Keeping up the Beat with Scott Stearns

1. Tell us about yourself!
I am Scott Stearns, father of Allison. I own HandWorks Massage LLC and I work as a massage therapist. I am the music director for Dimondale Presbyterian Church, the Saturday mass for St. Michael in Grand Ledge, and currently, the production of Little Shop of Horrors at Riverwalk Theatre. My favorite color is blue.

2. So what prompted you to get into music directing? How do you like it?
Allison was my impetus actually, sense a theme? When she was born I decided to find some way to raise her myself, so I quit my job as a Jiffy Lube store manager and applied to a church to be their director of music. I also started teaching piano lessons. Less money, less need for money, much happier Dad. As far as the theatre music directing, that's your fault, Erin. I do like it. I like the energy, fellowship, and creativity of talented people trying to bring order to chaos.

3. How many instruments do you play?
I play piano (keyboards) and vocal chords. I have messed around with the classical guitar a bit, but I am inconsistent with my practice. Allison plays trumpet, clarinet, flute, piano, and voice. I'm sorry, I thought I heard you ask..

4. Who are your favorite composers?
Rado and MacDermot, Tori Amos, Billy Joel, James Taylor, Carole King, Stephen Schwartz, those ABBA dudes, Ed Kowalcyzk, Rodgers and Hart, Shawn Colvin, Johny Mercer, Hoagy Carmichael, dotdotdot

5. Favorite lyric of ANY song?
You are here, so am I, maybe millions of people go by, but they all disappear from view.

6. How would you describe the way you relate to the people you are directing?
I try to understand how people learn, so that I can be more effective in helping them. With some it's repetition, with some it's breaking down the song into its component parts. I like to collaborate with people when possible, I love learning about new music from people or trying something in a different way.

7. Have you ever heard a voice that literally made your ears hurt? Yes. Her name is Ethel. But I love her now.

8. You’ve been involved with Singers on the Grand for quite awhile – how did that come about and are you still involved?
They asked me to accompany them in their second year, then I joined the singers and divided my time between playing and singing. I get my exercise in that show! We are preparing a show right now. It will be at the Grand Ledge Opera House on November 8th and 9th and at Riverwalk on April 17th, 18th, and 19th. Thanks for the subtle opportunity for a plug!

9. Do you have any desire to give acting a try?
Yes. I know that it's a craft hard learned however, and I, as an American adult, crave instant success. I think that I'll stick with what I'm relatively competent with for now.

10. What is important to you about theatre?
To me personally? This amazing community of actors, dancers, musicians, techies, etc that I've met. I love just listening to the stories around a round of beers. For an avid people watcher, it's heaven to be in this company.

11. If you could have a dream job, what would it be?
International food critic. Or a massage therapist working in one of those stilted huts out in the ocean.

12. How old were you when you first started to sing? I'm sure I was very young, although I quit the biz in 5th grade after my voice cracked on stage as I was singing a very important Christmas medley solo. I sang in high school and took a few lessons here and there. Singing was always my hobby, not my profession. My mom always tells me to just shut up and say (Thanks).

13. Do you have any superstitions about performing? (like uttering the name of the Scottish play in a theatre or do you prepare in any particular way for a performance?)
I wear black. It's not a superstition. I just always identify myself with the band and the band wears black. I breathe. When distracting thoughts or voltage fluctuations threaten, I breathe. Intentionally.

14. Why do you believe theatre/music is important to the community?
For the same reason it's important to me. We see talented, dedicated people entertaining us, enlightening us, showing us the fantastic and the sublime. They encourage us to access our emotions or think about something differently or just escape into farce with them. And they're right here!

A Short Chat With Mike Stewart of "Rumors"

Mike Stewart - Back on Stage Again

1. So why have you decided to jump back on stage now?
About 16 years ago I decided to give acting a break, jobs were getting harder to come by and I wasn't getting any younger and I told myself that when I got into my 50's that I would get back into acting and this is it.

2. What was the veryn first show you acted in? and what was the last one before Rumors?
Bye Bye Birdie was the very first show. The last show before Rumors was A Streetcar Named Desire.

3. Tell us alittle about yourself?
I started acting at Lake Superior State College in the 70"s but found that there wasn't much to learn there and deciced to return to Lansing and take classes here. I went to LCC and at the time the Boarshead ran the Theatre Classes so I learned my craft from two of the best - Richard Thompson and John Peakes. I then began working for LCC building sets and also got grabbed for several plays at the Boarshead. After school I spent several summers at the Weathervane Theatre in Whitefeild, New Hampshire, where I was introduced to real rolling Repertory (a different show every night) - it taught you to learn your lines very fast. I also moved to New York and worked on several small plays and commercials and extra work in movies etc.
In the 80's I moved to St. Louis, Mo. and opened my own Theatre called The River Repertory Theatre and ran that for 8 years. Then I came back and worked at Boarshead, and hit the road again and ended up in Indianapolis at Indiana Rep Theatre as a Master Electrician. After that you know the rest; 6 years a Hannah Community Center Running the theatre and helping LCP do shows.

