The Sound on Stage - Week of 10/16/23

Reviews of Last Drive to Dodge (Taproot Theatre), The Thanksgiving Play (Tacoma Arts Live), Ken Ludwig’s Sherwood (Village Theatre), The Canterville Ghost (Key City Public Theatre), plus everything else on stage and coming up in the area.

Last Drive to Dodge - through October 21, 2023
Presented By: Taproot Theatre (Reviewed: Wednesday, October 11, 2023)

Freedom. That’s something we Americans take pride in, our freedom. Well, what does that mean, exactly? What does it mean to be free? Is everyone’s idea of this the same, and given this, are we ever truly free? These are all questions that playwright Andrew Lee Creech asks his audience to consider in the play Last Drive to Dodge, the World Premiere of which is on stage at Taproot Theatre’s Jewell Mainstage now through October 21. The play, presented in partnership with The Hansberry Project, takes place shortly after the American Civil War, when former slaves were doing their best to take advantage of the freedom that was promised them. Specifically, it tells the story of two former slaves, Prophet and Ro, and their employers, Millie and Bennett, a brother and sister entrusted with the Bailey Cattle Ranch following the passing of their parents.

The Hansberry Project is a professional black theatre company dedicated to the artistic exploration of African American life and Last Drive to Dodge fits right in with the group’s mandate. It’s no secret that following the Civil War, what former slaves were promised as freedom was something only slightly implemented in practice. Most slave owners reluctantly moved on, but still held resentment toward the folks they previously viewed as property, so it was hard for any of those recently released to get a leg up. Prophet comes face to face with this here, working for Bennett Bailey, but wanting nothing more than his own cattle and his own ranch to work. Ever hopeful, he wants to bring his love Ro with him. Her experience being different from Prophet’s means that she isn’t quite so positive about the future, and while Prophet’s idea of freedom is largely that of independence, Ro’s is about empowerment and education. What happens when these differing views collide? That’s exactly what happens here, and it’s not just Prophet and Ro. This question is also at the forefront of the complicated relationship between Millie and Bennett. Millie has returned to the ranch after a number of years to find Bennett still beholden to things that have tied him down, the wishes of their parents, responsibility for the ranch, and memories of his wife. Millie, too, has her own idea of freedom, one that grew from her experience in New York and from her broken relationships. Andrew Lee Creech tackles a lot here, and thankfully he doesn’t really provide answers, he leaves that up to us to take these questions home and answer them in our own context.

Last Drive to Dodge is at its best when displaying the principle points of freedom, empowerment, and independence. Each scene, especially in Act 2, is like a play unto itself, a conversation that hits hard and is most definitely ponderous. These are emotional conversations between Prophet and Ro, Ro and Bennett, Ro and Millie, Millie and Bennett. Some are hard to hear, but those are the most important ones, the ones we SHOULD hear. And while these conversations are very well written, and wonderfully presented, it’s between these scenes where this play could use some cleaning up. The continuity in transition between these scenes feels a bit forced at times and the sequencing feels a little off. Thankfully, this doesn’t distract from the overall quality of this play.

A large part of the what makes these conversations and scenes so wonderful and powerful is this cast. We last saw Yusef Seevers as the Demon Barber of Fleet Street in a Heilman & Haver nominated performance in Sweeney Todd at the 5th Avenue. His portrayal of Prophet here is a masterful display of the actor’s versatility. You can’t get two more varied characters than Sweeney and Prophet and Yusef is just wonderful here, so full of hope, a hope that does all it can to keep a fear that is just below the surface at bay. This conflict is clear throughout, and Prophet’s ability to overcome and see the light in a dark world is presented just superbly by Yusef. Dedra D. Woods is Ro, the more pragmatic of the two, and despite Prophet’s determination, the stronger. Ro is fighting to overcome not just being a former slave, and the events in her past that have shaped her, but also being a woman and, more specifically, a woman of color. Dedra presents Ro as loving when she needs to be and stern when it’s called for, but at all times there is no doubting her intelligence.

