Good chemistry is offset by flat script at Tipping Point

By Jenn McKee

To sell a play about friendship, the actors ultimately have to – if you'll forgive the cliche – have the right chemistry. Their energy has to build on each other so that not only do we believe in their deep and abiding bond, but we also enjoy our time with them, as though we are a virtual, silent, additional friend.

Tipping Point Theatre's production of Ivan Menchell's "The Cemetery Club" features a leading ensemble that has that chemistry down; what they lack is a script that feels like more than an occasionally funny, warmed-over sitcom.

Set in the Queens apartment of a Jewish widow named Ida (Julia Glander), "Cemetery" tells the story of a three-way friendship at a crossroads. Doris (Connie Cowper) is a devoted widow with no interest in finding new love; Lucille (Sandra Birch) is a loud, bargain-loving, man-hungry widow who wants to stop looking back to the past; and Ida is ready, after losing her husband two years before, to venture back into dating.

When Ida runs into Sam (Thomas D. Mahard), a local butcher, they pursue a relationship, but the way is anything but smooth.

Beth Torrey directs the show with an eye toward really anchoring it in the women's friendship and the complications that arise when that triumvirate is threatened. An extended scene when the women are drunk, after coming home from a wedding, is a highlight.

And spending time with these women is often fun, thanks to the actresses' unbridled performances. But the play itself feels bloated at two hours; the play's stakes just don't feel that high. And too much along the way rings predictable and familiar: The women rib each other about lying about their age, and how, if you don't like being alone, get a dog, not a man; Lucille repeatedly makes the others guess how much she paid for various clothing items; and sometimes, the schmaltz runs painfully thick (one secret is screamed mid-argument, followed by violent weeping, for instance).

Lucille, being the extroverted vixen of the trio, gets the lion's share of funny lines and moments, and Birch cashes them in with deliciously playful zest. Cowper, meanwhile, effectively straddles the line between a sanctimonious goody-two-shoes and a well-intentioned, good-hearted angel on Ida's shoulder. Brenda Lane brings a much-appreciated bolt of new energy to the production when her character makes a surprise arrival (I won't say more at the risk of ruining the surprise); and Mahard's Sam is a man we want to like, but come to doubt.

Ultimately, though, the show hinges on Ida and her personal journey, and Glander's performance is a knockout. From tentatively tiptoeing toward courtship, to drunkenly commiserating with girlfriends – and then being struck speechless in the face of tragedy – Glander makes you root, and ache, for Ida.

Gwen Lindsay designed the set, which features a strip that represents the cemetery upstage, and, on the main area of the stage, Ida's living room, furnished with Lindsay's props. Shelby Newport created the show's costumes (the bridesmaid dresses seemed particularly spot-on). Joel Klein lights the show with sensitivity, and Quintessa Gallinat's sound design nicely underscores the show's emotional tones.

Yet sadly, thanks to Menchell's "meh" script, you'll likely find yourself merely paying your respects at this "Cemetery."

SHOW DETAILS: "The Cemetery Club" continues at Tipping Point Theatre, 361 E. Cady St., Northville, Thursday-Sunday through June 17, plus Wednesday, May 23. Tickets: $26-$30. For information: 248-347-0003 or www.tippingpointtheatre.com.

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OTHER VOICES - REVIEWS: The Cemetery Club - Tipping Point Theatre

Read ROBERT DELANEY's review - New Monitor (May 17, 2012)

A heavenly comedy at The Ringwald

By John Quinn

It takes a particularly wacky sense of humor to appreciate "camp." The genre, through parody and satire, provides fresh insight by skewering cultural conventions. Like the girl with the curl, though, when it's good it's very, very good and when it's bad it's horrid. When the "girl" in question is the Ringwald Theatre's esteemed Artistic Director Joe Bailey, "very good" becomes "splendid." Two years after mounting the playwright's achingly funny "Die, Mommie, Die!" Bailey dons heels and habit in Charles Busch's "The Divine Sister."

It's spring in Pittsburgh, and the year is 1966. St. Veronica's School and Convent is falling down, and Mother Superior (Bailey) is ready to raze the place and build anew – but there's no money. She approaches a local philanthropist, Mrs. Levinson (Julia Garlotte), but Sister's ham-handed shake-down fails to impress the potential donor.

There's trouble lurking behind closed doors of the convent. Mother Superior has to deal with the increasingly hysterical behavior of Agnes (Meredith Deighton), a postulant to the order and a wanna-be mystic. She's aided in her travails by her long time, go-to girl, Sister Acacius (Lisa Jesswein), who doubles as the school's wrestling coach. Who should arrive from Hollywood but Jeremy (Jamie Richards), ex-reporter and ex-flame of Mother's? Jeremy wants to buy the film rights to Agnes' story. Will Mother Superior fall to temptation and commercialize Agnes for profit? Will she forsake her vows and become "Susan" again – crack girl reporter, Jeremy's professional rival and lover? And what sinister secret is Sister Walburga (Melissa Beckwith) hiding under her wimple?

That's the cast of characters, but the plot is ever-so more convoluted. There are improbable layers of identity, both mistaken and revealed. What is absolutely choice here is Busch's rock solid script. While "Die, Mommie, Die" is an homage to melodramatic film roles of Bette Davis, Joan Crawford and a host of others, "The Divine Sister" is a knowing send-up of the Hollywood nun flick. Here his inspiration seems to be Rosalind Russell, who starred in "The Trouble with Angels" and its sequel. Then too, Russell created "Hildy Johnson," the ace journalist in "His Girl Friday," with whom "Susan" shares more than a passing resemblance. "The Divine Sister" is silly, but by no means simple. It is a literate, tightly crafted script that demonstrates the playwright's aesthetic: "I guess what I rebelled against was the notion that campy means something is so tacky or bad that it's good, and that I just didn't relate to." Amen, brother!

Richards successfully avoids the pitfalls inherent in directing a play in which one is also acting. The tone is just right for camp; it plays up the melodrama without falling into burlesque. Two of the performers absolutely nail the technique. Deighton as the fluttery Agnes trills her way through the show, sounding a little like Billy Burke in "The Wizard of Oz." Also in top form is Jesswein as the tennis shoe clad, tough-gal Sister Acacius.

Here's where I might say that the towering Bailey stands head and shoulders above the cast, but Richards' ensemble is too tight for that to be more that literally true. His performance, though, is a knock-out, from Mother Superior's entrance on a bicycle to tying up loose ends at the curtain. Bailey channels every stereotype of Hollywood sisterhood: She is kindly, wise, determined, yet marked with an indelible certainty that she's better than you. Sister is the bastion of the old order, and the best line of the night may be her assertion, "My dear, we are living in a time of great social change. We must do everything in our power to stop it."

Wild and witty beyond words, "The Divine Sister" is The Ringwald's latest entry in a string of successful campy comedies. It looks, if you will forgive me, like it's becoming a "habit."

SHOW DETAILS: "The Divine Sister" continues at The Ringwald Theatre, 22742 Woodward Ave., Ferndale, Friday-Monday through June 4. Running time: 100 minutes without intermission. Tickets: $10-15. For information: 248-545-5545 or www.theringwald.com.

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The tears of a clown

By Michael H. Margolin

In 1904, Enrico Caruso's recording of "Vesti la giubba," the aria from the conclusion of Act One of Ruggero Leoncavallo's 1892 opera " I Pagliacci," became the first million-selling record in history.

It is a justly famous aria, dramatizing the irony of men who love too well – Canio, the "clown," like Othello, is tortured by jealousy and it ends badly, while Tonio, who reveals his wife Nedda's inconstancy, gets off, as does Iago. But while Othello's jealousy is forefront, Canio is one of the clowns, men who betray their humanity. And so the title of the opera, "The Clowns", is more Everyman than hero.