4. Why is Theatre important to you?
Theatre is my life, there is not one thing I don't love about it - where else can you become an entirely differen't person, create beauitful sets, costumes, lighting and just plain have a blast.

5. What is your favorite show?
I love most all of Shakesphere's plays, Probably my favorite is Merchant of Venice.

6. Favorite Line from a play?
Now is the winter of our discontent, made glorious Summer by this Son of York! What a way to start a play!!

7. How does it feel to be back on stage agin?
Wonderful!!! I could not ask for a better group of actors to perform with, or for a better Director than Rick. This show has been a Blast and it shows on stage!

Pssst! Have You Heard the Gossip About "Rumors?"

Eight guests, six doors, two gunshots, and a telephone that begins to inflict terror every time it rings: these are the essential ingredients for the fast paced farce, "Rumors," directed tightly by Rick Dethlefsen.

“Rumors” is one of Neil Simon’s most famous plays, and with good reason. The script is packed full of great one-liners and comedy set-ups with hilarious pay-offs. Mr. Dethlefsen has compiled an amazing cast with great timing and delivery, and he doesn’t waste much time on letting them just sit and breathe. There is constant motion, constant distraction, constant action to be watched and dialogue that moves quickly to keep the frenzy that the guests are feeling fresh.

Ken and Chris Gorman, played by Justin Hein and Rachel Mender, begin the show in a state of panic; they are the unfortunate couple who have the very rotten timing of showing up for an anniversary party early, and are met with a crisis and just don’t know what the hell to do except, well, panic. And they are extremely adept at that.

Mr. Hein in particular was able to act extremely paranoid and scared, but logical and levelheaded with entertaining results. We can see that he’s scared to death in the situation he’s found himself in, and as he tries to hide the truth from the other guests who arrive we can feel the nervous tension drip down his forehead in beads of anxious sweat as he puts on his best smile and repeats “Everything’s fine!” while looking like he’s just come across a murder scene. He becomes even more fascinating to watch from the result of an accident – which I prefer not to give away. Let’s just say that this accident requires Mr. Hein to rely a great deal more on facial expressions for part of the show, and quite honestly, his face speaks volumes without his lips ever needing to say a word. His energy propels the show forward and he was just damned amusing to watch.

Ms. Mender kept up well with Mr. Hein, and part of the fun of her character was watching her get lost in all of the stories that were being told to cover what up what could be misconstrued as a ‘scandal’ for their friend Charlie. She is so shaky from the pressure of remaining calm that her hands can’t hold a cigarette long enough to light it. She doesn’t quite have the stamina Mr. Hein has, but plays her character well as a woman caught in the middle of a drama she just doesn’t have the stomach for.

The next guests to arrive are let in on the secret that Ken and Chris are keeping – Lenny and Claire Ganz, played by Emily Aslakson-Himebaugh and Joseph Dickson – and they handle the stress quite a bit better than Ken and Chris, who confide the nature of the emergency that evening to them. Ms. Aslakson-Himebaugh plays more of a socialite interested in this kind of scene, and makes it clear that she is part of the gossip grapevine at their Society Club and is in on all kinds of secrets. She plays the part of a reluctant and enthusiastic witness to the events of the evening both at once quite well. When things get heated she digs her gorgeous silver heels in and tries to help – often to the irritation of her husband, Lenny.

Joe Dickson’s stellar performance as Lenny is the true highlight of the production. From the moment he enters the room, your eyes are drawn to watch him on stage; he shows a great range of talent and steals the snippets of scenes he’s in with wisecracks, insults, outright anger and frustration. He is able to convey in one grunt, waiting for the telephone, the exact level of irritation he’s aiming towards his wife in that moment, the panic of the situation he’s in, and the impatience at the idiocy around him. Mr. Dickson’s penultimate speech is an outright hilarious gem of comedy; he uses facial expressions and gestures and the entire scope of the stage - this is hands-down the most thrilling scene of the show.

Cookie and Ernie Cusack are the third couple to arrive to the party, and are left in the dark about the nature of the situation. As Cookie, LeAnn Dethlefsen arrives in probably the most God-awful dress seen on stage, and cluelessly infuriates the likes of both Mr. Dickson and Mr. Hein while her husband, played by Mike Stewart, looks on in adoration to her quirky behavior. Ms. Dethlefsen knows how to turn the “ditz power” on – she’s alarmingly good at just not “getting it.” As the pace of the show quickens and the panic becomes more intense, she goes about her business, at times trying to help but mostly getting in the way. Mr. Dickson in particular has some very funny exchanges with her that leave her smiling in her own happy world while he seethes.

