Don’t wait for the last night of “The Last Night of Ballyhoo”
It is the eve of World War II. The excesses of Adolph Hitler are not yet real for Americans still isolationist and anti-war. Jewish communities have a better idea of Hitler’s significant impact, yet the Jews of the American South are isolated further and concerned primarily with their own struggle regarding restrictions in society. In “The Last Night of Ballyhoo” a family of Jews in Atlanta is less worried about Hitler’s threat to Poland and Polish Jews than they are concerned with the Ballyhoo cotillion, rivaling any Southern extravaganza. And everyone is Atlanta seems consumed with the premiere of “Gone With the Wind” opening with Hollywood fanfare in December, 1939.
In the home of Adolph Freitag, his sister Boo Levy is concerned with being sure her daughter secures an appropriate date for Ballyhoo. Daughter Lala seems most connected to her newest façade based on Scarlett O’Hara. Also living in the home in the upscale section of Atlanta, is Reba Freitag, the widow of Adolph and Boo’s elder brother Simon, founder of the Dixieland Bedding Company Adolph now runs, Expected home soon is her daughter, Sunny, who is returning from Wellesley for the Christmas Holiday. They are Jewish, but quite disconnected from the horrors Hitler is wreaking on Europe. The family is mainly occupied with maintaining position in the predominately Protestant upper crust Southern society.
Adolph has a glimmer of what is happening and favorite niece Sunny is capable of such a glimmer but is primarily concentrating on her education. Adolph has hired a young assistant, Joe Farkas from Brooklyn, New York. Joe is flabbergasted as he discovers this family is so completely unconnected to their Jewish heritage and unaware of their own prejudice.
Alfred Uhry, author of “Driving Miss Daisy” has created an excellent commentary on the Southern complacency of this Jewish family. The audience is aware that the perspective must change and the Jewish soul will be awakened in horror, but first the connection must be established. The character of Joe Farkas is the catalyst. Using humor and sensitivity, Uhry’s wake-up call to the community must be directed with complete historical accuracy regarding the attitudes of the time. Director, Matthew Gray utilizes the expertise of Dramaturge Anna Holloway as well as a superb cast to realize the author’s intent.
Donald Jordan is cast in the role of Adolph Freitag. His sensitive portrayal of a bachelor saddled with a widowed sister-in-law and a widowed sister along with their daughters is outstandingly real. Jordan provides Adolph’s character with perfect understanding of Jewish traditions without the origins. His southern gentleman is the façade for the genuine Jewish gentleman.
His sister Boo is hysterically and beautifully played by Jeanie Cooper. Her absorption with the family place in society is typically southern belle, and her impulse to rise above her Jewish heritage is quite comical. Daughter Lala is secretly shy, awkward and a dreamer. Every late-blooming wall-flower will identify whole-heartedly with the performance of Augusta Abene in this painful and familiar role.
The role of Reba Freitag, the widow of Adolph’s elder brother Simon, is expertly portrayed by Wendy Welch. Welch portrays a wise and loving typical Jewish mother under a flutteringly flattering southern exterior. It is no wonder that she is beloved of daughter Sunny, played by Meghan Wagner. Wagner shows a young woman exploring her world through education with grace and ease and yet reveals her character’s confusion as she realizes that she has discounted her own important heritage.
Aaron Wertheim as Joe Farkas does a fabulous job portraying the typical New York Jew. Yet he does so without a whisper of the stereo-typical negativity that other groups have attached to his ethnic group and residence. As the catalyst character he also brings very close to home the initial confusion of a young man encountering the first true love of his life.
Into this mix comes Peachy Weil. He is completely unaware that he is Jewish outside of his agreement to date a nice Jewish girl, Lala Levy. Dillon Horner gives the audience a great time with his boorishly man-about-town attitude and comments. You see a man who can never be really serious, but one who in his moment would bravely shine.
Staged on a beautiful set by Debra E. Hicks, “The Last Night of Ballyhoo” is an outstanding example of the professionalism of Oklahoma City Repertory Theatre. With the collaboration between City Rep and Theatre OCU, we see that professionalism extended into the University setting.