That is where the Romantic movement in opera shades into Verismo opera, that style in which reflections on the reality of the lives of rather ordinary people – meanness, pettiness, revenge without greatness or ideals – creates a much-loved genre in opera.

Traditionally, "I Pagliacci" is paired with "Cavalleria Rusticana," another verismo piece in which machismo leads to a tawdry finale. This time out Michigan Opera Theatre has chosen Bernard Uzan's production, enhanced with a 10-minute pantomime at the beginning of Act Two, as a stand-alone. Uzan has supported his vision with two clowns in the commedia dell'arte style, one in black and one in white, comedy and tragedy, who act as commentators on the action, in mime.

Uzan takes a line of Canio's to the effect that he discovered Nedda (a poor, young girl), took her under his wing and made her into a performer in his traveling company, roaming the environs of southern Italy, here updated to what appears to be the 1920s (it debuted in 1892). The pantomime, set to Leoncallo's music from "Zaza," shows a stage upon which Nedda's development, portrayed by three progressively older actresses, is nurtured by Canio, Pygmalion to her Galatea. The accompanying music is very much like a band of the era. This morphs smoothly into Act Two, as the stage moves forward to become the portal on which the final drama is enacted.

Cleverly rethought, it stands alone as a work of drama and music – rich, urgent, demanding of singers.

Antonello Polombi returns to MOT (2010's smooth, powerful Cavarodossi in "Tosca") to play the consummate clown. The role is written with high tessitura, and Polombi delivers golden, sustained notes tapering many into beautiful near-pianissimo, and, importantly, imbues the character with real humanity. His aria "Vesti..." which means "put on the costume," tells all we need to know about this man and his ego, his devotion to his art while bristling with regret and sorrow. A great performance.

There are two other major roles and two important supporting roles. As Tonio, who forces the central action of the plot, Gordon Hawkins opens the opera with his plangent baritone, describing actors who have the same feelings as all people, and ends the opera with that magnificent line, "The comedy is finished." Hawkins last appeared at MOT in 2006's "Porgy and Bess."

As Nedda, soprano Jill Gardner appears here for the first time. Initially, ironically reflecting her line about the "shrill screeching" of birds, she warmed up to provide forceful, dynamic singing, and in Act Two, a beautifully delineated impersonation of Colombina in the play within the play.

In that play, her Pagliaccio was transformed from second banana, the actor Beppe, into a facile, romantic tenor, whose balcony serenade revealed a light, attractive tenor – sung by Phillipe Pierce, new to MOT. As Silvio, Nedda's loverboy, Luis Ledesma – who sang a solid, affecting Germont in MOT's 2008 "La Traviata" – is good-looking with a suave baritone.

In the pit, Steven Mercurio returned for his 17th podium assignment with MOT. He brought out the great intensity of the score, and the musicians of the MOT Orchestra gave him what he asked for – though the low strings were not as strong as they needed to be. Again, Suzanne Mallare Acton, the chorus master, encouraged the fine MOT chorus to produce gorgeous singing.

For the most part, Cynthia Savage's costume design hit the vernacular nail on the head (though plaid walking shorts for 1920 Italy looked absurd). Claude Girard's set design was the real thing, and Donald Thomas' lighting design was exquisite.

MOT, even in the toughest of financial times, continues to produce singular opera, beautifully cast, a dynamic orchestra and one of the best choruses one could ask for – at the top of Michigan's cultural pyramid.

SHOW DETAILS: Michigan Opera Theatre's "I Pagliacci" continues at Detroit Opera House, 1526 Broadway St., Detroit, May 16, 18-20. Running time: 120 minutes. Tickets: $29-$121. For information: 313-237-SING or www.michiganopera.org.

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OTHER VOICES - REVIEWS: I Pagliacci - Michigan Opera Theatre

Read RUTH CRYSTAL-ZAROMP's review - New Monitor (May 17, 2012)

Read LAWRENCE B. JOHNSON's review – The Detroit News (May 13, 2012)

Stormfield stomps an energetic end to its season

By Bridgette M. Redman

Every town has its collection of famous and almost famous residents. In Lansing, these include celebrities from the world of sports, politics, technology and politics. Names such as Magic Johnson, John Smoltz, Malcolm X and Larry Page (co-founder of Google) make residents stop and say, "Yeah, they're from my hometown."

Then there is the ubiquitous entertainment industry. Lansing lays claim to such figures as Timothy Busfield and Steven Seagal.

In the music world, the first name that pops to many people's lips is Boogie Woogie Bob Baldori. A back-up pianist and harmonica player for Chuck Berry, he's made a career out of playing the "happy blues" of boogie-woogie.

It's a history that Stormfield Theater is sharing with its audiences to close out its season in a performance of "Boogie Stomp!" In a series of concerts over two weekends, Baldori is partnering up with other boogie-woogie greats to put on a display of boogie-woogie piano music along with a smattering of the history and an explanation of what makes boogie woogie what it is.

On opening night at Stormfield, Baldori was joined by Bob Seeley, student of Meade Lux Lewis and acknowledged by many as the best boogie-woogie pianist in the world. To see his fingers move across the keyboard, few would want to challenge him. He plays with a speed and intensity that make hummingbirds look lazy.

Together Baldori and Seeley present an evening of piano proficiency designed to excite an audience's ears and eyes both. The keyboards are turned so the audience doesn't have to miss a move and can delight to the dancing fingers. What made Baldori's performance even more impressive opening night was that he was playing with a split index finger, bandaged to protect it. Yet there was no evidence of even the slightest hesitation or favoring of the finger.

The two musicians, playing music that was at its popularity height in the '30s and '40s know how to entertain. Whether it is the humor of making a keyboard sing doo wops or the cheek-to-cheek playing with four hands on a single keyboard, they fill the evening with flair and fun.

Boogie-woogie, which Baldori defined as rhythm and improvisation over the blues, wasn't the music of concert halls. The skilled founders of the music played in backroom bars, speakeasies and night clubs. The music came out of the post-Civil War era when newly freed slaves were experiencing new opportunity to experiment with their music. The music was meant to make people dance – not anything slow and stately, but the fast patter of a beat that never stopped pumping.

This is the story that Baldori and Seeley tell on Stormfield's stage in "Boogie Stomp!" But ultimately it isn't the words that communicate the story, it is the music and those non-stop fingers dancing over the keyboard. It is the pure passion which the two musicians pour into the piano, making the impressive grands practically jump on the stage.

SHOW DETAILS: "Boogie Stomp!" continues at Stormfield Theatre, 201 Morgan Lane, Lansing, Thursday-Sunday through May 20. Running time: 136 minutes. Tickets: $25. For information: 517-351-6555 or www.stormfieldtheatre.org

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OTHER VOICES - REVIEWS: Boogie Stomp! - Stormfield Theatre

Read TOM HELMA's review – City Pulse (May 16, 2012)

JET's 'M. Butterfly' takes wing, but could use more heat

By Jenn McKee

The inherent challenge of David Bowie's hit song "China Girl" – which plays when the lights go up on the Jewish Ensemble Theatre's production of "M. Butterfly" – is that it offends you while also being an irresistibly catchy song.

For this reason, it's a wholly apropos close to David Henry Hwang's stereotype-deconstructing, Tony-winning play, which tells the strange tale of a married French diplomat, Rene (Glen Allen Pruett), who has an affair with a Chinese opera singer, Song Liling (Tae Hoon Yoo), for 20 years before discovering that not only is his lover a spy, but a man. (The story was inspired by a real case that made headlines.)