Mike Stewart, who has not been on stage in quite some time, is probably the most natural performer of the cast. He takes everything in stride, and plays a very optimistic, eager and genuinely likeable guy. He realizes quite quickly that something isn’t right, and part of what is so funny is that he falls for the cover-up stories being spun and is more than happy lend a hand to help with the festivities of the evening since the maid and butler are gone for the night. His relationship with Ms. Dethlefsen is effortless and smooth; it’s quite believable they are a married couple and play extremely well off each other. And when Mr. Stewart does get stressed, it’s quite hilarious to witness.

The antithesis of the sweet-natured marriage of Cookie and Ernie come in the form of Glenn and Cassie Cooper. Glenn is an ambitious political figure, played by Philip Himebaugh, and Cassie is his bitter wife, played by Amy Winchell.

Mr. Himebaugh is desperate to get his wife to calm down from a bit of a spat as they enter, and with a great deal of vigor he spouts what every man thinks about a woman who is angry with him…his nervous questions and flattery and desire to make the fight end are met with even more poison, which finally push him too far and he loses his temper with his wife, which sends her off to the bathroom for a good pout. He’s a far better politician with the other couples in the party though – eager to please, friendly, and putting on a good face despite the domestic dispute. When events turn south, however, he’s the first to try to get out of responsibility and plays an affable coward quite well. In the end he owns up to his responsibility, and makes up for his prior obnoxious digs at the other guests.

Mr. Himebaugh’s nemesis of the show, in the form of Amy Winchell, was truly marvelous to watch on stage. I actually heard a man next to me say, “Wow, she’s scary.” She is venomous about a perceived affair that she thinks her husband is having with one of his political supporters. From the dialogue it’s simply her jealous streak that prompts her to attack her husband and to deliver stinging zingers in his direction. Ms. Winchell played to devilish delight a woman scorned (or so she thinks), and because she is so caught up in her own indignant anger, the events of the evening fall completely beyond her observation. Bravo, Ms. Winchell, for not being afraid to play truly enraged all the way to the hilt – it was a riveting performance.

Gary Mitchell and Erin Hoffman act as officers called to this party. Ms. Hoffman delivers an adequate performance as something of a rookie cop to the obviously experienced officer, Mr. Mitchell, who delivers a very realistic portrait of a beat cop bringing a bit of realism, finally, to the farce of the evening. He’s intimidating, professional and persistent.

I have to emphasize that the set for “Rumors” is the best set I have ever seen on the Hannah Stage; rich in crimson and creams, it genuinely looks like the house of wealthy man – complete with wall sconces and crystal chandeliers that actually light up part of the stage. LeAnn Dethlefsen pulled double-duty acting in the show as well as designing/dressing the set. Beautiful job, Ms. Dethlefsen – and Mike Stewart also pulled double-duty as an actor and set builder. The costumes, designed by Kathy Weldon, were elegant and befitting of the kind of people who would visit such a house, particularly for a special party. They were flattering to all of the actors and in particular the dress Amy Winchell wore was gorgeous. Even the ugliest costume I’ve ever seen, intentionally designed for Ms. Dethlefsen to wear as Cookie, was a chartreuse delight.

Rick Dethlefsen has a show he should be quite proud of; congratulations to the opening of LCP’s 80th season and for bringing to Lansing area theatre patrons a genuinely funny and fantastical farce.

The show runs one more weekend – don’t miss it!

September 19 & 20 at 8pm
September 21 at 2pm

Adults: $15.00
Seniors(60+)/Students: $13.00
Children: $10.00
STUDENT ticket: $8.00

For reservations call 484.9191

One on One with Rick Dethlefsen

Rick Dethlefsen
was kind enough to take a little break from directing "Rumors," which opened Friday September 12th, to answer a few questions about the show, and graciously answer a few other questions I posed...

1. 6 doors. Want to comment on the complexity of that for you directing the actors, and for the actors themselves? I know you really prepare, but to get the timing to be precise must be rather difficult...
While it is true that working on a multi-level set with multiple doors can present some challenges, by and large it also gives the imagination a lot more room to play. I was blessed with a very good cast who was willing to experiment so the largest challenge was to time entrances and exits that were almost always "blind" in that the actors couldn't tell sight-wise what the other actors were doing. We solved those problem with sound cues in some cases and prompts from stage manager or light booth in others.

2. How do you define comedy? I mean - what is funny, and what isn't, to you?
I think the answer probably lies somewhere between the situation and the writing and how it relates to the audience. The story has to flow and follow a predetermined path, but the situations are at their funniest when it is something that the audience can relate to - when they can say, "I've seen that" or "that's happened to me."

