As Village Players reopens, love (and virus protocols) are in the air

 

From unexpected storms and fires to sudden illnesses and tragic deaths, producers of live theater have faced and responded to numerous crises over the past several decades. Sure, they may have had to temporarily pause performances for a day or two, immediately recast a role, or cancel the remaining run of a show. But not since the early 20th century have producers faced a major pandemic, especially one that shut down much of the world for a year and a half. So not only could their shows not go on, entire seasons had to be scrapped and theaters had to lock their doors as COVID-19 raced across the country.

In response – and to keep connected to their audience base – some producers offered theater-starved patrons fresh content via video. Others eventually moved outdoors with socially distanced performances. But now, as many companies throughout Metro Detroit begin announcing their seasons (all the while keeping their fingers crossed they’ll actually happen), one brave community theater, The Village Players of Birmingham, is among the first (if not the first) to unlock its doors, dust off the stage and invite patrons back into its performance space.

It was not an easy decision to make.

“It required several meetings of the Safety Committee, their recommendations to both the artistic and business boards, and approval of the boards to proceed with the upcoming slate of shows,” explained Stephen Sussman, the Players’ artistic board president. “There were several months of meetings and planning before proceeding.”

The Safety Committee, Sussman said, consisted of the troupe’s house and grounds chairperson, various long-time members, a doctor, a nurse (also members) and Sussman, an architect who is familiar with all aspects of the physical plant. “Using guidelines established by the CDC and State of Michigan, we decided it was safe and appropriate to start to have indoor live performances.”

Business as usual would not be the case, however. The first row of seating was removed, for example, to create more physical space between the stage and audience seating. But that’s not all. “(The) cast and crew are required to be vaccinated and show proof of vaccination,” Sussman explained. “When offstage, cast members are encouraged to wear masks. All audience members are urged to wear masks when in the playhouse. There is no gathering inside during intermissions and after performances for the audience to greet cast members; that is done outdoors. And we are suspending all afterglows for the time being.”

The Village Players tested the waters last month with a production of the musical “Godspell” that ran for one weekend only. Although one might think it would have been difficult to cast thanks to COVID-related hesitancy, Sussman said that wasn’t a significant factor. The real challenge was to find cast members who were able to rehearse and perform during the summer. “This is always a challenging time to find actors and participants due to vacations, travel, and other summer activities.”

There was a minor concern, however, with the vaccination requirement during auditions that was addressed. “The result was a fabulous show that was of high quality and that the audiences absolutely loved,” he said. “(Patrons) were thrilled to have live performances back.”

Sussman was also pleased with the box office numbers. “Ticket sales were surprisingly good for a summer show that ran for only one weekend - Thursday through Sunday -  and was not part of the original slate. And since this was an additional show to welcome our members and patrons back, we consider it a huge success.”

Also successful were the new COVID protocols. “I’d guess we had about 98 to 99% compliance,” Sussman continued. “Almost everyone wore a mask during the show and were very cooperative. There were a few people – very few – who resisted wearing a mask. They claimed they were vaccinated, however. I presume those that weren’t comfortable simply didn’t attend. So short of having an actual mandate, I think we are comfortable with the policies we have currently in place.”

After such promising results with “Godspell,” The Village Players now turns its focus on its next show, which will be the first to run a traditional, multi-week schedule since the theatre shut down mid-run in March 2020 because of state-mandated COVID restrictions. And if the title rings a bell, it should.

“Shakespeare in Love” was the production shuttered after only three performances, and its return this month makes total sense to Sussman. “It is a fantastic show, and since the set was still in place and the majority of the actors were even now interested in performing it again, it was an easy decision to start the season with this restaging,” he said.

A few actors needed to be replaced, however. Not because of COVID concerns, but due to moving away or scheduling conflicts. “No one that was available refused to participate.”

For director Holly Hellsten Conroy, neither wild horses nor a mutating virus could keep her from returning to the show. “‘Shakespeare In Love’ is my baby,” she explained. “I’d worked on it for more than two years prior to that first production. So much of my heart is in this project; there was no way I’d drop the ball. Beyond my own love of the show, the enthusiasm of our cast and crew to return to the stage sealed the deal.”

And with safety protocols in place, Conroy said she feels safe. “Any hesitancy I might have felt disappeared once I received my second vaccination.”

Because the world has radically changed, so too has the working environment. Rehearsals and performances are now part of an experimental brave new world to which actors and audiences alike will have to adjust and make allowances. “Although our actors will not be wearing masks onstage during performances, we’ve allowed them to wear masks during rehearsals for their own comfort,” Conroy said. “Obviously, with part of the face covered, I’m apt to be directing what I hope is there. Fortunately, the two principal characters in our production are played by a very talented married couple – Ashley and Patrick Lane – who have no need of masks.”