Donald Jordan as Artistic Director should be extraordinarily pleased with the choice of Matthew Gray as Director in this collaboration. He must also be pleased with the opportunity to act with such an astounding cast consisting of Members and Member Candidates of the Actors’ Equity Association. It can only be concluded that Author Alfred Uhry must be duly impressed with this production.
“The Last Night of Ballyhoo” can be seen at City Space Theatre in the Civic Center Music Hall at 201 North Walker Avenue. Ticket information is available by calling the Civic Center Box Office at 405.297.2264 or calling City Rep direct at 405.848.3761. Visit cityrep.com. for additional information. Show times are 7:30 pm Friday and Saturday and 1:30 pm for Matinees October 2, 2011. Curtain goes up a little earlier than most theatres; but this certainly facilitates parking!
Superior Donuts is Superior!
Director Rhonda Clark kicks off Carpenter Square’s 2011-2012 season in a brand new location with “Superior Donuts” by Tracy Letts. Letts has written a provocative story once again and Clark directs with sensitivity and skill. The two main characters meet as employer and new employee at the donut shop in uptown Chicago called Superior Donuts. Owner, Arthur Przybyszewski is a child of the sixties whose life never went beyond his dreams. Shawn Hicks brings the character to dreary life in a series of short monologues setting up the reason for past and future action and inaction. Skip Hill, as the enthusiastic young optimist Franco Wicks, comes to work at Superior Donuts and is able to eventually inspire his boss to accept responsibility.
While the story is one most of us are familiar with in a mundane, general sense these two actors bring an interesting specificity in delivery and characterization. Hill is particularly effective as the cocky young black man who hides artistic talent and intellectual depth behind his irritating façade. It is not too difficult for a young black man to play this stereotype accurately; however it is rarely done so that the façade actually reveals the artistic genius lurking within. Hill does this superbly, although the second act weakens slightly at climax. This however, is Mr. P’s hour. The moment that the burned out old hippie discovers that he still has a chance to prove he is alive is one that Hicks captures perfectly.
Max Tarasov, the often inebriated Russian vodka drinker who owns the store next door is masterfully done by Terry Veal. His entrances verge on scene stealing, as does Laurel Van Horn Jaworsky as the unique prophetess living as a typical bag lady—Lady Boyle.
The two police officers, Albert J. Bostick Jr. as Officer James Bailey and Doobie Potter as Officer Randy Osteen are excellent. Bostick as the sympathetic black cop who knows and understands the young Franco Wicks is hysterical as a confirmed Trekkie as well. Officer Osteen has a crush on Arthur Przybyszewski, and her rough exterior with a heart of gold is part of what brings Mr. P. back to life. Potter has this part nailed.
The bad guys are Luther Flynn the mob boss, played by Paul H. Tomlin, and his goon, Kevin Magee is Chris Briscoe. These two break heads, but the broken heart is much more painful. Finally, Tarasov’s nephew, Kiril Ivakin is massively portrayed by Tommy Gragg.
Clark does an excellent job with this cast and the poignancy is enhanced under her direction without becoming over melodramatic. Technically the show is very well rounded and starts off this season in the new location nicely. That location is 800 West Main in downtown Oklahoma City. The address is not flamboyant, but easy to find. Just relax and trust the addresses, look for the poster and have a great evening in spite of a few tears. Tickets and information are available by calling 405.232.6500. “Superior Donuts” plays through September 24th at 8pm.
“Quilters” is Outstanding!
“Quilters” is showing through October 2nd in the Freede Theatre at Civic Center Music Hall. Written by Molly Newman and Barbara Damashek, “Quilters” is a delightful exploration of the personal histories of the pioneer women who put their experience and their souls into the quilts that they made. As the women present these memories recorded in these beautiful quilts, one begins to understand the importance of history on the purely personal level. The fires, the droughts, the births and deaths of generations of strong women can be found in the quilts grandmother made.
To direct this show requires sensitivity and seven women who can sing, dance a little bit and act superbly as they re-enact events from the multiple characters we come from. Irick, Artistic Director of Oklahoma City Theatre Company directs “Quilters” smoothly. The seven members of the ensemble cast are Bonner Church, Celeste Dvorak, Mary Ingram, Kristi Krempges, CheyAnne Strickler, Kayli Anne Warmker and Raine Hicks Wheeler. Each of the delightful actresses does a magnificent job in their soliloquys and their solos.