3. Why did you pick "Rumors" of all of Neil Simon's shows to direct?
I selected Rumors because submitting directors were asked to do shows that had been successfully produced at LCP during their 80 year life span. Rumors was the first show that I ever appeared in at LCP and the first show in which I worked with Bob Gras so it had nostalgic value to me as well as being a very funny play.

4. What is your secret (or method) to directing comedy - and do you find it more or less difficult than a drama or musical?
I'm not sure I have any secrets to reveal. In any play I try to make the story work and make it something the audience can relate to. I work with the actors to develop characters to relate and react to each other and not the fact that it is "their turn to talk". Both as an actor and a director I believe that comedy is the most difficult venue to make work - timing is so much a part of the equation as is the necessity to keep from going over the top. I believe that any good comedic actor can also pull of a dramatic role but don't believe the reverse is true for a good dramatic actor.

5. What do you look for in actors when you audition - innate talent, willingness to take direction, risk-taking, tenacity? How do you know you've got the right person for the right part?
I think any director is going to look for all of the above in terms of your question. Certainly the willingness to try and to take risks is important, but I also look for "sparks" between actors. I also look for actors who appear as if they want the play to be the central theme and not themselves - I want it to be a fun and learning experience for all and don't really have much use for egos.

6. How would you describe your directing style?
I guess my directing style goes to that same team experience I talked about in the previous question. While I have a vision as to what the characters and play is all about, I want the actors and technicians to be equally invested so I do spend a lot of time talking about why a particular character is doing something and the kinds of moods we might want to set. Another very valuable realization came to me many years ago - I don't have the market on brains. I am surrounded by highly creative people and I frequently find myself saying - "Oh, I hadn't considered that", which, in turn, helps to create a more believable character that both I and the actor can more fully appreciate.

7. What was the first show you directed and how do you pick the shows you want to undertake?
The first show I ever directed was "Bye Bye Birdie" I selected that because of an opportunity to work with high school students and direct their play and because I loved it when I first saw it. I try to pick shows that I think the audience will be able to lose themselves in. Sometimes I just want them to sit back and laugh, other times I hope that they will walk away and be filled with questions. Ultimately though, I want it to be entertaining.

8. Why is theatre important to you?
I think theater is important to me on a couple of levels. It is a creative outlet for me that allows me to relax on some levels and create on others. While most people would probably argue the point - for the most part I am extremely shy which is why you don't see me at a lot of parties, etc. I found that if I used some of the talents that God so generously gave me, that I'm able to put myself out there and function rather well. I also think that theater gives us all a chance to think, to smile, to question, and a myriad of other things. I am saddened by the willingness on some people's part to cut theater, music, and art programs to save money while, at the same time, build stadiums or build rain gardens or whatever. The arts are important and make us all better people so it is important to me to do it and especially to work with the kids who are the future of the arts.

I'd like to thank Rick for taking the time out of his very busy schedule to give us some of his perspectives about theatre, why he's directing "Rumors" by Neil Simon, and what makes theatre important to him. Rick is a talented director and actor - as well as a natural teacher and insightful person all-around. With any luck you have been able to work with him already, or will in the future. Thanks, Rick!

And - go see "RUMORS" - it plays tonight at the Hannah Center at 8pm, tomorrow at 2pm, and then September 19th and 20th at 8pm, and will wrap on Sunday, September 21st at 2pm.

Adults: $15.00
Seniors(60+)/Students: $13.00
Children: $10.00
Special opening night STUDENT ticket: $8.00

For reservations call: 484.9191

'Little Shop of Horrors' Heinously Hilarious!!!

From the moment Kelly Stuible, Shantel Hamilton and Mandy Dallaire stepped out into the lights of the Riverwalk stage as the Ronnettes, the audience was captured by the campy humor and well-directed delights of "Little Shop of Horrors."

These trio of women were scene stealers in the show, with angelic voices but sassy, smart-ass insights that helped to propel the plot along. All the women were incredible in their chorus roles - watch for the popcorn scene, because it's hilarious - and in particular Shantel Williams played Crystal with so much attitude I felt slapped all the way in the back row when she tongue-lashed any another character.

They help to narrate the tale of an orphaned boy, a Jewish flower shop owner who takes the boy in, his beautiful assistant and her sado-masochistic dentist boyfriend, and a killer plant from outer space with an insatiable appetite. How could you NOT love that plot line?

The role of Mr. Muschnik, the cantankerous flower shop owner who takes in Seymour as a child but works him like a dog, was played wonderfully cranky, by Mark Zussman. "Mushnik and Son" was fantastically choreographed as the reluctant Seymour, embodied by Joe Quick, and Mushnik do a little tango together, and their harmonies in the song were not only funny but quite beautiful. Mr. Zussman was likeable and seedy, which is a hard thing to do. He is genuinely horrified when he finds out what Seymour has been feeding the plant - which gives him some glint of respect - but we can't say that we were all that shaken up when he ended became her next meal.

