Designer Eli Sherlock. The Elgood Theatre (normally a classic thrust stage) has been transformed with the center group of seats removed and the stage occupying the complete central span of the room with industrial grayscale scaffolding framing either side. The only permanent adornment on the stage is a series of poles that are cleverly utilized throughout the show to portray various objects from gravestones to phalli. The width and height of this space are used quite effectively throughout the performance.

Matt Snellgrove’s costume design was clever. The cast wore black and white with the only color being tones of purple (nodding to the final number) in Wendla’s dress and Ilse’s robe. The costuming also displayed a nice contrast between the put together Melchoir and disheveled Moritz. Snellgrove cleverly utilized a myriad of masks to distinguish the different characters that Zach Fischer and Liz Norton played as Adult Man and Woman respectively. I also appreciated Snellgrove’s costuming choice to have the two adults in restrictive corsets - physically representing societal strictures that Wedekind sought to challenge with his work.

Van Barham chose to do a soft open where, without preamble or announcement, members of the ensemble took the stage from all directions and began removing ribbons to (I believe) Billie Eilish’s “Bury a Friend”. It was a captivating way to modernize the 130-year-old story, but a later "silence your phones" announcement disrupted the intimacy. I would have much preferred that delicate opening be left to stand on its own.

However, any misgivings were quickly wiped away by McKenlee Wilson's captivating portrayal of Wendla in "Momma Who Bore Me.” Her remarkable vocals and emotive presence drew the audience in, particularly evident in the poignant "Whispering.” Zachary Keller (Melchoir) and Austin McCoy (Moritz) introduced the true rock energy of the show with "The Bitch of Living," showcasing strong acting and audience connection. However, their vocals were occasionally overpowered by the music - an unfortunate theme that carried throughout the show. McCoy's powerful final soliloquy was slightly disrupted by a puzzling blue light on stage. Despite these minor drawbacks, the leads delivered a cohesive performance. Van Barham's choreography in "The World of Your Body" was a masterclass in storytelling. The trio excelled in the beautifully balanced "Those You've Known," leaving the audience enthralled.

While the leads delivered powerful performances, the ensemble's harmonies were the true showstopper. Their voices soared in unison, a testament to Leah Fox's meticulous musical direction. Of note among the ensemble was Meagan Kimberly Smith who, portraying Martha, was an absolute powerhouse in “The Dark I Know Well.” Similarly, Zach Fischer (Adult Man) was the definition of an acting tour de force during “Left Behind.” The entire company delivered an awe-inspiring rendition of “The Song of Purple Summer” to close out the show. That alone would have justified the well-deserved standing ovation they received soon after. 

The Flint Repertory’s “Spring Awakening” continues its run June 8-23rd. Please note that there are themes of verbal and physical abuse, nudity, suicide, self harm, rape, and abortion. Tickets available at https://tickets.thefim.org/

The sequel to “Southern Fried Funeral”, “Southern Fried Nuptials” drops us into the life of the Frye family once again, this time, just days before the marriage of Frye daughter Harlene and her long time love Atticus Van Leer. And, as if preparing for a wedding couldn’t bring enough stress, we also learn that Frye daughter Sammy Jo and her husband Beecham are hiding a big secret from the family - well at least Sammy Jo is anyway. And if that wasn’t enough to raise the red flag of family feud, there are plenty of old friends - and new - that pop into the picture, keeping the Fryes on their toes.

One of the best things about this production is the chemistry on stage. From the effortless banter to the expertly choreographed couch wrestling, this cast is in step with one another from beginning to end. Nowhere is that chemistry more apparent than between the Frye sisters, Harlene (Lauren Kondrat) and Sammy Jo (Stacey Mrazik). Through spats and tiffs galore, the bond of these sisters shines through, strengthened by love, loss, and a bag of red Twizzlers. Of course, a little guidance from mother Dorothy Frye (Joy Bishop) keeps the girls in check ... most of the time. Major props to Joy for her ability to craft such a realistic vision of a quietly powerful matriarch with a swift perception and hilarious sense of irony.