Actress Lane, who plays Viola, had few qualms about returning to the show. “I have the same nerves that I am sure many have when jumping back into group activities,” she said. “It feels strange to be in groups and close to people again, when for so long we held back from those activities. However, after the initial nerves, I have felt very comfortable and grateful for the experience!”

Why? “(Both the production team and the Safety Committee) are constantly updating and changing the policies to ensure that we are following the state’s guidelines and recommendations in real time. There are physicians as part of the safety committee who have firsthand experience and knowledge of COVID, so that helps make me feel very well taken care of in this setting.”

But what happens when audiences enter the mix? “There is always the slight fear that the more people you encounter, the greater the risks are, but again, I feel very confident in the producers and the safety committee to ensure that everyone is being informed and taken care of in every way possible,” Lane said.

Similar reactions are found among the tech crew. “I was never hesitant to get involved,” said props mistress Suzie Skibicki. “I was part of our production before we were shut down by Covid last year and was thrilled to be able to return to my post for a full run of the show. I am eager for our patrons to share a live theater production with us,” she said.

So too is Ashley Lane. “We need theater!” she exclaimed. “I think the world needs art and human stories now more than ever. We need to come together and remember that at our core, we are all the same. We laugh, we cry, we are all human! There is a lot of division in the world, and I believe that theater unites us. So I hope that this production can bring a little bit of unity to our corner of the world right now.”

But that’s not all. “Our industry has been hit in a devastating way from COVID, as many industries have been, and I feel as an artist it is my job to bring stories back to our audiences, in a safe way of course. Especially in such times of uncertainty and anxiety, sharing the human experience through a play is extremely healing.”

But will audiences show up? “I am concerned that patrons will fear attending an indoor event and we might have small audiences,” director Conroy said. “It’s such a splendid show and everyone has worked so hard on it, it deserves sold-out performances.”

Patrons will be asked to wear masks, even if they’re vaccinated, although the theater won’t police it, Conroy noted.

And if they do show up, what will patrons be treated to? A romantic comedy, according to board president Sussman, that’s even funnier than the Oscar-winning motion picture it’s based upon. “We have a wonderfully talented cast, and there are beautiful period costumes, live Renaissance music and dancing, sword-fights and even a dog!”

In other words, there’s pretty much something for everyone in The Village Players’ production of “Shakespeare in Love.”

And who couldn’t use a good laugh these days?

Shakespeare in Love
The Village Players of Birmingham
34660 Woodward Avenue, Birmingham
Sept. 10, 11, 17, 18, 24, and 25 at 8 p.m.
Sept. 12, 19, and 26 at 2 p.m.
Tickets: $20 (plus a $1 processing fee for each ticket order)
Purchase online at www.birminghamvillageplayers.com or by calling the theater box office at 248-644-2075.

Note: Anyone with questions regarding the Players’ COVID policy can find the most up-to-date information on its website at www.birminghamvillageplayers.com.

Above photo caption: Romantic sparks fly on and off the stage as married couple Ashley and Patrick Lane star in "Shakespeare in Love."  Photo: Joseph Lease

About The Village Players:
The Village Players of Birmingham, a 501 (c)(3) nonprofit community theater, presents high quality dramatic, comedic, and musical productions. Everyone is invited to participate on stage, backstage or as an audience member in the theater's main stage, youth theater, and Playwrights at Work productions and programs. The Village Players have been entertaining the community from its location at 34660 Woodward Avenue in Birmingham since 1926.

A powerful, affecting theatrical team up

 

They had me at Payton and Kelley. Richards and Hill. Briggs and DeBruyne. Theatre Nova and The Ringwald.

Since the 1970s, comic book fans have been treated to the occasional intercompany crossover in which DC produced a story featuring Superman with Marvel’s Spiderman, while Marvel and IDC mixed it up with the X-Men and Star Trek. (Yes, that really happened.) Part of the fun for the reader was seeing how writers and artists of one company would mix with their peers and/or characters of another to churn out a story that could be enjoyed by fans of both.

A somewhat similar phenomenon occurred across the Detroit-to-Lansing corridor since at least 2005 when the late, lamented BoarsHead Theater joined forces with Plowshares Theatre Company to co-produce “The Story,” which was quickly followed by other team-ups with Meadow Brook Theatre and (the equally late and lamented) Performance Network. And it wasn’t long before a handful of other theaters joined in the fun.

As a theatergoer, I always looked forward to these events, since the cross pollination of talent served to introduce audiences in one market to the creative wizardry of another. They also enabled budget-wary producers to share costs that allowed two companies to offer quality shows to their specific audiences they might never otherwise experience. (If, for example, Performance Network and BoarsHead hadn’t co-produced Kim Carney’s “Moonglow,” most theatergoers in Metro Detroit might never have been treated to the wonderment that was the amazing actress, Carmen Decker.)

It was a win-win for everyone, including the multitude of actors, designers and directors whose options for work increased because of this exposure to management teams outside their traditional venues.