Chad Dekatch delivered an extremely catchy performance as Orin Scrivello, DDS, and boyfriend of Audrey; tall, handsome and deliriously sadistic, he seemed to channel a bit of Elvis, Steve Martin and Hannibal Lector all at once. Chad was able to get laughs by not being overly creepy or too harsh with his lines; clearly this is not a nice guy, and he's terrible to Audrey, but we can't help but laugh as he sings about the joys of inflicting pain. He's addicted to nitrous oxide, which gives him an even greater high while he works on his poor patients who go without the use of it's numbing and feel-good properties. Throughout "Now (It's Just the Gas)" Dekatch is high on his own sense of self and the nitrous he's inhaling. It's a frightfully witty show-stopping number.

Audrey, portrayed by Patricia Smyka, delivered some very funny lines that, if said in real life, would make one want to rescuse this poor girl. She is obviously terrified of Orin, however she makes sure to keep handcuffs in her purse and doesn't seem to mind the bruises he inflicts because it just doesn't occur to her she deserves anything better. Her rendition of "Somewhere That's Green" was haunting; she wants so badly to have a white picket fence and live in a Betty Crocker life - but she knows that will never happen for her...beautifully sung and well acted, it was touching and sweet. But her desire for this fantasy life and her fear of her boyfriend blind her to the love of Seymour. Ms. Smyka played Audrey to be sweet, ditzy and a little bit lost - she was just right for the part.

Audrey II (named by Seymour of course after Audrey) was lipsynced with amazing accuracy by Adam Carlson - and for those of you who don't know Mr. Carlson, he's about 6ft tall and had to fit himself into two versions of the plant and squeeze under a counter with his arm up through the countertop for the initial version of Audrey II. I imagine he got quite a work-out with every rehearsal and every show, and he certainly deserves recognition for his ability to make the audience believe Audrey II was pleading, impatient, sad, hungry and angry. Great work, Mr. Carlson!

The voice of Audrey II, for this version of the show, was female, sung by Candance Stanfield. Most people expect to hear a bass voice coming out of the mouth of Audrey II; instead the audience was given a gospel rendition of the plant's songs. Unfortunately there were some mike problems, and so it was very difficult to actually hear what Ms. Stanfield was singing; most of her lines got swallowed, so to speak, and her voice didn't lend itself to an alien that should have been imposing. A male voice would have been more frightening to Seymour, an thus scaring him more into finding food for the plant and making that aspect of the show make more sense. However, from what I could make out, Ms. Stanfield was sassy, and she was hungry, and she conveyed more of a manipulative plant with Seymour rather than a demanding one - and if that was what the director, Ms. Banghart was hoping for, then she hit her mark fairly well. There is something to be said for having a female plant who vies for the attention of Seymour - in fact, it could have been played up even more, with a very catty Audrey II conveying jealousy in her voice and manipulating Seymour as she talks to him instead of intimidating him as has been traditionally played. Though Ms. Stanfield isn't frightening or threatening as the voice of the plant, she does sing well and the gospel effects add an interesting mix to the show. I know the microphone problem will be fixed, and so audiences should get a treat to hear a very different version of Audrey II more clearly for the rest of the run.

And of course we come to Joe Quick, who I believe was born to play two roles in his life: one being Leo Bloom from "The Producers," and the other as Seymour. The fact that he was able to alter his voice into a nerdy, post-nasal drip kind of sound and also SING with that effect, in and of itself, made me laugh out loud and shake my head in astonishment. His Seymour was perfect. He was dorky, eager to please, anxious, clumsy, sweet, oblivious to his own good nature and was simply a poor kid who walked into Audrey II's trap. Mr. Quick not only acted, but reacted well in a wide spectrum of emotions to the people around him - he was repulsed by Orin, unsure and a bit afraid of Mr. Mushnik, enraptured by Audrey, tricked by little Audrey II and ultimately betrayed by big Audrey II. Here we had a hero who attempted, with a foolish yet determined will, to destroy the evil monster he nourished and helped grow, unknowing of the plants real motivations. Mr. Quick was fun and fascinating to watch, and to add his vocal talents to the mix made his character simply amazing.

Kudos to Stephanie Banghart and Scott Stearns for delivering a deliciously wicked musical to the Riverwalk Theatre. Ms. Banghart, for her directorial debut, didn't miss a beat on anything; the costumes were fabulous, the set was clever and worked for everything they needed in the show, and the tech (with only a few mike problems) was spot-on. Mr. Stearns fed the audience a well-balanced orchestration; it was a delectable treat to listen to the score of the show, and in particular "Suddenly Seymour." The musicians and the actors worked in perfect syncronization together, with the effect of raising goosebumps on my arms as I was listening.

