I bet Carol Ferris could finish the quote..."Your mother was a hamster..."

1. What was the very first show you worked on - and were you in it, or working back stage?
I played Ginger in “Time Out for Ginger” in junior high school. After that I was hooked and managed to be in at least one show every year throughout high school and college. Three of those shows were at Okemos Barn Theatre.

2. What is it that you enjoy about being on stage?
I love making an audience laugh. There’s almost nothing better than that!

3. What is it that you enjoy about being back stage?
The teamwork; watching a production grow from day one. I’d never tried backstage work until a few years ago when I was asked to help with props for Lansing Civic Players’ production of “Annie.” Since then I’ve done props or set dressing - sometimes both - for seven shows at Riverwalk. It’s amazing when you realize how many local actors also have great talent in the technical side of theatre and, likewise, how many theatre techies are also veteran actors.

4. Tell us about yourself - anything you'd like to share!
In 1970 I married Tom Ferris; I worked for many years in newspaper advertising and later in school public relations; we raised a son. I returned to acting with a small part in “Anne of Green Gables.” Last year, no one was more surprised than I was when I won a Thespie for the role of Willie Mae Nettles in Riverwalk’s “The Sugar Bean Sisters.” Most people don’t know that when I’m not thinking about theatre, I’m a hard-core political junkie. Needless to say, this past year has been an exciting one. Last fall I spent way too much time online looking at polling data and reading political blogs.

5. So you are working on "Sherlock Holmes: The Final Adventure" - what are you doing for the show?
I’m designing props for a very prop-heavy production. Working with Addiann Hinds, who used to design props for Boarshead, has been a great pleasure! We’ve agonized over getting things as accurate as possible. It’s required a lot of research by both cast and crew.There are so many Sherlock Holmes fans out there who know what to look for. They won’t be disappointed in this show’s great cast. Kevin Burnham and Terry Jones make a fabulous Holmes/Watson team.

6. Have you ever given any thought to directing or co-directing? If so, what show would you like to direct, if you could pick anything?
I don’t think I’d enjoy directing very much. It’s too much hard work! I’d rather scout out a great script and then try to convince a good friend or family member to direct it.

7. What makes theatre important to you?
It’s a crazy, wonderful community. There’s a place for everyone, if you’re willing to work. It’s where I hang out with my family and friends.

8. Do you have a favorite genre?
Dark comedy, satire, even screwball comedy - I’m a huge Monty Python fan.

9. What draws you to a play - what are some plays/musicals you really enjoy, and some you really don't?
I’m often drawn to Lansing-area productions because I know and appreciate the talent of individual actors and directors. That’s sometimes more important to me than the script or the theatre company. I love it when friends I’ve come to see in shows manage their roles so well that I forget who they are. As for theatre I DON’T like - I actively avoid the recent crop of Broadway musicals based on movies, tv shows, or Disney themepark attractions. You know the ones I mean. (I will make an exception for Monty Python and the Holy Grail.)

Quick Questions:

1. Favorite experience ON stage:
It would have to be playing Willie Mae Nettles in “The Sugar Bean Sisters” at Riverwalk. What a hoot it was to work alongside that great comedienne, Jane Zussman.

2. Favorite experience BACK stage:
My best backstage experience was dressing the “Sugar Bean Sisters” set. For that show, I managed to cram half the contents of Riverwalk’s prop loft into the Nettles sisters’ attic.

3. Favorite line from any show?
“Time passes. Listen. Time passes.” - from “Under Milkwood”

4. Favorite lyric from any song?
Our house, is a very, very, very fine house.
With two cats in the yard,
Life used to be so hard,
Now everything is easy ‘cause of you.
- Crosby, Stills and Nash

5. If you could PLAY any role, what would your dream role be?
My dream roles have changed over the years, of course. Looking ahead, I’d love to be cast as Miss Daisy in “Driving Miss Daisy.”