Unfortunately, such joint efforts seemed to have fallen by the wayside in recent years – and the pandemic shutdown certainly put a stop to them altogether. But an email I received a few weeks back gave me hope that team-ups and crossovers will make a comeback as theaters begin to slowly reopen their doors to the public.

The good news is that the first such effort is well-worth seeing. Given the show’s pedigree, I assumed the production would be well cast and creatively staged. What I didn’t expect, however, was how such an OK script could become so much more powerful and memorable because of their efforts.

For three weekends beginning June 5, Ann Arbor’s Theatre Nova and (the still-in) Ferndale’s Ringwald Theatre began “on-demand” performances of the musical “A New Brain,” courtesy of Broadway on Demand. It can be accessed any number of ways online through June 20. The production is the best of both worlds, as it’s staged as a play, but produced as a movie, which brings the power of the performances up close and personal in a way that would never happen sitting three (or 20) rows from the action. And that made all the difference in how I responded to the production.

Creator William Finn initially conceived “A New Brain” not as a musical, but as a series of songs he wrote after being released from the hospital following his near-fatal collapse on 45th Street in New York City. After workshopping what started as a concert-style production, Finn teamed with frequent collaborator James Lapine on the book, and together they merged the songs with a storyline to create a 90-minute (or so) musical that launched off-Broadway in 1998 for an almost five-month run.

It’s a somewhat-autobiographical tale. Children’s television songwriter Gordon Schwinn is frustrated creating silly songs for a demanding adult man dressed as a frog. While having a not-so-pleasant lunch with his best friend and agent, Gordon’s brain decides to painfully introduce him to a heretofore-undiscovered arteriovenous malformation, sending Gordon face first into his meal. Later, at the hospital awaiting brain surgery, Gordon reveals his biggest fear: dying with his greatest song still inside his head. And it just so happens that his boss, Mr. Bungee, still needs one more tune for the next show. Immediately.

There’s much more to it than that, with most of the plot and story revealed through song rather than dialog. Sometimes, though, you might scratch your head and wonder why a homeless lady keeps showing up, or why the show occasionally feels like a patchwork of songs that kinda/sorta don’t feel connected. Or why the characters seem a bit shallow, one-note or cartoony, with motives that aren’t always clear.

But none of that is the fault of Theater Nova or The Ringwald. What they are responsible for, however, is director Vince Kelley and his cast taking Finn and Lapine’s material and making it – well, sing!

And sing they do. Diane Hill as Gordon’s neurotic mother, Mimi, has two numbers that sizzle. The first, “Mother’s Gonna Make Things Fine,” is Mimi’s initial reaction to her son’s hospitalization. But with the realization that Gordon’s surgery could be fatal – and outside her ability to fix – she decides to head over to Gordon’s apartment and clean. It’s a heart-wrenching performance, as Mimi’s emotions bubble up and explode – and it serves as a reminder of just what a kick-ass actress Hill is in such roles.

Then there’s Jamie Richards as Mr. Bungee, the tyrannical producer and star of the children’s television show that employs Gordon as a songwriter. One image burned into my memory bank is Richards as a contemplative Mr. Bungee, sitting in his darkened studio, a cigarette dangling from his lips. As played by Richards, his number, “Don’t Give In,” is especially revealing. (Richards is another whose character work is always top-notch.)

A pleasant surprise was the inclusion of popular actor Steve DeBruyne in the production. His is a voice I could listen to all day, and he has plenty of fun with the role of Doctor Berensteiner. And I absolutely laughed out loud at an aside inserted into the script in which he plugs with a quick wink and a nod his own theater company. (That would be The Dio – Dining & Entertainment in Pinckney; check it out when it reopens.)

Others in the cast are Jason Briggs as sympathetic (and handsy) nurse Richard, who knocked me out in “Ain’t Misbehavin’” at the Jewish Ensemble Theatre in 2019. Here, he’s the show’s comic relief and the lone voice of compassion, and he lights up the stage whenever he’s the focus of a scene. Arielle Crosby likely has the strongest, sweetest and most polished singing voice in the show, and she’s a delight in the role of Lisa the homeless woman. Alaina Kerr is perfectly annoying as the waitress whose jabbering helps initiate Gordon’s attack, and later, as mean nurse Nancy. Then there’s Liz Schultz as manager/best-friend Rhoda, a character who simply helps move the story and songs along but doesn’t really contribute much of importance to the plot. (It’s a fine performance in an otherwise un-notable role.)

Most impressive, however are longtime friends and collaborators Richard Payton as Gordon and Vince Kelley as Richard, Gordon’s boyfriend. The two certainly up their already incredible game here, as we watch both individually and together sort through their strained relationship and come out better at the end. But be forewarned: Keep your Kleenex ready, as the power of video closeups magnifies and personalizes their story far better than a stage play ever could. As the saying goes, they “keep it real” – and as such, their audience has ringside seats as the couple’s emotions seep through the lyrics and dialog, and as a result they create real, struggling, and loving people we can identify with as they work through a scary time in their lives.