"Little Shop of Horrors" truly is a heinously hilarious hoot - it plays tonight at 8pm, on the 14th at 2pm, and then next weekend as well. Trust me, you don't want to miss it.

"Tropic Thunder" Controversy - Bruce Bennett

In the movie "tropic Thunder" two of the lead characters have an exchange that makes use of the "R" word (Retard), and some people are very upset about this. Okay, this is a problem of audience perception that in my experience goes back to such excellent examples as" All in the Family," the Randy Newman song "Short People" and the sitcom "Married with Children."

Some audience members simply can't grasp the idea of a lead character being presented as flawed, or even as a complete ass. They believe a lead character is the "HERO" of the show, perfect and noble or at least unflawed- the image of how one SHOULD be, as presented in much of television and movies.

So if the lead is doing something stupid, they perceive the show is presenting this stupidity as right and good.

No, folks, that's not the only way it works. Flawless "Heros" are for entertaining action fare, like the "Lone Ranger," any John Wayne movie, etc., and there is nothing wrong with that, I love many of those kinds of shows.

But I am very aware that a play, movie, or even a song with a flawed lead (or lead vocal) reflects much more insightful writing, meant to make us identify with those flaws and learn something. When a piece of writing has only a "hero" and a "villain," we identify with the hero and don't identify with the villain and learn nothing about ourselves, since no one is that black and white, that simple. We are complex people with a mix of flaws and virtues.

"All in the Family" gave us lead character Archie Bunker, a bigot, not presented as a simple villain to hate, but someone to laugh at and actually like a bit, so we would identify just a little with that kind of thinking- and maybe find a it little stupider and laughable in ourselves. Randy Newman sang about "short people" having "no reason to live:" a perfectly ridiculous, unbelievably exaggerated prejudice that made those who got the joke laugh at the general stupidity of prejudices of all kinds- but a lot of people didn't get the sarcasm. And "Married with Children" gave us an entire dysfunctional family to identify with and learn from, as they reflected the new lack of caring and general selfish neglect of the needs of others that was permeating society since the "Me Decade" of the seventies seemed to become the "Me Era-" but many people just identified with the lack of caring rather than laugh at it's shameful ridiculousness.

In all these cases, there was a vocal protest from people who just couldn't "get" that the "heros" of these pieces were not supposed to be identified with as "right" but as totally and completely WRONG.

Jerry Seinfeld even felt he had to write a final episode of his sitcom that ended with his entire cast being thrown in jail after being tried and convicted of being too self-obsessed and uncaring- because so much of his audience didn't seem to be "getting" that their actions were supposed to be laughed at as shamefully ridiculous, not copied as normal.

For those of us who always "got" these sorts of shows, it's extremely frustrating to watch people get upset at the very insights they should be laughing at and learning from.

So, finally "Tropic Thunder" presents a bunch of EXTREMELY flawed Hollywood actors- totally self-obsessed, drug addicted, self-deceiving, out-of-touch with reality- and has them doing stupid things that we laugh at. Including the use of the "R" word, much as Archie Bunker used the "N" word. Folks, GET it! The characters are clearly portrayed as JERKS, so they're not telling us to agree with them and think this is all right, they're telling us only JERKS use the "R" word. The writer (Ben Stiller) is actually on the side of all that is right and good, and understood Literature 101, "the flawed protagonist."

Now go ahead, go to the theater and appreciate this very funny movie.

-Bruce Bennett

Interview: Stephanie Banghart

Stephanie Banghart

1. Tell us a little about yourself, and if you are seen mostly on stage, or prefer to remain behind the scenes...or do you dabble both on and off stage? I'm Stephanie. I am 28, live in lansing, have a BEAUTIFUL daughter, a wise and loving husband and a really great life! I have only really been seen on-stage until now! I love acting and really like directing but, I honestly prefer to be on the stage. I really enjoy being in the spotlight.

2. What was your first theatre experience? I played an old black woman being asked to move to the back of the bus in the Martin Luther King Jr. Story (not Rosa Parks). If that doesn't show character range, I don't know what does!! I was 8!!

3. How would you describe your directing style, and what did you learn as a first time director? It's all new to me and i'm taking it as it comes. I would like to think I am a nurturing director, but you'd have to ask the cast to get the real answer to this question. I am constantly learning patience, in directing and life in general. I think the biggest reward to me will be if the audience enjoys the show AND my cast walks away thinking of the experience in a positive light.

4. Favorite role - that you've done or would like to do?, or is there a favorite show you'd love to direct and why? I love challenging Roles. Deep, dramatic and tortured roles always intrigue me. Lady Macbeth, Juliet...Do I ever get cast in them? Well, no, but Maybe someday. Don't get me wrong, being Norma in Victor Victoria was a lot of fun, but there is something to say for the grit of a dark and tortured character. I don't really have any favorite shows to direct. Whichever fall in my lap, I guess.