Choreographer, Andrea Rogers does a very nice job of showcasing the natural dance of these pioneer women in a realistically graceful series of movements that compliments each actress as well as each character. Music Director Jeanise Morton creates an orchestral sound with a small group that complements vocals beautifully. Thanks to Marilyn Ragan, costumes are authentic, yet easy for the actresses to deal with as they convey all the atmosphere needed for the deliberately minimalist set.
In an ensemble cast such as “Quilters” where all the performers are outstanding it is hard to pinpoint an absolutely starring moment. Yet from an acting perspective, Raine Hicks Wheeler exhibits such a highlight. As all the cast members are women and they often tell stories involving the men in their lives it is necessary for them to portray those men. Wheeler is a beautiful woman, yet incredibly, one can’t help but imagine Edward G. Robinson when she is portraying male characters.
As one enters the Freede Theatre, the orchestra area is placed on the left side of the stage. Acoustically the sound levels work well in any seat in the audience. Nevertheless the second set of perfect moments in “Quilters” comes when all the performers blend their voices. The sweet spot is exceptional seated to the right. While “Quilters” is a tear-jerker from the standpoint of subject, the perfect notes emanating from these women bring tears of joy and beauty as well.
Clearly Irick has assembled an excellent cast and crew. This show is not just a show for and about women; it is a show for anyone borne of woman as well. As they take their bows, the applause from the audience is not only for the performance but for their own mothers and grandmothers and all those moments that create the history of the United States of America.
“Quilters” can be seen through October 2, 2011. Performances are Friday and Saturday nights at 8:00 pm with 2:00 pm Sunday Matinees at the Civic Center Music Hall Freede Theatre. The location is 201 N. Walker in downtown Oklahoma City. For ticket information call 405.593.6600. Also contact okctheatrecompany.org on line or call Oklahoma City Theatre Company direct at 405.297.2264. Oklahoma City Theatre Company has a perfect presentation with “Quilters” so don’t stay home and sew!
A Superior Production with “Superior Donuts” and a little coffee.
The Bikinis
“The Bikinis,” created and written by Ray Roderick and James Hindman is part of the ‘new American musical’ movement giving the audience a nostalgic vision of the great music baby boomers grew up with. This type of musical is not necessarily going to be a literary masterpiece, just a decent story line to string together a genre of unforgettable musical numbers with maybe a few new songs thrown in. This can be a great night of entertainment and fun as the old folk’s rock out in the aisles. The story is simple enough and the lines are easy to memorize—just concentrate on the songs and everyone will have a good time.
In theory that is a great approach, and apparently that is the tack Billie Thrash, Director of “The Bikinis” takes at the latest Jewel Box Theatre Production. Musical Director, Tim Goff does a nice job, but the actors have not yet learned their lines well enough to perform in a public setting. Unfortunately a nervous actress struggling for words and body placement can be thrown into her next song with uncertainty. Result? Sour notes. An easy script to learn must still be learned and rehearsed, yet nearly every line in the show is flubbed or lost as the band plays over the dialogue.
The staging is competent, yet the band sitting dead center creates a problem with sight lines and distraction. This can be overcome by the audience if the band being center has a constructive purpose. It does not.
Casting is awkward. Using the same actresses cast in different roles would have been more comfortable visually for the audience and might have made a better sound. Jackie Smola as Annie does a more than competent job in her role and interpretation. Paula Parkhurst and Elin Bhaird also perform adequately. Deb Goff-Roberts’ voice does not seem to carry well into the audience. Cheryl Varnell as Betty, the group’s manager provides a nice interlude now and again. The band known as ‘The Big Kahuna’s’ accompany the singers quite well. Musical Director Goff is on keyboard with David Hester on drums, Jason Hunt on guitar and Tim Good on bass provides a nice although sometimes too loud accompaniment.
Once the cast is a little more comfortable with their dialogue, this show should be cute to watch. However, audience members should be dancing in the aisles.
“The Bikinis” can be seen at the Jewel Box Theatre through September 18, 2011. The Jewel Box is located at 3700 North Walker Avenue in the First Christian Church. Ticket information is available at 405.521.1786 Tuesday through Friday afternoons or online information at www.Jewelboxtheatre.org.