Given the story's time frame, it's perhaps no surprise to learn that the play jumps around in time. Beginning with Rene in a Paris jail cell, the play works to explain how he got to there, going back to Rene and Song's first meeting in China.

Hwang's play is sophisticated and smart, but the very complexities that make it stand apart from others also make it a bear to stage. In the first act, for instance, there's a good bit of expositional information coming at the audience at a brisk clip, and scenes and locales change quickly – all of which is to say, if you go to the show, hang on tight. (Director Arthur Beer and his cast do a fairly decent job with the material, but at times, the transitions are so quick you might be temporarily disoriented and feel you're struggling to absorb it all.)

Plus, the two hours-plus play is, not surprisingly, dialogue-dense, with Rene on stage nearly throughout the play. (Pruett had a couple of rough spots, in terms of lines, on opening night.) Hwang manages to include close examinations of racial/ethnic/regional stereotypes; the role they play in world politics; gender definitions; and the blurred lines of sexuality, all by way of this unusual tale.

And while JET's production is decent, I wouldn't categorize it as a knockout, despite the fact that it has several things going for it.

In supporting roles, Andrew Huff, Cara AnnMarie and Phil Powers give the non-love-affair scenes a spark. They each play multiple roles, but Powers' smilingly unctuous depiction of Rene's boss, and AnnMarie scene-stealing take on an American college student in China, are highlights.

Mary Copenhagen's costume design, with a couple of minor exceptions (like Helga's uncomfortable-looking jumpsuit), is thoughtfully appropriate, and sometimes even beautiful. Jon Weaver's lighting design helps the audience make all the jumps in time while also setting each scene's mood; and set designer Sarah Tanner manages to evoke numerous locales with translucent, movable screens and effective use of Chelsea Burke's props.

The production's central tone, however, keeps it from reaching its full potential.

Pruett's Rene certainly seems like a man who's enjoying the fruits of being a white, Western man of some power in China, but he doesn't seem like a man consumed by erotic desire. The scenes between him and Yoo play out like the sentimental melodrama of opera – deliberately, since it is through this medium that they meet, and Puccini's "Madame Butterfly" acts as a cultural blueprint for the whole play – but in these moments, there's no palpable heat coming off the stage.

Watching Yoo in scenes where Song is more truly her/himself is exciting, by contrast to the role we see him playing with Rene throughout; but their scenes together feel restrained, and the dissonance carries over into Rene's scenes with his all-but-ignored wife, Helga (Linda Rabin Hammell). Hammell's a fine actress, but it's ultimately hard to get a bead on Helga because the passion that's supposedly leading her husband away from her feels elusive and unreal.

That said, some things about this play, which opened on Broadway in 1988, feel strangely prescient. Americans viewed China, and the Chinese, quite differently just 20 years ago, and that becomes evident when a college student Rene has a fling with speaks of learning Chinese. "I think it will be useful one day," she said, as those in the opening night crowd chuckled. And then one of the characters lightly suggests that the Chinese could take over the world.

The laughs sounded a little more nervous in that moment.

SHOW DETAILS: The Jewish Ensemble Theatre Company's "M. Butterfly" continues at Aaron DeRoy Theatre, 6600 W. Maple Road, West Bloomfield. Wednesday, Thursday, Saturday & Sunday through May 27. Tickets: $36-43. For information: 248-788-2900 or www.JETTheatre.org.

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OTHER VOICES - REVIEWS: M. Butterfly - The Jewish Ensemble Theatre Company

Read JOHN MONAGHAN's review - Detroit Free Press (May 17, 2012)

Read RONELLE GRIER's review - The Oakland Press (May 11, 2012)

Read RUTH CRYSTAL-ZAROMP's review - New Monitor (May 10, 2012)

What A Do can handle the truth

By Bridgette M. Redman

Ever since Shakespeare first penned the directive to "first kill all the lawyers," those of the legal profession have often gotten a bad rap on stage and screen. They are perceived not as honorable warriors fighting a battle between good and evil, but rather as opportunists merely concerned with whether they can win or lose regardless of right and wrong.

What makes "A Few Good Men" such a powerful drama is its ability to question the cliche without disregarding it. The lawyers are engaged in ethical questions that stretch everything about their self-image and their view on the world. With a Marine dead and two of his unit members accused of poisoning him and hazing him to death, the lawyers can plea bargain a result out of court or they can engage in the public relations nightmare of court-martial proceedings.

What A Do Theater manages every movement in the production to maximize the intensity of this struggle on the part of the lawyers, the court, the squad-level soldiers and the officers who command them. Director Randy Wolfe tightly choreographs every movement, strictly conducts the volume of the voices and coordinates a myriad of special effects including continual water haze, strobe lights, and a steadily rhythmic beat of original music.

If the delivery of the actors at the beginning started out with a stiffness that went beyond the crisp movements of military precision, it was forgivable because the characters soon grooved into the roles with characters becoming real and layered long before the intermission. They soon begin speaking as characters and not just to deliver an emotional response on the part of the audience.

By the end, the lead and supporting actors are invested and intense. Scott Whitesell as Sam Weinberg, the reluctant defense attorney who has little sympathy for his clients, was real and relatable from his first appearance. His delivery was always human and transcended stereotypes. Adam Bielby and Joshua Olgine played the two Marines, Private Louden Downey and Lance Corporal Howard Dawson, caught up in something bigger than themselves, pawns in a game of honor. While Downey was lost completely, Olgine managed to add complexity even to Dawson's silences, and his struggle with honor, strength, humanity and sacrifice underlined the show's major themes.

The three characters who lock horns the most each created different approaches with clashing personalities, goals and beliefs. David Lew Cooper as Defense Attorney and Navy LTJG Daniel Kaffee was first insouciant and then passionate, a seemingly devil-may-care hotshot who escapes pressure by pretending to be indifferent. His transformation is compelling and drags the audience along his journey from win-lose to right-wrong.

Ron Ware's Lt. Col. Nathan Jessup fulfills his self-described moniker of grotesque. He is a commander first and last who never questions that what is best for him is best for the country. He alternates between good ol' boy and intimidating bully. In pursuit of saving lives, he is willing to sacrifice others for not just the good of the greater number or the good of the country, but for the good of his career.

Tara Bouldrey, a member of What A Do's resident company, holds down the role of the sole woman in a cast of 15, a woman who is out of place despite her militarism and strict adherence to policy and legality. It is difficult to sympathize with her sharp treatment of others, but she gradually shows greater vulnerability with varied vocal delivery that makes her more human.

Dave Stubbs portrayal of Capt. Matthew Markinson is heartbreaking as a man committed to honor and the Corps who finds himself caught between his convictions. Nicholas Mumma maintains an intensity as Lt. Jonathan James Kendrick, an imposing man who can intimidate and bully his fellow Marines and has a religious fanaticism that fuels his violence.

While the heart of this drama is the story itself, the technical aspects are certainly a star of this show. The stage is set from the moment the doors open, with Ted Hatton's lighting design always noticeable with special effects shooting through the smoky fog, sometimes strobing to John Purchase's original soundtrack. Madeleine Gibson on the light board keeps up with the complex lighting plot, putting on an electronic show that easily rivals the drama on stage. The music does become reverberatingly loud, and those sitting near the speakers may find the sound effects sometimes overpower the spoken words.

Wolfe brought in two military consultants, and their influence shows in the sharp movements and the set and Nancy King's costuming.

By the show's end, the audience is left with much to think about, including such questions of what it means to guard the fence between freedom and tyranny.