This production feels like an episode of a well loved sitcom - and each character is bringing the laughs. From Atticus (Rob Conway) and his wide eyed expressions of exasperation, to Dewey Jr. (Matt Osterberg) and his fantastically executed timing, to Beecham (Kevin Emmons) and his well worn sarcasm. Family friend Martha Ann (Mary Powers) brings the sensibilities of a southern woman with a sharp wit. Ozella (Judie Santo) embodies the loveable balance of narcissism and naivete required for a comical town busy body. But no one brings more laughs than Fairy June (Patty Bracey) who shines in story crafting and the perfect delivery of a punchline. Newcomers Vester Pickens (Mike Dietz), a warm and kindly southern gentleman with a wink in his eye and a dill pickle tie, and Carter Canfield (Matt Morgan), a handsome lug that lets his charisma do the talking - bring a balance to the zany tomfoolery of the story.

Southern Fried Nuptials continues through April 21st at Fenton Village Players. This is a riot-a-minute show you don’t want to miss. Grab your tickets at https://www.fentontheatre.org/tickets and have a raucously good time at the Frye family rodeo, where ‘life don’t always have a plan - we just do the best we can’. Congratulations to directors Shannon Emmons and Tammy Robison, and producer Patti Lee on a great show.

The Bard’s work visits the Flint theatre scene once more, as this Thursday Shakespeare’s most famous tragedy took to the stage at Flint Community Players. 

The story of Hamlet is the ultimate tale of revenge and betrayal. In this interpretation set in a modern noir-feeling-setting, the despondent Hamlet is visited by the ghost of his recently deceased father who informs him of the terrible truth. That Claudius, Hamlet’s uncle, is the killer. Hamlet concocts a plan for revenge and in-between he deals with love, loss, and the wide gambit of emotions that come with grief. This tragedy has everything.

This play is a beast to tackle and takes monster stamina to perform, being Shakespeare’s longest show, and the actors tackled the challenge impressively well. Kevin Emmons assembled a strong team and tells the story with a fresh take on a classic. You can tell the passion he has for Shakespeare! His minimalistic set designed by Kirolous Meshraky is just enough to make us feel like we are trapped in the conflict and power struggle, though could have benefited from a little color on the backwall or floors. Complimenting blocking every step of the way are Kira Parker’s costumes which blend Shakespeare inspiration with a Mad Men feel. Each character’s costume feels wholly unique and fits the world Emmons has created brilliantly (standout costumes being The Ghost, Claudius, Rozencrantz/Guildenstern, and that stellar jacket Hamlet wears). Lights by Levi Brownfield brought emotion where it was needed. Sound design by Suzy Lobdell felt a bit unusual in the world created and didn’t mesh with the setting at times, but still did its part to tell the story.

Michaela Floyd is awe-inspiring as the tragic Hamlet, and was truly born to play this role. This is many actor’s dream/nightmare role to play, as the line load and monologues Hamlet deliver is staggering. Floyd tackles each monologue with flawless depiction, delivering venomous anger and heart wrenching grief perfectly when the role demands. That line load alone makes Floyd deserving of the standing ovation at the end, everything else is icing on the cake. Move over “To Be or Not To Be”, wait until you see how Floyd delivers the monologue about their love Ophelia at the end of the show. Chills. 

Speaking of Ophelia, Emma Orr brings this iconic Shakespearean character to beautiful and heartbreaking life. You hang onto her every line as she delivers a captivating tight rope performance, as she balances Ophelia’s innocence and her fall into insanity in such a way you would think it was two different actresses.

Standing Opposition to Hamlet is the imposing Claudius, portrayed with ferocity by Bart Burger. Burger’s depiction of this takeover leader of Denmark Imports/Exports is chilling and makes your skin crawl in the best way. His booming voice, towering stature, and clear understanding of the text makes his performance stand out as a villain who you want to see fall.