Talkin' with Tony

What was your first theatrical experience? When I was 6 years old my mother dressed me in a yellow duck costume and I danced around while singing “Rubber Ducky” for her Sweet Adeline Christmas show. They couldn’t get me off the stage.

What has been your favorite role to play on stage? First of all, I must say that I have been fortunate enough to have the opportunity to play many memorable characters that I really had fun with. That being said, I currently have a three way tie between the Pharaoh in “Joseph”, my roles in “Sylvia”, and my most recent part in “The Full Monty.”

How did the "Follies" come about? LCP had previously wanted to do a traditional variety show; however, the director who was slated to do the show had to take on a much more important commitment (Don’t you hate when real life interferes with community theatre?). LCP looked at their options and decided to allow Rob and I to write a show. With a very limited time frame, we quickly brainstormed our list of characters, hashed out a plot/theme, had a couple email re-write sessions, and viola a show is born.

What do you especially enjoy about this show, and why should people come to see it? I truly enjoy the absurdity of the holiday special genre. So why not twist it? Many of these characters exist in our own families and through the magic of 60’s television this show brings a frivolous and wacky blend of our slightly skewed holiday memories to life. Rob and I laugh our heads off every time we see it. It’s pretty ridiculous.

What do you hope people will walk away from the LCP Follies feeling?
I hope patrons walk away from this show feeling as if they did not have to do a thing or worry about anything for an hour and a half. I hope it’s an escape.

What makes the holidays special to you, and did you try to incorporate any of that into the "Follies?" What I find special? The crazy food concoctions from well intentioned hosts/hostesses, the tacky metallic sheen of the holidays, the corny music, the thousands of people crammed into minimal square footage, the failed attempts made by our elders to include diversity in their holidays (at least they were trying right?), the automatic in-laws that we meet for the first time, the children on a constant sugar high, and the list of personalities that have made their way through our lives. Mix this entire recipe together, shake, and serve chilled.

What do you enjoy about directing? It’s the vision I think. It’s not often we get a chance to connect our minds to a film projector and show everyone how you see the world.

What has been the biggest challenge with directing? Scheduling conflicts; many in community theatre are volunteers that have “real” jobs. It’s difficult to get all of those folks on the same production schedule.

You have such a knack for kitsch - how did you find authentic pieces of nostalgia for the show (the tree, boxes, Town Club Soda)? Why thank you… I do like the kitsch. My memories of growing up in Lansing manifested our commercial sponsors and we were fortunate enough to get a hold authentic Towne Club Soda bottles from LCP board member Bill Torrence. Many of the serving dishes came from my kitchen, and some of the chairs from the lounge in my basement. The wall paper is courtesy of a holiday wrapping paper I found, and other pieces came from the extensive RWT properties warehouse.

Do you identify with any of the characters you've written into the show - did they come from actual people in your past, or Rob Roznowski, your writing partner? Rob [Roznowski] and I identify with every character quite well. They all existed in our childhoods. My grandmother’s hairdresser for instance was a very flamboyant character that always had something to rave or comment about. His name was Don and our character Don Weenow is modeled after him. Also, Rob is amazing at interpreting people; he truly gets the human experience and view’s things in a way that many of us can’t verbalize. He sorts it out for us and effortlessly places it on stage. Working with him on this show has been very inspiring; I continue to learn so much from him. I can clearly see why Rob is so successful and why his students at MSU enjoy him so much.

Quick Questions:

Why is theatre important to you? I have to let the theatre bug out or it starts to itch.

Why is theatre important to the community? I feel we all need this creative process to both have an outlet and to find joy. It’s great therapy.

Favorite line from any show? “Am I a man or a woman?”

Do you have a favorite Christmas song? “Carol of the Bells” It’s a soothing panic attack.