SHOW DETAILS: "A Few Good Men" continues at What A Do Theatre, 4071 W. Dickman Road, Springfield, Thursday-Saturday through May 19. Running time: 165 minutes. Tickets: $20. For information: 269-282-1953 or www.whatado.org.

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OTHER VOICES - REVIEWS: A Few Good Men - What A Do Theatre

Read CHRISTOPHER TOWER's review – Battle Creek Enquirer (May 5, 2012)

Heart'felt' 'Avenue Q' is risque fun, 'fur' sure!

By John Quinn

A subversive little musical called "Avenue Q" made a big splash when it moved onto Broadway in 2003, winning three Tony Awards: Best Musical, Best Original Score and Best Original Book. It is the dark mirror image of the sunny simplicity of "Sesame Street." In songs and jokes and puppetry it teaches that, in the adult world, thinking "the sky's the limit" results in a cracked noggin against a glass ceiling.

Our scene is a run-down street in an outer borough of NYC. Our hero, Princeton (a "human" puppet, performed by Eric Niece), an English major with a new diploma but no job skills, has worked his way down from Avenue A, looking for a place he can afford. On Avenue Q, the price is right and the neighbors seem friendly. They include Kate (Andrea Thibodeau), pink, fuzzy and not bad looking for a monster; Rod (Niece again, with no hint of schizophrenia), an investment banker with a torturous secret; and his slacker roommate Nicky (Steve Xander Carson). Rod and Nicky bear a striking resemblance to a pair of long-time puppet roommates still appearing on public television. Another familiar voice – and bathmat pelt – is the curmudgeon Trekkie Monster (Carson. These guys really get around), addicted not to Archway, but to Internet porn. Tim Stone is the puppeteer who wears many hats, as well as heads, and is always around to lend a hand.

So much for the felt, fur, feathers and fuzz neighbors. In residence are some real humans: Brian (Casey Hibbert), stand-up comedian wannabe and his soon-to-be bride, Christmas Eve (Lauren Fuller), Asian-heritaged therapist with no clients. Rounding out the cast is building superintendent Gary Coleman (THE Gary Colman; my, how the mighty have fallen!), played by Yana Levovna.

The main plot is pretty standard. Puppet meets monster. Distracted by his search for "purpose," puppet loses monster. Puppet discovers "purpose" may be the journey rather than the goal, and puppet and monster are together again for the up-tempo finale.

Not so fast; it's not that simple. "Avenue Q" is a counter-cultural poke at its inspiration's incessant optimism. Regardless of the puppetry involved, this ain't kid's stuff. Both in song and story, the musical is profane, bawdy, and occasionally raunchy. It's as if Jim Henson's Creature Factory had been turned to the Dark Side of the Force. It even contains an extended scene of full puppet nudity. That being said, "Avenue Q" is also wickedly funny.

As re-invented by the What's That Smell? troupe, "Avenue Q" leaves Broadway glitz behind to play with the fundamentals of character and plot that has made this cynical satire a timeless favorite. This is a difficult project, one of the most ambitious of this theater season. The production is a bare-bones rendering, where the stars are clearly Mark Konwinski's beautifully rendered puppet troupe. The award-winning score sounds deceptively simple; it's not. The singers step up to the challenge and the chorus numbers are great. The puppetry, though, is going to look a little loose. The production does not use selective lighting to highlight the character, as was done for the late Wayland Flowers and Madame; nor do the puppets appear over a wall, a la the Muppets. The puppeteers and their charges move around the stage in full view, and it takes an act of will to watch the stone faced character instead of the more expressive actor behind him. Regardless of their previous stage experience, the cast are novices in puppetry, and all-in all their work is extraordinary.

Notice above how the actors play multiple roles. This extends to back stage, too. Stage director Kevin Fitzhenry also designed both set and lights, and building the massive set seems to have been a collaboration of actors, friends and family. There is an old adage: "Many hands make light work." It would seem that relatively few hands can pull off a major accomplishment successfully, but I'm betting it was hard work. Maybe the positive attitude which comes from playing on the sunny side of the street conquers obstacles. I wouldn't know; a critic is theater's version of Oscar the Grouch.

SHOW DETAILS: "Avenue Q" continues at The Box Theater, 51 N. Walnut, Mount Clemens, Friday-Saturday through May 19, plus Sunday, May 6 and Thursday, May 10. Running time: 140 minutes. Contains adult content; not for children. Tickets: $25. For information: 586-954-2311 or www.theboxtheater.com.

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Morals, morals, who's got the morals?

By Donald V. Calamia

According to the Oxford American Dictionary, an altruist is one who has an "unselfish concern for the needs and well-being of other people." In Nicky Silver's razor-sharp satire "The Altruists," a passionate band of idealistic, young protesters are indeed concerned about the welfare of others; it's the "unselfish" part they have problems with – as seen in Magenta Giraffe Theatre Company's very fine production at The Furniture Factory in Midtown Detroit.

Written more than a decade ago but reminiscent of today's Occupiers, "The Altruists" unfolds in three bedrooms scattered across New York City. It's Sunday, and yet another protest is on the agenda – although no one is quite sure what the subject-du-jour might be. Although each member of this motley bunch is dedicated and fully committed to a seemingly endless list of leftist causes – and will eagerly raise a picket sign or toss a fire bomb to show their solidarity with them – their moral centers are, shall we say, a bit squishy.

Ringleader Ronald (Cal M. Schwartz) is a gay social worker who falls instantly in love with whatever "fix-em-upper" comes into his life. Today it's a drug-fueled, mostly monosyllabic male prostitute, Lance (Richard Payton), who he picked up the night before. (He's already making their wedding plans.) His co-conspirators are the hunky, self-centered Ethan (Jonathan Davidson), who – despite his live-in arrangements with Ronald's sister, Sydney (Alysia Kolascz) – finds himself bedding many of the movement's female participants, including Cybil (Jill Dion), a not-very-committed lesbian in a rocky relationship with the much-feared (but never seen) Audrey.

Passions come to a head this particular morning when Sydney – an equally self-absorbed soap opera star – suffers an emotional meltdown over her relationship with Ethan. With Ronald's encouragement, Ethan and the other protesters have been using Sydney to fund their activities – by running up her credit card and stealing her precious belongings (and then selling them) – and Ethan's recent philandering is too much for her to accept. So in the midst of a heated, one-sided argument – Ethan is apparently sound asleep under the covers – Sydney pulls out a handgun and pops three bullets into her lover's backside.

And that's when the truth behind their morals comes squarely into play!

Without giving too much away, Director Molly McMahon has found all of the script's humor and pathos and balances the laughs and anguish with great skill. And she has also assembled a fine on-stage and behind-the-scenes ensemble who delivered a near-flawless performance on opening night.

Each of her actors creates a fully developed, passionate character. Schwartz's over-the-top, desperate-for-love performance is a scream, while the furry, tight-torsoed Davidson has all sorts of fun dancing around his character's moral compass. And Kolascz and Dion are both superb in delivering monologues that cover a wide range of human emotions. But by the end of the play, you can't help but feel sorry for Payton's Lance, the only character who makes a positive, life-affirming decision – and through no fault of his own, doesn't get to fulfill it.

All technical aspects serve the show quite well. Special recognition goes to Scenic Designer Adam Crinson for a set that was so realistically messy that my guest at the performance – a neat freak – was dying to walk onstage and tidy up a bit. (OK, a LOT, actually.)

So trust me: If there's a moral to Silver's story – and there is – the show's closing moments will make it totally clear. And that's the best compliment one can give to this very fine – and highly engaging – production.