Staging, camerawork and editing are very good, with only a few minor bumps and bruises along the way (mostly as one scene moves to the next). But it’s a far superior viewing experience than any Zoom production I’ve seen. And lighting effects are an especially notable part of the storytelling, particularly when it comes to Mr. Bungee. (Pay close attention to find out why.)

Will you be able to hum a tune from the show after turning off your computer? Probably not. But you will remember the journey of Gordon and Roger, thanks to Richard and Vince, who tug and tear your heart before sewing it back together with performances both men should be quite proud of.

SHOW INFORMATION: Remaining show dates on demand are June 12, 13, 19 and 20. Tickets are $25 per person. Purchase tickets HERE.

FOR MORE INFORMATION: www.theatrenova.org/

Read a preview in Between The Lines: CLICK HERE!

The Ringwald lovingly 'spears' entertainment icons in video murder-mystery

 Have you been missing visits to your local professional theaters as much as I have?

As the pandemic shutdown is now in its second year, theaters across the country are both hopeful that reopening day is not far off, yet fearful their very existence may be in jeopardy before that much-anticipated. For some theaters, this has meant going totally dark and off the radar until it’s safe to invite guests back into their facilities; companies such as Theatre Nova, Open Book Theatre and a handful of others, however, have embraced 21st-century technology and created occasional video and zoom productions to stay connected to their patrons.

And while watching plays on a TV or computer screen isn’t as intimate or as fun as sitting mere feet away from live actors in a darkened theater, tough times require innovation – but what does that means for the industry once the world returns to some semblance of normal? Unfortunately, we won’t know for some time to come. Will the habits of former patrons be changed to the extent that video will now be their preferred entertainment medium? Will customers be slow to return – if at all? Will a mix of live and recorded entertainment packages be the new “thing” for industry producers in the years and seasons to come?

We’ll see. But for now I’m thrilled to get my occasional fix from producers such as The Ringwald Theatre, who continue to offer patrons what they do best and with the talent audiences have grown to love, with only the medium and the method of delivery changed.

So what little treat do the creative and innovative folks at The Ringwald have in store for us this time? How about an original comedy that oddly (but successfully) combines one of TV’s most beloved sleuths and a troubled pop star in a tale that could have been ripped from supermarket tabloid headlines, “Murder, She Podcast: Baby One More Crime.”

In a 21st-century update to the traditional TV whodunnit, famed mystery novelist Jessica Fletcher investigates the strange disappearance and possible murder of Brittany Spears - and once again her old friend, (former) Sheriff Amos Tupper, is at her side. Now, though, they are interviewing witnesses via the internet from inside her home in Cabot Cove where they are recording the latest episode of their weekly podcast series. Assisting them is producer Andrew Lark.

To be honest, much of pop culture flies below my radar, especially anything to do with Hollywood and recording artists. So I’m about as familiar with the trials and tribulations of this faded singing sensation as I am with the lives of my neighbors six doors down – meaning, I know their names and what they do for a living, but that’s about it. Yet, the well-plotted script by the returning team of Vince Kelley and Matthew Arrington provides all the details and background info I needed to follow – and enjoy – the story, thanks in part to the snark, asides and snappy quips that are quite useful in providing this necessary information. (And what’s said is often funny as heck, too!)

What also works extremely well is the use of technology to tell the story. As written, “Murder She Podcast” would never work as a stage play. And so director Brandy Joe Plambeck and video editor Dyan Bailey utilize the creative tools of modern-day videography to effectively move the plot along. Especially fun are Tupper’s dream sequences in which he ponders the details of each suspect’s role in the possible murder of Ms. Spears. (And that’s all I’ll reveal. Why ruin the surprise for you!)

Most impressive, though, are the performers. In typical Ringwald fashion, a few genders are bent to great effect, and together, each actor (bent or otherwise) takes the words the authors gave them, grabs them by their metaphorical balls, and has a blast delivering very memorable (and spot-on) characters.

That’s especially true of Donny Riedel as the “Leave Brittany Alone” girl, Chris Crocker. Compare his interpretation here to the video of Crocker you can find online and you’ll be even more amazed by his stunning performance.

Another standout is the infectiously delightful Nicole Pascaretta as bubbly and wide-eyed younger sibling Jamie Lynn Spears. I don’t know how close on the mark her portrayal is – remember, my knowledge of such people is almost nil – but I loved every minute she brightened my screen!

Also loads of fun is regular Ringwald character actor Joel Mitchell, who is pitch perfect (isn’t he always?) as hardware store cashier Gene Smart, who just might have some light to shed on a purchase that could lead to identifying the killer. And Cory Shorter is delicious as Brittany’s hairdresser, Jeffrey Bean, who may reveal a heretofore secret that could help crack the case. Or maybe not.