On the Bailey side of the fence, Jonelle Jordan is Millie and Tim Gouran plays Bennett. These two characters are both held back in their own ways, Bennett having been injured in the war and left to fend for himself managing the ranch, and Millie as a poor woman in New York trying to fit in with the high society set. The siblings’ relationship is fraught, Jonelle and Tim excellent in these characterizations. Jonelle plays Millie with a good deal of humor, but it’s a humor that is covering an underlying sadness. In fact, both of the siblings seem sad, and while Millie covers it up with humor at times, Bennett finds other ways to cope. Andrew Lee Creech has written each of these characters as layered, and this cast has most certainly read the memo.

Valerie Curtis-Newton has done another wonderful job here with her direction, which I feel like I’ve said for each of her shows I’ve reviewed, though this one skews to the more simply produced. Matthew Smucker’s scenic design portrays a ranch without a speck of dirt, but there’s no question that’s what the audience is looking at. Brian Engel’s lighting is deployed very smartly to provide the time and space when each individual scenes are taking place, his nighttime scapes very nicely done. Melanie Burgess is responsible here for costume design, and for just four characters, she provides a pretty well varied wardrobe, impressively put together as well, case in point being the first scene when Prophet is getting dressed to ride out toward the fence line. His costume needs to be easily assembled and put on so that he can do it while he’s speaking and within the time desired. These are the sorts of things that often go unaddressed, the simplicity of being able to put a costume on while having said clothing also work for the story.

Last Drive to Dodge takes on some of the hard subjects that came about after the close of the Civil War, some that are fairly well known, and some that aren’t. And while this piece shines a bright light on the plight of former slaves, what it does more importantly is it talks about something that transcends race and socioeconomics, the idea that though we think we might be free, there’s a good chance that we all share in the struggle to release ourselves from something that is holding us back. Andrew Lee Creech has written a play that yes, may need some cleaning up in transitions, but one that hits on something we can all relate to, while Valerie Curtis-Newton has once again presented a piece of art that should make us all think, make us all look in the mirror, and hopefully understand that we’ve got more that joins us than separates us.

The Thanksgiving Play - through November 5, 2023
Presented By: Tacoma Arts Live (Reviewed: Thursday, October 12, 2023)

Thanksgiving is that annual holiday, the American version of which is celebrated in late November, when we honor the coming together of settlers to a new land and the natives who worked with those Pilgrims to help them build a life here, a literal breaking of the bread. Over the years, it’s come to be understood that the meeting wasn’t so cut and dry, that, if it even happened, there is a lot more to the relationship between the Pilgrims and the Native Americans, and most of it not very positive. Now, imagine trying to build a version of the Thanksgiving story for the stage, to be performed at the elementary school level that is both historically accurate and knows its audience. Add to that a current environment where every word or phrase is scrutinized so as to not offend anyone, leaving a lot of current offerings as inoffensive but at the same time bland. The Thanksgiving Play, on stage now at the Tacoma Armory and presented by Tacoma Arts Live, takes all of this into consideration. It’s a humorous and satirical look at a theatre group looking to tell the story of the original Thanksgiving in a world of, for lack of a better word, wokeness, where everything is on the table to be analyzed, from representation to dialogue to the historical accuracy of the content.

This production, directed Josh Knudson, is just plain fun, but it’s also thought provoking. Logan and Jaxton, a couple and leading a theatre group charged with developing a stage version of the Thanksgiving story, bring in professional actor Alicia and teacher Caden, who together try to find the best version of the tale that represents the event with historical accuracy, while at the same time making sure that it’s suitable for an elementary school audience. They also want to make sure that the native side of the story is represented, and that’s where Alicia comes in, helping Logan specifically to meet her native casting requirement as mandated by the grant she received. Logan is played by Andrea Gordon and partner Jaxton by Rodman Bolek. These two are wonderful together and between them are responsible for a lot of the humor around and deconstruction of the current woke culture. Andrea plays the straight in a lot of this show, leaving the others to provide some more of the direct humor. Valerie Miller’s Alicia handles a lot of the comedy legwork here, as the entitled Hollywood actress who comes to help with this show after walking away from her agent, while Mikel Michener’s Caden rounds out the cast as the teacher with a penchant for history and a desire to write plays performed by adults. This group is good in all aspects of their performances, from their comedic delivery to the parts of the show that require them to be a little more serious in order to deliver their message.