SHOW DETAILS: Magenta Giraffe Theatre Company;s "The Altruists" continues at The Furniture Factory, 4126 Third St., Detroit, Friday-Saturday through May 26, plus Sunday, May 20. Running time: 90 minutes without intermission. Tickets: $15-18. For information: 313-408-7269 or www.magentagiraffe.org.

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OTHER VOICES - REVIEWS: The Altruists - Magenta Giraffe Theatre Company

Read SAMANTHA WHITE's review - The Oakland Press (May 11, 2012)

Read ROBERT DELANEY's review - New Monitor (May 10, 2012)

Read JOHN MONAGHAN's review – Detroit Free Press (May 10, 2012)

Read PATTY NOLAN's review – Detroit Theater Examiner (May 5, 2012)

Matrix romp bears bountiful fruit

By John Quinn

There are odd or unusual plays in every theatrical season, some because of their scripts, and some because of their staging. Matrix Theatre Company doubles the oddity by presenting "Raven's Seed," Stephen Most's 1984 quirky, cautionary fable of technology run amok. Director Shaun Nethercott could have let us sit quietly and have the play served up for us on a silver platter – business as usual – but, no! Her audiences are gadding about Matrix's Mexicantown neighborhood, following the actors. The out-of-theater experience includes the lot at Detroit Farm and Garden and the plaza of the Bagley Street Pedestrian Bridge, the weak bandage on that battle wound from technology run amok, I-75. The experience is utterly unique.

"Raven's Seed" portrays a clash of two cultures and employs two differing theatrical styles. Our play opens in the tree-rimmed lot beside Matrix, where we are introduced to totemic animals from Native American myth. These strikingly masked and costumed creatures are Sturgeon, Bear, Coyote and Raven. Illness has entered the forest primeval, and Sturgeon rightly affirms the source as Man's science facility upstream. To emulate his progenitor, who in a Prometheus-like myth stole the sun back from selfish Man, Raven vows to transform himself and steal the power from the humans, thus again saving the world.

Hard at work in a lab up the river, the bumbling Drs. J. Stanley Opportune (Dan Jaroslaw) and Dr. Oliver Liverwurst (Dan Woitulewicz) are finishing up the coincidentally-named Prometheus Project, a means of replenishing the fuel supply of the world's nuclear reactors. They are oblivious to the damage done down-stream until Opportune's daughter, Nova (Erin Hildebrandt), brings word of lethal radiation levels. Stan and Ollie don't care; "Nobody lives there."

Raven, disguised as "Ray," manages to steal the first pellet of plutonium. But unlike his mythical forefather, succumbs to radiation poisoning. This sets up an absurdist game of "pellet, pellet, who's got the pellet?" and reveals Dr. Opportune's mad schemes for his own daughter.

The stylistic variations in "Raven's Seed" are jarring, but not offensively so. They demonstrate a vision held by both playwright and director. The burlesque-inspired scientists are callously exploring while ignoring consequences; the "nature" scenes are reminiscent of Native ritual. Yet, between the acting style and the off-stage sound effects, one will also notice a strong current of technique inspired by Polish director Jerzy Grotowski's "poor theatre" concepts. The four actors portraying animals, Rodolfo (Rudy) Villarreal (Raven), Krista Schafer (Bear, and later Loon), Maurizio Rosas-Dominguez (Coyote) and Matios Simonian (Sturgeon) ably rely on strong body language and gestures, backed up by some powerful voices, to convey character.

While strolling around the neighborhood is a pleasant alternative to sitting in a darkened theater, it breaks the continuity of the narrative. The one-act "Raven's Seed" runs about an hour and forty-five minutes, and a lot of that time is spent getting a scene up to speed. Still and all, this ambitious project affirms Matrix Theatre's reputation for exploring the potentials just around the corner.

SHOW DETAILS: "Raven's Seed" continues at Matrix Theatre Company, 2730 Bagley, Detroit, 3 p.m. Saturday-Sunday through May 20. Running time: 105 minutes. Tickets: $20. For information: 313-967-0599 or www.matrixtheatre.org.

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'Little Voice,' big dreams at the Ant

By Donald V. Calamia

Back in the 1990s, one of Metro Detroit's most highly regarded directors had a dream – a dream to stage "The Rise and Fall of Little Voice" by Jim Cartwright. Life-altering experiences, however, caused Annette Madias to change directions, thus putting the project on hold – possibly forever. Flash forward to 2011 – and guess what script Planet Ant Theatre is planning for its 2011-12 season? And what director's name comes up for the project – thanks to a long-time friend and colleague?

For those of us old enough to remember Madias' work, the news of her pending return to the director's chair became one of the most anticipated events of the season. And coupled with the gossip that began circulating once rehearsals began, one could only wonder if the production would live up to the hype that quickly circulated throughout the community.

So on opening night – surrounded by a packed house filled with many familiar faces from throughout the Ant's history – Madias sat and watched her dreams unfold. The rest of us were treated to one of the most memorable nights of theater I've had so far this season.

Madias, celebrated for her in-depth character work, has plenty to work with here – thanks to both the playwright and the talented cast and crew who accompanied her on this journey.

Cartwright's story addresses a universal theme – the search for love – and does so through a mother and daughter (and associated friends and newcomers) who are as opposite as opposite can be. Set in northern England in the 1980s, Mari (Linda Ramsay) is an aging, faded beauty whose hunt for a man knows no limits. Desperate to be taken care of, Mari will hook up with pretty much anyone with male genitalia, hoping he'll be "the one" – and not just "the one for tonight." (But in the meantime, that'll do.) Her latest pursuit is Ray Say (Joel Mitchell), a small time talent agent – about half of whose clients are strippers. Arriving at Mari's home and about to get to know each other in a rather intimate way, Ray hears a voice coming from upstairs. It belongs to Mari's daughter, nicknamed LV (Inga R. Wilson) for "Little Voice," who spends hours listening to and mimicking the stack of LPs (long playing albums, for those too young to remember) that belonged to her deceased and loving father. A recluse, LV rarely speaks – and when she does, it's barely above a whisper and with as few words as possible. Stunned by her amazing voice, Ray sees a meal ticket. So too does Mari – but their tickets are on two different tracks heading in opposite directions. A plan is hatched – and LV begrudgingly makes her public singing debut at a local club. And as you might expect, the show is called "The Rise and Fall of Little Voice" for a reason.

Cartwright's blueprint offers Madias seven opportunities to build interesting and colorful characters. Madias goes far beyond that, however, with seven actors who dig deep into their roles and discover quirky, yet thoroughly identifiable human beings who are all searching for what everyone seeks: acceptance and love by those around them.

That's especially true of Sadie, a meek soul and Mari's best friend – despite the outbursts of verbal abuse thrust upon her by her often-soused neighbor. Amy Probst's performance is not only sweet and heartwarming, it's also a master class on how a single word – in this case, "OK" – can be delivered multiple ways and mean different things. Add to that her character-defining facial expressions and physical movements, and the result is a fully realized performance that will stick with you long after the show ends.

Similarly, Sean McGettigan plays Billy, a young phone company installer who's almost as shy and quiet as LV – and as equally fascinated with lights as she is with her records. McGettigan excels at telegraphing Billy's feelings with only the slightest of expression changes. And watch his eyes: They tell the rest of the story.

Rounding out the cast are Musical Director Mikey Brown, who plays Scottish club owner Mr. Boo. Whatever you do, don't be late: Mr. Boo opens the show performing in his club – and I doubt you'll ever hear classics such as "Hot Child in the City" and "Message in the Bottle" performed quite like this ever again. Assisting him on bongos in the second act opening is Dave Davies, who also plays the phone installer in the first.