Sometimes the best characters in Shakespeare are the side characters, and Willow Treece and Pamela Beauchamp prove this point as Rozencrantz and Guildenstern, along with the hilarious gravediggers. These two balance each other figuratively and literally, as the characters are almost glued to one another, and prove opposites attract as Beachamp delivers the delightful peppy energy and Treece balances with sophisticated dour. And they both bring humor and light heartedness in the third part of the show as gravediggers, where the audience truly needs an energy lift. 

Stealing the middle of the show are The Players, a ragtag troupe of traveling actors. Ryan Filpansick and Emma Scott delight with their meek but excited actor characters with facial expressions worthy of a Shakespeare farce, and are led by Micah Blumner who gives his entire heart and soul into his performance as the over-the-top troupe leader. Seeing the two more tame players mixed with Blumner’s over the top but genuinely captivating performance makes the perfect middle-of-the-show treat. I could watch an entire show with these three just recapping Shakespeare tragedies in slapstick ways.

I could go on and on about the actors, but this review would be as long as the play itself and I have a word limit, so big shoutout to the performances of Tessa Isaacson (Horatio), Seán ÓTuathal (Gertrude), Patrick Munley (Ghost), Katherine Lengyal (Laertes), Marie VanHorn (Polonia), Alexander Rossiter (Marcellus), Steve Harris (Barnardo/Reynaldo), and Rhea Treece (Osric). Featuring a new actor in the Priest role every night!

The biggest downfall of the show is the length. The show started at 7:30 and got done around 11:00 and is three and a half hours of dialogue. Scene changes felt long as they maneuvered massive tables and a multitude of chairs. Some monologues also dragged on where they probably didn’t need to, making certain emotional beats not land. And while performances were strong there were definitely large chunks of scenes that you could remove, and you would not miss a single important beat. Some chopping of scenes (thank you Public Domain) and tightening up of monologues could easily cut a half hour or more off this show. But if you can manage the long runtime, you will be treated to some seriously breathtaking and memorable performances showcasing the incredible talent in Genesee County. Bravo Kevin Emmons and the entire team of Hamlet.

HAMLET runs for 6 more performances at Flint Community Players. For tickets visit www.flintcommunityplayers.com or call their box office at 810-441-9302.

Break of Day is the story of a time in the life of Vincent van Gogh.  Vincent's search for love and his drive to create art are at the heart of who Vincent van Gogh was and the plot of this play.  I went into the show with a lifelong love for Van Gogh's art and a basic outline for the heartbreak of his life.  In just under two hours, the Fenton Village Players were able to carry the audience through the stage of Van Gogh's life as a misunderstood eccentric to a tragic genius.  

I must applaud how well Jeff Rogner embodied the artist in his portrayal of Vincent.  Not only does the actor bear a striking resemblance to the artist, but he captured the highs and lows of the artist's emotions.  It was lovely to hear the audience laugh at Vincent's taboo first love.  The awkwardness of the love between Vincent and his cousin, Kay Vos (played by Shelley Spotts) was palpable and convincing, playing Shelley's coy search for words against Jeff's enthusiastic replies. The relationship portrayed between the brothers Van Gogh (Theo van Gogh played by Killian Elhaz) was touching and relatable, especially as Killian balanced both exacerbation for his brother's behavior with loyalty in his support through his expert facial expressions.  Similarly, Vincent's mother Anna van Gogh (played by Kim Ellison Giacchina) captured a mother's unconditional love in the face of a frustrating son with her use of head-pats and hugs.  The dichotomy of the artist Vincent to his Protestant Clergy father, Pastor Theodorus van Gogh (played by Richard Hingst) is just the right amount of tension to move the story from comedy to drama. Richard's dress and posture brought the dry and inflexible Pastor to life.  Shannon Cody (portraying Sien Keller) did a nice job of contrasting Jeff's puppy-dog love behavior with her own portrayal of a world-weary working girl.  The character of Magda was brought to life by Samantha Stratton who not only dressed and looked like a farm-fresh country girl, but was fun to watch as she teased Vincent throughout the show. Mike Dietz had a great tone as he portrayed the town's Catholic priest, Reverend Peterson.