The story is told using a traverse stage, with the audience on either side of where the action is. It’s a simple set, the only changes made by moving chairs and a few other pieces around for various parts of the show, and the cast plays well to both sides while making sure all conversations are directed toward each other. Most of the comedy comes while the group is building out the play itself, but there is also the right amount of dramatic moments used to get to the underlying messages of the show, from representation on stage to making sure that the native voice is heard in the telling of the Thanksgiving story. Interspersed with the creation of the play are skits performed by the cast that represent real lesson plans and actual YouTube videos, cringy songs and performances that while familiar to those of us who were, for example, asked in school to write apology letters to native Americans, show the level of indoctrination that needs to be overcome for us truly to be able to understand and relate stories like those of the Pilgrims landing on the shores of North America.

The Thanksgiving Play is funny, yes, in fact it’s very funny. It’s also perfectly timed. As we approach American Thanksgiving, this production will cause some important conversations that may make you rethink the upcoming holiday. It may also make you consider how modern performance art is created, and how much is too much when it comes to representation, inclusion, and consideration of too many opinions in an environment where things seem to be created by committee. The Tacoma Arts Live production of The Thanksgiving Play is fun, funny, important and timely. This very good group of actors under the direction of Josh Knudson will have you laughing, gasping, and at the end leaving with a smile and a thing or two to think about.

Ken Ludwig’s Sherwood - through October 15, 2023 (Issaquah); October 21 - November 12 (Everett)
Presented By: Village Theatre (Reviewed: Saturday, October 14, 2023)

While Last Drive to Dodge and The Thanksgiving Play tackle subjects, whether through humor or otherwise, that are thought provoking and sometimes difficult, every once in a while, it’s good to take in a show that makes you smile, something that is well staged and performed, and just makes you laugh. Well, Ken Ludwig’s Sherwood, which closed this weekend at Village Theatre’s Issaquah location so it can move to Everett for its run there through November 12, is such a show. Sherwood has everything you’d want in an enjoyable afternoon (or evening) out at the theatre, action, romance, and a heck of a lot of laughs.

Sherwood, as you might reckon, is the story of Robin Hood and his merry men, along with the usual characters of Little John, Friar Tuck, Maid Marian, and Prince John. It follows “Robin of Loxley” from his birth, adolescence, the formation of his band of misfits, and through to what appears to be his hanging at the hands of the Sheriff of Nottingham and Sir Guy of Gisbourne. Well, in actuality, the order of events might be a bit off, but you get it. There’s plenty of Robin stealing from the rich to give to the poor, a good deal of gallivanting, and a healthy dose of swashbuckling. And while the story is familiar, it’s the telling of it here that is exceptional. It's funny as heck and just so well done.

Ricky Spaulding is Robin Hood and he leads this excellent cast of heroes and villains. Ricky’s accent and mannerisms are on point and his stage combat skills are top notch. In fact, the fighting in Sherwood on stage is some of the best I’ve seen, full marks go to J. Allen Suddeth for his fight direction here. Back to Ricky’s performance, though. He’s believable as Robin, he’s someone the audience wants to root for, and he’s got excellent comedic chops. Along with Robin, in his group of merry men, is Little John (Quinlan Corbett), Deorwynn (Arika Matoba), and Friar Tuck, played here by Brandon O’Neill. Brandon’s Friar Tuck is also the show’s narrator, and he’s also very good, he’s the thread that connects each scene together and keeps the flow of Sherwood moving. Arika’s Deorwynn is small, but mighty, and Quinlan’s Little John is tall and floundering, but extremely loyal. Each of them together, along with Alegra Batara’s Maid Marian, whom I especially enjoyed as the damsel who is not even close to being in distress, are just superb, and together they are something else, an ensemble that works perfectly together, playing off each other like they’ve been doing this for years. These actors are constantly in motion, and credit to Director Adam Immerwahr and Choreographer Cy Paolantonio for keeping this movement and the show’s action at a high level. There’s not a slow moment in Sherwood.