It's the triumvirate of Ramsay, Wilson and Mitchell that steals the show, however.

Mitchell, who could earn an acting nomination pretty much every time he walks onto a stage, is once again a force to be reckoned with as the sleazy agent. The second-act comeuppance he gives Mari is especially powerful – and a scene in LV's bedroom makes you wonder just how far Ray would go to get the girl to do as he asks. (He had me guessing the whole time.)

In total contrast is Wilson's LV, whose sadness will chill you to the bone. She also has the difficult task of recreating the unique vocal qualities of some of the most famous female singers of the 20th century – and she does it exceptionally well. Her most revealing moment comes at the conclusion of LV's second club performance – with a reaction that needs no words to convey her inner thoughts.

If there's a standout performance, though, it belongs to Ramsay. With a perfect accent that never wavers, Ramsey mines every nuance possible from Cartwright's complicated character – and the result is a performance that's as close to perfection as we could possibly expect.

The show's technical elements are generally well done – particularly Kirstin L. Bianchi's costumes that place the show firmly in the tacky '80s and Kate Peckham's sound design.

The production is not without flaws, however.

A few scenes end a bit too abruptly, thereby not allowing us to fully absorb the impact of what we just witnessed before the lights go down. Also, the creative use of a flashlight needs to be worked on a bit, or risk generating more unintended chuckles as it did on opening night. And decisions made regarding how to create a pivotal effect in act two are saved only by Peckham's sound choice.

But all in all, Madias' return to the director's chair is something to be celebrated. And what a fine return it is!

SHOW DETAILS: "The Rise and Fall of Little Voice" continues at Planet Ant Theatre, 2357 Caniff St., Hamtramck, Friday-Saturday through May 19, plus Sunday, May 5 & 12 and Tuesday, May 8. Running time: approximately 138 minutes. Tickets: $20. For information: 313-365-4948 or www.PlanetAnt.com.

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OTHER VOICES - REVIEWS: The Rise and Fall of Little Voice - Planet Ant Theatre

Read ROBERT DELANEY's review - New Monitor (May 3, 2012)

Read JOHN MONAGHAN's review – Detroit Free Press (May 3, 2012)

'Red' comes through with flying color

By Martin F. Kohn

You may have had one great professor in college – or two, if you were lucky – who knew so much about so many things and spun them together so creatively that, even if the class wasn't in your favorite subject, you wouldn't skip his or her lectures for a good night's sleep or a guaranteed A.

That pretty much describes the painter Mark Rothko as playwright John Logan presents him in "Red," with the vital assistance at Ann Arbor's Performance Network of Mark Rademacher, who plays Rothko, and director Carla Milarch. "Red" takes place in the artist's New York studio, not a classroom, and it isn't a lecture but a conversation, so as long as we're handing out plaudits, score one for Kevin Young as Rothko's young assistant, Ken, and another for designer and assistant director Monika Essen.

The Rothko of "Red" speaks of the feeling of movement created when he makes colors, like the black and red he favors, rub up against each other. Not coincidentally, Rothko himself is in a place where inspiration rubs up against commerce and the resultant tension is nearly physical. The play is set in 1958 and 1959, when Rothko was commissioned to do a series of paintings for the walls of a new high-end restaurant, the Four Seasons, in a new New York office building.

It's a situation that gives Rothko plenty to talk about, and the arrival of his new assistant gives him someone to talk to. But this is no one-man play; Ken isn't just there to give the main guy time to breathe between questions, he is character as much realized as Rothko – which is to say, not fully, but complete within the boundaries of the play.

And again, the vital tension engendered by the juxtaposition of two differing entities, beginning with Ken's the first day of work as the artist's assistant: He shows up wearing a suit and the paint-spattered Rothko straightens him out in a hurry.

Rademacher is very much the disheveled painter, never the cliche mad artist or absent-minded professor but someone from the same neighborhood of eccentrics. And Logan certainly gives him the best lines ("Nature doesn't work for me: The light's no good") which the thoroughly convincing Rademacher delivers with the verve, and tobacco-smoked New York accent, of a Borscht Belt comedian.

Where Rademacher, as the established and accomplished Rothko, must (and does) maintain a certain consistency, Young as assistant Ken, transforms from a timid, almost cowering neophyte tiptoeing around the Great Man, into someone who calls out his mentor and gives as good as he gets. Fortunately, at the point when this seems to come out of nowhere, we are told that Ken has been working for Rothko for two years.

For all the play's verbal give-and-take, the unforgettable scene is wordless, almost balletic, as Ken and Rothko, with their backs to us, prime a massive canvass, wielding and waving their brushes in perfect counterpoise.

Not a bad metaphor for "Red" itself, a session you definitely don't want to skip, even for a good night's sleep or a guaranteed A.

SHOW DETAILS: "Red" continues at Performance Network Theatre, 120 E. Huron St., Ann Arbor, Thursday-Sunday through May 26. Running time: 80 minutes without intermission. Tickets: $22-41. For information: 734-663-0681 or www.PerformanceNetwork.org.

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OTHER VOICES - REVIEWS: Red - Performance Network Theatre

Read RONELLE GRIER's review – The Oakland Press (May 3, 2012)

Read DANIEL SKORA's review – New Monitor (May 3, 2012)

Read JOHN MONAGHAN's review – Detroit Free Press (May 3, 2012)

Read JENN MCKEE's review – AnnArbor.com (April 28, 2012)

Read PATTY NOLAN's review – Detroit Theater Examiner (April 28, 2012)

No dummies, just smart comedy at Go Comedy!

By Donald V. Calamia

Who among us doesn't remember Montag the Magnificent and Marbles, the amazing ventriloquist act that entertained millions from the silent screen years through much of the 20th century? They delighted audiences young and old until that infamous demon-in-the-bottle took control and ended what had been a brilliant career – only to see their long-awaited and much anticipated return crumble as quickly as it began. It was an end of an era most won't ever forget.

Wait a minute! You don't remember them? Not to worry, my confused readers: "Montag the Magnificent and Marbles" is the latest scripted comedy at Go Comedy! Improv Theater, and it's likely the most original concept to hit an area stage in recent memory.

Presented as an infomercial promoting a DVD of the "best of" (and "worst of") Montag and Marbles' recorded appearances, the story follows the ups and downs of their fabled career – from its humble beginnings to their short-lived return to the stage many decades later. It's a story of meteoric success followed by a booze-and-drug-fueled crash, but one thing kept the act together through it all: their friendship.

As creepy as that might sound, it's true – and the script by Josh Campos (Montag) and Brian Papandrea (Marbles) always keeps that in the foreground. (Jeff Dunham's recent biography helps explain the relationship between a "vent" and his dummies. It's an interesting and very funny book. End of free plug.) So despite Montag's descent into the bottle, they always had each other's back – or a hand up one's back, as the case might be. And as such, a reunion was pretty much pre-ordained – except fate had other ideas in mind.

While the script reveals the back story in a clear, concise way, it's the fine performances by Campos and Papandrea that takes the production to a higher level.

To pull this off, one must believe Montag is the ventriloquist and Marbles is his dummy – and it takes only seconds into the performance to buy into it. What specifically sells it is Papandrea's physicality as the dummy and Campos' handling of him: Every move is what you'd expect, from the eye blinks, to the head turning to the limp arms that never move on their own. (I also suspect he's a fan of the aforementioned Dunham; one specific reaction echoes Dunham's popular character, Peanut.)