“The Bikinis,” created and written by Ray Roderick and James Hindman is part of the ‘new American musical’ movement giving the audience a nostalgic vision of the great music baby boomers grew up with. This type of musical is not necessarily going to be a literary masterpiece, just a decent story line to string together a genre of unforgettable musical numbers with maybe a few new songs thrown in. This can be a great night of entertainment and fun as the old folk’s rock out in the aisles. The story is simple enough and the lines are easy to memorize—just concentrate on the songs and everyone will have a good time.
In theory that is a great approach, and apparently that is the tack Billie Thrash, Director of “The Bikinis” takes at the latest Jewel Box Theatre Production. Musical Director, Tim Goff does a nice job, but the actors have not yet learned their lines well enough to perform in a public setting. Unfortunately a nervous actress struggling for words and body placement can be thrown into her next song with uncertainty. Result? Sour notes. An easy script to learn must still be learned and rehearsed, yet nearly every line in the show is flubbed or lost as the band plays over the dialogue.
The staging is competent, yet the band sitting dead center creates a problem with sight lines and distraction. This can be overcome by the audience if the band being center has a constructive purpose. It does not.
Casting is awkward. Using the same actresses cast in different roles would have been more comfortable visually for the audience and might have made a better sound. Jackie Smola as Annie does a more than competent job in her role and interpretation. Paula Parkhurst and Elin Bhaird also perform adequately. Deb Goff-Roberts’ voice does not seem to carry well into the audience. Cheryl Varnell as Betty, the group’s manager provides a nice interlude now and again. The band known as ‘The Big Kahuna’s’ accompany the singers quite well. Musical Director Goff is on keyboard with David Hester on drums, Jason Hunt on guitar and Tim Good on bass provides a nice although sometimes too loud accompaniment.
Once the cast is a little more comfortable with their dialogue, this show should be cute to watch. However, audience members should be dancing in the aisles.
“The Bikinis” can be seen at the Jewel Box Theatre through September 18, 2011. The Jewel Box is located at 3700 North Walker Avenue in the First Christian Church. Ticket information is available at 405.521.1786 Tuesday through Friday afternoons or online information at www.Jewelboxtheatre.org.
“The Bikinis,” created and written by Ray Roderick and James Hindman is part of the ‘new American musical’ movement giving the audience a nostalgic vision of the great music baby boomers grew up with. This type of musical is not necessarily going to be a literary masterpiece, just a decent story line to string together a genre of unforgettable musical numbers with maybe a few new songs thrown in. This can be a great night of entertainment and fun as the old folk’s rock out in the aisles. The story is simple enough and the lines are easy to memorize—just concentrate on the songs and everyone will have a good time.
In theory that is a great approach, and apparently that is the tack Billie Thrash, Director of “The Bikinis” takes at the latest Jewel Box Theatre Production. Musical Director, Tim Goff does a nice job, but the actors have not yet learned their lines well enough to perform in a public setting. Unfortunately a nervous actress struggling for words and body placement can be thrown into her next song with uncertainty. Result? Sour notes. An easy script to learn must still be learned and rehearsed, yet nearly every line in the show is flubbed or lost as the band plays over the dialogue.
The staging is competent, yet the band sitting dead center creates a problem with sight lines and distraction. This can be overcome by the audience if the band being center has a constructive purpose. It does not.
Casting is awkward. Using the same actresses cast in different roles would have been more comfortable visually for the audience and might have made a better sound. Jackie Smola as Annie does a more than competent job in her role and interpretation. Paula Parkhurst and Elin Bhaird also perform adequately. Deb Goff-Roberts’ voice does not seem to carry well into the audience. Cheryl Varnell as Betty, the group’s manager provides a nice interlude now and again. The band known as ‘The Big Kahuna’s’ accompany the singers quite well. Musical Director Goff is on keyboard with David Hester on drums, Jason Hunt on guitar and Tim Good on bass provides a nice although sometimes too loud accompaniment.
Once the cast is a little more comfortable with their dialogue, this show should be cute to watch. However, audience members should be dancing in the aisles.
“The Bikinis” can be seen at the Jewel Box Theatre through September 18, 2011. The Jewel Box is located at 3700 North Walker Avenue in the First Christian Church. Ticket information is available at 405.521.1786 Tuesday through Friday afternoons or online information at www.Jewelboxtheatre.org.
