Director William Pullinsi's rendition of the classic "Fiddler on the Roof" is a hit at Theatre at the Center in Munster. A tale of family, tradition and the struggle of Jewish people living in Russia as the revolution began, writer Joseph Stein's "Fiddler on the Roof" is as poignant and beautiful as when it premiered on Broadway in 1964.
As the play begins, the fiddler (David Morrison) and Tevye (Lee Pelty), the dairyman, are almost immediately joined on stage by the ensemble of villagers who provide audiences an understanding of the culture and community with an enthusiastic rendition of the song "Tradition."
Pullinsi's "Fiddler" was remarkable in many ways, but most outstanding was the cast. Pelty has a wealth of talent, especially as a vocalist. His wife, Golde, is played by Iris Lieberman, a woman who can express volumes through her facial expression even when only speaking a few words. Lieberman is also the dance captain, a role in which she also shines if the dance performances throughout the play are any indication. Tevye and Golde have three daughters - Tzeitel (played by the lovely Amy Olsen), who wants to marry a poor tailor named Model (a mousy part successfully played by Jon Cunningham); Hodel (Audrey Billings, with remarkable vocal talent), who wants to be happy; and Chava (Alyssa Thrasher, an incredible dancer), who loves books.
According to tradition, a matchmaker - in their town, a widow named Yente (played with outstanding enthusiasm by Renee Matthews)- helps parents find appropriate spouses for their children (often, much to the chagrin of their children, as this is before marrying for love became popular). As Teyve attempts to pair his oldest daughter with a wealthy butcher named Lazar Wolf (John Riley, the perfect choice in looks and effect) - rather than Model - he discovers that times are changing whether he wants to admit it or not. Tevye allows the girls to take lessons from traveling scholar, Perchik (acted well by Kenneth Z. Kendall) who shakes the town by defying traditions. As revolutions in the political climate refuse to be denied and the Constable (Larry Adams, with such militant gusto he was a must for the part) is soon shoving change through the front door.
Directed and conducted by William A. Underwood, the orchestra is phenomenal throughout. Every song in the play is delightful, but "Matchmaker" and "To Life" feature exceptionally skillful choreography - thanks to, in addition to the actors, choreographer Linda Parsons. The easily changeable and realistic but minimalist sets by Nick Mozack, costumes by Brenda Winstead and wig/beard design by Kimberly G. Morris truly capture the time period.
For those who have never seen "Fiddler on the Roof," this is a great time to experience it. Those who have seen it before and enjoyed it will love the care with which this performance presents the classic tale. No matter who you go see it with, catch this flawless production of "Fiddler on the Roof."
Originally published in The Chronicle in February 2007 as JadeLee Culberson
Showing posts with label Theatre at the Center. Show all posts
Showing posts with label Theatre at the Center. Show all posts
28.2.11
"A Christmas Story" delights audiences this holiday season
"A Christmas Story," based on the award-winning and time-honored film, provides magnificent holiday entertainment in Northwest Indiana this December. Munster resident Charles Gessert directs Jean Shepherd's hilarious autobiographical tale.
Norm Boucher is phenomenal as Ralph, a nostalgic man who vividly recollects a 1938 childhood Christmas in Hohman, Indiana, when all he wanted was a Red Rider BB gun, despite everyone's warnings that "you'll shoot your eye out" with such a toy. Young Ralphie (played magnificently and with remarkable facial expressions by Matt Gerhardt) is a fairly typical kid. He and his friends Flick (played by the talented George Mokdessi) and Schwartz (performed by a delightful young actor from Highland- Leonardo Garcia) get themselves into a bit of youthful trouble by daring each other to do things. This kind of encouragement is how Flick once finds himself with his tongue stuck to a cold metal pole in the schoolyard.
Ralphie is the subject of a childhood crush by schoolmate Ester Jane (a funny part radiantly delivered by the adorable Olivia Marcukaitis). He is also one of many targets menaced by local bully Scut Farkas (a role delivered by the gifted Brian T. Johnson). More important to Ralphie, though, is his mission to receive a BB gun for Christmas.