I must also applaud the use of Van Gogh's own works, projected onto a sheer backdrop.  Amidst some of the uncomfortable truths of Van Gogh's life, his work was profound and added a level of sincerity to the story portrayed.  The simple yet effective scene changes worked well for the fast pace of the narrative, managed by Shiloh Lichowid.  It did take a minute to follow the use of the side stage to portray the inner workings of Vincent's mind, but by the end the use was effective in showing the mental struggle of the artist.

I highly recommend anyone, regardless of your love for Van Gogh, take a night to see Break of Day at the Fenton Village Playhouse.  Performances will continue Saturday, February, 17 at 7:00pm, Sunday, February, 18 at 2:00 pm, and again next week Friday and Saturday at 7:00pm (Feb 23 and 24) and Sunday at 2:00pm (Feb. 25). Be prepared for just enough awkward laughter to make the heartbreak of Van Gogh that much more poignant. Purchase tickets at www.fentontheatre.org

The world premiere of "Into the Side of a Hill" opened officially on February 3rd, 2024 at the Flint Repertory Theatre. This show, developed in Flint Rep’s 2022 New Works Festival, follows the days leading up to the homecoming step show at a historically black university and the place where the lives of six young men collide in the bonds of brotherhood. Through their rehearsal for the upcoming show each of these powerful characters are also rehearsing the next steps of their lives, pushing and pulling at the boundaries and expectations of fraternity and love. 

Playwright James Anthony Tyler achieved his hopes and then some with ‘Into the Side of a Hill’. This show rang of one fundamental aspect of storytelling that audiences long for and too seldom find - truth. Each moment felt as real as observing our everyday lives. Through perfectly timed pregnant pauses in exquisitely crafted lines of dialogue one could easily become lost in the depth and authenticity of each character. 

From the first moment entering the intimate venue of the Elgood Theatre the audience is transported into a world now twenty years past. From the fluorescent work lights on chains to the vintage PA speakers, to the music being played as the excited crowd waited for the show to begin, each aspect of this production was meticulously chosen, plucked directly from personal memory and experience. 

Each laugh, from the chuff to the roar, was an honest connection- a feeling recognized. And more than laughter- the audience’s physical response- the shaking heads laid into hands, the leaning- forward in anticipation and interest, backward in stunned silence- the truth of this play went right to the core of our humanity and said, “I have something to say. Hear me and understand.”

Every member of this cast provided a masterclass in character work. Distinct individuality, turned up to eleven, in each gesture, expression, and inflection. David Guster (Allen) showcases heart and integrity. In a character that could easily have had their gentle nature reduced to tropes of weakness, there is instead a purity and strength to his resolve. 

Brian Sullivan Taylor (Stanley) expertly illustrates the intense fluctuations of emotion brought on by the trauma and subsequent grief of losing a loved one. They navigate painful memories, overwhelming depression, and the difficulties of self awareness with refreshing candor, giving a true display of courage for this character in an environment steeped in toxic masculinity. 

Brandon Michael Hall (Zarrel) gives a remarkable performance, the embodiment of stress boiling beneath the surface, escaping in fits of steam from fissures in a facade of strength. Freddie Fulton (Perry) plays the tumultuous transition into leadership and the fear of responsibility with sincerity and hope. Victor Musoni (Fred) is a gifted storyteller, guiding the audience with a beautiful delivery into a layered world with anecdotes and memories. Antonio Michael Woodard (Vic) balances levity with earnestness, conveying a very human and fallible morality with wit and charm. 

Having been given sneak peeks into the full step routine throughout the show, the audience was on fire for the culminating step performance which left them impressed and electrified. The show closed to a well deserved standing ovation, the buzz of excitement brought on by the difficult topics and powerful thoughts presented carried out the doors of the theatre and into the night. Congratulations to Playwright James Anthony Tyler, Director and Choreographer Ken-Matt Martin, Producing Artistic Director Michael Lluberes and the entire cast and crew on a truly phenomenal show.