Even the visual illusions work – from the little legs to the facial make-up – and if Papandrea doesn't suffer brain damage from all the times his limp body falls and his head hits a hard object I'll be surprised.

Direction by Pete Jacokes keeps the story flowing and the laughs coming. And the video work by Bob Wieck, Pj Jacokes and Papandrea help sell the overall concept of the comedy.

So don't be a dummy or let me put words in your mouth: See for yourself why the most unique ventriloquist act the world has never seen is actually a delightful and laugh-filled hour of fun here in Ferndale.

SHOW DETAILS: "Montag the Magnificent and Marbles" continues at Go Comedy! Improv Theater, 261 E. Nine Mile Rd., Ferndale, 10 p.m. Thursday through May 24. Running time: 50 minutes without intermission. Tickets: $5. For information: 248-327-0575 or www.gocomedy.net.

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Mystery solved at Go Comedy!

By Donald V. Calamia

When last we saw the boy band Menllenium, the once-famous recording stars had just reunited after internal squabbles and over-inflated egos had broken them apart. Now they've returned as mystery solvers a la Scooby Doo in "Menllenium Saves the World," which finds them at the Vatican where the murder of a bishop sets off a chain of events that threatens the world. Will these self-absorbed, sexually fixated and not-so-bright heroes save the day? Or will an ancient Mayan prophesy come true?

Go Comedy's spoof of the boy band phenomenon of the 1990s returns after a popular run in 2011 in an all-new adventure that's short on logic, mid-sized in laughs, but long on talent. The original comedy with music, written by its cast under the direction of Tommy LeRoy, is also a bit more crude than its predecessor – which some may find impossible to believe. So here's a hint: If you're easily offended or loathe the overuse of the infamous "f word," this show might not be for you. (Other than "Dry Humping," most of the song lyrics – and titles, I suppose – would require plenty of asterisks to survive the editing process.)

But if you like raw humor and a silly plot delivered by an experienced team of improvisers and actors, you'll hit the mother lode with "Menllenium Saves the World." (Based on verbal reactions, the opening night audience made up of mostly 20-somethings to their parents' age sure seemed to it!)

Daphne, the gorgeous but virginal head docent to the Vatican, contacts the famous boy band upon the discovery of the grisly murder of Bishop Brinkley. (His feet were missing.) Menllenium swoops in, and with the help of Father Oftlen (who suffers from maniacal Tourette syndrome, which causes him to laugh maniacally at inopportune moments), they set about to solve the mystery. Along the way, however, more murders occur – and the suspect list expands to include the members of the boy band itself!

That's where the plot unravels a bit, but that and a few other red herrings (such as the size-changing villain) do little to take away from the high octane craziness that fuels the show from start to finish.

Fans of the original production will be delighted to find their favorite characters are consistently portrayed by the original actors: Kevin (Andrew Seiler) is the arrogant sex fiend; Jayson (Micah Caldwell) is the tough guy; Marcus (Tommy Simon) is mostly a dimwit, but with an occasional flash of brilliance; J.D. (Clint Lohman) is the tri-sexual (who will try anything at least once); and manager Sarge (Ryan Parmenter) still has the munchies. (Do you have to ask why?)

Also the same is their overall lack of singing skills – but that works fine in a spoof or a satire. (I'll assume it's intentional.) Of the cast, Christa Coulter's Daphne has the best (and sweetest) voice. And Dan Brittain's laugh is indeed maniacal.

Line delivery and choreography on opening night was occasionally spotty, but what the show lacks in slickness is made up by the energy and conviction of the players. And the video work by LeRoy adds another layer of fun to the production.

Plus – and believe me on this point if nothing else – the music by composers Parmenter and Ben Mullins WILL stick with you after the show. (There seems to be at least one song in each "Menllenium" show that haunts you for days afterward!)

So yes, "Menllenium Saves the World," is lewd and crude – and the plot is a bit hole-y. (Bad pun, I know.) But consider this: While 'N Synch may be prettier to look at and may sing and move much better, the Menlennium boys are far funnier at solving crimes. I just wouldn't want them investigating MY murder for obvious reasons!

SHOW DETAILS: "Menllenium Saves the World" continues at Go Comedy! Improv Theater, 261 E. Nine Mile Rd., Ferndale, 8 p.m. Thursday-Friday through May 25. Tickets: $10 Thursday, $15 Friday. Recommended for ages 18 and up; 75 minutes without intermission. Tickets: 248-327-0575 or www.gocomedy.net.

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'White Buffalo': A stunning exploration of primal themes

By John Quinn

As the Lakota tell the tale, during a time of drought and famine, White Buffalo Calf Woman came among them. She brought them the buffalo, and taught her people many rituals and other knowledge. Most important of all, she gave them a sacred pipe, the chununpa, holiest of all Lakota worship symbols, which opens communication between Deity and Man. Her tasks complete, she transformed into a bright white buffalo, but promised to return in times of darkness and sorrow.

This strikingly beautiful myth is the centerpiece of the award-winning "White Buffalo" by Don Zolidis, which is receiving its world premiere at Chelsea's Purple Rose Theatre. Opening on a weekend when two major world religions celebrate their salvations, "White Buffalo" is yet another reminder, as writer Joseph Campbell often quoted from the Vedas, "Truth is one, the sages speak of it by many names." Some truths are so profound they can only be expressed through myth.

If the story isn't fascinating enough, the back story is remarkable. "White Buffalo" is inspired by the birth of Miracle, a buffalo she-calf – white, but not albino – born on the farm of Dave, Valerie and Corey Heider near Janesville, Wisconsin ( Zolidis's home town) on Aug. 20, 1994. Recognizing the cultural and spiritual significance not only for the Plains People but for peace-seekers worldwide, the Heiders opened their farm to one and all. The family took no profit from the 10-year experience of their home being holy ground to hundreds of thousands of pilgrims.

Those are the facts upon which Zolidis builds his fiction. When a white buffalo, named "Hope," is born on Carol Gelling's (Michelle Mountain) small Wisconsin farm, she and daughter Abby (Stacie Hadgikosti) consider it odd, but no big deal. It's not until John Two Rivers (Michael Brian Ogden), a young Lakota who arrives magus-like at the stable, tells the women the story of White Buffalo Calf Woman that they realize her birth is a prophecy of peace and unity. The publicity reaches Carol's long-estranged husband (Alex Leydenfrost), whose return further complicates Carol's life. But John and Alex are not the only ones with a special interest in Hope. Wealthy businessman Anderson Wilkes (David Daoust) offers $2 million for the calf; Carol and Abby are caught on the horns of a dilemma. Do they profit on the piety of others, or preserve the sacred trust handed them?

The characters Zolidis has created for "White Buffalo" are utterly compelling. None of them is based on stereotype. Their motivations and behavior are as unpredictable as – well – real people. This is especially true of John Two Rivers, who is conflicted by the contrast between the traditional symbol of salvation and the harsh reality of modern tribal life. Yet the five characters mentioned are literally only half the story.

There are four more cast members, clad brilliantly by costumer Christianne Myers in the traditional skin robes and shirts of the Plains peoples. They act as a chorus, and with the help of drummer Gregory Butka tell the legends, intone the prayers, and act in the place of the thousands of visitors. For someone raised in European tradition, their presence is wonderfully expressionistic. As First Woman (Rainbow Dickerson) dances before the calf, her sheer joy washes over us. It is a very special moment between artist and audience, thanks in no small part to Rhiannon Ragland's choreography.