After careful consideration, Ralphie unleashes a plan to convince his mother (played by Mary Ernster) and father - better known as The Old Man (and played by John Reeger) - that he not only wants but needs the gun. Hilarity ensues and before long the entire audience will be nostalgic for Christmases past.
Scenic designer Ann N. Davis and properties designer Stanlee K. Hodsden do a brilliant job of bringing the multi-tiered set to life. Whether showing a warm family home (complete with gooey oatmeal for breakfast), Ralphie's classroom, or Santaland at Goblatts department store, the stage moves through the play with the realism of a movie set. Colored lights by lighting designer Carl Ulaszek take us inside Ralphie's imagination each time he loses himself in thought - imagining possible situations or fantasizing about his alternate life as a cowboy just like the Red Rider.
"A Christmas Story" is delightful with wonderful acting and all the charm of the film. Families seeking a holiday activity will find what they're looking for at Theatre at the Center.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
Norm Boucher is phenomenal as Ralph, a nostalgic man who vividly recollects a 1938 childhood Christmas in Hohman, Indiana, when all he wanted was a Red Rider BB gun, despite everyone's warnings that "you'll shoot your eye out" with such a toy. Young Ralphie (played magnificently and with remarkable facial expressions by Matt Gerhardt) is a fairly typical kid. He and his friends Flick (played by the talented George Mokdessi) and Schwartz (performed by a delightful young actor from Highland- Leonardo Garcia) get themselves into a bit of youthful trouble by daring each other to do things. This kind of encouragement is how Flick once finds himself with his tongue stuck to a cold metal pole in the schoolyard.
Ralphie is the subject of a childhood crush by schoolmate Ester Jane (a funny part radiantly delivered by the adorable Olivia Marcukaitis). He is also one of many targets menaced by local bully Scut Farkas (a role delivered by the gifted Brian T. Johnson). More important to Ralphie, though, is his mission to receive a BB gun for Christmas.
After careful consideration, Ralphie unleashes a plan to convince his mother (played by Mary Ernster) and father - better known as The Old Man (and played by John Reeger) - that he not only wants but needs the gun. Hilarity ensues and before long the entire audience will be nostalgic for Christmases past.
Scenic designer Ann N. Davis and properties designer Stanlee K. Hodsden do a brilliant job of bringing the multi-tiered set to life. Whether showing a warm family home (complete with gooey oatmeal for breakfast), Ralphie's classroom, or Santaland at Goblatts department store, the stage moves through the play with the realism of a movie set. Colored lights by lighting designer Carl Ulaszek take us inside Ralphie's imagination each time he loses himself in thought - imagining possible situations or fantasizing about his alternate life as a cowboy just like the Red Rider.
"A Christmas Story" is delightful with wonderful acting and all the charm of the film. Families seeking a holiday activity will find what they're looking for at Theatre at the Center.
Originally published in The Chronicle in December 2006 as Jade Lee Culberson.
Musical delight 'Grease' offers spring entertainment
Director David Perkovich and musical director Malcolm Ruhl bring the 1950s to life with the lively musical "Grease" at Theatre at the Center in Munster.
Mousy Sandy (played by the lovely Meg Miller) and bad-boy Danny (well performed by Brandon Koller) come from very different social groups but find themselves attracted to each other after.
As Sandy tries to fit in with The Pink Ladies, a group of girls who put fun before high school in their senior year, Danny struggles with his identity as a leader of the Burger Palace Boys (a watered down version of the film's T-Birds) and his attempts to keep Sandy's attention - even while accidentally attracting the too-bubbly cheerleader Patty Simcox (delightfully over-the-top Lara Mainard).
The group sings and dances their way through difficult life choices. Pink Lady Frenchy (played by the extremely excited Dina DiCostanzo) considers whether to finish high school with her friends or go to beauty school. And Kenickie (Richard Strimer, who looks and acts the part perfectly) tries to make a used car into a dream machine worthy of the name Greased Lightening. Unfortunately, we're denied the interesting movie sub-plot of Kenickie's race at Thunder Road.