5. Why is theatre important to the community? It is an escape from the mundane. It can educate, enlighten and entertain. It keeps kids off drugs, and gives me a reason to act like an idiot. What's not to love!!??

Quick Questions:

1. What three people have influenced you the most in your theatre experience?

Hmmm...My closest friends are a great theatrical influence on me, so we'll call "my friends" #1. Mary Job was my first theatre teacher and I really learned a lot from her in regards to technique and being directed, so he can be 2. Then, Robin Aronson is another teacher I really respected. She taught us a lot about what it means to be out of your comfort zone and why it isn't a bad place to be-#3. Honestly though, in a way I take a little bit of influence from everyone i've worked with. The what-to-do's and what-not-to-do's, you know?

2. Favorite line of any show? "How do you think they got all the holes in them donuts??!!" HA!! If you guess the show, I'll give you a dollar! (**not really, but i'll be impressed!)

3. Best show you've been in? It's a toss up. I'd have to say my top three, in no particular order are as follows: The Full Monty (Susan), Comedy of Errors (Dromio of Syracuse) and You're a Good Man Charlie Brown, the reprise (Sally).

4. Worst show you've been in? Murder on Center Stage! That was a giant turd of a show! No one knew their lines, tech errors ALL THE TIME...turd, turd, turd!!

5. Any words of wisdom you'd like to share with people who either are new to the theatre community, or else don't know much about it in general? I'd be blunt. If you're going to do it, do it! If you can't commit, do something else. Oh, and if you are miserable all of the time, it makes everyone else miserable around you, so make your own fun or do something else! I mean, none of us are getting paid for this! All we get in return for our hard work is a good time! AND, if you are wondering if you would enjoy it, the answer is YES!! If you let yourself. It can be EXTREMELY rewarding!

'Little Shop of Horrors' at the Riverwalk!

Riverwalk Theatre Presents:

Little Shop of Horrors
A Deliciously Dark Musical Comedy

Book & Lyrics by Howard Ashman, Music by Alan Menken

Directed by Stephanie Banghart

Music Directed by Scott Stearns

Choreography by Amanda Himebaugh and Kat Cooper

Our sensitive and somewhat innocent Seymour has found a plant from outer space that makes Mr. Mushnik's Flower Shop an overnight success! Audrey - his co-worker, and the sweetheart of a sado-masochistic dentist - needs his help, while the plant has an appetite that outgrows Seymour's conscience!

TICKETS NOW ON SALE - GET THEM BEFORE IT'S TOO LATE!

September 11 - 14 & 18 - 21

Thursdays 7:00; Fridays & Saturdays 8:00; Sundays 2:00

www.riverwalktheatre.com or 517/482-5700

Chock-full of local favorites and impressive new talent, this cult-musical is sure to please with new twists and familiar songs. See the show the way it was intended to be see: on our perfectly suited intimate stage. We're in the heart of Downtown Lansing, where you can enjoy dinner beforehand and a nightcap afterwards - all within walking distance!

THE CAST

Urchins: Mandy Dallaire, Kelly Stuible and Shantel Hamilton

Mushnik: Mark Zussman

Audrey: Patricia Smyka

Seymour: Joe Quick

Orin: Chad DeKatch

Snip, Bernstein and Luce: Michael Zamora

Audrey II (Manipulation): Adam Carlson

Audrey II (Voice): Candance K. Stanfield

Chorus: Gordon Hicks, Jessica Sorrells, Kate Tykocki, Tyler VanCamp

Interview: LeAnn Dethlefsen

LeAnn Dethlefsen

1. Tell us a little about yourself, and if you are seen mostly on stage, or prefer to remain behind the scenes...or do you dabble both on and off stage? I dabble in both.

2. What was your first theatre experience? My first theatre experience (that I remember) was at 4 years old when I went to see a production of Oklahoma at Eastern High School. My brother was playing Curly. I begged my mom to take me to every performance, at 4 I was hooked!

3. What keeps you interesting in pursuing theatre? I love the people, the experiences. I once told a fellow actor that the stage is safe, the stage is home.

4. Favorite role - that you've done or would like to do? I would really like to stretch a bit and grab a chance at playing some classic female roles.

5. Why is theatre important to the community? My kids grew up around theater and the arts. I believe it is an extension of their basic education. I think theater makes us think, forget, and remember, all at the same time.

Quick Questions:

1. What three people have influenced you the most in your theatre experience?

My husband, Rick. I learn so much from him about character development and being true to the play. He never changes his beliefs of a character based on what others (critics) may say, I admire that.

Marilyn Steegstra. She gave me my first lead role at the age of 14. What a wonderful teacher.

Other area directors and actors. I learn something from something in every show I do.