Guy Sanville, perennial Purple Rose favorite and director of "White Buffalo," gifts us with a worthy premiere of a worthy play. If Miracle's birth on that Wisconsin farm didn't quite herald peace on Earth, good will towards men, it is our responsibility not to give up "Hope." Again in the words of Joseph Campbell, "Myth must be kept alive. The people who can keep it alive are the artists of one kind or another." The artists in Chelsea are holding up their end of the bargain; can we do less?

SHOW DETAILS: "White Buffalo" continues at The Purple Rose Theatre Company, 137 Park St., Chelsea, Wednesday-Sunday through June 2, plus Tuesday, May 29; no performance April 8. Tickets: $17.50-40. Running time: 120 minutes. For information: 734-433-7673 or www.purplerosetheatre.org.

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OTHER VOICES - REVIEWS: White Buffalo - The Purple Rose Theatre Company

Read CAROLYN HAYES' review - Rogue Critic (May 6, 2012)

Read TOM HELMA's review - City Pulse (April 19, 2012)

Read SEAN DALTON's review - Heritage Newspapers (April 12, 2012)

Read ROBERT DELANEY's review - New Monitor (April 12, 2012)

Read ANN HOLT's review – Jackson Citizen Patriot (April 9, 2012)

Read PATTY NOLAN's review – Detroit Theater Examiner (April 7, 2012)

Read JENN MCKEE's review – AnnArbor.com (April 7, 2012)

'Dead and Buried' but not forgotten

By John Quinn

Metaphorically speaking, we all go through life wearing different hats. I, for instance, am better known as a habitual barfly than I am as a critical gadfly. It's always a pleasure when going to the theater to find artists competent in many different disciplines. So consider one Harry Wetzel, who, early in his career, was the "go-to" actor for comedy in this burg. Lately, we've enjoyed his talents as scenic artist and production manager at the Detroit Repertory Theatre, where this season he knocked out a simple and functional set for "Engagement Rules," followed by an "order out of chaos" approach for "Burying the Bones." Oh, he also directs. The world premiere of James McLindon's "Dead and Buried" is the Rep's current offering, and it has Wetzel's fingerprints all over it. That's a good thing.

"Dead and Buried" is a quirky play, and not just because it's set in a cemetery. Part comedy, part drama, part mystery, it features three fresh, engaging characters but a rather thin plot." Predictable" is the wrong word, but a savvy audience can stay one step ahead of the playwright. There are a lot of insightful passages on the nature of death and dying, but it takes interesting actors to play them properly. Fortunately, director and cast have richly filled out the characters.

Bid is the manager of an old cemetery somewhere in New England. She has a unique past; an ex-leatherneck, she served in a Mortuary Affairs Unit, searching the war zone for the shredded remains of combat troopers. Her horrific experiences, trying to prepare remains for proper burial, have given Bid an unusual sensitivity to the needs of those left behind. She hires 18-year-old Perdue, a woman with a hidden agenda. For Robbie, Bid's other employee, an introduction to Perdue is lust at first sight. A common theme of loss unites the characters, but the parallels between Bid and Perdue are quite strong. Each seeks closure; each tries a different route. One woman is successful; one woman will find the courage to continue.

Another multiple hat-wearer, Charlotte Leisinger takes the role of crusty Bid. She is back on the stage after directing the beautifully rendered "Looking for the Pony" for the Rep last season. Another "Pony" alum, Lulu Dahl, plays Perdue. Their performances are solid and their chemistry is spot-on. But it's Benjamin J. Williams job to portray what might be the playwright's favorite character, Robbie. He has the bulk of the funny lines and takes the edge off the "grave" plot. Williams doesn't miss a beat.

There is one problem – opening night had a very sizeable audience. That may have changed the acoustics in the theater from what was experienced in rehearsal, because a few words and lines were inaudible.

When (not if) you see "Dead and Buried," pay attention to the incidental music. There's an impish ear at work in these choices, whether it belongs to sound designer Burr Huntington, director Harry Wetzel or a happy collaboration (two ears are better than one!). Edvard Grieg seems a natural choice, but I don't know how long it's been since I've heard P.D.Q. Bach!

SHOW DETAILS: "Dead and Buried" continues at the Detroit Repertory Theatre, 13103 Woodrow Wilson, Detroit, Thursday-Sunday through May 20; no performances April 8. Running time: 115 minutes. Tickets: $17-20. For information: 313-868-1347 or www.detroitreptheatre.com.

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OTHER VOICES - REVIEWS: Dead and Buried - Detroit Repertory Theatre

Read CAROLYN HAYES' review - Rogue Critic (April 21, 2012)

Read ROBERT DELANEY's review - New Monitor (April 12, 2012)

Read JOHN MONAGHAN's review – Detroit Free Press (April 5, 2012)

'Bernhardt' on tour: What she did for love

By John Quinn

Once again I am struck by the flexibility of the English language. It's a given that "character" is a fundamental concept in theater. It's also no secret that theater is full of "characters." Actor and playwright Carol Dunitz, Ph.D., introduces us to a one-of-a- kind character in "Bernhardt on Broadway," her one-woman musical inspired by fin de siecle actress and bon vivant Sarah Bernhardt. In the grand tradition of touring theater, Dunitz is performing this spring in venues throughout southeast Michigan.

"Bernhardt on Broadway" is a tough sell. Although a legendary icon of the theater, "The Divine Sarah" is not known to the average American. Yet over a century before performers like Madonna and Lady Gaga, Bernhardt was breaking new ground in self-promotion – as well as breaking the rules of "polite" society.

An actor's art is ephemeral. Unlike authors and poets like Mark Twain and Emily Dickenson, both subjects of solo rebirths on stage, there are only a couple of silent film appearances to document Bernhardt's work. We must rely on her biography to know the actress, a difficult prospect considering how carefully crafted her public persona was. Dunitz's careful, loving research helps winnow fact from fiction.

It's Paris, it's the 1890s, and we've been invited to a "salon" at the residence of Sarah Bernhardt, arguably the most famous woman in the world. In anecdote and song, she recounts her rise from humble beginnings to international success. She is driven by an addiction stronger than opium – the need for attention. Adopting as her motto, "quand meme" ("against all odds)," she succeeds in her goal to become the greatest actress in the world. But if that's not enough to hold public attention, then one can live a lifestyle that keeps one in the headlines. Bernhardt seems to have been an early practitioner of the marketing principle, "the medium is the message." Thus she took numerous lovers but only one husband. She carefully crafted outre rumors to be later denied – "Mme. Bernhardt does NOT play croquet with human skulls!" She was the first celebrity to make product endorsements – make-up and perfume and soaps and Vaseline and more. But above all, she lived an extravagant life that cost her several fortunes. She was quite a character, indeed.

"Bernhardt on Broadway" is an interesting work, but there are some puzzles about it. We can accept the convention in musical theater that, when the emotions are too powerful to act out, we break into song; when singing isn't enough, we dance. Any of you who have attended a cast party know thespians will break into song at the drop of a straw hat. One would have expected Mme. Bernhardt, though, might be moved to recite a line or two of her famous roles – even though she only performed in French. While the engaging score and lyrics illustrate the book, they don't necessarily rise from the emotional content of the scene.

Mark Twain categorized actresses as "bad, fair, good, great – and then there is Sarah Bernhardt." Her achievements are undeniable. After two hours in the presence of the Divine One we know much "about" Bernhardt but we don't "know" Sarah. So ingenious was her character study she remains a riddle, wrapped in a mystery.

SHOW DETAILS: The Last Word LLC Productions' "Bernhardt on Broadway" will be performed at multiple venues throughout Southeast Michigan and elsewhere through June. For group sales call 734-864-3244. Tickets are available at www.BrownPaperTickets.com. CLICK HERE for a complete list of upcoming performances.

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