A favorite theatre Christmas memory? My uncle doing a Spike Jones routine with the “Three Imitators.” His co-star wore a grass skirt and coconut bra while singing “Cocktails for Two” (1980’s Social Security Scandals)

Treading in "A Body of Water"

“A Body of Water” as a work itself reminds me of a bizarre love-child between “50 First Dates” by Adam Sandler (to an uncomfortable degree), and “No Exit” by Sartre – with perhaps a bit of bed-hopping with Beckett in there just to muddle things up a bit more by waiting for something that may or may not exist.

It was interesting to me how obvious some of the lines came across for a surreal drama, like “pretending to be happy is better than nothing.” It seems like a rather blunt indication of where the author is heading with this show – sometimes people just don’t want to find out who they really are, don't know how to, or don’t understand others around them. I’ve heard people say they wished they could just “forget.” But what would it be like to have your memories wiped clean? This is what Lee Blessing is attempting to explore with “A Body of Water.”

So then the question remains – if you don’t have your memories, and if the only thing that makes you, “you” is your experience (your past) and your genetics – then what else do you have? Only the present. And that is why, then, language becomes so vastly important: when Wren is introduced, the world between Avis and Moss, the couple with double amnesia, crumbles. The present is all they have – and she toys with it for reasons known only to herself.

Lindsay Palinsky as Wren, daughter-in-potential, seemed to be channeling Ellen Page from “Hard Candy” – she had two modes of being – a wolf, and a wolf under sheep’s clothing. It actually diluted her effectiveness if her part was, in fact, meant to undermine their reality. She’s a bit over-reactive where a sweet tone would have been much more cutting or a pout could have been more cunning than the perpetual scowl she wore through most of the show. She was effective, however, in keeping the audience guessing as to her actual motives and we never did find out if she was an angel or devil – and that was probably Mr. Freeman’s point, but it made a rather dull point. She was likely both and neither at the same time.

Mara Schaberg was cast in the role of Avis, the unfortunate woman who awakes nude, next to a man she can’t remember, in something of an embarrassing position. Ms. Schaberg aptly played shy and confused, though as the story progressed she seemed stuck in that place, with her voice elevated unnaturally through a lot of the show. When Ms. Schaberg did relax and respond to Mr. Hays, in particular, she did seem for a few moments to forget about the audience and simply respond to the actor in front of her, and it was then she loosened up. Avis seemed more willing to want to believe in the word-games of Wren, more willing to play along, because trying to discover the truth was too hurtful and overwhelming.

Michael Hays left me wishing that he could have found an anchor on stage as well, though he also had bright spots in the softer moments of the show. He seemed rather bored, most of the time, and then angry, vacillating between frustration and apathy in the tenor of his voice. Mr. Hays does well with the lighter lines, using the gruffness of his voice to deliver the uncertainties of “she’ll be back” with not really knowing, but hoping, and giving the audience a bit of a glimpse into the needs of his character. I never believed though that this couple woke up and didn’t remember their past – they were too blasé for me to really buy into it or care that much about them, though the concepts they projected I did find interesting.

Since Avis and Moss have been robbed of their history, all they HAVE is the present, and they share these moments with the audience. They need to be real, to sound real, to have feelings, to be terrified, to be confused, to be human. The essential flaw of the play was that though surreal – the “real” part was missing. “Surreal” simply asserts the idea of removing the components of logic and societal restrictions from a situation and then allowing the pieces to fit back together again without any imposed rules to follow. Blessing provides the clean slate and situation, and Avis and Moss have carte blanche to genuinely explore all avenues of “being.” At least, until Wren shows up and throws a wrench in their Eden.

Mr. Freeman chose an interesting concept to bring to the stage – these people are just as afraid to be awake as they are to be asleep, but then who is to say they are awake at all? Just as Sartre’s Garcin, Estelle and Inez cannot escape each other, these three are bound together as well. It could be heaven or hell, Milton might suppose…and so it would appear, Lee Blessing.

Mr. Freeman did surround himself with excellent technicians – the lights, sound and stage crew were all spot on. For his first directing endeavor Mr. Freeman took a big bite – I admire his ambition and want to encourage him to continue to chew away, but to remember that one may masticate just a bit too much and make mush out of a mignon.

