The eyes have it

BTG opens 88^th on the road

by Christopher Key

When you’re 88 years old, you can be excused if you need a bit of work.  The Bellingham Theatre Guild’s building is 114 years old and it’s getting a lot of work.  Does anyone remember how long the BTG has been talking about putting in an elevator?  I recently had the chance to talk to Monta Wagar, who has been around the BTG since God was in short pants, and she guessed at least 40 years.  Well, the dream is finally coming true, but the building is in intensive care and the opening show of the 88^th season takes place on the road.

Yes, I know, you want read about the show, but I have to explain why it’s taking place at Whatcom Community College’s Heiner Center instead of the hallowed halls of H Street.  Good Lord willin’ and the crick don’t rise, the shiny new elevator and the massive new foundation will be ready for the holiday show.  Meanwhile, WCC was gracious enough to host the opening show and most of the proceeds are going to support the work of the YWCA.  Which brings us to the subject of women, which is what Love, Loss and What I Wore is all about.

Given how elaborate a BTG show usually is, director Les Campbell made a wise choice by presenting this show as an enhanced staged reading.  And the stage at the Heiner Center is perfect for that kind of minimalist approach.  The script, by two of the funniest women who ever lived, Nora and Delia Ephron, also works well in this format.  So you have five women sitting before mikes for most of the show.  But what women they are! 

Photo credit - David Cohn

Deb Currier, Mish Criz, Kari Severns, Cary Thomas and Beth Wallace could do a staged reading of Pilgrim’s Progress and make it both fascinating and funny.  When they take on an Ephron script, they achieve escape velocity.  Not all actors are capable of doing a staged reading.  You have your voice and your face and that’s it.  These actors all have fabulous voices, but I was watching their eyes.  They know how to work it.  Those eyes can be innocent, flirtatious, salacious, mendacious, furious, weeping or laughing.  Or any combination of the above.  But they often speak louder than the words and that’s consummate talent.

I don’t always agree with the play selection committee at the BTG, but they did it right with this one.  A perfect choice to open the season, a perfect choice for a show that is not in the usual place and a perfect showcase for some of Bellingham’s best.  They dish on everything from training bras to tampons.  The women in the audience were howling and the men were laughing nervously.  It’s OK, guys.  This is not a feminist show, it’s a humanist show.  But it will make you squirm on occasion and that’s what good theatre does.

A staged reading does not demand as much technical wizardry as a full production, but WCC’s resident magician, Russ Nelson, deserves a bow for the flawless sound and subtle lighting effects.

Love, Loss and What I Wore plays through October 2 and there are no stairs to climb at Heiner.  See the BTG website for precise dates and time.  While you’re there, you can score tickets or you can call (360) 733-1811.  This show is festival seating and you’d better get after it because opening night was sold out.

Listen to your Mother!

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De-lovely!

BTG wraps 87^th season

by Christopher Key

I was supposed to review Teri Grimes’ production of Anything Goes on Tuesday, but I had a nasty bug that I graciously refused to share with the cast and crew.  You’re welcome.  So I sneaked into Thursday’s VIP night and since it was Cole Porter’s birthday it was obviously meant to be.

Yes, there’s a storyline of sorts from a book by Tim Crouse and John Weidman, but this show is all about the music.  Grimes understands this sort of thing better than anyone and assembled a cast of thou…well, dozens to make it sing.  It’s about as big a production as the BTG can hold and it’s a good thing they’re about to replace the foundation.

It ain’t easy to get the kind of big band this show demands into the BTG space, but Grimes squeezes them in backstage and gives them a bow before the show.  The ubiquitous TJ Anderson serves as musical director and the players truly rock.  I’d list them all, but I have a day job.

Anything Goes is set aboard a steamship crossing the Atlantic and everyone knows that people behave abnormally on a boat.  Throw in some of Porter’s racy lyrics and you’ve got a swingin’ scene that still manages a PG rating.

Photo credit - Jay Solomon

BTG newbie Amanda Carpp makes a scintillating debut as Reno Sweeney, the showgirl/evangelist/con artist extraordinaire.  She’s a former Disneyland cast member and seems to have recovered with all her chops intact.

Photo credit - Jay Solomon

Will Dubiel, last seen in The Drowsy Chaperone brings his trademark naïveté to the role of Billy Crocker, who is not as innocent as he looks.  His voice is a bit reminiscent of Dennis Day and anyone under 60 will have to look that one up.

Photo credit - Jay Solomon

The multi-talented David Cohn has been spreading his theatrical wings over the past few years and hiccups his way through the role of Elisha Whitney with élan.  Cohn likes to sing and dance and can even do both at the same time!

Photo credit - Jay Solomon

Do I really need to point out once again that Paul Henderson II is one of the best performers on the local scene?  I’ll just say that he’s his usual singing/dancing/acting amazing self and let it go at that.