Then, of course, there’s Richard Payton, once again donning dress and wig, this time as Jessica Fletcher; Joe Bailey as Cabot Cove’s beloved Sheriff Tupper (seasons one through four only, though, as Jessica reminds him); and Suzan M. Jacokes as put-upon producer Andrew Lark (who often accomplishes more with a devastating expression than any word ever could). These three are a seamless team, each playing to the others’ strengths and obviously having a ball doing so!

And as a result, I had one heck of a ball, as well!

But there’s one more performance I’ve yet to mention, and I’ve saved the most intriguing for last. Of all the actors one could think of to play Brittany Spears, the choice by director Plambeck is one that would never appear on most anyone’s list – not even in the last, oh-hell-no position. Yet the decision to cast Dave Davies in the role was a brilliant one. Not only is he one of the funniest, most talented and nicest guys you’d ever want to know, I’ve now learned you can “doll him up” and make an amazingly cute girl out of him! The only crime committed here was that we didn’t see more of her.

Oh - and one final note: As every movie seems to do these days, make sure you stay tuned after the credits for a bonus presentation. It's an original music video, and you'll love it!

* * * * *

SHOW INFORMATION: Tickets for Murder, She Podcast: Baby One More Crime are available at www.theringwald.com at three different giving levels: $20, $50, and $100 and can be purchased now through Sunday, May 2. The performance will be available to stream through May 10. Once you purchase your ticket, an email will be sent to you which will include links for Murder, She Podcast: Baby One More Crime and a virtual program. The video is hosted on Vimeo. You can watch on your phone/computer/tablet or, if you have the capability, you can stream the production to your smart TV.

NOTE: "Murder, She Podcast: Baby One More Crime" was developed prior to the release of the Framing Britney Documentary. The Ringwald firmly stands in support of the pop icon, and shares this piece of art with love and affection.

PHOTOS: Jessica Fletcher (Richard Payton) investigates the mysterious disappearance of Britney Spears in "Murder, She Podcast: Baby One More Crime," available to stream virtually from April 16-May 2, 2021. Photo by Brandy Joe Plambeck.

Have yourself a merry little parody

 

For many a year, the Christmas holidays don’t seem like Christmas without a visit to Ferndale’s Ringwald Theatre, where merry thespians deliver the best presents one could hope for: the gifts of laughter and great memories. But 2020 was beginning to look like anything BUT Christmas when a grinch-like pandemic stormed in and ruined everyone’s plans. Then, as if to double down, things went from bad to worse when The Ringwald announced the doors to its longtime home on Woodward Avenue would be permanently shuttered. So what’s a fella to do to get his holly, jolly holiday fix this year?

Why, log onto the internet, of course! That’s where you’ll find “Have Yourself a MISERY Little Christmas,” the final production staged inside The Ringwald’s 14-year home. And what you’ll discover is a carefully crafted parody of the 1990 thriller based on a Stephen King novel that starred James Caan and Kathy Bates – but with the many unexpected twists, turns and tweaks one has come to expect from the mirth makers at The Ringwald.

In this version, written by Matthew Arrington and Vince Kelley (and unauthorized, as you might imagine), it’s not romance novelist Paul Sheldon who finds himself caught in a blizzard, seriously injured in a car crash, and kept prisoner in the home of nurse Annie Wilkes who claims to be his number one fan. Rather, it’s Santa and Blitzen who crash and Annie Willis who finds them – and, similar to her movie counterpart, her nursing care comes with a price: Santa must rewrite his Naughty and Nice List to her satisfaction. Or else.

Why? All becomes clear as the story proceeds. But I’ll just say this: She ain’t the nice, sweet, innocent fan she appears to be!

If this doesn’t sound like the typical, sappy and uplifting Christmas tale we’ve become accustomed to on the Hallmark Channel, you’re right! Instead, it’s a highly entertaining comedic thriller as only the talented crazies at The Ringwald can do it, and it serves as a memorable way to pay tribute and say goodbye to a beloved performance space.

But more importantly, “Have Yourself a MISERY Little Christmas” is but one example of the battle Metro Detroit’s theater community is fighting to stay alive in the era of COVID-19. With live, in-person performances banned for the foreseeable future, producers and performers are dreaming up new and inventive ways to stay in touch with their patrons and – hopefully – generate much-needed cash to pay the bills that continue to flood their mailboxes.

For some, that meant experimenting with Zoom productions. However, unless high-quality internet connections were used by all participants, these often were disjointed and frustrating to follow. Plus, it’s not easy for actors to create characters and build relationships between and among them when the performers may be thousands of miles apart and technical issues interfere with the flow of the action.

So it was with great relief to see that director Brandy Joe Plambeck and director of photography Jake Turner went a different route and planned their production as a full-blown movie shoot rather than a staged reading or a filmed play. For a low-budget flick, the cinematography and film editing are excellent. And whatever the budget couldn’t pay for, creative replacements were found (such as puppetry and green screens).