I think it was Wren who said “the power is in us every day to be happy or not”…it’s as if Avis and Moss have jogged away from their lives and never came back, making a mutual pact to disavow their prior existence, unless that is they only exist in the mind of Wren, or Wren and Avis never existed at all, or Moss – well, you get the idea…but it does make me wonder how many people live comfortably in a rut and forget the power of the present.

For that reminder, Mr. Freeman, well done.

*************************************************************************************

And for those who want to know the Occam’s Razor reference, here’s Wiki’s definitions:

Of two equivalent theories or explanations, all other things being equal, the simpler one is to be preferred.

Another version from Einstein:

Make everything as simple as possible, but not simpler.

http://en.wikipedia.org/wiki/Occam's_razor

Japing around with "Jack"

Riverwalk has a rich history of producing children’s plays and “Jack and the Beanstalk” is a wonderfully spun romp in fairytale land, Directed by Lee Helder and Music Directed by Doug Austin.

As with all the children’s shows that Riverwalk produces during the holiday season, there is a certain formula that they tend to follow, but gosh-darn it, the formula works. There is the flawed hero, typically a villain of some mythical nature, and something that needs to be saved – in this version, it happens to be Jack’s village, and well, Lucky, the cow.

Most people know the story about Jack and the Beanstalk - not being a very conscientious boy, Jack dreams away the day while his mother cooks and cleans and finds herself in a state of destitution. She sends Jack to sell their only cow for money so she can feed them both, and he gets swindled by a con man for some magic beans. She's disappointed her son would believe in anything that foolish and throws the beans away, leaving Jack to feel jolly rotten about himself for being such a dope. Over night, the magic beans actually create a beanstalk that grows up into the sky, and he decides to climb it, and - well, I don't want to give it all away...Stan Gill wrote this version of the fairy tale and includes a few characters to help out along the way.

The three minstrels did a fine job narrating the story for us – Bob Murrell was the most easily heard and understood of the trio as well as the most expressive, but Sara Sonnenberg and Charlotte Ruppert stuck closely by and engaged the audience and helped to cheer Jack along through the show.

Jack himself, actually played by Laura Johnson, made for an amiable enough figure – however she was rather one note throughout the show. It would have been nice to see her play Jack with a bit more of a 'Peter Pan' type of energy. She never seemed surprised, or scared, or even sad that she had to sell Lucky her cow. But she sang well, if a bit softly, and certainly looked the part of Jack.

At the opposite end of the energy spectrum was Ann Glenn playing Jack’s mother. What a riot to watch Ms. Glenn in her interactions with Jack – she towers above Ms. Johnson, and without any heart at all sends Jack off to sell Lucky, their only cow. She didn’t have a "pretty" song in the show – instead her song lectures Jack and Ms. Glenn puts quite a bit of gusto into it. What fun. And I wouldn't want her mad at me.

Probably the scene stealer of the show was the cow, played to pun-perfection by Shannon Leigh-Bonney. Ms. Bonney’s costume first of all was as adorable as, well, a cow’s costume could come – udders and all. Her wise-acre comments, meant to be over-the-top and something for the adults to enjoy, didn’t push the limits of being too obvious as to be groaners. And, I for one, was incensed that Mr. Helder, as the Bean Guy, tricked Jack into buying the cow for some silly beans. It seems I’d forgotten that part of the story and so when Mr. Helder came out as a Bronx/Joe Pesci wise guy type and swindled Jack, I was rather crushed to see him laughing and leading Lucky away. Kudos Mr. Helder, for breaking my heart when you took the cow, you trickster you.

It is always a delight to see Marilyn Steegstra on stage and there isn’t anyone who can top Ms. Steegstra in playing the role of a dryly humored cook of ill temperament and foggy memory. She delivers her lines with a bite, and although dancing may not be her forte, in “Jack,” her character as the Giant’s Cook was given a few chefs – Tim Beam and Scott Larson – to help her do her work. These guys also doubled as crew, more or less, to help unfold (and refold) the simple yet effective set designed by Paul Marisch. One other note here to compliment Diana and Bruce Rochowiak on their bright and well-planned scenography.