This version of "Grease" seems to rely a bit more on the book by Jim Jacobs and Warren Casey, which includes more focus on the other boys. Doody (Patrick John Moran, who should consider a long career in musical theatre) performs songs for his friends, including a cleverly comedic rendition of "Those Magic Changes." Rodger (portrayed well by Mik Dempsey) and Jan (Shelly Koop, an energetic songstress) find unlikely romance via a new song called - for two reasons - "Mooning."
Choreographer Stacey Flaster and scenic designer Robert Andrew Kovach have created a non-stop masterpiece of dazzling dance among realistic, though minimal, scenery. Costumes designed by Janice Pytel and managed by Paula Consdorf capture the 1950s perfectly, especially Kenickie's rebel garb and Patty Simcox's preppie attire.
Though departing a bit from the well-known film version, Perkovich's "Grease" includes one exciting song after another. Old favorites - including "Summer Nights," "Beauty School Dropout," and "We Go Together" - remind us that this is still a story we know and love - even if the story has changed a bit this time around.
Published in The Chronicle in May 2007, as Jade Lee Culberson.
'Hello, Dolly!' shows audience energy
Director William Pullinsi's "Hello, Dolly!" - appearing at Theatre at the Center - provides energetic enchantment for theater enthusiasts this fall. Set in 1890s New York, this production stars the exuberant Paula Scrofano as Mrs. Dolly Gallagher Levi, a matchmaker among other vocations, and best known as a professional meddler - who also happens to be a widow.
Dolly's current task is helping an unemployed artist, Ambrose Kemper (Jon Cunningham), marry overly emotional Ermengarde (lovely Audrey Billings), the niece of a half-millionaire proprietor in Yonkers, Horace Vandergelder (John Reeger, a natural in the role). Vandergelder, a widower, is not ready for his niece to get married, not only because he is protective of the young woman, but because he would then be left without a woman around the house.
Since he realizes her marriage is inevitable - though he has forbade Ambrose - he is seeking a new wife for himself. In "It Takes a Woman" - one of many delightfully sung and brilliantly choreographed numbers throughout the performance - Vandergelder reminds audiences what a wife was important for in the 1890s, use as a housekeeper.
Vandergelder is not only strict with his family, but also with his employees. Head clerk Cornelius (Ed Kross) and helper Barnaby (Zach Zube, who excels at mousy) never have an evening off - and thusly make plans to take advantage of Vandergelder's trip to New York City to visit and likely propose to Irene Molloy (played by the delightful Cory Goodrich), by planning a trip of their own.
Dolly has other plans for Vandergelder that does not include Irene, but provides a chance at ending her professional meddling days by matching herself to the half-millionaire. As Dolly escorts Ermengarde and Ambrose into the City, while Vandergelder heads off to see Irene, Cornelius and Barnaby are also on their adventure. Kross shows off his immense vocal talent in "Put on Your Sunday Clothes," in which the two young men declare they won't leave New York City "until we've kissed a girl." The New York adventure is sometimes funny, sometimes heartwarming and always amusing.
Even those who find the premise a bit old-fashioned and corny may pleasure in the sheer aesthetic of the play - the ensemble is remarkable with perfect vocal harmony and flawless timing in the complicated dance numbers. William A. Underwood conducts a magnificent orchestra. The minimal setting is maximized by perfect prop selections by Valerian Bajak. The costumes, provided by Costume World Theatrical and supervised by Paula Consdorf, are timely, lovely and vibrantly charming. There is also a brief but intense strobe light sequence during the performance.
"Hello, Dolly!" runs through Oct. 21. Performances are held Wednesdays at 2 p.m., Thursdays at 2 p.m., Fridays at 2 p.m. and 8 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m., along with a few additional showings. Ticket prices vary from $36 to $39, depending on the day and time, and can be purchased in person, by calling the box office at 219.836.3255 or online at theatreatthecenter.com.
Originally published in The Chronicle in September 2007.