And what is a Robin Hood story without its villains? Billy Finn is despicable, in the best way, as Sir Guy of Gisbourne. So good is Billy’s performance, that he makes the audience inclined not to cheer for him, even during bows, but they do of course, and in earnest. He’s got that certain knack of playing a villain so well that he’s both hated and liked at the same time, so cheers to him for that. The Sheriff of Nottingham here is played by Mark Emerson in another wonderful turn. Despite his title, the Sheriff seems to have the least amount of authority, or should I say the least amount of courage in carrying out the law of the land. Mark’s Sheriff is an excellent foil for Billy’s Sir Guy, they are quite the pair together. Last but not least is my favorite of the bunch, and that is Nathanial Tenenbaum. He, like everyone else in the cast save for Ricky Spaulding who is strictly Robin Hood, plays a series of supporting roles here, but thoroughly shines as Prince John. His humor, his mannerisms, his delivery, are all just so well delivered. I probably laughed more at Nathanial’s Prince John than any other character, and that’s saying something, because this show is full of laughs from start to finish.

On the creative side, I can’t say enough about the team that Adam Immerwahr has assembled for this show. Misha Kachman’s set is nothing overly complicated, but its use of Village Theatre’s turntable takes it from a static structure that is very well appointed for this production, to something that becomes akin to a character itself, and the flying arrows are a wonder. Chelsea Cook has done a nice job of costuming here (reimagining original designs from Jess Goldstein), while Nancy Schertler’s lighting and Nick Kourtides sound support the show very well. Finally, kudos to stage manager Ruth Eitemiller. I mentioned the sheer amount of movement earlier, but with a lot of motion comes a lot of moving pieces and it’s the stage manager’s job to keep them all where they need to be. There is not a misplaced sword or bow in Sherwood.

It may be too late to catch Ken Ludwig’s Sherwood in Issaquah, but fear not, Village Theatre is packing up and moving to its Everett Theatre space to open on October 21 for a 4-week run. I hope that if you haven’t had a chance to make it for its Issaquah run, that you do take the time to head out and see it in Everett, as I like to think a show like this is exactly what we all need right now. Sherwood is an escape to a world that seems larger than life where you can experience a tale that is, yes, familiar, but is told very well and in a unique and fun way.

The Canterville Ghost - through October 29, 2023
Presented By: Key City Public Theatre (Reviewed: Sunday, October 15, 2023)

The last time we saw Allen Fitzpatrick, he was acting in the award winning Village Theatre production of Hello Dolly. A man of many talents, or wearer of many hats, Allen has put his acting cap on the hook (for now) and picked up his directing chapeau, overseeing Key City Public Theatre’s production of a brand new adaptation of Oscar Wilde’s The Canterville Ghost. This production, on stage in Port Townsend through October 29, is the latest in a series of shows that take Wilde’s work and adapt them for new audiences. Much like last year’s The Picture of Dorian Gray (Amateurs at Large), The Canterville Ghost, this version adapted by Bry Kifolo, aims to add a little spookiness to the Halloween season by presenting a ghost story overlaying one of those strong moral messages that Wilde is known for. He’s also known for his humor, of course, and The Canterville Ghost fits right in there as well.

The general idea of the story remains the same, the Otis family from America moving to England to live at Canterville Chase, despite the warnings from the elder Lord Canterville that the mansion they are coming to inhabit is haunted. This adaptation takes the story, changes the characters a bit, adds some modern twists, throws in a lot of humor, but all and all keeps to the heart of the original redemption story.

The overall construction of the Key City production is solid. Jesse Joshua Watson’s set is a nice representation of the interior of Canterville Chase, with enough space for the amount of motion that this show has and more secret passages and doors than you can shake a stick at. Jesse has done a nice job of fitting a lot of functionality into a relatively small space and making it work. And while the story is generally lighthearted, it is, after all, a ghost story, so as such it relies on sound and light to help build the suspense and set the mood. Albert Mendez (lighting) and Taylor Thomas March (Sound) handle don’t miss any marks in their contributions.