I’m not quite sure what to think of the Singing Goose, played by Susan De Rosa – she was something of a cross between Madeline Kahn and, uh, well a goose. I have no idea but for some reason “Blazing Saddles” came to mind. Take it for what you will – it was a hoot.

Ms. Emily McKay as the Singing Harp was interestingly outfitted; her petite frame and shy demeanor next to the giant lent itself to her song and situation. Her voice was quite beautiful and I would have liked to have heard more of it.

And last, but not least, we come to Edric Haleen, the irascible and imbecilic giant that Jack steals from (or rather, steals BACK from) to help his village. Mr. Haleen always has a presence on stage and even when he’s hebetudinous, he’s still quite interesting to watch. Oh yes, and in some places quite repulsive, actually, too, but in a ridiculously-over-the-top-wonderfully-bamboozled-still-chewing-and-yelling-and-spitting-out-food-that's-gross-but-little-kids-love kind of a way – but then, I suppose that’s what giants are supposed to be. Mr. Haleen rapped across an easy line between being big and loud but not too scary for the smaller children in the audience. I thought it was also kind of him to sit in the lobby afterwards so he didn’t seem quite as imposing.

A few technical notes of appreciation go to Tom Ferris and Doug Austin – Mr. Ferris played guitar, mandolin and banjo, and Mr. Austin also played the keyboard for the show. The music was delightful and the interesting mix of the different acoustic instruments made for a much more satisfying show to listen to. Jack Hetherington created a fun lighting schematic for the kids to enjoy for certain events, and the costumes by Lee Helder were also very well put together. All in all it was a fantastic show for the family.

I encourage you to catch a performance – it still runs for two more shows tomorrow, Sunday, and then next weekend. The details are below.

JACK AND THE BEANSTALK

Nov. 28-30 & Dec. 5-7 & 12-14
RWT Mainstage
Show Times
Fri. 7 p.m.
Sat. & Sun. 2:00 & 4:30 p.m.
Ticket Prices $7 Adult (16 & up), $5 children
Call 482-5700 for reservations

Lots of Theatre!!!

There is a lot of theatre happening over the next couple of weekends and I just want to let people know what's going on around town; I may not get a chance to get to much of it, unfortunately - but here's what's up:

JACK AND THE BEANSTALK

Nov. 28-30, Dec. 5-7& 12-14
A Family Musical Comedy based on the fairy tale
by Stan Gill

Directed by Lee Helder

Come see another one of Stan Gill's children's shows with the family - it promises to be a lot of fun with great costumes, a lot of silliness and a chase scene!!

Contact the Riverwalk Theatre at 482-5700 for Reservations

November 28-30 & December 5-7, 2008

A Surreal Drama
by Lee Blessing

Direted by Alex Freeman

Call the Riverwalk Theatre at 482-5700 for Reservations

*Note: Performances will be held at the Creole Gallery in Old Town on Turner Street

What would you do if you woke up in be with a complete stranger, and you had no memory of your past, no clothes, and no idea of who you were?

The Lansing Civic Players will hold auditions

November 30th and December 1st at 7pm at the

Firehouse on Michigan Avenue and Hayford Street.

ROLES AVAILABLE:

Willie Clark - A cranky old vaudeville comedian. Once famous, now in denial that his career is long past. Can't stand his former partner, Al. Living in a rundown apartment and waiting to be rediscovered.

Ben Clark - Willie's nephew and talent agent. Long-suffering and patient, keeps in touch with uncle Willie trying to help. A worrier. Has had an offer for Willie and Al to be on a TV special doing their old act.

Al Lewis - Another cranky old vaudeville comedian. Has kept himself up a little better than Willie, whom he also can't stand. A little more realistic, but just as difficult.