Dolly's current task is helping an unemployed artist, Ambrose Kemper (Jon Cunningham), marry overly emotional Ermengarde (lovely Audrey Billings), the niece of a half-millionaire proprietor in Yonkers, Horace Vandergelder (John Reeger, a natural in the role). Vandergelder, a widower, is not ready for his niece to get married, not only because he is protective of the young woman, but because he would then be left without a woman around the house.
Since he realizes her marriage is inevitable - though he has forbade Ambrose - he is seeking a new wife for himself. In "It Takes a Woman" - one of many delightfully sung and brilliantly choreographed numbers throughout the performance - Vandergelder reminds audiences what a wife was important for in the 1890s, use as a housekeeper.
Vandergelder is not only strict with his family, but also with his employees. Head clerk Cornelius (Ed Kross) and helper Barnaby (Zach Zube, who excels at mousy) never have an evening off - and thusly make plans to take advantage of Vandergelder's trip to New York City to visit and likely propose to Irene Molloy (played by the delightful Cory Goodrich), by planning a trip of their own.
Dolly has other plans for Vandergelder that does not include Irene, but provides a chance at ending her professional meddling days by matching herself to the half-millionaire. As Dolly escorts Ermengarde and Ambrose into the City, while Vandergelder heads off to see Irene, Cornelius and Barnaby are also on their adventure. Kross shows off his immense vocal talent in "Put on Your Sunday Clothes," in which the two young men declare they won't leave New York City "until we've kissed a girl." The New York adventure is sometimes funny, sometimes heartwarming and always amusing.
Even those who find the premise a bit old-fashioned and corny may pleasure in the sheer aesthetic of the play - the ensemble is remarkable with perfect vocal harmony and flawless timing in the complicated dance numbers. William A. Underwood conducts a magnificent orchestra. The minimal setting is maximized by perfect prop selections by Valerian Bajak. The costumes, provided by Costume World Theatrical and supervised by Paula Consdorf, are timely, lovely and vibrantly charming. There is also a brief but intense strobe light sequence during the performance.
"Hello, Dolly!" runs through Oct. 21. Performances are held Wednesdays at 2 p.m., Thursdays at 2 p.m., Fridays at 2 p.m. and 8 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m., along with a few additional showings. Ticket prices vary from $36 to $39, depending on the day and time, and can be purchased in person, by calling the box office at 219.836.3255 or online at theatreatthecenter.com.
Originally published in The Chronicle in September 2007.
'Scrooge! The Musical' a holiday delight
"Scrooge! The Musical," Leslie Bricusse's adaptation of the Charles Dickens' classic "A Christmas Carol," is a holiday delight at Theatre at the Center in Munster.
Directed by William Pullinsi, this exciting tale of the miserable miser Ebenezer Scrooge (James Harms) is fun for the whole family. Classically set in London in the mid-1800s, the play begins as idealistic Nephew Harry (Jonathan Lynch, a brilliantly versatile actor) commiserates with Bob Cratchit (played well by Mark Larson) that Scrooge is a grouch and a cheapskate.
With such remarkably transformed sets by Scenic Designer Jack Magaw - the storefronts have surprisingly realistic-looking windows and even the floor is covered to look like an old street - it's easy to become immersed in the story. It is easy to stay immersed, because "A Christmas Carol" has never been so lively as it is in "Scrooge! The Musical."
Even Scrooge himself, a man who would never have been caught singing would be impressed at Harms' strong vocals as he performs "No Better Life," giving us a glimpse into the mind of Scrooge. Singing aside, the Scrooge character is still a man we can love to hate - especially as the ensemble performs the delightfully clever song "Father Christmas."
As Scrooge begins to realize something is amiss this Christmas Eve, creepy sound effects and theatrical haze set the stage for the first entrance of the late Jacob Marley (Dale Benson, who brings a whole new level of menace to the character). Eerily made up to be white as a ghost and wearing a long chain baring the links of his unsatisfying life (one of many great pieces by Props Master Katie Seibel), Marley is there to frighten Scrooge and warn him of the three visitors he'll face. And they come - first, the Ghost of Christmas Past (played by the lovely Meg Miller), who reminds Scrooge that he once enjoyed his life working for Fezziwig (John Riley, with delightful enthusiasm) and had love in his heart for his sweetheart, Isabel (played fiercely by Audrey Billings).