The script, which tracks the movie up to a point, is filled with everything The Ringwald is celebrated for. From sharp double-entendres to silly puns, cross dressing to political jabs, they’re all here – mixed with high drama and big laughs throughout. But it’s the performances that make the production especially fun.

Anytime artistic director Joe Bailey and audience-favorite Suzan M. Jacokes appear together on stage, the result is guaranteed to be theatrical magic – and “MISERY” is no different.

Although Bailey’s version of the Jolly Old Elf is definitely “R” rated in this production, it’s a role he could play for the rest of his life, his charm and charisma are THAT convincing. In addition, his dramatic and comedic chops get great workouts, as both his solo moments and when he’s teamed with his greatest nemesis (and biggest fan) are finely executed. (That’s probably not the best word for this, but what the hell; you get the point.)

And if there’s anyone who can switch from naughty to nice and back again in a flash, it’s Jacokes. With great skill and timing, her mood swings as Annie are terrorizing and priceless. (Also priceless is her work with the pig. And no, I’m not name calling here; there really IS a real, live, living and breathing oinker in the movie – and the hungry critter wants as much screen time as he can get.)

Together, the two are a formidable team and an absolute joy to watch.

Even the supporting actors are in on the fun. Dyan Bailey as the sex-driven booze-hound Mrs. Claus provides many of the production’s lighter moments. And Phoenix Eldridge as head-elf and gay heart throb Twinkleberry sets hearts atwitter everywhere he goes in search of Santa. (Even Santa’s missus wants a piece of him!)

And then there’s the delightful Vince Kelley, who triples as costumer designer. It wouldn’t be a Ringwald finale without SOMEONE playing their opposite gender, and few do it better than Kelley. This time he’s a classy Lauren Bacall – yes, THAT Lauren Bacall, because she was in the original movie. She’s in charge of production at Santa’s Workshop, and she’s not happy with her slacker boss this holiday season – and with good reason.

If there’s one thing that’s disappointing, though, it’s this: We don’t get to see Joe Bailey and Jacokes struggle to stay in character when one does something to tickle the other’s funny bone. That’s always a delight and a highlight of any comedy in which these two appear, but here their performances are done “straight.” At least there are outtakes included at the end of the film, but they’re not quite the same as the spontaneity of live theater.

Here’s hoping live theater returns soon, and The Ringwald finds a new home that will allow them to keep making Christmas memories like this for many seasons to come.

(Included with the price of every ticket is “The Ringwald Christmas Cabaret,” a virtual holiday-themed treat that features singers Kryssy Becker, Alisa Marie Chirco, Jordan Gagnon, Dante Hill, Christopher Kamm, Vince Kelley, Richard Payton and Matthew Wallace with accompaniment by Jeremy St. Martin.)


ABOUT THE SHOW: Tickets for “Have Yourself a MISERY Little Christmas” are available at three different giving levels: $20, $50, and $100. Tickets are currently available at theRingwald.com for performances that will stream in December. With every ticket purchased between now and Dec. 31, a link will be sent to enjoy the show. Appropriate safety precautions were observed during the filming of both events.

Can't attend live theater? Then watch 'A Quaran-Teeny Parody' in your own home (and you decide the ticket price)!

As I’ve said (and written) several times over the past two decades, when times get tough, thespians get creative – and that’s certainly been true since the country shut down and theaters went dark.

With their spring seasons cut short and most summer shows canceled, producers were faced with having to figure out ways to meet the unexpected challenges of paying bills and generating revenue with their doors closed. And how do you keep engaged with an audience who can’t come visit you?

One venue, Ferndale’s Ringwald Theatre, decided to address these questions by doing what they do best: make people laugh – but through a series of original short videos rather than a summer season of plays. And they couldn’t have picked a better start for their Summer Shorts than with “The Golden Girls: A Quaran-Teeny Parody,” a follow-up to their smash-hit holiday production, "A Very Golden Girls Christmas!" (It was sold out so often that I never did get to see the show!)

Here’s how The Ringwald describes the video:

Have you wondered what Dorothy, Blanche, Rose, and Sophia are up to during quarantine? Well, wonder no more because we’ve got the lockdown lowdown! Stream the hilarious Golden Girls short from The Ringwald Theatre featuring the cast from the 2019 smash hit, “A Very Golden Girls Christmas.” Name Your Own Price and watch it today online!

This all-new stay-at-home special, written by Vince Kelley and Matthew Arrington, reunites the main cast of the holiday hit. Andy Fillmore, Christopher Kamm, Richard Payton, and Brandy Joe Plambeck reprise their Golden roles with a special appearance by director Dyan Bailey as Stan.

The Girls discover that February 2020 was a bad time to take separate vacations. Quarantined in locations around the country, they catch up over a Zoom call and share their caustic (and often hilarious) takes on the state of the pandemic. Can cheesecake be far behind?