2. Favorite line of any show? From the Odd Couple: You leave little notes on my pillow. Told you a-hundred-fifty-eight times I cannot stand little notes on my pillow. "We are all out of cornflakes. F.U." Took me three hours to figure out "F.U." was Felix Ungar. I laugh like crazy anytime I hear it!

3. Best show you've been in? This is not a fair questions. That being said, All My Sons directed by Mary Job for MSU Summer Circle, WOW!

4. Worst show you've been in? Forgot the title...

5. Any words of wisdom you'd like to share with people who either are new to the theatre community, or else don't know much about it in general? Watch and learn. Go with your instincts. Answer a director giving notes with a simple, "thank-you."

Interview: Amanda Himebaugh - AD, 'Rumors'

Amanda Himebaugh

1. Tell us a little about yourself, and if you are seen mostly on stage, or prefer to remain behind the scenes...or do you dabble both on and off stage? My name is Amanda Himebaugh; I am a student at LCC and work at Living Arts Dance studio in Mason and Williamston. I'm mostly behind the scenes but I am can be seen on stage in musicals in choruses and stuff.

2. What was your first theatre experience? I was in the chorus of Hello Dolly for LCP when I was 6 years old - so that would have been 1994. I was in the Parade Scene.

3. How would you describe your first experience as an AD? It's been good - actually, more than good, really. It's been a wonderful learning experience - it's great to work with a director who knows what he's doing and has everything planned out and knows what he wants. It's also amazing to work with an experienced cast. For my first time, it's been beneficial to work with people who really know what they're doing, and they are all definitely hard workers.

4. Favorite role - that you've done or would like to do? I can always think of roles I would like, but there is one that I would really love to do, and that is Sally in Cabaret...

5. Why is theatre important to the community? It is something that brings people together with a common interest to do what they love to do, and it shows what people can accomplish when they work together, and work hard - its a real bonding experience.

Quick Questions:

1. What three people have influenced you the most in your theatre experience? My mother (LeAnn Dethlefsen) is one of them definitely because she got me into theatre in the first place when I was young.

Rick (Dethlefsen) has been an influence because he has shown me that I do have some talent I haven't been aware of, and has shown me some confidence in myself.

My friend and colleague and mentor - Mellisa Cunningham - she was another one of those people who, no matter what you thought your abilities were, would push you further and say this is good but you can make it better and I'll help you get there. She was not afraid of hard work.

2. Favorite line of any show? I can't quite quote it exactly but it's from the 'Odd Couple' and it's the F.U. line from the show - it took me forever to figure out F.U. meant Felix Unger.

3. Best show you've been in? I can't really decide that one - each experience has been beneficial in it's own way, in whatever I was doing.

4. Worst show you've been in? There have been some rocky ones - again, I'm not really sure. In the end I can find something good in every experience, even if at the time I can't see it - I can later. I can't label the best or the worst for the same reasons.

5. Any words of wisdom you'd like to share with people who either are new to the theatre community, or else don't know much about it in general? Never forget what you're really doing it for. Whether it be for yourself for whatever reason, the community, to be with people you love, to do something fun - just never lose sight of what you're doing it for....

"Rumors" opens this week at the Hannah Center!

Here is some information about the run of the show - to be followed by some interviews with people involved with the production itself. They are heading into tech week, which means that tomorrow they load in to the Hannah Center and then will have 4 days to get used to a new space, which presents its challenges but also speaks to the talent of the cast and crew to put up a show in such a short amount of time in a different location.

Rick Dethlefsen is not only an accomplished actor, he's an amazing director who understands the subtleties of humor and how to direct something intended to be funny to actually be funny. It's really not as easy as you might think. Stay tuned for more information about "Rumors" and some insights, I hope, into Neil Simon.


"Rumors" at LCP (performed at the Hannah Center) opens September 12th.

by Neil Simon
Directed by Rick Dethlefsen

Performance Dates: September 12-14 & 19-21, 2008

Four couples are at the townhouse of a deputy New York City mayor and his wife to celebrate their tenth wedding anniversary. The party never begins because the host has shot himself in the head (it's only a flesh wound) and his wife is missing. His lawyer's cover up, gets progressively more difficult to sustain as the other guests arrive and nobody can remember who has been told what about whom. Doors slam and hilarity abounds as the couples get more and more crazed.

CAST LIST
Ken Gorman- Justin Hein
Chris Gorman- Rachel Mender
Lenny Ganz- Joseph Dickson
Claire Ganz- Emily Aslakson
Ernie Cusack- Mike Stewart
Cookie Cusack- LeAnn Dethlefsen
Glenn Cooper- Philip Himebaugh
Cassie Cooper- Amy Winchell
Officer Welch- Gary Mitchell
Officer Pudney- Erin Hoffman