Choreography by Stacey Flaster in "December the Twenty-Fifth" is breathtaking (and is outstanding throughout the show). Then, the witty Ghost of Christmas Present (Larry Adams, with brilliant vocals) arrives on an ornate moving throne to encourage Scrooge to enjoy life. A glimpse into the current Christmas activities reveals the adorably hopeful Kathy (Brianna Konrad) and Tiny Tim (Liam Byrnes) enjoying what little they have. As the family prepares to dine, Tiny Tim sings "The Beautiful Day" (revealing Byrnes exceptional vocal talent). But when the Ghost of Christmas Yet-To-Come (Phil Higgins) arrives as a phantom and shows Scrooge the hell that awaits him, Scrooge may have a chance to rethink his misdeeds.
Backed by a phenomenal orchestra conducted by William A. Underwood, "Scrooge! The Musical" is a joyous event to attend this holiday season - with family, with friends or with someone special. "Scrooge! The Musical" runs through Dec. 23 at Theatre at the Center.
Originally published in The Chronicle in November 2007.
Directed by William Pullinsi, this exciting tale of the miserable miser Ebenezer Scrooge (James Harms) is fun for the whole family. Classically set in London in the mid-1800s, the play begins as idealistic Nephew Harry (Jonathan Lynch, a brilliantly versatile actor) commiserates with Bob Cratchit (played well by Mark Larson) that Scrooge is a grouch and a cheapskate.
With such remarkably transformed sets by Scenic Designer Jack Magaw - the storefronts have surprisingly realistic-looking windows and even the floor is covered to look like an old street - it's easy to become immersed in the story. It is easy to stay immersed, because "A Christmas Carol" has never been so lively as it is in "Scrooge! The Musical."
Even Scrooge himself, a man who would never have been caught singing would be impressed at Harms' strong vocals as he performs "No Better Life," giving us a glimpse into the mind of Scrooge. Singing aside, the Scrooge character is still a man we can love to hate - especially as the ensemble performs the delightfully clever song "Father Christmas."
As Scrooge begins to realize something is amiss this Christmas Eve, creepy sound effects and theatrical haze set the stage for the first entrance of the late Jacob Marley (Dale Benson, who brings a whole new level of menace to the character). Eerily made up to be white as a ghost and wearing a long chain baring the links of his unsatisfying life (one of many great pieces by Props Master Katie Seibel), Marley is there to frighten Scrooge and warn him of the three visitors he'll face. And they come - first, the Ghost of Christmas Past (played by the lovely Meg Miller), who reminds Scrooge that he once enjoyed his life working for Fezziwig (John Riley, with delightful enthusiasm) and had love in his heart for his sweetheart, Isabel (played fiercely by Audrey Billings).
Choreography by Stacey Flaster in "December the Twenty-Fifth" is breathtaking (and is outstanding throughout the show). Then, the witty Ghost of Christmas Present (Larry Adams, with brilliant vocals) arrives on an ornate moving throne to encourage Scrooge to enjoy life. A glimpse into the current Christmas activities reveals the adorably hopeful Kathy (Brianna Konrad) and Tiny Tim (Liam Byrnes) enjoying what little they have. As the family prepares to dine, Tiny Tim sings "The Beautiful Day" (revealing Byrnes exceptional vocal talent). But when the Ghost of Christmas Yet-To-Come (Phil Higgins) arrives as a phantom and shows Scrooge the hell that awaits him, Scrooge may have a chance to rethink his misdeeds.
Backed by a phenomenal orchestra conducted by William A. Underwood, "Scrooge! The Musical" is a joyous event to attend this holiday season - with family, with friends or with someone special. "Scrooge! The Musical" runs through Dec. 23 at Theatre at the Center.
Originally published in The Chronicle in November 2007.
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