"Into the Side of a Hill" continues through February 18th at the FIM’s Elgood Theatre. Purchase tickets at https://tickets.thefim.org/side-of-a-hill and do not miss the opportunity to take in the world premiere of this powerfully moving play. 

Flint Community Players brings us the Michigan premiere of a new musical that tells the story of Amélie, a woman who grew up never learning how to connect with people or even how to love from a troubled childhood and tries awkwardly as an adult to make connections by becoming an anonymous do-gooder.  Along the way, her story intertwines in the lives of several characters, some real, some whimsical, some imaginary but all very unique.  The breadcrumbs of these small connections help shape Amélie to who she can become and perhaps guide her to find true love along the way. "What's going to happen?  I don't know.  Will you enjoy it?"  I hope so...

The imagery within Amélie is bright and vivid and for such a fantastical story, FCP does not disappoint.  As you walk in, the set is absolutely breathtaking in design and color.  A tremendous amount of kudos goes to Remy Treece (Set Art Design) and Kirolous Meshraky (Set Design) for their work whisking us away to Montmatre, France with their expert and beautiful set.  Costumes were perfectly on point by Alexander Stimson and Ryan Filpansick. Each character's costume was as colorful as their personality.  

This is a big cast. 24 total actors on stage!  They all have individual moments, (if not many!) where they shine in this show.  But, there are a couple of very special moments that really need attention.  Fae Hall has some big shoes to fill in portraying the lead character, Amélie Poulain.  It's a challenging role both vocally and dramatically. The original Broadway run of this show featured Phillipa Soo in this role, who is most known for playing Eliza in Hamilton. Fae is a truly talented singer and does not disappoint in her performance.  Fae's rendition of "Where Do We Go From Here" will leave that song in your head on your drive home as she sings opposite Adam Coggins's lovely and sweet vocals for Nino Quincampoix.  Jordan Climie brings such charm and passion into his role as Julien Dufayel, a neighbor with a rare bone disease that leaves him brittle and a recluse.  I have seen Jordan many times on stage but this is the first time I've heard him sing.  I do hope it's not the last.  Oh, and then there's Lele Miller.  She is an absolute powerhouse with her vocals in every show she's in and she does not disappoint at all as Suzanne Sacripant.  But, put her together with two more outstanding performers, Annie Leslie as Georgette and Taylor Boes as Gina, and the house nearly lost it during "A Better Haircut"!  Wow.  Just wow. One of the true stars of this show is Halle Hoover as puppeteer.  It is amazing how engaging Halle brings us into the depths of characterization with props and puppets.  I have to give her a big "hand".  She really steals the show with her artistry and will absolutely bring a smile to your face.  

Speaking of props, Zach Wood lovingly incorporated many unique prop elements into the action from subway doors that seem to come to life to charming hearts of love that pop up at just the right times. There are quite a few surprises that Zach Wood has for the audience in this show and I don't want to spoil them.  However, I need to point out that this show is rated PG-13 as some of those surprises are for a more mature audience.

If you have time, stop in and take a selfie in the photo booth and maybe, just maybe, you'll leave a breadcrumb behind for someone else's story...

"AMÉLIE THE MUSICAL" continues through January 21st at Flint Community Players, 2462 S Ballenger Hwy, Flint, MI 48507 

Visit https://www.flintcommunityplayers.com/ to purchase tickets.2462 S Ballenger Hwy | Flint, MI | 48507

The bard was alive tonight in Fenton as the Fenton Village Players opened their 51st season with a production of Much Ado About Nothing by William Shakespeare and directed by Shannon Emmons. One of Shakespeare’s beloved romantic comedies; complete with overheard conversations, the case of mistaken identity, and of course the cynical bachelor/bachelorette who secretly hopes for love should have been a rollicking good time.  The title of this show might seem random, but it is actually a pun.  Nothing, pronounced as noting in Shakespeare’s time, refers to gossip and rumor which the main plot is centered around.    