Photo credit - John Phillip

It’s been far too long since we’ve seen Deborah Blakesley onstage.  It’s worth the wait as she torches her way through the role of Erma with that astounding voice and utterly charming stage presence.

Photo credit - Jay Solomon

Jordan Smith brings a solid Brit accent and a thoroughly Bertie Wooster presence to the role of Lord Evelyn Oakleigh.  Upper-class Twit of the Year?  No perspiration.

There’s a wealth of other talent in this mighty cast and some of them will be pissed because I didn’t mention them.  Blame it on the techies, whose praises I need to sing because this is a smasheroo.

Russ Nelson designed a set that Cole Porter would call “swell!”  Genny Cohn owns the local costume scene the way Warren Buffett owns everything else.  Kat Riehl and Emma Delaney have the cast dancing like everyone’s watching and will blow you away with the tap numbers.  Dee O’Connor pushes the photons and Ryan Goelzenleuchter wrangles the audio.

Anything Goes plays June 10 – 26 at the BTG Playhouse, 1600 H Street.  Tickets are available by calling the box office Tuesday – Saturday 1:00 p.m. – 6:00 p.m. (360) 733-1811 or online.  Do it now because this is a sure sellout.

You get extra points for identifying the Donald Trump joke.

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Singin' the Plains

Sizzling drama at BTG

by Christopher Key

One of the characters in August: Osage County describes life in Northern Oklahoma: “This is the Plains: a state of mind, right, some spiritual affliction, like the Blues.”  Tracy Letts’ Pulitzer prize-winning play isn’t a musical, but you can almost hear the high, lonesome sound of Woodie Guthrie weaving through the production.

Credit Bellingham Theatre Guild director Marla Bronstein for rescuing this brilliant play from the typically glamorized Hollywood movie of 2013.  She casts real people in the roles, giving it an authenticity that Meryl Streep, Julia Roberts and Benedict Cumberbatch can only dream about.

Photo credit - David Cohn

Kathy Murray delivers a devastating performance as the pill-popping, potty-mouthed matriarch of the Weston clan.  Violet puts the funk in dysfunctional by playing Eric Clapton on the stereo at every opportunity.  She also demonstrates astounding range by playing a character that is totally opposite to type.  Texas, hell.  Don’t mess with Murray.

Photo credit - David Cohn

Violet’s oldest daughter Barbara is given a rousing ride by the dynamic Deb Currier.  When Mom goes out where the buses don’t run, Barbara tries to take charge and good luck with that.  Trying to run the Weston family is like trying to herd cats.  Mean, nasty cats.  Currier’s teaching schedule precludes her from being in many shows, but she’s a pleasure to watch when she gets her teeth into a role.

Photo credit - David Cohn

I’ve had a thing or three to say about Joan Prinz over the years and I’m sticking with all of it.  She plays Violet’s sister Mattie Fae with a tongue that is sharpened on both sides.  You think you’ve seen the Mom From Hell?  Not until you’ve seen Prinz kick it into gear.

Photo credit - David Cohn

Middle children are supposed to be peacemakers, engaging in shuttle diplomacy between the elder and younger sibs.  Carol Makela plays Ivy with an understated grace that is tough to come by in this loud family.

Photo credit - David Cohn

Karen is the baby of the three sisters and Kari Severns captures her overweening narcissism with an accuracy that will make you grind your teeth.

As you might expect in such a family, the next generation is, as my Grandma would say, “a piece of work.”  Alex Farkas is brilliant as Barbara’s pot-smoking, vegan daughter who has a mouth on her that could cut titanium.

Shannon Jung doesn’t get many lines as Indian (the Native American kind) housekeeper Johnna, but she owns some of the most touching moments in the play.

There are some magnificent male actors in this show, like Bob Simmons, Sean Walbeck, Michael O’Neal, Lucas Naylor, Robert Muzzy and Mark Polin.  But let’s face it, guys, this one belongs to the women.

OK, it belongs to the techies, as well.  David Cohn has designed a superb set that captures a time and place that is rapidly disappearing.  Master Carpenter Superjoe and his crew worked overtime to build this one.  Lighting designer extraordinaire Ryan Goelzenleuchter obviously has far too much fun herding photons and should sign this one on the bottom right corner.

The language in this show is as authentic as it gets, meaning it’s inappropriate for anyone under 14 and anyone who objects to carpet f-bombing.  Thematic material is also R-rated.

Really top-notch drama will make you uncomfortable, so be prepared to squirm even though the histrionics are tempered by lots of extremely black comedy.  Bottom line: this is one of the best-directed and best-acted shows you will ever see at the BTG and you’d best snag your tickets early.

August: Osage County runs April 22 – May 8 at the H Street playhouse.  The box office is open 1 – 6 p.m. Tuesday through Saturday.  Call (360) 733-1811 or order online at the BTG site.

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