Nurse in act - Described as "tall, voluptuous and overstacked blonde in a tight dress," she is an actress hired to be in the act for the TV special. Must be very funny doing a dumb blonde. Blondeness and overstackedness may be helped with costuming.

Patient in act - A bit player hired for the scene as well. A funny character actor.

Eddie - Assistant director or floor manager for television studio. Has headset and clipboard and is trying to get the scene shot before all heck breaks loose.

TV Director (offstage voice) - Director in booth, speaking over intercom.

Announcer - introduces the scene. Has that "announcer" voice. Stands at microphone lectern in studio.

Nurse - Meant to be played by a black woman. Willie's nurse after he suffers a mild cardiac setback. She's had about enough of Willie and is getting sarcastic.

Soap Opera actors - Willie is watching a bad soap opera on TV in the opening scene. This may be audio only, but if we feel ambitious enough, may be on video. Actors interested in doing this fun little bit should indicate their interest on their audition form.

Firehouse Follies Presents

LCP's Holiday Extravaganza

Written and Directed by Rob Roznowski and Tony Sump

Tickets on sale NOW!!

December 5-7 and 12-14, 2008

Friday and Saturday at 8:00pm

Sunday at 2:00pm

517-484-9191 for Reservations!

Felice and Navi Dodd have their hopes set on the perfect holiday party filled with family, friends, and cheer. But can they pull it off? As guests arrive, a rollercoaster of characters colorfully take over the party and whisk us into a holiday special straight out of 1965. Music, laughter, and innuendo ensue. Tickets are already selling fast, so make sure you get to see this fabulous evening with the Dodd’s before they fade off into T.V. Land.

Another One Bites the Dust - Dracula

As a disclaimer, I was originally slated to write and direct "Dracula" for LCP - I wanted to like this show, because I respect Kerry Waters and I know how hard she worked on the play - particularly at the last minute - however she succumbed to a crucial problem that people have with this show as a community theatre piece; being TOO faithful to Stoker's book.

For those of you who are not familiar with Stoker's book, it's written as letters and journals; it's not actually a straight narrative. The story needed to be adapted and severely cut so that the action found in the letters was extracted and put into the storyline; Ms. Waters didn't seem to be able to decide what was important to focus on and what wasn't. Unfortunately the night I saw it the sound effects were rather off their mark, and so the carriage ride she begins her story with was confusing as the clippety-clop of horses interrupted dialogue on stage. I recognize that it is the first time that Ms. Waters has written a script and directed for LCP, and I think it's a good thing for community theatre to give people the opportunity to try original pieces - however three hours of lights up, lights down, lights up, lights down and very little connective dialogue made for a confusing and rather dull show.

The allure of Dracula is fear itself in the form of seduction; there was nothing sexy, seducing or scary about this production. We are often titillated by what we fear the most - hence why Dracula is often associated with our own excesses and vices...wanting to indulge in what we know to be either profane or sinful, and suffering the consequences for pleasure goes hand-in-hand with this plotline. What is frightening isn't the obvious; what is frightening is often the beautiful, the lie that sounds completely sane and tempts us to do what we intuitively know we shouldn't, and to be drawn towards the darker parts of ourselves where we aren't sure we are necessarily in control. Renfield's insanity should be frightening because he makes more sense than anyone on stage at certain points in the show, as it is written in the book - he has a more intimate understanding of their reality except for Van Helsing and Dracula themselves.

Another profound disappointment was the nonexistent confrontation between Van Helsing and Dracula. Harker sleeps through most of the fights, Dracula's vixens mostly fight for him and enter far too soon on their cues to be a surprise to the audience, and Dracula himself dies not with a bang, but a whimper.

There is so much meat to explore here; the nature of being, of good and evil, of sacrifice, friendship, love and endurance...would you give your soul to save your lover? How can you curse the vampire for being true to his nature? He hunts, just as humans hunt deer - why is he wrong? Or why is Van Helsing's quest to annhiliate Dracula heroic - and is it, ultimately?