The story focuses on a group of soldiers, including the Prince of Aragon, Don Pedro, (Calvin Ito) returning from a glorious military campaign, and deciding to spend time with Leonato, the governor of Messina, (effectively played by Bart Allen Burger) at his estate. Along with Don Pedro, comes his half-brother Don John (played expertly by Jason M. Lesiewicz), Claudio (played adeptly by Julie Ross), and Benedick (played skillfully by Zach Whitt).  The time period of the show was unclear and the entrance of the soldiers left the audience wondering what war they were returning from.  From the beginning of the show to the end, nerves were apparent and lines were fumbled.  It was clear that the cast was not comfortable with the language of Shakespeare. 

Soon after, we meet the ladies of Leonato’s estate; including his daughter Hero (Ashley Putnam), his niece Beatrice (Kaitlyn Honnen), and their gentlewomen Ursula (Bethany Folland) and Margaret (Emily Matticks).  Claudio and Hero instantly fall for each other and their wedding date is set, while Leonato, Don Pedro, and Claudio assume the task of bringing bachelor Benedick to admit he is in love with Beatrice and Hero and Ursula take on the role of matchmaker for Beatrice.  However, Shakespeare wouldn’t be Shakespeare without a plot twist; therefore; the path is set for a jealous Don John to hatch an evil plan with the help of Borachio (Nick Brazeal) and Conrade (Madison Whitt) to discredit Hero’s virginity.  

The plan goes off without a hitch and Hero is slandered in the church by Claudio.  Only Benedick rushes to aid the women and challenges Claudio, which only deepens his unspoken love for Beatrice.  Luckily, a drunken Borachio boasts of his part in the evil plan and is overheard by the members of the watch.  These two comedic characters, Seacole (Dani Beslagic) and 1st Watchman (Bethany Folland) brought about the only laughter and comedic play within this comedy.  This reviewer cannot say enough good things about their scenes.  Borachio and Conrade are brought forth to the local constable, Dogberry (Richard Hingst) and his assistant Verges (Don Stork) for their sentence.  Kudos must be given to Mr. Stork for taking on this role with little notice. 

The play ends happily though when Leonato’s brother, Antonio (Pedro Melchor) pretends to allow Claudio to marry his daughter after it is revealed that Don John has been the mastermind behind the plot to ruin Hero’s reputation and the truth has been uncovered.  Benedick and Beatrice also end up finally admitting to their love and marry alongside Hero and Claudio.  The ensemble is rounded out by Laura Slack who adds a level of spunkiness to the household of Leonato.  

The run time for the show is over 3 hours and dragged on including some unnecessary blackouts without any scene changes.  There was no sense of urgency even from the characters whose lives were sent upside down.  The special touches before and during intermission added a level of sophistication to the show and greatly highlighted Fenton Village Players’s community mindset.  While opening night was a little shaky for the cast and crew, we feel the kinks and nerves will die down and the love of Shakespeare will shine through.  Kudos to all of the cast and crew for a wonderful performance!  We definitely recommend making the drive out to Fenton to see this production.

Much Ado About Nothing continues through October 8 at the Fenton Village Playhouse, 14197 Torrey Road, Fenton, MI 48430.  

Set in the early 1950s at the height of the red scare and the beginnings of the gay rights movements, Topher Payne's Perfect Arrangement sees State Department colleagues Bob Martindale (Zach Whitt) and Norma Baxter (Briana Jackson) broaden their search of high risk staffers to include sexual deviants.   However, each of them has a major secret that they themselves are the targets of this search being closeted homosexuals themselves.  To maintain the ruse, a perfect arrangement is made.  Bob's partner Jim (Josiah Jackson) married Norma and Norma's partner Mildred (Allie Pethick) married Bob.  The two married couples share adjoining apartments that can be easily accessed away from private eyes through the connected closet.  I was lucky enough to be invited to see a dress rehearsal of this powerful cast.