Of course there’s cheesecake! And after viewing the short film, I’m kicking myself for not begging, cajoling or even grabbing a ticket to the Christmas show from some unsuspecting patron walking up to the theater! (Why? The performances are spot on, I laughed and laughed, and it ended too soon and left me wanting more! What better endorsement can there possibly be?)

So if you’d like to help keep open a Metro Detroit treasure once the country flings open its doors, please consider purchasing a ticket to “The Golden Girls: A Quaran-Teeny Parody” sometime before July 3 (you name the price!) and then watching it in the comfort of your very own home. You’ll be glad you did, and The Ringwald will be very appreciative of your support!

SERIES DETAILS AND HOW TO PURCHASE A TICKET TO WATCH THE SHORT FILM: In response to the COVID-19 crisis and the mandatory temporary shuttering of its space, The Ringwald Theatre takes its gifts to the streaming world with a new summer program: Camp Ringwald presents Summer Shorts. Throughout the summer, a series of short films will be created with access available online. The Summer Shorts program will allow the theatre to maintain a revenue stream while also keeping engaged with its audience. First up: “The Golden Girls: A Quaran-Teeny Parody.” This all-new stay-at-home special is available for purchase NOW through July 3, 2020. Click HERE for tickets and information.

Middle schoolers experience life as they dance their way to womanhood

Ah, the good ol’ days!

It was only a couple of decades ago that I spent a handful of nights twice a year assisting a friend who owned a popular suburban dance studio. It was always on recital nights, and I was stationed in the green room where the young dancers were housed before, during and immediately after each performance. The participants – mostly girls, but sometimes a boy or two would be found in the mix – ranged from the wee little ones to older teens, and it was my job to keep them safe, soothe the lonely and the tearful, and to intervene when a situation required a grownup. It was mostly an easy gig, as the boys would goof around amongst themselves and the girls would self-segregate into various cliques based upon age, dance number and various other criteria (which I often couldn’t figure out). The one commonality among them was this: They generally ignored me unless my services were needed. That allowed me to lurk in the background and absorb the multiple conversations buzzing around me. Most were silly (from a grown-up point of view, of course), while others were what you’d expect from young girls and blossoming teenagers. And, almost on cue, the occasional Mean Girl surfaced to cause momentary mayhem. But as I said, it was an easy and mostly fun gig. (I had more problems with parents than I did with their kids!)

Apparently, however, times have changed – dramatically – as the 13-year-olds in The Ringwald’s current production of “Dance Nation” are nothing like the innocent, sweet-talking girls of yesteryear. But that’s OK, as Clare Barron’s script delivers an innovative mix of warmth, charm and raging hormones – topped off with an appropriate serving of teenage Sturm und Drang, of course – that sheds light on what it’s like for girls to grow up in 21^st-Century America. But be forewarned: She also socks you with a few shocking, “what-the-fuck” moments that will likely cause you to scratch your head and wonder what the hell she was thinking.

Yes, that’s MY kind of theater!

It’s competition time, and under the watchful tutelage of Dance Teacher Pat, a troupe of eight 13-year-olds (seven girls and one boy) are heading toward the first of what they hope will be a string of wins that will lead to the coveted nationals in faraway Tampa, Florida. They have a lot to live up to: A former member was discovered there and went on to dance on Broadway. (Her photo on the wall of the studio is looked upon as if it’s a religious icon.)

With the first stop looming, it’s time to perfect the number they’re taking on the road – and the big question is: Who will play the lead: the uber-talented Amina? Or her best friend, the hard-working Zuzu? And will the choice be good enough to push them all the way to the top?

Trust me: That’s only the skeleton upon which the meat of the play is built. As Barron’s story unfolds, she veers into a series of individual vignettes or monologues in which the dancers share their secrets, fears, hopes, dreams – and even their futures. It’s here that their inner-most selves are stripped down and revealed. And it’s through the girls that we discover the deep and sometimes dark complexities and uncertainties of growing up in modern-day America and navigating life’s minefields on their way to womanhood.

So how can 13 year olds pull this off, you might be wondering? They don’t. (There’s nudity in the play, so that’s a good thing! And lots of words the kids use would have resulted in a soapy mouth washing when I grew up.) Barron’s concept is designed for adults of any age to play the teens. Therefore, director Brandy Joe Plambeck placed three seasoned and formidable veterans into the show who quickly make us forget their age differences. Karen Kron Dickson (who I’d love to see on stage more often) is Vanessa, but after a quick opening scene she quickly morphs into every mom the script requires – and she successfully makes each of them distinct from one other (not an easy task). Melissa Beckwith is Zuzu, always number two but never the queen, with a performance that will tug at your heart. And Linda Rabin Hammell as Maeve, the least talented of the dancers, has a blast reveling in her youth.