For Stoker, love is the highest of all virtues and because Dracula does not have a heart that can beat of it's own will, he must steal life from the blood of others; he is an abomination, a being cursed by God to feast upon men but never experience for himself his own blood to run hot with passion and cold with fear. This is why Van Helsing pities his enemy as much as he desires to destroy him - only the heartless can kill without remorse or regret...

And it's regretful I can't give a better review for all of the hard work Ms. Waters put into her show; I give her great admiration for finishing her script and getting it on stage - it's only through doing that you actually learn. I realize I am biased, but the show was nearly three hours long, and the original movie from 1931 ran about 76 minutes. The story is so familiar that it doesn't need to ponderously extrapolate the meaningless details of the book - audiences want action for this kind of show, and unfortunately there isn't much action happening except for the lighting guy.

Born Yesterday Delights

Although "Born Yesterday" has a slow start, I found that I was sucked into the story a little at a time and by the end of the show I understand Chmurynsky's observation that it's absolutely true that politics haven't changed since 1946 - except of course, that congressmen and women are bought most likely in less obvious ways. After the first part of the first act especially, the show sailed on by and was slick and well-directed. I enjoy shows where there isn't needless blocking created just to have movement on stage. There was obviously thought put into everything the characters do, and it's the little details that often make or break a play.

The gist of the show is that self-proclaimed "junk man" Harry Brock, played by Doak Bloss, wants to clean up on the iron and steel left over in Europe after WWII and doesn't want to deal with foreign policy and taxes cutting into his net profit. He "buys" a politician, in the sufficiently sleazy form of Jayke Pell, for around the sum of $80,000 - but his Jersey girlfriend doesn't exactly fit into Washington DC society and he hires a young man, Paul Verall, to educate her so she doesn't embarrass him.

Unfortunately Doak Bloss was terribly miscast in this role; the young man cast to 'educate' Billie Jean is played by Joseph Baumann, and he's quite a tall young man. Mr. Bloss just didn't have the physique nor the bluster to carry off the role of such a tyrannical business man. In fact, he was rather too reminiscent of Archie Bunker and not believable at all as someone who should demand respect. The first act felt slow in part because Mr. Bloss carried a great deal of the dialogue and he was incredibly difficult to understand. I give credit to Mr. Bloss for portraying Harry Brock as obnoxious - but he amounted to very little more than that.

As Mr. Baumann interacts with Billie Dawn, played by Emily Alaskon Himebaugh, the show really picks up and the fun starts. Both are newcomers to the Riverwalk stage and breathe energy and humor into the storyline. Mr. Baumann was able to mix the right amount of confusion into his relationship with Mrs. Alaskon Himebaugh on stage, and his condescending confidence towards the character of Harry Brock was amusing to watch.

Mrs. Alaskon Himebaugh as Billie Dawn, however, was the gem of the show. She commanded the stage in every scene and matured from being whiney and spoiled to becoming her own person. She made the transition believable; the dumb-woman-turned-intuitive-and-suddenly-intelligent has been done on stage and screen so many times so unrealistically...Mrs. Alaskon Himebaugh never allows her character to suddenly become something she isn't - she acknowledges her flaws, makes no apology for them, and her decisions become something believable rather than contrived.

There are several other treats that come in the show - Merrill Wyble and Marilyn Steegstra are on stage for only a very short time, but their appearance is something to look forward to. Philip Himebaugh appears on stage only twice, but he makes his stage time count.

Susan Chmurynksy has a delightful show, and though slow to start has a powerhouse ending. And by the way - this is one of the most elegant sets I've seen on Riverwalk's stage in some time - Craig Mitchell Smith's scenography is glorious. It's well-built and well-suited for the needs of the storyline. The costumes were lovely and the tech all-around was well done.

The show plays for one more weekend - call 482-5700 for reservations for visit www.riverwalktheatre.com