The Otis family is front and center in this story, and they are a prime example of changes that were made by Bry Kifolo against the original text. Here, the group is four, comprised of the widowed father, played by Robert Winstead, daughter Virginia (Hayley Martin) and twins Washington and Jefferson, portrayed by Scott Bahlmann and Ry Armstrong respectively. Robert’s father is enveloped in his work, completely dismissive of the prospect that a house could be haunted, and much too busy with emails and Zoom calls to pay any attention to his family. While he is busy “looking for a signal”, daughter Virginia is left to manage the family, including her mischievous brothers. Scott and Ry are playing twelve year olds here and, while they’re meant to be a bit over the top, I think the disparity in their age to the characters’ level of maturity is a bit much. I would have felt a little more comfortable if their pranks and behavior were more teenage than tween. The Canterville Ghost does skew corny at times, by design I would think, but there are times when it should stay “borderline” corny and not cross over entirely. Besides the twins, there are a few scenes that are reminiscent of those old Benny Hill chase scenes that feel shoehorned in. I’d rather trade those in for a little more character development, especially in Act 1. It’s a story of redemption and a little more introspection could be done into what is being redeemed without taking from the humor.

That’s not to say the redemption arc doesn’t hit home, because it does. There’s a lesson to be learned here, and that is told through the relationship between Hayley’s Virginia and Canterville Chase’s resident ghost Simon de Canterville, played by David Natale. Simon was left in his current state after the murder of his wife, when he was locked into the walls of the estate, burdened to live like that until he can find someone to produce a eulogy on his behalf. It’s clear pretty quickly how that is going to happen, but watching this transformation is the heart of the show, and is its best feature. Hayley is wonderful in this role, she’s earnest and true, the polar opposite of the rest of her family. She’s also featured in the climax of the play in a scene that is the among the best in the show. David’s ghost Simon is a tortured soul, he’s the most complex of the characters here, though truth be told everyone is carrying something with them, just not as heavy as hundreds of years of suffering the like of which only Simon can know. This is an excellent performance, emotional, heartfelt, and humorous, easily handling that line between funny and corny without stumbling over. Rounding out the cast is Heather Dudley-Nollette in a nice performance as Mrs. Umney, the maid who came with the house and seems to faint at the drop of a hat. When she is not horizontal from being spooked, she’s got some important things to say, steering this dysfunctional family toward their redemption.

Key City Public Theatre’s production of The Canterville Ghost is perfectly timed for the Halloween season. It’s spooky, but not too scary, and it’s funny. This new adaptation of the Oscar Wilde story takes some risks against the original story, and while not all of them land, it’s a version that know what it wants to say, says it, and fills the rest with a lot of heartfelt humor.

For more information on reviewed shows, please visit the theatre websites listed below:

Taproot Theatre - https://taproottheatre.org/
Tacoma Arts Live - https://www.tacomaartslive.org/
Village Theatre - https://villagetheatre.org/
Key City Public Theatre - https://keycitypublictheatre.org/

Also on Stage:
Murder on the Nile - Port Gamble Theatre (opens 10/06; through 10/22)
Seussical the Musical - Manestage (opens 10/06; through 10/22)
Cry It Out - As If Theatre (opens 10/12; through 10/29)
Little Shop of Horrors - Auburn Community Players (opens 10/13; through 10/22)
The Prom - Bainbridge Performing Arts (opens 10/13; through 10/29)
Baskerville - WWCA (opens 10/13; through 10/29)

Coming Soon:
Bloodletting - Pork Filled Productions (opens 10/19; through 11/04)
Doubt: A Parable - Jewel Box (opens 10/20; through 10/29)
Misery - Tacoma Little Theatre (opens 10/20; through 11/05)
Meteor Shower - Second Story Rep (opens 10/20; through 11/12)
The Merry Wives of Windsor - Seattle Shakespeare (opens 10/25; through 11/12)
Andelana - Dukesbay (opens 10/27; through 11/19)
Cry It Out - inD Theatre (opens 10/27; through 11/12)
Ring of Fire - BCT (opens 10/27; through 11/19)