Equally up to the challenge is a talented troupe of younger performers, each of whom creates a believable, strong, unique and powerful character. As with their more experienced partners, it takes only minutes to shed any disbelief regarding their ages, and together they work extremely well. Maya Gangadharan, Asia Marie Hicks, Rashna “Rashi” Sarwar, Katy Schoetzow and Matt Wallace deserved all the loud applause they received on opening night.

And then there’s Joel Mitchell as Dance Teacher Pat, a role that proves he really can play just about anything and excel at it – especially characters you’d never envision him tackling.

Choreography by Geri Elise Conner is exactly what one would expect of a middle-school-aged dance troupe of varying skills and talent. Costumes by Vince Kelley help define each character.

If there’s a flaw it’s a minor one with the script: A couple of monologues are a bit too long, with the added time not contributing anything of substance to the character or the story.

But that didn’t stop me from chewing on and mulling over what I’d seen – which is a sign that the playwright, director, actors and technicians all did their jobs extremely well.

And I can’t help but thank my lucky stars that I’m neither a 13-year-old girl nor holding down the fort in a 21^st-century dance studio. I’m not sure I’d survive either!

Dance Nation continues at The Ringwald Theatre in Ferndale through March 16. CLICK HERE for complete details!

No psychos at Tipping Point: A night of plain old fun spoofing Hitchcock

Looking for something to do one of these weekends? If so, I highly recommend “The 39 Steps” at Northville’s Tipping Point Theatre. It’s an amazing blend of stagecraft wizardry and top-notch performances by some of the area’s most notable talent.

In this spoof of the Hitchcock classic thriller, four actors recreate the story of a British citizen who finds himself having to prove his innocence after accidentally becoming embroiled in a murderous plot to steal military secrets. Set in the 1930s, no stone is left unturned by producing artistic director James R. Kuhl in wringing every possible laugh out of a project that has more challenges than one would think possible when converting a complicated film masterpiece into a small-cast, noir-ish stage comedy. But I suspect the award-winning filmmaker himself would likely be quite pleased with the creativity Kuhl and his gang put into this endeavor. And rightfully so.

Because I’ve seen other productions of Patrick Barlow’s award-winning script in recent years, I knew what to expect. But I also knew that – with a string of highly successful and entertaining shows under its belt – Tipping Point’s production would be well worth my time. So the allure for me, to be perfectly honest, was the reteaming of audience (and personal) favorites Dave Davies and Wayne David Parker in the demanding roles of pretty much every character in the story – both male and female of varying ages and ethnicities – with but few exceptions. Together, the two have become one of the area’s most legendary comedy duos, and with “The 39 Steps,” they’re given ample opportunities to remind us why. May they bring us laughter and tears of joy for many years to come!

But this is not a two-person show. Aiding with and adding to the mirth and merriment is Andrew Papa as the story’s hero, Richard Hannay. Papa has the uncanny ability to seemingly control every muscle in his face and body in order to create the tightest and most physically expressive characters possible. (I’d gladly pay to watch him portray the superheroes Plastic Man, Elongated Man or Reed Richards of the Fantastic Four in a DC or Marvel movie anytime; he’d be excellent!) And those skills are put to great use in this production. One scene in particular – a train ride with Davies and Parker – is especially noteworthy, as it allows Papa to use every trick and skill at his disposal to create a memorable scene and character.

Not to be outdone, Sayre Fox has the challenge of bringing to life three of the story’s female characters. All are totally different – a femme-fatale Russian secret agent, an innocent British train passenger, and the wife of a Scottish farmer – yet Fox nails them all. Each is distinct; her comic timing and body language are tools she yields with perfection.

Of equal importance is the environment in which these characters live and breathe. Upon entering the theater I was immediately struck by the set, which reminded me of an old-timey, dead-end back alley in a secluded downtown business district where murder and mayhem were on the daily menu, but mixed with the modern-day, metal-infused industrial look that has gained popularity in recent years. Springing from the always-amazing mind of scenic designer Monika Essen, the set is awash in complementary and striking colors by lighting designer Neil Koivu, whose ability to focus your attention where it needs to be (and when) is nothing short of amazing. And when you add the sounds and music provided by Sonja Marquis into the equation (including both before the show and during intermission), the result is a vividly painted world perfectly suited to the story unfolding before you. (Stage manager Stephanie Buck and her assistant Marisa Soto deserve a nod, as well, for keeping the trains running on time and all the appropriate balls in the air.)

One last note: Don’t stay away if you’ve never seen the famous film on which the play is based. While having done so may help you appreciate the “Easter eggs” (or salutes to Hitchcock’s other movies) hidden in the show, they only add to the overall fun rather than take away from the experience. I suspect you’ll catch on, though, once these quick bits begin to pop up!

The 39 Steps continues at Tipping Point Theatre, Northville, through March 8. Click https://www.tippingpointtheatre.com/the-39-steps for more details.