All of the show takes place in the Martindale home in the style of a classic 1950s Sit-Com complete with hilarious product placements.  Bob and Norma's boss, Theodore Sunderson (Larry LaFerriere) and his ditzy... or is she?... wife Kitty (Erica Suszek) start the show at a dinner party at the Martindale's where Theodore announces the new task for Bob and Norma.  The hunt for "sexual deviants" causes all kinds of challenges for the Martindales and Baxters with a constant need to create elaborate ploys to keep Theodore and Kitty in the dark. 

And we can't forget about Barbara Grant (Katherine Carswell), another state department employee who just happens to know Mildred from their mutual past.  A no-nonsense woman who knows who she is and is damn proud of it.

While the 2nd Stage at Fenton Village Players is setup like black-box theatre, the stage is well designed and the space effectively utilized.  Great use of lighting and mood music helped set the scenes well.  One great highlight of this show is the vintage costuming, sophisticated and timely.  But the best highlight of all is the skill all of these seven actors put into these roles.  They know when to play up the comedy and when to pull at your heartstrings.  There is so much chemistry on stage between the actual couples and the pretend couples.  While all of the actors deserve praise, I need to call special attention to Allie Pethick's performance of Mildred.  Mildred struggles with keeping up appearances and her own needs to be true to herself.  Allie plays this role with impressive finesse.

Big kudos to Laura Slack for her directorial debut.  Very challenging roles and a poignant story even in today's society makes for incredible storytelling and character development.  I left feeling tremendous empathy with these characters and overwhelmingly proud of everyone's performance.

There are only three performances of Perfect Arrangement this weekend.  Friday, June 16th & Saturday June 17th at 7:00 pm as well as a matinee show on Sunday June 18th at 2:00 pm.  You can purchase tickets at fvp.ludus.com

William Shakespeare’s The Taming of the Shrew has seen controversy over the years, but the Fenton Village Players turned this outdated comedy into an empowering satire. In his directorial debut, Kevin Emmons made the ambitious decision to set the 1590s story, Shakespearean English and all, in the 1960s during the women’s liberation movement. This mash-up of language, costumes, and ideology set the stage for a unique experience on Saturday night.

The Taming of the Shrew centers around two sisters and their suitors. Katherina/Kate (Lauren Kondrat) is the elder sister known for her brash, uninviting personality. The younger sister, Bianca (PJ Sallans), is beautiful and sweet with several admirers. After an argument, their father, Baptista (Jimmy Wright), has decided that Bianca can only marry once her older sister Kate does. This declaration sparks a series of events of disguise and deception that will have you laughing and wondering which suitor it will be, Hortensio (Rob Conway), Gremio (Mike Dietz), or Lucentio (William Blake). While the rat race ensues for Bianca’s hand, the focus shifts to Kate. Hortensio has convinced the arrogant and stubborn Pertruchio (Jason M. Lesiewicz) to marry Kate for her dowry. Kate is betrothed to Pertruchio, and they are abruptly married in a hilarious fashion. For the entire second half of the show, Pertruchio uses several tactics to tame his shrew, but does all of his effort work? You have to see it yourself to find out. 

While several individuals had noteworthy performances, three stood out to us. The first was Lauren Kondrat as Kate. She was perfect for the role; her disdain for Pertruchio and his treatment was palpable, and her resting shrew-face was always on point. Next was Rob Conway, as Hortensio. Every time he was on stage, he had us in stitches, from his music teacher ruse to the time he stuffed his face silly. Finally, kudos to Zackery Champman in his role as Traino. We were blown away when we learned this was his first speaking role. His entire performance was a full send, especially his physical comedy. We loved it! 

The Fenton Village Players is a smaller venue that guarantees every seat in the house is good. The set, blocking, and actors used every inch of space to tell the story. However, there was an opportunity to tighten the stage combat. In addition, we enjoyed and appreciated the 1960s setting and craved even more subtle and not-so-subtle hints from the period. Overall, bravo! The entire cast and crew should be proud of their work.

You have one more weekend to see the Fenton Village Players’ The Taming of the Shrew. There are three opportunities, two evening shows on April 21 and 22 and a matinee on April 23. It would be a perfect date or fun time with friends! You can purchase tickets at fvp.ludus.com